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| 个人信息 |
| 姓 名： |
江译员 [编号]:774 |
性 别： |
女 |
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| 擅长专业： |
英语语言文学 |
出生年月： |
1988/2/1 |
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| 民 族： |
其它民族 |
所在地区： |
甘肃 兰州 |
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| 文化程度： |
本科 |
所学专业： |
英语语言文学 |
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| 毕业时间： |
39965 |
毕业学校： |
兰州大学 |
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| 第一外语： |
英语 |
等级水平： |
专业八级 |
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| 口译等级： |
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工作经历： |
1 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： |
甘肃 兰州 |
| 可提供服务类型： |
笔译、口译、家教 |
| 每周可提供服务时间： |
不限 |
| 证书信息 |
| 证书名称： |
高等院校英语专业八级证书 |
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| 获证时间： |
2009/6/1 |
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| 获得分数： |
良好 |
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| 笔译案例信息 |
| 案例标题： |
长春警方40个小时破获“5.19”长春大学投毒案 |
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| 原文： |
新华社：5月22日，长春市公安局联合专案组经过40多个小时的缜密侦查，成功侦破了长春大学“5.19”投毒案件，犯罪嫌疑人高锐被刑事拘留。
5月19日早上7时30分，长春大学职业技术学院的部分学生在吃完早餐后，相继发生昏厥、呕吐和浑身乏力等症状。长春大学在与长春市卫生监督部门取得联系的同时，马上将117名学生送到医院。经过医院的全力救治，学生全部脱离危险。初步诊断为食物中毒。
这起中毒事件的发生，立即引起了社会各方面的高度重视，吉林省和长春市有关领导要求立即开展调查，查明事件的真相。吉林省市卫生监督部门对学校的食堂蔬菜、食品和调料等进行了取样化验。当日晚上7时，卫生部门得出化验结果，在该学校食堂的食盐中发现含有亚硝酸盐成份。由此确定学生是吃了含有亚硝酸盐成份的饭菜而中毒，并立即将情况向公安刑侦部门通报。
长春市公安局文化保卫处接到报案后，立即协助学校、卫生监督部门封闭现场，开展调查取证工作。当天晚上7时30分，长春市公安局抽调刑警支队、文化保卫处、高新技术开发区分局和朝阳区公安分局刑警大队等部门的70多名精干警力组成“5.19”联合专案组，侦破工作全面展开。
为了查明中毒的原因，公安部门对117名中毒的学生逐一进行询问，确定学生们是吃了什么食物后发生中毒症状的；技术部门对食堂现场进行了勘验，对食堂里的15种食物、调料全部进行取样化验。经过化验，在食堂库里存放的食盐中没有发现亚硝酸盐成份。通过对中毒学生的调查发现，中毒的学生都是吃了“扬州炒饭”后发生中毒症状的。另外，还发现先吃“扬州炒饭”的学生中毒症状严重，后来吃“蛋炒饭”的学生中毒的症状轻，甚至没有发生症状。而当天做“扬州炒饭”的厨师康某反映，他在做饭菜时，发现食盐罐里面的食盐有一块颜色与四周的颜色不同，并用舌头试过是咸的，当时他没有产生任何怀疑。
根据调查情况，公安部门经过分析确定，这起中毒事件不是误食中毒，而是有人故意在食盐中投毒。
5月20日，公安部门在对该学校的食堂的工作人员进行调查时，发现该食堂分别由王家、高家二家承包，发生中毒事件的窗口是由王家承包；并且双方经常因为经营、利润等问题发生过矛盾，这起案件很可能就是因为商业竞争引起的投毒案件。公安部门经过进一步的深入调查和取证，发现高家的小儿子高锐具有重大嫌疑。
5月21日，公安部门对高锐进行了审查。经过2个多小时的较量，高锐终于交代了投毒的全部犯罪事实。
原来，自从王、高二家承包了这个食堂后，王家的窗口靠近门口，大部分学生都到王家的窗口买饭，王家的效益比高家好，因此双方因为经济利益等问题矛盾不断。今年4月20日，高家的小儿子高锐（23岁、家住农安县农安镇铁西村）在一家报纸上看到一条消息，南方某地发生人们吃了含有亚硝酸盐成份的食物而中毒的事件，便产生了报复王家的邪念。5月18日，学校通知王、高两家，第二天卫生防疫部门要来学校检查卫生，高锐认为报复王家的机会来了。当天晚上11时，高锐将正在打扫卫生、洗衣服的服务员赶走后，到自家厨房的一个课桌里面拿出他已经存放的亚硝酸盐。随后，他从王家的卖饭窗口爬进厨房，看到灶间调料案子上有几个调料罐，他用手沾了一个装着白色调料的罐子，确定是食盐后，他将亚硝酸盐倒进食盐罐里后，又从窗口爬出来，之后回到暂住处。第二天早上，厨师康某用含有亚硝酸盐的食盐做“扬州炒饭”，先后分四次炒了25斤米、四铁盘饭，学生吃了先做的饭后就出现中毒症状。
根据高锐的供认，公安部门立即对他当时穿的裤子、存放亚硝酸盐的课桌进行了化验取证，证实高锐的裤兜里面、课桌里面都存有亚硝酸盐的残留物。至此，“5.19”投毒案件正式告破。
5月22日，犯罪嫌疑人高锐被刑事拘留。
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| 译文： |
Where there is a competition, there is a danger
The “5.19 case” of students food poisoning broke, the suspect detained
Xinhua—After forty hours careful detection, the “5.19 case” of students food poisoning in Changchun Vocational Technical College finally broke, declared the Chanchun Police on the 22nd. The suspect Gao Rui has been placed in criminal detention.
According to the police, the nitrite which causes the poisoning was launched by Gao Rui, 23, from Xitie Village of Nong’an County, Jilin Province, deliberately.
At 7:30 a.m. May 19th, students of Changchun Vocational Technical College suffered from dazing, vomiting, and muscle weakness after having breakfast in the refectory. Those 117 students were immediately sent to the hospital, where after timely cure, they were all out of danger. The tentative diagnosis indicated food poisoning. The result of the test later in the afternoon by Public Health suggested that there was nitrite found in the salt of the refectory, and the students were poisoned after having taken the infected food with nitrite.
Haven’t found nitrite in the salt stock of the refectory but in the fried rice with eggs serving that morning, the investigators inferred that it was not an careless accident, but someone did delibretaly. Thus the police began the general investigation.
The refectory of the school is separately contracted by the Wang and the Gao. The poisoning case happened in the Wang’s. After careful detection, investigators found that the youngest son of the Gao, Gao Rui, was most suspicious. Things turned out that the two families used to be on bad terms for the business competition. The Wang has a much higher profit for his advantageous position near the entrance. On May 18th, Gao Rui, knowing that there would be a sanitary inspection the next day by the Health and Anti-epidemic Departments, thought it was a good chance to frame the Wang. Thus he prepared the nitrite and put it into the salt pot at 23:00 that evening when nobody was in the hall. The next morning, the unwitting Wang used the infected salt for a 12.5 kilogram fried rice with eggs cooking. Hence the accident.
According to the confession of Gao Rui, investigators tested Gao’s trouses and the place where he poisoned; the leftover of nitrite was found indeed.
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| 案例标题： |
找点活 |
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| 原文： |
在旧社会，我们评剧演员常常挣钱不够吃饭，艺人们大都是拉家带口，生活困难。演员们唱完戏还要各自找点活儿干，有人拉排子车，有人卖破烂，买烟卷儿，当小工，拾烟头是普遍现象。
下雨或阴天回戏，不响锣就不给钱，是那时的规矩。腊月二十三封箱，把“祖师爷”请到前台去，后台冷冷清清，演员们就更苦了，要等到年初一开戏，才能挣到钱。
我家当时生活苦，父亲做小买卖，妈妈是家庭妇女，弟弟妹妹多；家里最大的是我，才十三岁，就唱戏养家了。真是一个钱撕成八瓣用，心里总想着怎样能够改善家里的困境。早晨去喊嗓子，我带着一个小篮拾煤核，为了回家取暖。拾煤核也要放聪明点儿，常常换地方，为了不受那些野男孩子的欺负，我用换地方的方法，躲着他们。他们看见女孩拾煤核就捣乱，揪我的小辫，向我身上扔虫子，吓得我看见他们就躲。
腊月二十三灶王爷上天，后台封上戏箱，要等年初一开戏。封箱回戏，等于演员们封嘴，大家可苦了，各自找生活路子，我们女孩子就做点女孩子能做的活。我同几个女孩子去东亚毛纺织厂当小工，分线头、扫地等干点杂活。每天天不亮戴着星星去排队，工厂没开大门就排上老长的队了。工头拿着皮鞭从大门出来，像轰牲口一样轰人，一个挨一个地用粉笔在人们背上写上号码，这个号码就是上工的证明。当这个小工可真不容易。经常是排了一早晨队，大门才开；画了不多的号，工头就说：“没号了！没号了！”那种失望心情就别提多难受了！在一次是夏天，连阴天，连着回戏。我只好排队找活干。还好，因为去得早，没等多久就画上号了。回家时忽然下了大雨，一路跑回家，我完全想不到自己被淋，只想着背上面的号，要是被雨淋掉，工就做不成了。我急着把衣服脱下来，大雨像瓢泼一样。我把衣服紧紧抱在怀里，飞快跑回家。回到家打开一看就高兴了，号码一点也没有被淋湿；可我从头到脚淋成了落汤鸡了。
这一淋可糟了！晚上发高烧，一会儿热，一会儿冷！脸上红得像抹了胭脂，周身疼，连翻身都疼，疼得像扎针！我想起来了：我人小，排队时常常被人挤出来，有些人又常常故意捣乱，工头举起鞭子就打，常常因为打别人而捎带上我。人多呀！一鞭子抽下来一大片，被捎上了背上就是一条子青一条子紫的。这一病，发现被工头抽在身上的伤了！可疼坏我了！可是幸亏这回只病了一夜，第二天早晨就退烧了，穿上带着号的衣服就赶快去上工了，虽然浑身酸软，可是不干活不行呀！晚上还得唱戏，一大家人都指着爸爸和我两个人挣钱吃饭呀！
我在东亚毛纺织厂当小工，那些女工大姐姐们都喜欢我，都说我好，他们知道我是演员，要我叫她们唱，她们就叫我织毛衣，还把工厂里印的毛绒花样书送给我。从那以后我学会了很多毛衣的花样，成了织毛衣的能手。
全国解放以后，我在我们自己的剧团，中国评剧院工作了，我还是经常打毛衣；剧院里很多女演员学会打毛衣，大都是我叫她们的。三十年来我爱人和孩子们身上穿的毛衣都是我织的，这都是我从东亚毛纺织厂学来的。
一九六二年我到天津中国大戏院演出，一位中年女工到后台来看我，原来是我当年在东亚厂熟识的王大姐，她已经是工厂的干部了。她高兴地说：“你可真是巧手呵！你现在不打毛线了，又换纺线了！”原来她是刚看了我演的《刘巧儿》。 |
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| 译文： |
Make a living
In the old days, we actors of pingju often could not support ourselves only by performing. The actors all lived a hard life with a big family to feed. So we used to find some odd jobs after the performances. Some would trundle the trolley, some sell discarded things. It was very common for us to sell cigarettes, be the coolies and to collect dog-ends..
When it was rainy or cloudy, the troupe would not open. And it was the custom that we would not get paid if the troupe did not open. Especially when the troupe began to suspend on the 23rd day of the twelfth lunar month, on which day the clay figure of the Founder of Pingju would de put onto the stage as a sigh of suspending, and the backstage then would appeare desolated; the life of the actors would be even bitter. We could not get money from the troupe until it was opened again on the first day of the next lunar year.
I was born in a poor family. My mother was a housewife, while my father did some tiny business to support the family. It was a big family and there were a lot of brothers and sisters. Then as the oldest one, I was sent to the troupe when I was only 13. It was hard to imagine how thrifty I had to be, and all I thought then was just how to improve the family out of the difficulties. So every morning, when we went to train our voices, I would take a basket with me to collect some coal balls back for the heating. It was not an easy business to do that ’cause there were always some naughty boys who would play kinds of tricks on the girls. They pulled our braids, and threw worms towards us, which scared us so much that we had to often change places in order to avoid them.
On the 23rd day of the twelfth lunar month, the day in traditional China when the God of Kitchen made a return to the Jade Emperor, the troupe would suspend until the first day of the next lunar year, which to we actors just meant of losing job for a while. Then we had to hunt for some other odd jobs for living. As we girls, we could only do some limited works. I used to working in the East-Asian Spinning Factory as coolie to pick up the thrums, clean the floors and some other odd jobs. Before that, we had first to get the “number”, which you had to queue for a long time. For there were always so many people who wanted to get the job, there would always be the same lots of people who would queue out of the factory even before the dawn. And very often the case was that soon after the foremen dispatched the “numbers” (they marked the number on your back by perhaps chalks or pens), they would shout to the rest long queue that the “number” was up. It was really abject after so long a time queuing you got nothing.
Once in a summer, it had been cloudy for days on end, thus the troupe had suspended for several days. Then I had to again queuing out of the factory for jobs. This time I was lucky and early enough to get the “number” before long. But on my way back home, the rain came on. While I ran towards home, the only thing in my mind was the “number” on my coat---it couldn’t be wetted, otherwise I would have no work to do tomorrow. So I took off my coat, hugged them to my chest, and rushed to home in the torrent rain. When I got home, I was gratified to find it was not wet at all, although I had been wet to the skin.
And then that’s torn it. I was down with a high fever that night, feeling cold and hot. My face was as red as being dabbed. It hurt all over, even with a turn, just like there was a pin keeping on stinging you. Then I remembered: I was used to being squeezed out when lined up, for I was so small. And there were always somebody who made troubles much, thus the foremen would lashed them. The point was that there were so many people there, when they lashed one, they would lash a pack. As a result, my back had been lashed into black and blue. Then thanks to .the sickness, now I suffered the pain—it was awful! Fortunately this went over the next morning. I was sustainable to go to the factory with that precious number, though there were still aches and pains all over. Anyhow, I had to work for the whole family was counting on my father and me. Let alone that I had perform that very night.
When I worked in the East Asian Spinning Factory, I was well-liked by those elder girls who regularly worked there. They knew that I could sing the Pingju, so they asked me to teach them. And as a paying-back, they taught me to knit. They also gave me the pattern booklet of the factory which involved a lot of knitting patterns. My specialization in knitting was just from there.
After the Liberation, I worked in our own troupe—the Chinese Pungju Theatre. I still knitted a lot. And I also taught the other girls in the troupe to knit. For 30 years, the sweaters of my husband and children had all been knitted by me, which I just learnt in those days.
In 1962, when I went to perform in the Chinese Grand Theatre in Tianjing, a woman came to the backstage for me. It was the elder sister Wang of the East Asia Spinning Factory who I used to be quite familiar with. She’s now a cadre of the factory. She was very happy to see me again. “You are really with two ingenious hands,” she said merrily. “It seems that you’re not knitting now, instead, you begin to spin.” It turned out that she had just watched the performance in which I played as Liu Qiao’er, a girl who was quite good at spinning.
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