逍遙白鶴的BLOG
日子是流動的河水，記憶是沉在水底的石頭。
*德國古典哲學一般是指康德、費希特、謝林、黑格爾和費爾巴哈的哲學，是代表西方近代哲學的最高階段。它繼承了由德國哲學家萊布尼茨代表的唯理主義傾向，同時又受到了蘇格蘭啟蒙運動中著名哲學家休謨的經驗主義和懷疑論的影響，此外以萊辛、歌德為代表的啟蒙運動文學也對德國古典哲學起到了相當程度的影響。（斯賓諾莎的宿命論思想有時也被認為是德國古典哲學的重要思想來源之一。）在這些思想的共同影響下，德國古典哲學家總結並探討了一係列哲學上的重大問題，盡管他們中的多數經常被泛泛地認為是唯心主義，但他們的主張卻不是統一的。
康德是一個二元論者和不可知論者，他為了調和唯理主義和經驗主義，提出了自己的批判哲學。費希特則持有一種主觀唯心主義（後期也被認為傾向於客觀唯心主義），謝林和黑格爾有時候被認為是客觀唯心主義者，但事實上他們的意見是非常不同的。直到費爾巴哈以一種唯物主義的觀點對黑格爾宏大的形而上學體係提出抨擊，從而終結了德國古典哲學。
德國古典哲學具有抽象性和思辯性的特點，它最重大的意義在於從康德開始，世界觀發生了巨大轉變。世界再也不再是是其所是，理性再不隻是被當作法則的附屬品所對待，而是轉變為由理性為世界立法，世界被認為是由我們的觀察所決定的。跟隨康德，產生了以叔本華為代表的存在主義；跟隨費爾巴哈，產生了以馬克思為代表的曆史唯物主義，此外分析哲學、現象學等等哲學分支，甚至直到哈貝馬斯都受到了德國古典哲學的重大影響。——引自維基百科
編劇: 丹尼斯·甘塞爾 / Peter Thorwarth / Todd Strasser
主演: 約根·沃格爾 / 詹妮弗·利奇 / 馬克思·雷邁特 / 克裏斯蒂安妮·保羅 / Frederick Lau
類型: 劇情 / 驚悚
官方網站: http://www.welle.film.de/
製片國家/地區: 德國
語言: 德語
上映日期: 2008-03-13(德國)
片長: 107 分鍾
又名: 惡魔教室(台) / The Wave
白鶴且來轉載翻譯一篇美國觀眾的影評吧（白鶴英文水平低，翻譯的不當之處歡迎指正）。
This might come as no surprise, but Americans and Europeans think very differently about the events preceding WWII. Americans often display indignation and shock at the weak or possibly evil Europeans who allowed their rulers to seize power, while Europeans begrudgingly admit that it happened, but vow they have since evolved and would never follow an authoritarian leader again.
美國人和歐洲人對二次世界大戰的見解存在很大分歧，這一點並不令人意外。對於懦弱的歐洲民眾曾經對其國家領導人所聚集起的那般邪惡勢力視若無睹，美國人一貫表現出極大的義憤與震驚，並且發誓民眾一旦醒悟將再也不會重複追隨那樣的獨裁者。
I have seen the manifestation of these beliefs firsthand in classrooms across the world. In teaching American students about the rise of fascism in Europe during the 20th Century, I often come across the same reaction: how could those Europeans be so stupid as to allow (inset fascist ruler) to obtain sovereign control of the country and attempt to exterminate any opposition? European students, on the other hand, believe that since they are now democratic, it would be impossible to be fooled by an autocrat. Both these reactions are significantly ignorant, however, and that ignorance is vividly exposed in Dennis Gansel's film Die Welle (The Wave). This film is the best explanation I know for how Hitler, Mussolini, Lenin, or any other Fascist leader came to power, and serves as the best slap in the face to any who believes their society is above such a possibility.
於世界各地的教室裏，我曾親眼目睹許多存在這種信念的學生。因為給美國學生講授關於20世紀法西斯主義在歐洲形成的課程，同樣的疑惑也多次縈繞我心中：那些屈從於法西斯統治下的歐洲人怎麽可以蒙昧地默許他們的獨裁者統禦整個國家，並且無情地滅絕一切反對或者質疑其統治的人？電影《浪潮》的編劇和導演丹尼斯.岡塞爾生動地揭示了這種可能性是怎樣發生的。這部電影精辟地詮釋了希特勒、穆斯林極端主義分子、列寧或其他獨裁領袖如何鑄造起他們的威權；而且給所有那些認為獨裁狀況不可能再次發生的人不諦於抽了一個響亮的耳光。
The movie, based on the 1981 book The Wave, tells the story of a German teacher named Rainer Wengar who is assigned to teach a week-long class on autocracy. He encounters boredom from his students, all of whom believe they would never succumb to the charisma of a dictator. In an attempt to engage the students and test their theory, Wengar begins the next class with a demonstration of what unity and working together can achieve. While sacrificing some individuality, the class begins to see the benefits and begins calling themselves Die Welle (translation: The Wave), complete with uniforms and a salute. With encouragement from Mr. Rainer, the activity escapes the classroom and begins consuming the whole school. Attendance, grades, and school pride rise as Die Welle members enjoy celebrity status among their peers, and non-members begin to feel the effect of not being in the inner circle.
這部電影改編於1980出版的一部同名小說。書中講述了一位德國中學教師瑞納.溫格由校長安排給學生們講授一周的關於分析專製獨裁統治的課程。最初，幾乎所有的學生都表示他們絕不會屈從於一個獨裁者的統治。溫格老師為了證實這種理論實施的可能性，在下一節課時號召同學們大家統一意誌、齊心協力可以達成更高的目標，並且將個別存不同意見的同學趕出了教室。（平日自由散漫慣了的）少年們為這個新鮮的主意而感到歡欣鼓舞。在老師的啟發下，學生們開始視自己的班級為一個緊密的團體，起名為“浪潮”，設計了團體標誌，全班同學都穿上白襯衫和藍色牛仔褲上課作為他們的製服，並引以為自豪。所有這些特殊的舉動在整個校園裏引起矚目，其他班級的學生也對此發生興趣，踴躍加入“浪潮”組織，並引為自豪。而不熱衷於參與“浪潮”活動的同學則逐漸感到自己被視為“異類”，被大部分人冷落，成為被主流排斥的邊緣人物。
After violence erupts against non-Welle members at a school water-polo game, Wengar realizes he has lost control of the week-long project. The movement has taken over the lives of the students, one of whom—a boy named Tim—declares himself his personal bodyguard and begins sleeping in front of Wengar's home. Frightened by the dedication to Die Welle and the violence it causes, Wengar calls the students together to end the project. In exposing his ruse, however, Wengar unintentionally initiates a series of shocking reactions from students who are now unable to give up their newfound solidarity, ending the movie with a stunning conclusion.
不久，在與外校舉行的一次水球比賽時，“浪潮”組織的學生與非“浪潮”學生產生了暴力衝突，至此溫格老師意識到他設計的一周為限的“試驗”已開始失控。但此時，“浪潮”運動成為學生們生活中的一件大事，欲罷不能。其中一名男同學蒂姆甚至為之癡狂到緊密追隨溫格老師，宣稱他自己是溫格老師的私人保鏢，連夜晚都睡在溫格老師的家門口不肯離開。隨著浪潮和非浪潮“派”學生之間的衝突愈演愈烈，溫格老師在課堂上宣布這個試驗活動到此結束。出乎意料的是，短短幾天的精神蠱惑和興奮感已經使一些學生深陷其中難以自拔，影片的結尾令人震撼不已。（蒂姆同學持手槍、吞彈自殺，溫格老師被警察帶去警局……）
Throughout the film, writer and director Dennis Gansel manages to show both understanding and judgment against those who helped elevate Fascist leaders to power. He demonstrates the power of uniformity in purpose, and the undeniable allure of belonging to a community and movement. During Wengar’s project, the student's lives and work do seem improved. The perpetual outcast, Tim, is finally included by his peers; the boy's water polo team begins playing aggressively as a unit; the listless students are actually excited to come to school. While there are a few who dislike the changes, they are quietly dealt with and the parade marches on. At first, Gansel paints such a favorable picture that we actually want to be a part of the project. It's exciting, effective, and inviting.
貫穿全片，編劇和導演岡塞爾用意菲淺地演示了法西斯主義的領袖怎樣一步步建立起他們的威權，怎樣利用集體主義招牌蠱惑人們對於一個特定的組織產生歸屬感，並喪失抵禦能力地投入其發起的任何一種運動。在溫格老師的試驗期間，表麵上看同學們的生活習慣和學業確實取得了一些進步。蒂姆也得到了同伴們的認可，學生水球隊團結一致增強了比賽獲勝的信心。學生們對於走進課堂充滿期待和興奮…… 而少數不喜歡這種做法的同學則陷於孤立，他（她）們的反對已無法阻止整個事態的進程。導演岡塞爾描繪了一幅如此引人入勝的畫麵：把作為觀眾的我們也帶進了溫格老師的課堂試驗，讓我們感受到“專製製度”初始的號召力，和它帶給人們精神上的亢奮和行動上的效率。
The irony, of course, is that the audience is being drawn into the same mindset they either dismissed as impossible or scorned. Like the students, we willingly follow the autocrat we professed to hate, embracing that which we despise. When Wengar exposes what has happened to his students, Gansel slaps us in the face for exhibiting the same ignorance. Gansel forces all his viewers to face their assumptions, and makes them take a good hard look at their ignorance.
頗具反諷意義的是，觀眾會不自覺地一步步被“集體”的價值觀感染、認同——即使那種製度是你以前多麽的嗤之以鼻、不屑一顧的，你會發現，我們和影片中的學生別無二致。我們準備去追隨我們蔑視過的獨裁者，肯定我們過去否定的信念。當溫格老師觸發了學生們行為和意識的變化，導演岡塞爾也給了觀眾當頭一個棒喝，讓我們深刻地意識到我們自身潛意識裏的盲目和愚鈍。
Given the recent political upheaval across the world, it is more crucial than ever to expose this ignorance. As tyrants are being overthrown and the Arab Spring is in full bloom, democratic countries are congratulating themselves on their superior governments and denouncement of dictators, thinking the “civilized” world has evolved past autocracy. Yet in an election earlier this month, the fascist party in Greece received about 7% of the vote, up from approximately 1% the previous election. While the possibility of a dictatorship remains unlikely, it is dangerous to consider it impossible. If it does arise, our ignorance will blind us; by the time we realize that we are engaged in fascist activity, it may be too late.
鑒於如今世界上種種動亂頻生，我們比任何時候都需要更加重視和警惕愚昧的盲動性。獨裁專製製度正在被更多國家的人民摒棄，阿拉伯之春的民主意識正在更多國家的民眾中蘇醒，民主國家的民眾期待著文明、民主會逐步取代所有的專製獨裁統治……不過，就在前一段時間希臘的選舉中，希臘的法西斯黨獲得了百分之七的選票，高過上次選舉中的百分之一。即使法西斯主義仍然明顯地被多數人唾棄，但我們不可掉以輕心，一旦法西斯主義變幻形式發生，我們的盲從將遮住我們的眼睛，等到我們認清事實的真相，恐怕為時已晚、木已成舟。
For Americans, to mock and deride those who succumb to dictatorial rule is also dangerous and probably evil. To think an entire population is idiotic and foolish is uncaring and unchristian. Christ calls us towards understanding and love for our neighbors. To belittle and ignore the needs that lead people toward autocratic rule will not lead to love, but hate; not to humility, but to pride. As incarnate souls made in the image of God, such people demand respect and love. Feelings of superiority and haughtiness do not serve those demands; they remain evil.
作為美國人，以嘲笑和輕蔑的態度看待獨裁製度下的人民也是危險甚至惡毒的。你不能把所有和我們持不同信仰的人視為愚蠢的民族。基督勸導我們試圖理解和熱愛我們的鄰居們。藐視別人不能帶來友愛，隻能帶來仇恨；采取傲慢而不是謙遜的態度隻能傷害別人。正常人類中的每一位成員都需要得到愛和尊重。自以為是、桀驁不馴不會滿足對於愛和尊重的需求，隻能導致邪惡對抗的發生。
I find it necessary to note: I, and Gansel, do not oppose single-ruler governments (autocracies) as evil and broken forms of government in and of themselves. Remember, the New Jerusalem will be ruled not by a democracy, but by a single, perfect ruler. As the movie reveals and as history has generally told us, the danger of autocracy lies in the abandonment of reason for blind obedience to a leader who, if disobeyed, has complete and unchecked power to dispose of offenders. Given humanity’s imperfect and corrupted sinful nature, to entrust any one person with complete power is incredibly dangerous. Given man’s proclivity towards anger and malice, autocracy remains one of the most potentially evil forms of government in the world.
我認為有必要表明：我和岡塞爾都並非認定所有的專製政府本身都是邪惡或者荒謬的。請記住，新耶路撒冷也不會施行民主製度，而是由一位完美的領導者所統領。正如這部電影所揭示的，以及曆史通常告訴我們的一樣，獨裁者的危險性在於用謊言欺騙臣民們絕對服從於他，無條件地行使絕對權力，並消滅所有持異見者。由於人性的不完美和腐敗的天性，崇信任何擁有絕對權力的個人都是極其危險的。也由於人類對於憤怒和怨恨的傾向性，專製製度仍然是當今世界上最具危害性的政府體製。
The insight offered by Die Welle could not be more timely or needed. Gansel aptly lays out the blueprint for how a society that strongly opposes dictatorial rule could rapidly become a dictatorship. It serves as a warning that, given the right stimulus, no society is immune from the allure of fascism. Yet he also lays out the groundwork for understanding those who do submit to bad autocrats. He shows why charity is necessary, both before the rise of fascism and after. Anyone studying World, United States, or European history, or anyone who wishes to love people more needs to watch it, and afterwards ask the hard questions it raises. We should not remain in ignorance, exposed to very serious potential danger.
《浪潮》這部電影的洞察力和深刻性是跨越時代的。岡塞爾巧妙地展示了一個強壯的反獨裁群體如何快速地轉向而成為獨裁的崇拜者。給予一個社會群體利益的允諾和樂觀的激勵，很少有人能拒絕這樣的誘惑。無論是在法西斯主義的興起之時或衰落以後，慈善和憐憫都是必不可缺的。無論哪一位有心學習和了解世界曆史、美國或歐洲的曆史，或者任何一位對人類報以熱愛願望的人都有必要觀看這部電影，而在看過以後更需要嚴肅地捫心自問，千萬不要讓盲從蒙住我們的眼睛。那樣會引發非常嚴重的、潛在的危害降臨。
