染織專業(yè)外文翻譯

1、<p><b>　　外文翻譯 1</b></p><p>　　原文出處：Paper to Petal: 75 Whimsical Paper Flowers to Craft by Hand [M]. Potter Craft. Rebecca Thuss , Patrick Farrell.27/8/2013. P:11.</p><p><b>

2、;　　紙上花瓣</b></p><p>　　Rebecca Thuss , Patrick Farrell 著 </p><p>　　在手工制作中有一個(gè)無(wú)形的元素，個(gè)人認(rèn)為的一個(gè)方面是不能重復(fù)。這就是 為什么我的丈夫,帕特里克和我手工制作的東西充滿了我們的整個(gè)人生。我們一 直鐘情于刻畫那些美麗,魅力,和個(gè)性的手工制作的物品。</p><p>　　紙花最

3、好的這些特征的體現(xiàn)。像真正的花朵,他們是大量的卻很精致,無(wú)常的 卻很巧妙。我一直喜歡復(fù)古紙蜉蝣和崇拜老紙的銅綠。而在藝術(shù)學(xué)校我開始積累 什么是現(xiàn)在大量的縐紙,紙花,方螺母杯,和老紙花指令小冊(cè)子。隨著時(shí)間的推移, 我變得越來越受到制造紙鮮花的藝術(shù)和這項(xiàng)工藝的歷史的激勵(lì)。我發(fā)現(xiàn)自己不斷 地使它們受用在包裝點(diǎn)綴和贈(zèng)送給他們作為禮物,對(duì)于攝影集和項(xiàng)目,聚會(huì)和節(jié) 日裝飾,只是簡(jiǎn)單的在家里享受。我從我的書里學(xué)會(huì)了基本技能,然后發(fā)展經(jīng)過多 年實(shí)驗(yàn)的自

4、己的技術(shù)。在擔(dān)任瑪莎·斯圖爾特婚禮雜志設(shè)計(jì)主管的十年中，我有 機(jī)會(huì)去制定許多出現(xiàn)在編輯的故事的紙花企劃。</p><p>　　大多復(fù)古的紙花介紹書是基于在自然界中發(fā)現(xiàn)的創(chuàng)造形式。真正的花提供了 一個(gè)無(wú)盡的靈感源泉。作為一個(gè)紙工藝的啟蒙去使用，書中花的形狀、顏色、紋 理和多種多樣是難以置信和令人興奮的。自然有完美的不完美,同樣的原理可以 應(yīng)用于紙花。不需要精益求精,制作花的每只手,將解釋美麗可愛的差異。作

5、為參 考，我喜歡利用自然,但我也享受創(chuàng)造在自然界找不到的異想天開的花。當(dāng)設(shè)計(jì) 花時(shí),我可以通過任何美麗的事物的啟發(fā)獲得靈感,讓我們的想象力自由馳騁,然 后創(chuàng)造一些獨(dú)特的,奇特的,最重要的是,開心的去制作。 紙花由五個(gè)主要部分組成。第一部分,“花”這部分的所有特征設(shè)計(jì)都是我們?yōu)?了這本書所創(chuàng)造的。每一朵花在書中后半部分有一個(gè)相應(yīng)的制作方法,解釋了整 個(gè)制作過程。第二部分,“材料”這部分描述了我們一般比較喜歡使用的紙張, 工具和紙花的特殊材

6、料的提供。第二部分中寫,你真正需要的是紙,剪刀,金屬絲, 和花色紙膠帶去做所有這些花的一個(gè)簡(jiǎn)單版本?！凹寄堋边@部分概述了一朵花的組成部分,顯示了我們對(duì)紙花制作的的分層方法。并且定義了我們?cè)诮?jīng)典的基礎(chǔ) 上有所提升的技術(shù)。最后的主要部分,“模板”包含在這本書中使用的花瓣和葉 子的形狀</p><p><b>　　外文原文</b></p><p>　　原文出處：Paper

7、to Petal: 75 Whimsical Paper Flowers to Craft by Hand [M]. Potter Craft. Rebecca Thuss , Patrick Farrell.27/8/2013. P:11.</p><p>　　Paper to Petal</p><p>　　Rebecca Thuss , Patrick Farrell</p&g

8、t;<p>　　There is an intangible element in the handmade; an aspect of individuality that can?t be duplicated. It?s why my husband, Patrick, and I have crafted things by hand our entire lives. We have always been dr

9、awn to the beauty, charm, and personality of handmade items.</p><p>　　Paper flowers embody the best of these traits. Like real flowers, they are substantial yet delicate; impermanent yet artful. I have alway

10、s loved vintage paper ephemera and adore the patina of aged paper. While in art school I began amassing what is now a large collection of vintage crepe paper, paper flowers, party nut cups, and old paper-flower instructi

11、on booklets. Over time I?ve become ever more inspired by the art of making paper flowers and the history of this craft. I find myself continual</p><p>　　Most vintage paper-flower instruction books are rooted

12、 in creating forms found in nature. Real flowers provide an endless source of inspiration. The shapes, colors, textures, and variety are incredible and exciting to use as a starting point for paper crafts. Nature has per

13、fected imperfection, and the same principle can be applied to paper flowers. No need to strive for perfection; each hand that makes a flower will introduce lovely differences that are beautiful. I love using nature as a

14、refere</p><p>　　imaginations to run wild, and create something unique, fanciful, and most important, fun to make.</p><p>　　Paper to Petal is organized in five main sections. The first section, “

15、The Flowers” features all the designs we created for this book. Each flower has a corresponding how-to later in the book that explains the construction process. The second section, “Materials” delineates the papers, tool

16、s, and paper-flower-specific supplies we like to use. That said, all you really need is paper, scissors, wire, and floral tape to make a simple version of any of these flowers. “Skills” outlines the parts of a</p>

17、<p>　　pair them with different materials to create new and exciting paper flowers，such as</p><p>　　the ones we show on pages2-13.</p><p>　　Working on this book has been an all-consuming

18、love affair with paper, paint, and floral tape. We felt inspired while producing it, and we hope you feel inspired by the results. The process of creating and making flowers is easy, enjoyable, and truly rewarding. It is

19、 our hope that as you look at these projects and the techniques we?ve used to create them that you will come up with your own designs, color palettes, techniques, and individual ideals of beauty, whimsy, and style.</p

20、><p><b>　　外文翻譯 2</b></p><p>　　原文出處： Installation art: actual meets virtual, Digital Creativity [J]. Pamela Gay.2001.</p><p>　　裝置藝術(shù)-真實(shí)遇到虛擬</p><p>　　Pamela Gay 著

21、</p><p>　　在創(chuàng)作的最初十年間（1985-1995），我將似水流年作為對(duì)我年邁雙親的一種 文學(xué)紀(jì)念。然而，其實(shí)際上卻是介于自傳和回憶錄之間的一種文學(xué)作品。它還是 美國(guó)文化故事中有關(guān)福羅里達(dá)州的那一部分。在這個(gè)像迪斯尼一樣遍布粉紅色火 烈鳥，棕櫚樹，彩色粉刷的房子和養(yǎng)老社區(qū)的地方，老年人消磨晚年。此外，它 還涉及到一個(gè)更大的文化問題-沒有尊嚴(yán)地死去。那我是如何從非小說類文學(xué)作 品轉(zhuǎn)移到裝置藝術(shù)的？<

22、/p><p>　　在接下來居住在紐約北部 Saltonstall 藝術(shù)家莊園（1997）的時(shí)候，我繼續(xù) 這著對(duì)手稿的創(chuàng)作。在這期間，我受 Saltonstall 基金會(huì)和其他居民的要求將我 的作品展示在位于紐約 Auburn 的 Schweinfurth 紀(jì)念藝術(shù)中心（1998 年春）。在 那，我展示了自己設(shè)計(jì)并裱好的扉頁(yè)，以及一首詩(shī)和我拍攝的一些相關(guān)照片。我 的展示空間并不大，只是一個(gè)白墻房間的一個(gè)小角落。雖然這首

23、詩(shī)可以被獨(dú)自鑒 賞，我還是想要提供一些環(huán)境。但是，我又不想僅僅展示文字和照片。我想要將 參觀者們引入文字所呈現(xiàn)的環(huán)境中。</p><p>　　我決定將我展示的作品從墻角移出，并將所有的手稿和照片都放入一本相冊(cè) 一樣的活頁(yè)夾中然后放置到一個(gè)樂譜架上。想要獲得更多信息的參觀者可以瀏覽 這些收藏。我還邀請(qǐng)參觀者坐在一條鋼琴凳上，帶上耳機(jī)聽一段我父親歡唱，我 母親彈奏鋼琴伴奏的錄音。我將錄音帶放在一個(gè)我曾經(jīng)用來裝早期草稿

24、的綁著綢 帶的手提箱里。在手提箱里我又放入了一些關(guān)于我父母的有趣的圣誕照片 (@1950)，以及一張邀請(qǐng)函來邀請(qǐng)參觀者來聽這個(gè)錄音。手提箱變成了裝置的一 部分。通過這種方式，我為文字創(chuàng)造了一些環(huán)境并鼓勵(lì)參觀者參與到其中。在公 共空間創(chuàng)造私人空間以及隱私感的想法引起了我的興趣。</p><p>　　受這種微裝置的激勵(lì)，我決定繼續(xù)創(chuàng)造一個(gè)全面的裝置。我通過提供更多圖 像以及我父母在生命各個(gè)階段（無(wú)論是在一起還是分開）

25、手工藝品的照片來拓展</p><p>　　文字。其中有粉色火烈鳥的圖像（圖 2），</p><p>　　佛羅里達(dá)落日下父母粉色的房子（圖 3），</p><p>　　佛羅里達(dá)房產(chǎn)開發(fā)廣告的背光照片（圖 4），</p><p>　　以及一些手工藝品，包括父親的煙斗，煙斗支架（圖 5），</p><p>　　LA-Z-BO

26、Y 躺椅，母親的裱花中國(guó)陶瓷茶杯，以及手工裙子和娃娃。我想要參觀 者們將藝術(shù)與生命聯(lián)系在一起而不是將藝術(shù)視為生命以外的東西。我所使用的照 片和手工藝品創(chuàng)造了一種準(zhǔn)確感-真實(shí)活著的生命。但是我在某種程度上使我父</p><p>　　母變成了一個(gè)傳記中的角色。借用 Andre Breton 的話來說，似水年華是取材于 生活（(‘pris sur le vif ’）。我們的人生就像是我通過選擇性記憶挑選的照 片與手工藝

27、品一樣是間斷的。我試圖創(chuàng)造連續(xù)性。</p><p>　　我并不想要圖像和手工藝品。 然而，為了接管實(shí)體空間，他們命定是文字 的延伸。當(dāng)參觀者們坐在沙發(fā)椅或者客廳沙發(fā)上時(shí)，我要如何讓他們將注意力集 中在文學(xué)作品上而不是草草的瀏覽過手稿呢？我決定將一些小插圖放大（20" x 30"），將其作為大頁(yè)的文字掛在墻兩邊的圖像和手工藝品邊。例如，我將“我覺 得我煥然一新，父親在 91 歲時(shí)說道。”這一插畫

28、掛在作品中提到的躺椅和父親煙 斗上方的墻上。</p><p>　　許多裝置藝術(shù)家都在現(xiàn)場(chǎng)進(jìn)行藝術(shù)創(chuàng)作，讓空間來決定他們的創(chuàng)作（例如， 一種抽象的建筑形式）。然而，我進(jìn)入這個(gè)空間時(shí)已經(jīng)知道我想要通過圖像和手 工藝品來對(duì)我的創(chuàng)作進(jìn)行延伸，來給我的寫作創(chuàng)造一個(gè)環(huán)境。這一特定的空間影 響著我的選擇和我的最終創(chuàng)造?？臻g也是裝置的一部分。它并不是一個(gè)中立的畫 廊空間。位于一個(gè)建造與 1800 年代中期的建筑中，Art Mis

29、sion 畫廊十分適合 進(jìn)行裝置藝術(shù)創(chuàng)作。其有著很高的天花板，硬木地板，柱子，以及灰白墻下的木 板材條。</p><p>　　在靠著墻的兩個(gè)柱子之間，我放了一張 1950 年代款式的客廳沙發(fā)。在沙發(fā) 的上方，是用兩個(gè)古老的橢圓相框裱好的我父母的黑白照。環(huán)境布置是完美的。 我將從收藏中選取的最后的三個(gè)小插圖掛在刷成藍(lán)色帶白云的鏈條鏈接兩腳規(guī) 上。一開始我想過要重新粉刷它們，但是我突然意識(shí)到，它們十分適合最后一個(gè) 插

30、語(yǔ)“the viewing”（在這其中提到了廣闊的天空）。我將右后方的平臺(tái)轉(zhuǎn)換為 一個(gè)后陽(yáng)臺(tái)，在其中放置了一個(gè)舊式的屏幕，一個(gè)沙發(fā)床，蕨類植物，一臺(tái)老舊 風(fēng)扇以及 1950 年代風(fēng)格的電視托盤。我同時(shí)將手稿打開到日記賬分錄，在這其 中提到了玄關(guān)和幾個(gè)手工藝品。從裝置的剩余部分分割開，這一場(chǎng)景創(chuàng)造了一種 隱私感提供了一個(gè)逃離現(xiàn)實(shí)自我休憩的地方。它同時(shí)也為裝置帶來了深度。我放 大并裱好姨夫佛羅里達(dá)日落的圖像，將其掛在一塊用來分割出一間辦公室

31、的扳子 上（平臺(tái)左側(cè)）。在其周圍覆蓋上粉色的透明窗簾，使其看起來像起居室的大型 落地窗。</p><p><b>　　外文原文</b></p><p>　　原文出處：Installation art: actual meets virtual, Digital Creativity [J]. Pamela Gay.2001.</p><p>　

32、　Installation art: actual meets virtual</p><p>　　Pamela Gay</p><p>　　Homecoming began as a literary memoir of my ageing parents over a decade (1985-1995), but it is really somewhere between auto

33、biography and memoir. It is also part of the American cultural story of Florida where the older become elderly in a Disneyland of pink flamingos, palm trees, pastel-coloured houses, and retirement communities. And it'

34、;s about the larger cultural problem of death without dignity. How did I move from literary non-fiction to installation art?</p><p>　　Following a residency at the Saltonstall Artist Colony (1997) in Upstate

35、New York where I worked on the manu¬script, I was invited by the Saltonstall Foundation along with other residents to exhibit my work at the Schweinfurth Memorial Art Center in Auburn, New York (Spring 1998). I disp

36、layed a title page that I designed and framed, a poem and a group of related photographs I had taken. I didn?t have much space just a corner of a white-walled room. While the poem could be read alone, I wanted to</p&g

37、t;<p>　　I decided to move out from the wall/ corner and put the entire manuscript with some photographs in an album-style binder on a music (performance) stand. Visitors who wanted to read more could browse throug

38、h the collec¬tion. I also invited visitors to sit down on a piano stool and put on headphones to listen to an audiotape of my father singing carols and my mother playing the piano and narrating this event. I housed

39、the tape recorder in an old satin- lined suitcase I had used to store early draf</p><p>　　way I created a little environment for the literary text and encouraged visitors to participate. I was in¬trigue

40、d with the idea of creating a personal space and feeling of privacy in a public space.</p><p>　　Encouraged by the response to this micro-installation, I decided to work on a full installation. I extended the

41、 text with more images and arte facts photographs of my parents at various stages of their life, together and apart, and myself in relation to them images of pink flamingos (Figure 2) and Florida sunsets and my parents?

42、pink house (Figure 3) as well as a back¬lit photo of a billboard advertising the Florida housing development where they retired (Figure 4 artefacts ranging from my fathe</p><p>　　I did not want the imag

43、es and artefacts, however, to take over the physical space—they were meant to be extensions of writing. How could I get visitors to pay attention to the literary work other than browsing through the manuscript while sitt

44、ing on the lounge chair or living room couch? I decided to enlarge several vignettes (20" x 30") and mount, laminate, and hang them like large pages of text next to images and artefacts along two walls. For ex

45、ample, I placed the vignette, ?I feel like a ne</p><p>　　Many installation artists develop artwork literally on-site, letting the space determine what they create (an abstract architectural form, for example

46、). While I entered this space knowing I wanted to extend my literary work with images and artefacts and create an environmental context for my writing, the particular space influenced what I selected and ultimately creat

47、ed—the space was part of the installation. And it was not</p><p>　　a neutral gallery space. Located in a building dating back to the mid-1800s, the Art Mission gallery was well-suited for this installation

48、with its high ceiling, hardwood floor, pillars, and wood panelling below off- white walls.</p><p>　　Between two pillars along one wall, I placed a 1950s-style living room couch and above, two antique oval fr

49、ames with enlarged sepia photographs of my parents. The setting was perfect. I hung the last three vignettes from the collection on hinged dividers someone had painted sky blue with white clouds. At first I thought of re