TE||Witness
1
导读
Claude Lanzmann
2
听力|精读|翻译|词组
Witness
目击者
英文部分选自经济学人Obituary版块
Evoking the Holocaust’s tremors in the present
大屠杀的极端恐怖，今日重现
（豆瓣上对这部影片的评论，关键词集中表现为恐怖、恐惧）
Claude Lanzmann died on July 5th
The film-maker and director of “Shoah” was 92
克劳德·兰兹曼，电影《浩劫》的制作人兼导演，于7月5日去世，享年92岁
WHAT did “Shoah” mean? After Claude Lanzmann had spent almost 12 years making the film he was most famous for, recording 350 hours of interviews in 14 countries, sitting in his shirtsleeves across the table from greying, cautious, sometimes angry people, unsparingly coaxing out of them their memories of the Holocaust, he often met that question. The simple translation was “destruction”. But as a secular Jew, brought up in central France with no sense of Jewish culture and no Hebrew, he had no idea, at first, what it meant. The word seemed just an utterance, a sound, without associations. It might have been the wind in the trees, or a moan of pain. That suited his purposes, because he wanted to give his work no name at all.
希伯来语“shoah”意味着什么？克劳德·兰兹曼(Claude Lanzmann)历时近12年创作了他最著名的影片《Shoah》（该片中译名：《浩劫》），此后，他就经常遭遇这个问题。片中兰兹曼采访了来自14个国家的被访者，共历时350个小时。他身着衬衫、推心置腹地劝导和唤起那些头发花白、慎之又慎，有时是愤怒的人们对大屠杀毫无保留的回忆。这部影片可以简单地译成“毁灭”。但作为一个俗世犹太人，兰兹曼成长于法国中部，不通犹太文化，也不懂希伯来语，起初他并不明白这个词意味着什么。似乎这只是一种语言表达，一个声音，没有任何联想意义（语言学中的术语）。它可能指风过林间，或是苦痛的呻吟。但这个词正合他意，因为他根本不想给自己的影片起什么名字。
注：
1.衍生阅读：一直在追求真理的电影制作人兰兹曼，去世了！
https://baijiahao.baidu.com/s?id=1605201906123240461&wfr=spider&for=pc
2.衍生阅读：中央电视台10频道《第10放映室》栏目张献民访谈（强烈建议仔细阅读）
http://www.cctv.com/program/dsfys/20041025/101641.shtml
3.across the table： 碰到桌子;开诚布公(这里我想应该是两个意思都有，开诚布公是引申意)
4.unsparingly :不宽恕地，毫不留情地
5..coax: [koʊks]哄劝，诱拐 to persuade sb to do sth by talking to them in a kind and gentle way
6.utterance：['ʌt(ə)rəns]话语；言论something that you say
His theme was death, and at its most extreme. The subject, especially the moment of death, had obsessed him from childhood, when he had acquired that slight crouch, protecting his neck from the shining blade of the guillotine that might slice through. In middle age he could not turn away from Goya’s depictions of bayonettings; in old age he watched without flinching as Islamist terrorists, on video, crudely sawed off the heads of their victims. He found himself transfixed by the look, the dazed or vacant stare, of those who knew they were about to die. By witnessing it, he joined them in their awful loneliness.
他把影片的主题定为“死亡”，而且是极端状态下的死亡。“死亡”，尤其是气断魂离的那一刻，是从他童年时就一直困扰着他的主题，那时他得学着如何微蹲着身子，逃避死亡，以免自己被送上断头台；中年时，他敢于面对西班牙戈雅（Goya）那幅描绘刺刀的画作；老年时，看着视频中播放伊斯兰恐怖分子粗鲁地锯掉了受害者的头的那一幕惨景，他也毫不畏惧。那些知道自己将要死去的人们眼神呆滞，魂不守舍，他发现他们的表情让自己为之震撼。目睹着这一切之，他也便走入了他们那可怕的孤独里。
注：
1.crouch: [kraʊtʃ] 蹲着的姿势 a crouching position
2.guillotine：['ɡɪlə.tin]断头台（源于法国）a machine, originally from France, for cutting people's heads off. It has a heavy blade that slides down a wooden frame.
3.bayonettings：bayonet ['beɪənɪt] n.枪刺；刺刀 a long, sharp knife that is fastened onto the end of a rifle and used as a weapon in battle v.用刺刀刺to push a bayonet into sb in order to kill them
4.Goya: https://baike.baidu.com/item/弗朗西斯科·何塞·德·戈雅·卢西恩特斯/184664 flinch
5.transfix: [træns'fɪks] 使（因恐惧、惊愕等而）动弹不得；使惊呆 to make sb unable to move because they are afraid, surprised, etc.
Latest stories
最新故事
So the task he assumed was to be a witness to the mass-death of the Holocaust and to draw witness out of others. But he wanted no images from the camps, no newsreel footage, since those were sacrilege. “Shoah” was not history and not a documentary, as he would shout when ridiculous people said so. It was an evocation through revenants, ghosts, of how memories of the Holocaust went on pulsing through the present, like the slow ripples of the river on which one Polish interviewee rowed and sang a Prussian song; or like the laboured clunking of a train in which an old railwayman stood, remembering how he had drunk vodka to mask the smell of burning bodies; or the rote recitation of railway stations by the German who ran the Department of Special Trains, still proud of ensuring that they got to Treblinka in time. In one scene Abraham Bomba, the Jewish barber who cut women’s hair as they huddled in the gas chambers, chirpily clipped and reminisced in his Tel Aviv salon before Mr Lanzmann, with determination, made him break.
所以，他认为自己的使命是成为大屠杀中人们大规模死难的一个见证人，并找出其他目击者。但是他不想收集任何集中营的照片或者新闻短片，因为这些在他心中都是亵渎神明的。《浩劫》不是历史， 也不是一个纪录片，当那些可笑的人们这么说时，他就会大声抗议。它是向那些大屠杀中的亡灵、鬼怪招魂，展示大屠杀的记忆如何如涟漪般影响着现今，正如那河水中微澜翻滚的涟漪一般，河面上的波兰受访者一边划着船，一边哼唱着普鲁士歌曲；或像站在火车吃力的当啷当啷声里的一个年老的铁路工人，回想他是如何用喝伏特加来盖住烧焦尸体的味道；或听管理运营专列部门的德国人复述那些他死记硬背的火车站名称，时至今日他仍在为能够确保人们准时到达特勒布林卡感到自豪。有一个场景，亚伯拉罕·博姆巴，一名犹太理发师，曾负责剪掉蜷缩在毒气室里女人们的头发，他在自己的特拉维夫沙龙中轻快简洁地回忆着那些事情，直到被雷兹曼先生坚定地打断。
注：
1.newsreel ['nju:zri:l] n.新闻短片
2.sacrilege ['sækrilidʒ] n.亵渎神圣
3.evocation [,evəu'keiʃən] n.招魂
4.revenant ['revinənt; rəv'nɔŋ] n.亡魂
He took great pride in his film, comparing it to a symphony, an epic, or the works of Shakespeare, and from a man who knew little about cinema or film-making. But it was a strange route to fame for an alpha male who otherwise romped through life, an acclaimed journalist, a doughty pilot, an excellent skier, an intrepid traveller and an all-round bon vivant. From the 1950s he was at the centre of France’s intellectual left, hobnobbing with its poets (Aragon, Breton, Éluard), writing and debating at Jean-Paul Sartre’s side at the philosophe’s own magazine, Les Temps Modernes, of which he became editor-in-chief, and living for seven years with Simone de Beauvoir, “Castor”, as he called her, the beautiful aristocrat whose nostrils drove him wild. Women flung themselves at him, of course, and in his masterly way he could dispense with any billing and cooing, going straight for “the thing” itself.
他为自己的电影感到骄傲，将其比作交响乐、史诗或莎士比亚的作品，但其实他对电影或者制片知之甚少。他的成名过程可谓非常奇特，而作为一名男子汉气质爆棚的直男，他在人生的其他方面都成功地轻而易举。他是广受称赞的记者，勇敢强悍的飞行员，卓越杰出的滑雪者，勇猛无畏的旅人，还是全方位的生活达人。自20世纪50年代起，他就是法国知识分子中左派的核心人物，和那些诗人们（包括阿拉贡、布雷顿、艾尔·卢亚德）过从甚密，在让·保罗·萨特的《摩登时代》杂志里为之写作和辩论，后来他成了主编，还和西蒙娜·德·波伏瓦同居了七年。“蓖麻”，他这样称呼她。她那美丽的贵族气息的鼻孔让他着魔。很多女人都疯狂地扑向他，而他则能得心应手地省略谈情说爱，直奔主题。
注：
1..alpha male大男子主义者An alpha male(阿尔法男) is the dominant male in a community or group. Zoologists and related scientists typically use the term to describe top-ranking male animals, but people also apply it to human beings, typically referring to adult men rather than boys. In either case, an animal or person with this label usually is an excellent leader who is well-respected or feared, and who receives social privileges, such as better access to food or more attention from potential mates.（From wiseGEEK：clear answers for common questions.）
2.romp [rɔmp] vi.轻易取胜3.doughty [dauti] adj.勇敢强悍的
3.bon vivant [,buŋvi:'vɔŋ] 生活达人5.aristocrat ['æristəkræt; ə'ristə-] n.贵族
4.to fling oneself at someone向…献殷勤;讨好,求爱：7.billing ['biliŋ] n.演员名次
top billing [美国英语] 演员表上的头牌地位，最显著的地位，大事报道，特载；大事宣传
For him the world divided easily into left, right, black, white, wise men and fools. “Shoah” was not some brooding return to his own past, though it was part of his regret for the teenage anti-Semitism that made him hate his mother’s “enormous” nose and fear to be seen with her. His compulsion to evoke the Holocaust came from far beyond. If he or any of his family had been in the camps he could not have been a perfect witness, standing both inside and outside. In fact his war had been in the Auvergne, running guns and laying ambushes with the Resistance, while his family moved carefully in and out of hiding. Everyone survived. The blade did not fall.
对他来说，世界很容易被划分为左、右、黑、白、智者与愚人。《浩劫》不是对他过去的一种沉思，尽管这部分是出于他对自己少年时代反犹主义的歉意，那时他厌恶母亲“巨大的”鼻子，并且害怕被人看到与她在一起。（但是）他想要唤起人们对“大屠杀”的回忆的强烈冲动远非建立在这样的个人精神需求层面之上。如果他或他的家人曾经身陷集中营，他可能就无法作为一个如此完美的见证人，能从内外两个角度看待“大屠杀”。事实上，他的战场在奥弗涅而非“集中营”，他和抵抗军们一起躲过炮火，设下埋伏，而他的家人则小心地四处躲藏。每个人都活了下来。刀刃没有落下。
注：
1.Brooding [ˈbru:dɪŋ] n. 孵卵 adj. 沉思的; 郁闷的; 徘徊不去的 v. 沉思; 孵蛋(brood的现在分词); showing deep unhappiness of thought.
2.Ambush ['æmbʊʃ] n. 埋伏，伏击；伏兵vt. 埋伏，伏击vi. 埋伏 make a surprise attack on (someone) from a concealed position.
Sartre, with that riveting certainty of his, thought death was an absurd conundrum. Mr Lanzmann believed it was inexplicable, as evil was, and also a scandal to be challenged. As he became more fervently Jewish through his life, he willed that resistance on his people. His film “Sobibor: October 14, 1943” exulted in the escape of Jews from an extermination camp, and two other films celebrated Israel, both its founding and, in “Tsahal”, its defence forces, which he saw through a lens of proud joy at their youth, beauty, massed weaponry and reappropriation of violence. Jews, too, could be fierce.
萨特凭借着自己那迷人的确定性，认为死亡是一种荒谬的难题。朗兹曼先生却相信死亡和邪恶一样，都是令人费解的，都是将要被挑战的丑闻。在他越来越热衷于犹太事业的一生中，他希望他的同胞能够反抗。他的电影《索比堡：1943年10月14日》为犹太人从一个灭绝集中营中逃出而狂喜；其它两部电影则热烈庆祝以色列，一部是关于这个国家地的建立；而另一部叫《以色列国防军》，庆祝的对象则是以色列的国防军队，他以自豪与喜悦的视角拍出了军人的年轻、帅气、全副武装和对力量的再次诠释。他让人知道，犹太人也是可以很凶猛的。
注：
Tsahal：The Israel Defense Forces，即以色列国防军
The hares of Birkenau
比克瑙的野兔
They could also deceive death, that great deceiver. He loved hares, remembering how, in Patagonia, the dash of one across his path had made him feel astonishingly alive, and how when shooting “Shoah” at Birkenau two hares, initially bewildered, had skilfully contorted their way through the dense barbed wire, as prisoners had failed to. He hoped his people would choose to come back as hares.
这些小伙子们（上一段中的国防军人）甚至可以“骗过”死亡这个大骗子。克劳德喜欢兔子，他一直记得有一次走在巴塔哥尼亚的路上时，一只野兔从脚边越过，让他感觉到活着是如此真实。在比克瑙拍摄《浩劫》时，有两只兔子一开始懵了，而后便在密集的铁丝网中闪转腾挪逃了出来。但囚犯们没能做到它们那样。他想他的同胞们，若来生转世成为野兔该有多好。
As it was, the very presence of those silent creatures at Birkenau underlined a great absence. “Shoah” was full of images of emptiness, whether railway wagons, or roads, or forests, or simply the eyes of interviewees suddenly remembering and staring fixedly at the camera, as at the face of death. Through them, he was staring too.
事实上，比克瑙的那些沉默的生灵们突显出了巨大的空洞感与不在场感。《浩劫》中的影像常常阒然无物，无论是火车车厢、道路、森林，或者是被采访者的眼睛。他们恍然回神，凝视镜头，就像面对死亡一样。通过他们，克劳德也在盯视着死亡。
翻译组：
Yi, 女，财务民工，经济学人爱好者
Cece，女，消防工作者，CATTI三笔
Samantha，女，滑冰狂人，邓伦未婚妻
Lucia ，女，翻译学硕士三年制，经济学人粉丝
校核组：
Forest，女，自由职业，经济学人爱好者
Dave，大学老师，二级口译笔译，科幻文学译者
知识点收集组：
Jerry，女，广告jerry，经济学人爱好者
Cathy，女，大一财管狗，经济学人爱好者
tessa，女 ，大一会计学生，经济学人爱好者
Mcylinder，男 ，石化公司员工，TE 爱好者
3
观点|评论|思考
本次观点由Lixia全权执笔
Li Xia, 女， HR, 经济学人发烧友
Simon Srebnik(西蒙·斯雷尼) 划着小船慢慢驶进镜头，Claude Lanzmannxi坐在小船的另一端，静静地注视西蒙。清亮的歌声伴着夏日的微风飘荡在纳雷夫河上，婆娑的树影倒映在平静的河面上。西蒙唱的是纳粹歌曲，波澜不兴的纳雷夫河下铺满了犹太人的尸骨。这是《浩劫》的开头，除了西蒙不带情绪的歌声和风吹树梢的沙沙声，再无其他音乐。西蒙是波兰海乌姆纳粹集中营的幸存者，因为一副好嗓子侥幸地逃脱了最初的屠杀，又在最终的枪决中因子弹没有打中而逃过一死。他本不愿接受采访，最终拗不过Claude Lanzmannxi的又哄又骗，重返集中营旧址。曾经的集中营，如今只剩下掩藏在荒草中的青石地基，4000万犹太人在这里被毒杀，唯有西蒙和Michaël Podchlebnik幸存了下来
。西蒙漫步在废墟上，平静地叙述着，说得最多的就是，没人能重述这里发生的一切，没人能明白。
《浩劫》从1974年开始拍摄到1985年最终上映，历时11年，Claude Lanzmannxi的团队耗费了6年时间，足迹遍布14个国家，寻访大屠杀的犹太人幸存者和纳粹分子，采访录像近350个小时，用5年的时间进行后期剪辑。拍摄期间，Claude Lanzmannxi引爆过地雷，遭遇过袭击。此片一经上映就收获赞誉无数，被推崇备至，专业人士认为《浩劫》开创了纪录片新的表现形式，是永不过时的经典之作；历史学家认为它是重要的历史文献。
但我一直在思考是什么支撑着Claude Lanzmannxi为它呕心沥血，不为名利，不计成本，即使生命安全受到威胁也要坚持拍摄。是为了粉碎纳粹的谎言，揭露纳粹灭绝人性的残暴本质？还是为了纪念枉死的犹太冤魂，让世人了解犹太民族的苦难？还是出于记者坚持还原事件真实的职业操守？又或者是为了铭记历史，警醒世人？还是仅仅是生而为人的良知——扬善止暴。
无论是为了什么，逝者已矣，生者警醒。什么时候人类能摆脱自然属性，自己民族的繁盛不是用其他民族的献血浇筑而成，人类才能自傲地称自己为万物之灵。
4
愿景
小组
现有一经济学人大群,如果您也有兴趣，可联系小编WeChat : foxwulihua。