送交者: aliastwo 于 2006-4-30, 00:52:06:
回答: Perdue公开信和我的看法 (转载) 由 HLA 于 2006-4-29, 21:40:28:
下面部分好像没人译过。试着译了几段，太长。
OLD CHINA, NEW JAPAN
旧中国，新日本
In contrast to Kiyochika’s distinctive thematic compositions, many woodblock artists reveled in the tumult and chaos of the battlefield. They offered their audience riotous melees—congested spectacles that invite the viewer to scrutinize the scene, sort out the combatants, discover any number of intimate details. Sometimes the detail is so dense it is startling to be reminded that these popular artworks were usually tossed off in a matter of days.
与小林清亲主题鲜明的作品相反，许多版画家更耽溺于战场上的动荡和混乱。他们展现出来的激烈混战的壮观景象，吸引着观众仔细审视每一个场景，分辨交战的各方，发现每个隐秘的细节。有时画作的细节是如此的绵密，当你听到这些作品通常是在几天之内草就而成，你会被吓一跳。
Still, predictable patterns give order to this chaos. Discipline (the Japanese side) prevails over disarray (the Chinese). The sword-wielding Japanese officer and bayonet-thrusting infantryman are invariably present—and easy to locate, since their black uniforms contrast sharply to the flamboyant clothing and paraphernalia of the Chinese. The enemy’s garments vary from battle to battle but are always colorful and frequently decorated with elaborate designs. Their headgear suggests that they employ many different haberdashers. In contrast to the ubiquitous rising-sun-with-rays military flag of the Japanese, Chinese banners and ensigns feature a range of designs. Sometimes the enemy employ archaic weapons such as a three-prong pike or trident. Here and there they carry old-fashioned round shields decorated with garish face-like designs. The braided queues worn by Chinese men often stretch out like ropes or snakes; sometimes they are coiled in a bun. In short, the Chinese are riotous in every way—disgracefully so in their behavior, and delightfully so in their accoutrements.
但是混乱之中还是固定的套路。那就是，纪律严明的日本人胜过杂乱无章的中国人。画作里总是出现挥舞军刀的日本军官和端着刺刀的步兵。他们很容易辨认。因为他们的黑色军服同中国人花里胡哨的衣着和行头形成了鲜明的对比。敌人的服装在每一场战斗中都不一样，但总是色彩斑斓而且常常带有精心设计的装饰。他们的头盔不一，看上去像来自许多不同的供应商。与遍地都是的太阳军旗不同，中国人的旗帜和徽章设计得各式各样。有时敌人还操着古色古香的兵器，比如三叉戟。有些场合他们拿着旧式的圆盾牌，上面装饰着炫目的面形设计。中国人扎的辫子常常像根绳子或蛇一样拖在脑后，可有时他们又把头发盘成发髻。一句话，中国人喧扰的之至，其举止难堪，装备可笑。
The derision of the Chinese that permeates these prints found expression in other sectors of popular Japanese culture. The scholar Donald Keene, for example, has documented how popular prose, poems, and songs of the war years took similar delight in lampooning the "pumpkin-headed" Chinese and making jokes about their slaughter. (It was around this time that the pejorative Japanese epithets chanchan and chankoro became popular, amounting to a counterpart to the English-language slur "Chink.")
油画中所充斥的对中国人的嘲讽，也体现在日本流行文化的其他领域。例如，学者唐纳德·基恩纪载了战争年代日本流行的散文、诗词、歌曲中类似的对中国人的取乐：嘲笑他们是"南瓜脑袋"（freak？），以及拿他们的被屠杀开玩笑。(大致在这个时期，带贬义的绰号如"猪尾巴"和"清国奴"开始流行，对应于英文中的贬称"Chink").
Even today, over a century later, this contempt remains shocking. Simply as racial stereotyping alone, it was as disdainful of the Chinese as anything that can be found in anti-"Oriental" racism in the United States and Europe at the time - as if the process of "Westernization" had entailed, for Japanese, adopting the white man’s imagery while excluding themselves from it. This poisonous seed, already planted in violence in 1894-95, would burst into full atrocious flower four decades later, when the emperor’s soldiers and sailors once again launched war against China. Ironically, the Japanese propaganda that accompanied that later war involved throwing off "the West" and embracing "Pan-Asianism"—but that is another story.
即使在在一个多世纪后的今天,这种轻蔑也是令人震惊的. 单单就种族成见而言，日本人对中国人的蔑视，就比同时期黄祸泛起的欧美国家的种族主义有过之而无不及。似乎日本人觉得自己已"西化"成白人的形象，对东方人的歧视跟他们不沾边了。1894-95年间撒播在暴力之中的毒恶种子，在40年后，当天皇的士兵和水手再次发动侵华战争时，终于全面开出残暴的花朵。具有讽刺意味的是，后面一次战争，日本的宣传却热衷于脱离"西方",提倡起"泛亚主义"来了。但那是另一回事。