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Part C
Directions: Read the following text carefully and then
translate the underlined segments into Chinese. Your translation should be
written clearly on ANSWER SHEET 2. (10 points)
It is speculated that gardens
arise from a basic human need in the individuals who made them: the need for
creative expression. There is no doubt that gardens evidence an irrepressible urge to
create, express, fashion, and beautify and that self-expression is a basic
human urge,(46)yet when one looks at the photographs of the gardens created
by the homeless, it strikes one that, for all their diversity of styles, these
gardens speak of various other fundamental urges, beyond that of decoration and
creative expression.
One of these urges has to do with
creating a state of peace in the midst of turbulence, a “still point of the
turning world,” to borrow a phrase from T. S. Eliot. (47)A sacred place of
peace, however crude it may be, is a distinctly human need, as opposed to
shelter, which is a distinctly animal need. This distinction is so much so
that where the latter is lacking, as it is for these unlikely gardeners, the former
becomes all the more urgent. Composure is a state of mind made possible by the
structuring of one’s relation to one’s environment. (48) The gardens of the
homeless, which are in effect homeless gardens, introduce form into an urban environment where it either didn’t exist or was
not discernible as such. In so doing they give composure to a segment of
the inarticulate environment in which they take their stand.
Another urge or need that these gardens
appear to respond to, or to arise from, is so intrinsic that we are barely ever
conscious of its abiding claims on us. When we are deprived of green, of
plants, of trees, (49)most of us give in to a demoralization of spirit which
we usually blame on some psychological conditions, until one day we find
ourselves in a garden and feel the oppression vanish as if by magic. In
most of the homeless gardens of New York City the actual cultivation of plants
is unfeasible, yet even so the compositions often seem to represent attempts to
call forth the spirit of
plant and animal life, if only symbolically, through a clumplike arrangement
of materials, an introduction
of colors, small pools of water, and a frequent presence of petals or leaves as
well as of stuffed animals. On display here are various fantasy elements whose
reference, at some basic level, seems to be the natural world. (50)It is
this implicit or explicit reference to nature that fully justifies the use of
word garden, though in a “liberated”
sense, to describe these synthetic constructions. In them we can see
biophilia—a yearning for contact with nonhuman life—assuming uncanny representational forms.
Part C
46. 然而，看到那些无家可归的人所创建的花园的照片时，我们不禁会发现这一系列花园尽管风格各异，揭示的却是几种其他的根本需求，不限于美饰与创意表达的范畴。
47. 一处安恬的憩园，无论多么简陋，都是一种人性特有的需求，与此相反，一个栖身之所则是动物性特有的需求。
48. 无家可归者的花园，其实也就是无家之园，将形式引入了一个无形或无法辨认形式的都市环境。
49. 大多数人会感到精神不振，并通常把它归咎于某种心理状况；直到有一天我们置身花园，却往往会发现郁闷之感奇迹般地消失殆尽。
50. 正是这或明或暗的对自然界的指涉使这些人工合成的建筑物完全够得上“花园”之称，尽管得稍稍“解放”这个词的语义才能这么说。
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