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 [老中原创] 终于明白了我为什么要为鬼子卖命 |
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[老中原创] 终于明白了我为什么要为鬼子卖命 -- laozhong - (327 Byte) 2007-3-20 周二, 15:48 (2814 reads) |
海归草
[博客]
[个人文集]
警告次数: 1
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头衔: 海归中将
声望: 专家
性别:  年龄: 55
加入时间: 2006/05/19
文章: 4193
来自: NYC,LA,Chicago,Miami
海归分: 512448
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作者：海归草 在 海归酒吧 发贴, 来自【海归网】 http://www.haiguinet.com
想找老中错误的朋友，还是来看看这个作为“范本”放在某高级翻译网站上的翻译杰作好了。
此土鳖自我介绍“其中不乏资深实力人士...站长兼管理员XXX先生为前特大型国企20年以上专职英语翻译，现改为专业从事网上自由翻译事业的创建及发展工作... ”云云。
收费标准是 英语每千字133-168元。
阿草以为，XXX先生中文的想象力绝对是高的。俺等自叹不如。
作品展示2
Then came the 1980s, and the subject of money in American life-its dominance, its folly-became unavoidable.
接着就进入了二十世纪八十年代，怎样赚钱主宰了美国人的生活，这就不可避免地带来了愚蠢。
There had always been, it seemed, Forbes and Fortune and Business Week, straight-up accountings of the commercial world.
人们似乎全都在关注着《福布斯》、《财富》及《商业周刊》，甚至直接阅读来自商业世界的财务报表。
Now the field grew more crowded and the writing more vivid and varied.
随着这一行业的人满为患，对此领域的描写也变得越来越生动，越来越丰富多彩。
A magazine called Manbattan, inc. Started profiling business tycoons with the idea that they could surely be as interesting as movie stars, professional athletes, and politicians.
有一家叫《曼巴顿》的杂志开始包装某些商界大亨，以为也能像炒作电影明星、职业运动员与政治家那样对他们进行炒作，以吸引人们的眼球。
Who were these tycoons? Where did their fortunes come from? What were they like? What language did they speak? What were their habits and ambitions?
比方说，这些大亨都是些何方神圣？他们的钱是怎么赚来的？他们长得怎样？谈吐怎么样？生活习惯及野心如何？不一而足。
Vanity Fair, a revived magazine, went back and forth between celebrating the nouveaux riches and poking fun at them.
有一份叫《名利场》的重新开业的杂志，对那些暴发户有时极力吹捧，有时又大肆揶揄。
The satirical magazine Spy threw darts at all the puffery of the era, and was especially fast to disdain the gaudy arrivistes in favor of dandruff-flecked Old Money.
一家叫《窥视》的讽刺杂志对那一时代的浮夸风大肆抨击，尤其鄙视那些爱炫耀的暴发户，认为那些老富翁更有品味，尽管他们的头发上有头屑。
Rolling Stone wisely published the pop novel of the era, Tom Wolfe’s The Bonfire of the Vanities, in serialized form.
汤姆?沃尔夫写了一本有关那个年代的通俗小说“虚荣的焰火”，《滚石》杂志则很聪明地作了连载。
Wolfe, unlike O’Hara or Cheever, took the readers into the office and sat them in front of those blinking screens where traders make their piles.
与奥哈拉与约翰?奇弗不同的是，沃尔夫将他的读者们请到他的办公室，坐在闪烁的电视机屏幕前面，看着那些买卖人大把大把地挣钱。
Finally, The New Yorker got into the act.
最后，连《纽约客》杂志也粉墨登场了。
Mark Singer wrote a brilliant saga of the rise and collapse of a bank in Oklahoma and called it “Funny Money.”
才华横溢的马克?辛格写了一篇传奇故事，主题是俄克拉荷马州的一家地方银行从兴起到没落的经历，书名就叫“可笑的钱”。
Connie Bruck wrote stunning accounts of the culture within Time Warner and of a Wall Street anic-depressive.
康尼?勃拉克写了“时代?华纳”公司内部令人震惊的企业文化，以及华尔街的那些患抑郁症的疯子。
Ever since, business has been a staple of New Yorker writing with Bruck, Singer, James Stewart, Ken Auletta, and John Cassidy reporting on that world from their various angles of vision.
从那以后，生意场就成了《纽约客》写手们的主要题材之一，他们中有勃拉克、辛格、斯图亚特、凯?奥来塔以及约翰?卡什迪等人，他们从各自不同的视角对那一领域大书特书。
And yet The New Yorker’s most original business “writing” has for a long time been in its art.
然而长期以来，《纽约客》杂志的原创“写作”实际上还是绘画。
The New Yorker cartoon has traditionally employed a variety of tropes and landscapes- the desert island , the bar, the marital (and nonmarital) bed.
《纽约客》的漫画在传统上使用多种转喻和场景变化来表达其主题，如无人岛、酒巴、或婚床（当然还有非婚的睡床）等。
- but the place where the magazine’s readers spend the most time, I’m sure, is the field of commerce: the office, the boardroom.
但我以为，杂志读者注意得最多的仍旧是生意本身，如公司的办公室和会议室等。
The New Yorker’s cartoonists, each in his or her own way, have seized on the business world and found laughter in its codes, clichés, rivalries, desperations, vanities, anxieties, and power relations.
《纽约客》的漫画家们以他们各自不同的方式抓住商界，从其规则、陈词滥调、互相争斗、铤而走险、虚荣、忧心忡忡，以及权力倾轧等现象之中找到笑料。
Bob Mankoff, who selects the cartoons for the magazine, selected the cartoons for this book, too.
专为这家杂志作漫画选题的鲍勃?曼考夫也为这本书选择了漫画题材。
He’s also drawn some of the funniest cartoons on business ever published in The New Yorker.
他还亲自画了一些商界主题的漫画，在《纽约客》曾经刊登过的漫画之中它们堪称最滑稽的作品。
His specialty is his ability to identify a phrase, a voguish morsel of talk, from the business universe and nudge it into the realm of absurdity.
他擅长于从生意场中找出一个正在流行的词汇，或一段谈话的只言片语，并揭示出它们的荒谬。
In one cartoon, Mankoff has an executive at his desk talking sternly into his telephone:
在一幅曼考夫的漫画中，一个总裁正坐在写字桌前，拿着话筒严肃地斥问道：
“A billion is a thousand million? Why wasn’t I informed of this?”
“什么？十亿美元就是一千个一百万美元吗？为什么没人告诉我这个？”
In a stroke the archetypal boss, demanding always to be kept in the loop, is made a fool.
廖廖数笔就创造了一个经典形象，即一个傻瓜蛋老板，他喜欢把自己的头一直伸在绞索里。
In another, an executive is stopped outside his office by his secretary, who earnestly informs him, “Sir, the following paradigm shifts occurred while you were out.”
在另一幅画中，一个总裁在办公室的门外被他的秘书挡住了去路，她郑重其事地向他报告说：“先生，当你不在时，我们实现了如下的模式转变。”
In both , Mankoff seizes on the familiar and the bogus (“Why wasn’t I informed of this?” and “paradigm shifts”) and yaks them in such a way that the humor is in the despair of the executive who is eternally on edge.
在这两幅画中，曼考夫抓住了人们耳熟能详的陈词滥调（“为什么没人告诉我这个？”和“转变模式”），描绘出那些执行官们，他们总是忧心忡忡。于是读者从中找到了幽默。
In another cartoon, a Mankoff classic, an executive at his desk consults his calendar and tells someone on the phone, “No, Thursday’s out. How about never-is never good for you?”
另一幅漫画也是曼考夫的经典之作，一个总裁坐在办公桌旁，他一面看着日历，一面在电话中对人说：“不，星期四的卖完了。没日期的怎么样？它们对你没用吗？”
What’s funny here, of course, is the way in which the euphemisms of biz-talk are always one small step from bloody disdain.
这里的幽默之处在于，商业用语中的委婉说法，其实离对他人的极端鄙视只有一步之遥。
Since the Depression, a constant theme of business humor has been the fear of falling into the lower depths of ruin, the fine line between the penthouse and selling apples on the street.
自大萧条以来，生意场的幽默题材一直是：人们担心自己会跌入毁灭的深渊，住在公寓顶层的破屋子里，每天走到大街上卖苹果。
In one of Robert Weber’s drawings a hostess prompts her respectable-looking husband at their cocktail party, saying, “Sweetie, show the Hazlitts the watercolors you made in jail.”
在罗伯特?韦伯的一幅画中，一个女招待在一次鸡尾酒聚会上催促着她的风度翩翩的丈夫说：“亲爱的，把你在牢里画的水彩画拿出来，给海烈茨夫妇瞧瞧。”
Lee Lorenz has a hopeful-looking guy at an employment agency, where a blasé fellow searches through his card file and says, “I may have something rather outside your field. Would you consider indentured servitude?”
李?洛伦兹画的一幅画是，一个人走进一家职业介绍所，信心十足地想找一份工作。事务所里那个玩腻了的家伙翻了翻一大堆的名片，然后对这位客户说：“我或许有一个工作，不过可能不合你的专业。去当一名卖身的奴工，你考虑吗？”
The strains and absurdities of the business life are often so onerous that they carry over into the home, where one of Leo Cullum’s businessmen-at-rest slumps in his armchair and faces the family dog as if it were an employee in jeopardy:
由于生意场上的压力和荒诞事情使人不堪重负，于是经常会被人们带到家里。在列奥?卡拉姆的一幅画里，一个商人正躺在家里的安乐椅中朝着他养的狗说话，但口吻就像对待一个即将被炒尤鱼的下属：
“You’ve been with us a long time , Winnie,” he says, “and we’re prepared to offer you a generous severance package.”
“你跟我们呆了这么久了，威尼，我们为你准备了一笔慷慨的解雇费。”
The cartoonists have also made high comedy of the boomer generation’s habit of forever having its cake and eating it, too:
漫画家们还将讽刺的目光瞄准了出生高峰期的一代人，这些人以为自己永远会有蛋糕吃，这是他们的思维习惯。
All those downtown executives who wear an Armani suit and a ponytail as indicators that while they are in the business world they are not of it.
那些在市中心上班的总裁们，尽管他们都穿着阿马尼牌的西服，头上留着马尾辫，但他们并不真正懂得什么是生意。
Ed Koren, that great bard of downtown fuzzy urbanity, shows one of his characters, a stockbroker (and surely a former longhair) sitting in his kids’ room and, still dressed in bow tie and suspenders, telling them a bedtime story:
爱得?考林善于描述市中心区流行的混乱的礼节。他画了一个股票经纪人（从前肯定是一个长发族），他坐在他孩子们的房间里，但仍戴着领带，穿着吊带裤，正在给他的孩子们讲一个床边故事：
“And after the prime rate declined by half a point, and the Dow rose by thirty-two, guess what happened to Goose and Fox?”
“要是主利率降了半个点，道?琼斯涨了三十二点，你们猜，会给大白鹅和狐狸带来什么变化？”
Several of the cartoonists have also found comedy in the rise of women in the executive world.
一些漫画家还从妇女在经理人世界中崛起一事中找到了喜剧素材。
I especially love Warren Miller’s captionless drawing of the new Cinderella: a young woman being changed into a would-be CEO by her fairy godmother.
我特别喜欢沃伦?米勒的一幅关于新的灰姑娘的无标题画：一个年轻的女人由于得到了她仙女般的教母的调教，差一点就当上了首席执行官。
So you can see the source of my anxiety.
所以你们能看出我在担心什么事了吧。
For more than a decade now, the stock market and every other index have been telling us a historic tale of economic boom (for those at the top). At the same time there has been an unsettling shift in business mores-the end of company loyalty, a permanent sense of impermanence.
十几年来，股票市场和其它所有的指数都向我们显示，经济创出了历史新高（仅从那些处于涨幅第一版的看）。但在商业道德方面则无法使人安心：对公司的忠诚已不复存在，人们总是惶恐不安。
From the very beginning, it’s been the artists, the cartoonists, who have been on the case. We writers and editors have only begun to get at those stories. And yet it may not be a game worth pursuing.
开始时是艺术家们，也就是漫画家们从事了这件事情，而我们作家们和编辑们只是刚刚听到这些个故事。不过，这场游戏也许并不值得跟风。
What 1,000 words, what 10,000 words, can compete with Tom Cheney’s drawing on page 54?
就算你写了一千个字、一万个字，怎么能与汤姆?切尼发表在第54页上的漫画相提并论呢？
In a warren of cubicles, a maze of “workstations,” there is one station that has no exit, and inside it sits a skeleton.
在他的画里，一大堆的小屋挤成一团，这些“工作站”组成了一个迷宫。其中的一个工作站没有门，一个骷髅正坐在里面。
Meanwhile all the others work on, oblivious to their rotted-out neighbor.
其余的人仍在继续干活，而对他们的邻居正在腐烂这件事一无所知。
We call these “cartoons,” a word that shrugs off pretensions of importance. But they are perhaps the most important thing the New Yorker publishes.
我们把它们叫做“漫画”，因为这个词可以成为一种托词，使事情不显得十分的重要。然而，在《纽约客》杂志发表过的所有作品中，也许只有它们才有着最为重要的意义。
And I say the hell with it.
我要说的是：“什么托词？见它的大头鬼吧！”
作者：海归草 在 海归酒吧 发贴, 来自【海归网】 http://www.haiguinet.com
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 [老中原创] 终于明白了我为什么要为鬼子卖命 -- laozhong - (327 Byte) 2007-3-20 周二, 15:48 (2814 reads) - 我们是可以学习学习这个的 -- 海归草 - (9076 Byte) 2007-3-21 周三, 13:36 (302 reads)
- 体谅。 -- costco - (49 Byte) 2007-3-21 周三, 02:05 (276 reads)
- 知道了 -- 前门毛 - (73 Byte) 2007-3-21 周三, 01:03 (274 reads)
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