明顯是 the already dead
我說過這個片語是有典故的
Resistant subjectivities, then, do not enjoy the freedom of possibility, but only a bare capacity to resist enmity and chance. The modal category of actuality corresponds to this capacity and is expressed in terms of the distension of the event: the capacity to resist does not occupy a punctual present, but is strung between past and future. Resistant subjectivity is in a sense already dead, a posthumous subjectivity evoked by Bakunin in the Revolutionary Catechism and echoed in the declaration before a court of martial law by the German revolutionary Levine that Communists are the dead on leave: they must live as if their death has already been decreed by the enemy; they have no right to life, their survival a matter of chance. It is the sheer necessity of resisting that intensifies their capacity for resistance. Mao, Fanon and the Zapatistas occupy this dead present with varying degrees of affirmation; theirs is the resistant subjectivity described by Clausewitz in terms of the aktus of resistance. (Howard Caygill, 2013, p. 98)
The work of Frantz Fanon (1925–61) constitutes one of the most sophisticated and unflinching analyses of the constitution of a violent resistant subjectivity. An active combatant in the Forces francaises libres after 1943, he was decorated with the Croix de Guerre, but had few illusions about the ‘false ideology’ for which he was fighting. His experience of combat left him with what Magali Bessone has aptly described as ‘le sentiment d’un mort en suspens’ (Fanon 2011, 25), the sense of already being dead – that is, devoid of possibility – that characterizes many expressions of resistant
subjectivity. (ibid, p. 99)
但明顯又非上述之 the already dead
Howard Caygill 講的是反抗的主體性
這個片語可以翻成視死如歸從容就義
陳映真筆下被行刑前的共產黨員如是
意思是說為信仰而死的共產黨員是高貴的
(我先前說過二十世紀初葉如果你不左傾你就沒有血性
這句話是過去一百五十年歷史的最大的飛蛾撲火的嘲諷)
活著的共匪都變成新階級這點陳映真故意不說
普通中國人也不被容許想起
你知道他媽的新階級有多爽嗎
這個片語也可以翻成其實我已死去
意思是說倖存者承載著死者的陰魂
Winnicott, Bion, Levi 都有這個蠱惑
喪屍始於病毒感染終於行屍走肉
我不理解為什麼有的蹣跚有的敏捷
我見過最優美的一幕是喪屍們黑夜
一起抬頭呆看天上瞬間即逝的璀璨煙火
意思是說那個瞬間他們變成存在哲學家
喪屍有一個缺點就是沒有語言
沒有或只有一點殘存的記憶
極少數會發出野獸的哀嚎
這點說明喪屍片只能動作包括追逐和吃
所以他們的日子過得很無聊
這種電影化妝是關鍵必須非常傑出
我見過最驚人的一幕是屍海攻破耶路撒冷城
這就是共匪講的(無辜砲灰)人民戰爭的汪洋大海
喪屍有一個優點就是不攻擊同類
意思是說活著的共匪連喪屍都不如
聽說喪屍昨天又來到首爾
我希望這回他們喜歡吃泡菜
