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English to Chinese: Some Reflections of a Popular Novelist General field: Art/Literary Detailed field: Poetry & Literature
Source text - English In spite of some failures on my own part, I still cling to the belief I held when I first started writing fiction, that the way of salvation for the contemporary novel, which if it becomes lost in subjectivity ceases to be a novel and yet must have its subjective interests, its drama of the mind and soul, is through some kind of dramatic symbolism, in narratives that would move in more than one world at once. Most of the modern novels that have excited my deepest interest seem to me to have been symbolical. (Mann’s Magic Mountain is a fairly good example of what I mean, though in places he
abandons any pretence of ordinary realistic narrative, and the long debates in the middle chapters are out of key.) But
I do not like the kind of story, of which there are several contemporary German examples, in which the narrative of outward events is preposterous in itself and means nothing at all until you understand its symbolism. Thus, suppose you have s story of a man trying to save his house. The house, we will say, is really a symbol of the man’s soul.
But it will not do, I argue, if the story is ridiculous when the house is seen as a house and not as a soul; better to write about the soul and have done with it. No, it ought to be
possible to enjoy the narrative as an account of a man’s adventures with his house. What you are after, of course, is
the appeal on several different levels at the same time. That is why Don Quixote such is a colossal achievement, and may be regarded as the pattern of all fiction. I will confess, here and now, that this is what I have always been after in novels, and I will also confess that I have never succeeded, though I believe I have come nearer to success with a small number of readers than most reviewers, who are usually in too much of a hurry, would allow. Compared with this task, I consider the ordinary antics of so-called “intellectual” novelists, the “stream of consciousness” people, the writers who cram in chunks of erudition, the elaborate hair-splitters, to be so much child’s play; though I will admit at
once that these novelists do what they set out to do more successfully than I do. Probably, my trouble is that no matter
how carefully I plan, a cheerful and robust common sense, or, if you insist, downright commonplaceness of outlook, will come in. It seems I have not a distinguished and fastidious mind; and once I am fairly set in a novel, I begin to enjoy myself, and the sight of my enjoying myself is apparently not pleasing to people who really have distinguished and fastidious minds.
So I shall remain a “popular novelist” even when – and this is more than likely – I have long ceased to be popular.
Translation - Chinese 我自己雖有失敗之處，但依舊堅守最初創作小說時把持的信念，相信當代小說一旦淹沒於主觀意識便不再算是小說，但是主體意識必不可少，思想和靈魂的戲劇表現不可少，如此，要拯救當代小說，只有通過戲劇性的象徵主義手法進行敘述，讓敘述在小說中多個世界內都有效果。最讓我興致盎然的現代小說裡，似乎大部分都是象徵主義小說。（曼恩所著的《魔山》是個範例；儘管如此，他在小說某些部分完全棄用現實主義慣常的敘述形式，中間章節的長辯論也有些不著調）但有種小說將實際事件寫得荒唐可笑，在你明白其象徵意義前，顯得毫無意義，德國有個別當代小說屬於這一類，我並不喜歡。不妨想像你有個故事是講一個男人試圖拯救他的房子。其實房子象徵著男人的靈魂。如果把房子當作房子而非靈魂來寫，故事就變得荒唐滑稽的話，那麼這種手法就不適用；還不如直接描寫靈魂，乾脆了當。關於男人與房子共同冒險的敘述，讀起來應該是有意思的。你要追求的是故事能在幾個不同層面上都賦意趣。《堂吉訶德》能成為巨作，可說被視為小說的古今範本，就是這個原因。坦白而言，這一直是我創作小說所追求的境界；然而我從未成功過，儘管如此，如今擁有為數不多的讀者，我向成功邁進的步伐，已然比大多書評者所恩許的要大了，要知道這些人通常都時間寶貴、馬馬虎虎。相比此目標，那些所謂“知識份子”小說家，那些“意識流派”中人，那些或熱衷於掉書袋子、或執著於精雕細琢的作家，他們慣耍的小把戲在我看來不過是兒戲；然而我也不需猶疑就會承認，在完成自己初始目標這件事上，這些小說家比我要成功。也許我的癥結就在於，無論計畫得多麼細緻，我的小說到底會為某個合人喜好、根深蒂固的尋常道理所主導，或者坦白直接點說，在眼界上完全落入陳詞濫調。似乎我的思想就是無法出眾卓絕，不善去糟取精；一旦沉浸在小說裡，我就開始自娛自樂，而在那些確實想法卓絕、懂得去糟取精的人眼中，這種娛樂顯然不值得稱道。所以，即便有天我早已稱不上“流行”之名（很有可能），我還是甘心繼續做一個“流行小說家”。
English to Chinese: MARTELL COGNAC advertisement text General field: Bus/Financial Detailed field: Advertising / Public Relations
Source text - English MARTELL
COGNAC
EXTRA OLD XO COGNAC
This blend includes eaux-de-vie from Martell’s four main terroirs, but is marked by a subtle balance between the elegance and roundness of the old Borderies eaux-de-vie and the structure of those from Grande Champagne. XO stands for Extra Old, and denotes cognacs made from old eaux-de-vie.
The decanter has a strong, architectural quality. The arch-shaped base is emblematic of Martell: a solid foundation reflecting the strength and determination of the House. The contrasting slender shape of the silver cork lifts the decanter with a touch of elegance, giving it a remarkable aesthetic balance.
English to Chinese: Section of a company contract General field: Law/Patents Detailed field: Law: Contract(s)
Source text - English A Wholly Foreign Owned Enterprise (“WFOE”) is the most popular choice for foreign companies doing business in China in many activities. It is a Chinese limited liability company formed under the laws of China and financed with 100% foreign capital and is completely under the control of the foreign investor.
The minimum registered capital, which has to be paid up within 24 months from the obtaining of the bureau license in accordance with regulations, varies depending on the industry, city, and place where the WFOE is registered and also on the business nature of the WFOE and can be significantly higher for certain heavily regulated industries. The registered capital can be paid up with a combination of equipment and cash. A minimum of 15% of registered capital initially must be deposited in cash from the parent company into the WFOE’s capital bank account within 90 calendar days from the date of issue of the business license and the balance of the registered capital is contributed within the following 21 months.
Translation - Chinese 外资独资企业（“WFOE”）是外国公司在中国进行商业活动首选的方式。WFOE指的是在中国法律下成立并完全由外国资本投资的中国有限责任公司，且公司完全由外国投资方控制。
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