Alec Jiang
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Alec Jiang

Taiwan

Single

Anobian since Nov 14, 2011

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真田三代
by 平山優
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蒙曼說唐
by 蒙曼
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銀河英雄傳說 4 策謀篇
by 田中 芳樹
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銀河英雄傳說 3 雌伏篇
by 田中 芳樹
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Alec Jiang
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每個人對於美自有一定的標準,依據標準的不同,每個人各自會呈現出不同面向的美感,理論上是如此。不知該說是人類是群體的生物,抑或現今資訊傳播的快速,百家爭鳴似乎被獨於一尊所覆蓋,至少表面上是如此。所謂的「主流」不是原罪,如同上述所說,「主流」的價值也是人類依據自我的美感所呈現出的面向之一,只是這個標準被大多數人所接受,或者大多數人也有相近的價值觀。由此所延伸出來的問題就是,接受「主觀」的人之中,有多少是出於自我的判斷,又有多少只是跟風,如同暢銷排行榜的上的書,有多少人只是買回去當擺飾品(至於書的本身是否為擺飾品就是另當別論,不過當我這樣的想法,是不是也犯了對他人美感的輕蔑呢)。

美感的存在,應該是自我的滿足,只是當因為經濟上或者取得管道的限制性,而造成階級的形成,而經濟上處於相近水準的人,因為社交等等因素,這些的「美感」是否成為身分象徵,進形成一種刻版印象,其實美感是源自於自我對美的滿足,誰說古典樂、畫畫等藝術就是美,類型小說甚至是言情小說,就只是一種沒有性靈的速食。不可諱言,借助科技之力讓所謂以前是上流社會的「美感」,只要有心都能唾手可得,但依然有一定刻版印象的存在,因為你是XX所以一定要XX,如果你喜歡的是XX,一定就是XX,舉個例來說,因為你是個思想成熟的社會人士,所以一定要成熟的喜好,如果你喜歡的ACG,一定就是阿宅,就別提如果社會事件的主角喜歡ACG,甚至喜歡FPS,ACG一定會被拿出來鞭屍。面對如此的情形,或許有人起身捍衛自己的「美感」,但多數人的跟如同荷妮和芭洛瑪一樣,外在形塑出符合社會期待的形象,內在則是捍衛自我的價值。


Alec Jiang
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刺蝟的優雅
by Muriel Barbery
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曾幾何時我對於「托馬斯‧愛德華‧勞倫斯」產生一種馳騁在沙漠中、解救阿拉伯民族的浪漫英雄的印象,因為他更為人知的名稱是「阿拉伯的勞倫斯」,大概是在學生時代讀了某一本書,提到他的事蹟,更提到了「智慧七柱」,想當然爾,那時對阿拉伯世界無感的我,除了上述莫名產生的浪漫印象外,對於他所經歷的事、那個時代對於現在的影響,一點想了解的興趣都沒有,更別說拜讀「智慧七柱」。如果一昧地將對於中東歷史的無感,歸咎於台灣歷史教育的失敗,那也把生為「讀書人」的人自覺給撇在一旁(苦笑)。

道是否受到電影的影響,勞倫斯與阿拉伯不但不可分,更被西方塑造成為從鄂圖曼土耳手中解救阿拉伯民族的傳奇,可是在一些資料中,他似乎成了出賣阿拉伯利益的小人。從以上這些敘述中,可以得知勞倫斯對於中東現代政治版圖的形塑是有一定的影響及參與,也有著淡泊名利的君子
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財富之城
by 羅傑.克勞利
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Alec Jiang
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對於十字東征這段歷史,從一開始「正義的基督要從邪惡的伊斯蘭手中收復聖城」這樣扁平的觀念,隨著史料的接觸,已經逐漸了解,不過就是一個假借宗教之名而之侵略行為,沒想到除了造成將近200年阿拉伯世界的動蕩,更促成東西文化的交流。

十字東征(又被稱為法蘭克人入侵),如果簡化成基督V.伊斯蘭,似乎太過簡略。當時的阿拉伯已是軍閥林立的世界,哈里發不過就是名義上的共主,在這200年間,有實權、能抵抗西方勢力的不再是阿拉伯人,而是歸依在伊斯蘭下的各個軍頭,在這樣前提背景下,無怪乎初期不少人將法蘭克人入侵視為真主的懲罰。有趣的是,阿拉伯將法蘭克人視為野蠻人(事實上也是),這不就和東羅馬帝國被日耳曼蠻族入侵一樣,西方勢力之所以能勢如破竹,一如前面所提,阿拉伯世界內鬥可鬥得凶了,在這段期間,更可以發現有些軍頭甚至會勾結十字軍,正可說明阿拉伯世界的政權沒有長期處於統一政權,造成統治權在轉移是在流血衝突下完成,進而影響面對十字軍時阿拉伯世界的凝聚力,無怪乎能統一阿拉伯勢力對抗十字軍竹
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1453
by Roger Crowley, 羅傑.克勞利
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海洋帝國
by Roger Crowley, 羅傑.克勞利
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相思成災 下
by 宮部美幸
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相思成災 上
by 宮部美幸
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死神的浮力
by 伊坂幸太郎
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汽油生活
by 伊坂幸太郎
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曙光中的機器人
by Isaac Asimov
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裸陽
by Isaac Asimov
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鋼穴
by Isaac Asimov
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剩下的人生都是休假
by 伊坂幸太郎
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