qualities of Zhang Zhiyang in "A Winter's Heart" and
a
coffee shop.
Maxine and Stephen are drinking coffee.
Maxine and Stefan are classmates in music, and now they are partners. They run a workshop that specializes in making and repairing violins. Maxine is in charge of the entire business, and Stefan only manufactures and repairs.
Maxine looked like the person on the scene, handsome, dashing, and good at dealing with each other, while Stefan was few words, his eyes calm and cold.
Maxin told Stefan that he was going to get married and had to rent a room to move out. His girlfriend was Camille, who played the violin, and was preparing for the recording of a new trio. If he succeeded, he would win a European and American tour.
She came in, accompanied by a middle-aged woman, and sat down at a table not far away. I can't describe her because I don't know whose eyes are used to describe her, Maxine, Stefan, or me? No, I am embarrassed.
I really can’t tell, do I see a character or an actor? I am more vaguely melancholy, whether the role is real or the actor is real, or is the role as real as the actor, or whether the actor can be as real as the role. The more they are united like one person, the more it shows that they are separated, separated forever uncombined. This kind of regret hurt my feeling so deeply that my feeling was hurt so sharply.
Maxine quickly got up and left Stefan, walked to Camille, and kissed Camille affectionately on the face. Camille stood up, glanced here, and walked out of the cafe with Maxine.
Stefan sat motionless, with his left hand hanging down, his right hand next to the coffee saucer, his eyes falling on the rim of the coffee cup.
Stefan and Maxine’s teacher retired and lived in a country house. He invited some friends to dinner in the country. Camille was among them. Everyone talks while eating. One said that I oppose elitism, but I cannot tolerate blind followers. Camille said: "Music doesn't reject anyone, it sometimes changes a person's life."
Stefan seemed to have said something, with a tendency to doubt. Sorry, I didn't catch it.
His teacher insisted that no one can make the feeling clear. When leaving, Camille told Maxine that she didn't like Stefan's cold attitude.
But Camille’s violin had a problem, and the E string was a bit dark. Maxine brought Camille to Stefan's studio and asked him to adjust it. Stefan explained to him tomorrow and went to the practice room to listen.
Came played a piece of music repeatedly with the piano and cello, whether the rhythm was not up, or the emotion was not up, and it was very blocked. Stefan asked to take the piano back and tune it up.
Sure enough, the situation was different, the emotional pitch appeared, and Camille was playing the piano excitedly, sometimes looking towards the auditorium, but Stefan was not there. Stefan was finally here. The violin is playing in the colorful part, it seems to hide and reveal the source of passion. No matter how good a violinist is, he cannot always find the pitch he wants. Only the appearance of this pitch can bring many unfamiliar, unknowing, and inexpressible feelings to feelings that seem to have just happened. So playing became an encounter, an encounter, a new knowledge that you produce me, and I produce yours.
Camille came to the workshop to invite Messin. Messin was on the phone and was negotiating the transfer of a violin. He wants Camille to wait for 5 minutes. Camy walked to Stefan's workshop and watched quietly as Stefan was instructing his students to make a violin. The students are gone. Stefan saw Camille, and Camille said she was waiting for Maxine. Stefan invited her in and poured her a glass of water
Mixin came in and said that he was going to Rome for two days, and asked Stefan to listen to him during Cammy's recording time. Stefan said he could go to Rome. Maxine said, no, it is important for him to go.
When recording, Stefan was late, and his girlfriend asked him to see a suitor.
Camille was playing, looking attentively, but he often raised his eyes to look at the door. Stefan listened in the aisle a little bit hesitantly, and walked towards the door, when the festivities appeared, Camille already understood who it was. She brought in the sound that didn't feel like it. It is like the blade of a knife, and only when it passes over it can a gloomy door be opened. The unexpected world of sound is so open and bright. Life is so suddenly refreshed. What do the eyes see? Why didn't I see it before, but now I am thrilling to see these two different worlds.
Camille told the protector that she did not go to the dinner party to celebrate her success. She had more important things. She left, sitting in Stefan's car. She wants to go to her residence with Stephen to complete the mission of love. She thought that just now she was pulling the violin to Stefan's heart, and all the unspeakable feelings were confided under the bow!
Stefan stopped the car at Camille’s door and told Camille:
"I don't believe you."
"I'm not the kind of person you feel."
"I don't have the kind of person you feel."
Camille was so frightened that he got out of the car and ran away quickly.
Stefan is gone.
I was also stunned. Ah, everything has to be felt again.
Camille hasn't been out of the room for two days, and it won't help for Maxine to come back.
Camille looked at herself in front of the mirror, rolled up her bun again, and put red cream on her lips. Open the door. Without expecting Maxine, he walked straight out. She knew where Stefan was, in that coffee shop. His girlfriend was sitting next to him.
Camille sat down rudely, drove away his girlfriend, bluntly asked Stefan to have sex with her, and grabbed his lower body with his hands. She didn't realize her shame until this action was completed. She hung her head and her hair was scattered. She calmed down, straightened her hair, stood up, and left nothing.
Maxine had been standing at the door, now he walked up to Stefan and punched him hard in the face.
Stefan could no longer work with Maxine, he opened a small workshop by himself. Camille's protector often brought him some customers.
Life is back to normal, Camille went on tour. When Camille left Paris, Stefan visited Camille once and admitted that there was something dead in his heart, and it was it that caused the delays in life opportunities. Camille said almost nothing. Mai Xin once came to Stefan's workshop and expressed his reconciliation.
Their teacher used wine to pour his sorrows and dispel loneliness. The daily trivialities made him breathless, and his wife's chattering was even more intolerable. He was drunk, fell, and suffered a stroke. I don't know what kind of pain that prevented him from persisting in the torture all the time. He asked his wife to give him an injection and let him die. This kind of request is in fact to the extent that it cannot be refused, but the wife cannot execute it. The teacher knew that only Stefan could execute it and asked his wife to call him.
Maxine also came, accompanied his mother, and Stefan entered the room, holding the teacher's hand. The teacher opened his eyes, his peaceful eyes full of trust. Stefan picked up the needle, drew the fluid, tested the shot, returned to the bed, inserted the needle into the teacher’s wrist,...
Stefan opened the window, the mist of dawn enveloped the woods, and Maxine was holding the teacher towards Walked in the woods.
It was the same cafe, that seat, where Maxine and Stephen were sitting like the beginning of the film. Came came in, Maxine got up, he went to pick up the car, and asked Came to wait a while.
Camille sat down and asked about the teacher's death. Stefan said, "He is the only person I can love." The
horn rang out of the glass window, Camille walked out, McGinn opened the door, Camille sat in, and McGinn went around. Passed the front of the car, returned to the driving position, started, and the car started slowly. Just as the car was about to exit the screen, Camille suddenly looked back...
Stefan sat motionless, with his left hand hanging down, and his right hand dragging the coffee saucer. When he got closer, his fingers clasped the ears of the cup, and his eyes returned to the crystal rim of the cup.
The story is over. [①]
Two
November 30, 1993, I have been living in Hainan for a month. Doing things during the day, rushing to essays, "Dead and Living in Enlightenment Thought", watching videos at night, became more serious than serious things. Especially the three of us like it.
All videos that indicate Oscar awards or nominations are to be watched, but there are not many that are actually accepted as memories.
It was twelve o'clock after watching, the three of them said nothing and fell asleep.
We watched it again the next morning.
On June 30th of this year, 7 months later, I saw a video ad in Hong Kong with "The Love Is Coming".
French title: "A Winter's Heart".
Actress: Emmanuel Bea.
Actor: Daniel Odey.
The description of the film reads "Life is unpredictable. When one loves, one does not realize it; when one feels, one does not love anymore". This "explanation" is so terrific that people have nothing to say. Only lament the secular health of the spleen and stomach.
It's a pity that I have a lot of blunt feelings, but I can't find the understanding and expression to dredge them, so I stand there and become a bowel.
Experience has convinced me that everything has its time domain. You can't force it. Only its time domain has arrived. An accidental light will bring it to clarity.
As far as the story is concerned, this film is too old, 50 years ago or 50 years later, as long as there are actors and actresses, they are suitable to such an extent that their bodies, smells, sounds, movements, and expressions have enough taste for self-speaking. This film can be replayed, and a layer of self-named color can be painted on the wall of memory.
In history, there are some eternal topics that are repeated and not old, because there are people in life—some people are born so familiar and unfamiliar, like language and tone, from ancient times to the present.
Needless to say, mass-produced violins, some violins have families and names. Although its reputation may make the violinist playing it become a violinist, if you don't want to inbreed and degenerate, it should patiently look for, wait, and believe that only a real violinist can make a violin become a violin.
Heifetz is therefore called Heifetz. He is not generally able to pull out the softness of the Virgin of the Stradivarius like Raphael. He uses the power of his passion to pull the softness of the Virgin to Like a shower of brilliant sunshine.
The topic and the actors are the same. In the eternal topic of "A Winter's Heart", what I saw are two actors who use their sensual passion lively in reality to make the eternal topic eternal in the vivid feeling.
My feeling is far less straightforward than that of Hong Kong's "video ad".
For the sake of truth, I first extract the notes from the two days of November 30th and December 1st, as follows:
November 30th
"Like a dream-like vision. An ancient story, in a completely different person, it is impossible to feel feeling things out. " "
man, should not put anything on feeling like taste in the mouth to chew, like, people should not know how to retain the feel of something, even if such retention is also a feeling, but It is a mysterious, taboo, spiritual sensation that endures the peak experience, and realizes its inviolability!"
"It is not allowed to distinguish the top grade and the god grade of a certain sensation. It makes you involuntary. Keep gratitude and awe, only in listening and contemplation."
"This is a high degree of freedom, a subtle spiritual freedom that is not driven by desire."
"Stephan is too much like me, he said he has it in his heart. Something is dead, so he executes the self-determination of death and euthanizes an old man who is suffocated by the trivial life."
"He is too picky about the sound of music, and is always sensitive to an unexpressed sound. But. That voice actually tends to silence. I have been avoiding this gaze listening for a long time, in order to hide my acquiescence to it."
"Camille
Carmen." [②]
December 1st
"Thinking people can do whatever they want To what, want to turn the insensible into the sensible, as a post-modern task, this is the same arrogance and arrogance as the omnipotence of
reason . Irrational arrogance."
"What does Camille need?
There is no passion after the storm. Calm reason, or deep love of longing?"
"In pursuit of intonation, Stefan's concentration can make intonation reach the height that Camille wants to achieve. One becomes the guide and inspirer of the feeling of the other."
"But life It’s not just music. Camille wants music and lives, and her feelings don’t know that there is a dead boundary between music and life."
"Without Stefan's deadly guardianship, can he find an unexpressed voice? Without Cammy's sensual and passionate possession, can she express an inexpressible voice?
Their union is in separation." The
handwriting was scribbled, I I almost don't recognize me, but the feeling that the scribbled handwriting can record, I can still feel it today, even more.
With the awakening of these two memories, to what extent can I talk about her below? The description of the
three
words and the memory of the feeling have a certain match.
Let me explain first.
If you do an experiment, close your eyes and see what kind of images can be displayed on the memory screen, and are they coherent into a plot?
No, there are images and it's messy. The image flashes like a light spot, which goes out when it is bright. The images that are highlighted again have nothing to do with them, like fireflies one after another in the dark night.
Therefore, the screen of memory cannot be expected to be able to replay "A Winter's Heart" once like a TV screen.
This is the experiment I did on the veranda in the evening.
The next morning, at 8:30, I sat at the desk, spread out the manuscript paper, and wrote all the way. If the memorized image is a light spot, then the text describes it on the one hand, and on the other it reveals the dark and unclear shadows. The "description" has been replaced, the images have become words, but the words are "inspiring." It seems to be searching for clues of memory, but the gloomy part is dark. In fact, the text follows the network of the text itself, constituting its own image, supplementing or replacing the missing image, so the "revelation" is worse than creation. .
"Description": The image is replaced by text-symbol.
"Revelation": Words are replaced with images-metaphors.
Such textualization (linguistic), in the final analysis, is to store tangible life as intangible meaning. Like diet and digestion, to enrich one's temperament, imagination and courage, in order to recreate life.
Back to the text.
When I said that the notes at that time and today's text had a certain consistency, it was referring to my strengthening tendency when I accepted it, that is, the musicality of the whole sentiment.
Two figures are two notes, one note is the expressed sound, and the other is the expressed sound. The former is difficult to express or even impossible to express as intonation, it improves the phoneme, tone quality and tone color of the performance. Its intonation is precisely non-intonation. The latter strives to reproduce in the range of perception, without it, there would be no audible music and accessible life.
There is a tricky metaphor in the history of philosophy. It is said that meat is nitrogen and hydrocarbon, but what we eat is meat, not nitrogen and hydrocarbon. To think that this metaphor can be used to laugh at rude essentialism and make refined essentialism laugh to the end is really Hegel's wishful thinking. The phenomenon of excess meat called meat has an exception that no one can tolerate. It breaks the boundaries of essentialism and makes both the express and the expressed inexpressible. Can you tell how charming the extra part of Camille is? Women are the natural enemy of essentialism.
The feeling is so strong, in the short gap, I almost only remembered it. I found that it became an image "knot" to me. Interpretation of previous works such as Maugham's "Moon and Sixpence", Rob Grillet's "Last Year in Marion Budd", Colville's "Train and Horse", "Man and Woman on the Terrace" In, can't get around it.
Not only that.
Today I am still in a pathless severance. Human feelings are sometimes sharp to the insensible. However, does it directly correspond to expressions and expressions that cannot be expressed, words and words that cannot be expressed?
Postmodernism requires the legitimacy of this expression.
And I doubt that if we want to endure the arrogant desire in awe, do we want to keep a little asceticism in the open self-discipline of the individual?
Why did Stefan open and close a mysterious range?
Does Camy's restoration of calm accept this desperate hint?
No matter how keenly expressed, you will always encounter a closed inexpressible range in opening up. This kind of forbearance of arrogant desire and frustration makes the sensual sound quality and tone full of spiritual tension and become the temptation of sound!
As I said, music is not life yet.
Change another secular perspective.
I'm a little surprised, Maxine seems to be disappearing, he is put in and out like a prop.
Is that right?
If Camille is "me", who are "you"? "Who is that? "You" is Maxine, or Stefan?
In music, Stefan is "you".
In life, Maxine is "you" and Stefan is "it".
But can Camille be self-centered in this way?
She thought she could be named and referred to like a god.
"You are you."
"No, it is you."
All the names and pronouns can be recruited in my desire.
"You" place, vacant, Maxine, Stefan,...it doesn't matter, what matters is my desires and needs.
Camille thought she could express everything and possess everything. She is childlike self-willed, and she can bite into her teeth for any thing. She chewed Messin, and wanted to use Stephen to chew.
The reason for this replacement is said to be that the "you" character of "I" is sublimating and wandering, and it is wandering to the filling that can refer to my richness.
The changes of the times, and even the transformation of modernity, have proved the rationality and legitimacy of "I", but don't forget that "limits" have the edge of a knife, and you can't surpass it.
Postmodernity, we must learn to say this.
Camille's cleverness does not lie in her ability to express the inexpressible, but in her adherence to the inexpressible.
-A winter heart.
Why did Stefan say:
"I don't believe you."
"I'm not the kind of person you feel."
"I don't have the kind of person you feel."
Feeling, some classical philosophers, anthropologists , And call feelings the "essential power" of human beings, or the "passionate nature" of nature, or the "suffering nature of enduring".
There are two meanings: one refers to the elements of the survival structure from the most primitive animal or functional feelings to the epistemological, aesthetic, ethical, and religious transcendental feelings. They are Irreplaceable and irreducible; the
second refers to functional, that is, sensation is always an object existence, it is both the subject of sensation and the object of sensation. To be precise, the two are inseparable. Separation or separation means Feeling sick or dead. In this sense, in addition to saying that it is an essential force, people also add some quasi-value qualifiers, such as the passionate nature of pursuit, endurance, and distress.
Reason is originally a tool to realize it, or the superior qualitativeness of sensation taste, coupled with social reinforcement, reason seems to become the soul or master of sensation. In fact, it is precisely the sign of feeling falling into a morbid state or even death.
As we have seen, Maxine and Stefan are different types of people. From Maxine to Stefan, Camille's feeling must have changed. In other words, some feelings will disappear, for example, the original promise to Messing.
How can people believe that such a changing feeling will not change what I have promised to me now?
In other words, what is the feeling that is better, and now that the feeling is the best, what is the limit of feeling? I feel that I feel the best, not at all repulsive, and I feel that I will need the next best, or even bad. The problem is that there are spiritual feelings, sensual or sensual feelings, epistemological feelings, aesthetic feelings, and ethical feelings. There are so many levels of feeling that we can’t count on it. The feeling will end in a feeling, even if it is the best.
It feels that sometimes it does not enter the value judgment at all. When Cammy moves from Mcsin to Stefan, it is not a moral issue at all. Stefan said "I don't believe you", and there is no moral evaluation in it.
Camille’s behavior has the meaning of "destination" as a possibility; it also has the meaning of "willfulness" as another possibility; it also has the meaning of "choice" as an intermediate state. Stefan could not find a basis for judgment on Camille.
In fact, the problem is not Camy, but in Stefan, he said that there is something inanimate in his heart, both in the direct and indirect sense.
The direct meaning is death, silence, a violin that can play the most beautiful music, but only guards silence.
The indirect meaning is that if one's feeling body is always in the unspeakable and unspeakable realm, one can look at the display of feelings from this, and it will often find that many feelings are rootless. However, the secular nature of life just needs the buffer of so many rootless feelings. Like a hotbed, it stores, maintains, inactivates, and causes forgetfulness in order to gather sudden bursts of surprise and make the world full of freshness.
Stefan was wary of any repetition of feelings because of the sense of horror and rootlessness.
Can we condemn these people with a special guardian mission for giving up worldly happiness for the guardian spirit?
Perhaps, between Stefan and Camille, especially in Stefan’s heart, there is a voice saying:
"Ah, the best, like a dream, rises up, don’t wake it up, don’t mess it up. , Be careful, be careful!"
I can’t imagine how things would be like this: Stefan drove the car to the door, Camille glanced at him, got out of the car, walked to the door, stood at the door, back, turned around, for a while. Can a short break in the lottery be resisted? Stefan followed, and the last two kissed wildly in the room, the most popular bed action.
There is a clear view, and the result is nothing, nothing is left.
The best is the least achievable but must be implicit in the charm of realization.
The clever director knows how to use Camy’s look back, not just before going to bed, like a trick used by men and women, but the usual moments after the separation. It is particularly shocking. Camy’s look back is actually A habitual, unconscious action. It and Stefan's dazed gesture are just cut into a montage:
these two actors!
I have been holding back, not to talk about Camille's actor.
Just bear it.
It has been almost fifteen years since 1994
[Appendix]
.
Jiaqi, who also came to Hainan back then, went to Shanghai in 2002.
And Mengmeng, who passed away on August 12, 2006.
I remain alone on the small island in the island of "Haidian".
A few days ago, I suddenly remembered "A Winter's Heart", and looked at it again. I've read it several times, but I don't remember. Every time I read it, I want to correct the inaccuracies in the article. Due to some inaccuracies, I should even change the analysis paragraph. This is just a flash of thought when I look at it. In fact, I won't change it at all. Even I think, it’s not that I remembered it wrong, the character should have said like I did.
The strange thing is that every time you look at it, you almost have to repeat the same psychological process. so funny.
This time I asked my student Fang Ning to print "Aria on the E String" into an electronic version. When sending it to me, she attached a text message with a few questions, and attached it with my answers.
It is 11:31 am on July 4, 2007.
[Attach letter]
Teacher: I
remember when I watched the movie "A Winter's Heart", I saw Stefan said "I don't believe you", and I said in my heart: "I don't believe you either, Camille". But I realized almost immediately that this "disbelief" is a cowardice mixed with a little moral taboo. It is both afraid of moral insight and shocked by the enthusiasm, subconsciously avoiding the bluntness of being occupied by enthusiasm. Heavy pain. This is of course not on the same level as what you said. If only at this level, Stefan's hesitation, what position did Camy put in? Back to Maxine, how does a keen sense adjust the difference between the best and the second, the spiritual and the physical? "Kami's cleverness does not lie in her ability to express the inexpressible, but in her commitment to the inexpressible", really?
And at the level you are talking about, why does Stefan break the feeling into two parts, spiritual and physical? Why do you have to endure the physical part extraordinarily in order to hold on to the spiritual part? Or you can ask: Is the part that feels physical realization already at the end of the feeling? Only by cutting off this part can we enter the unspeakable field? "The sense of rootlessness due to terror" is alert to and rejects any feeling that bursts out in front of you, abandoning "worldly happiness", even if it is pure and beautiful enthusiasm, are these absolutely necessary conditions for "guardian spirit"?
Teacher, these questions are not asked here as a kind of interpretation, but I have never thought about it. In the interpretation of "The Moon and Sixpence", this question actually went around.
My question is marked in bold italics in the attachment below.
Fang Ning
2007/7/2
[Attachment]
"...The Huacai Department has appeared, and Camille has already understood who brought her into the sound that feels imperceptible. It is like the blade of a knife, only going over it , Opened a gloomy door, the unexpected sound world is so open and bright. Life is so suddenly refreshed. What did the eyes see? Why did they not see before, now they are thrilling to see. A different world."
"People shouldn’t put everything in their feelings like chewing and tasting them in their mouths. People should know how to retain the insensibility of something, even if this retention is a feeling, but it’s It is a mysterious, taboo, spiritual sensation that endures the peak experience, and realizes that it is not profane!"
"It is not allowed to distinguish the top grade and the god grade of a certain feeling. It makes you involuntarily maintain it. Gratitude and awe are only in listening and contemplation."
"This is a high degree of freedom, a subtle spiritual freedom that is not driven by desire."
"Thinking that people can do whatever they want, and they can't feel it. Becoming sensible, and also as a post-modern task, this is the same arrogance and arrogance as the omnipotence of reason. Irrational arrogance."
"What does Camille need?
After the storm, is it peaceful rationality without passion, or is it hidden? Love and
longing for love?" "In pursuit of intonation, Stefan's concentration can make the intonation reach the height that Camille wants to achieve. One becomes the guide and inspirer of the feeling of the other."
"But life is not music. Camille wants Music also needs to live, her feelings don’t know that there is a dead boundary between music and life."
"Without Stefan’s dead mind, can he find a voice that he hasn’t expressed? Without Camy’s sensual and passionate possession , Can she express an inexpressible voice?
Their union is in separation. "
This kind of textualization (linguistic), in the final analysis, is to store tangible life as intangible meaning. Like diet and digestion, to enrich one's temperament, imagination and courage, in order to recreate life. "
The two figures are like two notes, one note is the expressed sound, and the other is the expressed sound. The former is difficult to express or even impossible to express as intonation, it improves the phoneme, tone quality and tone color of the performance. Its intonation is precisely non-intonation. The latter strives to reproduce in the range of perception, without it, there would be no audible music and accessible life. "
The phenomenon of excess meat called meat has an exception that no one can tolerate." It breaks the boundaries of essentialism and makes both the express and the expressed inexpressible. Can you tell how charming the extra part of Camille is? Women are the natural enemy of essentialism. "
Now I am still in a pathless severance." Human feelings are sometimes sharp to the insensible. However, does it directly correspond to expressions and expressions that cannot be expressed, words and words that cannot be expressed? "
Postmodernism requires the legitimacy of this expression.
And I doubt that if we want to endure the arrogant desire in awe, do we want to keep a little asceticism in the open self-discipline of the individual?
Why did Stefan open and close a mysterious range?
Does Camy's restoration of calm accept this desperate hint?
No matter how keenly expressed, you will always encounter a closed inexpressible range in opening up. This kind of forbearance of arrogant desire and frustration makes the sensual sound quality and tone full of spiritual tension and become the temptation of sound! "
"You" place, vacant, Maxine, Stefan, ... it doesn't matter, what matters is my desires and needs.
Camille thought she could express everything and possess everything. She is childlike, and she can bite into her teeth with whatever she wants. She chewed Messin, and wanted to use Stephen to chew.
The reason for this replacement is said to be that the "you" character of "I" is sublimating and wandering, and it is wandering to the filling that can refer to my richness.
The changes of the times, and even the transformation of modernity, have proved the rationality and legitimacy of "I", but don't forget that "limits" have the edge of a knife, and you can't surpass it.
Postmodernity, we must learn to say this.
Camille's cleverness does not lie in her ability to express the inexpressible, but in her adherence to the inexpressible. "
Rationality was originally a tool to realize it, or the superior qualitativeness of sensation taste, coupled with the strengthening of social nature, reason seems to become the soul or master of sensation, in fact, it is precisely the sign of feeling falling into a morbid state or even death. "
From Maxine to Stefan, Camille's feeling must have changed. In other words, some feelings will disappear, for example, the original promise to Messing.
How can people believe that such a changing feeling will not change what I have promised to me now?
In other words, what is the feeling that is better, and now that the feeling is the best, what is the limit of feeling? I feel that I feel the best, not at all repulsive, and I feel that I will need the next best, or even bad. The problem is that there are spiritual feelings, sensual or sensual feelings, epistemological feelings, aesthetic feelings, and ethical feelings. There are so many levels of feeling that we can’t count on it. The feeling will end in a feeling, even if it is the best. "
Kami's behavior has the meaning of "destination" as a possibility; it also has the meaning of "willfulness" as another possibility; it also has the meaning of "choice" as an intermediate state. Stefan could not find a basis for judgment on Camille.
In fact, the problem is not Camy, but in Stefan, he said that there is something inanimate in his heart, both in the direct and indirect sense.
The direct meaning is death, silence, a violin that can play the most beautiful music, but only guards silence.
The indirect meaning is that if one's feeling body is always in the unspeakable and unspeakable realm, one can look at the display of feelings from this, and it will often find that many feelings are rootless. However, the secular nature of life just needs the buffer of so many rootless feelings. Like a hotbed, it stores, maintains, inactivates, and causes forgetfulness to gather sudden bursts of surprise and make the world full of freshness.
Stefan was wary of any repetition of feelings because of the sense of horror and rootlessness.
Can we condemn these people with a special guardian mission for giving up worldly happiness for the guardian spirit? "
Perhaps, between Stefan and Camille, especially in Stefan's heart, there is a voice saying:
"Ah, the best, like a dream, rises up, don't wake it up, don't get dirty It, be careful, be careful! "It's
particularly shocking, Camille's look back is actually a habitual, unconscious action. It just cuts into a montage with Stefan’s dazed gesture..."
[Reply]
Fangning:
The "relationship between two sound qualities" mentioned in the article obviously has a "classical flavor", and it is almost more and more distant for modern people. If it can be retained in the temperament of modern people, it will become a "rare element" and even an indicator of spiritual discrimination.
Although "Moon and Sixpence" also speaks of separation, it is not a "tolerable" separation. Although Gauguin-style modernists know this separation, he is an egoist or individualist who "satisfies" everything. He almost predicts the "virtue" of modernism and modern people. What I said is still A kind of "smart" modernist virtues that are not mediocre.
Of course, there is a sense of bitterness in "A Winter's Heart". And it is precisely what modern people regard as "taboos" that must be broken and then quickened.
Mengmeng knows this distinction too well. She can almost see the "best people" who have walked on the table at a glance. Because she is the bitterness of neoclassical life itself. This is the "Mengmeng spiritual emotion or emotion" that I want you to enter. A more appropriate entry for "emotional spirit".
Your question is all about:
Why should the feeling be divided into two parts, spiritual and physical? Why do you have to endure the physical part extraordinarily in order to hold on to the spiritual part? Or you can ask: Is the part that feels physical realization already at the end of the feeling? Only by cutting off this part can we enter the unspeakable field? "The sense of rootlessness due to terror" is alert to and rejects any feeling that bursts out in front of you, abandoning "worldly happiness", even if it is pure and beautiful enthusiasm, are these absolutely necessary conditions for "guardian spirit"?
In other words, why is it best to use "forbearance" and keep "bitterness"? For clarity, you used very straightforward words: "cut away", "reject", "give up".
The following are the ways of thinking to pay attention to:
1. The sensory analysis of "A Winter's Heart" is only for "A Winter's Heart", and certain things cannot be extracted as "scales" and expanded. Of.
2. This is not to say that if one thing is not set as a yardstick, there is no superiority or inferiority to anything. Don't use a scale to cut, it doesn't mean that you can't compare in reference. These are two different things.
For example, the meaning of "forbearance" in "A Winter's Heart". I have extracted it, and it does have some general properties, but it is not a measure. If you get closer to the movie, Stefan's "consciousness"-"distrust" towards Camille, is obviously still involved in Maxine, with revenge from jealousy and dislike for contempt, of course. These are all representational. I put them all aside, in order to highlight the main ones. In addition to what I analyzed in the article, there are indeed observations from a distance, but Camille may have understood too deeply, or may be afraid of Stefan’s indifference. She buried the understood love in her heart and made it a music-triggered Foundation. It can now be said that there are two attitudes towards desire: "forbearance" and "satisfaction."
The satisfaction of desire is the fixation of desire in satisfaction. In modern society, this kind of "Pandora" opened by the market economy is almost mainly caused-"the desire for liberation" is "non-sublimation repression"-the Frankfurt School of Germany and the Teckel Group of France have actually long been This "modern form of repression" is analyzed. Strangely, the vision gained in the 1980s was later forgotten.
Compared with this, the meaning of "forbearance" will be revealed. In "A Winter's Heart", Stefan endures rejection, and there is another way to endure. Another situation can be imagined (note that this situation is not suitable for the specified situation in this film). A man and a woman may have sex, so they feel the guidance of desire more strongly, but they may be aware of the higher requirements and finally "Yin Ren" came down. Therefore, it is not about forbearing "what", but about the limit of "forbearance" becoming the "other", and thus showing the "other". Otherwise, "forbearance" only restricts "what" (such as sexual desire), it may fall into the real "taboo", if it is not simply "abstinence". This is another type of problem.
Of course you will feel that the best or the most beautiful is not the satisfaction of desire itself, but the manifestation of the other in forbearance. Let me add one more thing. My whole argument is actually modal, or, perhaps, only valid for certain people.
You may look back again-"people are unintentional signs".
Zhiyang
July 2, 2007 Evening
Source: Zhang Zhiyang's Prose Collection "Can someone walk in a secluded place?" "The Aria on the E String-Movie Reading Experience"
[①] I dare not write "the skill", I know the omissions, errors and fillings in my retelling, as well as the unstoppable intervention in the retelling.
[②] What I think of are Mei Limei's novels, Bizet’s operas, and Spanish movies, "Carmen", which has become a fairy name for me.
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