(单词翻译:单击)
听力文本
JUDY WOODRUFF: Now to our "NewsHour" Shares, something interesting that has caught our eye. Brian McCarty's photographs focus on conflict zones as seen through the eyes of children. A 5-year tour of an exhibition of his work has already made stops in Houston, Texas, and Little Rock, Arkansas, and he shows no signs of slowing down. The "NewsHour"'s Julia Griffin has this profile.
JULIA GRIFFIN: Brian McCarty's camera chronicles the horrors of war. But, unlike other war photographers, his subjects are plastic, locally found toys carefully arranged to recreate the experiences of children traumatized by conflict. It's all part of McCarty's ongoing War-Toys project.
BRIAN MCCARTY, Photographer: War-Toys is a photo series about children's experiences of war. Through an art therapy-based approach, children essentially become art directors for my photos of locally found toys.
JULIA GRIFFIN: McCarty's photographs are based on drawings done in art therapy sessions organized by aid groups and United Nations agencies. Then, with the help of dolls, tanks and other playthings from nearby vendors, he uses a camera's lens to tell the child's story, often at the exact spot where the trauma occurred.
BRIAN MCCARTY: I harness what they have witnessed, what they have been through, and give it to audiences that normally maybe wouldn't look at these things or think about these things.
JULIA GRIFFIN: The resulting photographs depict the cost of conflict with a poignant dose of pop culture. An Iraqi boy haunted by the memory of soldiers shooting civilians at an Islamic State-controlled checkpoint. A Syrian refugee isolated and plagued by survivor's guilt after her family was killed in that conflict. And the Iraqi girl whose drawing of a flower revealed a woman stoned to death by ISIS for not wearing the correct face veil. Since 2011, McCarty and therapist Myra Saad have worked with hundreds of boys and girls from Iraq, Syria and other conflict-ridden nations in the Middle East, like Iraqi refugee Nourham Saleh.
NOURHAM SALEH, Iraqi Refugee (through translator): It is about the bridge. It was destroyed. We crossed it while it was broken. I was dizzy. I was scared.
JULIA GRIFFIN: Whether they draw literal representations or use symbols, like an uncolored elephant that represents a dead sibling, War-Toys provides its young participants an outlet to process their emotions, and helps viewers relate to far-off tragedies.
BRIAN MCCARTY: You get this thing where people, no matter where they are, if they had been around toys, if it has been part of their lives growing up, they will connect to this, especially for Western audiences, where it is so easy to cast people in war zones, whether they be Arab, Kurdish, whatever, as the others.
JULIA GRIFFIN: But staging nearly 150 photos in war-torn areas comes with its own hazards. McCarty must regularly navigate shrapnel and other rubble. He has been targeted by Islamic State snipers. And once, on the outskirts of Mosul, Iraq, he used only a flashlight to create a photograph of families sneaking out of ISIS territory. At the time, triggering a camera strobe was considered too risky. Still, McCarty hopes his efforts are worth the risks.
BRIAN MCCARTY: I went in to this project from a very academic, artistic point of view. And all of that of went out the window when I saw a little girl coloring in pools of blood for the first time. You instantly become an activist artist. There is no way to not connect with this, to not, sorry, I am going, it's only sometimes. But, yes, there is no way not to want to effect change and do what you can.
JULIA GRIFFIN: McCarty posts many of his photographs his Instagram page, and exhibitions of his work are planned in Saginaw, Michigan, and Beirut, Lebanon, next year. He hopes to expand the project to Ukraine, African nations gripped by civil war, and even portions of the U.S. plagued by gun violence. And with no obvious end to conflict in this world, War-Toys could be an series that never concludes. For the "PBS NewsHour," I'm Julia Griffin.
重点解析
1.be based on 以..为依据
The selection process is based on rigorous tests of competence and experience.
选拔过程是基于对能力和经验的严格测试。
2.war zone 交战区
Many people have stayed behind in the potential war zone
许多人留在了可能会沦为交战区的地方。
3.point of view 观点
There are a number of different points of view on this issue.
在这个问题上意见纷纭。
4.sneak out 偷偷溜出
Sometimes he would sneak out of his house late at night to be with me
有时候，他会在深夜里偷偷溜出家与我相会。
5.with the help of 利用
With the help of skilful gerrymandering, the Party has never lost an election since.
这个政党通过巧妙地改划选区而使此后的选举无往不胜。
参考译文
朱蒂·伍德拉夫：现在进行我们的《新闻一小时》分享环节，有些趣事引起了我们的注意。布莱恩·麦卡蒂的照片作品所反映的主题多集中在冲突地区，并通过儿童的视角加以展现。他在德克萨斯州的休斯顿和阿肯色州的小石城进行了为期5年的作品展览，而这种节奏，并没有放缓的迹象。《新闻一小时》的朱丽亚·格里芬为我们讲述。
朱丽亚·格里芬：布莱恩·麦卡蒂的相机记录了战争的恐怖。但是，与其他战地摄影师不同，他的作品主题是塑料，就是在当地找到的玩具，精心布置，以还原那些受到冲突创伤儿童的经历。这是麦卡蒂正在进行的《战争与玩具》项目中的一部分。
布莱恩·麦卡蒂，摄影师：《战争与玩具》是一部系列照片，主题是那些经受战争磨难的儿童，他们的经历。通过基于疗愈的艺术手段，孩子们基本上成了我照片的艺术总监，这些照片关于在当地找到的玩具。
朱丽亚·格里芬：麦卡蒂的照片作品根据援助团体和联合国机构组织的艺术治疗课程所做。 然后，附近的小商小贩帮着拿来了玩偶，坦克和其他的玩具，他运用相机镜头来讲述孩子的故事，通常那里都是创伤发生的确切位置。
布莱恩·麦卡蒂：我利用他们目睹的事物，他们所经历的一切，并将它呈现给那些通常可能不会看这些东西或思考这些东西的观众。
朱丽亚·格里芬：由此产生的照片以尖锐的流行文化描绘了冲突的代价。一名伊拉克男孩因士兵在伊斯兰国家控制检查站射杀平民的回忆而倍感困扰。一名叙利亚难民，其家人在冲突中丧生，作为唯一的幸存者，她怀着负罪感，倍感困扰。那名伊拉克女孩画了一朵花，表现了伊斯兰国女子因没有正确佩戴面纱而被基地组织用石头砸死。自2011年以来，麦卡蒂和治疗师玛拉·萨阿德与来自伊拉克，叙利亚和中东其他冲突国家的数百名男孩和女孩一起工作，正如伊拉克难民努勒姆·萨利赫。
努勒姆·萨利赫，伊拉克难民（通过翻译）：这是关于那座桥的。它被摧毁了。当时它遭到破坏时，我们正从桥上走过。我晕掉了。我吓破了胆。
朱丽亚·格里芬：无论是通过文字表示还是使用符号，如代表死去兄弟的无色大象，《战争与玩具》为其年轻参与者提供了一个处理他们情感的出口，并帮助观众了解遥远的悲剧。
布莱恩·麦卡蒂：无论人们，无论他们身在何处，你都能看到这些东西，如果他们在这些玩具堆里，如果他们的成长环境中有这样的影子，他们会联系起来，特别是对于西方观众来说，很容易联想到战区的人们，无论是阿拉伯人，库尔德人，还是其他人。
朱丽亚·格里芬：但在饱受战争蹂躏的地区拍摄近150张照片会给自己带来危险。麦卡蒂必须时常躲避导航弹片和其他瓦砾。他一直是伊斯兰国狙击手的目标。曾经，在伊拉克摩苏尔的郊区，他只用了一支手电筒，就制作出了一张偷偷溜出基地组织统治范围的家庭照片。当时认为使用相机闪光灯风险太大。麦卡蒂仍然希望他的努力值得冒险。
布莱恩·麦卡蒂：我从一个非常学术性和艺术性的角度做了这个项目。当我第一次看到一个小女孩倒在血泊中时，所有这一切都消失了。你立即成为了一名活动家。不产生这样的联系不可能，不，抱歉，我要，这只是有时候。但是，是的，不想做出改变并尽你所能是不可能的。
朱丽亚·格里芬：麦卡蒂在Instagram页面上发布了他的许多照片，他的作品展览计划于明年在密歇根州的萨吉诺和黎巴嫩的贝鲁特举行。他希望将这个项目扩展到乌克兰，非洲国家受到内战的影响，甚至还有美国部分地区受到枪支暴力的困扰。在这个世界上，冲突没有明显的结束，《战争与玩具》可能是一个永远不会结束的系列。PBS《新闻一小时》，我是朱丽亚·格里芬。
译文为可可英语翻译，未经授权请勿转载！
