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毓賱蹖賴 鬲賮爻蹖乇
噩丿蹖鬲鈥屬囏ж� 丨爻丕爻蹖鬲鈥屬囏� 賵 讴賳噩讴丕賵蹖鈥屬囏й� 噩爻賵乇丕賳賴 賵 倬丕蹖丕賳鈥屬嗀з矩佰屫辟� 爻丕賳鬲丕诏 卮丕蹖丿 丿乇 賴蹖趩鈥屭┴й� 丿蹖诏乇 丌賳賯丿乇 賲卮賴賵丿 賳亘丕卮丿 讴賴 丿乇 賲賯丕賱賴鈥屬囏� 賵 噩爻鬲丕乇賴丕蹖卮 賴爻鬲. 爻乇讴鈥屭┴篡屫嗁� 丕賵 亘賴 诏賵卮賴 賵 讴賳丕乇賴丕蹖 賴賳乇 賵 賮賱爻賮賴 賵 賮乇賴賳诏貙 亘賴 丨丕卮蹖賴鈥屬囏� 賵 亘賴 讴賲鬲乇丿蹖丿賴鈥屫簇団€屬囏ж� 亘賴 鬲丕夭賴鈥屬囏� 丿乇 毓蹖賳賽 賮丕氐賱賴鈥屭辟佖� 丕夭 賲賵噩鈥屬囏й� 夭賲丕賳賴鈥屫ж簇� 丿乇 囟賲賳賽 丕蹖賳讴賴 胤乇丕賵鬲 賵 丨爻賽 亘乇丕賳诏蹖夭丕賳賳丿賴 賶 倬丿蹖丿賴 賵 乇賵蹖丿丕丿 乇丕 丨賮馗 賲蹖鈥屭┵嗀� 丕賲丕 丿爻鬲禺賵卮賽 睾丕卅賱賴鈥屬囏й� 丌賳 賳賲蹖鈥屫促堌� 丿乇 丕賵噩賽 毓賱丕賯賴鈥屫ж� 亘賴 丌夭賲賵丿賳賽 賮乇賲鈥屬囏� 賵 爻亘讴鈥屬囏й� 賮讴乇 賵 丕丨爻丕爻 賵 賳賵卮鬲丕乇 ... 賴蹖噩丕賳鈥屫з嗂屫� 丕爻鬲貙 丌賲賵夭賳丿賴 丕爻鬲 賵 丕賱賴丕賲鈥屫ㄘ�. 毓賱蹖賴 鬲賮爻蹖乇 亘毓丿 丕夭 丿乇亘丕乇賴 毓讴丕爻蹖 賲賴賲鬲乇蹖賳 丕孬乇賽 亘賴鈥屫з呚з嗀� 丕夭 爻賵夭丕賳 爻丕賳鬲丕诏 丕爻鬲 賵 卮丕蹖丿 蹖讴蹖 丕夭 亘賴鬲乇蹖賳 賲噩賲賵毓賴 噩爻鬲丕乇賴丕蹖蹖 讴賴 丿乇 賳蹖賲賴 丿賵賲賽 賯乇賳賽 亘蹖爻鬲賲 丿乇 丕賲乇蹖讴丕 趩丕倬 卮丿賴.
416 pages, Paperback
First published December 1, 1966
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About the author
Susan Sontag
205听books5,053听followersSusan Sontag was born in New York City on January 16, 1933, grew up in Tucson, Arizona, and attended high school in Los Angeles. She received her B.A. from the College of the University of Chicago and did graduate work in philosophy, literature, and theology at Harvard University and Saint Anne鈥檚 College, Oxford.
Her books include four novels, The Benefactor, Death Kit, The Volcano Lover, and In America; a collection of short stories, I, etcetera; several plays, including Alice in Bed and Lady from the Sea; and nine works of nonfiction, starting with Against Interpretation and including On Photography, Illness as Metaphor, Where the Stress Falls, Regarding the Pain of Others, and At the Same Time. In 1982, Farrar, Straus & Giroux published A Susan Sontag Reader.
Ms. Sontag wrote and directed four feature-length films: Duet for Cannibals (1969) and Brother Carl (1971), both in Sweden; Promised Lands (1974), made in Israel during the war of October 1973; and Unguided Tour (1983), from her short story of the same name, made in Italy. Her play Alice in Bed has had productions in the United States, Mexico, Germany, and Holland. Another play, Lady from the Sea, has been produced in Italy, France, Switzerland, Germany, and Korea.
Ms. Sontag also directed plays in the United States and Europe, including a staging of Beckett's Waiting for Godot in the summer of 1993 in besieged Sarajevo, where she spent much of the time between early 1993 and 1996 and was made an honorary citizen of the city.
A human rights activist for more than two decades, Ms. Sontag served from 1987 to 1989 as president of the American Center of PEN, the international writers鈥� organization dedicated to freedom of expression and the advancement of literature, from which platform she led a number of campaigns on behalf of persecuted and imprisoned writers.
Her stories and essays appeared in newspapers, magazines, and literary publications all over the world, including The New York Times, The New Yorker, The New York Review of Books, The Times Literary Supplement, Art in America, Antaeus, Parnassus, The Threepenny Review, The Nation, and Granta. Her books have been translated into thirty-two languages.
Among Ms. Sontag's many honors are the 2003 Peace Prize of the German Book Trade, the 2003 Prince of Asturias Prize, the 2001 Jerusalem Prize, the National Book Award for In America (2000), and the National Book Critics Circle Award for On Photography (1978). In 1992 she received the Malaparte Prize in Italy, and in 1999 she was named a Commandeur de l'Ordre des Arts et des Lettres by the French government (she had been named an Officier in the same order in 1984). Between 1990 and 1995 she was a MacArthur Fellow.
Ms. Sontag died in New York City on December 28, 2004.
Her books include four novels, The Benefactor, Death Kit, The Volcano Lover, and In America; a collection of short stories, I, etcetera; several plays, including Alice in Bed and Lady from the Sea; and nine works of nonfiction, starting with Against Interpretation and including On Photography, Illness as Metaphor, Where the Stress Falls, Regarding the Pain of Others, and At the Same Time. In 1982, Farrar, Straus & Giroux published A Susan Sontag Reader.
Ms. Sontag wrote and directed four feature-length films: Duet for Cannibals (1969) and Brother Carl (1971), both in Sweden; Promised Lands (1974), made in Israel during the war of October 1973; and Unguided Tour (1983), from her short story of the same name, made in Italy. Her play Alice in Bed has had productions in the United States, Mexico, Germany, and Holland. Another play, Lady from the Sea, has been produced in Italy, France, Switzerland, Germany, and Korea.
Ms. Sontag also directed plays in the United States and Europe, including a staging of Beckett's Waiting for Godot in the summer of 1993 in besieged Sarajevo, where she spent much of the time between early 1993 and 1996 and was made an honorary citizen of the city.
A human rights activist for more than two decades, Ms. Sontag served from 1987 to 1989 as president of the American Center of PEN, the international writers鈥� organization dedicated to freedom of expression and the advancement of literature, from which platform she led a number of campaigns on behalf of persecuted and imprisoned writers.
Her stories and essays appeared in newspapers, magazines, and literary publications all over the world, including The New York Times, The New Yorker, The New York Review of Books, The Times Literary Supplement, Art in America, Antaeus, Parnassus, The Threepenny Review, The Nation, and Granta. Her books have been translated into thirty-two languages.
Among Ms. Sontag's many honors are the 2003 Peace Prize of the German Book Trade, the 2003 Prince of Asturias Prize, the 2001 Jerusalem Prize, the National Book Award for In America (2000), and the National Book Critics Circle Award for On Photography (1978). In 1992 she received the Malaparte Prize in Italy, and in 1999 she was named a Commandeur de l'Ordre des Arts et des Lettres by the French government (she had been named an Officier in the same order in 1984). Between 1990 and 1995 she was a MacArthur Fellow.
Ms. Sontag died in New York City on December 28, 2004.
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January 10, 2021
Susan Sontag, 1933-2004 - American writer, filmmaker, philosopher, teacher, political activist
One of the leading critics of her generation, Susan Sontag's powerful voice is much in evidence in this outstanding collection. For the purposes of my review, I will focus on the lead essay, Against Interpretation, an essay that continues to speak profoundly to us today. Here are a batch of direct quotes coupled with my comments:
"None of us can ever retrieve that innocence before all theory when art knew no need to justify itself, when one did not ask of a work of art what it said because one knew (or thought one knew) what it did." ---------- Thus, we inheritors of Western Civilization are forever cutoff from the way other civilizations regarded art 鈥� for example, we place Aztec art in our museums and subject the artifacts to interpretation within our Western theories. Quite different than the Aztecs themselves!
"The modern style of interpretation excavates, and as it excavates, destroys; it digs 鈥渂ehind鈥� the text, to find a sub-text which is the true one. The most celebrated and influential modern doctrines, those of Marx and Freud, actually amount to elaborate systems of hermeneutics, aggressive and impious theories of interpretation." ---------- Susan Sontag published this essay in 1962. In addition to all of the Marxist and Freudian interpretations of art and literature in the last sixty years, one can imagine the huge number of interpretations and analysis employing Postmodern theories. But whatever the Postmodern theory, Susan Sontag would deem them of little value compared to a direct engagement with the work of art or literature itself.
"Thus, interpretation is not (as most people assume) an absolute value, a gesture of mind situated in some timeless realm of capabilities. Interpretation must itself be evaluated, within a historical view of human consciousness. In some cultural contexts, interpretation is a liberating act. It is a means of revising, of transvaluing, of escaping the dead past. In other cultural contexts, it is reactionary, impertinent, cowardly, stifling." ---------- Susan Sontag leaves no doubt interpretation in our modern age falls into the second class - reactionary, impertinent, cowardly, stifling. Fortunately, as she points out, once we recognize the limited historic and cultural context of such stifling interpretations, they will not have the last say.
"Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world鈥攊n order to set up a shadow world of 鈥渕eanings.鈥� It is to turn the world into this world. (鈥淭his world鈥�! As if there were any other.) The world, our world, is depleted, impoverished enough. Away with all duplicates of it, until we again experience more immediately what we have." ---------- For me, Susan Sontag's words here bring to mind one of my favorite quotes regarding art, written by 19th century German philosopher Arthur Schopenhauer: "Treat a work of art like a prince. Let it speak to you first."
"In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, comformable." ----------- One of the most insipid attempts to tame a work of art I've come across was from a religious fundamentalist's review of Hermann Hesse's Steppenwolf. His review was brief. He said: "Like the Book of Revelation says, "All is vanity." Really? Might your literary judgement be a tad reductionist?
"Interpretation, based on the highly dubious theory that a work of art is composed of items of content, violates art. It makes art into an article for use, for arrangement into a mental scheme of categories." ----------- Well stated, Susan! As if the richness and depth of a work of art is but a means to undergird a writer's chosen theory.
"What is important now is to recover our senses." ---------- Susan Sontag alludes to our senses being continually bombarded by mass media, having the effect of dulling our senses and feelings toward our everyday world and toward our appreciation of art and literature. In our current culture, think of the tyranny of pop music in nearly all public places, the tyranny of television in hospitals, airports, restaurants and other public spaces. Additionally, how many hours do people sit in front of the boob tube in the privacy of their own homes?
"We must learn to see more, to hear more, to feel more." ---------- Sorry to say, the overwhelming amount of time in most people's lives is living in the head, living in unending internal chatter. I recall one of my meditation teachers' words, "Our senses are nourished when we become quiet and relaxed. We can experience each sense, savoring its essence." And how can we cultivate such richness of the senses? A good first step would be to spend time away from television and devote a portion of our day to a direct experience of literature and the arts.
"The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means." ---------- This is one major reason I shy away from literary criticism of any sort. Give me a good book review of a novel any day -- where the reviewer writes about things like the characters, what the story is, the writing style - no a word on what the novel "means."
December 16, 2012
There was a time, long ago and in another age, when anyone at university who wanted to be well-read or conversant with things intellectual read this book. I'm one of them. I sat in Cross Campus at New Haven and devoured "Against Interpretation" one autumn afternoon. Needless to say, I had a deep intellectual crush on Susan Sontag--- ah, I thought, if only I'd been able to court her in some alternate New York where we were both eighteen or nineteen! I still love this book, all these years later. It brings up an age when ideas mattered, when there was passion in the air about sweeping away old thoughts and discovering and valorising the new. The title essay and "Notes on Camp" remain...well...brilliant. A classic book, then--- more than just a reminder of the world of my Lost Youth. Sontag was fierce and infuriating and witty and opinionated and razor-sharp and often wrongheaded and deeply engaged in art and politics and culture--- someone whose voice was there shaping debates and offering up alternatives. I miss that kind of passion in the intellectual world. And I do recommend this book--- read it and learn how to love the clash of ideas.
October 24, 2015
丿賵 讴賱賲賴 乇丕噩毓鈥屫ㄙ� 丕爻蹖
賯亘賱丕 趩賳丿亘丕乇蹖 賳賵卮鬲賲 讴賴 趩賯丿乇 賯丕賱亘 丕爻蹖 乇賵 丿賵爻鬲 丿丕乇賲. 丿賱丕蹖賱卮 賴乇 趩蹖 亘丕卮賴 賲胤賲卅賳丕 賲賴賲鈥屫臂屬嗀� 亘賴 丕蹖賳 亘乇賲蹖鈥屭必� 讴賴 蹖賴 丕爻蹖 禺賵亘 賳蹖丕夭 丿丕乇賴 亘賴 蹖賴 丕爻蹖鈥屬嗁堐屫� 噩丕賱亘. 賴蹖趩 鬲囟賲蹖賳蹖 賵噩賵丿 賳丿丕乇賴 讴賴 賳賵蹖爻賳丿賴鈥屰� 蹖賴 賲賯丕賱賴鈥屰� 丌讴丕丿賲蹖讴 丿乇禺卮丕賳 蹖賴 丌丿賲 丿賵爻鬲鈥屫ж簇嗃� 亘丕卮賴. 丕賲丕 禺丕氐蹖鬲 丕爻蹖 禺賵亘 丕蹖賳賴 讴賴 賳蹖丕夭 丿丕乇賴 賳賵蹖爻賳丿賴鈥屫� 亘丕夭蹖诏賵卮鈥屫� 賵 爻乇 亘賴 賴賵丕鬲乇 賵 亘丕賳賲讴鈥屫� 丕夭 蹖賴 賲賯丕賱賴鈥屬嗁堐屫� 賵 亘丕賴賵卮鈥屫� 賵 毓賲蹖賯鈥屫� 賵 鬲蹖夭亘蹖賳鈥屫� 丕夭 蹖賴 爻鬲賵賳鈥屬嗁堐屫� 亘丕卮賴. 胤亘蹖毓鬲丕 鬲賵蹖 丕爻蹖 賳亘丕蹖丿 丿賳亘丕賱 丕賮讴丕乇 賵 丌乇丕蹖 丕氐蹖賱 (亘賴 賮乇囟 丕蹖賳鈥屭┵� 丌乇丕蹖 丕氐蹖賱蹖 賵噩賵丿 丿丕卮鬲賴 亘丕卮賳) 诏卮鬲. 丕賲丕 亘毓蹖丿 賴爻鬲 讴賴 蹖賴 丕爻蹖 禺賵亘 乇賵 禺賵賳丿 賵 亘毓丿 丕夭 鬲賲賵賲 卮丿賳卮 賮讴乇 禺賵賳丿賳 趩賳丿 鬲丕 讴鬲丕亘 蹖丕 丿蹖丿賳 趩賳丿 鬲丕 賮蹖賱賲 禺賵亘 乇賵 賳丿丕卮鬲. 丕爻蹖鈥屬嗁堐屫驰� 讴丕乇 趩賳丿丕賳 丌爻賵賳蹖 賳蹖爻鬲貙 亘賴 卮丿鬲 亘丕 爻亘讴 夭賳丿诏蹖 賳賵蹖爻賳丿賴鈥屫� 诏乇賴 禺賵乇丿賴 賵 賴賲賴鈥屰� 噩賵丕賳亘 夭賳丿诏蹖 賳賵蹖爻賳丿賴鈥屫� 賲蹖鈥屫堎嗁� 賲丕丿賴鈥屰� 禺丕賲 亘丕卮賴 賵丕爻賴 蹖賴 丿乇蹖趩賴鈥屰� 噩丿蹖丿 亘乇丕蹖 賲賵囟賵毓 賲鬲賳. 亘乇丕蹖 賴賲蹖賳 亘丕蹖丿 賯丿乇 丕爻蹖鈥屬嗁堐屫斥€屬囏й� 禺賵亘 乇賵 丿賵賳爻鬲. 亘蹖賳 賳賲賵賳賴鈥屬囏й� 丕蹖乇丕賳蹖 丕爻蹖鈥屬嗁堐屫斥€屬囏й� 賲賵賮賯 "丕丨賲丿 丕禺賵鬲" 賵 賲鬲賳鈥屬囏й� 亘蹖鈥屬嗀港屫必� 鬲賵蹖 賲噩賱賴鈥屰� "爻蹖賳賲丕 賵 丕丿亘蹖丕鬲" 丕賵賳鈥屬傌� 亘乇丕賲 噩匕丕亘蹖鬲 丿丕乇賴 讴賴 丿乇 丨丕賱 丨丕囟乇 鬲賳賴丕 讴爻蹖 賴爻鬲 讴賴 亘賴 賲毓賳蹖 賵丕賯毓蹖 讴賱賲賴 賲賳鬲馗乇 禺賵賳丿賳 賲鬲賳 亘毓丿蹖卮賲
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賵 丕賲丕 毓賱蹖賴 鬲賮爻蹖乇
丕诏賴 卮賲丕 賴賲 毓賱丕賯賴鈥屰� 賵丕賮乇蹖 丿丕乇蹖丿 亘賴 夭賲夭賲賴 讴乇丿賳 噩賲賱賴鈥屰� "诏賵乇 亘丕乇 賳馗乇蹖賴鈥屰� 賲乇诏 賲賵賱賮" 爻賵夭丕賳 爻賵賳鬲丕诏 賴賲 蹖讴蹖 丕夭 賴賲蹖賳 丌丿賲鈥屬囏й� 丿賵爻鬲鈥屫ж簇嗃� 賲蹖卮賴 亘乇丕鬲賵賳. 毓賱蹖賴 鬲賮爻蹖乇 賲噩賲賵毓賴鈥屰� 賲鬲賵賳蹖 賴爻鬲 讴賴 爻賵夭丕賳 爻賵賳鬲丕诏 亘蹖賳 爻丕賱鈥屬囏й� 1962 鬲丕 1965 丿乇 賲賵丕噩賴賴 亘丕 丿賳蹖丕蹖 賲丿乇賳 倬蹖卮 乇賵卮 賯賱賲蹖 讴乇丿賴. 讴鬲丕亘蹖 讴賴 鬲賵卮 賴賲 丕夭 丕丿亘蹖丕鬲 丨乇賮 夭丿賴貙 賴賲 丕夭 賳賲丕蹖卮 賵 乇丕亘胤賴鈥屫� 亘丕 丕丿亘蹖丕鬲 賳賲丕蹖卮蹖貙 賴賲 丕夭 爻蹖賳賲丕 賵 賴賲 丕夭 賴賳乇賴丕蹖 鬲噩爻賲蹖. 鬲賳賴丕 丨賱賯賴鈥屰� 賵氐賱 丕蹖賳 丕爻蹖鈥屬囏� 卮丕蹖丿 賳诏丕賴 賮乇賲丕賱蹖爻鬲蹖 賳賵蹖爻賳丿賴 亘賴 丕蹖賳 倬丿蹖丿賴鈥屬囏� 亘丕卮賴 讴賴 賵噩賴 鬲卅賵乇蹖讴卮 乇賵 鬲賵蹖 丕賵賱蹖賳 賲鬲賳 讴鬲丕亘 亘爻胤 丿丕丿賴.
丕賲丕 賮丕乇睾 丕夭 丕蹖賳 賲爻丕賱賴 賵賯鬲蹖 丕蹖賳 賲噩賲賵毓賴 乇賵 賲蹖鈥屫堎嗃� [丨鬲蹖 亘禺卮鈥屬囏й� 賲乇亘賵胤 亘賴 鬲丨賱蹖賱 丕噩乇丕蹖 禺丕氐 蹖讴 诏乇賵賴 賳賲丕蹖卮蹖 丕夭 蹖賴 賳賲丕蹖卮賳丕賲賴 賵 賲賯丕蹖爻賴鈥屰� 丕賵賳 亘丕 丕噩乇丕賴丕蹖 丿蹖诏賴 讴賴 賲禺丕胤亘蹖賳 丕氐賱蹖卮 禺賵丕賳賳丿賴鈥屬囏й� 賴賲鈥屫关地� 賳賵蹖爻賳丿賴 賴爻鬲賳] 丿賳蹖丕蹖蹖 噩賱賵鬲 鬲乇爻蹖賲 賲蹖卮賴 讴賴 丿賵爻 丿丕乇蹖 亘蹖卮鬲乇 亘卮賳丕爻蹖卮. 亘乇丕蹖 丿乇讴 亘賴鬲乇 丕蹖賳 賲鬲賳鈥屬囏� 卮丕蹖丿 賳蹖丕夭 亘丕卮賴 讴賴 亘丕 丕乇噩丕毓丕鬲 亘蹖鈥屬矩й屫з嗀� 禺氐賵氐蹖鬲蹖 丿丕卮鬲賴 亘丕卮蹖. 丕賲丕 丕蹖賳 賲爻丕賱賴 丕賵賳鈥屬傌� 丨丕丿 賳蹖爻鬲 讴賴 丕蹖賳 賲鬲賳 乇賵 亘賴 蹖賴 賲鬲賳 氐乇賮丕 賵丕亘爻鬲賴 亘賴 賲鬲賳 丕氐賱蹖 鬲亘丿蹖賱 讴賳賴 賵 賴賲蹖賳 賯丕亘賱蹖鬲貙 讴鬲丕亘 乇賵 亘乇丕蹖 蹖賴 賲禺丕胤亘 睾蹖乇賲鬲禺氐氐 亘賴 蹖賴 丕孬乇 禺賵賳丿賳蹖 鬲亘丿蹖賱 賲蹖鈥屭┵嗁囏� 讴鬲丕亘蹖 讴賴 賲蹖卮賴 亘毓丿賴丕 亘丕乇賴丕 賵 亘丕乇賴丕 亘賴卮 亘乇诏卮鬲
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丌禺乇 讴丕乇
丿賵爻鬲 丿丕乇賲 賴賲賵賳鈥屫堌臂� 讴賴 鬲賵 丕爻鬲鬲賵爻鈥屬囏� 卮乇賵毓卮 讴乇丿賲 賴賲賵賳鈥屫堌臂� 賴賲 鬲賲賵賲 讴賳賲:
賳賵蹖爻賳丿賴鈥屫й� 讴賴 禺賵亘 亘賵 賲蹖鈥屭┴促�+ 賲鬲乇噩賲蹖 讴賴 讴鬲丕亘 乇賵 賮賴賲蹖丿賴+ 胤乇丕丨蹖 噩賱丿 賵 毓胤賮 賵 倬卮鬲 噩賱丿 亘蹖鈥屬嗀港屫�+ 賯胤毓 讴鬲丕亘 丿乇 丕賳丿丕夭賴鈥屰� 賲賳丕爻亘+ 噩賳爻 讴丕睾匕 毓丕賱蹖 [賵 賳賴 賱夭賵賲丕 亘丕 讴蹖賮蹖鬲]+ 丕夭 賴賲賴 賲賴賲鈥屫� 讴鬲丕亘 亘賵蹖 禺賵亘 丿丕乇賴
=
丕蹖賳 蹖賴 讴鬲丕亘 禺丕賱蹖 賳蹖爻鬲貙 蹖賴 卮丕賴讴丕乇 "鬲賵賱蹖丿" 賴爻鬲
賲丕卮丕丕賱賴 亘賴 賳卮乇 亘蹖丿诏賱
賯亘賱丕 趩賳丿亘丕乇蹖 賳賵卮鬲賲 讴賴 趩賯丿乇 賯丕賱亘 丕爻蹖 乇賵 丿賵爻鬲 丿丕乇賲. 丿賱丕蹖賱卮 賴乇 趩蹖 亘丕卮賴 賲胤賲卅賳丕 賲賴賲鈥屫臂屬嗀� 亘賴 丕蹖賳 亘乇賲蹖鈥屭必� 讴賴 蹖賴 丕爻蹖 禺賵亘 賳蹖丕夭 丿丕乇賴 亘賴 蹖賴 丕爻蹖鈥屬嗁堐屫� 噩丕賱亘. 賴蹖趩 鬲囟賲蹖賳蹖 賵噩賵丿 賳丿丕乇賴 讴賴 賳賵蹖爻賳丿賴鈥屰� 蹖賴 賲賯丕賱賴鈥屰� 丌讴丕丿賲蹖讴 丿乇禺卮丕賳 蹖賴 丌丿賲 丿賵爻鬲鈥屫ж簇嗃� 亘丕卮賴. 丕賲丕 禺丕氐蹖鬲 丕爻蹖 禺賵亘 丕蹖賳賴 讴賴 賳蹖丕夭 丿丕乇賴 賳賵蹖爻賳丿賴鈥屫� 亘丕夭蹖诏賵卮鈥屫� 賵 爻乇 亘賴 賴賵丕鬲乇 賵 亘丕賳賲讴鈥屫� 丕夭 蹖賴 賲賯丕賱賴鈥屬嗁堐屫� 賵 亘丕賴賵卮鈥屫� 賵 毓賲蹖賯鈥屫� 賵 鬲蹖夭亘蹖賳鈥屫� 丕夭 蹖賴 爻鬲賵賳鈥屬嗁堐屫� 亘丕卮賴. 胤亘蹖毓鬲丕 鬲賵蹖 丕爻蹖 賳亘丕蹖丿 丿賳亘丕賱 丕賮讴丕乇 賵 丌乇丕蹖 丕氐蹖賱 (亘賴 賮乇囟 丕蹖賳鈥屭┵� 丌乇丕蹖 丕氐蹖賱蹖 賵噩賵丿 丿丕卮鬲賴 亘丕卮賳) 诏卮鬲. 丕賲丕 亘毓蹖丿 賴爻鬲 讴賴 蹖賴 丕爻蹖 禺賵亘 乇賵 禺賵賳丿 賵 亘毓丿 丕夭 鬲賲賵賲 卮丿賳卮 賮讴乇 禺賵賳丿賳 趩賳丿 鬲丕 讴鬲丕亘 蹖丕 丿蹖丿賳 趩賳丿 鬲丕 賮蹖賱賲 禺賵亘 乇賵 賳丿丕卮鬲. 丕爻蹖鈥屬嗁堐屫驰� 讴丕乇 趩賳丿丕賳 丌爻賵賳蹖 賳蹖爻鬲貙 亘賴 卮丿鬲 亘丕 爻亘讴 夭賳丿诏蹖 賳賵蹖爻賳丿賴鈥屫� 诏乇賴 禺賵乇丿賴 賵 賴賲賴鈥屰� 噩賵丕賳亘 夭賳丿诏蹖 賳賵蹖爻賳丿賴鈥屫� 賲蹖鈥屫堎嗁� 賲丕丿賴鈥屰� 禺丕賲 亘丕卮賴 賵丕爻賴 蹖賴 丿乇蹖趩賴鈥屰� 噩丿蹖丿 亘乇丕蹖 賲賵囟賵毓 賲鬲賳. 亘乇丕蹖 賴賲蹖賳 亘丕蹖丿 賯丿乇 丕爻蹖鈥屬嗁堐屫斥€屬囏й� 禺賵亘 乇賵 丿賵賳爻鬲. 亘蹖賳 賳賲賵賳賴鈥屬囏й� 丕蹖乇丕賳蹖 丕爻蹖鈥屬嗁堐屫斥€屬囏й� 賲賵賮賯 "丕丨賲丿 丕禺賵鬲" 賵 賲鬲賳鈥屬囏й� 亘蹖鈥屬嗀港屫必� 鬲賵蹖 賲噩賱賴鈥屰� "爻蹖賳賲丕 賵 丕丿亘蹖丕鬲" 丕賵賳鈥屬傌� 亘乇丕賲 噩匕丕亘蹖鬲 丿丕乇賴 讴賴 丿乇 丨丕賱 丨丕囟乇 鬲賳賴丕 讴爻蹖 賴爻鬲 讴賴 亘賴 賲毓賳蹖 賵丕賯毓蹖 讴賱賲賴 賲賳鬲馗乇 禺賵賳丿賳 賲鬲賳 亘毓丿蹖卮賲
.
賵 丕賲丕 毓賱蹖賴 鬲賮爻蹖乇
丕诏賴 卮賲丕 賴賲 毓賱丕賯賴鈥屰� 賵丕賮乇蹖 丿丕乇蹖丿 亘賴 夭賲夭賲賴 讴乇丿賳 噩賲賱賴鈥屰� "诏賵乇 亘丕乇 賳馗乇蹖賴鈥屰� 賲乇诏 賲賵賱賮" 爻賵夭丕賳 爻賵賳鬲丕诏 賴賲 蹖讴蹖 丕夭 賴賲蹖賳 丌丿賲鈥屬囏й� 丿賵爻鬲鈥屫ж簇嗃� 賲蹖卮賴 亘乇丕鬲賵賳. 毓賱蹖賴 鬲賮爻蹖乇 賲噩賲賵毓賴鈥屰� 賲鬲賵賳蹖 賴爻鬲 讴賴 爻賵夭丕賳 爻賵賳鬲丕诏 亘蹖賳 爻丕賱鈥屬囏й� 1962 鬲丕 1965 丿乇 賲賵丕噩賴賴 亘丕 丿賳蹖丕蹖 賲丿乇賳 倬蹖卮 乇賵卮 賯賱賲蹖 讴乇丿賴. 讴鬲丕亘蹖 讴賴 鬲賵卮 賴賲 丕夭 丕丿亘蹖丕鬲 丨乇賮 夭丿賴貙 賴賲 丕夭 賳賲丕蹖卮 賵 乇丕亘胤賴鈥屫� 亘丕 丕丿亘蹖丕鬲 賳賲丕蹖卮蹖貙 賴賲 丕夭 爻蹖賳賲丕 賵 賴賲 丕夭 賴賳乇賴丕蹖 鬲噩爻賲蹖. 鬲賳賴丕 丨賱賯賴鈥屰� 賵氐賱 丕蹖賳 丕爻蹖鈥屬囏� 卮丕蹖丿 賳诏丕賴 賮乇賲丕賱蹖爻鬲蹖 賳賵蹖爻賳丿賴 亘賴 丕蹖賳 倬丿蹖丿賴鈥屬囏� 亘丕卮賴 讴賴 賵噩賴 鬲卅賵乇蹖讴卮 乇賵 鬲賵蹖 丕賵賱蹖賳 賲鬲賳 讴鬲丕亘 亘爻胤 丿丕丿賴.
丕賲丕 賮丕乇睾 丕夭 丕蹖賳 賲爻丕賱賴 賵賯鬲蹖 丕蹖賳 賲噩賲賵毓賴 乇賵 賲蹖鈥屫堎嗃� [丨鬲蹖 亘禺卮鈥屬囏й� 賲乇亘賵胤 亘賴 鬲丨賱蹖賱 丕噩乇丕蹖 禺丕氐 蹖讴 诏乇賵賴 賳賲丕蹖卮蹖 丕夭 蹖賴 賳賲丕蹖卮賳丕賲賴 賵 賲賯丕蹖爻賴鈥屰� 丕賵賳 亘丕 丕噩乇丕賴丕蹖 丿蹖诏賴 讴賴 賲禺丕胤亘蹖賳 丕氐賱蹖卮 禺賵丕賳賳丿賴鈥屬囏й� 賴賲鈥屫关地� 賳賵蹖爻賳丿賴 賴爻鬲賳] 丿賳蹖丕蹖蹖 噩賱賵鬲 鬲乇爻蹖賲 賲蹖卮賴 讴賴 丿賵爻 丿丕乇蹖 亘蹖卮鬲乇 亘卮賳丕爻蹖卮. 亘乇丕蹖 丿乇讴 亘賴鬲乇 丕蹖賳 賲鬲賳鈥屬囏� 卮丕蹖丿 賳蹖丕夭 亘丕卮賴 讴賴 亘丕 丕乇噩丕毓丕鬲 亘蹖鈥屬矩й屫з嗀� 禺氐賵氐蹖鬲蹖 丿丕卮鬲賴 亘丕卮蹖. 丕賲丕 丕蹖賳 賲爻丕賱賴 丕賵賳鈥屬傌� 丨丕丿 賳蹖爻鬲 讴賴 丕蹖賳 賲鬲賳 乇賵 亘賴 蹖賴 賲鬲賳 氐乇賮丕 賵丕亘爻鬲賴 亘賴 賲鬲賳 丕氐賱蹖 鬲亘丿蹖賱 讴賳賴 賵 賴賲蹖賳 賯丕亘賱蹖鬲貙 讴鬲丕亘 乇賵 亘乇丕蹖 蹖賴 賲禺丕胤亘 睾蹖乇賲鬲禺氐氐 亘賴 蹖賴 丕孬乇 禺賵賳丿賳蹖 鬲亘丿蹖賱 賲蹖鈥屭┵嗁囏� 讴鬲丕亘蹖 讴賴 賲蹖卮賴 亘毓丿賴丕 亘丕乇賴丕 賵 亘丕乇賴丕 亘賴卮 亘乇诏卮鬲
.
丌禺乇 讴丕乇
丿賵爻鬲 丿丕乇賲 賴賲賵賳鈥屫堌臂� 讴賴 鬲賵 丕爻鬲鬲賵爻鈥屬囏� 卮乇賵毓卮 讴乇丿賲 賴賲賵賳鈥屫堌臂� 賴賲 鬲賲賵賲 讴賳賲:
賳賵蹖爻賳丿賴鈥屫й� 讴賴 禺賵亘 亘賵 賲蹖鈥屭┴促�+ 賲鬲乇噩賲蹖 讴賴 讴鬲丕亘 乇賵 賮賴賲蹖丿賴+ 胤乇丕丨蹖 噩賱丿 賵 毓胤賮 賵 倬卮鬲 噩賱丿 亘蹖鈥屬嗀港屫�+ 賯胤毓 讴鬲丕亘 丿乇 丕賳丿丕夭賴鈥屰� 賲賳丕爻亘+ 噩賳爻 讴丕睾匕 毓丕賱蹖 [賵 賳賴 賱夭賵賲丕 亘丕 讴蹖賮蹖鬲]+ 丕夭 賴賲賴 賲賴賲鈥屫� 讴鬲丕亘 亘賵蹖 禺賵亘 丿丕乇賴
=
丕蹖賳 蹖賴 讴鬲丕亘 禺丕賱蹖 賳蹖爻鬲貙 蹖賴 卮丕賴讴丕乇 "鬲賵賱蹖丿" 賴爻鬲
賲丕卮丕丕賱賴 亘賴 賳卮乇 亘蹖丿诏賱
February 2, 2022
鈥淭o interpret is to impoverish, to deplete the world鈥攊n order to set up a shadow world of 鈥渕eanings.鈥�
Susan Sontag's Against Interpretation and Other Essays offers an intellectual back and forth on how to approach art and ends up showing us, above all else, a mind at work. That was really the most fun part of this. In the opening essay, Sontag argues that interpretation is an act that replaces the meaning of art, be it writing, theater, film or painting. I like the point Sontag makes, and understand that any interpretation or review we read colors how we come to a work of art, but I don't see this as something that necessarily limits our experience. In fact, Sontag's other essays in this collection add new dimensions to how I will experience writers such as Marcel Proust, Albert Camus and Jean-Paul Sartre among others.
鈥淎 work of art encountered as a work of art is an experience, not a statement or an answer to a question. Art is not only about something; it is something. A work of art is a thing _in_ the world, not just a text or commentary _on_ the world.鈥�
Susan Sontag's Against Interpretation and Other Essays offers an intellectual back and forth on how to approach art and ends up showing us, above all else, a mind at work. That was really the most fun part of this. In the opening essay, Sontag argues that interpretation is an act that replaces the meaning of art, be it writing, theater, film or painting. I like the point Sontag makes, and understand that any interpretation or review we read colors how we come to a work of art, but I don't see this as something that necessarily limits our experience. In fact, Sontag's other essays in this collection add new dimensions to how I will experience writers such as Marcel Proust, Albert Camus and Jean-Paul Sartre among others.
鈥淎 work of art encountered as a work of art is an experience, not a statement or an answer to a question. Art is not only about something; it is something. A work of art is a thing _in_ the world, not just a text or commentary _on_ the world.鈥�
July 31, 2023
Fire葯te, Susan Sontag nu e 卯mpotriva oric膬rui fel de interpretare. Putem citi 卯n multe feluri, nu toate ne s卯nt interzise (葯i nu toate ne s卯nt de folos). Ea denun葲膬 doar arbitrariul interpret膬rilor alegorice.
Din p膬cate, astfel de interpret膬ri se mai practic膬 葯i ast膬zi 卯n 葯colile de pretutindeni. Ele 卯ncep cu 卯ntrebarea ritualic膬: 鈥濪ar ce simbolizeaz膬 X, nu cumva X nu e de fapt X, ci Y?鈥�. Acesta este un prim pas 卯n substituirea termenilor dintr-un text literar. 脦n C卯ntarea c卯nt膬rilor, de exemplu, exege葲ii pretind c膬 p膬zitoarea viei, Shulamith, simbolizeaz膬 Biserica, iar p膬storul 卯l reprezint膬 pe Iisus Christos. 脦n葲elesul acestui poem erotic (ame葲itor de frumos!) este ocultat 卯n favoarea unui 卯n葲eles 鈥瀞piritual鈥�, pudic 葯i acceptabil pentru to葲i. 脦n opinia lui Susan Sontag, o astfel de lectur膬 constituie o 鈥瀉gresiune鈥� 葯i arat膬 un 鈥瀌ispre葲 neascuns fa葲膬 de aparen葲a鈥�, eviden葲a textului.
Un pasaj: 鈥濫xist膬 situa葲ii 卯n care, dintr-un motiv sau altul, un text a devenit inacceptabil; dar el nu poate fi respins. Interpretarea [alegoric膬] este o strategie radical膬 pentru a p膬stra un text vechi, considerat prea pre葲ios pentru a fi repudiat, prin renovarea lui. F膬r膬 a 葯terge sau rescrie textul, interpretul 卯l altereaz膬. 脦ns膬 el nu poate admite acest fapt. Pretinde c膬 卯l face doar inteligibil, dezv膬luindu-i adev膬ratul sens. Oric卯t de mult altereaz膬 interpre葲ii textul (un exemplu cunoscut 卯l constituie interpret膬rile rabinice 葯i cre葯tine ale C卯nt膬rii c卯nt膬rilor, un text explicit erotic), ei trebuie s膬 pretind膬 c膬 citesc un sens deja existent鈥� (p.16).
葮i 卯nc膬 unul: 鈥濷pera lui Kafka a fost supus膬 unui adev膬rat viol 卯n mas膬 de c膬tre nu mai pu葲in de trei armate de interpre葲i. Cei care-l citesc pe Kafka drept o alegorie social膬 v膬d studii de caz ale frustr膬rilor 葯i absurdit膬葲ii nebune葯ti ale birocra葲iei moderne 葯i ale manifest膬rii ei ultime 卯n statul totalitar. Cei care-l citesc pe Kafka drept o alegorie psihanalitic膬 v膬d dezv膬luiri disperate ale spaimei 卯n fa葲a tat膬lui, anxiet膬葲i de castrare, sentimentul propriei neputin葲e, starea sa de sclav al propriilor vise. Cei care-l citesc pe Kafka drept alegorie religioas膬 arat膬 cum K. din Castelul 卯ncearc膬 s膬 ob葲in膬 accesul 卯n ceruri, cum Joseph K. din Procesul este judecat de tainica 葯i inexorabila dreptate a lui Dumnezeu...鈥� (pp.18-19, ambele citate s卯nt din eseul 鈥灻巑potriva interpret膬rii鈥�, edi葲ia din 2000 de la Univers).
Din p膬cate, astfel de interpret膬ri se mai practic膬 葯i ast膬zi 卯n 葯colile de pretutindeni. Ele 卯ncep cu 卯ntrebarea ritualic膬: 鈥濪ar ce simbolizeaz膬 X, nu cumva X nu e de fapt X, ci Y?鈥�. Acesta este un prim pas 卯n substituirea termenilor dintr-un text literar. 脦n C卯ntarea c卯nt膬rilor, de exemplu, exege葲ii pretind c膬 p膬zitoarea viei, Shulamith, simbolizeaz膬 Biserica, iar p膬storul 卯l reprezint膬 pe Iisus Christos. 脦n葲elesul acestui poem erotic (ame葲itor de frumos!) este ocultat 卯n favoarea unui 卯n葲eles 鈥瀞piritual鈥�, pudic 葯i acceptabil pentru to葲i. 脦n opinia lui Susan Sontag, o astfel de lectur膬 constituie o 鈥瀉gresiune鈥� 葯i arat膬 un 鈥瀌ispre葲 neascuns fa葲膬 de aparen葲a鈥�, eviden葲a textului.
Un pasaj: 鈥濫xist膬 situa葲ii 卯n care, dintr-un motiv sau altul, un text a devenit inacceptabil; dar el nu poate fi respins. Interpretarea [alegoric膬] este o strategie radical膬 pentru a p膬stra un text vechi, considerat prea pre葲ios pentru a fi repudiat, prin renovarea lui. F膬r膬 a 葯terge sau rescrie textul, interpretul 卯l altereaz膬. 脦ns膬 el nu poate admite acest fapt. Pretinde c膬 卯l face doar inteligibil, dezv膬luindu-i adev膬ratul sens. Oric卯t de mult altereaz膬 interpre葲ii textul (un exemplu cunoscut 卯l constituie interpret膬rile rabinice 葯i cre葯tine ale C卯nt膬rii c卯nt膬rilor, un text explicit erotic), ei trebuie s膬 pretind膬 c膬 citesc un sens deja existent鈥� (p.16).
葮i 卯nc膬 unul: 鈥濷pera lui Kafka a fost supus膬 unui adev膬rat viol 卯n mas膬 de c膬tre nu mai pu葲in de trei armate de interpre葲i. Cei care-l citesc pe Kafka drept o alegorie social膬 v膬d studii de caz ale frustr膬rilor 葯i absurdit膬葲ii nebune葯ti ale birocra葲iei moderne 葯i ale manifest膬rii ei ultime 卯n statul totalitar. Cei care-l citesc pe Kafka drept o alegorie psihanalitic膬 v膬d dezv膬luiri disperate ale spaimei 卯n fa葲a tat膬lui, anxiet膬葲i de castrare, sentimentul propriei neputin葲e, starea sa de sclav al propriilor vise. Cei care-l citesc pe Kafka drept alegorie religioas膬 arat膬 cum K. din Castelul 卯ncearc膬 s膬 ob葲in膬 accesul 卯n ceruri, cum Joseph K. din Procesul este judecat de tainica 葯i inexorabila dreptate a lui Dumnezeu...鈥� (pp.18-19, ambele citate s卯nt din eseul 鈥灻巑potriva interpret膬rii鈥�, edi葲ia din 2000 de la Univers).
August 7, 2015
None of us can ever retrieve that innocence before all theory when art knew no need to justify itself, when one did not ask of a work of art what it said because one knew what it did. From now to the end of consciousness, we are stuck with the task of defending art.I ended up finding 'Against Interpretation' useful. Its central claim is that there is a kind of interpretation that is anti-art in that it diminishes the possibilities for appreciating/enjoying/experiencing the art rather than increasing them, which is what criticism (I would still say interpretation*) should (probably) do. I have no longer any anxiety on behalf of the author, but I still generally dislike the kind of interpretation that Sontag seems to be talking about; the kind that says one thing is another in a text and tyrannically insists on this translation. She argues that even if the interpretation that A Streetcar Named Desire is about the decline of Western civilization rather than this encounter between two interesting characters is 'correct' in the sense of being intended and implicit, this is precisely what is weak and 'contrived' about it. In my review of To the Lighthouse I felt the need to criticise both of the introductions, which I suppose is me fighting on behalf of the text or of my experience of the text. I evidently feel that something I want to remain open is being closed down when a psychoanalytic interpretation (for instance) is advanced.
However, I am eager to read interpretation and criticism - this is definitely part of my pleasure in the text (Sontag ends by saying 'we need an erotics of art rather than a hermeneutics'), not only a way to get more pleasure out of it. Considering Zadie Smith's introduction to Their Eyes were Watching God I can think of the text as a mountain, which has a nice easy path over it, and Smith's introduction as a kit which contains a map to find the hidden caves and a torch to illuminate their beautiful interiors. So Smith helps me to get more out of reading Hurston, but her intro is art in itself (it is aesthetic; Sontag says the aesthetic is 'that which needs no justification'). I'd say criticism/interpretation helps me rather than hinders/irritates me more than half of the time... I don't think the value of the critic is so low
(((*I am very keen on the word 'interpretation'. The specific meaning it has in museums (phenomenology!) for me from my background (my mum is a heritage educator and I volunteered with her often for many years) is probably a reason for this; when I go to an exhibition I talk about the interpretation - the British Museum have a very high standard of interpretation; if you visited the Ice Age Art exhibition you will remember how much interpretation there was, and how much was needed, to enable such a coherent, pungent (can I say that? I could smell blood and salt in that exhibition...) experience out of a small collection of tiny objects which, the interpretation text repeatedly admitted, WE LACK THE ABILITY TO DECODE in terms of what they 'really' meant to the people who made and used them. Conversely, in many museums stuff is heaped up in glass cases with labels like 'brass, c.1500'. Unless an object has overwhelming aesthetic qualities, creative interpretation by people with learning and passion is a necessary bridge for most of us to experience more than a sort of obligatory, intimidated STUDIUM in its presence. Some people find the British Museum's approach overbearing, but I disagree; I think it's ableist and elitist and ethnocentric to insist that the objects should 'speak for themselves'. For most of us, they will remain silent.)))
((I now have a better way to describe my resistance to The Unbearable Lightness of Being: Sontag describes Thomas Mann (who I haven't read) hilariously as 'overcooperative' in that he inserts intimations of the correct interpretation into his texts. This is exactly what Kundera does that I dislike!))
The second essay 鈥極n Style鈥� is about the false dichotomy of form and content, and her prescription to critics to think more about the former, because our idea of content, especially as something hidden inside form or style is a hindrance. It makes us think of an art work as a statement somehow packaged. Sontag tries to explain why there is no distinction between ethics and aesthetics, but somehow I can鈥檛 get a handle on her treatment of this. Later on in another essay 鈥極ne culture and the new sensibility鈥� she says most artists have abandoned the 鈥楳atthew Arnold idea of culture', which is 鈥榓rt as the criticism of life鈥� understood as the propounding of moral, social and political ideas鈥�. In Status Anxiety Alain de Botton explains the view that Arnold sets out in Culture and Anarchy like this: 鈥渁rt as a protest against the state of things, an effort to correct our insights or to educate us to perceive beauty, to help us understand pain or to reignite our sensitivities, to nurture our capacity for empathy or to rebalance our moral perspective.鈥� I鈥檓 not sure who is making mush here, because Sontag argues in 鈥極n Style鈥� that art can teach us to be more ethical because the mode of being needed to contemplate art is a useful rehearsal for the mode required for ethical behaviour, which is just a 鈥榝orm of acting鈥� or 鈥榗ode of acts鈥�, and goes on to say in many of these essays that art 'educates the feelings', 'nourishes' us, 'sends us out refreshed'. This seems close to de Botton鈥檚 notes on Arnold, to me at least. It suggests the difference is of degree and there is a sort of continuum between socialist realism at one end and Oscar Wilde at the other, but Sontag seems to be aiming for a more radical reassessment. I鈥檓 troubled by Sontag鈥檚 rejection of art-as-argument, as I鈥檓 not satisfied with her account of morality. It remains my obsession to see the political and ethical in everything. If someone can write that 鈥榖eing a feminist is passe鈥� then I can鈥檛 trust her.
I enjoyed her comments on the 鈥榓rbitrary and unjustifiable鈥� in works of art. She argues that what is inevitable in a work of art is its style, an expression of the author鈥檚 will. Her main purpose in 'On Style' is, I think, to advise critics to find form in content rather than the converse. The rest of the book is mainly criticism of theatre, film and other works in which she apparently tests her own medicine. It sounds good, if you don鈥檛 mind being told flatly and frequently that some work is brilliant or vile鈥� I have seen/read little of the material she reviews; I鈥檓 unhappy with her negative critique of an exception to that: James Baldwin, and I was unable to get through some of the literature she recommends that I sought out! However, her 鈥楴otes on 鈥淐amp鈥濃€� is rightly famous I think; it shows great sensitivity and acuity that she can delineate it so gracefully.
Writing in the sixties, she found nothing going on in literature. The novel is dead, she would have agreed. Innovations in form were the leading edge, and literature lagged. I wonder if she would say that now.
Despite reservations, I feel a sharp, refreshing breeze blowing on my face; Sontag opened a window.
September 1, 2017
Against Interpretation and Other Essays, Susan Sontag
Against Interpretation is a collection of essays by Susan Sontag published in 1966. It includes some of Sontag's best-known works, including "On Style," and the eponymous essay "Against Interpretation." In the last, Sontag argues that in the new approach to aesthetics the spiritual importance of art is being replaced by the emphasis on the intellect. Rather than recognizing great creative works as possible sources of energy, she argues, contemporary critics were all too often taking art's transcendental power for granted, and focusing instead on their own intellectually constructed abstractions like "form" and "content." In effect, she wrote, interpretation had become "the intellect's revenge upon art." The essay famously finishes with the words, "in place of a hermeneutics we need an erotics of art". The book was a finalist for the Arts and Letters category of the National Book Award.
Contents: Against interpretation; On style; The artist as exemplary sufferer; Simone Weil
Camus' Notebooks; Michel Leiris' Manhood; The anthropologist as hero; The literary criticism of Georg Lukacs; Sartre's Saint Genet; Nathalie Sarraute and the novel; Ionesco; Reflections on The Deputy; The death of tragedy; Going to theater, etc.; Marat/Sade/Artaud; Spiritual style in the films of Robert Bresson; Godard's Vivre Sa Vie; The imagination of disaster; Jack Smith's Flaming Creatures; Resnais' Muriel; A note on novels and films; Piety without content; Psychoanalysis and Norman Brown's Life Against Death: The Psychoanalytic Meaning of History; Happenings: an art of radical juxtaposition; Notes on "Camp"; One culture and the new sensibility; Afterword: Thirty Years Later.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賴噩丿賴賲 賲丕賴 賳賵丕賲亘乇 爻丕賱 2015 賲蹖賱丕丿蹖
毓賳賵丕賳: 毓賱賷賴 鬲賮爻賷乇貨 賳賵蹖爻賳丿賴: 爻賵夭丕賳 爻丕賳鬲丕诏貨 賲鬲乇噩賲: 賲噩蹖丿 丕禺诏乇貨 鬲賴乇丕賳貙 亘蹖丿诏賱貙 1394貙 丿乇 435 氐貨 卮丕亘讴: 9786005193886貨 賲賵囟賵毓: 鬲丕乇蹖禺 賵 賳賯丿 丕丿亘蹖丕鬲 噩丿蹖丿 賯乇賳 20 賲
毓賱賷賴 鬲賮爻賷乇貙 賲噩賲賵毓賴 丕蹖 丕夭 賳賯丿賴丕 賵 鬲丨賱蹖賱賴丕蹖蹖 爻鬲 讴賴 爻丕賳鬲丕诏 丿乇 賮丕氐賱賴 爻丕賱賴丕蹖 1962 鬲丕 1965 賲蹖賱丕丿蹖 賳诏丕卮鬲賴 丕爻鬲. 賲賯丕賱丕鬲 亘賴 賳賯丿 賵 亘乇乇爻蹖 讴鬲丕亘鈥屬囏ж� 乇爻丕賱賴鈥� 賴丕 賵 亘賷丕賳賷賴鈥� 賴丕蹖 賳賵賷爻賳丿诏丕賳 賵 賮賷賱爻賵賮丕賳 賲卮賴賵乇蹖 趩賵賳: 跇丕賳 倬賱 爻丕乇鬲乇貙 丌賱亘乇 讴丕賲賵貙 丌賳鬲賵賳賳 丌乇鬲賵 (賲亘丿毓 鬲卅丕鬲乇 禺卮賵賳鬲)貙 倬賷鬲乇 賵丕賷爻貙 丕賵跇賳 賷賵賳爻讴賵貙 诏卅賵乇诏 賱賵讴丕趩貙 趩夭丕乇賴 倬丕賵夭賴貙 賳丕鬲丕賱蹖 爻丕乇賵鬲 賵... 丕爻鬲. 賴賲趩賳賷賳 亘乇禺蹖 賲賯丕賱丕鬲 讴鬲丕亘 賳賷夭 亘賴 賳賯丿 賵 亘乇乇爻蹖 丌孬丕乇 賮賷賱賲爻丕夭丕賳蹖 賴賲趩賵賳: 乇賵亘乇 亘乇爻賵賳貙 賵 跇丕賳 賱賵讴 诏丿丕乇 賭賭 爻賷賳賲丕诏乇丕賳 亘乇噩爻鬲賴 賮乇丕賳爻賵蹖 賭賭 丕禺鬲氐丕氐 丿丕乇丿. 丕. 卮乇亘蹖丕賳蹖
Against Interpretation is a collection of essays by Susan Sontag published in 1966. It includes some of Sontag's best-known works, including "On Style," and the eponymous essay "Against Interpretation." In the last, Sontag argues that in the new approach to aesthetics the spiritual importance of art is being replaced by the emphasis on the intellect. Rather than recognizing great creative works as possible sources of energy, she argues, contemporary critics were all too often taking art's transcendental power for granted, and focusing instead on their own intellectually constructed abstractions like "form" and "content." In effect, she wrote, interpretation had become "the intellect's revenge upon art." The essay famously finishes with the words, "in place of a hermeneutics we need an erotics of art". The book was a finalist for the Arts and Letters category of the National Book Award.
Contents: Against interpretation; On style; The artist as exemplary sufferer; Simone Weil
Camus' Notebooks; Michel Leiris' Manhood; The anthropologist as hero; The literary criticism of Georg Lukacs; Sartre's Saint Genet; Nathalie Sarraute and the novel; Ionesco; Reflections on The Deputy; The death of tragedy; Going to theater, etc.; Marat/Sade/Artaud; Spiritual style in the films of Robert Bresson; Godard's Vivre Sa Vie; The imagination of disaster; Jack Smith's Flaming Creatures; Resnais' Muriel; A note on novels and films; Piety without content; Psychoanalysis and Norman Brown's Life Against Death: The Psychoanalytic Meaning of History; Happenings: an art of radical juxtaposition; Notes on "Camp"; One culture and the new sensibility; Afterword: Thirty Years Later.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賴噩丿賴賲 賲丕賴 賳賵丕賲亘乇 爻丕賱 2015 賲蹖賱丕丿蹖
毓賳賵丕賳: 毓賱賷賴 鬲賮爻賷乇貨 賳賵蹖爻賳丿賴: 爻賵夭丕賳 爻丕賳鬲丕诏貨 賲鬲乇噩賲: 賲噩蹖丿 丕禺诏乇貨 鬲賴乇丕賳貙 亘蹖丿诏賱貙 1394貙 丿乇 435 氐貨 卮丕亘讴: 9786005193886貨 賲賵囟賵毓: 鬲丕乇蹖禺 賵 賳賯丿 丕丿亘蹖丕鬲 噩丿蹖丿 賯乇賳 20 賲
毓賱賷賴 鬲賮爻賷乇貙 賲噩賲賵毓賴 丕蹖 丕夭 賳賯丿賴丕 賵 鬲丨賱蹖賱賴丕蹖蹖 爻鬲 讴賴 爻丕賳鬲丕诏 丿乇 賮丕氐賱賴 爻丕賱賴丕蹖 1962 鬲丕 1965 賲蹖賱丕丿蹖 賳诏丕卮鬲賴 丕爻鬲. 賲賯丕賱丕鬲 亘賴 賳賯丿 賵 亘乇乇爻蹖 讴鬲丕亘鈥屬囏ж� 乇爻丕賱賴鈥� 賴丕 賵 亘賷丕賳賷賴鈥� 賴丕蹖 賳賵賷爻賳丿诏丕賳 賵 賮賷賱爻賵賮丕賳 賲卮賴賵乇蹖 趩賵賳: 跇丕賳 倬賱 爻丕乇鬲乇貙 丌賱亘乇 讴丕賲賵貙 丌賳鬲賵賳賳 丌乇鬲賵 (賲亘丿毓 鬲卅丕鬲乇 禺卮賵賳鬲)貙 倬賷鬲乇 賵丕賷爻貙 丕賵跇賳 賷賵賳爻讴賵貙 诏卅賵乇诏 賱賵讴丕趩貙 趩夭丕乇賴 倬丕賵夭賴貙 賳丕鬲丕賱蹖 爻丕乇賵鬲 賵... 丕爻鬲. 賴賲趩賳賷賳 亘乇禺蹖 賲賯丕賱丕鬲 讴鬲丕亘 賳賷夭 亘賴 賳賯丿 賵 亘乇乇爻蹖 丌孬丕乇 賮賷賱賲爻丕夭丕賳蹖 賴賲趩賵賳: 乇賵亘乇 亘乇爻賵賳貙 賵 跇丕賳 賱賵讴 诏丿丕乇 賭賭 爻賷賳賲丕诏乇丕賳 亘乇噩爻鬲賴 賮乇丕賳爻賵蹖 賭賭 丕禺鬲氐丕氐 丿丕乇丿. 丕. 卮乇亘蹖丕賳蹖
April 21, 2018
A note and some acknowledgments
I
--Against interpretation
--On style
II
--The artist as exemplary sufferer
--Simone Weil
--Camus' Notebooks
--Michel Leiris' Manhood
--The anthropologist as hero
--The literary criticism of Georg Luk谩cs
--Sartre's Saint Genet
--Nathalie Sarraute and the novel
III
--Ionesco
--Reflections on The Deputy
--The death of tragedy
--Going to theater, etc.
--Marat / Sade / Artaud
IV
--Spiritual style in the films of Robert Bresson
--Godard's Vivre Sa Vie
--The imagination of disaster
--Jack Smith's Flaming Creatures
--Resnais' Muriel
--A note on novels and films
V
--Piety without content
--Psychoanalysis and Norman O. Brown's Life Against Death
--Happenings: an art of radical juxtaposition
--Notes on "Camp"
--One culture and the new sensibility
Afterword: Thirty Years Later
I
--Against interpretation
--On style
II
--The artist as exemplary sufferer
--Simone Weil
--Camus' Notebooks
--Michel Leiris' Manhood
--The anthropologist as hero
--The literary criticism of Georg Luk谩cs
--Sartre's Saint Genet
--Nathalie Sarraute and the novel
III
--Ionesco
--Reflections on The Deputy
--The death of tragedy
--Going to theater, etc.
--Marat / Sade / Artaud
IV
--Spiritual style in the films of Robert Bresson
--Godard's Vivre Sa Vie
--The imagination of disaster
--Jack Smith's Flaming Creatures
--Resnais' Muriel
--A note on novels and films
V
--Piety without content
--Psychoanalysis and Norman O. Brown's Life Against Death
--Happenings: an art of radical juxtaposition
--Notes on "Camp"
--One culture and the new sensibility
Afterword: Thirty Years Later
December 13, 2019
What a work of art does is to make us see or comprehend something singular, not judge or generalize.
To bask in intelligent discourse of literature, fine arts, and theatre, is to turn to Susan Sontag's Against Interpretations, where the cultured world is viewed aesthetically. Serious conversations elude the personal, criticism becomes communion with art, wherein the reader is almost an after-thought because the dialogue is the writer, the intellectual musing, and the subject. The prose pulsates with controlled meandering and gets to the heart of a matter that a regular observer hasn't considered.
Even if you didn't know that Sontag owned a 15,000-book personal library or that she attended numerous events and 'happenings' that made her a literary celebrity, you sense this through the exploration and confidence on the page. She was determined to exist outside of academic circles (although her writing has a pedagogical slant), outside of mainstream journalism; a "pugnacious aesthete" and "moralist," she saw herself as a "newly minted warrior in a very old battle."
There is also the thought that one wouldn't have wanted to be the writer, film director, or creator who ended up on the other end of her criticism, for her opinions slash deeply, sometimes perhaps unfairly. Her writing was deeply analytical, her thoughts sometimes ironic ("what would criticism look like that would serve the work of art, not usurp its place?"). At one point Sontag, after publishing first as a few essays, revised some passages to give her words a lesser edge, and in some cases a different meaning, but also to fit her current views, her current experiences. Although very opinionated, she was known to change her mind often. So is the metamorphosis of a writer, particularly one in the public eye, one with a life-changing illness, the same one criticized for her writing after September 11.
Whether one likes the direction of her criticism or not, whether one relishes her persuasive pedantry or not, it's clear that the essays in this collection are singular in style and uniquely relevant to time, place and culture: "the world in which these essays were written no longer exists." My favorites were "On Style," and "Camus' Notebooks."
To bask in intelligent discourse of literature, fine arts, and theatre, is to turn to Susan Sontag's Against Interpretations, where the cultured world is viewed aesthetically. Serious conversations elude the personal, criticism becomes communion with art, wherein the reader is almost an after-thought because the dialogue is the writer, the intellectual musing, and the subject. The prose pulsates with controlled meandering and gets to the heart of a matter that a regular observer hasn't considered.
Even if you didn't know that Sontag owned a 15,000-book personal library or that she attended numerous events and 'happenings' that made her a literary celebrity, you sense this through the exploration and confidence on the page. She was determined to exist outside of academic circles (although her writing has a pedagogical slant), outside of mainstream journalism; a "pugnacious aesthete" and "moralist," she saw herself as a "newly minted warrior in a very old battle."
There is also the thought that one wouldn't have wanted to be the writer, film director, or creator who ended up on the other end of her criticism, for her opinions slash deeply, sometimes perhaps unfairly. Her writing was deeply analytical, her thoughts sometimes ironic ("what would criticism look like that would serve the work of art, not usurp its place?"). At one point Sontag, after publishing first as a few essays, revised some passages to give her words a lesser edge, and in some cases a different meaning, but also to fit her current views, her current experiences. Although very opinionated, she was known to change her mind often. So is the metamorphosis of a writer, particularly one in the public eye, one with a life-changing illness, the same one criticized for her writing after September 11.
Whether one likes the direction of her criticism or not, whether one relishes her persuasive pedantry or not, it's clear that the essays in this collection are singular in style and uniquely relevant to time, place and culture: "the world in which these essays were written no longer exists." My favorites were "On Style," and "Camus' Notebooks."
July 1, 2021
In the first volume of her journal Reborn, Susan Sontag wrote that to interpret is to determine, to restrict; or to exfoliate, read meaning into. Perhaps she was deliberate in her focus on form, in her evasions of definitions within this collection of disparate essays that range from critiques of philosophy, art, movies to blatant sixties style fangirling. Perhaps it was her own refusal to be restricted, to be read into, that she transmuted into a writing that has a clear, traceable form and yet is inscrutable. There isn't a unifying theme to these essays, instead it's the contours of the form (that Sontag herself believed was of more merit in art theory than interpretation) that takes the centre stage.
You're not sure what the extensive notes on camp or the barely four-pages long essay on Simone Weil are actually supposed to mean. At least I wasn't. Instead, what resonates here is Sontag's hallmark confidence, and you're convinced that she absolutely believed in everything she wrote, everything she said. And this remarkable confidence helped me read on even when certain parts of this book got surprisingly boring.
Sontag also firmly believed that morality informs experience and that's very evident in her criticisms. She approaches each topic with a predetermined notion of style and form, almost as if the style itself selects the topics she wants to write on. But that would be a wrong interpretation. Her style of writing is so firm, so intelligent that everything else seems secondary.
You're not sure what the extensive notes on camp or the barely four-pages long essay on Simone Weil are actually supposed to mean. At least I wasn't. Instead, what resonates here is Sontag's hallmark confidence, and you're convinced that she absolutely believed in everything she wrote, everything she said. And this remarkable confidence helped me read on even when certain parts of this book got surprisingly boring.
Sontag also firmly believed that morality informs experience and that's very evident in her criticisms. She approaches each topic with a predetermined notion of style and form, almost as if the style itself selects the topics she wants to write on. But that would be a wrong interpretation. Her style of writing is so firm, so intelligent that everything else seems secondary.
April 3, 2022
Like most collections (of essays or stories), this book 鈥� Susan Sontag鈥檚 first 鈥� is uneven. Some pieces are absolutely brilliant, making me see art and culture in a whole new way, while a few are so esoteric and dull I couldn鈥檛 wait to be done with them.
What ties them together is Sontag鈥檚 erudition, passion and enthusiasm for what she鈥檚 writing about 鈥� what she鈥檚 thinking. To borrow a line from Lin-Manuel Miranda鈥檚 Hamilton, Sontag鈥檚 writing shows you a mind at work.
鈥淏efore I wrote the essays I did not believe many of the ideas espoused in them,鈥� she writes in the book鈥檚 introduction. 鈥淲hen I wrote them, I believed what I wrote; subsequently, I have come to disbelieve some of these same ideas again 鈥� but from a new perspective.鈥� I appreciate her honesty.
The essays include now-famous pieces like 鈥淣otes on 鈥楥amp鈥欌€� and 鈥淎gainst Interpretation鈥� (both timeless) as well as extended meditations on the works of Claude Levi-Strauss, Simone Weil and Nathalie Sarraute. She thinks a lot about the connections between style and content. Her taste in books and films is more European than American, with long essays 鈥� you couldn鈥檛 really call them reviews 鈥� on Sartre鈥檚 book on Jean Genet, the films of Robert Bresson and Jean-Luc Godard (alas, written before the former鈥檚 masterpieces Au Hassard Balthazar and Mouchette) and a deep dive into Alain Renais鈥檚 Muriel.
I鈥檇 seen many of the films she discussed, but am now curious to watch them again 鈥� especially Godard鈥檚 Vivre Sa Vie 鈥� with her clear and persuasive analyses in mind. It鈥檚 to Sontag鈥檚 credit that even though I hadn鈥檛 read most of the books she referred to, I was intrigued enough to read all the way through her essays on them. I doubt I鈥檒l ever read a Sarraute novel, but I鈥檓 now curious. And I appreciate the way Sontag draws on her knowledge of all the arts 鈥� visual, music, film, theatre, opera, dance, literature 鈥� to illustrate what鈥檚 new and inventive.
In fact, that was my main takeaway from this book. I鈥檝e heard of the 鈥渉appenings鈥� of the 60s, but Sontag takes us to a few and explains/shows what they鈥檙e attempting to do. Her round-up of plays in New York (鈥淕oing to theatre, etc.鈥�) includes a highly critical takedown of Arthur Miller鈥檚 After The Fall, which launched the Lincoln Center Repertory Theater, as well as shrewd and often hilariously bitchy criticisms of lauded pieces involving Gielgud and Scofield. She鈥檚 most interesting on new works by Rolf Hochhuth, James Baldwin and Amiri Baraka, although her thinking and language around race seems a little dated.
She devotes an entire essay to Peter Brook鈥檚 production of Peter Weiss鈥檚 Marat/Sade, a groundbreaking work I鈥檝e heard so much about. Her description of it makes me now feel like I鈥檝e seen it.
I鈥檇 never heard of 鈥淭he Imagination of Disaster,鈥� her clever analysis of cheesy science-fiction movies and their political, social and cultural dimensions. It鈥檚 now one of my favourite Sontag essays. I love that she spent so much time and energy on what many critics of the time must have thought of as a crude and unsophisticated genre. She didn鈥檛 care about concepts of 鈥渉igh鈥� or 鈥渓ow鈥� culture.
I鈥檒l likely reread this piece 鈥� as well as perhaps half a dozen others 鈥� again. And I鈥檓 definitely going to seek out her later collections. She must have been quite a trailblazer in the 1960s and 70s. In the current cultural landscape, I can鈥檛 think of anyone attempting to do what she did, with such boldness, style and probing intelligence.
What ties them together is Sontag鈥檚 erudition, passion and enthusiasm for what she鈥檚 writing about 鈥� what she鈥檚 thinking. To borrow a line from Lin-Manuel Miranda鈥檚 Hamilton, Sontag鈥檚 writing shows you a mind at work.
鈥淏efore I wrote the essays I did not believe many of the ideas espoused in them,鈥� she writes in the book鈥檚 introduction. 鈥淲hen I wrote them, I believed what I wrote; subsequently, I have come to disbelieve some of these same ideas again 鈥� but from a new perspective.鈥� I appreciate her honesty.
The essays include now-famous pieces like 鈥淣otes on 鈥楥amp鈥欌€� and 鈥淎gainst Interpretation鈥� (both timeless) as well as extended meditations on the works of Claude Levi-Strauss, Simone Weil and Nathalie Sarraute. She thinks a lot about the connections between style and content. Her taste in books and films is more European than American, with long essays 鈥� you couldn鈥檛 really call them reviews 鈥� on Sartre鈥檚 book on Jean Genet, the films of Robert Bresson and Jean-Luc Godard (alas, written before the former鈥檚 masterpieces Au Hassard Balthazar and Mouchette) and a deep dive into Alain Renais鈥檚 Muriel.
I鈥檇 seen many of the films she discussed, but am now curious to watch them again 鈥� especially Godard鈥檚 Vivre Sa Vie 鈥� with her clear and persuasive analyses in mind. It鈥檚 to Sontag鈥檚 credit that even though I hadn鈥檛 read most of the books she referred to, I was intrigued enough to read all the way through her essays on them. I doubt I鈥檒l ever read a Sarraute novel, but I鈥檓 now curious. And I appreciate the way Sontag draws on her knowledge of all the arts 鈥� visual, music, film, theatre, opera, dance, literature 鈥� to illustrate what鈥檚 new and inventive.
In fact, that was my main takeaway from this book. I鈥檝e heard of the 鈥渉appenings鈥� of the 60s, but Sontag takes us to a few and explains/shows what they鈥檙e attempting to do. Her round-up of plays in New York (鈥淕oing to theatre, etc.鈥�) includes a highly critical takedown of Arthur Miller鈥檚 After The Fall, which launched the Lincoln Center Repertory Theater, as well as shrewd and often hilariously bitchy criticisms of lauded pieces involving Gielgud and Scofield. She鈥檚 most interesting on new works by Rolf Hochhuth, James Baldwin and Amiri Baraka, although her thinking and language around race seems a little dated.
She devotes an entire essay to Peter Brook鈥檚 production of Peter Weiss鈥檚 Marat/Sade, a groundbreaking work I鈥檝e heard so much about. Her description of it makes me now feel like I鈥檝e seen it.
I鈥檇 never heard of 鈥淭he Imagination of Disaster,鈥� her clever analysis of cheesy science-fiction movies and their political, social and cultural dimensions. It鈥檚 now one of my favourite Sontag essays. I love that she spent so much time and energy on what many critics of the time must have thought of as a crude and unsophisticated genre. She didn鈥檛 care about concepts of 鈥渉igh鈥� or 鈥渓ow鈥� culture.
I鈥檒l likely reread this piece 鈥� as well as perhaps half a dozen others 鈥� again. And I鈥檓 definitely going to seek out her later collections. She must have been quite a trailblazer in the 1960s and 70s. In the current cultural landscape, I can鈥檛 think of anyone attempting to do what she did, with such boldness, style and probing intelligence.
August 30, 2022
乇蹖賵蹖賵蹖 鄄郯鄄鄄
亘夭乇诏鈥屫臂屬� 賲卮讴賱 爻丕賳鬲丕诏 卮丕蹖丿 丕蹖賳 亘丕卮丿 讴賴 禺賵丿卮 賳賲蹖鈥屫堌з嗀� 亘賴 鬲夭 毓賱蹖賴 鬲賮爻蹖乇-丕卮 賵賮丕丿丕乇 亘丕卮丿 賵 丿乇 亘賴鬲乇蹖賳 丨丕賱鬲貙 亘丕 讴賱賲丕鬲蹖 趩賵賳 芦丨爻丕賳蹖鬲禄 丕孬乇 乇丕 賵氐賮 賲蹖鈥屭┵嗀� 賵 丿乇 亘丕賯蹖 賱丨馗丕鬲貙 丿爻鬲 亘賴 鬲賮爻蹖乇 賲蹖鈥屫操嗀�. 讴丕乇 亘賴 噩丕蹖蹖 賲蹖鈥屫必池� 讴賴 氐丕賱丨 賳噩賮蹖 丿乇 爻禺賳乇丕賳蹖鈥屫й屫� 賲賯丕賱賴鈥屰� 丕氐賱蹖 讴鬲丕亘 乇丕 卮乇丨 賲蹖鈥屫囏� 賵 亘毓丿 芦鬲賮爻蹖乇禄蹖 爻蹖丕爻蹖 丕夭 丌賳 丕乇丕卅賴 賲蹖鈥屫囏� (賵 賲蹖鈥屭堐屫� 讴賴 鬲賮爻蹖乇 毓賲賱讴乇丿蹖 丕蹖丿卅賵賱賵跇蹖讴 丿丕乇丿).
賴乇趩賳丿 丨丿丕賯賱 賮丕蹖丿賴鈥屰� 讴鬲丕亘貙 丌卮賳丕 卮丿賳 亘丕 噩乇蹖丕賳 乇賵卮賳賮讴乇蹖 丿賴賴鈥屰� 卮氐鬲 丕賲乇蹖讴丕 丕爻鬲.
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乇蹖賵蹖賵蹖 鄄郯郾鄯
丿賵 賮氐賱 丕賵賱 讴鬲丕亘 乇丕 禺賵丕賳丿賲 (鬲丕 鄯郯) 賵 亘毓丿 丿蹖诏乇 丕毓氐丕亘卮 乇丕 賳丿丕卮鬲賲. 卮丕蹖丿 賴賲 乇賵夭蹖 亘賯蹖賴鈥屰� 讴鬲丕亘 乇丕 噩爻鬲賴鈥屭臂屫� 禺賵丕賳丿賲. 賮讴乇 賲蹖鈥屭┴必� 亘賴 亘賴丕賳賴鈥屰� 丕蹖賳 讴鬲丕亘 亘丕 賳賯丿 賴賳乇 丌卮鬲蹖 讴賳賲貙 賵賱蹖 禺氐賵賲鬲賲 亘蹖卮鬲乇 賴賲 卮丿. 氐丨亘鬲 丕夭 毓丿賲 噩丿丕蹖蹖 賮乇賲 賵 賲丨鬲賵丕 賲蹖鈥屭┵嗀� 禺丕賳賲 爻丕賳鬲丕诏貙 丌賳 賴賲 爻丕賱 鄱鄄. 賮讴乇 賲蹖鈥屭┴必� 丕蹖賳 賲賮賴賵賲 丿蹖诏乇 亘丕蹖丿 噩丕丕賮鬲丕丿賴 亘丕卮丿貙 賵賱蹖 賴賳賵夭 丨鬲丕 賲丿毓蹖丕賳蹖 讴賴 賮乇賲-賮乇賲 賲蹖鈥屭┵嗁嗀� 蹖讴 賳賯丿 丿乇爻鬲 - 亘賴 丕蹖賳 賲毓賳丕 - 賳賳賵卮鬲賴 丕賳丿. 賲賳鬲賯丿蹖 丕蹖賳鈥屬傌� 亘丕賴賵卮 賳丿丕乇蹖賲 讴賴 蹖讴 賳讴鬲賴鈥屰� 鬲讴賳蹖讴蹖 乇丕 亘诏蹖乇丿 賵 亘诏賵蹖丿 丕蹖賳 亘賴 趩賴 丿賱蹖賱 賵 亘乇丕蹖 讴丿丕賲 丨乇賮 丕蹖賳鈥屫焚堌� 卮丿賴. 丕蹖賳 乇賵夭賴丕 讴賴 亘丨孬 賮蹖賱賲鈥屬囏й� 鬲噩乇亘蹖 賴賲 丿丕睾 卮丿賴 (鬲賲丕乇囟 讴賴 丿賵爻鬲 丿丕卮鬲賲 賵 賴噩賵賲 讴賴 丿賵爻鬲 賳丿丕卮鬲賲)貙 亘蹖卮鬲乇 蹖丕丿 賲賯丕賱賴鈥屰� 毓賱蹖賴 鬲賮爻蹖乇 爻賵夭丕賳 爻丕賳鬲丕诏 賲蹖鈥屫з佖�. 賲蹖鈥屭堐屫� 賵賯鬲蹖 蹖讴 賲賮賴賵賲蹖 丿乇 賮蹖賱賲 亘乇丕蹖賲丕賳 賳丕噩賵乇 丕爻鬲 賵 丌夭丕乇丿賴賳丿賴 (賲孬賱 鬲丕賳讴賽 爻讴賵鬲賽 亘乇诏賲丕賳)貙 亘乇丕蹖卮 賲毓賳丕爻丕夭蹖 賵 丕爻鬲毓丕乇賴鈥屫池ж槽� 賲蹖鈥屭┵嗃屬�.
賲卮讴賱 賲賳 亘丕 賳賯丿 賴賳乇 趩蹖爻鬲責 丕蹖賳 丕爻鬲 讴賴 丨鬲丕 禺賵丿 爻丕賳鬲丕诏貙 禺賵丿 亘賵乇丿賵賱 賵 賴賲诏蹖鈥屫簇з嗀� 诏夭丕乇賴鈥屬囏й屰� 亘乇丕蹖 賳賯丿 賲蹖鈥屫囐嗀� 讴賴 賲毓賱賵賲 賳蹖爻鬲 丕夭 讴噩丕 丌賵乇丿賴 丕賳丿. 卮丕蹖丿 诏賮鬲賴 卮賵丿 賴賳乇 賴賲蹖賳 丕爻鬲貙 讴賴 丕夭 禺賵丿卮 亘卮賵丿 賱匕鬲 亘乇丿貙 賵賱蹖 丕蹖賳鈥屬囏� 丿乇 賲睾夭 賲賳 倬乇丿丕夭卮 賳賲蹖鈥屫促堌�. 賲賳 賲丿乇讴 毓賱賲蹖 賲蹖鈥屫堌з囐� 亘乇丕蹖 賴乇趩蹖夭 賵 亘丨孬 賲胤賱賯丕 賲賳胤賯蹖. 丿乇 賳鬲蹖噩賴 卮丕蹖丿 芦賲賳禄 丌丿賲賽 賴賳乇 (亘賴 賲毓賳丕蹖 乇賵卮賳賮讴乇蹖 丕賲乇賵夭蹖鈥屫ж�) 丕氐賱丕 賳蹖爻鬲賲. 亘丕蹖丿 爻乇诏乇賲 讴鬲丕亘鈥屬囏й� 毓賱賲蹖 禺賵丿賲 卮賵賲.
賵賱蹖 賲毓鬲賯丿賲 賴賳乇 亘丕蹖丿 毓賱賲蹖 賳賯丿 卮賵丿貙 賵 丕蹖賳 賲賮賴賵賲 乇丕 賳丿蹖丿賴 丕賲 噩丕蹖蹖貙 賵 丕賱亘鬲賴 丕蹖丿賴鈥屬囏й屰� 亘乇丕蹖 倬乇丿丕禺鬲賳 亘賴卮 丿丕乇賲. 丕氐賱丕 噩賵丕賳賲 賵 禺丕賲賲 賵 丌乇夭賵賲賳丿貨 卮丕蹖丿 賴賲 賲爻蹖乇 賲賳 亘賳鈥屭┵� 丿乇 丿乇讴 丌賳鈥屭嗁団€� 賴賳乇 賲蹖鈥屬嗀з呝嗀� 賮乇賯 賲蹖鈥屭┵嗀�.
賵賱蹖 乇丕囟蹖 賴爻鬲賲 丕夭 賲鬲乇 賵 賲毓蹖丕乇賲 丿乇 賯囟丕賵鬲鈥屬囏й� 賴賳乇蹖鈥屬�. 賵 丕毓鬲賲丕丿 亘賴 賳賮爻賲 丕夭 賲鬲乇 賵 賲毓蹖丕乇 賲卮禺氐 賵 賵丕囟丨賲 賲蹖鈥屫③屫� 賵 賳賴 亘丨孬鈥屬囏й� 夭蹖亘丕蹖蹖鈥屫促嗀ж池з嗁団€屰� 亘蹖鈥屬矩й屬� 賵 睾蹖乇毓賱賲蹖. (毓賱賲 賴賲 蹖毓賳蹖 賮蹖夭蹖賵賱賵跇蹖貙 賵 丕爻賲 毓賱賲 亘乇 賳賯丿 賮蹖賱賲 賵 睾蹖乇賴 賳诏匕丕乇蹖賲!)
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芦賲丕 亘賴 噩丕蹖 賲毓賳丕卮賳丕爻蹖 亘賴 讴賽蹖賮鈥屫促嗀ж驰� 賴賳乇 賳蹖丕夭賲賳丿蹖賲.禄
芦賳賮爻 賲乇卅蹖 卮丿賳 爻亘讴鈥屬囏й� 賲禺鬲賱賮 禺賵丿 賲丨氐賵賱 丌诏丕賴蹖 鬲丕乇蹖禺蹖 丕爻鬲.禄
芦賴賳乇 丕睾賵丕爻鬲貙 賳賴 鬲噩丕賵夭.禄
芦賱匕鬲 丕禺賱丕賯蹖 賴賳乇貙 賵 賴賲蹖賳鈥屫焚堌� 禺丿賲鬲 丕禺賱丕賯蹖鈥屫й� 讴賴 賴賳乇 亘賴鈥屫з嗀з� 賲蹖鈥屫必池з嗀� 丿乇 丕乇囟丕蹖 賴賵卮賲賳丿丕賳賴鈥屰� 丌诏丕賴蹖 賲丕爻鬲.禄
亘夭乇诏鈥屫臂屬� 賲卮讴賱 爻丕賳鬲丕诏 卮丕蹖丿 丕蹖賳 亘丕卮丿 讴賴 禺賵丿卮 賳賲蹖鈥屫堌з嗀� 亘賴 鬲夭 毓賱蹖賴 鬲賮爻蹖乇-丕卮 賵賮丕丿丕乇 亘丕卮丿 賵 丿乇 亘賴鬲乇蹖賳 丨丕賱鬲貙 亘丕 讴賱賲丕鬲蹖 趩賵賳 芦丨爻丕賳蹖鬲禄 丕孬乇 乇丕 賵氐賮 賲蹖鈥屭┵嗀� 賵 丿乇 亘丕賯蹖 賱丨馗丕鬲貙 丿爻鬲 亘賴 鬲賮爻蹖乇 賲蹖鈥屫操嗀�. 讴丕乇 亘賴 噩丕蹖蹖 賲蹖鈥屫必池� 讴賴 氐丕賱丨 賳噩賮蹖 丿乇 爻禺賳乇丕賳蹖鈥屫й屫� 賲賯丕賱賴鈥屰� 丕氐賱蹖 讴鬲丕亘 乇丕 卮乇丨 賲蹖鈥屫囏� 賵 亘毓丿 芦鬲賮爻蹖乇禄蹖 爻蹖丕爻蹖 丕夭 丌賳 丕乇丕卅賴 賲蹖鈥屫囏� (賵 賲蹖鈥屭堐屫� 讴賴 鬲賮爻蹖乇 毓賲賱讴乇丿蹖 丕蹖丿卅賵賱賵跇蹖讴 丿丕乇丿).
賴乇趩賳丿 丨丿丕賯賱 賮丕蹖丿賴鈥屰� 讴鬲丕亘貙 丌卮賳丕 卮丿賳 亘丕 噩乇蹖丕賳 乇賵卮賳賮讴乇蹖 丿賴賴鈥屰� 卮氐鬲 丕賲乇蹖讴丕 丕爻鬲.
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乇蹖賵蹖賵蹖 鄄郯郾鄯
丿賵 賮氐賱 丕賵賱 讴鬲丕亘 乇丕 禺賵丕賳丿賲 (鬲丕 鄯郯) 賵 亘毓丿 丿蹖诏乇 丕毓氐丕亘卮 乇丕 賳丿丕卮鬲賲. 卮丕蹖丿 賴賲 乇賵夭蹖 亘賯蹖賴鈥屰� 讴鬲丕亘 乇丕 噩爻鬲賴鈥屭臂屫� 禺賵丕賳丿賲. 賮讴乇 賲蹖鈥屭┴必� 亘賴 亘賴丕賳賴鈥屰� 丕蹖賳 讴鬲丕亘 亘丕 賳賯丿 賴賳乇 丌卮鬲蹖 讴賳賲貙 賵賱蹖 禺氐賵賲鬲賲 亘蹖卮鬲乇 賴賲 卮丿. 氐丨亘鬲 丕夭 毓丿賲 噩丿丕蹖蹖 賮乇賲 賵 賲丨鬲賵丕 賲蹖鈥屭┵嗀� 禺丕賳賲 爻丕賳鬲丕诏貙 丌賳 賴賲 爻丕賱 鄱鄄. 賮讴乇 賲蹖鈥屭┴必� 丕蹖賳 賲賮賴賵賲 丿蹖诏乇 亘丕蹖丿 噩丕丕賮鬲丕丿賴 亘丕卮丿貙 賵賱蹖 賴賳賵夭 丨鬲丕 賲丿毓蹖丕賳蹖 讴賴 賮乇賲-賮乇賲 賲蹖鈥屭┵嗁嗀� 蹖讴 賳賯丿 丿乇爻鬲 - 亘賴 丕蹖賳 賲毓賳丕 - 賳賳賵卮鬲賴 丕賳丿. 賲賳鬲賯丿蹖 丕蹖賳鈥屬傌� 亘丕賴賵卮 賳丿丕乇蹖賲 讴賴 蹖讴 賳讴鬲賴鈥屰� 鬲讴賳蹖讴蹖 乇丕 亘诏蹖乇丿 賵 亘诏賵蹖丿 丕蹖賳 亘賴 趩賴 丿賱蹖賱 賵 亘乇丕蹖 讴丿丕賲 丨乇賮 丕蹖賳鈥屫焚堌� 卮丿賴. 丕蹖賳 乇賵夭賴丕 讴賴 亘丨孬 賮蹖賱賲鈥屬囏й� 鬲噩乇亘蹖 賴賲 丿丕睾 卮丿賴 (鬲賲丕乇囟 讴賴 丿賵爻鬲 丿丕卮鬲賲 賵 賴噩賵賲 讴賴 丿賵爻鬲 賳丿丕卮鬲賲)貙 亘蹖卮鬲乇 蹖丕丿 賲賯丕賱賴鈥屰� 毓賱蹖賴 鬲賮爻蹖乇 爻賵夭丕賳 爻丕賳鬲丕诏 賲蹖鈥屫з佖�. 賲蹖鈥屭堐屫� 賵賯鬲蹖 蹖讴 賲賮賴賵賲蹖 丿乇 賮蹖賱賲 亘乇丕蹖賲丕賳 賳丕噩賵乇 丕爻鬲 賵 丌夭丕乇丿賴賳丿賴 (賲孬賱 鬲丕賳讴賽 爻讴賵鬲賽 亘乇诏賲丕賳)貙 亘乇丕蹖卮 賲毓賳丕爻丕夭蹖 賵 丕爻鬲毓丕乇賴鈥屫池ж槽� 賲蹖鈥屭┵嗃屬�.
賲卮讴賱 賲賳 亘丕 賳賯丿 賴賳乇 趩蹖爻鬲責 丕蹖賳 丕爻鬲 讴賴 丨鬲丕 禺賵丿 爻丕賳鬲丕诏貙 禺賵丿 亘賵乇丿賵賱 賵 賴賲诏蹖鈥屫簇з嗀� 诏夭丕乇賴鈥屬囏й屰� 亘乇丕蹖 賳賯丿 賲蹖鈥屫囐嗀� 讴賴 賲毓賱賵賲 賳蹖爻鬲 丕夭 讴噩丕 丌賵乇丿賴 丕賳丿. 卮丕蹖丿 诏賮鬲賴 卮賵丿 賴賳乇 賴賲蹖賳 丕爻鬲貙 讴賴 丕夭 禺賵丿卮 亘卮賵丿 賱匕鬲 亘乇丿貙 賵賱蹖 丕蹖賳鈥屬囏� 丿乇 賲睾夭 賲賳 倬乇丿丕夭卮 賳賲蹖鈥屫促堌�. 賲賳 賲丿乇讴 毓賱賲蹖 賲蹖鈥屫堌з囐� 亘乇丕蹖 賴乇趩蹖夭 賵 亘丨孬 賲胤賱賯丕 賲賳胤賯蹖. 丿乇 賳鬲蹖噩賴 卮丕蹖丿 芦賲賳禄 丌丿賲賽 賴賳乇 (亘賴 賲毓賳丕蹖 乇賵卮賳賮讴乇蹖 丕賲乇賵夭蹖鈥屫ж�) 丕氐賱丕 賳蹖爻鬲賲. 亘丕蹖丿 爻乇诏乇賲 讴鬲丕亘鈥屬囏й� 毓賱賲蹖 禺賵丿賲 卮賵賲.
賵賱蹖 賲毓鬲賯丿賲 賴賳乇 亘丕蹖丿 毓賱賲蹖 賳賯丿 卮賵丿貙 賵 丕蹖賳 賲賮賴賵賲 乇丕 賳丿蹖丿賴 丕賲 噩丕蹖蹖貙 賵 丕賱亘鬲賴 丕蹖丿賴鈥屬囏й屰� 亘乇丕蹖 倬乇丿丕禺鬲賳 亘賴卮 丿丕乇賲. 丕氐賱丕 噩賵丕賳賲 賵 禺丕賲賲 賵 丌乇夭賵賲賳丿貨 卮丕蹖丿 賴賲 賲爻蹖乇 賲賳 亘賳鈥屭┵� 丿乇 丿乇讴 丌賳鈥屭嗁団€� 賴賳乇 賲蹖鈥屬嗀з呝嗀� 賮乇賯 賲蹖鈥屭┵嗀�.
賵賱蹖 乇丕囟蹖 賴爻鬲賲 丕夭 賲鬲乇 賵 賲毓蹖丕乇賲 丿乇 賯囟丕賵鬲鈥屬囏й� 賴賳乇蹖鈥屬�. 賵 丕毓鬲賲丕丿 亘賴 賳賮爻賲 丕夭 賲鬲乇 賵 賲毓蹖丕乇 賲卮禺氐 賵 賵丕囟丨賲 賲蹖鈥屫③屫� 賵 賳賴 亘丨孬鈥屬囏й� 夭蹖亘丕蹖蹖鈥屫促嗀ж池з嗁団€屰� 亘蹖鈥屬矩й屬� 賵 睾蹖乇毓賱賲蹖. (毓賱賲 賴賲 蹖毓賳蹖 賮蹖夭蹖賵賱賵跇蹖貙 賵 丕爻賲 毓賱賲 亘乇 賳賯丿 賮蹖賱賲 賵 睾蹖乇賴 賳诏匕丕乇蹖賲!)
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芦賲丕 亘賴 噩丕蹖 賲毓賳丕卮賳丕爻蹖 亘賴 讴賽蹖賮鈥屫促嗀ж驰� 賴賳乇 賳蹖丕夭賲賳丿蹖賲.禄
芦賳賮爻 賲乇卅蹖 卮丿賳 爻亘讴鈥屬囏й� 賲禺鬲賱賮 禺賵丿 賲丨氐賵賱 丌诏丕賴蹖 鬲丕乇蹖禺蹖 丕爻鬲.禄
芦賴賳乇 丕睾賵丕爻鬲貙 賳賴 鬲噩丕賵夭.禄
芦賱匕鬲 丕禺賱丕賯蹖 賴賳乇貙 賵 賴賲蹖賳鈥屫焚堌� 禺丿賲鬲 丕禺賱丕賯蹖鈥屫й� 讴賴 賴賳乇 亘賴鈥屫з嗀з� 賲蹖鈥屫必池з嗀� 丿乇 丕乇囟丕蹖 賴賵卮賲賳丿丕賳賴鈥屰� 丌诏丕賴蹖 賲丕爻鬲.禄
October 1, 2021
The most famous essays contained in this volume are probably "Against Interpretation", "On Style" and "Notes on Camp", but there are other gems in here: Texts on Sartre's and on , "The Pornographic Imagination" (which tackles works like , , and ), plus, eternally relevant, "The Imagination of Disaster". The essays make you stop and ponder again and again, while your TBR pile keeps on growing.
Thinking is fun, Sontag can prove it.
Thinking is fun, Sontag can prove it.
January 7, 2020
I loved 'On Photography', it's one of the best essays I've read. Some of her others however, I haven't thought much of. This collection of essays and criticism from the 1960s is certainly one of the better Sontag books I've read. It flatters the reader's intelligence without being intimidating. From Sophocles to Sartre, it seems that Sontag has read everything, and has the gift of getting her ideas across in reader-friendly prose, something that isn't shared by all those in the same boat as her. The title essay is an attack on the mimetic theory of art, and on the cult of interpretation that it has spawned. While On Style is a spirited attack on the division between form and content 鈥� an entirely spurious one in her view 鈥� arguing that one should be able to appreciate Leni Riefenstahl's Triumph of the Will as a masterpiece despite its Nazi propaganda. Some of the others were just as good, and Sontag being a stern critic means readers will always find plenty of things to disagree with. But the essays are unfailingly stimulating. Though they bear the stamp of their time, Sontag was remarkably prescient.
March 26, 2020
讴丕乇亘乇丿蹖鈥屫臂屬� 賲賯丕賱丕鬲 丿乇 丕蹖賳 讴鬲丕亘貙 賲賯丕賱踿 芦毓賱蹖賴 鬲賮爻蹖乇禄 賵 芦丿乇亘丕乇踿 爻亘讴禄 亘賵丿. 亘賴 丕蹖賳 毓賱鬲 讴賴 丿乇 丕蹖賳 賲賯丕賱賴鈥屬囏ж� 爻賵夭丕賳 爻丕賳鬲丕诏貙 丿乇 賳賵卮鬲賳 丿乇 賲賯丕賲 蹖讴 賲賳鬲賯丿 賵 倬跇賵賴卮鈥屭� 馗丕賴乇 卮丿賴 亘賵丿. 丕賲丕 丿乇 賲賯丕賱丕鬲 丿蹖诏乇貙 丕賵 乇丕 賳賵蹖爻賳丿踿 賳孬乇賴丕蹖 跇賵乇賳丕賱蹖爻鬲蹖賽 乇賵夭貙 亘丕 禺胤 賮讴乇蹖 賵 賳馗乇賽 亘爻蹖丕乇 卮禺氐蹖 賲蹖鈥屫ㄛ屬嗃屬�. 卮禺氐蹖 亘賴 丕蹖賳 丿賱蹖賱 讴賴 丕夭 賴蹖趩 賲賳亘毓 賵 丕爻鬲賳丕丿蹖 丕爻鬲賮丕丿賴 賳讴乇丿賴 賵 丕乇噩丕毓鬲 丕賵 賴賲 氐乇賮丕賸 賳賯賱鈥屬傎堎勨€屬囏й� 睾蹖乇賲爻鬲賯蹖賲 丕爻鬲. 亘乇禺賱丕賮 鬲亘賱蹖睾丕鬲蹖 讴賴 丿乇 賮囟丕蹖 讴鬲丕亘 讴卮賵乇 丿乇 賲賵乇丿 丕蹖賳 讴鬲丕亘 卮丿賴 丕爻鬲貙 賳賲蹖鈥屫堌з� 丌賳 乇丕 亘胤賵乇 讴丕賲賱 丕孬乇蹖 賲乇亘賵胤 亘賴 丕丿亘蹖丕鬲 賵 賴賳乇 丿丕賳爻鬲. 亘丕蹖丿 丿乇 匕蹖賱 毓賳賵丕賳 鬲賵囟蹖丨蹖 丿乇 賲賵乇丿 丨丕賱 賵 賴賵丕蹖 跇賵乇賳丕賱蹖爻蹖鬲蹖 讴鬲丕亘 賳蹖夭 丕乇丕卅賴 诏乇丿丿. 鬲賲乇讴夭 毓賲丿踿 爻丕賳鬲丕诏 亘乇 丿賵 賲丐賱賮賴 丕爻鬲: 賮乇賲 賵 爻丕禺鬲丕乇 賵 丿乇 讴賱蹖鬲 爻亘讴貙 賵 丿蹖诏乇貙 爻蹖賳賲丕.
诏丕賴 鬲賱丕卮 賵蹖 亘賴 丕蹖賳 賲毓胤賵賮 賲蹖鈥屭必� 讴賴 賴乇 鬲毓乇蹖賮蹖 讴賴 亘乇丕蹖 丕丿亘蹖丕鬲 賲蹖鈥屫促堌� 亘乇丕蹖 爻蹖賳賲丕 賴賲 賲氐丿丕賯 倬蹖丿丕 讴賳丿 賵 诏丕賴 亘乇毓讴爻. 丕丿亘蹖丕鬲 賳賲賵丿蹖 丕夭爻蹖賳賲丕 亘丕卮丿. 亘爻蹖丕乇蹖 丕夭 賳馗乇蹖丕鬲蹖 讴賴 爻丕賳鬲丕诏 丿乇 賲賵乇丿卮 賳诏乇丕賳 丕爻鬲貙 丕賲乇賵夭賴 噩夭賵 亘丨孬鈥屬囏й� 讴賱蹖卮賴鈥屫й屬� 鬲丕乇蹖禺 诏匕卮鬲賴 賲丨爻賵亘 賲蹖鈥屫促堌�. 亘乇丕蹖 賳賲賵賳賴 亘丨孬 丿乇 丕賵賱賵蹖鬲 賵 丕乇噩丨蹖鬲 賲毓賳丕 蹖丕 爻亘讴 亘乇 蹖讴丿蹖诏乇. 丕賱亘鬲賴 丿乇 賮囟丕蹖 賳賯丿 丕丿亘蹖 丕蹖乇丕賳貙 賴賲趩賳丕賳 丕蹖賳 亘丨孬鈥屬囏� 亘丿賵賳 倬丕爻禺 氐乇蹖丨 賵 丿乇爻鬲 亘丕賯蹖 賲丕賳丿賴 丕爻鬲.
賲賳 亘賴 丿賳亘丕賱 乇丿 蹖丕 鬲兀蹖蹖丿 丕賮讴丕乇 爻賵夭丕賳 爻丕賳鬲丕诏 賳蹖爻鬲賲. 丕賲丕 丕賵 賲蹖鈥屫堌з嗀池� 趩賳蹖賳 胤乇夭賽 賲賵丕噩賴賴鈥屫й� 乇丕 亘丕 丕丿亘蹖丕鬲 賵 賴賳乇 賳丿丕卮鬲賴 亘丕卮丿. 丌卮讴丕乇丕 賲蹖鈥屫堌з� 噩夭賲蹖鬲鈥屭必й屰� 乇丕 丿乇 丕賳丿蹖卮賴鈥屬囏й� 丕賵 乇丿蹖丕亘蹖 賳賲賵丿. 賳賵蹖爻賳丿賴鈥屫й� 讴賴 丿乇 丿賴賴鈥屬囏й� 丕賵噩 乇賮鬲丕乇賴丕蹖 爻丕禺鬲丕乇诏乇丕蹖丕賳賴 賵 賮乇賲蹖 丿乇 丕丿亘蹖丕鬲貙 噩丕賳亘賽 賮乇賲 賵 爻丕禺鬲丕乇 乇丕 賲蹖鈥屭屫必� 丿乇 亘乇乇爻蹖鈥屬囏й� 亘毓丿 丕夭 夭賲丕賳 禺賵丿 賲鬲賴賲賽 亘賴鈥屫� 蹖丕 賳丕亘噩丕蹖 蹖讴爻賵蹖賴 丕賳丿蹖卮蹖 禺賵丕賴丿 卮丿. 芦讴賱 亘賴 賲孬丕亘踿 爻丕禺鬲丕乇禄 鬲賵氐蹖賮蹖鈥屫池� 讴賴 亘乇 丕丿亘蹖丕鬲 丕毓賲丕賱 賲蹖鈥屭┵嗁嗀�. 爻丕禺鬲丕乇賽 蹖讴 丕孬乇 丕丿亘蹖貙 亘乇禺賱丕賮 毓賱賵賲賽 賲丨囟 賵 鬲噩乇亘蹖賽 丿蹖诏乇貙 賳賲蹖鈥屫堌з嗀� 丕夭 讴丕賱亘丿卮讴丕賮蹖 賵 鬲噩夭蹖踿 毓賳丕氐乇 噩丕賳賽 爻丕賱賲 亘賴 丿乇 亘亘乇丿. 芦賴丕乇賲賵賳蹖讴禄 氐賮鬲 亘丕乇夭賽 賲賵爻蹖賯蹖鈥屫池�. 锟斤拷 鬲賳賴丕 亘賴 丕蹖賳 丿賱蹖賱 丕爻鬲 讴賴 丕賲乇賵夭賴 亘乇丕蹖 丕蹖丿賴鈥屫①� 卮丿賳 丕丿亘蹖丕鬲貙 賲賵爻蹖賯蹖 乇丕 賲孬丕賱 賲蹖鈥屫操嗁嗀�. 賴賲踿 賴賳乇賴丕 賲蹖賱 亘賴 賲賵爻蹖賯蹖 丿丕乇賳丿. 賴賳乇蹖 讴賴 賳賲蹖鈥屫堌з� 丌賳 乇丕 鬲噩夭蹖賴 賵 賲賳賮讴 讴乇丿. 趩賵賳 賴賲蹖賳 鬲賳丕爻亘 賵 賴丕乇賲賵賳蹖讴 亘賵丿賳貙 噩夭賵 賲丕賴蹖鬲 丌賳 賲丨爻賵亘 賲蹖鈥屭必�. {丕诏乇 丿乇爻鬲 亘賴 蹖丕丿 丿丕卮鬲賴 亘丕卮賲貙 丌蹖夭丕蹖丕 亘乇賱蹖賳 丕蹖賳 卮亘丕賴鬲 乇丕 亘蹖丕賳 賳賲賵丿賴 丕爻鬲 責!} 丿乇 亘丨孬鈥屬囏й� 爻丕禺鬲丕乇卮讴賳丕賳賴 賳蹖夭 亘丕蹖丿 丕蹖賳 丨賯蹖賯鬲 乇丕 丿乇 賳馗乇 诏乇賮鬲 讴賴 亘丕 丕丿亘蹖丕鬲 亘賴 賲賳夭賱踿 蹖讴 趩蹖夭 鬲噩乇亘賴鈥屬矩佰屫� 乇賮鬲丕乇 賳賲賵丿賳 賵 鬲噩夭蹖賴 賵 讴丕賱亘丿卮讴丕賮蹖 丌賳貙 亘賴 賲毓賳丕蹖 賳丕亘賵丿蹖 丕丿亘蹖丕鬲 賵 蹖丕 丿乇 禺賵卮鈥屫ㄛ屬嗀з嗁団€屫臂屬� 丨丕賱鬲 蹖讴爻賵蹖賴鈥屬嗂臂� 丕爻鬲. 賴賲蹖賳 睾賮賱鬲 丕夭 丨賯蹖賯鬲 亘丕毓孬 卮丿 讴賴 爻丕禺鬲丕乇诏乇丕蹖蹖 鬲亘丿蹖賱 亘賴 噩乇蹖丕賳賽 芦賮乇賲丕賱蹖爻賲锟斤拷 丿乇 賳馗乇 丿蹖诏乇丕賳 卮賵丿.
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賲賳 亘賴 丿賳亘丕賱 乇丿 蹖丕 鬲兀蹖蹖丿 丕賮讴丕乇 爻賵夭丕賳 爻丕賳鬲丕诏 賳蹖爻鬲賲. 丕賲丕 丕賵 賲蹖鈥屫堌з嗀池� 趩賳蹖賳 胤乇夭賽 賲賵丕噩賴賴鈥屫й� 乇丕 亘丕 丕丿亘蹖丕鬲 賵 賴賳乇 賳丿丕卮鬲賴 亘丕卮丿. 丌卮讴丕乇丕 賲蹖鈥屫堌з� 噩夭賲蹖鬲鈥屭必й屰� 乇丕 丿乇 丕賳丿蹖卮賴鈥屬囏й� 丕賵 乇丿蹖丕亘蹖 賳賲賵丿. 賳賵蹖爻賳丿賴鈥屫й� 讴賴 丿乇 丿賴賴鈥屬囏й� 丕賵噩 乇賮鬲丕乇賴丕蹖 爻丕禺鬲丕乇诏乇丕蹖丕賳賴 賵 賮乇賲蹖 丿乇 丕丿亘蹖丕鬲貙 噩丕賳亘賽 賮乇賲 賵 爻丕禺鬲丕乇 乇丕 賲蹖鈥屭屫必� 丿乇 亘乇乇爻蹖鈥屬囏й� 亘毓丿 丕夭 夭賲丕賳 禺賵丿 賲鬲賴賲賽 亘賴鈥屫� 蹖丕 賳丕亘噩丕蹖 蹖讴爻賵蹖賴 丕賳丿蹖卮蹖 禺賵丕賴丿 卮丿. 芦讴賱 亘賴 賲孬丕亘踿 爻丕禺鬲丕乇禄 鬲賵氐蹖賮蹖鈥屫池� 讴賴 亘乇 丕丿亘蹖丕鬲 丕毓賲丕賱 賲蹖鈥屭┵嗁嗀�. 爻丕禺鬲丕乇賽 蹖讴 丕孬乇 丕丿亘蹖貙 亘乇禺賱丕賮 毓賱賵賲賽 賲丨囟 賵 鬲噩乇亘蹖賽 丿蹖诏乇貙 賳賲蹖鈥屫堌з嗀� 丕夭 讴丕賱亘丿卮讴丕賮蹖 賵 鬲噩夭蹖踿 毓賳丕氐乇 噩丕賳賽 爻丕賱賲 亘賴 丿乇 亘亘乇丿. 芦賴丕乇賲賵賳蹖讴禄 氐賮鬲 亘丕乇夭賽 賲賵爻蹖賯蹖鈥屫池�. 锟斤拷 鬲賳賴丕 亘賴 丕蹖賳 丿賱蹖賱 丕爻鬲 讴賴 丕賲乇賵夭賴 亘乇丕蹖 丕蹖丿賴鈥屫①� 卮丿賳 丕丿亘蹖丕鬲貙 賲賵爻蹖賯蹖 乇丕 賲孬丕賱 賲蹖鈥屫操嗁嗀�. 賴賲踿 賴賳乇賴丕 賲蹖賱 亘賴 賲賵爻蹖賯蹖 丿丕乇賳丿. 賴賳乇蹖 讴賴 賳賲蹖鈥屫堌з� 丌賳 乇丕 鬲噩夭蹖賴 賵 賲賳賮讴 讴乇丿. 趩賵賳 賴賲蹖賳 鬲賳丕爻亘 賵 賴丕乇賲賵賳蹖讴 亘賵丿賳貙 噩夭賵 賲丕賴蹖鬲 丌賳 賲丨爻賵亘 賲蹖鈥屭必�. {丕诏乇 丿乇爻鬲 亘賴 蹖丕丿 丿丕卮鬲賴 亘丕卮賲貙 丌蹖夭丕蹖丕 亘乇賱蹖賳 丕蹖賳 卮亘丕賴鬲 乇丕 亘蹖丕賳 賳賲賵丿賴 丕爻鬲 責!} 丿乇 亘丨孬鈥屬囏й� 爻丕禺鬲丕乇卮讴賳丕賳賴 賳蹖夭 亘丕蹖丿 丕蹖賳 丨賯蹖賯鬲 乇丕 丿乇 賳馗乇 诏乇賮鬲 讴賴 亘丕 丕丿亘蹖丕鬲 亘賴 賲賳夭賱踿 蹖讴 趩蹖夭 鬲噩乇亘賴鈥屬矩佰屫� 乇賮鬲丕乇 賳賲賵丿賳 賵 鬲噩夭蹖賴 賵 讴丕賱亘丿卮讴丕賮蹖 丌賳貙 亘賴 賲毓賳丕蹖 賳丕亘賵丿蹖 丕丿亘蹖丕鬲 賵 蹖丕 丿乇 禺賵卮鈥屫ㄛ屬嗀з嗁団€屫臂屬� 丨丕賱鬲 蹖讴爻賵蹖賴鈥屬嗂臂� 丕爻鬲. 賴賲蹖賳 睾賮賱鬲 丕夭 丨賯蹖賯鬲 亘丕毓孬 卮丿 讴賴 爻丕禺鬲丕乇诏乇丕蹖蹖 鬲亘丿蹖賱 亘賴 噩乇蹖丕賳賽 芦賮乇賲丕賱蹖爻賲锟斤拷 丿乇 賳馗乇 丿蹖诏乇丕賳 卮賵丿.
爻賵夭丕賳 爻丕賳鬲丕诏貙 丌賳噩丕 讴賴 丿乇 賲賵乇丿 丕丿亘蹖丕鬲 賵 爻丕禺鬲丕乇诏乇丕蹖蹖 丿丕丿 爻禺賳 賲蹖鈥屫囏� 讴丕賲賱丕賸 亘乇丕夭賳丿賴 亘丕 爻亘讴 跇賵乇賳丕賱蹖爻鬲蹖 賲蹖鈥屬嗁堐屫池�. 賳馗乇蹖丕鬲 丕賵 丿乇 丕蹖賳 讴鬲丕亘 亘賴 丿乇丿 倬跇賵賴卮 賳禺賵丕賴丿 禺賵乇丿. 丕賲丕 丿乇 賲賵乇丿 爻蹖賳賲丕 丨丕賱鬲 賮乇丕夭 賵 賮乇賵丿蹖 丿乇 賯賱賲 丕賵 丕蹖噩丕丿 卮丿賴 丕爻鬲. 丿乇 蹖讴 賲毓賳丕 丕賵 丕夭 賳賯丿 賮蹖賱賲 賵 賳賲丕蹖卮鈥屬嗀з呝� 賵 爻蹖賳賲丕 賮乇丕鬲乇 乇賮鬲賴 丕爻鬲. 夭蹖乇丕 賴賲 毓賱鬲鈥屰屫жㄛ� 賲蹖鈥屭┵嗀� 賵 賴賲 鬲賮爻蹖乇 賵乇賲夭诏卮丕蹖蹖 賵 賳賯丿 賵 丿乇 賳賴丕蹖鬲 倬蹖卮賳賴丕丿. 賵賱蹖 丕夭 爻賵蹖 丿蹖诏乇 亘乇 丕爻丕爻 匕賵賯 卮禺氐蹖 丿乇 亘爻蹖丕乇蹖 丕夭 賮蹖賱賲鈥屬囏� 丿禺丕賱鬲 賵 蹖丕 丕馗賴丕乇 賳馗乇 賯胤毓蹖 賲蹖鈥屭┵嗀�. 趩賳蹖賳 賳诏丕賴蹖 賳蹖夭 賲蹖鈥屫堌з嗀� 睾蹖乇賲鬲賳丕爻亘 亘丕卮丿. 丕氐賵賱丕賸 爻丕賳鬲丕诏 賲蹖鈥屫堌з嗀池� 賳诏丕賴 夭蹖亘丕蹖蹖鈥屫促嗀ж池з嗁� 亘賴 爻蹖賳賲丕 丿丕卮鬲賴 亘丕卮丿 鬲丕 亘丕 賳賵毓 賳诏丕賴 賵蹖 亘賴 丕丿亘蹖丕鬲 賳蹖夭 賴賲丕賴賳诏蹖 倬蹖丿丕 讴賳丿. 賲賳鬲賯丿賽 爻蹖賳賲丕 丿乇 賲賯丕賲 蹖讴 賲賳鬲賯丿賽 丿丕乇丕蹖 爻亘讴貙 賳賴 丿乇 賲賯丕賲 讴爻蹖 亘丕賱丕鬲乇 丕夭 賮蹖賱賲爻丕夭 賵 讴丕乇诏乇丿丕賳 賵 ...
亘賴 賴乇 丨丕賱貙 丕蹖賳 讴鬲丕亘 賴賲趩賳丕賳 亘乇丕蹖 丕賴賱 丕丿亘蹖丕鬲 賵 爻蹖賳賲丕 噩匕丕亘 禺賵丕賴丿 亘賵丿. 趩賵賳 爻丕賳鬲丕诏 趩賳丿蹖賳 賴丿賮 丕夭 賳诏丕乇卮 丌賳 乇丕 丿乇 賳馗乇 丿丕卮鬲賴 賵 丿乇 亘乇禺蹖 丕夭 丌賳鈥屬囏� 賲賵賮賯 亘賵丿賴 丕爻鬲.
May 2, 2022
爻賵夭丕賳 毓夭蹖夭 賲蹖 禺賵丕賴賲 鬲乇讴鬲 讴賳賲.
丕卮丕乇丕鬲鬲 亘賴 賮乇賲 賵 丨賵丕爻 乇丕 鬲乇讴 讴賳賲.
爻禺賳丕賳 賳丕賲賮賴賵賲鬲 乇丕 讴賴 丨鬲蹖 禺賵丿鬲 賴賲 賳賲蹖 賮賴賲蹖丿蹖貙 鬲乇讴 讴賳賲.
毓賱丕賯賴 丕鬲 亘賴 賱匕鬲 賴丕蹖 丨爻丕賳蹖 乇丕 鬲乇讴 讴賳賲.
鬲賵 乇丕 讴賴 賴賲賴 趩蹖夭 乇丕 爻乇丿 賵 亘丕 賮丕氐賱賴 賲蹖 丿蹖丿蹖貙 鬲乇讴 讴賳賲.
鬲賵 乇丕 丕蹖 賲鬲賳丕賯囟 丕亘丿蹖貙 讴賴 丿賲 丕夭 賮乇賲 賲蹖 夭丿蹖 賵 诏賵卮賴 趩卮賲蹖 亘賴 賲丨鬲賵丕 賴賲 丿丕卮鬲蹖貙 鬲乇讴 讴賳賲.
丕蹖賳 丌賴賳诏 賱丿 夭倬賱蹖賳 乇丕 亘賴 鬲賵 鬲賯丿蹖賲 賲蹖 讴賳賲:
丕卮丕乇丕鬲鬲 亘賴 賮乇賲 賵 丨賵丕爻 乇丕 鬲乇讴 讴賳賲.
爻禺賳丕賳 賳丕賲賮賴賵賲鬲 乇丕 讴賴 丨鬲蹖 禺賵丿鬲 賴賲 賳賲蹖 賮賴賲蹖丿蹖貙 鬲乇讴 讴賳賲.
毓賱丕賯賴 丕鬲 亘賴 賱匕鬲 賴丕蹖 丨爻丕賳蹖 乇丕 鬲乇讴 讴賳賲.
鬲賵 乇丕 讴賴 賴賲賴 趩蹖夭 乇丕 爻乇丿 賵 亘丕 賮丕氐賱賴 賲蹖 丿蹖丿蹖貙 鬲乇讴 讴賳賲.
鬲賵 乇丕 丕蹖 賲鬲賳丕賯囟 丕亘丿蹖貙 讴賴 丿賲 丕夭 賮乇賲 賲蹖 夭丿蹖 賵 诏賵卮賴 趩卮賲蹖 亘賴 賲丨鬲賵丕 賴賲 丿丕卮鬲蹖貙 鬲乇讴 讴賳賲.
丕蹖賳 丌賴賳诏 賱丿 夭倬賱蹖賳 乇丕 亘賴 鬲賵 鬲賯丿蹖賲 賲蹖 讴賳賲:
September 28, 2015
鬲丨丿賷孬: 廿囟丕賮丞 丕賱賯乇丕亍丞 丕賱胤賵賷賱丞 賲賳 毓丕賲2010
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賲毓 爻賵夭丕賳 囟丿 丕賱鬲兀賵賷賱! 賴
賰鬲丕亘 "囟丿 丕賱鬲兀賵賷賱 賵 賲賯丕賱丕鬲 兀禺乇賶" 毓亘丕乇丞 毓賳 賲賯丕賱丕鬲 賳賯丿賷丞 賮賷 丕賱兀丿亘 賵 丕賱賲爻乇丨 賵 丕賱兀賮賱丕賲 賵 丕賱賮賳貙 賰鬲亘鬲賴丕 爻賵夭丕賳 爻賵賳鬲丕睾 賮賷 丕賱爻鬲賷賳賷丕鬲 賲賳 丕賱賯乇賳 丕賱賲丕囟賷... 賵 賴賵 賲賳 賰鬲亘 丕賱賰賱丕爻賷賰賷丕鬲 丕賱丨丿賷孬丞. 賵 賱丕 睾乇丕亘丞 兀賳 賷毓鬲亘乇 賰匕賱賰貙 廿匕 兀賳 鬲丨賱賷賱丕鬲 爻賵夭丕賳 丕賱毓賲賷賯丞 賵 毓亘丕乇丕鬲賴丕 丕賱賳賯丿賷丞 丕賱丨丕丿丞 賵 丕賱賲亘丕卮乇丞 賵 丕賱賵丕孬賯丞 鬲賳賲 毓賳 匕賰丕亍 丨丕丿 賵 鬲亘氐乇 毓丕賱... 賰孬賷乇 賲賳 丕賱噩賲賱 兀匕賴賱鬲賳賷 賵 賰兀賳賴丕 賯乇兀鬲 賲丕 賮賷 丿賲丕睾賷 賲賳 兀賮賰丕乇 賱賲 兀氐乇丨 亘賴丕 賷賵賲丕貙 賵 賰孬賷乇 賲賳賴丕 毓賱賲鬲賳賷貙 賵 賰孬賷乇 賲賳賴丕 賱賲 鬲毓噩亘賳賷貙 賵 賰孬賷乇 乇丕亘毓丞 賱賲 兀賮賴賲賴丕 ... 賴匕丕 丕賱賰鬲丕亘 賲賳 賳賵毓賷丞 丕賱賰鬲亘 丕賱鬲賷 鬲丨乇囟賰 賵 鬲噩毓賱賰 鬲乇賶 噩賲賱賴 丨賵賱賰貙 賵 鬲賯丨賲賴 賮賷 兀丨丕丿賷孬賰貙 賵 鬲賰丕丿 鬲賯鬲亘爻 賰賱 賮賯乇丕鬲賴... 賮囟賱丕 毓賳 賰賵賳賴 賲乇噩毓丕 賱賰孬賷乇 賲賳 丕賱兀丿亘丕亍 賵 丕賱賲禺乇噩賷賳 賵 丕賱賲爻乇丨賷賷賳 丕賱匕賷賳 賷賵丿 丕賱賲乇亍 賱賵 賷胤賱毓 毓賱賶 兀毓賲丕賱賴賲貙 賵 賷丨鬲丕噩 賱毓賲乇 丌禺乇 賮賵賯 毓賲乇賴 丨鬲賶 賷丨賷胤 亘賴賲... 賴
賵 賱兀賳賴 賲賳 睾賷乇 丕賱賲毓賯賵賱 匕賰乇 賰賱 賲丕 噩匕亘賳賷 賲賳 丕賱賰鬲丕亘貙 爻兀賰鬲賮賷 亘亘毓囟 丕賱賲賱丕丨馗丕鬲: 賴
- 賲丕 卮噩毓賳賷 賱卮乇丕亍 丕賱賰鬲丕亘 _乇睾賲 兀賳賷 賱賲 兀賰賳 兀賲賱賰 賲毓賱賵賲丕鬲 毓賳賴 賵 賱丕 毓賳 賲丐賱賮鬲賴_ 賴賵 賰賱賲鬲賷 "囟丿 丕賱鬲兀賵賷賱" 丨賷賳 賵賯毓鬲 毓賷賳賷 毓賱賷賴賲丕貙 賮賷 賷賵賲 賰丕賳 匕賴賳賷 賲爻鬲睾乇賯丕 亘賳賯丕卮 賲胤賵賱 丨賵賱 丕賱鬲兀賵賷賱貙 賮賰丕丿鬲 丿乇丕噩丞 鬲氐丿賲賳賷 賵 兀賳丕 兀乇賰囟 賳丨賵 丕賱賲賰鬲亘丞貙 賵 丕夭丿丿鬲 匕賴賵賱丕 亘乇丐賷丞 丕賱賰鬲丕亘... 賲賲丕 噩毓賱 丕賱亘丕卅毓 賷賰乇乇 毓賱賶 賲爻丕賲毓賷 丕賱孬賲賳 兀賰孬乇 賲賳 賲乇丞貙 孬賲 賷賳丕丿賷 毓賱賷賾 亘毓丿 兀賳 賲卮賷鬲 賲卮鬲鬲丞 賱兀爻鬲乇丿 亘賯賷丞 賳賯賵丿賷... 丨賯賷賯丞 賰丕賳 賷賵賲丕 賲鬲賱亘賰丕... 兀賵 亘丕賱兀丨乇賶 兀賳丕 丕賱鬲賷 賰賳鬲 賲鬲賱亘賰丞 賷賵賲賴丕... 賮賯胤 賷賵賲賴丕貙 賱兀賳 毓丿賲 丕賱鬲賱亘賰 賰賲丕 鬲毓賱賲賵賳 賴賵 兀賲乇 賲毓賴賵丿 毓賳賷 丿丕卅賲丕 賵 兀亘丿丕... 賴
丿毓賵賳賷 兀禺亘乇賰賲 兀賳 丕賱鬲兀賵賷賱 卮賷亍 賲噩賳賵賳貙 賵 賱丕 兀丿賱 毓賱賶 匕賱賰 賲賳 賰賱賲丞 賳賷鬲卮丞 (賱丕 賵噩賵丿 賱丨賯丕卅賯 亘賱 賱鬲兀賵賷賱丕鬲 賮賯胤) 賵 丕賱鬲賷 賵丕賮賯鬲賴 毓賱賷賴丕 爻賵夭丕賳 賵 丕賱鬲賷 兀乇賮囟賴丕 賵 兀丨丕賵賱 噩丕賴丿丞 兀賱丕 兀賯毓 賮賷賴丕 亘賱 賵 兀賳丕賮丨 囟丿賴丕 ... 賮丕賱毓賯賱 賴匕賴 丕賱丌賱丞 丕賱乇賴賷亘丞貙 賯丕丿乇丞 毓賱賶 爻賮爻胤丞 兀賷 卮賷亍 賵 鬲兀賵賷賱賴 賵 噩毓賱 丕賱賳賯賷囟 賷毓賳賷 賳賯賷囟賴貙 賵 丕賱賳氐 賷賳爻賮 賵 賷丨胤賲 賳賮爻賴 亘賳賮爻賴... 賱丕 兀賳賰乇 兀賳 丕賱兀賲乇 賲爻賱 賵 賲賲鬲毓 賵 賷卮毓乇賰 亘賳卮賵丞 丕賱賯賵丞 賵 丕賱卮乇 賵 丕賱賱丕賲賳胤賯賷丞 丕賱賲爻賰乇丞... 賵 賱賰賳賴 睾賷乇 爻賵賷貙 賵 廿囟賱丕賱貙 乇睾賲 賱匕鬲賴...賴
乇亘賲丕 賲丕 賰賳鬲 賱兀鬲賵賯賮 毓賳丿 丕賱兀賲乇 _賱兀賳賴 賲睾賵賺 賰賲丕 賯賱鬲_ 賱賵賱丕 兀賳賷 賲毓賳賷丞 亘丕賱賯乇丌賳 丕賱賰乇賷賲貙 賵 賲毓賳賷丞 亘兀賳 鬲丨丕賮馗 丕賱賰賱賲丕鬲 毓賱賶 丕賱賲毓賳賶 丕賱匕賷 兀乇丕丿賴 丕賱賲卮乇賾毓 賲賳 丕賱賰賱賲丕鬲 丕賱鬲賷 丕禺鬲丕乇賴丕 鬲丨丿賷丿丕... 賱兀賳 丕賱賯丿乇丞 毓賱賶 丕賱鬲兀賵賷賱 亘丿賵賳 囟亘胤 鬲毓賳賷 丕賱鬲睾賷賷乇 廿賱賶 賲丕 賱丕賳賴丕賷丞 賮賷 丕賱賳氐... 賵 亘丕賱鬲丕賱賷 賱丕 賷賯乇兀 丕賱賲乇亍 兀賵 賷賮賴賲 賲賳 丕賱賳氐 廿賱丕 賲丕 賷乇賷丿 賯乇丕亍鬲賴 兀賵 賮賴賲賴... 賮賷兀鬲賷 賱賱賳氐 亘鬲氐賵乇 賲爻亘賯... 賮賱丕 賷乇賶 丕賱賳氐 賵 賱丕 賷乇賷丿 兀賳 賷乇丕賴 賵 乇亘賲丕 賱丕 賷爻鬲胤賷毓 兀賳 賷乇丕賴... 賵 廿賳賲丕 賷乇賶 賲丕 賮賷 匕賴賳賴 賵 賲丕 賷乇睾亘 亘廿賷氐丕賱賴... 賮賷兀鬲賷 亘丕賱毓噩亘 丕賱毓噩丕亘... 賵 亘丕賱鬲丕賱賷 賷賮爻丿 賵 賷丨乇賮 賰賱 卮賷亍... 賵 賴匕丕 賲丕 賮毓賱賴 丕賱賰孬賷乇賵賳 賯丿賷賲丕 賵 丨丿賷孬丕... 賱兀賳賴丕 丕賱賲賳丕賵乇丞 丕賱鬲賷 鬲噩毓賱賴賲 賷爻鬲禺丿賲賵賳 丕賱賳氐 毓賱賶 賴賵丕賴賲... 賷賳賰乇賵賳 賵 賷睾賷乇賵賳 賲丕 賱丕 賷毓噩亘賴賲 賲賳 丿賵賳 丕賱鬲氐乇賷丨 亘丕賳賰丕乇賴 賵 鬲睾賷賷乇賴...賴
鬲賯賵賱 爻賵夭丕賳 賰賱丕賲丕 噩賲賷賱丕: "賷賮鬲乇囟 丕賱鬲兀賵賷賱 鬲賮丕賵鬲丕 亘賷賳 丕賱賲毓賳賶 丕賱賵丕囟丨 賱賱賳氐 賵 賲鬲胤賱亘丕鬲 丕賱賯乇丕亍 (丕賱賱丕丨賯賷賳). 廿賳賴 賷爻毓賶 廿賱賶 廿賱睾丕亍 丕賱鬲賮丕賵鬲 賮賯丿 兀氐亘丨 丕賱賳氐貙 賱爻亘亘 賲丕貙 睾賷乇 賲賯亘賵賱貨 賵 賱賰賳 賱丕 賷賲賰賳 廿賴賲丕賱賴. 賵 丕賱鬲兀賵賷賱 禺胤丞 噩匕乇賷丞 賱賱丕丨鬲賮丕馗 亘賳氐 賯丿賷賲 賲賳 禺賱丕賱 鬲乇賯賷毓賴貙 廿匕 賷毓鬲賯丿 兀賳賴 賲賴賲 賱丿乇噩丞 賱丕 賷噩賵夭 胤乇丨賴丕 噩丕賳亘丕. 賵 丕賱賲賮爻乇 賱丕 賷賮毓賱 爻賵賶 鬲毓丿賷賱 兀賵 鬲亘丿賷賱 賮賷 丕賱賳氐 賲賳 丿賵賳 賲丨賵賴 兀賵 廿毓丕丿丞 賰鬲丕亘鬲賴貙 賵 賱賰賳賴 賷毓噩夭 毓賳 丕賱廿賯乇丕乇 亘匕賱賰貙 賮賷夭毓賲 兀賳賴 賷賵囟丨賴 賮賯胤 亘兀賳 賷賲賷胤 丕賱賱孬丕賲 毓賳 賲毓賳丕賴 丕賱丨賯賷賯賷."氐19
賵 賱匕賱賰 丕爻鬲賵賯賮賳賷 丕賱賰鬲丕亘貙 丨賷賳 氐乇禺 賱賷 賲賯丿賲丕 賳賮爻賴 兀賲丕賲賷 亘賰賵賳賴 賲囟丕丿丕 賱賱鬲兀賵賷賱... 亘賷丿 兀賳賴 丕鬲囟丨 賱賷 賮賷賲丕 亘毓丿貙 兀賳 爻賵夭丕賳 鬲賯氐丿 亘賲賯丕賱鬲賴丕 卮賷卅丕 賵丕丨丿 賲丨丿丿丕貙 賵 賴賵 賲囟丕丿丕鬲賴丕 賱鬲兀賵賷賱 丕賱賮賳貙 亘爻亘亘 丕賱卮毓賵乇 亘囟乇賵乇丞 丕賱鬲亘乇賷乇 丕賱丿丕卅賲 賱賴... 賴匕丕 丕賱鬲亘乇賷乇 丕賱禺丕賲賱 丕賱賲爻鬲賮夭... "丕賱鬲兀賵賷賱 賴賵 丕賳鬲賯丕賲 丕賱賮賰乇 賲賳 丕賱賮賳 (...) 賷毓鬲亘乇 丕賱鬲兀賵賷賱 乇賮囟丕 鬲賯賱賷丿賷丕 賱鬲乇賰 丕賱毓賲賱 丕賱賮賳賷 賵 卮兀賳賴."氐21
賵 賰丕賳鬲 氐丿賮丞 爻毓賷丿丞 鬲賱賰 丕賱鬲賷 噩賲毓鬲賳賷 亘丕賱賰鬲丕亘貙 賵 賮鬲丨鬲 兀賲丕賲賷 亘丕亘丕 賲賳 丕賱兀賮賰丕乇 丕賱賱丕賲兀賱賵賮丞...賴
- 賲賳 兀賰孬乇 丕賱賲賯丕賱丕鬲 丕賱鬲賷 兀丨亘亘鬲賴丕 賲賯丕賱鬲賷賳貙 兀賵賱丕賴賲丕 (丕賱賮賳丕賳 亘賵氐賮賴 賳賲賵匕噩丕 賱賱廿賳爻丕賳 丕賱賲毓匕亘)... 鬲鬲丨丿孬 賮賷賴丕 毓賳 賷賵賲賷丕鬲 亘丕賮賷夭賷貙 賵 賴賵 卮丕毓乇 廿賷胤丕賱賷 兀賳賴賶 丨賷丕鬲賴 賲賳鬲丨乇丕. 鬲賯賵賱 賮賷 賲毓乇囟 丨丿賷孬賴丕 丕賱賲卮賵賯 毓賳 賷賵賲賷丕鬲賴: 賴
"賮亘丕賮賷夭賷 丕賱匕賷 丕爻鬲毓賲賱 氐賷睾丞 "兀賳丕" 亘賰孬乇丞 賮賷 乇賵丕賷丕鬲賴貙 毓丕丿丞 賲丕 賷鬲丨丿孬 毓賳 賳賮爻賴 亘氐賷睾丞 "兀賳鬲" 賮賷 賷賵賲賷丕鬲賴. 賴賵 賱丕 賷氐賮 賳賮爻賴 廿賳賲丕 賷禺丕胤亘賴丕. 廿賳賴 丕賱賲卮丕賴丿 丕賱爻丕禺乇貙 丕賱賵丕毓馗貙 丕賱賱丕卅賲 賱賳賮爻賴貙 賵 賷亘丿賵 兀賳 丕賱賳鬲賷噩丞 丕賱賳賴丕卅賷丞 賱賲孬賱 賴匕賴 丕賱賳馗乇丞 丕賱賲鬲賵賯毓丞 賱賱匕丕鬲 賰丕賳鬲 丕賱丕賳鬲丨丕乇 賱丕 賲丨丕賱丞"氐70
賱丕 兀禺賮賷賰賲 兀賳賷 兀丨亘 賯乇丕亍丞 賴匕丕 丕賱賳賵毓 賲賳 丕賱禺胤丕亘 賲毓 丕賱匕丕鬲貙 亘賱 廿賳賷 賳賮爻賷 賰孬賷乇丕 賲丕 兀賲丕乇爻賴... 賵 賱賰賳 賴賱 賮毓賱丕 丕賱賳鬲賷噩丞 賴賷 "丕賱丕賳鬲丨丕乇 賱丕 賲丨丕賱丞"責
丕賱毓亘丕乇丞 亘丿鬲 賱賷 賲乇毓亘丞 賵 賲賵爻賵爻丞貙賵 賱亘孬鬲 兀賮賰乇 亘賴丕 賲丨丕賵賱丞 丕賱禺乇賵噩 賲賳 丨氐丕乇賴丕... 丨鬲賶 賵噩丿鬲 賲賳賮匕丕 賵 丕爻鬲胤毓鬲 丕賱鬲睾賱亘 毓賱賷賴丕...賴
賮毓亘丕乇丞 爻賵夭丕賳 賮賷賴丕 鬲亘氐乇 賵 賱賰賳賴丕 賱賷爻鬲 丨鬲賲賷丞... 兀丨爻亘 賴賳丕賰 乇亘胤 亘賷賳 賮賰乇丞 丕賱丕賳鬲丨丕乇 賵 丕賱鬲賮賰賷乇 亘賴匕賴 丕賱胤乇賷賯丞... 賮賲賳 賷賳卮胤乇賵賳 賲毓 匕賵丕鬲賴賲 賯丿 鬲毓乇囟 賱賴賲 賮賰乇丞 丕賱丕賳鬲丨丕乇... 賱兀賳賴丕 丕賱賵爻賷賱丞 丕賱鬲賷 鬲鬲亘丿賶 賱賴賲 賮賷 丕賱鬲禺賱氐 賲賳 廿賷丕賴賲貙 匕丕賰 丕賱胤乇賮 丕賱丌禺乇 賲賳 廿賷丕賴賲 丕賱匕賷 賷賯囟 賲囟噩毓賲 賵 賷孬賯賱賴賲 賵 賷禺賳賯賴賲... 匕賵賷 丕賱兀賳賮爻 丕賱賲鬲囟禺賲丞貙 鬲卮睾賱賴賲 亘丨賷孬 賷丿賵乇賵賳 丨賵賱賴丕 賲丨亘丞 賵 爻禺胤丕貙 卮鬲賷賲丞 賵 賲丿丨丕... 卮賷亍 兀卮亘賴 亘丿賵丕賲丕鬲 丕賱賲賷丕賴貙 賰賱賲丕 丨丕賵賱鬲 丕賱丕亘鬲毓丕丿 賵 丕賱鬲賱賴賷 毓賳賴丕 卮丿鬲賰 賱賯丕毓賴丕... 賵 賱匕賱賰 鬲噩丿賴賲 丿丕卅賲賷 丕賱鬲亘乇賲 賲賳 兀賳賮爻賴賲... 賵 賷賵丿賵賳 賱賵 賷禺乇噩賵丕 賲賳賴丕... 賴匕丕 毓賱賶 賲爻鬲賵賶 丕賱兀賮賰丕乇... 賱賰賳 丕賱鬲賳賮賷匕 兀賲乇 丌禺乇... 賱兀賳 賴賳丕 賷賯賮 丨丕噩夭 丕賱賲毓鬲賯丿... 賮廿賳 賰丕賳 丕賱卮禺氐 賲丐賲賳丕 亘兀賳 丕賱丕賳鬲丨丕乇 禺胤賷卅丞貙 賮賱賳 賷賯丿賲 毓賱賶 丕賱兀賲乇... 賱兀賳 丕賱賲亘丿兀 兀賯賵賶 廿賳 賰丕賳 賲乇賷丿丕 賱賴 兀賳 賷賰賵賳 丕賱兀賯賵賶... 兀毓賳賷 丕賱卮禺氐 丕賱賲賳卮胤乇 賲毓 匕丕鬲賴 賱賷爻 賲噩賳賵賳丕 賵 賱丕 賲乇賷囟丕... 賲丕 賷噩毓賱賴 賲乇賷囟丕 賴賵 賮賯丿丕賳賴 賱賱爻賷胤乇丞 兀賵 丕賱賯丿乇丞 毓賱賶 丕賱鬲賲賷賷夭... 賵 賱賰賳 胤丕賱賲丕 兀賳賴 賵丕毓 賵 賷爻鬲胤賷毓 丕賱鬲賮乇賷賯 賵 丕賱鬲丨賰賲 亘賰賱 卮禺氐賷丕鬲賴 丨鬲賶 兀賰孬乇賴丕 鬲賲乇丿丕 賵 爻賵丿丕賵賷丞... 賮廿賳賴 賲丕 夭丕賱 毓丕賯賱丕 賵 賷爻鬲胤賷毓 丕賱禺賷丕乇 賵 賲噩丕賴丿丞 卮賴賵丞 丕賱丕賳毓鬲丕賯 賲賳 兀賳丕賴 廿賳 卮丕亍...賴
- 丕賱賲賯丕賱丞 丕賱孬丕賳賷丞 丕賱鬲賷 兀賵丿 賱賵 兀賯鬲亘爻賴丕 賰賱賴丕 毓賳 "爻賷賲賵賳 賮丕賷賱" _賵 賴賷 賲賮賰乇丞 賮乇賳爻賷丞_ 匕賰乇鬲 爻賵夭丕賳 賮賷賴丕 鬲丨賱賷賱丕 丨丕匕賯丕 噩丿丕 噩丿丕貙 兀匕賴賱賳賷 賲賳 卮丿丞 丿賯鬲賴. 賵 賴賵 兀賲乇 賱胤丕賱賲丕 賮賰乇鬲 亘賴. 鬲丨丿孬鬲 毓賳 爻亘亘 丕賳鬲卮丕乇 丕賱廿毓噩丕亘 亘賳賵毓賷丞 賲賳 丕賱賰鬲丕亘 賲孬賱 賰丕賮賰丕 賵 賳賷鬲卮丞 丕賱禺. 賮丕賱賯丕乇卅 賷賳噩匕亘 廿賱賷賴賲 賱賷爻 亘爻亘亘 丕賱丕賯鬲賳丕毓 亘兀賮賰丕乇賴賲 賵 丕賱廿賷賲丕賳 亘賴丕貙 賵 廿賳賲丕 賱兀噩賱 兀賳 賷毓賷卮 賲毓賴賲 鬲噩乇亘丞 賴匕賴 丕賱丨賷丕丞 丕賱睾乇賷亘丞 丕賱鬲賷 賱賷爻鬲 賴賷 丨賷丕鬲賴... 賴
"賷賲賳丨賳丕 賰賱丕賷爻鬲 丕賱賲鬲毓丞 貙 賮賷賲丕 鬲亘毓孬 賲毓馗賲 兀毓賲丕賱 睾賵鬲丞 賮賷 賳賮賵爻賳丕 丕賱賲賱賱. 毓賱賶 賴匕丕 丕賱賳丨賵貙 賱亘毓囟 丕賱兀丿亘丕亍 毓賱賶 睾乇丕乇 賰賷乇賰睾丕乇丿貙 賵 賳賷鬲卮丞貙 賵 丿賵爻鬲賵賷賮爻賰賷貙 賵 賰丕賮賰丕貙 賵 亘賵丿賱賷乇貙 賵 乇丕賲亘賵貙 賵 噩賷賳賷賴 _賵 賰匕賱賰 爻賷賲賵賳 賮丕賷賱_ 爻賱胤丞 毓賱賷丕 毓賱賷賳丕 亘爻亘亘 賲賱丕賲丨 丕賱丕毓鬲賱丕賱 丕賱鬲賷 賷鬲賲賷夭賵賳 亘賴丕 鬲丨丿賷丿丕貙 賮丕毓鬲賱丕賱賴賲 賴賵 鬲毓賯賱賴賲貙 賵 賴賵 賲丕 賷毓夭夭 賲賯丿乇鬲賴賲 毓賱賶 丕賱丕賯賳丕毓. (...) 賮賲毓馗賲 丕賱賲毓噩賷亘賳 丕賱丨丿賷孬賷賳 亘賴賲 賱賲 賷賯丿乇賵丕 兀賳 賷毓鬲賳賯賵丕 兀賮賰丕乇賴賲貙 賵 賴賲 賱丕 賷毓鬲賳賯賵賳賴丕. 廿賳賳丕 賳賯乇兀 兀丿亘丕亍 賷鬲賲賷夭賵賳 亘賲孬賱 賴匕賴 丕賱兀氐丕賱丞 丕賱賲賯匕毓丞 賱兀噩賱 爻賱胤鬲賴賲 丕賱卮禺氐賷丞貙 兀賵 賱賳賲賵匕噩 乇氐丕賳鬲賴賲貙 兀賵 賱廿乇丕丿鬲賴賲 丕賱噩賱賷丞 亘丕賱鬲囟丨賷丞 亘兀賳賮爻賴賲 賲賳 兀噩賱 丨賯丕卅賯賴賲貙 賵 賱兀噩賱 "丌乇丕卅賴"貙 賱賰賳 賮賯胤 廿乇亘丕 廿乇亘丕. (...) 賴賰匕丕 賷毓乇亘 丕賱賯丕乇卅 丕賱賲毓丕氐乇 丕賱賲乇賴賮 丕賱廿丨爻丕爻 毓賳 廿噩賱丕賱賴 賱賲爻鬲賵賶 賲賳 丕賱丨賯賷賯丞 丕賱乇賵丨丕賳賷丞 賱丕 賷禺氐賴 賵 賱丕 賷賲賰賳 兀賳 賷禺氐賴. 亘毓囟 丕賱丨賷賵丕鬲 賳賲賵匕噩賷貙 賵 亘毓囟賴丕 賱賷爻 賰匕賱賰. 賵 賲賳 兀氐賱 丕賱丨賷賵丕鬲 丕賱賳賲賵匕噩賷丞 鬲賱賰 丕賱鬲賷 鬲丿毓賵賳丕 賱賲丨丕賰丕鬲賴丕貙 賵 鬲賱賰 丕賱鬲賷 賳賳馗乇 廿賱賷賴丕 毓賳 賲爻丕賮丞 亘賲夭賷噩 賲賳 丕賱賳賮賵乇 賵 丕賱卮賮賯丞 賵 丕賱廿噩賱丕賱." 氐78-79
賷毓賳賷 亘賲毓賳賶 丌禺乇 兀賰孬乇 賮噩丕噩丞 兀賳 丕賱匕賷賳 賷賰鬲亘賵賳 毓賳 氐乇丕毓丕鬲賴賲 賲毓 賵噩賵丿賴賲 廿賳賲丕 賴賲 噩賵丕賰乇 賵 亘賴丕賱賷賱 賱賱胤亘賷毓賷賷賳... 賰丕賱鬲爻賱賷 亘毓乇賵囟 丕賱賲爻賵禺... 卮賷亍 亘毓賷丿 毓賳賷 賵 賱爻鬲 兀賳丕 廿賷丕賴... 賵 賱賰賳 賴匕丕 丕賱賲卮賵賴 賲爻賱 賵 馗乇賷賮 亘鬲卮賵賴賴...賴
賵 丕賱賰丕鬲亘 _賴匕丕 丕賱賲爻禺 丕賱賲毓匕亘_ 賷卮毓乇 亘丕賱睾亘胤丞 賱賵噩賵丿 賲賳 賴賵 賲賴鬲賲 亘鬲卮賵賴賴.... 賲賳 兀丨亘 賱丕胤亘賷毓賷鬲賴 賵 噩賳賵賳賴... 賮賷丿賮毓賴 賴匕丕 賱賱鬲賮賳賳 亘毓乇賵囟賴...賴
賵 丕賱賰鬲丕亘丞 賳毓賲丞 丨賯賷賯丞貙 賱兀賳賴丕 丕賱卮賷亍 丕賱噩賲賷賱 丕賱匕賷 賷噩毓賱 丕賱丌禺乇賷賳 賷鬲賯亘賱賵賳 睾乇丕亘丞 賴丐賱丕亍... 亘賱 丨鬲賶 賷乇睾亘賵丕 亘鬲賯賱賷丿賴丕 賵 賷氐賷乇賵丕 睾乇賷亘賷賳 賰廿賷丕賴賲... 賵 賴賷 丕賱賲賳賮匕 丕賱匕賷 賷噩毓賱賰 鬲丨賵賱 禺氐賱賰 丕賱賲囟丨賰丞 賵 丕賱賲丨乇噩丞 賵 丕賱爻丕匕噩丞 賵 丕賱賲噩賳賵賳丞 廿賱賶 卮賷亍 噩賲賷賱 賵 賱匕賷匕 賵 賲丨亘亘... 賲毓 兀賳賴 賱賵 丕賮鬲乇囟賳丕 卮禺氐丕 睾乇賷亘丕 賵 賲賳 丿賵賳 賰賱賲丕鬲貙 賮廿賳賴 爻賷賰賵賳 賲孬丕乇丕 賱賱鬲賳丿乇 賵 丕賱囟丨賰貙 丨鬲賶 亘爻亘亘 兀賮毓丕賱 賵 鬲氐乇賮丕鬲 賯丿 丕卮鬲賴賶 丕賱賳丕爻 鬲賯賱賷丿賴丕 賮賷 賲賰丕賳 丌禺乇 丨賷賳 賯乇兀賵賴丕... 亘賱 丕賱賰丕鬲亘 賳賮爻賴 丕賱匕賷 賰丕賱賵丕 賱賴 丕賱賲丿賷丨 賰賲 賰丕賳 爻賷亘丿賵 睾亘賷丕 賵 兀禺乇賯丕 賵 賲匕賲賵賲丕 賮賷 兀毓賷賳賴賲 賲賳 丿賵賳 丿乇毓 丕賱賰賱賲丕鬲...賴
兀賱丕 賮賱賷亘丕乇賰 丕賱廿賱賴 賮賷 丕賱賰賱賲丕鬲 丕賱鬲賷 鬲噩毓賱 賱賱睾乇亘丕亍 賲賰丕賳丕 賮賷 賴匕丕 丕賱毓丕賱賲! 賴
兀賱丕 賮賱賷亘丕乇賰 丕賱廿賱賴 賮賷 丕賱賰賱賲丕鬲 丕賱鬲賷 鬲丨賲賷賳丕! 賴
兀賱丕 賮賱賷亘丕乇賰 丕賱廿賱賴 賮賷 丕賱賰賱賲丕鬲 丕賱鬲賷 鬲噩賲賭賾賱 丨丿亘鬲賳丕 賮賷 兀毓賷賳 丕賱賳丕爻! 賴
兀賱丕 賮賱賷丿賲 丕賱廿賱賴 丕賱賰賱賲丕鬲 毓賱賷 賵 賱丕 賷賳鬲夭毓賴丕 賲賳賷 兀亘丿丕! 賴
- 賱賮鬲 賳馗乇賷 賮賷 賰鬲丕亘鬲賴丕 賴賵 兀爻賱賵亘賴丕 賵 賰兀賳賴丕 禺丕乇噩賷丞... 賵 賰兀賳賴丕 鬲乇賯亘 丕賱噩賲賷毓 賵 鬲鬲兀賲賱賴賲 丿賵賳 兀賳 賷胤丕賱賴丕 卮賷亍 賲賳賴賲貙 賵 賰兀賳賴丕 亘毓賷丿丞 毓賳 賰賱 丕賱賲賵丕囟賷毓... 賵 賰兀賳賴丕 賲賳賷毓丞... 鬲賮賴賲 兀賲乇丕囟 丕賱賲噩鬲賲毓 賵 鬲卮禺氐賴丕 亘丿賯丞...賴
賲孬賱丕 "鬲鬲氐丕乇毓 賲毓馗賲 丕賱兀賮賰丕乇 丕賱乇氐賷賳丞 賮賷 毓氐乇賳丕 賲毓 丕賱廿丨爻丕爻 亘丕賱鬲卮乇丿貨 賮毓丿賲 賲賵孬賵賯賷丞 丕賱鬲噩乇亘丞 丕賱亘卮乇賷丞 丕賱鬲賷 噩丕亍 亘賴丕 丕賱鬲爻丕乇毓 丕賱賱丕廿賳爻丕賳賷 賱賱鬲睾賷賷乇 丕賱鬲丕乇賷禺賷 兀丿賶 廿賱賶 廿氐丕亘丞 賰賱 毓賯賱 丨丿賷孬 賲乇賴賮 亘賳賵毓 賲賳 丕賱睾孬賷丕賳 賵 丕賱丿賵丕乇 丕賱賮賰乇賷. 賵 賷亘丿賵 兀賳 丕賱爻亘賷賱 丕賱賵丨賷丿 賱賱卮賮丕亍 賲賳 賴匕丕 丕賱睾孬賷丕賳 丕賱乇賵丨賷 賷賯賵賲 毓賱賶 賲賮丕賯賲鬲賴貙 毓賱賶 丕賱兀賯賱 賮賷 丕賱亘丿丕賷丞." 氐103
鬲賮賴賲 氐乇丕毓丕鬲 丕賱匕丕鬲 賵 鬲乇丕賴丕 亘賵囟賵丨貙 賲毓 兀賳賰 賱丕 鬲卮毓乇 亘賴丕 賯丿 賰丕亘丿鬲賴丕:賴
"賵 賵毓賷 丕賱匕丕鬲 賴賵 (丕賱噩丕匕亘賷丞) 丕賱鬲賷 鬲孬賯賱 丕賱乇賵丨貙 賵 鬲噩丕賵夭 賵毓賷 丕賱匕丕鬲 賴賵 (丕賱賳毓賲丞) 兀賵 丕賱禺賮丞 丕賱乇賵丨賷丞."氐277
賵 賲賳 丕賱賳丕丿乇 兀賳 鬲氐丕丿賮 卮禺氐丕 禺丕乇噩賷丕 賯丕丿乇丕 毓賱賶 賮賴賲 匕丕賰 丕賱毓丕賱賲 亘賴匕丕 丕賱毓賲賯 丿賵賳 兀賳 賷賳禺乇胤 賮賷賴...賴
"賱丕 卮賰 毓賳丿賷 賲孬賱丕 亘兀賳 丕賱賳馗乇丞 丕賱毓丕賯賱丞 廿賱賶 丕賱賰賵賳 賴賷 丕锟斤拷氐丨賷丨丞. 賵 賱賰賳 賴賱 丕賱丨賯賷賯丞 賴賷 丕賱賲胤賱賵亘 丿丕卅賲丕責 賱賷爻鬲 丕賱丨丕噩丞 廿賱賶 丕賱丨賯賷賯丞 孬丕亘鬲丞貙 賵 賰匕賱賰 丕賱丨丕噩丞 廿賱賶 丕賱乇丕丨丞貙 賮丕賱賮賰乇丞 丕賱鬲賷 鬲賰賵賳 賲賱鬲賵賷丞 賯丿 鬲丨丿孬 賵賯毓丕 賮賰乇賷丕 兀毓馗賲 賲賳 丕賱丨賯賷賯丞貙 賵 賱毓賱賴丕 鬲禺丿賲 亘氐賵乇丞 賮囟賱賶 丨丕噩丕鬲 丕賱匕賴賳 丕賱鬲賷 鬲鬲賳賵毓. 丕賱丨賯賷賯丞 鬲賵丕夭賳貙 賵 賱賰賳 賳賯賷囟 丕賱丨賯賷賯丞貙 兀賷 丕賱賱丕鬲賵丕夭賳貙 賯丿 賱丕 賷賰賵賳 賰匕亘丞." 氐79
丕賱賱賴賲 廿賱丕 賮賷 賲賯丕賱丞 賵丕丨丿丞 卮毓乇鬲 亘賴丕 氐丕乇鬲 噩夭亍丕 賲賳 賲賵囟賵毓賴丕... 賮賷 禺賵丕胤乇賴丕 丨賵賱 賲爻乇丨賷丞 丕賱賵賰賷賱 丕賱鬲賷 鬲鬲丨丿孬 毓賳 賲丨丕賰賲丞 囟丕亘胤 賳丕夭賷 賰丕賳 賱賴 丿賵乇 亘丕乇夭 賮賷 丕毓鬲賯丕賱 丕賱賷賴賵丿 賵 丕亘丕丿鬲賴賲 賮賷 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱孬丕賳賷丞... 賮賲賳 丕賱賵丕囟丨 兀賳 丕賱賲賵囟賵毓 賷毓賳賷賴丕 亘卮賰賱 賲亘丕卮乇... 賵 賱匕賱賰 卮毓乇鬲 亘賴丕 鬲鬲丨丿孬 賲賳 丕賱丿丕禺賱貙 賵 賱賷爻 賲賳 丕賱禺丕乇噩 賰毓丕丿鬲賴丕... 賯丿 丕賳禺乇胤鬲 賮賷 賲賵囟賵毓賴丕 賵 亘丕鬲鬲 噩夭亍丕 賲賳賴...賴
- 鬲賯賵賱 毓賳 丕賱賲賱賱: 賴
"賵 賱賰賳 賲丕匕丕 毓賳 丕賱賲賱賱責 賴賱 賷賲賰賳 鬲亘乇賷乇賴責 兀馗賳 兀賳 匕賱賰 賲賲賰賳 兀丨賷丕賳丕 (賴賱 賲賳 賵丕噩亘 丕賱賮賳 丕賱乇賮賷毓 兀賳 賷賰賵賳 卮丕卅賯丕 亘丕爻鬲賲乇丕乇責 賱丕 兀馗賳). 賱丕 亘丿 賱賳丕 賲賳 丕賱丕毓鬲乇丕賮 亘亘毓囟 丕賱丕爻鬲毓賲丕賱丕鬲 賱賱賲賱賱 亘氐賮鬲賴 兀賰孬乇 丕賱爻賲丕鬲 丕賱兀爻賱賵亘賷丞 廿亘丿丕毓丕 賮賷 丕賱兀丿亘 丕賱丨丿賷孬." 氐102
兀毓噩亘賳賷 賰賱丕賲賴丕 丕賱賱丕丕毓鬲賷丕丿賷... 賯丿 丕爻鬲胤丕毓鬲 毓亘乇賴 兀賳 鬲賴卮賲 賲爻賱賲丞 賲鬲賵賴賲丞 賯丿 夭乇毓鬲賴丕 丕賱亘賷卅丞... 兀賱丕 賵 賴賷 囟乇賵乇丞 毓賳氐乇 丕賱鬲卮賵賷賯...賴
廿匕 賰孬賷乇丕 賲丕 兀賰鬲亘 兀卮賷丕亍 賲賲賱丞... 兀卮毓乇 賵 兀毓賱賲 亘兀賳賴丕 賲賲賱丞貙 賵 賱賰賳賴丕 賲亘乇乇丞... 賮丕賱賮賰乇丞 亘噩賮丕賮賴丕 賵 氐賱丕賮鬲賴丕 賱丕 賷賲賰賳 廿賱丕 兀賳 鬲賰賵賳 賰匕賱賰... 賵 賱胤丕賱賲丕 賰丕賳 丕賱亘丨孬 毓賳 丕賱鬲卮賵賷賯 兀賰孬乇 毓丕卅賯 賱賷 毓賳 丕賱賰鬲丕亘丞... 兀毓賳賷 賰賷賮 兀賮鬲毓賱 兀賲乇丕 夭丕卅丿丕 毓賲丕 兀乇賷丿賴貙 毓賲丕 兀卮毓乇 兀賳賴 丕賱兀賳爻亘 賱賱鬲毓亘賷乇貙 毓賲丕 兀賳丕 毓賱賷賴貙 毓賲丕 鬲賯鬲囟賷賴 丕賱賮賰乇丞貙 賱兀噩賱 丕賱鬲卮賵賷賯... 賮賯胤 賱兀賳賴 夭購乇毓 賮賷 乇丐賵爻賳丕 囟乇賵乇丞 丕賱鬲卮賵賷賯...賴
賰賱丕賲賴丕 賴匕丕 賱毓亘 亘乇兀爻賷... 噩丿丕... 賴
- "賮賷 賴匕賴 丕賱丿賳賷丕 兀賲賵乇 賰孬賷乇丞 賱賲 鬲爻賲貙 賵 兀賲賵乇 賰孬賷乇丞 丨鬲賶 賱賵 爻賲賷鬲貙 賱賲 鬲賵氐賮 兀亘丿丕貙 賵 兀丨丿賴丕 賴賵 鬲賱賰 丕賱丨爻丕爻賷丞 _丕賱丨丿賷孬丞貙 丿賵賳 噩丿丕賱貙 賵 兀丨丿 兀卮賰丕賱 丕賱匕賵賯 丕賱乇賮賷毓 廿賳賲丕 亘丕賱賰丕丿 丕賱賲鬲胤丕亘賯 賲毓賴_ 丕賱鬲賷 鬲爻賲賶 亘丕爻賲 賳丨賱丞 (丕賱鬲賰賱賮)"賴
賴賰匕丕 鬲亘鬲丿卅 賲胤賱毓 賲賯丕賱賴丕 "賲賱丕丨馗丕鬲 丨賵賱 馗丕賴乇丞 丕賱鬲賰賱賮" 賵 賴賵 賲賳 兀卮賴乇 賲賯丕賱丕鬲賴丕貙 賵 賯丿 賰丕賳 賱賴丕 丕賱賷丿 丕賱胤賵賱賶 賮賷 廿卮丕毓丞 丕爻鬲毓賲丕賱 賴匕賴 丕賱賰賱賲丞貙 廿匕 賴賷 兀賵賱 賲賳 賰鬲亘 賲賯丕賱丕 賲胤賵賱丕 毓賳賴 鬲氐賮 賲賱丕賲丨 賴匕丕 丕賱兀爻賱賵亘. 賵 兀爻賱賵亘 丕賱鬲賰賱賮
(Camp Style)
賷毓乇賮 兀賳賴 丨爻 噩賲丕賱賷 賷爻鬲賲丿 噩丕匕亘賷鬲賴 賲賳 匕賵賯賴 丕賱乇丿賷亍 兀賵 丿賱丕賱鬲賴 丕賱爻丕禺乇丞. 鬲賯賵賱 爻賵夭丕賳 "廿賳賳賷 兀卮毓乇 亘丕賳噩匕丕亘 卮丿賷丿 廿賱賶 丕賱鬲賰賱賮 亘賯丿乇 賲丕 鬲睾賷馗賳賷 賴匕賴 丕賱馗丕賴乇丞 亘卮丿丞貙 賵 賱賴匕丕 丕賱爻亘亘 兀乇賷丿 丕賱丨丿賷孬 毓賳賴丕." 氐394
"丕賱鬲賰賱賮 賳賲胤 噩賲丕賱賷 賲毓賷賳 (...) 賱丕 賷鬲毓賱賯 亘丕賱噩賲丕賱 亘賱 亘丿乇噩丞 丕賱鬲氐賳毓 賵 丕賱兀爻賱亘丞"氐395
"丕賱鬲賰賱賮 賷賮囟丨 丕賱亘乇丕亍丞貙 賵 賱賰賳賴 賰匕賱賰 賷賮爻丿賴丕 賲鬲賶 鬲爻賳賶 賱賴 匕賱賰" 氐405
"丕賱鬲賰賱賮 賴賵 賲匕賷亘 賱賱兀禺賱丕賯. 廿賳賴 賷賯賵賲 亘鬲丨賷賷丿 丕賱丕爻鬲賳賰丕乇 丕賱兀禺賱丕賯賷貙 賵 賷乇毓賶 丕賱賲乇丨 賵 丕賱毓亘孬." 氐416
"睾賷乇 兀賳 丕賱匕賵賯 丕賱賲鬲賰賱賮貙 賵 賱卅賳 賰丕賳 丕賱賲孬賱賷賵賳 胤賱賷毓鬲賴貙 賴賵 兀賰孬乇 賲賳 賲噩乇丿 匕賵賯 賲孬賱賷." 氐416
"丕賱賯賵賱 丕賱賲鬲賰賱賮 丕賱賲胤賱賯 賲賮丕丿賴: 賴匕丕 噩賷丿 賱兀賳賴 賲乇賷毓" 氐418
賵 兀賳丕 賲賲鬲賳丞 兀賳賷 鬲毓賱賲鬲 丕賱賲氐胤賱丨貙 廿匕 噩夭亍 賲賳 丕賱賯亘囟 毓賱賶 丕賱卮賷亍 賵 賰爻乇 丨丿鬲賴 賵 賵丨卮鬲賴貙 賴賵 鬲賯賷賷丿賴 亘賰賱賲丞...賴
賵 賴匕丕 丕賱兀爻賱賵亘 丕賱賲鬲氐賳毓 賱胤丕賱賲丕 兀孬丕乇 賮賷 賳賮爻賷 丕賱丕卮賲卅夭丕夭 賵 丕賱乇毓亘貙 丿賵賳 兀賳 兀毓賱賲 兀賳 賱賴 丕爻賲丕 賵 禺氐丕卅氐丕... 賱賰賳賷 丕賱丌賳 兀卮毓乇 亘丕賱賯賵丞 賵 兀賳賷 丕賳鬲氐乇鬲 毓賱賷賴貙 賱兀賳 丕賱賲噩賴賵賱 氐丕乇 賲毓賱賵賲丕貙 賵 賱賳 賷毓賵丿 賲禺賷賮丕... 亘鬲 兀爻鬲胤賷毓 鬲爻賲賷丞 匕丕賰 丕賱兀賳賲賵匕噩 丕賱匕賷 賷禺丿卮賳賷 賵 賷賯乇賮賳賷 亘丕亘鬲匕丕賱賴 賵 卮匕賵匕賴貙 亘鬲 兀爻鬲胤賷毓 賵爻賲賴貙 亘鬲 兀爻鬲胤賷毓 丕賱賯亘囟 毓賱賷賴 兀賷賳賲丕 卮丕賴丿鬲賴... 廿賳賴 丕賱鬲賰賱賮...賴
賵 卮禺氐賷丕 賱丕 兀噩丿 丕賷 噩賲丕賱 兀賵 噩匕亘 賮賷 鬲卮賵賴賴... 廿賳賴 丕賱賲乇囟... 丕賱賲乇囟 賵丨丿賴 賲賳 賷賳鬲噩 卮賷卅丕 賲孬賷乇丕 賱賱睾孬賷丕賳 賰賴匕丕... 廿匕 兀賳 丕賱胤亘賷毓賷丞 丨賷賳 鬲賰賵賳 賲賳丕賮賯丞 賵 賰丕匕亘丞貙 賷鬲胤乇賮 丕賱兀賮乇丕丿 賮賷 鬲賲丕賷夭賴賲 賵 乇賮囟賴賲 賱賴丕 賰賳賵毓 賲賳 乇丿 丕賱賮毓賱...賴
廿賳賲丕 賴賵 乇丿 賮毓賱 卮丕匕 毓賱賶 賲噩鬲賲毓 乇丿賷亍... 賵 丕賱爻賯賲 賱丕 賷賵賱丿 廿賱丕 爻賯賲丕...賴
賰賲孬丕賱 毓賱賷賴 賲毓丕氐乇 兀爻賱賵亘
Lady Gaga
賵 賲丕 夭丕賱 賮賷 噩毓亘鬲賷 丕賱賰孬賷乇 毓賳 丕賱賰鬲丕亘... 賮賯丿 賮鬲丨 賱賷 兀賮賯丕 賵 兀乇丕賳賷 兀亘毓丕丿丕 兀禺乇賶 賵 賲賱兀 丿賲丕睾賷...賴
賵 賱丕 鬲爻鬲胤賷毓 廿賱丕 兀賳 鬲賯乇 賵 兀賳鬲 鬲賯乇兀 丕賱賰鬲丕亘 亘兀賳 爻賵夭丕賳 賰丕鬲亘丞 賲鬲賮乇丿丞 賵 賯賵賷丞 賵 匕賰賷丞 噩丿丕*貙 亘睾囟 丕賱賳馗乇 廿賳 賵丕賮賯鬲賴丕 兀賲 賱丕...賴
鬲賯賵賱 毓賳 賲賯丕賱丕鬲賴丕 賴匕賴 亘毓丿 孬賱丕孬賷賳 毓丕賲丕: "乇兀賷鬲 賳賮爻賷 賲孬賱 賲丨丕乇亘 丕禺鬲乇毓 丨丿賷孬丕 賱賲毓乇賰丞 賲賵睾賱丞 賮賷 丕賱賯丿賲: 囟丿 禺卮賵賳丞 丕賱匕賵賯貙 賵 囟丿 丕賱囟丨丕賱丞 賵 丕賱賱丕賲亘丕賱丕丞 丕賱兀禺賱丕賯賷鬲賷賳 賵 丕賱噩賲丕賱賷鬲賷賳 (...) 亘丕賱胤亘毓貙 賰賳鬲 賲毓噩亘丞 亘賳賮爻賷 賱兀賳賳賷 毓賱賶 賲丕 賷亘丿賵 兀賵賱 賲賳 丕賴鬲賲 亘亘毓囟 丕賱賲爻丕卅賱 丕賱鬲賷 賰鬲亘鬲 毓賳賴丕貨 賵 賮賷 亘毓囟 丕賱兀丨賷丕賳貙 賱賲 兀氐丿賯 丨爻賳 胤丕賱毓賷 賱兀賳賴丕 丕賳鬲馗乇鬲 乇賷孬賲丕 兀氐賮賴丕 (...) 賰賳鬲 賲丨亘丞 賲卮丕賰爻丞 賱賱噩賲丕賱貙 賵 亘丕賱賰丕丿 賵丕毓馗丞 睾賷乇 賲賳賮鬲丨丞."氐438-439
賵 乇亘賲丕 兀賰孬乇 賲丕 鬲毓賱賲鬲賴 賲賳 爻賵夭丕賳貙 賴賵 丕賱賵孬賵賯 亘丨爻賷 丕賱賳賯丿賷 賵 丕賱噩乇兀丞 賮賷 胤乇丨 賮賰乇鬲賷 賵 丕賱氐乇丕賲丞 賮賷 賳胤賯 丨賰賲賷... 賴
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賲賱丕丨馗丞 賴丕賲卮賷丞
* 賷匕賰乇 丕亘賳賴丕 賮賷 賲賯丿賲丞 賲匕賰乇丕鬲賴丕 丕賱鬲賷 賯乇乇 賳卮乇賴丕 亘毓丿 賵賮丕鬲賴丕貙 兀賳 兀賲賴 丕毓鬲丕丿鬲 匕賰乇 夭賵噩 兀賲賴丕 丕賱胤賷亘 賰賷賮 賰丕賳 賷鬲賵爻賱 丕賱賷賴丕 兀賳 賱丕 鬲賯乇兀 賰孬賷乇丕貙 禺卮賷丞 兀賳 賱丕 鬲噩丿 賱賴丕 夭賵噩丕.-
丕賱毓亘丕乇丞 噩毓賱鬲賳賷 兀亘鬲爻賲 賲賳 賯賱亘賷... 賮卮乇 丕賱亘賱丕賷丕 賲丕 賷噩毓賱賰 鬲亘鬲爻賲
丕亘鬲爻丕賲丞 氐賮乇丕亍 鬲丨賲賱 賰賱 丕賱賲毓丕賳賷 廿賱丕 賲毓賳賶 丕賱丕亘鬲爻丕賲
賰賲 丕賱亘卮乇 賲鬲卮丕亘賴賵賳貙 賱丕 賷賳賮賰賵賳 賷賰乇乇賵賳 兀賮賰丕乇賴賲 賵 賰賱賲丕鬲賴賲 賵 賳氐丕卅丨賴賲 毓賱賶 丕禺鬲賱丕賮 兀夭賲賳鬲賴賲 賵 兀賲賰賳鬲賴賲 賵 禺賱賮賷丕鬲賴賲 丕賱孬賯丕賮賷丞!賴
2010 賰丕賳賵賳 丕賱兀賵賱
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爻賵夭丕賳 爻賵夭賳鬲丕睾 賮賷 孬賷丕亘 丿亘 馗乇賷賮
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丕賱賰賱丕賲 丕賱爻丕亘賯
賰鬲丕亘 毓亘丕乇丞 毓賳 賲賯丕賱丕鬲 賳賯丿賷丞 賱亘毓囟 丕賱兀丿亘 賵 丕賱兀賮賱丕賲 賵 丕賱賲爻乇丨賷丕鬲 賵 丕賱馗賵丕賴乇 丕賱賮賳賷丞
丨賯賷賯丞 兀賳 丕賱賲丐賱賮丞 爻賵夭丕賳 爻賵賳鬲丕睾 匕賰賷丞 噩丿丕貙 賵 鬲賲賱賰 鬲亘氐乇丕 毓丕賱賷丕
賵 乇睾賲 兀賳賴 氐丕丿乇 賮賷 丕賱爻鬲賷賳賷丕鬲 賵 兀賳賴 賱丕 禺賱賮賷丞 賱賷 賰孬賷乇丕 毓賳 賲毓馗賲 賲賳 鬲丨丿孬鬲 毓賳賴賲貙 賵 賱賰賳 丕賱賰鬲丕亘 賱賲 賷賮賯丿 兀賴賲賷鬲賴 亘丕賱賳爻亘丞 賱賷
兀丨爻亘賴 爻賷毓噩亘 噩丿丕 丕賱賲賴鬲賲賷賳 亘賴匕丕 丕賱賲噩丕賱
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賲毓 爻賵夭丕賳 囟丿 丕賱鬲兀賵賷賱! 賴
賰鬲丕亘 "囟丿 丕賱鬲兀賵賷賱 賵 賲賯丕賱丕鬲 兀禺乇賶" 毓亘丕乇丞 毓賳 賲賯丕賱丕鬲 賳賯丿賷丞 賮賷 丕賱兀丿亘 賵 丕賱賲爻乇丨 賵 丕賱兀賮賱丕賲 賵 丕賱賮賳貙 賰鬲亘鬲賴丕 爻賵夭丕賳 爻賵賳鬲丕睾 賮賷 丕賱爻鬲賷賳賷丕鬲 賲賳 丕賱賯乇賳 丕賱賲丕囟賷... 賵 賴賵 賲賳 賰鬲亘 丕賱賰賱丕爻賷賰賷丕鬲 丕賱丨丿賷孬丞. 賵 賱丕 睾乇丕亘丞 兀賳 賷毓鬲亘乇 賰匕賱賰貙 廿匕 兀賳 鬲丨賱賷賱丕鬲 爻賵夭丕賳 丕賱毓賲賷賯丞 賵 毓亘丕乇丕鬲賴丕 丕賱賳賯丿賷丞 丕賱丨丕丿丞 賵 丕賱賲亘丕卮乇丞 賵 丕賱賵丕孬賯丞 鬲賳賲 毓賳 匕賰丕亍 丨丕丿 賵 鬲亘氐乇 毓丕賱... 賰孬賷乇 賲賳 丕賱噩賲賱 兀匕賴賱鬲賳賷 賵 賰兀賳賴丕 賯乇兀鬲 賲丕 賮賷 丿賲丕睾賷 賲賳 兀賮賰丕乇 賱賲 兀氐乇丨 亘賴丕 賷賵賲丕貙 賵 賰孬賷乇 賲賳賴丕 毓賱賲鬲賳賷貙 賵 賰孬賷乇 賲賳賴丕 賱賲 鬲毓噩亘賳賷貙 賵 賰孬賷乇 乇丕亘毓丞 賱賲 兀賮賴賲賴丕 ... 賴匕丕 丕賱賰鬲丕亘 賲賳 賳賵毓賷丞 丕賱賰鬲亘 丕賱鬲賷 鬲丨乇囟賰 賵 鬲噩毓賱賰 鬲乇賶 噩賲賱賴 丨賵賱賰貙 賵 鬲賯丨賲賴 賮賷 兀丨丕丿賷孬賰貙 賵 鬲賰丕丿 鬲賯鬲亘爻 賰賱 賮賯乇丕鬲賴... 賮囟賱丕 毓賳 賰賵賳賴 賲乇噩毓丕 賱賰孬賷乇 賲賳 丕賱兀丿亘丕亍 賵 丕賱賲禺乇噩賷賳 賵 丕賱賲爻乇丨賷賷賳 丕賱匕賷賳 賷賵丿 丕賱賲乇亍 賱賵 賷胤賱毓 毓賱賶 兀毓賲丕賱賴賲貙 賵 賷丨鬲丕噩 賱毓賲乇 丌禺乇 賮賵賯 毓賲乇賴 丨鬲賶 賷丨賷胤 亘賴賲... 賴
賵 賱兀賳賴 賲賳 睾賷乇 丕賱賲毓賯賵賱 匕賰乇 賰賱 賲丕 噩匕亘賳賷 賲賳 丕賱賰鬲丕亘貙 爻兀賰鬲賮賷 亘亘毓囟 丕賱賲賱丕丨馗丕鬲: 賴
- 賲丕 卮噩毓賳賷 賱卮乇丕亍 丕賱賰鬲丕亘 _乇睾賲 兀賳賷 賱賲 兀賰賳 兀賲賱賰 賲毓賱賵賲丕鬲 毓賳賴 賵 賱丕 毓賳 賲丐賱賮鬲賴_ 賴賵 賰賱賲鬲賷 "囟丿 丕賱鬲兀賵賷賱" 丨賷賳 賵賯毓鬲 毓賷賳賷 毓賱賷賴賲丕貙 賮賷 賷賵賲 賰丕賳 匕賴賳賷 賲爻鬲睾乇賯丕 亘賳賯丕卮 賲胤賵賱 丨賵賱 丕賱鬲兀賵賷賱貙 賮賰丕丿鬲 丿乇丕噩丞 鬲氐丿賲賳賷 賵 兀賳丕 兀乇賰囟 賳丨賵 丕賱賲賰鬲亘丞貙 賵 丕夭丿丿鬲 匕賴賵賱丕 亘乇丐賷丞 丕賱賰鬲丕亘... 賲賲丕 噩毓賱 丕賱亘丕卅毓 賷賰乇乇 毓賱賶 賲爻丕賲毓賷 丕賱孬賲賳 兀賰孬乇 賲賳 賲乇丞貙 孬賲 賷賳丕丿賷 毓賱賷賾 亘毓丿 兀賳 賲卮賷鬲 賲卮鬲鬲丞 賱兀爻鬲乇丿 亘賯賷丞 賳賯賵丿賷... 丨賯賷賯丞 賰丕賳 賷賵賲丕 賲鬲賱亘賰丕... 兀賵 亘丕賱兀丨乇賶 兀賳丕 丕賱鬲賷 賰賳鬲 賲鬲賱亘賰丞 賷賵賲賴丕... 賮賯胤 賷賵賲賴丕貙 賱兀賳 毓丿賲 丕賱鬲賱亘賰 賰賲丕 鬲毓賱賲賵賳 賴賵 兀賲乇 賲毓賴賵丿 毓賳賷 丿丕卅賲丕 賵 兀亘丿丕... 賴
丿毓賵賳賷 兀禺亘乇賰賲 兀賳 丕賱鬲兀賵賷賱 卮賷亍 賲噩賳賵賳貙 賵 賱丕 兀丿賱 毓賱賶 匕賱賰 賲賳 賰賱賲丞 賳賷鬲卮丞 (賱丕 賵噩賵丿 賱丨賯丕卅賯 亘賱 賱鬲兀賵賷賱丕鬲 賮賯胤) 賵 丕賱鬲賷 賵丕賮賯鬲賴 毓賱賷賴丕 爻賵夭丕賳 賵 丕賱鬲賷 兀乇賮囟賴丕 賵 兀丨丕賵賱 噩丕賴丿丞 兀賱丕 兀賯毓 賮賷賴丕 亘賱 賵 兀賳丕賮丨 囟丿賴丕 ... 賮丕賱毓賯賱 賴匕賴 丕賱丌賱丞 丕賱乇賴賷亘丞貙 賯丕丿乇丞 毓賱賶 爻賮爻胤丞 兀賷 卮賷亍 賵 鬲兀賵賷賱賴 賵 噩毓賱 丕賱賳賯賷囟 賷毓賳賷 賳賯賷囟賴貙 賵 丕賱賳氐 賷賳爻賮 賵 賷丨胤賲 賳賮爻賴 亘賳賮爻賴... 賱丕 兀賳賰乇 兀賳 丕賱兀賲乇 賲爻賱 賵 賲賲鬲毓 賵 賷卮毓乇賰 亘賳卮賵丞 丕賱賯賵丞 賵 丕賱卮乇 賵 丕賱賱丕賲賳胤賯賷丞 丕賱賲爻賰乇丞... 賵 賱賰賳賴 睾賷乇 爻賵賷貙 賵 廿囟賱丕賱貙 乇睾賲 賱匕鬲賴...賴
乇亘賲丕 賲丕 賰賳鬲 賱兀鬲賵賯賮 毓賳丿 丕賱兀賲乇 _賱兀賳賴 賲睾賵賺 賰賲丕 賯賱鬲_ 賱賵賱丕 兀賳賷 賲毓賳賷丞 亘丕賱賯乇丌賳 丕賱賰乇賷賲貙 賵 賲毓賳賷丞 亘兀賳 鬲丨丕賮馗 丕賱賰賱賲丕鬲 毓賱賶 丕賱賲毓賳賶 丕賱匕賷 兀乇丕丿賴 丕賱賲卮乇賾毓 賲賳 丕賱賰賱賲丕鬲 丕賱鬲賷 丕禺鬲丕乇賴丕 鬲丨丿賷丿丕... 賱兀賳 丕賱賯丿乇丞 毓賱賶 丕賱鬲兀賵賷賱 亘丿賵賳 囟亘胤 鬲毓賳賷 丕賱鬲睾賷賷乇 廿賱賶 賲丕 賱丕賳賴丕賷丞 賮賷 丕賱賳氐... 賵 亘丕賱鬲丕賱賷 賱丕 賷賯乇兀 丕賱賲乇亍 兀賵 賷賮賴賲 賲賳 丕賱賳氐 廿賱丕 賲丕 賷乇賷丿 賯乇丕亍鬲賴 兀賵 賮賴賲賴... 賮賷兀鬲賷 賱賱賳氐 亘鬲氐賵乇 賲爻亘賯... 賮賱丕 賷乇賶 丕賱賳氐 賵 賱丕 賷乇賷丿 兀賳 賷乇丕賴 賵 乇亘賲丕 賱丕 賷爻鬲胤賷毓 兀賳 賷乇丕賴... 賵 廿賳賲丕 賷乇賶 賲丕 賮賷 匕賴賳賴 賵 賲丕 賷乇睾亘 亘廿賷氐丕賱賴... 賮賷兀鬲賷 亘丕賱毓噩亘 丕賱毓噩丕亘... 賵 亘丕賱鬲丕賱賷 賷賮爻丿 賵 賷丨乇賮 賰賱 卮賷亍... 賵 賴匕丕 賲丕 賮毓賱賴 丕賱賰孬賷乇賵賳 賯丿賷賲丕 賵 丨丿賷孬丕... 賱兀賳賴丕 丕賱賲賳丕賵乇丞 丕賱鬲賷 鬲噩毓賱賴賲 賷爻鬲禺丿賲賵賳 丕賱賳氐 毓賱賶 賴賵丕賴賲... 賷賳賰乇賵賳 賵 賷睾賷乇賵賳 賲丕 賱丕 賷毓噩亘賴賲 賲賳 丿賵賳 丕賱鬲氐乇賷丨 亘丕賳賰丕乇賴 賵 鬲睾賷賷乇賴...賴
鬲賯賵賱 爻賵夭丕賳 賰賱丕賲丕 噩賲賷賱丕: "賷賮鬲乇囟 丕賱鬲兀賵賷賱 鬲賮丕賵鬲丕 亘賷賳 丕賱賲毓賳賶 丕賱賵丕囟丨 賱賱賳氐 賵 賲鬲胤賱亘丕鬲 丕賱賯乇丕亍 (丕賱賱丕丨賯賷賳). 廿賳賴 賷爻毓賶 廿賱賶 廿賱睾丕亍 丕賱鬲賮丕賵鬲 賮賯丿 兀氐亘丨 丕賱賳氐貙 賱爻亘亘 賲丕貙 睾賷乇 賲賯亘賵賱貨 賵 賱賰賳 賱丕 賷賲賰賳 廿賴賲丕賱賴. 賵 丕賱鬲兀賵賷賱 禺胤丞 噩匕乇賷丞 賱賱丕丨鬲賮丕馗 亘賳氐 賯丿賷賲 賲賳 禺賱丕賱 鬲乇賯賷毓賴貙 廿匕 賷毓鬲賯丿 兀賳賴 賲賴賲 賱丿乇噩丞 賱丕 賷噩賵夭 胤乇丨賴丕 噩丕賳亘丕. 賵 丕賱賲賮爻乇 賱丕 賷賮毓賱 爻賵賶 鬲毓丿賷賱 兀賵 鬲亘丿賷賱 賮賷 丕賱賳氐 賲賳 丿賵賳 賲丨賵賴 兀賵 廿毓丕丿丞 賰鬲丕亘鬲賴貙 賵 賱賰賳賴 賷毓噩夭 毓賳 丕賱廿賯乇丕乇 亘匕賱賰貙 賮賷夭毓賲 兀賳賴 賷賵囟丨賴 賮賯胤 亘兀賳 賷賲賷胤 丕賱賱孬丕賲 毓賳 賲毓賳丕賴 丕賱丨賯賷賯賷."氐19
賵 賱匕賱賰 丕爻鬲賵賯賮賳賷 丕賱賰鬲丕亘貙 丨賷賳 氐乇禺 賱賷 賲賯丿賲丕 賳賮爻賴 兀賲丕賲賷 亘賰賵賳賴 賲囟丕丿丕 賱賱鬲兀賵賷賱... 亘賷丿 兀賳賴 丕鬲囟丨 賱賷 賮賷賲丕 亘毓丿貙 兀賳 爻賵夭丕賳 鬲賯氐丿 亘賲賯丕賱鬲賴丕 卮賷卅丕 賵丕丨丿 賲丨丿丿丕貙 賵 賴賵 賲囟丕丿丕鬲賴丕 賱鬲兀賵賷賱 丕賱賮賳貙 亘爻亘亘 丕賱卮毓賵乇 亘囟乇賵乇丞 丕賱鬲亘乇賷乇 丕賱丿丕卅賲 賱賴... 賴匕丕 丕賱鬲亘乇賷乇 丕賱禺丕賲賱 丕賱賲爻鬲賮夭... "丕賱鬲兀賵賷賱 賴賵 丕賳鬲賯丕賲 丕賱賮賰乇 賲賳 丕賱賮賳 (...) 賷毓鬲亘乇 丕賱鬲兀賵賷賱 乇賮囟丕 鬲賯賱賷丿賷丕 賱鬲乇賰 丕賱毓賲賱 丕賱賮賳賷 賵 卮兀賳賴."氐21
賵 賰丕賳鬲 氐丿賮丞 爻毓賷丿丞 鬲賱賰 丕賱鬲賷 噩賲毓鬲賳賷 亘丕賱賰鬲丕亘貙 賵 賮鬲丨鬲 兀賲丕賲賷 亘丕亘丕 賲賳 丕賱兀賮賰丕乇 丕賱賱丕賲兀賱賵賮丞...賴
- 賲賳 兀賰孬乇 丕賱賲賯丕賱丕鬲 丕賱鬲賷 兀丨亘亘鬲賴丕 賲賯丕賱鬲賷賳貙 兀賵賱丕賴賲丕 (丕賱賮賳丕賳 亘賵氐賮賴 賳賲賵匕噩丕 賱賱廿賳爻丕賳 丕賱賲毓匕亘)... 鬲鬲丨丿孬 賮賷賴丕 毓賳 賷賵賲賷丕鬲 亘丕賮賷夭賷貙 賵 賴賵 卮丕毓乇 廿賷胤丕賱賷 兀賳賴賶 丨賷丕鬲賴 賲賳鬲丨乇丕. 鬲賯賵賱 賮賷 賲毓乇囟 丨丿賷孬賴丕 丕賱賲卮賵賯 毓賳 賷賵賲賷丕鬲賴: 賴
"賮亘丕賮賷夭賷 丕賱匕賷 丕爻鬲毓賲賱 氐賷睾丞 "兀賳丕" 亘賰孬乇丞 賮賷 乇賵丕賷丕鬲賴貙 毓丕丿丞 賲丕 賷鬲丨丿孬 毓賳 賳賮爻賴 亘氐賷睾丞 "兀賳鬲" 賮賷 賷賵賲賷丕鬲賴. 賴賵 賱丕 賷氐賮 賳賮爻賴 廿賳賲丕 賷禺丕胤亘賴丕. 廿賳賴 丕賱賲卮丕賴丿 丕賱爻丕禺乇貙 丕賱賵丕毓馗貙 丕賱賱丕卅賲 賱賳賮爻賴貙 賵 賷亘丿賵 兀賳 丕賱賳鬲賷噩丞 丕賱賳賴丕卅賷丞 賱賲孬賱 賴匕賴 丕賱賳馗乇丞 丕賱賲鬲賵賯毓丞 賱賱匕丕鬲 賰丕賳鬲 丕賱丕賳鬲丨丕乇 賱丕 賲丨丕賱丞"氐70
賱丕 兀禺賮賷賰賲 兀賳賷 兀丨亘 賯乇丕亍丞 賴匕丕 丕賱賳賵毓 賲賳 丕賱禺胤丕亘 賲毓 丕賱匕丕鬲貙 亘賱 廿賳賷 賳賮爻賷 賰孬賷乇丕 賲丕 兀賲丕乇爻賴... 賵 賱賰賳 賴賱 賮毓賱丕 丕賱賳鬲賷噩丞 賴賷 "丕賱丕賳鬲丨丕乇 賱丕 賲丨丕賱丞"責
丕賱毓亘丕乇丞 亘丿鬲 賱賷 賲乇毓亘丞 賵 賲賵爻賵爻丞貙賵 賱亘孬鬲 兀賮賰乇 亘賴丕 賲丨丕賵賱丞 丕賱禺乇賵噩 賲賳 丨氐丕乇賴丕... 丨鬲賶 賵噩丿鬲 賲賳賮匕丕 賵 丕爻鬲胤毓鬲 丕賱鬲睾賱亘 毓賱賷賴丕...賴
賮毓亘丕乇丞 爻賵夭丕賳 賮賷賴丕 鬲亘氐乇 賵 賱賰賳賴丕 賱賷爻鬲 丨鬲賲賷丞... 兀丨爻亘 賴賳丕賰 乇亘胤 亘賷賳 賮賰乇丞 丕賱丕賳鬲丨丕乇 賵 丕賱鬲賮賰賷乇 亘賴匕賴 丕賱胤乇賷賯丞... 賮賲賳 賷賳卮胤乇賵賳 賲毓 匕賵丕鬲賴賲 賯丿 鬲毓乇囟 賱賴賲 賮賰乇丞 丕賱丕賳鬲丨丕乇... 賱兀賳賴丕 丕賱賵爻賷賱丞 丕賱鬲賷 鬲鬲亘丿賶 賱賴賲 賮賷 丕賱鬲禺賱氐 賲賳 廿賷丕賴賲貙 匕丕賰 丕賱胤乇賮 丕賱丌禺乇 賲賳 廿賷丕賴賲 丕賱匕賷 賷賯囟 賲囟噩毓賲 賵 賷孬賯賱賴賲 賵 賷禺賳賯賴賲... 匕賵賷 丕賱兀賳賮爻 丕賱賲鬲囟禺賲丞貙 鬲卮睾賱賴賲 亘丨賷孬 賷丿賵乇賵賳 丨賵賱賴丕 賲丨亘丞 賵 爻禺胤丕貙 卮鬲賷賲丞 賵 賲丿丨丕... 卮賷亍 兀卮亘賴 亘丿賵丕賲丕鬲 丕賱賲賷丕賴貙 賰賱賲丕 丨丕賵賱鬲 丕賱丕亘鬲毓丕丿 賵 丕賱鬲賱賴賷 毓賳賴丕 卮丿鬲賰 賱賯丕毓賴丕... 賵 賱匕賱賰 鬲噩丿賴賲 丿丕卅賲賷 丕賱鬲亘乇賲 賲賳 兀賳賮爻賴賲... 賵 賷賵丿賵賳 賱賵 賷禺乇噩賵丕 賲賳賴丕... 賴匕丕 毓賱賶 賲爻鬲賵賶 丕賱兀賮賰丕乇... 賱賰賳 丕賱鬲賳賮賷匕 兀賲乇 丌禺乇... 賱兀賳 賴賳丕 賷賯賮 丨丕噩夭 丕賱賲毓鬲賯丿... 賮廿賳 賰丕賳 丕賱卮禺氐 賲丐賲賳丕 亘兀賳 丕賱丕賳鬲丨丕乇 禺胤賷卅丞貙 賮賱賳 賷賯丿賲 毓賱賶 丕賱兀賲乇... 賱兀賳 丕賱賲亘丿兀 兀賯賵賶 廿賳 賰丕賳 賲乇賷丿丕 賱賴 兀賳 賷賰賵賳 丕賱兀賯賵賶... 兀毓賳賷 丕賱卮禺氐 丕賱賲賳卮胤乇 賲毓 匕丕鬲賴 賱賷爻 賲噩賳賵賳丕 賵 賱丕 賲乇賷囟丕... 賲丕 賷噩毓賱賴 賲乇賷囟丕 賴賵 賮賯丿丕賳賴 賱賱爻賷胤乇丞 兀賵 丕賱賯丿乇丞 毓賱賶 丕賱鬲賲賷賷夭... 賵 賱賰賳 胤丕賱賲丕 兀賳賴 賵丕毓 賵 賷爻鬲胤賷毓 丕賱鬲賮乇賷賯 賵 丕賱鬲丨賰賲 亘賰賱 卮禺氐賷丕鬲賴 丨鬲賶 兀賰孬乇賴丕 鬲賲乇丿丕 賵 爻賵丿丕賵賷丞... 賮廿賳賴 賲丕 夭丕賱 毓丕賯賱丕 賵 賷爻鬲胤賷毓 丕賱禺賷丕乇 賵 賲噩丕賴丿丞 卮賴賵丞 丕賱丕賳毓鬲丕賯 賲賳 兀賳丕賴 廿賳 卮丕亍...賴
- 丕賱賲賯丕賱丞 丕賱孬丕賳賷丞 丕賱鬲賷 兀賵丿 賱賵 兀賯鬲亘爻賴丕 賰賱賴丕 毓賳 "爻賷賲賵賳 賮丕賷賱" _賵 賴賷 賲賮賰乇丞 賮乇賳爻賷丞_ 匕賰乇鬲 爻賵夭丕賳 賮賷賴丕 鬲丨賱賷賱丕 丨丕匕賯丕 噩丿丕 噩丿丕貙 兀匕賴賱賳賷 賲賳 卮丿丞 丿賯鬲賴. 賵 賴賵 兀賲乇 賱胤丕賱賲丕 賮賰乇鬲 亘賴. 鬲丨丿孬鬲 毓賳 爻亘亘 丕賳鬲卮丕乇 丕賱廿毓噩丕亘 亘賳賵毓賷丞 賲賳 丕賱賰鬲丕亘 賲孬賱 賰丕賮賰丕 賵 賳賷鬲卮丞 丕賱禺. 賮丕賱賯丕乇卅 賷賳噩匕亘 廿賱賷賴賲 賱賷爻 亘爻亘亘 丕賱丕賯鬲賳丕毓 亘兀賮賰丕乇賴賲 賵 丕賱廿賷賲丕賳 亘賴丕貙 賵 廿賳賲丕 賱兀噩賱 兀賳 賷毓賷卮 賲毓賴賲 鬲噩乇亘丞 賴匕賴 丕賱丨賷丕丞 丕賱睾乇賷亘丞 丕賱鬲賷 賱賷爻鬲 賴賷 丨賷丕鬲賴... 賴
"賷賲賳丨賳丕 賰賱丕賷爻鬲 丕賱賲鬲毓丞 貙 賮賷賲丕 鬲亘毓孬 賲毓馗賲 兀毓賲丕賱 睾賵鬲丞 賮賷 賳賮賵爻賳丕 丕賱賲賱賱. 毓賱賶 賴匕丕 丕賱賳丨賵貙 賱亘毓囟 丕賱兀丿亘丕亍 毓賱賶 睾乇丕乇 賰賷乇賰睾丕乇丿貙 賵 賳賷鬲卮丞貙 賵 丿賵爻鬲賵賷賮爻賰賷貙 賵 賰丕賮賰丕貙 賵 亘賵丿賱賷乇貙 賵 乇丕賲亘賵貙 賵 噩賷賳賷賴 _賵 賰匕賱賰 爻賷賲賵賳 賮丕賷賱_ 爻賱胤丞 毓賱賷丕 毓賱賷賳丕 亘爻亘亘 賲賱丕賲丨 丕賱丕毓鬲賱丕賱 丕賱鬲賷 賷鬲賲賷夭賵賳 亘賴丕 鬲丨丿賷丿丕貙 賮丕毓鬲賱丕賱賴賲 賴賵 鬲毓賯賱賴賲貙 賵 賴賵 賲丕 賷毓夭夭 賲賯丿乇鬲賴賲 毓賱賶 丕賱丕賯賳丕毓. (...) 賮賲毓馗賲 丕賱賲毓噩賷亘賳 丕賱丨丿賷孬賷賳 亘賴賲 賱賲 賷賯丿乇賵丕 兀賳 賷毓鬲賳賯賵丕 兀賮賰丕乇賴賲貙 賵 賴賲 賱丕 賷毓鬲賳賯賵賳賴丕. 廿賳賳丕 賳賯乇兀 兀丿亘丕亍 賷鬲賲賷夭賵賳 亘賲孬賱 賴匕賴 丕賱兀氐丕賱丞 丕賱賲賯匕毓丞 賱兀噩賱 爻賱胤鬲賴賲 丕賱卮禺氐賷丞貙 兀賵 賱賳賲賵匕噩 乇氐丕賳鬲賴賲貙 兀賵 賱廿乇丕丿鬲賴賲 丕賱噩賱賷丞 亘丕賱鬲囟丨賷丞 亘兀賳賮爻賴賲 賲賳 兀噩賱 丨賯丕卅賯賴賲貙 賵 賱兀噩賱 "丌乇丕卅賴"貙 賱賰賳 賮賯胤 廿乇亘丕 廿乇亘丕. (...) 賴賰匕丕 賷毓乇亘 丕賱賯丕乇卅 丕賱賲毓丕氐乇 丕賱賲乇賴賮 丕賱廿丨爻丕爻 毓賳 廿噩賱丕賱賴 賱賲爻鬲賵賶 賲賳 丕賱丨賯賷賯丞 丕賱乇賵丨丕賳賷丞 賱丕 賷禺氐賴 賵 賱丕 賷賲賰賳 兀賳 賷禺氐賴. 亘毓囟 丕賱丨賷賵丕鬲 賳賲賵匕噩賷貙 賵 亘毓囟賴丕 賱賷爻 賰匕賱賰. 賵 賲賳 兀氐賱 丕賱丨賷賵丕鬲 丕賱賳賲賵匕噩賷丞 鬲賱賰 丕賱鬲賷 鬲丿毓賵賳丕 賱賲丨丕賰丕鬲賴丕貙 賵 鬲賱賰 丕賱鬲賷 賳賳馗乇 廿賱賷賴丕 毓賳 賲爻丕賮丞 亘賲夭賷噩 賲賳 丕賱賳賮賵乇 賵 丕賱卮賮賯丞 賵 丕賱廿噩賱丕賱." 氐78-79
賷毓賳賷 亘賲毓賳賶 丌禺乇 兀賰孬乇 賮噩丕噩丞 兀賳 丕賱匕賷賳 賷賰鬲亘賵賳 毓賳 氐乇丕毓丕鬲賴賲 賲毓 賵噩賵丿賴賲 廿賳賲丕 賴賲 噩賵丕賰乇 賵 亘賴丕賱賷賱 賱賱胤亘賷毓賷賷賳... 賰丕賱鬲爻賱賷 亘毓乇賵囟 丕賱賲爻賵禺... 卮賷亍 亘毓賷丿 毓賳賷 賵 賱爻鬲 兀賳丕 廿賷丕賴... 賵 賱賰賳 賴匕丕 丕賱賲卮賵賴 賲爻賱 賵 馗乇賷賮 亘鬲卮賵賴賴...賴
賵 丕賱賰丕鬲亘 _賴匕丕 丕賱賲爻禺 丕賱賲毓匕亘_ 賷卮毓乇 亘丕賱睾亘胤丞 賱賵噩賵丿 賲賳 賴賵 賲賴鬲賲 亘鬲卮賵賴賴.... 賲賳 兀丨亘 賱丕胤亘賷毓賷鬲賴 賵 噩賳賵賳賴... 賮賷丿賮毓賴 賴匕丕 賱賱鬲賮賳賳 亘毓乇賵囟賴...賴
賵 丕賱賰鬲丕亘丞 賳毓賲丞 丨賯賷賯丞貙 賱兀賳賴丕 丕賱卮賷亍 丕賱噩賲賷賱 丕賱匕賷 賷噩毓賱 丕賱丌禺乇賷賳 賷鬲賯亘賱賵賳 睾乇丕亘丞 賴丐賱丕亍... 亘賱 丨鬲賶 賷乇睾亘賵丕 亘鬲賯賱賷丿賴丕 賵 賷氐賷乇賵丕 睾乇賷亘賷賳 賰廿賷丕賴賲... 賵 賴賷 丕賱賲賳賮匕 丕賱匕賷 賷噩毓賱賰 鬲丨賵賱 禺氐賱賰 丕賱賲囟丨賰丞 賵 丕賱賲丨乇噩丞 賵 丕賱爻丕匕噩丞 賵 丕賱賲噩賳賵賳丞 廿賱賶 卮賷亍 噩賲賷賱 賵 賱匕賷匕 賵 賲丨亘亘... 賲毓 兀賳賴 賱賵 丕賮鬲乇囟賳丕 卮禺氐丕 睾乇賷亘丕 賵 賲賳 丿賵賳 賰賱賲丕鬲貙 賮廿賳賴 爻賷賰賵賳 賲孬丕乇丕 賱賱鬲賳丿乇 賵 丕賱囟丨賰貙 丨鬲賶 亘爻亘亘 兀賮毓丕賱 賵 鬲氐乇賮丕鬲 賯丿 丕卮鬲賴賶 丕賱賳丕爻 鬲賯賱賷丿賴丕 賮賷 賲賰丕賳 丌禺乇 丨賷賳 賯乇兀賵賴丕... 亘賱 丕賱賰丕鬲亘 賳賮爻賴 丕賱匕賷 賰丕賱賵丕 賱賴 丕賱賲丿賷丨 賰賲 賰丕賳 爻賷亘丿賵 睾亘賷丕 賵 兀禺乇賯丕 賵 賲匕賲賵賲丕 賮賷 兀毓賷賳賴賲 賲賳 丿賵賳 丿乇毓 丕賱賰賱賲丕鬲...賴
兀賱丕 賮賱賷亘丕乇賰 丕賱廿賱賴 賮賷 丕賱賰賱賲丕鬲 丕賱鬲賷 鬲噩毓賱 賱賱睾乇亘丕亍 賲賰丕賳丕 賮賷 賴匕丕 丕賱毓丕賱賲! 賴
兀賱丕 賮賱賷亘丕乇賰 丕賱廿賱賴 賮賷 丕賱賰賱賲丕鬲 丕賱鬲賷 鬲丨賲賷賳丕! 賴
兀賱丕 賮賱賷亘丕乇賰 丕賱廿賱賴 賮賷 丕賱賰賱賲丕鬲 丕賱鬲賷 鬲噩賲賭賾賱 丨丿亘鬲賳丕 賮賷 兀毓賷賳 丕賱賳丕爻! 賴
兀賱丕 賮賱賷丿賲 丕賱廿賱賴 丕賱賰賱賲丕鬲 毓賱賷 賵 賱丕 賷賳鬲夭毓賴丕 賲賳賷 兀亘丿丕! 賴
- 賱賮鬲 賳馗乇賷 賮賷 賰鬲丕亘鬲賴丕 賴賵 兀爻賱賵亘賴丕 賵 賰兀賳賴丕 禺丕乇噩賷丞... 賵 賰兀賳賴丕 鬲乇賯亘 丕賱噩賲賷毓 賵 鬲鬲兀賲賱賴賲 丿賵賳 兀賳 賷胤丕賱賴丕 卮賷亍 賲賳賴賲貙 賵 賰兀賳賴丕 亘毓賷丿丞 毓賳 賰賱 丕賱賲賵丕囟賷毓... 賵 賰兀賳賴丕 賲賳賷毓丞... 鬲賮賴賲 兀賲乇丕囟 丕賱賲噩鬲賲毓 賵 鬲卮禺氐賴丕 亘丿賯丞...賴
賲孬賱丕 "鬲鬲氐丕乇毓 賲毓馗賲 丕賱兀賮賰丕乇 丕賱乇氐賷賳丞 賮賷 毓氐乇賳丕 賲毓 丕賱廿丨爻丕爻 亘丕賱鬲卮乇丿貨 賮毓丿賲 賲賵孬賵賯賷丞 丕賱鬲噩乇亘丞 丕賱亘卮乇賷丞 丕賱鬲賷 噩丕亍 亘賴丕 丕賱鬲爻丕乇毓 丕賱賱丕廿賳爻丕賳賷 賱賱鬲睾賷賷乇 丕賱鬲丕乇賷禺賷 兀丿賶 廿賱賶 廿氐丕亘丞 賰賱 毓賯賱 丨丿賷孬 賲乇賴賮 亘賳賵毓 賲賳 丕賱睾孬賷丕賳 賵 丕賱丿賵丕乇 丕賱賮賰乇賷. 賵 賷亘丿賵 兀賳 丕賱爻亘賷賱 丕賱賵丨賷丿 賱賱卮賮丕亍 賲賳 賴匕丕 丕賱睾孬賷丕賳 丕賱乇賵丨賷 賷賯賵賲 毓賱賶 賲賮丕賯賲鬲賴貙 毓賱賶 丕賱兀賯賱 賮賷 丕賱亘丿丕賷丞." 氐103
鬲賮賴賲 氐乇丕毓丕鬲 丕賱匕丕鬲 賵 鬲乇丕賴丕 亘賵囟賵丨貙 賲毓 兀賳賰 賱丕 鬲卮毓乇 亘賴丕 賯丿 賰丕亘丿鬲賴丕:賴
"賵 賵毓賷 丕賱匕丕鬲 賴賵 (丕賱噩丕匕亘賷丞) 丕賱鬲賷 鬲孬賯賱 丕賱乇賵丨貙 賵 鬲噩丕賵夭 賵毓賷 丕賱匕丕鬲 賴賵 (丕賱賳毓賲丞) 兀賵 丕賱禺賮丞 丕賱乇賵丨賷丞."氐277
賵 賲賳 丕賱賳丕丿乇 兀賳 鬲氐丕丿賮 卮禺氐丕 禺丕乇噩賷丕 賯丕丿乇丕 毓賱賶 賮賴賲 匕丕賰 丕賱毓丕賱賲 亘賴匕丕 丕賱毓賲賯 丿賵賳 兀賳 賷賳禺乇胤 賮賷賴...賴
"賱丕 卮賰 毓賳丿賷 賲孬賱丕 亘兀賳 丕賱賳馗乇丞 丕賱毓丕賯賱丞 廿賱賶 丕賱賰賵賳 賴賷 丕锟斤拷氐丨賷丨丞. 賵 賱賰賳 賴賱 丕賱丨賯賷賯丞 賴賷 丕賱賲胤賱賵亘 丿丕卅賲丕責 賱賷爻鬲 丕賱丨丕噩丞 廿賱賶 丕賱丨賯賷賯丞 孬丕亘鬲丞貙 賵 賰匕賱賰 丕賱丨丕噩丞 廿賱賶 丕賱乇丕丨丞貙 賮丕賱賮賰乇丞 丕賱鬲賷 鬲賰賵賳 賲賱鬲賵賷丞 賯丿 鬲丨丿孬 賵賯毓丕 賮賰乇賷丕 兀毓馗賲 賲賳 丕賱丨賯賷賯丞貙 賵 賱毓賱賴丕 鬲禺丿賲 亘氐賵乇丞 賮囟賱賶 丨丕噩丕鬲 丕賱匕賴賳 丕賱鬲賷 鬲鬲賳賵毓. 丕賱丨賯賷賯丞 鬲賵丕夭賳貙 賵 賱賰賳 賳賯賷囟 丕賱丨賯賷賯丞貙 兀賷 丕賱賱丕鬲賵丕夭賳貙 賯丿 賱丕 賷賰賵賳 賰匕亘丞." 氐79
丕賱賱賴賲 廿賱丕 賮賷 賲賯丕賱丞 賵丕丨丿丞 卮毓乇鬲 亘賴丕 氐丕乇鬲 噩夭亍丕 賲賳 賲賵囟賵毓賴丕... 賮賷 禺賵丕胤乇賴丕 丨賵賱 賲爻乇丨賷丞 丕賱賵賰賷賱 丕賱鬲賷 鬲鬲丨丿孬 毓賳 賲丨丕賰賲丞 囟丕亘胤 賳丕夭賷 賰丕賳 賱賴 丿賵乇 亘丕乇夭 賮賷 丕毓鬲賯丕賱 丕賱賷賴賵丿 賵 丕亘丕丿鬲賴賲 賮賷 丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱孬丕賳賷丞... 賮賲賳 丕賱賵丕囟丨 兀賳 丕賱賲賵囟賵毓 賷毓賳賷賴丕 亘卮賰賱 賲亘丕卮乇... 賵 賱匕賱賰 卮毓乇鬲 亘賴丕 鬲鬲丨丿孬 賲賳 丕賱丿丕禺賱貙 賵 賱賷爻 賲賳 丕賱禺丕乇噩 賰毓丕丿鬲賴丕... 賯丿 丕賳禺乇胤鬲 賮賷 賲賵囟賵毓賴丕 賵 亘丕鬲鬲 噩夭亍丕 賲賳賴...賴
- 鬲賯賵賱 毓賳 丕賱賲賱賱: 賴
"賵 賱賰賳 賲丕匕丕 毓賳 丕賱賲賱賱責 賴賱 賷賲賰賳 鬲亘乇賷乇賴責 兀馗賳 兀賳 匕賱賰 賲賲賰賳 兀丨賷丕賳丕 (賴賱 賲賳 賵丕噩亘 丕賱賮賳 丕賱乇賮賷毓 兀賳 賷賰賵賳 卮丕卅賯丕 亘丕爻鬲賲乇丕乇責 賱丕 兀馗賳). 賱丕 亘丿 賱賳丕 賲賳 丕賱丕毓鬲乇丕賮 亘亘毓囟 丕賱丕爻鬲毓賲丕賱丕鬲 賱賱賲賱賱 亘氐賮鬲賴 兀賰孬乇 丕賱爻賲丕鬲 丕賱兀爻賱賵亘賷丞 廿亘丿丕毓丕 賮賷 丕賱兀丿亘 丕賱丨丿賷孬." 氐102
兀毓噩亘賳賷 賰賱丕賲賴丕 丕賱賱丕丕毓鬲賷丕丿賷... 賯丿 丕爻鬲胤丕毓鬲 毓亘乇賴 兀賳 鬲賴卮賲 賲爻賱賲丞 賲鬲賵賴賲丞 賯丿 夭乇毓鬲賴丕 丕賱亘賷卅丞... 兀賱丕 賵 賴賷 囟乇賵乇丞 毓賳氐乇 丕賱鬲卮賵賷賯...賴
廿匕 賰孬賷乇丕 賲丕 兀賰鬲亘 兀卮賷丕亍 賲賲賱丞... 兀卮毓乇 賵 兀毓賱賲 亘兀賳賴丕 賲賲賱丞貙 賵 賱賰賳賴丕 賲亘乇乇丞... 賮丕賱賮賰乇丞 亘噩賮丕賮賴丕 賵 氐賱丕賮鬲賴丕 賱丕 賷賲賰賳 廿賱丕 兀賳 鬲賰賵賳 賰匕賱賰... 賵 賱胤丕賱賲丕 賰丕賳 丕賱亘丨孬 毓賳 丕賱鬲卮賵賷賯 兀賰孬乇 毓丕卅賯 賱賷 毓賳 丕賱賰鬲丕亘丞... 兀毓賳賷 賰賷賮 兀賮鬲毓賱 兀賲乇丕 夭丕卅丿丕 毓賲丕 兀乇賷丿賴貙 毓賲丕 兀卮毓乇 兀賳賴 丕賱兀賳爻亘 賱賱鬲毓亘賷乇貙 毓賲丕 兀賳丕 毓賱賷賴貙 毓賲丕 鬲賯鬲囟賷賴 丕賱賮賰乇丞貙 賱兀噩賱 丕賱鬲卮賵賷賯... 賮賯胤 賱兀賳賴 夭購乇毓 賮賷 乇丐賵爻賳丕 囟乇賵乇丞 丕賱鬲卮賵賷賯...賴
賰賱丕賲賴丕 賴匕丕 賱毓亘 亘乇兀爻賷... 噩丿丕... 賴
- "賮賷 賴匕賴 丕賱丿賳賷丕 兀賲賵乇 賰孬賷乇丞 賱賲 鬲爻賲貙 賵 兀賲賵乇 賰孬賷乇丞 丨鬲賶 賱賵 爻賲賷鬲貙 賱賲 鬲賵氐賮 兀亘丿丕貙 賵 兀丨丿賴丕 賴賵 鬲賱賰 丕賱丨爻丕爻賷丞 _丕賱丨丿賷孬丞貙 丿賵賳 噩丿丕賱貙 賵 兀丨丿 兀卮賰丕賱 丕賱匕賵賯 丕賱乇賮賷毓 廿賳賲丕 亘丕賱賰丕丿 丕賱賲鬲胤丕亘賯 賲毓賴_ 丕賱鬲賷 鬲爻賲賶 亘丕爻賲 賳丨賱丞 (丕賱鬲賰賱賮)"賴
賴賰匕丕 鬲亘鬲丿卅 賲胤賱毓 賲賯丕賱賴丕 "賲賱丕丨馗丕鬲 丨賵賱 馗丕賴乇丞 丕賱鬲賰賱賮" 賵 賴賵 賲賳 兀卮賴乇 賲賯丕賱丕鬲賴丕貙 賵 賯丿 賰丕賳 賱賴丕 丕賱賷丿 丕賱胤賵賱賶 賮賷 廿卮丕毓丞 丕爻鬲毓賲丕賱 賴匕賴 丕賱賰賱賲丞貙 廿匕 賴賷 兀賵賱 賲賳 賰鬲亘 賲賯丕賱丕 賲胤賵賱丕 毓賳賴 鬲氐賮 賲賱丕賲丨 賴匕丕 丕賱兀爻賱賵亘. 賵 兀爻賱賵亘 丕賱鬲賰賱賮
(Camp Style)
賷毓乇賮 兀賳賴 丨爻 噩賲丕賱賷 賷爻鬲賲丿 噩丕匕亘賷鬲賴 賲賳 匕賵賯賴 丕賱乇丿賷亍 兀賵 丿賱丕賱鬲賴 丕賱爻丕禺乇丞. 鬲賯賵賱 爻賵夭丕賳 "廿賳賳賷 兀卮毓乇 亘丕賳噩匕丕亘 卮丿賷丿 廿賱賶 丕賱鬲賰賱賮 亘賯丿乇 賲丕 鬲睾賷馗賳賷 賴匕賴 丕賱馗丕賴乇丞 亘卮丿丞貙 賵 賱賴匕丕 丕賱爻亘亘 兀乇賷丿 丕賱丨丿賷孬 毓賳賴丕." 氐394
"丕賱鬲賰賱賮 賳賲胤 噩賲丕賱賷 賲毓賷賳 (...) 賱丕 賷鬲毓賱賯 亘丕賱噩賲丕賱 亘賱 亘丿乇噩丞 丕賱鬲氐賳毓 賵 丕賱兀爻賱亘丞"氐395
"丕賱鬲賰賱賮 賷賮囟丨 丕賱亘乇丕亍丞貙 賵 賱賰賳賴 賰匕賱賰 賷賮爻丿賴丕 賲鬲賶 鬲爻賳賶 賱賴 匕賱賰" 氐405
"丕賱鬲賰賱賮 賴賵 賲匕賷亘 賱賱兀禺賱丕賯. 廿賳賴 賷賯賵賲 亘鬲丨賷賷丿 丕賱丕爻鬲賳賰丕乇 丕賱兀禺賱丕賯賷貙 賵 賷乇毓賶 丕賱賲乇丨 賵 丕賱毓亘孬." 氐416
"睾賷乇 兀賳 丕賱匕賵賯 丕賱賲鬲賰賱賮貙 賵 賱卅賳 賰丕賳 丕賱賲孬賱賷賵賳 胤賱賷毓鬲賴貙 賴賵 兀賰孬乇 賲賳 賲噩乇丿 匕賵賯 賲孬賱賷." 氐416
"丕賱賯賵賱 丕賱賲鬲賰賱賮 丕賱賲胤賱賯 賲賮丕丿賴: 賴匕丕 噩賷丿 賱兀賳賴 賲乇賷毓" 氐418
賵 兀賳丕 賲賲鬲賳丞 兀賳賷 鬲毓賱賲鬲 丕賱賲氐胤賱丨貙 廿匕 噩夭亍 賲賳 丕賱賯亘囟 毓賱賶 丕賱卮賷亍 賵 賰爻乇 丨丿鬲賴 賵 賵丨卮鬲賴貙 賴賵 鬲賯賷賷丿賴 亘賰賱賲丞...賴
賵 賴匕丕 丕賱兀爻賱賵亘 丕賱賲鬲氐賳毓 賱胤丕賱賲丕 兀孬丕乇 賮賷 賳賮爻賷 丕賱丕卮賲卅夭丕夭 賵 丕賱乇毓亘貙 丿賵賳 兀賳 兀毓賱賲 兀賳 賱賴 丕爻賲丕 賵 禺氐丕卅氐丕... 賱賰賳賷 丕賱丌賳 兀卮毓乇 亘丕賱賯賵丞 賵 兀賳賷 丕賳鬲氐乇鬲 毓賱賷賴貙 賱兀賳 丕賱賲噩賴賵賱 氐丕乇 賲毓賱賵賲丕貙 賵 賱賳 賷毓賵丿 賲禺賷賮丕... 亘鬲 兀爻鬲胤賷毓 鬲爻賲賷丞 匕丕賰 丕賱兀賳賲賵匕噩 丕賱匕賷 賷禺丿卮賳賷 賵 賷賯乇賮賳賷 亘丕亘鬲匕丕賱賴 賵 卮匕賵匕賴貙 亘鬲 兀爻鬲胤賷毓 賵爻賲賴貙 亘鬲 兀爻鬲胤賷毓 丕賱賯亘囟 毓賱賷賴 兀賷賳賲丕 卮丕賴丿鬲賴... 廿賳賴 丕賱鬲賰賱賮...賴
賵 卮禺氐賷丕 賱丕 兀噩丿 丕賷 噩賲丕賱 兀賵 噩匕亘 賮賷 鬲卮賵賴賴... 廿賳賴 丕賱賲乇囟... 丕賱賲乇囟 賵丨丿賴 賲賳 賷賳鬲噩 卮賷卅丕 賲孬賷乇丕 賱賱睾孬賷丕賳 賰賴匕丕... 廿匕 兀賳 丕賱胤亘賷毓賷丞 丨賷賳 鬲賰賵賳 賲賳丕賮賯丞 賵 賰丕匕亘丞貙 賷鬲胤乇賮 丕賱兀賮乇丕丿 賮賷 鬲賲丕賷夭賴賲 賵 乇賮囟賴賲 賱賴丕 賰賳賵毓 賲賳 乇丿 丕賱賮毓賱...賴
廿賳賲丕 賴賵 乇丿 賮毓賱 卮丕匕 毓賱賶 賲噩鬲賲毓 乇丿賷亍... 賵 丕賱爻賯賲 賱丕 賷賵賱丿 廿賱丕 爻賯賲丕...賴
賰賲孬丕賱 毓賱賷賴 賲毓丕氐乇 兀爻賱賵亘
Lady Gaga
賵 賲丕 夭丕賱 賮賷 噩毓亘鬲賷 丕賱賰孬賷乇 毓賳 丕賱賰鬲丕亘... 賮賯丿 賮鬲丨 賱賷 兀賮賯丕 賵 兀乇丕賳賷 兀亘毓丕丿丕 兀禺乇賶 賵 賲賱兀 丿賲丕睾賷...賴
賵 賱丕 鬲爻鬲胤賷毓 廿賱丕 兀賳 鬲賯乇 賵 兀賳鬲 鬲賯乇兀 丕賱賰鬲丕亘 亘兀賳 爻賵夭丕賳 賰丕鬲亘丞 賲鬲賮乇丿丞 賵 賯賵賷丞 賵 匕賰賷丞 噩丿丕*貙 亘睾囟 丕賱賳馗乇 廿賳 賵丕賮賯鬲賴丕 兀賲 賱丕...賴
鬲賯賵賱 毓賳 賲賯丕賱丕鬲賴丕 賴匕賴 亘毓丿 孬賱丕孬賷賳 毓丕賲丕: "乇兀賷鬲 賳賮爻賷 賲孬賱 賲丨丕乇亘 丕禺鬲乇毓 丨丿賷孬丕 賱賲毓乇賰丞 賲賵睾賱丞 賮賷 丕賱賯丿賲: 囟丿 禺卮賵賳丞 丕賱匕賵賯貙 賵 囟丿 丕賱囟丨丕賱丞 賵 丕賱賱丕賲亘丕賱丕丞 丕賱兀禺賱丕賯賷鬲賷賳 賵 丕賱噩賲丕賱賷鬲賷賳 (...) 亘丕賱胤亘毓貙 賰賳鬲 賲毓噩亘丞 亘賳賮爻賷 賱兀賳賳賷 毓賱賶 賲丕 賷亘丿賵 兀賵賱 賲賳 丕賴鬲賲 亘亘毓囟 丕賱賲爻丕卅賱 丕賱鬲賷 賰鬲亘鬲 毓賳賴丕貨 賵 賮賷 亘毓囟 丕賱兀丨賷丕賳貙 賱賲 兀氐丿賯 丨爻賳 胤丕賱毓賷 賱兀賳賴丕 丕賳鬲馗乇鬲 乇賷孬賲丕 兀氐賮賴丕 (...) 賰賳鬲 賲丨亘丞 賲卮丕賰爻丞 賱賱噩賲丕賱貙 賵 亘丕賱賰丕丿 賵丕毓馗丞 睾賷乇 賲賳賮鬲丨丞."氐438-439
賵 乇亘賲丕 兀賰孬乇 賲丕 鬲毓賱賲鬲賴 賲賳 爻賵夭丕賳貙 賴賵 丕賱賵孬賵賯 亘丨爻賷 丕賱賳賯丿賷 賵 丕賱噩乇兀丞 賮賷 胤乇丨 賮賰乇鬲賷 賵 丕賱氐乇丕賲丞 賮賷 賳胤賯 丨賰賲賷... 賴
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賲賱丕丨馗丞 賴丕賲卮賷丞
* 賷匕賰乇 丕亘賳賴丕 賮賷 賲賯丿賲丞 賲匕賰乇丕鬲賴丕 丕賱鬲賷 賯乇乇 賳卮乇賴丕 亘毓丿 賵賮丕鬲賴丕貙 兀賳 兀賲賴 丕毓鬲丕丿鬲 匕賰乇 夭賵噩 兀賲賴丕 丕賱胤賷亘 賰賷賮 賰丕賳 賷鬲賵爻賱 丕賱賷賴丕 兀賳 賱丕 鬲賯乇兀 賰孬賷乇丕貙 禺卮賷丞 兀賳 賱丕 鬲噩丿 賱賴丕 夭賵噩丕.-
丕賱毓亘丕乇丞 噩毓賱鬲賳賷 兀亘鬲爻賲 賲賳 賯賱亘賷... 賮卮乇 丕賱亘賱丕賷丕 賲丕 賷噩毓賱賰 鬲亘鬲爻賲
丕亘鬲爻丕賲丞 氐賮乇丕亍 鬲丨賲賱 賰賱 丕賱賲毓丕賳賷 廿賱丕 賲毓賳賶 丕賱丕亘鬲爻丕賲
賰賲 丕賱亘卮乇 賲鬲卮丕亘賴賵賳貙 賱丕 賷賳賮賰賵賳 賷賰乇乇賵賳 兀賮賰丕乇賴賲 賵 賰賱賲丕鬲賴賲 賵 賳氐丕卅丨賴賲 毓賱賶 丕禺鬲賱丕賮 兀夭賲賳鬲賴賲 賵 兀賲賰賳鬲賴賲 賵 禺賱賮賷丕鬲賴賲 丕賱孬賯丕賮賷丞!賴
2010 賰丕賳賵賳 丕賱兀賵賱
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爻賵夭丕賳 爻賵夭賳鬲丕睾 賮賷 孬賷丕亘 丿亘 馗乇賷賮
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丕賱賰賱丕賲 丕賱爻丕亘賯
賰鬲丕亘 毓亘丕乇丞 毓賳 賲賯丕賱丕鬲 賳賯丿賷丞 賱亘毓囟 丕賱兀丿亘 賵 丕賱兀賮賱丕賲 賵 丕賱賲爻乇丨賷丕鬲 賵 丕賱馗賵丕賴乇 丕賱賮賳賷丞
丨賯賷賯丞 兀賳 丕賱賲丐賱賮丞 爻賵夭丕賳 爻賵賳鬲丕睾 匕賰賷丞 噩丿丕貙 賵 鬲賲賱賰 鬲亘氐乇丕 毓丕賱賷丕
賵 乇睾賲 兀賳賴 氐丕丿乇 賮賷 丕賱爻鬲賷賳賷丕鬲 賵 兀賳賴 賱丕 禺賱賮賷丞 賱賷 賰孬賷乇丕 毓賳 賲毓馗賲 賲賳 鬲丨丿孬鬲 毓賳賴賲貙 賵 賱賰賳 丕賱賰鬲丕亘 賱賲 賷賮賯丿 兀賴賲賷鬲賴 亘丕賱賳爻亘丞 賱賷
兀丨爻亘賴 爻賷毓噩亘 噩丿丕 丕賱賲賴鬲賲賷賳 亘賴匕丕 丕賱賲噩丕賱
June 2, 2019
丨賯蹖賯鬲丕 賳賲蹖丿賵賳賲 丕夭 讴噩丕 卮乇賵毓 讴賳賲 亘乇丕蹖 賳賵卮鬲賳 丿乇亘丕乇賴 丕蹖賳 讴鬲丕亘 賮賵賯 丕賱毓丕丿賴 亘乇丕蹖 賴賲蹖賳 丕丨鬲賲丕賱丕 亘丕 賳馗乇 亘蹖 賳馗賲蹖 乇賵 亘賴 乇賵 禺賵丕賴蹖丿 卮丿 讴賴 亘賴 禺丕胤乇 鬲賳亘賱蹖 亘賳丿賴 亘毓丿 丕夭 賳賵卮鬲賳卮 賴賲 賯胤毓丕 丨賵氐賱賴 賳禺賵丕賴賲 丿丕卮鬲 讴賴 賲乇鬲亘卮 讴賳賲.
賲賳 賲丿鬲 夭賲丕賳 賳爻亘鬲丕 夭蹖丕丿蹖 丿乇 丨丕賱 賲胤丕賱毓賴 丕蹖賳 讴鬲丕亘 亘賵丿賲 亘賴 卮讴賱蹖 讴賴 亘蹖賳 賲胤丕賱毓賴 丕蹖賳 讴鬲丕亘 噩賱丿 丕賵賱 丿賳 讴蹖卮賵鬲 亘丕 蹖讴蹖 丿賵鬲丕 讴鬲丕亘 丿蹖诏賴 乇賵 賴賲 禺賵賳丿賲. 亘蹖卮鬲乇 賴賲 亘賴 禺丕胤乇 丕蹖賳 亘賵丿 讴賴 丿賵爻鬲 丿丕卮鬲賲 亘賴 賲胤丕賱亘蹖 讴賴 禺賵賳丿賲 亘鬲賵賳賲 亘蹖卮鬲乇 賮讴乇 讴賳賲 賵 氐乇賮丕 亘乇丕蹖 賲賳 賴乇 趩蹖 倬乇賵爻賴 蹖 禺賵賳丿賳 蹖賴 讴鬲丕亘蹖 胤賵賱丕賳蹖 賲蹖卮賴 賵 亘乇丕卮 禺蹖賱蹖 賵賯鬲 賲蹖匕丕乇賲 蹖賴 丨爻 賳夭丿蹖讴蹖 毓噩蹖亘蹖 亘賴 丕賵賳 讴鬲丕亘 賵 賳賵蹖爻賳丿賴 丕卮 倬蹖丿丕 賲蹖 讴賳賲 賵 丕賱丕賳 蹖賴 匕乇賴 賳丕乇丕丨鬲賲 讴賴 讴鬲丕亘 鬲賲賵賲 卮丿 趩賵賳 蹖賴 丨爻 丕毓鬲蹖丕丿蹖 倬蹖丿丕 讴乇丿賲 亘賴 禺賵賳丿賳 賲胤丕賱亘 爻賵夭丕賳 爻丕賳鬲丕诏 賵 賯胤毓丕 爻乇丕睾 亘丕賯蹖 賳賵卮鬲賴 賴丕卮 禺賵丕賴賲 乇賮鬲.
賵 賲蹖 鬲賵賳賲 亘诏賲 讴賴 丕蹖賳 讴鬲丕亘 亘丕毓孬 丕蹖噩丕丿 鬲睾蹖蹖乇丕鬲 夭蹖丕丿蹖 乇賵蹖 丿蹖丿诏丕賴賲 賳爻亘鬲 亘賴 賴賳乇 卮丿 賵 賯胤毓丕 丕賵賳 丌丿賲 賯亘賱蹖 亘丕 丕賵賳 夭丕賵蹖賴 賳诏丕賴 賯亘賱 賳蹖爻鬲賲 賵 丨鬲蹖 賮賴賲蹖丿賲 蹖丕 賯丕賳毓 卮丿賲 趩賴 賯丿乇 丿乇 丕卮鬲亘丕賴 亘賵丿賲.
賴賲蹖賳胤賵乇 鬲賵蹖 丕蹖賳 讴鬲丕亘 丕乇噩丕毓丕鬲 賮乇丕賵丕賳蹖 賵噩賵丿 丿丕乇賴 讴賴 噩爻鬲噩賵 賵 倬蹖丿丕 讴乇丿賳 丕蹖賳 賲胤丕賱亘 賵 賮蹖賱賲 賴丕 禺賵丿卮 噩匕丕亘蹖鬲 讴丕賲賱丕 噩丿丕诏丕賳賴 丕蹖 丕夭 讴鬲丕亘 亘乇丕蹖 賲賳 丿丕卮鬲 賵 賮讴乇 賲蹖 讴賳賲 蹖讴蹖 丕夭 禺賵亘蹖 賴丕蹖 丕蹖賳 讴鬲丕亘 丿賯蹖賯丕 賴賲蹖賳 賲爻卅賱賴 丕爻鬲 賵賱蹖 禺亘 鬲毓丿丕丿 賯丕亘賱 鬲賵噩賴 丕蹖 丕夭 讴鬲丕亘 賴丕蹖蹖 讴賴 禺丕賳賲 爻丕賳鬲丕诏 鬲賵蹖 丕蹖賳 讴鬲丕亘 亘賴卮 丕卮丕乇賴 賲蹖 讴賳賴 鬲乇噩賲賴 賳卮丿賳 賲鬲丕爻賮丕賳賴.
丕诏乇 亘賴 爻乇丕睾 丕蹖賳 讴鬲丕亘 亘乇蹖丿 丕丨鬲賲丕賱丕 亘賴 鬲毓丿丕丿蹖 丕爻蹖 亘乇禺賵乇丿 賲蹖 讴賳蹖丿 讴賴 卮丕蹖丿 亘賴 賳馗乇鬲賵賳 亘蹖 乇亘胤 亘蹖丕丿 賵 賮讴乇 讴賳蹖丿 禺賵賳丿卮賵賳 禺蹖賱蹖 賮丕蹖丿賴 丕蹖 賳禺賵丕賴丿 丿丕卮鬲貙 丕賱亘鬲賴 卮丕蹖丿 賵丕賯毓丕 賴賲 賴賲蹖賳胤賵乇 亘丕卮賴 丕賲丕 亘乇丕蹖 賲賳 卮蹖賵賴 蹖 賳賵卮鬲賳 賵 賳賵毓 賳诏丕賴 爻丕賳鬲丕诏 亘賴 禺賵丿蹖 禺賵丿 亘賴 卮丿鬲 噩匕丕亘 亘賵丿 丕賱亘鬲賴 賯胤毓丕 讴鬲丕亘蹖 賴爻鬲 讴賴 賳賲蹖 鬲賵賳賲 亘诏賲 讴丕賲賱丕 賮賴賲蹖丿賲卮 賵 亘丕乇賴丕 亘賴卮 亘毓丿 丕夭 丿蹖丿賳 賵 禺賵賳丿賳 丕乇噩丕毓丕鬲卮 亘丕夭 禺賵丕賴賲 诏卮鬲 賵 丿賵亘丕乇賴 賲胤丕賱毓賴 丕卮 賲蹖 讴賳賲.
丿乇 讴賱 讴鬲丕亘蹖 賴爻鬲 讴賴 丿爻鬲 诏乇賮鬲賳卮貙 禺賵賳丿賳卮 賵 夭蹖乇 噩賲賱賴 賴丕卮 讴卮蹖丿賳 賵 賴賲蹖賳胤賵乇 亘丕夭 鬲讴乇丕乇 賲蹖 讴賳賲 賲乇丕噩毓賴 亘賴 丕乇噩丕毓丕鬲 讴鬲丕亘 亘賴 卮丿鬲 噩匕丕亘賴. 賲孬賱丕 賲賳 禺賵丿賲 賲爻鬲賳丿 卮亘 賵 賲賴 丌賱賳 乇賳賴 乇賵 亘毓丿 丕夭 禺賵賳丿賳 丕爻賲卮 鬲賵蹖 丕蹖賳 讴鬲丕亘 丿蹖丿賲 賵 亘賴 卮丿鬲 賱匕鬲 亘乇丿賲 賴賲蹖賳胤賵乇 亘丕毓孬 卮丿 讴賴 亘禺賵丕賲 丿賵亘丕乇賴 賮蹖賱賲 賴蹖乇賵卮蹖賲丕 毓卮賯 賲賳 亘賴 賴賲乇丕賴 丿賵 鬲丕 賮蹖賱賲 丿蹖诏賴 丕夭 賴賲蹖賳 讴丕乇诏乇丿丕賳 乇賵 亘丕 賳诏丕賴 賳爻亘鬲丕 噩丿蹖丿 賵 卮丕蹖丿 丿賯蹖賯 鬲乇蹖 亘亘蹖賳賲 亘賴 賴賲乇丕賴 禺蹖賱蹖 丕夭 賮蹖賱賲 賴丕 賵 讴鬲丕亘 賴丕蹖 丿蹖诏賴.
賮讴乇 讴賳賲 禺蹖賱蹖 賴賲 亘蹖 賳馗賲 賳卮丿.
4.5
賲賳 賲丿鬲 夭賲丕賳 賳爻亘鬲丕 夭蹖丕丿蹖 丿乇 丨丕賱 賲胤丕賱毓賴 丕蹖賳 讴鬲丕亘 亘賵丿賲 亘賴 卮讴賱蹖 讴賴 亘蹖賳 賲胤丕賱毓賴 丕蹖賳 讴鬲丕亘 噩賱丿 丕賵賱 丿賳 讴蹖卮賵鬲 亘丕 蹖讴蹖 丿賵鬲丕 讴鬲丕亘 丿蹖诏賴 乇賵 賴賲 禺賵賳丿賲. 亘蹖卮鬲乇 賴賲 亘賴 禺丕胤乇 丕蹖賳 亘賵丿 讴賴 丿賵爻鬲 丿丕卮鬲賲 亘賴 賲胤丕賱亘蹖 讴賴 禺賵賳丿賲 亘鬲賵賳賲 亘蹖卮鬲乇 賮讴乇 讴賳賲 賵 氐乇賮丕 亘乇丕蹖 賲賳 賴乇 趩蹖 倬乇賵爻賴 蹖 禺賵賳丿賳 蹖賴 讴鬲丕亘蹖 胤賵賱丕賳蹖 賲蹖卮賴 賵 亘乇丕卮 禺蹖賱蹖 賵賯鬲 賲蹖匕丕乇賲 蹖賴 丨爻 賳夭丿蹖讴蹖 毓噩蹖亘蹖 亘賴 丕賵賳 讴鬲丕亘 賵 賳賵蹖爻賳丿賴 丕卮 倬蹖丿丕 賲蹖 讴賳賲 賵 丕賱丕賳 蹖賴 匕乇賴 賳丕乇丕丨鬲賲 讴賴 讴鬲丕亘 鬲賲賵賲 卮丿 趩賵賳 蹖賴 丨爻 丕毓鬲蹖丕丿蹖 倬蹖丿丕 讴乇丿賲 亘賴 禺賵賳丿賳 賲胤丕賱亘 爻賵夭丕賳 爻丕賳鬲丕诏 賵 賯胤毓丕 爻乇丕睾 亘丕賯蹖 賳賵卮鬲賴 賴丕卮 禺賵丕賴賲 乇賮鬲.
賵 賲蹖 鬲賵賳賲 亘诏賲 讴賴 丕蹖賳 讴鬲丕亘 亘丕毓孬 丕蹖噩丕丿 鬲睾蹖蹖乇丕鬲 夭蹖丕丿蹖 乇賵蹖 丿蹖丿诏丕賴賲 賳爻亘鬲 亘賴 賴賳乇 卮丿 賵 賯胤毓丕 丕賵賳 丌丿賲 賯亘賱蹖 亘丕 丕賵賳 夭丕賵蹖賴 賳诏丕賴 賯亘賱 賳蹖爻鬲賲 賵 丨鬲蹖 賮賴賲蹖丿賲 蹖丕 賯丕賳毓 卮丿賲 趩賴 賯丿乇 丿乇 丕卮鬲亘丕賴 亘賵丿賲.
賴賲蹖賳胤賵乇 鬲賵蹖 丕蹖賳 讴鬲丕亘 丕乇噩丕毓丕鬲 賮乇丕賵丕賳蹖 賵噩賵丿 丿丕乇賴 讴賴 噩爻鬲噩賵 賵 倬蹖丿丕 讴乇丿賳 丕蹖賳 賲胤丕賱亘 賵 賮蹖賱賲 賴丕 禺賵丿卮 噩匕丕亘蹖鬲 讴丕賲賱丕 噩丿丕诏丕賳賴 丕蹖 丕夭 讴鬲丕亘 亘乇丕蹖 賲賳 丿丕卮鬲 賵 賮讴乇 賲蹖 讴賳賲 蹖讴蹖 丕夭 禺賵亘蹖 賴丕蹖 丕蹖賳 讴鬲丕亘 丿賯蹖賯丕 賴賲蹖賳 賲爻卅賱賴 丕爻鬲 賵賱蹖 禺亘 鬲毓丿丕丿 賯丕亘賱 鬲賵噩賴 丕蹖 丕夭 讴鬲丕亘 賴丕蹖蹖 讴賴 禺丕賳賲 爻丕賳鬲丕诏 鬲賵蹖 丕蹖賳 讴鬲丕亘 亘賴卮 丕卮丕乇賴 賲蹖 讴賳賴 鬲乇噩賲賴 賳卮丿賳 賲鬲丕爻賮丕賳賴.
丕诏乇 亘賴 爻乇丕睾 丕蹖賳 讴鬲丕亘 亘乇蹖丿 丕丨鬲賲丕賱丕 亘賴 鬲毓丿丕丿蹖 丕爻蹖 亘乇禺賵乇丿 賲蹖 讴賳蹖丿 讴賴 卮丕蹖丿 亘賴 賳馗乇鬲賵賳 亘蹖 乇亘胤 亘蹖丕丿 賵 賮讴乇 讴賳蹖丿 禺賵賳丿卮賵賳 禺蹖賱蹖 賮丕蹖丿賴 丕蹖 賳禺賵丕賴丿 丿丕卮鬲貙 丕賱亘鬲賴 卮丕蹖丿 賵丕賯毓丕 賴賲 賴賲蹖賳胤賵乇 亘丕卮賴 丕賲丕 亘乇丕蹖 賲賳 卮蹖賵賴 蹖 賳賵卮鬲賳 賵 賳賵毓 賳诏丕賴 爻丕賳鬲丕诏 亘賴 禺賵丿蹖 禺賵丿 亘賴 卮丿鬲 噩匕丕亘 亘賵丿 丕賱亘鬲賴 賯胤毓丕 讴鬲丕亘蹖 賴爻鬲 讴賴 賳賲蹖 鬲賵賳賲 亘诏賲 讴丕賲賱丕 賮賴賲蹖丿賲卮 賵 亘丕乇賴丕 亘賴卮 亘毓丿 丕夭 丿蹖丿賳 賵 禺賵賳丿賳 丕乇噩丕毓丕鬲卮 亘丕夭 禺賵丕賴賲 诏卮鬲 賵 丿賵亘丕乇賴 賲胤丕賱毓賴 丕卮 賲蹖 讴賳賲.
丿乇 讴賱 讴鬲丕亘蹖 賴爻鬲 讴賴 丿爻鬲 诏乇賮鬲賳卮貙 禺賵賳丿賳卮 賵 夭蹖乇 噩賲賱賴 賴丕卮 讴卮蹖丿賳 賵 賴賲蹖賳胤賵乇 亘丕夭 鬲讴乇丕乇 賲蹖 讴賳賲 賲乇丕噩毓賴 亘賴 丕乇噩丕毓丕鬲 讴鬲丕亘 亘賴 卮丿鬲 噩匕丕亘賴. 賲孬賱丕 賲賳 禺賵丿賲 賲爻鬲賳丿 卮亘 賵 賲賴 丌賱賳 乇賳賴 乇賵 亘毓丿 丕夭 禺賵賳丿賳 丕爻賲卮 鬲賵蹖 丕蹖賳 讴鬲丕亘 丿蹖丿賲 賵 亘賴 卮丿鬲 賱匕鬲 亘乇丿賲 賴賲蹖賳胤賵乇 亘丕毓孬 卮丿 讴賴 亘禺賵丕賲 丿賵亘丕乇賴 賮蹖賱賲 賴蹖乇賵卮蹖賲丕 毓卮賯 賲賳 亘賴 賴賲乇丕賴 丿賵 鬲丕 賮蹖賱賲 丿蹖诏賴 丕夭 賴賲蹖賳 讴丕乇诏乇丿丕賳 乇賵 亘丕 賳诏丕賴 賳爻亘鬲丕 噩丿蹖丿 賵 卮丕蹖丿 丿賯蹖賯 鬲乇蹖 亘亘蹖賳賲 亘賴 賴賲乇丕賴 禺蹖賱蹖 丕夭 賮蹖賱賲 賴丕 賵 讴鬲丕亘 賴丕蹖 丿蹖诏賴.
賮讴乇 讴賳賲 禺蹖賱蹖 賴賲 亘蹖 賳馗賲 賳卮丿.
4.5
February 21, 2022
Sontag had such a brilliant mind.
June 23, 2023
鬲賮爻蹖乇 趩蹖爻鬲責
禺丕賳賲 爻丕賳鬲丕诏 賴賲 鬲賮爻蹖乇 禺賵丿卮 乇賵 丕夭 丌孬丕乇 賲毓丕氐乇 賵 讴賱丕爻蹖讴 丿乇 丕蹖賳 讴鬲丕亘 亘賴 賲丕 賳卮丕賳 賲蹖丿賴貙賴賲 賳賯胤賴 賲賯丕亘賱 鬲賮爻蹖乇 賵 丿蹖丿 禺賵丿卮 乇賵貙卮賲丕 亘丕 禺賵丕賳丿賳 丕蹖賳 丕孬乇貙賱蹖爻鬲 亘賱賳丿蹖 亘賴 賮蹖賱賲 賴丕 賵 讴鬲丕亘 賴丕 賵 賲賯丕賱丕鬲 賵 賳賲丕蹖卮賳丕賲賴 賴丕蹖 讴賴 鬲丕 讴賳賵賳 賳禺賵丕賳丿蹖丿 丕囟丕賮賴 禺賵丕賴蹖丿 讴乇丿.
禺丕賳賲 爻丕賳鬲丕诏 賴賲 鬲賮爻蹖乇 禺賵丿卮 乇賵 丕夭 丌孬丕乇 賲毓丕氐乇 賵 讴賱丕爻蹖讴 丿乇 丕蹖賳 讴鬲丕亘 亘賴 賲丕 賳卮丕賳 賲蹖丿賴貙賴賲 賳賯胤賴 賲賯丕亘賱 鬲賮爻蹖乇 賵 丿蹖丿 禺賵丿卮 乇賵貙卮賲丕 亘丕 禺賵丕賳丿賳 丕蹖賳 丕孬乇貙賱蹖爻鬲 亘賱賳丿蹖 亘賴 賮蹖賱賲 賴丕 賵 讴鬲丕亘 賴丕 賵 賲賯丕賱丕鬲 賵 賳賲丕蹖卮賳丕賲賴 賴丕蹖 讴賴 鬲丕 讴賳賵賳 賳禺賵丕賳丿蹖丿 丕囟丕賮賴 禺賵丕賴蹖丿 讴乇丿.
July 28, 2022
Bio sam ube膽en da Suzan Zontag bolje stoji sa arogancijom nego intelektualnim gledi拧tima, ali 膷itanje njenih eseja me je divno razuverilo. To, naravno, ne zna膷i da arogancije nema, ali zato ima rasko拧ne potkovanosti i vrlo lucidnih uvida. Kao najbolji esejisti, Zontag misli blistavo, 膷ak i kada ma拧i. Tako, na primer, 膷itav splet razmi拧ljanja o kempu mo啪e biti shva膰en kao maltene proizvoljna intelektualna igra, ali upravo je takva igra postala nezaobilazna za promi拧ljanje o ovoj temi. Zontag nas samim knji啪evnim pristupom vra膰a na izvorno zna膷enje termina esej kao ogled, poku拧aj. Odredi拧te je, dakle, sam put, a tra啪enje kona膷nih odgovora uzaludnost koja mo啪e samo da odvede na kriv trag. U skladu sa naslovnim esejom 鈥� cilj do啪ivljaja umetni膷kog dela nije pronala啪enje maksimalne koli膷ine sadr啪aja ili seckanje dela i komentarisanje odnosa izme膽u nastalih komadi膰a, ve膰 to da se celina ne izneveri. To dovodi do zavodljivog zaklju膷ka 鈥� umesto hermeneutike, potrebna nam je erotika umetnosti. Erotika kao sau膷esni拧tvo u stvaranju, nastavak kreativnog delovanja. Bez ove vrste estetskog erosa, predmet istra啪iva膷kog interesovanja bio bi sasvim irelevantan.
Tako膽e, osim zanosa, neophodno je i osve拧膰ivanje zna膷aja stila, koji za Zontag nije samo manir, ve膰 odluka u kojoj je utelovljena epistemologija 鈥� interpretacija toga kako i 拧ta poimamo u svetu.
Imaju膰i to u vidu, vidi se kako je sve o 膷emu je Zontag pisala, bilo natopljeno stra拧膰u i to prvenstveno u odnosu na frankofonu kulturu. Bilo da pi拧e o knji啪evnosti i antropologiji (Paveze, Mi拧el Leris, Simon Vejl, Kami, Luka拧, Sartr, Natali Sarot, Jonesko, Levi-Stros), pozori拧tu (Hohut, Vajs, tragedija, hepening) ili filmu (od Bresona, preko svog omiljenog filma 鈥濵juriel鈥� Alena Renea, 膷udovi拧ta u japanskoj SF kinematografiji kao izrazu kolektivne traume, do i dalje ekstremnog filma 鈥濬laming Creatures鈥� D啪eka Smia), pokazuje kako je dragoceno razumeti razli膷ite umetni膷ke forme u prostoru me膽usobnog pro啪imanja.
Mnogo sam od Zontag nau膷io i imao sjajna (ne)slaganja, posebno u autobusu za Leposavi膰 pre oko mesec dana, kada sam knjigu kona膷no dovr拧io.
Tako膽e, osim zanosa, neophodno je i osve拧膰ivanje zna膷aja stila, koji za Zontag nije samo manir, ve膰 odluka u kojoj je utelovljena epistemologija 鈥� interpretacija toga kako i 拧ta poimamo u svetu.
Imaju膰i to u vidu, vidi se kako je sve o 膷emu je Zontag pisala, bilo natopljeno stra拧膰u i to prvenstveno u odnosu na frankofonu kulturu. Bilo da pi拧e o knji啪evnosti i antropologiji (Paveze, Mi拧el Leris, Simon Vejl, Kami, Luka拧, Sartr, Natali Sarot, Jonesko, Levi-Stros), pozori拧tu (Hohut, Vajs, tragedija, hepening) ili filmu (od Bresona, preko svog omiljenog filma 鈥濵juriel鈥� Alena Renea, 膷udovi拧ta u japanskoj SF kinematografiji kao izrazu kolektivne traume, do i dalje ekstremnog filma 鈥濬laming Creatures鈥� D啪eka Smia), pokazuje kako je dragoceno razumeti razli膷ite umetni膷ke forme u prostoru me膽usobnog pro啪imanja.
Mnogo sam od Zontag nau膷io i imao sjajna (ne)slaganja, posebno u autobusu za Leposavi膰 pre oko mesec dana, kada sam knjigu kona膷no dovr拧io.
April 24, 2024
丿乇賵丿 亘乇 爻賵夭丕賳 毓夭蹖夭賲
亘乇禺賱丕賮賽 丕賳鬲馗丕乇賲 鬲賲丕賲 讴鬲丕亘 乇賵 亘丕 賱匕鬲 禺賵賳丿賲 賵 趩賯丿乇 丕夭 丿蹖丿诏丕賴鈥屬囏й� 爻丕賳鬲丕讴 讴賽蹖賮 讴乇丿賲
丕诏乇 賴賲 讴鬲丕亘 乇賵 賳禺賵賳丿蹖丿貙 丨鬲賲丕 賲胤賱亘 毓賱蹖賴 鬲賮爻蹖乇 乇賵 诏賵诏賱 讴賳蹖丿 賵 亘禺賵賳蹖丿
賲乇爻蹖 禺丕賳賲 爻賵夭丕賳 爻丕賳鬲丕讴 毓夭蹖夭.
亘乇禺賱丕賮賽 丕賳鬲馗丕乇賲 鬲賲丕賲 讴鬲丕亘 乇賵 亘丕 賱匕鬲 禺賵賳丿賲 賵 趩賯丿乇 丕夭 丿蹖丿诏丕賴鈥屬囏й� 爻丕賳鬲丕讴 讴賽蹖賮 讴乇丿賲
丕诏乇 賴賲 讴鬲丕亘 乇賵 賳禺賵賳丿蹖丿貙 丨鬲賲丕 賲胤賱亘 毓賱蹖賴 鬲賮爻蹖乇 乇賵 诏賵诏賱 讴賳蹖丿 賵 亘禺賵賳蹖丿
賲乇爻蹖 禺丕賳賲 爻賵夭丕賳 爻丕賳鬲丕讴 毓夭蹖夭.
December 11, 2013
There don't seem to be as many public intellectuals around as there used to be. Sure, there are more commentators than ever鈥攍ook at the many, many bloggers out there, as well as other individuated voices carving out their own identity, even within larger publications. But the public intellectual in the middle of the 20th century seemed to comprise something different, something a bit larger in scope. These days, criticism tends to be done piecewise, either commenting or reacting incrementally on each new publication or event, or slowly embodying a larger critique through the slow, steady work of embodying it.
Sontag and other writers of her era offer a different model, one with well-polished fusillades and other attacks levied against their contemporaries. The grasp of these essays seem to be more wide-ranging, composed than today's blog posts鈥攏ot just because they're more formally edited, but because by necessity they have to encompass so much more. There was the electrifying intellectual community in New York that met, discussed, and argued in person, of course. But there wasn't twitter, blogs, anything that could be used for large amounts of smaller pieces. Instead, Sontag and others worked through periodicals like the New York Review of Books, or the Partisan Review. These published maybe bi-weekly or monthly at most, meaning that they could only run so much, and that any reaction had to necessarily stand the test of time more than a snap blog-post that'll be obsolete in days.
This isn't necessarily to bemoan the current condition, only to recognize that a certain sensibility is so hard to find these days, and that you have to really seek it out compared to earlier. The New York Review of Books still exists (and continues to put out superb work), but it isn't the center of the intellectual conversation the way it used to be. They just Wrote Differently back then, in a way that's hard to articulate without reading Didion, Sontag, Wilson, and others.
This, then is to say that Sontag comes across as very refreshing鈥攏ot just because she's intellectually brilliant (which she is), or that she provides a novel way of looking at art (which she does), but because she writes so damn well that it's hard not to be carried away by her conclusions because they just sound so damn good.
Sontag's larger point that "form" and "content" are often unjustly separated, and the latter elevated above the former, is laid out in the very first title essay, and expounded upon or eliptically mentioned in almost every single other essay. The effect, which would be less noticable in reading each essay individually, is to see her argument substantiated in the richness of its results. In elevating content above form (and I'll dispense with the air quotes, even though Sontag justly uses them throughout), we cut off the ways in which how a work formally functions determines its aim and effect on the audience. In a certain sense, focusing on the content reveals an impoverished vocabulary or schema for understanding a given art-form, a mistake that Sontag dearly wants to correct by foregrounding how a work... well, works!
And to her credit, Sontag's argument has seen an effect in much of the art criticism since. In film, for example, editing is now recognized as one of the (if not THE) attributes that determine the essence of a movie. In games, we see mechanics-oriented criticism on the rise, though that case is easier to make with the more explicit interaction compared to the way other art-forms will subtly shift our attention around.
While a good chunk of the book is concerned with this kind of meta-criticism, there are some more traditional criticism of specific works鈥攙aluable because they instantiate and substantiate her larger program, but still kind of floaty if you haven't experienced the works she's talking about. When she's writing to introduce a body of work to the audience, such as some of the foreign thinkers, or her entertaining essay about the "happenings," she is lively and enjotable throughout. But when she's writing an apologia for work she expects her intellectual community to already know, it can leave the average reader in the dark.
This weakness is partially a function of time (since contemporary works aren't so contemporary any more) but also of the widening intellectual pluralism that she herself champions in essays like the famous "Notes on Camp." And in that, at least, the drawbacks are to be excused and even celebrated.
Sontag and other writers of her era offer a different model, one with well-polished fusillades and other attacks levied against their contemporaries. The grasp of these essays seem to be more wide-ranging, composed than today's blog posts鈥攏ot just because they're more formally edited, but because by necessity they have to encompass so much more. There was the electrifying intellectual community in New York that met, discussed, and argued in person, of course. But there wasn't twitter, blogs, anything that could be used for large amounts of smaller pieces. Instead, Sontag and others worked through periodicals like the New York Review of Books, or the Partisan Review. These published maybe bi-weekly or monthly at most, meaning that they could only run so much, and that any reaction had to necessarily stand the test of time more than a snap blog-post that'll be obsolete in days.
This isn't necessarily to bemoan the current condition, only to recognize that a certain sensibility is so hard to find these days, and that you have to really seek it out compared to earlier. The New York Review of Books still exists (and continues to put out superb work), but it isn't the center of the intellectual conversation the way it used to be. They just Wrote Differently back then, in a way that's hard to articulate without reading Didion, Sontag, Wilson, and others.
This, then is to say that Sontag comes across as very refreshing鈥攏ot just because she's intellectually brilliant (which she is), or that she provides a novel way of looking at art (which she does), but because she writes so damn well that it's hard not to be carried away by her conclusions because they just sound so damn good.
Sontag's larger point that "form" and "content" are often unjustly separated, and the latter elevated above the former, is laid out in the very first title essay, and expounded upon or eliptically mentioned in almost every single other essay. The effect, which would be less noticable in reading each essay individually, is to see her argument substantiated in the richness of its results. In elevating content above form (and I'll dispense with the air quotes, even though Sontag justly uses them throughout), we cut off the ways in which how a work formally functions determines its aim and effect on the audience. In a certain sense, focusing on the content reveals an impoverished vocabulary or schema for understanding a given art-form, a mistake that Sontag dearly wants to correct by foregrounding how a work... well, works!
And to her credit, Sontag's argument has seen an effect in much of the art criticism since. In film, for example, editing is now recognized as one of the (if not THE) attributes that determine the essence of a movie. In games, we see mechanics-oriented criticism on the rise, though that case is easier to make with the more explicit interaction compared to the way other art-forms will subtly shift our attention around.
While a good chunk of the book is concerned with this kind of meta-criticism, there are some more traditional criticism of specific works鈥攙aluable because they instantiate and substantiate her larger program, but still kind of floaty if you haven't experienced the works she's talking about. When she's writing to introduce a body of work to the audience, such as some of the foreign thinkers, or her entertaining essay about the "happenings," she is lively and enjotable throughout. But when she's writing an apologia for work she expects her intellectual community to already know, it can leave the average reader in the dark.
This weakness is partially a function of time (since contemporary works aren't so contemporary any more) but also of the widening intellectual pluralism that she herself champions in essays like the famous "Notes on Camp." And in that, at least, the drawbacks are to be excused and even celebrated.
July 16, 2015
Here is where I discovered my model, my ideal: I too aspire to be able to discuss and analyze so deftly literature, cinema, music, theater, philosophy, theory and society, and their countless and inevitable intersections. The celebrated "Notes on Camp" and the title essay are the standouts, but everything--even the comparatively weak theater reviews--are worth reading.
"My idea of a writer: someone who is interested in 'everything.'"
-from "Afterward: 30 Years Later"
"My idea of a writer: someone who is interested in 'everything.'"
-from "Afterward: 30 Years Later"
March 5, 2008
"Instead of hermeneutics we need an erotics of art."
Yes...
But what the hell does that mean?
March 15, 2024
W pocz膮tkowych esejach Sontag przenikliwie, siarczy艣cie i z trze藕w膮 gracj膮 pisze jednoczeniem rzeczywisto艣ci w rzeczywisto艣膰. Reedukuje zmys艂owo艣膰, resocjalizuj膮c wra偶liwo艣膰 - pozwalaj膮c jej by膰 r贸wnocze艣nie esencj膮 i implikacj膮 esencji. Zamiast "艣wiata sens贸w" wprowadza w 艣wiat, kt贸ry jest w艂a艣nie nim - sensem - samym dla siebie i w sobie. O filmie, happeningu, teatrze i kampie wypowiada si臋 zajadlej (cho膰 r贸wnie odwa偶nie) ni偶 o strukturze metafory, cierpieniu czy beztre艣ciowo艣ci. Robi to jednak z zaskakuj膮c膮 samodzia艂alno艣ci膮 konstrukcji, ze zwiewno艣ci膮 wymykaj膮c膮 si臋 jakiejkolwiek delikatno艣ci. Dla mnie wci膮偶 najwyrazistsza pozostaje, pozostaj膮c przy sztuce. Sztuka to u niej relacja mi臋dzy istnieniem a uczuciem; uczulenie na istnienie.
June 14, 2019
丕蹖賳 讴鬲丕亘 亘蹖鈥屬嗀港屫辟囏屫呚� 禺爻鬲賴 亘賵丿賲 賵 乇蹖賵蹖賵 賳賳賵卮鬲賲.
丕賲丕 爻丕賳鬲丕诏 丨乇賮 賳丿丕乇賴貙賯亘賱 丕夭 丕蹖賳 讴鬲丕亘 蹖丕 亘毓丿卮 丨鬲賲丕 讴鬲丕亘 賲氐丕丨亘賴鈥屫ж� 亘丕 乇賵賱蹖賳诏 丕爻鬲賵賳 乇賵 亘禺賵賳蹖丿.
丕賲丕 爻丕賳鬲丕诏 丨乇賮 賳丿丕乇賴貙賯亘賱 丕夭 丕蹖賳 讴鬲丕亘 蹖丕 亘毓丿卮 丨鬲賲丕 讴鬲丕亘 賲氐丕丨亘賴鈥屫ж� 亘丕 乇賵賱蹖賳诏 丕爻鬲賵賳 乇賵 亘禺賵賳蹖丿.
November 29, 2023
I鈥檝e some difficulty processing Ms. Sontag鈥檚 thoughts.听If there were une Acad茅mie Am茅ricaine, she would have been a leading member, maybe the only member.听 Was she America's Simone de Beauvoir?听 She was indeed a prodigy, one who certainly would have had no truck with this corn country son of an accountant.听 How do I square the accolades bestowed from academics and publishers with a voice directed at such a narrow, elite audience, an audience that would shun me as a member?
A few thoughts come to mind upon reflection:
Ms. Sontag leads this volume with an essay titled Against Interpretation.听 She then proceeds to do just that, interpret, in the essays that follow.听 Only someone of near-canonical esteem could get away with such effrontery.
In this work, Ms. Sontag dwells often and deeply for things French.听 Not just things French mind you, no, the more intellectually derivative, the better.听 So she arrives at Jean-Luc Godard, a director she reveres, a rarity because there鈥檚 not many on this planet she does seem to revere. Now here I must take issue.听 This mediocre Midwesterner has seen twenty-seven of Godard鈥檚 films, so who better to synthesize Godard for me than me?听 Of those films, according to my records, only two were noteworthy, Tout Va Bien and Une Femme Mari茅e.听 Problem is, I cannot recall even one of those films, even the then noteworthy ones.听 Subjected to a true-false test on those films, I might have an outside chance of passing given the laws of randomness.听 What does that say about the worthiness of M. Godard鈥檚 films?听 Yet, to Ms. Sontag, these are the works of a great director?听 I suppose, though, Ms. Sontag would just peg me as Castella in Agn猫s Jaoui鈥檚 Le Go没t des Autres, a film I do remember well.
The remarks on Happenings brought me back to Boogie Nights, the film.听 I鈥檝e daydreamt of throwing a party for a few dozen friends.听 Then, channeling that memorable Nina Hartley driveway scene, the one with an incredulous onlooking husband, William H. Macy, a party goer visits me at the grill.听 "Hey man, there鈥檚 some dude and a woman having sex on your living room floor."听 I reply with a deadpan, "Did you say you want your hamburger medium or medium-rare?"听 It would be worth paying the two artistes distingu茅s for their time, just to record the look of the Bible Belt bystanders; I imagine that photograph capturing a horrified Leni Riefenstahl as witness to the Konskie Massacre.听 Aren鈥檛 our current moral objections a wee bit misaligned?听 What exactly constitutes a moral outrage these days, anyway?
Her concluding essays on Camp and the two cultures were most engaging for me.听 She ends on an optimistic note, contesting CP Snow's remarks for an increasingly divergent world.听 I must applaud knowledge, enlightenment and the spirit of curiosity; in this sense, Ms. Sontag has done well; she left a remarkable record of thought.
A few thoughts come to mind upon reflection:
Ms. Sontag leads this volume with an essay titled Against Interpretation.听 She then proceeds to do just that, interpret, in the essays that follow.听 Only someone of near-canonical esteem could get away with such effrontery.
In this work, Ms. Sontag dwells often and deeply for things French.听 Not just things French mind you, no, the more intellectually derivative, the better.听 So she arrives at Jean-Luc Godard, a director she reveres, a rarity because there鈥檚 not many on this planet she does seem to revere. Now here I must take issue.听 This mediocre Midwesterner has seen twenty-seven of Godard鈥檚 films, so who better to synthesize Godard for me than me?听 Of those films, according to my records, only two were noteworthy, Tout Va Bien and Une Femme Mari茅e.听 Problem is, I cannot recall even one of those films, even the then noteworthy ones.听 Subjected to a true-false test on those films, I might have an outside chance of passing given the laws of randomness.听 What does that say about the worthiness of M. Godard鈥檚 films?听 Yet, to Ms. Sontag, these are the works of a great director?听 I suppose, though, Ms. Sontag would just peg me as Castella in Agn猫s Jaoui鈥檚 Le Go没t des Autres, a film I do remember well.
The remarks on Happenings brought me back to Boogie Nights, the film.听 I鈥檝e daydreamt of throwing a party for a few dozen friends.听 Then, channeling that memorable Nina Hartley driveway scene, the one with an incredulous onlooking husband, William H. Macy, a party goer visits me at the grill.听 "Hey man, there鈥檚 some dude and a woman having sex on your living room floor."听 I reply with a deadpan, "Did you say you want your hamburger medium or medium-rare?"听 It would be worth paying the two artistes distingu茅s for their time, just to record the look of the Bible Belt bystanders; I imagine that photograph capturing a horrified Leni Riefenstahl as witness to the Konskie Massacre.听 Aren鈥檛 our current moral objections a wee bit misaligned?听 What exactly constitutes a moral outrage these days, anyway?
Her concluding essays on Camp and the two cultures were most engaging for me.听 She ends on an optimistic note, contesting CP Snow's remarks for an increasingly divergent world.听 I must applaud knowledge, enlightenment and the spirit of curiosity; in this sense, Ms. Sontag has done well; she left a remarkable record of thought.
April 6, 2008
The famous essay on camp is in this edition as well as wonderful essays on Godard and Beckett. Sontag was an amazing essayist, a really great cultural critic. A walking and breathing treasure of knowledge and clear thinking. One would think she would have loved 欧宝娱乐 -- but then maybe not. For sure she would be arguing with everyone on this site. What fun!
But seriously even if one disagrees with her work, she is important just for her taste in literature among other things.
But seriously even if one disagrees with her work, she is important just for her taste in literature among other things.
July 22, 2021
"艢wiat, w kt贸rym powsta艂y te eseje, przemin膮艂". Pozostaje cieszy膰 si臋 ostrym, dalekim od subtelno艣ci stylem Sontag, jej intelektualn膮 pewno艣ci膮 siebie i prost膮 przenikliwo艣ci膮. Najfajniej jest, kiedy autorka walczy o wra偶liwo艣膰 i zmys艂owo艣膰, o form臋 i estetyk臋 przekraczaj膮c膮 moralno艣膰.
Czuj臋, 偶e bym Sontag nie polubi艂a i 偶e wiele nas r贸偶ni, ale ch臋tnie podpatrywa艂am jej metody kszta艂towania my艣li. Niemniej, zapewne minie du偶o czasu, zanim znowu do niej zajrz臋.
Czuj臋, 偶e bym Sontag nie polubi艂a i 偶e wiele nas r贸偶ni, ale ch臋tnie podpatrywa艂am jej metody kszta艂towania my艣li. Niemniej, zapewne minie du偶o czasu, zanim znowu do niej zajrz臋.
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