
在公眾討論場域,有時我們更需要的並非去加強文化記憶的敘事與禁忌,而是要嘗試去追溯、貼近歷史研究中的記憶。因文化記憶中很容易夾帶他者的預設或標準。如果面對一些事件心有所感,那我們能否發展出更成熟的公眾論述呢?而非正反雙方淪為被集體框架圍困的鏡像,卻仍自認在獨立思考。
理解對方的選擇是一回事,倫理學上的思辨與批判又是另一回事,因為人們始終需要做出選擇,關於我們想要怎樣的生活與社會,如同流水,眼下每一瞬思索,皆為聯通古今的歷史伏流,將每個人帶向未來。
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史奈德教授將原本凝滯、各自表述的二戰傷亡歷史,重新以同一片東歐大地為核心座標,然後沿著1933年至1945年的時間軸,帶領讀者審視史達林與希特勒兩大極權政體是如何互動與競逐發展。諸如烏克蘭、波蘭、波羅的海三國與白俄羅斯等國地區,夾在德蘇雙方政體運作下,一次次遭遇恐怖清算、饑荒、剝削與屠戮。讀者彷彿也跟著看見那血淚滴滴。
然而那些慘絕人寰的紀錄與數字,其目的非是要激起純義憤的比大小,更重要的是,讓讀者理解獨裁者集團的政策背後邏輯。
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俊介與喜久雄,是被同一套體制逼向不同方向的兩位孩子:一個背負血脈卻被天分否定,一個靠努力登高卻永遠得不到愛,只留下能通往藝術極境的孤獨。
本集談技藝、愛與無法躲避的悲劇。
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在藝術的世界裡,你越懂,就越看得見那個可能性;而可能性本身,就是一種無法逃離的誘惑。
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我在路上|Ain't Got No. I Got Life launched 15 days ago and published 4 episodes to date. You can find more information about this podcast including rankings, audience demographics and engagement in our podcast database.
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