Tuesday, May 12, 2020
Interpreting Dilthey: Critical Essays (ed. Eric S. Nelson, Cambridge University Press, 2019)
In this wide-ranging and authoritative volume, leading scholars engage with the philosophy and writings of Wilhelm Dilthey, a key figure in nineteenth-century thought. Their chapters cover his innovative philosophical strategies and explore how they can be understood in relation to their historical situation, as well as presenting incisive interpretations of Dilthey's arguments, including their development, their content, and their influence on later thought. A key focus is on how Dilthey's work remains relevant to current debates around art and literature, the biographical and autobiographical self, knowledge, language, science, culture, history, society, and psychology and the embodied mind. The volume will be important for researchers in hermeneutics, aesthetics, practical philosophy, and the history of German philosophy, providing a valuable introduction to Dilthey's work as well as detailed critical analysis of its ongoing significance. (amazon)
Monday, May 11, 2020
Sunday, May 10, 2020
The Last Day (Daseinsanalysis)
聽說北上途經林口十分鐘左右聯結車撞上貨櫃車我說不知
這就是contingency不可預知的突乎其來的通常是災難的
當然也可以是中樂透的但六十年沒有中過樂透沒有橫財
用Stoic哲學的話來說對宇宙和神明的信心必須中過樂透才算堅定
意思是說那是神蹟見證一次夠用一生見證兩次夠用兩生以此類推
明天是沒有見證的最後一天到太陽下山
5/11 8:38 AM, 想起Jack Reacher 遂高興起來 4:53 PM, four consults to go, otherwise fucking fin
這就是contingency不可預知的突乎其來的通常是災難的
當然也可以是中樂透的但六十年沒有中過樂透沒有橫財
用Stoic哲學的話來說對宇宙和神明的信心必須中過樂透才算堅定
意思是說那是神蹟見證一次夠用一生見證兩次夠用兩生以此類推
明天是沒有見證的最後一天到太陽下山
5/11 8:38 AM, 想起Jack Reacher 遂高興起來 4:53 PM, four consults to go, otherwise fucking fin
美國務院揭中共造水軍網絡 擴散假信息
https://www.youtube.com/watch?v=d177Z6YhDpo
我再說一次對付dis-information你必須dis-dis-information以此類推感謝中共網軍這給我們的人生帶來很大的偵探小說的樂趣
我再說一次對付dis-information你必須dis-dis-information以此類推感謝中共網軍這給我們的人生帶來很大的偵探小說的樂趣
四位留美八小時就完成三十二篇博士論文之政治正確经济学家：关于恢复公有制在中国经济中主体地位的建议 (2020-5-5)
http://m.cwzg.cn/theory/202005/57380.html?page=full
http://blog.creaders.net/u/11405/202005/373296.html#
https://www.youtube.com/watch?v=DnIQRpsaNX0
https://www.youtube.com/watch?v=TVOiLAqt1E4
http://blog.creaders.net/u/11405/202005/373296.html#
https://www.youtube.com/watch?v=DnIQRpsaNX0
https://www.youtube.com/watch?v=TVOiLAqt1E4
一、推行解放軍和維穩部隊提供之全民免费槍斃後不必再花錢買子彈的制度
二、建立每個趙家人(不是每家請注意二奶三奶四奶以至N奶及其百千萬雜種也可列入計算換句話說趙家人一定要多生這是民族復興之純粹慾望之純粹表現)貪汙切記不可超過兩千億美金(意思是說超過是不道德的)普通百姓則月入不可超過一千九百人民幣(意思是說超過也是不道德的)之社會公平合理制度
三、關於恢复公有制经济在中國特色社會主義之仿日AV產業之彎道超車之主体性和客體關係之辯證後達成之互為主體性之納粹教義和習近平我們十分確定其實沒有思想之區塊鍊數位貨幣收割十四億韭菜和一百八十萬趙家人奉旨貪汙依法洗錢之某種形上學意義之可能性之數點說明
第一集：疫情之后 中国将走向何方？（“新冠疫情与中国变局三人谈”系列节目）
https://www.youtube.com/watch?v=iFWQZNyfSyI
鄭所謂博士絕口不談瘟疫源頭是中共軍方的超限惡意他認為中國的法治有很大的進步保護趙家人和欺壓百姓都不遺餘力讓他對中國的未來充滿血腥的嚮往
張杰顯然腦筋不清楚找這兩個老狐狸講這麼正確的話題看他穿梭套話好辛苦
鄭所謂博士絕口不談瘟疫源頭是中共軍方的超限惡意他認為中國的法治有很大的進步保護趙家人和欺壓百姓都不遺餘力讓他對中國的未來充滿血腥的嚮往
張杰顯然腦筋不清楚找這兩個老狐狸講這麼正確的話題看他穿梭套話好辛苦
YouTube Takes Action Against Chinese Blogger’s Post On Coronavirus Origins (Kenneth Rapoza, Forbes, 2020-5-8)
https://www.forbes.com/sites/kenrapoza/2020/05/08/youtube-takes-action-against-chinese-bloggers-post-on-coronavirus-origins/#3b806f9646d6
now, you see, how evil the CCP regime is, they CAN buy and exploit and sabotage fucking everything, and nobody can do fucking anything, except kowtowing to them
https://www.youtube.com/watch?v=TNzPTzYc1iY
now, you see, how evil the CCP regime is, they CAN buy and exploit and sabotage fucking everything, and nobody can do fucking anything, except kowtowing to them
https://www.youtube.com/watch?v=TNzPTzYc1iY
2:24 AM (Daseinsanalysis)
天亮前四個鐘
我說過這是最後一天
的前一天
你不知道最後
是甚麼意思
將來你會知道
彭浩翔的大丈夫是佳作
可算罕見的香港公路電影
公路帶來滾動
滾的當然是回憶
肥媽的天天編織是加拿大人的驕傲
中國移民如孟晚舟要聽住
Saturday, May 9, 2020
Friday, May 8, 2020
The Day Before The Final Day (Daseinsanalysis)
see the end of the road, again; 5/9 4:22 AM, 蛙鳴; 偶狗吠; 不忍加上別的聲音; 簡為生活所需; 4:39 AM, 鳥雀起身; 4:50 AM, 微明 山頭; 周潤發的問題在比生命大 (larger than life); 習和匪幫的問題在反生命; 寒戰II的問題在對港澳辦和北京的黑手只點到為止; 黑白戰場的問題在布局不足以至女人死光; 細聽可以聽出多重奏鳴交響; Paul Marcus講的Levinas-inspired Psychoanalysis問題再強諸於人 或攪混epic和lyrical, holy和ordinary; 5:14 AM, 不反對四處走走; 給D一張真正的床; 再說一次人算不如天算 所以乾脆不算; 緊盯時事 實在疲倦; 看電影 只看五分鐘 罕須整片看完; 看書亦然; Wim Wenders的創作 如果不是鉅細無遺的劇本 常常隨興突發偶然 那原本的劇本的作用何在; 當成意外的出發點; 草繩紀日; 仍在等班農說的武漢病毒所叛逃者露面; 天亮後 失去的是聲音和光線的層次; 11:50 AM, Stoic哲學的關鍵是探索事實真相 然後對之作出判斷 哪些是自己可以控制的 那些則交由天命決定 這個判斷 是困難的 因為事實真相我們往往一知半解 或信息矛盾 或被假消息蒙蔽誤導 所以隨之的判斷 只能混淆不清 前者的困難 遠遠大於後者 5/9 4:00 PM, H2, one schizophrenia with DM and CAD, parotid gland swelling, CBC/DC/CRP WNL; 5/10 4:00 AM, H3, one bipolar disorder, manic, s/p confusion a few days ago, DC psy Rx for observation, poor sleep;
笨笨的 (Daseinsanalysis)
起因是昨天收到銘傳大學創傷研究焦點團體的錄音稿
其中少輔院某君提到少年地域結夥
雙北少年會說桃園少年笨笨的
我說過心理治療宜中弱智者為
意思是說我就是他媽的笨笨的
甚麼是笨笨的
是吃的穿的用的趕上流行的去過哪裡玩的差別嗎
神經迴路的舉一反三的想的觀念的能力的差別嗎
笨笨的相反是甚麼
是聰明的智慧的美美的香香的人模人樣嗎
我疼惜漫山遍野的放山雞
厭惡裝模作樣的飼料雞
前者回到自然
後者就是飼料
其中少輔院某君提到少年地域結夥
雙北少年會說桃園少年笨笨的
我說過心理治療宜中弱智者為
意思是說我就是他媽的笨笨的
甚麼是笨笨的
是吃的穿的用的趕上流行的去過哪裡玩的差別嗎
神經迴路的舉一反三的想的觀念的能力的差別嗎
笨笨的相反是甚麼
是聰明的智慧的美美的香香的人模人樣嗎
我疼惜漫山遍野的放山雞
厭惡裝模作樣的飼料雞
前者回到自然
後者就是飼料
Thursday, May 7, 2020
菊次郎的夏天 (Daseinsanalysis)
看了好幾天還剩三十分鐘
那個夏天才會過完
每次都只能看幾分鐘
意思是說無所謂
那是一個無所謂的夏天
我是說北野武說
這時蜉蝣飛蟲已撲光脫翼
度完他數十分鐘的一生
人為財死鳥為食亡
蟲為撲光而倒下而存在
我說過那是
一個無所謂的夏天
仍然認為Paul Marcus太嚴肅了
北野武也有同感
這是一個致命的嚴肅
被十四億中國人正確的敬畏的習近平穿著
國王的新衣
不知道
每日一經敬畏天地鬼神
正英師父很久以前說過
這時那個夏天
才剛開始
那個夏天才會過完
每次都只能看幾分鐘
意思是說無所謂
那是一個無所謂的夏天
我是說北野武說
這時蜉蝣飛蟲已撲光脫翼
度完他數十分鐘的一生
人為財死鳥為食亡
蟲為撲光而倒下而存在
我說過那是
一個無所謂的夏天
仍然認為Paul Marcus太嚴肅了
北野武也有同感
這是一個致命的嚴肅
被十四億中國人正確的敬畏的習近平穿著
國王的新衣
不知道
每日一經敬畏天地鬼神
正英師父很久以前說過
這時那個夏天
才剛開始
tragicomedy (Daseinsanalysis)
Since it's so deadly serious, it has to be deadly laughable. It can be the pain in your ass, your unhappy childhood, CCP's unrestricted warfare, or the paranoia's delusion.
在不正確的時間做不正確的事情 (Daseinsanalysis)
起因是喬良說他喜歡在正確的時間做正確的事情
其實他想說但沒有說的是
習近平在不正確的時間做了不正確的事情
我這一生對於正確和不正確
始終有正確的不正確的或不正確的正確的疑問
這是一個正確的不正確的也是一個不正確的正確的問題我知道
但我對不正確的正確的問題是否有正確的不正確的理解
或正確的不正確的問題是否有不正確的正確的理解
有不正確的不正確的感慨
老喬在1999年想出超限戰的概念
是因為那年他頻頻人奶宴吃壞肚子常蹲廁所
這件事說明
在正確的時間蹲在正確的廁所
是一件多麼重要的事情
其實他想說但沒有說的是
習近平在不正確的時間做了不正確的事情
我這一生對於正確和不正確
始終有正確的不正確的或不正確的正確的疑問
這是一個正確的不正確的也是一個不正確的正確的問題我知道
但我對不正確的正確的問題是否有正確的不正確的理解
或正確的不正確的問題是否有不正確的正確的理解
有不正確的不正確的感慨
老喬在1999年想出超限戰的概念
是因為那年他頻頻人奶宴吃壞肚子常蹲廁所
這件事說明
在正確的時間蹲在正確的廁所
是一件多麼重要的事情
當普魯斯特遇見普魯斯特 (Daseinsanalysis)
昨天上午我說
當普魯斯特遇見普魯斯特
起因是A君說到
桃園的病人生猛
其實我就是生猛
我喜歡生猛
我沒有也沒有打算
住在國家音樂廳
那裡沒有國家
也沒有音樂
但當然有普魯斯特遇見普魯斯特
的那個有名的廁所
回到那個相遇
後來我想
當然是普魯斯特
的平方
後來我又想
我們可以分成四格
普魯斯特
和卡夫卡
當普魯斯特遇見普魯斯特
當普魯斯特遇見卡夫卡
當卡夫卡遇見普魯斯特
當卡夫卡遇見卡夫卡
後來我想第二和第三
是同一個相遇
而且第一和第四
實在無趣
所以第五種可能
是唯一的可能
那就是
當生命遇見生命
當普魯斯特遇見普魯斯特
起因是A君說到
桃園的病人生猛
其實我就是生猛
我喜歡生猛
我沒有也沒有打算
住在國家音樂廳
那裡沒有國家
也沒有音樂
但當然有普魯斯特遇見普魯斯特
的那個有名的廁所
回到那個相遇
後來我想
當然是普魯斯特
的平方
後來我又想
我們可以分成四格
普魯斯特
和卡夫卡
當普魯斯特遇見卡夫卡
當卡夫卡遇見普魯斯特
當卡夫卡遇見卡夫卡
後來我想第二和第三
是同一個相遇
而且第一和第四
實在無趣
所以第五種可能
是唯一的可能
那就是
當生命遇見生命
Wim Wenders: Places, Strange And Quiet – in pictures (2011-4-23)
https://www.theguardian.com/artanddesign/gallery/2011/apr/23/wim-wenders-photographs
interestingly, i did not know about his journey, when i started this soon-to-fin trip, in may, 2011
interestingly, i did not know about his journey, when i started this soon-to-fin trip, in may, 2011
5:02 AM (Daseinsanalysis)
(一)
立夏後日整夜狂風
次夜落雨雷聲不斷
你可以感受天地正在劇變
我希望不拘小節
我是說作得到活得出
剛才Chrome說他第一次有住在家裡的感覺
那時他正在露營區
看著一隻加拿大鵝漂流
這時窗外微明山頭
(二)
那天我說過話語系統
另一個那天我還是要說話語系統
話語系統就是住在家裡的感覺
你要知道這是多麼嚴重的代價
從此你失去自由
和漂流的能力
改版第十次後
還有一天半出獄
這時你開始懷念監獄
(三)
監獄是一個高牆內的話語系統
有限的藍天
讓你以為安全
你要知道這是多麼嚴重的代價
記住我第二次說這句話
這時你知道地理就是命運
除非生命不甘心
被死死框住
這時窗外青山明晰
(四)
我說過清楚做事
因為我知道一切終須放下
意思是說不清楚就放不下
這個五月是旅途的終點
Wim Wenders也知道
那天他撐著拐杖來到里斯本
尋找一個聲音
這次能不能倖免
背痛復發還不知道
立夏後日整夜狂風
次夜落雨雷聲不斷
你可以感受天地正在劇變
我希望不拘小節
我是說作得到活得出
剛才Chrome說他第一次有住在家裡的感覺
那時他正在露營區
看著一隻加拿大鵝漂流
這時窗外微明山頭
(二)
那天我說過話語系統
另一個那天我還是要說話語系統
話語系統就是住在家裡的感覺
你要知道這是多麼嚴重的代價
從此你失去自由
和漂流的能力
改版第十次後
還有一天半出獄
這時你開始懷念監獄
(三)
監獄是一個高牆內的話語系統
有限的藍天
讓你以為安全
你要知道這是多麼嚴重的代價
記住我第二次說這句話
這時你知道地理就是命運
除非生命不甘心
被死死框住
這時窗外青山明晰
(四)
我說過清楚做事
因為我知道一切終須放下
意思是說不清楚就放不下
這個五月是旅途的終點
Wim Wenders也知道
那天他撐著拐杖來到里斯本
尋找一個聲音
這次能不能倖免
背痛復發還不知道
Wednesday, May 6, 2020
喬良 (b 1955)
https://www.youtube.com/watch?v=g37jaU00nFI
http://www.uscnpm.com/model_item.html?action=view&table=article&id=21580
https://www.hk01.com/%E5%8D%B3%E6%99%82%E4%B8%AD%E5%9C%8B/469592/%E8%A7%A3%E6%94%BE%E8%BB%8D%E9%B7%B9%E6%B4%BE%E4%BB%A3%E8%A1%A8%E5%96%AC%E8%89%AF%E6%85%8B%E5%BA%A6%E6%80%A5%E8%BD%89-%E6%AD%A6%E7%B5%B1%E5%8F%B0%E7%81%A3%E4%BB%A3%E5%83%B9%E5%B7%A8%E5%A4%A7-%E7%BE%8E%E5%9C%8B%E5%85%B7%E5%B9%B2%E6%B6%89%E5%AF%A6%E5%8A%9B
http://www.uscnpm.com/model_item.html?action=view&table=article&id=21580
https://www.hk01.com/%E5%8D%B3%E6%99%82%E4%B8%AD%E5%9C%8B/469592/%E8%A7%A3%E6%94%BE%E8%BB%8D%E9%B7%B9%E6%B4%BE%E4%BB%A3%E8%A1%A8%E5%96%AC%E8%89%AF%E6%85%8B%E5%BA%A6%E6%80%A5%E8%BD%89-%E6%AD%A6%E7%B5%B1%E5%8F%B0%E7%81%A3%E4%BB%A3%E5%83%B9%E5%B7%A8%E5%A4%A7-%E7%BE%8E%E5%9C%8B%E5%85%B7%E5%B9%B2%E6%B6%89%E5%AF%A6%E5%8A%9B
Tuesday, May 5, 2020
China Expert Peter Zeihan Says China’s Collapse on World Stage is Coming Within Three Years (2020-5-4)
http://sbynews.blogspot.com/2020/05/china-expert-peter-zeihan-says-chinas.html
https://thespectator.info/2020/05/03/china-expert-peter-zeihan-says-chinas-collapse-on-world-stage-is-coming-within-three-years-which-backs-up-our-earlier-reports/?fbclid=IwAR2rY6HIqeNF7vd9oicd5kGN541jpckVnlKbMOX-zA4EKKXJR6YGpziIe9Y
https://www.youtube.com/watch?v=ElQfoAlxcBw
https://www.facebook.com/permalink.php?id=101044068159559&story_fbid=138994287697870
China expert Peter Zeihan was on Watters World on FOX on Saturday evening. He made some shocking comments regarding China:
Let me correct you on one point real quick. This is not a battle for the ages. This is not a battle with equals. This will not last a century. This will probably last about three or four years.
The only reason that China is a unified country with a significant economy is because the United States created the global order and for various reasons the United States is getting out of this. China doesn’t have the military capacity to protect their own trade routes much less the global system so this really is the end for them.”
Exclusive: Internal Chinese report warns Beijing faces Tiananmen-like global backlash over virus (Reuters, 2020-5-4)
https://www.reuters.com/article/us-health-coronavirus-china-sentiment-ex/exclusive-internal-chinese-report-warns-beijing-faces-tiananmen-like-global-backlash-over-virus-idUSKBN22G19C
https://www.youtube.com/watch?v=GLoyzNpMrRA
https://tw.news.yahoo.com/%E4%B8%AD%E5%9C%8B%E9%9D%A2%E8%87%A8%E5%A4%A9%E5%AE%89%E9%96%80%E4%BA%8B%E4%BB%B6%E5%BE%8C%E6%9C%80%E5%A4%A7%E5%8F%8D%E4%B8%AD%E6%B5%AA%E6%BD%AE-%E6%9C%80%E7%B3%9F%E5%8F%AF%E8%83%BD%E8%88%87%E7%BE%8E%E7%88%86%E7%99%BC%E6%AD%A6%E8%A3%9D%E8%A1%9D%E7%AA%81-234500598.html
https://zh.wikipedia.org/wiki/%E4%B8%AD%E5%9B%BD%E7%8E%B0%E4%BB%A3%E5%9B%BD%E9%99%85%E5%85%B3%E7%B3%BB%E7%A0%94%E7%A9%B6%E9%99%A2
http://www.cicir.ac.cn/NEW/en-us/aboutus.html
https://www.youtube.com/watch?v=GLoyzNpMrRA
https://tw.news.yahoo.com/%E4%B8%AD%E5%9C%8B%E9%9D%A2%E8%87%A8%E5%A4%A9%E5%AE%89%E9%96%80%E4%BA%8B%E4%BB%B6%E5%BE%8C%E6%9C%80%E5%A4%A7%E5%8F%8D%E4%B8%AD%E6%B5%AA%E6%BD%AE-%E6%9C%80%E7%B3%9F%E5%8F%AF%E8%83%BD%E8%88%87%E7%BE%8E%E7%88%86%E7%99%BC%E6%AD%A6%E8%A3%9D%E8%A1%9D%E7%AA%81-234500598.html
https://zh.wikipedia.org/wiki/%E4%B8%AD%E5%9B%BD%E7%8E%B0%E4%BB%A3%E5%9B%BD%E9%99%85%E5%85%B3%E7%B3%BB%E7%A0%94%E7%A9%B6%E9%99%A2
http://www.cicir.ac.cn/NEW/en-us/aboutus.html
Yasujirō Ozu (小津 安二郎) (1903-1963)
https://en.wikipedia.org/wiki/Yasujir%C5%8D_Ozu
Legacy and style
Ozu is probably as well known for the technical style and innovation of his films as for the narrative content. The style of his films is most striking in his later films, a style he had not fully developed until his post-war sound films.[18] He did not conform to Hollywood conventions.[19] Rather than using the typical over-the-shoulder shots in his dialogue scenes, the camera gazes on the actors directly, which has the effect of placing the viewer in the middle of the scene.[19]
Ozu did not use typical transitions between scenes, either. In between scenes he would show shots of certain static objects as transitions, or use direct cuts, rather than fades or dissolves. Most often the static objects would be buildings, where the next indoor scene would take place. It was during these transitions that he would use music, which might begin at the end of one scene, progress through the static transition, and fade into the new scene. He rarely used non-diegetic music in any scenes other than in the transitions.[20] Ozu moved the camera less and less as his career progressed, and ceased using tracking shots altogether in his colour films.[21] However, David Bordwell argues that Ozu is one of the few directors to "create a systematic alternative to Hollywood continuity cinema, but he does so by changing only a few premises."[22]
Ozu invented the "tatami shot", in which the camera is placed at a low height, supposedly at the eye level of a person kneeling on a tatami mat.[23] Actually, Ozu's camera is often even lower than that, only one or two feet off the ground, which necessitated the use of special tripods and raised sets. He used this low height even when there were no sitting scenes, such as when his characters walked in hallways.
Ozu eschewed the traditional rules of movie storytelling, most notably eyelines. In his review of Floating Weeds, film critic Roger Ebert recounts
[Ozu] once had a young assistant who suggested that perhaps he should shoot conversations so that it seemed to the audience that the characters were looking at one another. Ozu agreed to a test. They shot a scene both ways, and compared them. "You see?" Ozu said. "No difference!"[24]
Ozu was also an innovator in Japanese narrative structure through his use of ellipses, or the decision not to depict major events in the story.[25] In An Autumn Afternoon (1962), for example, a wedding is merely mentioned in one scene, and the next sequence references this wedding (which has already occurred); the wedding itself is never shown. This is typical of Ozu's films, which eschew melodrama by eliding moments that would often be used in Hollywood in attempts to stir an excessive emotional reaction from audiences.[25]
Ozu became recognized internationally when his films were shown abroad.[26] Influential monographs by Donald Richie,[8] Paul Schrader,[27] and David Bordwell[28] have ensured a wide appreciation of Ozu's style, aesthetics, and themes by the English speaking audience.
Remarks by Deputy National Security Advisor Matt Pottinger to the Miller Center at the University of Virginia (2020-5-4)
https://www.whitehouse.gov/briefings-statements/remarks-deputy-national-security-advisor-matt-pottinger-miller-center-university-virginia/
https://www.youtube.com/watch?v=YILPEsIQfWE
https://www.youtube.com/watch?v=YILPEsIQfWE
The Black Book (1944)
https://en.wikipedia.org/wiki/The_Black_Book_of_Soviet_Jewry
The Complete Black Book of Russian Jewryis a collection of eyewitness testimonies, letters, diaries, affidavits, and other documents on the activities of the Nazis against Jews in the camps, ghettoes, and towns of Eastern Europe. Arguably, the only apt comparism is to The Gulag Archipelago of Alexander Solzhenitsyn. This definitive edition of The Black Book, including for the first time materials omitted from previous editions, is a major addition to the literature on the Holocaust. It will be of particular interest to students, teachers, and scholars of the Holocaust and those interested in the history of Europe.
By the end of 1942, 1.4 million Jews had been killed by the Einsatzgruppen that followed the German army eastward; by the end of the war, nearly two million had been murdered in Russia and Eastern Europe. Of the six million Jews who perished in the Holocaust, about one-third fell in the territories of the USSR. The single most important text documenting that slaughter is The Black Book, compiled by two renowned Russian authors Ilya Ehrenburg and Vasily Grossman. Until now, The Black Book was only available in English in truncated editions. Because of its profound significance, this new and definitive English translation of The Complete Black Book of Russian Jewry is a major literary and intellectual event.
From the time of the outbreak of the war, Ehrenburg and Grossman collected the eyewitness testimonies that went into The Black Book. As early as 1943 they were planning its publication; the first edition appeared in 1944. During the years immediately after the war, Grossman assisted Ehrenburg in compiling additional materials for a second edition, which appeared in 1946 (in English as well as Russian).
Since the fall of the Soviet regime, Irina Ehrenburg, the daughter of Ilya Ehrenburg, has recovered the lost portions of the manuscript sent to Yad Vashem. The texts recovered by Ms. Ehrenburg include numerous documents that had been censored from the original manuscript, as well as items that had been hidden by the Grossman family. In addition, she verified and, where appropriate, corrected the accuracy of documents that had already appeared in earlier editions of The Black Book. (amazon) (ebook accessible via google play)
李鵬之女李小琳任中國生命關懷協會理事長
https://hk.appledaily.com/china/20200503/USCZFSQ46LOSH4EHFKL6ZVM3EA/
李小琳自稱熱愛「生命健康事業」，面臨肆虐全球的中共合成病毒武漢肺炎疫情後，更深刻認識到毀滅全世界人類生命的重大戰略意義。她又表示要在「習近平新時代中國特色社會義思想」的指引下，「不忘初心、牢記使命」地工作。中國生命關懷協會成立於2006年，受民政部監督與管理，由國家衞健委直接主管。
李小琳自稱熱愛「生命健康事業」，面臨肆虐全球的中共合成病毒武漢肺炎疫情後，更深刻認識到毀滅全世界人類生命的重大戰略意義。她又表示要在「習近平新時代中國特色社會義思想」的指引下，「不忘初心、牢記使命」地工作。中國生命關懷協會成立於2006年，受民政部監督與管理，由國家衞健委直接主管。
五四席地 (Daseinsanalysis)
I only removed what could be seen
Outside through the window (Wim Wenders, 2018)
Outside through the window (Wim Wenders, 2018)
Monday, May 4, 2020
Mike Pompeo: 'enormous evidence' coronavirus came from Chinese lab (The Guardian, 2020-5-3)
https://www.theguardian.com/world/2020/may/03/mike-pompeo-donald-trump-coronavirus-chinese-laboratory
see also
https://abcnews.go.com/Politics/pompeo-enormous-evidence-unproven-theory-coronavirus-lab/story?id=70472857 (ABC, 2020-5-4)
see also
https://abcnews.go.com/Politics/pompeo-enormous-evidence-unproven-theory-coronavirus-lab/story?id=70472857 (ABC, 2020-5-4)
Sunday, May 3, 2020
The Stranger (Key Ideas) (Shaun Best, Routledge, 2019)
This book explores the concept of the stranger as a ‘modern’ social form, identifying the differing conceptions of strangerhood presented in the literature since the publication of Georg Simmel’s influential essay ‘The Stranger’, questioning the assumptions around what it means to be regarded as ‘strange’, and identifying the consequences of being labelled a stranger.
Organised both chronologically and thematically, the book begins with Simmel’s major essays on the stranger and culminates with an analysis of Zygmunt Bauman’s thought on the subject, with each chapter introducing an idea or key theme initially discussed by Simmel before exploring the development of the theme in the work of others, including Schütz, Derrida, and Levinas. The stranger is an enduring concept across many disciplines and is central to contemporary debates about refugees, asylum, the nature of inclusion and exclusion, and the struggle for recognition. As such, this book will be of interest to scholars across the social sciences. (amazon)
i find home in desolation, therefore, i'm happy
i find home in desolation, therefore, i'm happy
入暑 (Daseinsanalysis)
這兩天在Wim Wenders, Sam Shepard,
Vasily Grossman, Emmanuel Levinas的世界
此時入暑
影像比文字更有力
邊緣比中心更真實
善意必然是意外的
發生在系統的縫隙
這說明在路上的必要
入暑之際
路有凍死骨
曝屍荒野
我不禁高興起來
Vasily Grossman, Emmanuel Levinas的世界
此時入暑
影像比文字更有力
邊緣比中心更真實
善意必然是意外的
發生在系統的縫隙
這說明在路上的必要
入暑之際
路有凍死骨
曝屍荒野
我不禁高興起來
The Cambridge Introduction to Emmanuel Levinas (Michael L. Morgan, Cambridge University Press, 2011)
This book provides a clear and helpful overview of the thought of Emmanuel Levinas, one of the most significant and interesting philosophers of the late twentieth century. Michael L. Morgan presents an overall interpretation of Levinas's central principle that human existence is fundamentally ethical and that its ethical character is grounded in our face-to-face relationships with other people. He explores the religious, cultural, and political implications of this insight for modern Western culture and how it relates to our conception of selfhood and what it is to be a person, our understanding of the ground of moral values, our experience of time and the meaning of history, and our experience of religious concepts and discourse. The book includes an annotated list of recommended readings and a selected bibliography of books by and about Levinas. It will be an excellent introduction to Levinas for readers unfamiliar with his work, and even for those without a background in philosophy. (amazon) (kindle 2020-5-3)
起因是Levinas熱愛Vasily Grossman的作品 (Chap 1, Responding to Atrocity in the Twentieth Century)
起因是Levinas熱愛Vasily Grossman的作品 (Chap 1, Responding to Atrocity in the Twentieth Century)
Vasily Grossman and the Soviet Century (Alexandra Popoff, Yale University Press, 2019)
The definitive biography of Soviet Jewish dissident writer Vasily Grossman
If Vasily Grossman’s 1961 masterpiece, Life and Fate, had been published during his lifetime, it would have reached the world together with Pasternak’s Doctor Zhivago and before Solzhenitsyn’s Gulag. But Life and Fate was seized by the KGB. When it emerged posthumously, decades later, it was recognized as the War and Peace of the twentieth century. Always at the epicenter of events, Grossman (1905–1964) was among the first to describe the Holocaust and the Ukrainian famine. His 1944 article “The Hell of Treblinka” became evidence at Nuremberg. Grossman’s powerful anti‑totalitarian works liken the Nazis’ crimes against humanity with those of Stalin. His compassionate prose has the everlasting quality of great art. Because Grossman’s major works appeared after much delay we are only now able to examine them properly. Alexandra Popoff’s authoritative biography illuminates Grossman’s life and legacy. (amazon) (kindle 2020-5-3)
If Vasily Grossman’s 1961 masterpiece, Life and Fate, had been published during his lifetime, it would have reached the world together with Pasternak’s Doctor Zhivago and before Solzhenitsyn’s Gulag. But Life and Fate was seized by the KGB. When it emerged posthumously, decades later, it was recognized as the War and Peace of the twentieth century. Always at the epicenter of events, Grossman (1905–1964) was among the first to describe the Holocaust and the Ukrainian famine. His 1944 article “The Hell of Treblinka” became evidence at Nuremberg. Grossman’s powerful anti‑totalitarian works liken the Nazis’ crimes against humanity with those of Stalin. His compassionate prose has the everlasting quality of great art. Because Grossman’s major works appeared after much delay we are only now able to examine them properly. Alexandra Popoff’s authoritative biography illuminates Grossman’s life and legacy. (amazon) (kindle 2020-5-3)
Vasily Grossman (1905-1964)
https://en.wikipedia.org/wiki/Vasily_Grossman
https://en.wikipedia.org/wiki/Nonperson
https://en.wikipedia.org/wiki/Typewriter_ribbon
Because of state persecution, only a few of Grossman's post-war works were published during his lifetime. After he submitted for publication his magnum opus, the novel Life and Fate (Жизнь и судьба, 1959), the KGB raided his flat. The manuscripts, carbon copies, notebooks, as well as the typists' copies and even the typewriter ribbons were seized. The Politburo ideology chief Mikhail Suslov told Grossman that his book could not be published for two or three hundred years:[13]
Life and Fate was first published in Russian in 1980[5] in Switzerland, thanks to fellow dissidents: physicist Andrei Sakharov secretly photographed draft pages preserved by Semyon Lipkin, and the writer Vladimir Voinovich smuggled the photographic films abroad. Two dissident researchers, professors and writers, Efim Etkind and Shimon Markish retyped the text from the microfilm, with some mistakes and misreadings due to the bad quality. The book was finally published in the Soviet Union in 1988 after the policy of glasnost was initiated by Mikhail Gorbachev. The text was published again in 1989 after further original manuscripts emerged after the first publication. Everything Flows was also published in the Soviet Union in 1989. It was first published in English in 1985; a revised English translation by Robert Chandler was published in 2006, and widely praised, being described as "World War II's War and Peace.[5]
The Road,Stories, Journalism, and Essays, New York Review Books, 2010
see also
The Cambridge Introduction to Emmanuel Levinas, Michael L. Morgan, CUP, 2011
Chapter 1 is a discussion of Vasily Grossman's Life and Fate, an epic novel about life on the eastern front during the Battle of Stalingrad (1942-1943). Levinas was compulsively drawn to the novel and would invoke its scenes of human suffering and moral sacrifice to attest to his own descriptions of ethics again and again in essays and interviews in the 1980s. The rudiments of Levinas's ethics, including the power of the Other to stimulate gratuitous acts of kindness, the critique of the totality (and, a fortiori, totalitarianism), the crisis of modernity ("the decline of the West"), are clearly set out here at the beginning of Morgan's book, and further clarified, refined, and applied in many of the later chapters. Indeed, the chapter works well not only as a way into Levinas's thought, but also as a rare and insightful commentary on Levinas's reading of Grossman.
https://ndpr.nd.edu/news/the-cambridge-introduction-to-emmanuel-levinas/
see also
Goodness without Hope. Hope without Promise. Vasily Grossman and Emmanuel Levinas (Anckaert Luc, 2016)
Goodness without Hope. Hope without Promise. Vasily Grossman and Emmanuel Levinas In 1980, Life and Fate, the impressive novel on the battle of Stalingrad by the Jewish-Russian writer Vasily Grossman, was published for the first time. Since the original Russian manuscript was “arrested” by the communist regime, the original texts by Grossman have lived an underground life. In his novel - an aemulatio of Tolstoy’s War and Peace - Grossman writes a critical intellectual text on the background of the battle of Stalingrad. The text is poly-interpretable. Levinas was very impressed by reading the novel. In his post-1980 writings, he often refers to Grossman. In a first move, we investigate the way in which Levinas reflects the literary intuitions of Grossman: the critique of ideologies and totalitarianism; the necessary injustice of just institutions; the refusal of collaboration; the violence of great ideas; the little goodness without witnesses; the goodness as radix of social life… I illustrate this with quotes of Grossman and in indicating how Levinas ‘uses’ or reinterprets the literary texts in his philosophy. My thesis is that Levinas not only reads Grossman as a similar inspiration, but that he develops an ‘intellectual gesture’ by which the Grossman intuitions are changed in their radicalness to be integrated in the already elaborated ethical thinking of Levinas after 1980. The ‘little goodness’ – in Grosmann a critique of every ideology – becomes in Levinas’ reading also correction of necessary institutions. In a second move, we delve into the deeper philosophical foundations of both authors. We are convinced there exists an “unconscious congeniality” between them – fostered by the experiences of violence and of responsibility. This congeniality, that existed already before Levinas read Grossman, is evident on two topics: the concept of the mystery of the human soul and the conviction that there is a goodness that precedes society. This congeniality makes it understandable that both authors have common themes and intuitions. This is worked out in the confrontation of the scene of Sofya Osipovna Levinton in the gas-chamber and the Talmud-commentary of Levinas And God created woman. In both texts, a concept of radical responsibility is developed. It is revelating to confront these two congenial texts with each other. Can Levinas clarify the section on Levinton – can Levinton give concrete form to the insight of Levinas? The text of Grossman can be read as a dramatization of philosophy. The core question is: Is evil a perversion of goodness or not? Levinas gives a philosophical answer: l’éthique précède le social. Grossman a dramatical one: there exists a goodness without conditions.
https://limo.libis.be/primo-explore/fulldisplay?docid=LIRIAS1717492&context=L&vid=Lirias&search_scope=Lirias&tab=default_tab&lang=en_US&fromSitemap=1
https://en.wikipedia.org/wiki/Nonperson
https://en.wikipedia.org/wiki/Typewriter_ribbon
Because of state persecution, only a few of Grossman's post-war works were published during his lifetime. After he submitted for publication his magnum opus, the novel Life and Fate (Жизнь и судьба, 1959), the KGB raided his flat. The manuscripts, carbon copies, notebooks, as well as the typists' copies and even the typewriter ribbons were seized. The Politburo ideology chief Mikhail Suslov told Grossman that his book could not be published for two or three hundred years:[13]
Life and Fate was first published in Russian in 1980[5] in Switzerland, thanks to fellow dissidents: physicist Andrei Sakharov secretly photographed draft pages preserved by Semyon Lipkin, and the writer Vladimir Voinovich smuggled the photographic films abroad. Two dissident researchers, professors and writers, Efim Etkind and Shimon Markish retyped the text from the microfilm, with some mistakes and misreadings due to the bad quality. The book was finally published in the Soviet Union in 1988 after the policy of glasnost was initiated by Mikhail Gorbachev. The text was published again in 1989 after further original manuscripts emerged after the first publication. Everything Flows was also published in the Soviet Union in 1989. It was first published in English in 1985; a revised English translation by Robert Chandler was published in 2006, and widely praised, being described as "World War II's War and Peace.[5]
The Road,Stories, Journalism, and Essays, New York Review Books, 2010
see also
The Cambridge Introduction to Emmanuel Levinas, Michael L. Morgan, CUP, 2011
Chapter 1 is a discussion of Vasily Grossman's Life and Fate, an epic novel about life on the eastern front during the Battle of Stalingrad (1942-1943). Levinas was compulsively drawn to the novel and would invoke its scenes of human suffering and moral sacrifice to attest to his own descriptions of ethics again and again in essays and interviews in the 1980s. The rudiments of Levinas's ethics, including the power of the Other to stimulate gratuitous acts of kindness, the critique of the totality (and, a fortiori, totalitarianism), the crisis of modernity ("the decline of the West"), are clearly set out here at the beginning of Morgan's book, and further clarified, refined, and applied in many of the later chapters. Indeed, the chapter works well not only as a way into Levinas's thought, but also as a rare and insightful commentary on Levinas's reading of Grossman.
https://ndpr.nd.edu/news/the-cambridge-introduction-to-emmanuel-levinas/
see also
Goodness without Hope. Hope without Promise. Vasily Grossman and Emmanuel Levinas In 1980, Life and Fate, the impressive novel on the battle of Stalingrad by the Jewish-Russian writer Vasily Grossman, was published for the first time. Since the original Russian manuscript was “arrested” by the communist regime, the original texts by Grossman have lived an underground life. In his novel - an aemulatio of Tolstoy’s War and Peace - Grossman writes a critical intellectual text on the background of the battle of Stalingrad. The text is poly-interpretable. Levinas was very impressed by reading the novel. In his post-1980 writings, he often refers to Grossman. In a first move, we investigate the way in which Levinas reflects the literary intuitions of Grossman: the critique of ideologies and totalitarianism; the necessary injustice of just institutions; the refusal of collaboration; the violence of great ideas; the little goodness without witnesses; the goodness as radix of social life… I illustrate this with quotes of Grossman and in indicating how Levinas ‘uses’ or reinterprets the literary texts in his philosophy. My thesis is that Levinas not only reads Grossman as a similar inspiration, but that he develops an ‘intellectual gesture’ by which the Grossman intuitions are changed in their radicalness to be integrated in the already elaborated ethical thinking of Levinas after 1980. The ‘little goodness’ – in Grosmann a critique of every ideology – becomes in Levinas’ reading also correction of necessary institutions. In a second move, we delve into the deeper philosophical foundations of both authors. We are convinced there exists an “unconscious congeniality” between them – fostered by the experiences of violence and of responsibility. This congeniality, that existed already before Levinas read Grossman, is evident on two topics: the concept of the mystery of the human soul and the conviction that there is a goodness that precedes society. This congeniality makes it understandable that both authors have common themes and intuitions. This is worked out in the confrontation of the scene of Sofya Osipovna Levinton in the gas-chamber and the Talmud-commentary of Levinas And God created woman. In both texts, a concept of radical responsibility is developed. It is revelating to confront these two congenial texts with each other. Can Levinas clarify the section on Levinton – can Levinton give concrete form to the insight of Levinas? The text of Grossman can be read as a dramatization of philosophy. The core question is: Is evil a perversion of goodness or not? Levinas gives a philosophical answer: l’éthique précède le social. Grossman a dramatical one: there exists a goodness without conditions.
https://limo.libis.be/primo-explore/fulldisplay?docid=LIRIAS1717492&context=L&vid=Lirias&search_scope=Lirias&tab=default_tab&lang=en_US&fromSitemap=1
Bill Gates is wrong. China’s coronavirus coverup is not a ‘distraction’ (Josh Rogin, 2020-5-1)
https://twitter.com/joshrogin/status/1255956458744709128
https://www.washingtonpost.com/opinions/global-opinions/bill-gates-is-wrong-chinas-coronavirus-coverup-is-not-a-distraction/2020/04/30/080c6986-8b11-11ea-9dfd-990f9dcc71fc_story.html
https://www.youtube.com/watch?v=5KRsnoS5lDs
https://www.washingtonpost.com/opinions/global-opinions/bill-gates-is-wrong-chinas-coronavirus-coverup-is-not-a-distraction/2020/04/30/080c6986-8b11-11ea-9dfd-990f9dcc71fc_story.html
https://www.youtube.com/watch?v=5KRsnoS5lDs
4:02 AM (Daseinsanalysis)
Wim Wenders 認為 Images 比 Stories (Narratives) 更真實
他年輕時曾習繪畫終其一生以攝影紀錄行跡
拍片的時候沒有固定腳本每天都在意外度過
往往拍下幾萬英呎膠片只取其中小部分後製
里斯本故事就是他的里斯本故事包括Fado音樂
與Sam Shepard數度合作其緣由應有特殊意義
回到影像比故事更真實
遑論比解釋故事更真實
所以心理治療重要的是聲音
純粹的聲音的經驗
比敘事更真實
遑論比解釋敘事更真實
意思是說治療室裡
病人比治療者真實
尤其他的聲音
當然也包括他的敘事
所以最不真實的是
治療者對敘事的解釋
有趣的是看 Wenders 的電影
每次只能看幾分鐘
就覺得夠了
夠了是受夠了的意思
有點像連著兩杯Espresso
咖啡因夠了
The Salt of the Earth (2014) 是兩個七十之旅
Wenders 讓我對接下來十年
不能失去信心和紀錄
這件事我知道
Saturday, May 2, 2020
Coronavirus NSW: Dossier lays out case against China bat virus program (Sharri Markson, The Daily Telegraph, 2020-5-2)
https://www.dailytelegraph.com.au/coronavirus/bombshell-dossier-lays-out-case-against-chinese-bat-virus-program/news-story/55add857058731c9c71c0e96ad17da60
https://www.youtube.com/watch?v=IGQ2kcwVpqE
https://www.youtube.com/watch?v=IGQ2kcwVpqE
姜戎 (b 1946)
https://zh.wikipedia.org/wiki/%E5%A7%9C%E6%88%8E_(%E4%BD%9C%E5%AE%B6)#%E8%BF%91%E6%B3%81
狼圖騰是呂嘉民的首部著作，亦是到目前為止呂嘉民唯一一部著作，以姜戎為筆名，於2004年4月由長江文藝出版社出版。德國漢學家顧彬 (Wolfgang Kubin) 對《狼圖騰》給予了激烈的批評：「《狼圖騰》對我們德國人來說是法西斯主義，這本書讓中國丟臉。」
Guy Sorman (b 1944)
https://en.wikipedia.org/wiki/Guy_Sorman
The Empire of Lies. The truth about China in the 21st century (2008)
http://www.epochtimes.com.tw/6/12/20/43790.htm
The Empire of Lies. The truth about China in the 21st century (2008)
http://www.epochtimes.com.tw/6/12/20/43790.htm
Sam Shepard (1943-2017)
https://en.wikipedia.org/wiki/Sam_Shepard
https://www.newyorker.com/culture/culture-desk/my-buddy-sam-shepard (Patti Smith, The New Yorker, 2017-8-1)
Shepard's plays are known for their bleak, poetic, surrealist elements, black comedy, and rootless characters living on the outskirts of American society.
https://www.newyorker.com/culture/culture-desk/my-buddy-sam-shepard (Patti Smith, The New Yorker, 2017-8-1)
Shepard's plays are known for their bleak, poetic, surrealist elements, black comedy, and rootless characters living on the outskirts of American society.
- Novels
Friday, May 1, 2020
邓朴方给两会代表公开信
https://www.youtube.com/watch?v=CCOXmZ5oww0
各位代表、各位委员：
两会即将召开，在这个特殊时期，我知道大家近来的心情都很复杂，心中都有许多疑惑得不到解答，有些话想说又不敢说，有些问题想问又不敢问，甚至来北京参加两会都是战战兢兢。大家的心情我能理解。
近十年来，因身体原因，我早已不过问政事了。然而，这几年中国发生了许多大事，有些还是事关国家安危的大事，如果此时还没有人站出说话，可能今后想说也没有机会再说了。由于文化水平有限，今天我给大家写这封公开信，主要想提出几个问题，以供大家思考。
1、作为两会代表，是保护国家和人民的利益重要，还是保护某个专权者的权位重要？
2、宪法明确规定，两会代表有权监督和纠正中央政府的各种错误决定，可前几年，中央推出了“妄议罪”，今年又推出了“不知敬畏罪”。 在这种情况下，大家认为两会代表存在的意义是什么？
3、当权者要定于一尊。请问代表们，我国的一尊究竟是皇家世袭的皇帝？还是民选的总统？还是党内公投产生的总书记？既然都不是，哪他又是谁的一尊呢？
4、面对中央屡次出现重大错误，党员提意见是“妄议中央” ，民众提意见叫“煽颠” 。请问代表们，我们的国家又究竟是谁的国家？
5、武汉肺炎已蔓延到全世界，中央是否拖延了防控时间？又是否向公众隐瞒了疫情真相？我们该不该给全世界人民有个交待？谁又该对这次疫情失控负主要责任？
6、中美关系持续紧张恶化，中央主要领导人又该承担什么责任？
7、香港动荡已持续近一年了，究竟是谁破坏了香港一国两制的大好局面？中央主要领导人对此又该承担什么责任？
8、 “一带一路” 无理性投入，不经过全国人大批准，不顾国计民生，中央主要领导人仅凭个人好恶对外四处大撒币，这是一种什么行为？如今项目要流产了，这个责任该由谁来承担？
9、不经过全国人大批准，也不经过专家论证，中央主要领导仅凭几个人的建议就拍脑袋决定投资上万亿建一个雄安新区，这是一种什么行为？如今项目流产了，这个责任该由谁来承担？
10、台湾与大陆为何会渐行渐远？中央对此又该承担什么责任？
11、大批外企撤离中国，大量民企倒闭，大量工人失业，这与中央的错误决策有没有关系？如果有，这个责任该由谁来承担？
12、现任领导借助手中权力为自己修宪取消任期制，这是一种什么行为？如果谁有权就可以为自己立法，国家宪法又有何用？
13、中央已作出决定，准备重拾早已被世界所淘汰的计划经济模式，这究竟是为了稳固个人政权？还是出于对国家和人民利益考虑？
14、近几年来，中国的国际形象一落千丈，国家信用荡然无存，这个责任应该由谁来承担？
15、为了阻止老同志提出召开政治局扩大会议的集体动议，中央居然动用军警把一批老同志和现任党政军大员都加以“特殊保护” ，名为“特殊保护” ，实际上是限止通讯、限止行动自由、限止客人到访，这是一种什么行为？又是谁给了他这种权力？
各位代表，你们肩上都被赋予了党和人民的重托，在事关国家生死存亡的大是大非面前，我相信大家都不会糊涂。当你们在行使自己的表决权时，应该要对人民负责，对国家负责，对历史负责，而不是对某个当权者负责。否则，我们都会成为千古罪人。
最后，祝各位代表身体安康！祝大会圆满成功！
中共党员：邓朴方
2020年4月30日写于北京
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