[外语类试卷]笔译二级实务(综合)模拟试卷2及答案与解析.doc
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1、笔译二级实务(综合)模拟试卷 2及答案与解析 SECTION 1 Compulsory Translation (30 points) 1 Proverbs are the popular sayings that brighten so much Latin American talk, the boiled-down wisdom that you are as apt to hear from professors as from peasants, from beggars as from elegant girls. 2 At the same time it is agreed t
2、hat all Americans, whatever their origins, must learn to speak English clearly and fluently, and that they must learn to adapt themselves to the American way of life. 3 In the middle of the 19th century, the people of the USA were still predominantly “Anglo-Saxon“ , but even before the flood of non-
3、 “Anglo-Saxon“ immigrants, the Americans were already far more American than they were British. 4 KGB and CIA both operated clandestinely concealing their activities not so much from the “opposition“ (they couldnt) as from their own peoples. 5 Most Americans have great vigor and enthusiasm. They pre
4、fer to discipline themselves rather than be disciplined by others. They pride themselves on their independence, their right to make up their own minds. They are prepared to take the initiative, even when there is a risk in doing so. They have courage and do not give in easily. They will take any sor
5、t of job anywhere rather than be unemployed. They do not care to be looked after by the government. The average American changes his or her job nine or ten times during his or her working life. 6 Although no longer slaves after the Civil War, American blacks took no significant part in the life of w
6、hite America except as servants and laborers. 7 Life itself led Jack London to reject this approach in his writing. As a newsboy, sailor, millhand, stoker, tramp, and janitor, he came to know all there was to know about the life of the underdog. 8 The English arrived in North America with hopes of d
7、uplicating the exploits of the Spanish in South America, where explorers had discovered immense fortunes in gold and silver. Although Spain and England shared a pronounced lust for wealth, differences between the two cultures were profound. 9 Not long ago, we Americans had a pretty good idea of what
8、 family meant. But today, with people living together in so many different combinations, “family“ is much harder to define. When it comes to family values, I find that Americans may be saying one thing and doing another. The real picture is that the American family is suffering a crisis of collapsin
9、g. 10 I read some of my poetry aloud to them, but it was casting pearls before swine. They obviously didnt understand a word of it and soon started yawning, looking at their watches and fidgeting in their chairs. 11 Satiric Literature Perhaps the most striking quality of satiric literature is its fr
10、eshness, its originality of perspective. Satire rarely offers original ideas. Instead, it presents the familiar in a new form. Satirists do not offer the world new philosophies. What they do is look at familiar conditions from a perspective that makes these conditions seem foolish, harmful, or affec
11、ted. Satire jars us out of complacence into a pleasantly shocked realization that many of the values we unquestioningly accept are false. Don Quixote makes chivalry seem absurd; Brave New World ridicules the pretensions of science; A Modest Proposal dramatizes starvation by advocating cannibalism. N
12、one of these ideas is original. Chivalry was suspected before Cervantes, humanists objected to the claims of pure science before Aldous Huxley, and people were aware of famine before Swift. It was not the originality of the idea that made these satires popular. It was the manner of expression, the s
13、atiric method, that made them interesting and entertaining. Satires are read because they are aesthetically satisfying works of art, not because they are morally wholesome or ethically instructive. They are stimulating and refreshing because with commonsense briskness they brush away illusions and s
14、econdhand opinions. With spontaneous irreverence, satire rearranges perspectives, scrambles familiar objects into incongruous juxtaposition, and speaks in a personal idiom instead of abstract platitude. Satire exists because there is need for it. It has lived because readers appreciate a refreshing
15、stimulus, an irreverent reminder that they live in a world of platitudinous thinking, cheap moralizing, and foolish philosophy. Satire serves to prod people into an awareness of truth, though rarely to any action on behalf of truth. Satire tends to remind people that much of what they see, hear, and
16、 read in popular media is sanctimonious, sentimental, and only partially true. Life resembles in only a slight degree the popular image of it. Soldiers rarely hold the ideals that movies attribute to them, nor do ordinary citizens devote their lives to unselfish service of humanity. Intelligent peop
17、le know these things but tend to forget them when they do not hear them expressed. 12 American Folk Art What we today call American folk art was, art of, by, and for ordinary, everyday “folks“ who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for port
18、raits. Citizens of prosperous, essentially middle-class republics whether ancient Romans, seventeenth-century Dutch burghers, or nineteenth-century Americans have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained an increasing number of
19、 such people, and of the artists who could meet their demands. The earliest American folk art portraits come, not surprisingly, from New England especially Connecticut and Massachusetts for this was a wealthy and populous region and the center of a strong craft tradition. Within a few decades after
20、the signing of the Declaration of Independence in 1776, the population was pushing westward, and the portrait painters could be found at work in western New York, Ohio, Kentucky, Illinois, and Missouri. Midway through its first century2 as a nation, the United States population had increased roughly
21、 five times, and eleven new states had been added to original thirteen. During these years, the demand for portraits grew and grew, eventually to be satisfied by camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention
22、 put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the professional. But in the heyday of portrait painting from the late eighteenth century until the 1850s anyone with a modicum of artistic ability could b
23、ecome a limner, as such a portraitist3 was called. Local craftspeople sign, coach, and house painters began to paint portraits as a profitable sideline; sometimes a talented man or woman who began by sketching family members gained a local reputation and was besieged with requests for portraits; art
24、ists found it worth their while to pack their paints, canvasses, and brushes and to travel the countryside, often combining house decorating with portrait painting. SECTION 1 Compulsory Translation (20 points) 13 黄女士忍不住也往那班人望了一眼,却看见有两个男的正在对张女士做媚眼,另有两个女的和一个男的在哝哝唧唧议论着 雪白西装领上一个油光晶亮的头和两个烫得蓬蓬松松的头凑成个 “品 ”
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