2024年10月12日 星期六
胡適《雙十節的感想 》 刊於 《獨立評論》1934年10月9日
胡適之先生 戲劇 《終生大事》 在《劍橋中國文學史》 《中國韻文史》 .
主編: 宇文所安(上卷 1375之前) 孫康宜(下卷1375-1949...
由於此書有索引所以很容易定位 胡適之先生
這本書並不以五四為現代文學的起點.
第六章1841至1937年間的中國文學 王德威
第七章1937—1949年的中國文學 奚密
所以觀點很不一樣.
胡先生1919年的戲劇《終生大事》被譽為是"促成"問題劇"的興盛" (原書485-86 三聯版536)
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Sōsei. = 泽田总清 = 澤田總清 Sawada
Author of Zhongguo yun wen shi / Zetian Zongqing zhu ; Wang Heyi bian yi. = 中国韵文史/ 泽田总清著;王鹤仪编译 = 中國韻文史 / 澤田總清著 ;王鶴儀編譯
這本書臺灣商務版是1965 應該更早得多.末章談白話詩
胡適《寒江》 入選
“江上還飛雪,遙山霧未開。浮冰三千畝,載雪下江來.”
2024年10月4日 星期五
胡適論稿 胡傳吉
內容簡介
作者介紹
目錄
一、胡適與俞平伯的趣味論考述
「作為方法」的《紅樓夢》考證
「去儒化」與文學教育的現代化
「趣味的研究」及「怨而不怒」說
餘論:趣味主義與現實主義的歷史關聯
二、曾樸與胡適的論爭──「創造中國的新文學」考辨
胡適嗜讀小說與為白話文學樹模範的關聯
《孽海花》之爭
論翻譯:「創造中國的新文學」之辯
三、人的問題與科學主義──論〈文學改良芻議〉與「實驗主義」
情與力對人的意義
科學精神與「創造的智慧」
四、現代白話詩與「人的發現」
附錄:經史分離與史學「致用」──梁啟超「新史學」與黃梨洲《明儒學案》關係考論
《明儒學案》與中國學術史編纂
對經史關係之思考的延續
「諸儒」變「學者」
「新史學」與「致用」理想
參考文獻
序
"傅斯年、胡適與居延漢簡的運美及返台"等等,收入作者:邢義田,書名:古月集:秦漢時代的簡牘、畫像與政治社會【卷一~卷四,】出版社:聯經出版公司 2024
傅斯年、胡適與居延漢簡的運美及返台等等,收入作者:邢義田,書名:古月集:秦漢時代的簡牘、畫像與政治社會【卷一~卷四,】出版社:聯經出版公司
。。。。。
#新文 期待你點開的這篇文章,有 4 千多字,在網頁上閱讀,你不會感覺到「重量」,但對古人來說,這可有多奢侈啊!
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✅漢代簡牘記載的內容,如何顛覆教科書中的「罷黜百家,獨尊儒術」?
✅AI 如何幫助我們辨識簡牘上的字?又如何輔助斷簡殘篇的修復?
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古月集:秦漢時代的簡牘、畫像與政治社會【卷一~卷四 - 博客來
https://www.books.com.tw › products
書名:古月集:秦漢時代的簡牘、畫像與政治社會【卷一~卷四,套書附專屬書箱】,語言:繁體中文,ISBN:9789570873191,頁數:2752,出版社:聯經出版公司,作者:邢義田, ...
NT$7,020.00
徐志摩,泰戈爾。劉叔和;陳西瀅
Nobel Prize
Literature Laureate Rabindranath Tagore visiting the forbidden city in Beijing, China in May 97 years ago.
He was accompanied by the painter Nandalal Bose as well as translator Lin Huiyin and Chinese poet Xu Zhimo. Both Lin and Xu translated Tagore's work into Chinese.
Tagore was the first non-European Literature Laureate, awarded the Nobel Prize "because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West."
Discover more: https://bit.ly/3ao3Gny
陳西瀅原名陳源,字通伯,“西瀅”是他的筆名。他生於1896年,年長徐志摩一歲。幼時,他先入上海文明書局附設小學就讀,後轉學入南洋公學 (交通大學前身)附屬小學,1911年畢業。民國初年,他受表舅吳敬恒的鼓勵赴英國求學。在英國,他發憤苦讀,修完中學課程後,先進愛丁堡大學,繼而轉入 倫敦大學,研習政治經濟學,最後以博士銜學成歸國。[示例一] 奇怪的劇本 1921年1月的一天,午後。 (應是1920年秋) 倫敦,泰唔士河畔,碼頭上。 冬天的倫敦,細雨中,濃霧漸漸散開,但濕氣還是時時撲面而來。接船的人群中,徐志摩身著深灰色長大衣,外裹一件雨衣,戴著禮帽,衣領也都翻立起來。他右手挎著一把長柄雨傘,左手捧著一束鮮花。一旁,站著劉叔和,也是一身禦寒的衣著。 一會兒,一輛黑色小車駛近,停下,陳西瀅從車窗內探出頭來,抬手向徐志摩打了個招呼: “志摩,我先去把車停好。”說完,小車慢慢向停車場駛去。 停好了車,陳西瀅向著徐志摩、劉叔和走來。 徐志摩: “來,來, 西瀅兄!叔和,這位就是陳西瀅先生,說好了今天介紹你們見面的。” 劉叔和走向陳西瀅:“久仰, 久仰! 志摩早就說了, 您是大名鼎鼎的吳稚老、吳稚暉老先生的外甥!” 陳西瀅: “叔和兄的大名,我陳西瀅也早就如雷貫耳了。今日相識,十分榮幸。” 徐志摩: “好了好了, 都那麼客氣做什麼?以後,大家還要互相關照才是。” 劉椒和: “我們也算得上'同是天涯淪落人' 了。 不,這話不對,志摩的家眷一會兒就到,他不算淪落人了,不與我們為伍了!” 吊劉叔和 (徐志摩作/ 內有胡適的話 原文為英文 據 陳西瀅之文為 劉叔和自言: My days are numbered. ) 一向我的書桌上是不放相片的。這一月來有了兩張,正對我的坐位,每晚更深時就只他們倆看著我寫,伴著我想;院子裡偶爾聽著一聲清脆,有時是蟲,有時是風捲敗葉,有時,我想像,是我們親愛的故世人從墳墓的那一邊吹過來的消息。伴著我的一個是小,一個是“老”:小的就是我那三月間死在柏林的彼得,老的是我們鍾愛的劉叔和,“老老”。彼得坐在他的小皮椅上,抿緊著他的小口,圓睜著一雙秀眼,彷彿性*急要媽拿糖給他吃,多活靈的神情!但在他右肩的空白上分明題著這幾行小字:“我的小彼得,你在時我沒福見你,但你這可愛的遺影應該可以伴我終身了。”老老是新長上幾根看得見的上唇須,在他那件常穿的緞褂裡欠身坐著,嚴正在他的眼內,和藹在他的口頷間。 讓我來看。有一天我邀他吃飯,他來電說病了不能來,順便在電話中他說起我的彼得。 (在繦褓時的彼得,叔和在柏林也曾見過。)他說我那篇悼兒文做得不壞;有人素來看不起我的筆墨的,他說,這回也相當的讚許了。我此時還分明汜得他那天通電時著了寒髮沙的嗓音!我當時回他說多謝你們誇獎,但我卻覺得淒慘因為我同時不能忘記那篇文字的代價。是我自己的愛兒。過於幾天適之來說“老老病了,並且他那病相不好,方才我去看他,他說"適之我的日子已經是可數的了。" ”他那時住在皮宗石家裡。我最後見他的一次,他已在醫院裡。他那神色*真是不好,我出來就對人講,他的病中醫叫做濕瘟,並且我分明認得它,他那眼內的鈍光,面上的澀色*,一年前我那表兄沈叔薇彌留時我曾經見過——可怕的認識,這侵蝕生命的病徵。可憐少鰥的老老,這時候病榻前竟沒有溫存的看護;我與他說笑:“至少在病苦中有妻子畢竟強似沒妻子,老老,你不懊喪續弦不及早嗎?”那天我餵了他一餐,他實在是動彈不得;但我向他道別的時候,我真為他那無告的情形不忍。 (在客地的單身朋友們,這是一個切題的教訓,快些成家,不過於挑剔了吧;你放平在病榻上時才知道沒有妻子的悲慘!——到那時,比如叔和,可就太晚了。) 叔和沒了,但為你,叔和,我卻不曾掉淚。這年頭也不知怎的,笑自難得,哭也不得容易。你的死當然是我們的悲痛,但轉念這世上慘澹的生活其實是無可沾戀,趁早隱了去,誰說一定不是可羨慕的幸運?況且近年來我已經見慣了死,我再也不覺著它的可怕。可怕是這煩囂的塵世:蛇蠍在我們的腳下,鬼祟在市街上,霹靂在我們的頭頂,噩夢在我們的周遭。在這偉大的迷陣中,最難得的是遺忘;只有在簡短的遺忘時我們才有機會恢復呼吸的自由與心神的愉快。誰說死不就是個悠久的遺忘的境界?誰說墓窟不就是真解放的進門? 但是隨你怎樣看法,這生死間的隔絕,終究是個無可奈何的事實,死去的不能複活,活著的不能到墳墓的那一邊去探望。到絕海裡去探險我們得合夥,在大漠裡游行我們得結伴;我們到世上來做人,歸根說,還不只是惴惴的來尋訪幾個可以共患難的朋友,這人生有時比絕海更凶險,比大漠更荒涼,要不是這點子友人的同情我第一個就不敢向前邁步了,叔和真是我們的一個。他的性*情是不可信的溫和:“頂好說話的老老”;但他每當論事,卻又絕對的不苟同,他的議論,在他起勁時,就比如山壑間雨後的亂泉,石塊壓不住它,蔓草掩不住它。誰不記得他那永遠帶傷風的嗓音,他那永遠不平衡的肩背,他那怪樣的激昂的神情?通伯在他那篇《劉叔和》 (見前 )裡說起當初在海外老老與傅孟真的豪辯,有時竟連“吶吶不多言”的他,也“免不了加入他們的戰隊”。這三位衣常敝,履無不穿的“大賢”在倫敦東南隅的陋巷,點煤汽油燈的斗室裡,真不知有多少次借光柏拉圖與盧騷與斯賓塞的迷力,欺騙他們告空虛的腸胃——至少在這一點他們三位是一致同意的!但通伯卻忘了告訴我們他自己每回入戰團時的特別情態,我想我應得替他補白。我方才用亂泉比老老,但我應得說他是一竄野火,焰頭是斜著去的;傅孟真,不用說,更是一竄野火,更猖獗,焰頭是斜著來的;這一去一來就發生了不得開交的衝突。在他們最不得開交時,劈頭下去了一剪冷水,兩竄野火都吃了驚,暫時翳了回去。那一剪冷水就是通伯;他是出名澆冷水的聖手。 啊,那些過去的日子!枕上的夢痕,秋霧裡的遠山。我此時又想起初渡太平洋與大西洋時的情景了。我與叔和同船到美國,那時還不熟;後來同在紐約一年差不多每天會面的,但最不可忘的是我與他同渡大西洋的日子。那時我正迷上尼采,開口就是那一套沾血腥的字句。 我彷佛跟著查拉圖斯脫拉登上了哲理的山峰,高空的清氣在我的肺裡,雜色*的人生橫亙在我的眼下,船過必司該海灣的那天,天時驟然起了變化:岩片似的黑雲一層層累疊在船的頭頂,不漏一絲天光,海也整個翻了,這裡一座高山,那邊一個深谷,上騰的浪尖與下垂的雲爪相互的糾拿著;風是從船的側面來的,夾著鐵梗似粗的暴雨,船身左右側的傾欹著。這時候我與叔和在水發的甲板上往來的走——那裡是走,簡直是滾,多強烈的震動!霎時間雷電也來了,鐵青的雲板裡飛舞著萬道金蛇,濤響與雷聲震成了一片喧闐,大西洋險惡的威嚴在這風暴中盡情的披露了,“人生”,我當時指給叔和說,“有時還不止這凶險,我們有膽量進去嗎?”那天的情景益發激動了我們的談興,從風起直到風定,從下午直到深夜,我分明記得,我們倆在沉酣的論辯中遺忘了一切。 今天國內的狀況不又是一幅大西洋的天變?我們有膽量進去嗎?難得是少數能共患難的旅伴;叔和,你是我們的一個,如何你等不得浪靜就與我們永別了?叔和,說他的體氣,早就是一個弱者;但如其一個不堅強的體殼可以包容一團堅強的精神,叔和就是一個例。叔和生前沒有仇人,他不能有仇人;但他自有他不能容忍的物件:他恨混淆的思想,他恨醃躦的人事。 他不輕易鬥爭;但等他認定了對敵出手時,他是最後回頭的一個。叔和,我今天又走上了風雨中的甲板,我不能不悼惜我侶伴的空位! 十月十五日從這段簡歷中可以看出陳西瀅和徐志摩的共同點:都曾留過洋,而且都曾留學英國,都曾在倫敦大學就讀,專業都是政治經濟學。不同的是,陳西瀅 獲得了博士學位,而徐志摩沒有。還有一個不同,徐志摩是先留學美國,後轉入英國的,而陳西瀅不是。徐志摩轉到英國時,陳西瀅早已是“老”留學生了。對於一 個初來乍到的“新人”,徐志摩在很多方面都得到過陳西瀅的幫助。
徐志摩和陳西瀅是在一個很偶然的情況下相識的。那天在學校的飯廳裏,徐志摩看見了一個年輕的、笑容燦爛的中國人。跟他一起由美赴英的留學生 劉叔和很驚喜地說:“那不是小陳嗎?”想來當時陳西瀅身邊有人,小劉不便給介紹徐志摩與小陳認識。不久,徐志摩與陳西瀅又在校園裏撞見了。徐志摩主動上前 打招呼。兩人互致問候,又自我介紹,就成了朋友。後來,徐志摩得以結識英國著名作家威爾斯,就是由陳西瀅介紹的。
1922年,兩人先後回國。回國後,徐志摩先在松坡圖書館任英文幹事,一年後,才在胡適的介紹下,進入北京大學,在英文係任教授。陳西瀅一 回國就被北大校長蔡元培聘為教授,也在英文係。依徐志摩和陳西瀅早在英國就建立起的友情,陳西瀅自然也是早期新月社的成員之一。淩叔華加盟新月社,是因為 泰戈爾訪華。也就是說,泰戈爾訪華,促成徐志摩和淩叔華相識,也促成陳西瀅和淩叔華這一對“新月”夫妻的姻緣。
2024年9月9日 星期一
Darkness at Noon 作者很能體會這班共產黨的心理(日記1941 0801) 。Thomas W. Brahany ......
同日日記說 讀爾遜威秘書Thomas W. Brahany, 1876-1964, 1917年3月-4月的日記很感興趣
他的作品現在網路很難找到呢.
The prodigal's returns [Unknown Binding] Thomas W Brahany (Author)
- Unknown Binding: 18 pages
- Publisher: W.F. Roberts (1928)
這本名著在20幾年之後台灣才有譯本:《黑色的烈日》(Darkness at noon.)。臺北:前衛。 陳列編。
Koestler's incarceration in the Spanish Civil War, by the Phalange - documented in Spanish Testament (1937), and revised 1942 as Dialogue with Death, and which formed part of the basis for his novel Darkness at Noon (1940).
Darkness at Noon (German: Sonnenfinsternis) is a novel by the Hungarian-born British novelist Arthur Koestler, first published in 1940. His best-known work tells the tale of Rubashov, a an Old Bolshevik and October Revolutionary who is cast out, imprisoned, and tried for treason against the very Soviet Union he once helped to create.
The novel is set in 1938 during the Stalinist purges and Moscow show trials. It reflects the author's personal disillusionment with Communism; Koestler knew some of the defendants at the Moscow trials. Although the characters have Russian names, neither Russia nor the Soviet Union are actually mentioned by name as the location of the book. Joseph Stalin is described as "Number One", a barely-seen, menacing dictator.
The novel was originally written in German and translated into English by Daphne Hardy, while living with Koestler in Paris in early 1940. Koestler and Hardy fled Paris in May 1940 just ahead of the German army. Koestler attempted suicide in Bordeaux after hearing a false report that the ship taking Hardy to England (along with the only manuscript) had been torpedoed and all hands lost. Koestler described the episode in Scum of the Earth, his autobiography of that period. On reaching England, Hardy arranged to have the manuscript published and chose the title "Darkness at Noon".
Since the original German text has been lost, German versions, published under the title Sonnenfinsternis (literally "solar eclipse") are back translations from English. Darkness at Noon is actually the second part of a trilogy, the first volume being The Gladiators about the subversion of the Spartacus revolt, and the third Arrival and Departure about a refugee in World War II. The Gladiators was originally written in Hungarian and Arrival and Departure in English. Of these two, only The Gladiators has had much success.
In 1998, the Modern Library ranked Darkness at Noon eighth on its list of the 100 best English-language novels of the 20th century
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[edit] Characters
According to George Orwell, "Rubashov might be called Trotsky, Bukharin, Rakovsky or some other relatively civilised figure among the Old Bolsheviks".[1]Koestler drew on his own experience of being imprisoned by Francisco Franco during the Spanish Civil War described in his memoir Dialog with Death. Like Rubashov, he was in solitary confinement, expected to be executed, paced his cell constantly, was permitted to walk in the courtyard in the company of other prisoners, and was not beaten himself but knew that others were beaten.
[edit] Plot summary
Nicolas Salmanovitch Rubashov, a man in his fifties, had been one of the leading figures in the Bolshevik revolution, and has been active in supporting Communist parties in other countries. As such, he was revered amongst Communist officials. During a purge of the Communist Party, however, Rubashov is roused in the middle of the night and arrested. This brings back memories of his previous arrest in Germany, when he was tortured under interrogation. He is taken to a new prison and placed in a cell.Despite efforts to keep the prisoners isolated from each other, the men communicate through tapping on the pipes between the cells. He makes contact with another prisoner, identified throughout as No. 402, a counter-revolutionary who supported the reign of the Czar. After initial unsatisfactory contact with No. 402, the two men form a friendship of sorts, with No. 402 keeping Rubashov abreast of developments in the prison and Rubashov entertaining No. 402 with stories of his sexual exploits.
His first interrogation is conducted by an old friend, Ivanov, a man that Rubashov once talked out of suicide. Ivanov tries persuading him to consider signing a false confession — a confession in which he admits to conspiring to assassinate No. 1, the new leader of the regime. In due course, Rubashov becomes aware that he has been implicated in the plot by another prisoner, Hare-Lip, the son of an old friend of Rubashov. (Hare-Lip himself has confessed under torture.) Ivanov implores Rubashov to sign a confession and Rubashov shows willingness to consider his proposition.
However, Ivanov is arrested in the meantime, ostensibly for being "too soft" on Rubashov. He is eventually executed. Rubashov is then ruthlessly interrogated by Gletkin, a brutal man of peasant stock who seemingly resents Rubashov's education and former class privilege. Gletkin, a representative of new Communist party officials, unflinchingly advocates the use of torture to wring confessions from prisoners.
Once Gletkin takes over the interrogation of Rubashov, he resorts to methods like sleep deprivation and making Rubashov sit in front of a glaring lamp for hours on end. Worn down, Rubashov finally capitulates.
As Rubashov confesses to the false charges, he thinks of all of the times he betrayed agents in the past — the young German Richard; and the Dutch Little Loewie, who hangs himself, and Arlova, Rubashov's own secretary-mistress. Rubashov recognises that his treatment is carried out with the same ruthless logic as that which he himself employed. Ultimately, his commitment to following his logic to its last conclusion — and his own lingering dedication to the Party — lead him to confess fully and publicly.
The final section of the novel is headed with a four-line quotation ("Show us not the aim without the way...") from the German socialist Ferdinand Lasalle. The novel ends with Rubashov's execution.
[edit] Influence
The novel's French title is Le Zéro et l'Infini ("Zero and Infinity"). Like the English title, "Darkness at Noon", it reflects Koestler's life-long obsession with the meeting of opposites, and dialectics. Le Zéro et l'Infini sold more than 400,000 copies in France.American screenwriter and Communist Party USA member Dalton Trumbo told The Worker that he had prevented Darkness at Noon, among other anti-Stalinist books, from being produced into a Hollywood movie.[2]
Darkness at Noon was very influential for George Orwell, who used ideas from it in Nineteen Eighty-Four (especially the segment where Winston Smith is interrogated by O'Brien)[3] and also wrote an essay about it.[4]
In 1954, at the end of a long inquiry and a show trial, Communist Romania sentenced to death former high-ranking Romanian Communist Party member and government official Lucreţiu Pătrăşcanu.[5][6] According to his collaborator Belu Zilber, Pătrăşcanu read Darkness at Noon in Paris while envoy to the 1946 Peace Conference, and took the book back to Romania.[5][6]
[edit] Notes
- ^ George Orwell, Arthur Koestler. Essay, at www.george-orwell.org
- ^ Kenneth Lloyd Billingsley, "Hollywood's Missing Movies: Why American Films Have Ignored Life under Communism", in Reason Magazine, June 2000
- ^ Arthur Mizener, "Truth Maybe, Not Fiction," in The Kenyon Review, Vol. 1, No. 4 (Autumn, 1949): 685.
- ^ "Arthur Koestler", by George Orwell (1944).
- ^ a b (Romanian) Stelian Tănase, "Belu Zilber. Part III" (fragments of O istorie a comunismului românesc interbelic, "A History of Romanian Interwar Communism"), in Revista 22, Nr.702, August 2003
- ^ a b Vladimir Tismăneanu, Stalinism for All Seasons: A Political History of Romanian Communism, University of California Press, Berkeley, 2003, ISBN 0-52-023747-1 p.75, 114
[edit] External links
- New York Times book review of Darkness at Noon (May 25, 1941)