英語と映画研究に詳しい方、お願いします！
- 英語と映画研究に詳しい方へのお願いです。購読している大学の資料の一部が理解できず、概要を教えていただきたいです。
- 仮想現実と空想の現実についての重要な部分のみ教えていただけると助かります。
- 映画における仮想現実の起源と関連性についての詳細を教えていただけますか？
- ベストアンサー
英語と映画研究に詳しい方、お願いします！
英語と映画研究に詳しい方、お願いします！急ぎで困ってます！ 下にあるのは大学の購読で、使う資料の一部です。自分の英語ではぜんぜん理解するどころか、訳せもしません。情けないですが、どなたか、これに書かれている概要を教えていただけないでしょうか。 英語の力がなくても書かれている内容がすごく気になります。 めっちゃめちゃ長くてすみません！ 仮想現実と空想の現実らへんの重要そうなとこだけでもいいので教えてください・・・ どなたかよろしくお願いします。 Thus "virtual reality" can also refer us back to familiar terrain for which a precedent can be found in the history of film theory. Virtual reality, made possible by particular technologies of simulation, involves the spectator's presence, and to this extent, it is comparable to the imaginary reality that a spectator attributes to any fiction or narrative, to whose representations(be they verbal, visual or acoustic) the mind grants reality status. We can usefully refer back to "diegesis" here: just as narratives establish their diegetic space by allowing the viewer to give a consistent reading to a film's markers of temporal continuity and spatial contiguity(despite "actual" discontinuity and non-contiguity), virtual realities-especially in their most frequent applications,i.e. in game environments-establish diegetic coherence by a set of rules and conventions, one of which is that the body of the participant or player is fully co-opted into the diegetic space, while nonetheless knowing the s/he also exists in extra-diegetic space, whether it is a bedroom or a video-arcade. Alexander Galloway has concluded that it is "difficult to demarcate the difference between diegetic and non-diegetic acts in a video game, for the process of good game continuity is to fuse these acts together as seamlessly as possible" The body of the operator, the control of the game and the action on-screen fuse to create an imaginary reality that connect the machine and the human. Virtual reality thus appeals even more directly to the body and the senses, but not in any simple or atraightforwardly "physical"way:contact(whether by eye or hand or both) is mediated, translated, relayed. Likewise, the game space is modeled as a 3-D environment in the computer, so that the actual view on the screen is being generated from this model, rather than drawn from a set of pre-existing inside the computer as a computational reality created by earlier techniques.
- mikael48
- お礼率94% (51/54)
- 英語
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質問者が選んだベストアンサー
かくして「バーチャルリアリティー」（以後VRと略します）は、映画史上に先例のある見慣れた場面に我々を連れ戻す可能性がある。 シミュレーションの特殊技術によって可能になったVRは、観客の存在を含むと言う点では、（それが言語的、視覚的、聴覚的たるとを問わず）実在と同格の価値を心に与えて、視覚観客が作り話や小説に与える想像上の実在に匹敵する。 この場合「物語空間」に戻るのは有効である。ちょうど物語が、観衆に映画製作者の（「実際には」不連続で、繋がりがないにも関わらず）時間的空間的連続性を読み込ませることによって物語の空間を確立するように、VR、特にゲーム環境のような、そのもっとも普通の使われ方では、規則や慣習によって物語の一貫性を確立する。 その一例は、参加者あるいは競技者の身体は完全に物語空間に吸収されるが、同時に参加者または競技者は、寝室に居ようが、ビデオ遊技場に居ようが、物語空間の外にも存在する。 「優れたゲームは、これらの役を縫い目なく自然に繋ぎあわせるため、物語空間での行動と、物語空間外での行動を区別する境界線を引くのは難しい」と Alexander Galloway は結論づけた。 オペレーターの身体、ゲームの操作コントロール、それに画面上の動き、が解け合って、機械と人間を繋ぐ想像の実際を創り出す。 VRは、こうしてさらに直接的に身体と感覚に訴えるが、簡単な直截的な「物理的」方法ではない（目、手、あるいは目と手の両方）の接触が仲介され、翻訳され、中継される。 同様に、ゲーム空間は、コンピュータでは３次元環境を模したもので、このモデルから画面の実際の画像は作られるので、過去の技術で作られた計算による実在としてPC内に既存資料によるものではない。 （僕は映画学は知らないので、見当違いの訳かもしれません）。 言ってることは、身内の子どもがコンピュータ相手にテニスをやってるような話です。（近寄るとラケットを振り回していて危ないので、僕は気をつけております） VRが出来たばかりの頃、ご大層な物々しい英語で書いた骨董品でお疲れさまです。日本語で言えば「いとことごとし」って感じですね。
その他の回答 (1)
- SPS700
- ベストアンサー率46% (15295/33014)
＃１です。謝罪です。 映画学とか美術とかは、ガチガチの科学の人から痛めつけられるのか、必要以上に自分の専門分野の「学問的内容の豊かさを誇張する」必要を感じている人が居るようです。 僕は、一度その晩の音楽会の一般向け説明会に行ったことがあり、近くの大学の音楽教授の衒学的英語に、笑いをこらえるのに苦労した覚えがあり、この文でついそれを思い出してしまいました。 訳以外の僕の付け足しは無視してください。
関連するQ&A
- 英語と映画研究に詳しい方、お願いします！
英語と映画研究に詳しい方、お願いします！急ぎで困ってます！ 下にあるのは大学の購読で、使う資料の一部です。自分の英語ではぜんぜん理解するどころか、訳せもしません。情けないですが、どなたか、これに書かれている概要を教えていただけないでしょうか。 英語の力がなくても書かれている内容がすごく気になります。 どなたかよろしくお願いします。 While there seems a great deal of emphasis on the "immersive", tactile and "haptic" properties of virtual reality, i.e. the body-based nature of the experience, the bodily sensations are distinct from pictorial illusionism, just as visualization in this sense refers to the use of images or pictorial signs as a symbolic language, in order to render visible a set of abstract data or processes: what we "see " is information translated into a (conventionalized) language of vision, not something that is in any sense really "out there". It is as if several different perceptual and cognitive systems were deployed together, to render the "effect" of virtual reality. Instead of making up one continuous "field", these reality effects are a composite, which in its amalgamated and fused discontinuity either leaves one cold and distanced or sucks one into a fascinated self-oblivion and immersive self-presence.
- 締切済み
- 英語
- 英語と映画研究に詳しい方、お願いします！
下にあるのは大学の購読で、使う資料の一部です。自分の英語ではぜんぜん理解するどころか、訳せもしません。情けないですが、どなたか、これに書かれている概要を教えていただけないでしょうか。 英語の力がなくても書かれている内容がすごく気になります。 どなたかよろしくお願いします。 This dilemma of the virtual not being definable in opposition to realism has given rise to two different responses : one school of thought has turned to a reassessment of illusionism as an aesthetic value in its own right, while others have pointed to the enunciative dimension of the "index", and thus to make indexilality an aspect of enunciation and deixis. Both these contexts break, at the conceptual level, with our traditional definitions of cinematic realism, because "reality" in virtual reality is no longer understood as index, trace and reference of an elsewhere, but as a total environment: it thus is a function of a coherence theory, rather than a correspondence theory.
- ベストアンサー
- 英語
- 英語 訳出願い
自分で訳したものの、すっきり読めないので、訳出願います。 よろしくお願いします。 ’UNDERSTANDING REALITY TELEVISION’の一部です。 As we embark upon a new century of broadcasting, It is clear that no genre form or type of programing has been as actively marketed by producers, or more enthusiastically embraced by viewers, than reality-based TV. This quote seems a pertinent way in which to open a book that seeks to 'understand Reality TV'. It emphasizes how the formats, images, and convention of Reality TV have stitched themselves into the very fabric of television, its economic structures, schedules and viewing cultures. Reality TV has rapidly come to occupy a place at the forefront of contemporary television culture – a position from which it seems to 'speak' particular clearly to the ways in which broadcasters are seeking to attract audiences in the multichannel landscape, the ways in which television is harnessing its aesthetic and cultural power and, as an increasingly multimedia experience, the ways in which it resonates so extensively in the cultural sphere. This collection seeks to respond to the complex, contested and often controversial terrain of 'popular factual programming' (CORNER,2001) with the broad aim of considering its economic, aesthetic, political and cultural implications for understanding contemporary 'television' as an object of study. It is certainly the case that this terrain continued to evolve, shift and change in the process of producing this collection, which thus offers an investigation of the field at a particular point in time (television’s rhetoric of the perpetual present of course always renders stopping the 'flow' an impossibility). At the same time, however, this book also seeks to contribute to the longer-term project of understanding and studying what CORNER has described as television's 'greatly expanded range of popular images of the real'.
- ベストアンサー
- 英語
- どなたか英語が分かる方よろしくお願いします。
長文だった為分割しました。 前半の文章です。よろしくお願いします。 That he has a friendly warm voice with an undertone of just a very slightly different place, or intonation, barely perceptible but not local, It betrays a hint of some other place in his past, or some other class and level of life, that is different to the one he now mixes in. It is just a trace, a remnant left over, of a slightly different way of speaking, that is visible here and there, like a fish glimpsed below the surface of a river. His tone is rich and flowing a bit preachy, he talks as though giving some important message or lecture or sermon to others, yet his voice while rich is also limp it lacks the energy, and stamina that it begin with, and turns into deep soft trailing voice, warming as whiskey but more dilute at the ends. Robust at the beginning of sentences and paragraphs, but then his speech, this stoutness tending to tail off leaving sentences unfinished, or making them more quite and muted in strength.
- ベストアンサー
- 英語
- 英語に自信のある方 和訳お願いします
Now, when we compare teh account of the creation and of man given by the doctrine of evolution with that given in the Bible, we see at once that the two are in different regions. The purpose of giving the accounts is diffrent; the spirit and character of the accounts is different; the details are altogether different. The comparison must take note of the difference of spirit and aim before it can proceed at all. It is then quite certain, and even those who contend for the literal interpretation of this part of the Bible will generally admit, that the purpose of the revelation is not to teach science at all. It is to teach great spiritual and moral lessons, and it takes the factsof nature as they appear to ordinary people.When the creation of man is mentioned there is clearly no intention to say by whta processes this creation was effected or how much time it took to work out those processes. The narrative is not touched by the question, 'Was this a single act done in a moment or a process lasting throughmillions of years?' The writerof the Book of Genesis sees the earth peopled,as we may say, by many varieties of plants of animals. he asserts that God made them all, and made them resemble each other and differ from each other He knows nothing and says nothing of the means used to produce their resemblances or their diferrences. he takes them as he see them , and speakes of their creation as God's work. Had he been commisoned to teach his people the science of the matter, he would have had to put a most serious obstacle in the way of their faith. They would have found it almost impossible to belive in a process of creation so utterly unlike all their own experience. And it would have been quite useless to them besides, since their science was not in such a condition as to enable them to coordinate this doctrine with any other. As science it would have been dead; and as spiritual truth it would have been a hindrance.
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- 英語
- 英語に自信のある方 和訳お願いします
The aim of the physicianin the treatment of insanity is to bring the means at his command to bear, directly or indirectly , on the disordered nerve elemnt. But, in striving to do this, he soon learns with how many bodily organs and functionshe has really to do. to callmind a function of the brain may lead to much misapprehension, if it be thereby supposed that the brain is the only organ which is concerned in the function of mind. There is not an organ in the body which is not in intimate relation with the brain by means of its paths of nervous communication, which has not , so to speak, a special corresopondance with it through internuncial fibres, and which does not, therefore, affect more or less plainly and specially its[ist=the brain's] function as an organ of mind. It is not merely that a parpitating heart may cause anxiety and apprehension, or a disorderedliver[may cause] gloomy feelings, but there are good reasons to believe that eachorgan has its specific influence on the constituiton and function of mind; an influence not yet to be set forth scientifically., because it is exerted on that unconscious mental life which is the basis of all that we consciously feel and think. were the heart of one man to be placed in the body of another it would probably make no difference in the circulation of the blood, but it might make a real difference in the temper of his mind. so close is the physiological sympathy of parts in the commonwealth of the body that it is necessary in the physiological study of mind to regard it as a function of the whole organism, as complehending the whole bodily life.
- 締切済み
- 英語
- 英語に自信のある方、英訳お願い致します。
The aim of the physician in the treatment of insanity is to bring the means at his command to bears, directly or indirectly,on the disordered nerve element.But,in striving to do this,he soon learns with how many bodily organs and fuctions he has really to do. To call mind a function of the brain may lead to much misapprehention,if it be thereby supposed that the brain is the only organ which is concerned in the function of mind.There is not an organ in the body which is not in intimate relation with the brain by means of its paths of nervous communication,which has not ,so to speak,a special correspondence with it through internuncial fibres,and which does not,therefore affect more or less plainly and specially its[its=the brain's]function as an organ of mind.It is not merely that apalpitating heart may cause anxiety and apprehension,or a disordered liver[may cause]gloomy feelings,but there are reasons to believe that each organ has its specific influence on the constitution and function of mind:an influence not yet to be set forth scientifically,because it is exerted on that unconscious mental life which is the basis of all that we consciously feel and think. Were the heart of one man to be placed in the body of another it would probably make no difference in the circulation of the blood,but it make a real difference in the temper of his mind.So close is the physiological sympathy of parts in the commonwealth of the body that it is necessary in the physiological study of mind to regard it as a function of the whole organism,as comprehending the whole bodily life.
- ベストアンサー
- 英語
- 英語を訳していただきたいです。
ある長文の中である五つの例文を訳していただきたいです。 1.But one is the richer in true and useful wisdom, the more one reads. 2.There are so many good books in the world that it is foolish to waste time on one that does not give you pleasure and profit (unless reading it is a requirement to pass an examination, or something like that). 3.However, if you find yourself bored by a book that many well-informed people regard as important and readable, be fair with yourself and confess that perhaps the shortcoming is not in the book but in you. 4.A book which now seems dull or difficult will prove easy to grasp and fascinating to read when you are more mature intellectually. 5.They lack the background and the maturity of mind necessary to meet the author of the book on his own intellectual level. 長ったらしいですが、分かる方は教えていただきたいです。 よろしくお願いします。
- 締切済み
- 英語
- 英語が出来る方助けてください。(かなり困っています。)
英語が出来る方助けてください。(かなり困っています。) 今学生をしているのですが400ページほどある英語の専門書を読み始めたのですがこの部分の訳がどうしてもしっくりこないのですが分かる方いませんでしょうか？？ 英語が大変苦手なので自分の訳に自信がなく困っています。 先生が海外に勉強に行っているので聞けず大変困っています。もし分かる方がいらしたら宜しくお願いします。 Now, Li(z) is the potential energy for the molecule i, expressed as a function of its distance z form the plane of the centres of atoms (or ions) in the surface layer; rij is the distance between the molecule i and each atom (ion) in the solid. In practice, only a limited number of atoms are taken into account because of the rapid decrease in energy with distance. The balance between attractive and repulsive interactions means that a point exists, at distance ze from the surface, where the potential energy of the molecule is minimum, as represented in Figure 1.2. Of course, the value of Li(z) must depend not only on the distance from the surface but also on the location on the surface (i.e. in the xy plane). If this is in the form of one face of a perfect crystal, there will be a regular variation of potential energy across the surface. It is not surprising to find that the most favorable site is at the centre of an array of surface atoms (cf. Figure 1.3). The corresponding depth of the potential energy well (at ze) will depend on the density and crystal structure of the absorbent and the polarizability and molecular size of the adsorbate. The easiest path for the movement of the adsorbed molecule across the surface is via a col or 'saddle point' and the energy barrier to translational movement in the xy plane is given by the difference in the corresponding minima potential energies for the two locations (Figure 1.3).
- ベストアンサー
- 英語
- 翻訳できるかたお願いします。
この文章翻訳できるかたお願いします。 If a diachronic approach is the study of relationships across time, then a synchronic one is the study of relationships at one particular moment in time. To pick up the analogy mentioned above, a synchronic analysis would be the freezing of the football game at one particular moment and we would look to see the relationship of the players at that moment. In a way the slow-motion replay is a synchronic derived deconstruction within the diachronics of the overall game. Within that moment time is frozen (even in a live telecast there is a sense that nothing, of signfiicance anyway, is taking place within the game it self), slowed and replayed.
- ベストアンサー
- 英語
お礼
遅れてすみません！ ほんっっとうに助かりました！ おかげでなんとか理解してプレゼンに間に合いました。 確かに、わざわざ難しい単語使って普通の人にはわからないようにしてるのは反感があります… でもまぁ自信があるだけこういう人たちは残念ながらそれなりの知識持ってるってことなんじゃないですかね^_^ ありがとうございました！ 感謝感謝です！