2018年翻譯資格考試初級(jí)筆譯模擬題:抽象與客觀
英譯漢
However, some cultural-linguistic systems developed in the opposite direction, that is, from an abstract and subjective vocabulary to a more concrete one. For example, Whorf tells us that in the Hopi language the word heart, a concrete term, can be shown to be a late formation from the abstract terms think or remember. Similarly, although it seems to Westerners, and especially to Americans, that objective, tangible “reality” must precede any subjective or inner experience, in fact many Asian and other non-European cultures view inner experience as the basis for one’s perceptions of physical reality. Thus although Americans are taught to perceive and react to the arrangement of objects in space and to think of space as being “wasted” unless it is filled with objects, the Japanese are trained to give meaning to space itself and to value “empty” space. For example, in many of their arts such as painting, garden design, and floral arrangements, the chief quality of composition is that essence of beauty the Japanese call shibumi. A painting that shows everything instead of leaving something unsaid is without shibumi. The Japanese artist will often represent the entire sky with one brush stroke or a distant mountain with one simple contour line—this is shibumi. To the Western eye, however, the large areas of “empty” space in such paintings make them look incomplete.
參考譯文
然而,有些文化語(yǔ)言系統(tǒng)朝著相反的方向發(fā)展,就是從一套抽象、主觀的詞匯發(fā)展到一 套更為具體的詞匯。例如,沃爾夫告訴我們,在霍皮語(yǔ)中,“心”這個(gè)字,是一個(gè)具體的術(shù)語(yǔ), 可它是在先有了“思維”和“記憶”這種抽象術(shù)語(yǔ)之后才形成的。同樣地,盡管在西方人,特別 是美國(guó)人看來(lái),客觀的、有形的“實(shí)體”一定要先于主觀的或者內(nèi)在經(jīng)驗(yàn),但實(shí)際上,許多亞洲和非歐洲文化把內(nèi)在經(jīng)驗(yàn)看成是對(duì)有形的實(shí)體感覺(jué)的基礎(chǔ)。因此,雖然美國(guó)人被教導(dǎo)在空 間中感知物體的排列和做出反應(yīng),會(huì)認(rèn)為除非空間中充滿物體,否則就是“被浪費(fèi)了”,而日 本人卻被訓(xùn)練為對(duì)空間本身賦予意義,對(duì)“空曠”的空間賦予價(jià)值。例如,在許多日本藝術(shù)中, 像繪畫(huà)、園林設(shè)計(jì)、插花藝術(shù)等,布局的主要特性是日本人稱之為美的精髓的“素雅(shibumi)”。一幅畫(huà)包羅萬(wàn)象,而不是留有空間,這體現(xiàn)不出美的精髓。日本藝人常常畫(huà)筆一刷,就呈現(xiàn) 出一片天空;或者用一條簡(jiǎn)單的輪廓線條繪出遠(yuǎn)處的一座山峰。然而,在西方人的眼中,畫(huà) 中的大片“空曠”的空間使畫(huà)顯得還缺了點(diǎn)什么東西。
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