💕「愛台灣，我的選擇」系列第16發：熱愛台灣詩的美國學者白瑞梅(Amie Parry)

「我在加州內陸地區一個叫做聖伯納迪諾的小城市長大，隨後在聖地牙哥念大學和研究所，並獲得文學博士學位。求學期間我們必須至少選修一門外語，所以我就選了中文。1987年我大學畢業之後，跟朋友來了台灣一趟，在台灣教英文和學中文六個月，接著就自己一個人當起背包客在亞洲四處旅遊。

我本來想要研究中國古典詩詞，後來因為獲得傅爾布萊特獎學金，便又再度回到台灣。當時我在討論詩詞的聚會上認識了幾位現代派詩人，所以我就將研究主題轉而聚焦在台灣60、70和80年代的現代詩。我的博士論文探討的就是，以現代主義來理解現有政治語言中難以理解的現代性。我認為歷史形塑而來的經驗，往往比語言本身還要複雜。

我研究的那些詩作沒有明確的政治性，反而是有很強的實驗性質，並帶著詭譎的神秘感。當時我認識的現代派詩人大多是跟著國民黨飄洋過海來台的外省人，他們經歷過戰爭和顛沛流離，也經歷過劇烈且痛苦的歷史創傷。每個人的經驗都不同，在那個年代，也很難說出口。後來，我寫了一本關於詩的書，並聚焦在一兩位我覺得特別有趣的詩人。我在書中問了一些類似的問題：這些詩作如何幫你思考艱難的議題？

當時的現代詩已經頗有制度，許多詩人都有投稿《現代詩》這份重要的詩刊，有些詩人則是將詩作與戲劇結合。整體而言，台灣的現代詩、表演藝術和文學都發展地如火如荼，也深深吸引了我，但我還未全盤了解。當我完成博士論文時，我便獲得交通大學的教職，讓我對台灣的學術圈感到非常驚艷。而當我出版第一本著作時，我也很訝異能在美國獲獎；我根本不知道自己獲得提名，當時我問授獎單位：「為什麼選擇我的書？」他們表示：「因為書中其中一個章節是以跨國的架構來進行整體論述，妳不是單用西方的理論和東方的詩詞，而是從東西方共同錘煉出嶄新的知識。」

我目前任教於中央大學英美語文學系，除了擔任系主任之外，我也有教授寫作課、文學課和文學文化理論課程。從我1987年第一次來台灣到現在，我覺得台灣人愈來愈能自在地與來自不同地方的人交談，就個人經驗來說，我認為台灣社會愈來愈開放。我第一次來台灣時，經歷了許多台灣社會有趣的發展，也結交了許多朋友，並認識了許多學術圈的同好。我想，這些珍貴的回憶就是呼喚我再度回台的動力；就像是，如果你覺得這個社會充滿生氣和活力，而你也能夠參與其中、做出貢獻，我想這就是像家一樣的感覺吧！」

✨白瑞梅 Amie Parry 現為中央大學英美語文學系 專任教授

💕Why I chose Taiwan #16 – Amie Parry

“I grew up in a small city in inland California called San Bernardino. I went to college and graduate school in San Diego. I got my PhD in literature. We were all expected to learn at least one language, so I did Chinese. I traveled to Taiwan with a friend right after I graduated from college in 1987. We came here to teach English and study Chinese for six months, then I traveled around Asia by myself with a backpack.

I originally wanted to study classical Chinese poetry. I got a Fulbright grant and I came back here. I started going to the poetry nights that were happening at that time. I met some of the modernist poets, and I switched my focus to the modernist poetry of the 60s, 70s, and 80s in Taiwan. I wrote my dissertation on modernism as a way of understanding the parts of modernity that are hard to know in the existing political language that we inherit. I think that experience in historical formation is always more complicated than the language.

These poems are not explicitly political; they're very experimental and strange. At the time, the modernist poets I met were mostly 外省, men who had been drafted and come over with the KMT, so they had experienced war and displacement, and a very intense and traumatic historical moment. People experienced it differently, and at that time, it was a hard thing to talk about. Later, I wrote a book about poetry, but I just focused on one or two poets I find really, really fascinating. And I was asking some of the same kinds of questions: how can these poems help you think about certain topics that are hard to think about?

At that time, Modernist poetry was a kind of an institution already. There was a journal called 現代詩, “Modern Poetry,” a really important journal that most of these poets were published in. Some of them combined poetry and theater. There's just so much going on in Taiwan in terms of poetry and performance and literature. It's just amazing. And I'm very interested in it at all, but I haven't kept up. After I finished my dissertation, I got a job offer at 交大. I thought, wow, there's something really amazing happening intellectually here. When my first book came out, it actually got an award in the U.S., and I was so surprised. I didn't even know it had been nominated. I asked them, ‘Why did you choose my book?’ And they said, because one of the chapters has a transnational of framework for the whole argument, so it wasn't like you used Western theories and Eastern texts, it's like the whole knowledge part is coming out of both places.

I currently teach in the English department at National Central University. I'm the chair and I teach writing classes, literature classes, and literary and cultural theory classes. Since my first visit to Taiwan in 1987, I think people are a little more comfortable talking to people from different places. In my personal interactions, I feel a difference, like a greater openness. Back then, there were so many interesting things happening here, all at one time, and that's the time that I happened to be here. And I made good friends in my personal life and in my intellectual life. And I think those are the things that made me come back: like if you feel that there's something interesting happening and there's some way that you can support it. I guess that's a way of feeling at home.” — Amie Parry

✨Amie Parry is professor of the Department of English at the National Central University

台灣世代智庫 Taiwan NextGen Foundation很高興地宣布與約翰霍普金斯大學高等國際研究學院達成合作，並在研究實習的項目上獲得他們的資助。我們想在此特別感謝 該學院職涯發展經理 Michael Hoffman 先生的努力，他在建立雙方的合作關係上擔任了不可或缺的角色。

我們同時希望已於 6 月 28 日開始實習的 馮思思女士Grace Faerber ，今年在台北將會有個充實且豐富的暑期實習。

由於智庫現在仍採用在家工作的運作模式，因此她的實習目前是透過數位的方式展開。

獲得本實習職位的學人，能將所學貢獻於，並得以從本次專業經驗中學習。我們與世界各大機構建立的人際網路，必定是推動台灣更加永續、多元、包容的原動力！

We at Taiwan NextGen Foundation are excited to announce a Research Internship funded by and in partnership with Johns Hopkins University - School of Advanced International Studies (SAIS)! We’re particularly thankful for the efforts of Michael Hoffman, who was instrumental in setting this partnership in motion.

We also hope that it will be a fulfilling and intellectually productive summer in Taipei for Grace Faerber, who began her internship on June 28th digitally, as TNF is currently operating in a work-from-home modality.

This internship will give its awardees a valuable opportunity to both learn from and contribute to Taiwan NextGen Foundation in a professional capacity. The people-to-people ties we build with #global institutions are a core aspect of what will make Taiwan more #sustainable, #diverse, and #inclusive!

Larry Carlton Style - Triad Approach
https://youtu.be/lGFl9EVy7rI

Special thanks to Tim H (my new fan!) who sent his special package with money for my cds! This gift was so amazing! His friend Bob Cameron who took this amazing photo from live footage of Louis Armstrong in 1941! Incredible! I love it so much! Tim said "I thought you might like to have it in light of the fact that you are a fine musician in your own right." Wow! Thank you so much!!

Then I thanked him via email.. he wrote me back with more about Bob and Tim's life stories.

Then Tim wrote.... "Nevertheless, I really admire your skills as a performer as well as a teacher. Of all the teachers I have followed, you make the most sense to me personally."

""I am including a link to a video of Rick Beato with Larry Carlton. I saw Larry Carlton play a few years ago and he just blew me away. Since you are so into triads and base your understanding of soloing on them, I wanted to ask you to do a video on how Larry Carlton hears 3 triads above the one that is played... and then he improvises based on these 3 possibilities.
It's way over my head and I'll probably never "get it" as far as getting it under my fingers, but at least maybe I can intellectually understand it. Here is the video - 5 minutes in...
https://www.youtube.com/watch?v=1c9lx0KFkO4&t=416s

Anyway, maybe you can explain it better than they do.
Thanks,
tim ""

So this video is replying to Tim's question. Although I didn't watch that video yet because I wanted to point out two approaches first as simple ideas. Hope Tim will enjoy this!
What do you think?

Introduction (00;00)
Story behind this video (01:00)
Tim 's request on LC from Rick Beato's video (03:07)
CMaj7 (G/C) ..G = 5, M7, 9 .. FMaj7 (C/F) C = 9, 5, M7(03:40)
Chord voicings idea over CMaj7 & FMaj7 (06:10)
Soloing Example Over Backing Track #9 (07:18)
Soloing Example Simple Triads & mixing blues feeling (08:45)
Larry Carlton was a huge Influence on me (10:15)
My problem was not have my own style (12:25)
Larry Carlton style BLUES in G (14:25)
G7 = G & F Triads (I & bVII Triads) (R35 & b7911) (15:12)
C7 = C & Bb Triads (I & bVII Triads) (R35 & b7911) (16:32)
G Blues Backing Track (18:49)
Soloing example over G Shuffle Blues (19:37)
Larry Carlton's I & bVII Triads Review (22:07)

1967 Gibson ES-335
Bartel Roseland Head
Bartel 1-12 Cabinet
Providence cables E205TF
Boss RC-3
One Control Prussian Blue Reverb
Vemuram Jan Ray for TF
D'Addario NYXL 09-42
Pickboy TF Sig 1.00mm

Chan is about the concepts and methods that help us calm our body and mind. It is especially suitable for people living in today’s busy and stressful environment. Planned and produced by Dharma Drum Mountain’s Chan Practice Center, the Chan in Daily Life series caters to the needs of modern people, by incorporating topics related to our everyday experience. Presented in the motion picture format, this intellectually accessible series can lead us to penetrate the essence of Chan practice.

#生活襌系列動畫(二)後念碰不到前念
#Chan in Daily Life motion picture series (2):The Second Thought Cannot Come into Contact with the First Thought