(单词翻译:单击)
听力文本
AMNA NAWAZ: Well, spring classes at Dartmouth College are about to end. And, this term, students have had the opportunity to explore a revitalized museum right on campus. From PBS station WGBH in Boston, Jared Bowen has our story. It's part of series on arts and culture called Canvas.
JARED BOWEN: Just off the green of Dartmouth College in New Hampshire is the campus' Hood Museum of Art. Newly renovated and expanded, it beckons once again. But this is not the same old.
JOHN STOMBERG, Director, Hood Museum of Art: Be prepared for surprise.
JARED BOWEN: During the Hood's three years of construction, John Stomberg had a chance most museum directors never get. While the Hood was closed and empty, he and his team entirely reimagined the way we experience art.
JOHN STOMBERG: We have many of the old favorites, but they're scattered in a different way. Our overall goal was to change the way the story of art is told.
JARED BOWEN: This is where you enter the museum, in a gallery dominated by a sprawling work of art you have probably never seen by a contemporary artist you have probably haven't heard of.
JOHN STOMBERG: A lot of us know, who are the major artists today? But there are thousands more artists who make great artwork. So, let's open that up a little bit and bring more people into the conversation. So, for example, the painting that I'm standing in front of is by the major Nigerian modernist, Obiora Udechukwu. And yet that's not a household name. The painting is amazing.
JARED BOWEN: Stomberg says he's inverted the museum experience, changing where and how you will find particular art and artists. He's already done what the Museum of Modern Art in New York recently announced it's about to do. You will still find Renaissance art here and the blockbuster artists like Picasso, but they're on the fringes of the museum, no longer center stage.
JOHN STOMBERG: In the core of the museum, you're going to find international or global contemporary art. All through the center of the museum, we're looking at the art of today, the art of now. We like to think of the Hood as a responsive museum, responsive to the world.
JARED BOWEN: Is there a risk in doing what you have done? It's very unconventional.
JOHN STOMBERG: The risk is actually to tradition. So, are we risking tradition? Absolutely. But is that a role for an arts presenting agency? Absolutely.
JULIETTE BIANCO, Deputy Director, Hood Museum of Art: This is our gallery of indigenous Australian art, and it's from a major gift to the museum from about 10 years ago.
JARED BOWEN: Juliette Bianco is the Hood's deputy director and a Dartmouth graduate who spent her formative years here, and says there's freedom in being a college museum, where experimentation is welcome with a fresh flow of ideas from students who constantly cycle through and curate shows.
JOHN STOMBERG: They came up with an amazing idea, consent. It's clearly a big issue on campus. It's clearly a big issue across the country.
And it is, of course, a founding issue in photography.
JULIETTE BIANCO: Incorporating student voices not only into the interpretation of our objects, but also into the decisions about which objects to add, how to interpret them, how to display them, if we should display them or not.
JARED BOWEN: In this inaugural exhibition, students consider the issue of consent in myriad forms, like the agency a young soldier has, or doesn't have, in hazing rituals, or whether the work of secretive photographer Vivian Maier should be produced. She kept it hidden away.
JOHN STOMBERG: We can have these conversations. If we can't have these conversations in a museum, where are we going to have these conversations?
JARED BOWEN: Here, they will be ongoing. With more than 70,000 objects, the Hood has one of the largest university collections in the country. Stomberg wants as much of that work as possible on view, which means rotating some galleries as quickly as every three months.
JOHN STOMBERG: One of the things that everybody is going to experience is how works of art change by the company they keep.
JARED BOWEN: The museum doesn't charge for admission, and that impacts Hood's design.
JOHN STOMBERG: Spend 10 minutes, spend two hours, it's up to you, whatever is comfortable. One of the things that I love about a museum that's free is that you can come in and look at one work of art. You can come in and spend an afternoon with friends. It's totally variable.
And so there's no one way to see the museum.
JARED BOWEN: Except that, at the Hood, there's always with a view to the outside world. I'm Jared Bowen of WGBH reporting for the PBS NewsHour in Hanover, New Hampshire.
重点解析
1.on the fringes of 边缘
He has been forced to live on the fringes of society.
他被迫生活在社会的边缘。
2.works of art 艺术品
The house is crammed with priceless furniture and works of art
房子里摆满了昂贵的家具和艺术品。
3.hidden away 隐藏
He spent yesterday hidden away in his country retreat.
他昨天躲在了他乡下的静养地。
4.incorporate into 融入
We have incorporated all the latest safety features into the design.
我们在设计中纳入了所有最新的安全装置。
5.as much as possible 尽可能多的
I want to learn as much as possible about the industry so that I'm better prepared
我想尽可能多学一些关于这个行业的知识，让自己更有备无患。
参考译文
阿姆纳·纳瓦兹：达特茅斯学院的春季学期将要结束。本学期，学生们有机会在校园里探索重新焕发生机的博物馆。下面请听我台驻波士顿WGBH站记者杰瑞德·鲍文发回的报道。本期节目是艺术文化档Canvas系列的部分内容。
杰瑞德·鲍文：达特茅斯学院位于新罕布什尔州。在一片绿荫附近，可以看到胡德艺术博物馆。最近，该博物馆刚进行过返修和扩张，现在又焕发出了生机。
约翰，胡德艺术博物馆馆长：会让大家惊喜的。
杰瑞德·鲍文：这家博物馆的建造历时3年，期间，约翰获得了一次其他博物馆的馆长永远不会拥有的机会。虽然当时博物馆大门紧闭、空无一物，但约翰和自己的团队重新想象了我们体会艺术的方式。
约翰：我们有很多稀罕的古玩，它们以不同的方式分布着。我们总体的目标是改变向世人诉说艺术故事的方式。
杰瑞德·鲍文：这里是博物馆的入口。这个画廊到处都是艺术作品，这些作品的作者可能是大家闻所未闻的。
约翰：大家都知道，如今的艺术家都有哪些，但其实还有数千名艺术家也做出了伟大的艺术作品。那么，就让我们来揭开面纱，让更多的人了解他们。比如，我面前的这幅画是尼日利亚现代艺术家Obiora Udechukwu所做。虽然这个名字并非家喻户晓，但这幅画确实很赞。
杰瑞德·鲍文：约翰表示他颠倒了博物馆里的布置，改变了特定艺术家和作品惯常出现的位置和找到的方式。约翰已经完成了纽约现代艺术博物馆近来宣布要做的工作。在这里，依然可以欣赏到文艺复兴时期的艺术作品，以及毕加索等大艺术家的作品。不过，这些作品不在明显的地方。
约翰：在博物馆中心，可以看到来自世界各地的当代艺术作品。在博物馆中央，可以看到当今的艺术作品。我们倾向于将这家博物馆视作展现世界的博物馆。
杰瑞德·鲍文：现在做您当初所做的事情，是否会有什么风险呢？这不是传统做法。
约翰：风险在于传统。是否会失去传统的风味？答案是肯定的。但我们所做的是否是博物馆该做的呢？答案也是肯定的。
朱丽叶，副馆长：这个画廊展现的是澳大利亚本土的艺术。10年前，它是别人送给我们博物馆的一份大礼。
杰瑞德·鲍文：朱丽叶是副馆长，她毕业于达特茅斯学院。这里的经历奠定了她的职业生涯。她表示，大学博物馆有自己的自由。大学博物馆热爱实验，热爱学生们新鲜的想法，一代又一代的学生为博物馆的展览做贡献。
约翰：学生们经常想到好点子。这显然是学校的大事，也是美国的大事。对于摄影业也有重大意义。
朱丽叶：在阐释作品的时候，我们会融入学生们的声音。在涉及增添什么物件、如何阐释、如何展览甚至是否展览时，我们也会考虑学生们的决定。
杰瑞德·鲍文：这是博物馆的首展，学生们建言献策有多种形式，比如军队的模式、模糊的模式、神秘摄影师薇薇安·迈尔的作品是否应该展出，毕竟她一直都很低调。
约翰：这些事情，我们是可以讨论的。如果在博物馆里都不能讨论这些，又要到哪里去讨论呢？
杰瑞德·鲍文：博物馆还会继续这种势头。现在，馆藏品有7万多件，是美国最大的大学博物馆之一。约翰希望能尽可能多地展现艺术作品，能每3个月让画廊轮展一次。
约翰：每个人在这里都能体会一件事：艺术是如何改变的。
杰瑞德·鲍文：该博物馆不收取入场费，这影响了博物馆的设计。
约翰：在这里待10分钟还是2小时，都取决于你，只要你觉得舒适，就可以一直待下去。对于无入场费的博物馆，我喜欢的一点是：随时可以来欣赏艺术品。可以跟朋友们一整个下午待在这里，形式可以多样。所以，参观这家博物馆的方式有很多种。
杰瑞德·鲍文：除此之外，在这家博物馆里，总能看到世界的其他地方。感谢收听杰瑞德·鲍文从新罕布什尔州汉诺威WGB站发回的PBS报道。
译文为可可英语翻译，未经授权请勿转载！
