cacao Vol.10

  • 出版日期:2013/03/13
  • 語言:繁體中文
  • 頁數: 132
電子書定價:NT$ 200
電子書售價:NT$ 149

本書為固定版面格式,建議您使用平板或電腦閱讀。

我對布拉格的認識,除了國高中歷史、地理課本,便是來自上個世紀八十年代末期時報中譯本初版、代表著某種「文青認証」的《生命中不能承受之輕》。米蘭昆德拉把這本小說寫得輕盈而又沈重(我從此理解「舉重若輕」是什麼意思),涉入而又抽離,結構看似鬆散卻又層層相疊,有時像散文、有時則像隨筆,他是那麼地天馬行空而渾然天成,獨一無二到即便交由編劇大師尚克勞德卡黎耶執筆,由名導菲立普考夫曼協同丹尼爾戴路易斯、茱麗葉畢諾許合力將文字轉譯成為銀幕上的《布拉格的春天》(Unbearable Lightness of Being,1988),頂多只是依據文本時序重新結構的複製畫,美則美矣,卻差了點信手拈來的靈光,無法盡顯其奧妙層次。

Everything I know about Prague, except what I have learned from history or geography textbooks, was from the Chinese version of Milan Kundera’s “Unbearable Lightness of Being, 1988”, a novel that was sort of “endorsed” by intellectuals. The first edition by China Times Publishing Co. was released at the end of the 80’s. Milan Kundera wrote smoothly yet profoundly - since reading his work, I understood the meaning of dealing with serious subjects in a “light” way. He is involved yet detached. His work seems loosely organized yet it is precisely layered, reading like a personal reflection or essay. It is beyond thought, so natural, so unique that even an adapted film represented by a master screenwriter Jean-Claude Carrière, and renowned director Philip Kaufman, with the cast including Daniel Day-Lewis and Juliette Binoche could fully capture the essence of this literary work. The film is merely a duplicate, re-arranged in chronological order, still beautiful, but lacking its spontaneous beauty and exquisite levels of meaning.

相關推薦

  • 犢月刊-NO.35

    電子書售價:NT$ 0

    又到了各大媒體推出2015年好書榜單的季節,〈閱讀最前線〉匯整紐約時報、金融時報、赫芬頓郵報、亞馬遜、美國全國公共廣播電台(NPR)、書評服務 Goodread 等五家媒體的年度好書榜單,今年各家眼光差異不小,推薦書重複不多,因此僅選取至少被兩家媒體選中的好書,彙整為小說篇、非小說篇及童書篇。

  • 犢月刊-NO.36

    電子書售價:NT$ 0

    你想不起來自己何時認識羅密歐與茱麗葉,你在某一次看電影時聽到有人說這角色脫胎自《馬克白》,你會隨口說出「to be or not to be, that's the question」,你在失戀時讀到「愛情不過是一種瘋狂」這句哭得不能自已──這些全和莎士比亞有關。這位劇作家究竟有多麼深入人類...

  • 犢月刊-NO.37

    電子書售價:NT$ 0

    每年你似乎都會聽到有人感嘆臺北國際書展的買氣不佳,但其實國際書展的場內活動人氣越來越旺!臺北國際書展究竟是怎麼變成今日模樣的?今年的展與過去又有什麼不同?由【閱讀‧最前線】與【SOS 新聞募資平臺】聯合製作的「怎麼拼出一個展?」2016 臺北國際書展專題報導,將從書展的歷史、本屆特色,甚至書展外的書...

  • 犢月刊-NO.41

    電子書售價:NT$ 0

    或許你想不起來上回籠在溫暖燈光下、窩在舒服靠墊裡、在精選香氛中悠閒閱讀是什麼時候,但在等人、通勤,或者上班偶爾偷懶的片刻,看著書、手機、平板、筆電螢幕,你其實一直在讀。閱讀不見得永遠靜態,它可能是移動的、與你行經的城市呼應。《流動中的閱讀風景》系列短片,由散文或詩作改編,捕捉流動中的閱讀剎那,在短短...

  • 犢月刊-NO.33

    電子書售價:NT$ 0

    一年一度的法蘭克福書展,不但是全球出版業的盛大聚會,也是觀察出版區是的重要指標。本期犢月刊,帶你從趨勢端、現場觀察及熱門人物三個面向,解讀2015法蘭克福書展。

  • 小日子享生活誌 9月號/2012 第5期

    電子書售價:NT$ 90

    【回家吃飯/ Dining at Home】 家人同桌共飯的意義不只是營養與衛生,更重要的是「相聚」。 為自己,也為親愛的人熬一碗湯,煮兩樣順口的菜餚, 凝聚一家人的心,讓自己安心、開心。

  • 小日子享生活誌 4月號/2012 第1期

    電子書售價:NT$ 90

    【我們喜歡吃早餐】 早餐是你我每天都要吃的一餐,看似稀鬆平常,但是對很多人來說「早餐」是揭開一日生活的儀式,是元氣的來源,更是善待自己的重要習慣。我們蒐集了不同工作者的早餐,包括單身OL、瑜珈練習者、作家、餐廳主廚、運動品牌專業經理人慢跑愛好者、在台日本人、計程車司機、出版人、創意人的早餐。...

  • 犢-試刊號NO.17

    電子書售價:NT$ 0

    散文如何改編舞台劇?舞台劇如何無障礙?文學如何深入視障與聽障朋友的生活,並能引起共感?汪其楣改編著名散文家康芸薇散文集《我帶你遊山玩水》,用母親與女性的角度切入,描述失去摯愛後繼續生活的心痛與一路上拾得的小小夢想歡笑,用最平實的故事與無障礙的表演方式,讓聽障、視障朋友都能從文學中感受幸福況味。

  • 犢-試刊號NO.18

    電子書售價:NT$ 0

    人們對於內容的需求不曾減少,但在這樣的數位時代,媒體更需探索自身的各種可能性。一個策略、一個翻轉,都將全面影響一個媒體的起與落。 於是,台北市雜誌商業同業公會所舉辦的台北國際雜誌論壇,便以「新•媒體」(New Media, New Community, New Rules)為主題。...

  • 犢月刊-NO.38

    電子書售價:NT$ 0

    經歷了數年的狂飆與矚目,2016年歐美電子書發展似乎不再晴空萬里,而是籠罩著陰霾,出版產業也充滿詭譎氣氛,有廠商出局,卻也有新服務搶著出頭;局裡局外,眾人爭辯著電子書發展究竟是成長或衰退…… 本期閱讀最前線編輯群歸納出2016產業發展四大趨勢,希望以此為出發點,試圖回答這個關於未來的大哉問,並用更...

  • 犢-試刊號NO.20

    電子書售價:NT$ 0

    你以為編輯、版權經紀人這些職業,只有又美又帥又有氣質的一面?本期犢月刊獨家揭露奇幻/科幻文學催生者歡樂搞笑的另一面,特別收錄獵奇萌照,切勿錯過! 人物專訪:《臉紅心跳的好色醫學》醫師夫妻劉育志、白映俞。特別收錄:《大叔》、《當H花媽遇到AS孩子》、《漫畫人間條件》、《霧影莊殺人事件》、《HQ...

  • 犢月刊-NO.29

    電子書售價:NT$ 0

    2015年美國書展於日前風光閉幕,究竟今年書展期間有哪些值得觀察的書市動向與趨勢?本期《犢月刊》特別從創新、人物、中國及版權觀察四個角度切入,整理出值得關注的焦點素覽,一起來看看……。特別收錄《F》《高校制服戀物論》《波瀾與細流》《南海》新書試讀,及楊照獨家專訪。

  • dirty Vol.01

    dirty Vol.01

    電子書售價:NT$ 0

    〈dirty〉季刊是一個平台,讓被隱形的人、族群、情慾、禁忌、話題、視角、觀點浮面,不再被壓在水底,或社會下層。有時我覺得我們的城市那些豪宅的建築理念,正是整個社會的縮影!好想問依種建築方法是邊個發明的!?高級住宅如天堂般的「公共」花園平台,底下總是如蒸籠般的巴士總站,通常半點風也透不 進來。上層的...

  • 詳細書訊

    縱然我從未親自造訪捷克,也知道《布拉格的春天》裡的布拉格街景和捷克風情與真實相較,多了一層浪漫的異國想像。好比我們所看過,由英美創作者取材自亞洲、東歐、第三世界原作的影像改編版本,那種過於乾淨、精緻的「失真」那般。我不免想起了許多好萊塢電影中的布拉格,事實上,它們往往不是布拉格自己。自從九十年代末起,布拉格成為許多外國電影公司的熱門外景地,一方面在於布拉格在二戰期間未遭受嚴重破壞,而得以被用來表現其他戰前歐洲城市(例如強尼戴普主演的《開膛手》(From Hell, 2001) 以其瓜代十九世紀倫敦),另一方面則是其特色建築、低成本人工、避稅措施及既有的電影基礎設施,綜合考量之下對國際電影製片公司產生了相當的吸引力(例如《凡赫辛》 (Van Helsing, 2004) 及《刀鋒戰士2》(Blade II, 2002) 兩部吸血鬼電影不約而同棄吸血鬼的故鄉羅馬尼亞而就布拉格)。於是,布拉格在全球化年代的好萊塢電影中,常常只是一個有著華麗外貌卻少了靈魂的百塔之城,訴說著別人而非自己的故事。


    作為布拉格最知名的地標之一,查爾斯橋在《楊朵》(Yentl, 1983) 代表波蘭,到了《阿瑪迪斯》(Amadeus, 1984) 則象徵奧地利。我還記得1996年的《不可能的任務》(Mission Impossible) 讓強沃特從橋上一墜而下,隨後湯姆克魯斯疾奔而至,卻為時已晚;至於《入侵腦細胞》(The Cell, 2000) 印度導演塔森辛2006年的傑作《The Fall》則安排身份成謎的藍色盜賊縱身一躍,對比橋上巴洛克式雕像與聖者浮雕,頗有人生一瞬不落言詮的傳奇意味。


    不過,我始終以為真正的布拉格,應是屬於赫拉巴爾、吉利曼佐、哈維爾等人的布拉格。《我曾侍候過英國國王》(I Served the King of England, 2006) 以極其底層卑微的草根視野笑看矮小服務生的遠大夢想,《總理的最後告別》(Leaving, 2011) 則是捷克走向民主共和時代的首任總統哈維爾唯一劇情長片,台上台下的交錯辯證相當精彩,兩片不約而同以回顧人生的角度切入,魔幻中帶著詩意,瘋狂而又偉大。正是那樣一個在憂鬱歷史和歡愉官能中綻放出喜怒哀樂的千變布拉格,才得以憑藉著捷克人最招牌的幽默、狂放,豪邁訴說著一輪接一輪的傳奇人生,訴說著屬於他們自己的故事。

     

    Even though I have never been to the Czech Republic, I know that the street scene in Prague and the Czech Republic presented in the film, are more romantic, more exotic, and yet only a superficial resemblance to reality, too clean and too delicate to be real. This is often the case in films from the US or the UK, which are adapted from foreign literary sources such as Asia, Eastern Europe or the Third World. It occurs to me that Prague features in many Hollywood movies. However, Prague is not Prague in those movies. From the end of the 90’s, Prague has become a hot shooting location for many foreign film companies. On one hand that Prague was not been severely damaged during the World War II thus can be a substitute for other pre-war European cities (For example, the movie “From Hell, 2001”, starring by Johnny Depp, it was turned into London in the 19th century), on the other hand, its distinctive architecture, low labor cost, tax avoidance measures and existing infrastructure for shooting films, all in all attract considerable interest from the international producing companies - two vampire movies, for example, “Van Helsing, 2004” and “Blade II, 2002” coincidentally chose Prague over the true home of the Vampire, Romania. As a result, in globalized Hollywood movies, Prague, city of a hundred spires, is glamorous yet soulless, portraying other cities instead of itself. 


    As the one of Prague’s best-known landmarks, the Charles Bridge represented Poland in “Yentl, 1983” and symbolized Austria in “Amadeus, 1984”. I still remembered in “Mission Impossible,1996”, Jon Voight fell off the bridge while Tom Cruise ran to rescue but failed to save his life; while the Indian director, Tarsem Singh, who once directed “The Cell, 2000”, arranged the mysterious thief in blue to jump off the bridge in his masterpiece “The Fall, 2006)”. With the background of Baroque statues and the relief of the saint on the bridge, this image revealed considerably a heroic sense that life is short and beyond words.


    However, I think that the real Prague should belong to Bohumil Hrabal, Jiri Menzel, Vaclav Havel and their colleagues. The movie, “I Served the King of England, 2006” humorously unfolds a story about a waiter at the very bottom of the social class, small in size but big at heart. “Leaving, 2011” is another good example – it is a long drama movie that portrays the first president of the Czech Republic after the dissolution of Czechoslovakia, Vaclav Havel. The fierce argument between the speaker and questioners is particularly amusing. The two movies both start from the end, and approach that creates a surreal yet poetic, crazy yet legendary feel. Only by its gloomy history, together with the pleasures of all senses, Prague can be turned into a passionate and colorful city, a perfect stage for Czech people to unfold the stories of their own folktales, in their unique sense of humour, with wildness as with boldness.


    Editor’s Note

    Contributors

    Culture
    Social Frameworks of Memory in Prague: in Terms of Various ‘Isms’
    布拉格的記憶框架:各種主義之間
    The Centre and the Periphery
    環繞布拉格
    Eyes of the Jackdaw: Walking into the city of Kafka
    寒鴉的眼睛:走進卡夫卡的城市
    Prague Spring Away From the Charles Bridge
    查爾斯橋外的春天
    Prague: A Flash of Life
    布拉格——人生一瞬
    In our time :Tizzy Bac
    我們的時光:鐵之貝克
    If Such is the Time
    如果時光是這樣
    The Best Is Yet To Come
    好戲還在後頭

    cacao Event
    My Revolution – Art Revolution Taipei 2013
    「蛻變」-台北新藝術博覽會

    Alchemist
    Stare / In there
    凝望∕忘邊緣
    Therefore we quiet down…
    於是我們就這樣靜了下來……
    What on earth are the cowboys busy about?
    牛仔到底在忙什麼?
    Rethinking our Perception of Nature
    對自然感知力的再思考
    A Thousand Poses of Glass
    玻璃的萬般姿態
    Rebellious revolution of “pink tank”
    粉紅坦克的反叛革命

    Creative life
    ”Hope” is the thing with feathers, and never stops
    「希望」是帶有羽毛之物,永不停息
    Settlement of Creative Design Transformation
    創意設計轉型聚落

    Trend
    Architecture
    Exhibition ”Soviet Modernism 1955-1991”--architecture of socialism
    「蘇維埃現代主義1955-1991」展覽-社會主義建築
    Vision
    Of Snow and Ice Sculpted
    冰雪之雕
    Book
    VVG Something
    好樣本事
    Music
    White Rabbit Records
    小白兔唱片
    Sense
    my works is humor and hyperbole.
    幽默、誇張是我的作品特色
    Performing Arts
    Dance Travel-Project
    舞蹈旅行計畫
    Traveler
    Long Deep Thought
    長途細念。
    Publishing 
    On the Road, a Child Without a Name
    在路上,一個沒有名字的孩子
    Legend
    We are Golem
    我們都是戈侖
    City Hug
    when I was a soldier serving in the homeless shelter.
    我在游民收容所當兵的那段時光
    Fashion
    Melonia Shoe骨感鞋
    Cover
    “Red Balloon 86”《紅氣球86》

    People∕Speak of Yourself
    Yvonne Lu/Little Prince
    呂宜潔/小王子
    Tzu Yao Chiu/ Cantabile Years
    邱子堯/ 如歌歲月
    Wei Ling Chang/ Dream
    張暐鈴/ 夢境
    afra Lin/ ∞
    阿發小姐/∞
    Acid rain/ On That Day, We would Go Travelling Together & Toucan was at 
    the Scene
    酸雨/ 大嘴鳥在現場 & 那一天,我們將要一起去旅行
    Mich/ 09’ in Paris
    葉依柔/ 09年在巴黎

    cacaoist
    Sharon Xu/Student/Taiwan
    Yue Zhuan Li/ Graphic Designer/ Taiwan
    ruru/ Designer-maker/ Taiwan
    IndiGo INK / Office worker / Taiwan

    cacao Actions
    Starry Sky and Time
    繁星與時光

    cacao News
    Next issue:Moscow and Love
    下期預告:莫斯科與愛

    目錄列表

    最近瀏覽與試讀
    cacao Vol.10