| 朱自清传 --- 目录 | ||
|
| |
| ||
2011年8月31日 星期三
朱自清传 --- 目录
2011年8月25日 星期四
German humorist Loriot dies aged 87
People | 23.08.2011
German humorist Loriot dies aged 87
One of Germany's most famous creators of comedy, Vicco von Bülow - who worked under the stage name Loriot - died in Ammerland am Starnberger See, Bavaria, on Monday, August 22. According to a spokesperson for his publisher, Diogenes Verlag, he "passed away peacefully" at home.
Born in 1923 into a noble Prussian family, Bernhard Victor Christoph Carl (or just Vicco) von Bülow started his career drawing cartoons with characters that had potato noses and depicted the funny side of human frailty and communication problems.
All-round talent
Loriot was both a cartoonist and a comedianVery soon, German television discovered not only his cartoons but his talent as a comedian and Loriot, as he started calling himself, was asked to present a series of sketches and cartoons that became an important part of Germany's cultural consciousness.
He and his amusing characters became such a success that he went on to produce a few full-length movies. None of them have been screened outside the German-speaking realm, but the BBC has run some of Loriot's sketches and cartoons and received a great response from an English audience.
As he got older, Loriot even had a humorous perspective on his own age. "You're barely born and you're already 80," is how he commented the feeling he had about entering his 80s.
In answer to the question of what had most influenced his work, Loriot answered in 2007: "I remember that, when I started studying, I was living between a madhouse, a prison and a cemetery. The location alone explains everything, I think."
Author: Eva Wutke (dpa, KNA)
Editor: Kate Bowen
2011年8月24日 星期三
包世臣
要記得到"英國風"與我和朱自清共游倫敦....
(我知道他出國前 浦江清送兩首詩 葉公超送他包世臣書法 害得我趕緊去查此包公.....)
google 圖片 包世臣
---
包世臣（1775年－1855年），清朝文學家，字慎伯，晚號倦翁，安徽涇縣人。
[編輯] 生平
包世臣自幼家貧，但勤於詞章，並喜談國事。嘉慶十三年(1808年)中舉，但多次考進士不中。此後曾先後為陶澍、裕謙、楊芳幕客。他一生研究國事，東南各官吏都紛向他諮詢，以此名滿江淮。
包世臣思想，反對脫離民事，文章也大都關切時務政事。他反對傳統「重農抑商」政策，以「好言利」自許，提出「本末皆富」為「千古治法之宗」、「子孫 萬世之計」；他又提出「生齒日繁，地之所產，不敷口食」的「人多致貧」論。他堅持經世致用之學，對鴉片戰爭前後的社會和經濟問題，作了較為廣泛的探討，主 張具有進步意義的社會改革，在當時社會上有一定影響。
著作有《中衢一勺》、《藝舟雙楫》、《管情三義》、《齊民四術》。
2011年8月22日 星期一
柯慶明 2011
他的文章 包括日記等等 都很容易去"問市"
柯慶明：「教學是生命對生命的現場
老師只是在已知領域比學生多懂一點，學生應該自主學習，『再多走一步』，超越老師。」
柯老師是創造、開創型的人物，譬如說，昔日主編過《現代文學》（這雜誌早已停刊，不過2010年他們慶祝創刊50周年）；他是台大出版中心的開創主任，雖然只有很短期，不過出版的《中國文學史》（台靜農著）、《中國美學與文學研究論集》（高友工著）等等都是很了不起的作品。
學生要超越老師，談何容易：著名的翻譯家馮象先生（作品：《摩西五經》、《智慧書》，香港：牛津大學出版社）就曾撰文，他們在學術和人格上都無法超越昔日的（北大）師長。我想，原因似乎也很簡單，做學問需要打好基礎，能夠耐得住學者的清苦生活，懂得潛沉，願意為學生付出…….。
參考《臺大教學傑出教師的故事3 》台北：臺大出版中心，2009，頁20-29。這本書是臺大新聞研究所學生採訪19位老師之作品。
教務長的序中這些話，令我不忍卒讀：「….. 將膺選教學傑出教師的經驗與心得紀錄下來，正是希望增進臺大的競爭力，以及同學的競爭力…….」
胡適 李濟 張光直
《故院長胡適先生紀念論文集》台北：中央研究院，歷史語言研究所集刊第34本（上下兩冊），1962年12月
「……我得到胡先生自紐約寄給我的一封信；信內最後一段如下（原信另製版附錄）：
我近來有一個妄想，想請镏公與兄替我想想：
我想在南港院址上，租借一塊小地，由我自己出錢，建造一所有modern 方便的小房子，可供我夫婦住，由我與院方訂立契約，聲明在十年或十五年後，連房與地一併收歸院方所有。此辦法有無法律上的障礙？此意有幾層好處：
（1）可以開一例子，給其他海內外院士可以仿行，將來在南港造成一排學人住宅。
（2）我覺得史語所的藏書最適於我的工作（1948年我長期用過）；又有許多朋友可以幫助我。（近來與嚴耕望先生通信，我很得益處。舉此一例，可見朋友襄助之大益。）
（3）我若回臺久住，似住在郊外比住在臺北市為宜。
此計畫市一種妄想，不但要镏公與兄替我想想，也要兄轉告思亮、子水諸朋友镏替我想想。（委尚未告知他們）。」
…….
他去世以後，大家都想所以紀念他的方法，卻得不到任何十分滿意的結論。不過若把紀念胡先生的事分作兩方面看，也許我們可以看得清楚一點。我的意思是，若從永久性的紀念說，像胡先生一生的成就，可以說是”自有千古”，不需要任何紀念的標幟。換句話說，他留下來的工作成績，就是紀念他最好的紀念品。歷史上的人物，如韓愈、朱熹這一類的人，是用不著別人紀念他們的。另一方面看，若是懷念他的人，受過他的影響的人們設想，他們與胡先生的關係自然是因人、因地、因時而各有不同；他們確實可以由這些不同的關切想出不同的紀念方法。
史語所同仁有幸，在胡先生最後的幾年生活中，得與他朝夕相處，所獲得的益處，方面是很多的；但他留在南港最深刻的印象，仍是他那做學問的方法。就這一點說，研究所同仁各就他本人的研究工作，寫一篇文章來紀念他，算是有意義的了。所以我們這一次論文集所載的論文，都是由與本所有關的人所撰著。
李濟 五十一年十二月二十七日，南港」
談點李濟
我讀過李濟先生的長子李光謨先生寫的文章，說李濟的墓在另一山頭，與胡適之墓遙遙相對，似乎是說他的老子也是胡適級的巨人。李光謨忘記他在194年與張光直合編的《李濟考古學論文選集》中，張先生在「編者後記」中這樣說：「李先生在資料裡抓到了許多關鍵性的問題，但他並沒有很明白地指點出來這許多問題之間的有系統、有機的連繫。很可惜的是，李濟先生沒有給我們一本考古理論、方法論的教科書。」
我們可參考李光謨《鋤頭考古學家的足跡—李濟治學生涯鎖記》（北京：中國人民大學出版社，1996）這本書可以知道學生為他立慕志銘是：「清標自守、師表百世」。
談點張光直
張光直先生晚年回台灣當中央研究院的副院長。我們可以在電視上看到他與Parkinson症奮鬥的幾個畫面，令人不忍。
我發現大陸出版幾本紀念張光直先生的文集，可是台灣還是靜悄悄，似乎沒有人寫文章，很無情。我與中研院的一位研究員說，如果你組稿，我可以出版。他欣然接受。可是幾年過去了，我知道這是定案了。
台灣的出版界可能有它的問題。譬如說，我讀過北京出版的張光直父親的張我軍全集，可是我們除了板橋的某小學紀念他之外，似乎靜悄悄的。
昔日張光直先生哈佛大學考古系收的某中國學生，當初英文程度簡直，可說「慘」，可是他有學人底子，20年之後就成為芝加哥大學的名教授，著作（英中文）等身。
目錄
序 李濟
跋斐休的唐故圭峰定慧禪師傳法碑 胡適先生遺稿
績溪嶺北音系 趙元任
台語系聲母及聲調的關係 李方桂
敦煌千佛洞遺碑及其相關的石窟考 石璋如
孔廟百石卒史碑考 勞榦
荀子斠理 王時岷
北魏軍鎮制度考 嚴耕望
近代四川合江縣物價與工資的變動趨勢 全漢昇 王業鍵
道教之自搏與佛教之自撲補論 楊聯陞
清人入關前的手工業 陳文石
「老滿文史料」序 李光濤
從文法語彙的差異證國語左傳兩書非一人所作 張以人
川南的鴉雀苗及其家制 芮逸夫
再說西京雜記 洪 業
甲骨文金文 及其相關問題 龍宇純
說異 李孝定
唐武后改字考 董作賓 王恆餘
論國風非民間歌謠的本來面目 屈萬里（附陳槃跋）
東漢黨錮人物的分析 金發根
春秋戰國的社會變動 許倬雲
雲南方言中幾個常見的詞彙 楊時逢
讀明刊毓慶勳懿集所載明太祖與武定侯郭英敕書 黃彰健
國語黃帝二十五子得姓傳說的分析（上篇） 楊希枚
明初東勝的設防與棄防 吳緝華
Reduplicatives in the Book of Odes 周法高
殷商時代裝飾藝術研究之一 李 濟
附載
中國人思想中的不朽觀念（胡適先生英文講稿） 楊君實譯
胡適先生中文著作目錄 徐高阮編
胡適先生中文遺稿目錄 徐高阮編
胡適先生西文著作目錄 袁同禮 Eugene L. Delafield 編
胡適先生詩歌目錄 胡頌平編
2011年8月14日 星期日
莊喆《主題‧原象---莊喆 畫展》
國立歷史博物館全球資訊網－展覽內容－展覽回顧－一般展覽－主題‧原像 ...
莊喆老師見過數次面 沒上過他的課 沒跟他聊過 只看過他的畫......
還是可以稱他為老師
***
我記得前幾月有記莊喆的blog 找不到
今晚在某 used books 買到歷史博物館 的 《主題‧原象---莊喆 畫展》* (2005)
末頁 學歷
第2行 1963-73 執教於東海大學建築系
(然後他出國榮歸台灣 兩次任教1年或一學期
都不是東海
這當然有公立大學的因素
不知道是否有其他"物非人非"之處??
"建築系的同學是多才多藝的，過去莊喆老師、
*
雪舟破墨山水図變奏11幅 頁40-50
雪舟（せっしゅう、応永27年（1420年） - 永正3年8月8日（諸説あり）（1506年））は、室町時代に活動した水墨画家・禅僧。「雪舟」は号で、諱（いみな）は「等楊」（とうよう）と称した。
備中に生まれ、京都相国寺で修行した後、大内氏の庇護のもと周防に移る。その後、遣明船に同乗して中国（明）に渡り、中国の画法を学んだ。
現存する作品の大部分は中国風の水墨山水画であるが、肖像画の作例もあり、花鳥画もよくしたと伝える。宋・元の古典や明代の浙派の画風を吸収しつつ、各地を旅して写生に努め、中国画の直模から脱した日本独自の水墨画風を確立。後の日本画壇へ与えた影響は大きい。
現存する作品のうち6点が国宝に 指定されており、日本の絵画史において別格の高い評価を受けているといえる。このため、花鳥図屏風など「伝雪舟筆」とされる作品は多く、真筆であるか否 か、専門家の間でも意見の分かれる作品も多い。代表作は、「四季山水図（山水長巻）」「秋冬山水図」「天橋立図」「破墨山水図」「慧可断臂図」など。弟子 に、秋月、宗淵、等春らがいる。
山水図（破墨山水図）（東京国立博物館、1495年（明応4年））
指定名称:紙本墨画山水図
雪舟等楊筆，雪舟自序・月翁周鏡等六僧賛
せっしゅうとうよう，せっしゅう・げっとうしゅうきょう
1幅
紙本墨画
148.6×32.7
室町時代・明応4年(1495)
東京国立博物館
A-282
また雪舟は自序の中で、かつて中国へ渡り、李在（りざい）と長有声（ちょうゆうせい）に画を学んだこと、日本では如拙（じょせつ）、周文（しゅうぶん）の画を受け継ぐことなどを述べ、宗淵のために画学の系譜を明らかにするとともに、自負のほどを語っている。
この山水図は、潑墨（はつぼく）という輪郭線を用いず墨をはね散らすような、粗放な画法によって描かれている。墨の濃淡を面的に用いているにもかかわら ず、確かな骨組みであり、雪舟固有の安定感と構築性を示す。自序に「破墨の法」とあることから、本図は古来「破墨山水図」の名で有名である。
現在我們可以在網路上觀賞莊喆老師的「雪舟破墨山水図變奏11幅」 (頁40-50)的原本：山水図（破墨山水図）（東京国立博物館、1495年（明応4年））
我查國內兩本美術辭典中的「破墨」的解釋之後，我相信這是必須向日本再次「請回來」學習的，不只是此圖，因為我們讀日本的雪舟專著，知道這是他76歲的作品，而他年紀稍小時，另有「仿玉澗 (牧溪)的破墨畫」。
莊老師的，不只是學習，他是進一步發揮。用他自己的話：
「……說明我的目的。……這幅的長與寬是直立的兩個正方體，所以用三竹寺分把山勢分成上中下。在三元空間表現距離正好又是遠、中、近三等分。山、樹、岩、岸、村舍、小舟就一次在這三等分中準確調配完成。簡與繁就這樣奇妙的融合在一起了。我想把這個解悟到的心得用不同的幅度來呈現。不同於原畫的水墨，我期望也把色彩的明暗度加進去，抽取出筆與染的純粹繪畫性，省略一切細節，既是「抽象」，又是「自然」。這完全也躲一再敗過去四十年想結合的，從古畫中看出現代，可能與可表現的究竟有多少？反覆推敲求證，在真實自然與已有的畫蹟中實際還埋藏無限生機。我相信這種雙限性的發展可以越過時空，無盡無限 ！」 (莊喆《主題‧原象---莊喆 畫展》頁11)
2011年8月10日 星期三
馬可波羅 Marco Polo 虛實
Marco Polo - Wikipedia, the free encyclopedia
- [ 翻譯這個網頁 ]考古學家︰馬可波羅 從未到過中國
〔編譯管淑平／綜合報導〕13世紀義大利威尼斯商人馬可波羅描述其中國和遠東之旅的「馬 可波羅遊記」，讓他名列史上最偉大探險家之一，但義大利考古學家經過考證後指出，馬可波羅其實從來沒到過中國，而是拾人牙慧，將他在黑海地區從波斯商人那 裡聽來的中國、日本和蒙古旅行經驗，東拼西湊當成自己的東方遊記，可能根本就是個騙子。
東方遊記與史實不符
義大利那不勒斯大學考古學教授佩特雷拉，率領考古團在日本研究後提出這種說法。佩特雷拉特別點出馬可波羅描述當時中國元朝皇帝忽必烈，在西元1274、1281年兩次入侵日本的矛盾以及與史實不符之處，「他把這兩次搞混了，把第一次和第二次遠征的一些細節混在一起」。
例如，馬可波羅說，忽必烈第一次征日時，艦隊從朝鮮出發前往日本途中遭遇颱風，「但此事其實發生在1281年，若真是目擊者，有可能搞混相隔7年的事嗎？」此外，馬可波羅說忽必烈艦隊是5桅船，但考古團在日本挖到的殘骸卻是3桅。
佩特雷拉在最新一期義大利歷史雜誌「聚焦歷史」（Focus Storia）的訪問中說，「在我們的挖掘過程中，他所說內容的許多疑點也開始浮現」。
佩特雷拉指出，馬可波羅提到忽必烈的艦隊用瀝青當防水塗料，用的是波斯語的「瀝青」，而非中文或蒙古語說法。他提到的許多中國或蒙古地名，也不是用當地說法，而是波斯語。馬可波羅宣稱曾擔任忽必烈的使節，但現存蒙古和中國文獻記載中都未見他的名字。
可能取自波斯商人經驗
佩 特雷拉的質疑呼應了大英圖書館中文部主任吳芳思（Frances Wood）1995年著作「馬可波羅有沒有去過中國？」（Did Marco Polo Go to China?）一書論點。她說，馬可波羅的遊記沒提到當時中國婦女裹小腳、用筷子、喝茶等生活習俗，甚至隻字未提長城。
吳芳思表示，在威尼斯文獻中，也從未出現馬可波羅家族與中國直接往來的訊息，他的東方見聞可能是取自波斯商人的旅行經歷或旅遊指南，他自己東遊足跡可能從未超過黑海。
「馬可波羅遊記」是馬可波羅自中國返鄉後，在威尼斯與熱那亞戰爭中被俘期間，口述給名為皮薩（Pisa）的獄友聽，據稱皮薩寫書時加油添醋許多內容。
Mies van der Rohe
搜尋結果
Ludwig Mies van der Rohe - Wikipedia, the free encyclopedia
- [ 翻譯這個網頁 ]en.wikipedia.org/wiki/Ludwig_Mies_van_der_Rohe - 頁庫存檔Ludwig Mies van der Rohe (March 27, 1886 – August 17, 1969) was a German architect. He is commonly referred to and addressed by his surname; Mies. ...路德維希·密斯·凡德羅- 维基百科，自由的百科全书
zh.wikipedia.org/wiki/路德維希·密斯·凡德羅 - 頁庫存檔路德维希·密斯·凡德罗（Ludwig Mies van der Rohe，1886年3月27日－1969年8月17日 ...「Mies van der Rohe」的圖片搜尋結果
- 檢舉圖片
August 19, 1969
OBITUARYMies van der Rohe Dies at 83; Leader of Modern Architecture
Special to The New York Times
CHICAGO, Aug. 18--Mies van der Rohe, one of the great figures of 20th-century architecture, died in Wesley Memorial Hospital here late last night. He was 83 years old.
Mr. van der Rohe had entered the hospital two weeks ago.
He is survived by two daughters, Mrs. Georgia van der Rohe and Mrs. Marianne Lohan; five grandchildren and six great-grandchildren.
Expressed Industrial Spirit
By ALDEN WHITMANLudwig Mies van der Rohe, a man without any academic architectural training, was one of the great artist-architect-philosophers of his age, acclaimed as a genius for his uncompromisingly spare design, his fastidiousness and his innovations.
Along with Frank Lloyd Wright and Le Corbusier, the German-born master builder who was universally know as Mies (pronounced mees) fashioned scores of imposing structures expressing the spirit of the industrial 20th century.
"Architecture is the will of an epoch translated into space," he remarked in a talkative moment. Pressed to explain his own role as a model for others--a matter on which he was shy, as he was on most others--he said:
"I have tried to make an architecture for a technological society. I have wanted to keep everything reasonable and clear--to have an architecture that anybody can do."
A building, he was convinced, should be "a clear and true statement of its times"--cathedrals for an age of pathos, glass and metal cages for an age of advanced industrialism.
He thought the George Washington Bridge in New York an outstanding example of a structure expressing its period, and he used to go to admire it whenever he visited the city.
"It is the most modern building in the city," he remarked in 1963.
He was fond of the bridge because he considered it beautifully proportioned and because it did not conceal its structure. Mies liked to see the steel, the brick, the concrete of buildings show themselves rather than be concealed by ornamentation. A 20th-centrury industry building had to be pithy, he believed.
Influence on Colleagues
Mies's stature rested not only on his lean yet sensuous business and residential buildings, but also on the profound influence he exerted on his colleagues and on public taste. As the number of his structures multiplied in the years since World War II and as their stunning individuality became apparent, critical appreciation flowed to him in torrents, and his designs and models drew throngs to museums where they were exhibited. It became a status symbol to live in a Mies house, to work in a Mies building, or even to visit one.
The Mies name had already been established among architects long before he came to the United States in 1937. In 1919 and 1921 in Berlin he designed two steel skyscrapers sheathed in glass from street to roof. Although the buildings were never erected, the designs are now accepted as the originals of today's glass-and-metal skyscrapers.
Ribbon Windows
In 1922 Mies introduced the concept of ribbon windows, uninterrupted bands of glass between the finished faces of concrete slabs, in a design for a German office building. That has since become the basis for many commercial structures.
Mies, in 1924, produced plans for a concrete villa that is now regarded as the forerunner of the California ranch house. He is also said to have foreshadowed the return of the inner patio of Roman times in an exhibition house built in 1931; to have started the idea of space dividers, the use of cabinets or screens instead of walls to break up interiors; and to have originated the glass house, with windows and glass sliding panels extending from floor to ceiling to permit outside greenery to form the visual boundaries of a room.
Apart from simplicity of form, what struck students of Mies's buildings was their painstaking craftsmanship, their attention to detail.
"God is in the details," Mies liked to say.
In this respect the buildings reflected the man, for Mies was fussy about himself. A large, lusty man with a massive head topping a 5-foot, 10-inch frame, he dressed in exquisitely hand-stitched suits of conservative hue, dined extravagantly well on haute cuisine, sipped the correct wines from the proper goblets, and chained-smoked hand-rolled cigars.
Gold Chain for Watch
For a man so modern in his conceptions, he had more than a touch of old-fashionedness. It showed up in such things as the gold chain across his waistcoat, to which was attached his pocket timepiece. Rather than live in a contemporary building or one of his own houses--he briefly contemplated moving to a Mies apartment but feared fellow tenants might badger him--he made his home in a high-ceilinged, five-room suite on the third floor of an old-fashioned apartment house on Chicago's North Side. The thick-walled rooms were large and they included, predictably, a full kitchen with an ancient gas range for his cook.
The apartment contained armless chairs and furniture of his own designs as well as sofas and wing chairs--in which he preferred to sit. The walls were stark white; but the apartment had a glowing warmth, given off by the Klees, Braques and Schwitterses that dotted its walls. Paul Klee was a close friend, and Mies's collection of Klees was among the finest in private hands.
Mies's chairs were almost as well known as his buildings, and they were just as spare. He designed his first chair, known as the MR chair in 1926. It had a caned seat and back and its frame was tubular steel. There followed the Barcelona chair, an elegant armless leather and steel design of which the legs formed an X; the Tugendhat chair, an armless affair of leather and steel that resembled a square S; and the Brno chair, with a steel frame and leather upholstery that looked like a curved S.
The bottoms of all these chairs were uniformly wide, a circumstance that puzzled furniture experts until one of them asked Mies for an explanation. It was simple, he said; he had designed them with his own comfort in mind.
Recognition After 50
Mies did not receive wide public recognition in the United States until he was over 50 years old. Up to 1937 he lived in Germany, where he was born, at Aachen, on March 27, 1886. Emigrating to Chicago, he had to wait for the postwar building boom before many of his designs were translated into actuality. At his death, examples of his work were in Chicago, Pittsburgh, Des Moines, Baltimore, Detroit, Newark, New York, Houston, Washington, Sao Paulo, Mexico City, Montreal, Toronto and Berlin. All his buildings were dissimilar, although the same basic principles were employed in each.
The principles centered in a gothic demand for order, logic and clarity.
"The long path through function to creative work has only a single goal," he said, "to create order out of the desperate confusion of our time."
One Mies structure, accounted among his outstanding ones, is the 38-story dark bronze and pinkish-gray glass Seagram Building on Park Avenue between 52d and 53d Streets. The building, which was designed in association with Philip C. Johnson, has been called by appreciative critics the city's most tranquil tower and "the most beautiful curtain-wall building in America." It emphasizes pure line, fine materials and exact detailing outside and in. Special attention was paid to the room numbers, doorknobs, elevator buttons, bathroom fixtures and mail chutes, as well as the furniture.
The building's grace is enhanced by its being set in a half-acre fountained plaza of pink granite. It was begun in 1956 and completed two years later at a cost of $35-million. It was, at the time, the city's most costly office building.
Not everyone who gazed upon it or watched its extruded bronze aging was convinced of its beauty. Acerbic nonarchitectural critics pointed out that the tower rises 520 feet without setbacks and that it is unornamented. It is too spare, they said. One likened it to an upended glass coffin.
The Seagram Building ranked third in Mies's offhand list of his six favorites, chosen to illustrate his most notable concept--"Less is more." (By this Delphic utterance he meant achieving the maximum effect with the minimum of means.)
First on the list was the Illinois Institute of Technology's Crown Hall. This is a single glass- walled room measuring 120 feet by 220 feet and spanned by four huge trusses. The structure appears to do no more than to enclose space, a feeling reinforced by its interior movable partitions. It was one of 20 buildings that Mies designed for the school's 100-acre campus on Chicago's South Side. Crown Hall is as good an example as any of Mies's "skin-and-bones architecture," a phrase that he once used to describe his point of view.
The Chicago Federal Center, Mies's largest complex of high- and low-rise buildings, was his second favorite. He considered its symmetry symbolic of his lifelong battle against disorder.
Another Chicago creation was fourth--two 26-story apartment house towers at 860 and 880 Lake Shore Drive that overlook Lake Michigan. The facades are all glass. Tenants had to accept the neutral gray curtains that were uniform throughout the buildings and that provided the only means of seeking privacy and excluding light. No other curtains or blinds were permitted lest they mar the external appearance. (He was also the architect of the Promontory Apartments in Chicago, in which he used brick and glass in an exposed concrete frame.)
Mies's fifth favorite was a project for a Chicago convention hall, a place for 50,000 people to gather in unobstructed space under a trussed roof 720 feet square. The project never materialized.
The final pet on the architect's list was the since-destroyed German Pavilion at the 1929 International Exposition at Barcelona. It was, one critic said, "a jewel-case structure employing the open planning first developed by Frank Lloyd Wright that combined the richness of bronze, chrome, steel and glass with free-standing walls."
In addition to the Seagram Building, the architect was represented in the New York area by the Pavilion and Colonnade Apartments, both in Colonnade Park, Newark. He also devised a master plan for a 21-acre development in New Haven.
Mies's most recent building, the National Gallery in Berlin, opened last September. It is a templelike glass box set on top of a larger semibasement, and serves as a museum.
Although many accolades were bestowed on Mies for these and other works, there were also brickbats. "Unsparing," "grim," the work of "barren intellectualism" and "brutal in its destruction of individual possessions and the individual" were some of the terms his detractors used.
"Less is less," they said, turning his aphorism against him.
Taught by Mason Father
Ludwig Mies, who added the "van der Rohe" from his mother's name because of its sonority, learned the elements of architecture from his father, a German master mason and stonecutter, and from studying the medieval churches in Aachen.
At times, friends recalled, he would describe with unrestrained enthusiasm the quality of brick and stone, its texture, pattern and color.
"Now a brick, that's really something," he once said. "That's really building, not paper architecture."
For him the material was always the beginning. He used to talk of primitive building methods, where he saw the "wisdom of whole generations" stored in every stroke of an ax, every bite of a chisel.
His students in the United States and Germany had to learn the fundamentals of building before they could start to consider questions of design. He taught them how to build, first with wood, then stone, then brick and finally with concrete and steel.
"New materials are not necessarily superior," he would say. "Each material is only what we make it."
At Aachen Mies attended trade school and became a draftsman's apprentice before setting off for Berlin at the age of 19 to become an apprentice to Bruno Paul, Germany's leading furniture designer. Two years later he built his first house, a wooden structure on a sloping site in suburban Berlin. Its style was 18th century.
In 1909 Mies apprenticed himself to Peter Behrens, then the foremost progressive architect in Germany, who had taught Le Corbusier, and Walter Gropius. Mies was put in charge of Behrens's German Embassy in St. Petersburg, Russia.
House Never Built
Going to the Netherlands in 1912, Mies designed a house for Mrs. H. E. L. J. Kroller, owner of the renowned Kroller Muller collection of modern paintings, near The Hague. He set up a full- scale canvas and wood mock-up on the site to assure perfection, but the house was never built.
Mies returned to Berlin in 1913 and opened his own office, but with the outbreak of the war in 1914 his life was dislocated for four years in the German Army, during which he built bridges and roads in the Balkans. After the war, with his own style coming into definition, he directed the architectural activities of the Novembergruppe, an organization formed to propagandize modern art, and became one of the few progressive architects of the time to employ brick.
Often he would go to the kilns to select one by one the bricks he wanted. He used them for the monument (now destroyed) to Karl Liebknecht and Rosa Luxemburg, the German Communist leaders; for suburban villas for wealthy businessmen; and for low-cost housing for the city of Berlin.
From 1926 to 1932 he was first vice president of the Deutscher Werkbund, formed to integrate art and industry in design. He directed the group's second exposition, the Weissenhof housing project erected in Stuttgart in 1927.
The peak achievements of Mies's European career were the German Barcelona pavilion and the Tugendhat house in 1930. A. James Speyer, a critic for Art News, extolled them both as "among the most important buildings of contemporary architecture and the most beautiful of our generation." The pavilion consisted of a rectangular slab roof supported by steel columns, beneath which free-standing planes of Roman travertine, marble, onyx and glass of various hues were placed to create the feeling of space beyond. The Tugendhat house permitted space to flow in a similar fashion.
In 1930 Mies took over direction of the Bauhaus, a laboratory of architecture and design in Dessau, Germany. It was closed three years later after the Nazis attacked the architect as "degenerate" and "un-German."
At the urging of a New York architect who was a close friend, Philip C. Johnson, Mies emigrated to the United States to head the School of Architecture at the Armour (now Illinois) Institute of Technology in Chicago. He retired from the post in 1958.
As a teacher Mies did not deliver formal lectures, but worked, seminar fashion, with groups of 10 or 12 students. His method of teaching, according to a former student, was "almost tacit." "He was never wildly physically active, and he did not do much talking," this student recalled, adding that Mies, sitting Buddha-like, would frequently puff through a whole cigar before commenting on a student sketch.
Abandoning the Beaux Arts system based on competition for prizes, Mies sternly told his students:
"First you have to learn something; then you can go out and do it."
He was not one to tolerate self-expression among his students. One of them once asked him about it. Silently he handed the student a pencil and paper. Then he told her to write her name. This done, he said:
"That's for self-expression. Now we get to work."
Another former student thought of Mies as "a great teacher because he subjects himself to an extraordinary discipline in thinking and in his way of working, and because what he is teaching is very clear to him."
Mies himself was quite confident of his influence.
"I don't know how many students we have had," he said a couple of years ago, "but you need only 10 to change the cultural climate if they are good."
Mies was well-to-do, but not wealthy. He received the usual architect's fee of 6 per cent of the gross cost of a building, but he was not a very careful manager of his income, according to his friends. He was considered generous with his office staff and on spending for designs that were unlikely to see the light of day.
The architect received three noteworthy honors--the Presidential Freedom Medal and the gold medals of the Royal Institute of British Architects and of the American Institute of Architects. He was a member of the National Institute of Arts and Letters.
2011年8月9日 星期二
李圭《思痛記》
李圭《思痛記》
2011/1/2
鍾叔河主編的 “走向世界叢書” 收入李圭的《環游地球新錄》
錢鍾書先生說他是位名作者 另外《思痛錄》為胡適和周作人都稱讚過…. (胡適先生認為他記太平天國的慘烈殺戮人民等 都是難得的史料 與他家鄉的記憶相同 胡適希望校讀他的著作之後出書)
----參見“錢先生的不忍之心”《錢鍾書先生百年誕辰紀念文集》頁184-85
錢鍾書先生說該給他作李圭者簡傳 李圭《思痛記》等
2011/8/9周作人1940年4月29日《實報》發表《思痛記》簡介:
余收集《思痛記》已有四冊 本意亦擬分給他人 惟解者不易得......前曾借給胡適之君一讀 不知其印象如何 當時不願追問 適之亦是識者 想亦以此不曾給什麼回答也簡介
人李圭（1842－1903年），字小池，江蘇江寧（今南京）人，23歲受聘任寧波海關副稅務司霍搏遜的文牘（現時的秘書），系中國近代郵政倡導者之一。 1876年，赫德委派他前往美國費城參加美國建國100週年博覽會，李圭回國後將其在美期間的考察、見聞寫出《環遊地球新錄》 一書，書中對美國郵政作了詳盡的記述，並建議開辦中國郵政。他的見解得到了李鴻章的讚許。 1885年，在葛顯禮主持下，李圭將英文的《香港郵政指南》譯成漢語，同時又擬寫了《譯擬郵政局寄信條規》（以下簡稱《條規》）。 《條規》對十幾種郵件的規格、特徵、資費等做了詳細的規定。值得我們注意的是，該書對明信片概念的認識。
事件經過
在《明信片》一節中，李圭對明信片闡述如下：“郵政局有印就厚紙片，其信資圖記也印於片上，由局出售，以便商民凡寄無關緊要之信，可就片面寫姓名住址，片寫信，不用封套，價更便宜。各國信館皆有此片，謂之明信片。”漢語的“明信片”一詞，即首見於此。該《條規》送呈葛顯禮、李鴻章、總理衙門等高級官員與部門，正因如此，“明信片”一詞當時未能流傳。 《條規》的附件中有1枚示意的“明信片”，此片借用香港1880年發行的維多利亞肖像圖郵資片，李圭將該片中上部的英文香港及徽誌刮掉，手寫了“大清國CHINA”幾個字；另在英文“萬國郵政聯盟”一行文字上面手寫“郵政局明信片”6個字，還用1枚大龍郵票將維多利亞郵資圖完全覆蓋，以示此處可印中國郵政的郵資圖。李圭將其加工的“明信片”作附件，本意就是讓上層官員產生目見實物的效果。這枚“明信片”是中國郵政明信片的雛形，“明信片”3個字首次出現在設計理念中的樣片上，其歷史意義怎樣評價都不過分。 《譯擬郵政局寄信條規》有數件版本，均為李圭手書，其恭筆齊整，足見漢字功底之紮實。無論從歷史還是現實的角度看，我們都應該慶幸中國郵政歷史上出現了李圭，只有像李圭這樣的中西文化素養淵深的清末知識分子，才能將“POSTCARD”（郵政卡） 的實際特徵與涵義準確表述，從而歷史性地創譯出了“明信片”這個至今仍舊無可替代的概念。
貢獻
1896年，中國正式開辦郵政，責成費拉爾設計郵資明信片。是年8月，他在《呈海關總稅務司備忘錄（一）》的補遺中，將“POSTCARD”稱為“書信片”。但在“備忘錄（二）”那些漢、英文夾雜的行文中，費拉爾建議把漢語的“書信片”改為“郵政明信片”，然而這是在李圭的《條規》上呈11年以後的事了。 1897年10月1日，大清郵政首枚郵資明信片發行，郵資圖下印著“郵政明信片”5個字，從此“明信片”一詞開始出現在中國各個時期的明信片上，並在國人的口語中得到廣泛的應用。
2011年8月6日 星期六
智利聖何塞銅礦礦工 2010-2011
智利礦難一周年
一年前，智利聖何塞銅礦發生塌方，33名礦工被困在700米深的礦井。而這些礦工在堅持了69天后，全部獲救生還。礦難過去一年，他們如今的生活境況如何呢？
從2010年8月5日起，礦難獲救的這33位礦工就成了家喻戶曉的明星，他們被邀請參加各種各樣的脫口秀和活動，馬拉松比賽，迪斯尼樂園都曾經出現過他們的身影。他們和達賴喇嘛見過面，還接受過教皇的慰問。
近幾個月，媒體的智利礦難熱漸漸偃旗息鼓，可是這33位生還者想恢復自己原有的平靜生活卻很難。在智利家鄉，他們被看成是"應該掙了幾百萬"的大英雄，對此，被困礦工之一格梅茨（Mario Gomez）表示否認，他說，掙大錢的說法根本不存在，他每個月從國家拿到約1000歐元的醫療補助金。許多礦工和格梅茨的處境類似。曾經的困境留下後遺症，在33個礦工中，有14人遞交了提前退休申請，一些礦友精神狀態不穩定，無法消化可怕的經歷，有人陷入了酗酒的漩渦，有人得了焦慮症，還有人飽受失眠的痛苦。
雖然目前仍有多個訴訟正在運作，但由於坍塌礦井所屬的煤礦公司已倒閉，所以這些礦工既沒有從公司得到補償費，也沒有拿到撫慰金。因此，一些礦工英雄們只能靠打零工或者是捐贈生活。
當然，也有好消息，羅亞斯（Esteban Rojas）身困700米井下的時候向女朋友傑希卡求了婚，獲救後，兩人共結連理，羅亞斯說："我非常驕傲能實現我的諾言，我非常幸福。"
這33位礦工中，雖然有些人嘗試繼續重操舊業，到其他礦廠工作，但是他們的工作範圍有所限制。這些人也包括格梅茨，他表示，再也不要在黑暗的礦井隧道裡面工作了。
作者：Julio Segador 編譯：文木
新闻报道 | 2011.08.05
智利矿难一周年
从2010年8月5日起，矿难获救的这33位矿工就成了家喻户晓的明星，他们被邀请参加各种各样的脱口秀和活动，马拉松比赛，迪斯尼乐园都曾经出现过他们的身影。他们和达赖喇嘛见过面，还接受过教皇的慰问。
近几个月，媒体的智利矿难热渐渐偃旗息鼓，可是这33位生还者想恢复自己原有的平静生活却很难。在智利家乡，他们被看成是"应该挣了几百万"的大英 雄，对此，被困矿工之一格梅茨（Mario Gomez）表示否认，他说，挣大钱的说法根本不存在，他每个月从国家拿到约1000欧元的医疗补助金。许多矿工和格梅茨的处境类似。曾经的困境留下后遗 症，在33个矿工中，有14人递交了提前退休申请，一些矿友精神状态不稳定，无法消化可怕的经历，有人陷入了酗酒的漩涡，有人得了焦虑症，还有人饱受失眠 的痛苦。
虽然目前仍有多个诉讼正在运作，但由于坍塌矿井所属的煤矿公司已倒闭，所以这些矿工既没有从公司得到补偿费，也没有拿到抚慰金。因此，一些矿工英雄们只能靠打零工或者是捐赠生活。
当然，也有好消息，罗亚斯（Esteban Rojas）身困700米井下的时候向女朋友杰希卡求了婚，获救后，两人共结连理，罗亚斯说："我非常骄傲能实现我的诺言，我非常幸福。"
这33位矿工中，虽然有些人尝试继续重操旧业，到其他矿厂工作，但是他们的工作范围有所限制。这些人也包括格梅茨，他表示，再也不要在黑暗的矿井隧道里面工作了。
作者：Julio Segador 编译：文木
责编：邱璧辉