锡锅街乐队

锡锅街乐队 ????? AVANT-GARDE AND KITSCH Clement Greenberg This is Greenberg's breakthrough essay from 1939, written for the Partisan Review when he was twenty-nine years of age and at the time more involved with literature than with painting. He came, later, to reject much of the essay -- notably the definition of kitsch which he later believed to be ill thought out (as, indeed, it is.) Later he came to identify the threat to high art as coming from middlebrow taste, which in any event aligns much more closely with the academic than kitsch ever did or could. The essay has an air and assurance of '30s Marxism, with peculiar assumptions such as that only under socialism could the taste of the masses be raised. But for all that, the essay stakes out new territory. Although the avant-garde was an accepted fact in the '30s, Greenberg was the first to define its social and historical context and cultural import. The essay also carried within it the seeds of his notion of modernism. Despite its faults and sometimes heady prose, it stands as one of the important theoretical documents of 20th century culture. -- TF I 1．ONE AND THE SAME civilization produces simultaneously two such different things s a poem by T. S. Eliot and a Tin Pan Alley song, or a painting by Braque and a Saturday Evening Post cover. 1 锡锅街乐队？ 一种文明可以同时产生两种如此不同的事物：T?S?艾略特（T. S. Eliot）的诗 1与叮砰巷（Tin Pan Alley）的歌，勃拉克（Braque）的画与《星期六晚邮报》（Saturday Evening Post）的封面。 2．All four are on the order of culture, and ostensibly, parts of the same culture and products of the same society. 这四样东西都符合文化的逻辑，而且 表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 面上看都是同一种文化的组成部分和同一 个社会的产物。 Here, however, their connection seems to end. 然而，它们的关系似乎到此为止。 然而，它们似乎并无关系。 3．A poem by Eliot and a poem by Eddie Guest -- what perspective of culture is large enough to enable us to situate them in an enlightening relation to each other? 彼此照然的关系之中？ 2一首艾略特的诗与一首艾迪?格斯特（Eddie Guest）的诗——什么样的文化视角可以大到使我们可以将它们置于一种富有启发性的相互关系之中？ 4．Does the fact that a disparity such as this within the frame of a single cultural tradition, which is and has been taken for granted -- does this fact indicate that the disparity is a part of the natural order of things? Or is it something entirely new, and particular to our age? 某个文化传统框架中被认为是理所当然的这类差异，这一事实是否意味着„„ 如此巨大的悬殊存在于单一文化传统框架内，这一点现在是，并且长期以来一直 是被视为理所当然的——这一事实表明了这种悬殊是事物的自然秩序的一部 分？还是某种全新的东西，只有我们时代才有的现象？ 1 叮砰巷（Tin Pan Alley），位于纽约第28街（第5大道与百老汇街之间），曾经是美国流行音乐出版中心， 也是流行音乐史上一个时代的象征、一种风格的代表。从19世纪末开始，那里集中了很多音乐出版公司。 各音乐出版公司都有自己的歌曲推销员，他们整天弹琴来吸引顾客。由于钢琴使用过度，音色疲塌，听上 去像敲击洋铁盘子似的。其实从字面上就很容易看出，Tin是锡铁罐头的意思；而Pan也就是盘子、平底锅的意思。于是有人戏称那个地方为Tin Pan Alley（叮砰巷）。 2 埃迪?格斯特（Eddie Guest, 1881-1959），原名Edgar Albert Guest，出生于英国，后移居美国密歇根，成 为著名诗人，以通俗著称。 2 5．The answer involves more than an investigation in aesthetics. 答案涉及美学中的许多考察研究。 答案远不止是美学内部的研究可以回答的。 6．It appears to me that it is necessary to examine more closely and with more originality than hitherto the relationship between aesthetic experience as met by the specific -- not the generalized -- individual, and the social and historical contexts in which that experience takes place. 在我看来，有必要比以往更紧密、更具原创性地研究特殊而非一般个体所遭遇的 审美经验与这种经验得以发生的社会和历史语境之间的关系。 7．What is brought to light will answer, in addition to the question posed above, other and perhaps more important questions. 除了上述问题外，我们的发现将会回答其他的，甚至更为重要的问题。 8．A society, as it becomes less and less able, in the course of its development, to justify the inevitability of its particular forms, breaks up the accepted notions upon which artists and writers must depend in large part for communication with their audiences. 一个社会，当它在发展过程中越来越不能 证明 住所证明下载场所使用证明下载诊断证明下载住所证明下载爱问住所证明下载爱问 其独特的形式是不可避免的时候， 就会打破既定观念；艺术家与作家们主要出于与其观众交流的需要，必须依赖于 这些既定观念。 9．It becomes difficult to assume anything. ［在这样的社会里，想要］假定任何东西都变得异常困难了。 10．All the verities involved by religion, authority, tradition, style, are thrown into question, and the writer or artist is no longer able to estimate the response of his audience to the symbols and references with which he works. 象征与内容？ 宗教、权威、传统、风格所涉及的一切古老真理统统都成了质疑的对象，作家和 艺术家们也不再能够评判观众对他的工作所采用的符号与指称所作出的反应。 3 11．In the past such a state of affairs has usually resolved itself into a motionless Alexandrianism, an academicism in which the really important issues are left untouched because they involve controversy, and in which creative activity dwindles to virtuosity in the small details of form, all larger questions being decided by the precedent of the old masters. 在这类艺术中，未触及真正重要的问题，因为这些问题引起了论争，创造活动堕 落成形式细节的精巧，一切重大的问题早由以前的古代大师们决定了。 在以往，这样一种事件状态通常会演变为静止不变的亚历山大主义 3（Alexandrianism），这是一种学院主义，真正重要的问题由于涉及争议而被弃 置不顾，创造性活动渐渐萎缩为专门处理屑小形式细节的技艺，而所有重大问题 则由老大师们遗留下来的先例加以解决。 12．The same themes are mechanically varied in a hundred different works, and yet nothing new is produced: Statius, mandarin verse, Roman sculpture, Beaux-Arts painting, neo-republican architecture. mandarin verse 不知其意，干脆不译。 Beaux-Arts painting 优美绘画？ 同样的主题在成百上千的不同作品里得到机械的变异，却没有任何新东西诞生： 456斯塔提乌斯（Statius）、八股文、古罗马雕塑、学院派（Beaux-Arts）绘画、 7新共和主义建筑，都是如此。 13．It is among the hopeful signs in the midst of the decay of our present society that we -- some of us -- have been unwilling to accept this last phase for our own culture. 出于对我们眼下这个正在腐坏中的社会中尚存的一线希望的信念，我们——我们 当中的某些人——才一直不愿意承认我们自己的文化进入了最后阶段。 3 亚历山大主义（Alexandrianism），希腊化时代（公元前323年-31年）希腊亚历山大（Alexandrian）学派的诗歌作品及其风格，以精雕细琢、含混的神话暗示与色情著称，极大地影响了后来的罗马诗风。 4 斯塔提乌斯（Statius，45？-96），古罗马诗人，生平不详，作品有应景诗《诗草集》、史诗《底比斯战纪》 及仅完成两卷的《阿喀琉斯纪》，基本上沿袭前代诗风，无甚新意。 5 泛指古代罗马的雕塑艺术。古罗马雕塑并非一无是处，例如，它对人物面部的刻画常常以惊人的自然主 义著称，不过总体而言，古罗马雕塑远逊于希腊。一件希腊雕塑作品，即使是一个残片，也充满生机，具 有高度的美学价值，而一件古罗马雕塑，除了其面部特征的刻画栩栩如生外，往往乏善可陈。 6 Beaux-Arts，法语，本意是“美术”。1671年法国政府成立法兰西美术院（Academie des Beaus-Arts），下设美术学校，欧洲各国也相继成立美术学院，从此开始了漫长的学院派教学、创作、学术研究与批评传统， 直到19世纪下半叶为前卫艺术确立了反对身份，影响才开始旁落。这里的Beaux-Arts painting，指与美术学院有关的绘画，意译为“学院派绘画”。 7 19世纪下半叶与20世纪初主要出现在北美的一种建筑风格，以折衷主义闻名。 4 14．In seeking to go beyond Alexandrianism, a part of Western bourgeois society has produced something unheard of heretofore: -- avant-garde culture. 在寻求对亚历山大主义的超越中，一部分西方资产阶级社会已经产生出某些前所 未有的东西：前卫文化。 15．A superior consciousness of history -- more precisely, the appearance of a new kind of criticism of society, an historical criticism -- made this possible. 一种高级的历史意识——更确切地说，一种新的社会批判和历史批判的出现，使 得这一点成为可能。 16．This criticism has not confronted our present society with timeless utopias, but has soberly examined in the terms of history and of cause and effect the antecedents, justifications and functions of the forms that lie at the heart of every society. 这种批判并没有将我们眼下的社会去面对永恒的乌托邦，而是依据历史与因果关 系，清醒地检查位于每个社会中心的诸形式的先例、正当性及其功能。 17．Thus our present bourgeois social order was shown to be, not an eternal, "natural" condition of life, but simply the latest term in a succession of social orders. 因此，我们眼下这种资产阶级社会秩序就不是表现为一种永恒的和“自然的”生 活条件，而是社会秩序演替中的最后形态。 18．New perspectives of this kind, becoming a part of the advanced intellectual conscience of the fifth and sixth decades of the nineteenth century, soon were absorbed by artists and poets, even if unconsciously for the most part. 这样一种新的视角自19世纪五、六十年代以来，已成为先进思想意识的一部分，不久也为艺术家和诗人所吸收，尽管对他们当中的大部分人来说，这种吸收可能 是无意识的。 19．It was no accident, therefore, that the birth of the avant-garde coincided chronologically -- and geographically, too -- with the first bold development of scientific revolutionary thought in Europe. 因此，前卫艺术的诞生与欧洲科学革命思想的第一次大胆发展，在年代和地理上 都吻合，也就不是什么意外了。 5 20．True, the first settlers of bohemia -- which was then identical with the avant-garde -- turned out soon to be demonstratively uninterested in politics. 狂放不羁艺术风格的开拓者？ 确实，第一批波希米亚定居者——当时他们与前卫艺术家是同义词——不久就公 开表示出对政治不感兴趣。 21．Nevertheless, without the circulation of revolutionary ideas in the air about them, they would never have been able to isolate their concept of the "bourgeois" in order to define what they were not. 然而，若是没有环绕他们的革命思想的氛围，他们决不可能把“资产阶级”概念孤立起来以界定他们自己不属于什么。 但是，假如没有有关他们的革命观念到处传播，他们就不可能拈出“布尔乔亚” 一词，并借以界定他们自己不是“布尔乔亚”。 22．Nor, without the moral aid of revolutionary political attitudes would they have had the courage to assert themselves as aggressively as they did against the prevailing standards of society. 同样，如果没有革命的政治态度从道德上给他们以帮助，他们也就不会有勇气声 明他们激进地反对主流社会标准。 23．Courage indeed was needed for this, because the avant-garde's emigration from bourgeois society to bohemia meant also an emigration from the markets of capitalism, upon which artists and writers had been thrown by the falling away of aristocratic patronage. 显而易见，这需要勇气，因为先锋派背离了资产阶级社会转向狂放不羁风格，也 表明了对资产阶级市场的疏离，而艺术家和作家们已被贵族式赞助所抛弃。 事实上，这样做确实需要勇气，因为前卫艺术家从资产阶级社会转移到波希米亚 社会，也意味着离开了资本主义市场，艺术家和作家们正是在失去了贵族的赞助 后被扔进这个市场的。 24．(Ostensibly, at least, it meant this -- meant starving in a garret -- although, as we will be shown later, the avant-garde remained attached to bourgeois society precisely because it needed its money.) （至少，从表面上看事情是这样——这意味着要在阁楼上挨饿—— 尽管，正如 6 我们马上就要表明的，前卫艺术家们依然保持着与资产阶级社会的联系，恰恰是 因为他们也需要这个社会的钱。） （从表面上看至少是这样——这意味着这些艺术家会在阁楼里挨饿——尽管后 来先锋派仍依附于资产阶级社会，确切地说因为它需要钱。） 25．Yet it is true that once the avant-garde had succeeded in "detaching" itself from society, it proceeded to turn around and repudiate revolutionary as well as bourgeois politics. 是的，一旦前卫艺术成功地从社会中“脱离”，它就立刻转过身来，既拒绝革命 政治，也拒绝资产阶级政治。 26（？）．The revolution was left inside society, a part of that welter of ideological struggle which art and poetry find so unpropitious as soon as it begins to involve those "precious" axiomatic beliefs upon which culture thus far has had to rest. 革命被留在社会内部，也就成为汹涌澎湃的意识形态斗争的一部分(这个社会中的一部分人沉溺于意识形态斗争)，但是，一旦事情开始牵涉到迄今为止的文化 一直必须依赖的那些“珍贵的”公认信念，艺术与诗歌很快就发现这种斗争很不 吉利。 革命仍存在于社会内部，一俟它涉及文化所必须依赖的“宝贵的”公理式的信念 时，，而艺术和诗歌则发现这一斗争如此的不幸。 27．Hence it developed that the true and most important function of the avant-garde was not to "experiment," but to find a path along which it would be possible to keep culture moving in the midst of ideological confusion and violence. 因此，它发展出了自己的信念，即前卫艺术真正的和重要的功能不是“实验”， 而是发现一条在意识形态混乱与暴力中使文化得以前行的道路。 因此，先锋派发展起来的真正的和最重要的功能并不是去“实验”，而是寻找一条途径，沿着这条路，能够在意识形态的混乱和激烈冲突中保持文化的运行。 28．Retiring from public altogether, the avant-garde poet or artist sought to maintain the high level of his art by both narrowing and raising it to the expression of an absolute in which all relativities and contradictions would be either resolved or beside the point. 完全从公众中抽离出来后，前卫诗人或艺术家通过使其艺术专门化，将它提升到 7 一种绝对的表达的高度——在这种绝对的表达中，一切相对的东西和矛盾的东西 要么被解决了，要么被弃置一旁——以寻求维持其艺术的高水准。 29．"Art for art's sake" and "pure poetry" appear, and subject matter or content becomes something to be avoided like a plague. “为艺术而艺术”和“纯诗”出现了，主题或内容则像瘟疫一样成了人们急于躲 避的东西。 30．It has been in search of the absolute that the avant-garde has arrived at "abstract" or "nonobjective" art -- and poetry, too. 正是在对绝对的探索中，前卫艺术才发展为“抽象”或“非具象”艺术——诗歌 亦然。 31．The avant-garde poet or artist tries in effect to imitate God by creating something valid solely on its own terms, in the way nature itself is valid, in the way a landscape -- not its picture -- is aesthetically valid; something given, increate, independent of meanings, similars or originals. 8前卫诗人或艺术家努力尝试模仿上帝，以创造某种完全自足的东西，就像自然 本身就是自足的，就像一片风景——而不是一幅风景画——在美学上是完全自足 的一样；或者说，创造某种给定的东西，神明原创的东西，独立于一切意义、相似物或源始之上。 先锋派诗人或艺术家努力模仿上帝，这种模仿是经由创造出某种依赖依据其自身 标准来看似有根据的事物而达到的，它采用这样一种方式，即自然本身是有效的， 风景而非描绘风格的画在审美方面是有效的。 32．Content is to be dissolved so completely into form that the work of art or literature cannot be reduced in whole or in part to anything not itself. 内容已被如此完全地消融于形式之中，以至于艺术品或文学作品无法被全部或局 部地还原为任何非其自身的东西。 8 原文something valid solely on its own terms，直译是“某种从它自身的角度来说完全是有效的东西”，或“某种就它自身的术语来讲是完全有理的东西”。其基本意思是指某种东西，它不借外力，自我充足，自在合理。 故意译为“某种完全自足的东西”。 8 33．But the absolute is absolute, and the poet or artist, being what he is, cherishes certain relative values more than others. 但是，绝对终究是绝对，诗人或艺术家，不管他是什么，会比其他人更珍惜某些 相对价值。 34．The very values in the name of which he invokes the absolute are relative values, the values of aesthetics. 他借以诉诸绝对的价值其实只是相对价值，也就是美学价值。 35．And so he turns out to be imitating, not God -- and here I use "imitate" in its Aristotelian sense -- but the disciplines and processes of art and literature themselves. 原则？ 因此，他所模仿者并非上帝——这里我是在亚里士多德的（Aristotlian）意义上 9使用“模仿”一词——而是文学艺术本身的规矩与过程。 36．This is the genesis of the "abstract."(1) 10这就是“抽象”的起源。 37．In turning his attention away from subject matter of common experience, the poet or artist turns it in upon the medium of his own craft. 诗人或艺术家在将其兴趣从日常经验的主题材料上抽离之时，他们就将注意力转 移到他自己这门手艺的媒介上来。 共同经验？ 9 此句及下文中的disciplines一词，有人译为“学科”，误。因为现代主义不是一个学科，由于此处disciplines 明确采用复数形式，更不可能是“诸学科”。也有人译为“原则”，不确。因为现代主义不存在一些可据以 付诸实施的“原则”。由于该词涉及格林伯格对现代主义（在本文中他以“前卫艺术”称之）的根本界定， 所以需要特别对待。依据本文的上下文，另外结合格林伯格在《现代主义绘画》一文中对现代主义的经典 定义（“现代主义的本质，一言以蔽之，在于用规矩特有的方式反对规矩本身”），兹译为“规矩，用以表明 格林伯格的基本意思：现代主义，既不是一个学科，也不是一些原则，而是某些纪律，某些规矩，某些“有 价值的限定”（见下文），例如格林伯格在本书中多次提到的诚实、自我约束等等。这些现代主义的规矩， 实在要比他所说的“媒介的发现”——似乎成了一般人心目中格林伯格所说的现代主义的“原则”——更 能界定现代主义的实质。 10 原注：音乐一直是一种抽象艺术，而且是先锋派诗歌竭力效仿的对象，这一例证非常有趣。亚里士多德 十分奇怪地认为，音乐是最重模仿、最生动的艺术，因为它以最直接的方式模仿其本源——心灵的状态。 今天，由于它正好构成了真理的反面，他的说法着实令我们惊讶，因为在我们看来，没有哪种艺术像音乐 那样除了它自己之外不指涉任何外在的东西。不过，除了在某种意义上讲亚里士多德仍然是正确的这一事 实外，还有必要解释的是，古希腊音乐与诗歌的联系十分紧密，而且依赖诗中的人物；这样，作为诗的附 庸，音乐的模仿意义变得清晰起来。柏拉图在谈到音乐时说：“没有歌词，很难认识和谐与节奏的意义，也 很难发现任何有价值的对象得到了它们的模仿。”就我们所知，一切音乐最初都服从于这一附属功能。但是， 一旦这一点被抛弃，音乐就被迫撤退到自己的领地，以便发现一种限定或源始。它在各种作曲与演奏的手 段中找到了这一点。 9 38．The nonrepresentational or "abstract," if it is to have aesthetic validity, cannot be arbitrary and accidental, but must stem from obedience to some worthy constraint or original. 非再现的艺术或“抽象”艺术，如果想要有什么审美价值的话，就不可能是任意 的或偶然的，而必须来自对某种有价值的限定或原创的遵循。 39．This constraint, once the world of common, extroverted experience has been renounced, can only be found in the very processes or disciplines by which art and literature have already imitated the former. 一旦日常的、外在的经验世界被放弃，那么这种限定也就只能见于文学艺术早已 借以模仿外在经验世界的那些过程或规矩本身。 40．These themselves become the subject matter of art and literature. 这些过程和规矩本身成了文学艺术的主题。 41．If, to continue with Aristotle, all art and literature are imitation, then what we have here is the imitation of imitating. 如果像亚里士多德所说的那样，一切文学艺术都是模仿，那么，我们现在所说的 模仿则是对模仿的模仿。 42．To quote Yeats: Nor is there singing school but studying Monuments of its own magnificence. 著名翻译家袁可嘉先生译文： 世上没什么音乐院校不咏吟 自己的辉煌的里程碑作品 可是没有教唱的学校，而只有 研究纪念物上记载的它的辉煌， 附：Sailing to Byzantium及诗人查良铮（穆旦）译文 THAT is no country for old men. The young In one another's arms, birds in the trees - Those dying generations - at their song, The salmon-falls, the mackerel-crowded seas, Fish, flesh, or fowl, commend all summer long 10 Whatever is begotten, born, and dies. Caught in that sensual music all neglect Monuments of unageing intellect. 那不是老年人的国度。青年人 在互相拥抱；那垂死的世代， 树上的鸟，正从事他们的歌唱； 鱼的瀑布，青花鱼充塞的大海， 鱼、兽或鸟，一整个夏天在赞扬 凡是诞生和死亡的一切存在。 沉溺于那感官的音乐，个个都疏忽 万古长青的理性的纪念物。 An aged man is but a paltry thing, A tattered coat upon a stick, unless Soul clap its hands and sing, and louder sing For every tatter in its mortal dress, Nor is there singing school but studying Monuments of its own magnificence; And therefore I have sailed the seas and come To the holy city of Byzantium. 一个衰颓的老人只是个废物， 是件破外衣支在一根木棍上， 除非灵魂拍手作歌，为了它的 皮囊的每个裂绽唱得更响亮； 可是没有教唱的学校，而只有 研究纪念物上记载的它的辉煌， 因此我就远渡重洋而来到 拜占庭的神圣的城堡。 O sages standing in God's holy fire As in the gold mosaic of a wall, Come from the holy fire, perne in a gyre, And be the singing-masters of my soul. Consume my heart away; sick with desire And fastened to a dying animal It knows not what it is; and gather me Into the artifice of eternity. 哦，智者们！立于上帝的神火中， 好像是壁画上嵌金的雕饰， 从神火中走出来吧，旋转当空， 请为我的灵魂作歌唱的教师。 11 把我的心烧尽，它被绑在一个 垂死的肉身上，为欲望所腐蚀， 已不知它原来是什么了；请尽快 把我采集进永恒的艺术安排。 Once out of nature I shall never take My bodily form from any natural thing, But such a form as Grecian goldsmiths make Of hammered gold and gold enamelling To keep a drowsy Emperor awake; Or set upon a golden bough to sing To lords and ladies of Byzantium Of what is past, or passing, or to come. 一旦脱离自然界，我就不再从 任何自然物体取得我的形状， 而只要希腊的金匠用金釉 和锤打的金子所制作的式样， 供给瞌睡的皇帝保持清醒； 或者就镶在金树枝上歌唱 一切过去、现在和未来的事情 给拜占庭的贵族和夫人听。 43．Picasso, Braque, Mondrian, Miro, Kandinsky, Brancusi, even Klee, Matisse and Cézanne derive their chief inspiration from the medium they work in.(2) 毕加索（Picasso）、勃拉克、蒙德里安（Mondrian）、米罗（Miro）、康定斯基 （Kandinsky）、布朗库西（Brancusi），甚至克利（Klee）、马蒂斯（Maitsse）和 11塞尚（Cezanne），都从他们工作的媒介中获得主要灵感。 44．The excitement of their art seems to lie most of all in its pure preoccupation with the invention and arrangement of spaces, surfaces, shapes, colors, etc., to the exclusion of whatever is not necessarily implicated in these factors. 他们的艺术那令人激动之处，似乎主要在于他们对空间、表面、形状、色彩等等 的创意和安排的单纯兴趣，从而排除了一切并非必然地内含于这些要素中的东 西。 11 原注：我的这一想法得益于艺术教师汉斯?霍夫曼在一次讲座中的评论。从这一想法的角度看，造型艺 术中的超现实主义乃是一种反动倾向，因为它试图恢复“外部”主题。一位像达利那样的画家的主要关切 是再现其意识的过程与概念，而非其媒介的过程。 12 他们艺术之所以令人感兴趣，似乎相当程度上在于这种艺术纯粹热中（热衷）于 空间、外观、形状和色彩等因素的创新和营构，排除了这些因素中无须关联的一 切东西。 45．The attention of poets like Rimbaud, Mallarmé, Valéry, Éluard, Pound, Hart Crane, Stevens, even Rilke and Yeats, appears to be centered on the effort to create poetry and on the "moments" themselves of poetic conversion, rather than on experience to be converted into poetry. 像兰波（Rimbaud）、马拉美（Malarme）、瓦莱利（Valery）、艾吕亚（Eluard）、 庞德（Pound）、哈特?库莱恩（Hart Crane）、史蒂文斯（Stevens），甚至里尔克（Rilke）和叶芝之类的诗人，其关注点似乎也集中于作诗的努力，集中于诗兴 迸发的“瞬间”本身，而不是转化为诗的经验。 46．Of course, this cannot exclude other preoccupations in their work, for poetry must deal with words, and words must communicate. 当然，这些并不能排除他们作品中的其他关切，因为诗必须与词语打交道，而词 语是用来交流的。 47．Certain poets, such as Mallarmé and Valéry (3) are more radical in this respect than others -- leaving aside those poets who have tried to compose poetry in pure sound alone. 12某些诗人，例如马拉美和瓦莱利，在这方面比别的诗人更为激进——暂时不考 虑其他一些想要用纯粹的声音来写诗的诗人。 排除那些单用纯粹声音来写诗的诗人？ 48．However, if it were easier to define poetry, modern poetry would be much more "pure" and "abstract." 然而，如果定义诗歌能变得更为容易些，那么现代诗就会更加“纯粹”，更加“抽 象”。 49．As for the other fields of literature -- the definition of avant-garde aesthetics advanced here is no Procrustean bed. 至于文学的其他领域——已推进至此的前卫美学的定义并不需要强求一致。 50．But aside from the fact that most of our best contemporary novelists have gone to school with the avant-garde, it is significant that Gide's most ambitious book is a novel about the writing of a novel, and that Joyce's Ulysses and Finnegans Wake seem to be, above all, as one French 12 原注：参看瓦莱里对他自己的诗的评论。 13 critic says, the reduction of experience to expression for the sake of expression, the expression mattering more than what is being expressed. 但是，除了我们时代大多数优秀的小说家可以归入前卫艺术阵营这一事实外，富 有意义的是纪德（Gide）最具野心的小说是一部关于小说写作的小说，而乔伊斯 （Joyce）的《尤利西斯》（Ulysses）和《芬尼根守灵夜》（Finnergans Wake），似乎首先是，正如一位法国评论家所说，将经验还原为“为表达而表达”，［8-］表达本身比被表达者，更值得关心。 51．That avant-garde culture is the imitation of imitating -- the fact itself -- calls for neither approval nor disapproval. 前卫文化是对模仿的模仿——事实上是对自我的模仿——这既不值得赞美，也不 值得批判。 先锋派文化是模仿行为之模仿，这个事实既不能„„ 52．It is true that this culture contains within itself some of the very Alexandrianism it seeks to overcome. 确实，这种文化内包含某种它着意加以克服的亚历山大主义。 确实，这种文化本身内部含有某些它想克服的亚历山大风格。 53．The lines quoted from Yeats referred to Byzantium, which is very close to Alexandria; and in a sense this imitation of imitating is a superior sort of Alexandrianism. 上引叶芝的诗句指的是拜占庭，离亚历山大城非常近；在某种意义上这种对模仿 的模仿乃是亚历山大主义的高级类型。 在某种意义上说，模仿行为的模仿正是亚历山大风格。 54．But there is one most important difference: the avant-garde moves, while Alexandrianism stands still. 但有一个至为重要的差别：前卫艺术是运动的，而亚历山大主义则静止不前。 而亚历山大时期的艺术则静止不动。 55．And this, precisely, is what justifies the avant-garde's methods and makes them necessary. 而这恰恰就是证明前卫艺术方法的合理性与必要性的东西。 14 56．The necessity lies in the fact that by no other means is it possible today to create art and literature of a high order. 这种必要性存在于这样的事实之中：今天已不可能通过其他方式来创造高级的艺 术和文学。 这种必要性在于如下事实：即使不用其他方式，今天也可能创造出高水平的艺术 和文学。（意思完全译反了，呵呵！） 57．To quarrel with necessity by throwing about terms like "formalism," "purism," "ivory tower" and so forth is either dull or dishonest. 通过贴上诸如“形式主义”、“纯粹主义”、“象牙塔”之类的标签来质疑这种必要 性，要么无趣，要么自欺。 58（？）．This is not to say, however, that it is to the social advantage of the avant-garde that it is what it is. Quite the opposite. 但是，这并不是说，正是由于前卫艺术对社会有利，才使得前卫艺术成为前卫艺 术。事实正好相反。 然而，这并非说，正是先锋派的社会优势，先锋派才称其为先锋派。 59．The avant-garde's specialization of itself, the fact that its best artists are artists' artists, its best poets, poets' poets, has estranged a great many of those who were capable formerly of enjoying and appreciating ambitious art and literature, but who are now unwilling or unable to acquire an initiation into their craft secrets. 前卫艺术对自身的不断专业化，它最好的艺术家乃是艺术家的艺术家，最好的诗 人乃是诗人的诗人这一事实，已经疏远了不少以前能够欣赏雄心勃勃的文学艺术 的人，现在他们已不愿，或无法获得一窥艺术奥秘的启蒙机会。 60．The masses have always remained more or less indifferent to culture in the process of development. 在文化的发展过程中，大众依旧保持在或多或少对它漠不关心的境地。 61．But today such culture is being abandoned by those to whom it actually belongs -- our ruling class. For it is to the latter that the avant-garde belongs. 15 但是在今天，这种文化正在为它实际上所隶属的人——我们的统治阶级——所抛 弃。因为，前卫艺术其实属于统治阶级。 尽管先锋派属于这一阶级。？ 62．No culture can develop without a social basis, without a source of stable income. And in the case of the avant-garde, this was provided by an elite among the ruling class of that society from which it assumed itself to be cut off, but to which it has always remained attached by an umbilical cord of gold. 没有一种文化可以离开社会地位，可以没有稳定的收入来源而得到发展。在前卫 艺术的情形中，这一点是由那个社会的统治阶级中的精英分子来提供的；前卫艺 术自认为已经与这个社会一刀两断，但事实上却总是维系着脐带关系。 64．The paradox is real. And now this elite is rapidly shrinking. Since the avant-garde forms the only living culture we now have, the survival in the near future of culture in general is thus threatened. 这一悖论是真实的。如今这一精英阶层正在迅速萎缩。由于前卫艺术形成了我们 现在所拥有的唯一一种活的文化，一般文化在不远的将来的生存也因此受到了威 胁。 由于先锋派塑造了我们目前惟一拥有的文化，在不远的将来，它在总体文体中的 存在将受到威胁。 65．We must not be deceived by superficial phenomena and local successes. Picasso's shows still draw crowds, and T. S. Eliot is taught in the universities; the dealers in modernist art are still in business, and the publishers still publish some "difficult" poetry. 我们切不可被某些表面现象和局部成功所蒙骗。毕加索作品展依旧吸引广大观 众，T?S?艾略特的诗也还在大学里讲授；现代派艺术的交易商仍然在忙碌， 出版商也还在出版某些“艰涩的”诗。 我们不必为表面现象的局部成功所迷惑。 66．But the avant-garde itself, already sensing the danger, is becoming more and more timid every day that passes. 但是，前卫艺术本身早已意识到危险，一天比一天变得更为羞涩。 67．Academicism and commercialism are appearing in the strangest places. This can mean only one thing: that the avant-garde is becoming unsure of the audience it depends on -- the rich and the cultivated. 16 学院主义和商业化正在最不可思议的地方出现。这只能意味着一个道理：那就是 前卫艺术对它所依赖的观众——富裕和受过教育的人——感到不太有把握了。 先锋派正在丧失对它所依赖的观众„„所抱有的信任。 Is it the nature itself of avant-garde culture that is alone responsible for the danger it finds itself in? Or is that only a dangerous liability? Are there other, and perhaps more important, factors involved? 是前卫文化本身的性质要对它发现身处其中的危险负全责？还是，这是它必须承 担的危险债务？还有别的，也许更重要的因素卷入其中吗？ 难道说是先锋派文化自身的本性引发了深陷其中的危险？或者说，只有这一种危 险的可能性吗？ II 1．Where there is an avant-garde, generally we also find a rear-guard. True enough -- simultaneously with the entrance of the avant-garde, a second new cultural phenomenon appeared in the industrial West: that thing to which the Germans give the wonderful name of Kitsch: popular, commercial art and literature with their chromeotypes, magazine covers, illustrations, ads, slick and pulp fiction, comics, Tin Pan Alley music, tap dancing, Hollywood movies, etc., etc. 确实如此，它就站在先锋派的大门口，这第二种新的文化现象出现在西方工业国 家：德国人„„ 哪里有前卫，一般我们也就能在哪里发现后卫。与前卫艺术一起到来的，是在工 业化的西方出现的第二种新的文化现象，德国人给这类东西取了个精彩的名字 Kitsch（垃圾、庸俗艺术）：流行的、商业的艺术和文学，及其彩照、杂志封面、 漫画、广告、低俗小说、喜剧、叮砰巷的音乐、踢踏舞、好莱坞电影，等等等等。 2．For some reason this gigantic apparition has always been taken for granted. It is time we looked into its whys and wherefores. 出于某种原因，这个巨大的幽灵一直以来总是被视为理所当然的。现在是研究其 原因的时候了。 3．Kitsch is a product of the industrial revolution which urbanized the masses of Western Europe and America and established what is called universal literacy. 17 创造了所谓的普遍文化教养？ 庸俗艺术是工业革命的产物；工业革命使西欧和美国的大众城市化了，并确立了 所谓的普及文化。 4．Prior to this the only market for formal culture, as distinguished from folk culture, had been among those who, in addition to being able to read and write, could command the leisure and comfort that always goes hand in hand with cultivation of some sort. 在此之前，唯一区别于民间文化的正式（或官方）文化的市场，是一直面向那样 一些人群的：他们除了能读会写，还掌控着总是与某种类型的教化结伴而行的闲 暇与舒适的生活条件。 然而，早在这种普遍文化教养形成之前，这种有别于民间文化的规范文化市场就 已经植根于这样一些人之中，他们除了有读写能力之外，还要求与某种教养并行 不悖的闲暇舒适。 5．This until then had been inextricably associated with literacy. But with the introduction of universal literacy, the ability to read and write became almost a minor skill like driving a car, and it no longer served to distinguish an individual's cultural inclinations, since it was no longer the exclusive concomitant of refined tastes. 直到那时，这一点一直与文化教养不可分割地联系在一起。但是，随着普及文化 的到来，读写能力几乎成了跟开车一样寻常不过的技艺，不再被用来区分个人的 文化喜好，因为它已经不再是优雅趣味的独一无二的伴随物了。 6．The peasants who settled in the cities as proletariat and petty bourgeois learned to read and write for the sake of efficiency, but they did not win the leisure and comfort necessary for the enjoyment of the city's traditional culture. 住在城里的乡下人像劳工阶级和小市民阶层一样，为了„„ 作为无产者和小资产者定居于城市的农民，出于提高劳动效率的需要学会了读 写，却没有赢得欣赏城市的传统文化所必不可少的闲暇和舒适的生活条件。 7．Losing, nevertheless, their taste for the folk culture whose background was the countryside, and discovering a new capacity for boredom at the same time, the new urban masses set up a pressure on society to provide them with a kind of culture fit for their own consumption. 18 但是，失去了以乡村为背景的民间文化的审美趣味后，他们同时却发现了自己会 感到无聊的新能耐，于是，这些新的城市大众对社会提出了要求：要为他们提供 某种适合他们消费的文化。 这些来自农村的人丧失了作为其文化背景的民间文化，同时也发现了一种能容忍 无聊的新能耐，这些新的都市大众向社会施加压力„„ 8．To fill the demand of the new market, a new commodity was devised: ersatz culture, kitsch, destined for those who, insensible to the values of genuine culture, are hungry nevertheless for the diversion that only culture of some sort can provide. 为了满足新市场的要求，一种新的商品诞生了：假文化、庸俗艺术，命中注定要 为那些对真正文化的价值麻木不仁，却渴望得到只有某种类型的文化才能提供的 娱乐的人们服务。 9．Kitsch, using for raw material the debased and academicized simulacra of genuine culture, welcomes and cultivates this insensibility. 庸俗艺术以庸俗化了的和学院化了的真正文化的模拟物为其原料，大肆欢迎并培 育这种麻木。 10．It is the source of its profits. Kitsch is mechanical and operates by formulas. Kitsch is vicarious experience and faked sensations. Kitsch changes according to style, but remains always the same. Kitsch is the epitome of all that is spurious in the life of our times. Kitsch pretends to demand nothing of its customers except their money -- not even their time. 这正是它的利润的来源。庸俗艺术是机械的，可以根据公式操作。庸俗艺术是虚 假的经验和伪造的感觉。庸俗艺术可以因风格而异，却始终如一。庸俗艺术是我 们时代的生活中一切虚伪之物的缩影。除了钱，庸俗艺术宣称不会向其消费者索 取任何东西，甚至不需要他们的时间。 庸俗艺术是程式化和机械的，是虚假的快乐和感官愉悦。虽然庸俗艺术依据样式 而有所变化，却始终保持同一性。 11．The precondition for kitsch, a condition without which kitsch would be impossible, is the availability close at hand of a fully matured cultural tradition, whose discoveries, acquisitions, and perfected self-consciousness kitsch can take advantage of for its own ends. 庸俗艺术的前提条件——舍此它就不可能存在的条件——就是一种近在眼前的 充分成熟的文化传统的存在； 19 庸俗艺术可以利用这种文化传统的诸种发现、成就，以及已臻完美的自我意识， 来为它自己的目的服务。 12．It borrows from it devices, tricks, stratagems, rules of thumb, themes, converts them into a system, and discards the rest. It draws its life blood, so to speak, from this reservoir of accumulated experience. 它从它那里借用策略、巧计、战略、规则和主题，并把它们转换成一个体系，将 其余的一概丢弃。不妨这么说，它从这一积累已久的经验宝库中抽取生命血液。 13．This is what is really meant when it is said that the popular art and literature of today were once the daring, esoteric art and literature of yesterday. 当人们说今天的流行艺术和流行文学曾是昨天的大胆艺术和深奥文学时，他们所 说的正是这个意思。 14．Of course, no such thing is true. What is meant is that when enough time has elapsed the new is looted for new "twists," which are then watered down and served up as kitsch. 当然，这种说法并不确切。它真正的意思是，随着时间的流逝，新东西就为更新 的“扭曲”所掠夺，而这种“新的扭曲”则作为庸俗艺术得到稀释和伺候。 15．Self-evidently, all kitsch is academic; and conversely, all that's academic is kitsch. For what is called the academic as such no longer has an independent existence, but has become the stuffed-shirt "front" for kitsch. The methods of industrialism displace the handicrafts. 不言自明的是，一切庸俗艺术都是学院艺术；反之，一切学院艺术都是庸俗艺术。 因为所谓的学院艺术已不再拥有独立的经验，相反它已经成为庸俗艺术的自命不 凡的所谓“前沿”。工业化的方式取代了手工操作。 显而易见，一切庸俗艺术都是陈腐的，反之，艺术中一切陈腐的东西都属于庸俗 艺术。 16．Because it can be turned out mechanically, kitsch has become an integral part of our productive system in a way in which true culture could never be, except accidentally. 由于它可以被机械地生产出来，庸俗艺术业已成为我们生产体系的一个组成部 分，而真正的文化从来不可能如此，除了在某些极为罕见的偶然情形中。 20 17．It has been capitalized at a tremendous investment which must show commensurate returns; it is compelled to extend as well as to keep its markets. 巨额投资必须看到同等的回报，因而庸俗艺术已被资本化了；它被迫拓展并保持 市场份额。 18．While it is essentially its own salesman, a great sales apparatus has nevertheless been created for it, which brings pressure to bear on every member of society. 尽管庸俗艺术从本质上说就能自行推销，它还是创造了大量销售模式，并对社会 的每个成员构成某种压力。 19．Traps are laid even in those areas, so to speak, that are the preserves of genuine culture. 陷阱甚至被安放到了那样一些领域，不妨这么说吧，那些真正文化的保护区。 今天到这里为止 20．It is not enough today, in a country like ours, to have an inclination towards the latter; one must have a true passion for it that will give him the power to resist the faked article that surrounds and presses in on him from the moment he is old enough to look at the funny papers. Kitsch is deceptive. 13在一个类似我们的国度里，今天仅仅拥有一种倾心于真正的文化的愿望还不够，人们还必须对真正的文化拥有真正的热情，以便赋予他们力量来抗拒充斥于 四周并强行映入他们眼帘的那些伪作（当他们已有足够的年岁能辨别那些可笑的 文章的时候）。庸俗艺术具有欺骗性。 21．It has many different levels, and some of them are high enough to be dangerous to the naive seeker of true light. A magazine like the New Yorker, which is fundamentally high-class kitsch for the luxury trade, converts and waters down a great deal of avant-garde material for its own uses. 13 “我们的国度”，指美国。本书中原文凡出现“我国”者，以下视其上下文多译为“美国”，不再一一标 明。 21 它拥有不少层次，其中某些层次高到足以对天真的求知者构成危害。一份像《纽 约客》（The New Yorker）那样的杂志——它本身不失为一件奢侈贸易的高级庸俗艺术——为了它自己的目的，转化并稀释了大量前卫艺术材料。 22．Nor is every single item of kitsch altogether worthless. Now and then it produces something of merit, something that has an authentic folk flavor; and these accidental and isolated instances have fooled people who should know better. 也不是说每一件庸俗艺术品都一钱不值。它有时候也会产生某些有价值的东西， 某种带有真正民间色彩的东西；而这些偶然和孤立的例子已经愚弄了那些本该看 得更深透一些的人们。 23．Kitsch's enormous profits are a source of temptation to the avant-garde itself, and its members have not always resisted this temptation. 庸俗艺术巨大的利润对前卫艺术本身也构成了一种诱惑，其成员并不总能抵御这 种诱惑。 24．Ambitious writers and artists will modify their work under the pressure of kitsch, if they do not succumb to it entirely. 野心勃勃的作家和艺术家们在庸俗艺术的压力下会调整其作品，即使他们没有完 全屈从于这种压力的话。 25．And then those puzzling borderline cases appear, such as the popular novelist, Simenon, in France, and Steinbeck in this country. The net result is always to the detriment of true culture in any case. 于是，那些令人迷惑的越界的情况也出现了，例如法国的流行小说家西默农 （Simenon），还有本国的史坦贝克（Steinbeck）。不管在哪一种情形中，最后结 果对真正的文化来说总是一种伤害。 26．Kitsch has not been confined to the cities in which it was born, but has flowed out over the countryside, wiping out folk culture. Nor has it shown any regard for geographical and national cultural boundaries. 庸俗艺术并不局限于它的诞生地城市，它早已漫延到乡村，席卷了整个民间文化。 它也丝毫不尊重地理的和民族文化的疆界。 27．Another mass product of Western industrialism, it has gone on a triumphal tour of the world, crowding out and defacing native cultures 22 in one colonial country after another, so that it is now by way of becoming a universal culture, the first universal culture ever beheld. 作为西方工业化的另一宗大众产品，它已经经历了一场世界范围内的凯旋之旅， 在一个接一个殖民地排斥并破坏当地文化，以至于，通过将自己变成一种普世文 化，庸俗文化已经成为世界上第一种普世文化。 28．Today the native of China, no less than the South American Indian, the Hindu, no less than the Polynesian, have come to prefer to the products of their native art, magazine covers, rotogravure sections and calendar girls. 14今天，本土中国人，以及南美印弟安人、印度人、波利尼西亚人（Polynesian）终于更加钟情于其本土的艺术品、杂志封面、凹版照相和挂历女郎。 29．How is this virulence of kitsch, this irresistible attractiveness, to be explained? Naturally, machine-made kitsch can undersell the native handmade article, and the prestige of the West also helps; but why is kitsch a so much more profitable export article than Rembrandt? One, after all, can be reproduced as cheaply as the other. 该如何解释庸俗艺术的这种毒性，这种令人无法抗拒的吸引力？当然，机械制造 的庸俗艺术可以压倒当地的手工艺品，西方的强势也能帮上一点忙；然而，何以 庸俗艺术能成为比伦勃朗（Rembrandt）的作品更有利可图的出口产品？毕竟， 伦勃朗的作品也可以像任何一件庸俗作品那样廉价地加以复制。 30．In his last article on the Soviet cinema in the Partisan Review, Dwight Macdonald points out that kitsch has in the last ten years become the dominant culture in Soviet Russia. 赖特?麦克唐纳（Dwight Macdonald）在发表于《党派评论》的最后一篇论苏联 电影的文章中指出，庸俗文化在最近的10年中已成为苏联占主导地位的文化。 31．For this he blames the political regime -- not only for the fact that kitsch is the official culture, but also that it is actually the dominant, most popular culture, and he quotes the following from Kurt London's The Seven Soviet Arts: ". . . the attitude of the masses both to the old and new art styles probably remains essentially dependent on the nature of the education afforded them by their respective states." 因此，他指责政府部门——不仅仅因为庸俗文化已成为官方文化的事实，而且也 因为它事实上已成为占主导地位的、最为流行的文化。他援引了库特?伦敦（Kurt London）《苏联七艺》（The Seven Soviet Arts）一文中的下列一段话：“„„大众 14 波利尼西亚（Polynesian），中太平洋之一群岛。 23 对待新旧艺术风格的态度也许从根本上说依赖于他们各自的国家提供给他们的 教育的性质。” 32．Macdonald goes on to say: "Why after all should ignorant peasants prefer Repin (a leading exponent of Russian academic kitsch in painting) to Picasso, whose abstract technique is at least as relevant to their own primitive folk art as is the former's realistic style? No, if the masses crowd into the Tretyakov (Moscow's museum of contemporary Russian art: kitsch), it is largely because they have been conditioned to shun 'formalism' and to admire 'socialist realism.'" 麦克唐纳接着说：“毕竟，那些无知的农民为什么必须更喜欢列宾（Repin，俄罗 斯绘画中的学院派庸俗艺术的主要代表），而不喜欢毕加索？毕加索的抽象技巧 至少与列宾的现实主义风格一样，都与他们自己的原始民间艺术有一定的相关 性。不，如果说群众蜂拥而至地想要挤进特雷雅科夫美术馆（Tretyakov，一家专 门收藏和展出苏联当代艺术——庸俗艺术——的博物馆），这主要是因为他们已 被限制必须避开‘形式主义’，而赞美‘社会主义现实主义’。” 33．In the first place it is not a question of a choice between merely the old and merely the new, as London seems to think -- but of a choice between the bad, up-to-date old and the genuinely new. The alternative to Picasso is not Michelangelo, but kitsch. 首先，这不是一个仅仅在旧事物与新事物之间进行选择的问题，正如伦敦似乎认 为的那样，而是要在坏的、“新颖的”老古董，与真正新的东西之间作出选择的 问题。代替毕加索的不是米盖朗琪罗（Michelangelo），而是庸俗艺术。 34．In the second place, neither in backward Russia nor in the advanced West do the masses prefer kitsch simply because their governments condition them toward it. 其次，不管是在落后的苏联，还是在先进的西方，大众更喜欢庸俗艺术都不仅仅 是因为政府对他们的限制。 35．Where state educational systems take the trouble to mention art, we are told to respect the old masters, not kitsch; and yet we go and hang Maxfield Parrish or his equivalent on our walls, instead of Rembrandt and Michelangelo. 当国家的教育体制不辞辛劳地提到艺术的时候，它们总是教导我们要尊重老大 师，而不是庸俗艺术；但是，我们却在自己墙上挂上麦克斯费尔德?帕里希 24 15（Maxfield Parrish）或其同行的画，而不是伦勃朗或米开朗琪罗（Michelangelo） 的作品。 36．Moreover, as Macdonald himself points out, around 1925 when the Soviet regime was encouraging avant-garde cinema, the Russian masses continued to prefer Hollywood movies. No, "conditioning" does not explain the potency of kitsch. 而且，正如麦克唐纳自己指出的，1925年前后，当苏联政府还在鼓励前卫电影的时候，苏联的群众照样继续钟情于好莱坞电影。不，“限制”并不能解释庸俗 艺术的潜力。 37．All values are human values, relative values, in art as well as elsewhere. Yet there does seem to have been more or less of a general agreement among the cultivated of mankind over the ages as to what is good art and what bad. 一切价值都是人类的价值，相对的价值，在艺术中如此，在 其他地方也一样。然而，在历代有教养的公众中，似乎确实存在着关于什么是好 艺术，什么是坏艺术的或多或少普遍一致的意见。 38．Taste has varied, but not beyond certain limits; contemporary connoisseurs agree with the eighteenth-century Japanese that Hokusai was one of the greatest artists of his time; we even agree with the ancient Egyptians that Third and Fourth Dynasty art was the most worthy of being selected as their paragon by those who came after. We may have come to prefer Giotto to Raphael, but we still do not deny that Raphael was one of the best painters of his time. 趣味可以多样，但不会超出某些限度；当代的鉴赏家们完全同意18世纪日本人 的意见，即葛饰北斋（Hokusai）是他那个时代最伟大的艺术家之一；我们甚至 同意古埃及人的说法，即第三和第四王朝的艺术最值得被选来作为后来者的范 型。我们或许会喜欢乔托（Giotto），胜过喜欢拉斐尔（Raphael），但我们不会否 认拉斐尔是那时最好的画家之一。 39．There has been an agreement then, and this agreement rests, I believe, on a fairly constant distinction made between those values only to be found in art and the values which can be found elsewhere. Kitsch, by virtue of a rationalized technique that draws on science and industry, has erased this distinction in practice. 15 麦克斯费尔德?帕里希（Maxfield Parrish, 1870-1966），美国油画家和插图画家。 25 因此，审美趣味中存在着一致性，而这种一致性，我认为，建立在那些只能见于 艺术的价值与可见于别处的价值的一个相当恒常的区别之上。庸俗艺术，由于它 是一种运用科学和工业的理性化了的技术，却在实践中消除了这一区别。 Left: Repin, Cossacks; Right: Piacsso,Woman with a Fan 40．Let us see, for example, what happens when an ignorant Russian peasant such as Macdonald mentions stands with hypothetical freedom of choice before two paintings, one by Picasso, the other by Repin. 让我们举个例子，来看一看一个麦克唐纳提到过的无知的俄罗斯农民，带着假定 的选择自由站在两幅画面前，一幅是毕加索的，另一幅是列宾的，那将会发生什 么。 41．In the first he sees, let us say, a play of lines, colors and spaces that represent a woman. The abstract technique -- to accept Macdonald's supposition, which I am inclined to doubt -- reminds him somewhat of the icons he has left behind him in the village, and he feels the attraction of the familiar. We will even suppose that he faintly surmises some of the great art values the cultivated find in Picasso. 首先他会看到，比方说，代表了一个女人的诸种线条、色彩与空间的嬉戏。这幅 画的抽象技法——让我们权且接受麦克唐纳的假设，对这一点我颇有怀疑——让 他想到了他搁在村子里的圣像画，他感到被眼前这个熟悉的形象所吸引。我们甚 至可以假设，他隐隐约约地推测到了那些有教养的人会在毕加索的画里发现的某 些伟大的艺术价值。 42．He turns next to Repin's picture and sees a battle scene. The technique is not so familiar -- as technique. But that weighs very little with the peasant, for he suddenly discovers values in Repin's picture that seem far superior to the values he has been accustomed to find in icon art; and the unfamiliar itself is one of the sources of those values: the values of the vividly recognizable, the miraculous and the sympathetic. 26 然后他转向列宾的画，看到了一个战争场面。这幅画的技法——就技法本身而言， 他并不熟悉。但是对这个农民来说，这并不打紧，因为他突然在列宾的画里发现 了有价值的东西，远远胜过他从业已习惯了的圣像艺术中所发现的价值；而不熟 悉本身却成了那些价值来源中的一种：栩栩如生的可辨认的价值、不可思议的神 奇价值、移情的价值。 43．In Repin's picture the peasant recognizes and sees things in the way in which he recognizes and sees things outside of pictures -- there is no discontinuity between art and life, no need to accept a convention and say to oneself, that icon represents Jesus because it intends to represent Jesus, even if it does not remind me very much of a man. 在列宾的画里，这个农民以认知和看待画外的事物一样的方式来认知和看待画中 的事物——艺术与生活之间没有任何不连续性，也不需要接受一种成规并对自己 说那个圣像代表耶稣，因为它意在代表耶稣，即使在我看来它一点都不像一个人。 44．That Repin can paint so realistically that identifications are self-evident immediately and without any effort on the part of the spectator -- that is miraculous. 列宾能如此栩栩如生地作画，以至于画与被画者之间的同一性立刻成为不言自明 的东西，观众不需要做出任何努力就能发现这一点——这是多么神奇啊。 45．The peasant is also pleased by the wealth of self-evident meanings which he finds in the picture: "it tells a story. " Picasso and the icons are so austere and barren in comparison. 这个农民还欣喜地从画中发现了不言自明的意义的财富：“它讲了一个故事。”与 之相比，毕加索的画和圣像画是如此严峻庄重，无趣无味。 46．What is more, Repin heightens reality and makes it dramatic: sunset, exploding shells, running and falling men. There is no longer any question of Picasso or icons. Repin is what the peasant wants, and nothing else but Repin. 而且，列宾还提升了现实，使之戏剧化了：日落的景象、四处飞溅的弹片、正在 奔跑和跌倒的人群。不需要再考虑毕加索和圣像画之类的问题了。列宾正是这个 农民想要的，他什么都不要了，就要列宾。 47．It is lucky, however, for Repin that the peasant is protected from the products of American capitalism, for he would not stand a chance next to a Saturday Evening Post cover by Norman Rockwell. 列宾是幸运的，这个农民没有接触过美国的资本主义产品，因为列宾是没有希望 27 16与诺曼?洛克威尔（Norman Rockwell）所画的《星期六晚邮报》封面紧挨在一 起的。 48．Ultimately, it can be said that the cultivated spectator derives the same values from Picasso that the peasant gets from Repin, since what the latter enjoys in Repin is somehow art too, on however low a scale, and he is sent to look at pictures by the same instincts that send the cultivated spectator. 总之，不妨这么说，有教养的观众从毕加索的作品中发现的价值，与这个农民从 列宾的画中所得到的东西，其方式是一样的，因为这个农民从列宾的画中所欣赏 的东西，某种意义上也是艺术，尽管是在一个较低的层次上，而且促使他去观看 列宾画作的那种直觉，与促使有教养的观众去观看毕加索作品的直觉也别无二 致。 49．But the ultimate values which the cultivated spectator derives from Picasso are derived at a second remove, as the result of reflection upon the immediate impression left by the plastic values. It is only then that the recognizable, the miraculous and the sympathetic enter. They are not immediately or externally present in Picasso's painting, but must be projected into it by the spectator sensitive enough to react sufficiently to plastic qualities. They belong to the "reflected" effect. 但是，有教养的观众从毕加索的画作中发现的最终价值，却来自二次活动，是对 由画作的造型价值所带来的直接印象进行反思的结果。只有在此之后，可辨认性、 神奇性和移情性等等才得以进入。它们不是直接地或外在地呈现在毕加索的画作 之中的，而是必须由敏锐的观众在对造型品质作出充分的反应之后投射进画面。 它们属于“反思的”效果。 50．In Repin, on the other hand, the "reflected" effect has already been included in the picture, ready for the spectator's unreflective enjoyment.(4) Where Picasso paints cause, Repin paints effect. Repin predigests art for the spectator and spares him effort, provides him with a shore cut to the pleasure of art that detours what is necessarily difficult in genuine art. Repin, or kitsch, is synthetic art. 相反，在列宾的画作中，“反思的”效果早已内在于画面，早已为观众无需反思 17的享受做好了准备。毕加索画的是原因，列宾画的却是结果。列宾为观众事先 消化了艺术，免去了他们的努力，为他们提供了获得愉快的捷径，从而绕开了对 16 诺曼?洛克威尔（Norman Parcevel Rockwell, 1894-1978），美国油画家和插图画家，曾为《星期六晚邮报》 画封面长达40年，所画日常生活风情画在美国广为流传。 17 原注：T?S?艾略特在解释英国浪漫派诗歌的缺点时也说了类似的话。事实上，人们可以认为，浪漫主 义者乃是始作俑者，庸俗艺术家们继承了他们的罪孽。他们教会了庸俗艺术家们如何从事。济慈主要写了 些什么，如果不是写诗歌对他本人的效果的话？ 28 欣赏真正的艺术来说必然是十分困难的道路。列宾，或庸俗艺术，是合成的艺术。 51．The same point can be made with respect to kitsch literature: it provides vicarious experience for the insensitive with far greater immediacy than serious fiction can hope to do. And Eddie Guest and the Indian Love Lyrics are more poetic than T. S. Eliot and Shakespeare. 同样的道理也适用于庸俗文学：它为那些麻木不仁的读者提供虚假的经验，远比 严肃小说所能做的直接得多。艾迪?格斯特与《印弟安人情歌集》（Indian Love Lyrics）比T?S?艾略特和莎士比亚（Shakespeare）更富有诗意。 III 1．If the avant-garde imitates the processes of art, kitsch, we now see, imitates its effects. The neatness of this antithesis is more than contrived; it corresponds to and defines the tremendous interval that separates from each other two such simultaneous cultural phenomena as the avant-garde and kitsch. 如果说前卫艺术模仿艺术的过程，那么庸俗艺术，我们现在已经明白，则模仿其 结果。这种对立并非人为的 设计 领导形象设计圆作业设计ao工艺污水处理厂设计附属工程施工组织设计清扫机器人结构设计 ；它既与将前卫和庸俗这样两种同时产生的文化 现象彼此分割开来的那个巨大的间隔相吻合，也定义了这一间隔。 2．This interval, too great to be closed by all the infinite gradations of popularized "modernism" and "modernistic" kitsch, corresponds in turn to a social interval, a social interval that has always existed in formal culture, as elsewhere in civilized society, and whose two termini converge and diverge in fixed relation to the increasing or decreasing stability of the given society. 这一间隔是如此之大，以至于根本不可能为通俗的“现代主义”与“现代派的” 庸俗艺术之间的无数过渡形式所填补。反过来，这种间隔也与一种社会间隔相一 致，后者总是存在于官方文化之中，正如它同样存在于文明社会的别处一样。它 的两个方向在与既定社会不断增长或不断减弱的稳定性的固定关系中聚合或发 散。 3．There has always been on one side the minority of the powerful -- and therefore the cultivated -- and on the other the great mass of the exploited and poor -- and therefore the ignorant. Formal culture has always belonged to the first, while the last have had to content themselves with folk or rudimentary culture, or kitsch. 社会的一端总存在着有权有势的少数——因此也是有教养的人，而另一端则存在 29 着大量被剥削和贫穷的广大群众——因此也是没有文化的人。官方文化总是属于 前者，而后者则不得不满足于民间的或最最起码的文化，或庸俗艺术。 4．In a stable society that functions well enough to hold in solution the contradictions between its classes, the cultural dichotomy becomes somewhat blurred. The axioms of the few are shared by the many; the latter believe superstitiously what the former believe soberly. And at such moments in history the masses are able to feel wonder and admiration for the culture, on no matter how high a plane, of its masters. This applies at least to plastic culture, which is accessible to all. 在一个功能发挥良好，足以解决阶级矛盾的稳定社会，文化的对立似乎变得模糊 起来。少数人的准则为多数人所分享；后者盲目地相信前者清醒地加以信奉的东 西。在历史的某个时刻，大众真的能够感受到文化的神奇，并表现出仰慕之意， 而不管创造这种文化的大师（或主子）们的社会地位到底有多高。这一点至少适 用于造型文化，因为造型艺术人人都看得到。 5．In the Middle Ages the plastic artist paid lip service at least to the lowest common denominators of experience. This even remained true to some extent until the seventeenth century. There was available for imitation a universally valid conceptual reality, whose order the artist could not tamper with. The subject matter of art was prescribed by those who commissioned works of art, which were not created, as in bourgeois society, on speculation. Precisely because his content was determined in advance, the artist was free to concentrate on his medium. He needed not to be philosopher, or visionary, but simply artificer. As long as there was general agreement as to what were the worthiest subjects for art, the artist was relieved of the necessity to be original and inventive in his "matter" and could devote all his energy to formal problems. For him the medium became, privately, professionally, the content of his art, even as his medium is today the public content of the abstract painter's art -- with that difference, however, that the medieval artist had to suppress his professional preoccupation in public -- had always to suppress and subordinate the personal and professional in the finished, official work of art. If, as an ordinary member of the Christian community, he felt some personal emotion about his subject matter, this only contributed to the enrichment of the work's public meaning. Only with the Renaissance do the inflections of the personal become legitimate, still to be kept, however, within the limits of the simply and universally recognizable. And only with Rembrandt do "lonely" artists begin to appear, lonely in their art. But even during the Renaissance, and as long as Western art was endeavoring to perfect its technique, victories in this realm could only be signalized by success in realistic imitation, since there was no other objective criterion at hand. Thus the masses could still find in the art of their 30 masters objects of admiration and wonder. Even the bird that pecked at the fruit in Zeuxis' picture could applaud. It is a platitude that art becomes caviar to the general when the reality it imitates no longer corresponds even roughly to the reality recognized by the general. Even then, however, the resentment the common man may feel is silenced by the awe in which he stands of the patrons of this art. Only when he becomes dissatisfied with the social order they administer does he begin to criticize their culture. Then the plebian finds courage for the first time to voice his opinions openly. Every man, from the Tammany alderman to the Austrian house-painter, finds that he is entitled to his opinion. Most often this resentment toward culture is to be found where the dissatisfaction with society is a reactionary dissatisfaction which expresses itself in revivalism and puritanism, and latest of all, in fascism. Here revolvers and torches begin to be mentioned in the same breath as culture. In the name of godliness or the blood's health, in the name of simple ways and solid virtues, the statue-smashing commences. IV Returning to our Russian peasant for the moment, let us suppose that after he has chosen Repin in preference to Picasso, the state's educational apparatus comes along and tells him that he is wrong, that he should have chosen Picasso -- and shows him why. It is quite possible for the Soviet state to do this. But things being as they are in Russia -- and everywhere else -- the peasant soon finds the necessity of working hard all day for his living and the rude, uncomfortable circumstances in which he lives do not allow him enough leisure, energy and comfort to train for the enjoyment of Picasso. This needs, after all, a considerable amount of "conditioning." Superior culture is one of the most artificial of all human creations, and the peasant finds no "natural" urgency within himself that will drive him toward Picasso in spite of all difficulties. In the end the peasant will go back to kitsch when he feels like looking at pictures, for he can enjoy kitsch without effort. The state is helpless in this matter and remains so as long as the problems of production have not been solved in a socialist sense. The same holds true, of course, for capitalist countries and makes all talk of art for the masses there nothing but demagogy.(5) Where today a political regime establishes an official cultural policy, it is for the sake of demagogy. If kitsch is the official tendency of culture in Germany, Italy and Russia, it is not because their respective governments are controlled by philistines, but because kitsch is the culture of the masses in these countries, as it is everywhere else. The encouragement of kitsch is merely another of the inexpensive ways in which 31 totalitarian regimes seek to ingratiate themselves with their subjects. Since these regimes cannot raise the cultural level of the masses -- even if they wanted to -- by anything short of a surrender to international socialism, they will flatter the masses by bringing all culture down to their level. It is for this reason that the avant-garde is outlawed, and not so much because a superior culture is inherently a more critical culture. (Whether or not the avant-garde could possibly flourish under a totalitarian regime is not pertinent to the question at this point.) As a matter of fact, the main trouble with avant-garde art and literature, from the point of view of fascists and Stalinists, is not that they are too critical, but that they are too "innocent," that it is too difficult to inject effective propaganda into them, that kitsch is more pliable to this end. Kitsch keeps a dictator in closer contact with the "soul" of the people. Should the official culture be one superior to the general mass-level, there would be a danger of isolation. Nevertheless, if the masses were conceivably to ask for avant-garde art and literature, Hitler, Mussolini and Stalin would not hesitate long in attempting to satisfy such a demand. Hitler is a bitter enemy of the avant-garde, both on doctrinal and personal grounds, yet this did not prevent Goebbels in 1932-1933 from strenuously courting avant-garde artists and writers. When Gottfried Benn, an Expressionist poet, came over to the Nazis he was welcomed with a great fanfare, although at that very moment Hitler was denouncing Expressionism as Kulturbolschewismus. This was at a time when the Nazis felt that the prestige which the avant-garde enjoyed among the cultivated German public could be of advantage to them, and practical considerations of this nature, the Nazis being skillful politicians, have always taken precedence over Hitler's personal inclinations. Later the Nazis realized that it was more practical to accede to the wishes of the masses in matters of culture than to those of their paymasters; the latter, when it came to a question of preserving power, were as willing to sacrifice their culture as they were their moral principles; while the former, precisely because power was being withheld from them, had to be cozened in every other way possible. It was necessary to promote on a much more grandiose style than in the democracies the illusion that the masses actually rule. The literature and art they enjoy and understand were to be proclaimed the only true art and literature and any other kind was to be suppressed. Under these circumstances people like Gottfried Benn, no matter how ardently they support Hitler, become a liability; and we hear no more of them in Nazi Germany. We can see then that although from one point of view the personal philistinism of Hitler and Stalin is not accidental to the roles they play, from another point of view it is only an incidentally contributory factor 32 in determining the cultural policies of their respective regimes. Their personal philistinism simply adds brutality and double-darkness to policies they would be forced to support anyhow by the pressure of all their other policies -- even were they, personally, devotees of avant-garde culture. What the acceptance of the isolation of the Russian Revolution forces Stalin to do, Hitler is compelled to do by his acceptance of the contradictions of capitalism and his efforts to freeze them. As for Mussolini -- his case is a perfect example of the disponsibilité of a realist in these matters. For years he bent a benevolent eye on the Futurists and built modernistic railroad stations and government-owned apartment houses. One can still see in the suburbs of Rome more modernistic apartments than almost anywhere else in the world. Perhaps Fascism wanted to show its up-to-dateness, to conceal the fact that it was a retrogression; perhaps it wanted to conform to the tastes of the wealthy elite it served. At any rate Mussolini seems to have realized lately that it would be more useful to him to please the cultural tastes of the Italian masses than those of their masters. The masses must be provided with objects of admiration and wonder; the latter can dispense with them. And so we find Mussolini announcing a "new Imperial style." Marinetti, Chirico, et al., are sent into the outer darkness, and the new railroad station in Rome will not be modernistic. That Mussolini was late in coming to this only illustrates again the relative hesitance with which Italian Fascism has drawn the necessary implications of its role. Capitalism in decline finds that whatever of quality it is still capable of producing becomes almost invariably a threat to its own existence. Advances in culture, no less than advances in science and industry, corrode the very society under whose aegis they are made possible. Here, as in every other question today, it becomes necessary to quote Marx word for word. Today we no longer look toward socialism for a new culture -- as inevitably as one will appear, once we do have socialism. Today we look to socialism simply for the preservation of whatever living culture we have right now. 1. The example of music, which has long been an abstract art, and which avant-garde poetry has tried so much to emulate, is interesting. Music, Aristotle said curiously enough, is the most imitative and vivid of all arts because it imitates its original -- the state of the soul -- with the greatest immediacy. Today this strikes us as the exact opposite of the truth, because no art seems to us to have less reference to something outside itself than music. However, aside from the fact that in a sense Aristotle may still be right, it must be explained that ancient Greek music was closely associated with poetry, and depended upon its character as an accessory to verse to make its imitative meaning clear. Plato, speaking of music, says: "For when there are no words, it is very difficult 33 o recognize the meaning of the harmony and rhythm, or to see that any worthy object is imitated by them." As far as we know, all music originally served such an accessory function. Once, however, it was abandoned, music was forced to withdraw into itself to find a constraint or original. This is found in the various means of its own composition and performance. 2. I owe this formulation to a remark made by Hans Hofmann, the art teacher, in one of his lectures. From the point of view of this formulation, Surrealism in plastic art is a reactionary tendency which is attempting to restore "outside" subject matter. The chief concern of a painter like Dali is to represent the processes and concepts of his consciousness, not the processes of his medium. 3. See Valéry's remarks about his own poetry. 4. T. S. Eliot said something to the same effect in accounting for the shortcomings of English Romantic poetry. Indeed the Romantics can be considered the original sinners whose guilt kitsch inherited. They showed kitsch how. What does Keats write about mainly, if not the effect of poetry upon himself? 5. It will be objected that such art for the masses as folk art was developed under rudimentary conditions of production -- and that a good deal of folk art is on a high level. Yes it is -- but folk art is not Athene, and it's Athene whom we want: formal culture with its infinity of aspects, its luxuriance, its large comprehension. Besides, we are now told that most of what we consider good in folk culture is the static survival of dead formal, aristocratic, cultures. Our old English ballads, for instance, were not created by the "folk," but by the post-feudal squirearchy of the English countryside, to survive in the mouths of the folk long after those for whom the ballads were composed had gone on to other forms of literature. Unfortunately, until the machine age, culture was the exclusive prerogative of a society that lived by the labor of serfs or slaves. They were the real symbols of culture. For one man to spend time and energy creating or listening to poetry meant that another man had to produce enough to keep himself alive and the former in comfort. In Africa today we find that the culture of slave-owning tribes is generally much superior to that of the tribes that possess no slaves. 豆丁致力于构建全球领先的文档发布与销售平台，面向世界范围提供便捷、安全、专业、有效 的文档营销服务。包括中国、日本、韩国、北美、欧洲等在内的豆丁全球分站，将面向全球各地 的文档拥有者和代理商提供服务，帮助他们把文档发行到世界的每一个角落。豆丁正在全球各地 建立便捷、安全、高效的支付与兑换渠道，为每一位用户提供优质的文档交易和账务服务。 34