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发表于 2015-8-19 15:34:34
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GOOGLE 机翻，凑合看吧。
It is said that someone had humor. What can this mean? Among other things, that there are people who do not have it. What one weird seems another is ridiculous. Colorblind are aware of their condition, they have been informed about it. Humorless usually have no idea that they are humorless. Once there was a sense of humor that had the aura of comfortable ones or even "Selbstbehaglichen" to use a word of Jean Paul. In today's parlance, especially the Anglo-Saxon countries, but humor refers to the comic in the broadest sense.
The relationship with the comic absurdity and nonsense is serious natures way. There is a tendency to wax indignant over funny. Everything should be sensible and stay. Given the feeling that laughter is something vulgar that the considerate man avoids prefer. Plato wanted to ban the laughter. Dostoevsky said that it depended on how someone laughs. In his novel "The boy" states: "If we want to learn about a man and his soul, then we do not explore his silence or his speaking, his crying or even his enthusiasm for noble ideas. Rather, we watch him when he laughs. If a man can well laugh, he's a good person. "
Now laughter has not always to do with the comic. In an operetta film of the thirties there was a laughter researcher, who traveled with a suitcase full of laughter plates. Meanwhile, there are academics who actually do this job. One of them reported that on January 30, 1962 began to laugh in a small town in Tanzania three students a missionary school. Her laugh was so contagious that more than half of the students on campus mitlachte. Soon the laughter spread throughout the village. As one half months later, still laughing, closed one school and isolated students.
However, after the re-opening happened like this: One third of the pupils could not help laughing. The school was again closed. Meanwhile, there were uncontrollable laughter outbreaks in neighboring towns and villages, where the homecoming girls ansteckten adults. Before the end of the year had to close down fourteen schools. More than a thousand people were at the mercy of laughter helpless. Only after eighteen months stopped laughing. Its cause is unknown.
As a second example I call an American sect that was stopped by their preachers laugh. They laughed until they fell over, an effort that had the aim to get closer to God - a strange incident because God never known laughs. The gods have laughed all the more for it, albeit sardonically.
Humor shows the world that it is absurd and that you can cope with the absurdity of most, if one finds funny. A number of thinkers have been busy trying to study individual characteristics of the comic. Around 1750 has brought the important thought of incongruity to the language a Scottish Enlightenment, so the inconsistency. One contradicts the other. The result is a short circuit, which illuminates the situation unexpectedly. The "other" that is spoken against, is our conception of the world. Our expectations are undermined and reduced to absurdity.
A prerequisite comical amusement is the derailment of sense, the sense of confusion, it is at our own expense or the expense of others or at the expense of anything or anybody. That a moral philosopher as Francis Hutcheson has brought the idea of incongruity to light is remarkable, because whoever asks the Komische after morale, made a mistake in the door. Humor is inherently amoral. He goes back to the anarchy, breaking taboos and continues through our certainties away.
There are also other explanations of the comic, the only vote here and there: the laughter as Weglachen the Terrible and catastrophic as the amusement or as evidence of a feeling of own superiority. But you will find plenty of cases that do not include such motives. A good reason for the funny thing is that is, on the contrary, the admiration of the superiority of the humorist. We honor him by laughing. The sneezing worm calls the other, together geringelte, "health" to, and in the most American of all magazines, the "New Yorker". The words caricature or cartoon are the genre of literary joke drawing does not do justice. This genre is underestimated within the arts. It distinguishes itself ideally through a perfect combination of image and language. The Targeted awareness of what is said is no less important than what you see.
For comic effect very much heard the brilliant display - the stimulus and the accuracy of the style. Jean Paul's sentence: "Shakespeare has painted all the characters, except one, his" enjoys the humor of the word order.
I mentioned earlier the nonsense. As a father and citizen, but also as a musical performer I stand with both feet in mind. There are the pieces of music to be played and not their travesty. Only where the music is weird, would the interpreter for comedians. As a poet, when you see this word for me, with me, a foot the other is the sense in nonsense. Even in pure nonsense, there is a dialectical connection to meaning.
Among all groups of the recent past of the Zurich Dada variety has been the Komische closest. The Dadaist hates how Raul Hausmann later realized the stupidity and loves the nonsense. The catastrophic stupidity of World War I was opposed to liberating the Cabaret Voltaire nonsense. When Karl Kraus states: "The chaos was welcome, because the order has failed." There is a nice Dada sentence: "According to ancient, anxious behütetem monastery mystery even learn old people easily play the piano." He comes from Max Ernst and suitable good for guestbooks.
As Edward Lear discovered the nonsense poetry in the 19th century, he was hailed as one of Chesterton Columbus. It gave them, in one form or another, since the Middle Ages, and not just in England, but already in the Old Reinmar, a German minstrel. It is a nice thought that the nonsense poetry or "seal lies", as it was called long, maybe ran out of a minstrel. In a text of the 14th century a vinegar jug rides into a country that lies behind Saturday. A great battle between a hedgehog and a flying earthworm is decided by a floating millstone.
There is a seal of impossibilities; We operate in a world turned upside down. But already the antiquity and the Bible have been issued with such a "Impossibilia». Even in Shakespeare they have their place. The sense of nonsense is that he frees, by rational constraints, leads to infinity. One comes there when you want, in a religious area. The Dadaists it was Hugo Ball, who has tried this step into the mystical. What more interests me is the close union of nonsense with the comic. In the German language are Morgensterns grotesque poems the finest examples: The knee walking alone through the world, is the major German nonsense poem.
The nonsense of sense is that this is Walled rational. A purely rational world would be a gross misunderstanding - the game of chance would be excluded. The cells Geneticist François Jacob described the driving force of the universe, if you would like to introduce such, not as it were an engineer, but as a hobbyist. Einstein's statement "God does not play dice" obviously belongs to the past.
The mischief - or sense in nonsense, so the integration of both: That sounds reasonable. It is a concept that is absurd enough to be realistic. It could reflect the reality of the world as it is.
What about the comic in music? That Mozart in some of his operas ticks all the boxes of the comic, hardly anyone will doubt. But what about a musical without words and stage? Can music be funny on its own?
A major triad and a minor triad will give most listeners have different emotional signals. But it starts with the single tone. Depending on whether I tender or violently, long or short, play it with or without pedal, the single tone already gives expression. If this is the player nor the moving process, a very short single tone can be funny. But that's just the beginning. With the combination of notes, with the polyphony with harmony and rhythm we get then beyond mere Tonspiele. Music pieces, and contain characters. Even the most novice listener will not not laugh, a Cancan Offenbach cry a funeral march.
In modern works such as "Grove's Dictionary" or "Musik in Geschichte und Gegenwart" There is no mention of humor. We have to pick up the "Musical Conversations-Lexicon" by Hermann Mendel dating back to 1875 to find a nice essay on this topic. "For the comedian," we read there, "there are no gates, but only folly and an awesome world. (Here the author relies, without naming him, to the great humorist Jean Paul.) That is why he finds the world and people neither ridiculous nor obnoxious, but regret worthy. , , "It is this expression of humor, which still nests in the minds of benign people. She is in the 18th century, on the European continent comes from another great humorists, Laurence Sterne as a "world humor, which never says the individuals and blames".
We have here an interpretation of humor from philanthropic vision, a world and life. In Robert Schumann's piano pieces, we sometimes read, "With good humor," that is in good spirits. Goethe, who was not a humorist, was valid only this variety. But humor is not always good.
The importance of humor, irony and wit is clearly hard to believe. Already in the understanding of the word humor, various countries are at odds. For this purpose the word meaning has changed throughout history. The sense of the comic is marked personally. Parallels to the religious present themselves. For some of us is music, or at least great music, only quasi-religious. Jean Paul calls Humor "the inverted sublime». The absence of the comic in the sublime is somewhat compensated for by placing this on the head. Hutcheson said, "Nothing is wrong magnificence, whether of good or evil, more appropriate than laughter."
There are wonderful examples of the inverted sublime Haydn and Beethoven, whose treatment of the Diabelli waltz in its "33 changes" a veritable compendium of musical comedy, yes is a satire on their topic, which in the interludes of lyrical and sublime variations and in the same time the grace of Schlussmenuetts the ethereal background remains visible. Already in earlier works plays Beethoven variations not only with the subject, but also with the audience and holds the listener, as in the finale of the Variations on Salieri's' La stessa, la stessissima ", literally a fool.
It was a feat of Joseph Haydn to make the so-called absolute music the comic subservient. Many of his final movements breathe this ravishing humorous exuberance. Haydn sometimes it goes to the limit for nonsense. In the late C Major Sonata appears repeatedly and without any excuse, a B major chord, which acts as if someone had made a mistake, had slipped or showed us the tongue. Comical music infringes musical expectations. Such expectations existed in the time of Haydn and Beethoven, a period in which the belief of the Enlightenment, the world is good or it could at least be, was palpable.
In the Romantic period was then the unexpected, the fantasy form, the norm. In Berlioz everything is a surprise; how should the comic attract attention there? In Rossini from Romanticism barely touched late piano pieces entitled "sins of old age" can be found not only ridiculous title, but also ridiculous music. The "railway journey", where he can take us in one of his pieces, after "Satanic catcalls" keeps in a train station. When the train is coasting, it comes at a terrible derailment. You can hear the wounded groan. The first dead flies fast in the sky, the second plunges into hell. It is followed by a funeral march.
I discover, in spite of Schumann's tendency to romantic irony, the Comical again only in the 20th century. Ligeti's "Aventures et Nouvelles Aventures" or Mauricio Kagel's "marches to miss the victory" are striking examples of grotesque music. Here the approach is the absurdity of the world. The grotesque is an essence of this world. But not only in music but also in literature, theater and film have been important manifestations of modernity between horror and laughter. The black humor has replaced the good.
Great music is of course only funny sometimes. Immanuel Kant, incidentally estimated laughter higher one than the music, but had him both very committed to the nonsense, "aesthetically impure", removed from the sphere of judgment; they promoted the health, without the «supreme faculties" to achieve.
As for me, music and humor in addition to love, the two most phenomenal benefits that I've found in the world. They give meaning to life. (And nonsense.)
The pianist and essayist Alfred Brendel gave this speech on August 14, 2015 opening of this year's Lucerne Festival. |
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发表于 2015-8-19 15:27:54
不过看过了布大爷的旅游岁月解说版以后，窃以为布大爷还是对浪漫派作品更有见地~~
