もっと位相幾何学的精神！ @[email protected]

还喝太多咖啡让牙齿变差

感觉上这个学学了很多但是我什么都没学到

不想写了想看芙利莲

i feel this must be the ugliness of modernity itself

do sopranos accept they are performers of periodic pieces

but i do find opera sad to look at in a contemporary setting

天底下最会画浦泽直树美攻壮受的就是嗨酱了。。。。。。。。。。。

虽然很想cite sutherland 的发言但是我有点累了 我真的做得到吗 recontexualization。。。。。。。。。。妈呀 我就这么想说她坏话 我真是卡拉斯毒唯吧。

shakespearean production，就算只是globe里那种平实的、戏剧性的production，没有contexualize。。都几乎已经是某种程度上的改编。虽然演绎就是改编，但是这一点尤其适用于莎，作为英语文化canon的定海神针，当这个production并不是观众第一次看这个故事，而是怀着'what do they make of romeo and juliet this time'的心情去观看的时候，这次production确确切切地是一次演绎而不是一次创作，此时我想知道什么是shakespearean？越是演绎莎士比亚、莎士比亚的essence就越被消解，这只是一个现象，而我想到在实际行动的改编/演绎里，就算竭力想要靠近莎士比亚、还原，也只会是万千次中的一次,

bgme再不活我的杀马特快乐空间就要被学习思绪彻底污染了，泪目泪目泪目

我觉得我不能produce a marxian analysis of shakespearean adaptation,为什么我要给自己揽这种活，我被黑泽明骗了，悲愤

“Jacques Derrida describes the supplément as both “a surplus, a plenitude enriching another plenitude"

He stands on a precipice, the ruins of a castle, ignorant of what has happened. He stumbles and drops the talismanic portrait of Amida Buddha his sister gave him as the sun sets behind him in the location of the Pure Land. He is the central focus of the film, the third Cordelia, the victim of both worlds, set against impassive Nature-the realm that Kurosawa's camera, unlike Shakespeare's poetry, has inhabited

The point of the re-construing of Shakespeare's character configurations, the splitting of them into two, finally becomes clear in the last and most powerful image of the film. Kurosawa presents Tsurumaru as "the thing itself' (III.iv. 104), man as a victim of both spheres. He was blinded by Hidetora and he is now left abandoned by Kaede's murder of his sister and nurse. They had gone to fetch his flute, his only consolation.

但是又有人说鹤丸是gloucester 那么原先的角色配置只是完全调整排列了……

天呐 哦不 鹤丸是edgar 枫是edmund……

鹤丸真的是让我一阵死意，看纸才明白原来他对应的是edmund，姐姐是edgar吗

我不想再要强了，我的强在哪里 我想吃食堂饭

人生到底有什么意义，小学还是初中的暑期作业是阅读中华上下五千年，我高兴地读完了，现在什么都不记得。人生到底有什么意义

And I continue to believe that the politics of the production of knowledge in area studies (and also anthropology and the other “human sciences”) can be touched by a new Comparative Literature, whose hallmark remains a care for language and idiom.