_FicusCarica _FicusCarica
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视频: Josh Groban - Changing Colors 视频来自:http://tieba.baidu.com/mo/q/checkurl?url=http%3A%2F%2Fv.youku.com%2Fv_show%2Fid_XMTA3MzcyMDQ0.html&urlrefer=a8493362cccac0526d0bdb9dd18482e2 Changing Colors 歌词 ===================== You look at me with uncertainty/ 你带着疑惑看着我 You look at me with urgency/ 你带着急切看着我 You look at me with fear in your eyes / 你以你眼里的惧怕看着我 like you're about to fall away/ 像你就要跌倒 But don't be afraid to change your colours now/但是别害怕现在改变你的颜色 I've known you all Summer and you rose above it all/我认识你已整个夏天,你超越了所有 I see you hesitate to fall now / 我明白现在你迟疑着下落 But it's a pretty good view from down here, too / 不过,从这里看过去风景也相当不错 And when the wind takes you, it takes me, too / 当风把你带走,它也带走我 When you change colors, I change mine, too /当你改变颜色,我也改变我 Try not to think, and I will try to /尽量别去想,我也尽量 When you let go, I will let go, too / 当你放手,我也放手 I knew you when you were green and strong /我认识你时,你苍翠和雄厚 You were like a feather on a wing, so long/你就像翅膀上的一片羽毛,那么久 You know I will miss you when you are gone /你知道你走了我会想念你 but don't be afraid if you just can't hang on / 但是不用怕,如果你实在不能持守 'Cause when the wind takes you, it takes me, too /因为风把你带走时,它也带走我 When you change colors, I change mine, too /当你改变颜色,我也改变我 Try not to think, and I will try to / 尽量不去想,我也尽量 When you let go, I will let go, too / 当你放手,我也放手 The cold air is pushing hard on you / 凛冽的风正竭力推着你 I know what you're saying; I can feel it, too我知道你的意思是什么,我也能感觉到 You'll go through changes, and I'll gothrough them too/ 你会经历改变,我也会经历 Don't be afraid now, don't be afraid /不用害怕,不要怕 'Cause when the wind takes you, it takes me, too/因为风把你带走时,它也带走我 When you change colors, I change mine, too/当你改变颜色,我也改变我 Try not to think, and I will try to /尽量不去想,我也尽量 When you let go, I will let go, too /当你放手,我也放手
[读经] 你们就是基督的身体 1 Corinthians 12: 12-27 12 For as the body is one and has many members, but all the members of that one body, being many, are one body, so also is Christ. 13 For by one Spirit we were all baptized into one body—whether Jews or Greeks, whether slaves or free—and have all been made to drink into one Spirit. 14 For in fact the body is not one member but many. 15 If the foot should say, “Because I am not a hand, I am not of the body,” is it therefore not of the body? 16 And if the ear should say, “Because I am not an eye, I am not of the body,” is it therefore not of the body? 17 If the whole body were an eye, where would be the hearing? If the whole were hearing, where would be the smelling? 18 But now God has set the members, each one of them, in the body just as He pleased. 19 And if they were all one member, where would the body be? 20 But now indeed there are many members, yet one body. 21 And the eye cannot say to the hand, “I have no need of you”; nor again the head to the feet, “I have no need of you.” 22 No, much rather, those members of the body which seem to be weaker are necessary. 23 And those members of the body which we think to be less honorable, on these we bestow greater honor; and our unpresentable parts have greater modesty, 24 but our presentable parts have no need. But God composed the body, having given greater honor to that part which lacks it, 25 that there should be no schism in the body, but that the members should have the same care for one another. 26 And if one member suffers, all the members suffer with it; or if one member is honored, all the members rejoice with it. 27 Now you are the body of Christ, and members individually. 哥林多前书 12:12-27 12 就如身子是一个,却有许多肢体,而且肢体虽多,仍是一个身子;基督也是这样。 13 我们不拘是犹太人,是希腊人,是为奴的,是自主的,都从一位圣灵受洗,成了一个身体,饮于一位圣灵。 14 身子原不是一个肢体,乃是许多肢体。 15 设若脚说:“我不是手,所以不属乎身子”,它不能因此就不属乎身子。 16 设若耳说:“我不是眼,所以不属乎身子”,它也不能因此就不属乎身子。 17 若全身是眼,从哪里听声呢?若全身是耳,从哪里闻味呢? 18 但如今,神随自己的意思把肢体俱各安排在身上了。 19 若都是一个肢体,身子在哪里呢? 20 但如今肢体是多的,身子却是一个。 21 眼不能对手说:“我用不着你。”头也不能对脚说:“我用不着你。” 22 不但如此,身上肢体人以为软弱的,更是不可少的; 23 身上肢体我们看为不体面的,越发给它加上体面;不俊美的,越发得着俊美; 24 我们俊美的肢体,自然用不着装饰。但神配搭这身子,把加倍的体面给那有缺欠的肢体, 25 免得身上分门别类,总要肢体彼此相顾。 26 若一个肢体受苦,所有的肢体就一同受苦;若一个肢体得荣耀,所有的肢体就一同快乐。 27 你们就是基督的身体,并且各自做肢体。
Doctrine of Creator-Creature Distinction 造物主-被造物相区别的学说 这是圣经中发现的最根本的区别。神是非受造的,不是创造的一部分。神可以跨越“鸿沟”与受造物(以有限的 - 限制的 - 方式)相互作用, 但受造物无法跨越“鸿沟”去到非受造的领域. 造物主-被造物相区别的学说, 只基督教主张,只加尔文教派一贯主张。 范泰尔认为,所有的不可交流的神的属性强调神的超越性。本质上,造物主-被造物相区别的学说是一个关于神的超越性的声明。这是个肯定造物主和他的创作物是截然不同的,是本体分开的。 几件事情: 神并不像我们。我们不应根据我们的“形象”制造(或定义)他。相反,我们是根据他的“形象”制作出来的(是他的一种体现 - 创世记1:27)。 神与被造物之间的区别是如此巨大,我们可以理解的神的范围仅限于神在我们可以理解的方面神揭示的自己。这是可能的仅仅是因为神以反映他的性质而设计的被造物。即使是这样,我们的理解是有限的,因为有限的被造物永远不能完全反映神的无限的性质。 造物主和被造物之间的区别是如此巨大,以致存在着神以我们不能完全理解或回应的方式与受造物相互作用。 另一方面,他也选择了在我们的水平上与我们相互作用 - 在这个层面上,我们对我们的回应方式是有责任的。 被造物是“转圈思想者” a。有一种使神与世界等同的倾向。 b。这是罪的结果。 c。这种思维或者试图神化自己, d。或者人性化神。 e。“转圈”的思想破坏造物主-被造物的区别。
the tutor-code of classical cinema DANIEL DAYAN The Tutor Code of Classical Cinema Semiology deals with film in two ways. On theone hand it studies the level of fiction, that is,the organizationof film content. On the otherhand, it studies the problemof "filmlanguage," the level of enunciation. Structuralist critics such as Barthes and the Cahiers du Cinema of "Young Mr. Lincoln" have shown that the level of fiction is organizedinto a language of sorts, a mythical organization through which ideology is produced and expressed. Equally important, however, and far less studied,is filmic enunciation, the system that negotiates the viewer's access to the film-the system that "speaks" the fiction. This study arguesthat this level is itself far from ideology-free.It does not merelyconveyneutrallythe ideology of the fictional level. Aswe will see, it is built so as to mask the ideologi-cal origin and nature of cinematographicstate-ments. Fundamentally,the enunciationsystemanalyzed below-the system of the suture-functions as a "tutor-code."It speaks the codeson which the fiction depends. It is the necessaryintermediary between them and us. The systemof the suture is to classical cinema what verbal languageis to literature. Linguisticstudies stopwhen one reaches the level of the sentence. Inthe same way, the system analyzedbelow leadsonly from the shot to the cinematographic state-ment. Beyond the statement, the level of enunciation stops. The level of fiction begins. Our inquiry is rooted in the theoretical work of a particular time and place, which must be specified. The political events of May 1968 transformed reflection on cinema in France. After an idealist period dominated by Andre Bazin, a phenomenologist period influenced by Cohen-Seat and Jean Mitry, and a structuralist period initiated by the writings of Christian Metz, several film critics and theorists adopteda perspective bringing together semiology andMarxism. This tendency is best represented bythree groups, strongly influenced by the literaryreview Tel Quel: the cinematographic collectiveDziga Vertov, headed by Jean-Pierre Gorin andJean-Luc Godard; the review Cinethique; thenew and profoundly transformed Cahiers duCinema. After a relatively short period of hesitationand polemics, Cahiers established a sort of com-mon front with Tel Quel and Cinethique. Their program, during the period which culminated between 1969 and 1971, was to establish the foundationsof a science of cinema. Defined by Althusser, this required an "epistemological break"with previous, ideological discourseson cinema. In the post-1968 view of Cahiers,ideo- logical discoursesincluded structuralist systems of an empiricistsort. In seeking to effect such a break within discourse on cinema, Cahiers concentrated on authors of the second struc- turalistgeneration (Kristeva,Derrida, Schefer) and on those of the first generation who op- posed any empiricist interpretation of Lvi- Strauss's work.
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