2020年天津商业大学英语翻译基础考研真题.doc

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2020 年天津商业大学英语翻译基础考研真题 I. Read the following passage and explain Venuti’s “Domesticating” strategy in no more than 100 English words. (20 points) This relationship points to the violence that resides in the very purpose and activity of translation: the reconstitution of the foreign text in accordance with values, beliefs and representations that pre-exist it in the target language, always configured in hierarchies of dominance and marginality, always determining the production, circulation, and reception of texts. Translation is the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be intelligible to the target language reader. (Lawrence Venuti 1995) II. Translate the following items 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 of the Argonauts in search of the Golden Fleece 13. 垃圾邮件和钓鱼软件 14. （网购）打分和评价

15. 条形码 16. 智库 17. 新常态 18. （股票）上市 19. （公司间的）收购 20. 大宗交易 21. 住院和门诊服务 22. “发展体育运动，增强人民体质” 23. “百花齐放，百家争鸣” III. Translate the following two source texts into their respective target language. (100 points) Source Text 1: (50 points) How strange is the lot of us mortals! Each of us is here for a brief sojourn; for what purpose he knows not, though he sometimesthinks he sensesit. 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 our own happiness is wholly dependent, and then for the many, unknown to us, to whose destinies we are bound by the ties of sympathy. A hundred times every day I remind myself that my inner and outer life are based on the labors of other men, living and dead, and that I must exert myself in order to give in the same measure as I have received and am still receiving. I am strongly drawn to a frugal life and am often oppressively aware that I am engrossing an undue amount of the labor of my fellowmen. I regard class distinctions as unjustified and, in the last resort, based on force. I also believe that a simple and unassuming life is good for everybody, physically and mentally. I do not at all believe in human freedom in the philosophical sense. Everybody acts not only under external compulsion but also in accordance with inner necessity. Schopenhauer’s saying, “A man can do what he wants, but not want what he wants,” has been a very real inspiration to me since my youth; it has been a continual consolation in the face of life’s hardships, my own and others’, and an unfailing

wellspring of tolerance. This realization mercifully mitigates the easily paralyzing sense of responsibility and prevents us from taking ourselves and other people all too seriously; it is conducive to a view of life which, in particular, gives humor its due. To inquire after the meaning or object of one’s own existence or that of all creatures has always seemed to me absurd from an objective point of view. And yet everybody has certain ideals which determine the direction of his endeavors and his judgments. In this sense I have never looked upon ease and happiness as ends in themselves – this ethical basis I call the ideal of a pigsty. 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) 《弗兰肯斯坦》登陆天津大剧院 19 世纪初，诗人雪莱的第二任妻子玛丽•雪莱在同时期的诗人拜伦的鼓励下创作了小说《弗兰肯斯坦》，故事讲述狂热的科学家弗兰肯斯坦和他用不同尸块重新组合造出的一个怪物之间的故事。这怪物本性纯良，却因为丑陋而被冷漠的人们凌辱、厌恶。他请弗兰肯斯坦再为他创造一个女性配偶，弗兰肯斯坦却出尔反尔。怪物恶性大作，最终与弗兰肯斯坦在搏斗中同归于尽。当时的玛丽还不到 20 岁，她不知道，她的作品是世界上第一本真正意义上的科幻小说，而她也将因此被后人誉为“科幻小说之母”。此番登陆天津大剧院的英国国家剧院版《弗兰肯斯坦》最值得一提的看点，就是本尼迪克特•康伯巴奇(Benedict Cumberbatch)与约翰尼•李•米勒(Jonny Lee Miller)两位主演会互换角色，轮流饰演科学家弗兰肯斯坦和他所创造的怪物，同一剧目、同一人物、同一导演、同一舞台，连每句台词和具体调度都毫无差别。本轮放映，天津大剧院也将卷福版与米勒版放在同周周末，让观众在两天内接连欣赏两位主演的“短兵相接”。

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