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| 个人信息 |
| 姓 名： |
吴译员 [编号]:2372 |
性 别： |
女 |
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| 擅长专业： |
机械类、文化类 |
出生年月： |
1986/8/1 |
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| 民 族： |
汉族 |
所在地区： |
浙江 温州 |
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| 文化程度： |
本科 |
所学专业： |
英语 |
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| 毕业时间： |
39251 |
毕业学校： |
宁波理工学院 |
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| 第一外语： |
英语 |
等级水平： |
TEM-8 |
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| 口译等级： |
高级 |
工作经历： |
2 年 |
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| 翻译库信息 |
| 可翻译语种： |
英语 |
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| 目前所在地： |
浙江 温州 |
| 可提供服务类型： |
笔译 |
| 每周可提供服务时间： |
早上9点-晚上8点 |
| 证书信息 |
| 证书名称： |
TEM-8 |
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| 获证时间： |
2007/6/1 |
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| 获得分数： |
及格 |
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| 工作经历 |
| 工作时期： |
2007/4/1--2008/1/1 |
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| 公司名称： |
鄞州市泰格服饰有限公司 |
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| 公司性质： |
民营企业 |
| 所属行业： |
销售 |
| 所在部门： |
市场拓展部 |
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| 职位： |
外贸业务助理 |
| 自我评价： |
负责订单的翻译和协助外贸业务员顺利完成日常工作 |
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| 工作时期： |
2008/2/1--2009/5/1 |
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| 公司名称： |
浙江超达阀门有限公司 |
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| 公司性质： |
民营企业 |
| 所属行业： |
销售 |
| 所在部门： |
外贸部 |
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| 职位： |
经理助理 |
| 自我评价： |
翻译日常订单及机械类技术文件，并协助外贸部经理完成日常业务工作， |
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| 笔译案例信息 |
| 案例标题： |
《绽放》 |
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| 原文： |
一、旅行
你在路上，建筑在两旁
背起行囊，旅行之路在脚下；
张开双眼，美丽风景就在两旁
如果你懂得游历，行囊里便必有相机；
如果你懂得欣赏，相机中必然收藏建筑的影像；
我们都不是为了到达某地而旅行的人，我们都在旅行中总学会品读、记忆、流连和彷徨；
有这样一种旅行，让我们穿梭在人类智慧的建筑之中，不停地发现奇迹；
一同去吧
建筑在两旁，等待我们在路上，同行观光。
二、 相爱
如果我是你眼中的一颗泪珠
我会沿着你的脸颊落下
消失于你的双唇间
如果你是我眼中的泪珠
我不会哭 因为我怕失去你
女人是感情的动物
爱上男人会很坚定
有一种坚定是悲哀
悲壮的坚定是执着
悲哀的坚定是执迷
女人的爱情不是从男人那里求得
而是从自己那里求来的
三、释放
这一季，空气中弥漫着芬芳，花儿忘我绽放
曾经同行的天空一片湛蓝
守在窗台上，看游牧人群走过山冈
偶尔掠过的风吹散你的歌唱
忽远忽近的心，思想永远就这样
又是风起，你在收拾着行囊
梦想它随吉他，等你在远方
我转过身，躲避你含泪的眼光
花开的时候你会回头望
那花开的时候，你是否还会在我的身旁
轻轻的歌唱里有淡淡的忧伤
花里的绽放，你一直在遥望
疲惫的梦中可会把谁遗忘
四、共舞
让我们再一次在花海共舞
忘记一些遗憾 忘记一些无奈
让我们再吻一次 就在这一瞬间
忘记一些忧伤 忘记一些迷惘
穿越所有的痛苦 穿越所有的伤害
带着所有的疯狂 带着所有的勇敢
就在这灿烂的一瞬间 我的心悄然绽放
就在这绽放的一刹那 像荒草一样燃烧
就在这燃烧的一瞬间 我的心悄然绽放
就在这绽放的一刹那 我和你那么辉煌
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| 译文： |
First, travel
You on the road, construct in both sides
The back has the travel bag, road of the travel in the under foot
Opens both eyes, beautiful scenery in both sides
If you understand travel for pleasure,
in the travel bag then must have the camera
If you understand the appreciation,
in the camera collects the construction inevitably the phantom
We are not for the human who arrives some travels,
we are travelling always learn to read, the memory, to linger and to pace back and forth;
Some this kind of kind of travel,
lets us shuttle back and forth during the human brain construction,
does not stop discovers the miracle
Goes together!
The construction in both sides
waited for that we on the road
the colleague go sightseeing
Second, falls in love
If I am in your eye teardrops
I will fall along yours cheeks ，will vanish in yours bilabial
If you will be in my eye teardrops
I will not cry, because I will fear lose you
The woman is the sentimental animal
Falls in love with the man to be very firm
One kind firm is sorrowful，
the solemn and stirring firmness is rigid，
the sorrowful firmness is persists errors
Woman's love will not be obtains from man there
but will strive for from oneself there.
Third, release
Spring, in the air is filling the air fragrantly，
the flower blooms absorbed，
Once colleague's sky deep blue，
Defends on the window，
looked that moves about in search of pasture，
the crowd to pass through the hump。
Occasionally ，passed over gently and swiftly，
the wind blows off your singing，
suddenly far suddenly near heart,
thought forever like this。
The wind gets up too，
you are tidying up the travel bag，
Vainly hoped for that it along with the guitar，
waits for you in the distant place
I have turned around，to avoid your judgment with tears
Spends time you will turn head look，
that flower, whether you also in my side?
In gently sings to have the light sadness，
flower's blooming，
you have been looking out，
can in the exhausted dream forget who?
Fourth, altogether dances
Let us altogether dance again in Huahai,
forgets some regrets,
forgets some helplesses.
lets us kiss again one time, in this flash,
forgets some sadly, forgot that some are at a loss.
passes through all pain, passes through all injuries,
is bringing all crazy, is bringing all brave!
In this bright flash, my heart quietly blooms,
the flash which blooms in this,
looks like the weed to burn equally;
in this combustion's flash,
my heart quietly blooms,
the flash which blooms in this,
I and you are so magnificent!
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| 案例标题： |
尊经阁 |
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| 原文： |
尊经阁
江南的烟雨滋润了江南
绿意从朦胧中爬上视觉
一方宋石将历史峥嵘起宁波府学
行吟的不仅仅是王安石
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| 译文： |
Zun Jing Pavilion
The misty rain of Kiangnan moistened this alluring land,
There a tint of green came into sight,
Dreamily and vaguely;
That stele in Song Dynasty prospered Ning Bo Fu Xue,
In which poems are not of Wang Anshi only.
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| 案例标题： |
咏八狮亭 |
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| 原文： |
咏八狮亭
一位典雅的女孩
挟一缕嘉靖的御风
在浙东的石坊间翻阅
一个不经意的爱吻
把一个皇朝与一个民族的印记
深烙进一个浪漫的庭院
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| 译文： |
Ode to Bashi Pavilion
A soft wind of the Era of Jia Jing
Carried here an elegant young fair.
Wandering among the houses of bricks and stones,
She, a casual kiss of her
Printed romance into the courtyards
Glittered with the hue of that dynasty and its cultural traits.
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| 案例标题： |
兰亭吟 |
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| 原文： |
书法缔造的旷世艺术
揭示了深藏于会稽山竹子里的秘密
兰亭因此而放大
这个储蓄墨迹的相思地
所见的已是桃花流水
钟情的人仍昵称她的小名
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| 译文： |
Ode to Lan Pavilion
The unique art of calligraphy,
Revealed the mystery of bamboos in Kuaiji Moutain
Lan then gained its name.
This place rang with knowledge and culture,
How can we stop missing it?
On this piece of land we stand,
A totally different face was viewed,
Despite which devoted ones still tenderly
called her —— Lan.
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| 案例标题： |
A Few Thoughts on the Work of Silvia Grossmann |
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| 原文： |
Silvia Grossmann’s structures, which are made up of wire, paper and photocopies, demand that the viewer approach them discreetly. They exude a pale tenderness, the light sometimes shimmering opaquely through them, while at other times one can see right through and between separated surfaces. Their fragile nature signalises to us that we should “look with our eyes,” as our parents often warned us on visits to the art gallery. Upon the first glance her works demand of us that we stop and more finely adjust our perception. The replication process- if one can call it such, for there is no strict adherence to it- commences with a wealth of images of the big city of which a selection has been captured by the artist with a camera. Following this, there has been a process of sorting, dissecting and rejoining the images anew thereby creating rows and repetitions of individual aspects. Our visual expectations are destabilised by excerpts of building façades pivoted by 90 or 180 degrees. Top is swapped with bottom or the base becomes the side so that it is often necessary to look two or three times in order to obtain objective clarity.
This method of construction creates an alienated view of what we thought to be familiar. The images of Vienna’s late 19th century façades, the street-fronts and courtyards of which reveal significant variation, are roused into movement as they fan out and replicate themselves or deteriorate into individual elements, which, when differently arranged, are transformed into something new.
The reproduction process chosen for these blown-up photographs is the photocopy, an everyday, inexpensive, even cheap procedure. However, the effect is grainier, with stronger contrasts than “conventional” photography and the statement it makes is therefore more distinct. Yet at the same time, the product could be somehow called sooty, almost grubby, in the way the shadow absorbs the detail. This everyday replication process does not give rise to a superfluous aura, one is reminded more of courtyards and buildings that have not undergone any major repair-work for a long period of time. These objects do not reveal their everyday usage and history in a melancholy light, rather they provide an austere source of material, the basis for new, autonomous structures. They appear at times like free associations in their overall character: “Wing,” “Ship,” “Dancer”; or they are transformed into supposed buildings (Phoenix Court I and II), consisting of superpositioned sections of building. Through these repetitions, they wind their way upward in a very un-Viennese fashion. Emerging out of a flat surface, the images undergo a transformation in space, whether because of the effect of the perspective created by the wire frame, or the excision of certain surfaces, or perhaps the creation of a central component with wings through which the confined space of an atrium or the gravitation of the centre of a stairwell expresses itself. Launching itself from reality, the concept springs into an unreal world. The isolated integration of spiralling stairs into a fragile, quivering structure reminds one Barbara Neuwirth’s treatment of the intimidating nature of stairs in her narrative, “Columbine.” The opened-out forms in photo negatives assume their own formal significance and are condensed into portions of sky appearing between blocks of courtyards huddled together. Tilted figures defined by images, shapes and secondary symmetries emerge, their expression constantly changing each time the viewer feels that he or she has come to grips with them. It is not merely the delicate impression created by them, but also their ever-changing intonation, which makes the objects scarcely graspable, somehow transient and endangered, much like meadow saffron in the face of winter. However, the object’s fragility should be seen more as a strategy urging the viewer into a state of heedfulness thus establishing the object as an artefact and ensuring its place in the viewer’s memory.
Vienna, August 1999
Walter Zschokke
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| 译文： |
Silvia Grossmann的艺术作品有感
Silvia Grossmann的作品是由铁丝，纸张和照片复制品组成的，这些作品要求欣赏者们谨慎小心地观赏。作品里的建筑结构通常散发着浅淡的柔光，光线有时在建筑之间透射着昏暗的微光，有时又直接映射在建筑物的表面。作品脆弱的本质告诉我们要“亲眼目睹”这些作品，正如我们的父母经常劝说我们去参观美术馆一样。初次浏览Silvia Grossmann的作品后，我们需要停下脚步细细端详，并改变自己原有的观点和想法。Silvia Grossmann的创作是由摄影开始的，她带着自己的相机，在形形色色的城市风光中选择对象，捕捉独特的画面。随后，她开始对这些画面进行整理，切割和重组，创造出一排排重复的具有节奏感的结构。在她的作品中，有很多是由建筑照片截取的片段组成的，有的被旋转了90度甚至180度，因此，欣赏者原有的视觉立场被彻底打破了。截图的上端有时候被翻转到底部，有时却在两侧，所以想要客观地看清作品中事物的本质就必须反复再三地细细品味和赏析。
这种创作方式开辟了一个崭新的视野，远远超越了我们原本所熟悉的景致。维也纳19世纪后期的建筑景观，建筑面街头风貌和庭院影象经过Silvia Grossmann的二度创作后，仿佛被和风吹拂起来，负载了动感和韵律。她的作品有的是重复图象的结合，有的则是不同画面的联结，倘若将图片用不同的方式排列整理，便又诞生出一幅耳目一新的作品。
对一系列放大照片选择复制是一种平常的，节省经费的甚至可以说是廉价的制作过程，但它带来的效果却是不同凡响的：对比度较惯常的摄影作品来更加强烈；作品所要表达的主题也更清晰明确。与此同时，由于建筑阴影大片地覆盖了许多事物的细节，她的一些摄影作品有时显得乌烟瘴气，甚至可称得上邋遢。它们并没有太多的光环可以炫耀，我们所看到的大多是长年失修未经粉饰的庭院和楼层建筑。她的摄影复制品没有借助忧郁的灯光来展示建筑物自身的实用或历史价值。相反地，它们提供了朴素的创作素材，为创造独立新颖的作品奠定了基础。有的时候，透过Silvia Grossmann作品的性质看，它们更像是一种自由的组合体，比如作品《羽翼》，《帆船》和《舞者》；而有时，它们通过复制，向上迂回盘旋，形成了新的幻想中的建筑，跟维也纳风格迥然不同。或许是由于铁丝的运用产生的视觉效果，又或许是由于某些固定画面的删节，再或者是由于那些让装置插上翅膀的创意，这些画面从平面纸张到立体艺术经历了空间上的穿越变换，于是那些被庭院包围的四角的天空和楼梯井的中心引力通过这样的穿越更好地表达了自我。Silvia Grossmann的作品理念从现实出发，跨入了一个虚幻的世界。将盘旋而上的楼梯井联结成脆弱的，颤动的结构，这样的做法不禁使人联想起Barbara Neuwirth在Columbine中对于楼梯恐怖本质的描述。另外，通过对一张摄影作品与其反转的复制品上下拼贴后，相互拥抱的庭院中间便出现了一方蓝色的天空，这些展开式的图片展示了自己独特的形态意义。图象，形态和两端对称的画面刻画出了赋有主题的立体轮廓。每当欣赏者们感觉自己即将把握作品的意旨时，它们表达的意义又忽而从手中溜走了。这些意义千变万化，难以把握，有时甚至转瞬即逝，仿佛冬日里的藏红花。之所以如此，不仅与作品脆弱的本质有关，而且还与它们时刻变换着的意旨有着密切的关联。然而，作者赋予作品脆弱本质的做法实际上可以看作是一种引发观赏者兴趣和思索的良方，从而将装置升华为独特的艺术品，奠定了它们在观赏者心目中永恒的地位。
1999年于维也纳
Walter Zschokke
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