東海大學感謝有您
Amazon founder Jeff Bezos has for the first time said he would give away most of his $124 billion fortune to charity, but warned that doing so effectively will be hard.
你可能小看了美國的慈善事業Paul和聶華苓開創的國際寫作班，肯定是了不起的。他
The donation is part of an ongoing effort by Ms. Scott to give away her fortune.
MacKenzie Scott (née Tuttle, formerly Bezos; April 7, 1970)[1][2] is an American novelist and philanthropist.
她是“捐贈誓言”的簽署人，“捐贈誓言”承諾將至少一半的財富捐給慈善機構。[5] 到2020年，她捐贈了近60億美元的慈善禮物，這是私人每年向工作慈善機構捐款的最大額之一。[6] [7]
2006年，斯科特（Scott）因其2005年的首本小說《路德·奧爾布賴特的測試（The Testing of Luther Albright）》而獲得美國圖書獎。[8] 她的第二本小說《陷阱》於2013年出版。[9] 斯科特（Scott）自2014年創立《旁觀者革命》（Bystander Revolution）以來，一直擔任該公司的執行董事，並被《時代》雜誌評選為2020年“最具影響力的100個人”之一。
She is a signatory to the Giving Pledge, a commitment to give at least half of her wealth to charity.[5] In 2020, she made close to US$6 billion in charitable gifts, one of the biggest annual distributions by a private individual to working charities.[6][7]
In 2006, Scott won the American Book Award for her 2005 debut novel, The Testing of Luther Albright.[8] Her second novel, Traps, was published in 2013.[9] Scott has been executive director of Bystander Revolution since she founded it in 2014, and was named one of TIME Magazine's 100 Most Influential People of 2020.
https://en.wikipedia.org/wiki/MacKenzie_Scott
在2020年7月的年中報告中，斯科特宣布她已向116個非營利組織捐贈了17億美元，重點是種族平等，LGBTQ +平等，民主和氣候變化。[30]這些組織中的兩個是傳統上是黑人的莫爾豪斯學院和霍華德大學。[31]
不到六個月後的2020年12月，斯科特表示，在過去四個月中，她又向384個組織捐贈了41.5億美元，重點是為受COVID-19大流行對經濟造成影響的人們提供支持並解決長期系統性不平等。[32]她指出，7月之後，她希望自己的諮詢團隊更快地釋放財富，因為美國在面對COVID-19的空前影響而掙扎的同時，億萬富翁的財富卻在不斷攀升。她的團隊的工作重點是“確定具有強大領導團隊和成果的組織，並特別關注那些面臨著預計的糧食不安全，種族不平等的措施高，地方貧困率高，獲得慈善資本的機會低的社區的組織。” [33 ]
她的2020年慈善捐款總計達58億美元，這是私人向工作慈善機構分配的最大年度捐款之一。
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應急的服務外，
「這些媽媽受的創傷是看不到的，很多人提到先生、兒子，
難民需要物資援助以及精神膚慰，
「頭兒肩膀膝腳趾……」
在車站據點、收容所之外，靈醫會也做到「老有所終」。
「他們沒有辦法到一般的收容中心，所以靈醫會就提供病床，
對於信仰東正教、天主教的烏克蘭難民來說，
援助難民 非一蹴可及
另一個重要國際組織，聯合國兒童基金會的作法，則以科學化、
「我感受最深的是，從國家到社區，
談Minoru Betsuyaku (別役 実)的荒謬劇場：Factory Town、慈善名家Sackler 家族的故(含阿片（Opioid）類藥物泛濫成災)......事等等；他的『名画劇場』 (1985) 6篇 (收入柏谷譯《三美神：日本極短篇小說選》1992。畫的欣賞方式，The Three Graces
https://www.facebook.com/hanching.chung/videos/1461213924338300
Factory Town https://www.youtube.com/watch?v=YR-xI-51YBc
British Museum to Remove Sackler Name From Its Walls
The decision comes just months after the Metropolitan Museum of Art said it would remove the family’s name from seven exhibition spaces.
**別役實（日語：別役 実／べつやく みのる Betsuyaku Minoru */?，1937年4月6日－2020年3月3日），日本劇作家，兒童文學作家。是日本荒誕派戲劇奠基人。
別役實的早期戲劇作品受卡夫卡、貝克特和尤內斯庫等作家的影響，並將這種荒誕派戲劇風格帶入當代日本，被譽為日本荒誕派戲劇奠基人。他的作品極度荒謬卻異常真實[6]，無形之中揭露社會黑暗現實。代表作《有紅色小鳥的風景》《我是阿里斯》《黃色的星期天》《正午的傳說》《有死屍的風景》《飛呀、飛呀！蝸牛》《媽媽、媽媽、媽媽！》《有氣氛的屍體》《會議》《星星的時間》《可以睡覺》等。
***
《三美神：日本極短篇小說選》柏谷譯，台北：爾雅，1992： 別役實「名畫劇場」
The Three Graces may refer to:
****
別役 実（べっちゃく みのる、べつやく みのる 1937年4月6日 - 2020年3月3日）は、日本の劇作家、童話作家、評論家、随筆家である[1][2]。サミュエル・ベケットの影響を受け、日本の不条理演劇を確立した第一人者である。日本藝術院会員。
In Greek mythology, a Charis (/ˈkeɪrɪs/; Greek: Χάρις, pronounced [kʰáris]) or Grace is one of three or more goddesses of charm, beauty, nature, human creativity, goodwill, and fertility, together known as the Charites /ˈkærɪtiːz/ (Χάριτες [kʰáritɛs]) or Graces.[1] The usual roster, as given in Hesiod, is Aglaea ("Shining"), Euphrosyne ("Joy"), and Thalia ("Blooming").[2][1] Hesiod states that Aglaea is the youngest of this group and the wife of Hephaestus.[3] In Roman mythology they were known as the Gratiae, the "Graces". In some variants, Charis was one of the Charites, who was equated with Aglaea rather than a singular form of the name, as she too is referred to as the wife of Hephaestus.[4]
The Charites were usually considered the daughters of Zeus and Oceanid Eurynome.[2] Rarely, they were said to be daughters of Dionysus and Coronis[5] or of Helios and the Naiad Aegle[6][7] or of Hera by an unnamed father.[8] Other possible names of their mother by Zeus are Eurydome, Eurymedousa, or Euanthe.[9] Homer identified them as part of the retinue of Aphrodite. The Charites were also associated with the Greek underworld and the Eleusinian Mysteries.
In painting and sculpture, the three Charites or Graces are often depicted naked or almost naked, however, during the Archaic and Classical periods of Greece, they were typically depicted as fully clothed.[1]
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