感動 (84)：訪客：曹永洋老師、施智璋先生。 Wen 博士。2023年風雲：國際的 ‘Maestro’ Leonard Bernstein。作家陳思宏；何穎怡譯作從天堂回到搖滾樂；世界級水準的巴奈……。悲欣交集的世界新聞(紐約時報英文版、中文版 )：Gaming the system 。超級好玩的台灣選舉“狂”言，（譬如說，財訊雙周刊 465期封面……等等）。美式幽默：A White Christmas in New York City (if You Squint a Little) ； 烏克蘭：俄羅斯飛機 ；黑海艦隊，新聖誕日；教宗的兩難、虛實。2023 美國電影票房會說話；最賺的沒入選紐約時報“年度電影”：Box Office Lessons ；蕭雅全 ( Hsiao Ya-Chuan) 「老狐狸」。洪世民翻譯獎後大發‘’輝‘’。魔幻小說傑作“Pedro Páramo,” 兩英譯本，兩名家序：《佩德羅·巴拉莫》。 鐵匠Everybody Wants to Be a Blacksmith Now 。 成名不嫌晚：草間彌生擁抱巴黎整區大樓Yayoi Kusa
感動（83）：瞇眼讀史：苦笑鳥瞰華人世界百年史 (1)： 習近平(中國夢，中國香港，白紙革命) vs 蔡英文 六大核心產業；北京陶然亭 vs 台北市博物館(北京學 VS 台北市學)空空如也：關於陶然亭 ，參考 季劍青《重寫舊京 》： Pierre RYCK MANS：名之永恆 (permanence of names) 國家圖書館南部分館和典藏中心 新營；華為 vs 台積電(TSMC) ；李光耀、I. M. PEI ；李登輝：李遠哲； 楊英風 紐約、基輔的白色聖誕；美式幽默：A White Christmas in New York City (if You Squint a Little)；台式標題幽默：朱敬一大鍊膝蓋功破解廣廈妄想症 。
感動 (82)：”一日“要做”兩工“ 的苦日子，《多桑》的時代。兔年好故事：楊照轉陳夏雨(191—2000)談創作；吳清友（誠品1950-2017）之經營。You Must Change Your Life. Can Rilke(里爾克) Change Your Life?又見 《戴明修煉 II》。Oliver Sacks (1933~2015)自傳《勇往直前》(ON THE MOVE)簡介 。名經濟學家 Robert M. Solow (1924~2023)：量化找單一重要因素。辦公室隔壁為大師 Paul Samulson (1915~2009)談天近四十年；英才老師與學生；要當"哲王"可不容易。…
感動（79）：《白鯨記 之道 》專題 (2，2023) ：《白鯨記 42 白鯨之白 ( "The Whiteness of the Whale,")》作品的「靈視之中心"visionary center" 」莫比·敵克，一頭白色的抹香鯨。種名macrocephalus意為「大頭」。文化史中的白：白象；白髮 ； 親身南極體驗信天翁； 白野馬傳奇The Legend of the Pacing White Mustang ；THE 'WHITE HOOD' REBELLION IN GHENT ；大白鯊； Polar bear The White Tower ；哈次（Harz）山區 ；White Mountains New Hampshire；white noise.聖心聖殿 ；
感動（78）：《白鯨記 之道 》專題 (1，2023) ：《白鯨記 22 聖誕快樂》冬至湯圓(紅白)到There is a Land of Pure Delight《白鯨記 42 白鯨之白 》。Rockwell_Kent等(插)畫名家 ： Moby Dick or The Whale – Herman Melville (Chicago: Lakeside Press and New York: Random House, 1930), 哥川廣重 江戶名所之"白"。
感動（77）：無限II 倩玉的版画世界JUDY ONGG WOODBLOCK PRINTS 翁倩玉。許多“微感動”，冬至快樂！ the winter solstice, the symbolic rebirth of the sun, Happy winter solstice! Don’t forget to wrap up warm! 美國 台灣 被她的歌聲感動到淚如雨下your one wild and precious life.
感動(73)：英國聖誕特色，今年最盛 幽默諷刺美國Trump 事件，最妙 二齒 Panto goes political this year with Brexit and Trump jokes；【國際新聞小八卦】黃哲斌。 How Picasso haunted 2023......Toshiba is set to delist in Japan after 74 years Time Square 企業廣告.....
感動 (72) 人類自由指數。《回憶錄》：失敗者；革後餘生、杜邦家捐花園。西蒙娜·波伏娃《第二性》"Mémoires d'une jeune fille rangée"《年輕的回憶》, 超富豪 得天獨厚者 It’s My Privilege: Glorious Memoirs by the Very Rich 得超富人家的光榮回憶錄。 Gloria Vanderbilt’s memoir “Once Upon a Time.” 羅斌「他身：本人、他人、神、鬼與祖先」的表現 。 。underwater cables。 BREAKING: The Colorado Supreme Court has disqualified.... Mistletoe稱槲寄生植物。" reading party"(美國）。LG 後代爭產分家？ Google’s Epic Loss, and How 2023 Changed the Internet. 國際象棋巨星 Bodhana Sivanandan8歲.
感動 (70) ： 40年代世界時尚設計 (Forties fashion : from siren suits to the new look) vs 納粹佔領下地下德語諷刺周刊雜誌 Het Onderwater Cabaret, or The Underwater Cabaret.水下歌舞表演 95期 (荷蘭， Curt Bloch每期印一本，20多人閱讀)。
Growing, ripening, aging, dying — the passing of time is predestined, inevitable.
There is only one solution if old age is not to be an absurd parody of our former life, and that is to go on pursuing ends that give our existence a meaning — devotion to individuals, to groups or to causes, social, political, intellectual or creative work. In old age we should wish still to have passions strong enough to prevent us turning in on ourselves.
One’s life has value so long as one attributes value to the life of others, by means of love, friendship, indignation, compassion. ~Simone de Beauvoir
(Book: The Coming of Age [ad] https://amzn.to/48wmqQ1)
◤日本88歲奶奶用科技養老，越活越年輕◢
Ｑ：你家裡的長輩會用電腦嗎？
不管是操作智能家電、用Excel設計產品
亦或是撰電腦寫程式等，
這些困擾著家中長輩的新科技
都難不倒88歲的日本奶奶若宮正子。
＃透過科技與年輕人交流_會忘了自己上了年紀
－若宮正子
現在的日本正掀起一場高齡科技化的生活運動，
啟動機器人國家戰略計畫，
投資AI以及機器人技術革新，
希望翻轉老化社會帶來的問題。
到底日本人是怎麼透過科技來養老的
讓我們一起看下去吧！
--
深度人物專訪，就在天下雜誌Youtube
>>https://bit.ly/3gR6jCc
--
葉金川：還好我得了癌症，從此有了任性的本錢
https://bit.ly/2IX64dk
＃天下雜誌video
(Art: Photograph of Georgia O’Keeffe by John Loengard)
Back Story
Associated Press
“Je refuse le prix,” Jean-Paul Sartre said on this day in 1964.
But the Swedish Academy wasn’t the first to hear them.
A young journalist landed the scoop after tracking down Sartre at a Paris bistro. The 59-year-old “pope of existentialism” was lunching with Simone de Beauvoir, his longtime partner.
Interrupted before the cheese course, Sartre was stunned to hear that he had just been named the academy’s literary laureate. (A week earlier, after learning that he had been nominated for the honor, he wrote to the jury asking not be chosen. His letter didn’t arrive in time.)
That evening, Sartre read a statement to the Swedish press to explain why he refused the prize — and the $53,000 that came with it.
Official honors, he said, exposed his readers “to a pressure I do not consider desirable.”
'A Charlie Brown Christmas' is a timeless Christmas tradition. Why does it endure? Because the title character understands what Christmas is all about, writes Stephen Lind in WSJ Opinion
In The Wall Street Journal, Stephen Lind writes that the 50-year-old Charlie Brown Christmas TV tradition endures because Chuck knows the reason for the season.
“A Charlie Brown Christmas” is an unforgettable blend of jazz and carols that has enchanted listeners for 50 years. One of those listeners reflects on the inspiration.
Cartoon Characters Get Big Makeover For Overseas Fans
Powerpuff Girls' Leggy Look
Wows Viewers in Japan;
A Brown Snoopy Is Axed
By GEOFFREY A. FOWLER and AMY CHOZICK October 16, 2007; Page A1
TOKYO -- Big round heads and tiny bodies make the Powerpuff Girls instantly identifiable to their fans in America. The preteen karate superheroes star in one of the top-rated shows on cable's Cartoon Network.
Last year, though, the "Powerpuff Girls" showed up in Japan with a whole new look. On "Demashita! Powerpuff Girls Z," the heroines have grown up, sprouted long legs and wear skirts well above their knees. In the original American storyline, the girls were created of sugar, spice and everything nice; their Japanese counterparts are normal girls who acquire superpowers from a chemical reaction initiated by a rice cake.
The original Powerpuff Girls, top. Their Japanese 'transcreation,' bottom.
Once, American entertainment companies exporting characters just dubbed them into other languages. But in recent years, Asia has become the testing ground for character reinvention, a process called "transcreation."
The idea is to help characters designed with one audience in mind to really resonate in another culture.
Marvel Entertainment Inc. and Gotham Entertainment introduced a transcreated "Spider-Man" to the Indian market in 2004, although the original had been familiar there for a long time.
There, Spidey's alter ego, Peter Parker, is known as Pavitr Prabhakar. Spidey gains his powers from a mysterious yogi rather than a radioactive spider. When fighting crime, he sports a traditional loincloth.
Spidey also inspired one of the region's first transcreations. In 1978, the Japanese media company Toei turned Peter Parker into a racing champion named Yamashiro Takuya, who wears a bracelet that gives him the powers of a spider. His alter ego "Supaidah Man" controls a giant transforming robot to battle an enemy named Professor Monster.
Disney has had a hit in China with its "Cuties" line of Mickey Mouse and friends featuring tiny eyes, button noses and the almost-not-there mouths of Japan's Hello Kitty. Sometimes the cutie Minnie even carries a cellphone. Disney came up with the design six years ago in Japan, and now it's a top seller among preteens in China who didn't grow up with the original Mickey.
Adults like Sarah Chen, a 23-year-old graduate student in Shanghai, like them, too. "They are so cute and sweet, just like a little baby," says Ms. Chen, who first discovered the Disney cuties online and eventually purchased a sweater with the modified Mickey Mouse on it.
Sesame Workshop
"Sesame Street" arrived in India last summer after swapping Big Bird for Boombah (center), an aristocratic lion fond of bhangra, a style of dancing often seen in Bollywood films.
Most media companies acknowledge the need to localize their fare. While there's still a global audience for "Tom and Jerry" reruns and Hollywood blockbusters, American imports don't top the TV ratings in most non-English-speaking markets. Transcreation nods to that need for local relevance.
"There are very few things that work everywhere," says Orion Ross, a vice president of creative at Time Warner's Turner Networks in Asia. "Places with strong national identities, like Japan and India, need adaptation and change," he says.
For some time-tested characters, change doesn't come easily. Disney tweaked Mickey into "Cutie" form, but still insists that only Western women can play Cinderella and Snow White at Tokyo and Hong Kong Disneylands. A Disney spokeswoman says, "These performers bring the animated roles to life and are therefore cast to most closely resemble the onscreen characters....It's about remaining true to the original animated feature."
The family of Charles M. Schulz, the creator of "Peanuts" who died in 2000, forbids any changes to his comic strip. "There is no adapting Peanuts," says a spokeswoman for United Media, the New York company that distributes the feature to newspapers around the world.
Sometimes, though, changes slip in under the radar. The Times of India printed the Peanuts strip with the dog Snoopy painted brown. After the Wall Street Journal asked about that, a United Media spokeswoman said it was a "coloring error" that would be corrected. Now, Snoopy is white in the Indian newspaper, as he is in the U.S.
Ratan Barua, senior cartoon colorist for the Times in New Delhi, says coloring Snoopy brown was his idea. "I thought he should be brown," he says. While he has complied with the distributor's request to adhere to white, he says the result is "not very good."
Characters occasionally thrive despite their foreignness. When Nickelodeon looked into bringing SpongeBob SquarePants to Japan, market research said the show was bound to flop. Japanese viewers were believed to favor characters whose appearance exudes warmth and comfort, a concept known in Japanese as iyashi. Iyashi characters -- typically round, with no mouth and small eyes -- rose to prominence in Japan during the long-running economic slump that began in the early 1990s, when people were anxious and uncertain about the future.
SpongeBob, with his square body, huge mouth, buckteeth, big bug eyes and somewhat annoying personality, was the antithesis of iyashi. But viewers didn't mind: Nearly two million households soon tuned into the show every day. One thing that may have helped is that SpongeBob lives in an undersea world without humans and overt cultural references. "There is very little about SpongeBob that is 'American,'" says Cyma Zarghami, president of the Nickelodeon MTV Networks Kids and Family Group.
When Craig McCracken created the Powerpuff Girls show, he deliberately gave it what he thought was a "Japanese look." But when the show first aired in Japan in 2001, it failed to attract a wide audience. So Cartoon Network decided to reinvent the characters to boost its appeal in Japan, an idea Mr. McCracken welcomed.
In their transcreation, Blossom, Buttercup and Bubbles got Japanese names and the lives of typical Japanese junior-high-school students. Since Japanese kids like to dress up like their favorite characters, the girls got more realistic outfits, with miniskirts, matching vests and hip-hugging belts.
Toei Co., the Japanese animation house brought in to help rework the characters, kept the original Powerpuff premise of crime-fighting girls with superhuman powers. To appeal to a preference among Japanese children for longer, more dramatic plots, it made the seven- to 11-minute shows 15 to 20 minutes long. It also gave them a common Japanese theme: accepting people who are different.
"Monsters can be anyone who is different from us. If we change our attitude, they can become our friends," says Hiromi Seki, a producer at Toei who helped create the show. That's a particularly relevant message in Japan, where the pressures among children to conform are very intense.
In one episode, an evil character threatens to bring about an eruption of Mount Fuji that would make Tokyo unbearably hot and spark global climate change. In another episode, a heartbroken performer of traditional kabuki theater turns into a monster and wreaks havoc on his community.
"In Japan, girly love themes are a must," Ms. Seki says. When "Demashita! Powerpuff Girls Z" was launched in Japan a year ago, the executives at Cartoon Network soon realized that the revamped plots and skimpier outfits not only attracted young girls, they also broadened the audience to include animation-obsessed adult men known in Japan as otaku, or geeks, who were also fans of the original.
So the network came out with special consumer goods like bookmarks, limited-edition DVDs and pop music targeted at viewers like Hironobu Kamata, a 42-year-old manager of a copyright office in Tokyo. Mr. Kamata wakes up every Saturday morning to watch the Powerpuff Girls.
His favorite character is Miyako Goutokuji, the blond girl known as Bubbles in the U.S. "I love it all! The characters are so cute," says Mr. Kamata.
Tai Tzu Ying scripts history; wins women's singles: 21-16, 22-20
Top seed Tai Tzu made a sensational comeback from 17-20 to 22-20 against Intanon to become the first ever Chinese Taipei shuttler to win the All England Championships. Notably, it was her forecourt masterclass that made all the difference just when Intanon thought she had got the second game under her control. The backhand, round-the-head and net shots are all worth talking whereas Intanon relied on her court-coverage and drop shots which clearly was not enough.
多年來劉德音一直默默耕耘，鮮少有機會出現在媒體版面。一直到2009年，張忠謀回鍋CEO的首場法說會上，身穿無塵衣的他，在晶圓廠內視訊連線解說40奈米製程最新進展，答詢滿座法人踴躍發問，螢光幕前初體驗，表現令人驚艷。當時張忠謀還幽他一默說「This is still my show」（這仍是我的場子），幽默提醒他快回去改善生產效率。
Associated Press
冷彬(右)和冷靜姐妹倆10多歲愛上史努比後，痴狂收集，現有逾萬件各式物品，她們的生活裡，史努比全都參與。![[The original Powerpuff Girls, top. Their Japanese 'transcreation,' bottom.]](http://online.wsj.com/public/resources/images/P1-AJ308_RETOON_20071015180340.jpg)
![[promo retoon]](http://online.wsj.com/public/resources/images/OB-AS050_promor_20071015140028.jpg)
