When I started loving myself = Cand am inceput sa ma iubesc

Imi cer scuze pt cititorii mei de limba romana, dar acest articol imi va folosi pt ceea ce a fost prima destinatie a acestui blog, un aide-memoire. Am sa copiez aici niste texte pe care le-am cautat si le-am gasit pornind de la o postare a bunei mele prietene de pe fb, Guadalupe Cardenas, ca o ilustrare a unei imagini. Pentru ca textele ce vor urma sunt lungi si ar cere un mare efort pt traducerea in romana le public asa cum le-am gasit.

Las introducerea asa cum e...Intre timp am gasit traducerea in romana a acestui text, pe care o voi publica insa dupa textul in limbe engleza, pt ca asa este ordinea in care mi le-a adus pe calculator cercetarea mea, si pt ca asa mi se pare corect.

La insoportable levedad del ser
Cuando me empiezo a amar de verdad
Yo entiendo lo vergonzoso que alguien quiere imponer mis deseos,
sabiendo que el tiempo no estaba maduro, y la persona no estaba preparada,
incluso si esa persona era yo.
Hoy sé que esto se llama "respeto"

...
Cuando me empiezo a amar de verdad
Dejé de querer otra vida y me di cuenta
que todo a mi alrededor es una invitación a crecer.
Hoy sé que esto se llama "madurez".

Cuando me empiezo a amar de verdad
Me pasó a ser siempre y en todo momento en el lugar correcto en el momento adecuado
y que pase lo que pase está bien.
Desde entonces, yo podía sentir cómodo.
Hoy sé que esto se llama "estar en paz con ellos mismos".

Cuando me empiezo a amar de verdad
Me detuve para privarme de mi tiempo libre
y de concebir grandes planes para el futuro.
Hoy en día yo sólo hago lo que me da alegría y diversión,
lo que me gusta y que me hace reír a mi manera y mi ritmo.
Hoy sé que esto se llama "sinceridad".

Cuando me empiezo a amar de verdad
Me deshice de todo lo que hice bien:
personas, cosas, situaciones
y todo lo que me estaba tirando hacia abajo cuando me dejó;
Su nombre original era "egoísmo sano"
pero hoy sé que esto es "amor de sí mismo."

Cuando me empezó a amar de verdad
Dejé de querer tener la razón.
Y por lo que cometieron menos errores.
Hoy me di cuenta de que esto se llama "la simplicidad".

Cuando me empiezo a amar de verdad
Yo me negué a vivir en el pasado y preocuparme por mi futuro.
Ahora vivo más en el momento presente, donde todo tiene su lugar.
Es s el camino de la vida cotidiana y lo llamo la "perfección".

Cuando me empiezo a amar de verdad
Me di cuenta de que mis pensamientos me puede hacer miserable y enfermo.
Pero cuando me llamó a la fuerza de mi corazón,
el intelecto se ha convertido en un socio importante.
Hoy en día en esta unión da el nombre de "sabiduría interior".

No debe continuar el miedo a la oposición,
conflictos y problemas con nosotros mismos y con los demás
ya que incluso las estrellas a veces chocan entre sí
la creación de nuevos mundos.

Hoy sé que esta es la vida. (Charlie Chaplin)

Nu mi-a fost greu sa gasesc textul in engleza:

When I started loving myself
I understood that I’m always and at any given opportunity
in the right place at the right time.
And I

understood that all that happens is right –
from then on I could be calm.
Today I know: It’s called TRUST.

When I started to love myself I understood how much it can offend somebody
When I tried to force my desires on this person,
even though I knew the time is not right and the person was not ready for it,
and even though this person was me.
Today I know: It’s called LETTING GO (In alta versiune se cheama RESPECT)

When I started loving myself
I could recognize that emotional pain and grief
are just warnings for me to not live against my own truth.
Today I know: It’s called AUTHENTICALLY BEING.

When I started loving myself
I stopped longing for another life
and could see that everything around me was a request to grow.
Today I know: It’s called MATURITY.

When I started loving myself
I stopped depriving myself of my free time
and stopped sketching further magnificent projects for the future.
Today I only do what’s fun and joy for me,
what I love and what makes my heart laugh,
in my own way and in my tempo.
Today I know: it’s called HONESTY.

When I started loving myself
I escaped from all what wasn’t healthy for me,
from dishes, people, things, situations
and from everyhting pulling me down and away from myself.
In the beginning I called it the “healthy egoism”,
but today I know: it’s called SELF-LOVE.

When I started loving myself
I stopped wanting to be always right
thus I’ve been less wrong.
Today I’ve recognized: it’s called HUMBLENESS.

When I started loving myself
I refused to live further in the past
and worry about my future.
Now I live only at this moment where EVERYTHING takes place,
like this I live every day and I call it CONSCIOUSNESS.

When I started loving myself
I recognized, that my thinking
can make me miserable and sick.
When I requested for my heart forces,
my mind got an important partner.
Today I call this connection HEART WISDOM.

We do not need to fear further discussions,
conflicts and problems with ourselves and others
since even stars sometimes bang on each other
and create new worlds.
Today I know: THIS IS LIFE!

Iata acum si textul in romana:

In ziua in care m-am iubit cu adevarat, am inteles ca in toate imprejurarile, ma aflam la locul potrivit, in momentul potrivit.
Si atunci, am putut sa ma linistesc.
Astazi, stiu ca aceasta se numeste … Stima de sine.

 
In ziua in care m-am iubit cu adevarat, am realizat ca nelinistea si suferinta mea emotionala, nu erau nimic altceva decat semnalul ca merg impotriva convingerilor mele.
Astazi, stiu ca aceasta se numeste … Autenticitate

In ziua in care m-am iubit cu adevarat, am incetat sa doresc o viata diferita si am inceput sa inteleg ca tot ceea ce mi se intampla, contribuie la dezvoltarea mea personala.
Astazi, stiu ca aceasta se numeste … Maturitate.


In ziua in care m-am iubit cu adevarat, am inceput sa realizez ca este o greseala sa fortez o situatie sau o persoana, cu singurul scop de a obtine ceea ce doresc, stiind foarte bine ca nici acea persoana, nici eu insumi nu suntem pregatiti si ca nu este momentul …
Astazi, stiu ca aceasta se numeste … Respect.


In ziua in care m-am iubit cu adevarat, am inceput sa ma eliberez de tot ceea ce nu era benefic … Persoane, situatii, tot ceea ce imi consuma energia. La inceput, ratiunea mea numea asta egoism.
Astazi, stiu ca aceasta se numeste … Amor propriu.


In ziua in care m-am iubit cu adevarat, am incetat sa-mi mai fie teama de timpul liber si am renuntat sa mai fac planuri mari, am abandonat Mega-proiectele de viitor. Astazi fac ceea ce este corect, ceea ce imi place, cand imi place si in ritmul meu.
Astazi, stiu ca aceasta se numeste … Simplitate.


In ziua in care m-am iubit cu adevarat, am incetat sa mai caut sa am intotdeauna dreptate şi mi-am dat seama de cat de multe ori m-am inselat.
Astazi, am descoperit … Modestia.


In ziua in care m-am iubit cu adevarat, am incetat sa retraiesc trecutul şi sa ma preocup de viitor. Astazi, traiesc prezentul, acolo unde se petrece intreaga viata. Astazi traiesc clipa fiecarei zile.
Si aceasta se numeste … Plenitudine.


In ziua in care m-am iubit cu adevarat, am inteles ca ratiunea ma poate inşela şi dezamagi. Dar daca o pun in slujba inimii mele, ea devine un aliat foarte pretios.
şi toate acestea inseamna … Sa ştii sa traiesti cu adevarat.”

Charlie Chaplin

Incercand sa coroborez cele trei versiuni am observat ca ordinea in care sunt asezate paragrafele este oarecum aleatoare. Nu am fost singura care a inceput sa se intrebe daca intr-adevar autorul este Charlie Chaplin (deja incep sa am o colectie de texte atribuite aiurea unor persoanlitati bine cunoscute, dar care pana la urma se dovedesc a fi fost create de cu totul altcineva) si  asfel am citit cu interes comentariul de mai jos:

My name is Alison McMillen. My mom, Kim McMillen wrote a book called ‘When I Loved Myself Enough”. The text above is very very very very similar to her book, although it looks like much has been modified in translation. I have seen reference to a poem by Charlie Chaplin and have no idea where the link has come from but I feel very certain that the above poem is a translated version of my mom’s work.

Va dati seama ca pasul urmator a fost sa vad daca acea carte exista cu adevarat. Nu numai ca exista, dar numita Alison McMillen are un blog pe care a publicat textul care crede ea ca a stat la baza compilatiei atribuite lui Charlie Chaplin:

Dar inainte de a copia din AMM am vazut ca dragtul de Google deja are raspuns la dilema mea:  "As I began to love myself" don't belongs to Chaplin!

There is a text on the web attributed to Chaplin, its name is "As I began to love myself", but I know this text don't belongs to Chaplin, and I will tell you the real origin of this text.
In sep 18, 2007, I started a research on this text attributed to Chaplin
in Brazilian sites and I discovered this:
-In 2001, Kim & Alison McMillen published the book "When I loved myself enough" (You can see the book in this site: Amazon.com, you can read some pages online)
-In 2003, Iva Sofia G Lima (Brazilian) translated this book into "Quando me amei de verdade", (Editora Sextante), with the correct credits.
-The text "Quando me amei de verdade" started to be attributed to Chaplin by Brazilian or Portuguese speakers "Chaplin fans", on their blogs, orkut profiles, orkut communities, and other web services, moreover, it started to be modified by the fans. I suspect this occurs with the Spanish (speakers) fans too.
-The text "Quando me amei de verdade" was translated again into english (Yes! translation of the translation!) by Brazilian "Chaplin fans" with the new title "As I began to love myself"
Conclusion: "As I began to love myself" don't belongs to Chaplin and the real title of the text is "When I loved myself enough" and it belongs to Kim & Alison McMillen, and it was modified too, and now we can see the text "As I began to love myself" very different from the original!
You can see my researches in this link:
http://comoutrosolhos.multiply.com/journal/item/59 (Portuguese-BR),
sep, 18 2007
I don't like when the Brazilian fans (or others) attribute to Chaplin a text that don't belongs to him and I still very angry/sad about this.
If you are a Chaplin lover of USA or UK, you must know that there are many texts misattributed to Chaplin and this texts are, in many cases, Portuguese texts translated to English.

Interesant e ca primul comentariu la cele de mai sus apartine unui roman, numit Viorell, nu il mai copiez... mai ales ca raspunsul numitei Miriam e f amplu. Ea explica pe larg cum a ajuns la concluzia ca textul e un "fake" prin traduceri si retroversiuni. Ehei, numai eu stiu cat ma muncit sa gasesc, folosind cunostintele mele de engleza si spaniola, autorul unui articol care circula ca anonim, inclusiv in romana, dar care de fapt a fost scris de un profesor venezuelan, e vorba de Amela. Cred ca o sa ma intelegeti de ce nu am mai cautat textul in portugheza, oricum nu cunosc limba asta.

Fals, fals, textul atribuit lui Chaplin, dar inca nu am "muls totul din el, pt ca cineva incearca sa ii explice sensurile in cele ce urmeaza:

The Wisdom of the Heart
Chaplin’s self love poem points us to listening to the heart, instead of merely paying attention to the voice of the ego. The ego’s emotions are not the same as the true feelings of the heart. The ego acts out of fear-consciousness, putting us through a parody of madness.

The heart is love conscious. It allows us to heal, repair and rejuvenate. Only with an open heart, can love come in.

Nonetheless, it is important to recognize that the ego has its purpose. It wishes to keep us protected and safe in this world. We cannot also get rid of the ego. Hence, we need to learn to work with it.
The best way forward is to meet the heart with the mind. Chaplin calls it aligning with the “Wisdom of the Heart”. It’s when life becomes full. It’s when magic happens!!

From the poem, it would appear that Chaplin had truly lived into self-love. He passed away at age 88. But not without being known as one of the most creative and influential personalities of the silent-film era. He was also the composer for the song, Smile, a personal favorite of Michael Jackson.

Acum eu inclin sa ii dau dreptate lui Miriam si pt ca poemul circula cu doua versiuni: When I started to love myself si When I began to love myself...sigur ca sensul e identic, dar cum naiba ar fi putut Chaplin sa se balbaie in asemenea hal incat sa nu stie exact ce cuvant sa foloseasca, fie chiar si la 70 de ani?

Hai sa nu va mai fierb si sa copiez si textul care SIGUR e scris de Kim Mcmillen...si care se gaseste in cartea scrisa de ea:

When I loved myself enough...

When I loved myself enough I quit settling for too little.

When I loved myself enough I came to know my own goodness.

When I loved myself enough I began taking the gift of life seriously and gratefully.

When I loved myself enough I began to know I was in the right place at the right time and I could relax.

When I loved myself enough I felt compelled to slow down way down. And that has made all the difference.

When I loved myself enough I bought a feather bed.

When I loved myself enough I came to love being alone surrounded by silence, awed by its spell, listening to inner space.

When I loved myself enough I came to see I am not special but I am unique.

When I loved myself enough I redefined success and life became simple. Oh, the pleasure of that.

When I loved myself enough I came to know I am worthy of knowing God directly.

When I loved myself enough I began to see I didn't have to chase after life. If I am quiet and hold still, life comes to me.

When I loved myself enough I gave up the belief that life is hard.

When I loved myself enough I came to see emotional pain is a signal I am operating outside truth.

When I loved myself enough I let the tomboy in me swing off the rope in Jackass Canyon. Yes!

When I loved myself enough I learned to meet my own needs and not call it selfish.

When I loved myself enough the parts of me long-ignored, the orphans of my soul, quit vying for attention. That was the beginning of inner peace. Then I began seeing clearly.

When I loved myself enough I began to see that desires of the heart do come, and I grew more patient and calm, except when I forgot.

When I loved myself enough I quit ignoring or tolerating my pain.

When I loved myself enough I started feeling all my feelings, not analysing them really feeling them. When I do, something amazing happens. Try it. You will see.

When I loved myself enough my heart became so tender it could welcome joy and sorrow equally.

When I loved myself enough I started meditating every day. This is a profound act of self-love.

When I loved myself enough I came to feel like a gift to the world and I collected beautiful ribbons and bows. They still hang on my wall to remind me.

When I loved myself enough I learned to ask 'Who in me is feeling this way?' when I feel anxious, angry, restless or sad. If I listen patiently I discover who needs my love.

When I loved myself enough I no longer needed things or people to make me feel safe.

called it disloyal. Now I see it as self-loving.

When I loved myself enough I gave up perfectionism that killer of joy.

When I loved myself enough I could tell the-truth about my gifts and my limitations.

When I loved myself enough I quit answering the telephone when I don't want to talk.

When I loved myself enough forgiving others became irrelevant.

When I loved myself enough I could remember, during times of confusion, struggle or grief, that these too are part of me and deserve my love.

When I loved myself enough I could allow my heart to burst wide open and take in the pain of the world.

When I loved myself enough I started picking up litter on the street.

When I loved myself enough I could feel God in me and see God in you. That makes us divine! Are you ready for that?

When I loved myself enough I started writing about my life and views because I knew this was my right and my responsibility.

When I loved myself enough I began to see my purpose and gently wean myself from distractions.

When I loved myself enough I saw that what I resisted persisted like a small child tugging my skirt. Now I am curious and gentle when resistance comes tugging.

When I loved myself enough I learned to stop what I am doing, if even for a moment, and comfort the part of me that is scared.

When I loved myself enough I learned to say no when I want to and yes when I want to.

When I loved myself enough I saw beyond right and wrong and became neutral. At first I thought this was indifference; now I see the clarity that comes with neutrality.

When I loved myself enough I began to feed my hunger for solitude and revel in the inexplicable contentment that is its companion.

When I loved myself enough I could see how funny life is, how funny I am and how funny you are.

When I loved myself enough I recognised my courage and fear, my naivety and wisdom, and I make a place for each at my table.

When I loved myself enough I started treating myself to a massage at least once a month.

When I loved myself enough I realised I am never alone.

When I loved myself enough I stopped fearing empty time and quit making plans. Now I do what feels right and am in step with my own rhythms. Delicious!

When I loved myself enough I quit trying to impress my brother.

When I loved myself enough I stopped trying to banish the critical voices from my head. Now I say, Thankyou for your views' and they feel heard. End of discussion.

When I loved myself enough I let the part of me that still misses Kent feel sad instead of trying to stop her from loving him.

When I loved myself enough I began buying a hostess fruit pie for the teenager in me who loves them so. Once in a while, cherry.

When I loved myself enough I quit trying to be a saviour for others.

When I loved myself enough I lost my fear of speaking my truth for I have come to see how good it is.

When I loved myself enough I began pouring my feelings into my journals. These loving companions speak my language. No translation needed.

When I loved myself enough I stopped seeking 'experts' and started living my life.

When I loved myself enough I came to see how my anger teaches about responsibility and my arrogance teaches about humility, so I listen to both carefully.

When I loved myself enough I started eating organically grown food (except for those occasional fruit pies of course).

When I loved myself enough I could be at ease with the comings and goings of judgement and despair.

When I loved myself enough I was able to be treated to a $50 haircut and enjoy every minute of it.

When I loved myself enough I quit having to be right which makes being wrong meaningless.

When I loved myself enough I learned to grieve for the hurts in life when they happen instead of making my heart heavy from lugging them around.

When I loved myself enough I forgave myself for all the times I thought I wasn’t good enough.

When I loved myself enough things got real quite inside. Real nice.

When I loved myself enough I began listening to the wisdom of my body. It speaks so clearly through its fatigue, sensitivities, aversions and hungers.

When I loved myself enough I quit fearing my fear.

When I loved myself enough I quit rehashing the past and worrying about the future – which keeps me in the present where aliveness lives.

When I loved myself enough I realized my mind can torment and deceive me, but in the service of my heart it is a great and noble ally.

When I loved myself enough I began to taste freedom.

When I loved myself enough I found my voice and wrote this little book.

Traducerea in romana o puteti vedea in ppsul acesta (pe care am vrut sa il instalez, dar necesita Java Console, pe care am desactivat-o la cererea Firefoxului, intrebandu-ma la ce o fi folosind, iata ca acum am aflat si raspunsul), sau puteti sa il descarcati ca sa il vedeti in tihna pe computerul vostru. Nu ma intrebati daca este conform cu originalul, pentru ca nu am avut rabdare sa le compar.

In schimb am gasit introducerea si o completare la textul in engleza al lui Kim McMillen, scrise de fiica sa, Alison.

When I loved myself enough

by Kim McMillen
It begins with the following introduction

For many years I lived with a guarded heart. 1 did not know how to extend love and compassion to myself. In my fortieth year that began changing.

As I grew to love all of who I am, life started changing in beautiful and mysterious ways. My heart softened and I began to see through very different eyes.

My commitment to follow this calling grew strong and in the process a divine intelligence came to guide my life. I believe this ever present resource is grace, and is available to us all.

For the past twelve years I have been leming to recognise and accept this gift. Cultivating love and compassion for myself made it possible.

The following steps are uniquely mine. Yours will look different. But I do hope mine give voice to a hunger you may share.

Kim McMillen
............................................................
About the author
By Alison McMillen, January 2001
My mother died in September of 1996, at the age of 52, only a few short months after writing this book. She was not ill and did not know that she was going to die. Her death was very sudden and it deeply shocked everyone who knew her. It has been very difficult for me, as well as her friends and family, to cope with live without her. She died too young, and I am aware of her absence every waking moment.
One thing that has made grieving for her more tolerable has been this book. Following her lead, I continued to publish it out of my home. It has been extremely rewarding work. I have received countless letters and phone calls from people all over the world who have been touched by the wisdom of my mom’s words. They tell me that they feel as though, through the book, they have come to know Kim McMillen. I could not agree more.

This book is my mother. Its message is hat she spent years mediating on, reading and writing about, and experiencing. It is everything she believed in, and everything she brought me up to believe in. it is her autobiography, her declaration, her soul.

Even though she didn’t know she was nearing the end of her life, she knew on some level that she had to express the things that she had learned to be true. After many years filled with self-doubt and self-criticism, she decided to devote herself to finding self-compassion. When she did, and was able to write her findings down for others to read, her life was complete, and sadly cam to and end.

I have a constant ache in my heart, a longing to see hear again in this world. She was an amazing mother, friend, writer, business consultant, chaplain, river runner, dog lover, neighbor and woman. Although I miss her terrible, I am comforted by the knowledge that, as this book is the truest expression of who my mom was, in its continued existence, what she had to offer to the world will live on.

La metrou, in Washington DC

Am gasit textul urmator la prietena mea de pe fb, Guadalupe Cardenas. O sa incerc sa il traduc, cat de bine pot.

Un hombre se sentó en una estación de metro en Washington DC y comenzó a tocar el violín, era una fría mañana de enero. Interpretó seis piezas de Bach durante unos 45 minutos. Durante ese tiempo, ya que era hora pico, se calcula que 1.100 personas pasaron por la estación, la mayoría de ellos en su camino al trabajo.


Un om s-a instalat intr-o statie de metrou in Washington DC si a inceput sa cante la vioara, intr-o dimineata rece de ianuarie. A interpretat sase piese de Bach in 45 de minute. In acest timp, pt ca era ora de varf, s-a calculat ca au trecut prin acea statie 1100 de persoane, majoritatea in drum spre serviciu.

Tres minutos pasaron, y un hombre de mediana edad se dio cuenta de que había un músico tocando. Disminuyó el paso y se detuvo por unos segundos, y luego se apresuró a cumplir con su horario.

 Au trecut trei minute, si un barbat de varsta medie si-a dat seama ca se canta muzica. A incetinit si s- oprit pentru cateva secunde, apoi s-a grabit ca sa-si urmeze traseul.

Un minuto más tarde, el violinista recibió su primer dólar de propina: una mujer arrojó el dinero en la caja y sin parar, y siguió caminando.

 Un minut mai tarziu violonistul a primit primul dolar de pomana: o femeie a aruncat dolarul in cutie si fara sa se opreasca si-a continuat drumul.

Unos minutos más tarde, alguien se apoyó contra la pared a escucharlo, pero el hombre miró su reloj y comenzó a caminar de nuevo. Es evidente que se le hizo tarde para el trabajo.

 Cateva minute mai tarziu cineva s-a sprijinit de perete ca sa asculte, dar omul s-a uitat la ces si si-a reluat drumul. Era evident ca intarzia la lucru.

El que puso mayor atención fue un niño de 3 años. Su madre le apresuró, pero el chico se detuvo a mirar al violinista. Por último, la madre le empuja duro, y el niño siguió caminando, volviendo la cabeza todo el tiempo. Esta acción fue repetida por varios otros niños. Todos sus padres, sin excepción, los forzaron a seguir adelante.

Cel care i-a dat cea mai mare atentie a fost un copil de trei ani. Mama lui l-atras, dar copilul s-a oprit sa sa se uite la violonist. In sfarsit, mama lui l-a tras cu putere, si copilul a contiunat sa mearga, intorcandu-si mereu capul. Asta s-a repetat cu mai multi copii. toti parintii lor, fara exceptie, i-au fortat sa isi continuie drumul.

En los 45 minutos que el músico tocó, sólo 6 personas se detuvieron y permanecieron por un tiempo. Alrededor del 20 le dieron dinero, pero siguió caminando a su ritmo normal. Se recaudó $ 32. Cuando terminó de tocar y el silencio se hizo cargo, nadie se dio cuenta. Nadie aplaudió, ni hubo ningún reconocimiento.

In cele 45 de minute cat s-a cantat numai sase persoane s-au oprit si au ramas un timp sa asculte. in jur de 20 i-au dat bani, dar au continuat sa mearga in ritm normal. A primit 32$. Cand a treminat de cntat si s-a facut liniste, nimeni nu si-a dat seama ca a incetat muzica. Nimeni nu a aplaudat, sau a dat vreun semn de recunostinta.

Nadie lo sabía, pero el violinista era Joshua Bell, uno de los músicos más talentosos del mundo. Él había interpretado sólo una de las piezas más complejas jamás escritas, en un violín por valor de 3,5 millones de dólares.

Nimeni nu stia ca violonistul era Joshua Bell, unul dintre cei mai talentati din lume. El a interpretat solo una dintre piesele cele mai complete care au fost scrise vreodata, pe o vioara in valoare de 3,5 milioane de dolari.

Dos días antes de su forma de tocar en el metro, Joshua Bell agotó en un teatro en Boston, donde los asientos tuvieron un promedio de $ 100.


Cu doua zile inainte de a canta la metru, Joshua Bell a tinut un concert in Boston, biletele au costat in medie 100$.

Esta es una historia real. Joshua Bell tocando incógnito en la estación de metro fue organizada por el diario The Washington Post como parte de un experimento social sobre la percepción, el gusto y las prioridades de la gente. Las líneas generales fueron los siguientes: en un entorno común a una hora inapropiada: ¿Percibimos la belleza? ¿Nos detenemos a apreciarla? ¿Reconocemos el talento en un contexto inesperado?

Este o poveste adevarata. Concertul incognito al lui Joshua Bell a fost organizat de ziarul The Washington Post ca o parte a unui experiment social in legatura cu perceptia, gustul si prioritatile oamenilor. Ideile generale au fost: intr-o locatie obisnuita la o ora nepotrivita: Percepem frumusetea? Ne oprim sa o apreciem? Recunoastem talentul intr-un context neasteptat?

Una de las posibles conclusiones de esta experiencia podrían ser:

Si no tenemos un momento para detenerse y escuchar a uno de los mejores músicos del mundo tocando la mejor música jamás escrita, ¿cuántas otras cosas nos estamos perdiendo?

Una dintre posibilele concluzii ale acestei experiente ar putea fi:

Daca nu gasim un moment sa ne destindem si sa ascultam unul dintre cei mai buni muzicieni din lume cantand cea mai buna muzica scrisa vreodata, cate alte lucruri pierdem?

Acum sa nu credeti ca daca acest experiment s-ar fi desfasurat in alta parte rezultatul ar fi fost diferit...Ora de varf e ora de varf, cei ce au timp sa se opreasca sa asculte muzica o fac la alte ore. Imi amintesc cum canta Vlad Galis colinde de Craciun in Pasajul Universitatii in 90 si era un cerc destul de mare in jurul sau, care a aplaudat la sfarsit, sau cat de interesati au fost spectatorii ce au urmarit reprezentatia cu Pierot Lunatecul sustinuta de Teatrul Masca in statia Piata Unirii I (am facut cateva filmulete atunci, pe care le-am publicat pe you tube) dar atunci nu era ora de varf...Sau om fi noi, romanii, un popor care apreciaza arta mai mult, in special cand e gratuita?.

Mai jos e un alt filmulet, cu Pierot Lunatecul, cel de inchiderea spectacolului.

Fluturas nu mai ai aripioare

Cine nu a fredonat, macar o data in viata, acesta arie a lui Figaro din "Nunta lui Figaro?" Si tare as vrea sa aflu daca stie cineva versurile integrale, pt ca eu am gasit pe net doar cateva, din cantecelul pt copii

Nu mai esti fluturasul din soare,

Care zboara din floare in floare,

Fluturas nu mai ai aripioare,

Domnul conte ti le-a retezat.

Fluturas nu mai ai aripioare,

Domnul conte ti le-a retezat.

Fluturas cind aveai aripioare,

Culegeai miere din floare-n floare,

Dar acum nu mai ai aripioare,

Domnul conte ti le-a retezat.

Dar acum nu mai ai aripioare,

Domnul conte ti le-a retezat.

Daca va intrebati ce mi-a traznit sa ma interesez de versurile astea aflati ca horoscopul meu personalizat, care imi da niste sfaturi f interesante bazate pe corelatia dintre starea cerului la nasterea mea si cea actuala zice urmatoarele:

 You Social Butterfly, You!
   Mars Sextile Venus
   November 27, 2012 to November 29, 2012

Nici nu e nevoie sa va spun mai mult decat ca Butterfly insemna fluturas, in caz ca nu stiati. Si uite unde statea fluturasul social, care zboara din floare in floare...

Dar decat sa fac haz (dar nu de necaz) mai bine va povestesc ca am gasit niste versuri pt aria respectiva, dar in italiana si cu traducere in engleza. Dar pana sa va fac  cunostinta cu ele o sa va ofer intai versiunea romaneasca a ariei, asa cum am gasit-o pe you tube interpretata de "taticul meu talentat", cum scrie pe you tube sub videoclipul pe care l-am gasit, adica GABRIEL OANA - FLUTURAS NU MAI AI ARIPIOARE - Opera Brasov
  Dar sa nu credeti ca numai copiii romani canta aria amintita...Tot pe you tube se afla si interpretarea datorata unui cor de copii irlandez, si inca unul national The National Children's Choir Ireland 2005 Concert. 4 - Goodbye Now 

Versurile de mai jos le-am gasit tot pe you tube


Non più andrai, farfallone amoroso,
Notte e giorno d'intorno girando,
Delle belle turbando il riposo,
Narcisetto, Adoncino d'amor.

Delle belle turbando il riposo,
Narcisetto, Adoncino d'amor.

Non piu avrai questi bei penacchini,
Quel cappello leggiero e galante,
Quella chioma, quell'aria brillante,
Quel vermiglio donnesco color!
Quel vermiglio donnes color!

Non piu avrai quei penacchini,
Quel cappello
Quella chioma, quell'aria brillante

Non più andrai, farfallone amoroso,
Notte e giorno d'intorno girando,
Delle belle turbando il riposo,
Narcisetto, Adoncino d'amor.

Delle belle turbando il riposo,
Narcisetto, Adoncino d'amor.

Fra guerrieri, poffar Bacco!
Gran mustacchi, stretto sacco,
Schioppo in spalla, sciabla al fianco,
Collo dritto, muso franco,
Un gran casco, o un gran turbante,
Molto onor, poco contante.
Poco contante
Poco contante

Ed in vece del fandango
Una marcia per il fango.

Per montagne, per valloni,
Con le nevi, e i solioni,
Al concerto di tromboni,
Di bombarde, di cannoni,
Che le palle in tutti i tuoni,
All'orecchio fan fischiar.

Non piu avrai quei penacchini,
Non piu avrai quel cappello
Non piu avrai quella chioma
Non piu avrai quell'aria brillante.

Non più andrai, farfallone amoroso,
Notte e giorno d'intorno girando,
Delle belle turbando il riposo,
Narcisetto, Adoncino d'amor.

Delle belle turbando il riposo,
Narcisetto, Adoncino d'amor.

Cherubino, alla vittoria!
Alla gloria militar!
Cherubino, alla vittoria!
Alla gloria militar!
Alla gloria militar!

Alla gloria militar!

English Translation of "Non piu andrai"
You won't go any more, amorous butterfly,
Fluttering around inside night and day
Disturbing the sleep of beauties,
A little Narcissus and Adonis of love.
You won't have those fine feathers any more,
That light and jaunty hat,
That hair, that shining aspect,
That womanish red color [in your face]!
Among soldiers, by Bacchus!
A huge moustache, a little knapsack,
Gun on your back, sword at your side,
Your neck straight, your nose exposed,
A big helmet, or a big turban,
A lot of honour, very little pay.
And in place of the dance
A march through the mud.
Over mountains, through valleys,
With snow, and heat-stroke,
To the music of trumpets,
Of bombards, and of cannons,
Which, at every boom,
Will make bullets whistle past your ear.
Cherubino, go to victory!
To military glory!



Eu insa am sa va ofer aria in interpretarea unui cantaret drag inimii mele, pe care il stiu mai mult interpretand muzica usoara, Muslim Magomaev. 

Dar sa nu avem vorbe, daca o sa va vina sa protestati vazand Aria lui Figaro pe care o stiati mai degraba ca Figaro qua, Figaro la, aceea e din alta opera, Barbierul din Sevilla, chiar daca e vorba despre acelasi barbier. Pe aceasta v-o ofer in interpretarea lui Luciano Pavarotti.

Largo al factotum, Figaro's aria from Il Barbiere diSiviglia

Largo al factotum della citta.
Largo! La la la la la la la LA!

Presto a bottega che l'alba e gia.
Presto! La la la la la la la LA!

Ah, che bel vivere, che bel piacere (che bel
Piacere)
Per un barbiere di qualita! (di qualita! )

Ah, bravo Figaro!
Bravo, bravissimo!
Bravo! La la la la la la la LA!

Fortunatissimo per verita!
Bravo!
La la la la la la la LA!
Fortunatissimo per verita!
Fortunatissimo per verita!
La la la la, la la la la, la la la la la la la LA!

Pronto a far tutto, la notte e il giorno
Sempre d'intorno in giro sta.
Miglior cuccagna per un barbiere,
Vita piu nobile, no, non si da.
La la la la la la la la la la la la la!

Rasori e pettini
Lancette e forbici,
Al mio comando
Tutto qui sta.
Rasori e pettini
Lancette e forbici,
Al mio comando
Tutto qui sta.

V'e la risorsa,
Poi, de mestiere
Colla donnetta... col cavaliere...
Colla donnetta... la la li la la la la la
Col cavaliere... la la li la la la la la la la LA!!!

Ah, che bel vivere, che bel piacere (che bel
Piacere)
Per un barbiere di qualita! (di qualita! )

Tutti mi chiedono, tutti mi vogliono,
Donne, ragazzi, vecchi, fanciulle:
Qua la parruca... Presto la barba...
Qua la sanguigna... Presto il biglietto...
Tutto mi chiedono, tutti mi vogliono,
Tutti mi chiedono, tutti mi vogliono,
Qua la parruca, presto la barba, presto il biglietto,
Ehi!

Figaro... Figaro... Figaro... Figaro... Figaro...
Figaro... Figaro... Figaro... Figaro... Figaro!!!

Ahime, (ahime) che furia!
Ahime, che folla!
Uno alla volta,
Per carita! (per carita! per carita! )
Uno alla volta, uno alla volta,
Uno alla volta, per carita!

Figaro! Son qua.
Ehi, Figaro! Son qua.

Figaro qua, Figaro la, Figaro qua, Figaro la,
Figaro su, Figaro giu, Figaro su, Figaro giu.

Pronto prontissimo son come il fumine:
Sono il factotum della citta.
(della citta, della citta, della citta, della citta)

Ah, bravo Figaro! Bravo, bravissimo;
Ah, bravo Figaro! Bravo, bravissimo;
A te fortuna (a te fortuna, a te fortuna) non
Manchera.
Ah, bravo Figaro! Bravo, bravissimo;
Ah, bravo Figaro! Bravo, bravissimo;
A te fortuna (a te fortuna, a te fortuna) non
Manchera.


Sono il factotum della citta,
Sono il factotum della citta,
Della citta, della citta,
Della citta!!!
La la la la la la la la la!

The Dying Swan by Alfred Lord Tennyson

Anoet, prietena mea de pe face book mi-a pus, la un comentariu, un videoclip cu Maia Plisetkaia in rolul Lebedei (de fapt Moartea Lebedei) de Camille Saint- Saëns. O minune de interpretare, ca o zeita..
Si atunci mi-am adus aminte de un moment magic pe care l-am trait in viata mea de fan al patinajului artistic...dramatica Olimpiada de la Lillehamer cand o adolescenta de numai 16 ani a cucerit asistenta prin interpretarea plina de gratie si eleganta a aceleasi Lebede Muribunde a lui Camille Saint- Saëns. E vorba de o patinatoare orfana, care fusese luata sub aripa campionului olimpic Victor Petrenko si ajutata atat material cat si profesional sa se antreneze pentru ceea ce avea sa devina varful carierei sale, campioana olimpica. Dying Swan a fost interpretata de Oxana Baiul la gala. Din pacate tanara patinatoare s-a apucat de baut si si-a ruinat cariera. Am revazut-o in 2001, intr-o competitie de profesionisti, dar era numai umbra gratioasei lebede, o umbra cu multe kg in plus.
In 2010, la Vancouver, o alta patinatoare plina de gratie si eleganta avea sa cucereasca aurul olimpic si sa ma incante, sa ma faca sa o indragesc, tanara coreeana Yu Na Kim. Ea are in programul ei deasemenea o lebada. Ceea ce e interesant la ea e ca executa acelasi program pe doua bucati muzicale diferite, atat pe Dying Swan de Camille Saint- Saëns cat si pe Lake Swan de Piotr Ilici Ceaicovschi.
Acesta a fost lebada lui Saint- Saëns, programul a fost transmis de televiziunea sud coreeana SBS, lebada lui Ceaicovschi a fost transmisa de canalul TV american NBC
Bun, bun veti zice, ne-ai povestit si ne-ai convins ca lebada asta muribunda se poate interpreta in fel si chip, dar ce legatura are asta cu titlul? Pai  are, pentru ca Saint- Saëns a fost inspirat, atunci cand a compus muzica, de poemul lui Tennyson. Imi pare rau, dar nu am rabdare sa il traduc, pot doar sa va spun ca poetul face o descriere a peisajului in care se produce moartea nefericitei pasari, pe o campie vegheata din departare de varfurile unor munti inzapeziti, pe campie se afla un lac (sau  o mlastina, oricum o apa statatoare) pe malul caruia stau aplecate salcii iar apele sale sunt colorate in nuante de purpuriu, verde si galben.Si in acest peisaj se inalta, magnific, cantecul lebedei, intai abia auzit, apoi ridicandu-se puternic si clar, liber si indraznet, patrunzand pretutindeni, tumultuos, inundand totul, tot peisajul.

The Dying Swan

by Alfred Lord Tennyson

I.

The plain was grassy, wild and bare,

Wide, wild, and open to the air,

Which had built up everywhere

An under-roof of doleful gray.

With an inner voice the river ran,

Adown it floated a dying swan,

And loudly did lament.

It was the middle of the day.

Ever the weary wind went on,

And took the reed-tops as it went.

II.

Some blue peaks in the distance rose,

And white against the cold-white sky,

Shone out their crowning snows.

One willow over the river wept,

And shook the wave as the wind did sigh;

Above in the wind was the swallow,

Chasing itself at its own wild will,

And far thro' the marish green and still

The tangled water-courses slept,

Shot over with purple, and green, and yellow.

III.

The wild swan's death-hymn took the soul

Of that waste place with joy

Hidden in sorrow: at first to the ear

The warble was low, and full and clear;

And floating about the under-sky,

Prevailing in weakness, the coronach stole

Sometimes afar, and sometimes anear;

But anon her awful jubilant voice,

With a music strange and manifold,

Flow'd forth on a carol free and bold;

As when a mighty people rejoice

With shawms, and with cymbals, and harps of gold,

And the tumult of their acclaim is roll'd

Thro' the open gates of the city afar,

To the shepherd who watcheth the evening star.

And the creeping mosses and clambering weeds,

And the willow-branches hoar and dank,

And the wavy swell of the soughing reeds,

And the wave-worn horns of the echoing bank,

And the silvery marish-flowers that throng

The desolate creeks and pools among,

Were flooded over with eddying song.

UPDATE: Un comentariu de pe fb al dr Hong mi-a produs bucuria de a vedea alta balerina rusa interpretand The Dying Swan, precum si niste informatii in plus despre felul cum a luat nastere acest balet datorita lui Mihail Fokin, care l-a creat pentru legendara Anna Pavlova...Am sa copiez de pe you tube informatiile si apoi o sa inserez, pe langa videoclipul cu Svetlana Zaharova, unul cu Anna Pavlova, care a interpretat acest rol de vreo 4000 de ori si a pus accentul pe lupta lebedei cu moartea, si nu pe virtuozitatea reprezentarii gratioasei pasari.


The Dying Swan (originally The Swan) is a ballet choreographed by Mikhail Fokine in 1905 to Camille Saint-Saëns's cello solo Le Cygne from Le Carnaval des Animaux as a pièce d'occasion for the ballerina Anna Pavlova. The short ballet follows the last moments in the life of a swan, and was first presented in St. Petersburg, Russia in 1905. Pavlova performed the dance about 4,000 times. 

The ballet has since influenced modern interpretations of Odette in Tchaikovsky's Swan Lake and has inspired non-traditional interpretations and various adaptations. Inspired by swans that she had seen in public parks and Alfred, Lord Tennyson's poem "The Dying Swan", [1] Anna Pavlova (who had just become a ballerina at the Mariinsky Theatre) asked Michel Fokine, who had also read the poem, to create a solo ballet for her for a 1905 concert being given by artists from the chorus of the Imperial Mariinsky Opera. Fokine suggested Saint-Saëns's cello solo, Le Cygne (which Fokine had been playing at home on a mandolin to a friend's piano accompaniment) as the work's musical basis and Pavlova agreed. A rehearsal was arranged and the short dance completed very quickly. [2] 

Fokine remarked in Dance Magazine (August 1931): It was almost an improvisation. I danced in front of her, she directly behind me. Then she danced and I walked alongside her, curving her arms and correcting details of poses. Prior to this composition, I was accused of barefooted tendencies and of rejecting toe dancing in general. The Dying Swan was my answer to such criticism. This dance became the symbol of the New Russian Ballet. It was a combination of masterful technique with expressiveness. It was like a proof that the dance could and should satisfy not only the eye, but through the medium of the eye should penetrate the soul. [3] 

In 1934, Fokine told Arnold Haskell, author of Balletomania : Small work as it is, [...] it was 'revolutionary' then, and illustrated admirably the transition between the old and the new, for here I make use of the technique of the old dance and the traditional costume, and a highly developed technique is necessary, but the purpose of the dance is not to display that technique but to create the symbol of the everlasting struggle in this life and all that is mortal. It is a dance of the whole body and not of the limbs only; it appeals not merely to the eye but to the emotions and the imagination. 

 The Dying Swan was first performed at a gala in the Noblemen's Hall, St. Petersburg, Russia on Friday, 22 December 1905, [6] and first performed in the United States at the Metropolitan Opera House, New York on 18 March 1910, with Pavlova in the role. American dance critic and photographer Carl Van Vechten noted that the ballet was "the most exquisite specimen of [Pavlova's] art which she has yet given to the public." [2] Pavlova performed the role some 4,000 times [7] and, on her deathbed in The Hague, reportedly cried, "Prepare my swan costume." [7] [8] 

 Fokine's granddaughter Isabelle notes that the ballet does not make "enormous technical demands" on the dancer but it does make "enormous artistic ones because every movement and every gesture should signify a different experience" which is "emerging from someone who is attempting to escape death". She notes that modern performances are significantly different from her grandfather's original conception and that the solo today is often made to appear to be a variation of Swan Lake—"Odette at death's door". 

The ballet is not about a ballerina being able to transform herself into a swan, she states, but about death, with the swan simply being a metaphor for that. [9] Please go to the following website for more information on this music and the ballet -

Korea: The Impossible Country de Daniel Tudor.

Stim cu totii ca Romania e o buna exporatatoare de valori si ca aproape oriunde pe glob putem gasi conationali de ai nostri a caror activitate este apreciata si recunoscuta. Desigur, acesta un motiv sa ne mandrim cu ei dar si un motiv sa ne intristam ca "nimeni nu este profet in tara sa" si ca acestia au trebuit sa paraseasca tara pentru a-si implini menirea pe acest pamant.

Printre cei despre care am vorbit mai sus se poate numara si Daniel Tudor, corespondent al ziarulu The Economist in Coreea de mai bine de un deceniu. El recunoaste, cu destula modestie, ca activitatea sa de corespondent nu i-a adus cine stie ce notorietate, T E preferand sa lase in anonimat numele celor care contribuie la articolele sale. Totusi se pare ca numele sau incepe sa devina cunoscut datorita initiativei de a scrie o carte despre tara in care si-a petrecut atatia ani.

Trebuie sa-i multumesc prietenei mele de pe fb, Silvia, pt ca mi-a semnalat cartea. Ei autorul i se pare cunoscut, dar nu stie de unde si cand. Cautand date despre autor si carte am citit cateva interviuri f interesante date de el diferitelor publicatii. Pe primul pe care l-am citit, in The Korea Times, "Obvious xenophobia" nu am reusit sa-l mai redeschid dupa ce am inchis tagul din Ff, si imi pare rau, pt ca e de departe cel mai interesant.

Autorul a ajuns in Coreea in 2002, cu ocazia Cupei mondiale la fotbal, apoi a activat ca si corespondent pt T E precum si ca profesor de engleza...S-a hotarat sa scrie acesta carte, spune  el, pentru ca, spre deosebire de China sau Japonia, exista destul de putine carti despre Coreea.

Totusi, in articolul din The Wall Street Journal la care tocmai am dat link se nominalizeaza si alte carti despre Coreea care sunt "must read": 

 Michael Breen,  “The Koreans,” which was originally published in 1998, Korea Unmasked” by Rhie Won-bok, “Diamond Dilemma” by Tariq Hussain, “Korean Dynasty” by Donald Kirk, Tom Coyner’s guides to doing business in Korea and the Seoul Selection guidebooks for places and sightseeing.

Daniel Tudor spune in interviul din  TWSJ ca a fost indemnat sa scrie acesta carte de faptul ca cei care vor sa stie mai multe despre Coreea contemporana nu au prea multe surse scrise. El a incercat sa faca o trecere in revista din punct de vedere atat economic cat si cultural a modului in care Coreea, care avea un venit pe cap de locuitor de 100$ anual in 1953 a ajuns acum la 30 000$. 

Pentru asta a introdus mai multe interviuri:

• Choi Min-sik, the star of "Old Boy"
• Park Won-soon, Mayor of Seoul
• Soyeon Yi, Korea's first astronaut 
• Hong Myung-bo, legendary captain of Korea’s 2002 FIFA World Cup team
• Shin Joong-hyun, the 'Godfather of Korean Rock'
• Ko Un, poet
• Hong Seok-cheon, restaurateur, and the first Korean celebrity to 'come out'

And many more, including a former advisor to President Park Chung-hee; a Shaman priestess ('mudang'); the boss of Korea's largest matchmaking agency; a 'room salon' hostess; an architect; as well as chefs, musicians, academics, entrepreneurs, homemakers, and chaebol conglomerate employees. 

Pentru ca recenzia de la prestidigioasa editura Barnes & Nobles este foarte interesanta, am sa mai public cateva extrase din ea:

Long overshadowed by Japan and China, South Korea is a small country that happens to be one of the great national success stories of the postwar period. From a failed state with no democratic tradition, ruined and partitioned by war, and sapped by a half-century of colonial rule, South Korea transformed itself in just fifty years into an economic powerhouse and a democracy that serves as a model for other countries. With no natural resources and a tradition of authoritarian rule, Korea managed to accomplish a second Asian miracle.

Aflata multa vreme in umbra Japoniei si a Chinei, Coreea de Sud este o tara mica si a devenit una din povestile cu cel mai  mare succes din peroada postbelica. Dintr-un stat falit cu nici un fel de traditie democratica, ruinat si impartit in doua dupa razboi, si avnad de suferit dupa o jumatrate de secol de dominatie coloniala, Coreea de Sus s-a transformat in numai 50 de ani intr-o putere economica si intr-o democratie care este un model pt alte tari. Fara nici un fel de resurse naturale si cu o traditie de guvernare autoritara, Corea a reusit sa produca un al doilea miracol asiatic.

South Korea has undergone two miracles at once: economic development and complete democratization. The question now is, will it become as some see Japan, a rich yet aging society, devoid of energy and momentum? Or will the dynamism of Korean society and its willingness to change—as well as the opportunity it has now to welcome outsiders into its fold—enable it to experience a third miracle that will propel it into the ranks of the world's leading nations in terms of human culture, democracy, and wealth?

Coreea a cunoscut doua miracole deodata, dezvoltare economica si democratizare completa. Intrebarea este: va deveni asa cum vad unii Japonia, o societate bogata dar in curs de imbatranire,  lipsita de energie si viteza? Sau dinamismul si dorinta de schimbare a Coreei, ca si oportunitatea de a include straini in sanul sau, ii vor permite sa cunoasca un al treilea miracol care o va propulsa in randurile natiunilor ce vor conduce lumea in termeni de cultura, democratie, si bogatie?

Desigur, cartea nu da un raspuns, din cate am inteles din recenzii si interviuri, la toate intrebarile de mai sus, ea face mai degraba o trecere in revista a modului cum se prezinta societatea acum, incepand de la xenofobia juranlistilor de la MBC, care ii prezinta pe straini ca pe niste pradatori gata sa ademeneasca tinerele inocente coreene si sa le umple de HIV si alte nenorociri, si continuind cu o multime de alte aspecte.

Ceea ce l-a impresionat cel mai mult pe autor este setea de noutate care exista in Coreea. Rugat sa explice titlul el spune:

I interviewed a guy who was an advisor to Park Chung Hee back in the 60s who said, “Korea was the poorest, most impossible country on the planet.” People didn’t even expect Korea to survive as a country then. The fact that it became what it’s become would have seemed impossible at the time. There’s also the pressure and stress that many of my Korean friends experience and how it’s almost impossible to live up to the standards this society sets on people. It describes Korea’s “need-to-succeed” mentality. 

Am luat interviu unui tip care a fost consilierul lui  Park Chung Hee in anii 60 si care a spus: "Coreea a fost cea mai saraca, cea mai imposibila tara de pe planeta" Atunci oamenii nici nu se asteptau ca ea sa supravetuisca precum o tara. Faptul ca a devenit ce a devenit atunci parea imposibil. Prietenii mei coreni simt deasemenea o mare presiune is stress care ii face sa creada ca e imposibil sa se ridice la standardele pe care le pune societatea in fata lor. Acesta descrie mentalitatea coreeana "ai nevoie de succes". 

Intr-adevar, prietenul meu despre care v-am mai vorbit, dr Hong, nu odata publica in postarile sale citate care cuprind sfaturi despre cum sa ai succes. Nu e mai putin adevarat ca el insista mai mult pe nevoia de fericire si de dragoste si intelegere intre oameni, si de ce face asta mi-a devenit mai clar dupa ce am citit in Oxford Today pasajul urmator:

Somewhat like China, the miracle has been achieved at the sacrifice of much else, particularly general happiness: Koreans set themselves impossible tick lists in every aspect of life and work, Tudor explains, and then feel dreadful when reality falls short. The country has the world’s second highest suicide rate.

Cumva precum China, miracolul coreean s-a produs cu sacrificarea multor altor aspecte, in particular fericirea generala.: coreenii isi impun obiective imposibile in orice aspect al vietii sau al muncii, explica Tudor, si se simt ingrozitor cand realitatea nu le indeplineste. Tara este pe locul doi in lume in ce priveste numarul sinuciderilor.

Personal am remarcat aceasta cruda realitate citind despre unul din actorii care a jucat in Winter Sonata, serialul care practic a declansat Hallyu, valul sud-coreean,  care a patruns si in tara noastra si care mi-a adus destui cititori pe blog si multe prietenii pe fb, acest actor deci s-a sinucis...si nu e deloc singurul exemplu notoriu.

In incheiere am sa mai public un scurt pasaj dintr-un interviu al lui Daniel Tudor, ramanand sa cititi, daca gasiti cartea si stiti engleza, pare a fi o lectura interesanta si captivanta:

I wanted to look at what are the results of this rapid economic development, positive and negative. The work culture here. How people date and get married, how that has changed. The spirit of competition in Korea. That’s one of the most important aspects of Korean society, in my opinion, this competition that has arisen in the rapid development phase.

Am vrut sa vad care sunt rezultatele acestei dezvoltari economice rapide, pozitive si negative. Cum lucreaza cultura aici. Cum se stabilesc intalnirile amoroase si cum se casa toresc oamenii, cum s-a schimbat asta. Spritiul de competitie in Coreea. Dupa parerea mea, acesta este unul dintre cele mai importante aspecte ale societatiii coreene, acesta competitie care a aparut in faza de dezvoltare rapida.

Daca aveti timp si stiti engleza va invit sa mergeti la linkurile pe care le-am pus, citatele mele dau numai o palida imagine a lucrurilor interesante pe care le puteti gasi in ele.