2018上半年翻譯考試catti三級筆譯試題：文學作品
英譯漢
The runaway success of Stieg Larsson‟s “Millennium” trilogy suggests that when it comes to contemporary literature in translation, Americans are at least willing to read Scandinavian detective fiction. But for work from other regions, in other genres, winning the interest of big publishing houses and readers in the United States remains a steep uphill struggle.
Among foreign cultural institutes and publishers, the traditional American aversion to literature in translation is known as “the 3 percent problem.” But now, hoping to increase their bminuscule share of the American book market — about 3 percent — foreign governments and foundations, especially those on the margins of Europe, are taking matters into their own hands and plunging into the publishing fray in the United States. Increasingly, that campaign is no longer limited to widely spoken languages like French and German. From Romania to Catalonia to Iceland, cultural institutes and agencies are subsidizing publication of books in English, underwriting the training of translators, encouraging their writers to tour in the United States, submitting to American marketing and promotional techniques they may have previously shunned and exploiting existing niches in the publishing industry.
“We have established this as a strategic objective, a long-term commitment to break through the American market,” said Corina Suteu, who leads the New York branch of the European Union National Institutes for Culture and directs the Romanian Cultural Institute. “For nations in Europe, be they small or large, literature will always be one of the keys of their cultural existence, and we recognize that this is the only way we are going to be able to make that literature present in the United States.”
For instance, the Dalkey Archive Press, a small publishing house in Champaign, Ill., that for more than 25 years has specialized in translated works, this year began a Slovenian Literature Series, underwritten by official groups in Slovenia, once part of Yugoslavia.The series‟s first book, “Necropolis,” by Boris Pahor, is a powerful World War II concentration-camp memoir that has been compared to the best of Elie Wiesel and Primo Levi, and has been followed by Andrej Blatnik‟s “You Do Understand,” a rather absurdist but still touching collection of sketches and parables about love and intimacy.
Dalkey has also begun or is about to begin similar series in Hebrew and Catalan, and with Switzerland and Mexico, the last of which will consist of four books yearly for six years. In each case a financing agency in the host country is subsidizing publication and participating in promotion and marketing in the United States, an effort that can easily require $10,000 or more a book.
參考譯文：
斯蒂格·拉森(Stieg Larsson)的《千禧年》三部曲大獲成功，至少表明在現(xiàn)代文學翻譯作品中美國讀者比較偏愛北歐的偵探小說，但是，其他地區(qū)、其他類別的小說要想贏得美國出版社和讀者的青睞難度仍然不小。
外國文化研究所和出版社都知道美國人向來對文學翻譯作品不感興趣，這就是人們常說的“3%難題”。外國文學翻譯作品在美國書市所占份額微不足道，僅為約 3%，為了增加份額，外國政府和基金會，特別是歐洲處于邊緣化的國家現(xiàn)在開始主動出擊，加入到美國出版市場的爭奪大戰(zhàn)當中。
外國文學翻譯作品市場已經(jīng)不再局限于法語和德語等較大語種，從羅馬尼亞到加泰羅尼亞再到冰島，各個文化研究機構(gòu)對本國、本地區(qū)文學作品的英譯工作給予補貼，對翻譯培訓提供支持，鼓勵本國、本地區(qū)作家游歷美國，開始學習曾經(jīng)不以為然的美國營銷技巧，努力搶占美國出版業(yè)中現(xiàn)存的翻譯作品市場�？迫鹉取ぬK圖(Corina Suteu)是歐盟國家文化研究所紐約分部負責人，也是羅馬尼亞文化研究所所長。她說，“我們將征服美國市場作為一個長期戰(zhàn)略目標。對于歐洲各國而言，無論國家大小，文學將一直是各國文化的核心要素，我們也認識到，上述舉措是讓
歐洲文學立足美國的必由之路�！倍嗷霭嫔�(Dalkey Archive Press)是位于伊利諾伊州尚佩恩(Champaign)的一個出版社,該社規(guī)模不大，過去 25 年以來一直專注于外國文學作品的翻譯出版工作，今年在斯洛文尼亞(前南斯拉夫的一個共和國)官方機構(gòu)的支持之下啟動了斯洛文尼亞文學系列的翻譯出版項目。該文學系列的第一部翻譯作品是由波利斯·帕赫(Boris Pahor)所著的《墓葬地》(Necropolis)。這是一部有關(guān)二戰(zhàn)期間集中營生活的回憶錄，讀來令人震撼，有人將該作品與埃利·維瑟爾(Elie Wiesel)和普里莫·萊維(Primo Levi)的有關(guān)名著相提并論。該系列的第二部翻譯作品是安德烈·巴拉特尼克(Andrej Blatnik)的《別裝糊涂》 You Do Understand)。這本書主要是講述愛與親密關(guān)系的隨筆和寓言合集，讀來雖荒誕不經(jīng)，但卻感人至深。多基出版社的希伯來語和加泰羅尼亞語文學作品翻譯出版項目以及與瑞士和墨西哥等國合作的文學作品翻譯出版項目有的已經(jīng)開始實施，有的即將啟動。其中，墨西哥的文學作品翻譯出版項目為期 6 年，每年將翻譯 4 部作品。上述各翻譯出版項目發(fā)起國都有專門的融資機構(gòu)對翻譯出版工作提供補貼支持，并參與在美國的營銷宣傳活動。每本書的營銷宣傳費用至少為 1 萬美元。
