【英文原声版06】 Jeffrey Schnapp:The Manifesto of Futurism
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Zachary Davis: In 18th and19th century Europe, culture was associated with the past. Artistic and literary traditions were steeped in history. Neoclassical movements took inspiration from classical antiquity. Romanticism and Gothic revival drew from the Medieval period. Archaeologists uncovered ancient ruins, artists reproduced sculptures and paintings, and architects constructed buildings with the simplicity and grandeur of ancient Greece and Rome.
Jeffrey Schnapp:All of those currents that were so central to 19th century culture and that also gave rise to institutions like national libraries, like national museums, likenational archives, institutions devoted not only to conserving the past but worshipping the past.
Zachary Davis: That’s Jeffrey Schnapp, a professor of Italian and Comparative Literature at Harvard University. These movements in art, literature, and architecture held up history as the ideal and praised it with almost a religious fervor.
Jeffrey Schnapp:It's against all of that futurism launches. It calls for revolution.
未来主义提倡的与这些迥然不同,一场革命性的运动即将展开。
Zachary Davis: Welcome to Writ Large【本课程英文版名称,为喜马拉雅官方自制】, a podcast about how books change the world. I’m Zachary Davis. In each episode, I talk with one of the world’s leading scholars about one book that changed the course of history. In this episode, I talked to Professor Jeffrey Schnapp about The Manifesto of Futurism.
Zachary Davis: The Manifesto of Futurism was published in 1909, on the front page of Le Figaro, the oldest daily newspaper in France. Its author was Filippo Tomasso Marinetti, a 33-year-old Italian writer who was born in Alexandria, Egypt, in 1876 and was educated in Egypt and France. With his Manifesto of Futurism, Marinetti launched a new artistic movement that opposed what he called pastism, the worship of the past.
Jeffrey Schnapp:Futurism wants to wipe the slate clean, and to wipe the slate clean, it needed to create a kind of sensational effect, and a sensational effect required a media platform that would have the level of energy associated with it and closeness to the immediate moment of reading of the manifesto.
Zachary Davis: The newspaper was the perfect medium. It operated less like the books of the past, and more like the social media networks of today.
当时最理想的媒体便是报纸。它比书籍时效性强,有点类似今天的社交媒体。
Jeffrey Schnapp:It's important to remember that daily newspapers were the closest thing to a live medium in 1909. This is before radio becomes a mass medium, long before television, of course. The front pages of the important dailies really were about as close as you could get to real-time coverage. And therefore, the newspaper is not just an accidental feature of the manifesto. It's the very place, the theater within which the manifesto form is born in its contemporary form.
Zachary Davis: Manifestos had historically been associated with religious movements, and especially divisions in main stream religions.
宣言历来与宗教运动有关,尤其是主流宗教的教派纷争。
Jeffrey Schnapp:But typically they were forms of polite argument.
不过这些宣言一般都是温和有礼的辩论。
Zachary Davis: The topic sevolved over time, from mostly religious manifestos to literary manifestos that argued for certain artistic philosophies. But the polite model of argument largely continued.
Jeffrey Schnapp: The Futurist Manifesto completely transforms that rhetoric. It is a kind of argument with a hammer, but the hammer is not just the violence of the tone, the violence of the propositions, the emphasis on provocation, but also the use of media as a key vector. The media itself has integrated into the language of provocation.
Zachary Davis: Marinetti harnessed the language of advertisements and machinery and with them built a new form of writing.
马里内蒂精准地拿捏了广告语言和机器的声响,用它们创造出了新的写作形式。
Jeffrey Schnapp: It's a text that really establishes the manifesto as the dominant form that argument will take over the course of the subsequent century. Manifestos from the Futurist Manifesto in 1909 to the present really become the common currency of radical argument for the century as a whole.
Zachary Davis: The Manifesto of Futurism outlines eleven principles.
《未来主义宣言》概述了十一个原则。
Jeffrey Schnapp: Point one: We intend to sing the love of danger, the habit of energy and fearlessness. Two: courage, audacity and revolt will be the essential elements of our poetry. Three: Up to now, literature has exalted a pensive immobility, ecstasy, and sleep. We intend to exalt aggressive action, a feverish insomnia, a racer’s stride, the mortal leap, the punch and the slap. Four: we affirm that the world’s magnificence has been enriched... Much of the thrust of the manifesto is an effort to attack and propose the dismantling of institutions associated with memory, with the past, with the worship of the past.
automobile is more beautiful than the Victory at Samoth race
Zachary Davis: What's striking is the Renaissance could be seen as a moment in which the obeisance to the past is ruptured to some degree, but the way you're describing all the subsequent artistic movements, cultural moments that we're aware of, most of them were some kind of revival or renegotiation with a previous form—an acknowledgement that the masters we can imitate and maybe do something new variation. Marinetti seems interested in something radically different, and that seems to be partly why he says, you know, an automobile is more beautiful than the Victory at Samoth race. That there's new creations that have almost the kind of enchanted quality to them that we can celebrate as our own.
Jeffrey Schnapp: Indeed. He was persuaded, as many people were persuaded at the turn of the 20th century, that this whole world of machinery that was changing the world of work, that was changing the way people moved around the world, that was altering, even beginning to alter aspects of everyday life, which for him is really symbolized, embodied by the automobile, by the rise of these motorized vehicles that are suddenly terrorizing the inhabitants of major cities, that this mechanical civilization represented a complete annihilation, a transformation of all of those currents from the past, and a call, a kind of summons, to create new forms of culture that respond to the opportunities and challenges of the machine age.
Zachary Davis: To demonstrate this transformation, Marinetti told a story.
马里内蒂用故事来阐述了自己的观点
Jeffrey Schnapp: The story that the manifesto is framed by is the story of an automobile accident where he and his driver go driving through the streets of Milan and end up in aditch. Their car overturns and it's rising up out of that mud, that kind of industrial mud in the suburbs of Milan, that he becomes a new man, like Paul on the road to Damascus. He becomes the new converted future rises figure. But the Muslim community and it's in that context that he proclaims these principles, which are the founding principles of futurism. Eleven principles that are, in a sense, the kind of rules that are laid out with a hammer to demolish forms of past culture and the worship of the past and to put in their place a whole series of new principles that are focused on the new, the surprising, the extreme, the unexpected, the destructive. But destructive for him always means the creative—that which will give rise to the new.
Zachary Davis: The image of creation or newness through destruction—part of this is a generational image, that we have to die for our successors to come forward. And by fetishizing the past, you're suppressing life. And I can't help but think of sort of Nietzschean themes, that life is greater than any abstract principle of, I don't know, love, justice, truth. It's just pure life. And the manifesto itself does praise a kind of aggression and violence even.
Jeffrey Schnapp: Indeed. And violence is viewed in the manifesto. And it shapes the language of the manifesto as purgative, as cleansing, as creative, as generative. Just to quote one example from the manifesto, point number 7 is, “There is no more beauty except in struggle.” That kind of sums up right there the basic ethos, which is that struggle is the ultimate expression of vitality. And there is a kind of vitalist model that I think you're alluding to in your question that informs Marinetti’s, I guess I'd call it a kind of metaphysics, that struggle is integral to nature and that art emerges from processes of struggle with the limits of material, with the limits of the body, with the limits of human capacity. But I think what's crucial to that notion is also a new concept of beauty itself, of the aesthetic. You mentioned this famous passage where he proclaims a race car—notice it's a race car, it's not an ordinary automobile—
Jeffrey Schnapp: Exactly. It's not a Model T, it's a race car, adorned with huge tubes, like soot, like, with the explosive breath of a serpent, you know, he kind of animalizes the figure. He says that automobile, that throbbing, roaring automobile is more beautiful than the Victory of Samothrace. Well, the Victory of Samothrace was, of course, one of the iconic sculptures from Greek antiquity. It decorated perhaps the most important atrium within the Louvre museum at the time. But what interests him in the race car is not that it's beautiful in a, using the same aesthetic canons as you would use to evaluate the beauty of a sculpture like the Victory of Samothrace. But rather, that beauty is defined not by a series of ideal, abstract, formal, geometrical, universal principles, but rather by intensity. The scale of intensity is the scale of the aesthetic, of a kind of cultural experience, if you like. And in doing so, what he's doing is substituting all of the models of aesthetic appraisal that had shaped the whole prior history of culture, which were all about balance and equilibrium, and asymmetry, and shaping objects to certain kinds of canons of mathematical harmony. For example, think of musical concepts, or think of the architectural concepts that are based on notions like the golden section. Marinetti’s argument is exactly the opposite. Its intensity is the measure of the success of an artwork, for example, or of a political movement for that matter. Impact, intensity, those are the measurements of modern culture, of modern civilization, not the canons of classical harmony or beauty.
Zachary Davis: I'm sure living in Greece and Italy especially, but Europe in general, in comparison to maybe some of the industrial centers of England and the United States, must have felt staid and slow and sclerotic, maybe politically, maybe culturally.
Jeffrey Schnapp: Italy for him was the country of reference. It was the audience, the ultimate audience of the manifesto right from the start. And the Italian landscape is a landscape where the past is so vividly present, like a kind of palimpsest, because the past encompasses everything from, you know, Greek and Roman and Etruscan remains to many, many other layers of history, all of which coexist with the present. And this urge to destroy, to demolish, to create the tabula rasa could only be so hyperbolic in a context, I think, where there was such an overwhelming sensation of the weight of the past, of the presence of the past, and of it being a burden some presence as well as an animating presence. And so there's no question that the hyperbolic nature of this genre that Marinetti forges, which is the manifesto, really has almost as a prerequisite coming from a landscape like the urban landscape of the great Italian cities. And Venice for him became a symbol of everything that was wrong about the 19th century and more broadly, about the worshipful attitude of the world towards the past.
Zachary Davis: As Marinetti presented it, he and his fellow Futurists were crushing the past to pave the way for the future. But the irony is that Marinetti came from the very culture that he was critiquing.
Jeffrey Schnapp: His career was launched largely as a kind of ecadentist poet. He had very close connections to the circle of symbolist, late symbolist poets that he denounces actually in several subsequent futurist literary manifestos. And out of that experience, futurism really was born as a kind of revolt from within, you might say.
Jeffrey Schnapp: I think what's at the core of his poetic career is this transition from latesymbolism—which is a kind of expression of a sort of late romanticism, youmight say—to a poetry that aspires to become the poetry of the age of industry, a poetry of the age of the machine age, and to find ways not only to bring poetry into the streets, so to speak, but also to change the nature of language, the range of expressivity that is available to poetry and to all artforms, by literally contaminating them with other forms. The sounds of motors, to bring noise into poetry, to use typography to disrupt the harmony of the page, that harmony that took centuries of work from Gutenberg to the industrialization of printing in the 19th century—to blow all of that up in the name of creating new forms of expression that would be adequate to the nature of the machine age, which is an age where not only are humanbeings constantly engaged in interacting with machines, where the life of machines is part of the life of society, but also where machines have agency, machines are actors, and machine language becomes part of the language of poetry itself as a way of expanding its contours. So it's that contamination of realms in the name of breaking with old molds and bringing all forms of human expression into the present and thereby into the future, that represents the core ambition and a real break with where he came from as a poet.
Zachary Davis: The manifesto embraced a different, not traditionally poetic form of publishing: the newspaper.
《未来主义宣言》在报纸上发布,这与传统上诗情画意的出版方式大不相同。
Jeffrey Schnapp: What he saw in the mediasphere of 1909 was that a new kind of set of forces were being placed together. One, newspapers communicate around along multiple channels. Like the newspaper is already a multi-channel kind of platform. You have multiple stories, multiple typefaces. You have the beginnings of visual and verbal inter mixing. You have the beginnings of photography being, inter secting narrative storytelling, journalistic accounts. And also, especially important, the use of telegraphy to relay stories across the world in real time. And therefore networks that are enabling the newspaper front page to be increasingly a place where stuff that is happening now or that was just emerging or just happening is all co-present at the same time. That's the laboratory that futurism is trying to create a new culture within. And it's the laboratory within which 20th century and 21st century culture continues tobe created. But to get there, culture, as well as forms of persuasion, had tochange their style. And the Founding Manifesto of Futurism, it enacts thatshift in style. There's lots of parts of it that belong to the past, but at the core of it, what's kept it alive, what's made it one of those really important seminal documents is the way it codified a new style of communication and of argument.
Zachary Davis: How did this text change media practices in ways that are still with us? What are the patterns that are recognizable?
《未来主义宣言》对媒体有什么持续至今的影响呢?有哪些易于察觉的典型影响?
Jeffrey Schnapp: A couple of things come to mind right away. This is a text woven out of slogans. It is designed not to be read the way you would read a conventional scientific or scholarly article or a long form of argumentation, but rather to be read as a construction made out of snippets. Therefore, it doesn't make arguments the way that a conventional scientific or scholarly argument would be made with logical steps leading in a kind of smooth progression to some kind of culbert culminating hypothesis. On the contrary, it proclaims. It violates the rules of evidence. It makes counter factual assertions. It deliberately engages in polemic for polemic sake. I would cite as an example of that one of its most famous passages, one of the passages that really stirred up readers both in France and throughout the world, because the manifesto was immediately translated into about 25 languages within two years of its initial publication, which was proposal number 10, which reads as follows: “We demand the destruction of museums, libraries, academies of all kinds, and will combat moralism, feminism and each cowardly form of opportunism and utilitarianism.” That's a mouthful of a list. You notice not only are we going to destroy three of the great defining institutions of the 19th century, the senational institutions that gathered books, artworks, and historical records. But also we're going to combat what he calls moralism, what he calls feminism, and all forms of cowardly opportunism and utilitarianism. That’s not a cohesive proposal. And most of the proposals are similarly interestingly cobbled together to get the maximum reaction on the part of the audience, but not to make an argument in the, a kind of logical sense. They deliberately create a different logic, which is more that of advertising. I would say. Very concise, compact forms of communication. The logo.
Jeffrey Schnapp: Just do it. Exactly. What does that mean? It means everything and nothing. The swoosh: same. It's that compression of communication and the transportability of the, the short forms across platforms, across conversations, across domains, that makes this a very, very powerful communication strategy.
Zachary Davis: Is Marinetti, do you think, either accommodating himself to the belief that we're driven more by the passions and by the heart than by the brain. Or does he want to live in a world in which we do. And so he tailors his rhetoric to match that kind of media or rhetorical culture?
Jeffrey Schnapp: He, like many critics of the society of this period, had a deep aversion to what was referred to then as positivism, to the models of science, kind of responsible social beliefs, and the revolution futurism is launching and that theism stands for is really a revolt against those forms. So, intensifying embodiment. Getting close to the gut, away from the brain, away from contemplative models into active, hyperactive even, models of being, for him is really essential to the transformation of society and culture that he is trying to enact in the arts. Initially, it's, the focus of futurism is sharply on the arts. Gradually it expands out to all domains of contemporary life. And sensationalism, which is a word that we continue to associate with the press, you know, the tabloid press in particular, really comes from this period. The emergence of a media sphere that's all about that kind of quick sort of like headline that grabs you, whose ultimate and true audience is the distracted reader, not the dedicated reader, not the contemplative quiet reader who's sitting in a library or in a gentlemen's study, but rather somebody on the bus, walking down a street, seeing a broadside on a wall, a kind of reading situation like that. That's the world that these new forms that futurism wants to incubate and promote in the world of poetry and the world of the arts and the world of performance in the world of architecture and eventually in all kinds of other domains of everyday life. And they are closely associated with getting away from a kind of cerebralist culture, which was felt to be somehow deeply implicated in the decline of culture and civilization in the second half of the 19th century.
Zachary Davis: Even as Marinetti called for a new, future-focused movement, he acknowledged that his own works would one day represent the past. In order for his movement to succeed, the writers and artists who came later would have to displace him.
Jeffrey Schnapp: The manifesto closes with an invitation, literally an invitation for a next generation to come and bury the very revolution that the manifesto is proclaiming on the front page of the newspaper. Even as that revolution is barely starting, already the moment where it will be overcome by a subsequent revolution is anticipated. And I think that is a profound expression of what strikes me as really radical, but also makes this a kind of monumental gesture with respect to forms of cultural polemic and conversation in the whole subsequent history of culture and politics.
Zachary Davis: Yeah, I think what's striking to me was he wasn't saying we have developed the final, the final artform, and this is the best and will stand the test of time. It was, we've got 10 years of creativity and then when we're 40, we're done. You know, he says, let’s see, “The oldest of us is 30, so we have at least a decade for finishing ourwork. When we are 40, other younger and stronger men will probably throw us inthe waste basket like useless manuscripts. We want it to happen!” That's amazing. And it's, I think because of that, consistent with a kind of generative cycle of destruction and, and rebirth, which is kind of extraordinary. And I couldn't help but feel in this a really, I think probably a unique orientation away from respect and veneration for elders and their wisdom towards youth and their creativity. I mean, this is, to me, this document fits in San Francisco rather well. And I wonder, you know, could you contextualize this or place this in conversation with like, when did youth culture start to acquire some of these qualities that are still with us today? I mean, ageism is really devastating for many people in the country. And he's saying, well, that's how it should be. We should be thrown away in the garbage.
Jeffrey Schnapp: Indeed. Yeah. I think it's really in the context of these kinds of revolts, of which futurism is just one, but, but it's a significant one. Also in the context of other radical political movements of the same era, the anarchist movement, parts of the socialist movement as well, were very focused on creating a new kind of type of humanity. The idea of a new human subject, a new citizen, a new political subject, is integral to many of the revolutionary doctrines that define the history of the 20th century. And futurism is aligned with those trends, and precisely the rhetoric you were alluding to, this rhetoric of change for change's sake, of constant transformation, of one way of displacing the next places, the focus of the action of history, on the stage of history, on youth.
Zachary Davis: Marinetti’s legacy lives on, both through the Futurist movement and the manifesto form.
得益于未来主义运动和新的宣言形式,马里内蒂的影响一直持续到今天。
Jeffrey Schnapp: The movement continued until 1944, really until his death, and has continued to have a huge impact on the different cultural, political, avant garde movements of the post-World War Two period to the, to the present. There are manifestos written pretty much for every single cultural and political movement you can think of from this time to the present, including cybernetic manifestos. I myself have written several manifesto in different—
Jeffrey Schnapp: —activities I've been involved in. It just became a genre that is across between the oretical and philosophical and critical argument and advertising and pamphleting. It's a tool that's just part of the core tool kit of modern culture.
Zachary Davis: The Manifesto of Futurist channeled the power and imagery of machinery, destruction, and progress to shift the creative focus from classical antiquity to the innovations of the day. But the text also help create a broader change in how we think, write, and speak today. In some ways, we’re all futurists now.
Zachary Davis: Writ Large is an exclusive production of Ximalaya. Writ Large is produced by Galen Beebe and me, Zachary Davis, with help from Feiran Du, Ariel Liu, Wendy Wu, and Monica Zhang. Music is by Blue Dot Sessions. Don’t miss an episode. Subscribe today in the Ximalaya app. Thanks for listening.
【英文原声版06】 Jeffrey Schnapp:The Manifesto of Futurism
一共是100集中文,100集英文,100集翻译节目
每周更新一集中文精制、一集英语原声、一集英文翻译,已经买过就可以永久收听
英文文稿+中文翻译
Zachary Davis: In 18th and19th century Europe, culture was associated with the past. Artistic and literary traditions were steeped in history. Neoclassical movements took inspiration from classical antiquity. Romanticism and Gothic revival drew from the Medieval period. Archaeologists uncovered ancient ruins, artists reproduced sculptures and paintings, and architects constructed buildings with the simplicity and grandeur of ancient Greece and Rome.
十八、十九世纪,欧洲文化与历史息息相关,文学艺术深深扎根于历史传统。新古典主义运动从古典主义作品中汲取灵感,浪漫主义和哥特复兴则归功于中世纪文化。考古学家发掘出了古代遗物,艺术家继承了古典雕塑与画作,建筑师修建起了古朴恢弘的古希腊、古罗马式建筑。
Zachary Davis: That’s Jeffrey Schnapp, a professor of Italian and Comparative Literature at Harvard University. These movements in art, literature, and architecture held up history as the ideal and praised it with almost a religious fervor.
这是哈佛大学意大利文学与比较文学教授杰弗里·施纳普。十八、十九世纪的这些文艺、建筑运动以历史作品为范式,以近乎教徒般的热情对它们尽情讴歌。
Zachary Davis: Welcome to Writ Large【本课程英文版名称,为喜马拉雅官方自制】, a podcast about how books change the world. I’m Zachary Davis. In each episode, I talk with one of the world’s leading scholars about one book that changed the course of history. In this episode, I talked to Professor Jeffrey Schnapp about The Manifesto of Futurism.
欢迎收听《改变你和世界的一百本书》,在这里我们为大家讲述改变世界的书籍。我是扎卡里·戴维斯。每一集,我都会和一位世界顶尖学者探讨某一本书带给世界的影响。在本集中,我将和哈佛大学教授杰弗里·施纳普讨论《未来主义宣言》。
Zachary Davis: The Manifesto of Futurism was published in 1909, on the front page of Le Figaro, the oldest daily newspaper in France. Its author was Filippo Tomasso Marinetti, a 33-year-old Italian writer who was born in Alexandria, Egypt, in 1876 and was educated in Egypt and France. With his Manifesto of Futurism, Marinetti launched a new artistic movement that opposed what he called pastism, the worship of the past.
1909年,法国最古老的日报《费加罗报》的头版刊登了《未来主义宣言》。此文的作者是33岁的意大利作家菲利波·托马索·马里内蒂。他于1876年出生在埃及亚历山大港,在埃及和法国读书。马里内蒂的这篇宣言掀起了一场反对过去主义,也就是反对推崇陈旧艺术的运动。
《未来主义宣言》:挥着铁锤的论辩
Manifesto of Futurism: an argument with a hammer
Zachary Davis: The newspaper was the perfect medium. It operated less like the books of the past, and more like the social media networks of today.
当时最理想的媒体便是报纸。它比书籍时效性强,有点类似今天的社交媒体。
Zachary Davis: Manifestos had historically been associated with religious movements, and especially divisions in main stream religions.
宣言历来与宗教运动有关,尤其是主流宗教的教派纷争。
Zachary Davis: The topic sevolved over time, from mostly religious manifestos to literary manifestos that argued for certain artistic philosophies. But the polite model of argument largely continued.
宣言的主题不断演变,最初基本上都是宗教宣言,后来又衍生出了宣扬某些艺术哲学的文学宣言。不过形式上大多还是彬彬有礼的辩论。
Zachary Davis: Marinetti harnessed the language of advertisements and machinery and with them built a new form of writing.
马里内蒂精准地拿捏了广告语言和机器的声响,用它们创造出了新的写作形式。
Zachary Davis: The Manifesto of Futurism outlines eleven principles.
《未来主义宣言》概述了十一个原则。
汽车,比萨莫色雷斯的胜利女神更美
automobile is more beautiful than the Victory at Samoth race
Zachary Davis: What's striking is the Renaissance could be seen as a moment in which the obeisance to the past is ruptured to some degree, but the way you're describing all the subsequent artistic movements, cultural moments that we're aware of, most of them were some kind of revival or renegotiation with a previous form—an acknowledgement that the masters we can imitate and maybe do something new variation. Marinetti seems interested in something radically different, and that seems to be partly why he says, you know, an automobile is more beautiful than the Victory at Samoth race. That there's new creations that have almost the kind of enchanted quality to them that we can celebrate as our own.
令人震惊的是,文艺复兴从某种程度上可以看作对过往的反叛,但您又觉得我们所说的文艺复兴之后的文艺运动,大多是对之前文艺形式的复兴或再度认可,认为我们可以模仿史上名家,并做些许创新。而马里内蒂感兴趣的似乎截然不同,或许也正因此他说汽车比卢浮宫的雕塑《萨莫色雷斯的胜利女神》更为美妙。因为这些崭新的发明完完全全由我们独创,不归别人,自然有种迷人的魔力。
Zachary Davis: To demonstrate this transformation, Marinetti told a story.
马里内蒂用故事来阐述了自己的观点
离开斗争就不存在美
There is no more beauty except in struggle
Zachary Davis: The image of creation or newness through destruction—part of this is a generational image, that we have to die for our successors to come forward. And by fetishizing the past, you're suppressing life. And I can't help but think of sort of Nietzschean themes, that life is greater than any abstract principle of, I don't know, love, justice, truth. It's just pure life. And the manifesto itself does praise a kind of aggression and violence even.
破除旧事物、创造新事物似乎是每一代人的惯例,为了子孙后代的发展,我们将不得不撒手离去。迷恋过去就是在压抑生命力。这让我不禁想到尼采哲学中的一大主题——好像是说,生命比爱、正义、真理所有这些抽象原则都要重要,生命不可辜负。《未来主义宣言》甚至还些许赞颂了侵略与暴力。
Zachary Davis: You're not talking about a Buick.
对,他说的可不是别克。
为什么《未来主义宣言》出现在意大利?
Why the Manifesto of Futurism appeared in Italy?
Zachary Davis: I'm sure living in Greece and Italy especially, but Europe in general, in comparison to maybe some of the industrial centers of England and the United States, must have felt staid and slow and sclerotic, maybe politically, maybe culturally.
当时与英美等工业中心相比,整个欧洲大陆,特别是希腊和意大利的政治和文化都僵化停滞、发展缓慢。我相信这些地方的人们当时深有体会。
Zachary Davis: As Marinetti presented it, he and his fellow Futurists were crushing the past to pave the way for the future. But the irony is that Marinetti came from the very culture that he was critiquing.
正如马里内蒂所说,他和其他未来主义者是在砸碎过往的镣铐,为未来发展奠基。不过颇具讽刺意味的是,他自己倒是成长于他所批判的文化环境。
报纸,新文化的试验场
Newspaper, a laboratory of new culture
Zachary Davis: The manifesto embraced a different, not traditionally poetic form of publishing: the newspaper.
《未来主义宣言》在报纸上发布,这与传统上诗情画意的出版方式大不相同。
Zachary Davis: How did this text change media practices in ways that are still with us? What are the patterns that are recognizable?
《未来主义宣言》对媒体有什么持续至今的影响呢?有哪些易于察觉的典型影响?
Zachary Davis: Just do it.
就像耐克的广告语“Just do it”。
Zachary Davis: Is Marinetti, do you think, either accommodating himself to the belief that we're driven more by the passions and by the heart than by the brain. Or does he want to live in a world in which we do. And so he tailors his rhetoric to match that kind of media or rhetorical culture?
马里内蒂转变自己的文风,让它更贴合这种紧凑短平的媒体风格。您觉得他这样做,是因为相信人们大多追随内心激情胜过理性,还是因为他想要与时俱进呢?
Zachary Davis: Even as Marinetti called for a new, future-focused movement, he acknowledged that his own works would one day represent the past. In order for his movement to succeed, the writers and artists who came later would have to displace him.
尽管马里内蒂呼吁一场全新的、面向未来的运动,但他毫不避讳地说这场运动总有一天也会被贴上旧标签。为了践行未来主义运动的宗旨,他任由甚至鼓励后世的文学家、艺术家取代自己的位置。
新的人文议题,新的公民
a new human subject, a new citizen
Zachary Davis: Yeah, I think what's striking to me was he wasn't saying we have developed the final, the final artform, and this is the best and will stand the test of time. It was, we've got 10 years of creativity and then when we're 40, we're done. You know, he says, let’s see, “The oldest of us is 30, so we have at least a decade for finishing ourwork. When we are 40, other younger and stronger men will probably throw us inthe waste basket like useless manuscripts. We want it to happen!” That's amazing. And it's, I think because of that, consistent with a kind of generative cycle of destruction and, and rebirth, which is kind of extraordinary. And I couldn't help but feel in this a really, I think probably a unique orientation away from respect and veneration for elders and their wisdom towards youth and their creativity. I mean, this is, to me, this document fits in San Francisco rather well. And I wonder, you know, could you contextualize this or place this in conversation with like, when did youth culture start to acquire some of these qualities that are still with us today? I mean, ageism is really devastating for many people in the country. And he's saying, well, that's how it should be. We should be thrown away in the garbage.
没错,最震撼我的是,马里内蒂没有说自己提出了文学艺术的终极形式,没有说自己提出的形式能禁得起时间的永久考验。打比方说,我们四十岁就被取代,还剩十年的创作时间。他对这个的看法是:“我们当中最老的已经三十了,还有至少十年能给我们的作品收尾。四十岁一到,优秀的后辈或许会对我们的作品嗤之以鼻,把它们看作破东烂西。这反而是我想要的。”这太了不起了。也正因此,每一代人都可以不断破旧立新,带来非比寻常的进步。我觉得这篇宣言的气质很像旧金山,它对尊敬前辈不怎么感冒,反而展现了老一辈对年轻人包容和对他们创造力的欣赏。从年龄歧视的角度,您如何看待这篇宣言呢?从什么时候起,青年文化中出现了如今这种不太尊老的特点呢?年龄歧视在美国有些地方还挺严重的。但马里内蒂觉得这样理所当然,我们就应该对旧的东西嗤之以鼻。
Zachary Davis: Marinetti’s legacy lives on, both through the Futurist movement and the manifesto form.
得益于未来主义运动和新的宣言形式,马里内蒂的影响一直持续到今天。
Zachary Davis: I have read your manifestos.
我拜读过您的宣言。
Zachary Davis: The Manifesto of Futurist channeled the power and imagery of machinery, destruction, and progress to shift the creative focus from classical antiquity to the innovations of the day. But the text also help create a broader change in how we think, write, and speak today. In some ways, we’re all futurists now.
《未来主义宣言》描绘了机器与破坏这些意象,展现了它们的力量,也让文艺创作的重心从赞美古代遗物转向讴歌现代生活。宣言还改变了我们思考、写作和说话的方式。从这方面看,我们其实都是未来主义者。
Zachary Davis: Writ Large is an exclusive production of Ximalaya. Writ Large is produced by Galen Beebe and me, Zachary Davis, with help from Feiran Du, Ariel Liu, Wendy Wu, and Monica Zhang. Music is by Blue Dot Sessions. Don’t miss an episode. Subscribe today in the Ximalaya app. Thanks for listening.
WritLarge是喜马拉雅旗下的独家播客节目。Writ Large由本人Zachary Davis和Galen Beebe制作,Feiran Du、Ariel Liu、Wendy Wu和Monica Zhang为本节目提供了大力支持,背景音乐由Blue Dot Sessions提供。节目集集精彩,不容错过,快来喜马拉雅app订阅吧。感谢您的收听,我们下期再见!
哈佛通识课:改变你和世界的100本书
414.49万12.07万
【发刊词】100位美国名校教授做你和家人的阅读导师
【推荐语】哈佛前校长劳伦斯·亨利·萨默斯给你的人生建议
【英文版·推荐语】Lawrence H Summers: guided tour to the world of thought
【推荐语】文化学者余秋雨重磅推荐
【中文精制版·导言】马丁·普克纳:书是如何改变世界的?
【英文原声版·导言】Martin Puchner:the written world
本篇播完总是自动播放前一篇也太不科学了吧。。。 不应该下一篇吗
喜马听世界 回复 @听友202890093: 可以在节目列表里点击“倒序”按钮或“正序”按钮调整播放顺序哦
哈佛通识课:改变你和世界的100本书
通识
通识
尹铮铮通识课
品牌通识课
文字的力量丨哈佛大学16堂世界文学通识课
一共100集,每周更新一集,这就需要100个星期,两年,也太慢了吧
喜马听世界 回复 @听友184344754: 是为了让大家两年都有新节目可以听哦,每周一期(3集)实在是因为为了保证质量
既然有了中文版,为啥还要有英文版加中文翻译? 真是画蛇添足,不喜欢
喜马听世界 回复 @艺术人生_gz: 因为很多用户提出了需求,我们总是以尽量满足用户需求为己任呢~
艺术人生_gz 回复 @艺术人生_gz: 谢谢回复。很赞同一位听众的看法,本课的听众良莠不齐,意见颇多,然而有些意见纯属外行,可以不予理会,否则影响节目质量就可惜了。如果想让所有人满意通常会让所有人不满意,制作组应该有自己的原则,不要变来变去,现在的趋势是越变越差。
中英对照自然有人需要,很好的学习机会
程橙橙C 回复 @艺术人生_gz: 为啥不是?这个方法练习学术英语很好,我们学人文社科的非常需要,尤其是参加各种国际学术会议前听一听,有不熟悉的地方也可以对照看一看,顺一顺语感和表达方式,对我们会议发言很有帮助。
艺术人生_gz 回复 @18613733kaa: 如果想用这种中英文对照来学英语,私下以为不是好方法,当然这只是我个人看法,您可以呵呵。
教授的思路好清晰,虽然原声版很详细,但是感觉信息比较零碎,听完后要再听下精华版,帮我更好的梳理了课程的内容
惊喜发现有英文加中文版了。在同一文件中进行双语流畅阅读,方便一段一段中英文对照学习!!👏👏🤓🤓
喜马听世界 回复 @读书永不眠: 喜欢就好,嘿嘿~
哈佛幸福课 247 改变能改变的 接受不能改变的
哈佛幸福课 322 改变有效的认知方式
哈佛幸福课 180 人的潜意识
哈佛心理课 009 不必可疑改变自己
哈佛幸福课 353 改变自己 撬动的力量
哈佛幸福课 313 哈佛哲学家的幸福智慧