Part C

　　Directions:

　　Read the following text carefully and then translate the underlined segments into Chinese. Your translation should be written clearly on ANSWER SHEET 2. (10 points)

　　There is no question that science-fiction writers have become more ambitious, stylistically and thematically, in recent years. (46) 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.) (47) 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. (48) 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. (49) 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. (50) 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."

　　答案

　　46.但是這一點與其說是與學術環境具有誘惑力的召喚有關，還不如說是與變化的市場狀況有關--一這是一個學術評論家很少考慮的因素。

　　47.還不到四十歲，西爾弗伯格就已出版了一百多本書籍，而他對真正散文的質量與應時之作的質量之間的關系十分坦誠，毫無掩飾。

　　48.在他雙親的敦促下，他報考了哥倫比亞大學，所以即便最糟他也能進入新聞學校，"將來總可以有一份穩定的好工作。"

　　49.到大四結束的時候，他每星期寫科幻小說已經可以賺兩百美元了，而他的雙親也接受了他對于文學生涯的追求。

　　50.我知道我寫不出作為讀者的我所喜歡的東西，就像喬伊斯、卡夫卡、曼恩的作品，所以我不再那么關注我所寫的東西。

　　總體分析

　　本文介紹了科幻小說家羅伯特•西爾弗伯格。文章先指出科幻小說的繁榮與市場需求關系緊密，接著通過介紹多產的科幻小說家西爾弗伯格的創作經歷予以說明。

　　本文考查的知識點：后置定語、插入語、比較結構、同位語、上下文中詞義的選擇，等。

　　試題精解

　　46.[精解] 本題考核知識點：比較結構、同位語的翻譯。

　　該句的主干是this may have less to do with... than with...，其中含有一個比較結構less... than...，可譯為"與其說...不如說..."。破折號后是名詞短語a factor that... 做整個主句的同位語，其中that引導的定語從句做后置定語。由于是同位語，可單獨譯為一個句子，補譯"這"為它的主語。

　　詞匯：luring是lure的現在分詞形式，可譯為"具有誘惑力的";factor意為"因素";take into account意為"考慮"。

　　47.[精解] 本題考核知識點：詞義的選擇。

　　該句是and連接的兩個并列分句，其主干是Silverberg has published... , and he is frank about...。

　　詞匯：in one's thirties意為"在(某人)三十幾歲時"，由于本句中有late修飾，如果直譯為"三十幾歲晚期"不符合漢語表達習慣，應意譯為"不到四十歲"。disarmingly意為"使人消除敵意(或懷疑、怒氣等)的"，與frank一起應譯為"十分坦誠、直言不諱"。genuine意為"真正的;坦率的，真誠的"。available意為"可獲得的，可找到的"，outlet意為"(思想、感情、精力發泄的)出路，表現機會"，available outlet不能直譯，而應根據上文對應的genuine prose(真正的散文)意譯為"應時之作"。

　　48.[精解] 本題考核知識點：順譯法。

　　該句是主從復合句，其主干是he enrolled... so that... he could go to...，翻譯時可采用順譯的方法，保持原來句子的順序。句首介詞短語At his parents' urging作狀語。so that引導結果狀語從句，其中插入語if worst came to worst做條件狀語，應意譯為"在最糟糕的情況下"。

　　詞匯：urging為urge的動名詞形式，譯為"敦促";

　　49.[精解] 本題考核知識點：順譯法和分詞的翻譯。

　　該句是and連接的并列句，其主干是he was earning... and his parents were...，可采用順譯的方法翻譯。前一分句中，分詞結構writing science fiction作方式狀語，翻譯時應置于謂語前面，譯為"(通過)寫科幻小說"。

　　詞匯：be reconciled to意為"將就，妥協，接受"。

　　50.[精解] 本題考核知識點：插入語、后置定語的翻譯

　　該句是個主從復合句，其主干是I knew... so I detached...。主從句之間是插入語，列舉了幾個作家的名字，根據上下文，這些名字實際上指代的是作家的作品，應補譯為"喬伊斯、卡夫卡、曼恩的作品"。I knew后是省略了關系代詞的賓語從句I could not write...，其中賓語the kind of things后又接有一個定語從句I admired as...，由于定語不長，可直接譯為漢語的前置定語。

　　詞匯：detach oneself from sth.意為"掙脫，擺脫，離開"，文中應意譯為"不關注我寫的東西"。

　　全文翻譯

　　毫無疑問，近些年在文體和主題上科幻小說作者已經變得更加雄心勃勃了。但是這一點與其說是與學術環境具有誘惑力的召喚有關，還不如說是與變化的市場狀況有關--一這是一個學術評論家很少考慮的因素。前美國科幻小說家協會主席羅伯特•西爾弗伯格是在一個以寫作為生計的作家為主導的領域中最多產的作家之一。(不像推理作家或西部文學作家，大部分科幻小說作家都不能指望從電影的熱銷或相關產品的銷售中牟利。)還不到四十歲，西爾弗伯格就已出版了一百多本書籍，而他對真正散文的質量與應時之作的質量之間的關系十分坦誠，毫無掩飾。按照他自己的說法，"他是來自布魯克林一個令人討厭的舞文弄墨的年輕人"，他十歲的時候看了第一本科幻小說，十三歲時開始認真地寫作，到了十七歲由于對不能進入庸俗雜志領域的絕望而差點放棄寫作。在他雙親的敦促下，他報考了哥倫比亞大學，所以即便最糟他也能進入新聞學校，"將來總可以有一份穩定的好工作。"大二時，他將他的第一個科幻故事賣給了一家叫《星云》的蘇格蘭科幻雜志。到大三結束時，他賣掉了一本小說和二十多個故事。到大四結束的時候，他每星期寫科幻小說已經可以賺兩百美元了，而他的雙親也接受了他對于文學生涯的追求。"很快我變得非常憤世嫉俗。"他說，我先是什么也賣不出，然后什么都賣得出。市場使我不好的性格展現出來。一個下三濫雜志的編輯會打電話告訴我他下一期雜志中缺一萬字的文稿，于是我為了150美元的稿酬連夜趕稿。我發現改寫后沒有什么不一樣。我知道我寫不出作為讀者的我所喜歡的東西，就像喬伊斯、卡夫卡、曼恩的作品，所以我不再那么關注我所寫的東西。在我的大學朋友中，我是一個成功的人，一個已出版了作品和正在銷售書籍的作者。但他們總是問："你什么時候寫點嚴肅的作品?"--指的是科幻小說之外的東西--而我總是說，"當我經濟上穩妥了以后。"