2010年3月29日 星期一



If the west has lost confidence in itself during the financial crisis, it is clear where some of the old can-do spirit has ended up: in China. Li Shufu, whose automaking group Geely will soon be the proud new owner of Volvo, personifies this burgeoning surplus in self-assurance.

On Sunday Mr Li's company is scheduled to sign one of China's highest-profile takeovers of a foreign brand at a ceremony in Volvo's hometown of Gothenburg. With Xi Jinping, China's vice-president, in likely attendance, Geely – China's largest private carmaker – will agree to pay Ford Motor $1.8bn (€1.3bn, £1.2bn) for the producer of famously solid estate cars and executive sedans.

In Volvo, Mr Li will be taking on a carmaker with revenues about five times Geely's and a European premium brand that he himself admits he can tamper with only at its peril. The deal will be a bellwether for China's ambitions to add supremacy in global automaking to its newly won title as the world's largest vehicle market.

The 47-year-old Mr Li is just the kind of larger-than-life character to act as the figurehead for a new age of carmaking with Chinese characteristics. “He says ‘Why not' while the rest of the world is asking ‘why',” says Bill Russo, former head of Chrysler in China and head of Synergistics, an auto consultancy. “He is the kind of story that exists in China today, that existed in the west 100 years ago”. Mr Russo mentions Carnegies and Rockefellers, not Henry Ford. But associates say Mr Li savours the irony of helping out the company Ford created.

On the other hand, it is hard to imagine even the famously polymathic Ford writing verse – one of Mr Li's favourite pastimes. The vast reception room of his headquarters features a carpet woven with a poem he wrote himself. His personal website bears 21 more, including one entitled: “Who could choose a clearer way than Geely?”

Mr Li likes to play up his peasant roots, but it would be a mistake to underestimate this man in his nondescript blue suit, grey socks and slightly scuffed slip-ons. Business partners use words such as “wily”, “crafty” and “brilliant” to describe Mr Li, and admit that they expect to be outwitted by him in any negotiation.

In a country where stiff business protocols are de rigueur, he is friendly, tactile and emotional. “He is a man of great humanity – very charming, strong on relationships,” says John Russell, chief executive of Manganese Bronze, the producer of black London taxis, in which Geely announced plans to increase its 20 per cent stake to majority control last week. (When in Shanghai, Mr Li is chauffeured around in a white London cab.)

Associates say that he dreams big and worries about execution later – but agree that his dreams have a habit of coming true. Just 12 years ago, he made his first car; last year, Geely made 329,100. He wants to produce 421,000 this year and 2m by 2015.

Mr Li was born in 1963 in a village near Taizhou City, Zhejiang province, homeland of many of China's wealthiest entrepreneurs. The son of a small business owner, he used a Rmb100 school graduation present to buy an old camera and a bicycle and started photographing tourists at beauty spots, multiplying his seed capital tenfold in six months.

With that money he set up a photo studio, establishing a lucrative sideline selling silver extracted from film developing. He moved on to making refrigerators and their parts. When that failed, he made motorcycles, and eventually cars.

Like China's other rising carmakers, Mr Li built his company largely by buying in technology. In an interview with the FT in October 2008, he showed slides of 42 models his company was developing – a line-up that would look grandiose even for a Toyota or a Ford. One was dubbed the “baby Rolls-Royce”, raising complaints from Rolls – not the first car company to make a similar complaint – that Geely merely copies foreign models.

Mr Li also dabbled in the property market on Hainan island, and launched a Geely-branded football team with a losing record, leading him to concede that he was “only good at industrial investment”.

Mr Li's cagey staff will not say whether he belongs to the Communist party, but he told one visitor he occupies the office of party secretary in Geely and he is known to attend party conferences. Beyond dispute is the fact that he has played the politics of the Volvo deal masterfully.

Mr Li first set his sights on Volvo in 2007, when Rothschilds approached him about buying the marque, which Ford was due to put on sale. Mr Li was confident he could build western-quality cars by 2012, but realised he needed to buy an established marque to sell them credibly and at good prices.

He delegated most of the sale negotiations with Ford to advisers, but met Lewis Booth, Ford's chief financial officer, at least six times when the talks hit obstacles. Mr Li now describes the mood of the talks as “difficult but very friendly”.

Last year he toured Volvo's Swedish operations, and in January a union delegation from Volvo toured Geely's facilities. He spoke of nearly doubling Volvo's sales to 600,000 by 2015, but promised anxious delegates that the brand would keep its European manufacturing footprint. At another meeting last year with union representatives at Volvo's headquarters in Belgium, he was asked to sum up in three words why he was interested in the carmaker. Mr Li said simply: “I love you.”

The politics in China were trickier. Unlike state-owned carmakers, most of which are backed by powerful provinces, privately owned Geely needed to find its own sponsors. Mr Li spread favours around the country by promising to build at least two car plants and one engine plant in different provinces, lining up soft loans behind the sale. Associates argue that he can inject new life into Volvo under more flexible, innovative leadership.

And if that does not work? Li tells visitors he can always go back to the land. That is where being a poet comes in handy: in 2006 Mr Li wrote a poem that includes the line: “Life is a question without a standard answer.” It may be just the approach for an industry in which the standard answers no longer seem to deliver.

如果说西方在金融危机中对自己丧失了信心,那么很显然,那种老派的敢想敢干精神已部分转移至了中国。李书福正是这种迅速成长 的超级自信的代表,他所领导的汽车制造集团吉利(Geely)已自豪地成为沃尔沃(Volvo)的新主人。

上周日,吉利在瑞典哥德堡沃尔沃故乡的一个仪式上,签署了中国最受瞩目的海外品牌收购协议之一。吉利是中国最大的民营汽车制造商,它将支付18亿美元,收购福特汽车(Ford Motor)旗下以生产坚固的旅行及行政轿车而闻名的沃尔沃品牌。



47 岁的李书福性格突出,正是中国特色汽车制造新时代的合适代表人物。“当世界其它地方在问‘为什么'的时候,他却说‘为什么不',”克莱斯勒 (Chrysler)前中国区总裁、汽车业咨询公司Synergistics总裁比尔•拉索(Bill Russo)表示。“他就是西方一百年前的故事在当今中国的翻版”。拉索提到了卡内基(Carnegie)与洛克菲勒(Rockefeller)家族,而 不是亨利•福特(Henry Ford)。但李书福同事说,对于自己帮助解救了福特创办的公司这一讽刺性的宿命,李书福颇为得意。




在 一个僵化商业惯例盛行的国家,李书福显得友好、亲切与感性。伦敦黑色出租车生产商——英国锰铜控股公司(Manganese Bronze)首席执行官约翰•罗素(John Russell)说:“他是个性情中人——很有魅力,很会搞关系。”吉利最近宣布,计划将其对锰铜公司的持股从20%提高至多数股权水平。(当在上海时, 李书福有一辆配有司机的白色伦敦出租车。)




与 中国其它正在崛起的汽车制造商一样,李书福主要是通过买 入技术来发展自己的公司。在2008年10月接受英国《金融时报》采访时,李书福展示了其公司正在开发的42款车型的幻灯片。即使是对于丰田 (Toyota)或福特来说,这个阵容看上去也甚为庞大。其中一款被戏称为“小劳斯莱斯(baby Rolls-Royce)”,导致劳斯莱斯抱怨吉利只是抄袭外国车型。其它一些公司也曾提出类似抱怨。




李 书福首次将目光投向沃尔沃是在2007年:福特计划出售这一品牌,洛希尔(Rothschilds)接洽了李书福,询问其是否有意收购。李书福自 信到2012年,他就可以制造出与西方品质不相上下的汽车,但他意识到,他需要购买一个老品牌,来帮助增强自主品牌的信誉,进而让它们能卖个好价钱。

他将与福特的大部分谈判都授权给了顾问公司处理,但当谈判遇到障碍时,他就会与福特首席财务官刘易斯•布斯(Lewis Booth)碰面,他们碰面的次数不少于六次。李书福如今对谈判气氛的形容是“艰难但非常友好”。


去 年,他参观了沃尔沃在瑞典的工厂;今年1月份,沃尔沃的一个工会代表团参观了吉利公司。他宣称到2015年,将使沃尔沃销量接近翻倍,达到60万辆,但向 焦虑不安的代表团成员承诺,将会维持该品牌在欧洲的制造基地。去年,在沃尔沃比利时总部出席另一个与工会代表的会议时,他被要求用三个词总结一下他为何对 这家汽车制造商感兴趣。李书福直截了当地说:“我爱它。”

中国的政治更微妙一些。与大部分国有汽车制造商都有强大的省政府支持不同,民营的 吉利需要自己寻找赞助商。李书福在全国范围广抛绣球,承诺将在不同省份至少建造两家汽车制造厂、一家发动机工厂,从而为这笔交易安排了各项软贷款。他的同 事辩称,他更灵活且更具创新性的领导风格,能为沃尔沃注入新的生命力。



2010年3月26日 星期五

I. M. Pei



年届92岁的贝聿铭(IM Pei)被尊为当世硕果仅存的现代主义大师之一。作为英国声望最高的建筑奖项——英国皇家建筑师学会(RIBA)金质奖章——的获得者,贝聿铭是无可争 议、众望所归的人选。该学会于本月早些时候向他颁发了这一奖章。贝聿铭新近作品所展现的几何空间特征,似乎连最挑剔的评论家也得心服口服,包括那些最近还 怀疑他商业味道十足的人士。但若说现在看来贝聿铭的一生好像是由一长串轻而易举就享誉国际的杰作连缀而成的,却不见得。

贝聿铭(IM Pei)在 波士顿建造肯尼迪图书馆(John F Kennedy Library & Museum,于1979年开放)是段痛苦的经历,非但当地民众反对,成本也遭到了削减。在同一城市的约翰汉考克大楼(John Hancock Tower,1976年)代表着硬纸板和玻璃镶嵌工艺陷入困境的时期,当时窗玻璃被木板挡了起来,以防掉落砸到路人。最著名的是,卢浮宫金字塔 (Louvre pyramids,1988年)招致保守的巴黎人的痛斥,他们疾呼,美国人要破坏巴黎神圣的标志性建筑。

如今这一切都已被 抛在脑后。卢浮宫金字塔已成为当代巴黎的象征之一,正如蓬皮杜中心(Pompidou Centre)一样。贝聿铭不仅凭近期作品挽回了名声,而且更上了一层楼。最引人注目的是去年完成的两件作品:透出宁谧气息的多哈伊斯兰艺术博物馆 (Museum of Islamic Art,顶部图片),以及在贝聿铭的祖国兴建的、被广为称赞融合了东西方色彩的苏州博物馆。很难说清,是贝聿铭十分善于顺应潮流而改变,还是潮流在紧跟着 他而改变。

此刻,贝聿铭坐在我对面喝着英式奶茶,风度翩翩,衣着考究。他极力想让人满意,绝非傲慢自大的“古板建筑师”的形象。我们在伦敦 的文华东方酒店(Mandarin Oriental Hotel)见面简直是理所当然的,这家酒店融合了浓郁的皇家古典风格和奢华的东方变异色彩。贝聿铭身着剪裁合体的灰色西装,袖子下端露出带褶皱的法式衬 衫袖口。他脸上没什么皱纹,但有老人斑,架着一副独具一格的圆框眼镜,这一小处模仿勒•柯布西耶(Le Corbusier)的打扮让他的脸显得严肃。

贝聿铭当年在哈佛就读,师从沃尔特•格罗皮乌斯(Walter Gropius)。格罗皮乌斯是包豪斯(Bauhaus)流派的创始人,或许也是20世纪影响最大的教师。曾是格罗皮乌斯合伙人、建造了惠特尼博物馆 (Whitney Museum)和纽约联合国大楼(UN Building)的匈牙利建筑师马赛尔•布鲁尔(Marcel Breuer),则是贝聿铭的好友。这两位现在看来几乎是神话般的人物,贝聿铭从他们身上学到了什么呢?



四 分之三世纪过去了,贝聿铭的英语依然带着口音,偶尔还会冒出语法错误。但他说话和举止就像他的衣着一样优雅。事实上,在他的大部分职业生涯中,这位拒绝教 书和创立理论的建筑师是不合潮流的。他把商业和文化两方面融合得貌似天衣无缝,让其他建筑师感到了怀疑。他是怎么把商业与建筑艺术成功地结合在一起的呢? “我想,建筑的艺术方面对我来说是天生的,”他一点都不假装谦虚地说道,“我母亲是艺术家,诗人。商业方面则是后天的(他父亲是一个银行家)。出了学校 后,我在一家房地产开发公司工作,我在那里学到了建筑的商务方面。如今这两种工作我都能轻松应对。”

从1948年到1955年期间,贝聿铭投效作风张扬、嗜抽 雪茄的纽约开发商威廉•杰肯多夫(William Zeckendorf),设计出了许多令人难忘的作品。贝聿铭曾说过:“伟大的艺术家需要伟大的客户。”在职业生涯后期,他几乎一手缔造了达拉斯市区的当 前风貌,在那里设计了规模宏大的市政厅(1978年)等建筑。当我提起我最近去过那里时,他问我:“亨利•摩尔的雕像还在那儿吗?你知道,我帮助促成了这 件事——我去了Much Hadham(位于英国赫特福德郡的一个村庄,是摩尔当年的居住地,如今设有亨利•摩尔基金会)。”

贝聿铭设计的 一组摩天大楼和造型怪异的巴洛克式莫顿梅尔森交响乐中心(Morton H Meyerson)等建筑,使得雷姆•库哈斯(Rem Koolhaas)把达拉斯比作“平庸的震源地”。对此,贝聿铭的自我辩护显出一贯的冷淡:“在达拉斯,我是为人设计,而不是为地方。他们很多人来自纽 约。它不像休斯顿这样的石油城市,它更像东海岸。达拉斯其实与纽约没什么不同。”

卢浮宫金字塔在 采访中,贝聿铭只有两次显得被难住了。第一次是我问他有关战时服役的事情,当时他加入了国防研究委员会(National Defence Research Committee),对此他说,“学习的是轰炸和摧毁,而非建设”。第二次是我把话题引回肯尼迪图书馆的时候。“建这座图书馆十分艰难,”他说道。“杰 姬和博比•肯尼迪向我们提了出来(那是在1963年约翰•肯尼迪遇刺的一年后),他是个英雄。”据报道,杰姬•肯尼迪曾说,选择贝聿铭,“其实是从感情上 作出的决定。他(贝聿铭)非常有前途,就像杰克一样。他们同年出生。我想,与他共同做出一个壮举,会很有意思。”然而,这个项目非但不是一次壮举,而且始 终难以顺利推进,卷入了当地的政治活动之中,并且屡经修改。不过,与困扰卢浮宫金字塔项目的政治活动相比,这算不了什么。


“要让法国人接受金字塔,我们遇到了许多困难。他们以为我们打算引进一座埃及金字塔。后来我指出,他们的方尖碑也来自埃及,而且拐角处就有金字塔广 场(Place des Pyramides)。然后他们就接受了。不过,卢浮宫金字塔只露出了尖端。你不能在地面上建任何东西,因为它是这样一个历史景点,它是一座巨大的建筑, 由很多馆组成。除了在地下建造之外,别无选择。然而,如果你要在地下建,就必须有东西值得看。金字塔和喷泉在说,‘来吧,我们有很多东西要向你展示。'”

法 国建筑公司Grands Travaux的艾米利•比亚斯尼(Emile Biasini)认为,贝聿铭是负责这项工作的理想人选,作为一个中国人,“他了解古代文明”,而作为一个美国人,“他能够鉴赏现代”。我问贝聿铭:在美 国度过了75年后,他还觉得自己是个中国人吗?“我从来不忘中国,”他立刻回答,“我的家族在那里居住了600年。但我的建筑不管从哪方面来说,都没有有 意识地中国化。我是个西方建筑师。”

苏州博物馆作 为一位自称的“西方建筑师”以及一位注重实现企业目标的建筑师,贝聿铭最杰出的建筑作品,无疑是他在退休后完成的两件非西方式的佳作。苏州博物馆让人想起 佛教寺庙的木架构和宁静平和的气氛;多哈的伊斯兰艺术博物馆所采用的巨大石块,则是介于古埃及、拜占庭和现代巴格达之间的风格。后者是想借助一种非西方文 化,形成一种新语言的尝试吗?“我想,你可以把它叫做处于中间的某种东西,一座‘东方-中间的”建筑。”贝聿铭笑了起来——这种孩子式的哈哈大笑,奇异地 冲淡了他身上的老态。

贝聿铭最优秀的建筑都带着沉迷于几何构造的特征,它们属于当代最震撼人心的建筑之列。他依然工作不辍:新项目包括在日 本Miho建一所学校和一座神庙。但从最坏的方面来说,他的建筑体现了现代主义妄自尊大的一切缺点。从香港中银大厦(Bank of China Tower),到华盛顿特区的美国国家美术馆(National Gallery of Art),他在上世纪七、八十年代的作品跨立在地表上——这两个十年是现代主义处于最低谷的时期。









時光走在一九三四年的冬天,千千岩助太郎,步履於大武山及霧頭山山林,喜歡登山的他再次邁上台灣的山岳,於此之前他也曾多次在當時任教的台北工業學 校(今台北科技大學)裡組登山隊。然而此次,從大武山縱走霧頭山的所見,讓千千岩助太郎驚訝、佇足:排灣族部落與周圍環境所呵成的風景。這一幕令千千岩助 太郎留下了深刻印象,也促使他決心為高砂族原住民建築付出。




這些調查測繪而成的資料,有相機捕捉的照片,有千千岩助太郎使用鉛筆所繪畫而成的圖樣,呈現了以前原住民使用茅草與竹木,搭建而成的圓錐式榖倉與住 屋;抑或達悟族的干欄式建築倉庫,甚至拼板舟。此外,千千岩助太郎也精確地勾勒出它們的平面圖與斷面圖,「前室」、「寢台」、「大梁」、「物置」等住屋內 的組成元素歷歷可見。





然而,時過境遷,千千岩助太郎當年在山上見到排灣族用石板拼砌成的房屋、泰雅族人用竹枝紮實緊密圍成的住屋,那些從前原住民運用自然資源打造的建 築,在台灣邁入工業社會的一九八○年代已經逐漸消失,石板、竹木等天然建材在鋼筋水泥的打壓下,使得因地制宜的建築智慧,逐漸埋沒在鋪天蓋地而來的現代化 洪流中。

因此,千千岩助太郎於一九三○到一九四五年之間手繪的建築圖稿、攝影寫真顯得彌足珍貴,九族文化村便以他的研究成果作為原住民建築復原的重要參考資 料與佐證素材。千千岩助太郎甚至受邀來台,親自主持樣本屋的搭建,當一棟一棟傳統原住民住屋重現眼前,千千岩助太郎不禁落下了淚水。

民族的擁抱 成就價值之光


當年,千千岩助太郎與顏水龍因同樣熱愛高砂族文化,有聊不完的話題,甚至曾比鄰而居,天天生活在一起,而結為至交。一九四七年二二八事件爆發,千千 岩助太郎被迫倉卒離台,他將自己研究高砂族建築的心血交付顏水龍保管,十一年後才以觀光客的名義來台訪問,取回這批無價的作品。

當今享譽國際的台灣知名建築家郭茂林,日據時代時就讀台北工業學校,因表現傑出而受到老師千千岩助太郎極力栽培,力薦他到日本東京帝國大學深造,在 當時台灣人能夠受高等教育的已是少數,到日本唸書更是極端困難。然而,郭茂林沒有讓恩師失望,憑藉自己的努力與才能,在日本建築界大放光采。

不同於當時日本統治階層對台灣的規劃調查大多出自利益所需,台灣人被視為二等國民,千千岩助太郎做為一位日本人,擁有尊榮地位,卻不以民族優越感自 居,而真切地貢獻所學,深愛這片土地,疼惜台灣人才。在他返回日本之後,和顏水龍、郭茂林始終保持聯繫,遙遠的距離與政權的更迭,沒有消退他們之間的情 誼。

結緣台灣 情牽台灣



台灣處處留有千千岩助太郎的足跡。蘭嶼達悟族部落,有他蹲在拼板舟旁專注觀察結構、仔細記錄的身影。台北今日人群熙來攘往的大安區,曾經矗立著他設 計的寧靜安和、綠木扶疏的住宅。台南赤崁樓迴廊之間,迴盪著他求好心切指導整修工程的音頻與神情。他也帶著孩子在台南高等工業學校(今國立成功大學)的操 場,與台灣的小朋友一起體驗打野球樂趣。他脖上掛著相機到處拍建築、拍人,拍下一張張台灣的記憶。

二十八歲抵台,五十歲離台,千千岩助太郎在台灣度過青壯歲月,當初為工作而來到了陌生之地,他以一名外來者之姿,在交通不便的年代踏遍高山平原,從 北到南,從本島到離島,遊走觀察,窮盡精力,發揮所長,為台灣的建築文化留下珍貴的歷史紀錄與鏡頭。二十年過去,千千岩助太郎與台灣有了無法割捨的連結。

於他,台灣絕非僅是單純來去匆匆的工作之地,而成為他的第二家鄉。來自北國的千千岩助太郎,在這塊南方島嶼展現了高度的熱情,從原本登山時望見原住 民建築衍生的好奇心,而後投入大量心力研究的實際行動,結出的是滿盈美麗回憶的豐碩果實,最後轉化為對台灣深深的眷戀。二十二年的生活,台灣有他一切熟悉 的人、事、物,甚至使他渴望留在台灣,而非登上返回故鄉的船隻。

他對台灣的惦念也感染了他的兒子:千千岩力。儘管當時年紀尚小,離開台灣時並未有同於父親及兄長般的離情不捨,然而當千千岩力再度踏上台灣土地,從 前生活點滴在腦海中清晰起來,台灣到處有他可撿拾的童年回憶,這份柔軟的記憶在心中蔓延,直到六十歲他仍記得這句台灣話:「我嘛是台灣囡仔」(我也是台灣 小孩)。


研究數位化 典藏台灣情

除了九族文化村的實體建物,千千岩助太郎遺留的珍貴資料也將躍上數位典藏的舞台。負責此項計畫的台北科技大學黃志弘教授,小心翼翼地從無酸盒中拿出 一疊厚厚的資料,泛黃的紙頁有明顯的歲月痕跡,少數照片、圖片不堪存放已經幾近毀損,但大部分千千岩助太郎細膩的筆觸所勾勒出的建築型態仍清楚可見。





千千岩助太郎校長台灣原住民建築調查測繪稿全集 數位典藏計畫暨互動多媒體平台規劃數位典藏計畫http://content.teldap.tw/index/?cat=20&action=detail&id=266



2010年3月24日 星期三

Ada Byron Lovelace


Ada Byron Lovelace
Ada Byron Lovelace
Is Ada the name of the first computer language? It's true that many people consider the first computer program to have been written by Ada Byron Lovelace. Ada — a high-level Pascal-based programming language is named for her. The first scientific programming languages were written in the 1950s; IBM's FORTRAN was the first major scientific computer language, and is still used in some programs today. Ada Lovelace, daughter of the poet Lord Byron, loved mathematics. Her translation of and accompanying notations to an article about Charles Babbage's analytical engine have been called the first computer program. Lovelace broke ground as a woman in a mostly man's world of math and science. In her honor, March 24 is known as Ada Lovelace Day, an international day of blogging to recognize the achievements of females in technology and science. Both men and women should feature women and their accomplishments in a blog post today!


"The Analytical Engine weaves algebraic patterns, just as the Jacquard loom weaves flowers and leaves."Ada Lovelace, in her notes on Menabrae's Memoir on the Analytic Engine

The bride of science : romance, reason, and Byron’s daughter

2010年3月22日 星期一

Marcel Marceau


From the Greek mimes to Marcel Marceau and beyond : mimes, actors, Pierrots, and clowns : a chronicle of the many visages of mime in the theatre / Annette Bercut Lust ; foreword by Marcel Marceau
Lust, Annette
Lanham, Md. : Scarecrow Press, 2000

xvi, 352 p., [48] p. of plates : ill. ; 27 cm



Meet Marcel Marceau [videorecording] / RKO General

Sandy Hook, Conn. : Video Yesterday, c1996

1 videocassette (VHS) (52 min.) : sd., b&w ; 1/2 in



Marcel Marceau, master of mime / Ben Martin
Martin, Ben, 1930-
New York : Paddington Press : distributed by Grosset & Dunlap, 1978

ca. 150 p. : chiefly ill. ; 26 cm


Highly relevant Highly relevant titles 條目 4-4

Beyond the word : the world of mime / Stefan Niedzialkowski, with Jonathan Winslow ; foreword by Marcel Marceau
Niedzialkowski, Stefan, 1945-
Troy, Mich. : Momentum Books, c1993

xv, 100 p. : ill. ; 23 cm


Very relevant Very relevant titles 條目 5-6

Anthropology of the performing arts : artistry, virtuosity, and interpretation in a cross-cultural perspective / Anya Peterson Royce
Royce, Anya Peterson
Walnut Creek, CA : AltaMira Press, c2004

xi, 260 p. : ill. ; 24 cm




Deja view [sound recording]
North Texas Wind Symphony
San Juan Capistrano, Calif. : Klavier Records, p1998

1 sound disc (72 min., 20 sec.) : digital ; 4 3/4 in

Monday, March 22, 2010
Today's Highlights


Marcel Marceau
Marcel Marceau
Did Marcel Marceau know how to talk? Even though he was the world's most famous mime, Marcel Marceau was an articulate speaker. In fact, he acted in several movies that required speaking (including having the only spoken line in Mel Brooks' Silent Movie). Marceau built a spectacular career out of being quiet on the stage. More than 60 years ago, Marceau created the beloved character Bip — the sad, white-faced clown who became an integral part of his onstage persona. He traveled to more than 100 countries, performing without words on stage and screen. The winner of two Emmy awards, Marceau also published several books, including The Story of Bip, Le Troisième Oeil (The Third Eye), and a counting book and an alphabet book for children. Marceau was born on this date in 1923.


"Do not the most moving moments of our lives find us all without words?"Marcel Marceau

2010年3月15日 星期一

Mission: Impossible, スパイ大作戦, 虎膽妙算

Mission: Impossible, スパイ大作戦, 虎膽妙算
Peter Aurness (March 18, 1926 – March 14, 2010),[1][2][3][4] known professionally as Peter Graves, was an American film and television actor. [5] He was known for his starring role in the CBS television series Mission: Impossible from 1967-1973. He has an older brother, actor James Arness (born 1923).

 資深藝人彼得格里佛斯(Peter Graves)因心臟病發在洛杉磯辭世,享年83歲。他在經典影集《虎膽妙算(Mission: Impossible)》的系列演出,最為人津津樂道,如今他一頭招牌的灰白頭髮,粉絲只能從作品中追憶。

「スパイ大作戦」シリーズで、特殊工作機関のリーダー、ジム・フェルプス役を好演したピーター・グレーブス氏が14日、ロサンゼルスの自宅で死去した。83歳だった。死因は心臓発作とみられるている 【PANA=時事】

2010年3月14日 星期日

Alumni : 800th Anniversary

Lord Byron

Mad, bad and dangerous to know

He was a giant of English Romanticism, a supremely gifted poet and satirist, and a national hero in Greece. However, in the popular imagination, Lord Byron is famous for being famous – a 19th century celebrity. And in the 19th century, as it is today, the only thing better than watching the rise of a celebrity is watching the fall. So it was with Byron.

George Gordon Noel Byron was born in 1788 into a family of rapidly crumbling nobility. His early years were far removed from the hard-living, hard-loving lifestyle with which he has become synonymous. A lame foot, the lack of any father figure, and the contempt of his aristocratic family for his mother all made the young Byron a meek and overly sensitive boy.

After the death of his granduncle in 1798, Byron inherited his title and estate, becoming the 6thBaron Byron at the tender age of 10. After graduating from Harrow, he went up to Trinity College in 1805.

Byron had already been writing for several years by the time he arrived at Cambridge, often encouraged by his close friend Elizabeth Pigot. However, he was not terribly impressed with Cambridge, and when writing to Elizabeth, described the place as a 'villainous chaos of din and drunkenness'.

He had not planned to return to Cambridge after the long vacation, but discovered that after the publication of his first poems (Hours of Idleness, 1807), he had become something of a celebrity and stayed on for a further year, when he was able to develop the tastes that he so abhorred in his first.

After leaving Cambridge, Byron embarked upon a 2-year voyage to the Mediterranean. This trip provided him with the inspiration for the first two cantos of Childe Harold’s Pilgrimage. After their publication in 1812, Byron became the classic overnight success story, saying “I awoke one morning and found myself famous.”

Byron capitalised on his new-found fame. His list of paramours was lengthy and legendary. His affairs with Lady Caroline Lamb and Lady Oxford shocked members of London society, but his incestuous relationship with his half-sister Augusta shook them to their collective core. Incest became a prominent theme in Byron’s writing, featured in works such as The Giaour, The Bride of Abydos, The Corsair and Lara.

In 1815, Byron decided it was time to settle down, and married Anna Milbanke. However, as with so many of today’s celebrity marriages, the union quickly unravelled, and she left him within a year. After the divorce, Byron once again found himself an societal outcast.

Byron had had enough of uptight London, and they had had enough of him. Whispers of incest and homosexuality, along with mounting debts, caused Byron to leave his homeland, never to return. In a letter to his publisher John Murray, he wrote, "I am sure my bones would not rest in an English grave, or my clay mix with earth of that country. I believe the thought would drive me mad on my deathbed, could I suppose that any of my friends would be base enough to convey my carcass back to your soil."

Free from the constraints of London society, Byron embarked on a series of adventures around Europe. In Switzerland, he spent time with Percy Bysshe Shelley, immersed himself in the poetry of fellow Cantabrigian Wordsworth, and embarked upon a short-lived affair with Shelley’s sister-in-law. He soon left Switzerland for Italy, settling in Venice, where he proudly claimed to have bedded different women for 200 consecutive evenings.

Byron in Venice was Byron at his most creative – the fourth canto of Childe Harolde, the satiric Beppo and his (ultimately unfinished) comic masterpiece Don Juan all came out of his time spent in Italy.

Byron left Italy for Greece in 1823, after accepting the request for support from representatives of the movement for Greek independence from the Ottoman Empire. He spent much of his time in Greece with Alexandros Mavrokordatos, a Greek politician with military power. Byron also developed a crush on Mavrokodatos’ young page, but his feelings were unrequited.

While planning an attack on the Turkish-held fortress of Lepanto in early 1824, Byron fell ill, and ultimately succumbed to malarial fever on 19 April.

Memorial services for Byron were held all over Greece.The Greeks wished to bury him in Athens, but according to legend, only his heart stayed in the country. Byron's body was returned to England but refused by the deans of both Westminister and St Paul's, due to his “questionable morality”. Finally, Byron's coffin was placed in the family vault at Hucknall Torkard, near Newstead Abbey in Nottinghamshire.

Byron lives on not only through his work, but through his archetype of the Byronic hero - brooding, mysterious, self-destructive – featured in many of his works. The Byronic hero continues to be an irresistible figure: popular examples include James Dean, Scarlett O’Hara and Nirvana lead singer Kurt Cobain, who ended his suicide note with a very Byronesque quote: “It’s better to burn out than to fade away.”

Downing College alumnus and illustrator Quentin Blake drew a new image of Byron as part of his Cambridge 800: An Informal Panorama. Click here to see the rest of the images.

2010年3月11日 星期四



 1935年に早川金属工業研究所(現シャープ)に入社。創業者の故・早川徳次氏の後を継いで70年に2代目社長に就任。86年に会長になるまで約16年 間務めた。相談役を経て98年からは最高顧問。液晶事業への進出や半導体事業の強化など、関西の一家電メーカーだったシャープを世界的な総合電機メーカー に育てあげた。町田勝彦現会長は娘婿。



出典: フリー百科事典『ウィキペディア(Wikipedia)』

佐伯 旭(さえき あきら、1917年3月8日 - 2010年2月1日 )は実業家シャープ二代目社長、中興の祖広島県出身。

来歴 [編集]






参考文献 [編集]

外部リンク [編集]

^ シャープ「中興の祖」、元社長の佐伯旭さん死去”. 朝日新聞. (2010年3月11日). http://www.asahi.com/obituaries/update/0311/OSK201003110056.html 2010年3月11日 閲覧。

2010年3月1日 星期一


戴立忍- 维基百科,自由的百科全书

1999年 電視電影《濁水溪的契約》

作者:馬岳琳  出處:天下雜誌 435期 2009/11






「到現在我印象最深刻、最常被老師罵的一句話是:『要不然你將來要幹什麼?』」戴立忍從小就是一個漫遊者,父母總是用「一轉眼就不見人影」形 容他。小小年紀就對世界充滿好奇,喜歡到處閒晃、東看西看,「那時候住在台東海邊,有鄰居、有經過的陌生人,我老想知道他們在幹什麼?」






戴立忍觀察,台灣的五六年級生,總是很早就被要求要有人生目標,說穿了是被要求要站上經濟領先群的那個位置。一旦落後,似乎就是失敗。「經濟富裕 了,但我們這一代後悔的人也特別多,而下一代,很小就被安排了,被逼著實現我們這一代無法實現的。作不了畫、跳不了舞、彈不了鋼琴的,都要下一代去學。我 想我們這三代是過渡期吧。」