[考研类试卷]考研英语（翻译）模拟试卷12及答案与解析.doc

1、考研英语（翻译）模拟试卷 12 及答案与解析Part CDirections: Read the following text carefully and then translate the underlined segments into Chinese. (10 points) 0 The real heroine of the novel stands at one remove to the narrative.【F1】On the face of it, readers are more likely to empathize with, and be curious about,

2、 the mysterious and resourceful slave, Sarah, who forms one point of an emotional triangle. Sarah is the property of Manon, and came with her to a failing Louisiana sugar plantation on her marriage to the good-for-nothing, bullying owner. But Manons husband is soon struck by Sarah, and the proof lie

3、s in their idiot small son, Walter.However, the reader is forced to see things through Manons eyes, not Sarahs, and her consciousness is not a comfortable place to be. Never a please or a thank you passes her lips when talking to slaves, though manners is the order of the day in white society. Manon

4、 is enormously attracted by inter-racial marriage(for the place and time-the early 19th centurysuch a concern would not be unusual, but in her case it seems pathological).【F2】Walter, with “his fathers curly red hair and green eyes, his mothers golden skin, her full, pushing-forward lips“, is the obj

5、ect of her especial hatred, but she chatters on about all the “dreadful mixed-blooded“, the objectionable “yellow“ people.Beyond Manons polarized vision, we glimpse “free negros“ and the emerging black middle-class. To Manons disgust, such people actually have self-respect. In New Orleans buying sho

6、es, Manon is taken aback by the shopkeepers lack of desired respect.【F3】Mixed race prostitutes acquired the affections of male planters by giving them something mysterious their wives cannot often: What that might be, and why wives cant offer it too, are questions Manon cant even ask, let alone answ

7、er.The first third of the book explores the uneasy and unsustainable peace between Manon, Sarah and the man always called just “my husband“ or “he“. Against the background of violent slave revolts and equally savage revenges, its clear the peace cannot last.【F4 】Its part of the subtlety of this book

8、 that as the story develops and the inevitable explosion occurs, our view of all the characters swiftly changes.【F5】Sarah turns out to deserve all the suspicion Manon directs at her; at the point of death Manons husband displays an admirable toughness and courage; and Manon herself wins the readers

9、reluctant admiration for her bravery, her endurance, and her total lack of self-pity.Perhaps the cruelest aspect of this society is the way it breaks down and distorts family affections. A slaves baby is usually sold soon after birth; Sarahs would-be husband, if he wants her, must buy her; and Manon

10、 herself, after all, is only the property of her husband.1 【F1】2 【F2】3 【F3】4 【F4】5 【F5】5 【F1】Material culture refers to the touchable, material “things physical objects that can be seen, held, felt, usedthat a culture produces. Examining a cultures tools and technology can tell us about the groups h

11、istory and way of life. Similarly, research into the material culture of music can help us to understand the music-culture. The most vivid body of “things“ in it, of course, are musical instruments.【F2 】We cannot hear for ourselves the actual sound of any musical performance before the 1870s when th

12、e phonograph was invented, so we rely on instruments for important information about music-cultures in the remote past and their development. Here we have two kinds of evidence: instruments well preserved and instruments pictured in art. Through the study of instruments, as well as paintings, writte

13、n documents, and so on, we can explore the movement of music from the Near East to China over a thousand years ago, or we can outline the spread of Near Eastern influence to Europe that resulted in the development of most of the instruments on the symphony orchestra.Sheet music or printed music, too

14、, is material culture. Scholars once defined folk music-cultures as those in which people learn and sing music by ear rather than from print, but research shows mutual influence among oral and written sources during the past few centuries in Europe, Britain and America. Printed versions limit variet

15、y because they tend to standardize any song, yet they stimulate people to create new and different songs.【F3】Besides, the ability to read music notation has a far-reaching effect on musicians and, when it becomes widespread, on the music-culture as a whole.Music is deep-rooted in the cultural backgr

16、ound that fosters it. We now pay more and more attention to traditional or ethnic features in folk music and are willing to preserve the folk music as we do with many traditional cultural heritage. Musicians all over the world are busy with recording classic music in their country for the sake of th

17、eir unique culture.【F4】 As always, peoples aspiration will always focus on their individuality rather than universal features that are shared by all cultures alike.【F5】One more important part of musics material culture should be singled out: the influence of the electronic mediaradio, record player,

18、 tape recorder, and television, with the future promising talking and singing computers and other developments. This is all part of the “information-revolution“, a twentieth century phenomenon as important as the industrial revolution in the nineteenth. These electronic media are not just limited to

19、 modern nations; they have affected music-cultures all over the globe.6 【F1】7 【F2】8 【F3】9 【F4】10 【F5】10 The author of some forty novels, a number of plays, volumes of verse, historical, critical and autobiographical works, an editor and translator, Jack Lindsay is clearly an extraordinarily prolific

20、 writer a fact which can easily obscure his very real distinction in some of the areas into which he has ventured.【F1】His co-editorship of Vision in Sydney in the early 1920s, for example, is still felt to have introduced a significant period in Australian culture, while his study of Kickens written

21、 in 1930 is highly regarded. But of all his work it is probably the novel to which he has made his most significant contribution.Since 1916 when, to use his own words in Fanfrolico and after, he “reached bedrock,“ Lindsay has maintained a consistent Marxist viewpoint【F2 】and it is this viewpoint whi

22、ch if nothing else has guaranteed his novels a minor but certainly not negligible place in modern British literature. Feeling that “the historical novel is a form that has a limitless future as a fighting weapon and as a cultural instrument“, Lindsay first attempted to formulate his Marxist convicti

23、ons in fiction mainly set in the past; particularly in his trilogy in English novels1929, Lost Birthright, and Men of Forty-Eight(written in 1919, the Chartist and revolutionary uprisings in Europe).【F3】Basically these works set out, with most success in the first volume, to vivify the historical tr

24、aditions behind English Socialism and attempted to demonstrate that it stood, in Lindsays words, for the “true completion of the national destiny“.【F4】After the war Lindsay continued to write mainly about the presenttrying with varying degrees of success to come to terms with the unradical political

25、 realities of post-war England.【F5】In the series of novels known collectively as “The British War“, and beginning with Betrayed Spring in 1933, it seemed at first as if his solution was simply to resort to more and more obvious authorial manipulation and heavy-handed didacticism. Fortunately, howeve

26、r, from Revolt of the Sons, this process was reversed, as Lindsay began to show an increasing tendency to ignore party solutions, to fail indeed to give anything but the most elementary political consciousness to his characters, so that in his latest(and what appears to be his last)contemporary nove

27、l, Choice of Times, his hero, Colin, ends on a note of desperation: “Everything must be different, I cant live this way any longer. But how can I change it, how? “ To his credit as an artist, Lindsay doesnt give him any explicit answer.11 【F1】12 【F2】13 【F3】14 【F4】15 【F5】15 Islamic law is a particula

28、rly instructive example of “sacred law“. Islamic law is a phenomenon so different from all other forms of law notwithstanding, of course, a considerable and inevitable number of coincidences with one or the other of them as far as subject matter and positive enactments are concerned that its study i

29、s indispensable in order to appreciate adequately the full range of possible legal phenomena.【F1 】Even the two other representatives of sacred law that are historically and geographically nearest to it, Jewish law and Roman Catholic canon law, are perceptibly different.Both Jewish law and canon law

30、are more uniform than Islamic law. Though historically there is a discernible break between Jewish law of the sovereign state of ancient Israel and of the Diaspora(the dispersion of Jewish people after the conquest of Israel), the spirit of the legal matter in later parts of the Old Testament is ver

31、y close to that of the Talmud, one of the primary codifications of Jewish law in the Diaspora. Islam, on the other hand, represented a radical breakaway from the Arab paganism that preceded it; Islamic law is the result of an examination, from a religious angle, of legal subject matter that was far

32、from uniform, comprising as it did the various components of the laws of pre Islamic Arabia and numerous legal elements taken over from the non-Arab peoples of the conquered territories.【F2】All this was unified by being subjected to the same kind of religious scrutiny, the impact of which varied gre

33、atly, being almost nonexistent in some fields, and in others originating novel institutions.【F3】This central duality of legal subject matter and religious norm is additional to the variety of legal ethical and ritual rules that is typical of sacred law.In its relation to the secular state, Islamic l

34、aw differed from both Jewish and canon law.【F4】Jewish law was buttressed by the cohesion of the community, reinforced by pressure from outside: its rules are the direct expression of this feeling of cohesion, tending toward the accommodation of dissent. Canon and Islamic law, on the contrary, were d

35、ominated by the dualism of religion and state, where the state was not, in contrast with Judaism, an alien power but the political expression of the same religion. But the conflict between state and religion took different forms; in Christianity it appeared as the struggle for political power on the

36、 part of a tightly organized ecclesiastical hierarchy, and canon law was one of its political weapons. Islamic law, on the other hand, was never supported by any organized institution; consequently there never developed an overt trial of strength.【F5】There merely existed discordance between applicat

37、ion of the sacred law and many of the regulations framed by Islamic states; this antagonism varied according to place and time.16 【F1】17 【F2】18 【F3】19 【F4】20 【F5】20 【F1】Americans no longer expect public figures, whether in speech or in writing, to command the English language with skill and gift, no

38、r do they aspire to such command themselves. In his latest book, Doing Our Own Thing: The Degradation of Language and Music and Why We Should, Like, Care, John McWhorter, a linguist and controversialist of mixed liberal and conservative views, sees the triumph of 1960s counter-culture as responsible

39、 for the decline of formal English.Blaming the permissive 1960s is nothing new, but this is not yet another criticism against the decline in education.【 F2】Mr. McWhorters academic speciality is language history and change, and he sees the gradual disappearance of “whom“, for example, to be natural a

40、nd no more regrettable than the loss of the case-endings of Old English.【F3】But the cult of the authentic and the personal, “doing our own thing,“ has spelt the death of formal speech, writing, poetry and music. While even the modestly educated sought an elevated tone when they put pen to paper befo

41、re the 1960s, even the most well regarded writing since then has sought to capture spoken English on the page. Equally, in poetry, the highly personal, performative genre is the only form that could claim real liveliness. In both oral and written English, talking is triumphing over speaking, spontan

42、eity over craft.Illustrated with an entertaining array of examples from both high and low culture, the trend that Mr. McWhorter documents is unmistakable. But it is less clear, to take the question of his subtitle, why we should, like, care.【F4】As a linguist, he acknowledges that all varieties of hu

43、man language, including nonstandard ones like Black English, can be powerfully expressivethere exists no language or dialect in the world that cannot convey complex ideas. He is not arguing, as many do, that we can no longer think straight because we do not talk proper.【F5】Russians have a deep love

44、for their own language and carry large chunks of memorized poetry in their heads, while Italian politicians tend to elaborate speech that would seem old-fashioned to most English-speakers. Mr. McWhorter acknowledges that formal language is not strictly necessary, and proposes no radical education re

45、formshe is really grieving over the loss of something beautiful more than useful. We now take our English “on paper plates instead of china.“ A shame, perhaps, but probably an inevitable one.21 【F1】22 【F2】23 【F3】24 【F4】25 【F5】25 There have been rumors. Theres been gossip. All Hollywood is shocked to

46、 learn that Calista Flockhart, star of Foxs hit TV show Ally McBeal, is so thin. And we in the media are falling all over ourselves trying to figure out whether Flockhart has an eating disorder, especially now that she has denied it. Well, Im not playing the game.【F1】If the entertainment industry re

47、ally cared about sending the wrong message on body image, it wouldnt need so many slender celebrities in the first place.But the fact remains that 2 million Americans-most of them women and girls-do suffer from eating disorders.【F2】In the most extreme cases they literally starve themselves to death,

48、 and those who survive are at greater risk of developing brittle bones, life-threatening infections, kidney damage and heart problems. Fortunately, doctors have learned a lot over the past decade about what causes eating disorders and how to treat them.The numbers are shocking.【F3】Approximately 1 in

49、 150 teenage girls in the U. S. falls victim to anorexia nervosa, broadly defined as the refusal to eat enough to maintain even a minimal body weight.【F4】Not so clear is how many more suffer from bulimia, in which they binge on food, eating perhaps two or three days worth of meals in 30 minutes, then remove the excess by taking medicine to move the bowels or inducing vomiting. Nor does age necessarily protect you. Anorexia has been diagnosed in girls as young as eight. Most deaths from the condition occur in women over 45.Doctors used to think eating diso