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英文で所々分からない箇所があります

お世話になっております。 男性で木の上に住んでる人とか、元軍人のエッセーを読んで来ているせいか、彼女の英文は私にとって”大袈裟”で”飾りっ気”が多く理解しにくいです。 質問1. というのは私の浅学のせいで、このくらいの英文は大袈裟でも何でもなく"普通"なんでしょうか？このくらいの比喩表現を理解出来ないのは、まだまだ私が浅学ということでしょうか？ 質問2.下記の英文で feeling my spirit crushed because I will never know what it's like to wake up and start my day in a tiara. 彼女のspirit が打ち砕かれるとのことですが、because 以下との関連がよく分かりません。具体的に説明するとどうなりますか？ 質問3.は字数制限で出来ませんので新たな投稿でします。 よろしくお願いいたします。 Essay Another day, another new shopping mall By Jennifer Matsui 今日もショッピングモールがオープン 東京周辺では毎日のように新たなショッピングモールが誕生しているが、 3月下旬、六本木の防衛庁跡地に「東京ミッドタウン」がオープンした。 もうけ主義の開発業者が作り出したこの施設の中で、唯一の救いと言えるのが、 サントリー美術館で展示されている江戸時代の宝物の数々ではないだろうか。 Seldom does a day go by that doesn't herald the opening of yet another retail temple devoted to the gods of shopping, where the faithful go to worship the almighty designer label and overpriced tea salon. It seems like only yesterday that I followed the crowds into Omotesando Hills, window-shopping along with tens of thousands of other drones, looking at everything on display and feeling my spirit crushed because I will never know what it's like to wake up and start my day in a tiara. And just when I thought I had found inner peace without the aid of retail religion, along comes yet another newly opened shopping center with all of the familiar enticements of luxury and convenience. Naturally, this one is no different from Tokyo's other shopping centers, all uniquely designed to frustrate the visitor with their maze-like layouts, where going from A to B requires the skills and stamina of a Sherpa guide. Surrounded by all this, I suddenly fear earthquakes less than the fashion disaster of my own making. I realize that if there was an earthquake and all this concrete and glass were to come crashing down on me, my dying breath would be a prayer that no one notices how cheap my shoes are. Tokyo's new Midtown shopping center, located on the former site of the Defense Agency, is yet another addition to Tokyo's retail jungle. But as far as shopping centers go, it's certainly not the worst of its kind. The curved footbridge, where cars instead of carp can be viewed below, and other distinctly Japanese touches are improvements over the usual bland, pre-fab American-style shopping centers that appeared during the bubble era. Its architects have clearly made an effort to create a sense of harmony with the existing neighborhood. And herein lies the problem. Midtown's seamless inclusion into the Tokyo landscape gives rise to a mind-set that defines "community" and "neighborhood" by the flagship stores bearing the name of a multinational corporation. All this conformity is just another step along the way to creating a society regulated by greedy developers. At some point, I was probably standing on the exact spot where George's bar used to be — a tiny watering hole on the outskirts of Roppongi famous for its Motown-themed decor, and its ageless Mama-san. It's hard to exactly pinpoint the precise location of George's since the wonders of development and "progress" have destroyed every vestige of the past, burying it under a million tons of reinforced steel and concrete. Ironically, the only life within the Midtown mausoleum can be found among the centuries-old treasures on display at the Suntory Museum. Here, visitors can enjoy a welcome break from the rigors of mindless spending. The current exhibition of Edo period treasures, ranging from exquisitely painted folding screens to lacquer incense holders, is a beautiful yet sad reminder of a bygone age before the connoisseur gave way to the consumer. In contrast to the dead relics of the present, these artifacts remind us that real beauty possesses the beholder, rather than the other way around. Shukan ST: May 11, 2007

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回答No.1

ご質問の１。例をまだ読んでいないので後回しにします。 ご質問の２。訳 　「ティアラ（下記）をして目を覚まし、一日を始めるような生活は知る由も無いので、心を打ちひしがれたような気持ちになって」　 　https://www.google.com/search?source=univ&tbm=isch&q=tiara&client=firefox-b-1-d&sa=X&ved=2ahUKEwi-kezz_YXuAhUGCjQIHaiFBF0QjJkEegQIAxAB&biw=1920&bih=813 　で、完全な文ではなく、文の断片ですから、残りがどうなるか興味が湧きます。 ご質問の３。新たなご投稿に移ります。

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  • 英文で所々分からない箇所があります2

    質問3.　以下の部分ですが Surrounded by all this, I suddenly fear earthquakes less than the fashion disaster of my own making. I realize that if there was an earthquake and all this concrete and glass were to come crashing down on me, my dying breath would be a prayer that no one notices how cheap my shoes are. 著者は自分のファッションセンスの低さを卑下しているようですが、何故ここにこの文章を挟む必要があるのでしょうか？前後との脈絡が全くないように見えるのですが・・・ 私の英文読解力が足りないせいなのか、彼女の文章構成力が稚拙なせいなのか、それすら判断できません。 貴方の具体的で総合的な判断と説明をお聞かせ願えませんか？ 面倒な質問をして申し訳ありませんが、宜しくお願い致します。 Seldom does a day go by that doesn't herald the opening of yet another retail temple devoted to the gods of shopping, where the faithful go to worship the almighty designer label and overpriced tea salon. It seems like only yesterday that I followed the crowds into Omotesando Hills, window-shopping along with tens of thousands of other drones, looking at everything on display and feeling my spirit crushed because I will never know what it's like to wake up and start my day in a tiara. And just when I thought I had found inner peace without the aid of retail religion, along comes yet another newly opened shopping center with all of the familiar enticements of luxury and convenience. Naturally, this one is no different from Tokyo's other shopping centers, all uniquely designed to frustrate the visitor with their maze-like layouts, where going from A to B requires the skills and stamina of a Sherpa guide. Surrounded by all this, I suddenly fear earthquakes less than the fashion disaster of my own making. I realize that if there was an earthquake and all this concrete and glass were to come crashing down on me, my dying breath would be a prayer that no one notices how cheap my shoes are. Tokyo's new Midtown shopping center, located on the former site of the Defense Agency, is yet another addition to Tokyo's retail jungle. But as far as shopping centers go, it's certainly not the worst of its kind. The curved footbridge, where cars instead of carp can be viewed below, and other distinctly Japanese touches are improvements over the usual bland, pre-fab American-style shopping centers that appeared during the bubble era. Its architects have clearly made an effort to create a sense of harmony with the existing neighborhood. And herein lies the problem. Midtown's seamless inclusion into the Tokyo landscape gives rise to a mind-set that defines "community" and "neighborhood" by the flagship stores bearing the name of a multinational corporation. All this conformity is just another step along the way to creating a society regulated by greedy developers. At some point, I was probably standing on the exact spot where George's bar used to be — a tiny watering hole on the outskirts of Roppongi famous for its Motown-themed decor, and its ageless Mama-san. It's hard to exactly pinpoint the precise location of George's since the wonders of development and "progress" have destroyed every vestige of the past, burying it under a million tons of reinforced steel and concrete. Ironically, the only life within the Midtown mausoleum can be found among the centuries-old treasures on display at the Suntory Museum. Here, visitors can enjoy a welcome break from the rigors of mindless spending. The current exhibition of Edo period treasures, ranging from exquisitely painted folding screens to lacquer incense holders, is a beautiful yet sad reminder of a bygone age before the connoisseur gave way to the consumer. In contrast to the dead relics of the present, these artifacts remind us that real beauty possesses the beholder, rather than the other way around.

  • 英文のわからない個所を教えてください。

    ＜1＞Is there then a distinction to be made between the interaction of art and history, and art history? ＜2＞That is to say that histories of art can have a single focus on style or the work in relation to the biography of the artist, where our expectations of a progressive history are inflicted on the visual. ＜3＞ What I am suggesting here is that we turn the question on its head and put art in the driving seat, so to speak. ＜4＞By using art as our starting point we can see the complex and intertwined strands that make up art history. This implies that art history is a subject or academic field of enquiry in its own right, rather than the result of the rules of one discipline being applied to another. ＜私の訳とわからない点＞ ＜1＞さらにまた芸術と歴史、芸術史の相互作用の間に作られる区別（特徴）はありますか？ between ～は「art and history」と「art history」の相互作用の間、といっているのでしょうか？ それとも「the interaction of art and history」がひとくくりなのでしょうか？ ＜2＞すなわち芸術の歴史は、様式やもしくは芸術家の伝記に関連する作品にに一つの焦点を持つことができ、そこで進歩的な歴史を私たちが期待することは視覚に負っているのです。 whereは関係副詞で、前文を受けているのでしょうか？ inflictの単語の意味合いから言うと「視覚」が期待を負うということは大変なことだという感じなのでしょうか？ ＜3＞私がここで提案していることは、言わば、私たちが疑問をその（主要な）論点に向けて、芸術を運転座席に置くことです。 its headのitsはthe questionでheadは（主要な）論点でしょうか？ put art in the driving seatの比喩的な表現の意味がよくわからないのですが、芸術に主導権を握らせる、みたいな感じでしょうか？ ＜4＞私たちの出発点としての芸術を用いることによって、私たちは芸術史を作っている複雑に絡み合っている鎖を理解することができます。これは芸術史が他に適用された一つの秩序の法則の結果というよりもむしろ、それ自身の権利における、主題、もしくは研究学術分野であることを意味します。 anotherは「他に」ですか？「もう一つの」、とすると意味がとれませんでした。 （the result of the rules of one discipline being applied to anotherの意味をとるのが難しいです） its own rightのrightは「権利」でしょうか？ （上記の文章のあと以下の文章が続きます。） I return to this point on a regular basis in this book. I aim to set out how histories of art have been constructed, to describe the ways in which we have been encouraged to think about art as a result, and also to introduce other ways of thinking about the visual in terms of its history. 長くなってしまってすみません。よろしくお願い致します。 『ART HISTORY--History as progression』:Dana Arnold

  • わからない個所を教えてください。

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  • わからない個所を教えてください。

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  • わからない個所を教えてください。

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  • 比較的簡単な英文のおかしいところがあればなおしてください。よろしくおね

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  • わからない個所を教えてください。2

    ‘Maybe he’s a vampire,’ Jamie says. ‘Yeah.’ I think for a moment, and something else comes back to me. ‘I think he used to be that other thing,’ I say vaguely. The word hits. ‘Politician.’ Jamie says, ‘I’ve got a whole story about vampires from a haunted tomb in one of these.’ He indicates the several stacks of comics that are lined up against the wall of his room. (前回の終わりの部分です） Jamie’s bedroom isn’t anything like mine. My room is quite small, with a ceiling that slopes down from the door to the window. Under my window is the gentle pitch of the kitchen roof; if I crane my head far out to the left, I can see the end of my mother’s verandah roof at the back of the house, where the iron stove-pipe of the little fat stove comes up through it. My bed is against one wall, and a wardrobe stands by the door that leads through to the back bedroom that is sometimes Lena’s. I have a little cupboard of toys, too, and some big picture-books which I still love and look at, though I know my father doesn’t like them. Apart from these things, my room is quite bare: the walls are pale, the ceiling white, the surround of the window dark wood. The best thing is the view: right along the row of our neighbours’ houses and up the valley. ****************************************** 主人公のAlexはartistで、展示会に備えるために、幼い頃過ごしたイタリアに戻ってきています。この英文は幼い頃の回想シーンです。 Under my window is the gentle pitch of the kitchen roofの中の、 the gentle pitchとはどういうものなのでしょうか？ My bed is against one wall, and a wardrobe stands by the door that leads through to the back bedroom that is sometimes Lena’s.について、and a wardrobe stands～の意味なのですが、洋服ダンスはドアのそばにある、、、次のleads through to the back bedroom that is sometimes Lena’sのところが意味がとれません。ときどきLenaのベッドルームになる後ろを通って？？？ right along the row of our neighbours’ houses and up the valley.の出だしのrightは右側という意味ですか？ 教えてください。お願いします。

  • わからない個所を教えてください。

    Lena shows me how to make a cat’s-cradle and pass it from person to person; I stretch string tight and twang it, feeling the quick-dying vibrations in my hands; I coil string tightly around my thumb and leave a red spiral mark when I take it off, neat grooves running all the way up.　（前回の終わりの部分です） This problem is easier, though. The boy – Jamie – Pleased to meet you – wants to get over the wall, but there’s no tree like the one I have. I think it through, and am pleased to realize he has gone to get a ladder, when there is a scuffling sound off to my left, on my side of the wall. I look round, and to my surprise see Jamie coming round the end of the wall. I drop down from where I’m hanging and go to meet him. ‘How’d you do that?’ I ask, impressed. ‘I went round,’ he says. ‘I ran. It is higher back here, isn’t it?’ After a second or two, I start to see what he means. If you go out of the front gate of his house, and followed the wall to your left, and went through the fence that runs beside the road, and kept following the wall round the next corner – you would be here, at the back. The idea is amazing. In another couple of seconds, I see that I can do the same from my front gate, turning right instead of left. It has never occurred to me before that this might be possible. You get to the rocks and the lizards by going up the tree and over, that is how it has always worked. I have never imagined— ****************************************** 主人公のAlexはartistで、展示会に備えるために、幼い頃過ごしたイタリアに戻ってきています。（この英文は子供時代の回想シーンだと思われます） I think it through, and am pleased to realize he has gone to get a ladder, when there is a scuffling sound off to my left, on my side of the wall.について、when there is a scuffling sound off to my leftの個所がわかりません。私の左側に動き回る音が遠くにあるとき？？ I look round, and to my surprise see Jamie coming round the end of the wall.が、よくわからないのですが、主人公が驚いた理由は、Jamieが壁の端のあたりにやってきたことなのでしょうか？どういう事で驚いたのでしょうか？？梯子を持って来なかったことに驚いた、ということですか？ ‘I went round,’ he says. ‘I ran. It is higher back here, isn’t it?’のItは何を指しているのでしょうか？ The idea is amazing.とあるのですが、The ideaとは今主人公がいる地点にどうやって辿りつくか、というアイディアだと思うのですが、読んでみたところ、あまり状況のイメージが掴めない感じです。つまりは、主人公自身ももっと簡単に今の場所に辿りつける方法があった（木を使わずに辿りつく方法）、ということがわかった、というようなことなのでしょうか？ 教えてください。お願いします。

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