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UNITEIGHTTEXTONENewYorkisinthemiddleofaculturefestcelebratingBerlin,a17-daymarathonofmusic,film,architecture,literatureandphotographythatbeganonNovember2nd.“BerlinInLights”islargelythebrainchildofSirCliveGillinson,aformermanagingdirectoroftheLondonSymphonyOrchestrawhobecameexecutiveandartisticdirectorofCarnegieHallinJuly2005.DeterminedtomaketheNewYorkconcerthallmoreinternational,heisinitiatingaseriesofculturalfestivalscelebratingcities,nationsorartisticmovements.Berlinisthefirstofthese.AvisitbytheBerlinPhilharmonicOrchestra,underitsprincipalconductorSirSimonRattlehadbeenplannedforsometime.MuchtakenbytheextraordinarytransformationofBerlinsincereunification—thecitythrivesthroughcultureandpolitics;thereishardlyanybusinessorfinance—SirClivedecidedtoexpandthatvisitintoafull-blownfestival.HegotanenthusiasticresponsefromotherNewYorkinstitutions.BerlinandNewYorkhavesizeablemutualadmirationsocietiesbut,untilrecently,post-warBerlincouldonlydreamofbeinginthesameleagueofcreativeeffervescenceasNewYork.Now,inpartnershipwiththeAmericanAcademyinBerlin,CarnegieHallhasputtogetheracrowdofseminars—onliterature,thevisualarts,film-making—invitingstarssuchasVolkerSchlöndorffandFlorianHenckelvonDonnersmarck,bothOscar-winningGermandirectors.TheGoethe-InstitutandtheGermanconsulate-generalareshowingphotographs,theMuseumofModernArtisscreeningfilmsaboutBerlinandtheP.S.1ContemporaryArtCentreisscreeningthe13episodesandepilogueofRainerWernerFassbinder'stelevisionepic“BerlinAlexanderplatz”in14separaterooms.TheBerlinPhilharmonicOrchestra,extendingitsvisittoeightdays,willbeperformingGustavMahler'slastthreemajorworksaswellasmusicbyThomasAdès,MagnusLindbergandGyörgyKurtag,threecontemporarycomposers.Inaddition,variouschamberensemblesmadeupofPhilharmonicmusiciansareplayingbothatCarnegieandat“neighbourhoodconcerts”inthecity'sfiveboroughs.ThemostinnovativeofthePhilharmonic'sofferingswillbetheperformancesonNovember17thand18thattheUnitedPalaceTheatreinWashingtonHeightsofIgorStravinsky's“TheRiteofSpring”,dancedbykidsfromstateschoolswhohavebeentrainedforjusteightweeks.Tothosewhothinkthattheresultwillbeshambolic,theorganisersretortthattheexperimentworkedwellwithchildren—includingrefugees—fromstateschoolsinBerlin.“BerlinInLights”isnotcomprehensive:thereisnotheatreandlittledance.Afestivalthatgetstoobiglosesitscharm,saysSirClive:“Wewouldliketocapturepeople'simaginationandincitethemtoexplorenewhorizons.”Theaudienceatsomeoftheshows—aperformancebyMaxRaabeandthePalastOrchestraofsongsfromthe1920sand1930s,UteLemper,aGermanchanteusespecialisinginKurtWeill,incabaret—weremadeuplargelyfromwhatoneparticipantdescribedasthegeriatricintelligentsiafromtheUpperWestSide.AsmanyofthemhaveGerman-orAustrian-Jewishorigins,theyhavealoving,knowledgeablerelationshipwithGermanculture.OnecritichissedthatMsLemperwasapoorcopyofLotteLenya,Weill'swife,whomshehadseenperforminthe1940s.SirClivehopesthatconcertsbytheNomadSoundSystem,aBerlinbandperformingwesterndancemusicandNorthAfricanmelodies,andconcertsbyBerlin'sTurkishandKurdishcommunitiesmaybringinayoungercrowd.参考译文：纽约目前正在举行于11月2日开始的为期十三天的柏林文化节，包括音乐、电影、建筑、文学和摄影等方面的活动。“光之柏林”是CliveGillinson爵士创意，他是伦敦交响乐团的前任负责人，并他于2005年8月成为“卡内基大厅”的行政、艺术主任。他决意要使得纽约的音乐厅更为国际化，因此发起了一系列的城市文化节、国家文化节和艺术活动。其中柏林文化节是第一个。策划由指挥家SimonRattle指挥的柏林爱乐乐团的访问演出已经有一段时间了。自东西德国统一之后，柏林发生了许多变化，这个城市因为文化和政治，而不是因为商业或金融而繁荣起来。Clive为这个城市所打动，决定将这次访问演出扩大为真正的文化节。他还从纽约其他机构获得了热烈的回应。柏林和纽约都有规模较大的艺术欣赏团体，但是战后的柏林只能幻想拥有和纽约一样充满创造的活力。目前，卡内基大厅和柏林的美国协会一起组织了一些有关文学、视觉艺术和电影制作的研讨会，邀请了著名人物如VolkerSchlöndorff和FlorianHenckelvonDonnersmarck参会，这两位都是获得奥斯卡奖的德国导演。歌德学院和德国总领事馆展出了照片，现代博物馆在播放关于柏林的电影，P.S.1现代艺术中心在十四个房间里播放了RainerWernerFassbinder电视史诗“BerlinAlexanderplatz”中的13个集及其大结局。柏林爱乐乐团将自己的访问演出扩展到了8天，将会演奏GustavMahler的最后三个主要作品，也会演奏三位现代作曲家ThomasAdès、MagnusLindberg和GyörgyKurtag的作品。此外，由爱乐乐团音乐家组成的室内合奏团会在卡内基和该城市五个街区的“社区音乐会”进行表演。爱乐乐团最富有创意的表演是11月17日和18日在WashingtonHeights的联合宫殿剧院表演的由IgorStravinsky创作的“春的典礼”，伴舞的是来自州立学校的孩子们，他们只训练了8个星期。有些人认为这样会太混乱，而组织者回应说这次尝试中，柏林州立学校的孩子们（包括难民）配合得很好，“柏林之光”并不包含所有形式的艺术——没有戏剧表演，也没有小型舞蹈。一个节日如果场面过于宏大，就会失去其魅力，Clive说，“我们希望可以抓住人们的想象，激发他们去探索新的空间。”一些演出（如MaxRaabe的表演、Palast管弦乐队演奏的20世纪20年代和30年代的歌曲，专研KurtWeill的德国女歌手UteLemper的歌舞表演）的观众主要由一些来自于纽约上西面的老年知识分子组成。他们中许多人都有德国或奥地利犹太血统，因此非常喜爱和深谙德国文化。一位评论家在20世纪40年代就看过Lemper的演出，他认为Lemper女士是对Weill妻子LotteLenya的拙劣模仿。Clive希望演奏西方舞曲和北美音乐的柏林乐队“流浪声系”，以及柏林的土耳其和库尔德团体举办的音乐会可以吸引年轻的观众。TEXTTWOPublisherscannothaveenoughofbooksfromserioushistoriansaboutthe“whys”ofwar.Whydotheystart?Whydotheylast?Whatmakesapeacefragile?Thepastisoneplacetolookforanswers.CharlesEsdaile,alecturerattheUniversityofLiverpool,istoogoodascholartomakeeasycomparisonsbetweenthenandnow.Butthe“whys”ofwarrunthroughhismasterlyaccountoftheNapoleonicwars,a12-yearconflictbetweenFranceandEurope'sotherpowersthatkilledalmost2msoldiers.MrEsdaile,inapolitico-militarysurveyofextraordinaryscopeanddetail,tellsuswhathebelievescausedtheconflict,whatitwasaboutandwhyitlastedsolongdespite,asitseemed,frequentchancesforpeace.Neitherbattlefieldchroniclenorbiographyindisguise,“Napoleon'sWars”isexplanatoryhistoryofhighorder.HistoriansdatetheNapol