2008年6月30日 星期一

楊振寧Chen Ning Yang

Wikipedia article "Chen Ning Yang".

"Chen Ning Yang".


楊振寧:華人終會做出一流科研
2008-07-01中國時報【朱立群/專訪】  


 中研院院士、諾貝爾物理獎得主楊振寧昨天出席中央大學余紀忠講座,並接受本報專訪。對於華人世界的科學發展,他深表樂觀,認為終會做出世界第一流研究。他也談及父母對他學術生涯及人格養成的影響,言談不疾不徐,流露中國「文人科學家」兼治中西文化的風範。以下是訪談摘要。  

問:你與翁帆(妻)這次回來,覺得台灣哪裡不一樣了?  
答:我昨晚抵達,還沒看到台北哪裡不同。假如你要問我台北最大的改變,我會說是因為台灣換了一個總統,我想這對台灣的空氣、台灣的整個想法,一定會有決定性的變化。不過我還沒觀察到。  
我對台灣的消息所知不多,但在北京、香港常看華人電視台及雜誌,尤其是台灣這兩年競選的經過,我比在美國還多知道一些。  兩岸科學成就是遲早的事  

問:你曾談過決定科學發展成功的四個要件,現在是否仍持相同意見?  
答:我曾說過一個社會科技發展的條件,分別是人才、紀律、決心、經濟支持。這些條件我今天仍認為非常重要。大陸與台灣現在都非常注意這些條件,而且我覺得這些條件兩岸都具備。兩岸常問的問題是,什麼緣故大陸或台灣還沒有做出世界公認的第一流科學研究?我想主要是因為傳統的建立、學科的發展、前沿題目的尋找並非一兩天能夠發展出來。但長遠來看,科學在台灣、大陸是新的發展,相較於西方國家兩百年的發展,要追上去是不容易的。但總的來說,兩岸的科學的確是有長足的進展,這是值得欣慰的,且兩岸科學成就是遲早的事。  固執前沿研究 兩岸都有這種人  

問:有人憂心兩岸新生代科學家缺乏願景,你認為呢?  
答:我同意、也不同意。同意,確實有這現象。但我不覺得這有什麼不好,我與一般人想法不太一樣,每個人的天分、經驗與與喜好不同,以現在經濟發展的狀況,有些科學領域有很好的經濟報酬,對於有些年輕人造成衝擊是常有的事。但總有一些人非常的固執走前沿研究,仍想在科學研究方面做些事,這種人兩岸都有。  現在科技領域裡許多新發展或許與經濟掛帥有關,不一定不好。例如近年來醫藥科技高速進展,但這方面的研究者是否只為了賺錢?我想也是有,但若能拯救人類生命,我認為這是好事,我鼓勵年輕人往這方向發展。  

 問:你是資深的中研院院士,且是少數華人諾貝爾獎得主之一。你認為中研院的學術高度在哪裡?  
答:中研院今天跟我一九八六年第一次來台時已經完全不同,預算、人員、研究所數目都增加好幾倍,在前沿期刊上發表的文章也大幅增加。我是念物理的,八六年物理所研究員的興趣與世界前沿研究有一段距離,當時沒能即時跟上世界發展的方向。但今天完全不同,例如近兩年國際高溫超導有新發展,一種以鐵為主的物品可以變成高溫超導,中研院也能跟上腳步,我知道物理所吳茂昆院士等人很快在這方面進軍,表示拉近了與世界的距離。  

 問:中研院是台灣最高學術研究機構,相當於大陸的中國科學院,你對中研院的發展有何看法?  
答:國際科學界的人對台灣高等教育與中研院的關係都有所瞭解,都知道中研院對台灣科學發展貢獻。台灣科學發展與大陸、德國、蘇聯類似,由政府支持重點研究單位發展,發展模式與美國研究單位不同。  
我們的模式有好有壞,對一個急速發展的地區,首要之務是要急速追上去,台灣、大陸的模式是比較成功的。  
美國的模式是比較散的,我同意它是「資本主義學術市場」的說法,在已發展的國家會比較好。

王元化

 中國著名思想家王元化先生(一九二○——二○○八)五月九日晚因癌症病逝於上海。王先生信守「獨立之精神、自由之思想」的原則,對當代中國諸多重大思想問題,均提出獨到的見解。…….明報月刊 二零零八年六月號

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王元化生平

王 元化於1920年生於湖北武昌,祖籍江陵。1930年代開始寫作,曾用筆名方典。1936年參加中華民族解放先鋒隊。1938年加入中國共產黨。大夏大學 肄業。他曾任中共上海地下文委委員、代書記,主編《奔流》文藝叢刊。1941年至1945年在上海從事中共秘密工作。1950年代初曾任震旦大學、復旦大 學兼職教授,上海新文藝出版社總編輯,上海文委文學處長。1955年受到胡風案牽連,被打成"胡風反革命分子"。1981年平反後,曾任國務院學位委員會 第一、二屆學科評議組成員,中共上海市委宣傳部部長,華東師范大學教授、博士生導師,中國《文心雕龍》學會名譽會長,中國文藝理論學會名譽會長。著有論文 集《向著真實》、《文學沉思錄》,《文心雕龍創作論》、《清園夜讀》等。

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日文版《王元化著作集》全三卷【冈村繁主编并序 东京汲古书院出版 2005】,第一卷:《文心雕龙讲疏》;第二卷:《思辨随笔》;第三卷:《九十年代反思录》。它們集中记录了王元化学术思想的精华,反映了他三次反思的主要成果。《文心雕龙讲疏》、《思辨随笔》、《九十年代反思录》,生动地展现王元化从一个博综东西、融会古今的杰出文艺理论家,到多方位文化思考、探索而成为博识深思的通儒,再到彻底摆脱依傍而具独立意识、自成一家的成熟思想家的历程和心路。

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我找不到王元化先生說的《文心雕龍 序志》:『各照隅隙,鮮觀衢路。』
他提到「照隅室」為郭紹虞先生的齋名。他晚年出版諸如『照隅室文學論集/語言文學論集/雜著』等三書。「照隅」反其意,變成謙稱。

***

看經, 位於河南洛陽,看經寺在龍門東山萬佛溝北側,為東山最大的洞窟。是武則天為唐高宗開鑿的。洞的正面有一座建於清代的磚瓦結構二層樓,門額上刻著 "看經寺 "三字。
周策縱 解釋此"看經" 即"誦經"—見{要從形象憧憬進到真知 }收入"慶祝王元化教授八十歲論文集 " 上海:華東師範大學出版社2001, pp. 330-31

***

張可王元化合作《莎劇解讀》上海教育出版社,1 998

2008年新版改名《讀莎士比亞》上海書店。這套出了30本羊皮精裝本,全書是王元化、張可夫婦二人在學術上第一次、也是唯一一次真正的合作。王元化曾說,當時,他和張可在政治身份上淪 為「賤民」,沒有社會交往、沒有工作,他們就一起閱讀莎士比亞,翻譯作品,逐漸燃起了工作的熱忱,使頹喪的心逐漸顯發出光彩來。

枝節翻譯問題:劉勰「謹髮而易貌」。劉知幾「貌同心異」

2008年6月29日 星期日

Falstaff,The Life of Johnson by Boswell

Falstaff,The Life of Johnson by Boswell

dissolute Falstaff, Vice, miles gloriosus




Johnson was some time with Beauclerk at his house at Windsor, where he was entertained with experiments in natural philosophy. One Sunday, when the weather was very fine, Beauclerk enticed him, insensibly, to saunter about all the morning. They went into a church-yard, in the time of divine service, and Johnson laid himself down at his ease upon one of the tomb-stones. "Now, Sir, (said Beauclerk) you are like Hogarth's Idle Apprentice." When Johnson got his pension, Beauclerk said to him, in the humourous phrase of Falstaff, "I hope you'll now purge and live cleanly, like a gentleman." The Life of Johnson by Boswell
要了解這脈絡也必須了解Falstaff 是要從戰場脫身要去領賞
出自
莎士比亞 亨利四世上篇 第五幕第四景末
這 purge 雙義 可以是"好好洗澡 潔身"或"悔改"等等
所以朱和梁翻譯各取一義


另外 Boswell說 Johnson的 "No, Sir."類似 Falstaff的
"I deny your major. " 這多少從脈絡中了解比較有趣
major大前題 premiss, proposition 出自1H4 II.iv.481 [Falstaff to Prince Hal] I deny your major.

Maimonides

Maimonides pronunciation

IN BRIEF: n. - Spanish philosopher considered the greatest Jewish scholar of the Middle Ages who codified Jewish law in the Talmud (1135-1204).

Wikipedia article "Maimonides".

维基百科,自由的百科全书

跳转到: 导航, 搜索

邁蒙尼德摩西·本·邁蒙的拉丁化名稱。為一猶太裔的哲學家、法學家、醫生。生於西班牙哥多華

[编辑] 著作

  • 《聖誡書》
  • 《密西那評述》
  • 《密西那—托拉》
  • 《解惑指引》(或译《迷途指津》)有中文

".......以《心中的阿樹》登上《紐約時報》暢銷天后寶座的茱莉‧沙樂門(Julie Salamon),另闢蹊徑闖進醫療最前線,推出新書《醫院風雲》(Hospital),實錄她一年在醫院駐點的現場直擊。

沙樂門曾以長篇小說《魔鬼的糖果》(The Devil's Candy)爆出美國大牌作家沃爾夫(Tom Wolfe)名著《虛榮的篝火》(The Bonfire of the Vanities)被好萊塢拍成爛片《走夜路的男人》內幕,打響知名度。2005年她拿到紐約布魯克林區Maimonides醫院許可,掛著「作家」識別 證在醫院趴趴走,唯一的限制是不得侵犯病人隱私。

有百年歷史的Maimonides醫院是中型社區醫院,原先單純以照護猶太社區病人為主,如今求診患者跨越種族,提供全方位醫療服務,興建了布魯克林區唯 一的癌症中心。「可惜地點不好」,院長大人打如意算盤,想藉出書彰顯院方成就,鞏固居民就診信心,不必大老遠跑曼哈頓求醫。既留住病患,也可藉先進的醫療 設備拿到高給付補助。

顯然院長沒聽說英國小說家葛林名言:「作家的工作就是出賣。」沙樂門一五一十寫下所見所聞:醫生間互別苗頭、管理階層空泛的對話,詳加刻畫醫事人員的私生 活和健康狀況,凸顯他們不過是穿得體面的普通人。她寫院長大人更讓人印象深刻:「會議中有人發言,她竟起身到食物櫃前拿爆米花倒進碗裡。」院長大發議論 時,「桌下腿抖個不停。」

或許受保護病人隱私的限制,沙樂門也沒有醫學背景,無法掌握醫療細節。新書最受批評的是:對醫院的醫療行為描寫太少。書中有幾位年輕癌症病患的悲慘境遇, 還有急診室病人飽受病苦煎熬的實況,以及醫生巧妙處理突發的種族和宗教衝突,但沒有引爆話題的醜聞,也少見醫護人員與病人的互動、醫生在診療中面臨的兩 難,以及醫院中最常見生老病死、打動人心的生命故事。書評家指出:一個掛著「作家」識別證的人,其實看不到醫院真實的現狀,因為這識別證改變了他/她看到 的世界。"

2008年6月26日 星期四

Salman Rushdie and Midnight's Children


Wikipedia article "Salman Rushdie"

Sir Ahmed Salman Rushdie (Devanagari : अख़्मद सल्मान रश्दी Nastaliq:سلمان رشدی; born 19 June 1947) is a British-Indian novelist and essayist. He first achieved fame with his second novel, Midnight's Children (1981), which won the Booker Prize. Much of his early fiction is set at least partly on the Indian subcontinent.
這本重要的小說台灣翻譯成 午夜之子 台北:商務印書館
大陸某譯者在網路上公布其版本2004

"五年前,厦门大学的刘凯芳老师将这本书译成了中文,但是由于种种原因,此书一直无法与读者见面。具体情况请参见刘老师的文章《<午夜的孩子>何时告别午夜?》。"


拉什迪被英女王封騎士
拉什迪
拉什迪對創作《撒旦的詩篇》不感到後悔
引起爭議的英國作家拉什迪被英國女王伊麗莎白授予騎士封號,表彰他對文學的貢獻。

授予他騎士封號的消息去年在女王生日宣佈時,招致世界各地穆斯林的抗議。

拉什迪今年61歲,他的著作很多。拉什迪在小說《撒旦的詩篇》出版後的18年中一直生活在宗教死刑的陰影中,因為伊朗前精神領袖霍梅尼對拉什迪發出宗教追殺令。

拉什迪的小說《撒旦的詩篇》被許多穆斯林認為是宗教誹謗,所以霍梅尼對他發出追殺令。

1998年當伊朗政府解除了對宗教追殺令的支持後,拉什迪重新進入公共生活,但是他一直沒有迴避爭議。在獲得騎士勛章後他說對此感到自豪和高興。

拉什迪說,他認為他35年的工作以這種方式得到承認,他感到十分振奮。

他還表示對於創作引起爭議的《撒旦的詩篇》不感到後悔。他說,能夠寫一本受人關注的作品很幸運。


September 21, 1993

'Midnight's Children' Wins Special Booker Prize
By JOHN DARNTON

LONDON, Sept. 20 -- Salman Rushdie's "Midnight's Children" was judged the best British novel of the past quarter-century tonight, and the novelist came out of forced seclusion to accept the honor at a crowded ceremony in the second floor of a London bookstore.

The 46-year-old author has been in hiding since February 1989, when he was publicly sentenced to death by the Ayatollah Ruhollah Khomeini for publication of "The Satanic Verses," a novel Iranian authorities said blasphemed Islam. In the past year, Mr. Rushdie has made an effort to appear more frequently in public.

In accepting the honor, which was given to the best among 25 years of winners of the Booker Prize, Britain's most prestigious literary award, Mr. Rushdie made no mention of his underground existence and only a passing reference to the controversy "The Satanic Verses" caused. Handling a copy of "Midnight's Children" temporarily covered in a plain silver jacket -- until it can be specially bound in leather -- he remarked, "Actually, quite a lot of my books tend to get read in a plain wrapper, so there's nothing new about that." 'The Greatest Compliment'

He said he was "amazed to be standing here," and added "this is the greatest compliment I have ever been paid as a writer."

The runner-up for the Booker of Bookers, the judges said, was "Rites of Passage" by the late William Golding. "Rites of Passage" won in 1980, as Mr. Golding edged out Anthony Burgess, who conspicuously missed the awards dinner. The competition helped establish the value of the prize.

In 1981, the winner was "Midnight's Children," the story of a boy, Saleem Sinai, born at the time of India's independence. That year the awards ceremony was first televised and the prize gained a cachet that was seen in added celebrity and books sales. Mr. Rushdie's first novel "was universally trashed, sold less than 900 copies and was remaindered," he said. But "Midnight's Children" quickly sold 43,000 copies.

"The Booker Prize changed my life in many ways," Mr. Rushdie said. "Before then my career as a writer was completely obscure. Overnight it wasn't. I gained confidence." Later he put it differently: "I walked into literary London as a stranger and I ran off with a check, which feels O.K."

Another former winner found other advantages. "For me the Booker meant that I got foreign rights and paperback rights and American rights," said Bernice Rubens, who won in 1970 for "The Elected Member." "No one can live off the English rights. Also, the publishers put on every other book you ever write 'winner of the Booker Prize' and the public is duped into thinking you won it for that book." Hailing the Prize Itself

In a sense tonight's ceremony was also to honor the Booker Prize itself, which was first awarded in 1969 to the best novel by a British, Commonwealth, South African or Irish writer. Martyn Goff, the Booker administrator, said the prize had achieved a distinction after 15 years that it had taken France's Prix Goncourt 53 years to attain. In 1969 the award amounted to $:5,000. Now it is $:20,000, or $30,000.

Tonight's ceremony included a Champagne reception attended by several hundred literati at Waterstone's bookstore in Kensington, West London. It was held under tight security. Bodyguards followed Mr. Rushdie at a discreet distance and police officers with walkie-talkies patroled the streets outside.

Sipping mineral water, Mr. Rushdie said he had managed to travel recently, even going to visit Vaclav Havel, the president of the Czech Republic. "We have something in common," he said. "We're both writers and the last thing people talk to us about is our writing."


2008年6月23日 星期一

George Carlin, Josef Winkler

George Carlin, 71, Irreverent Standup Comedian, Is Dead

MEL WATKINSwritePost();new_york_times:http://www.nytimes.com/2008/06/24/arts/24carlin.html if (acm.cc) acm.cc.write();
Published: June 24, 2008 George Carlin, the Grammy-

Award winning standup comedian and actor who was hailed for his irreverent social commentary, poignant observations of the absurdities of everyday life and language, and groundbreaking routines like “Seven Words You Can Never Say on Television,” died in Santa Monica, Calif., on Sunday, according to his publicist, Jeff Abraham. He was 71.

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NBC, via Associated Press

George Carlin served as host of the "Saturday Night Live" debut in 1975. More Photos »

Vincent Laforet/The New York Times

George Carlin at the Rihga Royal Hotel in Manhattan in 2004. More Photos >

David G. Massey/The Lima News, via Associated Press

George Carlin in Lima, Ohio, in 2003. More Photos >

Michael J. Okoniewski for The New York Times

George Carlin at the Shea’s Theatre in Buffalo in 2005. More Photos >

Michael J. Okoniewski for The New York Times

George Carlin at Shea’s Buffalo Theater in 2005. More Photos >

Readers' Comments

"Just seven words: brilliant, funny, witty, clever, sharp, erudite, hilarious. RIP, George, this world will miss you."
Richard, Glenmoore, Pennsylvania

The cause of death was heart failure. Mr. Carlin, who had a history of heart problems, went into the hospital on Sunday afternoon after complaining of heart trouble. The comedian had worked last weekend at The Orleans in Las Vegas.

Recently, Mr. Carlin was named the recipient of the Mark Twain Prize for American Humor. He was to receive the award at the Kennedy Center in November. “In his lengthy career as a comedian, writer, and actor, George Carlin has not only made us laugh, but he makes us think,” said Stephen A. Schwarzman, the Kennedy Center chairman. “His influence on the next generation of comics has been far-reaching.”

In an interview with The Associated Press, Jack Burns, who performed with Mr. Carlin in the 1960’s as one half of a comedy duo, said “He was a genius and I will miss him dearly.”

Mr. Carlin began his standup comedy act in the late 1950s and made his first television solo guest appearance on “The Merv Griffin Show” in 1965. At that time, he was primarily known for his clever wordplay and reminiscences of his Irish working-class upbringing in New York.

But from the outset there were indications of an anti-establishment edge to his comedy. Initially, it surfaced in the witty patter of a host of offbeat characters like the wacky sportscaster Biff Barf and the hippy-dippy weatherman Al Sleet. “The weather was dominated by a large Canadian low, which is not to be confused with a Mexican high. Tonight’s forecast . . . dark, continued mostly dark tonight turning to widely scattered light in the morning.”

Mr. Carlin released his first comedy album, “Take-Offs and Put-Ons,” to rave reviews in 1967. He also dabbled in acting, winning a recurring part as Marlo Thomas’ theatrical agent in the sitcom “That Girl” (1966-67) and a supporting role in the movie “With Six You Get Egg-Roll,” released in 1968.

By the end of the decade, he was one of America’s best known comedians. He made more than 80 major television appearances during that time, including the Ed Sullivan Show and Johnny Carson’s Tonight Show; he was also regularly featured at major nightclubs in New York and Las Vegas.

That early success and celebrity, however, was as dinky and hollow as a gratuitous pratfall to Mr. Carlin. “I was entertaining the fathers and the mothers of the people I sympathized with, and in some cases associated with, and whose point of view I shared,” he recalled later, as quoted in the book “Going Too Far” by Tony Hendra, which was published in 1987. “I was a traitor, in so many words. I was living a lie.”

In 1970, Mr. Carlin discarded his suit, tie, and clean-cut image as well as the relatively conventional material that had catapulted him to the top. Mr. Carlin reinvented himself, emerging with a beard, long hair, jeans and a routine that, according to one critic, was steeped in “drugs and bawdy language.” There was an immediate backlash. The Frontier Hotel in Las Vegas terminated his three-year contract, and, months later, he was advised to leave town when an angry mob threatened him at the Lake Geneva Playboy Club. Afterward, he temporarily abandoned the nightclub circuit and began appearing at coffee houses, folk clubs and colleges where he found a younger, hipper audience that was more attuned to both his new image and his material.

By 1972, when he released his second album, “FM & AM,” his star was again on the rise. The album, which won a Grammy Award as best comedy recording, combined older material on the “AM” side with bolder, more acerbic routines on the “FM” side. Among the more controversial cuts was a routine euphemistically entitled “Shoot,” in which Mr. Carlin explored the etymology and common usage of the popular idiom for excrement. The bit was part of the comic’s longer routine “Seven Words You Can Never Say on Television,” which appeared on his third album “Class Clown,” also released in 1972.

“There are some words you can say part of the time. Most of the time ‘ass’ is all right on television,” Mr. Carlin noted in his introduction to the then controversial monologue. “You can say, well, ‘You’ve made a perfect ass of yourself tonight.’ You can use ass in a religious sense, if you happen to be the redeemer riding into town on one — perfectly all right.”

The material seems innocuous by today’s standards, but it caused an uproar when broadcast on the New York radio station WBAI in the early ‘70s. The station was censured and fined by the FCC. And in 1978, their ruling was supported by the Supreme Court, which Time magazine reported, “upheld an FCC ban on ‘offensive material’ during hours when children are in the audience.” Mr. Carlin refused to drop the bit and was arrested several times after reciting it on stage.

By the mid-’70s, like his comic predecessor Lenny Bruce and the fast-rising Richard Pryor, Mr. Carlin had emerged as a cultural renegade. In addition to his irreverent jests about religion and politics, he openly talked about the use of drugs, including acid and peyote, and said that he kicked cocaine not for moral or legal reasons but after he found “far more pain in the deal than pleasure.” But the edgier, more biting comedy he developed during this period, along with his candid admission of drug use, cemented his reputation as the “comic voice of the counterculture.”

Mr. Carlin released a half dozen comedy albums during the ‘70s, including the million-record sellers “Class Clown,” “Occupation: Foole” (1973) and “An Evening With Wally Lando” (1975). He was chosen to host the first episode of the late-night comedy show “Saturday Night Live” in 1975. And two years later, he found the perfect platform for his brand of acerbic, cerebral, sometimes off-color standup humor in the fledgling, less restricted world of cable television. By 1977, when his first HBO comedy special, “George Carlin at USC” was aired, he was recognized as one of the era’s most influential comedians. He also become a best-selling author of books that expanded on his comedy routines, including “When Will Jesus Bring the Pork Chops?,” which was published by Hyperion in 2004.

He was “a hugely influential force in stand-up comedy,” the actor Ben Stiller told The Associated Press. “He had an amazing mind, and his humor was brave, and always challenging us to look at ourselves and question our belief systems, while being incredibly entertaining. He was one of the greats.”

Pursuing a Dream

Mr. Carlin was born in New York City in 1937. “I grew up in New York wanting to be like those funny men in the movies and on the radio,” he said. “My grandfather, mother and father were gifted verbally, and my mother passed that along to me. She always made sure I was conscious of language and words.”

He quit high school to join the Air Force in the mid-’50s and, while stationed in Shreveport, La., worked as a radio disc jockey. Discharged in 1957, he set out to pursue his boyhood dream of becoming an actor and comic. He moved to Boston where he met and teamed up with Jack Burns, a newscaster and comedian. The team worked on radio stations in Boston, Fort Worth, and Los Angeles, and performed in clubs throughout the country during the late ‘50s.

After attracting the attention of the comedian Mort Sahl, who dubbed them “a duo of hip wits,” they appeared as guests on “The Tonight Show” with Jack Paar. Still, the Carlin-Burns team was only moderately successful, and, in 1960, Mr. Carlin struck out on his own.

During a career that spanned five decades, he emerged as one of the most durable, productive and versatile comedians of his era. He evolved from Jerry Seinfeld-like whimsy and a buttoned-down decorum in the ‘60s to counterculture icon in the ‘70s. By the ‘80s, he was known as a scathing social critic who could artfully wring laughs from a list of oxymorons that ranged from “jumbo shrimp” to “military intelligence.” And in the 1990s and into the 21st century the balding but still pony-tailed comic prowled the stage — eyes ablaze and bristling with intensity — as the circuit’s most splenetic curmudgeon.

During his live 1996 HBO special, “Back in Town,” he raged over the shallowness of the ‘90s “me first” culture — mocking the infatuation with camcorders, hyphenated names, sneakers with lights on them, and lambasting white guys over 10 years old who wear their baseball hats backwards. Baby boomers, “who went from ‘do your thing’ to ‘just say no’ ...from cocaine to Rogaine,” and pro life advocates (“How come when it’s us it’s an abortion, and when it’s a chicken it’s an omelet?”), were some of his prime targets. In the years following his 1977 cable debut, Mr. Carlin was nominated for a half dozen Grammy awards and received CableAces awards for best stand-up comedy special for “George Carlin: Doin’ It Again (1990) and “George Carlin: Jammin’ “ (1992). He also won his second Grammy for the album “Jammin” in 1994.

Personal Struggles

During the course of his career, Mr. Carlin overcame numerous personal trials. His early arrests for obscenity (all of which were dismissed) and struggle to overcome his self-described “heavy drug use” were the most publicized. But in the ‘80s he also weathered serious tax problems, a heart attack and two open heart surgeries.

In December 2004 he entered a rehabilitation center to address his addictions to Vicodin and red wine. Mr. Carlin had a well-chronicled cocaine problem in his 30s, and though he was able to taper his cocaine use on his own, he said, he continued to abuse alcohol and also became addicted to Vicodin. He entered rehab at the end of that year, then took two months off before continuing his comedy tours.

“Standup is the centerpiece of my life, my business, my art, my survival and my way of being,” Mr. Carlin once told an interviewer. “This is my art, to interpret the world.” But, while it always took center stage in his career, Mr. Carlin did not restrict himself to the comedy stage. He frequently indulged his childhood fantasy of becoming a movie star. Among his later credits were supporting parts in “Car Wash” (1976), “Bill and Ted’s Excellent Adventure” (1989), “The Prince of Tides” (1991), and “Dogma” (1999).

His 1997 book, “Brain Droppings,” became an instant best seller. And among several continuing TV roles, he starred in the Fox sitcom “The George Carlin Show,” which aired for one season. “That was an experiment on my part to see if there might be a way I could fit into the corporate entertainment structure,” he said after the show was canceled in 1994. “And I don’t,” he added.

Despite the longevity of his career and his problematic personal life, Mr. Carlin remained one of the most original and productive comedians in show business. “It’s his lifelong affection for language and passion for truth that continue to fuel his performances,” a critic observed of the comedian when he was in his mid-60s. And Chris Albrecht, an HBO executive, said, “He is as prolific a comedian as I have witnessed.”

Mr. Carlin is survived by his wife, Sally Wade; daughter Kelly Carlin McCall; son-in-law, Bob McCall, brother, Patrick Carlin and sister-in-law, Marlene Carlin. His first wife, Brenda Hosbrook, died in 1997.

Although some criticized parts of his later work as too contentious, Mr. Carlin defended the material, insisting that his comedy had always been driven by an intolerance for the shortcomings of humanity and society. “Scratch any cynic,” he said, “and you’ll find a disappointed idealist.”

Still, when pushed to explain the pessimism and overt spleen that had crept into his act, he quickly reaffirmed the zeal that inspired his lists of complaints and grievances. “I don’t have pet peeves,” he said, correcting the interviewer. And with a mischievous glint in his eyes, he added, “I have major, psychotic hatreds.”

Anahad O’Connor contributed reporting.



文学艺术 | 2008.06.18

奥地利作家温克勒获2008毕希纳奖

今年6月17日,德国语言与创作院宣布,今年度的毕希纳文学奖将授予奥地利作家温克勒(Josef Winkler)。比希纳文学奖是德国该领域最重要的奖项,奖金为40000欧元。

温克勒创作的题材多与死亡、噩梦或者同性恋有关。他曾对媒体说过,越是人们闭口不谈的事,就越是我要谈论的题材。"只有这些事物对我有吸引力,其他任何事都没有"。

温克勒出生于1953年,1979年发表了处女长篇小说"孩提",描写他在农庄环境里经历的种种事情。他的著作多半是对表面高贵的奥地利社会乡野的 深刻剖析,描绘盛大的祭祀传统风俗,人们对祈祷场面的虔诚。这些都是奥地利乡间才会出现的一些特殊场面。温克勒使用语言的技巧十分精湛,他虽然并不构造宏 伟的故事情节,但他语言的创造力足以给读者留下十分深刻的印象,读后受到震撼。

温克勒语言特点之一是它的乐感。他说过,乐感是诗歌的灵魂,是难度最高的,因此也是他追求的致高目标。对温克勒而言,小说的精华不在于它的叙述,而是语言的乐感和节奏。这里正是他与众不同的地方。

在获得比希纳文学奖之前,温克勒也不是一名不见经传的底层艺术家。因其卓越的语言艺术创作才华,去年,他曾在法兰克福大学担任著名诗歌讲座的主讲人。在讲座中,温克勒曾明确指出,诗人可以是一名无所顾忌的旁观者。他并不负责让别人快乐或是聪明。

Photo: DPA

Germany's top literature prize goes to Josef Winkler

Published: 17 Jun 08 11:36 CET
Online: http://www.thelocal.de/12537/

Germany’s most important literature award, the Georg Büchner Prize, has been awarded this year to Austrian novelist Josef Winkler, the German Academy for Speech and Composition announced on Tuesday in Darmstadt.

The €40,000 prize will be awarded on November 1 at the academy’s autumn meeting in Darmstadt.

“Josef Winkler has reacted to the catastrophies of his Catholic village childhood in books with unrivalled obsessive urgency,” the academy said.

Winkler was born to a farming family March, 3, 1953 in Kärnten and has worked as a novelist since 1982. He lives in Klagenfurt where he teaches at the university.

Winkler has already been honoured with the Berlin Literature Prize, the Alfred Döblin prize and the André-Gide prize.

The Georg Büchner prize is awarded annually to German writers in memory of the German playwright who lived from 1813-1837.

Other winners include Erich Kästner, Max Frisch, Paul Celan and Heiner Müller.

DDP/The Local (news@thelocal.de)

2008年6月17日 星期二

Bo Diddley

Bo Diddley (December 30, 1928June 2, 2008) was an American rock and roll singer, songwriter, and guitarist. Often cited as a key figure in the transition from blues to rock and roll, he introduced more insistent, driving rhythms and a hard-edged guitar sound. He was also known for his characteristic rectangular guitar.

附 You Tube :
[N] ボ・ディドリー、死去
ボ・ディドリー、死去. 2008年06月04日 11:13. ボ・ディドリー氏死去…ロックンロール 生みの親という記事より。 AP通信によると、力強いリズムを持った音楽により、ロ ックン ロールの生みの親の一人として知られる米ロック歌手の ボ・ディドリー氏が2日、 ...

2007年5月に心臓発作で倒れるまで、ステージ活動を続けていました。

ボ・ディドリー - Wikipediaでは、サングラスに四角いギターを持つ姿の写真を見ることができます。

芸名である「ボ・ディドリー」の由来は、

南部黒人のスラングで「何でもない」を意味する、あるいは南部の黒人が弾いていた一弦ギター、ディドリー・ボーをもじったものであるなど諸説ある



Columbia Encyclopedia: Diddley, Bo,
1928–, pioneering African-American rock-and-roll singer, guitarist, and songwriter, b. near McComb, Miss., as Otha Ellas Bates. He and his cousin, Gussie McDaniel, who raised him and whose last name he adopted, moved to Chicago when he was five. He studied violin, received his first guitar in 1940, and acquired the nickname “Bo Diddley” (probably from the single-stringed folk instrument called a diddley bow). Within a decade he was performing in South Side clubs, often playing a unique rectangular electric guitar.

Diddley became known for his pounding signature beat (bom ba-bom bom, bom bom; later an essential component of rock music) and for his guitar effects, jive talk, and strutting onstage style. He reached a wider audience with the release (1955) of his first record, containing “Bo Diddley” and “I'm a Man.” He had a number of other hits, but is perhaps most important for his powerful influence on generations of rockers, e.g., Chuck Berry, Little Richard, Buddy Holly, Jimi Hendrix, the Rolling Stones, and Bruce Springsteen. He was inducted into the Rock and Roll Hall of Fame in 1987.

Bibliography

See G. R. White, Bo Diddley: Living Legend (1998).

2008年6月16日 星期一

順誠家具 郭山輝

台商新視界》順誠家具江山如此多嬌…

17年前的中國廣東東莞看不見一條高速公路,通往當地外商投資設廠基地的道路仍是泥濘的黃土路。當時包括台商在內的外商進入中國華南地區投資,首選是深圳,鄰近東莞在台商心中只有模糊的影像。

亞洲最大木製家具生產商、香港上市公司順誠控股主席郭山輝在1991年底,與木工、油漆、紙箱等四位事業合作夥伴到東莞大嶺山考察,很短時間就決定在當地 設廠。順誠在香港上市前的公司名稱叫「台升家具」。1980年代末,台灣勞工與生產成本不斷竄高,以木製加工起家,台升在台灣已遇到發展瓶頸。

「當年我到中國投石問路,是想幫台灣傳統產業找新的突破口」,郭山輝說。當年看到中國低廉的生產成本與鄰近香港的地理優勢,當下就決定把生產基地移往東莞。這個決定不僅挽救了台升,更是將台升日後推向亞洲最大木製家具龍頭的關鍵。

「在中國建廠後的十多年裡,台升每年營收都保持兩位數成長」,郭山輝坦言,「台升的成功來得比我想像中得快」,但他也直言,若當時台升晚了一、兩年到中國設廠,出口優勢恐將拱手讓人。

郭山輝在大陸投資,年營業額從最初的1億元遽增到2006年的180億元,他將中國低廉的生產成本運用得淋漓盡致,一如過去台灣在1970年代的翻版。但郭山輝沒有因此滿足,也沒有重蹈台灣過去僅靠降低生產成本的覆轍。

郭山輝說,90年代末期,中國家具出口市場已陷入削價的紅海中,「我想要找新藍海」。他的藍海策略是跨出台商長期固守的代工領域,跨入附加價值更高的自有品牌與通路。

2001年,當郭山輝得知美國前五大家具通路商環美家具有意出售,他立即決定併購環美。當時環美家具處於虧損中,台升接手後馬上關閉環美不賺錢的幾個工 廠,沒多久環美就轉虧為盈。「知己知彼是我最大的優勢」,郭山輝說,台升過去就因和環美家具有生意往來,瞭解環美的體質不差,經過會計師評估後,郭山輝快 速併購環美。

當年這項併購在美國家具業引起大震撼,還登上了美國的家具指標媒體──「今日家具」(Furniture Today)的頭版,因為估計併購金額至少超過2,500萬美元(新台幣8億元),對當時仍在發展中的台升而言不是一筆小數目。

郭山輝決定併購環美,對當地台商也起了示範作用。去年接任郭山輝出任東莞台協會長的葉春榮說,「我對郭山輝當初快、狠、準的併購決定印象深刻。」葉春榮所屬的岳豐集團,2006年決定併購全美排名第二大的3C線纜大盤商Prime,第一個諮詢的顧問就是郭山輝。

(摘自經濟日報與經濟部投資處合作出版《天涯行腳──台商新視界》)

2008年6月13日 星期五

People Who Become Words

People Who Become Words

Meet the Cobb in salad, the Bloomer in underwear, and the Derrick in crane.

There once was an original Maverick -- Samuel A. Maverick, mayor of San Antonio in the mid-1800s -- who, despite the name, was no maverick. He was just a small-town politician whose name lives on not because he was a great gunfighter -- apologies to you, James Garner, and you, Mel Gibson -- but because he was lazy. When Maverick bought a herd of cattle in 1847, he allowed the steers to roam on his ranch, unbranded. From then on, unbranded cattle -- and, eventually, independent-minded humans -- became known as mavericks.

As a household word, Mayor Maverick has some distinguished, if not always appreciative, company, including the likes of Mr. Boycott, Ms. Bloomer and Monsieur Leotard. There was a real guy named Silhouette and, for that matter, a real Guy. All of these people achieved a sort of immortality when their names were turned into everyday words called eponyms (from the Greek "upon a name"). Some 35,000 have made their way into English.

Murphy's Law is one of the most famous eponyms -- the legacy of one very picky Air Force officer. In the late 1940s, Capt. Ed Murphy, an aircraft engineer by training, complained about an incompetent technician on his team. "If there is any way to do it wrong, he will," Murphy said. His co-workers began calling the captain's pessimism Murphy's Law, and mentioned it in a press conference. As long as people keep on making mistakes, Murphy will live.

More distant, but still enduring, is the memory of the original Guy, an Englishman named Guy Fawkes. On November 5, 1605, Fawkes attempted to blow up Parliament and King James I. The English still remember the date by burning stuffed dummies in effigy, and for years any bizarrely dressed person was known as a guy. Over time, and after crossing the Atlantic, the term picked up a less humbling connotation.

The British have a knack for punishing memorable characters with eponyms. Charles Cunningham Boycott was an English estate manager who refused to lower rents for poor Irish tenant farmers, inspiring a rent strike and the first boycott. Thomas Derrick, another unpopular Brit, worked as executioner at London's Tyburn gallows, hanging hundreds of convicts before being convicted of rape and condemned to die. The Earl of Essex pardoned him, only to be executed in 1601 for treason -- by Derrick. A derrick was once a gallows; now the word refers to any equipment used to hang something. (Mr. Derrick did not live long enough to hang any Hooligans, members of a rowdy Irish clan who, legend has it, terrorized a London neighborhood in the 1890s.)

Also achieving dubious fame was Etienne de Silhouette. A deficit-fighting finance minister of France in 1759, he had the nerve to suggest raising taxes. His name became a synonym for cheapness. There's debate among linguists about just how we got the contemporary usage of silhouette: Some say the black-on-white cut paper portraits then popular were named after the skinflint finance minister, while others insist he was known for making the cut-out portraits.

Shirley Temple has never liked Shirley Temples. ("Too sweet," she says). Nonetheless, during the more than 60 years since a bartender at the Brown Derby restaurant in Hollywood mixed 7-Up and grenadine in her honor, people have pressed Shirley Temples on her. The retired diplomat Shirley Temple Black might well wish her name were Cobb. At least then she'd get a stick-to-your-ribs salad. That concoction began with Bob Cobb, owner of the Brown Derby restaurant in Los Angeles, who invented his salad in 1926.

If you're ambitious to become an eponym yourself, the fashion world might be a good start. Amelia Bloomer, an American feminist of the 1800s, championed the undergarment known as bloomers. And the French aerialist Jules Leotard, creator of the flying trapeze, popularized the even more daring tights.

The newest eponyms come from mass media and politics. People already talk about gumping through life -- getting by on dumb luck, the way Forrest Gump did in the movie. "Doing a Homer" means smacking your head and saying, "D'oh!" Homer Simpson-style, either in frustration, or because you've done something dumb -- or both.

Among the wonks in Washington, "to bork" is to viciously attack a candidate or appointee. That's in honor of Robert Bork, the Reagan nominee to the Supreme Court whose career was torpedoed in the Senate. One day we may find that people use marthastewart as a single word to mean to arrange with excruciatingly good taste. (As in "I'm marthastewarting his party.")

Over time, eponyms may change meaning dramatically. That was the happy outcome for Bertha Krupp, a German military manufacturer during World War I. Her firm made a giant howitzer that British soldiers dubbed Big Bertha. But the hefty arms merchant has been redeemed through sport: Contemporary golfers refer to her fondly as they swing the innovative driver named -- what else? -- Big Bertha.
From Reader's Digest - December 2001

Anna Akhmatova 之一

上月吾友 Robin說他喜歡 Anna Akhmatova等人 之詩



拜訪安娜的詩魂

這間房子是愛慾,也是離愁。妳在這裡,目睹自己的丈夫和兒子先後被逮捕,之後丈夫被槍決了,兒子也入囹圄,妳果然如自己所寫的詩:一無所有。但妳心中還有詩……

安娜故居書桌與餐桌,擺置著其黑白肖像,美麗的停格。
鍾文音/攝影
離鄉背井,對我是人生最大的悲劇。

安娜,妳是這麼地認為著。離開母土就有如失了根。我在冰天雪地的路上踽踽獨行時不斷地想起這句話,隨著這句話的溫度,我的心就會更覺得悲涼。這些年我總是不斷地離鄉背井,這麼說來,我的人生是個悲劇了。

妳戀家,戀的倒非只是一個具體的窩,更多是一個精神的源頭,人生安頓的核心所在。

然說來荒謬的是,人生發展常朝相反路徑而去。妳希望安居,這際遇偏偏不給妳安居。祂要妳漂泊,要妳離鄉,甚至棄姓。

棄姓?這究竟是怎麼回事?

阿瑪托娃(註)不是妳父親的姓,相反的卻是妳外祖母的姓。這讓我想起我喜愛的法國作家莒哈絲,她是主動棄父之姓,因為她不要那個帶著「服從天主」意涵的 姓。但妳不同,妳是被迫的。妳的本姓是葛連柯,父親堅決反對妳從事文學,文學在妳的父親看來是如此的低廉。妳遂無法以父之名昂揚文壇,妳得棄姓,妳得切 割。

這一刀劃下去,父親家族的血脈之流被阻絕了。妳想起了母親,被上溯至外祖母的姓氏,妳用了外祖母這個有著韃靼族血液的姓氏為筆名,至此「阿瑪托娃」就成了一個在黑夜裡依然可以照亮人之詩心的螢光記號。

〈溫馨芳香的詩房〉

安娜故居:聖彼得堡──噴泉宅邸(Fountains House)

在那高貴的住宅

我既沒有權利

也沒有要求,

但湊巧地,

我卻幾乎在噴泉宅邸的屋簷下,

度過了大半生

當我走進時,

一貧如洗。

當我離開時,

也一無所有!     ——阿瑪托娃

安娜的雕像,詩人似在沉思其悲苦的一生。
鍾文音/攝影
沿著聖彼得堡市區最熱鬧的涅夫斯基大道走,行至橋頭豎立著四匹馬的橋前,即是梵塔卡河。妳喜歡河,妳的心裡流著一條河,妳在河水裡看見生命的另一種光景。

堤岸盡是十九世紀的建築立面,從堤岸右轉到路口再往右轉,經過一座教堂,再行至路口右轉就會來到阿瑪托娃的博物館。

一路問著人,每個人都清楚地指出方位所在,妳的大名阿瑪托娃在此地無人不曉。

1924年至1952年,整整三十年,妳住在此棟宅邸的南翼三樓,這間公寓見過妳一生的安居與流徙,喜悅與悲傷,相聚與離別。

我抵達時,博物館還沒開,在庭院裡端坐著,感到寒冷從腳底漸漸爬上,妳的銅雕像矗立庭院,瘦削而長。

十一點漸漸有工作人員來了,我才進了屋取暖。

爬上這間公寓,已有四五個老婦在公寓門口等著,她們各有任務,有人剪票,有人盯著是否有買攝影券,或者有人守著房間文物,深怕有人越過線……

這間公寓如此尋常,像是回到我自家似的簡單素樸。

我很喜歡這間公寓,每一扇窗都面對著庭院。曾有許多和妳同輩的詩人造訪此,他們的照片也和妳的照片放置一塊,交織成命運的交響曲。

隨意可念出的名字都是俄羅斯閃亮的詩人,馬雅可夫斯基、曼德斯坦、塔特林……

妳的房間是1989年重新考據當年妳在此地的情況而裝潢的。這些物品都很吸引我的目光,我可以站在一個角落凝視許久,凝視那些不再被妳觸摸的物件,一張書桌、一個咖啡杯、一只菸灰缸、一枝筆、一張紙、一具娃娃。

房間有紅色沙發,牆上掛著妳的油畫肖像和素描。這些畫作可不是泛泛之輩,這些畫是大名鼎鼎的義大利畫家莫迪里亞尼所繪。

那些牆上的肖像畫或者桌上的黑白照片都如此吸引人,還有燈和書桌。作家生活裡最需要的物質除了紙筆外,就是書桌和燈了。

檯燈捻亮著,映出妳的桌子上一些雕像,櫃子的一些收藏,還有化妝檯,橢圓形的鏡子把我的形象凝結在妳的空間,我們跨越時空瞬間交會了。

這間房子是愛慾,也是離愁。妳在這裡,目睹自己的丈夫和兒子先後被逮捕,之後丈夫被槍決了,兒子也入囹圄,妳果然如自己所寫的詩:一無所有。

但妳心中還有詩。

假如詩是救贖,那麼詩就有了力量,詩就是妳的彼岸,妳依賴這種詩心,想像的昇華,以度過人生的苦澀。

作家從來都是站在燈光邊緣,同時沉浸在光與暗裡。我鮮少看見創作者有單一人格,或是單一人生。即使像是普希金或托爾斯泰這樣的貴族,其人生還是不會平靜,他們會把自己捲入掙扎的邊緣,為了愛情際遇的不可求或者源於良知的午夜叩問。

我注意到妳的櫃子前還有一個佛像和銅香盤。那瞬間那物件把我的目光釘住了,那個銅香盤我也有一個,竟然出現在妳的空間。

妳有佛像和銅香盤,我讀了書才知道是因為這間屋子曾經在1928年邀訪日本來客,當時妳還有另一個藝術家室友普因(N. N.Punin),普因也是拍下妳許多倩影的人,為妳留下在這間房子的許多美麗痕跡。

我將離開你的白屋與平靜的花園

讓生命趨向空無,亮潔。

我將在詩裡頌讚你(而且只頌讚你),

以女人還未有過的才能。

曾經妳也有過快樂與耀眼時光的。

1910年,妳才二十一歲,即與同為詩人的尼古拉‧古米廖夫結為連理,那時候妳的世界還明亮快樂,緊接著1911年莫迪里亞尼為妳畫了十六幅作品,緊接著1912年至1914年妳出版了《黃昏》和《念珠》兩本詩集,妳以亮眼之姿躍入文壇。

妳的詩傾向文字簡單,但在簡單裡卻蘊藏著多層的意義,讓人不斷咀嚼。

我在妳的屋子裡的冬日上午,只有我一個旅人慢慢地走在木板上,聽見詩的聲音,聽見生命的吶喊,聽見苦痛的幽魂飄盪。

窗外正飄著雪,一群幼稚園的孩子正好出來野放,孩子都穿著桃紅粉紅鵝黃水藍的羽絨衣,在雪地上打滾。雪地像是白色的棉床,他們恣意地玩樂。看見我的相機也是笑著,孩子是善意的,是彩色的。然而他們長大的樣子,卻是愁苦的,是黑色的。

那些躺在玻璃櫃的詩稿,滲透著時間的墨水,像是一面哀愁的鏡子,映出整個時代詩人的挫傷。

逝去的愛隨著時間疼痛日減,荒蕪的是熱情,以及對一切的落空。

妳的這間公寓,是整個俄羅斯我最喜歡的角落。超過普希金的書房,超過杜斯妥也夫斯基的書房,超過托爾斯泰的書房……只因為妳的空間聞得到更多屬於女性那種 寂寥與甜美並存的混合氣味,同時妳沒有普希金的貴族味,沒有杜斯妥也夫斯基的人神交纏味,沒有托爾斯泰一派井然的乾淨味。妳的空間拓滿的存在遺痕是如此地 生活與如此地詩性,同時間飄忽著詩的感傷與哀愁,透照著妳目睹愛人被捕的悲傷,一種活生生的悲劇感仍凝結在此地。

我如此喜愛的妳。

安娜,以韃靼族外祖母阿瑪托娃為名的妳,如此堅毅,如此美麗,如此地度過風霜的晚年。

晚年,政治風潮的改變又平反了曾經被認為反動的妳,而這遲來的變化早喚不回妳的夫妳的子。

妳靜靜地走過這充滿荊棘的詩樂園,同時間留下了詩的呢喃與美麗的物件,供一個來自遙遠的東方小島的女子憑弔再三。

妳將是我在俄羅斯的豐碩成果,關於我目睹了妳的存在,即足以撫慰我整個旅程的困頓與近乎是苦的孤寂。

旅行竟然旅行到「受苦」的況味了,這也只有俄羅斯這樣複雜的子民所能給我的。而妳沒有,妳給我的苦味,帶著滄桑的了然與成熟的感性。

我飽滿地離開,並再三回眸。只消我在此城孤寂了,我即晃蕩至妳的庭院,讀起了詩,或者只凝視著一絲雪的墜下。

聽見雪的聲音。

雪音如詩。

雪,雪,雪。

愛情聞起來像是蘋果。

野蜜聞起來像是自由。

盛開花朵聞起來似血。

塵埃,恍似太陽光譜。

……

上帝——像什麼也沒有。

我隨意地亂譯著妳的詩。我想詩的模糊性之美就在此吧。

誰能說什麼樣的翻譯才能靠近妳呢。

我在現場,我就靠近了妳。我的美人,妳的亡魂依然不朽。有時,我不免想我有病,因為我總是喜歡女人甚過於男人,之於藝術家。

在現實生活裡,女人也都對我甚好,比之於男人。

這間房子有妳的另一段愛情。

詩人安娜的化妝檯,作者的肖像映在鏡子上,彷彿也活過了安娜的時光。
鍾文音/攝影

在遠方只有風的回旋音。

生命只關於記憶的記號。

什麼是記憶的記號?比如一段深邃的愛情,一個時間的參與者。

我聞得到吊在大門口的那件大衣殘存著男人與妳的味道,一看那尺寸就知道那不是妳的大衣,是一件男人的大衣,我不必看他是誰的,就馬上意會到那是關於一個愛情的存在標誌。

大衣的主人是尼古拉.普因,一個歷史學家,一個妳除了丈夫之外深愛的男人,妳在1918年和丈夫離婚,1922年來此找普因,自此妳留了下來。「你高興我來找你嗎?」妳問男人。

「我不是高興,而是一種快樂充溢,因為這樣的快樂,所以一切事物看起來是如此的安靜和乾淨,就像被白雪覆蓋般。是的,我快樂,當你在我身邊時。」男人回答得如此細膩與冗長。

妳知道妳將被俘虜了,妳看著窗外的雪中枯枝,妳低語回應:「在冬季如此漫長冷酷的季節裡,只有這裡是溫暖的!」

投奔於普因的妳,決定常留此地。

妳的前夫與兒子也來此停留居住過,也在此房子被捕,這似乎是妳無法倖免的命運。

因為事隔二十多年,1949年時,普因也在這間房子被政府逮捕了。牆上那件大外衣自從普因被捕至今依然懸吊在原地。這件大衣是普因給妳的最後記憶了,1953年普因死在監獄裡,妳又孤獨一人地度過生命的最後十三年。

1966年妳辭世。

妳的祖國還在共產編織的美夢裡掙扎度日,而我輩正緩緩地前仆後繼地等著降世。

我們一輩子能相逢相識相愛的肉身是如此的少,但我們一輩子能相逢相識相愛的靈魂卻何其多。

給我一篇詩,給我一篇小說,就是給我一個人的靈魂。

妳寫:「我並不常拜訪記憶,它總是使我驚奇!」

但妳又喜歡「記憶是詩人唯一的家」,這句話是妳喜歡的詩人普希金所說的。我喜歡這句話,因此當我離開妳的公寓時,我並沒有離開,我帶著對妳的記憶,而記憶是我們唯一的家。

在這個家裡,我們是戀人。

註:「阿瑪托娃」又譯:阿赫瑪托娃,這個音比較接近俄文,但為了中文字面上的簡便,採取簡單好記的譯名:安娜.阿瑪托娃(Anna Akhmatova, 1889—1966)

2008年6月12日 星期四

一些日本人的紀錄

June 12, 2008

今天事忙。無心翻譯。

川瀬健一

1975-

http://web1.kcn.jp/toyo/

http://web1.kcn.jp/toyo/newpage1.html

2006

http://web1.kcn.jp/toyo/

『台湾映画』  投稿原稿募集 
台湾映画、及びアジア映画の原稿を募集しています。
締め切りは20086月末 詳細をお知りになりたい方は、メールにて連絡下さい。

***

[]林慧兒(男),產經新聞台灣主筆,七十幾歲,旅台,著台灣有情 等。

***

超級作家,故 若菜正義 wakana -1996?)

台大藏書貧乏,總圖5F臺灣研究文庫 有十來年度的台灣總覽

1950年代(?)自中國歸日: 李香蘭

一九五六年,日本每日新聞 記者若菜正義來台擔任特派員,

往返日台 大著

明日の台湾 : その現実と底流 若菜正義 ... 1973

蔣経囯時代の台湾 若菜正義著1978

若菜正義, 中國第一家庭: 探訪蔣總統家庭人與事 [編譯者彭懷恩, 寇維勇].出版社:香港書報社決經銷, 1985

1976-94 主持

(年刊 百科全書) 臺灣總覽 原刊名 台灣年鑑 ---據第5(1976年版)(1975年發行)臺灣總覽(臺灣年鑑改め)1卷刊期 年刊

台灣贈勳章

2008年6月11日 星期三

生涯技術者、信念貫く--長谷川龍雄(はせがわ・たつお)

<悼む>カローラ生みの親・長谷川龍雄さん=4月29日死去・92歳

2008年6月11日(水)13:00
  • 毎日新聞

 ◇生涯技術者、信念貫く--長谷川龍雄(はせがわ・たつお)さん

 「現在のトヨタがあるのは、長谷川さんの力が大きい。技術、製品化、マネジメントまで、すべてをつくりあげてくれた」

 初代カローラの開発から20年以上にわたり苦楽を共にした元トヨタ自動車副社長の佐々木紫郎(しろう)さん(82)は、カローラの生みの親である長谷川さんの功績をこうたたえた。

 長谷川さんは戦時中は立川飛行機に在籍。27歳という若さで、高度1万メートルを飛ぶ戦闘機「キ94」の設計主任に。戦後、多くの航空技術者と同じように自動車会社の門をたたき、トヨタに入社。クラウンを担当した後、パブリカの開発責任者である主査になった。

 パブリカはトヨタのコンパクトカーの元祖となったが、長谷川さんはその後訪れる自動車の高速化、大衆化を予想し、既にカローラの構想を温めていたという。

 カローラ構想は当時、上層部に「良すぎる。まだ早い」と反対されたが、約1年をかけて豊田英二副社長(当時)を説得。66年、発売にこぎつけた。「1年間、常に首を切られると思っていた」と後に語ったという。

 よく「サムライ」という言葉を口にした。「車両主査は、成功させるためにサムライじゃなきゃいけない。欲を捨てて、信念を持ってつくろう」。そんな思いが込められていた。専務就任後も技術者であり続け、技術職最高ポストの「技監」になった。

 他人を寄せ付けないほど集中し、目標を成し遂げる一方で、仲間同士ではボウリングを楽しんだり、酒を飲んで歌を披露する一幕も。厳しく、そして愛される存在だったからこそ、今も世界中で愛されるカローラを世に送り出すことができたに違いない。【米川直己】



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Translation: Japanese » Chinese (Traditional)
花冠達夫長谷川母親的死亡, 4月29日=九十二歲
2008年6月11日(星期三) 13:00

*每日新聞

◇工程師的生命,堅持的信念-達夫長谷川(達夫長谷川公司) ,誰

“目前有豐田,長谷川的很多重量。技術,產品開發和管理,大家都tsukuriage ”

花冠的第一發展要經過很多一起經過20多年的前副總裁豐田汽車由加莉佐佐木一郎( shirou ) , ( 82 ) ,發端花冠的長谷川tataeta信貸這一點。

長谷川,立川說,這架飛機是登記在戰時。青少年在27歲的先進戰鬥機飛行萬米, “ 94的關鍵”設計行政。戰爭結束後,許多航空技術和汽車公司一樣,門撲頭,他參加了豐田。之後,負責官方,誰是負責開發的酒館哥斯達黎加的組織者。

豐田汽車的酒吧在哥斯達黎加和父親一個緊湊轎車,但長谷川的訪問其次是車輛的速度和預期的民主化,花冠已經有了一個計劃升溫。

花冠的概念是,當時,上層“ 。為時過早” ,並反對由約一年,以副總裁田榮二豐田(當時的)說服。 1966年,發表kogitsuketa 。 “一年,我總是發射, ”後,他說。

那麼, “武士”口碑相傳。 “車輛的組織者,要取得成功,武士janakya這樣做。願望,摒棄相信構想” 。這種感覺一直深情。工程師和高級董事總經理,自上任以來,這仍然是最高的職位技術職務的“技術顧問” 。

其他主要集中在更無法進入,以實現一個目標,同儕享受保齡球,飲用水歌曲和一幕劇。嚴重的,是愛,因為它存在,花冠仍然喜歡在世界各地向世界表明,必須作出。納奧米yonekawa [ ]


2008年6月9日 星期一

宣建生 Jason Hsuan

冠捷科技有限公司 (港交所0903)是一家在香港交易所上市的工業公司。主要業務是各式各樣電腦監視器及彩色掃描器之製造、設計及銷售業務。 公司在百慕達註冊,主席為 宣建生2004年資產淨值為USD 407,478,000 ,純利為USD 108,337,000 。

  • 2007-12-7長城電腦入股冠捷科技10.27%共計2億股,收購總價格為11.4億港元


  • 飛利浦宣佈出售其個人計算機顯示器及平面電視業務予冠捷科技3.5億美元
  • 2007-12-22冠捷入股 科橋(6156) 2000萬股 9%的股權,成為最大的股東。
A CAPITALIST CHILD OF MAO'S CHINA
By Peter Marsh
Tuesday, June 10, 2008
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A

s Jason Hsuan discusses his efforts to double his company's sales over the next few years, he allows himself a joke. “I have a five-year plan,” he says. “You see, I am a communist.”

The throw-away comment from the 66-year-old chairman and chief executive of TPV Technology touches on a remarkable detail about his past, one that he believes has been instrumental in his creation of the world's biggest maker of computer screens, with sales last year of $8.4bn.

Until the age of six, Mr Hsuan was brought up in Fuqing in mainland China. But during Mao Zedong's communist takeover in 1949, his parents fled to Taiwan, leaving him behind.




[人物背景]

宣建生,台湾冠捷集团董事局主席兼总裁。1943年生于福建,美国波士顿大学系统 工程硕士、美国纽约理工学院系统工程及管理科学哲学博士。曾任美国通用电气(GE)研究发展部工业管理部门经理、台湾百事可乐副总经理等。他领导的AOC 冠捷已成为目前全球最大的电脑显示器制造商。

人生最宝贵的资产:卖茶叶蛋的经历

前日晚上,应武汉大学邀请,宣建生在该校作了一次演讲,与学子分享他的传奇人生。

在场的学生都知道,这个显示器王国的缔造者,曾有卖茶叶蛋的辛酸经历。

然而,在提起往事时,宣建生却说,那段经历是他一生中最宝贵的资产。

宣建生7岁那年,父母去了台湾,他随留在大陆的祖父母生活。失去经济支柱的一家人只好靠卖茶叶蛋等小买卖为生。

宣建生至今记得第一次卖茶叶蛋的情景:他提着祖母煮好的20个茶叶蛋出门,在街头从早上一直守到中午,只卖出了3个。

“老跟在别人后面卖是不行的。”宣建生从当天失败的经历中悟出这样一个道理,他把眼光转向了电影院的观众等“夜猫子”群体。生意果然从此好多了。

后来,他又琢磨用鸭蛋做茶叶蛋。鸭蛋成本低,但比鸡蛋大,煮进味要麻烦一点。祖母为此特地在卤水里放了一块咸肉,味道果真不一般,也引来很多人买。

宣建生在美国留学后,所找的第一份工作是卖汽水。这个拿了博士学位的人自称,自己对卖什么都感兴趣。尽管当时他的头衔是“行销副总裁”,他却总是随载货的销售车一起上街。卖茶叶蛋的经历告诉他,不到销售一线,无法做一个成功的销售商。

人生最幸运的事:与湖北有缘

1961年,宣建生到台湾与父母团聚。

此前,他在大陆学的是简体字。到台湾后,因不会使用繁体字,而总是被认为语文作业出错。参加台湾联考(即高考)时,老师特意叮嘱他:少写字就少犯错误,让他作文尽量少写点。他的理化成绩非常好,只要国文得60分,他就可以上台湾最好的大学——台大。

然而,一进考场,宣建生忍不住提笔就写,一写就刹不住,把老师的叮嘱忘到了脑后。放榜时,他发现国文只考了36分,只好上了第二志愿成功大学。

.....

人生第一堂课:学会谦虚

宣建生曾在通用电气(GE)工作6年,他称自己在那里真正学到了人生第一堂课——谦虚。

宣建生说,他拿到博士文凭到通用时,是有一点优越感的。他被安排在一楼办公,一楼总共有30个房间,他的办公室在最后一间。结果他发现,一路走过去,竟然全是博士,心中的优越感顿失。

有一天,公司广播里突然说,要向5楼的一个同事表示祝贺,因为他刚得了诺贝尔化学奖。

宣建生发现,那个诺奖获得者,竟是常与他一起上街的一个同事,衣着简单,为人十分低调。这给了宣建生极大的震动,从此他时时以那个同事为鉴,提醒自己:做人要谦虚,切不可盲目自大。

.....

【追问】

我是第一个到大陆投资的台商

问:您是学电子出身,当初为何选择回台湾卖汽水?

宣:完全是出于责任。我觉得活在世上就要承担责任。当时我父亲与朋友投资百事可乐,出现了亏损。哥哥及弟弟都在美国,不愿回去。我选择回去,太太又不同意,最后将其“连骗带哄”带回了台湾。

问:您一手做大了冠捷,您的经营理念是什么?

宣:专注。这么多年,我们一直专注于显示科技。要在一个行业生存,不专注不行。

问:人的一生中面临很多选择,你如何决定取舍?

宣:取舍确实很艰难。有一点可以肯定:年轻时,不要把钱看得太重。

问:做某个重大决策时,您如无十分的把握,会怎么办?

宣:1989年,我在福建设生产基地,成为第一个到大陆投资的台商,连对手都提醒我说,那样做风险很大。结果,我先进来,占了先机。

问:成功人士都有人生目标,您的人生目标是什么?

宣:我小时候把卖茶叶蛋当作人生目标,早一点卖完可早回家。高中时的人生目标是英文过关。现在则是努力实现父亲对我说的话:做人要讲诚信,要善于与人分享。

2008年6月3日 星期二

Bo Diddley, Who Gave Rock His Beat, Dies at 79

Bo Diddley, Who Gave Rock His Beat, Dies at 79

Jeff Christensen/Associated Press

Bo Diddley at B.B. King's Blues Club in New York in 2006. More Photos >


Published: June 3, 2008

Bo Diddley, a singer and guitarist who invented his own name, his own guitars, his own beat and, with a handful of other musical pioneers, rock ’n’ roll itself, died Monday at his home in Archer, Fla. He was 79.

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"I used to crank up Bo Diddley when I was 8 years old and dance around the house. I could have told you then that Elvis didn't invent rock 'n' roll."
Margaret, Santa Barbara

The cause was heart failure, a spokeswoman, Susan Clary, said. Mr. Diddley had a heart attack last August, only months after suffering a stroke while touring in Iowa.

In the 1950s, as a founder of rock ’n’ roll, Mr. Diddley — along with Chuck Berry, Little Richard, Jerry Lee Lewis and a few others — helped to reshape the sound of popular music worldwide, building on the templates of blues, Southern gospel, R&B and postwar black American vernacular culture.

His original style of rhythm and blues influenced generations of musicians. And his Bo Diddley syncopated beat — three strokes/rest/two strokes — became a stock rhythm of rock ’n’ roll.

It can be found in Buddy Holly’s “Not Fade Away,” Johnny Otis’s “Willie and the Hand Jive,” the Who’s “Magic Bus,” Bruce Springsteen’s “She’s the One” and U2’s “Desire,” among hundreds of other songs.

Yet the rhythm was only one element of his best records. In songs like “Bo Diddley,” “Who Do You Love,” “Mona,” “Crackin’ Up,” “Say, Man,” “Ride On Josephine” and “Road Runner,” his booming voice was loaded up with echo and his guitar work came with distortion and a novel bubbling tremolo. The songs were knowing, wisecracking and full of slang, mother wit and sexual cockiness. They were both playful and radical.

So were his live performances: trancelike ruckuses instigated by a large man with a strange-looking guitar. It was square and he designed it himself, long before custom guitar shapes became commonplace in rock.

Mr. Diddley was a wild performer: jumping, lurching, balancing on his toes and shaking his knees as he wrestled with his instrument, sometimes playing it above his head. Elvis Presley, it has long been supposed, borrowed from Mr. Diddley’s stage moves; Jimi Hendrix, too.

Still, for all his fame, Mr. Diddley felt that his standing as a father of rock ’n’ roll was never properly acknowledged. It frustrated him that he could never earn royalties from the songs of others who had borrowed his beat.

“I opened the door for a lot of people, and they just ran through and left me holding the knob,” he told The New York Times in 2003.

He was a hero to those who had learned from him, including the Rolling Stones and the Beatles. A generation later, he became a model of originality to punk or post-punk bands like the Clash and the Fall.

In 1979 Joe Strummer and Paul Simonon of the Clash asked that Mr. Diddley open for them on the band’s first American tour. “I can’t look at him without my mouth falling open,” Mr. Strummer, star-struck, said during the tour.

For his part Mr. Diddley had no misgivings about facing a skeptical audience. “You cannot say what people are gonna like or not gonna like,” he explained later to the biographer George R. White. “You have to stick it out there and find out! If they taste it, and they like the way it tastes, you can bet they’ll eat some of it!”

Mr. Diddley was born Otha Ellas Bates in McComb, Miss., a small city about 15 miles from the Louisiana border. He was reared primarily by Gussie McDaniel, the first cousin of his mother, Esther Wilson. After the death of her husband, Ms. McDaniel, who had three children of her own, took the family to Chicago, where young Otha’s name was changed to Ellas B. McDaniel. Gussie McDaniel became his legal guardian and sent him to school.

He was 6 when the family resettled on Chicago’s South Side. He described his youth as one of school, church, trouble with street toughs and playing the violin for both band and orchestra, under the tutelage of O. W. Frederick, a prominent music teacher at the Ebenezer Baptist Church, where Gussie McDaniel taught Sunday school. Ellas studied classical violin from 7 to 15 and started on guitar at 12, when a family member gave him an acoustic model.

He then enrolled at Foster Vocational School, where he built a guitar as well as a violin and an upright bass. But he dropped out before graduating. Instead, with guitar in hand, he began performing in a duo with his friend Roosevelt Jackson, who played the washtub bass. The group became a trio when they added another guitarist, Jody Williams, then a quartet when they added a harmonica player, Billy Boy Arnold.

The band, first called the Hipsters and then the Langley Avenue Jive Cats, started playing at the Maxwell Street open-air market. They were sometimes joined by another friend, Samuel Daniel, known as Sandman because of the shuffling rhythms he made with his feet on a wooden board sprinkled with sand.

Mr. Diddley could not make a living playing with the Jive Cats in the early days, so he found jobs where he could: at a grocery store, a picture-frame factory, a blacktop company. He worked as an elevator operator and a meat packer. He also started boxing, hoping to turn professional.

In 1954 Mr. Diddley made a demonstration recording with his band, which now included Jerome Green on maracas. Phil and Leonard Chess of Chess Records liked the demo, especially Mr. Diddley’s tremolo on the guitar, a sound that seemed to slosh around like water. They saw it as a promising novelty and encouraged the group to return.

By Billy Boy Arnold’s account, the next day, as the band and the men who were soon to be their producers were setting up for a rehearsal, they were idly casting about for a stage name for Ellas McDaniel when Mr. Arnold thought of Bo Diddley. The name described a “bow-legged guy, a comical-looking guy,” Mr. Arnold said, as quoted by Mr. White in his 1995 biography, “Bo Diddley: Living Legend.”

That may be all there is to tell about the name, except for the fact that a certain one-string guitar — native to the Mississippi Delta, often homemade, in which a length of wire is stretched between two nails in a board — is called a diddley bow. By his account, however, Mr. Diddley had never played one.

In any case, Otha Ellas McDaniel had a new name and the title of a new song, whose lyrics began, “Bo Diddley bought his babe a diamond ring.” “Bo Diddley” became the A side of his first single, in 1955, on the Checker label, a subsidiary of Chess. It reached No. 2 on the Billboard singles chart.

Mr. Diddley said he had first heard the “Bo Diddley beat” — three-stroke/rest/two-stroke, or bomp-ba-domp-ba-domp, ba-domp-domp — in a church in Chicago. But variations of it were in the air. The children’s game hambone used a similar rhythm, and so did the ditty that goes “shave and a haircut, two bits.”

The beat is also related to the Afro-Cuban clave, which had been popularized at the time by the New Orleans mambo carnival song “Jock-A-Mo,” recorded by Sugar Boy Crawford in 1953.

Whatever the source, Mr. Diddley felt the beat’s power. In early songs like “Bo Diddley” and “Pretty Thing,” he arranged the rhythm for tom-toms, guitar, maracas and voice, with no cymbals and no bass. (Also arranged in his signature rhythm was the eerie “Mona,” a song of praise he wrote for a 45-year-old exotic dancer who worked at the Flame Show Bar in Detroit; this song became the template for Buddy Holly’s “Not Fade Away.”)

Appearing on “The Ed Sullivan Show” in 1955, Mr. Diddley was asked to play “Sixteen Tons,” the song popularized by Tennessee Ernie Ford. Without telling Mr. Sullivan, he played “Bo Diddley” instead. Afterward, in an off-camera confrontation, Mr. Sullivan told him that he would never work in television again. Mr. Diddley did not play again on a network show for 10 years.

For decades Mr. Diddley was bitter about his relationship with the Chess family, whom he accused of withholding money owed to him. In her book “Spinning Blues Into Gold,” Nadine Cohodas quoted Marshall Chess, Leonard’s son, as saying, “What’s missing from Bo’s version of events is all the gimmes.” Mr. Diddley would borrow so heavily against projected royalties, Mr. Chess said, that not much was left over in the final accounting.

Mr. Diddley’s watery tremolo effect, from 1955 onward, came from one of the first effects boxes to be manufactured for guitars: the DeArmond Model 60 Tremolo Control. But Mr. Diddley contended that he had already built something similar himself, with automobile parts and an alarm-clock spring.

His first trademark guitar was also handmade: he took the neck and the circuitry off a Gretsch guitar and connected it to a square body he had built. In 1958 he asked Gretsch to make him a better one to the same specifications. Gretsch made it as a limited-edition guitar called “Big B.”

On songs like “Who Do You Love,” his guitar style — bright chicken-scratch rhythm patterns on a few strings at a time — was an extension of his early violin playing, he said.

“My technique comes from bowing the violin, that fast wrist action,” he told Mr. White, explaining that his fingers were too big to move around easily. Rather than fingering the fretboard, Mr. Diddley said, he tuned the guitar to an open E and moved a single finger up and down to create chords.

As his fame rose, his personal life grew complicated. His first marriage, at 18, to Louise Woolingham, lasted less than a year. His second marriage, in 1949, to Ethel Smith, unraveled in the late 1950s. He then moved from Chicago to Washington, settling in the Mount Pleasant district, where he built a studio in his home.

Separated from his wife, he was performing in Birmingham, Ala., when, backstage, he met a young door-to-door magazine saleswoman named Kay Reynolds, a fan, who was 15 and white. They moved in together in short order and were soon married, in spite of Southern taboos against intermarriage.

During the late 1950s Mr. Diddley’s band featured a female guitarist, Peggy Jones (stage-named Lady Bo), at a time when there were scarcely any women in rock. She was replaced by Norma-Jean Wofford, whom Mr. Diddley called the Duchess. He pretended she was his sister, he said, to be in a better position to protect her on the road.

The early 1960s were low times. Chess, searching for a hit, had Mr. Diddley make albums to capitalize on the twist dance craze, as Chubby Checker had done, and on the surf music of the Beach Boys. But soon a foreign market for his earlier music began to grow, thanks in large part to the Rolling Stones, a newly popular band that was regularly playing several of his songs in its concerts. It paved the way for Mr. Diddley’s successful tour of Britain in the fall of 1963, performing with the Everly Brothers, Little Richard and the Rolling Stones, the opening act.

But Mr. Diddley was not willing to move to Europe, and in America the picture worsened: the Beatles, the Stones, Bob Dylan and the Byrds quickly made him sound quaint. When work all but dried up, Mr. Diddley moved to New Mexico in the early 1970s and became a deputy sheriff in the town of Los Lunas. With his sound updated to resemble hard rock and soul, he continued to make albums for Chess until his contract expired in 1974.

His recording career never picked up after that, despite flirtations with synthesizers, religious rock and hip-hop. But he continued apace as a performer and public figure, popping up in places both obvious, like rock ’n’ roll nostalgia revues, and not so obvious: a Nike advertisement, the film “Trading Places” with Eddie Murphy, the 1979 tour with the Clash, and inaugural balls for two presidents, George H. W. Bush and Bill Clinton.

His last recording was the 1996 album “A Man Amongst Men” (Code Blue/Atlantic), which was nominated for a Grammy. He was inducted into the Rock and Roll Hall of Fame in 1987 and in 1998 was inducted into the National Academy of Recording Arts and Sciences Hall of Fame as a musician of lasting historical importance.

Since the early 1980s Mr. Diddley had lived in Archer, Fla., near Gainesville, where he owned 76 acres and a recording studio. His passions were fishing and old cars, including a 1969 purple Cadillac hearse.

The last of Mr. Diddley’s marriages was to Sylvia Paiz, in 1992; his spokeswoman, Ms. Clary, said they were no longer married. His survivors include his children, Evelyn Kelly, Ellas A. McDaniel, Tammi D. McDaniel and Terri Lynn McDaniel; a brother, the Rev. Kenneth Haynes; and 15 grandchildren, 15 great-grandchildren and three great-great-grandchildren.

Mr. Diddley attributed his longevity to abstinence from drugs and drinking, but in recent years he had suffered from diabetes. After a concert in Council Bluffs, Iowa, on May 13, 2007, he had a stroke and was taken to Creighton University Medical Center in Omaha. On Aug. 28 he suffered a heart attack in Gainesville and was hospitalized.

Mr. Diddley always believed that he and Chuck Berry had started rock ’n’ roll, and the fact that he couldn’t financially reap all that he had sowed made him a deeply suspicious man.

“I tell musicians, ‘Don’t trust nobody but your mama,’ ” he said in an interview with Rolling Stone magazine in 2005. “And even then, look at her real good.”

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