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1、还没完成抬价，经济复苏就已开始。This absorbing study of the first collective of central bankers is provocative, not least because it is still relevant. Mr Ahamed, who was a World Bank economist and now manages investments in America, likens central bankers to Sisyphus. This was the man whom the gods condemned to ro

2、ll a large stone up a steep hill only for it to roll down again when it reached the peak. These great central bankers were so wedded to a dogma that they were incapable of imagining its failure. 这些对第一代央行总裁的研究是引人入胜而又惹人争议的，也不只是因为其内容和今日世界仍息息相关。曾任世银经济学家，而现在在美国以管理投资为业的艾哈迈德先生，将央行总裁比做是薛西佛斯。神话中，薛西佛斯被希腊神祉所诅咒

3、，必须不断将大石推上陡峭的山坡，而到达山顶时却又得任其滚回原地。这些央行的总裁被教条绑住以致于不能想象该教条也有失败的可能。Perhaps this kind of single-mindedness is endemic to central bankers; since the early 1990s the idea of controlling inflation at all costs has been so compelling that central bankers have ignored such unintended consequences as bubbles in

4、 the housing and stock markets. But these were big enough, when they burst, to trigger a worldwide slump. Not lords of finance surely; more like high priests. 也许这种专一的情结是央行总裁所特有的; 自1990年代初期以来，不计代价控制通胀的这种想法变得凌驾一切，以致于央行总裁忽略了像房市和股市泡沫这种意料之外的后果。但是这些泡沫是大到当其破灭时，可以导致全球的不景气。他们绝对不是金融的主宰，比较像笃信教义的大祭司。Culture on

5、television电视上的艺术The cruellest cut最粗鲁的裁汰Apr 8th 2010 | From The Economist print editionOne of Britains favourite cultural television shows gets the chop英国最受欢迎的文化类电视节目之一被裁南岸秀：最终裁汰THE “South Bank Show” has for years been almost the only serious regular culture programme on ITV, Britains main commercial

6、 broadcaster, the intellectual conscience of an increasingly tacky network. Now, after profiling artists of all persuasions for 32 years, it has been axed, and the pretence of intellectual respectability abandoned. In his new book Lord Bragg, the shows presenter, looks back at 25 of his subjects, we

7、aving excerpts from their interviews into fuller artistic portraits.“南岸秀”作为英国主要的商业广播机构ITV的一档固定节目，多年来一直秉承严肃的文化主题风格。在这么一个日渐俗套的电视网络中，它还留有知识分子的良知。32年来它描绘了持有各种信念的艺术家，现在，ITV将该节目连同它那受人尊敬的知识分子外衣，一并抛弃了。“南岸秀”的主持人Bragg阁下在他的新书中，回顾了他所做的其中25期节目，并力图从那些访谈摘录中编织出更加完整的艺术人像。The “South Bank Show” has been a long-running

8、 answer, indeed rebuke, to the hoary old question about the relative merits of John Keats and Bob Dylan. Its ethos has been that quality should be recognised in popular as well as elite culture, an approach that led to it being criticised as at once worthy and trivial. This collection, like the prog

9、rammes run, opens with Paul McCartney: “I led with McCartney”, Lord Bragg writes, “because I wanted to show I was serious.” Several of his interlocutorssuch as David Puttnam and David Hockneyare of his generation, and like him came from the British provinces to London in the 1960s and 1970s to explo

10、re and exploit “a new classless culture, sexy and delighted with itself”. “南岸秀”一直在回答（事实是在非难）约翰济慈和鲍勃迪伦孰优孰劣这个老调的问题。它的一贯主张就是节目品质既要为精英文化所接受，又应该被普罗大众所认知，这也使得人们批评它是“良莠并存”。这本汇编集和节目一样都是从保罗麦卡特尼开始的，“我之所以把麦卡特尼当做头条”Bragg阁下说道，“是因为我想向大家表明我严肃的态度。”他的一些访谈对象如大卫普特南和大卫霍克尼与他是同时代人，和他一样在1960和1970年代从英国其他省份来到伦敦，来探索开拓一种“新的性感

11、的自我愉悦的无阶级文化”。Probably the most affecting profiles, however, are of more exotic figures: Luciano Pavarotti （“He gives a good name to simple and spoiled”）, Rudolph Nureyev （“one of the most dramatic and unlikely personal journeys in art in the 20th century”）, and a twin depiction of Barry Humphries an

12、d Dame Edna that brilliantly draws out the co-dependency of comedian and character. The books many biographical curiositiessuch as the fact that Sir Harold Pinter once worked as a chucker-out at the Astoria ballroommake it an entertaining volume to dip into. But it also offers some cumulative lesson

13、s.最动人的艺术肖像，也许是那些更具异国情调的人：卢西亚诺 帕瓦罗蒂（他给“简单”和“过分”作出了优秀的定义），鲁道夫 纽瑞耶夫（20世纪艺术领域最具有戏剧性和最不可思议的个人历程之一），还有对巴里 汉弗莱斯和埃德娜女爵士几乎相同的描述，精辟地诠释了喜剧演员和戏剧角色之间的互相依存。本书收录了很多令人好奇的人物轶事例如哈罗德品特先生曾经在阿斯托利亚舞厅当保镖的一段经历令览阅时意趣盎然。不过它当然也提供了一些经验教训，令人开卷有益。One is about Lord Bragg. In Britain he is the target of much backbiting, often moti

14、vated by ill-disguised envy for his success and his sheer industry （he is a prolific writer and radio presenter, among other commitments）. Here he comes across as a lucid, supple and valuable analyst of many artistic genres and their varying different potential; he is good on the relative merits of

15、television and film, for example, and on the alchemy of acting. He is a fine reader of faces, and a useful tutor in the craft of interviews: when to press, when to sit back, when to needle and when to leave be.其中一些就是关于 Bragg阁下的，在英国他是众多谗言攻击的目标，那些诋毁他的人经常毫不掩饰地表现出对他的成功和他所从事的纯粹行业的嫉妒（除了其他工作，他还是一个多产作家和电台主持

16、人）。在这里他看上去似乎是一个思路清晰柔顺的分析者，对不同艺术流派及其变化发展有着颇具价值的看法；他了解电视和电影的相对优势，例如，两者表演方法的各自魔力。他善于察言观色，是访谈技巧方面的大师：有张有驰，亦紧亦松，收放自如。Together his essays offer some intriguing generalisations about the making and methods of artists. The backgrounds of the people Lord Bragg examines are often humble but disciplined; typic

17、ally they are exposed to art, or encouraged into it, by some fortuitous incident or acquaintance.总体来看，书中文章对艺术家的成功之道和创作方法做出了有趣的概括。Bragg阁下的受访者并非都是身世显赫，但是家教严明；他们因为偶然的机遇与艺术结缘，或是在熟人的鼓励下跨入艺术的殿堂，这样的情况很有代表性。He looks for turning points in lives and careers （Tracey Emin being abused by her ex-lovers during a

18、dance competition; Pavarottis mother siding with her son when his father wanted him to find another job）. Writing of David Lean, he summarises the pattern as “a very early passion which quickly became an adolescent obsession which became an adult, single-minded struggle to have it realised.”他寻找着艺术家生

19、活和职业的转折点（特雷西 艾明在舞蹈比赛中受到前恋人的辱骂；当帕瓦罗蒂的父亲要他换一份工作时，他的妈妈站在了儿子这一边）。写到大卫里恩时，他这样总结大卫里恩的成功轨迹：“从早期的喜爱很快过渡到青少年时期的狂热，最后转变为成年后一心一意奋力地去实现。”The subjects are mostly less exercised by meaning than by form. And, for manyEric Clapton, Francis Bacon, Ingmar Bergman, Pinter and othersthere is ultimately a sense of myste

20、ry and spontaneity; of art coming from elsewhere. “南岸秀”的节目对形式的雕琢大都重于对意义的挖掘。而且很多的艺术家埃里克 克莱普顿、弗兰西斯 培根、英格玛 伯格曼、品特和其他的一些艺术家存在着一种终极的神秘感和与生俱来的艺术感觉，他们的艺术天赋好像并非来自这个俗世。JazzChasin the TraneNov 8th 2007 | From The Economist print editionTHE vaulting-off point of Ben Ratliffs biography is the belief that John C

21、oltrane, tenor and soprano saxophonist, was not only a towering performer but also the last major figure in the evolution of jazz. Indeed, jazz seemed to lose its way after he died in 1967, aged 40. 本?拉特里夫专记的核心思想是认为高音、次中音萨克斯管演奏者约翰-柯川不仅是杰出的演奏者，同时还是最后一位优秀的爵士革新家。的确，自1967年40岁的约翰去世后，爵士乐似乎就开始迷失了。Mr Ratlif

22、f, jazz critic for the New York Times, leaves Coltranes private life largely alone. For a jazzman, he kicked drugs and drink pretty early and afterwards led a remarkably suburban life. Rather, it is a biography of the Coltrane sound: an urgent, non-vibrato intensity that the saxophonist constantly r

23、einventedunlike most jazz musicians who professionally settle into a comfortable groove or who reinvent themselves at most once or twice in their lives.纽约时报的爵士评论家拉特里夫先生对柯川私人生活的报道有很大保留。作为一名爵士音乐家，柯川很早就戒毒戒酒，后来又过着典型的郊区生活。更正确的说，这是出自柯川一家之言的一部传记：与满足于个人的最佳专业状态或只在生命中至多进行一两次创造的大多数爵士音乐家不同，柯川作为一个萨克斯管演奏者不断创造急切而无

24、颤音的强度。The Coltrane sound, unlike Charlie Parkers, did not spring fully formed on the listening public. Coltrane was something of a late and hesitant starter. He was nearly 30 when an assuredness settled in and he was able to harness his phenomenal technique and mastery of jazz lore to his urgent dri

25、ven style, soloing in riffles and cascades of scales and arpeggios. The late 1950s were exceptional years for jazz. Though rock-and-roll had not yet swamped it, jazz big bands were no longer commercially viable. The fizz was in small clubs where quartets and quintets played live, and Coltrane was lu

26、cky to be hired by two superb bandleaders and teachers, Miles Davis and Thelonious Monk.柯川不像查理*帕克的声音一样在听众中完全定型。柯川有点大器晚成，起步晚且犹豫不决。他开始有信心时已将近30岁了，他能把杰出的表演手法和爵士知识的掌握融为一体，形成音调急促的曲风、短促的独奏、音阶和琶音的层叠。20世纪50年代末是爵士乐的特殊年代。尽管摇滚乐还没有完全侵人，但大型爵士乐队在商业上不再风光了。只活跃在小型俱乐部里的是四重奏和五重奏的实况演奏。柯川很幸运地被两位高超的伴舞乐队指挥和老师雇佣，他们是迈尔斯?戴维斯

27、和赛罗尼斯-蒙克。But for Coltrane, all this was the beginning of the journey, not the end. At first he attempted to cram ever more into the Western harmony of jazz tunes: an ever-denser architecture of chord changes. Before long, even his technique exhausted those possibilities. He began to abandon harmony,

28、 turning to modes that seemed to speak of older things: African and native-American history, Eastern spiritual power, universal love. Then even the modes started to go. Many of his audiences lost him as he encouraged younger, more wayward players into his regular group; then his regular musicians we

29、nt. Asked by a Japanese reporter in 1966 what he wished to be in ten years time, Coltrane replied simply that he wanted to be a saint.但对于柯川来说，所有的这些都只是爵士之旅的开端而不是终曲。首先他试图融人更多的西方和谐爵士曲调：越来越密集的和音变化的体系结构。不久以后，他的演奏技术无法融合这种可能性。他开始放弃和谐曲调， 转向似乎诉说古老事情的风格：非洲和土著美国人的历史、东方的精神力量和博爱。然后这种风格也逐渐被放弃了。当他鼓励更年轻、更任性的演奏者加人他正规的演奏乐队时，他失去了很多听众。后来他也