英语翻译高级口译-高级阅读(二)及答案解析.doc

1、英语翻译高级口译-高级阅读(二)及答案解析(总分：100.00，做题时间：90 分钟)一、BSECTION 1 READI(总题数：4，分数：50.00)Directions: In this section you will read several passages. Each one is followed by several questions about it. You are to choose ONE best answer, A. B. C. or D. to each question.When Harvey Ball took a black felt-tip pen t

2、o a piece of yellow paper in 1963, he never could have realized that he was drafting the face that would launch 50 million buttons and an eventual war over copyright. Mr. Ball, a commercial artist, was simply filling a request from Joy Young of the Worcester Mutual Insurance Company to create an ima

3、ge for their “smile campaign“ to coach employees to be more congenial in their customer relations. It seems there was a hunger for a bright grinthe original order of 100 smiley-face buttons were snatched up and an order for 10,000 more was placed at once.The Worcester Historical Museum takes this fo

4、unding moment seriously. “Just as youd want to know the biography of General Washington, we realized we didnt know the comprehensive history of the Smiley Face,“ says Bill Wallace, the executive director of the historical museum where the exhibit “SmileyAn American Icon“ opens to the public Oct. 6 i

5、n Worcester, Mass.Worcester, often referred to by neighboring Bostonians as “that manufacturing town off Route 90,“ lays claim to several other famous commercial firsts, the monkey wrench and shredded wheat among them. Smiley Face is a particularly warm spot in the citys history. Through a careful h

6、istorical analysis, Mr. Wallace says that while the Smiley Face birthplace is undisputed, it took several phases of distribution before the distinctive rounded-tipped smile with one eye slightly larger than the other proliferated in the mainstream.As the original buttons spread like drifting pollen

7、with no copyright attached, a bank in Seattle next realized its commercial potential. Under the guidance of advertising executive David Stern, the University Federal Savings the other bends its knee in obeisance to inherited privilege and an undemocratic social and political system. In Mr. Browns vi

8、ew of the world, as I thought ! understood it, an oath of allegiance from children to the Queen ought to be anathema, grotesque, off the scale, not even worth considering.Why then, could No. 10 not dismiss it out of hand yesterday? Asked repeatedly at the morning briefing with journalists whether th

9、e Prime Minister supported the proposal, his spokesman hedged his bets. Mr. Brown welcomed the publication of the report; he thinks the themes are important; he hopes it will launch a debate; he is very interested in the theme of Britishness. But no view as to the suitability of the oath. It is baff

10、ling in the extreme. Does this Prime Minister believe in nothing, then? A number of things need to be unpicked here. First, to give him due credit, the report from the former Attorney-General Lord Goldsmith contains much more than the oath of allegiance. That is but “a possibility thats raised“. The

11、 oath forms a tiny part of a detailed report about what British citizenship means, what it ought to mean and how to strengthen it.It is a serious debate that Mr. Brown is keen to foster about changing the categories of British citizenship, and defining what they mean. But it is in him that the centr

12、al problem resides, the Prime Minister himself is uncertain what Britishness is, while insisting we should all be wedded to the concept. No wonder there is a problem over what a motto, or an oath of allegiance, should contain. Britain is a set of laws and ancient institutionsmonarchy, Parliament, st

13、atutes, arguably today EU law as well. An oath of allegiance naturally tends toward these.It wasnt supposed to be like this. In its younger and bolder days, new Labour used to argue that the traditional version of Britain is outdated. When Labour leaders began debating Britishness in the 1990s, they

14、 argued that the institutions in which a sense of Britain is now vested, or should be vested, are those such as the NHS or even the BBC, allied with values of civic participation, all embodying notions of fairness, equality and modernity absent in the traditional institutions. Gordon Brown himself w

15、rote at length about Britishness in The Times in January 2000: “The strong British sense of fair play and duty, together embodied in the ideal of a vibrant civic society, is best expressed today in a uniquely British institutionthe institution that for the British people best reflects their Britishn

16、essour National Health Service.“An oath of allegiance to the NHS? Ah, those were the days. They really thought they could do it; change the very notion of what it meant to be British. Today, ten years on, they hesitatingly propose an oath of allegiance to the Queen. Could there be a more perfeet ill

17、ustration of the vanquished hopes and aspirations of new Labour? Look on my works ye Mighty, and despair. Ah, but I see there is to be a national day as well, “introduced to coincide with the Olympics and Diamond Jubileewhich would provide an annual focus for our national narrative“. A narrative, a

18、national day, glorifying the monarchy and sport? Yuck. I think I might settle for a national motto after all.（分数：12.50）(1).Which of the following does NOT support the motto “No motto please, were British“? A. It is more or less paradoxical and satirical. B. It has been accepted by the whole nation.

19、C. It shows a refusal of the definition of Britishness. D. It displays the nature of British values.（分数：2.50）A.B.C.D.(2).The word “tweaks“ in the expression “encapsulating a view of Britain in which the State tweaks the odds and the tax credit system to iron out inherited inequalities“ (para. 2) can

20、 best be paraphrased by _. A. changes B. indicates C. imitates D. exemplifies（分数：2.50）A.B.C.D.(3).According to the author, the central problem of the oath of allegiance or a national motto towards Britishness is _. A. the allegiance toward the ancient British institutions B. how to implement the Nat

21、ional Health Service C. how to define Britishness D. the British sense of fair play and duty（分数：2.50）A.B.C.D.(4).In writing the essay, the author demonstrates an attitude of _ towards the issue of Britishness. A. indifference B. enthusiasm C. patriotism D. irony（分数：2.50）A.B.C.D.(5).When the author w

22、rites the rhetorical question “An oath of allegiance to the NHS?“ (para. 7), she is trying to express that _. A. even the Labour Party today will not accept this as an oath of allegiance B. the definition of Britishness could finally be settled C. such an oath of allegiance should be accompanied by

23、a national day D. such an oath of allegiance would be accepted when NHS was first implemented（分数：2.50）A.B.C.D.When the British artist Paul Day unveiled his nine-metre-high bronze statue of two lovers locked in an embrace at Londons brand new St. Pancreas International Station last year it was lambas

24、ted as “kitsch“, “overblown“ and “truly horrific“. Now, a brief glimpse of a new frieze to wrap around a plinth for The Meeting Place statue has been revealed, depicting “dream-like“ scenes inspired by the railways.Passengers arriving from the continent will be greeted with a series of images includ

25、ing a Tube train driven by a skeleton as a bearded drunk sways precariously close to the passing train. Another shows the attempted suicide of a jilted lover under a train reflected in the sunglasses of a fellow passenger. Another section reveals a woman in short skirt with her legs wrapped round he

26、r lover while they wait for the next train.Other less controversial parts of the terracotta draft frieze depicts soldiers leaving on troop trains for the First World War and the evacuation of Londons underground network after the terror attacks of 7 July, 2005.Until the unveiling of The Meeting Plac

27、e last year, Day, who lives in France, was best known for the Battle of Britain memorial on Embankment. His new frieze looks set to be a return to the sort of crammed bronze montages that has made him so well known. Day said he wanted the new plinth to act as the yin to the larger statues yang.“For

28、me this sculpture has always been about how our dreams collide with the real world,“ he said. “The couple kissing represent an ideal, a perfect dream reality that ultimately we cannot obtain. The same is true of the railways. They were a dream come true, an incredible feat of engineering but they al

29、so brought with them mechanized warfare, Blitzkrieg and death.“Day is still working on the final bronze frieze which will be wrapped around the bottom of the plinth in June next year but he says he wants the 50 million passengers that pass through St. Pancras every year to be able to get up close an

30、d personal with the final product. “The statue is like a signpost to be seen and understood from far away,“ he said. “Its size is measured in terms of the station itself. The frieze, on the other hand, is intended to capture the gaze of passers-by and lead them on a short journey of reflections abou

31、t travel and change that echoes their presence in St. Pancras, adding a very different experience to The Meeting Place sculpture.“Brushing aside some of the criticism leveled at his work that has compared it to cartoons or comic strips, Day said he believed his work would stand the test of time. “Al

32、l the crap that was hurled at the sculpture was just that, crap,“ he said. “The reaction from the critics was so strangely hostile but I believe time will tell whether people, not the art press, will value the piece.“When people criticise my reliefs for looking like comic strips they have got the wr

33、ong end of the stick. Throughout the. ages, man has been telling stories through a series of pictures, whether it s stained glass windows, sculptures or photojournalism. My friezes are part of that tradition. “Stephen Jordan, from London and Continental Railways, which commissioned the piece, said.

34、“The Meeting Place seeks to challenge and has been well received by visitors who love to photograph it. In addition, it performs an important role within the station, being visible from pretty much anywhere on the upper level of St. Pancras International and doing exactly what was planned, making th

35、e perfect meeting place for friends.“（分数：12.50）(1).Which of the following is NOT true about The Meeting Place sculpture? A. It has been completed with the rebuilding of the St. Pancras International Station. B. It is located at Londons new St. Pancras International Station. C. It has been designed b

36、y the British artist Paul Day. D. It is a nine-metre-high bronze statue of two lovers locked in an embrace.（分数：2.50）A.B.C.D.(2).The word “lambasted“ from the sentence “it was lambasted as kitsch, overblown, and truly horrific“ (para. 1) can be paraphrased as _. A. applauded B. evaluated C. criticize

37、d D. slandered（分数：2.50）A.B.C.D.(3).When Paul Day says “but they (the railways) also brought with then mechanized warfare, Blizkrieg and death“ (para. 5), he means that _. A. without railways, there would be no mechanized warfare, Blitzkrieg and death B. railways led to mechanized warfare, Blitzkrieg

38、 and death C. the building of railways came in the wake of warfare, Blitzkrieg and death D. the building of railways shows that technology also has horrible destructive power（分数：2.50）A.B.C.D.(4).When Paul Day says that “they (the critics) have got the wrong end of the stick“ (para. 8), he was tellin

39、g us that _. A. they should not be so hostile to his creation B. they are wrong to compare his creation to cartoons or comic strips C. they do not get the essence of his friezes D. they should know more about the tradition of human story telling（分数：2.50）A.B.C.D.(5).According to Paul Day, The Meeting

40、 Place sculpture is intended _. A. to display the controversial world of the past century B. to demonstrate how the yin and the yang accommodate each other C. to picture the life of London people during those war years D. to show how human dreams come into conflict with the real world（分数：2.50）A.B.C.

41、D.At the tail end of the 19th century, Friedrich Nietzsche suggested that natural historywhich he saw as a war against fear and superstitionought to be narrated “in such a way that everyone who hears it is irresistibly inspired to strive after spiritual and bodily health and vigour“, and he grumbled

42、 that artists had yet to discover the right language to do this.“None the less,“ Nietzsche admitted, “the English have taken admirable steps in the direction of that ideal . the reason is that they natural history books are written by their most distinguished scholarswhole, complete and fulfilling n

43、atures.“The English language tradition of nature writing and narrating natural history is gloriously rich, and although it may not make any bold claims to improving health and wellbeing, it does a good jobfor readers and the subjects of the writing. Where the insights of field naturalists meet the l

44、egacy of poets such as Clare, Wordsworth, Hughes and Heaney, there emerges a language as vivid as any cultural achievement.That this language is still alive and kicking and read every day in a newspaper is astounding. So to hold a centurys worth of country diaries is, for an interloper like me, both

45、 an inspiring and humbling experience. But is this the best way of representing nature, or is it a cultural default? Will the next century of writers want to shake loose from this tradition? What happens next?Over the years, nature writers and country diarists have developed an increasingly sophisti

46、cated ecological literacy of the world around them through the naming of things and an understanding of the relationships between them. They find ways of linking simple observations to bigger issues by remaining in the present, the particular. For writers of my generation, a nostalgia for lost wildl

47、ife and habitats and the business of bearing witness to a war of attrition in the countryside colours what were about. The anxieties of future generations may not be the same.Articulating the “wild“ as a qualitative character of nature and context for the more quantitative notion of biodiversity wil

48、l, I believe, become a more dynamic cultural project. The re-wilding of lands and seas, coupled with a re-wilding of experience and language, offers fertile ground for writers. A response to the anxieties springing from climate change, and a general fear of nature answering our continued environment

49、al injustices with violence, will need a reassessment of our feelings for the nature we likecultural landscapes, continuity, native speciesas well as the nature we dont likerising seas, droughts, “invasive“ species.Whether future writers take their sensibilities for a walk and, like a pack of wayward dogs unleashed, let them loose in hills and woods to sniff out some fugitive truth hiding in the undergrowth, or choose to honestly recoun