受教
她為該戲學上海話、讀史書、唱蘇州評彈，相當受教。為演好王佳芝，不接朋友電話，連父母也不聞不問，搞至六親不認的地步。
受教: 接受他人的教誨。戰國策˙魏策四：
信陵君曰：
無忌謹受教。
文選˙任昉˙到大司馬記室牋：況昉受教君子，將二十年。2007年9月30日 星期日
2007年9月29日 星期六
人類史上最浩大的編纂工程？
現在重讀幾年前的中文翻譯OED的故事--人類史上最浩大的編纂工程 The Meaning of Everything: The Story of the Oxford English Dictionary
作者：賽門‧溫契斯特Simon Winchester；譯者：:林秀梅
才覺得台灣編輯的誇大：OED是否為” 人類史上最浩大的編纂工程”呢？這應該是見仁見智的。
這樣，反而把原書的標題「界定天下所有事物之意義」忽略了。編纂工程 有許多層次，OED是英文世界中很了不起。這好玩的是這工程 開始是由一人獨立完成的。
這種主題和內容的書，台灣也是請青年翻譯者翻譯的，當然也有些問題。
佛陀悟道的菩提樹
記下2007年9月28日Simon University 一些朋友談佛陀悟道的菩提樹要如何翻譯
，枝葉茂密的菩提樹，是 19世紀從斯里蘭卡切枝移植而來的，四週外圍佈滿經文的大理石護欄 (請看上面第一二張照片) ，內圍則是一圈佛相神龕，至於入口處有一涼亭，重建了2500年前佛祖對5 位弟子說法的實況。......."
小讀者: 除非，斯里蘭卡那株當初也是原樹切枝移植而去的．．．"
張瑞麟:
抄西域記卷八中之文字，相信可以敲破梁兄腦袋：
金剛座上菩提樹者：即畢缽羅之樹也。昔佛在世，高數百尺，屢經殘伐，猶高四五丈。佛坐其下，成等正覺。因而謂之菩提樹焉。莖幹黃白，枝葉青翠。冬夏不凋，光鮮無變。每至如來涅槃之日，葉皆凋落。頃之復故。是日也，諸國君王，異方法俗；數千萬眾，不召而集。香水香乳，以溉以灑。於是奏音樂，列香花，燈炬繼日，競修供養。如來寂滅之後，無憂王之初嗣位也，信受邪道，毀佛遺跡。興發兵徒、躬臨剪伐。根莖枝葉、分寸斬截。次西數十步、而積聚焉。令事火婆羅門、燒以祠天，燭焰未靜，忽生兩樹。猛火之中，茂葉含翠。因而謂之灰菩提樹。無憂王睹此悔過。以香乳溉餘根。洎乎將旦，樹生如本。王見靈怪，重深欣慶。躬修供養，樂以忘歸。王妃素信外道，密遣使人夜分之後，重伐其樹。無憂王旦將禮敬，唯見蘗株。深增悲慨。至誠祈請，香乳溉灌，不日還生。王深敬異，壘石周垣，其高十餘尺，今猶見在。近設賞迦王者、信受外道，毀嫉佛法，壞僧伽藍，伐菩提樹。掘至泉下，不盡根柢。乃縱火焚燒，以甘蔗汁沃之，欲其燋爛，絕滅遺萌。數月後、摩揭陀國補刺拏伐摩王，（唐言滿冑）無憂王之末孫也。聞而歎曰：慧日已隱，唯餘佛樹。今復摧殘，生靈何睹。舉身投地，哀感動物。以數千牛、搆乳而溉。經夜樹生，其高丈餘。恐後剪伐，周峙石垣，高二丈四尺。故今菩提樹、隱於石壁，上出二丈餘。如彼廣說。
hc:".......菩提樹。お釈迦様の菩提樹は柵があるので親戚の菩提樹です。
これが４代目のお釈迦様の菩提樹です。現在２００歳とか。....."
西域記的文字可吟可誦。"
rl:"不客氣！不客氣！
畢缽羅是梵語 पिप्पल (pippala ) 之音譯。........"
梁: "各位兄弟父老，以下的descendant一詞我想破頭都想不出譯法，可否借用各位智慧。
Jack traveled to Boda Gaya, a tiny village in the north of India that is the site of the historical Buddha's enlightenment. A descendant of the origin bodhi tree, under which the Buddha sat when he achieved his awakening, still thrives in the village."
小讀者:
"咦那就不是原樹的嫡子嫡孫了．．．
張瑞麟:
抄西域記卷八中之文字，相信可以敲破梁兄腦袋：
金剛座上菩提樹者：即畢缽羅之樹也。昔佛在世，高數百尺，屢經殘伐，猶高四五丈。佛坐其下，成等正覺。因而謂之菩提樹焉。莖幹黃白，枝葉青翠。冬夏不凋，光鮮無變。每至如來涅槃之日，葉皆凋落。頃之復故。是日也，諸國君王，異方法俗；數千萬眾，不召而集。香水香乳，以溉以灑。於是奏音樂，列香花，燈炬繼日，競修供養。如來寂滅之後，無憂王之初嗣位也，信受邪道，毀佛遺跡。興發兵徒、躬臨剪伐。根莖枝葉、分寸斬截。次西數十步、而積聚焉。令事火婆羅門、燒以祠天，燭焰未靜，忽生兩樹。猛火之中，茂葉含翠。因而謂之灰菩提樹。無憂王睹此悔過。以香乳溉餘根。洎乎將旦，樹生如本。王見靈怪，重深欣慶。躬修供養，樂以忘歸。王妃素信外道，密遣使人夜分之後，重伐其樹。無憂王旦將禮敬，唯見蘗株。深增悲慨。至誠祈請，香乳溉灌，不日還生。王深敬異，壘石周垣，其高十餘尺，今猶見在。近設賞迦王者、信受外道，毀嫉佛法，壞僧伽藍，伐菩提樹。掘至泉下，不盡根柢。乃縱火焚燒，以甘蔗汁沃之，欲其燋爛，絕滅遺萌。數月後、摩揭陀國補刺拏伐摩王，（唐言滿冑）無憂王之末孫也。聞而歎曰：慧日已隱，唯餘佛樹。今復摧殘，生靈何睹。舉身投地，哀感動物。以數千牛、搆乳而溉。經夜樹生，其高丈餘。恐後剪伐，周峙石垣，高二丈四尺。故今菩提樹、隱於石壁，上出二丈餘。如彼廣說。
hc:".......菩提樹。お釈迦様の菩提樹は柵があるので親戚の菩提樹です。
これが４代目のお釈迦様の菩提樹です。現在２００歳とか。....."
liang:"多蝦多蝦。我就用「子樹」好了。
拋出一字而有那麼多收穫，始料不及。真一字一世界也。
rl:"不客氣！不客氣！
畢缽羅是梵語 पिप्पल (pippala ) 之音譯。........"
2007年9月27日 星期四
「紀念碑」和「墓碑」不同--《不是我，是風……》
千の風になって
一陣風，留下了千古絕唱
Resuming their journey, Frieda and Lawrence finally arrived in the
in September 1922. Here they encountered Mabel Dodge Luhan, a
prominent socialite, and considered establishing a utopian community
on what was then known as the 160-acre Kiowa Ranch near
Mexico
D.H.Lawrence Ranch, in 1924 in exchange for the manuscript of Sons and
Lovers. By all accounts
mountains, the only home that he ever owned. He stayed in
for two years, with extended visits to
Frieda Lawrence【1879-1956，勞倫斯妻子】《不是我，是風—勞倫斯妻子回憶勞倫斯》( "Not I, but the Wind...", Rydal/Viking, 1934.)，新華出版社，2006
《不是我，是風》應該改成：《不是我，是風……》Not I, but the Wind…它被用作歌名……作者Frieda Lawrence是奇人，她的傳記：Janet Byrne: A Genius for Living – A Biography of Frieda Lawrence, Bloomsbury, 1995.
上周。在紐約時報讀篇他們在新墨西哥的農場報導，大開眼界。
這本書幾乎不附外文，有些翻譯可能有瑕疵。
譬如說：
「生活和情感在不斷地變化。我們不是照片，『紀念碑上的耐心』」……
注解說它是莎士比亞{第十二夜}中一比喻。我查出：
pined in thought,
And with a green and yellow melancholy
She sat like patience on a monument,
Smiling at grief. . . .
Twelfth Night: Act II, scenes iii–iv
「像是墓碑上刻著"忍耐"的化身，默坐著向悲哀微笑。」（朱生豪譯）
學生用的參考書之說法："Patience on a monument" refers to statues of the allegorical figure of Patience, which often adorned Renaissance tombstones. By comparing her imaginary sister to this stone figure, Viola subtly contrasts her own passion with the self-indulgent and grandiose lovesickness from which Orsino claims to suffer.
換句話說，「紀念碑」和「墓碑」不同。
千の風になって
Do not stand at my grave and weep is a popular poem, largely considered to be written by Mary Elizabeth Frye (1904-2004), but of disputed origin.
YouTube - 千の風になって
Add Video to QuickList. sen no kaze ni natte 千の風になって ...
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Hide video - 4 min 16 sec - 
[edit] The Text
An early version, printed by others on postcards:
- Do not stand at my grave and weep;
- I am not there. I do not sleep.
- I am a thousand winds that blow.
- I am the diamond glints on snow.
- I am the sunlight on ripened grain.
- I am the gentle autumn rain.
- When you awaken in the morning's hush
- I am the swift uplifting rush
- Of quiet birds in circled flight.
- I am the soft stars that shine at night.
- Do not stand at my grave and cry;
- I am not there. I did not die.
Her later confirmed version:
- Do not stand at my grave and weep,
- I am not there, I do not sleep.
- I am in a thousand winds that blow,
- I am the softly falling snow.
- I am the gentle showers of rain,
- I am the fields of ripening grain.
- I am in the morning hush,
- I am in the graceful rush
- Of beautiful birds in circling flight,
- I am the starshine of the night.
- I am in the flowers that bloom,
- I am in a quiet room.
- I am in the birds that sing,
- I am in each lovely thing.
- Do not stand at my grave and cry,
- I am not there. I do not die.
The poem is made up of six (or sometimes eight) rhyming couplets. Various versions exist but, with the bulk of the work being made up of a selection of images preceded by "I am...", the sense is largely the same. The poem addresses the reader/ audience with the voice of a deceased person, invoking quite spiritual — but not specifically religious — imagery. According to the most generally accepted theory, that of Frye's writing the poem, it was originally addressed to a German Jewish girl, a friend of the author. The girl's mother had died back in her homeland, but returning to pay her respects was not possible and Frye wrote the poem as part of her condolences. The text soothes the addressee, reassuring of the deceased's life after death in both its message and its voice, and as such has become very popular poem, and a common reading for funerals.
[edit] Origins
There is some ambiguity as to the poem's writer, and it was neither published nor copyrighted by Frye, although she was the only living person to credibly claim its authorship. Frye is near universally cited as the author, and her literary significance is based almost entirely upon it, but other sources, including traditional native American origins, have been suggested over the years.
[edit] External links
- A new version with its own inspirational movie
- Different versions and short note
- Full text and notes on origins, including Frye obituary
YouTube - 千の風になって
Add Video to QuickList. sen no kaze ni natte 千の風になって ...
日本語訳
（b） の日本語訳の例
- わたしのお墓に佇み泣かないでください
- わたしはそこにはいません、わたしは眠りません
- わたしはふきわたる千の風
- わたしは雪上のダイヤモンドのきらめき
- わたしは豊穣の穀物にそそぐ陽光
- わたしはおだやかな秋雨
- あなたが朝の静けさの中で目覚めるとき
- わたしは翔け昇る上昇気流となって
- 弧を描いて飛ぶ静かな鳥たちとともにいます
- わたしは夜に輝くやさしい星々
- わたしのお墓に佇み嘆かないでください
- わたしはそこにはいません、わたしは死ななかったのです
出版されているもの
このほかにも様々な日本語訳が存在する。
[編集] 派生作品
音楽
- "Prayer" Lizzie West (アルバム "Holy Road: Freedom Songs")
- "Do Not Stand at My Grave and Weep" キャサリン・ジェンキンス (アルバム "Living A Dream")
- "Do not stand at my grave" リベラ (アルバム "free")
- 『千の風になって』新井満
- この詩を新井満が日本語に訳し、曲をつけたもの。第57回NHK紅白歌合戦ではテノール歌手・秋川雅史がこの歌を熱唱し多くの人々に感動を与えた。その後問い合わせが殺到、2007年1月22日付のオリコン総合チャートで1位を獲得した。詳しくは千の風になって (秋川雅史)を参照。
- この詩を塩谷靖子が日本語に訳し、曲をつけたもの。新井満の訳には、原詩にない新たな創作的表現が詩的に盛り込まれているが、彼女が訳した時には、作品に敬意を払って原詩以上の表現を付け加えることを基本的に嫌い、なるべく原詩に近い謙虚な訳で、メロディのリズムの範囲内で日本語らしく振る舞ったとのことである。
- 日本での現在のような流行以前に出来上がって発表されていた曲であったが、全盲の歌手として活躍している優しい歌声と深い表現力が話題になり、聖路加国際病院名誉院長日野原重明の推薦するCDが新聞などの報道でも話題となり、YAHOO!話題の人物ランキング：クラシックで発売前から10位前後にランクインする爆発的な人気で、発売後には2位の人気を誇り、売り切れの店舗も現れている新しい話題の曲である。
[編集] 外部リンク
- Different versions and short note
- Full text and notes on origins, including Frye obituary
- The Times の死亡記事（2004年11月5日）
- 別の訳による歌曲「千の風」を歌う全盲のソプラノ歌手塩谷靖子のHP
- ネットで聞ける・視聴できる「千の風になって」リンク
2007年9月25日 星期二
Smile Shutter
由於日本將照相機的"快門"shutter採取音譯
所以下文關於Sony數位相機的新機能Smile Shutter都不譯
━━ n., vt. （普通pl.） よろい(鎧)戸［雨戸］（をつける，をしめる）; （オルガンの）開閉器; 【写】シャッター.
put up the shutters よろい戸を閉める; 店をしめる; 店をやめる.
shutter・bug 〔米話〕 写真マニア.
shutter (WINDOW COVER) Show phonetics
noun [C]
1 a wooden cover on the outside of a window which prevents light or heat from going into a room or heat from leaving it:
Shutters usually come in pairs and are hung like doors on hinges.
2 a metal covering which protects the windows and entrance of a shop from thieves when it is closed
shuttered
adjective
Shops are closed and shuttered on Sundays.
■日文原文
笑顔でシャッターが切れるカメラ，「”笑顔撮ったぞ“ということで勝ったような気分」
【日經BP社報導】 新力為2007年9月4日發表的數位相機“DSC-T200”和“DSC-T70”舉辦了面向媒體的體驗活動。該產品最大的特點是通過檢測笑容自動拍照的 “Smile Shutter”功能。拍照時不會錯過“笑容”這一最佳拍攝時機。對於配備該功能的理由，新力數位影像業務本部軟體技術部門相機控制部第3小組的小川要 說:“誰都希望笑著拍照。‘Smile Shutter’聽起來是不是很像哆啦A夢口袋中的寶貝？”因為面部檢測技術已確立，新力認為時機已經成熟，因而開發了這一功能。
Smile Shutter功能的使用過程如下。首先，在拍攝模式中選擇Smile Shutter，把相機對著被拍照人，在面部檢測結束後，長按快門。之後，相機會檢測出笑容，自動按下快門。每檢測出一次笑容快門按動一次，拍攝6張照片 後該功能結束。希望在拍攝6張之前結束時需長按快門一次。
新力在開發該功能時，分析了全球各地人們的笑容。利用超級電腦，通過“嘴角”、“牙”、“笑紋”、“眼”、“臉頰”等部分的笑容特徵，分析人 的笑容，並將其數值化。該功能能夠根據這一分析結果，對數位相機準備拍攝的是否是笑容進行判斷，從而啟動快門。從利用CCD影像檢測出笑容，到按動快門拍 攝照片大約在0.3秒以內，這一時間與環境照度有關。根據筆者的親身體驗，當發現被拍照人的笑容時照片已經拍攝完畢。
在此次的體驗活動中，參與CM拍攝的香椎由宇、Mary Ann響、松田翔太、渡邊哲等4位出場亮相，談了CM拍攝中使用具有這一功能的產品的感受。香椎手持紅色的DSC-T200說:“現在也忍不住想（使用 Smile Shutter功能）拍照片。拍攝過程非常有趣。拍到笑容令人很有滿足感。”。渡邊強調了該功能的奇妙之處:“我用生氣和微笑的表情做了實驗，即使只有嘴 角在笑，快門也會按下”。同時還表示通過在自拍時使用該功能，“拍到了自己都沒見過的可愛笑容。能夠幫助你發現自己都沒見過的美麗”。
此次的2款產品已于2007年9月21日上市。價格為開放式，該公司預計實際零售價格如下:DSC-T200為4.8萬日元左右、DSC-T70為4萬日元左右。（記者:宇野 麻由子）
所以下文關於Sony數位相機的新機能Smile Shutter都不譯
━━ n., vt. （普通pl.） よろい(鎧)戸［雨戸］（をつける，をしめる）; （オルガンの）開閉器; 【写】シャッター.
put up the shutters よろい戸を閉める; 店をしめる; 店をやめる.shutter・bug 〔米話〕 写真マニア.
shutter (WINDOW COVER) Show phonetics
noun [C]
1 a wooden cover on the outside of a window which prevents light or heat from going into a room or heat from leaving it:
Shutters usually come in pairs and are hung like doors on hinges.
2 a metal covering which protects the windows and entrance of a shop from thieves when it is closed
shuttered
adjective
Shops are closed and shuttered on Sundays.
■日文原文
笑顔でシャッターが切れるカメラ，「”笑顔撮ったぞ“ということで勝ったような気分」
笑容啟動快門的數位相機 “可愛笑容”展現新的美麗
| DATE | 2007/09/26 |  |
|---|
Smile Shutter功能的使用過程如下。首先，在拍攝模式中選擇Smile Shutter，把相機對著被拍照人，在面部檢測結束後，長按快門。之後，相機會檢測出笑容，自動按下快門。每檢測出一次笑容快門按動一次，拍攝6張照片 後該功能結束。希望在拍攝6張之前結束時需長按快門一次。
新力在開發該功能時，分析了全球各地人們的笑容。利用超級電腦，通過“嘴角”、“牙”、“笑紋”、“眼”、“臉頰”等部分的笑容特徵，分析人 的笑容，並將其數值化。該功能能夠根據這一分析結果，對數位相機準備拍攝的是否是笑容進行判斷，從而啟動快門。從利用CCD影像檢測出笑容，到按動快門拍 攝照片大約在0.3秒以內，這一時間與環境照度有關。根據筆者的親身體驗，當發現被拍照人的笑容時照片已經拍攝完畢。
在此次的體驗活動中，參與CM拍攝的香椎由宇、Mary Ann響、松田翔太、渡邊哲等4位出場亮相，談了CM拍攝中使用具有這一功能的產品的感受。香椎手持紅色的DSC-T200說:“現在也忍不住想（使用 Smile Shutter功能）拍照片。拍攝過程非常有趣。拍到笑容令人很有滿足感。”。渡邊強調了該功能的奇妙之處:“我用生氣和微笑的表情做了實驗，即使只有嘴 角在笑，快門也會按下”。同時還表示通過在自拍時使用該功能，“拍到了自己都沒見過的可愛笑容。能夠幫助你發現自己都沒見過的美麗”。
此次的2款產品已于2007年9月21日上市。價格為開放式，該公司預計實際零售價格如下:DSC-T200為4.8萬日元左右、DSC-T70為4萬日元左右。（記者:宇野 麻由子）
從 ICAO翻譯說起
研究一下日文辭典
或許可以知道它將大寫的Organization翻譯為"機構" 報指可能用"機關"
而企業相關的 多翻譯為"企業或組織"
我們可以研究日本稱 ＩＣＡＯ為
国際民間航空機関
而台灣稱 ICAO為國際民航組織
organization━━ n. 組織（化する［される］こと）, 構成, 編成; 【生物】形成; 体制, 機構, 機関; 団体, 組合, 協会.
or・gan・i・za・tion・al ━━ a.
organizational climate 企業環境［風土］, 会社の雰囲気.
organizational control 【コンピュータ】（コンピュータによる）組織管理.
organization chart 【経営】組織図.
organization file 企業［会社］関連資料 ((その企業について印刷された，またはその企業が作成した書類の集積)).
organization man 組織［会社］人間.
organization manual 【経営】企業［会社］便覧.
Organization of American States （the ～） 米州機構 ((米国と中南米諸国が加盟; 略OAS)).
Organization of (Arab) Petroleum Exporting Countries （the ～） （アラブ）石油輸出国機構 ((略 OPEC)).
organization structure 組織構造.
三省堂提供「EXCEED 英和辞典
或許可以知道它將大寫的Organization翻譯為"機構" 報指可能用"機關"
而企業相關的 多翻譯為"企業或組織"
我們可以研究日本稱 ＩＣＡＯ為
国際民間航空機関
而台灣稱 ICAO為國際民航組織
organization━━ n. 組織（化する［される］こと）, 構成, 編成; 【生物】形成; 体制, 機構, 機関; 団体, 組合, 協会.
or・gan・i・za・tion・al ━━ a.organizational climate 企業環境［風土］, 会社の雰囲気.
organizational control 【コンピュータ】（コンピュータによる）組織管理.
organization chart 【経営】組織図. organization file 企業［会社］関連資料 ((その企業について印刷された，またはその企業が作成した書類の集積)). organization man 組織［会社］人間. organization manual 【経営】企業［会社］便覧. Organization of American States （the ～） 米州機構 ((米国と中南米諸国が加盟; 略OAS)). Organization of (Arab) Petroleum Exporting Countries （the ～） （アラブ）石油輸出国機構 ((略 OPEC)). organization structure 組織構造.三省堂提供「EXCEED 英和辞典
因應國際民航組織（International Civil Aviation Organization，ICAO）規定，明年三月五日前，全球國際線機師及塔台航管人員須通過航空專業英語考試，才能飛航或導航國際線班機。
需達四級才及格
今年七月十六日起已開始考試，長榮航空現有三成、中華航空二成機師通過檢定，航管人員九成已通過。
未及格者明年三月前都可補考，華航已有一百多名機師報考，不合格率低於一成。交通部民航局航管組長李建國說，台灣航管人員不分國內、國際線，一律以英語對話，英語原就很強，三百人已有九成通過檢定，十一月底全數考完。
日本「基於維護飛行安全, ICAO(國際民航組織)要求全球民航相關飛行和空中交通管制人員2008年達到該組織公佈的英語標準. 這就要求飛行及空管人員具備良好的英語能力, 尤其是扎實的口語(包括聽和說)基礎.
調查結果表明,中國空中交通管制人員管制英語、基礎英語都必須加以提高.針對ICAO有關語音、語法和句法結構、辭彙應用、流利程度和理解程度等測試標準,採取有效的系統性培訓措施,是應對ICAO對中國民航空管人員影響的應對策略.」
ICAO | International Civil Aviation Organization an agency of theUnited Nations,
International Civil Aviation Organization - Wikipedia,.
A New Aviation English Test Speaks Of Pilots' Voices And Aviation ...
管制官に英語試験導入へ 語学力原因の事故防止
2007年7月5日 朝刊
英語のコミュニケーション能力不足による航空事故が世界的に目立つ中、国土交通省は四日、各空港の航空管制官らに「公用語」である英語の能力を問う試験を課す方針を固めた。対象は全国すべての民間空港の航空管制官ら約二千四百人で、不合格者は業務に就けない。早ければ八月に導入され、三年に一回の実施を目指す。
国際民間航空機関（ＩＣＡＯ）によると、一九七六－二〇〇〇年までの間、英語の理解が欠けていたことが原因となった空中衝突などの事故で、全世界で約千百人が犠牲になっている。日本では英語力不足が直接事故につながった事例は報告されていないが、これまで管制官の英語力をチェックする仕組みはなく、国交省は大事故を未然に防ぐ意味でも実効性のある対応が必要と判断した。
管制官らとパイロットの会話は、日本人同士でも英語で交わすのが原則。管制官らの採用試験では英語は重要視されているが、ＩＣＡＯは世界的な事故の頻発を踏まえ、英語力強化のための試験導入を日本など加盟各国に勧告していた。
国交省などによると、英語試験は電話回線を利用した会話方式と、ＣＤを利用したリスニング方式の二種類。他省庁などへの出向者を除く航空管制官約千八百人のほか、航空管制通信官と航空管制運航情報官計約八百人のうちの約六百人が受験対象。不合格者は再受験が義務付けられる。
国際線を担当する国内の全航空会社のパイロット約六千人には既に試験が導入されており、来年三月五日からは管制官も合格者だけが管制業務を行う。
世界的に有名な事故例は、インドのニューデリー近郊で九六年十一月に起きたサウジアラビア航空のジャンボ機とカザフスタン航空の貨物機の空中衝突。三百四十九人が犠牲となった。
＜航空管制官＞ 全国各地の空港などで離陸から着陸までの全段階を指示する専門職の国家公務員。６月末現在で約１９００人おり、うち約１８００人が管制塔などでの現場勤務。英語のヒアリングがある航空管制官採用試験か航空保安大学校学生採用試験に合格後、同大学校の研修を経て着任する。管制機関と航空機の間を無線中継で情報を伝達する航空管制通信官や、航空機の運航に必要な情報の収集・提供などを行う航空管制運航情報官も今回の英語試験の対象。
2007年9月23日 星期日
2007年9月17日 星期一
alignment
10 天前在火車上站著看一為青年苦讀
{台積(電) DNA}
他讀的那頁有幾個英文 都是ALIGN
哈哈
竟然不是alignment
這或許可翻譯成"上下同欲"
align phrasal verb [T]
to put two or more things into a straight line:
When you've aligned the notch on the gun with the target, fire!
Align the ruler and the middle of the paper and then cut it straight.
alignment Show phonetics
noun [U]
The problem is happening because the wheels are out of alignment with each other.
「上下同欲者勝」（孫子兵法．謀攻），全體員工深切體會經營者與大家共體時艱的苦心，人人奮勉共勵，負責盡職，
{台積(電) DNA}
他讀的那頁有幾個英文 都是ALIGN
哈哈
竟然不是alignment
這或許可翻譯成"上下同欲"
align phrasal verb [T]
to put two or more things into a straight line:
When you've aligned the notch on the gun with the target, fire!
Align the ruler and the middle of the paper and then cut it straight.
alignment Show phonetics
noun [U]
The problem is happening because the wheels are out of alignment with each other.
「上下同欲者勝」（孫子兵法．謀攻），全體員工深切體會經營者與大家共體時艱的苦心，人人奮勉共勵，負責盡職，
2007年9月1日 星期六
REAL FICTION
我無意中重讀
去年2006-07-05在 Simon University 寫的筆記 ""想像花園中的真實癩蝦蟆：福特汽車公司著名的慘敗新車之命名" (如附錄)
我想大部分的讀者都"不知所云"
我猜 當時我或許想討論 "inspection"的翻譯
不過更有收穫的 我想應該是重讀
Theory of Literature by R Wellek 相關的部分
文學中的"虛實相生"
我這次還注意到 R Wellek說:
"fiction"這一詞的詞義仍然殘留古代柏拉圖學派對於文學的控訴
對此Sidney和 Johnson博士回答說
文學從來不妄求具有那種意義的真實
Theory of Literature by R Wellek有一自注: Sidney:"對詩人來說 他什麼也不肯定 因此他從來不說謊"
我想這可能是出自The Defence of Poesy (also known as the An Apology for Poetry)
比較有趣的是 Johnson的 他並沒有注解
這就需要參考原書
幸虧我的Oxford 版的 LIFE OF JOHNSON 有詳細索引
我可以查出再在1425頁
韋勒克， 沃倫合著
Theory of Literature by R Wellek, A Warren - 1973 - Penguin Books
引美國詩人Moore, Marianne Craig (1887–1972) 的一著名句子【有時誤為另外一詩人之說法：What Elizabeth Bishop well said about poets also applies to novelists: they too place imaginary toads into real gardens. And even the toads ...】：
for inspection :imaginary gardens with real toads in them.
兩翻譯如下：
要看嘛，幻想園中卻有真實的蟾蜍哩。
（『文學論』王夢鷗、許國衡合譯，台北：志文，1976，p.353）
-----
許多想像的花園，園中卻有真實的癩蝦蟆，以供人觀賞。
（『文學理論』北京：生活• 讀書• 新知三聯書店，1984 年版；修訂版 『文學理論』江蘇教育，2005，p.248。）
***** 要評這句，似乎要了解整首詩：
Moore’s often-quoted advice in ’Poetry’ was that poets should present for inspection "imaginary gardens with real toads in them".
Poetry
I, too, dislike it: there are things that are important beyond all this fiddle.
Reading it, however, with a perfect contempt for it, one discovers in
it after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a
high-sounding interpretation can be put upon them but because they are
useful. When they become so derivative as to be unintelligible,
the same thing may be said for all of us, that we
do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to
eat, elephants pushing, a wild horse taking a roll, a tireless wolf under
a tree, the immovable critic twitching his skin like a horse that feels a
flea, the base-
ball fan, the statistician–
nor is it valid
to discriminate against ‘business documents and
school-books’; all these phenomena are important. One must make a dis-
tinction
however: when dragged into prominence by half poets, the result is not
poetry,
nor till the poets among us can be
‘literalists of
the imagination’–above
insolence and triviality and can present
for inspection, ‘imaginary gardens with real toads in them’, shall we have
it. In the meantime, if you demand on the one hand,
the raw material of poetry in
all its rawness and
that which is on the other hand
genuine, you are interested in poetry.
*****
我從作者介紹中了解她與福特汽車公司著名的慘敗新車之命名有些緣份，值得一記：
Characteristic of her interest in using animals for ironic social commentary is a major verse translation, The Fables of La Fontaine (1954). The brilliant and hilarious "Letters from Me to the Ford Motor Company"--concerning the choice of a product name for what became the Edsel when her suggestions were rejected--shows her semantic mastery and playfulness as well as a profound, multifaceted understanding of the "economy" of words and advertisement in social intercourse. Always honored by younger poets, Moore has recently attracted the wider critical attention of literary historians and feminists.
-------
Edsel consulting
In 1955, Moore was informally invited by Ford’s David Wallace, Manager of Marketing Research for Ford’s proposed "E" car project and co-worker Bob Young for input and suggestions. Wallace’s rationale was "who better to understand the nature of words than a poet."
Moore, a loyal Ford owner, submitted numerous lists which included: "Silver Sword," "Thundercrest" (and "Thundercrester"), "Resilient Bullit," "Intelligent Whale," "Pastelogram," "Adante con Moto" "Varsity Stroke," and "Mongoose Civique." (One name she suggested, "Chaparral", later coincidentally was used for a racing car.) Against the strong objection from her brother, Moore also submitted the name TURCOTINGA, which was a play on the Cotinga (a South American finch) and the color turquoise; however she noted in her letter to Wallace that it was simply a suggestion that if wanted to go in direction of nature, that she had several volumes of works that she could review. In a letter dated December 8th 1955, Moore wrote the following:
Mr Young,
May I submit UTOPIAN TURTLETOP? Do not trouble to answer unless you like it. Marianne Moore
All these outside ideas were rejected, although Miss Moore received two dozen roses and a thank you note affectionately addressed to the Top Turtletop which Moore found amusing. In her reply to Young she regretted that she could not have been more help, and noted that she was looking forward to trying out the vehicle when it was introduced. While Moore’s contributions were meant to stir creative thought, and were not officially authorized or contractual in nature, history has greatly exaggerated her relationship to the project.
去年2006-07-05在 Simon University 寫的筆記 ""想像花園中的真實癩蝦蟆：福特汽車公司著名的慘敗新車之命名" (如附錄)
我想大部分的讀者都"不知所云"
我猜 當時我或許想討論 "inspection"的翻譯
不過更有收穫的 我想應該是重讀
Theory of Literature by R Wellek 相關的部分
文學中的"虛實相生"
我這次還注意到 R Wellek說:
"fiction"這一詞的詞義仍然殘留古代柏拉圖學派對於文學的控訴
對此Sidney和 Johnson博士回答說
文學從來不妄求具有那種意義的真實
Theory of Literature by R Wellek有一自注: Sidney:"對詩人來說 他什麼也不肯定 因此他從來不說謊"
我想這可能是出自The Defence of Poesy (also known as the An Apology for Poetry)
比較有趣的是 Johnson的 他並沒有注解
這就需要參考原書
幸虧我的Oxford 版的 LIFE OF JOHNSON 有詳細索引
我可以查出再在1425頁
according to Boswell, as to project a work. which would prove "how small a quantity of REAL FICTION there is in the world; ...
不過我不知道Boswell 是否確實根據Johnson對於 Oliver Cromwell 等人傳記已完善的說法....
| 14:30:21 |
韋勒克， 沃倫合著
Theory of Literature by R Wellek, A Warren - 1973 - Penguin Books
引美國詩人Moore, Marianne Craig (1887–1972) 的一著名句子【有時誤為另外一詩人之說法：What Elizabeth Bishop well said about poets also applies to novelists: they too place imaginary toads into real gardens. And even the toads ...】：
for inspection :imaginary gardens with real toads in them.
兩翻譯如下：
要看嘛，幻想園中卻有真實的蟾蜍哩。
（『文學論』王夢鷗、許國衡合譯，台北：志文，1976，p.353）
-----
許多想像的花園，園中卻有真實的癩蝦蟆，以供人觀賞。
（『文學理論』北京：生活• 讀書• 新知三聯書店，1984 年版；修訂版 『文學理論』江蘇教育，2005，p.248。）
***** 要評這句，似乎要了解整首詩：
Moore’s often-quoted advice in ’Poetry’ was that poets should present for inspection "imaginary gardens with real toads in them".
Poetry
I, too, dislike it: there are things that are important beyond all this fiddle.
Reading it, however, with a perfect contempt for it, one discovers in
it after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a
high-sounding interpretation can be put upon them but because they are
useful. When they become so derivative as to be unintelligible,
the same thing may be said for all of us, that we
do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to
eat, elephants pushing, a wild horse taking a roll, a tireless wolf under
a tree, the immovable critic twitching his skin like a horse that feels a
flea, the base-
ball fan, the statistician–
nor is it valid
to discriminate against ‘business documents and
school-books’; all these phenomena are important. One must make a dis-
tinction
however: when dragged into prominence by half poets, the result is not
poetry,
nor till the poets among us can be
‘literalists of
the imagination’–above
insolence and triviality and can present
for inspection, ‘imaginary gardens with real toads in them’, shall we have
it. In the meantime, if you demand on the one hand,
the raw material of poetry in
all its rawness and
that which is on the other hand
genuine, you are interested in poetry.
*****
我從作者介紹中了解她與福特汽車公司著名的慘敗新車之命名有些緣份，值得一記：
Characteristic of her interest in using animals for ironic social commentary is a major verse translation, The Fables of La Fontaine (1954). The brilliant and hilarious "Letters from Me to the Ford Motor Company"--concerning the choice of a product name for what became the Edsel when her suggestions were rejected--shows her semantic mastery and playfulness as well as a profound, multifaceted understanding of the "economy" of words and advertisement in social intercourse. Always honored by younger poets, Moore has recently attracted the wider critical attention of literary historians and feminists.
-------
Edsel consulting
In 1955, Moore was informally invited by Ford’s David Wallace, Manager of Marketing Research for Ford’s proposed "E" car project and co-worker Bob Young for input and suggestions. Wallace’s rationale was "who better to understand the nature of words than a poet."
Moore, a loyal Ford owner, submitted numerous lists which included: "Silver Sword," "Thundercrest" (and "Thundercrester"), "Resilient Bullit," "Intelligent Whale," "Pastelogram," "Adante con Moto" "Varsity Stroke," and "Mongoose Civique." (One name she suggested, "Chaparral", later coincidentally was used for a racing car.) Against the strong objection from her brother, Moore also submitted the name TURCOTINGA, which was a play on the Cotinga (a South American finch) and the color turquoise; however she noted in her letter to Wallace that it was simply a suggestion that if wanted to go in direction of nature, that she had several volumes of works that she could review. In a letter dated December 8th 1955, Moore wrote the following:
Mr Young,
May I submit UTOPIAN TURTLETOP? Do not trouble to answer unless you like it. Marianne Moore
All these outside ideas were rejected, although Miss Moore received two dozen roses and a thank you note affectionately addressed to the Top Turtletop which Moore found amusing. In her reply to Young she regretted that she could not have been more help, and noted that she was looking forward to trying out the vehicle when it was introduced. While Moore’s contributions were meant to stir creative thought, and were not officially authorized or contractual in nature, history has greatly exaggerated her relationship to the project.
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