无忧论坛
标题: ＜卡萨布兰卡＞歌词中的＂吻＂之探讨 -- 东西方的吻 [打印本页]
作者: 和者盖寡A 时间: 2014-1-14 12:30
标题: ＜卡萨布兰卡＞歌词中的＂吻＂之探讨 -- 东西方的吻
本帖最后由 和者盖寡A 于 2014-1-14 14:19 编辑
探讨涉及如下问题：
１. 中西方的文化背景的差异对文字翻译的影响。
２. ＜卡萨布兰卡＞歌词中的"sigh in kiss"不是＂吻中的叹息＂。
３. 中国的吻与西方的吻不同吗？
初步探讨的结论：
１. 正确的翻译需要对两种文化背景都了解。
２. "sigh in kiss"是＂吻的过程中的喘息声＂。
３. 中国传统的吻与西方的吻可能不同。
作为中国人，你是如何kiss接吻的？欢迎读者给出你自己的理解，包括相反的意见。
作者: 和者盖寡A 时间: 2014-1-14 14:15
标题: 《卡萨布兰卡》网上中文翻译的问题
本帖最后由 和者盖寡A 于 2014-1-14 15:31 编辑
英文歌词：
《Casablanca》
......
Oh! A kiss is still a kiss in Casablanca
But a kiss is not a kiss without your sigh
Please come back to me in Casablanca
I love you more and more each day as time goes by
......
网上中文翻译：
《卡萨布兰卡》
......
噢！在《卡萨布兰卡》里，吻依旧是吻，
但没有了你的叹息，那吻已不再是吻，
请来卡萨布兰卡与我相会，
我爱你一天更胜一天——随着时光流逝。
......
更正的中文翻译：
《卡萨布兰卡》
......
噢！在《卡萨布兰卡》里，吻依旧是吻，
但吻已不再是吻，如果听不到你的喘息，
请来卡萨布兰卡与我相会，
我爱你每日有增无减——随着时光流逝。
.......
这里息，逝押韵。
为什么是＂喘息＂，而不是＂叹息＂，将在下面继续探讨。
作者: 和者盖寡A 时间: 2014-1-14 15:29
标题: Sigh, ＂接吻过程中的喘息(声)＂
本帖最后由 和者盖寡A 于 2014-1-14 17:25 编辑
sigh在英文中的主要词义是：叹气，叹息(声)；(风、树的)啸声，呜咽声。有的词典虽也注明有＂舒了一口气＂的意思，但是难发现有＂接吻过程中的喘息＂的解释。这种解释只在实际生活中的使用和上下文中找到。请看下面的两篇英文文章：
作者: 和者盖寡A 时间: 2014-1-14 15:38
标题: 亲吻姑娘，令她们呼出声音 KISS THE GIRLS AND MAKE THEM SIGH (ZT)
本帖最后由 和者盖寡A 于 2014-1-14 15:45 编辑
KISS THE GIRLS AND MAKE THEM SIGH
"You must remember this ..." But if you do remember, then you know a kiss - a movie kiss, that spasm on a spotless screen - is never just a kiss. I mean, is there any other medium better made for the kiss? You look at something like Rodin's bronze embrace and you have to feel the pathos of that cold, eternal lockjaw, the lovers so crazy-glued together they can never back off a few inches to delight in the warm halation of smudged kissy-face - or go any further. And, sure, there are kisses in literature that we remember, from Sleeping Beauty's awakening to Nabokov's ecstatic description of what just saying "Lolita" does to the mouth. But devote more than a short paragraph to a written kiss and you're getting into dental surgery or some weirdly formal version of pornography. Literature's not good at losing control without making fun of the wild thing at the same time.
But in the movies - and especially, I suggest, the movies made between the coming of sound and the collapse of censorship (late Twenties to late Sixties) - the kiss is not just sweet, lovely and natural; it is nearly the logical conclusion, or climax, to the finest voyeuristic syntax of the form. After all, movies at their deepest level are about watchful faces. If you were to analyse or count the shots in movies (don't worry, there's no need), you would see how many of them are about faces, often close-up faces, cut off from the rest of their bodies and much sense of the world, looking at, gazing at, wondering about and trying almost to become other equally isolated and enshrined faces. So it's natural that these two-shots, or faces, should meet, and melt. Movies are about the dream of one face getting into, almost becoming, another. In some love scenes, the shots of two faces are even gently dissolved into one another.
Consider Ernst Lubitsch's The Shop Around the Corner (1940), set in Budapest but shot at MGM, one of the best love stories ever filmed. James Stewart and Margaret Sullavan work at the same shop. They don't get on very well; they argue, they are at cross-purposes and it nearly hurts them to look at each other. But, shy romantics, they are both engaged in epistolary love affairs, writing, with mounting sentiment and recognition, to strangers. They are unaware that they are writing to each other. And so the movie is a delicate, fragile (for this is perilous business) comedy about whether two would-be lovers can overcome their own considerable intellectual prejudices. (There is much more to this rich film, but you can discover that yourselves.)
Lubitsch filmed in the American way of 1940 - group shots, people talking together, human situations held in one frame, without many close-ups. But as the romantic misunderstanding rises to critical mass, and as the awful, beautiful truth dawns on the two people, so proud and so lost, he begins to show them in their own medium, and - closer than that - their own shots. For they have started to study each other; that attentiveness is the mark of falling in love. We ache for their success. There is one shot, a slice of Sullavan's face, as seen from inside her empty mailbox as she looks for a message, that is both tortured and exquisite. Like a theorem, the film gently pursues its own proof until the last shot (their first kiss), a rush of released music - and the whole thing is over. Nearly 60 years old, it is as piquant as an Eszterhazy honey ball (a Hungarian confection, recommended for would-be kissers, but hard to find now outside that Old Budapest specialised in by MGM).
So many films of the kiss-era I am talking about closed with that opening of faces that solved all muddle and melodrama and sent the audiences out into the other, larger dark, their hopes about hopefulness renewed. There was no more telling emblem of what the movies were - of the harmony of arrestingly intimate actions and enormous, impossible, sweeping desires - than those heady two-shots, of the shoulders and above, taken looking slightly upwards so that there was space, light and the shine of yearning above the lovers (a place for their heat to rise to), of a couple so joined that they might actually be one entity with two heads and four hands (all the better for caressing - or was it self-caressing?).
There was softness, a downy bed, made by the woman's hair (nearly always long and spilling), by fur or silk that lapped up to their faces, and the remarkable way in which two faces were set at angles, but conjoined, without so much as the least shadow spoiling cheek, brow, chin or mouth. Such things were not easy to arrange: shooting a kiss was a rare art, and sometimes the swept-away lovers had to know how to writhe and swim in their own glowing rapture without going out of focus. (An aside: has art history ever wondered how far the famous fracturing of faces in Picasso and Francis Bacon, say, is an emotional response to what the eye sees in kissing?)
And we heard the splash, grind and whispering of kisses. Of course, there had been epic osculations in silent cinema. But the true, saturated, tongue- twisting silence of lovers in their communion was only possible when the medium added sound - the one great conspiratorial urging that silent movies cannot do is silence, the immersion in someone that ignores words but hears the rustle and creak of clothes, the heartbeat of room tone, the friction of skin and the palpation of mouths opening and swallowing, the draining of saliva and the sheer coursing of blood and other bodily fluids. In great kissing scenes, you can close your eyes and feel that there are microphones in the woman's earlobes finely attuned to every escaped sigh or moan, not to mention the passing need to breathe. Kissers sound like people asleep, sucking on their dreams.
It's the sound that is most seductive in the great, and in its day famously prolonged, kissing scene from Notorious (1946). Cary Grant and Ingrid Bergman are seen first on the balcony of a Rio de Janeiro apartment. They are both wearing hound's-tooth-check jackets - of slightly different mesh - that seem ready to interlock. The kiss begins outside in the evening air, but then he slides her inside and the greased camera tracks in with them. The mingling of the kiss propels them across the room, stroking, murmuring - there is talk all the time, and it is not casual - until the phone rings. The effect is very strange: was Grant always working his way towards the phone? He picks it up, and talks, though the rapture goes on for her, not just interrupted, but provoked by the phone. But now we see that he is still, dark and closed, while Bergman is desperate, open and longing to be saved by love. He kisses her still while he hears the news on the phone that her "assignment" has been decided. He is a spy, and she has been co-opted in the campaign against some Nazis. She is to give herself to the leading villain, as a way of infiltrating the group. Her lover, Grant, has helped arrange it, and so their kiss has been poisoned, a terrible trap. Yet it is gorgeous, too, heard and felt and so arousing in 1946 that some people felt everything was going too far. Those were the days when in most cinemas the back rows were effectively reserved for couples and their snogging. But sometimes if the picture got too dull (or too kissy-kissy), then naughty kids would saunter towards the back of the theatre to study (in the screen's light) the teenage abandon of homeless lovers sprawled across the velour stalls. Until an usherette waved you away with her torch - and resumed her special voyeur's vantage.
There's a painting that sums up that age of usherettes - Edward Hopper's New York Movie (1939), in which an usherette stands beneath a cluster of shaded lights, pensive or dreamy, her chin in her cupped hand, not attending to, but in the dark presence of the theatre, its plush seats and encrusted decor, and what is just a lunar sliver of the black-and- white screen. You can't make out the image up there, yet it ought to be lovers' mouths, as huge and serene as the zeppelin of Man Ray's mouth - the painting he did in 1934 of a pair of red lips drifting over a landscape. There was always a surrealist subtext in the way people lounging half- asleep or lost in dream in the dark could observe mouths the size of cruisers slipping across the screen, driven by the furtive gurgle and the squeezed smooch of a kiss.
Nearly all kisses from the Thirties and the Forties - Gable and Crawford, Ladd and Lake, Robert Taylor and Garbo (punctuated by Camille's cough) - could serve as examples. Yet it was in the Fifties, I think, that the kiss became more urgent. We had seen the drooping, needy mouths of Brando, Presley and Dean, and we guessed that something like real sex could not be far away. But if you are interested in rapture, there is little to surpass Montgomery Clift and Elizabeth Taylor in A Place in the Sun (1951) - dark heads, with shining dark eyes. Though the movie talks of sun, it's black- and-white and always foreboding. These are guilty lovers (at least until he's been condemned). Then she visits him one last time, and there are close-ups and two-shots of them - not so much embracing, as joined in the last rite of adoration - that are as beautiful as anything the movies ever did. These shots were done with telephoto lenses, so the faces seemed lifted out of drab reality.
Their faces are in their own short-lived paradise; and maybe Clift and Taylor were two of the last generation that really believed in screen kisses. After all, they fell in love kissing for the camera, slipping between the cracks of fiction and friction just as audiences always wondered - "Are they really doing it?" We live now in an age of antic, acrobatic, simulated intercourse (for the most part), but that Fifties kissing was real, and many a dry actor got wet for life in the endless re-takes. Some said they were professional about it. But how could the movies have been so potent if the actors hadn't believed as much as we wanted to? If you had to kiss Clift or Taylor for three hours, who couldn't find some motivation?
And if you want something more robust and dangerous, then try Burt Lancaster and Deborah Kerr in From Here to Eternity (1953), running out of the waves at Diamond Head, Hawaii, tumbling on the hard sand. Burt's was a trained circus body still, and Deborah's one that we were all shocked to see in so flagrant a scene (that's "shocked" as Claude Rains uses the word in Casablanca). They rolled in the surf and the imagery was so innocently horny that dirty censors clipped four seconds out of it - as if, for an instant, legs opened and surf was the new saliva. But it was a kiss that kept the movie in touch with the considerably more explicit scenes of James Jones's novel. And Hawaii is now a loveboat tourist haven.
Things changed, of course. As censorship wilted, other urges got hard- ons. The screen admitted nakedness, tougher language and much more educational versions of sex. The great glory of the kissing two-shot (maybe the most expressive illustration of what Hollywood meant, the stamp of its romantic imperialism) gave way to the isolated close-up of a flustered Warren Beatty, half aghast, half unable to believe his luck, feebly beating away at Faye Dunaway as she makes to go down on him in Bonnie and Clyde. (Hadn't he offered his pistol to be kissed?) But mouth-to-mouth didn't thrill any longer. And we are enlightened now - if that is the word - by the odd loneliness of women (or actresses - are they doing it?) gushing over with impromptu cries, involuntary moanings and the noise of orgasm in shots that might have been done with the guy at the beach for the day. Or you can have Richard Gere in Pretty Woman, sighing discreetly (as if he'd slipped off tight shoes), as the great, Grand Canyon mouth of Julia Roberts seeks out his gear shift.
Yes, sex is more real and authentic now, and kissing in the old days was a mad stimulus that may have left people unbalanced because they never got to the real thing. Still, something has been lost. No one quite knows how to film a kiss now, or how to do it on screen. You could see the fantasy being peeled away in that extraordinary scene in Some Like It Hot (1959) where the allegedly frigid Tony Curtis encourages the cartoonishly voluptuous Marilyn Monroe to do her best to get him going again. There are endless kisses from Monroe, with the effect of her ice-cream being wasted on dried anchovy. But kissing was being mocked and undermined, just as the woman Monroe played was being held up to ridicule. Later on, in recollection, Curtis said it had been like "kissing Hitler", because Marilyn was so selfish, so difficult, so unprofessional. Maybe, but at the time every man was being urged to laugh at the exploitation of the stupid big blonde loyal to a lost cause.
It's nearly time to go, and I've left so much out - the way Bogart and Bacall learn how to kiss, with the merit of both parties trying, in The Big Sleep; the reckless pride in The Postman Always Rings Twice (1981) with which Jessica Lange sweeps bakery off the kitchen table, stirring up the flour, and looks at Nicholson with, "All right, Come on! Huh? Come on!", dragging him into her like a feeding tube she needs; the kiss in Touch of Evil that sets off the bomb; the way in Of Human Bondage Bette Davis nearly erases her face as she tries to wipe away the memory of Leslie Howard's kisses; Dietrich in Morocco, pausing, considering and - oh, very well - dropping a naked kiss on the mouth of the pretty woman at the cabaret who has found her amusing; the last look in White Squall between Jeff Bridges and Caroline Goodall, husband and wife, as she is about to drown, and they are separated by plate glass, not a kiss but a kinship; the kiss that whispers "Rosebud" and gives us all the gift of the mystery story in Citizen Kane; and even the way in Patton that the fearless fearsome general puts a kiss of salutation on the brow of an exhausted soldier.
There are kisses still, thank God. As there should be on 14 February, a day of love and massacre - or what the movies used to aspire to be: Kiss Kiss, Bang Bang.
作者: 费老 时间: 2014-1-14 15:44
KISS THE GIRLS AND MAKE THEM SIGH
"You must remember this ..." But if you do remember, then you know a kiss - a movie kiss, that spasm on a spotless screen - is never just a kiss. I mean, is there any other medium better made for the kiss? You look at something like Rodin's bronze embrace and you have to feel the pathos of that cold, eternal lockjaw, the lovers so crazy-glued together they can never back off a few inches to delight in the warm halation of smudged kissy-face - or go any further. And, sure, there are kisses in literature that we remember, from Sleeping Beauty's awakening to Nabokov's ecstatic description of what just saying "Lolita" does to the mouth. But devote more than a short paragraph to a written kiss and you're getting into dental surgery or some weirdly formal version of pornography. Literature's not good at losing control without making fun of the wild thing at the same time.
But in the movies - and especially, I suggest, the movies made between the coming of sound and the collapse of censorship (late Twenties to late Sixties) - the kiss is not just sweet, lovely and natural; it is nearly the logical conclusion, or climax, to the finest voyeuristic syntax of the form. After all, movies at their deepest level are about watchful faces. If you were to analyse or count the shots in movies (don't worry, there's no need), you would see how many of them are about faces, often close-up faces, cut off from the rest of their bodies and much sense of the world, looking at, gazing at, wondering about and trying almost to become other equally isolated and enshrined faces. So it's natural that these two-shots, or faces, should meet, and melt. Movies are about the dream of one face getting into, almost becoming, another. In some love scenes, the shots of two faces are even gently dissolved into one another.
Consider Ernst Lubitsch's The Shop Around the Corner (1940), set in Budapest but shot at MGM, one of the best love stories ever filmed. James Stewart and Margaret Sullavan work at the same shop. They don't get on very well; they argue, they are at cross-purposes and it nearly hurts them to look at each other. But, shy romantics, they are both engaged in epistolary love affairs, writing, with mounting sentiment and recognition, to strangers. They are unaware that they are writing to each other. And so the movie is a delicate, fragile (for this is perilous business) comedy about whether two would-be lovers can overcome their own considerable intellectual prejudices. (There is much more to this rich film, but you can discover that yourselves.)
Lubitsch filmed in the American way of 1940 - group shots, people talking together, human situations held in one frame, without many close-ups. But as the romantic misunderstanding rises to critical mass, and as the awful, beautiful truth dawns on the two people, so proud and so lost, he begins to show them in their own medium, and - closer than that - their own shots. For they have started to study each other; that attentiveness is the mark of falling in love. We ache for their success. There is one shot, a slice of Sullavan's face, as seen from inside her empty mailbox as she looks for a message, that is both tortured and exquisite. Like a theorem, the film gently pursues its own proof until the last shot (their first kiss), a rush of released music - and the whole thing is over. Nearly 60 years old, it is as piquant as an Eszterhazy honey ball (a Hungarian confection, recommended for would-be kissers, but hard to find now outside that Old Budapest specialised in by MGM).
So many films of the kiss-era I am talking about closed with that opening of faces that solved all muddle and melodrama and sent the audiences out into the other, larger dark, their hopes about hopefulness renewed. There was no more telling emblem of what the movies were - of the harmony of arrestingly intimate actions and enormous, impossible, sweeping desires - than those heady two-shots, of the shoulders and above, taken looking slightly upwards so that there was space, light and the shine of yearning above the lovers (a place for their heat to rise to), of a couple so joined that they might actually be one entity with two heads and four hands (all the better for caressing - or was it self-caressing?).
There was softness, a downy bed, made by the woman's hair (nearly always long and spilling), by fur or silk that lapped up to their faces, and the remarkable way in which two faces were set at angles, but conjoined, without so much as the least shadow spoiling cheek, brow, chin or mouth. Such things were not easy to arrange: shooting a kiss was a rare art, and sometimes the swept-away lovers had to know how to writhe and swim in their own glowing rapture without going out of focus. (An aside: has art history ever wondered how far the famous fracturing of faces in Picasso and Francis Bacon, say, is an emotional response to what the eye sees in kissing?)
And we heard the splash, grind and whispering of kisses. Of course, there had been epic osculations in silent cinema. But the true, saturated, tongue- twisting silence of lovers in their communion was only possible when the medium added sound - the one great conspiratorial urging that silent movies cannot do is silence, the immersion in someone that ignores words but hears the rustle and creak of clothes, the heartbeat of room tone, the friction of skin and the palpation of mouths opening and swallowing, the draining of saliva and the sheer coursing of blood and other bodily fluids. In great kissing scenes, you can close your eyes and feel that there are microphones in the woman's earlobes finely attuned to every escaped sigh or moan, not to mention the passing need to breathe. Kissers sound like people asleep, sucking on their dreams.
It's the sound that is most seductive in the great, and in its day famously prolonged, kissing scene from Notorious (1946). Cary Grant and Ingrid Bergman are seen first on the balcony of a Rio de Janeiro apartment. They are both wearing hound's-tooth-check jackets - of slightly different mesh - that seem ready to interlock. The kiss begins outside in the evening air, but then he slides her inside and the greased camera tracks in with them. The mingling of the kiss propels them across the room, stroking, murmuring - there is talk all the time, and it is not casual - until the phone rings. The effect is very strange: was Grant always working his way towards the phone? He picks it up, and talks, though the rapture goes on for her, not just interrupted, but provoked by the phone. But now we see that he is still, dark and closed, while Bergman is desperate, open and longing to be saved by love. He kisses her still while he hears the news on the phone that her "assignment" has been decided. He is a spy, and she has been co-opted in the campaign against some Nazis. She is to give herself to the leading villain, as a way of infiltrating the group. Her lover, Grant, has helped arrange it, and so their kiss has been poisoned, a terrible trap. Yet it is gorgeous, too, heard and felt and so arousing in 1946 that some people felt everything was going too far. Those were the days when in most cinemas the back rows were effectively reserved for couples and their snogging. But sometimes if the picture got too dull (or too kissy-kissy), then naughty kids would saunter towards the back of the theatre to study (in the screen's light) the teenage abandon of homeless lovers sprawled across the velour stalls. Until an usherette waved you away with her torch - and resumed her special voyeur's vantage.
There's a painting that sums up that age of usherettes - Edward Hopper's New York Movie (1939), in which an usherette stands beneath a cluster of shaded lights, pensive or dreamy, her chin in her cupped hand, not attending to, but in the dark presence of the theatre, its plush seats and encrusted decor, and what is just a lunar sliver of the black-and- white screen. You can't make out the image up there, yet it ought to be lovers' mouths, as huge and serene as the zeppelin of Man Ray's mouth - the painting he did in 1934 of a pair of red lips drifting over a landscape. There was always a surrealist subtext in the way people lounging half- asleep or lost in dream in the dark could observe mouths the size of cruisers slipping across the screen, driven by the furtive gurgle and the squeezed smooch of a kiss.
Nearly all kisses from the Thirties and the Forties - Gable and Crawford, Ladd and Lake, Robert Taylor and Garbo (punctuated by Camille's cough) - could serve as examples. Yet it was in the Fifties, I think, that the kiss became more urgent. We had seen the drooping, needy mouths of Brando, Presley and Dean, and we guessed that something like real sex could not be far away. But if you are interested in rapture, there is little to surpass Montgomery Clift and Elizabeth Taylor in A Place in the Sun (1951) - dark heads, with shining dark eyes. Though the movie talks of sun, it's black- and-white and always foreboding. These are guilty lovers (at least until he's been condemned). Then she visits him one last time, and there are close-ups and two-shots of them - not so much embracing, as joined in the last rite of adoration - that are as beautiful as anything the movies ever did. These shots were done with telephoto lenses, so the faces seemed lifted out of drab reality.
Their faces are in their own short-lived paradise; and maybe Clift and Taylor were two of the last generation that really believed in screen kisses. After all, they fell in love kissing for the camera, slipping between the cracks of fiction and friction just as audiences always wondered - "Are they really doing it?" We live now in an age of antic, acrobatic, simulated intercourse (for the most part), but that Fifties kissing was real, and many a dry actor got wet for life in the endless re-takes. Some said they were professional about it. But how could the movies have been so potent if the actors hadn't believed as much as we wanted to? If you had to kiss Clift or Taylor for three hours, who couldn't find some motivation?
And if you want something more robust and dangerous, then try Burt Lancaster and Deborah Kerr in From Here to Eternity (1953), running out of the waves at Diamond Head, Hawaii, tumbling on the hard sand. Burt's was a trained circus body still, and Deborah's one that we were all shocked to see in so flagrant a scene (that's "shocked" as Claude Rains uses the word in Casablanca). They rolled in the surf and the imagery was so innocently horny that dirty censors clipped four seconds out of it - as if, for an instant, legs opened and surf was the new saliva. But it was a kiss that kept the movie in touch with the considerably more explicit scenes of James Jones's novel. And Hawaii is now a loveboat tourist haven.
Things changed, of course. As censorship wilted, other urges got hard- ons. The screen admitted nakedness, tougher language and much more educational versions of sex. The great glory of the kissing two-shot (maybe the most expressive illustration of what Hollywood meant, the stamp of its romantic imperialism) gave way to the isolated close-up of a flustered Warren Beatty, half aghast, half unable to believe his luck, feebly beating away at Faye Dunaway as she makes to go down on him in Bonnie and Clyde. (Hadn't he offered his pistol to be kissed?) But mouth-to-mouth didn't thrill any longer. And we are enlightened now - if that is the word - by the odd loneliness of women (or actresses - are they doing it?) gushing over with impromptu cries, involuntary moanings and the noise of orgasm in shots that might have been done with the guy at the beach for the day. Or you can have Richard Gere in Pretty Woman, sighing discreetly (as if he'd slipped off tight shoes), as the great, Grand Canyon mouth of Julia Roberts seeks out his gear shift.
Yes, sex is more real and authentic now, and kissing in the old days was a mad stimulus that may have left people unbalanced because they never got to the real thing. Still, something has been lost. No one quite knows how to film a kiss now, or how to do it on screen. You could see the fantasy being peeled away in that extraordinary scene in Some Like It Hot (1959) where the allegedly frigid Tony Curtis encourages the cartoonishly voluptuous Marilyn Monroe to do her best to get him going again. There are endless kisses from Monroe, with the effect of her ice-cream being wasted on dried anchovy. But kissing was being mocked and undermined, just as the woman Monroe played was being held up to ridicule. Later on, in recollection, Curtis said it had been like "kissing Hitler", because Marilyn was so selfish, so difficult, so unprofessional. Maybe, but at the time every man was being urged to laugh at the exploitation of the stupid big blonde loyal to a lost cause.
It's nearly time to go, and I've left so much out - the way Bogart and Bacall learn how to kiss, with the merit of both parties trying, in The Big Sleep; the reckless pride in The Postman Always Rings Twice (1981) with which Jessica Lange sweeps bakery off the kitchen table, stirring up the flour, and looks at Nicholson with, "All right, Come on! Huh? Come on!", dragging him into her like a feeding tube she needs; the kiss in Touch of Evil that sets off the bomb; the way in Of Human Bondage Bette Davis nearly erases her face as she tries to wipe away the memory of Leslie Howard's kisses; Dietrich in Morocco, pausing, considering and - oh, very well - dropping a naked kiss on the mouth of the pretty woman at the cabaret who has found her amusing; the last look in White Squall between Jeff Bridges and Caroline Goodall, husband and wife, as she is about to drown, and they are separated by plate glass, not a kiss but a kinship; the kiss that whispers "Rosebud" and gives us all the gift of the mystery story in Citizen Kane; and even the way in Patton that the fearless fearsome general puts a kiss of salutation on the brow of an exhausted soldier.
There are kisses still, thank God. As there should be on 14 February, a day of love and massacre - or what the movies used to aspire to be: Kiss Kiss, Bang Bang.
和者盖寡A 发表于 2014-1-14 15:38 http://bbs.51.ca/images/common/back.gif
作者: 和者盖寡A 时间: 2014-1-14 15:48
现买现卖！:laugh:
作者: 和者盖寡A 时间: 2014-1-14 15:58
标题: 如何掌握吻的艺术？ How to Master the Art of Kissing (ZT)
本帖最后由 和者盖寡A 于 2014-1-14 16:02 编辑
How to Master the Art of Kissing
Ah, the kiss. Even bad ones are good. The mysteries of a great kiss are the most wonderful kinds of mysteries. Being a top-level kiss master? It'll take some practice. Fortunately, it's fun practice.
Steps - http://pad3.whstatic.com/images/thumb/c/ca/Kiss-Step-1.jpg/670px-Kiss-Step-1.jpg
1
Make sure your lips aren't dry - moistening them (but not too much) makes it easier for your lips to slide over your partner's. Use colorless, stick lip balm for best results. Squeezable balm will work too but use in moderation. You don't want to smear shiny Carmex all over your partner. - 2
Let your partner take the lead sometimes and get used to his or her style. Give each other chances to lead and you may find a different way you like to kiss. - http://pad3.whstatic.com/images/thumb/1/12/Kiss-after-a-date-6.jpg/670px-Kiss-after-a-date-6.jpg
3
Close your eyes just before your lips touch. Some people enjoy looking into their partner's eyes when kissing, but for most, it's a huge creepy turn off. Keep them closed and you will enjoy it more. Think about how blind people sense so much more than sighted people, the same principle applies. You will get a more rushing sensation from the touch and feel of a kiss if your eyes are relaxed and closed. - 4
Use your hands! Don't let your arms awkwardly hang there. Guys, your hands should be around her back, waist, or on the sides of her face. Girls, your hands can be in a NUMBER of places, including: around his neck, on the sides of HIS face, on his stomach, on his hips, or a guy's favorite, on his biceps. Also don't be afraid to run your fingers through your partner's hair, just make sure your hair is clean just in case it happens to YOU! - 5
Let them know what they are doing is good. Softly moan, sigh, or kiss back harder if what they are doing is pleasurable. Girls, if you are holding their arms/biceps, give a little squeeze plus a moan to drive them nuts. - http://pad3.whstatic.com/images/thumb/0/0e/Kiss-after-a-date-8.jpg/670px-Kiss-after-a-date-8.jpg
6
If you're smaller than the partner you're going to kiss, then hold your head a little back and stand on your tiptoes if comfortable. If you are a girl and you are shorter, as it is in most cases, wrap your arms around his neck and he will naturally wrap his around your waist and lift you up. - 7
If you're taller than the partner you're going to kiss, bend your head a little down and keep your legs a little wide apart for the other person to stand. - http://pad2.whstatic.com/images/thumb/2/2d/French-Kiss-Step-6.jpg/670px-French-Kiss-Step-6.jpg
8
French Kiss. Remember: Don't dive straight for the tonsils. Play with their tongue - caress, fondle, wrestle with it. Think of it as trying to massage the other's tongue. NEVER bite; you could easily hurt the other person.- If you're a bit intimidated by French Kissing, don't be! It sounds scary only because it is not as easy as a regular kiss, but just do it in small steps. First, start kissing like a normal kiss, then slowly open your mouth and touch your partner's tongue softly with yours. They will get the hint and go from there!
- Use your tongue in the way you want your partner to use his/hers - both of you will naturally do the same.
- 9
Relax! As long as your are comfortable and at ease, your kiss will be pleasurable for both you and your partner. Just empty your mind of everything except the moment at hand and you will master the art of kissing.
Video
The Art Of Kissing - How To French Kiss
http://www.youtube.com/watch?v=X0ZFXvwGh38
Tips
- Don't freak out about it, just relax and be comfortable around your partner.
- DON'T stress. If you or your body becomes tense, your lips will naturally tense up and no one wants to kiss hard lips.
- Change speed and pressure to add a mix and emotion. More pressure is more passionate. Less pressure is more intimate. More speed gives a sense of urgency, like you two have been waiting your entire life for this. And a slower speed shows intimacy, like you're letting the moments last as long as you can.
- Start off small, with short, light kisses, barely touching each other. Then add passion by applying more pressure (but don't smother them!) and length to each kiss.
- For a first kiss, meeting the upper and bottom lips dead on is a natural and universal way start off. To go further though, lightly kiss only one lip, softly sandwiching one of theirs between both of yours. This will cause them to do the same.
- Make it natural. Practice by touching your lips to the back of your hand. You want to do it in short, upward bursts, starting with your mouth open and dragging your lips together, not pushing them into your hand.
- If you want to kiss as passionately as you can, WITHOUT going to a French Kiss, try lightly tracing small portions of your partner's bottom or upper lip with your tongue. This can be very enticing without worrying about how to go all the way into a French.
- Breathe through your nose! Nothing ruins a kiss more than you passing out! Breath silently through your nose or, as long as you don't breath in puffs, breath slowly into the kiss. This will create a dramatic and irresistible sensation.
- Be gentle.
- For the kiss to be passionate. Your eyes should be closed.
Warnings - Don't be robotic! Relax your body and your lips will naturally do the same. Most of the muscles in your face are in your lips so keep those relaxed.
- Don't open your mouth too wide, nobody likes someone trying to eat their face. Practice width by relaxing your lips together with your teeth together, then part your lips with your teeth still together. This is the perfect width.
- Don't forget to breathe!
- Keep your eyes CLOSED.
- Make sure your mouth is clean and fresh.
- When using your hands, keep them at appropriate places or your partner will get the wrong idea about you.
作者: 费老 时间: 2014-1-14 16:05
探讨涉及如下问题：
１. 中西方的文化背景的差异对文字翻译的影响。
２. ＜卡萨布兰卡＞歌词中的"sigh in kiss"不是＂吻中的叹息＂。
３. 中国的吻与西方的吻不同吗？
初步探讨的结论：
１. 正确的翻译需要对两种文化背景都了解。
２. "sigh in kiss"是＂吻的过程中的喘息声＂。
３. 中国传统的吻与西方的吻可能不同。
作为中国人，你是如何kiss接吻的？欢迎读者给出你自己的理解，包括相反的意见。
和者盖寡A 发表于 2014-1-14 12:30 http://bbs.51.ca/images/common/back.gif
作者: 和者盖寡A 时间: 2014-1-14 17:57
本帖最后由 和者盖寡A 于 2014-1-14 20:26 编辑
我认为中国情侣的接吻多是相对短暂的，轻微的，以此显示某种温柔的爱，羞涩的爱。像现代西方人这样，吭哧吭哧地亲吻的很少。好象这种比较可以从双方的电影里表现接吻的镜头里看到区别。
如果上面的道理成立，就不难理解中国人在翻译"sigh in kiss"时，就没有察觉到＂叹息＂不合理，＂喘息＂实际很自然。国人缺少那样的爱情生活经验也！
如果本人以上是谬论，欢迎补充事实根据，拍砖。
最后，我觉得所谓西方的接吻方式更可取，对情侣们更有利。
作者: david-davidabc 时间: 2014-1-14 19:45
+1
作者: 孙参001 时间: 2014-1-14 19:49
吻与日有什么必然的联系？
作者: 和者盖寡A 时间: 2014-1-14 21:12
看来你都对日更有兴趣。是不是你的吻会快一些，以便早点进入日的状态？:thinking:
作者: 和者盖寡A 时间: 2014-1-14 21:36
搜索来号称中国影史上最长接吻桥段，一看就知道要输给西方电影了。
过七夕，看中国影史上最长接吻桥段（姜文，刘晓庆）
作者: 加东老张 时间: 2014-1-14 22:00
本帖最后由 守望者阿魁 于 2014-1-23 14:42 编辑
甜蜜...陶醉...
接吻能美容...知道吗？
面由心生，经常这么陶醉，不美才怪。
陶醉...再陶醉...还是陶醉...
作者: 和者盖寡A 时间: 2014-1-15 13:27
标题: 佐证一
本帖最后由 和者盖寡A 于 2014-1-15 13:30 编辑
身价很高的好莱坞女星格温尼斯.派特洛在接受《哈泼斯娱乐》杂志采访时，向公众出示了自己不高的择偶标准：“他最好是高高瘦瘦的，有结实的肌肉，要善良正直、彬彬有礼、博学、风趣、机智、有艺术细胞。他不必迷倒每个人，但要有独特魅力。最重要的是，他还有良好的接吻技巧。”这个标准，几乎迎合了所有贪婪得很有品位的女人的梦想。如果在中国按照这个标准找男人，可能会找到几个不同的高等品种，但找不到一个“几合一”的。高高瘦瘦有结实肌肉的一般很贵，善良正直的一般很便宜，彬彬有礼的一般有权术细胞没有艺术细胞，博学的轻易不风趣机智。最重要的是，中国男人一般都没有或不屑于“接吻技巧”。
也许我这样说偏激了，中国的男人该骂我了。但我想说的是：从前的中国优秀男人会干的事情比现在多得多，从会打猎到会打仗会砍柴会砍头会血谏会外交会采阴补阳会写小诗摸小脚；后来呢，会生活作风会暗中整人会向领导汇报思想；如今大部分的中国男人会桑拿会伟哥会海归会CEO……但中国的优秀男人会“接吻”吗？这是人性中十分严肃的问题，这个问题像火星的空气一样神秘。一个善良正直的男人不接吻，比如贾宝玉；一个邪恶的男人不接吻，比如西门庆黄世仁；中国的不优秀的男人更不接吻，比如武大郎。偶尔有一些既不善良也不邪恶之辈干一些“亲嘴摸屁股”的勾当，比如未央生之流，但亲嘴的目标不在嘴，而是另有所图。在上个世纪30年代跟着电影、80年代跟着电视这些外来文化学会西式“接吻”之前，“亲嘴”究竟是不是中国男女欢爱过程中的规定动作，似乎没有人通过合法的渠道传播这一知识。
亲嘴（请用各地方言发音或转译），无疑是“前现代”性爱的一部分，它直接指向性，因而属于禁忌的部分。因此，该动作一般在私人场所进行。所以，我们从来看不到德高望重的中国父母在孩子面前亲嘴，当然也看不到孩子们在父母面前亲嘴。偶尔在婚礼上会看到当众“亲嘴”的情形，那是新郎和新娘对众多捧场者的回报，为了感谢乡亲们的盛情，他们当众表演模拟性爱，以最低成本满足群众的意淫。我们第一次见到“接吻”，无疑是通过西方电影。在某座桥上或铁轨边，接吻拉响了伟大战争的警报。在教堂举行的结婚仪式上，接吻收割了亲朋的掌声和鲜花。这种波澜壮阔的“接吻”，对中国式的“亲嘴”构成了毁灭性的打击。它是来自肉体的一次暴乱，它在肉体和精神上改写了“爱”和“性”的性质，其根本区别就在于空间的改变----由私人领域进入公共领域。这一改变将原始性爱的“亲嘴”，变成了现代爱情的“接吻”。
更重要的是，这种场所的变化同时支配了肉体语言。在原始“亲嘴”里，性别因素占据了主要地位。嘴唇是一个女人，舌头是一个男人；嘴唇是防卫性的，舌头是进攻性的，它们构成了战争的紧急状态。而在现代爱情的“接吻”里，器官的性别界限模糊了，它们不是处于战争状态，而是平等或尽力表现平等的对话状态。
性属于物种遗传，人人无师自通，“亲嘴”谁不会？而“爱”是习得的，因此需要教育。这种教育仅靠看点美式法式韩式文艺片是不成的。首先需要那些不会“接吻技巧”的大学教授所提倡的“人文精神”教育，也就是学会全身心扑上去“爱”，而不是只想到占有和交换；其次是要让嘴唇有一定闲暇，不要整天忙和。比起任何一个带骨头的器官，比如后脑勺、背部、腿和脚，中国男人不带骨头的器官，比如嘴唇和舌头，实在太忙了：喝酒、耍嘴皮子、吐痰、品茗、吸烟、叼牙签、骂人、诉讼、拍马屁……就在这众多高难度的器官杂技中，嘴唇们好不容易获得的一点“爱”的功能，又一次遭到了全面围堵。
来源： 康易网 |
作者: 和者盖寡A 时间: 2014-1-15 13:35
标题: 佐证二
本帖最后由 和者盖寡A 于 2014-1-15 13:53 编辑
揭秘：关于接吻 你不知道的10件事 原创于: 2012-04-16 19:12:55
阅读提示：在西方人看来，接吻非常重要，并且需要不懈地练习。在西方国家，接吻是一种礼仪，可是在中国却是男女之间才能做的。中国男人并不热衷于接吻，他们似乎更愿意直达目的，忽视了女性最喜爱的浪漫前戏。
http://i0.sinaimg.cn/lx/2011/0331/U3514P8DT20110331172649.jpg
揭秘：关于接吻 你不知道的10件事
在西方人看来，接吻非常重要，并且需要不懈地练习。在西方国家，接吻是一种礼仪，可是在中国却是男女之间才能做的。中国男人并不热衷于接吻，他们似乎更愿意直达目的，忽视了女性最喜爱的浪漫前戏。
中国男人以为自己对女人很了解，认为自己擅长接吻技巧，我们是否应该告诉他“你不是”，或是任由他继续自负下去，以免伤害他的感情？更进一步，我们为什么不愿意去学习成为接吻高手呢？
在锻炼自己成为一个接吻高手之前，你有必要知道关于接吻的这10件事。
1.接吻让你变得更美
不少女性热衷于各种美容美体活动，觉得通过各种的美容美体中心能让自己变得更加美丽。其实，要想变得更美丽，无需如此费尽心思，只需几个热吻，就能让你变得更美。
一个热情的吻会使面部29块肌肉处于紧张状态，这29块肌肉包括12种唇部及17种舌头部位的肌肉。换句话说，接吻可以被看作是一种有效地锻炼方式，它能够使皮肤更加光滑，预防皱纹，也能够加速血液循环。或许接吻的效果要比使用各种护肤霜或做面膜还要好一些。当然，同使用护肤霜以及做面膜相比较而言，接吻的过程要让人舒服得多。
2.接吻让你更健美
不要为了自己身上的几块赘肉节食，更不必频繁跑去健身中心，或是去美体中心抽脂减肥，接吻可以让你更瘦身。
据统计，接吻每分钟可消耗26卡路里热量，接吻几分钟就等于少吃一碗米饭了。一个快速浪漫的接吻可能要燃烧2到3卡路里的热量，而法国式接吻却至少要燃烧5卡路里，因为法国人接吻需要张开嘴，舌头进行接触。科学家宣布，要想达到减肥的效果，我们并不需要疯狂接吻。每天只需三个持续20秒的吻，就能让你达到减轻体重的目的。
3. 接吻可以预防牙斑和龋齿
和牙膏作用相似，接吻可以预防牙斑和龋齿。
接吻可以刺激分泌大量唾液，唾液中含有钙和磷，有效预防龋齿。充满激情的接吻者不容易得牙龈炎。此外，在接吻过程中，唾液的酸碱度是中性的，也能预防牙齿疾病。
想要有一口美白漂亮的牙齿，就多接吻吧。
4.激吻也有弊端
现在很多年轻人喜欢寻求刺激，喜欢充满激情的热吻。可是并不是接吻就全是对身体好的，激吻也有弊端。
充满激情的接吻持续90秒钟，可能致使血压升高，引起脉搏跳动速度加快。此外，激吻还会增加血液荷尔蒙的水平，减少一分钟寿命。
所以，不要时常沉浸于激吻当中，平淡简单的一个吻往往让人更难以忘记。
5.各国接吻方式
法国式的接吻被称为“灵魂的结合”。法国人接吻时，不仅嘴唇互相碰触，舌头也必须互相接触。充满激情的法国人还发明了另外很多种接吻方式。
爱斯基摩人的接吻方式与众不同，他们仅仅彼此揉揉鼻子而已。只有当接吻对象的嗅觉器官相碰触后，他们的嘴唇才稍微张开一点。然后，爱斯基摩人深吸一口气，当嘴唇互相结合的时候再释放出空气。在尽情享受对方的气味后，互相用脸颊挤压对方的鼻子。
去到国外，不要用中国式的激吻方式，不然别人会把你当傻瓜看待，要入乡随俗。因此所学点国外的接吻方式吧。
6.公众场合接吻
很多年轻人都喜欢在公众场合接吻，觉得这样才能显示出自己深爱对方。孰不知，在公众场合接吻，很容易招来旁人异样的目光。因此，一定要注意在公众场合接吻的礼数。
在日本、台湾、中国内地以及韩国，在公共场合接吻通常被认为不合礼数。两名日本人在互相亲吻前，应该维持一定的距离，弯腰鞠躬头相碰后亲吻对方一秒钟。
7. 接吻禁忌
热吻前女士们要拭去口红，否则接吻之后他就会拥有小丑的红唇了；如果你的嘴唇干燥，最好涂些润唇膏。
接吻前，不要用舌头先舔一遍嘴唇，面前的爱人不是10磅的龙虾，出于同样的理由，请不要咬或允吸嘴唇，舌头等。而把嘴张得硕大，会让你活象一只捕食猎物得美洲鳄。
8.不想接吻
如果真的不想接吻，又不想伤害对方感情，你可以告诉他：“我的牙医说因为牙根蛀牙，任何异物不得入口，只能用吸管进食。”
如果对方拒绝你的亲吻，一名淑女或绅士的做法是：当时绝不动怒或生气，就算此时内心觉得羞辱的要死或绝望哭泣，外表也要保持冷静。事后自杀也为时不晚。
9.全神贯注
接吻时，不要老惦记着对方的丰胸或美臀，真正的淑女，绅士会尽情享受此刻美好时光，首先专心于这一吻。
亲吻时轻柔的爱抚对方脸颊时浪漫的，但绝不是使劲积压人家的脸，紧紧抱住脑袋不放手。完全没有必要把美好的接吻演变成犯罪行为。
10.不要就说出来
如果你不愿别人舔你的耳朵，应该直接告诉对方这一点。即使你并不介意，也最好提醒他温柔的接吻。另外，耳朵不是喇叭，不用使劲对着吹。亲吻耳朵的底线时吻耳垂周边。如果恋人不再亲吻耳际，就不要让他再返工了。
作者: 白色百合 时间: 2014-1-15 21:47
乍看窗口图片，还以为误入黄版，善哉善哉。
作者: 加东老张 时间: 2014-1-16 01:15
本帖最后由 守望者阿魁 于 2014-1-23 14:34 编辑
看到亲吻图片，就想到黄版上了，阿门。
作者: 和者盖寡A 时间: 2014-1-16 07:52
本贴讨论触及了男人的软肋，女人的羞愧。
思忖于心，悄然而离，无言以回。我以为是一种另类的认同方式。:aplain:
作者: 和者盖寡A 时间: 2014-1-18 17:41
标题: 观看了电影后，我对先前的理解和结论有点动摇了。
本帖最后由 和者盖寡A 于 2014-1-18 17:45 编辑
卡萨布兰卡
http://share.vrs.sohu.com/5700/v.swf&topBar=1&autoplay=false&plid=336&pub_catecode=&from=page
作者: 费老 时间: 2014-1-18 21:26
我可回你的贴了。。。呵呵:-D
作者: Hahaha 时间: 2014-1-19 02:06
本帖最后由 Hahaha 于 2014-1-19 02:13 编辑
Have you ever heard the following nursery rhyme?
Georgie Porgie, Puddin' and Pie,
Kissed the girls and made them cry,
When the boys came out to play
Georgie Porgie ran away.
Hahaha.
作者: 和者盖寡A 时间: 2014-1-19 12:11
Have you ever heard the following nursery rhyme?
Georgie Porgie, Puddin' and Pie,Kissed the girls and made them cry,When the boys came out to playGeorgie Porgie ran away.
Hahaha.
Hahaha 发表于 2014-1-19 02:06 http://bbs.51.ca/images/common/back.gif
This is my first time.
作者: Hahaha 时间: 2014-1-19 17:13
本帖最后由 Hahaha 于 2014-1-19 20:56 编辑
这首儿歌在加拿大和英国有不少老年人会念念不忘。常常用来调侃取名＂乔治＂的男孩子。
流行程度类似于中国的＂丢手绢＂。不过，现代的孩子已经很少有人唱儿歌了，除了上网就是打游戏。有些老一辈的人还能回忆起来，唱唱跳跳的。
作者: Hahaha 时间: 2014-1-19 17:39
另外，建议大伙儿列举几个与接吻有关的英文词汇。我先开个头：
smooch
作者: 加东老张 时间: 2014-1-23 14:46
怎么不接下去？
作者: 和者盖寡A 时间: 2014-1-23 15:16
标题: Sigh in Kiss
http://bbs.51.ca/viewthread.php?tid=411924&page=8&fromuid=256588#pid2587491
作者: 和者盖寡A 时间: 2014-1-23 15:19
我第一次听说这个词，是否在口语中常用？
作者: seaweed 时间: 2014-1-23 20:36
我不早就提倡了多亲嘴了么, 一个个嘴那么臭... :laugh:
作者: 和者盖寡A 时间: 2014-1-24 12:11
本帖最后由 和者盖寡A 于 2014-1-24 12:14 编辑
你有提倡过吗？
另外“亲嘴”有点贬义，“亲吻”比较高雅一些。
“西式”“亲吻”在真诚表达爱意的意义上，在追求浪漫的情爱的意义上，在性爱生理科学的意义上，都有更优越的地方。
在网上搜索了半天有关《颐和园》中的激情片段视频，就是没有人有兴趣把那段“西式”长吻的片段节选后传上来，只有那更露骨的更直接的性爱镜头被节选传了上来。所以，我说，中国男人不太感冒那“西式”长吻。你们也只好到整部电影里自己去找出来了。
http://bbs.51.ca/viewthread.php?tid=411924&page=8&fromuid=256588#pid2587380
作者: Hahaha 时间: 2014-2-1 17:55
smooch 这个词是很常见的口语词汇之一。意思是 激情的拥吻。
男人们说到这个词的时候，显得兴致勃勃的样子。另外，这是一个象声词。
作者: 和者盖寡A 时间: 2014-2-2 09:36
我孤陋寡闻，可能是我从来没有过亲密的纯正英文的女朋友。
作者: 和者盖寡A 时间: 2014-2-2 21:05
Jessica Jay - Casablanca
作者: 和者盖寡A 时间: 2014-2-2 21:31
Jessica Jay - Casablanca
作者: Hahaha 时间: 2014-2-3 23:06
谦虚了。哈哈哈。俺也没有啊。哈哈哈。都是跟同事们学的。本人喜欢没事儿跟人瞎侃，哈哈哈。
作者: 和者盖寡A 时间: 2014-2-3 23:16
不论哪来的人，什么民族，闲聊中最多的就是这类的词语，而且不同语言中，就这样的词汇最丰富。学口语，你甚至先学到这类的词语。
| 欢迎光临 无忧论坛 (https://bbs.51.ca/) |
Powered by Discuz! X3.2 |