? 2008 Steve Campsall
Non-Fiction and Media Texts
?Non-fiction texts are a part of everyday life. They are a genre of writing that is worth studying because such texts can be very influential, for instance by using highly
persuasive techniques that are carefully designed to appear like unbiased information.
Being able to recognise this rhetoric for what it is and to understand how such a text
works on its audience is a genuinely useful life skill.
?Nonfiction includes biographical and autobiographical writing, travel writing, journalistic writing and reportage such as found in newspapers and magazines, letters, signs,
menus, even cereal packets and much, much more. For school exams, you won't be
studying cereal packets however! Unlike the imaginary worlds and characters of fiction, non-fiction texts are based on real people, real things and real events. A key
understanding is that this doesn't necessarily make them factual or true.
?While nonfiction is based on the real world and fiction is based on an imagined world, there are important overlaps with each genre borrowing elements and techniques
from the other.
?Fiction often borrows from nonfiction to help create a sense of realism and believability, for example by using real place names in which to set its stories; non-fiction borrows,
most especially, the story form called narrative to create absorbing and interesting
writing. For example a newspaper story might well separate people, just like a fictional
story, into 'heroes' and 'villains' and create suspense and tension to make it more
interesting to read.
Media texts include writing such as newspaper and magazine articles. Such texts are mostly a subcategory of nonfiction but are treated separately in some exam syllabuses. An important aspect of media texts concerns the audience for which they are written which, because it is always a mass audience, will be composed of individuals completely unknown to the writer.
?Media texts often include images. Remember that the exam is testing your abilities to analyse and discuss the use and effects of language so avoid prolonged discussion of
images.
In your exams you will be tested on your ability to analyse and discuss non-fiction or media texts.
Usually you will also be asked to compare two different texts that share a similar theme but
which have either a different genre or form or which approach their theme from different
angles.
WHAT DOES THE EXAMINER LOOK FOR?
While exam questions vary, the skills you need do not. You will be asked to analyse, consider and discuss a non fiction or media text at four levels:
What is the text about
-its subject matter
?You need to show you have understood the text's subject matter and content.
?You will also need to be able to locate details and discuss aspects of these(this requires an understanding of the text's big picture).
Who has the text been written for
-its audience
?This is v-e-r-y important -you need to consider audience with care as it will help you recognise features of style that you can discuss in your answers.
?Writing about audience means recognising and showing how a text has been created to suit a particular kind of reader.
o When a writer is asked to write a text, one of the key questions asked is who the text is aimed at. With knowledge of the text's audience, only then will the writer be able to consider the
most suitable style of writing to choose -its content, its vocabulary choices and its tone.
How has the text been made to 'work'
-the writer's methods and their effects
?You need to be able to identify the methods a writer has used to create the text. This includes considering aspects of the text's genre, style, language and structure.
?You will also need to be able to discuss the effects of these methods on the audience-and, of course, the purpose behind these effects.
?It most especially means looking closely at the language and layout used in the text.
o How is language being used -what effects are being created and for what purpose?
o How is the layout helping the text achieve its purpose for its audience?
Why was the text written
-its writer's purpose
?This means recognising the messages contained within the text, both on the surface and -although this is not so important compared to literary texts -if there are different layers of meaning.
WHAT KIND OF EXAM QUESTIONS MIGHT YOU MEET?
There are four typical types of exam question you could come across (note that the examples below are not based on any particular nonfiction texts):
Questions that ask you to identify or locate details:
'What types of exercise are discussed in the newspaper article?'
'Identify five advantages and five disadvantages to exercising regularly mentioned in the newspaper article.' 'List five facts and five opinions the writer includes in the newspaper article.'
?In this type of question, you are being asked to locate specific named details directly from the text and list them.
?Normally one mark will be awarded for each correct point you make.
?Unless made obvious within the question, the answer does not need extra explanation or to be written in your own words -a numbered list would make a good answer.
Questions that ask you to explain and summarise:
'What impressions does the article create concerning the need for exercise?'
'How does the writer defend the need for exercise?'
'What are the writer's attitudes towards exercise?'
?In this type of question, you need to write a considered personal response and use evidence from the text to support what you say.
?This type of question requires a mixture of your own words and quotations from the text.
?Marks are awarded more for depth of answers than breadth -you need to show an understanding of how language choices work.
Questions that ask you to discuss the writer's techniques:
'How does the writer try to persuade the reader that exercise is a good thing?'
'What impression of fitness does the writer create?'
'How is the article made convincing?'
?In this kind of question, you would need to discuss, for example, the persuasive techniques used by the writer or the way something has been presented in the text.
?This means considering aspects of language, style and structure to show how these work for a specific audience and purpose.
?This type of question tests your awareness of how language can be used for a specific audience and purpose.
?It requires a considered, reflective and insightful response using a mixture of your own words and quotations from the text.
Questions that ask you to compare texts
'Which of the two articles do you consider the most persuasive? '
'Which of the two texts do you find the more interesting and why? '
?This type of question needs a close discussion on the two articles.
?You will need to comment on aspects of audience, purpose, language and style.
?As before, you are being tested on your awareness of how language can be used effectively for a specific audience and purpose.
?Again, this type of question expects a considered, reflective and insightful response using your own words with support provided by quotations from the text.
WHAT YOU NEED TO DO TO GAIN A HIGH GRADE
As with all texts, non-fiction and media text need the skills of analysis and commentary. In any text, its writer's aim is to create a style that will suit a particular kind of reader or audience to achieve a certain purpose.
The style created will utilise the two aspects language has: its form and its content. These two aspects will be working together to create certain effects on the reader, and, in turn (and accumulating through the structure of the text), these effects, the writer hopes, will achieve the text's purpose.
The purposes of non-fiction texts are various:
?to entertain ?to inform ?to persuade ?to explain ?to advise ?to instruct
... and very often, are a combination, particularly of information, persuasion and entertainment.
HOW TO TACKLE NON-FICTION AND MEDIA TEXTS
?It's important that you work out and mentally summarise the big picture of the text.
?Ask yourself how the text's layout and presentation help it in various ways.
o The layout and presentation of a text is a part of its form. Form refers to the way a text looks (or sounds).
o In many non-fiction texts, layout and presentation are always carefully chosen to aid the audience in following and understanding the text.
?Work out how the text's structure allows its detail and information to unfold -and often persuasive -in useful ways.
?How are facts being used? Are they presented in a way that is biased? Or is the information balanced? Are facts being chosen selectively?
?How are opinions presented? In persuasion, opinions are never balanced and are given a sense of authority and influence.Work out how this is being done.
?Look closely to see if the text sets out to create an emotional response, though the use of emotive language.
?For the highest grades, see if you can work out if the text's genre conventions create some kind of important response in the audience. Some genres can be quite powerful in this way. They act to
create a mind-set or guide a response from their audience. The formal headlining and columns of
influential newspapers such as The Guardian, The Daily Telegraph and The Times, for example, are instantly recognisable and suggest truthfulness and trust. Some formal business letters use layouts and letter headings that instantly seem authoritative and important. Leaflet genres vary -an
information leaflet is easily recognised and instils trust whereas many sales or promotional leaflets ('flyers') have the opposite effect and end up quickly in the bin!
REVISING
From today, look out for and read a selection of non-fiction and media texts to practise your close-reading skills by...
1. Thinking about how their genre conventions and form act to 'condition' the way you are responding to them.
2. Summarising their subject matter, content, circumstance and their 'story'to gain a sense of the 'big picture'.
3. Considering who the texts are intended for and all that this implies -their target audience.
?Audience is a far more important consideration than most people appreciate.
?Your aim should be to work out how a writer chooses effective language and 'non-language devices' -often used subtly -to create a style that is suited to a certain type of reader so that purpose of the the text is achieved.
For example, a broadsheet newspaper article might seem rather boring to a fifteen-year-old student (especially if in the exam you comparing it with a leaflet aimed at a younger audience), but it certainly will not have been'boring' to its intended audience: they expect it to be that way -it is a part of their genre expectations.
Imagine a jazzy-looking broadsheet article that broke all its existing genre conventions; would its reader still trust its content and feel it to be authentic? Would they even bother to read it? You can see how genre, form and audience are always important considerations for you to consider and comment upon.
?Try not to fall into the trap of judging an article aimed at a different kind of reader from yourself through teenage eyes; instead, try to 'become the text's reader'when you judge its style and
appropriateness.
4. Finally, work out how the text has been styled to create certain effects on its reader and especially how these individual effects accumulate and work as a structure.
?Remember that effects have been created by the writer for a purpose-to persuade the reader towards a certain way of thinking (i.e. the writer's way!).
?Always try to identify and discuss a text's significant effects, comment on the methods used to create these effects and then identify the purpose intended.
?Job done -high grade achieved!
WHAT METHODS ARE USED...
Non-fiction writers can choose from a wide range of methods to create effects that will help them achieve their purpose.
Non-fiction writers use language effectively
?They use language that sounds convincing-this is called rhetorical language.
?They use language that affects your emotions-this is called emotive language.
?The use of the personal pronoun'you' is called the direct address pronoun: it can be used to add a personal touch and engages the reader; it sounds friendly, inviting and even confiding (e.g. 'Have faith in us; you just know it makes sense').
?When used as an inclusive pronoun, 'we' can make the reader seem to be a part of a special group of people (e.g. 'We're all in this together, aren't we?') ; as an exclusive pronoun it can separate groups
of people (e.g. 'We're working for a better world. Will you help?').
?The use of interesting, short anecdotes adds interest and engages the reader's attention (e.g. 'Let me tell you about John, a poor beggar in Ethiopia...')..
?The use of hyperbole can create a persuasive impact (e.g. 'This earth-shattering event will blow your mind away!').
?Description creates imagery that can be very engaging and involving, even persuasive. It can be made very vivid and used to create mood and emotion (e.g. 'Like a sliver of shiny steel, the white crescent moon cut a gash in the heavens'). Look for the use of effective metaphors, similes and emotive
language.
?Facts and opinions are used to support a writer's point of view or argument but you must be able to separate worthwhile from biased facts and facts from factually stated opinions, always recognising
how reasonable and effective the evidence really is.
?Rhetorical questions imply their own answer engage and help to persuade the reader. They help make a point in a more powerful and emotional way.
?Repetition and lists of three can be effective persuasive devices.
?Personal viewpoint or 'direct address'(when I... / We...speaks to you... ) can create a friendly tone and involve the reader.
?Structure allows an effective build up of a persuasive series of points.
?Tone-a formal tone can add authority and sound authentic or sincere; an informal, or even conversational tone can add warmth and fun -it can be very persuasive, too.
?Quotations and evidence from expert sources are used to provide support and create added authority.
?Sentence style can be varied to add interest -and a very short sentence can add real impact. Can't it?
?Captions add meaning and guide the reader to respond in a certain way to an illustration or a photograph.
Non-fiction writers use effective
'presentational devices'
?Catchy titles capture the reader's attention.
?Short paragraphs and sentences are easier to follow and grasp.
?Headlines, captions and subheadings add impact and clarity.
?White space creates clarity and attractiveness.
?Bulleted or numbered lists aid clarity.
?Layout can be used to aid understanding and to make the piece more eye-catching.
?Formatting: bold, italic and underline can create impact and emphasis.
?Type faces-including handwriting style -add impact, trust and interest.
?Colour adds eye-appeal, impact and emphasis.
?Spot colour catches the eye.
Non-fiction writers use effective
'non-language devices'
? A logo can create a high level of trust in a product or service, e.g. McDonald's or'Coke'.
?Illustrations and photographs add interest, clarity and emotional impact.
?Graphs and charts ease understanding (but can be very selective in what they show).
?Maps may be helpful.
?Cartoons add humour and attract attention.
EXTRA! EXTRA! READ ALL ABOUT IT!
Analysing a Magazine or Newspaper Advertisement
Magazine and newspaper advertisements are one kind of media text that deserve a few extra words, even though all that is said on the rest of this web page is valid.
These days, only a very few ads exist purely to give information; those that do are perhaps ads for a product recall owing to a fault or such like. Most advertisements are produced to try to sell a product or to create an emotional response to a brand name("Are you a Nike person...?"). Yet only a few do this in an obvious way.
?Advertising agencies and their copywriters know that modern audiences are very sophisticated and aware of modern media methods.
SO JUST HOW DO ADS WORK?
There was a time when advertisements were more informative -they informed the public about a product being available, at what price and where. Those days have long gone. Now ads work at a more subtle level of association. The ad works by trying to create an emotional link between a consumer product and an attractive lifestyle. It does this in such a way that members of the target audience are made to feel that if they purchase the product, they will 'buy a way into'an attractive lifestyle.
‘CUEING’
Ads are short and have a lot of work to do if they are to succeed to be persuasive. If they achieve success, it is because they rely on a process called cueing. The cue is usually an image or some language that triggers a pleasant memory, most often of a desired lifestyle.
MESSAGE AND CODE
Ads can be broken down into two parts: a message and a code. The message is simply the offer of a product (or service). The point about the message is that it can be rejected-you don't have to buy the product! So how does an advertiser make it more difficult to reject the message? By associating the message of the product with a code.The code within an ad is far more subtle and persuasive. The code is the highly persuasive 'cued' idea that triggers thoughts of a desirable lifestyle -one that buying the product or service will provide.
?Codes operate through the creation of fear.
?It might be fear of being old, fear of not being'cool' , fear of being odd or different, or of being an outsider.
?It is this emotional lifestyle code that is so difficult to reject.
?The success of the ad depends on how well its creator manages to associate the product's message with the emotionally encoded lifestyle.
You might be able to see that codes operate because they are culturally and ideologically determined. What does this mean? Well, we all share particular ideas called dominant ideologies in our culture or society about what we would most like to be -or, more accurately fear not being;and we have come to believe in our consumer society that a product might help us achieve this more easily. Advertising codes operate insidiously
by reminding us of what we absolutely don't want to be: odd, different,'uncool'.This is the power of the code.
Always remember that ads are rarely intended to work alone; an ad is usually a part of a larger ‘advertising campaign’ using a mixture of different media forms such as TV, radio, posters and magazine ads.
Each part of the campaign will be coherent and unified: all working together towards a single aim of convincing the potential customer that the product (or service) offered can help achieve a certain
attractive lifestyle.
新概念英语第2册课文 1 A private conversation私人谈话 Last week I went to the theatre. I had a very good seat. The play was very interesting. I did not enjoy it. A young man and a young woman were sitting behind me. They were talking loudly. I got very angry. I could not hear the actors. I turned round. I looked at the man and the woman angrily. They did not pay any attention. In the end, I could not bear it. I turned round again. 'I can't hear a word!' I said angrily. 'It's none of your business,' the young man said rudely. 'This is a private conversation!' 上星期我去看戏。我的座位很好。发挥是很有趣的。我不喜欢它。一青年男子与一年轻女子坐在我的身后。他们在大声地说话。我很生气。我听不见演员。我转过身。我看着那个男人和女人生气。他们没有注意。最后，我忍不住了。我又一次转过身去。”我不能听到一个字！”我愤怒地说。”这不关你的事，”那男的毫不客气地说。”这是私人间的谈话！” 2 Breakfast or lunch?早餐还是午餐？ It was Sunday. I never get up early on Sundays. I sometimes stay in bed until lunchtime. Last Sunday I got up very late. I looked out of the window. It was dark outside. 'What a day!' I thought. 'It's raining again.' Just then, the telephone rang. It was my aunt Lucy. 'I've just arrived by train,' she said. 'I'm coming to see you.' 'But I'm still having breakfast,' I said. 'What are you doing?' she asked. 'I'm having breakfast,' I repeated. 'Dear me,' she said. 'Do you always get up so late? It's one o'clock!' 它是星期日。在星期天我是从来不早起。有时我要一直躺到吃午饭的时候。上周日我起床很晚。我看着窗外。它是黑暗的外面。”多好的一天！”我的思想。”又下雨了。”正在这时，电话铃响了。是我姑母露西打来的。”我刚下火车，”她说。”我来看你。”“但我还在吃早饭，”我说。”你干什么呢。她问。”我正在吃早饭，”我又说了一遍。”我亲爱的，”她说。”你总是起得这么晚吗？现在已经一点了！”
第三节特殊语言现象和翻译 1、移植双关语 移植双关语是在双语偶合的基础上，兼顾双关语的内容和形式，是翻译双关语的最高境界。 例1 C’est amusant de penser qu’avec la tour Eiffel et de Gaulle, mon nom est synonyme de la France dans le monde entier. Nous formons une trillogie三部曲inséparable, malgré nos aspects on ne peut plus dissemblables不相似的. A la sortie de l’Elysée les journalistes me demandèrent mon impression. ? Il est beaucoup plus grand que moi ?fut ma seule réponse…---Brigitee Bardot Initiales On ne peut plus +adj …得不能再……，再……没有了，非常……，很…… Il est on ne peut plus aimable. 他殷勤得不能再殷勤了。 Ce soldat est on ne peut plus courageux. 这个士兵非常勇敢。 我的名字加上埃菲尔铁塔和戴高乐，便组成法兰西在全世界的象征。一想到这事，就觉得挺有趣的。尽管我们的外貌是那么不同，我们却形成了不可分割的三部曲。走出爱丽舍宫时，记者们问我的感受。我只能回答说：―他远比我高大‖…… Grand有两个含义：个子高的；伟大的。戴高乐同时具有这两个特点。翻译时，简单地译一个词义不难，但显然有悖于作者的苦心。 2、创造双关语 这种方式便是利用某些文字的谐音等修辞手段，如：重复、头韵、脚韵、所指含糊、反语等，必要时放弃原有的词义，重新组合，再造双关语的效果。 例2 … le premier jour de tournage, j’arrive aux studios de Boulogne un peu nerveuse. Pas coiffée, des lunettes noires sur le nez, mon sac à la main, un peu en retard comme d’habitude, je courais dans le hall quand je me heurtai à quelqu’un. -Pardon, et je faillis m’évanouir! C’était Jean-Lou, je ne l’avais pas revu depuis, depuis… depuis notre séparation. -Comment vas-tu ? -Je vais bien. -Tu tournes un film ici ? -Oui. -Bon, eh bien au revoir ! -Oui, au revoir … Je pensais à ces mots au revoir, le revoir, se revoir, nous revoir, et ?a rimait trop avec noir ou cafard<口>沮丧.---- Brigitte Bardot Initiales ……拍摄的第一天，我来到布洛涅电影制片厂，有些紧张。我没有梳头，鼻梁上架着墨镜，手上拎着小包，像往常一样稍微有些迟到。当我跑进大厅时，撞到一个人。 ―对不起！‖我差点没晕过去！是让鲁，自从，自从……自从我们分手后，我再也没见过他。 ―你好吗？‖ ―再会‖，―再次与你相会‖，―咱们再会‖―我们再次相会‖，我脑海中不停地出现这些词语。这再会的―会‖与―悔‖是那么的谐音。 例3 Ces paysans raillaient开玩笑，说笑话 ; ils appelaient mes prêtres mariés républicains : des sans-calottes无边圆帽，教士帽devenus sans-culottes短裤. --- Quatre-vingt-treize Calotte 对天主教教士及其信徒的统称Les révolutionnaires criaient : à bas la calotte. Porter la culotte （在夫妻、家庭间）做主
with复合结构专项练习（二） 一请选择最佳答案 1）With nothing_______to burn，the fire became weak and finally died out. A.leaving B.left C.leave D.to leave 2）The girl sat there quite silent and still with her eyes_______on the wall. A.fixing B.fixed C.to be fixing D.to be fixed 3）I live in the house with its door_________to the south.（这里with结构作定语） A.facing B.faces C.faced D.being faced 4）They pretended to be working hard all night with their lights____. A.burn B.burnt C.burning D.to burn 二：用with复合结构完成下列句子 1）_____________（有很多工作要做），I couldn't go to see the doctor. 2）She sat__________（低着头）。 3）The day was bright_____.（微风吹拂） 4）_________________________，（心存梦想）he went to Hollywood. 三把下列句子中的划线部分改写成with复合结构。 1）Because our lessons were over，we went to play football. _____________________________. 2）The children came running towards us and held some flowers in their hands. _____________________________. 3）My mother is ill，so I won't be able to go on holiday. _____________________________. 4）An exam will be held tomorrow，so I couldn't go to the cinema tonight. _____________________________.
1. 许多人都不赞成血腥的运动。 2. 他犯了谋杀罪，被判了死刑。 3. 你是否曾经想到过那对双胞胎在很多方面都不同。 4. 我向我的律师请教了那件事情，我应该按他的指示行事。 5. 不让他和别人吵架是不可能的。 6. 对他的治疗有效，它很快就会痊愈的。 7. 尽管他已经35岁了，他还是和母亲住一起，依靠他的母亲。 8. 我试着劝他，但是他对我很无礼。 9. 很感激你对我这样耐心。10. 他干得不错，但是你还是不能依赖他。11. 我这在考虑换个工作。12. 如果你干涉别人的事情，你会后悔的。13. 你相信那些废话吗？14. 很明显的是如果你一直骚扰他，他会和你发脾气的。15. 你对他的要求太过分了，你还不能胜任那份工作。16. 不要盲目自信。17. 他已经做好了各种应急准备。18. 我不敢向他提及那件事情。19. 别因为这件事责备他，我会对所发生的事情负责。20. 你喜欢学习，你应该多鼓励他。21. 你应该留意和那些对你的成功特别感兴趣的人。22. 我请求他给予帮助。23. 我很后悔求他，对于他的拒绝，没我感到很震惊。24. 你对戏剧感兴趣吗? 25. 你一时到你面前的困难了吗? 26. 他已经有权领取退休金，但是他还想过退休。27. 谁来对损坏进行赔付？28. 这辆车不如我去年买的那辆。29. 恐怕我还不能对你的工作进行评价。30. 她对自己的工作能力引以为傲，但是她不会抚养孩子。31. 我们已习惯了恶劣的天气。32. 当你还不了解基本情况的时候，你怎么能同意这样的主意呢？33. 他向我坦白说他已经信别的宗教了。34. 她想向我借唱片，但是她还不好意思。35. 如果你的尝试失败了，别指望我会帮助你。 1. of 2. of …to 3. to…from 4. on…on 5. from…with 6. to…of 7. with…on 8. with…to 9. to…with 10. at…on 11. of…for 12. in/with 13. in 1 4. to…in…with 15. of…to 16. of 17. for 18. of…to 19. for…for 20. on …in 21. of…about 22. to 23. for/about…at/by 24. in 25. of…of 26. to…of 27. for 28. to 29. on 30. on…of 31. to 32. to/with … of 33. to…to 34. from…of
With的用法全解 with结构是许多英语复合结构中最常用的一种。学好它对学好复合宾语结构、不定式复合结构、动名词复合结构和独立主格结构均能起很重要的作用。本文就此的构成、特点及用法等作一较全面阐述，以帮助同学们掌握这一重要的语法知识。 一、 with结构的构成 它是由介词with或without+复合结构构成，复合结构作介词with或without的复合宾语，复合宾语中第一部分宾语由名词或代词充当，第二部分补足语由形容词、副词、介词短语、动词不定式或分词充当，分词可以是现在分词，也可以是过去分词。With结构构成方式如下： 1. with或without-名词/代词+形容词； 2. with或without-名词/代词+副词； 3. with或without-名词/代词+介词短语； 4. with或without-名词/代词 +动词不定式； 5. with或without-名词/代词 +分词。 下面分别举例： 1、 She came into the room，with her nose red because of cold.（with+名词+形容词，作伴随状语）
2、 With the meal over ， we all went home.（with+名词+副词，作时间状语） 3、The master was walking up and down with the ruler under his arm。（with+名词+介词短语，作伴随状语。） The teacher entered the classroom with a book in his hand. 4、He lay in the dark empty house，with not a man ，woman or child to say he was kind to me.（with+名词+不定式，作伴随状语）He could not finish it without me to help him.（without+代词 +不定式，作条件状语） 5、She fell asleep with the light burning.（with+名词+现在分词，作伴随状语） Without anything left in the with结构是许多英 语复合结构中最常用的一种。学好它对学好复合宾语结构、不定式复合结构、动名词复合结构和独立主格结构均能起很重要的作用。本文就此的构成、特点及用法等作一较全面阐述，以帮助同学们掌握这一重要的语法知识。 二、with结构的用法 with是介词，其意义颇多，一时难掌握。为帮助大家理清头绪，以教材中的句子为例，进行分类，并配以简单的解释。在句子中with结构多数充当状语，表示行为方式，伴随情况、时间、原因或条件（详见上述例句）。 1.带着，牵着…… (表动作特征)。如： Run with the kite like this.
新概念英语第二册课文 及翻译 Document serial number【KK89K-LLS98YT-SS8CB-SSUT-SST108】
新概念英语第二册第一课课文及翻译【Text】 Last week I went to the theatre. I had a very good seat. The play was very interesting. I did not enjoy it. A young man and a young woman were sitting behind me. They were talking loudly. I got very angry. I could not hear the actors. I turned round. I looked at the man and the woman angrily. They did not pay any attention. In the end, I could not bear it. I turned round again. "I can't hear a word!" I said angrily. "It's none of your business," the young man said rudely. "This is a private conversation!" 参考译文：上星期我去看戏. 我的座位很好, 戏很有意思, 但我却无法欣赏. 一青年男子与一青年女子坐在我的身后, 大声地说着话. 我非常生气, 因为我听不见演员在说什么. 我回过头去怒视着那一男一女, 他们却毫不理会. 最后, 我忍不住了, 又一次回过头去, 生气地说 : “我一个字也听不见了!”“不关你的事, “那男的毫不客气地说, “这是私人间的谈话!”
Questions 57 to 61 are based on the following passage. Boys' schools are the perfect place to teach young men to express their emotions and involve them in activities such as art, dance and music. Far from the traditional image of a culture of aggressive masculinity (阳刚), the absence of girls gives boys the chance to develop without pressure to conform to a stereotype. a US study says. Boys at single-sex schools were said to be more likely to get involved in cultural and artistic activities that helped develop their emotional expressiveness, rather than feeling they had to conform to the "boy code" of hiding their emotions to be a "real man". The findings of the study so against received wisdom that boys do better when taught alongside girls. Tony Little, headmaster of Eton, warned that boys were being faded by the British education system because it had become too focused on girls. He criticized teachers for failing to recognize that boys are actually more emotional than girls. The research argued that boys often perform badly in mixed schools because they become discouraged when their female peers do better earlier in speaking and reading skills. But in single-sex schools teachers can tailor lessons to boys' learning style, letting them move around the classroom and getting them to compete in teams to prevent boredom, wrote the study's author, Abigail James, of the University of Virginia Teachers could encourage boys to enjoy reading and writing with "boy-focused" approaches such as themes and characters that appeal to them. Because boys generally have more acute vision learn best through touch, and are physically more active, they need to be given "hands-on" lessons where they are allowed to walk around. "Boys in mixed schools view classical music as feminine (女性的) and prefer the modem genre (类型) in which violence and sexism are major themes, "James wrote. Single-sex education also made it less likely that boys would feel they had to conform to a stereotype that men should be "masterful and in charge" in relationships. "In mixed schools boys feel compelled to act like men before they understand themselves well enough to know what that means, " the study reported. 57. The author believes that a single-sex school would ____ . A) force boys to hide their emotions to be "real men" B) help to cultivate masculine aggressiveness in boys C) encourage boys to express their emotions more freely D) naturally reinforce in boys the traditional image of a man 58. It is commonly believed that in a mixed school boys _____ . A) Perform relatively better C) behave more responsibly B) grow up more healthily D) receive a better education 59. What does Tony Little say about the British education system?
with+复合宾语的用法 一、with的复合结构的构成 二、所谓"with的复合结构”即是"with+复合宾语”也即"with +宾语+宾语补足语” 的结构。其中的宾语一般由名词充当（有时也可由代词充当）；而宾语补足语则是根据 具体的需要由形容词，副词、介词短语，分词短语（包括现在分词和过去分词）及不定式短语充当。下面结合例句就这一结构加以具体的说明。 三、1、with +宾语+形容词作宾补 四、①He slept well with all the windows open.（82 年高考题） 上面句子中形容词open作with的宾词all the windows的补足语， ②It' s impolite to talk with your mouth full of food. 形容词短语full of food 作宾补。Don't sleep with the window ope n in win ter 2、with+宾语+副词作宾补 with Joh n away, we have got more room. He was lying in bed with all his clothes on. ③Her baby is used to sleeping with the light on.句中的on 是副词，作宾语the light 的补足语。 ④The boy can t play with his father in.句中的副词in 作宾补。 3、with+宾语+介词短语。 we sat on the grass with our backs to the wall. his wife came dow n the stairs,with her baby in her arms. They stood with their arms round each other. With tears of joy in her eyes ,she saw her daughter married. ⑤She saw a brook with red flowers and green grass on both sides. 句中介词短语on both sides 作宾语red flowersandgreen grass 的宾补， ⑥There were rows of white houses with trees in front of them.，介词短语in front of them 作宾补。 4、with+宾词+分词（短语 这一结构中作宾补用的分词有两种，一是现在分词，二是过去分词，一般来说，当分词所表 示的动作跟其前面的宾语之间存在主动关系则用现在分词，若是被动关系，则用过去分词。 ⑦In parts of Asia you must not sit with your feet pointing at another person.（高一第十课），句中用现在分词pointing at…作宾语your feet的补足语，是因它们之间存在主动关系，或者说point 这一动作是your feet发出的。 All the after noon he worked with the door locked. She sat with her head bent. She did not an swer, with her eyes still fixed on the wall. The day was bright,with a fresh breeze（微风）blowing. I won't be able to go on holiday with my mother being ill. With win ter coming on ,it is time to buy warm clothes. He soon fell asleep with the light still bur ning. ⑧From space the earth looks like ahuge water covered globe,with a few patches of land stuk ing out above the water而在下面句子中因with的宾语跟其宾补之间存在被动关系，故用过去分词作宾补：
Lesson 1 A private conversation 课文内容： Last week I went to the theatre. I had a very good seat. The play was very interesting. I did not enjoy it. A young man and a young woman were sitting behind me. They were talking loudly. I got very angry. I could not hear the actors. I turned round. I looked at the man and the woman angrily. They did not pay any attention. In the end, I could not bear it. I turned round again. ‘I can't hear a word!’ I said angrily. ‘It's none of your business, ’ the young man said rudely. ‘This is a private conversation!’ 上星期我去看戏。我的座位很好，戏很有意思，但我却无法欣赏。一青年男子与一青年女子坐在我的身后，大声地说着话。我非常生气，因为我听不见演员在说什么。我回过头去怒视着那一男一女，他们却毫不理会。最后，我忍不住了，又一次回过头去，生气地说：“我一个字也听不见了！” “不关你的事，”那男的毫不客气地说，“这是私人间的谈话！” Lesson 2 Breakfast or lunch? 早餐还是午餐？ 课文内容： It was Sunday. I never get up early on Sundays. I sometimes stay in bed until lunchtime. Last Sunday I got up very late. I looked out of the window. It was dark outside. ‘What a day!’ I thought. ‘It's raining again. ’ Just then, the telephone rang. It was my aunt Lucy. ‘I've just arrived by train, ’ she said. ‘I'm coming to see you. ’ ‘But I'm still having breakfast, ’ I said. ‘What are you doing?’ she asked. ‘I'm having breakfast, ’ I repeated2. ‘Dear me, ’ she said. ‘Do you always get up so late? It's one o'clock!’ 那是个星期天，而在星期天我是从来不早起的，有时我要一直躺到吃午饭的时候。上个星期天，我起得很晚。我望望窗外，外面一片昏暗。“鬼天气！”我想，“又下雨了。”正在这时，电话铃响了。是我姑母露西打来的。“我刚下火车，”她说，“我这就来看你。” “但我还在吃早饭，”我说。 “你在干什么？”她问道。 “我正在吃早饭，”我又说了一遍。 “天啊，”她说，“你总是起得这么晚吗？现在已经1点钟了！” Lesson 3 Please send me a card 课文内容： Postcards always my holidays. Last summer, I went to Italy. I visited museums and sat in public gardens. A friendly waiter taught me a few words of Italian. Then he lent me a book. I read a few lines, but I did not understand a word. Every day I thought about postcards. My holidays passed quickly, but I did not send cards to my friends. On the last day I made a big decision. I got up early and bought thirty-seven cards. I spent the whole day in my room, but I did not write a single card!明信片总搅得我假日不得安宁。去年夏天，我去了意大利。我参观了博物馆，还去了公园。一位好客的服务员教了我几句意大利语，之后还借给我一本书。我读了几行，但一个字也不懂。我每天都想着明信片的事。假期过得真快，可我还没有给我的朋友们寄过一张明信片。到了最后一天，我作出了一项重大决定。我早早起了床，买来了37张明信片。我在房间里关了整整一天。然而竟连一张明信片也没写成！ Lesson 4 An exciting trip 激动人心的旅行 课文内容：
论文题目翻译的一般方法与原则 论文题目的英文翻译在论文中一方面反映论文的主要内容，使不懂中文的读者对论文有个初步的印象，其英译质量对论文的传播程度和影响因子有决定作用；另一方面，论文题目的英译是进行国际化科研检索论文的重要媒介，是一篇完整的学术论文不可缺少的部分，是学术期刊走向国际化的途径以及衡量其国际化程度的一个标准。所以，论文题目的英译除了应忠实于原文外，还必须符合英文写作的习惯和学术期刊的相关要求。因此，在知识国际化进程中，如何处理好学术期刊论文题目的英译，就成了一个重要的研究课题。为此，笔者通过实例分析，并基于国际化的视角，从以下几方面研讨论文题目英文翻译方法。 （一）吃透题目的基本内容。 一般而言，论文题目的翻译与论文全文的翻译过程一样，都要经过理解和表达的过程。 在论文题目的翻译实践中，理解是表达的前提，不能正确的理解就谈不上确切的表达。要准确地英译论文的题目，首先要吃透题目的基本内容，这涉及到理解题目的主题、立意、内在与外在的含义、作者的观点以及研究的方法和内容等。为了透彻理解论文题目原意，译者往往得联系上下逻辑关系，仔细推敲，分析来龙去脉，有时甚至要细读全文或与作者本人交流，了解题目的真正内容，方可落笔成文。例如： 论《野草》 On Ye Cao （Wild Grass）Written byLuXun（1881-1936） 若根据汉语拼音翻译成On Ye Cao ,外国读者会不知所云，所以，英译论文题目应吃透其基本内容和含义，仔细玩味，尊重论文作者的思想，而不可望文生义、草率落笔。 （二）找准题目的中心词。
文题目常有一大堆修饰、说明或限制的词或词组置于中心词之前，采用偏正结构的词组形式。而英译时需先将中心词提前，再附加一些限制、修饰语，并将与这个中心词有关的词和词组找出来，用连词或介词连结成为一个短语。例如： 翻译教材中译例的编选原则（上海科技翻译，2004.3） Principles of Illustrative Examples in Com-pilingTranslation Textbooks 首先找准该中文题目的中心词是“原则”,英译时译出中心词principles置于首位；而“原则”是属于“译例的原则”,即principles of IllustrativeExamples,然后译出附加语“编写翻译教材中”为in compilingtranslation textbooks. 智能车光电传感器和摄像头的选择（扬州职业大学学报，2011.4） Choice of Photoelectric Sensor and Camerain Intelligent Car （三）注重题目的简单明了。 由于受汉语语言习惯的影响，期刊汉语论文题目中常带有“……研究”、“……探讨”、“……一瞥”、“漫谈……”、“试论……”、“浅议……”、“略说……”等谦词，这既是我国汉语作者行文谦逊，也是在学术研究上留有余地的体现。根据忠实原文的翻译标准，一直以来人们往往直译为：“Studyof…”、“Probe into…”、“AReview of…”、“SomeThoughts on…”、“APreliminaryInquiryinto…”等对应的英文句式开头。 译者受汉语题目的影响，感觉题目中少了“研究”、“探讨”等字样就不像论文题目。实际上，多数论文题目中的“研究”和“探讨”等词没有实在意义，这只是中文题目的一种惯用句式，这些词与论文内容没有多大关系。 而且西方学者看重科技论文的事实，无需谦虚客套。英译这类论文题目时，如若直
with复合结构 一. with复合结构的常见形式 1.“with+名词/代词+介词短语”。 The man was walking on the street, with a book under his arm. 那人在街上走着，腋下夹着一本书。 2. “with+名词/代词+形容词”。 With the weather so close and stuffy, ten to one it’ll rain presently. 天气这么闷热，十之八九要下雨。 3. “with+名词/代词+副词”。 The square looks more beautiful than even with all the light on. 所有的灯亮起来，广场看起来更美。 4. “with+名词/代词+名词”。 He left home, with his wife a hopeless soul. 他走了，妻子十分伤心。 5. “with+名词/代词+done”。此结构过去分词和宾语是被动关系，表示动作已经完成。 With this problem solved, neomycin 1 is now in regular production. 随着这个问题的解决，新霉素一号现在已经正式产生。 6. “with+名词/代词+-ing分词”。此结构强调名词是-ing分词的动作的发出者或某动作、状态正在进行。 He felt more uneasy with the whole class staring at him. 全班同学看着他，他感到更不自然了。 7. “with+宾语+to do”。此结构中，不定式和宾语是被动关系，表示尚未发生的动作。 So in the afternoon, with nothing to do, I went on a round of the bookshops. 由于下午无事可做，我就去书店转了转。 二. with复合结构的句法功能 1. with 复合结构，在句中表状态或说明背景情况，常做伴随、方式、原因、条件等状语。With machinery to do all the work, they will soon have got in the crops. 由于所有的工作都是由机器进行，他们将很快收完庄稼。（原因状语） The boy always sleeps with his head on the arm. 这个孩子总是头枕着胳膊睡觉。（伴随状语）The soldier had him stand with his back to his father. 士兵要他背对着他父亲站着。（方式状语）With spring coming on, trees turn green. 春天到了，树变绿了。（时间状语） 2. with 复合结构可以作定语 Anyone with its eyes in his head can see it’s exactly like a rope. 任何一个头上长着眼睛的人都能看出它完全像一条绳子。 【高考链接】 1. ___two exams to worry about, I have to work really hard this weekend.（04北京） A. With B. Besides C. As for D. Because of 【解析】A。“with+宾语+不定式”作状语，表示原因。 2. It was a pity that the great writer died, ______his works unfinished. (04福建) A. for B. with C. from D.of 【解析】B。“with+宾语+过去分词”在句中作状语，表示状态。 3._____production up by 60%, the company has had another excellent year. (NMET) A. As B.For C. With D.Through 【解析】C。“with+宾语+副词”在句中作状语，表示程度。
Unit1 A 我哥哥吉米出生时遇上难产，因为缺氧导致大脑受损。两年后，我出生了。 从此以后，我的生活便围绕我哥哥转。 伴随我成长的，是“到外面去玩，把你哥哥也带上。” 不带上他，我是哪里也去不了的。因此，我怂恿邻居的孩子到我家来，尽情地玩孩子们玩的游戏。 我母亲教吉米学习日常自理，比如刷牙或系皮带什么的。 我父亲宅心仁厚，他的耐心和理解使一家人心贴着心。 我则负责外面的事，找到那些欺负我哥哥的孩子们的父母，告他们的状，为我哥哥讨回公道。 父亲和吉米形影不离。 他们一道吃早饭，平时每天早上一道开车去海军航运中心，他们都在那里工作，吉米在那搬卸标有彩色代号的箱子。晚饭后，他们一道交谈，玩游戏，直到深夜。 他们甚至用口哨吹相同的曲调。 所以，父亲1991年因心脏病去世时，吉米几乎崩溃了，尽管他尽量不表现出来。 他就是不能相信父亲去世这一事实。 通常，他是一个令人愉快的人，现在却一言不发，无论说多少话都不能透过他木然的脸部表情了解他的心事。 我雇了一个人和他住在一起，开车送他去上班。然而，不管我怎么努力地维持原状，吉米还是认为他熟悉的世界已经消失了。 有一天，我问他：“你是不是想念爸爸？” 他的嘴唇颤抖了几下，然后问我：“你怎么看，玛格丽特？他是我最好的朋友。” 接着，我俩都流下了眼泪。 六个月后，母亲因肺癌去世，剩下我一人来照顾吉米。 吉米不能马上适应去上班时没有父亲陪着，因此搬来纽约和我一起住了一段时间。 我走到哪里他就跟到哪里，他好像适应得很好。 但吉米依然想住在我父母的房子里，继续干他原来的工作。我答应把他送回去。 此事最后做成了。 如今，他在那里生活了11年，在许多人的照料下，同时依靠自己生活得有声有色。 他已成了邻里间不可或缺的人物。 如果你有邮件要收，或有狗要遛，他就是你所要的人。 当然，母亲的话没错：可以有一个家，既能容纳他的缺陷又能装下我的雄心。 事实上，关照像吉米这样一个深爱又感激我的人，更加丰富了我的生活，其他任何东西都不能与之相比。