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第十二届CASIO杯翻译比赛原文(英语组)
时间:2017-08-19 19:02 来源:http://www.zjkqxlgbj.com 作者:中国共产党张家口市桥西区委员会老干部局 点击:

第12届CASIO杯翻译比赛官方启事、奖项配置等>>>

第12届CASIO翻译比赛官方海报>>>

第十二届CASIO杯翻译比赛正式启动!本次角逐由上海翻译家协会和上海译文出书社配合承办、沪江网再次协办,设英语,俄语两个语种。

【奖项配置】为勉励更多的翻译喜爱者参加角逐,进步翻译程度,两个语种的比赛各设如下奖项:

一等奖1名:证书及代价6000元的奖金和奖品

二等奖2名:证书及代价3000元的奖金和奖品

三等奖3名:证书及代价2000元的奖品

优胜奖20名:证书及代价300元的奖品

优越组织奖1名:代价5000元的奖金和奖品         

以下为第十二届CASIO杯翻译比赛英语组原文内容概要,作者简介,及原文:

【作者简介】

W·H·奥登(1907—1973),英国闻名墨客、评述家(因为出生于英国,其后成为美国国民,以是也有人将其列为美国作家),二十世纪最巨大的作家之一。奥登的作品数目庞大,主题多样,能力高深,,死后亦备受推许,其奇异气魄气焰对子弟作家影响深远。

【内容概要】

作为二十世纪最受推许,且在诗艺上最为严重的墨客之一,奥登以一种玄妙的心态创作了大量评述类的笔墨,《染匠之手》(The Dyer’s Hand)是独逐一本奥登以书的架构本身收辑而成的散文集。本文选自全书序章“阅读”篇章的第一段落,奥登用隐隐相连的警句隽语描述阅读的方方面面,轻巧、清亮、密切,完全浮现奥登无往倒霉的文思和出神入化的笔墨工夫。2014年初次译入中文的《奥登诗选》惊动书坛,之后奥登的散文集也将相继面世,无论是想要从诗句之外窥伺奥登文学艺术的资深读者,照旧想要在最好的英语上打磨技术的译事新人,都可以从这篇文章开始。

Reading (excerpt)

W. H. Auden

A book is a mirror: if an ass peers into it, you can’t expect an apostle to look out.

C. G. LICHTENBERG

One only reads well that which one reads with some quite personal purpose. It may be to acquire some power. It can be out of hatred for the author.

PAUL VALÉRY

The interests of a writer and the interests of his readers are never the same and if, on occasion, they happen to coincide, this is a lucky accident.

In relation to a writer, most readers believe in the Double Standard: they may be unfaithful to him as often as they like but he must never, never be unfaithful to them.

To read is to translate, for no two persons’ experiences are the same. A bad reader is like a bad translator: he interprets literally when he ought to paraphrase and paraphrases when he ought to interpret literally. In learning to read well, scholarship, valuable as it is, is less important than instinct; some great scholars have been poor translators.

We often derive much profit from reading a book in a different way from that which its author intended but only (once childhood is over) if we know that we are doing so.

As readers, most of us, to some degree, are like those urchins who pencil mustaches on the faces of girls in advertisements.

One sign that a book has literary value is that it can be read in a number of different ways. Vice versa, the proof that pornography has no literary value is that, if one attempts to read it in any other way than as a sexual stimulus, to read it, say, as a psychological case history of the author’s sexual fantasies, one is bored to tears.

Though a work of literature can be read in a number of ways, this number is finite and can be arranged in a hierarchical order; some readings are obviously “truer” than others, some doubtful, some obviously false, and some, like reading a novel backwards, absurd. That is why, for a desert island, one would choose a good dictionary rather than the greatest literary masterpiece imaginable, for, in relation to its readers, a dictionary is absolutely passive and may legitimately be read in an infinite number of ways.

We cannot read an author for the first time in the same way that we read the latest book by an established author. In a new author, we tend to see either only his virtues or only his defects and even if we do see both, we cannot see the relation between them. In the case of an established author, if we can still read him at all, we know that we cannot enjoy the virtues we admire in him without tolerating the defects we deplore. Moreover, our judgment of an established author is never simply an aesthetic judgment. In addition to any literary merit it may have, a new book by him has a historic interest for us as the act of a person in whom we have long be interested. He is not only a poet or a novelist, he is also a character in our biography.

A poet cannot read another poet, nor a novelist another novelist, without comparing their work to his own. His judgments as he reads are of this kind: My God! My Great-Grandfather! My Uncle! My Enemy! My Brother! My imbecile Brother!

In literature, vulgarity is preferable to nullity, just as grocer’s port is preferable to distilled water.

Good taste is much more a matter of discrimination than of exclusion, and when good taste feels compelled to exclude, it is with regret, not with pleasure.

Pleasure is by no means an infallible critical guide, but it is the least fallible.