政治學筆記 20090306

本週金句：
Every single brain is absolutely individual, both in its development and in the way it encounters the world.
Your brain develops depending on your individual history.
Gerald Edelman
http://discovermagazine.com/2009/feb/16-what-makes-you-uniquely-you

政治學書單，有同學問到，這十六本書裡面，大多不直接跟政治有關。
例如 Jared Diamond 的「槍砲、細菌與鋼鐵」跟 Edward Wilson 的「Consilience」。
教授的解釋（辯解）是…他並不打算把「政治學」侷限在它的「應用科學」層面，希望大家能以更高層、更抽象、也更通用的觀點入門，然後再切入到實作層面。
（我自己的想法：如果是寫程式，這就好像是先學了資料結構跟演算法之後，才去研究怎麼去弄 CSS 版面或是 ListCtrl 啦。）


提出問題的同學不放棄，更深入問了「如果只能選一本書…」，教授想他是醫學系的學生，就說「那你就去看 Wilson 的 Consilience（知識大融通

） 吧！」


貴族理念。
教授寫出六個句子，開始解釋。
principium individuationis
cui servire est regnare
Noblesse Oblige
nil admirari
otium cum dignitate
schickgals gemeinschaft


principium individuationis 意思是說「作為獨立個人的原則」。
必須要有「主觀性」。要能夠對自己負責。
必須要有「戰鬥性」。人生時時刻刻都在戰鬥，就連睡覺時也有免疫系統的戰鬥。
教授說，「我們從西餐裡面就可以看到這兩點啦。西餐都是人人分開的，餐具就是刀叉，時時刻刻準備要戰鬥。」（………真能扯）
然後又講到有學生送了兩隻雞給教授拜年，但是學生卻不敢殺雞，所以教授燒開水，去雞毛，做好菜，結果學生吃了百分之九十的雞。
要吃肉，就要能忍受殺害動物的血腥跟料理的麻煩。
然後又講到看日本美食節目，大廚料理活蝦時，蝦子臨死前的掙扎，讓旁邊看的小孩子興奮得拍手「好像很好吃的樣子！」，教授因此覺得，日本這個國家，是有未來的，因為他們可以正視事物的血腥面。
然後（真是旁徵博引，我想不記得都很難）又講到秘魯的軍隊養尊處優，所以打不過習慣山地生活的游擊隊。秘魯曾經試圖改革，請 CIA 派打過越戰的專家幫忙訓練。專家首先從訓練軍隊自己料理食物、然後自己去山上打獵開始。受到天主教會批評之後，就終止了，導致秘魯軍隊繼續的積弱。

講到「attitude 決定 altitude 態度決定高度」，教授認為 attitude 已經是實作層面，應該從 aptitude 養成。
如果有了 aptitude，就會有對應的 attitude。
如果自己的內心不真的相信某件事情，那麼假裝成相信，達成一般人所謂的圓融，也沒什麼意思。
尼采說： if we know WHY, then HOW can take care of itself


cui servire est regnare

意思是說，貴族服務的方式是「統治」。
說到日本的統治階級是「武士」，失去主人或工作的武士則稱為浪人 ronin。雖然已經變成了浪人了，可是還是衿持自己的身份，不會做不合身份的工作，於是就會被餓死。這是時代眾多悲劇之一。
所以挨餓的台大學生還是要「治國平天下」，不要想著開攤販賣雞排當清潔工過一輩子。
講到不合身份，嘀咕了一下。其實很簡單的播報氣象，用了空軍少將跟上校退役的人來當氣象主播，表面上看起來很專業，但實際上把年輕人的路都堵住了。氣象又不是大牌來報就會從雨天變成晴天…

講童子軍治國（很多政治系畢業的學生們）：問題從來就不是在於年紀，而是在於沒有學識，不懂邏輯。
武則天從小就有機會在皇帝身邊實習統治天下，所以日後能順利奪權。

Noblesse Oblige
貴族的責任。國家有難必須先死。拿過綠卡還在爭辯什麼法律問題，這從來就不是法律問題，而是道德問題。很多人都去美國留學過，這些台面上的人真當大家都是傻子嗎？

nil admirari（wiki:shocked at nothing）
格局大的人必須對小成敗冷淡。也就是前總統說過了「處變不驚」啦。讀世說新語有很多這種故事。
（想到 dune 裡面 Duke Leto 第一次去巡視香料採集車，遭到沙蟲攻擊，Leto 冒險救人，對昂貴的香料採集車卻不怎麼在意。「損失了一台車，揮揮手就過去了。」 ）

講了這四點就到了下課的時間了。
這一堂課教授依然使用了很多不怎麼政治正確的形容詞來強調論點，把台下的同學們逗得大笑鼓掌。
本人因為已經出社會多年，而且專長就是維持表情呆滯，所以不為所動只是微笑。
心裡面卻在想著，教授有沒有注意到台下有個我非常的 nil admirari ，有大將之風啊………

笄齡舞會

今天開始上第二學期的政治學。
教授講了一些他自稱的「閒聊話題」，例如大學的意義在於「培養巨人般的長腳，以便於在不同的專業領域中跨越，並且順便踩出巨大的腳印。」
講到把「建國中學國中部一班十人去考才考上一人」的台北工專改成台北大學是愚昧的決定。
講到台灣太過重視數字、GDP、人口、收入，這些有形的東西而忽略的無形的東西，相比起來荷蘭英國那樣的小國能夠控制一堆海外殖民地。
另外 1941 年法國 250 萬軍隊在兩週內被納粹德國打到巴黎，是因為精神力量不夠等等。


最後為了配合他所謂的國家的政治 5P： place position policy police professinal army。
講了一件有趣的事情，叫做「國際笄齡舞會」：
http://www.wretch.cc/blog/juyacw/7761693

教授用一種好像要分享秘密的口氣說：這對外面的普通人來說，可能就是一則娛樂新聞，但是妳們各位上過政治學，就知道該怎麼解讀了。
你們看：
「男伴 有一個是軍人
女孩的男伴選擇同樣充滿貴族氣息。「國際笄齡舞會」要求每位女孩要有兩位男伴，一位著正式西服，另一位一定是軍人。每年都會有位於新英格蘭地區的西點軍校、美國海岸防衛隊軍官學校、美國最古老的私立軍校諾唯爾大學與美國海軍官校的學生在場，充當女孩的男伴。
」
就知道對於歐洲跟美國來說，軍隊是多麼的重要。對於東方社會來說能夠進展到有 police 都是很正常的，因為符合良心。
但是要養成「以殺人跟破壞為專業」的軍隊，這不符合良心，就進入到 science 的領域了。

我聽了真的有種「被打敗了啊…這樣也能扯」的感覺，又覺得他講得還蠻有道理的。
突然由此聯想到了（登登登登）古羅馬的「光榮資歷」：
一個要進入政壇的人必須經過文官經歷（審計官、財務官等等）跟武官經歷（前線攻打/防守外敵），
這樣才可能順利進入元老院然後選上執政官。
我也中毒很深哪。

青春歡笑 tango、為你帶條絲巾來

 

為你帶條絲巾來： 

 2 QUE QUIERES QUI TE TRAIGA QUE VOY A BURGOS (Cancion). Si tuvieras olivares. como tienes fantasia. el Rio del Manzanares. por tu puerta pasaria ...
www.bottegaflamenca.it/Libretti%20Album/10301.doc

2 QUE QUIERES QUI TE TRAIGA QUE VOY A BURGOS (Cancion) 

Si tuvieras olivares

como tienes fantasia

el Rio del Manzanares

por tu puerta pasaria 

Con la bordada que vas al baile y con la de seda no hay de que

lo que a mi me gusta es tu cuerpo tu garbo y talle rubita y ven rubita ven 

Que quieres que te traiga que voy a Burgos

un pañuelo de seda que valga un duro

Abrela

morena la ventana cierrala cierrala

morenito del alma 

Si me traes un pañuelo traemelo verde

que no tenga dos caras como tu tienes

Abrela... 

Con la bordada... 

Al terminarte a quererme

no seas como el dinero

que de andar en tantas manos

se le borran los letreros  

Con la bordada... 

Archivio Bottega:

http://tw.youtube.com/watch?v=pG-hR9LUbpE


http://www.quedeletras.com/letra-cancion-en-lo-alto-del-cerro-tangos-bajar-56416/disco-mi-cante-un-poema/estrella-morente-en-lo-alto-del-cerro-tangos.html

 

 

LETRA DE LA CANCION ESTRELLA MORENTE - EN LO ALTO DEL CERRO (TANGOS) (MI CANTE Y UN POEMA)

En lo alto del Cerro de Palomares
En lo alto la Sierra de Palomares

Unos dicen que nones y otros que pares, y otros que pares
Unos dicen que nones y otros que
pares, y otros que pares.

En el espejo del agua
Me miro y me peino el pelo
En el espejo del agua
Me miro y me peino el pelo.

Unos dicen que nones y otros que pares, y otros que pares
Unos dicen que nones y otros que
pares, y otros que pares.

Ay, no te arrimes a los zarzales
Los zarzales tienen púas
Y rompen los delantales
Fatigas, fatiguillas dobles
Pasa, pasaría aquel
Que tiene el agua en los labios
Y no la puede beber
No la puede beber
No, no, la puede beber

En lo alto del Cerro de Palomares
En lo alto la Sierra de Palomares

Unos dicen que nones y otros que pares, y otros que pares
Unos dicen que nones y otros que
pares, y otros que pares...

要小心你許的願望，因為它們真的可能會實現的！！！

 

 

許願時要小心選擇願望內容，因為它們真的可能會實現的！
一週前，她們滿懷怨氣嬌嗔的說：「為什麼觀眾都在喝酒聊天，沒在看我們！？」
一週後，她們滿臉驚恐緊張的說：「為什麼台下觀眾都在看我們，壓力好大啊啊！！！」

事情是這樣的。
三個月多前，光輝十月的第一天，「維妮大舞團」的團長維妮，找到了一個尾牙表演機會。
於是在「週六下午兩點班」班長史黛拉的督促之下，小姐們開始了每週三晚上的國父紀念館苦練。
由於我週三晚上有事無法參加練習，只約定好充當啦啦隊兼攝影師兼顧包包的檢場工作。

經過了三個月苦練之後，上週五終於到了小姐們上台的日子。
小姐們都請了兩小時到半天不等的假，早早跑去飯店的休息室梳妝打扮。
經過了
橋舞衣、塞水餃、弄披肩、戴隱形、化濃妝、再濃一點、不夠還要更濃一點、ㄟ這樣舞台上不好看啦真的要死命濃妝
等等複雜的裝扮之後，準時下班的我終於帶著心愛的鮪魚手卷晚餐到達休息室了，而這時候小姐們甚至還沒有戴假睫毛。
又經過了一陣忙亂之後，終於搞定了裝扮，尾牙的工作人員也來提醒，再一個節目就換大家了。
於是在工作人員的帶領下，一群妖嬌美麗的女人浩浩蕩蕩的出發，進入了廚房。

是的，廚房。
嚴格來說，是連結廚房跟宴會場地的過道，

而我也安排小姐們來我上班公司的尾牙，想說反正都練了，不演白不演。

 

 

Which Flamenco Guitar Instructional DVD should I buy?

http://www.falseta.com/articles/which-flamenco-guitar-instructional-dvd-should-i-buy/

Written By: Cesar Serna

 

VICENTE AMIGO Esencia Japan CD OBI 0103

VICENTE AMIGO - CITY OF IDEAS (CUIDAD DE LAS I - CD NEW

VICENTE FERNANDEZ - MI AMIGO EL TORDILLO - CD NEW

There are now quite a few Flamenco instructional courses out on the market. Ranging in prices from $20 to $100+ but which one is the right one for you? Do you have to buy 1 DVD or take the plunge by purchasing a 10 disc set? Well we hope to demystify the whole process a little bit in this article.
First lets break up guitarist into three basic groups:

Beginner – The beginner guitar player is as green to Flamenco as it gets but they have a lot of drive to learn all the great Bulerias and Tangos they have just listened to on there first Paco de Lucia or Vicente Amigo CD. The beginner guitar player may already have chops and plenty of playing experience in other genres but is new to flamenco guitar playing. The need here then is structure, discipline and repetition in order to achieve proper hand positioning, solid practice routines and learn the fundamentals of flamenco guitar playing.

Intermediate – The intermediate guitar player is at least practicing Bulerias, Tangos, etc… that they have learned by listening to or by watching others perform. The intermediate guitar player may be taking some lessons if a good teacher is available and has probably performed some Flamenco pieces from time to time or incorporated some form of Flamenco into there performances. The need here then is learning to play in a performance scenario. For example learning what to watch for when playing for a singer, dancer or just learning to listen to cajon beats and groove along until timing is perfect.

Advanced – The advanced guitar player is performing live and has been for a while. But like most performers will, they have reached a plateau and are looking to push themselves to the next level. The need here then is to push to levels that are at Masters levels in order to learn and incorporate new Falsetas and or progressions into current performances.

So now that we have broken up flamenco guitar players into three groups place yourself into one of these groups. You might feel that you are in between Beginner to Intermediate or Intermediate to Advanced. Don’t worry about that now just pick one and lets get to the Flamenco instructional guitar DVD recommendations.

For the Beginner we chose:

Gerhard Graf-Martinez – flamenco guitar Volume 1

A lot of thought and design was incorporated into flamenco guitar Volume 1 to provide the ultimate informational and presentation of lessons to the student. You are taken from the very basics Rasgueo, Pulgar, Remate and Golpe and given several lessons on each followed up with a practice song presented in slow and regular speeds.

What impressed us was that the presentations came with multi-angle views giving you the ability to either view the side guitar, sound hole view to see how the hands touch the strings and side guitar with scrolling measure with musical notes and tabs to follow along with Mr. Martinez. And just when you thought that’s all you get Mr. Martinez keeps on giving.

flamenco guitar Volume 1 also comes with a the Graf-Martinez Reloj Flamenco chapter on the DVD that is similar to the Flamenco Metronome software (see previous review) as it includes scrolling measures of music with notes and tablature along with a clock marking the compas covering both auditory and visual learners. Unlike the Flamenco Metronome software the Reloj Flamenco included on this DVD requires no installs or special equipment as long as you have a DVD player you can practice pretty much all the major Flamenco Palos. For the Beginner Flamenco guitarist flamenco guitar Volume 1 gets our pick for best Beginner flamenco guitar instructional DVD.

For the Intermediate we chose:

Flamenco Live – flamenco guitar Bulerias Step by Step

Almost every aspect of learning and performing a Buleria is on flamenco guitar Bulerias Step by Step. The premise is to dissect a Buleria called Yaiza by breaking up the song into eight Falseta sections that then are offered to you in two speeds slow and normal.

The concept of multi-angles is also incorporated in order get the different views of the finger placement on the guitar for each section. Flamenco Live includes a selection for angles of the bass player only so you might say this DVD could also be called Flamenco Bass Bulerias Step by Step.

Also included is the ability to select which instruments you want to hear when watching the scene. The available options for this are Mix, Guitar Only and Bass Only. Combining this with the multi-angles and eight different scenes you can create the ultimate Flamenco practice band that will never miss a beat.

For the Advanced we chose:

Encuentro Productions – Gerardo Nunez

Now for all of you Beginners who are even thinking about skipping to this level be warned: The watching of Encuentro Productions Gerardo Nunez will leave you in awe and will cause irreparable damage to your ego.

For the Advanced here is what is in store for you. Gerardo Nunez is a phenomenal guitarist and the lessons included are worth the sticker shock price of $100+ but the lessons alone are not what make this DVD. What is amazing is Gerardos explanation toward his practice routines and techniques as ultimately Gerardo Nunez explains that once fundamentals are understood and mastered practicing can be any sequence of notes that ultimately leads to the creation of new Falsetas.

Gerardo Nunez has a very distinct personality that is very easy going and therefore staying focused on what he is explaining seems easier than usual. Encuentro Productions Gerardo Nunez is about as straight forward a DVD as you can get. No multi-angles and no special audio selections just packed with Advanced level lessons (A huge book with tons of Falsetas is included and referenced on the DVD) and techniques (Pulgar, Arpegios, Tremolo, Picado and Rasqueados) for pushing your playing to the next level. Performances of each Falseta by Gerardo Nunez are in slow speed and normal speed.

Selecting training material is never easy and can be very expensive so invest wisely and best of luck.

Please send us your feedback about this article, the products mentioned here or other products you think we should review by using the feedback form below. We look forward to your emails!

Básico Dance letra 幾段歌詞英文翻譯

http://www.studioflamenco.com

llamada,escobilla,remate Simplest dances

http://www.esflamenco.com/scripts/news/ennews.asp?frmIdPagina=248


Simplest dances

The sevillanas are usually the first dance that is taught. The main reason for this is that it is the only palo (form) that has a set choreography, even though some steps may be different depending on what school you go to. It is one of the dance forms that is most complete; it includes zapateado, rotations, marcajes (emphatic, slow majestic movements that mark the lyrics, predominantly using the arms), cierres (signals that indicate the end of a part of the dance and the start of another)… and, furthermore, it is also the best dance for learning to coordinate the arms and feet. Sevillanas also represent a good way to get used to following the music because they have a simple and well marked meter that is easy to follow and to learn, because the coplas (poetic compositions, in verse, used as lyrics) and choruses are repeated several times. Another advantage is that it is a dance for couples, which makes it more enjoyable and quicker to learn. It is also one of the dances that can be used most often outside of the dance school. Once they have learned them properly, students can focus on their castanet accompaniment.

The fandango de Huelva is the next dance that is usually taught. It shares some steps with the sevillanas, and has the same three-beat meter. It is also a popular dance which includes several coplas (poetic compositions, in verse, used as lyrics) and a chorus, which are easy for our ears to get accustomed to. Like sevillanas, it too can be accompanied using castanets.

Another palo (form) that is easy to follow are tanguillos. Learning this dance, you make progress in the technique of the zapateado, and you also come into contact with the four-beat meter for the first time. The rumba also has the same meter, but it is not usually taught in dance schools because it is a dance form that lacks flamenco depth and is better suited to improvisation.

Medium difficulty dances

The tangos and tientos also follow a four-beat meter. With these dances, a greater degree of expressiveness and elegance is required when it comes to their execution. The meter is easy to follow, but the movements are more elaborate, and it is important to execute them in a natural and fluent manner.

The next step would be to go into the group of the cantes de Cádiz to study the twelve-beat meter. The alegrías, cantiñas, romeras, mirabrás, and caracoles belong to this group. With these dances, it is possible to go deeper into the structure and the order of execution of the different flamenco steps (llamada, cierre, remate, escobilla, marcaje, desplante). The zapateados start to get more complicated.

Difficult dances

Sevillanas
 

Following a twelve-beat meter, we come to the soleá and we reach the part that is most difficult in flamenco, that is, executing the dance with feeling and solemnity. In addition to the structure of the dance and the complexity of the zapateado, now there are also arm movements, ondulations of the hips and swerving waistlines that are laden with majesty and artistry. It can be danced with a shawl. Within the group that has a twelve-beat meter and a similar level of difficulty, we also find other dances like the martinete, guajira, caña…

Another dance that has a twelve-beat metre is the bulería, a festive dance that can only be approached once the ear has grown very accustomed to following the meter. Furthermore, in this case the ease with which we are able to improvise or execute movements gracefully comes into play. If we intend to zapatear, we must do so at speed, as the rhythm is faster than in other dances.

The seguiriya is another twelve-beat palo (form), but it follows a mixed or alternate meter. The measure is somewhat complex, and it takes time to get used to. Furthermore, it is a stylised dance form that does not allow easy adornment and that must be performed in a sober manner. It switches between several kinds of steps and, to cap it all, it can be complicated further by adding castanet accompaniment, or by using the tailed gown or the shawl. It is among the most difficult dances.
 
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