Kitsch in Milan Kundera's The Unbearable Lightness of Being:
Thank you for bringing out such a new word. To learn is to surf on --
Tomáš Kulka, in Kitsch and Art, starts from two basic facts: that kitsch "has an undeniable mass appeal" and "considered bad" by the art-educated elite", and then proposes three essential conditions:
Kitsch depicts a beautiful or highly emotionally charged subject. The depicted subject is instantly and effortlessly identifiable. Kitsch does not substantially enrich our associations related to the depicted subject.[11][1
Kitsch in Milan Kundera's [The Unbearable Lightness of Being]:
The concept of kitsch is a central motif in Milan Kundera's 1984 novel The Unbearable Lightness of Being. Towards the end of the novel, the book's narrator posits that the act of defecation (and specifically, the shame that surrounds it) poses a metaphysical challenge to the theory of divine creation: "Either/or: either shit is acceptable (in which case don't lock yourself in the bathroom!) or we are created in an unacceptable manner".[13] Thus, in order for us to continue to believe in the essential propriety and rightness of the universe (what the narrator calls "the categorical agreement with being"), we live in a world "in which shit is denied and everyone acts as though it did not exist". For Kundera's narrator, this is the definition of kitsch: an "aesthetic ideal" which "excludes everything from its purview which is essentially unacceptable in human existence".
The novel goes on to relate this definition of kitsch to politics, and specifically—given the novel's setting in Prague around the time of the 1968 invasion by the Soviet Union—to communism and totalitarianism. He gives the example of the Communist May Day ceremony, and of the sight of children running on the grass and the feeling this is supposed to provoke. This emphasis on feeling is fundamental to how kitsch operates:
Kitsch causes two tears to flow in quick succession. The first tear says: How nice to see children running on the grass! The second tear says: How nice to be moved, together with all mankind, by children running on the grass! It is the second tear that makes kitsch kitsch.[14]
According to the narrator, kitsch is "the aesthetic ideal of all politicians and all political parties and movements"; however, where a society is dominated by a single political movement, the result is "totalitarian kitsch":
When I say "totalitarian," what I mean is that everything that infringes on kitsch must be banished for life: every display of individualism (because a deviation from the collective is a spit in the eye of the smiling brotherhood); every doubt (because anyone who starts doubting details will end by doubting life itself); all irony (because in the realm of kitsch everything must be taken quite seriously).[14]
Good question: kitsch = not genuine, too many to name
genuine
adjective [usually ADJECTIVE noun] Genuine is used to describe people and things that are exactly what they appear to be, and are not false or an imitation.
媚俗 is not identical to kitsch; however, kitsch seems大排档...
媚俗 is not identical to kitsch; however, kitsch seems like 大排档...
Tomá? Kulka, in Kitsch and Art, starts from two basic facts:
that kitsch "has an undeniable mass appeal" and "considered bad" by the art-educated elite", and then proposes three essential conditions:
Kitsch depicts a beautiful or highly emotionally charged subject. The depicted subject is instantly and effortlessly identifiable. Kitsch does not substantially enrich our associations related to the depicted subject.
Milan Kundera's novel "The Unbearable Lightness of Being" originally had a different title in Czech. The original Czech title is "Nesnesitelná lehkost bytí." When the novel was translated into English, Kundera worked with his translator, Michael Henry Heim, to choose the English title. They decided on "The Unbearable Lightness of Being," and this title has been used consistently in all English editions of the novel.
Your reaction suggests a mix of appreciation and amusement for Milan Kundera's skill in playing with words. The phrase "unbearable lightness" seems to evoke a paradoxical and thought-provoking sensation, as it combines elements of burden and weight with the concept of lightness. Your comment about feeling like one can't catch their breath implies a strong emotional impact or intensity in the reading experience, highlighting the power of Kundera's language and his ability to create a compelling and resonant title.
前几天, 别人扒拉, 我听八卦: 十月金秋, 年龄相差 32 岁的张艺谋与陈婷和平分手, 结缡二十载, 生育 2 儿 1 女. 孰真孰假, 告诉我的人饶有兴致, 我无所谓.
心血来潮, 想侃一侃那写不出 “啊! 我们光荣的大桥” 之类模式化东西的王朔. 长得有杀伤力, 骨子里不装蒜的徐静蕾, 把最好的给了他: 青春, 性感, 崇拜, 自由, 信任. 而老徐则 “好风凭借力, 送我上青云”. 俩人还是分了手, 免俗软着陆. 后来, 王朔买菜回家洗手做汤羹给成都妹子王子文. 19 岁的王子文说, 王朔是我的精神枕头, 他给了我别的男人给不了的. 再后来, 至今, 王朔孤家寡人, 陪伴他的是 2 只猫咪, Bubble (八不) & 多多, 猫睡, 他睡, 猫起, 他起, 猫咪打个哈欠, 他跟着困意袭来. 这些事儿, 众所周知, 没有什么神秘兮兮的.
人们说, 渣男再有才华亦是渣男. 一位神秘的美人, 却让混不吝狷狂的顽主王朔做了一回好人.
2000 年王朔的《美人赠我蒙汗药》出版, 愣是不肯与媒体合作共谋, 玩失踪, 让书名的美人究竟何许人也, 成为悬疑. 出书前, 长江出版社的社长亲自审稿, 签约时, 就书中与王朔对话的那个狂言愤世的老侠是谁, 询之于王朔, 他嘻皮赖脸, 答曰 “我的红颜知己, 你就不许我有点隐私?”. 众人只好顺坡滚驴, 不再深究.
这本对中国文化艺术检阅和评论的书, 共 32 篇, 第七篇《金庸的媚俗与媚俗的余秋雨》, 录一小节王朔与红颜的对话如下:
王朔: 你说金庸, 包括余秋雨之类的, 都被人认为很有文化, 字里行间透着他们熟读一些中国的旧书, 经呀, 佛呀, 道呀, 屈原呀, 稽康呀, 苏东坡呀 …… 但他们说的不都是那一套吗? 也就是道德呀, 正义呀. 善恶报应呀, 几千年来就是这一套, 这点儿思想. 他们以为现在的中国还是这思想, 好像这就够了. 如此陈腐, 再吊多少本书袋又有什么意思. 我看了朱大可写的关于余秋雨的东西, 说他写的是文化口红, 文化避孕套, 说他实际上像歌星那样煽情. 其实, 传统文化也能提供好多媚态的东西, 只要把这东西吃熟了, 只要瞧准了上之所好下之所悦, 什么都可以做成媚态, 金庸的壮怀激烈呀, 余秋雨的忧患情怀呀 …… 把一切都上升到民族伤口的高度, 才能更被人们所接受. 可能中国这些年的媚态百出, 就缺余秋雨这类忧患媚态了, 所以才迫切地需要他, 他也就轻松地游山玩水, 忧患地伏案媚俗.
老侠: 还有更恶心的, 一般谈余秋雨的人从不注意. 余的《文化苦旅》中动不动就提到当官的, 某某市长, 某某局长之类的, 而且都是在感慨了一番古人的情怀之后, 最后画龙点睛地提到某某某市长现在的作为, 不正是古人的忧患情怀的当代传人吗? 绝对到位, 绝顶聪明 …… 余秋雨的东西说穿了, 就是传统文化的琼瑶, 他是用琼瑶的方式解释传统文化.
自然, 今时今日, 全世界都知道那个赠蒙汗药的 "美人" 就是老霞 / 老侠, 亦即刘晓波. 那时刘晓波刚出狱, 穷困潦倒, 哪个出版社敢出版 “钦命要犯” 的书? 于是王朔出手, 暗中搭桥. 稿费五十多万, 打在一个帐户上, 全数予以晓波, 王朔一介不取.
“飘过的云是你吗一圈又一圈, 我多想是路过你的风, 忍不住落回你眼中”《想你时风起》By 单依纯
Thank you for bringing out such a new word. To learn is to surf on --
Tomáš Kulka, in Kitsch and Art, starts from two basic facts: that kitsch "has an undeniable mass appeal" and "considered bad" by the art-educated elite", and then proposes three essential conditions:
Kitsch depicts a beautiful or highly emotionally charged subject. The depicted subject is instantly and effortlessly identifiable. Kitsch does not substantially enrich our associations related to the depicted subject.[11][1Kitsch in Milan Kundera's [The Unbearable Lightness of Being]:
The concept of kitsch is a central motif in Milan Kundera's 1984 novel The Unbearable Lightness of Being. Towards the end of the novel, the book's narrator posits that the act of defecation (and specifically, the shame that surrounds it) poses a metaphysical challenge to the theory of divine creation: "Either/or: either shit is acceptable (in which case don't lock yourself in the bathroom!) or we are created in an unacceptable manner".[13] Thus, in order for us to continue to believe in the essential propriety and rightness of the universe (what the narrator calls "the categorical agreement with being"), we live in a world "in which shit is denied and everyone acts as though it did not exist". For Kundera's narrator, this is the definition of kitsch: an "aesthetic ideal" which "excludes everything from its purview which is essentially unacceptable in human existence".
The novel goes on to relate this definition of kitsch to politics, and specifically—given the novel's setting in Prague around the time of the 1968 invasion by the Soviet Union—to communism and totalitarianism. He gives the example of the Communist May Day ceremony, and of the sight of children running on the grass and the feeling this is supposed to provoke. This emphasis on feeling is fundamental to how kitsch operates:
According to the narrator, kitsch is "the aesthetic ideal of all politicians and all political parties and movements"; however, where a society is dominated by a single political movement, the result is "totalitarian kitsch":
Kundera's concept of "totalitarian kitsch" has since been invoked in the study of the art and culture of regimes such as Stalin's Soviet Union, Nazi Germany, Fascist Italy and Iraq under Saddam Hussein.[15] Kundera's narrator ends up condemning kitsch for its "true function" as an ideological tool under such regimes, calling it "a folding screen set up to curtain off death".[16] https://en.wikipedia.org/wiki/Kitsch#:~:text=Kitsch%20(%2Fk%C9%AAt%CA%83%2F,common%20example%20of%20modern%20kitsch.?
都知道糖不好，可我还是爱吃
genuineadjective [usually ADJECTIVE noun] Genuine is used to describe people and things that are exactly what they appear to be, and are not false or an imitation.
媚俗 is not identical to kitsch; however, kitsch seems like 大排档...
Tomá? Kulka, in Kitsch and Art, starts from two basic facts:
that kitsch "has an undeniable mass appeal" and "considered bad" by the art-educated elite", and then proposes three essential conditions:
Kitsch depicts a beautiful or highly emotionally charged subject. The depicted subject is instantly and effortlessly identifiable. Kitsch does not substantially enrich our associations related to the depicted subject.Insightful: lightness, 却让人喘不过气来
Milan Kundera's novel "The Unbearable Lightness of Being" originally had a different title in Czech. The original Czech title is "Nesnesitelná lehkost bytí." When the novel was translated into English, Kundera worked with his translator, Michael Henry Heim, to choose the English title. They decided on "The Unbearable Lightness of Being," and this title has been used consistently in all English editions of the novel.
Your reaction suggests a mix of appreciation and amusement for Milan Kundera's skill in playing with words. The phrase "unbearable lightness" seems to evoke a paradoxical and thought-provoking sensation, as it combines elements of burden and weight with the concept of lightness. Your comment about feeling like one can't catch their breath implies a strong emotional impact or intensity in the reading experience, highlighting the power of Kundera's language and his ability to create a compelling and resonant title.
We can filter, select, and keep the best and most suitable one rather than give up for our self-needs.
人小脾气大不肯合照
Sorry. I can't resist it.
"We can filter, select, and keep the best and most suitable one rather than give up for our self-needs."
王朔用一种痞子语气，余秋雨用的是文人语气。
如果不相信这个世界有真善真情，就可以藐视和解构任何东西。好笑的是，王朔也不过是用嘲笑和挖苦别人来表现自己更真而已。
恐怕都是以批判當價值。
此亦所谓新文化運動之害。