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天冷,想到溫泉。 在台北,說到溫泉區,非北投,即陽明山。其實,日治時期的一九三○年代,還有一個溫泉新生,叫「天母溫泉」。 顧名思義,天母溫泉確實在天母,但那時候,當地還不叫「天母」,而是士林的三角埔。天母所以叫天母,緣起於一個新教派「天母教」。 故事要從中治稔郎此人說起。這個日本人在一九○○年代即已來台,擔任郵便局的小公務員,到二○年代,最高職位到台南郵便局和台北郵便局的庶務課長而已,但他擅寫和歌,報上常見作品,算得上文人雅士。 一九二五年春天,中治稔郎就在永樂町二丁目五十二番地(迪化街一段附近)租房子,自創「天母教」,既不屬西方基督或天主教會,也非台灣或日本的傳統教派。 中治教主的做法很特別,既去福建湄洲迎回媽祖,去福州請來城隍爺,也迎請台北寺廟奉祀的關帝爺,再加上日本的天照大神,統統都拜,說是要促進台日融合。信 徒真的也慢慢多起來,天天有人來奉茶敬拜。有教,就有奇蹟,很快天母教也傳出媽祖顯靈附身的奇事。 天母教之後遷教會到元園町二五三番地,舊址即今天的成都路一一○號,已經快到淡水河邊。過了幾年,中治稔郎想蓋「天母教大本殿」,台北盆地看一看,據稱感 應到神的指引,來到士林街三角埔。依戰前天母教出版的《天母溫泉由來記》,一九三二年十月底的一個清晨四點,中治率眾入山,依神的夢示,找到五處,石頭挖 開,縷縷白氣吐出,湧出溫泉,他們用圍籬圈起來,稱之天母溫泉的五個神社,並跟官方申請許可開發。中治又在天母溫泉區興築湯寮,一九三五年十一月四日對外 開放營業,「天母溫泉」正式成為台北的溫泉新名所。隔年,天母溫泉又自營「天母巴士」,專跑士林火車站到溫泉旅館。 關於天母地名由來,眾說紛云,彼此有點小出入。美國人問路,農夫用台語答「聽嘸」,音近「天母」,才有天母之說,純粹趣譚,與事實無關。但士林區公所官網 指天母地名源於「重田榮治」來開設天母教,雖非正確,訛傳卻有跡可循。重田榮治是老牌布商,曾開設台灣第一家百貨公司「菊元」,也擔任過台灣豐田汽車會社 的社長,經濟實力雄厚,天母溫泉旅館的土地歸他所有,附近有他的別墅,也有養雞場,但天母溫泉非他發現與開設。 中治稔郎既開溫泉,也曾感於在台日本人的結婚率很低,一九二七年十一月三日,在成都路那個教會裡組織「御柱會」,開辦結婚介紹所,希望透過結婚來促進台日 融合。開辦五、六天下來,發現求婚者,女多於男,男四成女六成;男多再婚,女多未婚;有台灣人,也有日本人;來自台北,也有從新竹和高雄來的。那時媒人很 多,但官方許可立案的婚姻介紹所,御柱會可是台灣史上第一家。 或許,天母的由來,可以添加這一筆。(作者為作家) |
2011年1月30日 星期日
天母的由來一說
2011年1月25日 星期二
2011年1月20日 星期四
紐約市的中國的"国家形象"廣告
新闻报道 | 2011.01.20
谁是"国家形象"的化身?
高调公关宣传"国家形象"
1月17日,一抹"中国红"在高楼林立的时代广场电子屏上格外显眼,6块电子显示屏同时播放这段60秒的宣传片,显示屏的侧面还有"感受中国"的英文字样。宣传片的开头以醒目的红色为背景,以白色书写中英文"中国"两字。
中国备界精英人士如谭盾、郎朗、袁隆平、杨利伟、姚明、邓亚萍、章子怡等依次出现在画面中,据悉,该宣传片从17日开始在纽约时代广场首播,每小时 播放15次,从每天上午6时至次日凌晨2时播放20小时共300次,并将一直播放至2月14日,共计播放8400次。同时美国有线电视新闻网也从17日起 分时段陆续播放该片。
另据中国新闻网消息,如此大规模、高频度投放中国国家形象宣传片,被视为中国官方高调推出的重大公关行动,也是以外国民众为对象的中国公共外交的具 体动作。与此同时,宣传片开播时间选择在中国国家主席胡锦涛对美进行国事访问前一天,也颇具造势之意。另据中国官方称,该宣传片除了登陆美国,还计划在欧 洲、拉美、中东等地区以及在全球互联网上陆续日起分时段陆续播放。
"没有生活的感觉"
该片在纽约时代广场播放后,中国官方媒体报道称此片在纽约获得好评。但据德国之声了解到,"国家形象片"在国内引发强烈了公众的质疑,质疑的焦点 是:这些人物有很多的是入籍美国的人士、也有香港公民、至少有七八位持美国绿卡人士,是否能真正代表中国;且他们所展示的并不是普通中国民众的真实生活, 这种形象是虚假的形象。
中国知名专栏作家安替在Twitter微博上率先发出评论推文:"国家形象宣传片在美国播放,意识是好的,但播放频率却是专制国家特有的:同一个地点一天播放300遍,这不是广告,这是洗脑,你就是本来爱中国的也会呕吐成反华分子吧?整个一个"倒车请注意 "啊! "
中国互动媒体集团的CEO、《世界都市iLOOK》杂志主编兼出版人洪晃的评论是:"我才发现,中国形象广告中至少有三个根本不是中国人,是美国人,还有至少七、八个是有美国绿卡的人。"--把它当成《美国形象广告》看,就理解了。"
一位广告人发出的评论是:"国家形象宣传片,该片堆砌中国的成就,吓人多于友好。资深传媒人和广告界人士均认为,宣传片'似卖衫广告﹐所有人都站着,像块木头,毫无笑容,没有生活的感觉'。"
一位网名"店小二"的中国网民提出一个建议:公众集资购买在纽约时代广场的播放时间,去放艾未未的纪录片《老妈蹄花》吧,这才是真正的中国形象片"。
经费来源受质疑
就此德国之声采访了中国互联网媒体人,长期关注社会公共议题的北风。他对此的评论是:"我觉得一个国家在什么时候才需要一个国家广告的形象,毫无疑 问是他感觉自己的国家形象和外界感觉到的国家形象有明显的落差时,这样才需要宣传片,中国觉得自己在国外的形象没有自己想象的那么好,需要做宣传片,这样 的动机我们可以理解,问题是你想通过这样的宣传片表达什么样的信息?这样的信息通过宣传片表达了没有?"
"看官方的宣传是要展示"中国的自信、富强",可这部片子中几十个"中国人"除了姚明、章子怡有几位是美国人熟悉的?这些人表达的信号,美国人是否能够了解?比如袁隆平,有几个人知道他背后的杂交水稻的故事,如果不知道他的背景,这种信息是否能准确传递出去?"
北风提出的另一个质疑是:这个片子是由哪个团队来制作的?效果和成本有没有经过评估?尤其是哪些机构申请了制作费用及来源,这些制作费用的使用等,"这些需要向公众公示"。
民间有更为真实的形象展示
对于中国网民提出的建议,民间筹资在美国时代广场租用大的电子屏,做民间认可的中国形象展示。北风认为从技术上不是难题,因为他认为这和在《华盛顿 邮报》登一版广告的性质是相同的。只要是有资金,应该不难实现,不管是播放艾未未的《老妈蹄花》、还是关于赵连海、谭作人的纪录片。
"从传播信息的角度来看,无论是在纽约时代广场电子屏播放还是去大的报纸登广告,还是在Twitter上、国内的微博、国外网上的留言板上去发布关 于中国时代进程中的公共信息,力所能及的去发布公众自己认为的中国真实的形象,筹资去发布昂贵的广告只是其中一种方式。但其挑动国家权威和垄断、表达公民 主张的创意值得肯定。"
作者:吴雨
责编:叶宣
Is Coffee in Paris Improving?
Ristretto | Is Coffee in Paris Improving?
Last year, I wrote a column that wondered why Paris doesn’t have better coffee. Or, to quote Duane Sorenson of Stumptown Coffee Roasters, “Why does the coffee in Paris suck so bad?”
The flurry of comments that followed was split between agreement and outrage. (“Is this article a bit of cultural imperialism?” asked one. “A better question is why America sucks so bad,” wrote another.) Since then, I’ve been back to Paris and I can report that the coffee is improving. Little by little.
To be clear, most of the coffee in Paris is still rote. The beans are still old and over-roasted, the machines are still second-rate and poorly maintained, and the person behind the bar is still more concerned with continuing his or her conversation than pulling a good shot. Robusta is still popular, as is ultra-pasteurized milk.
But there are some new developments changing things for the better.
Last spring, Café Lomi, a small-batch roaster, opened in the 17th Arrondissement. Then in August it hosted the first Frog Fight, a throwdown that, in its own words, is “organisé par des baristas pour des baristas.” The winner competes for the right to baby-sit the trophy, pictured above, until the following Frog Fight. (The next one will be held at Café Lomi on Thursday, Jan. 13.) The throwdowns are lively, good-natured, a breath of indie air in a city where massive corporations dominate the coffee industry.
Frog Fight is organized by Thomas Lehoux and David Flynn, who met when working at le Cafeotheque (52, rue de l’Hôtel-de-Ville, 011-33-1-53-01-83-84), an artisanal roaster and cafe in the Cité des Arts. Lehoux is currently training for the French Barista Championship, to be held in Lyon later this month, while Flynn works at Le Bal (6 Impasse de la Défense, 011-33-1-44-70-75-51; www.le-bal.fr), a casual, spare restaurant in the front of a converted 1920s dance hall just off the Place de Clichy. After going on a few coffee crawls in Paris, it became clear that le Bal stands apart. In fact, in my opinion, Le Bal has the best coffee in Paris.
Le Bal is actually an arts institute. There are cavernous exhibition spaces and an excellent bookstore, with a cinema right around the corner. The building is tucked away on a dead-end cobblestone street in what was once a working-class area.
The restaurant opened in the fall with Alice Quillet and Anna Trattles in the kitchen. The two chefs spent time at Rose Bakery (on the nearby rue des Martyrs) and St. John (in London), and the food they cook is confident, flavorful — whole lamb kidneys with toast, meaty hunks of oxtail in rich broth. Lunch and dinner are popular, while weekend brunches are a madhouse. Go early, or prepare to stand in line.
The restaurant doesn’t open until 10 a.m. Wednesday through Sunday (it’s closed Monday and Tuesday), which is a little late for the morning’s first coffee. But it’s worth the wait. Flynn once worked at Murky Coffee, the almost-legendary Washington, D.C. coffee shop that closed in 2009, and he has the poise and authority of an expert barista. The espresso, made with Café Lomi coffee, is tight and bright; the cappuccino is rich and satisfying. In what might be a first for Paris, Chemex coffee is brewed to order.
Le Bal is just the most exceptional of a new crop of Paris cafes. Recently,the stalwart Le Cafeotheque was joined by Merce and the Muse (1 bis rue Dupuis; 011-33-9-53-14-53-04), which opened in the fashionable northern end of the Marais. Soon Coutume Café (47 rue de Babylone) will be roasting beans in a storefront a short, brisk walk from the Bon Marché. Until construction is completed, there’s a la Marzocco FB-80 set up on a cart in front of a tarp next to the sidewalk.
For the most part, coffee in Paris still sucks so bad, but it’s getting better, and the scene forming around the monthly Frog Fight is a peek into what might be the city’s future. Now, a handful of Paris cafes have good coffee. Depending on who’s behind the bar, the coffee can be great.
2011年1月19日 星期三
台北街區 (1)「康青龍」街區
韓良露:台北「康青龍」街區的修學之旅
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前不久,任教於香港中文大學傳播學院的馬傑偉教授,帶了學院師生廿八人,來台北體驗一場不尋常的修學之旅。
負責接待的南村落安排了四天三夜不一樣的台北體驗,怎麼不一樣呢?首先,第一天中午從機場接到這些港客後,坐巴士來到台北南區的旅館入住後,一直到第四天 離開,中間三天的旅程全都是安步當車。第一天下午先在「北區國際光點計畫」中,為境外旅客所設立的免費的旅人茶房喝下午茶,看了一些以永康街、青田街、龍 泉街為主軸的台北「康青龍」街區的紀錄短片,短片內容是廿家,以賺生活而不只是賺錢的工作哲學為核心價值的店家。 看完了短片,因為知道香港的獨立咖啡店和二手書店的數量微乎極微,當我告訴這些香港人,光是在康青龍這一帶直線走路不過四十分的距離內,就有廿多家的獨立 咖啡店與近十家的二手書店時,這些旅客都忍不住驚嘆出聲。於是展開我們的咖啡店、書店的旅程,原本只計畫二小時的漫步,卻因為不斷地拍照、詢問、互相交 談,而延長至三個多小時。晚餐時有些曾來過台北觀光的老師、學生說,光是當天下午所體驗的台北,已經和他們以前所經驗的一○一、士林夜市、西門町大不相 同。有位女老師表示,春節就想帶她在香港中學擔任校長的先生,來從事這種有文化魅力的漫步旅行。 第二天也是從旅館走路到旅人茶房集合後,先散步十來分鐘,到殷海光故居。有學生表示他們在中學時念過殷先生的文章,殷海光在被軟禁期間,常探望他的學生中 就有一些香港僑生;也許正是這些人,替殷先生在香港延續了自由主義的生命價值。參觀殷海光故居對這些師生而言,是一趟很好的文化洗禮,後來馬傑偉教授還特 別來信,感激這個行程讓他們見證了一個哲人,如何在艱困屈辱的壓迫下有尊嚴地活著。 之後,散步去了紫藤廬,介紹一間老房子如何轉化成台灣茶文化與黨外思潮的基地。而周德偉先生舊照片背後的對聯,「豈有文章覺天下,忍將功業苦蒼生」,也引起這些人注目。在幾十年紫藤廬的歷史時空中,這些十九、二十歲的香港年輕人都變得沉靜了。 接著繼續走小路走巷弄,沿途看這一區少數留存下來的舊屋,我告訴他們,不管是台師大的日治時期的老建築,或麗水街的總督府山林課老宿舍,保留下來的油杉家 園,都不是容易的事,都經過古蹟保護的先知先覺者的抗爭與運動,讓他們知道只有靠市民意識的覺醒,我們的城市才能有身世。 三天的旅程結束時,他們看地圖,才知道每天走來走去,好像去了好多地方,其實都只在康青龍小小的方圓內,只去了一個小街區,卻覺得台北這個城市的文化生活 何其多元、深厚與富啟發性。有人說他會介紹快畢業的學長,在找工作前一定要來這裡好好思考,人為什麼要工作,以及應當找什麼樣的工作;有人說他沒想到離開 香港這麼近的地方,竟然存有不是原始落後的慢生活,而是有文明便利的慢生活。 康青龍街區,並非聚光燈,也不是霓虹燈,只是個文化的幽光,卻可讓旅人照見心靈,看見台北不一樣的價值。(作者為南村落總監、生活美食家) |
2011年1月15日 星期六
Following a Trail of Beer in Belgium
帶到比利時魯汶大學的羅時瑋夫婦家當見面禮
或許那時候不知道比利時的啤酒也很有名
Journeys
By MATT GOULDING and MATT BEAN
Published: January 14, 2011
ON a fog-dense spring afternoon in the Belgian countryside beer connoisseurs had flocked to Westvleteren, a far-flung town in the southwest corner of West Flanders, to sample what many of them consider to be the best beer in the world.
Related
Times Topic: Beer
Jock Fistick for The New York Times
The nectar in question was Westvleteren 12, a rich, brown-hued brew that has double the alcohol of most beers and a reputation to match, and that can be bought only at the In De Vrede cafe and across the street at the St. Sixtus Abbey. Cyclists in Spandex clattered about in cleats as Belgian families quietly nibbled on cheese plates and pâté. The only party missing was the monks who brewed the hallowed beer.
Nestled in this province’s verdant farmlands, the St. Sixtus Abbey houses one of six official Trappist breweries in Belgium. The monks have perfected their craft over more than 160 years, and despite closing the brewery to visitors, shunning advertising, retail outlets and even labels, their beer has taken top honors from enthusiast sites like RateBeer.com and BeerAdvocate.com. (The only sure way to bring home the brew — save the black market — is by calling the Abbey’s “beerphone” to reserve a case for pick-up. And even then the monks will supply only one case a person, a month; no resales allowed.)
For the bona fide beer geek, the lure of this brewery and its beer might be motivation enough for a long-distance journey to Belgium. But St. Sixtus and the other Trappist temples are only part of the draw. Joining these cloistered few outposts scattered about the country in recent years are a crop of cutting-edge breweries and welcoming beer bars supplementing the old guard. There’s never been a better time for the thirsty traveler to turn a short trip to Belgium into the best beer-centric study-abroad program one could hope for, rivaling an oenophile’s romp through Bordeaux.
Brussels was once the heart of the brewing industry, with more than 100 active brewers. And while output has waned significantly — it’s now down to two brewers, and until December was down to one — it has spawned a thriving beer cafe culture, on display one recent night at the west-side outpost of the beer bar Moeder Lambic.
“They say that Belgium is the country of beers, but 99 percent of the beers people drink here are bad ones,” said Jean Hummler, one of the bar’s owners, commanding nods from a table that had grown crowded with bottles, glasses and guests, including Yvan De Bates, the founder of De La Senne brewery.
In 2007, shortly after opening the first Moeder Lambic bar south of Brussels in the St. Gilles region, Mr. Hummler and his partner, Nassim Dessicy, fought the brewing giant Duvel to void a contract signed by the previous owners stipulating that his taps include several offerings from the mega-brewer. Now the two Moeder Lambic bars (this one opened in 2009) stand as bastions of good brewing, offering one of the most unique selections in Brussels.
“We’re fighting for the small brewers,” Mr. Hummler said. “Every day, I’m fighting for Cantillon, I’m fighting for De La Senne. If we don’t do it, nobody will.”
Mr. Hummler summoned flight after flight from the bar’s 300-odd selections, proffering exotic, acidic gueuze made across town, and a pour from the most expensive beer there, the 200-euro-a-bottle crianza (about $255, at $1.31 to the euro) from Mr. De Bates’s brewery, which opened in December and specializes in blending old techniques and styles with new ingredients.
“We are at the beginning of a new era,” Mr. De Bates said. “Tradition and experimentation are equally important. Belgium is a wonderful place to appreciate that it’s not about a brewery being old or new — it’s about the brewer’s values and ideas and respect for the beer. If you visit enough breweries, you’ll see that we’re all talking the exact same language."
In other words, hit the road.
In a squat warehouse across town is Brussels’ other brewery, Brasserie Cantillon, a working museum of Belgian beer history. Not much at Cantillon has changed since it opened in 1900: giant grain movers are strung with leather belts; casks seem fit for the days of Columbus; and spider webs are left alone to help foster the ambient terroir. The beers, too, are as traditional as you’ll find, from sour, funky lambic and gueuze beers to variations aged with cherries, raspberries and apricots.
“We never manipulate our beers to make an easy product,” said Julie Van Roy, who runs the brewery with her brother Jean, removing a cheesecloth covering from a clay jar filled with Faro, a sweetened lambic so effervescent it defies bottling. “Some brewers, instead of taking three years, they do it in three weeks. Instead of using real fruit, they use juice.”
Ms. Van Roy fills a pair of glasses. The rough-hewn nectar is a refreshing, barnyard-and-candy cap on the Cantillon visit — another lesson in the diversity of brewing methods.
That lesson continues in Bruges, a two-hour train ride west of Brussels, at ’t Brugs Beertje, or the Bruges Bear. Since opening in 1983, the Bruges Bear has amassed a thick binder featuring rare brews and old standbys among the more than 300 Belgian selections. But the real draw is its owner, Daisy Claeys, a patient steward steeped in stories behind each brew she serves. Her favorite beer is Oerbier, from the De Dolle brewers. And as capable as she’d be of telling you about it, she’d rather you drive the 25 miles south to Esen, to the brewery itself.
Over at De Dolle, a 2 p.m. Sunday tour, in English, is led by Anna Hertleer, the mother of De Dolle’s two founders. One of them, Kris, is head brewer whose passion for experimentation helped fuel the revival of Belgian beers in the 1980s.
“We have only one aim: to make a completely natural product,” Ms. Hertleer said as she climbed up a steep steel staircase. “They have kidnapped Mr. Heineken, they have kidnapped Ms. Guinness, but they won’t kidnap us.”
Leading visitors through musty rooms filled with copper kettles, Ms. Hertleer peppered her description of the brewing process with strong opinions on everything from the health benefits of the whole hops used in some of the beers to the Trappist mystique.
The tour ends with a tasting: there’s the fruit-and-spice pale ale Bos Keun, the full-throttle 12 percent Stile Nacht and Oerbier, which balances a complex, raisin-like sweetness with a tart, bracing finish. In the United States, a 12-ounce bottle is $10. Here Oerbier is $2 a goblet, poured by Kris Hertleer himself.
From De Dolle, you’re close to Westvleteren and the monks of St. Sixtus, but it’s best to rest first at the Brouwershuis, a converted bed-and-breakfast owned by the St. Bernardus brewery. Rooms at the Brouwershuis, in the heart of West Belgium hops country, start at 75 euros a night. This includes breakfast and a tour of the neighboring brewery, which produced Westvleteren 12 under contract until 1992.
The hostess, Jacky Cockheyt, will leave you the key and free rein of the Brouwershuis, including the two refrigerators stocked with St. Bernardus’s beers, from the rare Grottenbier to the St. Bernardus 12. The beer is included in the price.
The next day is an opportunity for another adventure. You’ll find a fleet of bicycles behind the Brouwershuis’s residences, all tagged for road duty.
Do you take a left at the town square in Westvleteren to visit the avant-garde De Struisse brewers in Oostvleteren?
Or do you take a right, rolling toward In De Vrede for the pleasure of sampling what many consider the best beer in the world?
Perhaps you’ll make time for both.
IF YOU GO
In de Vrede (Donkerstraat 13, Westvleteren; 32-57-40-03-77; indevrede.be)
Moeder Lambic (Place Fontainas 8, Brussels; 32-25-03-60-68; moederlambic.be)
Cantillon (Rue Gheude Straat 56, Brussels; 32-25-21-49-28; cantillon.be)
’t Brugs Beerje (Kemelstraat 5, Bruges; 32-50-33-96-16; brugsbeertje.be)
De Dolle Brouwers (Roeselarestraat 12B, Esen; 32-51-50-27-81; dedollebrouwers.be)
Brouwershuis (Trappistenweg 23A, Watou; 32-57-38-88-60; brouwershuis.com)
2011年1月12日 星期三
Niigata promotes itself as 'Manga City'
Niigata Prefecture - Wikipedia, the free encyclopedia
- [ 翻譯此頁 ]Niigata Prefecture (新潟県, Niigata-ken) is a prefecture of Japan located on the island of Honshū on the coast of the Sea of Japan. The capital is the city ...ANIME NEWS: Niigata promotes itself as 'Manga City'
BY YUSUKE FUJII STAFF WRITER
2011/01/13
Characters from baseball manga "Dokaben" are lined up along the Mizushima Shinji Manga Street in the Furumachi Mall shopping area of Niigata city. (Yusuke Fujii)
Niigata city has joined the long line of municipalities using manga and anime for economic revitalization. But Niigata officials say they intend to make the prefectural capital the true "Manga City" of Japan.
A key highlight of the push will be the Niigata Anime and Manga Festival 2011 on Feb. 26-27, which combines three events, officials said.
The three events are: the Niigata Manga Competition, which solicits entries from a wide scope of manga artist-wannabes ranging from elementary school children to adults; the Niigata Comic Market (Gataket), which features displays and sales of "dojinshi" (comic magazines drawn by fans, or fanzines) and photo sessions of "cosplayers"; and the Niigata International Anime Manga Festival, organized by the Japan Animation and Manga College.
The Niigata Anime and Manga Festival 2011 will be held at several venues, including Niigata City Culture and Music Hall (Ryutopia), the Niigata Prefectural Civic Center and the Furumachi Mall shopping area.
Events will include an exhibition of original manga illustrations, a prize-giving ceremony of the manga competition and a cosplay photo session, according to the officials.
"We'd like to show Niigata's strength in anime and manga, and attract visitors to the event from outside Niigata Prefecture and from across the world," Tomoaki Kojima, head of the festival organizing committee, said.
Kojima, who is also the principal of the vocational animation college, said the plan is to attract at least 10,000 visitors for the two-day festival.
Many communities across Japan have come up with local revitalization measures involving anime and manga, including Sakaiminato, Tottori Prefecture, where Shigeru Mizuki, the creator of popular horror manga series "Gegege no Kitaro," hails from.
"Niigata (city) has produced many famous manga artists, and I think that the number of these artists whose manga titles are currently serialized is the largest (among all municipalities) in the country," Kojima said. "We'd like to differentiate the festival from other events by making full use of industry-leading human resources."
Niigata city is known as the hometown of Shinji Mizushima and many other renowned manga artists, as well as the anime vocational school.
In 2010, the Niigata city government established a panel to come up with community revitalization measures using manga and anime. With an eye on promoting Niigata as "Manga City, attracting visitors and creating new jobs, the panel will compile a report in as early as August.
So far, panel members have suggested using theme songs of animated TV series by local manga artists as melodies to signal the departure and arrival of trains at JR Niigata and other stations.
Other ideas include collecting original manga illustrations and displaying them at vacant stores.
"There is an increasing number of cities that pay attention to manga, but it doesn't mean they intend to promote it as a form of culture in a straightforward manner," Yoshiyuki Oshita, chair of the panel, said.
Oshita also serves as head of Mitsubishi UFJ Research and Consulting Co.'s Center for Arts Policy and Management.
"I think if the Niigata city government goes ahead and hammers out a set of comprehensive measures for education, industry growth and sightseeing, such as fostering manga artists, the city can attract visitors from all over the world," Oshita added.
2011年1月11日 星期二
劉克襄:遇見一個美好的小鎮
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很多美好的生活,來自同一個地方。這樣的故事,許久未聽聞了。 前幾年,鄉下女生潘金秀迢迢北上,在台北公館汀洲路,月租兩萬元,開了家賣麵包店,專做湯種麵包。她的食材主要以老家的穀物做為品牌,結合鄰近的鮮奶,手工精心製作。沒多久即樹立口碑,店面常排人龍,供不應求。 業務蒸蒸日上之際,她卻因父母年紀老邁,毅然捨棄店面,返鄉就近照顧雙親。日後改在自己的老家租屋做麵包,暫時不設店面,不要求量產。她相信質地好,透過網路團購,就算在偏遠的小鎮,一樣能過自己想要追求的日子。 潘金秀每天早上出門,最喜愛穿過家鄉的稻田。在路上,經常遇見一位近九十歲的老人。 老人彭立基,曾是日本軍伕,遠赴南洋打戰。戰後回鄉,拉過保險、賣雜貨、當媒人等等,後來就不曾離開。十多年前,他開始在山上種果樹,因為整個鎮都在朝無毒、有機稻米的方向發展。活到老學到老,他也不施肥不噴灑農藥,種了滿山的臍橙和柳丁等等。 剛開始當然不斷失敗,怎知這幾年終於種出心得。除了果農搶著來收購,每天早上他都會摘一些到市場擺攤,紙牌上掛著出產地和有機品牌。還有價錢比一般人便宜,歡迎試吃。生意這樣做一定虧本,但他覺得自己已逾米壽之齡,人生夠了,應該多跟人分享快樂。 彭立基騎摩托車出門,抵達十字路口時,大概也會和一位鄉土教學的女士擦肩而過。 簡淑瑩老師嫻熟小鎮地方文史。四十年前,父親在街上開了家書局。這是個以稻米為主的小鎮,但他們家從台北進購了許多當代的書籍,店面彷彿圖書館。她從小在書店看顧,一邊也閱讀長大,見識比一般大學生成熟。 如今網路時代到來,台東的書店一家家結束營業。他們不願意割捨,繼續賣書的服務。或許,也接收現實環境的改變吧,空出一角,提供咖啡飲料。但街上店面仍高掛著書局之名,幾個書法大字浮凸,強調著人文的內涵。 他們三個人身上都有一個特質,初認識時,很喜歡把家鄉的地名提出來,或者把家鄉的物產推銷到檯面。 「我是台東池上人」、「來自池上的某某某」。很少地方人士在自我介紹時,還會加上小地之名。「池上」這兩個字,對他們好像是一個LV那樣的品牌。 在那兒旅居時,我一直邂逅這樣的人物,不管離家許久,或不曾遠行的,都有這樣的驕傲。也不只是他們,好些人在自己的本份工作上,都抱持著某一生活信念。 廿多年前,不少小鄉鎮都有這種美好的自信。還記得來自美濃、東勢或埔里的人,邂逅時,提到自己的家園,臉上也會浮現這麼點滴的在地光榮。 曾幾何時,這種在地自豪似乎少了,稀薄了。但為何池上還有,而且不減?究其因,因為那兒的稻米栽種不論有機或慣行,始終堅持品質。經過一番努力,國內外都打出名號。地方米價提高後,農民生活有穩健的保障,人人充滿自信,對未來也展開各種夢想的追逐。 做麵包的女孩懷念在這樣的家園長大,願意回到家園開麵包店。舊書店的女兒知道縱使沒什麼利潤,仍然堅持書店的門面還在。種柑橘的老人因為生活愜意,賣果物只為了快樂。這就是池上人,有夢想在支持的小鎮。 難道其他鄉鎮沒有類似的期待嗎?應該也有,只是經過幾十年都會變遷,大家在外打拚,處於全球化、商業消費的衝擊下,遮蔽了返鄉的視野。重回家園的價值和意義,自然也消失了。(作者為自然生態作家) |
2011年1月8日 星期六
fighter in Chengdu
他被禮遇通關
事後 他說 飛機採"三點著路"方式 用開軍機方式開民航機 真不可思議
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China's stealth jet not yet ready to fly
BY KENJI MINEMURA CORRESPONDENT
2011/01/08
A prototype of the Jian-20 stealth fighter in Chengdu, China, on Thursday (The Asahi Shimbun)A prototype of the Jian-20 (The Asahi Shimbun)
CHENGDU, China--A prototype of China's next-generation stealth fighter, the Jian-20, maneuvered along a runway Thursday, but initial plans for a test flight were postponed.
The stealth fighter made its appearance on the runway at the Chengdu Aircraft Industry Group, a military aircraft manufacturer.
Company officials confirmed to The Asahi Shimbun that the aircraft was the stealth prototype.
While photos of the Jian-20 have appeared on the Internet, Chinese Foreign Ministry officials Thursday refused to confirm or deny if Beijing was developing a next-generation stealth fighter.
According to company sources, high-ranking members of the Communist Party's Central Military Commission and high-ranking Air Force officers observed the test.
The abrupt cancellation of the flight test may have been due to a mechanical problem.
Analysts have said that once the Jian-20 is deployed, it could pose a serious challenge to U.S. air supremacy in the Pacific region.
萊頓抒情
想起那位大畫家
經過堤 我想起馬勒要 FREUD 精神治療
我去看人煙稀少的S. Freud 文物展
****
萊頓抒情 |
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河邊整潔樸美的荷蘭巴洛克房屋的門面更是情牽一線到台北迪化街、貴德街的建築,六十年代我們在那裡,走在那些時間被靜止的深巷,看那些模仿荷蘭三疊式巴洛克的門面,有說不出的喜歡……
明天就要坐高鐵到巴黎去,竟有一些離情。萊頓城不大,十幾天來,主要街道都看得差不多了,再出去,也不過是重溫一些美麗的角落而已。就把行李收拾收拾,到 了下午兩點才再出去,漫無目的的選了一條沒有走過的運河左岸的街道,看準沒有很多遊人,一時全街寂寂,只有我們二人,陪伴我們的只有我們的腳步聲。
說著說著,又出園來,沿著運河慢慢的走,已經認出這是引向前幾天我們開會所在地聞名世界的萊頓大學邊的運河,只是那時住在另外一頭一間十七世紀的都蘭旅 館,從那邊走過來到會場,感覺竟然如此不同。我們經過前天和那個講得一口純正國語、專門研究朦朧詩以來大陸新詩人的學者Maghiel van Crevel(柯雷)喝咖啡聊天的酒吧。現在空無一人,這邊橋頭的岸邊,有個畫家在描畫,我們站在旁邊安靜地欣賞他的揣摩勾畫,然後,我們不動聲色地離 開,再向前懶散前行。到了兩條運河交匯結合的地方,遊艇帶著歡樂的喧鬧互相招呼搖手,可以想像的這樣一個地方當然有一家咖啡座,這間叫作Peterson Cafe,是透明玻璃屋建在浮台上,你可以坐在玻璃屋內,一面品嘗咖啡, 一面看遊船來來往往,你也可以坐到浮台上,與來往船隻共浮沉。 也許是因為我們已經熟識了環境而產生一種親切感嗎?是,好像也不是,是靜,雖然偶有行車打破這靜,但靜很快就重新占有這個空間,以致我們牽手漫步,能讓整 個環境、整個城市移入我們的心間。河邊兩排菩提樹淡綠的花發散著茶香,彷彿一直向我們招手;招手,是因為菩提樹是相熟近四十年的老朋友了,自1970年初 訪巴黎認識後,每次到法國總會在樹下流連,看那細緻淡綠的花,有一次在一棵攀高的菩提樹下,大風吹來,小花在陽光裡隨風傘舞而下,好看極了。明天便去巴 黎,這些小花今天彷彿在萊頓搶先報信。
今天因著一種難得的奇特的靜,這些門面對我們默語,是因為我們思而愛之故嗎?歷史之思,尤其是台灣被殖民的多層次的衍生,是不同文化爭戰後豐富的共生,纏 綿交結,但這,不是我們今天要沉潛索問的。我們今天要享受這個小城的閒寂優雅。穿行這個小城,幾天來,除了市中心,事實上,只有一條商店街和加上河邊流動 市場、咖啡座、速食店、餐廳一陣哄鬧亢奮的人群之外,我們常常可以享受這份靜。因為街巷蜿轉有趣而與其他的運河相接相分,而兩旁都是行道樹,夾著運河一路 「歌唱」下去,因為空間的配置上,經常可以遠鬧聲而入靜謐,有極多冥思的空間,譬如,大畫家林布蘭特誕生地的廣場就是其中之一,加上市民斯文而衣著不誇 張,像樸實的門面那樣踏實,到處是優雅、有文化的氣質,說城有氣質,是人與空間互動的一種美的湧動,感覺上,像萊頓到處的詩牆文化(確確實實把詩寫在一片 大牆上)一樣,這是一個不會爭鬧的城市。 我們前天才到Peterson Cafe坐過,今天還是忍不住再坐上浮台,像在地人一樣,一杯咖啡在手,看遍悠閒的遊船夢一樣的流過去,任河風吹走一度占有我腦殼的纏結的憂思,就這一 點,就夠我們愛上這個小城。威尼斯,尤其是夏天的威尼斯,是有點像過度揮霍無度豪華的遊樂場,幾乎沒有冥思的空間,在威尼斯,你必須離開磨轉的人群,走入 後巷,始見其美,雖然運河與各色各樣的橋也可以引發遊思,但因為沒有樹,就難免硬了一些,但小城萊頓,後巷式的威尼斯有了,水城的感覺有了,它還是一個大 花園,因為這些美麗的行道樹,人閒思花放,實在是更迷人的城市。 |
阪神大震災から16年…復興区画整理、3月までに完了へ
阪神大震災の被災地で進められてきた震災復興土地区画整理事業が、今年度内に全て終わる見通しになった。事業費は合計4012億円で、当初見込みより 693億円増えた。阪神甲子園球場66個分に相当する、5市18地区、総面積253.9ヘクタールでの街づくりは、16年の歳月を経て完了する。
同事業は、1995年1月17日の震災で甚大な被害を受けた地区の宅地や道路を整え、広い道路や公園をつくって災害に強い市街地をかたちづくるもの。対象地区はいずれも兵庫県内で、神戸市11、芦屋市3、西宮市2、尼崎市1、淡路市1の計18地区。
うち17地区は2009年までに完了。最後に残った、最も面積の大きい新長田駅北地区(神戸市長田区、須磨区の計59.6ヘクタール)も3月までに完了する見通しになった。
国と兵庫県、地元5市などが負担する事業費は、当初計画では計3319億円だったが、最終的に21%増の4012億円に膨らんだ。新長田駅北地区では、対象面積の拡大や、更地にする費用がかさむなどして664億円から56%増の1034億円になった。
区画整理の都市計画決定までには3年前後かかることが多いが、18地区のうち17地区は、無秩序な再建を防ぐ目的などから、震災2カ月後の95年3月に都市計画決定した。
道路や公園を造るために、住民が宅地の一部を無償提供したり別の土地と交換したりする「換地」の必要がある。削られた土地の割合(減歩率)の平均は神戸市内各地区で2.5~9%。最も高かったのは尼崎市の築地地区(13.7ヘクタール)で10.69%だった。
住環境が良くなったり土地が削られたりして区画整理前後で所有地の価値が増減した場合、所有者が清算金を払ったり受けたりして調整する。芦屋市の芦屋中 央地区では、価値が上昇した373人から平均約121万円を徴収し、下落した336人に平均約135万円を交付する換地処分が02年に公告された。ただ、 一括で支払えないケースなどもあり、徴収・交付手続きはいまも続いている。(佐藤卓史)
2011年1月3日 星期一
3千年前の精巧な技術 古代メキシコ・オルメカ文明展
巨石人頭像に見入る来場者=北九州市八幡東区の市立いのちのたび博物館
3千年以上前にメキシコ湾岸に栄えた古代文明を紹介する「古代メキシコ・オルメカ文明展――マヤへの道」(朝日新聞社など主催)が2日、北九州市八幡東区の市立いのちのたび博物館で始まった。3月31日まで。
オルメカ文明はマヤ文明より古く、中米古代文化に共通する特徴が多いことから「母なる文明」と呼ばれている。会場には高さ176センチ、重さ4.1トン の巨石人頭像や精巧なヒスイのマスクなど約130点を展示。出口には複製の巨石人頭像が設けられ、来館者は記念撮影を楽しんでいた。
東京、京都では開催され、九州では初の開催となる。大人1千円、高校・大学生600円、小・中学生300円。
3千年前の精巧な技術 古代メキシコ・オルメカ文明展
2010年11月25日15時3分
3千年以上前、メキシコ湾岸地域にこつぜんと現れた“文明”を紹介する「古代メキシコ・オルメカ文明展」(朝日新聞社など主催)が、東京・池袋サンシャインシティの古代オリエント博物館で開催中だ。大量のヒスイ製品には、高度な加工技術の痕跡が見てとれる。
オルメカ文明は熱帯の密林に展開、謎も多いとされる。日本の縄文、弥生時代にあたる。
展示では副題に「マヤへの道」とあり、後世のマヤ文明との連関に光をあてて、石像やヒスイ製品、土器など約130点を展示している。
中でも注目はヒスイの「仮面」(長さ15.5センチ、幅15.5センチ、紀元前1500~1000年ころ)。リアルな造形で、ヒスイが硬質な素材である ことを考えると、歯の表現に至るまで精巧な技術が施されたようだ。鼻、ほお、口元などに日本人との関連もうかがわせる。ヒスイは古代の中国、日本でも珍重 されたという。
高さ2メートル弱の巨石人頭像(紀元前1200年ころ、レプリカ)は親しみやすい表情ながら圧巻。メキシコ国立自治大学人類学研究所のアン・サイファース教授は「石彫は記念碑的芸術」と指摘する。
神をあがめ、王権が存在した可能性をほのめかす遺物も陳列される。「会議に集まる人々」(紀元前1000~400年ころ、レプリカ)は、ヒスイの小立像16体が中心に向かって円形に配置。宗教儀式を営む様を表しているといわれる。
12月19日まで。無休。03・3263・5622(同展広報事務局)。
2011年1月2日 星期日
The Invisible Wall
Windows on the World
The Invisible Wall
A series in which writers from around the world describe the view from their windows.
I try to ignore this view. When I’m at my writing desk I turn my back to it. When I look up — though these days one no longer looks up from his work, but merely past the monitor — I see only the spines of books along their shelves. What I don’t see is the pitched window of the attic, the bend that the Spree, Berlin’s main river, makes behind me, the distant facade of the magnificent Bode Museum; above all I don’t see the three bridges with their streams of cars and pedestrians under which pass huge barges headed in both directions. Some of the barges carry freight, while others blast music as people dance and raise beer bottles on the deck, although on most of them sit tourists with their cameras, attentive as schoolchildren. I always wonder what they are photographing. The majority probably photograph the so-called Palace of Tears, that glass border-crossing station that once sat between East and West Berlin; today it is empty, although it will soon become a dance club. A few will also photograph the Berlin Ensemble, originally a theater founded and run by Bertolt Brecht; it is to the left of my window and visible only if I lean out. The most important thing, however, cannot be photographed: the invisible line where the Berlin Wall once stood. Absence can’t be captured, not even with the best camera, and so the tourists turn their helpless devices to the gray facades of the new buildings, to the rows of identical windows, one of which, high up near the roof, stands open, and behind it a barely visible figure quickly turns away and goes back to work at his desk.
North London Daydreams
Published: October 2, 2010
Windows on the World
North London Daydreams
A series in which writers from around the world describe the view from their windows.
When I was young my mum used to complain that I spent too much time daydreaming. That was because I liked to stare at the sky. She thought that while I was dreaming I could be doing something useful as well, like knitting. Now that I am a writer, I have the privilege of daydreaming as part of my job. And I still love to gaze at the sky. The view from my workroom in my North London house has a lot of sky, and I couldn’t work without it. There are never any structured thoughts in my head when I look up. They just come and go and change shape like the clouds.
I have a wonderful view of Alexandra Palace. This is not a royal palace but a 19th-century leisure center for exhibitions and events — a people’s palace, known locally as “Ally Pally.” It was the place from which the world’s first regularly scheduled television transmissions were broadcast, in the 1930s, and the famous antenna is still there. Below it I can see the doors of the studios where modern television began, and I find that thrilling. The palace is still a venue for the occasional exhibition, but mostly it just sits there on the hill, waiting for someone to find a good use for it in this information age.
In the foreground, close to my house, is a school. I have come to know the sounds of that school so well that it has become my clock. As early as 7:30 the first children arrive, twittering into the playground like the first birds of the morning. During the din of their playtimes I always stop working to have a cup of tea.
The school sits among Victorian row houses just like mine, with their jumbled chimney pots and television aerials. When I see them under my mass of sky, with Ally Pally up on the hill, then I know I am home.
Mr. Borges’s Garden
Published: January 1, 2011
Windows on the World
Mr. Borges’s Garden
A series in which writers from around the world describe the view from their windows.
A certain house in the Buenos Aires neighborhood of Recoleta has a window that is doubly privileged. It overlooks a courtyard garden of the kind known here as a pulmón de manzana — literally, the lung of a block — which affords it a view of the sky and an expanse of plants, trees and vines that meander along the walls of neighboring houses, marking the passage of the seasons with their colors. In addition, the window shelters the library of my late husband, Jorge Luis Borges. It is a real Library of Babel, full of old books, their endpapers scribbled with notes in his tiny hand.
As afternoon progresses and I look up from my work to gaze out this window, I may be invaded by springtime, or if it’s summer, by the perfume of jasmine or the scent of orange blossom, mingled with the aroma of leather and book paper, which brought Borges such pleasure.
The window has one more surprise. From it, I can see the garden of the house where Borges once lived, and where he wrote one of his best-known short stories, “The Circular Ruins.’’ Here, I can move back and forth between two worlds. Sometimes, following Borges, I wonder which one is real: the world I see from the window, bathed in afternoon splendor or sunset’s soft glow, with the house that once belonged to Borges in the distance, or the world of the Library of Babel, with its shelves full of books once touched by his hands?
2011年1月1日 星期六
多倫多 (加拿大星島日報)
加拿大星島日報
A1中文電臺訊,多倫多的垃圾運往美國堆填的日子即將成為歷史。
最後一架送往美國密茲根洲的垃圾車今日上午11點左右,由Commissioner Street的垃圾站開出,多倫多同美國的合約明日屆滿。多倫多的垃圾日後會送往倫敦市附近的Green Lane堆填,直至另行通知為止。
多倫多市政府秏資2億2千萬購買了這個堆填區。
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