Cough medicine vs jet lag
The result is that I sleep through the day and wake up at 4am.
I really didn't suffer a whole lot of anxiety from all that ball-catching theory. Does this show my sense of humour needs some serious revision? To appease my friends who think I did, I'm going to talk about something I heard from officer #2 (actually officer #10 through the trip): once when an AO fell sick during the trip and couldn't turn up for a dinner meeting, the boss returned from the meeting with medicine bought for him. Oh wow. I guess you can't complete the charisma and authority without some genuine kindness. The favourite type of leader in traditional Chinese novels are those who build emotional bonds. Subordinates would lay their life down for him and cry at the slightest kind words from him because he's... "authentic"? Ok. No more authentic leadership. No more business trips. Can't be bothered to think about those anymore.
http://www2.tianyablog.com/blogger/post_show.asp?idWriter=0&Key=0&BlogID=122562&PostID=2430124
" 《西游记》西天取经的小团队中，除沙僧的性格特点不够突出之外，猪八戒是这个组合中的“本我”，孙悟空是“自我”，唐僧是“超我”，猪八戒对取回真经、济 世救民的宏大目标不感兴趣，只受本能中的享乐原则支配，而孙悟空不排斥本能原则，但又自愿（或不自愿）地遵守行为准则，唐僧则有着圣人式的信仰追求和超现 实的道德范式。
离开取经的终极意义，孙悟空也有“超我”的一面，唐僧被女妖精骚扰或被美女国王钟情，每每此时，孙悟空总是在一旁嬉笑，除了有他一贯的幽默 感外，“性”对孙悟空几乎完全没有吸引力，王怡说可能是几百年在五指山下把孙悟空这方面的欲念和功能都压坏了。"
Hilarious! I've always found it regrettable that poor 沙僧 didn't get his proper share of show. Didn't know that the writer wanted a match with the Freudian "id"s. But even before 孙悟空's confinement under the mountain he already didn't fancy any female monkeys. In fact he doesn't have emotional needs. He doesn't need to make friends. Towards the weak he's a saviour only of physical miseries. Towards authority he's mischeivous and disrespectful. The only emotional bond he has is with 唐僧, who saved him, but ironically abuses him emotionally. It's like a love-hate relationship between a parent and a kid. The kid is stuck with the parent just like how 孙悟空's stuck with the journey to the west. At the beginning it's quite obvious that it's not his will to go along and get nagged by a pedantic monk. But with the wearing of the shrinkable ring he's forced to. So if you see how he went through the whole thing with that kind of non-voluntary motivation, and maybe actually got to enjoy it in a sadomasochistic way, the whole story's most definitely not a celebration of human will and that kind of stuff. (The classic mainland's version of the book showed some actual bond-building process. In one occasion 唐僧 made a skirt for 孙悟空 from the skin of a tiger he killed. The latter was touched.)
In fact, all four Chinese classics are tragedies. “宋江吸收先进生产力，招引卢俊义等人上山的右翼机会主义路线原本是对的，只是时不我待，梁山内部的意识形态斗争尚未完成，没料想财政危机比修正主义来得 还快，最终只能走上接受招安、远征采食的悲途.”
我没想到过宋江接受招安是为了财政危机。他作为领导人，了解山上的财务情况，他说不能一 辈子靠打家劫舍过日子，原来有这种在封子萌孙、光宗耀祖的理想以外 物质上的理由。为了要做好汉，好人自然不能抢；贪官污吏固然多，也不能老是劳命伤财地远征每座城池。偏偏梁山兄弟们的胃口都特别好，讲究每餐大鱼大肉的生 活素质。所以财政危机的到来是理所当然的。这证明一个乌托邦社会的短暂性，这样的社会在现实生活的包围下只好瓦解。又是一个悲剧。
There are way too much explanations, speculations and symbol-matching that the Chinese classics are able to afford. They are not masterpieces of realism. The stories exist in a vacuum. The author as an individual, his experiences and consciousness are opaque to the readers. (Somewhat different for 红楼梦) 李敖 condemns classic Chinese literature because of the lack of ontological reflections due to cultural repression. But I thought being able to guess and fit meanings into what is behind each little detail is also a form of pleasure.
Some other random stuff: 近年来，以文化政策为手段促进国力最戏剧化的例子，当然是韩国。受到1997年的经济冲击，韩国从1998年起提出“文化立国”的施政战略，把文化产业列 为发展国家经济的龙头产业。1997年制定了《创新企业培育特别法》，针对数字内容产业予以激励。接下来出炉了《文化产业发展五年计划》、《文化产业前景 二十一》、《文化产业发展推进计划》、《文化产业促进法》等等；又成立了文化产业振兴院、文化产业局、文化产业基金……在短短几年内，韩国已经成为世界第 五大文化产业大国。
The pattern repeats itself again. Another "miracle" following independence, economic reform and political reform. Korea does everything with speed, vigour and determination. It's so amazing that the personality of a nation and ethnicity can be as distinct as such.
I really didn't suffer a whole lot of anxiety from all that ball-catching theory. Does this show my sense of humour needs some serious revision? To appease my friends who think I did, I'm going to talk about something I heard from officer #2 (actually officer #10 through the trip): once when an AO fell sick during the trip and couldn't turn up for a dinner meeting, the boss returned from the meeting with medicine bought for him. Oh wow. I guess you can't complete the charisma and authority without some genuine kindness. The favourite type of leader in traditional Chinese novels are those who build emotional bonds. Subordinates would lay their life down for him and cry at the slightest kind words from him because he's... "authentic"? Ok. No more authentic leadership. No more business trips. Can't be bothered to think about those anymore.
http://www2.tianyablog.com/blogger/post_show.asp?idWriter=0&Key=0&BlogID=122562&PostID=2430124
" 《西游记》西天取经的小团队中，除沙僧的性格特点不够突出之外，猪八戒是这个组合中的“本我”，孙悟空是“自我”，唐僧是“超我”，猪八戒对取回真经、济 世救民的宏大目标不感兴趣，只受本能中的享乐原则支配，而孙悟空不排斥本能原则，但又自愿（或不自愿）地遵守行为准则，唐僧则有着圣人式的信仰追求和超现 实的道德范式。
离开取经的终极意义，孙悟空也有“超我”的一面，唐僧被女妖精骚扰或被美女国王钟情，每每此时，孙悟空总是在一旁嬉笑，除了有他一贯的幽默 感外，“性”对孙悟空几乎完全没有吸引力，王怡说可能是几百年在五指山下把孙悟空这方面的欲念和功能都压坏了。"
Hilarious! I've always found it regrettable that poor 沙僧 didn't get his proper share of show. Didn't know that the writer wanted a match with the Freudian "id"s. But even before 孙悟空's confinement under the mountain he already didn't fancy any female monkeys. In fact he doesn't have emotional needs. He doesn't need to make friends. Towards the weak he's a saviour only of physical miseries. Towards authority he's mischeivous and disrespectful. The only emotional bond he has is with 唐僧, who saved him, but ironically abuses him emotionally. It's like a love-hate relationship between a parent and a kid. The kid is stuck with the parent just like how 孙悟空's stuck with the journey to the west. At the beginning it's quite obvious that it's not his will to go along and get nagged by a pedantic monk. But with the wearing of the shrinkable ring he's forced to. So if you see how he went through the whole thing with that kind of non-voluntary motivation, and maybe actually got to enjoy it in a sadomasochistic way, the whole story's most definitely not a celebration of human will and that kind of stuff. (The classic mainland's version of the book showed some actual bond-building process. In one occasion 唐僧 made a skirt for 孙悟空 from the skin of a tiger he killed. The latter was touched.)
In fact, all four Chinese classics are tragedies. “宋江吸收先进生产力，招引卢俊义等人上山的右翼机会主义路线原本是对的，只是时不我待，梁山内部的意识形态斗争尚未完成，没料想财政危机比修正主义来得 还快，最终只能走上接受招安、远征采食的悲途.”
我没想到过宋江接受招安是为了财政危机。他作为领导人，了解山上的财务情况，他说不能一 辈子靠打家劫舍过日子，原来有这种在封子萌孙、光宗耀祖的理想以外 物质上的理由。为了要做好汉，好人自然不能抢；贪官污吏固然多，也不能老是劳命伤财地远征每座城池。偏偏梁山兄弟们的胃口都特别好，讲究每餐大鱼大肉的生 活素质。所以财政危机的到来是理所当然的。这证明一个乌托邦社会的短暂性，这样的社会在现实生活的包围下只好瓦解。又是一个悲剧。
There are way too much explanations, speculations and symbol-matching that the Chinese classics are able to afford. They are not masterpieces of realism. The stories exist in a vacuum. The author as an individual, his experiences and consciousness are opaque to the readers. (Somewhat different for 红楼梦) 李敖 condemns classic Chinese literature because of the lack of ontological reflections due to cultural repression. But I thought being able to guess and fit meanings into what is behind each little detail is also a form of pleasure.
Some other random stuff: 近年来，以文化政策为手段促进国力最戏剧化的例子，当然是韩国。受到1997年的经济冲击，韩国从1998年起提出“文化立国”的施政战略，把文化产业列 为发展国家经济的龙头产业。1997年制定了《创新企业培育特别法》，针对数字内容产业予以激励。接下来出炉了《文化产业发展五年计划》、《文化产业前景 二十一》、《文化产业发展推进计划》、《文化产业促进法》等等；又成立了文化产业振兴院、文化产业局、文化产业基金……在短短几年内，韩国已经成为世界第 五大文化产业大国。
The pattern repeats itself again. Another "miracle" following independence, economic reform and political reform. Korea does everything with speed, vigour and determination. It's so amazing that the personality of a nation and ethnicity can be as distinct as such.
posted by Azzurra | 5:08 AM
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