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不能承受的生命之轻 - 书评

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41#
发表于 2012-8-28 13:48:47 | 只看该作者
  This is either a book of philosophy masquerading as a novel, or a novel about the lives of four or five characters with pretensions to be a book of philosophy. Either way, it's an amazing work. Since it is well-known and no doubt, well-reviewed, I might not be able to say anything new here. Kundera deals with his characters in a rather sketchy way, using them to pose a number of questions, rather than to go into great psychological depth. Yet, even there, the characters Tomas and Tereza do come through well. Their moods and motivations, even their dreams, hold a reader's attention. A couple of the others, Sabina and Franz, maybe Franz' wife, are very light indeed. Kundera is interested in sex and love, in the fact that they tie people down, in the fact that they are so fickle, so gosssamer light, yet so important. In a time when ideology and/or political oppression create craziness or stupidity and the common sense of daily life is overthrown---as in post-1968 Czechoslovakia and maybe pre-Gulf War II America---love and sex are more or less what is left for people to hang on to. Kundera also ponders the choices that people make, and the extremely haphazard way these choices come about, based perhaps on endless strings of coincidence.
  This is not a novel long on plot. Rather it is a vehicle for some very intelligent musings. When living under oppressive rulers "is it better to shout and thereby hasten the end, or to keep silent and gain thereby a slower death ?" What is the nature of love ? Have you ever read the philosophy of excrement or kitsch ? You can find them here. Man is a cow parasite, he tells us, (though he's probably talking about a certain percent of humanity only) and goes on to say that attitude towards animals is a fundamental moral test of Man. We've failed. As you live, you write the story of your life. You don't get the chance to "write" an alternative story; there are no comparisons for you. History is the same, he says, as light as individual human life. There is no possibility of comparison of chances either in history or life. These are only a small sample of the interesting thoughts and ideas Kundera mulls over. If that sort of book is your bag, you're going to love this one. The choice you make by reading it, may evolve into something completely different in your life, have totally different repercussions sooner or later. Will you recognize that ? After all, each book of any consequence you read leaves an imprint. THE UNBEARABLE LIGHTNESS OF BEING will definitely do so.

来自: 豆瓣

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42#
发表于 2012-8-28 13:48:47 | 只看该作者
  178 On Communism:
  Anyone who thinks that the Communist regimes are exclusively the work of criminals is overlooking a basic truth: the criminal regimes were made not by criminals but by enthusiasts convinced they had discovered the only road to paradise.
  到后来,他们发现没有天堂。可是他们却在过程中如此英勇地实践这条路以至于双手沾满了鲜血,变成了杀人犯。虽然被指责,他们却用不知无罪为自己辩护。
  Yet Tomas thought there was no one more innocent than Oedipus, and that the Communists should put their eyes out and wander away from Thebes.
  
  
  143 Flirtation:
  One might say that it is behavior leading another to believe that sexual intimacy is possible, while preventing that possibility from becoming a certainty. In other words, flirting is a promise of sexual intercourse without a guarantee.
  
  【Tomas】Love and lovemaking were two different things.
  【Tereza】Books-emblem of the secret brotherhood
  
  155
  For what made the soul so excited was that body was acting against its will; the body was betraying it, and the soul was looking on.
  
  156 Toilets:
  ...We are happily ignorant of the invisible Venice of shit underlying our bathrooms, bedrooms, dance halls, and parliaments.
  
  160 The moment love is born:
  The woman cannot resist the voice calling forth her terrified soul; the man cannot resist the woman whose soul thus responds to his voice.
  
  161 Tereza's screams during intercourse:
  It was meant to be blind and deafen the senses. With time she screamed less, but her soul was still blinded by love, and saw nothing.
  
  161
  The blotch, which until then she had regarded as the most prosaic of skin blemishes, had become an obsession. She longed to see it again and again in that implausible proximity to an alien penis.... She had no desire to see another man's organs. She wished to see her own private parts in close proximity to an alien penis. She did not desire her lover's body. She desired her her own body, newly discovered, intimate and alien beyond all    others, incomparably exciting.
  
  167 the omnipresent roof:
  Only a few weeks earlier, she had scoffed at Prechazka for failing to see that he lived in a concentration camp, where privacy ceased to exist. But what about her? By getting out from under her mother's roof, she thought in all innocence that she had once and for all become master of her privacy. But no, her mother's rood stretched out over the whole world and would never let her be. Tereza would never escape her.
  
  169 loves are like empires:
  What would happen if Tomas were to receive such a picture? Would he throw her out? Perhaps not. Probably not. But the fragile edifice of their love would certainly come tumbling down. For that edifice rested on the single column of her fidelity, and loves are like empires: when the idea they are founded on crumbles, they, too, fade away.
  
  170 物是人非:
  She wanted to see the Vltava. She wanted to stand on its banks and look long and hard into its waters, because the sight of the flow was soothing and healing. The river flowed from century to century, and human affairs play themselves out on its banks. Play themselves out to be forgotten the next day, while the river flows on.
  
  175
  ..., he had the irrepressible feeling that she was a child who had been put in a bulrush basket and sent downstream to him. Metaphors are dangerous. Love begins with a metaphor. Which is to say, love begins when a woman enters her first words into our poetic memory.
  
  184 Overwhelmed by the unbearable:
  People talked about him inside and outside the hospital; although he knew about it, he could do nothing to stop it. He was surprised at how unbearable he found it, how panic-stricken it made him feel. The interest they showed in him was as unpleasant as a elbowing crowd or the pawings of the people who tear our clothes off in nightmares.
  
  185 Maintaining nonbelief:
  How defenseless we are in the face of flattery! Tomas was unable to prevent himself from taking seriously what the Ministry official said... When you sit face to face with someone who is pleasant, respectful, and polite, you have a hard time reminding yourself that nothing he says is true, that nothing is sincere. Maintaining nonbelief requires a tremendous effort and the proper training-in other words, frequent police interrogations. Tomas lacked that training.
  
  193 Categorization of ppl?
  The surest criterion is the deep-seated desires that orient them to one or another lifelong activity... An actor is someone who in early life consents to exhibit himself for the rest of his life to an anonymous public. Without that basic content, which had nothing to do with talent, which goes deeper than talent, no one can become an actor. Thus, a profession is determined by an inner desire.
  
  199 Small gap of the unimaginable:
  When he saw a woman in her clothes, he could naturally imagine more or less what she looked like naked, but between the approximation of the idea and the precision of reality there was a small gap of the unimaginable, and it was this hiatus that gave him no rest....The individual "I" is what differs from the common stock, that is, what cannot be guessed at or calculated, what must be unveiled, uncovered, conquered.
  In fact, Tomas defines "sexuality" as a strongbox hiding the mystery of a woman's "I", and it was a desire not for pleasure (which to him was a bonus), but for the possession of the world that drove him in his pursuit for woman.
  
  208 poetic memory:
  A part of our brain that records everything that charms or touches us, that makes our lives beautiful. His adventure with Tereza began at the exact point where his adventures with other woman left off. He had no desire to uncover anything in her with the imaginary scalpel. Before he wondered, he loved her.
  
  219
  And now she (Tereza) was with him (Tomas) again. He saw her pressing the crow wrapped in red to her breast. The image of her brought him peace. It seemed to tell him that Tereza was alive, that she was with him in the same city, and that nothing else counted.
  
  219 the one criterion:
  She, born of six fortuities, she, the blossom sprung from the chief surgeon's sciatica, she, the reverse side of all his "Es muss sein!"-she was the only thing he cared about.
  
  221 how characters are created:
  Characters are not born like people, of woman; they are born of a situation, a sentence, a metaphor containing in a nutshell a basic human possibility that the author thinks no one else had discovered or said something essential about... I (author) have known all these situations, I have experienced them myself, yet none of them has given rise to the person my curriculum vitae and I represent. The characters in my novels are my own unrealized possibilities. That is why I am equally fond of them all and equally horrified by them. Each one had crossed a boarder that I myself have circumvented. It is that crossed border which attracts me most. For beyond that border begins the secret the novel asks about.
  
  223:
  What happens but once might as well not have happened at all. The history of the Czechs will not be repeated, nor will the history of Europe. The history of the Czechs and of Europe is a pair of sketches from the pen of mankind's fateful inexperience. History is as light as individual human life, unbearably light, light as a feather, as dust swirling into the air, as whatever will no longer exist tomorrow.
  
  236 the clockwork of the head:
  two cogwheels turn opposite each other. On the one, images; on the other, the body's reactions. The cog carrying the image of a naked woman meshes with the corresponding erection-command cog. But for some reason or the other the wheels go out of phase and the excitement cog meshes with a cog bearing the image of a swallow in flight, the penis rises at the sight of a swallow... Tomas thought: Attaching love to sex is one of the most bizarre ideas the Creator ever had... a world where man is excited by seeing a swallow and Tomas can love Tereza without being disturbed by the aggressive stupidity of sex. Then he fell asleep.
  
  238 Plato's myth:
  People were hermaphrodites until God split them in two, and now all the halves wander the world over seeking one another. Love is longing for the half of ourselves we have lost.
  
  248 categorical agreement with being:
  Behind all the European faiths, religious and political, we find the first chapter of Genesis, which tells us that the world created properly, that human existence is good, and that we are therefore entitled to multiply. Let us call this basic faith a categorical agreement with being.
  
  Kitsch:
  Kitsch functions by excluding from view everything that humans find difficult with which to come to terms, offering instead a sanitized view of the world, in which "all answers are given in advance and preclude any questions". In its desire to paper over the complexities and contradictions of real life, kitsch is intimately linked with totalitarianism. In a healthy democracy, diverse interest groups compete and negotiate with one another to produce a generally acceptable consensus; by contrast, "everything that infringes on kitsch," including individualism, doubt, and irony, "must be banished for life" in order for kitsch to survive. Therefore, whenever a single political movement corners power we find ourselves in the realm of totalitarian kitsch. Kitsch causes two tears to flow in quick succession. The first tear says: How nice to see children running on the grass! The second tear says: How nice to be moved, together with all mankind, by children running on the grass! It is the second tear that makes kitsch kitsch.
  
  254:
  The true opponent of totalitarian kitsch is the person who asks questions. A question is like a knife that slices through the stage backdrop and gives us a look at what lies hidden behind it. In fact, that was exactly how Sabina had explained the meaning of her paintings to Tereza: on the surface, an intelligible lie; underneath, the unintelligible truth showing through.
  
  268:
  There are situations in which people are condemned to playact. Their struggle with mute power is the struggle of a theater company that has attacked an army.
  
  287 man the cow parasite:
  Man is as much a parasite on the cow as the tapeworm is on man: We have sucked their udders like leeches. "Man the cow parasite" is probably how non-man defines man in his zoology books.
  
  289 true human goodness:
  We can never establish with certainty what part of our relations with others is the result of our emotions-love, antipathy, charity, or malice-and what part is predetermined by the constant power play among individuals. True human goodness can come to the fore only when its recipient has no power. Man's true moral test, its fundamental test, consists of its attitude towards those who are at its mercy: animals. And in this respect mankind has suffered a fundamental debacle, a debacle so fundamental that all others stem from it.
  
  290:
  Tereza keeps appearing before my eyes. I see her sitting on the stump petting Karenin's head and ruminating on mankind's debacles. Another image also comes to mind: Nietzsche leaving his hotel in Turin. Seeing a horse and a coachman beating it with a whip, Nietzsche went up to the horse and, before the coachman's very eyes, put his arms around the horse's neck and burst into tears.
  
  295 paradise:
  Life in paradise was not like following a straight line to the unknown; it was not an adventure. It moved in a circle among known objects. Its monotony bred happiness, not boredom...But most of all: No one can give anyone else the gift of the idyll; only an animal can do so, because only animals were not expelled from paradise. The love between dog and man is idyllic. It knows no conflicts, no hair-rising scenes; it knows no development. Karenin surrounded Tereza and Tomas with a life based on repetition, and he expected the same from them.
  
  314:
  The sadness meant: we are at the last station. The happiness meant: we are together. The sadness was form, the happiness content. Happiness filled the space of sadness.

来自: 豆瓣

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43#
发表于 2012-8-28 13:48:47 | 只看该作者
  有一个故事。有一个寻找心理治疗的病人,去找心理咨询师。她告诉心理咨询师她被心理问题困扰已经十年了,是没有任何解决的可能的。心理咨询师问她,如果你现在所有心理问题都不存在了,你接下来的人生规划和具体实行步骤是什么。那个病人回答不了这个问题,选择拒绝面对。
  我就是这样一个类似的病人。我生命的最初,体验到的是生命中巨大的虚无感。我陷在无物之阵之中,找不到出路。后来焦虑症来了,各种痛苦煎熬,然后生活一下变得精彩起来,我找到了生活的动力,和焦虑症作战。如果说这是痛苦,实际上我嘴角带着微笑在谈论,我变得兴致勃勃,似乎这可以验证我生命存在的意义和价值。如果说,我不知道有多热爱焦虑症,你能相信吗。但这就是我真实的感受。如果没有焦虑症,我接下来怎么办。可以说,焦虑症给了我原谅自己不作为的借口,和焦虑症作战转移了我的注意力,让我不用面对最棘手的问题。那就是,我活着,轻飘飘的活着,找不到生命的出口,找不到让我落脚下来的地方。我害怕实实在在的生活。
  我曾走过生命深处的黑暗比起生活的幸福快乐有奔头,似乎在我心里更加具有重量。后来看瓦尔登湖,再一次觉得这个渴望活的深刻的人,或许也是在逃避真实的生活。
  我一直在想,为什么我做不到认真工作。我和自己说,因为我不热爱。但是,当我仔细去观察我的家人的行为的时候,我发现并不是这样的。我对任何事情都只有三分钟热度,带着热情开始,热情退去的时候,我就失去了坚持的能力了。我又开始漂浮在了失去重力的水面之上。如果明天我会饿死,我今天一定会发奋。但是,只要明天我不会饿死,我又开始继续漂浮在死海之上。
  我想起来实际上我的问题并不是在工作以后才出现的。高中的时候就已经很明显的表露了出来,只是到了工作以后才变得如此棘手。我没办法认真耐心的看教科书。所以我很喜欢看辅导书。我喜欢新鲜的刺激,但是沉不住气。只有看很多本辅导书,像看小说一样乱看,我才能搞懂定律。高考之前,因为题海战术,我更加沉不住气。只能经常到学校旁边的田野去跑去大喊大叫才能控制内心的狂躁,只有同学不停给我打气,我才坚持了下来。
  再比如说心理学,我看过很多书。但是,我不看教科书,我想让自己看上去高深,但是我没耐心看理论知识。我把心理学的书当作小说来看,即使是当作小说来看,我也是翻到哪页算那页。想让我认真的把一本书看完,基本是完全不可能的。我受不了。所以关于心理学的术语之类的,我一概不知。虽然我对它的五花八门的分支,大概有些什么样的内容知识,都相当清楚。
  我讨厌重复性的工作。讨厌深入了解一个东西。我只会被事物五光十色的外表迷惑,但是对于需要花费很多时间专注去做一件事情,我根本做不到。后来曾经看过一本书,说到很多人喜欢事物五光十色的外表。但是不能深入下去。而那些真正深入下去的,才能看到事物真正迷人的一面。我想是这样的。但是我做不到。
  我没有存在感,而且我喜欢否定他人的生活的价值。我觉得这是虚无感的出处。自视甚高,但是却在现实中一点踏实的事情都没有去做。
  (比如和我妹妹谈到婚姻。我说,我不会找妹妹老公那种类型的,也不会找姐姐老公那种类型的。妹妹说,两个人生活嘛,一定程度上她就是奔着对那个小家伙去的,而且只要有钱花,这日子不是也挺好的。我直接粗暴的打断了我妹妹的话。我连给她继续说话的机会都不给。为什么我不听听她怎么说呢。她说的话又没有损害到我的自尊。完全可以先听完的。)
  我希望一下子就看尽世界上最美好的事物,不虚此行。我所有的行动的动力是热情,而不是持久力,可以慢慢等待结果出现。我等不及。缺少延迟满足的能力。我希望马上就得到,但是得到了也不过尔尔。
  我希望一下子就让我攫取到生活的精髓所在。一下子就懂得深奥的道理。比如看少年维特的烦恼,看着看着,就特别希望直接知道是什么导致了维特选择死亡,我想体验那种生活的精神气质,那种年轻的心才有的气质。我希望这种气质对我的生命产生微妙的影响,类似改变我身体的化学成分。然后因为这种心理,我看着看着就开始烦躁,就看不下去了。想把书扔掉。就换另外一本来看。没有珍惜之感。
  似乎我所有的目的都是奔着结果去的。而不是过程。我想要一样东西。而不是这个东西本身的美好在吸引我。能够让我产生热情和兴趣的是得不到。但是一旦得到,我未必珍惜。感情也是如此。求之不得我才有动力去追求。不过我所说的这些是我的表现,而不是原因。
  
  原因是从小自闭的性格,搁于空想,没有能够建立起正常的人际关系,没有活在真实的生活层面。缺少存在感。小时候缺少他人对我生命的关注肯定导致无法延迟满足。
  
  工作上的表现,当我陷入自己的想法,比如玩豆瓣玩的很开心的时候,有人让我帮她做点什么事情,我就会不耐烦。不想自己的事情被中断。其实我的事情真的不重要。但是我内心的情绪就接受不了。虽然这个事情对别人可能挺重要的。哪怕对别人不重要吧,那是我的工作啊。
  就像朋友的老公,高智商(提这点是因为我以前真的认为聪明很重要),从来不做家务,没有家庭概念,玩网络游戏玩的很入迷,让他带女儿,结果女儿把自己脑袋上的头发剪的和被猪啃了一样,一地头发他都没有注意到。这个男的后来出轨离婚,在另外一段感情里疯狂如飞蛾扑火,把自己的前程婚姻个人社会形象差不多全部完全毁掉。虽然这是我非常要好的朋友的事情。但是在这件事情里,其实,我有同情那个男的。我并不认为真的是因为那段感情导致了问题,感情只是他心理问题的一个表达,那不是爱也不是因为那个女的多有魅力,是心理问题爆发的点被踩到了。
  
  我决定去理解当我活在自己的世界时被别人打扰就很不耐烦的情绪。基本上我所有的时间都活在自己的世界里,无论是工作上还是平时。为什么我会基本上所有的时间都活在自己的世界里。那个世界其实很无聊很单调,漫长的发呆漫长的空想和幻想还有漫长的担忧。当担忧只是担忧,没有被验证或否定,当幻想和发呆只是幻想和发呆,永远没可能成真,我似乎乐此不疲。小狗追毛线团的状态。
  在感情上,我总是时刻关注别人怎么想我怎么看我,时刻担心对我失望觉得我无聊或者无药可救。我没有能力把能量用到怎么正面去培养一段感情上。而且我虽然厌倦甚至对自己对别人牙齿痒痒但是习惯了处于小狗追毛线团的状态。只有这个状态是我觉得安全的范围。就像一个成年了的孩子乐此不疲的剥自己的指甲。
  
  我知道我一直处于小狗追毛线团的状态,什么事情都不会发生。但是我渴望有一些新的事情发生。这是生命的本能期望。不希望永远在一个点上。它期望自然的顺利的过渡到下一个状态。
  
  人在童年包括少年时,最宝贵的事情可能是,有好的条件可以自然而顺利的从一个状态过渡到另外一个状态。人对未知的从未经验过的事物是有很强恐惧的和自我保护的。童年包括少年期,我个人感觉,最大的获益,是有那么一个环境,给了自然过渡的可能,可以不停的尝试摸索,而这些尝试和摸索被善待被鼓励。而当成年以后,去经验超过自己经验范围的事情是相当难的一个过渡。因为内心有了很多的成见,很多想当然的并不正确但是每个人都认为是正确的观点在横加干涉你,而这让你自己对自己有很多教导和指责而不是善待。
  
  我很害怕真实的世界。因为这超过了我经验的范围。想到柴米油盐就觉得内心非常的烦躁,很容易被惹毛想罢工,就像对待工作,对待高考的态度一样。我无法想象每天都要做饭洗衣服叠被子这些事情。我在家里的时候,看到妹妹会帮妈妈切菜做饭,我觉得很不可思议。因为我做不到。我在去年能做这些事情,是因为我对自己了解和感受自己家人的好奇心和由此产生的尝试的热情驱使。这种热情一消失,我就又打回原形,不想碰。我只是不停的无所事事的晃来晃去,发呆,上网。
  
  我成瘾于自己的内心世界。实际上这不是内心世界。也不是形而上的世界。这个世界是搁于幻想和空想,单调死气沉沉一点都不深刻的世界,并不是精神的后花园,精神的后花园不是这样的模样。而真实的世界,如果持久真诚的生活,是真实精彩而美好的。是有创造的活力的。
  
  在我小的时候,为什么要筑起这个小小的内心世界,割裂和这个世界的联系。最后失去有活力的源头呢。直到后来年复一年的重复,陷入无比的单调和空洞的世界里。那个世界完全失去了想象力,像年久老化了的橡胶。那个世界每天上演的剧本就是那么几出。没有新的知识填充进来,没有即兴发挥,也尝试新的创意,但是源头是枯竭的,结果只是拼拼凑凑,毫无生气。
  
  
  
  

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44#
发表于 2012-8-28 13:48:47 | 只看该作者
  我必须承认这不是我的菜,读这本书之前几百年就听过它的大名,看过一点介绍加上一点想象,于是我心中已经对其所要表达的主题有了自己的期待,但不知是作者、译者还是我自己的关系,我无法理解其表述的意思,语句晦涩难懂,甚至枯燥乏味,表述不集中,两周半,看到三分之一,托马斯,萨宾娜,弗兰茨...谁是主角,这个问题深深的困扰了我,托马斯还死过两次,这...幻觉?期间N次我想扔它八丈远...我想象中的情节迟迟不出现...哎,再不读它...最后,看这部小说时我时有心肌梗死的感觉..

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45#
发表于 2012-8-28 13:48:47 | 只看该作者
  实际读这个小说,我感觉作者表达的东西很多,通过作品中的几个角色来表现了生命中的一些哲理!文中有一句话我特别深刻“美是一个背板的世界”,细想之下确实如此,与我们的生活迥然不同,特例独行的经历不是我们所渴求的吗?那不就是我们所追求的“美”吗?还有文章最后“卡列宁的微笑”一节,动物在那个年代给人的安慰远甚于人给人的温暖,不能不说是人类社会的悲哀,卡列宁走向天堂的时候很安静,她是幸福的,爱他的主人一盒子把她当做家人,她得到了应有的尊重,她对特丽莎的信任那样深,深得无懈可击,她使他们人生经历的见证,仰望天空,卡列宁的微笑在绽放!

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46#
发表于 2012-8-28 13:48:47 | 只看该作者
          初中时候看到这本书 觉得特高端 鬼使神差的就买了。之后跳着翻了几章之后觉得口味有点重 也看不太懂 于是便放下了,一直搁置在书架上。
       高考完收拾旧书的时候 又看到它。心想着买来都没咋看过 可惜了 就从头到尾认认真真看了一遍。      这才知道 作者想表达的东西 一字一句都刻在书里。
  
  
  
  
  
  最沉重的负担压迫着我们,让我们屈服于它,把我们压倒地上。
     
  但在历代的爱情诗中,女人总渴望承受一个男性身体的重量。于是,最沉重的负担同时也成了最强盛的生命力的影像。   
  
  负担越重,我们的生命越贴近大地,它就越真切实在。  
  相反,当负担完全缺失,人就会变得比空气还轻,就会飘起来,就会远离大地和地上的生命,人也就只是一个半真的存在,其运动也会变得自由而没有意义。

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47#
发表于 2012-8-28 13:48:47 | 只看该作者
  作家都是孤芳自赏的;
  我相信米兰昆德拉也是一位这样的作家;
  于是他才能有勇气出了这样的一本书。
  它很难被人理解,但是只要你能理解,你就能发现这不是给你写的书,而是自己给自己写的一部书;
  是他用来和你探讨人性的;
  但是他只陈述了自己的观点;你丝毫没有发挥的空间;
  在他那飘逸的思维面前,你只能陶醉,而不是沉浸在哲学的世界中;
  如果能够把哲学变成美学,我想作家的工作就是这样的吧。
  当你发现这种美有一天从这篇文章中失去的时候,你就小心了,是不是有人做了手脚?
  关于社会主义以及斯大林的论断我感到异常气愤
  不是因为他说社会主义的不好,
  而是在我眼中一个追求纯粹的作家应该对政治不感兴趣;
  哦!
  如果对现实不感兴趣又怎么能够成为作家呢?
  哦!好吧;
  这就是用笔来换取生活的人。
  至少米兰昆德拉是这样的。

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48#
发表于 2012-8-28 13:48:47 | 只看该作者
          人生只有一次,甚至说是一次性的, Einmal ist keinmal, 德国谚语,一次不算数,一次就是从来没有。人生没有“草图”,可以预先照着理想去设计蓝图,走的每一步都能做到按葫芦画瓢。若有“草图”,当属先天的遗传要素,基因让我们成为之所以今天的至少50%。理查德-道金斯在《自私的基因》中提到,“我们是生存机器——糊里糊涂的、被事先编好程序的自动化机器,用来保存那些名叫基因的自私的分子。这是一个仍然让我感到目瞪口呆的事”。不论是一次,还是50%的“草图”,生命轨迹滑行的一生,在每一个截点上都充满着探索与抗争,有荆棘坦荡,有自我否定与肯定的怀疑与思省,有跌倒的窘态与爬起的勇敢……生命的赋予是被动的,但生命的意义是要主动承担的,对于自己的人生,有责任心的生存下去。
        当再次翻看一年前的日志,发现罗素的《我为何而活》深深的表达出了生命的意义。
  
                                       罗素-我为何而活
      对爱情的渴望,对知识的追求,对人类苦难不可遏制的同情,是支配我一生的单纯而强烈的三种感情。这些感情如阵阵飓风,吹拂在我动荡不定的生涯中,有时甚至吹过深沉痛苦的海洋,直抵绝望的边缘。  
         我所以追求爱情,有三方面的原因。首先,爱情有时给我带来狂喜,这种狂喜竟如此有力,以致使我常常会为了体验爱的喜悦,而宁愿牺牲生命中的其他。其次,爱情可以使人摆脱孤寂 —— 身历那种可怕孤寂的人的战栗意识,有时会由世界的边缘,观察到冷酷无情的无底深渊。最后,在爱中,我看到了古今圣贤以及诗人们所梦想的天堂的缩影,这正是我所追寻的人生境界。虽然它对一般的人类生活来说也许太美好了,但这正是我透过爱情所得到的最终发现。  
         我曾以同样的感情追求知识,我渴望去了解人类。也渴望知道星星为什么会发光,同时我还想理解毕达哥拉斯的力量。  
         爱情与知识的可能领域,总是引领着我到达天堂的境界,可对人类苦难的同情又经常把我带回现实的世界中。那些痛苦的呼唤经常引起我内心深处的回响。饥饿中的孩子,被压迫被折磨者,给子女造成沉重负担的孤苦无依的老人,以及全球性的孤独、贫穷和痛苦的存在。所有这些,都是对人类生活理想的无视和讽刺。我常常希望能尽自己的微薄之力去减轻这不必要的痛苦,但发现了自己的完全失败,我的痛苦因此倍增。        
         这就是我的一生,我发现人是值得活的。如果有谁再给我一次生 活的机会,我将欣然接受这难得的赐予。
                                                                        杭州瓣友写于2011-12-25 00:35

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49#
发表于 2012-8-28 13:48:47 | 只看该作者
  
         有些书,你很早就听说过它,你很早就已经把它买来,精心摆在书架上,甚至你很早就把它列在读书计划里,以至于你那么熟悉,已经好几次不经意地跟别人谈论过它,但事实上你却从没真正记得去读完它。对我而言,《不能承受的生命之轻》就是这样一本书。
      这次从武汉到北京,就好像离开一个异乡去另一个异乡,心里有些振奋又有些萧索。十来个小时,手里握着这本书,睡睡停停地,时不时读上一段。偶尔看看窗外闪过的秃木和突兀的鸟窝,又回来瞄上几行。等我把书塞进包里走出北京西站的时候,才发现我已经把它看完了,才发现看完也就看完了,像一个日常化的动作已经不再意义显明。
      无疑,昆德拉是那样的一类作家,他聪明、风趣、知识渊博又善言谈,惹人喜欢又带点老滑的世故。他是一个懂得了这世界二重性的人,并理解得很深,以至于他熟悉这一点就像熟悉他脸上的一颗痣。毋宁说,他所有的机智、风趣和讨巧,都根源于此。这在《不能承受的生命之轻》文本中随处可见,或者说这个文本并不是连续性的,而是机智点与机智点之间的互相照耀,中间充满跳跃。昆德拉靠这些跳跃获得惊叹、掌声,和在上的位置。然而奇怪的是,他自身对此又抱有一种甚至可以称之为轻佻的态度。他反复地使用它又时不时地嘲笑它,像一种已经得心应手的把戏。最终他的这种态度败坏了他的作品,像在一朵好看的花上故意放上几条毛毛虫。
      这令我想起了另一个作家——陀思妥耶夫斯基。大体来说,陀氏的作品也是在二重性上构建起来的(罪与罚,善与恶等等)。但他的努力却是通过这种二重性的构建,最终去印证这世界的无限性。陀氏的作品是一种从自己身体、自己灵魂出发的战争,短兵相接,险象环生,最终把整个世界卷进来。他被毁坏了,也被重建了,他卷进去的世界也是如此。而他能成功地做到这一点,无疑应该归功于他对这个世界的真诚(确切说应该说是虔诚)。陀氏就是这么一个显明的矛盾结合体,他的讥讽、嘲弄和怨尤,他的黑暗、罪恶和痛苦,最终都成了世俗上的光。而卡夫卡,一个几乎是以痛苦为生的人,一个世界上脆弱得一碰就倒的人,则似乎懂得了怎样回到表面。所以卡夫卡的作品初看就像迷宫,看起来好像玄机处处,事实却只是水面而已。在他,世界就是如是,所有放出去的立体层构被重新缩回了平面。而你,能弄懂水面吗?水面的幻觉,何尝不是最深的智慧呢?
      回过头来说,昆德拉迷恋的其实只是一个导师的角色,他对这个世界充满了见解,充满了领悟,然而这些见解和领悟看上去又是那么漫不经心,似乎他自己也不怎么相信他们,而更像是他一时兴起,随口说的一个玩笑。所以,与其说他是一个智者,不如说他是玩世不恭,而《不能承受的生命之轻》其实是昆德拉自我敌意的一次排泄,同时也邀请读者参与这样的一次排泄。而你,一个已经完成的读者,也许从中得到了快感,也许借此找到一个自诩的位置,也可能你早就习以为常,仿佛你自己就是另一个昆德拉,面孔上永远带着那么一种轻微的厌恶。
      那么,请警惕昆德拉!
  

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50#
发表于 2012-8-28 13:48:47 | 只看该作者
  在这个世界里,青春和美貌了无意义,世界只不过是一个巨大的肉体集中营,一具具肉体彼此相像,而灵魂是根本看不见的甚至没有灵魂
  
  
  
  
  人永远都无法知道自己该要什么,因为人只能活一次,既不能拿它跟前世相比,也不能在来生加以修
  
  “怜悯”一位妇女,意味着处境比她好,也就意味着降贵纡尊,要与她处于同一位置。正因为如此,“同情”这个词一般会引发蔑视,它指的是一种处于次要地位的感情,同爱情没有瓜葛。 出于同情爱一个人,并非真正爱他。

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