屁股的文膽王小明的屁股說有任何代價我一屁股扛起沒有人會因為沒有屁股活不下去
Friday, June 30, 2017
48
6/30
2:11 PM. possibly chaos (Galatzer-Levy 2017) this weekend. humid.
feverish hot. stagnant air. fueled by chain smoking. fortunately. 溽暑中等待風雨.
5:44 PM. raining. not hard enough. 7/1 7:15 AM. soon. doing time. again. 2:33
PM. one ER. adm. one aad. raining. good. 9:00 PM. chaos yet. manny. 35
fin. 7/2 4:54 AM. 東. 晨星. 涼風. 最好的瞬間. 關於大陸電視連續劇. 不停的
親愛的 爺們 姐們 閨蜜 鐵哥 相親 相親 相親 相親 相親 相親 相親 相親 相親 相親 相親 相親 相親 相親
相親 相親 有車 有房 有票 喝紅酒 走一個 走一個 走一個 走一個 走一個 三角關係 三角關係 三角關係 三角關係 三角關係 三角關係
三角關係 三角關係 三角關係 三角關係 三角關係 三角關係 三角關係 三角關係 三角關係 三角關係 甚麼情況
至於嗎 每隔十三秒鐘打一次手機 每隔五分鐘吃一次飯 永遠36集 永遠沒有社會問題 沒有權貴資本主義 沒有官家資本主義 沒有上訪 沒有拆遷
沒有霧霾 沒有垃圾 沒有城管打人 沒有紅線 沒有深水禁區 沒有昨天半夜以前的歷史問題.
關於台灣 沒有電視 沒有新聞 沒有連續劇 不停的 名嘴謊言 雞毛蒜皮 雞毛蒜皮 雞毛蒜皮 雞毛蒜皮 雞毛蒜皮
雞毛蒜皮 雞毛蒜皮 雞毛蒜皮 雞毛蒜皮 雞毛蒜皮 雞毛蒜皮 雞毛蒜皮 雞毛蒜皮. 5:54 AM. 陽出. 當一群精神分析師們自以為是 爭論不休 總結人類世(anthropocene)生態危機 你就開始打哈欠 3:16 PM. humid. hot. as usual. rainless. 7:44 PM. quiet. the western front. two-million-year-old self (jung). 7/3 7:31 AM. last one. received around 2 AM. FJU fin. today. 爸爸快長大. 7/5 7:05 AM. bronchitis recurred for 4 days. less severe than yesterday.
张博树
https://www.youtube.com/watch?v=XqhVAYP1MlE
從五四到六四: 20世紀中國專制主義批判，第1卷 (2008)
中國批判理論建構十講: 破解「黨專制」, 問題與方法 (2010)
改变中國: 中國思想界各个流派 (2016)
(Google play 2017-6-30)
從五四到六四: 20世紀中國專制主義批判，第1卷 (2008)
中國批判理論建構十講: 破解「黨專制」, 問題與方法 (2010)
改变中國: 中國思想界各个流派 (2016)
(Google play 2017-6-30)
Thursday, June 29, 2017
Nonlinear Psychoanalysis: Notes from Forty Years of Chaos and Complexity Theory (Robert Galatzer-Levy June 24, 2017)
kindle 2017-6-29, finally
Egg + O2 ->
BaBy Chick + CO2 + side effects
Wednesday, June 28, 2017
從jack reacher說起
生命形態生活方式午夜決定不要洗澡聽覺優先視覺犬吠蛙鳴蟲鳴長庚急診捲堂大散文膽無文無膽御用宦人jack一輩子沒有剪過指甲十分確定你說jack會不會為婊子賣命我說如果jack為婊子賣命他就是他媽的jack
Tuesday, June 27, 2017
陽光下
一切都很清澈
劉曉波癌末
絕望和徒費 (despair and futility)
早就知道
六十歲的人
看不到三十歲的希望
三十歲的人
看不到出生的希望
沉默的海洋沸騰著
你我走不出的
歷史的魔咒
一切都很清澈
劉曉波癌末
絕望和徒費 (despair and futility)
早就知道
六十歲的人
看不到三十歲的希望
三十歲的人
看不到出生的希望
沉默的海洋沸騰著
你我走不出的
歷史的魔咒
一切都很清澈
Monday, June 26, 2017
Sunday, June 25, 2017
豬腳飯
關鍵在不可以太油膩
大骨要留給狗狗大餐
中國和台灣的角頭們的偉大的
關鍵在貪污絕對不會被抓到
而且分贓一定公平正義
切記切記
所以每件事
都有其關鍵
親愛的同學們
把握到關鍵
你們就會有快樂的人生
非常非常非常非常快樂的人生
掏心掏肺之後
當然只剩空無
他們從烏魯木齊
東行到西安
會經過天水嗎我說
你知道天水發生過甚麼嗎
你知道普羅米修斯來過天水嗎
袁紅冰沒有打算研究轉型
且有見人說人話見鬼說鬼話之嫌
當然他現在正在澳大利亞曬太陽
老袁說下次去墨爾本
記得要去賭場玩個夠
盛夏在空無中
找到田立克
很高興老田和佛洛姆Rollo May對話過
前者說疏離後者說神話
老田說非典基督
盛夏在空無中
有甚麼好說
不管是典
還是非典
他們從烏魯木齊
東行到西安
會經過天水嗎我說
你知道天水發生過甚麼嗎
你知道普羅米修斯來過天水嗎
袁紅冰沒有打算研究轉型
且有見人說人話見鬼說鬼話之嫌
當然他現在正在澳大利亞曬太陽
老袁說下次去墨爾本
記得要去賭場玩個夠
盛夏在空無中
找到田立克
很高興老田和佛洛姆Rollo May對話過
前者說疏離後者說神話
老田說非典基督
盛夏在空無中
有甚麼好說
不管是典
還是非典
Saturday, June 24, 2017
張愛玲打開一本偵探小說前
就知道要死多少人
會有多少動作情節
看著簡陋的小房間
想起上海的大房間
對中國獰笑近代史
打開那本偵探小說
The Late Show (Michael Connelly, July 18, 2017)
會有多少動作情節
看著簡陋的小房間
想起上海的大房間
對中國獰笑近代史
打開那本偵探小說
The Late Show (Michael Connelly, July 18, 2017)
袁紅冰 (b 1952)
https://www.youtube.com/watch?v=l2wPhE-L31o
https://zh.wikipedia.org/wiki/%E8%A2%81%E7%BA%A2%E5%86%B0
https://www.youtube.com/watch?v=ZUafBsCK8kg
這個主持人明顯是一個很有思想和內在美的歐巴桑
https://www.youtube.com/watch?v=in6jgeVFyQ0
https://www.youtube.com/watch?v=Ze39DzkzI6A
https://www.youtube.com/watch?v=0M3jevWSHT0
https://www.youtube.com/watch?v=yL68dLLBGBU
袁紅冰跟汪笨湖說陳水扁之所以貪污是中共構陷的不是他故意的從人類文明史的高度來講這個政治正確的貪污無傷大雅瑕不掩瑜值得歌頌洗錢真是一門重要的學問大家要感謝他提供的豐富教材仔細研究下次不要被抓到
https://zh.wikipedia.org/wiki/%E8%A2%81%E7%BA%A2%E5%86%B0
https://www.youtube.com/watch?v=ZUafBsCK8kg
這個主持人明顯是一個很有思想和內在美的歐巴桑
https://www.youtube.com/watch?v=in6jgeVFyQ0
https://www.youtube.com/watch?v=Ze39DzkzI6A
https://www.youtube.com/watch?v=0M3jevWSHT0
https://www.youtube.com/watch?v=yL68dLLBGBU
袁紅冰跟汪笨湖說陳水扁之所以貪污是中共構陷的不是他故意的從人類文明史的高度來講這個政治正確的貪污無傷大雅瑕不掩瑜值得歌頌洗錢真是一門重要的學問大家要感謝他提供的豐富教材仔細研究下次不要被抓到
Cornelius Castoriadis (1922-1997)
https://en.wikipedia.org/wiki/Cornelius_Castoriadis
In an interview in 1991, Castoriadis reflected on the “incessant flux” of the imagination thus:
I am not fixated on the “scopic”; one of the gross inadequacies of Lacan’s conception of the imagination is his fixation of the scopic. For me, if one is speaking of stages that are worked out, the imagination par excellence is the imagination of the musical composer (which is what I wanted to be). Suddenly, figures surge forth which are not in the least visual. They are essentially auditory and kinetic – for there is also rhythm. There is a marvellous excerpt from a letter of Mozart cited by Brigitte Massin, in which Mozart describes how he composes.
Like every self-respecting composer, he composes, obviously, in his head. When deaf, Beethoven heard – imagined – in his head. A true composer writes and hears chords, chordal progressions, as I, in closing my eyes, can review some scene or imagine some scene, bringing into mutual presence characters who have never really been present to each other.
Mozart explains that the piece composes itself in his head, and he says the following hallucinatory thing: when the piece is finished, it is all laid out simultaneously before him in its progression.
He hears in one moment the beginning, the middle, the end of the first movement of the sonata. As Galileo says of God, the proofs we arduously traverse step by step are laid out before Him instantaneously. That is an imagination. When Mozart says, I have the entire piece laid out in my head, it is not that he sees the score, it is that he hears the totality of the piece. That appears incomprehensible to us because our musical imagination is rather poor: to be able to hear simultaneously the beginning of the symphony in G minor and the minuet.
Nor is there anything “visual” in the social imaginary. The social imaginary is not the creation of images in society; it is not the fact that one paints the walls of towns. A fundamental creation of the social imaginary, the gods or rules of behaviour are neither visible nor even audible but signifiable. (Castoriadis, 1997b, pp. 182–183)
The Routledge Handbook of Psychoanalysis in the Social Sciences and Humanities, ed by Anthony Elliott and Jeffrey Prager, Routledge, 2016, p. 172
In an interview in 1991, Castoriadis reflected on the “incessant flux” of the imagination thus:
I am not fixated on the “scopic”; one of the gross inadequacies of Lacan’s conception of the imagination is his fixation of the scopic. For me, if one is speaking of stages that are worked out, the imagination par excellence is the imagination of the musical composer (which is what I wanted to be). Suddenly, figures surge forth which are not in the least visual. They are essentially auditory and kinetic – for there is also rhythm. There is a marvellous excerpt from a letter of Mozart cited by Brigitte Massin, in which Mozart describes how he composes.
Like every self-respecting composer, he composes, obviously, in his head. When deaf, Beethoven heard – imagined – in his head. A true composer writes and hears chords, chordal progressions, as I, in closing my eyes, can review some scene or imagine some scene, bringing into mutual presence characters who have never really been present to each other.
Mozart explains that the piece composes itself in his head, and he says the following hallucinatory thing: when the piece is finished, it is all laid out simultaneously before him in its progression.
He hears in one moment the beginning, the middle, the end of the first movement of the sonata. As Galileo says of God, the proofs we arduously traverse step by step are laid out before Him instantaneously. That is an imagination. When Mozart says, I have the entire piece laid out in my head, it is not that he sees the score, it is that he hears the totality of the piece. That appears incomprehensible to us because our musical imagination is rather poor: to be able to hear simultaneously the beginning of the symphony in G minor and the minuet.
Nor is there anything “visual” in the social imaginary. The social imaginary is not the creation of images in society; it is not the fact that one paints the walls of towns. A fundamental creation of the social imaginary, the gods or rules of behaviour are neither visible nor even audible but signifiable. (Castoriadis, 1997b, pp. 182–183)
The Routledge Handbook of Psychoanalysis in the Social Sciences and Humanities, ed by Anthony Elliott and Jeffrey Prager, Routledge, 2016, p. 172
Friday, June 23, 2017
Rollo May (1909-1994)
i heard about his death, in the radio, while driving through Dakota in early winter 1994, not interested for many years, this time came to him finally, via Tillich, and gladly found another screwed-up guy, which makes him convincing
https://en.wikipedia.org/wiki/Rollo_May
Paulus: Reminiscence of a Friendship (1973) (abebooks 2017-6-23)
The Cry for Myth (1991) (kindle 2017-6-23)
The Discovery of Being: Writings in Existential Psychology (1984) (kindle 2017-6-23)
https://en.wikipedia.org/wiki/Rollo_May
Paulus: Reminiscence of a Friendship (1973) (abebooks 2017-6-23)
The Cry for Myth (1991) (kindle 2017-6-23)
The Discovery of Being: Writings in Existential Psychology (1984) (kindle 2017-6-23)
The Therapist and the Journey into Hell
https://www.questia.com/read/1G1-7540897/the-therapist-and-the-journey-into-hell
May, Rollo (1989) National Forum. 69 (2), 33+
May, Rollo (1989) National Forum. 69 (2), 33+
吳建民
https://www.youtube.com/watch?v=rkO5qznKGJw
https://www.youtube.com/watch?v=84-9lX6AXW4
https://www.youtube.com/watch?v=2qiirb-pvw0
https://www.youtube.com/watch?v=YU4bWwArgyo
https://www.youtube.com/watch?v=84-9lX6AXW4
https://www.youtube.com/watch?v=2qiirb-pvw0
https://www.youtube.com/watch?v=YU4bWwArgyo
Thursday, June 22, 2017
尋找兔子的王小明
這個故事告訴我們王小明有多辛苦和兔子有多難找六十年來王小明站在台北街頭尋找正要過馬路的無助的老太婆然後熱心親切地攙扶對方過街這就是他的兔子他跟這個世界發生的關聯弔詭的是estrangement意涵疏遠或疏離意即那個dash in between或兔子早就不在那裡A和B皆疏離 A (estrangement) + B (estrangement) = C (Estrangement) 疏離的王小明和疏離的兔子的相遇不過更大的疏離或疏離的治療者和疏離的病人的相遇只能是更大的疏離
兔子三帖
the dash in between (106-6-18)
今早起來突然想到敘事是為了找到那隻兔子
而那隻兔子藏在那個有名的estrangement中間
Cf Man in estrangement: A comparison of the thought of Paul Tillich and Erich Fromm, by Guyton B. Hammond, Vanderbuilt, 1965 (abebooks ordered 2017-6-22)
昨天宜亨問到
黑澤明的那隻兔子
那隻兔子
藏在那個破折號
而那個破折號
擺在A和B之間
所以問題是
A和B是甚麼
黑澤明的那隻兔子
那隻兔子
藏在那個破折號
而那個破折號
擺在A和B之間
所以問題是
A和B是甚麼
敘事不是navel-gazing是為了找到那隻兔子 (106-6-22)
昨天收到DM修稿其中註三說到敘事
"另外促成一個人「場有」的條件，「敘事」的確是一種方法，但是若落入傳統的「個人主義式」的敘事窠臼，恐難以達成，那麼怎樣的敘事才可促成這種「場有」，會在日後撰文細論。" (p. 24)
"另外促成一個人「場有」的條件，「敘事」的確是一種方法，但是若落入傳統的「個人主義式」的敘事窠臼，恐難以達成，那麼怎樣的敘事才可促成這種「場有」，會在日後撰文細論。" (p. 24)
我是這麼說的 (2017-6-21)
作者依第一位審查者意見 將「場在」改為「場有」 這點殊為可惜
兩個理由 一是海德格的dasein (German: da
"there"; sein "being")
關鍵是在 二是作者顯然原本有意 將「場在」相應於「在場」 對比來做論述 這點依我所見 除用詞上的趣味 正是其創見
如果作者為了忠於其所引用之「場有哲學」
和採納第一位審查者意見
仍決定將「場在」改為「場有」
我會建議作者加註說明這件事
我會希望「場在」vs.「在場」 這一作者的創見 沒有失去
今早起來突然想到敘事是為了找到那隻兔子
而那隻兔子藏在那個有名的estrangement中間
Cf Man in estrangement: A comparison of the thought of Paul Tillich and Erich Fromm, by Guyton B. Hammond, Vanderbuilt, 1965
既然提到Tillich
Paul Tillich
(1886-1965) (106-6-21)
https://en.wikipedia.org/wiki/Paul_Tillich
Paul Tillich and Psychology: Historic and Contemporary Exploration in Theology, Psychotherapy, and Ethics, by Terry D. Cooper, Mercer University Press, 2006 (abebooks ordered 2017-6-22)
book review: Wilder, Courtney (2006) Anglican Theological Review. 88(4): 626+ (questia)
The most significant point of conflict Cooper discusses in the initial comparison of Tillich's position and Fromm's is that "As a psychoanalyst and Marxist, Fromm is one of the most eloquent spokespersons for the position that humanity must heal itself and not rely on a transcendent Source to provide its redemption" (p. 63). In contrast, Cooper writes, "For Tillich, because estrangement invades all dimensions of our being, we can never offer ourselves redemption or healing" (p. 98) (ibid)
see also
Grace for the Injured Self: The Healing Approach of Heinz Kohut, by Terry D. Cooper, Robert L. Rundall, Pickwick Publications, 2014
Paul Tillich and Psychology: Historic and Contemporary Exploration in Theology, Psychotherapy, and Ethics, by Terry D. Cooper, Mercer University Press, 2006 (abebooks ordered 2017-6-22)
book review: Wilder, Courtney (2006) Anglican Theological Review. 88(4): 626+ (questia)
The most significant point of conflict Cooper discusses in the initial comparison of Tillich's position and Fromm's is that "As a psychoanalyst and Marxist, Fromm is one of the most eloquent spokespersons for the position that humanity must heal itself and not rely on a transcendent Source to provide its redemption" (p. 63). In contrast, Cooper writes, "For Tillich, because estrangement invades all dimensions of our being, we can never offer ourselves redemption or healing" (p. 98) (ibid)
see also
Grace for the Injured Self: The Healing Approach of Heinz Kohut, by Terry D. Cooper, Robert L. Rundall, Pickwick Publications, 2014
In 1933 he said
“I had the honor to be the first non-Jewish professor dismissed from a German
university,” and was invited to the Union Theological Seminary in New
York.
(1966). Paul Johannes Tillich 1886-1965. Am. J. Psychoanal., 26(1):98-99
(1966). Paul Johannes Tillich 1886-1965. Am. J. Psychoanal., 26(1):98-99
藥師經
本行菩薩道時。發十二大願。令諸有情。所求皆得。
http://www.muni-buddha.com.tw/CJG/01/%E8%97%A5%E5%B8%AB%E7%B6%93.htm
二十年前讀佛經十年勉強還記得幾句話幽冥眾生悉蒙開曉隨意所趣作諸事業我認為這就是自體心理學為基調的心理治療所發的願雖然我不認為治療者有這麼大智慧去開曉任何人所以發願發願不礙於問道於盲當然盲人不會承認他的盲
第一大願。願我來世。得阿耨多羅三藐三菩提時。自身光明。熾然照曜。無量無數無邊世界。以三十二大丈夫相。八十隨形。莊嚴其身。令一切有情。如我無異。
第二大願。願我來世。得菩提時。身如琉璃。內外明徹。淨無瑕穢。光明廣大。功德巍巍。身善安住。焰網莊嚴。過於日月。幽冥眾生。悉蒙開曉。隨意所趣。作諸事業。
第三大願。願我來世。得菩提時。以無量無邊智慧方便。令諸有情。皆得無盡所受用物。莫令眾生有所乏少。
第四大願。願我來世。得菩提時。若諸有情。行邪道者。悉令安住菩提道中。若行聲聞獨覺乘者。皆以大乘而安立之。
第五大願。願我來世。得菩提時。若有無量無邊有情。於我法中。修行梵行。一切皆令得不缺戒。具三聚戒。設有毀犯。聞我名已。還得清淨。不墮惡趣。
第六大願。願我來世。得菩提時。若諸有情。其身下劣。諸根不具。醜陋頑愚。盲聾瘖瘂。攣躄背僂。白癩癲狂。種種病苦。聞我名已。一切皆得。端正黠慧。諸根完具。無諸疾苦。
第七大願。願我來世。得菩提時。若諸有情。眾病逼切。無救無歸。無醫無藥。無親無家。貧窮多苦。我之名號。一經其耳。眾病悉除。身心安樂。家屬資具。悉皆豐足。乃至證得無上菩提。
第八大願。願我來世。得菩提時。若有女人。為女百惡之所逼惱。極生厭離。願捨女身。聞我名已。一切皆得。轉女成男。具丈夫相。乃至證得無上菩提。
第九大願。願我來世。得菩提時。令諸有情。出魔羂網。解脫一切。外道纏縛。若墮種種惡見稠林。皆當引攝。置於正見。漸令修習。諸菩薩行。速證無上正等菩提。
第十大願。願我來世。得菩提時。若諸有情。王法所加。縛錄鞭撻。繫閉牢獄。或當刑戮。及餘無量災難陵辱。悲愁煎逼。身心受苦。若聞我名。以我福德威神力故。皆得解脫一切憂苦。
第十一大願。願我來世。得菩提時。若諸有情。飢渴所惱。為求食故。造諸惡業。得聞我名。專念受持。我當先以上妙飲食。飽足其身。後以法味。畢竟安樂而建立之。
第十二大願。願我來世。得菩提時。若諸有情。貧無衣服。蚊蝱寒熱。晝夜逼惱。若聞我名。專念受持。如其所好。即得種種上妙衣服。亦得一切寶莊嚴具。華鬘塗香。鼓樂眾伎。隨心所翫。皆令滿足。
曼殊室利。是為彼世尊藥師琉璃光如來。應正等覺行菩薩道時。所發十二微妙上願。
http://www.muni-buddha.com.tw/CJG/01/%E8%97%A5%E5%B8%AB%E7%B6%93.htm
二十年前讀佛經十年勉強還記得幾句話幽冥眾生悉蒙開曉隨意所趣作諸事業我認為這就是自體心理學為基調的心理治療所發的願雖然我不認為治療者有這麼大智慧去開曉任何人所以發願發願不礙於問道於盲當然盲人不會承認他的盲
敘事不是navel-gazing是為了找到那隻兔子
昨天收到DM修稿其中註三說到敘事
"另外促成一個人「場有」的條件，「敘事」的確是一種方法，但是若落入傳統的「個人主義式」的敘事窠臼，恐難以達成，那麼怎樣的敘事才可促成這種「場有」，會在日後撰文細論。" (p. 24)
今早起來突然想到敘事是為了找到那隻兔子
而那隻兔子藏在那個有名的estrangement中間
Cf Man in estrangement: A comparison of the thought of Paul Tillich and Erich Fromm, by Guyton B. Hammond, Vanderbuilt, 1965
"另外促成一個人「場有」的條件，「敘事」的確是一種方法，但是若落入傳統的「個人主義式」的敘事窠臼，恐難以達成，那麼怎樣的敘事才可促成這種「場有」，會在日後撰文細論。" (p. 24)
今早起來突然想到敘事是為了找到那隻兔子
而那隻兔子藏在那個有名的estrangement中間
Cf Man in estrangement: A comparison of the thought of Paul Tillich and Erich Fromm, by Guyton B. Hammond, Vanderbuilt, 1965
Wednesday, June 21, 2017
尋找不裝模作樣的中國人和台灣人
裝模作樣分為初階人模人樣中階狗眼看人低高階滿天神佛褲襠裡擺的是普世的狄克裝模作樣有性別差異打扮不同不必細述裝模作樣當然屬成功人仕從容優雅裝模作樣喜歡吸吮生蠔促進中指血液循環裝模作樣是我們對美好生活的唯一想像你認為你在2049前找得到不裝模作樣的中國人和台灣人嗎
Paul Tillich (1886-1965)
https://en.wikipedia.org/wiki/Paul_Tillich
Paul Tillich and Psychology: Historic and Contemporary Exploration in Theology, Psychotherapy, and Ethics, by Terry D. Cooper, Mercer University Press, 2006
book review
Wilder, Courtney (2006) Anglican Theological Review. 88(4): 626+ (questia)
The most significant point of conflict Cooper discusses in the initial comparison of Tillich's position and Fromm's is that "As a psychoanalyst and Marxist, Fromm is one of the most eloquent spokespersons for the position that humanity must heal itself and not rely on a transcendent Source to provide its redemption" (p. 63). In contrast, Cooper writes, "For Tillich, because estrangement invades all dimensions of our being, we can never offer ourselves redemption or healing" (p. 98) (ibid)
see also
Grace for the Injured Self: The Healing Approach of Heinz Kohut, by Terry D. Cooper, Robert L. Rundall, Pickwick Publications, 2014
Paul Tillich and Psychology: Historic and Contemporary Exploration in Theology, Psychotherapy, and Ethics, by Terry D. Cooper, Mercer University Press, 2006
book review
Wilder, Courtney (2006) Anglican Theological Review. 88(4): 626+ (questia)
The most significant point of conflict Cooper discusses in the initial comparison of Tillich's position and Fromm's is that "As a psychoanalyst and Marxist, Fromm is one of the most eloquent spokespersons for the position that humanity must heal itself and not rely on a transcendent Source to provide its redemption" (p. 63). In contrast, Cooper writes, "For Tillich, because estrangement invades all dimensions of our being, we can never offer ourselves redemption or healing" (p. 98) (ibid)
see also
Grace for the Injured Self: The Healing Approach of Heinz Kohut, by Terry D. Cooper, Robert L. Rundall, Pickwick Publications, 2014
Tuesday, June 20, 2017
Monday, June 19, 2017
人的復位
秀娟的期末報告提到丘老師的疑問復位是否隱含本然的位不我講的人的復位是兩個困難兩個無法復位一是歷史中的人的無法復位這跟兩岸的局有關一是自然中的人的無法復位這跟現代性有關而龍天樓後無樓的意思就是走出龍天樓的魔咒不管那是中國歷史的還是人類造作的文明的以致人終於復位不管是歷史的還是自然的
Sunday, June 18, 2017
The Last Genet: A Writer in Revolt (Hadrien Laroche 2010)
Laroche, Hadrien. The Last Genet: A Writer in Revolt (kindle location 65-69). Arsenal Pulp Press.
now, 1910-1986, 1968-1986, you can see, it was 23 years before he found his dash in between
moonlight avenue
freedom and sorrow, both in the sea
From the terrace of my view
Shine my moonlight avenue
All around shadows of you
Shine my moonshine avenue
Be the lighthouse of my dreams
Please forgive all of my sins
In my moonlight avenue
All those years waiting for you
Hope the rain is coming soon
Magic stairway to the moon
Flying high goes my balloon
Flying high my lonely tune
From the terrace of my view
Shine my moonlight avenue
All around shadows of you
Shine my moonshine avenue
From the terrace of my view
Shine my moonlight avenue
All around shadows of you
Shine my moonshine avenue
Be the lighthouse of my dreams
Please forgive all of my sins
In my moonlight avenue
All those years waiting for you
Hope the rain is coming soon
Magic stairway to the moon
Flying high goes my balloon
Flying high my lonely tune
From the terrace of my view
Shine my moonlight avenue
All around shadows of you
Shine my moonshine avenue
Friday, June 16, 2017
視為當然 (taken for granted)
1.能視為當然
2.就表示它好端端地在那裡
3.一切都很恰當
4.反之
5.不能視為當然
6.就表示它有問題了
7.不能恰當地在那裡
8.上述
9.一點都不抽象
10.
症狀之為症狀
11.
就是因為
12.
不能視為當然
13.
最明顯的是塞車
14.
或電梯壞了
15.
或痛
16.
或喘不過氣
17.
或小便解不出來
18.
或難眠
19.
或一輩子想self這件事
20.
最後這一點
21.
明顯是我的症狀
22.
意思是說
23.
self之為self
24.
不能視為當然
25.
不是別人的問題
26.
是我自己的問題
27.
或我把自己的問題
28.
當成別人也會有的問題
29.
意思是說
30.
身為一個祭品
31.
我不過是在尋找
32.
久散失聯的冥河的弟兄
33.
但問題是
34.
我沒有
35.
別的命運的可能
36.
如同卡夫卡
37.
也沒有
38.
別的命運的可能
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