【詹文男】
2008/09/19
「知識管理」成為各界朗朗上口的口號，加上政府政策推波助瀾，即使不瞭解其內涵，企業組織莫不熱中建置這套系統。
有人戲稱「知識管理」是資訊科技業為提振市場買氣，發展出來的名詞，這雖是玩笑話，不過，企業若未能掌握知識管理的精神，盲目投入，將會白忙一場、毫無所獲 。
事實上，知識管理絕對是每一個組織必須面對的課題，尤其在轉型為知識密集產業的過程中，如何協助主管有效決策、快速回應客戶深度且即時的需求、並使人員流動對組織及客戶衝擊降至最低，在在都需要將企業知識作最有效的累積與分享，更進一步將知識加值，創造更多的價值。
不過組織推動知識管理的過程中需避免一些顯而易見的錯誤，才不會半途而廢，這包括：
沒有獲得最高決策階層的支持：成功的知識管理通常需要一段時間才能看到成效，有時甚至需要reengineering，所需投入的人力、物力相當可觀，若沒有CEO的有力支持將很難持續。
沒有獲得各功能主管的支援：建置知識管理的過程，需要進行相當密集且耗時的討論，並形成共識，這都需功能領導者承諾，一堆兼職的成員，將無助於知識管理的推動。
過分承諾造成不切實際的期待：知識管理成效需長時間才能顯現，因此千萬不要給高層過度的期待。有些知識長過分誇大知識管理的功效，認為一旦建置將可解決企業內所有的問題，這將造成反效果。
未能有效宣揚知識管理的理念：員工認為這只是專案小組的工作，而非全員參與。
選擇技術導向的專案負責人，忽略使用者真正的需求：尤其是採用許多新穎但不實用的技術平台，或者只重視特定群體的特定需求，反而造成使用者的抗拒。
沒有規劃適當措施以建立分享文化：知識的分享是知識管理成功的關鍵，要鼓勵員工分享自己擁有的知識，需全盤性規劃激勵措施。
盲目相信技術供應商或顧問公司的效能承諾：每家企業都有其特殊且單一的需求，相信快速的解決方案，將落入供應商宣傳文稿的迷惑而不自知。
使用者工具選擇不當、沒有提供適當的訓練：如何讓使用者能夠非常容易的累積及分享知識，需要有更具親和力的工具及平台。
以為知識管理系統開始運作，代表專案的結束：由於組織所處環境及使用者需求快速轉變，因此知識管理應該是動態、彈性，且具延展性，隨時間演變，因此，不能忽略維持持續運作的成本。
（作者是資策會MIC資深產業顧問兼主任）
【2008/09/19 經濟日報】@ http://udn.com/
Tuesday, September 23, 2008
Wednesday, September 10, 2008
The Stage Design of Cat on a Hot Tin Roof
The play we watched on class was shown in a film form, not performed on stage. Hence, I started to wonder how that would be if I was a producer and I had a plan to put this significant play on stage.
According to the film version and the script, basically there are only two major scenes, the bedroom scene and the balcony scene, especially the former at witch at least 80 percent part of the play happen. The balcony scene, though, doesn’t occupy too much time, it still has its meaning and I think it plays an important role to the play.
Therefore, here comes the question, how can I put the two scenes on a stage and make these two have certain relation or connection at the same time? I have observed that actually the balcony is always there and it never disappears from the play, because it is always right there behind the bedroom and the audience knows that as well. Based on this point, I acknowledge that I have to add some devices which can make a perfect fusion of these two scenes. Suddenly, something crosses my mind, and I recall that there is a brilliant and huge prop on stage in a bloody play which is featured a demon barber named Sweeny Todd.
The barber shop really impresses me a lot, because it skillfully makes the barber shop and the house of his sinister fellow, Mrs. Lovett, in to one. This device truly saves time and money when changing scenes and working the play much more efficiently. The arrangement also conveys an idea, in my opinion, and that is like saying Sweeny Todd and Mrs. Lovett are the same and they should be together, so it is their doom to die together and at the same sinful place.
From this idea, though Brick and Maggie are not the same kind of person, obviously Maggie never wants to leave Brick, for love or for money, I am not sure though I prefer the latter reason, but according to this situation, Maggie is much like Mrs. Lovett, whose stay I am sure is out of love with Sweeny Todd. From this reason, the balcony and the bedroom never should be apart, if my interpretations are right, because I think the balcony refers to brick and the bedroom should be always woman’s world. So in this play, the bedroom is under Maggie’s rule, and the balcony is the only place where the refugee, Brick, can escape to.
For the bedroom setting, I just plan to have a bed and a delicate tiny wine bar next to the bed. Of course I mean to do this arrangement. Like what I have mentioned, Maggie is the boss of the bedroom and she keeps talking, complaining and wailing without stop. She leads that place, as the bed which is always the spotlight in a bedroom, and this makes a beautiful contrary between Maggie and her alcoholic husband, Brick, and between the bed and the tiny wine bar.
One man who drinks too much and gets pushed too much definitely needs a place to breathe and take a little rest, and the balcony is just the right place for Brick. Summer is an extremely hot and annoying season, and leaving people the feeling that living in a hotpot and getting boiled to explosion and to death; additionally, if at this time, there is someone who is nagging around and about you all the time, don’t you think killing yourself with alcohol is a much better idea? While even alcohol cannot earn some peace for you, maybe going to the balcony seeing some stars and taking some fresh air is another way to do.
The balcony is very different from the bedroom; bedroom is a very private place for a couple, but the balcony is open to anyone. Women like saving their faces and keep looking fabulous in front of everybody all the time, so a pretty and elegant woman like Maggie will never yell to her husband outside and embarrass herself. No wonder Brick likes staying outside instead of inside.
In a film, the setting can be as realistic as possible. A play on stage in a theater can’t be that way, however. That‘s why I consider the achievement of touching people by performing in a theater is greater than by any other performing forms. On stage, the space is limit and that’s impossible to do any special effects like using in movies, and the most difficult part is that—there is no chance to fix any mistake.
From this point, I know those performers only can rely on their skill of acting to move people and trigger the audience’s emotions along with the plot. Too many trifles is not a helper for a performance, sometimes it leads people to distraction. Without them, the audience is able to focus on the profession of actors and follow their directions to a better and deeper understanding about the play.
For the performers’ every movement and emotion that can be seen and followed up, I make a device referring to lady-Susan and having a spinning disk below. With that device the setting which combines the balcony and the bedroom together is capable of doing 360 degree rotation. That means the audience is not only can see either scenes only at a time, but also two spots at the same time. In other words, when brick escapes from the room and to the balcony, we not only see how mush pressure Brick is under and how he finds little peach there for a while, but also watch how Maggie is planning to get what she wants and hear her self-talking. The audience will not miss any physical or emotional suggestions the performers give on stage if the device can be used to the maximum of efficiency, and there is no need to worry about the problem of location or position.
To the conclusion, a simple setting on stage in a theater is always my favorite.
I always hold the idea that the simpler a setting is, the better it will do. So I think a bed, a wine bar and a simple balcony only with a railing abound can be just enough. There is no need to put many things on stage and build a realistic atmosphere. It is not necessary, because performers can exactly deliver that idea—what the audience sees is real.
According to the film version and the script, basically there are only two major scenes, the bedroom scene and the balcony scene, especially the former at witch at least 80 percent part of the play happen. The balcony scene, though, doesn’t occupy too much time, it still has its meaning and I think it plays an important role to the play.
Therefore, here comes the question, how can I put the two scenes on a stage and make these two have certain relation or connection at the same time? I have observed that actually the balcony is always there and it never disappears from the play, because it is always right there behind the bedroom and the audience knows that as well. Based on this point, I acknowledge that I have to add some devices which can make a perfect fusion of these two scenes. Suddenly, something crosses my mind, and I recall that there is a brilliant and huge prop on stage in a bloody play which is featured a demon barber named Sweeny Todd.
The barber shop really impresses me a lot, because it skillfully makes the barber shop and the house of his sinister fellow, Mrs. Lovett, in to one. This device truly saves time and money when changing scenes and working the play much more efficiently. The arrangement also conveys an idea, in my opinion, and that is like saying Sweeny Todd and Mrs. Lovett are the same and they should be together, so it is their doom to die together and at the same sinful place.
From this idea, though Brick and Maggie are not the same kind of person, obviously Maggie never wants to leave Brick, for love or for money, I am not sure though I prefer the latter reason, but according to this situation, Maggie is much like Mrs. Lovett, whose stay I am sure is out of love with Sweeny Todd. From this reason, the balcony and the bedroom never should be apart, if my interpretations are right, because I think the balcony refers to brick and the bedroom should be always woman’s world. So in this play, the bedroom is under Maggie’s rule, and the balcony is the only place where the refugee, Brick, can escape to.
For the bedroom setting, I just plan to have a bed and a delicate tiny wine bar next to the bed. Of course I mean to do this arrangement. Like what I have mentioned, Maggie is the boss of the bedroom and she keeps talking, complaining and wailing without stop. She leads that place, as the bed which is always the spotlight in a bedroom, and this makes a beautiful contrary between Maggie and her alcoholic husband, Brick, and between the bed and the tiny wine bar.
One man who drinks too much and gets pushed too much definitely needs a place to breathe and take a little rest, and the balcony is just the right place for Brick. Summer is an extremely hot and annoying season, and leaving people the feeling that living in a hotpot and getting boiled to explosion and to death; additionally, if at this time, there is someone who is nagging around and about you all the time, don’t you think killing yourself with alcohol is a much better idea? While even alcohol cannot earn some peace for you, maybe going to the balcony seeing some stars and taking some fresh air is another way to do.
The balcony is very different from the bedroom; bedroom is a very private place for a couple, but the balcony is open to anyone. Women like saving their faces and keep looking fabulous in front of everybody all the time, so a pretty and elegant woman like Maggie will never yell to her husband outside and embarrass herself. No wonder Brick likes staying outside instead of inside.
In a film, the setting can be as realistic as possible. A play on stage in a theater can’t be that way, however. That‘s why I consider the achievement of touching people by performing in a theater is greater than by any other performing forms. On stage, the space is limit and that’s impossible to do any special effects like using in movies, and the most difficult part is that—there is no chance to fix any mistake.
From this point, I know those performers only can rely on their skill of acting to move people and trigger the audience’s emotions along with the plot. Too many trifles is not a helper for a performance, sometimes it leads people to distraction. Without them, the audience is able to focus on the profession of actors and follow their directions to a better and deeper understanding about the play.
For the performers’ every movement and emotion that can be seen and followed up, I make a device referring to lady-Susan and having a spinning disk below. With that device the setting which combines the balcony and the bedroom together is capable of doing 360 degree rotation. That means the audience is not only can see either scenes only at a time, but also two spots at the same time. In other words, when brick escapes from the room and to the balcony, we not only see how mush pressure Brick is under and how he finds little peach there for a while, but also watch how Maggie is planning to get what she wants and hear her self-talking. The audience will not miss any physical or emotional suggestions the performers give on stage if the device can be used to the maximum of efficiency, and there is no need to worry about the problem of location or position.
To the conclusion, a simple setting on stage in a theater is always my favorite.
I always hold the idea that the simpler a setting is, the better it will do. So I think a bed, a wine bar and a simple balcony only with a railing abound can be just enough. There is no need to put many things on stage and build a realistic atmosphere. It is not necessary, because performers can exactly deliver that idea—what the audience sees is real.
The Stage Design of Jesus Christ Superstar
Judas, a tragic man who is bearing the crime of betraying Jesus, is my favorite character in this play, and he is the reason I choose Jesus Christ Superstar to be my subject of my project. Because I am not a Christian and know little things about the Bible, I believe what people have told me that Judas is an unreligious follower who is tempted to be a betrayer of Jesus but this play shows that I am wrong in judging a person too fast. I shouldn’t take what most people say as the truths without my own judgments. After watching this play, I have different views toward the figures appearing in the Bible. I don’t regard what this play suggests as the only truths because I don’t want to make the same mistake again. However, this play is my subject after all and I am not the maker of this masterpiece, so I have to try my best to keep everything original when I design the stage.
In my design, I separate the stage into two parts: the lower one is for greedy people who are addicted to power and wealth. The upper one is for people who are really noble or just seem noble.
Gaiaphas and other priests are planning to kill Jesus for keeping their authority intact. All these things happen in the first floor, because what they are going to do have to de done in secret. Moreover, their intentions are so evil that they can never stand at the upper place. They are only belonging to Hell. They represent the bad side of human nature, and showing us that human beings can be defeated by just using money and power.
The upper floor is for Jesus, his followers and mobs. As you can see, in the two sides of this floor, there are two small triangle places. Take a closer look, and you can find they both have diaphanous walls to separate them from the central stage. These two small places are where mobs and most of Jesus’ followers should stay, because they are still too humanistic as comparing to Mary, Judas and Jesus. Though they worship Jesus in the beginning, what they want and think of are all for their causes. They want to be saved, but they refuse to sacrifice any thing. They admire Jesus for making Jesus be the scapegoat of their desire, so they are the murderers indeed. Like Judas is the scapegoat of God, God use Judas to have Jesus, and that’s why Judas cries out “You have murdered me!” at the very end of his suicide—god is responsible for Judas death.
Those people who stand at the small places of two sides and stay with Jesus all the time seem like that they understand him very much. As the matter of fact, they didn’t and they won’t, because they don’t even try to understand Jesus after all. They can touch Jesus’ body, but they are never able to touch his heart. There are always walls between them and Jesus, and all they can do is stay in the walls and pray. Contrary to them, Mary and Judas are the only figures who can feel what Jesus feels, so they have the qualification to be in the center of the stage in the second floor with Jesus.
You may ask me then how two people in different floors communicate with each other. It is a problem indeed, so I make a huge screen at the center of the wall in the upper floor. This device is the only connection between them. Furthermore, in my interpretation, ordinary people’s misunderstandings of Jesus result in Jesus’ death, and Gaiaphas and King Herod are just doing the action for them. Well, a good king should know what people want and do people want him to do, so based on this principle then King Herod can be taken as a good king, right? According to my explanation, in this crucifying scene, I prefer to use the big screen to show the process of crucifying Jesus, instead of doing this scene with real actions on stage. The screen will be turned off when it comes to Judas’s song “Superstar”, and Jesus will show up as a real man who is hanging on a cross.
In the last scene, Jesus’ monologue, the screen comes back to work again. The beginning of this scene will have only character lest—miserable Jesus. The screen shows a flood of blood moving from the top, until the whole screen becomes totally red. This effect comes along with Jesus’ singing. At the very last moment, when Jesus cries out the last two words “MY SPIRIT”, every light will be opened, including the screen which is one of the lights at this time, and then Jesus will die in glory.
I enjoy designing the stage of this play, because I try hard to presents the touches I got from this play and I hope people can feel the pressures I experienced. I think the most important thing we learn from a show is not what it is talking about, but what it is suggesting. This play offers me overwhelmingly different point of views to look each figure in the Bible. And I know that Andrew Lloyd Webber and Tim Rice were not trying to challenge the faiths of Christianity. They just intended to look for the truths of Christianity for there are still so many questions remaining.
In my design, I separate the stage into two parts: the lower one is for greedy people who are addicted to power and wealth. The upper one is for people who are really noble or just seem noble.
Gaiaphas and other priests are planning to kill Jesus for keeping their authority intact. All these things happen in the first floor, because what they are going to do have to de done in secret. Moreover, their intentions are so evil that they can never stand at the upper place. They are only belonging to Hell. They represent the bad side of human nature, and showing us that human beings can be defeated by just using money and power.
The upper floor is for Jesus, his followers and mobs. As you can see, in the two sides of this floor, there are two small triangle places. Take a closer look, and you can find they both have diaphanous walls to separate them from the central stage. These two small places are where mobs and most of Jesus’ followers should stay, because they are still too humanistic as comparing to Mary, Judas and Jesus. Though they worship Jesus in the beginning, what they want and think of are all for their causes. They want to be saved, but they refuse to sacrifice any thing. They admire Jesus for making Jesus be the scapegoat of their desire, so they are the murderers indeed. Like Judas is the scapegoat of God, God use Judas to have Jesus, and that’s why Judas cries out “You have murdered me!” at the very end of his suicide—god is responsible for Judas death.
Those people who stand at the small places of two sides and stay with Jesus all the time seem like that they understand him very much. As the matter of fact, they didn’t and they won’t, because they don’t even try to understand Jesus after all. They can touch Jesus’ body, but they are never able to touch his heart. There are always walls between them and Jesus, and all they can do is stay in the walls and pray. Contrary to them, Mary and Judas are the only figures who can feel what Jesus feels, so they have the qualification to be in the center of the stage in the second floor with Jesus.
You may ask me then how two people in different floors communicate with each other. It is a problem indeed, so I make a huge screen at the center of the wall in the upper floor. This device is the only connection between them. Furthermore, in my interpretation, ordinary people’s misunderstandings of Jesus result in Jesus’ death, and Gaiaphas and King Herod are just doing the action for them. Well, a good king should know what people want and do people want him to do, so based on this principle then King Herod can be taken as a good king, right? According to my explanation, in this crucifying scene, I prefer to use the big screen to show the process of crucifying Jesus, instead of doing this scene with real actions on stage. The screen will be turned off when it comes to Judas’s song “Superstar”, and Jesus will show up as a real man who is hanging on a cross.
In the last scene, Jesus’ monologue, the screen comes back to work again. The beginning of this scene will have only character lest—miserable Jesus. The screen shows a flood of blood moving from the top, until the whole screen becomes totally red. This effect comes along with Jesus’ singing. At the very last moment, when Jesus cries out the last two words “MY SPIRIT”, every light will be opened, including the screen which is one of the lights at this time, and then Jesus will die in glory.
I enjoy designing the stage of this play, because I try hard to presents the touches I got from this play and I hope people can feel the pressures I experienced. I think the most important thing we learn from a show is not what it is talking about, but what it is suggesting. This play offers me overwhelmingly different point of views to look each figure in the Bible. And I know that Andrew Lloyd Webber and Tim Rice were not trying to challenge the faiths of Christianity. They just intended to look for the truths of Christianity for there are still so many questions remaining.
Saturday, September 6, 2008
漢宣帝施政風格的探討
課程：三國時代文史概論 期末報告
學生：黃寒筠 外文二 B931020035
歷史真的是一面借鏡，我從中學習到很多做人做事的道理，我這兒所說的可不是儒家傳統待人處世之道，而是如何在社會上闖出自己的名號，或在爾虞我詐的官場上掙出自己的一片天必備的權宜技巧。在這段歷史裡，每個歷史人物都在追求著所謂的虛名，雖然自元帝以後崇尚儒術，但事實證明，不管時興的是道家的黃老之道或是儒家的道德思想，世人大都還是無法看破功名利祿的假象。
其實我有什麼資格批評呢？我現處的這個社會，其亂象跟東西漢末年相比只有過之而無不及，看看新聞就知道了。第一家庭的弊案是一樁接著一樁地爆發，而其它在野政黨也不浪費時間地展開各種示威罷免活動，大家在檯面上吵成一團，私底下也互相扯彼此的後腿。政府行政在哪？難道都把心力花在炒股上了嗎？而在野政黨的監督行政又有確實做到嗎？難道處心積慮要把執政黨拉下台才是他們的職責嗎？亂，亂，亂啊！真是亂到老天爺都看不過去也想來湊一角，接連地幾天大雨讓全台都有災情發生，上天大概是想用雨水來讓我們清醒吧！可是在我看來這可能只是白忙一場，畢竟人類的貪婪慾望之火可是不容小覷的，幾場雨哪能澆得熄他們已在內心燃燒已久的渴望呢！把快樂建築在別人的痛苦上對他們而言是理所當然的事啊！
回頭想想這也不能都怪罪於人，畢竟荀子也說過人性本惡的道理，這就是人的天性，狗改不了吃屎的啦！想改？那只能用寡婦生兒子來形容，是沒指望的事喔。何況如果人們真轉性了，那還有所謂的歷史嗎？那些歷史人物還有戲唱嗎？拜讀歷史真就像在觀賞一部戲，一部永不下檔的戲。人間的愛恨情仇貪嗔癡是如此的引人入勝，讓人捨不得別開眼。這使我想到我在一堂百老匯戲劇課中，鐘敬堂老師說道：「一部成功的戲是要能夠得到觀眾的參予，因為觀眾也是戲的一部份，也是最重要的角色，少了觀眾的融入就像這齣戲少了靈魂一樣。演員需要的不只是觀眾的單純回應，像是拍手鼓掌之類的動作，他們渴望得到的是觀眾更深一層的感動，那種心有戚戚焉，能撼動內心進而不禁鼓掌叫好的反應。但這些都還比不上那種繞樑三日卻始終無法驅之於腦海之外的感動。」教授還描述到一部好的戲是要能讓人得到東西，而不是一味的丟東西但不管觀眾是否真有接收到。那種下了戲後仍在觀眾心中回味無窮念念不忘的反應，是評判一部戲好壞的重要關鍵之一。當我在欣賞這場關於漢朝史的戲時，我常有過類似感動。我常在午夜夢迴，邊回想不久前所讀過的歷史故事邊獨自一人在床上傻笑，我笑是因為我從他們的故事裏我領悟到一些東西，那種恍然大悟的喜悅和感同身受的體悟，通常都能讓我一場好眠，含笑入睡。
這次我想探討的主角是漢宣帝，並對其治事風格和與其子元帝的差別之處進行討論，首先引述一段敘述漢宣帝的話﹕
漢宣帝 劉詢（前91～前49）漢武帝的曾孫，繼漢昭帝後即位。漢武帝晚年，太子劉據與其子使皇孫，都因巫蠱之禍而死，當時劉詢出世僅數月，流落民間，深知民間疾苦和吏治得失，故親政後，勵精圖治，任用賢能，他對吏治特別重視，他認為「百姓之所以能安居樂業，沒有嘆息仇恨之心，在於政事清正，能以我做到這一點的，唯有好的二千石郡守（基層的小吏）。」在經濟上採取的重要措施是招撫游民，恢復和發展農業生產。漢宣帝尊崇儒學，但儒，法並用。「霸王道雜之」，是德化和法治相結合的政治思想。
漢宣帝和其子元帝是個很好的對比，看到宣帝的勵精圖治，再反觀元帝的停滯不前，不難預料到東漢的壽命將已矣。果然再之後的幾任皇帝都沒有統治的能力，只能任憑東漢朝政玩弄於王莽手中，一天天地腐爛下去直至滅亡。宣帝在位期間應該可形容是東漢最後一道曙光，他為東漢基業還算打下不錯的基礎，也因如此才能讓他的不肖子孫多苟延殘喘些時日吧。
宣帝出生於民間所以深知民間疾苦，簡單的說，他知道人民真正需要的是什麼。其實我們這些老百姓求的也不過是三餐溫飽，吃好睡好，天下太平罷了。在我看來「實際」是漢宣帝最大的優點，而這應該和他的生長背景脫不了關係。雖身上流有皇室血統，但卻在貧苦的生活環境中成長，從小便看盡人家臉色，並且為了求生存，學會各種在社會上特有的待人接物之禮，譬如如何自別人臉色裡猜中其心中所想，然後做些或說些迎合其所願之事，我想這些社會技巧應對他日後的操控群臣方面有莫大的幫助。體恤民情是一件好皇帝所應當做的事，在我看來這應該沒有人能比漢宣帝做的更好的吧。一個吃過苦的孩子才知道生活上真正的苦是什麼，對外宣戰、擴大版圖、宣揚國威這些事情，在經過連年征戰的武帝時代後已不適用，宣帝也深知這一點。雖匈奴於他在位時歸降，但其功不在於我國的爭討，而是歸因於匈奴本身的分化，有段話描述到此時的情形﹕
漢宣帝在位時進一步加強中國對西域的影響，前60年，匈奴歸漢，結束了自漢高祖白田之圍以來，漢匈奴兩族長達一百五十年的爭戰狀態，從而轉入了和平時期。史稱漢宣帝「政教明，法令行，邊境安，四夷清，單于款塞，天下殷富，百姓康樂，其治過於太宗（漢文帝）之時。」（《風俗演義．正失．孝文帝》）。
無重大戰事發生，人民可致力於民生的發展，再加上宣帝的治國政策本就著重於經濟發展和吏治得失，因此致力於民生生活的發展可說是個全民運動。
這事使我聯想到前高雄市長謝長廷的施政，在他任職期間，我看見高雄的美慢慢地被挖掘、被發現，進而更被妝點成現在正在發光發熱的美麗港都。我無黨派立場，而且對政治的了解也是少的可憐，我只是站在一個旁觀者的立場、一個市民的觀點，做出以上的評語。我不在乎上位者在捷運案裡貪污了多少錢，只要捷運不出事，能如期完成並給市民一個交代就好。畢竟在官場裡誰不污錢呢？做個特立獨行的清流，下場就是被彈劾、被抨擊，最後還可能被安個不名不白的罪名而消失。想有些作為，如果太早離場，那還有啥戲可唱呢？雖官員私底下的黑箱作業我們這些百姓看不到，但其實大家彼此心知肚明，我們既然無法阻止和預防，那也就隨他了，只要在施政上不出太大的錯誤，且能在貪污之餘還能兼顧到國民的生活，那我想我也該知足了。
宣帝實際的個性使他對儒家的繁文縟節感到厭煩，這和元帝喜愛舞文弄墨的文人氣息剛好相反，因此那些只知對無聊的細節加以挑剔卻無任何政治上實質貢獻的官員都是宣帝鄙棄的對象。不愛用儒家大臣是宣帝的特色，這也和元帝時期提倡儒術的政策成了對比。我想造成這種結果的最大因素應是兩人生長背景的不同吧。宣帝是流落民間的平民皇帝，但元帝卻是被捧在手心、在眾人擁護下生長的溫室花朵；宣帝吃苦耐勞、堅忍不拔，元帝卻只願在花園裡綻放自己的美麗，哀風、傷雨、觀雲，或許林黛玉的葬花還是同他學的呢！
雖然宣帝不崇尚儒術，但也沒有全盤放棄自武帝以來對儒家學說的重視，只能說在個平衡桿上他是比較偏向法家那方的。所以在當時世人的學習上，五經應還是研究的重點，也因此養成元帝這種過於理想而不切實際的性格。元帝有禮義廉恥和道德是非羞恥之心，但在權術的使用上卻往往被儒家教條給約束住。儒家經典告訴我們許多身為有德之人所不應當做的事，但這不能做，那不能做，請問那還有什麼是可以做的呢？被虛飾的教條給綁住的結果就是只能坐以待斃。成不了大事的元帝唯一有貢獻的事，大概只有在守成方面還過得去吧。
談情說愛成不了大事，雖說元帝對司馬良娣的癡情足以讓天地動容，但卻不足以彌補他在領導上的無能。心地善良雖是個難能可貴的優點，但如果應用在政治上那就會是個災難了。太過講情義的話，那可能哪天被身邊最親近的人捅一刀都不知道。自己的一時心軟，也可能會為未來留下許多不可預知的後遺症，而宣帝這生最大的過錯應該就是在明知元帝無能的情況下，卻為了對結髮於民間的妻子有情有義，捨聰明有才幹的淮陽王而仍讓元帝即帝位，同時東漢的厄運也就跟著降臨，逐步邁向生命的終點。
最後，總結以上對宣帝和元帝的觀點與比較，一個領導者應具備的條件不是只有內在的美德，更需搭配上外在的統治能力和表現。對國家與人民社稷有理想固然好，但缺凡周旋帷幄得手段而不能在官場上生存，那哪能還有伸展抱負的餘地呢？唯有兩者相互搭配得宜，才是身為一個優秀的統治者應有的風範。
一千份履歷之後
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|  胡言亂語說書人 (zino) | 2008/05/13 12:51 |
工作上的需要，最近我得負責找個人。或許因為這個職務是一般的行政職，所以我們從人力銀行收到的履歷，要遠比公司其他專業職務的需求，來得多非常多。因此，這一兩週，我的工作，有極大一個部分是得過濾這龐大數量的履歷。
從第一份看起，到超過一千份，我看到了一些心得；整理一下，不知道在即將邁入求職旺季的時刻，對有需要應徵工作的朋友，會不會多少有點幫助？
首先，我想，入行真的要慎重。這厚厚一大堆的履歷當中，有個部分，是入錯行的人。這種履歷，基本上一開始看，我都會覺得他是OK的。看越往下，就會覺得越怪；每份工作的性質，至少表面看起來都不太一樣，然後每個工作的時間也都像沾醬油一樣，總是未滿一年的一下下；但這個人離開學校也有一短時間了！再注意一下他的所學，跟所做的工作還真是一點不相干。
我倒不是說，人不可以學非所用（我自個兒也是這樣），但重點是你總得找對方向，總得在一個工作上有一定的付出吧！。這個類型的履歷，往往帶著份OS說 著：我不喜歡我現在的工作，給我個逃出生天的機會吧！但對我來說，這個告白可以翻譯成：我一直不知道我要做啥？可以用你公司的資源，讓我再做個實驗嗎？答 案，當然是不行。我的公司願意提供機會給有潛力的人，但決不願意把時間、精神與金錢，浪費在不知道自己要什麼的傢伙上。
其 次，我想，耐力真的要充足。我發現很多其實很優秀的人才，在一個公司貢獻了好一段時間；但或許因為工作的倦怠或者升遷的阻礙，於是必須換個環境來試看看。 這很合理，但我覺得應該要往自己原本就作熟手的領域中去找。因為這樣，你才值錢！對很多雇主來說，聘用有豐厚經驗的人，買得他長時間累積下來的經驗，是極 為划算的交易。但這類朋友，卻可能因為原本公司或工作上造成的不愉快，而對自己熟稔的領域失望。於是乎，我會看到學、經歷都令我震驚的履歷，想要來找一個 毫不相關且相對來說極不起眼的職缺。這樣的履歷，好像很壓抑地說著：我不計較待遇、職位或工作，只要讓我別幹現在幹的事兒就好！我心中能給的答案卻會是： 抱歉，小廟真的難容您這樣的大和尚！
不 盡然是對所待公司的堅持，但應該是對所做行業的執著吧！都走到了這個關鍵點，成敗往往在撐或放棄之間而已。撐下去，我相信就會發現自己現在的不足；能夠面 對自己的短處，就能夠找到通往卓越的路。戲棚下得站得夠久，既然早已不是行業中的菜鳥，又何必把好不容易卡到的位子這樣輕易的讓出來，去賭上一個未知？
再者，即將要畢業或剛畢業年餘的朋友，很容易顯現一種慌張。這樣的履歷，一看年齡跟教育兩欄，就很清楚。
前面說過，不是每個工作都必須由「本科系」的畢業生來做，我更相信很多工作根本沒有所謂的本科系。譬如說，企管系畢業的，在我的經驗中，都很不適合做企畫，但卻莫名其妙地被某些人或企業視為企畫類工作的本科系。
然而，畢業科系跟你的理想不吻合，可以理解、也可能要到想要的機會；但要是你的理想與志向跟你應徵的工作不吻合，那就很「香蕉你個芭樂」了不是嗎？一個行政工作，我卻看到很多即將畢業或剛上班一年的人，投來的履歷上的理想職務名稱寫著：企畫人員or設計or業務.....等等，最後一般行政人員或相關的職務名稱孤伶伶地躺在這些不相關的字眼當中，真是令人鼻酸！
這 種履歷通常都聲音不大不小地說著：請讓我遠大的志向有個平凡的施力點，我一定可以飛得又高又遠！幫幫忙，讓你飛走了，我的事誰來做？更何況你是想做別的， 只是怕沒有工作，所以要「屈就」一下，那你會專心在我給你的工作上嗎？到時候藉口一堆，工作上本分搞得亂七八糟，誰比較委屈還不知道呢？而且，是誰說行政 工作人人能做？你也可以？對我而言，那是一份了不起的專業！
想要而被拒絕，那是人生必須品嚐的滋味。如果沒有把握騎好驢，卻想在驢背上找到馬，摔死的機會比找到的機會要高很多啊！如果你的理想不是你要應徵的職務，同學們請別委屈；如果你相信自己的能力，你就會有需要的機運。用心找你要的，否則你只會離理想越來越遠！
接著，我想談的是履歷。由於人力銀行的盛行，台灣大多數的企業都會使用這個徵才工具。這個介面的履歷格式，欄位是固定的；透過這樣的介面找人，對企業而言，也就是想看到應徵者的這些資訊。既然是透過這個找工作那麼我建議就把該填的欄位確實填好。
我們會看到很多看起來很「屌」的履歷～說明一下自己為何要應徵這工作的欄位：空白；理想職務名稱：空白；自傳：空白；工作經歷的內容說明：空白......。這麼多的空白，我真不明白你是超厲害還是超空白！講白了，透過這種介面找的人，基本上都不會是很高階的職缺；要是真有特定的需求，企業會從其他的管道去談。如果根本不知道應徵者的斤兩，企業有什麼理由要一個交白卷的人？你不想寫，我理所當然不想要！
面對這樣制式的履歷，就請乖乖地填吧！工作經歷越詳盡、越貼切，看的人讀下去的機會越高。自傳能文筆流暢、沒有錯字，至少代表你基本的馬步不太鬆散。如果真要搞怪，那還不如把精心設計的自創履歷，按人力銀行登記的e-mail address寄到雇主方的指定信箱中。
最後，我想談的是履歷之後。
由於經驗的累積，我們會告訴負責通知被挑出的履歷前來面試的同仁，在電話溝通時註明兩個要項。
第一，是求職者講話的語氣與態度。
除 非被挑出的履歷有特別說明，否則我們都會再上班時間進行通知。如果這時受話方的電話響了半天，接電話的人接起後，傳達了整話筒濃濃的睡意，那我們恐怕也就 謝謝再聯絡了。因為，這下子履歷上應該會有個「宅」字，或被描繪出一幅滿布蜘蛛網的圖像吧！我很難想像，一個上班時間仍在睡覺的求職者，到底為什麼要求 職？又以什麼心態在求職？懷才不遇而自暴自棄？或其實外務應酬滿檔，所以日夜顛倒？那都不是企業想要的目標吧？
而若是接起電話的人，在同仁報出我們的公司名稱後，反應是「什麼公司」？再強調一次後，回答是「啥？恩....」，OK， 那麼這份履歷上會記載著：「不知道自己有應徵本公司職務」。我們在登載職缺時，明確地於人力銀行介面中，點選只收主動、自願投遞的履歷，不接受系統自動媒 合。也就是說，這是求職者自己投來的；我管你投了幾千封，如果自己做過的事都沒有記憶，那麼我想這人一定無法對自己的工作負責。所以，有機會也不必再聊 了！
如 果應徵者在接到通之電話後，與我們恪遵電話禮儀的同仁間，對答全然沒有「請、謝謝、對不起」，或者明顯地擺出一副「不是他求職、而是我們拜託他來上班的」 姿態，那麼他的履歷上就會載名：「沒禮貌」！有的求職者很讓人吃驚，在接到面試通之電話時，粗鄙地就問自己有多大的權力、管多少人？也有的只會「恩」、 「喔」、「知道了」，好像是我們跟他報告事情。這些，就請都留在家裡當老大吧！
第二、是求職者的反應與積極度。
有的求職者，會讓同仁在履歷上記載了極佳好評。原因都是對公司有做基本的功課，或有很好的臨場反應。舉個例子，有份履歷上寫著：反應佳、應變能力強。我問同仁怎麼說？同仁告訴我在通知時，對方似乎遇到了什麼突發狀況，但很鎮定且禮貌地請同仁能不能在10分 鐘後再次打電話給他，並且因這樣的要求清楚地致歉。同仁依約再撥，才知道這位朋友接起電話時剛好要通過捷運閘門，但悠遊卡卻出現問題；在不耽誤後方人潮與 必須應付這通重要電話的考量下，他一邊退出門檔區，一邊請同仁協助回撥電話，然後到服務台尋求答案。一個願意為自身臨機狀況負責解決的人，在面試之前就加 了很高的分數啊！
至於總算到了的面試階段呢？
我 想，守時為要。守時，不遲到是當然的標準。找工作都遲到了，我想對雇主方而言，以後上班遲到跟任務失敗的機率值，那真是可預期的高啊！但除了不遲到外，不 更改約定好的時間，也是守時之必須。很多人常常以自己的時間為主，在面試到來的當天或前一天才通知要更動他應試的時間。我們現在的答案也都是：「這樣啊， 那您忙，我們不敢再耽誤您的時間了！」不必改了，這樣就不必來了唄！難不成都把公司跟主試的主管當作自由自在的閒人嗎？不知道這個時間就是為了你特意空下 來的嗎？既然無緣，那真不必再相見了。
而 面試的服裝，我想各大節目或新聞最近都會講得非常仔細。但我總覺得，重點是應試的人透過穿著告訴想去的公司：「我可以跟你們同一國」！不是每個主試官都是 金控主管或航空公司的高層，都得看到成套的深色西裝或套裝。很多有趣的行業，要的是得體而不隨便罷了；想想看，如果主試官穿著POLO衫配牛仔褲，但應試者卻是西裝筆挺，那種感覺倒真是對比啊！不過如果按照一般的認知穿，那就請在應試時ㄍㄧㄥ到底吧。該打領帶就打著、絲襪該穿還得穿；不要讓人有半調子的感覺，會比較替自己加分。
還 有，既然花時間去談了，那就用點功；看看人家公司的過往，瞭解一下這個產業。談起來要是一點基礎點都沒有，說實在，還真是為難主試官。此外，千萬別怕開條 件，只要你的要求合理。這也是應該做功課的重要理由啊！如果你喜歡這個職務，別以為委屈自己就得的到；很多時候談薪酬時的扭扭捏捏，等於對自己能力的不敢 肯定。更何況如果搞不清楚公司的福利制度，那進來後才後悔，豈非枉然？工作面試跟考試不同，面對兩者，姿態或許都得低一點，但記得求職基本上還是一場交 易；買方都希望用最低的價格，買到最好的結果，但卻也害怕開不出價格的商品，因為那要不是不值，就是買不起！
Friday, September 5, 2008
Reading Note: Simplicity by William Zinsser
This article definitely is a masterpiece and appreciated very much, and it surely clearly convey the idea of ideal writing. The theme is the importance of simplicity in writing, if I don't interpret it wrong, but the whole article is kind of not so easy to completely understand, at least for me. As he said, I was lost from time to time by the examples, similes and metaphors he applied to illustrate his idea. Here, I couldn't help admiring his foreseeing ability, just like he mentioned in paragraph 10, when I couldn't keep path with his train of thought, the first reaction of mine was to take the blame on myself. I kept reviewing the sections I didn't realize over and over again, but all my efforts were in vain eventually. Therefore, I just marked question marks on the margins of those sections in the end, and hoping teacher explains them in class. Hence, I wasn't sure weather I should follow his suggestion that my sufferings in reading and trying my best to understand it are all owing to his fault by making hiss work too hard. Next day, I found out that I have to give a reading note about this article, without any clues in mind, so I was absolutely in panic and wailing about the sufferings returned. But this time, it was a totally different experience from the last time. I didn’t know why I suddenly came to realize what he is trying to say, the skills, words, structure, and all the rhetoric he used in this great piece. It just seems like everything becomes so clearly to me and cause an echo in my mind and agreement almost one hundred percent.
Here, I would like to mention something I found from the second reading. I very much appreciated the transition between par.2 and par.3, because at the end of par.2 he said it will sound wrong if a formal speech or paper is using in a simple language, and it causes an obvious contrast with the beginning of par.3, according to the first sentence of this paragraph-- "But the secret of good writing is to strip every sentence to its cleanest components." In addition, the satirical sentence at the bottom of the paragraph is also one of my favorites. ("They usually occur in proportion to education and rank.") Also, the examples he illustrated are definitely effective to help him to clear out his points and efficient enough to assist readers to keep up with him. For instance, he offered two contrary examples to raise his view about how significant the simplicity is much better than the complexity in writing. Using Walden's story to lead readers to pay attention to that clear and good writing deviates from clear thinking is another excellent job done by him. Finally, the most interesting part I consider is at par.8 and his argument is really overwhelming my original concept. Who is the elusive creature on earth? In my interpretation, the answer is the writers who make their readers missing on the way and can't follow the writers' train of though again. Once readers get bored in reading and tried of searching writers traces, they will give up and rather than go sleeping.
Now I figure out the reason why William puzzled my so much at the first time I read this article, and William certainly is not the one should be blamed. Not only clear thinking can becomes clear writing, but also clear mind leads to a clear train of thought and logic for interpreting. It was my fault that I shouldn't appreciate a masterpiece in the middle of night like just reading children’s books, even trying to use it to sleep myself. However, there still remains something I don't understand, "fuss" in par.11 for example.
All in all, I consider William does well in corresponding the beginning to the ending. The very first sentence points to the theme directly, and the word "disease" implies that the situation will get worse and worse if they don't find a way to deal with the phenomenon in American society. As to the last paragraph, he reclaimed his point of view and told people that writing is originally not an easy job, let alone writing in a simple form with clear thinking.
Definition of Hero
We can often hear this line which a woman says to the leading actor in a movie, and that is “You are my hero!” Simultaneously, we can take an easy guess that the man must have done some special things which can touch the woman very much.
However, let us trace back to the history to find out the meanings and the usages of hero. In the very beginning, hero means a mythological or legendary figure often of divine descent endowed with great strength or ability. They have marvelous power to complete a thing that most people couldn’t do. Besides, they are as great as gods, and gods are considered to be venerable and have high moralities. Therefore, hero is regarded to be brave and well-conducted, and he has to be a good model to people and be worthy to be admired by people.
In ancient time, if a soldier who showed great courage in a war, then people would call him a hero. That’s because he already achieved the standards to be a hero I mentioned above, he deserved to get the honor. There are so many examples in the mythology can prove that, such as Hector and Achilles in Troy, and Oedipus in Oedipus the King. We all can’t deny they are absolutely heroes, for they are the men admired for not only their achievement but also noble qualities.
Time faded away, and the meaning of hero changed as well. Human beings are such smart animals that we have enough intelligence to develop advanced civilization to make our lives more colorful, such as dramas, poetry and novels. For that reason, at this time, hero could be thought as the principal male character in a literary or dramatic work. In addition, extending the meaning, a hero could also mean the central figure in an event, period or movement. All in all, at this age, hero was the one who was capable of catching people’s eyes and always being the spotlight.
Nowadays, in modern language today we use, the new meaning of hero is a little different from the old time. Now, we consider hero more like an idol, a representation or symbol of an object of worship. In this interpretation, hero is a pronoun for someone who finishes a great work or does an earth-shattering achievement that ordinary people can not do; he is so excellent and ideal that everyone can help but adore him.
But, have you ever wonder how a hero is able to get this kind of honor from people? It’s easy! Just work as harder as you can, and try your best to be an object of extreme admiration and devotion. By doing so, and soon you will make all eyes on you, just a hero!
However, let us trace back to the history to find out the meanings and the usages of hero. In the very beginning, hero means a mythological or legendary figure often of divine descent endowed with great strength or ability. They have marvelous power to complete a thing that most people couldn’t do. Besides, they are as great as gods, and gods are considered to be venerable and have high moralities. Therefore, hero is regarded to be brave and well-conducted, and he has to be a good model to people and be worthy to be admired by people.
In ancient time, if a soldier who showed great courage in a war, then people would call him a hero. That’s because he already achieved the standards to be a hero I mentioned above, he deserved to get the honor. There are so many examples in the mythology can prove that, such as Hector and Achilles in Troy, and Oedipus in Oedipus the King. We all can’t deny they are absolutely heroes, for they are the men admired for not only their achievement but also noble qualities.
Time faded away, and the meaning of hero changed as well. Human beings are such smart animals that we have enough intelligence to develop advanced civilization to make our lives more colorful, such as dramas, poetry and novels. For that reason, at this time, hero could be thought as the principal male character in a literary or dramatic work. In addition, extending the meaning, a hero could also mean the central figure in an event, period or movement. All in all, at this age, hero was the one who was capable of catching people’s eyes and always being the spotlight.
Nowadays, in modern language today we use, the new meaning of hero is a little different from the old time. Now, we consider hero more like an idol, a representation or symbol of an object of worship. In this interpretation, hero is a pronoun for someone who finishes a great work or does an earth-shattering achievement that ordinary people can not do; he is so excellent and ideal that everyone can help but adore him.
But, have you ever wonder how a hero is able to get this kind of honor from people? It’s easy! Just work as harder as you can, and try your best to be an object of extreme admiration and devotion. By doing so, and soon you will make all eyes on you, just a hero!
生命的價值觀
趙大衛 生命倫理的探索 學期報告
黃寒筠 外文二 B93120035
生命的價值觀
在個艷陽普照的下午，在樹蔭的庇護下我悠閒的享受午後點心，這時你問我對生命的價值有何看法，我的答案是:人生是如此的短暫，應把握每分每秒享受上天所賜與的美麗，並從中尋找快樂，不讓自己在闔上眼的那一刻有絲豪遺憾。但假使在個雷雨交加的夜晚，加上剛跟父母吵完架的情緒下，你再問我同樣的問題，那我可能就會說:人生是如此的短暫，不快樂的事情遠比快樂的事情要多上許多，人生在世就是個折磨，既然循規蹈矩的做人是如此痛苦，何不給它痛痛快快的活過一場，管它合禮(理)不合禮(理)，做自己最重要，只要最後能開開心心的吐出那最後一口氣，那我死也甘願了。
這就是我對人生的態度，或許是我還年輕，心性還不定，所以說起話來常讓人覺得輕挑不穩重，時常反覆不定，連帶我的意見也就常讓人嗤之以鼻而不屑聽聞，甚至乾脆把我定型為時下叛逆且總是想跟傳統禮教挑戰的年輕人。雖然我對生命的想法，常因時、因地而異，可是我對生命的最終理念是不變的，而我所希冀的不過是能毫無遺憾、開開心心的度過我這一生。因此每每被人認為我的意見無足輕重、不足以為人道也時，我都極力想反駁，但想了想後，還是咬牙吞下那些已到了嘴邊的話。因為我對儒家的禮教和想法始終持保留的態度是事實，而西班牙偉大作家塞萬提斯對我的影響卻是出乎我意料的深遠，還有一些外國詩人和作家的作品都多少顛覆了我舊有的價值觀。這些前所未聞的想法與傳統中國觀念作了結合，最後形成了我“及時行樂”的人生態度，而既然我的終極目標是快樂，那我就不會讓外在的事物或他人的想法來影響我的心情。
每個人的生命中多少都會有些東西是能影響其一生的理想和理念的，而塞萬提斯是目前影響我最深的作家，他最偉大的鉅作“唐吉軻德”則讓我改變對生命的看法。唐吉訶德本是地方上的一位窮鄉紳，由於對時下流行的騎士小說沈迷瘋狂，夢想成為一名遊俠騎士，憑著這股執著和熱情，他毫不在乎世俗的眼光，他把維護正義、除強扶弱，並把清除世間的不平做為自己的神聖使命，在他看似神經錯亂的荒唐行為中，仍透著善良的動機與人性中完善無瑕的純潔，明知不可能還要去向不可能的事挑戰。塞萬提斯看似以故事中人物唐吉訶德騎士來反諷嘲笑騎士理想和騎士制度之荒誕謬誤，但事實上他是在感嘆當時社會上像唐吉軻德般正義感十足，好打抱不平，有理想和抱負又能滿腔熱血付諸於行動的人，實在是少之又少啊!雖然它使終被人當作瘋子看待，但在他生死交關之際，大家卻能以最誠摯的心為他祈禱。在他那些瘋瘋癲癲的行為下，每個人卻都能感受到他那顆最純真善良的心，他的心是如此的閃亮啊!也因此，即使大家表面上譏笑他那些看似愚蠢的舉動，但其實內心是肯定唐吉軻德的品性與為人的。
我的頭腦簡單，向來不擅長處理過於複雜的東西，所以要我絞盡腦汁對生命價值做出個長篇大論是不可能的。加上這種虛無飄渺見仁見智的道理，通常只有一種答案—無解!數學一直是我內心的痛，我想我不喜歡解題應該是我的個性使然。我不喜歡那種對細節斤斤計較的感覺，更討厭無解給我的不確定感。我欣賞儒家思想裡的中庸之道，我對萬物都抱持著接納但也保留的態度。順其自然是我的處世之道，我接受各方不同的看法，但我卻只相信我值得相信或能讓我相信的東西。
人生何其短暫，但我也有我的理想和理念，這兩個名詞在意義上是不同的，而我所希望的也不過就是能夠用我的理念來貫徹我的理想。順從心中所想並相信自己的直覺是我的理念，不願含恨而終且只想痛痛快快活過一回、不留一絲遺憾是我的理想。我只做我想做的事，只說我想說的話，就像塞萬提思創作唐吉軻德的動機一樣，寫出對社會的控訴和批評，也說出自己的理想和對社會的期許。如果因此惹禍上身(在現今的社會是極有可能的)，那我也認了，起碼我不愧於心。但假使能對社會或國家造成一點影響或引起些微的省思，那我就算沒有白活了。我不在乎他人想法，只保持愉快的心情去完成我對自己設下的目標。有了理念和理想，我的生命不再虛無，我知道我未來要走的方向，也努力向前邁進著不管結果如何，我都會含笑以對，因為這是我的生命、我的選擇，我不後悔，只有快樂。也唯有快樂才是我真正最終所要追求的，而死亡不過就是我取得ecstasy必經的終點站罷了。
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