在平面設(shè)計(jì)史上重新學(xué)習(xí)后現(xiàn)代主義20世紀(jì)60年代末的設(shè)計(jì)期刊的文本分析解疑外文翻譯

本科生畢業(yè)設(shè)計(jì)（論文）外文翻譯Re-LearningPostmodernismintheHistoryofGraphicDesign:A(Con)TextualAnalysisofDesignJournalintheLate1960sJuliaMoszkowiczThisarticleprovidesahistoricalunderstandingofthetermpostmodernism,inlightofitsusebymembersoftheBritishdesigncommunityinthelate1960s.ItoffersclosetextualanalysisofthejournalDesigninthisperiod,onerevealinggenuineconcernforthefutureofBritishdesigncultureandthepotentialofgraphicdesigntomakeasignificantcontributionwithinit.Oftenexploredwithadegreeoftrepidation,topicsfordiscussionincludethevolatilityofmarketsandtheexpendablenatureofcontemporaryproductcycles.Thisarticleaugmentsexistinghistoriesofgraphicdesign,wheretheterm‘postmodern’hasbeencommonlyassociatedwithadistinctvisualstyleandcreativemethodology.Withinsuchhistories,postmodernismisdiscussedintermsofmulti-layeredartefactswithplayfulvisualsurfacesthatarefrequentlyalignedwith‘newthinking’inBritainandAmericafromthe1980sonwards.Thisarticleservesasareminderthat,contrarytotheformalistandtheoreticalconcernsoftheseaccounts,theterm‘postmoderngraphicdesign’encompassesanearlierperiodandawiderrangeoforiginalconcerns.Postmodernismemergesasatermthat,contrarytodominanthistories,describesanapproachthatisfullyimbricatedwithinthefabricofsocio-economiclife(andasearlyas1968).Keywords:1960s;graphicdesign;postmoderndesignIncontemporaryhistoriesofgraphicdesign,postmodernismiscommonlyassociatedwithadistinctvisualstyleandcreativemethodology.Itisfrequentlyidentified,forexample,withamulti-layeredandplayfulvisualsurface,whichischaracterizedbyaco-minglingofimageandtext.InNoMoreRules:GraphicDesignandPostmodernism,RickPoynordelineatesatermthatisboththeoreticalandstyleconscious.StartingwithPunkand‘newwave’tendenciesinthe1970s,hegoesontodescribehowthosewhousedtheterm‘eagerly’inthe1980sand1990swerepredominantlyAmerican.Whencontemplatingtheintellectualmotivationsofsuchexponents,heproposesthat:‘Manyotherswouldrejectthetermvehemently，graphicdesignasaprofessionhaslonghadanaversiontotheoryandmanyofthekeypostmodernisttextsarehighlydemanding,evenforthosewhopossessabasicsympathyfortheirarguments.’Withinsuchhistories,postmoderngraphicdesignischaracterizedasanintellectualapproachtomaking,whichisoftendesignatedbytheterm‘newthinking’.Itisstronglyaligned,forexample,withtheformalandintellectualexperimentsthattookplaceintheDepartmentof2-DimensionalDesignatCranbrookAcademyofArtintheUnitedStatesinthe1980s.Indeed,formany,theworkofCranbrookhasbecomesynonymouswiththekeyelementsofpostmoderngraphicdesigninitsdeploymentofadistinctvisualstylealongwithanintellectualrhetoric.JefferyKeedy,anAmericangraphicdesignerandCranbrookalumnus,summarizesthisviewasfollows:‘Postmodernismdidn’thavemuchimpactongraphicdesignuntilthemiddleofthe1980s.Initially,manydesignersthoughitwasjustundisciplinedself-indulgence.Ahodgepodgeofstyles,withnounifyingidealsorformalvocabularies,dreamedupbystudentsinthenewgraduateprograms.’Thisarticleaimstosupplementthisdominantviewonpostmoderngraphicdesignwithanalternativeperspective,advancingadefinitionofpostmodernismthatishistoricallysituatedatanearlierpointintheterm’sevolution.ThemaintaskofthisarticleistodemonstratehowaBritishpublicationmakesasignificantandearlycontributiontothedebatearoundpostmodernismandgraphicdesignand,inparticular,identifiesanimportantroleforvisualdesignpracticeswithinawiderandunsettleddiscursivecontext.Theterm‘postmodern’emergeswithindiscussionsofsocialandeconomicchangeinthejournalDesigninthelate1960s,whicharticulatesaprecisebutover-lookedsetofconnotationsfortheterm.Whilethecontributionofthisjournaltothediscourseonpostmodernismhasbeenacknowledgedinearlieraccounts,thecitationshavebeenbriefandlackingindetailwithregardtopostmodernism’sprecisehistoricaluse.AclosereadingofeditorialfeaturesinDesignrevealsastronginterestinthechangingsignificanceof(whatthejournalpreferstocall)‘ephemeralgraphics’,identifyingaclearroleforgraphicdesignwithinthewiderfieldof(whatittendstoframeas)‘Post-Modern’industrialdesign.Whilethejournalcoverstheideaofdesigninitsbroadestsense,graphicdesignemergesasarecurrentandhistoricallysensitivethemeinitsgeneraldiscussionofsocialandeconomictransformation.Inadditiontothis,itisapparentthatDesignwasinthelate1960sasignificantpublic-cationwithinthefieldofgraphicdesign,particularlyinitscommitmenttooffercommentaryfromanindustrial(asopposedtoanaesthetic)perspective.Otherindustry-basedjournalssuchasIcographic,BlueprintandEyewereyettoemergeontoavibrantpublishingscene.Infact,theonlypublicationtocompetewithDesigninthisperiodwasGraphis.Thiswas(andcontinuestobe)aninternationaljournal,foundedinSwitzerlandtopromoteaninternationalistperspectiveon‘visualcommunication’.Althoughitpaysseriousattentiontographicdesignasadiscipline,Graphistendstofocusontheindividualtalentsofnamedartistsandillustrators(ratherthantheprofes-sorhimself),identifyingtheirinfluentialcontributionwithinafieldthatiscloselyalignedtoFineArt.Assuch,screenprinting,posterdesignandotherformsofillustrationalworktendtoformthefocalpointofGraphis;primarily,itisapublicationthatisconcernedwiththe‘graphicarts’.ThissuggeststhatDesignwasuniquelypositionedtocommentongraphicdesignpracticesinthelate1960s.DesignwaspublishedbyTheCouncilofIndustrialDesignin1949,withthepurposeof‘influencing’and‘informing’professionaldesigners,businessmanagers,buyersandeducatorsabouttheproductsofBritishindustry.Thejournalwaspublisheduntilthelate1990sandwaswidelyrecognizedasanadvocateforBritishdesign.In1972,thepublicationfellundertheauspicesofthenewlyconstitutedDesignCouncil,andthejournal’seditor,CorinHughes-Stanton,negotiatedthisperiodoftransition.Hughes-StantonremainedatthehelmofDesignuntil1974,anditishisleadercommentsandeditorialfeaturesthatcompriseacentralconsiderationofthisarticle.AsanindividualappointedbyTheCouncilofIndustrialDesigntotakechargeofthissignificantpublishingventure,hiseditorialcontributioncanbeviewedasrepresentativeofthiscommunity;thatistosay,ofitsthinkingtowardssignificantdevelopmentsincontemporarydesignculture.Asindicatedabove,oneofthedevelopmentsrecognizedbythejournalistheincreasinguseof(andperceivednecessityfor)graphictechniqueswithintheoverallindustrialdesignprocess.Thisheightenedandstrategicvalueofgraphicdesigninthepost-warperiodisidentifiedasbothsignandsymptomofwidersocialandeconomicchange—thisshifttopostmodernism,ifyouwill—bythewritersatdesigninthelate1960s.Adiscussionof‘Post-Modernism’inDesignIn1982,FredericJamesonoutlinedanunderstandingofpostmodernismasbothanaestheticmovementandperiodicalconcept,placing‘thenewformalfeatures’ofthisstyleinstarkcontrasttothoseoftheModernmovement.Jamesondescribesatendencytoincorporate‘low’and‘high’culturalformswithinthesameobject.ForJameson,theemergingpracticeswithinartanddesignofthelateseventiesandearlyeightiesareexpressionsoftwohistoricallydistinctfeaturesofthisera:pasticheandschizophrenia.Theseareassertedastwoofthe‘truths’ofthislatecapitalistperiod.Pasticheinvolvesreinventingthe‘feel,shapeandcharacter’ofthepast;thatistosay,itdescribesanapproximationofoldobjectswithinnewones.Heexplainsthat‘schizophrenicexperienceisanexperienceofisolated,disconnected,dis-continuousmaterialsignalwhichfailtolinkupintoacoherentsequence.’Otherwritersinthefieldofpostmoderntheoryhaveconcurredwiththisformalistviewofpostmoderneclecticism,discussinghowchangesinculturalartefactsreflectchangesinthesocio-economiccontext.WhileJamesonspeaksofhistoricaltransformation,thecriticAndreasHuyssen,incontrast,arguesforcontinuityofexperienceacrossaModern-Postmodernframeofreference.Hestatesthat:Idonotquestionthatthetheoreticaldiscourseofthe1970shashadbothapro-foundimpactontheworkofaconsiderablenumberofartistsinbothEuropeandtheUnitedStates.WhatIdoquestion,however,isthewayinwhichthisimpactisautomaticallyevaluatedintheUSaspostmodernandthussuckedintotheorbitofakindofcriticaldiscoursethatemphasizesradicalruptureanddiscontinuity.Arguably,itisHuyssen’scritiquethatoffersinsightintothewaypostmodernismhasbeenrecentlyunderstoodwithinthefieldofgraphicdesign.Thisideathatpostmodernismisalwaysalreadyaradicaltransformationfromthepastisstronglyreminiscentofcontemporaryreadings,whichhavetendedtoconatepostmodernismwithanideaof‘radicalrupture’takenfromModernistprinciplesofdesign.‘Post-Modern’designasdesigningforgoodbusinessPostmodernismthereforeemergesfromthisclosetextualanalysisasarecognizedandnominatedmovementwithinthedesigncommunityof1960sBritain,onethatisperceivedtobeactiveinthefieldofgraphicdesign(ifyetrecognized)alongsidethefieldofarchitecture.IntheApril1968issueofDesign,Hughes-Stantonreectsfurtheroncontemporarydevelopmentsintheculturalandeconomicsphere.Inhisleadercolumn,hecommentsonthegrowingnumberofbusinessamalgamsandmergers,producing‘newgiantcorporations’.Intheprocessheasks,willthesenewcompaniesgeneratemoreopportunitiesfordesigners?Thinkingaboutthosedesignerswhoworkon‘thelookofthings’,Hughes-StantonobserveshowthelargenumberofindustrialtakeoversinstillsagrowingneedfordistinctandorenhancedvisualidentitiesforBritishindus-triesabroad.AmplifyingHeyes’observationsonagrowingexportculture,Hughes-Stantonassertsanadditionalfeatureofvisualdesignintheindustrialeld,whichisnotonlyconceivedindirectrelationtodomesticaudiences(suchasthoseonCarnabyStreet)butalsoindirectcommunicationwithagrowinginternationalmarketplace.Image,hesuggests,hasbecomeacentralconcernforthesenewconglomerates.Thisshifttointernationalization,heargues,willbringmoreattentionto,anddemandfor,thepromotionalskillsofgraphicdesigners.Indeed,thelatterareseenaskeyplayerswithinthesemostrecentofeconomicdevelopments.ConclusionThisarticlehasprovidedanhistoricalreadingoftheterm‘postmodern’inlightofitsusebyinmembersoftheBritishdesigncommunityinthelate1960s.ThroughclosetextualanalysisofDesign,theheightenedandstrategicvalueofgraphicdesigninthepost-warperioddemonstrated.Inparticular,theworkofgraphicdesignerswasfullyimplicatedassignandsymptomofpostmodernismin1960sBritain;itwasperceivedasmakingadistinctcontributiontothefieldofpopularcultureandeconomicgrowth.GraphicdesignpracticewasseenascentraltoBritain’sfutureandcelebratedforitsdirectengagementwithdomesticaudiencesandmanufacturersabroad.WhileitsnewformsandapproachesworkedinparallelwithPop,itacquiredaspecialcorrespondingtothesocial-economicsphere.在平面設(shè)計(jì)史上重新學(xué)習(xí)后現(xiàn)代主義:20世紀(jì)60年代末的設(shè)計(jì)期刊的文本分析朱莉亞本文提供了對(duì)后現(xiàn)代主義這個(gè)詞的歷史理解，因?yàn)樗窃?0世紀(jì)60年代末由英國(guó)設(shè)計(jì)團(tuán)體的成員使用的。它對(duì)這一時(shí)期的期刊設(shè)計(jì)提供了詳盡的文本分析，對(duì)英國(guó)未來的設(shè)計(jì)文化和圖形設(shè)計(jì)的潛力真正關(guān)心的一個(gè)問題是，在它的內(nèi)部做出一個(gè)明顯的貢獻(xiàn)。經(jīng)常被探索的程度，討論的主題包括市場(chǎng)的波動(dòng)和當(dāng)代產(chǎn)品周期的消耗性。本文增加了平面設(shè)計(jì)的歷史，“后現(xiàn)代”一詞通常與獨(dú)特的視覺風(fēng)格和創(chuàng)造性方法相聯(lián)系。在這樣的歷史，后現(xiàn)代主義是用多層的人工制品來討論的，它帶有有趣的視覺表面，在英國(guó)和美國(guó)從上世紀(jì)80年代起就經(jīng)常與“新思維”保持一致。這篇文章提醒我們，與這些說法的形式主義和理論問題相反，“后現(xiàn)代平面設(shè)計(jì)”一詞包含了更早的時(shí)期和更廣泛的原始關(guān)注點(diǎn)。后現(xiàn)代主義是一個(gè)術(shù)語，占主導(dǎo)地位的歷史，描述一種在社會(huì)經(jīng)濟(jì)生活的結(jié)構(gòu)中完全被灌輸?shù)姆椒ǎㄔ缭?968年）。關(guān)鍵詞：1960；平面設(shè)計(jì)；后現(xiàn)代設(shè)計(jì)在當(dāng)代平面設(shè)計(jì)的歷史中，后現(xiàn)代主義通常與鮮明的視覺風(fēng)格和創(chuàng)造性的方法論相聯(lián)系。例如，它通常具有多層和有趣的視覺表面，其特征是圖像和文本的混合。在沒有更多的規(guī)則：平面設(shè)計(jì)和后現(xiàn)代主義，他描繪了一個(gè)既理論和風(fēng)格意識(shí)的術(shù)語。從20世紀(jì)70年代的朋克和“新浪潮”開始，他繼續(xù)描述上世紀(jì)80年代和90年代“熱心”這個(gè)詞的人主要是美國(guó)人。在考慮這些指數(shù)的智力動(dòng)機(jī)時(shí)，他提出：“許多人會(huì)強(qiáng)烈反對(duì)這個(gè)詞”平面設(shè)計(jì)作為一種職業(yè)，長(zhǎng)期以來一直厭惡理論，許多重要的后現(xiàn)代主義文本都是高度需求的，甚至對(duì)那些對(duì)他們的論點(diǎn)有基本同情的人也是如此。在這樣的歷史中，后現(xiàn)代平面設(shè)計(jì)被認(rèn)為是一種思維方式，它通常被稱為“新思維”。例如，它與20世紀(jì)80年代在美國(guó)克蘭布魯克藝術(shù)學(xué)院二維設(shè)計(jì)部門進(jìn)行的正式和智力的實(shí)驗(yàn)是一致的。的確，對(duì)于許多人來說，克蘭溪的作品已經(jīng)成為后現(xiàn)代平面設(shè)計(jì)的關(guān)鍵元素，在其運(yùn)用一種獨(dú)特的視覺風(fēng)格和一種智慧的修辭。杰弗里·基迪是美國(guó)平面設(shè)計(jì)師，也是克蘭布魯克的畢業(yè)生。他總結(jié)了如下觀點(diǎn)：“后現(xiàn)代主義對(duì)平面設(shè)計(jì)的影響直到20世紀(jì)80年代中期才開始顯現(xiàn)。”最初，許多設(shè)計(jì)師只是不自律的自我放縱。一種風(fēng)格的大雜燴，沒有統(tǒng)一的理想或正式的詞匯，在新的研究生項(xiàng)目中被學(xué)生們?cè)O(shè)想出來。這篇文章旨在用另一種觀點(diǎn)來補(bǔ)充后現(xiàn)代平面設(shè)計(jì)的主流觀點(diǎn)，提出了一種后現(xiàn)代主義的定義，這一定義在歷史上處于進(jìn)化的早期階段。這篇文章的主要任務(wù)是展示英國(guó)的出版物如何在后現(xiàn)代主義和平面設(shè)計(jì)的爭(zhēng)論中做出一個(gè)明確的、早期的貢獻(xiàn)，尤其是在更廣泛和不確定的散漫的語境中，對(duì)視覺設(shè)計(jì)實(shí)踐的重要作用?！昂蟋F(xiàn)代”一詞出現(xiàn)在20世紀(jì)60年代末的《設(shè)計(jì)》雜志的社會(huì)和經(jīng)濟(jì)變革的討論中，這篇文章闡明了這個(gè)詞的確切含義。雖然這篇期刊對(duì)后現(xiàn)代主義話語的貢獻(xiàn)在早期的記述中得到了承認(rèn)，但在后現(xiàn)代主義的精確歷史使用方面，引文一直很簡(jiǎn)短，缺乏細(xì)節(jié)。在《設(shè)計(jì)》雜志的編輯功能的仔細(xì)閱讀中，顯示出了對(duì)變化的信號(hào)的強(qiáng)烈興趣（《華爾街日?qǐng)?bào)》更喜歡稱之為“短暫的圖形”），在更廣泛的領(lǐng)域（它傾向于將其作為“后現(xiàn)代”的工業(yè)設(shè)計(jì)），在平面設(shè)計(jì)中扮演了一個(gè)清晰的角色。雖然《華爾街日?qǐng)?bào)》在其最廣泛的意義上涵蓋了設(shè)計(jì)理念，但平面設(shè)計(jì)在社會(huì)和經(jīng)濟(jì)轉(zhuǎn)型的一般性討論中，卻成為一個(gè)反復(fù)出現(xiàn)且具有歷史意義的主題。除此之外，很明顯，設(shè)計(jì)是在20世紀(jì)60年代后期，在平面設(shè)計(jì)的領(lǐng)域內(nèi)，一個(gè)標(biāo)志不能出版，特別是在其承諾提供從工業(yè)（而非美學(xué)）角度的評(píng)論。赫伯特·斯賓塞的著名的印刷字體，在其他作品中，已經(jīng)注意到印刷的藝術(shù)品和他們的個(gè)體生產(chǎn)者，但在1967年停止出版。其他基于行業(yè)的期刊，如圖標(biāo)和眼睛還沒有出現(xiàn)在一個(gè)充滿活力的出版場(chǎng)景中。事實(shí)上，這一時(shí)期唯一與設(shè)計(jì)競(jìng)爭(zhēng)的出版物是文字衣屬。這是（并將繼續(xù)）一份國(guó)際期刊，在瑞士成立，以促進(jìn)國(guó)際主義者對(duì)“視覺傳達(dá)”的觀點(diǎn)。盡管它重視圖形設(shè)計(jì)作為一門學(xué)科，但它傾向于專注于指定藝術(shù)家和插圖畫家的個(gè)人天賦（而不是其本身），在一個(gè)與美術(shù)密切相關(guān)的領(lǐng)域中發(fā)現(xiàn)他們的貢獻(xiàn)。因此，屏幕印刷、招貼設(shè)計(jì)和其他形式的插畫作品往往形成了文字衣屬的焦點(diǎn)；首先，它是一種與“平面藝術(shù)”相結(jié)合的出版物。這表明，設(shè)計(jì)在20世紀(jì)60年代后期對(duì)圖形設(shè)計(jì)實(shí)踐的評(píng)論是獨(dú)一無二的。設(shè)計(jì)是由工業(yè)設(shè)計(jì)委員會(huì)于1949年出版的，其內(nèi)容是“在會(huì)議上”和“通知”專業(yè)設(shè)計(jì)師、業(yè)務(wù)經(jīng)理、采購人員和教育工作者關(guān)于英國(guó)工業(yè)產(chǎn)品的信息?！度A爾街日?qǐng)?bào)》直到上世紀(jì)90年代末才出版，被廣泛認(rèn)為是英國(guó)設(shè)計(jì)的倡導(dǎo)者。1972年，該刊物在新成立的設(shè)計(jì)委員會(huì)的主持下，《華爾街日?qǐng)?bào)》的編輯科林?休斯－斯坦頓參與了這一過渡時(shí)期的談判。休斯－斯坦頓直到1974年一直是設(shè)計(jì)的舵手，他的領(lǐng)導(dǎo)和編輯的特點(diǎn)構(gòu)成了這篇文章的中心思想。作為由工業(yè)設(shè)計(jì)委員會(huì)委任的個(gè)人負(fù)責(zé)這一重大出版事業(yè)，他的編輯貢獻(xiàn)可以被看作是這個(gè)社區(qū)的代表；也就是說，它對(duì)符號(hào)的思考在當(dāng)代設(shè)計(jì)文化中是無法發(fā)展的。如上所述，《華爾街日?qǐng)?bào)》所承認(rèn)的一項(xiàng)發(fā)展是在整個(gè)工業(yè)設(shè)計(jì)過程中越來越多地使用（和認(rèn)為的必要）圖形技術(shù)。戰(zhàn)后時(shí)期平面設(shè)計(jì)的高度和戰(zhàn)略價(jià)值被認(rèn)為是更廣泛的社會(huì)和經(jīng)濟(jì)變革的標(biāo)志和征兆——這一轉(zhuǎn)變是后現(xiàn)代主義，如果你愿意的話——在20世紀(jì)60年代后期的設(shè)計(jì)中?！昂蟋F(xiàn)代主義”在設(shè)計(jì)中的探討1982年，弗雷德里克·詹姆遜概述了對(duì)后現(xiàn)代主義的理解，認(rèn)為它既是一種美學(xué)運(yùn)動(dòng)，也是一種周期化的概念，將這種風(fēng)格的“新形式特征”與現(xiàn)代運(yùn)動(dòng)形成了鮮明的對(duì)比。詹姆遜描述