但如果法国艺术从珍妮特麦克唐纳的《香颂》到合作主义者谢尔盖里法的芭蕾有幸逃过纳粹一劫,他们的胜利又维持了多久呢?里丁把他最好的篇章留到了最后,一是对解放后的净化即合作主义者的清算进行了令人不安的描述,还对巴黎后来的文化地位作出了明确判断。
Simply put, between 1918 and 1939 the French capital was also the cultural capital of theworld. Yet, by the late 1940s culturally the city was no longer a magnet for artists andwriters from around the world. Perhaps that was for the better. Mr Riding notes that Frenchintellectuals have propagated doctrinesmonarchism, Fascism, anti-Semitism, Communism,even Maoismthat offered explanations and solutions for everything. With these doctrineshaving failed to bring Utopia, politically speaking, artists and writers may now be lessprominent, but they are also less dangerous.
简单的说,1918到 1939年间,法国的首都同时也是全世界的文化之都。然而到20世纪40年代后期,文化上,巴黎不再是吸引全世界的艺术家和作家的磁铁石 了。也许那样会更好。里丁写道,法国的知识分子们各自鼓吹着包括君主主义,法西斯主义,反犹太主义,共产主义甚至毛泽东主义,以为这些足够为一切提供解释和解决之道。这些理论没有给他们带来乌托邦,政治上来说,艺术家和作家也许不那么重要,但也因为这样他们不那么危险。
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