學到kitsch 一解
The introduction describes Nevsky Prospekt, the central avenue of St. Petersburg, and its population at different times of the day. The narrator revels in the delights of the street, but he is filled with Poshlost, a Russian concept akin to kitsch, defined by Russian-English historian [D.S. Mirsky] as "self-satisfied inferiority."
辛波絲卡文字的雙重性格其實來自於：她大量使用平凡、常見的字彙甚至陳腔濫調的片語，但是她使用它們的方式是如此獨到、具原創性，以至於完全顛覆了這些常見、媚俗（kitsch）的語言元素，賦予它們全新、相反或自相矛盾的意義。如同她喜愛拼貼，辛波絲卡也把文字從日常的用法及語境中剪下，讓它成為一個獨立的個體，然後把它錯置到另一個背景，讓它產生令人錯愕、尷尬、驚嚇或會心一笑的全新意義。
The introduction describes Nevsky Prospekt, the central avenue of St. Petersburg, and its population at different times of the day. The narrator revels in the delights of the street, but he is filled with Poshlost, a Russian concept akin to kitsch, defined by Russian-English historian [D.S. Mirsky] as "self-satisfied inferiority."
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過去三十年中，中國讀者對米蘭·昆德拉的解讀或誤讀最具代表性的，可能是對“Kitsch”一詞的理解。“Kitsch”源自德語，原泛指迎合低級趣味的事物，它頻繁地出現在昆德拉的小說《不能承受的生命之輕》中。在小說裡昆德拉這樣形容“Kitsch”：“當看見草坪上奔跑的孩子，由Kitsch引起了兩行'前後緊密相連'的熱淚：第一行是說：看見了孩子在草地上奔跑，多好啊；第二行是說，和所有的人類在一起，被草地上奔跑的孩子們所感動，多好啊。”該詞最早在1987年韓少功翻譯的版本中被譯作“媚俗”。但這一翻譯又被景凱旋所推翻，取而代之採用“刻奇”，兼有意譯和音譯。前者認為“Kitsch”代表著世俗、喧囂的市井文化，後者則認為“Kistch”代表的是掩蓋現實，刻意崇高的做作表現。作為該詞最早的翻譯者之一，景凱旋先生認為國人對昆德拉的誤讀一定程度上就是因為"Kitsch"在一些譯本中被誤譯為“媚俗”，對此他解釋道：“Kitsch一詞在西方，是有媚俗的意思，即討好大眾，但昆德拉重新解讀了它，意思是指價值的過度，倫理的過度。他的作品其實是要反對人們所認為的高尚的價值，反崇高、反激情、反意義，這恰恰是欣賞生活的世俗性、日常性。”當昆德拉反對“Kitsch”時，他所攻訐的並非是媚俗的文化，相反地，他認為對比起以“崇高”為假面的情感，媚俗的才是真實的，並因真實而珍貴。
——米蘭·昆德拉在中國的意義
孟衎衎2014年08月07日
http://cn.tmagazine.com/books/20140807/tc07kundela/
http://superhyperreal.com/
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Jing Quek’s superhyperreal world is full of people infused with visceral, unsentimental, in-your-face attitudes! With shiny-eyed optimism and close interaction with everyday people, Jing combines his eye for subtle gestures and expressions with a tropical color palette and the classical formality of the tableau, instilling the colorful character of his subjects in his images. Utilizing a healthy dose of kitsch and humor to disarm viewers’ expectations, Jĭng explores the social instinct of people to form communities and identities, and questions our tendency to define characters and cultural stereotypes. Jing’s appreciation of cultural references and authentic environments, coupled with strong conceptual direction, help to create contemporary fictions, alternate realities and mythologies in our urban social narratives.
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