(接上期)今天,每一种文化现象(即便是代表正直和诚实的典范)都很容易在媚俗文化的熏陶之下陷入窒息之地然而自相矛盾的是:在同一时代,艺术作品已经卸下了声称拒绝政治介入的“无言的主张”的重担……这不是一个政治性艺术的时代,但政治却已经走入了自主艺术的领地,在看上去政治已销声匿迹的地方,恰恰是政治最突出的地方(T.W.阿多诺,1962年)~([2])20世纪30年代,出现了一批建立了现代主义及大众文化理论的批评家,而在至今仍健在的人之 (Continued) Today, every cultural phenomenon, even a model of integrity and honesty, can easily become suffocated under the kitsch culture. Paradoxically, however, at the same time art works have been unloaded Under the burden of “speechless assertion” claiming to refuse political involvement ... This is not an era of political art, but politics has entered the realm of autonomous art and precisely where politics seems to have disappeared Is the most prominent place in politics (TW Adorno, 1962) ~ ([2]) In the 1930s, there appeared a group of critics who established the theory of modernism and mass culture, and in those still alive today