關於 land jobs meaning ，我們在網路上蒐集到這些相關的討論、資訊與評價

川普總統就職演說全文
（英文+中譯對照）

編譯宋凌蘭∕綜合20日電
世界日報

川普總統就職演說的全文如下：

Chief Justice Roberts, President Carter, President Clinton, President Bush, President Obama, fellow Americans and people of the world, thank you.

羅伯茲首席大法官、卡特總統、柯林頓總統、布希總統、歐巴馬總統、美國同胞和世界人民，謝謝。

We, the citizens of America, are now joined in a great national effort to rebuild our country and restore its promise for all of our people.

我們，美國人民，現在加入重建我國，恢復對所有人承諾的一項偉大全國努力。

Together, we will determine the course of America and the world for many, many years to come. We will face challenges, we will confront hardships, but we will get the job done.

團結一致，我們將決定美國和世界未來多年的路線。我們將面臨挑戰，我們將面對困難，但是我們將完成任務。

Every four years, we gather on these steps to carry out the orderly and peaceful transfer of power, and we are grateful to President Obama and First Lady Michelle Obama for their gracious aid throughout this transition. They have been magnificent. Thank you.

每隔四年，我們聚集在此進行井然有序、平和的政權轉移，我們感謝歐巴馬總統和第一夫人米雪兒在過度期間的親切協助。他們太棒了，謝謝。

Today's ceremony, however, has very special meaning because today, we are not merely transferring power from one administration to another or from one party to another, but we are transferring power from Washington, D.C. and giving it back to you, the people.

但是，今天的儀式有特別的意義，因為今天我們不僅只是政府把權力交給下一任政府，或是一個政黨交給另一政黨，而是從華府把權力交回給你們，就是人民。

For too long, a small group in our nation's capital has reaped the rewards of government while the people have borne the cost. Washington flourished, but the people did not share in its wealth. Politicians prospered, but the jobs left and the factories closed. The establishment protected itself, but not the citizens of our country. Their victories have not been your victories. Their triumphs have not been your triumphs. And while they celebrated in our nation's capital, there was little to celebrate for struggling families all across our land.

有太久的時間，一小群人在國家首都獲得政府獎勵，人民卻承受代價。華府欣欣向榮，但是人民卻未共享財富。政客平步青雲，但是工作離開，工廠關閉。既有體制自我保護，卻不保護我國的人民。他們的勝利不是你們的勝利。他們在國家首都慶祝時，全國各地陷入困境的家庭，沒什麼好慶祝。

That all changes starting right here and right now because this moment is your moment, it belongs to you.

所有這些情況，從現在開始改變，因為這個時刻是你們的時刻，屬於你們。

It belongs to everyone gathered here today and everyone watching all across America. This is your day. This is your celebration. And this, the United States of America,is your country.

這個時刻屬於今天在此聚集的每個人，以及美國各地的所有觀眾。這是你們的日子，這是你們的慶祝，美利堅合眾國是你們的國家。

What truly matters is not which party controls our government, but whether our government is controlled by the people.

真正重要的不是哪個政黨控制政府，而是我們政府是否由人民控制。

January 20th, 2017 will be remembered as the day the people became the rulers of this nation again. The forgotten men and women of our country will be forgotten no longer.

2017年1月20日，將被紀念為人民再度成為這個國家統治者的一天。我國被遺忘的男女，將不再被遺忘。

Everyone is listening to you now. You came by the tens of millions to become part of a historic movement, the likes of which the world has never seen before.

每個人都在聽你們，幾百萬人來此以成為歷史性運動的一部分，這個運動將是世界從未見過的。

At the center of this movement is a crucial conviction, that a nation exists to serve its citizens.Americans want great schools for their children, safe neighborhoods for their families, and good jobs for themselves. These are just and reasonable demands of righteous people and a righteous public.

這個運動的中心，是一項關鍵確信，那就是一個國家存在是為了服務人民。美國人想要子女上好學校，家庭住在安全社區，自己有好工作。這些是人民理所當然的合理要求。

But for too many of our citizens, a different reality exists: mothers and children trapped in poverty in our inner cities; rusted out factories scattered like tombstones across the landscape of our nation; an education system flush with cash, but which leaves our young and beautiful students deprived of all knowledge; and the crime and the gangs and the drugs that have stolen too many lives and robbed our country of so much unrealized potential.

但是對我們太多人而言，卻存在一個不同現實：母親和孩子被困在城市貧民區的貧窮，荒廢的工廠像墓碑一樣散布在全國各地，教育系統現金多多，卻讓我們年輕可愛的學生學不到知識，犯罪、幫派和毒品奪走太多人的生命，也搶走我國未能發揮的潛力。

This American carnage stops right here and stops right now.

這場美國大屠殺現在就停止。

We are one nation and their pain is our pain.Their dreams are our dreams. And their success will be our success. We share one heart, one home, and one glorious destiny. The oath of office I take today is an oath of allegiance to all Americans.

我們是同一國，他們的痛苦是我們的痛苦，他們的夢想是的夢想，他們的成功將是我們的成功。我們有同一個心，同一個家，同一個光榮的命運。我今天宣誓的就職誓詞，是效忠所有美國人的誓詞。

For many decades, we've enriched foreign industry at the expense of American industry; subsidized the armies of other countries, while allowing for the very sad depletion of our military. We've defended other nations' borders while refusing to defend our own.

數十年來，我們犧牲美國工業，讓外國工業致富，補助他國的軍隊，卻讓我國軍隊令人難過的耗減，我們捍衛別國的邊界，卻拒絕捍衛我們自己的邊界。

And spent trillions and trillions of dollars overseas while America's infrastructure has fallen into disrepair and decay. We've made other countries rich, while the wealth, strength and confidence of our country has dissipated over the horizon.

在海外不斷花巨款，卻讓美國的基礎設施衰退凋零。我們幫助其他國家變富有，但是美國的財富、力量和信心卻逐漸消散。

One by one, the factories shuttered and left our shores, with not even a thought about the millions and millions of American workers that were left behind. The wealth of our middle class has been ripped from their homes and then redistributed all across the world.

工廠一個接一個關，離開美國，根本未考慮成千上萬的美國工人失業。中產階級的財富從他們家中被奪走，然後重新在全世界分配。

But that is the past. And now, we are looking only to the future.

但這是過去。現在，我們只瞻望未來。

We assembled here today are issuing a new decree to be heard in every city, in every foreign capital, and in every hall of power。

我們今天聚集在此發出一條新法令，要讓每個都市、每個外國首都和每個權力殿堂都聽見。

From this day forward, a new vision will govern our land. From this day forward, it's going to be only America first, America first.

從今天開始，新的願景將會治理我們的土地。從此刻開始，將只是美國優先，美國優先。

Every decision on trade, on taxes, on immigration, on foreign affairs will be made to benefit American workers and American families. We must protect our borders from the ravages of other countries making our products, stealing our companies and destroying our jobs.

在貿易、稅制、移民、外交事務的每項決定，將以惠及美國勞工和美國家庭為目的。我們必須保護我們的邊界，以免其他國家破壞，製造我們產品、竊取我們的公司、以及消滅我們的工作。

Protection will lead to great prosperity and strength. I will fight for you with every breath in my body and I will never ever let you down. America will start winning again, winning like never before. We will bring back our jobs. We will bring back our borders. We will bring back our wealth. And we will bring back our dreams.

保護將會帶來偉大的繁榮和力量。我將會竭力為你們奮戰，我永遠不會讓你們失望。美國將會開始再度勝利，且是以前從未曾有過的勝利。我們將會拿回我們的工作，我們將會恢復我們的邊界，我們將會拿回我們的財富，我們將找回我們的夢想。

We will build new roads and highways and bridges and airports and tunnels and railways all across our wonderful nation. We will get our people off of welfare and back to work, rebuilding our country with American hands and American labor.

我們將會建設新的道路、高速公路、橋樑、機場、隧道，以及遍及我們這個美好國家的鐵路。我們要我們的人民脫離福利，重新工作，用美國人的雙手和勞力，重建我們的國家。

We will follow two simple rules; buy American and hire American.We will seek friendship and goodwill with the nations of the world, but we do so with the understanding that it is the right of all nations to put their own interests first. We do not seek to impose our way of life on anyone,but rather to let it shine as an example. We will shine for everyone to follow.

我們將會遵循兩個簡單的法則：購買美國貨和僱用美國人。我們將會尋求世界各國的友誼和善意，但我們此舉，是基於理解把本身利益置於優先，是所有國家的權利。我們不尋求把我們的生活方式加諸於每個人身上，而是要讓此作為典範發揚光大，以讓所有人效法。

We will reinforce old alliances and form new ones and unite the civilized world against radical Islamic terrorism, which we will eradicate from the face of the Earth. At the bedrock of our politics will be a total allegiance to the United States of America, and through our loyalty to our country, we will rediscover our loyalty to each other. When you open your heart to patriotism, there is no room for prejudice.

我們將加強原有的聯盟，並組成新的聯盟，同時團結文明世界以對抗激進伊斯蘭恐怖主義，我們將會把他們從地球完全消滅。我們政治的基本原則將是完全效忠美國，以及透過我們對國家的忠誠，重新發現我們對彼此的忠誠。在你們開啟愛國之心後，偏見將無地自容。

The bible tells us how good and pleasant it is when God's people live together in unity. We must speak our minds openly, debate our disagreements honestly,but always pursue solidarity. When America is united, America is totally unstoppable.

聖經告訴我們，當上帝的子民和睦同居，是何等的善、何等的美。我們必須坦誠發言，誠實地辯論歧見，但永遠追求團結，當美國團結一致，無人能擋。

There should be no fear. We are protected and we will always be protected.We will be protected by the great men and women of our military and law enforcement. And most importantly, we will be protected by God.

我們應當無所懼怕。我們受到保護，而且我們一直將受到保護。我們得到我們國家偉大的男女軍人及執法界的保護，更重要的是，我們受到上帝的保護。

Finally, we must think big and dream even bigger. In America, we understand that a nation is only living as long as it is striving. We will no longer accept politicians who are all talk and no action, constantly complaining, but never doing anything about it. The time for empty talk is over. Now arrives the hour of action.

最後，我們應思考做大事，有更大的夢想。在美國，我們瞭解一個國家只有生氣蓬勃的成長，才能生存。我們不再接受只有空談而不做事的政治人物，他們不斷地抱怨，卻從未見到他們拿出行動來。空談的時代已經過去了，現在是拿出行動的時候了。

Do not allow anyone to tell you that it cannot be done. No challenge can match the heart and fight and spirit of America. We will not fail. Our country will thrive and prosper again.

別讓任何人告訴那是辦不到的事。對有熱情，肯奮戰與有鬥志的美國人來說，沒有任何挑戰是太困難的。我們不會失敗，我們國家將再度蓬勃繁榮。

We stand at the birth of a new millennium, ready to unlock the mysteries of space, to free the earth from the miseries of disease, and to harness the energies, industries and technologies of tomorrow. A new national pride will stir ourselves, lift our sights and heal our divisions.

我們站在一個千禧世代興起之初，準備解開太空神祕的時代，解放地球受到疾病之苦的時代，並且將運用未來能源、工業與技術的時代。新的國家榮譽將激勵我們，提高我們的眼界，治癒我們的分裂

It's time to remember that old wisdom our soldiers will never forget, that whether we are black or brown or white,we all bleed the same red blood of patriots.We all enjoy the same glorious freedoms and we all salute the same great American flag.

我們應該記取我們士兵永誌不忘的座右銘，那就是不論我們是黑色、是棕色或白色皮膚，我們所流的都是相同的愛國熱血，我們享有的是相同的崇高自由，我們致敬的是相同的偉大美國國旗。

And whether a child is born in the urban sprawl of Detroit or the wind-swept plains of Nebraska, they look up at the same night sky, they will their heart with the same dreams, and they are infused with the breath of life by the same almighty Creator.

不論兒童是在底特律郊區或內布拉斯加平原出生，他們仰望的是相同的夜空，他們內心所有的是相同的夢想，他們被同一個偉大造物主的生命氣息充滿。

So to all Americans in every city near and far, small and large, from mountain to mountain, from ocean to ocean, hear these words. You will never be ignored again.

對不論遠近、不論大小的每個城市的美國人，從此山到彼山，從此海到彼海，我要對你們說：你們不會再被漠視。

Your voice, your hopes, and your dreams will define our American destiny. And your courage and goodness and love will forever guide us along the way.

你們聲音，你們的希望，你們的夢想，將決定美國的命運。你們的勇氣、善良和愛心，將永遠引導我們。

Together, we will make America strong again. We will make America wealthy again. We will make America proud again. We will make America safe again.And yes, together we will make America great again. Thank you. God bless you. And God bless America.

團結一致，我們將讓美國再度強大，我們將讓美國再度富裕，我們將讓美國再度驕傲，我們將讓美國再度安全。是的，團結一致，我們會讓美國再度偉大。謝謝，天佑你們，天佑美國。

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….