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现代大学英语精读5 Professions for Women中英文

Professions for Women

V irginia Woolf (1882-1941) When your secretary invited me to come here, she told me that your Society is concerned with the employment of women and she suggested that I might tell you something about my own professional experiences. It is true that I am a woman; it is true I am employed; but what professional experiences have I had? It is difficult to say. My profession is literature; and in that profession there are fewer experiences for women than in any other, with the exception of the stage--fewer, I mean, that are peculiar to women. For the road was cut many years ago---by Fanny Burney, by Aphra Behn, by Harriet Martineau, by Jane Austen, by George Eliot —many famous women, and many more unknown and forgotten, have been before me, making the path smooth, and regulating my steps. Thus, when I came to write, there were very few material obstacles in my way. Writing was a reputable and harmless occupation. The family peace was not broken by the scratching of a pen. No demand was made upon the family purse. For ten and sixpence one can buy paper enough to write all the plays of Shakespeare--if one has a mind that way. Pianos and models, Paris, V ienna, and Berlin, masters and mistresses, are not needed by a writer. The cheapness of writing paper is, of course, the reason why women have succeeded as writers before they have succeeded in the other professions.

But to tell you my story--it is a simple one. Y ou have only got to figure to yourselves a girl in a bedroom with a pen in her hand. She had only to move that pen from left to right--from ten o’clock to one. Then it occurred to her to do what is simple and cheap enough after all--to slip a few of those pages into an envelope, fix a penny stamp in the corner, and drop the envelope into the red box at the corner. It was thus that I became a journalist; and my effort was rewarded on the first day of the following month--a very glorious day it was for me--by a letter from an editor containing a check for one pound ten shillings and sixpence. But to show you how little I deserve to be called a professional woman, how little I know of the struggles and difficulties of such lives, I have to admit that instead of spending that sum upon bread and butter, rent, shoes and stockings, or butcher’s bills, I went out and bought a cat--a beautiful cat, a Persian cat, which very soon involved me in bitter disputes with my neighbors.

What could be easier than to write articles and to buy Persian cats with the profits? But wait a moment. Articles have to be about something. Mine, I seem to remember, was about a novel by a famous man. And while I was writing this review, I discovered that if I were going to review books I should need to do battle with a certain phantom. And the phantom was a woman, and when I came to know her better I called her after the heroine of a famous poem, The Angel in the House. It was she who used to come between me an my paper when I was writing reviews. It was she who bothered me and wasted my time and so tormented me that at last I killed her. Y ou who come off a younger and happier generation may not have heard of her--you may not know what I mean by The Angel in the House. I will describe her as shortly as I can. She was intensely sympathetic. She was immensely charming. She was utterly unselfish. She excelled in the difficult arts of family life. She sacrificed herself daily. If there was chicken, she took the leg; if there was a draft she sat in it--in short she was so constituted that she never had a mind or a wish of her own, but preferred to sympathize always with the minds and wishes of others. Above all--I need not say it--she was pure. Her purity was supposed to be her chief beauty--her blushes, her great grace. In those days--the last of Queen V ictoria--every house had its Angel. And when I came to write I encountered her with the very first words. The shadow of her wings fell on my page; I heard the rustling of her skirts in the room. Directly, that is to say, I took my pen in my hand to review that novel by a famous man, she slipped behind me and whispered:“My dear, you are a young woman. Y ou are writing about a book that has been written by a man. Be sympathetic; be tender; flatter; deceive; use all the art and wiles of our sex. Never let anybody guess that you have a mind of our own. Above all, be pure.” And she made as if to guide my pen. I now record the one act for which I take some credit to myself, though the credit rightly belongs to some excellent ancestors of mine who left me a certain sum of money--shall we say five hundred pounds a year? --so that it was not necessary for me to depend solely on charm for my living. I turned upon her and caught her by the throat. I did my best to kill her. My excuse, If I were to be had up in a court of law, would be that I acted in self-defense. Had I not killed her she would have killed me. She would have plucked the heart out of my writing. For, as I found, directly I put pen to paper, you cannot review even a novel without having a mind of your own, without expressing what you think to be the truth about human relations, morality, sex. And all these questions, according to the Angel of the House, cannot be dealt with freely and openly by women; they must charm, they must conciliate, they

must—to put it bluntly-—tell lies if they are to succeed. Thus, whenever I felt the shadow of her wing or the radiance of her halo upon my page, I took up the inkpot and flung it at her. She died hard. Her fictitious nature was of great assistance to her. It is far harder to kill a phantom than a reality. She was always creeping back when I thought I had dispatched her. Though I flatter myself that I killed her in the end, the struggle was severe; it took much time that had better have been spent upon learning Greek grammar; or in roaming the world in search of adventures. But it was a real experience; It was an experience that was bound befall all women writers at that time. Killing the Angel in the House was part of the occupation of a woman writer.

But to continue my story. The Angel was dead; what then remained? Y ou may say that what remained was a simple and common object--a young woman in a bedroom with an inkpot. In other words, now that she had rid herself of falsehood, that young woman had only to be herself. Ah, but what is “herself”? I mean, what is a woman? I assure you, I do not know. I do not believe that you know. I do not believe that anybody can know until she has expressed herself in all the arts and professions open to human skill. That indeed is one of the reasons why I have come here--out of respect for you, who are in process of showing us by your experiments what a woman is, who are in process of providing us, by your failures and succeeded, with that extremely important piece of information.

But to continue the story of my professional experiences. I made one pound ten and six by my first review; and I bought a Persian cat with the proceeds. Then I grew ambitious. A Persian cat is all very well, I said; but a Persian cat is not enough. I must have a motorcar. And it was thus that I became a novelist--for it is a very strange thing that people will give you a motorcar if you will tell them a story. It is a still stranger thing that there is nothing so delightful in the world as telling stories. It is far pleasanter than writing reviews of famous novels. And yet, if I am to obey your secretary and tell you my professional experiences as a novelist, I must tell you about a very strange experience that befell me as a novelist. And to understand it you must try first to imagine a novelist’s state of mind. I hope I am not giving away professional secrets if I say that a novelist’s chief desire is to be as unconscious as possible. He has to induce in himself a state of perpetual lethargy. He wants life to proceed with the utmost quiet and regularity. He wants to see the same

faces, to read the same books, to do the same things day after day, month after month, while he is writing, so that nothing may break the illusion in which he is living--so that nothing may disturb or disquiet the mysterious nosings about, feelings round, darts, dashes, and sudden discoveries of that very shy and illusive spirit, the imagination. I suspect that this state is the same both for men and women. Be that as it may, I want you to imagine me writing a novel in a state of trance. I want you to figure to yourselves a girl sitting with a pen in her hand, which for minutes, and indeed for hours, she never dips into the inkpot. The image that comes to my mind when I think of this girl is the image of a fisherman lying sunk in dreams on the verge of a deep lake with a rod held out over the water. She was letting her imagination sweep unchecked round every rock and cranny of the world that lies submerged in the depths of our unconscious being. Now came the experience that I believe to be far commoner with women writers than with men. The line raced through the girl’s fingers. Her imagination had rushed away. It had sought the pools, the depths, the dark places where the largest fish slumber. And then there was a smash. There was an explosion. There was foam and confusion. The imagination had dashed itself against something hard. The girl was roused from her dream. She was indeed in a state of the most acute and difficult distress. To speak without figure, she had thought of something, something about the body, about the passions which it was unfitting for her as a woman to say. Men, her reason told her, would be shocked. The consciousness of what men will say of a woman who speaks the truth about her passions had roused her from her artist’s state of unconsciousness. She could write no more. The trace was over. Her imagination could work no longer. This I believe to be a very common experience with women writers--they are impeded by the extreme conventionality of the other sex. For though men sensibly allow themselves great freedom in these respects, I doubt that they realize or can control the extreme severity with which they condemn such freedom in women.

These then were two very genuine experiences of my own. These were two of the adventures of my professional life. The first--killing the Angel in the House--I think I solved. She died. But the second, telling the truth about my own experiences as a body, I do not think I solved. I doubt that any woman has solved it yet. The obstacles against her are still immensely powerful--and yet they are very difficult to define. Outwardly, what is simpler than to write books? Outwardly, what obstacles are there for a woman rather than for a man? Inwardly, I think, the case is very different;

she has still many ghosts to fight, many prejudices to overcome. Indeed it will be a long time still, I think, before a woman can sit down to write a book without finding a phantom to be slain, a rock to be dashed against. And if this is so in literature, the freest of all professions for women, how is it in the new professions which you are now for the first time entering?

Those are the questions that I should like, had I time, to ask you. And indeed, if I have laid stress upon these professional experiences of mine, it is because I believe that they are, though in different forms, yours also. Even when the path is nominally open--when there is nothing to revert a woman from being a doctor, a lawyer, a civil servant--there are many phantoms and obstacles, as I believe, looming in her way. To discuss and define them is I think of great value and importance; for thus only can the labor be shared, the difficulties be solved. But besides this, it is necessary also to discuss the ends and the aims for which we are fighting, for which we are doing battle with these formidable obstacles. Those aims cannot be taken for granted; they must be perpetually questioned and examined. The whole position, as I see it--here in this hall surrounded by women practicing for the first time in history I know not how many different professions--is one of extraordinary interest and importance. Y ou have won rooms of your own in the house hitherto exclusively owned by men. Y ou are able, though not without great labor and effort, to pay the rent. Y ou are earning your five hundred pounds a year. But this freedom is only a beginning; the room is your own, but it is still bare. It has to be furnished; it has to be decorated; it has to be shared. How are you going to furnish it, how are you going to decorate it? With whom are you going to share it, and upon what terms? These, I think are questions of the utmost importance and interest. For the first time in history you are able to ask them; for the first time you are able to decide for yourself what the answers should be. Willingly would I stay and discuss those questions and answers--but not tonight. My time is up; and I must cease.

女性职业

——弗吉尼亚·伍尔夫你们的秘书告诉我，贵协会所关注的是妇女的就业情况。她邀请我来此并建议我谈谈自己的职业经验。我是名女性，这是事实；我工作，这也是肯定的；但是要谈谈我的职业经验？

这很难。我所处的是文学领域，妇女在这个领域里拥有的经验不比其他任何领域多，我的意思是说，除去了那些专属妇女的行业的其他任何领域。道路已被开辟已久，在我之前的许多知名女性----范妮﹒伯尼，阿芙拉﹒贝思，哈丽雅特﹒马蒂诺，简﹒奥斯汀，乔治﹒艾略特，以及无数不详其名的或已被遗忘的，早已将道路铺平并指引着我前进的步伐。这样，当我开始写作时，在我的道路上便少有实质性的障碍了。写作是一种受人尊敬并少有危害的工作。家庭的平和不会被书写的沙沙声打破。且无需依赖于家庭的开销。如果一个人有莎士比亚的头脑，十六便士买来的稿纸足够写下他所有的戏剧。钢琴和模特，巴黎、越南和柏林的旅行，家庭教师，作家统统不需要。无可厚非，稿纸低廉的价格正是妇女作为作家比从事其他任何领域的职业更为成功的原因。

跟大家讲讲我的故事吧！--- 一个简单的故事。你只需勾勒这样一幅画面，卧室中一个手握钢笔的女孩。她只需手中的笔从左到右，这样从十点持续到一点。接下来要做的，足够简单便宜----把这些稿纸悄悄塞进信封，贴一张5便士的邮票，然后扔进角落里那个红箱子。我就是这样成为一个撰稿人的；下个月的某一天，我的努力得到了回报---对于我来说，那是个愉快的日子---只因一封信，一封编辑寄来的附有一张十先令六便士支票的信。但是，我要说，被称作职业女性我愧不敢当。职业女性的挣扎与困扰，我知之甚少。我不得不承认，写作所得的收入，我并不是用来买黄油、面包，亦或鞋子、袜子，或换来一张肉商的账单。我买了一只猫---一只漂亮的波斯猫，一只将我卷入了与邻居们痛苦的争辩中的猫。

有什么比用写评论赚的钱买波斯猫更容易的呢？但有一点要说明，评论文章有关要事，而我的评论，记忆中好像是评论一部出自名家的小说。当我写评论时，我发现，我要与一位实实在在存在的幽灵决斗，这个幽灵是女性，当我开始与她的决斗时，我称她为家庭里的天使——一首著名诗歌里的主人公。正是她游走于我和我的文章之间。正是她在扰乱我，浪费我的时间，如此的折磨致使我最后杀死了她。你们年轻快乐的一代可能未曾听说过她，可能不理解何为家庭里的天使，我会尽可能简洁的描述她。她极其善解人意，她充满无尽魅力，一点都不自私，她在掌握家庭生活这门困难的艺术上游刃有余。她每日的自我牺牲。如果有只鸡，她吃的肯定是鸡腿；如果有过堂风，她一定坐在风口——简单的说，她总是考虑别人的想法和愿望，从不为自己考虑，这些显然是那样的合情合理。综上所述——我不需要说——她是单纯的。她的单纯正是她的主要美德---她脸上的红晕，她优雅的姿态。在那个年代---后维多利亚女王时代---每个家庭里都有这样的天使。当我开始写作，仅仅刚写下第一个字母的时候，就遭遇了她。她的翅膀的影子落在我的稿纸上；我听到房间里她的裙子沙沙作响，直

接点讲，我手握钢笔开始我对那位名人的小说的评论时，她已悄悄的溜到我身后，轻轻低吟“亲爱的，你是个年轻的姑娘，你正在对一本书品头论足，而且这本书是由一位男性写的。要顺从；要奉承；要遮掩；用尽我们性别的艺术和诡计，永远不要让任何人知道你有自己的想法。总的来说，要单纯。”她好像是要引导我的笔触。现在我要陈述一个事实，这个事实带给了我许多好处。尽管这些好处完全来自于我那显赫的祖先们留给我的一笔可观的财富

---权且说一年500英镑的收入吧，——所以对我来说，自身的魅力不是我赖以生存的唯一。我扭过她的身子掐住她的咽喉，我竭尽全力想要干掉她。我在正当防卫，被法庭传讯时，这可以成为我的借口。如果我不干掉她，她便会杀了我。她会毁掉我写作的心思。因为我发觉，这样我会直接把笔扔掉，因为你不可能在撰写小说评论时完全不能阐述自己的思想，你不能发自内心的论述人际关系，道德，性爱，这些，在家庭天使眼中，女性是决不能公开自由地谈论的；她们必须有魅力，必须做出让步，必须，——不客气地说——要想成功必须说谎。这样，每当我感觉到她翅膀的影子，她投射到我稿纸上的光晕时，我抓起墨水瓶砸向她。她很难死掉，她虚弱的本质是她强大的援助。杀死一个幽灵远远比杀死一个现实存在的人困难的多。每当我认为我已经将她处决了的时候，她总是又悄悄地出现在我背后。尽管我自欺欺人的认为我最终杀死了她，但斗争是残酷的，远远比研习希腊语法更费时日；或者困难于在世界各地徘徊探险。但这是真实的体验，是不可避免的，是维多利亚时期的女性作家都要经历的。杀死家庭里的天使是每个女性作家创作过程中的一部分。

继续讲述我的故事。天使死了，什么仍存在呢？或许你会说，依然存在的既简单又普通——一间卧室中，一个年轻的姑娘，桌上一瓶墨水。换句话说，她使自己摆脱了错误的观念，现在她只需做好自己。但是，什么是“自我”呢？我是说，女性是怎样的？我向你保证，我不晓得。我不相信任何人会知道，除非她在所谓艺术和职业领域中表现出了她的技能。这实际上的确是我来此的原因——出于对你们的尊重，你们想要通过讲座展现给大家一个可以用她的成功与失败的经验提供给大家许多重要信息的女人，而这些信息可以告诉大家何为女人。那么继续我职业经验的讲述。我的第一篇评论赚得十六英镑，用这些钱我买了只波斯猫。接着我变得更有野心了。我是说，一只波斯猫的确很好，但却远远不够。我必须有辆汽车。正是这样我成了小说家——这是件奇怪的事情，人们会因为你讲故事而给你辆汽车。更奇怪的是这个世界上没有比讲故事更令人愉快的了。它远远比为某部著名小说写评论令人高兴。如果我遵从你们的秘书，向大家讲述我作为小说家的职业经验，我必须讲述一个奇怪的经历，是它使我成了小说家。去理解它，你必须努力去想象一位小说家的精神世界。尽可能的处于

无意识状态，是小说家最渴望的，但愿我这样说没有泄露小说家的职业秘密，他必须使自己进入无休止的昏睡中。他希望生命进入极度安静和规则的状态。他希望面对相同的人，读相同的的书，日复一日年复一年做着相同的事情，当他写作时，就没有任何事可以打破他生活在其中的幻觉了——打破或扰乱他对周围事物神秘的嗅觉与感知，那些急冲，猛击，然后突然发觉的微妙的幻想世界里的精神，那些想象。假定这种状态对男性和女性都一样。但如果可以的话，我希望你们去想象一下我在写小说时所处的那种昏睡状态。我希望大家构想这样一个女孩，一分钟一分钟，一小时一小时的坐在那里，手中的笔从未蘸过墨水。当我想象这样一个女孩时，她的形象是一个陷入沉思的垂钓者，她坐在湖畔，湖水很深，她的鱼竿远远的抛在湖中。她让自己的想象力毫无意识地游走在每块岩石，每条缝隙里，而这些岩石和缝隙深深地埋藏在我们的无意识世界里。现在话题转移到经验上，与男性作家相比，这些经验对于女作家更显得普遍。一行行文字在女孩指尖奔跑，她的想象力在奔腾，它们已经找到了那些最大的鱼儿沉睡着的黑暗角落。接下来猛烈地一击，爆破，激起团团泡沫和混乱。想象力猛烈的冲击着。女孩从她的梦中醒来。她实际上处于一种绝对纯粹的充满痛苦与忧伤的状态。笼统的讲，她在思考，思考许多与身体有关的事，许多似乎不合适由女性来探讨的激情。男人，她的理智会告诉她，会被震惊的。女性说出她真实的情感，男人们会为此评头论足，这种意识使她从那种艺术的无意识状态中醒来。她将不再写作。这种恍惚的状态将结束。她的想象力不再存在。我相信，这是女作家的普遍经历——她会被另一性别的传统守旧而阻碍。尽管男人们在这些领域里给予自己充分的自由，这些自由之于女性，他们强烈的谴责，我深感怀疑他们是否能意识到，并能控制这种谴责的严重性。

接下来是我的两个天才般的经历。我职业生涯中众多冒险之二。首先——杀死家庭里的天使——我想我解决了。她死了。但是，接下来，说实话，关于我作为一个主体的体验，我不认为我解决掉了。我怀疑任何一个女性已经解决了这个问题。障碍仍旧强大有力并且难于克服。表面上看，有什么比写书要简单呢？表面上看，什么障碍对于女性来讲比对男性困难呢？深入地讲，我认为，情况是不同的；她仍然有许多幽灵需要去斗争，仍然要克服许多偏见。我想，事实上，要想达到一种理想的状态，还有很长的一段路要走，那时，当女性坐下来写书时，她不需要揪出一个幽灵将其杀掉，不用猛冲硬撞那些拦路石。在文学领域，这个对于女性来说最自由的职业尚且如此，那么在那些女性刚刚涉足的领域情况会如何呢？

如果有时间，这些就是我希望问大家的问题。事实上，如果我强调了我的这些职业经验，那是因为我认为，尽管形式不同，你们的经验也是如此。即使道路在名义上已经敞开---要达

到什么都不能阻碍一个女性成为医生，律师，公务员---我相信，仍然有许多幽灵和障碍隐隐约约地存在。探讨和界定它们在我看来是十分重要和有价值的；因为只有这样才得以劳动分工，克服困难。此外，探讨我们争斗的结局和目的，我们为何要克服这些可怕的令人生畏的障碍，也是十分必要的，这些目的不可以被认为理所当然；它们必须被持久的质疑和检测。在我看来，在这个有史以来第一次被众多不同职业的女性包围的大厅里---这是相当有趣和重要的。在迄今为止专属男性的屋子里你已经赢得了一间自己的房间。尽管不是不需要艰辛的工作和努力，你已经能靠自己的能力承担房租了。你在赚取自己一年五百英镑的收入。但这些自由才刚刚开始；房间是自己的，但仍就光秃秃的。它需要家具，需要装修，需要被分享。你想配备怎样的家具？你想怎样装饰它？你想跟谁分享它？以怎样的形式？这些，我想是极其重要和有趣的问题。有史以来第一次你可以这样问；有史以来第一次你可以自己决定答案。我愿意呆在这探讨并回答这些问题---但不是今晚。我的时间到了；我必须结束了。

-----徐倩译

大学英语精读第一册课文翻译

第一单元课程开始之际，就如何使学习英语的任务更容易提出一些建议似乎正当其实。学习英语的几种策略学习英语决非易事。它需要刻苦和长期努力。虽然不经过持续的刻苦努力便不能期望精通英语，然而还是有各种有用的学习策略可以用来使这一任务变得容易一些。以下便是其中的几种： 1．不要以完全相同的方式对待所有的生词。你可曾因为简直无法记住所学的所有生词而抱怨自己的记忆力太差？其实，责任并不在你的记忆力。如果你一下子把太多的生词塞进头脑，必定有一些生词会被挤出来。你需要做的是根据生词日常使用的频率以不同的方式对待它们。积极词汇需要经常练习，有用的词汇必须牢记，而在日常情况下不常出现的词只需见到时认识即可。你会发现把注意力集中于积极有用的词上是扩大词汇量最有效的途径。 2．密切注意地道的表达方式。你可曾纳闷过，为什么我们说“我对英语感兴趣”是“I’m interested in English”，而说“我精于法语”则是“I’m good at French”?你可曾问过自己，为什么以英语为母语的人说“获悉消息或密秘”是“learnthenewsorsecret”,而“获悉某人的成功或到来”却是“learn of someone’s success or arrival”?这些都是惯用法的例子。在学习英语时，你不仅必须注意词义，还必须注意以英语为母语的人在日常生活中如何使用它。 3．每天听英语。经常听英语不仅会提高你的听力，而且有助你培养说的技能。除了专为课程准备的语言磁带外，你还可以听英语广播，看英语电视和英语电影。第一次听录好音的英语对话或语段，你也许不能听懂很多。先试着听懂大意，然后在反复地听。你会发现每次重复都会听懂更多的xx。 4．抓住机会说。的确，在学校里必须用英语进行交流的场合并不多，但你还是可以找到练习讲英语的机会。例如，跟你的同班同学进行交谈可能就是得到一些练习的一种轻松愉快的方式。还可以找校园里以英语为母语的人跟他们

现代大学英语精读1课本内容及翻译

Lesson Eight The Kindness of Strangers Mike Mclntyre 1. One summer I was driving from my home town of Tahoe City, Calif, to New Orleans. In the middle of the desert, I came upon a young man standing by the roadside. He had his thumb out and held a gas can in his other hand. I drove right by him. There was a time in the country when you' d be considered a jerk if you passed by somebody in need. Now you are a fool for helping. With gangs, drug addicts, murderers, rapists, thieves lurking everywhere, "I don't want to get involved" has become a national motto. 2. Several states later I was still thinking about the hitchhiker. Leaving him stranded in the desert did not bother me so much. What bothered me was how easily I had reached the decision. I never even lifted my foot off the accelerator. 3. Does anyone stop any more? I wondered. I recalled Blanche DuBois's famous line: "I have always depended on the kindness of strangers." Could anyone rely on the kindness of strangers these days? One way to test this would be for a person to journey from coast to coast without any money, relying solely on the good will of his fellow Americans. What kind of Americans would he find? Who would feed him, shelter him, carry him down the road? 4. The idea intrigued me. 5. The week I turned 37, I realized that I had never taken a gamble in my life. So I decided to travel from the Pacific to the Atlantic without a penny. It would be a cashless journey through the land of the almighty dollar. I would only accept offers of rides, food and a place to rest my head. My final destination would be Cape Fear in North Carolina, a symbol of all the fears I'd have to conquer during the trip. 6. I rose early on September 6, 1994, and headed for the Golden Gate Bridge with a 50-pound pack on my back and a sign displaying my destination to passing vehicles: "America." 7. For six weeks I hitched 82 rides and covered 4223 miles across 14 states. As I traveled, folks were always warning me about someplace else. In Montana they told me to watch out for the cowboys in Wyoming, In Nebraska they said people would not be as nice in Iowa. Yet I was treated with kindness everywhere I went. I was amazed by people's readiness to help a stranger, even when it seemed to run contrary to their own best interests. 8. One day in Nebraska a car pulled to the road shoulder. When I reached the window, I saw two little old ladies dressed in their Sunday finest." I know you're not supposed to pick up hitchhikers, but it's so far between towns out here, you feel bad passing a person," said the driver, who introduced herself as Vi. I didn't know whether to kiss them or scold them for stopping. This woman was telling me she'd rather risk her life than feel bad about passing a stranger on the side of the road. 9. Once when I was hitchhiking unsuccessfully in the rain, a trucker pulled over, locking his brakes so hard he skidded on the grass shoulder. The driver told me he was once robbed at knifepoint by a hitchhiker. "But I hate to see a man stand out in the rain," he added. "People don't have no heart anymore." 10. I found, however, that people were generally compassionate. Hearing I had no money and would take none, people bought me food or shared whatever they happened to have with them. Those who had the least to give often gave the most. In Oregon a house painter named Mike noted the chilly weather and asked if I had a coat. When he learned that I had "a light one," he drove me to his house, and handed me a big green army-style jacket. A lumber-mill worker named Tim invited me to a simple dinner with his family in their shabby house. Then he offered me his tent. I refused, knowing it was probably one of the family's most valuable possessions. But Tim was determined that I have it, and finally I agreed to take it. 11. I was grateful to all the people I met for their rides, their food, their shelter, and their gifts. But what I found most touching was the fact that they all did it as a matter of course.

现代大学英语精读3_第二版_unit1、2课文翻译

Unit 1 Your college years 1你可曾考虑过作为一个大学生你生活中正在发生和即将发生的变化？你可曾想到过大学时代教授们以及其他教职工为了你的成长和发展制定了目标？你可曾注意过你在从青少年渐渐成人的过程中会发生某些变化？尽管大学生很少想这些，但是在大学生时代很可能会发生一些主要的变化。 2在这段时期，学生们正经受自我认同危机，他们努力要了解自己的身份，掌握自身的优缺点。当然，优缺点他们兼而有之，且两者都为数不少。重要的是人们如何看待自己，其他人又如何看待他们。皮尔斯和兰多曾在一篇文章中探讨了爱立信在《国际社会百科全书》中有关理论，根据他们的观点，性格特征是由先天基因（即父母的遗传物质）所决定，由外部环境而形成，并受偶然事件的影响的。人们受环境的影响，反过来也影响他们的环境。人们如何看待自己扮演的这两个角色无疑正是他们性格特征的部分表现。 3学生们经历自我认同危机的时候，他们也开始渐渐独立，但是可能仍然非常依赖父母。这种介于独立与依赖之间的冲突常常发生在青少年末期。事实上，这种冲突很可能因为他们选择继续接受大学教育而愈发激烈。高中一毕业，一些学生便会立即走入社会开始工作。这种选择的结果就是他们可能他们在经济上获得独立。但是大学生已经选择了用几年的时间继续掌握新知并且发展自我，因此他们在一定程度上还要依赖父母。 41984年4月杰利弗·A·霍夫曼在《心理咨询杂志》上发表了《即将成人的青年与父母的心理距离》，文章中他提及了人与父母产生心理距离的四个不同方面。第一，独立处理日常生活的能力，它包括个人独立处理实际事物和自身事务的能力，如理财的能力、选购服装的能力和决定每天工作日程的能力。第二，态度独立，即个人学会正确看待和接受自己与父母的态度、价值和信仰上的差异。第三个心理分离过程是情感独立，霍夫曼将这一过程定义为“摆脱父母的认可、亲近、陪伴和情感支持的过分依赖”。例如，大学生们会随自己所愿自由选择专业，而且并不认为必须征得父母的认同。第四是摆脱“对父母的过度内疚、焦虑、疑惑、责任、反感和愤怒的心理”。大学生们需要退一步看清自己在介于独立与依赖之间的冲突中所处的位置。 5可能大学生们面临的最紧张的问题之一就是构建自己的性别特征，这包括与异性之间的关系和对未来自身男性或女性角色的设计。每个人必须将其性格特征定义为男性或女性角色。这一过程中兴奋与受挫并存。也许没有什么比恋爱更能让学生们情绪低落或高涨的。例如，我曾经和一位年轻的大学生共事，一次他欢呼雀跃的进了我的办公室，面带笑容，声音激动。年轻人宣布：“我刚度过了人生中最灿烂的一天。”他继续解释他是如何与一位超凡脱俗的女子相遇的，而且这份浪漫的爱情与他梦中所期待的完全一致。而不倒一个星期，同一个年轻人却拖着脚步神情沮丧的进了我的办公室。他在同一张椅子上坐下来，深深地叹了口气，宣布说：“我经历了人生中最糟糕的一天。”他和那个年轻女子刚刚吵过架，两人的关系不再看好。因而，大学生们与异性交往的方式对他们的情感必定有所影响。 6于此同时，这些刚刚成年的大学生也在学习如何在成年人的世界里奉献和收获情感。在这一角度上，成长不仅要处理与异性之间的关系，还要处理与两性及所有年龄段的朋友之间的关系。随着他们渐渐成人，他们与异性交往的方式也在发生变化。这时作为成年人他们应该思索如何与同龄人和睦相处并有礼有节，如何与他们生活中的青少年儿童和睦相处，如何与他们的父母和睦相处并表达自己的感情。举个我在西南浸礼教会学院读研究生时的例子，当我刚刚修完一门咨询课程后，我去探望父母。在学习这门课的过程中我渐渐意识到，当我的世界不断扩展，新的机遇不断出现时，我的父亲，一个年过花甲之人，正在亲眼目睹自己的世界在变小，选择在变少。在家的那些日子里，我和父亲几次谈心，共同探讨了我课程的内容以及它如何应用到我的生活中。我发觉自己正以一种不同的方式看待父亲，并且把他看作一个我可以鼓励的朋友。我有意识的去鼓励这个从前鼓励过我的人。我在以一种不同的方式与父亲交流。 7大学生的另一个变化就是内化他们的宗教信仰、价值尺度和道德观念。从出生开始，就有一位或更多的父母成为他们的榜样，教给他们特定的信仰、价值和道德。然而，当他们到了青春期，这些问题却遭到了质疑，在一些情况下甚至遭到了反叛。现在他们刚刚成年，他们有机会为自己决定人生中将会如何选择何种信仰、价值和道德。60年代末，一位生活在极度歧视其他种族的环境中的年轻女子深信自己种族的

现代大学英语精读单词

U n i t 1 Baptist counsel encyclopedia agenda attitudinal contribute crisis endeavor ethical ethnic masculine resentment evaluate feminine adulthood option perceive project excessive functional genetic inherit interaction peer process stressful endowment ethnic adolescence affirm approval unquestionably heighten inhibition internalize newscast

rebel seminary theological wardrobe unit4 bearded Cynicism elegant guffaw lunatic monarch page pebble scant scratch block elaborately fountain half-naked nudge olive paradox privacy scoop squatter stroll titter sweat unit5 abundance adapt angler biocide birch bound built-in

chorus colossal confined considerable throb trout vegetation migrant suppress synthetic contamination counterpart deliberate ecologist evolve fern flame flicker gear harmony immune reserve score sicken span spiral subject mold outbreak potent primitive puzzle rapidity resurgence midst modify organism

大学英语精读第一册课文翻译全

Unit1 课程开始之际，就如何使学习英语的任务更容易提出一些建议似乎正当其时。 Some Strategies or Learning English 学习英语绝非易事。它需要刻苦和长期努力。虽然不经过持续的刻苦努力便不能期望精通英语，然而还是有各种有用的学习策略可以用来使这一任务变得容易一些。以下便是其中的几种。 1. 不要以完全同样的方式对待所有的生词。你可曾因为简直无法记住所学的所有生词而抱怨自己的记忆力太差？其实，责任并不在你的记忆力。如果你一下子把太多的生词塞进头脑，必定有一些生词会被挤出来。你需要做的是根据生词日常使用的频率以不同的方式对待它们。积极词汇需要经常练习，有用的词汇必须牢记，而在日常情况下不常出现的词只需见到时认识即可。你会发现把注意力集中于积极有用的词上是扩大词汇量最有效的途径。 2．密切注意地道的表达方式。你可曾纳闷过，为什么我们说我对英语感兴趣是I'm 湩整敲瑳摥椠?湅汧獩屨，而说我精于法语则是???潧摯愠?牆湥档？你可曾问过自己，为什么以英语为母语的人说获悉消息或秘密是汜慥湲琠敨渠睥?牯猠捥敲屴，而获悉某人的成功或到来却是汜慥湲漠?潳敭湯?环猠捵散獳漠?牡楲慶屬？这些都是惯用法的例子。在学习英语时，你不仅必须注意词义，还必须注意以英语为母语的人在日常生活中如何使用它。 3．每天听英语。经常听英语不仅会提高你的听力，而且有助你培养说的技能。除了专为课程准备的语言磁带外，你还可以听英语广播，看英语电视和英语电影。第一次听录好音的英语对话或语段，你也许不能听懂很多。先试着听懂大意，然后再反复地听。你会发现每次重复都会听懂更多的东西。 4．抓住机会说。的确，在学校里必须用英语进行交流的场合并不多，但你还是可以找到练习讲英语的机会。例如，跟你的同班同学进行交谈可能就是得到一些练习的一种轻松愉快的方式。还可以找校园里以英语为母语的人跟他们随意交谈。或许练习讲英语最容易的方式是高声朗读，因为这在任何时间，任何地方，不需要搭档就可以做到。例如，你可以看着图片18 / 1 或身边的物件，试着对它们详加描述。你还可以复述日常情景。在商店里购物或在餐馆里吃完饭付过账后，假装这一切都发生在一个讲英语的国家，试着用英语把它表演出来。 5．广泛阅读。广泛阅读很重要，因为在我们的学习环境中，阅读是最重要、最可靠的语言输入来源。在选择阅读材料时，要找你认为有趣的、不需要过多依赖词典就能看懂的东西。开始时每天读一页是个好办法。接下去，你就会发现你每天可以读更多页，而且能对付难度更高的材料。6．经常写。写作是练习你已经学会的东西的好方法。除了老师布置的作文，你还可以找到自己要写的理由。有个笔友可以提供很好的动力；与某个跟你趣味相投但来自不同文化的人进行交流，你会学到很多东西。经常写作的其他方式还有记日记，写小故事或概述每天的新闻。语言学习是一个积累的过程。从读和听中吸收尽量多的东西，然后再试着把学到的东西通过说和写加以运用，定会大有收益。 Unit2 弗朗西斯·奇切斯特在六十五岁时开始了只身环球航行。本文记述的就是这一冒险故事。 Sailing Round the Word 弗朗西斯·奇切斯特在独自驾船作环球航行之前，已有好几次让他的朋友们感到吃惊了。他曾试图作环球飞行，但没有成功。那是1931年。好多年过去了。他放弃了飞行，开始航海。他领略到航海的巨大乐趣。奇切斯特在首届横渡大西洋单人航海比赛中夺魁时，已经五十八岁。他周游世界的宿愿重又被唤起，不过这一次他是要驾船环游。由于他患有肺癌，朋友们和医生们都认为他不该去，但奇切斯特决意实施自己的计划。

现代大学英语精读1第二版

Page 39 6. Translate the following sentences into English. 1.It seemed impossible to me, but all the others looked very confident. Sth. seems (to be) + adj.(表) + to sb. 2.We looked around. There wasn't a building standing in sight. The earthquake seemed to have destroyed everything. Sth. /sb. +（seem + to do）复合谓语3.He seems to be in low spirits these days. Sth./Sb. + seem to be + 表语 wonder why. I think it's because he doesn't seem to be making much progress in his studies. He is afraid of being looked down upon by his classmates. Sb. + seem to do sth There seems to be 4.What are you looking for, Dick? I seem to have lost my key. How annoying! 5.If you find that a word doesn't seem to

make any sense in the sentence, you should look it up in the dictionary. That's the only way to learn to use a word. 6.They went on arguing for hours. Neither of them seem (to be) willing to listen to each other. I suddenly remembered someone saying "Discussion is an exchange of knowledge while argument is an exchange of ignorance." 7.The situation there seems to be very complicated. The government has promised to look into it. 8.My grandpa seems to be getting better and better, but he still needs somebody to look after him. 9.Economists have already come to the conclusion that the crisis seems to be coming to an end. W orld economy is looking up. 10.When I got well I looked at my bank account. To my sadness, I found my balance was almost zero. All my savings in

大学英语精读1课文翻译

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UNIT 1 As we are at the start of the course, this seems a good moment to offer some advice on how to make the task of learning English easier. 课程开始之际，就如何使学习英语的任务更容易提出一些建议似乎正当其时。 Some Strategies for Learning English Learning English is by no means easy. It takes great diligence and prolonged effort. 学习英语绝非易事。它需要刻苦和长期努力。 Nevertheless, while you cannot expect to gain a good command of English without sustained hard work, there are various helpful learning strategies you can employ to make the task easier. Here are some of them. 虽然不经过持续的刻苦努力便不能期望精通英语，然而还是有各种有用的学习策略可以用来使这一任务变得容易一些。以下便是其中的几种。 1. Do not treat all new words in exactly the same way. Have you ever complained about your memory because you find it simply impossible to memorize all the new words you are learning? But, in fact, it is not your memory that is at fault. If you cram your head with too many new words at a time, some of them are bound to be crowded out. What you need to do is to deal with new words in different ways according to how frequently they occur in everyday use. While active words demand constant practice and useful words must be committed to memory, words that do not often occur in everyday situations require just a nodding acquaintance. You will find concentrating on active and useful words the most effective route to enlarging your vocabulary. 1. 不要以完全同样的方式对待所有的生词。你可曾因为简直无法记住所学的所有生词而抱怨自己的记忆力太差？其实，责任并不在你的记忆力。如果你一下子把太多的生词塞进头脑，必定有一些生词会被挤出来。你需要做的是根据生词日常使用的频率以不同的方式对待它们。积极词汇需要经常练习，有用的词汇必须牢记，而在日常情况下不常出现的词只需见到时认识即可。你会发现把注意力集中于积极有用的词上是扩大词汇量最有效的途径。 2. Watch out for idiomatic ways of saying things. Have you ever wondered why we say, "I am interested in English", but "I am good at French"? And have you ever asked yourself why native English speakers say, "learn the news or secret", but "learn of someone's success or arrival"? These are all examples of idiomatic usage. In learning English, you must pay attention not only to the meaning of a word, but also to the way native speakers use it in their daily lives. 2．密切注意地道的表达方式。你可曾纳闷过，为什么我们说“我对英语感兴趣”是“I'm interested in English”，而说“我精于法语”则是“I'm good at French”？你可曾问过自己，为什么以英语为母语的人说“获悉消息或秘密”是“learn the news or secret”，而“获悉某