DOC《2014年9月“每月一题”试题》

2014年9月"每月一题"试题 Translate the following text into Chinese.

(50%) Chinese More or Less The Chinese outside China are heterogeneous groups. The Exhibition: Chinese More or Less at the Chinese Heritage Centre addresses this diversity and poses the question of whether "Chinese-ness" can be quantified. Through the exhibits in seven different galleries which illustrate Chinese in different parts of the world and across generations, the Exhibition explores what it has meant, at different times, to be defined as Chinese by oneself, by other Chinese, and by people other than Chinese and how the defining of "Chinese" has moved beyond simple categorization. Under the theme of "self", we see how Chinese see themselves through studio portraits. Chinese sitters in studio portraits aim to project an ideal image of how they would like others to see them, although others may not see Chinese in that way. In western caricatures and movie stills, we see how Chinese are being perceived by others though "mirrors" distorted by stereotyping and stigmatization. Under the second theme of "Other Chinese", we see how Chinese define their identities in relation to "Other Chinese". We are alerted to two foci, local and national, both of which have lingered over time. This theme is presented through exhibits in four galleries. The "local" focus. The home is where the heart is. Wherever they went, early generations of Chinese immigrants continued to maintain ties with their families in their places of origin in China. This can be seen from the elaborate homes they built in places where their ancestors originated, and the tomb stones of Chinese buried overseas indicating the native places of the deceased. The "national" focus. In the early 20th century, a collective Chinese identity which overarched local differences gradually emerged. The first of two timelines in the Exhibition traces events in China, which intensified feelings of connectedness with China in the overseas Chinese. The second shows how Chinese in the diaspora responded to those events. As Chinese migrated far and wide, they met with people who were not Chinese. Such encounters made available many sources of identification. In the colonial context, for example, Chinese overseas contact with natives and Europeans produced composite identities such as the Peranakan and the Mestizo. We examine the myriad identities under the 3rd theme of "Chinese and Beyond". In today's technologically driven world, cultures have crossed borders giving rise to even more sources of identification. We may find it even harder to answer the question of "who are the Chinese?" from works of film director Ang Lee, painters Zhao Wuji and Changyu, architect I. M. Pei and Celllist Yoyo Ma, we see how, in their encounters with cultures other than the Chinese, their Chinese identities have filtered through their works. Last but not least, we conclude with an exclusive interview with Historian Professor Wang Gungwu, whose remarks on Maximum Chineseness inspired the title of this Exhibition. 何谓华人 一等奖 陈泳12翻译3班 华人指的是一个多元化的群体.在华裔馆有一个关于"何谓华人"的展览,这个展览在展示华人身份多元样性的同时,也向世人提出了一个问题:华人的身份是否可以被量化? 这个展览分布在世界不同地区七个不一样的美术馆中,它从"自我""其他华人"和"跨越华人"的三个视角介绍世界不同地区、时代的华人,同时对这些华人进行探索比较,使我们对华人的定义有了更深的理解――在不同时期,华人的身份是日趋复杂而不能被简单分类. 从"自我"的展区来看,我们可以看到华人是通过早期拍得的照片来展示自我,他们努力在照片中展示自身的完美形象,希望其他人也感同身受,然而大部分人都无法做到这一点.就像镜子的反射作用一样,华人在西方讽刺漫画和电影中总是被外人扭曲、丑化成为刻板印象. 从第二个展区"其他华人"来看,我们可以知道华人是通过自己与其他华人的对照从而来引导我们探索其身份.我们可以看到华人身份的认同有两大核心,分别是"地方"和"国家",而这两者是随着时代变迁的.同时这钟观点在四个美术馆中都是有展示的. 首先说一说"地方".家在哪里心就在哪里.华人不管在移民之后去了哪个地方,他们都不会忘记最初在中国养育他们的那片土地和世世代代血脉相承的祖祖辈辈.而他们在祖先居住的地方精心建造房子,在海外已故的海外华人的墓碑上刻上他们的出生地,都是最好的例证. 接着谈一谈第二个核心"国家".在20世纪早期,华人的综合群体性已经逐渐替代了不同地方的华人所产生的差异性.在华裔馆的展览展出的两件大事记中,其中一件就是记录了海外华人对中国都有浓厚的感情,彼此有深深的连通性;

另一件事就是展示了那些移居的华人对中国大事所做出的反应. 华人的移民历史漫长且遍布四海,他们会接触到很多中华民族以外的人,因此他们也会面临身份认同的多种选择.比如在殖民时期,华人、土著和欧洲人各方面的相互融合产生了一种综合群体,包括有QQ娘惹和梅斯蒂所混血儿.这些综合群体的人的身份,在 第三个观点"跨越华人"中都得到了调查和证实. 在这个现代科技迅猛发展的时代,文化已经跨越国界发展,这也使得华人身份的认同更多元化,我们也更难去回答到底"何谓华人"这个问题.文化交融产生的身份认同的多元化,在电影导演李安,画家赵无极、常玉,建筑师贝聿铭及大提琴家马友友的作品中都体现得淋漓尽致.最后值得一提的是,在对历史学家王赓武教授的独家采访中,他对于大量华人的看法也是"何谓华人"这个展览的灵感. 如何定义华人 一等奖 李婉青?12级英翻3班 在中国境外,华人是不同的群体.华人展览:在华裔馆展览的何为华人解答了这种多样性的特征,引出了问题即是否可以量化"中国化". 通过在七个不同的画廊的展览,展示了华人分布在世界不同的地区和跨越了时代的界限.华裔展览探索着在不同的年代它体现的意义所在,所体现的意义被定义为自我,其他华人和跨越华人.如何定义"华人"已不能被纯粹分类. 以"自我"为主题之下,我们可以看到华人是如何通过人物照看待自己.照中人希望在人物照中展现出他们想要别人如何看待自己的一个理想化的形象,尽管其他人可能看不到他们以这种方式呈现的理想形象.而在西方的漫画和电影剧照中,通过"镜子"的反射,我们看到华人在外人眼中被扭曲、丑化的刻板印象. 以"其他华人"为第二主题之下,我们看到华人如何定义关于"其他华人"的身份.我们察觉到有两大轴心,地方的和国家的,这两个轴心已经徘徊已久.这一主题是透过在四个展览厅里的展品而被提出的. 以"地方"为轴心.家是心之所在.无论他们去到哪里,早期华人移民者的后代继续与他们在中国的出生地及其家人保持纽带关系.这可以从他们在祖先起源的地方精心设计的房子和埋在海外的华人坟墓当中表明死者籍贯的所在之处. 以"国家"为轴心.在二十世纪初,逐渐出现了一个超越地方差异的集体身份.在展览中主要有两条时间轴,第一条时间轴是追溯中国的大事件,以此来加强海外华人与中国在情感上的连通性.第二条时间轴向我们展示了对于散居国外的华人,他们如何对这些大事件做出回应. 中华移民分布广泛,因此接触很多中华民族以外的人,像这样便面临身份认同的多元选择.举个例子,在殖民时期,海外华人与土著和欧洲人进行长期融合,衍生出身份的综合群体如土生华人和混血儿.在第三主题"跨越华人"之下,我们研究了无数的多元化身份. 在今天以技术驱动的世界之下,文化已经跨越了国界,身份认同也变得多元化.从电影导演李安,画家赵无极和常玉,建筑师贝聿铭和大提琴家马友友的作品中,我们更难回答的是"何为华人"这个问题.我们看到,他们的作品蕴含着文化的多样性.他们的华裔身份已透过他们的作品过滤出来了.最后,我们与谈论最大中国化的历史学教授王光武有一个独家专访作为结束,给此次展览赋予标题的灵感.