书籍介绍
The author introduces the seminal concept of "pseudo-events"--such as press conferences and presidential debates, which are staged solely for publicity--and redefines celebrity as "a person who is known for his well-knownness." The result is an essential resource that distinguishes the deceptions of our culture from its few enduring truths.
AI导读
核心看点
- 首创伪事件概念，剖析媒体如何炮制新闻替代真实。
- 揭示图像革命，指出我们沉溺于幻象而非真实体验。
- 预言后真相时代，批判名人制造与消费社会的虚假。
适合谁读
- 传播学、社会学及文化研究领域的学生与学者。
- 对流行文化、媒体效应及社会心理感兴趣的读者。
- 希望提升媒介素养，在信息洪流中保持清醒的人。
读前提醒
- 成书于1962年，需结合当时媒介背景理解其前瞻性。
- 作者持保守立场，批判技术带来的异化，阅读时注意甄别。
- 书中概念如伪事件极具启发性，可结合当下热搜案例思考。
读者共识
- 出版六十余年后依然精准预言当下，具有极强现实意义。
- 启发了娱乐至死等经典，是理解现代媒介社会的必读之作。
- 深刻揭示人类自欺机制，帮助读者识破幻象，回归真实。
本导读基于书籍简介、目录、原文摘录、短评和书评生成，不等同于全文精读。
精彩摘录
- "我们制造、寻觅，最后享受一切造作的体验。我们用以填满自己生活的不是体验，而是体验的形象。最受欢迎的——最 “功能主义” 的——现代建筑并不一定最好住，但肯定最上相。 We make, we seek, and finally we enjoy, the contrivance of all experience. We fill our lives not with experience, but with the images of experience. The most popular—most “functional”—styles of modern architecture are"
- "我们不再简单地 “相信” 甚麽；相反，我们谈的是 “我们所持有的价值”。我们不能在闲下来的时候做些甚麽，我们必须把它当作 “兴趣” 来培养。我们不学习音乐或美术或文学；我们学的是音乐或美术或文学 “鉴赏”。我们不休息；我们 “寻求休闲”。 We do not simply “believe”; instead we talk of “the values we hold.” We cannot do something in our spare time, we must cultivate it as a “hobby.” We do not study music or art or li"
- "我们再也不工作；我们扮演角色。 We no longer do a job; we play a role."
- "图像革命赋予了我们能力，将所有体验都变成某种精神的口香糖，它们的甜味源源不断，带给我们被滋养的幻觉。 The Graphic Revolution has offered us the means of making all experience a form of mental chewing gum, which can be continually sweetened to give us the illusion that we are being nourished."
- "我们越来越习惯于用形象检验现实，而重新训练自己用现实检验形象则愈发困难。我们越来越难以控制自己的期待，越来越难以用体验来调整期待，相反，我们如今用期待来塑造体验。我们长久地役使着塑造 “现实” 的虚华伟力，要怎样才能重新发现未加矫饰的世界呢？ More and more accustomed to testing reality by the image, we will find it hard to retrain ourselves so we may once again test the image by reality. It becomes ever harder to mode"
- "我们最大的幻觉之一，就是对 “灵丹妙药” 的迷信。不存在这样的灵丹妙药，有的只是发现新事物的机会。 One of our grand illusions is the belief in a “cure.” There is no cure. There is only the opportunity for discovery."
- "必须先发现自己的幻觉，而后才能意识到我们此前一直在梦游。我们所能怀有的最高与最低的期望，就是每个人都能穿过我们终日生活其间却又知之甚少的形象丛林，重新发现梦想结束之地与幻觉开始之处。 We must discover our illusions before we can even realize that we have been sleepwalking. The least and the most we can hope for is that each of us may penetrate the unknown jungle of images in which we live "
- "这本书是梦境彼岸传达给我们的最清晰的信函。在这梦中，布尔斯廷看见我们漂泊无依，他恳求我们从这梦中醒来。 This book is one of the clearest missives we have from the other side of that dream. It was a dream into which Boorstin saw us drifting, and a dream from which he was imploring us to wake."
作者简介
丹尼尔·布尔斯廷
美国著名历史学家、社会学家、博物学家、普利策奖得主。曾长期担任美国国会图书馆馆长，一生著作20余部，被译为30多种语言。在半个世纪的写作生涯中，布尔斯廷涉猎广泛。其史学成就汇聚于“美国人三部曲”（《殖民地历程》《建国的历程》《民主的历程》）与“世界历史三部曲”（《发现者》《创造者》《探索者》）。其中，“美国人三部曲”分别获得班克罗夫特奖、帕克曼奖、普利策奖。
用户评论
An extremely perceptive book about the world we are currently faced with. A very suitable follow-up to read after Amusing Ourselves to Death - which will give you more in-depth elaboration on why the media around us and our ways of thinking is getting more and more superficial.
Very important book I read this year. Doors opened: structural anthropology, sociology, hyperreality, postmodernism
假作真时真亦假
Humans have fallen in love with the images we manufactured.
显而易见
上个世纪末的书依旧是当下的问题。如果说事件理论告诉我们如何解决问题，我们真正需要警惕的是伪事件的存在。在某种程度上，这是鲍德里亚的另一番论述，图像和虚拟在取代理念和实在。伪事件具有一种廉价的烂俗，它的触手可及是一种懒惰的惯性。我们爱上了这种超真实的感觉，以至于我们的后现代的存在从未发生过。
Discontent is the first step in the progress of a man or a nation
好了，Trump要下台了，媒体的红利时代也要降温了，新闻业的危机又来了。布尔斯廷诘问once again
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