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米兰·昆德拉在一系列作品里集中思考过“媚俗”这一主题,也时刻警惕着媚俗对人的生存所具有的不可抗拒的诱惑,他将抽象含义的“媚俗”具体化为“公共浴池”这一具象化的存在处境,进而将“公共浴池”的隐喻性质发掘开来,并呈现出他在进行严肃思考的时候将严肃消解掉的一种游戏精神。虽然“公共浴池”是无处不在的规训工具,它对于人们身体、精神的独特性视而不见,诱惑着人们在喧闹的世俗生活中狂欢,但昆德拉总是以强烈的自省意识蔑视、解剖着一切媚俗的存在。他让浴池边盛开朵朵蓝花,是骤然降临人间的诗意,是人们在精神上逃离浴池的救命稻草,他把令人心碎的美梦给予自己的主人公,作为对抗媚俗的灵魂的出口:“无处逃身的公共浴池”给了灵魂逃脱的可能。
Milan Kundera concentrated on the theme of “kitsch” in a series of works and was also constantly vigilant against the irresistible temptation of kitsch to the survival of man. He defined the abstract meanings of “kitsch” Into a figurative existence of “public bathhouse”, which in turn excavated the metaphorical nature of “public bathhouse” and showed a spirit of play that he would seriously dispel when he seriously thought . Although “public bath ” is a ubiquitous disciplinary tool, it turns a blind eye to the uniqueness of the body and spirit, tempting people to rave in noisy secular life, but Kundera always contempt with a strong sense of introspection Anatomy of all kitsch existence. He made the blossoming blue flower on the edge of the bath, a sudden descent of human poeticity, a lifesaving straw in which people spiritually escaped from the bath. He gave the heartbreaking dream to his hero as an outlet against kitsch souls: Nowhere to escape the public bath "gave the soul the possibility of escape.