2020年11月CATTI一級筆譯真題
一級筆譯英譯漢
Master of the Intricacies of the Human Heart
愛麗絲·門羅，洞悉人心的大師
By Michiko Kakutani
Oct. 10, 2013
Alice Munro, named on Thursday as the 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.”
愛麗絲·門羅(Alice Munro)於本週四獲得2013年諾貝爾文學獎，她曾說過：“事物的複雜性，即蘊含在事物之中的事物，似乎無窮無盡。我的意思是，沒有任何事是輕鬆簡單的。”
That is also a perfect description 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.
這番話亦是門羅那些寧靜閃光的短篇小說的絕好寫照，這些作品爲她奠定了短篇小說界一流作者的地位。她的小說主要發生在加拿大的鄉村小鎮，描繪女孩與女人們的生活，帶着契訶夫式洞悉一切的同情與智慧勾勒出筆下人物心靈的罅隙，亦有着長篇小說所具備的衝擊力與厚重。
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.
她的短篇小說行文流暢，文風表面質樸無華，實則結構精美複雜，在時間之中往復穿梭，在現實與記憶之間轉換；故事神祕展開，揭開筆下人物生平的全貌景觀（在關鍵的轉折點中突出個體人物生活史中的開端、停頓與逆境），乃至日常生活中的平凡瑣碎細節：她會平淡地描述 “食物、瑣事與家務”，這些事佔去了她筆下女主人公的大部分時間。
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.
門羅的小說既有情感的廣度，亦有心理的深度。她深深瞭解蘊含在家庭生活中的音樂；在描繪筆下人物內心世界細節的同時，無微不至地勾勒出社區的狀態，並點出人物在社區中的位置；此外她還擅長書寫“愛的進程”，在時間的演進中爲愛的變形與變異畫出圖譜。這些特質令她重新定義了當代短篇小說的外延，也使她成爲當今世上最重要的作家之一。
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 descriptions are delivered not with judgmental accountancy, but with the sort of “unsparing unsentimental love” harbored by a close friend or family member.
門羅創作短篇小說已有45年。在這些作品中，門羅爲普通人的生活描繪出五光十色的畫像，展現他們的智慧、堅韌與夢想的能力，與此同時也有他們的謊言和盲點，乃至勇氣和善意的偶爾缺失。她的描寫不帶評判色彩，只有“不夾偏私，冷靜理性的愛”，如同來自親密的朋友或家庭成員。
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.
和門羅一樣，她小說中的女人們也多在加拿大小鎮上成長，在某個時刻面臨留在家鄉還是奔赴廣大世界的抉擇。她們在數十年的人生中往往歷經社會鉅變，從舉辦茶會、社交場合必須戴白手套的年代和地點一路走到健康食品店與脫衣舞酒吧的時代。
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.
因此，門羅筆下的女人經常發現自己被困在文化道德轉型的邊緣，在互相矛盾的義務中掙扎——堅守與逃避、家庭與自由，對家族的責任與內心衝動的迫切召喚。
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.
在一個個故事裏，激情就像磁石或馬達，吸引和驅動着女人們做出選擇。對於門羅的女主人公們來說，愛情與性愛，婚姻與外遇通常就像鏡子一樣映照出她們的渴望——她們最美好的夢想與最殘酷的自欺，她們的獨立意識與對歸屬感的需求。
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.
門羅還擅長描寫多年親密關係的多種複雜情況，顯示這樣的關係如何扼殺一段婚姻，或爲婚姻注入新的奉獻精神。她展示了性愛可以變爲“蔓延的火勢”；一時衝動的幽會可以成爲珍貴的回憶，匯聚爲對抗平庸中年生活的堡壘。
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.
疾病與死亡也是她小說中經常出現的主題，讀者經常會感受到生命的珍貴，以及運氣、機遇和輕率莽撞的選擇在人生中扮演的角色。門羅筆下的一些人物把改變視爲解放自身的力量，可以讓他們擺脫一成不變的生活，或者至少能滿足他們對人生敏銳的好奇心。另一些人則將改變視爲可怕的不幸，擔心會失去手中珍貴的一切，至少那是他們所熟悉的一切。
原文和譯文出處：https://cn.nytimes.com/011d89ab4d/5142d7f30fb13861/1743d4ad4bef7b3c/0707.l/
漢譯英
2014年6月11日，中共中央政治局常委劉雲山訪問丹麥期間，參加了“歐洲學者眼中的中國共產黨國際研討會”併發言，主辦方是丹麥哥本哈根商學院和中國當代世界研究中心。李世默在研討會上做了題爲“從全球視角看中國研究的新動向和中共形象的新變化”的發言。
譯文出自：（以下版本稍有調整，僅供參考）
http://arch.cssn.cn/hqxx/xkdt/xkdtnews/201406/t20140613_1209933_1.shtml
現代西方的中國學研究大致經歷了兩個代際的變化。第一代是歷史主義流派，第二代是意識形態流派。當代西方對中國的認知，不論是學術界或大衆媒體，都深受這兩大代際流派的影響。
In the modern era, Chinese studies in the West have gone through two main generations: the generation of the historic school and the generation of the ideological school. Contemporary Western perceptions and understanding of China, in both the academic world and popular press, have been informed by the methods and aims of these two schools.
現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中國，研究方法深受傳統文化影響，研究領域涵蓋了中國的政治、歷史、社會狀況和中國歷史上重要的領袖人物。
The first generation has guided the world’s understanding of China since the early 20th century. They seek to study China in a historical context. Their methods are deeply cultural. Their studies encompass China’s politics, historical and social conditions, and the personalities who drove China’s history.
中國學的第二代，始於1989年，在後冷戰時代的意識形態狂熱中誕生。這一時期的研究，陷入自由民主或專制獨裁的意識形態兩元對立。在研究取向上，強調政治立場先行和意識形態掛帥，目的只有一個，即證明中國的政治制度必然崩潰。可惜，這一代流派的研究一再被中國成功發展的事實證僞，備受質疑。
The second generation materialized after 1989 in the context of the post Cold War ideological fervor. The entire school was defined by the ideological dichotomy between liberal democracy and authoritarianism. The aim of their studies carried an overtly political and ideological agenda - to prove the Chinese political system is on an inevitable course towards eventual collapse. This school has been largely discredited by facts on the ground and their impact on the future will be limited at best.
第三代中國學發端於新的形勢背景下，研究方法和取向都不同以往。這一代流派的演進，將推動中國學從基礎結構上發生轉型，並使世界對中國的認知產生決定性影響。這對中國共產黨來說意義深遠，作爲中國政治治理模式的核心。
A third generation is emerging. This new generation is approaching China with new methods and different aims within different contexts. This development has placed the fundamental frameworks of Chinese studies in transition. How this evolves will have decisive impacts on the world’s interpretations of China.
最近幾十年來，中國全方位快速崛起，全球政治、歷史、經濟研究的頂尖人士，紛紛聚焦中國，希望探究這一歷史重大事件的深遠含義。這個羣體不再象前兩代那樣限於中國通，而是來自各個領域。
With the dramatic rise of China in all aspects of its national power in recent decades, some of the brightest minds in political science, history, and economics are beginning to examine closely what it all really means. Many of them are no longer China experts but generalists.
一個趨向可以稱爲實證派，即以收集客觀數據爲基本研究方法，從歷史和現在的角度客觀分析中國的治理模式。
A much more interesting emerging trend is the empirical school. In this approach, the methods center around empirical data and the aim is the objective understanding of Chinese governance in both historic and contemporary contexts.
原文出處：
http://news.sdnews.com.cn/gn/201406/t20140612_1637593.html
英譯漢審校
來源 | NYT | An Accidental King Finds His Voice
By Sarah Lyall
On Sept. 3, 1939, after Britain declared war on Germany, George VI addressed millions of people around the world in a live radio broadcast. It was a somber, stirring call to patriotism and fortitude, to courage and resilience, and it was one of the best speeches he had ever made.
He had had to struggle so hard to get there. The terrifying march to war, along with the trauma of taking over the throne after the unprecedented abdication of his popular older brother, Edward VIII, had brought back the debilitating stutter that had plagued the king since childhood. The long silences on the radio were not a rhetorical device but a verbal crutch.
That he managed at all was a tribute to the man who stood beside him as he spoke, an uncredentialled, unorthodox speech therapist from Australia named Lionel Logue. “The King’s Speech,” which opens on Nov. 24, tells the story of the unlikely friendship between the two men and describes how Logue helped the king find his voice and his confidence.
“It was a perfect storm of catastrophe,” said Colin Firth, whose nuanced portrayal of George has generated a huge pre-Oscar stir. “Having a stammer causes tremendous suffering, and just a few years earlier he would have been bailed out by having his remarks recorded and edited. But he was required to speak on this new device, live radio. And to compound all that you have a war looming, where his only function is his voice, to speak to the people, and he can’t speak.”
The movie opens before George (then called Prince Albert, or Bertie) becomes king, during a scene in which he is trying to address an expectant crowd at Wembley Stadium. Mr. Firth’s voice flails. He swallows his words, trips over them, and spits them partially out, lapsing into long, panicked silences. It is almost physically painful to watch.
George’s wife, played by Helena Bonham Carter, convinces him to seek help from Logue (Geoffrey Rush). Logue’s eccentric methods include insisting that he and Bertie address each other by their first names, making Bertie sing and impertinently asking him about his lonely childhood and his relationship with his chilly family. Gradually the future king opens up, his voice relaxing along with his clenched-up spirit.
“It’s Logue’s way of trying to help him at a time when convention does not allow psychoanalysis for a person like that,” Mr. Firth said. “Logue is one of the early generation who believed that getting to the heart of a problem psychologically could help with a cure.”
George VI remained a friend of Mr. Logue for the rest of their lives. (The king died in 1952; Logue died the following year.) The king sought his help before important speaking engagements and, in 1937 made him a member of the Royal Victorian Order, which recognizes personal service to the sovereign.
The king never fully got over his stutter, and Mr. Hooper said it would have been wrong to give the film a classic Hollywood ending, in which he is cured and lives happily ever after.
When he went back and listened to archival recordings, Mr. Hooper said, “it was clear that the king was still coping with his stammer, and that this was not about a man who was cured. It was about a man who had learned how to cope.”
（待審校譯文略）
漢譯英審校
中文爲考試原文（有修改），英文爲搜索譯文，並非考試試題中需修改內容，僅供參考。
當前推進城鎮化的主要任務是:推進農民工等農業轉移人口市民化;提高城鎮建設用地利用效率，防止城鎮化大量圈佔土地、低效利用;建立多元可持續的城鎮化資金保障機制，改變過度依賴土地財政的局面;優化城鎮化佈局和形態，改善人居環境;提高城鎮化水平，實事求是定位，科學務實規劃;加強對城鎮化的管理。
城鎮建設要體現尊重自然、順應自然、天人合一的理念，依託現有山水脈絡等獨特風光，讓城市融入大自然，讓居民望得見山、看得見水、記得住鄉愁。
At present, the main tasks for urbanization are to grant urban residency to more rural migrant workers and other rural people who have moved to cities; make more efficient use of urban land for construction purposes and prevent too much land from being expropriated for urbanization and used inefficiently; establish a diversified and sustainable mechanism for funding urbanization; put an end to China’s over reliance on land-based finance; improve the structure and form of urbanization and the living environment; raise the level of urbanization, realistically define what a city should be like and make proper plans for its development; and improve the management of urbanization.
In pursuing urbanization, China needs to respect and be in tune with nature and ensure unity between man and nature.
Making use of current mountains, waters and other unique landscapes, China needs to integrate cities into nature so urban dwellers can enjoy the view of mountains and waters and are reminded of their hometowns.
