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发布时间:2010/12/4  阅读次数:6156  字体大小: 【】 【】【
文学翻译经典范文:6个手提箱的北京之旅
The journey of six boxes to Beijing
  
       2008年7月上旬,来自德国莱茵兰普法尔茨的6位艺术家将登上开往北京的飞机。此次北京之行源于那里即将举办奥林匹克夏季奥运会,届时,海内外游客将潮水般涌向北京。
Six artists from Rheinland-Pfalz of Germany will step on the plane to Beijing in early July 2008, and the journey this time is for the Summer Olympic to be held there. At that time, tourists both at home and abroad will swarm into Beijing.
  
       对于Anja Bogott, Eva Maria Enders, Sabine Hack, Aloys Rump, Christiane Schauder und Werner Mülle 6位艺术家来说,北京之行也意味着持续一年有余的德-中艺术交流项目“东西对话”活动的延续。6位艺术家为此做了精心准备,围绕“奥运”与“旅行”主题进行了独特的艺术创作。
For these six artists, namely Anja Bogott, Eva Maria Enders, Sabine Hack, Aloys Rump, Christiane Schauder and Werner Mülle, the journey to Beijing means that, “Dialogue between the West and the East”, a Sino-German Art Exchange Project, will continue. They have made elaborated preparation for the project by making unique artistic creations themed with “Olympics” and “Journey”.
  
       精心准备的成果是:往常行李中必备的生活用品代之以艺术作品。“6个手提行李的北京之旅”将在北京奥林匹克运动会召开期间展出。“艺术手提箱”的尺寸、重量与一般旅行用手提行李箱毫无二致。而手提行李本身即为艺术品的创意,加上在举办奥林匹克运动会的中国北京展览展示,使得本次展览无论从形式到内容都与众不同、别有新意。
The fruit of the elaborated preparation is artistic works substitute necessary living goods in the baggage. “The Journey of Six Hand Boxes to Beijing” will be exhibited during the session of the Beijing Olympic Games. The size and weight of these “Artistic Hand Boxes” have nothing different from those of hand baggage. However, the hand baggage itself is an artistic creation; moreover, they will be exhibited in Beijing of China where the Olympic Games is held, which will bring uniqueness and novelty to the exhibition this time, both in form and contents.    
  
       手提行李的双重功能,即艺术品作为手提箱,或手提箱作为艺术品不仅赋予其艺术本身内容的丰富多彩,同时也彰显出艺术家自身的内心世界。
The dual function of the hand baggage, namely artistic as hand baggage, or vice versa, not only provides colorfulness to its artistic contents, but also highlights the inner world of these artists.
  
       在正常情况下,行李中往往是我们的必需品。这些用品除了实用功能之外,往往还会给身在异乡的旅行者以家的感觉。而对行李尺寸与重量的限制又迫使我们上路之前认真选择,绞尽脑汁。除此之外,旅途中陪伴我们的还有“情绪行李”,比如期待、偏见、害怕与回忆
Usually, baggage serves as our necessaries. Besides their practical functions, these items will sometimes remind tourists in foreign countries of the sense of home. On the other, the restrictions of size and weight force us to make an earnest choice and rack our brain before we take the journey. Moreover, what accompanies us in the journey may include “baggage of emotions”, such as expectation, prejudice, fear and memory.  
  
       虽然我们现在处于全球化与便捷飞行的时代,但每次旅行依然充满挑战。打破熟悉的环境与日常生活,感受新的经验与视角,是失而复得的心灵体验。
Although we are living in an era of globalization and express flight, each journey is full of challenges. However, the reward is the experience of soul, breaking familiar environment and routines and feeling new experience and angles of view.
  
       Christiane Schauder的作品由10个小正方形画布组成一幅4x4m的油画。艺术家通过黑与和谐的蓝、绿色彩及穿过画面的横向条纹,传递出一个旅行者从飞机、火车、巴士或汽车的主观一瞥。作者致力于使她的作品处于旅途状态、出发与到达之间,当旅行者在特定的交通工具中时,已有些劳顿,甚至于已不知身在何处。当所有图画与景观在运动中交织时,画布上的色彩与景物便组成了一幅静思状态的全景。那么,思想与现实便有机地成为一体:动中生静。
Christiane Schauder’s creation is a 4x4m oil painting consisting of ten small squares. By means of black, blue and green colors, as well as transverse stripes going through the painting surface, the artist has expressed a tourist’s subjective glance from a plane, a train, a bus or a car. The author commits herself to put her creation in the status among a journey, a departure and an arrival, so when a tourist is in a specific vehicle, he or she has gotten a little tired and even doesn’t know where the location is. When all pictures and scenes are interwoven at the volley, the colors and sceneries on the canvas will constitute a panorama of peaceful thinking. Therefore, the thinking and the reality will be organically combined, producing such effect as moving gives birth to stillness.    
  
Eva Maria Enders将其创作称之为“道”。通常人们会将其简单地译为“路”。其实不然,“道”在道家哲学中是无所不在的、永恒的自然法则,人们应自觉遵从而不要有意干预,所谓“自然无为”,与自然和谐相处。艺术家将老子关于“道”的论述与原则创作于其厚重的抽象作品中。在红、绿与白三重色彩中,作者在画布上为我们构筑了虚幻的自然景观,其间可以看见一条隐约的路。虚与实的运用反映了“道”的转换原则。
Eva Maria Enders calls the creation “Tao”. Usually people will simply translate it into “Road”. However, “Tao”, in the Taoistic philosophy, refers to eternal natural laws exiting everywhere, and people shall consciously observe them but not intentionally interrupt them. The so-called “being natural and governing by noninterference” means to establish a rapport with nature. The artist here integrates Lao Tzu’s interpretations and principles of “Tao” into the profound and abstract works. By utilizing treble colors of red, green and white, the author constructs a virtual natural scene on the canvas for us, and we can see a subtle road thereinto. The application of virtuality and reality reveals the transformation principle of “Tao”.
  
       Sabine Hack的作品叫做“流浪工人”,是其系列作品“材料变换”的一部分。作者试图以此唤起人们对那些远离家乡、在建筑工地上劳作的流浪工人的关注。虽然出外旅行对于这些人来说是为了谋生,但他们却以背井离乡作为代价。在建筑工地众多的北京也有无数民工在忙碌,正是他们建造了可以载入人类历史的高楼大厦,北京也得以成为21世纪光彩夺目的伟大都市。
Sabine Hack’s creation is named “Wandering Worker”, which is a part of the series works called “Materials Transformation”. By doing this, the author tries to arouse people’s attentions to those wandering workers apart from their homes and laboring on the construction site. Although the outbound journey for those people is for making a living, they realize the purpose at the expense of leaving homes. In Beijing, there are also many construction sites and numerous migrant workers. It is those workers who have built grand mansions in human’s history, and enable Beijing to become a splendid and great city in the 21st Century.
  
       Anja Bogott的创作也是围绕家乡、家庭与居住主题,作品名称是“信任”。箱子内的陶塑作品使人马上联想到脆弱性,以此表述人们渴望亲近与保护、信任与安全。艺术家试图表现在当今社会,高楼密布,家庭、邻里矛盾增加,环境不断恶化的情况下,人们对“信任”的诉求与呼唤。
Named “Trust”, Anja Bogott’s creation is also themed hometown, family and inhabitancy. The pottery sculptures inside the box instantly remind people of the frangibility, and thereby expressing mankind’s desire for intimity, protection, trust and safety. The author tries to represent people’s appealing to and calling of “trust” under the circumstance that high-rise buildings are densely distributed, with increased contradictions among families and neighbors, and deteriorated environment.  
  
Werner Mülle的“手提箱”与众不同。在两个厚厚的箱壁上嵌有210个乒乓球。是黑与白,灵与滞,精与糙的对比,引起观者的无限遐想。人们会注意到,“手提箱”失去了通常的盛放物品的功能,乒乓球由于镶嵌在箱壁也不再是运动用品。艺术家想要表述的是“乒乓外交”这一历史事件。正是由于“乒乓外交”使得中国和美国在二十世纪七十年代改善了两国关系,带来通常的外交做法无法达到的目的。Werner Mülle的作品试图证明体育的力量,体育可以将不同文化背景的人们聚拢在一起,体育是联系各国人民的最好方式。
Werner Mülle’s “Hand Box” is unqiue. On both thick box walles are embeded 210 pingpongs, which are comparisons between black and white, flexibility and stagnancy, and fineness and roughness, triggering limitless imaginations of visitors. People will also realize that the “Hand Box” has lost the function for receiving items, and those pingpongs will be no more sport items when being embedded in the box walls. Actually, what the author tries to express is the historical event of “ping-pong diplomacy”, which exactly provides China and US an opportunity to improve their relationship, and therefore plays an important role that can not be replaced by the conventional diplomacy. So, Werner Mülle’s creation tries to prove the power of sports, which can hold together people of different cultural backgrounds, as well as the best approach for communications among people of different countries.
  
Aloys Rump的作品题目是“铁饼”,表现奥林匹克运动会发源于古希腊。“手提箱”内含有八个铁饼,箱子底部是一位铁饼运动员的剪影,使人联想起古希腊著名雕塑家Myron的作品以及古希腊的首届奥林匹克运动会。箱子上端镶嵌了可以向不同方向转动的所谓的“艺术之眼”,观众会认为这是世界之眼,也许在不久的将来这些好奇的眼睛将瞄向中国。
Named “Discus”, Aloys Rump’s creation embodies that the Olympic Games is originated from Ancient Greece. Inside the “Hand Box” are there eight discuses, and the bottom is a silhouette of a discus athlete, reminding people of the works of Myron, a famous sculpturer of Ancient Greece, as well as the first Olympic Games held in Greece. The upper side of the box is embedded with “Artistic Eyes” that are rotatable in various directions. People may consider them the eyes of the world. Maybe these curious eyes turn to China in the near future.
  
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