2018年5月CATTI英语一级笔译实务真题.pdfVIP

微信公众号：CATTIPLUS 2018 年5 月CATTI 英语一级笔译实务真题 以下为考生回忆版本，与试卷上的实际内容可能有出入。 英译汉 In December 2015, British publishing stood accused of woeful blindness to diversity, and not for the first time, after World Book Night (WBN) announced its titles, and none of the 15 books was by a writer of color. An apology was issued by organizers but a wider malaise had already set in, and along with it, the troubling feeling that WBN’s oversight was less an isolated incident and more a recurring pattern of exclusion that stretched across the literary establishment. A report on the state of the books industry had been published earlier that year by the development agency Spread the Word, which drew attention to how intransigently white, middle-class (and further up the ladder, male) it remained, from literary festivals and prizes to publications and personnel. The industry has been announcing strategies for change since 2015. Publishing houses have rolled out paid internships, mentoring schemes and traineeships to attract socially under-represented and BAME applicants on an unprecedented scale, as well as creating opportunities for women to move into boardrooms. To name a few recent initiatives: Penguin Random House is offering interest-free rent loans to draw more applicants from outside London, and has set a company goal “for all new hires and the books we acquire to reflect UK society by 2025 in terms of social mobility, ethnicity, gender, disability, and sexuality”. HarperCollins is launching programs for BAME employees and those taking long-term parental leave, while Hachette is encouraging diversity at an executive level in a mentoring scheme with board members. Some schemes show promising signs. Penguin’s campaign, which connects aspiring writers from socially excluded communities to agents, editors and autho