遠山正瑛（日語：遠山 正瑛／とおやま せいえい Tooyama Seiei，1906年12月14日—2004年2月27日），日本農學家。日本沙漠實踐協會會長。
生平
[編輯]生於山梨縣，京都大學農學系畢業，曾任鳥取大學農學系教授，1935年留學中國，研究農耕文化和植物生態。1980年訪問中國大陸，與中國科學院合作，成立了日本沙漠綠化實踐協會，開始向中國內蒙古的庫布其沙漠恩格貝鎮派遣日本綠化志願者，至今已有7000多人，治理沙漠19700多公頃。
榮譽
[編輯]獲聯合國人類獎、內蒙古駿馬獎和「中日友好使者」稱號，並是內蒙古自治區榮譽公民。
中國國家主席江澤民兩次接見了他，原伊克昭盟行政公署為了表彰其功績，於1999年為其立了塑像。遠山正瑛逝世後，日本友人為其在內蒙古修建了遠山正瑛紀念館[1]；2005年11月，日本沙漠綠化實踐協會在鳥取沙丘設立遠山正瑛紀念資料室[2]。
參考資料
[編輯]有許多的日本人，為了建設中國，或是為了反省當年的侵略戰爭，他們做出了一生的貢獻。現在中國年輕人被洗腦反日，大概也沒有人聽過這樣的故事，想想也真的令人感概。
2004 年 2 月一位致力於讓中國廣大沙漠變綠地的日本教授遠山正瑛與世長辭。由他於1991年2月主導創立的「日本沙漠綠化實踐協會」的「綠色協力隊」，依舊持續在活動。由於長年默默的國際貢獻，遠山教授在2003年8月獲得有「亞洲諾貝爾獎」之稱的麥格塞塞獎。他經常掛在嘴上的是：「我們不是研究沙漠的組織，而是實際讓沙漠變綠的團體」、「只要做就能做到，不做就什麼也做不到」。
遠山先生出生於自然環境豐富的山梨縣都留郡富士山腳下，是淨土真宗寺院家中的六兄弟排行第三。1906年（明治39年）出生於今山梨縣富士吉田市。父親被徵召上戰場，由母親獨自撫養大家庭。生活困苦，糧食匱乏。為幫助母親，他自小便上山採野菜和香菇。看著家人因他採來的食材而露出笑容，他認為若要讓大家吃飽過得幸福，農業才是最重要的事情。
小學二年級時被送至神奈川縣橫須賀市的祖父家生活，那裡也是寺院，在嚴格教養下成長。小學畢業後回到故鄉，進入實業補習學校農業科，學習茄子與小黃瓜的種植。中學時寄居在親戚家，每逢假日便到朋友家幫忙種葡萄。1928年，21歲時進入仙台的第二高等學校，並負責宿舍200人份的伙食管理。也培養出遠山從小就自給自足的生活能力。
1931年，他考入京都大學農學部，遇見命運中的恩師菊池秋雄教授。「你既選擇了農學，就別想有休假，植物一天也不停歇，若想放假就做不成農學。」這是教授的訓誡。從植物所需的溫度、土壤與水的調整，到柑橘與二十世紀梨的植生調查，他學習到各種科學實踐。
畢業後留校任助教，之後派至和歌山縣的亞熱帶植物園，隨後以外務省文化事業部的留學生身分前往中國，一邊學習中文，一邊在黃河流域進行農耕調查，首次正面接觸到大陸的沙土。然而1937年盧溝橋事變爆發，他遭中國軍隊拘禁，好不容易才冒死脫逃回到日本。
1942年，他依菊池教授之命轉任鳥取高等農林學校，在湖山沙丘開始栽種蘆筍、哈密瓜與球根類植物，並租借原為陸軍演習地的濱坂沙丘，展開長芋與薤白的農耕。1949年鳥取大學成立後成為教授，並在濱坂沙丘建立砂丘研究試驗地，發展為鳥取大學農學部附屬砂丘利用研究設施，簡稱「砂丘研」。有美國媒體報導說「若能在沙丘種出農作物，太陽也能從西邊升起」，但他確實將東西長16公里、南北寬2公里的鳥取砂丘，大部分改造成為可耕地。
1972年自鳥取大學退休後，他心中尚有未竟之志──開發他曾緊握過沙土的中國沙漠。因為他深信「沙漠的沙子是有生產力的」。但日中戰爭以及國交中斷使他無法重返沙漠。1972年日中建交後，他等了七年，總算在1979年得以參加中國西域學術調查團，這是他睽違42年後，重新回到中國的大地。
他渴望在中國實踐沙漠綠化。雖有經驗與技術，卻缺乏資金。回國五年後，他找到了願意贊助他的金主，1984年第一批中國沙漠開發日本協力隊成立，他73歲親自擔任隊長赴任。經過兩次訪中調查，他構思了在謄格里沙漠與吐魯番的綠化計畫。就此，中國沙漠的生產綠地化事業正式啟動。
四分之一世紀過去，日本沙漠綠化實踐協會仍持續運作。至2021年止「綠色協力隊」參與人數已達13,000人，植樹數量高達430萬棵，在貧瘠的沙漠上造就了一片綠林，也實現農作物的大量生產。
他在謄格里沙漠開始建造葡萄園，在那片被稱為黃土沙漠的地區種植葛藤，以阻止黃土流入黃河，防止黃河在三千年間約2,000次氾濫。但如何蒐集葛籽成了課題。他的事蹟被《朝日新聞》「我的主張」報導後，來自全國的葛籽累計超過一公噸。
沙漠只要有水便能耕作。他最先做的事是尋找水源。面積相當於四國大小的沙漠中，他每天步行數十公里挖掘砂土，頂著超過攝氏40度高溫，手工作業歷時數月，終於找到了水源。他打算種植葛，這種植物根部富含澱粉，是和菓子常見的原料。葛生長快速，葉子一年可長達20公尺。他曾在鳥取砂丘成功將沙地轉化為農地，種植出薤白等農作物，具備實際的經驗。
找到水源後，他又花了8年在日本募集捐款，收集約7,000萬粒葛種，再帶著志工者重返中國。當時他已80歲。歷經50年的堅持，終於展開實作。正當他開始植葛，卻遭遇當地居民阻撓，甚至被舉報為間諜而被逮捕。儘管中日已恢復邦交，但中國國內的反日情緒依舊高漲。他相信只要葛長成綠草地，居民便能理解，於是完成了3,000株苗的種植。不料隔天早晨，眼前出現難以置信的景象，所有幼苗竟全被吃光了。
原來是當地牧民放養的羊吃掉了。遠山跪著懇求居民別再讓牲口啃食苗木，卻被居民冷言以對：「這又不是你的地，憑什麼多管閒事！」就在某日，他注意到白楊樹。白楊成長快速，十年便可成林。若形成森林，沙地可蓄水轉為農地。若插枝高度超過一公尺，葉子便不會被牲口吃掉。他立志五年內種植100萬棵，每日種下560棵，但遇上白楊枯萎問題。原來白楊需大量水分，未等根部伸至地下水脈就已經枯萎。
1987年第六批沙漠開發日本協力隊成行，但也發生種子帶有蟲害、苗木移植後被牲口啃食殆盡等問題。因應羊害需設牧欄，改為展開白楊植林計畫。遠山先生從未氣餒，始終堅持夢想。他募集「綠化體驗派遣隊」，出乎意料地獲得學生、家庭主婦、上班族等廣大回響。
2002年秋天，NHK《Project X》節目以「命運的戈壁沙漠 改變人生的300萬棵白楊」為題，介紹他的綠化事業。節目旁白說：「挑戰者是95歲的遠山正瑛先生。」他的信念是：「只要做就做得到，不做就永遠辦不到。」原本荒蕪的沙漠，終於披上了綠色森林的外衣。擁抱著白楊的遠山，就如同中島美雪主唱的主題曲《地上的星》那般閃耀。這支「綠色協力隊」在11年中於內蒙古毛烏素沙漠等地，組成335支隊伍，6,665人共同種下超過300萬棵樹。
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Ian Fleming was born on this day in 1908. To celebrate his birthday, and in anticipation of "Spectre", due out later this year, we revisit the time we stripped the cinematic Bonds down to three bare essentials: martinis, conquests and kills. http://econ.st/1ckHkoy
Wikipedia article "Ian Fleming".
Remembering Fleming, Ian Fleming
By JOHN F. BURNSLONDON — Any writer who has struggled to “do the words” would take heart from the self-effacing assessment written for himself by Ian Fleming, the raffish Englishman born 100 years ago this month who became one of the most successful authors of his time through the creation of the world’s best-loved spy, James Bond.
Fleming died in 1964, at 56, of complications from pleurisy after playing a round of golf in Sandwich, Kent though he had a heavy cold. But the real culprits were years of smoking up to 80 cigarettes a day, and a fondness for drink. Perhaps because of the difficulty he found in resisting life’s indulgences, he adopted a strict writing routine in his last 12 years, the period in which he wrote more than a dozen Bond novels that spawned the multibillion-dollar film franchise.
Rising early for a swim in the aquamarine waters in the cove below his idyllic Jamaican retreat, Goldeneye, Fleming tapped away at his Remington portable typewriter with six fingers for three hours in the morning and an hour in the afternoon — 2,000 words a day, a completed novel in two months, all the while keeping up the sybaritic lifestyle that led Noël Coward, a frequent guest at Goldeneye and no puritan himself, to describe the Fleming household as “golden ear, nose and throat.”
Fleming, who saw 40 million copies of his books sold in his lifetime but died before the Bond franchise went stratospheric, had no literary pretensions. He described his first Bond book, “Casino Royale,” as “an oafish opus,” and offered further disparagement in a 1963 BBC radio interview. “If I wait for the genius to come, it just doesn’t arrive,” he said. Asked if Bond had kept him from more serious writing, of the kind achieved by his older brother, Peter, a renowned explorer and travel writer, he replied: “I’m not in the Shakespeare stakes. I have no ambition.”
Fleming’s workaday approach to writing is among the revelations drawing crowds of Bond lovers to “For Your Eyes Only: Ian Fleming and James Bond,” an exhibition that opened at the Imperial War Museum in London last month and runs through March 2009. For the museum, founded in 1917 and guarded by two 15-inch guns from a World War I dreadnought, there is something — well, raffish — in the staging of an exhibition about the glamorous, gadget-wielding, womanizing, devil-may-care Bond and his creator, for whom the superspy was in many respects an alter-ego.
The museum’s former curator, Alan Borg, whose 13-year tenure as director ended in 1995, encouraged innovative approaches by reminding his staff that “the three most off-putting words in the English language” were encompassed by the museum’s name.
“And we have to fight against that,” said Terry Charman, the museum’s senior historian and curator of the Bond exhibition. But judging by the enthusiasm of the visitors, concerns about the frivolousness some of Britain’s more sniffy critics have discerned in the Bond show seem misplaced.
The display explores the relationship between Fleming and Bond, examining how much of the fictional spy is built on the author’s character — the degree to which Bond was his “fantasy version of himself,” as Mr. Charman put it. As well, it shows how the debonair Fleming drew on his experiences as a man about town and as a prewar foreign correspondent, in the world of banking and investment, in his postwar sojourns in Jamaica, and as a World War II aide to the head of Britain’s directorate of naval intelligence, to give what he described as “verisimilitude” to Bond’s world of spies and villains and romance.
Of his Bond plots, Fleming, ever prosaic about his talent, said, “I extracted them from my wartime memories, dolled them up, attached a hero and a villain, and there was the book.” For M, Bond’s irascible, domineering secret service overseer, he had as a model Rear Adm. John Godfrey, his wartime intelligence chief; old school friends, golfing partners, and girlfriends also metamorphosed into Bond characters. Even his villains had real-life antecedents.
Auric Goldfinger, “a misshapen short man with red hair and a bizarre face” in Fleming’s description, had the author’s “flat golf swing” and the surname of a prominent Hungarian-born British architect, Erno Goldfinger, whose penchant for concrete tower blocks Fleming abhorred. Rosa Klebb of Smersh, “a dreadful chunk of a woman” and “a toadlike figure” to Fleming, had her likeness in Maj. Tamara Nikolayeva Ivanova, a notoriously sadistic K.G.B. agent. Ernst Stavro Blofeld, “with lips that suggest contempt, tyranny and cruelty,” got his name from a Fleming schoolmate at Eton. Odd Job, Goldfinger’s enforcer and “a uniquely dreadful person,” drew his deadly missile of a bowler hat from Fleming’s knowledge of the nefarious uses to which British intelligence services made of everyday headgear.
The disciplines Fleming absorbed as a correspondent for Reuters in the 1930s made him a stickler for accuracy, and the exhibition shows how this fed into Bond’s guns. A luxuriantly mustached British gun expert, Geoffrey Boothroyd, reproved Fleming in a 1950s letter for Bond’s “rather deplorable taste in firearms” — in particular the penchant of the early Bond for a Beretta pistol, which Mr. Boothroyd, later the model for Major Boothroyd, Bond’s secret service armorer, described as “a ladies’ gun.” At Mr. Boothroyd’s urging, the Bond of “Dr. No” and later novels progressed to a Walther PPK and what Mr. Boothroyd described as “a real man-stopper,” a Smith & Wesson 0.38 Special.
Bond himself, Fleming said, was “a compound of all the secret agents and commandos I met during the war,” but his tastes — in blondes, martinis “shaken, not stirred,” expensively tailored suits, scrambled eggs, short-sleeved shirts and Rolex watches — were Fleming’s own. But not all the comparisons were ones the author liked to encourage. Bond, he said, had “more guts than I have” as well as being “more handsome.” And he was eager to discourage the idea that he had been as much of a Lothario as Bond before his marriage to Ann Rothermere, whom he wed in 1952, the year he wrote “Casino Royale.”
But the exhibition suggests otherwise. A section of the show titled “Friends and Lovers” has one of a stable of prewar girlfriends, Mary Pakenham, saying of Fleming, “No one I know had sex so much on the brain as Ian.” And another entry records the disdain of Fleming’s mother, Evelyn St. Croix Fleming, widowed when Fleming’s father, Valentine, was killed at the front in World War I, after she found black boa feathers littered across the back seat of her chauffeur-driven Daimler on the morning after Fleming borrowed the car for a night out — and a backseat romp — with a nightclub dancer called Storm.
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