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[2011.02.19] 玛丽亚•阿尔特曼

2011-2-20 18:23| 发布者: Somers| 查看: 15977| 评论: 16|原作者: skittos

摘要: 玛丽亚•阿尔特曼辞世
逝者

玛丽亚•阿尔特曼


玛丽亚•阿尔特曼,一位矢志追回被掠画像的斗士,于2月7日辞世,享年94岁


Feb 17th 2011 | from PRINT EDITION



“ 一场折磨!”  玛丽亚•阿尔特曼脱口而出。这是她被问及自己姨妈阿黛勒•布洛赫-鲍尔时的第一句回答。当年的阿黛勒纤弱黝黑,美丽高雅,总是抱怨头痛。孩子令她烦嫌,由于她自己没有子女;她更讨厌家长里短,而热衷宗教和政治方面的话题。 (“亲爱的”,阿尔特曼叹息说:“阿黛勒是昨日世界的现代女性”)。 阿黛勒抽烟抽得像只烟囱。她手夹一支金色长烟嘴,有时身着白色晚装长裙,飘逸游走;有时身着黑色华服,在她家那栋紧挨维也纳国家歌剧院的豪宅沙龙里,与一群音乐家、艺术家和作家们坐而论道,主导话题。

不过,阿黛勒后来能够闻名于世,全因为古斯塔夫•克林姆特在1907年为她作画。这幅精品绘制长达四年,超过了画家所有画作的时间。画面上,克林姆特把阿黛勒包裹在长裙旋转之中,四周用无数金光闪烁的长方、螺旋和埃及象征图形点缀;包缠之中,阿黛勒目光看向外界,带着一种紧张的美感,如同维也纳黄金时代的一幅缩影。她的手有点奇怪地弯曲着,其中的内情只有阿尔特曼知道:阿黛勒有一根曲指,所以总是小心翼翼地把它遮掩起来。阿尔特曼还相当肯定,凭画家那神似希腊神萨梯的长相及其放荡不羁的性趣,阿黛勒和克里姆特之间有过一段狂热的恋情。尽管阿尔特曼的母亲怒气冲冲地否认说那不过是“一段精神上的交往”。但你只要留意姨妈那双怠惰黯淡、透着一丝难以察觉微笑的眼神,就能猜到事实非仅于此。

没想到“金色的阿黛勒”却成了阿尔特曼晚年的一场噩梦。阿尔特曼的孩提时代过着与姨妈十分类似的“美好”生活,不缺丝绸纱缎打扮,住在邻近的富丽堂皇的豪宅里。家中有艺术家和哲学家流连往返,聆听她父亲用史特拉第瓦里大提琴演奏乐章。1925年43岁的阿黛勒辞世之后,费迪南德姨父家的周日午餐聚会就开始多了一项内容:大家都去观赏克里姆特为她绘制的肖像。它挂在阿黛勒堆满了鲜花、香气雾霭的卧室里。克里姆特所作的另外四幅画也挂在屋中,其中三幅为风景画:桦林、斑驳的苹果树和沿河的一栋小屋。还有一幅后来的阿黛勒:一顶大帽子之下,她苍白而拘谨,膀腕松弛地站在红、绿及淡紫等黄褐色彩之中。

这五幅画在纳粹1938年占据奥地利时被全部盗取一空。阿尔特曼还记得人们在奥德合并时的欢庆,教堂里敲起了钟声,唯独犹太人在一边哭泣。当时她刚与丈夫弗里茨•阿尔特曼完婚。她有时佩戴阿黛勒的一些钻石首饰,那些都是费迪南德叔叔送她的结婚礼物。但纳粹很快便把它们全数掳掠了去,同时查封了费迪南德的整个艺术画、瓷器收藏以及他的炼糖厂。《阿黛勒•布洛赫•鲍尔肖像》成为家族惨遭掠夺的标志。

多年以后,逃往美国的阿尔特曼与丈夫弗里茨在加州有了新生活。弗里茨在洛克希德公司工作,阿尔特曼销售开司米织品——她以为克里姆特的画作已经合法归奥地利国家美术馆所有。直到1998年,得知法律经修改后倾向于支持“物归原主”,她才立志要追回那些失去的画,但这一求诉遭到了奥地利政府的拒绝。对方称,按照阿黛勒的遗嘱,这些绘画已赠送了国家艺术馆。而且对方还可以强调,如今,阿黛勒的金色辉煌——克里姆特的笔下之美已非整个奥地利莫属了。

开司米战士


年届82岁的阿尔特曼走上了“索归之战”。在开司米和丝巾中,她变成一名异常的战士。在切维厄特街她所经营的服饰精品店里,客户通常可以坐在客厅里一边品尝奥地利咖啡(Kaffee mit Schlag)一边细嚼香肠,有点像是“新世界”中最后的一袭古典维也纳沙龙。咖啡桌上放着“金色阿黛勒”镇纸石,它被反复擦抚以求(打赢官司)的好兆头,为此,阿尔特曼则全然投进了她的毅力、魅力和气力——还有法律也在她这边。

阿黛勒的遗嘱,后来被证实只对其夫含糊地提过把肖像留给艺术馆,并不具备法律约束力。无论如何,只有阿尔特曼才清楚阿黛勒的愿望,那就是把肖像留给一个她生前所热爱的维也纳,一个20世纪初期那个充满了活力精采和宽容大气的城市,而不是一个犹太人的生活再也无从寻觅的地方。她认为阿黛勒在这里是绝不会有归属感的,就像她自己回奥之后的彻底失落体验一样。站在国家美术馆阿黛勒姨妈的肖像旁边拍照,她对保安人员毫无畏惧地大声说:“那幅画是我的!”

1999年,她和律师兰多尔•勋伯格先试图控告奥地利政府。后来发现这场(在奥地利打的)官司耗资巨费,他们只能一直据理力争到美国最高法院,要求案件在美国受理,结果赢得了这项要求。到了2004年,他们又同意参加独立仲裁,经三位奥地利专家评判,认定绘画应该退回原主。 2006年,阿黛勒阿姨与另外几幅画终于回归,在洛杉矶受到了隆重的撒花迎接:这是纳粹掠夺艺术品中一次价值最高的归还。

不出数月,画像便全部拍卖售出。它们都被私宅收而藏之,唯独阿黛勒阿姨除外。阿尔特曼说,阿黛勒一直希望自己的金色肖像展示于公众,而此愿恰恰由罗纳德•劳德成全了,所以也是 “美事” 一桩。罗纳德是位商人和慈善家,他从小就喜爱阿黛勒的画。在拍卖中当场支付了1.3亿美元,把肖像请到了他曼哈顿的画廊(Neue Galerie)里供奉起来。当然,现在阿黛勒的被访次数远远没有之前那么频繁,但阿尔特曼可以闭目想象到,熠熠生辉的阿黛勒阿姨依旧纤弱,散发一缕淡淡的烟香,而这烟早已消失了。



本文由译者 skittos 提供 点击此处阅读双语版



088 Obituary - Maria Altmann.mp3
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引用 skittos 2011-2-20 04:22
本帖最后由 skittos 于 2011-2-20 04:44 编辑

译后笔记

1.  What a fascinating story!  

阿尔特曼的故事在2006就曾经轰动过。有自家出品的电影/网站、有跨国官司、有段丑陋不齿的历史再度被暴露被审视、有世界上最贵名画之回归战。从人生经历颠簸的阿尔特曼(Maria Altmann) 到她的姨妈、社交名媛阿黛勒(Aunt Adele Bloch-Bauer)再到她姨妈肖像的画家克林姆特(Gustav Klimt),精雕细琢四年以至把golden Adele 推到成2006年世界上价值(价格)最高的名画地位。TE这期选了精彩的逝者。翻译时果然被其精彩的故事吸引住,感觉像小时听故事一样,迫切欲知下回分解:“后来呢”?于是古狗四出:

•        Adele's Wish, a documentary: http://www.adeleswish.com/
        http://www.youtube.com/watch?v=Z4dQf1bygZc

•        LA 悼文中的提供的信息比TE清楚详细:TE写的它有,TE没写的它也提到了。
        http://www.latimes.com/news/obit ... 0,493390,full.story

        阿尔曼特和她的律师兰多尔•勋伯格


2. Adele因著名画家古斯塔夫•克林姆特 Gustav Klimt而闻名于世。克林姆特简介:
http://zh.wikipedia.org/wiki/%E5 ... B%E6%9E%97%E5%A7%86
古斯塔夫•克林姆(Gustav Klimt,1862年-1918年,又译古斯塔夫•克里姆特)生于维也纳,是一位奥地利知名象征主义画家。他创办了维也纳分离派,也是所谓维也纳文化圈代表人物。古斯塔夫•克林姆画作特色在于特殊的象征式装饰花纹,并在画作中大量使用性爱主题。喜欢他画作的人称赞有其“沉闷美感”与大胆象征寓意,但是却也招致不少保守派画家的负面评价。克林姆画作另一特色为画中主角大部分都是女人,主题则为“爱”、“性”、“生”与“死”的轮回宿命。克林姆1918年因西班牙流感而身故。

3. 争议中的人物/画像图片

3a.        阿尔曼特站在尚未归还的画像旁,高声说,“这画是我的”:


3b.        1938年被纳粹掠夺,在奥地利国家艺术馆展示了60多年,2006年终于回归原主的五幅画:

•        河边的房子:


•        Birch forest 桦林(这里TE 有误成beechwood/山毛榉木):


•        Adele Block-Bauer II     


•        苹果树:


•        Adele Block-Bauer I


4. 翻译词句:TE原文用aunt,其实是姨妈;原文说一幅画名为 beechwood 其实为 “Birch Forest” 桦树林 (据画廊资料)
引用 Harry1028 2011-2-20 10:53
“Portrait of Adele Bloch-Bauer I”, became the symbol of all that the family had lost.
《阿黛勒•布洛赫•鲍尔肖像》成为家族惨遭掠夺的标志。
======
《阿黛勒•布洛赫•鲍尔肖像(I)》成为家族惨遭掠夺的标志。(因为另外还有一幅:Portrait of Adele Bloch-Bauer II (1912)

原文说一幅画名为 beechwood 其实为 “Birch Forest” 桦树林 (据画廊资料)
======
Beechwoods应该是正确的,因为作品原德文名称是Buchenwald,buchenwald的英文翻译就是beech wood。另外可以参考画家作品目录里面的名称:Beech woods (1903)
http://en.wikipedia.org/wiki/Gustav_Klimt Selected works部分
引用 微言大义 2011-2-20 20:04
本帖最后由 微言大义 于 2011-3-5 02:23 编辑
skittos 发表于 2011-2-20 04:00
Obituary
逝者


很高兴与LZ同译本文。看来我们俩都是不尊重本论坛规则的家伙。向原选本文者致谦并希望及时译出,共同学习探讨。
“SUFFERING” was the first word that came to Maria Altmann when she was asked about Aunt Adele Bloch-Bauer. Frail, dark, beautiful, always with a headache. Children annoyed her, because she had none of her own; small-talk made her furious, because she wanted to discuss religion and politics. (“My darling,” Mrs Altmann would sigh, “Adele was a modern woman living in the world of yesterday.”) Adele smoked like a chimney, and would drift around in loose white gowns with a gold cigarette-holder. Or she would sit, regal in black, holding court for musicians, artists and writers in the salon of her huge house just by the Vienna Staatsoper.

“ 一场折磨!”  玛丽亚•阿尔特曼脱口而出。这是她被问及自己姨妈(我原译为伯母,你是对的。查了下,有的译为姑妈,一定是错的)阿黛勒•布洛赫-鲍尔时的第一句回答。当年的阿黛勒纤弱黝黑,美丽高雅,总是抱怨头痛。孩子令她烦嫌,由于她自己没有子女;她更讨厌家长里短,而热衷宗教和政治方面的话题。 (“亲爱的”,阿尔特曼叹息说:“阿黛勒是昨日世界的现代女性”)。 阿黛勒抽烟抽得像只烟囱。她手夹一支金色长烟嘴,有时身着白色晚装长裙,飘逸游走;有时身着黑色华服,在她家那栋紧挨维也纳国家歌剧院的豪宅沙龙里,与一群音乐家、艺术家和作家们坐而论道,主导话题(感觉没有完全译出原意来。我的也一样。holding court 出庭,上朝的意思。坐而论道还有点贬义)。

But the Adele the world came to know was as Gustav Klimt had painted her in 1907. It took him four years, longer than he spent on any other painting. He placed her in a swirling gown within a blaze of gold rectangles, spirals and Egyptian symbols from which she looked out in nervous loveliness, the epitome of Vienna’s Golden Age. Her hands were strangely bent because, Mrs Altmann knew, she had a crippled finger, which she always tried to hide. She was also fairly sure that Aunt Adele and Klimt, with his satyr face and wild sexuality, had had a mad affair; her mother angrily denied it, said it had been just “an intellectual thing”, but you only had to look at her aunt’s dark, languorous, faintly smiling eyes to think otherwise.

不过,阿黛勒后来能够闻名于世,全因为古斯塔夫•克林姆特在1907年为她作画。这幅精品绘制长达四年,超过了画家所有画作的时间。画面上,克林姆特把阿黛勒包裹在长裙旋转之中,四周用无数金光闪烁的长方、螺旋和埃及象征图形点缀(这里你比我译得好多了,我直接引用了);包缠之中,阿黛勒目光看向外界,带着一种紧张的美感,如同维也纳黄金时代的一幅缩影。她的手有点奇怪地弯曲着,其中的内情只有阿尔特曼知道:阿黛勒有一根曲指,所以总是小心翼翼地把它遮掩起来。阿尔特曼还相当肯定,凭画家那神似希腊神萨梯的长相及其放荡不羁的性趣,阿黛勒和克里姆特之间有过一段狂热的恋情。尽管阿尔特曼的母亲怒气冲冲地否认说那不过是“一段精神上的交往”。但你只要留意姨妈那双怠惰黯淡、透着一丝难以察觉微笑的眼神,就能猜到事实非仅于此。


“Golden Adele” haunted Mrs Altmann for the rest of her days. As a girl she led much the same “beautiful” life, dressed up in silk and organza, in a stately townhouse nearby, where artists and philosophers came and went to the sound of her father playing on a Stradivarius cello. After 1925, when Adele died at 43, the regular Sunday brunch at Uncle Ferdinand’s would always include a viewing of the Klimt portrait, hung in Adele’s bedroom in a sweet haze of fresh flowers. Four other Klimts also hung there. Three were landscapes: a beechwood, a dappled apple tree, houses by a river. The other was a later painting of Adele, pale and strained, standing in a big hat with her arms loose amid fauve colours of red, mauve and green.

没想到“金色的阿黛勒”却成了阿尔特曼晚年的一场噩梦。阿尔特曼的孩提时代过着与姨妈十分类似的“美好”生活,不缺丝绸纱缎打扮,住在邻近的富丽堂皇的豪宅里。家中有艺术家和哲学家流连往返,聆听她父亲用史特拉第瓦里大提琴演奏乐章。1925年43岁的阿黛勒辞世之后,费迪南德姨父家的周日午餐聚会就开始多了一项内容:大家都去观赏克里姆特为她绘制的肖像。它挂在阿黛勒堆满了鲜花、香气雾霭的卧室里。克里姆特所作的另外四幅画也挂在屋中,其中三幅为风景画:桦林、斑驳的苹果树和沿河的一栋小屋。还有一幅后来的阿黛勒:一顶大帽子之下,她苍白而拘谨,膀腕松弛地站在红、绿及淡紫等黄褐色彩之中。


All five paintings were stolen when the Nazis took Austria over in 1938. Mrs Altmann remembered the jubilation of the Anschluss, the church bells ringing; only the Jews wept. By then, she was just married to Fritz Altmann; and she sometimes wore, next to her skin, some of Adele’s diamonds, which Uncle Ferdinand had given her as a wedding present. The Nazis stole them in short order, as they also seized Ferdinand’s entire art collection, his delicate porcelain and his sugar refinery. “Portrait of Adele Bloch-Bauer I”, became the symbol of all that the family had lost.

这五幅画在纳粹1938年占据奥地利时被全部盗取一空。阿尔特曼还记得人们在奥德合并时的欢庆,教堂里敲起了钟声,唯独犹太人在一边哭泣。当时她刚与丈夫弗里茨•阿尔特曼完婚。她有时佩戴阿黛勒的一些钻石首饰,那些都是费迪南德叔叔送她的结婚礼物。但纳粹很快便把它们全数掳掠了去,同时查封了费迪南德的整个艺术画、瓷器收藏以及他的炼糖厂。《阿黛勒•布洛赫•鲍尔肖像》成为家族惨遭掠夺的标志。

For many years—after she had fled to America with Fritz and made a new life in California, he working at Lockheed, she selling cashmere—Mrs Altmann supposed that the Klimt paintings had legitimately ended up in the Austrian National Gallery. But when the law changed in 1998, in favour of restitution, she vowed to get them back. The Austrian government refused. Adele’s will, they said, had given the paintings to the gallery. And, they might have added, all Austria now thought it owned her golden, Klimtian beauty.

多年以后,逃往美国的阿尔特曼与丈夫弗里茨在加州有了新生活。弗里茨在洛克希德公司工作,阿尔特曼销售开司米织品——她以为克里姆特的画作已经合法归奥地利国家美术馆所有。直到1998年,得知法律经修改后倾向于支持“物归原主”,她才立志要追回那些失去的画,但这一求诉(诉求?)遭到了奥地利政府的拒绝。对方称,按照阿黛勒的遗嘱,这些绘画已赠送了国家艺术馆。而且对方还可以强调,如今,阿黛勒的金色辉煌——克里姆特的笔下之美已非整个奥地利莫属了。

Battling in cashmere
开司米(感觉不是所有中国人都明白其意思)战士


Mrs Altmann went to war. At 82, in cashmere and silk scarves, she made an unlikely fighter. Her dress boutique in Cheviot Hills, where clients sat in her living room drinking Kaffee mit Schlag and nibbling on sausage, was probably the last vestige of a Viennese salon in the New World. Golden Adele, in paperweight form, lay on the coffee table and was rubbed hard for luck. But Mrs Altmann was all persistence, charm and energy—and the law was on her side.

年届82岁的阿尔特曼走上了“索归之战”。在开司米和丝巾中,她变成一名异常(异常我认为不准确。整句是说她的年龄和装束都不像是一个战士)的战士。在切维厄特街她所经营的服饰精品店里,客户通常可以坐在客厅里一边品尝奥地利咖啡(Kaffee mit Schlag)一边细嚼香肠,有点像是“新世界”中最后的一袭古典维也纳沙龙。咖啡桌上放着“金色阿黛勒”镇纸石,它被反复擦抚以求(打赢官司)的好兆头,为此,阿尔特曼则全然投进了她的毅力、魅力和气力(毅力、气力是不是意思太相近了?我总感觉当有更好的译法)——还有法律也在她这边。


Adele’s will, as it turned out, only made a “kind request” to her husband to leave the paintings to the gallery. It was not binding, and in any case Mrs Altmann knew Adele’s mind. She wanted the paintings left to the Vienna she knew, the vibrant, glittering, tolerant city of the early 20th century; not to a place from which all Jewish life had gone. She would never have felt at home there, as Mrs Altmann no longer did when she visited, defying security guards at the National Gallery to be photographed beside Aunt Adele, and saying loudly: “That painting belongs to me.”

阿黛勒的遗嘱,后来被证实(我觉得不太正确。turned out:原来是,即其原本的意思,不是被证实)只对其夫含糊(我也觉得不太对。我那种译法如何?)地提过把肖像(译窄了,不单单是肖像)留给艺术馆,并不具备法律约束力。无论如何,只有阿尔特曼才清楚阿黛勒的愿望,那就是把肖像留给一个她生前所热爱的维也纳,一个20世纪初期那个充满了活力精采和宽容大气的城市,而不是一个犹太人的生活再也无从寻觅的地方( Jewish life had gone从那段历史看,我倾向于译为生命消失)。她认为阿黛勒在这里是绝不会有归属感的,就像她自己回奥之后的彻底失落体验一样。站在国家美术馆阿黛勒姨妈的肖像旁边拍照,她对保安人员毫无畏惧(对defying 似乎有更好的处理方式)地大声说:“那幅画是我的!”


In 1999 she and her lawyer, Randol Schoenberg, tried to try to sue  the Austrian government. When that proved too expensive, they argued as far as the Supreme Court that the case should be heard in America. They won; but then, in 2004, they went to independent arbitration. Three Austrian academics decided that the paintings should be returned. In 2006 Aunt Adele and the rest arrived with fanfare in Los Angeles: the largest single return, in monetary terms, of Nazi-looted art.

1999年,她和律师兰多尔•勋伯格先试图(此处是理解为try to +sue 呢还是理解为try+不定式 to sue呢,真吃不准。试图好像不太准确)控告(民事案件一般叫起诉或提起诉讼)奥地利政府。后来发现这场(在奥地利打的)官司耗资巨费,他们只能一直据理力争到美国最高法院,要求案件在美国受理,结果赢得了这项要求。到了2004年,他们又同意参加独立仲裁,经三位奥地利专家评判,认定绘画应该退回原主。 2006年,阿黛勒阿姨与另外几幅画终于回归,在洛杉矶受到了隆重的撒花()迎接:这是纳粹掠夺艺术品中一次价值最高的归还。


Only a few months later they were sold. All but one went away to private houses. The exception was Aunt Adele. She had always wanted her golden portrait in a public gallery, Mrs Altmann said, and so it was “beautiful” that Ronald Lauder, a businessman and philanthropist who had loved Adele’s face from boyhood, instantly paid $135m to enshrine her in his Neue Galerie in Manhattan. Of course, she was too far away for many visits now. But Mrs Altmann could imagine her there, glowing and frail, wearing just the faintest aroma of those long-vanished cigarettes.

不出数月,画像便全部拍卖售出。它们都被私宅收而藏之,唯独阿黛勒阿姨除外。阿尔特曼说,阿黛勒一直希望自己的金色肖像展示于公众,而此愿恰恰由罗纳德•劳德成全了,所以也是 “美事” 一桩。罗纳德是位商人和慈善家,他从小就喜爱阿黛勒的画。在拍卖中当场支付了1.3亿美元,把肖像请(?)到了他曼哈顿的画廊(Neue Galerie)里供奉起来。当然,现在阿黛勒的被访次数远远没有之前那么频繁,但阿尔特曼可以闭目想象到,熠熠生辉的阿黛勒阿姨依旧纤弱,散发一缕淡淡的烟香,而这烟早已消失了(这最后一段有一种别样的意味——幽思、怀旧or无奈....?感觉你我都没有译准)。



http://www.ecocn.org/thread-45621-1-1.html
引用 skittos 2011-2-21 00:32
回复 微言大义 的帖子

这篇选文(http://www.ecolion.cn/thread-45556-1-1.html)因这两天手头事杂,直到昨天才译。

没想到你也感兴趣,正好。多谢细心点评,我会再琢磨学习一番!人物和书评的文章,我感到困难的地方就是那种“灵活性”,不像科技文章,非白即黑,容易把握一些。

引用 skittos 2011-2-21 01:01
本帖最后由 skittos 于 2011-2-21 01:37 编辑

回复 Harry1028 的帖子

砖头1收下了!thanks!

砖头2。。唔,有点小复杂。

画名 Buchenwald(Birkenwald)http://www.adele.at/Page10343/page10343.html
包含即有 beech forest 又加括号(birch forest)貌似有修正的意思。

在翻译时,我对比过欧洲的beech 与birch的区别。

1. Beech tree (European)


2. Birch (european)


3. Birch and Beech (长在一起时的比较)


对比一下,可见原画中是桦树。



引用 yannanchen 2011-2-21 02:19
— hold court
: to be the center of attention among friends or admirers
引用 Harry1028 2011-2-21 07:15
回复 skittos 的帖子

画名 Buchenwald(Birkenwald)http://www.adele.at/Page10343/page10343.html
包含即有 beech forest 又加括号(birch forest)貌似有修正的意思。

在翻译时,我对比过欧洲的beech 与birch的区别。
======
skittos 果然严谨认真,值得俺学习

我的理解是:这里加括号是表示两个名称均可的意思。
引用 yannanchen 2011-2-21 11:22
All five paintings were stolen when the Nazis took Austria over in 1938. Mrs Altmann remembered the jubilation of the Anschluss, the church bells ringing; only the Jews wept. By then, she was just married to Fritz Altmann; and she sometimes wore, next to her skin, some of Adele’s diamonds, which Uncle Ferdinand had given her as a wedding present. The Nazis stole them in short order, as they also seized Ferdinand’s entire art collection, his delicate porcelain and his sugar refinery. “Portrait of Adele Bloch-Bauer I”, became the symbol of all that the family had lost. 原译: 这五幅画在纳粹1938年占据奥地利时被全部盗取一空。阿尔特曼还记得人们在奥德合并时的欢庆,教堂里敲起了钟声,唯独犹太人在一边哭泣。当时她刚与丈夫弗里茨•阿尔特曼完婚。她有时佩戴阿黛勒的一些钻石首饰,那些都是费迪南德叔叔送她的结婚礼物。但纳粹很快便把它们全数掳掠了去,同时查封了费迪南德的整个艺术画、瓷器收藏以及他的炼糖厂。《阿黛勒•布洛赫•鲍尔肖像》成为家族惨遭掠夺的标志。
评论:The Nazis stole them in short order, 这里的them 指的应是第一句的All five paintings were stolen when the Nazis took Austria over in 1938。 而不是some of Adele’s diamonds, which Uncle Ferdinand had given her as a wedding present。 如果译成“她有时佩戴阿黛勒的一些钻石首饰,那些都是费迪南德叔叔送她的结婚礼物。但纳粹很快便把它们全数掳掠了去”, 给人的印象就是将结婚礼物全数掳掠了去。段末这句“Portrait of Adele Bloch-Bauer I”, became the symbol of all that the family had lost.呼应段头。抢这5幅画是全文也是全段重点, 所以我觉得这个them指的是画, 不是diamonds。
那么, 结婚礼物有没有被抢?
引用 yannanchen 2011-2-21 11:33
And, they might have added, all Austria now thought it owned her golden, Klimtian beauty. 原译: 而且对方还可以强调,如今,阿黛勒的金色辉煌——克里姆特的笔下之美已非整个奥地利莫属了。
评论: 虚拟语气的翻译:
政府方本来还可以再加上一重理由, 那就是整个奥地利现在都认为,阿黛勒的金色辉煌——克里姆特的笔下之美,已非之莫属了。

引用 yannanchen 2011-2-21 11:40
http://en.wikipedia.org/wiki/Cheviot_Hills,_Los_Angeles

Cheviot Hills, 是洛杉矶的一个街区, 不是一条街。
引用 yannanchen 2011-2-21 11:57
She would never have felt at home there, as Mrs Altmann no longer did when she visited, defying security guards at the National Gallery to be photographed beside Aunt Adele, and saying loudly: “That painting belongs to me.” 原译: 她认为阿黛勒在这里是绝不会有归属感的,就像她自己回奥之后的彻底失落体验一样。站在国家美术馆阿黛勒姨妈的肖像旁边拍照,她对保安人员毫无畏惧地大声说:“那幅画是我的!”
评论:博物馆的规矩是不准对某些油画拍照, 尤其是用闪光灯拍照。
defying security guards at the National Gallery to be photographed beside Aunt Adele, 这里是“蔑视(或不顾)国家美术馆保安警卫的劝阻,执意要在阿黛勒姨妈的肖像旁边拍照”

引用 yannanchen 2011-2-21 12:07
Of course, she was too far away for many visits now.原译:当然,现在阿黛勒的被访次数远远没有之前那么频繁,
评论: 当然, 她现在在曼哈顿(纽约), 离洛杉矶太远, 不能太常拜见。
引用 yannanchen 2011-2-21 12:16
But Mrs Altmann could imagine her there, glowing and frail, wearing just the faintest aroma of those long-vanished cigarettes. 原译:但阿尔特曼可以闭目想象到,熠熠生辉的阿黛勒阿姨依旧纤弱,散发一缕淡淡的烟香,而这烟早已消失了。
评论:但阿尔特曼太太仿佛闭目就可以看到阿黛勒阿姨就在那儿,熠熠生辉却纤弱依旧,身上若有若无地带着游丝般的烟味,尽管这散发气味的香烟早已多年不见了。


引用 ly_still 2011-5-16 12:48
mark~~
好好研读
引用 ly_still 2011-5-16 12:48
mark~~
好好研读
引用 ly_still 2011-5-31 14:48
怎么没有原文的音频下载呢。。。

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