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活动︱第十二届“北京师范大学—《英语世界》杯”
翻译大赛启事
2021-04-30作者:《英语世界》杂志社新闻来源:商务印书馆浏览人次:70

 

  “《英语世界》杯”翻译大赛肇始于2010 年,由商务印书馆《英语世界》杂志社主办。短短数载,大赛参赛人数屡创新高,目前已经成为国内最有影响的翻译赛事之一。为推动翻译学科进一步发展,促进中外文化交流,我们秉承“给力英语学习,探寻翻译之星”的理念,于2021年举办第十二届“《英语世界》杯”翻译大赛,诚邀广大翻译爱好者积极参与,比秀佳译。

  第十二届“《英语世界》杯”翻译大赛得到北京师范大学的大力支持,并由该校冠名本届比赛。2021年的翻译大赛包含“英译汉”和“汉译英”两个组别。大赛初评交给合办院校的老师,以确保大赛评审的权威性和公信力。复评和终评将延续历届传统,从全国各地邀请知名翻译专家进行评审。

 

合办院校

  北京师范大学外国语言文学学院

 

协办单位

  中国翻译协会社会科学翻译委员会、中国外文局CATTI 项目管理中心、中国英汉语比较研究会英汉翻译研究学科委员会、浙江省翻译协会、河南省翻译协会、山东省翻译协会、四川省翻译协会、广东省翻译协会、湖北省翻译理论与教学研究会、陕西省翻译协会、江苏省翻译协会、成都通译翻译有限公司、全国商务外语翻译考试(BETT)办公室、英文巴士网(www.en84.com)等。

 

赛程及评审

 1. 2021年5月发布大赛启事及原文,10月公布获奖结果,见诸以下媒体:

  《英语世界》2021年第5期(启事及原文)和第10期(获奖结果等)

  《英语世界》网站(www.yingyushijie.com)

  《英语世界》微信公众平台(微信号:theworldofenglish)

  《英语世界》微博(weibo.com/theworldofenglish)

  北京师范大学外国语言文学学院网站(www.sfll.bnu.edu.cn)

  商务印书馆网站(www.cp.com.cn)

  英文巴士网(www.en84.com)

 2. 参赛投稿截止时间:2021年7月20日24时

 3. 大赛各项最新进展将通过《英语世界》微信公众号实时发布,请予关注。

 

参赛要求

 1. 参赛者国籍、年龄、学历不限。

 2. 参赛译文须独立完成,不接受合作译稿。

 3. 仅第一次投稿有效,不接受修改后的再投稿件。

 4. 只接受电子版投稿,不接受纸质投稿。

 5. 在大赛截稿日之前,请妥善保存参赛译文,勿在报刊、网络等任何媒体上以任何方式公布,违者取消参赛资格并承担相应后果。

 6. 参赛译文一经发现抄袭或雷同,或院校集体辅导参赛等,即取消涉事者参赛资格。

 7. 参赛者投稿即视为其本人同意和自愿遵守本启事的各项规定。

 

奖项及证明

 1. “英译汉”和“汉译英”每组拟分别设置一等奖1名,二等奖2名,三等奖3名,优秀奖若干名。

 2. 一、二、三等奖颁发证书、奖金和奖品,优秀奖颁发证书和奖品。

 3. 所有获奖者均获赠2022年1—12期《英语世界》杂志,并有机会受邀成为《英语世界》的译者。

 4. 积极组织学生参加翻译大赛的院校,颁发“优秀组织奖”证书;获奖院校有机会成为“《英语世界》翻译实践基地”合作单位。

 5. 入围复审名单的参赛者,应本人要求可由本社开具“入围复审”的书面证明。

 

报名及缴费

 1. 为应对不断攀升的评审成本、提高奖励额度、遏制少数人敷衍投稿的行为,本届大赛酌情收取少量、不至给参赛者造成较大负担的参赛费,以保障大赛良性开展。恳请参赛者谅解为盼。

 2. 单独参加“英译汉”或“汉译英”其中一项比赛缴纳参赛费50元,两项均参加缴纳参赛费100元。

 3. 报名缴费流程:关注我刊微信公众号(theworldofenglish),阅读大赛启事,登录英语世界网站或直接扫码进入大赛报名界面【请尽量通过PC端操作】,根据提示填写报名信息并缴纳相关报名费。

 4. 报名后没有成功缴费的,所投稿件无法进入评审程序。

 5. 因人力所限,缴费后无论是否提交参赛译文,费用概不退还,缴费时务请注意。

 

扫码报名

 

 

投稿规范

 1. 个人信息表及参赛译文于截稿日之前以附件形式发送至电子邮箱:yysjfyds@sina.com 。

 2. 邮件主题:参赛者姓名+×××(×××为报名手机号,下同)。

 3. 个人信息表:文件名“×××个人信息”,excel 格式,附件发送。请于文末下载表格模板

 4. 参赛译文:文件名“×××英译汉”或“×××汉译英”,word格式,附件发送;同时参加两项比赛,请发送两个word附件,请勿合并成一个文件。

 5. 参赛译文格式:宋体(英译汉)/Times New Roman(汉译英),黑色,小四号,1.5倍行距,两端对齐。译文每段之前请务必添加编号【1】【2】【3】……(如原文所示)。

 6. 参赛译文中请勿留下任何个人信息,否则匿名评审过程中将被提前淘汰。

 

评审保障制度

  为保证大赛评审的公平、公正和透明,尽量保证评审结果的客观和可靠,本届大赛在评审过程中特别设立以下制度:

  1. 合办单位回避制度:合办院校本校参赛稿的初评概由《英语世界》编辑部负责评审,而不交由合办院校本校教师评审。

  2. 申诉复活制度:初审后的拟定复审入围名单通过《英语世界》微信公众号发布后,未能进入该名单的参赛者3日内有权提出申诉。提出申诉需另交90元的二次评审费用,申诉稿将邀请三位外部专家独立负责二次评审;二次评审发现确属初评失误的,将退还二次评审费用,否则费用不予退还。大赛会根据申诉稿二次评审结果重新公布最终的复审入围名单。

 

联系方式

  为办好本届翻译大赛,特成立大赛组委会,负责整个大赛的组织、实施和评审工作。组委会办公室设在《英语世界》编辑部。

  联系人:陈老师

  电话/传真:010-65539242

  地址:北京朝阳门外大街吉庆里9号楼E-2-1005(邮编100020)

  客服微信:英语世界之家(yysj-1981)

 

英语世界之家

个人信息表下载

  

 

《英语世界》杂志社
2021年5月

 

 

 

汉译英原文

 

闻香识书(节选)
文/王鸿滨
 

【1】“书香”一词,古已有之。原指古人为防蠹虫咬食书籍,便在书中放置一种芸香草,这种草有一种清香之气,夹有这种草的书籍打开之后清香袭人,故而称之为“书香”,后常常被人们引申为读书风气。

【2】阅读所品味出的书香,是源自心灵的味道。是世间的人情冷暖,是丰富的道德情操,是悠久的文化传承,是壮丽的大好河山……每一本书,诉说的是一个故事,一种情怀。而每一个故事包含着不同的酸甜苦辣,每一种情怀包含着不同的理想!所以,我尊重每一本书,努力地去读懂它,品味它的那份真诚。

【3】古有“万般皆下品,唯有读书高”,今有“人生因书香而精彩,生命因书香而富有”。古有读书者悬梁刺股,凿壁借光,而今亦有“厕所被窝读书者”,这是对知识的渴望,亦是对生命的尊敬。不能说人生会因为没有读书而毫无意义,但可以确定人生会因为读书而绚丽多彩,人生的道路上,读书是一件多么高雅、多么纯洁的事情啊。

【4】上学时,最欢欣雀跃的日子,莫过于发新书的那天。崭新的课本,新鲜的知识……尤其是新书那特有的油墨香,格外吸引人。

【5】淡淡的墨香像淘气的精灵一样,在鼻翼前挑逗,让我们捧起了书,就再也放不下。那里,有江河大海的气息,有尘土月光的痕迹,有悲欢离合的滋味……心沉下去,情浮上来,眼睛打开了去,那或苦闷,或欢畅,或蹙眉,或拍案的万千气象都奔涌而来。安静地坐在书桌前,看风起云涌,读花开花落,这是一种怎样的物我两忘境界啊!

【6】读书是一种修行,一种享受,它带给我们的是隽永的感受,恒久的动力,以及心灵的和平与精神的慰藉。当然,要做到这些,还需自我改变,也需要全社会共同营造读书的氛围。我们需要更多的图书馆、更多的阅读空间、更便捷的取阅方式,只有当我们真正体会了阅读的乐趣,而书籍又唾手可得时,我们才能做到:书香随身,书香随心。

(节选自《月读》2021 年第3 期文“闻香识书”,内容有删节)

 

英译汉原文

 

The Tragedy of Climate Change
By Jennifer Wallace



【1】Tragedies on the stage take place over a limited period of time. The protagonist is presented with a dilemma. He makes a choice. Terrible consequences rapidly ensue. As soon as Macbeth kills King Duncan, he is damned – his drunken porter turns his castle into hell, and unnatural signs of turmoil, such as horses eating each other, follow that same night. So swift is the action in the Scottish play that Macbeth and his wife want to speed up time, doing the deed “quickly”, feeling the “future in the instant” or willing to “jump the life to come”. The play hurtles towards its conclusion as the prophecies of the three witches come to pass, with devastating neatness.

【2】But the tragedy of environmental disaster unfolds along a much more extended timescale. The bleaching of the coral reefs, the shrinking of the Arctic polar ice, the extreme droughts and floods taking place worldwide, are symptoms and portents of decisions already taken whose full consequences have not yet been felt.

【3】There is a time lag between carbon emissions and temperature rises: the one-degree increase in the global average temperature is a result of carbon emissions released 40 years ago, while the levels of carbon in the atmosphere right now – about 412 parts per million (ppm) and rising – are enough to cause two degrees of warming by the middle of the century.

【4】This trajectory is also complicated by the so-called climate-change feedback loop. Once the Earth is warmed by more than 2˚C, the capacity of plants to absorb carbon dioxide through photosynthesis will be affected and they will start to puff the gas out instead of taking it in (the carbon feedback loop), causing temperatures to rise further.

【5】The tragic narrative of climate change is much lengthier than tragic plots in the theatre, and stretches the connections between cause and consequence, transgression and punishment. It resembles Prometheus, nailed to his rock in Aeschylus’s play, knowing that centuries in the future his defiance will ensure the toppling of his enemy, Zeus. He knows the secret cause of Zeus’s overthrow from prophetic signs he can detect in the here and now, but is reluctant to divulge it. So the immovable fate of Zeus and Prometheus turns out to be based upon Prometheus’s will, and upon the brinkmanship between the two.

【6】Climate change is not our problem, we tell ourselves. It is for future generations to worry about. But if we view climate change as a tragic narrative that can be read and interpreted in the same way as an Aeschylean or Shakespearean play, then we might think about time, fate and individual responsibility differently.

【7】Tragic plots revolve around the moment when the hero makes the wrong choice. Macbeth kills the king; Oedipus murders his father; Prometheus steals fire from the gods. Fate plays a part in determining these decisions but each man also has free will and voluntarily enters into his chosen course of action. In Aeschylus’s Oresteia, Agamemnon willingly puts his head into the “yoke of necessity”, uniting free will and destiny. Prometheus revels in his free will and capacity for defiance. These tragic narratives forge the connections between the individual and the world, between the small choices we each make and the huge, inevitable consequences they unleash.

【8】According to the writer and former soldier Roy Scranton, we have to treat existence as a tragedy to which we are stoically resigned. “We can learn to see each day as the death of what came before, freeing ourselves to deal with whatever problems the present offers without attachment or fear,” he writes.

【9】Nevertheless, there exists an alternative way to think about climate crisis. Aeschylus does not shy away from confronting the weakening power of human agency in the face of the vast inhuman forces of time, place and destiny. But still he leaves room in his dramatic vision of the world for contingency, for resistance and responsibility. Progress is dependent upon each character’s knowledge and acknowledgement of the vagaries of self-deception or engagement.

【10】We are not “free” to detach ourselves, but rather remain vitally attached, through tragic witness, to those “crawling glaciers”, to those signs of the past, present and future and to our own capacity for action.



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