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2017/12/01 第194期 訂閱/退訂看歷史報份
紐時周報精選 From Buffalo to San Antonio and Beyond, Museums Woo Members不收門票 美國博物館招攬會員
So Where Are the New J.D. Salinger Books We Were Promised?《麥田捕手》作者沙林傑 承諾我們的新書在哪裡?
From Buffalo to San Antonio and Beyond, Museums Woo Members不收門票 美國博物館招攬會員
文/Geraldine Fabrikant

When financier Jeffrey Gundlach showered $42.5 million on the Albright-Knox Art Gallery in Buffalo, New York, it radically altered the museum’s long-term agenda.

The gift was predicated on the challenge that the museum raise $50 million more in just three months, with the money going to a major new building as well as an operating fund that would help guarantee its upkeep.



Such transformative gifts are unusual for any museum, but they are rarer in cities where wealth is not as high as in cosmopolitan behemoths such as New York, Houston or Los Angeles. Smaller cities generally lack the influx of newcomers who are willing to make a splash with a big gift in their adopted city, and their museums depend on luring repeat visitors.

Sometimes, to do that, museums are forfeiting admission fees. As Julian Zugazagoitia, director of the Nelson-Atkins Museum of Art in Kansas City, Missouri, puts it: “If a museum is free, you can come and go. You can come often and do one gallery at a time. A museum can be like a restaurant, you can taste one thing at a time.”



Indeed, of the 242 museums that are members of the Association of Art Museum Directors, fully one-third are free, said the association’s director, Christine Anagnos.

That trend puts particular pressure on institutions to exploit their existing resources and to bond with other local arts organizations in original programs for the public. Whether these programs take place in the museum or outside, the strategy is to lure more visitors who may well become members.



And museums are doing just that. Erik Neil, who took over as director of the Chrysler Museum of Art in Norfolk, Virginia, three years ago, said that 75 percent of the museum’s visitors come from within 50 miles.

Neil has worked to involve African-Americans as well as personnel at the nearby Navy base and lesbian, gay, transgender and bisexual groups. Among the efforts: an exhibit of “Women and the Civil Rights Movement” and “Thomas Hart Benton and the Navy.”



To make the Chrysler Museum more welcoming, Neil has done away with museum guards. Instead, he relies on paid employees to act as hosts to visitors. For example, he said, “If visitors have questions, the employees can get in touch with a curator for the answer.”

Directors are also breaking through museum walls to extend the art experience into the streets and on to museum lawns with cocktail evenings for young members or even art events that go beyond the museum doors.





美國一些較小城市的美術館為求維持營運,開始改變生財之道,其中之一是捨棄(forfeit)門票費(admission fee),改而強化會員制(membership program)。

較小城市的美術館如此做,主要是因他們仰賴(depend on )回頭客( repeat visitor)一再重回美術館,才有收入可言,因此強化會員制收取年費,對美術館的長期經營更為有利。

文章指出,較小的城市欠缺(lack)如潮水般湧入(flux)的新來者(newcomer),這些可能成為新遊客的新居民潮在大城市較會出現,且這些新居民很可能是樂意為他們所選定居住(卜居)的城市(adopted city)獻上足以引起注目的大禮(make a splash with a big gift)的人。make a splash字面意義為發出水的濺潑聲,意為製造轟動,引起眾人注意。

So Where Are the New J.D. Salinger Books We Were Promised?《麥田捕手》作者沙林傑 承諾我們的新書在哪裡?
文/Matthew Haag

After decades of silence, the famously reclusive writer J.D. Salinger finally had something to tell the world: Leave me alone.

It was November 1974, and Salinger briefly stepped out from his secluded life in a small New Hampshire town to denounce the unauthorized release of his early works. In that interview, one of his last before his death in 2010, he confirmed he was still writing — long hours and every day, he said.

沉默了數十年後,知名的隱居作家J. D. 沙林傑終於有話告訴全世界:別來煩我。


Nothing new by Salinger has been published since 1965, and no one close to him has suggested after his death that anything ever will be. But in 2013, a documentary about the author and a related book offered a bold assertion: He had not only continued writing, but also left detailed notes to his trust about releasing the material between 2015 and 2020.

The blockbuster claim sent a ripple through the publishing world and became the subject of numerous news stories. “Rebel in the Rye,” a new film about Salinger released in theaters last month, makes clear that he continued to write long after his last work was published.



But it is almost 2018 and no books have been released. So where are they?

“Yeah, what came of those?” Matthew Salinger, the author’s son, said in a brief phone interview this month.



When the author’s widow, Colleen O’Neill, answered the phone at her home in New Hampshire this month, she said, “I’m sorry, I can’t take this phone call,” and hung up.

Matthew Salinger, who controls the J.D. Salinger Literary Trust along with O’Neill, shares his father’s disdain for the public spotlight. Did his father continue writing late into his life? Did he leave anything to be published?


馬修.沙林傑與歐尼爾共同掌管「沙林傑文學信託基金會」,他和父親一樣不屑成為公眾注目焦點。 他的父親晚年可還繼續寫作?他有遺留任何作品準備發表?

“You are not going to get an answer from me,” Salinger said. Before hanging up, he added, “I would consider the source.”

The source was “Salinger,” the 2013 documentary and book by the same name, by David Shields and Shane Salerno, who spent nine years researching and producing them. In the last pages of the book, they cite two “independent and separate” anonymous people who assert that J.D. Salinger left instructions “authorizing a specific timetable” for the release of five additional works.



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