读分析The Age的文章，角度是Scorsese镜头内的男主角的melancholia。Newland被说成是典型，因为他追求的一直不是欲望的满足，恰恰相反，他所要的，是欲望的不满足。而这个，就是melancholia的典型。
我没有往自己身上套的嫌疑，但也觉得我也常常这样子。喜欢的都是看不上我的，看上我的又不喜欢。说白了，就是不希望被爱的欲望得到满足，喜欢淡淡的遗憾的感觉。
哦哦～
2009年12月5日星期六
2009年11月17日星期二
我真的不是学术的料。。。
话说第一篇电影论文得了A-/B+。我没什么感觉。就那样吧。其实我知道老师给我这个不算太低的分数多半是因为我作业做得很认真。我把整个电影都给肢解了，一个镜头一个镜头数过来，光分析那个就写了10页。倒是正经的电影分析写得比较烂。但是我当时知道老师一定会给努力分~恩~
以上是投机取巧1。
这次论文是比较两个不同时代的电影理论家的不同理论。我挑了两篇原文最短的理论家写。一个写了4页，一个写了36页。我读了2遍4页的那个过后觉得自己很明白了——他很赞同电影技术的进步，觉得“完全电影”能为电影的发展带来机会。刚刚我决定看看其他学者对这个人的分析，然后赫然发现自己完全理解反了——人家痛恨电影技术的进步，觉得“完全电影”摧毁了电影成为艺术的唯一机会。。。唉~幸好去调查了一下别人的理解，要不然就傻了。。。话说老师有明确要求不许我们查其他人的资料，因为这个作业的意义在于训练我们track an argument。
于是，以上是投机取巧2。
我这么投机取巧写论文的人，真的不适合学术啊~倒适合去类似于三鹿的公司干点儿瞒天过海的事儿。
以上是投机取巧1。
这次论文是比较两个不同时代的电影理论家的不同理论。我挑了两篇原文最短的理论家写。一个写了4页，一个写了36页。我读了2遍4页的那个过后觉得自己很明白了——他很赞同电影技术的进步，觉得“完全电影”能为电影的发展带来机会。刚刚我决定看看其他学者对这个人的分析，然后赫然发现自己完全理解反了——人家痛恨电影技术的进步，觉得“完全电影”摧毁了电影成为艺术的唯一机会。。。唉~幸好去调查了一下别人的理解，要不然就傻了。。。话说老师有明确要求不许我们查其他人的资料，因为这个作业的意义在于训练我们track an argument。
于是，以上是投机取巧2。
我这么投机取巧写论文的人，真的不适合学术啊~倒适合去类似于三鹿的公司干点儿瞒天过海的事儿。
2009年11月13日星期五
play on Friday
The Mystery of Irma Vep
November 12 – December 13
by Charles Ludlam
directed by Sean Graney
2009年11月8日星期日
jiong
I just realized in the research proposal I wrote for the application to CUHK this Spring, I totally messed up the conception of "mirror stage." OMG... During the interview, a professor specifically asked me how I was gonna apply the "mirror" approach as proposed by Bhabha to my analysis of Rhy's work. I replied with a ridiculous remark which used the word "mirror" in its literal sense.
Now that I've read Lacan and other prominent thinkers, I realize how narrow-minded and academically naive I was. OMG, did I really say that stupid stuff during the interview?! It's totally embarrassing... >_<
But how come that interview got me into CUHK at all?! Oh, that handsome professor must have thought I was hilarious, because he just published a book exclusively on Bhabha last year. >_<
Embarrassed and ASHAMED of myself!!!
紧跟时代潮流
最近在琢磨着硕士论文的选题。搜索相关文献的时候，定义时间范围，都会小心地把范围缩小到近4年的论文，而偶尔看到人家的论文发在2006年某刊上，就很紧张：3years，isn't it too old？
话说从前在北大的时候从来没想过要和academic community保持一种keep up的关系，于是自己的学士论文就引用了很多很多四五十年代的文章，虽然我的primary text是19世纪的吧～据说如果bibliography有十年之前的文章，芝大的教根本不看的。大概就直接打回去重写了吧。。。
于是我觉得，能了解到这样的理念并且认真实践，就算这辈子都不学术了，也还算是有所收获吧。
2009年11月5日星期四
CSO
Chicago Symphony Orchestra
A Midsummer Night's Dream
Chicago Symphony Orchestra
Bernard Haitink, conductor
Jean-Yves Thibaudet, piano
Erin Morley, soprano
Sasha Cooke, mezzo-soprano
Sir Thomas Allen, narrator
The Girls of Anima
Emily Ellsworth, artistic director
Ravel - Alborada del gracioso 
Ravel - Piano Concerto for the Left Hand
Mendelssohn - A Midsummer Night’s Dream (complete Incidental music)
Principal Conductor Bernard Haitink launches his fall residency with a delightful program of Ravel works, including the Piano Concerto for the Left Hand with esteemed artist Jean-Yves Thibaudet. He also conducts the CSO’s first performances of Mendelssohn’s complete incidental music to A Midsummer Night’s Dream, with extracts from Shakespeare’s fantastical play edited by Ara Guzelimian.
2009年10月25日星期日
Humanities Day
GERMANIC STUDIES / COMPARATIVE LITERATURE / SOCIAL THOUGHT
Who is Faust?
Mandel Hall, 1135 East 57th Street
Johann Wolfgang Goethe's drama "Faust" was written over a period of sixty years (ca. 1772-1832) and is arguably the supreme achievement of one of the greatest writers of the Romantic era. But what does this drama about a scholar- magician who makes a wager with the devil have to say to us today? Is the Faust myth still compelling for us in the twenty-first century? In this lecture, Professor David Wellbery discusses why philosophers from Hegel to Santayana and writers from Thomas Mann to Paul Valéry have considered Goethe's play to be such a profound statement about the human condition. He also examines features of the play that still confound scholars today. The quest for a unified interpretation of Goethe's masterpiece continues and Professor Wellbery will offer here his thoughts on how we can best approach the Faust drama today.
Keywords: "who is Faust" vs. "who was Faust"
CLASSICS
The Stoic Path to Happiness (or, An Ancient Philosophy on How to Live)
Social Science Research Building, Room 122, 1126 East 59th Street
Not every culture has thought individual happiness should be the aim of life, but for the ancient Greeks and Romans, attaining this elusive goal was the main purpose of practicing philosophy. What might be surprising to us is the way one school in particular—the Roman Stoics—proposed going about it. Were they out of touch with reality? Or all too sane? We’ll discuss their unique perspective on getting to your “happy place” and its feasibility for ordinary human beings (like us).
Keywords: 7 steps to achieve happiness; seemingly pessimistic but true optimism; Why Classics?--See how the study of the ancient texts changed through history; that's fascinating.
CINEMA & MEDIA STUDIES
Screening of Jour de Fête
Film Studies Center, Cobb Lecture Hall, Room 307, 5811 South Ellis Avenue
In Jour de Fête (Holiday, France, 1949), director Jacques Tati stars in his first feature that he shot simultaneously in an experimental, obsolete color process and, as a precaution, black and white. Restored to full color in 1995, the film is Tati’s exploration of provincial French cultural traditions against post-WWII modernity, mechanization, and American “progress.” But it is also a highly self-reflexive text about the filmmaking process, daily life, the history of comic style, and the role vision plays in laughter.
Keywords: Tati, Chaplin, how technology shapes our life, color vs. black&white--ironically technical~
from: http://humanitiesday.uchicago.edu/program
Weekend #4
Hunchback @ Rockerfeller Chapel
Redmoon Theater's Hunchback
October 22-25 at 8 p.m.
Redmoon Theater prides itself on producing unexpected theater in unexpected spaces. Rockefeller's Gothic environs serve as the stage for Redmoon's Hunchback, based on Victor Hugo's classic novel Notre Dame de Paris, with unique shadow puppetry, elaborate masks, and outrageous acrobatics. The dramatic set changes throughout the performance as life-size boxes transform to reveal carnival characters, and scenes unfold in a giant pop-up book with miniature puppets.
from: http://rockefeller.uchicago.edu/
2009年10月22日星期四
i thought i love you
i thought i had an enthusiasm for academics, and that enthusiasm could never be diminished for whatever.
i was wrong.
Lucy--the mother-daughter relation
Please ignore this thread for now. It's really too long... I'll re-work on this later today! And add questions!
I was inspired by Mika's question in class, and thought about the mother-daughter relation as depicted in the novel. But I didn't exactly look at it in a feminism perspective. To me, how the protagonist Lucy treats this relation presents itself as the very process that she reconciles with her past.
In the narrative, Lucy's mother stands for a past that Lucy strives to depart from, but somehow fails. As she says explicitly "my past was my mother" (90). Lucy has an ambiguous feeling towards her mother: "The times that I loved Mariah it was because she reminded me of my mother. The times that I did not love Mariah it was because she reminded me of my mother" (58). Later on when she relates her memories of her mother to Mariah, she bursts into tears, the only time she cries in the story. As Lucy recounts, she started hating her mother when her mother gave birth to another boy, and thus Lucy felt that she could no longer get enough love from her mother, even though Lucy considered herself as her mother's "only identical offspring" (130). In other words, she feels "betrayed" (127).
Once a professor from Trinidad told me that "everyone comes with burdens." (Well, actually she kind of illegally came.) I never really understood that remark till I read Lucy. Maybe for her, her mother's love and what's represented by that love constitute her burden. "I had come to see her love as a burden" (36). It is a burden not only because her mother would naturally remind her of the islands she left behind, but more importantly, Lucy has always been exprienced a forced identification with her mother. The force came from people like Maude, but more directly from Lucy's mother, as Lucy described her mother's love as "designed solely to make me into an echo of her" (36). The only way of fully become independent and find herself is to get rid of this burden. Lucy actually achieves that. When Maude visited and passed on the sad news from home, she told Lucy that she resembled her mother. " It is this very remark that has "the only thing that could keep [Lucy] alive, because in her response that she was not like her mother at all, Lucy finally rid herself of that forced identification, and meanwhile, her past.
This burden goes off, however, at a price. When she wrote that "I wish I could love someone so much that I would die from it," it's likely that this inability to love could be attributed to her twisted relation with her mother. In her early decision to rid herself of her mother, Lucy lost the chance to come to terms with that traumatic past.
I was inspired by Mika's question in class, and thought about the mother-daughter relation as depicted in the novel. But I didn't exactly look at it in a feminism perspective. To me, how the protagonist Lucy treats this relation presents itself as the very process that she reconciles with her past.
In the narrative, Lucy's mother stands for a past that Lucy strives to depart from, but somehow fails. As she says explicitly "my past was my mother" (90). Lucy has an ambiguous feeling towards her mother: "The times that I loved Mariah it was because she reminded me of my mother. The times that I did not love Mariah it was because she reminded me of my mother" (58). Later on when she relates her memories of her mother to Mariah, she bursts into tears, the only time she cries in the story. As Lucy recounts, she started hating her mother when her mother gave birth to another boy, and thus Lucy felt that she could no longer get enough love from her mother, even though Lucy considered herself as her mother's "only identical offspring" (130). In other words, she feels "betrayed" (127).
Once a professor from Trinidad told me that "everyone comes with burdens." (Well, actually she kind of illegally came.) I never really understood that remark till I read Lucy. Maybe for her, her mother's love and what's represented by that love constitute her burden. "I had come to see her love as a burden" (36). It is a burden not only because her mother would naturally remind her of the islands she left behind, but more importantly, Lucy has always been exprienced a forced identification with her mother. The force came from people like Maude, but more directly from Lucy's mother, as Lucy described her mother's love as "designed solely to make me into an echo of her" (36). The only way of fully become independent and find herself is to get rid of this burden. Lucy actually achieves that. When Maude visited and passed on the sad news from home, she told Lucy that she resembled her mother. " It is this very remark that has "the only thing that could keep [Lucy] alive, because in her response that she was not like her mother at all, Lucy finally rid herself of that forced identification, and meanwhile, her past.
This burden goes off, however, at a price. When she wrote that "I wish I could love someone so much that I would die from it," it's likely that this inability to love could be attributed to her twisted relation with her mother. In her early decision to rid herself of her mother, Lucy lost the chance to come to terms with that traumatic past.
2009年10月16日星期五
2009年10月9日星期五
Marx
从12岁开始系统学习马克思主义哲学思想以及政治经济学理论：初中、高中、大学。学了3遍了都。然则却在美国开始第一次读马克思的原著，听正经的哲学家将马克思主义哲学。
很震撼。
先说感性认识：因为从小学习马克思主义。Marxism，对于我来说，除了cliche还是cliche。Marxism不仅仅象征了那些“共产主义必将取代资本主义”的bullshit，更与那些浪费在死记硬背考政治的宝贵青春死死相连，于是，我恨马克思主义。
可是M大师说了，Marx提出的不是政治理论，而是哲学理论。因此人们不能用the application of Marxism来衡量这个哲学理论的价值。于是我想：Ok, 我不能把CCP的没脑子怪罪到马克思大人生上。
再说理性认识：在论证人的本质是社会属性时，马克思特别论证了一下人和动物的区别。你觉得是什么呢？语言、智慧、思想？No, no, no~Consciousness对于马克思来讲，完全没什么大用。而对待这个词，也完全是把它看作一种社会的collective consciousness，而完全去除了individual consciousness的作用。
我觉得这个很有意思。不知道能不能作为从小受到马克思主义教育的我们比起个人主义为先的西方小孩儿，比较缺少个人意识的一种解释。
讲到工作使人异化这一部分，我觉得比较有意思的地方在于，马克思认为，worker在资本主义里，已经不是一个人了，而是一个slot，一个可以由任何人（甚至机器人）来占据的slot。而个体的差别也丝毫不会对这个角色的扮演产生任何影响。我好像以前从来没这么想过。嗯。
话说马克思比拉康读起来好很多。说话很有逻辑，头头是道。不过批判起Hegel以及Young Hegelian时也是很不留情面的呀。有趣有趣。
很震撼。
先说感性认识：因为从小学习马克思主义。Marxism，对于我来说，除了cliche还是cliche。Marxism不仅仅象征了那些“共产主义必将取代资本主义”的bullshit，更与那些浪费在死记硬背考政治的宝贵青春死死相连，于是，我恨马克思主义。
可是M大师说了，Marx提出的不是政治理论，而是哲学理论。因此人们不能用the application of Marxism来衡量这个哲学理论的价值。于是我想：Ok, 我不能把CCP的没脑子怪罪到马克思大人生上。
再说理性认识：在论证人的本质是社会属性时，马克思特别论证了一下人和动物的区别。你觉得是什么呢？语言、智慧、思想？No, no, no~Consciousness对于马克思来讲，完全没什么大用。而对待这个词，也完全是把它看作一种社会的collective consciousness，而完全去除了individual consciousness的作用。
我觉得这个很有意思。不知道能不能作为从小受到马克思主义教育的我们比起个人主义为先的西方小孩儿，比较缺少个人意识的一种解释。
讲到工作使人异化这一部分，我觉得比较有意思的地方在于，马克思认为，worker在资本主义里，已经不是一个人了，而是一个slot，一个可以由任何人（甚至机器人）来占据的slot。而个体的差别也丝毫不会对这个角色的扮演产生任何影响。我好像以前从来没这么想过。嗯。
话说马克思比拉康读起来好很多。说话很有逻辑，头头是道。不过批判起Hegel以及Young Hegelian时也是很不留情面的呀。有趣有趣。
2009年10月7日星期三
New formalism
Neoformalism
Keywords: David Bordwell, Russian Formalists, defamiliarization, story/= form of the story (narration?)Bordwell has also been associated with a methodological approach known as neoformalism, although this approach has been more extensively written about by Kristin Thompson.[2] Neoformalism is an approach to film analysis based on an observation first made by the literary theorists known as the Russian Formalists: that there is a distinction between a story and the form that conveys the story. For example, in a detective story, the murder comes at the beginning of the chain of events, but we find out the details about the murder at the end of the film, not the beginning. Much of neoformalism deals with the idea of 'defamiliarization' which is the general neoformalist term for the basic purpose of art in our lives: to show us familiar objects or concepts in a manner that encourages us to look at them in a new way.
Neoformalists reject many assumptions and methodologies made by other schools of film study, particularly hermeneutic (interpretive) approaches, among which he counts Lacanian psychoanalysis and certain variations of post-structuralism. In Post-Theory: Reconstructing Film Studies, Bordwell and co-editor Noël Carroll argue against these types of approaches, which they claim act as "Grand Theories" that use films to confirm pre-determined theoretical frameworks, rather than attempting to do middle-level research that can actually illuminate how films work. Bordwell and Carroll coined the term "SLAB theory" to refer to theories that use the ideas of Saussure, Lacan, Althusser, and/or Barthes. Many film scholars have criticized neoformalism, notably Slavoj Žižek, of whom Bordwell has himself been a long-time critic.[3] Their criticism is generally not based on any internal incosistencies in neoformalism; rather, they argue that neoformalism is an overly limited approach that does not incorporate cultural approaches.
2009年4月8日星期三
I wandered lonely as a cloud
is my favorite poem by English Romantic poets so far.
Have you ever beheld a daffodil with thy own eyes? Well, I have. When I living in the white house last spring, on my way to the campus on that little trail leading to the parking lot, grew the most beautiful daffodils. They were forever dancing in the wind, swaying their tiny bodies now and then, to the music of the beauteous season.
What is it like if "a host" of these lovely creatures are gathering at the bank of a lake?
Well, that's what Wordsworth saw and that's his muse of this equally lovely "I wandered lonely as a cloud."
Have you ever beheld a daffodil with thy own eyes? Well, I have. When I living in the white house last spring, on my way to the campus on that little trail leading to the parking lot, grew the most beautiful daffodils. They were forever dancing in the wind, swaying their tiny bodies now and then, to the music of the beauteous season.
What is it like if "a host" of these lovely creatures are gathering at the bank of a lake?
Well, that's what Wordsworth saw and that's his muse of this equally lovely "I wandered lonely as a cloud."
再吼一声——喜欢这个的操作系统！
直接连着googlereader,我都要涕零了～～～
其实每天把泡在网上的时间用来跑步或者吃水果，我该多么健康啊～
Modern technology never fails to drag the healthy into the league of unhealthy by bonding their bodies and minds to the little screen that's always in front of them. How tragic!
Poor we~
其实每天把泡在网上的时间用来跑步或者吃水果，我该多么健康啊～
Modern technology never fails to drag the healthy into the league of unhealthy by bonding their bodies and minds to the little screen that's always in front of them. How tragic!
Poor we~
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