琼瑶一、陌生人 那个陌生人第一次出现在我窗外是星期六的晚上。那是个月亮很好的夜晚,我和爸爸妈妈在客厅里听了一阵我所喜欢的古典乐,然后退回到我的卧室里。习惯性的,我先开亮了桌上的台灯,再从抽屉里拿出了日记本,坐在桌前,用手支著颐,开始思索这一天有什么值得记载的事。这是个平淡的日子,太平淡了,我发了许久的呆,日记本上仍然没有记下一个字。我本能的凝视著窗帘,窗帘是淡绿色的,我爱绿色,室内所有的布置几乎都是绿,绿灯罩,绿床单,绿桌布,窗台上还放著一盆小小的绿色的万年青。窗帘在微风中拂动,月光透过窗帘,使那窗帘变得像烟雾般透明,绿得莹洁,绿得轻软。我走过去,拉开窗帘,只为了想看月亮,可是,第一眼,我就看到了他!他笔直的挺立在窗外不远处的一盏街灯下面,静静的凝视著我的房间。街灯把他照得很清楚,他的个子颀长,背脊挺直。虽然这是春天,他却只穿著一件白衬衫,底下是条藏青色的裤子...
Red Eveby H. Rider HaggardDEDICATIONDitchingham,May 27, 1911.My dear Jehu:For five long but not unhappy years, seated or journeying side byside, we have striven as Royal Commissioners to find a meanswhereby our coasts may be protected from "the outrageous flowingsurges of the sea" (I quote the jurists of centuries ago), the...
看李楠摄影作品《绝世金莲》有感冯骥才 在十二亿中国人举足跨越二十一世纪的门坎之时,谁也不会留意,这中间到底还有几双那种畸形和怪异的小脚。缠足的历史发端于五代,迄今将近千年;放足的历史始自清末,至今亦已百年。应该说,至迟在二十一世纪中期妇女解放的运动中,那种自残性质的裹足习俗就彻底地废弃了。如今缠过足的妇女,都已年过七十。不管千百年来缠足习俗怎样残忍与蛮横,在今天的年轻一代看来,都已变得荒诞不经,甚至难以置信!曾经遍及天下的小脚,已然寥落无几,一如雨后残云,只待时代清劲的风不久便把它们干干净净地收拾而去。 毫无疑问,它们已是历史进程中的弃物,谁会再瞧它们一眼呢! 但一位青年摄影家李楠偏偏将摄影机的镜头对准着它,一按快门,把这些几乎被人们忘却的形象,赤裸裸摆在人们面前。然而,这不是出于好奇而猎奇,也不是寻奇作怪,以暴露“隐私”来惊动世人。可是对于当代人来说,猛...
An Old Maidby Honore de BalzacTranslated by Katharine Prescott WormeleyDEDICATIONTo Monsieur Eugene-Auguste-Georges-Louis Midy de la GrenerayeSurville, Royal Engineer of the Ponts at Chausses.As a testimony to the affection of his brother-in-law,De BalzacAN OLD MAIDCHAPTER IONE OF MANY CHEVALIERS DE VALOISMost persons have encountered, in certain provinces in France, anumber of Chevaliers de Valois. One lived in Normandy, another at...
Adventureby Jack LondonCHAPTER ISOMETHING TO BE DONEHe was a very sick white man. He rode pick-a-back on a woolly- headed, black-skinned savage, the lobes of whose ears had been pierced and stretched until one had torn out, while the other carried a circular block of carved wood three inches in diameter. The torn ear had been pierced again, but this time not so ambitiously, for the hole accommodated no more than a short clay pipe. The man-horse was greasy and dirty, and naked save for an exce
题记作者简介张广天,1966年生于上海,戏剧导演、编剧,作曲家,他的创作主要集中在舞台艺术和影视剧方面。在近年的戏剧实践中,张广天是一个关键人物。诗、歌、剧三位一体的形式,使他的戏剧具有强烈的煽动性和艺术感染力。从2000年的《切·格瓦拉》,到后来的《鲁迅先生》、《红星美女》、《圣人孔子》、《风帝国》及《左岸》,张广天引发了艺术界一阵阵地震,他的作品代表了世纪之交的一种思想嬗变,成为舞台剧艺术革命的旗帜风标。题记张广天的新理想主义——评《人类的当务之急》孟梵去年上半年,他上演了名为理想主义三部曲的三部话剧,惹得所有人都紧追逼问,究竟什么才是这个时代的理想。到底是格瓦拉的革命,还是左岸的爱情,抑或是圣人孔子的传统?显然,张广天的目的,就是为了让他自己和观众在这左右冲突中把迷失的自我找回来。不论是格瓦拉还是孔子,这样的理想都是别人的,在这个看起来理想真空的年代,摆脱他人的理...
The Moravians in Georgia, 1735-1740 by Adelaide L. FriesPreface.In the life of any individual, association, or nation, there will probably be one or more occurrences which may be considered as success or failure according to the dramatic features of the event and the ultimate results. Of this the Battle of Bunker Hill is a striking example. On the morning of June 17th, 1775, a force of British soldiers attacked a small body of raw, ill-equipped American volunteers, who had fortified a hill near