目前日期文章:200712 (8)

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America
Walt Whitman
 
Centre of equal daughters, equal sons,
All, all alike endear'd, grown, ungrown, young or old,
Strong, ample, fair, enduring, capable, rich,
Perennial with the Earth, with Freedom, Law and Love,
A grand, sane, towering, seated Mother,
Chair'd in the adamant of Time.

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Song
Christina Rossetti  

When I am dead, my dearest,
Sing no sad songs for me;
Plant thou no roses at my head,
Nor shady cypress tree:
Be the green grass above me
With showers and dewdrops wet;
And if thou wilt, remember,
And if thou wilt, forget.
 
I shall not see the shadows,
I shall not feel the rain;
I shall not hear the nightingale
Sing on, as if in pain:
And dreaming through the twilight
That doth not rise nor set,
Haply I may remember,
And haply may forget.

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Introduction: Headhunting as Practice and as Trope
 
Hoskins, Janet
Introduction: Headhunting as Practice and as Trope, In: Hoskins, Janet (ed.), Headhunting and the Social Imagination in Southeast Asia, Stanford: Stanford University Press, Pp.1-49.1996.
 
Summarized by hegemonic
 
「獵首」即使到已經禁絕多年以後的現在,仍舊風言風語地在歐洲和東南亞社會中謠傳著不同版本的故事和想像。另一方面,十九世紀的旅人、傳教士、官員和探險家等所留下關於此「蠻荒社會風俗」的紀錄,也再三被廣泛閱讀和討論,構成人類學研究的素材。這些文本搭配官方所載歷史文獻,與進行田野工作蒐集而來的當地語彙、口述故事等語料提供人類學者分別自不同的角度與關懷切入,持續針對現有的詮釋作翻案,但卻始終沒有全面性地針對「獵首」本身進行比較研究。因此,作者希望從定義「獵首」為一有組織、有條理的「暴力」形式出發,討論其所蘊含巨大的象徵性。再者,從上述文本可以了解到獵首不僅具備一連串規範化的儀式內容,更重要的是,在不同社會中的獵首意涵,不應被單純簡化為演化階序中關於「原始戰爭」的其一面向,再化約為物質論對「競爭生計資源」的策略解釋模型,而應該將獵首放入地方脈絡,觀照政治經濟學和民族史的分析,才能真正理解獵首作為一種文化實踐的特殊歷史性。以下條列七個議題式的討論,便於比較與呈顯各社會的獵首樣貌。

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Ode on a Grecian Urn
John Keats 
 
Thou still unravish’d bride of quietness,
Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fring’d legend haunts about thy shape
Of deities or mortals, or of both,
in Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
 
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear’d,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
 
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever warm and still to be enjoy’d,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy’d,
A burning forehead, and a parching tongue.
 
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead’st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea-shore,
Or mountain-built with peaceful citadel,
Is emptied of its folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul, to tell
Why thou art desolate, can e'er return.
 
O Attic shape! fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form! dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
'Beauty is truth, truth beauty,—that is all
Ye know on earth, and all ye need to know.'

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So, We’ll go no more a Roving
Lord Byron
 
So, we’ll go no more a roving
So late into the night,
Though the heart be still as loving,
And the moon be still as bright.
 
For the sword outwears its sheath,
And the soul wears out the breast,
And the heart must pause to breathe,
And love itself have rest.
 
Though the night was made for loving,
And the day returns too soon,
Yet we’ll go no more a roving
By the light of the moon.

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十月初開課的「英美詩 停‧看‧聽」在課程內容方面老師以介紹作者出發,沒有太多準備,許多詩篇剪貼缺少出處、源流介紹顯得片段,不甚令人滿意;但藉此空出一段時間可以專心讀詩(儘管每週上課必須從南港趕回,總是匆匆忙忙),搭配讀詩的聲音緩緩起伏,仿若在煙塵之上的敏隆講堂(最好的是,此空間還可以保有舒適的溫度)漂浮修行,十分享受。以下我也繼續按照詩人為單位,親手敲打鍵盤,在速度中感受英文詩句的韻律。

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如果發現以為已經遠去的、深愛的人原來就在物理距離可以到達的他鄉,而因為難以述說的複雜情況,只能躲避著無法見面,甚至安排了種種詐死的遺跡,例如這最後的情書:「想像我正握著妳的手,回憶一下我們那幾次關於死亡的談話。我們都不認為有任何疾病、厄運或者暴力行為能夠帶來生命的徹底毀滅,因為肉體只不過是我們借穿的套裝,而我們絕不僅僅是件衣服。(《黑色通告(Black Notice)》,頁15)」這些重新讓人拉回創痛的撫慰話語似真又是假,對蒙在鼓裡而傷心欲絕的愛人而言,那是什麼樣、既震驚又恍若隔世的感覺?

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事前沒料到《人體農場》也有同好享用中,所以頗為滿足虛榮心的「圖書館套書計畫」比我預期晚得多才實現。直到看到《波特墓園》(沒辦法,因為借還書的日期難以確定是圖書館套書的小小缺憾,《波特墓園》可是姍姍來遲)才發現《人體農場》原來是關鍵的一集,在這一集當中每個人物都有了不小的變化:首先,Kay發現了露西的同性戀身份,並且從她和嘉莉‧葛里珊的激情關係中牽引出日後高特一次又一次的詭謀深算;露西在這一集中為了愛又酗酒又遭逢車禍,其實除了愛的掙扎外,對女性作為調查員或法醫,此種「特殊工作」在發展上可能面對的體能極限、各種質疑(就連至親如母都還是難以接受)和挫折,也透過Kay許多創痛記憶和心疼自責中交錯呈現。第二條線延續《失落的指紋》高特出場,班頓邀請Kay加入行為科學小組;到了《人體農場》時Kay因為一個碎玻璃意外正式和班頓在一起(這一段他們的默契宛若雙人輪舞般絕配),卻也間接刺傷連老妻茉莉也離開了的馬里諾,展開第三條本書兇案主線的「致命吸引力」。

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