英语翻译资格考试笔译初级英译汉1

英语翻译基础考试大纲Introduction英语翻译基础考试是为了评估考生在英汉翻译方面的基本能力而设立的考试。

本大纲旨在提供对该考试的详细描述，包括考试结构、考试内容、考试要求等等。

考试结构英语翻译基础考试分为两大部分：笔译和口译。

下面将对每一部分的结构进行详细介绍。

笔译部分笔译部分主要测试考生在英汉互译方面的能力。

考试时间为120分钟，考生需在规定时间内完成给定的翻译任务。

任务一：英译汉这一任务要求考生将给定的英语短文准确地翻译成汉语。

短文内容涵盖各种主题，包括社会、文化、科技等等。

此任务重点考察考生对英汉语言差异的理解和应用能力。

任务二：汉译英考生需要将给定的汉语短文准确地翻译成英语。

短文内容也涵盖各种主题，以确保考生在不同领域都具备一定的翻译能力。

此任务旨在考察考生对英汉语言差异的理解和应用能力，同时要求考生具备良好的英语写作能力。

口译部分口译部分主要测试考生在双语交流方面的能力。

考试时间为40分钟，考生需根据听到的英文短文进行即时口译。

任务三：英译汉口译这一任务要求考生即时将听到的英语短文口译成汉语。

短文内容围绕社会热点、文化活动、科技进展等主题展开。

此任务考察考生对语言听力的理解能力以及双语快速转换的能力。

任务四：汉译英口译考生需要即时将听到的汉语短文口译成英语。

短文内容同样涵盖各种主题。

此任务旨在考察考生对语言听力的理解能力，同时要求考生具备良好的英语口语表达能力。

考试要求英语翻译基础考试要求考生具备以下能力：1. 优秀的语言运用能力：考生应具备良好的英汉翻译能力，包括准确理解原文意思、恰当选择翻译词汇和短语以及流畅地表达翻译结果。

2. 准确理解和传达语境：考生需要在翻译过程中准确理解所给短文的语境，并将其传达到目标语言中。

3. 快速反应和应变能力：口译部分要求考生即时进行口译，因此考生应具备快速反应和应变能力，能够准确而流畅地进行翻译。

4. 文化背景知识：考生应具备一定的中西文化背景知识，以便在翻译过程中能够更好地理解和表达主题。

CATTI一级笔译考试心得相比两三年前，如今CATTI的知名度更大了，考试的人数也在增加，不少人已经拿到了二级笔译证书。

相比之下，一级笔译参加和通过的人数则要少一些，下面我就和大家分享CATTI一级笔译考试心得,希望能够帮助到大家，来欣赏一下吧。

CATTI一级笔译考试心得本人英语翻译专业毕业，研一过了二笔(64分)二口(69分)，研二65分过了一级笔译。

目前工作已有一年半时间，所以考试具体的内容记得不太清楚，更多地是谈谈我如何准备这门考试，以及个人认为考试通过需要具备哪些素质。

先说大家比较关心的字典和考试结构。

我参加一级笔译时带了《牛津·外研社英汉汉英词典》，英译汉和汉译英都可以用。

考试题型为一篇英译汉，一篇汉译英，一篇英译汉校对，一篇汉译英校对。

考试时间是3个小时，建议大家2小时内做完翻译部分，1小时做校对。

个人认为，一级笔译英译汉部分比《经济学人》浅显，汉译英比政府工作报告浅显，不涉及专业内容，跟二级笔译应该差不多，区别可能在于改分会更加严格。

一级笔译的备考，我没有找专门的教材和资料进行练习，主要是靠一直笔译兼职来锻炼(后文简称为实践)。

文件涉及范围广而杂：博鳌亚洲论坛、美国加州选举法、央视节目、电影字幕、安踏集团、股市投资等。

我也建议各位考生多实践，实践能更好地提高自己的翻译能力。

翻译5万字、10万字、50万字，你的感受和认识都是不一样的。

经过实践，你会发现一级的内容其实更简单，考试也不会那么慌。

对于外语类学生而言，实践的难点在于专业知识的理解以及行文是否符合内行人的习惯，阅读股市投资的英文材料有助于理解语境和句子，阅读中文材料有助于理解股市投资背后的逻辑思维以及所谓的“行话”是怎么说的。

比如trader在股市称为【操盘手】，close losing positions叫做【把亏损头寸平仓】。

这些知识需要自己去涉猎，而且日后对实践也有很大的裨益。

无论是英译汉还是汉译英，个人主张不要删减原文信息，但要让原文更加“灵活”一些，在考试和实践中都应如此。

CATTI 三级笔译实务全真模拟题（附参考译文）Section 1: English-Chinese Translation (50 points)第一部分：英汉翻译（50分）Translate the following passage into Chinese.①In Aaron Walsh's course on Collaborative Computing at Boston College, students learn how to work in teams to program software. It's not an easy class, but Walsh sees his students only once at the start of the semester. After that, they work in a virtual 3-D world, which Walsh - a former video game programmer - helped design. Logging in via their PCs or laptops, the professor and students interact and work together as digital avatars - just like they would in programs like Second Life, using voice - over - Internet to talk or ask questions. The class is part of a fast - growing movement to apply state - of - the - art computer - game technology to U.S. college learning. Similar experiments have been conducted at Harvard, Amherst and MIT.②Long gone are the days when “online education” meant little more than digitized correspondence courses. Today it features videos and podcasts, blogs and live chats, Webcams and wikis, and online courses are becoming ever more popular. This fall, more than 4 million students in the United States will take at least one course online, says Frank Mayadas, an expert on education technology at the Sloan Foundation in New York. America's biggest online school, the University of Phoenix, has grown from 80,000 students in 2000 to 345,000 students today and is on track to reach 500,000 by 2010.③Already popular with universities, which see such programs a way to boost enrollment and revenue, and with students, who love the flexibility and the lower tuition costs, online learning has gotten another big boost from the high price of gas, Four out of five U.S. college students now commute to campus every day, and admissions officers say fuel costs have helped push up online enrollment by 100 percent at some colleges in the past year.④Many such programs are also shedding their second-class status. Elite U.S.colleges like MIT and Stanford have begun offering a growing number of degrees online, Stanford alone now boasts more than 50 different online master's programs, most of them in engineering and science, which have no physical classroom component but which Stanford claims are just as good as its on-campus offerings. A few schools, like the State University of New York and the University of Illinois, have abolished the separation of online from campus programs entirely, awarding the same degree for both. The next step: allowing students themselves to mix and match campus and online coursework at will.⑤Employers have been slow to catch on; while 83 percent of U.S. hiring managers said in a June survey that online degrees are more accepted today than five years ago, only 35 percent considered them equal to traditional degrees. Indeed, there is no good virtual replacement yet for hands -on study in subjects like physics, biology or anatomy, which require physical contact materials. Some educators are also skeptical, complaining about the for-profit nature of many online programs and the fact that they fail to replicate free-flowing conversations. “You lose something by not having human contact,” says Anita Levy of the American Association of University Professors.⑥Yet other experts argue that Web-based learning is actually closer to students’ future on-the-job realities. “Much business is now conducted online,” says Mayadas. “Education is mimicking the way we conduct business, communicate and exchange ideas today.”⑦The future of online learning, Mayadas says, lies in “blended”programs that combine faculty face time with the flexibility of online teaching. The move to such hybrids will be driven by students questioning why they should sit in lectures taking notes three times a week when they can go once and do the rest at their own pace online. Universities and colleges, for their part, like the fact that mixed programs allow them to cut down on physical classes, saving money and creating space for more students.⑧Blended programs will also go a long way toward meeting the critics who contend that digital learning will never replace the campus experience. By combiningface -to -face interaction with new online options in more powerful ways, these programs should offer the best of both worlds - rendering moot today's debate over whether virtual or in - person degrees are best.【参考译文】①艾伦·沃什在波士顿学院开设的“协同计算”课程教学生如何以团队形式编写软件这门课不简单，但沃什只在每学期开始时见学生一次，之后都在虚拟的3D 世界授课。

CATTI 二级笔译实务全真模拟题（一）（附参考译文）Section 1: English-Chinese Translation (50 points) Translate the following two passages into Chinese.Passage 1Although we now tend to refer to the various crafts according to the materials used to construct them-clay, glass, wood, fiber, and metal-it was once common to think of crafts in terms of function, which led to their being known as the “applied arts”. Approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports. There is no way around the fact that containers, shelters, and supports must be functional. The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered, These laws are universal in their application, regardless of cultural beliefs, geography or climate. If a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any traditional sense. Since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within certain limits, Buildings without roofs, for example, are unusual because they depart from the norm.Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects. It is often taken for granted that this is also true for the maker of fine-art objects. This assumption misses a significant difference between the two disciplines. Fine-art objects are not constrained by the laws of physics in the same way that applied-art objects are. Because the primary purpose is not functional, they are only limited in terms of the materials used to make them. Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress, Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These are problems that must be overcome by the artist because they tend to intrude upon his or herconception of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof, This was done because the cannonball was needed to support the weight of the leg. In other words, the demands of the laws of physics, not the sculptor's aesthetic intentions, placed the ball there, That this device was a necessary structural compromise is clear from the fact that the cannonball quickly disappeared when sculptors leaned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze).【参考译文】英译汉:第一篇如今，人们往往根据工艺品的材质来称呼它们，比如陶土工艺品、玻璃工艺品、木制工艺品、纤维工艺品、金属工艺品等，但最初人们通常根据它们的功能将它们统称为“应用艺术”。