和訳をして、空欄を埋めてください。
I A story is not merely an image of life, but of life in motion -- specifically, the presentation of individual characters moving through their particular experiences to some end that we may accept as meaningful. And the experience that is characteristically presented in a story is that of facing a problem, a conflict. To put it bluntly: no conflict, no story.
II It is no wonder that conflict should be at the center of fiction, for conflict is at the center of life.But why should we, when we have the contrast and often painful experience of conflict in life, and yearn for inner peace, turn to fiction, which centers on conflict?The fact is that our attitude toward conflict is difficult to understand.If we do find a totally satisfactory adjustment in life we tend to sink into boredom.Only when our surroundings - or we ourselves - become problematic again do we wake up and feel that rush of energy which is life.And life more abundantly lives is what we seek.
III So, even at the same time as we yearn for peace, we also yearn for the problematic.Explorers, sportspersons, gamblers, children playing hide-and-seek, teenage boys choosing up sides for a game of baseball, spectators cheering in a stadium - we all, in fact, seek out or create problematic situations of greater or lesser intensity.Such situations give us sense of heightened energy, a stronger sense of life.And fiction, too, gives us that heightened awareness of life, with all the fresh opportunity to release the rich emotional charge - tears, laughter, tenderness, sympathy, hate, love, and irony - that is stored up in us and can make us feel (5) with the accustomed.Furthermore, this heightened awareness ban be more fully enjoyed in fiction, because what in actually would be the threat of the problematic is here restricted to mere imagination, and because some kind of resolution of the problem is promised.
(5) 1.bored 2.satisfied 3.disappointed 4.frustrated
IV The story promises us a resolution, and we wait in suspense to learn how things will come out.We are in suspense, not only about what will happen, but even more about what the event will mean.We are in suspense about the story we are reading because weare in suspense about another story far closer and more important to us - the story of our own lives as we live them.We do not yet know how that story is going to come out. We do not yet know what it will mean. So, in that deep uncertainty about our own lives, which will be echoed in the suspense we feel about the story in fiction, we turn to fiction for some hint about the stories in the lives we live.The relation of our own lives to fictional lives is what, in a fundamental sense, attracts us to fiction.
補足
おはようございます! 和訳のチェックをお願い致します。m--m ■私たちが映画に関わる方法は私たちが映画に持ち込むものや映画の意図による。もし映画が要求(刺激)するなら(もし映画が私たちの関心を喚起するなら)、私たちに選択を与えてくれるなら私たちはこれらの環境下で[Pierre JolivetによるForce Majeureや「カサブランカ」の種類でさえ。]私たちはどのように反応するかを自分自身にたずねるだろう。映画が先を見越して行動するものである時私たちはきわめて重要な参加者である。私たちが経験に入る時の感じ方によって私たちは映画との個人的な関係を生み出すでしょうし同じ事柄でも私たちの信念システムによって泣く人もいれば笑う人もいるだろう。ほとんどの映画は私たちに実際に反応者になって欲しいのだ、ある意味でより受身的だ。しかしその時でさえ私たちの心理学的性質は私たちの関係の仕方を決めそしてそれが私たちみんなを私たちの反応において(を)‘能動的‘にする。