『新东方在线托福听力』为托福考生准备了ETS托福TPO/Official 61 Lec3听力练习：What does the professor imply when he says this:原文题目答案解析，TPO/Official 61 Lec3听力原文范文音频翻译。

托福TPO/Official 61 Lec3听力原文What does the professor imply when he says this:【新东方在线】

旁白：听一段艺术史课程中的讲座节选。

Narrator:Listen to part of a lecture in an art history class.

教授：很遗憾，艺术作品并不能永恒。。问题是，我们应该怎么做？

MALE PROFESSOR: Ok.Now, unfortunately, works of art don't last forever.The question is, what do we do about that?

我的意思是，在进行艺术品修复时，总会有一个问题存在，不是吗？

I mean, when you're going to restore art, there's a question, isn't there?

一方面，我们想要修复这件作品。例如，我们想替换一座雕像缺失的手臂，或者恢复一幅已经褪色并随着时间改变颜色的画作。

On the one hand, we want to repair the work.We wanna replace a sculpture’s missing arm, for example.Or make the colors of a painting that's faded and changed over time.

我们希望把它恢复原样，让它完整如初，甚至可能改进它。

We want to put it back like it was.We want to restore it. Make it whole again,perhaps even improve it.

另一方面，我们也希望保留其真实的遗迹。我们不希望对其进行改动，希望它是纯粹和真实的。

But on the other hand, we want to preserve the authentic remains.We don't want to change it.We wanted pure, true.

艺术品修复的实践反映了这种挣扎。

And the history of restoration practices reflects this struggle.

在欧洲文艺复兴时期，即16和17世纪，古代艺术品的发现达到了顶峰，同时修复工作也达到了高峰。

During the European Renaissance, the 16th and 17th centuries, the discovery of antiquities, ancient works of art was at an all time high.And so was restoration.

即便在那时，关于修复方法也有争论。

一方面，这种观点或许以意大利雕塑家本韦努托·切利尼为代表。

On the one hand, and this is the school of thought that's perhaps best represented by the Italian sculptor Benvenuto Cellini.

对于切利尼来说，目标不仅是修复，还有更多。

Anyway, for Cellini, the goal was repair and not only repair.

切利尼和其他人认为，使用古代材料作为灵感来源和原材料是他们的艺术特权。

Cellini and others considered it their artistic prerogative to use ancient material as both a model of inspiration and as a source of raw material.

许多人将许多碎片组合成完整的雕塑。

Many, they took a lot of fragments and combined them into complete sculptures.

学生（男）：但如果他们只有碎片，怎么知道完整的雕塑是什么样子呢？

MALE STUDENT: But how did they know what the complete sculpture looked like if all they had was a fragment?

教授：这正是问题所在。他们并不知道，但这并不重要。他们只是按照自己的理解来创造部件。

MALE PROFESSOR: That's just it.They didn't.And it didn't matter.They just created parts as they saw fit.

有时他们会组合碎片，从这里拿一条胳膊，从那里拿一条腿。

Sometimes they'd combine fragments.Put together an arm from here, a leg from there.

学生（女）：你是说来自不同的雕塑？

FEMALE STUDENTS: You mean from different sculptures?

教授：有时候甚至是来自不同的时代。以洛杉矶县艺术博物馆的贝特曼墨丘利雕像为例。

MALE PROFESSOR: Sometimes even from different time periods.Take, for example, the so-called Bateman statue of mercury.

洛杉矶县艺术博物馆的贝特曼墨丘利雕像是这样一个拼凑的作品。

The bateman statue of mercury at the Los Angeles County Museum of Art is just such a pastiche.

头部并不是与身体来自同一座雕像，腿部以及底座都是由修复者制作的。

The head isn't from the same sculptures as the body.And the legs as well as the base were made by the restorer.

学生（男）：但这几乎算不上修复，更像是创作。我认为他们只是用回收的部分制作了自己的雕塑。

MALE STUDENT: But that's hardly restoration.That's just, well, creation.I guess they're just making their own sculpture out of recycled parts.

学生（女）：但这样做有什么不对呢？我的意思是，为什么不用破损的部分再利用呢？

FEMALE STUDENT: Well,but what's wrong with that?I mean, why not reuse the broken bits?

学生（男）：这不是有点欺骗吗？尤其是如果他们把修复后的作品当作原始作品呈现，而不是作为创作作品展示。

MALE STUDENT: Well,isn't it a bit of a lie?I mean, especially if they present the restored work as the original as restored art, rather than created art.

这关系到什么是真实的问题。难道你不觉得用著名的碎片作为原材料有点不尊重原作吗？

It's a matter of what's authentic and what's not.And don't you think it's a little disrespectful to use famous bits as raw material?

教授：我记得切利尼说过，“这位伟大艺术家的卓越成就召唤我为他服务”，

MALE PROFESSOR: you know, I remember Cellini being quoted as saying, the excellence of this great artist calls me to serve him, end quote.

然后他就通过仅有的躯干创造了一整座全新的雕塑。

And then he proceeded to serve him by creating from just a torso a whole brand new sculpture.

当然，这种修复方式的主要批评是它将当代美学强加于原作之上。

Of course, the main, the major criticism of that kind of restoration is that it imposes the contemporary aesthetic on the original work.

所谓的修复者无疑会受到当时时尚和品味的影响。

The person doing the so-called restoration is no doubt influenced by the fashions and tastes of the day.

记住，他们经常认为自己是在改进作品。

Remember, they often thought of themselves as improving the work.

相反地，与切利尼相对立的是米开朗基罗等人，他们认为目标仅仅是保护。

Now, on the other hand, in contrast to Cellini were Michelangelo and company, those who thought the goal was simply preservation.

米开朗基罗认为古代碎片应该被单独保留。保持它的原貌。

Michelangelo believed ancient fragments should be left alone.Preserved as it is.

如果只是一个躯干，就让它只作为一个躯干而存在。

If it's just a torso, leave it as just the torso as the original work.

有人认为，他的观点展现了对原始艺术品更大的尊重。

His view, some say, shows a far greater respect for the original art.

学生（女）：是的，切利尼可能认为他通过完成或甚至改进原始作品来帮助了原作者。

FEMALE STUDENT: Yeah, Cellini probably thought he was helping the original artist by completing perhaps even improving the original.

学生（男）：这更像是一种傲慢。

教授：好的，不过后来，在18世纪，也就是文艺复兴后几个世纪，那些采用切利尼模型工作的修复者受到了你们所建议的那种批评。

MALE PROFESSOR: Okay.Now later, though, in the 18th century, we're talking a couple of centuries after the Renaissance, restorers who worked in the Cellini model were criticized in just the ways you've suggested.

他们被指责忽视了古代材料的价值，并为了自我炫耀而使用修复来推进自己的事业。

They were accused of disregarding the value of ancient material,and of self-aggrandizement, of using restorations to advance their own careers.

因此，修复者开始将历史准确性纳入他们的努力中。

And so restorers started to incorporate attention to historical accuracy into their efforts.

修复领域开始变得更加科学而非艺术，尽管艺术仍然处于核心位置。

The field of restoration started to become more of a science than an art, though of course art was still central.

那些从事修复工作的人不再是艺术家，而是历史学家。

But those who engaged in restoration now were not so much artists as they were historians.

这种转变可能是定义修复发展的最重要时刻之一。

That shift may be one of the most important moments defining the development of restoration.

目标从艺术发明转变为真实性，从修复变为保护。

The goal changed from artistic invention to authenticity,from restoration to preservation.

学生（男）：米开朗基罗会对这一转变感到满意的。

MALE STUDENT: Michelangelo would have been happy with that shift.

MALE PROFESSOR: Yes.I think he would have.

According to the professor, what characteristic of the Bateman statue of Mercury reflects a typical Renaissance practice?

What is the male student's attitude toward Cellini's practices?

Why does the professor mention Michelangelo?

How did the goals of restoration change in the eighteenth century?

What does the professor imply when he says this:

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