Showing posts with label literature. Show all posts
Showing posts with label literature. Show all posts

Sunday, April 05, 2009

2009 Q1 Readings

2009 已經過了四分之一,第一季完全過去,是時候公佈一下成績表了!

先看一下 2008 台北之旅後,從台灣搬回來的書單:

日本翻譯小說兩本

1. 《一個人的好天氣》
看完了,小小感想在此:

2. 熱球 不悔的熱血青春
好看極了,自此喜愛上重松清~ (詳見) 現在一共購入重松清六本作品,熱情還在繼續中。

3. 《Debussy 您說是印象派音樂? ─ 德布西的室內樂與管弦樂》
斷斷續續在看,因為有很多 reference~ 既要 refer to 樂譜,又要看其他人的作品跟相關時代的歷史。

4. 《海上教堂》 
http://www.eslite.com/product.aspx?pgid=1001116041818725
本來打算看完了《熱球》就看的,可是因為迷上了重松清,計劃中止中,有待 resume。根據書的厚度跟書衣的簡介,應該是一本有份量有深度的書,需要好好準備「作戰計畫」,不能把它當一般通勤路上的讀物。

5. 《陪妳到最後》
http://www.books.com.tw/exep/prod/booksfile.php?item=0010413238
最早看完的一本,在書單中已完成 80% 寫了小小
感想

6. 《Shantaram》 
http://www.books.com.tw/exep/prod/booksfile.php?item=F010365737
好沉重 (both physically and mentally) 的一本書。看來看去還是頭幾頁,會想辦法把它完成,應該還是需要一個「作戰計畫」吧。

7.
《潘朵拉的處方》
又是一本沉重的書。(為甚麼那天我一次過買了那麼多沉重的書呢?) 依我現在的時間表看,完成重松清跟《紅線》後,再來就是這個了。

然後當然是重松清跟《紅線》的小結了:

8. 維他命F》
2000年直木獎得主!!內容簡介說: 「每個故事都直入心中,在日本出版時,受到無數父母及青少年的認同與共鳴」。
真的!看多了重松清的作品,就能感受到他的威力。讀起來好像淡而無味,平淡如水的文筆,卻鏗鏘有力地道出社會上扭曲了的家庭問題:諸如青少年欺凌事件、父母關係、親子問題等。雖然我還沒有踏進那個門檻,但讀後真的有種清澈的感覺,好像讓人覺得世事沒有那麼悲傷,總有曙光出現的時候。就像作者跟書評都說:「如果人生也有維他命可以補充心靈的營養,那應該就是像《維他命F》這樣的小說了。」

9. 《刀》
1999年坪田讓治文學賞得主!這是一本專門講青少年欺凌事件的短篇小說。本來我很怕短篇,總覺得讀起來很不「爽」,好像沒有把故事講得很清楚一樣。但這樣沉重的故事,還是短篇比較好,不用塗添擔心。一連七篇欺凌的故事,讓人很心疼。成人讀之,像我,憶起很多往事。我應該算得上是好學生,也就是因為這樣,從來不覺得自己的學生生涯中出現過欺凌事件。可是,把書一路看來,好像我錯了。不理會被排濟的同學,只在老師面前作最低限度的接觸,原來也不能把自己屏除在「犯罪」之外。

10. 《清子》
還沒開始讀,但自傳式的故事,應該留到最後才讀的。

11. 《小學五年生》
很可愛的短篇小說,讓人很懷念。

12. 《稻草人的暑假》
我被《紅線》迷住了,等一下回歸重松清,就是要讀這個。

說完了現有的重松清,要講一下《赤い糸》了!

13. 《紅線 (上、下) 》(中文版)
在商務看到了《紅線(上)》,第一時間進貨,花不到三小時看完,立即上網訂購《紅線(下)》。
有先見之明,不知道要等到何時才有翻譯好的《 destiny (上、下)》跟《紅線 precious》,便從日本訂來日文版囉!

14. 《赤い糸 destiny (上、下)》
好厲害!我在看日文原文書呀!因為是日文,進度有點慢,會努力的!

15.《赤い糸 precious》

講完了小說,要講一下「工具書」了。

16.中文解毒--從混帳文字到通順中文》
信報副刊文章輯錄,道出很多文字上的問題。很有意思,很好看,不過還沒看完。

17. 《中國文化背景八千詞》
努力中,有很多典故。

18. 《打開詩窗--香港詩人對談》
因為黃國彬的一篇訪問,我買了這本書,卻還是只看完了黃教授的篇章。不過,黃教授那份對翻譯的執著,實在令我很感動!
我突然有一個想法:學好日文,把源氏物語的原文看一次。

MSN 上已經寫了,一直只對民俗史有興趣,卻對大歷史/正史避之則吉的我,居然萌起多學歷史的念頭。
在 wiki 上看了一些,還是針對民族組成居多,所以,今天逛書店的時候,買了以下兩本:

19. 韓國史——悲劇的循環與宿命》
原來有增訂二版,早知道就買二版了。=P

20. 《日本,一個曖昧的國度》

總結,這一季讀了8.5 本書,大概一個月三本,依這個進度,下一季就可把現有的 K.O. 掉了!

不錯嘛,這樣一來,一年可讀36本書 =)

Friday, February 13, 2009

一個人的好天氣

被芥川獎騙了! 我抱着很大的期望看這一部"文學小說", 文字很淺白, 很快就看到最後了, 只是看到最後, 一點都沒有感到舒暢~

我是相信石原慎太郎才會買下的. 書皮寫道: "評審委員石原慎太郎在評審會後記者會上讚賞:這是一部非常鮮明強烈的優秀作品。" 除了角色設定上有老婆婆跟少女, 幾個出現在書中的女生性格南轅北轍之外, 我找不到其他"鮮明的強烈對比".

反而村上龍的評語更貼近事實: "女主角最後接納了自己,走出自我。一部描寫毫不虛偽的獨立過程的稀有作品。"

雖然我這樣寫道, 故事還是引人入勝的. 平淡的故事, 起承轉合更是微乎其微的, 卻娓娓道出當下日本青年的寫照.

閱讀這一本書, 一定要對日本當下社會有那麼一點認識, 知道甚麼是 "free-ter", 甚麼是"派遣員工", 更重要的, 是要明白 free-ter 的社會地位和東京在日本人眼中的地位. 如果不套入日本的環境中, 應該很難理解書中女主角的作為吧!

台灣或大陸的讀者應該比較容易明白, 畢竟大家都經歷過想去台北, 想去北京/上海/深圳的時候吧! 而且, 香港沒甚麼 free-ter 的概念, 大陸卻陸陸續續出現 free-ter 現象 (我看過一個報導說, 大陸的 free-ter 文化隨着社會經濟日益蓬勃與一子政策的"後果"越來越盛行, 估計年青 free-ter 人口幾乎達百萬).

雖然我個人有點失望, 但還是很期待她的續集 =P 很想知道後續的事.

另外, 雖然我口說給芥川獎騙了, 卻很佩服作者"青山七惠"~ 才 24 歲的女生 (現在 25 快 26 啦), 可以不慌不忙的, 以很輕鬆的手筆, 藉由女主角的事, 一點都不嚴肅地描繪出當下社會的問題.

也許這就是石原說的"鮮明強烈對比的佳作"吧!

後記: 果然, 閱讀是日子有功! 還有, 媽媽教的, 讀完一本書, 一定要把感想寫出來, 真正要寫出來的時候會有很多新的發現, 很多"論點"都可能不成立, 也就是促成再讀一遍的理由. 果然沒錯!

Thursday, September 04, 2008

《停車暫借問》

鐘曉陽回來了。

我的消息很不靈通,書展期間人不在港,前幾天去三聯找書的時候才驚覺《停車暫借問》有新版。

回來上網查找一下,才發現 anobii,我一直用豆瓣,fb 的 ibook 跟上台灣的網上書店〈這好像有點離題,但台灣的「羽毛」好像不太好用,讓我再試試吧〉。

有人說,鐘曉陽是張派傳人,我卻先看《停車暫借問》再看《傾城之戀》。第一次看是從學校圖書館借來的,我還記得是放在頭幾行面向圖書館門口不高不低的書架上。當時應該還未上高中〈因為我從圖書館出來還要回高座,一定是中三以前〉。很喜歡,決定要買一本收藏。

家中藏書,昨天翻來看過,是九八年的天地版。翻開頭幾頁,驚訝我甚麼都不記得!〈虧我還自認有點過目不忘的本領,看來是暫時性的,是一條 RAM〉再多看幾頁,驚訝當年年紀少少的我如何看懂!

跟家母閒談,説到很久沒看過「東北話」〈其實也沒多久,之前唸 MA 的時候也要重看《傾城之戀》選段,還有更多,譬如茅盾〉,想必以現在的狀態,壓根兒沒辦法看完吧。母親說,閱讀也是功多藝熟的,跟寫作一樣,不多看不同類型的東西,就會遺忘,就很難去完成比較困難的書吧。她說,就像你現在根本沒辦法像小時候一樣,慢慢「查閱」文言版《紅樓夢》吧!也對,但她不知道我為了做功課,已經把中西各版本都看過了,雖然只是選段。

有時間真的要重看一下《停車暫借問》,司馬中原給的評價很高,朱西寧的序,要用一點時間消化。

另外,鐘曉陽的《槁目死灰集》也很好,看過兩次,一次是剛出版的時候,另外一次是大三上台灣小說課〈對!人文選修課〉時,但不明白鐘曉陽跟台灣小說有何關係,大概是跟司馬中原和朱西寧有關吧!

Tuesday, May 06, 2008

The Other Boleyn Girl

I've asked Tim to book the ticket once I got the CM from cinema.com.hk; went to watch it on Thursday the public holiday. It was quite a full house, surprisingly, though the house in fact is very small. Almost all audiences are English-speaking-people with exception of a middle-aged couple and two school girls, and of 'coz the two of us.

Not sure what moved them to the cinema but probably the history of Henry VIII and Anne Boleyn.

It's always hard to adapt a novel into playscript especially when it is a piece of 'history-related' work that you cannot omit certain historical reference, e.g. the fate of Mary Boleyn and William Stafford. The appearance of William Stafford is neither faithful to the novel nor the history (so far as I remembered, I didn't verify this). However, as the film has to have the role of Mr. Stafford for telling Mary's ending, it can only be created like this or it will introduce another branch of the story.

After watching the film, I had to admire even more the scriptwriter of Harry Potter and LOR. You will have no problem in following the story if you haven't read the book before; even if you have, you can still follow the adapted story and will not found uncomfortable.

However for this film, I found it quite difficult to trace and the texture and tension is not fully developed. Tim said he was totally confused and didn't really understand the "sudden" changes of the King or the sisters. :P

To treat it as a pure imaginery story, it is still hard to comprehend why the King will rather risk his reputation by pulling down the Queen and to marry Anne. The relationship between the two seemed not well developed and it is NOT persuasive enough. Oppositely the line between Stafford and Mary seemed better though it was totally different from the book. Maybe just like what I've done for my Translation course, it may be a better approach to rewrite the dubbing script when it is hardly self-explanatory in the target langauge. Here, the target language is "visual film within 2 hours" and the source langauge is "written book of 2 inches", this 'vertical' translation may best be done by "Rewrite in an acceptable sense" than "Omission". Omission will leave blanks to the story.

About the casting, Tim said he couldn't recognise Natalie Portman, dunno if this is a sign of good performance but at least it is a good try I would say.

For Scarlett Johansson, I really can't see Mary in her. Maybe the Scarlett in "Lost in Translation" fits more but not today's Scarlett.

George and Jane Parker's roles are quite eye-catching to me. Jane Parker is vivid!! And I love George's crying scene in prison and the scene he said NO to his marriage to Jane Parker; watch out his eyes. :P

One remaining eye-catching role to me is Stafford. I've never imagined Stafford like this but I like the way he looked at Mary, not really staring but looking into hers with his own deep thought and heart. Excellent! And only a simple look or glimpse, their line is vividly described :P

I really can't relate this Henry VIII to Eric Bana. This Henry looks more charming and younger than the actual Bana. This is my opinion.

So far it is a bit disappointed to be honest but I know it is hard to transform 2 inches to 2 hours. And now, I'd like to have a look at the BBC TV version and see if it's worth to buying it.

Friday, April 20, 2007

Mozart's Letters (about the Translation)

(moved here)
last nite we had a presentation on "Mozart's Letters"...
personally i think it's quite hard... not only 'coz the so-called English original is already a Translated Text... but also the languages Mozart used and the word-play he had... it might be easier to translate from German (and also some Italian and French as i know... ) to English but it would be totally different if putting it in the Chinese context.
one excerpt my classmate showed is as follows:
"So if you want to send a reply to me from that town of Augsburg yonder, you see, then write at once, the sooner the better, so that I may be sure to receive your letter, or else if I'm gone I'll have the bad luck, instead of a letter to get some muck. Muck! -Muck! - Ah, muck! Oh, sweet word! Muck! Chuck! That too 'is fine. Muck, chuck!-muck!-suck-oh, charmante! muck, suck! That's what I like! Muck, chuck and suck! Chuck muck and suck muck"
Attention was paid to the three words: muck, chuck and suck...
The Chinese version reads: 糞蛆、垃圾、污泥... which was criticized as almost 'total failure'... first of all... the rhyme's lost... the meaning's not the same... and so and so... but this raised another question... does the English convey the original German meaning? or the English itself already altered "something" to make the... say... rhyme and filthy context vivid in English? Prof. Tung said we had no way to check the German and to compare it... and since German and English are from the same root... the words, she supposed, the choice of English words... such as the rhyme and the meanings should be able to reflect the German 'spirit'... but it wouold be too difficult for translating them into Chinese... can's note: Total Agree! Prof. Tung added that the Chinese translation itself did not seem right... though they're all talking about dirty things but the degree or nature of that dirty things may not be comparable... and this differs from the English version...
As I'm too interested in this, I checked the German Original!!!! It reads:
wenn sie mir also wolln antworten, aus der stadt Augsburg dorten, so schreiben sie mir baldt, damit ich den brief erhalt, sonst wenn ich etwa schon bin weck, bekomme ich statt eincn brief einen dreck. dreck! - - dreck! - o dreck! - o süsses wort! - dreck! - schmeck! - auch schön! - dreck, schmeck! - dreck! - leck - o charmante! - dreck, leck! - das freüet mich! - dreck, schmeck und leck! - schmeck dreck, und leck dreck!
Brilliant!!!! The three words are: dreck, schmeck, leck... The first and last one are correct but not the middle one.
Dreck, a noun, usu. meaning is mud or muckiness.Leck, a noun, meaning 'leakage' or 'seepage' BUT it is also a slang or colloquial bad language. It acts as a VERB in 'Leck mich am Arsch!' meaning 'Kiss my ass'(or similar meaning). This 'bad' phrase once appeared in Mozart's song and thus I think 'Leck' here should be a verb. That is, personally I think the word 'suck' the translator used is referring to its 'verb' meaning instead of noun, as appears in the Chinese translation.For the middle word, it spells "schmeck" which is wrong. Possible answers may be "schneck", an Austrian langauge meaning slug; or "schmeckt", singular verb form for "to taste" (so far as I know, it is related to food! e.g. The tea tastes good). So I think it is possible that the word 'chuck' the translator used may also refer to the verb form instead of the noun form (as my classmate showed the class).
In fact the last "sentence" gives us clue that schmeck and leck (or chuck and suck) are probably verbs based on basic grammar... if two nouns go together... the first one is describing / giving further explanation to the second one... e.g. Music Class = a class of music... thus the suggestion of "verb forms" follows the context more reasonably than the suggestion of "noun forms" as translated in the Chinese version.This may be another Translation Issue. The German original here only helps us to (maybe) understand more or get a closer meaning to the author. But simply from the English version, we can indeed discover the 'verb' and 'noun' issues especially when having a deeper look at the author or the author's other works (issues like little formal education, rude, relationship with father, family, etc.).The Chinese translation here failed to convey the meaning and taste of the source text not just because the choice of words are awkward as we discussed but the translator also failed to taste the real bit of Mozart.

Try thinking the three words again in "Muck (noun), Chuck (verb! or replace it with the German original [let's take it as 'taste']), Suck (verb!)" and probably you can better understand what Mozart's playing with his cousin, the one whom he might have once felt in love with.

Very nice indeed... naughty but witty...