2018年5月CATTI一笔一级笔译实务真题和参考译文
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 colour. An apology was issued by organisers 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 programmes 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 authors, is helping to demystify these professions.
It appears to be a turning point for British publishing, and yet those who have been around for long enough feel a profound sense of disappointment, because there have been mentorship schemes and initiatives before, yet the industry has always failed to maintain the diversity it has achieved. And where some publishers continue to reach for “schemes” or blame blockages elsewhere in the pipeline, independent publishers have long been weaving inclusivity into their lists without the need for formal targets or traineeships.
Margaret Busby, the writer and pioneering publisher, regards the endeavour for better representation in publishing as a struggle begun decades ago and still no closer to being won. Mainstream publishing, she says, is too institutionalised in its biases to be corrected by a few new authors or schemes.
In the 1980s she helped to found a group that campaigned to diversify the industry. An article she wrote in 1988 posed questions that are still being asked today, such as: “What are publishers doing to make their companies a more accurate reflection of their lists, readers and society?”
A decade later, the Arts Council brought in publishing traineeships for black and Asian candidates, whom Busby mentored. Another Arts Council scheme followed 10 years later to address representation in the workforce. In 2005, the Diversity in Publishing Network (Dipnet) was started and after that, Equip, a Publishing Equalities Charter in 2012. “What’s happening now is more initiatives,” Busby says. “But the problem can’t be solved with initiatives.”
There is overwhelming agreement among excluded communities that systemic change can only happen when inclusivity is filtered upwards. There is not yet gender parity on boards, even though women outnumber men in the industry; a lack of social diversity is one of its most stubborn problems.
汉译英
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