[Info]台大文學翻譯獎

http://www.forex.ntu.edu.tw/news/news.php?Sn=1127

Translate律詩、絕句各一首。Due on April 30th.

Interested? I think this is a chance for me to dabble in Chinese poetry after quite some time...

Choose whichever poems you like, ok? Let's see what happens.

Week 4：答問：〈何謂啟蒙？〉(1784)

伊瑪紐爾‧康德 (Immanuel Kant)

人從自我加諸的不成熟脫離而出，謂之啟蒙。所謂不成熟，意指個體缺乏運用本身的理解能力，而必須仰賴他人。造成此自我加諸的不成熟的原因，並非本身理解力的不足，而是缺乏決心和勇氣運用自身的理解力而不依賴他人。Sapere Aude! (「勇於知！」)「勇於運用自身的理解力！」--此為啟蒙之箴言。

人們很容易安逸於不成熟的狀態。假如有一本書可做為我理解事物的圭臬、有一位牧師來照顧我的良知、有一位醫生來幫我注意飲食…如此一來，我根本不需花費一絲力氣。只要有錢，不須動腦，別人將欣然地替我解決所有麻煩事兒。這些仁慈地接手管理人們事務的保護者們，相當小心地確保絕大多數的人們(包含女性)，視踏入成熟的第一步如毒蛇猛獸般危險，更別提它是多麼的困難。等到把人們變成呆若木雞的家畜，並小心確保這些已馴服的動物不會獨自行動之後，這些保護者便進一步向人們揭示威脅著他們的危險之所在，防止一切單獨行動的可能。但這危險說起來倒也沒那麼危險，畢竟只要摔個幾次跤，人們終究能學會走路。但這類做法會使人們膽怯，且通常會把他們嚇的再也不敢嘗試了。

因此，想要脫離不成熟是困難的─它已成為人的本性的一部份。人們甚至喜愛上這種狀態；就這個階段而言，他們完全無法運用自身的理解力，因為從來沒有人允許他們試一試。諸如規則與公式等輔助理性思考的工具，被拿來運用(不如稱為誤用)到每個人的天賦上，實為導致永久不成熟之枷鎖。甩掉這條枷鎖的人，將只不過算是稍稍躍過狹窄的溝渠罷了，只因他仍然不適應這種自由行動的感覺。所以，只有少數人透過培養自身的心靈，成功地擺脫不成熟、邁向一條穩固的康莊大道。

假設有人這麼問：「我們現今是否生活在一個已啟蒙的時代？」答案是：「不，但我們確實生活在一個啟蒙時代。」就現在的情況看來，仍有相當大的不足，妨礙人們在不受外界導引的情況下，有自信地運用理解力思考宗教問題。但有顯著的跡象指出，這條道路的可能性從現在起已不再受限；而且，橫在普羅大眾與啟蒙之間的障礙—即擋在大眾擺脫自我加諸的不成熟與啟蒙之間的障礙—正逐漸消弭中。就此方面而言，這個時代是個啟蒙時代，是屬於腓特烈大帝的世紀。

Week 4：Kant's "What Is Enlightenment" (excerpt)--overdue!

Revision--shortened version (so that we may complete this long overdue "week"...)

Another reference of the same text but with differing wordings--

http://www.mnstate.edu/gracyk/courses/web%20publishing/KantOnElightenment.htm

Let's do it! (after holidays I suppose...)

--

http://www.english.upenn.edu/~mgamer/Etexts/kant.html

(BUT this one is too long, not to mention its super famous author...so I would like to translate only part of it, as shown in the excerpt below.)

--

IMMANUEL KANT

An Answer to the Question:
What is Enlightenment? (1784)

Enlightenment is man's emergence from his self-imposed immaturity. Immaturity is the inability to use one's understanding without guidance from another. This immaturity is self-imposed when its cause lies not in lack of understanding, but in lack of resolve and courage to use it without guidance from another. Sapere Aude! [dare to know] "Have courage to use your own understanding!"--that is the motto of enlightenment.

(deleted)

It is so easy to be immature. If I have a book to serve as my understanding, a pastor to serve as my conscience, a physician to determine my diet for me, and so on, I need not exert myself at all. I need not think, if only I can pay: others will readily undertake the irksome work for me. The guardians who have so benevolently taken over the supervision of men have carefully seen to it that the far greatest part of them (including the entire fair sex) regard taking the step to maturity as very dangerous, not to mention difficult. Having first made their domestic livestock dumb, and having carefully made sure that these docile creatures will not take a single step without the go-cart to which they are harnessed, these guardians then show them the danger that threatens them, should they attempt to walk alone. Now this danger is not actually so great, for after falling a few times they would in the end certainly learn to walk; but an example of this kind makes men timid and usually frightens them out of all further attempts.

Thus, it is difficult for any individual man to work himself out of the immaturity that has all but become his nature. He has even become fond of this state and for the time being is actually incapable of using his own understanding, for no one has ever allowed him to attempt it. Rules and formulas, those mechanical aids to the rational use, or rather misuse, of his natural gifts, are the shackles of a permanent immaturity. Whoever threw them off would still make only an uncertain leap over the smallest ditch, since he is unaccustomed to this kind of free movement. Consequently, only a few have succeeded, by cultivating their own minds, in freeing themselves from immaturity and pursuing a secure course.

(deleted)

(...)

If it is now asked, "Do we presently live in an enlightened age?" the answer is, "No, but we do live in an age of enlightenment." As matters now stand, a great deal is still lacking in order for men as a whole to be, or even to put themselves into a position to be able without external guidance to apply understanding confidently to religious issues. But we do have clear indications that the way is now being opened for men to proceed freely in this direction and that the obstacles to general enlightenment--to their release from their self-imposed immaturity--are gradually diminishing. In this regard, this age is the age of enlightenment, the century of Frederick.

Week 3：節錄自〈伍迪艾倫談信仰、算命師及紐約〉一文

戴夫．伊茲考夫（Dave Itzkoff）

http://www.nytimes.com/2010/09/15/movies/15woody.html

     「對我而言，」伍迪．艾倫說：「算命師、幸運餅乾以及任何有組織的宗教之間沒有實質上的差別。他們同樣的有用或無用。且一樣的有幫助。」

        伍迪．艾倫與戴夫．伊茲考夫談論他的新電影、電影的主題如何在他的人生中產生迴響以及這是否是他最後一部紐約拍攝的電影。以下內容都從那次談話摘錄。

問：   特異功能跟前世的概念，或說相信這些的人們，是你這部新片的核心。是什麼原因促使你以此做題材？

答：   擁有信仰這個命題令我很感興趣。當我這樣說的時候，乍聽之下很黯淡，但我們需要一些欺瞞驅使我們不斷前進。而且那些成功瞞騙自己的人似乎比那些不這麼做的人快樂許多。我也聽過一些信仰於宗教或者算命師的人。對我來說這是個適合電影的特質：一個事事不如意的女人，突然間，一個替她算命的女人幫助了她。麻煩是，最終，她因為粗淺的覺醒而加入了這一行。

問 ： 什麼對你而言比較合理：擁有前生或者上帝的存在？

答：   兩者對我而言都不合理。於此我的評估是嚴肅且科學的。我總覺得，你所看就是你所得。

問： 對於衰老的過程你有怎樣的感受？

答：   嗯，我反對。（笑）我覺得沒啥值得說的。隨著時光的流逝你卻沒有增長智慧。你變的四分五裂，僅此而已。人們試圖去美化衰老的過程，然後說，嗯，你變穩重了。你理解了人生和接受許多事物。但是你寧願用這一切來交換再過一次35歲的機會。我曾有這樣的感受：當你在夜半醒來，開始沉思並幻想自己的死亡宿命，那會令你不禁顫抖。在這部電影的開頭這就發生在安東尼．霍普金斯（Anthony Hopkins）身上。在這之後，他不希望聽到他那實際的妻子說，「喔，你不能再這樣做——你不再年輕了。」沒錯，她完全說對了，但沒人希望聽到這樣的話。

問：   衰老可曾改變你工作的任何一部分？你可曾覺得某些傷感出現在你近期的電影中？

答：   不，那些傷感毫無章法可言。我做事沒有節奏或緣由可言。只求在當下讓一切看似正確。在我的生涯裡，我不曾在我完成電影後再把它拿來看過。門都沒有。1968年之後，我從未看過「傻瓜入獄記」（Take the Money and Run）我未曾再看安妮．霍爾（Annie Hall）或者曼哈頓（Manhattan）甚至這之後任何一部我拍的電影。如果我在跑步機上並略覽電視頻道之時，不巧看到任何一部我過去的電影，我會迅速地跳過它們，因為它們只會讓我受到挫折。我只會覺得：「老天，這實在是糟透了，如果我能夠再拍一次就好了。」

Week 3：〈伍迪‧艾倫談信念、算命師與紐約〉一文摘錄

戴夫‧伊茲考夫 (DAVE ITZKOFF)

「對我來說，不管是算命師、幸運餅乾、還是任何一個有組織的宗教，它們都大同小異，都處於有根據或是沒根據的狀態，而且每個都一樣有用。」

艾倫和戴夫‧伊茲考夫聊到他最近的電影製作，還有該電影的主題是如何和他個人的生命經驗產生共鳴，以及他最後一部電影是否確實在紐約市完成。以下節錄兩人的對話：

問：在你最近一部電影，有一些關於超自然的精神力量和過往的生命的概念在裡頭，或者說，至少有相信這些概念的人在電影裡面。你為什麼會對這群人或這些概念產生興趣呢？

答：我有興趣的，是對某事物存有信念的這樣一個概念。我知道這聽起來無聊透頂，但我們都需要騙騙自己好過活。而那些成功地把自己騙得團團轉的人們，似乎比那些做不到的人更快樂。我認識一些有宗教信仰或相信算命師的人。所以我突然想到，這樣的角色是適合拿來拍電影的：一個諸事不順、處處碰壁的女人，突然之間，發現她諮詢的女算命師很有效地幫助她。但問題是，到了最後，她猛然發現這一切都是假的。

問：以下有兩個選項，你覺得哪一個比較有道理？一：人們存在於過往的生命；二：這世界有神。

答：兩個都不。我對這種事的檢視態度是嚴肅且科學的。我真的覺得，看到什麼便是什麼。

問：你對人變老的過程有何看法？

答：這個嗎，我反對它。(笑)我認為這過程沒什麼好處。年紀越長你也不會更有智慧。你只會益發衰弱，就這樣。人們試著把這個過程說得很美好，說這叫，恩，成熟，而且你將對生命更加了解，願意接受更多事物。但是，假設能讓你時光倒流回到35歲，你一定願意用這一切來換取青春。我對下面要講的事是有經驗的：某天晚上你會在半夜醒來，然後開始猜測、想像你什麼時候會死，然後你不禁打了個寒顫。這也發生在安東尼‧霍普金斯(Anthony Hopkins)的身上，就在那部電影的開頭；接著，他再也不想聽他務實的妻子說：「咳，你不能一直這樣亂來，你可不再年輕了。」是的，他太太說得當然沒錯，但沒有人想要聽到這種東西。

問：年齡的增長有影響到你的作品嗎？你在你晚期的電影之中，看的到某種徒然神往的渴望嗎？

答：不，這麼說太碰運氣了。我做的事情缺乏理由、毫無規律可循。一切看當下的感受。我這一生中，只要是我已製作完成的電影播出後，就再也不看它了。我自從1968年就沒看過《傻瓜入獄計》；《安妮霍爾》、《曼哈頓》和其它之後拍的電影也一樣。要是我在跑步機上一邊跑一邊快速轉電視台的時候，看到我拍的任何一部電影，我會立刻跳掉，因為看了也只會讓我感到沮喪。我只會覺得：「天哪，這爛透了，真希望我能重拍。」

Week 3：An excerpt from "Woody Allen on Faith, Fortune Tellers and New York"

Woody Allen on Faith, Fortune Tellers and New York

By DAVE ITZKOFF

http://www.nytimes.com/2010/09/15/movies/15woody.html

 “To me,” Mr. Allen said, “there’s no real difference between a fortune teller or a fortune cookie and any of the organized religions. They’re all equally valid or invalid, really. And equally helpful.”

Mr. Allen spoke with Dave Itzkoff about his new film, how its themes resonate in his life and whether he has made his last movie in New York. These are excerpts from that conversation.

Q. The ideas of psychic powers and past lives, or at least people who believe in them, are central to your latest film. What got you interested in writing about them?

A. I was interested in the concept of faith in something. This sounds so bleak when I say it, but we need some delusions to keep us going. And the people who successfully delude themselves seem happier than the people who can’t. I’ve known people who have put their faith in religion and in fortune tellers. So it occurred to me that that was a good character for a movie: a woman who everything had failed for her, and all of a sudden, it turned out that a woman telling her fortune was helping her. The problem is, eventually, she’s in for a rude awakening.

Q. What seems more plausible to you, that we’ve existed in past lives, or that there is a God?

A. Neither seems plausible to me. I have a grim, scientific assessment of it. I just feel, what you see is what you get.

Q. How do you feel about the aging process?

A. Well, I’m against it. [laughs] I think it has nothing to recommend it. You don’t gain any wisdom as the years go by. You fall apart, is what happens. People try and put a nice varnish on it, and say, well, you mellow. You come to understand life and accept things. But you’d trade all of that for being 35 again. I’ve experienced that thing where you wake up in the middle of the night and you start to think about your own mortality and envision it, and it gives you a little shiver. That’s what happens to Anthony Hopkins at the beginning of the movie, and from then on in, he did not want to hear from his more realistic wife, “Oh, you can’t keep doing that — you’re not young anymore.” Yes, she’s right, but nobody wants to hear that.

Q. Has getting older changed your work in any way? Do you see a certain wistfulness emerging in your later films?

A. No, it’s too hit or miss. There’s no rhyme or reason to anything that I do. It’s whatever seems right at the time. I’ve never once in my life seen any film of mine after I put it out. Ever. I haven’t seen “Take the Money and Run” since 1968. I haven’t seen “Annie Hall” or “Manhattan” or any film I’ve made afterward. If I’m on the treadmill and I’m scooting through the channels, and I come across one of them, I go right past it instantly, because I feel it could only depress me. I would only feel, “Oh God, this is so awful, if I could only do that again.”

Week 2：地海故事集前言節錄 (B)

自從我開始執筆寫地海的故事到現在，可想而知，我一直在改變；這對讀者們來說也是一樣。所有的時代都會經歷變動；然而，我們身處的時代，遭遇到道德與精神層面迅速的劇變。典型搖身一變成為難以擺脫的負擔；一目了然的事物不再單純；混沌與優雅畫上等號；人們普遍認知的真理，變成少數人老舊的思想。

這令人擔憂。儘管我們喜愛閃爍著迷人閃光的電子產品，我們也對永恆不變的事物存有依戀。

我們珍惜始終不變的古老故事。亞瑟王在亞瓦隆(Avalon)作永恆的夢；比爾博(Bilbo)可以自由地「到那兒又回來」，而「那兒」總是那心愛、熟悉的夏爾(Shire)；唐吉軻德花了老半天出發殺向磨坊……如此這般，人們朝奇幻的國度尋求穩定性，古老的真理，永恆的純樸。

而資本主義的磨坊不間歇地供應著。供給滿足需求。奇幻文學成為商品，一種產業。

經過商品化的奇幻文學毫無投資風險：它不發明什麼，只進行模仿和瑣碎化。該產業的運作過程，便是將古老故事中所蘊含的智慧和道德底蘊抽離，將故事情節暴力化，將主人翁變成玩偶，將述說真相的文字變成灑狗血的陳腔濫調。英雄們揮舞著劍、雷射槍、魔杖，宛如機械性行動的採礦工人，大賺一把。艱深的道德抉擇受到消毒、變得可愛、變得安全。故事作者用熱情醞釀的構思，一一遭到複製、公式化處理、降格成玩具、用亮彩的模具包裝、用廣告宣傳、賣掉、摔破、扔掉、可代替的、可替換的。

將奇幻文學商品化的人，他們所仰賴並利用的，正是兒童和成人讀者無遠弗屆的想像力。想像力賦予這些死去的東西新生─算是某種暫時性的生命。

想像力和萬物相同：它存於當下，與真實的改變共生、受真實的改變影響、以真實的改變為生。如同一切我們所做的、所擁有的事物，它可以被吸收成為我們的一部分，或是被丟到一邊，但它不會因為受到商業化和道德說教的利用而遭到消滅。任何一個帝國的存續時間必然少於一塊大陸的存在。即使征服者將所佔領的森林綠地變成荒野沙漠，雨水仍將降臨，河流仍會出海。充滿變動、虛假的「從前從前」的故事，是人類歷史的一部分，也在萬花筒般繽紛多彩的世界地圖上被我們當作國家一般看待，且愈有名的故事流傳就愈久。

長久以來，人們同時居住在真實與虛構的世界中，但我們和祖先的生活方式是截然不同的。魔幻的魅力會隨著年齡增張和時代所改變的。

我們現在所知的亞瑟王有好幾個，通通都是真的；當比爾博還活著的時候，夏爾仍然受到無可挽回的改變；唐吉軻德騎著馬到了阿根廷，遇見波赫士(Jorge Luis Borges)。「改變得越多，一樣的就越多。」

我很開心能回到熟悉的地海，看到它仍在那兒，有所變化且持續改變著。我之前以為會發生的事情落空了，人們(或事物)的改變和我之前想的也有出入，而我在自以為相當熟悉的島嶼上迷路了。

那麼以下是我的探索和發現：地海故事集，是我為了一直以來喜歡這個地方的人、或覺得可能喜歡這個地方的人、和願意接受以下假設的人而寫：物換星移：不能太相信作者與巫師：龍的意圖無人能解。