新视野第二版4课文翻译
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第四册unit2sectionB24岁的阿加莎·墨丹妮·姆波戈,为人谦虚,谈吐温柔,算不上是个革命者的形象。
然而就在6个月前,她做了一件极富革命性的事情:她参加了肯尼亚恩布市的市长竞选,并且当选。
更令人感到意外的是,姆波戈女士是由区议会的同事们投票选出的,而那些人全是男性。
在肯尼亚乃至整个非洲,妇女的政治力量日益壮大。
恩布市是一个位于内罗毕东北部的农业地区,距内罗毕两个小时的车程。
对于生活在此地的数千妇女来说,姆波戈成了这种力量的标志。
1992年,姆波戈女士开始追寻她的从政梦想,她竞选了恩布市议员。
像其他打算从政的非洲妇女一样,她面对着很多阻碍:她缺钱,没有政治经验,要回答许多关于她个人生活的荒唐问题。
她说:“我的对手一口咬定我要与外市的人结婚并搬走。
”姆波戈还要面对本市妇女的诸多误解,她们中间有许多人起初并不愿意为她投票。
她成为捍卫妇女政治权利的使者,向妇女团体发表演说或者挎着手提包挨家挨户去做演讲,并给他们讲解政体,一讲就是数小时。
“她胜出我很高兴,因为是男人们选举了她,”恩布市的一位农民政治活动家利迪亚·基曼尼如是说。
“这正是我期望的结果,因为它似乎战胜了‘女人当不了领导者’这种观念。
”非洲妇女的教育已经成为政治活动家们着重考虑的问题。
有个机构已经在肯尼亚农村举办了十几次研讨会,目的是帮助妇女理解国家宪法以及民主政治制度的程序及理论。
一位资深的女政治活动家说,许多妇女连参政的最基本知识都没学过。
她说,有人教她们,在竞选运动中谁“给你半公斤面粉、200克食盐或一条面包”,就投票选谁。
妇女政治活动家们说她们正在与根深蒂固的文化传统作斗争。
这些传统要非洲妇女做饭、打扫屋子、照管孩子、种庄稼、收庄稼、支持丈夫。
她们通常不能继承土地,不能与丈夫离婚,不能理财,也不能从政。
然而,肯尼亚妇女从事政治活动并不是什么新现象。
在20世纪50年代争取独立的斗争中,肯尼亚妇女就经常秘密地为部队提供武器并监视殖民军的阵地。
Unit 4Preview肖胜文译文预览Speech may be the most obvious way by which we communicate with each other, but it is not necessarily the mostimportant.肖胜文译文说话可能是人与人之间最明显的交流方式,但不一定是最重要的。
Whether we are conscious of it or not, our “body language”expresses what we really feel.肖胜文译文不管我们是否意识到这一点,“体态语”表达了我们真实感觉。
If we use our gestures and facial expressions effectively, we canbetter express ourselves.肖胜文译文如果我们有效地使用手势和面部表情,我们可以更好地表达我们自己。
At the same time, we should remember that effectivecommunication is about what we want to express. Mastering allthe movements will not be enough if we do not feel strongly aboutwhat we are saying.肖胜文译文不过,我们应该记住有效沟通的关键在于我们想表达什么,如果一个人言不由衷,即使掌握了所有体态语也不足以有效沟通。
So, try to use different means of communication together toexpress what we really want to. This will help us make a goodimpression on others.肖胜文译文因此,尽量使用多种交流手段,表达出我们真正想表达的东西。
Unit 11. If you move into any place other than your own private home, make sure you know what the rules are about pets if you have one.出入除自己家以外的任何场所时,如果你带有宠物,一定要了解有关宠物的规定。
2. Some women coul d have made a good salary in job instead of staying at home, but they decided not to work for the sake of the family.一些女性完全可以不待在家里,而是去工作,挣一份不错的工资。
但是为了家庭,她们放弃了工作。
3. How can you justify such rudeness? You will pay heavily for that because they have sued you for damaging their good name. 你怎么为这样粗鲁的行为辩护? 你将会为此付出沉重的代价,因为他们已经以诋毁名誉的罪名起诉你了。
4. Criticism can be of great use; we may not like it at the time, but it can spur us on to greater things.批评有其重要作用;我们可能当时不喜欢它,但是它能激励我们去做更伟大的事情。
5. His uncompromising behavior, to which the public objected, l eft him bankrupt emotionally and financially.他毫不让步的行为遭到公众的反对,这使得他陷入了精神上崩溃、经济上破产的境地。
1. 这种植物只有在培育它的土壤中才能很好地成长。
(other than)The plant does not grow well in soils other than the one in which it has been developed.2. 研究结果表明,无论我们白天做了什么事情,晚上都会做大约两个小时的梦。
(may have done)Research findings show that we spend about two hours dreaming every night, no matter what we may have done during the day.3. 有些人往往责怪别人没有尽最大努力,以此来为自己的失败辩护。
(justify sth. by)Some people tend to justify their failure by blaming others for not trying their best.4. 我们忠于我们的承诺:凡是答应做的,我们都会做到。
(remain true to)We remain true to our commitment: Whatever we promised to do, we would do it.5. 连贝多芬的父亲都不相信自己儿子日后有一天可能成为世界上最伟大的音乐家。
爱迪生也同样如此,他的老师觉得他似乎过于迟钝。
(discount; be true of)Even Beethoven's father discounted the possibility that his son would one day become the greatest musician in the world. The same is true of Edison, who seemed to his teacher to be quite dull.6. 当局控告他们威胁国家安全。
新视野大学英语(第二版)读写教程第四册课文翻译(最新完整版)Unit 1section A名气之尾艺术家追求成名,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。
Unit8新视野大学英语4第二版课文及翻译I remember the very day that I became black.Up to my thirteenth year I lived in the little Negro town of Eatonville, Florida.<P1>It is exclusively a black town.The only white people I knew passed through the town going to or coming from Orlando, Florida.The native whites rode dusty horses, and the northern tourists traveled down the sandy village road in automobiles.The town knew the Southerners and never stopped chewing sugar cane when they passed.<P2>But the Northerners were something else again.They were peered at cautiously from behind curtains by the timid.<P3>The bold would come outside to watch them go past and got just as much pleasure out of the tourists as the tourists got out of the village.The front deck might seem a frightening place for the rest of the town, but it was a front row seat for me.My favorite place was on top of the <1>gatepost</1>.Not only did I enjoy the show, but I didn't mind the actors knowing that I liked it.I usually spoke to them in passing.I'd wave at them and when they returned my wave, I would say a few words of greeting.Usually the automobile or the horse paused at this, and after a strange exchange of greetings, <P4>I would probably "go a piece of the way" with them, as we say in farthest Florida, and follow them down the road a bit.If one of my family happened to come to the front of the house in time to see me, of course the conversation would be rudely broken off.<P5>During this period, white people differed from black to me only in that they rode through town and never lived there.<P6>They liked to hear me "speak pieces" and sing and wanted to see me dance, and gave me generously of their small silver for doing these things, which seemed strange to me, for I wanted to do them so much that I needed bribing to stop.Only they didn't know it.The colored people gave no coins.They disapproved of any joyful tendencies in me, but I was their Zora nevertheless.I belonged to them, to the nearby hotels, to the country—everybody's Zora.But changes came to the family when I was thirteen, and I was sent to school in Jacksonville.I left Eatonville as Zora.When I got off the <2>riverboat</2> at Jacksonville, she was no more.It seemed that I had suffered a huge change.I was not Zora of Eatonville anymore; I was now a little black girl.I found it out in certain ways.In my heart as well as in the mirror, I became a permanent brown—like the best shoe polish, guaranteed not to rub nor run.<P7>Someone is always at my elbow reminding me that I am the granddaughter of slaves.<P8>It fails to register depression with me.Slavery is something sixty years in the past.The operation was successful and the patient is doing well, thank you.The terrible war that made me an American instead of a slave said "Onthe line!".The period following the Civil War said "Get set!", and the generation before me said "Go!".Like a foot race, I am off to a flying start and I must not halt in the middle to look behind and weep.Slavery is the price I paid for civilization, and the choice was not with me.No one on earth ever had a greater chance for glory—the world to be won and nothing to be lost.<P9>It is thrilling to think, to know, that for any act of mine, I shall get twice as much praise or twice as much blame.It is quite exciting to hold the center of the national stage, with the audience not knowing whether to laugh or to weep.I do not always feel colored.Even now I often achieve the unconscious Zora of that small village, Eatonville.For instance, I can sit in a restaurant with a white person.We enter chatting about any little things that we have in common and the white man would sit calmly in his seat, listening to me with interest.At certain times I have no race, I am me.<P10>But in the main, I feel like a brown bag of mixed items <3>propped</3> up against a wall—against a wall in company with other bags, white, red and yellow.Pour out the contents, and there is discovered a pile of small things both valuable and worthless.Bits of broken glass, lengths of string, a key to a door long since decayed away, a rusty <4>knife-blade</4>, old shoes saved for a road that never was and never will be, a nail bent under the weight of things too heavy for any nail, a dried flower or two still with a little <5>fragrance</5>.In your hand is the brown bag.On the ground before you is the pile it held—so much like the piles in the other bags, could they be emptied, that all might be combined and mixed in a single heap and the bags refilled without altering the content of any greatly.A bit of colored glass more or less would not matter.<P11>Perhaps that is how the Great Stuffer of Bags filled them in the first place—who knows?我清楚地记得我成为黑人的那一天。
新视野第二版第四册1-7单元原文和翻译(排版清爽)Book 4 Unit 1Unit 1 Section AThe Tail of FameAn 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. The cruelty of success is that it often leads those who seek such success to participate in their own destruction."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. The conquest of fame is difficult at best, and many end up emotionally if not financially bankrupt. Still, impure motives such as the desire for worshipping fans and praise from peers may spur the artist on. The lure of drowning in fame's imperial glory is not easily resisted.Those who gain fame most often gain it as a result of exploiting their talent for singing, dancing, painting, or writing, etc. They develop a style that agents market aggressively to hasten popularity, and their ride on the express elevator to the top is a blur. Most would be hard-pressed to tell you how they even got there. Artists cannot remain idle, though. 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. After their enthusiasm has dissolved, the public simply moves on to the next flavor of the month. 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. The public simply discounts styles other than those for which the artist has become famous.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. The same is true of painters like Monet, Renoir, or Dali and moviemakers like Hitchcock, Fellini, Spielberg, Chen Kaige or Zhang Yimou. Their distinct styles marked a significant change in form from others and gained them fame and fortune. However, they paid for it by giving up the freedom to express themselves with other styles or forms.Fame's spotlight can be hotter than a tropical jungle-a fraud is quickly exposed, and the pressure of so much attention is too much for most to endure.It takes you out of yourself: You must be what the public thinks you are, not what you really are or could be. The performer, like the politician, must often please his or her audiences by saying things he or she does not mean or fully believe.One drop of fame will likely contaminate the entire well of a man's soul, and so an artist who remains true to himself or herself is particularly amazing. You would be hard-pressed to underline many names of those who have not compromised and still succeeded in the fame game. 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. 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. Extremely angered by her remarks, he sued the young man's mother, asserting that she had damaged his "good" name. He should have hired a better attorney, though. The judge did not second Wilde's call to have the woman pay fordamaging his name, and instead fined Wilde. He ended up in jail after refusing to pay, and even worse, was permanently expelled from the wider circle of public favor. When things were at their worst, he found that no one was willing to risk his or her name in his defense. His price for remaining true to himself was to be left alone when he needed his fans the most.Curiously enough, it is those who fail that reap the greatest reward: freedom! They enjoy the freedom to express themselves in unique and original ways without fear of losing the support of fans. 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. They may justify their failure by convincing themselves their genius is too sophisticated for contemporary audiences.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. Thomas Wolfe, the American novelist, had his first novel Look Homeward, Angel rejected 39 times before it was finally published. Beethoven overcame his father, who did not believe that he had any potential as a musician, to become the greatest musician the world. 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. Thomas Edison was thrown out of school in the fourth grade, because he seemed to his teacher to be quite dull. Unfortunately for most people, however, failure is the end of their struggle, not the beginning.I say to those who desperately seek fame and fortune: good luck. But alas, you may find that it was not what you wanted. The dog who catches his tail discovers that it is only a tail. The person who achieves success often discovers that it does more harm than good. So instead of trying so hard to achieve success, try to be happy with who you are and what you do. Try to do work that you can be proud of. Maybe you won't be famous in your own lifetime, but you may create better art.名气之尾艺术家追求成名,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。
新视野大学英语(第二版)读写教程4课后翻译答案汉译英Unit11.这种植物只有在培育它的土壤才能很好地成长。
The plant does not grow well in soils other than the one in which it has been developed.2. 研究结果表明,无论我们白天做什么,晚上都会做大约两个小时的梦。
Research findings show that we spend about two hours dreaming every night, no matter what we may have done during the day.3. 有些人往往责怪别人没有尽最大努力,以此来为自己的失败辩护。
Some people tend to justify their failure by blaming others for not trying their best.4.我们忠于我们的承诺:凡是答应做的,我们都会做到。
We remain tree to our commitment: Whatever we promised to do; we would do it.5.连贝多芬的父亲都不相信自己儿子日后有一天可能成世界上最伟大的音乐家。
爱迪生也同样如此,他的老师觉得他似乎过于迟钝。
Even Beethoven's father discounted the possibility that his son would one day become the greatest musician in the world. The same is true of Edison, who seemed to his teacher to be quite dull.6.当局控告他们威胁国家安全。
They were accused by authorities of threatening the state security.1. If you move into any place other than your own private home, make sure you know what the rul es are about pets if you have one.出入除自己家以外的任何场所时,如果你带有宠物,一定要了解有关宠物的规定。
1.a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。
a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。
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。
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。
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。
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。
但是,他真该请一个更好的律师。
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。
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。
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。
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。
奇怪的是,收获最大的恰恰是失败者。
他们收获了自由!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。
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。
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。
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。
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。
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。
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。
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。
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。
对那些孤注一掷的追名逐利之徒,我要说:祝你们好运。
但是,遗憾的是,你会发现这不是你想得到的。
狗自逐其尾所得到的只是一条尾巴而已。
获得成功的人常常发现成功对他来说弊大于利。
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。
做那些你为之感到骄傲的事情。
可能在有生之年你默默无闻,但你可能创作了更好的艺术。
2.a他出生在伦敦南部的一个贫困地区。
他穿的短袜是从妈妈的红色长袜上剪下来的。
他的妈妈一度被诊断为精神失常。
狄更斯或许能创作出查理·卓别林的童年故事,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。
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)。
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。
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”。
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。
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。
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。
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?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。
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。
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。
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。
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,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。
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。
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。
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。
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!”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。
他也深切地渴望被爱,同时也害怕遭到背叛。
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。
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。
“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。
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。
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。
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。
卓别林死于1977年圣诞节。
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。
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。
2.b24岁的阿加莎·墨丹妮·姆波戈,为人谦虚,谈吐温柔,算不上是个**者的形象。
然而就在6个月前,她做了一件极富**性的事情:她参加了肯尼亚恩布市的市长竞选,并且当选。
更令人感到意外的是,姆波戈女士是由区议会的同事们投票选出的,而那些人全是男性。
在肯尼亚乃至整个非洲,妇女的政治力量日益壮大。
恩布市是一个位于内罗毕东北部的农业地区,距内罗毕两个小时的车程。
对于生活在此地的数千妇女来说,姆波戈成了这种力量的标志。
1992年,姆波戈女士开始追寻她的从政梦想,她竞选了恩布市议员。
像其他打算从政的非洲妇女一样,她面对着很多阻碍:她缺钱,没有政治经验,要回答许多关于她个人生活的荒唐问题。
她说:“我的对手一口咬定我要与外市的人结婚并搬走。
”姆波戈还要面对本市妇女的诸多误解,她们中间有许多人起初并不愿意为她投票。
她成为捍卫妇女政治权利的使者,向妇女团体发表演说或者挎着手提包挨家挨户去做演讲,并给他们讲解政体,一讲就是数小时。
“她胜出我很高兴,因为是男人们选举了她,”恩布市的一位农民政治活动家利迪亚·基曼尼如是说。
“这正是我期望的结果,因为它似乎战胜了‘女人当不了领导者’这种观念。
”非洲妇女的教育已经成为政治活动家们着重考虑的问题。
有个机构已经在肯尼亚农村举办了十几次研讨会,目的是帮助妇女理解国家宪法以及民主政治制度的程序及理论。
一位资深的女政治活动家说,许多妇女连参政的最基本知识都没学过。
她说,有人教她们,在竞选运动中谁“给你半公斤面粉、200克食盐或一条面包”,就投票选谁。
妇女政治活动家们说她们正在与根深蒂固的文化传统作斗争。
这些传统要非洲妇女做饭、打扫屋子、照管孩子、种庄稼、收庄稼、支持丈夫。
她们通常不能继承土地,不能与丈夫离婚,不能理财,也不能从政。
然而,肯尼亚妇女从事政治活动并不是什么新现象。
在20世纪50年代争取独立的斗争中,肯尼亚妇女就经常秘密地为部队提供武器并监视殖民军的阵地。
但是独立之后,领导者们惟恐失去自己的权力,将妇女排斥在政界之外。
这种现象在非洲大陆随处可见。