Malignant unrestrained power | Lee Yee
The Hong Kong police issued a statement the night before yesterday quoting the Guangdong Provincial Public Security Department’s response to the arrest of the 12 Hongkongers. The short communication was full of loopholes. If these 12 people are still under investigation, how can the authorities be sure that they will be approved by the procuratorate for arrest later? One of the 12 people was the skipper, is he a member of the smuggling organization? If he is indeed part of a smuggling group, why was he escaping to Taiwan? Why was there no mention of the arrest of the skipper? What happened to the speedboat? Did the 12 people buy the boat hence it was confiscated?
It has been more than a month and they still could not spin a better story. The power has become so domineering to the point where they say what they want without regard for whether it is believable or not anymore.
Chinese state media reported that, at the recent Third Central Symposium on Xinjiang Work held in Beijing, Xi Jinping emphasized the need to “uphold efforts to sinicize religion, sinicize Islam and forge the collective consciousness of a common Chinese identity.” Following Xi’s “sinicization of Tibetan Buddhism,” this is another one of his latest sinicization campaigns with requirements explicitly put forward.
Both Tibetan Buddhism and Xinjiang Islam are religions based on beliefs in God or divine inspirations, while in other parts of China, most religious believers just pray to gods and buddhas for blessings. Very few people truly believe in gods, reincarnation, or life after death. If “One China” means China under the dictatorship of the atheist Communist Party, then the “sinicization of religion” denotes a false and bogus religion. A leader who can come up with the idea of sinicization of religion under atheism is enough to show that there is nothing believable about this regime, including the woven tale for the 12 arrested Hongkongers.
In the era of ancient China’s absolute monarchy, although there was no real religious belief, ancient Chinese emperors at least paid respect to ancestors and held ceremonies to worship heaven. Dictatorship began from as early as the Qin dynasty to the Han Dynasty during which Dong Zhongshu proposed the rule to respect the emperor. However, he also proposed to restrict the emperor and respect heaven; the emperor would be called the son of heaven, meaning the heavenly father was watching over. The occurrence of a catastrophic natural disaster would be the wrath of heaven; the emperor would often issue a rescript for penitence, and reflect and review to improve governance.
The atheistic CCP not only does not believe in gods but also disbelieves in heaven. Mao Zedong claimed to be a “monk holding an umbrella,” meaning that he was above the law and above heaven. He also said, “Battling with heaven is endless joy.” Therefore, under the guidance of the idea of “Humans will triumph over the sky,” the Great Leap Forward brought about a situation of “endless suffering” for the Chinese people.
However, the CCP regime before Mao the second at least would not, on the one hand, claim to believe in Marxism-Leninism, and on the other hand, bludgeon itself with such absurd theories as the “sinicization of religion.” Perhaps Mao 2.0 now possesses absolute power such that no one dares to tell the truth, resulting in comments of all illogical nonsense.
Recently, the Chinese education department was so preposterous that it blatantly falsified the Bible. The story of Jesus and the Adulteress from the New Testament was cited in textbooks but the ending of the story was distorted. In the original passage of the Bible, Jesus said to the adulteress, “I, too, do not condemn you; Go and sin no more!” The Chinese textbook, however, presents the story as: “When the crowd disappeared, Jesus stoned the sinner to death saying, ‘I too am a sinner. But if the law could only be executed by men without blemish, the law would be dead.’” Forcing words to justify the Chinese leaders into the mouth of Jesus.
Of course, anyone who enforces the law in any society will not be a flawless person, but in a normal society, at least the law enforcers know that they are either guilty, or that regardless of religion or even non-religion, they believe that “there is a deity watching over them.” In addition to believing that “a deity is watching,” law enforcers are also restrictive in their power by the separation of powers with mutual checks and balances, as well as the supervision of the Fourth Estate. Nearly 300 years ago, the French Enlightenment thinker Montesquieu said, “Every man invested with power is apt to abuse it, and to carry his authority as far as it will go. Power is naturally expansive and has a tendency to turn malignant. As long as there are insufficient restraint and supervision, any power will give rise to corruption. To prevent this abuse, it is necessary from the very nature of things that power should be a check to power.”
The power we face and its extension in Hong Kong may be the most extreme power in human history. It has no restraints nor any checks and balances, and without the constraints of “heaven” from the dark ages of ancient China and the Western Middle Ages. Its “expansion and malignancy” can exceed all human imagination. Therefore, normal people can only completely and absolutely distrust this absolute power.
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how do you say we in french 在 Fan-Chiang Yi 范姜毅 Facebook 的最讚貼文
🎹鋼琴的大千世界/名家名言:「為何稱我為大師?主人在這裡(指著鋼琴),我只是他的奴才。」
— 李斯特著名的弟子,德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)
Why, there is the master (pointing to the piano), I am only the slave.”
— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.
📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾,演奏李斯特的第十號匈牙利狂想曲:
https://youtu.be/e12YwuHiQtY
📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/
———————————————————————1905-1906 鋼琴名家萊森奧爾(Alfred Reisenauer)在美國進行數月的巡迴演出,並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版,隔年他在德國巡迴演出期間於下榻的飯店房間內過世。
📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.
▪️With Liszt
“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.
▪️Liszt’s Pedagogical Methods
“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”
Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:(見譜例圖四)
Chopin’s next thought was, no doubt:(見譜例圖五)
But with his unerring good taste and sense of symmetry he writes it so:(見譜例圖六)
Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:(見譜例圖七)
The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.
“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”
▪️A Unique Attitude.
Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”
▪️The Future of Pianoforte Music.
An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.
Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”
As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.
▪️American Musical Taste.
Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.
▪️Concert Conditions in America.
“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”
how do you say we in french 在 Miss Tam Chiak Facebook 的精選貼文
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how do you say we in french 在 Daniel Hsu 丹尼爾 Youtube 的最讚貼文
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Hi, this is Daniel.
First of all, I would like to thank all of you who are now watching this video cause you are now increasing my views right now. (Haha! Thank you~~~~)
Second, I’m really thankful for those who have responded my last video right here. (Ding) This one. I really appreciate it so much because some of you guys’ comments were like “I really love your video”, “What a nice accent”, and last “Maybe you can consider being a Youtuber!!!!!!!”
The reason why I promoted this video is that I want to provide a channel where a lot of foreigners can learn more native Chinese speaking, and the results, to be honest, was better than I originally expected. And also, to be honest, those who have shared this video to your foreign friends, I am really really really thankful for you because you guys really helped me a lot!
Thank you guys again for what you guys have done for me. Sorry for blah blah blah, again, if you would like to see more video like this kind, or you can also give me a “like” so that I know and you guys can encourage me.
Ok! So in today’s video, I would like to teach you guys another five native common phrases of Chinese. Remember, this one is more native than the last one, which is the episode one. So if you want to keep learning, justh keep watching! Let’s go!
1. The first word that I’m going to teach you guys is the word “讚”. This word is usually used when you want to say something that is really good, usually, it goes with the gesture ‘thumbs-up’. So now you know, the action of “liking” my photos on Instagram or “liking” my videos on my YouTube Channel is called “按讚” . 按 actually means “push or press” in Chinese, so “按讚” means give me a like! Also, most of the cases we use this word “讚” is when we taste something that is really delicious or yummy.
Example:
(Eating… 讚)
So, please remember this word because it is quite useful. Let’s say it again. 讚 讚 讚!!!!!
2. 傻眼 Now, guys, pay more attention to this word “傻眼” because this is way too native for Taiwanese people! “傻眼” literally means “stupid eyes”, but in Chinese, we mean “something that is so good that it makes my eyes or your eyes feel stunned” or “Something is so bad that it makes you speechless”. So this word is really useful because you can use it to express something that is so good or something that is so bad. In both cases! Maybe you don’t understand what I’m talking about! So let’s take a look at our example and you’ll more understand.
For example, maybe your friends are now having a party in the classroom and the moment when you walk in the classroom and you found the classroom was in a mess. You will be like “傻眼”. So in this case, we use “傻眼” to mean something that is so bad or something that makes you speechless. Another very good example is that when you see your friend who is typing very fast on their laptops or computers, and you’ll be like “傻眼”, “傻眼”, “傻眼”. How can you type so fast? So in this situation, we mean something that is so good and the thing makes you stunned.
Example:
傻眼 You know how to use this word, right? Let’s take a look at No.3.
3. “隨便” This word is typically used when you want to say “Whatever!” This is quite typically used when your friends offer you something that has two choices, and you need to choose one of them or one among them, but you don’t have a preference. And if you wanna say “whatever” you can say “隨便”.
Example:
A: Hey, Daniel, what do you want to eat for dinner? You want a hamburger or French fries?
B: 隨便
But remember, this is not quite suitable for you to use when you want to say it to somebody else who is elder than you. For example, your boss! You cannot use it to reply your boss, or you’ll be sacked (fired). It’s actually like English. You won’t say “Whatever” to your boss, right? So in Chinese, it’s the same case. You won’t say “隨便” to reply your boss! But, here’s the question. What do you have to say when you want to answer that both are fine for you or either is fine for you to your boss or somebody whose level is higher than you? Let’s take a look at No.4.
4. “都可以” or “我都可以”. This means “both are fine (for me)” or “Either is fine (for me)”. “都” actually means ”both, or all” in Chinese.
Example:
Boss: Daniel, what do you think we should eat for tonight’s meeting?
Daniel: 都可以。
5. “你說什麼?” “你” is “you”, “說” is “say”, “甚麼” means “what”. So in Chinese order, we’re actually saying “你說什麼” “You say what?” So it means “what did you just say?” “你說什麼?”
Example:
A: (on the phone) Yeah, you know what $%$*$*%##^@^Y*U^(^ER#%$&$%
B: Huh? 你說什麼? Huh? 你說什麼?
Thank you all!!
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how do you say we in french 在 How to Pronounce NOUS? | How to Say "WE" in French 的推薦與評價
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This video shows you How to Pronounce NOUS, say WE in French, pronunciation guide.Hear more useful French words pronounced: ... ... <看更多>
how do you say we in french 在 How does one say "We suck" in French? 的推薦與評價
People can say it but Nous sommes nazes or On est nazes are more popular expressions. – Zistoloen. Aug 12, 2013 at 10:39. 1. ... <看更多>
how do you say we in french 在 2 Ways of Saying "WE" in French: NOUS vs ON - YouTube 的推薦與評價
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