『那些年，我們一起追的女孩』觀後感
一月 15
there are = there’re ?
六月 28
今天在 xda 回帖時，打完 there‘re 後，出現了紅色波浪線，意思是拼寫錯誤，很驚訝，因為自打小學開始，教材上都是這麼書的。比如：
谷歌了下，中文有效結果也比較少，當然第一條結果依然那麼準確：
顯然，中文結果少是有原因的：
@likounin 較這個真沒意義啊，大家都這麽用的話、大家都看得懂不就行了嘛。
英文的就相對有多些的討論，比如這個：
Can one write "THERE’RE" and is it correct? – Yahoo! UK & Ireland Answers
可以看到，評論里很多人都說，語法上講，是錯誤的。
也查了劍橋在線辭典，結論是查無此詞。
順帶認為：
@likounin 漢語是有個「國家語委」來指手畫腳、強行規定的，英文不屬于某個國家，人們怎麽用，那就是英語。
是完全錯誤的，即使一樣不喜歡中國的語委。語言的話，主語是你，沒有誰能絕對地強制你怎麼使用，而只在于你會不會那樣用。不用第一人稱代詞，名詞當動詞，動詞當形容詞，代詞當名詞，上下文主語不默認承接等等，只要你想得到，都可以那樣用。但是很多人不敢，因為有個“犯錯成本”。比如怕被扣分，怕被發回重寫，等等。當然，還有那麼些不懂事兒的是出於對別人不理解的擔心。其實大可以放心，即使100％按照標準語法，別人也不會100％理解你言語的每一句話。自誕生起，語言作為人類溝通手段的同時一直在阻礙溝通的進行。所以，只要犯錯成本為〇，任何語言，都可以為任何人隨便使用，即使深受中國語委關照的漢語也一樣。君不見，即使你再怎麼強調高考會扣分，還是會那麼多人喜歡按照自己的意願感同身受，當然了，這僅僅是空穴來風罷了。
由於各種原因，你很少會遇到犯錯成本為〇的情況，因此，沒有哪一門語言是可以隨你心之所欲而用的，只能說，由於不是你的母語，有些規範沒人會去苛求你遵守，或者更直接的說，你沒那個能力去遵守。但並不代表那些規範不存在；換句話說，你可以犯錯誤，但不代表你就是對的，這有點類似斜率為〇和斜率不存在的關係。
綜上，there are ≠ there’re，準確地說，後者是不存在的。但只要不是規範性要求較高的場合，你完全可以把二者等同起來。但是你必須知道，那樣其實是錯的。
Read More擷碎「丁未」
三月 03
這段時間想的很多，想寫的卻很少，越來越少。應該是變淺陋了吧。
因為胃的關係，只能幻想著有杯茶陪在旁邊。拿鐵甚麼的，只是偶爾用來加重口味的東西罷。
曾幾何時，夏夜，一盞茶，一塊月，一隻影，再不時拈來幾片清風，悲傷的多麼愜意多麼自在多麼具象呵！
那時，怕是從那時起，很多東西就再也掇不起來了吧。
說過，苦痛可以刺激一個人的寫作的慾望，但前提是，要有一顆閱讀的心。這個閱讀，不是很多人讀小說那般，更不是瀏覽報紙那般。
“閱讀不再是一種消遣和享受；閱讀已成為嚴肅的甚至痛苦的儀式。（via 吳曉東）”
如今，每天MicroBlog＋數千的RSS，心早已被淹沒。當初想著要看這看那，最後卻成了折騰這折騰那。所以，有些事情，不要以為以後有機會，就不擠時間去做…往往以後再也沒機會了…#那時年少
「詩經•邶風•柏舟」
各種原因，習慣了與週遭的事物保持一定的絕對距離，習慣了小眾。玩笑說水瓶座是特立獨行的，然後作為水瓶座當然要與其他水瓶座保持不一樣，呵呵。因為眼中所有都能輕而易舉的被解構，所以缺乏安全感，很多事情，喜歡把所有覺得應該考慮的都考慮到才會著手去做，至於當中會遇到多大問題，都會堅持下去，前提是理論上可以實現。
沒有歸屬感，在莫名的空間和時間的交點不停的躍遷著，也不知道自己真正適合甚麼。從初中啟蒙開始，先後感興趣的如下：
- 初一——初三：科幻，很多科幻提供了很好的思考角度，對以後有深遠的影響。其中：
- 初二：
- 外國短篇小說，從莫泊桑和歐•亨利開始（契訶夫很無愛，太偏重批判時代的東西早晚會為時間所淘汰）；
- 文言文，語文老師給的課外古詩文中，吸取了儒家很多理念，開始喜歡《莊子》的行文風格；
- 初三：
- 繼續，開始看卡夫卡、茨維格，看過一次所謂的名著《卡門》，感覺很低俗，對老師口中和教材上提到的經典名著再沒屑過。即使到了大學後由於專業的關係必須看一點英美文學名著，還是覺得很低俗。真正的經典的定義是教材上的選讀或者老師沒提過的。因為老師和編教材的人也不懂，又不敢忽視，只能選讀選教；
- 道家影響加深。欣羨於竹林七賢為代表的魏晉風骨，欣羨於臨終一曲《廣陵散》的淡然，欣羨於“何所聞而來，何所聞而去”的高傲；
- 初二：
- 高一：
- 化學，同樣感興趣於奧賽教材和大學無機化學課本而不屑教材上的經典理論；
- 開始接觸中青系和鳳凰系的聲音；
- 培根、蒙恬、泰戈爾、梅里美
- 高二：
- 回歸國外小說，康拉德、愛倫•坡、米蘭•昆德拉、卡爾維諾、博爾赫斯、馬爾克斯；
- 發現雜文是個好東西，可以積纍議論文素材；
- 高三：
- 訓詁，借助 《現代漢語規範詞典》和《說文解字》，無視一切有關漢字形聲的標準答案，解決不少古诗文默写的“多解”的問題；
- 亨利•米勒、伊凡•克里瑪、亨利•戴維•梭羅、梁漱溟等；
- 發現例證的Bug太多，不夠嚴謹，嘗試全文道理論證，層層推進；
- 證明無錫2007年語文一模閱讀理解最後一題說明了出卷老師沒看懂文章；
- 大一：
- 自學《高等數學•同濟六》，上課從來不聽，純粹自己做題，最後題目太簡單，考完第一個交卷回家過暑假；
- 開始折騰N70；
- 開始上網，註冊校內、Qzone、Twitter 、Plurk、Gmail等;
- 大二：
- 繼續折騰N70，入Raphael；
- 丟掉校內和Qzone；
- 有了自己的空間和域名，開始SSH翻，正式接觸Linux各個發行版；
- 入《康熙字典》＋《詩經註析》，根據後者發現《古代漢語詞典》錯誤甚多，《康熙字典》＋《說文解字》＋《爾雅》，是案邊常用正音定形工具；
- 仔細研讀《詩經》（但最終沒讀完），叹個中用詞之巧；
- 嘗試看C語言，但看了四章就扔在了一邊；
- 大三：
- N70逐漸被淘汰，入8820；
- 入MacBook Pro；
- 有了獨立虛擬服務器，開始VPN翻 ；
- 開始認真GR
- 大四：
- 入PalmPre+；
- 日讀GR500＋－－逐漸放棄GR；
得到的經驗教訓是：
- 自求多福；
- 很多話都故意包含至少兩種解讀，從句子層面解構語言；
- 形成了上下文之間主語賓語並不默認繼承的行文傳統；
- 形成了代詞名詞化，名詞動詞化，動詞名詞化等傳統，無視詞性，從詞語層面實現對語言的解構；
- 形成了使用起興的習慣；
- 慣用意象；
- 致力於存在性的研究，
- 無視標準答案
似乎，真的是適合一個人 吧。沒有任何顧慮，完全按照自己的風格存在著，存在不下去就不存在。存在本身的意義就是為了證明存在沒有意義。不是麼？時間是一場幻覺，空間上的位移又是〇。呵呵，又是這樣。這種論證方式是多麼的絕望呵！論證的一開始就保有著必定有論點被證偽的決心，所以精心挑選了足以給對方造成悖論的兩個論點。當自己一個論點被證偽的同時必然對方有一個論點也被證偽。這樣之後，內心已經足夠強大，足夠高傲到很少有人能奪去任何東西，因為任何東西在眼裡都不如在別人眼裡那麼重要。因為已經甚麼都沒有了。一個甚麼都沒有的人對社會來說太危險了不是，趕緊嫁我吧。 
順帶提下對蘇北人的看法：
眼中，蘇北人以南京、揚州、淮安、鹽城、南通、連雲港、宿遷為主。無須身份証明，大部分可憑由膚色、語言、生活習慣、處事方式識別，文化根源於江淮文化。之前說過，這和種族歧視是兩種完全相反的思維過程。種族歧視是：看到一個外族人，根據已有觀念，不加區分的加以歧視等區別對待。而這里則是：把經歷過的人作為樣本，按照親身感受分為好壞兩類，在壞的那類中，找到一個共性－－大部分都是來自某一種族，接著和其他人交流，也得到不少類似的結論（不管其他人的思維方式如何），再把這個結論運用到現實中去檢驗，基本複合事實。那麼，以後再遇到帶有該屬性的人，被逼無奈之下只能提高警惕。如果說這樣做還是極端，那只能說是因為：
“極端的經驗可以使我們的判斷力變得不可靠（via 伊凡•克里瑪）”
很抱歉，只能說，這種思維方式是完全符合人類把感性認識上升為理性認識，再把理性認識代入實踐檢驗這一馬克思同學所認為的認識規律的，除非能改變經歷，否則結論無法改變。
筆者案：
其實整篇文章看下來，有多少是在用以前就接觸過的東西，有多少是已經忘了的東西，有多少是新學到的東西，光是這一點，就很感慨了。以前的知識，當時哪怕學的再深入，到了現在，都快是常識的東西了，因為經不起時間的折騰：
“…I give it (a watch) to you not that you may remember time, but that you might forget it now and then for a moment and not spend all of your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools." (via William Faulkner)
所以，對很多事情已經想的很開。雖然，似乎，本來就對很多東西很淡然－－甚麼食色性也，食色是最不關注的東西。在時間面前，人又何足掛齒呢？世人碌碌，實在是沒有必要和那些很虛無的東西糾纏。珍惜身邊的吧。
Read More開題報告
一月 04
Title: The Art of Time used in William Faulkner’s THE SOUND AND THE FURY
1.The Purpose of the Study :
Time and space are two of the forever themes of our human beings. Everyone has his/her own view about time, so do writers. Writers like to express their view of time in a more different way. Especially from the 20th century, the worldwide literature has come into Modernism and post-modernism time. Writers are even more willing to express time in new ways. Among all the writers, William Faulkner, who won the Nobel Literature Price in 1949, is one of the greatest writers deal with time in an impressive way.
THE SOUND AND THE FURY is one of Faulkner’s most famous novel, which can best present Faulkner’s time value and art in dealing with time. However, most reviews haven’t tried to analysis this novel in a more philosophy way. As we known, philosophers often quarrel over time and space, then it’s easy for us to believe that the way Faulkner used to write this novel is more than a literature method, but a philosophy thought.
2. The Literature Review：
Modernism is the entirety of literature genres character in non-convention appears during the first half of the 20th century. As for characters on main ideas, modernism has a strong trend of culture-animadverting as well as an out-standing theme about alienation. And at the point of characters on art, modernism emphasize the present of inner life and mental reality, which stress more on subjectivity and introversion.
THE SOUND AND THE FURY is Faulkner’s most famous novel. This novel has a strong character of modernism, not only seen from its thoughts and connotation, but also from its writing technique and background, which mainly represent on its multi-view narrating methods, stream of consciousness and using of mythology.
In Faulkner’s novel, continued, one-dimensional time was totally broken and dismembered, and turned into NOW, which was still, indifferent, auto welled up and synchronic. Faulkner didn’t take the common writing measure, instead, he introduced the "story board", which usually adopted in shooting films or teleplays, to take place of the immanent, omnipotence and omniscient narrating method: Stories in every scene were narrated by the main character in every story board. However, unlike shooting films or teleplays──usually story boards shot first and then cutting, editing, processing and post synchronization, Faulkner broken the normal order of all the story boards first, and then he rearranged them according to his unique design. Further more, Faulkner tried his best to present the original style of every story board without clips. In the novel THE SOUND AND THE FURY, arranged as normal order, the order of the four chapters should be "1-2-3-4″, when-as Faulkner arranged the order as "3-1-2-4″,which totally threw the readers into confusion. At the same time, in every chapter, the space and time of the narrator was punctuated by switching scenes. This compeled the dazzling readers to follow the flowing consciousness of the narrator and keep associating tensely. As a result, readers walked into Faulkner’s space and time unawares.
The first three chapters of THE SOUND AND THE FURY has used a large number of switch of consciousness to narrate and depict characters. In the head of the narrator, thoughts leaped from one to another. Sometimes, Faulkner would change the font to remind the readers, while sometimes wouldn’t──readers have to depend on their own understanding to tell what is NOW and what is PAST. As the statistics shows, there are more than 200 Scene-Switches in the chapter of Quentin, while also more than 100 in the chapter of Benjy. There are several signals which will cause Scene-Switches:
- Saw a thing;
- Saw a person;
- At a word or sentence;
- Smelt a smell;
- Just transfers of thoughts.
Most time when using this method, Faulkner transferred the time from NOW to PAST, and then turns back from PAST to NOW. However, in some occasions, time may be transferred from NOW to PAST, and then turned to ANOTHER PAST. This method indicates that Faulkner had a special space and time consciousness which believes human’s PAST only contained in NOW. Of course, Faulkner didn’t use these writing methods by chance. Sartre has said, ‘if you consider these abnormalities as small ploys, you are totally wrong. Aesthetic ideas of novelist should always be traced back to their philosophical ideas. The duty of critics is to find out the writer’s philosophy before evaluate his writing methods. Definitely, Faulkner’s philosophy is the philosophy of time.’ Faulkner believed what afflicts humans is the impossibility to get rid of the shackle of time. He’s said via the character in his novel: ‘…A person is the summary of his misfortune. One day, you may think misfortune will be boring, but time is your misfortune…’. This, Sartre believed, is the real theme of the novel THE SOUND AND THE FURY. Indeed, the space and time consciousness Faulkner shows in this novel is the real meaning of the story.
Faulkner has a profound comprehension about the relationship between human beings and time, which was showed thoroughly in the chapter of Quentin. When Compson handing the watch to Quentin, his first son, he said, ‘ I give it to you not that you mat remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.’(William Faulkner. THE SOUND AND THE FURY. London: Everyman’s Library, 2000:64) Receiving the watch given by his father also suggests Quentin has followed up this kind of space and time value, which is also Faulkner’s own understanding about time and space. The decline history of the Compson family indicated Faulkner’s thinking and exploring about time and space──the most entitative things of the physical world. By Quentin’s suicide, Faulkner wanted to tell us the killer of the god is not others, but time: ‘That Christ was not crucified: he was worn away by a minute clicking of little wheels.’(Ibid, 65) It is time that fight against ourselves, that make us suffer from misfortune, that destroy our devoted traditions. Nevertheless, time itself is always dilatory and calm, even if you smashed up the watch or clock, it still keep going.
3.The Structure of the Thesis:
My thesis tries to analyze the methods Faulkner used in the novel as follows:
Introduction part is a brief introduction about stream of consciousness, modernism and the latest studies carried out home and abroad on the novel THE SOUND AND THE FURY.
In part I, I’ll introduce some concepts on time and philosophy as well as the background of the story.
Part II will make a brief introduction about some basic concepts about time philosophy so that I can explain Faulkner’s time value.
In part III, I will try to use some examples to explain Faulkner’s special way on dealing with time.
In conclusion, after a close study of the literary work, the thesis tries to explain how Faulkner dealt with time in a way different from traditional writers.
4.The Outline:
1. Introduction
2. Faulkner’s treatment about time
2.1 basic concepts about time
2.1.1 philosophical time value
2.1.2 multilevel disordered time structure
2.1.3 larger span of time
2.1.4 inflated treatment about chronaxie
2.2 detailed examples
3. Conclusion
5. Methods:
The comparative analytical case- study method will be adopted in this thesis. It will also use literature-study method, based on reading the large amount of the literature, the author will collect and arrange these materials, and give the theory support of the whole thesis.
6. Bibliography:
[1] 冯文坤. 论福克纳《喧哗与骚动》之时间主题. 外国文学研究, 2007年第5期.
[2] 福克纳. 八月之光[M].天津:百花文艺出版社,1998.
[3] 庞璃. 时间消逝于“喧嚣与骚动”. 广西大学学报(哲学社会科学版)[J], 2005(6).
[4] 王苗苗. 浅谈时间在福克纳作品《喧嚣与骚动》中的应用. 科技信息, 2007年 第 27期.
[5] 吴晓东. 从卡夫卡到米兰昆德拉. 三联书店. 2003
[5] 杨洋. 对位世界与对位式结构. 江西社会科学, 2002 年 第 11 期.
[6] 朱振武. 福克纳对审美心理时空的超越. 上海师范大学学报(哲学社会科学版 ), 2005年 7月 第 34卷 第 4期.
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近期迴響