NW By Zadie Smith. The Penguin Press, $26.95. Smith’s piercing new novel, her first in seven years, traces the friendship of two women who grew up in a housing project in northwest London, their lives disrupted by fateful choices and the brutal efficiency of chance. The narrative edges forward in fragments, uncovering truths about identity and money and sex with incandescent language that, for all of its formal experimentation, is intimate and searingly direct.
“A million dollars isn’t cool. You know what’s cool?… A billion dollars.”
短編小説に関しては興味がある方に読んでいただくとして、Facebook10周年を迎えた今、映画The Social Networkを批評して話題になった以下の2010年に発表されたレビューをご紹介します。
Generation Why? Zadie Smith The Social Network a film directed by David Fincher, with a screenplay by Aaron Sorkin
You Are Not a Gadget: A Manifesto by Jaron Lanier Knopf, 209 pp., $24.95
Words checked = [5487] Words in Oxford 3000™ = [85%]
If it’s not for money and it’s not for girls—what is it for? With Zuckerberg we have a real American mystery. Maybe it’s not mysterious and he’s just playing the long game, holding out: not a billion dollars but a hundred billion dollars. Or is it possible he just loves programming? No doubt the filmmakers considered this option, but you can see their dilemma: how to convey the pleasure of programming—if such a pleasure exists—in a way that is both cinematic and comprehensible? Movies are notoriously bad at showing the pleasures and rigors of art-making, even when the medium is familiar.
Programming is a whole new kind of problem. Fincher makes a brave stab at showing the intensity of programming in action (“He’s wired in,” people say to other people to stop them disturbing a third person who sits before a laptop wearing noise-reducing earphones) and there’s a “vodka-shots-and-programming” party in Zuckerberg’s dorm room that gives us some clue of the pleasures. But even if we spent half the film looking at those busy screens (and we do get glimpses), most of us would be none the wiser. Watching this movie, even though you know Sorkin wants your disapproval, you can’t help feel a little swell of pride in this 2.0 generation. They’ve spent a decade being berated for not making the right sorts of paintings or novels or music or politics. Turns out the brightest 2.0 kids have been doing something else extraordinary. They’ve been making a world.
World makers, social network makers, ask one question first: How can I do it? Zuckerberg solved that one in about three weeks. The other question, the ethical question, he came to later: Why? Why Facebook? Why this format? Why do it like that? Why not do it another way? The striking thing about the real Zuckerberg, in video and in print, is the relative banality of his ideas concerning the “Why” of Facebook. He uses the word “connect” as believers use the word “Jesus,” as if it were sacred in and of itself: “So the idea is really that, um, the site helps everyone connect with people and share information with the people they want to stay connected with….” Connection is the goal. The quality of that connection, the quality of the information that passes through it, the quality of the relationship that connection permits—none of this is important. That a lot of social networking software explicitly encourages people to make weak, superficial connections with each other (as Malcolm Gladwell has recently argued1), and that this might not be an entirely positive thing, seem to never have occurred to him.
(American Heritage) friend·ed, friend·ing, friends 1. Informal To add (someone) as a friend on a social networking website. 2. Archaic To befriend.
（Collins） friend verb (transitive) an archaic word for befriend (transitive) to add (a person) to one's list of contacts and submit one's own details to that person on a social networking website
“That just shows how little you know. The disaster is on its way. Don't you read the papers?" “Oh, yeah? When is it coming?" "It could very well be tomorrow. "Not today? Tomorrow?" “I’m just talking possibilities It could come this very instant, for all I know. All I’m saying is, it won’t be long.” “Want to bet?" “On what?” "On whether it comes in the next ten seconds." He prepared to start the stopwatch attachment on his wristwatch. “Ten thousand yen says this disaster you're talking about doesn't happen." “I said I'm only talking possibilities." “I’ll make it the next twenty seconds." "Either way, its a toss-up." "And in twenty minutes, or two hours, or two hours, or two months, or two years, it'll still be a toss-up, right? “You mean the whole thing doesn’t interest you unless you can bet on it?” “Don’t be so touchy. I know what you’re thinking: Even if it did come in twenty seconds, winning wouldn’t do you much good because you’d be too dead to collect. There could be no payoff unless it didn’t come. Not much of a gamble any way you look at it.”
ROUND AND ROUND THE EUPCACCIA GOES By Edmund White; Edmund White is the author of ''The Beautiful Room Is Empty'' and several stories in the collection ''The Darker Proof.'' Published: April 10, 1988
THE ARK SAKURA By Kobo Abe. Translated by Juliet Winters Carpenter. 336 pp. New York: Alfred A. Knopf.
Kobo Abe, who first became known in the West in the early 1960's through the powerful film based on his novel ''The Woman in the Dunes,'' has since published many books (notably ''The Buried Map'') and established his own theater company. His theater experience has undoubtedly contributed to his mastery in fiction of sustained dramatic confrontation conveyed through charged, sharply characterized dialogue. Since the death of Yukio Mishima and Yasunari Kawabata, Kobo Abe is the Japanese writer with the broadest international reputation.
''The Sakura Ark'' may be a grim novel, but it is also a large, ambitious work about the lives of outcasts in modern Japan and such troubling themes as ecological destruction, old age, violence and nuclear war. People often use the word ''dreamlike'' loosely to suggest a floating or unreal quality in fiction (''dreamy'' might be a better choice). But in the strictest sense ''The Ark Sakura'' is dreamlike. It is a wildly improbable fable when recalled, but it proceeds with fiendishly detailed verisimilitude when experienced from within.
Pascal's wager (philosophy) the argument that it is in one's rational self-interest to act as if God exists, since the infinite punishments of hell, provided they have a positive probability, however small, outweigh any countervailing advantage
（Wikipedia） パスカルの賭け（パスカルのかけ、フランス語: Pari de Pascal, 英: Pascal's Wager, Pascal's Gambit）は、フランスの哲学者ブレーズ・パスカルが提案したもので、理性によって神の実在を決定できないとしても、神が実在することに賭けても失うものは何もないし、むしろ生きることの意味が増す、という考え方である。『パンセ』の233節にある。『パンセ』は、パスカルが晩年にキリスト教弁証学についての書物を構想して書き綴った断片的ノートを死後にまとめたものである。 歴史的には、パスカルの賭けは確率論の新たな領域を描き出したという点で画期的であり、無限という概念を使った初期の1例であり、決定理論の形式的応用の最初の例であり、プラグマティズムや主意主義といったその後の哲学の先取りでもあった[1]。
Pascal's Wager is an argument in apologetic philosophy which was devised by the seventeenth-century French philosopher, mathematician, and physicist Blaise Pascal (1623–1662). It posits that humans all bet with their lives either that God exists or does not exist. Given the possibility that God actually does exist and assuming the infinite gain or loss associated with belief in God or with unbelief, a rational person should live as though God exists and seek to believe in God. If God does not actually exist, such a person will have only a finite loss (some pleasures, luxury, etc.).[1] Pascal formulated the wager within a Christian framework. The wager was set out in section 233 of Pascal's posthumously published Pensées. Pensées, meaning thoughts, was the name given to the collection of unpublished notes which, after Pascal's death, were assembled to form an incomplete treatise on Christian apologetics.
Historically, Pascal's Wager was groundbreaking because it charted new territory in probability theory, marked the first formal use of decision theory, and anticipated future philosophies such as existentialism, pragmatism, and voluntarism.
I’ve been having trouble reconciling my support for (or at least acceptance of) the Democratic fiscal stimulus plan with the reality that the evidence on stimulus is extremely murky. Then it hit me: Maybe this is Pascal’s wager all over again. From the Pensees:
If there is a God, He is infinitely incomprehensible, since, having neither parts nor limits, He has no affinity to us. We are then incapable of knowing either what He is or if He is. …
Let us weigh the gain and the loss in wagering that God is. Let us estimate these two chances. If you gain, you gain all; if you lose, you lose nothing. Wager, then, without hesitation that He is.
We are incapable of knowing if spending another $800-odd billion the government doesn’t have will end or even significantly ease the current recession. But let us weigh the gain and loss in wagering that stimulus will work.
いつもはKindleで週末だけFinancial Timesを購入しています。書店でMeeting Mr Miyake A rare interview with a truly modern design iconと一面で三宅一生さんのインタビューが載っているのを見かけたのに、Kindle版には含まれておらず、FTのサイトでも定期購読者しか読めないようになっていました。
Issey Miyake Issey Miyake’s unique, high-concept approach to design has evolved into a multifaceted, independently owned empire. Mark C O’Flaherty is granted a very rare interview with a truly modern icon
Remembering Philip Seymour Hoffman's best performances.というツイートがやたら流れているので、なんでだろうと思っていたら亡くなったのですね。まだ46才と知りびっくりしました。
Philip Seymour Hoffman, Actor, Dies at 46 By BRUCE WEBER and J. DAVID GOODMANFEB. 2, 2014 Philip Seymour Hoffman, perhaps the most ambitious and widely admired American actor of his generation, who gave three-dimensional nuance to a wide range of sidekicks, villains and leading men on screen and embraced some of the theater’s most burdensome roles on Broadway, died Sunday at an apartment in Greenwich Village. He was 46.
The death, apparently from a drug overdose, was confirmed by the police. Mr. Hoffman was found in the apartment by a friend, David Bar Katz, who became concerned after being unable to reach him.
Investigators found a syringe in his left forearm, at least two plastic envelopes with what appeared to be heroin nearby, and five empty plastic envelopes in a trash bin, a law-enforcement official said.
記事にはご家族からの声明も紹介していました。
We are devastated by the loss of our beloved Phil and appreciate the outpouring of love and support we have received from everyone. This is a tragic and sudden loss and we ask that you respect our privacy during this time of grieving. Please keep Phil in your thoughts and prayers.
"For me, acting is torturous, and it's torturous because you know it's a beautiful thing. I was young once, and I said, That's beautiful and I want that. Wanting it is easy, but trying to be great — well, that's absolutely torturous."
Bending Adversity, a Portrait of Contemporary Japan Date: Wednesday, February 12, 2014 Time: 19:30 (Door open at 19:00) Speaker: David Pilling (Asia Editor of the Financial Times) Venue: Azabu Hall, Temple University, Japan Campus 2F Moderator: Jeff Kingston, Director of Asian Studies, TUJ Admissions: Free Language: English Registration: If possible, we ask you to register by E-mail (icas@tuj.temple.edu) , but we always welcome participants even you do not register. / 参加登録はなしでも参加できますので、直接会場へお越しください。 Facebook: Check out this event's Facebook page for discussions.
David Pilling will talk about his newly released book Bending Adversity, a portrait of contemporary Japan. Throughout its history, Japan has weathered calamities from natural disasters such as the 2011 tsunami to crushing defeat in war and its more recent loss of economic vigour. Drawing on a wide range of contemporary Japanese voices and on the author’s own experiences living in Japan as a foreign correspondent for six years his book draws together many threads – economics, history, politics and contemporary reportage – together in one volume. Bending Adversity’s publication coincides with a surge of renewed interest in Japan, still the most important US ally in Asia, as its territorial disputes heat up dangerously with China, as it attempts a radical revival of its economy and as the Fukushima nuclear disaster rumbles on.
The title of “Bending Adversity: Japan and the Art of Survival” refers to an old Japanese proverb about making the best of a bad situation or transforming crisis into opportunity. Japan is no stranger to crisis, or to monumental “bending,” but will the Great East Japan Earthquake in March 2011 serve as a catalyst for transformation and, if so, leading where?
David Pilling, former Tokyo bureau chief for The Financial Times (2001-08), has written a superb book on contemporary Japan that, better than any other I have read, manages to get the reader inside the skin of Japanese society. Full disclosure, Pilling is a good friend and I commented on early drafts of this astutely observed account. But trust me, this is a great read brimming with insights and should shoot to the top of your reading list.
Sensibly, Pilling refrains from declaring the recent cataclysm a game changer, instead introducing us to various Japanese and how they are responding. The yearning for greater certainty and security confronts perceptions that Japan risks even more without substantive reform. “Bending Adversity” benefits considerably from Pilling’s incredible access to a wide range of people from government, industry, academia and the arts, drawing heavily on their voices to deliver a convincing and nuanced portrait of Japan. It helps that he also shares his everyday encounters and personal impressions in crafting a colorful and rounded analysis, one that doesn’t shy from criticism, but also veers away from shrill harangue. It is evident that Pilling is keen on Japan, but it is not a naive embrace.
Natural disaster and China’s rise have jolted Japan out of cautious consensus as exemplified by “Abenomics,” but can it deliver substantive reforms? Pilling explains the logic of this high-stakes gamble, but one year on skepticism is growing. Neither Abenomics nor the 2020 Tokyo Olympics offer a magic wand, but Pilling’s reappraisal of the so-called Lost Decades in the 1990s and beyond usefully reminds us that Japan was never the basket case pundits were writing off and retains considerable strengths. He also notes how change, paradoxically, is a Japanese tradition, an incremental and gradual process the author elucidates very well. Although Heisei Era (1989-) Japan’s ongoing transformation has been fitful, Pilling draws our gaze to dramatic shifts in norms, values and practices and the emergence of a more dynamic civil society.
Japan Sitting tight How the catastrophes of 2011 changed Japan Jan 18th 2014 | From the print edition Bending Adversity: Japan and the Art of Survival. By David Pilling. Penguin Press; 385 pages; $29.95. Allen Lane; £20. Buy from Amazon.com, Amazon.co.uk
THE triple disaster of earthquake, tsunami and nuclear accident that struck Japan on March 11th 2011 was an extraordinary and terrible event. According to the National Police Agency, it killed 15,856 people and left another 2,643 missing, shaking the confidence of millions. The visible horror of the tsunami and the dread of radiation and nuclear explosion provoked anxiety the world over, leading many to ask: what might this terrible event do to Japan?
The clues that emerged pointed in opposite directions. The stoicism and social solidarity of ordinary Japanese in the face of the disaster led to hopes of renewed unity. The speed with which railways, airports and factories were cleared and reopened, often beating initial estimates by months, led to predictions of renewed economic vigour.
Words checked = [4751] Words in Oxford 3000™ = [85%]
The Littlest Boyというタイトルは広島に落とされた原子爆弾のコードネームを意識してのものでしょう。背中にしょって運ぶことができるものなので、Littlestとなっているのでしょうか。
（Wikipedia） Little Boy Little Boy was the codename for the type of atomic bomb dropped on Hiroshima on August 6, 1945 by the Boeing B-29 Superfortress Enola Gay, piloted by Colonel Paul W. Tibbets, Jr., commander of the 509th Composite Group of the United States Army Air Forces. It was the first atomic bomb to be used as a weapon. The Hiroshima bombing was the second artificial nuclear explosion in history, after the Trinity test, and the first uranium-based detonation. Approximately 600 to 860 milligrams (9.3 to 13.3 grains) of matter in the bomb was converted into the energy of heat and radiation. It exploded with an energy of 16 kilotons of TNT (67 TJ).
Cold War strategy was filled with oxymorons like "limited nuclear war," but the backpack nuke was perhaps the most darkly comic manifestation of an age struggling to deal with the all-too-real prospect of Armageddon. The SADM was a case of life imitating satire. After all, much like Slim Pickens1 in the iconic finale of Dr. Strangelove, American soldiers would strap on atomic bombs and jump out of airplanes as part of the opening act of World War III.
For 25 years, during the latter half of the Cold War, the United States actually did deploy man-portable nuclear destruction in the form of the B-54 Special Atomic Demolition Munition (SADM).
Soldiers from elite Army engineer and Special Forces units, as well as Navy SEALs and select Marines, trained to use the bombs, known as "backpack nukes," on battlefronts from Eastern Europe to Korea to Iran -- part of the U.S. military's effort to ensure the containment and, if necessary, defeat of communist forces.
Throughout the standoff with the Soviet Union, the West had to wrestle with the fact that, in terms of sheer manpower and conventional armaments, Warsaw Pact forces had their NATO counterparts woefully outnumbered. For the United States, nuclear weapons were the great equalizer. In the 1950s, President Dwight Eisenhower went a step further, unveiling the "New Look," which sought to deter Soviet aggression on the cheap by threatening to respond to any attack with a nuclear onslaught of apocalyptic proportions -- a doctrine known as "massive retaliation." In this way, Ike thought he could hold back communism abroad and the military-industrial complex at home.
Special Forces thus turned to teams trained in special high-altitude parachute jumps and scuba diving to deliver the weapon. Team leaders were allowed to choose which of their men would receive training on the weapon in order to make sure their units could pass the Army's periodic, demanding nuclear surety inspections. "The people with the best records, the people with the most experience, usually ended up on the SADM team because they had to pass the surety inspection," said Flavin. To receive SADM qualification, soldiers also had to be screened through the Defense Department's personnel reliability program to make sure they were trustworthy and mentally stable.
Some men approached for the mission were gung-ho; others were less so. "Of course everybody would volunteer. That wasn't a problem," said Capt. Davis. "We did it because, hey, it was gee-whiz. It was a neat thing to do, and I wanted to learn about it." But when Green Light team member Ken Richter began interviewing potential candidates, he said, not everyone was as enthusiastic: "I had a lot of people that I interviewed for our team. Once they found out what the mission was, they said, 'No, thanks. I'd rather go back to Vietnam.'"
As Cold War tensions abated, the United States began recalling SADMs to the continental United States. The weapon was officially retired in 1989, with the departments of Defense and Energy declaring that it was "obsolete" and that "there was no longer an operational requirement" for it. With the demise of the Soviet Union in 1991, George H.W. Bush made deep cuts to nonstrategic nuclear weapons across all the services.
Six years later, some details about the weapon were officially declassified. But the operational details of how the U.S. military intended to use backpack nukes -- including missions on Warsaw Pact territory, the demands the weapons put on the men tasked with deploying them, and the risks that their missions entailed -- have only now come to light through interviews, documents declassified through Freedom of Information Act requests, and newly obtained military manuals.
What was once a top-secret weapon is now a draw for tourists. Today, visitors to the U.S. government's National Museum of Nuclear Science and History in Albuquerque, N.M., can get their picture taken in front of a SADM parachute container. The Special Atomic Demolition Munition has gone from being a deadly serious, if eccentric, weapon to an item of Cold War kitsch.
(ロジャー・パルバースさんの訳) Strong in the rain Strong in the rain Strong against the summer heat and snow He is healthy and robust Free of all desire He never loses his generous spirit Nor the quiet smile on his lips
（アーサービナードさんの訳） Rain won’t stop me. Wind won’t stop me. Neither will driving snow. Sweltering summer heat will only Raise my determination. With a body built for endurance, a heart free of greed, I’ll never lose my temper, trying always to keep a quiet smile on face.
アラユルコトヲ ジブンヲカンジョウニ入レズニ ヨクミキキシワカリ ソシテワスレズ
(ロジャー・パルバースさんの訳) He does not consider himself In whatever occurs...his understanding Comes from observation and experience And he never loses sight of things
（アーサービナードさんの訳） Profit must never be the issue. I’ll listen to others, observe carefully and refuse to forget.
ミンナニデクノボートヨバレ ホメラレモセズ クニモサレズ サウイフモノニ ワタシハナリタイ
(ロジャー・パルバースさんの訳) Everybody calls him ‘Blockhead' No one sings his praises Or takes him to heart... That is the sort of person I want to be
（アーサービナードさんの訳） People may call me a fool. I doubt if anyone will applaud me. Then again, perhaps none will detest me either. All this is my goal – the person I want to become.
Oxfam accepts resignation of Scarlett Johansson Published: 30 January 2014 Oxfam has accepted Scarlett Johansson’s decision to step down after eight years as a Global Ambassador and we are grateful for her many contributions.
While Oxfam respects the independence of our ambassadors, Ms. Johansson’s role promoting the company SodaStream is incompatible with her role as an Oxfam Global Ambassador.
Oxfam believes that businesses, such as SodaStream, that operate in settlements further the ongoing poverty and denial of rights of the Palestinian communities that we work to support.
Oxfam is opposed to all trade from Israeli settlements, which are illegal under international law. Ms. Johansson has worked with Oxfam since 2005 and in 2007 became a Global Ambassador, helping to highlight the impact of natural disasters and raise funds to save lives and fight poverty.
we are grateful for her many contributionsやWhile Oxfam respects the independence of our ambassadorsなど、相手に感謝すべきところは感謝し、相手を尊重するところは尊重する、そのような手続きを踏んでから以下のようにOxfamの考えをOxfam believes thatというかたちで述べています。
Oxfam believes that businesses, such as SodaStream, that operate in settlements further the ongoing poverty and denial of rights of the Palestinian communities that we work to support.
TOEIC的にはbusinesses, such as SodaStreamとbusinessが会社という意味で使われていること、furtherがここでは「…を助長する」という意味の動詞で使われていることに注目したいですね。
"Scarlett Johansson has respectfully decided to end her ambassador role with Oxfam after eight years," the statement said. "She and Oxfam have a fundamental difference of opinion in regards to the boycott, divestment and sanctions movement. She is very proud of her accomplishments and fundraising efforts during her tenure with Oxfam."
have a fundamental difference of opinionと強い調子で意見の相違があることを示しているものの、Scarlett Johansson has respectfully decided to やShe is very proud of her accomplishments and fundraising efforts during her tenure with Oxfamなどと語ることで少しでも調子を和らげようとしていることが伺えます。
ヨハンソンのブログ記事はどちらかというと釈明的な調子でしょうか。given the amount of noise surrounding that decision, I'd like to clear the airと語り始めていますが、日本語でよくみかける「お騒がせしております」的な表現は英語にもあるんですね。
While I never intended on being the face of any social or political movement, distinction, separation or stance as part of my affiliation with SodaStream, given the amount of noise surrounding that decision, I'd like to clear the air.
I remain a supporter of economic cooperation and social interaction between a democratic Israel and Palestine. SodaStream is a company that is not only committed to the environment but to building a bridge to peace between Israel and Palestine, supporting neighbors working alongside each other, receiving equal pay, equal benefits and equal rights.
That is what is happening in their Ma'ale Adumim factory every working day. As part of my efforts as an Ambassador for Oxfam, I have witnessed first-hand that progress is made when communities join together and work alongside one another and feel proud of the outcome of that work in the quality of their product and work environment, in the pay they bring home to their families and in the benefits they equally receive.
I believe in conscious consumerism and transparency and I trust that the consumer will make their own educated choice that is right for them. I stand behind the SodaStream product and am proud of the work that I have accomplished at Oxfam as an Ambassador for over 8 years. Even though it is a side effect of representing SodaStream, I am happy that light is being shed on this issue in hopes that a greater number of voices will contribute to the conversation of a peaceful two state solution in the near future.
意見の相違があるようなトピックで自分の主義や意見を述べる場合には動詞believeを使うとよい感じです。OxfamだけでなくヨハンソンもI believe in conscious consumerism and transparencyのように使っています。
問題が起きたとしても相手を批判するのではなく、Even though it is a side effect of representing SodaStream, I am happy that light is being shed on this issueのようにできる限り前向きに捉えるようとする表現をできるようになっておきたいですね。特にビジネスで英語を使う場合にはこのような相手に配慮した表現は必須でしょうから。
Scarlett Johansson loses role as Oxfam ambassador over Super Bowl SodaStream ad which breaches charity's Israeli boycott The 29-year-old actress resigned after eight years with Oxfam The star left the humanitarian group which said her Soda Stream adverts were 'incompatible' with her role as an ambassador Johansson was criticized for promoting the Israeli firm that operates in a settlement in the West Bank Oxfam oppose all trade with Israeli settlements built on land occupied in 1967 By DAILY MAIL REPORTER and ASSOCIATED PRESS REPORTER and REUTERS
Presumably money was one factor in her decision, but there are a lot of others. The SodaStream controversy, even though it concerned only the company's presence in the settlements, was inevitably caught up in the broader BDS (Boycott, Divest, Sanctions) campaign, which calls on consumers and companies to cut off ties to all Israeli companies and institutions until the state reaches a peace agreement with the Palestinians. There would have been no way for Ms Johansson to drop SodaStream without appearing to lend support to the BDS movement, which even many liberal American Jews view as extremist and anti-Israel. That would be a very difficult move for a Jewish actress; even Peter Beinart, a liberal Zionist journalist and peace activist, has had trouble distinguishing his support for boycotting companies that do business in the territories from the more radical BDS movement.
基本的に冷めた、皮肉な見方をするEconomistですが、今回のセレブの国際協力についてa hopelessly naive understanding of how power works in politicsと手厳しいです。
In another sense Ms Johansson's waffling was typical of a Hollywood vision of liberal politics in which entrenched conflicts are simply misunderstandings that can be resolved through personal contact and (bogus) emotional catharsis. Film stars often have an extremely sophisticated understanding of how power works in Hollywood, and a hopelessly naive understanding of how power works in politics. (A deeper interpretation might be that personal contact and bogus emotional catharsis really are important elements of how power is deployed and negotiated in Hollywood, leading film stars, who are mostly pretty canny, to misinterpret how things work elsewhere.) It's a convenient illusion that you are helping to solve the Israeli-Palestinian conflict by "bringing people together", even if everyone is being brought together on land confiscated from Palestinian territory and under economic arrangements that erase the borders between Israel proper and the West Bank.
ヨハンソンの声明については次のブログで取り上げようと思いますが、SodaStream is a company that is not only committed to the environment but to building a bridge to peace between Israel and Palestine, supporting neighbors working alongside each other, receiving equal pay, equal benefits and equal rights.と語ったことに対して、この記事ではconvenient illusionと批判しています。
（ケンブリッジビジネス） workshop › WORKPLACE a room or building where things are made or repaired using machines or tools: The amber products are produced in the workshop. A truck that does a 1,500 mile roundtrip requires five days in the workshop when it gets back.
› HR a meeting in which people learn about a subject by discussing it or doing activities relating to it: They offer a series of bilingual workshops on budgeting, marketing and managing a business. A series of workshops for restaurant managers was set up. do/hold/run a workshop Belinda runs workshops addressing issues related to working from home. The rest of the day they listened to speakers and attended workshops about leadership.
（ウィキペディア） Christ in the House of His Parents (1849–50) is a painting by John Everett Millais depicting the Holy Family in Saint Joseph's carpentry workshop. The painting was extremely controversial when first exhibited, prompting many negative reviews, most notably one written by Charles Dickens. It catapulted the previously obscure Pre-Raphaelite Brotherhood to notoriety and was a major contributor to the debate about Realism in the arts. It is currently housed in the Tate Britain in London.
http://www.engl.duq.edu/servus/PR_Critic/HW15jun50.html Dickens, Charles. "Old Lamps for New Ones." Household Words 12 (15 Jun. 1850), 12-14.
BBCのドキュメンタリーで朗読されていた部分の周辺を抜粋させていただきます。 The Pre-Raphael Brotherhood, Ladies and Gentlemen, is the dread Tribunal which is to set this matter right. Walk up, walk up and here, conspicuous on the wall of the Royal Academy of Art in England, in the eighty-second year of their annual exhibition, you shall see what this new Holy Brotherhood, this terrible Police that is to disperse all Post-Raphael offenders, has "been and done!"
You come in this Royal Academy Exhibition, which is familiar with the works of WILKIE, COLLINS, ETTY, EASTLAKE, MULREADY, LESLIE, MACLISE, TURNER, STANFIELD, LANDSEER, ROBERTS, DANBY, CRESWICK, LEE, WEBSTER, HERBERT, DYCE, COPE, and others who would have been renowned as great masters in any age or country you come, in this place, to the contemplation of a Holy Family. You will have the goodness to discharge from your minds all Post-Raphael ideas, all religious aspirations, all elevating thoughts, all tender, awful, sorrowful, ennobling, sacred, graceful, or beautiful associations, and to prepare yourselves, as befits such a subject Pre-Raphaelly considered for the lowest depths of what is mean, odious, repulsive, and revolting.
You behold the interior of a carpenter’s shop. In the foreground of that carpenter’s shop is a hideous, wry-necked, blubbering, red-headed boy, in a bed-gown, who appears to have received a poke in the hand, from the stick of another boy with whom he has been playing in an adjacent gutter, and to be holding it up for the contemplation of a kneeling woman, so horrible in her ugliness, that (supposing it were possible for any human creature to exist for a moment with that dislocated throat) she would stand out from the rest of the company as a Monster, in the vilest cabaret in France, or the lowest ginshop in England. Two almost naked carpenters, master and journeyman, worthy companions of this agreeable female, are working at their trade; a boy, with some small flavor of humanity in him, is entering with a vessel of water; and nobody is paying any attention to a snuffy old woman who seems to have mistaken that shop for the tobacconist’s next door, and to be hopelessly waiting at the counter to be served with half an ounce of her favourite mixture. Wherever it is possible to express ugliness of feature, limb, or attitude, you have it expressed. Such men as the carpenters might be undressed in any hospital where dirty drunkards, in a high state of varicose veins, are received. Their very toes have walked out of Saint Giles’s.
This, in the nineteenth century, and in the eighty-second year of the annual exhibition of the National Academy of Art, is the Pre-Raphael representation to us, Ladies and Gentlemen, of the most solemn passage which our minds can ever approach. This, in the nineteenth century, and in the eighty-second year of the annual exhibition of the National Academy of Art, is what Pre-Raphael Art can do to render reverence and homage to the faith in which we live and die! Consider this picture well. Consider the pleasure we should have in a similar Pre-Raphael rendering of a favourite horse, or dog, or cat; and, coming fresh from a pretty considerable turmoil about "desecration" in connexion with the National Post Office, let us extol this great achievement, and commend the National Academy! In further considering this symbol of the great retrogressive principle, it is particularly gratifying to observe that such objects as the shavings which are strewn on the carpenter’s floor are admirably painted; and that the Pre-Raphael Brother is indisputably accomplished in the manipulation of his art. It is gratifying to observe this, because the feat involves no low effort at notoriety; everybody knowing that it is by no means easier to call attention to a very indifferent pig with five legs, than to a symmetrical pig with four. Also, because it is good to know that the National Academy thoroughly feels and comprehends the high range and exalted purposes of Art; distinctly perceives that Art includes something more than the faithful portraiture of shavings, or the skilful colouring of drapery imperatively requires, in short, that it shall be informed with mind and sentiment; will on no account reduce it to a narrow question of trade-juggling with a palette, palette-knife, and paint-box. It is likewise pleasing to reflect that the great educational establishment foresees the difficulty into which it would be led, by attaching greater weight to mere handicraft, than to any other consideration even to considerations of common reverence or decency; which absurd principle, in the event of a skilful painter of the figure becoming a very little more perverted in his taste, than certain skilful painters are just now, might place Her Gracious Majesty in a very painful position, one of these fine Private View Days.
Post-Raphael ideas all religious aspirations, all elevating thoughts, all tender, awful, sorrowful, ennobling, sacred, graceful, or beautiful associations
Pre-Raphaelly the lowest depths of what is mean, odious, repulsive, and revolting
（オックスフォード） progressive in favor of new ideas, modern methods, and change progressive schools antonym retrogressive
retrogressive (formal, disapproving) returning to old-fashioned ideas or methods instead of making progress a retrogressive change antonym progressive
