笔译28人，学制3年，委托培养，不接受单独考试。周末或假期集中授课，不解决住宿。学费三年共四万元。
育明教育咨询师分析认为，南京大学翻译硕士考试题目难度较大，百科知识的也比较灵活，建议大家要提前复习。其实百科知识虽然多，但是有范围和侧重点，大家只要根据推荐参考书和育明视频课程进行学习就可以了。

参考书：

近年来国内出版的英语专业高级阅读、翻译、写作教材，以及任何大学语文教材。
1.《英译中国现代散文选》，张培基（三册中至少一册），上海外语教育出版社，2007

2.《高级翻译理论与实践》，叶子南，圣才电子书出版，2019

3.《汉语写作与百科知识》，李国正，首都师范大学出版社，2019

报录比：

1：7

真题分享：

Directions〖WW(〗:〖WW)〗〖ZK(〗There are 3 passages in this part. Each passage is followed by some questions or unfinished statements. For each Of them there are four choices marked A, B, C and D. You should decide on the best choice and mark the corresponding letter on the Answer Sheet with a single line through the center. (30％)〖KH-*2〗〖ZK)〗

Passage One〖WW(〗:〖WW)〗

Questions 31 to 35 are based on the following passage. 〖WTXFZ〗

Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith (1875-4948). Before Griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, Griffith, because of his lore of Victorian painting, employed composition He conceived of the camera image as having a foreground and a rear ground, as well as the middle distance, preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the acting and extreme long shots to achieve a sense of spectacle and distance His appreciation of the camera’s possibilities produced novel dramatic effects By splitting an event into fragments and recording each from the most suitable, camera position, he could significantly vary the emphasis from camera shot to camera shot.

 Griffith also achieved dramatic effects by means of creative editing by juxtaposing images and varying the speed and rhythm of their presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since. These included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space.

Besides developing the cinema’s language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic〖WW(〗:〖WW)〗it included not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browing and Tennyson and treatments of Social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema When he remade Enoch Arden in 1911, he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffith’s introduction of the American-made multireel picture began an immense revolution. Two years later, Judith of Bethulia, an elaborate historicophilosphical spectacle, reached the unprecedented length of four reels, or one hour’s running time. From our contemporary viewpoint, the pretensions of this film may seem a trifle ludicrous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema

31〖H点〗〖ZK(〗The primary purpose of the passage is to

(A) discuss the importance of Griffith to the development of the cinema

(B) document Griffith’s impact on the choice of subject matter in American films

(C) deplore the state of American cinema before, the advent of Griffith

(D) analyze the changes in the cinema wrought by the introduction of the multireel film〖ZK)〗

32〖H点〗〖ZK(〗The author suggests that Griffith’s film innovations had a direct effect on all of the following EXCEPT〖WW(〗:〖WW)〗

(A) film editing

(B) camera work

(C) scene composing

(D) sound editing〖ZK)〗

33〖H点〗〖ZK(〗It can be inferred from the passage that before 1910 the normal running time of a film was

(A) 15 minutes or less

(B) between 15 and 30 minutes

(C) 1 hour or more

(D) between 45 minutes and 1 hour〖ZK)〗

34〖H点〗〖ZK(〗The author asserts that Griffin introduced all of the following into American cinema EXCEPT〖WW(〗:〖WW)〗

(A) consideration of social issues

(B) adaptations from Tennyson

(C) the flashback and other editing techniques

(D) dramatic plots suggested by Victorian theater〖ZK)〗

35〖H点〗〖ZK(〗The author suggests that Griffith’s contributions to the cinema had which of the following results?

I〖H点〗Literary works, especially Victorian novels, became popular sources for film subjects.

〖H点〗Audience appreciation of other film directors’ experimentation as with cinematic syntax was increased.

〖H点〗 Many of the artistic limitations thought to be inherent in filmmaking were shown to be really nonexistent.

(A)only

(B) only

(C) I and only

(D)and only〖ZK)〗

答题技巧：

论述题

（1）名师解析

论述题在考研专业课中属于中等偏上难度的题目，考察对学科整体的把握和对知识点的灵活运用，进而运用理论知识来解决现实的问题。但是，如果我们能够洞悉论述题的本质，其实回答起来还是非常简单的。论述题，从本质上看，是考察队多个知识点的综合运用能力。因此，这就要求我们必须对课本的整体框架和参考书的作者的写书的内部逻辑。这一点是我们育明考研专业课讲授的重点，特别是对于跨专业的考生来说，要做到这一点，难度非常大。

（2）答题攻略：论述题三步走答题法

是什么——〉为什么——〉怎么样

第一，论述题中重要的核心概念，要阐释清楚；论述题中重要的理论要点要罗列到位。这些是可以在书本上直接找到的，是得分点，也是进一步分析的理论基点。

第二，要分析目前所存在问题出现的原因。这个部分，基本可以通过对课本中所涉及的问题进行总结而成。

第三，提出自己合理化的建议。

（3）温馨提示

第一，回答的视角要广，不要拘泥于一两个点。

第二，在回答论述题的时候一定要有条理性，但是条数不宜过多，字数在1500左右。用时为25-30分钟。如果试卷中有3道（一般不会更多）论述题，你可以答800-1000字，如果有两道，你可以答1000-1200字左右。论述题是拉分的关键，也是专业课里分值最高、题量最大的提醒，同时往往是概括性最强、最难回答的题型。建议采用“总分总”结构，即前后是起始和总结的套话，中间是要点，要点部分采用4×300（2×150）模式，即分4大条，每条300字，每条又分两小点，每点150字。

育明教育，成立于2006年，到现在已经有十年的时间，在我们育明教育，每年都有成功学员积累的一些经验可供各位考生参考。育明教育整合利用历届育明优秀学员的成功经验与高分资料，为每一位学员构建考研成功的基础保障。

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