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   选自The New Yorker   译者:叶子南

   We see New York, and sometimes, as Henry James asked us to, we “do it”—explore and conquer it—but what we see when we see it is so far unlike what we experience when we’re doing it that the difference itself can become a subject for art. The city sneaks up on us in pictures, and we are startled to see what it looks like even when what it looks like is just us, doing what we really do. We respond to truthful depictions of New York with the same surprise that we feel when we hear a recording of our own voice.
我们观看纽约,但有时我们也如亨利-詹姆斯要求我们做的那样,参与其中,探索纽约,征服纽约。不过我们观看纽约看到的和参与纽约生活所体验的却是不相同的,结果这种差异的本身就可能成为艺术的主题。在照片中这个城市冷不防地出现在面前,我们惊奇地看到了城市的样貌,尽管看到的就是我们自己,做着每日做的事情。我们见到纽约的真实写照感到惊异,就像听到一段自己的录音感到惊异一样。
This surprise is one of the subjects of the extraordinary, lost—or, actually, never found in the first place—American photographer Jerry Shore. Shore did New York, was done by it, and then became a kind of artist-martyr to the act of seeing it. In the last decade of his life, Shore, after twenty years as one of the leading short-form commercial directors of his time, fell down a well of alcohol and isolation. He died in 1994, at the age of fifty-nine, and left behind four thousand photographic prints, most of New York City streets, in Queens and Manhattan, in Turtle Bay and Chelsea and the old meatpacking district. Only one of them had ever been sold. The collector Daniel Wolf bought all of Shore’s work, in 1995, and has archived it, so that, for the first time, it is possible to see the range and intensity of what he accomplished, and discover an original New York eye.
 这种惊异就是杰出的、被遗忘的(或者说实际上根本就没有被发现的)美国摄影家杰瑞-肖尔作品的一个主题。肖尔参与纽约生活,被纽约所征服,然后为了艺术,可以说在观看和呈现纽约的过程中英勇献身。在生命的最后十年,在身为那个时代商业广告短片的主要导演20年之后,肖尔淹没在酒精中,生活在孤独里。他于1994年去世,时年59岁,身后留下了四千多张照片,多数是有关纽约街道的。这些照片摄于昆斯、曼哈顿、海龟湾、切尔西和旧的肉类加工区,七种只有一张被出售。1995年,收藏家丹尼尔-伍尔夫买下了肖尔的所有作品,并将照片归档,结果人们首次可以看到他摄影成就的广度和深度,发现了一双观看纽约的独到慧眼。

(artist-martyr 名词译成动词为了艺术英勇献身;fell down a well of alcohol and isolation 含隐喻的修辞手法,如果译为借酒消愁、酗酒成性等等,似乎也可,但修辞手法没有还原出来,叶子南选择译成淹没在酒精中,虽有失文采,但不失为两全译法。)
Jerry Shore’s story is simple, in many ways typical, and in most ways sad. He grew up in Oxford Circle, a lower-middle-class Jewish neighborhood outside Philadelphia, and, along with his twin brother, Fred, attended art schools at a time when Philadelphia had a great many of them. “He loved art,” Fred says. “He just lived everything visual.” He came to New York in the early sixties, like so many others, intending to become a painter—he worshipped de Kooning and Hofmann and Kline.
杰瑞肖尔的故事很简单,从多方面看很典型,总的看也很悲哀。他在费城的某个称为“牛津环”的地方长大,这是城外的一个中下产阶级的犹太居住区;他和他的孪生兄弟弗莱德一起上艺术学校,当时的费城这类艺术学校比比皆是。弗莱德说,“他热爱艺术,爱视觉的东西爱的如痴如醉”。肖尔60年代早期来到纽约,像许多其他来纽约的人一样,打算成为一个画家,他崇拜德-库宁-霍夫曼和克莱恩。

But he loved, too, the burgeoning realist and documentary cinema—his brother recalls that he had a special passion for Rossellini and Antonioni—and he soon found work with the director Harold Becker, who was then making documentary films. Together they made aseminal short film about the great French photographer Eugène Atget, who wandered the unpopulated streets of Paris with a huge camera, searching for images of the city that endured and the city that was disappearing. The Becker-Shore film is a beautiful fifteen minutes, silent save for Satie’s plangent “Gymnopédie No. 1” (not nearly the cliché that it later became), with slow, floating pans of Atget’s photographs of empty Paris streets and bridges and parks. It is lovely and sad enough to soften the heart of any lover of Paris, and oddly premonitory of the city views that Shore later did alone, in the same key but on a very different instrument.
 但是他也热爱正在兴起的现实派电影和纪录片(他的孪生兄弟回忆说,肖尔特别喜欢罗西里尼和安东尼奥尼),因此不久就开始为当时在拍摄纪录片的导演哈罗德-贝克尔工作。他们一起拍了一部有关法国摄影师尤金-阿杰的短片,堪称是开先河之作。这位法国摄影师常常拿着一架大摄影机在巴黎少有人迹的街上游荡,寻找那个历久仍存和那个正在消失的城市的身影。贝克尔和肖尔合拍的这部很优美的电影长十五分钟,是一部无声电影,唯一的声音是萨蒂凄切的《第一号吉姆培迪诺》(此曲还远不像后来那样失去了新鲜感),摄影镜头慢慢将阿杰的照片一张张摄入影片,让观众看到巴黎空荡荡的街道、桥梁和公园。影片很美,却也让人感到悲凉,每位热爱巴黎的人看了此片此景都会被深深的感动。这部影片还极不寻常地预示了肖尔后来单独拍摄的城市景观,他后来照片的基调与此相同,只是拍摄器具不同。

(seminal 一个形容词单独译成一句话,“堪称是开先河之作”;It is lovely and sad enough  这里不是见了“and”就要译成而且、和等等,而是根据语境译成转折;sad enough to soften the heart of any lover of Paris  化主动为被动:“每位热爱巴黎的人看了此片此景都会被深深的感动”)
Shore found himself as a filmmaker, and for a while he became one of the most successful of the swinging generation of commercial directors, at a time when the thirty-second spot was, if not exactly a theatre of creativity, at least a mediumof riches and excitement. In 1969, after doing advertising work alongside Bert Stern and Jerry Bruckheimer, he opened his own shop, Jerry Shore Productions, and for the next fifteen years he was one of the most commercial of commercial directors. He made thirty- and sixty-second spots for Pepsi, Revlon, Maybelline. He was known for his lighting, his ability to make a seemingly improvised situation glamorous. Inevitably, like his contemporaries Jerry Schatzberg and Stern, he went off to Hollywood, where he made a couple of little features, including an adaptation of a Flannery O’Connor short story.
 肖尔感到拍电影是自己的特长,且一度成为当时活跃的商业片导演中特别成功的一位。在那个时代,30秒长的商业广告片如果准确地说还根本算不上是影视创作的舞台,却至少是财富的源泉和激情的载体。1969年,在与伯特-斯特恩和杰瑞-布莱克海默一同摄制广告片后,他开办了自己的摄影公司:杰瑞-肖尔制作公司。在接下来的15年里,他是商业广告片导演中最最商业化的一位导演。他为百事可乐、露华浓、美宝莲拍摄30秒和60秒的广告片。他以擅长照明技术闻名,能把一个看似草草凑合的场景布置得魅力十足。像他的同代人杰瑞-沙兹伯格和斯特恩一样,肖尔无法避免的一条路就是奔向好莱坞。在那里他拍了几部短小的故事片,包括一个由弗兰纳里-奥康的短篇小说改写成的故事片。

(medium 分别译成“源泉”和“载体”,选词多元得体;)
Desires are eternal, but their biddings are temporal; when Shore returned to New York, in the eighties, he found that the advertising industry had grown beyond the small, hip shops that had been dominant a decade earlier. Work suddenly became very hard to find, and his search for it was not helped by his drinking and depression. Friends say that he lost confidence, as can happen quickly to a man caught up in a confidence game.
欲望是永恒的,但满足欲望的机遇确是短暂的。上个世纪80年代,当肖尔回到纽约后,便发现广告业已不复十多年前的状况,大多数的广告公司已不在曾经很流行的小店铺中经营。工作一下子变得很难找到,加之他又酗酒还有忧郁症,找工作就更加困难。朋友们说,他很快就失去了信心,而在一个靠信心和信任支撑的环境中这是常见的。

(he found that the advertising industry had grown beyond the small, hip shops that had been dominant a decade earlier 译文完全没有原文的结构,译成便发现广告业已不复十多年前的状况,大多数的广告公司已不在曾经很流行的小店铺中经营)

Yet this was the moment when he gave himself over to a project that he may have begun sometime earlier, in the late seventies. He travelled through Manhattan and Queens, making large-scale, exquisitely printed color photographs of some of the most aesthetically unpersuasive streets in New York City. For the next ten years, until his death, he pursued this project, with a focus and self-discipline made all the more moving by his ever more distressed circumstances.
 不过正是在此时,他开始全心投入了一个项目,其实这个项目他可能于70年代晚期就开始着手。他在曼哈顿和昆斯走街串巷,拍摄了一些有关纽约街道的彩色大照片,印刷堪称精致,虽然这些街道从美学上看毫无魅力。接下来的十年,一直到去世,肖尔都以拍摄纽约的街道为主要工作,虽然处境非常糟糕,但他却能专注在一件事上,并能自我约束,这就显得尤为感人。

exquisitely printed 单独译成一个短句;同样修饰大街的some of the most aesthetically unpersuasive  也单独译成一个短句,且用了“虽然”一词,不忘把原文的转折意思译出来;with a focus and self-discipline made all the more moving by his ever more distressed circumstances这句话译的尤为出色,by his ever more distressed circumstances 译成让步结构,虽然处境非常糟糕,这样就顺理成章地把with a focus and self-discipline 译成但是...;其中focus he self-discipline 译成动词。这是真正理解原文的基础上合理架构译文的结晶。)

Some colleagues who thought they knew him well didn’t even know that he was taking photographs, though on rare occasions he asked friends to accompany him. He would dress, they recall, in an unchanging daily uniform: worn bomber jacket, flannel shirt, khakis, and saddle shoes. For all his personal disorganization, he was able to handle his work with extraordinary care and methodical purpose: he roved the streets with a 35-mm. camera, “sketching” possible scenes in the least pictured vistas of the city. Then, later in the week, he would return and be ready to make his picture, waiting for the right light—the pregnant, rather than the decisive, moment—to take and keep a city corner that no one else might have thought worth preserving. The project, which seems to have begun as a kind of surcease from his commercial work—a way of recapturing some of the concerns and obsessions that had led him to New York and to art in the first place—soon became a substitute. It was all he did; given the number of images he left behind, he must have been out with his camera, hunting scenes and taking pictures, nearly every day until he died.
        一些自以为很了解他的同事根本不知道他在拍摄,不过他偶尔也会邀请朋友陪他一起去。他们回忆说,肖尔老穿那么一套服装:一件很久的短夹克、一件法兰绒衬衫、一条咔叽裤、一双鞍脊鞋。虽然个人生活中肖尔杂乱无章,可他工作起来确是目标明确,特别仔细,井井有条。他拿着35毫米的相机,在城市中最少被取景拍摄的街道上“构思”取景。几天后,他会返回此地,准备拍摄照片。他等待恰到好处的光线和角度,捕捉那个并非关键但却富有创意的时刻,把一个别人根本不会认为有收藏价值的城市角落拍摄存留下来。这个摄影项目一开始似乎仅是商业摄影之余的一种排遣,意欲重拾往日的关注和迷恋,而当年正是这些才把它吸引之纽约,结缘于艺术。可是这项活动马上完全取代了商业创作。捕捉城市的角落便成了他全部的工作。看看他身后留下的照片如此之多,你就可以想象,他定是每天拿着相机,寻景拍摄,几乎到生命的最后一刻。
(The project, which seems to have begun as a kind of surcease from his commercial work—a way of recapturing some of the concerns and obsessions that had led him to New York and to art in the first place—soon became a substitute主语the project 进入定语从句,与定语从句译为一句话;而soon became a substitute 另起一句,加上转折“可是”,这样把原文一句长句译成两句汉语,且关系明确。)

posted on 2009-06-13 23:18 bismark0715 阅读(1013) 评论(0)  编辑  收藏 所属分类: 因难见巧:翻译实践 网摘收藏

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该文被作者在 2009-06-13 23:23 编辑过
 

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