求英语高手翻译啊~~英译汉···感激不尽啊 要语句通顺·~不要在线翻译的~~谢谢

求英语高手翻译啊~~英译汉···感激不尽啊 要语句通顺·~不要在线翻译的~~谢谢...~

一个比较明显的操纵，可视角度。这些技术允许迪士尼改善自然光学。例如，九十度角较普遍的大街上的人行道。相反，交叉和边缘圆形建筑。这些被视为刚性较差，没有威胁，因此更有利于舒适的访客经验（科尼格，1994）。另一个众所周知的技术，常用于电影集设计，是被迫的观点：即高物体缩小以不一样的功效。在主街道的一楼是9/ 10规模的原始规模，二楼7 /8ths，和第三层5 /8ths的原。同样，许多城堡，蒸汽火车，和船上所有版本的小原。连树上的“山峰”逐步阻碍进一步上山，他们种植。正如任何戏剧性夸张，如果做得好，客人会欣然接受操纵的「自然」。明（1987）指出，类似的影响的系统，“你只有几秒钟，说一个图通过您的艺术。所以，我们夸大其功能，特别是面部功能，使他们能够迅速和容易理解的距离。……我们尝试提供生活的幻想”（195页）。速度，你的旅行通过一个场景，因为在许多好莱坞电影，很可能会减少客人的现实提出问题。（布莱恩，1995）。迪士尼需要额外的努力，请和娱乐。游客一直被无聊，从认真反思，甚至从解构的经验。迪士尼是一个专家在人群管理。视觉磁铁，（'weinies在迪士尼的说法），如城堡，是在每个通道吸引你。迪士尼人物作为一个类似的，移动引诱帮助驱散人群。负强化是利用人们保持轨道上，如尼格罗（1997）解释：美丽的景观道路的标志欢迎客人，但错拐到服务的道路，并有一个微妙的转变-平原植被，没有迹象，周转区。你的想法，你不应该在这里，但在与友好的气氛也没有迹象表明，喊'保持'。（95页）进一步探索的访问者将不可避免地导致遇到一位盛装打扮，安全防范指导访问者返回到指定的路径

Disney is more than just an example of physical control, it is also an exercise of moral regulation. "Disney culture presents the particular and historical form of white, capitalist society as the essential society of reason" (Rojek, 1993, p. 22). Disney is a reflection of middle-American attitudes and values, a strictly defined sense of normalcy. It’s a powerful cultural brew, a "smooth blend of sentimental modernism, sentimental populism, nostalgia, consumerism, family virtue and corporate abundance —an intoxicating experience for the millions of Americans who passed through its gates" (Watts, 1997, p. 396).
Nostalgia plays a dominant role throughout the Disney experience. Most visitors seem to embrace the park’s utopian vision of the past and the future. Everything is vaguely familiar, with many cultural icons to trigger the common heritage and myths of America. The stories told in and by the park are attractive versions of familiar tales and events, sometimes exaggerated to the point of parody (Van Manaan, 1992). Disney represents a return to the romantic familiar. This is not so much an accurate representation of how America once was. Rather, it is a picture of how we would like it to be remembered to have been. As with much of Disney, it is the care and attention to detail that hides the inauthenticity in the story that under pins the presentation. Unfortunately, as Bryman (1995) points out, it is a "view of history with which professional historians are unable to compete in terms of either the mode of presentation or the numbers of people touched by it" (p. 142). There is no way of knowing what’s missing, no way to know which social forms and behaviors have been left out (Willis, 1993). The original location or event struggles in comparison to the manageable, seductive, non-threatening version that Disney provides. It becomes increasingly difficult to repudiate the Disney approach — this is how many of us would wish things to be. Thus "Disneyland is more ‘real’ than
fantasy because it now provides the image, upon which America constructs itself" (Giroux (1995, p. 28). The more we trigger the association with Disney, the more dominant that view becomes.
As part of the moral sanitizing at Disney, visitors are encouraged to feel safe. The undesirable and threatening aspects of society are purged. Not only is dirt, crime and poverty removed, but social deviance is curtailed. Disney does not tolerate drug consumption, unrestricted free speech, gang paraphenalia or behavior, unusual religious practices or open displays of homo- or hetero- sexuality. People are not violent or sexual in Disney, unless that behavior has been incorporated into the officially sanctioned display.

迪斯尼不仅仅是身体控制的一个例子,它同时也是一种锻炼的道德规范。“迪士尼礼物和历史文化的特定形式的白色,资本主义社会的重要社会原因”(Rojek,1993,p。22)。迪斯尼反映一个人的middle-American态度和价值,严格界定意义上的自我。这是一个强大的文化化合物,“光融合现代,感伤的感伤,怀旧的民粹主义、消费主义、家庭美德和公司丰富的醉人的经历——数百万美国人经过城门”(美国瓦茨,1997,p)。　　怀旧扮演一个主导的角色在迪斯尼的经验。大多数游客似乎抱着公园的乌托邦式的愿景的过去和未来。是有点熟悉的一切,有许多文化偶像,触发共同遗产和美国的神话。托尔的故事
只能到这儿了！！抱歉！！

Disney aims to construct a world apart.
旨在构建一个迪斯尼世界分开。

They ask of the visitor to suspend belief and enter into a land far away from the reality of the world outside its gates.
他们向观众们能够进入一个暂停的信念和土地远离现实的外面的世界的大门。

It is as though Disney wants us to see only the world how it should be.
就好像要我们只看到迪斯尼世界应该怎么样。

This is the better, brighter side of life where people and place seem naturally and harmoniously co-existent.
这是更好的,更光明一面的人生活在什么地方和地方和自然和谐似乎为辅。

Such programmed and experienced optimism is comfortable and psychologically reassuring, thus allowing even greater temptation and desire to become immersed in the experience.
这种程序化和经验丰富的乐观是舒适和心理可靠,从而使更大的诱惑,想要成为沉浸在那种经验。

For these reasons you cannot see or hear the outside world from within Disney.
正是由于这些原因,你不能看到或听到外面的世界在迪斯尼公司。

A high earthen wall, combined with a city ordinance banning high rises, ensures a clear line of sight.
土墙崩落很高,结合城市法令禁止高楼,确保一个清晰的视线。

And much is made of the entrance into the theme park.
和许多的进入主题公园。

It is clear that a new world awaits those who pass through the gates.
很明显,一个新的世界等待那些你们当从门经过经过。

It is deliberately difficult to leave and return to the theme park in any one day.
那就是有意识地困难的离开和返回主题公园在任何一天。

The visitor is made to leave behind the outside world and find ways to have their needs met only within.
参观者被留下了外面的世界,他们需要找到方法,只有在遇到。

Much as in wilderness experience, there is required a certain self-reliance and independence.
就像在旷野的经验,有需要一定的自力更生、独立。

Beyond the gates a new environment must be embraced and skills specific to that place learned and acquired.
一个新环境以外的门必须拥抱和技能具体到那个地方学习和获取。

But this place is a nature of a very special kind: "not an ecosystem, but an ego-system one viewed through a self-referential human lens — anthropomorphized, sentimentalized, and moralized" .
但这地方是一个自然的一个非常特殊的一类:“没有一个生态系统,但一个ego-system透过浏览一个一个过于私人化,sentimentalized人类镜头——anthropomorphized,moralized”。

For example, nothing dies in Disney.
例如,没有死在了迪斯尼。

There is an ever present youthfulness in the animals, and in the employees.
有一个永远存在的年轻的动物,和员工。

Aging and/or diseased plants are removed when the park is closed, and extensive chemical treatments are used to minimize the numbers of bugs, predators and weeds.
老化和/或清除病株当公园是关闭的,和广泛的化学治疗是用来减少数量的虫子,捕食者和杂草。

Growth retardants are used to keep plants within their designated place.
阻燃剂是用来保持增长的植物在指定的地方。

Nature is constantly cajoled to "behave" itself .
大自然总是引诱到“表现”本身。

Other hormones induce flowering out of season to ensure color and vibrance even in fall and winter.
其他激素诱导开花的季节,以确保颜色和vibrance甚至在秋季和冬季。

The visual monotony of real jungles is broken by interspersed species from other ecosystems.
真正的视觉单调的丛林,点缀了来自其他生态系统物种。

Thus, this harmonious location that is so very attractive to the visitor, can be seen to be a very incomplete view of nature.
因此,这是非常和谐的位置,吸引游客,可以被看作是一个不完全的自然观。

However, perhaps more troubling are the expectations that this can then create in the visitors’ mind.
不过,也许是更麻烦的期望这可以创造在游客的心灵。

Because the construction and experience of nature is so well done at Disney it is difficult for some not to expect the ‘real’ world to also be this way.
由于建设和经验对大自然的认识是这么好做在迪斯尼难一些,不要指望“真实的世界,也是这样。

Indeed, it is not surprising that this creates a level of dissatisfaction with the ‘real’ world.
的确,这并不令人惊讶,它创造了一定程度的不满的真实的世界。

As King suggests, "There is a strong presumption that Disney closely records the real thing

旨在构建一个迪斯尼世界分开。他们向观众们能够进入一个暂停的信念和土地远离现实的外面的世界的大门。就好像要我们只看到迪斯尼世界应该怎么样。这是更好的,更光明一面的人生活在什么地方和地方和自然和谐似乎为辅。这种程序化和经验丰富的乐观是舒适和心理可靠,从而使更大的诱惑,想要成为沉浸在那种经验。正是由于这些原因,你不能看到或听到外面的世界在迪斯尼公司。土墙崩落很高,结合城市法令禁止高楼,确保一个清晰的视线。和许多的进入主题公园。很明显,一个新的世界等待那些你们当从门经过经过。那就是有意识地困难的离开和返回主题公园在任何一天。参观者被留下了外面的世界,他们需要找到方法,只有在遇到。就像在旷野的经验,有需要一定的自力更生、独立。一个新环境以外的门必须拥抱和技能具体到那个地方学习和获取。
但这地方是一个自然的一个非常特殊的一类:“没有一个生态系统,但一个ego-system透过浏览一个一个过于私人化,sentimentalized人类镜头——anthropomorphized,moralized”。例如,没有死在了迪斯尼。有一个永远存在的年轻的动物,和员工。老化和/或清除病株当公园是关闭的,和广泛的化学治疗是用来减少数量的虫子,捕食者和杂草。阻燃剂是用来保持增长的植物在指定的地方。大自然总是引诱到“表现”本身。其他激素诱导开花的季节,以确保颜色和vibrance甚至在秋季和冬季。真正的视觉单调的丛林,点缀了来自其他生态系统物种。T

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