《我生命中的幽灵》内容简介/介绍

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我生命中的幽灵

《我生命中的幽灵》简介名言/名句/语录作者简介

我生命中的幽灵简介

比想象世界末日更难的，是想象真正的未来。

“定义了一代人的批判写作”的文化理论家马克·费舍代表作，

以“幽灵学”的视角，深入探讨当代文化的时间性危机。

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这时代的我们为什么不再憧憬未来，而总是缅怀过去？为什么生活加速的同时，文化却在减速？

西方世界进入晚期资本主义阶段，机械化、数据化、零工化日益扩张，高强度的、不稳定的工作文化让人们陷入了一种既疲惫又被过度刺激的状态。而过去二十年中互联网及通讯技术的发展，更是彻底重塑了人们日常经验的肌理，令文化生活也变得面目全非。人们越来越觉得文化已经失去了把握和表达当下的能力。马克·费舍注意到这个悖论：一切越是加速，就越是停滞不前。无法到来的未来成为我们头顶不散的阴魂。

《我生命中的幽灵》是马克·费舍一系列文化批判文章的合集。本书没有正面涉及政治理论，而是从流行音乐、电影和电视切入，将德里达、德...

我生命中的幽灵名言/名句/语录

In popular modernism, the elitist project of modernism was retrospectively vindicated. At the same time, popular culture definitively established that it did not have to be populist. 在大众现代主义中，现代主义的精英项目得到了回顾性的平反。与此同时，流行文化明确地证实了它不一定非得是民粹主义的。Particular modernist techniques were not only disseminated but collectively reworked and extended, just as the modernist task of producing forms which were adequate to the present moment was taken up and renewed. -----------The cultural ecology that I referred to above – the music press and the more challenging parts of public service broadcasting – were part of a UK popular modernism, as were postpunk, brutalist architecture, Penguin paperbacks and the BBC Radiophonic Workshop. 我上面提到的文化生态——音乐媒体和公共服务广播中更具挑战性的部分——是英国大众现代主义的一部分，后朋克、野兽派建筑、企鹅平装书和 BB... It has become increasingly clear that 1979-80, the years with which the group will always be identified, was a threshold moment – the time when a whole world (social democratic, Fordist, industrial) became obsolete, and the contours of a new world (neoliberal, consumerist, informatic) began to show themselves. 越来越清楚的是，1979-80年……是一个门槛时刻——在那时，整个旧世界（社会民主主义、福特主义、工业化）变得过时，而新世界（新自由主义、消费主义、信息化）的轮廓开始显现。--------------By the end of 2012, the 70s was returning, no longer as some bittersweet nostalgia trip, but as a trauma. 到2012年底，70年代正在回归，不再是某种苦乐参半的怀旧之旅，而是作为一种创伤。--------------Life On Mars is symptomatic enough to be interesting. Symptomatic of what? ... Life On Mars suggests that one of the chief resources of recent British culture – the past – is reaching the point of exhaustion. 《火星生... desperately short of time, energy and attention, we demand quick fixes ... retro offers the quick and easy promise of a minimal variation on an already familiar satisfaction.时间、精力和注意力极度匮乏的我们渴求快速的解决方案 …… 复古提供了一种快捷简便的承诺，在我们已经熟悉的满足感基础上稍作变动即可实现。 The city in question is of course London, and Ford’s Savage Messiah offers a samizdat counter-history of the capital during the period of neoliberal domination.讨论中的城市当然是伦敦，而福特的《Savage Messiah》提供了在新自由主义统治时期首都的一部地下反历史。Savage Messiah’s London is overshadowed by the looming megalith of ‘London 2012’... as the Olympic Delivery Authority transformed whole areas of East London into a temporary photo opportunity for global capitalism.《Savage Messiah》中的伦敦笼罩在“伦敦 2012”这一逼近的巨石阴影之下……因为奥运交付管理局将东伦敦的大片区域转变为全球资本主义的临时拍照机会。‘When I was writing the zines,’ Ford remembers, ‘I was drifting through a London haunted by traces and remnants of rave, anarcho-punk scenes... The idea that I was moving through a spectral city was really strong... “当我写这本杂志时，”福特回忆道，“我正在漂流穿过一个被锐舞、无政府朋克场景的痕迹和残余所纠缠的伦敦……我在穿越一个幽灵城市的想...

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