Vertigo - The Rise and Fall of Weimar Germany. Chapter 8: Self-optimisation: Perfecting Leisure and the Body
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以下是翻译后的内容：
第八章，“自我优化：完善休闲与身体”，探讨了魏玛德国（1918-1933）的休闲、娱乐以及对身体健康的日益痴迷。首先，它强调了八小时工作/休闲/睡眠制的来之不易的成就，这是劳工运动的关键诉求。然而，雇主们抵制无工作周末的想法，担心工人们不知道如何有效地利用他们的休闲时间，尽管工会辩称这对通过体育和教育恢复工作效率至关重要。
文本突出了中产阶级对工人阶级在道德上如何使用休闲时间的焦虑。它将德国与英国进行了对比，后者据说在休闲时节约能量的艺术更为发达。本章认为，相反，1920年代是一个自我完善的时代。
然后，本章聚焦于柏林的游乐园，如吕内公园，一个“享乐世界博览会”，柏林人可以在那里体验各种各样的娱乐活动，从射击场到现代过山车。尽管吕内公园非常受欢迎，但它也面临着挑战。它代表了战前时代的乐观精神，而现在看来这种精神有些天真。随着社会分层的加剧，不同的阶级开始通过生活方式来区分自己。吸引整个柏林的吕内公园变得不再那么受欢迎。维持如此大型的游乐园需要不断的创新和巨额资金，这让管理者们精疲力竭，并导致了一些游乐园的关闭，比如Ulap。
电影成为了主要的付费休闲活动。20世纪20年代初，看电影从一种混乱、不受监管的体验转变为在宏伟的“电影宫殿”里举行的更有条理的活动。无声电影依靠音乐伴奏来增强情感冲击力。本章指出，无声电影比有声的日常生活更依赖于人类的肢体语言。1927年有声电影的兴起最初遭到了抵制。人们已经习惯了无声电影强烈的身体表现力，不想在电影中听到声音。然而，像由玛琳·黛德丽主演的《蓝天使》（1930）这样的电影，展示了声音在创造一种新的内敛表演方面的潜力，尽管许多无声电影明星很难完成这种转变。
本章还分析了电影《星期天的人们》，这是一部关于一群年轻人在万茨湖岸边一起度过星期天的电影。这部电影充满爱意地展现了简单的生活以及人们希望从闲暇时间获得的东西：一点快乐。
除了娱乐之外，这个时代还出现了健身文化的热潮。电影《力量与美的道路》（1925）展示了健身训练和体操表演，并广受欢迎。锻炼对“完整的人”至关重要的信念跨越了政治分歧，变得普遍。这主要是因为需要抵消城市工作和烟雾弥漫的城市生活方式带来的不健康影响。文本认为，这种对身体的痴迷因第一次世界大战的创伤而加剧，这场战争导致许多人身体受伤。
文本表明，人们对受伤和健康的身体都给予了极大的关注。这种关注很快就进入了哲学领域。
本章接着分析了现代摄影及其呈现身体的新方式。这是一个必须纤细、柔软、反应迅速的时代。
本章还分析了体育运动。文本认为，魏玛共和国时期，体育运动是一项蓬勃发展的产业。
本章还关注了社团，特别是六日赛车，因为它们是许多德国人温暖和生计的来源。这些社团提供了社区归属感。但政治开始在这些社团中发挥作用。
最后，本章分析了极端的军国主义和战斗部队，这些部队是在纯粹的仇恨中建立起来的。
Chapter 8, "Self-Optimization: Perfecting Leisure and the Body," explores leisure, entertainment, and the burgeoning obsession with physical fitness in Weimar Germany (1918-1933). It begins by highlighting the hard-won achievement of an eight-hour workday/leisure/sleep split, a key demand of the labor movement. However, employers resisted the idea of a work-free weekend, fearing workers wouldn't know how to use their leisure productively, despite unions arguing it was vital for restoring performance through sport and education.
The text highlights a middle-class anxiety about the moral use of leisure time by the working class. It contrasts Germany with England, where the art of conserving energy during leisure was supposedly more developed. The chapter suggests that, on the contrary, the 1920s were a time of great self-improvement.
The chapter then zooms in on amusement parks like Lünepark in Berlin, a "world exposition of enjoyment" where Berliners could experience a wide array of entertainment, from shooting ranges to modern roller coasters. Despite its popularity, Lünepark faced challenges. It represented the optimistic spirit of the pre-war era, which now seemed naive. As social stratification increased, different classes began to segregate themselves by lifestyle. Lünepark, which attracted all of Berlin, became less desirable. Sustaining such large amusement parks required constant innovation and huge sums of money, exhausting managers and leading to the closure of some, like Ulap.
Cinema emerged as the dominant paid leisure activity. Moviegoing transformed from a chaotic, unregulated experience in the early 1920s to a more structured event in grand "movie palaces." Silent films relied on musical accompaniment to enhance the emotional impact. The chapter notes how silent film relied on a repertoire of human gesture than in normal everday life with its attendant sounds. The rise of talkies in 1927 initially met resistance. People were so used to the intense physicality of silent film that they didn’t want to experience sound in their films. However, films like "The Blue Angel" (1930), starring Marlene Dietrich, demonstrated the potential of sound to create a new kind of understated performance, even though many silent film stars struggled to make the transition.
The chapter also analyses the film "People on Sunday", a film about a group of young people spending a Sunday together on the shore of the Vanzi.
The film is a loving look at the simple life and what people hope to get from their free time, a bit of joy.
Alongside entertainment, the era saw a surge in fitness culture. The film "Ways to Strength and Beauty" (1925) showcased fitness training and gymnastic displays, becoming wildly popular. The conviction that exercise was essential for a "whole person" became widespread across political divides. This was driven by the need to counteract the unhealthy lifestyles associated with urban work and smoky cities. This obsession with the body, the text argues, was heightened by the trauma of World War I, which left many physically injured.
The text shows that there was an intense focus on both injured and healthy bodies. This concern soon made its way into philosophy.
The chapter then analyzes modern photography and the new way it presented the body. This was a time where one had to be thin, supple, and quick to react.
The chapter also analyses sports. The text argues that sport was a booming business during the Weimar Republic.
The chapter then looks at associations, particularly the 6-day race, as they were the source of warmth and sustenance for many Germans. These associations provided community. But politics came to play a part in these associations.
Finally, the chapter analyses extreme militarism and combat units, that were created out of sheer hatred.
中英文字稿 
第八章 自我优化 完善休闲与身体
如果你去剧院就像去教堂、法院或学校，那就错了。你应该像去体育比赛一样去剧院。——贝托尔特·布莱希特
鲁纳公园
在1918年11月革命一周后的11月15日，实业家雨果·施坦尼斯和工会领袖卡尔·鲁道夫·勒金达成了一项协议，将工作日分成三个部分。从现在起，日子将被分为八小时的工作、八小时的休闲和八小时的睡眠，工人运动多年来一直呼吁的要求终于成为现实。从1919年起，办公室职员也包括在内。当时，星期天是唯一的休息日，而星期六暂时仍像其他工作日一样需要工作。
▶ 英文原文 ⏱
Chapter 8 Self Optimization Perfecting Leisure and the Body If you go to the theatre as if going to church or the courtroom or school, that's a mistake. You should go to the theatre as if going into a sporting event. Bertolt Brecht. Loona Park. A week after the November Revolution on 15 November 1918, industrialist Hugo Stennis and trade union leader Karl Rudolf Le Gein reached an agreement on the division of the working day into three. From now on, days would be divided into eight hours of work, eight hours of leisure, eight hours of sleep, a demand that the labour movement had been making for decades became a reality. And office workers were included from 1919. Sunday was the only work-free day, Saturday for now, remaining a working day like any other.
六年后，当《Oohoo》杂志开展了一项针对工会会员和企业管理者的调查，询问他们对每周工作40小时的看法时，雇主代表亚历山大·弗莱施直接回答说，德国根本不可能实行五天工作制，甚至不值得讨论。提及周末休息日也是议题之一毫无意义。很快，杂志中提到，周末休息制将从美国引入。
▶ 英文原文 ⏱
Six years later, when the magazine Oohoo carried out a survey among trade unionists and business managers asking what they thought of a 40-hour week, the employer's representative Alexander Flesch replied, Bruskely, the five-day week is out of the question for Germany and does not even merit discussion. There was no point mentioning that free weekends were also on the agenda. Soon it said in Oohoo, the weekend would be imported from America.
我们嚼嚼口香糖，打打拳，当需要的时候吐个口水，但我们才刚开始了解什么是周末，还得把它从长岛式转换成范·齐亚提克（Van Ziatik）的方式。工会主义者支持我们的莱帕特（Leipart）运动，争取无工作的周末，但普遍感觉是，人们不知道如何利用那么多的闲暇时间，只会想出一些愚蠢的主意。莱帕特向听众保证，工人会理智地利用他们的闲暇，通过运动健身和继续教育。急需增加闲暇时间，以便能够不断恢复甚至提高工作表现。因此，这对资本也有间接的好处。
▶ 英文原文 ⏱
We chew gum and box and spit when we need to, but we're only just starting to find out what a weekend is and have to translate it from Long Island-ish to Van Ziatik. The trade unionist tealed our Leipart campaign for a work-free weekend, but faced a widespread sense that people wouldn't know what to do with all their leisure time and would only come up with foolish ideas. Leipart assured his listeners that workers would use their leisure sensibly for the purpose of getting fit through sport and continuing their education. An increase in leisure time was urgently needed so that performance could be continuously restored and even increased. For that reason, it would also indirectly be of benefit to capital.
在中产阶级的媒体中，人们普遍关心大众的道德素质。虽然不足为奇，关注的焦点并不在中产阶级自身的道德，而更多集中在大众阶层。大多数中产阶级的人对下层阶级的疲惫状态感到满意。在闲暇时间保存精力和为第二天积蓄能量的艺术在德国的发展，遗憾地说，还不如英国那么成熟。这是文化杂志《Kther》的关切之见。位于德累斯顿的德国卫生博物馆为此举办了一场关于健康安排休闲时间的展览，并呼吁更多人的健康意愿。
▶ 英文原文 ⏱
In the middle-class press, there was widespread concern for people's moral constitution. Although unsurprisingly enough, this concern extended less towards the morals of the middle class itself and more towards the masses. Most middle-class people were content to see the lower classes exhausted. The art of saving the strength of the nerves and building up reserves of energy for the next day during the leisure hours was sadly not yet as well developed in Germany as it was in England. This was the concerned opinion of the cultural journal Kther the German hygiene museum in Dresden devoted an exhibition to the healthy organization of leisure time and called for more of a will to health.
同时，我们不能真的说20世纪20年代的人们不想提升自己。相反，这是一个全面追求自我完善的时代。很多人参加了绘画、摄影和表现舞蹈的课程。他们学习外语或参加一些体育运动。而且如果我们认可历史学家约翰娜·尼德巴尔斯基的观点，即使是单纯的娱乐也具有更深层次的百科全书般的性质。
▶ 英文原文 ⏱
At the same time, we cannot really say that people in the 1920s did not want to make more of themselves. On the contrary, this was a decade of self-perfection in the most comprehensive sense. Many people attended classes in painting, photography and expressive dance. They learned foreign languages or played a bit of sport. And if we agree with the historian Johanna Niedbalski, even pure pleasure had a deeper encyclopedic quality.
因此，位于柏林的吕内公园提供了一个充满娱乐的世界，通常被宣传为一场享乐的世界博览会。对作家约瑟夫·罗特来说，感觉之神将吕内公园放在了柏林已经充满娱乐的库尔费斯腾大街的尽头，仿佛作为其高潮。在这个20世纪20年代最著名的游乐园里，人们可以从射击场开始，一直到现代化的旋转木马，无论是去高档餐厅用餐，还是在小摊上吃香肠，都是可以一边喝香槟，一边痛饮啤酒的选择。
▶ 英文原文 ⏱
Thus, the Lünnepark in Berlin offered a whole universe of entertainments, customarily advertised as a world exposition of enjoyment. For the author Josef Rort, the god of sensations, had placed the Lünnepark right at the end of the already entertainment packed Kourfusen Dam in Berlin, effectively as its punchline. In this most famous amusement park of the 1920s, one could start with the shooting range and move all the way to an up-to-date merry-go-round, either dining out at a smart restaurant or eating sausages from a stand, sipping champagne or guzzling beer.
Lünnepark 以其极为现代的风格呈现自己。举例来说，这里的过山车最初被称为“立体主义风格”，后来经过重新设计，变成了“表现主义风格”，由画家和平面设计师约瑟夫·费内克完成，最终成为一个具有阿尔卑斯山风情的景观骑乘设施。Lünnepark 最近的竞争对手是乌拉普，即“宇宙地区博览园”。乌拉普拥有自己的驻园画家汉斯·巴鲁谢克，他至今仍以其对工人阶级生活的深刻现实主义描绘而闻名。
▶ 英文原文 ⏱
The Lünnepark presented itself as extremely modern. The roller coaster, for example, was at first called Cubist before being redesigned as Expressionist. By the painter and graphic designer Josef Fenneker, and finally ending up as a scenic alpine ride. The Lünnepark's nearest rival, Ulap, universe regional exhibition park, had its own painter in residence, Hans Baluschek, still famous today for his penetrating realistic depictions of working-class life.
在这里，就在距离吕嫩公园不远的莫阿比特区，他用纸板、石膏和胶水拼凑了一个怀旧的老柏林，这令共产党刊物《红旗》极为愤怒。吕嫩公园里曾有一个铁制的湖、一组摇晃不稳的阶梯，尽头有一个风扇，能吹起女士们的裙子、一个旋转的别墅疯人院、大型的海浪池、跑马场，以及一个拳击场，拳击手马克斯·施梅林在1926年首次赢得了他的冠军。另外，每晚还有焰火表演，以及许多其他的娱乐项目。
▶ 英文原文 ⏱
Here, just up the road from Lünnepark, in the district of Moabit, he had cobbled together an nostalgic old Berlin out of cardboard, plaster and glue, to the fury of the Communist Party Journal, Rortafana, red flag. The Lünnepark had an iron lake, a wobbly set of stairs with a fan at the end that blew the ladies' skirts up, a spinning villa madhouse, a large wave pool, a hippodrome, a boxing ring, in which prize fighter Max Schmeling won his first title in 1926, a review stage, fireworks every night, and much else besides.
据说，这些餐厅总共提供了16,000个座位，在高峰时期有1,500名员工服务。但这个高峰期是在什么时候呢？也许是20世纪20年代，当时是Lünnepark的历史巅峰，但同时也是它的终结。这个公园于1909年开业，采用了普世的概念，本质上属于Belle Époque时期，那时的世界博览会充满乐观，展现了一种如今看来已显幼稚的全面性。此外，社会区分的重视越来越显著。随着时代的发展，不同阶层的人们开始保持彼此的距离，并根据生活方式和资产保持明确的分界。例如，从Khorfürst和Dhamm到Kizadham，只需走一小段路，就有一个时髦的滑雪坡，高级社会的滑雪者可以专门在这里聚集，练习他们的回转和下坡滑雪。这个人工坡有顶盖，但也许更重要的是，它属于高档场所，这意味着滑雪者可以在不受低阶层干扰的情况下，展示他们昂贵的新装备。
▶ 英文原文 ⏱
The restaurants are said to have offered 16,000 seats in all, with 1,500 staff serving at its peak. But when was that peak? The 1920s might have been Lünnepark historic zenith, but they were also its end. The park, which opened in 1909, with the universalistic concept, essentially belonged to the Bellipoc, with its optimistic world expositions, suggesting a comprehensive totality that now two decades later already appeared naive. In addition, more and more stress was now placed on social distinction. As the decade advanced, the different classes began to keep to themselves and remain cleanly separate, according to lifestyle and assets. Only a short walk from Khorfürst and Dhamm to Kizadham, for example, there was a chic ski slope, where high society skiers could gather exclusively to practice their slaloms and downward runs. The artificial slope was roofed, but perhaps more important than that, it was high class, which meant that the skiers could display their new expensive equipment untroubled by the presence of the lower orders.
在Lünnepark，人们可以遇到整个柏林的人群，不过这并不总是一种纯粹的享受。如果想要在这里长期获得成功的娱乐体验，就必须投入大量资金，因为这些景点的新鲜感很快就消失，而聚集在一起的柏林人大量聚集后容易感到无聊。那些维持Lünnepark、Ulup及类似大型项目的商人是一个奇怪的人群。他们是贪得无厌的赌徒、天生的表演者、魔术师，大多有轻戏剧或电影背景。其中一个叫泽克贝特·戈尔施米特的人，集电影院老板、演员、剧院导演、音乐家、爵士乐队领班、记者以及协会官员于一身，是个多才多艺的人。尽管如此，他的职业生涯却在Baylifts和一群警察到他家收取未付债务时戛然而止。这一领域需要大量资金来维持运作。
▶ 英文原文 ⏱
In the Lünnepark, however, one met the whole of Berlin, and that wasn't always an unalloyed delight. Anyone wanting to be successfully entertained here in the long term had to invest huge sums of money, since the appeal of the attractions soon wore off and Berliners brought together in large numbers grew bored. The businessmen who kept Lünnepark, Ulup and similar large projects afloat were a strange collection of characters. Insatiable gamblers, born entertainers, magicians, mostly with a background in light theatre or film. One of them, Zekebet Gölchmitt, was a cinema owner, actor, theatre director, musician, jazz band leader, journalist, and association official rolled into one. A multi-talented individual, albeit one whose career, came to an abrupt conclusion when Baylifts and a cohort of police arrived at his home to collect his unpaid debts. This field required a lot of money to keep going.
随着时间的推移，大型游乐园被改造成股份有限公司。莱奥·科内尔最初是一位在维也纳和美国成名的剧院经理，他从1926年开始管理伦恩公园，并在1927年成为豪斯·法塔兰德的董事。在康尼岛的伦恩公园，他参与了"月球之旅"的游乐项目，这也是柏林公园名字的由来。在这里，游客们乘坐颠簸的"伦恩飞船"，在旅程中观看到从太空看地球的图片，并在一个纸糊的月球模型上着陆。飞船的门打开后，乘客们会由穿着戏装的“月球人”供应绿色的月球奶酪。在美国时，科内尔学会了如何为这种大型表演筹集巨额投资。最初，他的商业模式在柏林也很赚钱，但随着时间的推移，风险也变得极高。
▶ 英文原文 ⏱
Over time, the big amusement parks were transformed into limited companies. Leo Cornell, who managed Lünnepark from 1926 before becoming director of House Fataland in 1927, had previously made a name for himself as an impresario in Vienna and the United States. In the Lünnepark on Coney Island, which gave the Berlinpark its name, he is believed to have been involved in the trip to the moon ride. Here, after a bumpy journey in the Lünne spaceship, in the course of which they were shown pictures of Earth, as seen from space, visited landed on a papier-mache mock-up of the moon. The doors of the vehicle opened and passengers were served green moon-cheese by costumed selenites. In America, Cornell had learned how to rustle up huge sums of investment for such spectacles. Initially, his business model was also profitable in Berlin, but over time, it became extremely risky.
那些未能不断提出新想法的人，无法长期获得丰厚的回报。创新的压力不仅消耗了预算，也让参与者的神经紧绷。大型娱乐盛事中的经济悲剧在于其本身的巨大吸引力。这个充满诱惑的世界最终给人留下失望，因为参与者渐渐疲惫不堪。因此，许多游乐园经理因难以摆脱惯性和过度熟悉的挑战而疲惫不堪，最终选择退休。Lünnepark在魏玛共和国结束后勉强维持到了1933年，而Ulab则早在1925年就永久关闭。同年8月，代表中左翼社会民主党、中右翼中央党和中间派德国民主党的“黑红金旗”组织在Ulab庆祝宪法，为了纪念，他们将公园装点成一片共和旗帜的海洋。这一活动使公园对追求感官刺激和快乐的中产阶级更加具有吸引力，这正是该公园的目标群体。
▶ 英文原文 ⏱
Anyone who didn't keep coming up with new ideas was unable to bring in big money over a long period of time, the pressure to innovate, ate away at the budget, and at the nerves of those involved. Part of the economic tragedy of the big entertainment spectacle lay in its innate richness. The promising world of glitter made way for disappointment as the participants grew weary. As a result, any number of amusement park managers retired exhausted, ultimately defeated by the struggle against habit and over familiarity. Lünnepark survived the ending of the Weimar Republic. In 1933, by just over a year, while Ulab closed its gates forever as early as 1925. In August of the same year, the Reichs-Bannach-Wadzrodgog, Black-Red-Gold banner of the Reich, an organization of the Centre-left Social Democratic Party, the Centre-Right Centre Party, and the centrist German Democratic Party dedicated to democratic republicanism, had held its party there to celebrate the Constitution, filling the park with a sea of republican flags and thus making it twice as fashionable for the sensation and pleasure-seeking bourgeoisie that the Communist autophanner had identified as the park's target group.
最终，这并没有带来任何好处，Ulab还是倒闭了。组织者们已经无计可施，他们对新娱乐形式的渴望是无情的。正如游乐园的组织者们付出代价后发现的那样，寻求快乐的人很容易感到厌倦。在电影院中，看得见的声音。与此同时，一群年轻人逃离城市，如同Wunderfürgü一样，徒步穿越山丘和河谷，寻找在大自然中统一且有意义的生活；而另一群人则待在拥挤的电影院里，为查理·卓别林、维尔弗里奇、莉莲·哈维和玛琳娜·迪特里希等明星的表演陶醉不已。电影院成为首屈一指的付费休闲活动，这一行业正在迅猛发展。在20世纪20年代，去电影院消磨一个晚上变得像我们今天的体验一样，不再是集市上的小摊位，而是一个专注于影像的殿堂。
▶ 英文原文 ⏱
It did no good in the end, however, and Ulab went under. The organizers had run out of ideas, and their desire for ever new entertainments was ruthless. Pleasure-seekers are easily bored as the organizers of the amusement parks discovered to their cost. In the cinema, visible voices. While one group of young people escaped the cities as Wunderfürgü and hiked through hills and dales in search of a unified and meaningful life in nature, another group sat in stuffy cinemas to be enthralled by stars such as Charlie Chaplin, Villefrich, Lillian Harvey, and Malina Dietrich. Cinema was the paid for leisure activity number one, a sector that was growing powerfully. During the 1920s, an evening at the cinema became much like the experience we know today, no longer a fair ground booth but a temple to the moving image.
在那个十年中，有声电影诞生了，去电影院几乎成为和去剧院一样令人兴奋的享受。在1920年代初期，大多数人去电影院并不是为了看某部特定的电影，他们只是去电影院。因此，许多影院老板并没有觉得有必要规定电影播放的具体时间。电影通常会一部接一部地不分顺序地连续放映。人们随意进出，甚至在电影中途穿过座位排间，他们待多久完全取决于自己的意愿。如果放映师想早些回家，他就会加快电影的播放速度，反正无声电影无所谓。更重要的是，观众不需要听对白，所以他们会制造各种噪音，闲聊、鼓掌，甚至用粗俗的言辞评论影片中的情节。
▶ 英文原文 ⏱
The decade experienced the birth of talking pictures and a visit to the cinema became almost as much of a treat as a visit to the theatre. In the early 1920s, most people didn't go to see a particular film, they just went to the cinema. For that reason, many cinema owners didn't think it necessary to set a particular time for the screening to start. Films were just shown one after the other in any order. People came and went, they pushed their way along the rows of seats in the middle of the film and watched for as long as they felt like it. If the projectionist wanted to go home early, he just played the film speeded up. Silent films can take that. More importantly, there was no need for the audience to listen, so they made any amount of noise, chatted, applauded, or commented baudily on the action.
为了增强影响力，默片依赖于音乐伴奏，乐谱通常由电影发行商提供。影院越高级，乐团的规模就越大。在不太追求高品质的影院，只要有一名音乐家在弹奏一架走音的钢琴，他们就心满意足了。当屏幕上出现恋爱眼神时，演奏升华乐段；厄运将至时，演奏快板；当人物露出惊恐表情时，迅速加快节奏。著名的评论家和作曲家弗里德里希·霍兰德就是这样起步的。在学生时代，他试图在电影画面与乐谱之间保持同步，一只眼睛看着乐谱，另一只眼睛盯着屏幕。随着时间的推移，尤其是在城市里，影院变得越来越豪华。
▶ 英文原文 ⏱
To heighten its impact, the silent film relied on a musical accompaniment, with scores usually supplied by the distributors. The better the cinema, the bigger the orchestra. In unambitious cinemas, they were happy enough if there was at least one musician present, working away at his out of tune piano. Lago, when loving eyes met on the screen, crescendo, when doom approached, presto, when expressions turned fearful. That was how Friedrich Hollander, the popular review and Charles Soll composer, had started. As a school boy, he had tried to keep up with the pictures, with one eye on the score and the other on the screen. Over time, cinemas became grander, particularly in the cities.
真正的电影院与最好的酒店相媲美。优雅的前厅让人们能够从现实世界顺缓地过渡到电影的虚拟世界。随着时间的推移，去电影院观影慢慢地变成了一项精确安排的活动，电影必须在指定时间开场。在正片开始之前，会播放一段新闻短片，展示来自世界各地的实时画面，包括土著舞者、洪水、比赛、军事装备展示、婴儿和海象。这种通常缺乏信息的混乱并未帮助人们更好地理解世界，反而阻碍了理解。正是用这些话，报业的卡尔科亚描述了来自电影业的新竞争。以我们现今的观看习惯来看，受欢迎的新闻短片——杜伊利克斯·瓦钦肖，一定会让人感觉无比缓慢。
▶ 英文原文 ⏱
The real movie palaces stood comparison with the finest hotels. Elegant foyees allowed a gentle transition from the real world into the projected one. As time went on, a visit to the cinema slowly became a precisely scheduled event, and the film had to start at a given time. Before the feature, there was a news reel showing contemporary pictures from all over the world. Native dancers, floods, races, military arms displays, babies and elephant seals. The usual uninformed chaos that doesn't ease an understanding of the world, but rather obstructs it. With these words, the newspaper man Karkoa described the new competition from the film industry. Duylix Wachenshaw, the popular news reel, would have been torturously slow given our present-day viewing habits.
在字幕之后，兴登堡访问了不伦瑞克地区政府，这段画面在屏幕上停留了很长时间。观众们看到这位老总统坐着马车旅行，与人握手并发表演讲。至于内容，由于一切都是无声的，观众并不知道他在说些什么。但当时的人们依然观看并深感兴奋。为了增强观影体验，大型影院尝试了一些额外的手段。例如，晚上开始时可能会有隆重的管弦乐序曲演奏，或许还伴有芭蕾舞或哑剧表演。结果证明这是个错误，因为三维的舞蹈削弱了随后的二维影片画面的效果。
▶ 英文原文 ⏱
After the caption, Hindenburg visits the regional government of Braunschweig, which stayed on screen for an eternity, viewers saw the old president of the Reich for several minutes, travelling by coach, shaking hands and delivering an address. About what, the audience was not told, since everything was silent. But contemporaries still watched and thralled. To enhance the cinema-going experience, the big picture palaces experimented with additional gimmicks. For example, a pompous orchestral overture might be played at the beginning of the evening, perhaps accompanied by a ballet or a mime. A mistake, it turned out, because three-dimensional dancing reduced the potential impact of the two-dimensional film image that followed.
在看过现场表演的真实舞台后，这部电影让人失望。最终，影院经理们相信观众只需依靠电影本身就能做出回应，而无需来自高雅文化的三流附加品。娱乐业迅速意识到，事情不必那么死板和拘谨，因为一旦灯光暗下来，观众就会忘记自我。电影院的黑暗将观众融为一个匿名的群体，这与剧院不同，在剧院中，社会上层成员能够在半暗中互相打量。电影成为第一个能够激发每个人同样激情的大众媒介，无论是总经理还是售货员，从明星到速记员，都被转变成一个匿名的城市观众群体。
▶ 英文原文 ⏱
The film was a disappointment after the real bodies on stage. In the end, the movie house managers trusted their audiences to respond to film alone, and to do without third-class add-ons from high culture. The entertainment industry quickly understood that things didn't have to be so stiff and polite, because as soon as the lights went down, the audience forgot themselves anyway. The darkness of the cinema auditorium merged the audience into an anonymous crowd, unlike the theatre where members of the better sort of society could appraise one another in the semi-darkness. The cinema was the first real mass medium that produced the same passions in everyone, from managing director to shop assistant, from diva to shorthand typist, and turned them into an anonymous urban audience.
每个人都同样被电影所吸引。它的魔力甚至能让一个无聊的兴登堡总统在外出时变得引人注目，但当巨大的齐柏林飞艇出现时，人们的心跳立刻加快。这个庞然大物几乎是所有德国人的巨大骄傲。然而，当可怕的吸血鬼奥尔洛克伯爵，也就是诺斯费拉图，把他长长的爪子伸向美丽的受害者艾伦时，我们都失去了镇定。观众们常常会在恐惧中抓住旁边的人，不管坐在旁边的是谁。在1920年，蒂宾根大学的艺术历史学家康拉德·冯·蓝格曾出于道德原因警告过电影院内灯光变暗的问题。
▶ 英文原文 ⏱
Everyone was equally enthralled by the moving pictures. Its magic was enough to get something out of a dull President Hindenburg on walkabout, but as soon as the massive Zeppelin appeared, heart-speed faster. That behemoth was the great pride of almost all Germans. And then, when the terrible vampire Count Orlock, alias Nosferatu, stretched his long claws out towards the lovely Ellen, his victim, or composure vanished. Audience members would frequently clutch their neighbour in horror, regardless of who was in the next seat. In 1920, the art historian Konrad von Langer of Tübingen University had warned the darkening of cinema auditorium on moral grounds.
在许多方面，电影重新聚焦了感官。由于没有声音，手势和面部表情变得更加重要。在无声电影中，人们会更加关注人类日常动作的表现力，而这些动作在有声的真实世界中并不那么引人注目。观众们开始“看”语言。演员们通过夸张的手势和戏剧性的嘴部动作来帮助表达。因此，观影者学会了一种唇语阅读的方法，无声电影的观众与说话的方式都与平常不同。爱德华·蒙克（Edvard Munch）的著名画作《呐喊》看起来几乎像是从无声电影中复制而来的。1924年，匈牙利电影理论家比拉·巴洛克（Bila Balazs）出版了他的开创性作品《可见的人》，在书中他赞美无声电影从声音的束缚中解放了表达。
▶ 英文原文 ⏱
In many respects, film refocused the senses. Because there was no sound, gestures and facial expressions acquired greater significance. In the silent film, more attention was paid to the repertoire of human gesture than in normal everyday life with its attendant sounds. Viewers began to see language. The actors helped with extravagant gesticulations and dramatic movements of the lips. Consequently, cinema goers learned a kind of lip reading, the silent film viewer sees differently, and the silent film star speaks differently. Edvard Muncie's famous painting The Scream looks almost as if it has been copied from a silent film. In 1924, the Hungarian film theorist Bila Baloch, who lived first in Vienna and later in Berlin, published his groundbreaking work Visible Man, in which he celebrated silent film as a liberation of expression from the tyranny of the voice.
在那之前，人们认为身体是顺从于世界的，是意义的真正承载者。然而，默片却使身体成为灵魂表达的主要工具。不论如何，这帮助身体更多地成为关注的中心，自战后便是如此。当时，人们渴望展示皮肤和骨骼，许多人甚至希望像富有表现力的舞者安妮塔·贝尔伯一样，完全揭去身体上的衣物。波波头（短发）之所以流行，部分原因是它能展现更多的面部特征。现在，人们想毫无保留地展示棱角分明的下巴、突出的颧骨，而不再让它们被波浪卷发遮盖。即使在今天，在查理·卓别林的电影中，那种默片叙事能激发的情感依然明显，即使是在缤纷热闹的电视世界中，这些电影也毫不逊色。
▶ 英文原文 ⏱
Until then, the body had been seen as subservient to the world, the true bearer of meaning. Silent film, on the other hand, made it the soul's chief means of expression. At any rate, it helped to bring the body still further into the centre of attention, where it had been since the war. There was a desire to show skin and bones, and many people wanted the clothes to be stripped from the body entirely in emulation of the expressive dancer Anita Berber. Part of the reason the Bob hairstyle was so popular was that it revealed more of the face. An angular chin, a prominent cheekbone, were now to be put unequivocally on display and no longer draped in wavy curls. The emotion that a silent narrative can generate is apparent even today in the films of Charlie Chaplin, which easily hold their own in the colourful, noisy world of television.
卓别林非常擅长利用肢体语言来表达，使得有声对白显得黯然失色。事实上，人们已经习惯了无声电影那种独特而强烈的表现力，以至于当1927年第一批有声电影出现时，并没有引起观众的兴趣。在电影发行商调查观众是否希望未来的电影是无声还是有声时，观众几乎总是更偏爱无声电影。最早的一些有声电影不仅遭到影评人的批评，也不被观众接受。1929年首批有声电影之一是由卡米尼·加隆制作的《没有女人的土地》，这部电影最初是无声的，后来才添加了音乐、音效和对白。声音质量十分糟糕，影评人阿尔多夫·阿恩海姆对这部电影进行了严厉批评。一开始还算顺利，但到了导演认为角色应该开口说话的时候，问题就出现了。
▶ 英文原文 ⏱
Chaplin knew her to make gestural language speak in a way that reduced the spoken word to shame. And in fact, people had become so used to the peculiar intensity of the silent film that the prospect of seeing the first talking pictures, which arrived in 1927, did not seem enticing in the least. In surveys by film distributors as to whether audiences would prefer to see films silently or with sound in future, the silent film almost always came out on top. The first talkies were failures, not only with critics, but with audiences as well. One of the first in 1929 was The Land Without Women, by Kamine Galone, filmed silently and with music, sound and dialogue added later. The sound quality must have been lamentable. The critic Aldorf Arnheim heaped scorn on the film. Things went well at first, but then the moment came when the director thought it was time to have the character speak.
于是，康拉德·费德特的老母张口了，用如同醉象的洪亮声音低声安慰地说着，儿子同样用响亮但带着含糊s音的声音回应。破冰之后，谈话开始占据主导地位，但对双方都不是很有效。仿佛所有的s音都被审查员删除了一样。“别为了贼喊捉贼而错过我，”老太太恳求道，撕开了一封嘎吱作响的重要信件。当时，全国的先锋派视有声电影为文化衰退的象征。舞者瓦莱斯卡·格尔特和她的搭档、演员阿里贝特·维谢尔，在《没有女人的土地》的放映中闹出如此大的动静，以至于警察不得不将他们带出电影院。
▶ 英文原文 ⏱
So it was that Conrad Feidt's old mother opened her mouth and, with a trumpeting voice of a boozed-up elephant whispered comforting words to which her son replied no less sonarously, but chewing all the s sounds. Now that the ice was broken, the speech took the upper hand, but it didn't really work for anyone. The s seemed to have been deleted by the censor. Don't for fake me, the lady pleaded, tearing up at an important letter which made a crackling noise. The avant-garde of the country saw sound film as cultural decline. The dancer Valesca Gerte and her companion, the actor Ariebert Vécher, caused such a disturbance at the screening of The Land Without Women that the police removed them from the cinema.
突然之间，电影院的观众必须保持安静，否则就听不到任何声音。这种纪律的强加让人们感到非常不满。如果一部有声电影在公众中大获成功，这也不是好事，因为观众不能疯狂地鼓掌，否则会盖过接下来的情节。此外，抗议的背后还有一些实际问题。影院的音乐演奏者担心失去工作，戏剧演员感受到竞争压力，而一些大型无声电影的明星完全不适合有声电影。就像Hari-Litke，一个曾令女王倾心的情场高手，外形光鲜迷人，但他的声音过于尖锐，与其俊美的面容极不相称，完全削弱了他的魅力。
▶ 英文原文 ⏱
All of a sudden cinema audiences had to be quiet because otherwise no one could hear anything. This imposition of discipline was very unwelcome. If a sound film was a success with the public, that wasn't good either because one could not applaud wildly without drowning out what happened next. There were also material concerns behind the protests. The cinema musicians feared for their jobs, spoke in theatre, sensed competition and some of the big silent film stars were completely unsuited to sound film. Hari-Litke, the love of a queen, had been an effective heartbreaker, a hiver too, but he had an unsuitably squeaky voice that cancelled the effect of his smooth and handsome face.
在1929年的电影《我吻你的手，女士》中，他的演唱角色不得不由歌手理查德·托巴重新配音。对于在无数女孩房间里挂着照片的波-布罗诺-卡斯特纳来说，有声电影是个灾难。由于他的语言障碍，角色机会开始枯竭。卡斯特纳曾出演过100多部电影，最终在1932年于酒店房间自缢，年仅42岁。到了1930年，由著名导演约瑟夫·冯·斯特恩堡拍摄的影片《蓝天使》上映时，有声电影已经普及。虽然埃米尔·亚宁斯饰演的保守教授拉特爱上了夜总会歌女，他的表演方式依然停留在无声电影的审美中。
▶ 英文原文 ⏱
His singing role in the film, I Kiss Your Hand, Madame, 1929, had to be redubbed by the singer Richard Toba. For the Bo-Brono-Castner, whose picture hung in countless girls' rooms, the talking picture was a disaster. His speech impediment meant that the roles dried up. Kostner, who had acted in over 100 films, hanged himself in his hotel room in 1932 at the age of 42. By the time of the celebrated Josef von Stenbach film De Blauer Enger, The Blue Angel, in 1930, the talking film had arrived. Even though Emil Janings played the stiff conservative Professor Rott, who falls in love with the cabaret singer, with a theatricality that was still stuck in the aesthetic of the silent film.
当时鲜为人知的玛琳娜·迪特里希扮演罗拉一角，虽然仅获得了25德国马克的片酬，仅为著名演员詹宁斯报酬的十分之一，但她充分利用了有声电影的优势。不仅是在由弗里德里希·霍兰德创作、至今仍然著名的《再度坠入爱河》这首歌中展现了才华，还通过她作为演员的沉稳表现展现了天赋。迪特里希立即意识到有声电影使得演员可以更加节制地展现自己，因此表演更加深刻。然而，1930年最出色的德国电影却是一部无声电影。与《蓝天使》一样，它也涉及一种休闲活动。
▶ 英文原文 ⏱
But Malina Dietrich still unknown at the time, who played the role of Lola and earned 25 Reichsmarks, only a tenth of the wages of the famous Janings, exploited the advantages of sound film to the hilt. Not only in the song Falling in Love Again, written by Friedrich Hollander and still famous today, but also of her reticence as an actress. Dietrich had immediately recognised that the sound film allows actors to present themselves sparingly, and all the more intensely as a result. But the finest German film of 1930 was silent. Like The Blue Angel, it concerned a leisure activity.
《星期天的人们》是一部真正的独立电影，尽管当时还没有“独立电影”这个词汇。这部影片是由四位当时还默默无闻的人编写或导演的。之后，他们都在好莱坞开启了各自独立的国际职业生涯。比利·怀尔德，他导演了《热情如火》，我们在上一章中把他介绍为视野广阔的人；还有罗伯特·西奥德马克，他拍了《夜袭者》；以及埃德加·G·乌尔默，他导演了《死胡同》。负责摄影的是弗雷德·金尼曼，1952年他凭借西部片《正午》奠定了导演声誉。几乎这些人都是首次参与《星期天的人们》的制作。
▶ 英文原文 ⏱
People on Sunday was a real independent or turf film, although the term hadn't yet been coined. Four people, unknowns at the time, wrote or directed. They would later have international careers in Hollywood, quite independent of one another. Billy Wilder, some like it hot, whom we met in the last chapter as a jig-a-lo, court and Robert Zeeotmak, The Devil Strikes at Night, and Edgar G. Ulmer, detour. The man behind the camera was Fred Sineman, who would establish his fame as a director in 1952, with the Western High Noon. People on Sunday was the first film almost all of them had worked on.
这件事之所以发生，全因为罗伯特·齐奥特马克的叔叔给了他5000帝国马克，使他能承担大部分费用。演员们也是首次亮相，几乎都在扮演自己。五个刚认识不久的年轻柏林人——一位模特、一个唱片店售货员、一名临时演员、一个出租车司机和一位酒商——在万茨湖畔共度了一个星期天。城市仿佛被抛弃了一样，在这个星期天里显得格外空旷，享受着远离居民的宁静。
▶ 英文原文 ⏱
It only came about because Robert Zeeotmak had been given 5,000 Reichsmaks by his uncle and was able to cover most of the costs with that. The actors were appearing in front of the camera for the first time too, mostly playing themselves. Five young Berliners who had only just met spend a Sunday together on the shore of the Vanzi, a model, a record seller, a film extra, a taxi driver and a wine dealer. Out of the city, which lies there on a Sunday as if abandoned, deserted and enjoying a rest from its inhabitants.
海滩上的野餐、各种短暂的邂逅、散步、划船派对、电车回家。镜头灵活自如地跟随主角，就像它也在享受这难得的周日休闲时光，对他们温柔地观察，体会到五位主角之间那份好奇心，他们彼此称赞、靠近又疏远。海滩上的一位摄影师提议为游客拍摄纪念照，这让影片得以单独展示这些度假者，并提供了一个在社会学上有趣的横截面。影片的最后，一行字幕写道：“四百万人期待着下个周日的到来。”
▶ 英文原文 ⏱
A picnic on the beach, various dalliances, a walk, a boating party, the tram home. The camera follows the protagonists with virtuoso agility, observes them tenderly as if it too were benefiting from the Sunday leisure time it is allowed to participate in, and from the curiosity with which the five protagonists are praised, approached and repel one another. A photographer on the beach offers to take souvenir photographs of the mass of excursionists, which gives the film the opportunity to look at the summer holiday makers individually and provide a sociologically interesting cross section. It ends with the caption, 4 million people wait for next Sunday.
这部电影是早期的"真实电影"，与德国电影中常用的表现主义、艺术化的恐怖剧情片完全相反。没有令人毛骨悚然的明暗对比照明，没有依赖令人恐惧的纸糊山峰，没有吸血鬼耳或《诺斯费拉图》《卡里加里博士》中的梦游者般的踉跄。相反，它以温情的视角展现了简单生活，以及人们在闲暇时所追求的一点点快乐。这部电影制作成本低，没有令人震惊的噱头，却取得了巨大的成功。
▶ 英文原文 ⏱
The film is early cinema verite, the opposite of the expressionistic, highly artificial horror dramas with which German cinema enjoyed holding its audiences spellbound and terrified. No spine-chilling, kirascuro lighting, no reliance on threatening papier-mache mountains, no bat ears or some nambulant staggering as in osparatu or dr calligari, just a loving look at the simple life and what people hope to get from their free time, a bit of joy. Little expense, few costs, no sensations and yet a huge success.
精致的镜头语言平静地捕捉角色的快速动作，一部从日常生活中汲取素材的安静电影，采用非戏剧性的手法来表现戏剧。在那个充满激进思潮的年代，《星期天的人们》是一部兼具理性和实用主义的奇迹之作，它如同漂浮在坚实地面之上，最终成为20世纪的伟大电影之一。诗人们应该去拳击。
▶ 英文原文 ⏱
Refined camera work that calmly observes the character's quick movements, a quiet film that derives its material from normal life, based on an undramatic approach to drama. People on Sunday is, for all the high-foluten radicalism of the decade, a miracle of sensible pragmatism, floating just above solid ground and ultimately one of the great films of the 20th century. Poets should box.
五年前，有另一部电影引起了人们的关注。这部电影同样拍摄在户外，由非职业演员出演。《力量与美之道》是一部由威尔海姆·普拉格执导的UFA文化电影，呈现了从古代到现代的健身训练。影片带有许多警示意味，还有更多展示肌肉线条的裸露场景，内容涉及卫生体操、韵律操、表现性舞蹈和编排的群众体育运动。观众和评论家们都对此充满热情。
▶ 英文原文 ⏱
Five years previously another film had attracted attention, one that also led out into the fresh air and was populated by non-professional actors. Ways to strength and beauty, an ufa kultur film by Wilhelm Prager showed fitness training from classical antiquity until the present day. With many warning undertones and even more naked athletically taught skin, it is about hygienic gymnastics, rhythmic gymnastics, expressive dance and choreographed mass sport. Both audiences and critics were enthusiastic.
这部电影《韩国》不仅将两位年轻女性的体操表演视为近乎超凡的身体和谐范例，也赞美她们在裸露身体时的诗意。两位女士是美国教练贝丝·门泽迪克（Bess Menzendik）的追随者，她的塑形健身操深受大众喜爱。她是后来的有氧运动倡导者（如简·方达）的前身。事实上，“Menzendiken”这个词被用来指代体操锻炼。
▶ 英文原文 ⏱
The film Korea saw the gymnastic displays of two young women not only as examples of an almost unearthly physical harmony, but also true poets in their unclothed bodies. The pair were devotees of the American trainer, Bess Menzendik, whose sculptural fitness exercises were practiced by many people. She was a predecessor of aerobics advocates such as Jane Fonda, so popular in fact that the word Menzendiken was used for practicing gymnastics.
这两个互相弯曲旋转的身体成为了Vaimara大众的标志性形象。这可能不是巧合，因为在《力量与美的方式》中表演者之一是当时不知名的莉尼·里芬斯塔尔，而实际上，这部影片在美学上确实像是1936年柏林奥运会的1938年纳粹宣传片《奥林匹亚》的前身。不过，这种对身体的英雄式审美并没有带有国家社会主义的含义。即便是意识形态批判严厉的泽克弗里德·卡尔考尔也欣赏其中的技巧、灵活和节奏，并公开推荐这部作品给年轻人。
▶ 英文原文 ⏱
These two bodies arched and rotating towards one another became an iconic image of the Vaimara public. It is probably no coincidence that one of the performers in Ways to Strength and Beauty was the unknown Lini Riefenstahl, and in fact the film does look aesthetically like a predecessor of a 1938 Nazi propaganda film Olympia, about the 1936 Berlin Olympics. But this heroic aesthetic of the body did not have national socialist connotations. Even Zekefried Karkauer otherwise so ideologically critical enjoyed the play, dexterity and rhythm and expressly recommended the work for young people.
锻炼是身体的一种义务的观念在所有政治派别中广泛存在，尤其是因为无论是办公室职员久坐的生活方式，还是烟雾缭绕、污秽不堪的城市都不利于健康的生活方式。即使锻炼不是最高价值，身体健康仍然是一个合格人类的重要组成部分。卡尔考尔在他的电影评论中这样说道。但什么才是一个完整的人呢？也许是一个完美的人？至少这是来自利赫特布纳的一位评论家所认为的。在这部电影的预告中这样写道：这里的观众通过最有力、最有效的方式被展示出如何才能成为一个完整的人。从完整的人到新人，这段旅程并不遥远。自1918年以来，这种救赎的承诺在各种政治背景中流传，几乎成了共有财产，并开始悄然影响到生活中最看似无害的领域。
▶ 英文原文 ⏱
The conviction that exercise was something owed to the body was widespread in all political camps, particularly since neither the sitting bent way of life of the office worker, nor the smoky dirty cities encouraged a healthy lifestyle. Even if it was not the highest good, physical fitness was still a significant part of a proper human being, Karkauer said in his review of the film. But what was a proper human being? A whole one perhaps? That was how one critic from Lichtebühner saw it at any rate. Here the cinema goer is shown in the most insistent and effective way what he must do to be a whole person, it said in the announcement for the film. It was not a long journey from the whole person to the new man, that promise of salvation that had been roaming around in the most varied political contexts since 1918, which had almost become common property, and which had also crept into the most apparently harmless areas of life.
与一群年轻人虚度光阴形成对比的是，我们见证了一个新一代的出现，这一代人将健康视为生活的核心。插画师影像快递写道，要追求力量和美。一战后的二十年间，除去古代的运动盛况，很少有时期像两次世界大战之间这样对身体如此痴迷。这段时期在历史记忆中占据了重要位置，因为当时的媒体以极大的关注度聚焦在人类的身体存在上。在此过程中，有两种截然不同的趋势，一是对身体的伤害，二是对身体健康的追求。世界大战留下了70万残疾人，他们拖着身体，在街头乞讨，提醒着人们战争的恐怖。这些战争伤者成为了活生生的恐怖纪念碑，使未受伤的人感到震惊。
▶ 英文原文 ⏱
In contrast to a cohort of young people wasting away, we are witnessing the appearance of a new generation for whom fitness means life. The Illustrator film courier wrote of ways to strength and beauty. Apart from the athletic moments in classical antiquity, there can scarcely have been two decades in history as body obsessed as the brief span between the world wars. It adopts such a prominent place in historical memory because the media of the time focused on the physical existence of human beings with extraordinary intensity. Two controversial tendencies were involved in this, injury to the body and physical fitness. The world war had left 700,000 invalids who reminded people of its horrors by hobbling and begging in the streets. The war wounded shocked the uninjured as living monuments to horror.
1920年，记者Irich Kütner在《遗忘中的法沃斯》，社会民主党期刊中写道：缺鼻子、半张脸被毁坏、靠滑板艰难行走的身影，让路人震惊，并提醒了他们国家的创伤，这种创伤即便在好年头也挥之不去。富裕的经济建议人们最好不要去想这些，因此时代精神竭尽全力去压制这些活生生的纪念碑，尽快转而竖立石制纪念碑。没有一个村庄没有为战场上逝去的人竖立的象征性纪念碑。身体被大规模的伤害大大提高了人们对其脆弱性的认识。对完好无损的身体的欣赏相应增加，尤其是对能够自我防御的强壮身体更是如此。受伤的身体和坚韧的身体都被赋予了超现实的强烈感知。
▶ 英文原文 ⏱
The journalist Irich Kütner wrote in his 1920 article Forgetting in Farvouts, the Journal of the Social Democratic Party. Missing noses, half destroyed faces, figures dragging themselves along on rollerboards, shocked passersby and reminded them of the injury done to the national body which overshadowed even the better years. It was better not to think about it, the affluent economy advised, so the spirit of the age did everything it could to repress these living monuments as quickly as possible and instead to erect stone ones. There was not a village without a symbolic monument for those left in the field. The mass mutilation of the body had hugely increased awareness of its vulnerability. Appreciation of the inviolate body had risen accordingly and even more so for the strong body that was capable of defending itself. Both the injured and the toughened body were perceived with hyperreal intensity.
奥托·迪克斯（Otto Dix）在战壕和战场上以令人震撼的方式描绘了满目疮痍、衣衫褴褛的身体，而他在和平时期描绘头像时，也赋予人物一种令人震惊和不安的身体质感，这绝非巧合。迪克斯在画作中进行夸张处理，突出的肌肉鼓胀得过于夸张，红色的皮肤闪闪发光，浓密的眉毛竖立着，蓝色的眼睛要么锐利要么水汪汪。他所描绘的人物给人一种可怕的冲击力。这样的特点同样体现在其他艺术家身上，比如卡尔·胡布赫（Karl Hubuch）、奥托·格雷贝（Otto Grebe）或海因茨·汉米什（Heinz Hamish），尽管他们在怪诞程度上不及迪克斯。超现实主义并不仅限于丑陋。魔幻现实主义画家克里斯蒂安·沙德（Christian Schad）以极其精细的手法描绘裸露肌肤，体现细微的血管、阴影、不规则的特征和体毛覆盖。他1929年的一幅半裸画作展现了几乎透明的肌肤，底下的生命脉动微妙地浮现，从而创造了一种超越现实的幻觉，这种偏执与当时的时代思潮相吻合。
▶ 英文原文 ⏱
It is no coincidence that Otto Dix who had so impressively painted the ravaged, ragged bodies in the trenches and battlefields also attributes a shocking and disturbing physicality to his sitters in the portraits of his fellow men in peacetime. Dix exaggerated, bulges protruded to excess, red skin glowed, bushy eyebrows bristled, blue eyes were piercing or watery. The people portrayed by Dix assumed a fearsome impact. This also applies to artists such as Karl Hubuch, Otto Grebe or Heinz Hamish, even if they did not go quite as far as Dix in monstrosity. And hyperrealism was not limited to ugliness. The magic realist, Christian Shahd, painted naked skin with its fine veins, shadings, irregularities and coverings of hair with a concision that went beyond reality. His semi-nude of 1929 shows a skin so transparent that the organism beneath delicately surfaces, an illusionism with something obsessive about it that corresponds to the preoccupations of the age.
以各自不同的方式，战争和无声电影教会了人们以新的方式观察身体，对整个文化领域产生了间接影响。无声电影引发了一场肢体语言的爆发，其他体裁也随之受到影响。在Velesca Ghat的异国舞蹈和Anita Berba所展示的邪恶、恐怖与狂喜的裸舞中，她的丈夫Zebastian Doste表现出一种双性气质的狂喜，用他结实的身体进行痉挛般的舞动，最后在大型综艺秀的编舞中，多达300名女舞者走上舞台，向大众和阅兵场挑衅性地展示美。在所有这些表演中，身体同时被歌颂和被操控。
▶ 英文原文 ⏱
Each in their own way, war and silent film taught new ways of seeing the body, with indirect consequences in all areas of culture. The silent film released an explosion of body language that carried other genres along with it. In the exotic dances of Velesca Ghat and the naked dances of Anita Berba, which she presented as dances of vice, horror and ecstasy, in the androgynous raptures of her husband, Zebastian Doste, who offered his sinewy body to the touch in convulsive twitches and finally in the choreographies of the big reviews, which had up to 300 women dancers march on stage to display beauty provocatively to the masses and the parade ground. In all these spectacles, the body was simultaneously glorified and maneuvered.
哲学也在发展。马丁·海德格尔和路德维希·克拉格斯将物质存在和身体放在他们反唯心主义思想的中心。海德格尔通过狂热地扩展身体的存在，并在优生学改革的理念中，身体成为了灾难性育种策略和种族优选妄想的原材料。新的人和旧的熟人，现在要通过强迫优秀的人类基因繁殖，并通过武力阻止较弱基因繁殖来实现。例如，文化哲学家恩斯特·京德·格伦德在他1929年的著作《未来的人性：西方在巅峰与深渊之间》中，要求对我们的种族进行计划性的"出口"。首次在文化和人口生物学方面按照我们对人类的意志形成未来，创造一个新的人类，一个未来的至高无上的人。
▶ 英文原文 ⏱
Philosophy also kept pace. Martin Heidegger and Ludwig Klagas placed physical being and the body at the centre of their anti-idealist thinking. Heidegger by ecstaticly extending physicality, and in the ideas of eugenic reform, the body became the source material for disastrous breeding strategies and racist delusions of selection. The new man and old acquaintance by now was to be won by forcing excellent human material to reproduce and preventing by force the weaker material from doing so. The cultural philosopher Ernst Günde Gründe, for example, in his 1929 book The Humanity of the Future, the West Between Summit and Abyss, demanded a planned Ausfartung of our race. The first formation of our future, in terms of both culture and the biology of our population in line with our own will to humanity, the creation of a new man, the supreme man of the future.
在现代摄影中，人体被以一种全新的方式呈现。35毫米相机使得体育摄影能够以崭新的戏剧性视角进行拍摄。从低角度拍摄的照片把拍摄对象神化了。包豪斯大师莫霍利-纳吉的照片设定了这种风格：照片中的人体好像摆脱了重力的束缚，从戏剧性的低角度拍摄，看起来像是在进行平衡表演。摄影机的横向移动带来了运动模糊效果，表现出前所未见的动感。数十万张明信片在德意志帝国传阅，展示了裸体运动员，皮肤晒得黝黑、剃光毛发，灯光照射下肌肉非常显眼。他们为大家设定了标准：身体需要灵活、无脂肪、迅速反应。为了跟上新时代的步伐，人们开始节食和锻炼。
▶ 英文原文 ⏱
The body was also presented in a new way in modern photography. The 35mm camera meant that sports photographs could be captured with a new level of drama. Worms I View pictures deified their subjects. The photographs of the Bauhausmaster Moholy-Nage, striving skyward, set the tone. They showed a balancing act of bodies apparently freed from the force of gravity, shot from a dramatically low point of view. Camera pans created motion blurs and conveyed a dynamic that had never been seen before. Hundreds of thousands of postcards circulated in the Reich showing naked athletes, tanned, shaven and lit in such a way that their muscles stood out in relief. They set standards for everyone. The body must be supple, fat free and swift to react. In order to keep up with the pace of the new age, it was put on a diet and trained.
自我优化的概念可以说是在没有这个概念的情况下，当代的生活方式是难以想象的，这一概念在大规模上诞生。在魏玛共和国时期，体育运动迎来了空前的繁荣，这不仅体现在积极参与的人数上，也表现在观众的数量上。超过六百万人参与到有组织的体育活动中，1931年，德国体操协会——这是众多类似团体之一，就已经拥有150万会员。体操，指赤身裸体的体操，早在战争前就已经成为一种神话，但是现在它又摆脱了一些历史的陈旧感。数百万的体力和办公室工人被组织到公司体育协会中，进行划独木舟、打排球或曲棍球，或者是其他外来的运动项目。这包括足球，它在1920年代才成为我们今天所知的德国全民运动。
▶ 英文原文 ⏱
The concept of self-optimization without which the repertoire of contemporary lifestyles is hard to imagine was born on a mass scale. Sport enjoyed an unparalleled boom in the Weimar Republic that applied both to active participants and to spectators. Over six million people took part in organized sport and in 1931, the German Gymnastics Association alone, just one of many such groups, had 1.5 million members. Gymnastics, meaning naked gymnastics, had already been mythologized even before the war, but now it sheds some of its historic mustiness. Millions of manual and office workers were organized in company sports associations, paddling canoes, playing volleyball or hockey, or other imported kinds of sport. This included football, which only became the German national sport that we know today in the 1920s.
对健美体魄和充满趣味的集体活动的渴望，催生了深深植入国家记忆的集体展示，如轮胎体操（体育车轮）。这种运动设备由两个轮胎组成，大小相当于达·芬奇的《维特鲁威人》, 运动员被嵌在其中，使其旋转。这种运动员是被塞入装置还是英雄般地自主滚动并不完全清楚，但轮胎体操的优雅虽然有些怪异，却令人着迷。它是由铁路工人和工会主义者奥托·费希在1921年发明的，当时他在美因茨的军事监狱中被关押。他因在爱国抵抗中破坏火车而被法国占领军关了两年。
▶ 英文原文 ⏱
The desire for a well-trained body and playful communal experiences yielded collective displays that have sunk deeply into the national pictorial memory, such as sports wheel gymnastics. Here pieces of sports equipment consisting of two tires, the size of Leonardo da Vinci's Vitruvian man, were set spinning by an athlete wedged inside them. It was not entirely clear whether the person was squeezed into the device or heroically set himself rolling, but the elegance of the sports wheel was seductive if somewhat grotesque. It was invented in 1921 by the railwaymen and trade unionist Otto Feich in the military prison in Mainz. He had been put there for two years by the French occupying forces for sabotaging trains as part of his patriotic resistance.
六年后，这种运动轮已经变得非常普及，参与者可以成群结队地移动，以同步的方式滚动着。看起来就像是巨大的仓鼠轮从固定装置上脱落一般，是一种自由与束缚交织的奇特景象。人们唱起了运动轮之歌。只有在拥有运动轮进行练习时，人才能在运动中找到真正的快乐。飞行员们用运动轮进行训练，因为它还能改善他们的平衡感和方向感，德国的体育学院还正式将其提升为一种教学辅助工具。
▶ 英文原文 ⏱
Six years later the sport wheel was so widespread that participants moved in groups and formations rolling about in synchrony. It looked as if huge hamster wheels had come adrift from their moorings, a strange image in which freedom and imprisonment merged. The sport's wheel song was sung. One only finds true joy in sport when one has a sports wheel to practice on. Pilots used the wheel for training because it also improved a sense of balance and orientation, and German sports colleges officially elevated it to the status of a teaching aid.
20世纪20年代，一个来自美国并成为标志性体育赛事的是六天赛。在这里，在狂欢气氛中，13位自行车赛手在烟雾缭绕的大厅内的椭圆赛道上连续六天六夜单调地骑行。类似的耐力也在一些观众身上展现，他们六个晚上都没回家，但白天离开赛场去无精打采地工作。在柏林比赛的第三天，广播里宣布："胡克139号舍纳豪泽的伍德·哈维尔汉姆，请回家，你的妻子去世了。"
▶ 英文原文 ⏱
One American import that became an iconic sporting event of the 1920s was the six-day race. Here, in celebration with a carnival atmosphere, 13 racing cyclists spent six days and six nights monotonously cycling round and round an oval track in a smoky hall. Similar staying power was demonstrated by some visitors who weren't seen at home for six nights, but who did leave the sports wheel during the day to go joylessly about their work. Wood ha'villeham hunker 139 Schoonhauser Ali, please go home, the loudspeaker announced, on the third day of the Berlin race, as his wife has died.
走廊里的噪音震耳欲聋。有时候好几支乐队同时演奏，观众们不断受到体育馆那有点拖沓的华尔兹的冲击，偶尔还会被公众的尖锐口哨声打断。啤酒源源不断，芥末随处滴落，人们邂逅交谈，互相大声喊叫。行家们坐在远处的便宜座位，而聪明人则在场地内，通过架在赛道上的桥进入。这儿坐着上流社会人士，电影和演艺界的大大小小头面人物，高级妓女、作家、记者、黑帮成员和当地政客。香槟流淌，爵士乐队保持着活跃的氛围，年轻的舞者令人想起传说中的表演团体。
▶ 英文原文 ⏱
The noise in the halls was deafening. Sometimes several bands were playing at the same time, and the spectators were constantly subjected to the rather sluggish sports palace waltz, whipped up at certain moments by the shrill whistles of the public. Beer flowed, mustard dripped, people met and yelled at one another. The expert proletariat sat far out in the cheap seats, the smart set inside the arena, reached by a bridge over the track. It was here that the better demi-mon sat, the bigger and smaller moguls of show business and film, high-class prostitutes, authors, newspapermen, gangsters and local politicians. Sparkling wine float, jazz bands kept the mood going, and young dancers did a passable impression of the tiller girls.
在中央位置有一个拿着扩音器的男子，他评论比赛的状况并喊出赞助商的名字。这些赞助商不断提供特别奖品，例如下一场比赛的胜者可得一百马克。一家家具公司捐赠了卧室家具给下一场冲刺赛的冠军，而一只烤鸭的诱惑让许多选手在某一回合中加速。在场地的内侧，是13个供自行车选手休息的箱子，在众目睽睽下，选手们在那里按摩和睡觉。这种运动与综艺表演的奇特结合，是一个受欢迎的社交活动，声势浩大，狂欢与痛苦交织，活脱脱是一周六天工作的真实隐喻。
▶ 英文原文 ⏱
In the middle was a man with a megaphone who commented on the state of the race and called out the names of the sponsors, who kept offering special prizes. A hundred marks for whoever wins the next five rounds. One furniture company donated bedroom furnishings for the winner of the next sprint, and the prospect of a roast duck made many of the race a speed up for a round. On the edge of the internal stage where the 13 boxes in which the cyclists took a break had a massage and slept under the eyes of all the spectators. This curious hybrid of sport and variety entertainment was a popular social event, a noisy, ecstatic, agonizing real-life metaphor for the six-day week.
共产主义歌手恩斯特·布什曾唱过一首关于六日赛车的歌，称其为无法用理性解释的资本主义跑步机。歌词是这样的：嘿，让那些踏板不停地转动，绕着木制椭圆跑道一圈又一圈，嘿嘿嘿嘿，普朗克碎片轮胎爆炸，三支爵士乐队同时演奏，嘿嘿嘿嘿，连续六天，一圈又一圈，没有凡人知道为什么，这是为了什么？每个人都着迷，每个人都参与，每个人都兴奋，每个人都欢呼，嘿，六天绕圈圈，一圈又一圈，没有一个人知道为什么。尽管最严厉的批评来自纳粹，但他们的评论实际上更像是一种种族主义的攻击。
▶ 英文原文 ⏱
The communist singer Ernst Bush sang of the six-day race as a capitalist treadmill that defied rational explanation. The song went as follows, hey keep those pedals going, round and round the wooden oval, hey hey hey hey, Planck splinter tires explode, three jazz bands play it once, hey hey hey hey, six days in a row, round and round, no mortal knows why, what's it for? Everyone's fascinated, everyone's involved, everyone's excited, everyone's cheering, hey, six days in a circle, round and round, and not a soul knows why. The severeest criticism of the six-day race, although it might be more accurately described as a racist attack, came from the far right from the Nazis.
根据他们的看法，这种表演与职业体育的结合，他们已经持怀疑态度，主要由犹太人控制。1933年，纳粹的宣传刊物《德攻击》回顾性地写道，任何有机会看到幕后情况的人都知道，这些活动是由犹太人组织的。犹太人权力最盛的时候，六日赛也是最受欢迎的时候。纳粹对施瓦茨宫中盛行的享乐主义混乱持负面看法，认为这是文化布尔什维主义的典范。另一方面，自由左翼的柏林报纸《每日速报》的体育和文化记者克尔特里斯，对这一盛况十分着迷，当然在纳粹眼中，他自然也是犹太人。
▶ 英文原文 ⏱
As they saw it, this mixture of show and professional sport, which they already viewed with suspicion, was mostly controlled by the Jews. In 1933, the Nazi organ der Ungriff, the attack, wrote retrospectively, anyone who was allowed to look behind the scenes knows that the events were organized by Jews. It was when Jews held their greatest power that the six-day races were at their most popular. The Nazis took a dim view of the hedonistic chaos that prevailed in the Schwart Palace, seeing it as a prime example of cultural Bolshevism. On the other hand, the sport and culture journalist of the liberal left Berlin newspaper, Swof Wurblatt, 12 o'clock paper, Courterise, naturally a Jew in Nazi eyes, was fascinated by the spectacle.
他看到公众如同行星环绕着恒星一般被自行车骑手环绕，他们渴求快乐、饥渴难耐。他们的脸上充满了兴奋、决心、疲惫和痛苦的面具，因为一次次摔倒的人被抬走，但几分钟后，他们又用绑着绷带的膝盖和手臂在赛道上飞驰。这是我无法移开目光的地方。很多人看六天赛就像是在看他们生活的浓缩版，觉得生活就是这样。在魏玛共和国时期，艺术和体育之间的关系从未如此紧密。
▶ 英文原文 ⏱
He saw a public that was eager and hungry for pleasure being circled by the riders like a star by its planets. Their faces were masks of excitement, determination, exhaustion, pain, because time and again the fallen were carried off and yet a few minutes later they were racing around the track again with bandaged knees in arms. That was what I couldn't take my eyes off. That was what life was like many felt, seeing the six-day race as a condensed version of their lives. There can hardly have been a period in recent cultural history that brought art and sport as close together as the Weimar Republic.
先锋派艺术家们常常描绘或雕刻自行车赛手、网球选手、高台跳水运动员、游泳者、撑杆跳选手、铁饼投掷手，以及一次又一次地描绘拳击手。拳击是当时文化界最喜爱的运动。乔治·格罗斯、鲁道夫·贝林、雷内·辛特尼、鲁道夫·施利希特、康拉德·费利克斯米勒和其他许多人都创作了与拳击有关的作品。作家维基·鲍姆在她的书桌旁放了一个拳击球，当她的写作进展不顺利时，就用它来放松。在工作间隙，她会去萨布里·马希尔的办公室兼拳击训练房进行训练，这位教练曾培训过一些知名人士。贝尔托特·布莱希特也有一个拳击球。
▶ 英文原文 ⏱
The avant-garde painted racing cyclists, tennis players, high divers, swimmers, pole vaultors, discus throwers and again and again boxers. Boxing was the favourite sport of the cultural scene. George Gross, Rudolf Belling, René Sintenys, Rudolf Schlichter, Conrad Felixmüller and many others painted or sculpted boxes. The author Vicki Baum had a punching ball next to her desk, which she would thump when her work wasn't going well. In her work breaks she went to the co-office and dumb boxing studio of Sabri Maheer who trained some high profile figures. Bertolt Brecht also had a punching ball.
他本想成为一名拳击手，但由于身体过于娇弱且有心脏问题，只能作罢。因此，他对现任重量级冠军保罗·扎姆松-克尔纳十分敬佩。他与冠军结为好友，并为运动杂志《德·阿里纳》撰写了这位拳击手的传记连载。他写道：“如果你像去教堂、法庭或乐谱那样去剧院，那就错了。你应该像参与一场体育竞赛那样去剧院。这并不是用二头肌在拳台上的打斗，而是用文字进行的更为精妙的较量。” 在1926年，作家弗兰克·蒂斯甚至在《奥霍》杂志上建议：“诗人应该去拳击。”
▶ 英文原文 ⏱
He would have liked to have been a boxer but was too delicate and had a heart condition. As a consequence he held the reigning heavyweight champion Paul Zamzon-Kerna in high esteem. He made friends with him and wrote a biography of the boxer as a serial for the sport magazine De Arrina. He wrote, If you go to the theatre as if to church or the courtroom or score, that's a mistake. You should go to the theatre as if into a sporting competition. This isn't about fights in the ring with your biceps. These are more delicate scraps fought with words. In 1926 the author Frank Ties even recommended in the pages of Oohoo, Poets should box.
文学的状况会更好。他写了好几页，侧面抨击咖啡馆里的文人和爱喝酒的写手，说自己是如何将因战争疲惫、疾病和过度劳累而虚弱的身体变得强壮起来的。他的肩围增加了14厘米，现在他的身体被一层轻微的肌肉盔甲保护着，这让他感到欣喜，就像发现了一个伟大的发现或新的真理。文章配有这位诗人的裸体照片。Ties仅穿着一条极短的兜裆布，展示他线条分明的身体，转身弯腰，向惊讶的读者展示一个人可以锻炼成多么健壮的模样。Ties的表现欲和他对酒精的极力排斥一定让那位精致但嗜酒如命的人感到无比烦恼。他在一篇回复给保守派作家的文章中写到，运动本身就是为了卫生，这让人感到讨厌，可惜这篇文章从未发表过。他还说自己也买了个沙袋，但只有在心情特别不好的时候才随意地打几拳。
▶ 英文原文 ⏱
Literature would be in better shape. He wrote for pages with side swipes against coffee house literati and scribbling drunkards about how he had transformed his war weary body weakened by illness and overwork into a toughened one. His shoulder circumference had increased by 14 centimeters and his body was now protected by a slight muscular armour that delighted him, like a great discovery or a new truth. The article was illustrated with naked photographs of the poet. Clad only in an extremely brief loincloth, Ties presented his well-defined body, turned and bent and showed the astonished reader what a hunk one can turn oneself into. Ties' exhibitionism and his missionary t-totalism must have been a huge thorn in the side of the delicate brest, an industrious boozer. Sport for the sake of hygiene is repellent. He wrote in a reply to the Conservative author that was unfortunately never published. He too had bought a punching ball, he said, but only dealt it a few angry blows when the mood took him.
在他看来，把健身规定在时间表上是件很不人道的事情。我支持体育运动，因为只有当它是不健康的、有风险的、未被开发的、不被社会接受的，并且是一个自我目的时，我才赞成。在他的同年代人看来，这名拳击手是现代时代的运动员。他代表了在不受约束的资本主义中所需的快速反应。他充满斗志、自力更生并且孤独。他的榜样、他的战斗规则和风格都来自美国，几乎是1920年代在德国流行的一切的起源。在文化行业中可能最大的拳击迷是画廊老板和记者阿尔弗雷德·弗莱克斯莱姆，他是一位热情的先锋艺术品经销商和收藏家，以及德国和法国艺术界的中间人。被反犹太主义者称为“富有的艺术犹太人”，他代表了巴勃罗·毕加索、乔治·布拉克、保利·马克思·贝克曼、马克斯·恩斯特等许多艺术家。
▶ 英文原文 ⏱
Compulsory fitness to a timetable was an atrocity as far as he was concerned. I'm in favour of sport because, and for as long as it's unhealthy, risky, uncultivated, so not socially acceptable, and an end in itself. The boxer seemed to his contemporaries to be the athlete of the modern age. He stood for the speed of response that one needed to keep up with unbridled capitalism. He was combative, self-reliant and lonely. His models, his rules of battle and his style came from America, the source of almost everything that became popular in Germany in the 1920s. Probably the biggest boxing fan in the culture industry was the gallery owner and journalist Alfred Flechtime, who was a passionate dealer and collector of the avant-garde and an intermediary between the German and French scenes. The rich art Jew, as the anti-Semites called him, represented Pablo Picasso, Georges Brach, Paoli, Max Beckmann, Max Ernst and many others.
他热爱拳击和这项运动的整体。作为文化杂志《Deck Värshnet》的创始人和出版者，他在1921年的第一期中写道，《Deck Värshnet》认为有责任将拳击介绍给德国的文化圈。在巴黎，布拉赫、德拉、杜飞、马蒂斯、毕加索和弗拉明克都是热情的追随者，罗丹几乎从不缺席任何一场比赛。在短短几年内，弗莱希泰姆实现了一件即使没有他也可能发生的事情：拳击成为高雅文化的一个课题。1925年，当弗莱希泰姆描绘他偶像汉斯·布赖滕施雷特的一场比赛时，拳击与文化之间的联系已经建立。所有有幸目睹过这场独特戏剧的人都知道，这场比赛中力量、智慧和经验相结合的胜利，比柏林所有戏剧演出都更具艺术性。
▶ 英文原文 ⏱
And he loved boxes and the sport as a whole. As founder and publisher of the cultural journal Deck Värshnet, he wrote in the first issue in 1921, Deck Värshnet sees it as its duty to introduce boxing to German cultural circles. In Paris, Brach, Derá, DuFie, Matisse, Picasso and Vlamink are enthusiastic devotees, and Rodin barely misses a fight. Within a few years, Flechtime had achieved something that would probably have happened even without him. Boxing became a matter for high culture. In 1925, when Flechtime described a fight by his idol Hans Bräitenschreter, the association between boxing and culture had already been established. That this battle in which strength, spirit and experience combined to win was an artistic matter more artistic than all Berlin theatrical performances is known to all those who had the great good fortune to witness this unique drama.
我祝贺布拉琴彻特的这场战斗。这次实验富有柯克许卡的风格，指的是奥地利戏剧画家奥斯卡·柯克许卡。在阿尔弗雷德·弗里希特姆的聚会上，富人和权贵们在谈论的人群中如沐光辉。正如马克斯·施梅林在他的回忆录中热情写到的，他们在某种意义上都是局外人。运动员们是备受尊重的客人，但当高雅文化向他们敞开大门时，往往还夹杂着些许居高临下的态度。仔细听，你可以在赞美声中听到这种态度。1925年，被弗里希特姆任命为《德赫·费尔克内特》继任出版人的艺术评论家兼记者汉斯·范·维德科普，描述了拳击手布拉琴彻特首次出现在弗里希特姆沙龙中的情景。
▶ 英文原文 ⏱
I congratulate Brachinchreter on this fight. The experiment was Kökoschka-esque, referring to Oscar Kökoschka, the dramatic Austrian painter. At Alfred Flechtime's parties, the wealthy and powerful bathed in the glow of the people being talked about. All outsiders in their way, as Max Schmeeling enthusiastically wrote in his memoirs. Athletes were well respected guests there, but when high culture opened itself up to the athletes, it wasn't always without a certain condescension. If one listens carefully, one can hear it alongside the admiration. In 1925, the art critic and journalist Hans van Viderkorp, whom Flechtime appointed his successor as publisher of Dech Fierchnet, described the first appearance of the Boxer Brachtenschreter in Flechtime's Salon.
在《Kökoschnet》杂志本身，当然，此时它已经发展成一本为文化精英引领潮流，有些自命不凡的杂志。维德科普把这本沉甸甸的杂志当作艺术作品来研究，并辨认出其中的风格影响，追溯其来源，并让读者参与到他如何通过权衡矛盾，逐渐形成对美学品味判断的过程。他尤其震惊的是，布拉赫特施雷特既没有古典时代的人物形象，也没有符合任何已知艺术美的理想形象。他说，那不是希腊风格，完全没有半点踪迹。不是来自萨克森的希腊人。我们的大脑被经典陈词滥调毒害的记忆必须被摧毁，固定的图像必须让路，以便新的形象得以形成。
▶ 英文原文 ⏱
In Kökoschnet itself, of course, which had in the meantime developed into a somewhat snobbish trend-setting magazine for the cultural elite. Viderkorp studied the heavyweight like a work of art, identified the stylistic influences that could be seen in him, drew out their provenance, and allowed the reader to participate in the way in which, by weighing up contradictions, he had very gradually reached his judgment of aesthetic taste. He was startled, above all, by the fact that Brachtenschreter had neither a figure from classical antiquity nor one corresponding to any known ideal of artistic beauty. Nor is it Greek, he said. Not a trace. No Greek from Saxony. The memories of our brains, poisoned as they are by classical cliche, must be destroyed. Fixed images must make way so that a new image may form.
更重要的是，他没有米林先生那种尖锐的沉重感或油腻浮华，也不是二者的混合体。他来自马格德堡。把他归为一个基本的美国概念可能会更容易理解。弗莱希特姆最喜欢的艺术家之一是出色的摄影师弗里达·里斯。她以在柏林达米尔的联合办公室中为社会上层人士拍摄的精致、讨喜的肖像而闻名，其中包括许多演员、作家和画家。比如格哈特·豪普特曼、埃米尔·詹宁斯、莉尔·达戈娃、马克斯·哈曼·奈瑟、安娜·巴甫洛娃、亚历山大·阿希·潘科，当然还有鲁德·兰索夫·约克。她和弗莱希特姆一样有收集盒子的嗜好。她曾拍摄年轻的拳击冠军伊雷·格布兰多完全裸露的照片，如前言所述，但没有用无阳光裕体文化所常见的非英雄主义的太阳光，而是用聚光灯充满爱意地、完全带有情色地展示了他无可挑剔的身体。
▶ 英文原文 ⏱
What is more, he has nothing of mirin, of his sharp heaviness, or of oily praxitilis, not a mixture either. He is from Magdebork. It would be easier to assimilate him to a fundamental American concept. One of Flechtime's favourite artists was the wonderful photographer Frida Ries. She was famous for her refined, flattering portraits of members of the highest circles, which she made in her studio on the co-office in Dhammin Berlin, including many actors, writers and painters. Gerhard Hauptmann, Emil Janings, Lil Dagova, Max Hamann Nyser, Anapavlova, Alexander Achi Panko, and of course, Rud Lansof Yock. She shared Flechtime's weakness for boxes. She was the one who photographed the young prize fighter Ire Gbrandeux completely naked, as mentioned in the preface, but rather than flooding him with the unerotic sunlight of nudist-free body culture, whose stereotypical heroism had become a common place, her spotlights lovingly and entirely erotically, modeled the impeccable body.
这次摄影拍摄是女性解放漫长旅程中的一个里程碑，因为它自然地将男性身体变成了女性性欲目光的对象。这些亲密的照片最终也出现在了Flechtime的画廊和Kfeerschnit的页面中。蓝色灯光下，Lini Riefenstahl也在解放自我。1931年，29岁的舞蹈演员和电影演员Lini Riefenstahl厌倦了一成不变的角色和被指使，她决定拍摄属于自己的电影。她想要写剧本，创立自己的公司，自己决定在哪里和如何做事。只有成为完全属于自己的电影的女主角，她才能做到这一点。很多人通过山地电影《圣山》（1926年）、《大跃进》（1927年）和《帕鲁的白色地狱》（1929年）认识了Riefenstahl。
▶ 英文原文 ⏱
The photographic session is a milestone on the long journey of women's emancipation, as it turns the male body quite naturally into the object of a sexualised female gaze. These intimate pictures also ended up in Flechtime's gallery and in the pages of Kfeerschnit. The blue light, Lini Riefenstahl, emancipates herself as well. In 1931, the 29-year-old dancer and film actress Lini Riefenstahl, tired of being typecast and told what to do, decided to make a film of her own. She wanted to write scripts, establish her own company, and decide for herself where and how she could do things. She could only do that as the main actress in a film that was entirely her own. Many people knew Riefenstahl from the mountain films The Holy Mountain 1926, The Big Jump 1927, and The White Hell of Pitts-Palloo, 1929.
在高海拔稀薄空气中拍摄的电影，背景是闪闪发光的雪原和刺骨的寒冷，这为电影在空间上的探索开辟了新的维度。丽尼·里芬施塔尔总是作为勇敢的征服者，站在山峰的中心舞台，从令人屏息的角度被拍摄。她是片场上唯一的女性，与像阿诺德·弗兰克、路易斯·特伦卡和泽普·艾盖亚这样的野外探险者们一同工作，他们为赢得她的青睐而展开激烈竞争。里芬施塔尔的特长在于在几近冻死的情况下仍能保持良好的状态。可能最受人喜爱的、最适合德国电影的登山者就是比采特·阿米塔克的看法。在男性主导的山地电影世界中，她长期处于压迫地位，而对于像丽尼·里芬施塔尔这样自负的人来说，这种状况是无法接受的。1931年，不顾经济危机的她从一个迷恋她的制片人那里借了五万马克，并与左翼知识分子电影理论家比拉·巴拉什合作，他是一位善于运用引人入胜手势的专家。
▶ 英文原文 ⏱
Dramas set in the thin air of the highest altitudes with glittering snowy wastes, and icy cold which had opened up new dimensions in the cinematic conquest of space. Lini Riefenstahl herself was always centre stage as a bold conqueror of the mountain peaks, filmed from breathtaking perspectives. She was the only woman on set among wild cragsmen such as Arnold Frank, Louis Trenka, and Zepp Eigaya, who competed bitterly for her. Riefenstahl's speciality lay in almost freezing to death and still looking good. Probably the most likable and usable alpinist in German film was the view of Bitzet Ammitag, usable. In the long term her position in the male world of the mountain film was oppressive, and for an egomaniac like Lini Riefenstahl even untenable. In 1931 heedless of the financial crisis she borrowed 50,000 marks from a producer who was besotted with her, and joined forces with the left-wing intellectual film theorist Bila Balash, a man well versed in the world of evocative gestures.
他们一起创作了一个电影故事，讲述了一个年轻的局外人，在古老的多洛米蒂山世界中被指责为女巫。她被赶出山谷，现在生活在一个令人眩晕的高海拔地区，既被渴望又被迫害。山中女孩尹塔体现了一种野性的美。只有她知道并掌握通往高山峰顶一条被诅咒的水晶矿脉的艰难路线。在月圆之夜，当水晶发出蓝光时，它对年轻男子产生着魔力。他们试图攀登山顶，但因为不如尹塔那样熟练而坠亡。村民们对尹塔——如山羊般敏捷且是蓝色光芒守护者的仇恨变得更加强烈。
▶ 英文原文 ⏱
Together they wrote a film story about a young outsider, denounced as a witch in the archaic alpine world of the Dolomites. Expelled from the valley and now living at a dizzying altitude both desired and persecuted, the mountain girl Yunta embodies a kind of feral beauty. She alone knows and has mastered the difficult route to a cursed vein of crystal high in the mountain peaks. On nights when the moon is full and the crystal glows blue it exerts a magical attraction on young men. They climb towards the peak and being less skilled than she is fall to their deaths. The villagers' hatred of Yunta, nimble as a mountain goat and guardian of the blue glow, becomes even more intense.
在比拉·巴拉什、三名摄像师和一些小演员的陪同下，莉妮·里芬斯塔尔首先在刚被纳入北意大利的南蒂罗尔的赞塔尔安营扎寨，然后才深入布伦特尔多洛米蒂山区。巴拉什和里芬斯塔尔巧妙地编导了那些像鸡一样咯咯叫的山地农民和山谷居民。他们齐齐地伸长脖子，然后依旧同步地把风吹日晒的苦涩面孔转向镜头。至于巴拉什和里芬斯塔尔如何共同指导这部电影，目前尚不清楚，他们两人都是电影界的新手。莉妮·里芬斯塔尔还在片中扮演了狂野的尤塔，把自己的所有激情都投入到这个神话人物的演绎中。
▶ 英文原文 ⏱
With Bila Balash, three cameramen and a small cast, Lini Riefenstahl first set up in Zantahl in South Tyrol, recently incorporated into Northern Italy before venturing further into the Brenter Dolomites. Balash and Riefenstahl masterfully choreographed the mountain farmers and the valley dwellers who cluck together like chickens. They stretched their heads up in synchrony and still in synchrony they turned their weathered bitter faces towards the camera. How Balash and Riefenstahl shared the direction of the film is unknown and they were both cinematic novices. Lini Riefenstahl also played the part of wild Yunta. Her mythical alter ego and physically gave it her all.
她站在瀑布之间，水花四溅，全身都湿透了。她赤脚穿着一件破旧的裙子，攀爬着一面巨大的岩壁。当镜头拉远时，可以看到她爬到了顶端，就像一只微小的苍蝇几乎无重量地爬上岩石。哦，要是她不说话就好了。在几场对话中，她一半用意大利语，一半用不流利的德语，完全失败。这个所谓的自然之子突然变成了一个工人阶级却努力向上流动的柏林人，她通过肢体优雅所建立的一切瞬间崩塌。最后，尤塔蒙住了她的脸，一个不协调的柔和镜头把她变成了一个受到村民后代崇拜的圣人。里芬斯塔尔将这一自画像作为圣母直到她去世都挂在她的公寓里。
▶ 英文原文 ⏱
She stands between waterfalls with spray flying around her, drenched to the skin. Barefoot in a threadbare dress she climbs a monumental rock face. When the camera zooms out she can be seen right at the top, tiny as a fly crawling almost waitlessly up the rock. Oh, if only she didn't open her mouth. In the few scenes of dialogue, half an Italian, half in broken German, she fails completely. The supposed child of nature suddenly becomes a working-class but upwardly mobile Berliner and everything built up by her physical grace comes crashing to the ground. In the end, Yunta veils her face and an incongruous soft focus turns herself into a saint revered by the villagers' descendants. Riefenstahl's self-portrait as the Madonna hung in her apartment until her death.
莉妮·里芬斯塔尔的野心无边无际。即便是作为一名演员时，她也不是那种在休息和拍摄间隙会消磨时间的人。她对镜头背后的工作研究得非常仔细，留心导演们是如何工作的。她观察了他们所有的技巧，并确信自己可以做得更好。为了自己的事业，她毫不留情地将许多名字扫出她的道路，其中甚至包括比拉·巴拉沙，而在《蓝光》的片头字幕中，他的名字也仅是匆匆一笔。她对团队有很高的期望，让他们采取最冒险的摄像机位置，而她自己对拍摄危险场景也毫不畏惧。
▶ 英文原文 ⏱
Lini Riefenstahl's ambition knew no bounds. Even as an actress she wasn't the kind who wasted breaks and shooting on rest and recreation. She had studied what went on behind the camera very precisely, noting how directors worked. She had observed all their tricks and was convinced that she could do an even better job. The list of names that she ruthlessly swept out of the way for her career was a long one and even Bila Balasha's name appears only briefly in the opening credits for The Blue Light. She expected a great deal of her crew, making them adopt the riskiest camera positions and she herself had no qualms about shooting hazardous scenes.
为了成为一名成功的导演，她必须比任何人都更出色。她尝试了新的胶片材料，在镜头上喷水，还拍摄了光线下的雾气。山脉本身就成了影片中的角色，就像莱妮·里芬斯塔尔与阿诺德·芬克拍摄的大胆山地电影中一样，那些非职业演员的面孔表现出了扣人心弦的纪录片式的真实感：这些面孔因其棱角分明、紧张的表情而显得格外苛刻和疑虑重重。在强烈的侧光下，这些面孔看起来极其不友好。那种古老、原始的面孔因为与大城市中人们警觉的面容形成了鲜明的对比，反而成为了影片中一种时尚。
▶ 英文原文 ⏱
To make it as a director she had to be better than anyone else. She experimented with new film stock, sprayed water on the lens and filmed fog against the light. The mountains became characters in their own right, just as they had been in the daredevil mountain films that Riefenstahl had made with Arnold Funk and the physiognomies of the non-professional actors had a gripping documentary intensity, angular, pinched, suspicious peasant faces that looked impossibly inhospitable in the harsh side light. Searly, primeval faces that had become fashionable to put on film because they formed a strong counterpoint to the alert faces of the big city.
《蓝光》在1932年的威尼斯电影节上获得了第二名。电影信使对首映式的评价非常激动，他们写道：“莱妮·里芬斯塔尔，这位充满信念和执着的勇敢女性，仿佛让苍白的天空、月亮以及神秘山间自然的幽暗夜晚在我们头顶上闪耀。” 最棒的是，这位女预言家在祖国被视为有重要价值的人。观众蜂拥而至电影院，期待看到一部具有德国风格和艺术的电影。作者并没有详细说明这意味着什么。在当时，这位导演还没有表现出任何极右翼的倾向。
▶ 英文原文 ⏱
The Blue Light came second at the 1932 Venice Film Festival. The film courier went wild, writing of the premiere Riefenstahl, a courageous woman with full faith in her work and her obsession, had collapsed the pallid sky of heaven and the moon and the dubious nights of mysterious mountain nature gleamed above us. And the best thing was the prophetess counted for something in the Fatherland. Visitors would stream to cinemas to find a film that was German in style and art. The author did not elaborate further on what that might mean. The director had as yet shown no far-right inclinations.
相反，她的电影批评了对一个外来者的集体猎巫行为。那些农民更像是可怕的落后群体，而不是纳粹所歌颂的神话般的粮食生产者。当时尚不清楚莱尼·里芬斯塔尔将成为什么样的人，她将讨好谁，或她将鼓励谁。唯一明确的是，她还有更高的巅峰需要攀登。
▶ 英文原文 ⏱
On the contrary, her film criticized a collective witch-hunt of an outsider. The peasants seemed more like gruesome backwards men than the mythical food producers who would be celebrated by the Nazis. It was not yet clear what Riefenstahl would become, who she would woo and who she would encourage. Only one thing was clear. She had higher peaks to climb.
只有在我的社团活动中，我才真正感到愉快。城市娱乐文化的强大影响力常常让我们忽视了一种休闲活动，这种活动给许多德国人带来了温暖和支持，那就是参加社团。在德国，大约有10%的人活跃在各种社团中。无论是射击俱乐部、退伍军人协会、志愿消防队、储蓄协会、家乡协会还是合唱团，都是他们参与的对象。
▶ 英文原文 ⏱
I'm only really cheerful in my association. The vast power of urban entertainment culture sometimes leads us to overlook a form of leisure activity from which many Germans drew warmth and sustenance, meetings of their associations. Some 10% of Germans were active in an association. Whether a rifle club, veterans association, volunteer fire service, money-saving association, homeland association or singing club.
由于电视尚未问世，那些后来让人们待在客厅里的东西还不存在，而收音机也刚刚开始慢慢进入德国的家庭，所以人们如果不想感到无聊或待在家里看书，就只能依赖彼此。仅此原因，魏玛共和国时期比现在要更加社交化。人们为了协会章程中规定的特定目的聚集在一起，例如培养德国歌曲，并增加了社交的成分。加入这样的组织意味着承担许多责任。
▶ 英文原文 ⏱
As television, which would later keep people in their sitting rooms, was yet to be invented and radio was only making its way slowly into German houses, people had to make do with each other if they didn't want to get bored or stay at home and read. For that reason alone, the Weimar Republic was considerably more sociable than the present day. People came together for a particular purpose set out in the association's statutes, such as the nurture of German song, and added a social component. Membership of such an organization involved a great many obligations.
虽然消费和娱乐的文化不断扩散，并使个人之间逐渐疏远，但这种协会重新将人们聚集在一起。它对社会凝聚力的重要作用是巨大的。在具有相同思想背景的环境中，这种协会使那些原本很少有机会接触的人们能够相聚。与此同时，乡村地区的大家庭正逐渐瓦解，越来越多的家庭成员和农场工人选择离开农场独立生活。
▶ 英文原文 ⏱
While the culture of consumption and distraction was constantly spreading and atomizing individuals from one another, the association brought people together again. Its significance for social cohesion was enormous. The association within the context of a certain like-mindedness allowed encounters between people who would otherwise rarely have mixed. In the countryside, large families were gradually dissolving, and more and more housemates and farm labourers preferred to live away from the farm.
村庄之间的差异也日益显著，但农业工人、农民、店主和有威望的人们聚集在一起，寻找解决争端和达成和解的平台。因为协会的层级结构，很多成员对其特别着迷。主席、名誉主席、顾问委员会及其代表、财务人员、记账员和青年干部被选举、批评、解雇、确认或罢免，构成了一个有趣的休闲组织，就像用真实人物来玩的游戏。每个协会都幸福地结合了共同目标和搞怪趣味。在这里，人人都觉得自己很重要。正如Kortowholzky在1926年写道："我的协会是让我开心的地方。我瞧不起那些不是会员的人。" 我们上方则漂浮着章程，晚上时光转瞬即逝。人们感到自在，他们聊天、八卦、咒骂、饮酒并展示自己。他们也在此练习自己的技艺。
▶ 英文原文 ⏱
Villages were also becoming increasingly different from one another, but agricultural workers, farmers, shop owners and dignitaries came together and found a forum for dispute and reconciliation. Associations held a particular charm for many members because of their hierarchical component. Chairman, honorary chairman, advisory committees and their representatives, treasurers, bookkeepers and youth officers were elected, criticized, dismissed, confirmed or voted out, an intriguing organization of leisure time that amounted to a game played with real pieces. Every association was a happy combination of common purpose and mischief. Here one was somebody. My association is the place where I'm cheerful. I look down on those who are not members. Kortowholzky wrote in 1926. High above us, the statutes float. The evening hours fly by like minutes. People felt at ease. They chatted and gossiped, swore and drank and made spectacles of themselves. They practiced their skills.
有些人唱歌，其他人射击。他们互相帮助，彼此照顾。在许多村庄都有病患支持协会或现金贷款协会，当银行拒绝贷款时，这些协会就能提供帮助。让我们以下莱茵的一个小村庄Koshnbroj为例。那里住着两千人，加上周边地区则有五千人。他们至少组成了35个协会。即使最大的退伍军人协会缺席，但它在每个村庄的存在都如此明显，以至于没有特别提到。比如：歌声的回响，男子声合唱协会。北极星鼓乐队。桃金娘社团。塞西莉亚，男子声合唱协会。塔利亚剧团。Koshnbroj体操协会。康复协会。阿丽安娜，男子声合唱协会。Nierzbrych体育俱乐部。Koshnbroj足球俱乐部。
▶ 英文原文 ⏱
Some sang, others fired rifles. They helped each other and looked after one another. In many villages, there were patient support associations or cash loan associations, which helped when banks refused to. Let us take the little village of Koshnbroj in the lower Rhine as an example. Two thousand people lived there, or five thousand if we include the surrounding area. They were organized into at least 35 associations as you'll hear. Even though the largest, the Veterans Association, is absent, its existence was so obvious in every village that it doesn't even get a mention. Reth of Song, Male Voice Choir Association. North Star Drummerscore. Myrtle Reth Society. Cecilia, Male Voice Choir Association. Talia Theatre Association. Koshnbroj Gymnastics Association. Recovery Society. Ariane, Male Voice Choir Association. Nierzbrych Sports Club. Koshnbroj Football Club.
塞西莉亚教会合唱团。玛丽安年轻男性教友会。玛丽安年轻女性教友会。天主教母亲联盟。天主教人民联盟。天主教服饰联盟。圣塞巴斯蒂安射击协会。单身汉射击社。天主教劳动联盟。圣德纳特里斯兄弟会。空中信鸽男信使协会。科申布罗伊志愿消防服务。赫龙斯霍夫志愿消防服务。科申布罗伊佩什养蜂协会。黑蓝法律协会。兔子饲养协会。科申布罗伊养蜂协会。科申布罗伊工匠协会。科申布罗伊面包师协会。农业订购与销售合作社。农业集体佩什。马匹保险协会。祖国妇女协会。燕子信鸽协会。家乡之爱信鸽协会。
▶ 英文原文 ⏱
Cecilia, Church Choir. Marianne Youngmen's Congregation. Marianne Young Women's Congregation. Catholic Mothers Union. Catholic People's Union. Catholic Vestments Union. St. Sebastian Shooting Fraternity. Bachelor's Shooting Society. Catholic Labor Union. St. Denartis Fraternity. Air, Male Messenger Pigeon Association. Koshnbroj Volunteer Fire Service. Heronshof Volunteer Fire Service. Koshnbroj Pesh Beekeeping Association. Black and Blau Law. Rabbit Breeding Association. Koshnbroj Beekeeping Association. Koshnbroj Craftsman's Association. Koshnbroj Baker's Association. Agricultural Subscription and Sales Cooperative. Agricultural Mess Pesh. Horse Insurance Association. Fatherland Women's Association. Swallow Messenger Pigeon Association. Homeland Love Messenger Pigeon Association.
在这里，社交能力十分丰富。同时，“跨区域党派政治协会”和青年组织，以及在天主教社区Koshnbroj的组织，如退伍军人协会，都不再被列出。这些协会是传统的载体，确保了地区特征的传承。在天主教圣衣工会中，礼拜壁挂和圣弥撒的织物都被刺绣得精美。而在养兔协会中，他们互相竞争，看谁能培养出最大的长耳雄兔。此外，他们也会讨论当下的政治问题。现代化时代已经到来，无论是在村庄里还是在最近的小镇上。农业工人变得更加自信，激烈地争取更高的工资。
▶ 英文原文 ⏱
There was social ability in abundance. At the same time, the Trans Regional Party Political Association's and youth organizations that would also have existed in Catholic Koshnbroj are no more listed than the Veterans Association. The associations were containers of tradition and ensured the maintenance of regional qualities. Liturgical wall hangings and fabrics for holy mass were embroidered in the Catholic Vestments Union. In the Rabbit Breeding Association, they competed to see who could breed the biggest long-eared buck. And they would also have discussed the political matters of the day. The modern age had arrived in the village, just as it had in the nearest small town. Agricultural workers had grown more confident and argued furiously for higher wages.
周围工厂的工人们投票支持左翼或极左翼，并因农民的保守观点而憎恨他们。而年轻人则纷纷涌向城市，女性尤其希望获得更多自主权。各省的社团要疗愈许多伤口。尽管文化变化迅速，这里的生活节奏仍旧不同，不过在争取人心时，也不得不顺应时代。比如，玛利亚青年会的领导认为，只有通过体育锻炼、运动和远足，才能让大批年轻人脱离令人堕落的现代娱乐喧嚣。因此，牧灵工作者咬紧牙关，把运动引入他们与现代化斗争的方式中。
▶ 英文原文 ⏱
The workers in the surrounding factories voted left or far left and hated the farmers for their reactionary views. And young people were flocking to the city, where the women in particular hoped for more independence. Associations in the provinces had a lot of wounds to heal. As rapid as cultural changes were, life here still followed a different pace, even if one had to move with the times when it came to winning souls. The leaders of the Marian Youngmen's congregation, for example, reckoned only through gymnastics, sport and hiking can large circles of young people be weaned off the innovating and demoralizing modern bustle of amusement. So with gritted teeth, the pastoral caregivers introduced sport as a way of doing battle with the modern age.
大体而言，省份的情绪变化通常比盛夏上空漂浮的云彩要慢得多。对凯尚布罗的许多居民来说，即便是凯扎维尔赫姆也被认为是一个傲慢的基督新教现代主义者，如果没有他，他们本可以避免自1914年以来发生的一切混乱。在每个协会中都存在政治的角力，它是一个将潜在情绪烘焙成坚定信念的窑炉。因此，协会中的一举一动都引起了政治家的关注。SPD社会民主党、KPD共产党和NSDAP国家社会主义党纷纷自己创建协会、渗透进其他协会或将其接管。
▶ 英文原文 ⏱
As a general rule, however, moods in the provinces changed more slowly than the cloud formations that drifted above them in high summer. And for many of the residents of Kaushanbroj, even Kaizavilhem had been an arrogant Protestant modernist, without whom they would have been spared the whole mess that had taken place since 1914. There was politics at play in every association. It was the kiln in which latent emotions were baked into hard convictions. What went on in the associations was consequently of interest to politicians. The SPD social democrats, KPD communists and NSDAP national socialists launched countless associations themselves, infiltrated others or took them over.
区域调查显示，纳粹党（NSDAP）一直努力渗透进各种协会，并在当地庆祝活动中展示自己的存在。无论是谁在组织700周年或800周年庆典时占据了主导地位，这些庆祝活动总是由当地协会准备的，这都意味着在争夺人心的斗争中迈出了重要的一步。政治党派本身也是社会团体，为许多人在工作结束后提供娱乐和友谊。你可以按照右翼或左翼的方式去露营，也可以选择极右或极左的徒步旅行。表面上，大多数德国协会都是非政治性的，非常重视与政党政治的独立性。
▶ 英文原文 ⏱
Regional investigations show how persistent the NSDAP was in its attempts to seep into associations and make a show of itself in local festivities. Whoever gained the upper hand in the organization of 700th or 800th anniversary celebrations, always prepared by local associations, had taken an important step in the battle for people's minds. And the political parties were themselves social groups that provided diversion and friendship for many at the end of the working day. You could go camping in a right wing or a left wing way, you could go for a far right or a far left hike. Outwardly, most German associations were apolitical and set great store by party political independence.
但他们的世界观完全固定不变。许多所谓的市民协会、射击俱乐部、消防服务组织和合唱团体，都是由1918年11月革命期间为了保卫财产免受掠夺者侵害而成立的市民防卫团体艾因·冯·阿弗尼演变而来的，这些团体后来为了维系友谊而继续存在。除了他们的官方职责如省钱、灭火或纪念英雄之外，它们大多在精神上是严格反共和主义的，或者至少是反社会主义的。射击俱乐部不仅通过奇特的仪式可以回顾美好的旧时光，更重要的是通过射击活动。由于《凡尔赛条约》使德意志帝国只剩下一支残缺的军队，军国主义只在竞技射击中得以延续。
▶ 英文原文 ⏱
But their views of the world were entirely fixed. Many so-called citizens associations, rifle clubs, fire services and singing fraternities had emerged from the citizens' defense groups, Ein von Averne, that had formed during the November Revolution of 1918 to defend property against marauders, and had then stayed together for the sake of the camaraderie. Apart from their official purpose, saving money, putting out fires or commemorating heroes, they were, for the most part, rigidly anti-republican, or at least anti-socialist in spirit. The rifle clubs were able to connect with the good old days not only through their curious pomp, but above all through shooting. Since the Versailles Treaty had left the German Reich with only a rump army, militarism lived on only in competitive shooting.
在这种充满战斗精神的友好氛围中，即便在共和国相对良好、湿润和繁荣的岁月里，依然存在着一股持续的政治反应势力。根据章程，村里的老兵协会负责管理纪念碑以及照顾那些遗属。但大多数时候，他们只是坐在一起喝酒。在仅仅是Kiffhoyzer联盟中，就有29,000个协会，总共有200万名成员。这个联盟是为了纪念皇帝巴巴罗萨成立的，传说他在Therindian山脉的一座山洞中沉睡。这些老兵协会就像是失败的友好回响。他们试图通过慷慨激昂的演讲来克服创伤，并恢复一种荣誉感。
▶ 英文原文 ⏱
Here in this militant conviviality, even in the relatively good humid and prosperous years of the Republic, there was a constant reservoir of political reaction. In accordance with their statutes, the veterans' associations in the villages looked after monuments and the welfare of those left behind. But mostly they just sat together and drank. There were 29,000 associations with a total of 2 million members in the Kiffhoyzer League alone. Established in honour of the Emperor Barbarossa, who legend had it, was sleeping in a cave in the Therindian Mountains. The veterans' associations were a convivial echo of defeat. They tried to overcome the trauma and reinstate a sense of honour with big speeches.
女性甚至活跃于一些退伍军人协会。她们的职责是缝制协会之间互换的无数旗帜，并编织花环。如果这些工作还不能满足她们，她们还可以加入德国妇女委员会中的祖国妇女联盟，该委员会与其他52个妇女组织一起反对《凡尔赛条约》及其“战争责任条款”。当然，犹太裔退伍军人也希望保留战争的怀旧记忆。
▶ 英文原文 ⏱
Women were even active in some veteran's associations. Their duties were to sow the countless lines of bunting that the associations exchanged with one another, and the weaving of wreaths. If that was not enough for these women and they wanted to have their own say, they could join the Fatherland Women's Union, which was in turn involved with 52 other women's associations in the German Women's Committee for the Struggle Against the War Guild to Lie, in opposition to the Versailles Treaty and its War Guild Clause. Naturally enough, Jewish war veterans also wanted to keep the sentimental memory of the war alive.
反犹主义的抬头进一步坚定了他们的愿望，希望能够保留对其勇气的认可以及对牺牲战友的记忆。由于被许多老兵协会排除在外，他们聚集在一起成立了犹太前线士兵帝国联盟，当时大约有一半幸存的犹太士兵都是该组织的成员。这个联盟一度拥有超过5万名成员，成为魏玛共和国时期最强大的犹太组织。它为一个其实非常明显的目标而奋斗，即承认犹太人是德国社会的一部分。根据其章程，犹太前线士兵帝国联盟认为其工作的基础在于对德国家园的全心投入。
▶ 英文原文 ⏱
The rise in anti-Semitism reinforced their desire to preserve the recognition of their courage and the memory of their fallen comrades. Excluded from many veterans' associations, they came together in the Reich League of Jewish Frontline Soldiers, of which around half of all surviving Jewish soldiers were members. For a time, the Reich League had more than 50,000 members, making it the strongest Jewish organization in the Weimar Republic. It fought for something that was actually quite obvious, the recognition of Jews as part of German society. In their statutes, it said, the Reich League of Jewish Frontline Soldiers sees the basis of its work as lying in total commitment to the German homeland.
它没有其他目标和理想，除了这个德意志家园，并且强烈抵制任何将我们德意志犹太人从这个家园中疏离的努力。在这些充满政治决心的党派战斗单位中，一些人找到了超出消遣意义的活跃方式。下班后，他们参与了内战或者至少是为此做准备。他们接受了攻防两方面的训练，与激进的党派一样，忠于共和国的SPD，DDP，德国民主党和中央党也有自己的Reichs Banner Rot-Gold（帝国红金旗帜）组织，该组织将充满酒兴的社交聚会与鲜明的战斗风格结合在一起。鉴于左右两派的战斗性不断增强，共和国很庆幸能够有这150万名成员站在自己一边。然而，极端主义战斗单位的暴力意味着共和的Reichs Banner Rot-Gold被边缘化了。即便在1932年后，它的成员人数是Stahlhelm（钢盔）、SA（冲锋队）、Rote Frontkämpferbund（红色战斗联盟）总和的三倍。
▶ 英文原文 ⏱
It has no goal and no aspiration outside of this German homeland and most strongly resists any efforts to strange us German Jews from this German homeland. In the combat units of the political parties determined characters found an activity that went beyond the harmless understanding of the term leisure. After work, they engaged in civil war, or at least in preparations for it. They were trained in both attack and defense, as well as the radical parties those loyal to the Republic, the SPD, the DDP, German Democratic Party and the Center had their own Reichs Banachvaz-Rod gold, Black Red Gold, Banner of the Reich, organization, which combined bibulous conviviality with a distinctly combative approach. Given the growing militancy on both left and right, it was clear that the Republic could consider itself lucky to have these 1.5 million members on its side. The brutality of the extremist combat units, however, meant that the Republican Reichs Banachvaz-Rod gold was pushed very much to the edge. Even though after 1932, it had three times as many members as Stalhelm, Stil Helmut, the SA, Storm-Abtailung, Stormtroopers and Rode-Frant Kemfabund, Red Front Combat League, combined.
尽管这个共和国最终还是失败了，但从事后来看，它的防御能力比想象中要强得多。国旗的祝圣、火炬游行和严格分级的行进展示是“国旗营”（Reichbanner）最喜欢的活动，但他们最重视的还是在各类庆典上反复强调愿意为保卫共和国付出最后一滴血。事实上，在共和国的最后五年中，有超过100名“国旗营”成员失去了生命，大多是在与比1918年战败的前辈更具战斗力和决心的激进青年对抗的过程中牺牲的，这些青年想要消除笼罩整个国家的耻辱。这极右势力中萌发了基层士兵小说的种子，这些小说成为了年轻人最爱的读物。再加上激励青年运动的救赎期望，形成了一种极具爆炸性的混合物。大约四百五十万名年轻人通过各种青年团体联合起来，无论是童子军、范德富格尔组织、徒步旅行者协会，还是天主教学生的Quickborn青年运动。
▶ 英文原文 ⏱
The Republic, even though it finally succumbed, was better equipped to defend itself than it might have seemed in retrospect. Flag consecrations, torch processions and strictly graded march-passes were the favorite pass-times of the Reichbanner, but above all they enjoyed holding celebrations at which it was repeatedly emphasized that they were willing to defend the Republic to the last drop of blood. In fact, more than 100 members of the Reichbanner would lose their lives in the last five years of the Republic, mostly fighting a militant youth who outdid their fathers defeated in 1918 in fighting power and determination, and who wanted to undo the ignomony that in their eyes afflicted the whole nation. It was here on the extreme right that the seeds of the front-line soldier novels that had become the favorite reading matter among young men sprang into life. Along with the expectations of salvation that had inspired the rhetoric of the youth movement, this produced an explosive mixture. Four and a half million young people had joined forces in an association of youth groups, whether scouts, van der Fueger, the Heikers Association, or the Quickborn Youth Movement of Catholic Students.
他们那些迷恋年轻的领导者给他们灌输了强烈的自我意识和使命感，以至于他们感到自己可以与任何人媲美。他们一致认为新拯救者一定是从他们中间出来的。许多人将自己视为青年运动传单中预言的白衣骑士。在那些传单中，他们被称颂为高贵的灵魂和身体，对死亡忠诚，能以美丽照亮最污秽的角落，并且在分享足够粮食的同时能够胜任任何角色，与人民融合为一体，同时又具备领袖魅力，骄傲地戴着闪亮的钢盔，同时谦逊地在祈祷时脱下头盔。这个充斥着崇拜年轻和救世幻想的文化逐渐演变为一场幻想中所谓的“新人类”运动，声称其将会彻底抛弃充满矛盾的文化生活。在20世纪20年代后期，这个被认为具有救赎性质的青年崇拜变得更加激进，受到当时政治边缘浓厚气氛的影响，似乎终于到了这些准备了很久对抗任何敌人的年轻英雄大显身手的时刻。
▶ 英文原文 ⏱
Their youth-obsessed leaders pumped them up with such a sense of self and mission that they felt they were a match for anyone. The new saviour was bound to come from their ranks, on that much they could agree. Many saw themselves as the white knights predicted in the youth movement's pamphlets. They were celebrated there as, I quote, noble bodies and souls loyal to death, illuminating the filthiest crannies with beauty and well enough bread to occupy any role, merged in comradeship with the people while at the same time captivating leader figures, proud in the handsome steel helmet and humble with a helmet doft in prayer. A pedarastic cult of youth mingled with saviour fantasies into one more fantasmagorical variation of the new man, which would supposedly leave an insanely torn cultural life far behind. In the late 1920s, this supposedly redemptive youth cult became even more militant, inspired by the heated mood on the political fringes the time seemed slowly to be arriving for the young heroes who had been preparing for struggle for so long against whomever.
准军事主义几乎存在于每一个社会环境中，受到各种信念的启发。天主教徒有他们的温特拉斯联盟，国家自由主义者有青年德国军团，共产主义者有他们的红色阵线战斗联盟，而国家社会主义德国工人党（纳粹党）则有冲锋队（SA），这是政治暴力令人厌恶的顶点。对于历史学家如文雷查德来说，军事化的阵型是一种不分党派的魏玛共和国现象。整齐划一的身体运动所带来的吸引力体现在各个政治派别的游行示威风格中。新的集会形式，包括行进和仪式、制服和旗帜、象征和仪式化的问候等，以一种风格化的团结与斗争剧目的形式，在不同的社会环境中得到了表达。
▶ 英文原文 ⏱
Parameleteurism existed in almost every milieu, inspired by a great variety of convictions. The Catholics had their Vintrast League, the National Liberals, the Young German Order, the Communists, their Red Front Combat League and the NSDAP, their SA, the repellent culmination of political violence. For the historians, Venrechard, the martial battle formation is a non-partisan phenomenon of the Vima Republic. The fascination of homogenized physical movements expressed in the discipline of the close formation march rubbed off on demonstration styles of every political colour. The new style of assembly with marching and ceremony, uniform and flag, symbol and ritualized greeting was articulated in a great variety of milieu's as a stylized drama of unity and struggle.
在作战部队的几何阵列中，年轻人感受到的力量汇聚成一个可以在命令下释放暴力的集体。冲锋队（SA）对此感到非常自豪。国家社会主义的宣传画总是将他们描绘得干净利落、轮廓分明、肩膀宽阔，穿着完美合身的制服，而把对手描绘成胡子拉碴、背部佝偻、面目狰狞的人。类似的刻板印象也出现在左翼的宣传中，但右翼的版本在视觉上更为成熟和广泛流传。
▶ 英文原文 ⏱
In the geometrical order of the combat troops, the power that the young men felt within them multiplied into a collective body whose violence could be unleashed on command. The SA were infinitely pleased with themselves. The National Socialist propaganda illustrations always show them as clean shaven, chiseled, broad-shouldered, in impeccably fitting uniforms and their opponents as unshaven, bent-backed and with brutal, thuggish features. Similar cliches, although in reverse, appeared in left-wing propaganda, but the right-wing version was visually more well-established.
在国家社会主义的自我形象中，三种刻板印象交织在一起，形成了战斗联盟：一战中精力充沛的前线战士、田园浪漫主义中的金发移民，以及身体健壮的雅利安人。从1930年开始，当风暴的乌云再次出现在地平线上时，许多来自年轻一代的激进士兵感到，在经济缓慢增长的那些年里，他们与共和国之间脆弱的和平只是战斗中的一次暂停。他们将自己视为守候在市民客厅中的战士，随时准备再次排成精英的行列。
▶ 英文原文 ⏱
In the National Socialist self-image, three stereotypes came together in the combat leagues. The vigorous frontline fighter of the World War, the wheat-blonde settler of agrarian romanticism and the physically consecrated Aryan. From 1930 when the storm clouds once again appeared on the horizon, many radicals from the young generation of soldiers who had made their fragile peace with the Republic in the years of slow economic growth felt that the period had only been a break in the fighting. They saw themselves as warriors camped in bourgeois sitting rooms, ready at any moment to line up once more in the ranks of the elect.
即使是那些年轻到为错过参与世界大战而感到遗憾的人，在经济危机期间将内战般的紧张局势视为证明自己的机会。他们决心在这方面做得比他们的父辈更好。实际上，年轻人冷酷的战斗精神与长辈们充满感情的战争游戏几乎毫无共同之处。大多数被组织成战斗单位的年轻人对那些阵亡士兵的形式化纪念和国庆阅兵式只不过是嘲讽罢了。他们对于这种传统感到不屑一顾。
▶ 英文原文 ⏱
And even younger ones who were mad enough to regret that they had not been able to take part in the World War saw the civil war-like tensions during the economic crisis as a chance to prove themselves. They were determined to make a better go of it than their fathers had done. In fact, the cold militancy of the young had hardly anything in common with the sentimental war games of their elders. Most of the young men who were organized into combat units had nothing but mockery for the largely ritualized commemoration of the fallen and the ponderous parades on the feast days of the fatherland.
没有哪个步枪俱乐部的派对、消防员舞会或城市庆典不是由那些最胖的老家伙们穿上制服展示给他们惊讶的妻子看。在那里，你可以变得秃头，家务活被抛诸脑后，然后就像过去的日子一样了。多年来，年轻人为了躲避这种沉闷的市侩场景，纷纷逃往树林，加入主张回归田园生活的农业阿尔塔曼联盟，这个运动最终被纳粹党吸收用来帮助收获。他们在篝火旁寻找消散家庭琐事阴霾的集体体验。
▶ 英文原文 ⏱
No rifle club party, no fireman's ball, no city jubilee to which the fattest old codger doesn't cram his belly into his uniform before the eyes of his astonished wife. You can get bald out there, domestic duties are forgotten and off it goes like in the olden days. For years young people had fled to the woods to avoid such stuffy bourgeois scenes, escaped to the countryside with the agrarian artaman league, a back-to-the-land movement eventually absorbed by the Nazi party to help with the harvest and sought communal experiences by the campfire that dispelled the domestic fog.
随着危机的加剧，侮辱也更多，而徒步活动变得更加反抗。徒步和漫游时，我们应该感受包围我们的空间，并用呼吸来表达感谢，这是老一辈的范德弗格精神所倡导的。徒步旨在与自然和谐相处，但这种和谐的追求被与行军相关的侵略性空间征服所取代。因此，即使是那些富有理想主义色彩的范德弗格，也被卷入了一个许多不同政治趋势都遵循的好战崇拜的漩涡中，尽管这些趋势彼此之间可能是对立的。
▶ 英文原文 ⏱
But the insults grew as the crisis worsened and the hiking became more defiant. In hiking and wandering you should carry and feel the space that encloses you and thank it with your breath, the old spirit of the van der Fueger recommended. Hiking with its aspiration to harmony with nature made way for the aggressive conquest of space associated with marching. Consequently even the dreamy idealistic van der Fueger were caught up in the maelstrom of a warrior cult to which many different political trends adhered, however antagonistic they might have been to one another.
在1920年代，身体崇拜的文化通过编排大规模的体验，转变为一种更强烈的自我陶醉。就像一群年轻女舞者融为一个旋转的整体毛虫一样，作战部队也将成员同步化，形成一个比个体之和更强大的队伍。这些年轻人组合成一个整体时，似乎刀枪不入，成为一个多足的战斗机器，用靴子在石板路上行进。许多人被那些将仇恨视为政治纲领的组织所吸引。
▶ 英文原文 ⏱
For the cult of the body in the 1920s choreographed mass experience turned into a more intense form of self intoxication. Just as the troops of girl dancers amalgamated themselves into a single lead twirling millipede combat units also synchronized their members into a formation that was more than the sum of its individual parts. These young men were apparently invulnerable when assembled into a single body a many legged fighting machine they marched on the cobbles with their boots. Many were enticed by organizations that had made hatred their political program.
最具毁灭性的、无节制的暴力是由反犹太主义引发的。《攻击》是柏林国家社会主义德国工人党(NSDAP)的一份报纸的名称。编辑是F. Gerberts。
▶ 英文原文 ⏱
The most devastatingly unbridled violence was unleashed by anti-Semitism. Der Ungreff the attack was the name given to the newspaper of the Berlin NSDAP. The editor was one yours F. Gerberts.