Exploring Rodin’s Place in Literary History
探索羅丹在文壇的地位
By Rebecca Schmid

If “The Hero (Man and His Genius)” ranks among Rodin’s lesser-known works, it owns a place in 20th-century literary history. The bronze figure sat on the desk of the Austrian writer Hugo von Hofmannsthal for two decades and was sold with the help of the poet Rainer Maria Rilke, who played a central role in Rodin’s popularization in the German-speaking world. From Nov. 17 to March 18, the 18-inch-tall sculpture will be the centerpiece of the exhibit “Rodin-Rilke-Hofmannsthal; Man and His Genius” at the Alte Nationalgalerie here.
「英雄（人和他的精神）」容或是法國雕塑家羅丹較不知名的作品，卻在20世紀文學史上占有一席之地。這座青銅像擺在奧地利作家霍夫曼史塔的書桌上20年，後來在詩人里爾克協助下售出。羅丹能在德語世界廣受歡迎，里爾克扮演著關鍵角色。從11月17日到明年3月18日，德國首都柏林舊國家畫廊將舉辦「羅丹-里爾克-霍夫曼史塔；人和他的精神」展，這座45公分高的銅像是最重要的展品。

A small collection of sculptures, graphic art and manuscripts will address the theme of inspiration not only among artists and literary figures, but also within the oeuvre of Rodin, who will have died a century ago on opening day. The exhibit combines Rodin figures from the museum’s permanent collection with objects on loan from the Musée Rodin in Paris and the Kunsthalle Bremen, while also including lithographs by the artists Max Klinger and Eugène Carrière from the Print Gallery of the Berlin State Museum.
為數不多的雕塑作品、平面藝術和手稿藏品將表達靈感這個主題，這靈感不只在藝術家與文學家之間，也在羅丹所有作品之內。展覽開幕日正是羅丹逝世百年紀念日。這場展覽結合了舊國家畫廊永久館藏中的羅丹雕塑，與從巴黎羅丹美術館和德國不來梅美術館借來的展品，此外還包括從柏林國家博物館系統的版畫素描博物館暫借的德國畫家克林格與法國畫家卡希埃的版畫。

Ralph Gleis, the exhibit’s co-curator and director of the Alte Nationalgalerie since May, said he was excited to explore the fruitful relationship between Rodin and his contemporaries as well as inspiration as subject matter. “It is a kind of self-portrayal,” he said. “The artist is trying to grasp an ephemeral moment that is decisive for him.”
葛萊斯是展覽共同策展人，5月接任舊國家畫廊館長，他說，很興奮能探索羅丹與同時代藝術家富有成效的關係和靈感這個主題，「這是某種自畫像，羅丹試圖抓住對他而言具關鍵性的短暫瞬間」。

In Rodin’s “Hero,” a headless winged creature is about to take flight, caught in the arm of a muscular male figure. Rilke, upon helping Hofmannsthal with the sculpture’s sale, was moved to write a poem about an “ancient character” named Nike who “swings in anticipation on the shoulder” of “the victor.”
在羅丹的「英雄」中，一個無頭、有翅膀的受造物即將飛走，卻被一個肌肉結實的男性用手臂抓住。里爾克就在幫助霍夫曼史塔出售這座雕塑時有感而發，寫了一首詩，描述名叫耐基的「古人」在「勝利者」的「肩上帶著盼望搖擺」。

The subject of creator and muse plays a central role in Rodin’s oeuvre. Gleis pointed out that even “The Thinker,” of which the museum owns a 30-inch-tall bronze that was cast in the early 1880s, captures the artist’s endless search for intellectual fodder. The marble sculpture “Man and His Thought,” another item from the Alte Nationalgalerie’s permanent collection, shows a man breathing life into an androgynous figure.
創造者與靈感來源這個主題，在羅丹所有作品中居於中心地位。葛萊斯指出，就算是「沉思者」也捕捉到羅丹對智性素材的無盡追求。舊國家畫廊藏有一座1880年代早期鑄造、76公分高的青銅「沉思者」像。大理石雕刻的「人和他的思想」是舊國家畫廊另一件永久館藏，呈現出一名男子將生命氣息吹入一個雌雄同體的形體中。

Catherine Chevillot, director of the Musée Rodin, explained that the moment of inspiration is inextricably linked to the act of creation in the sculptor’s figures. “Rodin is permanently haunted by the question of what constitutes art,” she said by phone from Paris. “The idea that the artist has to decide at the moment that a creation arises – also that life arises – is key to understanding his work.”
羅丹美術館館長卡特琳．施維約解釋說，在羅丹的雕塑中，靈光乍現的時刻與創造行為緊密相關。她在巴黎接受電話訪問時說：「羅丹一直被『什麼構成藝術』的問題困擾。藝術家必須在創造發端、也是生命萌發的那一刻下決定的概念，是了解他作品的關鍵。」

原文參照：
https://www.nytimes.com/2017/10/24/arts/rodin-rilke-museum-berlin.html

2017-11-05．聯合報．D4．紐約時報賞析 李京倫

說文解字看新聞 張佑生

卡蜜兒：「您這座門彷彿渾然天成。」羅丹：「其實我花了一整年來設計，我從黏土中尋找型體，我還得想出更多主題，更多主題……」紀念法國雕塑大師羅丹逝世百年的電影「羅丹：上帝之手」中，羅丹與愛徒兼愛人卡蜜兒針對作品「地獄之門」的對話很有意思。

因為羅丹道出了看似「渾然天成」的背後，藝術家不為人知、所付出的大量心力。借用20世紀大詩人艾略特（T.S. Eliot）名作《空心人》（The Hollow Men）的句子：「在概念/和創造之間/在情感/和回應之間/落下了陰影。」紐時本文所言，創作（creation）和靈感（inspiration）的關聯性始終縈繞（haunted）在羅丹的心頭。唯有擺脫陰影，藝術家才能由抽象概念創造出具體作品。

所謂「靈光一閃，萬古不磨」，藝術家試圖捕捉靈感浮現的決定性瞬間（ephemeral），留下作品傳世（permanent）。

羅丹與卡蜜兒師徒關係複雜，包括創作者（creator）和靈感泉源（muse）這層關係，大寫Muse意指希臘神話裡面的繆思女神，共有九位。

2017: The Biggest Year in Horror History
2017：恐怖片票房創新高的一年
By Mekado Murphy

This year, scary clowns, scary dolls and scary suburbanites have drawn audiences to the movies in droves. Even with two months remaining, 2017 has already become the biggest box office year ever for horror. Scary movies have collected $733 million in ticket sales, according to the website Box Office Mojo. The runaway success of “It” (more than $300 million and counting) and “Get Out” ($175 million) led the way, but October is a golden month for horror and will surely add more to that tally. “Happy Death Day” was No. 1 when it opened this month (on Friday the 13th), and a new entry in the hit “Saw” franchise, “Jigsaw” (due Oct. 27), should also raise the total.
今年，可怕的小丑、可怕的洋娃娃和可怕的郊區居民吸引了成批觀眾走進戲院。儘管還剩兩個月，2017年卻已成為恐怖片票房收入最高的一年。根據票房統計網站Box Office Mojo的數字，今年恐怖片票房收入已達7億3300萬美元（約台幣220億元）。票房收入超過3億美元（約台幣90億元）且還在增加的「牠」，與1億7500萬美元（約台幣53億元）的「逃出絕命鎮」大獲成功，位居前兩名，不過10月更是恐怖片的豐收月，勢必讓票房總收入更高。「忌日快樂」10月13號星期五上映後票房領先，熱門系列電影「奪魂鋸」新作「遊戲重啟」10月27日上映，想必也能拉抬票房總收入。

How has horror fared at the box office in previous decades? Going back to the 1970s, I used data from Box Office Mojo to track the genre’s rise as a moneymaking force, focusing on one key year from each decade. Box Office Mojo breaks horror down into 10 subcategories on its site and its editor, Brad Brevet, has struggled with the question of what constitutes a horror movie. He tried to bring some clarity with a new list. “When ‘It’ came out I created an R-rated horror list on Mojo,” he wrote in an email. “That, at least, felt representative of the horror genre.”
恐怖片過去幾十年票房表現如何？我用Box Office Mojo的資料追溯到1970年代，追蹤這類電影興起成為賺錢類型的過程，在每個10年中都專注於單一關鍵年份。Box Office Mojo將恐怖片分成10個細類，總編輯布瑞維一直為「構成恐怖片的要素」問題所困擾。他試圖用創造新細類釐清問題。他在電郵中寫道：「當『牠』出現時，我在Mojo上創造了限制級恐怖片這個小類，這個字眼至少感覺起來很能代表這個恐怖片小類。」

2017 has seen several strong performers from one of the most successful contemporary horror producers around, Jason Blum (“Get Out,” “Split,” “Happy Death Day”). But the biggest story is the tremendous run of “It.” That Stephen King adaptation perked up the domestic box office after a dismal August, and not even box office experts predicted just how well the movie would perform. Loria of Boxoffice Media said his team forecast an $81 million opening weekend. The real number was $123 million. He said they look at social media mentions to see how vocal audiences are being about a title. “When it came to ‘It,’” Loria said, “it was just really difficult to track the word ‘It’ across social media to get the snapshot we needed.”
2017年一些表現強勁的電影都出自當代最成功的恐怖片監製之一傑森布倫，包括「逃出絕命鎮」、「分裂」和「忌日快樂」。不過，最大的消息是「牠」的巨大成功。這部根據史蒂芬．金小說改編的電影使美國票房在慘淡的8月後起飛，而且就連票房專家都預測不到這部片會這麼成功。電影業雜誌「票房」出版商「票房媒體」的羅瑞亞說，他的團隊對上映首周周末票房的預測是8100萬美元（約台幣24億3000萬元）。實際金額卻是1億2300萬美元（約台幣37億元）。他說他們監測電影在社群媒體被談論的情形，以了解直言不諱的觀眾對影片的看法。羅瑞亞說：「至於『牠』，真的很難在各個社群媒體上監測『牠』（It）這個字，以得知我們需要的概況。」

原文參照：
https://www.nytimes.com/2017/10/26/movies/top-horror-movies-box-office-it-get-out.html

2017-11-05．聯合報．D4．紐約時報賞析 李京倫