英语一阅读翻译2006

1、2006 Text 1In spite of “endless talk of difference，American society is an amazing machine for homogenizing people. There is “ the democratizing uniformity of dress and discourse， and the casualness and absence of deference characteristic of popular culture. People are absorbed into “ aculture of con

2、sumption launched by the 19th century department stores that offered “ vastarrays of goods in an elegant atmosphere. Instead of intimate shops catering to a knowledgeable elite, these w stores “ anyonelcdoeunter, regardless of class or background. This turned shopping into a public and democratic ac

3、t. The mass media, advertising and sports are other forces for homogenization. 不管我们如何喋喋不休地谈论差异，美国社会实际上是一台同化人们的神奇的机 器。这就是民主化的着装和言谈，并且还有种随意和缺乏尊重感，这些构成了通 俗文化的特性。人们被一种消费文化所吸引了，这种文化是由十九世纪在高雅的 气氛中陈列着琳琅满目的商品的百货商店所开始的。 他们不是为了迎合有知识 的精英们而开设的专门商店，而是创立了“不分阶层和背景人人都可以进入 的 群众商店。这使得购物成为一种群众的、民主的行为。群众传媒、广告和体育也 是协助人们

4、均质化的推动力。Immigrants are quickly fitting into this common culture, which may not be altogether elevating but is hardly poisonous. Writing for the National Immigration Forum, Gregory Rodriguez reports that today's immigration is neither at unprecedented levels nor resistant to assimilation. In 1998

5、 immigrants were 9.8 percent of population; in 1900, 13.6 percent .In the 10 years prior to 1990, 3.1 immigrants arrived for every，1 000 residents; in the 10 years prior to 1890, 9.2 for every 1, 000. Now, consider three in dices of assimilati onTan guage, home own ership and in termarriage. 尽管这种文化并

6、不算高雅，但也算不上有害，移民们很快就融入了这种共同文化。Gregory Rodriguez为美国移民研讨会撰文指出，今天的移民既不是处于空前的水 平，也不抵抗同化。在 1998年，移民占全国人口的 9.8%；在1900年为13.6%。在 1990年以前的十年之中，在每千位居民当中，有千分之3.1 的新来的移民；而在 1890年以前的十年之中，每千位居民当中就有千分之9.2 的移民。现在，让我们来看一下三个同化指标语言、拥有产权住房和异族结婚情况。The 1990 Census revealed that “amajority of immigrants from each of the fi

7、fteen most common countries of origin spoke English“well or “very well after ten yeof residence. The children of immigrants tend to be bilingual and proficient in English. “Bythe third generation, the original language is lost in the majority of immigrant families. Hence the description of America a

8、s a“graveyard for languBy 1996 foreignTborn immigrants who had arrived before 1970 had a homeownership rate of 75.6 percent, higher than the 69.8 percent rate among native-born Americans.1990年的人口普查透露：“来自十五个移民数量最多的国家的移民在到美国十年 后英语说得好'或很好'。移民的子女几乎都说两种语言，且精通英语。“到 了第三代，在大多数移民家庭，他们的母语就消失了。 因此，有人就把

9、美国描 述成了“语言的坟场 。到了 1996年，出生于国外的、在 1970年以前到达美国 的移民有 75.6%购置了自己的住房，这个数字高出土生土长的美国人的拥有自己 所有权住房的百分比 69.8%。Foreign-born Asians and Hispanics “ havehigher rates of intermarriage than doU.S born whites and blacks. By the third gen eratio n, one third of Hispa nic wome n are married to non-Hispa ni cs, and 41

10、 perce nt of AsianAmerica n wome n are married to non-Asians.在国外出生的亚裔和西班牙裔移民“与美国外乡白人和黑人相比，与异族通婚的 比率要高。到了第三代，有三分之一的西班牙裔女性与非西班牙裔男性结婚， 而有 41%亚裔美国妇女与非亚裔男性结婚。Rodriguez notes that children in remote villages around the world are fans of superstars like Arnold Schwarzenegger and Garth Brooks, yet“some Amer

11、icans fearthat immigrant living within the United States remain somehow immune to the nation 's assimilative power. 罗得里格斯写道，即使那些住在世界各地偏僻村庄的孩子们都是诸如阿诺 .施瓦 辛格和加思 .布鲁克斯等明星的星迷，然而“一些美国人却害怕住在美国的移民 不知为何能不受这个国家的同化力量的影响 。Are there divisive issues and pockets of seething anger in America? Indeed. It is big

12、 enough to have a bit of everything. But particularly when viewed against Americasturbulent past, today 'ssocial induces hardly suggest a dark and deteriorating social environment.在美国是否存在不和以及潜在的不安？答案是肯定的， 因为这个国家足够大以至 于什么现象都存在。但是与美国动乱狂暴的过去相比，如今的社会根本不能说明 美国的社会环境正变得黑暗，且正在恶化。Text 2Stratford-on-Avon,

13、 as we all know, has only one industry-William Shakespeare-but there are two distinctly separate and increasingly hostile branches. There is the Royal Shakespeare CompanyRSC, which presents superb productions of the plays at the Shakespeare Memorial Theatre on the Avon. And there are the townsfolk w

14、ho largely live off the tourists who come, not to see the plays, but to look at Anne Hathaway Cottage, Shakespeare's birthplace and the other sights.众所周知Stratford-on-Avon只有一个特色，那就是威廉？莎士比亚,但这儿却有两个 相互独立的部门 ,他们随着时间的变化而日益变得敌对。这儿有皇家莎士比亚公 司RSC，它在Avon的莎士比亚纪念剧院里将很多优秀的戏剧作品呈现给大 家。这儿的居民大局部是靠挣来游玩的游客的钱来维持生计，

15、这些游客并不是 来看戏剧的，而是来看Anne Hathaway的庄园，莎士比亚的出生地和其他的景色。The worthy residents of Stratford doubt that the theatre adds a penny to their revenue. They frankly dislike the RSC'sactors, them with their long hair and beards and sandals and noisiness. It 's all deliciously ironic when you consider that

16、Shakespeare, who earns their living, was himself an actor with a beard and did his share of noise - making.Stratford的当地乡绅们都质疑剧院有没有为当地的税收收入做一点奉献。他们直言讨厌 RSC 的演员，这些演员留着长头发，长胡须，拖着凉鞋，吵吵嚷嚷。这 真是一种绝妙的挖苦，当你想到作为他们摇钱树的莎士比亚,自己也是个演员，留着胡子，一起大吵大闹。The tourist streams are not entirely separate. The sightseers who co

17、me by bus- andofte n take in Warwick Castle and Ble nheim Palace on the sided on' t usually see the plays, and some of them are even surprised to find a theatre in Stratford. However, the playgoers do manage a little sight - seeing along with their play- going. It is the playgoers, the RSC conte

18、nds, who bring in much of the tow'n s revenue because they spend the night (some of them four or five nights) pouring cash into the hotels and restaurants. The sightseers can take in everything and get out of town by nightfall. 游客群并不是完全分开的。游览者乘公车来,，经常会去游览 Warwick 城堡和Blenheim 宫殿，通常不会去看戏，并且他们中的一些人

19、甚至会对在 Stratford 能 找到剧院感到惊讶。 然而，看戏者只花少量的时间在观光上， 也就是在戏剧演出 时顺便看看。 RSC 主张，是看戏者给城镇带来大量的税收，因为他们通常花整 晚上时间(有些是四到五个晚上) 在旅馆或饭店里大量消费。 然而游览者在当天 的黄昏前就能把所有事情做完了，然后离开小镇。The townsfolk don ' t see it this way and local council does not contribute directly to the subsidy of the Royal ShakespeareCompany. Stratford

20、 cries poor traditionally. Nevertheless every hotel in town seems to be adding a new wing or cocktail lounge. Hilton is building its own hotel there， which you may be sure will be decorated with Hamlet Hamburger Bars, the Lear Lounge, the Banquo Banqueting Room, and so forth, and will be very expens

21、ive.当地居民并不这么认为，地方政府也直接没有给予 RSC 补贴。 Stratford 一向都 会哭穷。然而城镇上每一家旅馆似乎都增加了新的部门或是鸡尾酒酒吧。 希尔顿 也在这儿建了一座自己的酒店， 这里肯定可以能看到被装饰一新的哈姆雷特汉堡 酒吧，Lear休息室，宴会厅等等。进一步说，这里消费将很贵。Anyway, the townsfolk can' t understand why the Royal Shakespeare Company needs a subsidy. (The theatre has broken attendance records for three

22、 years in a row. Last year its 1,431 seats were 94 per cent occupied all year long and this year they' ll do better.) The reason, of course, is that costs have rocketed and ticket prices have stayed low.总之，居民不明白为什么RSC需要补贴。(剧院已经打破了连续三年以来的就座 率纪录。去年整年的 1431 个座位的就坐率到达了 94%，今年将会更高。)当然， 原因是，演戏的花费高了，然而

23、票价仍然很低。It would be a shame to raise prices too much because it would drive away the young people who are Stratford' s most attractive clientele. They come entirely for the plays, not the sights. They all seem to look alike (though they come from all over)- lea n, pointed, dedicated faces, wearin

24、g jeans and sandals, eating their buns and bedding down for the night on the flagstones outside the theatre to buy the 20 seats and 80 standing-room tickets held for the sleepers and sold to them when the box office opens at 10:30 a.m.大幅增加票价是一件很为难的事情，因为这样会把Stratford的最有魅力的顾客一 年轻人赶走。他们完全是为了戏而来，不是为风景。他

25、们看起来都一个样(虽然 他们从各个地方而来)消瘦、率直、专注的脸庞，穿着牛仔裤和便鞋，吃着 小圆面包， 在剧场外的石板上过夜， 以便能买得到 20 张座票和 80 张站票， 这些 票都是为那些睡觉的人准备的，并且在票房第二天上午 10 点半开始售票时就卖 给他们。Text 3When prehistoric man arrived in new parts of the world, something strange happened to the large animals. they suddenly became extinct. Smaller species survived. T

26、he large, slow-growing animals were easy game, and were quickly hunted to extinction.Now something similar could be happening in the oceans. 当史前的人到达世界的一个新的地方时，那里的大局部动物就会发生奇怪的事 情。它们突然灭绝了。小局部动物种族存活了下来，但大局部的，成长缓慢的动 物那么成了狩猎的目标， 并且很快被狩猎到灭绝。 现在相类似的事情发生在大海中 .That the seas are being overfished has been know

27、n for years. What researchers such as Ransom Myers and Boris Worm have shown is just how fast things are changing. They have looked at half a century of data from fisheries around the world. Their methods do not attempt to estimate the actual biomass (the amount of living biological matter) of fish

28、species in particular parts of the ocean, but rather changes in that biomass over time. According to their latest paper published in Nature, the biomass of large predators( animals that kill and eat other animals) in a new fishery is reduced on average by 80% within 15 years of the start of exploita

29、tion. In some long-fished areas, it has halved again since then.这些年在海中的捕捞活动太过频繁， 就像Ransom Myers和Boris Worm这些年所 研究的， 事物在迅速地变化着。 他们研究了半个世纪以来世界上所有的鱼场。 他 们的方法不是为了试图估算特定区域的海洋中实际动物总数 (活着生物的总数) ， 而是研究单位面积中海洋生物数量的变化。 根据他们最近在 ?自然?杂志上发表 的文章，大型食肉的海洋生物(一种杀死和吃其它动物的生物)的总量在 15 年 的时间里已经减少了平均 80%。在一些大型的捕鱼场，这个数量已经减半。

30、Dr. Worm acknowledges that these figures are conservative. One reason for this is that fishing technology has improved.Today 'vesssels can find their prey using satellites and sonar, which were not available 50 years ago. That means a higher proportion of what is in the sea is being caught, so t

31、he real difference between present and past is likely to be worse than the one recorded by changes in catch sizes. In the early days, too, lonelines would have been more saturated with fish. Some individuals would therefore not have been caught, since no baited hooks would have been available to tra

32、p them, leading to an underestimate of fish stocks in the past. Furthermore, in the early days of longline fishing, a lot of fish were lost to sharks after they had been hooked. That is no longer a problem, because there are fewer sharks around now.Worm 博士成认这些数字还只是保守数字 ，一个原因是今天的捕鱼技术已经大 大改善，可以通过卫星和声波

33、这些在 50 年前不可能有的东西来发现猎物，这同 50 年前相比意味着可以捕获更多的海洋生物，所以现在和过去的真正差距可能 会比之前在捕获区记录的数据所表达出的更糟糕。 在早期的时候， 多勾的鱼杆线 已经对鱼不起作用了。 因此有一些鱼种没被抓到， 往后没有鱼饵的鱼钩根本捕不 到鱼，导致过去的捕鱼业受到轻视。而且，早期用鱼钩捕鱼的日子，有许多鱼在 它们上钩后被鲨鱼给吃了。那不再是个问题，因为现在鲨鱼已经很少了。Dr. Myers and Dr. Worm argue that their work gives a correct baseline, which future management

34、 efforts must take into account. They believe the date support an idea current among marine biologists, that of the “shiftingbaseline Th.e notion is that people have failed to detect the massive changes which have happened in the ocean because they have been looking back only a relatively short time

35、 into the past. That matters because theory suggests that the maximum sustainable yield that can be cropped from a fishery comes when the biomass of a target species is about 50% of its original levels. Most fisheries are well below that， which is a bad way to be business. Dr. Myers 和 Dr. worm 声称呼，他

36、们的工作已经确定了一个正确的根本方针，这 个方针是未来管理中必须要使用的。 他们认为数据恰恰表达了一个海洋生物学家 都支持的观点。这个观点就是“改变基线 。这个概念就是说人们已经很难观察 得到大范围海洋中发生的变化， 因为他们只是回忆从过去以来相对短的时间。 这 确有其事，因为理论告诉我们如果一个渔场的总储量如果连起初的最大可承受的 捕鱼量的 50都不到，就应该降低捕鱼数量了。大多数渔场远远低于这个数， 这是对以后的捕鱼业非常不利的。Text 4 Many things make people think artists are weird.But the weirdest may be th

37、is: artists only job is to explore emotions, and yet they choose to focus on the ones that feel bad. 许多事情让人们觉得艺术家很乖僻。 最乖僻可能是： 艺术家的唯一工作就是寻找 情感，然而他们所关注的对象大多是那些不幸的人。This wasn'at lways so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere fro

38、m the 19th century onward,more artists began seeing happiness as meaningless, phony or, worst of all, boring ,as we went from Wordsworth ' s daffodils to Baudelaire' s flowers of evil.当然不总是那样。艺术的最早形式，像绘画和音乐，都是最适合表达快乐的。但 在 19 世纪的某个时期，更多的艺术家开始把快乐看成无意义的，假冒的，甚至 是最糟的。我们可以从 Wordsworth 的黄水仙到 Baudel

39、aire 的罪恶之花看出这种 变化。You could argue that art became more skeptical of happiness because modern times have seen so much misery. But it' s not as if earlier times didn't know perpetual wdisaster and the massacre of innocents. The reason,in fact,may be just the opposite: there is too much damn ha

40、ppiness in the world today. 你可能会争论艺术变得对幸福如此疑心是因为在现代看到了这样的苦难。 但这并 不是因为在早期不了解持久的战争 ,灾难和大规模的屠杀无辜。事实上，原因可 能与之相反：现在世界上有太多快乐要去谴责。After all, what is the one modern form of expression almost completely dedicated to depicting happiness？ Advertising. The rise of anti-happy art almost exactly tracks the emerge

41、nce of mass media, and with it, a commercial culture in which happiness is not just an ideal but an ideology.归根结底， 几乎完全致力于描写快乐的那种现代表现方式是什么呢？广告。 反快 乐艺术的兴起几乎完全与群众传媒同步出现， 而随之兴起了一种商业文化， 在这 种文化中，快乐不仅是一个抽象概念，而是一种意识形态。People in earlier eras were surrounded by reminders of misery. They worked until exhauste

42、d, lived with few protections and died young. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in danger and that they would someday bemeat for worms. Given all this, they did not exactly need their art to be a bummer too. 早期的人们被悲哀之使者所萦绕。 他们工作到筋疲力尽， 生活几无保障， 年纪轻 轻就命丧黄泉。 在西方，在群众传媒和文学普及之前， 最有效的群众媒体是教堂， 它提醒信徒们， 他们的灵魂处于危险之中， 他们总有一天会成为蛆虫的食物。 在 这种信仰下，他们对此已十分了然，无须其艺术再表现这种失落感。Today the messag