I find it plausible to think that early humans began to observe, to feel the difference between right and left, and to ascribe qualities like “clumsy,” “awkward,” “crooked,” and “tired” to the less dexterous hand (it is interesting that these very terms still show up prominently in today’s modern languages) and correspondingly positive qualities to the right hand preferred by the majority. This process, intertwining emotion and cognition, can well be expressed in the terms of embodiment... The semantic values with which the terms for left and right are charged in almost all the languages examined for this survey could have their origin in this very process: embodiment turned into words.
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这份极致的艺术表达并未给塔可夫斯基带来预期中的荣誉。在当届戛纳电影节上，塔可夫斯基最终与布列松共同获得最佳导演奖，与期盼多年的金棕榈奖失之交臂。塔可夫斯基在日记中详细记录了电影节上的种种遭遇，他认定这场惜败是苏联当局的刻意操作，是叶尔马什任命苏联导演邦达尔丘克担任评委一手策划的结果：“邦达尔丘克一直在跟《乡愁》较劲。显然，他被派到戛纳就是为了否定这部电影。”字里行间满是失望和愤怒。也正是这场戛纳的失意，击碎了他回国继续电影创作的信心，让他在日记中写下了那个艰难的决定：永远不再返回苏联。
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