2012年8月4日 星期六

Nadja by André Breton,


傅自華  François Fléché「林中漫步」素描插畫展




J'ai toujours incroyablement souhaite de rencontrer la nuit, dans un bois, une femme belle et nue ......

more: http://blog.yam.com/jxjbooks/article/51743168
明信片說明將  Nadja 誤寫成Nadia  不過有引文的翻譯

Nadja (novel)

From Wikipedia, the free encyclopedia

Nadja livre de poche.jpg
Nadja, cover of the 1964 Livre de Poche edition
Author(s) André Breton
Country France
Language French
Genre(s) Surrealist novel
Publisher Grove Press
Publication date 1928
Media type Print (Hardback & Paperback)
Pages 160 pp
ISBN 0-8021-5026-8
OCLC Number 23109462
One of the iconic works of the French surrealist movement, Nadja is the second novel published by André Breton, in 1928. It starts with the question "Who am I?"
It is based on Breton's interactions with an actual young woman (Nadja) over the course of 10 days, and is taken to be a semi-autobiographical description of his relationship with a mad patient of Pierre Janet. The book's non-linear structure is grounded in reality by references to other Paris surrealists such as Louis Aragon, and by 44 photographs.
The last line of the book ("beauty will be CONVULSIVE or will not be at all") provided the title for Pierre Boulez's flute concerto ...explosante-fixe...".


The narrator, named André, ruminates on a number of Surrealist principles and ideologies, before ultimately commencing (around a third of the way through the novel) on a narrative account, generally linear, of his brief (10-day) affair with the titular character Nadja (whose is named so “because in Russian it’s the beginning of the word hope, and because it’s only the beginning,” but which might also evoke the Spanish ‘Nadie,’ which means ‘No one’). The narrator becomes obsessed with this woman with whom he, upon a chance encounter while walking through the street, strikes up conversation immediately. He becomes reliant on daily rendezvous, occasionally culminating in romance (a kiss here and there). His true fascination with her, however, is her vision of the world, which is often provoked through a discussion of the work of a number of Surrealist artists, including himself. Her understanding of existence subverts the rigidly authoritarian quotidian (and it is later discovered that she is mad and belongs in a sanitarium). After she begins narrating to the narrator over an account filled with too many details over her past life, she in a sense becomes demystified, and the narrator realizes that he cannot continue the relationship.
In the remaining quarter of the text, he distances himself from her corporeal form and descends into a meandering rumination on her absence, such that one wonders if it is more her absence that inspires him than her presence. (It is, after all, the reification and materialization of her as an ordinary person that he ultimately despises and cannot tolerate to the point of inducing tears.) There is something about the closeness once held between the narrator and Nadja that indicated a depth beyond the limits of conscious rationality, waking logic, and sane operations of the everyday—there is something essentially “mysterious, improbable, unique, bewildering” about her, reinforcing the notion that the propinquity serves only to remind him of her impenetrability and her eventual recession into absence is the fundamental concern of this text, such that she may live freely in his conscious and unconscious, seemingly unbridled, maintaining the paradoxical role as both present and absent. With her past instated onto his own memory and consciousness, the narrator feels awakened to an impenetrability of reality, seeing a particularly ghostly residue peeking from under its thin veil. Thus, he might better put into practice his theory of Surrealism, predicated on the dreaminess of the experience of reality within reality itself.


  • "Don't I love her? When I am near her I am nearer things which are near her."
  • "Beauty will be convulsive or will not be at all."
  • "He cannot enter, he does not enter."
  • "I am obliged to reply that I know nothing about it, that in such matters the right to bear witness seems to me to be all that is granted."
  • "You could never see this star as I do. You don't understand: It's like the heart of a heartless flower."

See also



2004年末,知道A Breton的小說Nadja (1928):
Nadja is a novel written by the French surrealist André Breton in 1928. It starts with the question "Who am I?"
It is based on a meeting with a young woman (Nadja) and is taken to be autobiographical description of Breton's meeting with a mad patient of Pierre Janet. It includes references to other Paris surrealists such as Louis Aragon.

Nadja is a 1995 movie about vampires set in modern-day Manhattan
它的英文翻譯本也是有名氣的:Nadja trans. Richard Howard New York: Grove Press. Originally published in French in, 1928
アンドレ・ブルトン『ナジャ』 1962 現代思潮社・1979 白水社 他 Andre Breton : Nadja 1928 稲田三吉訳.
©現代思潮社. オンライン書店 bk1 へ. アンドレ・ブルトン. ...【松岡正剛の千夜千冊『ナジャ』アンドレ(【0634】

2002年10月08日)第六百三十四夜 Seigow's Book OS / PIER.】
2005/2/1 讀到問號:「請問除了《娜嘉》外,哪裡還有布賀東的中譯作品呢?
【公司名為flaneur, -euse I adj idle II m, f, f (promeneur) stroller; (oisif) idler】

Hc答:「stone :沒關係,時時、處處是天堂。我現在書亂七八糟,找到A. Breton『娜嘉』等,都是「久旱逢甘霖」。
昨夜讀(法)皮爾•代克斯Daix Pierre 的『超現實主義者的生活(1917-32)』
【[BOOKs by Daix Pierre ] Cubists and Cubism 1982;Picasso: Life and Art 1993;Braudel, (Paris: Flammarion, 1995】



此書引「超現實主義者圈子,曾像愛女人般愛A. Breton」;而很早與Breton絕裂的L. Argon(Daix Pierre寫過他的傳記,所以很熟),在1971年發表致Breton公開信『聾子的目光』:……1965 我們可能重逢…..過去創造奇跡處,恰恰一杯咖啡原樣依舊在……(hc稍微改寫)。