【一代史學家殞落 本院余英時院士辭世】
本院余英時院士(1930-2021)今(2021)年8月1日晨間於美國寓所睡夢中逝世,享耆壽91歲。
余英時院士為全球極具影響力的史學大師。他深入研究中國思想、政治與文化史,貫通古今,在當今學界十分罕見。尤其是思想史和文化史方面的研究,皆扮演開創性的角色,更提出許多發人深思的議題。學術研究之外,他亦為具社會關懷、維護自由民主價值之公眾知識份子。2014年獲得首屆唐獎漢學獎殊榮後,為鼓勵年輕學人投入人文研究領域,委託本院歷史語言研究所設置「余英時先生人文研究獎」,提攜後進不遺於力。
余院士1930年出生於中國天津,先是師從國學大師錢穆,後赴美國哈佛大學取得博士學位,專長以現代學術方法詮釋中國傳統思想,為當代最具影響力的華裔知識分子,在中國歷史、尤其是思想史和文化史方面所作的研究,皆扮演開創性的角色,西方學界皆推崇其為二十一世紀中國史學之泰斗。
余院士為美國普林斯敦大學榮譽教授,曾任美國密西根大學副教授、美國哈佛大學教授、美國耶魯大學歷史講座教授。一生獲頒多項海內外學術榮譽,包含1991年獲行政院文化獎、2004年美國哲學會(American Philosophical Society)院士、2006年美國國會圖書館「克魯格」人文與社會科學終身成就獎(John W. Kluge Prize)、2014首屆唐獎漢學獎等,並於1974年當選本院第10屆院士。
#余英時
▪ 余英時院士:https://reurl.cc/gWyRMN
Professor Yu Ying-shih, historian and Sinologist known for his mastery of Chinese history, passed away in his sleep in his home in Princeton, New Jersey in the United States on August 1, 2021.
Professor Yu was an esteemed scholar and venerable public intellectual hailed as the greatest Chinese intellectual historian of his generation. For his tireless effort in academia, Professor Yu was elected Academician of Academia Sinica in 1974, awarded the 2006 Kluge Prize in recognition of his lifetime achievements in the humanities, and recognized with the inaugural Tang Prize in Sinology in 2014 for his mastery and insight into Chinese intellectual, political, and cultural history.
同時也有14部Youtube影片,追蹤數超過9萬的網紅Christina靠右邊走,也在其Youtube影片中提到,Martha's Vineyard: https://en.wikipedia.org/wiki/Martha%27s_Vineyard FAQ: Q: How old are you? A: 24 Q: Where are you from? A: Half American Half T...
「chinese american history」的推薦目錄:
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- 關於chinese american history 在 VOP Facebook 的精選貼文
- 關於chinese american history 在 Sean Marc Lee 李子仁 Facebook 的最讚貼文
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- 關於chinese american history 在 Christina靠右邊走 Youtube 的最讚貼文
- 關於chinese american history 在 Christina靠右邊走 Youtube 的最佳解答
- 關於chinese american history 在 Museum of Chinese in America Shows a Little-Known History 的評價
chinese american history 在 VOP Facebook 的精選貼文
#新刊出版 New release!!!
Voices of Photography 攝影之聲
Issue 30:美援視覺性──農復會影像專題
U.S. Aid Visuality: The JCRR Issue
本期我們重返影響台灣戰後發展至關重要的美援年代,尋索過往在台灣影像歷史視野中遺落、但卻十分關鍵的美援時期台灣視覺歷程──「農復會」的影像檔案。
成立於1948年、以推行「三七五減租」和「耕者有其田」等土地改革與農業政策聞名的農復會(中國農村復興聯合委員會,JCRR),被認為是奠定二十世紀「台灣經驗」基礎的重要推手。然而很少人留意,這一農經專業的美援機構,在1950至60年代拍攝了大量的照片、幻燈、電影,並生產各種圖像、圖表、圖冊與海報,在冷戰年代與美援宣傳機制緊密連結,深深參與了戰後「台灣(視覺)經驗」的構成,影響著我們的視覺文化發展。
冷戰與美援如何形塑台灣的影像與視覺感知?本期專題透過採集考察眾多第一手的農復會早期攝影檔案、底片、圖像、影片與文獻資料,揭載鮮為人知的美援年代視覺工作,追尋這一段逐漸隱沒的戰後台灣攝影與美援視覺性的重要經歷。
其中,李威儀考掘農復會的歷史線索與視覺文本,探查美援的攝影檔案製程、「農復會攝影組」的成員蹤跡,以及文化冷戰期間從圖像、攝影到電影中的美援視覺路徑;蔡明諺分析1951年由農復會、美國經合分署與美國新聞處共同創辦的《豐年》半月刊,從語言、歌謠與漫畫等多元的視覺表現中,重新閱讀這份戰後最具代表性的台灣農村刊物潛在的意識形態構成與政治角力;楊子樵回看多部早期農教與政策宣傳影片,析論農復會在戰後台灣發展中的言說機制與感官部署,並從陳耀圻參與農復會出資拍攝的紀錄片計畫所採取的影音策略,一探冷戰時期「前衛」紀錄影像的可能形式;黃同弘訪查農復會在1950年代為進行土地與森林調查所展開的航空攝影,解析早期台灣航攝史的源起與美援關聯,揭開多張難得一見的戰後台灣地景航照檔案。
此外,我們也尋訪生於日治時期、曾任農復會與《豐年》攝影師的楊基炘(1923-2005)的攝影檔案,首度開啟他封存逾半世紀、收藏農復會攝影底片與文件的軍用彈藥箱和相紙盒,呈現楊基炘於農復會工作期間的重要文獻,並收錄他拍攝於美援年代、從未公開的攝影遺作與文字,重新探看他稱為「時代膠囊」的視覺檔案,展現楊基炘攝影生涯更為多樣的面向,同時反思「美援攝影」複雜的歷史情愁。
本期專欄中,李立鈞延續科學攝影的探討,從十九世紀末天文攝影的觀測技術,思考可見與不可見在認識論上的交互辨證;謝佩君關注影像的遠端傳輸技術史,檢視當代數位視覺政權中的權力、知識與美學機制。「攝影書製作現場」系列則由以珂羅版印刷著稱的日本「便利堂」印刷職人帶領,分享古典印刷傳承的工藝秘技。
在本期呈現的大量影像檔案中,讀者將會發現關於美援攝影的經歷與台灣歷史中的各種視覺經驗,還有許多故事值得我們深入訪查。感謝讀者這十年來與《攝影之聲》同行,希望下個十年裡,我們繼續一起探索影像的世界。
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● 本期揭載未曾曝光的美援攝影工作底片、檔案與文件!
購書 Order | https://vopbookshop.cashier.ecpay.com.tw/
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In this issue of VOP, we revisit the era of U.S. aid, a period that was of utmost importance to Taiwan’s post-war social and economic development, and explore Taiwan’s much forgotten but crucial visual journey during this era ── the visual archives of the JCRR.
Established in 1948, the Chinese-American Joint Commission on Rural Reconstruction, or the JCRR, is widely known for the implementation of various land reform and agricultural policies, such as the “375 rent reduction” and “Land-to-the-tiller” programs. Hence, the Commission is considered an important cornerstone to laying the foundations of the “Taiwan Experience” in the 20th century. That said, very few are aware that this U.S. aid organization specializing in agricultural economics was also closely associated with the American propaganda mechanism during the Cold War, and had in its possession countless photos, slides and movies, and produced various images, charts, pamphlets and posters. All these contributed to the formation of the post-war “Taiwan (Visual) Experience”, deeply influencing the development of our visual culture.
How exactly did the Cold War and U.S. aid shape Taiwan’s image and visual perception? This issue’s special feature uncovers the little-known visual activities from the U.S. aid era by investigating the collection of JCRR’s first-hand photo files, negatives, images, films and documents, and traces this important journey of post-war Taiwan photography and U.S. aid visuality that has gradually faded from people’s minds.
Among them, Lee Wei-I examines the historical clues and visual texts of the JCRR, and explores the production of the U.S. aid photographic archives, following the traces of the members of the “JCRR Photography Unit” and the trails of U.S. aid visuals during the Cold War from images and photography to films. Tsai Ming-Yen analyzes the diverse visual manifestations, such as languages, ballads and comics, contained in the semimonthly publication Harvest, which was co-founded by the JCRR, the U.S. Economic Cooperation Administration, and the U.S. Information Service in 1951, presenting a new take on the ideological and political struggles that were hidden beneath the pages of this agricultural publication that could also be said to be the most representative publication of the post-war era. Yang Zi-Qiao looks back at the early agricultural education and propaganda films, and analyzes the discourse and sensory deployment utilized by the JCRR in the development of a post-war Taiwan and the possibilities of the “avant garde” documentary films from the Cold War period through the audio-visual strategies gleaned from director Chen Yao-Chi’s documentary project that was funded by the JCRR. At the same time, Houng Tung-Hung checks out the aerial photography taken by the JCRR in the 1950s for land and forest surveys, and uncovers the origins of Taiwan’s aerial photography with U.S. aid, giving readers a rare glimpse at post-War Taiwan’s aerial landscape photographic archives.
In addition, we will explore the photographic archives of Yang Chih-Hsin (1923-2005), a former photographer who was born during the Japanese colonial period and worked for the JCRR and Harvest, unearthing negatives and documents kept away in the ammunition and photo-paper box that had stayed sealed for more than half a century. This feature presents important files of Yang during his time with JCRR, and photographs taken and written texts produced during the U.S. aid era but were never made public. We go through the visual archives enclosed in what he called a “time capsule”, shedding light on the diversity of his photography career, while reflecting on the complex historial sentiments towards “U.S. aid photography” at the same time.
Lee Li-Chun continues the discussion on scientific photography in his column, exploring the interactive dialectics between the seen and the unseen through the observation technology of astrophotography in the late nineteenth century. Hsieh Pei-Chun focuses on the history of the technology behind remote transmission of visuals and examines the power, knowledge and aesthetics that underlies contemporary digital visual regime. Finally, this issue’s “Photobook Making Case Study” is led by the printing experts at Japan’s Benrido, a workshop that is renowned for its mastery of the collotype printing technique.
Through the large collection of photographic archives presented in this issue, readers will see that there remain many stories on the photography process in the U.S. aid era and various types of visual experiences in Taiwan’s history that are waiting to be unearthed. We thank our readers for staying with VOP for the past decade and we look forward to another ten years of exploring the world of images with you.
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Voices of Photography 攝影之聲
vopmagazine.com
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#美援 #農復會 #冷戰 #台灣 #攝影
#USAID #JCRR #ColdWar
#Taiwan #photography
#攝影之聲 #影言社
chinese american history 在 Sean Marc Lee 李子仁 Facebook 的最讚貼文
Yellow face. 2013.
Chinese Camp Gas Station, Highway 120. En route to Yosemite National Park. (I've since learned the new owners no longer dress like this, nor do I know what happened to this guy.)
When my family stopped in, the now former put this hat on to welcome us. His hair was dyed black, and he had eye liner to give himself "oriental eyes." I kept a straight face and asked to take a photo before we walked out. We did not buy anything.
An estimated 5,000 Chinese immigrants once lived in this mining town called Chinese Camp in the 1850s during the Gold Rush boom. It had its own church, school and a post office that still exists today. A few miles away was the sight of the first Chinese Tong Gang wars involving 2,500 Chinese. The show Warrior touches on a lot of this.
I was once asked by a Taiwanese aquaintance why us "ABCs (American Born Chinese) were so offended when we were told to "go back to China." They don't realize the struggle it was for our ancestors to come to the US, where at one point we were essentially used as human dynamite to burrow the tunnels to expand the railroads. I've read stories about how they would ship remains of these laborers by the tons back to China, often in unidentifiable body parts...20,000 pounds at a time. This shit is our fucking history.
Shot on @kodakprofessional #portra on a #mamiya645pro
#film #120 #mediumformat #120 #stopasianhate #aapi #warriormax #chinesehistory
chinese american history 在 Christina靠右邊走 Youtube 的最佳貼文
Martha's Vineyard:
https://en.wikipedia.org/wiki/Martha%27s_Vineyard
FAQ:
Q: How old are you? A: 24
Q: Where are you from? A: Half American Half Taiwanese (currently in USA)
Q: My major? A: Graduated with BA in Film
問:你幾歲?答:二十四,準備幹大事
問:你來自哪裡?答:台灣美國混血寶寶
問:你畢業的系?答:電影學士學位
chinese american history 在 Christina靠右邊走 Youtube 的最讚貼文
你們覺得弟弟去哪了? 歡迎在下面留言!
Where do you think Raymond went? Leave a comment below!
很多人留言想知道本家診所:
👉Boston Family Dental
https://goo.gl/maps/vgtTGB4WsJvjr4ry5
FAQ:
Q: How old are you? A: 24
Q: Where are you from? A: Half American Half Taiwanese (currently in USA)
Q: My major? A: Graduated with BA in Film
問:你幾歲?答:二十四,準備幹大事
問:你來自哪裡?答:台灣美國混血寶寶
問:你畢業的系?答:電影學士學位
chinese american history 在 Christina靠右邊走 Youtube 的最佳解答
Special thanks to Tim Mo for his appearance.
Tim mo IG: https://www.instagram.com/attimothymo/
FAQ:
Q: How old are you? A: 24
Q: Where are you from? A: Half American Half Taiwanese (currently in USA)
Q: My major? A: Graduated with BA in Film
問:你幾歲?答:二十四,準備幹大事
問:你來自哪裡?答:台灣美國混血寶寶
問:你畢業的系?答:電影學士學位
chinese american history 在 Museum of Chinese in America Shows a Little-Known History 的推薦與評價
Chinese have been in America since before the United States was founded, though few in numbers until the 1840s. Like other ethnic groups, ... ... <看更多>