外文翻譯論我國非物質(zhì)文化遺產(chǎn)保護(hù)

1、外文文獻(xiàn)翻譯保存奇跡karin, richard，聯(lián)合國教科文組織成員mas ultra大學(xué)版第9期（2001）第54-58頁隨著經(jīng)濟(jì)全球一體化的進(jìn)程，在我們的視野中傳統(tǒng)的婚禮舞和詩人的語言逐漸地消失，因此保護(hù)非物質(zhì)文化遺產(chǎn)并非易事。教科文組織努力去保護(hù)瀕危的杰作，同時(shí)向全世界展示中國傳統(tǒng)的昆曲、日本的能樂、印度舞蹈、來自格魯吉亞的男子和弦合唱、制作立陶宛木制和金屬十字架古老的知識還有幾內(nèi)亞的索索巴拉的傳統(tǒng)音樂。在一個(gè)新的名錄中，聯(lián)合國教科文組織宣布這些為“杰出的非物質(zhì)文化遺產(chǎn)”。 非物質(zhì)文化遺產(chǎn)這個(gè)詞語是一個(gè)由專家而不是巫師或音樂家所用的專業(yè)術(shù)語。它一般是指非物質(zhì)方面的文化成果，如故事和語言

2、本身，信仰和價(jià)值觀，以及賦予文化活力的各種形式的知識和技能。這一遺產(chǎn)可以包括婚禮和葬禮、舞蹈、工匠的技能、口頭流傳下來的農(nóng)業(yè)知識，甚至可以包括節(jié)日和聚會(huì)，如坦坦地區(qū)的木賽姆牧民大會(huì)。您可能認(rèn)為只有在博物館才能發(fā)現(xiàn)這些文化的蹤跡，但是這些文化在我們身邊，是世世代代流傳下來的優(yōu)秀文化。這不是玻璃下的文化！ 日本的活國寶在日本，學(xué)者們早已認(rèn)識到無形的文化。在18世紀(jì)和19世紀(jì)，語言學(xué)家、民俗學(xué)家和其他人試圖整理世界的口頭傳統(tǒng)。然而，全面的“非物質(zhì)文化遺產(chǎn)保護(hù)”是從近年來開始的。在1950年，日本意識到了傳統(tǒng)文化的重要性，開始了一個(gè)保護(hù)活國寶的長期項(xiàng)目。 類似的方案隨后在韓國，菲律賓，泰國，美國和法國

3、開始。非物質(zhì)文化遺產(chǎn)被看作是一種資產(chǎn)或資源而得到保護(hù)、贊賞、使用和管理，這個(gè)想法可以溯源回到明治時(shí)代。在西方，同時(shí)，法學(xué)家把非物質(zhì)文化遺產(chǎn)看作是知識產(chǎn)權(quán)中的一種資產(chǎn)，利用專利和商標(biāo)制度去保護(hù)它。但是，有些集體的文化的創(chuàng)造是不成文的或無記錄的，所以在保護(hù)的時(shí)候依然存在一些問題。 在二十世紀(jì)七十年代，聯(lián)合國教科文組織商討了世界文化遺產(chǎn)名錄，其中包括自然景觀。這促進(jìn)更廣泛的思考，人們意識到了保護(hù)非物質(zhì)文化遺產(chǎn)的緊迫性。在隨后的專家會(huì)議中，專家們繼續(xù)討論制定建議和制定技術(shù)。直到2001年5月這個(gè)討論達(dá)到了頂峰，當(dāng)年的聯(lián)合國教科文組織總干事松浦晃一郎首次宣布了19個(gè)具有代表性的人類非物質(zhì)文化遺產(chǎn)。 為什

4、么用了這么長的時(shí)間才使這一概念融入國際意識？其中一個(gè)原因就是，這一概念長期與含糊不清“文化”聯(lián)系在一起 。“遺產(chǎn)”和“無形”剛開始也很難一起進(jìn)行理解。第二，還有一個(gè)問題就是如何稱呼這個(gè)專業(yè)術(shù)語？ “非物質(zhì)文化遺產(chǎn)”這個(gè)術(shù)語經(jīng)過多次討論才最后確定下來。雖然術(shù)語有些模糊，但全世界保護(hù)非物質(zhì)文化遺產(chǎn)的意識日益增強(qiáng)。 在宏觀層面上，如果用對待自然資源的方式對待文化資源，文化資源很容易瀕?；蛘呦?。雖仍有超過6000種語言在這個(gè)星球上，但是語言學(xué)家預(yù)測， 百分之五十至百分之九十五會(huì)在下一世紀(jì)里消失。絕大多數(shù)語言沒有書面形式，有些語言甚至沒有任何有形形式。一種語言徹底消失，這對于后人是一個(gè)無法彌補(bǔ)的巨大損

5、失 。在微觀層面上，許多人不希望漸漸失去了祖先的故事和有意義的經(jīng)驗(yàn)。地方文化有一種新的主張，“我的世界可能越來越大，但我仍然在一個(gè)小圈子里”。 在惡性的情況下，非物質(zhì)文化遺產(chǎn)在宗教和種族的沖突演變成為暴力事件時(shí)引起世界的注意力。 如何才能最好地理解和響應(yīng)被聯(lián)合國教科文組織指定為無形“杰作”的非物質(zhì)文化遺產(chǎn)，這個(gè)問題引發(fā)了陪審團(tuán)考慮和辯論。首先是定義問題。非物質(zhì)文化遺產(chǎn)具體包括那些內(nèi)容，這沒有一個(gè)明確的答案。什么是無形的傳統(tǒng)？多久的文化習(xí)俗才能被稱為傳統(tǒng)？文化是否為人廣泛傳播嗎？如果人們改變傳統(tǒng)的做法是應(yīng)對不斷變化的情況，傳統(tǒng)應(yīng)該被看作是一個(gè)成功的適應(yīng)過程還是失去其本來的面貌？ 由于定義很難，所

6、以意義就更加重大了。從某種程度上說，每一種語言是都一個(gè)杰作。 如何衡量一種語言在歷史上的作用和價(jià)值，這很重要。也許更困難的問題是如何廣泛地保護(hù)遺產(chǎn)和傳統(tǒng)。如何維護(hù)消失或脆弱的傳統(tǒng)要？為了保持傳統(tǒng)，我們讓有維護(hù)能力的人去信奉它。我們可能會(huì)喜歡有外觀或聲音的傳統(tǒng)，但這一想法會(huì)使一些人們的勞動(dòng)報(bào)酬低和生活條件艱苦。 辯論常常迸出智慧的火花，總能想到一些解決問題的方法。在某些情況下，非物質(zhì)文化遺產(chǎn)可以被看作一個(gè)國家的精神財(cái)富，值得政府去大力支持對非物質(zhì)文化遺產(chǎn)的保護(hù)，在稅收方面給予優(yōu)惠并給予相應(yīng)的補(bǔ)貼。 潛在的危險(xiǎn) 保護(hù)非物質(zhì)文化遺產(chǎn)是積極的，但它可能在社會(huì)實(shí)踐中被官僚機(jī)構(gòu)所控制。在一些情況下，儀式慶

7、?；顒?dòng)可能會(huì)被看作是利用資產(chǎn)促使商業(yè)投資。這可能會(huì)帶來資金支持，但也可能摧毀具有重要意義的傳統(tǒng)，把它變成一項(xiàng)為游客演出活動(dòng)。非物質(zhì)文化遺產(chǎn)資源的價(jià)值可能會(huì)引發(fā)或者加劇人們之間的沖突，因?yàn)槿藗冊跔幦∩鐣?huì)傳統(tǒng)的控制權(quán)，人們試圖從外部影響內(nèi)部的權(quán)力平衡。更重要的是，什么是需要保存的文化，比如在一首歌里 ，需要保存的文化是創(chuàng)新的記錄方法（錄音），是人（歌手）還是過程（歌唱）?最后，還有一個(gè)問題是誰決定那些是需要保護(hù)的非物質(zhì)文化遺產(chǎn)。聯(lián)合國教科文組織必須提名一些文化傳統(tǒng)以供審議。許多提名可能會(huì)出于很好的意圖，但有些人可能只是為了狹隘的利益集團(tuán)的權(quán)力，導(dǎo)致有一些少數(shù)民族的傳統(tǒng)可能被忽略或者不能得到審議。鑒

8、于許多民俗形式會(huì)產(chǎn)生對抗的國家統(tǒng)治的想法，國家的提名可能有缺陷。 給我留下了深刻的印象是聯(lián)合國教科文組織第一次認(rèn)定的19個(gè)非物質(zhì)文化遺產(chǎn)。 人們可以放心，在全球化的時(shí)代，當(dāng)?shù)氐奈幕掖嫦聛砹?，有的甚至是蓬勃發(fā)展。人們會(huì)明白，在這樣一個(gè)不斷創(chuàng)新的時(shí)代，傳統(tǒng)有一些永恒的價(jià)值。地方、國家和國際組織提出了越來越多的保護(hù)計(jì)劃，這將更好的繼續(xù)激勵(lì)子孫后代保護(hù)非物質(zhì)文化遺產(chǎn)。外文文獻(xiàn)翻譯原文preserving the magickarin, richard, unesco couriermas ultra - school edition, vol. lxi (2001), pp.54-58we can

9、be swept away by a traditional wedding dance or entranced by the poets of a vanishing language-but defining this intangible cultural heritage is far from simple, as unesco's efforts to safeguard endangered masterpieces go to show traditional kumquat opera of china, novak theatre of japan, kutiya

10、ttam dance in india，men's polyphonic choral singing from georgia, the ancient knowledge of crafting lithuanian wooden and metal crosses, the niagassola so-so baal musical tradition of guinea. in a new program, unesco proclaimed these, among others, "masterpieces of intangible cultural herit

11、age." intangible cultural heritage is a technical term used by experts, not by shamans or musicians. it generally refers to immaterial aspects of culture-ephemeral products like stories and language itself, as well as to the beliefs, values, and forms of knowledge and skill that give cultures t

12、heir vitality. this heritage can, for example, include wedding dances and funeral laments, artisans' skills and orally conveyed knowledge of farming. it can even include festivals and spaces where people gather, such as the wondrous drama el-fan square in marrakech. you might find its traces in

13、a museum-plants used by a traditional healer, for example-but it is mostly the living, oral tradition of a people. it is not culture under glass!japans living national treasures scholars have long recognized the intangibility of culture. in the 18th and 19th centuries philologists, folklorists and o

14、thers tried to document the world's oral traditions. yet the term "intangible cultural heritage" is relatively recent. in 1950, japan initiated a living national treasures program to recognize the great skills of masters of the traditional arts. similar programs began in korea, the phi

15、lippines, thailand, the united states and france. intangible heritage was seen as an asset or resource to be protected, appreciated, utilized and managed-an idea traceable back to the meiji period. in the west, meanwhile, jurists recognized the idea of intellectual property as an asset, defining cop

16、yright and patent as putting an idea into material form. but collective, cultural creation that was unwritten or unrecorded remained problematic-it still does. in the 1970s, discussion of unesco's world heritage list, which later came to include natural landscapes, stimulated broader thinking ab

17、out the need to safeguard intangible cultural heritage. meetings of experts ensued, recommendations were developed and the technical discussions continued until they reached a pinnacle in may 2001, when unesco's director-general coacher matsuura proclaimed the first 19 masterpieces of the oral a

18、nd intangible heritage of humanity. why so long for this concept to make it into international consciousness? well, for one, it has suffered the problem of vagueness long associated with the term "culture." "heritage" and "intangible" just compound the difficulty. secon

19、d, there's a terminology problem-what to call it? it is hard to imagine the term "intangible cultural heritage" sliding off the tongue of any laureates. vagueness and terminology aside, interest in the subject has grown with public awareness of globalization. on the macro-level, cultur

20、al resources, in a similar way to natural resources, seem to be endangered or disappearing. of more than 6,000 languages still spoken on the planet, linguists predict that 50 to 95 percent will not last through the next century. the great majority is not written and lacks any tangible form. when a l

21、anguage dies, there is a startling loss of knowledge and expression accumulated over generations. on the micro-level, many people do not want to accept a social universe of homogenized global consumers bereft of ancestors, stories, and meaningful experiences. local cultural reassertion is a way of s

22、aying, "my world may have become bigger, but i still have a place within it." in less benign circumstances, intangible cultural heritage has captured the world's attention when conflict over the practice of religions and the expression of ethnicities has turned violent. questions of ho

23、w best to understand and respond to intangible cultural heritage sparked debate among the jury considering nominations for the unesco's designation as intangible "masterpieces." first, there is the question of definition. a staged performance of an ancient play may have many tangible e

24、lements-written scripts, a temple theatre and elaborately crafted costumes. yet does the fact that it is a performance render the tradition intangible? how long does the cultural practice have to be around before it is called tradition? does it have to be widely shared among a people? if people alte

25、r their practice to respond to changing circumstances, should the tradition be seen as a successful adaptation to be treasured or as a deprived derivative to be shunned? as hard as it may be to define this heritage, the question of its value looms larger. to some extent, every language is a masterpi

26、ece. how to weigh the worth of one language against another in determining value and significance-by the number of speakers, its role in history, the beauty of its poetry? but perhaps more difficult is the question of if and how to preserve the wide range of this heritage. is it more important to sa

27、feguard vanishing or fragile traditions than popular, vital ones? to preserve the tradition, it is necessary to preserve the ability of people to practice it. we might like the look or sound of the tradition, but its continued practice would condemn people to labor with low pay and terrible conditio

28、ns. the strategies used also spark debate. in some cases, intangible cultural heritage may be viewed as a national treasure meriting government support, tax breaks, or subsidies. looming dangersthis can be positive, but it can also turn a practice controlled by the community into an institution cont

29、rolled by bureaucrats. in other cases, a ritual celebration may be seen as an under-exploited asset prompting commercial investment. this may bring funding support, but it may also destroy the very meaning of the tradition, turning it into an activity staged for tourists. the very recognition of the

30、 value of intangible cultural resources can initiate or exacerbate conflicts-people within the society fighting for control over the tradition, people from the outside affecting the power balance within. importantly, there is the question of what is being preserved -is it the tradition itself as product (for example, the song), is it the documentary record of the tradition (the recording), or the people (singers) and process (the singing)? fi