unitaviewofmountains課文翻譯綜合教程四

1、A View of MountainsJonathan Schell1. On August 9, 1945, the day the atomic bomb was dropped on Nagasaki, Yosuke Yamahata, aphotographer serving in the Japanese army, was dispatched to the destroyed city. The hundred or sopictures he took the next day constitute the fullest photographic record of nuc

2、lear destruction inexistence. Hiroshima, destroyed three days earlier, had largely escaped the camera s lens in the finday after the bombing. It was therefore left to Yamahata to record, methodically and, as ithappens, with a great and simple artistry the effects on a human population of a nuclear w

3、eapononly hours after it had been used. Some of Yamahata s pictures show corpses charred in the peculiarway in which a nuclear fireball chars its victims. They have been burned by lighttechnicallyspeaking, by the a thermal pulse- arnd their bodies are often branded with the patterns of their clothes

4、, whose colors absorb light in different degrees. One photograph shows a horse twisted under the cart it had been pulling. Another shows a heap of something that once had been a human being hanging over a ledge into a ditch. A third shows a girl who has somehow survived unwounded standing in the ope

5、n mouth of a bomb shelter and smiling an unearthly smile, shocking us with the sight of ordinary life, which otherwise seems to have been left behind for good in the scenes we are witnessing. Stretching into the distance on all sides are fields of rubble dotted with fires, and, in the background, a

6、view of mountains. We can see the mountains because the city is gone. That absence, even more than wreckage, contains the heart of the matter. The true measure of the event lies not in what remains but in all that has disappeared.2. It took a few seconds for the United States to destroy Nagasaki wit

7、h the world s second atomicbomb, but it took fifty years for Yamahata s pictures of the event to make the journey back fromNagasaki to the United States. They were shown for the first time in this country in 1995, at the International Center for Photography in New York. Arriving a half-century late,

8、 they are still news.The photographs display the fate of a single city, but their meaning is universal, since, in our age ofnuclear arms, what happened to Nagasaki can, in a flash, happen to any city in the world. In thephotographs, Nagasaki comes into its own. Nagasaki has always been in the shadow

9、 of Hiroshima, asif the human imagination had stumbled to exhaustion in the wreckage of the first ruined city withoutreaching even the outskirts of the second. Yet the bombing of Nagasaki is in certain respects the fittersymbol of the nuclear danger that still hangs over us. It is proof that, having

10、 once used nuclearweapons, we can use them again. It introduces the idea of a series the series that, with tens ofthousands of nuclear weapons remaining in existence, continues to threaten everyone. (Theunpredictable, open-ended character of the series is suggested by the fact that the second bombor

11、iginally was to be dropped on the city of Kokura, which was spared Nagasaki s fate only because badweather protected it from view.) Each picture therefore seemed not so much an image of something that happened a half-century ago as a window cut into the wall of the photography center showing what so

12、on could easily happen to New York. Wherever the exhibit might travel, moreover, the view ofthreatened future from these“ windows “ would be roughly accurate, since, although every intact city isdifferent from every other, all cities that suffer nuclear destruction will look much the same.3. Yamahat

13、a s pictures afford a glimpse of the end of the world. Yet in our day, when the challengeis not just to apprehend the nuclear peril but to seize a God-given opportunity to dispel it once and forall, we seem to need, in addition, some other picture to counterpoise against ruined Nagasaki oneshowing n

14、ot what we would lose through our failure but what we would gain by our success. What might that picture be, though? How do you show the opposite of the end of the world? Should it be Nagasaki, intact and alive, before the bomb was dropped or perhaps the spared city of Kokura?Should it be a child, o

15、r a mother and child, or perhaps the Earth itself? None seems adequate, for how can we give a definite form to that which can assume infinite forms, namely, the lives of all human beings, now and in the future? Imagination, faced with either the end of the world or its continuation, must remain inco

16、mplete. Only action can satisfy.4. Once, the arrival in the world of new generations took care of itself. Now, they can come intoexistence only if, through an act of faith and collective will, we ensure their right to exist. Performing that act is the greatest of the responsibilities of the generati

17、ons now alive. The gift of time is the gift of life, forever, if we know how to receive it.望遠(yuǎn)山喬納森謝爾11945年8月9日,一顆原子彈投向長崎.當(dāng)天,在日軍中服役的攝影師山端庸介被派遣到這座已遭消滅的城市.他第二天拍攝的百來張照片可謂現(xiàn)存最完整的核消滅威力的影像記錄.此前3天也遭遇消滅的廣島在轟炸的第一天根本沒被相機(jī)拍攝下來.山端碰巧有條不紊地用偉大而簡潔的藝術(shù)手法記錄下了核武器爆炸后僅僅數(shù)小時(shí)對(duì)人類的影響.山端的局部照片展示了被核火球以其獨(dú)特的方式燒焦了的尸體.他們是被光燒焦的用專業(yè)術(shù)語來說,他們

18、是被 熱脈沖燒焦的一一尸體通常都烙上了衣服的圖案,由于不同的顏色吸光程度不同.一張照片拍下了一匹身形扭曲的馬兒蜷縮在它拉的大車下面.另一張顯示了一堆懸掛在突出物上面伸進(jìn)溝渠的東西,看得出這也是一個(gè)人的遺骸.第3張照片中有個(gè)小女孩站在防空洞入口處,不知何故她雖經(jīng)歷劫難卻毫發(fā)無傷.她臉上露出詭異的笑容,令人震撼.如果不是這張照片,在我們現(xiàn)在見證的場景中,原先的日 常生活已一去不返.大片茫茫的廢墟瓦礫一直伸向遠(yuǎn)方,殘火零落其間,而這片景象的背景那么是綿延的大山.我們能遙望遠(yuǎn)山,正由于整個(gè)城市已化為焦土.城市的灰飛煙滅比斷壁殘?jiān)苷f明問題的核心本質(zhì).這一事件的真正效應(yīng)不在于城市還剩下什么,而在于消失

19、的一切.2 美國使用世界上第 2顆原子彈將長崎夷為平地僅僅用了幾秒鐘,然而,山端拍攝這一事件的照片從長崎輾轉(zhuǎn)回到美國卻用了 50年之久.照片第一次在美國展出是在1995年,展出地點(diǎn)是紐約國際攝影中央.遲到了半個(gè)世紀(jì),這些照片仍然帶有新聞效應(yīng).這些照片展示的是單個(gè)城市的命運(yùn),但卻帶有普遍意義,由于在我們通過這些照片,長這個(gè)核武器時(shí)代,發(fā)生在長崎身上的災(zāi)難也可能在轉(zhuǎn)瞬之間發(fā)生在世界任何一個(gè)城市身上.崎為自己正名.它一直存在于廣島的陰影中,由于似乎人類的想象力到達(dá)廣島這第一個(gè)被消滅的城市的廢墟之后便裹足不前、消失殆盡了,以至于連長崎的邊緣都到達(dá)不了.然而,長崎的滅頂之災(zāi)在某些方面恰恰是籠罩在我們頭頂上的核威脅陰云的更有力的象征.它證實(shí)人類一旦大開核武器殺戒,就會(huì)重蹈覆轍.它帶來了系列破壞的概念,就是說,有成千上萬的核武器持續(xù)存在,我們每個(gè)人都有可能受到威脅.第2顆原子彈原定是投向小倉的,只是后來由于天氣