2014復旦大學MTI英語翻譯基礎&復試筆試真題完整版

xg要上名校 · 發表于 2014-4-18 14:04

本帖最后由 xg要上名校于 2014-4-18 16:21 編輯

初試：
英譯漢（出自Intelligent Life雜志2012年8月31日的文章The British Way with Umbrellas，真題貌似有刪改，現給出全文）
One of the more prominent features of this sodden British summer has been the umbrella, unfurled incessantly against the inclemency, and, moreover, starring in the opening ceremonies of both the Olympics and Paralympics. The latter is a reminder that the umbrella is unequalled in instantly conjuring the British character in nearly all of its aspects, including the comic, the cautious and the class-conscious, and as such has been utilised to fine effect by writers as various as Dickens (Mrs Gamp in "Martin Chuzzlewit"), Defoe ("Robinson Crusoe"), P.L. Travers ("Mary Poppins") and Brian Clemens (John Steed in "The Avengers").

Its adoption and popularity here is at once surprising and not. Obviously, and particularly recently, it does rain quite a lot; but why a country which has prided itself on no-nonsense practicality should take to such a fussy piece of equipment rather than rely on hat and cape is not immediately clear.

After all, it's difficult to imagine those brave British forbears at, say, Agincourt carrying them (the longbow men in particular would have got in quite a tangle). Against that, though, is the example of Major Allison Digby Tatham-Warter at Arnhem, who carried one throughout the engagement because, as he explained, he could never remember passwords and the umbrella would make it perfectly clear he was British. The key here, I think, is that much proclaimed but elusive native quality, eccentricity. Nevertheless, the Major disabled an enemy armoured car on at least one occasion by poking his umbrella through a slit and blinding the driver.

Even so, Jonas Hanway, the umbrella's populariser in Britain, did not have an entirely easy ride with his novel contraption, having to endure "the contemptuous gestures of his shocked compatriots" as he strolled about London. It evidently cut no ice that he had come across the umbrella among rebellious and quite violent tribesmen in Persia. (Interestingly, some years ago, I encountered a Kurdish guerilla opposed to rule from Tehran who, in addition to his Kalashnikov and bandolier, also carried a shortie umbrella tucked into his belt.)

But, despite such heros as Major Tatham-Warter and John Steed, the umbrella has continued to have problems. For what impulsive, devil-may-care fellow takes an umbrella out with him in case of rain? What is prudence among women is pathetic among men. Not even Bulgarian brollies with poisoned tips have countered the image. I suspect, for one, that Hanway has left a long shadow: he was also a campaigner, writer and prolific pamphleteer who has been described as "one of the most indefatigable and splendid bores of English history".

And, of course, there's class. Not a working man's implement, exactly. Even here, though, and as usual, you have to be careful with the nuances. A friend of mine (employing an umbrella, as it happens) once encountered a grand acquaintance dressed in tweed hurrying to his London home through torrential rain, and rather wet. "Why," asked my friend, pointing to his own, "no umbrella?" The man looked shocked. "What, with country clothes?!" I, however, shall contine to use, and fairly often lose, one, fortified by a fine remark from Major Tatham-Warter when a comrade counselled caution against a concerted mortar attack: "Don't worry, I've got an umbrella."
漢譯英（出自《全國翻譯專業資格考試指定教材英語筆譯實務 2級》Unit 13，《人間天堂杭州》，真題有刪改）

杭州是一座悠久歷史的文化名城。“良渚文化”遺址即可證明，在4000多年前，這里已有人類繁衍生息。五代時的吳越國和南宋均曾在此建都，歷時237年。現今的杭州，轄市內8個區，3個市和2個縣.杭州素以風景秀麗著稱。700年前，意大利旅行家馬可?波羅曾稱譽它是“世界上最美麗華貴之城”。
四季變幻  難畫難詩
杭州的春天，淡妝濃抹，無不相宜；夏日荷香陣陣，沁人心脾；秋天桂枝飄香，菊花斗艷；冬日瓊裝玉琢，俏麗媚人。西湖以變幻多姿的風韻，令人心曠神怡。
兩江一湖  別具風光
郁郁蔥蔥的峰嶺之間，一條碧澄的玉帶逶迤而過，這是美麗的富春江。溯源而西，便是有中國“第二漓江”之稱的新安江，盡頭處，有浩瀚的“千島湖”。人們來到這里，無異于后回到了大自然的懷抱，能充分享受淳樸的自然靈氣。
美的山水  美的藝術
美的山水孕育著美的心靈，美的心靈創造出美的藝術。歷來的大詩人、大文學家、大藝術家，都在杭州留下了不朽的篇章。杭州的民間藝術更是異彩紛呈，引人注目。
賓館舒適  名菜可口
杭州的賓館，設備新穎，服務周到。西湖名菜有南宋風味，載譽已久，其特點是用鮮活材料制成，保持原汁原味，美味可口。
（后面還有一段應該是出題老師自己加上去的，大概是說杭州各個行業的發展，比如紡織業啊，電子工業之類的）

復試：
英譯漢（出自William Somerset Maugham的作品The Moon And Sixpence的chapter 2）
Sometimes a man survives a considerable time from an era in which he had his place into one which is strange to him, and then the curious are offered one of the most singular spectacles in the human comedy. Who now, for example, thinks of George Crabbe? He was a famous poet in his day, and the world recognised his genius with a unanimity which the greater complexity of modern life has rendered infrequent. He had learnt his craft at the school of Alexander Pope, and he wrote moral stories in rhymed couplets. Then came the French Revolution and the Napoleonic Wars, and the poets sang new songs. Mr. Crabbe continued to write moral stories in rhymed couplets. I think he must have read the verse of these young men who were making so great a stir in the world, and I fancy he found it poor stuff. Of course, much of it was. But the odes of Keats and of Wordsworth, a poem or two by Coleridge, a few more by Shelley, discovered vast realms of the spirit that none had explored before. Mr. Crabbe was as dead as mutton, but Mr. Crabbe continued to write moral stories in rhymed couplets. I have read desultorily the writings of the younger generation. It may be that among them a more fervid Keats, a more ethereal Shelley, has already published numbers the world will willingly remember. I cannot tell. I admire their polish -- their youth is already so accomplished that it seems absurd to speak of promise -- I marvel at the felicity of their style; but with all their copiousness (their vocabulary suggests that they fingered Roget's Thesaurus in their cradles) they say nothing to me: to my mind they know too much and feel too obviously; I cannot stomach the heartiness with which they slap me on the back or the emotion with which they hurl themselves on my bosom; their passion seems to me a little anaemic and their dreams a trifle dull. I do not like them. I am on the shelf. I will continue to write moral stories in rhymed couplets. But I should be thrice a fool if I did it for aught but my own entertainment.
漢譯英（沒有搜到原文）
主要內容是探討中國哲學發展的歷程，關鍵詞有“人文主義”“儒學”等，出現了諸如“正名”“中庸”“仁”等涉及中國傳統文化的詞語。字數為250——300.

希望對備考2015年復旦大學翻譯碩士的童鞋有一點幫助。攢人品活動到此為止