2008年文登春季词汇班精彩文篇推荐(一)

2008年文登春季词汇班精彩文篇推荐(一)

影剧篇
When Artists Distort History
第一篇：
(1) King Richard III was a monster. He poisoned his wife, stole the throne from his two young nephews and ordered them to be smothered in the Tower of London. Richard was a sort of Antichrist the King — “that bottled spider, that pois’nous bunch-back’d toad.?

(2) Anyway, that was Shakespeare’s version. Shakespeare did what the ______ does: he turned history into a vivid, articulate, organized dream — repeatable nightly. He put the crouch-back? onstage, and sold tickets.

(3) And who would say that the real Richard known to family and friends was not identical to Shakespeare’s memorably loathsome creation? The actual Richard went dimming into the past and vanished. When all the eye-witnesses are gone, the artist’s imagination begins to conjure?.

(4) Variations on the King Richard Effect are at work in Oliver Stone’s JFK. Richard Ⅲ was art, but it was propaganda too. Shakespeare took the details of his plot from Tudor historians who wanted to blacken Richard’s name. Several centuries passed before other historians began to write about Richard’s virtues and suggest that he may have been a victim of Tudor malice and what is the cleverest ______ of all: art.

(5) JFK is a long and powerful discourse about the death of the man Stone keeps calling “the slayed young king.” What are the rules of Stone’s game? Is Stone functioning as commercial entertainer? Propagandist? Documentary filmmaker? Historian? Journalist? Fantasist? Sensationalist? Paranoid conspiracy-monger?? Lone hero crusading? for the truth against a corrupt Establishment? Answer: some of the above.

(6) The first superficial effect of JFK is to raise angry little scruples? like wounds in the conscience. Wouldn’t it be absurd if a generation of younger Americans, with no memory of 1963, were to form their ideas about John Kennedy’s assassination from Oliver Stone’s report of it? But worse things have happened — including, perhaps, the Warren Commission report?

(7) Stone’s movie and the Warren report are interestingly symmetrical: the Warren Commission was insensi-tively, one might say pathologically?, unsuspicious, while in every scene of the Stone film conspiracy theories move painfully underfoot like snakes. In a strange way, the two reports balance one another out. It may be ______ to accord Stone’s movie a status coequal with the Warren report. On the other hand, the Warren report has endured through the years as a monolith? of obscure suppression, a smooth tomb of denial. Stone’s movie, for all its wild gesticulations?, at least refreshes the memory and gets a long-cold curiosity and contempt glowing again.

(8) The irresponsibility of the Warren report somehow makes one less indignant about Stone’s methods and the 500 kitchen sinks that he has heaved into his story. His technique is admirable as storytelling and now and then preposterous as historical inquiry. But why should the American people expect a moviemaker to assume ______ for producing the last word on the Kennedy assassination when the government, historians and news media have all pursued the subject so imperfectly?

(9) Stone uses a suspect, mixed art form, and JFK raises the familiar ethical and historical problems of docu-drama?. But so what? Artists have always used public events as raw material, have taken history into their imagi-nations and transformed it. The fall of Troy vanished into the Iliad. The Battle of Borodino found its most memorable permanence in Tolstoy’s imagining of it in War and Peace.

(10) Especially in a world of insatiable electronic storytelling, real history procreates, endlessly conjuring new versions of itself. Public life has become a metaphysical breeder of fictions. Watergate became an almost con-tinuous television miniseries — although it is interesting that the movie of Woodward and Bernstein’s All The President’s Men stayed close to the known facts and, unlike JFK, did not validate dark guess.

(11) Some public figures have a story magic, and some do not. Richard Nixon possesses an indefinable, em-barrassed dark gleam that somehow fascinates. And John Kennedy, despite everything, still has the bright glam-our that works best of all. Works, that is, except when the subject is his assassination. That may be a matter still too sacred, too raw and unassimilated. The long American passivity about the death in Dallas may be a sort of hypnosis? — or a grief that hardened into a will not to know. Do not let daylight in upon magic.

(12) Why is Stone’s movie different from any other imaginative treatment of history? Is it because the assassi-nation of John Kennedy was so traumatic?, the bady boomers’ End of Childhood? Or that Americans have santi-fied it as official tragedy, a title that confers immunity from irreligious revisionists who would reopen the grave? Are artists and moviemakers by such logic prohibited from stories about the Holocaust? The Holocaust, of course, is known from the outset to be a satanic plot. For some reason — a native individualism, maybe — many Americans resist dark theories about J.F.K.’s death, and think those retailing them are vending foreign, anarchist goods. Real Americans hate conspiracies as something unclean.

(13) Perhaps the memory of the assassination is simply too fresh. An outraged movie like Stone’s intrudes upon a semipermanent mourning. Maybe the subject should be embargoed? for some period of time, withheld from artists and entertainers, in the same way the Catholic Church once declined to consider sainthood until the person in question had been dead for 50 years.

【参考译文】论艺术家扭曲史实

(1)英王理查三世是个魔鬼。他毒死了自己的妻子，篡夺原属于两个年轻侄儿的王位，还下令在伦敦塔中让他们窒息而死。理查可说是一位撒旦似的国王——“那瓶中的蜘蛛，那阴毒的驼背蟾蜍。”

(2)至少这是莎士比亚的说法。莎士比亚所做的只是剧作家的本分：把历史转变为鲜明、清晰、条理分明的梦——可以每晚上演。他把这个驼背怪物搬上台，卖票给人看。

(3) 又有谁敢说在亲朋好友眼中的真正的理查不是这样，和莎翁创造出来的那个令人厌恶得难以忘怀的剧中人物不同？真正的理查，随着历史远去而了无踪迹。所有的目击证人都已不在了，艺术家的想像力就开始施展魔力了。

(4) 在奥利佛?斯通的《谁杀了肯尼迪》中可以看到这种“理查国王效应”的变奏。《理查三世》是艺术，但也是宣传：莎翁剧情的细节取材自同时期的都铎王朝的历史家，而这些人蓄意丑化理查的形象。要过好几百年才有别的历史家出来记述理查的好处，并且暗示理查可能是都铎王朝恶意宣传的牺牲品，也是最巧妙的阴谋——艺术——的牺牲品。

(5) 《谁》片是有力的长篇大论，主题是一位人物的死亡——斯通一直称为“遇害的青年国王”的那个人。期通的把戏到底用的是哪种规则？他是扮演提供商业化娱乐的角色？还是宣传家？纪录片电影制作者？历史家？记者？幻想家？危言耸听者？有偏执狂的阴谋论者？独行侠式的英雄，为真理出征，挑战腐败的体制？答案：以上有些是。

(6) 《谁》片所造成的第一种比较表面化的效果，就是激起观众愤怒的原则问题的小抗议，好像良心上的一道道鞭痕：如果年轻一代的美国人，不复记得1963（肯尼迪遇刺年代），对于肯尼迪遇刺案的观念全凭斯通的报道，这不是太荒谬了吗？可是比这更糟的事也不是没发生过——也许包括华伦委员会报告在内。

(7)斯通的电影和华伦委员会的报告形成有趣的对称：华伦委员会是反应迟钝，毫无疑心，几乎可以说到了病态的地步：而在斯通电影的每一场戏中，阴谋论像蛇一样在脚下到处窜动。这两种报告很微妙地可以互相平衡。当然，把斯通的片子赋予和华伦报告相同的地位，有点不伦不类。反过来说，华伦报告历经多年至今，像一块巨石般，隐隐压抑着所有不同的说法，好像一座平滑的坟墓，泰然否定一切。斯通的片子虽然从头到尾比手划脚，十分夸张，至少让人重温旧事，让观众心中早已冷却的好奇与轻蔑重新烧了起来。

(8) 因为华伦报告如此不痛不痒，所以让观众似乎比较能忍受斯通的手法与他搬到电影中的堆积如山的垃圾。从说故事的角度来看，他的手法高明，从调查史实的角度来看则不时显得荒谬。可是政府、历史学家与新闻媒体追查这个主题都无法令人满意，美国人又怎能指望一位电影人来负责对肯尼迪遇刺案下断语？

(9) 斯通采用的艺术形态是纪录剧情片，这种形态血统不纯正，可靠性也令人怀疑。《谁》片也再度引起关于纪录剧情片的道德性、历史性问题。可是这又怎样？艺术家一向都采用公共事件做原始素材，把历史纳入想象中加以改造。特洛伊城的陷落淹没在《伊利亚特》中。波罗金诺之役能够不朽，永为后人追忆的，不是史实，而是托尔斯泰在《战争与和平》中的想象。

(10)尤其在电子媒体无止境渴求故事的今日，真实历史不断创造、繁衍出千奇百怪的新版本。公共人物的生活好像成了虚构故事的哺育者。水门事件爆发后，变成几乎不间断的电视迷你剧集——不过有一点颇堪玩味：描写伍华德与伯恩斯坦揭发水门事件的《大阴谋》一片紧守已知的事实，不像《谁》片把阴暗的揣测当真。

⑾ 有些公共人物有成为故事的魅力，有些则不然。尼克松有一种不可名状的、好像要掩饰什么的阴暗的光芒，产生一种莫明的吸引力。肯尼迪不论如何还是有他灿烂的光彩，最适合编故事。或许应该说，他遇刺这个故事除外。这个主题可能还是太神圣、太生硬，还没有消化完毕。美国人长久以来对达拉斯市那宗死亡事件一直处于被动、消极状态，这可能是一种催眠——也可能是悲痛化为不愿去了解的意志。神奇的事物不要摊在阳光下。

⑿ 斯通的电影和别人利用历史做想象的素材为什么感觉不同？是否因为肯尼迪遇刺造成太深的心理创痛，象征了婴儿潮一代童年的结束？还是因为美国人把它当做国家悲剧供奉起来，使它得以免于被亵渎神明的翻案者从坟墓中挖出来？依此逻辑，艺术家与电影人是否就禁止用纳粹大屠杀来做故事材料？当然，纳粹大屠杀不同，打从一开始很清楚就是撒旦式的情节。许多美国人不知何故——也许天生的个人主义的关系吧——会排斥关于肯尼迪之死的阴谋论，而且认为兜售阴谋论的人是在贩卖外国无政府主义的货物。真正的美国人好像把阴谋看成不洁的事物而讨厌它。

⒀ 也许只是因为对刺杀肯尼迪案的记忆还太鲜明了。像斯通这种忿忿不平的电影侵犯到美国人近乎永恒的哀悼。也许这个题材应该禁用一段时间，不准艺术家和娱乐界人士使用，就像天主教从前不愿考虑把死亡未满50年的人封为圣徒一样。

2008年文登春季词汇班精彩文篇推荐(二)

第二篇
A Dictionary For These Times
Dear Mr. Martian,

(1) I understand you may be somewhat confused by the confusing, science-fictive ways you encounter here on our alien planet. I’m hoping this may help your find you way around them.

(2) Affirmation means ______. (Thus, for example, Magic Johnson approaches his life-threatening disease with optimism and good nature. This means he is “in denial.” An optimist is only a pessimist who hasn’t yet come out. Yes, in short, means no. This is different however, from the fact that no means yes. That is what men say when women don’t say yes to them.)

(3) Challenge means ______. (A “Physically challenged” person is one who used to be called “disabled” or “handicapped” — to wit, one who has been dealt a bad blow by circumstance. To give him this more friendly sounding title is an attempt to affirm possibility on his behalf — in other words, to be in denial.)

(4) Cool means hot. (This, of course, you’ve known for a while. Almost anything that people say is “cool” is sure to be “hot.” If something’s “bad,” that means it’s “good.” If it’s “in,” though, that means it’s on the way out. After all, “give in” and “give out” mean the same thing.)

(5) Diversity means ______. (If someone wants a “diverse” student body, say, that means he wants one in which everyone is more or less like him. This is only logical, because “minorities” tend to be in the majority now. Thus “equal opportunity” usually means “unequal,” since some are more equal — or is it unequal? — than others.

(6) East means west. (The “Far East” is — naturally — to the west of the “Far West,” and the East Coast is one of the westernmost parts of the Western world. Don’t worry, though: according to a U.S. President, yes means no in the East anyway, while in the more logical West, “a fat chance” means a very thin one.)

(7) Father means son. (Thus, for example, Bill Wyman’s son is marrying the mother of Bill Wyman’s wife. Bill Wyman will soon be his son’s son-in-law, as well as father of his father-in-law. It’s easy to tell a girl from a boy, however. Boys are the ones with earrings? and long hair; girls are the ones with trousers and short hair. “Mother,” of course, is the worst name you can call someone. That is because mothers are not, in many contexts, objects of worship.)

(8) Friends means ______. (If someone says, “Can’t we just be friends?,” that usually means you’ve got a po-tential enemy for life. But don’t lose hope: in many parts of the world, your enemy’s enemy is your friend. That is a result of the law whereby two rights make a wrong.)

(9) Inner city means outer space. (The people who live in the “inner city” are nearly always outsiders, and “insiders” live as far as possible from the heart of things. Likewise, the “inner child,” for most adults, is even more far out.)

(10) Interests mean ______. (As in the “interests” people list in “personal ads” —“Schoenberg, late Heideg-ger and Hustler” — or in the bodies known as “interest groups.” Of Course, you will already have found that “personal” in any case means “impersonal”; thus a “personal ad” is, in fact, a highly impersonal solicitation? for companionship.)

(11) Left means right. (In places like the former Soviet Union, the “rightists” are the conservatives, who are most attached to communism — in other words, the people furthest on the left.

(12) New means old. (Thus a “new idea” — in Hollywood, for example — means an old idea that is not under copyright. Something that happened yesterday, though, is “old news.”)

(13) Pleasure means ______. (The giving of pleasure is one of the most lucrative businesses around, and not only in the red-light district. Thus people who “play games” for a living sign contracts for $43 million — much more than people who merely work. Those who can sing may get up to $100 million.)

(14) Ruler means ______. (Anyone who is a member of a royal family is, by law, subject to the nation. Thus the princesses of Britain, say, are employees of the people, used as tourist attractions and given free board and lodging in return for affording the rest of us some entertainment. You may remember how the old kings — like Henry V — used to spy on their subjects; now it’s the subjects who spy on their rulers. Dieu et mon droit.)

(15) Small means mid-size. (If you are renting a car, you need to remember that “small” is several sizes larger than the smallest size. And in McDonald’s, “a small” order of fries is now a regular-size order, which is differ-ent from the situation in most places, where the “regular” size is very small.)

(16) War means peace. (Thus the “cold war” was a way of maintaining a delicate peace between two militant superpowers. The “war against drugs” means saying “Just say no” several times and hoping that people under the influence won’t take a no for a yes.)

(17) Oh, and one more thing. Alien means resident. (As in “I live here because I’m a ‘resident alien.’ “You’ll see lots of “aliens” in the U.S. — they are the people who come from other countries, as opposed to “real Americans,” who are people who came from other countries a little while ago.)

(18) I hope that all makes sense. I’m sure you will find our world as clear as anything on your planet.

【参考译文】
新时代字典
亲爱的火星人：
(1)我了解您在我们这个外星人星球上碰到的许多颠三倒四、科幻小说式的情形，可能让您有点困惑。希望以下的说明能帮您克服这些障碍。

(2)肯定就是否认。（譬如魔术师约翰逊用乐观、随和的态度来对待他患的致命的疾病。这表示他在“否认”。乐观者只是还不肯承认的悲观者。简单讲，说“是”的意思就是“不”。不过这和另一种状况不同：说“不”意思就是“是”。那是男人说的：“在女人不肯对他说“是”的时候。）

(3) 挑战就是丧失。（一个“身体受挑战”的人就是从前叫做“失能”或“残障”的人——例如曾遭到命运严重打击的人。用现在这个听起来比较友善的名称来称呼他，是为了肯定他的可能性——也就是否认的意思。）

(4) 冷就是热。（这一点当然您早就知道了。只要是别人说“酷”的东西几乎一定很热门。如果说这个东西很“坏”，那就是说它很“棒”的意思。可是如果说一个东西是“in”[流行]，那就是说它快要out [出局]了。毕竟give in 和give out 的意思是一样的。）

(5) 多样性就是单一性。（如果有人说他们希望抬收进来的学生有“多样性”，意思是说他要的学生每一个都和他自己是差不多的人。这也很合理，因为“少数”民族现在有占“多数”的倾向。所以“平等机会”通常表示“不平等”的意思，因为有人比别人更平等——或者该说更不平等？

(6) 东方就是西方。（所谓“远东”当然就是在“远西”的更西方。美国东海岸也是西方世界最“西”化的地方。不过您也不用担心，有一位美国总统就说过，反正在东方“是”就表示“不”。而在比较合乎逻辑的西方，“机会大得很”意思是成功的机会太小了。）

(7)父就是子。（例如，比尔怀曼的儿子要和比尔怀曼的丈母娘结婚了。比尔怀曼马上就是他儿子的女婿了，他的老丈人则要叫他爸爸。这是有点乱，不过男人女人倒很容易分。戴耳环留长发的就是男人，穿长裤留短发的就是女人。“妈妈”当然是骂人最难听的脏话。这是因为妈妈在许多状况下都是崇拜的对象。）

(8) 朋友就是敌人。（如果有人说：“我们不能只做朋友吗？”那通常表示你结下了一个一辈子的敌人。可是也别灰心：世界上有许多地方，敌人的敌人就是朋友。这是根据“正正得负”定律导出来的结果。）

(9) 都市内部就是外太空。（住在“都市内部”的人几乎都是圈外人，而“圈内人”则尽量避开问题的核心。同样的，大部分成年人“内心的小孩”更是超乎想象之外。）

(10)兴趣就是无聊。（好比您看到“个人广告”上那些人列出来的“兴趣”——“勋伯格、后期海德格尔和《哈骚客》”——或者是所谓 “利益团体”中的“兴趣”。当然，您一定已经了解所谓“个人”反正指的是“非个人”；所以所谓“个人广告”其实是完全不针对个人的征友广告。）

⑾ 左就是右。（在前苏联之类的地方，所谓“右派”是保守派，也就是最服膺共产主义的人——所以就是立场最左的人。）

⑿ 新就是旧。（所以一个新点子——好比在好莱坞——就是还没有申请版权的旧点子。而昨天才发生的事情就算“旧新闻”了。）

⒀ 享乐就是事业。（提供享乐是最赚钱的行业之一，还不只红灯区是如此。所以“玩游戏、打球”谋生的人签约一签就是4300万——比光会工作的人多多了。会唱歌的更可以拿到1亿的合约。）

⒁ 统治者就是子民。（凡属于皇室的人士按法律规定就是国家的臣民，所以好比英国的王妃们就是人民聘请的员工，用来吸引观光客，管吃管住，以替人们提供娱乐。您可能还记得从前的国王——像亨利五世——会偷偷刺探他的臣民，现在则是臣民刺探统治者的隐私。天主、吾皇万岁！）

⒂ 小号就是中号。（如果您去租车，要记得“小型”比起最小的汽车要大上好几号。而且在麦当劳，一客小薯条现在是中的了。这和大部分的情形相反。一般您要的中号都小得很。

⒃ 战争就是和平。（所以“冷战”从前是两个交战的超级大国之间维持脆弱和平的办法。“对毒品宣战”的意思就是把“只要说不”念上几遍，然后希望那些吸毒吸到不分东南西北的人不会把“不”误当为“是”。）

⒄ 对了，还有一点。外来人口就是居民。（好比说“我住在这，因为我是‘有居留权的外来人口’”。在美国您可以看到很多“外来人口”，就是从外国来的人，这和“真正的美国人”不一样——真正的美国人是不久前从外国来的。）

⒅ 希望您都弄清楚 了。我相信您会觉得我们的世界和您的星球一样的清楚明白。