頁籤選單縮合
題名 | 「日本/東洋」の受容のかたち--アンドレイ・タルコフスキーの作品と思想への一アプローチ=“日本/東洋”接受的形態--安德烈‧塔科夫斯基的作品與思想、A Mode of Reception of “Japan/Orient”: An Approach to the Film Works and Thought of Andrei Tarkovsky |
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作者 | 龜井克朗; Kamei, Katsuro; |
期刊 | 台灣日語教育學報 |
出版日期 | 20101200 |
卷期 | 15 2010.12[民99.12] |
頁次 | 頁320-349 |
分類號 | 987.948 |
語文 | jpn |
關鍵詞 | 塔科夫斯基; 東洋思想; 盆景; 老子; 太極圖; 箱庭; Tarkovsky; Oriental thought; Miniature garden; Lao-tzu; Tao mark; タルコフスキー; タオマーク; |
中文摘要 | 安德烈•塔科夫斯基(Анд р ей Тарко вски й, 1932-1986)的影片中有時會看見屬於“ 日本/東洋” 的要素。例如,於《犧牲》( 1986),有插花, 黑色的和服, 太極圖, 於《鄉愁》( 1983), 在多米尼戈的家裡有擺設庭園式的盆景, 於《潛行者》( 1979), 潛行者的獨白裡引用老子的章節, 及其他.這些要素造成塔科夫斯基的影片所特有的神秘印象。那印象既是他影片的魅力, 但同時又是造成觀者困惑和誤解的原因。塔科夫斯基不是東洋思想或東洋文化的專家, 也許對“ 日本/東洋” 有誤會或將其理想化。但是把那些要素簡單地歸類為“ 東方主義” 或“ 異國趣味” 來 處理不是正確的態度。那些是在電影裡佔有重要位置, 而且是為了闡明塔科夫斯基世界的關鍵要素。本論文試圖認識那些要素並為其定位, 以此為闡明塔科夫斯基世界的端緒。 |
英文摘要 | The elements of the “Japan/Orient ” sometimes appear in films of Andrei Tarkovsky (Ан др ей Тарко вски й , 1932-86). For example, “ Ikebana ”, “Kimono ” an d Tao mar k i n “The Sacrifice”( 1986 ), an d a miniature garden, installed in the house of Domenico in “Nostalghi a”( 1 9 8 3 ), a quotation from the passage in “Tao Te Ching” by Lao-tzu, narrated in Stalker ’s Monologue in “Stalker ”( 1 9 7 9 ), etc. . These elements contribute to the impression of mysteriousness of Tarkovsky’s movies. That impression is one of his film’s attractions, but sometimes has caused bewilderment or misunderstanding for both audiences and critics. Tarkovsky is not an expert of oriental thought or it ’s culture. He may not avoid any wrong knowledge or idealization to “ the Japan/Orient ”. But his interest in or his view to “ the Japan/Orient ” can hardly be dismissed as a mere “Oriental ism” or “Exotism” . These elements are not trivial things, but are situated in the important posit ion in his works and are the keys to his core thought . This article will place those elements to the right posit ions, and pave the way for elucidation of the Tarkovsky’s world. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。