长江大学翻译与写作考研真题及复习笔记详解——才聪学习网

第一章篇章翻译

第1节故事（Stories）

Practice 1

吴先生具备一位教师应具备的一切条件，只是不善于启发学生。他像钟表一样守时，像奴隶船上的一名划船工那样辛苦地备课。讲课时，凡引用书中原文，别人也许会照本宣科念给学生听，他却不管篇幅多长，都要全部背下来。阐述任何问题，他都是“第一……，第二……”条理清晰，活像一位教官在练兵，有点干巴，但绝不会空泛。

他不是那种口若悬河讲得天花乱坠，细想却让人不知所云的教师。他讲的东西全都是有内容的，可能观点不全正确，但至少不会放空炮。他从不拐弯抹角地提出任何观点，总是十分明确有力地表达出来。

换句话说，他从不怕对任何意见表示自己的态度。对于一些历史史实，尤其是百科全书和各种参考书中可以找到的史实，吴先生是无懈可击的。你只能和他公正地争论有关鉴赏或阐释的问题。

也正是在这方面，吴先生暴露了他的弱点。但是这一弱点，并不是由于说理不清或立意不诚，这个弱点是人文主义者所具有的观点中固有的，而且是作为白碧德（Babbit; Babbitian）人文主义者所固有的。遗憾的是吴先生使自己被白碧德人文主义吸引住了，使得他的所有观点无不染上白碧德人文主义的色彩。

伦理和艺术可悲地纠缠在一起，你常常搞不清他是在阐释文学问题呢，还是在宣讲道德问题。（489字）（杭州电子科技大学2014研）

【参考译文】

Mr. Wu is everything that a teacher ought to be, except to be inspiring. Punctual as a clock, he works like a galley-slave at his lectures.

Where others would read a quotation out of a book, he would memorize it, however long it might be. He is as orderly as a drill-sergeant in the exposition of any subject, with his “firstly this” and “secondly that.”

Dull, perhaps; but never pointless. He is not one of those teachers, who talk of everything and say nothing. What he says does mean something: it may be wrong, but at least it is not hot air. He never hedges about any point; he always puts his foot plump on it.

In other words, he is never afraid of committing himself to an opinion. On matters of fact, especially of those facts which are to be found in encyclopedias and books of reference, Mr. Wu is unimpeachable.

One can only fairly quarrel with him on matters of taste or of interpretation. In these, Mr. Wu shows his weakness; but it is not a weakness, due to haziness or any failing in sincerity: it is a weakness, inherent in his point of view, which is that of a humanist—a Babbitian humanist, at that. It is a pity Mr.

Wu has allowed himself to be lured into Babbitian humanism. As it is, all his views are colored by it. Ethics and art get woefully mixed up. Often, one is puzzled whether he is delivering himself on a question of literature or of morality.

Practice 2

宋淇先生(Stephen C. Soong，1919—1996)生前著述甚丰，并不遗余力推动翻译教学与研究工作。为纪念宋先生对翻译事业的贡献，宋氏家族于1997年捐款，由香港中文大学中国文化研究所翻泽研究中心设立“宋淇翻译研究论文纪念奖”，旨在奖励海内外华人学者从事具有原创性的翻译研究，尤其鼓励以第一手材料从事文化与历史方向的探讨。

论文奖参选细则如下：

l. 中国大陆、港、澳、台地区以及海外华人学者、研究生均可参选。

2. 参选论文以中、英文语言为限，必须在2010年内公开发表于正式的学术刊物。

3. 论文奖每年颁发一次，每次设奖额3名，不分等级，每位得奖者将获颁奖励证书及奖金港币3,000元。

4. 论文评审委员会由中国大陆、港、澳、台地区从事翻译研究的知名学者组成。

5. 参选论文恕不退稿。（四川外语学院2012研）

Stephen C. Soong (1919—1996) was a prolific writer as well as an active figure in the promotion of translation education and research. To commemorate his contributions in this field, the Stephen C .

Soong Translation Studies Awards were set up in 1997 by the Research Centre for Translation, The Chinese University of Hong Kong, with a donation from the Soong family.

It gives recognition to academics who have made contributions to original research in Chinese Translation Studies, particularly in the use of first-hand sources for historical and cultural investigations. General regulations are as follows:

1. Eligibility is limited to Chinese scholars or research students affiliated to mainland Chinese, Hong Kong, Taiwan, Macau or overseas higher education/research institutes.

2. Submissions must be articles written in either Chinese or English and published in a refereed journal within the calendar year 2009.

3. The prize will be awarded annually to three winners without distinction of grades. A certificate and a cheque of HK $3,000 will be awarded to each winning entry.

4. The adjudication committee consists of renowned scholars in Translation Studies from Greater China, Hong Kong, Macau and Taiwan.

5. Articles submitted will not be returned to the candidates.

Practice 3

“中国航天之父”钱学森和中国“欧洲古典艺术歌曲权威”蒋英的结合堪称科学和艺术的完美联姻。

因为父辈为世交，钱学森和蒋英自幼青梅竹马，都受到很好的家庭教育。1947年，他们在上海喜结良缘，而他们的结婚“信物”——黑色三角钢琴，也一直伴随他们。

回国后40多年里，每当蒋英登台演出或指挥学生毕业演出时，她总要请钱学森去听、去评论。

谈到文艺对科学思维的启示和开拓时，钱学森说：“在我对一件工作遇到困难而百思不得其解的时候，往往是蒋英的歌声使我豁然开朗，得到启示。”

每当听到蒋英的歌声时，钱学森总是自豪地说：我是多么有福气啊！

1991年10月16日，钱老在人民大会堂“国家杰出贡献科学家”授奖仪式上即兴演讲时说：“44年来，蒋英给我介绍了音乐艺术，这些艺术里所包含的诗情画意和对人生的深刻的理解，使我丰富了对世界的认识，学会了艺术的广阔思维方法。

或者说，正因为我受到这些艺术方面的熏陶，所以我才能够避免死心眼，避免机械唯物论，想问题能够更宽一点、活一点。”（天津外国语学院2010研）

The marriage between “Father of Chinese Aviation” Qian Xuesen and “Authority of European Classical Art Song” Jiang Ying can be rated as a perfect alliance of science and art.

Because of their parents’ long-standing friendship, Qian and Jiang knew each other from childhood and they got similarly good family education. In 1947, they got married in Shanghai and kept their pledge of love—a black grand piano since then.

In the following 40 years after returning homeland, Jiang invited Qian to listen and comment her work whenever she had a stage performance or conducting job on graduation concerts.

Speaking of arts’ revelatory and broadening influence on scientific thinking, Qian says: “It is her songs that enlighten me whenever I am puzzled by some difficulties at work.”

“How blessed I am!” Qian said proudly, every time he heard Jiang’s songs.

On Oct.16, 1991, while giving a spontaneous speech on receiving “National Outstanding Contribution Award for Scientists” at the award ceremony held in Great Hall of the People, Qian says: “For 44 years, Jiang introduced to me the music which embodies poetic romance and deep comprehension of life.

It enriches my understanding of the world and teaches me an artistically broad way of thinking. In other words, it is right because of this artistic nurture that helps me avoid obstinateness and metaphysical materialism and makes my mind open and flexible.”

Practice 4

吴祖光，江苏人，以剧作家闻名。他的第一部作品《风雪夜归人》使他一举成名。他还涉足电影，京剧。“梅兰芳的艺术舞台”被认为是梅兰芳舞台纪录片中最好的一部。吴祖光就是这部电影的导演。（北京第二外国语学院2009研）

Wu Zuguang, a native of Jiangsu, was well-known as playwright. His first work Return on a Snowy Night brought him instant fame. He also set foot in the fields of film and Peking opera. “Mei Lanfang’s artistic stage”, directed by Wu Guangzu, is considered as the best one of all the documentaries about Mei Lanfang’s stage life.

复习笔记

第一章文稿格式

Ⅰ. 安排

1. 页面布置

（1）纸张四面留空：上边空2厘米，左边、右边和下边各空1.5厘米。

（2）书写英文时，纸的右边须留出一定空白，不要写到纸的边缘。

2. 题目

（1）位置：写在第一行中间处。

（2）题目中首尾词的首字母应大写，中间词除冠词、并列连词（and, or, but, nor, for）、介词和不定式的to外也须大写。例如：

My First Visit to the Palace Museum

The People without a Country

What Can the Artist Do in the World of Today?

What reform means to China

The Myth of a “Negro Literature”

（3）标点

a. 题目后不加句号。

b. 若题目为疑问句，应加问号；若是间接引语形式的疑问句，则不加问号。

c. 题目中引用的部分应加引号。

d. 书名须在下面划线或用斜体标明。

3. 缩进

每段开头缩进4-5个字母。

4. 页码

用阿拉伯数字标在纸的右上角，不加括号或句号，首页可不标。

5. 标点

（1）逗号、句号、分号、冒号、问号或感叹号不可放在一行的开端，如果需要可放行尾。

（2）方括号、圆括号和引号的前一半不能放在行尾。

（3）连字符应放在行尾。

Ⅱ. 大写

大写字母主要用于三处：句子的开头，标题中的实义词和专有名词。

1. 句子开头

（1）完整的句子以及当句子使用的不完整句都应用大写字母开头。

（2）引语如是完整句也用大写字母开头，如：

He said, “My trip to Mountain Tai was interesting but tiring.”

（3）引语被分成两部分，置于两对引号之中，第二部分不用大写字母开始，如：

“My trip to Mountain Tai,” he said, “was interesting but tiring.”

2. 标题中的实义词

题目中首尾词的首字母应大写，中间词除冠词、并列连词（and, or, but, nor, for）、介词和不定式的to外也须大写。

3. 专有名词

（1）普通名词已成为专有名词的一部分时，要大写：

普通名词—专有名词

a famous university—Peking University

a broad street—Chang’an Street

a large lake—Lake Erie

（2）从专有名词演变来的词一般也大写：

Marxist

Darwinism

Hegelian

（3）专有名词及其派生词也可能变成普通名词、动词或形容词：

mackintosh（由苏格兰化学家Charles Macintosh的名字变来)

Ⅲ. 移行

书写时，快写到一行的末端时，须查看剩余空处，若空处不足已写下一个单词，应考虑移行或把整个词写在下一行。

1. 基本原则

移行的基本原则是按照音节把词分开。

2. 注意事项

（1）单音节词，如through, march, brain, pushed, 不能分开。

（2）不要把词的一个字母写在行末或行首，如a·long，trick·y。

（3）不要把只有两个字母的音节放在行首，如hat·ed，cab·in。

（4）人名、地名要避免分开写，如Chi·na，Aus·ten。

（5）已带有连字符的复合词只可在连字符处分开，如father-in-law，empty-handed。

（6）把词分开应注意避免造成误解，如pea·cock，re·ally。

（7）一页的最后一个词不要移行，可将其写在下一页。

（8）有前缀和后缀的词，应在前、后缀和词根之间分开，如re·state·ment，un·relent·ing。

（9）双音节词有重复的辅音字母时，可在两个字母间分开，如strug·gle，shat·ter。

Ⅳ. 标点

标点使用的基本规则：

1. 结构完整的句子不论长短，后面都要打句号。

2. 不要用逗号连接两个并列从句；应用逗号加连词，或用分号。

3. 逗号和句号要分清：逗号带个小尾巴(,)；句号是个黑圆点(.)，不是圆圈(。)。

4. 疑问句后用问号，但在改为间接引语的问句后不用问号：

“Have you done your exercise?” the teacher asked.

The teacher asked whether we had done our exercises.

5. 感叹号只用在需要强调的感叹句或表达强烈情感的词语后面。不要用得太多。

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