Gibbings, Robert

Sweet Thames, Run Softly - Robert Gibbings - 1940

Coming Down the Wye - Robert Gibbings - 1943

Coming Down the Seine - Robert Gibbings - 1953

Books about following a river from its source to the end. Ideal! I'd been looking for this book for a long time and had almost given up. Isn't that always when you find things you seek? In a second hand bookshop in the hinterland near Noosa in Queensland, on a rainy day when the surf was flat, I found two of Robert Gibbings' books, Coming Down the Wye and Coming Down the Seine.

While the engravings are much of the charm of these books, the love of the local, the small detail and the fundamental interest in the waterway make this worth finding. Here, he describes his first attempt to find the source of the river Wye:

It was mid-winter when I first tried to reach the source of the Wye, on Plynlimon. In the morning, when I left Llangurig, the sun had risen in a clear sky, and was throwing its radiance over the snow-covered hills. To the west the sky was green as olives and the ice-fringed river, reflecting that colour, showed all the lights of an aquamarine. Higher in the hills the water in the tributaries flowed through crystal gorges, It was as if some giant crucibles of molten glass had been spilled along either bank. In sheltered pools, where the water was deep and calm, delicate fern-like plates of ice stretched out to meet each other over mid-stream, but on windier stretches the frozen surface was rippled and polished, and dark as the water flowing beneath. Where there had been a waterfall there were now caverns of ice, festooned with stalactites, the rock faces on either side shining like chandeliers with frozen spray. (2)

Gibbings fails to find the source of the Wye on that journey because the weather turns against him, but later he does find the source as he relates here:

I was at the source of the Wye. After a gently murmuring underground the water welled up, brushing aside the young spring grass to form a pool no bigger than a bowler hat. Then gently it glided between rich tussocks of moss and rushes still bent from their load of winter snow, until it tumbled like a shower of sequins over the black velvet of a peat face. (3)

So the narrative begins, at its original source. I liked the way he wanted to find the source, and his unshakeable confidence he had found it. There is something important about being at 'that place', something I felt when I stood at the junction of the Buchan and Snowy Rivers in Victoria late in 1996. You could point to this place on the map, where two rivers joined, or where, more nebulously, a river began.

I also liked the extract from Coming Down the Seine when Gibbings describes his 'coracle' drifting over flooded farmlands away from the river's course. Like Thoreau's axe at the bottom of the pond or the ancient city of Atlantis, Gibbings is able to see into a hidden otherworld:

. . . looking down on submerged grasses as though they were soft corals gently swaying on a tropic reef . . . floating over it I could see field paths and cattle tracks and once an iron plough reminded me or Tir na n-Og and other islands drowned by enchantment. (42)

Like Gilbert White, Robert Gibbings is interested in the small details that make up the local; I suppose they are celebrations too of an England that was already passing, if it hadn't gone already. The book I found in that bookshop in Noosa is a first edition, published in the dark days of 1943 'in complete uniformity with the authorised economy standards'. In 1943 there may have been something of an urgency about celebrating the most English of things.

Robert Gibbings: Oh, Beware my Lord, of Jealousie

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cockerel

Gibbings, Robert (1889-1958), artist, book-designer, and travel writer. Born in Cork, he was educated at UCC and served at Gallipoli. He came under the influence of the artist Eric Gill, running the Golden Cockerel Press from 1924 to 1933. Besides a series of books on rivers including Sweet Thames Run Softly (1940) and Lovely is the Lee (1945), he wrote about the South Seas in Coconut Island (1936).

rish Literature Companion. The Concise Oxford Companion to Irish Literature. Copyright © 1996, 2000, 2003 by Oxford University Press. All rights reserved. Read more
		Wikipedia. This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Robert Gibbings". Read more

Robert Gibbings (1889-1958) was an artist and author who was most noted for his work as a word carver and for his books on travel and natural history.

Of Irish parentage, he studied at the Slade School of Art and the Central School of Art.

Works

• Coming Down the Seine
• Sweet Thames Run Softly
• Coming down the Wye
• Till I End My Song

洛勃脫 蓋平斯
雕刻家 同時是自寫自插圖的著作家 初年是在愛爾蘭過Cork的 在倫敦 Slade和 Central 藝專畢業後 就趕上了第一屆大戰 而且參加了幾乎全軍覆沒的 Gallipoli 一役
曾充英國專出版精本書金雞書店Golden Cockerel Press的編輯 教過書 是英國藝術家到海底寫生的第一人 所著自己的書不下半打 如 椰子島 Coconut Island 馨田甜的泰晤士河溫柔地流著
Sweet Thames Run Softly
這裡引用的木雕是出自他最近的著作
蕭乾編《英國版畫集》 頁111

這段介紹很了不起
我對翻譯要苛責一點
cockerel 是一歲以下的雄雞 我相信中文也有類似的稱呼

The Golden Cockerel Press was founded by Harold M. Taylor in 1920. In 1924, Robert Gibbings joined the press and further developed the aim of making finely produced books available to a wider public at a reasonable price. Eminent artists such as Eric Gill, Osbert Lancaster, Blair Hughes-Stanton and Gibbings were commissioned to illustrate the publications. In 1933, Christopher Sandford, along with Owen Rutter and Francis Newbury, acquired the press. Separate bibliographies of the press's output were issued. Pertelote covers the years 1936 to 1943 and features four books illustrated by JBW.

Robert Gibbings (British, 1889-1958)

Robert Gibbings was born in Cork, Ireland. He was educated locally and went on to study medicine for two years at University College, Cork. He later studied art, briefly at the Slade and also at the Central School of Art. He began to experiment with wood engraving, and while on active service in World War I made numerous drawings which he later engraved. After the war he was instrumental in setting up the Society of Wood Engravers. Between 1924 and 1933 Gibbings owned the Golden Cockerel Press at Waltham St Lawrence, near Reading. He directed all aspects of book printing and illustration, decorating many of the publications with wood engravings by himself and other leading artists including Eric Gill. During his time at Waltham he carved a small number of major pieces in stone. The economic slump forced him to sell the press in 1933 and he moved to Cornwall. In 1936 Gibbings became senior lecturer in typography, book production and engraving at Reading University. In 1938 he held a one-man exhibition at Reading Museum titled ‘Twenty Years of Engraving’. His long interest in natural history and his travels resulted in a number of books which he both wrote and illustrated:Sweet Thames Run Softly (1940) was a particular success. In 1955 Gibbings moved from London to Long Wittenham, a village on the banks of the upper Thames. His last book,Till I End My Song, published in 1957, is principally about this village.

Reference: Patience Empson (ed.), The Wood Engravings of Robert Gibbings (1959). Mary A Kirkus, Robert Gibbings: A Bibliography, ed. Patience Empson and John Harris (1962); Andrews, Martin, J. The Life and Work of Robert Gibbings, 2003.

			The Mill Wood engraving included in Twelve Wood engravings (privately published, 1921) Wood engraving on paper, signed by the artist 1918 108 x 70mm. References: recorded in Empson, Patience, The Wood-engravings of Robert Gibbings, 1949: 11. £420 A rare and early engraving by Gibbings from 1918.
			St. Pachome, Abbot of Taberne Wood engraving for Beasts and Saints by Helen Waddell (1934) Wood engraving on paper, signed by the artist 1934 120 x 94mm. References: recorded in Empson, Patience, The Wood-engravings of Robert Gibbings, 1949: 140; illustrated in Andrews, Martin, J. The Life and Work of Robert Gibbings, 2003: 185. • A striking wood engraving from 1934 to illustrate Helen Waddell’s book Beasts and Saints which was a collection of stories and folk tales on the theme of ‘the mutual charities between saints and beasts’ dating from the fourth to the twelfth centuries and translated from the Latin by Waddell. Gibbings was particularly satisfied with his work for the book, recalling ‘My engravings in these two books were the best that I had so far accomplished, and gradually the sadness I felt at losing my press was dissipated.’ (Robert Gibbings, Some Recollections, from Patience Empson, The Wood-engravings of Robert Gibbings, 1949: xlii).

more
http://images.google.com/images?hl=en&q=Gibbings%2C+Robert+&btnG=Search+Images&gbv=2

The first full-scale biography with more than 400 illustrations, of Robert Gibbings - private pressman, artist, wood engraver, book illustrator, journalist, television personality, traveller, adventurer and raconteur. Martin Andrews treats the whole Gibbings, the milieu in which he lived and worked, a colourful man larger than life, who perhaps did more than anyone else to bring the art of wood engraving to the attention of the general public. The wealth of illustration records Gibbings' work and life, several in colour and many unpublished, accompanied by a critical evaluation of his style and technique as artist and engraver and his achievements as designer, printer and entrepreneur in producing some of the finest private press books ever. 446 pp, casebound with dustjacket.

Ivica Osim

维基百科，自由的百科全书

跳转到： 导航, 搜索

伊万·“伊维卡”·奥西姆(Ivan "Ivica" Osim 1941年5月6日－)，波黑足球教练，现任日本国家足球队主教练。

奥西姆1959年在萨拉热窝泽列兹尼卡足球俱乐部开始足球生涯，1970年转会至法国斯特拉斯堡足球俱乐部，1972年转会色当足球俱乐部，1975年转会瓦朗谢安足球俱乐部，1976年又转回斯特拉斯堡，1978年退役。他共为南斯拉夫国家足球队效力16场比赛。

退役后，奥西姆执教家乡泽列兹尼卡队，率领其两度获得南斯拉夫甲级联赛亚军，并曾打入过欧洲联盟杯四强。1984年，他率领南斯拉夫队参加洛杉矶奥运会，获得铜牌。1986年，奥西姆执教南斯拉夫国家队，率队打入1990年世界杯足球赛八强。1992年，在率领南斯拉夫队获得参加欧锦赛资格后，奥西姆辞职，因为他的家庭深陷于南斯拉夫战争战火中。他表示：“我的国家已经不配参加欧锦赛，当人们遭受如此痛苦时，我无法将家庭事务与国家队主教练身份协调起来。”[1]

离开南斯拉夫后，奥西姆执教了希腊帕纳辛奈科斯足球俱乐部，率队两次夺得了希腊杯。1994年，他转而执教格拉茨风暴队，率队两次夺得奥地利足球超级联赛冠军、一次夺得奥地利杯冠军。2003年，奥西姆应邀执教日本J联赛的千叶市原队，2005年率队夺得其历史上第一个冠军——日本联赛杯冠军。

2006年7月21日，奥西姆接替济科出任新一任日本国家队主教练。

Illness

On November 16, 2007, Osim was struck by a stroke at his residence in Chiba, Japan while watching television^[2]. Despite early reports stating his condition as life-threatening,^[3][4] Osim has since been heading towards recovery^[5] while still remaining unconscious in an intensive care unit at the Juntendo University hospital in Urayasu, Chiba.

In the wake of Osim's declining health, the Japan Football Association has suggested that it was now looking for a replacement manager to be in charge of Japan, who begin their 2010 World Cup qualification campaign in February 2008. As the national team job requires long hours of travel across the Asian continent and working under extremely strenuous conditions, Osim is very unlikely to be able to continue his duty even in the improbable event of making a full recovery from his illness. On November 21, 2007, A Japan Times article reported that Takeshi Okada was a primary contender to replace the incapacitated manager^[6] after a news report suggesting the appointment of Holger Osieck by the Nikkan Sports newspaper was later dismissed by Osieck himself.^[7]

イビチャ・オシム
名前
本名	イヴァン・オシム
愛称	イビチャ、シュワーボ
ラテン文字	Ivan Osim
キリル文字	Иван Осим

Pray for Osim to speak words of wisdom again

11/27/2007

Ivica Osim, the 66-year-old coach of Japan's national soccer team, has been through painful experiences in his life, such as the breakup of his native Yugoslavia and the civil war in Bosnia-Herzegovina. Perhaps for this reason, his words are often filled with deep wisdom.

I should think that the suffering of his compatriots has left indelible marks in the soul of this great soccer coach.

A man of unflagging courage and, with a big heart, Osim has always been open to foreign cultures. According to the book "Oshimu no Kotoba" (Osim's words) by Yukihiko Kimura, Osim was once asked if his personality was shaped by his wartime experiences. "I prefer not to say so," he replied. "If I have learned my life's lessons from my wartime experiences, it would mean that war is necessary."

The civil war claimed more than 200,000 lives and destroyed the capital city of Sarajevo.

Osim was born and raised in the city, which is the setting of the 2006 film "Grbavica." (The Japanese title is Saraebo no Hana, which literally translates as Sarajevo's flower.)

Its Japan premiere is to be held soon at Tokyo's Iwanami Hall. The deeply thought-provoking film deals with the weighty subject of the systematic rape of women during the civil war in Bosnia-Herzegovina.

Before he suffered a stroke earlier this month, Osim wrote a message recommending this movie. Proudly recalling his beloved hometown, he noted that it was a place where everyone could accept one another, play soccer and music, and speak words of love.

It must have pained him greatly to admit that his native land has also become like none other in world history, a place where human decency and conscience have been wiped out.

His writing is a heart-wrenching combination of deep nostalgia for his homeland and intense loathing of war.

I heard that Osim's condition warrants no optimism. In his active days on the pitch, Osim was said to be an aggressive player who only needed "an opening the size of a handkerchief" to break through defenses on three sides.

I pray that he will pull through the current crisis and speak his words of wisdom to us again. --The Asahi Shimbun, Nov. 26(IHT/Asahi: November 27,2007)

オシム語録

質問者が不用意に「走るサッカー」について質問すると、オシムは「サッカーで走るのは当たり前です」と切り返す。そうした場面が多々見られるよう に、試合後のオシムの記者会見や雑誌、新聞等に語られる彼の言葉は非常にウィットに富んでおり、サッカーが哲学的に語られる。ジェフ千葉時代に、それがサ ポーター間やサッカー界ばかりでなく、一般紙や教育の現場などでも評判を呼んだ。これが「オシム語録」と呼ばれるようになり、クラブの新しい名物として定 着した。

試合後の会見では、単に質問者がからかわれている場面もまま見受けられ、オシムのコメントをストレートに紙面に掲載してしまうと、その真意を伝え切 れないことになる。また、（練習場のある）市原まで取材に出かけた記者が半泣きで帰ってきた、という逸話が時々紙面に掲載されることがあったように、オシ ムは一部マスコミにとっては「インタビュアー泣かせ」の取材相手である。しかし、真摯な質問者に対するオシムの対応は、往々にして丁寧である。

なお、スポーツジャーナリスト以外への受け答えは温厚でありながら、非常に慎重である。これはオシムが各所で語っているとおり、かつて経験したユーゴ内戦の時期に「マスコミが戦争を始めさせる」という様を見せ付けられてきたことに起因するものである。

オシムの日本代表監督就任以降、その動向とともに「オシム語録」もさらに大きな注目を集めるようになった。

代表的な語録

• 「ライオンに襲われた野うさぎが逃げ出すときに肉離れしますか?準備が足りないのです」^[5]

• 「休みから学ぶものはない」^[5]

• 「アイデアの無い人間もサッカーはできるが、サッカー選手にはなれない」^[6]

• 記者から、初来日の東京五輪から40年、日本のサッカーはどのように変わったかと問われ

「大きく成長を遂げていると思う。だが問題は、君たちマスコミだ。40年間、まったく成長していないのでは?」^[7]

• 代表監督就任会見で、「2006ワールドカップでの失望をどのように払拭するのか?」という質問に対して

「失望というのは、より多くのものを望み過ぎたからするものだ」^[8]

• 2006シーズン、勝てば優勝が決まる浦和レッズがFC東京と引き分けた試合について

「一生懸命探すニワトリだけが餌にありつける」^[9]

施蟄存先生

施蟄存先生（1905 -2003）

施蜇存一生的工作可以分為四個時期：1937年以前，除進行編輯工作外，主要創作短篇小說、詩歌及翻譯外國文學；抗日戰爭期間進行散文創作；1950年—1958年期間，翻譯了200萬字的外國文學作品；1958年以後，致力於古典文學和碑版文物的研究工作。

他曾指出，楊絳先生的『洗澡』，用了些「後世」之語言。譬如說：「……1952年還沒有『胃癌』這個詞，只有『胃潰瘍』、『胃出血』。」；
「『裝書的紙箱』，可以疊扁了放在角落裡』。這種紙箱，1952年還沒有。」等等。（參考施蟄存《讀楊絳《洗澡》》，1989：鍾漢清謹以此短文紀念施蟄存先生。）

作品最全者以2001年華東師範大學出版社出版《施蟄存文集·文學創作篇》第二、三卷，《北山散文集》，以及《唐詩百話》、《北山談藝錄續編》。

我們以前談Peter Gay《史尼茨勒的世紀；布爾喬亞經驗一百年》（梁永安譯，台北：立緒，2004，正文419頁，附圖集及人名索引10頁，名詞索引18頁，唯缺主題(忘掉他是最早從英文翻譯其作品的—問題是他的譯名都與現在通用者”施尼茨勒 vs史尼茨勒”不同 所以很南檢索出來，參考《北山散文集》(此書為寶庫 幾乎應有盡有…譬如說解釋杜甫戲為六絕句…翻譯狄更斯小說中的旅館….)或參考李歐梵《世紀的代言人》載《慶祝施蟄存教授百歲華誕文集》，pp.12-13，載30年代施先生即有Schnitzler的小說數本。可見這位「20世紀的代言人」的承先啟後之功。這是目前找到的華人最早有點研究「冷門而主力者」之紀錄。

一年半前用internet google 德語大作家 ( Arthur Schnitzler , 1862-1931 台灣：史尼茨勒；現在有『國際阿圖爾•施尼茨勒研究會學刊』)，忘記大陸翻譯為「施尼茨勒」，所以錯失許多資料。最重要的是，有篇碩士論文，以及一篇「被忘卻的維也納相會」。
譬如說，對於感覺派的考據：夏元文、俞秀玲。〈施蟄存與施尼茨勒〉《中國現代文學研究叢刊》【施蟄存的創作受奧地利心理分析小說家施尼茨勒影響較深 ..】。1992 第1期。吳曉樵先生在2000年6月7日《國際文化》版發表的《施尼茨勒與中國結緣》

『外國文人日記抄』施蟄存編譯（ 1934《域外文人日記抄》 /1986重印。（重印后記）：「…… 沒選擇餘地……五十年來 ……沒有譯出過一本外國文人日記…… 有人願意全譯幾種日記文學的名著嗎？」）

「……(Fred) Rogers請著名的音樂家馬友友來演奏大提琴，馬友友一開始就閉著眼睛在拉琴，好像很陶醉的樣子；女兒於是拍手叫道：『真好，他在睡覺也能演奏，Good for him!』。」（p.432；孫康宜《「童化」與「教化」》載《慶祝施蟄存教授百歲華誕文集》pp.430-34）

昔日讀施蟄存教授雜文，他的「恩人」施老先生知道上海等地在演《紅鼻子》，講一則姚先生戰時在防空洞與其女友過份熱情險被開除之故事（「躲戰火而搬到長汀，仍需以校為家，……」）。我記這八卦，表示人生種種情感和際遇，豈翻譯所能盡意。

施蟄存：〈《明人小品選》序〉，見《施蟄存七十年文選》，上海：上海文藝出版社，1996。

2004年6月

記下讀施蟄存先生作品查字典的筆記：
「梅雨不住，樓居無俚。取四印齋刻況蕙風校補《斷腸詞》閱之，覺取捨之間未為精審，怯疑辨偽，復無判斷。……」施蟄存《北山樓校定斷腸詞一卷》

無俚
俚（<<教育部 國語辭典>>）
鄙俗。《漢書˙卷六十二˙司馬遷傳˙贊曰》：辨而不華，質而不俚。文選˙王　˙四子講德論：俚人不識，寡見尟聞。
　通俗的、民間流行的。如：俚語、俚歌。

依託、聊賴。《漢書˙卷三十七˙季布等傳˙贊曰》：「夫婢妾賤人，感概而自殺，非能勇也，其畫無俚之至耳。」《顏師古˙注引晉灼曰》「：此為其計畫無所聊賴，至於自殺耳。」

施蟄存《〈戴望舒譯詩集〉序》，《文藝百話》第２２４頁，華東師範大學出版社，１９９４年。按，由戴望舒和杜衡合譯的這部《道生詩歌全集》也有部分曾在當時刊物上發表，如署名戴望舒、杜衡譯的《道生詩抄》載於１９２９年１１月１５日出版的《新文藝》第１卷第３號，"全集"則在戴望舒死後由施蟄存保存，居然無損無厄，如今已全部編入浙江文藝出版社１９８９年出版的《戴望舒詩全編》中。：2004-07-04 21:29

J. Robert Cade, the Inventor of Gatorade

開特力（Gatorade，百事可樂公司旗下的運動飲料）

J. Robert Cade, the Inventor of Gatorade, Dies at 80

University of Florida, via Agence France-Presse — Getty Images

Chip Hinton trying J. Robert Cade's invention in 1965.

By DOUGLAS MARTIN

Published: November 28, 2007

J. Robert Cade, a nephrologist who mixed water, sugar, salt and cunning dashes of whatever to invent Gatorade, of which 12 million bottles are guzzled daily by electrolyte-depleted athletes, post-operative patients and the simply thirsty, died yesterday in Gainesville, Fla. He was 80.

Stephen Orlando, a spokesman for the University of Florida, announced the death.

The sports and energy drink industry — led by Gatorade and worth more than $19 billion last year, according to a British study — began with a question asked in 1965 by Dwayne Douglas, a football coach at the University of Florida: Why didn’t his players urinate after a game?

Part of the answer came quickly: football players lost so much fluid in sweat in swamplike Florida that they had none left to form urine. It took longer to explain how the loss of fluid and electrolytes affected blood pressure, body temperature and the volume of blood.

In a subbasement, Dr. Cade and his researchers then concocted a drink to rehydrate athletes, and to replenish carbohydrates, in the form of the sugars sucrose and glucose, and electrolytes (sodium and potassium salts). There was one problem.

“It didn’t taste like Gatorade,” Dr. Cade said in an interview with Florida Trend in 1988. In fact, a football player who tried it and spat it out more than hinted that it tasted like bodily waste.

Being a student of kidneys and their bodily neighborhood, Dr. Cade did a taste test, comparing his still-unnamed concoction with that golden fluid. His new product was only marginally better. Dr. Cade’s wife, Mary, suggested adding lemon juice, which helped a lot. Jim Free, a research fellow, came up with the name Gatorade.

Florida first used the new product in a game against Louisiana State University in October 1965, in 102-degree heat. The L.S.U. Tigers wilted in the second half.

In 1967, when Florida beat Georgia Tech in the Orange Bowl, Bud Carson, Tech’s coach, said his team lost because they did not have Gatorade.

By 1969, Hank Stram, coach of the Kansas City Chiefs, attributed his team’s Super Bowl title to Gatorade.

The stuff became an N.F.L. ritual in 1985 when New York Giants players dumped it on Coach Bill Parcells after his team beat the Washington Redskins. Later, slick marketing gave Gatorade a lightning-bolt logo and a Michael Jordan endorsement.

Off the field, Dr. Cade faced more complicated challenges. When he first approached university officials about marketing the drink, they declined. So he sold the formula to Stokely-Van Camp. The deal gave him and his associates a cut of the royalties. A few years later, when these reached $200,000, Florida Trend said, the university noticed.

“They told me it belonged to them and all the royalties were theirs,” Dr. Cade said. “I told them to go to hell. So they sued us.”

After a 31-month legal battle, the parties settled. The product was later sold to Quaker Oats. which merged with Pepsico, and royalties continued to flow to Dr. Cade’s group and the university. He donated some of his to the university.

James Robert Cade was born in San Antonio on Sept. 26, 1927, and ran a 4:20 mile in high school. He graduated from the University of Texas Southwestern Medical School and joined the University of Florida as an assistant professor in the medical college’s renal division in 1961. At his death, he was a professor emeritus of nephrology.

His other research interests included investigating a possible link between the inability to break down a specific milk protein and autism and schizophrenia. He collected Studebakers and violins, which he sometimes played with symphonies. He also invented football gear and gadgets to help polio victims.

Dr. Cade is survived by his wife, the former Mary Strasburger; his sons Michael, of Texas, and Stephen, of Gainesville; his daughters, Martha Cade, of Gainesville; Celia Cade Johnson, of Oregon; Emily Morrison of Boston; and Phoebe Miles of Washington; 20 grandchildren; and 8 great-grandchildren.

Even if Gatorade was a brilliant idea at the right time, the same cannot be said of all Mr. Cade’s brainstorms, like his fruity, alcoholic Hop’n Gator, a 1970s invention.

Ｒ・ケード氏死去　「ゲータレード」開発者

2007年11月28日 10時30分

　ロバート・ケード氏（スポーツドリンクの草分け「ゲータレード」の開発者）米フロリダ大によると、２７日、腎臓病のためフロリダ州ジャクソンビルの同大病院で死去、８０歳。

　テキサス州サンアントニオ出身。６１年にフロリダ大医学部の助教授に就任。６５年にフロリダの猛暑の中で試合をするスポーツ選手の水分補給を目的に「ゲータレード」の開発に成功。大学のマスコット「ゲーター」が名前の由来。

　「ゲータレード」は市販後に爆発的に売れ、スポーツドリンクの草分けになった。特許をめぐり大学側と訴訟となったが和解。現在も大学に年間１億５０００万ドル（約１６０億円）の収益をもたらしている。

　大学で腎臓の研究など０４年まで医学・生理学の教授を務めた。

　「ゲータレード」は現在、米ペプシコが製造、日本ではサントリーフーズが販売・製造権を持っている。（ニューヨーク共同）

Yokoyama Taikan 横山大観

横山大観 - Wikipedia

よこやま-たいかん　―たいくわん 【横山大観】

(1868-1958) 日本画家。茨城県生まれ。東京美術学校卒。本名は秀麿。橋本雅邦に学び岡倉天心の感化を受けた。菱田春草とともに朦朧体(もうろうたい)と呼ばれる画法を試み、近代日本画に一典型をつくった。日本美術院創設に参加、天心没後これを再興主宰した。代表作「無我」「生々流転」など。

旧家に４７点　大観ら未公開作　川口で発見　県立近代美術館に寄贈

2007年11月28日 朝刊

横山大観作「日本心神」（昭和１９年ごろ）

　埼玉県川口市の旧家で、横山大観ら明治から昭和にかけて活躍した日本画家の作品四十七点（評価総額一億七千万円相当）が見つかり、県立近代美術館（さいたま市浦和区）に寄贈された。同美術館が二十七日、発表した。未公開の作品が多く、来年一月から順次公開する。

　寄贈された大観の作品は、富士山を描いた「日本心神」、墨の濃淡で桜の木などを表現した「朧夜（おぼろよ）」など十点。ほかに下村観山や橋本関雪の屏風（びょうぶ）絵や、川合玉堂、堂本印象、奥村土牛らの日本画計三十七点も含まれている。

　同美術館によると、川口市の旧家・大熊家の九代目当主武右衛門氏（一八八六－一九六六年）が収集した作品。遺族で元銀行員の大熊雄二さん（５６）が昨年、蔵に保管されているのを見つけた。武右衛門氏は大観と親交があり支援していたという。

　遺族らは「支援したお礼にもらった作品ではないか」と話しているという。

　親族内で話し合い「個人で適正に管理するのは限界があり、散逸の恐れもある。広く一般公開したい」として寄贈を決めたという。同美術館が専門家に 鑑定を依頼し、真作と確認された。横山大観記念館（東京）は「『日本心神』は大観が複数描いたシリーズ。その中でも出来が良く、気持ちのいい作品」と評価 しているという。

Yokoyama Taikan Memorial Hall All Rights Reserved.

ここは、日本画家、横山大観（１８６８～１９５８）の住居でした。 　大観がこの地に住みはじめたのは、明治４２年（１９０９）です。最初は 狭かった敷地も、大観が画家として名をなすにしたがい拡張され、大正 ８年に現在の広さとなりました。昭和２０年（１９４５）３月１０日の空襲で 住居が焼失したため、大観はしばらく熱海伊豆山の別荘に移り住みま す。昭和２９年（１９５４）８月、焼失した住居の土台をそのまま利用して、 新居が再建され、大観は再び池之端で生活をはじめます。昭和３３年 （１９５８）２月に９０歳で没するまで、ここで数多くの作品を制作しました。 静子夫人没後の昭和５１年（１９７６）９月、遺族から大観の作品や習作、 遺品、画稿、スケッチ帳などの寄贈をうけて、財団法人横山大観記念館 が設立され、同年１１月に一般公開されました。 　当館は、心の安らぎを感じられる美術館をモットーとし、できるかぎり　 建物の雰囲気をいかし、軸装の作品はそのまま床の間にかけて展示 しています。また、靴を脱いで入る日本建築の良さ、大観がこだわった 細部のデザインも存分に楽しむことができます。 　 　 〒110-0008　東京都台東区池之端1-4-24 Tel 03-3821-1017　Fax 03-3821-1057

Stephen Owen 2007

宇文所安本名史蒂芬‧歐文。他解釋何取這個中文名字的涵義：「宇文」是胡人姓，「所安」則出自於論語的「觀其所由，察其所安」，名跟姓加在一起，也有胡漢融合的意思。

(宇文所安（Stephen Owen）的《中國文 論：英譯與評論》上海社科院出版社出版--本書開篇選的是《論語·為政》中的"子曰：'視其所以，觀其所由，察其所安，人焉廋哉？ ..."


一九七二年，二十六歲的宇文所安獲耶魯大學東亞系文學博士學位，陸續在耶魯、哈佛等大學任教，是唐詩研究領域中首屈一指的美國漢學家。他認為，古典文學是博雅教育，很多學生步入社會後，回頭卻會發現當年選修的文化、文學課程，才是影響最深的。


臺大人文社會高等研究院與中文學系合辦人文講座，邀請哈佛大學比較

文學系
系主任宇文所安教授，於11月22、26日假臺大文學院會議舉辦兩場講座。

宇文所安教授，本名斯蒂芬．歐文(Stephen Owen)， 1972年以博士論文《韓愈與孟郊的詩》獲耶魯大學東亞系文學博士學位，隨即執教耶魯大學。並於1982年應聘哈佛大學，任教東亞系、比較文學系，現為哈佛東亞系詹姆斯·布萊恩特·柯南德特級教授(James Bryant Conant University Professor, Harvard University)和比較文學系主任，是唐詩研究領域首屈一指的美國漢學家。著有《初唐詩》、《盛唐詩》、《追憶：中國古典文學中的往事再現》、《中國文論：英譯與評論》、《他山的石頭記》、《迷樓：詩與慾望的迷宮》、《中國「中世紀」的終結：中唐文學文化論集》等專著和論文，大多數已被陸續翻譯成中文出版。本次演講的題目、時間與地點詳情如下，歡迎校內師生踴躍參加：

第一場講座講題：史中有史---論文學史寫作。

主持人：何寄澎教授（中文系系主任）。

時間：11/22（四）09:30-11:30。
地點：文學院會議室。

(這次演講 hc第一位發問 其第一小題為請他解釋講稿中

The Historicity and Historicism的意思

"他一直認為文本會預設對其本身的詮釋，因而文本可自我呈現出它自己那個傳統的閱讀成規。參見Owen, ``The Historicity of Understanding.''

我第二主題談他說的"鹿柴" (王維)之真義與 英國先有 文史 再有 O. E. D. )

第二場講座主題：說煙—想像的借代。

主持人：張淑香教授。

時間：11/26（一）15:00-17:00。

地點：文學院會議室。

(這次 HC 匆匆從苗栗市趕回 沒準備發問 不過主持人說 台灣的翻譯為 說煙—想像的舉隅/提喻
我其實是想問如何 "閱/觀" 雲煙的)





su 2005年舊稿
中文有不少解釋essay之essay，其中有許多人有慧見。
近來，Stephen Owen（宇文所安）幫自己的書『追憶：中國古典文學中的往日再現』（Remembrances）再/新（三聯）版（2005）寫的前言，最能說明essays之妙哉：「……英語essay則可以把文學、文學批評以及學術研究……重新融為一體。…….」

***** 了解法國『蒙田文集』（娓娓道來的（論文））和英國『培根（論）文』開始的傳統：最好親嚐之…….
夏濟安選編『名家散文選讀』台灣英文雜誌社（原『今日世界』）
王佐良.編譯《並非舞文弄墨：英國散文新選》出版社：香港, Oxford University Press, Inc.【王佐良先生編過一本『英國散文的流變』，不過這是從史的角度出發，近代文體多樣化加速…….】
梁宗岱等翻譯『蒙田』（如『我不想樹立雕像』北京：光明日報…….）




1997/10/09

Chinese Literature Expert Owen Named Conant University
ProfessorStephen Owen, known for his work on Chinese literature as
well as for his ... Remembrances: The Experience of the Past in
Classical Chinese Literature ...
www.news.harvard.edu/gazette/ 1997/10.09/ChineseLiteratu

.html - 9k -



By Ken Gewertz

Gazette Staff

Stephen Owen, known for his work on Chinese literature as well as for
his probing and masterful comparative studies, has been named the
James Bryant Conant University Professor.

Owen's specialty is the T'ang Dynasty (618-906 A.D.), the age of the
great lyric poets, Wang Wei and Du Fu. But his scholarly reach extends
to all periods of Chinese literature and into other literatures as
well. Owen has also made his mark as a translator.

"Stephen Owen is a remarkable and versatile scholar, with a truly
exceptional sense of literary quality and an ability to help his
students and readers understand the most distinctive aspects of the
literature he teaches and writes about," said President Neil L.
Rudenstine. "His book Remembrances offers as lucid and sensitive a
reading of Chinese poetry as we are likely ever to find. Harvard is
fortunate to be able to welcome him to the ranks of University
Professors."

Helen Vendler, the Kingsley Porter University Professor, known for her
criticism of 20th-century poetry, said that Owen is

"a person of indefatigable mental energy and deep poetic sensibility.
In his translations, he neither betrays what is original in the poem
nor imposes anything foreign on it. He conveys the warmth and
personality of the poem as well as its literal meaning."

Chinese History Professor Peter Bol said that Owen, "in terms of his
career and level of accomplishment, is in a class by himself.
Certainly he's the most important person in the study of Chinese
literature in the West."

Owen said that he regards the Conant Professorship as a great honor as
well as a recognition of the importance of the humanities and of East
Asian studies.

"I'm also grateful for the opportunity to think about my field more
broadly," he said. "I will continue to teach in the East Asian
department, but I am also a member of the Comparative Literature
department, and I would like to start thinking about doing more
comparative courses."

Born in St. Louis, Owen, 51, grew up in Arkansas and Maryland. His
interest in Chinese literature took root when he began to explore the
Baltimore public library as an adolescent.

"I became enamored of books of poetry and especially of Chinese poetry
in translation, and I have been ever since. I wrote poetry when I was
younger, but then I discovered that I was better at writing prose,
particularly literary criticism," he said.

Owen earned his bachelor's and doctoral degrees from Yale University.
He taught at Yale from 1972 to 1982, when he joined the Harvard
Faculty of Arts and Sciences as professor of Chinese literature.
Before becoming a University Professor, he was the Irving Babbitt
Professor of Comparative Literature and professor of Chinese.

Owen is the author of numerous articles and books on Chinese
literature and comparative literary subjects. These include:
《初唐詩》The Poetry of the Early T'ang (1977);
《盛唐詩》The Great Age of Chinese Poetry: The High T'ang (1980);
《追憶》Remembrances: The Experience of the Past in Classical Chinese
Literature (1986);
Mi-Lou: Poetry and the Labyrinth of Desire (1989).
Traditional Chinese Poetry and Poetics: An Omen of the World (1985); and

等 著作，表現出這種跨文化的詩歌閱讀，存在多麼豐富的潛力

Owen's most recent book, An Anthology of Chinese Literature (Norton &
Co., 1996), is a 1,200-page tome spanning 2,500 years. Owen translated
the hundreds of selections almost entirely himself, in addition to
writing the notes and critical introductions.

University Professorships are awarded to "individuals of distinction
not definitely attached to any particular department." The special
category of professorships was created in 1935, and today, they are
held by 14 Harvard faculty members.

In 1974, the Harvard Corporation established the James Bryant Conant
University Professorship to honor Harvard's 23rd president, who held
office from 1933 to 1953. It was held by Kenneth Arrow (economics)
from 1974 to 1979, and by philosopher John Rawls from 1979 to 1991. It
has been vacant since Rawls' retirement.

神様、仏様、稲尾様―私の履歴書

神様、仏様、稲尾様―私の履歴書 (日経ビジネス人文庫)

一球一球投出地奮戰模樣，即使西鐵軍團的名將們一一凋零，
『西鐵軍團的Ace』『史上最強右投手』名號的稲尾和久絕對是當之無愧。

　　提到稻尾最神的傳說，自然是１９５８年日本總冠軍賽，接在三連敗後連勝四場的奇蹟 大逆轉！第一戰、第三戰都被三原監督推上火線的稻尾雖然２連敗，但第四戰以後場場出賽，合計共出賽６場，５場先發。稻尾更在第五戰於十局下擊出再見全壘 打，成為日職史上首位打出再見全壘打的投手！
　　當西鐵贏了當年日本職棒總冠軍之後，地方新聞遂以＂神様　仏様　稲尾様＂來讚頌稻尾驚人的表現， 現已成為與稻尾和久本人不可分割的形容詞。過度燃燒手臂，造成漁夫之子，從小體格鍛練得極佳的稻尾職業生涯也只有短暫的８年。退休後歷任西鐵、羅德等隊監 督。後轉任專職棒球評論家，並長期擔任澤村賞選考委員。

元西鉄ライオンズの稲尾和久さん死去

2007年11月13日21時40分

　「神様、仏様、稲尾様」と称賛されて鉄腕の異名をとり、プロ野球・西鉄ライオンズの黄金期を担った稲尾和久（いなお・かずひさ）さんが１３日午前１時 ２１分、悪性腫瘍（しゅよう）のため福岡市内の病院で死去した。７０歳だった。通夜、密葬は親族のみで行い、告別式は２２日午後２時から福岡市中央区古小 烏町７０の１の積善社福岡斎場で。喪主は妻律子さん。

福岡ドンタクズの監督として、グラウンドに立つ稲尾和久さん＝０１年１１月、福岡市の福岡ドームで

　大分県別府市出身。５６年に別府緑丘高校（現芸術緑丘）から西鉄（西武ライオンズの前身）に入団。開幕戦で初登板を果たし、２１勝（６敗）を挙げて新人王を獲得した。入団当初、打撃投手として磨いた制球力を武器に、翌年もプロ野球シーズン最多タイの２０連勝を達成した。

　５８年には３３勝でリーグ３連覇に貢献。この年の巨人との日本シリーズでは、チーム３連敗後、自らが４連勝して逆転優勝の立役者となった。第５戦では打 者として延長１０回、日本シリーズ初となるサヨナラ本塁打を放っており、投打の活躍は「神様、仏様、稲尾様」とたたえられた。

　そのほか、プロ１４年間で輝かしい実績を残した。１年目から８年連続で２０勝以上を挙げ、６１年には、戦前のスタルヒン（巨人）に並ぶ シーズン最多４２勝をマーク。最多勝を４度、最優秀防御率を５度、獲得した。通算成績は２７６勝１３７敗、防御率１．９８。９３年に野球殿堂入りした。

　６９年に現役を引退してからは西鉄やロッテなどの監督を計８年務めた。ユニホームを脱いでからも評論家として活躍。少年野球の指導にも力を入れ、陰からも球界を支えた。

　手足のしびれを訴え、１０月３０日に検査入院していた。

金開英先生

九年之後重訪 台灣中油股份有限公司 人事處訓練所 / 地址：嘉義市吳鳳南路94號 /

才特別注意到 公弢樓 幾天之後我發現苗栗聯合大學 高雄國光中學等中油系統
還有"兩晉演義" 此公弢

弢

Wikipedia

金開英先生為中國石油工業一代宗師，為60年代台灣石化工業發展的催生者，對台灣石化工業發展居功厥偉。

金開英先生，字公弢，浙江省吳興縣南洵鎮人，生於民國前10年（西元1902年）10月16日，於民國88年5月8日與世長辭，享年98歲。早年曾兩度負笈美國，先後在威斯康辛大學攻讀化學工程與哥倫比亞大學攻讀燃料工程。

民國34年，對日抗戰結束，先生奉命擔任台灣石油事業接管委員會主任委員，來台接收日人所有一切有關石油生產、煉製與營運設備。當時外商覬覦我國石 油市場，先生與少數有識之士密商後，建請政府於民國35年6月1日在上海成立中國石油公司，先生擔任協理，負責製造與材料業務。37年冬，大陸局勢逆轉， 先生奉命來台部署，38年春，公司遷來台北，其後，先生接任總經理，至民國50年卸任。

先生對人才之培植亦不遺餘力，為台灣石油、石化界培植英才無數，如胡新南、李達海、詹紹啟、姚恆修、虞德麟、董世芬、陳耀生等大老。

[編輯] 參考文獻

金開英先生百年誕辰紀念文集1902--2001----HC感謝 訓練所副主任 曾清井介紹我讀此書 讓我知道還有聯合研究所 富台等等與我相關的組織是金先生所創

Wheelspin

SEMA: 2,000 Vendors, but One Star

A tattoo artist works on a Dunlop tattoo at the show.

By JERRY GARRETT

Published: November 4, 2007

LAS VEGAS

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Jerry Garrett for The New York Times

Chip Foose and the 1954 Ford his crew was rebuilding.

THE clock was rapidly approaching midnight last Monday when 50 members of the Brazilian news media arrived, unannounced, at the “Overhaulin’” television show’s set outside the 2007 Specialty Equipment Market Association trade show at the Las Vegas Convention Center. “We wish to see Chip Foose,” one of the members said to a security officer. The guard went inside the tent that housed the set, and a few minutes later Mr. Foose appeared and politely welcomed them inside. The amiable Mr. Foose admitted to having some trouble telling people no.

“How do you guys know me?” Mr. Foose asked.

“Subtitles,” shouted a man in the back of the scrum. “‘Overhaulin’’ runs on Sao Paolo television with subtitles.”

That’s nothing, said Peter McGillivray, SEMA’s vice president of marketing and communications. In Mexico, he said, the show, on which older cars are picked at random for a full-body makeover, features an actor dramatically over-dubbing Mr. Foose’s voice in Spanish. The program’s network, Discovery Channel, distributes it worldwide.

“Chip Foose, in a lot of ways, is our worldwide ambassador for this industry,” Mr. McGillivray said. “When I met with Emerson Fittipaldi, the Formula One champion, in Rio recently, the first thing he asked me — the very first thing — was, ‘Do you know Chip Foose?’ People ask about him everywhere we go.”

Mr. Foose is, arguably, the closest thing the auto industry has to a design superstar. Increasingly, he plays a major role in setting the tone at this annual extravaganza for aftermarket parts companies, industry executives, dealers, buyers and journalists.

The show has the attention of the mainstream auto industry, which has begun using SEMA to introduce production vehicles — for example, Toyota’s showing of its 2009 Corolla and Matrix models. SEMA officials estimated that more than 100,000 people would attend the show, where auto industry engineers, dreamers and backyard mechanics display new ideas, extreme creations and envelope-pushing customizations.

The SEMA show is an idea farm, and no one seems to have more fertile ideas than Mr. Foose. From a design standpoint, SEMA is very much “The Chip Foose Show.” AutoWeek magazine describes the million-plus square feet of show floor here as “Foosetopia.”

Google the words “Foose” and “SEMA” and you will get more than 193,000 hits.

Last year, Mr. Foose had at least 30 vehicles on display, which SEMA characterized as a record for a single individual. This year, organizers were unsure of the total number of Foose-designed vehicles here, but they conceded he had more than exhibitors with the next highest totals: the Ford Motor Company with 25 and General Motors with 28.

The show opened on Monday, as Mr. Foose and his sleep-deprived band of helpers started a marathon five-day, round-the-clock “live build” of a 1954 Ford in their combination tent, studio and theater. The car started as a dowdy four-door sedan and was destined to end up as a swank two-door convertible by the time the show closed on Friday.

When the show re-opened early Tuesday morning, after his midnight visit from the Brazilians, Mr. Foose presided over the introduction of a 1,000-horsepower propane-powered 1970 Chevelle street rod he had designed. Twenty minutes later, Mr. Foose was at the Ford pavilion showing his design of a Ford Flex concept car. Just a few feet behind Mr. Foose at the Ford display was a long line of life-size models of Hot Wheels toy cars come to life, including a far-out surf van designed by (are you spotting a trend here?) Mr. Foose.

Even vehicles on display here that have not been designed by Mr. Foose tend to look as if he had at least influenced them.

In addition to SEMA, Mr. Foose has also been working on nonautomotive industrial designs, including a Detroit hotel and casino complex.

So when does Mr. Foose sleep?

“I made a New Year’s resolution this year to get at least a little sleep each night,” he said in an interview. “I managed to do pretty well on that resolution, except for a couple of missed nights, until ‘Overhaulin’ ’ went back on the air last month.” He said that when he finally got some sleep last Saturday night, “I had been up since Tuesday.”

Mr. Foose’s “Overhaulin’,” which was a backdrop to the SEMA show, was just the show within the show. A record 2,000 vendors participated this year and more than 2,200 products were introduced.

“It has grown to truly international in scope,” Mr. McGillivray said. “Our first year, back in 1967, we had 98 vendors, and all of them came from the same ZIP code.”

At least 30 countries were represented this year and that includes more than 100 Chinese aftermarket vendors.

Nevertheless, SEMA retains its all-American character.

“I still maintain that our show is the largest collection of U.S. manufacturers you will find in any industry, at any trade show, anywhere in the world,” Mr. McGillivray said.

And, despite a widening presence at SEMA of the major automakers, and superstars like Mr. Foose, Carroll Shelby, and a variety of entertainers, like the rapper 50 Cent, Mr. McGillivray said, “SEMA is still about the little guys.”

Indeed, for a relatively modest amount of money, in some cases a few hundred dollars, just about anyone can rent booth space. Mr. McGillivray told a story about a man he met last year here. “He was down and out. He had lost everything in a divorce. He was living in his car. But then he got this idea, after seeing some motocross riders trying to load their bikes in the back of their pickups. And he built this ladder-type ramp. He rented a booth here last year, and this year he has contracted with Toyota for it, and his ramp is on display at the Toyota booth.”

There were more Horatio Alger stories in this still-young industry. Even Mr. Foose told how, when he was 14 years old, the movie director Ridley Scott saw some of his early sketches for futuristic vehicles.

“Mr. Scott said, ‘I want to use these,’ ” Mr. Foose recalled, “ ‘in a movie I’m making called “Blade Runner.” ’ ”

馬洪氏

【おくやみ】

馬洪氏死去　中国の経済学者

2007年11月8日 13時18分

　馬　洪氏（ば・こう＝中国の経済学者）新華社電によると、１０月２８日、北京で死去、８７歳。山西省出身。病気療養中だった。　 １９８０年代に「社会主義商品経済」理論を提唱、中国の進める社会主義市場経済の理論的基礎を築いた。７９年に中国政府のシンクタンク、社会科学院副院 長。同院長、国務院（政府）副秘書長、国務院発展研究センター主任などを務め、９３年から同センター名誉主任。（北京、共同）




文匯報報道，在中國老一輩經濟學家中，馬洪是為數不多的進行跨學科研究並取得全面成就的學者。他較早提出和支持“社會主義商品經濟”和“社會主義市場經 濟”論點，主張穩健地推動中國經濟發展，在剖析中國經濟結構的弊端、建立合理經濟結構的理論研究與對策研究中做出了重要貢獻，在2005年獲得首屆中國經 濟學獎。

　　馬洪還被稱為是朱鎔基的伯樂以及上世紀80年代政府重要的經濟智囊。1977年底，馬洪在參與中國社科院組建工作時，將在河北廊坊石油工廠工 作的朱鎔基調到社科院工業經濟所，並為其恢復中共黨籍；而且在上世紀80年代，馬洪先後在中國社科院、國務院發展研究中心這兩個中國最重要的智囊機構擔任 要職。

　

马洪(1920- 2007 ) 　　国务院发展研究中心名誉主任。中国政策科学研究会 会长。经济学家。 　　山西定襄人。１９３６年参加牺盟会。１９３７年加入中国共产党。１９３８年入延安马列学院学习。曾是同蒲铁路总工会负责人之一，后任延安《共产党人》杂志编辑，平泉县县长，中共中央冀察热辽分局秘书处处长。 　　建国后，历任中共中央东北局政策研究室主任，东北局委员、副秘书长，国家计委委员、秘书长，国家经委政策研究室负责人，化学工业部第一设计院副院长， 北京石油化工区建设指挥部副指挥，中国社会科学院工业经济研究所所长、副院长、院长（１９８５年免），国家机械委员会副主任，国务院副秘书长，国家经济体 制改革委员会顾问。１９８５年起任国务院经济技术社会发展研究中心总干事、国务院发展研究中心主任（１９９３年４月免 ）。１９９３年４月起任国务院发展研究中心名誉主任。１９９４年 ５月起任中国政策科学研究会会长。是中国综合开发研究院理事长，中共第十二届中央候补委员，第十三、十四大代表，第七届全国人大常委、财经委员会副主委。 　　著有《经济结构与经济管理》、《中国经济调整改革与发展》、《试论我国社会主义经济发展的新战略》、《社会主义制度下的商品经济》等。参与主编《当代中国》丛书。 　　夫人：陈伯林。

　

河上肇 Kawakami Hajime

前幾天讀 Kawakami Hajime 記一些難忘的人物 (包括如實寫他1941年從東京転居京都時的一位老友之絕交)
都還可以感受這真人真強烈個性
他的政經作品半世紀多多之前就有翻譯呢 (1920年，又分别以《贫乏论》和《救贫丛谈》两种中译本，在中国出版。)



河上肇（1879年——1946年）是日本著名的马克思主义经济学家、哲学家。河上肇的著作，不仅在日本，对中国的革命者也曾产生巨大影响。

另外 gossip:".....一九四三年，李登輝赴日本留學，就讀于日本共產主義思潮最盛行的京都帝國大學。京都帝國大學經濟部有一位在日本經濟學術界非常出名的教授河上肇，經常宣揚共產主義左傾思想，因而孕育了許多日本左派青年。

戰爭時期，日本當局查禁社會主義思潮，壓制共產黨組織活動，可謂不遺餘力。京都帝大的河上肇教授因經常宣揚社會主義思想，引起日本政府當局極度不滿。河上 肇教授于一九三二年間，被日本警察逮捕，日本共產黨組織也在一九三三年前後全部覆滅。雖然河上肇被捕入獄，共產黨組織也全部遭政府當局破獲，但是，他的學 生遍及京都帝大和日本社會各個階層，日本學術圈左派勢力終難完全禁絕。李登輝到京都帝大就讀時，河上肇教授雖已被捕入獄，但是受河上肇影響的青年知識分子 無遠弗屆。在日本知識界，因此殘留了不少早先他所傳播的共產主義思潮。大學課堂上，師生之間盛行議論社會主義理論，盛況歷久不墜。........ 在《台灣的主張》一書末尾，李登輝特意將“日本共產黨台灣民族支部成立”列入年表的內容中（一九二八年項下）。身為台灣的“總統”、台灣國民黨的黨主席，李登輝何以不將國民黨重要節日放在年表當中，反而會將“日本共產黨民族支部”的成立納入他年表大事記中？......"

Wikipedia 英日簡短說明

Kawakami Hajime (Japanese: 河上肇), October 20, 1879 - January 30, 1946, was a Japanese Marxist economist of the Taishō and early Shōwa periods.

Born in Yamaguchi, he graduated from Tokyo University. After writing for Yomiuri shimbun, he earned an economics professorship in Kyoto Imperial University. Increasingly inclined toward Marxism, in 1928, he took part in the March 15 incident, and was expelled from the university as a subversive. The following year, he joined the formation of a political party Shinrōtō. Kawakami went on to publish a Marxist-oriented economics journal, Studies of Social Problems. After joining the then-outlawed Communist Party of Japan, he was arrested in 1933 and sent to prison. Following his release in 1937, he translated Das Kapital from German into Japanese. Kawakami spent the remainder of his life writing essays, novels, poetry, and the autobiography Jijoden.

[edit] External links

• Takutoshi Inoue and Kiichiro Yagi, "Two Inquirers on the Divide: Tokuzo Fukuda and Hajime Kawakami" (Faculty of Economics, Kyoto University)

This article about an economist is a stub. You can help Wikipedia by expanding it.

河上 肇（ Kawakami Hajime かわかみ はじめ、1879年10月20日 - 1946年1月30日）は、日本の経済学者である。京都帝国大学でマルクス経済学の研究を行っていたが、教授の座を辞し、共産主義の実践活動に入る。日本共産党の党員となったため検挙され、獄中生活を送る。カール・マルクス『資本論』の翻訳（第一巻の一部のみ翻訳）やコミンテルン三十二年テーゼの翻訳のほか、ベストセラー小説『貧乏物語』で知られる。死後に刊行された『自叙伝』は広く読まれた。名文家であり、漢詩もよく知られている。

目次

1 経歴 2 主要著作 3 外部リンク

河上肇 経歴

山口県玖珂郡岩国町（現在の岩国市）に旧岩国藩士の家に生まれる。山口尋常中学校、山口高等学校文科を卒業し、東京帝国大学法学部政治科に入学。足尾銅山鉱毒事件の演説会で感激し、その場で外套、羽織、襟巻きを寄付して、『東京毎日新聞』に「特志な大学生」であると報ぜられた。1902年（明治35）大学を卒業。その後農科大学講師などになり、読売新聞に経済記事を執筆。1905年（明治38）、教職を辞し、無我愛を主張する「無我苑」の生活に入るが、間もなく脱退し、読売新聞社に入る。

1908年（明治41）、京都帝国大学の講師となって以後は研究生活を送る。1913年（大正2）から15年にかけて2年間のヨーロッパ留学に赴く。帰国後、教授。1916年（大正4）から新聞に『貧乏物語』を連載し、翌年出版。大正デモクラシーの風潮の中、貧困というテーマに経済学的に取り組んだ書はベストセラーになった。中にはマルクス経済学の紹介もあるが、全体の主張は「金持ちの搾取論」で、革命煽動の筆力は抜きん出ていた。

その後、マルクス経済学に傾倒し、研究を進める。1921年（大正10）河上が執筆した論文「断片」のため、雑誌『改造』は発売禁止となるが、この論文はのちに虎の門事件を起こす難波大助に影響を与えたという。1922年、労農派の櫛田民蔵が河上のマルクス主義解釈は間違っていると痛烈に批判した。河上は批判が的を射ていることを認め、マルクス主義の真髄を極めようと発奮する。『資本論』などマルクス主義文献の翻訳を進め、河上の講義は学生にも大きな影響を与えた。1928年（昭和3）、京都帝大を辞職し、大山郁夫のもと労働農民党の結成に参加。1930年（昭和5）、京都から東京に移るが、やがて労働農民党は誤っていると批判し、大山と決別。雑誌『改造』に『第二貧乏物語』を連載し、マルクス主義の入門書として広く読まれた。

1932年、日本共産党の地下運動に入る。1933年、中野区で検挙され、治安維持法違反で小菅監獄に収監される。収監中に自らの共産党活動に対する敗北声明を発し、大きな衝撃を与えた。また獄中で漢詩に親しみ、自ら漢詩を作るとともに、曹操や陸游の詩に親しんだ。この成果は出獄後にさらにまとめた『陸放翁鑑賞』（放翁は陸游の号）などで見ることができる。1937年（昭和12）出獄後は、自叙伝などの執筆をする。1941年京都に転居。第二次世界大戦中は軍国主義に対して何ら抵抗せずに事態を傍観していた。終戦後、活動への復帰を予定したが、1946年に逝去。1947年、『自叙伝』が刊行される。

河上肇 主要著作

• 岩波書店から『河上肇全集』が出版されている。

目次へ

河上肇 外部リンク

• 河上肇：作家別作品リスト（青空文庫）

枕上浮雲 等等

Category:日本の経済学者 Category:山口県出身の人物 Category:日本共産党の人物 Category:1879年生 Category:1946年没

JCP京都:河上 肇〈墓〉

所在地＝京都市左京区 鹿ヶ谷 （ ししがだに ） 御所ノ段町30 本山 法然院 （ ほう
ねんいん ） 墓地／墓前祭・河上肇記念会総会＝毎年10月、法然院で。 たどりつきふり
かへりみればやまかはをこえてはこえてきつるものかな. これは、河上がつかまれば死刑 ...

W. Edwards Deming 簡歷(美國TWEDI )

美國TWEDI 的W. Edwards Deming 簡歷

Edvard Hagerup Grieg 部分

エドヴァルド・グリーグ（Edvard Hagerup Grieg、1843年6月15日 - 1907年9月4日）


You Tube 也有一些資訊


2007/11/05

臺大美育音樂講座

臺大美育講座 (系列十九)，趙琴（皓明）博士主講。96學年度第一學期 (下列
時間週一中午12:30~14:20)在臺灣大學管理學院 (一號館)B1會議廳舉行。歡迎
本校師生、公務同仁及社會人士蒞臨聆賞。贊助人：六福開發股份有限公司莊
秀欣先生。


150講 11/05 《挪威音樂之旅》2007葛利格逝世百年紀念 Music Tour of
Norway ,The 100th Year Anniversary of Edvard Grieg’s Death


EDVARD GRIEG葛利格 1.Peer Gynt Suite No.1 op.46「皮爾金」組曲第一號,作品46 ...
Grieg : Holberg Suite (with Piedmont Hills High School strings)

葛利格（E. Grieg）--索爾維格之歌 作品55號（選自"皮爾金"第二組曲） ...

2007/09/04 逝世百年紀念hc的資料

Edvard Grieg adapted many Hardanger folk tunes into his compositions, and composed tunes for the Hardanger as part of his score for Ibsen's Peer Gynt. For example, it is widely believed that the opening phrase of "Morning" from Grieg's Peer Gynt music is derived from the tuning of the sympathetic strings of the Hardanger fiddle: A F# E D E F# and so on. The main theme from Grieg`s piano concerto is said to be inspired of a version of the tune Fanitullen, played by a fiddler from Hallingdal .

In recent years the instrument has gained recognition in the rest of the world. Japan has been one of the countries that has found an interest in the hardingfele and Japanese musicians travel to Norway just to learn to play this instrument.

Composer's influence continues to resonate

09/04/2007

In the opening scene of the novel "Norway no Mori" (Norwegian Wood) published 20 years ago by Haruki Murakami, a jumbo jet lands at Hamburg Airport with the protagonist on board muttering in resignation that he was back in Germany again.

The aircraft's PA system is piping soft background music, and the protagonist notes that it was some sentimental orchestral rendition of the Beatles' "Norwegian Wood."

This classic Beatles number, which became the title of Murakami's novel and is evocative of the scent of northern coniferous trees, is also oriental in atmosphere. That's because the sitar, a musical instrument indigenous to India, is used.

Norway has its own indigenous instrument, too, and, together with its folk music, it was much favored by the Norwegian composer Edvard Grieg (1843-1907), who loved to incorporate Norway's music and instrument into his pieces. Tuesday marks the centennial of his death.

The instrument is called the hardingfele, or Hardanger fiddle. In addition to four regular strings, it has understrings or sympathetic strings that resonate to create a rich echo-like effect that reminds one of the Scottish bagpipe.

Rio Yamase, Japan's only professional hardingfele player, said, "Thanks to Grieg, the indigenous Norwegian sound has come to influence the entire world of classical music."

In the opening phrase of "Morning" from Peer Gynt, Grieg's well-known suite, the understrings of a hardingfele are plucked from the highest note down the scale.

The suite formed the musical accompaniment to the play of the same title by Henrik Ibsen (1828-1906), and the symbolist painter Edvard Munch (1863-1944) later created a theater poster for the play. With the talents of three great Norwegian artists, one could say the play is like the ultimate embodiment of Norwegian culture.

Folk music is said to be handed down from generation to generation without the benefit of sheet music, and that accounts for its depth and character.

The official Web site of the Norwegian government quotes Grieg. The quote goes: "Life is just as strange as folk music tunes: You never know whether it unfolds in a major or minor key."

The "Norwegian wood of culture" is deep.

--The Asahi Shimbun, Sept. 3 (IHT/Asahi: September 4,2007)

2002

《挪威之歌》 北國峽灣‧樂音迴盪
趙琴台大美育八講(8-6) 91年5月13日午時12:30
講 座 音 樂 流 程
音樂/資料來源	主題/曲目/內容/演出者
1 影碟	【挪威的歷史遺蹟、湖光山色等自然景觀】
NAXOS 3.110053	﹝峽灣是冰河時期殘留至今的遺跡，它曾是人們難以克服的障礙，每個山谷、每個峽灣形成一個小國，各自為政。如今藉著便捷的交通工具，人們可以翻山越嶺，通 過群山、斷崖、瀑布、深淵，欣賞大自然的鬼斧神工。挪威西海岸的峽灣特別多，包含世界最長、最深、最壯觀的的蘇格納峽灣(Sogunefjord)。﹞
	E. GRIEG：Ingrid's Lament 葛利格：《英格麗德的悲嘆》
	【挪威是北極圈內的“午夜陽光之地”】
2 影碟 NAXOS 3.110053	﹝ 挪威人生活在連草木都不由得縮成一團的嚴酷自然環境中，激發更積極的求生慾望，擁有的只是不毛之地及海洋，驅使其發揮無比韌性，掙扎求生。昔日曾以海上搶 劫為生，維京海盜與大海搏鬥是過往的一頁歷史。大雪紛飛的冬季，中午時份好不容易太陽露臉，穿過雲層射出一線曙光，不久即沉入地平線，消失蹤影。潛藏的熱 情，凝聚的活力，挪威人開發出何等樣的藝術文化？﹞
	E. GRIEG：Ase's Death 葛利格：《阿塞之死》
	【挪威的傳統民俗藝術】
3 影碟 NAXOS 3.110053	﹝ 傳統民俗藝術在挪威非常強勢，木雕、繪畫、鮮艷的民族傳統服裝，維京人的這些遺產依然在數不清的形式中呈現。上個世紀交替之際，知名作家胡妲‧嘉伯格 (Hulda Garborg)在奧斯陸建了民族舞蹈團，與舞者克拉拉‧山博(Klara Semb) 成功的推動了穿著民族傳統服裝，表演民族舞蹈的運動。﹞
	E. GRIEG：Anitra's Dance 葛利格：安妮特拉之舞
	【原住民薩米人 (Sami, 拉普人) 之歌】
4. CD BBCD 2002	﹝薩米人在挪威出現的痕跡，可回朔自八千多年前，薩米人居住地區涵蓋北歐四國，挪威薩米人分為“山地”、“溪流”、“海洋”薩米人，在他們的世界中，哼唱(yoik) 這種素樸的吟唱十分重要，它雖曾被傳教的基督教所禁止，但古老旋律依舊存在。薩米歌手瑪莉‧波依娜(Mari Boine )名聞全歐，為薩米音樂文化注入新生命。﹞
	A、Floating Earth Tone Hulbakmo 《漂浮的大地》演唱 / 瑪莉‧波依娜 (Mari Boine)
	B、I Hear You 《我聽到了》 演唱 / 瑪莉‧波依娜 (Mari Boine)
	【冰凍世界中蓬勃發展的挪威傳統民間音樂‧當地素材製成的各類特殊樂器】
5. CD	A、Nils and Jens and the Girl Gjeidaug 《尼爾、 強斯和嘉棠女孩》
NOR	Vocal / Kirsten Braten Berg Hardenger Fiddle / Hallvard T. Bjorgum
101-2	女聲 / 克絲婷‧布拉登‧貝格 哈登格提琴 / 賀瓦‧伯貢
	B、The Devils Tune 《魔鬼之音》Jew's Harp / Bjorgulv Straume 口簧琴吹奏/史特勞梅
	C、Won't You Come to Rinden Farm Willow bark flute / Heidi Lovlund
	《你不到倫登農場嗎？》 柳木笛 / 海迪 魯夫隆
	D、I'm Out of Flour/ My Girl Ram's horn /Eilif Gundersen 公羊號角/艾利弗‧耿德森
	E、Running DanceTune Sheeps'-Leg Pipe / Bjorn Aksdal
	《流行舞調》 羊腳風笛 / 畢勇‧阿克斯達
	【十三世紀起唱開的各類歌謠‧從古老敘事歌、勞動歌到宗教歌】
6 CD	A《挪威中世紀的敘事曲》
GRAPPA	The Water Sprite's Betrayal 《水妖的背叛》 絲妮卡‧藍潔蘭 / 女聲獨唱 挪威揚琴伴唱
GRCD 4136	﹝位於斯堪地那維亞半島西部的挪威，十三世紀起即有古老的敘事曲留傳至今。有關水妖的歌謠，常敘說他轉化成俊美的男子或白馬，勾引年輕女子並將她帶往湖底的故事﹞
	《文學氣息濃厚的挪威傳統經典歌謠》
7 CD	B、Come Here Now Tone Hulbakmo 《來吧！就在此刻》 賀巴克摩歌調
NOR	﹝中世的挪威，民間已有多種樂器留傳，此曲由古老彈撥樂器豎琴伴唱﹞
103-2	C、Sylfest Mork's Tune 寺院修士歌調
	Vocal / Pernille Anker 女聲/ 培妮爾‧安可 Fiddle / Hans Brimi提琴/漢斯‧布里米
	D、Wedding Song from Solor 所羅地區的婚禮之歌
	Kantele & Vocal / Sinikka Langeland 絲妮卡‧藍潔蘭 / 女聲獨唱 挪威揚琴伴唱
	E、 Old Hopes 《昔日的希望》 男聲領唱 / 德弗格摩 (Dvergmal)
	【挪威似的抒情‧葛利格(E. Grieg, 1843~1907)為民族樂派注入清流】
8. 影碟	A 、戲劇音樂“皮爾金”(PEER Gynt)《序曲》
VICTOR VILC-33	﹝葛利格31歲這年，榮獲政府的終身年俸，也是這年，與大文豪易卜生結成莫逆之交，並受委託將易卜生五幕幻想劇《皮爾金》寫成32首劇樂，一八七六年首演於首都國民劇院，獲空前讚賞，後再將其中優美樂段，編成兩套膾炙人口的組曲。﹞
	B 、Piano Konsert A小調鋼琴協奏曲 Op.16
	﹝自幼習琴，葛利格是技冠群英的名演奏家；他寫作無數的鋼琴小品，終其一生卻只有一首鋼琴協奏曲，是與妮娜婚後次年(1868)，攜愛妻與愛子旅居丹麥時所作，充滿幸福、洋溢朝氣之作。1870，葛利格曾帶此曲前往羅馬，李斯特試奏後讚賞有嘉，鼓勵有餘。播出《音樂大師葛利格》影片，樂音迴盪於北國峽灣的無限風光中。﹞
	C、Lyriske smastykker 《抒情小曲集》第八集 第六首 《特羅德豪根的婚禮之日》
	﹝此曲是整個抒情小曲集中最著名的一首，曲調描繪婚禮場地，聚集賓客，充滿喜悅。﹞
	【以上三段葛利格作品，均由莫斯科交響樂團演奏，配合播出傳記影片、作曲家繪畫肖像、手稿等珍貴圖片、史料以及葛利格的故居特羅德豪根的風光景致及今日博物館的展覽文物。】
9 影碟	Three Orchestral Pieces from Sigurd Jorsalfar, Op. 56《十字軍戰士兵席格爾》作品56
NAXOS	Homage March 《效忠進行曲》
3.110053	Czecho-Slovak State Philharmonic Orchestra(kosice) / Stephen Gunzenhauserg
	指揮 / 斯蒂芬‧耿曾毫瑟 捷克斯拉夫國家愛樂管弦樂團演奏
	【播出《葛利格與挪威》( GRIEG AND NORWAY)影片，首都奧斯陸的主要歷史遺蹟一一呈現】