来日非善

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• In 1933, as the Nazis came to power, the Austrian novelist Hermann Broch referred kitsch to an emergent bourgeoisie caught between contradictory values, an asceticism of work on the one hand and an exaltation of feeling on the other. As a compromiseformation, this early kind of kitsch tended toward a blend of prudery and prurience, with sentiment at once chastened and heightened (a representative instance is the painting of Arnold Böcklin). Broch was categorical about the disastrous effects of this kitsch: he called it “the evil in the value-system of art.” Clement Greenberg agreed. In another momentous year, 1939, he underscored its capitalist dimension. “A product of the industrial revolution,” his kitsch was an ersatz version of “genuine culture,” which the bourgeoisie, now dominant, so... (查看原文)

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