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“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.

因为感觉bgm很多好玩的表情包啊

为什么我想不开要搬家到bgme。

马娜跟klaha有种天造地设的美感

spivak写学科之死的时候说话能看得明白，是否随着时间流逝她感到要为愚钝的人类妥协一下。哎

我去听了最后的巨人 卧槽 好难受 我觉得好难听 linked horizon的revo不是陛下我不需要太尊重他吧

虽然法棍很好吃

我想做palak paneer

明日方舟太搞笑了，既要兽耳美少女又要世界观，由此造就了很多兽耳美少女的爷爷，兽耳老头

很多的爱

怒转