Download Положении о конкурсе перевода с английского языка на русский.

Положение о конкурсе перевода с английского языка на русский
1. Общие положения
1.1. Настоящий документ определяет цели, задачи и порядок проведения
конкурса на лучший перевод (далее – Конкурс), а также сроки проведения
мероприятия.
1.2. Организаторами
Конкурса являются государственное краевое
бюджетное учреждение культуры «Пермская государственная ордена "Знак
почета" краевая универсальная библиотека им А. М. Горького, далее – ГКБУК
«ПГКУБ им. А. М. Горького» (отдел литературы на языках народов мира), отдел
международных и межмуниципальных связей управления общественных
отношений аппарата Пермской городской Думы.
1.3. Соорганизатором Конкурса является кафедра английского языка и
межкультурной коммуникации факультета современных иностранных языков и
литератур ПГНИУ.
1.4. В Конкурсе могут принимать участие школьники средних и старших
классов, а также студенты вузов г. Перми.
2. Цели и задачи конкурса
2.1. Конкурс посвящен Году языка и литературы Великобритании в России
и проводится с целью знакомства пермских читателей с современной английской
литературой, не издававшейся на русском языке, привлечения внимания к
изучению иностранного языка и развития творческой инициативы у молодежи.
2.2. Задачами конкурса являются:
 развитие компетенции в области владения английским языком;
 стимулирование творческой активности слушателей в области изучения
родного и английского языков;
 повышение мотивации слушателей к дальнейшему совершенствованию
своих знаний и навыков в изучении английского языка.
3. Условия проведения Конкурса
3.1.
3.2.
3.3.
3.4.
3.5.
Конкурс проводится с 13 сентября по 09 октября 2016 года.
Для Конкурса подобраны аутентичные тексты на английском языке.
Конкурс проводится в трех номинациях:
 перевод поэтического текста Carol Rumens «Unplayed Music»
(Приложение № 2);
 перевод прозаического текста Bernard Maclaverty «Grace Notes»
(Приложение № 3);
 перевод научно-популярного текста «In a world of 7 billion people
how can we protect wildlife?» (Приложение № 4).
Принимать участие в Конкурсе можно как в одной номинации, так и во
всех номинациях.
Оценивание будет проходит отдельно для:
3.6.
 школьников средних и старших классов, а также студентов 1
курса;
 студентов языковых факультетов 2-5 курсов;
 студентов неязыковых факультетов 2-5 курсов.
Определение победителей конкурса осуществляется жюри. Состав
жюри конкурса формируется из числа преподавателей кафедры
английского языка и межкультурной коммуникации факультета
современных иностранных языков и литератур ПГНИУ и отдела
международных
и
межмуниципальных
связей
управления
общественных отношений аппарата Пермской городской Думы.
4. Требования к переводу и оформлению конкурсных работ
4.1. Для участия в Конкурсе на адрес электронной почты [email protected] (с пометкой «Конкурс перевода») необходимо в указанные
ниже сроки направить:
- заявку на участие в Конкурсе (см. Приложение № 1);
- перевод предложенного отрывка текста, оформленного согласно
требованиям.
4.2. Переводы, направляемые на конкурс, должны быть набраны в
редакторе Word (шрифт Times New Roman, кегль 12, межстрочный интервал
1,5).
4.3. Критерии оценки представленных на Конкурс перевода текстов:
- адекватность культурному и языковому фону, контексту и специфике;
- эквивалентность: качество передачи исходной информации, качество
языкового оформления и качество передачи особенностей оформления
исходного текста.
4.4. Итоги Конкурса будут опубликованы 26 октября 2016 г. на сайте
ГКБУК «ПГКУБ им. А. М. Горького» и в группе https://vk.com/foreignperm
5. Порядок проведения Конкурса
5.1. С 13 сентября по 09 октября осуществляется прием заявок и переводов.
5.2. С 10 по 22 октября жюри проводит оценивание работ участников
конкурса и определяет победителей на основе рейтинга.
5.3. Решение жюри оспариванию не подлежит.
5.4. Награждение победителей конкурса проходит 25 октября 2016 г. в
интерактивном зале ГКБУК «ПГКУБ им. А. М. Горького».
6. Подведение итогов Конкурса
6.1. Победителям вручаются Дипломы оргкомитета Конкурса, а также
призы, предоставленные Генеральным Консульством
Екатеринбурге и ГКБУК «ПГКУБ им. А. М. Горького».
Великобритании
в
6.2. Остальные участники конкурса получают сертификат участника в
электронном виде.
Приложение № 1
Заявка на участие в конкурсе
Номинация
Фамилия и имя
участника
Школа, класс / Контактный
ФИО
учебное
телефон и преподавателя
заведение,
e-mail
и e-mail
курс
Приложение № 2
Carol Rumens
Unplayed Music
We stand apart in the crowd that slaps its filled glasses
on the green piano, quivering her shut heart.
The tavern, hung with bottles, winks and sways
like a little ship, smuggling its soul through darkness.
There is an arm flung jokily round my shoulders,
and clouds of words and smoke thicken between us.
I watch you watching me. All else is blindness.
Outside the long street glimmers pearl.
Our revellers’ heat steams into the cold
as fresh snow, crisping and slithering
underfoot, witches us back to childhood.
Oh night of ice and Schnapps, moonshine and stars,
how lightly two of us have fallen in step
behind the crowd! The shadowy white landscape
gathers our few words into its secret.
All night in the small grey room
I’m listening for you, for the new music
waiting only to be played; all night I hear nothing
but wind over the snow, my own heart beating.
Приложение № 3
Bernard Maclaverty
Grace Notes
The first time she saw the Chinese composer Huang Xiao Gang was at a composition
workshop in the University. Because the public were to be admitted, it was not in the
Music Department but in the lecture theatre overlooking the main quad. Through the
window Catherine could see the green of the clipped lawn and the laburnum and
cherry trees in full blossom and the cloisters beyond. She thought it would make
anybody Chinese feel at home. It was a warm sunny day. The Prof came in with
several other men and walked to the rostrum. Huang Xiao Gang was in the middle of
the group. The first thing that struck Catherine was his height. She had expected
someone small but this man was over six foot – thin and wiry – in his early fifties,
although he looked boyish. His hair was black, turning to grey, and short – so short it
could not be described as a haircut – more that his head had been shaved some time
ago and the hair was growing back. The Prof introduced him to the audience of about
thirty. He told them that Huang Xiao Gang had only yesterday flown in from Toronto,
where he now lived, so he was still suffering from jet lag. He had been born in a
remote province of northern China and the only music he had heard before reaching
manhood was ritualistic – funeral music, wedding music. It was only very much later
he heard Western music. The University Music Department was more than privileged
to have such a man address them.
Left alone on the platform Huang Xiao Gang looked shyly down at his feet and began.
He was a beautiful man with an open, immediately likeable face and smile. His
English was extremely good. One pronunciation threw her. Peach. She thought he was
referring to the fruit but he said it several times and she realised by the context what it
was. For him peach and pitch were homophones.
He began by, not dismissing the conservatoire approach, but by putting it in its place.
A three- or four-year old child with an innocent ear could produce things every bit as
interesting as a Music Professor. There were smiles and nudges and glances at the Prof
to see if he’d taken offence. Huang Xiao Gang talked about pre-hearing andinner
hearing and later about categories of sound like peach and rhythm – random or
otherwise.
He invited about ten students, including Catherine, on to the platform to do some vocal
improvisation. They sat in a half-circle around him, five boys and five girls. He talked
about the invisible disciplines of Taoism – the interaction of the two cosmic forces,
the yin and the yang – the feminine and the masculine. Do you compose the music or
does the music compose you? Where are the notes between the notes? Graces, grace
notes or, as the French would have it, agréments. Are you a conduit for the music? Are
you the nib or the ink source? He asked the students on the platform to breathe quietly,
then to increase the noise of the expiration of each breath. It was astonishing the way
the audience were on the edge if their seats listening to the expulsion of breath by ten
people as if it was a new sound. Huang Xiao Gang said, ‘It is like a class for future
mothers.’
Then he interfered with the expelling of the breath, chopping it up into gasps with his
hand. He conducted with his hands, diminuendo and crescendo. His gestures were
functional but at the same time delicate. Beautiful. The slightest movement of his head
to keep time. He asked the students if they could draw the sounds they had heard, put a
shape to them. Catherine suggested that if she was to represent the chopping-breath
sound it was, ‘Out there. The rhythm of the cloisters.’ Huang Xiao Gang nodded.
He then talked about pre-hearing, asked the students to think about the shape of what
they were going to improvise. Each contribution was to have a head, a body and a tail.
Silence could be any part of the sound. There were four stages – first they had to, in
silence, think about what sound or sounds they were going to make. Then they had to
perform it. Having performed it they had to register and remember it. Lastly they had
to do it again.
He asked Catherine to do this. She thought, then she gasped. A sigh, belted out
sharply. Huang Xiao Gang said he was strangely moved by it, said, ‘Ah what a sigh is
there.’ Called her Lady Macbeth. Catherine knew what he meant. Yet it was perilously
close to being laughable. The courage to risk being thought pretentious. But when he
said it – it was with a smile and he got away with it.
Later Catherine began improvising with Huang Xiao Gang, alternating ‘breath
sentences’. Silence was part of hers and there was a mix up. They both waited. And
everyone waited. Two chess players, both polite and patient thinking it’s the other’s
move. The silence went on and on and on. For a long time. Then he turned to
Catherine and they both smiled, realising their mistake. It was like when she’d pressed
the piano keys as a child and no sound had come. Then they did it again, this time
correctly, and she was amazed at how complete a thing it was. A series of sounds,
formed, swished, swift – the way a series of brush strokes made a Chinese ideogram.
‘A composer does not grub around changing this note and trying that note instead. A
composer hears the thing in his or her head and writes it down.’
Приложение № 4
In a world of 7 billion people how can we protect wildlife?
By John Scanlon
Secretary-General CITES (Convention on International Trade in Endangered Species
of Wild Fauna and Flora)
https://www.theguardian.com/environment/2016/aug/30/7-billion-people-how-protectwildlife-endangered-species
Consumers and collectors want sturgeon caviar, snakeskin bags, shark meat and fins,
wild snowdrop bulbs, precious rosewood furniture, and quality agarwood oil, as well
as rare birds, reptiles, cacti and orchids. But they rarely stop to think about their
origins. There are now over seven billion people consuming biodiversity every day in
the form of medicines, food, clothing, furniture, perfumes and luxury goods. Demand
for products drawn from nature is increasing, and with it pressure is growing on some
of our wildlife species.
Our capacity to harvest from the wild has no limits, and modern transport has no
frontiers. There are 1.1 billion international tourist arrivals a year, 100,000 flights
every day, and 500 million containers are shipped a year, allowing wildlife products to
reach the four corners of the earth, legally or illegally. The tensions between boosting
global trade, promoting development and conserving wildlife persist, in what
sometimes seems like a set of objectives that are pulling in opposite directions.
But we can also see examples where competing demands have been reconciled, such
as through well-regulated trade, under the CITES treaty, of wild animals and plants,
such as in the wool of the vicuña, made into fine suits; meat of the queen conch, eaten
as a delicacy; the skin of the alligator, made into watch straps; or the bark of the
African cherry, turned into prostate medicine. Each has benefited both the species and
local communities and their development.
Illegal trade, worth up to $20bn a year, is now at an industrial scale, driven by
transnational organised criminals
Wildlife-based tourism has also greatly benefited from these strict trade controls by
ensuring that the wildlife that underpins this lucrative and expanding industry is
protected. The mountain gorilla is a wonderful example, where enhanced enforcement
and well-managed tourism has seen gorilla numbers climbing.
In the right circumstances, trade can be an incentive for managing wildlife sustainably.
It can provide positive economic benefits for local communities, as we have seen with
the vicuña, where the numbers of wild animals have risen from 6,000 in the late 60s to
more than 400,000 today. Close to 1,000 people in one Peruvian village alone are
employed in the trade of its fine wool. But it can also be a threat to wild populations of
animals and plants and their ecosystems if it is not sufficiently regulated or controlled,
poorly monitored and managed, or conducted at unsustainable levels.
Illegal trade, worth up to $20bn a year, is now happening at an industrial scale, driven
by transnational organised criminals. It robs local people of livelihoods and countries
of revenue, as well as of their natural and cultural heritage and the associated tourism
potential. It can also become intertwined with legal trade, as we have seen with python
skins, posing challenges for authorities and consumers in determining legal origin. It is
pushing many species towards extinction.
We also know that great conservation gains of the past can come under renewed
threats, as is the case with the rhino in South Africa. Rhino poaching there was stable
at about 10 a year in the decade to 2007 and rhino numbers were increasing. But then
poaching increased sharply to around 1,200 last year, putting these hard-won gains at
risk.
Over the same period we have seen a surge in the illegal killing of the African elephant
and trade in its ivory, which peaked in 2011 with an estimated 30,000 elephants being
slaughtered for their ivory, putting certain populations at imminent risk of extinction.
How do we approach the legal and sustainable utilisation of wildlife in an increasingly
crowded and interconnected world, where transnational organised criminals target
high-value species, and where there are differing perspectives over how wildlife is
utilised?
Contemporary solutions do exist. The international community has a legally binding
agreement responsible for monitoring and responding to unsustainable levels of trade
in wild animals and plants and to illegal wildlife trade. The Convention on
International Trade in Endangered Species of Wild Fauna and Flora - CITES - deals
specifically with individual species that are, or may become threatened through illegal
or unsustainable international trade, including listed timber, marine and aquatic
species, by strictly regulating such trade; we now record over 1,000,000 trade
transactions annually. Commercial trade may also be prohibited, as is necessary, such
as for elephant ivory and rhino horn, and from 2017 illegal trade will also be annually
reported.
CITES has been greatly assisted by the International Union for Conservation of Nature
(IUCN), which not only first promoted the need for such a treaty back in 1963, but
which has continuously provided sound scientific assessments into its decision making
processes.