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OC人设文资料夹  TAG:小插卡

Tessera(续完与对偶)

  Tessera(TES-ser-a)=Fragments used to encode and identify

  We need to understand the “language of halves” embodied by the tessera.Tessera were, in Mediterranean cultures, tokens made out of pottery, broken when friends or associates parted. They symbolized the promise to get back together again, to make the token whole. The subtlety of the tesserae involved the broken edge. It was a unique key. You could give your broken half to someone else, a complete stranger, who could then meet your departed friend and prove that he/she had been sent by you. Only your half would fit the other half. This guarantee of authenticity was a “negative” one. It depended on absence, both the real absence of friends and the symbolic absence of one half of the token from the other. But, the tessera made the absence material. It made the event/occasion of reunion into a starkly material test of authenticity.

  In the case of the pottery token, the two halves were made of the same material. They were like a code or cipher when one letter of the alphabet is used in place of another. If you have the code-book you can read the ciphered message. In the case of error in studio, the material error considered as “half” is not matched up to another error directly; it connects to something that will never be literally, directly present. The fragment will be permanent, but this will only increase its effectiveness and power. 

  We have many examples of this use of tessera. The theater is a space of halves, a stage half and an auditorium half. Neither half exists by itself; each presumes the presence, though not always in the standard configuration, of the other. The relation is direct. When one space is “on” (active), the other must be “off” (silent). You can’t have a performance when the audience is socializing, milling around, etc. They must be “playing dead,” fixed in their seats.We can watch a play by looking at the faces of the audience; when they are laughing, we can’t see the joke directly but we can imagine that there must be something they see that’s funny. Turned in the other direction, we can watch the performance and hear laughter or applause, but we add these “mentally” with every perception of the scene as a performance. The audience is invisibly, silently present. We “know” one half through the other half. This is kenosis, at least one example of it. The physical situation of tessera, the division by halves, has brought it about.

        ——《Bloom's system of six idea-terms》

*天知道为什么查不到作者

  Apart from Demeter, lady of the golden sword and glorious fruits, she was playing with the deep-bosomed daughters of Oceanus and gathering flowers over a soft meadow, roses and crocusesand beautiful violets, irises also and hyacinths and the narcissus which Earth made to grow at the will of Zeus and to please the Host of Many*[Hades], to be a snare for the bloom-like girl — a marvellous, radiant flower. It was a thing of awe whether for deathless gods or mortal men to see: from its root grew a hundred blooms and it smelled most sweetly, so that all wide heaven above and the whole earth and the sea’s salt swell laughed for joy. And the girl was amazed and reached out with both hands to take the lovely toy; but the wide-pathed earth yawned there in the plain of Nysa, and the lord, Host of Many, with his immortal horses sprang out upon her — the Son of Cronos, He who has many names.

  ……

  Then beautiful Persephone answered her thus: “Mother, I will tell you all without error.When luck-bringing Hermes came, swift messenger from my father the Son of Cronos and the other Sons of Heaven, bidding me come back from Erebus that you might see me with your eyes and socease from your anger and fearful wrath against the gods, I sprang up at once for joy; but he secretly put in my mouth sweet food, a pomegranate seed, and forced me to taste against my will.”

        —— TO DEMETER

           Homeric《Homeric Hymns》,translated by Hugh G. EvelynWhite,1914.

  专员们认为一切

  皆被命名,土地被标记壮如野兽

  来证明自己的权益和种属;

  一个词轻柔地踏在青苔的硬皮,

  墨水顽皮地画出大河小溪,形似蓝色的树;

  我的标注联结它们的堤岸,从河口到源头

  精美的衬线穿缀起每一道河流。

  拇指纹一般的等高线,一圈又一圈出自我的笔管;

  地图的模样,好似钩针编织的黑色披肩,

  经纬线间的血色珠子,标划出

  穷人租借的公用地,他汗流浃背

  垒砌坚固的界墙,围起富人的田园。

  没有任何命名见证他的存在,我画下

  一个石头冢纪念他的劳作。

        ——迈克·诺斯《北部郡县陆地测量》

  当时认为这类知识对于培养文化趣味和气质是必要的,是一个绅士应具备的比血统更重要的标志。古典文学和建筑研究成为“进场时额外而昂贵的智力装备”……教育和旅行一起强化了18世纪牛津和剑桥精英们按照绘画和文学标准智化风景的方式。半义务性质的意大利修业旅行(Grand Tour)……并非是几个月的浮光掠影式的旅行,而是要花上两年,三年或更多年的时间,这期间年轻的英国贵族与他们的游伴一起接受美学教育。甚至连约翰逊博士这类人也因为没有能力做修业旅行而自认低人一等。

        ——温迪·J.达比《风景与认同——英国民族与阶级地理》

  和卢克莱修本人一样, 他们抉择“ 克里纳门”以为自由。这就是卢克莱修:
  当原子以其自身的重量笔直地穿过空旷的空间时,在完全不确定的时间和地点,它们从轨道上稍稍转向了一点———仅仅足以使人们能够把它称做“ 方向的改变”。倘若没有这一点转向,万物就会像雨点一样穿过空间的深渊而笔直下降。什么碰撞也不会发生, 任何一个原子对另一个原子的冲击影响也不会被创造。那样,自然将不会创造出任何事物……但是,人的心灵并不具有决定其每一行动并迫使其忍受无可奈何的被动的内在必然性———这一事实本身即是因为原子在无法确定的时间或地点已经稍微转变了方向。

  ……

  “ 诗的影响”的研究者不得不是一个不纯粹的超物理学者。他必须理 解:“ 克里纳门”必须永远被视为仿佛同时“有意向的”和 “无意的”的一种行为———既是每个诗人的“ 精神形态”,又是每个诗人的堕落的躯体掉在地狱深渊的实地上时自发地做出的姿态。用布莱克的话说,诗的影响乃是个人在状态中的穿越。但是,如果这种穿越不是一种转向的话,那就成了一种有害的穿越。强者诗人一定会这样说:“ 我似乎已经停止堕落了, 现在我已经堕落了,因此,我正躺在地狱里。”但当他说话时, 他却在想:“ 在我堕落的时候,我转了一下方向,因此,我现在躺在一个因我自己的创造而改善了的地狱中。”

        ——哈罗德·布鲁姆《影响的焦虑》

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