中文字幕理论片,69视频免费在线观看,亚洲成人app,国产1级毛片,刘涛最大尺度戏视频,欧美亚洲美女视频,2021韩国美女仙女屋vip视频

國際文化基金會ITHACA主席 喬曼·卓根布魯特詩人

受邀2019年第三屆成都國際詩歌周

Germain  Droogenbroodt, president of the International Cultural Foundation ITHACA was invited as poet 

at the Chengdu International Poetry Week

Poetry For More Humanity or

Poetry as antidote for mental pollution

詩歌更人性化或詩歌是精神污染的解毒劑

Reading Chengdu Poetry week 2019

2019年成都詩歌周宣讀

by Germain Droogenbroodt

喬曼·卓根布魯特

The German philosopher Martin Heidegger claimed, that language is the home of being, of existence, and that humans should learn to live in it again. But also in recent years, millions of people have lost all they had, and are searching for a new home, but walls are being built, in Europe, in the United States and elsewhere. And the poet, Diogenes alike, errs with his lantern through the crowded streets of the world, searching for more humanity, for fewer walls, whereas politicians and religious leaders don’t stop creating them, both mentally and physically.

德國哲學家馬丁·海德格爾聲稱，語言是生存、存在的家園，人類應該重新學會在語言中生活。但近年來，數(shù)以百萬計的人失去了他們所有的一切，并正在尋找一個新家，但在歐洲、美國和其它地方，正在建造城墻。而詩人，和迪奧奇尼斯一樣，在世界的擁擠街道上提著燈籠走錯路，在尋找更人性化，尋找更少的墻壁，而政治家和宗教領袖，在精神和肉體上，并沒有停止創(chuàng)造這些墻壁。

Throughout the ages, the philosophers alike, poets have been in search of the sense of human existence, in search of more humanity. And the poem, what else is the poem than the poet′s tool to search for the sense of our being in relation to  our fellow-humans? No, one cannot expect the modern poet to be optimistic, to be able to make the world more human, to remove walls and borders. But a contemporary Diogenes alike, he can use his poetry as a lantern, a tool to find, in the brainwashing light of media & multinationals, the real, the illuminating light and more humanity, a poetic bridge between people of all races, cultures or religions, crossing all kinds of borders between the inhabitants of this planet.

古往今來，和哲學家們一樣，詩人們一直在尋找人類存在的意義，尋找更多的人性。而詩歌，除了詩人的工具詩歌之外，還有什么可以用來尋找我們與人類同胞之間存在的感覺呢？不，人們不能期望現(xiàn)代詩人抱樂觀態(tài)度，有能力使世界更人性化，去消除隔閡和邊界。但類似于當代的迪奧奇尼斯，他可以把自己的詩歌用作燈籠，一個工具，在媒體和跨國公司的洗腦之光中，找到真實、啟迪的光明和更多的人性，各種族、文化或宗教之間的一個詩意橋梁，跨越這個星球上居民之間的各種邊界。

No, it is not obvious to speak in a not too pessimistic way about poetry as a tool for more humanity in the present time where the world is led – or rather misled – by liars, demagogues and extremists. The world is full of ice and winter, estranged the god of love and mercy. Egocentric, power-mad men opened Pandora’s box, Chaos, the Greek goddess of disorder, reigns and her daughter Nyx, the winged goddess of the night, rides across the sky throwing her dark shades on the earth. Poetry, becoming more marginal than ever before, cannot make the world more human, poetry can hardly do more than describe the nature of human beings, as Homer did, the first great Western poet.

不，當今這個世界被說謊者、煽動者和極端主義者領導（相當程度是誤導）的時代，以一種不太悲觀的方式談論詩歌作為一種尋求更人性化的工具并不易得到公認。這個世界充滿了冰雪和冬天，疏遠了愛與仁慈的上帝。以自我為中心的權力狂人打開了潘多拉的盒子，混亂，希臘混亂女神，當著政而她的女兒尼克斯，黑夜之有翼女神，騎馬穿越天空，把她的黑影拋到地球上。詩歌，比以往任何時候都更加邊緣化，無力使世界更加人性化，詩歌只能描述人的本性，就像荷馬，第一位偉大的西方詩人，所做的那樣。

Day by day we are confronted with selfishness, with nationalism, with merciless cruelty, with terrorism, with hate, murder and death, which irrevocably appears to be human’s destiny.

我們日復一日地面對著自私、民族主義、殘忍無情、恐怖主義、仇恨、謀殺和死亡，這些都是人類的命運。

As the Austrian poet Ingeborg Bachmann described in her poem “Every Day,” wars are no longer declared, but as we see in Afghanistan, Africa, in Iraq, in Kuwait, Syria, in Nicaragua, in Venezuela, et al wars continue and the poor suffer as ever before.

正如奧地利詩人英格堡·巴赫曼在她詩中描繪的“每一天”，戰(zhàn)爭不再宣告，但是當我們看到阿富汗，非洲，伊拉克，科威特，敘利亞，在尼加拉瓜，委內瑞拉等的那樣，戰(zhàn)爭還在繼續(xù)而窮人和從前一樣在受苦。

Allow me to recite Ingeborg Bachman’s splendid poem.

請允許我背誦英格堡·巴赫曼的絕妙詩篇。

Every day

The war is not anymore declared,

but continued. The outrageous

became ordinary. The hero

absents himself from the battles. The weak

have been moved to the firing line.

The daily uniform is patience,

the distinction the shabby star

of hope above the heart.

每一天

戰(zhàn)爭不再宣告，

但在繼續(xù)。無恥的人

變得平常。英雄

自己缺席這些戰(zhàn)斗。弱者

已經被移送到火線了。

每天一致的是忍耐，

這特質這心靈上空的

希望的不公正的星。

It is extended,

when nothing happens anymore,

when the drumfire dies down,

when the enemy becomes invisible

and the shadow of never-ending arming

covers the sky.

它被擴展，

當什么都沒有發(fā)生時，

當猛烈炮火停歇下來，

當敵人隱身時

而永無止境的武裝的陰影

覆蓋天空。

It is extended

for deserting the flags,

for the bravery towards a friend,

for the betrayal of unworthy secrets

and the rejection

of whatever command.

它被延長了

為了拋棄旗子，

為了面對朋友的勇敢，

為了沒有價值的秘密的背叛

和不管什么命令

的拒絕執(zhí)行。

Ingeborg Bachmann

But we, the poets, should continue to be obstacles to all kinds of injustice, we should not sleep while the vindicators of the world are busy, as warned the German poet Günter Eich, we should be suspicious against their power, which they pretend to acquire for us. We should take care that our hearts are not empty, when they count with their emptiness. We should do what appears useless; sing the songs they do not expect from one’s mouths! We should be sand, not oil, in the driving gear of the world.

但是，我們詩人們，應該繼續(xù)成為各種不公正的絆腳石，我們不應該在世界的維護者忙碌時睡覺，正如德國詩人君特·艾希所警告的那樣，我們應該對他們的權力持懷疑態(tài)度，他們假裝獲取權力是為我們。當他們用空虛算計的時候，我們應該注意我們的心不是空虛的。我們應該做那些看起來沒用的事；唱那些他們不希望從人們口中聽到的歌！在世界的驅動裝置中，我們應該是沙子，而不是潤滑油。

Especially in Latin-America, where according to my taste the best contemporary poetry is written, a large number of poets wrote critical, revolting poetry. Although not of mass destruction, the word used to be a weapon, a human bridge. Till today, poets have been writing about their fellow humans, about their misfortunes and their glories. So did Maulana Rumi, the Persian poet born in Afghanistan who wrote:

尤其是在拉丁美洲，根據(jù)我的口味，最好的當代詩歌寫出來了，許多詩人寫了批評的，反抗的詩歌。雖然不是大規(guī)模殺傷，但這個詞曾經是一種武器，一座人類的橋梁。直到今天，詩人們一直在寫他們的同胞，他們的不幸和榮耀。出生在阿富汗的波斯詩人毛拉娜·魯米也是這樣寫的：

We are the mirror and the face in the mirror.

Continuously, minute by minute, we taste eternity.

We are the pain and what cures the pain

We are the sweet, refreshing water and the jar that pours it

我們是鏡子和鏡子里的臉。

持續(xù)地，一分鐘一分鐘地，我們嘗到了永恒。

我們是痛苦和治愈痛苦的事物

我們是甘甜，清爽的水和涌流清水的罐子。

So reported also Paul Celan with his dramatic Fugue of Death about the murdering of Jews by the Nazis, so questioned the Bosnian poet Izet Sarajlic if—after the atrocities committed in ex-Yugoslavia—his former friends were still friends, so reported Juan Gelman in Argentina about the disappeared, so wrote the Palestinian Mahmud Darwish about the hope and the misery of his people. . . . As far as human memory reaches, the poet has been and continues to be a chronicler, a wanderer between cultures. The word is his vehicle, the poem his tool, to search for enlightenment, for more humanity, to pull down walls and borders, to create cultural and human bridges.

Poetry was and should still be light in the darkness, to those in distress, it should be companion and consolation as described in the poem “Information about Poetry” by the Austrian poet Christine Busta:

因此，保羅·策蘭也用他激動人心的《死亡賦格曲》報道了猶太人被納粹殺害的情況，因此，波斯尼亞詩人伊澤特·薩拉季利克在前南斯拉夫的暴行之后，質疑他以前的朋友是否仍然是朋友，因此阿根廷的胡安·格爾曼報道了失蹤事件，巴勒斯坦民族馬哈茂德·達爾維希就是這樣寫到他的人民的希望和苦難……人類有記憶以來，詩人曾經是而且仍將是一個編年史者，一個文化間的流浪者。詞語是他的工具，詩歌是他的工具，為了尋求啟蒙，為了更多的人性，為了推倒墻壁和邊界，為了創(chuàng)造文化和人類的橋梁。

詩歌過去是而且應該仍然是黑暗中的光明，對那些處于困境中的人們來說，它應該是與之相伴的慰藉，正如奧地利詩人克里斯蒂娜·布斯塔在她的詩《關于詩歌的信息》中所描述的：

Information About Poetry

Sometimes, a poem is 

a timid hand,

stretched out in the darkness

to a fellow human.

Hello you, I am here.

I rejoice, I suffer,

I am thoughtful just like you.

I am tired

and neither can sleep.

關于詩歌的信息

有時候，一首詩是

膽怯的手，

在黑暗中伸出來

伸向一位人類同胞。

你好，我在這里。

我高興，我受苦，

我正如你一樣滿懷體貼。

我累了

且都睡不著。

Sure, poetry cannot change the world, but how poor humanity would be, without Homer, without Li Bai and Du Fu, without Shakespeare, Dante and Petrarca, without Bashō  and Issa, Goethe, Baudelaire, Tagore, Mandelstam, Neruda, Lorca and so many other poets who offered beauty, faith, solace and hope, victuals for the human being on his journey called LIFE.

誠然，詩歌不能改變世界，但是沒有荷馬，沒有李白和杜甫，沒有莎士比亞，但丁和彼得拉卡，沒有巴索和伊薩，歌德，波德萊爾，泰戈爾，曼德爾斯坦，聶魯達，洛卡和其他許多詩人，他們?yōu)槿祟愄峁┝嗣利?、信仰、慰藉和希望，為人類的生命旅程提供了食糧，要是沒有這些詩人們，人類將會是多么貧窮。

Thousands of youngsters have been protesting this year all over Europe to force politicians to take measures against the worldwide pollution. Nobel Prize laureate Günter Grass already years ago protested with his poem  “Our garbage”:

今年，全歐洲成千上萬的年輕人都在抗議以迫使政治家采取措施防止全球污染。諾貝爾獎獲得者岡特·格拉斯幾年前就用他的詩“我們的垃圾”抗議：

Our Garbage

I looked for stones and found

the survived glove 

of synthetic material.

Each fingerstall related.

No, not those stupid fisherman’s stories,

but what will remain:

Our garbage

beaches long.

Whereas we, passed away

of no one’s bereavement we will be.

我找石頭而發(fā)現(xiàn)了

殘存的合成材

料制作的手套。

每個指套都有關聯(lián)。

不，不是那些愚蠢的漁夫的故事，

但還有東西留下來：

我們的垃圾

海灘長久。

然而，我們，過世了

我們不會成為任何人的喪親之痛。

And what about the human role of the so called “social media,” which are not at all “social” but mainly a tool tocontrol and manipulate the people. Can they be a helpful tool for the poet to make the world more human? We should find out and be sure that they are really social and not mere commercial enterprises, eager to have as many customers as possible to fill their bank accounts with staggering amounts of money. Are we not living in times of mediaticdictatorship? Neither the media nor the politicians seem to care for quality, but for quantity, for the masses which are easy to manipulate.

那么所謂的“社會媒體”的人類角色又如何呢？它根本不是“社會”，卻主要是一種控制和操縱人們的工具。它們能成為詩人使世界更人性化的有用工具嗎？我們應該發(fā)現(xiàn)并確定的是，他們是真正的社會性企業(yè)，而不僅僅是商業(yè)企業(yè)，他們渴望擁有盡可能多的客戶，以驚人的金額填滿他們的銀行賬戶。我們不是正生活在中間獨裁的時代嗎？無論是媒體還是政治家，似乎都不關心質量，而關心數(shù)量，關心容易操縱的群眾。

Throughout the ages poetry has been marginal and marginal it will remain, it should remain what it has always been: an antidote for mental pollution.

古往今來，詩歌一直是邊緣的，它仍將是邊緣的，它應該保持原樣：一種消除精神污染的解毒劑。

The East, especially ancient Chinese philosophy, always fascinated me and also left deep traces in my poetry. Some of my Chinese friends even pretend that my poetry is more Chinese than contemporary Chinese poetry. In fact, in 1998 I wrote a collection of 30 poems entitled “The Road,” translated by the Chinese poets Bei Dao and Hai An as “TAO,” and published in many countries, including Japan, China, Hong Kong and Taiwan.

東方，尤其是中國古代哲學，一直讓我著迷，也在我的詩歌中留下了深深的痕跡。我的一些中國朋友甚至稱說，我的詩比當代中國詩歌更中國化。事實上，在1998，我寫了一集題為“道路”的30首詩歌，由中國詩人北島和海岸翻譯為“道”，并在許多國家發(fā)表，包括日本，中國，香港和臺灣。

I felt a need to write a series of poems, bridging poetically Western and Eastern cultures and philosophies, mixing elements of the Greek mythology with Hinduism, ZEN Buddhism and Taoism. I had no idea at all that the book would be so successful. I just HAD to write it, reflecting in some way the road of mankind: its past, its present and its unpredictable future. But more than anything else “The Road” referring to the TAO, was a lyrical record of my personal experience of various cultures, religions and philosophies, a poetic bridge between East and West.

我覺得有必要寫一系列的詩，把西方和東方的文化和哲學詩意地聯(lián)系起來，把希臘神話的元素與印度教、禪宗佛教和道教融合起來。我完全不知道這本書會如此成功。我只是不得不寫它，以某種方式反應人類的道路：它的過去、現(xiàn)在和不可預知的未來。但最重要的是，“道路”指的是道，它是我個人對各種文化、宗教和哲學的體驗的抒情記錄，是東西方之間的詩意橋梁。

I would like to conclude this text with a poem selected from my book 

“In The Stream Of Time, Meditations In The Himalayas”

我想從我書中挑選的一首詩來結束這篇演講

在時間的洪流中，喜馬拉雅山脈的冥想

EVERYTHING CHANGES, EVERYTHING STAYS THE SAME

The nameless is the origin of heaven and earth

                               --Lao Tse

Apparently

everything sometimes looks different

than it did before

hardly

or not at all recognizable anymore

the winding path

to the stream

although perceptible

is hidden for the time being

for more

than just the eye.

***

一切在變，一切又未變

無名天地之始

——老子

顯而易見

有時一切不同于

往昔

幾乎

認不出或不再熟悉

蜿蜒的小道

追著小溪而去

依稀可辨

但此刻隱匿如故

不僅僅

躲避眼睛