2018年12月9日 星期日

一起實踐國際人權日的理念: 由美麗島雜誌想到朴正熙朴槿惠父女(陳忠信2016 );2014 人權日-美麗島事件紀念日



  1. 人權日-從民間社會進入公民社會 陳忠信主講 (歌曲 Islands Sunrise)


    hc iTaiwan forum

    1 year ago
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    19:28



    人權日-美麗島事件紀念日 陳忠信主講


    hc iTaiwan forum

    1 year ago
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    人權日-美麗島事件紀念日( 2014.12.10 私人聚會) 1979年高雄美麗島事件已滿35週年,今天我處有邀約小聚會:陳忠信(杭之)、唐香燕、 ...




    ~~~陳忠信新增了 4 張相片。












今天我處有邀約小聚會:陳忠信(杭之)、唐香燕、胡慧玲、蘇錦坤,吳鳴(彭明輝)、鍾漢清、楊澤泉......
人權日-美麗島事件紀念日( 2014.12.10 私人聚會)

香港蘋果日報
台灣早前選舉後變天,讓還在佔領區留守的香港市民羡慕不已。民進黨黨主席蔡英文說,「如果我們因為勝利,而忘掉了背後相應承擔的責任,人民給予我們的支持,也將隨時可能被收回」,讓香港人感到,台灣九合一選舉,不是民進黨的勝利,而是人民的勝利。
然而,台灣的民主亦得來不易。國民黨1949年退守台灣之初,仍是一黨專政,輔以軍法治國。1979年的今日(亦是國際人權日)一批文人學者發起遊行和演講,爭取民主,但遇到鎮暴部隊包圍,最終釀成警民衝突,182名憲兵及警察受傷;同時在嚴厲的新聞管制下,只有「1個」受傷的市民。
台灣的民主,是如何由美麗島事件中走出最重要的一步,且看:
【1979年台灣美麗島事件 警民衝突終變真普選】
http://bit.ly/1zLTdu6



由美麗島雜誌想到朴正熙朴槿惠父女
1948年12月10日聯合國大會通過《世界人權宣言》。1950年起,聯合國大會定每年的12月10日為國際人權日,以紀念《宣言》的通過。
29年後,也就是1979年12月10日,當時還不能組黨的台灣,一群反對國民黨軍事威權統治的反對人士聚集成立美麗島雜誌社,發行《美麗島雜誌》(月刊),很有意思的是,每期雜誌的封面都是一張群眾集會的照片(只是每期顏色配色變化),三個大大的「美麗島」字樣下面,兩列英文的 “FORMOSA:THE MAGAZINE OF TAIWAN′S DEMOCRATIC MOVEMENT”,清楚地定位這是民主運動的機關誌。(見圖)
雜誌社除了出刊雜誌之外,還辦很多活動,更在各地設服務處,8月下旬創刊時,封底除「全美總經銷」外未列台灣各地服務處,第 2 期時已成立 9 處服務處(當時除金、馬、澎外島,有 20 縣市),第 3 期又增加為 11 處,台灣本島半數以上縣市都成立了服務處。這些服務處並不是只賣雜誌的經銷處,更重要的,是一種後來被稱為「沒有黨名的黨」的組織發展型態。
這種發展,恐怕是1949年國民黨敗退台灣以來所未曾有的。從政治社會學的角度來看,威權體制的根本特徵是,其威權權力機器有非常有效的能力去預防那些有害於其權力與利益的政治結果出現,而即使意外地出現了這樣的政治結果,威權權力機器也有能力很快地將之粉碎。12月10日雜誌社在高雄辦群眾集會紀念國際人權日,遭到鎮壓,是一種結構性的必然發展,不發生在當日的高雄,也可能發生在其後某月某日的某地。這是美麗島事件的結構性背景。
美麗島事件之後,台灣的民主運動進程邁向另一個階段,台灣的民主化也有一番轉折性的發展。
昨天一早,遠在芝加哥的老友、美麗島大審前也連署由陳若曦帶回來之 27 名海外學人致蔣經國函的詩人許達然教授打電話來,說今天是國際人權日,美麗島事件紀念日。當時我不在家,正在社區家庭理髮店剪頭髮。我這才猛然意識到,美麗島事件轉瞬即將 40 年,當年的戰友有些已成古人。這裡無法去追憶很多當年的往事,以及相關的隨想。倒是最近韓國總統朴槿惠的風波讓我回想到一些往事。順手一記。
美麗島時期,韓國是軍人朴正熙執政,那也是通過軍事政變取得權力,一樣實行軍事威權統治,一樣號稱在經濟建設上有亮麗成績,也位列四小龍。《美麗島雜誌》在第 2 期刊登了一篇〈揭穿韓國經濟奇蹟的神話〉,這是上篇,還有下篇。文章聲稱根據實地調查,揭露韓國經濟發展的真相,主要是抨擊韓國的經濟發展犧牲農工階層,壓制民主運動。批判性很強,跟當年台灣的情形有一定程度的相似。(見圖)
正因此,後來我被捕後在調查局偵訊中,偵訊人員說這是我們自己寫的,以韓國的狀況來影射、抹黑國民黨的統治。事實上,這是一篇由艾琳達提供的、由外籍人士所寫的長篇英文稿子編譯而成的,作者有很明顯的左翼思想背景。
文章刊出後,韓國駐台北的大使館(當時有邦交)向國民黨政府抗議,要求查禁,國民黨政府也給雜誌社極大壓力,但可能因各種原因考量,還沒立即查禁。雜誌社則在第 3 期刊出一封致韓國大使館的信函,說明雜誌社的立場,並將該頁塗黑處理(如圖),以示抗議。
第 3 期甫出刊,10月29日晚,朴正熙為其多年倚為心腹的中央情報部部長金載圭刺殺身亡,是為「10.26 事件」。《美麗島雜誌》第 4 期(也是最後一期)以社論〈韓國政變的背景和啟示〉(雜誌社同仁、〈台灣自救宣言〉作者之一的魏廷朝執筆),指出如果政治領袖要受後世欽仰,就應順應民主潮流,樹立民主的典章制度,化「個人」一時的偉大與英明為永垂後世的「制度」上的完美和安全。
此外,編輯部也輯譯相關資料,寫成〈漢江怒濤下的悲劇 ── 朴正熙遇刺事件淺析〉,我在〈編者案〉中說:當代大經濟學家之一的 Jacob Viner 曾說:「經濟學家有義務去認清,經濟的改善並非僅僅是更多的資本、更多的耕地、或更多地下煤的問題,而且也是透過更好的教育、更好的健康、更好的刺激,以及更好的政治與社會組織所獲致的管理與體力勞動的效果之成長的問題,並且加以宣揚……」開發中國家在快速成長的大目標下,為要累積資本,常採用所謂「加工出口」的經濟發展策略,大膽地犧牲農業和都市勞工的利益,並為貫徹這一類政策而建立獨裁政治體系,而造成很多社會、政治問題。……朴政權 18 年維新只是這樣一個例子。此次政變有其深遠的經濟層面因素,它或可引導我們去想:開發中國家在獨裁與工業化之間有沒有其他的選擇?
這兩篇文章的撰寫與編譯,當然有當日我們對政治、社會的一番關切在,因而都有相當的批判視角。批判論述之餘,公案還是要了,這一期,我們再度把上期塗黑的致函稍作增補刊出,〈敬請韓國政府對本刊言論正式表示態度〉,這次不再塗黑。
第 4 期在 11 月底出刊,二個禮拜後,美麗島事件發生,全島大逮捕,雜誌當然也就「有疾而終」,而韓國則在軍事政變的動盪中。台、韓各自經歷不同的政治發展歷程,最後各自走上各自型態的民主化。
上世紀末,朴槿惠再次步入政壇,在其國會議員任內,曾來台訪問。有一次,外交部宴請她,我在立法院曾參加「中韓國會議員聯誼會」,幾次去過韓國交流,拜會過各黨,大概因為這個原因,外交部邀我與宴,但除了記得主賓外,當時有誰參加(只有一桌),主人是那位,我已一概無印象,或許是當年的事沒留下好的印象,因此或許是居於好奇,或者是禮貌,吃了一頓幾乎什麼都沒留下印象的應酬飯。
事隔多年,再度看到這位將軍之女之報導,已是貴為總統,接著又是在群眾憤怒的抗議聲中、在國會壓倒性通過彈劾下,不光彩的下台。順著這事去看韓國獨立後、民主化後的政治發展,能不唏噓乎?能不深思乎?民主化是一條什麼樣的路呢?





加入我們的行列,一起實踐國際人權日的理念,將人人平等的訴求散播到全世界。

2018年12月7日 星期五

2018年11月12日 星期一

Leonard and Virginia Woolf: Hogarth Press; Remember Their War Dead .








14:59

157 Virginia Woolf and The Hogarth Press 漢清講堂 2017-05-19









SISTER ACT: VANESSA BELL'S DARING BOOK COVER DESIGNS

Sister Act: Vanessa Bell's Daring Book Cover Designs
Every time you refer to her as Virginia Woolf’s big sister, Vanessa Bell rolls her eyes at you from the grave. An acclaimed modernist painter and founding member of the lauded Bloomsbury group, Bell also dominated the world of modernist book cover design. Bell was the queen of the unclean line, and her book covers were the visual manifestation of her sister’s uninhibited, musical prose. If you fear asymmetry, read no further. If you crave kinetic graphics and broken rules, carry on.
Bell__The Waves copy.jpg
A brief word on Bell’s early life: she, like Woolf, reaped the benefits of upper middle class respectability and ‘a room of one’s own,’ that is, a physical and figurative space for creativity to grow. Bell, nee Stephen, was the daughter of  literary critic Sir Leslie Stephen. She was raised in a family that celebrated independent thought and artistic expression (may we all be so lucky). And she had talent. From the start, Bell was hungry to create. Her older stepbrother George Duckworth once recalled his stepsister’s disdain for high society gatherings and anything that wasn’t art, citing how she “resented the forced pomp of these occasions with some vigour, longing only for her paints and easel.”
In fact, Bell’s only lifelong commitment was to her paints and easel, and to the Modernist ideals that defined her work. We could discuss Bell’s open marriage to art critic and founding Bloomsbury member Clive Bell, her relationships with modern art critic Roger Fry and painter Duncan Grant, and the series of love-polygons that dominated her personal life. But we’re here to admire Bell’s work, which, unsurprisingly, garners far more interest than the ‘scandalous’ life she led at the forefront of the Modernist movement.
Bell__The Years copy.jpg
Known primarily for her paintings, which featured then-radical use of brushstroke and color, Bell also believed in the value of art in the commercial world. Along with Roger Fry and Duncan Grant, Bell founded the Omega Workshops, which emphasized color and pattern for products like textiles, furniture, and pottery.
Then, of course, there are Bell’s book cover designs, decadent in their deviance from clean lines and dust jacket norms. Virginia Woolf once told Bell, “Your style is unique, because so truthful, and therefore it upsets one completely.” When we examine any one of the 38 book covers Bell designed for Woolf, we see shapes formed with a vivaciousness and urgency that only the Modernist period would inspire. In a world dominated by software programs that promise utmost symmetry and a market that demands tidy design, Bell’s book covers remind us of the joy in reading. And in creating book covers.
Bell__Haunted House copy.jpg
Often, when we read about Modernism, we can easily find the period inaccessible to those who did not live the Bloomsbury lifestyle. Bell’s designs, however, remind us how the mantra make it new resonates beyond the art world and beyond the twentieth century. These unbothered covers could teach us a lesson or two about breaking the rules.


Mary Ryan Karnes is a freelance writer and a Master's candidate in fiction at the University of Southern Mississippi.
@mary_ryan419

157 Virginia Woolf and The Hogarth Press 漢清講堂
https://www.youtube.com/watch?v=-hKBwwbRiNA
The dazzling cake Cressida Bell created to celebrate 100 Years of Hogarth Press!

INSTAGRAM

Instagram post by Vintage Books • Jul 3, 2017 at 10:47am UTC
48 Likes, 2 Comments - Vintage Books (@vintagebooks) on Instagram: “Very impressed by the dazzling cake @cressidabell created to celebrate 100 Years of Hogarth Press!…”






Virginia Woolf 分享了 1 則貼文。

Leonard and Virginia Woolf's Hogarth Press published Vita Sackville-West​'s THE EDWARDIANS on this day in 1930.
Vintage Books & Anchor Books
11小時
Vita Sackville-West​'s THE EDWARDIANS was first published on this day in 1930 by the Woolfs' Hogarth Press. The novel was an instant bestseller.
"Acres of red-brown roof surrounded him, heraldic beasts carved in stone sitting at each corner of the gables. Across the great courtyard the flag floated red and blue and languid from a tower. Down the garden, on a lawn of brilliant green, he could see the sprinkled figures of his mother’s guests, some sitting under the trees, some strolling about; he could hear their laughter and the tap of the croquet mallets,"
--from THE EDWARDIANS (1930)
A glittering satire of Edwardian high society, THE EDWARDIANS features a privileged brother and sister torn between tradition and a chance at an independent life. Sebastian is young, handsome, moody, and the heir to Chevron, a vast and opulent ducal estate. He feels a deep love for the countryside and for his patrimony, but he loathes the frivolous social world his mother and her shallow friends represent. At one of his mother’s decadent house parties, Sebastian meets two people who shake his sense of self: Leonard Anquetil, a lowborn arctic explorer, who questions his mode of living; and Lady Roehampton, a married society beauty with a string of lovers, who breaks his heart. When Sebastian reaches the brink of despair, it is his self-possessed younger sister, Viola, who opens for them both a gateway to another world. READ an excerpt here: https://www.penguinrandomhouse.com/…/the-edwardians-by-vit…/

2018年11月4日 星期日

在她去世150年後,人們關注的焦點依然是她的名人光環,而非她的作品。 喬治桑生前是法國收入最高的作家之一。但她留給世人的印象,至今仍是她抽著雪茄、男扮女裝、與許多名人交往的形象。《喬治‧ 桑與福樓拜 George Sand’s unfinished legacy》; FLAUBERT’S PARROT (1984) : 2018-0509 漢清講堂Flaubert in the Ruins of Paris: The Story of a Friendship, a Novel, and a Terrible Year (2017)

《喬治‧ 桑與福樓拜 》The George Sand–Gustave Flaubert Letters.…

George Sand and Gustave Flaubert



38:52
227 《喬治‧ 桑與福樓拜 》 2018-0509 漢清講堂


喬治桑生前是法國收入最高的作家之一。但她留給世人的印象,至今仍是她抽著雪茄、男扮女裝、與許多名人交往的形象。

經濟學人網

喬治桑未竟的遺產

在她去世150年後,人們關注的焦點依然是她的名人光環,而非她的作品。

半年前,我錄Flaubert and George Sand時,注意到2017年的新書Flaubert in the Ruins of Paris: The Story of a Friendship, a Novel, and a Terrible Year (2017) 當時,粗心大意,沒注意Brooks與Brook的差別,忘掉查作者Peter Brook ,以為他是來過台灣的戲劇導演Peter Brook (born 1925), theatre director。
今天買書贈友,才注意到作者是美國教授,不是英國人。
Peter Brooks (born 1938) is Sterling Professor Emeritus of Comparative Literature at Yale University and Andrew W. Mellon Scholar in the department of Comparative Literature and the Center for Human Values at Princeton University. He has been Professor in the Department of English and School of Law at the University of Virginia. Among his many accomplishments is the founding of the Whitney Humanities Center at Yale University. Brooks is an interdisciplinary scholar whose work cuts across French and English literature, law, and psychoanalysis. He was influenced by fellow Yale scholar, Paul de Man, to whom his book Reading for the Plot is dedicated.[1]






福樓拜Gustave Flaubert的《庸見詞典》 Dictionnaire des idées reçues :
Lion 獅子 是大度的。總在玩一個球。吼得好,獅子!獅子和老虎竟然是貓科動物!
Mike, the real cat who helped keep the British Museum’s gate from 1909–1929
Cat Poems and Rhymes




“Books say: She did this because. Life says: She did this. Books are where things are explained to you; life is where things aren't. I'm not surprised some people prefer books.”
―from FLAUBERT’S PARROT (1984) by Julian Barnes
A kind of detective story, relating a cranky amateur scholar’s search for the truth about Gustave Flaubert, and the obsession of this detective whose life seems to oddly mirror those of Flaubert’s characters. READ more here: https://www.penguinrandomhouse.com/…/flauberts-parrot-by-j…/



The Economist

During her lifetime George Sand was one of the highest-paid writers in France. But her legacy is still that of the cigar-smoking, cross-dressing partner of famous men



ECONOMIST.COM

George Sand’s unfinished legacy
Nearly 150 years after her death, the focus remains on her celebrity not her work



Mon carnet George Sand



Nohant, peut-être trop vaste et pas assez mondain pour Chopin...
"Chopin voulait toujours Nohant et ne supportait jamais Nohant.
Il était l'homme du monde par excellence, non pas du monde trop officiel et trop nombreux, mais du monde intime, des salons de vingt personnes, de l'heure où la foule s'en va et où les habitués se pressent autour de l'artiste pour lui arracher par d'aimables importunités le plus pur de son inspiration. C'est alors seulement qu'il donnait tout son génie et tout son talent...".
Extrait d'Histoire de ma vie, autobiographie de George Sand.

Illustration : portrait de Chopin par Eugène Delacroix en 1838, conservé au musée du Louvre ; photo de la maison de George Sand à Nohant, façade sud (les deux fenêtres ouvertes correspondent à celles de la chambre que Chopin occupait au sein de la maison).
https://moncarnetgeorgesand.fr
#maisondegeorgesand #georgesand #fredericchopin#moncarnetgeorgesand



5月9日 · 今天有雅集




















今天從實例學法語
Château de Nohant
House of George Sand - Wikipedia
https://en.wikipedia.org/wiki/House_of_George_Sand ⋯⋯更多



EN.WIKIPEDIA.ORG

House of George Sand - Wikipedia
The House of George Sand is a writer's house museum in the village of Nohant, in the Indre department of France. It was the home of George Sand (born as Aurore Dupin; 1804–1876), a French author, and was purchased by the French state in 1952. The house was preserved because it was where Sand wrote...