研究生基础英语答案毛大威版unit710课文翻译

《研究生基础英语答案毛大威版unit710课文翻译》由会员分享，可在线阅读，更多相关《研究生基础英语答案毛大威版unit710课文翻译（25页珍藏版）》请在装配图网上搜索。

1、文档供参考，可复制、编制，期待您的好评与关注！ Unit 7 Text1 How We Listen to MusicWe all listen to music according to our separate capacities. But for the sake of analysis, the whole listening process may become clearer if we break it up into its component parts, so to speak. In a certain sense we all listen to music on t

2、hree separate planes. For lack of a better terminology , one might name these:(1)the sensuous plane,(2)the expressive plane, (3)the sheerly musical plane. 我们根据各自的能力来听音乐，打个比方来说，如果我们把音乐分成不同的部分，整个听的过程就变得很清楚了。也可以这么说，在某种程度上，我们听音乐分为三个不同的层次，因找不到更好的术语，可这样命名（1）感官层面（2）表义层面（3）纯音乐层面。The simplest way of listenin

3、g to music is to listen for the sheer pleasure of the musical sound itself. That is the sensuous plane. It is the plane on which we hear music without chinking, without considering it in any way. One turns on the radio while doing something else and absent-mindedly bathes in the sound .A kind of bra

4、inless but attractive state of mind is engendered by the mere sound appeal of the music.最简单的听音乐方式就是听乐声给我们带来纯粹的愉悦，这是感官层面。在这个层面上我们听音乐不用思考，不用考虑，任何事情。打开收音机，一边忙别的事情一边心不在焉地沐浴在乐声中，这种心不在焉但有吸引力的心身状态是由音乐的感染力引起的。 Yes, the sound appeal of music is a potent and primitive force. This appeal to every normal human

5、being is self-evident. The sensuous plane is an important one in music, a very important one, but it does not constitute the whole story.是的，音乐声的感染力是强有力的，并且是原始的力量，这种感染力对每一个正常的人来说是不言而喻的。感官层面在音乐中是很重要的一个层面。非常重要，但并不是整个故事的全部构成。Three is , however, such a thing as becoming more sensitive to the different ki

6、nds of sound stuff as used by various composers. For all composers do not use that sound stuff in the same way. Dont get the idea that the value of music is commensurate with its sensuous appeal or that the loveliest sounding music is made by the greatest composer. If that were so. Ravel would be a

7、greater creator than Beethoven. The point is that the sound element varies with each composer, that his usage of sound forms an integral part of his style and must be taken into account when listening. The listener can see, therefore, that a more conscious approach is valuable even on this primary p

8、lane of listening.然而，不同的发音材料被不同的作曲家所用时就变得更加有感染力。所有的作曲者不可能按同一种方式组织材料。不要以为音乐的价值就与它的感官感染力相称，不要以为最美丽动听的音乐就是由伟大的作曲家创造的。如果你认为以上二观点可能的话，那么拉维尔是比贝多芬还要伟大的创作者。这一点是说声音成份不同，每一位作曲者不同，那么他音乐风格的统一的一部分-音乐形式的利用也不同，当听音乐时所有这一些必须考虑在内。The secondary plane on which music exists is what I have called the expressive one. My o

9、wn belief is that all music has an expressive power, some more and some less, but all music has a certain meaning behind the notes and that that meaning behind the notes constitutes, after all, what the piece is saying, what the piece is about, This whole problem can be stated quite simply by asking

10、, “Is there a meaning to music?” My answer to that would be. “Yes” And “Can you state in so many words what the meaning is ?”My answer to that would be, “No.” Therein lies the difficulty.音乐存在的第二层面就是我所谓的表义层面。我认为所有的音乐都有表现力，有的强些，有的弱些。但所有的音乐在每个词和每个词结构里面都蕴含有一定的意义。毕竟，这一支曲子说了些什么？这一支曲子是关于什么的？整个问题可通过问答来陈述“音乐

11、里面含有意思吗？”我的答案是“有”，“你能够用词语把它的意思陈述出来吗？”我的答案将是“不能”，这对我来说的确有困难。Simple-minded souls will never be satisfied with the answer to the second of these question. They always want music to have a meaning, and the more concrete it is the better they like it. The more the music reminds them of a train, a storm,

12、a funeral, or any other familiar conception, the more expressive it appears to be to them. This popular idea of musics meaning stimulated and abetted by the usual run of music commentator should be discouraged wherever and whenever it is met. 头脑简单的人们会对第二问题的答案很不满意，他们认为音乐一定有意思，并且意思越具体，他们就越喜欢它。这些音乐会令他们

13、想像出火车，暴风雨，葬礼等或其他相类似概念。越富有表现力，对他们越有吸引力。这种比较流行的意义音乐的观念被音乐评论家刺激并煽动着，无论在哪儿，无论在什么时候，这种观点都受激励。Music expresses, at different moments, serenity or exuberance, regret or triumph, fury or delight. It expresses each of these moods, and many others, in a numberless variety of subtle shadings and differences, It

14、 may even express a state of meaning for which there exists no adequate word in any language. In that case, musicians often like to say that it has only a purely musical meaning.音乐在不同时刻表达不同内容，或平静或情感充沛激扬，或悔恨或成功，或愤怒或高兴。它都能够表达出每一种不同的情绪。音乐中包含有数不清种类的细微差别和不同。它能表达出的思想状态，甚至任何语言中都没有足够的词语来描述。在这种情况下，就是音乐家们常常说的

15、纯音乐意义状态。While listening, each listener feels for himself the specific expressive quality of a theme or, the same thing to you each time you return to it.当听音乐时，一整段音乐，每一位听众都听到不同的表达主题，有时是相似的。如果它是一部经典大作，你别认为每次重复听的时候，它的意思会一样。Themes or pieces need not express only one emotion, of course. Take such a theme

16、 as the first main one of the Ninth Symphony, for example. It is clearly made up of different elements. It does not say only one thing. Now, perhaps the reader will know better what I mean when I say that music does have an expressive meaning but that we cannot say in so many words what that meaning

17、 is. 一段音乐主题不仅仅表达一种情感。当然，拿第九交响乐为例来说，除了正主题外，很明显，它有不同的主题部分构成。它也不仅仅阐明一个事情。现在，读者或许能够较好的理解：为什么我说音乐能够表意，但是我们却没有足够的词语把它的意义描述出来The third plane on which music exists is the sheerly musical plane, Besides the pleasurable sound of music and the expressive feeling that it gives off ,music does exist in terms of

18、notes themselves and of their manipulation. Most listeners are not sufficiently conscious of this third plane. 音乐存在的第三层面就是它的纯音乐层面，除了令人愉悦的乐声和它发出的表达意义外，音乐还以音符音调以及对音符音调熟练地使用等方式存在，大多数听众对这个层面缺乏足够的意识。It is very important for all of us to become more alive to music on its sheerly musical plane. After all,

19、an actual musical material is being used. The intelligent listener must be prepared to increase his awareness of the musical material and what happens to it . He must hear the melodies, the rhythms, the harmonies, the tone colors in a more conscious fashion. But above all he must, in order to follow

20、 the line of the composers thought, know something of the principles of musical form. Listening to all of these elements is listening on the sheerly musical plane. 对我们大多数人来说对纯音乐层面变得敏感是非常重要的，毕竟，真正音乐就用到它。明智的听众必须作好准备，提升自己对音乐素材的意识和它的发展趋势。他必须会唱旋律、节奏、和声，有意识的欣赏音色。为了能够跟的上创作者思想的主线，首当其冲的是，要懂音乐形式的规律，按以上各因素去听音乐

21、是纯音乐层次上的欣赏。I have split up mechanically the three hypothetical, separate planes on which we listen merely for the sake of greater clarity , Actually, we never listen on only one or the other of the three planes What we do is to correlate them-listening in all three ways at the same time. It takes no

22、 mental effort, for we do it instinctively.我机械地把听音乐分成三个假设的互相分隔的层面，是为了把它分析得更清楚，实际上，我们决不会只有在三个层面的某一个层面听音乐，我们本能地同时在三个层面上听音乐。In a sense, the ideal listener is both inside and outside the music at the same moment, judging it and enjoying it, wishing it would go one way and watching it go anotheralmost li

23、ke the composer at the moment he composes it; because in order to write his music, the composer must also be inside and outside his music, carried away by it and yet coldly critical of it. A subjective attitude is implied in both creating and listening to music.一句话，明智的听众同时能够穿进音乐，又能穿出音乐，评判它，欣赏它，就像作曲家

24、创作的时刻，为了写好音乐，作曲家必须深入到音乐里面，然后再跳出来，一方面，要陶醉于它，一方面又冷静地评判它，那才是创作音乐和欣赏音乐的主观态度。What the listener should strive for, then is a more active kind of listening ,Whether you listen to Mozart or Duke Ellington, you can deepen your understanding of music only by being a more conscious and aware listener-not someo

25、ne who is just listening, but someone who is listening for something.听众首先要做到积极主动地听音乐，听莫扎特的也好，听迪克埃令顿的也好，只要你成为一个有意识的听众，你就会加深对音乐的理解-一个人不仅仅是要听，而是要听出点什么。P100 英译汉As a devoted participant in the college annual song contest for the past two years ,it has come to my attention that competitiveness and the des

26、ire to win have overthrown the school spirit and overall togetherness that the event was designed to generate. When classes are so bent on winning that they actually resort to spying on their rivals in hopes they can turn their opponents in on some technicality, things in my opinion, have gone just

27、a bit too far, Is it really worth winning if it means deliberately damaging your competition to do it?在过去的两年中，我一直是一年一度校园歌咏比赛的积极参加者。我注意到，竞争和想取胜的欲望违背了我们的学校精神，违背了学校通过比赛达到全校同学共同参与的初衷。如果某个年级取胜心切，不惜采取刺探的手法将别人的技巧“偷”到手，我以为这种做法已经有些过分了。倘若这样做就意味着比赛原则遭到破坏，那么即使赢了又有什么意义呢？P100 汉译英Lets suppose there are three hypot

28、hetical, separate planes on which we listen to music. The first plane is sensuous. It is the plane on which we listen for the sheer pleasure of the musical sound itself and we hear music without thinking, without considering it any way. This is the simplest way of listening to music. The second is t

29、he expressive plane. On this plane we listen not only for the pleasure of the musical sound but also for the understanding of what the piece of music is saying. All music has a theme. But while listening, each listener feels for himself the specific expressive quality of the theme. The third plane o

30、n which music exists is the sheerly musical plane. When we listen to music we must be prepared to increase our awareness of the melodies. The rhythms, the harmonies etc. Actually, we never listen on only one or the other of the three planes. What we do is to instinctively listen in all three ways at

31、 the same time.让我们假设人们听音乐有三个层面。第一个是感官层面。在这个层面上，听音乐的方法最简单。听音乐不用思考，纯粹为了消遣听音乐美妙的声音。第二个是表意层面。我们听音乐不仅听悦耳的声音，还要了解音乐所表达的意思。每支乐曲都有它的主题，但是，不同的人对同样的音乐有不同的感悟。最后一个是纯音乐层面。我们听音乐时，应该注意音乐的旋律、节奏、和声等。其实，我们决不会只在这三个层面的某一个层面上听音乐。我们本能地同时在三个层面上听音乐。英语第8单元Unit 8 Text1 A Romance That War Cannot SilenceTheres not a single fal

32、se gesture in Frances Itanis “Deafening.” Despite its subjects-war, romance, disability-its a story of careful, measured emotion, bleached of all sentimentality. The publisher has poisoned the novel as a debut in America, but Canadians have been reading Itani for decades, and every page of this stor

33、y betrays the hands of a mature writer.弗朗思伊塔妮的作品“聋哑”中并不是仅有哑语，虽然它的主题是战争、浪漫和残疾。但它是一个细腻，多情，被感伤漂洗了的凄美故事。尽管加拿大人读伊塔妮的作品已几十年了，但出版商还是把她的这部小说定位在美洲首发，并且这部小说每一章页都有有违于这位成熟作家的以前的写作手法。The heroine, Granis ONeill, was robbed of her hearing at the age of 5 in the early 20th century. Itani narrates her life in a voic

34、e filled with the rhythm of the deaf girls thoughts and sensibilities, a technique that submerges us in Granias silent but vivid world, a place “divided into things that move and things that dont move.”故事的女主人公格兰丽亚欧内尔，生活在20世纪早期，她五岁时丧失了听力。伊塔妮描述了一个充满聋哑女孩思想情感节奏的生动的故事。她的这种写作手法给我们再现了格兰丽亚静默但形象的内心世界。Her par

35、ents are too burdened by guilt and too involved in difficulty in hopes for a miracle to work with their daughters obvious intelligence, but her grandmother remains determined to teach Grania to read. The process involves studying simple pictures and words, feeling her grandmothers throat, and attend

36、ing to the slight fluttering of others lips. Every everywhere, there are traps and tricks, puns and homonyms, silent ks and gs, and, worst of all, mustaches that hide speakers words.她的父母负担太重，虽肩负着艰难困苦，但他们还是希望在自己聪明的女儿身上再现奇迹。她的祖母拿定决心教她读书。最初学习过程是学习简单图片和单词，让她手触外祖母喉咙，同时要注意观察别人嘴唇的轻微振动。学习过程中处处是陷阱和诡计，很多双关词和同

37、音异形词，清辅音gs和ks也难以分辨。更为糟糕的是说话者的大胡子使她分不清说话者的词语。But “nothing will stop Grania,” Itani writes. “when she is alone she stands on tiptoe on the stoop at the back, behind the laundry, and she watches her reflected mouth in the narrow window. She takes a bite. She studies each word separately. She holds her

38、voice as close to herself as she can. It is like pressing a pillow against her chest, the way the boy in the picture presses the book to his sailor suit.”“但什么也难不倒格兰丽亚”伊塔妮写道，“当她独自一人时，她踮着脚尖背对走廊站着，那后面是洗衣店。在狭窄的走廊过道上观察反射回的自己的嘴唇，她一点一滴地，分别学习每一个词。她尽可能使声音，紧紧接近自己，就像把一个枕头紧紧靠在胸前，也像挂图上的小男孩一样，紧紧把书靠近他的海军兰外衣。”Showi

39、ng Grania pull herself into the world of language so deliberately, Itani reinvests words with a power most of us have forgotten. But she controls that power with quiet, remarkable effect.为了展示格兰丽亚如此熟练地进入语言世界，伊塔妮重新启用了一大部分我们早已忘却的词，并赋予它强大的生命力。她用词清丽，却有意想不到的效果。After a brief period in a public classroom be

40、ing alternately ignored or pitied, Grania is sent away to a progressive school for the deaf, where she cries for two weeks and then resolves never to cry again. The training is difficult, but Granias grandmother provided a good foundation. “Her hands, to her surprise, and jerkily at first, begin to

41、send ideas out, ”Itani writes. “Her face and body punctuate; her eyes receive. She is falling into, She is entering a new world. She is joining the larger conversation for hands. ”她在公共学校里待了一段时间，在那儿受到漠视或怜悯同情。格兰丽亚被送进一所高级聋校，她整整哭闹了两周，她下决心不再哭闹了，这儿的训练相当艰苦，但她祖母小时候给她提供了一个好的基础。“令她自己都惊讶的是，她的手，开始时生硬拗口，但逐渐就传递出信

42、息来”伊塔妮写道。“她用脸和身体点标点，她的双眼获取信息，她全身投入了，她进入了一个手语会话的新的世界。”Soon after she graduates, Grania meets Jim Lloyd, a hearing man. I cant remember ever feeling so greedy for more details from novel. Grania and Jim develop an intimacy intensified by their struggle to communicate, and Itanis discipline as a narrat

43、or makes their courtship all the more striking. “She wanted to talk. The room was dark unless there was a moon, but she did not need the moon. She closed her eyes and raised the fingers of her left hand to his lips. Though at first he was astonished, he understood and began to speak. His careful wor

44、ds fell onto her fingertips and she whispered back and they conversed like this, side by side.”她毕业后不久，格兰丽亚遇到吉姆劳德，一个听力正常的男人，我当时只管贪婪的阅读，已记不清小说的详细细节。格兰丽亚和吉姆通过顽强的沟通，发展加深了两人的亲昵行为。伊塔妮用叙述者手法使得他们的婚恋变得更加振憾人心。“她想交谈，房子里一片黑暗，没有月光，但她不需要月光，她闭上眼睛，抬起左手指放在他的唇边，虽然吉姆开始很吃惊，他明白了，并开始交谈，他清晰的话语流进了她的手指，并且她低声耳语，就这样，他们一遍又一遍交谈

45、着。”Married only two weeks, Jim is sent to France as a stretcher-bearer, and the novel splits into two very different stories: One remains with Grania, and the other follows Jim into the deep ditches of Europe. Their experiences couldnt be more different. Itani constructs a striking juxtaposition bet

46、ween Granias small, silent world and the chaos of battle that her husband endures.婚后仅仅两周，吉姆征召法国前线，作了一名担架兵。整个小说分为两个不同的故事线索。一条线索仍然伴随着格兰丽亚，另一条线索跟随吉姆深入战场内部。他们各自的经历是不同的。伊塔妮创建了一种并行结构，一方面是格兰丽亚那小小的，静秘的内部世界。另一方面是她丈夫经历的喧闹的战斗场面。But the author also hears the resonance between these two experiences :Jims surviva

47、l often depends on his ability to exercise the same attention as Grania to slight movements around him, and in the roar of shells and gunfire, his men resort to impromptu sign language. Back home, Grania battles the influenza epidemic that will eventually kill more people than World War I killed.作者也

48、从两方面重要经历中得到共鸣，吉姆能够活下来主要依赖他练就的敏感能力，正如格兰丽亚围绕着他一样。在枪林弹雨中，他和他的战友们的联系借助于临时的手语。在后方，格兰丽亚同流行感冒展开了斗争。流行感冒致死的人命总数要比第一次世界大战死去的人还要多。Whats particularly remarkable about this novel is that Itanis quiet, measured style, which seems so effective for describing the simple details of domestic life, becomes thoroughly

49、 stunning when employed in her descriptions of war. From Jims initial burst of patriotic enthusiasm, through stages of blinding terror and sickness ,he trudges on for years in a world “no one would believe.” These anecdotes of continuous chaos, blood, and waste serve as a serous reminder of the natu

50、re of battle before technology allowed us to pretend that the process of killing could be precise and objective.这部小说特别引人注目之处是作者伊塔妮平静和慎重的写作风格。这种风格用描绘家庭生活的简朴琐碎十分有效。没想到用于战争时会变如此震憾人心。从最初爱国激情的迸发到后来的目不暇接的恐惧和疾病等种种磨难，吉姆多年来艰难在一个“人人都难以置信的世界”里挣扎着。当现代科技使我们盲目认为战争中的杀戮可以是精准的，并且非随意实施的时候，这些关于连绵不断的混乱，流血和荒芜的记事认真地提醒我们不

51、要忘记战争的残酷本质。Grania, consumed like so many women at this time with the tasks of waiting, clings to a few letters that manage to make it back to her, hoping guiltily that Jim, unlike so many others. Will survive. Meanwhile, “Deafening” demonstrates a perfect ear for the tragic mingling of joy and grief

52、 at the arrival of a wounded loved one. Granias brother-in-law, terribly disabled and shocked into silence, is a frightening example of the alternatives to death in Europe.格兰丽亚，像其他妇女一样，在等待的日子里消磨时光，反复读着给她寄回的来信，心里为吉姆做祈祷，希望他活着回来，同时，“聋哑”这部小说描述对他们经历的欢乐痛苦传奇般的倾听。格兰丽亚的最密切的亲人，她的小叔虽然没死，但遭受了苦痛的残疾，被震哑了，这是欧洲战场最令

53、人惊吓的例子。One of the novels most beautiful sections involves Granias efforts to help him emerge from the fog of his pain. There are no miracles - for her or her brother-in-law but the qualities she developed as a child, her fierce attention to language and the world around her, are not easily thwarted.

54、 Its a delightful irony and a true example of the power of affection when the one person in his life who cant hear finally makes him speak.这部小说最美丽动人的部分就是格兰丽亚的努力帮助她小叔脱离了痛苦的迷茫。对她或她小叔来说，没有奇迹出现。但她童年时形成的能力，对语言和周围世界的强烈注意力。不是很容易挫败的。它也是一部悲喜剧，当一个人一生中再也听不到自己的声音时，它就是一个有影响感染力的真实榜样。“Sorrow can be borne, ”Granias

55、 grandmother insists, and heres enough in this moving story to reassure us of that promise and point to something beyond endurance. Indeed, there are passages here so beautiful that we cannot help straining to hear more.“没有吃不了的苦”格兰丽亚的祖母认为，在这个动人的故事中，使我们足以确信这一俗语，并且超出了一个人的容忍程度。真的，这篇文章如此优美，我们都禁不住再听一遍了。P

56、116 英译汉During the World War II, Catherine Jones worked as a nurse in the army. Like many other young people, she was sent to the front line in Europe. Everyday she had many patients to attend to, giving them injections and some others had been robbed of their sight and hearing. They had suffered so

57、much that those who were seriously wounded had to resort to painkillers. Despite all this, they were still brave and optimistic, which moved Catherine so much, and which made her see the twilight of the victory.二战期间，凯瑟琳琼斯在部队当护士。她和许多其他年轻人一样被派住欧洲前线。每天她要照顾许多伤员，为他们打针，处理伤口。有些士兵被夺去了手脚，而另外一些则被夺去了视力或听力。他们遭受

58、巨大的痛苦，伤势严重的病人常常依赖止痛药。尽管这样，他们依然勇敢、乐观。这一切深深地打动着凯瑟琳，让她看到了胜利的曙光。Deafening A deaf child will learn 300 to 500 words in a year if at all intelligent. First, the child is taught the sounds and then how to combine them “Go to my room.” Mamo is pointing to the floor above. “Bring the package on my desk.” Gra

59、nia watches her grandmothers lips. She understands, pushes aside the heavy curtain that keeps the wind from blowing up the stairs, and runs up to the landing. She pauses long enough to glance through the only window in the house that is shaped like a porthole, even though its at the back of the hous

60、e and looks over land, not water. She peers down into the backyard, sees the leaning fence, the paddock and, over to the right, the drive sheds behind Fathers hotel. Far to the left, over the top of the houses on Mil Street, she can see a rectangle of field that stretches in the opposite direction,

61、towards the western edge of town. A forked tree casts a long double shadow that has begun its corner-to corner afternoon slide across the field. Remembering her errand, Grania pulls back, runs to Mamos room, finds the package tied up in a square of blue cloth and carries it, wrapped, to the drawing

62、room. Mamo pulls a low chair over beside her rocker. Her rocker moves with her, out to the veranda, back to the drawing room, out to the veranda again. “Sit here,” her lips say.“到我的房间去”嬷嬷指着楼上的地板。“把行李放到我的桌子上。”格兰丽亚看着祖母的嘴唇，她明白了，掀起厚重的门帘，使风能够吹到楼梯上，她跑下楼梯，她中止了长长的一瞥，从房子仅有的像舱口的窗户往外看，即使是在房子的后墙向外看，看的都是平地，没有水。她

63、凝视着后院，看到斜斜的篱笆，围场。在右边，是父亲旅馆的车库。左方远处，麦尔大街房子顶端远处，她看到一块矩形田地向反方向延伸，一直到这个城镇的西边缘。一棵分叉的老树拖着长长的树影斜穿过田野，因为记着自己的任务，格兰丽亚转回身，跑回嬷嬷的房间。她发现一块方形蓝布系在行李上，捆装得很好，嬷嬷拿了一把矮椅放在她的摇椅旁边，摇椅随着她的晃动，转向走廊，又回到客厅，又转向走廊，来回晃动。“坐下吧”她的嘴唇动了动。 Grania watches. Her fingers have already probed the package on the way down the stairs, and she k

64、nows it is a book. At a nod from Mamo she unties the knot and folds back the cloth. The first thing she sees on the cover is a word, a word picture. The word is made of yellow rope and winds its way across the deck of a ship where a bearded captain steers and a barefoot boy sits on a rough bench bes

65、ide him. The boy is reading a book that is identical to the one in Granias hands-it has the same cover. The sea and sky and sails in the background are soft blues and creams and browns. Grania knows the rope letters because, after the scarlet fever, she relearned the alphabet with Mamo. The yellow letters curve and twist in a six-letter shape.格兰丽亚看了看，当她在下楼梯的路上，手指已探触到了行李，她知道那是一本书，经嬷嬷点头允许后，她解开扣节，卷起蓝布，首先看到的是封面是一个单词-是个配图的单词。这个词是由黄绳构成，弯弯曲曲绕过轮船的甲板，那儿一个大胡子船长掌舵，旁边坐着一个赤脚的小男孩。小男孩正读一本书，那本书和格兰丽亚手中的书一模一样，它们的封面相同。格兰丽亚知道由绳组成的单词，这黄色的字符是由曲折缠绕的