Unit8新视野大学英语4第二版课文及翻译

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.

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.

But the Northerners were something else again.

They were peered at cautiously from behind curtains by the timid.

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.

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, 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.

During this period, white people differed from black to me only in that they rode through town and never lived there.

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 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.

Someone is always at my elbow reminding me that I am the granddaughter of slaves.

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 "On the 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.

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.

But in the main, I feel like a brown bag of mixed items

<3>propped 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, 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.

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.

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。

13岁之前我一直住在佛罗里达州的一个黑人小镇伊顿维尔。

小镇的居民全是黑人。

我所认识的白人都是来自佛罗里达的奥兰多或是去往奥兰多的过路人。

本地的白人骑着风尘仆仆的马匹，而北方来的旅游者则驾着汽车沿着乡下的沙土路一路驶来。

小镇的人见惯了南方人，因此他们经过时小镇的人照旧大嚼甘蔗。但是看到北方人则是另一回事。

胆怯的人躲在窗帘后小心翼翼地偷看他们，

胆大的则会走到屋外看着他们经过，感到很有趣，就像这些旅游者看

到这村庄也感到很有趣一样。

门前平台可能是镇上其他人不敢去的地方，但对我来说，那儿就像前排座位一样。

我最爱坐在门柱上。

我喜欢在那儿看人们来来往往，也不在乎让那些人知道我喜欢看他们，通常还与他们搭几句话。

我向他们挥手，如果他们也向我挥手，我还会与他们打招呼。

骑马或驾车的人通常会停下来，我们不可思议地互打招呼之后，我可能会随着他们“颠儿几步”，这是我们佛罗里达最南边的说法，意思

是跟着他们走上一小段路。

如果正巧赶上家里人来到房前看见我，他们就会毫不客气地打断我们的交谈。

那段日子里，在我看来，白人和黑人的区别只不过是他们路过小镇，但从不住在这里。

他们喜欢听我“说几句”，喜欢听我唱歌，看我跳舞，并为此大方地

给我小银币这倒使我感到意外，因为我太愿意跟他们“说上几句”，

太愿意为他们唱歌跳舞了，他们给我钱时我才会停下来。

只是他们不知道这一点。

黑人不会给我钱，

对我表现出的任何一点欢乐的苗头，他们都不赞同。但我仍然是他们

的佐拉，

我是属于他们，属于周围的旅馆，属于那个地方，属于每一个人的佐拉。

但我13岁时，家里发生了变故，我被送到杰克逊维尔的学校去了。

离开伊顿维尔时我还是我，佐拉。

可在杰克逊维尔下了船后，原来的佐拉不复存在了。

我似乎发生了巨大的变化，

我再也不是伊顿维尔的佐拉了，我现在成了个小黑妞，

在好些方面都是。

在镜中，在内心深处，我变成了永远不黑不白的棕色人──就像最好的鞋油，抹不掉，不褪色。

身边总有人提醒我自己是奴隶的后代，

但这并没有使我沮丧。

奴隶制是60年前的事了。

解放黑奴的这场手术很成功，病人的情况也不错，谢谢。

这场使我从黑奴变为美国公民的可怕战争喊道“各就位！”

内战后的那段时期说“预备！”我的上一代人则喊“跑！”

就像一场赛跑一样，我飞速起跑，决不可中途停步，伤心回望。

身为黑奴是我为文明生活所付出的代价，而作出这一选择的并不是我。世界上再没有什么人有过比这更大的争取荣耀的机会了。

想想将要获得的新生活，而且我们不会有任何损失。不管我做什么，都可能得到双倍的嘉奖，或是双份的责难。想想这一点，知道这一点都令人激动不已。

占据国内舞台的中心可真刺激，而台下的观众则不知是喜是忧。

我没有总是感到自己是有色人种。

甚至现在我还常常感觉自己还是伊顿维尔小镇上懵懂无知的佐拉。

比如，我可以在餐馆和一位白人坐在一起。

我们闲谈一些都经历过的平常琐事，白人会安静地坐着，兴味盎然地听我讲。

有时候我不属于任何人种，我就是我自己。

但我大体上还是感觉自己像一只靠墙立着的装满各种杂物的棕色袋子。靠墙立着的还有其他颜色的袋子，白色的，红色的，黄色的。

倒出袋中的物品，可以发现一堆或有用或无用的小杂物：

碎玻璃块，小线头儿，一扇早已朽坏的门上的钥匙，一把锈蚀的刀，一双为某条从来没有、将来也不会有的路而准备的旧鞋，一根弯曲的钉子（它所承受过的重量足以弄折任何钉子），一两支仍散发出几许花香的干花。

你手中拿的是棕色的袋子，

面前的地上则是袋中所装的那堆东西──与其他袋子中所倒出的东

西几乎一模一样，如果把它们混成一大堆，再分装到各自的袋中，也

不会有多大的不同。

多少有点有色玻璃片也没有什么关系。

也许当初上帝这个装袋者往我们各自的袋中填塞时正是这么做的，谁知道呢？

新视野大学英语4第二版课文翻译

Unit 1 Section 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。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。

新视野大学英语四翻译

第一单元 The Doctrine of the Mean is the core ofConfucianism. The so-called “mean” by Confuciusdoesn’t mean “compromise” but a “moderate”and “just-right” way when understanding andhandling objective things. Confucius advocatedthat this thought should not only be treated as away to understand and deal with things but alsobe integrated into one’s daily conduct to makeit a virtue through self-cultivation and training. The Doctrine of the Mean is not only the core ofConfucianism but also an important componentof traditional Chinese culture. From the time itcame into being to the present, it has played aninvaluable role in the construction of nationalspirit, the transmission of national wisdom, and the development of national culture. 中庸思想是儒家思想的重要内容。孔子所谓的“中”不是指“折中”，而是指在认识和处理客观事物时的一种“适度”和“恰如其分”的方法。孔子主张不仅要把这种思想作为一种认识和处理事物的方法来看待，而且还通过自身修养和锻炼，把它融入自己的日常行为当中，使之成为一种美德。中庸思想是儒家思想的

第三版新视野大学英语第二册课文翻译

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

最新新视野大学英语读写教程第四册(第二版)课文翻译uint-1

Unit 1 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,

新视野大学英语4读写教程翻译

一、 1.这种植物只有在培育它的土壤中才能很好地成长。(otherthan) Theplantdoesnotgrowwellinsoilsotherthantheoneinwhichithasbeendeveloped. 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。(mayhavedone) Researchfindingsshowthatwespendabouttwohoursdreamingeverynight,nomatterwhatwemayhav edoneduringtheday. 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。(justifysth.by) Somepeopletendtojustifytheirfailurebyblamingothersfornottryingtheirbest. 4.我们忠于我们的承诺：凡是答应做的，我们都会做到。(remaintrueto) Weremaintruetoourcommitment:Whateverwepromisedtodo,wewoulddoit. 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;betrueof) EvenBeethoven'sfatherdiscountedthepossibilitythathissonwouldonedaybecomethegreatestmusici anintheworld.ThesameistrueofEdison,whoseemedtohisteachertobequitedull. 6.当局控告他们威胁国家安全。(accusesb.ofsth.) Theywereaccusedbytheauthoritiesofthreateningthestatesecurity. 二、 1.要是这部喜剧中的人物更幽默些的话，就会吸引更多的观众。(if...had+pastparticiple,would+have+pastparticiple) Ifthecharactersinthiscomedyhadbeenmorehumorous,itwouldhaveattractedalargeraudience. 2.她从未对自己的能力失去信心，因此她有可能成为一名成功的演员。(itisapossibilityto)Shehasneverlostfaithinherownability,soitisapossibilityforhertobecomeasuccessf ulactress. 3.我从未受过正式培训，我只是边干边学。(goalong) Ineverhadformaltraining,IjustlearnedasIwentalong. 4.随着产品进入国际市场，他们的品牌知名度越来越高了。(findone'swayinto) Astheirproductsfindtheirwayintotheinternationalmarket,theirbrandisgaininginpopularity. 5.她可以编造一个故事，说自己被窃贼打昏，所有的钱都没了，但她怀疑自己是否能让这故事听起来可信。(makeup) Shecouldmakeupastorybysayingshewasknockedunconsciousbythievesandthatallhermoneywasgo ne,butshedoubtedwhethershecouldmakeitsoundbelievable. 6.谁都不清楚他是否故意推迟了这次访问，可是这引起了对他更多的批评。(on purpose) No one was certain whether he postponed the visit on purpose, but this brought more criticism of him. 三、 1.据报道有七八位官员收受贿赂，市长决定亲自出马调查这件事。(be reported to; look into) Seven or eight officials are reported to have taken bribes and the may or has decided to look into the affair in person. 2. 这些工人后悔当时接受管理部门的意见重新回去工作。现在他们再次面临失业的危险了。(regret doing sth.; yield to; be faced with) These workers regret yielding to the management's advice and going back to work. Now they are again faced with the threat of losing their jobs. 3. 你只需填写一张表格就可取得会员资格，它可以使你在买东西时享受打折的优惠。

新视野大学英语2 第二单元课文中文翻译

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。

新视野大学英语第四册课文原文

1A 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. 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 for damaging 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 in 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. 1B One summer day my father sent me to buy some wire and fencing to put around our barn to pen up the bull. At 16, I liked nothing better than getting behind the wheel of our truck and driving into town

新视野大学英语4 读写教程 4课后翻译答案

The International Atomic Energy Agency (IAEA) is the world's center of cooperation in the nuclear field. It was set up as the world's "Atoms for Peace" organization in 1957 within the United Nations family. The Agency works with its member states and multiple partners worldwide to promote safe, secure and peaceful nuclear technologies. As an independent international organization related to the United Nations system, the IAEA's relation ship with the UN is regulated by special agreement. In terms of its Statute, the IAEA reports annually to the UN General Assembly and, when appropriate, to the Security Council regarding non-compliance by States with their safeguards obligations as well as on matters relating to international peace and security. The IAEA Secretariat is headquartered in Vienna, Austria. Operational liaison and regional offices are located in Geneva, Switzerland; New York, USA; Toronto, Canada; and Tokyo, Japan. The IAEA's mission is guided by the interests and needs of member states, strategic plans and the vision embodied in the IAEA Statute. Three main pillars or areas of work underpin the IAEA's mission: Safety and Security; Science and Technology; Safeguards and Verification. 国际原子能机构是世界核领域的合作中心，它于1957年作为世界性的“原子能为和平服务”的组织而建立，成为联合国大家庭的一员。该机构与其成员国及世界各地的众多伙伴合作，共同促进安全、稳定、和平的核技术发展。作为一个与联合国体制相关的独立国际性组织，国际原子能机构与联合国的关系是由特别协议规定的。就其章程而言，国际原子能机构每年要向联合国大会作汇报，并适时就一些成员国不遵从其保障义务及涉及国际和平与安全的事宜向安理会作汇报。国际原子能机构秘书处总部设在奥地利的维也纳，行动联络组和区域办公室分设在瑞士日内瓦、美国纽约、加拿大多伦多和日本东京。国际原子能机构的使命以其成员国的利益和需要为指南，战略规划及前景则体现在其章程之中。三个主要支柱或工作领域为国际原子能机构的使命提供着支撑：安全与保障、科学与技术、保卫与核查。 城乡一体化是我国现代化和城市化发展的一个新阶段, 是要通过对城乡发展实行统筹规划，并通过体制改革和政策调整，破除城乡二元经济结构，实现城乡在政策上平等，在产业发展模式上互补，让农村居民享受到与城镇居民同样的文明和福利。城乡一体化是一项重大而深刻的社会变革。它使整个城乡经济能够全面、协调、可持续地发展。只有大力推进城乡一体化，妥善处理城乡关系，加强城乡合作，缩小城乡差距，才能确保到2020年我国实现全面建设小康社会的宏伟目标。 Urban-rural integration is a new stage of China's modernization and urbanization process. It aims to break the urban and rural dual economic structure through making integrated plans for urban and rural development, and through system reform and policy adjustment, so that the urban and rural areas will finally achieve equal policies and realize complementary developing patterns, enabling the rural residents to enjoy the same level of civ ilization and equal benefits with the urban residents. Urban-rural integration is a significant and profound social reform which enables comprehensive, coordinated and sustainable development of the entire urban-rural economy. Only by enhancing urban-rural integration, and by properly managing urban-rural relationships, increasing urban-rural collaboration, and narrowing the gap between urban and rural areas, can we

新视野大学英语4翻译

1. 这种植物只有在培养它的土壤中才能很好的生长。 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，无论我们白天做了什么事情，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，一次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. 我们终于我们的承诺：凡是答应做的，我们都会做的。 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。 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. 要是这部喜剧中的人物更加幽默些的话，就会吸引更多的观众。 If the characters in this comedy had been more humorous, it would have attracted a larger audience. 2. 她从未对自己的能力失去信心，因此她有可能成为一名成功的演员。 She has never lost faith in her own ability, so it is a possibility for her to become a successful actress. 3.我从未受过正式培训，我只是边干边学。 I never had formal training, I just learned as I went along. 4. 随着产品进入国际市场，他们的品牌知名度越来越高了。 As their products find their way into the international market, their brand is gaining in popularity. 5. 她可以编造一个故事，说自己被窃贼打昏，所有的钱都没了，但她怀疑自己是否能够让这个故事听起来可信。 She could make up a story by saying she was knocked unconscious by thieves and that all her money was gone, but she doubted whether she could make it sound believable. 6.谁都不清楚他是否故意推迟了这次访问，可是这引起了对他的更多的批评。 No one was certain whether he postponed the visit on purpose, but this brought more criticism of him. 1. 据报道有七八位官员收受贿赂，市长决定亲自出马调查这件事。 Seven or eight officials are reported to have taken bribes and the mayor has decided to look into the affair in person. 2. 这些工人后悔当时接受管理部门的意见重新回去工作。现在他们再次面临失业的危险了。These workers regret yielding to the management's advice and going back to work. Now they are again faced with the threat of losing their jobs. 3. 你只需填写一张表格就可取得会员资格，它可以使你在买东西的时候享受打折的优惠。You only need to fill out a form to get your membership, which entitles you to a discount on goods. 4. 不知道为什么他们的汽车在半路坏掉了，结果他们比原计划晚到了三个小时。

新视野大学英语第三版第二册读写课文翻译

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。”