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112年 - 112 東吳大碩士班研究生招生考試試題_英文學系翻譯碩士班:中英雙語及轉換能力#121903

科目:研究所、轉學考(插大)◆中英翻譯 | 年份:112年 | 選擇題數:0 | 申論題數:7

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所屬科目:研究所、轉學考(插大)◆中英翻譯

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申論題 (7)

II. English Ability
1. Paraphras
ing: Rewrite the following paragraph in English to express the same meaning or information with different wording and structure.

 An Immense World by Ed Yong is a book filled with strange creatures and experiments; Yong is interested in what animals perceive and what they might communicate to us. Humans see the world one way, and other species see it through very different eyes, and many don't see it at all. Attempting to exchange one worldview-or, to use the term Yong favors, Umwelt--for another may be frustrating, but, he argues, that's what makes the effort worthwhile. It reminds us that, "for all our vaunted intelligence," our Umwelt is just one among millions. Some species of scallops, for instance, have dozens of eyes; others have hundreds. We can learn a lot from the methods that animals use to sense their surroundings. And doing so can be, for us, mind-expanding.

2. Summarizing: Write a summary in English between 50 to 80 words to get the gist of the following paragraphs. (It is strongly recommended not to copy the same sentences of the original texts.)

 Of the character sketches that the English satirist Samuel Butler wrote in the mid-seventeenth century- among them "A Degenerate Noble," "A Huffing Courtier," "A Small Poet," and "A Romance Writer"-the most recognizable today is "A Modern Critic." He is a contemptible creature: a tyrant, a pedant, a crackpot, and a snob; "a very ungentle Reader"; "a Corrector of the Press gratis"; "a Committee-Man in the Commonwealth of letters"; "a Mountebank, that is always quacking of the infirm and diseased Parts of Books." He judges, and, if authors are to be believed, he judges poorly. He praises without discernment. He invents faults when he cannot find any. Beholden to no authority, obeying nothing but the mysterious stirrings of his heart and his mind, he hands out dunce caps and placards insolently and with more than a little glee. Authors may complain to their friends, but they have no recourse. The critic's word is law.

 Butler's sketch would still strike a chord with aggrieved writers today, but, in his time, the Modern Critic- part mountebank, part magician was a new phenomenon. The figure's shape-shifting in the centuries since is the subject of John Guillory's new book, "Professing Criticism" (Chicago), an erudite and occasionally biting series of essays on "the organization of literary study." Guillory has spent much of his career explaining how works of literature are enjoyed, assessed, interpreted, and taught; he is best known for his landmark work, "Cultural Capital" (1993), which showed how literary evaluation draws authority from the institutions principally universities within which it is practiced. To suggest, for instance, that minor poets were superior to major ones, as T. S. Eliot did, or that the best modernist poetry was inferior to the best modernist prose, as Harold Bloom did, meant little unless these judgments could be made to stick-that is, unless there were mechanisms for transmitting these judgments to other readers.