20:49250 六六感言 2018-11-08 HC Chung
2 views15 hours ago
16:52249 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
Opinion | The Forgotten Story of Christmas 1918 - The New ...
https://www.nytimes.com › christmas-world-war-i-1918
- このページを訳す
2 時間前 - We remember the 1914 Christmas Truce as a moment of humanity amid war. Four years later, a darker tale unfolded.
1918. The Peace Christmas - World War I Centennial
https://www.worldwar1centennial.org › articles-posts › 5...
このページを訳す
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 ...
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
《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。"
---
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
- A 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
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。
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)
―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
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。
----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。
'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.
--
A tribute by US WW1 soldiers to horses lost in the conflict. At Camp Cody, New Mexico. 1916.
---
【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。
沒有留言:
張貼留言