南京大学211翻译硕士英语考研真题及辅导用书

考研真题

1. [电子书]南京大学外国语学院《211翻译硕士英语》[专业硕士]历年考研真题及详解

2. [电子书]2026年翻译硕士《211翻译硕士英语》考研真题与模拟题详解

考研指导书

1. [电子书]2026年翻译硕士《211翻译硕士英语》专用教材

2. [题库]2026年翻译硕士《211翻译硕士英语》考研题库

南京大学外国语学院《211翻译硕士英语》[专业硕士]历年考研真题及详解

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2010年南京大学211翻译硕士英语考研真题及详解

Part One: Proof Reading

The following

sentences contain some errors. Copy and edit them on your answer sheet. (1.5×10)

1

An important information I got from her is our teacher’s new marriage.

2 She had a lot of difficulty with the long vowel /ei/, so I taught her how to pronounce.

3 The tutor asked the pupils: “How to write an essay on your mother?” 

4 The volleyball players of our department went

through very tough training for a whole semester and finally win the

championship of the university.

5 I

felt frustrated and wondered why my English wasn’t improved even after having

watched many movies and read many books.

6 The news of the H1N1 flu worried the

headmaster, but another news was

upbeat: so far, everyone in his school was healthy.

7 All of us in the

class would like to become a teacher in the future.

8 In high school, we had to take many classes,

Chinese, English, physics, chemistry, mathematics and history and so on.

9 The students found

it dissatisfied that their hard work was not rewarded or recognized.

10 The university

attaches great importance to teacher’s research and publications.

【答案与解析】

1 An: The

（information为不可数名词，因此将An改为The。）

2 pronounce/\: it

（pronounce后应该有宾语it，不可以省略。）

3 pupils: pupil

（pupil前有定冠词the，而且主语是家庭教师，因此pupil应该用单数。）

4 a: the

（the whole修饰单数名词，表示“整个”。）

5 even

（after引导时间状语从句，even成分多余，应该去掉。）

6 another/\ news:

piece of

（another之后只能接单数可数名词，不可以加不可数名词。）

7 All: Each

（由于宾语是a teacher，因此主语应该是each of us。）

8 classes: courses

（后文“Chinese, English”等都属于课程，对应的单词是course而不是class。）

9 dissatisfied: dissatisfying

（句中是他们的辛勤工作没有得到奖励和认可这一事实使人不满，因此应该用dissatisfying。）

10 teacher’s: teachers’

（句中的老师应该只这所大学中的所有老师，因此应该用复数。）

Part Two: Vocabulary and

Reading

Directions: Read

the passage below and then answer the questions that follow.

The Archaic Smile

Francis Henry Taylor

1）Fifty years ago archaic sculpture was known only

as a curious phenomenon. It was assumed that all primitive peoples made statues

in much the same spirit in which children made mud pies. No one but archaeologists—antiquarians

and numismatists they were Called then—bothered to look at numismatists they

were called these barbaric efforts in stone and clay. Archaic sculpture is an art belonging to that period of man’s

religious development when the idea was as big and important as the forms which

symbolized it. Moral values and concepts had not yet become established and

confusion existed between objects of reality and the world of the spirit. The

rational and irrational were merged together and responded to physical and

mental stimuli. Strange and occult powers were ascribed to rocks and trees, to

events and natural phenomena. There was no part of material existence that was

not bounded by taboo and superstition. Chance was completely unknown, as was

the concept of nature as a thing apart; reality was a mystical experience and

every action determined by participation rather than by natural law.

2）The art world today is divided into two

camps—those who wish to preserve the ageless and guiding principles of humanism,

and these who seek to find in art an expression of their own groping with the

mechanical determinism of the present day. The humanities today are understood

by the masses as that residue of human experience which has proved to be of no

practical value whatever in the ordinary conduct of contemporary life, whereas

the sciences, bereft of philosophical or speculative significance, appear to

offer the answer to every maiden’s prayer.

3）The gulf lying between the artist and his public

is wide and deep; it is the mere serious because it has lasted now for nearly a

century. Thus the thoughts provoked by this inquiry should not be considered a

polemic for or against contemporary art, but rather as an attempt to explore

the terrain and climate in which the artist works today—for at best the painter

and the sculptor are merely representative of their time and their environment.

4）The modern movement is not a theory; it is a

condition. It is a condition arising out of a series of historical facts and

consequences which center on the dignity of man—his position in the universe,

his search for truth, and his constant desire to render truth in sensible form

so that other men may grasp its meaning and its beauty.

5）Artists and laymen have become the victims of

the scientific world they have created, and in their common fear for the future

have lost contact with one another. The crisis in the arts is nothing more or

less than the crisis of the human race. How far, one may ask, can the artist be

held responsible for the society of which he is a product? Are we to assume

that he has sold his birthright for a mess of psychic and mechanistic pottage?

No, nor can we lay the blame for unintelligibility alone upon the failure of

the artist to continue the traditions of craftsmanship of the old masters.

6）Toynbee has offered a partial explanation: The

prevailing tendency to abandon our artistic traditions is not the result of

technical incompetence; it is the deliberate abandonment of a style which is

losing its appeal to arising generation because this generation is ceasing to

cultivate its aesthetic sensibilities, on the traditional Western lines. Our

abandonment of our traditional artistic technique is manifestly the consequence

of some kind of spiritual breakdown in our Western Civilization; and the cause

of this breakdown evidently cannot be found in the phenomenon which is one of

the subsequent symptoms.

7）The problem today is not so much that of a lack

of single conviction, but the multiplicity of convictions with which the creative

artist is confronted.

8）In the rapidly expanding, secularized world in

which we live, where neither the Bible nor Bulfinch’s Age of Fable seems

to play any useful role and where one person’s gods appear to be as good as the

next person’s, it becomes imperative that there be a return, if not to the gods

of our fathers themselves, to some unifying principle in which the

twentieth-century man of many faiths can find the comfort of authority. For the

artist has ever required authority as a framework—a point of departure—for his

own experience.

9）The artist today has become the favorite

whipping boy in a struggle between the intelligible and the unintelligible.

Since he is supposed to be the custodian of the ineffable thing called beauty,

he is blamed if he does not jealously conserve it without change, and equally

blamed if he tries to place it within the context of the world in which he

lives.

10）Having accepted modern art as something which,

while they never understood it, they nevertheless vaguely approved, the people,

after three score years and ten of being told to like it, have begun to wonder

whether they are not “being had.” They are accustomed to daily

accounts of world crises in the press and on the air. These are the stuff of

which ordinary experiences are made, and in so far as the artist deals with

them objectively the public is willing to admit his right to express his

opinions and even to find, if he can, some beauty in them. But where the artist

and layman part company is in the realm of the subjective: interpretation,

representation or non-representation as the ease may be, the psychology of

color and the myriad emotional and intellectual connotations with which every

contemporary work is filled.

11）The issue of our generation is not so much one

of principle as it is one of the degree of communicability versus

incommunicability. And, while no sensible person would wish to turn back the

clock, there are many who might wish to read its face without having to take

its works apart.

12）The question is no longer one of technique or

taste, but revolves again about the venerable problem of reality. Obscured by

the conquest of material existence in the nineteenth century, philosophy has

again reappeared as the champion of those new freedoms of conscience and

opinion which have resulted in the liberation of the individual Mart has

misinterpreted his own researches into the modern world of science as the

answer to ultimate cause and purpose. He has become, indeed, the arbiter of his

own fate, but he has not yet learned that the cosmic is distinguished from the

comic by only a single consonant.

13）More recently another technical problem of the

modern world has had its impact upon the artist—time is now conceived as a kind

of fourth dimension projecting itself through space. Its impact has been a

by-product of Einstein’s theory of relativity and of the investigations in

nuclear physics. Time and space are shown to be no longer absolute. Art,

therefore, might conceivably become the illustration of energy rather than the

illustration of form; the artist is thus presented with another reality or

absolute as potential electricity or atomic power.

14）The history of art is a visual record of the

philosophical concepts which have engrossed creative thinkers of each age. In

their works the artists leave behind them both the history of their personal

reactions and an accurate barometric reading of their intellectual climate.

Recognition is instantaneous and universal. It does not require any act of

intuition or special gifts of birth or education to experience it. Anyone who

looks at a picture, a statue, or the architecture of a building, learns

instinctively and immediately something of the world which produced it. What

will the art of today tell the spectator of tomorrow?

15）If we accept the definition of art as the

rendering of truth in sensible form, and truth the interpretation of human

experience, it is obvious that a work of art is essentially communicative. It

must mean something to someone other than the person who created it—in fact,

and more important still, it can mean the same thing or several different

things to a number of persons. But meaning it must have.

16）Not until the second quarter of the twentieth

century was the essential communicability of art ever denied. Communication has

been common to all the great racial traditions and, once established, can take

any variety of expressions. It is unlimited in content or subject matter, free

to adopt any style or technique. The one and only quality denied a work of art

throughout the ages is privacy. Unless

participation is allowed the spectator, it becomes a hopeless riddle and ceases

to be a work of art at all.

17）If the artist is obligated to communicate his

meaning, the public in return should bear in mind that they are no less

obligated to make an effort to understand what the artist is attempting to say

to them. The message of art is not necessarily a simple message or an easy one;

and it is quite legitimate that a painting or a statue be meaningless to persons

at one level of education and yet be clear and explicit to those at another

level, who are particularly trained to understand it. In the sciences, in the

social sciences, and in the humanities there is a general acceptance of the

fact that certain studies are reserved for the higher intellect. Unfortunately,

this is not true in the arts.

18）Despair appears to be perhaps the most familiar

trademark of the contemporary artist despair springing not so much from a sense

of hopelessness as from his echoing and engulfing loneliness. The adjustment to

society and to the life and people about him, which was the very quality which

in the past brought the artist into direct and intimate contact with his

audience, seems to have slipped away from him, and he is creating in a vacuum.

With the essential communication of his work denied him, he automatically falls

back upon himself and those aspects of his inner life which, prior to the

advent of abnormal psychology, were seldom exposed to view. Yet he cannot be

content to mirror his own soul. It must reveal the torment and the particular

revolt of the moment to which the artist feels obliged to subscribe. This

revolt has ceased, however, to be an indignant protest against the sins of the

past and of the present, but has become instead a sort of generator of

perpetual motion. Where we once had “art for art’s sake,” we now have

“revolution for revolution’s sake”—an equally sterile end in itself.

19）Individualism, the type of fearless, rugged

individualism which despite its many faults created the capitalistic world in

which we live, alone can give the artist the confidence which he must have to

express his inner thoughts and feelings. And it is neither necessary nor wise

for him to align himself with partisan convictions or political ideologies.

Academies and societies which veer to the left or to the right, far from being

the guardians of an immortal tradition, are merely the tools of pressure groups

whose, greatest fear is fear itself.

20）The artists, who too often suffer from an

exaggerated sense of timeliness, are really no different from the world in

which they live. The fact that they are frightened and insecure, and visionary,

in their protests against a society in which they no longer feel at home is one

of the inevitable tragedies of a generation which has gone through two world

wars and a depression. What they are voicing is the terrible inadequacy of

individual man in a mechanistic age, and it does not mean that in doing so they

necessarily subscribe to any political or ideological conspiracy. They are

merely lonely and frequently despairing men and women who are trying to express

in plastic terms their personal and intimate reactions to world phenomena that

they are ill-equipped to understand. They fail to see in our present

civilization the changeless values which have marked the great pages of

history.

21）Perhaps the artist’s unique gift is to see beyond the

narrow reality of the moment into the breadth of eternity. This is superbly expressed by the words of the

Chinese philosopher Li Po, who wrote and painted at the court of Emperor Ming

Huang in the eighth century:

I

would not paint a face, a rock nor brooks nor trees,

Mere semblances of things, but something more than these.

I would not play a tune upon the sheng or lute

Something that did not sing meanings that else were mute.

That art is best which to the soul’s range gives no bound.

Something besides the form, something beyond the sound.

22）Progress and catastrophe. The answer lies in our

hearts rather than in our intellects. Standing on the threshold of a new and

infinitely more productive world from which national and international suicide

is separated by only the thinnest and most fragile membrane, we who have

derived so much from our inherited civilization are obligated to give it

another chance. The artist, then, if he chooses to retain his stature as

prophet, must reassert his belief in man.

23）Revelation of the universe is not to be had

merely for the asking. It requires humility and faith—faith in man and some

acceptance of a divine order more considerable than the petty emotional

experiences of man himself. To create, a man must give himself, and if he gives

himself, he must believe. Then and only then will his work shine with the

contentment of the archaic smile.

I. Vocabulary

A. For the definition given in each item in

questions 11 to 20, find a matching word in the specified paragraph. The number

given after each definition indicates the paragraph in which the word appears.

(1×10)

11 primitive; crude

(1)

12 regarded as

belonging to; attributed (1)

13 deprived; divested

(2)

14 inexpressible (9)

15 implications:

suggested meanings (10)

16 judge; person who

decides (12)

17 understood or explained

incorrectly (12)

18 completed in a

moment; immediate (14)

19 unproductive (18)

20 any great or sudden

disaster (22)

【答案】11. Archaic

12 ascribed

13 bereft　

14 ineffable

15 connotations

16 arbiter

17 misinterpreted

18 Instantaneous

19 sterile　

20 catastrophe

B. For the given word in each item in questions

2t to 25, decide which semantic variation best conveys the meaning of the

author. The number given after each word indicates the paragraph in which the

word appears. (1×5)

21 archaic (1) _____.

A. no longer used in ordinary speech

B. characteristic of an earlier period

C. borrowed from an older usage

22 occult (1) _____.

A. mysterious

B. hidden from view

C. esoteric

23 polemic (3) _____.

A. person inclined to argue

B. controversial

C. an argument

24 secularized (8)

_____.

A. transferred to civil use

B. changed from regular to secular

C. separated from spiritual influence

25 imperative (8)

_____.

A. absolutely, necessary, urgent

B. having the nature of authority

C. a command

【答案与解析】

21 B  这句话中archaic修饰的是sculpture，指的是年代久远的，古老的。

22 A  由and可知，occult应该与strange意思相近。

23 C  由句意可知，polemic的作用是用来支持或反对当代艺术，因此C项正确。

24 C  这一段中说的是人们内心信仰的问题，因此C项正确。

25 A  句中的imperative为形容词，it becomes imperative that指的是人们必须要做某件事。

II.  Reading

comprehension:

A. For questions 26 to 35, choose the best

answer. (3×10)

26 To express his

inner thoughts and feelings, the artist must base his confidence on _____.

A. engulfing loneliness

B. abnormal psychology

C. true patriotism

D. rugged individualism

E. ideal democracy

27 The artist’s unique

gift is to _____.

A. paint the semblances of things as in a face m” rock or

tree

B. see beyond the narrow reality of the moment

C. portray reality in proper form and sound

D. yield to pressure groups and be independent of any

tradition

E. align himself with partisan convictions or political

ideologies

28 In order for the

artist to retain his traditional stature as a prophet he must _____.

A. reassert his belief in man

B. search his own emotional experiences

C. avoid the stereotype of the archaic smile

D. strike out independently of any inheritance or tradition

E. search his intellect and not his heart

29 In the secularized world in which we live, 20th-century

man finds it imperative imperative to return to _____.

A. some unifying principle and authoritative synthesis

B. reflecting basic feelings of simple people

C. subjective interpretation of ordinary experiences

D. emotional and intellectual connotations of the Age of

Fable

E. primitive rhythms, sentiments, and feelings

30 The religious and historical setting of

archaic sculpture is usually characterized by all of the following qualities

except one. Which is the non-characteristic quality?

A. moral values not fully established

B. objects of reality, confused with the world of the

spirit

C. every action determined by a natural law

D. rational merged with irrational

E. material existence bound by taboo and superstition

31 The issue to our

generation in regard to art is its _____.

A. adherence to principle

B. relation to archaic sculpture

C. strange and occult powers

D. degree of communicability

E. psychology of color

32 A work of art

becomes a hopeless riddle and ceases to be art unless _____.

A. digressions and irrelevancies are avoided

B. the importance of spirit and stamina is apparent

C. its message is, of necessity, simple and easy

D. the public can readily understand it

E. participation is allowed the spectator

33 According to the author, if art is defined

as a rendering of truth in sensible form, and truth is the interpretation of

human experience, it follows that a work of art _____.

A. does not enjoy a scholarly life

B. deserves greater recognition

C. influences opinion

D. can have only one meaning

E. is essentially Communicative

34 The author firmly believes that in

relationship to the world in which they live today, artists are _____.

A. failing to express adequately in plastic terms their

intimate reactions to world phenomena

B. clearly expressing changeless values

C. voicing the general sense of inadequacy felt by

individual man in a mechanistic age

D. merely tools of pressure groups whose greatest fear is

fear itself

E. wise to align themselves with partisan convictions and

political ideologies

35 One of the major

relationships pointed out by author is mat the crisis in the arts is the _____.

A. reflection of mechanical determinism

B. crisis of the human race

C. absence of practical-value

D. crisis in speculative significance

E. crisis of the decline of education

【答案与解析】

26 D  第19段第一句说到“Individualism, the type of fearless, rugged

individualism…can give the artist the confidence which he must have to express

his inner thoughts and feelings.”，因此D项正确。

27 B  根据第21段中“the artist’s unique gift is to see beyond the narrow reality of the

moment into the breadth of eternity.”可知B项正确。

28 A  根据第22段最后一句“if he chooses to retain his stature as prophet, must

reassert his belief in man”可知A项正确。

29 A  第8段提到“it becomes imperative that there be a return…to some

unifying principle in which the twentieth-century man…”，因此A项正确。

30 C  由第1段最后一句“reality was a mystical experience and every action

determined by participation rather than by natural law”可知，那个时期人类的活动并不是由自然法则决定，因此C项不是古老雕塑宗教与历史背景的特征。

31 D  第11段中提到“The issue of our generation is not so much one of principle

as it is one of the degree of communicability versus incommunicability.”，即我们这一代的问题与其说是原则的问题，不如说是沟通能力程度的问题。

32 E  第16段最后一句说到，“Unless participation is allowed the spectator, it becomes a

hopeless riddle and ceases to be a work of art at all.”，因此E项正确。

33 E  根据第15段“If

we accept the definition of art as the rendering of…a work of art is

essentially communicative.”可知E项正确。

34 D  第19段中说到“Academies and societies…are merely the tools of pressure

groups whose, greatest fear is fear itself.”，因此D项正确。

35 B  由第5段中“the crisis in the arts is nothing more or less than the crisis of the

human race”可知，艺术的危机正是人类的危机。

B. Based on your understanding of the passage

you have just read, give a brief answer in your own words, within 60 words, to

the following question. (10)

36 In Paragraph 21, the author quotes Li Po (李白)

to illustrate one of the fine qualities of art. What is the artistic quality illustrated through

the quoted poem?

【答案】Artists can go spiritually beyond reality of the moment and dive into

the breadth of eternity. They can see beyond tangible forms. Through art,

artists can see things that are invisible to ordinary people. Art works interpret and describe the soul and the myriad emotional

and intellectual connotations.

【解析】第21段中，作者引用李白的诗是为了证明艺术家可以超越狭隘现实进入永恒。他们可以透过艺术看到常人用肉眼看不见的东西，将常见事物总结升华。艺术作品诠释和描述了灵魂、无数的情感和知识内涵。

Part Three: Writing (30)

Cinderella (灰姑娘) is an internationally well-known fairytale in which a young girl

living in misery is suddenly, rescued by a handsome prince. Some people say

that this story shows the desire of women, especially that of poor women, for

love and for a better life and that the story teaches people never to give up

hope. Others, however, claim that this story is a fantasy that one rarely finds

in real life and that rather than teaching people to take an active role, it

teaches them to be patient, obedient and passively waiting for outside help.

Which side would you support? Write an essay in about 400 to clarify and

support your opinion.

In this essay, you must have a clear statement of your

opinion, you should give at least two reasons in support of your opinion, and

you should give reasons why the opinion or opinions you oppose are wrong or are

not as well developed as your opinion.

【参考范文】

Cinderella

is regarded as a good reading material for children and has been adopted to

films and plays. It continues to touch people, both children and adults, in

various art forms. Cinderella’s story resonates largely with good wishes that

lurk in the depths of everyone’s heart. People have different opinions of the

idea of the story. In my opinion, it shows us the magic of kindness and hope.

Cinderella’s success owes much to her kind heart. Though

she was not treated kindly, she kept a pure and benign heart, which was

valuable considering her living situation. She did not become malicious because

no one else could give her love. She used her love in pouring her feelings to her

mother, in the contact with birds and the beautiful hazel tree. It was her

kindness that wined help from all parties. And in real life, being kind can

also help people win other’s favor and help, which is of vital importance on

the way to success.

Another enlightenment we can gain from the story is never

give up. The success of Cinderella attributes to her persistent hope. Most people will go

downhill in the adverse situation and have no courage to pursue happiness. If

Cinderella met her stepmother halfway and stayed at home, she will never have

the opportunity to meet with the prince. Compromise and giving up mean failure.

We are supposed to persist in the dilemma.

I agree partially with the first opinion in the Direction.

I believe both men and women have the desire for love and for a better life. If

not, why the prince makes great efforts to trace Cinderella? It’s true that

female roles, including Cinderella, her sisters and her stepmother, are eager

to live a better life. Living in the bottom of society, it is reasonable for them

to have a good wish for the future. Besides these poor girls, other girls, who

have the same desire as them, also go to the party.

Moreover, I don’t agree with the second opinion in the

Direction. Art originates from life. Though cases are not as magic as the

Cinderella story, there are indeed numerous cases in real life. Many people

work hard and get the chance to transform from a Cinderella to a princess. Like

Cinderella, they always take an active role and be patient, not passively

waiting for other’s help, but waiting for the opportunity. They make success

not by other’s support, but by their own efforts. Before the party, Cinderella

is kind-hearted and is kind to plants and birds, which is crucial to her final

success.

【解析】

题目中给出了两个关于童话故事《灰姑娘》的观点。第一个观点是：这个故事显示了女人，尤其是贫穷女人，对于爱情和美好生活的憧憬，也教导人们永远不要放弃希望。第二个观点是：这个故事在现实生活中很少会实现，并不是告诉人们要扮演积极的角色，而是告诉我们要耐心和顺从，被动地等待外界的帮助。题目要求明确表达自己的观点，并给出至少两个支撑理由，还要给出至少一个理由来证明为什么自己反对的观点是错误的。

范文的观点是：灰姑娘的故事向我们展示了善良和希望的魔力。作者在第一段明确提出了这个观点，并在第二段和第三段分别进行了论证。第四段作者提出同意题干第一个观点的部分内容，并给出了理由。第五段作者提出反对题干中第二个观点，并给出了理由。

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