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One Hundred Years of Solitude: The Eternal Solitude of Humanity Portrayed in Magical Realism

“Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.” This classic opening sentence, like a crystal-clear block of ice, instantly draws readers into the masterpiece One Hundred Years of Solitude byFirst, let’s revisit the depth of this opening. The “ice” is not only the first magical element in the novel—appearing miraculously in the tropical town of Macondo—but also symbolizes the freezing of time and the eternity of memory. Colonel Aureliano recalls his childhood at the moment of his death,The novel is set in the fictional town of Macondo, an idealized version created by Márquez based on his hometown of Aracataca. The story begins with José Arcadio Buendía and his wife Úrsula founding the town and extends to the rise and fall of seven generations of descendants. Macondo evolves from aIn depicting cross-generational aspects, the magical realism style plays a crucial role. The Buendía family members’ names are reused—multiple Arcadios and Aurelianos—not only causing narrative confusion but also symbolizing the cycle of fate. Márquez uses magical elements to reinforce this generatiThis cross-generational portrayal deeply reveals the historical trauma of Latin America. Márquez was born during the Colombian civil war, and the fictional “banana massacre” in the novel originates from a real event (the 1928 United Fruit Company massacre of workers). Magical realism transforms histTurning to the eternal solitude of humanity, this is the core theme of the novel and the most profound application of magical realism. The title One Hundred Years of Solitude points directly to this: solitude is not a temporary emotion but the essence of human existence. Every member of the Buendía The eternity of solitude is vividly embodied across generations. The family’s curse of incest (giving birth to a child with a pig’s tail) is not only a moral metaphor but also a punishment for solitude—they cannot connect with the outside world, only cycling internally. The town of Macondo itself isFrom a psychological perspective, this solitude stems from existential despair. Influenced by Kafka and Hemingway, Márquez blends magic with reality to explore human alienation. Aureliano making goldfish symbolizes meaningless repetitive labor; Rebeca’s habit of eating earth reflects inner emptinessLiterary critics often compare One Hundred Years of Solitude to the Bible or Greek mythology because its generational narrative is as grand as Genesis. Magical realism makes this analogy more vivid: Macondo is like Eden, from innocence to堕落. The Nobel Prize committee praised Márquez for “creating a However, the novel is not entirely hopeless. Magical realism contains hints of humor and poetry: Úrsula’s resilience, the children’s fantastical adventures, bring a touch of warmth. But these highlights ultimately reinforce solitude—happiness is fleeting, leaving deeper emptiness. Márquez said in anIn summary, One Hundred Years of Solitude, through the style of magical realism, skillfully portrays the cyclical nature across generations and the eternal solitude of humanity. That opening sentence about the memory of ice is not only a narrative technique but also a microcosm of the theme: time fr

Dreaming in the Namib Desert — The Confusion and Sincere Cry of Generation Z

《夢遊納米比亞沙漠》（Desert of Namibia）是一部由28歲日本新銳導演山中瑤子自編自導的電影，於2024年榮獲康城影展導演雙周國際影評人費比西獎，並在2025年7月10日於香港公映。這部片以21歲的激光脫毛師加奈（河合優實飾）為主角，通過她混亂而真誠的生活，描繪了日本Z世代在現代社會中的迷惘、掙扎與自我探索。片長137分鐘的電影沒有高潮迭起的劇情，卻以細膩的鏡頭語言和真摯的情感，勾勒出一幅當代年輕人的心靈圖景，令人既共鳴又唏噓。故事圍繞加奈展開，她被稱為“日本最爛的人”，卻也許是當下年輕人的縮影。加奈在東京過著看似平凡的生活，卻對單一審美的工作感到厭倦，對紙飲管等現代規範嗤之以鼻。私生活中，她從一段病態的戀情跳到另一段有毒的關係，與同居男友阿林（金子大地飾）相處時勉強擠出笑容，卻又暗中與另一個男人（寬一郎飾）曖昧。她的逃避方式是沉迷於手機直播，觀看納米比亞沙漠中羚羊的生活——這片“壯闊之地”什麼也沒有，卻彷彿映射了她內心的空虛。電影以東京街頭的晃動鏡頭開場，加奈甩着手提袋，像孩子般肆意奔跑，卻不知要去何方。海報上的標語“迫人用紙飲管嘅年代，仲同我講乜嘢未來”一針見血地道出她的叛逆與迷茫。山中瑤子的導演手法充滿個人風格。她以非線性敘事和大量手持鏡頭，捕捉加奈情緒的波動，讓觀眾仿佛置身於她的內心世界。例如，一場加奈與男友互毆的戲，鏡頭突然切到她面無表情地看著手機中的互毆畫面，這種疏離感既荒誕又真實，凸顯智能手機如何成為現代人情感的過濾器。另一場令人印象深刻的片段是加奈參加阿林的家庭聚會，她花費心思打扮，卻只能勉強假笑，與男友母親的對話充滿疏離。這些細節平淡卻有力，展現了加奈在社會規範中的壓抑。山中瑤子曾說，她與加奈“幾乎一模一樣”，這種自傳式的情感投入讓電影格外真摯。她通過加奈的故事，呼籲年輕人不要因害怕犯錯而停滯，勇敢面對內心的傷害與關愛。河合優實的表演是本片的最大亮點。她的眼神時而空洞、時而憤怒，完美詮釋了加奈的自私、情緒化與內在的脆弱。尤其在與母親的視像通話中，加奈聽不懂母親朋友的普通話，只能重複說“你好”，這一幕平淡卻充滿張力，暗示了她對混血身份的疏離感。山中瑤子也在訪談中提到，她與河合優實同樣有混血背景，對日本社會對外來者的微妙排斥感同身受，這使得加奈的迷惘更具普遍性。配角金子大地和寬一郎的演出同樣可圈可點，他們的角色雖然未被深入挖掘，但為加奈的情感糾葛提供了必要的張力。視覺與音效方面，電影以東京的都市喧囂為主舞台，偶爾穿插納米比亞沙漠直播的片段，後者以靜謐的畫面形成強烈對比。雖然沙漠場景僅通過手機螢幕呈現，但其空曠的意象與加奈的內心呼應，令人回味。配樂上，電影選擇了簡約的電子音樂與環境音，增強了沉浸感，但偶爾顯得單調，未能完全烘托情緒高潮。然而，電影並非無可挑剔。137分鐘的片長略顯冗長，部分情節如加奈的夢遊式漫遊顯得過於鬆散，缺乏明確的推進力。對現代社會壓力的描寫雖然深刻，但有些片段過於隱晦，觀眾可能難以完全解讀導演的意圖。此外，電影對配角的刻畫較為單薄，未能充分展現他們與加奈關係的複雜性。對於期待劇情驅動的觀眾，這部片可能顯得“什麼也沒發生”，但這正是其魅力所在——它不追求答案，而是呈現一種狀態。總體而言，《夢遊納米比亞沙漠》是一部關於迷惘與真誠的青春物語。它不提供簡單的救贖，卻通過加奈的故事，讓觀眾反思現代社會的束縛與自我認同的掙扎。山中瑤子以15天的極簡拍攝，創造了一部充滿生命力的作品，河合優實的表演則為這片“沙漠”增添了靈魂。對於喜歡沉思型電影的觀眾，這部片是不可錯過的佳作。

Edward Yang's 'Yi Yi' 4K Restoration Re-release: The Afterglow of Life

在2025年的盛夏，楊德昌的經典之作《一一》以4K修復版重返銀幕，這不僅是對一部電影的技術升華，更像是對時間的一次溫柔回溯。時隔25年，這部2000年問世的遺作，宛如一幅塵封的畫卷，被細膩的數位之手拂去灰塵，重現於大銀幕上。楊德昌離世已近二十載，他的影像卻如幽靈般徘徊在當代影壇，提醒我們：生命本是一場無止盡的「一一」，從出生到死亡，從喜悅到哀傷，循環往復，永不休止。在這個數位時代，重映的《一一》不僅是懷舊的召喚，更是對當下都市靈魂的一次深刻叩問。電影以台北一個中產階級的三代家庭為軸心，展開一幅細膩的生命圖景。父親NJ（吳念真飾）是軟體工程師，妻子敏敏（金燕玲飾）是家庭主婦，女兒婷婷（李凱莉飾）正值青春期，小兒子洋洋（張洋洋飾）則以孩童的視角捕捉世界的純真。故事從一場婚禮開始，卻以婆婆的中風昏迷為轉折，引發家族成員各自的內心風暴。楊德昌不急於鋪陳戲劇衝突，而是如一位靜默的觀察者，讓鏡頭緩緩流淌，捕捉日常的細碎與荒謔。婚禮的喜慶與醫院的死寂交織，愛情的甜蜜與背叛的痛楚並存，這一切彷彿是台北都市生活的縮影：高樓林立，卻掩不住人心的孤獨。楊德昌的文藝風格在《一一》中達到巔峰。他擅長運用長鏡頭，宛如一雙不眨眼的眼睛，凝視人物的內在掙扎。譬如那場NJ在東京重遇舊愛的戲碼，鏡頭不動聲色地捕捉雨夜的霓虹與內心的波瀾，無需多言，便道盡「如果當年」的遺憾。音樂設計簡約卻精準，彭鎧立的配樂如輕風拂面，偶爾的鋼琴聲響起，便勾勒出生命的韻律。洋洋的攝影機成為全片的隱喻，他總是拍攝人們的後腦勺，說道：「爸爸，我只能看到一半的世界。」這句童言童語，卻點破了電影的核心主題：我們永遠無法看清生命的全部，卻在試圖拼湊中，體悟存在的荒謔與美麗。楊德昌借此批判現代社會的異化，家庭成員各自封閉，溝通淪為形式，卻在危機中尋覓重生的可能。4K修復版的問世，讓這部電影煥發新生。原版膠片經數位掃描，畫質提升至前所未有的清晰度，每一幀都如水晶般透澈。台北的街景、公寓的細節、人物臉上的皺紋與淚痕，都被放大呈現，增強了觀眾的沉浸感。尤其在夜戲中，霓虹燈的反射與雨水的折射，更顯層次豐富，彷彿將觀眾拉回千禧年的台北。修復不僅是技術層面的升級，更是對楊德昌視覺美學的致敬。他的鏡頭總是透過玻璃窗或反射表面拍攝人物，象徵都市人的疏離與自省；在4K版中，這種反射效果更為立體，讓觀眾感受到層層疊疊的心理深度。相比原版，這次重映如同一場視覺盛宴，讓年輕一代影迷重新發現這部被BBC譽為「21世紀最偉大電影之一」的傑作。演員的表演是《一一》另一大亮點。吳念真飾演的NJ，溫文爾雅卻內藏風暴，他的眼神總是飄忽不定，傳達出中年男子的無力與追尋。金燕玲的敏敏則是壓抑的火山，在婆婆病榻前崩潰的那一刻，釋放出積累已久的疲憊與覺醒。小演員張洋洋的自然演出，更是點睛之筆，他的純真視角如一股清流，沖刷著成人的虛偽。楊德昌的選角總是精準，他不追求明星光環，而是讓演員融入角色，成就了這部現實主義的巔峰。重映《一一》，在當今快節奏的影壇中，無異於一劑清醒劑。它提醒我們，電影不只是娛樂，更是生命的鏡子。楊德昌曾說：「電影是讓我們看到自己看不到的東西。」在4K修復版的銀幕上，我們看到的不僅是台北的浮世繪，更是自身生命的軌跡。無論是初次觀影還是重溫，這部三小時的長片，都值得你走進戲院，靜心體會。生命的「一一」，從一場婚禮到一場葬禮，從一個家庭到整個社會，楊德昌用溫柔的筆觸，描繪出永恆的輪迴。在2025年的今天，這部電影依然鮮活，邀請我們一同凝視那看不見的另一半世界。

When the Water Runs Dry: Learning English and Foreign Languages

Most people advise beginners in language learning to immerse themselves in the language's atmosphere, preferably by living abroad for a while, or at least by watching dramas at home. However, I believe this approach is only half correct. Firstly, it must be admitted that about half of those who lear

At the End of the Road: A Few Things About Collectibles

Wanting to write an article about collectibles and Pokémon card collectibles, I found that using AI can easily produce a decent collectibles article. No matter, AI can be used as a reference for information, just like searching for information online, except that AI is the most effective tool for ga

Child, I Will Always Be By Your Side

My child is ten years old, tall in stature, but with a round belly. He loves playing football, although he doesn't run very fast and his skills still need polishing, his passion and perseverance have never wavered.During yesterday's football class, he was grouped with some blonde Russian children. Their football skills were decent, not top-notch, but during the grouping, they expressed resistance through their eyes and words, unwilling to be in the same group as my child.I stood by the field, watching the scene. My child didn't speak, trying hard to maintain his composure on the surface. But I knew, inside, he was bearing unspeakable grievance and sadness. Fortunately, the coach didn't compromise because of this, and the objections of those children were ineffectiveMy eyes closely followed my child's every move, seeing him being excluded, not passed the ball, not invited to participate in the practice. Suppressing the surging emotions in my heart, I walked to the side of the field and whispered to him in Cantonese:"We're here to improve our football skills. We've paid the same as everyone else to learn. You don't need to pay attention to others' looks and actions. When it's your turn to practice, take the initiative to play, don't be afraid, just be yourself."At that moment, the tension on my child's face suddenly eased. He no longer dwelled on the cold shoulders and exclusion from before, but gradually immersed himself in the training. I saw his figure running on the field, and my heart finally relaxed, but my eyes never left him.My child, mom knows this experience has hurt you, but it has also brought important enlightenment.You need to lose weight, exercise more, to become healthier and stronger. More importantly, learn how to face the unfriendliness and unfairness of this world. No need to resent, no need to hate, just persist in being yourself and move forward steadily.Mom will always be by your side, facing and growing together with you. When you're sad, I'm sadder than you; when you're happy, I'm more pleased than you.Child, remember this lesson, it's not just about football, but a lesson in life.You don't need to become what others approve of, you just need to strive to be a better version of yourself.

Stepping Out of the Native, Into the Self: What Kind of Couple Relationship Can Last the Longest?

有人說，愛情的長久需要感覺；有人說，是金錢；也有人說，是信任。每一種說法，都有它的道理，但哪一種，才是真正讓情侶走得最遠的關鍵？感覺，是愛情最初的火花。一見鍾情的悸動，是源於那一刻的眼神交錯、心跳加速。感覺讓人迷戀、沉醉，讓人甘心陷入戀愛的旋渦。然而，感覺也是最脆弱的。它會隨著時間、距離、現實的打磨而變得模糊，甚至消散。光靠感覺的關係，就像煙花，美麗卻短暫。那麼，錢是否可以穩住一段感情呢？擁有足夠的金錢，能夠為愛情添上不少色彩——高級餐廳的晚餐、海外旅行的浪漫、沒有經濟壓力的生活……這些確實令人嚮往。但當一段關係只建築在金錢之上，若哪天財富不再，愛情又將何去何從？物質雖可帶來一時的舒適，卻難以構築永恆的情感依靠。而信任，才是最堅固的橋樑。它不華麗，卻穩固；不張揚，卻深沉。當彼此能夠坦然相對，毫無保留地交出自己最真實的一面，不論高低起伏，仍然願意守在對方身旁，那份感情，才是真正能夠歷久彌新的。一段能走到最後的情侶關係，或許最初是由感覺點燃，由金錢裝飾，但真正能讓它歷經風雨而不倒的，是信任，是在彼此心中築起的那份深不見底的安全感。願我們都能遇上那個，讓你信任，也值得你信任的人。

Stepping Out of the Original, Into the Self: Reflections on Family of Origin and Marital Family

In Chinese society, "filial piety" has always been regarded as the core of virtue. But as we grow up and start our own families, should this filial piety still override the new family we have built? This is a question I have been pondering, and it is also a psychological hurdle that many people mustI come from a traditional family, where I was taught from a young age to listen to my parents' opinions and not to defy my elders. In such a background, obedience and compliance seemed to be the standard for maintaining harmony. However, when I became a parent and a partner myself, and when "my famiI once saw a friend's marriage in trouble, simply because her husband always followed the opinions of his family of origin, even when those opinions were clearly detrimental to his own family. The husband demanded that his wife show respect to his brother-in-law, who had no economic ability and poorThe family of origin gives us life and values, but it should not limit the space for us to develop a new life. Marriage is a journey built together with a partner, and the relationship between the two should be based on mutual respect, trust, and communication, rather than blind sacrifice and comproIf the values of the family of origin conflict with the reality of marriage, I believe the most important thing is self-awareness and timely establishment of boundaries. This does not mean that we are unfilial, but that we know how to protect the people we love and take responsibility for our own hoOn this path of stepping out of the original and into the self, I have learned to say to my parents, "I know you care about me, but this is my family's decision," and I have also learned to work with my partner to bear the consequences of our choices. We are no longer just our parents' children, butThis is proof of growth and the continuation of love.

At the End of the Road: The Best Comics

作位一個九十後，鍾情於二千年初期的漫畫屬時代的影響，加上我連同年代被稱為神作中的神作的鋼之鍊金術師也沒看過，還談什麼最好的漫畫？因此這最好的漫畫是我主觀的品味而不是客觀的評分。在我看來我的年代最好的漫畫（鋼鍊以外）有全職獵人、天使禁獵區、及封神演義。此外進擊的巨人及港產漫畫家陳某的火鳳燎原則屬滄海遺珠。全職獵人Hunter X Hunter就不樣多說了，不過很多讀者想法和我一樣，覺得獵人在主角小剛尋到爸爸就應該要完了。取替而來的大宇宙觀及大量文字有點像挖了個永遠補不上的大坑給讀者一樣。天使禁獵區跟封神演義都有同一個大綱————就是擺脫命運的安排。於天使禁獵區而言，神的安排就是命運的安排；在封滄海遺珠方面，巨人算是我這代看漫畫的人中屬接近最後的一部大作。不過我認為巨人在脫離了人跟巨人間的戰鬥轉為人對人的戰鬥後就喪失了吸引力。然後港漫的火鳳燎原則教曉了我一個可能其他人一早已知的道理：就是每個人即使是古代的士兵都是非常聰明及非常有自己意見的。因此不只名留青史的人已是天才，就算歷史中藉藉其他在我年代中好看的經典還有通靈王（排位第一）、鬼眼狂刀、黑貓、網球王子（全國大賽前）、死神、火影忍者、及我沒有看過的鋼鍊及海賊王。

The Brutalist: The Clash Between Aesthetics and Capitalism

《The Brutalist》是一部由布Brady Corbet執導，艾哲倫·保迪（Adrien Brody）、菲莉絲·鍾斯（Felicity Jones）及佳皮雅斯（Guy Pearce）主演的電影。這部片長達3小時35分鐘的電影在威尼斯影展贏得最佳導演獎，並讓艾哲倫·保迪憑藉精湛演技摘下奧斯卡最佳男主角獎。影片以引人入勝的敘事和深邃的主題探討，吸引觀眾沉浸於其獨特的世界。本文將聚焦於電影中粗獷派建築美學與資本主義之間的衝突，分析其文化意義、視覺語言及角色塑造，並探討電影對當代社會的啟示。《The Brutalist》講述了匈牙利裔猶太建築師 László Toth（艾哲倫·保迪飾）在二戰大屠殺後移居美國，試圖在異鄉重建生活的故事。Toth 曾是布達佩斯知名的建築師，卻在美國淪為搬煤工人，直到富商 Harrison Lee Van Buren（佳皮雅斯飾）委託他設計一座私人會堂——Van Buren Institute，他才重燃希望。然而，Toth 的理想主義設計與 Van Buren 的商業需求產生激烈衝突，迫使他在藝術追求與現實壓力間掙扎。同時，他還要面對妻子 Erzsébet（菲莉絲·鍾斯飾）的重病及文化隔閡帶來的挑戰。這一故事不僅是個人奮鬥的縮影，更映射了更廣泛的社會議粗獷派建築（Brutalism）以裸露的混凝土結構、功能至上的設計及對材料真實性的強調聞名，誕生於戰後重建時期，旨在以經濟、實用的方式重塑城市。然而，這種美學理念與資本主義追求市場吸引力和利潤的目標存在根本矛盾。《The Brutalist》通過 Toth 與 Van Buren 的對立，生動呈現了這一衝突。Toth 堅持粗獷派的設計原則，強調建築的社會功能和材料的本真性，而 Van Buren 則要求加入金箔和華麗裝飾，以提升建築的商業價值。這種矛盾反映了藝術家與贊助人之間的經典衝突：前者追求理想，後者追求利益。電影中，Van Buren Institute 的十字形負空間和裸露混凝土結構成為 Toth 藝術視野的象徵，但也突顯了與商業需求的緊張關係。根據《紐約時報》報導，電影的製作設計師 Judy Becker 精心打造了這些場景，使其成為主題表達的核心載體。歷史上，粗獷派建築也常因冷峻外觀和高昂維護成本而受到批評。例如，波士頓市政廳等標誌性建築被稱為「混凝土怪物」，因公眾反感和經濟壓力而面臨改造或拆除的命運。這反映了資本主義對短期利潤的追求，往往犧牲了建築的長期價值和文化意義。《The Brutalist》將這一歷史背景融入劇情，讓觀眾重新思考美學與商業的博弈。文化與社會意義《The Brutalist》不僅是一部關於建築的電影，更通過建築象徵更廣泛的社會議題。Toth 作為一名猶太移民，面臨文化隔閡和歧視，電影中 Van Buren 嘲笑他的口音並以銀幣羞辱他的場景，凸顯了上流社會對新移民的剝削與輕視。這與現實中移民的艱難經歷相呼應，提醒觀眾資本主義如何利用弱勢群體的才華，卻剝奪他們的尊嚴。此外，電影還探討了藝術家在商業壓力下的困境。Toth 為實現理想，不得不忍受 Van Buren 的欺凌和精神折磨，這種犧牲讓人反思：藝術的價值是否應屈從於市場需求？影片未給出明確答案，而是通過 Toth 的掙扎，引發觀眾對這一問題的深思。這一主題不僅限於建築領域，更觸及現代社會中個人理想與系統壓力的普遍衝突。視覺語言與美學表達《The Brutalist》的視覺語言是其成功的關鍵之一。導演運用低飽和度的色調和廣角鏡頭，捕捉了粗獷派建築的冷峻美學與壓迫感。例如，Van Buren Institute 的場景中，混凝土表面的裂縫與光影交錯，彷彿訴說著 Toth 的內心掙扎。電影還通過對大理石礦場的詭異描繪，營造出恐怖片般的氛圍，預示著 Toth 即將面臨的危機。這種視覺風格不僅強化了主題表達，也讓觀眾對粗獷派建築有了更直觀的認識。儘管一些建築評論家認為電影對粗獷派的呈現過於戲劇化，未完全反映其歷史精髓，但無可否認，電影成功將建築作為情感和象徵的載體，深化了故事的內涵。這種視覺語言與主題的融合，使《The Brutalist》在藝術性上脫穎而出。角色塑造與演員表現艾哲倫·保迪的表演是《The Brutalist》的一大亮點。他將 Toth 從內斂壓抑到偏執暴躁的轉變演繹得淋漓盡致，展現了理想主義者在現實壓力下的心理崩潰。他的堅持與妥協，讓觀眾感受到角色的無奈與掙扎，這也是他贏得奧斯卡影帝的關鍵。佳皮雅斯飾演的 Van Buren 則是資本主義的化身，他的喜怒無常和對 Toth 的欺凌，凸顯了權力與財富的腐敗。兩位演員的對手戲充滿張力，為電影增添了戲劇性。菲莉絲·鍾斯飾演的 Erzsébet 為 Toth 提供了情感支撐，她的病情和最終命運進一步加深了故事的悲劇色彩。三位主演的精湛演出，共同支撐起電影的情感核心。比較與對照若與假想的《粗獷派建築師》比較，《The Brutalist》的獨特之處在於其對個人經歷和社會批判的關注。假想的《粗獷派建築師》或聚焦於建築師與公共項目的鬥爭，而《The Brutalist》則通過私人委託，揭示資本主義如何滲透到個人創作中。此外，電影在建築界引發爭議，一些評論家認為其對粗獷派的呈現過於誇張，但這也正是其魅力所在：它將建築作為象徵，探討更廣泛的文化與社會議題。《The Brutalist》是一部視覺震撼、情感豐富的電影，成功呈現了粗獷派建築美學與資本主義的衝突。通過 Toth 的故事，影片不僅探討了藝術與商業的矛盾，還觸及了移民經歷、階級差異和社會不公等深層次議題。儘管其在建築界的爭議不容忽視，但電影為觀眾提供了一個反思建築與社會價值的機會。在當今全球化和消費主義盛行的時代，《The Brutalist》提醒我們，建築不僅是功能性容器，更是承載人類理想與情感的載體，值得我們重新審視與珍惜。

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