2024年12月22日 星期日

台北,首爾眾生相:【揭卓榮泰親邀韓國瑜主持程序正義 柯建銘批違法院長摧毀立院】(柯建銘)。Seoul, South Korea. Somewhere Street. A Hundred Cities Within Seoul 百 城之城——首爾 Memes, Jokes and Cats: South Koreans Use Parody for Political Protest

 

【揭卓榮泰親邀韓國瑜主持程序正義 柯建銘批違法院長摧毀立院】
在國民黨強勢主導下,立法院20日院會表決通過「公職人員選舉罷免法」、「憲法訴訟法」、「財政收支劃分法」3大修法。立院民進黨團總召柯建銘今(22)日出面還原法案表決前夕行政院長卓榮泰親邀立法院長韓國瑜協商過程,除批評國民黨主席朱立倫、國民黨團總召傅崐萁執意硬幹之外,更強調是「違法的立法院長,摧毀了立法院。」他呼籲全國人民站出來,島嶼一定會再天光。
柯建銘表示,他在立院31年來,不管是前院長劉松藩,以及擔任院長最久的王金平,心中都有一把尺,如何調和鼎鼐很重要。韓國瑜當過立委9年,不懂議事規則,很少開會,不知立院運作規則,而今初來乍到擔任院長,聽命議事人員還有最可惡的秘書長周萬來,創造發明這31年來他未曾見過的包圍主席台舉手表決,徹底違反「立法院職權行使法」,違法的立法院長,摧毀了立法院。
柯建銘也還原表決前夕卓榮泰主動找韓國瑜協商的過程。他說,卓主動約韓在官邸見面,盼韓主持程序正義,讓朝野立委好好發言,希望和平、理性處理3大法案,至於後續如何則是各黨問題。
柯建銘轉述,卓、韓當時協議,有關選罷法部分,就照程序處理;關鍵的憲訴法部分,等24日大法官人事同意權投完票再談也不急;至於財劃法,卓提出利用半年時間和各縣市、朝野溝通,之後行政院提出版本,請韓轉告朱立倫。
柯建銘提及,朱立倫說,有關憲訴法,等大法官全部補齊再談;財劃法則在這個會期1月21日前完成;選罷法部分,民進黨不可抗爭、不能佔領主席台。柯強調,從來朝野協商沒有做這樣要求,等於民進黨手綁起來看你們表演,無異緣木求魚。「他底氣足,我們就是要幹了!這樣的回話就是羞辱你嘛。」
柯建銘續指出,後來傅崐萁打給他,開了一個「讓你覺得民進黨都是文盲」的條件,首先,選罷法不可以釋憲,剝奪釋憲權利;其次,財劃法在12月31日前完成三讀。柯說,傅打的算盤是天方夜譚,是中國領導人習近平要的、賣台用的,「我們知道,和他們談這些有點與虎謀皮,過程就是如此。」
柯建銘更點名「亡國四人幫」,當然是韓國瑜、傅崐萁、民眾黨團總召黃國昌,以及背後的朱立倫,他們沆瀣一氣,意圖滅台、亡台。
至於後續民進黨團及行政團隊如何因應修法,柯建銘說,從總統賴清德以降每個人都在想辦法,台灣還有民意,藍白加起來62人要對抗2300萬台灣人民嗎?所有人都要在這裡安身立命,面對國家生死存亡關鍵時刻,呼籲百工百業都要站出來,充分反映民意,讓聲音響徹雲霄,島嶼會再天光,也應該天光!
(新聞連結於留言處)



Seoul, South Korea. Somewhere Street.  A Hundred Cities Within Seoul百 城之城——首爾
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They hoisted banners and flags with whimsical messages about cats, sea otters and food. They waved signs joking that President Yoon Suk Yeol’s declaration of martial law had forced them to leave the comfort of their beds. Pictures of the flags spread widely on social media.

The idea was to use humor to build solidarity against Mr. Yoon, who has vowed to fight his impeachment over his ill-fated martial law decree on Dec. 3. Some waved flags for nonexistent groups like the so-called Dumpling Association, a parody of real groups like labor unions, churches or student clubs.


他們舉起橫幅和旗幟,上面寫著關於貓、海獺和食物的奇特訊息。他們揮舞著標語,開玩笑說總統尹錫烈宣布戒嚴令迫使他們離開舒適的床鋪。旗幟的照片在社交媒體上廣泛傳播。


這個想法是用幽默來團結一致反對尹先生,尹先生發誓要對抗因12 月3 日他的不幸的戒嚴令而遭到的彈劾。他們舉著異想天開的橫幅和旗幟,有些人為所謂的餃子協會等不存在的團體揮舞旗幟,這是對工會、教堂或學生俱樂部等真實團體的模仿。


Memes, Jokes and Cats: South Koreans Use Parody for Political Protest

表情符號、笑話和貓:韓國人用模仿來抗議政治






Seoul, South Korea
Somewhere Street
Seoul, the capital of South Korea, has a population of 9.6 million. Home to one fifth of the country's residents, Seoul is famous for the celebration of tradition as well as the latest in fashion.



A Hundred Cities Within Seoul

July 26, 2015

百城之城——首爾

旅行2015年7月26日
梨泰院社區雩祀壇路10巷的一家餐廳。
Adam Dean for The New York Times
梨泰院社區雩祀壇路10巷的一家餐廳。
The Korean filmmaker Bong Joon-ho turned from the street into a passageway barely wide enough for two people. “Look at these dirty stairs,” he said rhapsodically, pausing to peer through a doorway at tiles of perhaps '70s-era vintage. The passageway descended farther and took a hairpin turn into a pedestrian alley of uneven brick walls, overhead knots of electrical wire and drying laundry. “Mayb​​e a detective could chase a criminal here,” he said, presumably imagining actors careening down the alley. “I have to shoot something here before something destroys it.”
韓國導演奉俊昊從大街拐入了一條過道,那地方窄得只能容下兩個人。“看看這些臟兮兮的樓梯,”他興致盎然地說道,還停下來瞅了瞅一戶人家貼著七十年代古董瓷磚的門廊。這條過道一路下行,經過一個急轉彎,拐入了一條普通的小巷,巷子兩邊是不平整的磚牆,頭頂上是一些糾結在一起的電線和晾曬的衣物。“也許這裡可以拍一段偵探追捕罪犯的場景,”他一邊說,一邊想像著演員們順著小巷狂奔。“我得趕緊拍個什麼,趁這兒還沒被毀。”
Mr. Bong, the critically acclaimed director of the dystopian thriller “Snowpiercer” as well as “The Host,” which is set in Seoul and stars a man-eating river monster, is not your average tour guide. And that was exactly the idea . I had visited the South Korean capital once before, during a rainy autumn, and while dazzled by the neon lights and spectacularly effective subway system, had barely scratched the city's surface.
 奉俊昊可不是一個一般的導遊,這位廣受好評的導演曾拍過反烏托邦驚悚片《雪國列車》和以首爾為背景、一個吃人河怪擔任主角的《漢江怪物》。這正是我此行的意義所在。我以前曾來過一次韓國首都,那是一個下著雨的秋天,我目眩神迷地沉醉在五光十色的霓虹燈和四通八達的地鐵系統中,看到的卻始終是一些浮光掠影。
Seoul is the heart of an urban area of​​ more than 25 million people — among the largest in the world — and like any 21st-century megalopolis, it is impossible to grasp as a single entity. From N Seoul Tower, a 777-foot- spire atop an 800-foot hill, the densely packed city rolls away into the hazy distance, stopping only where it comes up against the encircling mountains. If you look down from the top, there could be hundreds of Seouls, and I didn't know which to choose.
首爾位於一片人口超過2500萬的都市區的中心,位列世界最大城市之一,和其他的21世紀巨型城市一樣,你無法把首爾看成某種單一的存在。從建在800英尺(約243米)山頂上的777英尺(約237米)尖塔“N首爾塔”上看去,這座人口密集的城市延伸到了遠處迷濛的薄霧中,及至周圍連綿的山脈腳下才收住了勢頭。如果從最高處俯瞰,你會發現成百上千個首爾,所以我不知該怎樣選擇。
I knew, though, that I wanted to see contemporary culture beyond the best-known exports — the television shows that are staples across Asia and the perfectly choreographed K-pop videos. And so I sought out native informants, each a creative force unto his or herself: Shin Kyung-sook, a best-selling novelist; the fashion designer Juyoung Lee; Kim Sehwang, a musician; and Mr. Bong. I invited each to show me a part of Seoul that inspired them or held special meaning. One invited me to a museum, one to her place of work, and the other two to favorite neighborhoods. They decided which versions of Seoul I would see.
但我知道,我想看看韓國的當代文化,而不是人們早已熟知的韓流,比如那些風靡亞洲的電視節目和精心剪輯的流行音樂視頻。所以,我找到了一些深知首爾的本地人,他們每個人本身就是一種創新力量,其中包括暢銷小說作家申京淑、時裝設計師李周永(Juyoung Lee,音)、音樂家金世晃(Kim Sehwang,音)和電影導演奉俊昊。我請每個人帶我看看首爾讓他們靈感迸發或對他們有特別意義的那一部分。有人帶我去了博物館,有人帶我去了她工作的地方,而另外兩個人則帶我參觀了他們最喜歡的地段。這些人決定了我將看到何種版本的首爾​​。
Aoi Sora,一家白天營業的酒吧,位於首爾市的漢南社區。
Adam Dean for The New York Times
Aoi Sora,一家白天營業的酒吧,位於首爾市的漢南社區。
“Snowpiercer” was based on a French graphic novel and shot in the Czech Republic with actors from at least seven nations. In it, people of all classes, humanity's last survivors, are jammed together on a hurtling train. I should not have been surprised , then, that Mr. Bong, 45, chose to share a global Seoul. To get to our rendezvous, I climbed the sloping streets of the Itaewon neighborhood, past a cluster of gay and transgender bars, and, farther on, an increasing quotient of Middle Eastern restaurants.
《雪國列車》是一部根據法國漫畫小說改編的電影,拍攝地點在捷克共和國,劇中演員至少來自七個國家。在這部電影中,來自社會各階層的人類倖存者都困在一列疾馳的火車上。因此,今年45歲的奉導演打算和我一起看看全球化的首爾,並不令人驚訝。為了趕到我們的集合地點,我爬上了梨泰院的坡道,經過了一連串的同性戀與跨性別人士酒吧,繼續向前,又看到越來越多的中東餐廳。
In Itaewon, you can take a date or business associate out for a suitably impressive dinner on Itaewon-ro No. 27, or get a cellphone hooked up after hours in Nigerian Alley, side streets that respectively draw full-freight expats and the scrappier remittance class. I passed these places on my way to meet Mr. Bong at the Seoul Central Mosque, set on a hilltop where Itaewon meets the neighborhood of Hannam, its dome and twin minarets a beacon to Korea's tiny minority of Muslims.
在梨泰院區,你可以帶約會對像或生意夥伴在梨泰院路27巷吃一頓不錯的晚餐,或者在尼日利亞巷(Nigerian Alley)逛了幾個小時之後給手機入網,那裡是幾條各有特色的小街,吸引著許多來韓國工作的外國人和一些更敢闖的匯款族。我在去首爾中央清真寺與奉先生見面的路上經過了那些地方。中央清真寺坐落在一個小山坡上,那裡是梨泰院與漢南交界的地方。這座有穹頂和兩座宣禮塔的清真寺是韓國規模很小的穆斯林族群的燈塔。
While Friday congregants milled behind us in the late afternoon sun, we sat on a bench that looked out over the city. “This part of Seoul is amazing,” he said. “It symbolizes the incoherence of a city that doesn't have strong continuity.” He held his hands up and made a rectangle with his fingers, framing an imaginary shot. “Look at the layers,” he said.
在下午三四點的陽光裡,前來做禮拜的穆斯林在我們身後聚集了起來。我們坐在一條長凳上眺望這座城市。“這部分的首爾市太令人吃驚了,”他說。“這裡象徵著一座城市中互不相干的文化風景,而這座城市本身的發展並沒有太強的連續性。”他舉起雙手,用手指拼出一個方框,做出鏡頭狀。“看看這些不同層次吧,”他說。
In the foreground were old houses, then a church steeple in the middle distance, a common sight in a country that is nearly a third Christian. Beyond lay the Han River and too many high-rises to count. “In five or 10 years these old houses will be gone,” he said. “This is a city of destruction and reconstruction.”
這個鏡頭中的前景是一些老房子,中間是一座教堂的尖頂,在一個約莫三分之一人口是基督徒的國家,這是一種常見的景象。更遠處是奔流的漢江和多到數不清的高樓大廈。“再過五年或十年,這些老房子就不見了,”他說。“這是一座正在經歷大拆大建的城市。”
As the call to prayer sounded, Mr. Bong led me away from the mosque and onto a narrow street, Usadan-ro No. 10. The businesses we passed fell roughly into three categories. There were specialty shops — haberdashery, hardware — where it appeared neither staff nor signage had changed in 50 years. There were restaurants of more recent origin serving kosher Korean food or Turkish kebabs. And then there were the newest arrivals: a three-month-old wine bar, a juice bar, a tattoo- studio-slash-art-gallery called Soul Ink, a clothing shop in which every item was either black or white. One cafe sported a name that, as near as I could figure out, roughly translates as “maybe we're open today” ; two invitingly fluffy white Samoyeds named Cloud and Storm “work part time,” according to the barista. The neighborhood hovered in that sweet spot just before people start complaining about gentrification. “Here it all mixes very naturally,” Mr. Bong said.
召喚穆斯林人禱告的聲音響了起來,奉導演帶我離開了這座清真寺,踏上了一條窄街,雩祀壇路10巷。一路上,我們經過的商業場所大致可以分為三類,有些是特色商店,比如男子服飾用品店與五金店,這樣的商店無論是員工還是招牌都已經五十年沒變過了。另一些是近幾年出現的餐廳,提供地道的韓式食品或土耳其烤肉。還有一些是前不久才開張的,比如一家剛營業三個月的葡萄酒酒吧,一家果汁飲品店,一家名為靈魂之墨(Soul Ink)的刺青工作坊,一家專賣黑白色系的服裝店。一家店名很誇張的咖啡店,以我最大的理解能力,該店名大概可以譯為“我們今天也許開業”;據調咖啡的師傅說,店裡招攬客人的那兩隻名為雲朵和風暴、可愛的毛茸茸的白色薩摩耶犬都是“兼職員工”。這個社區目前發展得剛剛好,人們還沒有開始抱怨舊城改造。“在這裡,一切混搭得那麼自然,”奉導演說。
三星藝術博物館李氏分館中的一個18世紀陶瓷月亮罐。
Adam Dean for The New York Times
三星藝術博物館李氏分館中的一個18世紀陶瓷月亮罐。
We walked farther down the street to a bar called Aoi Sora with a triangular sign. It specializes in daytime drinking, Mr. Bong said; from Monday to Thursday, it closes at 7 pm Inside, by the light of a single large square window at the back, he ordered clams in their shells and a bottle of clear alcohol with a ginseng root winding through it, which was not on the menu but was created by the bartender, who in his off hours teaches a class in traditional booze-making. We sipped from small ceramic cups, and Mr. Bong talked more about his changing city. “Every alley has its own story,” he said.
我們沿著這條街繼續往前走,來到了一家名叫Aoi Sor的酒吧,酒吧有塊三角形的招牌。奉先生說,這家酒吧的特色是白天營業;從星期一至星期四,該酒吧每天晚上7點鐘就關門了。在酒吧里,藉著後面那扇大方窗的亮光,他點了一份帶殼的蛤蜊和一瓶有人參浸泡其中的清酒,這種酒並沒有列在飲品清單上,而是這位調酒師特別配製的,他業餘時間專門開班教傳統的釀酒工藝。我們端起小小的瓷酒杯,品了一小口清酒,然後奉導演又滔滔不絕地談起了這座正在變化的城市。“這裡的每條小巷都有自己的故事,”他說。
Over eight days in Seoul, destruction and transformation were regular themes. Ms. Shin, the novelist, explained her city this way: “In Paris or New York, when you have an appointment with a friend, you can meet her in the same place that you did a year ago. In Seoul, you can't, because there will be something new there.” New Yorkers may quibble, but her point stands; in Seoul the change is especially fast and comprehensive. But, Ms. Shin said , those same qualities are part of the city's dynamism and energy.
在首爾的這八天時間裡,拆除與改造是我們常常討論的話題。小說家申京淑是這樣闡述她的這座城市的:“在巴黎或紐約,如果你約了一位朋友見面,可以去一年前的老地方。但在首爾,你做不到,因為一年後那裡已經成了另外一個地方了。”紐約客們對此可能會提出異議,但她的觀點也並非不成立;首爾的變化特別快,而且是全方位的。但申京淑說,這種快速而全面的變化也是首爾的活力與能量所在。
They are also ones essential to her work. Ms. Shin, 52, is the author of “Please Look After Mom,” which sold more than a million copies in Korea and was published in English in 2011. In it, an old woman from the countryside comes to visit her grown children in Seoul. She makes it as far as the central train station and then disappears, lost in the matrix of the shape-shifting city. “Seoul is an important backdrop because I wanted to represent the clash between generations,” Ms. Shin said.
這樣的品質對她的工作也很重要。今年52歲申京淑是小說《尋找母親》的作者,這本書在韓國售出了超過100萬冊,並於2011年出了英文版。書中講述了一位老媽媽從農村來到首爾看望幾個長大成人的孩子。但她剛到中央車站就不見了,消失在這座變幻莫測的城市裡。“首爾是個重要的背景,因為我想表現兩代人之間的衝突,”申京淑說。
The city is not all frenetic evolution. There are serene oases in its parks and greenways, on the grounds of its centuries-old palaces and in its museums. Ms. Shin asked me to meet her at the Leeum, Samsung Museum of Art. It displays Korean art through the centuries, as well as contemporary works by both Korean artists — li​​ke the video-art pioneer Nam June Paik — and international stars like Andreas Gursky and Louise Bourgeois. When we arrived just before opening, an air of tranquillity prevailed.
但這座城市也並沒有完全陷入一場狂熱的演進。在市內的公園綠地中,在百年的宮城與博物館內,仍然有些遠離喧囂的綠洲。申京淑約了我在Leeum三星美術館見面。這裡展示了韓國百年來的藝術作品,以及諸如影像藝術先鋒白南準等韓國藝術家和安德烈亞斯·古爾斯基(Andreas Gursky)、路易絲·布爾喬亞(Louise Bourgeois)等國際巨星的當代藝術作品。我們到那兒的時候博物館還沒開門,四處瀰漫著一種寧靜的氛圍。
A small group of us — Ms. Shin, a poet friend of hers, an interpreter and I — followed an English-speaking guide through the Mario Botta-designed wing that houses mostly traditional art. (Other parts of the museum complex were designed by Jean Nouvel and Rem Koolhaas.)
我們一行人——包括我、申京淑、她的一位詩人朋友和一名翻譯——跟隨一位英語導遊參觀了馬里奧·博塔(Mario Botta)設計的博物館側翼,那裡展出的大部分作品都是傳統藝術。(該博物館的其他部分由讓·努維爾[Jean Nouvel]和雷姆·庫哈斯[Rem Koolhaas]設計)
The first piece we saw was an ethereal celadon ewer from the 13th century, decorated in a raised-relief lotus pattern. Beneath a soft spotlight in the darkened room, it looked almost translucent. Under the Goryeo dynasty, which lasted from the 10th to the 14th century, Korean artists adopted the Chinese method of making the glazed, pale-green pottery, then refined the craft to the point that many art historians consider Korean celadon among the finest ever made.
我們看見的第一件作品是13世紀的一個精美青瓷水罐,罐身裝飾著蓮花形的浮雕圖案。在幽暗的展覽室中,這件青瓷在一盞光線柔和的聚光燈下看起來幾乎是半透明的。在橫跨10世紀到14世紀的高麗王朝時期,高麗的藝術家們採用了中國人製造這種淺綠色釉面陶器的方法,並將之發揚光大至爐火純青的程度,以至於許多藝術史學家們都認為高麗青瓷是有史以來最好的青瓷藝術品之一。
李周永設計師創建的Resurrection品牌的展廳。
Adam Dean for The New York Times
李周永設計師創建的Resurrection品牌的展廳。
Though a well of knowledge herself, our human guide had also handed us digital ones. Museum audio guides tend to be clunky and overly insistent, but these lightweight, touch-screen paddles invited play. My sleek little machine sensed which object I was looking at and silently presented its image with white-on-black text. Some of the objects could be enlarged and spun around on the screen, allowing me to study curves and texture in minute detail — the next best thing to being able to pick up the items . In front of a 15th-century blue-and-white porcelain jar, I became so absorbed in the digital display that I fell behind the group.
儘管導游本人已經很學識淵博了,她還是給了我們幾個電子版的導遊設備。雖然博物館的電子講解機一般都很笨重,而且內容冗長,但這幾台輕便的觸屏設備卻很好用。我這台造型優美的小機器感應到了我在觀看的作品,便在屏幕上顯示出了這件作品的圖片,並配上了黑底白字的講解內容。有些物品的圖片可以在屏幕上放大旋轉,讓我能夠從極其細微的角度仔細研究那些作品的彎曲形狀和材料質地——其好處僅次於能把這東西拿起來觀摩。在一件15世紀的藍白色陶罐面前,我看著那些數碼圖像看著了迷,便落在了隊伍的後面。
But one specific item was our true destination. It was a foot-and-a-half-tall, white, rotund, 18th-century porcelain vessel called a moon jar. Lit from above, it appeared to float like a heavenly body over its pedestal. A jagged, tea-colored stain cut across the surface like an abstract painter's flourish, the result of oil once held in the vessel seeping out. Ms. Shin said the jar reminded her variously of a mountain, a pregnant woman or a woman in a hanbok — a voluminous traditional dress — on a windy day.
不過,有一件作品是我們此行的真正目的。那是一個白色圓形、高1.5英尺(約46厘米)、名為月亮罐的18世紀陶瓷器皿。在上方燈光的照射下,這件作品看上去像是一件漂浮在基座上的神器。有一道鋸齒狀的茶色痕跡劃過罐面,像是某位抽象藝術家大筆一揮,將曾經盛在罐子裡的多餘油墨灑了出來。申京淑說,這個罐子讓她想起很多東西,比如一座山脈、一位孕婦或是在某個起風的日子裡一位穿著傳統服裝的女人。
She visits the jar regularly, she said, and it offers her peace when she is stressed. If Seoul's manic side pulses through her settings, the jar shapes her work in a different way. “I want to write sentences as beautiful as the moon jar ,” she said. “I haven't done it ye​​t.” She is particularly in love with the oil stain. “The line of the stain shows the flow of time. Humans didn't make it; only history and nature could. ”
她說自己經常來看這只罐子,壓力大的時候,這只罐子會給她帶來平靜。如果首爾的喧囂是她故事背景中的脈搏,那麼這只罐子則以另一種方式塑造了她的作品。“我想把每個語句都寫得像這只月亮罐一樣美,”她說。“我目前還沒做到。”她特別喜歡罐子上的油漬。“這條污痕體現了時間的流逝。人類是做不到的,只有歷史和自然能做到。”
Ms. Lee, the fashion designer, invited me to visit her at her showroom in Gangnam, the district made internationally famous after being cheerfully ridiculed by the pop singer Psy. Gangnam has had an exceedingly short modern history — two locals, only half-jokingly , told me that it began in 1988, when the country's first McDonald's opened there and became a popular meeting place.
時尚設計師李女士邀請我去參觀她在江南區的展覽廳,該區自從被流行歌手“鳥叔”(Psy)載歌載舞地嘲弄了一番之後就享譽國際了。江南區的現代史極短,有兩位本地人半開玩笑地告訴我說,這個區始於1988年,當時韓國的第一家麥當勞在江南區開張了,於是這裡變成了流行的聚會場所。
By reputation a land of bling, it is where the luxury brands that line ritzy avenues around the world have established their Korean beachheads. It is also the seat of Korea's own fashion industry, home to labels like Jinteok and Bakangchi, both stars of Seoul Fashion Week. They and other Korean designers share the stretch of Samseong-ro between Hakdong-ro and Dosan-daero with Ms. Lee's brand, Resurrection.
該區享有浮華的聲譽,也是世界各地名品街上的那些奢侈品牌在韓國的據點所在地。這裡也是韓國本土時尚工業的所在地,駐紮了一些著名的韓國品牌,比如晉德(Jinteok)和朴項治(Bakangchi),這兩位品牌設計師都是首爾時尚週上的明星。他們以及其他韓國設計師的品牌,還李設計師的Resurrection品牌都駐紮在鶴洞路與島山大路之間三城路的那段狹長地帶。
Ms. Lee, 44, is a traditional Korean woman in some respects: She went into the same business as her mother, who works in the same building, still a designer, and helps care for Ms. Lee's two sons. But she is also known for her sumptuous neo-Gothic creations, which have clothed, among other foreign celebrities, Marilyn Manson. When he played in Seoul about 10 years ago, Ms. Lee seized fate and delivered some of her clothes to the concierge at his hotel. Ten minutes later, she said, Mr. Manson called her and asked for more. “He has a strange beauty, a grotesque beauty,” she said, calling him one of her biggest influences.
今年44歲的李設計師是一位在某些方面很傳統的韓國女性:她繼承了母親的事業,而她的母親也在這棟大樓里工作,至今仍然是一名設計師,同時還幫著照看李女士的兩個兒子。李女士以華麗的哥特式設計風格聞名,她所設計的服裝已經穿在了一些外國名人的身上,比如瑪麗蓮·曼森(Marilyn Manson)。大約十年前,瑪麗蓮·曼森在首爾演出時,李周永抓住了這個機會,她把自己設計的幾件衣服送到了曼森酒店的服務台。她說,10分鐘後曼森就給她打了電話,要她多送幾件過來。她說,“他有一種另類的美,一種奇特的美。”她認為曼森是對她影響最大的一個人。
漢南社區,首爾中央清真寺附近商店裡的看店人。
Adam Dean for The New York Times
漢南社區,首爾中央清真寺附近商店裡的看店人。
So it was perhaps not a surprise that I found her in the Resurrection showroom, which is open to the public, sitting on a carved black-lacquered chair upholstered in velvet. Her hair was streaked magenta. Dozens of red candles set in front of an enormous mirror suggested an altar, and wrought-iron chairs contrasted with a red wall that displayed an eclectic set of crosses. I would not have been surprised to find a well-appointed dungeon nearby. All this was backdrop to clothes made of sheer fabrics, leathers and synthetic furs, visible heirs to the designs of Alexander McQueen.
因此,在我發現她坐在Resurrection對公眾開放的展廳裡一把黑漆雕花天鵝絨座椅上時,這也許就不是什麼奇怪的事了。她的頭髮挑染了洋紅色。十多支蠟燭擺在一面巨大的鏡子麵前,把那里布置成了一個祭壇,還有幾把鑄鐵椅子與一面展示著各種十字架的紅色牆壁形成了對比。若再在附近發現一間像模像樣的地牢我也不會覺得很吃驚。這裡的一切都是那些薄紗、皮革與人造皮草服飾的背景,而這些服飾顯然都傳承於亞歷山大·麥昆的設計。
Ms. Lee is unusual in the world of high-end fashion as a woman who designs mainly for men. Or, at least, she sends mostly men down the runway, often looking like futuristic vampires, but women buy her designs, too. Her men's wear, in turn, sometimes incorporates feminine details. She showed me a men's sleeve garter inspired by women's garter belts.
李周永作為一名主要為男人設計服飾的女性,在高端時尚領域是不同尋常的。至少,她把眾多男性送上了T型台,讓他們看起來像是未來世界的吸血鬼,但女人也會購買她的設計作品。反過來,她設計的男裝有時候也融入了一些女性的元素。她給我看了一根男士的袖箍,其設計靈感來自於女性的吊襪帶。
Men, women, East, West — Ms. Lee mixes it up. Her love of black and leather reflects her Western side, she said (she studied at Parsons School of Design in New York). Lately, though, she has been reaching into the Korean past.
男性,女性,東方,西方——李設計師把它們融為了一體。她說,她對黑色與皮革的熱愛反映了她西方化的一面(她曾就讀於紐約帕森設計學院)。不過近幾年,她已經在探索韓國的過去了。
She walked to a rack of clothing and brought out a gold, red and black brocade jacket. This kind of silk was once used to make hanbok, she said, and she learned how to work with it from her mother. She showed me another piece , a men's jacket for her 2015 collection, in a traditional embroidered swan pattern. “That's my homework,” she said. “To combine Korean traditional fabrics with the modern.”
她走到一排衣服旁邊,拿出了一件以金色、紅色與黑色設計的錦緞夾克。她說,這種絲綢過去常常用來製作韓服,而且她從母親那兒學會了怎樣運用這種面料。她向我展示了另外一件作品,那是她為2015年時裝系列做的一件男士夾克,衣服上有傳統的天鵝刺繡圖案。“這是我做的功課,”她說。“將韓國傳統面料與現代設計相結合。”
All the artists I met seemed to observe more than lament Seoul's ceaseless transformation. All of them, though, without making an explicit point of it, showed me how history ran through their city and their work. Kim Sehwang, a nationally renowned guitarist, suggested we meet in the neighborhood of Samcheong, and invited along a longtime friend, the movie producer Jimi Nam.
我見過的所有藝術家都更傾向於觀察而非悲嘆首爾的不斷轉變。雖然所有人都沒有明確地說出這一點,但他們都讓我看到了韓國的歷史對他們的城市與作品有怎樣的影響。韓國知名的吉他演奏家金世晃金世晃建議我們在三清見面,還邀請了一位他認識了很久的朋友,電影製作人吉米·南(Jimi Nam)。
We sat down to lunch upstairs at a busy restaurant called Nunnamujip, near a window overlooking the street, where the stairway is lined with celebrity signatures. They ordered a spread of traditional items that included succulent marinated beef ribs (dok kalbi), tofu with kimchi and North Korean dumplings, which are bigger and rounder than the usual South Korean kind. Spicy rice cake sticks (dok boki), a dish that Mr. Kim said he misses when he goes abroad, rounded out the feast.
我們在一家生意很紅火的餐廳Nunnamujip的二樓共進午餐,我們挑了臨窗的窗戶,可以俯瞰整條街,餐廳裡的樓梯上排列著許多名人的簽名。他們點了一堆傳統食物,包括味美多汁的滷制牛仔骨、泡菜豆腐和朝鮮餃子,這種餃子比普通的韓國餃子更大更圓。最後上的是香辣年糕棒,金世晃說,這是他在國外最想吃的一道菜。
首爾市俯瞰圖。
Adam Dean for The New York Times
首爾市俯瞰圖。
Mr. Kim and Mr. Nam, both in their 40s, had similar takes on Samcheong, remembering it as an old, rundown but romantic neighborhood that somehow, around a decade ago, became fashionable. Having escaped the kind of wholesale overhaul that has affected other areas, it has undergone a different, more gracious kind of modernization. It is still home to many hanok, traditional houses with wood frames and curving tiled roofs. Most are no longer the homes they once were, but have been restored in keeping with their original design and repurposed as shops, teahouses and restaurants. The buildings' arched eaves line the stair-step passageways that lead up from the main road, Samcheong-ro.
金先生與南先生都是四十來歲,他們對三清的印像大致相同,他們回憶這裡曾經是個破舊、簡陋但很溫馨的街區,然後不知怎麼大約在十年前變成了一個時尚區。由於避開了那種影響了其他區域的大規模改造,這裡經歷了某種不一樣但更加溫和的現代化進程。這裡有許多人仍然穿著韓服,有許多傳統的住宅都是木質結構,屋頂鋪著彎彎的瓦片。雖然許多房屋都不是曾經的舊宅了,但經過修復之後保持了原貌,並改作商店、茶館和餐廳之用。這些建築都有一段樓梯連接著主幹道三清路,樓梯通道上方都有拱形的屋簷。
Mr. Kim's mother would bring him to a noodle soup restaurant in the neighborhood when he was a boy, and when he was dating his now-wife, they would come to its cafes or the restaurant where we had lunch. The soup restaurant he and his mother would visit, Sujebi — also the name of the soup itself — is still there, and when we walked by, more than a dozen people waited outside. Groups of friends strolled the sidewalks, some couples embracing the curious local custom of dressing to match each other, stripe for stripe and toque for toque.
金先生還是孩子的時候,他母親常帶他去這裡的一家湯麵館,而他和現在的妻子當初剛剛約會的時候,常常會來這裡的咖啡館或去我們剛剛吃午餐的那家餐館。他和母親常去的那家“面片兒湯麵館”(Sujebi)還在老地方,這也是麵館湯麵的名字,我們經過這家麵館時,門口還有十多個人在排隊等候。路邊有三五成群的朋友在逛街,有些情侶還按照當地的獨特風俗穿著情侶衫,條紋衫配著條紋衫,毛線帽搭著毛線帽。
Mr. Nam said he first came to the renewed Samcheong in 2004, when Park Chan-wook, director of the revenge movie “Oldboy,” invited him to meet at a French restaurant. “I was skeptical,” Mr. Nam said, “ but he told me that the neighborhood was starting to change.” Now he doesn't come to Samcheong often, but when he is publicizing a new movie, he rents out a whole cafe in the neighborhood and invites the news media.
南先生說,2004年他第一次來到改造後的三清,講述復仇故事的電影《老男孩》的導演朴贊鬱邀請他到一家法國餐廳見面。“我當時很懷疑,”南先生說,“但他告訴我,這片街區已經變了。”如今,他不常來三清了,但他每次宣傳新電影的時候,都會包下這裡的一家咖啡廳,然後邀請新聞媒體。
We finished our neighborhood tour over iced drinks in a cafe; its windows were wide open to the sun and a light breeze ruffled our napkins. Out on the sidewalk, Seoulites passed glass storefronts and curving tiled rooftops, sometimes both part of a single building that stitched together old and new. Mr. Kim looked up and down the street and said, “I wish I could come here more often.”
在一家咖啡廳喝完了冰凍飲料之後,我們結束了這片街區之旅;咖啡廳的窗戶完全敞開了,對著太陽,一陣微風吹起了我們的餐巾。在窗外的人行道上,首爾人路過了那些玻璃櫥窗和鋪著彎瓦片的屋頂,有時候這兩者是同一棟新舊結合的建築物的一部分。金先生看了看這條街說,“我真希望自己能常來這裡逛一逛。”
Aoi Sora, 79-1 Usadan-ro No. 10-gil, Yongsan-gu; 82-70-4217-1977.
Nunnamujip 鐘路區三清路 136-1號;82-2-739-6742。
Nunnamujip, 136-1 Samcheong-ro, Jongno-gu; 82-2-739-6742.
Nunnamujip, 136-1 Samcheong-ro, Jongno-gu; 82-2-739-6742.
Sujebi, 101-1 Samcheong-ro, Jongno-gu; 82-2-735-2965.
Sujebi 鐘路區三清路 100-1號;82-2-735-2965。
The Leeum, Samsung Museum of Art, 60-16 Itaewon-ro No. 55-gil, Yongsan-gu; 82-2-2014-6901; leeum.samsungfoundation.org/html_eng/global/main.asp.//needs the whole web address.//
三星藝術博物館李氏分館,龍山區梨泰院路 55巷60-16號;82-2-2014-6901;leeum.samsungfoundation.org/html_eng/global/main.asp. //needs the whole web address .//
N Seoul Tower, 105 Namsangongwon-gil, Yongsan-gu; 82-2-3455-9277; nseoultower.co.kr/eng.
N首爾塔龍山區南山公園巷105號;82-2-3455-9277;nseoultower.co.kr/eng
Seoul Central Mosque, 39 Usadan-ro No. 10-gil, Yongsan-gu; 82-2-793-6908; koreaislam.org/en/mainpage.
首爾中央清真寺,龍山區雩祀壇路 10巷39號,82-2-793-6908; koreaislam.org/en/mainpage.
Resurrection by Juyoung Lee, 742 Samseong-ro, 2nd floor, Gangnam-gu; 82-2-512-3384; resurrectionbyjuyoung.com.
李周永設計師的Resurrection 展覽廳,江南區三城路 742號二層,82-2-512-3384;resurrectionbyjuyoung.com
本文最初發表於2015年7月26日。
翻譯:任夢

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