北京大學2011年翻譯碩士考研真題

　　歷年真題是最權威的，最直接了解各專業考研的複習資料，考生要重視和挖掘其潛在價值，尤其是現在正是衝刺複習階段，模擬題和真題大家都要多練多總結，下面分享北京大學2011年翻譯碩士考研真題，方便考生使用。

　　北京大學2011年翻譯碩士考研真題及答案

　　I. Phrase Translation

　　1. reciprocal banquet

　　2. pop concert

　　3. black tea

　　4. Red-hot news

　　5. sanitary ware

　　6. talk show

　　7. Illegal assembly

　　8. WHO

　　9. Business loan

　　10. liberal education

　　11. Monetary restraint

　　12. Triple crown

　　13. Byzantine Empire

　　14. CNN

　　15. Net speak

　　16. 中央情報局

　　17. 餐館勤雜工

　　18. 軍事法庭

　　19. 新手

　　20. 核裁軍

　　21. 殺人未遂

　　22. 主題公園

　　23. 習慣法

　　24. 破產申請

　　25. 經濟指標

　　26. 學費減免

　　27. 半決賽

　　28. 百老匯大街

　　29. 病毒清除程序

　　30. 桂冠詩人　

　II. Passage translation　　SECTION A CHINESE TO ENGLISH [ 60MIN ]

　　西洋的大詩人很多，第一個介紹到中國來的偏偏是郎費羅。郎費羅的好詩或較好的詩也不少，第一首譯為中文的偏偏是《人生頌》。那可算是文學交流史對文學教授和評論家們的小小嘲諷或挑釁了!歷史上很多——現在就也不少——這種不很合理的事例，更確切地說，很不合學者們的理想和理論的事例。這些都顯示休謨所指出的，「是這樣」(is)和「應該怎樣」(Ought)兩者合不攏。在歷史過程中，事物的發生和發展往往跟我們鬧彆扭，惡作劇，推翻了我們定下的鐵案，塗抹了我們畫出的藍圖，給我們的不透風、不漏水嚴密理論系統搠上大大小小的窟窿。」通常說「歷史的教訓」，仿佛曆史只是嚴厲正經的上級領導老師;其實歷史也像淘氣搗亂的小孩子，愛開玩笑，捉弄人。　

　SECTION B ENGLISH TO CHINESE [ 60 MIN ]

　　One day, in the autumn of 1845, I accidentally lighted on a MS. volume of verse in my sister Emily’s handwriting. Of course, I was not surprised, knowing that she could and did write verse: I looked it over, and something more than surprise seized me–a deep conviction that these were not common effusions, nor at all like the poetry women generally write. I thought them condensed and terse, vigorous and genuine. To my ear they had also a peculiar music–wild, melancholy, and elevating.

　　My sister Emily was not a person of demonstrative character, nor one on the recesses of whose mind and feelings even those nearest and dearest to her could, with impunity, intrude unlicensed; it took hours to reconcile her to the discovery I had made, and days to persuade her that such poems merited publication. I knew, however, that a mind like hers could not be without some latent spark of honourable ambition, and refused to be discouraged in my attempts to fan that spark to flame.

　　Meantime, my younger sister quietly produced some of her own compositions, intimating that, since Emily’s had given me pleasure, I might like to look at hers. I could not but be a partial judge, yet I thought that these verses, too, had a sweet, sincere pathos of their own.

　　We had very early cherished the dream of one day becoming authors. This dream, never relinquished even when distance divided and absorbing tasks occupied us, now suddenly acquired strength and consistency: it took the character of a resolve. We agreed to arrange a small selection of our poems, and, if possible, to get them printed. Averse to personal publicity, we veiled our own names under those of Currer, Ellis, and Acton Bell; the ambiguous choice being dictated by a sort of conscientious scruple at assuming Christian names positively masculine, while we did not like to declare ourselves women, because–without at that time suspecting that our mode of writing and thinking was not what is called 『feminine』–we had a vague impression that authoresses are liable to be looked on with prejudice.

（實習編輯：劉佰萬）

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