2017年初級(jí)翻譯考試筆譯備考練習(xí)（附答案）
試題一：
在一個(gè)極為漫長(zhǎng).的歷史階段中，人類(lèi)只能通過(guò)音樂(lè)表演和口授來(lái)傳播音樂(lè)。當(dāng)人類(lèi)發(fā)明了樂(lè)譜后，音樂(lè)便開(kāi)始脫離表演而演變成“文字”得以記錄和傳播。然而，人類(lèi)音樂(lè)傳播的真正革命性里程碑的建立者無(wú)疑是科學(xué)家們。他們創(chuàng)造了令人嘆為觀止的音樂(lè)傳播手段，從最早的機(jī)械“留聲機(jī)”到今天五花八門(mén)的“電子媒體”。在20世紀(jì)諸多的音樂(lè)傳播手段中，無(wú)線電廣播的發(fā)明和發(fā)展對(duì)音樂(lè)的傳播起了極為重要的作用。然而，高科技的高速發(fā)展也使我國(guó)廣播音樂(lè)工作者在新世紀(jì)中面臨著嚴(yán)峻的挑戰(zhàn)。
【參考譯文】
For a very long period of historical development, mankind could only pass on music though performance and oral instruction. When mankind invented musical scores, music started to break away from the boundaries of being merely a performing art, and develop into a system of “written symbols” that can be recorded and spread. Undoubtedly, however, it was the scientists who should be crowned as the founders of the real revolutionary milestone of human musical communication. Scientists invented marvelous means of music transmission, beginning from the earliest mechanical “record turntable” to today’s many kinds of “electronic media”. Among the numerous means of music transmission of the 20 century, the creation and development of radio broadcasting played an extremely important role in the industry of music transmission. Nevertheless, the rapid development of high technology has brought serious challenges to China’s radio music workers in the new
試題二：
《my long friendship with J.D.Salinger》
At one point during the more than half century of our friendship, J.D. Salinger told me he had an idea that someday，when “all the fiction had run out,”he might try to do something straight，“really factual...” “It might be readable，maybe funny，” he said，and “not just smell like a regular autobiography.” The main thing was that he would use straight facts and “thereby put off or stymie one or two vultures—freelancers or English-department scavengers—who might come around and bother the children and the family before the body is even cold.”
A single straight fact is that Salinger was one of a kind. His writing was his and his alone, and his way of life was only what he chose to follow. The older and crankier he got, the more convinced he was that in the end all writers get pretty much what's coming to them: the destructive praise and flattery, the killing attention and appreciation. The trouble with all of us, he believed, is that when we were young we never knew anybody who could or would tell us any of the penalties of making it in the world on the usual terms: “I don't mean just the pretty obvious penalties, I mean the ones that are just about unnoticeable and that do really lasting damage, the kind the world doesn’t even think of as damage.” He talked about how easily writers could become vain, complaining that they got puffed up by the same“authorities” who approved putting monosodium glutamate in baby food. (Lillian Ross)
相關(guān)詞匯：
stymie 阻礙阻撓
freelancer 自由職業(yè)者
scavenger 拾荒者
one of a kind 獨(dú)一無(wú)二，獨(dú)特
flattery 阿諛，奉承
vain 自負(fù)的，自視甚高
be/get puff up 自滿，自負(fù)
monosodium glutamate 味精，谷氨酸鈉
文章品鑒：
J.D.塞林格 (1919-2010)，美國(guó)20世紀(jì)著名小說(shuō)家，其經(jīng)典之作《麥田守望者》是20世紀(jì)影響最深的小說(shuō)之一，被譯成各種語(yǔ)言并為世界各國(guó)讀者所傳閱，影響了一代年輕人。塞林格其人頗受爭(zhēng)議，有人說(shuō)他性格孤僻，也有人說(shuō)他獨(dú)具匠心、文筆新穎然而在莉莉安.羅斯的筆下，我們看到的是一位行事風(fēng)格獨(dú)特，在洶涌而至的贊譽(yù)中始終保持清醒頭腦、敏銳觸覺(jué)，且對(duì)待寫(xiě)作嚴(yán)肅認(rèn)真的作家。
全文語(yǔ)言?xún)?yōu)美，比喻得當(dāng)，意蘊(yùn)深遠(yuǎn).塞林格從不盲從，對(duì)自己的創(chuàng)作及生活都有其獨(dú)特的認(rèn)識(shí)。他古怪卻洞察入微，明白作家在收獲名譽(yù)的同時(shí)也因此喪失了某些創(chuàng)作能力。他身在其中，卻能跳出圈外，何其大膽、真實(shí)。
參考譯文：
在我們長(zhǎng)達(dá)半個(gè)多世紀(jì)的.友誼中，J.D.塞林格曾對(duì)我提起他的一個(gè)想法，等有一天當(dāng)“所 有的小說(shuō)虛構(gòu)都已枯竭”，他想嘗試一些直接“真正真實(shí)”的東西。他說(shuō)，“這可能會(huì)很具可讀 性，也許很有意思”，而“不僅僅像一本普通自傳”。而這主要就是他會(huì)采用直接事實(shí)陳述，借 此防止那么一兩個(gè)想從中獲利的人——自由撰稿人或是英語(yǔ)專(zhuān)業(yè)的拾荒者——在他尸骨未寒時(shí)便來(lái)騷擾他的孩子和家人。
其中一個(gè)事實(shí)是塞林格獨(dú)樹(shù)一幟。他的寫(xiě)作屬于他自己，也僅屬于他一個(gè)人;他的生活也純粹是按照自己所選擇的方式進(jìn)行的。隨著年齡的增長(zhǎng)，他變得愈發(fā)古怪，也更加深信所有的作家最終都得到了這些東西：極具破壞性的贊揚(yáng)與奉承，將其扼殺的關(guān)注與欣賞。他認(rèn)為我們所有人的問(wèn)題在于，在年輕時(shí)未能結(jié)識(shí)些能告知我們平時(shí)這些行為所帶來(lái)的苦果的人：“我的 意思并非只是那些非常明顯的不利結(jié)果，而是那些不甚引人注意卻真正造成永久傷害(這種傷害不會(huì)被世人視為傷害)的影響。”他曾談及作家們會(huì)極易變得驕傲自大，并抱怨就是那些同意在嬰兒食品中加味精的“權(quán)威們”將他們鼓吹至此。
莉莉安.羅斯
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