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大学英语4_课文原文及翻译_中英对照

Unit 1

享受幽默——是什么使人开怀？

[1]The joy of laughing at a funny story is universal, probably as old as language itself. But, what is it that makes a story or a joke funny?

1 听了一个有趣的故事会发笑、很开心，古今中外都一样。这一现象或许同语言本身一样悠久。那么，到底是什么东西会使一个故事或笑话让人感到滑稽可笑的呢？

[2] As one who has enjoyed humor since I first recognized it, I've made an attempt to explain and discuss humor with students in such diverse cultures as Latin America and China. I've done some serious thinking about funny stories. It has been a labor of love!

2 我是第一次辨识出幽默便喜欢上它的人，因此我曾试图跟学生议论和探讨幽默。这些学生文化差异很大，有来自拉丁美洲的，也有来自中国的。我还认真地思考过一些滑稽有趣的故事。这么做完全是出于自己的喜好。

[3]Why is it that several students in a class will fall out of their chairs laughing after I tell

a joke while the rest of the students look as if I've just read the weather report?[N]Obviously some people are more sensitive to humor than others. And, we recognize that some people tell jokes very well while others struggle to say something funny. We've all heard people say, "I like jokes, but I can't tell one well, and I can never remember them." Some people have a better sense of humor than others just as some people have more musical talent, mathematical talent, etc. than others. A truly funny person has a joke for every occasion, and when one is told, that triggers an entire string of jokes from that person's memory bank. A humorless person is not likely to be the most popular person in a group.It is reasonable to say that the truly humorous individual is not only well liked, but is often the focus of attention in any gathering.

3 为什么听我讲完一个笑话后，班上有些学生会笑得前仰后合，而其他学生看上去就像刚听我读了天气预报一样呢？显然，有些人对幽默比别人更敏感。而且，我们也发现有的人很善于讲笑话，而有的人要想说一点有趣的事却要费好大的劲。我们都听人说过这样的话：“我喜欢笑话，但我讲不好，也总是记不住。”有些人比别人更有幽默感，就像有些人更具有音乐、数学之类的才能一样。一个真正风趣的人在任何场合都有笑话可讲，而且讲了一个笑话，就会从他记忆里引出一连串的笑话。一个缺乏幽默感的人不可能成为一群人中最受欢迎的人。一个真正有幽默感的人不仅受人喜爱，而且在任何聚会上也往往是人们注意的焦点。这么说是有道理的。

[4]Even some animals have a sense of humor. My wife's mother often visited us for extended stays.She normally didn't like dogs, but she fell in love with Blitzen[N]—a female Lab we had, and the relationship was mutual（相互的）. Even when young, Blitzen would tease Grandma by very selectively carrying one of her bedroom slippers into the living room where Grandma sat in her favorite, comfortable chair. Blitzen pranced（蹦来跳去）just beyond the reach of Grandma until Grandma

was tempted to leave her chair to get the slipper from Blitzen. When Grandma left her chair, Blitzen would quickly jump into the chair, flashing her Lab smile from sparkling（闪烁的）brown eyes which clearly said, "Aha, I fooled you again."

4 甚至有些动物也具有幽默感。我岳母从前经常来我们家，并能住上很长一段时间。通常她不喜欢狗，但却很喜欢布利茨恩—我们养过的一条拉布拉多母猎犬。而且，她们的这种喜欢是相互的。布利茨恩在很小的时候就常常戏弄外祖母，当外祖母坐在起居室里她最喜欢的那张舒适的椅子上时，布利茨恩就故意把她卧室里的一只拖鞋叼到起居室，并在外祖母刚好够不到的地方蹦来跳去，一直逗到外祖母忍不住站起来去拿那只拖鞋。外祖母从椅子上一起来，布利茨恩就迅速跳上那椅子，从它那闪亮的棕色眼睛里掠过一丝拉布拉多式的微笑，无疑是在说：“啊哈，你又上了我的当。”

[5]Typical jokes or humorous stories have a three-part anatomy（结构）that is easily recognized. First is the SETUP (or setting), next is the BODY (or story line), and these are followed by the PUNCH LINE[N](an unexpected or surprise ending) which will make the joke funny if it contains some humor. Usually all three parts are present, and each must be clearly presented. It helps if the story/joke teller uses gestures and language which are well-known to the audience.

5 典型的笑话或幽默故事由明显的三部分构成。第一部分是铺垫（即背景），接下来是主干部分（即故事情节），随后便是妙语（即一个出人意料或令人惊讶的结尾）。如果这个妙语含有一定的幽默成分，这个笑话便会很有趣。通常笑话都包含这三部分，而且每部分都必须交代清楚。如果讲故事或说笑话的人使用听众都熟悉的手势和语言，则有助于增强效果。

[6]Humor, as a form of entertainment, can be analyzed in order to discover what makes a funny story or joke seem funny. Here, for example, are some of the most common types of humor. They range from the most obvious humor to the more subtle（微妙含蓄的） types.

6 我们可以对幽默这种娱乐形式，进行分析，从而发现究竟是什么使一个有趣的故事或笑话令人发笑。举例来说，最常见的幽默有以下几种，包括了从最显而易见的幽默到比较微妙含蓄的幽默。

[7]"SLAP-STICK" is the most obvious humor. Its language is simple, direct, and often makes fun of another person or group. Slap-stick was and is the technique of the stand-up（单人的） comedian[N]and the clown. It appeals to all ages and all cultures.Nearly every English-speaking comedian in this century has used the following joke in one form or another.One man asks another, "Who was that lady I saw you with last night?" The other replies, "That was no lady, that was my wife."The humor lies in the fact that the second man is saying that his wife is not a lady.In other words, she is not a refined （优雅的）woman. The joke is no less funny because it is so often used. The audience knows in advance what will be said, because it is classic humor, and any audience values it even more because of

its familiarity.

7 滑稽剧”是最明显的幽默。它语言简单、直截了当，常常以取笑他人为乐。说笑打闹这种形式过去是、现在仍然是滑稽说笑演员和小丑的惯用技巧。它为不同年龄、不同文化背景的人们所喜爱。几乎本世纪的每个讲英语的滑稽说笑演员都曾以这样或那样的方式说过下面这则笑话。一位男士问另一位男士：“昨晚我看到的那位和你在一起的贵妇是谁？”那位男士回答道：“那可不是什么贵妇，那是我老婆。”这个笑话的幽默之处在于第二位男士说他的妻子不是一位贵妇，也就是说她不是一个高雅的女人。这个笑话并没有因为经常讲而变得不再那么好笑。由于这是一个经典笑话，观众都知道要说什么，而且因为大家对这个笑话很熟悉而更加珍爱它。

[8]Chinese "cross-talk（相声）" is a special type of slap-stick in which two Chinese comedians humorously discuss topics such as bureaucrats（官僚主义者）, family problems, or other personal

topics.Cross-talk can be heard anywhere from small village stages to the largest Beijing theatres, and to radio and television. It is clearly a traditional form of humor well understood by Chinese people.

8 中国的相声是一种特殊的滑稽剧。相声中两名中国喜剧演员幽默地谈论诸如官僚主义者、家庭问题或其他一些有关个人的话题。相声随处都能听到，无论是在乡村的小舞台上，还是在北京最大的剧院里，抑或在广播、电视上。它显然是中国人家喻户晓的一种传统的幽默形式。

[9] A PLAY ON WORDS is not so obvious as slap-stick, but it is funny because of misused or misunderstood language. My favorite example is the story of three elderly gentlemen traveling by train in England. As the train slowed for a stop the first man asked, "Is this Wembley[N]?" "No," said the second, "It's Thursday." "So am I," said the third man. "Let's stop for a beer." We know that older people often do not hear things clearly, so the misunderstanding of both Wednesday (for Wembley) and thirsty (for Thursday) makes a nice setup for the punch line delivered by the third man.

9 “俏皮话”不像滑稽剧那样浅显，它是因语言的误用或误解而引人发笑。我特别喜欢的一个例子是三位年长的绅士在英国乘火车旅行的故事。当火车慢慢停下来时，第一位绅士问道：“这是Wembley (温布利)吗？”“不，”第二位绅士说：“是Thursday (星期四)。”“我也是，”第三位说道，“让我们下车喝杯啤酒吧。”我们知道上了年纪的人往往耳背，因此会把Wembley（温布利）听成了Wednesday（星期三），把Thursday（星期四）听成了thirsty（渴了），这样一来就为第三位老人的妙语做好了铺垫。

[10]The famous Chinese cartoonist and humorist Ding Cong is a master of word play. In one of his funny cartoons, a teacher says, "How come[N]you completely copied somebody else's homework?" The young student replies, "I didn't completely copy it. My name on the page is different." In another classic Ding Cong cartoon, an irritated（生气的）father asks, "Tell me, what's one plus two?" The son says, "I don't know." The impatient father then says, "For example, you, your mother, and I altogether are how many, you idiot?" The son proudly answers, "Three idiots." Whether these stories are cartoons

or jokes, told by a slap-stick comedian or a cross-talking team, they appeal to people everywhere as funny stories because they have a note of reality to them, and the unexpected punch line is quite funny.

10 著名的中国漫画家和幽默家丁聪便是一位俏皮话大师。在他的一幅幽默漫画中，一位老师说：“你为什么一字不改地抄别人的作业？”那位年轻的学生回答道：“我没有一字不改地抄。我把作业上的名字改成自己的了。”在丁聪的另一幅经典漫画里，一位生气的父亲问道：“告诉我，1加2等于几？”儿子说：“我不知道。”这位不耐烦的父亲接着说道：“比方说，你、你妈妈和我，我们加起来一共是几个，傻瓜？”儿子得意地回答道：“是三个傻瓜。”这些故事无论是漫画还是笑话，是由演滑稽剧的喜剧演员说还是由搭档的相声演员讲，都为各地人们所喜爱。人们喜爱这些有趣的故事，因为它们贴近现实生活，而且里面那些出人意料的妙语十分有趣。

[11]PUNS are even more subtle forms of word play. They use the technique of similar sounding words or alternative meanings of the same word. Puns are thought by some critics to be the lowest form of humor, but I disagree with this.Puns require more subtle and sophisticated（巧妙复杂的） language skills than most humor forms, but even the very young can use them in their simpler forms. For example, the "riddle（谜语）" or trick question（脑筋急转弯） often uses a pun in the setup, the story line, or, more often, the punch line. Puns are the first type of humor I learned, and at about 5 years of age I remember hearing the following riddle. One person asks, "What is black and white and red all over?" The other person usually cannot answer the riddle, so says, "I give up. What is the

answer?" The riddler replies, "A newspaper."This is the obvious answer if one knows that "red" is pronounced the same as "read" in English, but the meanings are clearly different.

11 双关语是一种更微妙的俏皮话。它使用的技巧是利用发音相似的词或同一个词的不同意思。有些批评家认为双关语是最低级的幽默，但我不同意这种观点。双关语与其他形式的幽默相比需要更细微、更巧妙（复杂）的语言技巧；然而，简单的双关语甚至很小的孩子也能利用。例如，谜语或脑筋急转弯问题常使用双关语做铺垫、制造故事情节，而且更多地是用在妙语部分。双关语是我最早懂得的幽默。记得大约在五岁时我听到了下面这个谜语。一个人问：“什么东西整个儿是黑的、白的和红的？”另外一个人通常猜不出来，于是问道：“我不猜了。是什么呀？”出谜语的人回答：“是报纸。”如果你知道在英语中“red（红色）”和“read（读）”的读音一样但意思完全不同，答案就很明显了。

[12]DOUBLE ENTENDRES(French for double meanings) are special variations of puns in which words or phrases have double meanings.Frequently the two meanings are very different, and one is quite proper while the second is often, but not always, vulgar（粗俗的）. I like the somewhat mild story of a school teacher and a principal of a high school who are concerned because some boys and girls have been seen kissing on the school playground. The teacher says to the students, "The principal and I have decided to stop kissing on the school playground." Hearing some laughter, she senses her message was not altogether clear, so she adds, "What I mean to say is that there will be no more kissing going on under our noses[N]." This clarification（解释）, of course, does nothing to correct the first statement and the double meaning of the joke becomes even more laughable.

12 DOUBLE ENTENDRES （法语中的“一语双关”）是双关语的特殊形式, 其中的词或短语有双重意思。两个意思往往很不相同，一个比较恰当，另一个往往比较粗俗—但并不总是这样。我喜欢那个关于一位中学教师和校长因看见学生在学校操场上接吻而感到担心的故事。故事并不过火。那位教师对学生们说；“我和校长已经决定停止在学校操场上接吻。”听到笑声，她意识到她没有把意思表达清楚，于是补充说：“我的意思是不能再在我们的鼻子下面发生接吻这样的事了。”当然，这个解释并没有纠正她的第一句话，反而使这个笑话的双重含义变得更加好笑。

[13]Some professional humorists think too much of today's humor is not very intelligent or sophisticated. They dislike the suggestive（挑逗的）or vulgar language used too frequently, and they feel that most humorists are not very creative. It is true that some of today's humor is rather shocking, but I don't think humor is to be blamed for that. Humor is alive and well, and it will persist simply because there are funny things happening every day.Some humorous people see and hear these funny things and are able to make them into funny, entertaining jokes and stories. (1,346 words)

13 一些专业的幽默家认为如今的幽默大多缺乏智慧，不够巧妙。他们不喜欢在幽默中过多使用有色情意味或粗俗的语言，而且觉得大多数幽默家缺乏创造性。的确，现在有些幽默令人震惊，但我认为这不是幽默的过错。幽默本身是活泼健康的，它还会继续生存下去，只因为每天都有有趣的事情发生。一些有幽默感的人会看到听到这些有趣的事情，并把它们编成妙趣横生、令人开心的笑话和故事。

Unit 2

便笺的力量

On my first job as sports editor for the Montpelier (Ohio) Leader Enterprise, I didn't get a lot of fan mail, so I was intrigued（吸引）by a letter that was dropped on my desk one morning.

1 我当体育编辑，最早是为蒙比利埃（俄亥俄州）的《企业导报》工作，当时我很少收到体育迷的来信。因此，一天早晨放在我桌上的一封来信把我吸引住了。

[2] When I opened it, I read: "A nice piece of writing on the Tigers. Keep up the good work." It was signed by Don Wolfe, the sports editor. Because I was a teenager (being paid the grand total of 15 cents a column inch[N]), his words couldn't have been more inspiring.[N]I kept the letter in my desk drawer until it got rag-eared（破旧的）. Whenever I doubted I had the right stuff（材料） to be a writer[N],

I would reread Don's note and feel confident again.

2 打开来信，我看到了下面的话：“关于老虎队的述评很不错，再接再厉。”签名的是体育编辑堂?沃尔夫。当时我只是一个十几岁的小伙子（为每一专栏写一英寸文字，稿酬总计达15美分），因此他的话最鼓舞人心了。我把这封信一直放在书桌的抽屉里，后来它的边角都卷起来了。每当我怀疑自己不是当作家的料时，重温一下堂的便笺，就又会树起信心来。

[3] Later, when I got to know him, I learned that Don made a habit of [N]writing a quick, encouraging word[N]to people in all walks of life（各行各业）."When I make others feel good about themselves," he told me, "I feel good too."

3 后来，我逐渐对堂有所了解，知道给各行各业的人写快捷而鼓舞人心的便笺是他养成的习惯。他告诉我说：“当我使别人充满信心时，我也感觉好极了。”

[4] Not surprisingly, he had a body of friends as big as nearby Lake Erie[N].When he died last year at 75, the paper was flooded with calls and letters[N]from people who had been recipients of

his spirit-lifting words.

4 因此毫不奇怪，他的朋友圈子就像附近的伊利湖那么大。去年他去世了，享年75岁。电话与悼函像潮水般涌向报社，都来自于曾经得到过他激励（文字）的人们。

[5] Over the years, I've tried to copy the example of Don and other friends who care enough to write uplifting comments, because I think they are on to something important. In a world too often cold and unresponsive（无动于衷的）, such notes bring warmth and reassurance（安慰）. We all need a boost from time to time, and a few lines of praise have been known to turn around a day[N], even a life.

5 多年来，我努力效仿堂以及我的其他朋友，他们关心别人，常写一些鼓舞人心的话语，因为我觉得，他们这样做是很有意义的。在这样一个惯于冷漠、无动于衷的世界上，这种便笺给人们带来了温暖和安慰。我们都时不时地需要鼓励，大家知道几行赞扬的话会改变一个人的一天，甚至一生。

[6] Why, then, are there so few upbeat（激励人心的，乐观的）note writers? My guess is that many who shy away from the practice are too self-conscious[N]. They're afraid they'll be misunderstood,sound sentimental or insincere.Also, writing takes time; it's far easier to pick up the phone.

6 那么，这些激励人心的便笺的作者为什么寥若晨星呢？我猜想很多人回避写，是因为他们太看重人们的看法。他们担心会被误解，怕别人觉得他们自作多情或者言不由衷。还有，写也要花时间，远不如打电话方便。

[7] The drawback with phone calls, of course, is that they don't last. A note

attaches[N]more importance to our well-wishing. It is a matter of record[N], and our words can be read more than once, savored（品味）and treasured.

7 当然打电话的缺点是：说过的话留不住。而一张便笺使我们的良好意愿显得更加珍贵。便笺是白纸黑字记录在案的东西，而且我们写下的字可以反复阅读，细细品味并珍藏起来。

[8] Even though note writing may take longer, some pretty busy people do it, including George Bush. Some say he owes[N]much of his success in politics to his ever-ready[N]pen. How? Throughout his career he has followed up virtually（差不多，实际上）every contact with a cordial(诚挚友好的)response—a compliment, a line of praise or a nod of thanks.[N]His notes go not only to friends and associates, but to casual acquaintances and total strangers—like the surprised person who got a warm pat on the back for lending Bush an umbrella.

8 尽管写便笺会多花一些时间，但一些非常忙的人也在这么做，其中包括乔治?布什。有人说，他政治上的成功在很大程度上归功于他那枝随时准备写字的笔。这是怎么回事呢？在他整个职业生涯中，每次与人们接触之后，他几乎都随后写封信，内容亲切——一句赞美之辞，一行表扬的话，或一段感谢语。他不仅写给朋友和同事，还写给萍水相逢的人以及完全陌生的人——比如那位借伞给他的人，后来收到他热情的赞扬信，感到很惊讶。

[9]******Even top corporate（公司） managers, who have mostly affected（倾向于，受影响的）styles of leadership that can be characterized only as tough（强硬的）, cold and aloof（脱离群众的，疏远的）, have begun to learn the lesson, and earn the benefits, of writing notes

that lift people up.[N]Former Ford chairman Donald Peterson, who is largely credited（信任，归功于）for turning the company around in the 1980s, made it a practice to write positive messages to associates every day.[N]"I'd just scribble（乱涂乱写）them on a memo pad（备忘录）or the corner of a letter and pass them along," he says. "The most important ten minutes of your day are those you spend doing something to boost（鼓舞） the people who work for you."

9 那些通常做作的公司高层经理们，其领导作风只能被形容为强硬、冷漠、脱离群众。甚至这些人也开始学习写便笺去鼓舞人心，且从中获益匪浅。唐纳德?彼得森，福特公司的前主席，把每天写便笺鼓励同事当作一件日常工作。该公司在80年代时走出低谷取得成功主要是他的功劳。“我只不过匆匆地在备忘录或信的角上写一些鼓舞人心的话，然后传递出去，”他说道。“每天最重要的一段时间，就是鼓舞那些为你工作的人的那10分钟。”

[10] "Too often," he observed, "people we genuinely（真正地） like have no idea how we feel about them. Too often we think, I haven't said anything critical; why do I have to say something positive? We forget that human beings need positive reinforcement—in fact, we thrive on（取得进步，获得成功） it!"

10 “太多的时候，”他发表自己的看法说，“那些我们真正喜欢的人并不知道我们是怎么看待他们的。太多的时候，我们会以为，我并没有说过什么批评的话，为什么非得去说好话呢？我们忘了，人类需要正面的肯定或鼓励——事实上，我们靠这个取得进步，获得成功！”

[11] What does it take to write letters that lift spirits and warm hearts?[N]Only a willingness to express our appreciation. The most successful practitioners include what I call the four "S's" of note writing.

11 怎样才能写出振奋精神、温暖人心的信呢？只要我们怀有要表示感激之情的心愿。写这种便笺的高手都具有我所谓的“４S”技巧。

[12] 1) They are sincere. No one wants false praise.

12 １）真诚。没人要听虚假的赞美。

[13] 2) They are usually short. If you can't say what you want to say in three sentences, you're probably straining[N].

13 ２）简短。如果不能用三句话表达出你的意思，你很可能过火了，写得太长。

[14] 3) They are https://www.sodocs.net/doc/bc15986528.html,plimenting a business colleague by telling him "good speech" is too vague; "great story about Warren Buffet's investment strategy" is precise.

14 ３）具体。赞扬一位业务伙伴“演讲精彩”太笼统含糊；告诉他“关于沃伦?巴菲特的投资策略讲得很精彩”才是一语中的。

[15] 4) They are spontaneous. This gives them the freshness and enthusiasm that will linger in the reader's mind long afterward.

15 ４）自然。这使得便笺充满了生气，洋溢着热情，并使读者的心灵长久地感受这种生气和热情。

[16] It's difficult to be spontaneous when you have to hunt for letter-writing materials, so I keep paper,envelopes and stamps close at hand, even when I travel. Fancy stationery isn't necessary; it's the thought that counts.

16 当你非得到处找写信用品时，写出来的东西就难以自然，因此我总是把纸、信封和邮票放在手边，甚至在旅行时也是如此。信封信笺不需要很花哨，重要的是要表达的思想。

[17] So, who around you deserves a note of thanks or approval? A neighbor, your librarian, a relative, your mayor, your mate, a teacher, your doctor? You don't need to be poetic. If you need a reason, look for a milestone, the anniversary of a special event you shared, or a birthday or holiday. For the last 25 years, for example, I've prepared an annual Christmas letter for long-distance friends, and I often add a handwritten word of thanks or congratulations. Acknowledging some success or good fortune that has happened during the year seems particularly appropriate considering the spirit of the Christmas season.

17 那么，你周围又有谁值得你写便笺表示感谢或鼓励呢？一位邻居？为你服务的那位图书馆管理员？一位亲戚？你的市长？你的伙伴？一位教师？你的医生？你不必富有诗意。如果你需要一个写的理由，就找一个生活中的重要事件，例如你们共同参加的某个特殊事件的周年纪念日、生日或者节日。例如，过去的25年里，我总是为远方的朋友每年准备一张圣诞卡，而且常常在上面亲笔写上一句感谢或祝贺的话。鉴于圣诞节的氛围，就一年来所取得的成功与得到的好运特意表示谢忱似乎是最恰到好处的。

[18] Be generous with your praise. Superlatives（最高级） like "greatest", "smartest", "prettiest" make us all feel good. Even if your praise is a little ahead of reality, remember that expectations are often the parents of dreams fulfilled.[N]

18 不要吝啬你的赞美之言。像“最了不起的”、“最聪明的”、“最漂亮的”这种最高级的表达法——使大家都感到高兴。即使你的赞美之词稍稍超前了一点也没关系，记住，梦想的实现往往孕育于期望之中。

[19] Today I got a warm, complimentary（称赞的）letter from my old boss and mentor, Norman Vincent Peale. His little note to me was full of uplifting phrases, and it sent me to my typewriter to compose a few overdue（过期的）letters of my own. I don't know if they will make anybody else's day, but they made mine. As my friend Don Wolfe said, making others feel good about themselves makes me feel good too. (978 words)

19 今天，我收到了以前的老板和精神导师诺曼?文森特?皮尔的一封温暖的赞扬信。这张小小的便笺上满是鼓舞人心的词句，这促使我坐到了打字机前来完成几封我早就该写的信。我不知道这些信会不会使别人的一天别有意义，但是，对我自己确实如此。正如我的朋友堂?沃尔夫所说的：使别人充满信心，也就使我自己感觉很好。

Unit 3

从文化角度看性别角色

Over the past few decades, it has been proven innumerable（无数的）times that the various types of behavior, emotions, and interests that constitute（组成，建立）being masculine and feminine are patterned by both heredity and culture. In the process of growing up, each child learns hundreds

of culturally patterned details of behavior that become incorporated（吸收，体现） into

its gender identity. Some of this learning takes place directly. In other words, the child is told by others how to act in an appropriately feminine or masculine way.Other details of gender behavior are taught unconsciously, or indirectly, as the culture provides different images,aspirations（向往的目标）, and adult models for girls and boys.

1 在过去的几十年里，已经无数次地证实了这样一个事实：构成男子阳刚之气和女子阴柔之气的各种不同类型的行为、情感、和兴趣都既是遗传又是文化熏陶的结果。在成长的过程中，每个孩子学会了细微的行为举止，数量之多数以百计，这一切都带有文化的烙印，成了他们性别特征的一部分。有些行为举止是直接学到的。也就是说，别人教孩子如何恰如其分地行事, 男有男的规矩, 女有女的标准。另一些跟性别有关的具体举止是无意识地或间接地学会的，因为文化为女孩子和男孩子提供的形象、向往的目标以及成人的榜样各不相同。

[2] Recently, for example, a study of American public schools showed that there is a cultural bias in education that favors boys over girls. According to the researchers, the bias is unintentional and unconscious, but it is there and it is influencing the lives of millions of schoolchildren every year.Doctors David and Myra Sadker videotaped classroom teachers in order to study sex-related bias in education.Their research showed that many teachers who thought they were nonsexist were amazed to see how biased they appeared on videotape.From nursery school[N]to postgraduate（博士后的）courses, teachers were shown to call on males in class far more than on female students. This has a tremendous impact on the learning process for, in general, those students who become active classroom participants develop[N]more positive attitudes and go on to higher achievement. As a matter of fact, in the late 1960s, when many of the best all-women's colleges[N]in the northeastern United States opened their doors to male students, it was observed by professors and women students alike that the boys were "taking over"[N]the classroom discussions and that active participation by women students had

diminished noticeably. A similar subordination（处于次要地位）of female to male students has also been observed in law and medical school classrooms in recent years.

2 例如，最近对美国公立学校的一项研究显示，在教育中存在一种男孩比女孩更受偏爱的文化偏见。据研究

人员反映，这种偏爱是无意的、不知不觉的，但它确实存在，并每年都在影响着数百万计学生的生活。为了研究在教育中存在的性别偏爱，戴维?赛德克博士和迈拉?赛德克博士夫妇录制了教师在课堂上课的情形。他们的研究显示，许多自认为无性别偏爱的教师惊奇地发现，从录像带上看他们竟是那么偏心。从幼儿园到研究生课程，都可以看到教师们请男生回答问题的次数远比女生多。这对学习过程有着巨大的影响，因为总的来说，那些积极的课堂活动参与者对学习更加乐观有信心，并能在今后取得更大的成就。事实上，在20世纪60年代末期，当美国东北部多所最好的女子学院向男生开放之后，教授们和女学生们都发现男孩们正在“接管”课堂讨论，而女生积极参与的程度则明显下降。近年来，在法学院和医学院的课堂上也发现了类似的情况：与男生相比女生处于次要的地位。

[3] Research done by the Sadkers showed that sometimes teachers unknowingly prevented girls from participating as actively as boys in class by assigning（分配，布置）them different tasks in accordance （一致，和谐） with stereotyped（老套，模式化的） gender roles.For instance, one teacher conducting a science class with nursery school youngsters, continually had the little boys perform the scientific "experiment"[N]while the girls were given the task of putting the materials away. Since hands-on work[N]with classroom materials is a very important aspect of early education, the girls were thus being deprived of a vital learning experience that would affect their entire lives.

3 赛德克夫妇所做的研究显示，教师有时候会按照固有的性别模式给女孩子和男孩子布置不同的任务，这样

便不知不觉地使女孩子不能像男孩子一样积极地参与。例如，有位教师在给幼儿园的孩子上自然科学课时，不断地让小男孩去操作科学“实验”，而让女孩子只是做一些安放材料的工作。既然使用课堂材料动手操作是早期教育的

一个重要方面，这些女孩子就这样被剥夺了重要的学习经历，这会影响到她们今后的整个人生。

[4] Another dimension of sex-biased education is the typical American teacher's assumption that boys will do better in the "hard", "masculine" subjects of math and science while girls are expected to have better verbal（语言的） and reading skills.As an example of a self-fulfilling（自我实现的）prophecy （预言）, American boys do, indeed, develop reading problems, while girls, who are superior to boys in math up to the age of nine, fall behind from then on.[N]But these are cultural, not genetic patterns. In Germany, for example, all studies[N]are considered "masculine", and it is girls who develop reading problems. And in Japan, where early education appears to be nonsexist, both girls and boys do equally well in reading.

4 美国教师中一个具有代表性的想法是，男孩擅长数学和自然科学，这些学科都是“难懂的”、“适合于男性的”，而女孩会在语言和阅读技能上比男孩强。这是教育中性别偏见的另一种表现。结果美国的男孩们确实在阅读

上出了问题，而在数学方面女孩尽管在九岁以前一直比男孩强，但此后却落在了他们后面。这成了预言自我应验的一个例子。然而这些特征是文化造成的，而非遗传的原因。例如，在德国，读书学习都被看作是“适合于男性的”，于是在阅读上有问题的便是女孩子了。而在日本，由于早期教育似乎不分性别，女孩和男孩在阅读上就旗鼓相当。

[5] The different attitudes associated with the educational process for girls and boys begin at home. One study, for example, showed that when preschoolers were asked to look at a picture of a house and tell how far away from the house they were permitted to go, the boys indicated a much wider area

than the girls, who generally pointed out a very limited area close to the home.Instead of being encouraged to develop intellectual curiosity and physical skills that are useful in dealing with the outside world, as boys are, girls are filled with fears of the world outside the home and with the desire to

be approved of for their "goodness" and obedience to rules.[N]These lessons carry over[N]from the home to the classroom, where girls are generally observed to be more dependent on the teacher, more concerned with the form and neatness of their work than with its content,and more anxious about being "right" in their answers than in being intellectually independent, analytical, or original.[N]Thus, through the educational process that occupies most of the child's waking hours, society reinforces its established values and turns out[N]each sex in its traditional and expected mold.(722 words)

5 在教育过程中对女孩和男孩的不同态度始于家庭。例如，有一项研究显示了这样一种情况：让学龄前儿童看一幢房子的图片，然后要他们说出家里允许他们走开多远，这时男孩所指的范围要比女孩大得多，女孩指出的范围很有限，而且离家很近。女孩们不像男孩那样受到鼓励去发展求知欲和动手能力，尽管这些正是与外部世界打交道时有用的；对女孩灌输的结果是：对自己家外面的世界充满了恐惧，且期望别人对自己的优良品格和循规蹈矩的服从精神加以认可。这类教诲从家庭一直延续到课堂。于是，在课堂里我们常常可以看到女孩们更依赖教师，更注重作业的形式和整洁而非内容，更在乎她们所给的答案是否“正确”而不在乎智力方面的独立自主以及分析能力和创造能力的提高。教育过程占据了孩子除睡眠以外的大部分时间，社会则通过这一过程加强了它固有的价值观，并按其传统的、期望的模式造就了不同性别的人。

Unit 4

关于创造力的培养——鼓励孩子思考

Creativity is the key to a brighter future, say education and business experts. Here is how schools and parents can encourage this vital skill in children.

1 教育界和商业界的专家们说, 具有创造性是通向光明前程的关键。本文将介绍一下学校和家长如何才能鼓励孩子发展这一至关重要的能力。

[2] If Dick Drew had listened to his boss in 1925, we might not have a product that we now think of as practically(几乎，实际上)essential: masking tape[N]. Drew worked for the Minnesota Manufacturing （生产）and Mining Company, better known as 3M. At work he developed a sticky-side substance（黏胶）strong enough to hold things together. But his boss told him not to pursue（继续，从事） the idea. Finally, using his own time, Drew perfected[N]the tape, which now is used everywhere by many people. And his former company learned from its mistake:Now 3M encourages people to spend 15 percent of their work time just thinking and developing new ideas.

2 如果1925年迪克?德鲁听从了他老板的意见，也许我们就不会有遮护胶带这种用品了。现在我们几乎离不开它。德鲁当时就职于“明尼苏达制造和矿业公司”，通常称为3M公司。在工作中，他研制了一种用于胶带有黏性那面的物质，黏性很强，能使物体粘在一起。但是老板却不让他做进一步的研究。最后德鲁只好利用自己的时间改进了这种胶带。这种胶带现已被人们广泛使用。而他原来工作过的3M公司也从自己的失误中吸取了教训：现在该公司鼓励员工抽出15%的工作时间专门用来开动脑筋搞创新。

[3] It is a strategy that more and more companies are employing and one that experts around the country say we ought to be following with our children, both at home and at school.[N]The feeling is that if we teach them to think creatively, they will be better able to function in tomorrow's society.

3 现在这种策略已被越来越多的公司所采用，而且全国各地的专家认为，对待孩子也应仿效这种做法，无论是在家里还是在学校。他们认为，如果我们教育孩子进行创造性思维，他们就能在明天的社会中更好地发挥作用。

[4] Creativity's benefits reach beyond music and art. Successful students and adults are the ones who discover a number of ways to approach problems.

4 受益于创造性的不只限于音乐和艺术领域。能取得成功的学生和成人都是那些会寻求各种办法解决问题的人。

[5] Creativity is not something one is just born with, nor is it necessarily a characteristic of high intelligence[N]. Just because a person is highly intelligent does not mean that he uses it creatively. Creativity is the matter of using the resources one has to produce original ideas that are good for something.[N]

5 创造性并非与生俱来，也不一定就是高智慧的特征。一个人智力高并不意味着他必然能创造性地发挥才智。创造性是指能利用已有的资源想出新点子，而这些点子有助于解决某方面的问题。

[6] Unfortunately, schools have not tended to promote creativity. With strong emphasis on test scores and the development of reading, writing and mathematical skills, many educators sacrifice（牺

牲）creativity for correct answers. The result is that children can give back information but can't recognize ways to apply it to new situations.They may know their multiplication tables, for example, but they are unable to apply them to story problems[N].

6 遗憾的是，学校还没有想到要促使学生发挥创造性。许多教育者十分看重考试分数，强调阅读、写作和数学能力，往往因追求正确的答案而牺牲了对创造性的培养。其结果是，孩子们能够反馈所学的知识，却不知道如何灵活地应用知识。比如，他们可能熟记乘法表，却不会用它来解决数学应用题。

[7] In some schools, however, educators are recognizing the problem and are developing new approaches to teaching which should encourage creativity in their students. Some teachers are combining the basics[N]with activities where the students must use their imagination. For example, instead of simply asking WHEN Columbus discovered the New World, teachers might ask students to think about what would have happened if his trip had taken him to New York first instead of to the Caribbean area. With that question, students would have to use what they know about Columbus, what they know about New York, and what they know about the Caribbean. Teachers feel that even if the answers seem silly, it's OK, that sometimes being silly is an essential step toward creativity. In the classroom as well as at home, children must have the right to have crazy thoughts, experts say. Then it is up to[N]parents and teachers to work with the children to develop those thoughts into workable ideas. The best strategy is to encourage children by asking them questions, meanwhile praising their ideas and new thoughts. Experts say that it is important to create an atmosphere in which there is no risk in being creative—a place where wild ideas are honored and valued, never scorned or dismissed.

7 然而，在有些学校里，教育者们正逐渐认识到这一问题，并致力于研究能启发学生创造性的新的教学方法。一些教师把基础知识和要求学生发挥想象力的活动结合起来。比如，教师不再简单地问学生哥伦布何时发现了新大陆，他们可能让学生思考如果哥伦布首先到达的不是加勒比地区而是纽约，情况会是如何。要回答这一问题，学生必须应用自己掌握的关于哥伦布、纽约和加勒比地区的知识。教师们认为即便学生的回答会很可笑，也毫无关系，这也许是通向创造性的重要一步。专家认为，在课堂以及在家里，必须允许孩子们有些荒唐的念头。家长和教师们则有责任和孩子共同努力，使那些念头成为切实可行的建议。最好的办法是通过提问来鼓励孩子，同时对他们的想法和新点子表示赞赏。专家认为必须创造一个可以自由发挥创造力的氛围，一个尊重和赞赏而不是鄙视或不理会荒诞想法的环境。

[8] There are things that parents can do at home to encourage creativity.They

can involve children in decision making if the problem is appropriate, asking the child for suggestions. Parents can help their children to understand the consequences of various

decisions. Parents should also encourage their children to talk out loud about things they are doing. Thinking and language skills are closely related. Talking out loud improves language skills and thinking skills.

8 在家里，家长可以做一些鼓励孩子发挥创造力的事情。如果遇到合适的问题，家长可以就该问题征求孩子的意见，让他们参与决策。家长可以帮助孩子了解不同的决策将会带来的各种后果。家长还应鼓励孩子大声谈论他们正在做的事情。思维能力和语言能力是紧密相关的。大声地谈论有助于提高语言能力和思维能力。

[9] Having a sense of humor is also important in helping to develop creativity in a child. When parents show a sense of humor, children can see creativity in its purest form. By its nature, humor crosses conventional boundaries and breaks patterns. Creativity often does the same.

9 具有幽默感对于开发孩子的创造力也非常重要。当家长表现出幽默时，孩子们就看到了最地道的创造性。从本质上看，幽默跨越了常规界限，打破了固有模式。要创造往往也得如此。

[10] It is important to give children choices. From the earliest age, children should be allowed to make decisions and understand their consequences.Even if it's choosing between two food items for lunch, decision-making helps thinking skills. As children grow older, parents should let their children decide how to use their time or spend their money but not automatically help them too much if they make the wrong decision.This may be confusing for the child, but that is all right.[N]This is because one of the most important traits of creative people is a very strong motivation to make order out of confusion.(765 words)

10 给孩子一些选择的余地也很重要。应该允许孩子自己做决定并清楚其后果，要让孩子从尽可能早的年龄开始这样做。做决定有助于培养思维能力，即便只是在午餐的两种食物的选择上做决定也行。随着孩子慢慢长大，家长应让孩子自己做主支配时间或金钱；当他们作出错误的决定时，不要不假思索地给予过多的帮助。这种做法可能会使孩子迷惑不解，但这没有关系。因为富有创造力的人有很强的动力，使他们能够从混乱中创造秩序。这是他们的一个最重要的特点。

unit 5

运动员该成为榜样吗？

I love Charles Barkley like a brother, and except for the times when we're banging and pushing each other under the boards in games between my team, the Utah Jazz, and his, the Phoenix Suns, we're great friends. We don't necessarily[N]like the same things: Charles loves golf so much he would play at halftime if he could[N], but I think a golf course is a waste of good pasture-land.One of the reasons we get along so well, though, is that we both say what's on our minds[N]without worrying about what other people are going to think—which means we disagree from time to time. Here's an example of what I mean: I disagree with what Charles says in his Nike commercial, the one in which he insists, "I am not a role model." Charles, you can deny[N]being a role model all you want[N], but I don't think it's your decision to make. We don't choose to be role models, we are chosen. Our only choice is whether to be a good role model or a bad one.

1. 我喜欢查尔斯?巴克利，就像他是我的亲兄弟一样，而且除了比赛中在篮板下彼此冲撞的时候（我在犹他爵士队；他在菲尼克斯太阳队），我们是很好的朋友。我们的爱好不一定完全相同：查尔斯酷爱高尔夫球，要是可能的话他中场休息时都会打，我却认为把优良的牧地造成高尔夫球场是浪费。而我们能很好相处的一个原因是，我俩都心里想什么就说什么，不管别人会怎么想——这也意味着我们时常会意见不一致。有一个例子能说明我的意思：我不同意查尔斯在他做的耐克广告中说的话。在那则广告里，他强调说：“我不是一个行为榜样。”查尔斯，你完全可以否认自己是行为榜样，但是我认为这不是自己可以决定的。我们没想要做行为榜样，而是大家要我们做。我们唯一能选择的是做一个好榜样还是做一个坏榜样。

[2] I don't think we can accept all the glory and the money that comes with being a famous athlete and not accept the responsibility of being a role model,of knowing that kids and even some adults are watching us and looking for us to set an example. I mean, why do we get endorsements（广告代言）in the first place? Because there are people who will follow our lead and buy a

certain sneaker or cereal because we use it.

2 我认为成了著名运动员后，我们不能只接受随之而来的荣誉和金钱，却拒绝承担作为榜样的责任，或者没有意识到孩子们、甚至一些成年人正关注着我们，期望我们树立起一个榜样。我的意思是，首先为什么我们能有机会做广告呢？因为有人会以我们为榜样，他们买某种运动鞋或某种麦片，（仅仅）因为我们在用这些东西。

[3] I love being a role model, and I try to be a positive one. That doesn't mean I always succeed. I'm no saint. I make mistakes, and sometimes I do childish things. And I don't always wake up in a great,

role-model mood.[N]There are days when I don't want to pose for a picture[N]with every fan I run into[N], when I don't feel like picking up babies and giving them hugs and kisses (no matter how cute they are), those are the days I just try to avoid the public.

3 我喜欢成为榜样，并努力去做个好榜样。但这并不是说我总是做得很好。我决非圣贤，我会犯错误，而且有时还会做一些非常幼稚的事情。我并非每天早上醒来都具备了做榜样的好心情。有些日子，我并不想同遇见的每个球迷都摆姿势合影，不想抱起婴儿拥抱、亲吻（无论他们有多可爱）。处在这种时候，我就尽量避开公众。

[4] But you don't have to be perfect to be a good role model, and people shouldn't expect perfection. If

I were deciding[N]whether a basketball player was a positive role model, I would want to know: Does he influence people's lives in a positive way away from the court? How much has he given of himself, in time or in money, to help people who look up to him? Does he display（显示）the values—like honesty and determination—that are part of being a good person? I wouldn't ask whether he lives his life exactly the way I would live it[N]or whether he handles every situation just the way I would handle it.

4 但做个好榜样并不需要十全十美，而且人们也不应该期盼完美。如果由我来判定一个篮球运动员是否是个好榜样，我想知道的是：他在球场之外，是否给人们的生活带来了积极的影响？他自己付出了多少时间或金钱去帮助那些敬仰他的人？他显示出一个优秀者应具有的诸如诚实、毅力这些品格吗？但我不会问他是否以我的那种方式生活，或者是否以我处理事情的方式来应付每一个局面。

[5] I do agree with Charles on one thing he says in his commercial（广告）: "Just because I can dunk

a basketball doesn't mean I should raise your kids." But sometimes parents need a little assistance. There are times when it helps for a mother and father to be able to say to their kids, "Do you think Karl Malone or Scottie Pippen or Charles Barkley or David Robinson would do that?" To me, if someone uses my name in that way, it's an honor. Sure, parents should be role models to their children. But let's face it[N], kids have lots of other role models—teachers, movie stars, athletes, even other kids. As athletes, we can't take the place of parents, but we can help reinforce what they try to teach their kids.

5 查尔斯在他的广告中所说的有一点我赞成，那就是“我能扣篮并不意味着我应该养育你们的孩子。”但是，有时家长们也需要一点帮助。如果父母能对孩子说：“你想想卡尔?马龙、斯科蒂?皮蓬、查尔斯?巴克利或大卫?罗宾逊会那样做吗？”有时候，这是很管用的。如果有人这样提到我的名字，对我来说是一种荣誉。当然，父母应该成为自己孩子的行为榜样。然而实际情况是孩子们有许多其他的行为榜样——老师、电影明星、运动员、甚至其他孩子。作为运动员，我们不能取代父母，但是我们能协助他们去加强和巩固他们努力教给孩子的那些思想。

[6] Parents just have to make sure they don't take it too far. Sometimes they put us on

a pedestal that feels more like a tightrope—so narrow that we're bound to[N]fall off eventually. This is not something I'm especially proud of, but I've had parents in Utah say things to me like, "You know, Karl, in our family we worship（崇拜）the ground you walk on[N]. In our house your picture is right up there on the wall beside Jesus Christ." Now, that's going too far. Is it any wonder some athletes don't want to be role models?[N]Who wants to be held up to that kind of impossibly high standard? Imagine someone putting a life-sized（原物大小的）picture of you on a wall and saying things to your picture before they go to bed. That's scary.

6 父母们一定不能做得太过火。他们有时把我们奉若神明，使我们感到是在走钢索——在这么细的钢索上我们最终必定会摔下来。这不是一件让我感到特别自豪的事：在犹他州曾经有孩子家长对我说过这样的话：“你要知道，卡尔，我们全家都对你崇拜得五体投地，在我们家里，我们把你的照片和基督画像一起并排挂在墙上。”这就太过分了。难怪有些运动员不愿做行为榜样。谁会愿意被拔得那样高呢，那是能达到的标准吗？设想一下，有人把你真人大小的照片挂在墙上，而且每晚睡觉前都要对着你的照片倾诉一番，这是很可怕的。

[7] Constantly being watched by the public can be hard to tolerate at times.I am sorry that Michael Jordan had to deal with the negative publicity（公众信息） he received about gambling（赌博）. I don't think most people can imagine what it's like to be watched that closely every minute of every day. I was told once that it wouldn't be that bad for me because no one would know me outside of Utah, but that's not true. Ever since I played on the Dream Team in the Olympics, I can't go anywhere without being the center of attention, and that's very confining（限制的）at times. For instance, there have been

occasions when I've felt like[N]buying a big Harley-Davidson motorcycle and riding it down the street. First, the Jazz would have a fit and say it's too dangerous. Second, everyone would be watching to see if I wore a helmet, if I was obeying the speed limit, if I was taking turns safely—you name it. The first time I didn't measure up to expectations, I would hear, "What kind of example is that to set for other people who ride motorcycles?"

7 时刻处在公众的注视之下有时令人难以忍受。我十分同情迈克尔?乔丹，他不得不对付有关他赌博的负面报道。我想大多数人都无法想象，分分秒秒、日复一日都被如此密切地注视着是什么滋味。曾经有人对我说，我个人的情况还不至于那么糟，因为出了犹他州就没人认识我了。但事实并非如此。自从我作为梦之队的一员参加了奥运会的比赛后，我无论到哪里都会成为人们注意的中心。这有时使人受到很大的限制。例如，我有好几次想买一辆哈利-戴维森牌的大摩托车，骑着它逛逛街。首先爵士队会大发雷霆，说这太危险。其次，每个人都会盯着我，看我是否戴了头盔，是否按照限定的速度行驶，是否安全转弯，不一而足。一旦我没有达到他们的期望，就会有人说：“这给其他骑摩托车的人树立了个什么榜样啊？”

[8] But the good things about being a role model outweigh the bad. It's a great feeling to think you're a small part of the reason that a kid decided to give school another try instead of dropping out or that a kid had the strength to walk away when someone offered him drugs.[N]But one thing I would encourage parents to do is to remind their kids that no matter which athletes they look up to, there are no perfect human beings. That way, if the kid's heroes should make mistakes, it won't seem like the end of the world to them.

8 但是，做一个行为榜样的好处要多于坏处。想到某个孩子决定在学业上再做一番尝试而不是辍学，或者碰到有人向他兜售毒品时，能从毒贩子身边走开，而这其中也有你的一小部分功劳时，那种感觉好极了。但是我要鼓励父母们去做一件事，那就是提醒他们的孩子无论他们敬仰哪位运动员，十全十美的人是没有的。这样一来，如果孩子们心目中的英雄犯了错误，他们就不会觉得世界末日到了。

[9] I would never criticize someone for saying what he thinks. If Charles doesn't consider himself

a role model, that's certainly his right. But I think he is a role model—and a good one, too. And if he gets that NBA championship ring[N], I might just make him my role model. (1,090 words)

9 我决不会因为某个人说了心里话而批评他。如果查尔斯认为他自己不是个行为榜样，这是他的权利。但我认为他是一个行为榜样，而且是一个好榜样。如果他能戴上NBA的冠军戒指，我也许会把他当作我自己的行为榜样。

Unit 6

风险与你

At some time or other, all of us have played the part of a hypochondriac（疑病症患者）, imagining that we have some terrible disease on the strength of very minor symptoms. Some people just have to hear about a new disease and they begin checking themselves to see if they may be suffering from it. But fear of disease is not our only fear, and neither is risk[N]of disease the only risk we run[N]. Modern life is full of all manner of threats—to our lives, our peace of mind, our families, and our future. And from these threats come questions that we must pose to ourselves[N]: Is the food I buy safe? Are toys for my children likely to hurt them? Should my family avoid smoked meats[N]? Am I likely to be robbed on vacations? Our uncertainties multiply（增加）indefinitely（无限地）.

1 在说不定的某个时候，我们大家都曾充当过疑病症患者的角色,只凭一些轻微的症状便怀疑自己得了某种可怕的病。有的人只要一听说一种新的疾病，就会去检查，看自己是否可能患了这种病。然而，对疾病的恐惧并非我们唯一的恐惧。同样，患病的危险也并非我们唯一会遇上的危险。现代生活中充满了各种各样的威胁，诸如对我们

生命的威胁，对我们平和心境的威胁，对我们家人的威胁，对我们未来的威胁。从而产生了好些问题，我们不得不问自己：我买的食品安全吗？给孩子们的玩具会伤害他们吗？我们家的人是不是不该吃熏肉？我度假时会不会遭抢劫？我们的疑虑就无休止地增加。

[2] Anxiety about the risks of life is a bit like hypochondria; in both, the fear or anxiety feeds on（以…为食，以…为能源）partial（局部的，不全面的）information.But one sharp difference exists between the two. The hypochondriac can usually turn to a physician to get a definitive（决定性的）clarification（澄清，说明） of the situation—either you have the suspected disease or you don't. It is much more difficult when anxiety about other forms of risk is concerned, because with many risks, the situation is not as simple[N].

2 对生活中风险的担忧与疑病症有相似之处；二者的恐惧或忧虑皆起因于信息不全面。但二者之间也存在一个明显的差别。疑病症患者通常可以求助于医生，以便澄清疑虑——要么你得了你所怀疑的疾病，要么你没得。但当涉及到其它形式的风险时，事情就要困难得多，因为对许多风险来说，情况并不那么简单。

[3] Risks are almost always a matter of probability rather[N]than certainty.You may ask, "Should

I wear a seat belt?" If you're going to have a head-on（正面相撞） collision（碰撞）, of course. But what if you get hit from the side and end up trapped inside the vehicle（车辆）, unable to escape because of a damaged seat belt mechanism（装置）? So does this mean that you should spend the extra money for an air bag[N]? Again, in head-on collisions, it may well save your life. But what if the bag accidentally[N]inflates（膨胀）while you are driving down the highway, thus causing an accident that would never have occurred otherwise[N]?

3 风险几乎总是一个可能性的问题而无确定性可言。你也许会问：“我该不该系安全带？”如果你坐的车要与其它车正面相撞，那当然该系安全带。倘若你的车侧面被撞，结果你被困在车里，又因安全带装置遭破坏而无法挣脱，那怎么办呢？这是否意味着你该再花些钱在车内安一个保险气袋呢？同样，在正面相撞的情况下，保险气袋完全可以救你一命。但是，万一正当你在高速公路上开车时，保险气袋突然意外充气膨胀，从而导致了本来绝不会发生的事故，那又该如何是好？

[4] All of this is another way of saying that nothing we do is completely safe.There are risks, often potentially serious ones, associated with every hobby we have, every job we take, every food we eat—in other words, with every action. But the fact that there are risks associated with everything we are going to do does not, or should not, reduce us to trembling（战战兢兢的）neurotics（神经病患者）. Some actions are riskier than others. The point is to inform ourselves about the relevant（相关的）risks and then act accordingly（相应地）[N].

4 上面说的这一切，只是从另一角度说明我们所做的事没有一件是百分之百安全的。有些风险——常常是潜在的重大风险——与我们的每个业余爱好、所做的每项工作、所吃的每种食物有关，换句话说，与所进行的任何活动有关。但我们又不能，也不该因危险存在于我们将要做的每件事，而变成战战兢兢的神经症患者。有些活动是比其它活动更危险。关键在于要让自己了解相应的风险，然后相机行事。

[5] For example, larger cars are generally safer than small ones in collisions.But how much safer? The answer is that you are roughly（大致）twice as likely to die in a serious crash in a small car than in a large one.Yet larger cars generally cost more than small ones (and also use more gas, thus increasing the environmental risks!), so how do we decide when the reduced risks are worth the added costs?The ultimate （最*的，根本的） risk avoider might, for instance, buy a tank or an armored（装甲的）car, thus minimizing the risk of death or injury in a collision. But is the added cost and inconvenience worth the difference in price, even supposing you could afford it?

5 例如，两车相撞时，大车总的说来要比小车安全些。可究竟能安全多少呢？答案是这样：在一起严重的车祸中坐小车丧生的可能性是坐大车的两倍左右。然而，大车通常比小车贵（并且消耗更多的汽油，由此给环境带来了更大的风险！）。那么我们该怎样确定什么时候值得为降低风险增加花费呢？例如，避免风险最保险的做法也许是去买一辆坦克或装甲车，从而把撞车时死亡或受伤的风险降到最小。然而，即便你买得起，这笔额外的费用以及忍受坦克或装甲车所带来的不便是否值得呢？

[6] We cannot begin to answer such questions until we have a feel for the level of risks in question. So how do we measure the level of a risk? Some people seem to think that the answer is a simple number. We know, for instance, that about 25,000 people per year die in automobile accidents. By contrast, only

about 300 die per year in mine accidents and disasters. Does that mean that riding in a car is much riskier than mining? Not necessarily. The fact is that some 200 million Americans regularly ride in automobiles in the United States every year; perhaps 700,000 are involved in mining. The relevant figure that we need to assess（评估） a risk is a ratio（比例）or fraction（分数）. The numerator（分子）of the fraction tells us how many people were killed or harmed as the result of a particular activity over a certain period of time; the denominator（分母）tells us how many people were involved in that activity during that time. All risk levels are thus ratios or fractions, with values between 0 (no risk) and 1 (totally risky).

6 在我们尚不知所涉及的风险程度之前，我们还无法回答这些问题。那么，我们该如何去衡量风险程度呢？有些人似乎认为答案只不过是一个简单的数字。例如，我们知道每年大约有25,000 人死于车祸。相比之下，每年只有大约300人死于矿山事故和灾难。这难道就意味着乘坐汽车要比采矿危险得多吗？未必。事实是，在美国每年大约有两亿人经常性地以车代步；而大概只有70万人从事采矿作业。我们评估一种风险时，所需要的有关数字是一个比率或分数。该分数的分子告诉我们在某个特定时期由于从事某种特定活动而丧生或受伤的人数；其分母告诉我们在这一时期从事这种活动的总人数。这样，所有的风险程度都是由比率或分数表示，其大小介于0（无风险）到1（完全风险）之间。

[7] By reducing all risks to ratios or fractions of this sort, we can begin to compare different sorts of risks—like mining versus（与…相对）riding in a car. The larger this ratio, that is, the closer it is to 1, the riskier the activity in question. In the case just discussed, we would find the relative safety of car travel and coal mining by dividing the numbers of lives lost in each by the number of people participating in each. Here, it is clear that the riskiness of traveling by car is about 1 death per 10,000 passengers; with mining, the risk level is about 4 deaths per 10,000 miners. So although far more people are killed in car accidents than in mining, the latter turns out to be four times riskier than the former. Those ratios enable us to compare the risks of activities or situations as different as apples and oranges[N].If you are opposed to risks, you will want to choose your activities by focusing on the small-ratio exposures（暴露）. If you are reckless（无所畏惧，不顾后果的）, then you are not likely to be afraid of higher ratios unless they get uncomfortably large.

7 通过把所有风险都简化为这种比率或分数，我们便可以开始比较不同种类的风险，如比较采矿与乘坐汽车。这个比率越大，也就是说它越接近1，那么有关活动的风险就越大。在刚才讨论的例子中，我们可以用每一活动中死亡的人数除以参与该活动的总人数，从而找出汽车旅行与采煤的相对安全性。此处，我们可以很清楚地看到，乘坐汽车旅行的风险是每一万人中大约有一人丧生；而就采矿而言，其危险程度是每一万矿工中大约有四人死亡。所以，尽管在车祸中丧生的人远比采矿要多，其实后者的风险是前者的四倍。这些比率使我们能够对毫不相干的活动或情形的危险性加以比较，即便差别如苹果与橘子那样大也能比较。如果你反对冒险，你就会选择风险比率较小的活动。如果你无所畏惧，那么你往往会对高比率不太在乎，除非它们大得令人难以承受。

[8] Once we understand that risk can never be totally eliminated from any situation and that, therefore, nothing is completely safe, we will then see that the issue is not one of avoiding risks altogether but rather one of managing risks in a sensible way. Risk management requires two things: common sense and information about the character（性质） and degree（程度） of the risks we may be running. (963 words) 8 我们一旦明白了风险是永远无法从任何情况中完全去除的，因而就没有绝对安全的事，我们也就会明白问题的关键不是要彻底避免风险，而是要理智地管理风险。风险管理需要两大要素：常识以及与我们可能要承担的风险的性质和程度相关的信息。

unit 7

永远不会听到的毕业典礼演说

We the faculty take no pride in our educational achievement with you. We have prepared you for a world that does not exist, indeed, that cannot exist. You have spent four years supposing that failure leaves no record[N]. You have learned at Brown that when your work goes poorly, the painless solution is to drop out. But starting now, in the world to which you go, failure marks[N]you. Confronting(面对，对抗) difficulty by quitting leaves you changed[N]. Outside Brown, quitters are no heroes.

1 我们这些教师对于在你们身上取得的教育成就一点都不感到自豪。我们培养你们去适应的是一个根本不存在的世界——事实上也是不可能存在的。在这里度过的四年时间里，你们一直以为失败是不会留下任何记录的。要是学得不好，一个最省事的办法就是中途退出(不修这门课)，在布朗大学你们学会了这一点。但是，从现在开始，在你们要涉足的世界里，失败是要给你留下疤痕的。知难而退也会使你变成另一个人。走出布朗，知难而退的人绝不是英雄。

[2] With us you could argue about why your errors were not errors, why mediocre（平凡的）work really was excellent, why you could take pride in routine[N]and slipshod（草率的，普通的）presentation.Most of you, after all, can look back on honor grades[N]for most of what you have done. So, here grades can have meant little in distinguishing the excellent from the ordinary. But tomorrow, in the world to which you go, you had better not defend（辩护） errors but learn from them[N]. You will be ill-advised（不明智的）to demand praise for what does not deserve it, and abuse[N]those who do not give it.

2 你们可以跟我们争辩，说服我们为什么你们的错误不是错误，为什么平庸的作业是优秀的，为什么你们会对普普通通并不出色的课堂报告感到骄傲。回想一下，毕竟你们中的大多数人在你们所学的大部分课程中都得了高分。因此，在这里分数并不能作为区分优秀学生与学业平平的学生的依据。但是，今后，在你们所要去的世界里，你们最好不要为自己的错误辩护，而应该从中吸取教训。假如你们要求得到你们不该得到的表扬，诋毁那些不给你们表扬的人，这是不明智的做法。

[3] For years we created an altogether forgiving world, in which whatever slight effort you gave was all that was demanded.When you did not keep appointments, we made new ones. When your work came in beyond the deadline, we pretended not to care.

3 多年来，我们创造了一个完全宽容的世界。这里所要求于你们的仅仅是一点微不足道的努力。当你们没有按约定的时间赴约时，我们就再约时间。当你们没有按期交作业时，我们装作不在乎。

[4] Worse still, when you were boring, we acted as if you were saying something important. When you were garrulous（唠叨的）and talked to hear yourselves talk[N], we listened as if it mattered.When you tossed on our desks writing upon which you had not labored[N], we read it and even responded, as though you earned a response. When you were dull, we pretended you were smart. When you were

predictable,unimaginative and routine（日常的，平淡的）, we listened as if to new and wonderful things. When you demanded free lunch, we served it. And all this why?

4 更糟糕的是，当你们的言谈枯燥无味时，我们却装作你们说的是重要的事情；当你们喋喋不休、不知所云时，我们认真倾听，似乎你们说的东西事关重大；当你们把根本没有花心思写的作业扔到我们桌上时，我们不仅拜读，甚至批改给评语，好像值得为你们这样做似的。当你们犯傻时，我们装作你们聪明过人；当你们老生常谈、毫无想象力、平平淡淡时，我们却装作像在听什么美妙绝伦的新鲜事情一样；当你们要不劳而获时，我们拱手奉上。所有这一切究竟是为了什么?

[5] Despite your fantasies, it was not even that we wanted to be liked by you. It was that we did not want to be bothered, and the easy way out was pretense: smiles and easy Bs.

5 对这一切尽管你们可以想入非非，但我们决不是因为想要讨你们的欢心，而是因为我们不想让你们罗唆。一个简单的办法就是作假：微笑，让你们轻轻松松都得B。

[6] It is conventional to quote（引用） in addresses（演讲） such as these. Let me quote someone you've never heard of: Professor Carter A. Daniel, Rutgers University:"College has spoiled you by reading papers that don't deserve to be read, listening to comments that don't deserve a hearing, paying attention even to the lazy, ill-informed and rude. We had to do it, for the sake of education. But nobody will ever do it again. College has deprived you of adequate（充足的）preparation for the last 50 years. It has failed[N]you by being easy, free, forgiving, attentive, comfortable, interesting, unchallenging fun. Good luck tomorrow."

6 在这一类的演说中人们往往习惯于引用，在此让我来引用一个你们从来没有听说过的人的话，这个人是拉特格斯大学的卡特?A．丹尼尔教授。他说：“大学毁了你们，让你们阅读那些不值得一读的论文，听那些不值得一听的评论，甚至要去尊重那些无所事事、孤陋寡闻、极不文明的人。为了教育，我们过去不得不这样做，但是今后不会有人再这样做了。在过去的50年中，大学使你们丧失了得到充分培养的机会。由于大学成了一个轻松、自由、包容、体贴、舒适、充满乐趣、好玩的地方，它没有对你们尽到责任。但愿你们今后好运。”

[7] That is why, on this commencement day, we have nothing in which to take much pride.

7 这就是为什么，在今天进行毕业典礼之际，我们没有任何可引以自豪的东西。

[8] Oh, yes, there is one more thing. Try not to act toward your co-workers and bosses as you have acted toward us. I mean, when they give you what you want but have not earned, don't abuse them, insult them, act out with them your parlous（危险的，糟糕的）relationships with your parents. This[N]too we have tolerated. It[N]was, as I said, not to be liked. Few professors actually care whether or not they are liked by peer-paralyzed（同龄人）adolescents[N], fools so shallow（肤浅的）as to imagine professors care not about education but about popularity. It was, again, to be rid of you.[N]So go, unlearn（忘却）the lies we taught you. To life![N](585 words)

8 哦，对了，还有一点。尽量不要像对待我们那样去对待你们的同事和老板。我的意思是，当他们把你们想要但不是你们应得的东西给了你们时，要善待他们，不要侮辱他们，不要在他们身上重演你们与父母之间的那种糟糕的关系。这一切，我们也都忍受了。正如我刚才所说的，这不是为了讨你们的欢心。有一些年轻人只能在同龄人的眼中找到自我，是一些愚昧无知的人，竟然肤浅到以为教授们关心的不是教育，而是自己的人缘。实际上，很少有教授在乎这类年轻人是否喜欢他们。我们容忍这一切，只是为了摆脱你们。摒弃我们在教学中给你们造成的这些假象，投身到真实的生活中去吧。

大学：一个宽恕一切的世界吗?

1 In "The Commencement Speech You'll Never Hear", Jacob Neusner argues that we have been made to believe, according to our college experience, that "failure leaves no record" and that things can be easily achieved. It seems to Neusner that college is not a good preparatory school for life because it is making us ready "for a world that does not exist" .

l 在“永远不会听到的毕业典礼演说”中，雅各布?诺伊斯纳认为，大学经历使得我们认为：“失败不会留下任何记录”(第一段)，而成绩是很容易取得的。在诺伊斯纳看来，大学并不是一所很好的着眼于将来生活的预备学校，因为它为一个“根本就不存在的世界”而培养我们。

2 There's no doubt that Neusner should have taken a closer look at what college life is really like before formulating（发表，表示） such a strong opinion about it. He is completely ignoring all the pressures and hard times students go through to make it at college. It is not the way he describes it at all.

2 毫无疑问，诺伊斯纳在发表这么强烈的论点之前，该对大学生活的实际情况做更进一步的审视。他完全无视学生们为了学业成功而经受的一切压力与艰辛。大学生活根本就不是他所描绘的那样。

3 Is college not preparing us for real life, as Neusner puts it? Is what we are experiencing something not useful to learn for the real world? These are questions that pop into my mind when I think about what Neusner says. I think that he is very wrong. The college years, for many of us, are when we start to be independent, make crucial decisions on our own, and become responsible for them. At college, we must learn to budget our time (and money!) and to be tolerant(otherwise we wouldn't survive in a crowded triple room!). We meet people from different parts of the world that broaden our view of the world itself and help us understand each other better. If these things are not useful for the real world, then I don't know what could be.

3 大学难道真的像诺伊斯纳所说的那样，没有让我们为现实生活作准备吗?我们所经历的一切难道无助于我们了解现实世界吗?这些问题都是在思考诺伊斯纳所说的话时涌现到我的脑海中的。我认为他完全错了。对我们许多人来说，大学时代正是我们开始独立，自己做重要决定，并对这些决定负责的时代。在大学里，我们必须学会计划时间

(还包括计划用钱!)，学会容忍(否则，住在一个拥挤的三人间里，我们会无法过下去的)。我们与来自世界各地的人相识，开阔了我们的视野，使我们彼此加深了解。如果这些对现实世界是没用的，那我可不知道什么才是有用的。

4 Neusner believes that in college we are trained to think that "failure leaves no record" because we can supposedly get away with mistakes easily. I have news for him. If you fail a test, you can't take it again, or the teacher won't erase the grade even if he thinks you will hate him for the rest of your life. If you drop out of a class, next semester you will have to take more courses. If you get low grades, your chances of getting into a fine graduate school are almost none. If your grade point average is not reasonably high for a number of classes, you just don't get your degree. When midterm and finals come, no one can avoid taking them. When the going gets tough, the tough have to get down to work because, unlike what Neusner believes, college does not give " painless" solutions to mistakes. It is not "an altogether forgiving world", and by no means have teachers "pretended not to care" when deadlines are not kept or when things aren't done at the time they are supposed to be.

4 诺伊斯纳认为，在大学里我们所接受的教育使我们认为“失败不会留下任何记录”，因为据称我们犯了错误可以轻而易举地不受惩罚。我要告诉他的是：要是你考试不及格，你就不能再考，或者即使老师明知你一辈子都会恨他，他也不会抹去你的成绩。要是你中途放弃了某一门课，下学期你就得多修课。要是你有几门课的成绩很低，就几乎不可能进入一个好的研究生院。要是你好几门课的平均积分点不够高，那你就得不到学位。期中考试、期末考试来临时，没有人能够逃避。当学习紧张时，本来刻苦学习的人也得更加努力学习，因为大学并不像诺伊斯纳所认为的那样，会给失误提供“省事的”解决办法。大学不是一个“宽恕一切的世界”，当“最后期限”已过，或者没有按要求的时间完成作业时，老师们也绝不会“装作不在乎”。

5 To me, living in a crowded triple, having a one-day reading period before finals, tons of readings, papers, and midterms due the same week are not exactly my idea of easy, free, forgiving, attentive, comfortable, interesting, unchallenging fun. (487 words)

5 对于我来说，生活在一个拥挤的三人间里，期末考试前只有一天时间看书，繁重的阅读任务，论文，还有集中在一个星期里进行的期中考试，这些可不是我心目中的“轻松、自由、包容、体贴、舒适、充满乐趣、好玩”

How to Take Your Time

1 Dr Larry Dossey has two antique clocks. "One fast, the other slow," says Dr Dossey. "They remind me that my life is not ruled by clocks, that I can choose the time I live by."

拉里?多希博士有两个古董钟。“一个走得快，一个走得慢”多希博士说。“它们提醒我，生活不是由时钟控制的，而且我能自己选择按什么样的时间生活。”

2 How a person thinks about time can kill him, according to Dossey, a pioneer in the emerging（新兴的） science of chronobiology, the study of how time interacts with life. One of the most common ills in our society, he says, is "time sickness", a sense of time pressure and hurry that causes anxiety and tension. These symptoms can contribute to heart disease and strokes（中风）, two of our most frequent causes of death.

多希博士研究时间生物学，是这门新兴学科的开拓者。该学科研究的是时间与生活是如何相互影响的。多希博士认为，一个人如何看待时间可能是生死攸关的事。他说，在我们社会中最常见的一种疾病是“时间病”，就是由于时间造成的压力和紧迫性而引起的焦虑和紧张。这些症状会导致心脏病和中风，这是我们最大的两种死因。

3 Dossey has discovered that these and other stress-induced ills can often be successfully treated by using simple techniques to change how a person thinks about time.

多希发现,采用一些简单的方法去改变人们对时间的看法，上述疾病和其他一些因紧张而诱发的疾病常常可以得到成功的治疗。

4 Dr Dossey became interested in time and health when he noticed how many patients insisted on having watches with them in the hospital , even though they had no schedules to keep. They were all time addicts, taught since childhood to schedule their lives by society's clock, and all felt lost without the security

of a timepiece（计时器）It seems to rule our lives. Time is money, to be saved and spent wisely, not wasted or lost.

多希博士注意到，有相当多的病人虽然在住院期间并没有任何日程安排，但仍坚持要带手表，于是就对时间与健康之间的关系产生了兴趣。这些人都是“时间瘾君子”。他们从孩提时代起就受到这样的教育：要按社会的时钟安排自己的生活。因此一旦没有了计时器所给予的安全感，就会茫然若失。于是乎时间就统治了我们的生活。时间就是金钱，应该节省，应该理智地花，不要浪费或者丢失。

5 Almost all living things in our world carry their own biological clocks synchronised with the rhythms of nature. A crab（螃蟹） can sense when the tide（潮汐） is about to change. A mouse wakes when night nears. A squirrel（松鼠）knows when to prepare for its long winter nap. These living clocks are not accurate in any robot-like mechanical（机械的）sense. They adjust to changes in the environment.

几乎所有生活在我们这个世界上的生物，都拥有与大自然节奏同步的生物钟。蟹能感知潮水什么时候要变化。老鼠会在夜幕降临时醒来。松鼠知道什么时候该为漫长的冬眠做准备。这些生物钟并不像自动机械装置那么精确，却能适应环境的变化。

6 Light is the most powerful synchroniser in most living things. But in humans there is another powerful synchroniser: other people. Pioneering studies in Germany reported that when people were put together in groups isolated from external（外部时间） time cues（线索） of light, temperature and humidity,their own complex internal（内部的）timekeeping（计时，时间推移） rhythms became desynchronised（失去共时性）; then they resynchronised in unison（一致地）. Even body temperatures started to rise and fall together, a sign that subtle（微妙的） biochemical changes in each body were now happening together. These experiments may have discovered one of the mysterious forces（力量） that reshape（改造）individuals into members of a team, cult or mob.

对大多数生物来说，光是最强有力的同步指示仪。但人类还有另一个强有力的同步指示仪：周围的人。根据在德国进行的开拓性研究报告，当人们被分成小组，一起置身于与光、温度、湿度等外部时间提示因素相隔绝的环境时，他们自身内部复杂的时间节奏无法（与外部因素）同步了；但他们的生物钟随后又恢复了相互间一致的同步节奏。就连他们的体温也一起上升或下降——这表明，每个人体内的一些微妙的生物化学变化现在也都同步了。这些实验也许揭示了一种神秘力量，一种把个人改变为群体（团队、异教或乌合之众）成员的神秘力量。

7 The mind can alter（改变） rhythms of time in various ways. People brought back from the brink（边缘） of death often recall their entire lives flashing before them in an instant. Those who have been in a serious accident often report that, as it occurred, everything happened in slow motion; apparently （显然的） this is a survival tool built into the brain, an ability to accelerate（加速） to several times normal perceptual（感知的） speed, thereby "slowing down" the world and giving the victim（受害者） "time" to think how to avoid disaster.

人的头脑能以各种各样的方式改变时间的节奏。那些从死亡的边缘抢救过来的人常常回忆说, 在那一瞬间他们整个一生的生活经历会在他们面前重新闪现。那些经历过严重事故的人常描述说，在事故发生的过程中，一切都以慢动作的形式进行；这显然是人脑中内置有逃生工具，也就是一种能力，它能把人对外部世界的感知速度提高到正常状态下的数倍，从而“减慢”了世界运行的速度，使当事人有“时间”来思考避免灾难的对策。

8 Because the time our society keeps has been taught to us since birth, we think of it as something that everyone everywhere must somehow share. But cultures differ in how they perceive time. In North America and the industrialised（工业化的） countries of northern Europe, life is tightly scheduled. To keep someone waiting is frowned upon（不爽的，不赞成的）. But in southern Europe and in the Hispanic countries of Latin America,people are given priority（优先权） over schedules and in making appointments the starting time is more flexible.

由于我们一生下来就被灌输了社会所遵循的时间，于是我们就以为这是任何人在任何地方不管怎么样都必须共同遵守的。但不同的文化对时间的认识存在着差异。在北美和欧洲北部的一些工业化国家，生活安排得很紧凑。让别人等候是令人皱眉头的。但在欧洲南部及拉丁美洲说西班牙语和葡萄牙语的国家里，人比时间表更重要，故在约会时会把开始的时间定得比较灵活.

9 Each view of time has advantages and disadvantages. But the costs can be great.

When our natural inner rhythms are out of synchronisation with clock time, stress results. Under the tyranny（严格控制） of clock time, western industrialised society now finds that heart disease and related

ills are leading causes of death. However, such "time illnesses" can be treated and prevented by changing the way we think about time, according to Dr Dossey. He applies simple techniques that you can also use to change and master your own time:

每一种时间观都各有优缺点。但其代价可能会很高。当我们体内的自然节奏与时钟时间之间的同步关系被打乱时，紧张感便会随之而生。在时钟时间的严格控制下，现在西方工业化社会发现心脏病和其他一些相关疾病是导致死亡的主要原因。但是，多希博士认为，这样的“时间病”是可以通过改变我们对时间的看法而得到治疗和预防的。

他能采用一些简单的手段来改变和主宰自己的时间，这些手段你我也可以采用。

10 1) Unclock your life.

Stop wearing a wristwatch. Time becomes much less a concern when we break the habit of looking at clocks or watches.

1）摆脱时钟对你生活的控制。

别再戴手表。当我们打破了看钟表的习惯时，时间便不再让你我如此时时关注了。

11 2) Set your own inner sense of time.

To illustrate（说明） that time is relative, Einstein observed that to a person sitting on a hot stove, two minutes could feel like two hours; to the young man with a pretty girl, two hours could seem like two minutes.

2）确立你自己的内部时间感。

为了说明时间是相对的，爱因斯坦曾经说，对于一个坐在滚烫的火炉上的人来说，两分钟的时间给人的感觉就像两小时；而对一个身边有靓丽女子陪伴的青年男子来说，两小时就像两分钟一样。

12 3) Tap（发挥，利用） your body's power to change time.

We all possess an inborn ability to relax. Most people can summon it up（鼓起，唤起，振作）merely by dismissing disturbing thoughts and by controlling their breathing - for example, by thinking the word "one" with each outgoing breath. Within several minutes this can produce deep calm.

3）发挥你自身的能力去改变时间。我们都天生具有使自己放松的能力。大多数人能通过排除杂念和控制呼吸的方法做到这一点。例如，每次呼气时都想数字“1”。几分钟内，就能使自己非常平静。

13 4) Synchronise yourself with nature.

Take time to watch a sunset, or a cloud cross the sky. Remember that there is a time far older than what humankind has created with clocks.

4）使自己与大自然同步。

耐心地看看日落，或者看一朵从头顶的天空慢慢飘过的云。记住，有一种时间比人类用钟表创造出来的时间要古老得多。

14 The cultural pattern we call time is learnt, and if we wish to live in harmony with nature we must learn to recognize that its time still shapes our world and should not be ignored. We created the mechanical

time around which our society operates, and we ***have the freedom to choose whether we will be its slave or its master. (838 words)

我们赋予时间的文化模式是后天学来的，如果我们希望与大自然和谐相处，我们就必须努力认识到大自然的时间依然左右着我们的世界，绝不能忽视它。我们创造了机械时间，令我们的社会随着它运转，我们有自由去选择究竟是做它的奴隶还是做它的主人。

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。

大学英语Unit 1 课文翻译

学外语学习外语是我一生中最艰苦也是最有意义的经历之一。虽然时常遭遇挫折，但却非常有价值。我学外语的经历始于初中的第一堂英语课。老师很慈祥耐心，时常表扬学生。由于这种积极的教学方法，我踊跃回答各种问题，从不怕答错。两年中，我的成绩一直名列前茅。到了高中后，我渴望继续学习英语。然而，高中时的经历与以前大不相同。以前，老师对所有的学生都很耐心，而新老师则总是惩罚答错的学生。每当有谁回答错了，她就会用长教鞭指着我们，上下挥舞大喊：“错！错！错！”没有多久，我便不再渴望回答问题了。我不仅失去了回答问题的乐趣，而且根本就不想再用英语说半个字。好在这种情况没持续多久。到了大学，我了解到所有学生必须上英语课。与高中老师不同，大学英语老师非常耐心和蔼，而且从来不带教鞭！不过情况却远不尽如人意。由于班大，每堂课能轮到我回答的问题寥寥无几。上了几周课后，我还发现许多同学的英语说得比我要好得多。我开始产生一种畏惧感。虽然原因与高中时不同，但我却又一次不敢开口了。看来我的英语水平要永远停步不前了。直到几年后我有机会参加远程英语课程，情况才有所改善。这种课程的媒介是一台电脑、一条电话线和一个调制解调器。我很快配齐了必要的设备并跟一个朋友学会了电脑操作技术，于是我每周用5到7天在网上的虚拟课堂里学习英语。网上学习并不比普通的课堂学习容易。它需要花许多的时间，需要学习者专心自律，以跟上课程进度。我尽力达到课程的最低要求，并按时完成作业。我随时随地都在学习。不管去哪里，我都随身携带一本袖珍字典和笔记本，笔记本上记着我遇到的生词。我学习中出过许多错，有时是令人尴尬的错误。有时我会因挫折而哭泣，有时甚至想放弃。但我从未因别的同学英语说得比我快而感到畏惧，因为在电脑屏幕上作出回答之前，我可以根据自己的需要花时间去琢磨自己的想法。突然有一天我发现自己什么都懂了，更重要的是，我说起英语来灵活自如。尽管我还是常常出错，还有很多东西要学，但我已尝到了刻苦学习的甜头。学习外语对我来说是非常艰辛的经历，但它又无比珍贵。它不仅使我懂得了艰苦努力的意义，而且让我了解了不同的文化，让我以一种全新的思维去看待事物。学习一门外语最令人兴奋的收获是我能与更多的人交流。与人交谈是我最喜欢的一项活动，新的语言使我能与陌生人交往，参与他们的谈话，并建立新的难以忘怀的友谊。由于我已能说英语，别人讲英语时我不再茫然不解了。我能够参与其中，并结交朋友。我能与人交流，并能够弥合我所说的语言和所处的文化与他们的语言和文化之间的鸿沟。

新编大学英语4课文翻译(包括课后文章翻译)和答案

Reading comprehension 1略 2 BDCAC AADBB Vocabulary 1. 1) A. entertaining B. entertainment C. entertained D. entertainer 2) A. recognizable B. recognized C. recognition 3) A. tempting B. temptation C. tempt 4) A. reasoned B. reasoning C. reasonable D. reason 5) A. analyzed B. analytical C. analyst D. analysis 6) A. valuable B. valuation C. valued/values D. values 7) A. humorist B. humor C. humorous D. humorless 8) A. understandable B. understanding C. understand D. misunderstood 2. 1) a sense of responsibility 2) a sense of safety/security 3) a sense of inferiority 4) a sense of superiority 5) a sense of rhythm 6) a sense of justice 7) a sense of shame 8) a sense of helplessness 9) a sense of direction 10) a sense of urgency 3. 1) Lively behavior is normal 2) Fast cars appeal to 3) diverse arguments 4) I asked my boss for clarification 5) sensitive to light 6) Mutual encouragement 7) made fun of him 8) persists in his opinion/viewpoint 9) to be the focus/center of attention 10) we buy our tickets in advance 4. 1）certain/sure 2) involved 3) end 4) behavior 5) disciplining 6) agreed 7) individually 8) first 9) response 10) question 11) attempt 12) voice 13) directly 14) followed 15) trouble Unit 2 便笺的力量 Reading comprehension 1略 2 FFTFTFTFTTFTFT Vocabulary 1. Creating Compound Words

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

大学英语第一册课文翻译

新编大学英语（第二版）第一册阅读文参考译文 Unit One 以生命相赠 1 炸弹落在了这个小村庄里。在可怕的越南战争期间，谁也不知道这些炸弹要轰炸什么目标，而他们却落在了一所有传教士们办的小孤儿院内。 2 传教士和一两个孩子已经丧生，还有几个孩子受了伤，其中有一个小女孩，8岁左右，她的双腿被炸伤。 3 几小时后，医疗救援小组到了。救援小组由一名年轻的美国海军医生和一名同样年轻的海军护士组成。他们很快发现有个小女孩伤势严重。如果不立即采取行动，显然她就会因失血过多和休克而死亡。 4 他们明白必须给小女孩输血，但是他们的医药用品很有限，没有血浆，因此需要相配血型的血。快速的血型测定显示两名美国人的血型都不合适，而几个没有受伤的孤儿却有相配的血型。 5 这位医生会讲一点越南语，忽视会讲一点法语，但只有中学的法语水平。孩子们不会说英语，只会说一点法语。医生和护士用少得可怜的一点共同语言，结合大量的手势，努力向这些受惊吓的孩子们解释说，除非他们能输一些血给自己的小伙伴，否则她将必死无疑。接着问他们是否有人愿意献血来救小女孩。 6 对医生和护士的请求，孩子们（只是）瞪大眼睛，一声不吭。此时小病人生命垂危。然而，只有这些受惊吓的孩子中有人自愿献血，他们才能够得到血。过了好一会儿，一只小手慢慢地举了起来，然后垂了下去，一会儿又举了起来。 7 “噢，谢谢，”护士用法语说。“你叫什么名字？” 8 “兴，”小男孩回答道。 9 兴很快被抱到一张床上，手臂用酒精消毒后，针就扎了进去。在整个过程中，兴僵直地躺着，没有出声。 10 过了一会儿，他发出了一声长长的抽泣，但立即用那只可以活动的手捂住了自己的脸。 11 “兴，疼吗？”医生问。 12 兴默默地摇了摇头，但一会儿忍不住又抽泣起来，并又一次试图掩饰自己的哭声。医生又问是不是插在手臂上的针弄疼了他，兴又摇了摇头。

全新版大学英语综合教程1第二版课文原文(1_4单元)

Unit 1 The idea of becoming a writer had come to me off and on since my childhood in Belleville, but it wasn't until my third year in high school that the possibility took hold. Until then I'd been bored by everything associated with English courses. I found English grammar dull and difficult. I hated the assignments to turn out long, lifeless paragraphs that were agony for teachers to read and for me to write. When our class was assigned to Mr. Fleagle for third-year English I anticipated another cheerless year in that most tedious of subjects. Mr. Fleagle had a reputation among students for dullness and inability to inspire. He was said to be very formal, rigid and hopelessly out of date. To me he looked to be sixty or seventy and excessively prim. He wore primly severe eyeglasses, his wavy hair was primly cut and primly combed. He wore prim suits with neckties set primly against the collar buttons of his white shirts. He had a primly pointed jaw, a primly straight nose, and a prim manner of speaking that was so correct, so gentlemanly,

大学英语课文翻译及习题答案

大学英语课文翻译及习题答案标准化管理部编码-[99968T-6889628-J68568-1689N]

Unit 1 1. A very curious boy, Tom, is interested not only in whats but also in whys and hows. 汤姆是个非常好奇的男孩，他不仅对“是什么”感兴趣，而且也对“为什么”和“怎么会”感兴趣。 2. Happiness, according to Prof. Smith, is the ability to make the most of what you have. 据史密斯教授说，幸福就是你能充分利用你所有的一切。 3. You’d better keep the book where your 15-year-old son can’t get his hands on. 你最好把这本书放在你15岁的儿子找不到的地方。 4. The story was very funny and Bill kept laughing while reading it. 这故事非常滑稽，比尔一边读一边不停地笑。 5. High-achieving students do not necessarily put in more time at their studies than their lower-scoring classmates. 成绩优秀的学生未必比他们得分较低的同学在学习上花费更多的时间。 6. How did you manage to persuade these students to take the speed-reading course 你是怎样设法说服这些学生修读快速阅读课的 7. Working hard is important, but knowing how to make the most of one's abilities counts for much more. 用功是重要的，但知道如何充分利用自己的才能更重要得多。 8. She asked her students to think for themselves rather than telling them what to think. 她要求学生独立思考，而不是告诉他们该思考什么。 Unit 2 1. Referring to the differences between American English and British English, he said, “The United States and Britain are, after all, two different countries.” 在谈及美国英语和英国英语的差别时，他说：“美国和英国毕竟是两个不同的国家。” 2. Prof. Smith encourages his students to think for themselves. “I am just as happy,” he often says, “even if you challenge me or completely disagree with me.” 史密斯教授鼓励他的学生独立思考。他常说：“即使你们对我提出质疑或者完全不同意我的看法，我也同样高兴。” 3. We called on him to take part in our conversation about pop music, but as soon as he joined in, he introduced a new topic and referred to the NBA finals of the previous week. 我们请他参加我们关于流行音乐的谈话，但他一参加进来就引入一个新的话题，谈起了上周的NBA决赛。 4. The driver is responsible for this accident. His car knocked down a tree and a man on his bike. 司机应对这次事故负责。他的车撞倒了一棵树和一个骑车的人。

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.

大学英语4课文原文

Para1 An artist who seeks fame is like a dogchasing 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. 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。 "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. 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。 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. 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. Unit2 He was an immensely talented man, determined to a degree unusual even in the ranks of Hollywood stars. His huge fame gave him the freedom—and, more importantly, the money—to be his own master. He already had the urge to explore and extend a talent he discovered in himself as he went along. "It can't be me. Is that possible? How extraordinary," is how he greeted the first sight of himself as the Tramp on the screen. But that shock rousedhis imagination.Chaplin didn't have his jokes written into a script in advance; he was the kind of comic who used his physical senses to invent his art as he went along. Lifeless objects especially helped Chaplin make "contact" with himself as an artist. He turned them into other kinds of objects. Thus, a broken alarm clock in the movie The Pawnbroker became a "sick" patient undergoing surgery; boots were boiled in his film The Gold Rush and their soles eaten with salt and pepper like prime cuts of fish (the nails being removed like fish bones). This physical transformation, plus the skill with which he executed it again and again, is surely the secret of Chaplin's great comedy. He also had a deep need to be loved—and a corresponding fear of being betrayed. The two were hard to combine and sometimes—as in his early marriages—the collision between them resulted in disaster. Yet even this painfully-bought self-knowledge found its way into his comic creations. The Tramp never loses his faith in the flower girl who'll be waiting to walk into the sunset with him; while the other side of Chaplin makes Monsieur Verdoux, the French wife killer, into a symbol of hatred for women.