河南师范大学《831英语写作与翻译》历年考研真题及详解

内容来自：文得学习网（/）

点此查看资料 ：河南师范大学《831英语写作与翻译》历年考研真题及详解

 ：即日起只要注册成为网站的年费会员，一年内免费使用万种电子书，包含万余种考研、考证、专业课程等基础电子书产品，详情点击（/vip/Index.aspx）了解详情

更多院校的考研资料可点此查看 全国547所院校专业课考研考博复习资料

2009年河南师范大学821英语写作与翻译考研真题及详解

Ⅰ. Match the following numbers with the corresponding letters according to the contents and write your answer on the Answer sheet （5 points）

1. Peter Newmark

2. Lawrence Venuti

3. Yan Fu

4. Eugene Nida

5. Fu Lei

A） faithfulness, expressiveness, and elegance

B） resemblance in spirit

C） semantic translation and communicative translation

D） domestication and foreignization

E） functional equivalence

【参考答案】

1.C  语义翻译和交际翻译（semantic translation and communicative translation）是英国翻译家纽马克（Newmark）翻译理论的两种基本策略。语义翻译法具有绝对意义，交际翻译法具有相对意义。交际翻译法集归化、意译和地道翻译的优势。

2.D  美国学者L. Venuti（文努迪）于1995年提出翻译的归化与异化（domestication and foreignization），指出翻译有两种情况，一种是让读者靠近作者即异化，另一种是让作者靠近读者即归化。

3.A  “信达雅”（faithfulness, expressiveness, and elegance）是由我国清末新兴启蒙思想家严复提出的，他在《天演论》中的“译例言”讲到：“译事三难：信、达、雅。求其信已大难矣，顾信矣不达，虽译犹不译也，则达尚焉”。

4.E  功能对等理论（functional equivalence）是由美国语言学家尤金·A·奈达（Eugene Nida）提出，他认为最大的功能对等是指译文文本的读者应该基本上能以原文读者理解和欣赏原文的方式来理解和欣赏译文文本。

5.B  傅雷先生提出了神似（resemblance in spirit）的思想。“以效果而论,翻译应当像临画一样，所求的不在形似而在神似。”（spiritual conformity/resemblance in spirit ）。

Ⅱ. Translate the following into Chinese （40 points）

What is it that we mean by literature? Popularly, and amongst the thoughtless, it is held to include everything that is printed in a book. Little logic is required to disturb that definition. The most thoughtless person is easily made aware that in the idea of literature one essential clement is some relation to a general and common interest of man—so that what applies only to a local, or professional, or merely personal interest, even though presenting itself in the shape of a book, will not belong to Literature. So far the definition is easily narrowed; and it is as easily expanded. For not only is much that takes a station in books not literature; but inversely, much that really is literature never reaches a station in books. The weekly sermons of Christendom, that vast pulpit literature which acts so extensively upon the popular mind—to warn, to uphold, to renew, to comfort, to alarm—does not attain the sanctuary of libraries in the ten-thousandth part of its extent. The Drama again—as, for instance, the finest of Shakespeare’s plays in England, and all leading Athenian plays in the noontide of the Attic stage—operated as a literature on the public mind, and were （according to the strictest letter of that term） published through the audiences that witnessed their representation some time before they were published as things to be read; and they were published in this scenic mode of publication with much more effect than they could have had as books during ages of costly copying or of costly printing

【参考译文】

我们所说的“文学”是什么呢？人们，尤其是对此欠考虑者，普遍会认为：文学包括印在书本中的一切。可这种定义无需多少理由便可被推翻。最缺乏思考的人也很容易明白，“文学”这一概念中有个基本要素，即文学或多或少都与人类普遍而共同的兴趣有关；因此，那些仅适用于某一局部、某一行业或仅仅处于个人兴趣的作品，即便以书的形式面世，也不该属于“文学”。就此而论，文学之定义很容易变窄，而它同样也不难拓宽。因为不仅有许多跻身于书卷之列的文字并非文学作品，而且与之相反，不少真正的文学著作却未曾付梓成书。譬如基督教世界每星期的布道，这种篇什浩繁且对民众精神影响极广的讲坛文学，这种对世人起告戒、鼓励、振奋、安抚或警示作用的布道文学，最终能进入经楼书馆的尚不及其万分之一。此外还有戏剧，如英国莎士比亚最优秀的剧作，以及雅典戏剧艺术鼎盛时期的全部主流剧作，都曾作为文学作品对公众产生过影响。这些作品在作为读物出版之前，已通过观看其演出的观众而“出版”了（这正是“出版”一词最严格的意义）。在抄写或印刷都非常昂贵的年代，通过舞台形式“出版”这些剧作远比将它们出版成书效果更佳。