8.28翻译练习——《纳粹时代的“疯狂”艺术家》

【修改源自公众号“一天一篇外刊翻译”】

The Prinzhorn collection at the University of Heidelberg’s psychiatric clinic 【精神科诊所中】was established【建立起病人的艺术作品集（以普林霍茨恩自己的名字命名）】 after the first world war【一战后】 by Hans Prinzhorn, a young doctor1 who also held aphdin art history 2and was a professionally trained baritone; later he would translate D.H. Lawrence’s fiction and become a champion of Navajo rights【是纳瓦霍(Navajo)人权的坚定捍卫者】. He began to reconsider【重新审视】 work by patients that had previously been used purely for clinical observation. The paintings, collages, poems, sculptures, music and embroidery were vividly original and often disturbing【从绘画到拼贴画，再到诗歌、雕塑、音乐以及刺绣，这些作品栩栩如生、匠心独运，却又常常令人惴惴不安】, full of torment【充斥着痛苦与...】 and ecstasy and seeming to offer fresh, unfiltered depictions of the human condition【似乎是在以一种不落窠臼、返璞归真的方式刻画着人类的状态。】. The patients used whatever materials they could find, including menus, nursing rosters【护理名册】 and toilet paper. Their subjects ranged from fantastical【光怪陆离】 machines and erotic bicycles to royalty, murder and religion【作品主题包罗万象，从光怪陆离的机器、充满情色意味的自行车，到皇室、谋杀和宗教。】.

第一次世界大战后，汉斯·普林霍茨恩 （Hans Prinzhorn）在海德堡大学的精神治疗中心建立了普林霍茨恩馆，他是一名拿到了艺术学博士学位的年轻医生，也是一位受过专业训练的男中音。普林霍茨恩之后可能会翻译戴维·赫伯特·劳伦斯 (David Hebert Lawrence)的小说，在纳瓦霍语方面占据一席之地。此前病人的“画作”只是单纯用来临床观察，普林霍茨恩开始重新思考病人的画作。这些画作、拼贴画、诗歌、雕塑、音乐及刺绣是如此鲜活新颖，以至于常常引人忧思，里面遍布折磨和狂喜的感情，似乎是在展现人类鲜活的、未经过滤的境况呈现。病人使用他们能够找到的菜单、看护焙烧炉以及厕纸等所有材料来创作，其主题不仅有令人惊叹的机器，还有指向皇室、谋杀以及宗教的充满色情意味的自行车。

The work embodied psychotic realities【病人们所创作的作品体现了精神现实】 and relayed messages from isolation【将与世隔绝的信息传达于世】, explains Mr English. Prinzhorn’s achievement was to declare that it was art【成就在于公开认同这些作品为艺术】, and to liberate it “from the psychiatric clinics and nursing institutions where it had been made【原文有“”的——>将其“从精神病诊所和护理机构中解放出来，面向更广阔的世界”】, and release it into the wider world”. He was remarkably well-connected【人脉通达】 in cultural circles and his collection was enthusiastically received bya contemporary art scene itself traumatised by the recent war【他的收藏受到了当时因战争而遭受创伤的当代艺术界的热烈欢迎】. Early supporters included the painter Paul Klee and the architect Walter Gropius【...是早期支持者】. But it was the Surrealists who were most avid in their embrace【但最狂热的当属超现实主义者，】, particularly Max Ernst and André Breton, and later Salvador Dalí who, preposterously then and offensively today, is said to have spent most of the 1920s trying to go insane so as to achieve the same primal insights. 据说上世纪20年代，达利为了拥有同样本真的洞察力，几乎一直在尝试发疯。这种说法在当时可谓荒诞至极，放在如今亦是让人倍感唐突无礼。

【我】

重新审视病人的画作昭示了精神病人的现状，使得他们不再分隔于社会，向社会释放出相关的创作信息，而这恰好也说明了英格利什【注意符号啊，是explains先生.】和普林霍茨恩先生所取得的成就，即“疯子们”的创作也是艺术，应该将他们的创作从精神治疗诊所及精神病院中拿出来，呈现给公众，让他们的创作能够为更多人知晓【应该有“”】。普林霍茨恩与文化圈交往十分密切，他收集的病人的作品被一个当代艺术馆热情接收，这一艺术馆当时也经历了战争的创伤；早期支持病人们创作的有画家保罗·克利 (Paul Klee)及建筑家瓦尔特·格罗皮乌斯 (Walter Gropius)，然而确是超现实主义者成为了这些创作（早期荒谬，如今冒犯）的狂热拥趸，特别是马克思·恩斯特 (Max Ernst)和安德烈·布列东 (Andre Breton)，再到后来的萨尔瓦多·达利【Salvador】。据说，达利20世纪20年代大多数时光为了体会到和疯子们同样的最原初的感情，他一直尝试也变成疯子。