[翻译]《天使爱美丽》与荣格主义

中国之屎

今天在找荣格的研究材料时偶而发现了Professor Walker的一篇论文，试着翻译了一下，与大家共享，时间仓促，错误多多，希望大家批评。
    另：注释是我自己加的，很随意。

《天使爱美丽》
作者：Stephen Walker
    Rutgers大学比较文学教授

    经常有一些电影是如此明显地参考了荣格①理论使得人们有理由确信它的导演很好地理解了荣格。这里有一个例子便是法国电影《天使爱美丽》（Jean-Pierre Jeunet导演），它在法国很受欢迎，也是很长一段时间内在美国最受欢迎的法国电影。对荣格主义者来说它的特别吸引人之处在哪呢？在这句话里我们可以找到答案：“一个性格内向的年轻女孩可以打破她的生活”，在她人生至关重要的转折点上的及时的及时警示让她做到了。艾米丽白天在一家咖啡馆工作，晚上则回到她在Montmartre的小公寓里独自过夜。从各种迹象看来，她过着一种内向的生活，并且也喜欢这种生活。有什么好让我们为她担心的呢？毕竟，荣格主义心理学经常面对有文化偏见的头脑简单的外向者为性格内向者及其价值作辩护。但是这是一件很好的事情吗？对于内向者来说内向的反应是合适的反应吗？关于这个问题，电影给出了一种平衡的观点，我确信内向的人不会因此而感到不快。
    “内向”和“外向”这两个术语成为我们日常语汇的一部分已经很长一段时间了，使用它们并没有暗示特殊的荣格心理学含义。事实上，这两个词可能是最早进入普通英语词汇的荣格心理学术语，比“原型”一词要早得多。但是在法语中\"introvertie\"用得很少，因此我想在这部电影中导演Jean-Pierre Jeunet使用的是它在荣格理论中的特殊意义。艾米丽，作为一个\"introvertie\"的女孩，是一个真诚的，具有荣格主义特征的人，至少在这部影片中是如此。
    影片中的警示“一个性格内向的女孩可以打破她自己的生活”对艾米丽来说是尤为及时的，因为她已经步履蹒跚地走到艾里克.艾里克森②称为年轻人进入成年生活的转折点——避免自我孤立而达到亲密交往的斗争。除了同事她没有朋友，除了在感情上冷漠的父亲没有人与她共渡周末，而父亲总是热衷于自己的事务而很少在艾米丽来访时听她说的话。很明显，她需要帮助，如果不是一个临床医生的话至少也要一个生活的导师来与她谈谈这一个由孤立到亲善的人生转折点。（有趣的是，在法语中，艾米丽.布林这个名字对于一个努力寻找帮助来适应生活的女孩是非常适当的，布林的字面意思是小马，也可以表示多亏导师指引而踏上人生正途的年轻人。）
    这一个导师正是住在艾米利公寓庭院对面的一个老人。他本人是一个非常内向的隐居者，他从来没有离开过自己的公寓，靠着使用完全相同的比例一笔一划地临摹Renior的关于外向者的社交庆典的名画《划船聚会的午餐》。这个老隐者几乎就要完成他的画，但是他被最后一部分阻挡了——在Renior的画中最显著位置的一个脸转向观众的女孩的面部表情。他想在艾米丽进入她自己的生活的时候来玩成这最后一笔，这个艾米现的化身，可以说她也需要“最后一笔”。
    临摹Renior画的快乐的外向者的画对这个内向的老隐者来说不仅仅是一种补偿，这幅画也向过度内向的艾米利传递了一个信息，因为画面上欢乐旋转的夫妇与艾米利孤单的公寓的鲜明的对比是对她的召唤。事实上，说艾米丽的公寓孤独是不公正的，因为看起来艾米丽满足于自己动手做饭，偶尔和楼下的邻居聊天，发现了性但并不认为那值得去费力气去追求并进一步去建立一种关系。在电影的开始，看起来她独自生活得很好，但是，她是否真正地有自己的生活呢？这是一个问题。
    似乎是为了回答这个问题，影片逐渐地让艾米丽更多地向外部世界展示她的魅力。直到这时候她还是一个他人生活和弱点的愉快的观察者，比起自己的生活她更愿意观察和想像别人的生活，在影片开始她就在幻想，站在Montmartre的山顶俯瞰巴黎的时候她在想此时城中有多少对情侣达到性高潮？（“十五”，她笑着推断，接下来的十五秒钟里我们看到了她想像中的十五对高潮中的情侣）。但是现在她开始积极地介入别人的生活，首先是以一些奇怪的有距离的方法。比如说，在她的公寓发现了一个小男孩珍藏个人纪念品和宝贝的罐头盒以后，她经过精心地搜寻找到了那个在孩提时代把生活的轨迹留在曾经住的公寓的男人。她找到他以后，悄悄地把盒子还给了他，在远处注视着那个男人看到童年丢失的东西以一种不可思议的方式重新出现在面前而几乎落泪。在另一次更主动地介入周围人生活的尝试中，艾米丽故意把把咖啡泼在同事的身上，迫使她的朋友去咖啡馆的洗手间去清洗，而她所渴望的男人刚好进去不久。但是很快，艾米丽开始卷入自己的追寻性伴侣游戏，她隐藏了自己的身份，跟踪一个害羞的年轻人（由Mathieu Kassovitz饰演，他也是1995年出色的电影《Hate》的导演），他，尽管在一家性商店工作，也是一个向艾米丽一样内向的人而与外向的约会保持着距离。
    与艾米丽正好般配，n'est-ce pas？但问题是艾米丽能否走出长久的内向生活去解决她“埃里克森的年轻人的转折点”，幸运的是，需要的只是一个神秘的警告（“一个内向的女孩可以打破她的生活”，还记得吗？），楼下隐居的画家为了让她认识这是她采取行为的最后时刻而告诉了她。当然她会的：这是一部法国式的好电影！所以，艾米丽.布林跑出去了，当影片最后艾米丽证明了在情况需要的时候她也能表现得像一个外向的人一样时，观众都会为她欢呼。看这部电影吧，看看她是怎么做到的！
  
注：
①卡尔.荣格——1875年出生于瑞士的一个小镇，后来成为弗洛伊德的亲密同事，后来由于学术上分歧而分开。创立了自己的学说——影响深远的分析心理学。提出了集体无意识、原型等概念。
②埃里克.埃里克森——德国心理学家，在弗洛伊德的女儿安娜.弗洛伊德那里接受精神分析培训，后来创立了自己的理论，著名的新弗洛伊德主义心理学家。

                                                试译于7月16日，麓山


附原文： AMELIE


Reviewed by Steven Walker
Professor of Comparative Literature
Rutgers University
Author of Jung and the Jungians on Myth
(2nd edition paperback by Routledge in 2002)


Every now and then films appear where the Jungian references are so clear that one is almost certain that the directors know their Jung. This is the case with the new French hit Amelie (directed by Jean-Pierre Jeunet), wildly popular in France, and one of the most the most popular French films to be distributed in the U.S. in a long time. But what is the film's special interest for Jungians? It is found in the words \"an introverted young woman can wreck her own life'-words that formulate a timely warning for Amelie at a crucial turning point in the film. Amelie (played by the kittenish Audrey Tautou) works in a café-restaurant during the day and then goes back to spend the night by herself in a little apartment in Montmartre. She has, to all appearances, a nice introverted life, and she seems happy with it. Why should we worry about her? After all, Jungian psychology has always defended the introverted life and its values against cultural prejudices favoring mindless extroversion. But can there be too much of good thing? Is the introverted response always the proper response for an introvert? The film offers a balanced perspective on this issue; I guarantee that introverts will not feel offended.


The terms \"extroversion\" and \"introversion\" have been part of our general vocabulary for a long time, and using them implies no particular knowledge of Jungian psychology; in fact, they were probably the first piece of Jungian vocabulary to cross over into ordinary English usage, long before \"archetypal\" started to mean (improperly) \"typical\" a few years ago. But the corresponding French adjective \"introvertie\" is used less frequently, so I think that in this case one can maintain that the director Jean-Pierre Jeunet has used it in a specifically Jungian sense. Ameilie, as \"une jeune fille introvertie,\" is a genuinely Jungian character - at least in this French film.


The film's warning that \"an introverted young woman can wreck her own life\" is especially timely for Amelie, because she is teetering on the edge of what Erik Erikson called the major life crisis of youth: the struggle to achieve intimacy and to avoid being stuck in isolation. Amelie is, in fact, beginning to show signs of dissatisfaction with her isolated life: no friends but her coworkers, and nobody to spend time with on weekends but her emotionally distant father, who is self-absorbed and hardly listens to what she says on her visits to him. She clearly needs help - if not a therapist's help, at least a mentor's help in successfully negotiating this life transition from isolation to intimacy. (Interestingly enough, as regards her need for mentoring, the French title of the film - Le fabuleux destin d'Amelie Poulain/The Fabulous Fate of Amelie Poulain - gives Amelie a last name that is quite appropriate and inspiring for a young girl trying to get help in getting a life: \"poulain\" means literally a young horse, but it can also mean a young person who is getting a leg up in business thanks to a mentor's support.)


The mentor who helps her turns out to be an old man living across the courtyard in her apartment building. He is himself very much of an introverted recluse. He never leaves his apartment, but keeps himself occupied by painting a detailed and full scale copy of Renoir's famous celebration of extroverted social life \"Luncheon of the Boating Party.\" The old recluse is almost finished with his copy, but he is baffled by the final task of painting the facial expression of a young woman who is leaning over towards the viewer in the foreground of Renoir's painting. He is trying to put this finishing touch on the painting when Amelie comes into his life, the very embodiment of the woman in the painting, since she also needs, so to speak, a \"finishing touch.\"


Copying Renoir's happy extroverted painting is not only a compensatory activity for the old introverted recluse; the painting also has a message for the overly introverted Amelie, since it is clear that its evocation of the whirl of happy young couples contrasts vividly with the image of Amelie's lonely apartment in Montmartre. Actually, it is not really fair to call her apartment lonely, since introverted Amelie actually seems content with making meals for herself, occasionally chatting with her downstair's neighbours, and discovering sex but not finding it worth the trouble of pursuing it further and building a relationship. At the opening of the film, it seems that her life by herself suits her fine - but does she really have a life? That is the question.


As though to answer this question the film gradually has Amelie edging towards engaging herself more with the outside world. Up until this point she has been an amused observer of other people's lives and foibles; she would rather observe or imagine their lives than get on with her own life. At the opening of the film she is imagining, as she looks down at the view of Paris from the hilltop of Montmartre, how many couples are having orgasms in the city at that very moment (\"fifteen,\" she concludes with a smile, and we see all fifteen as she imagines them in an amazing fifteen second sequence). But now she begins to actively intervene in other people's lives, at first in some strangely distanced ways. For example, after discovering in her apartment a tin box in which years before a boy had hidden his personal mementos and treasures, she goes through an elaborate search to find the grown man who as a boy had left this trace of his life in what later became her apartment. When she has found him, and has returned the box without his knowing who returned it, she watches him from a distance as he almost weeps over the inexplicable appearance of this lost object from his lost youth. In another attempt to participate more actively in the life of people around her, she deliberately spills coffee on a coworker, which obliges her friend to clean herself up in the restaurant's restroom where the man she has been lusting after has gone a moment before. But soon Amelie is involved with her own game of sexual pursuit and, keeping her identity a secret, is spying on a shy young man (played by Mathieu Kassovitz, the director of the remarkable 1995 film Hate), who, although he works in a sex shop, is as introvertedly at a distance from extroverted engagement with life as she is.


A perfect match for her, n'est-ce pas? But the question remains whether Amelie can step out of her introverted life style long enough to solve the Eriksonian youth crisis of isolation vs. intimacy. Fortunately, all it takes is a mysterious warning (\"an introverted young woman can wreck her life,\" remember?) from the artistic recluse downstairs for her to realize that it is finally time for her to take action. But will she take action? Of course she will: this is a French feel good movie! So Amelie Poulain is off and running, and viewers will cheer at the end of the film as this introverted young woman demonstrates that she can also act like a real extrovert when the situation calls for it. See the film and find out how she does it!

溶剂

不想就此文评价过多，因为实在不知道“荣格主义”是何物。不过很喜欢《天使爱美丽》，想不带任何评论性的眼光去看待它，因为她象一个清澈的孩子，我只需要去感受她，并不需要去探究她。