💕「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

早安！
分享一篇不錯的演講給大家看看！

【中英雙語展示 ‧ 許國榮 Alex Hui 翻譯】
Ugandan President’s address to his nation. One of the best Covid-19 speeches till now, from anyone anywhere in this world.
以下是烏干達總統對他國民的致詞。 迄今為止，從來自世界各地對於有關Covid-19的演詞來說，被公認最佳演詞之一。
Uganda President KAGUTA MUSEVENI warns against people misbehaving during this COVID-19 period, "God has a lot of work, He has the whole world to look after. He cannot just be here in Uganda looking after idiots".
烏干達總統卡古塔·穆塞韋尼（KAGUTA MUSEVENI）告誡人們不要在COVID-19時期表現不佳，「上帝有很多工作需要做，整個世界都需要祂去照顧。他不能只是在烏干達這裡照顧你們這一班白痴。」
"In a war situation, nobody asks anyone to stay indoors. You stay indoors by choice. In fact, if you have a basement, you hide there for as long as hostilities persist.
在戰爭情況下，沒有人要求任何人呆在室內。你會選擇留在室內。實際上，如果你有地下室，只要戰火持續下去，你都會一直呆在那裡。
During a war, you don't insist on your freedom. You willingly give it up in exchange for survival.
在戰爭中，您不會堅持自己的自由。 您願意放棄它以換取生存。
During a war, you don't complain of hunger. You bear hunger and pray that you live to eat again.
在戰爭中，您不會抱怨飢餓。你會忍受飢餓，並祈求天父你能夠生存，有機會再次吃飯。
During a war, you don't argue about opening your business. You close your shop (if you have the time), and run for your life. You pray to outlive the war so that you can return to your business (that's if it has not been looted or destroyed by mortar fire).
在戰爭中，你不會為商店營業而爭論。你會趕快及時關閉門戶，你會為自己的活命而禱告；並且祈求這場戰爭早日過去，以便你可以重拾若果僥倖尚存的家園。
During a war, you are thankful to God for seeing another day in the land of the living.
在戰爭中，你會感恩上帝可以存活在有生命的地上，親眼看到新的一天。
During a war, you don't worry about your children not going to school. You pray that the government does not forcefully enlist them as soldiers to be trained in the school premises now turned military depot.
在戰爭中，你不會擔心孩子不上學。 你會禱告祈求政府不要強迫他們當兵，而這些士兵要在現已變成軍用倉庫的學校場地接受軍訓。
The world is currently in a state of war. A war without guns and bullets. A war without human soldiers. A war without borders. A war without cease-fire agreements. A war without a war room. A war without sacred zones.
世界目前正處於戰爭狀態：一場沒有槍支和子彈的戰爭；沒有人類士兵的戰爭；一場毫無國界的戰爭；沒有停火協議的戰爭；沒有作戰室的戰爭；沒有神聖地帶的戰爭。
The army in this war is without mercy. It is without any milk of human kindness. It is indiscriminate - it has no respect for children, women, or places of worship. This army is not interested in spoils of war. It has no intention of regime change. It is not concerned about the rich mineral resources underneath the earth. It is not even interested in religious, ethnic or ideological hegemony. Its ambition has nothing to do with racial superiority. It is an invisible, fleetfooted, and ruthlessly effective army.
這場戰爭中的軍隊毫不留情：它沒有任何人性。它是不分青紅皂白，它不會尊重兒童、婦女、或崇拜場所。 這支軍隊對戰利品毫不感興趣。毫無意願去改變政權，毫不關心地底下的豐富礦產資源。 它甚至對宗教，種族或意識形態霸權都不感興趣。 它的野心與種族優勢無關。它是一支看不見的，腳步輕盈，殘酷無情的軍隊。

Its only agenda is a harvest of death. It is only satiated after turning the world into one big death field. Its capacity to achieve its aim is not in doubt. Without ground, amphibious and aeriel machines, it has bases in almost every country of the world. Its movement is not governed by any war convention or protocol. In short, it is a law unto itself. It is Coronavirus. Also known as COVID-19 (because it announced its destructive presence and intention in the year of our Lord 2019).
它唯一的議程是去收穫死亡。 只有在把整個世界變成橫屍遍野的大屠場之後，它才會滿足。 它實現其目標的能力是毋庸置疑的。 這支軍隊並沒有陸戰、兩棲、或空戰設備，但它的基地卻幾乎遍布世界每一角落。 它的移動並不受任何戰爭公約或協議的約束。 簡而言之，這是一支橫行無忌的軍隊。 它是冠狀病毒。 也被稱為COVID-19（因為它是在主後2019年宣布了破壞性存在和意圖）。
Thankfully, this army has a weakness and it can be defeated. It only requires our collective action, discipline and forbearance. COVID-19 cannot survive social and physical distancing. It only thrives when you confront it. It loves to be confronted. It capitulates in the face of collective social and physical distancing. It bows before good personal hygiene. It is helpless when you take your destiny in your own hands by keeping them sanitized as often as possible.
不過，值得慶幸的好訊息是：這支軍隊都有弱點，它可以被擊敗。 只需要我們的集體行動，紀律和寬容。 COVID-19無法倖免於社交和軀體上的隔離。 它只有在你刻意面對它時才能蓬勃發展；牠喜歡被迎面對抗。 但面對集體性的社交和身軀上的距離，它投降了。它在保持良好個人衛生之前先鞠躬退役。 當你通過盡可能地掌握自己的命運，清潔雙手時，它更是無奈。
This is not a time to cry about bread and butter like spoilt children. After all, the Holy book tells us that man shall not live by bread alone. Let's obey and follow the instructions of the authorities. Let's flatten the COVID-19 curve. Let's exercise patience. Let's be our brothers' keeper. In no time, we shall regain our freedom, enterprise and socializing."
現今並不是哭泣之時，像被寵壞的孩童那樣，哭泣暫時肚飢的時候。 畢竟，聖經告訴我們，「人活著不是單靠食物」《馬太福音4:4》。 讓我們服從並遵循當局的指示。 讓我們展平COVID-19的曲線。 讓我們保持耐心。 讓我們成為兄弟互相的守護。 我們恢復自由、進取和社會交往，指日可待。
In the midst of EMERGENCY, we practice urgency of service and the urgency of love for others. God bless us all.
在緊急狀態中，好讓我們操練迫切性的互相服務，和迫切性的互相關懷。但願慈愛的天父上帝憐憫祝福各位。

The best and most intelligent public speech ever made during Covid-19.
以上是「新冠病毒」疫情中，被公認為曾經發表過的明智公開演講。

#防疫人人有責

長賜輪在蘇伊士運河擱淺後,綜合外電報導的省思:極限邊緣的船舶操縱,科學與安全之間給”人的反應”留下多少”餘裕空間?

航行員都知道:在有限水域中的船舶操縱與大洋中的船舶操縱有極大的差別,也因此而產生一些”異常反應”的專有名詞,譬如:淺水效應,岸吸/岸推,船體下坐(Squat),狗頭嗅地(Dog smelling),單俥右旋船在淺水區倒俥時之船頭可能向左,主要的原因都是來自船舶四周的海水,來不及湧入去填補船艉所造成之空穴.

也因為這個緣故,Suez Canal當局對過河船隻有一些船寬,吃水,速度上的限制.基於經濟上的考慮,可以想像這些限制都是在”水工模型”下最大化的尺度界線.(越大的船過河費越貴),然而這些都是理想環境下的科學論證,實際上船舶操縱者的精神狀態,駕駛台的氣氛環境,外界視線,無線電之干擾,Marlboro菸未如預期,住艙走廊上”波斯市場”的氛圍….都在影響著”駕駛台資源管理(BRM)”,而使得船舶之實際Performance遊走在”紅線”邊緣,更糟的是一但越過紅線(Point of non-return),情況就越來越糟,猶如在山脊上騎腳踏車.

這次的重大意外,在檢討”船舶因素”之外,蘇伊士運河當局也應該重新考慮”紅線邊緣的緩衝區”是否應適度放寬,以因應船舶無止境的大型化,因應極端氣候下的異常天氣,因應新世代船員之特性,另外也可考慮在駕駛台放一箱Marlboro,讓有需要的人看自己包包大小量力自取,畢竟比起全球供應鏈上的損失,這都是微不足道的”潤滑油”.不是嗎?

The Suez Canal Authority occasionally brings out updated tables of width and acceptable draft for ships. Currently the permissible limits for suezmax ships are 20.1 m (66 ft) of draught with the beam no wider than 50 m (164.0 ft), or 12.2 m (40 ft) of draught with maximum allowed beam of 77.5 m (254 ft). Due to their design and size, a large number of ports around the world can accommodate suezmax vessels.
17,65 56,96
, a new set is being built for vessels as large as 366 meters in length, 49 meters in beam and 15.2 meters in draft at tropical frvessel.
That would have surpassed the speed limit of about 7.6 knots (8.7 miles an hour) to 8.6 knots that is listed as the maximum speed vessels are “allowed to transit” through the canal, according to the Suez authority’s rules of navigation handbook posted on its website. Captains interviewed for this story said it can pay to increase the speed in the face of a strong wind to maneuver the ship better.
“Speeding up to a certain point is effective,” said Chris Gillard, who was captain of a 300-meter container ship that crossed the Suez monthly for nearly a decade until 2019. “More than that and it becomes counter effective because the bow will get sucked down deep into the water. Then, adding too much power does nothing but exacerbate the problem.”
“You might find yourself positioning the ship in one direction, and you’re actually moving in another direction,” said Kinsey. “There’s a very fine line between having enough speed to maneuver and not having too much speed that the air and hydrodynamics become unstable. Any deviation can get real bad real quick because it’s so tight.”

The accident will be a missed opportunity if the industry doesn’t adapt, he said. “There will be vessels larger than this one that will be going through the Suez,” he said. “The next incident will be worse.”

• The Ever Given's speed was 13.5 knots before it ran aground, The Japan Times reported.
•
• Bloomberg reported the Suez Canal speed limit was between 7.6 knots and 8.6 knots.
The Ever Given didn't have a tugboat escort through the canal, according to Bloomberg. The two ships immediately ahead of it reportedly had escorts, although such escorts were not required.

許光漢 Greg Han - 別再想見我 女聲版 Cover By Tina Hu
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_____________________________________________________
《別再想見我》
詞 Lyricist：戴佩妮 Penny Tai
曲 Composer：戴佩妮 Penny Tai

還記得嗎 那場煙火
它見證我們倒數愛情時 特別冷漠

還記得嗎 受傷的是我
卻不斷執著過往的細節 哪裡出錯

雖然沒有想要躲 街上人潮一樣多
但沒想到轉個彎遇見了你 卻如此不灑脫

下意識的你就別再擁抱我
別以為只不過是個自然動作
如果可以微笑點頭地輕描帶過
漠視我都好過假裝熟絡

下一次的你就別再提起我
別以為只不過是個貼心問候
如果可以還是朋友 我會無話不說
無視你就可以輕鬆地隱瞞著
現在我有多麼地難過

關係確定已經不在 錯愕也是意料之外
彼此都沒練習 別急於一時 反應太快
當我靠近你的心跳聲 僵硬的我什麼都跳針
但擁抱的力度卻僅以禮貌相稱

下雨時的你就別再想見我
別以為只不過是個耐心等候
早已被雨淋濕太久 還有什麼好說
就索性當作那個人有一點像我
撐著傘背對你走
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DISCLAIMER: Links included in this description might be affiliate links. If you purchase a product or service with the links that I provide I may receive a small commission. There is no additional charge to you! Thank you for supporting my channel so I can continue to provide you with free content each week! (免責聲明：此說明中包含的鏈接可能是會員鏈接。如果您通過我提供的鏈接購買產品或服務，我可能會收取少量佣金。您無需支付任何額外費用！感謝您對我的頻道的支持，因此我可以每周繼續為您提供免費的內容！)

#許光漢 #別再想見我

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與大家「失聯」了一陣子，這次帶來周興哲的《永不失聯的愛》～ 希望大家會喜歡！最近在籌備我的首張EP（耶！！），第一支MV也拍好了，迫不及待要和大家分分享！！

這次很高興能夠與 Casio 合作，試用它們一系列的電子鋼琴！你們今天所看到的是 PX-160，非常適合初學者的一款 - 更多詳情可以到他們的官方網站了解～ http://bit.ly/2ANoeby

It's been a while since my last cover! Here's a cover of Eric Chou's "Unbreakable Love", hope you like it! I am currently preparing for my debut EP and I've already filmed an MV for my first single; can't wait to share it with you!!

Casio reached out to me to test out their digital piano/keyboard series and I am really excited about this collaboration! This time round, I am trying out the PX-160 Digital Piano. Firstly, I really like that other than coming in the colour black, PX-160 comes in rose gold too! Aesthetics aside, this digital piano is suitable for beginners who are facing space constraints in their house, or wish to look for something more affordable.

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// 感性時刻 //
從18歲開始在YouTube上傳翻唱視頻，一轉眼現在23歲了。這幾年我就像蝸牛一樣，「一步一步往上爬」(cue 周杰倫的歌 科科)。對於沒有經紀公司的我，我非常感恩能夠得到這些千載難逢的機會。沒有你們的支持，就不會有現在的我。我愛你們！！

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《永不失聯的愛》“Unbreakable Love”
原唱：周興哲
作詞：饒雪漫   
作曲：ERIC 周興哲