考研英語全文翻譯

1、精選優(yōu)質(zhì)文檔-傾情為你奉上20*年考研英語全文翻譯Directions:Read the following text carefully and then translate the underlined segments into Chinese. Your translation should be written on the ANSWER SHEET(10 points)Music means different things to different people and sometimes even different things to the same person at d

2、ifferent moments of his life. It might be poetic, philosophical, sensual, or mathematical, but in any case it must, in my view, have something to do with the soul of the human being. Hence it is metaphysical; but the means of expression is purely and exclusively physical: sound. I believe it is prec

3、isely this permanent coexistence of metaphysical message through physical means that is the strength of music.46) It is also the reason why when we try to describe music with words, all we can do is articulate our reactions to it, and not grasp music itself.Beethovens importance in music has been pr

4、incipally defined by the revolutionary nature of his compositions. He freed music from hitherto prevailing conventions of harmony and structure. Sometimes I feel in his late works a will to break all signs of continuity. The music is abrupt and seemingly disconnected, as in the last piano sonata. In

5、 musical expression, he did not feel restrained by the weight of convention. 47) By all accounts he was a freethinking person, and a courageous one, and I find courage an essential quality for the understanding, let alone the performance, of his works.This courageous attitude in fact becomes a requi

6、rement for the performers of Beethovens music. His compositions demand the performer to show courage, for example in the use of dynamics. 48) Beethovens habit of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage was only rarely used by composer

7、s before him.Beethoven was a deeply political man in the broadest sense of the word. He was not interested in daily politics, but concerned with questions of moral behavior and the larger questions of right and wrong affecting the entire society.49) Especially significant was his view of freedom, wh

8、ich, for him, was associated with the rights and responsibilities of the individual: he advocated freedom of thought and of personal expression.Beethovens music tends to move from chaos to order as if order were an imperative of human existence. For him, order does not result from forgetting or igno

9、ring the disorders that plague our existence; order is a necessary development, an improvement that may lead to the Greek ideal of spiritual elevation. It is not by chance that the Funeral March is not the last movement of the Eroica Symphony, but the second, so that suffering does not have the last

10、 word. 50) One could interpret much of the work of Beethoven by saying that suffering is inevitable, but the courage to fight it renders life worth living.46. It is also the reason why when we try to describe music with words, all we can do is articulate our reactions to it, and not grasp music itse

11、lf.【句型分析】本句主句主干為it is the reason，why引導(dǎo)定語從句，修飾the reason。定語從句的主干是all we can do is articulate our reactions and not grasp music itself，其表語是不定式短語，由于主語中含有do，不定式符號to省略：articulate our reactions and not grasp music itself。our reactions之后to it為其定語，it指代music。定語從句中還包含when引導(dǎo)的時間狀語從句?！痉g要點(diǎn)】本句主干的主句是主系表結(jié)構(gòu)，reason后w

12、hy引導(dǎo)的定語從句較長，翻譯時可以與主干部分結(jié)合，調(diào)整表達(dá)為：這也就是為什么.。定語從句中，when引導(dǎo)時間狀語從句，其中with words做狀語，翻譯時需調(diào)整語序到其修飾的to describe之前，可以表達(dá)為“當(dāng)我們嘗試用語言來描述音樂時”。定語從句的主干順譯即可，其中reaction根據(jù)語境，可以翻譯為“感受”，其定語to it在表達(dá)時前置，it指代還原為“音樂”，則可以翻譯為“所有我們能做的，就是明確表達(dá)我們對于音樂的感受”，或者調(diào)整表達(dá)為“我們只能明確表達(dá)我們對于音樂的感受”。and之后，grasp依據(jù)語境，需要翻譯為“理解”。【譯文總結(jié)】這也是為什么當(dāng)我們試圖用語言來描述音樂時，

13、我們只能明確表達(dá)我們對于音樂的感受，而不能完全理解音樂本身。47. By all accounts he was a freethinking person, and a courageous one, and I find courage an essential quality for the understanding, let alone the performance, of his works.【句型分析】本句為并列句。第一個分句he was a freethinking person, and a courageous one，句首by all accounts為固定搭配，意思是

14、“根據(jù)各方面說”。第二個分句的主干為I find courage an essential quality，其中賓語為courage，而an essential quality是賓語補(bǔ)足語。quality后介詞短語for the understanding of his work為其定語，其中還包含一個插入結(jié)構(gòu)let alone the performance?！痉g要點(diǎn)】 第一個分句結(jié)構(gòu)比較簡單，句首固定搭配by all accounts，可以調(diào)整表達(dá)，翻譯為“據(jù)大家所說”。主干順譯即可，其中he指代“貝多芬”，one指代person。這一部分可以翻譯為“貝多芬是個思想自由、充滿勇氣的人”。

15、第二個分句，主干為“我發(fā)現(xiàn)勇氣是一個關(guān)鍵品質(zhì)”，quality后為其定語for the understanding of his work，其中the understanding of his work意思為“對于其作品的理解”，做詞性轉(zhuǎn)化后，可以表達(dá)為“理解其作品”，這個介詞短語需要調(diào)整語序前置于quality，可以翻譯為“理解他作品的關(guān)鍵品質(zhì)”，則第二個分句可以表達(dá)為“我發(fā)現(xiàn)勇氣，是理解他作品的關(guān)鍵品質(zhì)”。還可以調(diào)整表達(dá)為“我發(fā)現(xiàn)勇氣這一品質(zhì)，是理解他作品的關(guān)鍵”。在定語for the understanding of his work中的插入成分，在邏輯上let alone并列the u

16、nderstanding和the performance，二者共用定語of his works，順譯句末即可：更不必說是演出其作品的關(guān)鍵品質(zhì)?！咀g文總結(jié)】人們普遍認(rèn)為，他(貝多芬)是個思想自由、充滿勇氣的人，我發(fā)現(xiàn)勇氣這一品質(zhì)，是理解他作品的關(guān)鍵，更不必說是演出其作品的關(guān)鍵。48. Beethovens habit of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage was only rarely used by composer

17、s before him.【句型分析】本句主干為Beethovens habit was used by composers before him。本句的謂語為被動語態(tài)，主語habit后介詞短語of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage為其定語，是由介詞of與and并列的兩個動名詞短語increasing the volume with an extreme intensity 和then abruptly followi

18、ng it with a sudden soft passage構(gòu)成?！痉g要點(diǎn)】本句主干較為簡單，但是主語habit后有很長的后置定語：Habit of increasing the volume，其中“habit”可以詞性轉(zhuǎn)換為動詞“習(xí)慣”，而中文常常先表達(dá)次要信息，則這一部分可以翻譯一句話“貝多芬習(xí)慣增加”，置于句首。第一個動名詞短語中，with an extreme intensity為狀語，表達(dá)時需調(diào)整語序到其修飾的increasing the volume前，根據(jù)語境，volume意思為“音量”，則increasing可以翻譯為“增高”。這一部分可以翻譯為“最大限度來逐漸增高音量”

19、。第二個動名詞短語then abruptly following it with a sudden soft passage，狀語with a sudden soft passage需調(diào)整到following it前表達(dá)，其中passage根據(jù)語境，意思為“樂段”。則這一部分可以表達(dá)為“然后突然跟上輕柔的樂段”。整合本句主語與其定語，可以翻譯為“貝多芬習(xí)慣最大限度來逐漸增高音量，然后突然跟上輕柔的樂段”。本句主干意思為“在他之前，作曲家很少使用貝多芬的習(xí)慣”。中文語義重心在后，將本部分翻譯在句末即可。由于前句譯文已經(jīng)提到這種習(xí)慣，則這部分可以表達(dá)為“在他之前，作曲家很少使用這種習(xí)慣”，結(jié)合語境

20、還可以表達(dá)為“在他之前，作曲家很少使用這種方式”，或者“在他之前，只有極個別作曲家會使用這種方式”?！咀g文總結(jié)】貝多芬習(xí)慣最大限度來逐漸增高音量，然后突然跟上輕柔的樂段，在他之前，作曲家很少使用這種方式。49) Especially significant was his view of freedom, which, for him, was associated with the rights and responsibilities of the individual: he advocated freedom of thought and of personal expression.

21、【句型分析】本句為完全倒裝，主句的主干是his view of freedom was Especially significant。his view of freedom后為which引導(dǎo)的非限定性定語從句，修飾freedom，關(guān)系代詞which在定語從句中作主語。of the individual修飾the rights and responsibilities，冒號后進(jìn)行解釋說明?！痉g要點(diǎn)】 本句主干為完全倒裝，但是在翻譯時，順譯即可，其中his指代“貝多芬的”，主干可以表達(dá)為：尤為重要的是，他(貝多芬)對于自由的看法.。 which引導(dǎo)英語從句，修飾freedom，表達(dá)時翻譯成另一句

22、話“對于他而言，這種自由是與個人的權(quán)利和責(zé)任聯(lián)系起來的”，其中for him還可以調(diào)整表達(dá)為“他認(rèn)為”。冒號后進(jìn)行解釋，可以翻譯為：他倡導(dǎo)思想自由和個人言論自由?！咀g文總結(jié)】尤為重要的是貝多芬對于自由的看法，他認(rèn)為，這種自由是與個人的權(quán)利和責(zé)任聯(lián)系起來的：他倡導(dǎo)思想自由和個人言論自由。50. One could interpret much of the work of Beethoven by saying that suffering is inevitable, but the courage to fight it renders life worth living.【句型分析】本句主

23、句主干為One could interpret much of the work of Beethoven，之后by saying that suffering is inevitable, but the courage to fight it renders life worth living為狀語，修飾interpret。其中that引導(dǎo)賓語從句suffering is inevitable, but the courage to fight it renders life worth living，為saying的賓語，賓語從句中it指代suffering。【翻譯要點(diǎn)】本句主語one，

24、可以翻譯為“人們”或者“我們”。主干可以翻譯為“我們可以解釋貝多芬的大部分作品”。主干之后的狀語，可以翻譯為“通過說痛苦是無法避免的，但是與之相抗?fàn)幍挠職馐沟蒙档美^續(xù)。”整合主干，可以表達(dá)為“我們可以這樣解釋貝多芬的大部分作品：苦難是不可避免的，但是與痛苦抗?fàn)幍挠職馐沟蒙档美^續(xù)。”【譯文總結(jié)】我們可以這樣解釋貝多芬的大部分作品：苦難是不可避免的，但是與痛苦抗?fàn)幍挠職馐沟蒙档美^續(xù)。專業(yè)化是科學(xué)知識不斷積累的結(jié)果。通過將學(xué)科細(xì)化，個人能夠繼續(xù)把握信息并將它作為深入研究的基礎(chǔ)。但是專業(yè)化僅是科學(xué)領(lǐng)域內(nèi)一系列影響交流過程的有關(guān)現(xiàn)象之一。另一現(xiàn)象是科學(xué)活動的日益職業(yè)化。第一段：簡單介紹了科學(xué)

25、發(fā)展所帶來的兩個結(jié)果：科學(xué)的專業(yè)化和職業(yè)化。在科學(xué)領(lǐng)域內(nèi)，專業(yè)與業(yè)余之間沒有絕對的區(qū)分：任何規(guī)則都有其例外。但是“業(yè)余”這個詞的確包含這樣的意義，那就是所指的那個人沒有完全融入某個科學(xué)家群體，具體地說，他可能并不完全認(rèn)同這個群體的價值觀。19世紀(jì)的專業(yè)化的發(fā)展，以及隨之而來的對訓(xùn)練的長期性和復(fù)雜性的要求，對業(yè)余人員進(jìn)入科學(xué)界造成了更大的困難。特別是在以數(shù)學(xué)和實(shí)驗(yàn)室訓(xùn)練為基礎(chǔ)的科學(xué)領(lǐng)域，這種傾向自然尤為明顯，這可以通過英國的地質(zhì)學(xué)發(fā)展過程得到證實(shí)。第二段：在科研過程中，專業(yè)化的發(fā)展，對業(yè)余人員進(jìn)入科學(xué)界造成了更大的困難。對過去一個半世紀(jì)的英國地質(zhì)出版物進(jìn)行比較，我們不但發(fā)現(xiàn)人們對研究的重視程度在

26、不斷增加，而且學(xué)術(shù)論文的出版標(biāo)準(zhǔn)也在不斷變化。因此，在19 世紀(jì)，局部的地質(zhì)研究本身就可形成一種有價值的研究；而到了20世紀(jì)，如果局部的研究能夠被專業(yè)人員接受，那么它越來越傾向于涉及體現(xiàn)或思考更廣闊的地質(zhì)面貌。另一方面業(yè)余人員繼續(xù)以舊的方式進(jìn)行區(qū)域的研究。其整體的結(jié)果是使業(yè)余人員進(jìn)入專業(yè)性地質(zhì)學(xué)雜志更加困難，而審稿制度的全面引進(jìn)使這個結(jié)果得到加強(qiáng)，這一制度開始是在19世紀(jì)的全國性雜志進(jìn)行，進(jìn)入20世紀(jì)后也在一些地方性地質(zhì)雜志實(shí)行。這樣發(fā)展的必然結(jié)果是出現(xiàn)了針對專業(yè)讀者和業(yè)余讀者的不同雜志。類似的分化過程也導(dǎo)致專業(yè)地質(zhì)學(xué)家聚集起來，形成一兩個全國性的團(tuán)體，而業(yè)余地質(zhì)學(xué)家則要么留在地方性團(tuán)體中，要么以不同方式組成全國性的團(tuán)體。第三段：以英國地質(zhì)學(xué)的發(fā)展過程為例，說明職業(yè)化和專業(yè)化過程。雖然職業(yè)化和專業(yè)化過程在19世紀(jì)的英國地質(zhì)學(xué)界中已經(jīng)得到迅速發(fā)展，