Теория и практика перевода - Учебное пособие (М.И. Солнышкина)

Module 9

 

1. Translate into Russian some phrases with the word ‘offer’:

 

to offer an apology

 

 

to offer an excuse

 

to offer one’s services

 

 

to offer an opinion

 

 

 

 

to         offer    one’s

assistance

(help)

to make an offer

 

 

 

 

 

 

 

to         turn      down

(or

decline)

an

offer

to offer resistance

to offer one’s hand to offer a reward

 

a tempting offer

an exceptional offer

 

 

 
2. Translate into English, using the verbs: to refuse, to give up, to deny.

 

 DON’T FORGET THAT!

 

We refuse something that is asked of us. ‘To refuse’ is to say that one will not accept or give something, to say ‘no’.

To give up means ‘to discontinue, to part with something or someone, to renounce a hope, feeling,

plan’, etc.

To deny means ‘to refuse, to go without’, as: Karenin denied his wife the right to visit her son.

Anna was denied admission to their house.

 

1.  Ради ребенка она отказывала себе даже в самом необходимом.

 

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2.  Керри не отказалась от денег, которые ей предложили.

 

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3.  Она отказалась от всего, что было ей дорого, ради того, чтобы спасти мать.

 

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4.  Лодка была такая тяжелая, что Робинзон Крузо должен был отказаться от мысли потащить ее к берегу.

 

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5.  Он отказался от приглашения на вечер, так как еще не закончил работу.

 

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6.  Он любил хорошо поесть, хорошо одеться, он ни в чем себе не отказывал.

 

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7.  Лучше отказать сразу, чем отделываться обещаниями.

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8.  Поезжай. Я не хочу, чтобы из-за меня ты отказывалась от поездки.

 

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9.  Он предложил ей руку и сердце, но она ему отказала.

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10. Он удовлетворял ее малейшие прихоти. Он ей ни в чем не отказывал.

.

 

3. Translate into English the following word-combinations:

 

над уровнем моря

на голову выше кого-то

капитан старше лейтенанта вне подозрений

не подлежит критике

быть выше предрассудков

быть выше мелочности выше нуля

выше среднего значения

 

4. Study the articles to obtain new information:

 

ARTICLE — АРТИКЛЬ, АРТИКУЛ

 

article  n

manufactured ~s

A coat is an article of clothing.

 

It is possible to buy all these articles at the same shop.

 

leading ~

There are many interesting articles in my newspaper today.

 

~ s of

to be under ~ s

 

definite/indefinite ~

артикль м. грам.

Он... говорил по-французски презабавно, большей

частью без артиклей (И. Панаев).

 

артикул I м.

1. уст. параграф устава, постановления;

тип изделия [товара]

 

артикул II м. воен. уст.

ружейный приём

исч. 1. изделие; предмет; промышленные изделия. Пальто — предмет одежды.

2.товар.

Эmu товары  можно  купить  в одном  и том же магазине.

3. (журнальная, газётная и т. п.) статья; передовая статья, передовица. В сегодняшней газете много интересных статей.

 

4. пункт,  параграф;

пункты соглашения;

быть связанным контрактом;

5. грам. (в ряде языков) особое служебное слово, стоящее при имени существительном;  = артикль;

определённый/ неопределенный артикль.

= article5.

Не... spoke French in a most amusing fashion, largely

without any articles.

 

ср. article4;

kind of goods [manufactured products]. manual exercise(s) (in the use of a rifle).

BAGGAGE — БАГАЖ

 

baggage n

 

to register one's ~ , to have one's ~registered to send smth. as heavy ~

~ car [брит, luggage van]

 

~ [luggage] carrier

 

~ [luggage] compartment

 

~ check [брит, luggage ticket]

 

~room [брит, luggage office]

 

~train

 

~ animals

 

The clothes, tents and other things carried by an army are called the baggage.

 

Well, he had shown the insolent baggage the door (J. Galsworthy).

багаж м.

1.         упакованные вещи,  подготовленные        для перевозки;

2.перен. запас знаний, сведений и т. п.

~ знаний [умственный ~]

 

Он       вернулся         домой             с          солидным       багажом впечатлений.

1. неисч. амер. (брит. гл. обр. luggage) упакованные вещи, подготовлен-ные для перевозки поездом, пароходом и т.п.;

 

сдавать вещи в багаж; отправлять что-л. багажом; багажный вагон;

багажник (автомобиля);

 

багажное отделение, багажник (в поезде);

 

багажная квитанция;

 

камера хранения;

 

2. неисч. воен. возимое имущество, обоз;

 

вещевой обоз;

 

вьючные животные.

 

Обоз — это обмундирование,  палатки  и прочие вещи, перевозимые армией.

 

3. исч. разг., шутл. (о молодой женщине) негодница.

 

Ну что ж, он указал дерзкой негоднице на дверь.

 

= baggage l (амер.); luggage (брит.);

 

fund, reserve, store;

stock [fund, store] of knowledge; erudition; mental outfit.

Не returned home with a solid fund of impressions.

 

 

BALANCE — БАЛАНС

 

balance  n

quick [Roman] ~

to weigh smth. on a ~

 

on ~

upon fair ~

1. исч. прибор для определения веса; весы (тк мн.);

пружинные весы, безмен;

взвёсить что-л. на весах;

2. неисч.  перен.  взвешивание,       сопоставление  в уме;

поразмыслив;

взвесив           все       обстоятельства,         во        зрёлом размышлении;

3.  неисч.        равновесие,    уравновешенность   (тж.

 

 

~ of forces

~ of power

to keep one's ~

 

to lose one's ~

to be (thrown) off one's ~

Не jumped, stumbled,   spun round, recovered   his balance and walked forward... (J. Galsworthy).

 

A wheel in a watch  or clock that regulates speed is called the balance.

 

national economy ~

~ of payments to strike а ~

 

colour ~

 

баланс I м.

1. эк. соотношение приходов и расходов.

активный ~

Соотношение между ввозом и вывозом товаров, при котором вывоз превышает ввоз, называется активным балансом.

2.  бухг.  годовая сводная ведомость приходов и расходов.

Бухгалтер поехал в министерство с годовым балансом.

3. уст. равновесие.

перен.) равновесие сил; политическое равновесие;

1)  сохранять   равновесие; 2)  перен. сохранять спокойствие;

1)  потерять равновесие; 2) перен. выйти из себя;

потерять душевное равновесие;

Он прыгнул,  споткнулся,  чуть  не упал,  но сохранил равновесие и пошёл вперёд.

4. (тж. ~wheel) исч. маятник, балансир.

Колесико в    ручных  или   настенных часах, регулирующее скорость  хода,   называется балансиром.

5. (тж. ~ weight) исч. противовес;

6. неисч. эк. соотношение приходов и расходов;

= балансl;

баланс народного хозяйства;

платёжный баланс;

1)         подводить      баланс;            2)         перен. подводить итоги;

7. неисч. соотношение;

цветовое   соотношение;

8.  исч. разг. остаток.

 

= balance6;

favourable balance (of trade).

A  ratio  of  imports  to  exports  in  which  exports  exceed imports is known as a favourable balance.

 

balance-sheet.

 

The accountant went to the ministry with the annual balance-sheet.

= balance3; equilibrium.

 

5. Make up sentences to show the difference between the following words:

 

1.sacrifice – victim

2.the rest – the remainder – the remains – the

remnant(s)

3.rest – recreation – relaxation

4.pursue – persecute – prosecute - haunt

 

1.

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2.

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3.

 

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4.

 

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6. Translate the following poems: Воскресная прогулка

Три крысы в костюмах и шапках из плюша, Три утки в соломенных шляпках для суши, Три кошки с вуалью прозрачной и тонкой Да три собачонки без теплой попонки Пошли на прогулку и встретили свинок, Двух свинок в шелках с головы до ботинок. Но скоро ударил раскатистый гром,

И все по домам побежали бегом.

Но только три утки дождю были рады,

Они не боятся испортить наряды.

Но все ж, как обычно в дождливые дни,

Чепцы из резины надели они.

 

There was a young student of Besser Whose knowledge grew lesser and lesser. It at last grew so small –

He knew nothing at all!

And today he’s a college professor.

 

7. Translate literary the extract (continuation of the previous one):

 

The argument I’ve been making for the vital role of art in the healthy development of human beings is a central didactic theme in the works of one of our most psychologically astute novelists. In his great novel, Bleak House, Charles Dickens presents us with a case that we can compare with Pinker’s notion of human beings who are musically deprived but who are nonetheless perfectly healthy, happy, and wise. As a foil for the full humanity and achieved civilization of his protagonists, Dickens depicts a family of misers, the Smallweeds, who are wholly practical in orientation. The family is one of Dickens; most vividly conceived set of grotesques. Grandfather Smallweed is paralytic, cunning, and venomous. He subdues the expression of his spite toward those from whom he would extract wealth, but he consoles himself by flinging  pillows  and  imprecations  at  his  senile  wife,  who  breaks imbecile silence only to chatter in incoherent phrases about money. The young male heir to the house, Bartholomew Smallweed, is "a weird changeling"  with  "an  old,  old  eye."  He  "drinks  and  smokes,  in  a

 

(1)проницательный/ коварный/ хитроумный;

 

(2)фон/контраст/ фольга; (3)скряга/ бедняга;

 

(4)ядовитый/злобный; (5)вражда; (6)дряхлый;

monkeyish way" and "is never to be taken in; and he knows all about it, whatever it is." Bart’s sister Judy "never owned a doll, never heard of Cinderella, never played at any game." Judy cannot laugh and is incapable of playing with other children. She is "a pattern of sordid age." Dickens explains that in its exclusive fixation on gain, this family has "discarded all amusements, discountenanced all story-books, fairy tales, fictions, and fables, and banished all levities whatsoever. Hence the gratifying fact that it has no child born to it and that the complete little men and women whom it has produced, have been observed to bear a likeness to old monkeys with something depressing on their minds."

 

(7)отвратительный/

корыстный;

(8)не одобрять;

 

 

The Smallweeds are constitutionally predisposed to this grotesque withering of their humanity. In ‘Hard Times’, a more schematically didactic presentation of the same theme, there are again two children who have been deprived of all imaginative cultivation, Tom and Louisa Gradgrind.  Unlike  the  Smallweeds,  these  children  are  potentially normal, and they do not take happily to the imaginative desolation that has been imposed on them. Their father is a utilitarian ideologue. Convinced that art and literature are a waste of time and an influence corrupting to mental discipline, he eliminates all such influences from their carefully controlled curriculum. As a consequence of his educational policy, his children are morally and emotionally impaired, and the action of the plot flows from these impairments. As adults, the Gradgrind children can neither achieve personal fulfillment nor function as responsible citizens. Louisa proves incapable of developing a healthy marital bond, and Tom degenerates into common crime as a means of financing his vices.

Pinker’s manner is rather different from that of Gradgrind, but the difference is not all in Pinker’s favor. He is charming and witty, but he is too easily pleased with himself at having said something he deems provocatively clever, and he has not thought through the implications of his bright idea. Gradgrind is dull and oppressive, but he pursues his mistaken  ideological convictions  in  a  serious  and  determined  way. When the consequences of his policy become apparent, he is capable of achieving a tragic recognition of his mistake. Pinker’s tonal range does not  include  the  capacity  for  tragic  recognitions.  He  is  unfailingly pleasant and  self-possessed. Within the  even tenor of his  style, the closest approximation to grief and anguish would be a momentary compunction at having failed to pass up a desert tray.

(9)предрасположен; (10)поучительный;

 

(11)устранять/

уничтожать;

 

(12)брачные узы;

 

(13)убеждения;

 

(14)угрызения совести;

 

For  Dickens,  the  period  of  childhood  is  a  highly  sensitive  and vulnerable stage in which the whole personality can be forever stunted and  impoverished by  inadequate  imaginative stimulus.  From Oliver Twist through Pip, his books are full of stories of children who have been abused and neglected and who are threatened with lifelong degradation. Some, like Smike in ‘Nicholas Nickelby’ and the crossing sweeper Jo in ‘Bleak House’, don’t survive this treatment. Those who do, like David Copperfield and like Esther Summerson, the protagonist of ‘Bleak House’, do so because they create an imaginative world of their own, and within this world they fashion an environment that is

 

(15)обедненный;

adequate to their needs of self-development. To create an imaginative world in which to develop is not the same thing as merely fulfilling a fantasy of pleasure. Esther is raised in a household devoid of affection, under the shadow of an obscure religious condemnation, but through conversations with her doll she creates a small imaginary space for human affection. Within this space, she can keep her own emotional nature alive until her aunt dies and she is removed to a more genial environment. The conversations she has with her doll are not fantasies of pleasure; they are desperate and effective measures of personal salvation. As a small boy, David Copperfield is tormented and abused by his vicious stepfather, but close to his own room he discovers a neglected store of old books, including ‘Tom Jones’, ‘Humphrey Clinker’, ‘Don Quixote’, and ‘Robinson Crusoe’. What David gets from these books is  not  just  a  bit  of mental cheesecake, a chance for a transient fantasy in which all his own wishes are fulfilled. What he gets are lively and powerful images of human life suffused with the feeling and understanding of the astonishingly capable and complete human beings who wrote them. It is through this kind of contact with a sense of human possibility that he is enabled to escape from the degrading limitations of his  own  local environment. He  is  not  escaping  from reality; he is escaping from an impoverished reality into the larger world of healthy human possibility. By nurturing and cultivating his own individual identity through his literary imagination, he enables himself to adapt successfully to this world. He directly enhances his own fitness as a human being, and in doing so he demonstrates the kind of adaptive advantage that can be conferred by literature.

 

(16)лишенный; (17)осуждение;

 

(18)залит/наполнен;

 

(19)воспитывать/ обучать; (20)увеличивать/ усиливать.