2020年天津商業(yè)大學(xué)英語(yǔ)筆譯考研試題完整版

　　Ⅰ.Read the following passage and explain Venuti’s“Domesticating”strategy in no

　　more than 100 English words.(20 points)

　　This relationship pointsto the violence that resides in the very purpose and activity of translation:thereconstitution ofthe foreign text in accordance with values.beliefs and representations that pre-exist it in the target language,always configured in hierarchies of dominanceandmarginalityalways determining the production,circulation,and reception of texts.Translation isthe forciblereplacement ofthe linguistic and cultural difference of the foreign text with a textthat will be intelligible to the target language reader.(Lawrence Venuti1995)

　?、?Translate the followingitems into their respective target language.(30 points)

　　1.biennial

　　2.Aristotle

　　3.ubiquitous

　　4.mobile etiquette

　　5.paradox

　　6.brain drain

　　7.baby-boomers

　　8.Kublai Khan

　　9.the Nile

　　10.Gini coefficient

　　11.downsizing,restructuring and outsourcing

　　12.Jason.leader ofthe Argonauts in search of the Golden Fleece

　　13.垃圾郵件和釣魚(yú)軟件

　　14.(網(wǎng)購(gòu))打分和評(píng)價(jià)

　　15.條形碼

　　16.智庫(kù)

　　17.新常態(tài)

　　18.(股票)上市

　　19.(公司間的)收購(gòu)

　　20.大宗交易

　　21.住院和門(mén)診服務(wù)

　　22.“發(fā)展體育運(yùn)動(dòng)，增強(qiáng)人民體質(zhì)”

　　23.“百花齊放，百家爭(zhēng)鳴”

　　Ⅲ Translate the following two source texts into their respective target language.(100 points)

　　Source Text 1:(50 points)

　　Howstrangeisthelotofus mortals!Each ofus is here for a bricfsojourn;for what purposo he knowsnotthough hesometimesthinks he senses it.But without deeper reflection one knows from daily life that one exists for other people-first of all for those upon whose smiles and

　　well-being ourown happiness is wholly dependent,and then for the many,unknown to us,to whose destinies wearebound bythe ties of sympathy.A hundred times every day I remind myselfthatmyinner and outerlife are based on the labors of other men,living and dead,and thatImustexertmyselfinorderto give in the same measure as I have received and am still receiving.Iamstronglydrawn to a frugal life and am often oppressively aware that Iam engrossing an undue amount ofthe labor of my fellowmen.I regard class distinctions as unjustifiedand,inthe lastresort,based on force.I also believe that a simple and unassuming life is good for everybody,physically and mentally.

　　I do not atall believe in human freedom in the philosophical sense.Everybody acts not onlyunder externalcompulsion but alsoin accordance with inner necessity.Schopenhauer's saying“Aman can do what he wants,but not want what he wants,"has been a very real

　　inspirationtomesincemyyouth:ithas been a continual consolation in the face of life's hardshipsmyownandothers'and anunfailing wellspring of tolerance.This realization mercifully mitigates the easilyparalyzing sense ofresponsibility and prevents us from taking

　　ourselvesand otherpeopleallooseriously;itis conducive to a view oflife which,in particular gives humor its due.

　　Toinquire afterthemeaning or object ofone's own existence or that of all creatures has always seemedto me absurdfrom an objective point of view.And yet everybody has certain idealswhich determinethe direction ofhis endeavors and his judgments.In this sense I have neverlooked upon case and happiness as ends in themselves-this ethical basis I call the idea ofapigsty.The ideals which have lighted my way,and time after time have given me new courage to face life cheerfully,have been Kindness,Beauty,and Truth.

　　Source Text 2:(50 points)

　　《弗蘭肯斯坦》登陸天津大劇院

　　19世紀(jì)初，詩(shī)人雪萊的第二任妻子瑪麗·雪萊在同時(shí)期的詩(shī)人拜倫的鼓勵(lì)下創(chuàng)作了小說(shuō)《弗蘭肯斯坦》，故事講述狂熱的科學(xué)家弗蘭肯斯坦和他用不同尸塊重新組合造出

　　的一個(gè)怪物之間的故事。這怪物本性純良，卻因?yàn)槌舐焕淠娜藗兞枞?、厭惡。他?qǐng)弗蘭肯斯坦再為他創(chuàng)造一個(gè)女性配偶，弗蘭肯斯坦卻出爾反爾。怪物惡性大作，

　　最終與弗蘭肯斯坦在搏斗中同歸于盡。當(dāng)時(shí)的瑪麗還不到20歲，她不知道，她的作品是世界上第一本真正意義上的科幻小說(shuō)，而她也將因此被后人譽(yù)為“科幻小說(shuō)之母”。

　　此番登陸天津大劇院的英國(guó)國(guó)家劇院版《弗蘭肯斯坦》最值得一提的看點(diǎn)，就是本尼迪克特·康伯巴奇(BenedictCumberbatch)與約翰尼·李·米勒(JonnyLeeMiller)兩位

　　主演會(huì)互換角色，輪流飾演科學(xué)家弗蘭肯斯坦和他所創(chuàng)造的怪物，同一劇目、同一人物、同一導(dǎo)演、同一舞臺(tái)，連每句臺(tái)詞和具體調(diào)度都毫無(wú)差別。本輪放映，天津大劇院也將卷福版與米勒版放在同周周末，讓觀眾在兩天內(nèi)接連欣賞兩位主演的“短兵相接”。

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