论文初稿~07国教院英语1班,刘菲
郑州大学西亚斯国际学院
从服装看中西方文化差异
Cultural Differences in Clothing between China and
Western Countries
姓名刘菲
学籍号20071813118
专业英语
级别2007级
系别国际教育学院
指导教师李学经
填表日期：2011 年 3 月28 日
Cultural Differences in Clothing between China and
Western Countries
从服装看中西方文化差异
ID NO. 20071813118
Liu Fei (Fiffy Liu)
Submitted as a partial fulfillment of the requirements for
the Degree of Bachelor of English
SIAS International College of Zhengzhou University
March 28, 2011
Faculty Advisor: Li Xuejing
Acknowledgements
I am grateful to all people who have given me their generous helps, patience, encouragement and trust.
My deepest gratitude goes first and foremost to Professor Li, my supervisor, for his constant encouragement and guidance. The constructive instructions have inspired me and ensured the completion of the thesis paper; Professor Li corrects my mistakes with careful attitude in responsibility. The confusing thesis paper seemed not easy for me, and I cannot accomplish this thesis paper without my supervisor’s help.
Second, I would like to express my heartfelt gratitude to my parents, who gave me a lot of spiritual advocacy and suggestions. While I seated and wrote the body of thesis paper at home, they both gave me more convenient tools and books which were helpful for my writing.
Last my thanks would be for my friends and my fellow classmates who offered me their help and time in listening to me and helping me solve my problems when I fell in trouble.
Abstract
There are many differences between western clothes and Chinese clothes. From the ancient time to now, western and Chinese clothes’ characters have relations with their each different culture and history background. In this paper, three comparisons reveal clear features in clothing style and characteristic in three historical times between western countries and China; garments relying on rich cultural connotations, so the wearing characteristics of beauty illustrates the people’s longing comprehend for life. Throughout three historical times, Chinese people used to be traditional style clothes because of its metaphor culture, and western people liked free and modern style because of simile culture.
KEY WORDS characteristics, history, clothes, culture
中文摘要
在西方和中国的服装方面有很多的区别。从古至今，西方和中国的服饰特点都和他们不同的文化和历史背景有着关系。本文通过对比历史上三个时期西方国家和中国的服装风格和特色揭示了中西方服装的明显特征，服饰依赖于丰富的文化内涵，所以说穿出来的美的特色彰显了人们对生活长久的领悟。通过这三个历史时期服装文化的对比，中国人由于隐喻的文化而习惯了传统类型的衣服，西方人则喜欢自由现代气息的衣服，因为他们有着明喻的文化。
关键词特色，历史，服装，文化
Outline Acknowledgements (i)
Abstract............................................................................................................... i i 中文摘要 ........................................................................................................... i ii I Introduction: .. (1)
II Three comparisons in clothing between western countries and China (1)
2.1 The cultural differences in clothing between the early middle age in
Europe and Sui, Tang and the Five Dynasties in China (1)
2.2 The cultural differences in clothing between the modern late age in
Europe and Qing Dynasties in China (5)
2.3 The cultural differences in clothing between in 20th century in Europe
and new China period (9)
III Conclusion: (11)
Bibliography (14)
Cultural Differences in Clothing between China and
Western Countries
I Introduction:
Clothing culture is a kind of overall culture. It points to clothing, decorations, dressing manners, dressing up including hair and cosmetic as a whole organic entity of many factors. Clothing culture is a materialization of cultural quality of inner spiritual appearance in a nation or a country, and it is also a display of social scene. Because of historical conditions, people’s lifestyles, psychological quality and the differences between China and Western cultural concepts, clothing culture has great cultural differences. Chinese culture is a metaphor culture; the sense of art tends to lyricism, and the clothing structure pursuits metal meaning and cultural grade. Affected by Chinese traditional culture, the clothing cultural concept in China is good at expressing the reservation on form and color, which is a kind of hazy, hidden, implied meaning which gives a person aesthetic feeling. On the contrary, the western culture is a simile culture. The western clothing culture pays more attention to modeling, line, design, color their selves’ objective aesthetic feeling, and the visual comfort ability should be for the first position. From the ancient times to now, western art, including clothing, often eulogizes and shows the natural beauty as supreme typical model. Western clothing advocates human body beauty and outstanding performance personality; especially in female costumes, their dresses
notice self expression, pursuit sensory stimulation, and maximize the clothing’s appeal through processing bare sensitive areas for human body to attract males’ sight. Western clothing culture painstakingly pursues human beauty performance, but ignores the ethics in dressing. Chinese clothing culture gradually develops towards western sexy and open cultural development, but it still restrains some moral system due to influence by traditional ethical values. Historically, Chinese and western clothing culture each has its rich connotation and distinct characteristics.
II T hree comparisons in clothing between western countries and China
2.1 The cultural differences in clothing between the early middle age in Europe and Sui, Tang and the Five Dynasties in China
2.1.1 The clothing features at the early middle age in Europe
Romans called the Germans Barbarians, and the early Germanics carelessly paid attention to clothing. As the Germans immigrated to the south, they took tights to the south to change the southern loose clothing system. According to the De Origine et situ Germanorum by Tacitus, the Germans’ tight clothes had a relation with their often war attendance. Tacitus recorded that “Germans would rather get honor in the war by wounded or blooded than engage in farming and wait for harvest, because they thought that accepting some things with sweating instead of bleeding was stupid and cowardly. If this tribe had no war, many noble young people would automatically attend other tribal war... If only in the war, they could obtain the
honor” (75, 114). In order to facilitate the fight, the Germans no longer wore southerners’ loose clothes without clipping, and they needed to wear tight clothes which had been clipping processing. After the 5th century A.D., Germans replace the Romans and become European rulers. The original faddish Roman clothing were gradually declined, those who replaced are German tights and cloak. In that time, men and women garments are form of inside and outside tights including corset, men's costume often cover a round, triangle, or a rectangle cloak with a pin on right should, or using two cloth angles on front of the chest. This so called clothing was very practical and convenient in the fight; it was also popular for puttee with pantyhose. No matter what the tight pants or stockings, the people always wrapped their legs tightly, showing the performance of skill and bravery. This kind of revealing body structure of lower limbs by costumes would later become obvious different characteristics between European men and east men.
2.1.2 The clothing features at Sui, Tang and the Five Dynasties in China
A western philosopher said, “When western people's minds were obsessed with theology in the dark obscurantism, Chinese thoughts including garment style were open, inclusive and good at exploring new things” (Gu Jianhua, 78). When Europe fell into "cultural dark age" in the early middle chaos age, China were the years of a vehement generous and majestic heyday in the history. In Tang dynasty, established in 681 A.D., China had vast territory, unified command, rich material, grace culture, and it was the most powerful developed country in the world. The
garments showed open, noble, natural, graceful, and colorful style, and it wrote the most brilliant chapter in the Chinese clothing history.
In order to adapt the development of bureaucracy, Li Yuan Tang Gaozu promulgated "cars and clothes demand" in 621 A.D., it was also the famous "Wude Command", which specified the costumes from the emperor, the queen, and maids of honor to all officials in different ranks and their wives or daughters among the dress in civil institutions. Among them there was a kind of gown crown as a representation of the emperor in Huaxia-the Mianfu. From the mural named "Emperors prostrating figure" in the Mo Kao Grotto at Dunhuang and the famous painter Yan Liben's "emperors drawing" in tang dynasty, we can see the perfect emperor's crown and crown: dressing wide sleeves and straight collar coat, wearing multi-layer skirt self-publishers, fastening wide jade belt to the waist, and the whole attire showed dignified and imperatorial posture. Emperor Taizong period of Tang, it further detailed the officials color level. In the Zhenguan four years (630 A.D.), Taizong made "rank color garments" for officials of all ranks and descriptions, women's clothing color should be consistent with its husband. The system of rank color garment made people distinguish the wearer’s rating from their clothing color, and the ancient poems also used clothing color to represent people's social status. “Erudite scholars come in good spirit (Hong Ru) to talk with me; among my guests there is no unlearned common man (Bai Ding)” (Liu Yuxi, 2010). “But who of them all was crying the most? This was Jiang sub prefecture official. My blue sleeve was wet” (Bai Juyi, 2010). In these two poems, Hong Ru, Bai Ding, blue
sleeve represented three different social status’ people.
The tang dynasty is the most open dynasty in Chinese history, so the open policy promoted that Hu Fu were popular in wind at that time. Hu Fu made the clothing development show a trend of open, diversity, forming colorful, more magnanimous artistic style clothing in tang dynasty, and this social phenomenon had a direct relationship with strong trade in developed Tang. The prosperity of tang dynasty made women pursuit beauty better than before. The costumes of tang dynasty were open, noble, pride, and grace, getting the most concentration on women’s performance, the women’s clothing of tang dynasty was called the miracle between Chinese and foreign clothing history. The tang dynasty was fat for beauty, in the middle tang dynasty; women's clothing began to dress blouse and long dress as fashionable garment, the collocation of color also very gorgeous. The tang painters Zhou Fang drew “Wear the blossom type imperial palace housemaid that delivers card”, and this painting densely gave people with magnanimous, dignified and fruitful aesthetic visual feeling. Meanwhile, women's dress happened unprecedented change, a kind of baring chest garment from noblewomen came out and became pop clothes at that period. This dressing method was rare in ancient China, and it highlighted the women's figure. In the tang dynasty, many verses described this beautiful, bold dress with praise. Firstly, this low chest attire was only popular in noblewomen and palace, which was later emulate in folk women or girls, then it became a kind of fashionable clothes which were in favor of people.
The tang dynasty also had a different phenomenon in women's clothing with
other different dynasties: the female wearing men's clothing. Historically, Hua Mulan, Zhu Yingtai dressed like a man in order to hide individual gender. In tang dynasty, female wearing men's clothing was a social fashion, and this phenomenon lasted a whole dynasty. The same as baring chest garment, the female wearing men's clothing also rose from the upper noble people. Until the late tang dynasty, female wearing men's clothing was still very popular; the main reason was the open, inclusive social morality and the improvement of women's social position. In history, women in tang dynasty participated in political, military, and other social activities, and the performance showed that society pursuit the equality between men and women.
2.2 The cultural differences in clothing between the modern late age in Europe and Qing Dynasties in China
2.2.1 The clothing features at the modern late age in Europe
European art style in 18th century basing on baroque style developed the representation of rococo. Rococo showed luxurious, luxury, fussy art form, because of the France in and art leadership culture, this kind of style was popular in the whole Europe. Madame de Pompadour had high requirements for the garments’ design and select; not only showed decorous temperament, but also looked visually pleasing. The famous painter named Walter Jehiel made a portrait for Madame de Pompadour in 1859, Mrs. Pompadour’s skirts, clothing decoration and environment matching decorated look like a flower beauties. Such costumes are called "walking garden",
rococo fussy adornment style was developed acme. Rococo period clothing center was in ladies, men’s clothing had larger changes in the middle of 18th century when British industrial revol ution’s end. Because many people went into factories, work required people's clothing to get rid of feminine form and feeling but tend to be concise and practical, serious, forceful, and strength feeling, it appeared a kind of male coat named frock in British. This clothes’ girth gr ew wider, hem cut shorter, and this kind of male clothing was the rudiment of tuxedo. This practical and simple clothing later became men's clothing to finalize the design, thus the British established men's clothing as a fashion.
The 19th century was a period that all the capitalist countries became powerful and prosperous in Europe; the European female clothing’s pop and change had big relations with the social change and the trend of art, and its developing process can be divided into five times. 1).In the neoclassical period, ladies slammed the door of various decorations and affectation of rococo, but steered ancient Greek and Roman style, whose model was very simple, plain. The dress of tall waist petticoat style began popularity, the dress was very long so that dragged to the ground, the skirt’s plait line blandly outline women’s gentle elegant beautifulness and this style concentrated expressing neoclassical aesthetic concept. The famous social butterfly Madame Récamier was wearing this kind of clothing. 2). In the Romantic Period, people pursued the palace style clothes, again. Women's girth was tightened thinner by sequined bodice, the skirt expansion with bustle, and the overall modeling become X. 3).In the new rococo period, the adornments of royal lady became
women’s learning model, and idle lady spent most hours in primping. They were for beauty with gentle and petite, high value on the adornments of skirt. "Crinoline" maintaining hoop skirt spread to France, and it rapidly was loved by the queen and the upper women, then pop up. 4).In the bustle period, the bustle was a typically Victorian fashion. Although most bustle gowns covered nearly all of a woman, the shape created by the combination of a bustle and corset (accentuating the rump, waist, and bosom) resulted in highly idealized representations of female sexual identity, at once exaggerated and concealed by the structures of adornment. 5).In the “S” type period, European countries started a new art movement which was against traditional style, advocating innovation, and the female clothing in this period is a type of beautiful S. The clothes in S-type period became simple and concise, and this was a female clothes’ transition from classical style to modern style.
2.2.2 The clothing features at Qing dynasty in China
The Manchu had a long history and developed culture. Its dress seemed luxuriant and elegant, and it had unique position in national costume culture and great influence on the development of Chinese clothing in the history. Cheongsam was traditional dress for Manchu women. Cheongsam’s features were mandarin collar, buttons on right front bosom, tight girth, openings set on both skirt’s sides.
In the 1920s, with improving, loose girth, wide cuffs, moderate length, the cheongsam seemed easy to walk. This style cheongsam had become most popular clothing among Chinese women. In the early 1930s, influenced by western short
skirt, the pattern of cheongsam shortened length to nearly approach knee and narrowed sleeves. In the 1930s, the cheongsam were lengthened once more and set both sides openings, and this change highlighted high curvaceous physique for women. In the 1940s, appearing short sleeves or sleeveless cheongsam, looking from the outside was streamlining clothing. Later then, the separation in pattern, shoulder seam and outfitting sleeves types of Chinese dress skirt appeared. Cheongsam had oriental color, and it fully displayed elegant gentle appearance. Considered representation of female beauty’s typical national costumes, and China had unparalleled workmanship in making cheongsam in this world.
Jacket is a kind of short gown while the Manchu men were often wearing on riding. Jacket could be classified into Da Jin, Dui Jin, Pipa Jin, and other forms, and jacket later became a clothes covering outside the dress robes. Now many of the Manchu people wore a small Dui Jin coat came from jacket evolution. In order to having a convenient outside riding, Manchu people wore a kind of jackets, whose length were to navel and four openings on per side, to cover the outside robes to prevent wind chill. Waistcoat was not the original clothing for Manchu people, and it evolved from Chinese "half of the arm" garments. Waistcoat had Dui Jin, twisting flap, a word flap, Pipa flap, and many other forms. The waistcoats that women wore were still embroidered flowers and decorated edge, and the waistcoats had cotton and clip, silk or cloth, multiple sets and always covering outside robes.
2.3 The cultural differences in clothing between in 20th century in Europe and new China period
2.3.1 The clothing features in 20th century in Europe
From the 1950s to the 1970s, the European young people lifted storm and storm opposing to tradition, stirred the western social peace, changed people's values and aesthetic standard. Fashion was no longer the upper noble’s and a few rich persons’ enjoy, people owned more clothes with the improvement of postwar living standards. Popular culture, public art and mass fashion got unprecedented attention and development. Strange clothing was firstly criticized by people; afterwards many people gradually accepted that strange style. "Beat Generation", "Hippy", "Punk" loved wearing jeans, bell bottoms, and some neutral clothing and miniskirts which represented unconventional unorthodox dresses were also widely popular. Moreover, the clothing designers were in search of more inspiration from their strange clothing, and designed mass fashionable clothes.
Costume historian Sandro Rosell said: "The costume history in the 20th century was a symbol of double costume movement. Firstly it was a unified movement, a result of social production, following a variety of physical movement; this diversity is no longer based on class, rank and group difference, but a complete individual diversification." The past top-grade dresses always needed to be special designed and produced, and the garment batch production would always appear the phenomenon of low quality. In the later 20th century, garments became fashionable
mainstream. In 1962, Peier Cailar started to join the apparel industry – promoting a series of elegant style, moderate price garments. Inspired by his example, a number of senior designer began undertaking the apparel industry - creating many popular "designers’ clothing" that welcomed by people, and the "fashion democratization" gradually became a trend. High fashion and street fashion were also mutual combining; some avant-garde, fashionable clothes were freed from the traditional model, and different clothing brands in different styles also came out in the society.
2.3.2 The clothing features in the new China period
After the People's Republic of China was established in 1949, the whole society was full of new atmosphere. Along with socialist transformation was thorough deep going into people’s heart, the traditional robes jacket and European western style clothes did not suit the contemporary social atmosphere. The number of dressing robes jacket and European western style clothes gradually dwindled down. At the time, the popularity of nationwide are workers’ pajamas, working cap, rubber fixtures shoes and farmers’ hat, short coat, fat pants, black cloth shoes, cadre uniform, Lenin uniform became the main costumes which youth and urban residents wore. Cadre suits evolved from the Chinese tunic suit. In 1950s, Lenin uniform and various color "One-piece Dress" were in pandemic. At the beginning of May
in 1966, it burst into a cultural revolution in China, and people wore green uniform as an upsurge, again. The workers in city, staffs, intellectuals, and young students, would be honor of dressing green uniform.
In 1979, Peier Cailar’s clothing show in Beijing made Chinese people feel the charm of modern fashionable design; some trendy young people learned wearing western clothes to dress themselves up, bell bottoms, spring and autumn shirts, fitness pants, western-style clothes rapidly pop up at that time. "Fashion" was back into the market, a series of fashionable dress adorn the people of colorful and varied in postures, spelling color jacket, T-shirts, turnip skirt, pleated skirts, cheongsam dresses, miniskirt, sportswear, coats and sweaters emerged in endless. What was more, they had diverse styles, with changing quickly, which made people could not appreciate right now. In the 1990s, Chinese clothing began to be influenced by the western clothes, it gradually appeared nudity style in Chinese clothes, and this bold design undoubtedly subverted Chinese traditional, conservative dressing style.
III Conclusion:
Throughout history, the root cause why China and western countries have differences in clothing should be the cultural differences between China and western countries. Western culture originated in Marine civilization, and cultural instinct is more open and easy to fuse with outland clothing culture. Western clothes are good at expressing contradiction, conflict, and the clothes’ forms emphasize on stimulation, extreme style, and they are proud of outstanding individual character. Western culture advocates human beauty and pay attention to body or the sexual difference, so the western clothes never taboo show sexy performance. Classical mode usually shows women’s secondary sex characteristics in performance: like
bare neck, bare shoulder, bare back, and bare half of breast, and the clothes often tighten waistline and mat hip to represent the female nude curve. The modern model displayed body's natural shape with contracted form, and it is the short, tight, and bare form for modern fashion. On the opposite, Chinese culture originated in mainland civilization, and cultural instinct in clothing is closed. Compared with open, the "original body" is stubborn, courtyard-shaped traditional costumes occupied stable social status thousands of years, and absorbing foreign clothing is difficult in relativity. Chinese culture is harmonious culture, emphasizing on the balance, symmetrical, unified costume modeling methods, and Chinese garments require steady and well-behaved to be most beautiful. Chinese culture disregard the existence of "sex", the clothing do not express human performance curve, not have sensual elements, but cover human body to perform a solemn implicit beauty. The aesthetic characteristics of Chinese clothing style reflect the Chinese national aesthetic mentality and cultural characteristic appearance. Chinese people are influenced by complementary aesthetic thoughts of Mohism; they pay attention to reasonable combination, so that people pursue the leisure insipid feeling and spiritual implication beyond body form. Chinese women's strict package style makes the human body difficult to recognize by people; meanwhile, this type increases the details mystique. Chinese men’s clothing exemplifies the slender, permeating with men's beauty. The emperor's dragon robe is not only a symbol of power, but also Chinese people’s aesthetics performance.
Western culture is a simile culture. The western clothing culture pays more attention to modeling, line, design, color their selves’ objective aesthetic feeling, and the visual comfort ability should be for the first position. Chinese culture is a metaphor culture; the sense of art tends to lyricism, and the clothing structure pursuits metal meaning and cultural grade. Chinese and western clothing culture each has rich connotation and distinct characteristics; they both are precious cultural legacy which human ancestors left, so they are both cultural treasure in the world. We should carry on researching them positively and developing on the basis of discernment.
英语专业毕业论文范文
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On Anti-Gothicism in Northanger Abbey by Li Xiaohui Under the Supervision of Wang Junhua Submitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts School of Foreign Studies Shandong University of Finance and Economics May 2012
如何写英语论文(非常有用)
英文科技论文中的语言技巧，不可不看 a)如何指出当前研究的不足以及有目的地引导出自己的研究的重要性通常在叙述了前人成果之后，用However来引导不足，比如However,little information.. little attention... little work... little data little research or few studies few investigations... few researchers... few attempts... or no none of these studies has(have)been less done on... focused on attempted to conducted investigated studied (with respect to) Previous research(studies,records)has(have) failed to consider ignored misinterpreted neglected to overestimated,underestimated misleaded thus,these previous results are inconclusive,misleading,unsatisfactory,questionable,controversial.. Uncertainties(discrepancies)still exist... 这种引导一般提出一种新方法，或者一种新方向。如果研究的方法以及方向和前人一样，可以通过下面的方式强调自己工作的作用：However,data is still scarce rare less accurate there is still dearth of We need to aim to have to provide more documents
(完整)小学英语阅读100篇天天练前十篇(五年级用)
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陈保亚20 世纪中国语言学方法论济南：山东教育出版社，1999 丁言仁英语语言学纲要上海：上海外语出版社，2001 费尔迪南德索绪尔普通语言学教程长沙：湖南教育出版社，2001 冯翠华英语修辞大全北京：商务印书馆，1996 桂诗春，宁春言主编语言学方法论北京：外语教学与研究出版社，1998 桂诗春应用语言学长沙：湖南教育出版社，1998 何兆熊新编语用学概要上海：上海外语教育出版社，2000 何自然语用学与英语学习上海：上海外语教育出版社，1997 侯维瑞英语语体上海：上海外语教育出版社，1988 胡壮麟语言学教程（修订版）北京：北京大学出版社，2001 黄国文语篇与语言的功能北京：外语教学与研究出版社，2002 黄国文语篇分析概要长沙：湖南教育出版社，1988 李延富主编英语语言学基本读本济南：山东大学出版社，1999 李运兴语篇翻译引论北京：中国对外翻译出版公司，2000 刘润清西方语言学流派北京：外语教学与研究出版社，1999 刘润清等现代语言学名著选读（上下册）北京：测绘出版社，1988 刘润清等语言学入门北京：人民教育出版社，1990 陆国强现代英语词汇学（新版）上海：上海外语教育出版社，1999 戚雨村现代语言学的特点和发展趋势上海外语教育出版社，1997 秦秀白文体学概要长沙：湖南教育出版社，1990 孙志外国语言研究论文索引（1995—1999）上海外语教育出版社，2001 索绪尔普通语言教程北京：商务印书馆，1999
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通过整理,在写英语论文过程中,主要注意的有以下几点: 第一.对于初写英语论文的人来讲.最好不要对原中文论文进行直译. 在谈到这个观点时,唐教授一再强调初写英语论文一定要"抄",也就是说搜集一些类似的国外高级刊物的英语论文,在这些论文中找到要表达相似意思的英文句子,使用它的句型.这样写出来的论文更适合外国人的思维方式.也能让外国人更容易理解.同时也更容易被SCI,EI检索. 他还说,按这种方式写过5篇论文左右,一些地道的英语表达方式就可以熟练的记住了. 第二.在写英语论文之前,首先要确定你要投什么样的期刊.其实投中文期刊论文也是这样的.举个很简单的例子,前几天,我有一个同学,写了一篇用数学问题解决纺织工程问题的论文.导师指导他说:"如果你想投到<<纺织学报>>,在写论文时,在内容上就应该对一些数学知识作详细的说明,而纺织知识可以作粗略的介绍,但如果你想投到<<应用数学>>期刊,那就应该对纺织的一些基础知识作详细的说明!".因此,投不同类型的期刊有不同的写作手法.这样可以提高论文的录用率. 第三.要想写出被SCI/EI检索的文章一定要多花功夫在标题和摘要上.这也许是大家都知道的.外国人更注重创新,只要你觉得自己的观点有创新点,就不要怕不会被外文收录.还有一句话我还记忆忧新:"做很少人做的研究领域,做难的研究领域".这样的文章很容易被录用. 第四.中国有句古话:"熟读唐诗三百首不会作诗也会吟."在写英语论文之前,做大量的阅读是必要的.但最好应该去读那些英语是母语国家学者写的论文.但是,必须注意的是.无论是硕士还是博士,永远应该把专业放在第一位,英语是放在第二位.英语只是一种工具.只是一种帮助你科研的工具. 第五.写英语论文时,不要使用外国人没有使用过的句型.即使这样的句子在语法上没有问题.但是外国人就是看不懂.也就相当于是一个病句.也许这种"病句"对你考CET有用,其实学英语口语也是这样的.在练英语口语时,希望朋友们记住:"讲外国人从来没说过的英语,即使语法没有问题,也是错的."我国著名语言学家说过:"想学好一门外语,首先要学好其文化!"
中考英语阅读理解20篇
精选中考阅读理解100篇(附答案) 1-20 (1) The Weather （选自广州） In winter the weather in England is often very cold. In spring and autumn there are sometimes cold days, but there are also days when the weather is warm. The weather is usually warm in summer. It is sometimes hot in summer, but it is not often very hot. There are often cool days in summer. When the temperature is over 27℃, English people say it is hot. When the temperature is about 21℃, they say it is warm. In the north of Europe it is very cold in winter. In the south of Europe the summer is often very hot. In the south of Spain（1）and in North Africa（2）the summer is always hot. Water freezes（3）at 0℃. When water freezes, it changes from a liquid（4）into ice. Water boils（5）at 100℃. When water boils, it changes from a liquid into steam（6）. Notes: （1）Spain/speIn/n. 西班牙（2）Africa/`frIk/n.非洲（3）freeze/fri：z/v.结冰（4）liquid/`lIkwId/n.液体（5）boil/bIl/v.沸腾；（水）开（6）steam/sti：m/ n.蒸汽 1.What is the weather like in summer in England? A.Very hot. B.Warm. C.Cool. D.Both A and C. 2.What do you think “the north of Europe" means? A.A part of a country. B.The capital of Europe. C.A country in the north of Europe. D.A part of Europe. 3.When water freezes, it changes from into. A.water, ice B.water, steam C.steam, ice D.ice, water 4.The writer wants to tell us something about. A.the weather in Europe B.the weather in England C.some knowledge of the temperature D. three states of water 答案：1—4 DDAC (2) The Artist and the Beggar（1）(选自成都) An artist was coming home by train one day. He hadn’t much money but was very kind. He gave his last few coins（2）to a beggar, but he saw another one, and forgot that he didn’
小学英语阅读短文【小学英语阅读小短文带翻译】
小学英语阅读短文【小学英语阅读小短文带翻译】 在英语学习中，阅读是人们获取英语知识、提高英语水平的有效途径。英语阅读既是重要的语言技能，也是重要的学习技能，是发展其他语言技能的基础和前提。小编整理了小学英语阅读小短文带翻译，欢迎阅读! 小学英语小短文带翻译篇一 In western countries, more and more young kids have the problem of obesity, because of the popularity of fast food. The culture of KFC and Mcdonald’s attract the kids all the time, the food there is full of high calorie, which is easy to become fat. Many kids are willing to spend the time in eating fast food, because the fried food cater to them. In China, there is also the increasing number of children obesity, in order to help the kids grow in the healthy way, the balanced diet is advocated. Meat and vegetable are indispensable, while eating more vegetables and fruit is healthier. To stay away from the fast food is the key to be fit. 在西方国家,越来越多的年轻孩子们出现肥胖的问题,因为快餐深受欢迎。肯德基和麦当劳的文化吸引着孩子们,那里的食物含有高热量,容易变胖。许多孩子愿意花时间去吃快餐,因为油炸食品迎合他们的口味。在中国,也有越来越多的肥胖儿童,为了帮助孩子们健康地成长,倡导平衡饮食。肉和蔬菜是必不可少的,多吃蔬菜和水果是健康的。远离快餐是保持健康的关键。小学英语小短文带翻译篇二 When we ask a foreigner what’s his impression about China, then he tell you about the delicious food and Chinese Kongfu. Chinese Kongfu has been a symbol, the first person that make the world recognize China by his Kongfu movie is Bruce Lee. Though he died, he still got a lot of fans today, everybody knows him well. Then Jackie Chen make Chinese Kongfu famous all around the world, his movie is very funny by all kinds of actions. Many Hollywood directors have come to China to seek for cooperation, they want to film the movie that contains Chinese Kongfu. Kongfu is part of our culture and the world is knowing us by it. 当我们问一个外国人对中国的印象是什么,然后他告诉你美味的食物和中国功夫。中国功夫已经成为了一个符号,让世界通过中国功夫去认识中国的第一人是李小龙。虽然他死了,但他至今仍有很多粉丝,所有人都知道他。然后成龙让中国功夫在全世界都出名,他的电影很搞笑,通过各种各样的行动。许多好莱坞导演来中国寻求合作,他们想让电影包含有中国功夫。功夫是我们文化的一部分,世界也通过功夫去认识我们。小学英语小短文带翻译篇三We are always educated that animals are our friends and we should protect them. Most families have kept dogs as their pets, some moving stories often happen between these lovely dogs and their owners. The famous movie Hachi tells about a dog spends a lifetime to wait for his master, who had died of heart attack. Recently, it has been reported that a little girl was saved from the earthquake because of her dog’s protection. Dogs are our loyal friends and they deserve our respect. Some people kill dogs and enjoy eating the dog meat, they have been criticized strongly. Protecting animals is saving our human being, the balanced of nature won’t be broken. 我们总是受到教育动物是我们的朋友,我们应该保护他们。大多数家庭一直把狗作为他们的宠物,一些感人的故事经常发生这些可爱的狗和它们的主人中。著名的电影“八公”讲述了一只狗花了一生的时间来等待他的主人,这个人死于心脏病。最近,据报道,一个小女孩从地震得救了,因为她的狗狗在保护着他。狗是我们忠实的朋友,他们应该得到我们的尊重。有些人杀狗,喜欢吃狗肉,他们受到了强烈的批评。保护动物就是在拯救我们人类,拯救大自然的平衡不被打破。小学英语小短文带翻译篇四 保持饥饿，保持愚蠢