2019年12月25日 星期三

Christmas truce. The Forgotten Story of Christmas 1918. 林獻堂日記,2017年、11月11日,巴黎 WW1(一次世界大戰) 終戦百年記念:"Their Name Liveth For Evermore", 'They Shall Not Grow Old': World War I Brought To Astonishing, Harrowing Life... “Human beings can be awful cruel to one another.” 轟炸 Reims Cathedral




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250 六六感言 2018-11-08 HC Chung
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249 ww1(一次世界大戰) 終戦百年記念


249 WW1(一次世界大戰) 終戦百年記念





2 時間前 - We remember the 1914 Christmas Truce as a moment of humanity amid war. Four years later, a darker tale unfolded.
2018/12/19 - This week, we have come together once more and WWrite has the pleasure of featuring her important post on "The Peace Christmas." RuzichCheerio Alls Well WAAC Christmas 1918 by Nora Howard courtesy Tony Allen WWI ...
The Christmas truce was a series of widespread unofficial ceasefires along the Western Front of World War I around Christmas 1914. The truce occurred during the relatively early period of the war (month 5 of 51). Hostilities had lulled as ...



林獻堂日記,2017年、11月11日,巴黎




British painter and printmaker C R W Nevinson was born #onthisday in 1889. He was one of the most famous war artists of the First World War, known for his harrowing works depicting life at the front lines.
Nevinson served with the Red Cross during WWI, before being discharged because of illness in January 1916. This dynamic print was made in that year – he then became an official war artist in April 1917http://ow.ly/773B30ploky

https://en.wikipedia.org/wiki/Christopher_R._W._Nevinson

The Doctor (1916) (Art.IWM ART 725)


《德訓篇》Ecclesiasticus

"生活在19世紀末20世紀初那個特定的時代,吉卜林親身體驗了歐洲文明向全世界的兇猛擴張,也不可避免的經歷了隨之而來的第一次世界大戰。在此期間吉卜林遭受了他人生中最大的痛苦,他的大兒約翰(John)犧牲在1915年的盧斯之戰中,為此吉卜林自責地寫下了「如果有人問我們為什麼死,告訴他們,因為我們的父輩說了謊。」(If any question why we died/ Tell them, because our fathers lied), 這句話的來由可能是因為吉卜林送兒子參軍時,為兒子很差的視力做了很多努力才獲得批准。為了彌補心中的創傷,吉卜林加入了費邊帝國戰爭治喪委員會(現為共 和國戰爭治喪委員會),這個組織負責英國戰爭中犧牲人員的墓地建設,吉卜林對這個項目最大的貢獻是為這個項目挑選了一句聖經中的短句「Their Name Liveth For Evermore」,刻在了幾個較大的戰爭墓地的紀念碑上,同時他也記錄了他的兒子所在的愛爾蘭衛隊的歷史。"
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 For evermore repeated...None will empire yield
(Faust)

Their Name Liveth For Evermore
他們的遺體必被人安葬,名譽必留於永世;
Sirach 44.14, KJV
evermore
(ĕv'ər-môr', -mōr'pronunciation
adv.
  1. Forever; always.
  2. In a future time.



Persiflage by Heinrich-Otto Pieper

  • persiflage of this tale can be found on the wall in the Fort Napoleon, Ostend, Belgium. Heinrich-Otto Pieper, a German soldier during World War I, painted the German and the Austro-Hungarian eagles throned on a rock, under the light of a Turkish crescent. They look with contempt on the futile efforts of the Town Musicians of Bremen to chase them away. These animals are symbols for the Allied Forces: on top the French cock, standing on the Japanese jackal, standing on the English bulldog, standing on the Russian bear. Italy is depicted as a twisting snake and Belgium a tricolored beetle.


249 WW1(一次世界大戰) 終戦百年記念

https://www.youtube.com/watch?v=pKUV-7Eed68




二十世紀の世界‧ 2 第一次世界大戰の西洋世界





謝謝缪女士讓我會前惡補此書。昨晚開始讀。給她留言:看了第一章 (很不平凡的開張),我肯定讀過:幾年前有人詳細介紹此書。另外我有興趣的是1918年豪華車內部長的怎樣,因為譯文中諸如儀表板--英文dashboard--等等,都一應具全。
此小說在博客來:http://www.books.com.tw/products/0010698990
繆詠華更新了她的封面相片。
轟炸
Reims Cathedral



經濟學有時過份天真,因為第一次世界大戰改變世界大國最大的,乃是各國青年精英的喪命戰場。此等統計圖缺各國死亡人數。
The Economist
#Dailychart Advent calendar: In our round-up of the most popular infographics published on our site in the last 12 months, we are at day sixteen. This chart from July looked at how the first world war changed the world http://econ.st/1vV6H2H

胡適日記 1915一一、題歐戰諷刺畫

  (七月十一日)

  自戰禍之興,各國報章之諷刺畫多以此為題,其中殊多佳品,偶擇其尤,附載於此:


  既載此八畫,戲為作題詞,以三十分時成七則,亦殊有雋妙之語,頗自憙也。四七兩章大有古樂府風味。




On this day in 1884, ADVENTURES OF HUCKLEBERRY FINN by Mark Twain was first published in the U.K. The novel was published in the U.S. in February 1885.
“Human beings can be awful cruel to one another.” 
―from ADVENTURES OF HUCKLEBERRY FINN (1884)
Along with Blake and Dickens, Mark Twain was one of the nineteenth century’s greatest chroniclers of childhood. These two novels reveal different aspects of his genius: Tom Sawyer is a much-loved story about the sheer pleasure of being a boy; Huckleberry Finn, the book Hemingway said was the source of all the American fiction that followed it, is both a hilarious account of an incorrigible truant and a tremendous parable of innocence in conflict with the fallen adult world. READ more here: https://www.penguinrandomhouse.com/…/tom-sawyer-and-huckle…/

內容簡介
20世紀初,歐洲欣欣向榮、歌舞昇平。突然,享受著這一切的歐洲人被拖進大戰,歷經極深的苦難、哀痛和驚懼。拿破崙戰爭之後,歐洲曾雄踞文明之巔近百年,如今卻驟然落入野蠻的深淵。在文明的謳歌聲中開啟的20世紀,淪為戰爭的世紀。
從1914年到1949年,歐洲接連經歷兩場慘烈的大戰,似乎鐵了心要自我毀滅。那是大混亂的時代。族群仇恨、領土之爭、階級衝突、經濟危機毒化了政治,在戰爭的陰霾下,人性之惡借著機器和技術彰顯。那也是大變革的時代。兩次大戰之後,在地獄行了一遭的歐洲試圖在人性和文明的廢墟上重生,新歐洲的輪廓逐漸清晰。
20世紀上半葉,歐洲走向地獄,又歷劫重生。在這段令人戰慄的歷史之後,我們所生活的世界正帶著它的烙印前行。
作者簡介
伊恩·克肖(Ian Kershaw)
英國國家學術院院士、王家歷史學會會員、20世紀德國史專家。他從牛津大學獲得博士學位後,曾執教于曼徹斯特大學、聯邦德國波鴻魯爾大學、諾丁漢大學,並自1989年起擔任謝菲爾德大學的現代史教授直至退休。主要著作有《希特勒迷思》、兩卷本《希特勒傳》和《命運攸關的抉擇:1940—1941 年間改變世界的十個決策》。2002 年,他因為在歷史學方面的貢獻而獲封為爵士。
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'They Shall Not Grow Old': World War I Brought To Astonishing, Harrowing Life

CHRIS KLIMEK




Peter Jackson restores archival footage of British soldiers enjoying a meal in the documentary They Shall Not Grow Old.Warner Bros. Pictures

In the closing moments of They Shall Not Grow Old, Peter Jackson's impressionistic documentary — no dates, no title cards, no omniscient narrator — about the foot soldier's experience of the sadly misnamed War to End All Wars, we hear one veteran recall that upon their return to England their wartime experience "had no conversational value at all."

Another says, "My father would argue points of fact about things he couldn't possibly have known about, because he wasn't there." A third concludes, "History will decide in the end that it was not worthwhile." These observations echo against those heard 90 minutes earlier, when a few recalled their departure for the front as a sober matter of duty ("We were professionals and it was a job of work"), but many more cited jovial spirits and a lust for adventure ("It was a great big game to be enjoyed").

These voices were recorded in the 1960s, when the BBC interviewed around 250 veterans of the the first World War, as they were still hale enough to speak of their experiences circa 1914-18 with clarity and authority. They were a self-selecting group, the subset of their shelled, gassed, frozen, starved and machine-gunned generation of men most suited to bear the horrific psychological costs of what they witnessed in a war that history has indeed shown to have been particularly cruel and pointless.


All of the film's imagery, meanwhile, is sourced from documentary footage from the archive of England's Imperial War Museum, which commissioned Jackson to make the movie, with the proviso he abstain from using any new footage or archival material from other sources. The director has said that despite being permitted to use only British material, he intends the film to reflect "the human experience" of the war. Certainly this would make an exceedingly poor propaganda film.


HISTORY
100 Years On, The 'Hello Girls' Are Recognized For World War I Heroics


PARALLELS
A Century Ago, When The Guns Fell Silent On Christmas

Jackson's team digitally restored the footage, originally captured by hand-cranking camera operators who were sometimes under fire, and then converted a portion of it into color and 3D. Jackson's technological zeal has sometimes scrambled his artistic judgment — those high-frame-rate presentations of his crummy Hobbit movies just made expensive productions look cheap — but here the results are astonishing, all but erasing the barrier of time that often keeps us at an emotional remove in documentaries about persons long dead. The digital tools summon empathy, not spectacle.

Jackson keeps the early section of the film, about the soldiers' training, in square-framed 2D monochrome, delaying the 3D color for their arrival on the battlefield. He has also manufactured a soundtrack for this silent footage, hiring forensic lip-readers to interpret the subjects' speech and casting regionally-appropriate actors to record it.

Unlike, say, the way Christopher Nolan used his artistry to conjure a visceral, intentionally disorienting facsimile of combat in Dunkirk, Jackson is resurrecting the dead in more prosaic terms, revealing their lopsided smiles, their prematurely aged faces, their exhausted body language. In its depiction of combat, the movie is powerful but never prurient, cutting between slow-motion shots of young men mugging and clowning and brief, awful still frames of their mangled corpses, flesh rotting away, skulls exploded like eggshells. Over these images, men speak of becoming inured to the "musty, decaying smell."

Nothing in the film will refute the familiar notion that technological progress, if that's the right word — and World War I saw the introduction of a variety of particularly nightmarish weapons — has done little to alter the daily existential privation of those who fight, who retain little mastery over their own fates. But as an work of ethical, empathetic exhumation, They Shall Not Grow Old is a model.
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A tribute by US WW1 soldiers to horses lost in the conflict. At Camp Cody, New Mexico. 1916.

未提供相片說明。


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【真誠的力量 改變一座城市】
臺中,真的不一樣了!四年以來,不斷躍起蛻變下,柳川、綠川整治、舊城再生接連完成,加上中央公園、嶄新火車站的落成啟用,以及蓄勢待發的花博盛會、捷運綠線開通…憑著一股真誠的力量,將臺中推向更令人嚮往的美好未來。

2019年11月29日 星期五

關於"The Bauhaus 群英會








以前的書序或許比較有意思,譬如說,1979年翻譯 Robert Venturi's Complexity and Contradiction in Architecture 時,夏鑄九先生的序為《一個熱淚盈眶的嘲弄者》,葉庭芬的譯序為《穿花蛺 (葉採用夾)蝶深深見, 點水蜻蜓款款飛》(杜甫詩)。

當然,現在我們容易知道這些得出處,譬如說,《曲江二首》之二    杜甫
    朝回日日典春衣, 每日江頭盡醉歸。
  酒債尋常行處有, 人生七十古來稀。
  穿花蛺蝶深深見, 點水蜻蜓款款飛。

    傳語風光共流轉, 暫時相賞莫相違。

那,姑且用末句作為The Bauhaus 群英會 》的引言好了。

關於The Bauhaus School,英語書籍數以百計,日本對於核心的 Bauhaus 叢書,更是全數翻譯。

"The Bauhaus"最簡單的歷史,可以參考Wikipedia 的條目及Peter Gay 的著作:

Weimar Culture: The Outsider as Insider, 1968
 《威瑪文化 : 一則短暫而璀璨的文化傳奇》,劉森堯譯,台北:立緒,2003,pp.168~76。

Gropius 所要傳達的,正是培根和笛卡爾以及啟蒙運動所注重的觀念:人必須和世界對抗並加以宰制,所以要治療現代的疾病乃是尋求更多更正確形式的現代化。 (《魏瑪文化》p.171)


所謂的"群英會",師生和相關人物,起碼數百人,而且多是我們不熟悉的德國政壇、藝界 (可以肯定,20世紀上半葉,柏林同巴黎一樣,都是世界級的中心)。這些人的作品和互動之資訊,說不定是天文數字的。


"群英會"的串場,可以是The Bauhaus School的師生中的任何人,端看你的際遇:寫The Bauhaus Group: Six Masters of Modernism的NICHOLAS FOX WEBER,以
Anni and Josef Albers 夫婦為主, Walter Gropius, Paul Klee, Wassily Kandinsky, Ludwig Mies van der Rohe等四位為輔。


The Bauhaus Group一書中的 Paul Klee 和 Wassily Kandinsky,其實都是謎樣的人物。




.....實際的真實卻是:人複雜異常,無法被瞭解,其實,一個人最特殊最私密的內容,往往是不能寫的,會帶進棺材,......寫作的追求就是,透過無數細節和回憶,最大程度告訴讀者其中的一部分。金宇澄 https://www.openbook.org.tw/article/p-976

然而,像我們這類以第二、第三手資料的報告,可以選的串場人物可能以Paul Klee 為主,主要是他在 Bauhaus 的經歷超過十年,有諸都筆記。又有人"詳記"其生平。



《非功效的共通體》(La Communauté désoeuvrée,1986)是南希第一本處理共同體問題的著作。本書是對於南希的一些重大哲學論題的引論。南希把共同體的觀念追溯到經驗、論述和個體的概念中,並主張說,共同體的概念主導著現代思想。南希推翻「共同體」的一般理解,例如視之為不同獨立個體的一個集合,或者視之為一個實體化的社群實在(例如法西斯主義),而試圖重新定義「共同體」。
南希指出,人類企圖按照預先制定的定義來規劃社會,經常導致社會暴力和政治恐怖。而所謂「非功效的共同體」,則意味著共同體不是社會活動、經濟活動、甚至政治活動產生出來的結果,共同體不是一個「作品」(oeuvre)。強調「共同體」之「同」(同一性),必然導致一種同質化,從而失卻「通」(交互相通)。由此,真正意義上的共同體,必定是一個「共通體」,拒絕任何齊一化。南希的共通體概念,可以說是對海德格爾 「共在」(Mit-sein)概念的改造。~~Wikipedia 讓-呂克·南希Jean-Luc Nancy,1940年7月26日),法國哲學家




由於"The Bauhaus 群英會"的人數眾多,我們先決定此講的人數之上下界限。
當然,下限是1人,不管是"創始人" Walter Gropius 或其他"masters"。
不過,稍加擴張的方式是去查 E. N. Gombrich 的 《藝術的故事》中提到的。已雨芸翻譯的第12版 (台北:聯經,1989)為例,書中簡單提到Walter Gropius 設計的德劭 Bauhaus。藝術家介紹3位:Paul Klee、Wassily Kandinsky和 Lyonel Feininger 等3人。
E. N. Gombrich 另一本談應用藝術的The Sense of Order (1979) ,只提到 Klee.






 Walter Gropius 與工藝聯盟  the Werkbund 的角色:

 the office and factory building for the Werkbund Exhibition (1914) in Cologne.

找人:




1913

In 1913, Gropius published an article about "The Development of Industrial Buildings," which included about a dozen photographs of factories and grain elevators in North America.

1914
Concept and Development of the State Bauhaus By Walter Gropius
遺澤:William Morris, Henry van de Velde, Olbrich, Behrens ...and others in Germany, and finally the German Werkbund. 1915

Henry van de Velde, the master of the Grand-Ducal Saxon School of Arts and Crafts in Weimar was asked to step down in 1915 due to his Belgian nationality.

Teachers taken over from the Weimar Institute of Fine Arts: Max Thedy 1919-20 Otto Fröhlich 1919-20 Richard Engelmann 1919-20 5. (Dezember 1868 in Bayreuth; † 11. September 1966 in Kirchzarten)

Walther Klemm 1919-20 
Newly appointed teachers: LyonelFeininger 1919-25 Lyonel Feininger 1925-32 ...







1919

Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933, 



In 1919 Swiss painter Johannes Itten, German-American painter Lyonel Feininger, and German sculptor Gerhard Marcks, along with Gropius, comprised the faculty of the Bauhaus.


Georg Muche ( 1895 – 1987) 

1920



Gropius and Alma divorced in 1920. (Alma had by that time established a relationship with Franz Werfel, whom she later married.) 

Walter Gropius invited 

Georg Muche 


Muche in 1919 to join the Bauhaus faculty in Weimar. At the urging of Lyonel Feininger, he accepted, becoming the youngest Master of Form. At Bauhaus, he headed the weaving workshop from 1919 to 1925 and directed the preliminary course from 1921 to 1922. Muche married Elsa (El) Franke, who was a Bauhaus student, in 1922.[5] After 1922 his style evolved from pure abstraction towards more figurative and organic leanings, a sort of lyric surrealism.[6]Muche was in charge of the 1923 Bauhaus Exhibition, their first major exhibition,[5] for which he designed an experimental house known as "Haus am Horn". It was constructed in 1923 as the first practical implementation of the new Bauhaus building style. Such principles were key influences on 20th-century architecture.[8] Haus am Horn was designed to showcase economical housing, providing a functional design using prefabricated materials for quick and inexpensive construction.[9] The house, which demonstrates a keen understanding of the use of space, has been called "a true artwork of the realization of abstract monumental beauty".[10] In 1996, Bauhaus and its sites in Weimar and Dessau were declared a 20th-century World Heritage Site by the United Nations Educational, Scientific and Cultural Organization.[8] Muche was the leading proponent of the Bauhaus architectural group. In 1926 he, along with Richard Paulick, designed the innovative Stahlhaus (Steel House) at Dessau-Törten.[5][7] From 1925 to 1927 he headed the Bauhaus' weaving workshop in Dessau.


1920.11.25
Klee  (40歲) 受邀加入:Walter Gropius、Lyonel FeiningerRichard EngelmannGerhard Marcks  ,Johannes Itten,Georg Muche Walther Klemm 

1921


Walter Gropius's Monument to the March Dead (1921) 

1922
joined in 1922 by Russian painter Wassily Kandinsky
1923



On 16 October 1923, Gropius married Ilse (later changed to Ise  ~1983) Frank, and they remained together until his death in 1969

1924


1925

「muche bauhaus」の画像検索結果
Lyonel Feininger, Wassily Kandinsky, Oskar Schlemmer, Georg Muche and Paul Klee in Paul Klee's studio at the Bauhaus Weimar, 1925


Bauhaus (built 1925–26) in Dessau, 
Dessau from 1925 to 1932 
1926




1927



1928



1929



1930