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. 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

2. 2026年翻译硕士《211翻译硕士英语》考研真题与模拟题

考研指导书

1. 2026年翻译硕士《211翻译硕士英语》专用教材

2. 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AI讲解

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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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