2017北语翻硕英语题源
翻译硕士英语题源
完形填空（前两段入选设空）
个人有严重的怕对答案的情节，分数没出来之前就不给大家挖空了。主要是让大家体会一下文章内容。第一段10个有选，后一段10个无选项。
•The culture－heroes of our
liberal bourgeois civilization are anti－liberal and anti－bourgeois； they are writers who are repetitive， obsessive， and impolite， who impress by force—not simply by their tone of
personal authority and by their intellectual ardor， but by the sense of acute personal and intellectual
extremity． The bigots， the hysterics， the destroyers of the self—these are the writers
who bear witness to the fearful polite time in which we live． It is mostly a matter of tone： it is hardly possible to give credence to ideas uttered
in the impersonal tones of sanity． There are certain eras which are too complex， too deafened by contradictory historical and intellectual
experiences， to hear the voice of sanity． Sanity becomes compromise， evasion， a lie． Ours is an age which consciously pursues health， and yet only believes in the reality of sickness． The truths we respect are those born of affliction． We measure truth in terms of the cost to the writer
in suffering—rather than by the standard of an objective truth to which a writer's
words correspond． Each of our truths must
have a martyr．
•What revolted the mature Goethe in the young Kleist， who submitted his work to the elder statesman of
German letters "on the knees of his heart"—the morbid， the hysterical， the sense of the unhealthy， the enormous indulgence in suffering out of which
Kliest's plays and tales were mined—is just what we value today． Today Kleist gives pleasure， Goethe is to some a duty． In the same way， such writers as Kierkegaard， Nietzsche， Dostoyevsky， Kafka， Baudelaire， Rimbaud， Genet—and Simone Weil—have their authority with us
because of their air of unhealthiness． Their unhealthiness is their soundness， and is what carries conviction．
•Perhaps there are certain ages which do not need truth as much as
they need a deepening of the sense of reality， a widening of the imagination． I， for one， do not doubt that the sane view of the world is the
true one． But is that what is always
wanted， truth? The need for truth
is not constant； no more than is the need
for repose． An idea which is a distortion
may have a greater intellectual thrust than the truth； it may better serve the needs of the spirit， which vary． The truth is balance， but the opposite of truth， which is unbalance， may not be a lie．
•Thus I do not mean to decry a fashion， but to underscore the motive behind the contemporary
taste for the extreme in art and thought． All that is necessary is that we not be hypocritical， that we recognize why we read and admire writers
like Simone Weil． I cannot believe that
more than a handful of the tens of thousands of readers she has won since the posthumous
publication of her books and essays really share her ideas． Nor is it necessary—necessary to share Simone Weil's
anguished and unconsummated love affair with the Catholic Church， or accept her gnostic theology of divine absence， or espouse her ideals of body denial， or concur in her violently unfair hatred of Roman
civilization and the Jews． Similarly， with Kierkegaard and Nietzsche； most of their modern admirers could not， and do not embrace their ideas． We read writers of such scathing originality for
their personal authority， for the example of their
seriousness， for their manifest willingness
to sacrifice themselves for their truths， and—only piecemeal—for their "views．" As the corrupt Alcibiades followed Socrates， unable and unwilling to change his own life， but moved， enriched， and full of love； so the sensitive modern reader pays his respect to
a level of spiritual reality which is not， could not， be his own．
•Some lives are exemplary， others not； and of exemplary lives， there are those which invite us to imitate them， and those which we regard from a distance with a
mixture of revulsion， pity， and reverence． It is， roughly， the difference between the hero and the saint （if one may use the latter term in an aesthetic， rather than a religious sense）． Such a life， absurd in its exaggerations and degree of self－mutilation—like Kleist's， like Kierkegaard's—was Simone Weil's． I am thinking of the fanatical asceticism of Simone
Weil's life， her contempt for pleasure
and for happiness， her noble and ridiculous
political gestures， her elaborate self－denials， her tireless courting
of affliction； and I do not exclude her
homeliness， her physical clumsiness， her migraines， her tuberculosis． No one who loves life would wish to imitate her dedication
to martyrdom nor would wish it for his children nor for anyone else whom he loves． Yet so far as we love seriousness， as well as life， we are moved by it， nourished by it． In the respect we pay to such lives， we acknowledge the presence of mystery in the world—and
mystery is just what the secure possession of the truth， an objective truth， denies． In this sense， all truth is superficial； and some （but not all） distortions of the truth， some （but not all） insanity， some （but not all） unhealthiness， some （but not all） denials of life are truth－giving， sanity－producing， health－creating， and life－enhancing．
•This new volume of translations from Simone Weil's work， Selected Essays 1934－43， displays her somewhat
marginally． It contains one great
essay， the opening essay here
titled "Human Personality" which was written in 1943， the year of her death in England at the age of thirty－four． （This essay， by the way， was first published in two parts under the title
"The Fallacy of Human Rights" in the British magazine The Twentieth Century
in May and June 1959． There it suffered the
curious and instructive fate of requiring a defensive editorial in June， when the second part of the essay appeared， replying to criticism of the magazine's decision
to publish the essay "on the grounds that it involves heavy going for some
readers．" It certainly speaks volumes about
the philistine level of English intellectual life， if even as good a magazine as The Tweentieth Century
cannot muster an enthusiastic， grateful audience for such a piece．） Another essay， placed last in the book， called "Draft for a Statement of Human Obligations，" also written the year of her death， contains matter central to Simone Weil's ideas． The remaining essays are on specific historical and
political subjects—two on the civilization of Languedoc， one on a proletarian uprising in Renaissance Florence， several long essays on the Roman Empire which draw
an extensive parallel between imperial Rome and Hitler's Germany， and various reflections on the Second World War， the colonial problem， and the post－war future． There is also an interesting
and sensitive letter to George Bernanos． The longest argument of the book， spanning several essays， develops the parallel between Rome （and the ancient Hebrew theocracy！） and Nazi Germany． According to Simone Weil， who displays an unpleasant silence on the Nazi persecution
of the Jews， Hitler is no worse than
Napoleon， than Richelieu， than Caesar． Hitler's racialism， she says， is nothing more than "a rather more romantic
name for nationalism．" Her fascination
with the psychological effects of wielding power and submitting to coercion， combined with her strict denial of any idea of historical
progress， led her to equate all
forms of state authority as manifestations of what she calls "the great beast．"
•Readers of Simone Weil's Notebooks （two volumes， published in 1959） and her Intimations of Christianity Among the Ancient
Greeks （1958） will be familiar with her attempt to derive everything
distinctively Christian from Greek spirituality as well as to deny entirely Chrisianity's
Hebraic origins． This fundamental argument—along
with her admiration for Provençal civilization， for the Manichean and Catharist heresies—colors all
her historical essays． I cannot accept Simone
Weil's gnostic reading of Christianity as historically sound （its religious truth is another matter）； nor can I fail to be offended by the vindictive parallels
she draws between Nazism， Rome， and Israel． Impartiality， no more than a sense of humor， is not the virtue of a writer like Simone Weil． Like Gibbon （whose view of the Roman Empire she absolutely contradicts）， Simone Weil as a historical writer is tendentious， exhaustive， and infuriatingly certain． As a historian she is simply not at her best； no one who disbelieves so fundamentally in the phenomena
of historical change and innovation can be wholly satisfying as a historian． This is not to deny that there are subtle historical
insights in these essays： as for example， when she points out that Hitlerism consists in the
application by Germany to the European continent， and the white race generally， of colonial methods of conquest and domination． （Immediately after， of course， she says that these—both Hitler's methods and the
"normal colonial ones"—are derived from the Roman model．）
•The principal value of the collection is simply that anything from
Simone Weil's pen is worth reading． It is perhaps not the book to start one's acquaintance
with this writer—Waiting for God， I think， is the best for that． The originality of her psychological insight， the passion and subtlety of her theological imagination ， the fecundity of her exegetical
talents are unevenly displayed here． Yet the person of Simone Weil is here as surely as
in any of her other books—the person who is excruciatingly identical with her ideas， the person who is rightly regarded as one of the
most uncompromising and troubling witnesses to the modern travail of the spirit．
•第一篇阅读记不起来句子了，也搜不到，不过影响不大，难度很小属于给你堆积基础分的题。
•第二篇 来自the New Yorker
2017北语翻硕翻译基础回忆
第一部分，词条互译
大众创业，万众创新
虚拟现实
孵化器
套路
吃瓜群众
洪荒之力
壮士断腕
行百里者半九十
打铁还需自身硬
泛太平洋伙伴关系协定
**公开募股
董事长
《论语》
春联
书法
Referendum
Biomass
Overcapacity
E．Coli
GM crops
Artemisinin
Plaintiff
FTZ
Price－earnings ratio
M&A
Liquidity
Commuter
Hedge fund
Insolvency
Litigation
第一篇有关翻译和译者的法律保护
三笔难度
第二篇
梁家河村生活水平提高的时文
三笔难度
居里夫人特写
难度逼近二笔相对简单