Wiki 索倫·奧貝·齊克果
在《恐懼與戰慄》中,齊克果思考舊約中 「信心之人的父」亞伯拉罕聽從神的指示殺子獻作燔祭的故事。他認為如果亞伯拉罕不在乎自己的兒子生死、沒有道德倫理以至親情的心理掙扎,或者認為聽命於神 而殺子是一種道德規條,他的所作所為就毫無意義。亞伯拉罕的行動的價值在於他從理性躍進宗教性,信仰神的大能、信仰荒謬,相信凡事可能、奇蹟會出現(結果 神在最後關頭遣天使阻止亞伯拉罕殺死兒子)。齊克果認為,不通過理性的話,是不會有信仰的。
"It is human to lament, human to weep with them that weep, but it is greater to believe, more blessed to contemplate the believer."
--from "Fear and Trembling" (1843) by Soren Kierkegaard
--from "Fear and Trembling" (1843) by Soren Kierkegaard
Now recognized as one of the nineteenth century's leading psychologists and philosophers, Kierkegaard was among other things the harbinger of exisentialisim. In Fear and Trembling he explores the psychology of religion, addressing the question 'What is Faith?' in terms of the emotional and psychological relationship between the individual and God. But this difficult question is addressed in the most vivid terms, as Kierkegaard explores different ways of interpreting the ancient story of Abraham and Isaac to make his point. Søren Kierkegaard not only transformed Protestant theology but also anticipated twentieth-century existentialism and provided it with many of its motifs. Fear and Trembling and The Book on Adler–addressed to a general audience–have the imaginative excitement and intense personal appeal of the greatest literature. Only Plato and Nietzsche have matched Kierkegaard’s ability to give ideas so compellingly vivid and dramatic a shape. Translated by Walter Lowrie.
*****
《誘惑者的日記 》 孟祥森譯 台北:志文 1971.9
(根據普林斯頓大學出版社英譯本)
買中國版"京不特"翻譯的齊克果《誘惑者日記》(南京:譯林 2014),
《誘惑者日記》第16頁引哥德的 Goethe's "Jery und Bätely"一小段 (志文版第12頁)
Gehe,
Verschmähe
Die treue
Die Reue
Die Reue
kommt nach.
Google之
go
despise
the faithful
the repentant
comes after
despise
the faithful
the repentant
comes after
Re: "Kierkegaard" quote
Mon, April 21, 2008 - 3:07 AM
Context: Jery is in love with Bätely, and has been courting
her for a year. She is all cold-shoulder, and after he again tries to
win her heart as they banter with each other, leaves the conversation,
and goes on her way back to her father's farm. Jery then says:
"Gehe, verschmähe die Treue. Die Reue kommt nach!"
So the reading is simply one of him being frustrated, his faithful and unrelenting pursuit of her having been scorned once again, and he prophesies that she will regret not having warmed to him (or to any other suitor, apparently; propheticallly, I feel, the next scene is Jery talking with an old acquaintance of his, who is now a dashing soldier, and something of a womanizer. I haven't read beyond that, but I can sort of feel an inevitable development to the story ;)
But I'm afraid that context - as usual - makes the quote that much less interesting ;)
"Gehe, verschmähe die Treue. Die Reue kommt nach!"
So the reading is simply one of him being frustrated, his faithful and unrelenting pursuit of her having been scorned once again, and he prophesies that she will regret not having warmed to him (or to any other suitor, apparently; propheticallly, I feel, the next scene is Jery talking with an old acquaintance of his, who is now a dashing soldier, and something of a womanizer. I haven't read beyond that, but I can sort of feel an inevitable development to the story ;)
But I'm afraid that context - as usual - makes the quote that much less interesting ;)
FILM
Playing the Seducer With a Little Help From Kierkegaard
By ALAN RIDING
Published: April 27, 1997
PARIS—
DANIELE DUBROUX'S NEW movie, ''The Diary of a
Seducer,'' takes its name from an essay by the 19th-century Danish
philosopher Soren Kierkegaard, but fear not, the film is not a primer on
existentialism. Neither is it as steamy as the title might suggest.
Seduction, after all, is about power, not sex. It just happens that in
Ms. Dubroux's comedy-thriller, Kierkegaard has strangely seductive
powers.
In Kierkegaard's story, the seducer was a young
esthete, Johannes, who set out ''scientifically'' to make the virginal
Cordelia fall for him. It being 1843, a blush was proof of success. In
Ms. Dubroux's film, however, it is Kierkegaard's book that takes on a
life of its own, after Gregoire (Melvil Poupaud), who is writing a
thesis on the book, recognizes its power to seduce young women,
principally Claire (Chiara Mastroianni).
Everyone else who then reads the book -- including
Gregoire's former high school teacher and Claire's psychoanalyst -- in
turn becomes obsessed with the person who lent it. And since the passion
never seems to be reciprocated, things turn violent.
The film, which opens Friday in New York, was not a
box-office hit in France when it opened there last year but was well
received by critics. Writing in the Paris daily Liberation, Olivier
Seguret said the movie was difficult to describe, ''first because
seduction cannot be explained, secondly because Daniele Dubroux has made
a very, very, truly very seductive film.''
Almost as intriguing as the movie itself is how Ms.
Dubroux, now 49, came to make it, after she herself was almost entrapped
by a man obsessed with Kierkegaard's exploration of the esthetics of
seduction.
A former critic for Cahiers du Cinema, she has so
far made only three shorts and four low-budget feature films (''The
Diary of a Seducer'' cost just $1.4 million). On the other hand, a
modest output may be almost inevitable, since she researches, writes,
directs and usually appears in her movies.
''I work like an artisan,'' she said in an interview
in her apartment in the Belleville district of Paris. ''When I have an
idea for a story, it's usually because I have met or heard of someone
who interests me. I then work a bit like an academic, digging into the
material, going back for more exploring. It takes a long time, but it
interests me.
''I think I am above all a writer,'' she continued.
''And when I write, there is always the famous 'I' who is the narrator,
which is why I often finish up appearing in my films.''
But with ''The Diary of a Seducer,'' the ''I''
became involved long before the film was conceived, when Ms. Dubroux met
an attractive and decidedly mysterious man -- she calls him only Didier
R. -- who was obsessed by Kierkegaard's book. He urged her to adapt it
for the screen and, somewhat reluctantly, she agreed to try. Then, as
she tells it, when she delivered her manuscript to his letter box, to
her astonishment she found another adaptation of the book, by another
woman.
''Slowly, I discovered a whole network of women and
even some men whom he had asked to adapt 'The Diary of a Seducer,' ''
she recalled, ''even people like a dancer and a pharmacist with no
writing experience.
''It was all very odd. He was very enigmatic. I was
not allowed into his home, but I learned that he lived with his mother,
an eccentric former actress. He was also trained as a doctor, and while
he did not have his own practice, all his network were his patients. Me,
too. If we were ill, he'd leave the medicine with the baker below his
apartment.''
Ms. Dubroux laughed at the absurdity of the story.
Nonetheless, her strange encounter with Kierkegaard became the basis for
her first screenplay. The narrator -- her ''I'' -- was a psychoanalyst
who, after the suicide of a patient, finds the patient's address book
and traces Gregoire. Gregoire tells her what he knows and suggests that
she read ''The Diary of a Seducer.'' From that point, the plot developed
along lines that had become all too familiar to Ms. Dubroux.
Remarkably, she persuaded Catherine Deneuve to play
the psychoanalyst -- while Didier R. agreed to play the screen version
of himself as Gregoire. (''I think Catherine Deneuve was a bit
hypnotized by Didier when they met,'' the director suggested.) Then, two
weeks before shooting was to begin, the producer backed out and the
project collapsed.
MS. DUBROUX, A LIVElY, good-humored woman, was
dismayed, but a few months later she returned to the idea. In what
eventually became ''The Diary of a Seducer,'' Ms. Deneuve would no
longer involved, but her daughter, Ms. Mastroianni, would play Claire.
''I needed to do it in a fresh way in order to find
the energy to do it again,'' she explained. ''I didn't want to make the
same film. I lowered the age of the two main characters to that of
Kierkegaard's Johannes and Cordelia. But I kept the idea of all these
people under the influence of this book.''
In the film, there are echoes of both Kierkegaard's
book and Didier R.'s life. For example, Sebastien (Mathieu Amalric) is a
rather hopeless ''apprentice seducer'' who, like Johannes, records in a
diary his (failed) attempt to seduce Claire and his (successful)
fallback plan to seduce her mother, Anne, played by Ms. Dubroux. On the
other hand, like Didier R., Gregoire uses the book as an instrument of
seduction.
The film includes two kisses but nothing resembling a
sex scene. ''What's interesting is what happens in the spirit and in
behavior,'' Ms. Dubroux said. ''To be seduced is interesting because it
involves an odd kind of alchemy, a sort of hypnosis, a sort of spell, in
which you lose your critical sense, you lower your guard.''
The French director Andre Techine, who acknowledges
that he is a friend of Ms. Dubroux's and an admirer of her work, said
the combination of humor and suspense in ''The Diary of a Seducer''
reminded him of some films by the Spanish director Luis Bunuel. Other
critics have noted certain similarities -- in their narrative line and
psychological tension -- between Ms. Dubroux's work and that of Mr.
Techine.
''She has a taste for telling stories that are at
times fantastic, even surrealist,'' said Mr. Techine, whose latest film,
''Les Voleurs'' (''Thieves''), was released in the United States this
winter. ''She has a taste for enigma, a taste for intrigue. But her
films are also very funny.''
Ms. Dubroux said her next film, which she hopes to
shoot this summer, is inspired by a newspaper story of ''a sort of
peasant Robin Hood'' who leaves his wife and elopes with a young woman
for whom he does ''crazy things.''
Once again, Ms. Dubroux expects to appear in the
film, as a friend of the missing husband. The character, as an outsider
to the immediate drama, can serve as narrator. But she is more
interested in writing and directing than acting, she said.
''The problem is that it's very hard to find French
actresses between the ages of 40 and 50,'' she said. ''There are three
or four, and they are much in demand.''
''And there's another problem,'' she added. ''I need
a funny actress, and there aren't many in France. That's not the case
in the United States; there are lots of American actresses who are
beautiful and funny. But I can assure you, there aren't many funny women
here. So when I can't find anyone else, I have to do it myself.''
Photos: The director Daniele Dubroux. (Border
Line)(pg. 1); Daniele Dubroux and Mathiew Amalric in ''Diary of a
Seducer'' from France--Seduction as an expression of power, ''a sort of
hypnosis.'' (Leisure Time Features)(pg. 18)
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