Rugsėjo 6-oji (užpildau daugtaškį, kad nebūtų abejonių)

http://day.lt/

Visai smagus saitas, padedantis susivokti, kokia diena išaušo.

Dar labai gražu gamtoje, linkiu pagauti paskutines išeinančios šilumos akimirkas.

Ir neliūdėkit, kas liūdit. Ir nepykit, kam pikta. Viskas bus gerai. Prižadu.

Truputis Cvetajevos:

Ах, ночь!

Где-то бегут ключи,

Ко сну - клонит.

Сплю почти.

Где-то в ночи

Человек тонет.

(1916)

Tarkovskio retrospektyva "Skalvijoje" (interpretacijos)

Of Tarkovsky's Solaris ... Žižek contemplates two readings, a Jungian one and a correct one. According to the Jungian interpretation, the "point" of the planet Solaris is "simply [the] projection, materialization of the (male) subject's disavowed inner impetuses. In fact," Žižek continues, "what is much more crucial is that if this 'projection' is to take place, the impenetrable Other Thing must already be here — the true enigma is the presence of this Thing," which Žižek defines as Lacan's Real (Žižek 2000: 234). Žižek gleans from an interview with Tarkovsky that the director "obviously opts for the Jungian reading, according to which the external journey is merely the externalization and/or projection of the inner initiating journey into the depth of one's psyche" (234). By contrast, according to Žižek, the "point" of the original novel by Stanislaw Lem "is precisely that Solaris remains an impenetrable Other with no possible communication with us" (234). Apart from the obvious reductionism involved in discussing a work based on its "point," it is noteworthy that Žižek's analysis seems to assume some primordial narrative "Solaris" which yields a finite number of possible interpretations, from which artists effectively choose: the Jungian one, the Lacanian one, etc. Since the "point" of the work is equally communicable via a novel, a film, or a magazine interview, Žižek seems to deny the aesthetic work any autonomous being whatsoever, except as packaging for the "point." The "crucial dilemma" of Tarkovsky's films is not an aesthetic question at all, but rather, "is there a distance between his [Tarkovsky's] ideological project (of sustaining meaning, of generating new spirituality, through an act of meaningless sacrifice) and his cinematic materialism?" (254). Thankfully, Žižek's pre-ordained conclusions do not preclude his readings of the films from opening up completely new aspects of the works in question. A case in point is Žižek's reading of the director's notorious long-take. Žižek discusses a scene in Nostalgia where the female protagonist Eugenia erupts into a sudden hysterics "against the hero's tired indifference, but also, in a way, against the calm indifference of the static long take itself, which does not let itself be disturbed by her outburst" (233). Žižek's irreverent observations liberate the viewer from any pious presuppositions and draw attention to the play of detached gaze and embodied materiality in Tarkovsky's world.

http://www.ucalgary.ca/~tstronds/nostalghia.com/TheTopics/Gazing.html

Jameson, Fredric. The Geopolitical Aesthetic: Cinema and Space in the World System. Bloomington and Indianapolis: Indiana University Press; London: BFI, 1992.

Žižek, Slavoj. "The Thing from Inner Space." In Sexuation. Ed. Renata Salecl. Durham and London: Duke University Press, 2000. 216-59.

TOKIUS KRŪVIUS DĖSTO TIK PATRIOTAI ARBA IDIOTAI

TEGYVUOJA LIETUVOS ŠVIETIMAS IR AUKŠTASIS MOKSLAS!!!

У лукоморья дуб зеленый, (LIETUVOS AUKŠTOJI MOKYKLA)
Златая цепь на дубе том (PEDAGOGO ETATAS)
И днем и ночью кот ученый (PEDAGOGAS)
Всё ходит по цепи кругом, (JO VEIKLA)
Идет направо - песнь заводит, (PIRMA DARBOVIETĖ)
Налево - сказку говорит. (ANTRA DARBOVIETĖ)
Там чудеса: там леший бродит, (JO LAISVALAIKIS)
Русалка на ветвях сидит; (JO ASMENINIS GYVENIMAS)
Там на неведомых дорожках (JO LIKIMAS)
Следы невиданных зверей; (JO BENDRAŽYGIAI)
Избушка там на курьих ножках (JO DISLOKACIJOS VIETA)
Стоит без окон, без дверей.. (JO PERSPEKTYVA)

//A. PUŠKINAS, "RUSLANAS IR LIUDMILA" //
VALIOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO!!!!!

Von allem Bösen abzustehn, Das Gute zu vermehren stets, Zu läutern seinen eignen Geist: Das ist der Buddhas Lehrgebot.

Pavadinimo vertimas: "Viso pikto atsisakius,visuomet pagausinamas gėris, sutaurinama siela: tai Budos mokslo esmė".

Noriu mokytis vokiečių kalbos. Nes kas gali išversti tai.

Deja, turiu tik angliškai: Rainer Maria Rilke (1875-1926) "Buddha"

Buddha
for J.D.

As if he listened.

Quiet...something far...

We hold our breath, hearing it no longer.

And he is star.

And other giant stars,unseen by us, orbit him out yonder.
He is all.
Would we in fact be pleased it he took note?

What need has he for us?

And though we fell before him in the dust,

he'd still be deep and idle as a beast.
That energy before which we're abased

has circled through him for a million years.

He has forgotten everything we share

and drinks existence that we cannot taste.
*
translation copyright 2000,2001 Leonard Cottrell

(DDT) Chto takoe osen'

Chto takoe osen' - eto nebo.

Plachuschee nebo pod nogami.

V luzhah razletayutsya ptitsy s oblakami.

Osen' - ya davno s toboyu ne byl.

Chto takoe osen' - eto kamni.

Vernost' nad cherneyuschej Nevoyu.

Osen' vdrug napomnila dushe o samom glavnom

–Osen', ya opyat' lishen pokoya.

Ryškiausias vasaros prisiminimas

David Lynch should be jealous for this take. The Ladoga landscape and the road nowhere... http://www.youtube.com/watch?v=Oml-yV2dqes

I can't think straight.

Help me now before it's too late.

Now what do I care?'

Cause we're going nowhere.

Charmsas veža

Тебя мечтания погубят.
К суровой жизни интерес
Как дым исчезнет. В то же время
Посол небес не прилетит
Увянут страсти и желанья,
Промчится юность пылких дум...
Оставь! Оставь, мой друг, мечтанья,
Освободи от смерти ум.

***

Умным правит краткий миг
глупый знает все из книг
Умный глупому не пара
Умный груз, а глупый тара

***
Хармс - Даниил Иванович (наст. фам. Ювачев) (1905-42), русский писатель. В пьесе "Елизавета Бам" (постановка 1927), повести "Старуха" (1939, опубликована в 1991), в гротескных рассказах (цикл "Случаи", 1933-39, опубликован посмертно) показывал абсурдность бытия, обезличивание человека, ощущение надвигающегося кошмара. Комические парадоксы, игровой принцип в стихах для детей ("Иван Иваныч Самовар", "Игра"). Репрессирован (1941), симулировал сумасшествие, умер в психиатрической больнице.