上海高级口译阅读真题2014年3月及答案解析.doc
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1、上海高级口译阅读真题 2014年 3月及答案解析(总分:5.98,做题时间:90 分钟)一、第一篇(总题数:1,分数:1.00)1. WHAT makes an artist great? Brilliant composition, no doubt. Superb draughtsmanship, certainly. Originality of subject or of concept, sometimes. But surely true greatness means that the creator of a painting has brought a certain je
2、ne sais quoi to the work as well. 是什么成就了一名伟大的画家?出色的构图?高超的画技?这两点毋庸置疑。有时也靠创作主题或理念的新颖性。但真正的伟大指的是画家为作品赋予一种难以描述的特质。 There is, however, a type of person who seems to sait perfectly well what that quoi is, and can turn it out on demand. In 1945, for example, a Dutchman named Han van Meegeren faced executio
3、n for selling a national art treasure, in the form of a painting by Vermeer, to Hermann G?ring, Hitlers deputy. His defence was that it was a forgery he had painted himself. When asked to prove it by copying a Vermeer he scorned the offer. Instead he turned out a completely new painting, “Jesus Amon
4、g the Doctors”, in the style of the master, before the eyes of his incredulous inquisitors. 然而,有这样一种人,他们似乎能准确把握这个难以名状的东西,并且能够按要求把它复制出来。例如,1945 年,一位名叫汉凡米格伦(HanvanMeegeren)的荷兰人因将一幅国家艺术珍品,也就是维米尔(Vermeer)的一幅画作,卖给希特勒的副手赫尔曼戈林(HermannG?ring)而面临死刑。他辩称这只是幅赝品,由他本人仿造。当被要求现场模仿一幅维米尔的画作来证明自己时,他表示十分不屑。在审判者怀疑的眼神下,他
5、以维米尔的风格创作了一幅全新的作品基督在博学者中间。 此处例子功能题:作者为何提及荷兰画家? G?ring, who was facing a little local difficulty at the time, did not sue van Meegeren. But that has not been the experience of Glafira Rosales, an art dealer in New York who admitted this week that she has, over the past 15 years, fooled two local comm
6、ercial art galleries into buying 63 forged works of art for more than $30m. She is being forced to give the money back, and is still awaiting sentence. 戈林当时在本国遇到了点麻烦,所以就没有起诉凡米格伦。但格拉菲拉罗萨莱斯(GlafiraRosales)可没那么好运了。作为纽约的一位艺术品商人,罗萨莱斯于本周承认了在过去的十五年里曾向两个当地的商业艺术画廊卖出了 63幅假画,总收益达三千多万美元。她被强制要求退还所有收入,目前仍在等待法院的判决
7、。 此处细节题,考有关 Rosales 的例子内容。 Ms Rosales is guilty of passing goods off as something they are not, and should take the rap for the fraud. But although art forgers do a certain amount of economic damage, they also provide public entertainment by exposing the real values that lie at the heart of the art
8、market. 罗萨莱斯女士因出售赝品获罪,应承担相应的刑事责任。但虽然这些艺术品伪造者给他人造成了一定的经济损失,但他们也通过揭露艺术品市场上核心艺术品的真实价值而娱乐了大众。 此处词汇理解题:解释 take the rap。 That art market pretends that great artists are inimitable, and that this inimitability justifies the often absurd prices their work commands. Most famous artists are good: that is not
9、in question. But as forgers like van Meegeren and Pei-Shen Qian, the painter who turned out Ms Rosaless Rothkos and Pollocks, show, they are very imitable indeed. If they were not, the distinction between original and knock-off would always be obvious. As Ms Rosaless customers have found, no doubt t
10、o their chagrin, it isnt. 艺术品市场称伟大的艺术家都是独一无二的,而这种不可模仿性使得他们的作品都贵得离谱。大多数著名的艺术家都很优秀,这一点毋庸置疑。但像伪造者凡米格伦和为罗萨莱斯女士伪造罗斯科和波洛克画作的钱培琛,他们的存在证明了这些艺术家是可以被模仿的。如果不是的话,那真品和赝品之间的差别就会十分明显。罗萨莱斯女士的顾客就没有发现其中的区别,难怪事后他们懊恼不已。 此处句子理解题,解释黑体字部分。chagrin: 懊悔,懊恼。 If the purchasers of great art were buying paintings only for their
11、beauty, they would be content to display fine fakes on their walls. The fury and embarrassment caused by the exposure of a forger suggests this is not so. 如果购买者纯粹是因为欣赏画作的美而去购买它,那么即使是把假画挂在自家墙上也会心满意足。但伪造者的曝光所引起的愤怒和尴尬说明了情况并非如此。 Expensive pictures are primarily what economists call positional goodsthing
12、s that are valuable largely because other people cant have them. The painting on the wall, or the sculpture in the garden, is intended to say as much about its owners bank balance as about his taste. With most kit a higher price reduces demand. But art, sports cars and fine wine invert the laws of e
13、conomics. When the good that is really being purchased is evidence that the buyer has forked out a bundle, price spikes cause demand to boom. 名贵的画作被经济学家称为地位性商品这类商品昂贵的价值很大程度是因为其他人无法拥有。不管是墙上的名画,还是花园里的雕塑,都彰显着其主人的品位和财富。大多数情况下,价格越高,需求就会越少。但是艺术品,跑车和名酒却打破了这一经济学定律。当真正被买下的商品能证明买家的确是花了大手笔时,那么价格的上涨反而会使需求猛增。 Al
14、l this makes the scarcity and authenticity that underpin lofty valuations vital. Artists forget this at their peril: Damien Hirsts spot pictures, for instance, plummeted in value when it became clear that they had been produced in quantities so vast nobody knew quite how many were out there, and whe
15、n the market lost faith in a mass-production process whose connection with the original artist was, to say the least, tenuous. 这个现象说明了商品稀缺性和真实性的重要性。正因为此,艺术品的价格才会持续居高不下。艺术家若忽视这一点,便会自尝苦果。例如,当达明安赫斯特(DamienHirst)的现场画作被大批量生产时,其价格直跌。市场对批量生产过程失去了信心,至少可以说,这样生产出来的作品和原创者的联系不再紧密。 Ms Rosaless career is thus a s
16、earing social commentary on a business which purports to celebrate humanitys highest culture but in which names are more important than aesthetics and experts cannot tell the difference between an original and a fake. Unusual, authentic, full of meaningher life itself is surely art, even if the pain
17、tings were not. 罗萨莱斯女士的一生无非是对艺术行业的嘲讽。这个行业声称颂扬人类最崇高的文化,但艺术家的名字却比美感更重要,而专家却连真品和赝品都无法区别开来。即使罗萨莱斯女士出售的画作不是真正的艺术品,但她的一生,不同寻常、万般真实且意义深刻,充满了艺术性。(分数:1.00)_二、第二篇(总题数:1,分数:1.00)2. In 1965, Americas big companies had a hell of a year. The stock market was booming. Sales were rising briskly, profit margins were
18、 fat, and corporate profits as a percentage of G.D.P. were at an all-time high. Almost half a century later, some things look much the same: big American companies have had a hell of a year, with the stock market soaring, margins strong, and profits hitting a new all-time high. But theres one very n
19、oticeable difference. In 1965, C.E.O.s at big companies earned, on average, about twenty times as much as their typical employee. These days, C.E.O.s earn about two hundred and seventy times as much. 从第二段开头的 the huge gap可以看出第一段讲的是两种经济状况之间的差距。这里也正好是第一题的定位:The author makes a comparison between todays
20、America with that of 1965_.既然第二段追究的是这种 gap的原因,那么答案就在第一段结尾处:今天的 CEO-雇员的收入差距比大大增加了。 That huge gap between the top and the middle is the result of a boom in executive compensation, which rose eight hundred and seventy-six per cent between 1978 and 2011, according to a study by the liberal Economic Poli
21、cy Institute. In response, weve had a host of regulatory reforms designed to curb executive pay. The latest of these is a rule, unveiled by the S.E.C. last month, requiring companies to disclose the ratio of the C.E.O.s pay to that of the median worker. The idea is that, once the disparity is made p
22、ublic, companies will be less likely to award outsized pay packages. Faith in disclosure has been crucial to the regulation of executive pay since the nineteen-thirties, when companies were first required to reveal those figures. More recently, rules have made companies detail the size and the struc
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