專業(yè)八級(jí)翻譯練習(xí)1.doc

SECTION A原 文中國(guó)科技館的誕生來(lái)之不易。與國(guó)際著名科技館和其他博物館相比，它先天有些不足，后天也常缺乏營(yíng)養(yǎng)，但是它成長(zhǎng)的步伐卻是堅(jiān)實(shí)而有力的。它在國(guó)際上已被公認(rèn)為后起之秀。世界上第一代博物館屬于自然博物館，它是通過(guò)化石、標(biāo)本等向人們介紹地球和各種生物的演化歷史。第二代屬于工業(yè)技術(shù)博物館，它所展示的是工業(yè)文明帶來(lái)的各種階段性結(jié)果。這兩代博物館雖然起到了傳播科學(xué)知識(shí)的作用，但是，它們把參觀者當(dāng)成了被動(dòng)的旁觀者。世界上第三代博物館是充滿全新理念的博物館。在這里，觀眾可以自己去動(dòng)手操作，自己細(xì)心體察。這樣，他們可以更貼近先進(jìn)的科學(xué)技術(shù)，去探索科學(xué)技術(shù)的奧妙。中國(guó)科技館正是這樣的博物館！它汲取了國(guó)際上一些著名博物館的長(zhǎng)處，設(shè)計(jì)制作了力學(xué)、光學(xué)、電學(xué)、熱學(xué)、聲學(xué)、生物學(xué)等展品，展示了科學(xué)的原理和先進(jìn)的科技成果。 參考譯文： The first generation of museums are what might be called natural museums which, by means of fossils, specimens and other objects, introduced to people the evolutionary history of the Earth and various kinds of organisms. The second generation are those of industrial technologies which presented the fruits achieved by industrial civilization at different stages of industrialization. Despite the fact that those two generations of museums helped to disseminate / propagate / spread scientific knowledge, they nevertheless treated visitors merely as passive viewers.The third generation of museums in the world are those replete with / full of wholly novel concepts / notions / ideas. In those museums, visitors are allowed to operate the exhibits with their own hands, to observe and to experience carefully. By getting closer to the advanced science and technologies in this way, people can probe into their secret mysteries.The China Museum of Science and Technology is precisely one of such museums. It has incorporated some of the most fascinating features of those museums with international reputation. Having designed and created exhibits in mechanics, optics, electrical science, thermology, acoustics, and biology, those exhibits demonstrate scientific principles and present the most advanced scientific and technological achievements. SECTION B原 文： If people mean anything at all by the expression untimely death, they must believe that some deaths run on a better schedule than others. Death in old age is rarely called untimely-a long life is thought to be a full one. But with the passing of a young person, one assumes that the best years lay ahead and the measure of that life was still to be taken.History denies this, of course. Among prominent summer deaths, one recalls those of Marilyn Monroe and James Deans, whose lives seemed equally brief and complete. Writers cannot bear the fact that poet John Keats died at 26, and only half playfully judge their own lives as failures when they pass that year. The idea that the life cut short is unfilled is illogical because lives are measured by the impressions they leave on the world and by their intensity and virtue. 參考譯文：如果人們藉英年早逝這一字眼真的意欲表達(dá)什么含義的話，他們必然相信某些人的辭世可以算是壽終正寢，而另一些人則死不逢時(shí) 。死于年邁很少被冠以死不逢時(shí)之名，因?yàn)槟芏冗^(guò)漫長(zhǎng)的一生被認(rèn)為是甚為圓滿的。反之，如果所碰到的是一位年輕人之死，人們會(huì)以為這位年輕人風(fēng)華正茂，前途無(wú)可限量，生命的倒計(jì)時(shí)尚未真正開始。當(dāng)然，歷史否定這一切。在諸多較為著名的英年早逝的情形中，我們會(huì)憶起瑪麗蓮.夢(mèng)露與詹姆斯.迪恩斯之死，其生命的短暫絲毫無(wú)損于其生命的完整性。對(duì)于約翰.濟(jì)慈年方26便溘然長(zhǎng)逝這一事實(shí)，文人墨客們皆痛不欲生，但他們中僅有半數(shù)人詼諧地認(rèn)為，設(shè)若他們也死于這一年齡，其一生可視為失敗。視英年早逝為不圓滿，這一觀念有悖于邏輯，因?yàn)楹饬可某叨饶耸橇艚o世界的印記，是生命的力度及其美德。八級(jí)漢譯英考題/樣題 （1）原文：人是一個(gè)非常復(fù)雜的矛盾體。為了不受干擾地工作，常常要逃避世俗的熱鬧，可一旦長(zhǎng)期陷入孤境，又感到痛苦，感到難以忍受。 一般情況下，我喜歡孤獨(dú)。 我的最大愛好是深思默想。我可以一個(gè)人長(zhǎng)時(shí)間地獨(dú)處而感到愉快。獨(dú)享歡樂是一種愉快，獨(dú)自憂傷也是一種愉快。孤獨(dú)的時(shí)候，精神不會(huì)是一片純粹的空白，它仍然是一個(gè)豐富多彩的世界。情緒上的大歡樂和大悲痛往往都在孤獨(dú)中產(chǎn)生。孤獨(dú)中，思維可以不依照邏輯進(jìn)行。孤獨(dú)更多地產(chǎn)生人生的詩(shī)情激昂的和傷感的。孤獨(dú)可以使人的思想向更遙遠(yuǎn)更深邃的地方伸展，也能使你對(duì)自己或環(huán)境作更透徹的認(rèn)識(shí)和檢討。當(dāng)然，孤獨(dú)常常叫人感到無(wú)以名狀的憂傷。而這憂傷有時(shí)又是很美麗的。我喜歡孤獨(dú)。 但我也很懼怕孤獨(dú)。 參考譯文： My greatest avocation is musing. I can stay by myself for a long time without feeling disconsolate in the least. Happiness enjoyed alone is a pleasure, so is sorrow tasted privately. In solitude, the mind is not a complete blank; it remains a rich and colorful world. Solitude often induces ecstasy or anguish, and allows thinking to wander in a random way. She inspires the mood for poems, passionate of pathetic. She also enables people to think further and deeper and to have a more thorough understanding and examination of themselves and their environment. （2） 原文：簡(jiǎn)奧斯丁的小說(shuō)寫的都是三五戶人家居家度日，婚戀嫁娶的小事。因此不少中國(guó)讀者不理解她何以在西方享有那么高的聲譽(yù)。但一部小說(shuō)開掘得深不深，藝術(shù)和思想是否有過(guò)人之處，的確不在題材大小。有人把奧斯丁的作品比作越嚼越有味道的橄欖。這不僅因?yàn)樗恼Z(yǔ)言精彩，并曾對(duì)小說(shuō)藝術(shù)的發(fā)展有創(chuàng)造性貢獻(xiàn)，也因?yàn)樗妮p快活潑的敘述實(shí)際上并不那么淺白，那么透明。史密斯夫人說(shuō)過(guò)，女作家常常試圖修正現(xiàn)存的價(jià)值秩序，改變?nèi)藗儗?duì)“重要”和“不重要”的看法。也許奧斯丁的小說(shuō)能教我們學(xué)會(huì)轉(zhuǎn)換眼光和角度，明察到“小事”的敘述所涉及的那些不小的問題。 參考譯文： But the depth of a novel and its excellence in artistic quality and ideological content can never be judged by the significance or “insignificance” of the theme. Austens works have been compared to olives, which become the more delicious the more you chew them. This is not only because of her witty language and her creative contributions to the development of the art of novel writing, but also because of her vivid and lively narration, which is by no means shallow or transparent. Mrs. Smith said that women writers often tried to rectify the prevalent values and the existing social order and to change peoples views as to what was important and what was unimportant. （3）原文：膾炙人口的傳統(tǒng)京劇白蛇傳講的是傳自明朝的故事。白蛇精與青蛇精化作美女來(lái)到人間。白蛇精與一位書生相愛并生一子。禪師法海認(rèn)為他們的結(jié)合違反傳統(tǒng)婚姻，傷風(fēng)敗俗，他氣急敗壞。于是他派神兵神將前來(lái)捉拿白蛇精，并將她鎮(zhèn)壓在一座塔下面。后來(lái)，青蛇精在深山中修煉，習(xí)武多年，終于砸爛了那座塔，救出白蛇精。至此，白蛇精與丈夫、兒子又得團(tuán)聚。在白劇中，蛇被賦予了崇高的人性。 參考譯文： The White Snake, one of the most popular traditional Beijing operas, is based on a story handed down from Ming Dynasty (1368-1644). White Snake Spirit and Green Snake Spirit metamorphosed themselves into two beautiful girls and ventured into the human world. White Snake fell in love with a young scholar and gave birth to a son. Fahai, a Buddhist monk, regarded their union as a violation of the conventions regarding marriage and an example of moral degeneration. Much enraged, he sent officers and soldiers from the heaven, who captured White Snake, and using magical powers he himself incarcerated White Snake underneath a pagoda. For many years afterwards, Green Snake hid