外文翻譯--論我國非物質(zhì)文化遺產(chǎn)保護

1、<p><b>　　中文2186字</b></p><p><b>　　外文文獻翻譯</b></p><p><b>　　保存奇跡</b></p><p>　　Karin, Richard，聯(lián)合國教科文組織成員</p><p>　　《MAS Ultra大學(xué)版》第9期（

2、2001）第54-58頁</p><p>　　隨著經(jīng)濟全球一體化的進程，在我們的視野中傳統(tǒng)的婚禮舞和詩人的語言逐漸地消失，因此保護非物質(zhì)文化遺產(chǎn)并非易事。教科文組織努力去保護瀕危的杰作，同時向全世界展示中國傳統(tǒng)的昆曲、日本的能樂、印度舞蹈、來自格魯吉亞的男子和弦合唱、制作立陶宛木制和金屬十字架古老的知識還有幾內(nèi)亞的索索巴拉的傳統(tǒng)音樂。在一個新的名錄中，聯(lián)合國教科文組織宣布這些為“杰出的非物質(zhì)文化遺產(chǎn)”。 <

3、/p><p>　　非物質(zhì)文化遺產(chǎn)這個詞語是一個由專家而不是巫師或音樂家所用的專業(yè)術(shù)語。它一般是指非物質(zhì)方面的文化成果，如故事和語言本身，信仰和價值觀，以及賦予文化活力的各種形式的知識和技能。這一遺產(chǎn)可以包括婚禮和葬禮、舞蹈、工匠的技能、口頭流傳下來的農(nóng)業(yè)知識，甚至可以包括節(jié)日和聚會，如坦坦地區(qū)的木賽姆牧民大會。您可能認為只有在博物館才能發(fā)現(xiàn)這些文化的蹤跡，但是這些文化在我們身邊，是世世代代流傳下來的優(yōu)秀文化。這不是玻

4、璃下的文化！ </p><p><b>　　日本的活國寶</b></p><p>　　在日本，學(xué)者們早已認識到無形的文化。在18世紀和19世紀，語言學(xué)家、民俗學(xué)家和其他人試圖整理世界的口頭傳統(tǒng)。然而，全面的“非物質(zhì)文化遺產(chǎn)保護”是從近年來開始的。在1950年，日本意識到了傳統(tǒng)文化的重要性，開始了一個保護活國寶的長期項目。 類似的方案隨后在韓國，菲律賓，泰國，美國和法國

5、開始。非物質(zhì)文化遺產(chǎn)被看作是一種資產(chǎn)或資源而得到保護、贊賞、使用和管理，這個想法可以溯源回到明治時代。在西方，同時，法學(xué)家把非物質(zhì)文化遺產(chǎn)看作是知識產(chǎn)權(quán)中的一種資產(chǎn)，利用專利和商標制度去保護它。但是，有些集體的文化的創(chuàng)造是不成文的或無記錄的，所以在保護的時候依然存在一些問題。 </p><p>　　在二十世紀七十年代，聯(lián)合國教科文組織商討了世界文化遺產(chǎn)名錄，其中包括自然景觀。這促進更廣泛的思考，人們意識到了保護非

6、物質(zhì)文化遺產(chǎn)的緊迫性。在隨后的專家會議中，專家們繼續(xù)討論制定建議和制定技術(shù)。直到2001年5月這個討論達到了頂峰，當年的聯(lián)合國教科文組織總干事松浦晃一郎首次宣布了19個具有代表性的人類非物質(zhì)文化遺產(chǎn)。 </p><p>　　為什么用了這么長的時間才使這一概念融入國際意識？其中一個原因就是，這一概念長期與含糊不清“文化”聯(lián)系在一起 。“遺產(chǎn)”和“無形”剛開始也很難一起進行理解。第二，還有一個問題就是如何稱呼這個專業(yè)

7、術(shù)語？ “非物質(zhì)文化遺產(chǎn)”這個術(shù)語經(jīng)過多次討論才最后確定下來。雖然術(shù)語有些模糊，但全世界保護非物質(zhì)文化遺產(chǎn)的意識日益增強。 </p><p>　　在宏觀層面上，如果用對待自然資源的方式對待文化資源，文化資源很容易瀕?；蛘呦?。雖仍有超過6000種語言在這個星球上，但是語言學(xué)家預(yù)測， 百分之五十至百分之九十五會在下一世紀里消失。絕大多數(shù)語言沒有書面形式，有些語言甚至沒有任何有形形式。一種語言徹底消失，這對于后

8、人是一個無法彌補的巨大損失 。在微觀層面上，許多人不希望漸漸失去了祖先的故事和有意義的經(jīng)驗。地方文化有一種新的主張，“我的世界可能越來越大，但我仍然在一個小圈子里”。 在惡性的情況下，非物質(zhì)文化遺產(chǎn)在宗教和種族的沖突演變成為暴力事件時引起世界的注意力。 </p><p>　　如何才能最好地理解和響應(yīng)被聯(lián)合國教科文組織指定為無形“杰作”的非物質(zhì)文化遺產(chǎn)，這個問題引發(fā)了陪審團考慮和辯論。首先是定義問題。非物質(zhì)文化遺產(chǎn)

9、具體包括那些內(nèi)容，這沒有一個明確的答案。什么是無形的傳統(tǒng)？多久的文化習(xí)俗才能被稱為傳統(tǒng)？文化是否為人廣泛傳播嗎？如果人們改變傳統(tǒng)的做法是應(yīng)對不斷變化的情況，傳統(tǒng)應(yīng)該被看作是一個成功的適應(yīng)過程還是失去其本來的面貌？ </p><p>　　由于定義很難，所以意義就更加重大了。從某種程度上說，每一種語言是都一個杰作。 如何衡量一種語言在歷史上的作用和價值，這很重要。</p><p>　　也許更困

10、難的問題是如何廣泛地保護遺產(chǎn)和傳統(tǒng)。如何維護消失或脆弱的傳統(tǒng)要？為了保持傳統(tǒng)，我們讓有維護能力的人去信奉它。我們可能會喜歡有外觀或聲音的傳統(tǒng)，但這一想法會使一些人們的勞動報酬低和生活條件艱苦。 </p><p>　　辯論常常迸出智慧的火花，總能想到一些解決問題的方法。在某些情況下，非物質(zhì)文化遺產(chǎn)可以被看作一個國家的精神財富，值得政府去大力支持對非物質(zhì)文化遺產(chǎn)的保護，在稅收方面給予優(yōu)惠并給予相應(yīng)的補貼。 </

11、p><p><b>　　潛在的危險 </b></p><p>　　保護非物質(zhì)文化遺產(chǎn)是積極的，但它可能在社會實踐中被官僚機構(gòu)所控制。在一些情況下，儀式慶?；顒涌赡軙豢醋魇抢觅Y產(chǎn)促使商業(yè)投資。這可能會帶來資金支持，但也可能摧毀具有重要意義的傳統(tǒng)，把它變成一項為游客演出活動。非物質(zhì)文化遺產(chǎn)資源的價值可能會引發(fā)或者加劇人們之間的沖突，因為人們在爭取社會傳統(tǒng)的控制權(quán)，人們試圖

12、從外部影響內(nèi)部的權(quán)力平衡。更重要的是，什么是需要保存的文化，比如在一首歌里 ，需要保存的文化是創(chuàng)新的記錄方法（錄音），是人（歌手）還是過程（歌唱）?</p><p>　　最后，還有一個問題是誰決定那些是需要保護的非物質(zhì)文化遺產(chǎn)。聯(lián)合國教科文組織必須提名一些文化傳統(tǒng)以供審議。許多提名可能會出于很好的意圖，但有些人可能只是為了狹隘的利益集團的權(quán)力，導(dǎo)致有一些少數(shù)民族的傳統(tǒng)可能被忽略或者不能得到審議。鑒于許多民俗形式會

13、產(chǎn)生對抗的國家統(tǒng)治的想法，國家的提名可能有缺陷。 </p><p>　　給我留下了深刻的印象是聯(lián)合國教科文組織第一次認定的19個非物質(zhì)文化遺產(chǎn)。 人們可以放心，在全球化的時代，當?shù)氐奈幕掖嫦聛砹?，有的甚至是蓬勃發(fā)展。人們會明白，在這樣一個不斷創(chuàng)新的時代，傳統(tǒng)有一些永恒的價值。地方、國家和國際組織提出了越來越多的保護計劃，這將更好的繼續(xù)激勵子孫后代保護非物質(zhì)文化遺產(chǎn)。</p><p>&l

14、t;b>　　外文文獻翻譯原文</b></p><p>　　PRESERVING THE MAGIC</p><p>　　Karin, Richard, UNESCO Courier</p><p>　　MAS Ultra - School Edition, Vol. LXI (2001), pp.54-58</p><p>

15、　　We can be swept away by a traditional wedding dance or entranced by the poets of a vanishing language-but defining this intangible cultural heritage is far from simple, as UNESCO'S efforts to safeguard endangered m

16、asterpieces go to show traditional Kumquat opera of China, Novak theatre of Japan, Kutiyattam dance in India，men's polyphonic choral singing from Georgia, the ancient knowledge of crafting Lithuanian wooden and metal

17、 crosses, the Niagassola So-so Baal musical tradition of Guinea. In a </p><p>　　Intangible cultural heritage is a technical term used by experts, not by shamans or musicians. It generally refers to immateria

18、l aspects of culture--ephemeral products like stories and language itself, as well as to the beliefs, values, and forms of knowledge and skill that give cultures their vitality. This heritage can, for example, include we

19、dding dances and funeral laments, artisans' skills and orally conveyed knowledge of farming. It can even include festivals and spaces where people gather</p><p>　　Japan’s living national treasures </

20、p><p>　　Scholars have long recognized the intangibility of culture. In the 18th and 19th centuries philologists, folklorists and others tried to document the world's oral traditions. Yet the term "inta

21、ngible cultural heritage" is relatively recent. In 1950, Japan initiated a living national treasures program to recognize the great skills of masters of the traditional arts. Similar programs began in Korea, the Phi

22、lippines, Thailand, the United States and France. Intangible heritage was seen as an asset o</p><p>　　In the 1970s, discussion of UNESCO'S World Heritage List, which later came to include natural landsca

23、pes, stimulated broader thinking about the need to safeguard intangible cultural heritage. Meetings of experts ensued, recommendations were developed and the technical discussions continued until they reached a pinnacle

24、in May 2001, when UNESCO'S Director-General Coacher Matsuura proclaimed the first 19 Masterpieces of the Oral and Intangible Heritage of Humanity. </p><p>　　Why so long for this concept to make it into i

25、nternational consciousness? Well, for one, it has suffered the problem of vagueness long associated with the term "culture." "Heritage" and "intangible" just compound the difficulty. Second,

26、 there's a terminology problem--what to call it? It is hard to imagine the term "intangible cultural heritage" sliding off the tongue of any laureates. Vagueness and terminology aside, interest in the subje

27、ct has grown with public awareness of globalization. </p><p>　　On the macro-level, cultural resources, in a similar way to natural resources, seem to be endangered or disappearing. Of more than 6,000 languag

28、es still spoken on the planet, linguists predict that 50 to 95 percent will not last through the next century. The great majority is not written and lacks any tangible form. When a language dies, there is a startling los

29、s of knowledge and expression accumulated over generations. On the micro-level, many people do not want to accept a social universe of h</p><p>　　Questions of how best to understand and respond to intangible

30、 cultural heritage sparked debate among the jury considering nominations for the UNESCO's designation as intangible "masterpieces." First, there is the question of definition. A staged performance of an anc

31、ient play may have many tangible elements-written scripts, a temple theatre and elaborately crafted costumes. Yet does the fact that it is a performance render the tradition intangible? How long does the cultural practic

32、e have to be </p><p>　　As hard as it may be to define this heritage, the question of its value looms larger. To some extent, every language is a masterpiece. How to weigh the worth of one language against an

33、other in determining value and significance--by the number of speakers, its role in history, the beauty of its poetry? </p><p>　　But perhaps more difficult is the question of if and how to preserve the wide

34、range of this heritage. Is it more important to safeguard vanishing or fragile traditions than popular, vital ones? To preserve the tradition, it is necessary to preserve the ability of people to practice it. We might li

35、ke the look or sound of the tradition, but its continued practice would condemn people to labor with low pay and terrible conditions. </p><p>　　The strategies used also spark debate. In some cases, intangibl

36、e cultural heritage may be viewed as a national treasure meriting government support, tax breaks, or subsidies. </p><p>　　Looming dangers</p><p>　　This can be positive, but it can also turn a pr

37、actice controlled by the community into an institution controlled by bureaucrats. In other cases, a ritual celebration may be seen as an under-exploited asset prompting commercial investment. This may bring funding suppo

38、rt, but it may also destroy the very meaning of the tradition, turning it into an activity staged for tourists. The very recognition of the value of intangible cultural resources can initiate or exacerbate conflicts--peo

39、ple within th</p><p>　　Finally, there is the issue of who decides. Nations belonging to UNESCO must nominate those cultural traditions for consideration as treasures. Many nominations may be put forth with t

40、he best intentions, but some might reflect narrow interests of a group in power. Some minority traditions may be overlooked or even censored from consideration. Given that many folk traditions arise as forms of resistanc

41、e to national domination, the idea of national nomination may be flawed. </p><p>　　I must say that I was impressed with UNESCO'S selection of the first 19 "masterpieces." One could take heart t

42、hat in the age of globalization, local cultures have survived, and sometimes even flourished. One would appreciate that in an age of constant innovation, tradition had some lasting value. The power and tenacity of the se