劍橋雅思9test4passage3閱讀原文翻譯

劍橋雅思9test4passage3該篇閱讀主要講的是博物館的發(fā)展，一共分為6段，下面則這是該篇閱讀的原文翻譯，想了解的同學趕緊往下接著看吧。

劍橋雅思9test4passage3閱讀原文翻譯

The Development of Museums博物館的發(fā)展

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The conviction that historical relics provide infallible testimony about the past is rooted in the nineteenth and early twentieth centuries,when science was regarded as objective and value free.As one writer observes:‘Although it is now evident that artefacts are as easily altered as chronicles,public faith in their veracity endures:a tangible relic seems ipso facto real.’Such conviction was,until recently,reflected in museum displays.Museums used to look–and some still do–much like storage rooms of objects packed together in showcases:good for scholars who wanted to study the subtle differences in design,but not for the ordinary visitor,to whom it all looked alike.Similarly,the information accompanying the objects often made little sense to the lay visitor.The content and format of explanations dated back to a time when the museum was the exclusive domain of the scientific researcher.

歷史遺跡提供了有關過去的可靠證明，這一信念源于19世紀和20世紀初。當時科學被視為是客觀和價值中立的。正如一位作家所觀察到的：“現(xiàn)在，如下事實十分明顯，人工制品像編年史一樣容易被改變，但是公眾對它們的真實性的信念仍然存在：有形的文物似乎確實是真實的”。直到最近，這樣的信念都可以從博物館的展示里得到反映。博物館過去-有些還在-看起來就像是將物品存放在展示柜中的儲藏室一樣：對想要研究設計上細微差別的學者非常有用，但不適用于普通游客。在他們看來，所有東西看起來都很像。同樣，物品所附帶的信息對游客來說意義不大。這種闡釋的內容和形式可以追溯到博物館作為科學研究者專有領域的時期。

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Recently,however,attitudes towards history and the way it should be presented have altered.The key word in heritage display is now‘experience’,the more exciting the better and if possible,involving all the senses.Good examples of this approach in the UK are the Jorvik Center in York;the National Museum of Photography,Film and Television in Bradford;and the Imperial War Museum in London.In the US the trend emerged much earlier:Williamsburg has been a prototype for many heritage developments in other parts of the world.No one can predict where the process will end.On so-called heritage sites the re-enactment of historical events is increasingly popular,and computers will soon provide virtual reality experiences,which will present visitors with a vivid image of the period of their choice,in which they themselves can act as if part of the historical environment.Such developments have been criticized as an intolerable vulgarization,but the success of many historical theme parks and similar locations suggests that the majority of the public does not share this opinion.

然而，近來，人們對歷史及其呈現(xiàn)方式的態(tài)度發(fā)生了變化?，F(xiàn)在文物展示的關鍵詞是“體驗”，越令人興奮越好。如果可能的話，最好涉及所有的感官。在英國，這種方法優(yōu)秀案例有位于約克的約爾維克中心，位于布拉德福德的國家攝影、電影和電視博物館；以及位于倫敦的帝國戰(zhàn)爭博物館。在美國，這種趨勢出現(xiàn)得更早：威廉斯堡（Williamsburg）是世界其他地區(qū)許多遺產發(fā)展的原型。沒有人能夠預測這一變化過程將在哪里結束。在所謂的歷史遺跡上，重演歷史事件變得越來越流行，計算機很快能夠提供虛擬現(xiàn)實的體驗。這將為游客呈現(xiàn)他們所選擇的時期的生動圖景。在此過程中他們仿佛置身于歷史環(huán)境中一樣。這種發(fā)展被一些人批評為令人無法忍受的庸俗化。但是許多歷史主題公園和類似地點的成功表明，大多數(shù)公眾不同意這種觀點。

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In a related development,the sharp distinction between museum and heritage sites on the one hand,and theme parks on the other,is gradually evaporating.They already borrow ideas and concepts from one another.For example,museums have adopted story lines for exhibitions,sites have accepted‘theming’as a relevant tool,and theme parks are moving towards more authenticity and research-based presentations.In zoos,animals are no longer kept in cages,but in great spaces,either in the open air or in enormous greenhouses,such as the jungle and desert environments in Burgers’Zoo in Holland.This particular trend is regarded as one of the major developments in the presentation of natural history in the twentieth century.

在相關的發(fā)展過程中，博物館和文物古跡與主題公園之間的鮮明區(qū)分正在逐漸消失。他們相互借鑒了彼此的思想和觀念。例如，博物館采用故事情節(jié)來進行展覽，場所將“主題”作為相關工具。而主題公園則正朝著更具真實性和以研究為基礎的展示的方向發(fā)展。在動物園，動物不再被關在籠子里，而是在巨大的空間中活動，要么是露天場所，要么是大型的溫室，如荷蘭Burgers動物園的叢林和沙漠環(huán)境。這種特殊的趨勢被認為是二十世紀自然歷史呈現(xiàn)的主要發(fā)展之一。

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Theme parks are undergoing other changes,too,as they try to present more serious social and cultural issues,and move away from fantasy.This development is a response to market forces and,although museums and heritage sites have a special,rather distinct,role to fulfil,they are also operating in a very competitive environments,where visitors make choices on how and where to spend their free time.Heritage and museum experts do not have to invent stories and recreate historical environments to attract their visitors:their assets are already in place.However,exhibits must be both based on artefacts and facts as we know them,and attractively presented.Those who are professionally engaged in the art of interpreting history are thus in a difficult position,as they must steer a narrow course between the demands of‘evidence’and‘attractiveness’,especially given the increasing need in the heritage industry for income-generating activities.

主題公園也正在經歷其他變化。它們試圖呈現(xiàn)更嚴肅的社會和文化問題，并擺脫幻想。這種發(fā)展是對市場力量的回應。盡管博物館和遺址需要履行十分特殊的職責，但它們在競爭非常激烈的環(huán)境中運作。游客可以選擇如何以及在哪里度過閑暇時光。遺址和博物館專家不必發(fā)明故事或重塑歷史環(huán)境來吸引游客：他們的資本已經到位。但是，展示必須建立在物品本身以及我們所認識他們的基礎上，同時又必須具有吸引力。因此，那些專業(yè)從事歷史闡釋藝術的人處于一種左右為難的境地，因為他們必須在“證據(jù)”和“吸引力”的要求之間尋找狹窄的路徑，特別是考慮到遺產行業(yè)越來越需要可以創(chuàng)收的活動。

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It could be claimed that in order to make everything in heritage more‘real’,historical accuracy must be increasingly altered.For example,Pithecanthropus erectus is depicted in an Indonesian museum with Malay facial features,because this corresponds to public perceptions.Similarly,in the Museum of Natural History in Washington,Neanderthal man is shown making a dominant gesture to his wife.Such presentations tell us more about contemporary perceptions of the world than about our ancestors.There is one compensation,however,for the professionals who make these interpretations:if they did not provide the interpretation,visitors would do it for themselves,based on their own ideas,misconceptions and prejudices.And no matter how exciting the result,it would contain a lot more bias than the presentations provided by experts.

可以說，為了使遺跡中的一切都更加“真實”，我們必須對歷史準確性做出越來越多的改變。例如，印度尼西亞博物館中的直立猿人擁有馬來人的面部特征，就呼應了公眾的觀念。同樣，在華盛頓的自然歷史博物館中，被展示的尼安德特人正在對妻子做出主導手勢。這樣的展現(xiàn)告訴我們的更多的是關于世界的當代看法，而非有關我們祖先的事情。但是，進行這種解釋的專業(yè)人員可以得到一種心理安慰：如果他們不提供這種解釋，那么游客就會根據(jù)自己的想法，誤解和偏見來自己編造。而且，無論結果多么令人興奮，它所包含的偏見都比專家提供的報告要多得多。

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Human bias is inevitable,but another source of bias in the representation of history has to do with the transitory nature of the materials themselves.The simple fact is that not everything from history survives the historical process.Castles,palaces and cathedrals have a longer lifespan than the dwellings of ordinary people.The same applies to the furnishings and other contents of the premises.In a town like Leyden in Holland,which in the seventeenth century was occupied by approximately the same number of inhabitants as today,people lived within the walled town,an area more than five times smaller than modern Leyden.In most of the houses several families lived together in circumstances beyond our imagination.Yet in museums,fine period rooms give only an image of the lifestyle of the upper class of that era.No wonder that people who stroll around exhibitions are filled with nostalgia;the evidence in museums indicates that life was so much better in the past.This notion is induced by the bias in its representation in museums and heritage centers.

人類的偏見是不可避免的，但是歷史展現(xiàn)的另一個偏見根源與材料本身的暫時性有關。一個簡單的事實是，歷史中并非所有的物品都能在歷史進程中存留下來。城堡，宮殿和大教堂的壽命比老百姓的住所更長。房屋家具和其他物品也是如此。在像荷蘭萊頓這樣17世紀的居民數(shù)量與今天幾乎相同的小鎮(zhèn)中，人們所居住被圍墻環(huán)繞的城鎮(zhèn)面積還不到今天的五分之一。在大多數(shù)房屋里，幾個家庭一起生活在我們無法想象的環(huán)境中。然而，在博物館中，精美的房間只能提供那個時代上層社會生活方式的圖景。難怪逛展覽的人充滿了懷舊之情。博物館中的證據(jù)表明，過去的生活好多了。這種觀念正是由博物館和遺產在展示中存在的偏差而引起的。

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