英语翻译中国人在经历灾难之后的态度,大抵可以分为两种,一种是“资治”,一种是“祈福”.“资治”的价值取向必然影响到对文献记录和文艺作品的考量和评判.“资治”的主要服务对象是

英语翻译中国人在经历灾难之后的态度,大抵可以分为两种,一种是“资治”,一种是“祈福”.“资治”的价值取向必然影响到对文献记录和文艺作品的考量和评判.“资治”的主要服务对象是
英语翻译
中国人在经历灾难之后的态度,大抵可以分为两种,一种是“资治”,一种是“祈福”.“资治”的价值取向必然影响到对文献记录和文艺作品的考量和评判.“资治”的主要服务对象是统治阶层,因此,它要求的前提从来就不是灾难真相,虽然真相在此时被较大程度地顾及.尤其是在儒家思想占统治地位的封建社会,“资治”的主要方式是通过和治政理念的结合对各种灾难进行合“理”解释.合“理”一直是“真相”的逻辑前提和现实境况.于是,我们看到,诸多与灾难相关的文献记载总是对异象、神籖、传说等种种非常热衷,写来绘声绘色,仿佛真有其事,似乎因果相关.以前我们一律斥之为迷信,视之为统治阶层为推卸责任而编造的谎言.但毫无疑问,每一次巨大灾难发生后,各种“恍然大悟”式的想象便变得充满合理性而大行其道.这种合理性不仅仅普遍存在于遭受巨大痛苦的灾民、难民中间,而且还得到统治阶层的高度重视和真诚对待.”.“祈福”在以前看来,近乎“愚民”,只不过是统治阶层的一种策略.实际却并非如此.中国人的祈福文化之发达,其他民族望尘莫及.遍查中国文艺史尤其是绘画史,关于战争、灾难的描述是相当罕见的.这当然与孔子的“不语怪、力、乱、神”有关,更重要的是与中国人的现实主义有关,因为中国人的宗教极度不发达,于是只能在现实中想方设法求取宗教式的最大的安宁.中国绘画史上对灾难的描述,往往是消极表达或侧面表达,最常见的是取消表达,这又和中国人的艺术理想有关,中国人的艺术理想是一片清净、澄明——这倒成了中国知识分子的另一种宗教.
有这两种文化背景,中国人对于灾难的态度,一是不倚赖真正的“真相”,人虽独立于“真相”之外,对“真相”却不可能有执着的追求和理性的把握；二是容易健忘,简直是希望尽快忘掉所有曾经不幸的一切,并且以诸多“祈福”行动加以推进.
翻译得好自然有分加的.抛砖引玉,

英语翻译中国人在经历灾难之后的态度,大抵可以分为两种,一种是“资治”,一种是“祈福”.“资治”的价值取向必然影响到对文献记录和文艺作品的考量和评判.“资治”的主要服务对象是
The attitudes of Chinese people toward huge disasters could be classified into two categories. One is treating disaster as a reference for "promoting good governance", and the other is to " praying for the grace of gods".The values related to "promoting good governance" certainly would have impacts on the assessment and evaluations of documentations and artistic works. The ruling class, served by the function of "promotion of good governance", would never refer to the truth of disaster, though the truth was mentioned to a large extent. In a feudal society ruled under Confucianism, "promotion of good governance" was only realized through attempts to sensibly interprete a variety of disasters with combination with the ruling ideology. Meeting the "reasons" underlying such ideology were always forming the logical presumptions and real circumstances for such a truth. Therefore, we can see many documentations with respect to disasters are always very closely associated with visions, gods' markers, and legends. Those documentations were written in a manner as if their descriptions were ture, but actually they were not. A few years ago, we believed and critisized all such descriptions as being "superstition" forged by the ruling class to evade their own responsibility. However, undoubtedly, every imagination which emerged after the occurence of the disaster could become popular and resonable.Such state of being reasonable was not only plausible to those who were refugees suffering from the disaster, but also to ruling class members who attached importance to it in a rather sincere way. "Praying for grace" was once perceived by modern people as a way to "fool the people" , as a very subtle ruling strategy. However, that was far from truth. Chinese people had a very sophisticated culture of "praying for grace", and even more sophisticated than any other ethinic group. History of chinese arts, especially of chinese painting, there were very rare works describing the scenes of wars or disasters. At one hand, that was certainly associated with Confucians' attitude toward mysterious matters: not discussing or descrbing them. More importantly, Chinese people adopted very secular and realistic ideology: due to much less developed religious beliefs, people were only able to seek peace and comfort from secular life in a way that resembles religious manner. In Chinese paintings, protraits of disasters were always negative or indirect descriptions, or the discriptions could be absent. Such a state of artistic descriptions had very close association with Chinese artistic ideals: clean and bright realm,which constituted another form of religion for Chinese intellectual elites.
By comparing two different cultural backgrounds of both Chinese and Westerners', the attitudes of Chinese toward disaster, was like that: at first, truth was not depended upon, and people could not constantly pursue the truth and sensibly realize it though they stood independently of such truth; secondly, the people could very easily forget the previous sufferings and use many acts of "praying for the grace" to promote their happiness.
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