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5月翻譯資格考試中級沖刺模擬題
2016年的翻譯資格考試是在五月的二十一號和二十二號舉行，那么下面是小編yjbys為您推薦的關(guān)于5月翻譯資格考試中級沖刺模擬題，歡迎參考!
The first outline of The Ascent of Man was written in July 1969and the last foot of film was shot in December 1972. An undertaking aslarge as this, though wonderfully exhilarating, is not entered lightly. It demands an unflagging intellectual and physical vigour, a total immersion, which I had to be sure that I could sustain with pleasure; for instance, Ihad to put off researches that I had already begun; and I ought to explai-n what moved me to do so.
There has been a deep change in the temper of science in the last20 years: the focus of attention has shifted from the physical to the life sciences. As a result, science is drawn more and more to the study of in-dividuality. But the interested spectator is hardly aware yet how far-reaching the effect is in changing the image of man that science moulds. Asa mathematician trained in physics, I too would have been unaware, had not a series of lucky chances taken me into the life sciences in middle age. I owe a debt for the good fortune that carried me into two seminal fields of science in one lifetime; and though I do not know to whom the debt is due, I conceived The Ascent of Man in gratitude to repay it.
The invitation to me from the British Broadcasting Corporation was to present the development of science in a series of television programmes to match those of Lord Clark on Civilisation. Television is an admirable medium- for exposition in several ways: powerful and immediate to the eye, able to take the spectator bodily into the places and processes that are described, and conversational enough to make him conscious that what he witnesses are not events but the actions of people. The last of these merits is to my mind the most cogent, and it weighed most with me in agreeing to cast a personal biography of ideas in the form of television essays. The point is that knowledge in general and science in particular does not consist of abstract but of man-made ideas, all the way from its beginnings to its modern and idiosyncratic models. Therefore the underlying concepts that unlock nature must be shown to arise early and in the simplest cultures of man from his basic and specific faculties. And the development of science which joins them in more and more complex conjunctions must be seen to be equally human: discoveries are made by men, not merely by minds, so that they are alive and charged with individuality. If television is not used to make these thoughts concrete, it is wasted.
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不是因為我們害怕看到他會因失誤而給他輝煌的生涯畫上遺憾的一筆。從善意的角度說，我們想讓邁克知道，我們?nèi)匀恍蕾p他，至少在我們的記憶中，他仍然是英雄。事實上，我們不想讓他重返球場，即使他是邁克爾·喬丹。我們覺得這是個貿(mào)然之舉，我們不想看到自信的商標(biāo)蛻變成一種自負(fù)的象征。我們不想讓他重返球場，因為沒有人喜歡賣弄。失誤呢?那將會很有趣。
但是我們是有著225年樂觀歷史的美國人，我們都是好心人。當(dāng)喬丹幾天前宣布他將在九月重返NBA時，我們曾為之一振。宣布的前一天，他說過：“我盼望能打球，并希望事情能如愿以償。有些人懷疑，有些人緊張，都屬正常。”《時代》周刊和美國有線新聞網(wǎng)上周做的一項民意調(diào)查表明，每兩個美國人當(dāng)中就有一個人希望喬丹盡快重返賽場。只有21%的人們認(rèn)為，如果他的重返導(dǎo)致一場徹底失敗，將會損害他的傳奇。事實上只有28%的人認(rèn)為運(yùn)動員應(yīng)該在他的運(yùn)動巔峰時期引退。
與喬丹關(guān)系密切的人告訴《時代》周刊，當(dāng)喬丹第一次談到重返它與其他人共同擁有的華盛頓奇才隊并為之效力時，一些他最信任的顧問試圖私下打消他的愿望。“但他們說，如果試圖阻止他，只能鑒定他的決心，”一位NBA人士如是說。
喬丹復(fù)出所產(chǎn)生的問題不僅僅在于他不可能重現(xiàn)1998年的神話，那一年，他以一個精彩的最后一秒投籃，使球隊贏得了冠軍，也為自己贏得了第六只金指環(huán)。問題是他重返的動機(jī)——他需要人們的關(guān)注，需要在38歲體力不支時，仍然打球。這一切都有悖于他所創(chuàng)造的神話——一個展示絕對控制力的神話。如果說二十世紀(jì)的第一個球星巴比·魯斯是一個身材魁梧肥胖的魯莽之夫和酒鬼天才，喬丹則證明了剛毅所能帶來的優(yōu)雅風(fēng)度，并以此結(jié)束了二十世紀(jì)。巴比對觀眾的頤指氣使被喬丹無奈聳肩的魅力所取代。喬丹代表著成功，因為他的名字沒有被他的政治傾向、他的觀點或是他的超級明星個性所玷污。喬丹迷就是典雅和自信迷。
It’s not that we are afraid of seeing him stumble, of scribbling a mustache over his career. Sure, the nice part of us wants Mike to know we appreciate him, that he still reigns, at least in our memory. The truth, though, is that we don’t want him to come back because even for Michael Jordan, this would be an act of hubris so monumental as to make his trademark confidence twist into conceit. We don’t want him back on the court because no one likes a show-off. The stumbling? That will be fun.
But we are nice people, we Americans, with 225 years of optimism at our backs. Days ago when M.J. said he had made a decision about returning to the NBA in September, we got excited. He had said the day before, “I look forward to playing, and hopefully I can get to that point where I can make that decision. It’s O.K., to have some doubt, and it’s O.K. to have some nervousness.” A Time/CNN poll last week has Americans, 2 to 1, saying they would like him on the court ASAP. And only 21 percent thought that if he came back and just completely bombed, it would damage his legend. In fact only 28 percent think athletes should retire at their peak.
Sources close to him tell Time that when Jordan first talked about a comeback with the Washington Wizards, the team Jordan co-owns and would play for, some of his trusted advisers privately tried to discourage him. “But they say if they try to stop him, it will only firm up his resolve,” says an NBA source.
The problem with Jordan’s return is not only that he can’t possibly live up to the storybook ending he gave up in 1998 — earning his sixth ring with a last-second championship-winning shot. The problem is that the motives for coming back — needing the attention, needing to play even when his 38-year-old body does not — violate the very myth of Jordan, the myth of absolute control. Babe Ruth, the 20th century’s first star, was a gust of fat bravado and drunken talent, while Jordan ended the century by proving the elegance of resolve; Babe’s pointing to the bleachers replaced by the charm of a backpedaling shoulder shrug. Jordan symbolized success by not sullying his brand with his politics, his opinion or superstar personality. To be a Jordan fan was to be a fan of classiness and confidence.
To come back when he knows that playing for Wizards won’t get him anywhere near the second round of the play-offs, when he knows that he won’t be the league scoring leader, that’s a loss of control.
Jordan does not care what we think. Friends say that he takes articles that tell him not to come back and tacks them all on his refrigerator as inspiration. So why bother writing something telling him not to come back? He is still Michael Jordan.
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《人類的進(jìn)程》一書的提綱初稿是1969年7月完成的，影片的最后一部分是在1972年12月拍攝的。像這樣大的一個項目，雖然異常精彩，令人激動，卻并不是輕易上馬的。它要求我保持旺盛的腦力和體力，專心致志地投入工作。我必須確保持之以恒，并從中得到樂趣;比方說，我不得不停下已經(jīng)開始的研究工作;我還應(yīng)當(dāng)說明一下，究竟是什么促使我承擔(dān)這項工作的。
二十年來，科學(xué)的發(fā)展趨勢發(fā)生了深刻的變化：關(guān)注的焦點已經(jīng)從自然科轉(zhuǎn)移到生命科學(xué)。結(jié)果，便把科學(xué)越來越吸引到個體特征的研究上來。然而感興趣的旁觀者幾乎沒有意識到此事對于改變科學(xué)塑造的人的形象產(chǎn)生了多么深遠(yuǎn)的影響。我是一個研究數(shù)學(xué)的人，以前學(xué)過物理學(xué)，若不是中年有幸有幾次機(jī)會涉足生命科學(xué)，我也不會有所認(rèn)識。我應(yīng)當(dāng)感謝我交的好運(yùn)，是它使我在一生中參與了兩個啟發(fā)性的科學(xué)領(lǐng)域。盡管我并不知道應(yīng)該向誰表示感謝，我編寫了《人類的進(jìn)程》一書，以表示我的感激之情。
英國廣播公司邀請我做的是通過一套電視節(jié)目來表現(xiàn)科學(xué)的發(fā)展過程，以與克拉克勛爵制作的關(guān)于文明的電視節(jié)目相匹配。通過電視來進(jìn)行解說有幾大好處：它有力、直觀，能使觀眾身臨其境或親身參與所描述的過程，它的語言親切，能使觀眾覺得他所看到的是人們的行動而不是事件。這些優(yōu)點之中，我認(rèn)為最后一點最為突出，它是一股最大的動力促使我同意以電視散文的方式從個人的角度來講述各種思想的發(fā)展史。重要的是知識總體，尤其是科學(xué)知識不是由抽象的思想構(gòu)成的，而是由人的思想構(gòu)成的，自有知識開始直到現(xiàn)代千奇百怪的模式莫不是如此。所以介紹打開自然界之門的基本思想，必須表現(xiàn)出它們很早就已產(chǎn)生，而且是產(chǎn)生在人類最淳樸的文化之中，產(chǎn)生于人類基本的、具體的感官之中。同時還必須表現(xiàn)出使種種思想形成越來越復(fù)雜的結(jié)合體的科學(xué)的發(fā)展也同樣是人類的貢獻(xiàn)：種種發(fā)現(xiàn)都是人的產(chǎn)物，而不僅僅是頭腦的產(chǎn)物，因此它們都是有生氣的，而且具有個人的特色。如果電視未能把這些思想表現(xiàn)得很具體，那豈不是浪費(fèi)!
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