TA的每日心情 | 慵懒
2018-11-21 09:39 |
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本帖最后由 enti 于 2018-10-15 15:24 编辑
A startlingly large number of our objects bear on them the marks of later events. Sometimes this is merely the damage that comes with time, like the broken headdress on the Huastec goddess, or from clumsy excavation or forceful removal. But frequently, later interventions were designed deliberately to change meaning or to reflect the pride or pleasures of new ownership. The object becomes a document not just of the world for which it was made, but of the later periods which altered it. The Jomon pot (Chapter 10), for example, speaks of the precocious Japanese achievement in ceramics and the origins of stews and soups many thousands of years ago, but its gilded inside tells of a later, aestheticizing Japan, conscious now of its own particular traditions, revisiting and honouring its long history: the object has become a commentary on itself. The African wooden slit drum (Chapter 94) is an even more remarkable example of an object’s many lives. Made in the shape of a calf for a ruler probably in the northern Congo, it was re-branded as an Islamic object in Khartoum, and then, captured by Lord Kitchener, carved with Queen Victoria’s crown and sent to Windsor – a wooden narrative of conquests and empires. I do not think any text could combine so many histories of Africa and Europe, nor make them so powerfully immediate. This is a history only a thing can tell.
Two objects in the book are disconcertingly material tales of changed allegiances and of structures that failed, showing two different faces to two very different worlds. From the front, Hoa Hakananai’a (Chapter 70) proclaims with unshakable confidence the potency of ancestors who, properly venerated, will keep Easter Island safe. On his back, however, is sculpted the failure of that very cult and its later, anxious replacement by other rituals as the Easter Island ecosystem broke down and the birds essential to life on the island moved away. The religious history of a community, lived out over centuries, is all legible in this one statue. The Russian Revolutionary plate (Chapter 96), by contrast, shows changes that were very much the consequence of human choice – and political calculation. The use of imperial porcelain to carry Bolshevik imagery has a beguiling irony about it; but that is rapidly overtaken by admiration for the unsentimental commercial brilliance which guessed correctly that capitalist collectors in the West would pay more for a plate if it combined the hammer and sickle of the Revolution with the imperial monogram of the Tsar. The plate shows the first steps in the complex historic compromise between the Soviets and the liberal democracies which would continue for the next seventy years.
material 作为形容词, 这里是哪个释义啊？ 虽然我倾向于是(physical)有形的， 存在的（根据上文划线部分）， 但是 (relevant)相关的 貌似也能解释啊 --- (虽然有个especially a law case， 但也不代表不能用吧）?
有感于slowdive同学的回帖，中文注释是我个人对vocabulary.com的释义分组的理解 （因为我也不怎么看的懂英文释义，纯属瞎猜， 窘）
- noun : the tangible substance that goes into the makeup of a physical object
//有物理存在意义的（然后由此有两个形容词释义）
-- 1, having material or physical form or substance
-- 2, derived from or composed of matter
- noun：information (data or ideas or observations) that can be used or reworked into a finished form
//有实质内容的， 有料的 （由物理意义引申到抽象数据， 然后又由此有两个形容词释义）
-- 3, having substance or capable of being treated as fact; not imaginary
-- 4, directly relevant to a matter especially a law case
-- 5, concerned with or affecting physical as distinct from intellectual or psychological well-being
-- 6, concerned with worldly rather than spiritual interests
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发表于 2018-10-15 12:23:14
这里的Two objects不就是 tales in material（physical）form么？因为tale是摸不着的无形的，而objects是有形的东西，所以说two objects 是 有形的故事。
楼主