(201213翻译工作坊期作业1.docVIP

首都师范大学外国语学院英文系研究生课程 2012-13秋学期期末试卷（英译汉部分） 课程名称：翻译工作坊 任课教师：封一函 学生姓名_____________ In recent years, the fastest growing, most provocative, and potentially farthest-reaching specialty in the humanities and social sciences has been literary and cultural criticism and theory. One indication of the extent of this growth is the amount of specialized terminology from these and affiliated disciplines that has made its way into our everyday writing and speech. But whether nonspecialists are interested in Marxism, psychoanalysis, the various types of postmodernism, or feminism, they almost universally complain that cultural and literary studies have become too arcane and thus inaccessible to the generalist. This, unfortunately, is a very real problem. These disciplines, just as any special branch of study, must have their own language, or rather – given the numerous types of theory and criticism – their own languages; however, too many in theoretical and critical studies have used these languages carelessly, without regard for their readers. In place of a precise, descriptive set of terms that can be the basis of a lingua franca for studies in literature, cultural analysis, film, history, art, as well as the various social sciences, theory has produced a patois that is all but unintelligible to the uninitiated. If literary and cultural studies were isolated intellectual enterprises that attracted only a few adherents, such obfuscation would be a relatively minor problem; but increasing numbers both outside and within he academy are interested in what is happening in these disciplines and are anxious to know how developments in theory and criticism affect the way people perceive and order the world around them. It has therefore become necessary to devise a means by which those who are not, properly speaking, “theorists” or specially trained as literary or cultural critics can gain access to the language of theory. In compiling The Columbia Dictionary of Modern Literary and