2022年翻译硕士考研真及答案北外、川大、暨大、对外经贸、上外…

2022年北京外国语大学翻译硕士真题及答案：英语翻译基础

词条汉译英

1. 民心：common aspiration of the people

2. 水墨画：ink and wash painting

3. 华侨：overseas Chinese

4. 和为贵：Harmony is the most valuable/precious

5. 接地气：be down-to-earth

6. 道济天下：Sages’ virtues help all people in the world

7. 经世致用：pursue academic learning to deal with practical matters and govern the country and society well

8. 止戈为武：True achievements are to prevent the war

9. 反恐维稳：combat terrorism and maintain stability

10. 南南合作：South-South cooperation

11. 文化事业单位：cultural institutions

12. 司法行政机关：judicial administrative organs

13. 新兴市场国家：emerging markets

14. 传承红色基因：pass on the red gene

词条英译汉

1. V.R.：虚拟现实（virtual reality）

2. AWOL：擅离职守（absent without leave）

3. UNICEF：联合国儿童基金会

4. BCE：公元前（before common era）

5. SWOT：四点（优势、劣势、机会、威胁）分析

6. pickup：轻型货车

7. decibel：分贝

8. dermatosis：皮肤病

9. vital capacity：肺活量

10. alternating current：交流电

11. cash cow：摇钱树

12. ballpark figure：近似数

13. due diligence：尽职调查

14. hydro power：水力发电

15. compliance officer：合规官

2022年四川大学翻译硕士真题及答案：英语翻译基础

词条汉译英

1.中国进出口商品交易会：The China Import and Export Fair

2.”亚太疫苗获取机制”：APVAX

3.《2030交通战略》：The GMS Transport Sector Strategy 2030

4.地球生命共同体：A Shared Future for All Life on Earth

5.安理会常任理事国：Permanent members of the United Nations Security Council

6.云南大象的北上及返回之旅：The northward travel and return of a group of elephants in Yunnan Province

7.2020年后全球生物多样性框架：The Post-2020 Global Biodiversity Framework

8.联合国2030可持续发展议程：The UN 2030 Agenda for Sustainable Development

9.粤港澳大湾区：Guangdong-Hong Kong-Macao Greater Bay Area

10.跨境电商：Cross-border e-commerce

11.第2758号决议：(The UN General Assembly) Resolution No. 2758

12.病毒溯源：Origin-tracing of the novel coronavirus

13.“清朗行动”：Nationwide campaign to purify the online environment

14.《春秋》：The Spring and Autumn Annals

15.《大学》：The Great Learning

词条英译汉

1.hippocampus：海马，海马结构；马头鱼尾怪兽

2.The UN Charter：《联合国宪章》

3.the restoration of the lawful seat of the People’s Republic of China in the United Nations:恢复中华人民共和国在联合国的合法席位

4. International Maritime Organization(IMO):国际海事组织

5.regenerative medicine:再生医学

6.advanced manufacturing:先进制造

7. the Comprehensive and Progressive Agreement for Trans-Pacific Partnership (CPTPP):《全面与进步跨太平洋伙伴关系协定》

8.G20 Rome summit:二十国集团罗马峰会

9.Purchase Managers’ Index (PMI):采购经理人指数

10.Convalescent plasma:恢复期血浆

11.Booster shot：加强针

12.Vaccination：疫苗接种

13.Keratitis：角膜炎

14.otolaryngology：耳鼻喉科

15.COP 26：联合国气候变化框架公约缔约方大会第二十六次会议

2022年暨南大学翻译硕士考研真题及答案：英语翻译基础

一、词条翻译∶

汉译英∶

1）大湾区：Greater Bay Area

2）精准扶贫：targeted poverty alleviation

3）小康社会：a moderately prosperous society

4）一带一路：the Belt and Road Initiative

5）产业升级：industrial upgrading

英译汉∶

1）trade deficit：贸易赤字

2）flash mob：快闪族

3）CPPCC：中国人民政治协商会议

4）total import and export volume：进出口总额

汉译英：

《随园诗话》：“画家有读画之说，余谓画无可读者，读其诗也。”随园老人这句话是有见地的。读是读诵之意，必有文章词句然后方可读诵，画如何可读？所以读画云者，应该是读诵画中之诗。

Yuan Mei has this to say in his Suiyuan Notes on Poetry: “Artists believe in the reading of a painting, yet I can find nothing to be read in a painting – What one reads is the poetry it bears.” The old gentleman was making a good point here. Reading means reciting, or chanting aloud the words to appreciate the meaning, so one must have the words, the text, before one can do the reading. As such, how can you read a painting? The so-called reading of a painting, therefore, should be reading the poetry it carries.

诗与画是两个类型，在对象、工具、手法，各方面均不相同。但是类型的混淆，古已有之。在西洋，所谓Ut pictura poesis，“诗既如此，画亦同然”，早已成为艺术批评上的一句名言。我们中国也特别称道王摩诘的“画中有诗，诗中有画”。究竟诗与画是各有领域的。我们读一首诗，可以欣赏其中的景物的描写，所谓“历历如绘”。如诗之极致究竟别有所在，其着重点在于人的概念与情感。所谓诗意、诗趣、诗境，虽然多少有些抽象，究竟是以语言文字来表达最为适宜。我们看一幅画，可以欣赏其中所蕴藏的诗的情趣，但是并非所有的画都有诗的情趣，而且画的主要的功用是在描绘一个意象。我们说读画，实在是在画里寻诗。

Poetry and painting fall under two different categories, different in every aspect including aesthetic interest, medium and technique. But confusions over the two genres have a long history. in the West, there is a saying Ut picture poesis, “As in painting, so in poetry”, which has long been regarded as an established observation in art criticism. In China, we too have a particular liking in his poetry”. Having said that, however, we should draw a line between poetry and painting. In reading a poem, we may appreciate its description of scenery to a degree of “pictorial vividness”. Yet the essence of poetry lies somewhere else. That is, it has its ultimate aesthetic interest in human conceptions and emotions. What is called “poetic meaning”, “poetic taste”, or “poetic world”, abstract and elusive as these terms may sound, can after all be best captured in words. When viewing a painting, we may be drawn to it for its poetic inclination, yet not every picture has an inbuilt poetic inclination. More importantly, the primary function of painting is to depict an image. So, what we mean by reading a painting is in reality seeking poetry in its pictorial composition.

2022年对外经济贸易大学翻译硕士真题及答案

英语翻译基础：

1）multilateralism：多边主义

2）Bretton Woods system：布雷顿森林体系

3）carbon footprint：碳足迹

4）Sovereignty debt：主权债务

5）intangible cultural heritage：非物质文化遗产

6）碳中和：carbon neutrality

7）关税壁垒：tariff barrier；tariff wall

8）特别提款权：special drawing rights

9）可穿戴设备：wearable devices

区域经济一体化：regional economic integration

汉语写作与百科知识:

1）刘邦护天下，忧国的诗句：大风起兮云飞扬。威加海内兮归故乡。安得猛士兮守四方！

2）《漂流三部曲》的作者：郭沫若

郭沫若的《漂流三部曲》：《歧路》、《炼狱》和《十字架》是三个带有连续性的短篇。《歧路》中的爱牟实际上就是作者自己的化身。他在日本求学时代专攻医学，但兴趣却在文学方面。回到上海后，他办文艺杂志，一方面消浇自己的烦愁，同时也希望它们在无形之间可以起转移社会风气的作用。《炼狱》写爱牟为了改变自己在妻子走后孤寂难耐的生活，同友人们去游无锡，大自然也医不好他心头的创伤，他又回到上海过着“炼狱”生活。《十字架》写爱牟辞谢了四川C城红十字会的聘请，并退回了旅费。《漂流三部曲》是作家生活的自我写照。

3）公孙龙提出那个论点表明矛盾的普遍与特殊：白马非马

公孙龙（前320年－前250年），传说字子秉，中国战国时期赵国人，曾经做过平原君的门客，诸子百家中名家的代表人物，其主要著作为《公孙龙子》，西汉时共有公孙龙14篇，唐代时分为三卷，北宋时遗失了8篇，至今只残留6篇，共一卷。其中最重要的两篇是《白马论》和《坚白论》，提出了“白马非马”和“离坚白”等论点，是“离坚白”学派的主要代表。是著名的诡辩学代表著作，提出了逻辑学中的“个别”和“一般”之间的相互关系，但把它们之间的区别夸大，割断二者的联系，是一种形而上学的思想体系。与他齐名的是另一位名家，惠施。

4）三十六计的计谋：指桑骂槐

指桑骂槐，表面上是指甲骂乙、指东骂西，但作为军事上的计策，其意义更为深刻。它是作战指挥者用“杀鸡儆猴、敲山震虎”的最有效的暗示手段，以此来慑服部下、树立领导威严。出自《三十六计》第二十六计 指桑骂槐：大凌小者，警以诱之。刚中而应，行险而顺

5）东汉初年的盛世：光武中兴

光武中兴或称建武盛世 [1] ，指的是东汉光武帝刘秀统治时期出现的治世。

6）王国维人间词话中的“众里寻他千百度”出自：青玉案

7）西方学术界文化史之父：伏尔泰

弗朗索瓦-马利·阿鲁埃，笔名伏尔泰，18世纪法国启蒙思想家、文学家、哲学家。

伏尔泰是十八世纪法国资产阶级启蒙运动的泰斗，被誉为“法兰西思想之王”、“法兰西最优秀的诗人”、“欧洲的良心”。主张开明的君主政治，强调自由和平等

8）计算机界诺贝尔奖：图灵

图灵奖（Turing Award），全称A.M.图灵奖（ACM A.M Turing Award），是由美国计算机协会（ACM）于1966年设立的计算机奖项，名称取自艾伦·麦席森·图灵（Alan M. Turing），旨在奖励对计算机事业作出重要贡献的个人 。图灵奖对获奖条件要求极高，评奖程序极严，一般每年仅授予一名计算机科学家。图灵奖是计算机领域的国际最高奖项，被誉为“计算机界的诺贝尔奖”。

9）培根的成就：唯物主义经验论基本原则

10）影响美国内战和局部地区冲突的作品及作家：斯托夫人写的《汤姆叔叔的小屋》

11）果戈里的哪一部作品，是俄国批判现实主义文学发展的基石：《死魂灵》

《死魂灵》是俄国作家尼古莱·瓦西里耶维奇·果戈理·亚诺夫斯基创作的长篇小说，出版于1842年。

小说描写专营骗术的商人乞乞科夫来到某偏僻省城，以其天花乱坠的吹捧成为当地官僚的座上客，并上门去向地主收购死农奴，企图以此作为抵押，买空卖空，牟取暴利。丑事败露后，他便逃之夭夭。

《死魂灵》是俄国批判现实主义文学发展的基石，也是果戈理的现实主义创作发展的顶峰。

12）奥林匹斯12主神中，商业旅者，小偷和畜牧之神是谁：赫尔墨斯

1）简述20世纪中国新文化运动的主要主张

答：他们发起的这场运动提倡人们要学习科学知识，反对封建迷信，认为封建迷信毒害了许多百姓；提倡人们要学习西方的民主社会，反对统治中国几千年的独裁专制制度，反对任何独裁制度的复辟；并且由于白话文的通俗简单，文言文的复杂难懂，新文化运动也主张人们学习简单的白话文，而抛弃晦涩文言文。

2022年上海外国语大学翻译硕士真题及答案

一、汉译英真题：

用“双增”推动“双减”落实

Strengthening school education to ensure the implementation of “double-reduction” initiative

今天，上海市教委就“强化学校教育主阵地作用”召开新闻发布会称，上海方面已注意到“双减”工作既要治标、又要治本的要求，未来将尝试通过用“双增”来推动“双减”的具体落实。

Today, on the press conference on “strengthening the role of school education as the major platform”, the Shanghai Municipal Education Commission noted that Shanghai has noticed that the initiative should be should be both effective and fundamental, therefore, measures should be taken to ensure the quality of school education.

“把课外内容减了，我们要把课内做强做好。”上海市教委相关负责人表示，上海将把“增强学校主阵地功能、增强校内教育质量”作为落实“双减”工作的主要内容，其中包括加强学校作业管理、全面实施义务教育课后服务、建立培育课后服务支持体系、加快推进紧密型学区集团建设、推进落实全员导师制全覆盖6个方面内容。

“Reduce the extracurricular pressure and strengthen learning quality within our class.” The commission said, in response to the initiative, Shanghai will strengthen the role of school education and enhance its quality, including strengthening the management of homework, fully implementing after-school service for compulsory education, fostering supporting systems, accelerating the construction of school districts, and establishing a “mentor system”.

“这是首次明确把课后服务延伸到初中学段。参加课后服务将成为学生常态，大多数人都参加。”上海市教委相关负责人介绍，与课后服务时长配套的，是对学校布置高质量作业的新要求。

“This is the first time that after-school service has been extended to the middle school. It will become the new normal for most students.” The Commission introduced that high-quality homework would therefore be required.

上海市教委相关负责人员说，高质量作业要求“小学作业不出校门，初中疑难作业不带回家”。为此，上海还将要求义务教育阶段各所学校建立作业公示制度，公示作业完成时间和内容。

The Commission said that to ensure the quality of homework, for primary schools, students should be able to finish their assignments within the after-school service period, and for junior high schools, students should be able to cover all the difficulties within school. This is why Shanghai will require all schools of compulsory education to establish a homework posting system to demonstrate the completion time and content of homework.

“校长和老师们要思考，如何向40分钟的课堂要质量。而不是反复操练，捆绑出来的好成绩没有用。” 上海市教委相关负责人员介绍，考核的是80%学生的作业时长，不算平均数，作业管理将被纳入学校绩效考核范围。

“Principals and teachers have to think how to ensure the quality of a 40-minute class instead of emphasizing the importance of repeated practice because even though students could get good grades this way, it is hardly meaningful as true education.”According to the Commission, what will be taken into account as part of their performance assessment is the completion time of 80% students instead of the average.

上海市教委相关负责人介绍，上海“双减”工作的一个重要导向是关注每个学生，包括学生的情绪疏导、未来发展、生命价值讨论等。“强调系统性、整体性、针对性地推进‘双减’工作，治标的同时要从治本上下工夫”。

The Commission introduced that what the initiative focuses on is attention to every student, including their emotional counseling, future development, and the cultivation of life. To ensure a systematic, holistic and targeted implementation, measures should be taken to ensure further and deeper work.

英译汉真题：

The Reader, the Text, the Poem

读者、文本和诗歌

The views set forth here have been tested and tempered by over forty years of observing and reflecting on readers’ involvements with texts ranging from Chaucer and Shakespeare to Joyce and Wallace Stevens. For two decades, in a course on “Criticism and the Literary Experience,” I was able to pursue the study systematically. I presented texts-many of them repeated year after year to graduateand undergraduate students, who were often helped to develop a measure of self-criticism before their study of the critical canon from Plato to Eliot and beyond. A by-product for me was the opportunity, through various techniques, to gather evidence of what went on during their reading. I was able to discover continuities and differences in response with changing student populations and changing mores, and to analyze the processes and patterns that manifested themselves in the actual movement toward an interpretation. My aim was to immerse myself in a rich source of insights, not merely to accumulate a body of codified data. What follows, therefore, is a distillation of my observations, reflections, and reading.

四十多年来，基于观察和总结读者对各种文本参与，包括乔叟、莎士比亚、乔伊斯和华莱士·史蒂文斯，通过反复检验，终于得出本篇观点。二十年来，我一直在教授一门叫做《批评与文学经验》的课程，通过授课，我得以系统地进行研究。我所研究的文本——其中许多文本每年都会教授给研究所和本科生，帮助他们在研究柏拉图和艾略特等重要经典之前，掌握自我批评的方法。对我来说，教授这门课程的额外收获之一就是通过各种方法，研究学生阅读的过程，收集相关数据。从而能够发现，在不同的学生群体和道德观念中，会有哪些相同点和不同点，分析学生解读文本的过程和模式。这样一来，不仅能够收集大量数据，更能让自己沉浸在丰富的见解中。而本文将详细描述自己的观察、反思和阅读。

As contemporary philosophers remind us, the observer inevitably enters into his observations: although I stress the inductive groundwork, obviously I brought to these inquiries various assumptions and hypotheses to be either supported or discarded. Further, strict training in the historical and critical disciplines of literary scholarship had established in me habits of thought from some of which I needed to be liberated. Perhaps this book can perform a similar service for others, not merely by articulating a particular set of intellectual theses but by inducing a new way of thinking about literary works of art.

当代哲学家曾提到，观察者会自然而然地进入观察之中：虽然强调归纳基础，但很显然，我还是不可避免地提出了各种设想和假设，并进一步研究了假设是否成立。此外，文学历史和新批评学派的严格训练，也让我养成了一些特定的思想习惯，给阅读带来了束缚，而这本书也可以帮助我们摆脱这种束缚：不仅仅是通过长篇大论地阐述自己学派的观点，还通过引导读者用全新的方式思考文学作品。

With one exception already alluded to, I have avoided the current tendency to create new terminology. Citations also have been kept to a minimum; a list of the works consulted over the years, or even those to which I am in some way indebted, beyond the ones mentioned in the notes, would be excessively long. I shall try simply to suggest the intellectual matrix within which the transactional theory of the literary work has evolved.

除了已经提到的一个术语，我会尽可能避免“创造”更多的新术语。此外，也会尽可能少做引用；多年来，本研究所参考的、或是那些在某种程度上给过我启发的作品，远不止注释中提到的哪些。我将尽可能简单地写明由文学作品的交易理论所演变而来的知识架构。

As I look back on a long scholarly career, I become aware of a continuing need to affirm and to reconcile two often opposed positions, phrased, in earliest terms, as a Keatsian sense of the unique values of art, on the one hand, and, on the other, a Shelleyan feeling for its social origins and social impact. My first book, (L’Idée de l’art pour l’art dans la littérature anglaise (Paris, 1931), ) written for the doctorate

in comparative literature at the Sorbonne, was a study of the theories of art for art’s sake developed by nineteenth-century English and French writers to combat the pressures of an uncomprehending or hostile society. In the concluding pages, I stated the need for a public of readers able “to participate fully in the poetic experience” -readers able to provide a nurturing, free environment for poets and other artists of the word. Their texts possess, I believed, the highest potentialities for bringing the whole human personality, as Coleridge had said, “into activity.” Here already was the germ of an increasingly intense preoccupation with the importance, to the arts and to society, of the education of readers of literature.

回顾自己漫长的学术生涯，我意识到我们需要调和两种对立的立场，一种是济慈式的，认为文艺有独特的价值，一种是雪莱式的，主张文艺起源于社会并影响着社会进程。我的第一本书（L’Idée

del’art pour l’art dans la littérature anglaise (Paris, 1931)）是为了取得巴黎大学比较文学博士学位而写，研究“为了艺术而艺术”这一艺术理论。“为了艺术而艺术”由19世纪英国和法国作家提出，初衷是为了对抗世人的不理解与敌意。在这本书的最后几页，我也提出，我们需要一群能够“充分参与诗歌体验”的读者——能够为诗人和语言艺术家提供灵感、自由环境的读者。我相信，他们的文本具有最大的潜力，可以让全人类的人格“进入阅读活动之中”。当时，我已经开始意识到文学读者的教育，对艺术和社会非常重要。

My second book, (Literature as Exploration (1938), ) confronted this problem directly, setting forth a philosophy of the teaching of literature the outgrowth mainly of my experience in teaching English and comparative literature at Barnard College. The book also refleeted work with Franz Boas and Ruth Benedict in the graduate department of anthropology at Columbia University. By that time, the writings of William Tamea. C. S. Peirce. Genroe Santavana, and John Dewey had provided a philosophic base for reconciling my aesthetic and social commitments. Dewey’s Arl as Experience especially left its mark, perhaps more through its vision of aesthetic values woven into the texture of the daily life of human beings than its specific treatment of the literary arts.

我的第二本书（《作为探索的文学》（1938））则直面对了这个问题，基于在巴纳德学院教授英语和比较文学的经验的结果，提出了文学教学理论。此外，这本书的完稿，也离不开哥伦比亚大学人类学研究生系的弗朗茨·博阿斯和露丝·本尼迪克特。那时，威廉·塔米亚、C.S.皮尔斯、根罗·桑塔瓦纳和约翰·杜威的作品，为我平衡文学的“美学”和“社会”功能，提供了理论基础。其中，杜威的《作为经验的艺术》尤其重要，在《作为经验的艺术》的一书中，杜威没有抽象地描述文学艺术，而是将艺术的美学价值融入到了人类日常生活中。