Федеральное агентство по образованию

Государственное образовательное учреждение

высшего профессионального образования

«Омский государственный технический университет»

Углубленный английский язык. Машинный перевод

Методические указания для студентов 5 курса специальности «Издательское дело и редактирование»

Омск

Издательство ОмГТУ

2009

Составитель Ж. Г. Жигунова

Данные методические указания включают в себя теоретический и прак-тический материал по основным темам, изучаемым студентами 5 курса специальности 030901.65 «Издательское дело и редактирование» в курсе дисциплины «Углубленный английский язык. Машинный перевод».

Методические указания содержат профессионально-ориентированные текс-ты для перевода и аннотирования, а также научно-технические, публицистические и рекламные тексты, что позволяет студентам познакомиться со спецификой перевода каждого жанра.

В основу текстового материала положены оригинальные источники из сов-ременных изданий.

Печатается по решению редакционно-издательского совета

Омского государственного технического университета

© ГОУ ВПО «Омский государственный

технический университет», 2009

Содержание

Вопрос 1. Аннотирование 4

Вопрос 2. Перевод научно-технической литературы 8

Вопрос 3. Терминологическая лексика 10

Вопрос 4. Перевод газетно-публицистической литературы 13

Вопрос 5. Перевод рекламных текстов 15

Вопрос 6. Машинный перевод 18

Вопрос 1

Аннотирование

Аннотирование – это вторичная обработка письменной информации. Для того чтобы зафиксировать краткое содержание произведения, пишется анно­тация. Аннотация (Abstract) – это краткая справка о статье, патенте, книге, справочнике и т.п. с точки зрения содержания. При аннотировании печат­ный материал излагается в предельно сжатой форме. Аннотация не может за­менить первичного документа, и ее назначение в том, чтобы дать возможность специалисту составить мнение о целесо­образности более детального ознакомления с данным мате­риалом.

Аннотация состоит из трех частей.

1. Справка к аннотации. В ней указываются следующие данные: автор; название работы на английском языке, перевод названия; количество стра­ниц, таблиц, рисунков, ссылок на использованную литературу; на каком языке написана работа. Кроме того, для журнала – его название на английском язы­ке, номер и год издания; для патентов – номер патента и страна патентова­ния; для каталогов – фирма, выпустившая данный каталог; для книг, моно­графий, учебников – название издательства.

2. Основная часть должна отражать перечень наиболее характерных по­ложений по содержанию работы.

3. Заключительная часть. В этой части должен быть представлен общий вывод ав­тора работы или указание на один какой-то вопрос, которому в работе уделе­но особое внимание, а также рекомендации, для кого данная работа может представлять особый интерес.

К аннотациям как на русском, так и на английском языке предъявляются следующие требования.

• Лаконичность языка, т.е. использование простых предложений (глаго­лы употребляются всегда в настоящем времени в действительном или стра­дательном залоге. Модальные глаголы, как правило, отсутствуют).

• Строгая логическая структура текста аннотации.

• Обязательное введение в текст аннотации безличных конструкций и отдельных слов, например: «Сообщается...» – It is reported..., «Подробно описывается...» – It is spoken in detail..., «Особенно отмечается...» – It is specially noted... и др., с помощью которых происходит введение и описание текста оригинала.

• Недопущение повторений в заглавии и тексте аннотации.

• Точность в передаче заглавия оригинала, отдельных формулировок и определений.

• Использование общепринятых сокращений слов, таких, как: напр., и т.д., и т.п., и др.

• Единство терминов и обозначений.

Чтобы составить аннотацию статьи, нужно ознакомиться с ее заголов­ком, просмотреть подзаголовки, иллюстрации, таблицы. Прочитать введе­ние и за-ключение; достаточно одноразового просмотра статьи, т.е. просмот­рового чтения. При этом следует иметь в виду, что конкретная тема научно-технического текста обычно излагается в первом или одном из начальных предложений введения и реже заключения.

Примеры написания основной части аннотации.

1. The text deals with computers. Types of computers and input data are described. Special emphasis is laid on the advantages of the computer.

2. The choice of facts that can teach some physics and are at the same time important to high school students is discussed. A simple classroom demonstration showing the lack of dependence of stopping distances on mass provided the initial velocity and the coefficients of friction are the same for bodies in motion on the same surface is made.

Задание № 1. Напишите аннотацию к тексту.

PENGUIN HISTORY

In 1935, if you wanted to read a good book, you needed either a lot of money or a library card. Cheap paperbacks were available, but their poor production generally tended to mirror the quality between the covers.

Penguin paperbacks were the brainchild of Allen Lane, then a director of The Bodley Head. After a weekend visiting Agatha Christie in Devon, he found himself on a platform at Exeter station searching its bookstall for something to read on his journey back to London, but discovered only popular magazines and reprints of Victorian novels.

Appalled by the selection on offer, Lane decided that good quality contemporary fiction should be made available at an attractive price and sold not just in traditional bookshops, but also in railway stations, tobacconists and chain stores.

He also wanted a 'dignified but flippant' symbol for his new business. His secretary suggested a Penguin and another employee was sent to London Zoo to make some sketches. Seventy years later Penguin is still one of the most recognizable brands in the world.

The first Penguin paperbacks appeared in the summer of 1935 and included works by Ernest Hemingway, Andre Maurois and Agatha Christie. They were colour coded (orange for fiction, blue for biography, green for crime) and cost just sixpence, the same price as a packet of cigarettes. The way the public thought about books changed forever - the paperback revolution had begun.

Penguin became a separate company in 1936 and set up premises in the Crypt of the Holy Trinity Church on Marylebone Road. Within twelve months, it had sold a staggering 3 million paperbacks. Traditional publishers tended to view Penguin with suspicion and uncertainty, as did some authors.

In 1937, Penguin moved to new offices and a warehouse at Harmondsworth, near the future Heathrow Airport, and began to expand. 1937 also saw the launch of the Penguin Shakespeare series and the Pelican imprint - original non-fiction books on contemporary issues – and the appearance of a book-dispensing machine at Charing Cross called the Penguincubator.

As conflict in Europe drew closer, Penguin Specials such as What Hitler Wants achieved record-breaking sales. One of the bestselling titles during the war was Aircraft Recognition, used by both civilians and the fighting forces to recognize enemy planes. Penguin also started an Armed Forces Book Club, bringing entertainment and comfort to soldiers cut off from friends and family.

Two of the company's most famous names were launched in the 1940s. Puffin was born in 1940 as a series of non-fiction picture books for children. They proved to be such a great success that Puffin started publishing fiction the following year, with Worzel Gummidge among its first titles. In 1946, Penguin Classics were launched with E. V. Rieu's translation of The Odyssey, making classic texts available to everyone. Today this world famous series consists of more than 1,200 titles (including Penguin Modern Classics), ranging from The Epic of Gilgamesh to One Flew Over the Cuckoo's Nest.

Firmly established as a major force in publishing and British life, Penguin became a public company in 1961. The share offer was 150 times oversubscribed – setting a record for the London Stock Exchange.

Sir Allen Lane died on 7 July 1970 and tributes flooded in from the literary world. That same year, Pearson, the international media group, bought Penguin and the company continued as a major and vital publishing force.

The 1980s brought more change and expansion for Penguin – it acquired Frederick Warne, best known for its Beatrix Potter titles, in 1983, set up the Viking imprint in 1984, and bought the Michael Joseph and Hamish Hamilton book-publishing divisions in 1985. The company then moved to Wrights Lane in Kensington, but kept its site at Harmondsworth.

Penguin Audiobooks were launched in 1993, bringing a mix of classic and contemporary titles to a listening audience and using only the finest actors to record them. Penguin has since continued to explore new technology. It was the first trade publisher to have a website, at www.penguin.co.uk, and the first to open an eBook store.

In 1996, Penguin took a 51 % stake in Rough Guides, the acclaimed travel and music publishers, which became wholly owned by Penguin in 2002. And in 2000, Pearson bought Dorling Kindersley, publishers of highly visual and dynamic travel, reference and children's books, and added it to the Penguin Group in the UK.

Penguin retained its position as a champion of free speech when it successfully defended a libel suit brought by revisionist historian David Irving in 2000 after the publication of Professor Deborah Lipstadt's Denying the Holocaust. The company also published Michael Moore's controversial Stupid White Men in the UK in 2002 after attempts in the US to ban it.

2001 saw Penguin moving to its current home at 80 Strand in Central London. Today the company has offices in fifteen countries – from Penguin US (formed in 1939) to Penguin Ireland (opened in 2003) – and keeps more than 5,000 different titles in print at any time. In the twenty-first century the Penguin Group can cater for every stage of a reader's lifetime, with books from Dorling Kindersley, Frederick Warne, Ladybird, Penguin, Puffin and Rough Guides, making Penguin the home of reading.

To celebrate its 70th birthday in 2005, Penguin is publishing 70 Pocket Penguins by authors ranging from Homer and Anton Chekhov to F. Scott Fitzgerald and Jamie Oliver. At just £1.50 each they make great writing affordable and available to everybody – now you can own a piece of the Penguin story.

Задание № 2. Напишите аннотацию к тексту.

ILLUSTRATION

An Illustration is a visualisation such as drawing, painting, photograph or other work of art that stresses subject more than form. The aim of an illustration is to elucidate or decorate a story, poem or piece of textual information (such as a newspaper article), traditionally by providing a visual representation of something described in the text.

Illustrations can be used to display a wide range of subject matter and serve a variety of functions like:

giving faces to characters in a story;

displaying a number of examples of an item described in an academic textbook;

visualising step-wise sets of instructions in a technical manual;

communicating subtle thematic tone in a narrative;

linking brands to the ideas of human expression, invididuality and creativity; envoking the viewer to feel emotion in such a way as to expand on the linguistic

aspects of the narrative.

The earliest forms of illustration were prehistoric cave paintings. Before the invention of the printing press, illuminated manuscripts were hand-illustrated.

During the 15th century, books illustrated with woodcut illustrations became available. The main processes used for reproduction of illustrations during the 16th and 17th centuries were engraving and etching. At the end of the 18th centrury, lithography allowed even better illustrations to be reproduced.

The American «golden age of illustration» lasted from the 1880s until shortly after World War I (although the active career of several later «golden age» illustrators went on for another few decades). This was a time when newspapers, mass market magazines, and illustrated books were the most dominant media available. Improvements in printing technology freed illustrators to experiment with color and new rendering techniques. A small group of illustrators in this time became rich and famous. The imagery they created was a portrait of American aspirations of the time. In Europe, «golden age» artists were influenced by the Pre-Raphaelites and by such design-oriented movements as the Arts and Crafts Movement, Art Nouveau, and Les Nabis. Leading artists included Walter Crane, Edmund Dulac, Aubrey Beardsley, Arthur Rackham and Kay Nielsen. American illustration of this period was anchored by the Brandywine Valley tradition, begun by Howard Pyle and carried on by his students, who included Norman Rockwell, Haddon Sundblom, N.C. Wyeth, Maxfield Parrish, Frank Schoonover and Edwin Austin Abbey.

Starting in the 1990s, traditional illustrators confronted a challenge from those using computer software such as Adobe Illustrator, Photoshop, and CorelDRAW. Whilst some of the new generation of illustrators are trained at colleges directly in front of the screen, most are merely made aware of the technology available and expected to train themselves to utilise it.

Today, there is a growing interest in collecting and admiring original artwork that was used as illustrations in books, magazines, posters, etc. Various museum exhibitions, magazines and art galleries have devoted space to the illustrators of the past.