Culture lens feb 2013

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Culture Lens

The Chinese Foundation Secondary School

The Music and Cultural issues February 2013

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Tea Poems (William Gladstone) Tea@Science Japanese Tea Ceremony Japanese Woodblock Prints La Traviata Café Müller Modern Architecture Science & Technology Innovation Drawings An Interview With “Fotanian” Artist Arts Critics Tea Poems (Ψථ)

p.3 p.4 p.5 p.6-7 p.8-9 p.10-11 p.12-13 p.14-15 p.16-19 p.20-22 p.23

There is a great deal of poetry and fine sentiment in a chest of tea. ~Ralph Waldo Emerson, Letters and Social Aims 22


If you are cold, tea will warm you;

If you are too heated, it will cool you;

If you are depressed, it will cheer you;

If you are exhausted, it will calm you.

William Gladstone (1809 – 1898)

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Tea@Science

Drinking regular cups of tea could help improve your memory

Results of laboratory tests by a team

from the University of Newcastle upon Tyne found that green and black tea inhibit the activity of certain enzymes in the brain which are associated with memory. The findings, which are published in the academic journal, Phytotherapy Research, may lead to the development of a new treatment for a form of dementia which affects an estimated ten million people worldwide, Alzheimer’s Disease (Դ ԃᛔքੱ). 4

Scientists

said it has long been believed that drinking green tea is good for the Spatial memory. Spatial memory is the part of memory responsible for recording information about one’s environment and its spatial orientation.


Japanese tea ceremony (Вҁૡၰ) Tea Philosophy The Four Principles of Tea The four principles of wa (‫)ک‬kei (ལ)-sei (మ)-jaku (஍), or harmony, respect, purity and tranquility, act as the important role of the tea ceremony.

“‫”ک‬

stands for harmony. As there is harmony in nature, the Teishu will try to bring this quality into the tea room and the garden around the tea house.

“ ” stands for respect. The guests must respect all things, all matters without involving their status or position in life. They must crawl trough a small entrance called “Nijiriguchi”to get into the room.

” stands for “ purity. Crawling into the tea room, one is to leave behind all thoughts and worries of daily life. The tea room or Chashitsu is a different world where one can revitalize, slow down, and enjoy the presence of friends.

“ ” stands for tranquility. Only after the first three concepts (harmony, respect, and purity) are discovered, experienced and embraced, people finally embody tranquility.

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Art Appreciation

ੌШᛤ)啰啷喲啲*! Japanese woodblock prints

T

The Great Wave off Kanagawa

he ‘Great Wave off Katsushika Hokusai (1760–1849) Kanagawa’ was created by Culture: Japan Hokusai Katsushika, one Medium: Polychrome woodblock print; ink and color on paper of the greatest Japanese printmakers and painters G of the 19th century. It was At sea, a huge wave R the first design for a series topped with foam is on E of originally 36 famous the point of breaking. A views of Mount Fuji, Japan’s The small boats seem to T T sacred mountain. The series be allowing themselves H was very successful in the to be carried forward by E W market, and thus was later the angry flood, passive A extended to 46 designs. before the waters V bearing down on them. E 6


What is Woodblock printing? Woodblock printing is a technique

for printing text, images or patterns used widely throughout East Asia and originating in China in antiquity as a method of printing on textiles and paper. Ukiyo-e (ੌШᛤ* is the best known type of Japanese woodblock art print. The art form rose to great popularity in Tokyo during the second half of the 17th century, originating with the singlecolor works of Hishikawa Moronobu in the 1670s.

Japanese Influences on Vincent van Gogh Van Gogh’s fascination with Japanese art extended beyond collecting prints and duplicating Japanese images.

Several of Van Gogh’s paintings imitate ukiyo-e in style and in motif. For example, Le Père Tanguy, the portrait of the proprietor of an art supply shop, shows six different ukiyo-e in the background scene. Le père Tanguy Van Gogh Japanese Flowering Plum Tree

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La traviata La traviata

Giuseppe Verdi Giuseppe Verdi

ૡ ޸ ζ

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A nineteenth-century Italian composer, a master of Italian grand opera. Among his best-known operas are Aïda, Otello, Rigoletto, and La Traviata. As a young man, Verdi composed operas much in the style of the earlier Italian Bel canto works. After a series of successes and setbacks, Verdi hit his stride in his “middle period” with the composition of such masterpieces as Rigoletto, Il Trovatore, and La Traviata. Many of the the arias from these operas are infused with much dramatic melody and Italian passion, and have become extremely well-known melodies.

La traviata

is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils.


La traviata tells the

famous story of how beautiful but fragile courtesan Violetta is coerced into sacrificing her one hope of personal happiness for the sake of her lover’s reputation. A tragic and resonant tale of society and morality, it combines compelling characters with hugely powerful, moving and instantly recognisable melodies, making it one of the most emotionally engaging and popular operas of all time.

What is Opera? Opera, a staged drama set to music in its entirety, made up of vocal pieces with instrumental accompaniment and usually with orchestral overtures and interludes. In some operas the music is continuous throughout an act; in others it is broken up into discrete pieces, or recitative or by spoken dialogue.

Approach to Opera The secret to Verdi’s popularity was his ability to capture character, feeling, and situation in memorable melodies that sound both fresh and familiar. Many use a simple form such as AABA, making them easy to follow, and combine regular phrasing and plain harmony with an infringing rhythmic and melodic motive that catches the listener’s attention.

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Born July 27, 1940, in Germany, Pina Bausch began her studies at the age of 14 under the direction of Kurt Jooss at the Folkwang School, from which she graduated in 1959. Pina Bausch is one of the most influential figures towards the development of European dance in the late twentieth century. Bausch’s work, often described as ‘Dance-Theatre’, was originally a revolt against the classical traditions associated with dance.

Dance Appreciation

Bausch

looked to bring back emotion and expression through the body, rejecting the aesthetic beauty of codified classical dance. She focused on the smallest of gestures such as a leg or hip and tell a story through the audience association of such movements. By highlighting behavioural patterns and mannerisms she makes the audience aware of the danger of manipulation and body language.

““I’m I’m not not ssoo interested interested in in how how they they move move aass in w in what hat m moves oves tthem. hem.” Pina B Pina Bausch ausch

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P I N A B A U S C H


A piece by Pina Bausch

Café Muller

based on Bausch’s childhood memories of her parents’ establishment. Her grownup self (danced by Helena Pikon) re-enters the café as a sleepwalker, eyes shut tight, arms outstretched as if remembering the scene by touch/

The

Definition Of ... Tanztheater

union of genuine dance and theatrical methods of stage performance, creating a new, unique dance form (especially in Germany), which, in contrast to classical ballet, distinguis hes itself through an intended reference to reality.

The term Tanztheater had already been used by members of the German expressive dance movement of the 1910s and 1920s who wished to distance themselves from the traditions of classical ballet. 11


Music And Architecture

The House of Music, Denmark

Architecture as a Sequence

of Harmonic Spaces

Modern Music Hall Masterpieces The Sydney Opera House

Waltt D Walt Disney isney C Concert oncert H Hall all

Bengt Sjostrom Bengt Sjostrom Starlight Starlight Theater Theeater Th 12


What is

Modern Architecture?

Modern d Architecture Modern architecture is the term used to

describe the simplified, unornamented building styles of the late 19th and the 20th centuries. These building styles are also known by other labels like International Style, Neue Sachlichkeit or New Objectivity, and Functionalism. Modern architecture developed as a reaction to the design excesses of the Victorian and the Edwardian period.

Some

prominent modern architects were Louis Sullivan and Frank Lloyd Wright in the USA, Le Corbusier in France and Antoni Gaudi in Barcelona. The German architects Ludwig Mies Van der Rohe and Walter Gropius ran the famous Bauhaus school that was a major influence on the modern movement. At the outbreak of the Second World War, many of the leading Baushaus figures fled to the USA from Europe and took their design ideas with them. 13


Student’s Corner

Science & Technology Innovation Drawings

1D Yu Lap Ming

1E Kwan Ho Kwong 14 14


1B Chan Sze Wai

1A Ho Pui Ying

1A Kwong Tsz Kit

1E Lam Ching Yeung 15


ұࣅ᛬ೌπբ࠻໒‫ܫ‬ीჄ!2013 Ȩұࣅȩཀᒏ΋ဂӧОࣅ πቷε༺ϣᆫ໣Ǵჹ᛬ೌ кᅈ዗၈‫ޑ‬΋ұΓǶȨұ ࣅ᛬ೌπբ࠻໒‫ܫ‬ीჄȩ ࢂ‫؂‬ԃ΋ࡋ‫ޑ‬ҁӦ᛬ೌࣚ ౰٣Ƕ໒‫ܫ‬В‫؂ܭ‬ԃ΋Д ҽೱុ‫ܭ҃ຼঁٿ‬Оࣅπ ཰୔ᖐՉǶ ϞයDvmuvsbm!Mfot!җঐ‫ד‬ ᇬӕᏢೖୢኧՏٰԾόӕ ङඳ‫ޑ‬᛬ೌৎǴ྽ύхࡴ ᛤฝǵᓁ༟ǵషӝ൞ϟ฻ ബբǶӧᇸ᚞‫ݗ਻ޑ‬ΠǴ! ᆶдॺҬࢬബբЈள‫ک‬࿶ ᡍǶ

᛬ೌ஑ೖ

ೖ‫ޣ‬ ঐ;!ঐ‫ד‬ᇬӕᏢ ‫ڙ‬ೖ‫ޣ‬ ഋ;!ഋዅ‫)!!ٽ‬ᓁ༟ৎǵ᛬ೌՉ ࡹΓ঩* ఉ;!ఉ჏፣!)ฝৎ* ᎄ;!ᎄల‫)!ە‬షӝ൞ϟ* Ц;!ЦϺϘ!)ᓁ༟ৎ*

ঐ;!‫ـ࣮ך‬գ‫ޑ‬բࠔεӭаଛ‫ࣁف‬ЬᚒǴፎୢգ‫ޑ‬᛬ೌബբᡫགவ ՖԶٰǻ ഋ;!வғࢲᄊࡋǴձΓჹ‫ޑך‬ғࢲᄊࡋǴ٠வ‫ޑך‬ғࢲᄊࡋ‫ך܈‬ჹ Γ‫ޑ‬ғࢲᄊࡋԶٰǶӢࣁΓᆶΓϐ໔ሡाϕ࣬ଛӝǴԶ྽ύѸ‫ۓ‬ ԖΓࢂЬ‫ف‬ǴҭԖΓࢂк྽ଛ‫فޑف‬Յٰϕ࣬Ѝ࡭ǶԶ‫ޑך‬բࠔ ౛‫҅​҅ۺ‬གྷ߄ၲჹଛ‫ޑف‬ख़ा‫܄‬Ƕ ঐ;!գନΑࢂ΋Ӝ᛬ೌৎǴӕਔҭঋҺ᛬ೌՉࡹ‫ޑ‬πբǴፎୢգᇡ ࣁ᛬ೌՉࡹԖՖख़ाǻ ഋ;!җ‫ܭ‬᛬ೌৎ‫ޑ‬πբၨࣁᕷख़Ǵдॺሡाਔ໔‫ޜک‬໔ѐ஑‫ܭݙ‬ബ բǶԶ᛬ೌՉࡹߡёඹдॺೀ౛΋٤ՉࡹπբǴӵӼ௨൑Ӧǵӑ ᇙт‫ނ‬฻฻Ǵӳᡣ᛬ೌৎόҔϩЈೀ౛ՉࡹπբǴё஑ЈֹԋԾ ρ‫ޑ‬բࠔǶ 16


ঐ;ࣁϙ䂅գ཮‫ע‬ύ୯໺಍ᛤฝϷࢬՉЎϯϡન่ӝ‫ܭ‬ബբϐύǻ ఉ;!२Ӄ‫ך‬ӧεᏢਔමᏢಞ୯ฝǴϐࡕҭԖ჋၂ᛤᇙᅐฝ‫ޑ‬࿶ᡍǴ Զ‫ך‬᝺ளฝᅐฝ‫ޑ‬π‫ڀ‬Ǵ‫ٯ‬ӵฯ฽Μϩ፾ӝԾς‫ޑ‬ബբ൞ϟǴ‫܌‬ аԖԜᒧ᏷Ƕ‫ځ‬ჴӧᛤᇙᅐฝ‫ࢂ܈‬ύ୯π฽ฝ‫ޑ‬ၸำύǴόᜤว ౜‫ޣٿ‬ϐ໔Ӆ೯‫ޑ‬ϡનǴ‫ٯ‬ӵΒ‫ࢂࣣޣ‬аጕచࣁЬǵӕኬԖࡐம ‫ࡺޑ‬٣‫܄‬ǶࡺԜ‫ߡך‬གྷ‫ډ‬ஒΒ‫่ޣ‬ӝǴ٠໒‫ۈ‬аᅐฝ‫ޑ‬ฯ฽ٰኳ үύ୯ฝ‫ޑ‬ག᝺և౜рٰǶ ঐ;ࣁϙ䂅գ཮ฝύ୯໺಍ᛤฝ‫ګ‬ǻ ఉ;!Ӣࣁྭ​ྭ‫ޑ‬ጔࡺǴ‫ך‬ё࿶தௗ᝻‫ډ‬୯ฝǴԶӧεᏢঅ᠐୯ฝፐ ਔǴΞว౜Ծςჹ‫ځ‬ག‫ډ‬ವε‫ޑ‬ᑫ፪Ǵ‫܌‬а౥཰ࡕߡ໒‫ۈ‬ฝύ୯ ໺಍π฽Ƕ ঐ;‫ـ࣮ך‬գ‫ޑ‬բࠔ྽ύӭаζ‫ࣁ܄‬Ь‫ف‬Ǵ྽ύࢂցԖϙ䂅চӢǻ ఉ;!‫ځ‬ჴ‫ך‬όࢂ‫څ‬ཀ‫ޑ‬ǴёૈࢂӢࣁζ‫܄‬๏‫ޑך‬ག᝺Кၨࢋ೬ǵჱ ᓉǴԶ೭ᅿག᝺҅ӳଛӝ‫ך‬གྷ߄ၲ‫ޑ‬ϣ৒Ƕ ঐ;!գ‫׆‬ఈ೸ၸբࠔၲ‫ډ‬ϙ䂅Ҟ‫܈ޑ‬౛‫ۺ‬ǻ ఉ;!‫׆ך‬ఈૈჹ‫ـ܌ך‬ǵ‫܌‬ᆪǴ೸ၸЄགྷǴճҔߚᙁൂ‫ޔ‬ௗ‫ޑ‬Ћ ‫ݤ‬ǴԶࢂ‫ځ‬дБԄჹࠤѱΓ‫ޑ‬ሽॶᢀ‫ک‬೿ѱ౜ຝբрӣᔈǶ

ఉ;!ఉ჏፣!)ฝৎ* ఉ჏፣౥཰‫ܭ‬३ෝύЎεᏢ)3118 ᛬ೌബբᅺγ*Ǵബբ่ӝύ୯໺ ಍ᛤฝϷࢬՉЎϯϡનǴճҔόӕ π‫ڀ‬և౜ύ୯ฝ‫ݗ਻ޑ‬Ǵኳጋৡ౦ ϐ໔‫ࣚޑ‬ज़Ƕ

ঐ‫ד‬ᇬӕᏢ҅ೖୢ ᛬ೌৎఉ჏፣λ‫ۆ‬ 17 1


ঐ;ࣁϙሶգ཮഻៿ᇙբᔔጤᓁ༟ǻ ᎄ;ӧ‫ך‬ബբᔔጤᓁ༟ϐ߻Ǵමவ٣ၸដᒮ೛ी‫ޑ‬πբǴၸำύว ౜ԾρΜϩ഻៿Ȩጤȩ೭ᅿ‫ނ‬਑Ǵߡ‫׆‬ఈаȨጤȩբࣁન‫׷‬ബբǶ ՠ३ෝ‫ޑ‬ၗྍԖज़Ъܳ຦Ǵ‫܌‬а‫ߡך‬Ҕᔔጤբᓁ༟‫ނ‬਑Ǵ٠໒‫ۈ‬ബ բᔔጤΓ‫س‬ӈ‫ޑ‬բࠔǶ ঐ;ࣁϙሶգ཮഻៿Ȩጤȩ೭ᅿ‫ނ‬਑‫ګ‬ǻ ᎄ;ёૈࢂӢࣁѬྖ྘྘ΞϸӀǶ ঐ;аѲ਑ϷЕ‫ࣁ׷‬ബբ൞ࣚԖϙሶচӢ‫ک‬ӳೀǻ ᎄ;‫ך‬Μϩ഻៿ȨѲȩ೭ᅿ‫ނ‬਑ǴԶЪჹȨѲȩ‫ޑ‬ᚑՅ‫ک‬፦ӦΨΜ ϩ௵གǶќѦǴ‫ך‬Μϩ഻៿Յறᙦ൤‫ܿޑ‬ՋǴԶѲ਑Ξࡐ৒ܰ‫ډפ‬ Ծρ഻៿‫ޑ‬ᚑՅǴգҭёᇥࢂ΋ᅿБߡǶՠᇥ‫ډ‬ӳೀБय़Ǵ‫ך‬ᇡࣁ ೭൩Ⴝᚊ‫ک‬ೈр౜Ӄࡕ‫ޑ‬ୢᚒǶҭջࢂ‫ډ࣮ࢂך‬೭ᅿ‫ނ‬਑ωѐബ բǴᗋࢂӢࣁബբԶ٬Ҕ೭ᅿ‫ނ‬਑ǶᗨฅѲ਑ࡐ৒ܰ‫ډפ‬Ծρ഻៿ ‫ޑ‬ᚑՅǴՠࢂ‫ך‬Ψ჋၂ၸӢ‫פ‬ό‫ډ‬፾ӝ‫ޑ‬Ѳ਑ǴԶाԾρ೷ѲǶ‫ٯ‬ ӵ‫ך‬Ԗ΋ҹբࠔᆶ᝾ჸஎްԖᜢǴՠ‫פ‬ό‫ډ‬፾ӝ‫ޑ‬Ѳ਑Ǵ‫ߡךࢂܭ‬ ԾՉӧѲ΢ᛤᇙमࣤਔж‫ޑ‬᝾ჸ኱ᇞǶ

ঐ‫ד‬ᇬӕᏢ҅ೖୢ᛬ೌৎᎄల‫ە‬λ‫ۆ‬ 18

ᎄల‫ە‬λ‫ޑۆ‬πբ࠻


ঐ;գ‫׆‬ఈ೸ၸբࠔၲ‫ډ‬ϙ䂅Ҟ‫܈ޑ‬౛‫ۺ‬ǻ Ц;‫׆ך‬ఈε౲όाᇡࣁ᛬ೌࢂᖑుᜤܴǴӢࣁ᛬ೌ‫ޑ‬ጄᛑΜϩቶ ᗡǴ྽ύԖభԖుǶࣰఈ‫ޑך‬բࠔคፕࢂεΓ‫܈‬λܻ϶‫܈‬όӕ୯ ᝤ‫ޑ‬Γγ೿ࢂభқܴܰ‫ޑ‬ǴԶь೯୏‫ޑނ‬೷ࠠߡ҅​҅ёၲ‫ډ‬೭ᅿ ਏ݀Ƕ ᎄ;!ᎄల‫)!ە‬షӝ൞ϟ*

Ц;!ЦϺϘ!)ᓁ༟ৎ*

ᎄల‫ە‬३ෝύЎεᏢ᛬ೌ‫س‬Ꮲγ‫ک‬ ᅺγ౥཰Ƕ႟Οԃ໒‫ۈ‬ᇙբᔔጤᓁ ༟ǶԾ3119ԃଆബբ॥ඳടᮥ‫س‬ ӈǴаԾρ८ᇙ‫ޑ‬ȨคҔȩടᮥಔ ӝԋεৎዕ஼‫ޑ‬॥ඳǶӴ࣬ߞ‫ࠔނ‬ ࢂΓॺࢲ୏‫ޑ‬౩ၞǴаձΓ೛ी‫ޑ‬ ‫ࠔނ‬Ǵ࿶ബբ‫ޑޣ‬௃ག‫ک‬࿶ᐕᙯϯ ԋࣁ౦ኬΓЎ॥ඳǶ

ЦϺϘғ‫ܭ‬३ෝǴ3111ԃ౥཰‫ܭ‬ ύЎεᏢ᛬ೌ‫س‬Ǵ‫ࡕځ‬வ٣ᓁ༟ ബբǴᏰஒࡵள‫ޑ‬ቲЕǴ‫܈‬а໺ ಍ᄰюǴ‫܈‬ӵE/J/Z/ടॿаᖥํ ಔးǴ࡫ࣵрь೯୏‫ނ‬೷ࠠ‫ޑ‬Е ᓁǴբࠔࣁ३ෝ᛬ೌᓔϷ‫د‬Γᖼ ᙒǶЦМନҺᙍ᛬ೌ௲‫ػ‬πբຬ ၸΜԃǴҭࣁӄౚ२Տ᛬ೌৎ‫ܭ‬ ӦΠ៓ၡ৖ំӈًύᖐՉ৖ំǴ ߈ԃϩձᆶШࣚ‫ޕ‬Ӝࠔจ຾Չၠ ࣚӝբǶ

ЦϺϘӃғ‫ޑ‬πբ࠻ ঐ‫ד‬ᇬӕᏢ҅ೖୢ᛬ೌৎЦϺϘӃғ 19


Ƞ྾Γᇥფȡ! ࠤѱύ‫ޑ‬౧ᚆᆶ‫ې‬஍

ຑፕ ຑፕ

Ȩ΋ϺԐఃǴလႜЉǸਬ‫ۅ‬ᙓவόӼ‫ޑ‬ᅵფύᒬٰǴว౜Ծρӧ ‫׉‬΢ᡂԋΑ΋ଫεளᓵΓ‫্ޑ‬ᙝǴฯӵ៓Ҙ‫ޑ‬ङຠ๱‫׉‬Ƕдั​ั ‫ܩ‬ᓐǴ൩࣮‫ـ‬Ծρ‫ޑ‬ፃՅဎ೽ଯଯໜଆǴϩԋ೚ӭ༧۱‫ޑ׎‬ฯ ෘǴ೏ηӧ΢ᓐ‫ז‬ᇂόՐΑǴᒿਔёૈྖပǶ‫ک‬ᚳε‫يޑ‬᙮࣬ КǴٗ೚ӭᚈᆲಒளёኇǴคշӦӧд౳߻ᆸ୏Ǿȩ খ᠐౥ьϻьȠᡂ‫૶׎‬ȡǴགྷଆጓᆸৎᎿੇჱ‫܌‬ጓ‫ޑ‬Ƞ྾Γᇥ ფȡǶ၀ឞᆸᗂቃ‫ׯ‬ጓԾซϼဴ௘լբৎ‫ݤ‬ើ૟Ǹьϻь)Franz Kafka*๱ӜλᇥȠᡂ‫૶׎‬ȡǶᡫགҭԖ‫׷ڗ‬Ծьϻь‫ޑ‬ȠቩղȡϷ ‫ځ‬ғѳǶ΋஭‫׉‬ǵ΋ഗ൰ǵ΋‫޸״‬Ǵբࠔ೸ၸόӕަᡏᇟ‫ق‬Ǵଛ ӝॣ኷ǵᒵႽᆶၰ‫ڀ‬Ǵ߄౜ࠤѱΓ‫ޑ‬ᓸ‫׭‬ᆶ౧ᚆǵόӼᆶ‫ې‬஍Ƕ

ᕅǸืǸѲ ‫ې‬ᐱǴࢂϱ‫ڹ‬ຉ‫ޑف‬΋Ѝ๨Ƕ‫ך‬Ǵࢂգаࣁ‫ךޑ‬Ǵࢂ౲Γය္ࣰ ‫ךޑ‬Ǵᗋࢂ‫཮ޗ‬౳ύ‫ךޑ‬ǻᕅ΢ԖืǴื٠όࡪК‫ٯ‬ǴεளႽ ߐǶᆸ‫ޣ‬ਔԶவืѦᑍ࣮ǴΞவืϣୂఈǴࢂ္ࢂѦǴᡣΓᜤа ϩమǶ ೭ឞᆸቃό໻ஒȠᡂ‫૶׎‬ȡ ‫ޑ‬ϣ৒ᙯϯԋᆸቃǴ‫׳‬ஒ‫ځ‬ ᆒઓ่ӝόӕ᛬ೌ‫׎‬ԄᑼΕ բࠔϐύǶ൩฽‫ـ܌ޣ‬Ǵ೽ ҽཷ‫ۺ‬ԖٰԾଭ਱ճ੝)Rene Magritte*2:72ԃ‫܌‬ฝ‫ޑ‬Portrait of Stephy LanguiǴᆸ‫ܭޣ‬ε ࠠǵ༝ࡱԄ‫ืޑ‬΢຾Εǵ‫و‬р Ӧᑍຎ௖ఈǴᔼ೷р΋ᅿόዴ ‫܄ۓ‬ǴႽფႽ੿Ǵኔਝ଎ᚆǴ зΓౢғ΋ҽᚶᅪᆶόӼགǶ Rene Magritte! Portrait of Stephy Langui (1961)

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Զᡣ฽‫ࣁޣ‬ϐ୏৒‫ޑ‬ќ΋ჿǴᡫགӕኬٰԾଭ਱ճ੝‫ޑ‬ฝբǴࢂ ၨԐය‫ޑ‬2:39ԃThe Lovers IIǶ΋ࢤ୏Γ‫ޑ‬ΟΓᆸङࡕǴԖ΋ჹ‫ت‬ ζǴдॺ‫ޑ‬ᓐᓍӚԾᆾ΢΋༧ѲǴᓉЗӵ‫ݨ‬ฝ૓Ӧ֤๱ǶόΦǴд ॺ໒‫ۈ‬Ӆᆸǵ‫ឺޟ‬ǴࠅΞँฅӵ᝻ႝ૓௢໒ჹБǶьϻьӧВ૶ ύමॊǺȨӕζΓӧ΋ଆғࢲࡐᜤǶΓॺ೭ሶ଺Ǵࢂढ़ғགǵӕ௃ ЈǵԺኅǵᖌ‫۾‬ǵ຀ᄪၳрٰ‫ޑ‬ǶѝӧుೀωԖ΋ިྛࢬǴѬωᆀ ள΢ང௃Ǵ೭ང௃ࢂ‫פ‬ό‫ޑډ‬ǴѬᙯ౳ջೳǶȩ ᆸ‫ޣ‬ᆶᆸ‫࣬ޣ‬ᇡǴฅࡕ࣬‫ב‬ǶᆸѠഭΠ‫ޑ‬Ǵࢂ‫ې‬ᐱǶ ࿯‫ܡ‬ᏔǸ΋஭‫׉‬ ࢂӭ‫ܭ‬΋ঁ࿯‫ܡ‬Ꮤ‫ޑ‬ᖂॣǴख़ᙟ㰢ȨᅀเǾǾᅀเǾǾȩ‫ޑ‬࿯ࠩǴ ଛӝᒳถคፓ‫ޑ܄‬႟࿗௽ࡓǶ൑ӦᐩӀܶསǴѝԖ΋஭‫׉‬Ǵ೭஭‫׉‬ ࡐख़ाǴѬࢂ᏾঺ᆸቃ‫ޑ‬ਡЈ೽ҽǶьϻь‫ޑ‬๱բǴόፕ‫ܭ‬Ƞᡂ‫׎‬ ૶ȡ‫ࢂ܈‬ȠቩղȡǴ΋ϪࣣҗЬ‫ف‬ᅵᒬ‫ޑ‬΋‫څ‬໒‫ۈ‬วғǶԶ೭஭‫׉‬ ‫ܭ‬ᆸቃȨଆ‫ޑ׉‬΋‫څ‬ȩ໒‫ۈ‬р౜Ǵ΋Ӝ‫ت‬ηᐱԾ፴ӧ‫׉‬΢ᆶΓဂ႖ ๊Ǵүӵ३ෝ؅γය໔Ǵੰ‫ޣ‬೏ຎࣁ౦ᜪǴ೏႖ᚆ΋ኬǶ ጓᆸৎᎿੇჱමॊӴ࣮ၸьϻь‫ޑ‬բࠔࡕǴϸࡘࣁՖΓ཮௨Ѿ౦ ρǴЀ‫ځ‬ӧ3114ԃ؅γᛈวਔ൩Ԗ೭ᅿག᝺ǶΓॺ཮Ӣ೭ᅿ໺ࢉੰ Զག‫ډ‬ᡋ৮Ǵ্‫܂‬೏໺ࢉǴԶ೭ҭ٬஻‫ޣ‬Ԗ΋ᅿࡐుϪ‫ېޑ‬ᐱགǶ Ψ೚೭ᅿ౧ᚆགǵьϻьԄ‫ޑ‬όӼᆶ‫ې‬ᐱǴ҅​҅ࢂጓ‫ޣ‬ബբ೭բࠔ ਔགྷ௖૸‫ޑ‬Ƕ ൩ӧᆸቃ‫ޑ‬Πъ೽Ǵวғ‫ܭ‬೭஭‫׉‬΢Ƕጓ‫ޣ‬੝ཀҔ‫ڀ‬Ԗமࠂ࿯ࠩ‫ޑ‬ ॣ኷ᒧࢤǴଛӝᆸ‫ڀॺޣ‬ΚࡋϷೲࡋ‫ޑ܄‬ቸၢ୏բǴ፺ࢬӦ‫׉ܭ‬΢ ᆸ୏Ƕᆸ‫ޑޣ‬ᛈวΚ‫ע‬ᄽр‫ޑ‬࿯ࠩ௢ӛଯঢ়Ǵԋࣁкᅈ୏ག‫ޑ‬΋ ჿǶ ‫ݤ‬୯ᒵႽ᛬ೌৎSeba Lallemand੝ཀᇙբ΋൑ᆶფნԖᜢ‫ޑ‬ቹႽǶ ΋ଫᙝǴ΋చ೏‫ܫ‬εߏᅈѴЛ‫ޑ‬ᆲǴᡣΓགྷ‫ډ‬Ƞᡂ‫૶׎‬ȡ္‫تޑ‬Ь ‫ف‬Ǵ΋ჿფύԖფ‫ޑ‬Ƞ྾ΓᇥფȡǴӭ൞ᡏ‫ޑ‬ᒵႽኞ‫ܫ‬Ǵࣁᄽрቚ уΑᔍቃ‫ޑ‬ቫԛǴӕਔᙦ൤Α᏾ঁᆸѠ‫ޑ‬ຎ᝺ਏ݀Ƕ

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΋‫޸״‬ ନΑຎ᝺ਏ݀Ǵᄽрӕኬ‫ݙ‬ख़᠋᝺ϡનǶନΑኞ‫ܫ‬ซϼဴ‫ޑ‬྽ж ђ‫ॣڂ‬኷ৎGyörgy Ligeti‫ޑ‬բࠔǴ‫ٯ‬ӵHungarian Studies: I. Mirror CanonѦǴᗋԖSchnittke‫܌‬ቪ‫ॣޑ‬኷Ǵଛӝᆸ‫ޣ‬ᒋ፪‫୏ޑ‬բǵ၅஭ ‫ޑ‬य़೽߄௃Ǵ٬բࠔкᅈᔍቃགǶќѦॶள΋ග‫ࢂޑ‬Ǵ‫ܭ‬ᄽрֹ่ ߻‫ޑ‬΋ჿǴ΋Տ‫ت‬ηǴ৾㰢΋‫״‬ᗲ޸Ǵ჋၂ӛ‫؂‬΋ঁΓ‫؃‬ངٗ೽ ҽǴ஥๏ᢀ౲όϿᡋ഻Ƕ၅஭‫ޑ‬ᖍ೽߄௃ᆶަᡏ୏բǴ߄ၲ‫ځ‬ჹང ௃‫ޑ‬෰‫؃‬ᆶᘂ۳Ƕᆸ‫ޣ‬ӛӭՏ౦‫܄‬Ǵࣗ‫܈‬ӕ‫؃܄‬ངǴՠளό㰢Ƕ่ ݀ၢΠѠӛᢀ౲ǵࣗԿ൑Ӧᆅ౛঩઩‫ڗ‬ǴԶ่݀྽ฅӕኬӦளό 㰢Ƕՠ೭ᅿϕ୏‫׎‬Ԅ‫ޑ‬ᄽрǴࠅૈቚமᢀ౲‫׫ޑ‬ΕགǶ΋ჿԖαᜤ ‫؃ޑق‬ངՉ୏Ǵкᅈቃ൑‫ࡉޑ܄‬ᓨᄽрǶԶ೭঺բࠔ‫ځ‬ჴҗቃҞஒ ȨThe Comedy of Kȩ‫ޔ‬᝿ࣁȨK‫ޑ‬഻ቃȩǴ࿶ςණว๱໵ՅࡉᓨǶ ᘶ൰Ǹ‫ܺڋ‬ ฽‫ޣ‬΋‫ޔ‬аၰ‫ࣁڀ‬ϪΕᗺᅐ‫؁‬ၯ‫و‬᏾঺ቃ‫ޑ‬όӕ‫ف‬ပǴಖ‫ܭ‬ပӧ ᆸ‫ܺޑޣ‬း‫ي‬΢Ǵࢂ΋ഗᘶ൰‫ک‬΋঺‫ܺڋ‬ǶΓॺ೏ВதЬࢬ‫ޑ‬ሽ ॶᢀǴ‫܌‬ᒏ‫ޑ‬౜ჴ‫܌‬వؒǴซӵᆸቃЬ‫ف‬L૓คவញ‫ܫ‬Ƕ᏾ሸԶ֡ ΋‫ܺڋޑ‬Ǵࢂ‫཮ޗ‬ೕጄǴӕਔΨࢂ࢏ᔿғࢲ‫߄ޑ‬ቻǶᆸ‫ޣ‬஥๱ᘶ൰ ซӵ஥๱य़‫଺ڀ‬ΓǶ΢੤‫ޑ‬ВηǵϺᐏ΢‫ޑ‬ՉΓǵӦ៓ً൶ϣ‫ޑ‬Ᏹ ᔒǴ‫ঁ؂‬Γ‫ځ‬ჴ೿ёаࢂቃύ‫ޑ‬Γ‫ނ‬Ǵ༾λԶᓸ‫׭‬Ƕ Ȩଷӵ೭ࢂ΋ឞ഻ቃǴд཮୲࡭‫ע‬ѬᄽֹǶȩ೭ࢂ൑тനࡕ΋ჿ‫ޑ‬ ϟಏǴઢύ஥๱΋ํค‫ޑڼ‬KǴࢀ᠎๱‫ࢂޑ‬ցգ‫!@ךک‬

Ў;!ᓉ

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Ƞૡȡఉ‫)໋ޚ‬2:5:.3124*

ؒԖ΋஭ᖍϾ வૡ္݆‫ݱ‬΢ٰ ѝࢂૡယఎη፛๱ ᇥ϶Γٰೖ ኧཪලՅૡ΢‫ޑ‬ᗺᗺᐩӀ ᓉᓨύតᅈ౳࿊ ΋ᚈᚈহ‫ࢃޑڹ‬ வϺ‫ٰߐ߻ޑ‬ ΞԾ໦‫ߐࡕޑ‬ѐΑ ۶Ԝ࣬႖Α೭ሶӭੌ‫ݱ‬ ؒԖᓉΠٰ ჹ໯‫ޑ‬΋‫څ‬ ଽฅ‫࣬ـ࣬ޑ‬ག ซ՟ᇿᇻ‫ޑ‬ૡ३ត۹ ЋѝᐱԾᖐଆ ݆ύ‫ޑ‬ቹηਗ୏ ૡ३ύᕴԖधᔴ‫ګ‬ ݆ۭ‫ޑ‬फಹᛐ ‫܈‬ᆫ‫܈‬ණ‫܈‬ԋკ )2:84*

ΨථǴҁӜఉ‫໋ޚ‬Ǵ३ ෝբৎǴ३ෝᔂࠄεᏢύ Ў‫س‬КၨЎᏢᖱ০௲௤Ƕ Μӭྃ໒‫ۈ‬ബբǴ31ྃԋ ࣁ஑ឯբৎǴΎΜԃж ୖᆶӚᚇᇞጓᒠǴම࿶Ο ࡋᕇளȨ३ෝύЎЎᏢᚈ ԃዛȩǴ3123ԃᕇ३ෝਜ ৖੝ᗎࣁȨԃࡋբৎȩǴ ߄ඦдၸѐ߈ъঁШइа ٰӧЎᏝ‫ڑޑ‬ຫԋ൩‫ک‬ଅ ᝘Ǵࢂ३ෝനख़ाЎϯΓ ϐ΋Ƕ

3124ԃ2Д6В΢ϱǴΨථ ӧϘӼᙴଣѳᓉ‫ޑ‬໚Ӏ ύǴ֋ձΓ໔ 23


Circulation C irculation & Subscription Subscription The C The Chinese hinese F Foundation oundation Secondary Secondary School School ύ๮୷ߎύᏢ ύ๮୷ߎύᏢ 9H Harmony armony R Road, oad, Siu Siu Sai Sai Wan,Hong Wan,Hong Kong Kong ३ෝਮ᡼λՋ᡼൤‫ݒ‬ၰ:ဦ ३ෝਮ᡼λՋ᡼൤‫ݒ‬ၰ:ဦ Tel: (852) Tel: (852) 2904-7322 2904-7322 Email: iinfo@cfss.edu.hk Email: nfo@cfss.edu.hk Printed b Printed byy Wise & W Wise Wide i de D Design esign & Printing Printing Co.LTD. Co.LTD. ᛄ݅ඵ೛ीӑ‫ڇ‬Ԗज़Ϧљ ᛄ݅ඵ೛ीӑ‫ڇ‬Ԗज़Ϧљ

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