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单词英音globalisation [ˌɡləʊbəlaɪˈzeɪʃ(ə) n]race[reɪs] brand[brænd] import[ˈɪmpɔːt]ethnic[ˈeθn ɪk]non-native [ˌn ɒn ˈne ɪt ɪv]multinational [ˌm ʌlti ˈnæʃn əl]investor [ɪn ˈvest ə(r)]multi-ethnic emigration ˌem ɡre ɪʃn]immigration [ˌɪm ɪˈɡre ɪʃ(ə)n]clash[klæʃ]Americanisation deprive[d ɪˈpra ɪv]come to the foresubcontinent[ˌsʌbˈkɒntɪnənt] uniqueness[juˈniːknəs]opposing[əˈpəʊzɪŋ] pursue[pəˈsjuː] likewise[ˈlaɪkwaɪz] infectious[ɪnˈfekʃəs] billboard[ˈbɪlbɔːd] youngster[ˈjʌŋstə(r)] headset[ˈhedset]sip[sɪp]multi-storeylane[leɪn]stroke[strəʊk] episode[ˈepɪsəʊd] high-rise[ˈhaɪ raɪz]unimaginable [ˌʌnɪˈmædʒɪnəbl]commonplace[ˈkɒmənpleɪs] spare[speə(r)]out of date[ˌaʊt əv ˈdeɪt] simplify[ˈsɪmplɪfaɪ] controller[kənˈtrəʊlə(r)]command[kəˈmɑːnd] AppliedLinguisticssubsequent[ˈsʌbsɪkwənt] implication[ˌɪmplɪˈkeɪʃn] intelligible[ɪnˈtelɪdʒəbl]conform[kənˈfɔːm]Arabic[ˈærəbɪk]legitimate[lɪˈdʒɪtɪmət] patronise[ˈpætrənaɪz] drawback[ˈdrɔːbæk]consideration [kənˌsɪdəˈreɪʃn ]devise[dɪˈvaɪz] syllabus[ˈsɪləbəs]monolingual[ˌmɒnəˈlɪŋɡwəl]mathematical [ˌmæθəˈmætɪk(ə)l]spatial[ˈspeɪʃ(ə)l] geometry[dʒiˈɒmətri]score[skɔː(r)] fund[fʌnd]monetary[ˈmʌnɪtri] InternationalMonetary Fundannual[ˈænjuəl]disperse[dɪˈspɜːs] marcher[ˈmɑːtʃə(r)]cut offHindu[ˈhɪnduː] Maha KumbhMelacommemorate[kəˈmeməreɪt] mythological[ˌmɪθəˈlɒdʒɪkl] confer[kənˈfɜː(r)] immortality[ˌɪmɔːˈtæləti] sadhu[ˈsɑːduː] simplicity[sɪmˈplɪsəti]chariot[ˈtʃæriət]pilgrim[ˈpɪlɡrɪm] wipe awaysin[sɪn] downpour[ˈdaʊnpɔː(r)] douse[daʊs] bushfire[ˈbʊʃˌfaɪə] fortnight[ˈfɔːtnaɪt] evacuation[ɪˌvækjuˈeɪʃn]welfare[ˈwelfeə(r)] telecom[ˈtɛlɪˌkɒm]telecommunicat ion [ˌtelikəˌmjuːnɪˈkeɪʃ(ə)n]geographical [ˌdʒiːəˈɡræfɪk(ə)l]boundary[ˈbaʊndri] highly[ˈhaɪli]the WorldWireless Forummobility[məʊˈbɪləti] freelancer[ˈfriːlɑːnsə(r)]migrant[ˈmaɪɡrənt]ownership[ˈəʊnəʃɪp]vague[veɪɡ] countless[ˈkaʊntləs]indispensable [ˌɪndɪˈspensəbl ]long forrelieved[rɪˈliːvd]cross[krɒs] furious[ˈfjʊəriəs] insecure[ˌɪnsɪˈkjʊə(r)]shattered[ˈʃætəd] disillusioned[ˌdɪsɪˈluːʒnd]let down[ˈlet daʊn] satisfaction[ˌsætɪsˈfækʃn]dread[dred]sprain[spreɪn] disallow[ˌdɪsəˈlaʊ]out of the blueintend[ɪnˈtend] punchline[ˈpʌntʃlaɪn] grizzly[ˈɡrɪzli]passion[ˈpæʃ(ə)n] caveman[ˈkeɪvmæn] playwright[ˈpleɪraɪt] statesman[ˈsteɪtsmən]habit-forming[ˈhæbɪt fɔːmɪŋ]juggle[ˈdʒʌɡl] juggler[ˈdʒʌɡlə(r)]packed[pækt]blazing[ˈbleɪzɪŋ] hesitant[ˈhezɪtənt]squint[skwɪnt] wildly[ˈwaɪldli] bounce[baʊns]hop[hɒp]limp[lɪmp] mystifiedashamed[əˈʃeɪmd] amusement[əˈmjuːzmənt]desperation[ˌdespəˈreɪʃn] onwards[ˈɒnwədz] beg formessy[ˈmesi]retire[rɪˈtaɪə(r)]wit[wɪt]purse[pɜːs] heartbroken[ˈhɑːtbrəʊkən]belongings[bɪˈlɒŋɪŋz]chop[tʃɒp] majesty[ˈmædʒəsti] sob[sɒb]count[kaʊnt] sideboard[ˈsaɪdbɔːd]jester[ˈdʒestə(r)] astonishment[əˈstɒnɪʃmənt] carefree[ˈkeəfriː] camouflage[ˈkæməflɑːʒ]shield[ʃiːld]for sureunforgettable[ˌʌnfəˈɡetəb(ə)l] cunning[ˈkʌnɪŋ]undo[ʌnˈduː]collar[ˈkɒlə(r)] unbutton[ˌʌnˈbʌtn]thread[θred] mutter[ˈmʌtə(r)] undisturbed[ˌʌndɪˈstɜːbd]stride[straɪd] presently[ˈprezntli] shabby[ˈʃæbi] promptly[ˈprɒmptli]tumble[ˈtʌmb(ə)l]punch[pʌntʃ] astride[əˈstraɪd] pound[paʊnd] rage[reɪdʒ]relive[ˌri ːˈl ɪv]good manners disrespectful [ˌd ɪsr ɪˈspektf(ə)l]revolting [r ɪˈv əʊlt ɪŋ]gentlemanly [ˈd ʒentlm ənli]unhygienic [ˌʌnha ɪˈd ʒi ːn ɪk]unprofessionalˌʌnpr əˈfe ʃənl]misinterpreted [ˌm ɪs ɪn ˈt ɜːpr ət]drop in[ˈdrɒp ɪn] sneeze[sniːz]curse[kɜːs] context[ˈkɒntekst] infuriate[ɪnˈfjʊərieɪt] dispenser[dɪˈspensə(r)] device[dɪˈvaɪs]disapprove[ˌdɪsəˈpruːv] uneasy[ʌnˈiːzi] aural[ˈɔːrəl] confusion[kənˈfjuːʒn]standardisation [ˌstændədaɪˈzeɪʃən]be supposed to awkwardness[ˈɔːkwədnəs] overdue[ˌəʊvəˈdjuː] liar[ˈlaɪə(r)]dialect[ˈdaɪəlekt] spinach[ˈspɪnɪtʃ]excessive[ɪkˈsesɪv]undivided[ˌʌndɪˈvaɪdɪd] go into detailsdisplay[dɪˈspleɪ]put sb. downmake light ofdumbness[ˈdʌmnəs]get one's mindofftactful[ˈtæktfl]straightforward[ˌstreɪtˈfɔːwəd] opinionated[əˈpɪnjəneɪtɪd] obligation[ˌɒblɪˈɡeɪʃ(ə)n] necessity[nəˈsesəti] inappropriate[ˌɪnəˈprəʊpriət] voice mailfuneral[ˈfjuːnərəl] punctual[ˈpʌŋktʃuəl] the other nightcalm downsocialise[ˈsəʊʃəlaɪz] stumble[ˈstʌmbl] dry upbe unsure ofstatus[ˈsteɪtəs]interrogation [ɪnˌterəˈɡeɪʃ(ə)n]tempt[tempt]unclear[ˌʌnˈklɪə(r)] summarise[ˈsʌməraɪz] restate[ˌriːˈsteɪt] look sb. in theeyedistract[dɪˈstrækt] over-emotionalcharm[tʃɑːm] unconsciously[ʌnˈkɒnʃəsli]come acrossget acrossresent[rɪˈzent]defensive[dɪˈfensɪv]washed outflatmate[ˈflætmeɪt]protective[prəˈtektɪv] hint[hɪnt] drop a hintspoil[spɔɪl]drop outsack[sæk]fly off thehandleexplosive[ɪkˈspləʊsɪv] conversational[ˌkɒnvəˈseɪʃənl] concise[kənˈsaɪs] courteous[ˈkɜːtiəs] overuse[ˌəʊvəˈjuːs] clichépunctuation[ˌpʌŋktʃuˈeɪʃn]courtesy[ˈkɜːtəsi] sign-off[ˈsaɪn ɒf]neglect[nɪˈɡlekt]for the sake ofrecipient[rɪˈsɪpiənt] annoyance[əˈnɔɪəns] abbreviation[əˌbriːviˈeɪʃn]as far asoverdo[ˌəʊvəˈduː] oblivious[əˈblɪviəs] dispatch[dɪˈspætʃ] in accordanceherewith [ˌhɪəˈwɪð;ˌhɪəˈwɪθ]sum[sʌm] print[prɪnt]out of printdinosaur[ˈdaɪnəsɔː(r)] endeavour[ɪnˈdevə(r)] retail[ˈriːteɪl; rɪˈteɪl] outlet[ˈaʊtlet]uncooperative [ˌʌnkəʊˈɒpərətɪv]reluctant[rɪˈlʌktənt]nuisance[ˈnjuːsns] aisle[aɪl]choke[tʃəʊk] ineffective[ˌɪnɪˈfektɪv]oasis[əʊˈeɪsɪs] numerous[ˈnjuːmərəs] tailor-made[ˌteɪləˈmeɪd] place an ordermar[mɑː(r)] litterbug[ˈlɪtəbʌɡ] efficiency[ɪˈfɪʃ(ə)nsi] pothole[ˈpɒthəʊl] install[ɪnˈstɔːl]payoff[ˈpeɪˌɒf]jail[dʒeɪl]civil[ˈsɪv(ə)l]tag[tæɡ] auction[ˈɔːkʃ(ə)n]plaster[ˈplɑːstə(r)] outnumber[ˌaʊtˈnʌmbə(r)] sling-shotsviolation[ˌvaɪəˈleɪʃ(ə)n]chime[tʃaɪm]back up[bæk ʌp] publicity[pʌbˈlɪsəti] slogan[ˈsləʊɡən] antispitdistribution[ˌdɪstrɪˈbjuːʃn] pamphlet[ˈpæmflət] poster[ˈpəʊstə(r)]strip[strɪp]contest[ˈkɒntest] liveable[ˈlɪvəbl]flush[flʌʃ]enact[ɪˈnækt] inspector[ɪnˈspektə(r)] intrude[ɪnˈtruːd] consciousness[ˈkɒnʃəsnəs] norm[nɔːm]Tom SawyerPolly[ˈpɒli] DubaiAfghanistan [æfˈɡænɪstɑːn;æfˈɡænɪstæn]BrixtonGeneva[dʒɪˈniːvə] the Strait TimesSingapore[ˌsɪŋəˈpɔː(r)] the Middle EastThailand[ˈtaɪlænd] Uttar PradeshSeattle[sɪˈæt(ə)l] Peru[pəˈruː]美音释义[ˌɡloʊbələˈzeɪʃn; ˌɡloʊbəlaɪˈzeɪʃən]n. 全球化，=globalization[reɪs]n. 属，种；种族，人种；家庭，门第vt. 使参加比赛；和…竞赛；使急走，使全速行进vi. 比速度，参加竞赛；全速行进[brænd]n. 商标，牌子；烙印vt. 铭刻于，铭记；打烙印于；印…商标于[ˈɪmpɔːrt]n. 进口，进口货；输入；意思，含义；重要性vt. 输入，进口；含…的意思vi. 输入，进口[ˈeθnɪk]adj. 种族的；人种的[ˌnɑːn ˈneɪtɪv]adj. 非本地；非原生n. 外乡人[ˌmʌltiˈnæʃnəl]adj. 跨国公司的；多国的n. 跨国公司[ɪnˈvestər]n. 投资者多种族的多民族的[ˌemɪˈɡreɪʃn]n. 移民；移民出境；移居外国[ˌɪmɪˈɡreɪʃn]n. 外来移民；移居[klæʃ]n. 冲突，不协调；碰撞声，铿锵声vt. 使碰撞作声vi. 冲突，抵触；砰地相碰撞，发出铿锵声n. 美国化[dɪˈpraɪv]vt. 使丧失，剥夺na. 发作；惹人注意[ˌs ʌb ˈkɑːnt ɪn ənt]n. 次大陆[ju ˈni ːkn əs]n. 独特性；独一无二；单值性[əˈpo ʊz ɪŋ]adj. 反对的；相对的；对面的v. 反对（oppose 的ing形式）[p ər ˈsu ː]vi. 追赶；继续进行vt. 继续；从事；追赶；纠缠[ˈla ɪkwa ɪz]adv. 同样地；也[ɪn ˈfek ʃəs]adj. 传染的；传染性的；易传染的[ˈb ɪlb ɔːrd]n. 广告牌；布告板vt. 宣传；介绍[ˈj ʌŋst ər]n. 年轻人；少年[ˈhedset]n. 耳机；头戴式受话器[s ɪp]n. 抿；小口喝；单列直插式组件vt. 啜vi. 啜饮adj. 多层的[leɪn]n. 小巷；[航][水运] 航线；车道；罚球区[stroʊk]n. （游泳或划船的）划；中风；（打、击等的）一下；冲程；（成功的）举动；尝试；轻抚vt. （用笔等）画；轻抚；轻挪；敲击；划尾桨；划掉；（打字时）击打键盘vi. 击球；作尾桨手，指挥划桨；（打字时）击打键盘[ˈepɪsoʊd]n. 插曲；一段情节；插话；有趣的事件[ˈhaɪ raɪz]n. 高楼；大厦adj. 高楼的；超高层的[ˌʌnɪˈmædʒɪnəbl]adj. 不可思议的；难以想像的[ˈkɑːmənpleɪs]n. 老生常谈；司空见惯的事；普通的东西adj. 平凡的；陈腐的[sper]n. 剩余；备用零件vt. 节约，吝惜；饶恕；分出，分让adj. 多余的；瘦的；少量的vi. 饶恕，宽恕；[ˌaʊt əv ˈdeɪt]adj. 过时的；缺乏新信息的；陈腐的；失效的[ˈsɪmplɪfaɪ]vt. 简化；使单纯；使简易[kənˈtroʊlər]n. 控制器；管理员；主计长[kəˈmænd]n. 指挥，控制；命令；司令部vt. 命令，指挥；控制；远望vi. 命令，指挥；控制n. 应用语言学[ˈsʌbsɪkwənt]adj. 后来的，随后的[ˌɪmplɪˈkeɪʃn]n. 含义；暗示；牵连，卷入；可能的结果，影响[ɪnˈtelɪdʒəbl]adj. 可理解的；明了的；仅能用智力了解的[kənˈfɔːrm]adj. 一致的；顺从的vi. 符合；遵照；适应环境vt. 使遵守；使一致；使顺从[ˈærəbɪk]n. 阿拉伯语adj. 阿拉伯的；阿拉伯人的[lɪˈdʒɪtɪmət]adj. 合法的；正当的；合理的；正统的vt. 使合法；认为正当（等于legitimize）[ˈpeɪtrənaɪz]vt. 以高人一等的态度对待; 光顾，惠顾[ˈdrɔːbæk]n. 缺点，不利条件；退税[kənˌsɪdəˈreɪʃn ]n. 考虑；原因；关心；报酬[dɪˈvaɪz]n. 遗赠vt. 设计；想出；发明；图谋；遗赠给[ˈsɪləbəs]n. 教学大纲，摘要；课程表。
出版自考英语（二）讲义Unit9FacingLife27sChallenges2013年自考“英语（二）”备考资料（新版教材unit 9）Unit 9 F ac i ng Lif e's Chal len gesI. Ne w w or ds a nd ex p r es s ionsNe w wor ds1. hur d le n. h ur dl es [pl.]跨栏赛；栏架，跨栏；难关，障碍2. ne gat iv e n.否定词；否定；拒绝adj. 坏的；有害的3. des p air v. 绝望；失去希望；丧失信心4. pe tt y adj. 小的：琐碎的；次要的5. i ndi v idu al adj. 一个人的；供一个人用的6. l ane n. （比赛的）跑道，泳道7. s pot n. 地点；场所；处所8. s ym bo li ze v. 象征；是…的象征；代表s ym bol-i ze常用的动词后缀：m oder ni ze, g lob al i ze, ec on om ize9. i nc r edi bl y a dv.极端地；极其c r edib le 可靠的，可信的c r edib l y变副词时需省略-e的形容词有s im ple, tr ue, c r edib le, bel ie va ble s im pl y, tr u l y, (in)c r edi bl y, (u n)bel ie va bl y10. p os it iv e adj. 良好的；正面的11. t oug h adj. 艰苦的；艰难的；棘手的12. ar is e v. 发生；产生；出现ar is e f r om s th.区分：ar ous e / ar is ear ous e one's a ng er / r es pec t / s ym p ath y13. los t a dj. 不知所措的；一筹莫展的14. lea p v. 跳跃15. yar d n. 码16. inc h n. 英寸17. c i nc h n. 很容易的事；小莱Phr as es a nd Ex pr es s i ons1. l ine up 排成一行；站队；排队（等侯）2. en d u p 最终成为；最后处于end up (in) d oin g s t h. en d u p be gg ing / b ein g ar r es tedend up as a b egg ar / pr is on er / m ill ion air eend up in pr is on / d ebts3. k eep up wit h（与…）齐步前进；并驾齐驱；跟上4. pac e on es elf调整自己的工作（或活动）节奏5. f it i n （与…）合得来；适应6. ge t o ver解决；克服；控制7. we ar out 使疲乏；使筋疲力尽；使厌烦8. wi th e as e 轻而易举地9. m ak e it 获得成功10. f al l o ver被…绊倒；几乎被…绊倒11. g et los t 不知所措；一筹莫展12. look bac k on 回首(往事)；回忆；回顾13. inc h b y inc h 缓慢而谨慎地；一步一步14. a t a t im e 每次；逐一；依次II. T ex t Lear n ing300 H ur dl es① Lif e m a y gi v e yo u a ne gat iv e, b ut d on't des pa ir- it m a y j us t d eve lo p into a b eau tif ul pic tur e on e da y. T his year, I r eal i zed m y the or y t hat I hav e o n l if e. Lif e is li k e a 300m hur dle r ac e. S inc e I r un t he 300mhur dl es, I wo ul d k now w hat the r ac e is l ik e.② T he f ir s t thing to a n y r ac e is wor r yin g a bout whet her you ar e goi ngto wi n or n ot. T his r e l ates to w or r yi ng abo u t the pett y t hi ngs i n l i f e. Does it r ea ll y m atter i f yo u w in? Is it r e al l y goi ng t o be the en d o f the wor ld? O r wi ll yo u b e ups et if you los e and then f or get ab out it? (1)Inlif e we wor r y t oo m uc h an d l iv e i n th e m om ent t oo litt le.（承上总结句）③ (2)Nex t is t he li nin g up in our o w n ind iv i dua l l anes. W e eac h s tar t at dif f er ent s pots, bu t th e r ac e is s ti ll th e s am e dis t anc e f or e ver yo ne.（承上启下句） (3)T his r el ates to our l i ves tak in g us to dif f er ent pl ac es and putt ing us in dif f er ent s ituat io ns, but ho pef ull y w e wil l en d u p i n the s am e plac e, but m a yb e at dif f er ent tim es.④ No w c om es the b e gin nin g of the r ac e. W e all tr y t o k eep u p withever yon e a nd pac e o ur s elv es wit h ot her p eop le. (4)T his s ym bo l i zes that at tim es in e ver yon e's li ves w e wor r y, ab out f itting in or be in g th e s am e as other peo pl e, i ns te ad of wor r yi ng ab out bei ng u ni que. If eve r yone wer e th e s am e, the wor ld wou ld b e i nc r edi bl y bor ing.本部分重点及难点：1. In lif e w e wor r y too m uc h and li ve in the m om ent too lit tle.生活中，我们担心得太多，而活在当下太少。
Unit 9 Text A身为医生意味着什么？过去几十年间，医学院校的课程设计及其实施发生了重大的变化，这在很大程度上反映了医学院院长和教师们的良苦用心，他们致力于帮助学生做更好的准备，以应对未来整个职业生涯中的各种挑战。
虽然实施的变革的确令人称赞，但仍有更多未竟之事。
我曾在许多场合提出，医学教育界只有对医学教育的目标做出更加清楚的界定，才会更加清楚需要做出何种改变。
我也曾建议，为了在医学教育的目标上取得共识，必须首先回答一个根本性的问题：身为医生意味着什么？这反应了我的信念，我认为医学教育的主要目的之一就是让学生深入学习身为医生的意味所在。
毕竟，当他们从医学院毕业时会被授予医生这个头衔，即使他们还没有做好从事实际医学实践的准备。
即使这样，当他们接受医生这个头衔时，难道不该理解身为医生的意味所在吗？提出这个问题，我不想对医生一词做出可以在字典中所找到的那种中规中矩的定义。
相反，我的目的是在医学教育界寻求对医生的特征，即个人素质的一致看法。
这些特质是指那些能够满足大众对于医生期待的品格属性。
已经有人提出，掌握可以运用到医学实践中的丰富知识和全套技能就是对身为医生意味着什么做出了阐释。
如今，做医生需要一些基本知识和技能毋庸置疑。
但是同样显而易见的是，医生所需的知识和技能因他们所选的职业道路的不同而有所不同。
因此，虽说医生要行医就必须掌握知识和技能，但是不可能通过确定所有医生必须掌握的知识和技能来阐释身为医生的意味所在。
但是，我认为如果想满足大众的期待，所有医生应当具备一些特有的个性特质，而正是这些特质界定了医生身份的本质。
首先，医生必须关心病人。
美国医学年鉴中最著名的引文之一是Francis Peabody 1925年对哈佛医学院学生的演讲。
Peabody在演讲中说：“照顾病人的秘诀在于关心病人。
”有许多文采灼灼的文章描述了病人是多么看重真正被医生关怀的价值。
但是在现代社会，医务工作者经常把关怀等同于治疗，有时他们倾向于将自己的角色局限于提供能够让病人病愈康复的治疗。
Unit 4 翻译环保的当今时代是约半个世纪之久。
那段时间意识不断壮大，我们所面临的挑战知识增加，而重要的实践已经取得了进展，例如在一些减少各种污染，并在建立保护区。
我们是，但是，仍然由协调人什么我们的星球能提供可持续的要求很远。
人与自然之间的不平衡的后果是出现在改变地球的气候，动物和植物的势头，并在关键的资源，包括野生鱼类资源，淡水和土壤的枯竭的大灭绝。
而这些环境压力不是一成不变的。
他们不断升级，随着我国人口的增长和国家继续为更多的经济增长的不懈追求。
如果我们要避免这些趋势的最严重后果则毫无疑问是较为迅速的进展将需要比迄今取得的，但我们在这里应该关注我们的努力？什么可能是在未来的半个世纪行动的优先领域？这让我感到眼前的主要挑战主要不是相对于良好的信息，更好的技术和良好的政策思路。
这些东西是至关重要的当然的，但所有这些东西都已经可用。
我们知道如何让清洁电力，节约资源，培育生物多样性。
我们知道如何规范污染，防止损坏的生态系统，如果我们想。
我们有这些能力的事实是不够的。
如果我们继续前进的决定性方式的争论它需要被重新定义。
我们需要从“做正确的事'上移动，谈到风险管理，促进抗灾能力。
要查看关爱地球的自然系统为某种道德选择的是完全误解了危机，我们都在这个挑战是关于人类社会的未来，而不是一些可选的慈善事业，我们可以留给慈善事业慷慨解囊，做社会改良。
嵌入了使我们从保护自然的人们保护自然为人们的叙述是这样的重新规划的重要组成部分。
我们正处在一个时期的后果，世界必须知道，健康的本质不是一些可选的精密而是一组不可缺少的物质资产。
如果这样的叙述是为了获得实际效果再想找性质后必须立即被看作不仅是一个环境的挑战，也是一个经济问题。
只要我们继续滑向两个方向行进，一方面是促进环保目标的同时，对其他直接矛盾与措施，以实现更多的经济增长，我们不再将无法取得真正的进展。
当涉及到经济学和生态学有大量的好思已经完成。
例如，在不同的经济措施，以取代成功与失败，生态税的改革更为现实的措施，收入转移的负担，污染，生态系统服务补偿，补贴的重定向和如何调动国内生产总值的原油措施融资以扩大清洁行业。
Unit 9TextHave you ever seen such operas as Carmen and Tristan ? And , how much do you know about opera ?The Nature of OperaFor well over three hundred years the opera has been one of the most alluring forms of musical entertainment. A special glamor is attached to everything connected with it —its arias, singers and roles, not to mention its opening nights. Carmen, Mimi, Violetta, Tristan —what characters in fact or fiction can claim, generation after generation, so constant a public?An opera is a drama that is sung. It combines the resources of vocal and instrumental music —soloists,ensembles, chorus, orchestra andballet withpoetry and drama, acting andpantomime, scenery and costumes.To combine the diverse elementsinto a unity is a problem that hasexercised some of the best mindsin the history of music.At first glance opera wouldseem to make impossible demandon the credulity of the spectators. It presents us with human beings caught up in dramatic situations who sing to each other instead of speaking. The reasonable question is (and it was asked most pointedly throughout the history of opera by literary men) :how can an art form based on so unnatural a procedure be convincing? The question ignores what must always remain the fundamental aspiration of art:not to copy nature but to heighten our awareness of it. True enough, people in real life do not sing to each other Neither do they converse in blank verse, as Shakespeare's characters do; nor live in rooms of which one wall is conveniently missing so that the audience may look in. All the arts employ conventions that are accepted both by the artist and his audience. The conventions of opera are more evident than those of poetry, painting, drama, or film, but they are not different in kind. Once we have accepted the fact that the carpet can fly, how simple to believe that it is also capable of carrying the prince's luggage.Opera functions in the domain of poetic drama. It uses the human voice to impinge upon the spectators' basic emotions —love, hate, jealousy, joy, grief —with an elemental force possible only to itself. The logic of reality gives way on the operatic stage to the transcendent logic of art, and to the power of music over the life of the heart.Study and PracticcComprehension of the TextI. Answer the following questions.1.When did opera become one of the most attractive forms of musical entertainment?2.What is opera?3.Why would opera seem to make impossible demands on the credulity of thespectators?4.What does the author mean by saying "once we have accepted the fact that thecarpet can fly how simple to believe that it is also capable of carrying the prince's luggage"?5.Do you like opera? Please tell the reason why you like it or dislike it.Summary WritingA. Use no more than 85 words to write a summary of the text.VocabularyⅢ. Match the items in column A to the phrases describing them in column B.A B1.alluring a. field2.glamor b. making sb. feel certain3.constant • c. unchanging4.diverse d. clear5.reasonable e. attractive6.convincing f. charm7.evident g. right8.domain h. all kinds ofIV. Fill in the blanks with the words or expressions given below. Change the form where necessary.1.I am sure that he will act on the doctor's ______ advice.2.The unpopular mayor was _____ _____ under attack in the newspapers.3.＿＿ , the picture did not look very good but after examining it carefullywe found that it was indeed a masterpiece4.Be sure not to say anything being misunderstood.5.We were ＿_ a discussion about yesterday's examination when the teacher walked into the classroom.6.How do you your＿_____ spare time usually?7.The high school is Nanjing Normal University.8.Jim liked reading science when he was young.9.The wild life in Africa is extremely i n species.10. Mr. Wilson was so hurried that one piece of his was left on the train.structureV. Rewrite the following sentences after the model.Model: People in real life do not sing to each other. They do not converse in blank verse either.People in real life do not sing to each other. Neither do they converse in blank verse.1.Paul couldn't dance, and he couldn't sing either.2.My brother Joe never learned to swim and he doesn't want to start now.3. I was not surprised at the news and my family were not surprised at the news either.4. Cathy had hardly said anything today and her mother had not said a word either.Ml. Fill in the blanks with"one”, "ones", "those” or"that”1. __________________________________ The conventions of opera are more evident than of poetry,painting,drama and film.2. ___________________________________ Watches produced in your factory are better than in ours.3. _ T here are only some green grapes left. The children have eaten all theripe .4. ____________________ The film is not so good as the we saw last Sunday.5. _______________________________________ The population of Shanghai is about four times as large as of Nanjingcloze1. Fill in the blanks? each word can be used only once. Make changes where necessary.One of the most important aspects of good musicianship is having a "good ear". This includes _____ (1) such as sight-singing, aural recognition and the ability to"play by ear". Sight-singing is the ability to sing a written melody without having _____ (2) it. It is the most frequently practiced case of the broader ability to hear all aspects of music in one's head while reading a written piece of music. The ability to recognize musical elements, such_____(3) melodic intervals or chords by ear, is aural recognition. A person skilled in aural _____ (4) can write down music which he or she hears. Playing by ear is the _____ (5) to play or _____ (6) a piece of music which one has heard without ever seeing it written _____ (7). All of these abilities are complementary, and a person_____ (8) practices one is likely to improve in the other areas as well. _____ (9), someone who is good at sight-singing written music probably also has the ability to write down melodies which he or she hears. The activity of working to improve one's ear is called ear_____ (10).第九单元文本你见过这样的歌剧卡门和特里斯坦？而且，有多少你对歌剧知道吗？大自然的Opera为超过三百年昆曲已被一个最诱人的音乐娱乐形式。
Unit 9How I Found My VoiceJames Earl Jones1 Today I am known for my voice as much as for my acting. It has been my goodfortune to receive jobs such as the speaking role of Darth Vader in George Lucas’s Star Wars trilogy and the voice-over announcer for CNN cable television. I also narrated Aaron Copland’s Lincoln Portrait on a compact disc I recorded with the Seattle Symphony. Perhaps my greatest honor came when I was asked to read the New Testament on tape.2 But it took a long time to believe such good things could happen to me. When Iwas a youngster I stuttered so badly I was completely unable to speak in public.3 Since I was eight I’d had trouble speaking. It was so bad that whenever I stoodup in class to read, the other kids snickered and laughed. I always sat down, my face burning with shame.4 I’m not sure what caused my stuttering. Perhaps it was an emotional problem. Iwas born in Arkabutla, Mississippi, and when I was about five, I moved to live with my grandparents on their farm near Dublin in northern Michigan. It was traumatic moving from the warm, easy ways of catfish country to the harsh climate of the north, where people seemed so different.5 Fortunately, my granddaddy was a gentleman, a farmer who taught me to lovethe land. He was short and he had a prodigious amount of energy. He even built a church to please grandmother, a fervent worshiper of the Lord. All sorts of people were invited to our little church; white, black and American Indian came together ina nondenominational fellowship. Granddad’s Irish heritage came out in his love forlanguage; during the week he used “everyday talk”, but on Sunday he spoke only the finest English.6 As much as I admired his fluency, I couldn’t come close to it. I finally quitSunday school and church, not wanting to be humiliated any more. All through my grade school years, the only way the teacher could assess my progress was for me to write down everything I had learned.7 Oh, I could talk, all right. Our farm animals knew that. I found it easy to call thepigs, tell the dogs to round up the cows, and vent my feelings to Fanny, the horse whose big brown eyes and lifted ears seemed to express interest in all I said. But when visitors came and I was asked to say hello, I could only stand, pound my feet,and grit my teeth. That awful feeling of my voice being trapped got worse as I grew older.8 Then when I was 14, Professor Donald Crouch came to our school. He was aretired college professor who had settled in nearby Brethren, a Mennonite community. When he heard that our agricultural high was teaching Chaucer, Shakespeare and other classics, he couldn’t stand not being a part of our school. So he left his retreat to teach us English, history and Latin.9 Donald Crouch was a tall, lean man with gray hair; English was his favoritesubject, poetry was his deepest love. He’s been an associate of Robert Frost. He helda book of poems as if it were a diamond necklace, turning pages as if uncoveringtreasures. He memorized a poem every day, explaining that if he ever lost his eyesight he would still be able to savor all that beauty.10 When he learned that I not only loved poetry but was writing it, we found akinship. There was, however, one difficulty between us. Professor Crouch (we always called him that) could not stand the fact I refused to read my poems to the class.11 “Jim, poetry is meant to be read aloud, just like sermons,” he pressed. “Youshould be able to speak those beautiful w ords.”12 I shook my head and turned away.13 Then he tricked me. I labored long and hard on a poem, and after handing it in Iwaited expectantly for his critique. It didn’t come. Instead, one day as the students assembled, he challenged me. “Jim, I don’t think you wrote this.”14 I stared at him in disbelief. “Why,” I started, anger flooding me, “of course Idid!”15 “Well, then,” he said, “you’ve got to prove it by getting up and reciting it frommemory.”16 By then the other students had settled at their desks. He looked at memeaningfully and nodded. With knees shaking, I walked up before my peers.17 “Jim will recite his latest poem,” announced Professor Crouch.18 For a moment I stood breathless. I could see smirks and wry smiles on somefaces. Then I began. And kept going. I recited my poem all the way through without hesitation or fault! I stood amazed and floated back to my desk in a daze, amid wild applause.19 Afterward, Professor Crouch congratulated me. “Aha,” he said. “Now we havesomething here. Not only will you have to write more poetry and read it aloud to know how good it feels, but I’m sure that you will want to read other writers’ poetrybefore the class.”20 I was dubious about that, but said I’d try.21 Soon I began to discover something other stutterers know. Most have noproblem singing because the lyrics’ rhythmic pattern flows by itself. I found the same cadences in poetry, and before long my fellow students actually looked forward to hearing me recite. I loved the rolling beat of The Song of Hiawatha, especially since I had Indian blood in my veins.22 I discovered I did have a voice, a strong one. Under Professor Crouch’s tutelage,I entered oratorical contests and debates. He never pushed anything at me again; hejust wanted all his students to wake up.23 As my stuttering disappeared, I began dreaming of becoming an actor, like myfather, who was then performing in New York City. No one in my family had ever gone to college. But encouraged by Professor Crouch, I took exams and won a scholarship to the University of Michigan.24 There I entered the drama department and after graduation fulfilled my ROTCresponsibility by serving with the Army’s Cold Weather Training Com mand on mountain maneuvers in Colorado.25 Later, on the GI Bill, I signed up with the American Theater Wing in New Yorkand supported myself between roles by sweeping floors of off-Broadway stages. In 1962 I earned an Obie for my role in an off-Broadway production of Othello, and have been an actor ever since.26 Meanwhile, I always kept in touch with my old professor, by letter andtelephone. Every time we talked it was always, “Hi, Jim. Read any good poetry lately?” He was losing his sight and I remembered his early explanation of why he had memorized poetry. In later years when I was doing Shakespeare’s Timon of Athens at the Yale Repertory Theater in New Haven, Connecticut, I phoned him.“Can I fly you in from Michigan to see it?”27 “Jim,” he sighed, “I’m blind now. I’d hate not to be able to see you acting. Itwould hurt too much.”28 “I understand, Professor,” I said, helped in part by the realization that thoughmy mentor could no longer see, he was still living in a world vibrant with all of the beautiful treasures he had stored.29 About two years later I learned Donald Crouch had passed on. When I wasasked to record the New Testament, I really did it for a tall, lean man with gray hair who had not only helped to guide me to the author of the Scriptures, but as thefather of my resurrected voice, had also helped me find abundant life.找回声音詹姆斯·厄尔·琼斯1 今天我在声音方面的名气一点都不逊色于我的表演。
