Albert Camus (2)A HAPPY DEATH , La Peste (The Plague, 1946) The Stranger or The Outsider, (L’Étranger) /The Myth of Sisyphus
Covid肆虐3年,讓新潮文庫的《瘟疫》多賣出數百本.....
當然已經有直接翻譯自法文的 書,然而新潮本或許較為便宜......La Peste (The Plague, 1946)
昔日1971 在東海讀 Camus 之 The Plague
印象中最深的是書中有一人 發誓寫書
不過 似乎老是在"第一段"的文字障中迷路
也許28年之後 讀其英文本 卻讀到該城的鴿聲/影.......
你還記得SARS(非典) 臨城的那段時間.....
卡繆的小說名著《瘟疫》:以阿爾及利亞為背景,但《瘟疫》的背景是城市。任何城市無論大小、無論在什麼國家,基本上都差不太多。"
Nothing is more despicable than respect based on fear." ~ Albert Camus
Book: https://amzn.to/3CQJjQZ
Albert Camus (1963). “Carnets: 1935-1942”
202005年的紀錄:人生或許是一場打不贏的戰爭;每天都是Albert Camus 在The Myth of Sisyphus所說的;每天或每回,都要往山上努力推/背大石…….
日本NHK 今年有一「百歲萬歲」(2022日本百歲人數超過9萬人)年之節目:報導百歲老人之日常生活。
上周看的老先生,每日要用毛筆書寫:「日日是好日」數十遍。
Wim Wenders’ Wings of Desire 1987 車禍者口中喃喃自語,提到 Albert Camus.......
2013.11.7
繆女士的Facebook:
一大早起來,從麥田臉書發現今天Albert Camus百歲冥誕。
2013.11.3 無意間在網路看到Albert Camus死後約11年才發表的處女小說: Wikipedia簡介它是The Stranger or The Outsider, 的原本 http://centretruths.co.uk/fahdtu/A%20HAPPY%20DEATH.htm
La Peste (The Plague, 1946)
昔日1971 在東海讀 Camus 之 The Plague
印象中最深的是書中有一人 發誓寫書
不過 似乎老是在"第一段"的文字障中迷路
也許28年之後 讀其英文本 卻讀到該城的鴿聲/影.......
你還記得SARS(非典) 臨城的那段時間.....
卡繆的小說名著《瘟疫》:以阿爾及利亞為背景,但《瘟疫》的背景是城市。任何城市無論大小、無論在什麼國家,基本上都差不太多。"
http://www.answers.com/topic/albert-camus
"Un homme se définit aussi bien par ses comédies que par ses élans sincères."
--Le Mythe de Sisyphe
--Le Mythe de Sisyphe
"A man defines himself by his make-believe as well as by his sincere impulses."
--The Myth of Sisyphus (1942)
--The Myth of Sisyphus (1942)
Wim Wenders’ Wings of Desire 1987 車禍者口中喃喃自語,提到 Albert Camus.......
昨晚世界盃上演比利時與阿爾及利亞的小組賽,最終阿爾及利亞以1球之差落敗。位於北非的阿爾及利亞曾經是法國的殖民地,曾經效力於法國隊的球王席丹(Zidane),父母都是來自阿爾及利亞的移民。
曾獲得諾貝爾文學獎的法國存在主義作家,著有《異鄉人》、《瘟疫》的卡繆(Albert Camus),成長於阿爾及利亞的貧民窟。卡繆從小踢足球,他讀阿爾及利亞大學時曾是足球校隊,一直擔任守門員的位置。而他之所以擔任守門員,實有苦衷,因為在這個位置,才不會因為反覆奔跑而磨破球鞋。出身貧寒的他買不起新球鞋,每天晚上,祖母都會檢查他的鞋底,如果有破損,就會挨打。
隊友在球場上盡情奔馳,背號永遠都是1號的守門員,孤伶伶地守在門前,不能離開。日後卡繆寫《異鄉人》、《薛西弗斯神話》,存在主義式的孤寂,很早他在球門前,就懂得了。(撰文:房慧真)
Albert Camus centenary goes without much honour at home
Neither France nor Algeria pay much attention to 100th anniversary, leaving job to Google
Last month, the 300th anniversary of Denis Diderot's birth
prompted François Hollande to talk of reburying his bones in the
Panthéon, the shrine of national heroes. Thursday's centenary of Albert Camus'
birth, in contrast, has not seen the kind of festivities you might
expect, either in the French capital or his childhood home, Algiers.
The lead role in feting him in France was reportedly assigned to Marseille, one of the current European capitals of culture, and a reasonable choice as Camus bought a house in Provence (which faces Algeria across the Mediterranean) two years before his death in a car crash in 1960, and is buried there. But, whether due to cock-up or conspiracy, Marseille-Provence 2013 has been as grudging as Paris in what it has offered by way of celebration. Camus was hence robbed of a big national "hommage", noted Le Point magazine, but at least "took the most beautiful of revenges on Google", which honoured him with its Doodle on Thursday.
Although The Outsider and The Plague are both set in Algeria, a full-blown Camus anniversary tribute there was always less likely. He came from a pied-noir (European settler) family, put the killing of an Arab at the centre of his best-known novel, and was (rightly or wrongly) seen as siding with France in his writings on the postwar independence struggle; as a result, "not a single official commemoration" took place in his native country, following the authorities' ban in 2010 on plans to mark the 50th anniversary of his death.
The continent as a whole has disowned him, in fact: although he was the first African-born Nobel literature laureate – and the second African-born laureate across all categories – the African Union's website's list of "Africa and diaspora" Nobel winners omits him, while welcoming Toni Morrison and Gabriel García Márquez as members of the diaspora.
For Algerians, the fact that Nicolas Sarkozy championed him when president – in unsuccessfully urging the transfer of Camus' body to the Panthéon, he was in effect appropriating him as French, not Algerian or Mediterranean – can't have helped. So on his 100th birthday, Camus was again an outsider, without a proper cake and belonging fully to neither. Which may be exactly what he would have wanted.
The lead role in feting him in France was reportedly assigned to Marseille, one of the current European capitals of culture, and a reasonable choice as Camus bought a house in Provence (which faces Algeria across the Mediterranean) two years before his death in a car crash in 1960, and is buried there. But, whether due to cock-up or conspiracy, Marseille-Provence 2013 has been as grudging as Paris in what it has offered by way of celebration. Camus was hence robbed of a big national "hommage", noted Le Point magazine, but at least "took the most beautiful of revenges on Google", which honoured him with its Doodle on Thursday.
Although The Outsider and The Plague are both set in Algeria, a full-blown Camus anniversary tribute there was always less likely. He came from a pied-noir (European settler) family, put the killing of an Arab at the centre of his best-known novel, and was (rightly or wrongly) seen as siding with France in his writings on the postwar independence struggle; as a result, "not a single official commemoration" took place in his native country, following the authorities' ban in 2010 on plans to mark the 50th anniversary of his death.
The continent as a whole has disowned him, in fact: although he was the first African-born Nobel literature laureate – and the second African-born laureate across all categories – the African Union's website's list of "Africa and diaspora" Nobel winners omits him, while welcoming Toni Morrison and Gabriel García Márquez as members of the diaspora.
For Algerians, the fact that Nicolas Sarkozy championed him when president – in unsuccessfully urging the transfer of Camus' body to the Panthéon, he was in effect appropriating him as French, not Algerian or Mediterranean – can't have helped. So on his 100th birthday, Camus was again an outsider, without a proper cake and belonging fully to neither. Which may be exactly what he would have wanted.
2013.11.7
繆女士的Facebook:
一大早起來,從麥田臉書發現今天Albert Camus百歲冥誕。
2013.11.3 無意間在網路看到Albert Camus死後約11年才發表的處女小說: Wikipedia簡介它是The Stranger or The Outsider, 的原本 http://centretruths.co.uk/fahdtu/A%20HAPPY%20DEATH.htm
Albert Camus's
A HAPPY
DEATH
La Peste (The Plague, 1946)
昔日1971 在東海讀 Camus 之 The Plague
印象中最深的是書中有一人 發誓寫書
不過 似乎老是在"第一段"的文字障中迷路
也許28年之後 讀其英文本 卻讀到該城的鴿聲/影.......
你還記得SARS(非典) 臨城的那段時間.....
卡繆的小說名著《瘟疫》:以阿爾及利亞為背景,但《瘟疫》的背景是城市。任何城市無論大小、無論在什麼國家,基本上都差不太多。"
http://www.answers.com/topic/albert-camus
卡繆與(廢)死刑 ⊙徐佳華
阿爾貝‧卡繆(1913-1960)是現代法國最重要、
卡繆約一歲時,其父親便死於第一次世界大戰。 |
另一個引起卡繆思考死亡和死刑的原因, 從卡繆的觀點識想,每個人都是廣義的死刑犯,然而, |
但是沒有任何人、任何體制或法律是絕對正義、完全清白無辜的。 |
1957年,卡繆以《思索斷頭台》 |
相左者,當中也包括了法國以外如西班牙、伊朗、希臘、 。。。。。。。。。。。。。。。。。。。。。。。。。。 |
|
人生或許是一場打不贏的戰爭;每天都是Albert Camus 所說的The Myth of Sisyphus;每天或每回都要往山上努力推大石…….
幾年前中國出版約五大冊的 Albert Camus 選集
大概四十幾年前 (1967) 我十幾歲1967就讀當時翻譯本《異鄉人》L'Étranger不過根本讀不懂.
1971-72年我讀《瘟疫》記得那一個一生都在寫他心愛的書
卻一直在第一段打滾......
也許1999年讀那城的鴿子飛舞
IN BRIEF: n. - Anyone who does not belong in the environment in which they are found More unfamiliar, unknown, odd, or extraordinary.
No foreign sky protected me, no stranger's wing shielded my face. — Anna Akhmatova, Source: Requiem, composed mainly 1935-1940, Epigraph, composed 1961.
His essay Le Mythe de Sisyphe (1942, tr. The Myth of Sisyphus, 1955) formulates his theory of the absurd and is the philosophical basis of his novel L'Étranger (1942, tr. The Stranger, 1946) and of his plays Le Malentendu (1944, tr. Cross Purpose, 1948) and Caligula (1944, tr. 1948).
" 現代小說作家要釋放潛意識,選用題材有「性解放」的傾向,卡繆 Camus, Albert (1913-60)寫的《異鄉人》,男主角聽到他的母親死了,他的反應是去和女朋友做愛,一時奉為經典。"現在只稍多一點了解
1971-72年我讀《瘟疫》記得那一個一生都在寫他心愛的書
卻一直在第一段打滾......
也許1999年讀那城的鴿子飛舞
stranger
IN BRIEF: n. - Anyone who does not belong in the environment in which they are found More unfamiliar, unknown, odd, or extraordinary.
No foreign sky protected me, no stranger's wing shielded my face. — Anna Akhmatova, Source: Requiem, composed mainly 1935-1940, Epigraph, composed 1961.
His essay Le Mythe de Sisyphe (1942, tr. The Myth of Sisyphus, 1955) formulates his theory of the absurd and is the philosophical basis of his novel L'Étranger (1942, tr. The Stranger, 1946) and of his plays Le Malentendu (1944, tr. Cross Purpose, 1948) and Caligula (1944, tr. 1948).
The Stranger/The Outsider | |
---|---|
Author | Albert Camus |
Cover artist | Jack Walser |
Country | France |
Language | English - Translated fromFrench |
Genre(s) | Philosophical novel |
Publisher | Libraire Gallimard |
Publication date | 1943, French 1942 |
Media type | Print (Hardback& Paperback) |
Pages | 117 p. (UK Penguin Classics paperback edition) |
ISBN | ISBN 0-14-118250-4 (UK Penguin Classics paperback) |
OCLC Number | 59433071 |
The Stranger or The Outsider, (L’Étranger) is a novel by Albert Camus, published in 1942. This is perhaps Camus' best-known work, as well as a key text of twentieth-century philosophy. Its theme and outlook are often cited as examples of existentialism, though Camus did not consider himself an existentialist; in fact, its content explores various philosophical schools of thought, including (most prominently and specifically) absurdism, as well as determinism, nihilism, naturalism, and stoicism.
The title character is Meursault, a French man (characterised by being largely emotionally detached, innately passive, and anomic) who seemingly irrationally kills an Arab man whom he recognizes in French Algiers. The story is divided into Parts One and Two: Meursault's first-person narrativeview before and after the murder.
Contents [hide]
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猶自閃爍的碎鑽──維斯康堤的《異鄉人》
文學改編的時代雖然還沒有過去,但今天已經很少見到洋溢著文學風采的電影作品了。回顧維斯康堤的電影,也是緬懷影史上一個不會回來的時代,即使《異鄉人》這樣一部不完美的作品,也不禁勾起我一絲鄉愁。
讀到關於義大利導演維斯康堤改編卡繆《異鄉人》的種種記述,比我親自看到這部電影,至少早了十五年。
維斯康堤的《異鄉人》是電影史上的一樁公案。因為版權的問題,《異鄉人》長期無法公映,加上一九六七年在威尼斯影展首映後所獲得的負面評價,都使這部電影無法得到比較公平的評價。
似乎每位偉大的導演都有一部「受詛咒」的作品,《異鄉人》之於維斯康堤,就像《白癡》之於黑澤明一樣。
揭開異鄉人神秘面紗
大部份的記載中都指出《異鄉人》是維斯康堤的敗作,不幸的是,在無法親炙原典的情況下,長期以來大家只能姑且相信這些文獻。直到《異鄉人》再次重映前,維斯康堤的研究者或喜愛他的影迷,若不是從資料中去認識這部電影,就只能從品質粗劣且流傳不廣的錄影帶來一窺究竟。代代訛傳的資訊,眾口紛紜的說法,都為這部影片添上謎樣的色彩。
今年四、五月間修復過的《異鄉人》在巴黎重映,總算在大眾面前揭開這部電影神秘的面紗。《異鄉人》前一次在巴黎放映是二十年前的舊事,十年算做一代的話,也就是說,已有兩代觀眾無緣看到這部電影。
該怎麼形容我看完這部電影後的心情呢?好看,是踏出戲院的第一感受;有缺陷,則是冷靜回想後的結論。我覺得好看,是因為在《異鄉人》中,不難找到我們熟悉的維斯康堤式語法,他用近乎沉溺的望遠鏡頭來捕捉男女主角馬斯楚亞尼和安娜.卡琳娜(Anna Karina)青春的肉體與面容,以及陽光和陽光下粼光閃爍的大海。這個手法在男女主角週日嬉水和男主角在海灘上誤殺阿爾及利亞少年的兩場戲徹底表現出來。至於缺陷,馬斯楚亞尼的演技固然無話可說,但是他外型並不適合「莫梭」(Meursault)這個角色,他飾演的莫梭在面對厄運時思慮過於澄明,與原著中主角那種屈於宿命與置身局外的冷漠有些距離。再來,維斯康堤受制於文本,在敘事上對原著亦步亦趨,儘管一些片段拍得神彩飛揚,但在整體敘事的流暢度上,他卻陷入揮灑不開的僵局(例如第二部分冗長的法庭戲)。
不只是文學的單純影像化
其實,打從籌備階段開始,電影版的《異鄉人》就注定命運乖舛。莫梭一角,維斯康堤原本屬意亞蘭.德倫,但製片勞倫蒂斯(Dino de Laurentis)卻堅持起用馬斯楚亞尼。改編方面,維斯康堤主張「自由的改編」,突出法屬阿爾及利亞族群間漸升的衝突,但卡繆的未亡人則堅持「忠實的改編」,要求影片必須逐句追隨原著。
雖然維斯康堤堅持到影片完成,但他自己始終不喜歡這部作品。其實,脂粉味重的亞蘭.德倫未必比馬斯楚亞尼更適合莫梭這個角色,但他可能比較接近莫梭在維斯康堤心中的形象。至於忠實的改編,我以為對維斯康堤這樣一位個性鮮明的藝術家而言,照原著操課,就像套上枷鎖一般;何況,卡繆的原著篇幅不大,語言也很簡練,改編者能使用的「材料」並不多。維斯康堤想拍的毋寧是一部「維斯康堤的」《異鄉人》,而不是自限於文學單純的影像化。
忠實改編一部文學作品真的這麼重要嗎?這個問題見仁見智,但在《異鄉人》這個例子裡,答案應該是否定的。維斯康堤跟卡繆的氣質如此不同,他貴族般的精緻與唯美和他對文明傾毀前的感嘆比較接近鄧南遮(D’Annunzio)與湯馬斯.曼,與卡繆根源於北非、來自生命底層那骯髒、污穢與齷齪的力量很不一樣;維斯康堤從高處眺望,卡繆自低處攀升,兩人對人性的關懷殊途同歸,但能否在創作上「合體」,卻又是另一個課題。
一代歐洲文學改編大師
如果維斯康堤擁有自由改編的權力,他可以在文學經典上加上他個人風格與解讀。以他深厚的文化底蘊,他能夠跟鄧南遮、普魯斯特、湯瑪斯.曼、卡繆等人站在同一高度並與之匹敵,像看他自由改編湯馬斯.曼的《魂斷威尼斯》和鄧南遮的《無辜》,便有一種旁觀高手過招的暢快淋漓(《無辜》是維斯康堤的遺作,他要言不繁地講述了一個大家庭內部猜疑與腐化的故事)。反之,《異鄉人》因為必須遵從原著的敘事與發展,維斯康堤只能見縫插針,因而給觀者一種縛手縛腳的感受,若不是大師功力及精緻的技術執行保住這部電影的基本水準,以及馬斯楚亞尼╱安娜.卡琳娜的組合在銀幕上美不勝收,《異鄉人》恐怕不會像一顆美麗的碎鑽,在今天仍兀自閃爍著細微的光芒。
維斯康堤是文學改編的大師,經典名作、黑色小說在他手下都能打磨出耀眼的光芒。他的第一部長片《對頭冤家》(Ossessione)改編自美國通俗偵探小說家肯恩(James Cain)的《郵差總按兩次鈴》,除了宿命低迷的氛圍,他也添上對當時社會背景寫實的描寫。《對頭冤家》拍攝於第二次世界大戰末期,是戰後義大利新寫實主義電影的先聲。在這部處女作中,維斯康堤已顯露出他對青春肉體的執迷,在戰爭末期(尤其是節節敗退的義大利)拍出這樣一部道德曖昧且沒有出路的影片,難怪《對頭冤家》會遭查禁,維斯康堤也差一點被撤退中的德軍射殺。
維斯康堤晚年的企圖心越來越大,計劃將十九、二十世紀歐洲重要的文學作品一一搬上銀幕。除了《異鄉人》、《魂斷威尼斯》和《無辜》,他念茲在茲的還有兩部鉅作:湯瑪斯.曼的《魔山》和普魯斯特的《往事追憶錄》。維斯康堤過世時,《魔山》尚在構思階段,《往事追憶錄》則已有完整劇本。
緬懷遠去的文學電影風采
學電影的人都知道「將二流小說改編成一流電影比成功改編文學經典的可能性高」這個不成文的定律。維斯康堤晚年所試圖達成的,尤其對他這樣一位病弱的老人來說,確實是一項艱鉅的工作。
最近在電話中和旅法作家邁克聊到《無辜》,他說古今中外大概很少有比維斯康堤更適合改編《紅樓夢》的導演。維斯康堤當然不可能改編《紅樓夢》,但沒落貴族出身的他確能輕而易舉地鋪陳出大家族複雜幽微的人際關係。他以「局部」的截取來揭示原作的「整體」,像《魂斷威尼斯》、《無辜》,以至劇本版的《往事追憶錄》都有這樣的傾向。電影與文學是兩種不同的載體,電影有放映時間與觀看方式的限制,若不直指要害,大部頭的文學作品將無法被濃縮在兩、三個小時的電影之中。
文學改編的時代雖然還沒有過去,但今天已經很少見到洋溢著文學風采的電影作品了。回顧維斯康堤的電影,也是緬懷影史上一個不會回來的時代,即使《異鄉人》這樣一部不完美的作品,也不禁勾起我一絲鄉愁。
看了《異鄉人》後,我打電話給在巴黎大學教義大利電影的好友Camille。Camille跟我都喜歡維斯康堤,但她遲遲不敢去看這部電影,在電話中爭執了很久,我只好跟她說:「這畢竟是一部維斯康堤的作品……」
是呀!《異鄉人》是一部維斯康堤的作品。
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