高级英语Lesson-6-(Book-2)-Disappearing-Through-the-Skylight-课文翻译

Lesson 6 Disappearing Through the Skylight

从天窗中消失

小奥斯本·本内特·哈迪森

科学是能够为人们普遍接受的。有一个事实可用来说明这一点：一门科学发展程度越高，其基本概念就越能为人们普遍接受。举例而言，世界上就只有一种热力学，并不存在什么分开独立的中国热力学、美国热力学或者苏联热力学。在二十世纪的几十年的时间里，遗传学曾分为两派；西方遗传学和苏联遗传学。后者源于李森科的理论，即环境的作用可能造成遗传基因的变异。今天，李森科的理论已经被推翻，因此，世界上就只有一种遗传学了。

作为科学的自然产物，工艺技术也显示出一种世界通用的倾向。这就是为什么工艺技术的发展传播使世界呈现出一体化特征的原因。原本各异的世界各地的建筑风格、服饰风格、音乐风格——甚至饮食风格——都越来越趋向于变成统一的世界流行风格了。世界呈现出同一性特征是因为它本来具有同一性。在这个世界上长大的儿童感受到的是一个千篇一律的世界而不是一个多样化的世界。他们的个性也受到这种同一性的影响，因此，在他们的感觉中，不同文化和个人之间的差异变得越来越小了。由于世界各地的建筑越来越千篇一律，居住在这些建筑里的人也越来越千人一面了。这样带来的结果用一句人们已经听熟的话来描述再恰当不过：历史要消失了。

以汽车为例即可非常清楚地证明这一点。诸如流线型或全焊接式车身结构一类的技术革新，一开始可能不被人接受，但假如这种技术革新在提高汽车制造业的工作效率和经济效益方面确有巨大作用，它便会一再地以各种变异的形式出现，直到最终它不仅会被接受，而且会被大家公认为是一种宝贵的成果。今天的汽车再也找不出某个汽车公司或某个民族文化的标志性特征了。一般的汽车，不管产于何地，其基本特征都大同小异。

几年前，福特汽车公司制造出一种菲爱斯塔牌汽车，并将其称为“世界流行车”。这种车出现在广告上的形象是周围环绕着世界各国的国旗。福特公司解释说，这种汽车的汽缸活塞是英国产的，汽化器是爱尔兰造的，变速器是法国产的，车轮是比利时产的，诸如此类，等等等等。

这种菲爱斯塔牌汽车现在似乎已完全销声匿迹了，但这种制造世界流行汽车的设想计划却是势在必行的。这表明汽车业也像建筑等行业一样在向国际流行风格的方向发展。菲爱斯塔牌汽车问世十年后，所有大型汽车制造公司都已国际化。

美国人在欧洲、亚洲和南美洲都设了汽车厂。欧洲人和日本人也把他们的汽车厂设到了美国、南美洲以及苏联(菲亚特公司的工人在那儿可以喝到百事可乐来消乏解渴)。当时机成熟的时候，这些跨国型的汽车制造公司还会把他们的汽车厂设在埃及、印度和中华人民共和国。

汽车制造业的情形也像建筑业的情形一样。在一定的成本范围内，相同的工艺技术就能产生相同的产品。证明这一点的直观证据在汽车方面和建筑方面一样，都是显而易见的。今天，如果要你在同一价格档次的各型汽车中进行选择，从距离五百步的地方看是很难分辨出各种不同牌子型号的汽车的。换句话说，六十年代里美国汽车还保留着的美国特色——美国汽车中那种与美国历史相联系的特点——正在逐渐消失。甚至连德国的大众汽车公司的大众甲壳虫型汽车也丧失了自身原有的特色，而通过自己车型的变化演示了从达西·汤普森到卡尔·布里尔到费迪南德·波尔舍一代一代的流线型汽车设计发展史。

人创造了机器，而机器反过来也能塑造其创造者。由于汽车已普遍化，使用汽车的人也就司空见惯了。现代社会的人像他们驾驶的世界流行汽车一样正变得越来越彼此雷同。他们不再具有鲜明的个性特征，再不是某个特殊地理文化环境里孕育出来的特殊个人了。他们可以从一个装设空调的市场到另一个市场，从一个机场到另一个机场，从一个假日酒店到三百英里外的另一家酒店，不停地旅行运动，但他们所处的环境却可能永远一个样。他们是世界人，他们为此付出的代价是他们不再拥有一个传统意义的家。他们从中得到的好处则是开始觉得传统意义上的家是牢笼的别称，而现代意义的家则无处不是，自己身边周围的人又无不是自己的邻友。

工艺技术的普遍应用是不可抗拒的。只要没有核战争给世界带来毁灭性灾难，这种应用将继续影响现代文化以及创造这种文化的现代人的思想意识。

这又把我们的注意力带回到艺术和历史方面来了。迦百列布菲·皮卡比阿夫人追忆弗朗西斯·皮卡比阿和马塞尔·杜尚的早期作品时对1949年机器美学的产生作了这样的描写：“我记得有一个时期……每一位艺术家表示对埃菲尔铁塔的蔑视，谴责这座污染天空，亵渎神明的建筑是自己义不容辞的责任……机器……的发明与发展很快就提出了一些传统思维完全无法解决的命题，一种全新的、灵活的、超出人的理解力的可塑性……”

曾有人下定义说，艺术就是一种给现实世界命名的尝试。机器是“现实世界”本身还是仅仅是其表面呢?现实世界容易发现吗?科学已经证明，世界是虚无的。这就动摇了人们认为世界的物质是客观实在的信念。同时，科学又创造出了潜存于客观实在之中的各种不同种类和范畴的现实世界的形象。机器的形象与细胞、分子或是银河系这些物体形象相比较，哪一个更实在呢?科学还创造出了纯

属人造物的形象。一个张牙舞爪的龙的形象比分子的形象是更接近现实还是更远离现实呢?

现代科学对世界万物的客观实在性的怀疑意味着对艺术的性质需重新评价，这与康定斯基在《论艺术中的精神因素》一书中对美的艺术所作的评价是十分吻合的。他说，美的艺术是“发自人的灵魂深处的需要”。现代艺术所描绘的并不是用眼睛看到的物质世界的客观现实，而是人的内心世界所反映的现实。因为现代艺术所描绘的世界不是客观存在的物质世界，而是人的内心世界，所以，它是一个完全丧失了历史的世界。

因此，历史的消失是一种解放——即布菲皮卡比阿夫人所谓的“一种全新的、灵活的、超出人的理解力的可塑性”的发现。像科学一样，现代艺术往往也是通过玩耍的方式来表达这种思想解放的——在绘画艺术方面是通过毕加索和琼·米罗的玩耍性作品，在诗歌艺术方面是通过达达派的朦胧诗以及诸如华莱士·斯蒂文斯的《C字母一样的喜剧演员》一类的滑稽史诗。

现代美学的玩耍性说到底是其最突出的，也是最严肃的，而必然地也是最令人不安的特征。这种玩耍性是模仿产生了博奕论、虚构粒子和黑洞的科学的荒诞性。这种科学的玩耍性还通过把人的生长基因植入牛体，迫使伦理学的研究者重新审定食人肉的习性的定义。玩耍在现代美学中的重要性不应引起惊讶。它在发达世界的每座城市里都通过后现代主义和新现代主义的奇形怪状和荒诞的建筑物，通过把各种建筑风格奇特地拼凑在一起得到反映，而这恰恰是拼贴画式的城市和无计划的大杂烩城市的典型表现。

今天，现代文化包括了国际风格的几何图形、传统门面与新型建筑相结合的奇特图案以及主题公园和博物馆村庄的游戏绝招。这种文化有时装成是静态的，但实际上却是生机勃勃的。体现这种文化的建筑移动、摇摆，就像做梦一样，反映了周围发生的一切。这种文化向其公民展示了体现几何图形的直线结构，如管道、州际公路和高压电线，也展示了富有艺术性的流线型克莱斯勒公司的气流汽车、波音747飞机以及硅片集成电路上的精细网织图案。现代文化也向其公民展示了无情地引人注目的庞然大物——油轮和推土机以及结构玩具的复杂设计、短线拱顶和登月车辆。它充满了想象、声音和价值，完全不同于我们肉眼所看到的我们周围世界的自然景物。

现代文化是一个显示人的特点的世界，但又不是人们想象的那种模样。它所表现的形象不是列奥纳多自画像上那种倦怠憔悴的面容，更不是每天早晨从浴室镜子里见到的模模糊糊、平平淡淡的面孔。这些都是历史的本来面目了。现代文化是一种永远具有玩耍性而又朝气蓬勃的力量；这种力量可以创造出某种秩序，不管这种秩序是否客观存在于现实世界之中；而且，在创造出一种秩序后，又完

全有可能打破这种秩序，再创一个完全不同的新秩序，就像一个小孩玩积木时已经拼造出一种结构后又毫无恶意地以纯粹的玩耍态度拆散重拼一样。这就是它使人类显示其特点的形象。

十九世纪的银行一般都是以大理石或花岗石砌成的新古典式建筑，正面装饰着一排排粗重的廊柱。它们向世人宣告：“我们坚不可摧；我们永不衰朽；我们像历史一样令人信赖。您的钱储放在我们的地下保险库里可保绝对完全。”

今天的银行却是一些钢架玻璃结构的虚无飘渺的建筑，或是一些门前装有像自动售货机一样的计算机终端设备的商店门面，或是一些停放在城郊商业中心停车场上的挂车式活动房屋。

原先的地下保险库如今也换成了磁带来替代其职能。钱在电脑中变成了一系列数字信号，这些数字信号要不断地经过其他电脑一次次地录入、删除、处理、再处理并不断加以修改。现代银行向世人宣告的是：“我们像艺术般的抽象，几乎像水晶宫般的无形。假如我们还存在的话，我们也只是以一种虚无飘渺的媒介而存在，通过这种媒介您们的交易得以进行，您们的财富得以增值。”

也许这就可以成为现代美学发展的逻辑上的极限。如果这样的话，这个极限点距离我们还有一段较长的路程，但其模糊的轮廓透过路上弥漫着的薄雾已依稀可辨。正如物质世界的客观现实逐渐消失于人们的头脑中一样，可以说，现代银行也正从自己的天窗中逐渐消失。

高级英语第三版课后答案整理

Lesson 1 Question: 1. Why did John Koshak decide to stay although he knew the hurricane would be bad? For the following reasons: For one thing, the house was 23 feet above sea level; for another,he was unwilling to abandon his home. 2. How did the man prepare for the hurricane? Why was a generator necessary? They filled bathtubs and pails. Besides, they checked out batteries for portable radio and flashlights, and fuel for the lantern. A generator was necessary because John's father wired several light bulbs to it and prepared a connection to the refrigerator. 3. What made it impossible for the Koshak to escape? It was impossible for the Koshers to escape both by car and on foot. The car's electrical system had been killed by water. Meanwhile, the water became too deep for them to escape on foot. 4. Why did John Koshak feel a crushing guilt? Because he blamed himself for underestimating the power of the hurricane and then endangering the whole family by his wrong decision not to flee safer inland. 5. Why did Grandma Koshak ask children to be sing? A: Because she knew how frightened the children were and wanted to boost their spirit. 6. What was a hurricane party? What happened to the party gores? A hurricane party was the one that was held by several vacationers to enjoy the spectacle of the hurricane with a clear and broad view in the fancy Richelieu Apartments from where they believed they would be safe. Richelieu Apartments were smashed apart by the hurricane and 26 people perished. 7. What did Grandma Koshak mean when she said," We lost practically all our possessions, but the family came through it. When I think of that, I realize we lost nothing important?" She meant that human lives are more important than material possessions. 8. How did the community of Gulfport act after Hurricane Camille was over? They managed to make their lives return to normal and began rebuilding their community without any delay. Paraphrase: 1. We're elevated 23 feet. Our house is 23 feet above sea level. 2. The place has been here since 1915, and no hurricane has ever bothered it. The house was built in 1915 and since then no hurricane has done any damage to it. 3. We can batten down and ride it out. We can prepare ourselves for the hurricane and manage to survive it without much damage. 4. The generator was doused, and the lights went out. Water got into the generator, and it didn't work. As a result, the lights were put out. 5. Everybody out the back door to the cars! Everybody go out though the back door and get into the cars. 6. The electrical system had been killed by water. The electrical system in the cars had been destroyed by water. 7. John watched the water lap at the steps, and felt a crushing guilt. When John watched the water inch its way up the steps, he felt a strong sense of guilt because he b

(完整版)高级英语第二册课文翻译

高级英语第二册课文翻译 Unit1 Pub Talk and the King's English 酒吧闲聊与标准英语 亨利?费尔利 人类的一切活动中，只有闲谈最宜于增进友谊，而且是人类特有的一种活动。动物之间的信息交流，不论其方式何等复杂，也是称不上交谈的。 闲谈的引人人胜之处就在于它没有一个事先定好的话题。它时而迂回流淌，时而奔腾起伏，时而火花四射，时而热情洋溢，话题最终会扯到什么地方去谁也拿不准。要是有人觉得“有些话要说”，那定会大煞风景，使闲聊无趣。闲聊不是为了进行争论。闲聊中常常会有争论，不过其目的并不是为了说服对方。闲聊之中是不存在什么输赢胜负的。事实上，真正善于闲聊的人往往是随时准备让步的。也许他们偶然间会觉得该把自己最得意的奇闻轶事选出一件插进来讲一讲，但一转眼大家已谈到别处去了，插话的机会随之而失，他们也就听之任之。 或许是由于我从小混迹于英国小酒馆的缘故吧，我觉得酒瞎里的闲聊别有韵味。酒馆里的朋友对别人的生活毫无了解，他们只是临时凑到一起来的，彼此并无深交。他们之中也许有人面临婚因破裂，或恋爱失败，或碰到别的什么不顺心的事儿，但别人根本不管这些。他们就像大仲马笔下的三个火枪手一样，虽然日夕相处，却从不过问彼此的私事，也不去揣摸别人内心的秘密。 有一天晚上的情形正是这样。人们正漫无边际地东扯西拉，从最普通的凡人俗事谈到有关木星的科学趣闻。谈了半天也没有一个中心话题，事实上也不需要有一个中心话题。可突然间大伙儿的话题都集中到了一处，中心话题奇迹般地出现了。我记不起她那句话是在什么情况下说出来的——她显然不是预先想好把那句话带到酒馆里来说的，那也不是什么非说不可的要紧话——我只知道她那句话是随着大伙儿的话题十分自然地脱口而出的。 “几天前，我听到一个人说‘标准英语’这个词语是带贬义的批评用语，指的是人们应该尽量避免使用的英语。” 此语一出，谈话立即热烈起来。有人赞成，也有人怒斥，还有人则不以为然。最后，当然少不了要像处理所有这种场合下的意见分歧一样，由大家说定次日一早去查证一下。于是，问题便解决了。不过，酒馆闲聊并不需要解决什么问题，大伙儿仍旧可以糊里糊涂地继续闲扯下去。 告诉她“标准英语”应作那种解释的原来是个澳大利亚人。得悉此情，有些人便说起刻薄话来了，说什么囚犯的子孙这样说倒也不足为怪。这样，在五分钟内，大家便像到澳大利亚游览了一趟。在那样的社会里，“标准英语”自然是不受欢迎的。每当上流社会想给“规范英语”制订一些条条框框时，总会遭到下层人民的抵制 看看撒克逊农民与征服他们的诺曼底统治者之间的语言隔阂吧。于是话题又从19世纪的澳大利亚囚犯转到12世纪的英国农民。谁对谁错，并没有关系。闲聊依旧热火朝天。 有人举出了一个人所共知，但仍值得提出来发人深思的例子。我们谈到饭桌上的肉食时用法语词，而谈到提供这些肉食的牲畜时则用盎格鲁一撒克逊词。猪圈里的活猪叫pig，饭桌上吃的猪肉便成了pork(来自法语pore)；地里放牧着的牛叫cattle，席上吃的牛肉则叫beef(来自法语boeuf)；Chicken用作肉食时变成poultry(来自法语poulet)；calf加工成肉则变成veal(来自法语vcau)。即便我们的菜单没有为了装洋耍派头而写成法语，我们所用的英语仍然是诺曼底式的英语。这一切向我们昭示了诺曼底人征服之后英国文化上所存在的深刻的阶级裂痕。 撒克逊农民种地养畜，自己出产的肉自己却吃不起，全都送上了诺曼底人的餐桌。农民们只能吃到在地里乱窜的兔子。兔子肉因为便宜，诺曼底贵族自然不屑去吃它。因此，活兔子和吃的兔子肉共用rabbit

高级英语 课后习题答案

Unit1 Paraphrase 1.Our house is 23 feet above sea level. 2.The house was built in1915, and since then no hurricane has done any damage to it. 3.We can make the necessary preparations and survive the hurricane without much damage. 4.Water got into the generator, it stopped working. As a result all lights were put out. 5.Everyone go out through the back door and get into the cars! 6.The electrical systems in the cars had been destroyed/ruined by water. 7.As john watched the water inch its way up the steps, he felt a strong sense of guilt because he blamed himself for endangering the family by making the wrong decision not to flee inland. 8.Oh, God, please help us to get through this dangerous situation. 9.She sang a few words alone and then her voice gradually grew dimmer and stopped. 10.Janis didn't show any fear on the spot during the storm, but she revealed her feelings caused by the storm a few nights after the hurricane by getting up in the middle of the night and crying softly. Practice with words and expressions A 1.main:a principal pipe, conduit, or line in a distributing system for water, gas, electricity, etc.

自考高级英语上下全册课后答案

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