2014-11-14 14:12


There is no question that science-fiction writers have become more ambitious, stylistically and thematically, in recent years. (1) (But this may have less to do with the luring call of academic surroundings than with changing market conditions—a factor that academic critics rarely take into account.) Robert Silverberg, a former president of The Science Fiction Writers of America, is one of the most prolific professionals in a field dominated by people who actually write for a living. (Unlike mystery or Western writers, most science-fiction writers cannot expect to cash in on fat movie sales or TV tie-ins.) (2) (Still in his late thirties, Silverberg has published more than a hundred books, and he is disarmingly frank about the relationship between the quality of genuine prose and the quality of available outlet. )By his own account, he was “an annoyingly verbal young man“ from Brooklyn who picked up his first science-fiction book at the age of ten, started writing seriously at the age of thirteen, and at seventeen nearly gave up in despair over his inability to break into the pulp magazines. (3)( At his parents’ urging, he enrolled in Columbia University, so that, if worst came to worst, he could always go to the School of Journalism and “get a nice steady job somewhere“.) During his sophomore year, he sold his first science-fiction story to a Scottish magazine named Nebula. By the end of his junior year, he had sold a novel and twenty more stories. (4) (By the end of his senior year, he was earning two hundred dollars a week writing science fiction, and his parents were reconciled to his pursuit of the literary life. )“I became very cynical very quickly,“ he says. First I couldn’t sell anything, then I could sell everything. The market played to my worst characteristics. An editor of a schlock magazine would call up to tell me he had a ten-thousand-word hole to fill in his next issue. I’d fill it overnight for a hundred and fifty dollars. I found that rewriting made no difference. (5)( I knew I could not possibly write the kinds of things I admired as a reader—Joyce, Kafka, Mann—so I detached myself from my work.) I was a phenomenon among my friends in college, a published, selling author. But they always asked, “When are you going to do something serious?“ —meaning something that wasn’t science fiction—and I kept telling them, “ When I’m financially secure.“



1.[精解] 本题考核知识点:比较结构、同位语的翻译。

该句的主干是this may have less to do with... than with...,其中含有一个比较结构less... than...,可译为“与其说…不如说…“。破折号后是名词短语a factor that... 做整个主句的同位语,其中that引导的定语从句做后置定语。由于是同位语,可单独译为一个句子,补译“这“为它的主语。

词汇:luring是lure的现在分词形式,可译为“具有诱惑力的“;factor意为“因素“;take into account意为“考虑“。

2.[精解] 本题考核知识点:词义的选择。
该句是and连接的两个并列分句,其主干是Silverberg has published... , and he is frank about...。

词汇:in one’s thirties意为“在(某人)三十几岁时“,由于本句中有late修饰,如果直译为“三十几岁晚期“不符合汉语表达习惯,应意译为“不到四十岁“。disarmingly意为“使人消除敌意(或怀疑、怒气等)的“,与frank一起应译为“十分坦诚、直言不讳“。genuine意为“真正的;坦率的,真诚的“。available意为“可获得的,可找到的“,outlet意为“(思想、感情、精力发泄的)出路,表现机会“,available outlet不能直译,而应根据上文对应的genuine prose(真正的散文)意译为“应时之作“。

3.[精解] 本题考核知识点:顺译法。
该句是主从复合句,其主干是he enrolled... so that... he could go to...,翻译时可采用顺译的方法,保持原来句子的顺序。句首介词短语At his parents’ urging作状语。so that引导结果状语从句,其中插入语if worst came to worst做条件状语,应意译为“在最糟糕的情况下“。


4.[精解] 本题考核知识点:顺译法和分词的翻译。
该句是and连接的并列句,其主干是he was earning... and his parents were...,可采用顺译的方法翻译。前一分句中,分词结构writing science fiction作方式状语,翻译时应置于谓语前面,译为“(通过)写科幻小说“。

词汇:be reconciled to意为“将就,妥协,接受“。

5.[精解] 本题考核知识点:插入语、后置定语的翻译
该句是个主从复合句,其主干是I knew... so I detached...。主从句之间是插入语,列举了几个作家的名字,根据上下文,这些名字实际上指代的是作家的作品,应补译为“乔伊斯、卡夫卡、曼恩的作品“。I knew后是省略了关系代词的宾语从句I could not write...,其中宾语the kind of things后又接有一个定语从句I admired as...,由于定语不长,可直接译为汉语的前置定语。

词汇:detach oneself from sth.意为“挣脱,摆脱,离开“,文中应意译为“不关注我写的东西“。