以及摄影,马克思主义

 

 

 

有位情人在读Susan·桑塔格的《论水墨画》,看到这么一段话:

有位情人在读Susan·桑塔格的《论水墨画》,看到这么一段话:

有位朋友在读Susan·桑塔格的《论摄影》,看到那样一段话:

图片 1

图片 2

图片 3

她的标题是:

她的题材是:

她的难题是:

怎么照片的扩散是对世俗小说的必定吗?超现实主义者跟马克思主义者有啥关系呢?

何以照片的扩散是对世俗文章的大势所趋啊?超现实主义者跟马克思主义者有何关系呢?

为啥照片的扩散是对世俗文章的肯定吗?超现实主义者跟马克思主义者有何关联呢?

艺术君遭遇中文看不懂的景色,都得回来看原稿。这一段也是:

艺术君遭逢汉语看不懂的情形,都得返重播原稿。这一段也是:

艺术君遇到普通话看不懂的状态,都得回到看原稿。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.

首先表明,艺术君没有通读英文原稿,所以上面包车型地铁翻译和演说都以依据本人不成熟、不完美的掌握。

第二注脚,艺术君没有通读英文原稿,所以上边的翻译和阐发都以依照本人不成熟、不健全的领悟。

先是注解,艺术君没有通读英文原版的书文,所以上边包车型客车翻译和阐述都以依据自身不成熟、不周密的知晓。

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1次性地、又是还要地提供了那般的涉嫌:让大家作为鉴赏者观察那个世界,同时又不加区分地承受了这一个世界。原因在于,经历了现代主义者反叛古板美学标准的演变进度后,那些鉴赏者与世界的涉及深刻卷入了[媚俗(kitsch)之品味标准]的推广进程。尽管有点照片,既是私家物品,又有着主要艺术文章的纵深和美感,但照片的广为散发,说到底,是对媚俗(kitsch)的早晚和激化。照相术极其敏感的见识,让客官欣悦,营造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,觉得本身能够,实际上也相应改成,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摄人心魄的道德观。马克思谴责农学只是打算掌握世界,而不是想方设法改变世界。水墨画师们拍照时具有超现实主义者的敏感性,他们觉得固然是试图了然世界都以虚荣的、没有价值的,因而应当采访世界。

照片的诱惑,它们对大家的掌握控制,在于它们3回性地、又是同时地提供了那样的涉及:让大家作为鉴赏者旁观那么些世界,同时又不加区分地承受了这些世界。原因在于,经历了现代主义者反叛守旧美学标准的演化进度后,这么些鉴赏者与世界的关联深切卷入了[媚俗(kitsch)之品味标准]的拓宽进程。就算有点照片,既是私有物品,又有着关键艺术小说的深浅和美感,但照片的广为散发,说到底,是对媚俗(kitsch)的一定和加重。照相术极其敏感的看法,让客官欣悦,创设出一种无处不在的感觉,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。他们平常蒙蔽于出于好意的幻觉中,觉得温馨可以,实际上也应该成为,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摄人心魄的道德观。马克思谴责理学只是试图了然世界,而不是想方设法改变世界。雕塑师们拍照时具有超现实主义者的敏感性,他们觉得尽管是计算领会世界都以虚荣的、没有价值的,因而应当采访世界。

照片的诱惑,它们对大家的掌握控制,在于它们一遍性地、又是同时地提供了那样的涉及:让我们作为鉴赏者观察那一个世界,同时又不加区分地承受了那几个世界。原因在于,经历了现代主义者反叛守旧美学标准的演变进程后,这些鉴赏者与世界的关联深刻卷入了[媚俗(kitsch)之品味标准]的放大进程。就算有点照片,既是私有物品,又有着关键艺术文章的纵深和美感,但照片的广为散发,说到底,是对媚俗(kitsch)的自然和深化。照相术极其敏感的看法,让观众欣悦,创设出一种无处不在的感觉,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,觉得本人能够,实际上也应有改成,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。马克思谴责法学只是准备了然世界,而不是想方设法改变世界。壁画师们拍戏时持有超现实主义者的敏感性,他们认为尽管是打算领会世界都以虚荣的、没有价值的,由此相应采访世界。

情人的首先个难题,在于翻译版本中对此 kitsch 这些词的翻译和明白有标题。

恋人的第三个难点,在于翻译版本中对于 kitsch 这几个词的翻译和明白不寻常。

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通有题目。

首先说 kitsch
,那几个词不应有翻译成庸俗,大家公认的翻译是“媚俗”。作者纪念有个说法是:看到蓝天白云下,草地上玩耍的娃子,突然为之洒泪,那是发泄真心的激动,然后,被自身的震撼而感动、流泪,那就是“媚俗”。

率先说 kitsch
,那几个词不应有翻译成庸俗,大家公认的翻译是“媚俗”。小编回想有个说法是:看到蓝天白云下,草地上玩耍的儿童,突然为之洒泪,那是发自真心的激动,然后,被自己的震撼而感动、流泪,那就是“媚俗”。

率先说 kitsch
,那么些词不应有翻译成庸俗,大家公认的翻译是“媚俗”。作者纪念有个说法是:看到蓝天白云下,草地上玩耍的小孩,突然为之洒泪,那是发自真心的激动,然后,被自个儿的震撼而感动、流泪,那正是“媚俗”。

an affirmation of kitsch,译为“对世俗作品的必然”,那里的 kitsch
应该不是特指有个别小说,而是“媚俗”那个泛指的定义。

an affirmation of kitsch,译为“对世俗文章的自可是然”,那里的 kitsch
应该不是特指有个别文章,而是“媚俗”这一个泛指的定义。

an affirmation of kitsch,译为“对世俗文章的一定”,那里的 kitsch
应该不是特指某个作品,而是“媚俗”那些泛指的定义。

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