Практический курс перевода (английский язык). IV курс

124 Pages·1.55 MB·English-Russian

by  Стрельников П.А., Горбачёва М.М.

Министерство образования и науки РФ
Федеральное государственное бюджетное образовательное учреждение
высшего профессионального образования
(cid:156)Кузбасский государственный технический университет
имени Т. Ф. Горбачёва⁄
П.А. Стрельников
М.М. Горбачёва
Практический курс перевода
(английский язык). IV курс
Рекомендовано учебно-методической комиссией
специальности 031202 (cid:156)Перевод и переводоведение⁄
в качестве электронного учебного пособия
Кемерово 2011
1
Рецензенты:
Жданова Г.А., к.п.н., доц., зав. каф. ин.яз. КемТИПП
Лушникова Г.И., д.ф.н., доц., зав. каф. англ. филол. №2 Кем ГУ
Стрельников Павел Алексеевич, Горбачёва Марина Михайловна. Практический курс
перевода (английский язык). IV курс: учебное пособие [Электронный ресурс] : для студентов
специальности 031202 (cid:156)Перевод и переводоведение⁄ очной формы обучения / П.А. Стрельников,
М.М. Горбачёва. – Электрон. дан. – Кемерово : КузГТУ, 2011. – 1 электрон. опт. диск (CD-ROM) ;
зв. ; цв. ; 12 см. – Систем. требования : Pentium IV ; ОЗУ 8 Мб ; Windows 93 ; (CD-ROM-
дисковод) ; мышь. –Загл. с экрана.
Учебное пособие содержит задания и упражнения, направленные на формирование у
студентов умений и навыков перевода с английского языка на русский и с русского языка на
английский информации на темы (cid:156)Мода⁄, (cid:156)Кино⁄, (cid:156)СМИ⁄, (cid:156)Экономика⁄, (cid:156)Наука и образование⁄,
(cid:156)Туризм⁄, (cid:156)Национальные особенности⁄. Моделируются ситуации будущей профессиональной
дяетельности: пресс-конференция, интервью, выставка, экскурсия.
 КузГТУ
 Стрельников П.А.
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Предисловие
Учебное пособие (cid:156)Практический курс перевода (английский язык). IV курс⁄
предназначено для студентов IV курса специальности 031202 (cid:156)Перевод и
переводоведение⁄.
Цель учебного пособия – формирование у студентов умений и навыков
перевода с английского языка на русский и с русского языка на английский тестовой
и аудиоинформации на темы (cid:156)Мода⁄, (cid:156)Кино⁄, (cid:156)СМИ⁄, (cid:156)Экономика⁄, (cid:156)Наука и
образование⁄, (cid:156)Туризм⁄, (cid:156)Национальные особенности⁄. Материал, на основе
которого ведётся обучение, охватывает широкий спектр источников информации –
газетные статьи, интервью, Интернет-издания, выдержки из научных статей,
художественной литературы. Информация для перевода представлена широким
стилевым разнообразием – публицистика, юмор, реклама, деловое общение и т.д.
Учебное пособие состоит из 30 разделов (Lesson), каждый из которых
посвящён определённоой тематике. Лексический состав учебного пособия
соответствует современному состоянию английского языка.
Студентам предлагаются упражнения на тренировку памяти, синхронный и
последовательный перевод, извлечение информации. Моделируются ситуации
будущей профессиональной дяетельности: пресс-конференция, интервью, выставка,
экскурсия.
Учебное пособие может быть использовано как для работы в аудитории, так и
для внеаудиторной самостоятельной работы.
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Lesson 1
I. “Warm-up”: The instructer reads the first word, the first student repeats it; the Instructor reads the second
word, the second student repeats the first and the second; the Instuctor reads the third word, the third student repeats
the first, the second and the third and so on up the the seventh one; the circle being started after the seventh one.
1. бикини bikini 8. пуговица button
блузка, кофточка blouse gekjdth pullover
ботинки/сапоги boots размер size
браслет bracelet рубашка shirt
брюки, штаны trousers ремень strap; belt
булавка pin сандалии sandals
бижутерия jewelry свитер sweater
2. бюстгальтер bra 9. сережка earrings
вуаль veil спецодежда overalls
галстук tie спортивнаяодежда sportswear
грубый coarse, rough спортивныйкостюм tracksuit
губная помада lipstick солнцезащитныеочки sunglasses
дамское белье lingerie тапочки slippers
джемпер jumper тесный tight
3. джинсы jeans 10. толстовка sweat-shirt
духи perfume, scent трусики(детскиеилиженские) panties
жилет vest трусы underpants
завязка hairband туфли/полуботинки shoes
зонтик umbrella футболка T-shirt
кардиган cardigan цепочка chain
колготки tights чулок stocking
4. кольцо ring 11. шарф scarf
костюм suit шнурок shoelace
кроссовки sneakers,trainers, шорты shorts
кошелек purse шуба furcoat
купальник swimsuit швейнаямашина sewingmachine
куртка jacket шляпа hat
кожа leather шнурок (shoe)lace
5. майка(набретельках) tank top, undershirt 12. элегантный elegant
мягкий soft юбка skirt
мех fur воротник collar
модный fashionable, stylish карман pocket
нижнеебелье underwear подкладка lining
носки socks пуговица button
носовойплаток handkerchief рукав sleeve
6. ночнаясорочка nightdress 13. ткань fabric, cloth, material
нейлон nylon атлас satin
нитка thread бархат velvet
обувь footwear джинсоваяткань denim
очки glasses замша suede
пальто coat кожа leather
перчатки gloves мех fur
7. пижама pyjamas 14. хлопок cotton
плавки swimming trunks шелк silk
платье dress шерсть wool
плащ raincoat шерстяной woolen
портфель briefcase нейлон nylon
пояс, ремень belt полиэстер polyester
просторный loose, ample одежда clothes
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II. “Interrupted Translation”: The students are given the text in Russian to translate it into English
simultaneouslywith the implementation of the exercise III.The translation is read after the exercise IIIfulfilment.
Как в любой другой западной стране, англичане и американцы носят все виды одежды. Одной из главных
вещей является то, что одежда должна быть удобной и подходящей для определенного события.
В Британии, как и в США, следуя правилам этикета, мужчины обычно надевают костюм для офисной работы,
а женщины носят платья или юбки. В отелях и ресторанах люди также склонны надевать что-то более официальное,
такое как галстуки или нарядные платья. Джинсы или футболки иногда просто не разрешены. Доктора, юристы и
деловые люди также обычно носят официальную одежду.
Говоря об отличиях между двумя странами, следует сказать, что англичане не очень заботятся о том, что они
носят.Даже в театры, кино или концерты они надевают то, что хотят –от элегантных костюмов и платьев до джинсов
и свитеров. Американцы более осторожны в этом. Им привычно носить повседневную или спортивную одежду дома
или в саду, но они предпочитают что-нибудь красивое и элегантное, если собираются выйти в свет.
Учитывая климат Британии, там есть такая специальная одежда как толстое пальто или анорак для холодной
ветреной погоды и плащи для дождливой погоды. Материалы, используемые для изготовления одежды, охватывают
все виды и цвета тканей.
Что касается детей и подростков, дома или, когда они играют с друзьями, они обычно носят что-то вроде
футболок, джинсов и спортивной одежды. Дл подростков важно иметь правильную одежду. Поэтому, большинство из
них обожает покупать последние новинки. Однако в большом количестве школ дети должны носить школьную
форму.
В заключение следует сказать, что в наше время люди в обеих странах любят носить не очень официальную
одежду, за исключением особых случаев.
III. “Deaf Phone”: the instructor reads the first passage to the first student, the latter writes down the
translation in Russian and then reads it to the second student, who translates it again in English. The circle is repeated
by all the students, the last translation and the original can be compared.
Fashion is something we deal with everyday. Even people who say they don’t care what they wear choose clothes
every morning that say a lot about them and how they feel that day.
One certain thing in the fashion world is change. We are constantly being bombarded with new fashion ideas from
music, videos, books, and television. Movies also have a big impact on what people wear. Ray-Ban sold more sunglasses after
the movie Men In Black. Sometimes a trend is world-wide. Back in the 1950s, teenagers everywhere dressed like Elvis
Presley.
Fashion is revealing. Styles show who you are, but they also create stereotypes and distance between groups. For
instance, a businessman might look at a boy with green hair and multiple piercings as a freak and outsider. But to another
person, the boy is a strict conformist. He dresses a certain way to deliver the message of rebellion and separation, but within
that group, the look is uniform.
Acceptance or rejectionof a style is a reaction to the society we live in. Fashion is a language which tells a story about
the person who wears it. "Clothes create a wordless means of communication that we all understand," according to Katherine
Hamnett, a top British fashion designer.
Fashion is big business. More people are involved in the buying, selling and production of clothing than any other
business in the world. Everyday, millions of workers design, sew, glue, dye, and transport clothing to stores. Ads on buses,
billboards and magazines give us ideas about what to wear, consciously, or subconsciously.
Clothing can be used as a political weapon. In nineteenth century England, laws prohibited people from wearing
clothes produced in France. During twentieth century communist revolutions, uniforms were used to abolish class and race
distinctions.
IV. “Extraction of the Information”: The instructor reads the texts, the students retell it in 6-8 sentences.
Nowdays more and more people start thinking about fashion. They say we usually judge strangers by the clothes they
wear, because it is the only thing we know about them.
To begin with, you clothes reflect your social status. It goes without saying that if you are a business lady you should
be dressed appropriately. To put it in another way, if a person is a head of a company, it is preferable to him to wear well
branded clothes.
Psychologically, people spend so much time on fashion and buying clothes to forget about different life problems.
That is tosay, shopping for clothes can be a good therapy in case of life troubles. However, it is not worth a sacrifice if you are
a shopoholic and buy everything you see; the feeling of style and good taste are surely important.
As opposed to above ideas, some people argue that our clothes should be similar to our soul, and that it is not
necessary to spend amounts of money on designer clothes. However, I am inclined to believe that fashionable clothes reflect
our soul greatly, besides it is extremely good-looking.
All in all, fashion is an inseparable part of our life and there are no bad points in purchasing expensive designer
clothes if you can afford it.
V. Synchronous translation.
Fashion is something we deal with everyday. Even people who say they don’t care what they wear choose clothes every
morning that say a lot about them and how they feel that day.
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One certain thing in the fashion world is change. We are constantly being bombarded with new fashion ideas from
music, videos, books, and television. Movies also have a big impacton what people wear. Ray-Ban sold more sunglasses after
the movie Men In Black. Sometimes a trend is world-wide. Back in the 1950s, teenagers everywhere dressed like Elvis
Presley.
Who dictates fashion?
Musicians and other cultural icons have always influenced what we’re wearing, but so have political figures and
royalty. Newspapers and magazines report on what Hillary Clinton wears. The recent death of Diana, the Princess of Wales,
was a severe blow to the high fashion world, where her clothes were daily news.
Even folks in the 1700s pored over fashion magazines to see the latest styles. Women and dressmakers outside the
French court relied on sketches to see what was going on. The famous French King Louis XIV said that fashion is a mirror.
Louis himself was renowned for his style, which tended towards extravagant laces and velvets.
Clothes separate people into groups.
Fashion is revealing. Clothes reveal what groups people are in. In high school, groups have names: "goths, skaters,
preps, herbs." Styles show who you are, but they also create stereotypes and distance between groups.
For instance, a businessman might look at a boy with green hair and multiple piercings as a freak and outsider. But to
another person, the boy is a strict conformist. He dresses a certain way to deliver the message of rebellion and separation, but
within that group, the look is uniform.
Acceptance or rejection of a style is a reaction to the society we live in. Fashion is a language which tells a story about
the person who wears it. "Clothes create a wordless means of communication that we all understand," according to Katherine
Hamnett, a top British fashion designer. Hamnett became popular when her t-shirts with large messages like "Choose Life"
were worn by several rock bands.
There are many reasons we wear what we wear. Protection from cold, rain and snow: mountain climbers wear high-
tech outerwear to avoid frostbite and over-exposure. Physical attraction: many styles are worn to inspire "chemistry."
Emotions: we dress "up"when we’re happy and "down" when we’re upset.
Religious expression: Orthodox Jewish men wear long black suits and Islamic women cover every part of their body
except their eyes. Identification and tradition: judges wear robes, people in the military wear uniforms, brides wear long white
dresses.
Fashion is big business. More people are involved in the buying, selling and production of clothing than any other
business in the world. Everyday, millions of workers design, sew, glue, dye, and transport clothing to stores. Ads on buses,
billboards and magazines give us ideas about what to wear, consciously, or subconsciously.
Clothing can be used as a political weapon. In nineteenth century England, laws prohibited people from wearing
clothes produced in France. During twentieth century communist revolutions, uniforms were used to abolish class and race
distinctions.
Fashion is an endless popularity contest.
High fashion is the style of a small group of men and women with a certain taste and authority in the fashion world.
People of wealth and position, buyers for major department stores, editors and writers for fashion magazines are all part of
Haute Couture ("High Fashion" in French).
Some of these expensive and often artistic fashions may triumph and becomethe fashion for the larger majority. Most
stay on the runway. Popular fashions are close to impossible to trace.
No one can tell how the short skirts and boots worn by teenagers in England in 1960 made it to the runways of Paris, or
how blue jeans became so popular in the U.S., or how hip-hop made it from the streets of the Bronx to the Haute Couture
fashion shows of London and Milan.
It’s easy to see what’s popular by watching sit-coms on television: the bare mid-riffs and athletic clothes of 90210, the
baggy pants of The Fresh Prince of Bel-Air. But the direction of fashion relies on "plugged-in" individuals to react to events,
and trends in music, art and books.
"In the perspective of costume history, it is plain that the dress of any given period is exactly suited to the actual
climate of the time." according to James Laver, a noted English costume historian. How did bell-bottom jeans fade into the
designer jeans and boots look of the 1980s into the baggy look of the 1990s? Nobody really knows. Once identified, fashions
begin to change.
VI. “Simplification”: The student translate the sentences, symplifying them in order to make the perception of
the information easier (avoid the complex grammatical forms, break up long phrases, guess the meaning of the
unknown words). EXAMPLE: Alfred the Great himself, when over forty years of age, learned the Latin tongue in
order that he might translate into English works which he thought would be of benefit to his people. → Alfred the
Great was over forty, when he learned the Latin. He wanted to translate into English works which he considered to
be useful.
1. The cave deposits contain two standardized tools in enormous quantities. Both could be used as knives
and scrapers.
2. Later, when writing came into more extensive use, some material was needed on which writing could be
done easily and conveniently.
3. Lest the sound of the filming mechanism might be heard, he had simulated a little refreshment and had
sung during the critical period.
4. Japan’s large population could not have been self- supporting for so long had soil and climate not been
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favourable.
5. One of the greatest merits of Bacon’s prose is his short sentences, in which respect he may have been
influenced by his study of Montaigne.
6. Language enters all human activities and few, if any, of them could be carried on without language.
7. This authoritative knowledge of Hittite (language) could not have come about if the deciphering
scholars had not been linguists who had slowly and carefully ascertained by scholarly methods, with profound
respect for the text as a text, the exact words and grammar, conceiving this as their paramount duty.
8. This author, Koj’iina by name, may have utilized materials collected in the manner just described.
9. A man isolated from childhood in a confined space, for instance, might have as good a brain as anyone
else, but he would have very little to think about, and his ideas and the range of his ideas would be very limited.
10. Especially if the period of separate development (of languages) is long, many of the features which
were introduced during the earlier stage may have ceased to be reflected in the modern languages.
11. It is a pleasant task to thank the many grammarians and friends without whose help my book would have
been even less perfect than it is.
12. The record of events can be established, be it one day or one century later.
13. The sheets of papyrus which were thus made were somewhat rough, and even after they had been
rubbed to make them as smooth as possible, they would have seemed to us poor material on which to write.
14. It is not surprising, therefore, that we should find a sharp contrast in style and outlook between
Maugham’s early and late works.
15. To define those forces and to indicate the directions in which they operate would require an exhaustive
comparison between Oriental and Occidental states of mind, religious and social structures, that would be out of
place in this book.
16. He set out on his journey, well knowing that the law allowed no pardon for a second offence of this
kind, and whatever he might plead in his defence he would not be released.
17. The same day Peter the Great decreed that Demby be instructed in Russian and, having learned Russian,
be assigned several young people to teach them both spoken and written Japanese.
18. As I heard the waves rushing along the sides of the ship and roaring in my very ear, it seemed as if
Death were raging round this floating prison seeking for his prey.
19. Chinese word order demands that the defining word precede the defined, and as the former conveys the
more specific meaning, this principle may lie behind the rule of stress on the former part of the compounds.
20. I wish it were possible to invent a method of embalming persons in such a manner, that they may be
recalled to life at any period.
21. Be this as it may, the author here combined the serfdom period with the characters of an epoch
which had not only discarded serfdom, but was busy introducing all sorts of other reforms too.
22. The reader is invited to see the novelist’s picture of life as though it were actually happening in the real
world.
23. There is also a difficulty to be experienced when special collections (of books in a library) must be
kept together. Donors sometimes stipulate that collections may not be broken up, and if these are included in the
general catalogue, they can be made available to a wide circle of readers.
24. Two embassies from feudal lords were sent to Rome, and for a time it seemed as though Japan were about
to become a Christian country.
25. You can recognize a hand-axe by its form alone, whether it be made in flint, quartzite, basault or
shale.
26. Why should poets have invented a shape called the sonnet? Why should the ear have to be tickled with
an elaborate system of rhymes?
27. The chief promptly ordered that a gift of food should be made to every crusading soldier.
28. The further progress demands that these idealistic theories should be shown up, refuted, discredited.
29. Etiquette (among the natives) demanded that the guests should take their places on stones round the
oven.
Lesson 2
I. “Warm-up”.
8, 1917, the 18th, Washington Santander, 77, 1941, the 2nd,
1922, the 19th, Newcastle, 14 16, 1986, Warsaw, 33rd
the 1st, Middlesbrough, 29, 2011, 61, 1988, the 98th, Manchester
Cairo, 36, 2012, the 34th 40, 2003, Ohio, the 16th
2000, the 9th, 74, Berlin 28, Quebeck, 1913, the 4th
1984, 92, the 99th, Stockholm Louisiana, 13, 1837, the 10th
1322, the 71st, Addis-Abeba, 55 Georgia, 33, the 5th, 1720
31, the 17th, 1812, Marseille 75, the 9th, Montenegro, 1999
the 3rd, 20, 1945, Beijing 18, Alaska, the 77th, 1953
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91, Havana, 1412, the 58th 70, 1884, Thailand, the 11th
89, the 61st, 1615, Buenos Aires 1973, the 44th, Sao Paolo, 90
2004, 43, the 19th, Amsterdam the 43rd, Kosovo, 5, 1966
42, Finland, the 17th, 1279 the 80th, Astana, 1930, 15
the 79th, 67, 1749, Greenland 11, 2005, the 18th, Milwakee
II.“InterruptedTranslation”.
Винтаж стилизованное направление в моде, особенно в одежде и предметах домашнего обихода,
ориентирующееся на возрождение модных направлений прошлых поколений, эпох. Также существует сеть магазинов,
в том числе электронных, специализирующихся на реализации антиквариата и винтажа.
Под “винтажем” в моде и дизайне обычно подразумевают оригинальную вещь предыдущего поколения (то
есть не моложе 30 лет), в которой чётко просматривается “писк моды” и пик стиля времён её создания. Именно
поэтому при увлечении винтажем необходимо постоянно обращаться к истории моды различных десятилетий XX
века.
Несмотря на то, что спрос на винтажную одежду существовал с начала 1950-х, винтажный стиль появился, а
затем вошел в моду в начале 1990-х годов. Повышенный интерес публики к этому новому направлению, ставшему
сегодня частью Западной массовой культуры, был вызван во многом увлечением винтажной одеждой топ-моделей и
знаменитостей, таких как Джулия Робертс, Рене Зеллвегер, Кейт Мосс, и Дита фон Тиз. Окончательным
подтверждением винтажной одежды как легитимного феномена моды стало появление Первой леди США Мишель
Обамы в вечернем туалете 1950-х годов американского модельера Нормана Норэлла на рождественском концерте в
Вашингтоне в декабре 2010 года.
Самый первый и главный критерий (cid:159)винтажности(cid:160): не моложе 30 лет и не старше 60. Одежду, созданную в
последние 15 лет принято считать современной, старше 60 лет– антиквариатом. Некоторые модельеры и дизайнеры,
однако, винтажем именуют только одежду, созданную до 60-х гг. прошлого века, а вещи, созданные в более поздний
период, причисляют к ретро. Традиционно классификация винтажных вещей разделена на десятилетия.
Возраст ещё не является основанием причисления вещи к категории винтажа. Винтажные предметы должны
быть своеобразными предметами искусства, полностью выражать модные тенденции своего времени.
То есть при встрече вещи старше 30 лет, она не обязательно должна оказаться винтажной. Например, если вам
попался платок из белой ткани 1970-х годов–это не винтаж. Винтаж–это, например,старый шкаф или платье в стиле
своих времен, старый, но отреставрированный.
В марте в Хельсинки проходит ежегодный фестиваль винтажа. Место проведения – культурный центр
Kaapeli.
III. “Deaf Phone”.
The fashion industry is a product of the modern age. Prior to the mid-19th century, most clothing was custom made. It
was handmade for individuals, either as home production or on order from dressmakers and tailors.
By the beginning of the 20th century – with the rise of new technologies such as the sewing machine, the rise of
global capitalism and the development of the factory system of production, and the proliferation of retail outlets such as
department stores –clothing had increasingly come to be mass-produced in standard sizes and sold at fixed prices.
Although the fashion industry developed first in Europe and America, today it is an international and highly
globalized industry, with clothing often designed in one country, manufactured in another, and sold world-wide. For example,
an American fashion company might source fabric in China and have the clothes manufactured in Vietnam, finished in Italy,
and shipped to a warehouse in the United States for distribution to retail outlets internationally.
The fashion industry has long been one of the largest employers in the United States, and it remains so in the 21st
century. However, employment declined considerably as production increasingly moved overseas, especially to China.
Because data on the fashion industry typically are reported for national economies and expressed in terms of the industry’s
many separate sectors, aggregate figures for world production of textiles and clothing are difficult to obtain. However, by any
measure, the industry accounts for a significant share of world economic output.
The fashion industry consists of four levels: the production of raw materials, principally fibres and textiles but also
leather and fur; the production of fashion goods by designers, manufacturers, contractors, and others; retail sales; and various
forms ofadvertising and promotion. These levels consist of many separate but interdependent sectors, all of which are devoted
to the goal of satisfying consumer demand for apparel under conditions that enable participants in the industry to operate at a
profit.
IV. “Extraction of the Information”.
Haute couturerefers to the creation of exclusive custom-fitted clothing. Haute coutureis made to order for a specific
customer, and it is usually made from high-quality, expensive fabric and sewn with extreme attention to detail and finished by
the most experienced and capable seamstresses, often using time-consuming, hand-executed techniques. Coutureis a common
abbreviation of haute coutureand refers to the same thing in spirit.
It originally referred to EnglishmanCharles Frederick Worth’s work, produced in Paris in the mid-nineteenth century.
In modern France, haute couture is a "protected name" that can be used only by firms that meet certain well-defined standards.
However, the term is also used loosely to describe all high-fashion custom-fitted clothing, whether it is produced in Paris or in
other fashion capitals such as Milan, London, New York and Tokyo.
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In France, the term haute couture is protected by law and is defined by the Chambre de commerce et d’industrie de
Paris based in Paris, France. Their rules state that only "those companies mentioned on the list drawn up each year by a
commission domiciled at the Ministry for Industry are entitled to avail themselves" of the label haute couture. The criteria for
haute couturewere established in 1945 and updated in 1992.
To earn the right to call itself a couture house and to use the term haute couturein its advertising and any other way,
members of the Chambre syndicale de la haute couturemust follow these rules:
Design made-to-order for private clients, with one or more fittings.
Have a workshop in Paris that employs at least fifteen people full-time.
Each season present a collection to the Paris press, comprising at least thirty-five runs/exits with outfits for both
daytime wear and evening wear.
However, the term haute couturemay have been misused by ready-to-wear brands since the late 1980s, so that its true
meaning may have become blurred with that of pr(cid:128)t-(cid:129)-porter (the French term for ready-to-wear fashion) in the public
perception. Every haute couture house also markets pr(cid:128)t-(cid:129)-porter collections, which typically deliver a higher return on
investment than their custom clothing. Falling revenues have forced a few couture houses to abandon their less profitable
couture division and concentrate solely on the less prestigious pr(cid:128)t-(cid:129)-porter. These houses, such as Italian designer Roberto
Capucci, all of whom have their workshops in Italy, are no longer considered haute couture.
Many top designer fashion houses, such as Chanel, use the word for some of their special collections. These
collections are often not for sale or they are very difficult to purchase. Sometimes, "haute couture" is inappropriately used to
label non-dressmaking activities, such as fine art, music and more.
V. Synchronous translation.
Early Western travelers, whether to Persia, Turkey or China frequently remark on the absence of changes in fashion
there, and observers from these other cultures comment on the unseemly pace of Western fashion, which many felt suggested
an instability and lack of order in Western culture. The Japanese Shogun’s secretary boasted (not completely accurately) to a
Spanish visitor in 1609 that Japanese clothing had not changed in over a thousand years. However in Ming China, for example,
there is considerable evidence for rapidly changing fashions in Chinese clothing. Changes in costume often took place at times
of economic or social change (such as in ancient Rome and the medieval Caliphate), but then a long period without major
changes followed. This occurred in Moorish Spain during the 8th century, when the famous musician Ziryab introduced
sophisticated clothing-styles based on seasonal and daily timings from his native Baghdad and his own inspiration to C(cid:192)rdoba
in Al-Andalus. Similar changes in fashion occurred in the Middle East from the 11th century, following the arrival of the
Turks, who introduced clothing styles from Central Asia and the Far East.
The beginnings of the habit in Europe of continual and increasingly rapid change in clothing styles can be fairly
reliably dated to the middle of the 14th century, to which historians including James Laver and Fernand Braudel date the start
of Western fashion in clothing. The most dramatic manifestation was a sudden drastic shortening and tightening of the male
over-garment, from calf-length to barely covering the buttocks, sometimes accompanied with stuffing on the chest to look
bigger. This created the distinctive Western male outline of a tailored top worn over leggings or trousers.
The pace of change accelerated considerably in the following century, and women and men’s fashion, especially in the
dressing and adorning of the hair, became equally complex and changing. Art historians are therefore able to use fashion in
dating images with increasing confidence and precision, often within five years in the case of 15th century images. Initially
changes in fashion led to a fragmentation of what had previously been very similar styles of dressing across the upper classes
of Europe, and the development of distinctive national styles. These remained very different until a counter-movement in the
17th to 18th centuries imposed similar styles once again, mostly originating from Ancien R`gime France. Though the rich
usually led fashion, the increasing affluence of early modern Europe led to the bourgeoisie and even peasants following trends
at a distance sometimes uncomfortably close for the elites – a factor Braudel regards as one of the main motors of changing
fashion.
Albrecht D´rer’s drawing contrasts a well turned out bourgeoise from Nuremberg with her counterpart from Venice.
The Venetian lady’s high chopines make her taller.
Ten 16th century portraits of German or Italian gentlemen may show ten entirely different hats, and at this period
national differences were at their most pronounced, as Albrecht D´rer recorded in his actual or composite contrast of
Nuremberg and Venetian fashions at the close of the 15th century (illustration, right). The "Spanish style" of the end of the
century began the move back to synchronicity among upper-class Europeans, and after a struggle in the mid 17th century,
French styles decisively took over leadership, a process completed in the 18th century.
Though colors and patterns of textiles changed from year to year, the cut of a gentleman’s coat and the length of his
waistcoat, or the pattern to which a lady’s dress was cut changed more slowly. Men’s fashions largely derived from military
models, and changes in a European male silhouette are galvanized in theatres of European war, where gentleman officers had
opportunities to make notes of foreign styles: an example is the "Steinkirk" cravat or necktie.
The pace of change picked up in the 1780s with the increased publication of French engravings that showed the latest
Paris styles; though there had been distribution of dressed dolls from France as patterns since the 16th century, and Abraham
Bosse had produced engravings of fashion from the 1620s. By 1800, all Western Europeans were dressing alike (or thought
they were): local variation became first a sign of provincial culture, and then a badge of the conservative peasant.
Although tailors and dressmakers were no doubt responsible for many innovations before, and the textile industry
certainly led many trends, the history of fashion design is normally taken to date from 1858, when the English-born Charles
Frederick Worth opened the first true haute couture house in Paris. Since then the professional designer has become a
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progressively more dominant figure, despite the origins of many fashions in street fashion. For women the flapper styles of the
1920s marked the most major alteration in styles for several centuries, with a drastic shortening of skirt lengths, and much
looser-fitting clothes; with occasional revivals of long skirts forms of the shorter length have remained dominant ever since.
The four major current fashion capitals are acknowledged to be Milan, New York City, Paris, and London. Fashion weeks are
held in these cities, where designers exhibit their new clothing collections to audiences, and which are all headquarters to the
greatest fashion companies and are renowned for their major influence on global fashion.
Modern Westerners have a wide choice available in the selection of their clothes. What a person chooses to wear can
reflect that person’s personality or likes. When people who have cultural status start to wear new or different clothes a fashion
trend may start. People who like or respect them may start to wear clothes of a similar style.
Fashions may vary considerably within a society according to age, social class, generation, occupation, and geography
as well as over time. If, for example, an older person dresses according to the fashion of young people, he or she may look
ridiculous in the eyes of both young and older people. The terms fashionistaand fashion victimrefer to someone who slavishly
follows current fashions.
One can regard thesystem of sporting various fashions as a fashion language incorporating various fashion statements
using a grammar of fashion.
VI. “Fragments”: the four text are splinted into some parts, they are given to the students so that
everyone should have two or more fragments. The students are given some minutes to look through the
fragments, then they read them in correct succession.
1-1. In 1943, the first New York Fashion Week was held, with one main purpose: to distract attention from French
fashion duringWorld War II, when workers in the fashion industry were unable to travel to Paris.
1-2. This was an opportune moment –as for centuries designers in America were thought to be reliant on the French
for inspiration. The fashion publicist Eleanor Lambert organized an event she called “Press Week” to showcase American
designers for fashion journalists, who had previously ignored their works.
1-3. The Press Week was a success, and, as a result, magazines like Vogue (which were normally filled with French
designs) began to feature more and more American innovations. Until 1994, shows were held in different locations, such as
hotels, or lofts.
1-4. However, long before Lambert, there were fashion shows throughout America. In 1903, a New York City shop
called Ehrich Brothers put on what is thought to have been the country’s first fashion show to lure middle-class females into
the store.
1-5. By 1910, many big department stores were holding shows of their own. It is likely that American retailers saw
that they were called ’fashion parades’ in Paris couture salons and decided to use the idea. These parades were an effective way
to promote stores, and improved their status.
1-6. By the 1920s, the fashion show had been used by retailers up and down the country. They were staged, and often
held in the shop’s restaurant during lunch or teatime. These shows were usually more theatrical than those of today, heavily
based upon a single theme, and accompanied with a narrative commentary.
1-7. The shows were hugely popular, enticing crowds in their thousands –crowds so large, that stores in New York in
the fifties had to obtain a license to have live models.
2-1. French leadership in European fashion may date from the 18th century, when the art, architecture, music, and
fashions of the French court at Versailles were imitated across Europe. Visitors to Paris brought back clothing that was then
copied by local dressmakers. Stylish women also ordered fashion dolls dressed in the latest Parisian fashion to serve as models.
2-2. The couturier Charles Frederick Worth (1826–1895), is widely considered the father of haute couture as it is
known today. Although born in England, Worth made his mark in the French fashion industry. Revolutionizing how
dressmaking had been previously perceived, Worth made it so the dressmaker became the artist of garnishment: a fashion
designer.
2-3. While he created one-of-a-kind designs to please some of his titled or wealthy customers, he is best known for
preparing a portfolio of designs that wereshown on live models at the House of Worth. Clients selected one model, specified
colors and fabrics, and had a duplicate garment tailor-made in Worth’s workshop. Worth combined individual tailoring with a
standardization more characteristic of the ready-to-wear clothing industry, which was also developing during this period.
2-4. Following in Worth’s footsteps were Lanvin, Chanel and Dior. Some of these fashion houses still exist today,
under the leadership of modern designers.
2-5. In the 1960s a group of young designers who had trained under men like Dior and Balenciaga left these
established couture houses and opened their own establishments. The most successful of these young designers were Yves
Saint Laurent, Pierre Cardin, Ted Lapidus.
2-6. Lacroix is one of the fashion houses to have been started in the late 20th century. Other new houses have included
Jean-Paul Gaultier and Thierry Mugler. Due to the high expenses of producing haute couture collections, Lacroix and Mugler
have since ceased their haute couture activities.
2-7. The 1960s also featured a revolt against established fashion standards by mods, rockers, and hippies, as well as an
increasing internationalization of the fashion scene. Jet travel hadspawned a jet set that partied –and shopped –just as happily
in New York as in Paris. Rich women no longer felt that a Paris dress was necessarily better than one sewn elsewhere. While
Paris is still pre-eminent in the fashion world, it is no longer the sole arbiter of fashion.
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