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 the 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.

答案解析

Part C

46.然而，看到那些無家可歸的人所創(chuàng)建的花園的照片時，我們不禁會發(fā)現(xiàn)這一系列花園即使風(fēng)格各異，揭示的卻是幾種其他的根本需求，不限于美飾與表達(dá)的范疇。

47.一處安恬的憩園，無論形式繁簡、構(gòu)造如何，都很明顯是一種人性的需求，與此相反，一個棲身之所則是動物性明顯的需求。

48.無家可歸者的花園實(shí)際上是無家的花園，將形式引入了一個無形或無法辨認(rèn)形式的都市環(huán)境。

49.我們中的大多數(shù)人會感到精神不振，并通常把它歸咎于某種心理或神經(jīng)上的失調(diào);直到有一天我們置身花園，卻往往會發(fā)現(xiàn)郁悶之感奇跡般地消失殆盡。

50.正是這或明或暗的對自然界的指示使這些人工合成的建筑物完全夠得上“花園”之稱，盡管得稍稍“解放”這個詞的語義才能這么說。