ArchaeologyArchaeology is a source of history, not just a bumble auxiliary discipline. Archaeological data are historical documents in their own right, not mere illustrations to written texts, Just as much as any other historian, an archaeologist studies and tries to reconstitute the process that has created the human world in which we live - and us ourselves in so far as we are each creatures of our age and social environment. Archaeological data are all changes in the material world resulting from human action or, more succinctly, the fossilized results of human behavior. The sum total of these constitutes what may be called the archaeological record. This record exhibits certain peculiarities and deficiencies the consequences of which produce a rather superficial contrast between archaeological history and the more familiar kind based upon written records. Not all human behavior fossilizes. The words I utter and you hear as vibrations in the air are certainly human changes in the material world and may be of great historical significance. Yet they leave no sort of trace in the archaeological records unless they are captured by a dictaphone or written down by a clerk. The movement of troops on the battlefield may "change the course of history," but this is equally ephemeral from the archaeologist's standpoint. What is perhaps worse, most organic materials are perishable. Everything made of wood, hide, wool, linen, grass, hair, and similar materials will decay and vanish in dust in a few years or centuries, save under very exceptional conditions. In a relatively brief period the archaeological record is reduce to mere scraps of stone, bone, glass, metal, and earthenware. Still modern archaeology, by applying appropriate techniques and comparative methods, aided by a few lucky finds from peat-bogs, deserts, and frozen soils, is able to fill up a good deal of the gap.
考古学 考古学是历史学的一个来源，而不是地位卑微的辅助学科。 考古学资料本身也是一种历史文献，而不仅仅是文字资料的例证。 正象任何一位历史学家那样，考古学家研究调查并尽力去重构一个过程。 这个过程创造了我们生活的人类世界，也创造了我们自身，因为我们都是我们所处的时代和社会环境的产物。 考古学的资料就是人类行为所造成的物质变化。 更简洁地说，是石化了的人类行为。 这些变化的总和构成了我们所说的考古学记录。 这些记录自有其独特和不足之处，因而导致人们对考古历史和更熟悉的文字记载历史进行相当肤浅的对比。并不是所有的人类行为都留下化石。 我说的话，你通过空气振动听见，这当然是人类造成的物质变化，也可能有重大的历史意义，但这些话在考古学中未留下丝毫痕迹，除非有人用录音机录下来或文书把这些话写了下来。 战场上军队的行动可能"改变历史的进程"，但从考古学的观点来看，这同样是难以捕捉的；可能更糟的是，多数有机物质会腐烂。 任何由木头、生皮、绒线、亚麻、草、毛发以及相似物质做成的东西除非在一些非常特殊的条件下，几年或几个世纪以后，会在尘土中腐烂并消失。 在短时期内，能留下考古记录的东西也都会退化为石头、骨头、玻璃、金属和陶器的碎片。 然而，现代考古学通过运用适当的技术和比较的方法，在从泥炭、沙漠和冻土中所获得的一些幸运发现的辅助下，能够填充这个空缺的很大部分。
Museums From Boston to Los Angeles, from New York City to Chicago to Dallas, museums are either planning, building, or wrapping up wholesale expansion programs. These programs already have radically altered facades and floor plans or are expected to do so in the not-too-distant future. In New York City alone, six major institutions have spread up and out into the air space and neighborhoods around them or are preparing to do so. The reasons for this confluence of activity are complex, but one factor is a consideration everywhere - space. With collections expanding, with the needs and functions of museums changing, empty space has become a very precious commodity. Probably nowhere in the country is this more true than at the Philadelphia Museum of Art, which has needed additional space for decades and which received its last significant face lift ten years ago. Because of the space crunch, the Art Museum has become increasingly cautious in considering acquisitions and donations of art, in some cases passing up opportunities to strengthen its collections. Deaccessing - or selling off - works of art has taken on new importance because of the museum's space problems. And increasingly, curators have been forced to juggle gallery space, rotating one masterpiece into public view while another is sent to storage. Despite the clear need for additional gallery and storage space, however," the museum has no plan, no plan to break out of its envelope in the next fifteen years," according to Philadelphia Museum of Art's president.
博物馆 从波士顿到洛杉机，从纽约到芝加哥、到达拉斯，所有的博物馆或者正在筹划、建造或者正在完成大规模的扩建计划。 这些计划或者已经根本性地改变了博物馆门面与展厅的设计，或者预期在不久的将来会这样做。 单单在纽约市，六个主要机构或者已经向空中和周围扩展，或者正准备这样做。大家一致行动的原因是复杂多样的，但其中的一个因素是普遍考虑的空间问题。 随着收藏品的增多，也随着博物馆的需要和功能的变化，空间已经变成了一项非常珍贵的商品。在我国，也许没有任何其他地方比费城艺术博物馆更符合这个事实。 这个博物馆几十年来一直需要额外的空间，十年前进行了最后一次重大的翻新。 由于空间紧缺，该艺术博物馆在考虑购买与受赠艺术品已越来越谨慎，有时甚至放弃增强艺术收藏的机会。由于博物馆的空间问题，将艺术品脱手或者说卖掉已经有了新的重要意义。 博物馆馆长们被迫巧妙轮换利用陈列馆的空间，轮流着把一些艺术杰作向公众展出，而把另一些送入存储室中。虽然对额外的陈列室和存储室空间需要很明显，但据费城艺术博物馆经理讲："博物馆还没有在未来十五年打破这个束缚的计划。"
Skyscrapers and Environment In the late 1960's, many people in North America turned their attention to environmental problems, and new steel-and-glass skyscrapers were widely criticized. Ecologists pointed out that a cluster of tall buildings in a city often overburdens public transportation and parking lot capacities. Skyscrapers are also lavish consumers, and wasters, of electric power. In one recent year, the addition of 17 million square feet of skyscraper office space in New York City raised the peak daily demand for electricity by 120, 000 kilowatts-enough to supply the entire city of Albany, New York, for a day. Glass-walled skyscrapers can be especially wasteful. The heat loss (or gain)through a wall of half-inch plate glass is more than ten times that through a typical masonry wall filled with insulation board. To lessen the strain on heating and air-conditioning equipment, builders of skyscrapers have begun to use double-glazed panels of glass, and reflective glasses coated with silver or gold mirror films that reduce glare as well as heat gain. However, mirror-walled skyscrapers raise the temperature of the surrounding air and affect neighboring buildings. Skyscrapers put a severe strain on a city's sanitation facilities, too. If fully occupied, the two World Trade Center towers in New York City would alone generate 2.25 million gallons of raw sewage each year-as much as a city the size of Stanford, Connecticut , which has a population of more than 109, 000.
摩天大楼与环境 60年代后期，许多北美人把注意力转向了环境问题，那些崭新的玻璃钢摩天大楼受到了广泛的批评。 生态学家指出，城市中密集的高层建筑经常给公共交通与停车场的承载能力造成过重的负担。摩天大楼还是电能的过度消费者与浪费者。 最近的某一年，纽约市摩天写字楼1，700万英尺办公面积的增加使电能的最高日需求量提高了120，000千瓦。 这些电能足以供纽约的整个奥尔巴尼市使用一天。玻璃表面的摩天大楼特别地浪费。 通过半英寸的平板玻璃墙壁损失(或增加)的热量是典型的加入绝缘板的石墙所允许的热量损失(或增加)的十倍以上。 为了减轻取暖设备或空调设备的压力，摩天大楼的建造者们已经开始使用双面上釉的玻璃镶板和涂上了金色或银色反光薄膜的反光玻璃，来减少强光照射和热量的增加；但是，镜面的摩天大楼会提高周围空气的温度并会对附近的建筑物产生影响。摩天大楼也对城市的卫生设施造成了沉重的压力。 单单纽约市的二个世界贸易中心大楼如果完全被占满的话，每年就会产生2，250，000加仑的污水。 这相当于康涅狄格州的斯坦福市这样大的城市一年所产生的污水量，而康州的斯坦福市拥有109，000人口。
The Nobel Academy For the last 82years, Sweden's Nobel Academy has decided who will receive the Nobel Prize in Literature, thereby determining who will be elevated from the great and the near great to the immortal. But today the Academy is coming under heavy criticism both from the without and from within. Critics contend that the selection of the winners often has less to do with true writing ability than with the peculiar internal politics of the Academy and of Sweden itself. According to Ingmar Bjorksten , the cultural editor for one of the country's two major newspapers, the prize continues to represent "what people call a very Swedish exercise: reflecting Swedish tastes." The Academy has defended itself against such charges of provincialism in its selection by asserting that its physical distance from the great literary capitals of the world actually serves to protect the Academy from outside influences. This may well be true, but critics respond that this very distance may also be responsible for the Academy's inability to perceive accurately authentic trends in the literary world. Regardless of concerns over the selection process, however, it seems that the prize will continue to survive both as an indicator of the literature that we most highly praise, and as an elusive goal that writers seek. If for no other reason, the prize will continue to be desirable for the financial rewards that accompany it; not only is the cash prize itself considerable, but it also dramatically increases sales of an author's books.
诺贝尔委员会 过去的82年里，瑞典的诺贝尔委员会决定了谁将获得诺贝尔文学奖，因此也就决定了谁将从伟大或近乎伟大荣升为不朽。 但在今天，该委员会却遭到了评选委员会内外的猛烈批评。 批评者们争论说："评选获奖者时，起作用更大的不是真实的写作能力，而是该委员会以及瑞典特有的内部政治。 按照瑞典两家主要报纸之一的文化版编辑Ingmar Bjorksten 的说法，该文学奖仍然是"人们所说的一种非常瑞典式的做为：反映瑞典口味"。对于其评选过程中目光短浅的指责，该委员会辩护说，该委员会与世界几大文学之都相距遥远，实际上使该委员会免受外来的干扰。 这也许是对的，但批评者们反驳说，也正因为相距如此遥远，该委员会才不能准确地把握文学界的真正趋势。尽管对评选程序存在着关注，该文学奖将继续作为世人最为推崇的文学的标志而存在，并将继续是作家们难以达到却又会不断追逐的目标。 如果不考虑其他因素，而仅仅考虑与之俱来的经济利益，该奖也将继续为人所渴求：这不仅因为该奖本身就是一笔可观的现金收入，而且该奖还将极大地增加一个作家的著作的销量。
本文来源：https://www.2haoxitong.net/k/doc/7d7cc0d5b14e852458fb57b5.html
文档为doc格式