2025年1月3日 星期五

昨日的世界(mit Stefan Zweig,佛洛伊德 und Dali) 2018-02 漢清講堂。《弗洛伊德的最後歲月: 他晚年的思緒》華東師範大學出版社 2011 。 最後讀的小說: 巴爾扎克《驢皮記》(La Peau de chagrin)The Death of Sigmund Freud By Mark Edmundson, 2007. last two years of Freud's life

 漢清講堂(YouTube) 介紹過他去畫晚年的S. Freud.

可能是 1 人和紀念碑的黑白圖像
Alberto Giacometti's arrival in Paris in 1922 marked the beginning of a transformative period in the world of modern sculpture. Although Auguste Rodin, the towering figure of late 19th and early 20th-century sculpture, had passed away five years earlier in 1917, his influence was still felt throughout the art world. Giacometti, a Swiss artist born in 1901, came to Paris to study at the Grande Chaumière, where he immersed himself in the teachings of his mentor, Antoine Bourdelle. Bourdelle had been an assistant to Rodin, and thus, Giacometti found himself directly linked to the legacy of one of the most innovative sculptors in history.
In 1950, Giacometti’s admiration for Rodin’s work was clearly reflected when he visited the foundry of Eugène Rudier in Le Vésinet, just outside Paris. It was here that he was able to engage with the iconic Bourgeois de Calais, a series of sculptures by Rodin that had become emblematic of the artist’s dramatic and expressive approach to form. As Giacometti wandered through the park, surrounded by Rodin’s monumental figures, he was filled with both admiration and a sense of humor, using the opportunity to explore his own sculptural techniques. This moment was not only a tribute to Rodin’s genius but also a continuation of Giacometti’s evolving exploration of the human form, which would later be immortalized in his celebrated L'Homme qui marche series.
Giacometti’s artistic evolution was significantly influenced by his encounters with the works of Rodin, whose sculptures combined expressive humanism with intricate detail. Giacometti, like Rodin, sought to depict the human figure with a deep sense of psychological intensity. While Rodin focused on dynamic, muscular forms, Giacometti, particularly in his later years, honed a style that emphasized the fragility and existential solitude of the human condition. His elongated figures and sparse, haunting sculptures captured a surrealist vision that mirrored the emotional isolation of the post-war era. Giacometti’s reverence for Rodin, combined with his unique perspective on human fragility, made him a key figure in modern art, with his work continuing to resonate in both sculpture and the broader art world.


 漢清講堂(YouTube) 介紹他去畫晚年的S.佛洛伊德。


1922 年阿爾貝托·賈科梅蒂 (Alberto Giacometti) 抵達巴黎,標誌著現代雕塑世界變革時期的開始。儘管奧古斯特·羅丹這位 19 世紀末和 20 世紀初雕塑界的巨匠早在五年前的 1917 年去世,但他的影響力仍然波及整個藝術界。出生於1901年的瑞士藝術家賈科梅蒂來到巴黎,在Grande Chaumière學習,在那裡他沉浸在導師安托萬·布爾代爾的教誨中。布爾代爾曾是羅丹的助手,因此賈科梅蒂發現自己與歷史上最具創新性的雕塑家之一的遺產直接相關。
1950 年,賈科梅蒂參觀巴黎郊外勒維西內 (Le Vésinet) 的尤金·魯迪埃 (Eugène Rudier) 鑄造廠時,清楚地體現了他對羅丹作品的欽佩。正是在這裡,他能夠接觸到標誌性的《加來布爾喬亞》,這是羅丹創作的一系列雕塑,這些雕塑已成為藝術家戲劇性和表現形式的象徵。當賈科梅蒂漫步在公園裡,周圍環繞著羅丹的紀念雕像時,他充滿了欽佩和幽默感,並利用這個機會探索自己的雕塑技巧。這一刻不僅是對羅丹天才的致敬,也是賈科梅蒂對人體形態不斷探索的延續,這項探索後來在他著名的《行進之人》系列中永垂不朽。
賈科梅蒂的藝術發展深受羅丹作品的影響,羅丹的雕塑將富有表現力的人文主義與複雜的細節結合在一起。賈科梅蒂和羅丹一樣,力求以深刻的心理強度來描繪人物。羅丹專注於動態、肌肉的形式,而賈科梅蒂,特別是在他的晚年,磨練了一種強調人類狀況的脆弱性和存在的孤獨性的風格。他拉長的人物和稀疏的、令人難忘的雕塑捕捉了超現實主義的視覺,反映了戰後時代的情感孤立。賈科梅蒂對羅丹的崇敬,加上他對人類脆弱性的獨特視角,使他成為現代藝術的關鍵人物,他的作品繼續在雕塑和更廣泛的藝術世界中引起共鳴。


Hitler would perhaps have drawn back in shame at his threadbare overcoat and his broken shoes. Though he might, if things were bad enough, have extended his hand to beg. Whether Freud gave or not (he could well have; he was generally good-hearted) would have made no difference; the encounter would still have left young Adolf seething.
希特勒和佛洛伊德有可能真的見過面。第一次世界大戰開始前,希特勒在維也納度過了他一生中最不快樂的幾年。一次而是兩次。很快,他的錢就花光了,只能睡在門口,甚至不時乞討。如果希特勒和佛洛伊德在維也納的街道上擦肩而過,那麼在佛洛伊德從1909 年非常成功的美國之行歸來後,佛洛伊德就會看到一隻過街老鼠,即暴民中的普通居民。 (佛洛伊德不是民粹主義者。)希特勒會看到一個維也納市民(他鄙視上層中產階級),也可能認為佛洛伊德是猶太人。希特勒或許會因為他破舊的大衣和破鞋而羞愧地退縮。不過,如果情況夠糟糕的話,他可能會伸手乞討。佛洛伊德是否給予(他很可能給予;他通常是善良的)都沒有什麼區別;這次遭遇仍讓年輕的阿道夫心潮澎湃。

a Viennese burgher .
burgher
/ˈbəːɡə/
noun
  1. 1.
    archaichumorous
    a citizen of a town or city, typically a member of the wealthy bourgeoisie.
    "the poem is not the sort of thing the sturdy burghers of Manchester would wish to read"
  2. 2.
    historical
    (in southern Africa) an Afrikaans citizen of a Boer Republic.




《弗洛伊德的最後歲月》The Death of Sigmund Freud By Mark Edmundson, 2007. last two years of Freud's life



該書《驢皮記》是由才華蓋世外國老師亨利·德·巴爾扎克刊行的外國小說,劃分三十六分章19萬字。

驢皮記》(La Peau de chagrin),法國作家巴爾扎克巨著《人間喜劇》系列作品,1831年發表,是「哲理研究」中最有世界影響的一篇,甫出版就引起了德國文豪歌德的強烈興趣,他說「生命裡有二種悲劇,一是得不到任何的悲劇;一是得到一切後的悲劇。」並斷言「這是一部新型的小說」。

小說敘述一名貴族出身的青年瓦朗坦破產後投身到社交場所,落得窮途未路,準備投水自殺時,一個古董商給了他一張印有天竺文字的驢皮,這張驢皮能為主人實現任何願望,但願望一經實現,驢皮會立刻縮小,自己的壽命也隨之縮短。瓦朗坦開始從擄獲金錢的快感,去填壑無盡的慾望,另一方面象徵他生命的驢皮也逐步的縮小,將他帶往死亡,瓦朗坦猛然驚覺,死神已臨近身旁,眼睜睜地看著自己的末日來臨。


At the center of Freud's work lies a fundamental perception: human beings are not generally unified creatures. Our psyches are not whole, but divided into parts, and those parts are usually in conflict with one another. The id, or the "it," is an agent of pure desire: it wants and wants and does not readily take no for an answer. The superego, or over-I, is the internal agent of authority. It often looks harshly upon the id and its manifold wants. The superego, in fact, frequently punishes the self simply for wishing for forbidden things, even if the self does not act on those wishes at all. Then there is the ego, trying to broker between the it and the over-I, and doing so with the greatest of difficulty, in part because both agencies tend to operate outside the circle of the ego's awareness. The over-I and the it often function unconsciously. Add to this problem the fact that "the poor ego," as Freud often calls it, must navigate a frequently hostile outside world, and it is easy to see how, for Freud, life is best defined as ongoing conflict. In a passage in "The Ego and the Id," Freud observes that the ego is a "poor creature owing service to three masters and consequently menaced by three dangers: from the external world, from the libido of the id and from the severity of the superego. Three kinds of anxiety correspond to these three dangers, since anxiety is the expression of a retreat from danger."
佛洛伊德著作的核心在於一個基本觀念:人類並不是普遍統一的生物。我們的心靈並不是完整的,而是分成幾個部分,而這些部分通常是互相衝突的。本我,或者說“它”,是純粹慾望的代理人:它想要一直想要,並且不會輕易接受“不”的答案。超我,或者說超我,是權威的內在代理人。它常常嚴厲地看待本我及其多方面的需求。事實上,超我經常僅僅因為自我想要禁止的事情而懲罰自我,即使自我根本沒有按照這些願望行事。然後是自我,試圖在「它」和「超我」之間進行調解,而這樣做卻遇到了最大的困難,部分原因是這兩個機構都傾向於在自我意識的圈子之外運作。過度的我和它經常在無意識的情況下發揮作用。除了這個問題之外,佛洛伊德經常稱之為“可憐的自我”,必須在一個經常充滿敵意的外部世界中航行,而且很容易看出,對於佛洛伊德來說,生活最好被定義為持續的衝突。佛洛伊德在《自我與本我》的一段話中指出,自我是一個「可憐的生物,為三個主人服務,因此受到三種危險的威脅:來自外在世界、來自本我的力比多、來自自我的嚴重性」。三種焦慮對應於這三種危險,因為焦慮是逃避危險的表現。”



In his last days, Freud became increasingly concerned about our longing for inner peace -- our longing, in particular, to replace our old, inconsistent and often inscrutable over-I with something clearer, simpler and ultimately more permissive. We want a strong man with a simple doctrine that accounts for our sufferings, identifies our enemies, focuses our energies and gives us, more enduringly than wine or even love, a sense of being whole. This man, as Freud says in his great book on politics, "Group Psychology and the Analysis of the Ego," must appear completely masterful. He must seem to have perfect confidence, to need no one and to be entirely sufficient unto himself. Sometimes this man will evoke a god as his source of authority, sometimes not. But in whatever form he comes -- whether he is called Hitler, Stalin, Mao -- he will promise to deliver people from their confusion and to dispense unity and purpose where before there were only fracture and incessant anxiety. But, of course, the price is likely to be high, because the simplifications the great man offers will almost inevitably involve hatred and violence.

在他生命的最後幾天,佛洛伊德越來越關心我們對內心平靜的渴望——尤其是我們渴望用更清晰、更簡單、最終更寬容的東西來取代舊的、不一致的、常常難以理解的「我」。我們需要一個堅強的人,他有一個簡單的教義,可以解釋我們的痛苦,識別我們的敵人,集中我們的精力,並給我們比酒甚至愛情更持久的完整感。正如佛洛伊德在他關於政治的偉大著作《群體心理學與自我分析》中所說,這個人必須顯得完全精通。他必須看起來擁有完全的自信,不需要任何人,並且完全能夠靠自己來滿足。有時這個人會召喚神作為祂的權柄來源,有時則不會。但無論他以何種形式出現——無論他被稱為希特勒、史達林、毛澤東——他都將承諾將人們從混亂中解救出來,並在以前只有分裂和持續焦慮的地方帶來團結和目標。但是,當然,代價可能很高,因為這位偉人提供的簡化幾乎不可避免地涉及仇恨和暴力。

Freud's implicit morality is counterintuitive. Though Freud acknowledged the uses of mild intoxicants like love and art, he was nonetheless extremely suspicious of any doctrine or activity that promised to unify the psyche -- or to unify the nation, the people -- without remainder and to do so forever. Freud believed that the inner tensions that we experience are by and large necessary tensions, not because they are so enjoyable in themselves -- they are not -- but because the alternatives to them are so much worse. For Freud, a healthy psyche is not always a psyche that feels good. For Herbert Marcuse, author of a brilliant meditation on Freud, "Eros and Civilization," Freud's politics are potentially the politics of ecstasy. We can collectively undo our repressions and regress toward collective erotic bliss. For Philip Rieff, author of the equally perceptive and original "Freud: The Mind of the Moralist," Freud appears to be a deep political pessimist who thinks that the healthiest individuals will probably be those who turn completely away from politics. But another way to look at Freud is to see him as someone who suggests that a considerable measure of freedom and even relative happiness can come from following a self-aware middle way. If we are willing to live with some inner tension, political as well as personal, we need never be overwhelmed by tyranny or fall into the anarchy that giving into the unconscious completely can bring.

佛洛伊德的隱含道德是違反直覺的。儘管佛洛伊德承認愛情和藝術等溫和麻醉品的用途,但他仍然對任何承諾統一心靈——或統一國家、人民——沒有餘地並永遠這樣做的學說或活動極為懷疑。佛洛伊德認為,我們所經歷的內在緊張大體上是必要的緊張,不是因為它們本身如此令人愉快——它們並非如此——而是因為它們的替代品要糟糕得多。對佛洛伊德來說,健康的心理並不總是感覺良好的心理。對佛洛伊德的精彩沉思《愛欲與文明》一書的作者赫伯特‧馬爾庫塞來說,佛洛伊德的政治可能是狂喜的政治。我們可以集體消除壓抑,回歸集體的性愛幸福。對於同樣具有洞察力和原創性的《佛洛伊德:道德家的心靈》一書的作者菲利普·里夫來說,佛洛伊德似乎是一位深刻的政治悲觀主義者,他認為最健康的個人可能是那些完全遠離政治的人。但看待佛洛伊德的另一種方式是,把他視為一個認為相當大程度的自由甚至相對幸福可以來自於遵循自我意識的中間道路的人。如果我們願意生活在某種內在的緊張之中,無論是政治的還是個人的,我們就永遠不會被暴政壓倒,也不會陷入完全屈服於無意識可能帶來的無政府狀態。


For Freud, we might infer, a healthy body politic is one that allows for a good deal of continuing tension. A healthy polis is one that it doesn't always feel good to be a part of. There's too much argument, controversy, difference. But in that difference, annoying and difficult as it may be, lies the community's well-being. When a relatively free nation is threatened by terrorists with totalitarian goals, as ours is now, there is, of course, an urge to come together and to fight back by any means necessary. But the danger is that in fighting back we will become just as fierce, monolithic and, in the worst sense, as unified as our foes. We will seek our own great man; we will be blind to his foibles; we will stop questioning, stop arguing. When that happens, a war of fundamentalisms has begun, and of that war there can be no victor.

對佛洛伊德來說,我們可以推斷,健康的政治體是一種允許大量持續緊張的政治體。一個健康的城邦,成為其中的一員並不總是讓人感覺良好。有太多的爭論、爭議、分歧。但在這種差異中,儘管可能令人煩惱和困難,卻存在著社區的福祉。當一個相對自由的國家受到具有極權主義目標的恐怖分子的威脅時,就像我們現在的國家一樣,當然會有一種團結起來並以任何必要手段進行反擊的衝動。但危險在於,在反擊中,我們會變得和我們的敵人一樣兇猛、鐵板一塊,甚至從最壞的意義上來說,也會變得團結起來。我們要尋找自己的偉人;我們會對他的缺點視而不見;我們將停止質疑,停止爭論。當這種情況發生時,原教旨主義戰爭就開始了,而這場戰爭不可能有勝利者。


  • The Death of Sigmund Freud. Bloomsbury Publishing, 2007. Translations: French, German, Dutch, Chinese, Hebrew, Korean, Turkish, Portuguese (Brazil), Greek.[24]


From Wikipedia, the free encyclopedia

Mark Edmundson is an American author and professor at the University of Virginia.[1] He received a B.A from Bennington College in 1974 and a Ph.D from Yale University in 1985.[2] Edmundson specializes in Romanticism, Poetry, and 19th-Century English and American Literature.[1] He is the author of sixteen books, and his essays appear in The Wall Street JournalThe AtlanticHarper's MagazineThe Chronicle of Higher Education, and The New York Times Magazine. Edmundson was awarded a Guggenheim Fellowship[3] and was a National Endowment for the Humanities/Daniels Family Distinguished Teaching Professor at the University of Virginia.[4]


https://en.wikipedia.org/wiki/Mark_Edmundson

《 互動》(Interactions) 2025 0105 補廖志峰──在台大總圖書館日然廳。。相信:禮拜天的虔誠 願上主的名受到讚美! 日誌1229 2024 wsj 讀 The Economist,經濟學人》 聖誕節特刊 2期合 。首爾 慶洲 (NHK); South Korea’s Worst Plane Crash in Decades 光炎先生手稿資料特展:劇場幕後的迷人小旅行;可惜沒有雲門舞集的舞台設計展

 

The most famous quote from the Book of Job in the Old Testament is, "The Lord gave, and the Lord has taken away; may the name of the Lord be praised" (Job 1:21), which encapsulates Job's unwavering faith even in the face of immense suffering.

13有一天,他的兒子同他的女兒,正在長兄家裏歡宴飲酒的時候,
14有個帶信的人跑來向約伯說:「牛正在耕田,母驢在一旁吃草的時候,
15舍巴人突然闖來將牲口搶了去,用刀將那些僕人殺了,只有我一人逃脫,來向你報告。」
16這人還在報告時,另一個人跑來說:「天主的火由天降下,將羊群和僕人都燒死了,只有我一人逃脫,來向你報告。」
17這人還在報告時,另一個人跑來說:「加色丁人分成三隊闖入駱駝群,將駱駝搶走了,用刀將僕人殺了,只有我一人逃脫,來向你報告。」
18這人還在報告時,另一個人跑來說;「你的兒女正在長兄家宴飲的時候,
19忽然從曠野那邊吹來一陣颶風,颳倒了房屋的四角,壓死了你的孩子,只有我一人幸免,來向你報告。」
20約伯就起來,撕裂了自己的外氅,剃去頭髮,俯伏在地叩拜,
21說「我赤身脫離母胎,也要赤身歸去;上主賜的,上主收回,願上主的名受到讚美!」
12
1約伯回答說:
2的確,只有你們是有知識的子民;那麼,你們一死,智慧也與你們一同喪亡!
3其實,我和你們有同樣的心理,我並不亞於你們!誰不知道這些事?
4我這呼籲天主而蒙應允的人,卻被他的友人所嘲笑,無辜的義人卻成了笑柄。
5幸運的人心想:遭難的人應受蔑視,失足的人應再予以打擊。
6但是,強盜的帳幕竟能安全,觸怒天主的人,以勢力為神的人卻享平安。
7請你詢問走獸,牠們也會開導你;詢問天上的飛鳥,牠們也會告訴你;
8地上的爬蟲也會教訓你,海中的魚族也會給你說明。
9牠們中有誰不知道:是天主的手創造了這一切?
10因為一切活物的生魂,一切血肉之人的靈魂,都握在他手中。
11耳朵不是為明辨言語,口腔不是為辨嘗食物嗎?
12白髮老人是有智慧的,年紀大者是有見識的;
13但智慧和能力同在天主內,智慧與見識是天主所有。
14他若拆毀,人不能再建;他若拘禁,人不得開釋。
15他若制水,水便乾涸;他若放水,水便沖毀大地。
16力量與才能,為他所有;受騙者與騙人者,都屬於他。
17他使謀士糊塗,使判官愚蠢;
18他解除君王所繫的玉帶,將繩索捆在他們的腰間;
19他使司祭赤足而行,推倒掌握大權者;
20奪去忠貞者的辯才,剝去年老者的理智:
21使貴人備受侮辱,使勇士的腰帶鬆弛;
22使隱秘的事由暗處彰顯,使黑暗進入光明;
23使邦國興起而又滅亡,使民族強大而又消散;
24剝去國君的理智,使他們漂泊於無路的荒野中,
25在無光的黑暗中摸索,踉蹌猶如醉漢。

nhk somewhere
首爾 

慶洲



Anger and Agony in South Korea After Plane Crash-Lands, Killing 179

Only two people survived the crash, which happened as the plane was landing at an airport in the southwest. Officials said they were investigating the cause.

5 min read

Video Offers Clues to Cause of Plane Crash, but No Immediate Answers

3 min read



What to Know About South Korea’s Worst Plane Crash in Decades




國立台灣大學

Hidden in the shadow of the master : the model-wives of Cézanne, Monet, and Rodin / Ruth Butler.
Butler, Ruth, 1931-2024

圖書
Rodin : the shape of genius / Ruth Butler.
Butler, Ruth, 1931-
c1993.



藝術史學家露絲巴特勒 (Ruth Butler 1931~2024) 《羅丹:天才的形狀》 《隱藏在大師的陰影下:塞尚、莫奈和羅丹的模特兒妻子》“Hidden in the Shadow of the Master: The Model-Wives of Cézanne, Monet, and Rodin,”
羅丹:天才的形狀 平裝本 – 1993年
奧古斯特·羅丹——二十世紀之交世界上最著名的藝術家——過著與他創作的偉大雕塑一樣轟動而激烈的生活。在這部對羅丹的一生和時代的重大重新詮釋中,成就卓著的羅丹學者露絲·巴特勒首次利用嚴密保護的檔案和信件,將這位傳奇藝術家的生活事實與圍繞他成長的許多神話區分開開來。書中配有大量插圖,也對羅丹非凡藝術創作的動機、執行和接受提供了新的詮釋。
After Ms. Butler retired, she created a scholarship fund at UMass Boston to send studio art and art history students who might not otherwise be able to afford it abroad, so they could see artwork firsthand.
“Having had a wonderful education herself,” Ms. Poulet said, “she wanted students to have the same opportunities. And she made it happen.”
巴特勒女士退休後,她在麻省大學波士頓分校設立了一項獎學金基金,用於將工作室藝術和藝術史專業的學生送到國外,讓他們無法負擔得起學費,這樣他們就可以親眼目睹藝術品。
「她自己也接受過很好的教育,」普萊特女士說,「她希望學生也能有同樣的機會。她讓這件事發生了。







[展覽] 2024.12.4-2025.1.15 聶光炎先生手稿資料特展:劇場幕後的迷人小旅行。
可惜沒有雲門舞集的舞台設計展
週末中午,無人,趕快來看汪其楣老師策展的「聶光炎先生手稿資料特展——劇場幕後迷人的小旅行」,資料珍貴豐富,由如走入時光迴廊,尤其重要的,是聶老師對舞台的心法,以及心得分享,不只對劇場工作者有助益,對從事創作的人,一樣可心領神會,每一齣舞台的生命或許短暫,也因短暫而永恆。
謝謝聶光炎老師。
謝謝汪其楣老師。
只到2025年1月15日,有興趣的朋友別錯過了,展廳在台大圖書館一樓日然廳。


[展覽]2024.12.3-2025.1.12 不隨時光消逝的美-方瑜教授紀念展




社會科學院辜振甫先生紀念圖書館. 特色建築 · 名人故居/紀念館/文化館 · 公共圖書館.


溫羅汀的

攝影圖書館

故居 殷海光,臺靜農.....梁實秋

大院子




中原大學張靜愚紀念圖書館   建築師12月號



The Year in Pictures: Far From Ordinary

Photographers captured historic moments of war, grief and wonder that defined 2024.





早間市場快報:科技股下跌拖累美股收低;川普請求最高法院暫停TikTok禁令;2025年哪些科技動態將改變你的生活



臺大圖書館到期通知單 NTU Library Courtesy Notice


背影 / 巴尼等著 ; 周怡芳等译

民俗美術探訪錄 / 莊伯和作

五常談藝術 / 張五常著

纽约现代艺术馆精品 : 350件纽约现代艺术馆最优秀的作品 / [纽约现代艺术馆编著] ; 海鹰,杨晓宾译


包豪斯 / 让尼娜.菲德勒, 彼得.费尔阿本德编著 ; 查明建等翻译

寄生上流 : 原著劇本= Parasite : screenplay / 奉俊昊原著劇本 ; 韓珍元編劇 ; 葛增娜譯

月亮與六便士 / 毛姆著 ; 傅惟慈譯

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中國債台高築,習近平仍堅持自上而下的經濟方針

在中美就貿易問題展開第二輪較量之際,習近平堅持自己的路線,相信自上而下管理中國經濟的方式以及讓中國成為更大工業強國的計劃,是中國最終在經濟實力上超越美國的最佳途徑。

加劇中國人口危機的「無形之牆」

儘管中國領導人一直在想辦法提高國內人口出生率,中央政府還是認為有一類人總希望多生孩子,那就是農村人。但他們錯了。

中國AI公司另闢蹊徑快速追趕美國同行

儘管中國購買先進製程的晶片面臨種種限制,但開發者已找到變通途徑。有跡象表明,中國初創企業追趕美國領先的AI模型的速度要比業內許多人預期的更快。

中美晶片衝突的戰火將蔓延開來

在當前的中美晶片戰中,美國在最尖端技術方面明顯佔據上風。但在成熟製程晶片賽道,中國可能正在獲得優勢。

中國企業避開美國關稅的「公開」秘訣:轉運

中國產櫥櫃繞道馬來西亞,最終出現在美國家庭的廚房裡,這引發了海關調查,並造成美國櫥櫃產業的分裂。

 

  • 中國法院判處樊維秋死刑,先前該男子在珠海駕車衝撞人群,造成35人死亡。這起襲擊事件促使中國政府採取措施平息社會動盪。

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