目　录
2010年南京大学211翻译硕士英语考研真题及详解2011年南京大学211翻译硕士英语考研真题及详解2012年南京大学211翻译硕士英语考研真题及详解2013年南京大学211翻译硕士英语考研真题及详解2014年南京大学211翻译硕士英语考研真题及详解
2010年南京大学211翻译硕士英语考研真题及详解
Part O e: Proof Reading
The following sentences contain some errors. Copy and edit them on your answer sheet. (1.5×10) 1．An important information I got from her is our teacher’s new marriage.
2．She had a lot of difficulty with the long vowel /ei/, so I taught her how to pronounce.广场舞河岸的好姑娘
小鹏飞个人资料图片3．The tutor asked the pupils: “How to write an essay on your mother?”
4．The volleyball players of our department went through very tough training for a whole semester and finally win the championship of the university.
5．I felt frustrated and wondered why my English wasn’t improved even after having watched many movies and read many books.
6．The news of the H1N1 flu worried the headmaster, but another news was upbeat: so far, everyone in his school was healthy.
7．All of us in the class would like to become a teacher in the future.
8．In high school, we had to take many classes, Chinese, English, physics, chemistry, mathematics and history and so on.
9．The students found it dissatisfied that their hard work was not rewarded or recognized. 10．The university attaches great importance to teacher’s research and publications.
【答案与解析】
1．An: The
（information为不可数名词，因此将An改为The。）
2．pronounce/\: it
（pronounce后应该有宾语it，不可以省略。）
3．pupils: pupil
（pupil前有定冠词the，而且主语是家庭教师，因此pupil应该用单数。）
4．a: the
（the whole修饰单数名词，表示“整个”。）
5．even
（after引导时间状语从句，even成分多余，应该去掉。）
6．another/\ news: piece of
（another之后只能接单数可数名词，不可以加不可数名词。）
7．All: Each独坐敬亭山古诗的意思
张柏芝生三胎是谁的
（由于宾语是a teacher，因此主语应该是each of us。）
8．classes: courses
（后文“Chinese, English”等都属于课程，对应的单词是course而不是class。）9．dissatisfied: dissatisfying石嘴山旅游
（句中是他们的辛勤工作没有得到奖励和认可这一事实使人不满，因此应该用dissatisfying。）
10．teacher’s: teachers’
（句中的老师应该只这所大学中的所有老师，因此应该用复数。）
Part Two: V ocabulary and Reading
Directions: Read the passage below and then answer the questions that follow.
The Archaic Smile
柴静女儿
Francis Henry Taylor
1）Fifty years ago archaic sculpture was known only as a curious phenomenon. It was assumed that all primitive peoples made statues in much the same spirit in which children made mud pies. No one
but archaeologists—antiquarians and numismatists they were Called then—bothered to look at numismatists they were called these barbaric efforts in stone and clay. Archaic sculpture is an art belonging to that period of man’s religious development when the idea was as big and important as the forms which symbolized it. Moral values and concepts had not yet become established and confusion existed between objects of reality and the world of the spirit. The rational and irrational were merged together and responded to physical and mental stimuli. Strange and occult powers were ascribed to rocks and trees, to events and natural phenomena. There was no part of material existence that was not bounded by taboo and superstition. Chance was completely unknown, as was the concept of nature as a thing apart; reality was a mystical experience and every action determined by participation rather than by natural law.
2）The art world today is divided into two camps—those who wish to preserve the ageless and
guiding principles of humanism, and these who seek to find in art an expression of their own groping with the mechanical determinism of the present day. The humanities today are understood by the masses as that residue of human experience which has proved to be of no practical value whatever in the ordinary conduct of contemporary life, whereas the sciences, bereft of philosophical or speculative significance, appear to offer the answer to every maiden’s prayer.
3）The gulf lying between the artist and his public is wide and deep; it is the mere serious because it has lasted now for nearly a century. Thus the thoughts provoked by this inquiry should not be considered a polemic for or against contemporary art, but rather as an attempt to explore the terrain and climate in which the artist works today—for at best the painter and the sculptor are merely representative of their time and their environment.
4）The modern movement is not a theory; it is a condition. It is a condition arising out of a series of historical facts and consequences which center on the dignity of man—his position in the universe, his search for truth, and his constant desire to render truth in sensible form so that other men may grasp its meaning and its beauty.
5）Artists and laymen have become the victims of the scientific world they have created, and in their common fear for the future have lost contact with one another. The crisis in the arts is nothing more or less than the crisis of the human race. How far, one may ask, can the artist be held responsible for the society of which he is a product? Are we to assume that he has sold his birthright for a mess of psychic and mechanistic pottage? No, nor can we lay the blame for unintelligibility alone upon the failure of the artist to continue the traditions of craftsmanship of the old masters.
6）Toynbee has offered a partial explanation: The prevailing tendency to abandon our artistic traditions is not the result of technical incompetence; it is the deliberate abandonment of a style which is losing its appeal to arising generation because this generation is ceasing to cultivate its aesthetic sensibilities, on the traditional W estern lines. Our abandonment of our traditional artistic technique is manifestly the consequence of some kind of spiritual breakdown in our W estern Civilization; and the cause of this breakdown evidently cannot be found in the phenomenon which is one of the subsequent symptoms.
7）The problem today is not so much that of a lack of single conviction, but the multiplicity of convictions with which the creative artist is confronted.
8）In the rapidly expanding, secularized world in which we live, where neither the Bible nor Bulfinch’s Age of Fable seems to play any useful role and where one person’s gods appear to be as good as the next person’s, it becomes imperative that there be a return, if not to the gods of our fathers themselves, to some unifying principle in which the twentieth-century man of many faiths can find the comfort of authority. For the artist has ever required authority as a framework—a point of departure —for his own experience.
9）The artist today has become the favorite whipping boy in a struggle between the intelligible and the unintelligible. Since he is supposed to be the custodian of the ineffable thing called beauty, he is blamed if he does not jealously conserve it without change, and equally blamed if he tries to place it within the context of the world in which he lives.
10）Having accepted modern art as something which, while they never understood it, they nevertheless vaguely approved, the people, after three score years and ten of being told to like it, have begun to wonder whether they are not "being had." They are accustomed to daily accounts of world crises in the press and on the air. These are the stuff of which ordinary experiences are made, and in so far as the artist deals with them objectively the public is willing to admit his right to express his opinions and even to find, if he can, some beauty in them. But where the artist and layman part company is in the realm of the subjective: interpretation, representation or non-representation as the ease may be, the psychology of color and the myriad emotional and intellectual connotations with which every contemporary work is filled.
11）The issue of our generation is not so much one of principle as it is one of the degree of communicability versus incommunicability. And, while no sensible person would wish to turn back the clock, there are many who might wish to read its face without having to take its works apart. 12）
The question is no longer one of technique or taste, but revolves again about the venerable problem of reality. Obscured by the conquest of material existence in the nineteenth century, philosophy has again reappeared as the champion of those new freedoms of conscience and opinion which have resulted in the liberation of the individual Mart has misinterpreted his own researches into the modern world of science as the answer to ultimate cause and purpose. He has become, indeed, the arbiter of his own fate, but he has not yet learned that the cosmic is distinguished from the comic by only a single consonant.
13）More recently another technical problem of the modern world has had its impact upon the artist —time is now conceived as a kind of fourth dimension projecting itself through space. Its impact has been a by-product of Einstein’s theory of relativity and of the investigations in nuclear physics. Time and space are shown to be no longer absolute. Art, therefore, might conceivably become the illustration of energy rather than the illustration of form; the artist is thus presented with another reality or absolute as potential electricity or atomic power.
14）The history of art is a visual record of the philosophical concepts which have engrossed creative thinkers of each age. In their works the artists leave behind them both the history of their personal reactions and an accurate barometric reading of their intellectual climate. Recognition is instantaneo
us and universal. It does not require any act of intuition or special gifts of birth or education to experience it. Anyone who looks at a picture, a statue, or the architecture of a building, learns instinctively and immediately something of the world which produced it. What will the art of today tell the spectator of tomorrow?
15）If we accept the definition of art as the rendering of truth in sensible form, and truth the interpretation of human experience, it is obvious that a work of art is essentially communicative. It must mean something to someone other than the person who created it—in fact, and more important still, it can mean the same thing or several different things to a number of persons. But meaning it must have.
16）Not until the second quarter of the twentieth century was the essential communicability of art ever denied. Communication has been common to all the great racial traditions and, once established, can take any variety of expressions. It is unlimited in content or subject matter, free to adopt any style