2018上半年翻译考试catti三级笔译试题：文学作品

　　英译汉

　　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.

　　参考译文：

　　斯蒂格·拉森(Stieg Larsson)的《千禧年》三部曲大获成功，至少表明在现代文学翻译作品中美国读者比较偏爱北欧的侦探小说，但是，其他地区、其他类别的小说要想赢得美国出版社和读者的青睐难度仍然不小。

　　外国文化研究所和出版社都知道美国人向来对文学翻译作品不感兴趣，这就是人们常说的“3%难题”。外国文学翻译作品在美国书市所占份额微不足道，仅为约 3%，为了增加份额，外国政府和基金会，特别是欧洲处于边缘化的国家现在开始主动出击，加入到美国出版市场的争夺大战当中。

　　外国文学翻译作品市场已经不再局限于法语和德语等较大语种，从罗马尼亚到加泰罗尼亚再到冰岛，各个文化研究机构对本国、本地区文学作品的英译工作给予补贴，对翻译培训提供支持，鼓励本国、本地区作家游历美国，开始学习曾经不以为然的美国营销技巧，努力抢占美国出版业中现存的翻译作品市场。科瑞娜·苏图(Corina Suteu)是欧盟国家文化研究所纽约分部负责人，也是罗马尼亚文化研究所所长。她说，“我们将征服美国市场作为一个长期战略目标。对于欧洲各国而言，无论国家大小，文学将一直是各国文化的核心要素，我们也认识到，上述举措是让

　　欧洲文学立足美国的必由之路。”多基出版社(Dalkey Archive Press)是位于伊利诺伊州尚佩恩(Champaign)的一个出版社,该社规模不大，过去 25 年以来一直专注于外国文学作品的翻译出版工作，今年在斯洛文尼亚(前南斯拉夫的一个共和国)官方机构的支持之下启动了斯洛文尼亚文学系列的翻译出版项目。该文学系列的第一部翻译作品是由波利斯·帕赫(Boris Pahor)所著的《墓葬地》(Necropolis)。这是一部有关二战期间集中营生活的回忆录，读来令人震撼，有人将该作品与埃利·维瑟尔(Elie Wiesel)和普里莫·莱维(Primo Levi)的有关名著相提并论。该系列的第二部翻译作品是安德烈·巴拉特尼克(Andrej Blatnik)的《别装糊涂》 You Do Understand)。这本书主要是讲述爱与亲密关系的随笔和寓言合集，读来虽荒诞不经，但却感人至深。多基出版社的希伯来语和加泰罗尼亚语文学作品翻译出版项目以及与瑞士和墨西哥等国合作的文学作品翻译出版项目有的已经开始实施，有的即将启动。其中，墨西哥的文学作品翻译出版项目为期 6 年，每年将翻译 4 部作品。上述各翻译出版项目发起国都有专门的融资机构对翻译出版工作提供补贴支持，并参与在美国的营销宣传活动。每本书的营销宣传费用至少为 1 万美元。