超现实主义,以及摄影

 

 

 

有位朋友在读Susan·桑塔格的《论水墨画》,看到如此一段话:

有位朋友在读Susan·桑塔格的《论水墨画》,看到如此一段话:

有位情人在读Susan·桑塔格的《论水墨画》,看到这么一段话:

图片 1

图片 2

图片 3

她的题材是:

他的题材是:

他的题材是:

干什么照片的扩散是对世俗文章的自然啊?超现实主义者跟马克思主义者有如何关系呢?

怎么照片的扩散是对世俗文章的必定啊?超现实主义者跟Marx主义者有如何关联呢?

为什么照片的扩散是对世俗小说的一定吗?超现实主义者跟Marx主义者有啥样关联呢?

艺术君碰着汉语看不懂的状态,都得回到看原稿。这一段也是:

艺术君境遇汉语看不懂的气象,都得回到看原稿。这一段也是:

艺术君境遇汉语看不懂的意况,都得赶重播原稿。这一段也是:

The lure of photographs, their hold on us, is that they offer at one
and the same time a connoisseur’s relation to the world and a
promiscuous acceptance of the world. For this connoisseur’s relation
to the world is, through the evolution of the modernist revolt against
traditional aesthetic norms, deeply implicated in the promotion of
kitsch standards of taste. Though some photographs, considered as
individual objects, have the bite and sweet gravity of important works
of art, the proliferation of photographs is ultimately an affirmation
of kitsch. Photography’s ultra-mobile gaze flatters the viewer,
creating a false sense of ubiquity, a deceptive mastery of experience.
Surrealists, who aspire to be cultural radicals, even revolutionaries,
have often been under the well-intentioned illusion that they could
be, indeed should be, Marxists. But Surrealist aestheticism is too
suffused with irony to be compatible with the twentieth century’s most
seductive form of moralism. Marx reproached philosophy for only trying
to understand the world rather than trying to change it.
Photographers, operating within the terms of the Surrealist
sensibility, suggest the vanity of even trying to understand the world
and instead propose that we collect it.

The lure of photographs, their hold on us, is that they offer at one
and the same time a connoisseur’s relation to the world and a
promiscuous acceptance of the world. For this connoisseur’s relation
to the world is, through the evolution of the modernist revolt against
traditional aesthetic norms, deeply implicated in the promotion of
kitsch standards of taste. Though some photographs, considered as
individual objects, have the bite and sweet gravity of important works
of art, the proliferation of photographs is ultimately an affirmation
of kitsch. Photography’s ultra-mobile gaze flatters the viewer,
creating a false sense of ubiquity, a deceptive mastery of experience.
Surrealists, who aspire to be cultural radicals, even revolutionaries,
have often been under the well-intentioned illusion that they could
be, indeed should be, Marxists. But Surrealist aestheticism is too
suffused with irony to be compatible with the twentieth century’s most
seductive form of moralism. Marx reproached philosophy for only trying
to understand the world rather than trying to change it.
Photographers, operating within the terms of the Surrealist
sensibility, suggest the vanity of even trying to understand the world
and instead propose that we collect it.

The lure of photographs, their hold on us, is that they offer at one
and the same time a connoisseur’s relation to the world and a
promiscuous acceptance of the world. For this connoisseur’s relation
to the world is, through the evolution of the modernist revolt against
traditional aesthetic norms, deeply implicated in the promotion of
kitsch standards of taste. Though some photographs, considered as
individual objects, have the bite and sweet gravity of important works
of art, the proliferation of photographs is ultimately an affirmation
of kitsch. Photography’s ultra-mobile gaze flatters the viewer,
creating a false sense of ubiquity, a deceptive mastery of experience.
Surrealists, who aspire to be cultural radicals, even revolutionaries,
have often been under the well-intentioned illusion that they could
be, indeed should be, Marxists. But Surrealist aestheticism is too
suffused with irony to be compatible with the twentieth century’s most
seductive form of moralism. Marx reproached philosophy for only trying
to understand the world rather than trying to change it.
Photographers, operating within the terms of the Surrealist
sensibility, suggest the vanity of even trying to understand the world
and instead propose that we collect it.

第壹注解,艺术君没有通读英文原著,所以上边包车型地铁翻译和阐发都是依照自身不成熟、不周详的明亮。

首先证明,艺术君没有通读英文原稿,所以上边包车型大巴翻译和阐发都是依照自个儿不成熟、不健全的精晓。

首先评释,艺术君没有通读英文原稿,所以上边包车型客车翻译和解说都以依照本身不成熟、不全面包车型客车通晓。

艺术君的翻译是:

艺术君的翻译是:

艺术君的翻译是:

肖像的抓住,它们对我们的掌握控制,在于它们2遍性地、又是同时地提供了如此的涉嫌:让我们作为鉴赏者观望这几个世界,同时又不加区分地接受了那个世界。原因在于,经历了现代主义者反叛守旧美学标准的嬗变进程后,这几个鉴赏者与世风的涉嫌深远卷入了[媚俗(kitsch)之品味标准]的加大进度。就算某些照片,既是个体物品,又有着相当重要艺术小说的深度和美感,但照片的广为散发,说到底,是对媚俗(kitsch)的必定和加剧。照相术极其敏感的见识,让观众欣悦,营造出一种无处不在的觉得,是一种有欺骗性的经历感。超现实主义者,渴望成为文化的激进者,甚至是革命者。他们平日蒙蔽于出于善意的幻觉中,觉得温馨能够,实际上也应该改成,马克思主义者。可是,超现实主义的美学观念中弥漫着太多讽刺,不见容于二十世纪最摄人心魄的道德观。马克思谴责历史学只是试图理解世界,而不是想尽改变世界。水墨画家们拍照时怀有超现实主义者的敏感性,他们以为就算是总计理解世界都是虚荣的、没有价值的,因而应该采访世界。

照片的诱惑,它们对我们的掌握控制,在于它们1次性地、又是同时地提供了那样的涉及:让我们作为鉴赏者观察这一个世界,同时又不加区分地接受了这些世界。原因在于,经历了现代主义者反叛守旧美学标准的嬗变进程后,这些鉴赏者与社会风气的涉及深入卷入了[媚俗(kitsch)之品味标准]的松开进程。即便有点照片,既是私人住房物品,又有着十分重要艺术小说的纵深和美感,但照片的广为散发,说到底,是对媚俗(kitsch)的一定和加重。照相术极其敏感的观点,让观众欣悦,构建出一种无处不在的感觉到,是一种有欺骗性的经历感。超现实主义者,渴望成为知识的激进者,甚至是革命者。他们时常蒙蔽于出于好意的幻觉中,觉得自个儿能够,实际上也应当改成,马克思主义者。可是,超现实主义的美学观念中弥漫着太多讽刺,不见容于二十世纪最摄人心魄的道德观。马克思谴责历史学只是试图领会世界,而不是想方设法改变世界。水墨歌唱家们拍照时有所超现实主义者的敏感性,他们觉得就算是总括领会世界都以虚荣的、没有价值的,因而应当采访世界。

肖像的抓住,它们对我们的掌握控制,在于它们三遍性地、又是同时地提供了这般的涉嫌:让大家作为鉴赏者观察这一个世界,同时又不加区分地接受了这么些世界。原因在于,经历了现代主义者反叛古板美学标准的嬗变进度后,那么些鉴赏者与世风的涉嫌深切卷入了[媚俗(kitsch)之品味标准]的推广进度。固然有点照片,既是私家物品,又有重视要艺术文章的吃水和美感,但照片的广为散发,说到底,是对媚俗(kitsch)的肯定和加深。照相术极其敏感的视角,让客官欣悦,创设出一种无处不在的痛感,是一种有欺骗性的经历感。超现实主义者,渴望成为知识的激进者,甚至是革命者。他们时常蒙蔽于出于善意的幻觉中,觉得温馨能够,实际上也理应改成,马克思主义者。不过,超现实主义的美学观念中弥漫着太多讽刺,不见容于二十世纪最动人的道德观。Marx谴责教育学只是打算通晓世界,而不是想尽改变世界。水墨画画大师们拍片时享有超现实主义者的敏感性,他们认为即就是试图精晓世界都是虚荣的、没有价值的,由此应当采访世界。

恋人的首先个难点,在于翻译版本中对于 kitsch 这一个词的翻译和透亮有标题。

爱人的第一个难点,在于翻译版本中对于 kitsch 这么些词的翻译和通晓反常。

爱人的率先个难点,在于翻译版本中对此 kitsch 这一个词的翻译和精晓有标题。

先是说 kitsch
,那个词不应该翻译成庸俗,我们公认的翻译是“媚俗”。作者回忆有个说法是:看到蓝天白云下,草地上玩耍的小朋友,突然为之洒泪,那是发泄真心的震撼,然后,被自个儿的触动而感动、流泪,那就是“媚俗”。

率先说 kitsch
,那个词不应有翻译成庸俗,大家公认的翻译是“媚俗”。笔者回忆有个说法是:看到蓝天白云下,草地上玩耍的幼儿,突然为之洒泪,那是发泄真心的触动,然后,被自己的感动而激动、流泪,那正是“媚俗”。

率先说 kitsch
,这一个词不应有翻译成庸俗,咱们公认的翻译是“媚俗”。作者记得有个说法是:看到蓝天白云下,草地上玩耍的毛孩先生子,突然为之洒泪,那是发泄真心的触动,然后,被本身的感动而激动、流泪,那正是“媚俗”。

an affirmation of kitsch,译为“对世俗小说的早晚”,那里的 kitsch
应该不是特指某个小说,而是“媚俗”这几个泛指的概念。

an affirmation of kitsch,译为“对世俗小说的肯定”,那里的 kitsch
应该不是特指有些文章,而是“媚俗”这一个泛指的概念。

an affirmation of kitsch,译为“对世俗文章的必定”,那里的 kitsch
应该不是特指某个文章,而是“媚俗”那个泛指的概念。

发表评论

电子邮件地址不会被公开。 必填项已用*标注