A-VIEW-OF-MOUNTAINS翻译(综合英语4)

1、2021/6/71 A VIEW OF MOUNTAINSA VIEW OF MOUNTAINS 群山之景 2021/6/72 Part 1(Para 1)Part 1(Para 1) On August 9, 1945, the day the atomic bomb was dropped on Nagasaki, Yosuke Yamahata, a photographer serving in the Japanese army, was dispatched （send off a distination 派遣）to the destroyed city. 1945年8月9日，一颗

2、原子弹投 向长崎，（日军）派遣一个在 军队任职的摄影师川端庸介到 了被破坏的城市。 2021/6/73 The hundred or so (about) pictures he took the next day constitute (compose) the fullest photographic record of nuclear destruction in existence（存 在）.Hiroshima，destroyed three days earlier .bombing. 他在接下来的日子里拍了近几百 张图片，完整记录了（关于）原 子能的实际破坏。在三天前遭受 破坏的广

3、岛，在其爆炸后的第一 天，没有记录下来。 2021/6/74 It was therefore left to Y a m a h a t a t o r e c o r d ， methodically(systematically 系统的， 有方法的）-and as it happens, with a great and simple artistry（艺 术性质）-the effects.used. 因此，川端庸介留在这里系统地 做记录。而且，原子能在它被使 用后仅仅几个小时内对人口的影 响，是有着显著而简单的艺术性 质的。 2021/6/75 Some of Yamahatas pi

4、ctures show corpses charred（烧焦） in the peculiar way in which a nuclear fireball chars its victims. 川端庸介的一些图片显示，尸 体是以核火球这种特殊的方式 烧焦的。 2021/6/76 They have been burned by light- technically speaking, by the thermal pulse-and their bodies are often branded（打上烙印） with the patterns of their clothes, whose

5、colors absorb light in different degrees. 从严格意义上来说，他们是被 光和热脉冲烧焦的。自身衣服 上的图案常被烙印在他们的身 体上，而这些衣服上的颜色吸 收光的程度不同。 2021/6/77 One photograph shows a horse twisted under the cart it had been pulling. Another shows a heap of （许多） something that once had been a human being hanging over a ledge（壁架） into a ditch.

6、 一张图片显示，一匹扭动着身 子的马正在拉载货马车。另一 张图显示了一大堆的场景，曾 经（鲜活的）人被挂在壁架上 运往沟渠。 2021/6/78 A third shows a girl who has somehow survived unwounded standing in the open mouth of a bomb shelter（防空洞） and smiling an unearthly（怪异的） smile, shocking us with the sight of ordinary life, which otherwise seems to have been left

7、 behind for good（永久的） in the scenes we are witnessing. 第三幅图显示，一个不知为何 幸存下来的小女孩站在防空洞 口，绽开了一个诡异的微笑， (她的笑容)令我们感到震撼， 如果不是这张照片，在我们所 能看到的场景中，我们原先的 日常生活已经永不可见。 2021/6/79 Stretching into the distance on all sides are fields of rubble dotted w i t h f i r e s , a n d , i n t h e background, a view of mountain

8、s. We can see the mountain because the city is gone.That absence, even more than wreckage（残 骸）, contains the heart of the matter. 照片中，延伸到远处，四周 都是大火中的废墟，背景是 一片群山。我们可以看到群 山，因为城市已经消失了。 这个消失是指连残骸都没有， 甚至包括中心地区。 2021/6/710 The true measure of the event lies not in what remains but in all that has disappea

9、red. 衡量一个事物的存在不是取决 于遗留下的，而是已经消失的 一切。 2021/6/711 It took a few seconds for the United States to destroy Nagasaki with the worlds second atomic bomb, but it took fifty years for Yamahatas pictures of the event to make the journey back from Nagasaki to the United States. 美国用世界上第一颗原子弹， 将长崎夷为平地，只用了几秒 钟。然

10、而川端庸介拍摄相关照 片从长崎辗转回到美国，却用 了半个世纪之久。 Part2（Para2-3） 2021/6/712 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, they are still news. 1995,这些照片第一次在美国 展出，地点在纽约国际摄影中 心。即使过了半个世纪之久， 它们仍然是轰动的新闻。 2021/6/713 The p

11、hotographs display the fate of a single city, but their meaning is universal, since, in our age of nuclear arms, what happened to Nagasaki can, in a flash（顷刻间）, happen to any city in the world. 这些照片展示了单个城市的命 运，但具有普遍意义。因为， 在核武器年代，在长崎发生的 一切顷刻间就可能在世界其他 任何一个城市发生。 2021/6/714 In the photographs, Nagasaki

12、comes into its own（找回了自己 的位置）. Nagasaki has always been in the shadow of Hiroshima, as if the human imagination had stumbled to exhaustion in the wreckage of the first ruined city without reaching even the outskirts of the second. 通过这些照片，长崎证明了自 己。长崎长期处于广岛的阴影 之中，好像人们对原子弹的想 象在到达广岛之第一个被摧毁 的城市，就已经就消耗殆尽，

13、 他们甚至连长崎的边缘都到达 不了。 2021/6/715 Yet the bombing of Nagasaki is in certain respects the fitter symbol of the nuclear danger that still hangs over us. It is proof that, having once used nuclear weapons, we can use them again. 它证明，人们一旦使用了核武 器，就可能会再次使用它。 2021/6/716 It introduces the idea of a series the s

14、eries that, with tens of thousands of nuclear weapons remaining in existence, continues t o t h r e a t e n e v e r y o n e . (Theunpredictable, open-ended character of the series is suggested by the fact that the second bomb originally was to be dropped on the city of Kokura, which was spared Nagas

15、akis fate only because bad weather protected it from view.) 它带来了一系列的概念，这世 上仍有数以万计的核武器存在 着，对每个人的威胁也将持续 存在着。这一点可以从以下事 实看出，这第二颗原子弹原本 准备投向九州，因为天气的原 因，妨碍了视线，长崎便被改 变了命运。这足以说明，核爆 炸的后果是无法预知和不可估 摸的。 2021/6/717 Each picture therefore seemed not so much an image of something that happened a half- century ago a

16、s a window cut into the wall of the photography center showing what soon could easily happen to New York. 因此，与其说是每一张照片记 录了这半个世纪前所发生的景 象，还不如说它们是镶在摄影 中心墙上的一个窗口，人们可 以看到即将在纽约发生的事情。 2021/6/718 Wherever the exhibit might travel, moreover, the view of threatened future from these windows would be roughly a

17、ccurate, since, although every intact city is different from every other, all cities that suffer nuclear destruction will look much the same. 因为展览无论在哪里举行，从 这些窗口我们可以看到将来的 威胁。尽管每一个完好无损的 城市看起来各不相同，但它们 所遭受的核破坏看起来是一样 的。 2021/6/719 Yamahatas pictures afford a glimpse（glance） of the end of the world. 川端庸介的

18、照片让我们得以一 瞥世界末日的景象。 2021/6/720 Yet in our day, when the challenge is not just to apprehend（worry） the nuclear peril（risk） but to seize a God- given opportunity to dispel it once and for all, we seem to need, in addition, some other picture to counterpoise（平衡） against ruined Nagasaki one showing not w

19、hat we would lose through our failure but what we would gain by our success. 然而当前的挑战不仅仅是去应 对核危机的恐惧，更要抓住上 帝给予的机会永远消除核武器 的威胁。而且，我们似乎还需 要更多的照片激起我们对生活 的希望，来抗衡毁灭的长崎带 给我们世界末日的感觉-一 张不是展示从失败中失去的东 西而是表现从成功之中所获得 之物的照片。 2021/6/721 What might that picture be, though? How do you show the opposite of the end of t

20、he 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, or a mother and child, or perhaps the Earth itself? 但是那会是什么样的照片呢？ 你怎么展示世界末日里温馨 的一面呢？它应该是在原子 弹落下前完好而富有生机的 长崎吗?又或者是幸存下来的 小仓市？它应该是一个孩子, 或者一对母子,又或者是地球 本身吗? 2021/6/722 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 incom