Amateur Reader
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Amateur Reader

Taipei, Taiwan

Anobian since Jul 27, 2014

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被身體記住的童年
米勒在晚年找到另一個出口,畫畫,像是回到童年信手拈來的表達方式。她的畫作裡,線條看來有點躁動,人物表情卻很安詳,有種稚氣的可愛,和背景的不安線條搭配起來小有趣。人老是在尋找什麼,尋找的終點就是回溯? 

米勒說書,就像海妖在唱歌,聽著這位海妖的呻吟,我想起《聖母打聖嬰》這張畫。 據說,畫家恩斯特認為,既然處女生孩子都能相信,那聖母打小孩有什麼荒謬的呢?

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身體不說謊
by 愛麗絲‧米勒
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我的一生
by [意] 贾科莫·卡萨诺瓦
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只是為了生存的《草瘋長》

蛆的世界,是什麼樣的世界?是一個卑微、甚至卑賤的世界,一個為了活命而能犧牲尊嚴與廉恥、熬過磨難的底層世界。他寫、拍的底層故事,沒有故作沉重,也不沉浸於位階不一的同情和憐憫,而是冷靜的展現活著的力量。我著迷於這股不卑不亢的力量。
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草疯长
by 今村昌平
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獵奇的澁澤龍彥
夢的宇宙誌翻一番
一翻開書卻像闖入異次元空間,百般新奇猶如初讀,除了作者處處引用我喜歡的作家這點外,他毫不隱藏戀物癖般的執著——從書中抓出一條條「微型、不甚起眼」的歷史蟲、在放大鏡下比對和解剖——這點讓我想拜倒在他變裝後的裙下。
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夢的宇宙誌
by 澀澤龍彥
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最最親愛的癩痢麻子們
❝高尚的酒鬼們,還有你們,最最親愛的癩痢麻子們,這本書不是寫給別人,就是寫給你們的!❞──拉伯雷《巨人傳》〈作者序〉

《巨人傳》開篇的序文非常有說書人的氣魄,即使對歐洲中世紀的俚俗不明究理,奇幻、天馬行空的情節依然能讓當代人捧腹大笑,但這本書其實「不容易閱讀」。

拉伯雷吸引我的原因,不只是他為挑釁或爆破教會框架的胡鬧的遊戲文學,另一原因是在他的「隨身書匣」中保有的藏書清單多是我極度興趣的作家︰伊拉斯謨(Erasmus),托瑪斯摩爾(Thomas More),盧西安(Lucian of Samosata),塞涅卡(Senaca)等人。愛屋及烏的習慣在閱讀上蔓延開來的後果,便是挖上來的土堆越疊越高。
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巨人傳
by 拉伯雷[法]
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红书
by [瑞士] 荣格(C. G. Jung)
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〈大漩渦歷險記〉和我

「我們總是盡力在摩斯可大漩渦的魔爪縫隙中求生存、討生活。你知道嗎,只要我們比平潮到來的時刻,早或晚個一分鐘出發、離開,我的心就會揪在一起」。(引自〈大漩渦歷險記〉 )

這段落讓我聯想到夾在泱泱大國間的小國寡民處境,小國寡民也在縫隙中求生存,不時揪著心關注內外的動靜,長期處於被威嚇或杯弓蛇影的恐懼,也許和漁夫相似,必須藉由不斷重複講述自身的歷險故事,來彌補早衰的不足。
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愛倫坡驚悚小說全集
by Edgar Allan Poe
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在小說、電影中的索拉力星:
萊姆、塔可夫斯基的《索拉力星》I
萊姆、塔可夫斯基的《索拉力星》II

有趣的是,萊姆的小說裡並沒有提到任何一幅畫,但在電影裡,空間卻充滿了塔可夫斯基慣用的繪畫象徵╱符號,小說提供的空間,成為塔可夫斯基能夠加以發揮的畫布。
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索拉力星
by Stanislaw Lem
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宿命論者雅克和他的主人
by 狄德羅
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寫在人生邊上.人獸鬼
by Qian Zhongshu
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福爾摩沙之夜
by 張建墻
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茱斯蒂娜
by Marquis de Sade
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誤讀
by Umberto Eco
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卡薩諾瓦的周邊

譯本的蒼白追蹤:
翻完兩本中文節譯版的卡薩諾瓦回憶錄,部分比對英文版。只是抽樣比對,因為英文完整版有十二卷、三千多頁,我對外文恐怕還沒有這耐性。

卡薩諾瓦是威尼斯人,他用法文寫回憶錄。十九世紀的初版是譯成德文出版,後又再從德文譯成法文出版,幾經刪減,面目全非。接著,法語教授拉佛格給回憶錄的法語「整型」再出版(因為卡薩諾瓦得彆腳法文),依據索萊爾斯的說法,這個整型有些失敗,卡薩諾瓦變得太莊嚴。例舉M.
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世紀大情聖卡薩諾瓦回憶錄
by 卡薩諾瓦
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小說周邊
by 藤澤周平
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小說周邊
by 藤澤周平
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藝評家寫盧梭

作者在書中舉了個20世紀20年代的例子,藝評家A討論樸素畫家亨利盧梭,藝評家B不滿A的滿紙荒唐言,自行加上翻譯嗆聲,於是A+B有了下文:
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盧梭認為,他的繪畫是一種基本平面,他在物質上依賴它,將它做為投射自己思想的主要途徑。
(翻譯:盧梭希望在畫布上畫畫。)

但是,他的思想完全由造型元素構成。結構和構圖成了基礎,在創作過程中,繪畫物質逐步分散開來。
(翻譯:由於不可能一筆覆蓋整個畫布,所以他在畫畫時塗抹油彩。)

在他的作品中,一切都是那麼地簡潔明快!沒有描述性的東西,只有基本表面上的面與面之間的關係。這些關係呈現無窮變化,不會失去其固有的實在,它們也可在畫作範圍之內與大自然必媲美。
(翻譯:他以平面方式畫出自然對象,或者簡言之,他畫出對象。)

盧梭並不盲目模仿大樹的外觀:他創造出一種內在律動,整個作品傳遞大樹的本質特徵,以及樹葉和森林之間關係的真實、嚴肅的表徵……但是,他的風格既不是建立在推知方式上,也不是建築在盲從潮流的基礎上。它使他的藝術追求具體化,它源於他整個頭腦中的判定。
(翻譯:盧梭以他喜歡的方式畫畫,而且他喜歡畫樹木。)
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但現在看來,其實A的評論倒有點像正夯的反行銷手法,戲弄觀眾,極度瑣碎化想像。
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艺术的用途和滥用
by 雅克·巴尔赞
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