第12屆CASIO杯翻譯競(jìng)賽官方啟事、獎(jiǎng)項(xiàng)設(shè)置等>>>

第12屆CASIO翻譯競(jìng)賽官方海報(bào)>>>

第十二屆CASIO杯翻譯競(jìng)賽正式啟動(dòng)！本次比賽由上海翻譯家協(xié)會(huì)和上海譯文出版社共同承辦、滬江網(wǎng)再次協(xié)辦，設(shè)有英語(yǔ)，俄語(yǔ)兩個(gè)語(yǔ)種。

【獎(jiǎng)項(xiàng)設(shè)置】為鼓勵(lì)更多的翻譯愛好者參與比賽，提高翻譯水平，兩個(gè)語(yǔ)種的競(jìng)賽各設(shè)如下獎(jiǎng)項(xiàng)：

一等獎(jiǎng)1名：證書及價(jià)值6000元的獎(jiǎng)金和獎(jiǎng)品

二等獎(jiǎng)2名：證書及價(jià)值3000元的獎(jiǎng)金和獎(jiǎng)品

三等獎(jiǎng)3名：證書及價(jià)值2000元的獎(jiǎng)品

優(yōu)勝獎(jiǎng)20名：證書及價(jià)值300元的獎(jiǎng)品

優(yōu)秀組織獎(jiǎng)1名：價(jià)值5000元的獎(jiǎng)金和獎(jiǎng)品 ? ? ? ??

以下為第十二屆CASIO杯翻譯競(jìng)賽英語(yǔ)組原文內(nèi)容提要，作者簡(jiǎn)介，及原文：

【作者簡(jiǎn)介】

W·H·奧登（1907—1973），英國(guó)著名詩(shī)人、評(píng)論家（由于出生于英國(guó)，后來(lái)成為美國(guó)公民，所以也有人將其列為美國(guó)作家），二十世紀(jì)最偉大的作家之一。奧登的作品數(shù)量巨大，主題多樣，技巧高超，身后亦備受推崇，其獨(dú)特風(fēng)格對(duì)后輩作家影響深遠(yuǎn)。

【內(nèi)容提要】

作為二十世紀(jì)最受推崇，且在詩(shī)藝上最為嚴(yán)肅的詩(shī)人之一，奧登以一種微妙的心態(tài)創(chuàng)作了大量評(píng)論類的文字，《染匠之手》（The Dyer’s Hand）是唯一一本奧登以書的架構(gòu)自己收輯而成的散文集。本文選自全書序章“閱讀”篇章的第一段落，奧登用隱約相連的警句雋語(yǔ)描摹閱讀的方方面面，輕盈、清澈、親切，完全體現(xiàn)奧登無(wú)往不利的文思和爐火純青的文字功夫。2014年首次譯入中文的《奧登詩(shī)選》轟動(dòng)書壇，之后奧登的散文集也將相繼面世，無(wú)論是想要從詩(shī)句之外窺探奧登文學(xué)藝術(shù)的資深讀者，還是想要在最好的英文上打磨手藝的譯事新人，都可以從這篇文章開始。

Reading (excerpt)

W. H. Auden

A book is a mirror: if an ass peers into it, you can’t expect an apostle to look out.

C. G. LICHTENBERG

One only reads well that which one reads with some quite personal purpose. It may be to acquire some power. It can be out of hatred for the author.

PAUL VALéRY

The interests of a writer and the interests of his readers are never the same and if, on occasion, they happen to coincide, this is a lucky accident.

In relation to a writer, most readers believe in the Double Standard: they may be unfaithful to him as often as they like but he must never, never be unfaithful to them.

To read is to translate, for no two persons’ experiences are the same. A bad reader is like a bad translator: he interprets literally when he ought to paraphrase and paraphrases when he ought to interpret literally. In learning to read well, scholarship, valuable as it is, is less important than instinct; some great scholars have been poor translators.

We often derive much profit from reading a book in a different way from that which its author intended but only (once childhood is over) if we know that we are doing so.

As readers, most of us, to some degree, are like those urchins who pencil mustaches on the faces of girls in advertisements.

One sign that a book has literary value is that it can be read in a number of different ways. Vice versa, the proof that pornography has no literary value is that, if one attempts to read it in any other way than as a sexual stimulus, to read it, say, as a psychological case history of the author’s sexual fantasies, one is bored to tears.

Though a work of literature can be read in a number of ways, this number is finite and can be arranged in a hierarchical order; some readings are obviously “truer” than others, some doubtful, some obviously false, and some, like reading a novel backwards, absurd. That is why, for a desert island, one would choose a good dictionary rather than the greatest literary masterpiece imaginable, for, in relation to its readers, a dictionary is absolutely passive and may legitimately be read in an infinite number of ways.

We cannot read an author for the first time in the same way that we read the latest book by an established author. In a new author, we tend to see either only his virtues or only his defects and even if we do see both, we cannot see the relation between them. In the case of an established author, if we can still read him at all, we know that we cannot enjoy the virtues we admire in him without tolerating the defects we deplore. Moreover, our judgment of an established author is never simply an aesthetic judgment. In addition to any literary merit it may have, a new book by him has a historic interest for us as the act of a person in whom we have long be interested. He is not only a poet or a novelist, he is also a character in our biography.

A poet cannot read another poet, nor a novelist another novelist, without comparing their work to his own. His judgments as he reads are of this kind: My God! My Great-Grandfather! My Uncle! My Enemy! My Brother! My imbecile Brother!

In literature, vulgarity is preferable to nullity, just as grocer’s port is preferable to distilled water.

Good taste is much more a matter of discrimination than of exclusion, and when good taste feels compelled to exclude, it is with regret, not with pleasure.

Pleasure is by no means an infallible critical guide, but it is the least fallible.

A child’s reading is guided by pleasure, but his pleasure is undifferentiated: he cannot distinguish, for example, between aesthetic pleasure and the pleasures of learning or daydreaming. In adolescence we realize that there are different kinds of pleasure, some of which cannot be enjoyed simultaneously, but we need help from others in defining them. Whether it be a matter of taste in food or taste in literature, the adolescent looks for a mentor in whose authority he can believe. He eats or reads what his mentor recommends and, inevitably, there are occasions when he has to deceive himself a little; he has to pretend that he enjoys olives or War and Peace a little more than he actually does. Between the ages of twenty and forty we are engaged in the process of discovering who we are, which involves learning the difference between accidental limitations which it is our duty to outgrow and the necessary limitations of our nature beyond which we cannot trespass with impunity. Few of us can learn this without making mistakes, without trying to become a little more of a universal man than we are permitted to be. It is during this period that a writer can most easily be led astray by another writer or by some ideology. When someone between twenty and forty says, apropos of a work of art, “I know what I like,” he is really saying “I have no taste of my own but accept the taste of my cultural milieu,” because, between twenty and forty, the surest sign that a man has a genuine taste of his own is that he is uncertain of it. After forty, if we have not lost our authentic selves altogether, pleasure can again become what it was when we were children, the proper guide to what we should read.

Though the pleasure which works of art give us must not be confused with other pleasures that we enjoy, it is related to all of them simply by being our pleasure and not someone else’s. All the judgments, aesthetic or moral, that we pass, however objective we try to make them, are in part a rationalization and in part a corrective discipline of our subjective wishes. So long as a man writes poetry or fiction, his dream of Eden is his own business, but the moment he starts writing literary criticism, honesty demands that he describe it to his readers, so that they may be in the position to judge his judgments.

【投稿方式】

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