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湖北医药学院附属襄阳医院打掉孩子多少钱襄阳牛皮癣检查医院比较好的襄阳市第一人民医院做割包皮多少钱 Obituary;Michael Lassen;讣告;迈克尔.拉森;Michael Lassen, stained-glass artist, died on September 8th, aged 61;迈克尔·拉森,花玻璃艺术家,卒于9月8日,享年61岁;ALMOST nothing is known of the men who built the great medieval cathedrals. A masons mark chiselled on a column; a game of nine-mens-morris scratched on a stone; a gargoyles half-human face, of foreman or master of works, are all that remind observers of the crowds of labouring souls who raised Canterbury or Winchester, Beauvais or Cologne.对于建造中世纪大教堂的那些人我们几乎一无所知。一个被刻进圆柱的工匠的标记;一个在石头上乱划的九人莫里斯游戏;一个怪兽状滴水嘴的半人脸,那些工头或者大师的作品,都会让观者想起那些建造坎特伯雷,温彻斯特,科隆或韦伯大教堂的那些千万劳苦大众的在天之灵。The dangers of such projects were legion. Contemporary illustrations show cathedral spires collapsing, vaults caving in, high scaffolding keeling over in a chaos of planks and poles. Casualties were expected, and were many, though the fabric accounts often could not name them. In modern times the labour is no less perilous; but in the days of health-and-safety and hard hats, accidents are rare. Hence the horror in Durham when, on September 3rd, Michael Lassen fell from a ladder as he helped to fix a new stained-glass window in the south quire aisle of the cathedral. He died some days later in hospital.这些大项目危险重重。同时代的画作显示了大教堂尖塔的倾倒,拱顶的塌陷,高高的脚手架倒在一片八七八糟的木板和柱子中。尽管凭零星的记录难以命名,但意外事故的确在所难免而且经常发生。时至今日,这种劳动的危险一点也没有减少。因此,在9月3日达勒姆发生了惨案,当迈克尔。拉森帮助修复一个大教堂南边唱诗班席位的色玻璃窗时,他从梯子上摔了下来。几天后他在医院里死去。Climbing up in the south quire to look at the traceries originally, he had found them heavily fissured, like all Durhams ancient sandstone. Blocks were missing on the exterior, and one side of the main arch was worn away almost to a skeleton, as though two or three centuries of wild north-east weather had blown through it. But all the stone had been carefully stabilised before his work began.爬到南唱诗班席位上去原本是去看花饰窗格,他却发现他们已经严重破裂,就像所有达勒姆古老的沙岩那样。那些石块已经掉了,主拱经过两三百年的东北风吹过,一侧已经破损得只剩一个骨架, 但在他的工作开始之前是所有的石头都被仔细地固定下来。The window was of the Transfiguration of Christ, made by Tom Denny, and one of the largest to be installed in Durham in modern times. Mr Lassen was working from top to bottom, fixing the glass he had leaded. He started with the small quatrefoil lights of the Holy Spirit and the crucifixion, proceeding down through the main panels of Christ and his followers on the mountain, with all the way the white shaft of Gods transfiguring light growing broader through the fire-and-storm colours of the glass. The four principal lights, nicknamed after the chief figures in them, were Cuthbert, Moses, Elijah and Michael; they became familiar friends. He was fitting a small panel at the bottom left-hand side, a pane of bruised blue glass that showed the broken and suffering about to be transformed by light, almost the last piece in the window, when he fell. He was not particularly high up, working at the ledge. But stone flags are unforgiving.窗户是圣容显现,为汤姆丹尼所造,这是在现代达赫姆大教堂要安装的最大的一个。拉森的工作从顶部到底部,负责修复玻璃。他从那些圣灵和十字架的四叶草光芒和开始,接下去通过基督的主体和他在山上的追随者,从上到下,神的美丽的光线透过火红色的玻璃逐渐变光,投射出白色的光柱。四道主要的光,以里面的主要任务命名,分别是库斯伯特,西,以利亚和迈克尔。他们成为熟悉的朋友。当迈克尔坠落的时候,他正在安装左手边底部的一个小的镶嵌板,那是一块磨损了的蓝色玻璃,几乎是窗户上的最后一块玻璃。他其实并不是特别的高,也不是特别靠边缘。但是石板是无情的。Mr Lassen had been called in late to lead and fix this window. The man originally contracted had fallen ill, and the deadline for the installation, the end of September, was fast approaching. Help was needed fast; Mr Lassen provided it, expertly and fully. The tight timetable troubled him; but he was not a keen marathon runner for nothing.拉森很晚的时候被召来领导修复窗户。起初签约的那个人生病了,而九月底工期的最后时限即将到来。拉森专业而不遗余力地提供了急需的帮助。紧张的时间表给他添了麻烦,但拉森不是一个只顾跑步的马拉松运动员。His training had been traditional, in the Government School of Stained Glass at Hadamar in Germany; though English, he had spent many childhood years in Bavaria. After working as a glazer and glass-restorer, he had turned to glass-painting and designing, gradually obtaining commissions in churches all over Britain. His own windows, at St Cadocs chapel in Cowbridge in South Wales, or in the Church of Sts Peter and Paul at Great Somerford in Wiltshire, showed a love of blocks of pure colour carefully contained within thick, angular leads, especially glowing blues and rich reds: the medieval way of glass. His figures, too, had a medieval solidity, dignity and stillness about them.拉森在德国哈达马尔的国立花玻璃学校受到过传统的训练,尽管是个英国人,但他很多童年时光都是在巴伐利亚度过的。在成为一名上釉和玻璃安装工后,他转而从事玻璃绘和设计,逐渐获得了英国各地教堂的任务。他自己的窗作品,遍布南威尔士考布里奇的圣卡多克礼拜堂,威尔特郡大萨默福德的圣彼得圣保罗教堂,展示了他对于仔细地填满又厚又尖的纯色块的热爱,尤其是鲜艳的蓝色和饱满的红色:这是中世纪式的玻璃。他的形状,也具有中世纪的坚固,端庄和沉静。Lead and fire铅与火The techniques needed to lead and fix his own glass had barely changed. He would stretch the H-section lead strips, or cames, to stop “creep” in the soft, ductile metal; cut them expertly straight with his pliers, so as to leave no gaps between them when they were moulded round the glass pieces; apply the hot chisel-tip of the soldering iron just long enough to melt the solder, not the lead, when joining the strips together. The double-layered and plated technique of leading Mr Dennys glass, with the lines almost lost in the painting, was at first new to him, and correspondingly tricky. But by the time of the Durham project he had become an enthusiast, and all was going well until he fell.他固定和修复自己的玻璃所需要的技术几乎没有什么变化。他伸展H型铅条,或卡梅斯,消除柔软韧性金属的脆性; 熟练地用他的钳子把它们弄直,这样当镶嵌上玻璃后就不会产生空隙;用滚烫的带凿头的焊接烙铁刚好溶化焊条,当把两个条焊接起来时不会化掉铅条。起初这种在涂色中几乎不留线条的双层镀金属的工艺对他来说是全新的,而且技术性很强。但是随着达赫姆项目的进行,他对此越发痴迷,一直到他从那里坠落。A memorial service for him was held at the foot of the window while the scaffolding still covered it. Mr Lassen, who worked from Bristol, was barely known in Durham, although he had once had a studio at Worship Farm, not far away. To most of the people who attended, extending the human crowd in the bottom panels of the window, he was just “that nice chap” who had had the accident. But when September 25th came, the day of dedication, he was remembered in a different way. The clue lay in George Herberts poem “The Windows” which was sung as an anthem at evensong. Man was “a brittle crazy glass”:Yet in thy temple thou dost him afford This glorious and transcendent place To be a window, through thy grace.一个为他举办的纪念仪式就在那窗户脚下进行,脚手架还没有拆掉。来自布里斯托尔的拉森在达赫姆几乎不为人知,尽管他在不远的礼拜农场有一个工作室。对于来参加纪念仪式的人群来说,他就是那个出事故的“好小伙”。但是当9月25日,奉献日这天到来的时候,他以一种不同的方式被怀念。而线索就藏在乔治·赫伯特的一首诗里“窗”,这是晚祷的一首赞美歌。人是一块“易脆的疯狂的玻璃”:然而,栖身在你的圣殿,透过你的恩典,他这一光荣而超然的地方是一扇窗As the congregation pressed through afterwards into the south quire aisle they found the windows still wreathed in incense, like the cloud of God that had enveloped Jesus on the mountain. Through it shone the glass. Its golds and blues were smoky in the evening light, but the central column blazed white, like the transfiguration of a man; and of all men, named or un-named, whose lives and skills are embedded in the stone and glass of great cathedrals.众人在集会通过南唱诗班的走廊,他们还发现窗户依然在香缭绕,像神云笼罩了耶稣在山上。通过它闪耀的玻璃,金色和蓝色在夜色里显得烟雾迷茫,但中央纵队开辟白色像一个人变身,和所有的人,有名的无名的,他们的生命和手艺,都早已嵌入大教堂的石头和玻璃中。 /201209/201491襄樊红十字医院割包皮价格表

襄阳中医治疗非淋的医院Books and arts;book review;文艺;书评;James Fentons poetry;Flower power;詹姆士.芬顿的诗;诗歌的力量;A modern master goes from strength to strength;一位逐渐成长起来的当代诗坛巨匠;;Yellow Tulips;poem;by JAMES FENTON;诗集《黄色郁金香》;詹姆斯.芬顿著;JAMES FENTON has led a busy life. In the late 1970s, while an undergraduate at Oxford University, he began his career in journalism: as a book reviewer, then as a war reporter, a foreign correspondent, a theatre critic and now as a popular commentator on American politics. From 1994 until 1999 he was Oxford professor of poetry and, more lucratively, wrote an early libretto for “Les Miserables”, the hit musical of Victor Hugos sprawling novel. During all this time, he has also written poetry.詹姆斯.芬顿的人生极为丰富。20世纪70年代后期,詹姆斯.芬顿还只是牛津大学在读大学生时,就开始了他的新闻事业:书评撰稿人、战地记者、驻外通讯记者、戏剧批评家,而现在他是著名的美国政治时事员。1994年至1999年间,詹姆斯.芬顿任牛津大学教授,主讲诗学。而且他曾为维克多.雨果的长篇巨作《悲惨世界》的音乐剧写过剧本,该音乐剧风靡一时,芬顿获利颇丰。在此期间,他亦有写诗。Covering the period from 1968 to 2011, “Yellow Tulips”, Mr Fentons latest collection of new and previously published poems, traces his constant movement from place to place. In many respects it is remarkable that these poems were written at all. Some were composed after Mr Fenton fled from Cambodia in 1975, just before it fell to the Khmer Rouge, or in Hong Kong, Germany and the Philippines, where he was posted on various assignments. They feature downtrodden hotels or bars, diplomatic dinners and country estates, reflecting the life of a journalist who finds himself continually displaced. He describes student hangovers and heartbreak (and shows the uncanny similarities between the two). But his most common theme is combat, and how it affects those who have the least say in it, “those whom geography condemns to war”.芬顿的最新诗集《黄色郁金香》收录了他1968年至2011年间出版的新旧诗篇,从这些诗,我们可以看到他在这段时间辗转于不同地方的经历。从很多方面来说,能写出这样的诗本身便是很神奇的。一些诗歌是在芬顿1975年逃离柬埔寨之后创作的,也就是红色高棉事件发生之前,一些是香港、德国和菲律宾写的。他曾因各种原因被派到这些地方。这些诗歌以那些被剥削压迫的小旅馆或酒吧,外交晚宴还有乡村庄园为背景,反映了诗人长期背井离乡的记者生涯。他描述了学生的宿醉与心碎(并且在他的诗间,我们可见两者之间离奇的相似之处)。而芬顿最常写的其实是“战争”,以及那些在战争中最没发言权的人们,“那些人为艰苦的地理环境所迫,不得不选择战争”。Mr Fenton describes visiting an orphanage of exiled Cambodian children, each “caught in the tight security of grief”. He writes from the perspective of a 16-year-old soldier in Phnom Penh, his verse suddenly bristling with danger. His poetry waits “for reinforcements to arrive” or remembers “drivers, interpreters” and how “Death waved them through the checkpoint. They were lost.” On the whole, he manages to tackle these political themes without descending into sentimentality.芬顿描绘了他在一家收容那些流亡的柬埔寨孤儿的孤儿院的所见所闻,在那里,每个人都被忧伤所缠绕。他从一位柬埔寨金边的16岁战士的视角切入,整首诗弥漫着一种危险的气息。他的诗描绘了他们是如何等待救兵,回忆了他们的司机和翻译,讲述了“他们如何在关卡死里逃生。那时他们已经迷路啦。”概言之,芬顿在处理这些政治主题时成功地没有陷入到情绪化的漩涡当中。Instead, there is a constant satirical edge, and a certain bite to his tightly rhythmic verse. A keen observer, his poetry excels in the minute description, and the audacity of a rhyming phrase: “Tiananmen/ Is broad and clean/And you cant tell/Where the dead have been.” Often impersonating the voices of others, Mr Fenton revels in using the forms of narrative poems or ballads, taking these older poetic structures and bringing them up to date.相反,他的诗节奏紧凑,往往似讽非讽。读者如果足够敏锐,便会发现他的细节描写极为杰出,且敢于用押韵的词句:“天安门广场,洁净而宽敞,难以分辨,亡者曾几何处葬。”芬顿善用叙事诗或者情诗的形式,拟声的手法,将旧的诗歌形式适用于新的时代,来表达自己的思想。 However, some of his poems are less powerful. Mr Fentons early love poetry, in particular, lacks the wit of his later work, and his political statements are occasionally rather crude: “Blank terror doth stalk/ The poets of New York.” This is a shame; the many fine poems in the collection stand proud on their own.但他的一部分诗却有些软绵绵的。尤其是他早期的爱情诗,不及他后期作品来得灵动。而且他言及政治时,偶有粗鲁处:“极度的恐慌惊扰了纽约的诗人们。”这是一种缺憾吧,但那些收到了诗集里的好诗,数目众多,卓然于世。Mr Fentons recent work is particularly good. More contemplative and meditative, poems such as “At the Kerb”, which is dedicated to Mick Imlah, a British poet who died at 52 in of motor neurone disease, show the more mature side of Mr Fentons voice.芬顿先生的近期作品尤是优异,其思想愈见成熟,亦更见深度,便如他献给英国诗人米克.伊姆拉的《在路边石》。米克.伊姆拉因运动神经疾病,卒于年,享年52岁。于此诗间,我们可见芬顿诗歌更为成熟的一面。Brutal disease has numbered him a victim,残虐的病魔,数次纠缠,As if some unmarked car had appeared one day仿若哪一日不知什么车便会出现,And snatched him off to torture and confinem 抓他去囚禁、折磨,Then dumped him by the kerbside and sped away 继而扬长而去,弃他于路边。Such moments are startling and help Mr Fentons simple lyricism achieve a certain vivid gracefulness. The 17 recent poems that make up the last section of “Yellow Tulips” show the development of a compelling poetic voice. Most important, they suggest that there is more to come.诗中的情境令人揪心,因之芬顿简单的抒情诗却取得了某种生动雅致。《黄色郁金香》最后一章节由十七首他近期创作的诗构成,从这些诗我们可见诗人愈见迷人的诗歌语言。更为重要的是,这些美妙的诗句间隐隐暗示着更深层的内涵。 201206/186550襄阳第四医院在哪里 襄阳市东风医院白带异常多少钱

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