‘The most fascinating interpretation-of the Great War that Te read in many years, a book that should cause us to “= tevise long-cherished perceptions of the meaning of the central trapma of modern times. 1 know it has changed mine. _Robert Cowley, The Quarterty Journal of Military History SNIALLSM0 STUGOW Ibis an immensely stimulating book, explaining much that has seemed confused and contradictory in our troubled century, and deserves to be widely read. ‘Times Literary Supplement A pereeptively researched and imaginatively organized analysis of the common roots of WWI and the modernist movement... fresh-eyed look at an oft ‘with impressive insight in abundance. + Bae Een A GLOBE AND MAIL BEST BOOK WINNER OF SERBS = CRRA) BS THE TRILLIUM BOOK AWARD rm pA NEW YORK TIMES NOTABLE BOOK (BEE) CABS WRsRreR es ; : <2. #8. . 3 : sana LL PLAMEM ROMAN, RBAATER ZRSRD. RmAMEABMSURKMN ER. aie) CHERAB) CHEER AIT) == SRT E ETSRITES OF SPRING AS THE GREAT WAR ry GUM LU Crus tonto IEE Eee Ue SZ SES Mabie)EAB ER 4a BI (CIP) BUH BIR: BULA ALR FP 7 Cm) SE ELIE - LR EIT HLIM, ( Modris Eksteins ) #; 7EBRYLIF 2 AG: ELAS CARH HEHE, 2018.9 6% ROC: Rites of Spring: The Great War and the Birth of the Modern Age ISBN 978 -7 -5201 -3035 -6 1.0% 0.0K OF UW. OR—-KUHRK A - 2 WV. OKI43 Hp fa FAS PB TH CIP WHER (2018 ) FB 146884 & B28 —— FH — KER AR Fo LAR BY FF Si H -B/ (MEK) RABBI - eve WTSI ( Modris Eksteins ) B A / FUT Hh WR A 7 i BIE WAG / HAZ BBB BER / TR BABE Hy AR 7 ERASE SCAR HE «ECE SE (010 ) 59366551 SM: ACCT AL = Re 29 SBE HE AL BHR: 100029 fk: www. ssap. com. cn Ke FF / WH AAA (010 ) 59367081 59367018 Fl Be / SY AR Ty EN AT RAS Hi KR / FE OA; 889mm x 1194mm_ = 1/32 Al gk: 16.375 “% RM: BIH Me «RK / 2018 4F9 A 1 He 2018 4E 9 A 1 CED 43 / ISBN 978 -7 ~ 5201 - 3035 -6 SRAM ee jg? BF 01-2014 —2609 4 KE Ht / 86.00 56 AC WAT ED ETT, TAMAS Hh > (010 - 59367028 ) RA IA mir EDTRites of Spring: The Great War and the Birth of the Modern Age Copyright ©1989 by Modris Eksteins Published by agreement with Beverley Slopen Literary Agency through The Grayhawk Agency.APRE EREHFPRARELHSARMAR REM, EK LARA. — (kRAAF) RLM RAMIMH (ALK) MRAM, £ FIMET MIAAKLARRT MH RSH GAGS, HRA LHEZALMASAME HMA, CRA—PAEFKFH FRE, LARK AT aA, —— RAR + 24084 (William Manchester) RARSPREMAMTR-KERARRIAAB MH hk, RH-APRATABERMN—ARAMAARAMRE SMAGMHAR, REBECCZHERT ROAR, —— 39h - ¥A#) (Robert Cowley), (#¥k #F)) TREY RH RARAASAMERMABARB, ERA RAF AAR, FARR, AAA RRB ER, FR ILM ILM BE Fo He HE AF A — AE SB A — Rt GA + FE (Alfred Kazin)SATEAR Daf F KAR FH RAB HRAELHRS, ——£# + 44# Hs (Anthony Burgess ) —KAEKSARS HH, CHAMASAREE HH AY MES RAPT AM TMB, BAS ABR. — (KLM EMT) we KLARA BRAS, — (mE E) CHB) BRA RR RATE a ARAL AR, —— fe 9 + FF ® (James Carroll) RAM ILM A TR ER OS ET a, fa BE AA RIA et ae EB — (3S Bik) BYFARG - HERG (H-KERARHAMAKIZI) A Ae Rik (RH GR) —ABARRE, — (#8 HR) MRE, BHM B EAT EE KER AR FLAEWA, HLMR—#, — (H#BREMTD EyDh RM TPATHHS A, ERR, BALELR ARERR NIN Z Jet, UR AMET Hr 3 LG BY IL AR EB Sb, PES RIL ZS GiGi, ER Ze BAU BPD AB Sk RE RAF SHAOKA Ro WE MER. 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RADE Woh, HEBRZM, CRAM RM, BRI, WH FERMI. JERE Bi eS A BRIE IT, FEA AE +L PB ES Wd A EE ASHE (PATHS FRINGE) (Tristan und Isolde) fy RY HOTT, LAER 1883 4 2 5 eA, Yn ft EEE HEE PLAN — BSR Ee AY — 1A AT De Ae aT AY BT, BE te iA a + WORMED + FEET CREE Sue, 1929 4E 8 A, fil TEAS & AY PEPEATA EG ORS. BUR IE a RI ABTA. BA AMBALA, ET 3 SU ARE E ATE — BA CHWS WEY. Pal, BME. PAE He AIRE AR AY RE AAT AB HE J HOT HG BT TR, ea LAB BE Fe JEM. 1872 423, (ER USCA FR TD AE 1 — RAD. (MQ EEE A, PP AOS Aco fete 1890 4F 18. 37 fy iit 4B 5 — Ue Se BE) RE ST, 4 nt a A ft BY Be SAE TE A HOR AL + HI SRAM (Dmitri Filosofov) — itz,004 / 2B 1909 46, ZEBERE ET TH AMY ES BEAR HH ES Ds, a A OY BE FABLE, DEEA MAA + WELEMIE (Vaslav Nijinsky)® Jo 7 DB, FEW 4h 37 Y , Pete WTAE 21H fh 1— a SEAN AEA AY NE A —— BEE TE TEE RRA HH ME TAMER. FETE UAE ELAR 6M KAS 4 ARH UK PE, We ON AE, ERA KD=Y . UA Hep CE AAR NY A OH HB me OAC TTL AE 1902 4 8 DA HO SL ALBUM — HL EB, WERE TEBE, IF TERAIA TERT (CRI BUE ST) (Death in Venice) . ix ¥b +H fmt “ly HUW Af AERA SRR TE + BE, AAAS 4 DRUK, ELA EE Re EIT “CARR ay eh A STH” HB EB FS — Pe BE RD HH fk Ms EU EL, JR BHR 457 Be 2 > 4E—§$$85 2 Ef OE DE AE 36 EA He LE FR TETAS RATE AG HE A, BE IT ALL TE I AL A RE AUER PE, Ba AE eb, A Py — Rebs. WASTE AA, WA ERAS A, FLUO BE, FE iL YA ET 9 — (0 Te RE BA, TTL 9 eH kB AREER. EAMAMA DL. BiH thE A, th FECES & HERE IBIK EMRERKHPR, AHRE, MAAAALEMH RN YS—_—H RE, ARE; SRD, LRAR OD SRAMMA + EME, KMART “NRWK - BEM 2E", RHE @ Woah RA — ab Ky Be PAY Bee BSL AH. TSH - BEAR (CH. T. Lowe-Porter) BEN (ARBRE) (New York, 1954).BLIER / 005 FRAG, RAH, FIR SR ap A SD aE HY RD Ma, hates, CHAMUF CASH RA AP REG SHB ULA A PES 7 DBE PAS IF (1 HOB AS foe BT FH bs fs PE A Le BRL Fr— Ab TK, 7 2% OE BAY A AP ABE SEY KAT ERR BT T o “REA Se EE, 1B HRAL TLE Se ie at AB TBE AE LIT WHC Hd Sh AH AB” JLRLIG , BH ARIE T LP a a, ARAB teat KH Bhd 1s E tol A Hh Ew HA. Hesi4ete 4s 5) Zi], HARRAH BSH, HAR RR MR FO EE ERA AHAB Sih. MB TR ALA, BAR +k (Anton Dolin)® € 1924 467 9 (WAR A ABR RMB — AE, 1929 46 8 FL, 57H Wy fT FACE HSE SR SIF TP THE AY 16 4 AOR IK + FAR GEHEAT (Igor Markevitch) . {H{i]4E MIB SLAG EH LIU HL GES AE) EA A J HT Re I 9 DEA . JUG, SERA TH 5 WEY; - BLAH (Boris Kochno ) PUNK ai + FIR AR (Serge Lifar) ——4{E 7 i Xf 3 AY PH AL HE A—t RBVIB HB, 8 19 A, CEG BH Fe ANC DR as A De Ht Too EE a HS BRT BL bk EAN FR AR, RA OK D+ SE OR REE 4 AEE I, 1920 4 fC A A HE dE AY A SEA. —— PR ATE006 / 2H (Misia Sert)®, 429" HAE WRIT ZI, Bla e RE FSMAAAAR, BUG —HMS, MBE, LM, RB. “WH RAE AECMEAMP AMDT.” KM? WA, HAH SC AE TE FH Bs BL A iz BB) TE FT PAL AE KLE A EE AB HL, Boe FAYE RET, Ais BEA A WRK RSNA 1872 ~ 1929 AAR tt + AE CAFE r+ BP REIT, (ATT PARI ATE AL — TP ABS LR A) — BB BE PR JE HE HAH HEF SK BP EAR Za) SE Be HEAL BEAN TERE ON AP Ta a eA HG, BRAT PRAIA AIL, BEET AT BE 28 He SAR OY BR PEELE, AN A HL, DAAC Pe AY) fs BEA, RRR ANT UA, BALE FEI IAP Ail 20 HS HF ERA A AY AR 52 BS A HK 1H Wm), SHG PF 0 A IT A BL YC PE A i SAD BAER ESE, TF — AB Se Ba A IU SG TS TE EE FrBb, AMIE SST], BAY NLL AS A AR UE HB Fe BY ET AGS. FAA + 4 (Heinrich Mann) FERS {t Ls Ws BESTE eH, WA CRB RUEM) WUD WE “Se SA iF" 2, FE 1930 4E HY) (AAS) (Life Sketch) 1, FED - & D BRAMMER, PRERWKMLEA, Wp ee A ae A SE BEPEBDA. . FETE AN OS FAL it JE Me A YEAR AD AY, —— HRA TE Misia Sert, Misia (Paris, 1952) , 229 -30. Heinrich Mann, “Der Tod in Venedig,” Marz, 7/13 (1913) , 478. 88BRIE / 007 RENT CRMC) AY “TERS ELE AM OIE ARSC HE” , fh WEAR Aa DBE “SEAR A BLS”, Sak. A. SE HE SEs RL R. RGAE, BERK LARS ESHER - KR FH (Wladyslaw Moes) fy Y= 7b 4e, 24 wt fib TE Ze BE or BE BL. HERPES OY HEA SE - GABA I AE (Janek Fudakowski) fi) A. aT FH ES ABBR LOL 4 Ze tik WY ae TSE Fe - Ah ih (Gustav Mahler) ® RA. HO: SACK “A, OE RR MAMA, CRAB SBROMA DH HAE HH BA, KEP Le Fay fab iit BR SE Ses Ae Ah? GCE A Tl BEBE TPP HEB AY RY HE, RP OR BE, Sb AB HE RS Ak AE SAM, REANERARWRA, MERGER. EHR FAB BEG HE HY Ay BE HE HR, 1 — A ih HE LOB NY ARI ©, PEIRA + MRK (Theodor Herd) 7£ 19 HAA 20 HMMA, “RST HN RMI RES A FEAVABAK AAT AY TA 1 oh ike HABA, TO EE ML A” KACER— At, BK ERMA TART — AAT OPERAS AS. “AUB RET 2, HIS FE fth AF BE a HE DPR SL A We HN HR A = ESS HEE PERLE @ Thomas Mann, “Lebensabriss” (1930) , Gesammelte Werke, 14 vols, (Frankfurt am Main, 1960-1974), XI; 123-24; Karl Ipser, Venedig und die Deutschen (Munich, 1976), 90-91; Peter de Mendelssohn, Der Zauberer ( Frankfurt am Main, 1975) , 869 73. @ (ERA (Des Esseintes) FE tk Hl fe RFF B - BAK + FMB (Ioris-Karl Huysmans, 1848 ~1907) AY /)its (30H) (A rebours) PAYA, —Ph Hb ABIL FRA AS A SSBF ZA OY BA ME SE AE AE ER TAIN GIZA) PAM, TER. ROT ARE RSL EPMA, TELS PAR F Bei _L AN AE, —ia TE008 / 2H PEK A HEY BR ES ROK A EC" SE AR + BL IS EF HRW, HAS RA A fe dh, HUD Ok Be ER ‘S/H XS), & + HW (Man Ray) ZEAE (EY St AHS BE -SIB UA BY TH BE, MTT ERG LRAT ie. 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Chamberlin, “From High Decadence to High Modernism,” Queen's Quarterly, 87 (1980) , 592. ® John Hellmann, Fables of Fact: The New Journalism as New Fiction (Urbana, ML , 1981) .BIER / 009 be, 28) - RW (John Ruskin) BEE RUE WTS mk “MEE AY 2” HoH, Wwe, wie, REAM, UETF 14 SHAM AAR BARE PRM A, RD AAR MRA FER, MEAD FEB FETA 2s EMRE A, eT a + JER A BH: “FP Ab wa Ja PO Hy TT SUT Sa, IB AE A EE AS KAZ BUE 0” ® 4 LETS AAS BE A EE EEE PUT AYER, 1986 AE, — SARE BE US 300 Tr FE TU A HEA WY HA a TT EE DD, BA RIE MAIR” « ® John Ruskin, The Stones of Venice, The Complete Works, 13 vols. @ Ipser, Venedig, 93.— BR HULFHRAM, FHRRACREMRET HR, S ARH GOGRHAFR, MILRHBALABFZE, ¥4)- 4% -FHN, 1920 # RIE FAL M GALA BA RR, Hh ko Hen RAS HOY HE AR, Bie, RRMA ERPACH KA, RE, MHRAK HG, KB, MRERSH: “RREPRH, Ri,” BH - Rim RAM HE ARDMEMHH (ALK)? teat Ht 4 Al Bik AP ARG? HACER, TH. EK. KRM ARE RRMA FR? % CREMABR) 1S, 1924 #014 / B28 BR BPRRAR + SOREL CIT IEF 3k BY ASR LO BE (KAZE) A-HARTREAHRB HS, CHBAH RFRRORIM, HH-SH-HEMRF WA: AA FP kA AE. RATHER P—-B: KLM, RMAKWLRee ERP, FRYE SAMEMb EM, Seow yw, WeRA RH RH Fo so TAM AR 9 A Hh ay FREE RA, HE EMT BER, WAAR ARG. HMI ANID BA A, AAAS, KREMER MAE, RHRFKURAG BWA, THT ARG HR, BRET PR. ATT Beers RAMA AAR HY KWo AML KM SE HE a RAW RAZ EHH LRA Baa, RB YARRA AD, Ba AP ETE KP-BVERRUREARR, MARHKRARRY, KEMAH IGP RIE, PKA A HALL $38 0) U—@§__ Mae PYAR, WANA RMA PE, His PH VARBKE, AMAMSHMHKSN GA, HOM T KS—ik MAMBO 1913 £5 A298 M193 45 AOD ARMom EL CAZR) ERAS @ Vera Stravinsky and Robert Craft, Stravinsky (New York, 1978) , 75.— BR/015 RABE A Hw, HA AVE IR AS: hn th BR AK + SBF A SE (Gabriel Astruc) , YIH +» AFEWTAE ( Romola Nijinsky) , (POG 7R - WERPRLOCWT AR. RPE - EAR. SH - “{A 8 (Marie Rambert), 4 9 Jé Wr fit te + JE 4E STK (Bronislava Nijinska) , it + #}¥Z4E (Jean Cocteau) , KAR: Hi vz (Carl Van Vechten) MMC T + % 8 HF ( Valentine Gross). (TTA RR E— KAN tid, (HAR ABB, ARRAN S| eT Hoe AA GWE AT EDO BPE Ho Ee HEART HE DR ABE BIH. RA ARMM AT. MAT EIL AS BB ERIE RE EE RAAACROARNEERNCRES. HENAHE, ER HSS) “OER ZR” AI “HAY ZR”, BAN Seah as BR A Ao ONT A. MATS ARE He FEST ea SE eR PEAY (WER) (Jeux), WET EWNPET TAKA. BE bee SF OUR —<$_ XB, Bidets Set Az oh AR SER, (BME AR Ho RE A, tS BR AMT ARS FF AEH BUC EEE LT “ARR” ERATE RL, RASA, RADHA. FA) + HE AR (Henri Quittard) 7E (INH HR) b PRIX API “BF REE te, SHAH", HRA MRM RL PR, AB FM. ME, AAMT CR) MAAR, HER “RS BE” FER AN ME Se ]h—_AB Bt DAC es Ba SKE AE ETE BME (Gaétan Vestris, 1729 ~ 1808) AIA HT ‘9% + HEMTHF HW] (Auguste Vestris, 1760 ~ 1842) LF MA “SR” HE S, eR St AEE EE“ "| ——iR ATE @ Le Figaro, May 17, 1913.20 016 / 2B HALA, BASRA AMR AA, BREA WT BUTE TK ER NH AU VA BH fl 9 aS FH 0 A a A HE MAME, EWR BIT FES AR. TR 4 a AY Aes) Bo is PR Se, FS BR SE CK A NAH. RT REE. AA LER R, BAA VAG RAE Se EM —— fb ATE A ER BONG, AB MR ET A BE, TT AT EY EE BE J — PR, FELT Le JAY Be IAG HB AY TE TOU AL A AL HT i RAR + BORE A er Bk, BSH TRA 50 % AR EA PUNE SRE, Ht GLH HIS HE ft Bi ye A 9 J RR SE MTD” OP FA Fe ABE ATA At ABR oP I eG 2K SH SWERE LH, AGAMA F EAL ALR, BFE “AAT 28 7 a ay BN AR TT ALE, AA IA A tA WES AHO REAR" @ AZ, LAT — AF BL A Af a FE RNB Ait, AMARA ABH 1913 EA RAE, AR OT TN HEA ETT HOT, TER CR) RAO, HEE 48 + WISH (Gertrude Stein) ##) TAB HE FA EEA 42 38H8 + BPE AIZEN (Guillaume Apollinaire), MARA GE “FG BEG ERR Z MASH Fh HY PPR AL” te AMAL, ER ne —PAARA L KE OF. MLAB AA SPB —REKRS ASE F RAM, ® Gabriel Astruc, Le Pavilion des fantémes (Paris, 1929) , 286 - 87. (D Jean Cocteau, Oeuvres completes, 11 vols. (Geneva, 1946 - 1951), IX; 43 — 49,— BR/017 BHFALHA, ABM H, AMMA DAM, WHE PAARL, RS FE WY ER ANE BW AL, PT TY EA OL BH BET BE oe HE IT BE “HSE EIA” IBN EFE ITA? ARE BCR, ALA RE BEA EH Ao PSE CSE) HEAR AL, BAe BE AE ah A HY, th Aa EE RY PS EE HT) 5 BD RE BE AL Ws > AS ARBUWIR, FP ANTPAEHETE 21, HE EMDR. EFF SLA a ES HS FAR OB He AL AS A, A T, FeO, ERO, WOH. AAT EP RR, TL RL, TERRY AUT, ACT AEN, FH, WF ANE DU. “RRIF WER LT ,” FA + SEE RCE (HOME AR) 5 i— fe TE WERK), “AEE TD PEE HR, MAA AMI , AB RAE T "O H B Se AE ARR I ARIE AE a PER, EE 5 Fe RE A ATL A Re SE HE GC OT AA AS ES AAT RA ACR ALAM T. REM Ri, Fae, AK FF it. BAMA EA; MATAR LIL; WaT Abe A , GEA EA. RPA ERS FRAY SRL + JE AEST AE TS PRIN AB RE, Mee ADD S| Be Te ER HOURS; ANE TEAR EECA A be Bib eh Se 9 oe HR ie HE BAT @ Carl Van Vechten (ed. ), Selected Writings of Gertrude Stein (New York, 1946) , 113. @ Le Figaro, May 31, 1913. 2122 018 / #28 Eh; BSE + GAA HABA (Comtesse de Pourtalés) 4 7 PAW GA RMA RT RR, REA, PU: “RIG T 60 Y, RIBEK-KAABMAK.” MAN XY RAL AY MOR VERB ICE A, FA, AS AT KAT. SER, “YRY AY UD IR PS AS EER LF BB AT AS BS BT MEATBALL TE FE HE LYE? A ET A BY ED SR 9 BE HE BL T, BRT ARBAB IN ANSE HE Be BR AR + SERF (Pierre Monteux) , 4E IF SIU, WAGER, ES i. Heke AL Sib, RR ROCHE, BFR PE TROT: Je FETE SR CESE A MURAI SE, ACR AAT SS DEL ABZ HE (Ly SS 0) FI A A PA a Pe > A AG BS 3 —§$ Jed FE a PE HEE INS ik — ELIS Z A I 7B FE AB BYE FE AIT AREA SC IT SE A, LEGA AEA OY BRE, FE PL a SB PEE AS TE A AS BABES FAB A, ETE BERUT UTR, TEAR BOAO T+ Re BT AR ee SEAN RA. MARTI tk, ARR: SEEFUREREMRABH, BAS P HALE AL, HARB Ps, PMAN-RRAF, KMS aE BD, SHR, AT RERA AIRF A ARG MPRRCBLREEHR A DA—-K, MAA A KS yO P BRR, —RMATARAM TS, MBAS HH RAHAZTPHRG, MUMEBARLALKT 2% O KFARE, SMA MEH 3, KF, SM Hh AY Conversations (London, 1959) , 46, ® Richard Buckle, Nijinsky (Harmondsworth, 1980) , 357.— BR/019 FR IAT TA HE BSE AS BS, SARE APT the Be A AS TE RE — th Ae 3 HLS AY BL TT AN A ASH RTT Te HAY HE? EL JRE BLA T+ Hi $F TE U0 th FT Aas A RE De a FSS Mth AS FG ATE PE TE WS ESE, 2 Ee thaF “RSET” | ite AE BL CY np TE Eb He A OR Eh AF WL Or DD, 8 AR AE Ch Sa A SY Ft 8 KML? RAR + Le RE A AR the HH ARR A ER BE HE 1913 4EfE (ALN) (New York Press) iy RCRA TF A A AE POZA, ARE CALZOBT HR AY EER ARBRE ae, it ht TERA, RMA A LAT, th BB WK + HH4F (Mabel Dodge) HAM Rie TAA WW HK. WF (SE) MK, 1h Sad: FKULDP RAL, KHL TW Hb se, RH HA-KSHRYS, AMPRHML AHS, AMA ERM (MAIPHAURAECR, HAUAERR) oe Ki 40 BA ARAL BB, MARTH, ML wD SAAT IT , (2H A HEE, MLA AB EM AR A ty EAS LAER, RI, RRR dA [Hp oY Kk] RAM Sb ak ae ay AT ea He A 0 3G, AAR A A — BE HD BB ek me eR a AS ALIS 1H OD @ Carl Van Vechten, Music and Bad Manners (New York, 1916), 34. 2324 020 / #2 se RRA! Fo hd, i ABE PPE AE WR I Ti FRE, RE AA AF TT MS AED oo WLSR AL EE AE SE BE DA — RE, WT GUE PH — Sb EM AGI EB A? A 40 4? EAB A & AGE AE it BEE — NA ERA GR. MEA HE AT A BEB, BE FSI AG RAR + TAR A Se AEB, OT BT = TE iid HE 9 WE - FRE A Bh HE ME LA A, bb, HE BAR , AP ERE - JE FEM RMS Re, fe 2 BS BARK (Maria Pilz) 4 HS BE “ Bee HP AY A> te AY SEB” PY, BLS AE Ht Hew HY BEET Da We PE A ST, EB A th Sh — ABET, eA A A Fe A be BT VA BEE AR SE — 4h i fi BOK Wi CS) I HAS — HB REBT fh, CEI HSE, DF FE SC A Pe Ae A IEE SHRELE— i] oa L—A AMS AT te, RM GEHRSEKAKL, GHEA-+FBEF, MEP, WATHEACARR AR, RITHA. UTA PMH KAAT, WHARRE AL, ERAFBARMRAAY RUWRARKHAW, RSM EAKAL, KA PL AGEN ET, AALS OH HR PA-K, BK RENT, AMLY, UHRKRASEEH, AMS HEPAT? SGX BAAR, MINT AY ET Rb RET LAE | A ® Bronislava Nijinska, Early Memoirs (New York, 1981) , 470. @ Carl Van Vechten, Music After the Great War (New York, 1915) , 88.— BR/021 ELE BR APT AEN fe AAS AS a J OS PS YE BC, AR ATT A HG 1S «HES LAS A, AE A He oe ATT)“ A ee 4b” 2—, WW RAT BAH, ewe BI — HY AB! THe FLUE T + eS RA A — th BT ABAE SAO A (2S) HE EEE) A BA PS BRE tH] —— he Fe LET Fe ay Sy TT Gt SE AT Lich. KANE AS PARE AE ST SEL HR EAB EE A EMD fea: “PEAT AEA OT ARB ARS Te MO, RET BILE Sk FILM ABER "OD ASI? 100 2 Bh AR BE AY BCR ABT AS Bl? tee 0 + IA +B. HE SE HIT (Alice B. Toklas)® —#@ LT A. th WH AEM SMA CH, Te AME CHA) 9 e§— ith fa AY IB SB AE ARR + HAS EDR TW FRE HIT, MONA AR A BE ET PEATE ERY 2 Jn Ai BR A + BASU oe Ze fb 19 TB AZ ok HE, PPE BC EATEN JP Wea AS A, UE A A Ea HO WO “GUE! AST AT Dike AK RY” Pde, BAER Re TEE PEAY = AR A BR, SR Ts ATT HE ETE sin 205 FEB BAY AMY Be SD SS Be HAST” IS AAT) 2 DBZ ae FY BEI FF CE Ze AP, ALT A HE 1913 4E 5 29 AE AS BLN =F SCHR EE AB PTH | FB AY TL AZ ak MELE PA CS HAR EL SO AE WE? AG Wy RT i ge HT TEA, CAFE AR LAS He TAZ ET HE EE ATT J wh EH AY HI HK TAS FEE OP SY, FBR AR HP th BL EE, ® Nigel Gosling, Paris 1900 - 1914 (London, 1978), 217. ¥% J John Malcolm Brinnin, The Third Rose: Gertrude Stein and Her World (London, 1960) , 190 = o1. Q@ RPA, 20 thee oy ACHE IR AY OL, AAR A WEL HA, i iE25 022/ #2 HIER AAR A AA EEE EE i Se BE PO PSC IGT HE 9 EI TAS EE FE SOT 9 SSE, CALE RT HE AK WIAA, REAR, ELA A eR SCD be EE AR OY VAM BI AY RE FORE AY RL ee, ERATE ts? EEL WE AP A A IE SEAT VATE, a] st RITE GB AE Eh A, AS TE WL AR HEADS LAD, AE AAT AO A AAT 6 I Of ATT AFCA Z UL? TE ANI TG SPAN BRE, Pe eT ae HE AT, ALAR ME iL He HH TR REA. IR HE aA, EE MTA OMA, BITE HAE HE TS RAE, A FERC RAP 09-5 EB 5 ABH Bae HE BT ee HE WA REAR FE a a, WOR DR AT HE BE BL PE WAHL A, AREA A MTR CfllicfiT) (Les Sylphides) , (SBER) (Le Spectre de la Rose) il (PRAKA) (Prince Igor) ELINA HS A— bt Wn SE JG TL ABYSS HR HK a 20 HEE BOE “ERTL” FRA TOL) 0 i ES + SF] — 19] I] AN TEAM AR BEM Ch) ATE. MAT AE PEE Mh Cth) 117 13? AAG BE WR PA — AF, MILB T URE A HY ie AS, MWEREBS TAB, AAMPRHAARIN RX MT, WAM RM EIE, BATE TSHR EE ABH S| AG AS AR HY AWBA-AEEW. CREAMS ME, BU Rie A W: ZR T Pee HE PAG, ik + BEOC PETE MAR ied FO a Te RIG CSR) AY FT ThE AR URS ADL A PBC, BR ATTA TBR EPH BLAIS AME TS BY TB TH LAE AS RRA, fh EE EM BY” ARTE “AEA” CS 5 ea Ha, SE i 0 a i AL— BR/023 BR, MARES AE ATT. AWE AY CAE) A Sa 2 46 AY Et}—€$ (he, fh, ARCHIE. Je PETAR Be fe EEA, EVR BCPA ae AY BY — HR AE BE AP RK, ETH FB FF ea EL i TT Sts a AS Ab YF A —§ AR EL AE HPA ROC ATK, TALE BTR EAA. (AR AT AY ft A HHKE WERE. ECAC T + He 7 UY TR DAE FEC A: ME ART Sti A (Maurice Delage) MIG “Wm TMA”, SET + he BAK (Maurice Ravel) “(% 3} 33—PER BMI”, ERASE ER — TR B 3K (Léon-Paul Fargue) —“ fe] 3¢ th ie AY ta JB i” MEM ACHR BA + BAKE (Florent Schmitt) $V + AK LRAW KEE UF", BROTH B KEE “ZH”. A ABER (Camille Saint-Saéns) BP RHR BT, TBE FUL CIE UU Bi AE 2S ABE A BUSH PR AAR HEB A OCF PE I AU AR DG, Bh Aa A FR AM ICAL AY aE TT EN AZ AES (Ei — AS EE, BOP GSAS oA BEB Ay HE ME SEE ET WN M SABA A IE ENE? TTT TE RRA Bio ARAM PF 6 LLP a7 2a sh eas TATE At aE BARPEREWBAL, RPESREAWHSE LMR ZAAR ES ste Ay Le Any Ab TG SES Sf Ach 2 FS A mk EB BH 5 = YA FEY EE TAL EST AR RIE, FE A Ke AE ATE DL AA NAS 8 a AB As, EE DWAR A, ASMA RI, CS) RS BOAT “BRE” RORY A. BRE se — Bh ee BEIMPA RNC. HOE, CREAR IK,27 024 / B2R ABE MT SEF BE HE AS AE HIE HL PRB TE PH A BNL, RMURMEB—A CR) TAA Ee AY Bi Salk FEA ALF SN a HK GA BT BF HZ] HK Fr bh RHE 19 ELSE I UE TP AY, RE LE 114 4F pif BI Dye eS BE 7 Yk TT OE Tg SK RE TEAR, GER. SLAY AAT AE PE tla HE AE OB. EI AR ABTA 13-5, MEAT BE M4, TR dS IZA RABE DBL BCH RABE AE WR AT SUT + fl (Auguste Perret) MI ATEZ—, fib BALVAMA EAA RERSL” © CHF 1911 ~ 1913 4, ASSAM BET ESR. AL, BRT TE (4 A WEBEL) WA Er, EE SE BE TE Be tb PE — Fh DR 9 a faith, MARNE AY fe A AA AE AEE + Ie, YB (Tony Garnier) i, EXEL Hw fe E> A BH ABH 5 19 SHUG, BP Yt BT Zo AR Gl HY aE A i A A EF SN Fg LY ER A AAU BL BF) eB BP DE ie ER ST A FMEA OY ESE,” I BT, TS tla Sk — . HAAMERN, CBRL, RRR, BATH CLA RE Fa 9 FG BE” ® ROTC E AB TE AYR, A CHB A Be AE. Te) Ff EE ULI ke SH ft Sa PB, eS a SA, @ J. M. BAA (LM. Richards) geILIEH Z—, WIEN A Who's Who in Architecture (New York, 1977) , 252, @ Nikolaus Pevsner, Pioneers of Modern Design (Harmondsworth, 1970) , 181.— BR/025 BST SL ASAD “ORE TH EK” ESA UT BADE G+ SH (Adolf Loos) MEAFRCORRIAN, 1908 4E, Dili AY SES FA — CAE RAY AKA, 21 8 A Se A AE (Charles-Edouard Jeanneret), fh 4° EAB BT, FPA. Fe, WAAR TS 102 Are BY BY AR Le PHB (Le Corbusier) f¥) RA, PRAEGER, “MA, RAMA AE!” ae SR. “TEAR “Py ALAR Be eS A Bi an AR DE AE BG mey’® 1902 ~ 1903 4, (ila M8 4E Bf = SEK 25 SET — MU TAI ZS BRE, Ee PEO A FD 5 TR AE A HEH AT CRE. BE, HR I, A ER FAT ARATE A) BS AIR BE IE TA PM, AR By FAA YY AB AS Vd, ROR EAB AL ABE AE ETE EAL BEA BEN BEALE Be HY FEN RA ADO, ROE TT RM ISTHE, DE (QAR TARE AR HB HR hE A Bs BRE GS RA EAA SE TOT, 18 Hee AY A, JL WA AMBA , WAS BY RH AS BM de DA a AG BO AAR Jes a) A at 0 AG SHARE Ay SH OY) EE LOA EG AB ak — EK) KEL EAU EE, SED 1900 4F A THE PD Ze a AY, HE RAAT TRI 33k PAY AE ES 09 HE) DR AT EAB AMG. HELE, SAMBA LRT. EN RAP REBAR, EM EE, TG, BESTA, GLAAD AE. SRILA B28 Td Be @ Peter Collins, Concrete, the Vision of a New Architecture (London, 1959) , 153. 2829 026 / #2 KAKA, MAP. ACD HEN ME — Sb ie iti SESE TT + @@/K (Antoine Bourdelle) fA PG YPBEMEAR, FE ILATTZ AR EAE aS Bs Wa TUT Sh tA AY ER PD, BE aH A TR Go AY) HR. PRR Py AA BRT, i A EU: Jk eta BETTE AW FW, ERR ICI SW, ROM CTE AIMED HR Wi, SG AE ALAS He ES, OL AC AE A aM Berl Le, ik APE AE A AN Ce AL AE AD REP AA HK REEMA, RRAKA BAS ORNS N, TA ASE GIT + HEE (Maurice Denis) 2: i] (4) SE im, (ALS A fy mR AS LE ET. ER ERI ie RZ — A, aT A SEGK SAR BE HR IBLE, BN YE ABE SL ed HB Os SR AB “PAK ie BB.” ABE? GN AE FEI EB Be Ab OB OE, EE Bi, DRS + UGE ee EH A tA BE aR BAL GE YD FF 5 SE A A FY, AU BS A DE QA By E871 A RAS) PE WHI], Zea HB BTS, FREON, CREAN A EY aE ST TPA SEN AR HA BGT EA BT. HE A “TEESE Al + EAEAEDE (Henry Van de Velde), th dt—fir FIAT ERA. PASE HE BT 2 A I ah AL Hm, fl BA 3 ZA SAAR, HEH TTI AY “A ese” We ft WR AA A, TT EL fh ts Ze 2 Er A AY REI A, CORBET. L. 2S (J. L. Frain) mi) 5 3 098 357 Be JE “SKB EMF CRE” 6 BPH ERATE ROKR + ELE @ Daniel Bell, The Cultural Contradictions of Capitalism (New York, 1976), 110-11.— BR 7027 JX (Emile Bayard) 485) 0k: “SER”, TESA DAL Ir - Kae (Alphonse Gosset) < #13 BASU PAU, Ht 32 BE Ol REI KM AH EA HK B fo HE AAR HS RB oH BA, RALAREMLEARHDTAMM, ERA, LLAS THRO LORR, MTR! EE AAT CE CEE IE ES OR PE, RO HHALWE RAW — FA © ZI ABE BIE, IANA FE RE a HAMMAR AMIR. “HAT, FERRE Th, PEAS RTT AR BRD SRE, HED ee iy Bae HE a OE SRL sr, 0 FEGHIEN . TEPER, BTA ESA EAE RA SEAR, (EUS EE dt , ERR RAD BOI HY FE EE IRV T 2 Bl 20 thea — 4 PARSER IAT, A — EY ZAR ae Be AB SE a JA BH EO) ACEH, Gil ANAL BE AR ZK AY HAG + TL AEWF (Peter Behrens) , Ai IIT DLT + HAAR FFA (Hans Poelzig), MISH FA) - Wi (EHTS. 1907 4F, MA Hy “POR eR” or, E TE Aa AY Tah PB BE RIE OR hI. SEAS, OT RR SEU TREE, ES RE + A SIT ( Walter Gropius) ABR ME A + KT - WHEY IE (Ludwig Mies van der Rohe), ETE 1907 4F, MALIAARSL, CHW AA A, EKG CMA EAB, LRWHOMEARLA @ Pierre Lavedan, French Architecture (Harmondsworth, 1956), 227; Collins, Concrete, 191. 3031 028 / 2K RAAD . IBA MTEC EA Al, AD ART, “YAY HE HAE ACSI, OTT TE + DG BIDS A SE 5S he F 8 A, HERE TEN LE BEE AME 19 BR JAG RRR + BALSA A Ee BAT ES ML AR 1914 AEF AY Ae BO ELA AR FF, BANE EAR AY Bi 8B ZS UAH AAD, BERKSh EA fey Da BE AY A A Je i AN ABE EG A JL, aT oe A AS A Le 2 EY 8 Ao fh i REZ Be, ACE AY AZ RP EW KR LAO MRE, BR. ee fH RR Ae A FIT SK BL Ab FE PO SB A Ae at ft AR EME WE AT RE (Enoch) #5 AH WES i], MCE EE IR EH AE He HE A % - 78 - KE (Count Isaac de Camondo) RH LAH FRR VED FE, F 1904 4E 4 Am TOW ER BD a” We wD. DEAE A SEF AS SRA ST AE, Gala, KAUAI + BRAS (Wanda Landowska) ANU + 52 JH (Arthur Rubinstein), Bn f 1905 4E “AA” AY A RL» 644 (Enrico Caruso), Fi) - ALF (Lina Cavalieri) AVSSE + HE (Titta Ruff), A 1910 FALE TABS Fl, HELTATAT BT As A? + FESR ESE (Arturo Toscanini). Bap WTF A FEN TRE LARA EER TAL, ALL A HME BAM RB ESE (cakewalk)? DOE A oe I ee TR RE Be” ER @ = Astrue, Le Pavillon, 240 - 59. QD MMF Ky AER , SCR LA RE Oy BR ah THE. ——iF ik— BR /029 ECHASASAA A Ui fl HET + FAP AB Hh DE A SE Fe AE Ye A ht BY AE A A BE A ( Comtesse Greffuhle) ——@ 37 +30008 + BARTERARAAMRERA Avy BASE EA a ka), RS A ATR UA 8 BB ABO AGB Py HE (Paolo Veronese) fil # Hb BEI (Giovanni Battista Tiepolo) aH AMIN “te” Oe BRAY RLM A IE + K. WEE LCAREF (William K. Vanderbilt), 47%) + J. Bas (John J. Astor) , SéFifO3 - 229L (Clarence Mackay) . fa WIT + rae AR & (James Stillman) #UKACBEHF + HEHE (Pierpont Morgan). 4£ (E89, TE HARA (Lady de Grey) MGT KH (Portland) AULLAF (Rutland) BH ALS BEAL A VA Be Se Wa A HE DL SE FY A PUWTRE - BSUAR Be (Sir Emest Cassel) Aj 324%. Ba UPA A Se AE TE 1906 46 FF he Pic RH — ET AY, TEU ALT Ey USE GK EY, AG TE AB: ER Hil Bre AN ES, BE il Boe EE BL HL ak et Oe, DA BS Fy HE 2 A BE hil 2 HG Et, ETT Se BL BA AA a A BES, LE HEB AEE, GR Se BR Dad A He ee AY A HE — BY PE vids FR Ae AN THT BEB AB HE Ee PERE. SRC UR UE Be ft A, ABR LT AY Ee OT AL “REHOME ‘FRAY RN BE” eh AP AA. I A EDR ACA HEBER "Bi SUT Se ETAL AZ ee te ES GA, “UBB KR RAEI A ABTS, AW HIB A A ok DIR TES — BORA + ADOT RRA, A AFA “He a oe a” (Greffeuille) , SLM ATR La Péche aux souvenirs ( Paris, 1949), 202., Albert Flament, Le Bal du Pré Catalan ( Paris, 1946), 258; George D. Painter, Proust: The Early Years (Boston, 1959) , 115 32030 / #28 Ve, (1 — A ABT i"? RUA BERRA MT, Wi LAS BT A RE 9 AR RR #8 (Rothschild) MBMARHV ELH, BAK AMAKBSK Ral Be tit 822 ER HG +H. RA (Otto H. Kahn) AHH AN RHF AlBeF 1913 463 A 30 AFPub. PRS CE IE ANAT ik ee ESD SBT i ON TG ARS, 1 AE AE HE BT FB COMP ME Be Hi HF Ao 7S At Oh EL STE SEE EB, RE BS FP ML FF ARS BY PBR OR AB AE HS WAIL 2K (Hector Berlioz) (ABBE + MAE) (Benvenuto Cellini) WARAR{A (Carl Maria von Weber) fi) (ESHA) (Der Freischiitz) , HAA, AMRMUPA ARE EL, RE, 11 RABUTERK. HARKS, HAGR. KSRABRK ERAZWHAFH, THUMAWALLH. “ERB” “te HeEREL", RHMAMA TAKS, HESE —BOKIK - ABATE (Jacques-Emile Blanche) Wf) £26 WIA RRO, Hea “RE SE Ae RR ee lt AC” 4 ft BUTE E), AIRE CNRS RARBRRE MA, 6 AH SBE TE MAGE 5 MENIAL A AE — UAE SLAC th Bh AE HE MH ARENA ARIER LMHSR,.? Rill, WR ARR Ta) ET SK, RR A HE HES @ = Astruc, Pavilion, 282. @ [aE +S, 283-84; Blanche, “Un Bilan,” Revue de Paris, t. 6 (November 15, 1913) , 283 -84,,— BR/031 EAWNANRS HEBAA “BAG, RES + RABAT,” 1895 4, TYR te + HEEB FES AEM PS: “ATA; Hk, Abe AMA; =, RR, OD, RARE, ULF RAR UW; Hh, REBACRARA LSE. RE, RA RMI SLT FC ECIE 6 (88 cin —— 1k — 4K DEAR ITD, FER I A ER AB A KH BE SHAY" ® SCE GDL BS Hy FL BR BPE Ph HE TT LT i a TH. EAR PAK OR, AS, AER. FE He PR ZA) A ULE A Pe J ES HY FE PRTG, + BEAR, — SARE Se ARs A 1 GZ OL dE EB Ay AU PERLES HiT 5 DLA AAP AB A 1 BS HG TT A A 2B 3 HH SEAR AST ES . FETE BFE AY 20 RTL Th ER, AL — a EEE Bh, AAT ILEAW HT . he EA, MRR GER. TE RFT, SCRE — RE AB A SP, AT DIL) 2) Py ia ie PSG ar FA BE Ph SEE NRE Ks 2 ba BAS th — a PEE, A DIA BT AC ha A TRE. FAT He A AD, fe AEH ROA Zi ANE Te HD ha ZT), RE EH — PPK DY AEE UH: I Wi EB AB Be HI AR FE AON DRA Th — AA to PE CE SOR A ATE le TOR A ( Gaius Maecenas, fi 70~8 4E), JGR ERI MT AF ZR ME Bh HAY CH Hd PRE @ Amold Haskell, Diaghileff (London, 1935) , 87. 3334 032 / #28 AUR EG KER EA . Ste, ERS FEAL + REE FE (Boris Godunov )® 3 EMA. fh BES dE SHA AER AE AT, TT EL a8 — 9 eR — fb 8 > AUER RS EMR CURE AR) = (Parsifal) A C8 BAS HK) (Lohengrin) "PUY OKML IA, M8 WH Ll, fH EBL AT I aU, UL BEAT PE th Be a TE PRE + JE EM SEBEL, HE EAR, PRR TKR, MA WEAR BF, 1 DDT AE ET SR RP A HE AB AR, ABA RATRANAAY + WMH A (Benjamin Disraeli) fmt EAH th FEMA INMER, TER MU W Mh FE ABA AE. RL, AEE RET CE Hy TSE EY IL A A ATE OR HEV A WY i RAK P ETE AY AEE ATS SEL A BOT A A eK R— A Ai BBE 19 tHt4e 90 FEAR YD SLAY YS A bs, A SEL EB) BLA T EERE th 1 RB de EY 0 A TE AT HEM AED, AALS SAAR: A 3B ot TA Ch Be BY A rT Td A A df Fd 2 2 A BESS A AT BAT A EL ADL a BK RE ORE HE; RUSE TE, ART SE He BEB, 5 (EAR A AE 20 Ze 2 IL BEAT Bh ER PREF UWA BPI — RB, MANE, AP aE FH HR BE AURAL RRL AA, HB aR BE HE BC 1 HF BE WE — Hk. SATAN EE, HA RR; ARE RE, te ih Bk DALE OY BB CP ALB ae HE sR AAR, IP HE 1598 ~ 1605 45 i 29 AA EA BD SE, —— PEATE @ Romola Nijinsky, Nijinsky (New York, 1934), 49. (eH # + ELE AK (Richard Buckle) ff) (fEA FUR) (A129, 1979) He, Aa fA Ey i A AY 5.— BR /033 SEAR ETE FU AAG AE ek 2G A Ty TPE SA AE, Hf SEE AS SEF YS BAY HLT], EE A BAS IE VA Be SCA es IRE ATO, LS AS RAR AS Be, TAR GB AU AE TSH AEE ATT CE ATA Fk et FB 4 Jd AS, FEAR ARIS, GRE 1901 2E, A BRA TA A eS IP ABR AT AE JEAN TY GRE A, AL ft EL SEAT T ACHE A OUT A FF AR BARRE, BABETTE 19 tth4d 90 4F (RO) BE WF EO A OY, IF HE 1893 4E 21 3 WYRE HR MRA TBE RT AY ETE KR, FP WR AA SOTT HE. EI SRR —§ y HAA TIL Sy i FR Hs HR BE RT A PY Re STE AS, TERE SORE AR 7 YY EH HE LB J HE RE, OS Jeg BU GUN AY FE Ai Se D7. 1898 4, fe A — FA Ae eT — A CAAA) (Mir iskusswwa) AVSEAE HN . ARTI TAN SE, AUR AR A TBE, AAT HL, OR BAT EL 4000 WU, UGEARE RY GR SF AY A Be IR A A Se A HL Se DH A) SE A BS ai, ARR FM EDR IR BI ARK UR A Er OR HEY EE, TER A eT MP eI. 1899 4, fh te A BE Sy 1 WH ERT EN He UR AN IL fi, BL AN UR i EA I, MA ATT HD Hie ER AE AF th Ze le EB BOT JE HE 1905 4F BB LE Ah LE ALTE PAN — Mina HEA. IB AP FARO BL, AR Ha AY— AE AAS AAT ES T Ub AYE BA ALLA, ERA RET TVA TAC “Ti BA” ME MRR A, dk BR HE oY HS Hae SE 9 PE ed, TA SUS 5S SE AE is OE IT BENT AR fT ESE “RE” WOE FERRE AE, 3536 034 / BZ LERWMA, RMAF HRRRELH, EERE ERM Ki DAA BAGG (Potemkin) Ae AIGA, IT — SAARI YR 7 IG DG SS AR TT FRR HS HE A Hf AS EG DA FAA AD SEAL SA OCH SE AB A) CU 0B) TB TPEVE DD . WOE 2 AFR iG, Fresh ft 4000 oe teh im, HE AER FAY FY ARI 35 OR SEO CA AY 44, WE HY 32. ES AM RARZS A, SWHEAUS 45000 A, MW EAA PCE RAY By OH 1929 46 AY FP BE, JS ae TE He, HKRIMSMH HAA 5000 ZA, ROMER DH SBE WOR BEAT BL HS Z Aa JE AH ZS FP RR Es Hd 8 — #2, ERMA AMECRRAAWLRELH, RM ARA AB SL “SUA HE” OE BA, TE AE HE AR EH YE ah HH. BOE, MEER NRAH “KEK” BATH PWM. RGAE FLAT AAR HE, DAE ARI BY 18 Ube HY i, FEB) CZAR ALA PAA Ace 9 FE th. ORE BEA + BB A AA) (Mikhail Vrubel), BLE 3% - HH (Valentin Serov) , WH Ll K+ 44% BK (Alexandre Benois), 3 f+ EL 90 FR (Léon Bakst) , MWAH - BALE AL (Mstislav Dobujinsky) , Je Tdi, + YAP (Nicholas Roerich)? Vi BROKE GTR + ALE (Mikhail Larionov) FAME MRE, MRR AB ASE WE SLAB ALEK IRA (Grand Duke Vladimir) , AX 5 145 HAE D John E, Bowl, The Silver Age: Russian Art of the Early Twentieth Century and the “World of Art” Group (Newtonville, Mass. , 1979) , 166 67. QD KVMMA, KRAMREH, EHNA CARER) HEBMA, OF ZAR) HOME AUR LIT. — RATE— BR 035 WABAA, WARE RRM. EARS SLATE AP tt DS TDR ad A ET St a A Hh EO ED NRG IM TARA 0 Wha, MODE He RET 2B, 1907 4F, MS A 16 308, ERM BRIE TRGRRA, EMR TRE ME FR, EAE — BAR BE RLF (Rimsky-Korsakov) , Fag FUE ii FH (Rachmaninov) Affi (Glazunov) 4} HR ThA CMHA. KIA ABW se (Chaliapin) MUA EME WE (Cherkasskaya) . [#4 (5 Ye i 0 #5 2 Ba 3 RO AR UE BE TEAM. SAF, BN 1908 AE, ABUT RE - BEAR BERL A ale a HY ABA ARI HE (Modest Mussorgsky) ff) (#0 HLT - 3e Hi He) (Boris Godunov) pi #F BEL, 1X AK PEA FE «1598 ~ 1605 4F FEAL UD VAR fh AE OE, CPE ARIE AR EK, FEAL AF TRAE, BO AeA AE At A TERA RTA T RE. AL, ERE RB PE hE Si Fe BW ST AY IT, OR + HERR REA Te FRM RR OAH, RACER PWALAA EA ETE. AP AER A A Hh HE FR SK Ty,” TEU ARAB AA, (ER ARG T AG BURA BRST A: Le ATT i HM He ES Ui EAR os TA YO i RE I PE A AAR YO, TAR OR AD: CR BARRA ZH.” PA SR, MT ER ZINE FEL ARATE, RR ET AG A. (BATHE ARAL, DBL BEN Be @® Misia Set, Misia, 151.38 036 / B28 KEABAAR , HET AA FA DC He i sh TH Ba ee, EE RAMA S TAH HY CRIES UN OY 2S A A SO FAS NS RTS, ER SG a id OY His HSL Be A A EA Be Feo Bit, EAA, RP AEE LE LAE, He ILA KA, WROTE EAP, He Mag BE REE Ae a ial, TTA ROE T CRT HE. “PEAR,” TET IAL RA mW es ABS, “I Je 9 J PER — A A LT EDS HE ETA, BESS AY J Bs BT SAMY, WAAL ZR KA AT BS AL RA ER HE fin’ ”® LOLL AE 6 A, EAE Be LE a FI Fe BR FE BI AR i SJ SE Sh Hit BG OK AR + HL ME IE — BEAK BE BL HK (Vladimir Rimsky- Korsakov ) ——Jb (32 (6 th Ae (9 JL#——$8 5] 3 — i 9 fe HE a Se RAE Gay A Fo He aT EE EAT RB ho RAS AT ARF AB HEY AE EA RAH He HEB I HE KE HS Bot RHR IMO TRE -RS OUT OE RH FEK A A HEBE— , h HEOHRMERGARLAE GE 2 BY 19 HCA, RAZOR TE ih, SEB bef Si le BE A BOP He HF BO AE CH, ERB EE TE Le HEL @® Janet Kennedy, The “Mir iskusstua” Croup and Russian Art, 1898 ~ 1912 (New York, 1977) , 343. @ Robert Craft, “ Stravinsky's Russian Letters,” New York Review of Books, February 21, 1974, 17.— BR /037 PE 3X LUA (Wl, RAT ek OAT 2 2 38 th —$U Hee HY HAE EPR GOR ET MM Clone painting) fy SERN, i et a Si 22 ZAR PY ERE MSE Bs EFF BL ETE HY Fe AM aT AEB eM TT — Be. 1909 465 19 A, CE RTE EEE BRA ZL TA, DAE ER A PUES 4 Ae AE HRA Bo GG ES SS SO PEL OY RH PAL, FP ea eR Hi TA PL SC Bd i) (Le Pavillon d'Armide) , KE (PRK) Pa BK SEN TB— HEB CELI) (Le Festin) . AB — Wh wt Tt ae a ae se HP A HBL , HT L909 4 FAYE 4S AR BCA ABR HE Be BH. 19 tht SOAR ANY ABR, ELAR TE EL 8 A TR] Ze I OR oh PE, YO VS BU LAL ASAE Ak. AN TTT A Hi BAS 2 GA HE VB AR HAE + ELGE28 (Richard Buckle) HLA), “AADC: SU AY Se FE UE Ret i EA — A SR ER EY He MIN AYE Fa He A EAR, Ee a He TE A WEE. ROM AB ET RW, ERT. (ASS A a LTT 9 Ae Sk ANSEL SL, WASH WT HO 8, VBR BR 4 — fl] (EL ETE 0 is 4 WE 4 8] —— TH > A. EMA EL Few Sh, He ew AN AT a oR — BB SP. HA (Mikhail Fokine) A 4aS¢32 RA 4 i AY AE He SPR AE, BOE JE FET AE AY Be PRU & WH eK HE (Anna Pavlova) #-K A BY Yk WE ( Tamara Karsavina) (HEP A AR AEE AR BEE AE PRB T Je EMT AEN — RR, ERR Ta AE, HK DFC AE EE SR AAU ED ML ay NAS Dd LB A 0 J BUR. —PRAE @ Buckle, Nijinsky, 92. 39038 / BER Ai MAb 2S 0 FATA AEM RK, Bt ANA MEK FE RR RAR AE; We FBRAAG, RARER AIL: “RL RL OR Me HRRMAR, MEAS PHL—bSIL,"D BS A Se A EAB SH, GA MN RAT. PRA. TAR ARLE PE POA RR, BREE PRAT PLATE 1909 4F, FERLSEWSS (Quai d’Orsay)® ERE TA Ag TNL Wo es dB a TT SE We bE I B'S JAE a, ERA FARE ATE To TEE IC UE: LASAMMMAR—RAERMEMRER ASH DE HH R65 B—— Eto Kisii, AERA TH SHAW, RRAMM, RFRAMP LH, LH RMR 4 GFR HAH A A AB HEE ALD 1910 4, (REP We A HG AR, YR I SE AAR BS ST ST Brevi. LOTT SE, Ay aE Ge AE BE A SAE eh ATT TE SR 9 ZS PF ATIF IE NS PRISE, nT EA — a BE AT, ETH Fe, TAY 2 e—— 4B HE EA. BE PO HLF @® Tamara Karsayina, Theatre Street (London, 1981) , 236. @ RMA AT EM, ML BSCR PEATE @ Marcel Proust, A la recherche du temps perdu, 3 vols. (Paris, 1954) , Il; 236 - 37.— BR /039 “4H, SA 1911 4E 3) 1913 4E, EB EON AS HEA DR: Se Re BW, BA HK, CR, HEL, A IT, — BR OX a REAVER. WAR ESE EMA ABI RP TA Ho (RWB) (Scheherazade) BRM, POMS E AIK - BTR (Reynaldo Hahn), fh AY A WL ABA 3e BN AR ED WS GE + BAY eH (Harold Acton) f& ix FE HH IB IS MS PE Hh A: EP RER MG OSA S Bay HH APRAK HY ZA BAGH; CRY KK FA Mm EK; ATHO RRP eM, Roe ee Fo bE i KG i ede, PMMA -ARPHAG HT LRA; CAMHARZREH FRPRE MRM RHERA, A Ai oy 4.0 ods He Fo HE JO A AR dee AAR AG AR; JE AE BIR fo FRE RMR GAR, MHESFRHERRAL (RARE) AAGORR, Re MFHARALTRER KAKI HRHPGBLFRE RRA BE BS TT FE TH AP AOA AE Se A A + 1 FE ( Rupert Brooke) , J& th AB — (CA 4 i #4_E fH) PA RR 45 Hes BY SAE. 1912 AB, ACE — OE BUI eR a Es “EBA HE GABA, FSB TE ATT PT VAR Be HR ATT HY SCA Ta RE @® 4%, 1911463 4H, Marcel Proust, Correspondance, ed. Philippe Kolb, 15 vols. (Paris, 1970 - 1987), X: 258, @ Harold Acton, Memoirs of an Aesthete (London, 1948) , 113. 4041 040 / B28 WORE, FT” 191 E, ERBHET ARMY MAA]. 6 26, fe Bi Fe Ma AL EBL SCE AE BL (Covent Garden)®, 46 JH (E38 thi A) 10 TAREE NITEM , AECTR AME AA, ARPA RE, BIE BYE ZS BBE DA BBR FB HL eS HEAT YB OT, oF FLUE AY I REE TR “BRE, FT "Ee Bil Ae Re, “AR IT EE A ERT ES” BART AAS TER BOR GRIT oT 9 (10 BURT MH) — (The Illustrated London News) , "FF EBL SC 4% 4E ba wh 37 — 4S a BL AY BRB ZS a CARER) UFO, FP Re ER RC MR) Ai (Punch)® 427 5S AMIRI = WS ERR AY UE, RW AR Ae A Ze ZA FD A BE 2 VL EBA Ay SS HP A TB ST EE AB EB A ANH ELLA EI, TOR HE BK IK. EMA — FF th He 1909 4F i EAD «oe A OE HL) (Cléopatre) PBEAT . TRUE AY Se: — 100 Ea ARB TE — KR Jeg AI AR IS PFE Js AA SE, HT ASE REY AE RE ASH THT. JRE A HOKE ER EAA, WA BiB zk RHAMMRE. (LEMEBKIT. Fe, CREAT, MAEM T Bo fe 1912 AE WEE, 5 A 29 AER AY Oe (BAM a) NRT AH. BAZAR ENA, He @ Edward Marsh, Rupert Brooke (Toronto, 1918) , 75. @ BAKE BEATE RTE C841 AF BE Fa BR LID Pa AA RC A 3H) (Punch and Judy) 6) AMHR RR ICA BCT AIC AEM im EH Ae A fi. Ra TE