中英双语新闻——86 Tintin leaps off the page into 3D

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　　上周，一部讲述比利时少年记者丁丁历险故事的新电影在欧洲地区上映。

 

　　The movie, directed by Steven Spielberg, faithfully depicts¹ the comic book world of Tintin on the screen.

 

　　该片由史蒂文?斯皮尔伯格执导，如实地在大银幕上描绘出了连环画中丁丁的世界。

 

　　Critics have raved² about the film, which had its world premiere counted in cartoon style, in 24 books penned by the Belgian illustrator and author Hergé, whose real name was George Remi.

 

　　评论家们对该片好评如潮。如果算上同名卡通形象以及比利时漫画家兼作家埃尔热（真名是乔治?雷米）笔下的24部《丁丁历险记》的话，这部电影的“首映”可以说早就登场了。

 

　　In each volume Tintin, accompanied by his faithful dog Snowy, has adventures that take the pair all over the world.

 

　　在每册书中，丁丁都在忠诚的小狗“白雪”的陪伴下，开始冒险之旅，这对搭档的足迹遍布全世界。

 

　　For children, Tintin albums were a window on to the world. Tintin, Snowy and Captain Haddock meet Native Americans and cowboys, Bedouin in North Africa, discover Egyptian mummies, meet Scotsmen in kilts, and even fly to the moon.

 

　　对于孩子们来说，《丁丁历险记》丛书是一扇通往世界的窗户。丁丁、“白雪”和船长阿道克遇到了美洲原住民和牛仔，以及北非贝都因人，发现了埃及木乃伊，遇到了穿着方格呢短裙的苏格兰人，甚至还飞上了月球。

 

　　In the way Tintin explores foreign lands and engages with people, you might describe him as an exponent³ of multiculturalism⁴.

 

　　从丁丁探索异域并与不同人们打交道这一方面，你可能会形容他是个多元文化的倡导者。

 

　　As Simon Kuper, a British author writes in the Financial Times: “During the 1930s Hergé was following current events and saving newspaper cuttings. He did so much research that Tintin books read like fictionalized documentaries for children.”

 

　　正如英国作家西蒙?库培尔（音译）在《金融时报》上写道的那样：“在20世纪30年代，埃尔热一直致力于追踪时事和收集剪报，他做了大量的调查，所以对于孩子们而言，《丁丁历险记》系列丛书读起来就像小说化的纪录片一样。

 

　　Comic strip cartoons with speech bubbles were something new and Tintin became a popular character.

 

　　带着泡泡状对话框的连环漫画成为新潮事物，丁丁也成为深受人们喜爱的角色。

 

　　However, everything changed when Belgium was invaded by the Nazis⁵. Hergé fled to France, but returned to work on a mass circulation, pro-Nazi newspaper during the German occupation of Belgium. From 1940 Hergé wrote Tintin stories which couldn’t cause trouble or upset the Nazis.

 

　　然而，当纳粹份子入侵比利时的时候一切都改变了。埃尔热逃到法国，但他在德国人占领比利时期间返回家乡，到一个发行量很大，支持纳粹的报社工作。从1940年起，埃尔热继续创作《丁丁历险记》的故事，而且内容不可以招致麻烦或惹恼纳粹。

 

　　Kuper wrote: “The war forced Hergé into his own imagination. Hergé developed his storytelling genius during this period possibly because of a paper shortage. Hergé learned not to waste a single frame of his strip cartoon. Each picture takes the story forward.”

 

　　库培尔写道：“那场战争迫使埃尔热沉浸在自己的想象中。在这段时间里，可能是由于纸张短缺，埃尔热叙事的天赋大大提升，他学会了不浪费漫画中所绘的每一个画面。每一幅画都推动着故事向前发展。

 

　　Some have accused Hergé of cultural stereotyping⁶, even racism⁷.

 

　　有人指控埃尔热，称他具有文化成见，甚至有种族主义倾向。

 

　　A Congolese man has asked a court in Brussels to remove copies of Tintin in the Congo from sale and libraries.

 

　　一个刚果人曾要求布鲁塞尔的一个法庭下令清除刚果在售的以及图书馆收藏的《丁丁历险记》。

 

　　Bienvenu Mbutu Mondondo argues that the book is littered with racist⁸ stereotypes⁹ of Africans who are portrayed¹⁰ as lazy and stupid.

 

　　这位名叫边维努?姆布图?蒙东都的人认为，这套书充斥着对于非洲人的种族成见，把他们描绘得又懒又蠢。

 

　　Mondondo said: “It’s a racist comic book which celebrates colonialism and the supremacy¹¹ of the white race over the black race.”

 

　　蒙东都说：“这是一本带有种族歧视的连环画，书中赞美殖民主义和白人凌驾于黑人之上的绝对霸权。

 

　　A lawyer for Mondondo argued that the book, written in 1931, breaches¹² Belgium’s anti-racist laws. He said: “The book portrays¹³ the black man as lazy, docile¹⁴ and stupid and incapable¹⁵ of speaking French properly.”

 

　　蒙东都的一名律师表示，这本创作于1931年的书违背了比利时反种族主义法律。他还说：“这本书将黑人刻画成懒惰、易于驯服、愚蠢、不会说法语的形象。

 

　　The publisher Casterman argues that the complaint is a threat to freedom of expression. Their lawyer said: “If we censor¹⁶ Tintin in the Congo it is all of world literature that will need to be in courts.”

 

　　该书籍的出版商卡斯特曼出版社争辩道，这种抱怨声会对言论自由造成威胁。他们的律师表示：“如果我们在刚果对《丁丁历险记》进行审查，那么全世界的文学作品都需要被送到法庭上去。”

 

　　Hergé died in 1983. He justified¹⁷ the book by saying it was merely a reflection of naive¹⁸ views of the time. Scenes were revised for later editions.

 

　　埃尔热于1983年去世。他曾为该书辩护称它只不过反映出那个时代的一些纯真想法。而后来的图书版本已经修改了一些场景。

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