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。

play on Friday

The Mystery of Irma Vep
November 12 – December 13
by Charles Ludlam
directed by Sean Graney

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。

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.