Recent blog entries for sye

13 Nov 2016 (updated 15 Nov 2016 at 04:01 UTC) »

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syndicated from nuniabiz.blogspot.com

Today I Read Everything, July 1, 2009
By Pavel Somov, Ph.D., author of "Lotus Effect," "Present Perfect," & "Eating the Moment"
This review is from: Today I Wrote Nothing: The Selected Writing of Daniil Kharms (Hardcover)
I have read Kharms both in English and Russian quite a few times since my dad (a journalist and "ghost" writer in the USSR) introduced me to Kharms in mid 80s (after he had reportedly "snagged" the last copy of the "Incidences" from some street bookseller in Perestroika-era Moscow).

Each time I read Kharms I'd browse through any given compilation of "selected writings" and read at random. In later years I'd either re-read the stories I had liked or, on the contrary, choose only to read the ones I had skipped on previously. But today I read everything - the entire "Today I Wrote Nothing" from cover to cover.

Two reasons: this particular collection of Kharms' writings is skillfully organized: the incidences/old woman/blue notebook/other writings sequence is an excellent warm-up. Each pattern-interrupting-absurdly shocking-non sequitur-laden "incidence" - like a notorious Moscow pothole - violently shakes up the mind and loosens the inflexibly default of expectations of sense and logic. These "incidences" quickly warm up the reading mind for the absurdly cold scenery of the "Old Woman" novella. Just as you begin to tire of the "Old Woman" you are thrown into the paradoxical vortex of the 29 vignettes from the "Blue Notebook." And after that - with the mind cracked open for possibilities - you sail off into the greater philosophical, esoteric, metaphysical depths of "other writings" where you after such a deep dive as "On Phenomena and Existences," with compiler's astute guidance, you are helped to resurface to the by-now-familiar "shallows" of the absurd.

The sequence of this presentation is no small achievement. Consider that the people behind this collection have been charged with a mandate of dosing micro-shocks, with a task of figuring out how to tactfully deliver Kharms' literary micro-concussions. Reading Kharms - any Kharms' collection - is on par to spending an evening in a batting cage where each and every ball is a curveball of the oddest spin.

Confusion - as I have learned from Kharms - is a prerequisite for enlightenment. Kharms models that we have to lose our mind (our "equalibrium" - a genius rendition of intentional misspelling by the translator Yankelevich) to find our consciousness, our sense of self. Kharms - as I am more and more convinced - wasn't an absurdist or a literary shock-jockey, he was a mystic with a Zen bent who, I believe, wrote to stay awake during one of the darkest dreams in modern history (Stalin years).

For an English-speaking Russian, Kharms seems deceptively easy to translate. But he is anything but easy. Kharms' subtle connotation-level puns coexist next to the grotesque and the idiosyncratic. Translating Kharms' koans is like translating a haiku: with often so few lines of text to work with, one linguistic misstep, one connotational bias and you end up reading an entirely different story. Matvei Yankelevich has skillfully navigated the fiords of Kharmsian translational incidentals.

Kharms is a "monk that walked into a mausoleum" and never walked out; an inquisitive and quizzical mind born at the wrong time and in the wrong place who seems to have managed to complete the long existential arc from neurosis to acceptance just in time to die hungry in a Leningrad jail, utterly unrecognized and unknown. In this literary mausoleum, I see Kharms next to Kafka and Hamsun. I wonder where you'll place him...

Pavel Somov, Ph.D.

Syndicated 2016-11-13 00:48:00 (Updated 2016-11-13 00:48:35) from badvogato

Writing Verse in Classic Chinese

This poem of mine came to me through 'conversational' writing in March 2005 between myself and an unknown netizen who served in Iraqi war.

Writing Verse in Classic Chinese
I was smashed by a pale spirit
out of Bath a misty winter morn
it haunts hours away
from my X-Window frames.
Alas by this end of hours
and by this end of day
oh How i cut and paste
in every way
to restore a dream I've dreamt
yet lost ever since I left.
O blessed is the hours so ardently spent
waiting by wings of angelic forms
whereby beauty and grace behold
a forgotten tongue
a rusty art
of making ancient music
with silent sound
echoing between thousands of years
and thousands of miles around.
[fiveshinylights: comrade, dost you speaketh the china man's tongue?]

Brother 'cool hand luke', yes i do.
now as i remember my mother tongue
endured warring kingdoms hundreds of centuries strong
it is not to speak
but to paint, silently
out of gentle brushes rainfalls of firm strokes
thy worst enemy and thyself's speck of mind
for words uttered always turning into querrels by hauling wind
for words carved into oracles smoked by time and shifted by sand
can mean many things to one eye kings
thus bind thy people with one faith
no words no names
but mixing bloody drops from unquenchable dreams
syndicated from nuniabiz.blogspot.com

Syndicated 2016-10-24 15:03:00 (Updated 2016-10-24 15:03:14) from badvogato

submit my resume to lulu's current job post for voice associate ( replay photo ...) after I rediscovered my projects with them in June 2006 are still there.... also changed my public profile address to--> linkedin.com/in/advogato

A crow waits on me

#2 乌鸦等我
* A crow waits on me

One day, my parents will depart this world,
my siblings may travel afar
my dear wife, sooner or later, shall desert me
as I am hanging on
my irresistable downtrodding.

But if on that day,
there still sits a crow
crowing on top of the television broadcasting tower
it gives out a sound
more piercing and cold than my sneer
Then, there is hope that people see
this ugliest crow, takes a sip of water
after its long flight, and
waits on me.

@copyright 2016 LairdUnlimited
syndicated from nuniabiz.blogspot.com

Syndicated 2016-10-05 16:28:00 (Updated 2016-10-05 16:29:07) from badvogato

Winding Up by Derek Walcott

Winding Up
by Derek Walcott

I live on the water,
alone. Without wife and children,
I have circled every possibility
to come to this:
a low house by grey water,
with windows always open
to the stale sea. We do not choose such things,
but we are what we have made.
We suffer, the years pass,
we shed freight but not our need
for encumbrances. Love is a stone
that settled on the sea-bed
#13
under grey water. Now, I require nothing
from poetry but true feeling,
no pity, no fame, no healing. Silent wife,
we can sit watching grey water,
and in a life awash
with mediocrity and trash
live rock-like.
I shall unlearn feeling,
unlearn my gift. That is greater
and harder than what passes there for life.


 吾将上下而求索

我住在水上,
独处,无妻无子,
弃掉漩生出的各种可能
我成为如今的样子:
一片灰水的一间低矮房子里,
窗户总是敞着
面向无波的海。我们并非选择了这些事,
但最终我们还是从了本来的命运。
遭受,流逝的年岁,
我们卸下负荷 而非对自我的
自怜自爱。爱如石
安置于灰色水域的
河床。现下,我一无所求

真情出嫁于诗境
无怜无名无救。无言的内人
我们一同坐看泉泉的暗流。
和 浮世一生
在庸常和垃圾中
受洗的顽石。
我应该解下感情,
解下天赋。这比当初得到它们可是麻烦多了,
这也比一生随波逐流要好吧。

based on reader azur@douban 's another fine translation  ( without the title and #13 line onwards...)

Tension in contextualized translation...from English to Chinese, wor(l)ds apart... ? - ResearchGate. Available from: https://www.researchgate.net/post/Tension_in_contextualized_translationfrom_English_to_Chinese_worlds_apart [accessed Sep 21, 2016].
syndicated from nuniabiz.blogspot.com

Syndicated 2016-09-21 20:00:00 (Updated 2016-09-21 20:01:19) from badvogato

Song of Foresight 謝選駿三部詩集

Xie, Xuanjun Three Collections of Poems by Age 26

出版說明 1980年代的學者、二十一世紀 的思想者,謝選駿在1970年代前 後(1967年──1980年)寫下了 這裏的三百六十餘首詩歌。這些 早期的詩行先於其學術和思想, 卻是其學術與思想的雛形,作為 「未與社會環境同化之前的靈魂 之作」,堪稱《先覺之歌》。

eBook .pdf
035一叢怪詩

A,黃昏的獨舞

蝙蝠、蝙蝠
你飛向何處
繞著衰弱的孤者
嘶叫溟溟的霧暮
飛入熒光的天河?

蝙蝠、蝙蝠
你飛往何處
獨對囚居的旅客
還把一滴無名淚
黃昏似的深邃
良辰夢幻的破碎
灑入焦渴的心!

蝙蝠、蝙蝠!
你已太上忘情?
一年年春花飄零
秋光也空空映射
你為何熱情獨行?
翩翩忙碌於晚景
你是故意地平靜
擾亂我枯寂的心?

B,無言的雨

厭世者的一片淚
漫無目標地菲菲
灑入慵倦的荒野
激起沉悶的死灰。

南冠之客的血滴
春天裏浪費丟棄
剝開黎明的蒙昧
傳播神州的萎靡!

游離之子的呻吟
夜草在獨自飄行
一片蕭索的苦心
激勵他堅忍遊行。
淪落之魂在幽怨
痛悔生世的徒勞
輾轉九回的愁腸
歸入無已的泥淖!


syndicated from nuniabiz.blogspot.com

Syndicated 2016-09-18 17:35:00 (Updated 2016-09-18 17:36:44) from badvogato

14 Sep 2016 (updated 14 Oct 2016 at 19:12 UTC) »

泰戈爾《零散的鸟语》葉氏(yezi)


Most Like an Arch This Marriage
John Ciardi

Most like an arch - an entrance which upholds
and shores the stone-crush up the air like lace.
Mass made idea, and idea held in place.
A lock of time. Inside half-heaven unfolds.
Most like an arch - two weaknesses that lean
into a strength. Two fallings become firm.
Two joined abeyances become a term
naming the fact that teaches fact to mean.
Not quite that? Not much less. World as it is,
what's strong and separate falters. All I do
at piling stone on stone apart from you
is roofless around nothing. Till we kiss
I am no more than upright and unset.
It is by falling in and in we make
the all-bearing point, for one another's sake,
in faultless falling, raised by our own weight.

             如彼拱门   此桩婚姻

如彼拱门                                       横空似练
磐石叠立                                       一门洞天
以物喻理                                       理在其间
时不逝兮                                       内展穹天
如彼拱门                                       俩弱成强
相依偎兮                                       双坠弥坚
浪迹之侣                                       终成眷属
宣彼神迹                                       彰其美意
有念如斯                                       当无大谬
独强难存                                       天理如斯
我日垒石                                       盼伊相随
无你之空                                       如厦无顶
无获爱吻                                       吾乃鄙夫
相濡以沫                                       在彼深渊
无私相爱                                       我为卿狂
纵身跃下                                       永结连理

Children's Day and Father's Day, where has the time gone? - ResearchGate. Available from: https://www.researchgate.net/post/Childrens_Day_and_Fathers_Day_where_has_the_time_gone#57d958f85b49524de0540ba1 [accessed Sep 14, 2016].

泰戈爾《零散的鸟语》葉氏(yezi)  一片冰心 滿紙馮唐 =  造化?翻异 ?

冯唐的“树/大地的渴望/踮着脚偷窥天堂”更有诗的味道。

现世里孤孤单单的小混蛋啊  混到我的文字里留下你们的造孽?  (yezi)

大千世界在情人面前 解开紗丽 绵长如舌吻 纤细如诗行 (yezi)

如果因为思念太阳 而终日哭泣 星星也将离你而去

新的一天 我坐在窗前 世界如过客 在我面前走过 停了 点头 又走了

你无法看到真身  你能看到的多是自生的印象 (yezi)

端莊的美 在敬爱中 自作的秀 在镜愛里。(yezi)

不要为了收集花朵而留步 花朵也盛开在你前头?

飞黄腾达的人 号称有如神佑 神羞愧地低下了头?

鸟觉得它把鱼叼离海面 是积德行善

一个太忙着做好事的人 发现自己没时间做好人

当我无所事事时 请让我在深深的从容中 无所事事 仿佛水波不兴的岸边的漫漫长夜?
姑娘 你的简单仿佛湖水的碧蓝 彰显真理的绚烂

因为失去的爱情 生命变得更丰盈?

别说,“又早晨了” 别用一个早已用过的名字 见每个早晨如同初相见 如见一个还没有名字的孩子?

当我们爱这个世界的时候 我们才活在这个世界上 人变成禽兽时 禽兽不如

that i exist is a perpetual surprise which is life
我的存在無外與一个永恒的问号化梵。 (yezi)

Sorrow is hushed into peace in my heart like the evening among the silent trees. 痛在我心里渐渐平和/ 如夜被屏息的深林哄睡。(yezi)

syndicated from nuniabiz.blogspot.com

Syndicated 2016-09-14 19:30:00 (Updated 2016-10-14 18:51:33) from badvogato

whose head is on the plate?

syndicated from nuniabiz.blogspot.com

Syndicated 2016-09-14 14:56:00 (Updated 2016-09-14 14:57:51) from badvogato

http://www.cctss.org/show/newsdetail/347ba69608e54658902574ce85a8df3f

【学术】古诗里的西洋景

2016-03-27 | 信息来源: | 原作者: | 查看:520
摘要: 中国的古代诗歌题材,一向以中原文明及其周边地区的素材为主。近代以来,中国突然发现自己必须面临三千年未有之大变局。外面的那个陌生新世界,对古老的华夏文明从政治、经济和科技等几乎所有领域都发起了剧烈冲击。即使是在最为坚固的文化壁垒上,亦开始有了稍稍的撬动。
中国的古代诗歌题材,一向以中原文明及其周边地区的素材为主。近代以来,中国突然发现自己必须面临三千年未有之大变局。外面的那个陌生新世界,对古老的华夏文明从政治、经济和科技等几乎所有领域都发起了剧烈冲击。即使是在最为坚固的文化壁垒上,亦开始有了稍稍的撬动。
    1813年,有一位华人造访了英国伦敦。他的名字和身份,已经湮没无闻,不过他在这次旅行途中留下了十首古体诗,可谓开了一个先河。这十首诗都是中国风的五言律诗,主题却是诗人在伦敦所见的异国风物。在当时,这可是极其罕见的作品。这十首诗叫做《兰墩十咏》,兰墩,指的就是伦敦。姑且摘录一首来看:
    “海遥西北极,有国号英伦。地冷宜亲火,楼高可摘星。意诚尊礼拜,心好尚持经。独恨佛啷嘶,干戈不暂停。”这是对伦敦的阴冷气候、城市风貌、国教民俗的综合性描述。佛啷嘶就是法兰西,英法交恶历史渊源已久,诗人注意到了这点,写入诗中。单就水准来说,这些诗作十分平庸,所以在国内不曾有任何影响。然而,却被一位叫德庇士的英国汉学家注意到,把其收录进《汉文诗解》。他大概也觉得这种“中为洋用”的方式很新鲜吧。
    同时被德庇士收录进去的还有另外一组旧体诗,叫做《西洋杂咏》。这组诗的作者名气就大多了,叫潘有度,广东十三行的大商人,是最早一批和洋人打交道的中国人。潘有度是翰林院庶吉士出身,文化水准不低,这组《西洋杂咏》是在他晚年时所写,时间和《兰墩十咏》差不多,姑且摘录一首咏西洋婚姻的:“缱绻闺闱只一妻,犹知举案与齐眉。婚姻自择无媒妁,同忏天堂佛国西。”潘有度的水平,比前面那位诗人要强出不少。虽然这些诗作也不是什么佳作,但至少证明了用中国诗歌来描绘西洋,也并非什么不可能的事。
    《兰墩十咏》和《西洋杂咏》差不多是有案可查的第一批写西洋的旧诗作品,它们的意义在于突破了文化藩篱,使中西合璧,赋予了中国诗一个新的发展方向。
    “中为洋用”真正的好诗诞生,要等到黄遵宪去美国的时候。
    黄遵宪是晚清著名诗人、名臣,思想开明,号称“近代中国走向世界第一人”。他曾经在光绪八年担任驻美国旧金山总领事。在那里,他正赶上1884年美国大选,近距离观摩到了民主国家的选举制度。黄遵宪欣然提笔,写下了一系列《纪事》诗,堪为精妙:“吹我合众笳,击我合众鼓,擎我合众花,书我合众簿。汝众勿喧哗,请听吾党语。”
    光绪十六年,黄遵宪前往伦敦任驻英使馆参赞。他以《今别离》为题写了四首乐府,分别写了火车、轻气球、电报、照相术和东西半球有时差日夜颠倒的自然现象。
    “钟声一及时,顷刻不少留。虽有万钧柁,动如绕指柔……去矣一何速,归定留滞不?所愿君归时,快乘轻气球。”(火车与轻气球)
    “一息不相闻,使我容颜悴。安得如电光,一闪至君旁!”(电报)
    “开函喜动色,分明是君容。自君镜奁来,入妾怀袖中。”(照相)
    “恐君魂来日,是妾不寐时。妾睡君或醒,君睡妾岂知。”(东西半球时差)
    《今别离》的高明之处,不止在词句。无论《兰墩十咏》《西洋杂咏》还是黄遵宪在美国的《纪事》,都只停留在中诗描摹西物的层次;但到了《今别离》,黄遵宪已经可以反其道而行之,用西方这些新鲜发明的功用,来表达东方传统的闺怨、思念等主题。比如,以电报来形容思念之切,“安得如电光,一闪至君旁”;更借用东西时差之别,把“君生我未生”巧妙地化为“妾睡君或醒”,洋为中用,境界又高了一层。

syndicated from nuniabiz.blogspot.com

Syndicated 2016-09-05 12:38:00 (Updated 2016-09-05 12:38:25) from badvogato

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