11.Perhaps one can say with more than mere intuition that certain skills do atrophy through not being used, that an increasing reliance on electronics to mediate our apprehension of the world does lead to the loss of certain sensitivities, and that to lose any sensitivity or awareness is limiting and unwise.
12.if there is a scientific rather than a sentimental answer, it might be one analogous to recognizing the paramount importance of maintaining the diversity of species. the more the world becomes politically, economically, and culturally centralized, the more homogenized its ways of living, the more the dangers of sameness become apparent.
13to take a notorious example, the European trade regulations restricting the varieties of fruit and vegetable seeds permitted for sale within the European community have for years been viewed as potentially disastrous by scientists.
14 deception of an innocent kind is their intention; asked if the picture is genuine, few of them, I imagine, would lie. Nor would they be wise to.
15nevertheless, despite the overwhelmingly conservation assumptions of most Americans, we are in fact in the throes of a genuine and dramatic revolution in our culture, and it behooves us to understand it before passing judgment.
16in academic circles, I linger on the fringes where the warmth of the fire never reaches, an irreverent outsider, a loner who prefers fieldwork to the university, and general readership to academic journals.
17although we were at the age when one always had the need, instinct, and immodesty of inflicting on one another everything that swarms on one’s head and elsewhere, nothing had gotten through Sandro’s shell of reserve, nothing of his inner world, nothing save a few occasional, dramatically truncated hints.
18not only are celebrities the protagonists of our news, the subjects of our daily discourse, and the repositories of our values, but they have also embedded themselves so deeply in our consciousness that many individuals profess feeling closer to, and more passionate about, them than about their own privacy relationships: witness the fervent public to interest in the life of Britain’s princess Diana, ore the fans who told television interviewers that her wedding was the happiest day of their lives.
19 while an entertainment-driven, celebrity-oriented society is not necessarily one that destroys all moral value, as some would have it, it is one in which the standard of value is whether something can grab and then hold the public’s attention.
20in an increasingly noisy cultural scene, with many voices competing for attention, one feels—perhaps incorrectly but nonetheless insistently—the need to make one’s own small sir, however pathetic.
21 indeed, what might Mercator have thought were it suggested to him that his scheme would one day be used to plot landscapes so far from terrestrial in aspect as to reflect back, in their magnificent alienness, the very idea of an old and exhausted Earth?
22
the question “why have there been no great women artists?” is simply the tips of an iceberg of misinterpretation and misconception; beneath lies a vast dark bulk of shaky ideas about the nature of art and the situations of its making, about the nature of human abilities in general and of human excellence in particular, and about the role that the social order plays in all of this.
23
one would like to ask, for instance, from what social classes artists were more likely to come at different periods of history, or what proportion of painters and sculptors came from families in which their fathers or close relatives were painters and sculptors or engaged in related professions?
24 while the aristocracy has always provided the lion’s share of the patronage and the audience for art- as the aristocracy of wealth does even in our more democratic days-it has contributed little beyond amateurish efforts to the creation of art itself, despite the fact that aristocrats (like many women) have had more than their share of educational advantages, plenty of leisure and , like women, were often encouraged to dabble in the arts.
25or rather, is it not that the kinds of demands and expectations placed before both aristocrats and women—the amount of time necessarily devoted to social functions, the very kinds of activities demanded—simply made total devotion to professional art production out of question, indeed unthinkable, both for upper-class males and for women generally, rather than its being a question of genius and talent?
26 I suddenly recognized why I, a non-scientist, or anyone should care about what happens to them: not, ultimately, because they use tools and solve problems and are intellectual beings, but because they are emotional being, as we are, and because their emotions are so obviously similare to ours.
27”the Seafarer”, translated in 1911 by Ezra Pound, shows Pound’s method of translating which, when he is so inclined, produces not so much a translation as a new poem in the spirit of the original.
truncated class file翻译28
Isolated form light, warmed only from below, starved of nutrients, the life-forms of Vostok could teach scientists how life might persist in Europa’s frigid climate, where temperatures average minus 250 degrees Fahrenheit.
29
Why leave the comforts of home, join a group of desert devotees and walk for miles with a heavy pack all to reach a place of rocks and silence where one must shelter from the sun like a fugitive in the scant shadow of giant boulders?
30 Such an interpretation is widely taught to college students, but if it is true, Magritte went to an awful lot of trouble—carefully selecting a dress-finish pipe of particularly elegant design, making dozens of sketches on it, taking apart to familiarize himself with its anatomy, then painting its portrait with great care and skill—just to tell us something we already knew.
11.或许应该说，不单单凭直觉我们也可以知道，某些技能不使用就会退化，倚赖电子科技来解决对世界的恐惧确实导致了某些敏感性的丧失，而且丧失敏感度、丧失知晓度对于我们来说有很大的限制性而且也是不明智的。
12如果存在科学而非感性的答案，可能就类似于承认保持物种多样化的重要性。世界在政治、经济、文化上愈发集中，人类的生活方式愈发类同，同一性的危险就愈发明显。
13有一个臭名昭著的例子，欧洲贸易规则一直限制在欧洲共同市场内销售的水果和蔬菜种子的种类，科学家们长久以来都觉得这一情况存在的潜在损失很严重。
14他们的目的就是欺骗无知的人们，我觉得要是有人问他们某幅画是真品还是赝品，应该没有几个人会说谎，或者说他们自己也可能不知道。
15然而，虽然大多数美国人的假设性想法过于保守，但是挣扎在真实而又剧烈的文化变革中，我们理应在下判决之前先要理解它。
16我垂死挣扎在学术界的边缘，那里永远都没有温暖的火焰，我是一个毫不相干的局外人，是一个喜欢田野、不喜欢大学的孤独者，一个喜欢通俗文学而不喜欢学术周刊的孤独者。
17尽管我们生活的时代总是有人会出去需要、出于本能、出于傲慢，将他们自己所想的或者其他的一切强加到别人身上，但是Sandro却不然，在他拘谨沉默的外表下，在他本应富饶、丰厚的内心世界里，除了一些偶尔的、极为短暂的线索外，什么都没有。（那个inflicting on one another everything that swarms on one’s head and elsewhere应该是inflict on sb. sth.后面加个定语从句）
18名人不仅是新闻的主角，日常谈论的话题，审美观的源泉，而且他们也深深地烙印在了我们的意识当中——许多人承认，比起自己的私事，他们对名人更有兴趣，更有激情。举个例子，狂热的公众对威尔士王妃戴安娜的私生活非常感兴趣，还有粉丝告诉电视记者，戴安娜的婚礼是他们一生最幸福的一天。
19虽然娱乐至上、名人导向的社会不见得会像某些社会一样摧毁所有的道德价值观，然而在这样的社会里，评判事情的标准却变为评价该事件能否抓住并且长时间吸引公众的注意力了。
20在日益喧嚣的文化场景下，文化百家竞相角逐，人们都觉得需要引起别人的注意——哪怕是最微不足道的注意，这种感觉虽然不见得多么正确，然而却也很强烈。
21
确实，如果绘图专家墨卡托知道自己的绘图技术有一天不再被用于描绘地图地貌，而是不可思议地用来反映衰老而又枯竭的地球，他会怎么想？（so far可能不应该像咱俩刚才说的当成时间状语，so far from 有“非但不…反而…”之意）
22 “为什么没出现过伟大的女性艺术家？”这样的问题仅仅是很多误解的冰山一角。隐藏其下的是根深蒂固观念，这一不可靠的观念关系到对艺术本质及其形成形式的理解，关系到对于人类通常能力以及个体卓越性的理解，关系到对社会秩序在社会中所扮演的角的理解。
23比若说，可能有人会问了，在不同历史时期，艺术家最有可能出自哪一社会阶层，或者有多大比例的画家或者雕塑家出自艺术世家（父亲或者近亲就是从事绘画和雕刻或者相关领域）。
24 虽然贵族一直以来都是艺术的主要赞助者和主要观众，就算在如今更加民主社会中，有钱的贵族亦是如此。然而，尽管事实上贵族们，尤其是些名媛佳丽，不仅在教育上有着明显的优势，有很多闲暇时光，而且还经常被鼓励涉猎到艺术领域，但就艺术本身的创作而言，他们的贡献却仅在于业余爱好上。
25换句话说，虽然这个问题很难想，但也并不是只有天才才能回答上来，对于上流社会的贵族和名媛来说，难道不就是摆在他们面前的种种需求和期待—他们必然要将大把大把的时间放在社交集会上，还要参加各种需要出席的活动—才使得其全情投入到专业艺术品生产中来的吗？
26我突然意识到了我想要关心他们的原因，我不是科学家，我谁都不是，可是却很关心他们究竟发生了什么事。原因不在于他们会使用工具解决问题，也不在于他们是聪明的生物，而在于他们也是有情感的，很明显，他们的情感和我们是一样的。
27庞德1911的译作《水手》展现了其特有的翻译方法：当他沉浸其中时，与其说是在翻译，倒不如说是在原作灵魂中的一种新诗创作。
28没有亮光、只能从下面采暖、影响缺乏——南极东方站沃斯托克的生物让科学家们知道生命是如何在平均气温为零下250华氏度的木卫二式寒冷气候下延续生命的。
29为什么要离开舒适的家、加入到一沙漠爱好者中、背着沉重的包裹走那么远的路去那个无声无息、到处都是岩石的地方，还要在那里像个逃犯似的在大石头仅有的阴凉下躲避炎热的太阳？
30玛格丽特将这样的艺术处理手段广泛地教给了大学生——首先仔细挑选出一个像连衣裙一样设计优雅的烟斗，然后对着它一遍一遍地画草稿，之后再把它拆开，熟悉内部构造，再然后就小心翼翼、技巧纯熟地给它画肖像——如果事实真是如此的话，那么玛格丽特可就真是为了件大家都知道的事情而大费周章了。

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