原罪犯 / 老男孩 (2003)

我納悶著:為什麼每一次聽到 Cries of Whispers ,我都無一例外的高潮?我的意思是,不管我身在何處,像是 — 你知道的,在 Darwin’s 的磚牆下,在麻州大橋上、在死城般的系館三樓走廊間 — 一旦那三拍子的節奏響起,四短一長的弦樂鋪陳四個小節,馬上,生理反應就來了。首先,乳頭勃起,開始摩擦胸前的布料;然後呼吸便不自覺的斷斷續續了起來,心裡頭緊緊揪著彷彿有隻垂死痙攣的螞蟻。四小節鋪陳後主題進來,我懂了,因為這個主題太優雅了,真的太優雅了,四度上升與下墜舉重若輕,反襯之下故事的殘酷讓人難以承受,然後才領悟一次次的四度上升是反覆重拾的希望,無一例外迎向熄滅的下墜。知識是脆弱的、造業的瞬間輕如鴻毛隨即忘去、果報時卻哭天搶地。復仇的華爾滋、巴賽隆納椅旁的蠍子。悲劇的華爾滋、臀部的十字架、鏡頭裡的姊姊、十五載的戲弄、韋瓦第的冬天、記憶迷宮裡的無限階梯、皮鞋旁癲狂的老狗、電梯裡最後一次向姊姊道別、年邁的男孩併指成槍 waltzing toward his death. 三拍子蹦恰恰、悲劇起轉合。一次呼吸,世界生滅。天地無情,命運輪轉不窮。

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Obsessionality or performance art?

In Why Actors Act Out, James Franco touches the issue of interpreting apparent behaviors of nervous-breakdown in a different way: "This behavior could be a sign of many things, from a nervous breakdown to mere youthful recklessness. For Mr. LaBeouf’s sake I hope it is nothing serious. Indeed I hope — and, yes, I know … Continue reading Obsessionality or performance art?

Reading “Mapping the Landscape: Levels of Transference Interpretation” by Priscilla Roth

Recap Object relationists tend to focus their attention on the transference relationship happening in the here-and-now, and they believe that, both theoretically and empirically, in so doing they can gradually unravel the dramas and phantasies of the analysand's, usually full of projections and projective identifications. But how exactly do object relationists go about this pursuit? … Continue reading Reading “Mapping the Landscape: Levels of Transference Interpretation” by Priscilla Roth