2022年经济学人 巴西经典电视剧《潘塔纳尔》（2）

（单词翻译）

But in other ways, says Mr Luperi, the “era has changed”, on-screen and off it.

但卢佩里表示，在其他方面，“时代已经改变了”，银幕内外都是如此。

Over three decades deforestation in the Amazon has disturbed rainfall and flood patterns in the Pantanal.

三十多年来，亚马逊的森林砍伐扰乱了潘塔纳尔的降雨和洪水模式。

On the single-lane highways that cut through the vast cattle ranches¹, signs still warn drivers about armadillos and anteaters crossing the road.

在穿过巨大养牛场的单车道高速公路上，仍有指示牌警告司机注意横穿马路的犰狳和食蚁兽。

But sightings of them are rarer.

但它们的身影却越来越少见。

Charred² palm trees recall the fires that in 2020 blazed through roughly a quarter of the region, killing³ 17m vertebrates by some estimates.

烧焦的棕榈树让人想起2020年的大火，那场大火席卷了该地区四分之一左右的面积，据估计，造成了1700万脊椎动物死亡。

In the Pantanal’s southern reaches, a visitor’s best chance of spotting the jaguar⁴, its most legendary⁵ creature, is now in the rice fields, not on the plains.

如今，在潘塔纳尔的南部河段，游客最容易发现当地最传奇的生物——美洲豹的地点并非平原，而是稻田。

The telenovela writer should illuminate⁶ these changes, Mr Luperi thinks.

卢佩里认为，这部剧的编剧应该把这些变化写出来。

Man’s relationship with nature is at the core of the show, he explains.

他解释到，这部剧的核心是人类与自然的关系。

Characters monitor crops and the silt⁷ building up in rivers.

角色们负责监察庄稼和河流中堆积的泥沙。

The show’s new generation of ranchers press their elders to farm their land in a more sustainable way.

这部剧的新一代牧场主敦促他们的长辈以更可持续的方式耕种土地。

In 1990 Velho do Rio (Old Man of the River), a magically shape-shifting character, was one of the first figures in a Brazilian soap opera to defend the environment.

1990年，神奇的变身角色Velho do Rio(河边的老人)是巴西肥皂剧中保护环境的首批人物之一。

This time around he comports⁸ himself like an activist⁹.

这一次，他的行为举止像一名活动人士。

In one scene, to punish a forest arsonist¹⁰, he is transformed into an anaconda and tries to drag the offender¹¹ into the flames.

在一场戏中，为了惩罚森林纵火犯，他被变成了一条蟒蛇，试图将罪犯拖入火焰中。

Other kinds of behaviour have been updated too.

其他类型的行为也进行了更新。

The protagonist¹² of both versions is Jove Leoncio—a young man who in his Generation X incarnation enjoyed a barbecue, but as a Gen Z-er has turned vegetarian¹³, observes Taís Ilhéu, a journalist and telenovela fan.

记者同时也是个电视剧迷的塔伊斯·伊洛观察到，两版的主人公都是乔夫·莱昂西奥，在作为X世代年轻人的典型时喜欢烧烤，但在人物背景变为Z世代的一员后，他变成了素食主义者。

The Jove of the 1990s would occasionally make homophobic jokes; now he chastises¹⁴ his father’s.

20世纪90年代的乔夫偶尔会开一些恐同的笑话；而现在，他会严厉批评他父亲的同类笑话。

Meanwhile, viewers who (surveys suggest) themselves have less sex than their forebears are also offered fewer racy scenes on ranches and in rivers.

与此同时，对于那些（调查显示）比祖先性生活更少的观众，在牧场和河流中发生的色情场面也会更少。

The sexualities depicted¹⁵ in the story are more diverse.

故事中描绘的性别更加多样化。

And other tensions and scenarios¹⁶ are interpreted differently.

对其他紧张场景和剧情的解读也不同。

Maria Bruaca, a downtrodden-housewife character, was often mocked by audiences of yore.

玛丽亚·布鲁卡是一个受压迫的家庭主妇角色，过去经常被观众嘲笑。

Portrayed¹⁷ and viewed more sympathetically, she has become a fan favourite.

在新版中，她被刻画得更有同情心，也更能激发观众的同情心，现在已经成为粉丝的最爱。

Not everyone is enamoured of the remake.

但并不是所有人都喜欢翻拍的这版。

The pace of the series is quicker, and some scenes seem designed to be clipped for the internet, says Luiz Joaquim, a cultural critic who prefers the original.

更喜欢原版的文化评论家路易斯·华金认为，新版的节奏较快，有几场戏似乎就是为了互联网设计的。

Other sequences are vehicles for (doubtless lucrative) product placement: in a recent episode, a character extols¹⁸ at length the virtues¹⁹ of her favourite washing detergent²⁰.

其他镜头则是植入广告的工具(这无疑是有利可图的)：在最新的一集中，有一个角色对她最喜欢的洗衣粉大加赞扬。

In Portugal, where it has aired since May, the new “Pantanal” has flopped²¹.

在葡萄牙，新版《潘塔纳尔》自5月份开始播出，但却以失败告终。

TV Globo does not seem too bothered.

巴西环球电视网似乎并没有太在意。

Amauri Soares, the network’s director, says its stories cater²² to contemporary Brazil and won’t always appeal overseas (though “Pantanal” will soon be broadcast across Latin America).

该电视网的主管阿毛里·苏亚雷斯说，这部剧的故事迎合的是当代巴西观众，不会总能吸引到海外观众(尽管《潘塔纳尔》很快就会在拉丁美洲播出)。

That domestic audience is rapt.

这些国内观众都被吸引住了。

As Veneza Ronsini of the Federal University of Santa Maria says—paraphrasing Jesus Martin-Barbero, a distinguished²³ anthropologist—Brazil has an urban face but a “peasant heart”.

正如圣玛丽亚联邦大学的维内扎·罗西尼所说--套用杰出人类学家杰斯·马丁巴贝罗的话--巴西有一张城市脸，但有一颗“农夫心”。

And as the lyrics²⁴ of the telenovela’s theme-tune insist, the “heart of Brazil” lies in the Pantanal.

正如这部电视剧的主题曲歌词所强调的那样，“巴西的心脏”在潘塔纳尔。