Unit 10产品说明书的翻译

Unit 10The TransactionWilliam Zinsser1 About ten years ago a school in Connecticut held “a day devoted to the arts,” and I was asked if I would come and talk about writing as a vocation. When I arrived I found that a second speaker had been invited —Dr. Brock (as I’ll call him), a surgeon who had recently begun to write and had sold some stories to national magazines. He was going to talk about writing as an avocation. That made us a panel, and we sat down to face a crowd of student newspaper editors, English teachers and parents, all eager to learn the secrets of our glamorous work.2 Dr. Brock was dressed in a bright red jacket, looking vaguely bohemian, as authors are supposed to look, and the first question went to him. What was it like to be a writer?3 He said it was tremendous fun. Coming home from an arduous day at the hospital, he would go straight to his yellow pad and write his tensions away. The words just flowed. It was easy.4 I then said that writing wasn’t easy and it wasn’t f un. It was hard and lonely, and the words seldom just flowed.5 Next Dr. Brock was asked if it was important to rewrite. “Absolutely not,” he said. “Let it all hang out, and whatever form the sentences take will reflect the writer at his most natural.”6 I then said that rewriting is the essence of writing. I pointed out that professional writers rewrite their sentences repeatedly and then rewrite what they have rewritten. I mentioned that E. B. White and James Thurber rewrote their pieces eight or nine times.7 “What do you do on days when it isn’t going well?” Dr. Brock was asked. He said he just stopped writing and put the work aside for a day when it would go better.8 I then said that the professional writer must establish a daily schedule and stick to it. I said that writing is a craft, not an art, and that the man who runs away from his craft because he lacks inspiration is fooling himself. He is also going broke.9 “What if you’re feeling depressed or unhappy?” a student asked. “Won’t t hat affect your writing?”10 Probably it will, Dr. Brock replied. Go fishing. Take a walk.11 Probably it won’t, I said. If your job is to write every day, you learn to do it like any other job.12 A student asked if we found it useful to circulate in the literary world. Dr. Brock saidthat he was greatly enjoying his new life as a man of letters, and he told several stories of being taken to lunch by his publisher and his agent at chic Manhattan restaurants where writers and editors gather. I said that professional writers are solitary drudges who seldom see other writers.13 “Do you put symbolism in your writing?” a student asked me.14 “Not if I can help it,” I replied. I have an unbroken record of missing the deeper meaning in any story, play or movie, and as for dance and mime, I have never had even a remote notion of what is being conveyed.15 “I love symbols!” Dr. Brock exclaimed, and he described with gusto the joys of weaving them through his work.16 So the morning went, and it was a revelation to all of us. At the end Dr. Brock told me he was enormously interested in my answers —it had never occurred to him that writing could be hard. I told him I was just as interested in his answers — it had never occurred to me that writing could be easy. (Maybe I should take up surgery on the side.)17 As for the students, anyone might think we left them bewildered. But in fact we probably gave them a broader glimpse of the writing process than if only one of us had talked. For of course there isn’t any “right” way to do such intensely personal work. There are all kinds of writers and all kinds of methods, and any method that helps people to say what they want to say is the right method for them.18 Some people write by day, others by night. Some people need silence, others turn on the radio. Some write by hand, some by typewriter or word processor, some by talking into a tape recorder. Some people write their first draft in one long burst and then revise; others can’t write the second paragrap h until they have fiddled endlessly with the first. 19 But all of them are vulnerable and all of them are tense. They are driven by a compulsion to put some part of themselves on paper, and yet they don’t just write what comes naturally. They sit down to commit an act of literature, and the self who emerges on paper is a far stiffer person than the one who sat down. The problem is to find the real man or woman behind all the tension.20 For ultimately the product that any writer has to sell is not the subject being written about, but who he or she is. I often find myself reading with interest about a topic I never thought would interest me — some unusual scientific quest, for instance. What holds me is the enthusiasm of the writer for his field. How was he drawn into it? What emotional baggage did he bring along? How did it change his life? It’s not necessary to want to spend a year alone at Walden Pond to become deeply involved with a writer who did.21 This is the personal transaction that’s at the he art of good nonfiction writing. Out ofit come two of the most important qualities that this book will go in search of: humanity and warmth. Good writing has an aliveness that keeps the reader reading from one paragraph to the next, and it’s not a question of gimmicks to “personalize” the author. It’s a question of using the English language in a way that will achieve the greatest strength and the least clutter.22 Can such principles be taught? Maybe not. But most of them can be learned.汇通威廉·津瑟1. 大约十年前，康涅狄格州有所学校举办了一次“艺术日”活动，他们问我是否愿意去谈谈职业写作是怎么回事。

Unit 10 Program DesignText 1 Computer LanguagesComputer languages have undergone dramatic evolution since the first electronic computers were built. Early on, programmers worked with the most primitive computer instructions—machine language. These instructions were represented by long strings of ones and zeroes. Soon, assembly language was invented. It maps machine instructions to human-readable mnemonics, such as ADD and MOV.In time, higher-level languages evolved, such as PASCAL, BASIC, COBOL, C, C++, and JA V A. These languages let people work with something approximating words and sentences, such as Let I = 100. These instructions were translated back into machine language by interpreters and compilers. An interpreter translates a program as it reads it, turning the program instructions, or code, directly into actions. A compiler translates the code into an intermediary form. This step is called compiling, and produces an object file. The compiler then invokes a linker, which turns the object file into an executable program.Because interpreters read the code as it is written and execute the code on the spot, interpreters are easy for the programmer to work with. Compilers, however, introduce the extra steps of compiling and linking the code, which is inconvenient. Because the time-consuming task of translating the source code into machine language has already been accomplished, compilers produce a program that is very fast each time it is run.The problems programmers are asked to solve have been changing. Today's programs use sophisticated "user-friendly interfaces," involving multiple windows, menus, and dialog boxes. The programs written to support this new approach are far more complex than those written just ten years ago. Generally, as programming requirements have changed, both languages and the techniques used for writing programs have evolved.参考译文计算机语言自从第一批电子计算机诞生以来，计算机语言已经发生了戏剧性的变化。

Product Safety Guide020-123456-02 CounterAct UR10Important Safety InformationRead this document carefully before installing or operating CounterAct UR10. Store the document in a location close to CounterAct UR10 for future reference.Product documentationFor installation, setup, and user information, see the product documentation available on the Christie website. Read all instructions before using or servicing this product.1. Access the documentation from the Chrsitie website:•Go to this URL: https:///ur102. On the product page, select the model and switch to theDownloads tab.Related documentationAdditional information on this product is available in the following documents.• CounterAct UR10 Installation and Setup Guide (P/N: 020-123456-00) • CounterAct UR10 User Guide (P/N: 020-123456-01)Model namesChristie CounterAct UR10 consists of the following models: • CounterAct UR10-B • CounterAct UR10-WNotationLearn the hazard and information symbols used in the product documentation.Danger messages indicate a hazardous situation which, if not avoided, could result in death or serious injury.Warning messages indicate a hazardous situation which, if not avoided, could result in death or serious injury.Caution messages indicate a hazardous situationwhich, if not avoided, could result in minor or moderate injury.Notice messages indicate a hazardous situation which, if not avoided, may result in equipment or property damage.Information messages provide additionalinformation, emphasize or provide a useful tip.Product labelsLearn about the labels that may be used on the product. Labels on your product may be yellow or black and white.General hazardsHazard warnings also apply to accessories once they are installed in a Christie product that is connected to power.Electrical HazardMandatory actionConsult the user guide.Unplug before opening.Wear a full face shield.Always wear gloves before servicingDo not touch the device with wet handsWear a safety helmet before servicingElectrical labelsIndicates the presence of a protective earthground.Additional safety labelsRisk of falling objects, make sure the ceiling is capable to bear 3 times as the weight of the product.Avoid direct exposure to the light sourceIndicates possible optical radiation emitted fromthe product.Indoor use onlyImportant safeguardsTo prevent personal injury and to protect the device from damage, read and follow these safety precautions.Safety and warning guidelinesWarning! If not avoided, the following could result in death or serious injury.•Read the instruction manual thoroughly before first use.Follow all the safety information. • Ensure the voltage given on the rating label or in theinstruction manual complies with the power supply.•Christie CounterAct products with patented Care222technology are not for use as or for medical devices.Caution!If not avoided, the following could result in minor or moderate injury.• Do not stare at the operating light source or direct thebeam at other people or animals. • UV-C HAZARD! UV-C emitted from this product. Avoideye and skin exposure to the unshielded product. Follow all installation and operation instructions.• Do not open the housing of the product withoutauthorization. Do not insert any objects or fingers into the housing interior. • Fire hazard! Do not cover the product / lampshade e. g.with paperboard or textiles.Notice. If not avoided, the following could result in property damage.• Do not install the product in the electric circuit loop witha dimmer or a dimmer switch. • All internal components of the product cannot be repairedby the user; Do not carry out maintenance work without permission • For indoor use only! Do not expose the product to rain orwet conditions. • The operating ambient temperature of the product is 0 -40°C.Installation safety and warning guidelinesDanger! If not avoided, the following could result in death or serious injury.• Risk of electric shock! Disconnect power beforeinstallation.• The product shall be installed by qualified electrician andwired in accordance with the latest IEE electrical regulations. • Make sure the product is grounded.Warning! If not avoided, the following could result in death or serious injury.• Risk of falling objects! Always wear a safety helmetbefore installation. • Tighten the bolts, nuts and all fastening sets. Do notover-tighten these fastening sets. • Make sure the ceiling is capable to bear 3 times as theweight of the product. • Make sure the product is securely installed.Caution! If not avoided, the following could result in minor or moderate injury.• Wear gloves to prevent hand injury during the installationof the brackets and bolts. • To avoid personal hazard and product damage, keep thechildren or pets away from the product and its accessories during assembly.AC power safety precautionsDanger! If not avoided, the following could result in death or serious injury.• Ensure the voltage given on the rating label / in theinstruction manual complies with the power supply.• Make sure the product is grounded.• Power supply system should be equipped with SPD(Surge protection Device) accordance with electrical regulations.UV-C lamp module safety precautionsCaution! If not avoided, the following could result in minor or moderate injury.• UV-C emitted from this product, avoid eye and skinexposure to the light source. • are authorized to disassemble or replace the UV-Cmodule. • Use protective eye wear and gloves when handling thelamp module. • Mercury is included, if a lamp breaks, ventilate the roomfor more than 20 mins and then remove the part with wearing gloves. • Keep the children or pets away from the UV-C module.Service and maintenance safety guidelinesDanger! If not avoided, the following could result in death or serious injury.• The product shall be maintained by Christie qualifiedtechnicians and wired in accordance with the latest IEEelectrical regulations. • Risk of electric shock! Disconnect power before servicing. • Make sure the product is grounded.• Risk of electric shock! Do not touch the product with wethands, always wear gloves before servicing.Warning! If not avoided, the following could result in death or serious injury.• Risk of falling objects! Always wear a safety helmetbefore servicing. • Tighten the bolts, nuts and all fastening sets. Do notover-tighten these fastening sets. • Make sure the product is securely installed.Caution! If not avoided, the following could result in minor or moderate injury.• PERSONAL INJURY HAZARD! Eye damage may resultfrom directly viewing the light produced by the lamp in this product. Always turn off the lamp before performing maintenance or service. • UV-C emitted from this product, always wear a faceshield and gloves before service and maintenance. • Mercury is included, if a lamp breaks, ventilate the roomfor more than 20 mins and then remove the part with wearing gloves.Power requirementsLearn about the power requirements for CounterAct UR10.Technical supportTechnical support for Christie Cinema products is available at: • **********************************• +1-877-334-4267• Christie Professional Services: +1-800-550-3061 or*********************** Technical support for Christie Enterprise products is available at:• North and South America: +1-800-221-8025 or************************************• Europe, Middle East, and Africa: +44 (0) 1189 778111 or******************************** • Asia Pacific (********************************):• Australia: +61 (0)7 3624 4888 • China: +86 10 6561 0240 • India: +91 (80) 6708 9999 • Japan: 81-3-3599-7481 • Singapore: +65 6877-8737 •South Korea: +82 2 702 1601• Christie Professional Services: +1-800-550-3061 or***********************。

Unit10 SectionA 1部分课文翻译1a部分翻译Look at the things at the yard sale．Do you have any of these things at home? How long hav you had them? 看这些在庭院拍卖会上的物品。

你家里有这些物品中的一些吗？你买它们多长时间了？1b部分翻译Listen and check(√)the facts you hear.听录音，在你听到的真实情况前打勾“√”。

___Jeff's family is having a yardsale.杰夫一家在举行庭院拍卖会。

___Amy thinks it's hard to sell her old things．埃米认为卖掉她的旧东西很难。

___Jeff has had his bike for more than 10 years．杰夫的自行车买了10多年了。

___Amy wants to keep her old things because they bring back sweet memories。

埃米想保留她的旧东西，因为它们勾起甜蜜的回忆。

___You can also give old things away to people in need．你还可以把旧东西捐赠给需要的人们。

1c部分翻译iPractice the conversation．Then make conversations about other things in the picture above.练习对话。

然后就上面图片中的其他物品编对话。

2a部分翻译Listen and check(√)the things Amy's family are gMng away and circle the things they are keeping.听录音，在埃米一家要捐赠的物品上打勾“√”，把他们要保留的物品圈出来。