2. 外语
  3. 　　Culture is a paradoxical commodity. So completely is it subject to the law of exchange that it is no longer exchanged; it is s

　　Culture is a paradoxical commodity. So completely is it subject to the law of exchange that it is no longer exchanged; it is s

admin2009-06-24  61
问题 　　Culture is a paradoxical commodity. So completely is it subject to the law of exchange that it is no longer exchanged; it is so blindly consumed in use that it can no longer be used. Therefore it amalgamates with advertising.
　　One could certainly live without the culture industry; therefore it necessarily creates too much satiation and apathy. In itself, it has few resources itself to correct this. Advertising is its elixir of life. But as its product never fails to reduce to a mere promise the enjoyment which it promises as a commodity, it eventually coincides with publicity, which it needs because it cannot be enjoyed.
　　66.______.
　　Today, when the free market is coming to an end, those who control the system are entrenching themselves in it. It strengthens the firm bond between the consumers and the big combines. Only those who can pay the exorbitant rates charged by the advertising agencies, chief of which are the radio networks themselves; that is, only those who are already in a position to do so, or are co-opted by the decision of the banks and industrial capital, can enter the pseudo-market as sellers.
　　67.______.
　　Advertising today is a negative principle, a blocking device: everything that does not bear its stamp is economically suspect. Universal publicity is in no way necessary for people to get to know the kinds of goods, whose supply is restricted anyway. It helps sales only indirectly. For a particular firm, to phase out a current advertising practice constitutes a loss of prestige, and a breach of the discipline imposed by the influential clique on its members.
　　68.______.
　　But, in contrast, the nineteenth-century houses, whose architecture still shamefully indicates that they can be used as a consumption commodity and are intended to be lived in, are covered with posters and inscriptions from the ground right up to and beyond the roof until they become no more than backgrounds for bills and sign-boards.
　　69.______.
　　The assembly-line character of the culture industry, the synthetic, planned method of turning out its products (factory-like not only in the studio but, more or less, in the compilation of cheap biographies, pseudo-documentary novels, and hit songs) is very suited to advertising: the important individual points, by becoming detachable, interchangeable, and even technically alienated from any connected meaning, lend themselves to ends external to the work. The effect, the trick, the isolated repeatable device, have always been used to exhibit goods for advertising purposes, and today every monster close-up of a star is an advertisement for her name, and every hit song a plug for its tune.
　　70.______.
　　By the language he speaks, he makes his own contribution to culture as publicity. The more completely language is lost in the announcement, the more words are debased as substantial vehicles of meaning and become signs devoid of quality; the more purely and transparently words communicate what is intended, the more impenetrable they become.

A. Advertising becomes art and nothing else, just as Goebbels with foresight, combines them: l’art pour l’art, advertising for its own sake, a pure representation of social power. In the most influential American magazines, Life and Fortune, a quick glance can now scarcely distinguish advertising from editorial picture and text. The latter features an enthusiastic and gratuitous account of the great man (with illustrations of his life and grooming habits) which will bring him new fans, while the advertisement pages use so many factual photographs and details that they represent the ideal of information which the editorial part has only begun to try to achieve.
B. In wartime, goods which are unobtainable are still advertised, merely to keep industrial power in view. Subsidizing ideological media is more important than the repetition of the name. Because the system obliges every product to use advertising, it has permeated the idiom, the "style", of the culture industry. Its victory is so complete that it is no longer evident in the key positions: the huge buildings of the top men, floodlit stone advertisements, are free of advertising; at most they exhibit on the rooftops, in monumental brilliance and without any self-glorification, the firm’s initials.
C. In a competitive society, advertising performed the social service of informing the buyer about the market; it made choice easier and helped the unknown but more efficient supplier to dispose of his goods. Far from costing time, it saved it.
D. The more meaningless the latter seems to be under a monopoly, the more omnipotent it becomes. The motives are markedly economic.
E. The costs of advertising, which finally flow hack into the pockets of the combines, make it unnecessary to defeat unwelcome outsiders by laborious competition. They guarantee that power will remain in the same hands—not unlike those economic decisions by which the establishment and running of undertakings is controlled in a totalitarian state.
F. Advertising and the culture industry merge technically as well as economically. In both cases the same thing can be seen in innumerable places, and the mechanical repetition of the same culture product has come to be the same as that of the propaganda slogan. In both cases the insistent demand for effectiveness makes technology into psycho-technology, into a procedure for manipulating men.

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答案A
解析 在将现在和过去广告的不同对比之后，答案段应是对上文有关广告内容的一个总结。
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