【六屆英語世界杯】全國翻譯（筆譯）大賽啟事及原文【下載】！
注：第六屆“《英語世界》杯”全國翻譯大賽作為第五屆四川省翻譯大賽的筆譯比賽部分，現(xiàn)于2015年5月1日正式開始，請有意參賽者按照以下比賽啟事參加。
第五屆四川省翻譯大賽參賽啟事已公布http://lordofthegrills.com/tynews/news20151683.asp
其中重點賽事：第五屆“通譯杯”四川省口譯大賽初賽（各校區(qū)筆試）將于2015年10-11月展開，網(wǎng)絡(luò)線上活動6月上線開始，歡迎參加！
第六屆“《英語世界》杯”全國翻譯大賽啟事
“《英語世界》杯”翻譯大賽肇始于2010年，由商務(wù)印書館《英語世界》雜志社主辦。短短數(shù)載，大賽參賽人數(shù)屢創(chuàng)新高，現(xiàn)在已經(jīng)穩(wěn)居國內(nèi)各類翻譯比賽之冠。為推動翻譯學科的進一步發(fā)展，促進中外文化交流，我們將秉承“給力英語學習，探尋翻譯之星”的理念，于2015年5月繼續(xù)舉辦第六屆“《英語世界》杯”翻譯大賽，誠邀廣大翻譯愛好者積極參與，比秀佳譯。
大賽贊助單位
本屆大賽由悉尼翻譯學院獨家贊助。悉尼翻譯學院成立于2009年，是在澳大利亞教育部注冊的一家專業(yè)翻譯學院。學院相關(guān)課程由澳大利亞翻譯認證管理局（NAATI）認證。該院面向海內(nèi)外招生，以構(gòu)建“一座跨文化的橋梁”為目標，力圖培養(yǎng)具有國際視野和跨文化意識的涉及多語種的口筆譯人才。
大賽合作單位
中國翻譯協(xié)會社科翻譯委員會、中國英漢語比較研究會英漢翻譯研究學科委員會、四川省翻譯協(xié)會、上海翻譯家協(xié)會、廣東省翻譯協(xié)會、湖北省翻譯理論與教學研究會、陜西省翻譯協(xié)會、江蘇省翻譯協(xié)會、南開大學和成都通譯翻譯有限公司。
一、大賽形式
二、參賽要求
2. 參賽譯文須獨立完成，不接受合作譯稿。
3. 參賽譯文及個人信息于截稿日期前發(fā)送至電子郵箱：yysjfyds@sina.com
（1）郵件主題標明“翻譯大賽”；
（2）以附件一（excel格式）發(fā)送參賽者個人信息，文件名“XXX個人信息”，以方便獲獎時聯(lián)系。
請按下表格式填寫個人信息（表格見下載附件）：
姓名 性別 出生年月日 學?；蚬ぷ鲉挝?nbsp;通信地址（郵編） 電子郵箱 電話
（3）以附件二（word格式）發(fā)送參賽譯文，文件名“XXX參賽譯文”，內(nèi)文規(guī)格：黑色小四號宋體，1.5倍行距，兩端對齊。
4. 僅第一次投稿有效，不接受修改后的再投稿件。
5. 在大賽截稿之日前，妥善保存參賽譯文，勿在報刊、網(wǎng)絡(luò)等任何媒體上或以任何方式公布，違者取消參賽資格并承擔由此造成的一切后果。
三、大賽時間
起止日期：2015年5月1日—2015年7月20日。
獎項公布時間：2015年10月，在《英語世界》雜志、官方博客、官方微博和官方微信公眾平臺上公布大賽評審結(jié)果。
四、獎項設(shè)置
所有投稿將由主辦單位組織專家進行評審，分設(shè)一、二、三等獎及優(yōu)秀獎。一、二、三等獎獲獎?wù)邔㈩C發(fā)獎金、獎品和證書，優(yōu)秀獎獲獎?wù)邔㈩C發(fā)證書和紀念獎。所有獲獎?wù)呔@贈2016年全年（1—12期）《英語世界》雜志一套，并有機會成為《英語世界》的譯者。
對于積極組織學生參加本屆翻譯大賽的院校，將頒發(fā)“優(yōu)秀組織獎”證書。獲獎院校還有機會成為“翻譯實踐基地”合作單位。
五、聯(lián)系方式
為辦好本屆翻譯大賽，保證此項賽事的公平、公正，特成立大賽組委會，負責整個大賽的組織、實施和評審工作。組委會辦公室設(shè)在《英語世界》編輯部，電話/傳真010-65539242。
六、特別說明
1. 本屆翻譯大賽不收取任何費用。
2. 本屆翻譯大賽只接受電子版投稿，不接受紙質(zhì)投稿。
3. 參賽譯文一經(jīng)發(fā)現(xiàn)抄襲或雷同，即取消涉事者參賽資格。
《英語世界》雜志社
2015年5月
第六屆“《英語世界》杯”翻譯大賽原文
A Garden That Welcomes Strangers
By Allen Lacy
I do not know what became of her, and I never learned her name. But I feel that I knew her from the garden she had so lovingly made over many decades.
The house she lived in lies two miles from mine – a simple, two-story structure with the boxy plan, steeply-pitched roof and unadorned lines that are typical of houses built in the middle of the nineteenth century near the New Jersey shore.
Her garden was equally simple. She was not a conventional gardener who did everything by the book, following the common advice to vary her plantings so there would be something in bloom from the first crocus in the spring to the last chrysanthemum in the fall. She had no respect for the rule that says that tall-growing plants belong at the rear of a perennial border, low ones in the front and middle-sized ones in the middle, with occasional exceptions for dramatic accent.
In her garden, everything was accent, everything was tall, and the evidence was plain that she loved three kinds of plant and three only: roses, clematis and lilies, intermingled promiscuously to pleasant effect but no apparent design.
She grew a dozen sorts of clematis, perhaps 50 plants in all, trained and tied so that they clambered up metal rods, each rod crowned intermittently throughout the summer by a rounded profusion of large blossoms of dark purple, rich crimson, pale lavender, light blue and gleaming white.
Her taste in roses was old-fashioned. There wasn’t a single modern hybrid tea rose or floribunda in sight. Instead, she favored the roses of other ages – the York and Lancaster rose, the cabbage rose, the damask and the rugosa rose in several varieties. She propagated her roses herself from cuttings stuck directly in the ground and protected by upended gallon jugs.
Lilies, I believe were her greatest love. Except for some Madonna lilies it is impossible to name them, since the wooden flats stood casually here and there in the flower bed, all thickly planted with dark green lily seedlings. The occasional paper tag fluttering from a seed pod with the date and record of a cross showed that she was an amateur hybridizer with some special fondness for lilies of a warm muskmelon shade or a pale lemon yellow.
She believed in sharing her garden. By her curb there was a sign: “This is my garden, and you are welcome here. Take whatever you wish with your eyes, but nothing with your hand.”
Until five years ago, her garden was always immaculately tended, the lawn kept fertilized and mowed, the flower bed free of weeds, the tall lilies carefully staked. But then something happened. I don’t know what it was, but the lawn was mowed less frequently, then not at all. Tall grass invaded the roses, the clematis, the lilies. The elm tree in her front yard sickened and died, and when a coastal gale struck, the branches that fell were never removed.
With every year, the neglect has grown worse. Wild honeysuckle and bittersweet run rampant in the garden. Sumac, ailanthus, poison ivy and other uninvited things threaten the few lilies and clematis and roses that still struggle for survival.
Last year the house itself went dead. The front door was padlocked and the windows covered with sheets of plywood. For many months there has been a for sale sign out front, replacing the sign inviting strangers to share her garden.
I drive by that house almost daily and have been tempted to load a shovel in my car trunk, stop at her curb and rescue a few lilies from the smothering thicket of weeds. The laws of trespass and the fact that her house sits across the street from a police station have given me the cowardice to resist temptation. But her garden has reminded me of mortality; gardeners and the gardens they make are fragile things, creatures of time, hostages to chance and to decay.
Last week, the for sale sign out front came down and the windows were unboarded. A crew of painters arrived and someone cut down the dead elm tree. This morning there was a moving van in the driveway unloading a swing set, a barbecue grill, a grand piano and a houseful of sensible furniture. A young family is moving into that house.
I hope that among their number is a gardener whose special fondness for old roses and clematis and lilies will see to it that all else is put aside until that flower bed is restored to something of its former self.
(選自 Patterns: A Short Prose Reader, by Mary Lou Conlin, published by Houghton Mifflin Company, 1983.)
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