Translation 2 4e: Text 4 + some English stuff page

Edward Martin, Anglistik, Universität Koblenz-Landau, Koblenz Campus, Summer Semester 2005
Translation 2
4e: Text 4 + some English stuff
page
2
3
4-5
6 onwards
contents
German text
Model translation with highlighted points
Selected language notes (translating man)
Matching English articles (matches highlighted)
Edward Martin, Anglistik, Universität Koblenz-Landau, Koblenz Campus, Summer Semester 2005
Edward Martin
Staatsexamenklausurenkurs SS 2005
Institut für Anglistik
Translate the following text into English.
Time allowed: 90 minutes only.
Any alternative translations of individual words and phrases will be ignored.
Quotations: keep any direct speech direct and any indirect speech indirect.
Numbers and signs: numbers written as words remain words, figures remain figures, signs (e.g. % or $)
remain signs,.
You are allowed to use any two of the following monolingual English dictionaries (no older editions are
permitted):
plus
Longman's Dictionary of Contemporary English (4th edition, 2003); Macmillan's
English Dictionary for Advanced Learners (2002); Oxford Advanced Learner's
Dictionary (6th or 7th edition, 2000 or 2005); Cambridge Advanced Learner's
Dictionary (2003)
Oxford Collocations Dictionary for Students of English (2002)
Treat this as an exam: do not confer with your neighbours, do not attempt to look at your neighbours'
work, and do not let your neighbours look at your work. Please work in silence and, if you finish early,
leave the room as quietly as possible after handing in your translation. Thanks.
Note: Please leave a wide right-hand margin and a wide space between each line. At the top of the page,
write your name, the name of your dictionaries (eg OALD7 / DCE 4 + OCD), and the variety of English
you think you write (US or GB or AUS)
Text 4, Type B (general language):
Die verschworene Sprache der Engel
Bonnie und Clyde haben, so scheint es, eine Verschwörung nicht nur innerhalb des Films, der ihre
Namen als Titel trägt. In den entscheidenden Szenen wirkt es so, als hätten sie Liebe und
Liebestod noch auf einer anderen Wirklichkeitsebene geplant und durchgespielt, in direktem
Kontakt mit den Zuschauern nämlich. Dann scheinen sie sich von den historischen Kulissen aus
der Zeit der Depression abzuwenden und einen Kontakt zu einer höheren Realität aufzunehmen:
Sie blicken durch den Spiegel, und da sind wir Zuschauer.
Blicke, vor allem Blicke. Die werfen sich Bonnie und Clyde hin und wieder mit einer plötzlichen
Wachheit zu. Eine blitzschnelle Verständigung ohne Worte, als sprächen sie die berühmte Sprache
der Engel, über die man im 18. Jahrhundert debattierte: reine Kommunikation ohne Medium. Wir
Zuschauer sind an dieser Intensität beteiligt: Schließlich leben wir auch auf dieser höheren Ebene.
Bonnie badet in dem Narzissmus einer Prinzessin, die nur noch erweckt werden muss. Ihr Freund
ist der Badezimmerspiegel. Als Clyde zufällig vor der Tür das Auto ihrer Mutter klauen will, fällt
sie, von seinen Geräuschen bei der Selbstliebe gestört, den Entschluss, dass mit diesem Geräusch
die Welt bei ihr angeklopft hat. Dieser Mann da unten, überhaupt kein Zweifel, liefert ihr das
Gegenüber, das sie wirklich braucht.
taz Nr. 7703 vom 30.6.2005
(200 words)
Edward Martin, Anglistik, Universität Koblenz-Landau, Koblenz Campus, Summer Semester 2005
please pay attention to the highlighted points: syntax and grammar, vocabulary, punctuation and spelling
The conspiratorial language of the angels
Bonnie and Clyde, it seems, are involved in a conspiracy not only within
the movie whose title bears/carries their names. In the key scenes, it is
as if/as though they had also planned and rehearsed / played out love
and liebestod/ love-death/ love in death/ death in love on another level
of reality: namely in direct contact with the audience. Then they seem to
turn their back on the historical backdrop/ background of the Depression
era and to establish contact with a higher reality: they look/glance
through/in the mirror, and there we are, the audience.
Glances/Looks – above all, glances/looks. Bonnie and Clyde exchange
them once in a while with (a) sudden alertness. Lightning-quick communication without words, as if they were speaking/spoke the famous
language of the angels, which was a subject of debate in the 18th
century: pure communication without a medium. We, the audience, are
involved in / participate in this intensity: after all, we also live on this
higher level.
Bonnie is bathing in the narcissism of a princess who only needs/ has to
be awoken/awakened. Her boyfriend is the bathroom mirror. Disturbed
in her self-love by the noises Clyde makes when, by chance, he tries to
steal her mother's car (from) right in front of the house, she/Bonnie
resolves/makes up her mind that this noise means the world has come
knocking on/at her door. That man down there, without a shadow of a
doubt, will provide her with the partner (that) she really needs.
Edward Martin, Anglistik, Universität Koblenz-Landau, Koblenz Campus, Summer Semester 2005
Man tut sich schwer*: man in English translation
General: The most obvious translation of the frequently used man
is one, but it is often the incorrect choice: there are a number of
different ways of translating this little, troublesome word, and the
right choice always depends on the German context, and on the
connotations of the appropriate English translation.
Specific points and examples
1. one is used in making generalisations which include the speaker,
yet it is an impersonal word and its connotations are formal, suitable
for formal contexts, as in literary criticism, for example:
In seinen Erzählungen erfährt man, was diese Frau zusammenhält.
In his stories, one discovers what holds this woman together.
2. If used repeatedly, one creates an excessive sense of formality.
It should therefore be used sparingly. A less formal, less
obtrusive alternative to one is you if what you are writing or
saying is applicable to your readers or audience:
Es ist ein bemerkenswertes Erlebnis, ein Land zum zweiten Mal zu
entdecken, ein Land, in dem man schon einmal lebte, eine
vorübergehende Heimat, in die man wieder kehrt. Man glaubt, man
habe schon alles begriffen...
It is a remarkable experience, visiting a country for the second
time, a country in which you once lived, a temporary home to
which you are returning. You think you have already understood
everything...
Edward Martin, Anglistik, Universität Koblenz-Landau, Koblenz Campus, Summer Semester 2005
3. one cannot be used to refer to a general group of people that
does not include the speaker or writer: it includes the speaker.
people is a stylistically neutral term and does not automatically include the speaker (similar to die Menschen).
The passive is also a useful formal alternative in such cases.
a. Im Mittelalter glaubte man an Hexen.
In the Middle Ages people believed in witches.
b. Der Minister sagte, man könne nicht hinnehmen, dass Teheran
internationale Gewässer vermine...
The minister said that Teheran's mining of international waters
could not be tolerated...
Or, if you know which particular group is meant then you can
name them.
The minister said the Government could not tolerate Teheran's
mining...
4. A common use of man in journalism is to give the impression
that a source of information is being used, although it is not
named: "man glaubt, dass..."
There are various ways of translating this:
Man glaubt, dass der Präsident vorhabe, zurückzutreten.
It is believed that the President is planning to resign.
Experts believe that...
The President is believed to be planning to resign.
++++++++++++++++++
*Man tut sich schwer: We make heavy weather of it.
we includes both the speaker and the audience.
Edward Martin, Anglistik, Universität Koblenz-Landau, Koblenz Campus, Summer Semester 2005
http://www.dailynebraskan.com/vnews/display.v/ART/2004/04/08/4074c9e05c6a4?in_archive=1
Classic rampaging road movie a villainous romp
By ERIN HILSABECK / DN Senior Writer
April 08, 2004
MOVIE REVIEW
It's hard to believe they were killers.
The stylish duo gunned down 18 strangers with little more than momentary pangs
of remorse. But they did have a motive. They were robbing banks. Bonnie Parker and
Clyde Barrow are among America's most glamorous criminal figures. In Arthur Penn's
1967 tale of their rise to infamy and subsequent demise, Faye Dunaway and Warren
Beatty give an almost mystical quality to the anti-heroes and their gang of outlaws.
"Bonnie and Clyde" is somewhat romanticized, but this matters little when
viewing the film with a non-historical eye. The real Bonnie and Clyde were barely
understood, and this fictionalized account is innovative filmmaking that should be seen
as just that.
The film opens in the heat of the Depression, in a dusty rural
town that's as lazy as an old dog after a big meal. Close-up on a pair
of red lips, pouting after a coat of lipstick. Bonnie Parker sits in
front of a mirror, naked and alone, gazing at her figure in the
reflective surface.
We don't know much about her at this point, but we can see she's a bored young
woman with little purpose in life. She flings herself on her bed, unable to do
anything about the tawdry, dull, sexless existence that is her life.
Startled by movement outside her second-floor window, Bonnie
sees a handsome, albeit jumpy, man who is trying to steal her
mother's car. "Hey boy, what you doin' with my mama's car?"
This is where the spark between Bonnie and Clyde begins. Rather than chase the
rugged thief away, she begins her seductive dance into his world of excitement and
uncertainty. Bonnie throws on a thin dress and clamors down a series of rickety stairs
toward the attractive stranger. A conversation begins between the two,
complete with flirtatious tones and glances. The words are few, but
we learn an important fact about Clyde: He's an ex-con.
Bonnie is only momentarily shocked. She is enamored with his recklessness and
asks what armed robbery is like. Before she knows it, Clyde is in the middle of his first
grocery store robbery. After several moments of silence while Clyde is inside the store,
Edward Martin, Anglistik, Universität Koblenz-Landau, Koblenz Campus, Summer Semester 2005
he awakens the sleepy town with a gunshot and appears with a wad of bills in hand.
They jump into a car, and it is only after their getaway that they formally introduce
themselves to each other.
Without thinking about it, Bonnie slips into a life of crime with Clyde. She is
excited by their narrow escape, and showers him with kisses to show her gratitude.
Clyde begs the aggressive female to stop; he "ain't much of a lover boy." A combination
of latent homosexuality and impotence might be the culprit, and Bonnie wonders if she's
made a mistake. Maybe this isn't going to be her escape.
But Clyde pleads with her to come along with him on his childish search for
freedom. He knows she's different from other girls. He knows she doesn't want to put on
her white ("Pink," she says. "It's pink") waitress uniform day after day. He knows she
doesn't want to go out with guys who only want sex from her. And he knows being with
him is how she can get away from that.
The pair hits the road, eventually running into a dim-witted mechanic who will
inevitably join their crusade. C.W. Moss (Michael J. Pollard) was a composite for the
film, a character made up from real members of the Barrow-Parker gang. C.W.'s lack of
experience driving getaway cars soon causes a foiled hold-up. A man was killed, and
Clyde becomes concerned for Bonnie's safety. He knows the police will be on the
lookout for him, but they haven't yet seen her. He gives her the option to go home.
Bonnie declines, and soon the three-member gang becomes five with the addition
of Clyde's brother Buck (Gene Hackman) and sister-in-law Blanche (Estelle Parsons).
Parsons' flighty, hysterical portrayal of Blanche is more than annoying, but it serves a
purpose. While we have become fans of Bonnie and Clyde, we easily forget that they
are criminals. Parsons' Blanche is terrified to be in the company of such folk, but that
fear won her an Academy Award for Best Supporting Actress.
After a policeman is killed in a heated attempt to capture the robbers, both Clyde
and Buck are wanted for murder. In search of a safe haven, a newspaper is spotted
headlining their celebrity-like status. The gang becomes enraptured with their fame.
They forget that the police will not give up until the fugitives are behind bars.
This general cockiness, with robbery after robbery, leads to the
downfall of Bonnie and Clyde. It's common knowledge that they die
in the end, but this far from lessens the blow. In a shockingly violent
scene, we see the abrupt end in a slow-motion execution.
Many films have stolen a technique or two from "Bonnie and Clyde," so it is hard
to imagine how original it was in 1967. Masterful cinematography and larger-than-life
characters make this story a film for the ages, encompassing the concurrence of love,
crime, adventure and the law.