2024考研英語：《經濟學人》中英讀譯Day153

英語閱讀能力依靠什么？必然是詞匯的積累，但，僅僅是詞匯的積累是不夠了，更應該了解英語句式，不同句型所表達意義。如何培養自己的閱讀語感呢？那么就跟著聚創考研網小編每天學一點英語，一起為考研筑起堅實的地基。閱讀是需要積累的，就像我們需要經常和人溝通才會促進我們的表達能力一樣~小伙伴跟著小編一起，每天堅持打卡，培養英語閱讀能力及語感，了解文章一些經典詞匯的用法。

經濟學人:法國電影《圣奧梅爾》(上)

Laurence coly (Guslagie Malanda, pictured) is a young Senegalese woman studying philosophy in Paris.One winter evening, she takes a train to the cold northern French coast, checks in to a hotel for the night, walks to the beach on a rising tide and leaves her baby to drown.The tiny corpse is found by a fisherman, who at first mistakes the child for a seal.Based on a true story that shook France several years ago, “Saint Omer”, which was released in America on January 13th, follows Laurence’s trial for murder.To describe it as a courtroom drama would be to underplay the subtle, tightly controlled study of motherhood, race, belonging and separation that lies at the centre of this darkly mesmerising film.Selected as France’s entry for this year’s Academy Awards, “Saint Omer” has already picked up prizes at the Venice Film Festival and in Paris.It confirms the place of Alice Diop, its French director, whose parents came from Senegal, as one of a new generation of black directors making films that challenge the way France sees itself.
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勞倫斯·科利(古斯拉吉·馬蘭加飾)是一個在巴黎學習哲學的塞內加爾年輕女子。一個冬天的晚上，她坐火車到寒冷的法國北部海岸，入住一家酒店過夜，在漲潮的時候步行到海灘，然后讓她的孩子溺水而亡。一個漁民發現了嬰兒小小的尸體，一開始他還把尸體誤認為是海豹。根據幾年前震驚法國的真實故事改編，1月13日在美國上映的《圣奧梅爾》講述了勞倫斯因謀殺罪受審的故事。將這部電影描述為一部庭審電影會淡化它對母親身份、種族、歸屬感和分離等主題所進行的微妙細膩、嚴絲合縫的研究，而這正是這部黑暗且迷人的電影的核心所在。《圣奧梅爾》是今年送選奧斯卡獎的法國電影，而且已經在威尼斯電影節和巴黎摘得獎項。導演愛麗絲·迪歐普是法國人，其父母來自塞內加爾，這部電影表明迪歐普確屬新生代黑人導演中的一員，他們的電影挑戰了法國的自我認知。

The story is seen through the eyes of Rama (Kayije Kagame), a French novelist and university lecturer whose parents also emigrated from Senegal.Rama is writing a book inspired by this case of infanticide and travels to northern France to sit in the courtroom.Under cross-examination, Laurence acknowledges what she did, but is unable to explain it, muttering at one point about “sorcery”.The more that she evokes her childhood struggle to fit in, both in Dakar (where she grew up) or later in Paris (where she moved), the more the parallels with Rama’s own life emerge.With what amounts to a physical ache, Rama grasps their shared hurt: a troubled maternal tie, the pressure of parental aspiration and the unresolved anxiety of a life divided between two cultures.Ms Diop’s camera is unflinching: her close-up shots leave nowhere else for the viewer to look.As the lawyers attempt to pierce the appalling mystery of infanticide, the movie peels back layers of racial and cultural prejudice.A white university professor called as a witness expresses surprise that Laurence chose to study Wittgenstein rather than a figure closer “to her own culture”.

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故事通過拉瑪(卡伊耶·卡佳梅飾)的視角展開，拉瑪是一位法國小說家和大學講師，她的父母也是從塞內加爾移民到法國。受這起殺嬰案件的啟發，拉瑪正在寫一本書，于是她前往法國北部旁聽庭審。在被詰問后，勞倫斯承認了自己的所作所為，但無法解釋為何會有此舉動，甚至一度喃喃自語地說到“巫術”。勞倫斯越是回憶起她童年時努力融入達喀爾(她長大的地方)和巴黎(她后來搬到這里)所經歷的掙扎，拉瑪就越能看到她和自己的人生經歷的相似之處。帶著相當于肉體的痛苦，拉瑪抓住了她們共同的傷痛：緊張的母女關系、父母期望帶來的壓力，以及被兩種文化撕扯的未能解決的焦慮。迪歐普的攝像機是毫不畏縮的：她的特寫鏡頭讓觀眾無處轉移目光。隨著律師們試圖解開這一駭人的殺嬰謎團，電影則抽絲剝繭，揭示了種族和文化偏見。一位白人大學教授作為證人，對勞倫斯選擇研究維特根斯坦，而不是一個更接近“她自己文化”的人物表示驚訝。

 

Ms Diop films the scenes of Laurence in a wood-panelled dock, washed through with a glorious golden light: an arresting decision, given the grimness of the subject matter, which seems to call into question the viewer’s perceptions and to hint at the ambiguity of colour.“Saint Omer” is at once a film about the African immigrant experience in France, and about motherhood everywhere.In this respect it belongs to a wave of compelling films made by black French directors in recent years.These include Ladj Ly’s “Les Misérables”, which came out in 2019 and examines the casual violence shattering childhood innocence in the French banlieues (high-rise suburbs).Another is Ma?mouna Doucouré’s “Mignonnes” (“Cuties”), released in 2020, which explores girlhood, giggly friendship and the disturbing hyper-sexualisation of pre-teens.Mr Ly was born in Mali and grew up outside Paris; Ms Doucouré was born in Paris to Senegalese parents.Like Ms Diop, these film-makers use their multilayered understanding of contemporary France to tease out the contradictions and complexities of modern lives.

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迪歐普在拍攝勞倫斯坐在被告席的木板前時，燦爛的金色光線傾瀉在她身上：考慮到電影主題的嚴肅陰暗，這是一個引人注目的決定，似乎在質疑觀眾的看法，并暗示膚色的模糊不明。《圣奧梅爾》既是一部關于非洲移民在法國的經歷的電影，也是一部關于普世的母親身份的電影。在這方面，它屬于近年來由法國黑人導演所掀起的引人注目的電影浪潮。這波浪潮中包括拉吉·利的《悲慘世界》(2019年)，該片探討了法國郊區(高層建筑區)隨意的暴力事件粉碎童年純真的故事。還有麥穆娜·杜庫雷的《嬌娃們》(2020年)，該片探討了少女時代、充滿傻笑的友誼以及令人不安的青少年性放縱現象。利出生在西非馬里，在巴黎郊外長大；杜庫雷出生在巴黎，父母是塞內加爾人。像迪歐普一樣，這些電影人用他們對當代法國的多層次理解，梳理出現代生活的矛盾和復雜性。