維基百科

用戶:不寐聽江/沙盒

< User:不寐听江

在撒旦的陽光下法語：Sous le soleil de Satan，是法國小說家喬治·貝爾納諾斯所寫的長篇小說。貝爾納諾斯從1918年開始創作這部作品，1926年完成，由普倫出版社出版。位於世界報20世紀百大書籍第四十五位。

==緣起==

不寐聽江/沙盒
Mehmed Selimović
Meša Selimović on a 2010 Serbian stamp
出生Mehmed Selimović
(1910-04-26)1910年4月26日
Tuzla, Condominium of Bosnia and Herzegovina, Austria-Hungary
逝世1982年7月11日(1982歲—07—11)（72歲）
Belgrade, SR Serbia, SFR Yugoslavia
墓地Belgrade New Cemetery
職業Writer, professor, art director
語言Serbo-Croatian
國籍Yugoslavia
母校University of Belgrade
體裁novel
代表作Death and the Dervish (1966)
配偶Desa Đorđić
Darka Božić (d. 1999)
子女Slobodanka
Maša
Jesenka

Mehmed "Meša" Selimović (塞爾維亞語西里爾字母：Мехмед „Меша” Селимовић; 發音：[mɛ̌xmɛd mɛ̌ːʃa sɛlǐːmɔʋitɕ]; 1910年4月26日—1982年7月11日）南斯拉夫小說家，他的《死亡與苦行僧》被認為二戰後南斯拉夫文學的傑作。[1]。Some of the main themes in his works are the relations between individuality and authority, life and death, and other existential problems.

生平

Selimović was born to a prominent Bosnian Muslim family of Serbian descent on 26 April 1910 in Tuzla, Bosnia and Herzegovina, where he graduated from elementary school and high school.[2]

In 1930, he enrolled to study the Serbo-Croatian language and literature at the University of Belgrade Faculty of Philology and graduated in 1934. His lecturers included Bogdan Popović, Pavle Popović, Vladimir Ćorović, Veselin Čajkanović, Aleksandar Belić and Stjepan Kuljbakin.[3] In 1936, he returned to Tuzla to teach in the gymnasium that today bears his name. At that time he participated in the Soko athletic organisation.[3] He spent the first two years of the Second World War in Tuzla, until he was arrested for participation in the Partisan anti-fascist resistance movement in 1943. After his release, he moved to liberated territory, became a member of Communist Party of Yugoslavia and the political commissar of the Tuzla Detachment of the Partisans. During the war, Selimović's brother, also a communist, was executed by partisans' firing squad for alleged theft, without trial; Selimović's letter in defense of the brother was to no avail. That episode apparently affected Meša's later contemplative introduction to Death and the Dervish, where the main protagonist Ahmed Nurudin fails to rescue his imprisoned brother.[4]

After the war, he briefly resided in Belgrade, and in 1947 he moved to Sarajevo, where he was the professor of High School of Pedagogy and Faculty of Philology, art director of Bosna Film, chief of the drama section of the National Theater, and chief editor of the publishing house Svjetlost. Exasperated by a latent conflict with several local politicians and intellectuals, in 1971 he moved to Belgrade, where he lived until his death in 1982.[5]

Identity

Selimović researched the roots of his family and found out that he originated from the Drobnjaci tribe. Most members of the tribe consider themselves to be Serbs, while some are Montenegrins.[6] It is claimed that a part of the family converted to Islam in order to protect their Christian brethren.[6]

In his 1976 letter to the Serbian Academy of Science and Arts, Selimović stated for the historical record that he regarded himself as a Serb and belonging to the corpus of Serbian literature.[7][8][9][10] Selimović was a full member of the Academy of Sciences and Arts of Bosnia and Herzegovina,[11] and a member of Serbian Academy of Sciences and Arts.[12]

In his autobiographical narration, Sjećanja (

), which Selimović complements with a memoir features thus transforming them into memoir prose, Selimović describes environment and milieu of his Bosnian Muslim origin.[6] He is using discursive self-perception, and confronts and auto-reflect his identity as a complex and composite. Since perception of national belonging is distinctly subjective and simplistic, auto-perceptions are considered discursive creations, representamen, where memoirs overlap with socio-historical context.[6] In doing so, and through lens of imagology, his autobiographical discourse becomes textual construct, or an imaginary discourse. Selimović's imaginarium turns his cultural self-reflection of his Bosnian Muslim identity into oddity, but he also describes it as a complex. His memories author then transpose on entire group, with a series of images.[6]

Through the rhetoric of the image, Selimović confirms the cultural differences of Bosnian Muslims, and in that sense, his autobiographical narrative representamen confirms and strengthens the cultural and collective ethnic identity of Muslims.[6] Selimović clearly define himself by stating, "I am a Muslim", and, "I am attached to my Bosnian and Muslim origins".[6]

On the other hand, when Selimović brought forward the information about his Christian origin, some Bosnian Muslim critics attacked him, claiming that "they also knew about their origin", and asking him what is to be achieved with publicly expressing such information.[6]

Critics consider this to be a rationalization of his choice to seek recognition as writer belonging to Serbian literary circle,[13][12] by claiming that his paternal heritage was that of Orthodox Christian identity,[14][15] alleging a conversion to Islam back in the 17th century for pragmatic reasons.[13] The chapter Parents in his Sjećanje provoked reaction and criticism in his native country,[6] and will be deemed a "constructed phantasm", or imaginary discourse.[13] Critics contemplated about the reasons for this, as they called, "falsification of one's own family heritage", explaining it as a "vengeful act of defiance", and stating that Selimović's main conflicts trace back to his Muslim roots and his expression of disappointment in Bosnian environment and Bosnian Muslim milieu.[13]

He was a communist and atheist.[6]

According to his grandson Nikola, Selimović considered himself to be a Serbian writer of Muslim origin. He claimed that his mother received threats from Sarajevo-based organizations because "he (his grandson) did not have a Muslim name", which was the kind of situations which led Selimović to leave Sarajevo and settle in Belgrade in the first place.[16]

Works

Selimović began writing fairly late in his life. His first short story (Pjesma u oluji / A song in the storm) was published in 1948, when he was thirty-six.[17] His first book, a collection of short stories Prva četa (The First Company) was published in 1950 when he was forty. His subsequent work, Tišine (Silences) was published eleven years later in 1961. The following books Tuđa zemlja (Foreign land, 1962) and Magla i mjesečina (Mist and Moonlight, 1965) did not receive widespread recognition either.[18]

However, his novel Death and the Dervish (Derviš i smrt, 1966) was widely received as a masterpiece. The plot of the novel takes place in 18th-century Sarajevo under Ottoman rule, and reflects Selimović's own torment of the execution of his brother; the story speaks of the futility of one man's resistance against a repressive system, and the change that takes place within that man after he becomes a part of that very system. Some critics have likened this novel to Kafka's The Trial. It has been translated into many languages, including English, Russian, German, French, Italian, Turkish and Arabic.[19] Each chapter of the novel opens with a Quran citation, the first being: "In the name of God, the most compassionate, the most merciful."[18]

The next novel, Tvrđava (The Fortress, 1970), placed still further in the past, is slightly more optimistic, and fulfilled with faith in love, unlike the lonely contemplations and fear in Death and the Dervish. The Fortress and Death and the Dervish are the only novels of Selimović that have thus far been translated into English. Subsequent novels Ostrvo (The Island, 1974), featuring an elderly couple facing aging and eventual death on a Dalmatian island, and posthumously published Krug (The Circle, 1983), have not been translated into English.

He also wrote a book about Vuk Karadžić's orthographic reforms Za i protiv Vuka (For and Against Vuk),[20] as well as his autobiography, Sjećanja.

Poopak NikTalab introduces him as one of the three pioneers of children's and youth literature in the Balkans between 1950 and 1980 (along with Šukria Pandžu and Iskandar Klovnić), who played an important role in the development of Bosnian children's and youth literature.[21]

Family

His brother’s granddaughter is an award-winning Serbian actress Hana Selimović​（塞爾維亞語）.[22] Also, his cousin Amar Selimović​（波斯尼亞語） is a famous Bosnian actor.[23] Meša Selimović is the uncle of Bosnian politician Mirsad Đonlagić.[24]

Bibliography

 
Plaque at his former home in Belgrade
  • Uvrijeđeni čovjek (An Insulted Man) (1947)
  • Prva četa (The First Company) (1950)
  • Tuđa zemlja (Foreign Lands) (1957)
  • Sjećanja (Memories) (1957)
  • Noći i jutra (Nights and Days) (film scenario) (1958)
  • Tišine (Silence) (1961)
  • Magla i mjesečina (Mist and Moonlight) (1965)
  • Eseji i ogledi (Essays and Reflections) (1966)
  • Derviš i smrt (Death and the Dervish) (1966)
  • Za i protiv Vuka (Pro et Contra Vuk) (1967)
  • Tvrđava (The Fortress) (1970)
  • Ostrvo (The Island) (1974)
  • Krug (The Circle) (1983)

Translations into English

  • Death and the Dervish, 1996, Northwestern University Press, ISBN 0-8101-1297-3
  • The Fortress, 1999, Northwestern University Press, ISBN 0-8101-1713-4

References

Citations
  1. ^ Mala enciklopedija Prosveta 1986.
  2. ^ Meier 2005，第196頁.
  3. ^ 3.0 3.1 Selimović 2000，第7頁.
  4. ^ Jelušić 2005，第69-84頁.
  5. ^ Meša Selimović. Feniks magazine. [永久失效連結]
  6. ^ 6.00 6.01 6.02 6.03 6.04 6.05 6.06 6.07 6.08 6.09 Bajraktarević 2016，第113-123頁.
  7. ^ Sto godina od rođenja Meše Selimovića. RTS.rs. [1 June 2014]. 
  8. ^ ПИСМО МЕШЕ СЕЛИМОВИЋА САНУ, КОЈИМ ПОТВРЂУЈЕ ДА ЈЕ СРБИН. srpskikulturniklub.com. [30 May 2014]. （原始內容存檔於31 May 2014）.  已忽略未知參量|df= (幫助)
  9. ^ Ćerke velikog Meše Selimovića žive u Beogradu: Bosnu nose samo u sećanjima!. kurir-info.rs. [30 May 2014]. 
  10. ^ Večernje Novosti: Pronašao mir u Beogradu, Dragan BOGUTOVIĆ, 9 July 2010 （塞爾維亞語）
  11. ^ Lešić, Zdenko; Martinović, Juraj. Međunarodni naučni skup: Književno djelo Meše Selimovića.. anubih.ba. Dedication. 2010 [25 December 2021] （英語及塞爾維亞-克羅地亞語）. 
  12. ^ 12.0 12.1 Meša SELIMOVIĆ 互聯網檔案館的存檔，存檔日期4 March 2016.. Serbian Academy of Sciences and Arts
  13. ^ 13.0 13.1 13.2 13.3 Meša Selimović – bosanski pisac srpske nacionalnosti. P.E.N. 29 April 2018 [24 December 2021] （bs-BA）. 
  14. ^ Selimović 1976.
  15. ^ Порекло писца Мехмеда Меше Селимовића. Poreklo. 30 March 2016. 
  16. ^ Moj deda, Meša Selimović. B92.net. [2022-03-04] （塞爾維亞語）. 
  17. ^ Skakić 1992，第43, 67頁.
  18. ^ 18.0 18.1 Деретић 1987.
  19. ^ Skakić 1992，第92–95頁.
  20. ^ [Projekat Rastko – Banja Luka] Mesa Selimovic: Za i protiv Vuka (1967). 
  21. ^ NikTalab, Poopak. Bar Bam-e Balkan 1st. Tehran: Faradid. 2023. ISBN 9786226606622 （波斯語）. 
  22. ^ Hana Selimović: (Ne)simpatična buntovnica – Ljudi – Dnevni list Danas. 2019-03-08 [2022-03-04] （sr-RS）. 
  23. ^ Porodica je moja tvrđava. azra.ba. 2017-08-05 [2020-12-30]. 
  24. ^ Sjećanja Đonlagić: Moj daidža Meša Selimović. avaz.ba. 2017-08-05 [2020-12-30]. 
Sources
 
維基語錄上的不寐聽江/沙盒語錄
 
維基共享資源上的相關多媒體資源：不寐聽江/沙盒


前任：
Blaže Koneski 		President of the Association of Writers of Yugoslavia
1964-1965 		繼任：
Matej Bor

Template:NIN Award winners Template:Serbian literature


《杜工部行次昭陵詩卷》是元朝書法家鮮于樞的經典作品之一。此卷內容的是唐朝詩人杜甫的《行次昭陵詩》，目前收藏於北京故宮博物院。此帖結體疏朗，筆勢雄渾，與鮮于樞個人性情正相吻合。如柳貫所評：「公毅然美大夫，面帶河朔偉氣，每酒酣驁放，揮毫結字，奇態橫生，勢有不可遏者。」

鮮于樞學習晉唐的書法，提倡「復古」，是元代「復古」思想觀念的代表人物，崇尚晉唐。鮮于樞「復古」，實際上就是在繼承傳統，書法根植傳統，汲取古人書法優秀成分融合於自己的書法中，從而達到創新的目的。卷鈐「鮮于」、「白幾印章」、「箕子之裔」、「虎林隱吏」、「中山後人」印五方。卷末有王禕、宋濂二跋[1]。鑑藏印記有清乾隆、嘉慶、宣統諸璽及梁清標、宋濂、王禕等印多方。

明顧復《平生壯觀》卷四


伊本·哈茲姆（阿拉伯語：أَبُو مُحَمَّد عَلِيّ بْن أَحْمَد بْن سَعِيد بْن حَزْم ٱلْأَنْدَلُسِيّ‎)，（{{bd|994年|11月|1064年|8月15日）是安達盧西亞穆斯林博物學者、歷史學家、哲學家和神學家。伊本·哈茲姆生於今西班牙的科爾多瓦[2]伊本·哈茲姆是伊斯蘭教法學扎希麗派的確立者和倡導者之一，被視作最嚴謹的聖訓解釋者之一。[3]。他寫過400部論著，現存僅40部[4][2] 其著作總篇幅高達8萬頁。[5]伊本·哈茲姆也被描述為比較神學之父，被認為是伊斯蘭世界的一位重要思想家[3][6]


季爾·布雷喬夫（1934－2003），本名伊戈爾·弗謝沃洛多維奇·莫熱伊科。俄羅斯著名的科幻小說作家、電影劇作家、歷史學家。

生平

布雷喬夫自幼喜歡讀書。他記得自己看的第一本書是加拿大作家歐內斯特·西頓的動物小說《多米諾》（講述一隻褐狐的故事）。他喜歡讀儒勒·凡爾納、大仲馬、赫·威爾斯、謝·別利亞耶夫、格·阿達莫夫、亞·卡贊采夫、斯特魯加茨基兄弟的書。而斯特魯加茨基兄弟的小說給他的印象最深，對他後來寫科幻小說影響最大。

布雷喬夫曾在美術學校學過一段時間，後因病輟學，但一生從未放棄過畫畫的愛好，甚至於在他生命中的最後一個夏天，還在堅持作畫。他的夫人和他興趣相投，是莫斯科的著名畫家，曾為他的許多作品畫過插圖。布雷喬夫中學畢業後進如莫斯科多列士外國語師範學院翻譯系，學習英語翻譯。1957年大學畢業後，布雷喬夫被派往緬甸建築工地做了兩年翻譯。其間常到東南亞、西亞和東亞一些國家出差，並隨時將自己的所見所聞寫成歷史、地理方面的隨筆，發表在《環球》和《今日亞洲與非洲》雜誌上。

回國後就進入俄羅斯科學院東方學研究所工作，成了專門從事緬甸史研究的東方學學者。他撰寫了大量東南亞歷史和文化專著及科普書籍，發表了數百篇科學和科普文章。1982年獲歷史學博士學位。布雷喬夫曾任資深研究員、俄羅斯聯邦作家協會科幻作家聯合會主席、俄羅斯國家獎勵委員會成員、地理協會會員、電影工作者協會會員，先後當過《小技術員》、《化學與生活》和《如果》雜誌編輯，以及高爾基電影製片廠的編輯。1982年獲蘇聯國家獎，1997年、2002年獲俄羅斯阿埃莉塔科幻獎。2004年被追授第六屆國際科幻文學獎（斯特魯加茨基兄弟獎）。         

科幻小說創作

  1965年布雷喬夫着手創作科幻小說。他的處女作是短篇科幻小說《好客的職責》，用緬甸人的名字署名，作為譯文發表。同年，為自己的小女兒寫了好幾篇關於阿利薩女孩兒——21世紀居民的童話科幻故事（總名為《出不了事的女孩》），投到兒童文學出版社，被刊登在該社出版的《冒險世界》雜誌上，深受廣大少年兒童的喜愛。   布雷喬夫真正鍾情於科幻小說創作，一發而不可收地寫下去，是由於後來一件偶然的事情：他經常為《環球》雜誌投稿，所以和編輯部的人挺熟。1966年底的一天，他來到該雜誌編輯部，得知副刊《探索者》在付印前被上級機關撤下一篇外國科幻小說，可是封面上的畫是專為這篇小說畫的（一條蹲在大瓶子裏的小恐龍），而且30萬張彩封已經印好了。如果廢棄不用，將給編輯部帶來較大的經濟損失。編輯們心急如火，馬上約他和另外幾個人根據這幅畫連夜趕寫一篇科幻小說。清晨，他把《恐龍是什麼時候滅絕的》稿子送到編輯部，即刻被選中了。他擔心以真名發表會給自己惹麻煩，因為他所在單位的領導認為寫科幻小說是不務正業，於是他就用妻子的名字「基爾」和母親的娘家姓「布雷喬夫」做了自己的筆名——基爾·布雷喬夫。此後，他發表童話和科幻作品皆用這個筆名。直到1982年他榮獲蘇聯國家獎的時候，單位的同事們才知道作家基爾·布雷喬夫原來是他們的同事伊戈爾·莫熱伊科。           這篇「急就章」的面世，對布雷喬夫鼓勵頗大。他的膽子大了，接二連三地寫了一系列關於21世紀的女孩兒阿利薩遨遊太空的童話科幻故事：《從地球來的女孩兒》（1974）、《一百年前》（1978）、《一百萬個歷險故事》（1982）、《未來世界的女孩兒》（1984）、《坐不住的人》（1985）、《小行星的俘虜》（1988）、《阿利薩的新曆險故事》（1990）等。布雷喬夫從民間口頭創作和兒童文學名著中借鑑了許多東西，在他的作品裏可以找到雪姑娘、睡美人、大灰狼、小紅帽、拇指姑娘、美人魚、三個火槍手等兒童們熟知的形象。他將世界上各個時期和各個民族的獨特的文化與文學相互滲透，融為一體，而且能使讀者不感到有矯揉造作、胡亂拼湊之嫌，故而廣大少年兒童易於理解接受，並樂於閱讀。 

 上个世纪80—90年代，阿利萨系列在前苏联风靡一时，使作者名声大振，很快便成为国内的多产科幻作家、畅销书作家。自1976年起，布雷乔夫开始从事电影剧本创作，《落泪》、《未来世界的客人》、《淡紫色的球》、《地下的女巫》）等30多部作品陆续被搬上银幕。1982年，故事片《第三行星的秘密》和大型动画片《历经艰难奔星系》获得国家奖。

         在他的作品中，人物的多面性和情節的多樣化令人稱奇，普及科學知識和扣人心弦的驚險情節有機結合，而不一味追求難以置信的、離奇的假說得到證實。我國著名翻譯家王志沖先生在一篇悼念他的文章裏所言極是：「基爾·布雷喬夫的作品，不以預測未來高科技的成就為目的，其成功與否，也並非取決於其預測和未來的真正高科技成果是否完全或大致吻合。它們屬於『軟科幻』，即在幻想的未來高科技世界襯托下，講述離奇的故事，塑造鮮活的人物，融科學、幻想、歷史、地理乃至童話、神話為一爐，以活躍思維、激發想像、愉悅身心、滋補靈魂為己任，顯示出強烈的人文精神，鮮明的創作風格和雅俗共賞的藝術品位。」

  1. ^ 石渠宝笈 卷三十一. 
  2. ^ 2.0 2.1 Fiegenbaum, J.W. Ibn Ḥazm. Encyclopædia Britannica. [3 March 2018]. 
  3. ^ 3.0 3.1 引用錯誤：沒有為名為brill的參考文獻提供內容
  4. ^ Joseph A. Kechichian, A mind of his own. Gulf News: 21:30 December 20, 2012.
  5. ^ Ibrahim Kalin, Salim Ayduz (ed.), The Oxford Encyclopedia of Philosophy, Science, and Technology in Islam, Volume 1, p. 328
  6. ^ Islamic Desk Reference, pg. 150. Ed. E. J. Van Donzel. Leiden: Brill Publishers, 1994. ISBN 9789004097384
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