看到@wmr2007 同学发来一片文章，希望找翻译，我觉得写的很好，分析的也很全面，所以就翻译一下，希望给对DW的社会贡献以及在美国的传播必然性分析有兴趣的人看看。本人不是专业翻译，所以可能会出现歧义，请懒得看英文的亲们凑合看我翻译的。因为文章太长，今天先翻译一部分，之后慢慢补上。
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接下来是Part 2
Imperialism in the 19th century touched nearly every aspect of life in colonies and metropoles alike, including youth literature. Frank Bullen, a turn of the century novelist, claimed that every British boy was a confirmed imperialist. The empire was the place where bright young men could have adventures in lands undiscovered by those who weren’t already living there. It possessed the perfect elements for fiction: exotic locations, ancient rituals, immediate privileged status through connection with the ruling power, and the chances for fighting and fortune and serving one’s country. These stories provided the escapism and morality plays that American boys found in Horatio Alger and the Wild West. Literature that relied on the idealized empire as its foundation can be seen in various genres and includes King Solomon’s Mines, certain Sherlock Holmes stories, most of Rudyard Kipling’s work, Churchill’s Boer War dispatches, and periodicals with titles like Boy’s Own and Union Jack. Even Indiana Jones can be placed in this canon. In Indiana Jones and the Temple of Doom, Indy fights the cult practices of Indians and is aided by the governmental apparatus of the British Raj.
十九世纪的英国帝国主义涉及到殖民地和类似各种大都市的方方面面，包括青年文学。Frank Bullen作为世纪末的小说家，曾声称每个英国男孩都是帝国主义的追随者。这个大英帝国曾为那些聪明的年轻男人提供了可进行探索与冒险的土地，因为这片土地不曾被其他入侵者所冒犯。大英帝国拥有所有虚构科幻题材的要素，如具有不同异国风情的故事地点，各种原始的仪式与文化，还有通过与执政阶层相联系的特权地位，并提供和某个国家进行斗争或发展繁荣某个国家的机会。这些文学故事提供了非现实主义以及宗教主义题材，而这些题材也曾展现在Horatio Alger 和the Wild West里。一些基于理想主义式帝国的著作的核心理念更是能够体现在不同的流派里，如所罗门的宝藏，某些福尔摩斯故事，大部分的吉卜林小说，丘吉尔年代的布尔战争，还有一些名字如Boy’s Own和Union Jack的杂志。甚至是美国的电影夺宝奇兵也能够被放入这些桥段。在夺宝奇兵和电影魔宫传奇中，Indy勇斗印度的宗教并获得英属印度政府的帮助。
By the 1960s, when Doctor Who was created, this setting was untenable. The British empire, like other European empires, was ending. India gained independence in 1947. African territories followed in the 1950s and 1960s. Jamaican independence in 1962 began the end of the British control in the Caribbean. Within a relatively short amount of time, the exotic colonies were sovereign states. Bringing home treasure was extraditable. Racially segregated governing was apartheid. This is not to say that Britain immediately embraced absolute multicultural tolerance, but many of the geopolitical realities that underpinned imperial adventure books were gone.
在六十年代时，也就是DW诞生的年代，以上这种对情节的设定方式却是站不住脚的，因为大英帝国就如其他欧洲帝国一样正在面临土崩瓦解，印度也在1947年获得了独立，紧接着是五六十年代非洲地区的独立。直到1962年，牙买加的独立宣布了大英帝国在加勒比海地区统治的结束。在相对较短的时间里，这些境外殖民地纷纷独立，偷盗财富和种族隔离政策屡见不鲜，而这些并不能让大英帝国直接的需要和接受绝对的多元化文化融合，而是以很多不同地缘政治的现实情况来描述的帝国冒险书籍却都消失了。（地缘政治学是一种探讨个人、组织或团体，因为空间分布等的地理因素，经营政治的手段及方法。目前用于军事、外交等战略分析方面较多。常常以地理因素为底，经济、社会、军事、外交、历史、政治等为面进行分析。属于专业名词把，我也不很懂这个政治是什么）
Imperialism in the 19th century touched nearly every aspect of life in colonies and metropoles alike, including youth literature. Frank Bullen, a turn of the century novelist, claimed that every British boy was a confirmed imperialist. The empire was the place where bright young men could have adventures in lands undiscovered by those who weren’t already living there. It possessed the perfect elements for fiction: exotic locations, ancient rituals, immediate privileged status through connection with the ruling power, and the chances for fighting and fortune and serving one’s country. These stories provided the escapism and morality plays that American boys found in Horatio Alger and the Wild West. Literature that relied on the idealized empire as its foundation can be seen in various genres and includes King Solomon’s Mines, certain Sherlock Holmes stories, most of Rudyard Kipling’s work, Churchill’s Boer War dispatches, and periodicals with titles like Boy’s Own and Union Jack. Even Indiana Jones can be placed in this canon. In Indiana Jones and the Temple of Doom, Indy fights the cult practices of Indians and is aided by the governmental apparatus of the British Raj.
十九世纪的英国帝国主义涉及到殖民地和类似各种大都市的方方面面，包括青年文学。Frank Bullen作为世纪末的小说家，曾声称每个英国男孩都是帝国主义的追随者。这个大英帝国曾为那些聪明的年轻男人提供了可进行探索与冒险的土地，因为这片土地不曾被其他入侵者所冒犯。大英帝国拥有所有虚构科幻题材的要素，如具有不同异国风情的故事地点，各种原始的仪式与文化，还有通过与执政阶层相联系的特权地位，并提供和某个国家进行斗争或发展繁荣某个国家的机会。这些文学故事提供了非现实主义以及宗教主义题材，而这些题材也曾展现在Horatio Alger 和the Wild West里。一些基于理想主义式帝国的著作的核心理念更是能够体现在不同的流派里，如所罗门的宝藏，某些福尔摩斯故事，大部分的吉卜林小说，丘吉尔年代的布尔战争，还有一些名字如Boy’s Own和Union Jack的杂志。甚至是美国的电影夺宝奇兵也能够被放入这些桥段。在夺宝奇兵和电影魔宫传奇中，Indy勇斗印度的宗教并获得英属印度政府的帮助。
By the 1960s, when Doctor Who was created, this setting was untenable. The British empire, like other European empires, was ending. India gained independence in 1947. African territories followed in the 1950s and 1960s. Jamaican independence in 1962 began the end of the British control in the Caribbean. Within a relatively short amount of time, the exotic colonies were sovereign states. Bringing home treasure was extraditable. Racially segregated governing was apartheid. This is not to say that Britain immediately embraced absolute multicultural tolerance, but many of the geopolitical realities that underpinned imperial adventure books were gone.
在六十年代时，也就是DW诞生的年代，以上这种对情节的设定方式却是站不住脚的，因为大英帝国就如其他欧洲帝国一样正在面临土崩瓦解，印度也在1947年获得了独立，紧接着是五六十年代非洲地区的独立。直到1962年，牙买加的独立宣布了大英帝国在加勒比海地区统治的结束。在相对较短的时间里，这些境外殖民地纷纷独立，偷盗财富和种族隔离政策屡见不鲜，而这些并不能让大英帝国直接的需要和接受绝对的多元化文化融合，而是以很多不同地缘政治的现实情况来描述的帝国冒险书籍却都消失了。（地缘政治学是一种探讨个人、组织或团体，因为空间分布等的地理因素，经营政治的手段及方法。目前用于军事、外交等战略分析方面较多。常常以地理因素为底，经济、社会、军事、外交、历史、政治等为面进行分析。属于专业名词把，我也不很懂这个政治是什么）
In this milieu Doctor Who appeared. In many ways, the show carried on the themes of Victorian youth literature: the Doctor is a fearless traveler; he encounters strange cultures and lands; he is stoic, sophisticated, and not without a few eccentricities. Give him a pith helmet and he could fit in perfectly with the entertainment of the past. Episodic adventure still sold, was still compelling, but with Doctor Who, the creators were confronted with the question of what happens to an empire-builder post-imperially? The question for the show’s creators was how to maintain the lucrative adventure structure of the past without the geopolitical foundation that it had required.
在这种大时代背景下，DW诞生了。某种程度上，这部电视系列剧继承了维多利亚时代的青年文学特点，如Doctor是个无畏的旅行者，他能够不停的接触陌生的文明与大陆，他能勇于面对困难并经验丰富，不失一些古怪。给他一顶遮阳帽，他就能够完美的演绎过去时代的娱乐形式。插话式的冒险仍然有销路，也仍然引人注目，但是对于DW，创作者们却面临解决在那些后帝国时代的帝国建造者身上都发生了什么，也就是说节目制作人要找到怎样在没有不同地缘政治基础的情况下维持过去那种有利可图的冒险结构模式，而过去那些冒险故事都是基于不同地缘政治的。
Their answer was to use the traits that were appealing about adventurers and were still permissible in a world where countries are not apportioned on a first-European-come, first-European-served basis. When inviting his companions to join him, he almost always asks if they want to see the universe. The stated mission is travel for its own sake. The Doctor is a tourist.
他们的结论就是应用那些吸引人的冒险特点并且仍然坚持故事发生在全世界范围内而不是仅在欧洲地区。当加入女伴的角色后，他几乎总是会带女伴一起去环游宇宙，已经跳出了地球的范围。Doctor的使命就是作为一个旅行者。
