{"id":2151,"date":"2021-08-26T10:31:28","date_gmt":"2021-08-26T10:31:28","guid":{"rendered":"https:\/\/www.soleil-noir.me\/blog\/?p=2151"},"modified":"2021-08-26T10:44:58","modified_gmt":"2021-08-26T10:44:58","slug":"le-charm-discret","status":"publish","type":"post","link":"https:\/\/www.soleil-noir.me\/blog\/le-charm-discret\/","title":{"rendered":"LE CHARM DISCRET DE LA BOURGEOISIE \u5403\u9084\u662f\u4e0d\u5403,\u9019\u662f\u500b\u554f\u984c"},"content":{"rendered":"\n

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\u4e00\u3001\u5e03\u723e\u55ac\u7dad\u4e9e<\/p>\n\n\n

\u5e03\u723e\u55ac\u7dad\u4e9e(bourgeoisie, [1])\u6700\u65e9\u662f\u64c1\u6709\u4e00\u5b9a\u6b0a\u5229\u548c\u8ca1\u5bcc\u7684\u81ea\u7531\u6c11(freedman, [2])\u548c\u5e02\u6c11(civic)\u7684\u7e3d\u9ad4\u4ee3\u7a31\uff0c\u6b50\u6d32\u4e2d\u4e16\u7d00\u4ee5\u964d\uff0c\u4ed6\u5011\u4ee3\u8868\u4e86\u6c11\u773e\u88cf\u64c1\u6709\u4e00\u5b9a\u8a71\u8a9e\u6b0a\u548c\u8cc7\u6e90\u7684\u7d55\u5927\u591a\u6578\u4eba\u7fa4\uff0c\u662f\u793e\u6703\u7684\u4e2d\u5805\u529b\u91cf\u548c\u4e3b\u8981\u6210\u54e1\u3002\u4f46\u5728\u8fd1\u73fe\u4ee3\uff0c\u5e03\u723e\u55ac\u7dad\u4e9e\u537b\u88ab\u8996\u70ba\u662f\u4ecb\u65bc\u8cb4\u65cf\u3001\u4e0a\u6d41\u968e\u5c64\u8207\u4e0b\u5c64\u6c11\u773e\u4e4b\u9593\u6416\u64fa\u4e0d\u5b9a\u7684\u968e\u5c64\uff0c\u4ed6\u5011\u6c92\u6709\u5805\u5b9a\u4e0d\u79fb\u7684\u7406\u5ff5\u548c\u614b\u5ea6\uff0c\u7f3a\u4e4f\u72a7\u7272\u7cbe\u795e\u8207\u64d4\u7576\u52c7\u6c23\uff0c\u53ea\u5728\u4e4e\u81ea\u5df1\u7684\u65e2\u5f97\u5229\u76ca\u548c\u5916\u5728\u540d\u8b7d\uff0c<\/span>\u4ee5\u81f3\u65bc\u201c\u5e03\u723e\u55ac\u7dad\u4e9e\u201d\u5df2\u6210\u70ba\u67d0\u7a2e\u610f\u7fa9\u4e0a\u7684\u8cb6\u7fa9\u8a5e\u3002<\/p>\n\n\n\n

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\u4e09\u3001\u751f\u4e4b\u6b61\u6109\u53ca\u5e7b\u6ec5<\/p>\n\n\n

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\u4e94\u3001\u5e03\u52aa\u57c3\u723e<\/p>\n\n\n

\u8def\u6613\u65af\u2022\u5e03\u52aa\u57c3\u723e(Luis Bu\u00f1uel, [5])\u51fa\u751f\u65bc\u4e00\u500b\u7be4\u4fe1\u5929\u4e3b\u6559\u7684\u4e2d\u7522\u968e\u7d1a\u5bb6\u5ead\uff0c\u4ed6\u5f9e\u5c0f\u5c31\u5c0d\u9019\u7a2e\u7684\u751f\u6d3b\u77ad\u7136\u65bc\u80f8\uff0c\u8eab\u908a\u4eba\u5011\u7684\u8a00\u884c\u8209\u6b62\uff0c\u7121\u4e00\u4e0d\u662f\u900f\u51fa\u4e00\u7a2e\u7a7f\u8457\u93a7\u7532\uff0c\u8b39\u5c0f\u614e\u5fae\u800c\u7121\u804a\u7684\u5473\u9053\u3002\u4ed6\u5011\u5c0f\u5fc3\u7ffc\u7ffc\u5730\u7dad\u6301\u8457\u81ea\u5df1\u7684\u751f\u6d3b\u65b9\u5f0f\uff0c\u6bcf\u65e5\u91cd\u8907\uff0c\u6df1\u6015\u5225\u4eba\u5632\u7b11\u548c\u8b70\u8ad6\u3002\u4ed6\u5de7\u5999\u5730\u5b89\u6392\u8457\u4e00\u9023\u4e32\u770b\u4f3c\u5de7\u5408\u7684\u5922\u5883\uff0c\u4e0d\u7ba1\u5982\u4f55\u8352\u8b2c\uff0c\u5982\u4f55\u9a5a\u5947\uff0c\u7e3d\u80fd\u4f7f\u5f97\u5287\u60c5\u5f97\u4ee5\u6558\u8ff0\uff0c\u6df7\u5408\u8d85\u73fe\u5be6\u4e3b\u7fa9(Surr\u00e9alisme, [6])\u5922\u5883\u822c\u7684\u795e\u5947\u548c\u4e0d\u53ef\u601d\u8b70\uff0c\u540c\u6642\u53c8\u8981\u4fdd\u6301\u8457\u9069\u5ea6\u800c\u4ee4\u4eba\u4fe1\u670d\u7684\u771f\u5be6\u611f\uff0c\u6bd4\u8d77\u9a5a\u4e16\u99ed\u4fd7\u7684\u300a\u4e00\u689d\u5b89\u9054\u9b6f\u7684\u72d7(Un Chien Andalou), [7]\u300b, \u4e5f\u8a31\u66f4\u70ba\u56f0\u96e3\uff0c\u5305\u542b\u7684\u610f\u8c61\u548c\u8c61\u5fb5\u4e5f\u66f4\u70ba\u8c50\u5bcc\u591a\u5f69: \u548c\u8c50\u76db\u665a\u5bb4\u540c\u6642\u540c\u5730\u9032\u884c\u7684\u846c\u79ae\u8207\u60bc\u5ff5\u5100\u5f0f; \u9020\u8a2a\u4ed6\u4eba\u537b\u7121\u610f\u9593\u6210\u70ba\u821e\u81fa\u6232\u5287\u88cf\u7684\u6f14\u54e1; \u805a\u9910\u6642\u88ab\u7a81\u5982\u5176\u4f86\u7684\u6050\u6016\u4e3b\u7fa9\u5206\u5b50\u5165\u5ba4\u6383\u5c04\u5c60\u6bba\uff0c\u7537\u4e3b\u89d2\u9084\u4e0d\u5fd8\u5077\u5403\u9910\u684c\u4e0a\u7684\u70e4\u7f8a\u817f; \u6bcd\u89aa\u7684\u4ea1\u9b42\u901a\u904e\u81ea\u5df1\u7684\u5b69\u5b50\u5b8c\u6210\u4e86\u60c5\u592b\u5ff5\u5ff5\u4e0d\u5fd8\u7684\u5fa9\u4ec7; \u5728\u807d\u53d6\u81e8\u6b7b\u79b1\u544a\u6642\u5c0d\u6bba\u5bb3\u7236\u6bcd\u4ec7\u4eba\u5373\u523b\u9032\u884c\u8840\u89aa\u5fa9\u4ec7\u7684\u4e3b\u6559–\u6700\u5f8c\uff0c\u4ed6\u9084\u4e0d\u5fd8\u518d\u6b21\u5632\u7b11\u63f6\u63c4\u5929\u4e3b\u6559\u6148\u60b2\u548c\u5bec\u6055\u7684\u865b\u5047–\u6216\u8005\uff0c\u7576\u5b97\u6559\u4fe1\u4ef0\u5df2\u7d93\u6dea\u70ba\u652f\u6490\u968e\u5c64\u81ea\u5c0a\u548c\u865b\u69ae\u7684\u85c9\u53e3\u548c\u7d71\u6cbb\u58d3\u5236\u4e4b\u7406\u7531\u6642\uff0c\u5b83\u4e0d\u904e\u5c31\u662f\u4e00\u4ef6\u201c\u7687\u5e1d\u7684\u65b0\u8863(Kejserens nye Kl\u00e6der, The Emperor’s New Clothes, [8])\u201d\u3002\u6bcf\u4e00\u6b21\u770b\u4f3c\u4e0d\u53ef\u601d\u8b70\u7684\u6b7b\u5c40\u548c\u5e55\u843d\uff0c\u90fd\u88ab\u4e00\u500b\u500b\u4eba\u7269\u5f9e\u5922\u4e2d\u9a5a\u9192\u6240\u91cd\u65b0\u958b\u555f\u7e8c\u7ae0\u3002\u6bcf\u4e00\u500b\u96a8\u6a5f\u7684\u5de7\u5408\u90fd\u540c\u6642\u6307\u5411\u4e00\u4ef6\u6c38\u9060\u7121\u6cd5\u5b8c\u6210\u7684\u4e8b\u60c5–\u805a\u9910\u3002\u9593\u6216\u7a7f\u63d2\u4eba\u5011\u201c\u5728\u8def\u4e0a(en route)\u201d\u7684\u5834\u666f\uff0c\u5c31\u985e\u4f3c\u65bc\u300a\u9280\u6cb3(La Voie Lact\u00e9e), [9]\u300b\u88cf\u5c0b\u6c42\u771f\u7406\u7684\u4e0d\u540c\u4fe1\u4ef0\u8005: \u8ffd\u6c42\u771f\u7406\u6216\u671d\u8056\u7684\u76ee\u7684\u672c\u8eab\u4e26\u4e0d\u91cd\u8981\uff0c\u91cd\u8981\u7684\u4e0d\u904e\u662f\u8ffd\u6c42\u7684\u904e\u7a0b\u3002<\/span><\/p>\n\n\n\n

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\u516d\u3001\u7cbe\u795e\u5206\u6790<\/p>\n\n\n

\u5982\u679c\u6211\u5011\u66f4\u9032\u4e00\u6b65\u5730\u89c0\u5bdf\uff0c\u5f9e\u7cbe\u795e\u5206\u6790\u5b78\u4e0a\u89e3\u91cb\uff0c\u8207\u55aa\u846c\u201c\u6b7b\u201d\u7684\u610f\u8c61\u76f8\u5c0d\uff0c\u6211\u5011\u53ef\u4ee5\u628a\u201c\u805a\u9910-\u9032\u98df\u201d\u8996\u70ba\u201c\u751f\u201d\u4e4b\u617e\u671b\u7684\u5f71\u5c04:\u201c\u805a\u9910-\u9032\u98df\u201d\u5e36\u4f86\u7684\u662f\u751f\u547d\u7684\u5ef6\u7e8c\u8207\u5ef6\u9577\uff0c\u800c\u4e0d\u65b7\u88ab\u6253\u652a\u7684\u201c\u805a\u9910-\u9032\u98df\u201d\u610f\u8c61\u5c31\u662f\u88ab\u5176\u4e4b\u5916\u7684\u529b\u91cf\u4e0d\u65b7\u6253\u7834\u4e4b\u8c61\u5fb5\u3002\u4e0a\u5c09\u6558\u8ff0\u7684\u4e0d\u5e78\u7ae5\u5e74\uff0c\u6b63\u662f\u5f17\u6d1b\u4f0a\u5fb7(Sigmund Freud, [10])\u53cd\u8986\u95e1\u8ff0\u7684\u5b69\u7ae5\u6642\u4ee3\u7d93\u6b77\u5c0d\u65bc\u4eba\u4e00\u751f\u5851\u9020\u4e4b\u6c7a\u5b9a\u6027\u4f5c\u7528\u3002\u800c\u5922\u5883\uff0c\u5f80\u5f80\u662f\u5728\u73fe\u5be6\u751f\u6d3b\u4e2d\u5f97\u4e0d\u5230\u5ba3\u6d29\u6eff\u8db3\u7684\u617e\u671b\u548c\u60c5\u611f\u4e4b\u6298\u5c04\uff0c<\/span>\u4e00\u500b\u5957\u8457\u53e6\u4e00\u500b\u7684\u5922\u5883\uff0c\u4ee5\u5404\u7a2e\u5404\u6a23\u6fc0\u70c8\u800c\u7a81\u5140\u5834\u666f\u621b\u7136\u800c\u6b62–\u6216\u66b4\u529b\uff0c\u6216\u8840\u8165\uff0c\u6216\u53ef\u6016\uff0c\u6216\u6182\u50b7–\u6709\u6642\u5019\uff0c\u6211\u5011\u4e26\u4e0d\u80fd\u5340\u5206\u5922\u5883\u8207\u771f\u5be6\u7684\u5dee\u5225: \u8ab0\u8aaa\uff0c\u4eba\u751f\u53c8\u4e0d\u662f\u4e00\u500b\u66f4\u70ba\u6e05\u9192\u7684\u5922\u5883?<\/p>\n\n\n\n

\u9808\u77e5\u6e05\u9192\u4e43\u662f\u53e6\u4e00\u7a2e\u6c88\u7720\n\u800c\u7121\u5922\u4e4b\u5922\u4ee5\u53ca\u6b7b\u4ea1\n\u90a3\u6211\u5011\u7684\u8840\u8089\u6240\u754f\u61fc\u4e4b\u6b7b\u4ea1\n\u6bcf\u500b\u591c\u665a\uff0c\u5b83\u5747\u81ea\u7a31\u7761\u7720\u3002\n\nJ. L. \u535a\u723e\u8d6b\u65af \u300a\u8a69\u85dd\u300b\n\n\nSentir que la vigilia es otro sue\u00f1o\nQue sue\u00f1a no so\u00f1ar y que la muerte\nQue teme nuestra carne es esa muerte\nDe cada noche, que se llama sue\u00f1o.\n\nJ. L. Borges, \u201cArte Po\u00e9tica\u201d, [11]<\/em><\/pre>\n\n\n
\u4e03\u3001\u4e00\u500b\u95dc\u65bc\u8eab\u5206\u7684\u5287\u5834<\/p>\n\n\n
\u5c0e\u6f14\u5de7\u5999\u5730\u5b89\u6392\u4e86\u4f86\u81ea\u540c\u4e00\u968e\u5c64\u7684\u4e0d\u540c\u4e4b\u89d2\u8272\u901a\u904e\u5287\u60c5\u7522\u751f\u95dc\u806f: \u5176\u4e2d\u6709\u653f\u6cbb\u5bb6\uff0c\u6709\u5546\u4eba\uff0c\u6709\u77e5\u8b58\u5206\u5b50\uff0c\u6709\u8ecd\u4eba\uff0c\u6709\u5bb6\u5ead\u4e3b\u5a66\uff0c\u9084\u6709\u5b97\u6559\u4eba\u58eb\uff0c\u4ed6\u5011\u5171\u540c\u7d44\u6210\u4e86\u4e00\u500b\u53ef\u4ee5\u5f70\u986f\u7576\u6642\u793e\u6703\u6c1b\u570d\u7684\u7e2e\u7565\u5716\u3002<\/span>\u5728\u9019\u500b\u7cbe\u7dfb\u5fae\u5c0f\u7684\u821e\u81fa\u4e0a\uff0c\u80a9\u8ca0\u8d77\u5178\u578b\u89d2\u8272\u7684\u5f62\u8c61\u548c\u6027\u683c\uff0c\u6f14\u54e1\u5011\u9075\u5faa\u8457\u897f\u65b9\u53e4\u8001\u7684\u6232\u5287\u50b3\u7d71\uff0c\u5728\u9ad8\u5ea6\u6fc3\u7e2e\u7684\u6545\u4e8b\u88cf\uff0c\u65bc\u77db\u76fe\u7684\u885d\u7a81\u548c\u6fc0\u5316\u4e2d\uff0c\u6f14\u7e79\u51fa\u5c0f\u793e\u6703\u7684\u8352\u8a95\u3001\u5947\u602a\u8207\u4e0d\u53ef\u601d\u8b70\u3002<\/p>\n\n\n\n
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Pieter Bruegel de Oude: De triomf van de dood<\/em>
\u8001\u5f7c\u5f97\u00b7\u52c3\u9b6f\u84cb\u723e: \u6b7b\u4ea1\u4e4b\u52dd\u5229<\/figcaption><\/figure>\n\n\n\n
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Gustave Dor\u00e9: “Nel mezzo del cammin di nostra vita\u2026” Inferno, (Divina Commedia)<\/em>
\u53e4\u65af\u5854\u592b\u00b7\u591a\u96f7: \u201c\u5728\u6211\u5011\u751f\u547d\u4e4b\u9014\u7684\u534a\u7a0b\u00b7\u00b7\u00b7, \u300a\u795e\u66f2\u00b7\u5730\u7344\u7bc7\u300b\u201d<\/figcaption><\/figure><\/div>\n\n\n\n
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Jan van Mimmelynghe (Hans Memling): Het laatste oordeel(Das J\u00fcngste Gericht)<\/em>
\u6f22\u65af\u00b7\u6885\u6797: \u6700\u5f8c\u7684\u5be9\u5224<\/figcaption><\/figure>\n\n\n\n
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\u516b\u3001\u751f\u6b7b\u4e4b\u9b45<\/p>\n\n\n
\u6b7b\u4ea1\u4e00\u76f4\u662f\u4ee4\u5e03\u52aa\u57c3\u723e\u8457\u8ff7\u4e0d\u5df2\u7684\u4e3b\u984c\u52d5\u6a5f\uff0c\u4ea1\u9b42\u7684\u57f7\u5ff5\u548c\u901d\u53bb\u7684\u89aa\u4eba\uff0c\u90fd\u662f\u6211\u5011\u904e\u5f80\u751f\u6d3b\u7684\u7737\u6200\u8207\u4e0d\u6368\u3002\u6211\u5011\u77e5\u9053\u4eba\u9b3c\u6b8a\u9014\uff0c\u6211\u5011\u4e5f\u77e5\u9053\u5931\u53bb\u7684\u5c31\u6c38\u9060\u4e0d\u6703\u518d\u51fa\u73fe\uff0c\u4f46\u6211\u5011\u7684\u60c5\u611f\u6c38\u9060\u90fd\u4e0d\u6703\u653e\u68c4\u9019\u4efd\u4f9d\u6200\u548c\u61f7\u5ff5\u3002\u8aa4\u5165\u5922\u5883\u548c\u4ea1\u9748\u4f86\u76f8\u6703\uff0c\u90fd\u662f\u6211\u5011\u7684\u672c\u80fd\u4e4b\u4e00–\u201c\u5411\u6b7b\u4e4b\u5b58\u5728(das Sein zum Tode, Being toward death, [12])\u201d: \u6c92\u6709\u6b7b\u4ea1\uff0c\u5c31\u6c92\u6709\u65b0\u751f\uff0c\u6c92\u6709\u4eba\u751f\u77ed\u66ab\u7684\u611f\u5606\uff0c\u6211\u5011\u5c31\u8d8a\u767c\u4e0d\u6703\u73cd\u60dc\u7576\u4e0b\u7684\u5e78\u798f\u3002\u6b7b\u4ea1\u5d07\u62dc\u4e00\u76f4\u6839\u690d\u65bc\u6b50\u6d32\u6587\u660e\u7684\u53e4\u8001\u50b3\u7d71\u4e4b\u4e2d\uff0c\u4e0d\u8ad6\u662f\u984d\u6211\u7565\u8056\u6b4c(Cantus Gregorianus, [13])\u300a\u795e\u6012\u4e4b\u65e5(Dies ir\u00e6), [14]\u300b, \u9084\u662f\u300a\u6b7b\u4e4b\u821e(La Danse macabre), [15]\u300b, \u9084\u662f\u300a\u795e\u66f2(Divina Commedia), [16]\u300b\u88cf\u66a2\u904a\u5730\u7344\u3001\u7149\u7344\u548c\u5929\u5802\u7684\u8a69\u4eba\u4f46\u4e01(Dante, [16])\uff0c\u6291\u6216\u662f\u842c\u8056\u7bc0\u88cf\u51fa\u904a\u7684\u9ab7\u9acf\uff0c\u5728\u5c0d\u6b7b\u4ea1\u548c\u5f80\u751f\u4e16\u754c\u7684\u601d\u8003\u548c\u56ae\u5f80\u88cf\uff0c\u6211\u5011\u7684\u751f\u547d\u624d\u6703\u66f4\u52a0\u7cbe\u5f69\u3002\u4ea1\u9748\u548c\u901d\u8005\u8207\u6211\u5011\u8655\u65bc\u540c\u4e00\u6642\u7a7a\uff0c\u624d\u80fd\u6642\u6642\u63d0\u9192\u6211\u5011\u7559\u610f\u751f\u547d\u7684\u8106\u5f31\u3001\u4e0d\u5b89\u548c\u5bf6\u8cb4\uff0c<\/span>\u800c\u6c38\u9060\u7121\u6cd5\u5f4c\u88dc\u7684\u7f3a\u61be\u8207\u4e0d\u5b8c\u7f8e\uff0c\u66fe\u7d93\u53ef\u80fd\u7684\u4ea4\u96c6\u548c\u4e0d\u53ef\u518d\u7e8c\u7684\u524d\u7de3\uff0c\u5247\u5e36\u4f86\u201c\u7269\u54c0(\u7269\u306e\u54c0\u308c\/\u3082\u306e\u306e\u3042\u306f\u308c, [17])\u201d\u4e4b\u611f\u5606\u548c\u201c\u7f3a\u61be\u7f8e\u201d–\u6b7b\u4ea1\uff0c\u4e0d\u61c9\u8a72\u662f\u6211\u5011\u9700\u8981\u523b\u610f\u898f\u907f\u7684\u75db\u82e6\u8207\u4e0d\u5b8c\u7f8e\uff0c\u61c9\u8a72\u662f\u6211\u5011\u672c\u8eab\u751f\u547d\u7684\u4e00\u90e8\u5206\uff0c\u5728\u8207\u6bcf\u500b\u901d\u8005\u7684\u5fc3\u9748\u50be\u5410\u548c\u795e\u4ea4\u61f7\u6200\u4e2d\uff0c\u6211\u5011\u66f4\u610f\u8b58\u5230\u751f\u547d\u7684\u4fb7\u9650\u3001\u73cd\u8cb4\u8207\u4e0d\u53ef\u66ff\u4ee3\u3002\u5728\u201c\u56de\u61b6\u201d\u9019\u770b\u4e0d\u898b\u7684\u73cd\u85cf\u88cf\uff0c\u6211\u5011\u53ef\u4ee5\u76e1\u60c5\u76db\u653e\u66fe\u7d93\u7684\u611f\u52d5\u3001\u671f\u76fc\u548c\u5e0c\u7ffc\uff0c\u9084\u540c\u6642\u53ef\u4ee5\u611f\u77e5\u4e26\u8046\u807d\u5230\u547d\u904b\u7684\u771f\u8ae6\u548c\u610f\u7fa9\u3002<\/p>\n\n\n\n
2017 Oct. 05~07, 2021 March 25, Aug. 15<\/em>

<\/p>\n\n\n\n
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Michelangelo di Lodovico Buonarroti Simoni: Il Giudizio Universale<\/em>
\u7c73\u958b\u6717\u742a\u7f85: \u6700\u5f8c\u7684\u5be9\u5224<\/figcaption><\/figure>\n\n\n

\u8a3b\u91cb
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[1]. \u5e03\u723e\u55ac\u7dad\u4e9e<\/strong><\/span><\/a>(Bourgeoisie), \u539f\u610f\u6307\u5728\u6751\u843d\u57ce\u5e02\u4e2d\u5c45\u4f4f\u7684\u81ea\u7531\u4eba\uff0c\u5728\u8fd1\u73fe\u4ee3\uff0c\u4e3b\u8981\u6307\u5177\u6709\u4e00\u5b9a\u8ca1\u7522\uff0c\u64c1\u6709\u4eba\u8eab\u81ea\u7531\uff0c\u4ecb\u65bc\u4e0a\u6d41\u83c1\u82f1\u8cb4\u65cf\u8207\u5e95\u5c64\u4e4b\u9593\u7684\u793e\u6703\u968e\u5c64\u3002<\/p>\n\n\n\n
[2]. \u81ea\u7531\u6c11<\/strong><\/span><\/a>(freedmen), \u6307\u64c1\u6709\u57fa\u672c\u4eba\u8eab\u81ea\u7531\u3001\u4e0d\u88ab\u5974\u5f79\u7684\u4eba\uff0c\u4eab\u6709\u57fa\u672c\u7684\u653f\u6cbb\u548c\u7d93\u6fdf\u6b0a\u5229\uff0c\u662f\u5974\u96b8\u7684\u76f8\u5c0d\u7fa4\u9ad4\u3002<\/p>\n\n\n\n
[3]. \u4eba\u751f\u77ed\u66ab\uff0c\u85dd\u8853\u6c38\u6046<\/strong><\/span><\/a>(\u1f49 \u03b2\u03af\u03bf\u03c2 \u03b2\u03c1\u03b1\u03c7\u03cd\u03c2, \u1f21 \u03b4\u1f72 \u03c4\u03ad\u03c7\u03bd\u03b7 \u03bc\u03b1\u03ba\u03c1\u03ae, Ars longa, vita brevis), \u53e4\u5e0c\u81d8\u54f2\u5b78\u5bb6\u5e0c\u6ce2\u514b\u62c9\u5e95(\u1f39\u03c0\u03c0\u03bf\u03ba\u03c1\u03ac\u03c4\u03b7\u03c2, Hippocrates)\u7684\u7bb4\u8a00\u3002<\/p>\n\n\n\n
[4]. \u751f\u4e4b\u865b\u7121<\/strong><\/span><\/a>(N\u00e9ant de la vie), \u4f86\u81ea\u5fb7\u570b\u54f2\u5b78\u5bb6\u53d4\u672c\u83ef(Arthur Schopenhauer)\u7684\u54f2\u5b78\u6982\u5ff5\uff0c\u9032\u4e00\u6b65\u88ab\u6d77\u5fb7\u683c\u723e(Martin Heidegger)\u4ee5\u53ca\u5f80\u5f8c\u7684\u85a9\u7279(Jean-Paul Sartre)\u7b49\u5b58\u5728\u4e3b\u7fa9\u54f2\u5b78\u5bb6\u6df1\u5165\u95e1\u91cb\uff0c\u610f\u6307\u4eba\u985e\u56e0\u81ea\u6211\u751f\u5b58\u672c\u8eab\u7522\u751f\u7684\u672c\u6e90\u6027\u3001\u5b58\u5728\u6027\u7126\u616e\u3002<\/p>\n\n\n\n
[5]. \u8def\u6613\u65af\u2022\u5e03\u52aa\u57c3\u723e<\/strong><\/span><\/a>(Luis Bu\u00f1uel), \u897f\u73ed\u7259\u4e8c\u5341\u4e16\u7d00\u6700\u5049\u5927\u7684\u96fb\u5f71\u5c0e\u6f14\uff0c\u8207\u85a9\u723e\u74e6\u591a\u00b7\u9054\u5229(Salvador Dal\u00ed)\u7b49\u8457\u540d\u85dd\u8853\u5bb6\u5275\u7acb\u4e26\u53c3\u8207\u4e86\u8d85\u73fe\u5be6\u4e3b\u7fa9\u904b\u52d5\uff0c\u4ee3\u8868\u4f5c\u54c1\u70ba\u300a\u4e00\u689d\u5b89\u9054\u9b6f\u7684\u72d7(Un Chien Andalou)\u300b\uff0c\u300a\u9ec3\u91d1\u6642\u4ee3(L’\u00c2ge d’or)\u300b\u7b49\u3002<\/p>\n\n\n\n
[6]. \u8d85\u73fe\u5be6\u4e3b\u7fa9<\/strong><\/span><\/a>(Surr\u00e9alisme), \u4e8c\u5341\u4e16\u7d00\u6700\u91cd\u8981\u7684\u6587\u5316\u85dd\u8853\u904b\u52d5\uff0c\u57fa\u65bc\u5f17\u6d1b\u4f0a\u5fb7\u7684\u7cbe\u795e\u5206\u6790\u7406\u8ad6\uff0c\u5f37\u8abf\u6f5b\u610f\u8b58\u3001\u7121\u610f\u8b58\u3001\u5922\u5883\u4ee5\u53ca\u6027\u885d\u52d5\u5728\u6587\u85dd\u5275\u4f5c\u4e2d\u7684\u5de8\u5927\u63a8\u52d5\u529b\u3002<\/p>\n\n\n\n
[7]. \u4e00\u689d\u5b89\u9054\u9b6f\u7684\u72d7<\/strong><\/span><\/a>(Un Chien Andalou), \u5e03\u52aa\u57c3\u723e\u7684\u6210\u540d\u96fb\u5f71\uff0c\u7576\u6642\u752b\u4e00\u516c\u6620\uff0c\u5c31\u5e36\u4f86\u4e86\u5de8\u5927\u7684\u793e\u6703\u98a8\u6ce2\u548c\u885d\u64ca\u3002<\/p>\n\n\n\n
[8]. \u7687\u5e1d\u7684\u65b0\u8863<\/strong><\/span><\/a>(Kejserens nye Kl\u00e6der, The Emperor’s New Clothes), \u5b89\u5f92\u751f(Hans Christian Andersen)\u7ae5\u8a71\u4e2d\u7684\u8457\u540d\u6545\u4e8b\uff0c\u610f\u6307\u56e0\u70ba\u4e0d\u6562\u63ed\u7a7f\u7684\u8b0a\u8a00\u7522\u751f\u7684\u5927\u7b11\u8a71\u3002<\/p>\n\n\n\n
[9]. \u9280\u6cb3<\/strong><\/span><\/a>(La Voie Lact\u00e9e), \u5e03\u52aa\u57c3\u723e\u7684\u4e00\u90e8\u96fb\u5f71\uff0c\u8b1b\u8ff0\u5e7e\u500b\u4eba\u5728\u671d\u8056\u5c0b\u6c42\u4fe1\u4ef0\u7684\u8def\u4e0a\u906d\u9047\u7684\u5f62\u5f62\u8272\u8272\u7684\u4eba\u548c\u4e8b\u3002<\/p>\n\n\n\n
[10]. \u5f17\u6d1b\u4f0a\u5fb7<\/strong><\/span><\/a>(Sigmund Freud), \u73fe\u4ee3\u7cbe\u795e\u5206\u6790(Psychoanalyse)\u7406\u8ad6\u7684\u5275\u7acb\u8005\u548c\u5960\u57fa\u4eba\uff0c\u88ab\u8996\u70ba\u4e8c\u5341\u4e16\u7d00\u6700\u5049\u5927\u7684\u5fc3\u7406\u5b78\u5bb6\uff0c\u5176\u5b78\u8aaa\u5c0d\u65bc\u591a\u500b\u9818\u57df\u90fd\u5177\u6709\u5f37\u70c8\u3001\u6301\u4e45\u800c\u5de8\u5927\u7684\u5f71\u97ff\u3002<\/p>\n\n\n\n
[11]. J. L. \u535a\u723e\u8d6b\u65af<\/strong><\/span><\/a>(Jorge Luis Borges), \u963f\u6839\u5ef7\u4eba\uff0c\u88ab\u8996\u70ba\u4e8c\u5341\u4e16\u7d00\u6700\u91cd\u8981\u7684\u897f\u73ed\u7259\u8a9e\u8a69\u4eba\u548c\u4f5c\u5bb6\u3002<\/p>\n\n\n\n
[12]. \u5411\u6b7b\u4e4b\u5b58\u5728<\/strong><\/span><\/a>(das Sein zum Tode, Being toward death), \u5fb7\u570b\u54f2\u5b78\u5bb6\u6d77\u5fb7\u683c\u723e\u4e3b\u8981\u7684\u54f2\u5b78\u6982\u5ff5\u4e4b\u4e00\uff0c\u610f\u6307\u4eba\u985e\u56e0\u7232\u6b7b\u4ea1\u9019\u500b\u4e0d\u53ef\u66f4\u6539\u7684\u4e8b\u5be6\u800c\u7522\u751f\u7684\u76f8\u5176\u4e4b\u50be\u5411\u548c\u8da8\u52e2\u3002<\/p>\n\n\n\n
[13]. \u984d\u6211\u7565\u8056\u6b4c<\/strong><\/span><\/a>(Cantus Gregorianus), \u88ab\u8a8d\u70ba\u662f\u6559\u5b97\u984d\u6211\u7565\u4e00\u4e16\u767c\u660e\u7684\u57fa\u7763\u6559\u55ae\u8072\u8056\u6b4c\uff0c\u662f\u4e00\u7a2e\u55ae\u8072\u90e8\u3001\u7121\u4f34\u594f\u7684\u5929\u4e3b\u6559\u6703\u5b97\u6559\u97f3\u6a02\u3002<\/p>\n\n\n\n
[14]. \u795e\u6012\u4e4b\u65e5<\/strong><\/span><\/a>(Dies ir\u00e6), \u4e00\u9996\u5929\u4e3b\u6559\u7684\u7e7c\u6558\u7d93\uff0c\u6536\u9304\u65bc\u300a\u5e38\u7528\u6b4c\u96c6\u300b\u5167\u3002<\/p>\n\n\n\n
[15]. \u6b7b\u4e4b\u821e<\/strong><\/span><\/a>(La Danse macabre), \u4e2d\u4e16\u7d00\u85dd\u8853\u7684\u9ad4\u88c1\u4e4b\u4e00\uff0c\u4e3b\u8981\u5f62\u8c61\u662f\u6b63\u5728\u821e\u8e48\u7684\u9ab7\u9acf\uff0c\u8c61\u5fb5\u751f\u547d\u7121\u5e38\u548c\u8106\u5f31\u3002<\/p>\n\n\n\n
[16]. \u795e\u66f2<\/strong><\/span><\/a>(Divina Commedia), \u7fa9\u5927\u5229\u8a69\u4eba\u4f46\u4e01(Dante Alighieri)\u7684\u4ee3\u8868\u9577\u7bc7\u8a69\u6b4c\uff0c\u8b1b\u8ff0\u8a69\u4eba\u5728\u5730\u7344\u3001\u7149\u7344\u548c\u5929\u5802\u9593\u904a\u6b77\u7684\u898b\u805e\u3002<\/p>\n\n\n\n
[17]. \u7269\u54c0<\/strong><\/span><\/a>(\u7269\u306e\u54c0\u308c\/\u3082\u306e\u306e\u3042\u306f\u308c), \u65e5\u672c\u5e73\u5b89\u6642\u4ee3\u91cd\u8981\u7684\u5be9\u7f8e\u7406\u5ff5\u4e4b\u4e00\u3002\u4e3b\u8981\u662f\u901a\u904e\u63cf\u7e6a\u4e00\u4e9b\u856d\u745f\u3001\u6b98\u6557\u3001\u8352\u6dbc\u7684\u666f\u7269\uff0c\u4f86\u8868\u9054\u54c0\u50b7\u5e7d\u60c5\uff0c\u4ee5\u53ca\u5c0d\u4eba\u4e16\u7121\u5e38\u4e4b\u611f\u6168\u3002

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EN
<\/p>\n\n
Le Charm Discret de la Bourgeoisie<\/p>\n\n

I. Bourgeoisie
<\/p>\n\n\n
In the beginning, the word \u201cbourgeoisie<\/em><\/strong>, [1]\u201d was a common term referring to the freedmen [2] and civilians with certain rights and wealth in the town. Since the Middle Age in Europe, it has been standing for the majority of the people with certain political rights and social resources among many. But in the modern times, the bourgeoisies are regarded as a class swinging between the aristocrats and the lower social strata. Without ambitious ideology and strong attitude, without spirit of self-sacrifice and courage of undertaking, they only care for their own vested interests and fames in the eyes of others’,<\/span> as a result, the word \u201cbourgeoisie\u201d has somewhat become a derogatory term in the meaning.<\/p>\n\n\n
II. There’s Always a Lunch You can Never Eat<\/p>\n\n\n
The film was unfolded via a set of bourgeoisie\u2019s unsuccessful wish to have a dinner together with endless interruptions. In a group of people with the excuses of cocktail, parties and banquets for the social intercourses, hidden beneath the various, beautiful, pretty and charming visages and appearances, with the polite conversations and cheerful drinks, men with righteous suits and women with splendid, blinking jewelries have earned their different goals along with exchanged benefits: no matter the drug dealing, no matter the kidnapping or killing, no matter the terroristic attacks, or even the adulteries and infidelities, the aim of dinner or banquet has no importances. The main concern for them is just a suitable place or a probable negotiating table for a deal, or a possible studio to discuss and carry out their evil projects, with exteriors stimulations and extraordinary satisfactions for sensations, while concealing to others the most naked desires and the widest schemes behind the so-called elegant and glorious halos. Under the delicate masks and soft, gentle veils, people are talking and discussing how to share their possible interests by those polished, humorous, brilliant, smart or wonderful words and phrases.<\/span> The dinner forcibly interrupted by different accidents or events is the biggest irony and grandest torment for this kind of life.<\/p>\n\n\n\n
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III. The Happiness and Ephemera of Life<\/p>\n\n\n
Ars longa, vita brevis<\/strong><\/em> (\u1f49 \u03b2\u03af\u03bf\u03c2 \u03b2\u03c1\u03b1\u03c7\u03cd\u03c2, \u1f21 \u03b4\u1f72 \u03c4\u03ad\u03c7\u03bd\u03b7 \u03bc\u03b1\u03ba\u03c1\u03ae. Art is long, life is short, [3]). For a race with such short life that birth in the morning while death in the evening like human, the entire life is merely a week. In the epoch when our society has been over-tamed by the civilizations with strictly rigged social strata, nearly everybody is just a thread stretching to a foreseeable end, with the only differences in length, size or weight. The repeated days just mean to demonstrate the boring of the life and its indifferences again and again<\/span>– perhaps we can regard the \u201cboring\u201d itself as a way to fight against the \u201cN\u00e9ant de la vie<\/strong> <\/em>(Nothingness of the life, [4])\u201d\u2014 All try to hide themselves and stay safely in the comfortable zones produced by their senses, dreaming in a lukewarm, numb illusions evaporated by the phantoms from their daydreams, watching the same plays and theatres planned and set by the destiny again and again, day after day, though the life, their own life, are fading and fleeting, in this self-repetitions and self-paralyzations, vanishing and diminishing into the obscure depth of the fates\u2026 The bourgeoisie\u2019s intrinsic, innate privilege in the social status and conditions make them fore-plan the future life for themselves and their offsprings, avoiding most unpredictable and unexpected disasters and dangers as much as possible, forwarding “en route” explored and widened by their forefathers in the jungle of \u201cuncertainty\u201d: with no knowledges that at the same time of avoiding the dangers and uncertainties, they\u2019ve also given up the wonders and beauties never discovered by someone else on their ways of life. The unknowns and the uncertains, indeed, are risks and ventures, but they may also be some good chances and opportunities. Following the old, original road set by our ancestors and predecessors forever will definitely carve in our brains the same tracks and sulci, making the brains atrophy and shrivel little by little, turning ourselves into the slaves of the habits and the servants of the rules\u2014 the dissipating of the life is not the termination of the body, but the withering and infertility of the souls and spirits.<\/span> Life without risks and uncertainties, is like torrid yet colourful, vivid specimens covered in the glass, complete, pretty, delicate, controllable, detectable, predictable, but dry without water, static without life, rigid without vitality.<\/p>\n\n\n\n
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IV. On the Possibility of Perfect Reputation<\/p>\n\n\n
The outsiders may have difficulties to understand bourgeoisie\u2019s paranoid attentions and extreme carefulness about others’ critics and opinions. In fact, if you are one of them, it is so easy to comprehend that: as the \u201cFame\u201d or \u201cReputation\u201d means so much to the social class requiring approvals from the upper classes and senses of security from the outside world to support themselves. A \u201cdecent\u201d or \u201cdignified\u201d reputation will indisputably be a passport to help them enter the upper classes:<\/span> a bourgeoisie with disgraceful or infamous reputation will never be invited to step into the circle of the upper classes. Yet at the same time, especially, with their privileged social status and resources, their inner, inherent, hidden, dark side of the humanity and dirty, gloomy desires will be spilled and stained much more nastily and harshly on the brilliant background of their shining, vivid outfits and highfalutin, justified words and sentences. In such a way, frequently, the \u201chypocrisy\u201d and \u201cpretence\u201d will be the perfect coat that suits them the best. And that\u2019s why \u201cdecentness\u201d and \u201cvirtuousness\u201d have become the most necessary and saught-after quality and characteristic for every proper bourgeoisie. It is no wonder that we may surprise by the overwhelming number of the \u201chypocrites\u201d and \u201cfake-ladies\u201d among this class with no visible clues\u2014 only those with excellent abilities to hide their true wills while maintaining a quite good relationship with the majorities will earn their chances to have contact or even \u201cfriendship\u201d with the \u00e9lites and celebrities from the upper classes. And, in the meanwhile, they still should be careful and cautious to never let themselves be over-thrown and replaced by members from the lower classes, always distancing themselves from them and differentiating themselves from them.<\/p>\n\n\n\n
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V. Luis Bu\u00f1uel<\/p>\n\n\n
Luis Bu\u00f1uel<\/em><\/strong> [5] was born in a bourgeoisie family with faithful belief in Catholicism. Since his childhood, he had been familiar with this kind of life. People around him, their actions and words, all appeared with some type of discreet, cautious and boring atmosphere as if they were wearing the amours all day long. They were so vigilant to take care of their life styles, repeated it day after day, fearing the mocking and gossiping from others\u2019. He has arranged series of coincidental and accidental dreams skillfully so that the plot can go on, no matter how ridiculous, no matter how bizarre it may seem. Compared to the once thrilling and shocking masterpiece \u201cUn Chien Andalou<\/strong><\/em> (An Andalusian Dog, [6])\u201d, mixing the marvels and unbelievable dreams of Surr\u00e9alisme<\/em><\/strong> [7] while still keep some comfortable degrees in trust-worthy sense of reality might be much more difficult with so many lavish, complicated and colourful images and symbols: an abundant dinner with a funeral and mourning ceremony at the same time in the the same place; main roles visiting somebody\u2019s but suddenly becoming the players in the theatre on the stage; some terrorists breaking into the chamber and killing all guests, yet still, a main male character trying to steal the grilled lamb legs on the table to eat; a ghost of a mother taking her obsessed vengeance against her husband for her lover by the hands of their son; and a bishop revenging the murderer of his parents while listening to the final confession of a dying old man\u2014 in the end, Bu\u00f1uel never forgets to scoff and sneer the vanity and sanctimony of Christian\u2019s mercy and forgiveness\u2014 the religion is simply just \u201cKejserens nye Kl\u00e6der<\/strong><\/em> <\/span>(The Emperor’s New Clothes, [8])\u201d when it has degraded and degenerated into excuses for supporting the vain-glory and self-esteems of the social classes and causes for suppressing reigning and ruling. Every incredible and unbelievable dead-ends or cut-of-scenes would be resumed and continued by the sudden awakening from nightmares of the main characters, unrolling and revealing the succeeding new chapters. And all the random coincidences and serendipities were pointed to a never-successful event\u2014 eating dinner together. The scenes of people \u201cen route\u201d inserted and interwoven among different shots are similar to the various believers pursuing truth and faith in the film \u201cLa Voie Lact\u00e9e<\/strong><\/em> (The Milky Way, [9])\u201d: the pilgrimage or the truths themselves are not significant, but certainly is the process of pursuing it.<\/span><\/p>\n\n\n\n
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VI. Psychoanalysis<\/p>\n\n\n
If we analyze further more and explain the film by psychoanalysis, contrary to the image of \u201cDeath\u201d in the funeral, we can regard the \u201cDinner-eating\u201d as a reflection of the desire of \u201cLife\u201d: the \u201cDinner-eating\u201d gives us the meaning of prolonging and expanding of the life, while the image of \u201cDinner-eating\u201d interrupted endless can be considered as a symbol of life broken by other forces. According to Sigmund Freud<\/em><\/strong> [10], the melancholy childhood told by the lieutenant is a good explanation of the concept that the life and experience of a child will be a major, deciding contributor\/factor to shape his\/her entire life. And the dreams are the reflections of those unsatisfied and unfulfilled desires and emotions in one’s real life.<\/span> A dream inside another, frozen or muted by diverse, violent and unexpected scenes\u2014 be that brutal, be that bloody, be that frightening, or be that sorrowful\u2014 sometimes, we can even be unable to distinguish the dreams from the reality: how dare we say that the life itself is NOT another sober dream?<\/p>\n\n\n\n
Sentir que la vigilia es otro sue\u00f1o\nQue sue\u00f1a no so\u00f1ar y que la muerte\nQue teme nuestra carne es esa muerte\nDe cada noche, que se llama sue\u00f1o.\n\nJ. L. Borges [11], \u201cArte Po\u00e9tica\u201d<\/em><\/pre>\n\n\n\n
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VII. A Theatre about Social Status<\/p>\n\n\n
The director has arranged all kinds of typical roles and characters to link with each other through the whole story: there are politicians, merchants, intellectuals, soldiers, housewives and religious figures. They together have formed a small thumbnail to represent the current social conditions and atmosphere of the entire society.<\/span> On this delicate and tiny stage, with the images and characteristics of various classical roles, the performers have followed the ancient tradition of the Western theatre to interpret the weirdness, estrangement and incredibility of the small society in the highly condensed plot through the conflicting and intensifying contradictories.<\/p>\n\n\n\n
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VIII. The Charm of Life and Death<\/p>\n\n\n
Bu\u00f1uel is always fascinated by the motif \u201cDeath\u201d. The obsession of the ghost and the dead relatives are all our love and miss for our bygone period. We surely know that the deads and the livings can never be together, and we certainly see that the losts will never reappear again, yet our emotions will never relinquish this attachment and nostalgia. Lost in dreams or meeting ghosts is one of our basic instincts\u2014 \u201cdas Sein zum Tode<\/strong><\/em> (Being toward death, [12])\u201d: without death, there will be no birth; without the signing of the short life of human, we will never cherish our life at the present moment. The worship of Death has been deeply rooted in the ancient tradition of European civilization, no matter the Cantus Gregorianus<\/strong> (Gregorian plainchant, [13]) \u201cDies Ir\u00e6<\/strong><\/em> (Day of Wrath, [14])\u201d, no matter the \u201cLa Danse macabre<\/strong><\/em> (Dance of Death, [15])\u201d, no matter the poet Dante\u2019s involuntarily travelling from Inferno<\/strong><\/em> (Hell) through Purgatorio<\/strong><\/em> (Purgatory) onto Paradiso<\/strong><\/em> (Paradise) in his masterpiece “Divina Commedia<\/em><\/strong> (The Divine Comedy, [16])”, or even the skeleton in the parade on Halloween, it is only in the pondering and yearning of the death and the other side of the world, our lives appear much more wonderful and meaningful. The ghosts and the deads existing at the same time and in the same space with us just mean to remind us the fragility, unnerving and preciousness of our lives from time to time.<\/span> The never-completed losts and imperfects, the once possible intercourses and bygone relationships just send us the exclamations of \u201cmono no aware<\/strong><\/em> (the pathos of things, \u7269\u306e\u54c0\u308c, [17])\u201d and the \u201cbeauty of imperfection\u201d\u2014 The death should never be the pain or imperfection that we have to avoid deliberately, but a necessary and undispatchable part of our own lives. In the spiritual confiding or the affecting fondness between the souls, we finally realize even more the limits, the invaluableness and irreplaceableness of our own lives. In this invisible, priceless collections of the \u201cM\u00e9moire<\/span><\/em>\u201d, we can save all our touchings and movings, expectations and hopes freely yet still feel and listen to the true meanings and essences of the destiny.<\/p>\n\n\n\n
2017, Oct 05~07, 2021, March 25, Aug. 15

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Notes
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[1]. Bourgeoisie<\/span><\/strong><\/a>, this word comes from French, it means that “those who lives in the town and city”, now it stands for the middle class in the society.<\/p>\n\n\n\n
[2]. Freedman<\/span><\/a><\/strong>, is a formerly enslaved person who has been released from slavery.<\/p>\n\n\n\n
[3]. Ars longa, vita brevis<\/span><\/strong> (\u1f49 \u03b2\u03af\u03bf\u03c2 \u03b2\u03c1\u03b1\u03c7\u03cd\u03c2, \u1f21 \u03b4\u1f72 \u03c4\u03ad\u03c7\u03bd\u03b7 \u03bc\u03b1\u03ba\u03c1\u03ae. Art is long, life is short), a famous citation from Hippocrate’s saying.<\/p>\n\n\n\n
[4]. N\u00e9ant de la vie<\/span><\/a><\/strong> <\/span>(Nothingness of the life), a fundamental concept from Martin Heidegger’s<\/strong> philosophy, means the voidness and anxiety in ones conscience of self-existence.<\/p>\n\n\n\n
[5]. Luis Bu\u00f1uel<\/span><\/a><\/strong>, the most important Spanish director of the 20th century, his main surrealist films are “Un Chien Andalou<\/strong>“, “L’\u00c2ge d’Or<\/strong>” etc.<\/p>\n\n\n\n
[6]. Un Chien Andalou<\/span><\/a><\/strong> (An Andalusian Dog), Bu\u00f1uel’s famous surrealist film, causing a lot of social controversies at the time of its releasing.<\/p>\n\n\n\n
[7]. Surr\u00e9alisme<\/span><\/a><\/strong>, a cultural movement which developed in Europe in the aftermath of World War I and was largely influenced by Dada.<\/p>\n\n\n\n
[8]. Kejserens nye Kl\u00e6der<\/span><\/a><\/strong> (The Emperor’s New Clothes), a literary folktale written by Danish author Hans Christian Andersen<\/strong>, about a vain emperor who gets exposed before his subjects.<\/p>\n\n\n\n
[9]. La Voie Lact\u00e9e<\/span><\/a><\/strong> <\/span>(The Milky Way), a 1969 surrealist film directed by Luis Bu\u00f1uel, the plot is about the pilgrimage of “searching for truth”.<\/p>\n\n\n\n
[10]. Sigmund Freud<\/span><\/strong>, an Austrian neurologist and the founder of psychoanalysis, the most influential neurological theory in the 20th century.<\/p>\n\n\n\n
[11]. Jorge Luis Borges<\/span><\/a><\/strong>, an Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish-language and universal literature.<\/p>\n\n\n\n
[12]. das Sein zum Tode<\/span><\/a><\/strong> <\/span>(Being toward death), another famous and fundamental concept in Martin Heidegger’s<\/strong> philosophy, means the inevitable end\/doom fate of the common people will bring one’s mind to another meaning of his\/her own life.<\/p>\n\n\n\n
[13]. Cantus Gregorianus<\/span><\/a> <\/strong>(Gregorian plainchant), is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin (and occasionally Greek) of the Roman Catholic Church.<\/p>\n\n\n\n
[14]. Dies Ir\u00e6<\/span><\/a><\/strong> (Day of Wrath), a Latin sequence attributed to either Thomas of Celano of the Franciscansor to Latino Malabranca Orsini, lector at the Dominican studium at Santa Sabina, the forerunner of the Pontifical University of Saint Thomas Aquinas Angelicum in Rome.<\/p>\n\n\n\n
[15]. La Danse macabre<\/span><\/a><\/strong> (Dance of Death), an artistic genre of allegory of the Late Middle Ages on the universality of death: no matter one’s station in life, the Danse Macabre<\/em> unites all.<\/p>\n\n\n\n
[16]. Divina Commedia<\/span><\/a><\/strong> (The Divine Comedy), a long Italian narrative poem by Dante Alighieri<\/strong>.<\/p>\n\n\n\n
[17]. mono no aware<\/span><\/a><\/strong> (the pathos of things, \u7269\u306e\u54c0\u308c), literally “the pathos of things”, and also translated as “an empathy toward things”, or “a sensitivity to ephemera”, is a Japanese term for the awareness of impermanence (\u7121\u5e38, muj\u014d).<\/p>\n\n\n\n
\u8072\u660e: \u672c\u7bc7\u97f3\u6a02\u4f86\u81ea\u5308\u7259\u5229\u4f5c\u66f2\u5bb6\u5f17\u862d\u8328\u00b7\u674e\u65af\u7279(Franz Liszt)\u7684\u300a\u6b7b\u4e4b\u821e\uff0c\u57fa\u65bc\u201c\u795e\u6012\u4e4b\u65e5\u201d\u4e3b\u984c\uff0c\u70ba\u92fc\u7434\u53ca\u7ba1\u5f26\u6a02\u5718\u800c\u4f5c(Totentanz, Danse macabre, Paraphrase \u00fcber \u201cDies Ir\u00e6\u201d f\u00fcr Klavier und Orchester)\u300b, \u92fc\u7434: \u514b\u91cc\u65af\u8482\u5b89\u00b7\u9f4a\u746a\u66fc(Krystian Zimerman), \u6ce2\u58eb\u9813\u4ea4\u97ff\u6a02\u5718(Boston Symphony Orchestra), \u6307\u63ee: \u5c0f\u6fa4\u5f81\u723e(Seiji Ozawa), 00289 477 9697 GM2, Deutsche Grammophon(1988, 1991), \u6240\u6709\u96fb\u5f71\u622a\u798e\u53ca\u7e6a\u756b\u5716\u7247\u4f86\u81ea\u570b\u969b\u7db2\u8def, \u5176\u5b83\u6587\u5b57\u3001\u82f1\u6587\u53ca\u897f\u73ed\u7259\u6587\u7ffb\u8b6f\u3001\u5716\u7247\u5747\u70ba\u539f\u5275\uff0c\u6b61\u8fce\u8f49\u767c\uff0c\u8acb\u52ff\u7528\u65bc\u5546\u696d\u7528\u9014\uff0c\u8b1d\u8b1d!<\/p>\n\n\n\n
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