2013年考研英語(yǔ)一翻譯題

Part C

Directions:

Read the following text carefully and then translate the underlined segments into Chinese. Your translation should be written clearly on ANSWER SHEET 2. (10 points)

It is speculated that gardens arise from a basic human need in the individuals who made them: the need for creative expression. There is no doubt that gardens evidence an irrepressible urge to create, express, fashion, and beautify and that self-expression is a basic human urge; (46) yet when one looks at the photographs of the garden created by the homeless,it strikes one that , for all their diversity of styles, these gardens speak of various other fundamental urges, beyond that of decoration and creative expression.

One of these urges has to do with creating a state of peace in the midst of turbulence, a “still point of the turning world,” to borrow a phrase from T. S. Eliot. (47) A sacred place of peace, however crude it may be, is a distinctly human need, as opposed to shelter, which is a distinctly animal need. This distinction is so much so that where the latter is lacking, as it is for these unlikely gardens, the former becomes all the more urgent. Composure is a state of mind made possible by the structuring of one’s relation to one’s environment. (48) The gardens of the homeless, which are in effect homeless gardens, introduce form into an urban environment where it either didn’t exist or was not discernible as such. In so doing they give composure to a segment of the inarticulate environment in which they take their stand.

Another urge or need that these gardens appear to respond to, or to arise from, is so intrinsic that we are barely ever conscious of its abiding claims on us. When we are deprived of green, of plants, of trees, (49) most of us give in to a demoralization of spirit which we usually blame on some psychological conditions, until one day we find ourselves in a garden and feel the oppression vanish as if by magic. In most of the homeless gardens of New York City the actual cultivation of plants is unfeasible, yet even so the compositions often seem to represent attempts to call forth the spirit of plant and animal life, if only symbolically, through a clumplike arrangement of materials, an introduction of colors, small pools of water, and a frequent presence of petals or leaves as well as of stuffed animals. On display here are various fantasy elements whose reference, at some basic level, seems to be the natural world. (50) It is this implicit or explicit reference to nature that fully justifies the use of the word garden, though in a “l(fā)iberated” sense, to describe these synthetic constructions. In them we can see biophilia—a yearning for contact with nonhuman life—assuming uncanny representational forms.

Section III Translation

46. 然而，看著無(wú)家可歸者繪制出的花園圖片時(shí)，人們會(huì)突然意識(shí)到，盡管這些花園風(fēng)格多樣，它們都顯示了人類除了裝飾和創(chuàng)造性表達(dá)之外的其他各種基本訴求47. 一塊神圣的和平之地，不管它有多么粗糙，它都是一種人類本能的需求，和庇護(hù)所相反，那只是動(dòng)物的本能需求。

47. 無(wú)論地方多么簡(jiǎn)陋不堪，尋求一片靜謐圣土是人類特有的需求，而動(dòng)物需要的僅是僅是避難棲息之地。

48. 無(wú)家可歸者描繪的花園實(shí)質(zhì)上是無(wú)所依附的，這些花園把一種形式引入城市環(huán)境中，而這樣的城市環(huán)境中，形式要么根本不存在， 要么就完全不是以這種明顯的方式存在。

49. 我們大多數(shù)人會(huì)深陷于精神萎靡的狀態(tài)，并常常將此歸咎為一些心理原因，直到某天我們發(fā)現(xiàn)自己置身花園中，感到如魔法般煩悶盡消。

50. 正是對(duì)自然的這種或隱晦含蓄或清晰直白的提及，充分證實(shí)了用“花園”一詞來(lái)描述這些虛擬建筑是合乎情理的，即使是從毫無(wú)拘泥的意義來(lái)講的