2020年12月六级第1套仔细阅读 Passage 1 原文翻译及答案解析

What is the place of art in a culture of inattention? Recent visitors to the Louvre report that tourists can now spend only a minute in front of the Mona Lisa before being asked to move on. Much of that time, for some of them, is spent taking photographs not even of the painting but of themselves with the painting in the background.

在注意力分散的文化中，艺术的地位是什么？最近参观卢浮宫的游客报告说，游客现在在《蒙娜丽莎》前只能停留一分钟，然后就被要求离开。对于其中一些人来说，大部分时间都花在拍照上，甚至不是拍画作，而是以画作为背景自拍。

One view is that we have democratised tourism and gallery-going so much that we have made it effectively impossible to appreciate what we've travelled to see. In this oversubscribed society, experience becomes a commodity like any other. There are queues to climb Mt. Jolmo Lungma as well as to see famous paintings. Leisure, thus conceived, is hard labour, and returning to work becomes a well-earned break from the ordeal.

一种观点认为，我们已经将旅游和参观画廊民主化到如此程度，以至于实际上无法欣赏我们专程去看的东西。在这个过度拥挤的社会中，经验变成了一种像其他商品一样的商品。攀登珠穆朗玛峰和观看名画都需要排队。如此概念化的休闲是艰苦劳动，而返回工作则成了从这种磨难中挣来的休息。

What gets lost in this industrialised haste is the quality of looking. Consider an extreme example, the late philosopher Richard Wollheim. When he visited the Louvre he could spend as much as four hours sitting before a painting. The first hour, he claimed, was necessary for misperceptions to be eliminated. It was only then that the picture would begin to disclose itself. This seems unthinkable today, but it is still possible to organise. Even in the busiest museums there are many rooms and many pictures worth hours of contemplation which the crowds largely ignore. Sometimes the largest crowds are partly the products of bad management; the Mona Lisa is such a hurried experience today partly because the museum is being reorganised. The Uffizi in Florence, another site of cultural pilgrimage, has cut its entry queues down to seven minutes by clever management. And there are some forms of art, those designed to be spectacles as well as objects of contemplation, which can work perfectly well in the face of huge crowds.

在这种工业化的匆忙中失去的是观看的质量。考虑一个极端例子，已故哲学家理查德·沃尔海姆。当他参观卢浮宫时，他能在一幅画前坐上四个小时。他声称，第一个小时是消除误解所必需的。只有到那时，画面才开始展现自身。这在今天似乎难以想象，但仍然是可以组织的。即使在最繁忙的博物馆，也有许多房间和许多画作值得花上几小时沉思，而人群大多忽略。有时，最大的人群部分是由于管理不善造成的；《蒙娜丽莎》今天如此匆忙的体验，部分原因是博物馆正在重组。佛罗伦萨的乌菲兹美术馆，另一个文化朝圣地，通过聪明的管理将入口排队时间缩短到七分钟。还有一些艺术形式，那些设计为奇观和沉思对象的，可以在面对巨大人群时完美运作。

Olafur Eliasson's current Tate Modern show, for instance, might seem nothing more than an entertainment, overrun as it is with kids romping (喧闹地玩耍) in fog rooms and spray mist installations. But it's more than that: where Eliasson is at his most entertaining, he is at his most serious too, and his disorienting installations bring home the reality of the destructive effects we are having on the planet—not least what we are doing to the glaciers of Eliasson's beloved Iceland.

例如，奥拉维尔·埃利亚松当前在泰特现代美术馆的展览，可能看起来只是一种娱乐，因为孩子们在雾室和喷雾装置中嬉闹（喧闹地玩耍）。但它不止于此：在埃利亚松最娱乐的地方，他也最严肃，他那令人迷失方向的装置让我们直面我们对地球的破坏性影响的现实——尤其是我们对埃利亚松钟爱的冰岛冰川所做的事情。

Marcel Proust, another lover of the Louvre, wrote- "It is only through art that we can escape from ourselves and know how another person sees the universe, whose landscapes would otherwise have remained as unknown as any on the moon." If any art remains worth seeing, it must lead us to such escapes. But a minute in front of a painting in a hurried crowd won't do that.

马塞尔·普鲁斯特，另一位卢浮宫的爱好者，写道：“只有通过艺术，我们才能逃离自我，并了解另一个人如何看待宇宙，否则其景观将如同月球上的任何地方一样未知。”如果还有艺术值得观看，它必须引领我们进行这样的逃离。但在匆忙人群中，在一幅画前停留一分钟是做不到的。