登录注册
社区应用 最新帖子 精华区 社区服务 会员列表 统计排行
主题 : 把菜谱变成诗的美国桂冠诗人 ▏《中外笔会》Vol.15
冰花 离线
级别: 论坛版主

显示用户信息 
楼主  发表于: 08-05   

把菜谱变成诗的美国桂冠诗人 ▏《中外笔会》Vol.15

把菜谱变成诗的美国桂冠诗人 ▏《中外笔会》Vol.15                                                                                


[backcolor=transparent]

[backcolor=transparent]                                                            原创:                                                            芝兰                                                                                                                            中外笔会                                                                                    Yesterday                
[backcolor=transparent]
[backcolor=transparent]                                                                                                    
目录
CHINESE AND FOREIGN PENS
CTALOGIUE
1、 (美国)    哈斯的诗、(中国)高海涛译
[backcolor=transparent]America
[backcolor=transparent])  
Poem of
Robert Hass

China
)   Tr. by Gao Haitao

2、 (中国)    程维的诗

China
)   Poem of Cheng Wei

3、 (中国)    陈广德的诗         
China
)   Pome of Chen Guangde

4、 (加拿大) 宇秀的诗  

(Canada)Poem of Yu Xiu

5、 (中国)    晓雾的诗

(China)   Poem of Xiao Wu

6、 (中国)    程庸的香事随笔(三):室雅无不垂香球


(China)   Essay of Cheng Yong

7、 (中国)    李玲玲的赏画随笔

China
)   Essay of Li Lingling






作者介绍:


罗伯特•哈斯,1941年生于美国旧金山。毕业于圣玛丽学院,并在斯坦福大学先后获英文硕士与博士学位。后长期在加利福尼亚大学伯克利分校任教。著有《时间与物质》《人类的愿望》《赞美》《野地向导》等诗集。他是波兰诗人米沃什的主要英译者,1995年到1997年间为美国桂冠诗人,并曾获普利策奖。哈斯深受中国古典诗歌和传统文化的熏陶,诗风独特,闲适自然,被誉为“能把菜谱变成诗行的抒情艺术大师”。



高海涛,中国作协会员、美国文学研究会会员。辽宁文学院院长、《当代作家评论》主编、辽宁省作协副主席。主要从事理论批评、散文写作、文学翻译。出版有《文学在这里沉思》《北方船》《剑桥诗稿》《英格兰流年》等。东北大学、辽宁大学、沈阳师范大学外国语学院特聘教授。


LATE   SPRING

Robert Hass



And then inmid-May the first morning of steady heat, the morning, Leif says, when you wake up, put on shorts, and that's it for the day, when you pour coffee and walk outside, blinking in the sun;

Strawberries have appeared in the markets, and peaches will soon; squid is so cheap in the fishstores you begin to consult Japanese and Italian cookbooks for the variousand ingenious ways of preparing ika and calamari;

and because the light will enlarge your days, your dreams at night will be as strange as the jars of octopus you saw once in a fisherman's boat under the summer moon;

and after swimming, white wine; and the sharing of stories before dinner is prolonged because the relations of the children in the neighborhood have acquired village intensity and the stories take longer telling;

and there are the nights when the fog rolls in that nobody likes—hey, fog, the Miwok sang, who lived here first, you better go home, pelican is beating your wife......

and after dark in the first cool hour, your children sleep so heavily in their beds exhausted from play, it is a pleasure to watch them. Leif does not move a muscle as he lies there: no, wait. it is Luke who lies there in his eight-year-old body;

Leif is taller than you are and he isn't home; when he is,his feet will extend past the end of the mattress, and Kristin is at the corner in the dark, talking to neighborhood boys;

things change; thereis no need for this dream-compelled narration; the rhythm will keep me awake, changing.





晚春

罗伯特·哈斯
高海涛译

然后在五月中旬,会出现温热的早晨。这样的早晨,利夫说,当你醒来,穿上短裤,就知道天热了。你倒上咖啡,走到外面,会感到阳光刺眼;
草莓已经上市,梨子也快了。店里的鱿鱼是这样便宜,你开始翻阅菜谱,考虑如何花样翻新,学习日式生切或意式软炸的各种精巧做法;
而且,由于白昼延长,你夜里的梦境将变得诡异,就如同你在渔船上见过的,月光下的那些章鱼罐子;

游泳,喝白葡萄酒,晚餐前谈天说地,东拉西扯,附近的孩子们,已经有了某种乡间的亲昵,而故事都讲得没完没了;

也会有这样的夜晚,雾很大,而没人喜欢雾。嗨,雾啊——最早来这里的米沃克人曾唱道:你赶紧回家吧,鹈鹕正将你的老婆殴打......

天黑后刚有点凉爽,孩子们就已沉沉入睡,他们玩累了。你看着他们的样子好开心。利夫躺在那里,稳稳当当。不,等会儿,不是利夫,是卢克躺在那里,他只有八岁;

利夫比你还要高了,他不在家。如果在家,他的脚会伸出床外。克里斯汀蜷缩在一角,黑暗中喃喃自语,还在和邻家的小子们说话呢;

许多事都在改变。没有必要听梦中呓语。改变,这节奏让我一直醒着。

注: 

1.这首诗译自美籍波兰诗人、诺贝尔文学奖得主米沃什(Czeslaw Milosz, 1911-2004)选编的多国诗集《光辉之书》(A Book of Luminous Things),美国霍顿•米夫林出版公司1998年版。这本书是一位大学同学在洛杉矶书店选购,然后寄赠给我的,在此谨表谢意。
2.这首诗的作者罗伯特•哈斯(Robert Hass, 1941—),关于这首诗,米沃什有一段介绍,可供参考——“这是关于自然的诗吗?是的,因为它表现的是季节的改变。人们会容易想到这是旧金山附近的乡村。哈斯,作为我许多诗歌的英译者之一,本质上是个加利福尼亚诗人。他出生在这里,也工作在这里,以伯克利大学一名教授的身份。”

3. 几年前我翻译米沃什的诗歌,曾就米沃什和哈斯的同名诗作《黄色自行车》的几个问题,通过正在伯克利大学读博士的一位年轻学者,向哈斯教授提出咨询。哈斯教授不仅很快给予了回复,而且非常客气。我觉得在他身上有真正诗人的美好气质,这次选译了他的这首诗,也是为了表达敬意和感激。

书法 I 杨洁




作者介绍:


程维,诗人、小说家、当代文人书画倡导者。著有长篇小说《戈乱》、《浮灯》、《双皇》,诗集《妖娆罪》、《他风景》、《古典中国》、《纸上美人》等,作品译为英、法、日、塞尔维尔等文字,应邀出席第42届贝尔格莱德国际作家会议。获中国作协第8届庄重文文学奖。



我要跟秋天谈谈

程维


我要拿出一点时间,跟秋天好好谈谈

我不是很忙,像那些公务或者商务缠身的人

可我好歹也要写作,画画,上班

好歹也得干一些谋生糊口的勾当,虽然不曾剪径

错过春花秋月是常事

我多想有大把清闲,发呆地坐在石头上看云



一朵干干净净的云

怎么看它就怎么变幻,看多久也看不厌

一棵无遮无挡的树,叶子掉光了

它还立在那里,像一个行将就义的好汉

难道我就拿不出一点敬意

今天下午,我要拿出一点时间

跟秋天好好谈谈





I want to have a talk with autumn

Cheng Wei



I want to spend some time and have a good talk with autumn.
I’m not very busy, not like those who were held up by official business or commercial business.

But at least, I have to write, to paint and go to work.

At least, I have to do something to win my bread. Although I didn’t hold up travellers as a robber,

I really once missed seasonal views, which is rather common.

I really want to spend enough time at leisure, sitting on a stone and looking at clouds in a daze.

 

There is a clean cloud.

How I watch it, how it changes, never tired no matter how long I watch.

A tree is covered by nothing. Although its leaves wholly fell down,

It’s still standing there like a hero who will die a martyr.

Couldn’t be that I cannot give him a little bit of respect?

This afternoon, I’m going to spend some time

To have a good talk with autumn.



西藏系列 I 郑志明



作者介绍:


陈广德,一级作家。中国作协会员。在海内外100多家报刊发表作品800多万字,已出版诗集《半涨之潮》《踏雪之声》《陈广德诗选》《无伞之旅》《守月之树》《水边的远行》《爱你如初》,散文及散文诗集《爱的涟漪》《月亮河》,随笔集《心境的门户》等10部,获奖多次。

江鸟                                                                                                               


陈广德




芦苇的脚还在去年的
老宅子里养伤。
从江水深处发芽的
那句探望,已经用翅膀,
带来了早春。

倒影把粼粼的歌谣寄托在
从记忆中冒出的新绿。
就有衔着相思的鱼,
被隔在了画面之外

——为了突出
那朵醒目的纯洁,和纯洁中
跃动的心。




 


距离就这样被拉开。其中,
曾在南山来去过的风
抚摸着趋于平静的把手,同时
折转了身。

鸟鸣声淡了。光线在隐忍的间隙
似乎与喧闹失去了联系。
日子一样的身影在伏案的寂静里
开花,或者结果。
捧在手中的是一些不肯睡下的
思考。

——街巷的一切如常。脚步
时快时慢,没有谁,
模仿开合的姿势。一个人的
名讳,在有限的数字里
若隐若现,
似乎在期待着什么——

锁,把先前的雨点阻拦在
它占领的阅读之外,
只给,能够进入它心底的主角,
留点余地。

——让来自天际的那枚方正的
汉字,在抬高或放低了
户槛之后,收敛翅膀,一再
被推敲。




River Bird

Chen guangde

Tr. by Xu Jun

Reed's injured feet are still to be heald
In a last year's old residence.
A hello sprout from the river depths 
Brings with it on the wings,
Early spring.


Reflections place ballad shimmering on
The tender shoots out of memory.
Therein fish holds love in its mouth,
Beyond the picture

– so as to highlight
That eye-catching flower pure, and in the purity
A heart of spring.




Door

Chen guangde

Tr. by Xu Jun

Distance has been kept like this. In which,

Winds that blew ever through the South Mountains
Caressing the handle that would calm down gradually, simultaneously
Turned round.

Bird tweet faded away. Beam in the intervals bearable
Seemed to have lost contact with the bustle.
Figures like days in the stillness bending over a table
Bloomed, or bore fruit.
What holding in the hand was some
Meditations to sleep reluctant.

– Everything normal as usual on the street. Footsteps
Fast sometimes slow sometimes; none,
Imitated postures open and close. A person’s
Name, in numbers limited
Hidden partly visible partly,
Seemed to be looking forward to something –

Lock, blocked rains earlier
Beyond its reading scope occupied,
Left only some leeway,
To the protagonist who could enter its heart.

– Let that square Chinese character
From the horizon, after elevating or lowering
The threshold, restrain its wings, repeatedly
Being polished or refined.


作者介绍:

宇秀,祖籍苏州,现居温哥华。文学、电影双学历。散文随笔集《一个上海女人的下午茶》和《一个上海女人的温哥华》盛行坊间,作品被收入四十余种文集,有“痛感诗人”之称。其诗集《我不能握住风》由著名诗人洛夫、痖弦等联袂推荐,将由广西师大出版社推出。



夏天

宇秀


解开纽扣 
不因为哺乳
掀起裙子
不因为做爱

夏天
是一团憋不住的火


我想把自己全部打开
像打开所有的门窗
朝着风的方向

衬衫里的内容
裙底下的秘密
可以是爱也可以是罪恶

一旦敞开
难免风的鼓吹
难免罪行累累

夏天,举着火炬
我举着我自己
(此诗收入《汉英双语2017中国诗选》)


Summer


Yu Xiu


Unbutton my shirt

Not for feeding baby
Set off my skirt
Not for making love


Summer
as if a clot of fire could not hold back

I want to open myself all
Like opening all doors and windows
Toward the direction of the wind

The content inside the shirt     
The secret under the skirt
Could be love or be evil

Once open
Inevitably extolled  by the wind
It is inevitable that the crime lay in pile

Summer, holding the torch
I hold myself


[backcolor=transparent]












作者介绍:



强爱香,笔名晓雾。内蒙古作协会员,中国诗歌学会会员。原籍内蒙古包头,现居上海。诗歌作品散见于《诗刊》《中国诗人报》等,作品入选诗刊社主编的《中国当代诗库•2007卷》等多本选集。著有诗集《打开星星的光芒》。


站在河边

晓雾



此时,我就是云了

我行走在水里
我摸到体内的鱼群
这些小小的幸福被花朵盛开
此时,我幸福得沉默
看着河岸弯过果园
弯过一座村庄的背影


站在河边
背靠巨大天空的石子
我穿过石子上的光
穿过秋天在一棵树木上的思考
我就是云了
我要摸到河流的秘密




By the River

Xiao  Wu

Tr. by Julie Yan Ma


Now I become a cloud treading water

feeling fish swarming inside
Happiness bursts into blossoms
A moment of silent complacence 
I watch a river bank curve around the orchard 
reaching to the back of my village


By the river against a stone I stand
a giant stone against the vast sky 
I shall pass through light of stones 
through thoughts of autumn in the trees 
And I shall become that cloud in the water
searching for the river’s secrets





作者介绍:


程庸,写诗、画画、玩香,鉴定古陶瓷等文物,从事海外文物回流的工作。出版文学、文物著作十七种。曾出访英、美、伊朗、日、德等国做学术交流与演讲

古香事(三)
室雅无不垂香球


程庸


在古代,每逢家族喜庆,除了筵席之热闹,往往还在书房等处用香,比如悬挂一支香球,或叫垂香球。香球的产生,起因于以香供佛,香能解秽流芳,也能涤荡心灵,以戒香、定香、慧香、解脱香等,自性自生,滋润身心比德于玉。如此用香,近乎神性。到了唐代,香道逐渐形成并进入日常生活,人们习惯通过焚香,希冀从尘世之纷扰与焦虑中退隐,慢慢滋生感恩、恭顺等情感,香道便成了最雅的中介。吉庆典礼,添入香道,便融合为一。如今的喜宴,除了酒席上杯盘狼藉,断难见到如此场景:聚拢闻香,享受清雅。1963年陕西西安沙坡村出土了一件稀罕之物:花鸟纹鎏金镂空银香球,此物纯银制作,镂刻繁丽花纹,器身上、下两个半球合成,接合处银制勾链以备开启。此香球据考证乃唐物。球中置小盂,轻搁小块沉香,再添炭火。香球偶尔摇晃,小盂却能保持平衡,香灰、火星不会溅出,此乃古人设计之妙、之巧,令人叹服。此等香球,为唐人玩香求得闲隐的物证。香球外有银链一根衔接银钩,常常吊挂于横梁或其他建筑构件。如此空间开畅,香蕴自镂空处袭袭而出,弥蒙萦纡间,佳茗添一碗,既理气调中,又风雅清享。这是室内玩香,而室外,同样香球随行,陆游《老学庵笔记》记述:“妇女上犊车,皆用两小髫持香球在旁,而袖中又自持两小香球”。可见,居住或出行,只要有心,香事不误。香事看似玩,其实是调理人的行为乃至情感。






No Elegant Room Without Hanging scented balls


Cheng Yong


In ancient times, if there were family celebrations, in addition to organizing a lively banquet, they should also smell incense in the study room, such as hanging a fragrant ball. The origin of the fragrant ball is due to the incense offering to the Buddha, which can refresh the air and calm the mind. In the Tang Dynasty, incense began to enter the daily life. People used to burn incense and hope to retire from the noisy and anxious world, so as to produce gratitude, praise and other emotions. The celebration ceremony, join the fragrance, then merge into one. Today's festival, except for the mess on the banquet, is hard to see the elegant scene of the past gathered together to smell incense. In 1963, Shaanxi Xi'an Sha Po Village unearthed a rare thing, is a flower and bird pattern gilded hollow silver ball, pure silver production, carve carved pattern, the body, the lower two hemispheres, the joint with silver chain, used to open. This fragrant ball was tested in the Tang Dynasty. A small bowl is placed in the ball, and a small piece of incense is placed on it to add charcoal fire. When the incense ball is shaking, the small bowl can keep balance, and the ashes will not fly out.  This is the wonderful design and admiration of the ancients. There are silver chains and silver hooks outside the incense ball, which are often hung on the beams of the house. This space is open, and the fragrance is attacked by hollowing out. A bowl of good tea will make people feel free and enjoy elegance. This is the indoor play fragrance, and outside, the same fragrant ball accompanying, the Song dynasty literati Lu You once said: "women on the carriage, two small maids hold the ball on the side, and the sleeves with two small fragrance ball." It can be seen, living or traveling, and playing with fragrance.





银制香球

香烟袅袅
一分钟读懂中国名画《捣练图》(下)

作者介绍:

李玲玲,美术教师,大巨匠艺术中心书画顾问。爱好收藏,兼写诗文。
 
唐代思想开放,女子在衣着上格外大胆,她们追求服饰的艳丽华美,崇尚“露、薄、透”。 从《捣练图》中可以看出,画中女子皆身着短襦长裙,裙腰高系,酥胸半露,裙色多以红绿蓝白为主,纹饰繁复而精致。而“浓妆重彩、以胖为美”的审美观点更是席卷了整个唐代,唐代女子盛行高髻,发饰多为簪花、小梳子等,上妆白而润,两颊的胭脂常涂成圆形,眼妆以杏眼为主,唇瓣仅上下一点朱色。后来在杨贵妃的引领下,又刮起一股额心花钿的风潮,即以金箔、纸张、鱼鳞、羽毛等不同材质剪成花样,贴于额间。




A lifetime of must-see Chinese paintings Court Ladies Preparing Newly Woven Silk (Part III)

Li Lingling





The thought of the Tang Dynasty was open. Women were extraordinarily bold in their clothing.They pursued the gorgeous and beautiful costumes and advocated“exposed, thin, and transparent”. From Court Ladies Preparing Newly Woven Silk, we can see the female in the picture wore long dress , skirt waist was high fastening, the upper breast was exposed, skirt color mostly red, green, blue and white, the pattern of the skirt was complicated and delicate .The aesthetic view of “heavy makeup and fatness as beauty” swept throughout the Tang Dynasty.The Tang Dynasty women prevailed updo, hair ornaments were mostly silk flowers, small combs and so on, the facial makeup was white and moist, rouge on cheeks often applied round, eye makeup was mainly almond shape,the upper and lower lips had only a little vermilion. Later, under the guidance of Yang YuHuan (the wife of a emperor of The Tang Dynasty) , a popular phenomenon was flourish everywhere, that was, gold foil, paper, fish scales, feathers, and other materials were cut into small patterns and attached to the forehead.






香烟袅袅
一分钟读懂中国名画《捣练图》(下)

作者介绍:

李玲玲,美术教师,大巨匠艺术中心书画顾问。爱好收藏,兼写诗文。
 
唐代思想开放,女子在衣着上格外大胆,她们追求服饰的艳丽华美,崇尚“露、薄、透”。 从《捣练图》中可以看出,画中女子皆身着短襦长裙,裙腰高系,酥胸半露,裙色多以红绿蓝白为主,纹饰繁复而精致。而“浓妆重彩、以胖为美”的审美观点更是席卷了整个唐代,唐代女子盛行高髻,发饰多为簪花、小梳子等,上妆白而润,两颊的胭脂常涂成圆形,眼妆以杏眼为主,唇瓣仅上下一点朱色。后来在杨贵妃的引领下,又刮起一股额心花钿的风潮,即以金箔、纸张、鱼鳞、羽毛等不同材质剪成花样,贴于额间。




A lifetime of must-see Chinese paintings Court Ladies Preparing Newly Woven Silk (Part III)

Li Lingling





The thought of the Tang Dynasty was open. Women were extraordinarily bold in their clothing.They pursued the gorgeous and beautiful costumes and advocated“exposed, thin, and transparent”. From Court Ladies Preparing Newly Woven Silk, we can see the female in the picture wore long dress , skirt waist was high fastening, the upper breast was exposed, skirt color mostly red, green, blue and white, the pattern of the skirt was complicated and delicate .The aesthetic view of “heavy makeup and fatness as beauty” swept throughout the Tang Dynasty.The Tang Dynasty women prevailed updo, hair ornaments were mostly silk flowers, small combs and so on, the facial makeup was white and moist, rouge on cheeks often applied round, eye makeup was mainly almond shape,the upper and lower lips had only a little vermilion. Later, under the guidance of Yang YuHuan (the wife of a emperor of The Tang Dynasty) , a popular phenomenon was flourish everywhere, that was, gold foil, paper, fish scales, feathers, and other materials were cut into small patterns and attached to the forehead.





《捣练图》唐 张萱 绢本 37×145.3cm  现藏美国波士顿博物馆

Court Ladies Preparing Newly Woven Silk by Zhang Xuan, the Tang Dynasty ,painting on silk,37 cm in height and 145.3 cm in length,Boston Museum ,USA



《捣练图》局部
The part of Court Ladies Preparing Newly Woven Silk




主笔:
艾伦·昭琼(美国)、安妮特·胡克(瑞士)、Bita Ashrafi(伊朗)、陈东东(中国)、Zraidi El Houcine (摩洛哥)、褚水敖(中国)、程庸(中国)、朵拉(马来西亚)、枫雨(美国)、华纯(日本)、河崎深雪(日本)、葛红兵(中国)、Gy holton(英国)、高海涛(中国)、妮吉娜(乌兹别克斯坦)、梁小曼(中国)、李亚梦(中国)、玛琳娜•波尔切利(阿根廷)、尼古拉斯·克托维奇(法国)、邱辛晔(美国)、萨莎(俄罗斯)、Sabine Hesemann M.A.(德国)、塔考姆•珀伊•拉吉夫(印度)、王宏图(中国)、王明韵(中国)、严力(美国)、杨炼(英国)、杨笑(中国)、俞璐(中国)、朱慧君(中国)
本期编审:
玛琳娜•波尔切利
、高海涛



[ 此帖被冰花在08-05-2018 11:41重新编辑 ]
评价一下你浏览此帖子的感受

精彩

感动

搞笑

开心

愤怒

无聊

灌水
http://blog.sina.com.cn/m/binghuablog
二句三年得,

一吟双泪流。

知音如不赏,

归卧故山秋。
冰花 离线
级别: 论坛版主

显示用户信息 
沙发  发表于: 08-05   
http://blog.sina.com.cn/m/binghuablog
二句三年得,

一吟双泪流。

知音如不赏,

归卧故山秋。
描述
快速回复

验证问题:
3 * 6 = ? 正确答案:18
按"Ctrl+Enter"直接提交