Master of the Intricacies of the Human Heart

　　愛麗絲·門羅，洞悉人心的大師

　　By Michiko Kakutani

　　Oct. 10, 2013

　　Alice Munro, named on Thursday as the winner of the 2013 Nobel Prize in Literature, once observed: “The complexity of things — the things within things — just seems to be endless. I mean nothing is easy, nothing is simple.”

　　愛麗絲·門羅(Alice Munro)于本周四獲得2013年諾貝爾文學(xué)獎(jiǎng)，她曾說過：“事物的復(fù)雜性，即蘊(yùn)含在事物之中的事物，似乎無窮無盡。我的意思是，沒有任何事是輕 簡單的�！�

　　That is also a perfect description of Ms. Munro’s quietly radiant short stories — stories that have established her as one of the foremost practitioners of the form. Set largely in small-town and rural Canada and often focused on the lives of girls and women, her tales have the swoop and density of big, intimate novels, mapping the crevices of characters’ hearts with cleareyed Chekhovian empathy and wisdom.

　　這番話亦是門羅那些寧靜閃光的短篇小說的絕好寫照，這些作品為她奠定了短篇小說界一流作者的地位。她的小說主要發(fā)生在加拿大的鄉(xiāng)村小鎮(zhèn)，描繪女孩與女人們的生活，帶著契訶夫式洞悉一切的同情與智慧勾勒出筆下人物心靈的罅隙，亦有著長篇小說所具備的沖擊力與厚重。

　　Fluent and deceptively artless on the page, these stories are actually amazingly intricate constructions that move back and forth in time, back and forth between reality and memory, opening out, magically, to disclose the long panoramic vistas in these people’s lives (the starts, stops and reversals that stand out as hinge moments in their personal histories) and the homely details of their day-to-day routines: the dull coping with “food and mess and houses” that can take up so much of their heroines’ time.

　　她的短篇小說行文流暢，文風(fēng)表面質(zhì)樸無華，實(shí)則結(jié)構(gòu)精美復(fù)雜，在時(shí)間之中往復(fù)穿梭，在現(xiàn)實(shí)與記憶之間轉(zhuǎn)換;故事神秘展開，揭開筆下人物生平的全貌景觀(在關(guān)鍵的轉(zhuǎn)折點(diǎn)中突出個(gè)體人物生活史中的開端、停頓與逆境)，乃至日常生活中的平凡瑣碎細(xì)節(jié)：她會(huì)平淡地描述 “食物、瑣事與家務(wù)”，這些事占去了她筆下女主人公的大部分時(shí)間。

　　Ms. Munro’s stories possess an emotional amplitude and a psychological density. Her understanding of the music of domestic life, her ability to simultaneously detail her characters’ inner landscapes and their place in a meticulously observed community, and her talent for charting “the progress of love” as it morphs and mutates through time — these gifts have not only helped Ms. Munro redefine the contours of the contemporary short story, but have also made her one of today’s most influential writers.

　　門羅的小說既有情感的廣度，亦有心理的深度。她深深了解蘊(yùn)含在家庭生活中的音樂;在描繪筆下人物內(nèi)心世界細(xì)節(jié)的同時(shí)，無微不至地勾勒出社區(qū)的狀態(tài)，并點(diǎn)出人物在社區(qū)中的位置;此外她還擅長書寫“愛的進(jìn)程”，在時(shí)間的演進(jìn)中為愛的變形與變異畫出圖譜。這些特質(zhì)令她重新定義了當(dāng)代短篇小說的外延，也使她成為當(dāng)今世上最重要的作家之一。

　　In short fiction that spans four and a half decades, Ms. Munro has given us prismatic portraits of ordinary people that reveal their intelligence, toughness and capacity to dream, as well as their lies, blind spots and lapses of courage and good will. Such descriptions are delivered not with judgmental accountancy, but with the sort of “unsparing unsentimental love” harbored by a close friend or family member.

　　門羅創(chuàng)作短篇小說已有45年。在這些作品中，門羅為普通人的生活描繪出五光十色的畫像，展現(xiàn)他們的智慧、堅(jiān)韌與夢想的能力，與此同時(shí)也有他們的謊言和盲點(diǎn)，乃至勇氣和善意的偶爾缺失。她的描寫不帶評(píng)判色彩，只有“不夾偏私，冷靜理性的愛”，如同來自親密的朋友或家庭成員。

　　Like Ms. Munro, many of the women in these stories grew up in small towns in Canada and, at some point, faced a decision about whether to stay or to leave for the wider world. Their lifetimes often span decades of startling social change — from a time and place when tea parties and white gloves were de rigueur to the days of health food stores and stripper bars.

　　和門羅一樣，她小說中的女人們也多在加拿大小鎮(zhèn)上成長，在某個(gè)時(shí)刻面臨留在家鄉(xiāng)還是奔赴廣大世界的抉擇。她們?cè)跀?shù)十年的人生中往往歷經(jīng)社會(huì)巨變，從舉辦茶會(huì)、社交場合必須戴白手套的年代和地點(diǎn)一路走到健康食品店與脫衣舞酒吧的時(shí)代。

　　For that matter, Ms. Munro’s women often find themselves caught on the margins of shifting cultural mores and pulled between conflicting imperatives — between rootedness and escape, domesticity and freedom, between tending to familial responsibilities or following the urgent promptings of their own hearts.

　　因此，門羅筆下的女人經(jīng)常發(fā)現(xiàn)自己被困在文化道德轉(zhuǎn)型的邊緣，在互相矛盾的義務(wù)中掙扎——堅(jiān)守與逃避、家庭與自由，對(duì)家族的責(zé)任與內(nèi)心沖動(dòng)的迫切召喚。

　　In story after story, passion is the magnet or the motor that drives women’s choices. Love and sex, and marriage and adultery are often mirrors that reveal a Munro heroine’s expectations — her fondest dreams and cruel self-delusions, her sense of independence and need to belong.

　　在一個(gè)個(gè)故事里，激情就像磁石或馬達(dá)，吸引和驅(qū)動(dòng)著女人們做出選擇。對(duì)于門羅的女主人公們來說，愛情與性愛，婚姻與外遇通常就像鏡子一樣映照出她們的渴望——她們最美好的夢想與最殘酷的自欺，她們的獨(dú)立意識(shí)與對(duì)歸屬感的需求。

　　Ms. Munro is adept at tracing the many configurations that intimacy can take over the years, showing how it can suffocate a marriage or inject it with a renewed sense of devotion. She shows how sexual ardor can turn into a “tidy pilot flame” and how an impulsive tryst can become a treasured memory, hoarded as a bulwark against the banalities of middle age.

　　門羅還擅長描寫多年親密關(guān)系的多種復(fù)雜情況，顯示這樣的關(guān)系如何扼殺一段婚姻，或?yàn)榛橐鲎⑷胄碌姆瞰I(xiàn)精神。她展示了性愛可以變?yōu)椤奥�延的火勢�?一時(shí)沖動(dòng)的幽會(huì)可以成為珍貴的回憶，匯聚為對(duì)抗平庸中年生活的堡壘。

　　Illness and death frequently intrude upon these stories, and the reader is constantly reminded of the precariousness of life — and the role that luck, chance and reckless, spur-of-the-moment choices can play. Some of Ms. Munro’s characters embrace change as a liberating force that will lift them out of their humdrum routines, or at least satisfy their avid curiosity about life. Others regard it with fearful dismay, worried that they will lose everything they hold dear — or at least everything familiar.

　　疾病與死亡也是她小說中經(jīng)常出現(xiàn)的主題，讀者經(jīng)常會(huì)感受到生命的珍貴，以及運(yùn)氣、機(jī)遇和輕率莽撞的選擇在人生中扮演的角色。門羅筆下的一些人物把改變視為解放自身的力量，可以讓他們擺脫一成不變的生活，或者至少能滿足他們對(duì)人生敏銳的好奇心。另一些人則將改變視為可怕的不幸，擔(dān)心會(huì)失去手中珍貴的一切，至少那是他們所熟悉的一切。

　　漢譯英

　　2014年6月11日，中共中央政治局常委劉云山訪問丹麥期間，參加了“歐洲學(xué)者眼中的中國共產(chǎn)黨國際研討會(huì)”并發(fā)言，主辦方是丹麥哥本哈根商學(xué)院和中國當(dāng)代世界研究中心。李世默在研討會(huì)上做了題為“從全球視角看中國研究的新動(dòng)向和中共形象的新變化”的發(fā)言。

　　現(xiàn)代西方的中國學(xué)研究大致經(jīng)歷了兩個(gè)代際的變化。第一代是歷史主義流派，第二代是意識(shí)形態(tài)流派。當(dāng)代西方對(duì)中國的認(rèn)知，不論是學(xué)術(shù)界或大眾媒體，都深受這兩大代際流派的影響。

　　In the modern era, Chinese studies in the West have gone through two main generations: the generation of the historic school and the generation of the ideological school. Contemporary Western perceptions and understanding of China, in both the academic world and popular press, have been informed by the methods and aims of these two schools.

　　現(xiàn)代中國學(xué)研究的第一代，可以追溯到20世紀(jì)初。他們用歷史主義的語境研究中國，研究方法深受傳統(tǒng)文化影響，研究領(lǐng)域涵蓋了中國的政治、歷史、社會(huì)狀況和中國歷史上重要的領(lǐng)袖人物。

　　The first generation has guided the world’s understanding of China since the early 20th century. They seek to study China in a historical context. Their methods are deeply cultural. Their studies encompass China’s politics, historical and social conditions, and the personalities who drove China’s history.

　　中國學(xué)的第二代，始于1989年，在后冷戰(zhàn)時(shí)代的意識(shí)形態(tài)狂熱中誕生。這一時(shí)期的研究，陷入自由民主或?qū)Ｖ篇?dú)裁的意識(shí)形態(tài)兩元對(duì)立。在研究取向上，強(qiáng)調(diào)政治立場先行和意識(shí)形態(tài)掛帥，目的只有一個(gè)，即證明中國的政治制度必 崩潰。可惜，這一代流派的研究一再被中國成功發(fā)展的事實(shí)證偽，備受質(zhì)疑。

　　The second generation materialized after 1989 in the context of the post Cold War ideological fervor. The entire school was defined by the ideological dichotomy between liberal democracy and authoritarianism. The aim of their studies carried an overtly political and ideological agenda - to prove the Chinese political system is on an inevitable course towards eventual collapse. This school has been largely discredited by facts on the ground and their impact on the future will be limited at best.

　　第三代中國學(xué)發(fā)端于新的形勢背景下，研究方法和取向都不同以往。這一代流派的演進(jìn)，將推動(dòng)中國學(xué)從基礎(chǔ)結(jié)構(gòu)上發(fā)生轉(zhuǎn)型，并使世界對(duì)中國的認(rèn)知產(chǎn)生決定性影響。這對(duì)中國共產(chǎn)黨來說意義深遠(yuǎn)，作為中國政治治理模式的核 。

　　A third generation is emerging. This new generation is approaching China with new methods and different aims within different contexts. This development has placed the fundamental frameworks of Chinese studies in transition. How this evolves will have decisive impacts on the world’s interpretations of China.

　　最近幾十年來，中國全方位快 崛起，全球政治、歷史、經(jīng)濟(jì)研究的頂 人士，紛紛聚焦中國，希望探究這一歷史重大事件的深遠(yuǎn)含義。這個(gè)群體不再象前兩代那樣限于中國通，而是來自各個(gè)領(lǐng)域。

　　With the dramatic rise of China in all aspects of its national power in recent decades, some of the brightest minds in political science, history, and economics are beginning to examine closely what it all really means. Many of them are no longer China experts but generalists.

　　一個(gè)趨向可以稱為實(shí)證派，即以收集客觀數(shù)據(jù)為基本研究方法，從歷史和現(xiàn)在的角度客觀分析中國的治理模式。

　　A much more interesting emerging trend is the empirical school. In this approach, the methods center around empirical data and the aim is the objective understanding of Chinese governance in both historic and contemporary contexts.

　　英譯漢審校

　　By Sarah Lyall

　　On Sept. 3, 1939, after Britain declared war on Germany, George VI addressed millions of people around the world in a live radio broadcast. It was a somber, stirring call to patriotism and fortitude, to courage and resilience, and it was one of the best speeches he had ever made.

　　He had had to struggle so hard to get there. The terrifying march to war, along with the trauma of taking over the throne after the unprecedented abdication of his popular older brother, Edward VIII, had brought back the debilitating stutter that had plagued the king since childhood. The long silences on the radio were not a rhetorical device but a verbal crutch.

　　That he managed at all was a tribute to the man who stood beside him as he spoke, an uncredentialled, unorthodox speech therapist from Australia named Lionel Logue. “The King’s Speech,” which opens on Nov. 24, tells the story of the unlikely friendship between the two men and describes how Logue helped the king find his voice and his confidence.

　　“It was a perfect storm of catastrophe,” said Colin Firth, whose nuanced portrayal of George has generated a huge pre-Oscar stir. “Having a stammer causes tremendous suffering, and just a few years earlier he would have been bailed out by having his remarks recorded and edited. But he was required to speak on this new device, live radio. And to compound all that you have a war looming, where his only function is his voice, to speak to the people, and he can’t speak.”

　　The movie opens before George (then called Prince Albert, or Bertie) becomes king, during a scene in which he is trying to address an expectant crowd at Wembley Stadium. Mr. Firth’s voice flails. He swallows his words, trips over them, and spits them partially out, lapsing into long, panicked silences. It is almost physically painful to watch.

　　George’s wife, played by Helena Bonham Carter, convinces him to seek help from Logue (Geoffrey Rush). Logue’s eccentric methods include insisting that he and Bertie address each other by their first names, making Bertie sing and impertinently asking him about his lonely childhood and his relationship with his chilly family. Gradually the future king opens up, his voice relaxing along with his clenched-up spirit.

　　“It’s Logue’s way of trying to help him at a time when convention does not allow psychoanalysis for a person like that,” Mr. Firth said. “Logue is one of the early generation who believed that getting to the heart of a problem psychologically could help with a cure.”

　　George VI remained a friend of Mr. Logue for the rest of their lives. (The king died in 1952; Logue died the following year.) The king sought his help before important speaking engagements and, in 1937 made him a member of the Royal Victorian Order, which recognizes personal service to the sovereign.

　　The king never fully got over his stutter, and Mr. Hooper said it would have been wrong to give the film a classic Hollywood ending, in which he is cured and lives happily ever after.

　　When he went back and listened to archival recordings, Mr. Hooper said, “it was clear that the king was still coping with his stammer, and that this was not about a man who was cured. It was about a man who had learned how to cope.”

　　(待審校譯文略)

　　漢譯英審校

　　中文為考試原文(有修改)，英文為搜索譯文，并非考試試題中需修改內(nèi)容，僅供參考。

　　當(dāng)前推進(jìn)城鎮(zhèn)化的主要任務(wù)是:推進(jìn)農(nóng)民工等農(nóng)業(yè)轉(zhuǎn)移人口市民化;提高城鎮(zhèn)建設(shè)用地利用效率，防止城鎮(zhèn)化大量圈占土地、低效利用;建立多元可持續(xù)的城鎮(zhèn)化資金保障機(jī)制，改變過度依賴土地財(cái)政的局面;優(yōu)化城鎮(zhèn)化布局和形態(tài)，改善人居環(huán)境;提高城鎮(zhèn)化水平，實(shí)事求是定位，科學(xué)務(wù)實(shí)規(guī)劃;加強(qiáng)對(duì)城鎮(zhèn)化的管理。

　　城鎮(zhèn)建設(shè)要體現(xiàn)尊重自然、順應(yīng)自然、天人合一的理念，依托現(xiàn)有山水脈絡(luò)等獨(dú) 風(fēng)光，讓城市融入大自然，讓居民望得見山、看得見水、記得住鄉(xiāng)愁。

　　At present, the main tasks for urbanization are to grant urban residency to more rural migrant workers and other rural people who have moved to cities; make more efficient use of urban land for construction purposes and prevent too much land from being expropriated for urbanization and used inefficiently; establish a diversified and sustainable mechanism for funding urbanization; put an end to China’s over reliance on land-based finance; improve the structure and form of urbanization and the living environment; raise the level of urbanization, realistically define what a city should be like and make proper plans for its development; and improve the management of urbanization.

　　In pursuing urbanization, China needs to respect and be in tune with nature and ensure unity between man and nature.

　　Making use of current mountains, waters and other unique landscapes, China needs to integrate cities into nature so urban dwellers can enjoy the view of mountains and waters and are reminded of their hometowns.

　　點(diǎn)擊查看講義輔導(dǎo)資料及網(wǎng)校課程

　　口譯：翻譯資格考試三級(jí)口譯模擬題

　　筆譯：翻譯資格考試三級(jí)筆譯模擬題

　　資料來源考試網(wǎng)校老師主講教材精講班課程，完整講義下載進(jìn)入個(gè)人中心>>

　　　　下載焚題庫APP——翻譯資格考試——題庫——做題，包括章節(jié)練習(xí)、每日一練、模擬試卷、歷年真題、易錯(cuò)題等，可隨時(shí)隨地刷題�！�在線做題】>>】【下載APP掌上刷題】