書名:Street Noises - Parisian Pleasure, 1900-40
作者:Adrian Rifkin with a Foreword by George Melly
出版社:Manchester University Press: Manchester



標題:street noises p209 日期:20080403115128
In fickleness the city and the mortal heart run equal.


標題:street noises p209 日期:20080403115043


標題:street noises p208 日期:20080403114948
With films like Subway (1984) or Diva (1981), the new flâneur goes down into the service workshops of the Métro, the forbidden spaces of th etechnologies of modern transport, and finds them full of wonderful, fantastic, trendy people. He loiters round the lofts on the docks of la Villette, accompanied by a soulful aria from an opera, and they are peopled with modern magicians and criminals for whom the city invents a network of connections, In this sense it is the form of the detective novel that now provides the narrative content of a culture unable to generate new tropes, frightened of finding them either too superficial or too much for real.


標題:street noises p203 日期:20080403113237
It was montage that made it possible for this complexity to be lived out with at least the masquerade of innocence: a montage of social structure and poetic imagination that both permitted and constrained the flow of one into another order of experience.

In the transformation and apprehension of the city, montage is the form of the conjugation of difference and identity. It is a process in which the elements conjugated take on more or less full and convincing meanings according to the shifting of their relations in the histores of their potential for significance and their conjunctureal aptness to map out a present.


標題:street noises p195 日期:20080403112524
In the end of the 'zone non-aedificandi' was a sometime legal entity immeasurably outgrown by its acquisition of symbolic and narrative values.


zone non aedificandi

BT zones

FT zone non aedificandi

SN zone where no construction can be erected.


標題:street noises p183 日期:20080403112008
The differences really articulate unevenness in the social formation, the growing separation of the structures of amateur and professional performance and the industrialisation of entertainment; the fetishising of th redemptive power of the committed iterary intellectural, the very partial coincidence of political and pleasure cultures, and so on.


標題:street noises p181 日期:20080403110853
Béraud artlessly siutates this idea of the narcissistic longing of people for their own image as a phenomenom of profound political and social fluidity.


標題:street noises p156 日期:20080403105243
The historic(betrayal) of Genet was that, in sliding from synecdoche to the metaphor, he became (like) himself, the living, literary image of the authentic people. THe essential shifted from the streets to his human soul, burdening it with new freedoms and the responsibility of literary power. GEnet only dissembles power in his plebeian personality, but with his canonisation by Sartre his sexuality becomes an act of faith. Yet he is neither less of an anthropologist than Carco or du Dognon, nor is he less maudlin than Colette. When he discusses the importance of atmosphere in the éclosion (blossoming) of a crime (Querelle, p. 261), he treads the same route from the grim naval port to the exotic as had Mac Orlan before him.


標題:street noises p53 日期:20080403103319
An 'almost incomprehensible number of writings [which procure a historical knowledge of] Paris by street, Paris by house ...' as Benjamin write of the preovious centure (IN Wohlfarth, op. cit.) Ordering and re-ordering, and authoring each order as a position and as an individual relation to the lexicon become the means of forgetting the space between histories and other images, the differences between them. The image of the city is fixed, but it never comes fully to rest at a time or a place. It circulates like other commodities, no more so than the 'finds'o f the fleamarket. The virtue of the figure of the rag-picker is that it facilitates the relatiion of exchange and conjungation. It is doubled, or given a technological form, in the mechanisms and omnipresence of the sapshot camera, in te gramphone, in the stachability of photographs and discs, and the tuning dital on the radio.


標題:street noises p51 日期:20080402163551
This is rather more than the fulfulment fantasy, of the type, let us say, of the working-class footaller, For it is deeply structured in the textures of Parisian life. It is a visualisation of their grammars of the difference, so that the shape of each singer's life gives a fresh order back to these textures.


標題:street noises p50 日期:20080402163030
An anthropology of the strry that often begins with a mediation like th eimage of the city in Balzac or Zola, and so gives new mediations a special authrority that is as much guaranteed by a literary canon as by a fresh or telling observation........It seems reasonable that the Passage, with its function of linking of streets and often sharply contrasting social spaces, its reputation as a place if overlapping leisures, should have slipped into becoming a metaphor for passage, should have become so fascinating, whether as a way into the past or as a route between levels of experience.


標題:street noises p49 日期:20080402162154
Yet it is difficult to pick and choose bits and pieces of a legend that is deeply inscribed in so many levels of a culture. Marxism contributed it heroic dimensions to the narcissism of Parisanism.


標題:street noises p172 日期:20080402133309
...street noises, rolling of the Métro on the overhead tracks of the Boulevard de la Chapelle. Whistling of the locomotives of the trains at the nearby Gare du Nord...(Francis Carco,Comme aux bon temps, indication for sound effects)


標題: 日期:20080402131917
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標題:strrt nnoisex p60 日期:20080331070454
The ambition and the decision to cross the borderline between the spectator and the performer, between the represented and their representative, immunises her from the unselfconscious animality of being a type, Unlike Piaf, eho never had to cross this line og her own volition. For being a street singer Piaf already a type, a type of culture value. a figure of Paris and, as such, a performer of Parisian rites. The boundary that she crossed from street to night-club was one inscribed in the markets for a 'natural talent', for images of a vice as easy as any virtue.


標題:street noises p17 日期:20080328124924
A sociology maybe determined by the kinds of images articulated in crime fiction, in opera or in song, in bohemian fantasies of déclassment, and compounded in the faiolure to realise a difference between these representions and other orders of reality......... This, as we shall see, is a crucial space of entertainment - and of historical narrative, as we have already seen with Descaves.


標題:street noises p12 日期:20080328112450
A starting point, I believe, that enables us to go behind the debates on 'high' versus 'cultures' into a more subtle understanding of the instability of cultural identity that comes from the complexity of the desire for social otherness. Rancière's argument against rooting our understanding of the popular in a singular class identity is philosho[hical rather than quantitative. It is not an issue of how many workers did or did not conform to the ideal artisan but og how the popular is thought and lived as a social relation by all of its participants.


標題:strret noises p11 日期:20080328104225
How ever I do implicitly take a position in favour of the idea that, as Chombart de Lauwe puts it, 'social life is one ... we attach a particular impportance to the " social phenomenom" such as Marcel Mauss envisaged it, or to the unity of "all these deeep strata" that "interpenetrate each other and form ab indissoluble ensemble" ... ' The book is emphatically, therefore, not about 'subculture'. An the same time I aacept that 'indissoluble' can never be an alibi for the play of diffeërance, and that neither the 'total socal phenomenom' nor, for that matter, Bejamin's 'dialectical image', may be read as other than an efferct of this play.


標題:street noise p8 日期:20080328012406
Pondering this problem is another dimension of my book. Is it open to me to rescue some utopia from Benjamin's nightmare, some traces of a semiotic paradise that 1930s were, before the repressions of post war France? I will return to this theme in the conclusion. But here I need to explain yet more about the origins of Street Noises


標題:stret noises p7 日期:20080327232022
Such pleasure in the city, this frenzied cyclying of ientity and commodity the one into the other, necessarily flickers like fashionable consumption that make it up, and yet it also seems not to change. As we have seen, its tropes are remarkably stable over a long period of time, controlling and coding the representation of change as a succession of mere appearances and nostalgias.


標題:street noisea 日期:20080327114929
The singiung of the principals in 1928 has something of the excitement of more popular cultures of the moment, their lyrical conventions and rhetorics of passion. Paris blurs boundaries, pulling place and time, the Opera-Comique and cafe-concert, the popular pleasures of tow centuries, into a single, complex warp........ Street noises turns out to be structured by this irony, and soal undermined.