CATTI一級筆譯試題

CATTI一級筆譯試題

　　在平平淡淡的日常中，我們很多時候都不得不用到試題，試題可以幫助主辦方了解考生某方面的知識或技能狀況。相信很多朋友都需要一份能切實有效地幫助到自己的試題吧？以下是小編整理的CATTI一級筆譯試題，希望對大家有所幫助。

　　Section 1 Translation

　　Part 1 English-Chinese Translation (英譯漢)

　　Translate the following passage into Chinese.

　　Alice Munro, winner of the 2013 Nobel Prize in Literature, once observed: “The complexity of things — the things within things — just seems to be endless. I mean nothing is easy, nothing is simple.”

　　That is also a perfect deion of Ms. Munro’s quietly radiant short stories — stories that have established her as one of the foremost practitioners of the form. Set largely in small-town and rural Canada and often focused on the lives of girls and women, her tales have the swoop and density of big, intimate novels, mapping the crevices of characters’ hearts with cleareyed Chekhovian empathy and wisdom.

　　Fluent and deceptively artless on the page, these stories are actually amazingly intricate constructions that move back and forth in time, back and forth between reality and memory, opening out, magically, to disclose the long panoramic vistas in these people’s lives (the starts, stops and reversals that stand out as hinge moments in their personal histories) and the homely details of their day-to-day routines: the dull coping with “food and mess and houses” that can take up so much of their heroines’ time.

　　Ms. Munro’s stories possess an emotional amplitude and a psychological density . Her understanding of the music of domestic life, her ability to simultaneously detail her characters’ inner landscapes and their place in a meticulously observed community, and her talent for charting “the progress of love” as it morphs and mutates through time — these gifts have not only helped Ms. Munro redefine the contours of the contemporary short story, but have also made her one of today’s most influential writers.

　　In short fiction that spans four and a half decades. Ms. Munro has given us prismatic portraits of ordinary people that reveal their intelligence, toughness and capacity to dream, as well as their lies, blind spots and lapses of courage and good will. Such deions are delivered not with judgmental accountancy, but with the sort of “unsparing unsentimental love” harbored by a close friend or family member.

　　Like Ms. Munro, many of the women in these stories grew up in small towns in Canada and, at some point, faced a decision about whether to stay or to leave for the wider world. Their lifetimes often span decades of startling social change — from a time and place when tea parties and white gloves were de rigueur to the days of health food stores and stripper bars.

　　For that matter, Ms. Munro’s women, often find themselves caught on the margins of shifting cultural mores and pulled between conflicting imperatives — between rootedness and escape, domesticity and freedom, between tending to familial responsibilities or following the urgent promptings of their own hearts.

　　In story after story, passion is the magnet or the motor that drives women’s choices. Love and sex, and marriage and adultery are often mirrors that reveal a Munro heroine’s expectations — her fondest dreams and cruel self-delusions, her sense of independence and need to belong.

　　Ms. Munro is adept at tracing the many configurations that intimacy can take over the years, showing how it can suffocate a marriage or inject it with a renewed sense of devotion. She shows how sexual ardor can turn into a “tidy pilot flame” and how an impulsive tryst can become a treasured memory, hoarded as a bulwark against the banalities of middle age.

　　Illness and death frequently intrude upon these stories, and the reader is constantly reminded of the precariousness of life — and the role that luck, chance and reckless, spur-of-the-moment choices can play. Some of Ms. Munro’s characters embrace change as a liberating force that will lift them out of their humdrum routines, or at least satisfy their avid curiosity about life. Others regard it with fearful dismay, worried that they will lose everything they hold dear — or at least everything familiar.

　　Part 2 Chinese-English Translation (漢譯英)

　　Translate the following passage into English.

　　現(xiàn)代西方的中國學大致經(jīng)歷了兩個代際的變化。第一代是歷史主義流派主導的，第二代是意識形態(tài)至上流派所主導的。當代西方對中國的認知，不論是學術(shù)界或大眾媒體，都深受這兩大代際和流派的影響。

　　現(xiàn)代中國學研究的第一代，可以追溯到20世紀初。他們用歷史主義的語境研究現(xiàn)代中國，研究方法深受中國傳統(tǒng)文化影響，研究領(lǐng)域涵蓋了中國的政治、歷史、社會狀況和引領(lǐng)中國現(xiàn)代史的領(lǐng)袖人物。

　　中國學的第二代，始于89年，在后冷戰(zhàn)時代的意識形態(tài)狂熱中誕生。這一時期的研究，陷入自由民主或?qū)Ｖ篇毑玫囊庾R形態(tài)兩元對立。在研究取向上，強調(diào)政治立場先行和意識形態(tài)掛帥，目的只有一個，即證明中國的政治制度必然崩潰�？上�，這一代流派的研究一再被中國成功發(fā)展的事實證偽，備受質(zhì)疑。

　　最近幾十年來，中國全方位快速崛起，其巨大影響波及至世界各個角落。全球政治、歷史、經(jīng)濟研究的頂尖人士，紛紛聚焦中國，希望探究這一歷史重大事件的深遠含義。

　　當下，中國學正迎來一個新的代際，即第三代。第三代中國學發(fā)端于新的形勢背景下，研究方法和取向都不同以往。這一代際的演進，將推動中國學從基礎結(jié)構(gòu)上發(fā)生轉(zhuǎn)型，并對世界對中國的認知產(chǎn)生決定性影響。

　　這個群體不再象前兩代那樣限于中國通，而是來自各個領(lǐng)域。第三代中國學呈現(xiàn)的一個趨向可以稱為實證派，即以收集客觀數(shù)據(jù)為基本研究方法，客觀分析中國的治理模式。

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