新视野大学英语(第二版)第四册读写教程课文翻译.
An artist who seeks fame is like a dog chasing his own tail who, when he captures it, does not know what else to do but to continue chasing it.
艺术家追求成名，如同狗自逐其尾，一旦追到手，除了继续追逐不知还能做些什么。
The cruelty of success is that it often leads those who seek such success to participate in their own destruction.
成功之残酷正在于它常常让那些追逐成功者自寻毁灭。
"Don't quit your day job!" is advice frequently given by understandably pessimistic family members and friends to a budding artist who is trying hard to succeed.
对一名正努力追求成功并刚刚崭露头角的艺术家，其亲朋常常会建议“正经的饭碗不能丢！”他们的担心不无道理。
The conquest of fame is difficult at best, and many end up emotionally if not financially bankrupt.
追求出人头地，最乐观地说也困难重重，许多人到最后即使不是穷困潦倒，也是几近精神崩溃。
Still, impure motives such as the desire for worshipping fans and praise from peers may spur the artist on.
尽管如此，希望赢得追星族追捧和同行赞扬之类的不太纯洁的动机却在激励着他们向前。
The lure of drowning in fame's imperial glory is not easily resisted.
享受成功的无上光荣，这种诱惑不是能轻易抵挡的。
Those who gain fame most often gain it as a result of exploiting their talent for singing, dancing, painting, or writing, etc.
成名者之所以成名，大多是因为发挥了自己在歌唱、舞蹈、绘画或写作等方面的特长，并能形成自己的风格。
They develop a style that agents market aggressively to hasten popularity, and their ride on the express elevator to the top is a blur.
为了能迅速走红，代理人会极力吹捧他们这种风格。他们青云直上的过程让人看不清楚。
Most would be hard-pressed to tell you how they even got there.
他们究竟是怎么成功的，大多数人也都说不上来。
Artists cannot remain idle, though.
尽管如此，艺术家仍然不能闲下来。
When the performer, painter or writer becomes bored, their work begins to show a lack of continuity< in its appeal and it becomes difficult to sustain the attention of the public.
若表演者、画家或作家感到无聊，他们的作品就难以继续保持以前的吸引力，也就难以保持公众的注意力。
After their enthusiasm has dissolved, the public simply moves on to the next flavor of the month.
公众的热情消磨以后，就会去追捧下一个走红的人。
Artists who do attempt to remain current by making even minute changes to their style of writing, dancing or singing, run a significant risk of losing the audience's favor.
有些艺术家为了不落伍，会对他们的写作、跳舞或唱歌的风格稍加变动，但这将冒极大的失宠的危险。
The public simply <22>discounts styles other than those for which the artist has become famous.
公众对于他们藉以成名的艺术风格以外的任何形式都将不屑一顾。
Famous authors' styles—a Tennessee Williams play or a plot by Ernest Hemingway or a poem by Robert Frost or T.S. Eliot—are easily recognizable.
知名作家的文风一眼就能看出来，如田纳西·威廉斯的戏剧、欧内斯特·海明威的情节安排、罗伯特·弗罗斯特或 T.S.艾略特的诗歌等。
The same is true of painters like Monet, Renoir, or Dali and <24>moviemakers like Hitchcock, Fellini, Spielberg, Chen Kaige or Zhang Yimou.
同样，像莫奈、雷诺阿、达利这样的画家，希区柯克、费里尼、斯皮尔伯格、陈凯歌或张艺谋这样的电影制作人也是如此。
Their distinct styles marked a significant change in form from others and gained them fame and fortune.
他们鲜明独特的艺术风格标志着与别人不同的艺术形式上的重大变革，这让他们名利双收、
However, they paid for it by giving up the freedom to express themselves with other styles or forms.
但也让他们付出了代价，那就是失去了用其他风格或形式表现自我的自由。
Fame's spotlight can be hotter than a tropical <27>jungle—a <28>fraud is quickly exposed, and the pressure of so much attention is too much for most to endure.
名气这盏聚光灯可比热带丛林还要炙热。骗局很快会被揭穿，过多的关注带来的压力会让大多数人难以承受。
It takes you out of yourself: You must be what the public thinks you are, not what you really are or could be.
它让你失去自我。你必须是公众认可的那个你，而不是真实的你或是可能的你。
The performer, like the politician, must often please his or her audiences by saying things he or she does not mean or fully believe.
艺人，就像政客一样，必须常常说些违心或连自己都不完全相信的话来取悦听众。
One drop of fame will likely <29>contaminate the entire well of a man's soul, and so an artist who remains true to himself or herself is particularly amazing.
一滴名气之水有可能玷污人的心灵这一整口井，因此一个艺术家若能保持真我，会格外让人惊叹。
You would be hard-pressed to underline many names of those who have not compromised and still succeeded in the fame game.
你可能答不上来哪些人没有妥协，却仍然在这场名利的游戏中获胜。
An example, the famous Irish writer Oscar Wilde, known for his uncompromising behavior, both social and sexual, to which the public objected, paid heavily for remaining true to himself.
一个例子就是爱尔兰著名作家奥斯卡·王尔德，他在社交行为和性行为方面以我行我素而闻名于世。虽然他的行为遭到公众的反对，却依然故我，他也因此付出了惨痛的代价。
The mother of a young man Oscar was intimate with accused him at a banquet in front of his friends and fans of sexually influencing her son.
在一次宴会上，他一位密友的母亲当着他的朋友和崇拜者的面，指责他在性方面影响了她的儿子。
Extremely angered by her remarks, he sued the young man's mother, asserting that she had damaged his "good" name.
他听了她的话以后大为光火，起诉了这个年轻人的母亲，声称她毁了自己的“好”名声。
He should have hired a better attorney, though.
但是，他真该请一个更好的律师。
The judge did not second Wilde's call to have the woman pay for damaging his name, and instead fined Wilde.
结果是，法官不仅不支持他提出的让这个女人赔偿他名声损失费的请求，反而对他本人进行了罚款。
He ended up in jail after refusing to pay, and even worse, was permanently expelled from the wider circle of public favor.
他由于拒交罚款最终还被送进了监狱。更糟糕的是，他再也无法获得更多公众的宠爱。
When things were at their worst, he found that no one was willing to risk his or her name in his defense.
在最糟糕的时候，他发现没有一个人愿意拿自己的名声冒险来替他说话。
His price for remaining true to himself was to be left alone when he needed his fans
the most.
为保持真我，他付出的代价是，在最需要崇拜者时，谁也不理他。
Curiously enough, it is those who fail that reap the greatest reward: freedom! 奇怪的是，收获最大的恰恰是失败者。他们收获了自由！
They enjoy the freedom to express themselves in unique and original ways without fear of losing the support of fans.
他们可以自由地表达，独辟蹊径，不落窠臼，不用担心失去崇拜者的支持。
Failed artists may find comfort in knowing that many great artists never found fame until well after they had passed away or in knowing that they did not sell out.
失败的艺术家寻求安慰时，可以想想许多伟大的艺术家都是过世多年以后才成名，或是他们没有出卖自己。
They may justify their failure by convincing themselves their genius is too sophisticated for contemporary audiences.
他们也可以为自己的失败辩解：自己的才华实在过于高深，不是当代听众或观众所理解得了的。
Single-minded artists who continue their quest for fame even after failure might also like to know that failure has motivated some famous people to work even harder to succeed.
那些失败了却仍不肯放弃的顽固派也许会乐于知道，某些名人曾经如何越挫越勇，直至成功。Thomas Wolfe, the American novelist, had his first novel Look Homeward,
Angel rejected 39 times before it was finally published.
美国小说家托马斯·伍尔芙的第一本小说《向家乡看吧，安琪儿》被拒39次后，才最终得以出版。
Beethoven overcame his father, who did not believe that he had any potential as a musician, to become the greatest <43>musician in the world.
贝多芬战胜了父亲认为他毫无音乐家潜质的偏见，成为世界上最伟大的音乐家。
And Pestalozzi, the famous Swiss educator in the 19th century, failed at every job he ever had until he came upon the idea of teaching children and developing the fundamental theories to produce a new form of education.
19世纪瑞士著名教育家裴斯泰洛齐原先干的工作没有一件成功，直到他想到去教小孩子，并研究出一种新型教育模式的基础理论。
Thomas Edison was thrown out o school in the fourth grade, because he seemed to his teacher to be quite dull.
托马斯·爱迪生在四年级时被赶出了学校，因为老师觉得他似乎太迟钝。
Unfortunately for most people, however, failure is the end of their struggle, not the beginning.
但不幸的是，对大多数人而言，失败是奋斗的结束，而不是开始。
I say to those who <45>desperately seek fame and fortune: good luck.
对那些孤注一掷的追名逐利之徒，我要说：祝你们好运。
But alas, you may find that it was not what you wanted.
但是，遗憾的是，你会发现这不是你想得到的。
The dog who catches his tail discovers that it is only a tail.
狗自逐其尾所得到的只是一条尾巴而已。
The person who achieves success often discovers that it does more harm than good. 获得成功的人常常发现成功对他来说弊大于利。
So instead of trying so hard to achieve success, try to be happy with who you are and what you do.
所以要为真实的你、为自己的所为感到高兴，而不是拼命去获得成功。
Try to do work that you can be proud of.
做那些你为之感到骄傲的事情。
Maybe you won't be famous in your own lifetime, but you may create better art. 可能在有生之年你默默无闻，但你可能创作了更好的艺术。
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Unit 2
He was born in a poor area of South London.
他出生在伦敦南部的一个贫困地区。
He wore his mother's old red stockings cut down for ankle socks.
他穿的短袜是从妈妈的红色长袜上剪下来的。
His mother was temporarily declared mad.
他的妈妈一度被诊断为精神失常。
Dickens might have created Charlie Chaplin's childhood.
狄更斯或许能创作出查理·卓别林的童年故事，
But only Charlie Chaplin could have created the great comic character of "the Tramp", the little man in rags who gave his creator permanent fame.
但只有查理·卓别林才能塑造出了不起的喜剧角色“流浪汉”，这个使其创作者声名永驻的衣衫褴褛的小人物。
Other countries—France, Italy, Spain, even Japan—have provided more applause (and profit) where Chaplin is concerned than the land of his birth.
就卓别林而言，其他国家，如法国、意大利、西班牙，甚至日本，都比他的出生地给予了他更多的掌声（和更多的收益）。
Chaplin quit Britain for good in 1913 when he journeyed to America with a group of performers to do his comedy act on the stage, where talent <6>scouts recruited him to work for Mack Sennett, the king of Hollywood comedy films.
在1913年，卓别林永久地离开了英国，与一些演员一起启程到美国进行舞台喜剧表演。在那里，他被星探招募到好莱坞喜剧片之王麦克·塞纳特的旗下工作。
Sad to say, many English people in the 1920s and 1930s thought Chaplin's Tramp a bit,
well, "crude".
令人遗憾的是，20世纪二、三十年代的很多英国人认为卓别林的“流浪汉”多少有点“粗俗”。
Certainly middle-class audiences did; the working-class audiences were more likely to clap for a character who revolted against authority, using his wicked little cane to trip it up, or aiming the heel of his boot for a well-placed kick at its broad rear.
中产阶级当然这样认为。劳动阶层反倒更有可能为这样一个反抗权势的角色拍手喝彩：他以顽皮的小拐杖使绊子，或用皮靴后跟对准权势者肥大的臀部踢一下。
All the same, Chaplin's comic beggar didn't seem all that English or even working-class.
尽管如此，卓别林的滑稽乞丐形象并不那么像英国人，甚至也不像劳动阶级的人。
English tramps didn't sport tiny moustaches, huge pants or tail coats: European leaders and Italian waiters wore things like that.
英国流浪者并不留小胡子，也不穿肥大的裤子或燕尾服：欧洲的领导人和意大利的侍者才那样穿戴。
Then again, the Tramp's quick eye for a pretty girl had a coarse way about it that was considered, well, not quite nice by English audiences—that's how foreigners behaved, wasn't it?
另外，“流浪汉”瞟着漂亮女孩的眼神也有些粗俗，被英国观众认为不太正派──只有外国人才那样，不是吗？
But for over half of his screen career, Chaplin had no screen voice to confirm his British nationality.
而在卓别林大半的银幕生涯中，银幕上的他是不出声的，也就无从证明他是英国人。
Indeed, it was a headache for Chaplin when he could no longer resist the talking movies and had to find "the right voice" for his Tramp.
事实上，当卓别林再也无法抵制有声电影，不得不为他的“流浪汉”寻找“合适的声音”时，他确实很头疼。
He postponed that day as long as possible: In Modern Times in 1936, the first film in which he was heard as a singing waiter, he made up a nonsense language which sounded like no known nationality.
他尽可能地推迟那一天的到来：在 1936 的《摩登时代》里，他第一次在影片里发声唱歌。在片中，他扮演一名侍者，满口胡言乱语，听起来不像任何国家的语言。
He later said he imagined the Tramp to be a college-educated gentleman who'd come down in the world.
后来他说，他想象中的“流浪汉”是一位受过大学教育，但已经没落的绅士。
But if he'd been able to speak with an educated accent in those early short comedies, it's doubtful if he would have achieved world fame.
但假如他在早期那些短小的喜剧电影中能操一口受教育人的口音，那么他是否会闻名世界就难说了，
And the English would have been sure to find it "odd". No one was certain whether Chaplin did it on purpose but this helped to bring about his huge success.
而英国人也肯定会觉得这很“古怪”。没有人知道卓别林这么干是不是有意的，但这促使他获得了巨大的成功。
He was an immensely talented man, determined to a degree unusual even in the ranks of Hollywood stars.
他是一个才能非凡的人，他的决心之大甚至在好莱坞明星中也十分少见。
His huge fame gave him the freedom—and, more importantly, the money—to be his own master.
他的巨大名声为他带来了自由，更重要的是带来了财富，他因此得以成为自己的主人。
He already had the urge to explore and extend a talent he discovered in himself as he went along.
在事业发展之初，他就感到一种冲动要去发掘并扩展自己身上所显露的天才。
"It can't be me. Is that possible? How extraordinary," is how he greeted the first sight of himself as the Tramp on the screen.
当他第一次在银幕上看到自己扮演的“流浪汉”时，他说：“这不可能是我。那可能吗？瞧这角色多么与众不同啊！”
But that shock roused his imagination.
这种震惊唤起了他的想象。
Chaplin didn't have his jokes written into a script in advance; he was the kind of comic who used his physical senses to invent his art as he went along.
卓别林并没有把他的笑料事先写成文字。他是那种边表演边根据感觉去创造艺术的喜剧演员。
Lifeless objects especially helped Chaplin make "contact" with himself as an artist. 没有生命的物体特别有助于卓别林发挥自己艺术家的天赋。
He turned them into other kinds of objects.
他将这些物体想象成其他东西。
Thus, a broken alarm clock in the movie The Pawnbroker became a "sick" patient undergoing surgery; boots were boiled in his film The Gold Rush and their soles eaten with salt and pepper like prime cuts of fish (the nails being removed like fish bones).
因此，在《当铺老板》中，一个坏闹钟变成了正在接受手术的“病人”；在《淘金记》中，靴子被放在锅里煮，靴底被蘸着盐和胡椒吃掉，就像上好的鱼片一样（鞋钉就像鱼骨那样被剔除）。
This physical transformation, plus the skill with which he executed it again and again, is surely the secret of Chaplin's great comedy.
这种对事物的转化，以及他一次又一次做出这种转化的技巧，正是卓别林伟大喜剧的奥秘所在。
He also had a deep need to be loved—and a corresponding fear of being betrayed. 他也深切地渴望被爱，同时也害怕遭到背叛。
The two were hard to combine and sometimes—as in his early marriages—the collision between them resulted in disaster.
这两者很难结合在一起，有时这种冲突导致了灾难，就像他早期的几次婚姻那样。
Yet even this painfully-bought self-knowledge found its way into his comic creations. 然而即使是这种以沉重代价换来的自知之明也在他的喜剧创作中得到了表现。
The Tramp never loses his faith in the flower girl who'll be waiting to walk into the sunset with him; while the other side of Chaplin makes Monsieur Verdoux, the French wife killer, into a symbol of hatred for women.
“流浪汉”始终没有失去对卖花女的信心，相信她正等待着与自己共同走进夕阳之中；而卓别林的另一面使他的凡尔杜先生，一个杀了妻子的法国人，成为了仇恨女人的象征。
It's a relief to know that life eventually gave Charlie Chaplin the stability and happiness it had earlier denied him.
令人宽慰的是，生活最终把卓别林先前没能获得的稳定和幸福给了他。
In Oona O'Neill Chaplin, he found a partner whose stability and affection spanned the 37 years age difference between them, which had seemed so threatening, that when the official who was marrying them in 1942 turned to the beautiful girl of 17 who'd given notice of their wedding date, he said, "And where is the young man? "—Chaplin, then 54, had cautiously waited outside.
他找到了沃娜·奥尼尔·卓别林这个伴侣。她的沉稳和深情跨越了他们之间37岁的年龄差距。他们的年龄差别太大，以致当1942年他们要结婚时，新娘公布了他们的结婚日期后，为他们办理手续的官员问这位漂亮的17岁姑娘：“那个年轻人在哪儿？”──当时已经54岁的卓别林小心翼翼在外面等候着。
As Oona herself was the child of a large family with its own problems, she was well prepared for the battle that Chaplin's life became as many unfounded rumors surrounded them both—and, later on, she was the center of calm in the quarrels that Chaplin sometimes sparked in his own large family of talented children.
由于沃娜本人出生在一个被各种麻烦困扰的大家庭，她对卓别林生活中将面临的挑战也做好了充分准备，因为当时关于他俩有很多毫无根据的流言。后来在他那个有那么多天才孩子的大家庭中，卓别林有时会引发争吵，而她则成了安宁的中心。
Chaplin died on Christmas Day 1977.
卓别林死于1977年圣诞节。
A few months later, a couple of almost comic body thieves stole his body from the family burial chamber and held it for money.
几个月后，几个近乎可笑的盗尸者从他的家庭墓室盗走了他的尸体以借此诈钱。
The police recovered it with more efficiency than Mack Sennett's clumsy Keystone Cops would have done, but one can't help feeling Chaplin would have regarded this strange incident as a fitting memorial—his way of having the last laugh on a world to which he had given so many.
警方追回了他的尸体，其效率比麦克·塞纳特拍摄的启斯东喜剧片中的笨拙警察要高得多。但是人们不禁会感到，卓别林一定会把这一奇怪的事件看作是对他的十分恰当的纪念──他以这种方式给这个自己曾为之带去这么多笑声的世界留下最后的笑声。
Unit3
A welfare client is supposed to cheat. Everybody expects it.
人人都觉得福利救济对象是在骗人。
Faced with sharing a dinner of raw pet food with the cat, many people in wheelchairs I know bleed the system for a few extra dollars.
当我认识的许多坐轮椅的人面临与宠物猫分吃生猫食的窘境时，都会向福利机构多骗取几美元。为了能领到一点额外的福利款，
They tell the government that they are getting two hundred dollars less than their real pension so they can get a little extra welfare money.
他们告诉政府说他们实际上少拿了200美元的养老金，
Or, they tell the caseworker that the landlord raised the rent by a hundred dollars.
或告诉社会工作者，说房东又将房租涨了100 美元。
I have opted to live a life of complete honesty.
我选择了过一种完全诚实的生活，
So instead, I go out and drum up some business and draw cartoons.
因此我不会那样做，而是四处找活，揽些画漫画的活。
I even tell welfare how much I make!
我甚至还告诉福利机构我赚了多少钱！
Oh, I'm tempted to get paid under the table.
哦，私下里领一笔钱当然对我挺有吸引力，
But even if I yielded to that temptation, big magazines are not going to get involved in some sticky situation.
但即使我挡不住这种诱惑，我投稿的那些大杂志也不会去给自己惹麻烦。
They keep my records, and that information goes right into the government's computer. 他们会保留我的记录，而这些记录会直接进入政府的电脑。
Very high-profile.
真是态度鲜明，毫不含糊。
As a welfare client I'm expected to bow before the caseworker.
作为一名福利救济对象，我必须在社会工作者面前卑躬屈膝。
Deep down, caseworkers know that they are being made fools of by many of their clients, and they feel they are entitled to have clients bow to them as compensation. I'm not being bitter.
社会工作者心里知道，许多救济对象在欺骗他们，因此他们觉得，作为补偿，他们有权让救济对象向他们点头哈腰。我并不是故意感到忿忿不平。
Most caseworkers begin as college-educated liberals with high ideals.
大多数社会工作者刚开始时都是些大学毕业生，有理想，而且思想开明。
But after a few years in a system that practically requires people to lie, they become like the one I shall call "Suzanne", a detective in shorts.
可是，在这个实际上是要人撒谎的体制里干了几年后，他们就变得与那个叫“苏珊娜”的人一样了──一个穿运动短裤的侦探。
Not long after Christmas last year, Suzanne came to inspect my apartment and saw some new posters pasted on the wall.
去年圣诞节过后不久，苏珊娜到我家来了解情况，看到墙上贴着新的宣传画，
"Where'd you get the money for those? " she wanted to know.
便想知道：“你从哪儿弄到钱来买这些？”
"Friends and family."
“从朋友和家人那儿。”
"Well, you'd better have a receipt for it, by God. You have to report any donations or gifts."
“那么，你最好要张收据，真的，你接受任何捐献或礼物都要报告。”
This was my cue to beg.
她这是在暗示我：得哀求她了。
Instead, I talked back.
但是我却将她顶了回去。
"I got a cigarette from somebody on the street the other day. Do I have to report that? "
“那天在马路上有人给我一根烟，我也得报告吗？”
"Well, I'm sorry, but I don't make the rules, Mr. Callahan."
“对不起，卡拉汉先生，可是规定不是我制订的。”
Suzanne tries to lecture me about repairs to my wheelchair, which is always breaking down because welfare won't spend money maintaining it properly.
苏珊娜试图就修理轮椅的问题训斥我。由于福利部门不愿意花钱好好地修理，所以它总是坏。
"You know, Mr. Callahan, I've heard that you put a lot more miles on that wheelchair than average."
“您是知道的，卡拉汉先生，我听说您的那辆轮椅比一般人用得多得多。”
Of course I do.
我当然用得多，
I'm an active worker, not a vegetable.
我是个工作很积极的人，又不是植物人。
I live near downtown, so I can get around in a wheelchair.
我住在闹市区附近，可以坐着轮椅到处走走。
I wonder what she'd think if she suddenly broke her <19>hip and had to
<20>crawl to work.
我真想知道如果她突然摔坏臀部，不得不爬着去上班时，会是什么感受。
Government cuts in welfare have resulted in hunger and suffering for a lot of people, not just me.
政府削减福利开支已经导致许多人挨饿受苦，我只是其中之一。
But people with spinal cord injuries felt the cuts in a unique way: The government stopped taking care of our chairs.
但它对脊柱伤残的人的影响更为突出：政府已经不管我们的轮椅了。
Each time mine broke down, lost a screw, needed a new roller bearing, the brake wouldn't work, etc., and I called Suzanne, I had to endure a little lecture.
每次我的轮椅出问题，掉了螺丝，需要换个新轴承，或刹车不灵时，我都打电话给苏珊娜，但每次都要挨训。
Finally, she'd say, "Well, if I can find time today, I'll call the medical worker." 她最后总会说：“好吧，如果今天我能抽出时间的话，我会找医务人员的。”
She was supposed to notify the medical worker, who would certify that there was a problem.
她该通知医务人员，由医务人员来确认问题确实存在，
Then the medical worker called the wheelchair repair companies to get the cheapest bid
然后打电话给各家轮椅维修公司，拿到最低的报价。
Unit1奔向更加光明的未来 1 下午好！作为校长，我非常自豪地欢迎你们来到这所大学。你们所取得的成就是你们自己多年努力的结果，也是你们的父母和老师们多年努力的结果。在这所大学里，我们承诺 将使你们学有所成。 2 在欢迎你们到来的这一刻，我想起自己高中毕业时的情景，还有妈妈为我和爸爸拍的合影。妈妈吩咐我们：“姿势自然点。” “等一等 , ”爸爸说，“把我递给他闹钟的情景拍下来。” 在大学期间，那个闹钟每天早晨叫醒我。至今它还放在我办公室的桌子上。 3 让我来告诉你们, 一些你们未必预料得到的事情。你们将会怀念以前的生活习惯，怀念父母曾经提醒你们要刻苦学习、取得佳绩。你们可能因为高中生活终于结束而喜极而泣，你 们的父母也可能因为终于不用再给你们洗衣服而喜极而泣！但是要记住：未来是建立在过 去扎实的基础上的。 4 对你们而言，接下来的四年将会是无与伦比的一段时光。在这里，你们拥有丰富的资源：有来自全国各地的有趣的学生，有学识渊博又充满爱心的老师，有综合性图书馆，有完备的运动设施，还有针对不同兴趣的学生社团——从文科社团到理科社团、到社区服务等等。你们将自由地探索、学习新科目。你们要学着习惯点灯熬油，学着结交充满魅力的人，学着 去追求新的爱好。我想鼓励你们充分利用这一特殊的经历，并用你们的干劲和热情去收获 这一机会所带来的丰硕成果。 5 有这么多课程可供选择，你可能会不知所措。你不可能选修所有的课程，但是要尽可能 体验更多的课程！大学里有很多事情可做可学，每件事情都会为你提供不同视角来审视世 界。如果我只能给你们一条选课建议的话，那就是：挑战自己！不要认为你早就了解自己对什么样的领域最感兴趣。选择一些你从未接触过的领域的课程。这样，你不仅会变得更加博学，而且更有可能发现一个你未曾想到的、能成就你未来的爱好。一个绝佳的例子就是时装设计师王薇薇，她最初学的是艺术史。随着时间的推移，王薇薇把艺术史研究和对时装的热爱结合起来，并将其转化为对设计的热情，从而使她成为全球闻名的设计师。 6 在大学里，一下子拥有这么多新鲜体验可能不会总是令人愉快的。在你的宿舍楼里，住在你 隔壁寝室的同学可能会反复播放同一首歌，令你头痛欲裂！你可能喜欢早起，而你的室友 却是个夜猫子！尽管如此，你和你的室友仍然可能成为最要好的朋友。如果有些新的经历让你感觉不那么舒心，不要担心。我保证快乐的经历会多于不快的经历。而且我保证几乎所有这些经历都会给你带来宝贵的经验教训，从而使你的生活更加丰富多彩。所以，带着热切的目光和欢乐的心情，勇敢向前去拥抱这些新的体验吧！ 7 我们相信，你们的自我发现之旅和对爱好的寻求带给你们的将不仅仅是个人的进步。我们相信，当你们成为我们的学者群体中的一员时，你们很快就会认识到，大学不仅提供大量自我充实的机会，同时也带来了责任。一位智者说过：“教育代代相传，它就是社会的灵魂。”你们是你们家庭辛勤劳动成果的传承者，也是无数前辈辛勤劳动成果的传承者。他们积累了知识，并把知识传递给你们，而这些知识正是你们取得成功所必需的。现在轮到你们了。你们会获取什么样的知识？你们会发现什么样的兴趣爱好？你们怎样做才能为你们的子孙后代创造一个强大昌盛的未来？ 8 我们很高兴能为你们人生旅途中这一重大阶段开启大门。我们很高兴你们将获得许多机会，也很高兴你们将作为社区、国家乃至世界的公民承担起应有的责任。欢迎你们！
第三版新视野大学英语第二册课文翻译 Unit 1 An impressive English lesson 1 If I am the only parent who still corrects his child's English, then perhaps my son isright. To him, I am a tedious oddity: a father he is obliged to listen to and aman absorbed in the rules of grammar, which my son seems allergic to. 2 I think I got serious about this only recently when I ran into one of my former students,fresh from an excursion to Europe. "How was it?" I asked, full of earnest anticipation. 3 She nodded three or four times, searched the heavens for the right words, andthen exclaimed, "It was, like, whoa!" 4 And that was it. The civilization of Greece and the glory ofRoman architecture were captured in a condensed non-statement. My student's "whoa!"was exceeded only by my head-shaking distress. 5 There are many different stories about the downturn in the proper use of English. Surelystudents should be able to distinguish between their/there/they're orthe distinctive difference between complimentary and complementary. They unfairly bearthe bulk of the
●UNIT 1 ●第一段翻译：（艺术家追求成名，如同狗自逐其尾，一旦追到手，除了继续追逐不知还能做些什么。 成功之残酷正在于它常常让那些追逐成功者自寻毁灭。） ●第二段翻译：（对一名正努力追求成功并刚刚崭露头角的艺术家，其亲朋常常会建议“正经的饭碗不能丢！” 他们的担心不无道理。 追求出人头地，最乐观地说也困难重重，许多人到最后即使不是穷困潦倒，也是几近精神崩溃。 尽管如此，希望赢得追星族追捧和同行赞扬之类的不太纯洁的动机却在激励着他们向前。 享受成功的无上光荣，这种诱惑不是能轻易抵挡的。） ●UNIT 2 ●第六段翻译：（这种震惊唤起了他的想象。 卓别林并没有把他的笑料事先写成文字。他是那种边表演边根据感觉去创造艺术的喜剧演员。 没有生命的物体特别有助于卓别林发挥自己艺术家的天赋。 他将这些物体想象成其他东西。 因此在《当铺老板》中，一个坏闹钟变成了正在接受手术的“病人”. 在《淘金记》中，靴子被放在锅里煮，靴底被蘸着盐和胡椒吃掉，就像上好的鱼片一样（鞋钉就像鱼骨那样被剔除）。 这种对事物的转化，以及他一次又一次做出这种转化的技巧，正是卓别林伟大喜剧的奥秘所在。） ●UNIT 4 ●第一段翻译：（一个将会大大提高发展中国家生活水准的转变正方兴未艾。 一些不久前还是信息闭塞的地方正在迅速获得最新的通信技术，这将促进他们吸纳国内外投资。 亚洲、拉丁美洲和东欧的许多国家也许需要10年时间来改善其交通、电力供应和其他公用设施。 但是只一根直径小于半毫米的光纤电缆就可以比由铜丝制成的粗电缆承载更多的信息。
由于安装了光纤电缆、数字转换器和最新的无线传输系统， 从北京到布达佩斯的一系列城区和工业区正在直接步入信息时代。 一个蛛网般的数字和无线通信网络已经发展到亚洲的大部分地区和东欧的部分地区。） ●第二段翻译：（所有这些发展中地区都把先进的通信技术看作一种跨越经济发展诸阶段的途径。 例如，信息技术的广泛应用有望缩短劳动密集型的组装工业转向涉及工程、营销和设计的那些产业所需的时间。 现代通信技术“将使中国、越南这样的国家比那些困于旧技术的国家拥有巨大的优势”。） ●第三段翻译：（这些国家应以多快的速度向前发展是人们争论的一个问题。 许多专家认为，越南在目前急需电话的情况下，却要求所有的移动电话都必须是昂贵的数字型电话，这种做法太超前了。 一位专家说：“这些国家缺乏成本估算和选择技术的经验。） ●UNIT 5 ●第一段翻译：（事实如此，我们孤独无依地生活着。据最近的统计，共有2,200万人独自生活在自己的住所里。 其中有些人喜欢这种生活，有些却不喜欢。有些离了婚，有些鳏寡无伴，也有些从未结过婚。 ●第二段翻译：（孤独或许是这里的一种民族弊病，我们羞于承认它，甚于其他任何罪恶。 而另一方面，故意选择独处，拒绝别人的陪伴而非为同伴所弃，却是美国式英雄的一个特点。 孤独的猎人或探险者去鹿群和狼群中冒险，征服广袤的荒野时，并不需要有人陪伴。 梭罗独居在湖畔的小屋，有意疏离了城市生活。现在，这成了你的个性。 独处的灵感是诗人和哲学家最有用的东西。） ●108页第十三段翻译：（科学调查表明，独居的人会对着自己、对着宠物、对着电视机唠叨不休。 我们问猫儿今天该穿蓝色套装还是黄色裙装， 问鹦鹉今天晚餐该做牛排还是面条。 我们跟自己争论那个花样滑冰选手和这个滑雪运动员到底谁更了不起。 这没什么不妥，也对我们有好处，而且不像有些人那么令人尴尬：在超市付款处，排在前面的女人告诉收银员， 她的侄女梅利莎星期六可能会来看她。
Finding fossil man 发现化?石?人 Why are legends handed down by storytellers useful? We can read of things that happened 5,000 years ago in the Near East, where people first learned to write. But there are some parts of the world where even now people cannot write. The only way that they can preserve their history is to recount it as sagas -- legends handed down from one generation of storytellers to another. These legends are useful because they can tell us something about migrations of people who lived long ago, but none could write down what they did. Anthropologists wondered where the remote ancestors of the Polynesian peoples now living in the Pacific Islands came from. The sagas of these people explain that some of them came from Indonesia about 2,000 years ago. But the first people who were like ourselves lived so long ago that even their sagas, if they had any, are forgotten. So archaeologists have neither history nor legends to help them to find out where the first 'modern men' came from. Fortunately, however, ancient men made tools of stone, especially flint, because this is easier to shape than other kinds. They may also have used wood and skins, but these have rotted away. Stone does not decay, and so the tools of long ago have remained when even the bones of the men who made them have disappeared without trace. 读到flint 打?火?石anthropomorphic ?人格 化拟1anthropo ?人类 的让步?一?一trace back date back read of read about a trace of ?一些
新视野大学英语(第二版)读写教程 3 课文翻译.txt39人生旅程并不是一帆风顺的，逆境失意会经常伴随着我们，但人性的光辉往往在不如意中才显示出来，希望是激励我们前进的巨大的无形的动力。40奉献是爱心，勇于付出，你一定会收到意外之外的馈赠。第一单元 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。
奥ào运yùn会h uì优yōu秀x iù的d e标biāo准zhǔn 奥林匹克运动会依然是一个为竞争而竞争的最纯粹的例子。运动员们在事业和身体上做出牺牲，他们冒着受伤、受挫和彻底失败的危险，仅仅为了国家和自身的荣誉而竞争。为了获得这样的荣誉，运动员必须发挥出在自己的项目上的最佳水平，在世界最大的竞技舞台上发挥模范作用。虽然必须承认，有的运动员利用兴奋剂来提升自己的表现，从而取得优势，但他们从未获得过奥运会所能给予的唯一真正的奖赏，那就是荣誉。而且他们也从未体验过通过刻苦训练与决心这些美德而获胜所带来的光荣感。 迄今为止，卡尔.刘易斯是奥运会田径项目最伟大的选手，也是奥运会精神的典范。这不仅是因为他屡屡获得金牌，——刘易斯在四个项目的比赛中获得九枚金牌，在100米短跑和跳远比赛中保持世界纪录——而且是因为他天性中所富有的竞争力和从1984年到1996年间在每一届奥运会上所表现出的竞争和获胜的能力。如果不是美国拒绝出席1980年奥运会，他也会参加那一年的奥运竞赛。凭借速度、稳定的发挥，诚实，尤其是获胜的渴望，刘易斯的表现非秒表所能计量，甚至时间也停滞不前。他要求自己发挥出最佳水平，而他取得好成绩靠的不是服用药物，而是无与伦比的自制力和训练时的完全投入。 令人惊讶的是，卡尔.刘易斯的父母在他年幼时鼓励他去上音乐课，而不是去参加田径训练。但是他不愿意去，而是把一条胶带粘在地上，以此标出跳远世界纪录的距离，然后以非凡的决心开始向着目标练习跳远。他的父母评价道：“有些孩子今天想着以后当消防员，明天又梦想成为电影明星。卡尔决心练习田径，后来始终没有改变。他说他想成为最好的，就这些。”他多年的训练和从容的自信为他以后卓越的田径生涯打好了基础。
新概念第四册课文翻译及学习笔记：Lesson10 【课文】 First listen and then answer the following question. 听录音，然后回答以下问题。 What does the computer industry thrive on apart from anarchy? Technology trends may push Silicon Valley back to the future. Carver Mead, a pioneer in integrated circuits and a professor of computer science at the California Institute of Technology, notes there are now work-stations that enable engineers to design, test and produce chips right on their desks, much the way an editor creates a newsletter on a Macintosh. As the time and cost of making a chip drop to a few days and a few hundred dollars, engineers may soon be free to let their imaginations soar without being penalized by expensive failures. Mead predicts that inventors will be able to perfect powerful customized chips over a weekend at the office -- spawning a new generation of garage start-ups and giving the U.S. a jump on its foreign rivals in getting new products to market fast. 'We've got more garages with smart people,' Mead observes. 'We really thrive on anarchy.' And on Asians. Already, orientals and Asian Americans constitute the majority of the engineering staffs at many Valley firms. And Chinese, Korean, Filipino and Indian engineers are graduating in droves from California's colleges. As the heads of next-generation start-ups, these Asian innovators can draw on customs and languages to forge tighter
读写教程01课文翻译 Unit01 TestA 奔向更加光明的未来 1 下午好！作为校长，我非常自豪地欢迎你们来到这所大学。你们所取得的成就是你们自己多年努力的结果，也是你们的父母和老师们多年努力的结果。在这所大学里，我们承诺将使你们学有所成。 2 在欢迎你们到来的这一刻，我想起自己高中毕业时的情景，还有妈妈为我和爸爸拍的合影。妈妈吩咐我们：“姿势自然点。”“等一等,”爸爸说，“把我递给他闹钟的情景拍下来。”在大学期间，那个闹钟每天早晨叫醒我。至今它还放在我办公室的桌子上。 3 让我来告诉你们一些你们未必预料得到的事情。你们将会怀念以前的生活习惯，怀念父母曾经提醒你们要刻苦学习、取得佳绩。你们可能因为高中生活终于结束而喜极而泣，你们的父母也可能因为终于不用再给你们洗衣服而喜极而泣！但是要记住：未来是建立在过去扎实的基础上的。 4 对你们而言，接下来的四年将会是无与伦比的一段时光。在这里，你们拥有丰富的资源：有来自全国各地的有趣的学生，有学识渊博又充满爱心的老师，有综合性图书馆，有完备的运动设施，还有针对不同兴趣的学生社团——从文科社团到理科社团、到社区服务等等。你们将自由地探索、学习新科目。你们要学着习惯点灯熬油，学着结交充满魅力的人，学着去追求新的爱好。我想鼓励你们充分利用这一特殊的经历，并用你们的干劲和热情去收获这一机会所带来的丰硕成果。 5 有这么多课程可供选择，你可能会不知所措。你不可能选修所有的课程，但是要尽可能体验更多的课程！大学里有很多事情可做可学，每件事情都会为你提供不同视角来审视世界。如果我只能给你们一条选课建议的话，那就是：挑战自己！不要认为你早就了解自己对什么样的领域最感兴趣。选择一些你从未接触过的领域的课程。这样，你不仅会变得更加博学，而且更有可能发现一个你未曾想到的、能成就你未来的爱好。一个绝佳的例子就是时装设计师王薇薇，她最初学的是艺术史。随着时间的推移，王薇薇把艺术史研究和对时装的热爱结合起来，并将其转化为对设计的热情，从而使她成为全球闻名的设计师。 6 在大学里，一下子拥有这么多新鲜体验可能不会总是令人愉快的。在你的宿舍楼里，住在你隔壁寝室的同学可能会反复播放同一首歌，令你头痛欲裂！你可能喜欢早起，而你的室友却是个夜猫子！尽管如此，你和你的室友仍然可能成为最要好的朋友。如果有些新的经历让你感觉不那么舒心，不要担心。我保证快乐的经历会多于不快的经历。而且我保证几乎所有这些经历都会给你带来宝贵的经验教训，从而使你的生活更加丰富多彩。所以，带着热切的目光和欢乐的心情，去拥抱这些新的体验吧！ 7 我们相信，你们的自我发现之旅和对爱好的寻求带给你们的将不仅仅是个人的进步。我们相信，当你们成为我们的学者群体中的一员时，你们很快就会认识到，大学不仅提供大量
新视野大学英语第三版第二册读写课文所有翻译 Unit 1 Text A 一堂难忘的英语课 1 如果我是唯一一个还在纠正小孩英语的家长，那么我儿子也许是对的。对他而言，我是一个乏味的怪物：一个他不得不听其教诲的父亲，一个还沉湎于语法规则的人，对此我儿子似乎颇为反感。 2 我觉得我是在最近偶遇我以前的一位学生时，才开始对这个问题认真起来的。这个学生刚从欧洲旅游回来。我满怀着诚挚期待问她：“欧洲之行如何？” 3 她点了三四下头，绞尽脑汁，苦苦寻找恰当的词语，然后惊呼：“真是，哇！” 4 没了。所有希腊文明和罗马建筑的辉煌居然囊括于一个浓缩的、不完整的语句之中！我的学生以“哇！”来表示她的惊叹，我只能以摇头表达比之更强烈的忧虑。 5 关于正确使用英语能力下降的问题，有许多不同的故事。学生的确本应该能够区分诸如their/there/they're之间的不同，或区别complimentary 跟complementary之间显而易见的差异。由于这些知识缺陷，他们承受着大部分不该承受的批评和指责，因为舆论认为他们应该学得更好。 6 学生并不笨，他们只是被周围所看到和听到的语言误导了。举例来说，杂货店的指示牌会把他们引向stationary（静止处），虽然便笺本、相册、和笔记本等真正的stationery（文具用品）并没有被钉在那儿。朋友和亲人常宣称They've just ate。实际上，他们应该说 They've just eaten。因此，批评学生不合乎情理。 7 对这种缺乏语言功底而引起的负面指责应归咎于我们的学校。学校应对英语熟练程度制定出更高的标准。可相反，学校只教零星的语法，高级词汇更是少之又少。还有就是，学校的年轻教师显然缺乏这些重要的语言结构方面的知识，因为他们过去也没接触过。学校有责任教会年轻人进行有效的语言沟通，可他们并没把语言的基本框架——准确的语法和恰当的词汇——充分地传授给学生。 8 因为语法对大多数年轻学生而言枯燥且乏味，所以我觉得讲授语法得一步一步、注重技巧地进行。有一天机会来了。我跟儿子开车外出。我们出发时，他看到一只小鸟飞得很不稳，就说：“它飞的不稳。”（It's flying so unsteady.）我小心翼翼地问：“儿子，鸟怎么飞?” “有问题吗？我说得不对吗？（Did I say anything incorrectly?）” 他一头雾水。“太好了，你说的是incorrectly 而不是incorrect。我们用副词来描述动词。所以，要用unsteadily来描述鸟飞，而不是unsteady。”
课文翻译 艺术家追求成名，如同狗自逐其尾，一旦追到手，除了继续追逐不知还能做些什么。 成功之残酷正在于它常常让那些追逐成功者自寻毁灭。 对一名正努力追求成功并刚刚崭露头角的艺术家，其亲朋常常会建议“正经的饭碗不能丢！”他们的担心不无道理。 追求出人头地，最乐观地说也困难重重，许多人到最后即使不是穷困潦倒，也是几近精神崩溃。 尽管如此，希望赢得追星族追捧和同行赞扬之类的不太纯洁的动机却在激励着他们向前。享受成功的无上光荣，这种诱惑不是能轻易抵挡的。 成名者之所以成名，大多是因为发挥了自己在歌唱、舞蹈、绘画或写作等方面的特长，并能形成自己的风格。 为了能迅速走红，代理人会极力吹捧他们这种风格。他们青云直上的过程让人看不清楚。 他们究竟是怎么成功的，大多数人也都说不上来。 尽管如此，艺术家仍然不能闲下来。 若表演者、画家或作家感到无聊，他们的作品就难以继续保持以前的吸引力，也就难以保持公众的注意力。 公众的热情消磨以后，就会去追捧下一个走红的人。 有些艺术家为了不落伍，会对他们的写作、跳舞或唱歌的风格稍加变动，但这将冒极大的失宠的危险。 公众对于他们藉以成名的艺术风格以外的任何形式都将不屑一顾。 知名作家的文风一眼就能看出来，如田纳西·威廉斯的戏剧、欧内斯特·海明威的情节安排、罗伯特·弗罗斯特或T.S.艾略特的诗歌等。 同样，像莫奈、雷诺阿、达利这样的画家，希区柯克、费里尼、斯皮尔伯格、陈凯歌或张艺谋这样的电影制作人也是如此。 他们鲜明独特的艺术风格标志着与别人不同的艺术形式上的重大变革，这让他们名利双收，但也让他们付出了代价，那就是失去了用其他风格或形式表现自我的自由。 名气这盏聚光灯可比热带丛林还要炙热。骗局很快会被揭穿，过多的关注带来的压力会让大多数人难以承受。 它让你失去自我。你必须是公众认可的那个你，而不是真实的你或是可能的你。 艺人，就像政客一样，必须常常说些违心或连自己都不完全相信的话来取悦听众。 一滴名气之水有可能玷污人的心灵这一整口井，因此一个艺术家若能保持真我，会格外让人惊叹。
新概念第四册课文翻译及学习笔记：Lesson41 【课文】First listen and then answer the following question. 听录音，然后回答以下问题。At what point does the training of a captive wild elephant begin? Two main techniques have been used for training elephants, which we may call respectively the tough and the gentle. The former method simply consists of setting an elephant to work and beating him until he does what is expected of him. Apart from any moral considerations this is a stupid method of training, for it produces a resentful animal who at a later stage may well turn man-killer. The gentle method requires more patience in the early stages, but produces a cheerful, good-tempered elephant who will give many years of loyal service. The first essential in elephant training is to assign to the animal a single mahout who will be entirely responsible for the job. Elephants like to have one master just as dogs do, and are capable of a considerable degree of personal affection. There are even stories of half-trained elephant calves who have refused to feed and pined to death when by some unavoidable circumstance they have been deprived of their own trainer. Such extreme cases must probably be taken with a grain of salt, but they do underline the general principle that the relationship between elephant and mahout is the key to successful training. The most economical age to capture an elephant for training is between fifteen and twenty years, for it is then almost ready to undertake heavy work and can begin to earn its keep straight away. But animals of this age do not easily become subservient to man, and a very firm hand must be employed in the early stages. The captive elephant, still roped to a tree, plunges and screams every time a man approaches, and for several days will probably refuse all food through anger and fear. Sometimes a tame elephant is tethered nearby to give the wild one confidence, and in most cases the captive gradually quietens down and begins to accept its food. The next stage is to get the elephant to the training establishment, a ticklish business which is achieved with the aid of two tame elephants roped to the captive on either side. When several elephants are being trained at one time, it is customary for the new arrival to be placed between the stalls of two captives whose training is already well advanced. It is then left completely undisturbed with plenty of food and water so that it can absorb the atmosphere of its new home and see that nothing particularly alarming is happening to its companions. When it is eating normally, its own training begins. The trainer stands in front of the elephant holding a long stick with a sharp metal point. Two
WHAT IS STRESS The term stress has been defined in several different ways. sometimes the term is applied to stimuli or events in our environment that make physical and emotional demands on us, and sometimes it is applied to our emotional and physical reactions to such stimuli. in this discussion, we will refer to the environmental stimuli or events as stressors and to the emotional and physical reactions as stress. 压力这个词已经有几种不同的定义。有时候这个术语适用于我们环境中的刺激或事件，这些刺激或事件会对我们产生身体和情感方面的要求，有时也适用于我们对这种刺激的情绪和身体反应。在这个讨论中，我们将环境刺激或事件称为压力，并将情绪和身体上的反应称为压力。 Many sorts of events be stressors, including disasters, such as hurricanes or tornadoes; major life events, such as divorce or the loss of a job; and daily hassles, such as having to wait in line at the supermarket when you need to be somewhere else in 10 minutes. What all this events have in common is that they interfere with or threat our accustomed way of life. when we encounter such stressors, we must pull together our mental and physical resources in order to deal with the challenge. How well we succeed in doing so will determine how serious a toll the stress will take on our mental and physical well-being. 许多事件都是压力源，包括灾难，如飓风或龙卷风; 重大生活事件，如离婚或失业; 每天都有麻烦，比如当你要在10分钟内到别的地方去却不得不在超市排队等。所有这些事件都有共同之处，就是它们干涉或威胁我们习惯的生活方式。当我们遇到这样的压力时，我们必须整合我们的精神和物质资源来应对挑战。我们如何成功地做到这一点将决定压力对我们身心健康将产生多大的影响。 Reacting to stressors The Canadian physiologist Hans Seyle has been the most influential writer on stress. Seyle proposed that both humans and other animals react to any stressor in three stages, collectively known as the general adaptation syndrome. the first stage, when the person or animal becomes aware of the stressor is the alarm reaction. In this stage the organism becomes highly alert and aroused, energized by a burst of epinephrine. After the alarm reaction comes the stage of resistance , as the organism tries to adapt to the stressful stimulus or to escape from it. If these efforts are successful, the state of the organism returns to normal. If the organism cannot adapt to the continuing stress, however, it enters a stage of exhaustion or collapse. 加拿大生理学家Hans Seyle在压力方面一直是最有影响力的作家。塞尔提出，人类和其他动物在三个阶段对任何压力源作出反应，统称为一般适应综合症。第一阶段，当人或动物意识到应激源时，就是警报反应。在这个阶段，机体变得高度警觉和激起，并被一阵肾上腺素所激发。当警报反应进入抵抗阶段后，机体试图适应压力刺激或逃避压力。如果这些努力成功，机体的状态就会恢复正常。然而，如果生物体不能适应持续的压力，它就进入衰竭或崩溃的阶段。 Seyle developed his model of the general adaptation syndrome as a result of research with rats and other animals. In rats, certain stressors, such as painful tail-pulling consistently led to the same sorts of stress reactions in humans, however, it is harder to predict what will be stressful to a particular person at a particular time. subjective person's the on depends stressful be will stimulus particular a Whether
Unit 1 An impressive English lesson 1 If I am the only parent who still corrects his child's English, then perhaps my son is right. To him, I am a tedious oddity: a father he is obliged to listen to and a man absorbed in the rules of grammar, which my son seems allergic to. 2 I think I got serious about this only recently when I ran into one of my former students, fresh from an excursion to Europe. "How was it?" I asked, full of earnest anticipation. 3 She nodded three or four times, searched the heavens for the right words, and then exclaimed, "It was, like, whoa!" 4 And that was it. The civilization of Greece and the glory of Roman architecture were captured in a condensed non-statement. My student's "whoa!" was exceeded only by my head-shaking distress. 5 There are many different stories about the downturn in the proper use of English. Surely students should be able to distinguish between their /there /they're or the distinctive difference between complimentary and complementary . They unfairly bear the bulk of the criticism for these knowledge deficits because there is a sense that they should know better. 6 Students are not dumb, but they are being misled everywhere they look and listen. For example, signs in grocery stores point them to the stationary , even though the actual stationery items —pads, albums and notebooks —are not nailed down. Friends and loved ones often proclaim they've just ate when, in fact, they've just eaten . Therefore, it doesn't make any sense to criticize our students. 7 Blame for the scandal of this language deficit should be thrust upon our schools, which should be setting high standards of English language proficiency. Instead, they only teach a little grammar and even less advanced vocabulary. Moreover, the younger teachers themselves evidently have little knowledge of these vital structures of language because they also went without exposure to them. Schools fail to adequately teach the essential framework of language, accurate grammar and proper vocabulary, while they should take the responsibility of pushing the young onto the path of competent communication. 8 Since grammar is boring to most of the young students, I think that it must be handled delicately, step by step. The chance came when one day I was driving with my son. As we set out on our trip, he noticed a bird in jerky flight and said, "It's flying so unsteady." I carefully asked, "My son, how is the bird flying?" "What's wrong? Did I say anything incorrectly?" He got lost. "Great! You said incorrectly instead of incorrect . We use adverbs to describe verbs. Therefore, it's flying so unsteadily but not so unsteady ." 9 Curious about my correction, he asked me what an adverb was. Slowly, I said, "It's a word that tells you something about a verb." It led to his asking me what a verb was. I explained, "Verbs are action words; for example, Dad drives the truck. Drive is the verb because it's the thing Dad is doing." 10 He became attracted to the idea of action words, so we listed a few more: fly, swim, dive, run . Then, out of his own curiosity, he asked me if other words had names for their use and functions. This led to a discussion of nouns, adjectives, and articles. Within the span of a 10-minute drive, he had learned from scratch to the major parts of speech in a senten ce. It was painl ess lear ning and great fun!