翻译练习
《景观社会》（The Society of the Spectacle ）by Guy-Ernest Debord
第一章：完美的分裂
1. 在现代生产条件盛行的社会，生活本身展现为景观（spectacles）的巨大堆积。生活着的一切已经转化为一个表象。
2. 从生活的方方面面所剥脱下来的图景融合进一个共同的洪流，生活的整体不再可能被重建。深思熟虑过的现实在其整体内，部分地展开为一个分离的虚假世界，它仅是个预期的客体。自主的映像社会将社会映像专门化特定化，在这里骗人者也欺骗他们自己。景观作为真实生活的有形替换，在总体上，它是那些无生命物的自主运动。
3. 景观本身将其自身同时性地呈现为社会自身、社会之一部分，或者是整体化之工具。为社会之一部分时，景观成为集中了所有注视和意识的那些部分。由于事实上这些部分是分裂的，景观成为欺骗性注视和虚假意识的共同基础，它所达到的整体化只是那些毫无特点的分离物的官方语言。
4. 景观不是映像的集合，而是一种由映像作为媒介所引起的人们之间的社会关系。
5. 景观不该被理解成映像的滥用，而应看作大众视觉传播科技的产物。事实上，它更是一种物化了的世界观。也是一种正在客体化的社会视觉。
6. 整体上讲，它是当前生产模式的结果，同时也是目标；它并非现实世界的补充，而是多余的装饰；也是现实社会的虚幻核心。通过景观的具体形式——信息或宣传，广告或直接的娱乐消费，它成为当前社会生活的主导模式。它是对（在生产和消费过程中）已经做出的选择的普遍性肯定。景观的形式和内容就是对现有体制条件和目标之正当性的全面辩护，由于现代化生产之外的大部分生活时间已经被景观所占用，故它又成为这种正当性的永久存在物。
7. 分裂本身是世界整体性的一部分，也是已经分裂为现实和映像两部分的全球社会现实的一部分。自主景观所对抗的社会实践也是包含了景观在内的一个现实统一体。但统一体内部的分裂将整体性损害到似乎制造景观才是它的目的的地步。景观语言由主导生产模式的符号所构成；同时，这些符号也是此种生产模式的终极目标。
8. 我们不能抽象的将景观与真实社会活动进行对比，因为这种区分本身是分裂的。颠倒真相的景观是实实在在被产生出来的（而非孤立的或空穴来风）。当现实同化进景观化的秩序，并赋予它切实的粘合性（既现实和景观合为一体）时，活生生的现实被景观的“空想（contemplation）”所侵蚀。至此，客观现实呈现出它的两面，每一面都只有唯一的基础通向另一对立面：现实出现于景观内部，同时景观就是现实。这种彼此相反的异化正是现有社会的本质与支撑。
9. 在一个颠倒过来的社会里，真实不过是虚假的一个瞬间。
＝＝＝＝＝＝＝下为原文＝＝＝＝＝＝＝
Chapter 1 "Separation Perfected"
But certainly for the present age, which prefers the sign to the thing signified, the copy to the original, representation to reality, the appearance to the essence... illusion only is sacred, truth profane. Nay, sacredness is held to be enhanced in proportion as truth decreases and illusion increases, so that the highest degree of illusion comes to be the highest degree of sacredness.
Feuerbach, Preface to the second edition of The Essence of Christianity
1
In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation.
2
The images detached from every aspect of life fuse in a common stream in which the unity of this life can no longer be reestablished. Reality considered partially unfolds, in its own general unity, as a pseudo-world apart, an object of mere contemplation. The specialization of images of the world is completed in the world of the autonomous image, where the liar has lied to himself. The spectacle in general, as the concrete inversion of life, is the autonomous movement of the non-living.
3
The spectacle presents itself simultaneously as all of society, as part of society, and as instrument of unification. As a part of society it is specifically the sector which concentrates all gazing and all consciousness. Due to the very fact that this sector is separate, it is the common ground of the deceived gaze and of false consciousness, and the unification it achieves is nothing but an official language of generalized separation.
4
The spectacle is not a collection of images, but a social relation among people, mediated by images.
5
The spectacle cannot be understood as an abuse of the world of vision, as a product of the techniques of mass dissemination of images. It is, rather, a Weltanschauung which has become actual, materially translated. It is a world vision which has become objectified.
6
The spectacle grasped in its totality is both the result and the project of the existing mode of production. It is not a supplement to the real world, an additional decoration. It is the heart of the unrealism of the real society. In all its specific forms, as information or propaganda, as advertisement or direct entertainment consumption, the spectacle is the present model of socially dominant life. It is the omnipresent affirmation of the choice already made in production and its corollary consumption. The spectacle's form and content are identically the total justification of the existing system's conditions and goals. The spectacle is also the permanent presence of this justification, since it occupies the main part of the time lived outside of modern production.
7
Separation is itself part of the unity of the world, of the global social praxis split up into reality and image. The social practice which the autonomous spectacle confronts is also the real totality which contains the spectacle. But the split within this totality mutilates it to the point of making the spectacle appear as its goal. The language of the spectacle consists of signs of the ruling production, which at the same time are the ultimate goal of this production.
8
One cannot abstractly contrast the spectacle to actual social activity: such a division is itself divided. The spectacle which inverts the real is in fact produced. Lived reality is materially invaded by the contemplation of the spectacle while simultaneously absorbing the spectacular order, giving it positive cohesiveness. Objective reality is present on both sides. Every notion fixed this way has no other basis than its passage into the opposite: reality rises up within the spectacle, and the spectacle is real. This reciprocal alienation is the essence and the support of the existing society.
9
In a world which really is topsy-turvy, the true is a moment of the false.
＝＝＝＝其他的发现＝＝＝＝＝
有一个JAZZ专辑叫做《Badland The Society of the Spectacle》不知道是什么东西，有兴趣的可以下来听听
