Andrei Tarkovsky＇s cinematic signature bespeaks of a metaphysical dimension which is inseparable of an unwavering dialogue between poetic word and image. In three of his movies--Mirror （1975）, Stalker （1979） and ...Andrei Tarkovsky＇s cinematic signature bespeaks of a metaphysical dimension which is inseparable of an unwavering dialogue between poetic word and image. In three of his movies--Mirror （1975）, Stalker （1979） and Nostalghia （1983）---the Russian director helps to build this dimension with the insertion of his father＇s Arsenii poems. Although these poems may develop a pivotal dynamic in Mirror, even when they may seem to have a marginal existence, such as they do in Stalker and Nostalghia, their function is far from assuming a decorative status. Anchored in Tarkovsky＇s notion of organic movie in mind, as he developed it in his book Sculpting in Time, and in William Desmond＇s concept of in-betweeness, as he conceived it in Art, Origins, Otherness--Between Philosophy and Art, this article challenges the notion of structural relevance, and shows how the alleged marginal presence of Arseni＇s words contribute to create a space of metaphysical in-betweeness that lies at the core of the movie＇s spiritual dimension展开更多
Why do I learn Chinese? It is because I like detective stories, riddles and poetry. You may ask me what is the relationship between them? Well. Let me explain. Many years ago I chanced upon a detective novel Judge Dee...Why do I learn Chinese? It is because I like detective stories, riddles and poetry. You may ask me what is the relationship between them? Well. Let me explain. Many years ago I chanced upon a detective novel Judge Dee Mysteries whose protagonist is a great judge in the Tang Dynasty. I展开更多
文摘Andrei Tarkovsky＇s cinematic signature bespeaks of a metaphysical dimension which is inseparable of an unwavering dialogue between poetic word and image. In three of his movies--Mirror （1975）, Stalker （1979） and Nostalghia （1983）---the Russian director helps to build this dimension with the insertion of his father＇s Arsenii poems. Although these poems may develop a pivotal dynamic in Mirror, even when they may seem to have a marginal existence, such as they do in Stalker and Nostalghia, their function is far from assuming a decorative status. Anchored in Tarkovsky＇s notion of organic movie in mind, as he developed it in his book Sculpting in Time, and in William Desmond＇s concept of in-betweeness, as he conceived it in Art, Origins, Otherness--Between Philosophy and Art, this article challenges the notion of structural relevance, and shows how the alleged marginal presence of Arseni＇s words contribute to create a space of metaphysical in-betweeness that lies at the core of the movie＇s spiritual dimension
文摘Why do I learn Chinese? It is because I like detective stories, riddles and poetry. You may ask me what is the relationship between them? Well. Let me explain. Many years ago I chanced upon a detective novel Judge Dee Mysteries whose protagonist is a great judge in the Tang Dynasty. I
