大学生必报竞赛之一丨国内翻译大赛天花板，综测加分必备！

第十五届 “大连外国语大学 –《英语世界》杯” 翻译大赛火热报名中！欢迎各高等院校按照竞赛章程及有关规定组织学生报名参赛，欢迎各大高校学子积极参与！

大赛唯一指定报名入口

 

 

-扫码立即报名-

官网链接：https://www.saikr.com/vse/translationSATI/2024?ces=XB12172（点击跳转）

 

 

 

为什么必须得参加这个竞赛？！

 

01

够专业、够权威、含金量高：

竞赛由商务印书馆《英语世界》 杂志社主办（老牌杂志社），大连外国语大学高级翻译学院合办

 

02

老牌竞赛，众多高校协办：

“《英语世界》杯”翻译大赛肇始于 2010 年，距今已经举办十五届，每年均有众多翻译类专业学院协办支持，目前已经成为国内最有影响力的翻译赛事之一。

 

03

证书含金量高：

证书评阅分初评复评和终评，评阅均选自业内知名翻译专家！奖项根据译文质量综合评定！

 

04

获奖奖励丰厚：

⚡一、二、三等奖颁发证书、奖金和奖品，优秀奖颁发证书和奖品。

⚡获奖者均获赠《英语世界》数字刊一年会员权益，

⚡并有机会受邀试译，水平达标者将成为《英语世界》的译者。

⚡入围复审名单的参赛者，可提请本社编辑部开具“入围复审”的书面证明。

 

 

主办单位

 

商务印书馆《英语世界》 杂志社

 

-合办院校-

大连外国语大学高级翻译学院

 

协办单位

 

中国翻译协会社会科学翻译委员会

中国外文局 CATTI 项目管理中心

中国英汉语比较研究会英汉翻译研究学科委员会

重庆翻译学会

浙江省翻译协会

河南省翻译协会

山东省翻译协会

四川省翻译协会

广东省翻译协会

湖北省翻译理论与教学研究会

陕西省翻译协会

江苏省翻译协会

成都通译翻译有限公司

上海译国译民翻译服务有限公司

全国商务外语翻译考试（BETT）办公室

商务印书馆教育出版研究中心湖南编辑部

《外语与翻译》编辑部

英文巴士

赛氪

我爱竞赛网

英译汉原文

 

【1】Years after my first and only art history class, I am insufferable at museums. “That’s definitely a Matisse,” I say. “You can tell because of the brushwork and the vibrant use of color.” Sometimes it is not a Matisse. Sometimes it is a Manet, and I am quiet for a while. But usually it is a Matisse, and I am smug as a picnic.

【2】It is unsettling to learn, then, that for all of my carefully won art appreciation, I am in danger of being surpassed by an insect. In a recent study led by the University of Queensland’s Wen Wu, honeybees—whose brains, mind you, are the size of grass seeds—were shown Picassos and Monets paired side by side. Below the prints were two small chambers, one containing sugar water and the other nothing at all.

【3】Which to enter? Bees couldn’t see or smell whether a given chamber held the succulent treat until they’d already flown inside it. But they could let the masterpieces guide them: for some bees, the reward was always under the Picasso, while for the rest it was under the Monet. Over the course of many trials, the bees learned to fly straight for the correct chamber. Indeed, they even performed slightly better than chance when faced with pairs of paintings they’d never seen before. The bees had learned to discriminate, however modestly, between the two artists’ styles.

【4】To be sure, humans still have the edge. Last year a team of researchers at University of British Columbia led by Liane Gabora found that art students were perfectly capable of identifying which well-known artist was behind which obscure painting. Creative writing students were similarly excellent at spotting little-read passages by Hemingway or Dickinson—a skill I can only assume no honeybee has yet demonstrated.

【5】Even more impressively, though, the students could recognize as-yet-unseen samples of each other’s work, including work in entirely different mediums. Creative writers could identify their fellow writers’ paintings and sketches; painters had a pretty good idea who’d brought which poem or clay pot.

【6】It’s clear what the bees were doing: picking up and categorizing complex visual patterns in the pairs of images. But recognizing differences across mediums is altogether different. Whether we’re writing sonnets or building sculptures, Gabora and her colleagues argue, we’re doing so with the same mind: one that structures information in the same way, has been shaped by the same experiences, and yearns to express the same ideas. It should come as no surprise that our techniques and preoccupations in one domain should “out” us in another.

【7】But still I wonder: Just what about these techniques and preoccupations did the trick? The researchers did their best to keep subject matter from ruling the day by instructing, for instance, artists who happened to be surfers not to bring in art that depicted surfing. But what of less obvious subject matter—violent relationships, or Western landscapes? And what of the tics and obsessions that seep into our work unawares? A correlational study like this one, though a fine starting point, will not answer these questions.

【8】Perhaps my biggest question has to do with people who don’t identify as artists, and haven’t settled—or at least would claim so—on a personal style. Are their creations also a reflection of their worldview? It seems likely that, at least to some extent, bad art is all alike, while only good art is good in its own way.

汉译英原文

 

【1】龙的起源与中华人文始祖伏羲有关，龙是中华民族的图腾,炎黄子孙是龙的传人，所以龙也成为历代绘画名家的创作题材，三国曹不兴、东晋顾恺之、南北朝张僧繇、唐代吴道子、五代董羽、北宋松所、南宋陈容等。他们都因其出色的技艺和独特的风格而闻名于世，在中国绘画史上具有重要地位和影响力，而唯有陈容被誉为中国古代“画龙第一人”。陈容在继承传统绘画技法的基础上，大胆创新，又有突破，对后世画坛影响深远，元明清三代以水墨画龙的画家大多临摹传承其画法，无出其右者。明代文学家解缙有诗曰：“古来画者谁最工，神妙独有陈所翁。”

【2】龙是古代传说中的神异动物，其形象在典籍中的记载也不尽相同。罗贯中在《三国演义》中借曹操之口描绘得非常生动：“龙能大能小，能升能隐；大则兴云吐雾，小则隐介藏形；升则飞腾于宇宙之间，隐则潜伏于波涛之内。方今春深，龙乘时变化，犹人得志而纵横四海。龙之为物，可比世之英雄。”画家们在创作过程中吸取古籍中的描述，加上自己丰富的想象，创造出形态各异的龙。在汉唐时期画家笔下的龙多呈兽形,宋以后逐渐变为蛇形。《图绘宝鉴》记载，陈容画龙“深得变化之意，泼墨成云，噀水成雾，醉余大叫，脱巾濡墨，信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，曾不经意而得，皆神妙”。南宋诗人刘克庄将陈容所绘的龙与北宋李公麟（字伯时）所绘的马相提并论，称为“伯时马，公储龙”。可见当时陈容名声之显赫。

【3】在陈容的心目中，龙是祥瑞的象征，它遨游苍穹、呼风唤雨，普降甘霖、造福百姓。所以他一生以画龙为己任，赞美龙布雨九土、施恩于民的恩德，以此来抒发自己的鸿鹄之志。

（选自《月读》2024年第2期）