宫东风老师英汉对照A计划.doc

附件1：宫东风老师英汉对照计划（9月1日9月30日） 以下内容摘自：2012年考研英语阅读理解模板100篇高等教育出版社宫东风英语教学团队编写宫东风老师英汉对照计划第（1）篇Influenced by the view of some twentieth-century feminists that womens position within the family is one of the central factors determining womens social position, some historians have underestimated the significance of the woman suffrage movement. These historians contend that nineteenth-century suffrageism was less radical and, hence, less important than, for example, the moral reform movement or domestic feminism two nineteenth-century movements in which women struggled for more power and autonomy within the family. True, by emphasizing these struggles, such historians have broadened the conventional view of nineteenth-century feminism, but they do a historical disservice to suffragism. Nineteenth-century feminists and antifeminists alike perceived the suffragists demand for enfranchisement as the most radical element in womens protest, in part because suffragists were demanding power that was not based on the institution of the family, womens traditional sphere. When evaluating nineteenth-century feminism as a social force, contemporary historians should consider the perceptions of actual participants in the historical events.一些20世纪的女权主义者认为妇女在家庭中的地位是决定妇女社会地位的主要因素之一。受到这种观点的影响，一些历史学家低估了妇女争取选举权运动的意义。他们声称，比起19世纪两个在家庭中争取更大权力和自主权的妇女运动道德改革运动或家庭女权运动来，19世纪的争取妇女选举权运动不太激进，因此也不太重要。的确，这些历史学家通过强调这些斗争扩大了关于19世纪女权运动的传统视野，但是对于妇女争取选举运动来说，却是帮了倒忙。19世纪的女权主义者和反女权主义者同样把参加争取妇女选举运动的人的要求看作是妇女抗议中最激进的因素，部分原因是争取妇女选举权者所要求的权力并不是建立在妇女传统活动范围家庭制度的基础上的。当代历史学家评价作为一种社会力量的19世纪女权运动时，应该考虑该历史事件中实际参与者的看法。宫东风老师英汉对照计划第（2）篇Great comic art is never otherworldly, it does not seek to mystify us, and it does not deny ambiguity by branding as evil whatever differsfrom good. Great comic artists assume that truth may bear all lights, and thus they seek to accentuate contradictions in social action, not gloss over or transcend them by appeals to extra-social symbols of divine ends, cosmic purpose, or laws of nature. The moment of transcendence in great comic art is a social moment, born out of the conviction that we are human, even though we try to be gods. The comic community to which artists address themselves is a community of reasoning, loving, joyful, compassionate beings, who are willing to assume the human risks of acting rationally. Without invoking gods or demons, great comic art arouses courage in reason, courage which grows out of trust in what human beings can do as humans. 伟大的喜剧艺术从来不是超世俗的。它不寻求迷惑我们。它不通过把凡是跟善不同的东西打上恶的标记，来否认模棱两可的存在。伟大的喜剧艺术家认为真理可以包容全部事实，因此他们追求强调社会行动中的矛盾，而不是通过求助于神的目的、宇宙的意志或自然法则这些超社会的信条来掩盖或超越这些矛盾。在伟大的喜剧艺术中，超越的时刻是一种社会时刻；这种时刻产生于这种信念：我们是人，即使我们想成为神。艺术家所致力于的喜剧社会是一个由有理性、有爱心、充满欢乐和同情心的人所构成的社会。这种人乐于承担人类理性行为的风险。伟大的喜剧艺术不乞灵于神仙或精灵就能唤起理性的勇气，这种勇气产生于相信人是能够像人那样行动的。宫东风老师英汉对照计划第（3）篇The common belief of some linguists that each language is a perfect vehicle for the thoughts of the nation speaking it is in some ways the exact counterpart of the conviction of the Manchester school of economics that supply and demand will regulate everything for the best. Just as economists were blind to the numerous cases in which the law of supply and demand left actual wants unsatisfied, so also many linguists are deaf to those instances in which the very nature of a language calls forth misunderstandings in everyday conversation, and in which, consequently, a word has to be modified or defined in order to present the idea intended by the speaker. “He took his stick no, not Johns, but his own.” No language is perfect, and if we admit this truth, we must also admit that it is not unreasonable to investigate the relative merits of different languages or of different details in languages.一些语言学家的共同信念是每一种语言都是传达讲该语言民族的思想的完美工具。这种信念在某种程度上同曼彻斯特经济学学派的信念是极其相似的。该学派的信息是：供应与需求会把一切调节到最佳状态。正如经济学家对于供求法则使实际需求得不到满足的许多事例视而不见一样，许多语言学家对于在日常谈话中由于语言的性质而引起的误解，以及由此为了传达说话人的本意而不得不对言词进行修饰或限定的种种实例，置若罔闻。“他拿走了他的手杖不，不是约翰的手杖，而是他自己的手杖”。没有一种语言是完美的；如果承认这个真理，那么也必须承认：调查研究不同语言之间或者各种语言的不同细节之间的相对优点是完全有道理的。宫东风老师英汉对照计划第（4）篇Even as the number of females processed through juvenile courts climbs steadily, an implicit consensus remains among scholars in criminal justice that male adolescents define the delinquency problem in the United States. We suggest two reasons why this view persists. First, female adolescents are accused primarily of victimless crimes, such as truancy, that do not involve clear-cut damage to persons or property. If committed by adults, these actions are not even considered prosecutable; if committed by juvenile males, they have traditionally been looked on leniently by the courts. Thus, ironically, the plight of female delinquents receives little scrutiny because they are accused of committing relatively minor offenses. Second, the courts have long justified so-called preventive intervention into the lives of young females viewed as antisocial with the rationale that women are especially vulnerable. Traditional stereotypes of women as the weaker and more dependent sex have led to earlier intervention and longer periods of misdirected supervision for female delinquents than for males.即使在青少年法庭被起诉的女性人数持续上升，在刑事司法界的学者中仍然存在一种不言自明的一致意见：男性青少年是美国青少年犯罪问题的主体。我们提出两个理由来说明这种观点的存在。首先，女性青少年被控告的犯罪主要是无受害者的，诸如逃避责任之类，这种犯罪并不对人员或财产造成明显的损害。如果这些行为出自成人，甚至不被认为是可以起诉的；如果这些行为出自男性青少年，按照惯例，一直被法院宽大处理。这样，有讽刺意义的是，女性青少年犯的困境几乎没有受到仔细的研究因为她们被控犯有较小的过失。其次，法庭长期以来一直利用妇女特别容易受到伤害这一基本原理，对被认定是反社会的青年女性的生活进行所谓预防性的干预提供法律根据。把妇女看作弱者和更具依赖性的性别的传统固有模式导致对女性青少年犯比对男性青少年犯更早的干预以及更长的错误指导的监督。宫东风老师英汉对照计划第（5）篇Notable as important nineteenth-century novels by women, Mary Shelleys Frankenstein and Emily Brontes Wuthering Heights treat women very differently. Shelley produced a “masculine” text in which the fates of subordinate female characters seem entirely dependent on the actions of male heroes or anti-heroes. Bronte produced a more realistic narrative portraying a world where men battle for the favors of apparently high-spirited, independent women. Nevertheless, these two novels are alike in several crucial ways. Many readers are convinced that the compelling mysteries of each plot conceal elaborate structures of allusion and fierce, though shadowy, moral ambitions that seem to indicate metaphysical intentions, though efforts by critics to articulate these intentions have generated much controversy. Both novelists use a storytelling method that emphasizes ironic disjunctions between different perspectives on the same events as well as ironic tensions that inhere in the relationship between surface drama and concealed authorial intention, a method I call an evidentiary narrative technique.玛丽雪莱的科学怪人和埃米莉布朗蒂的呼啸山庄，都是19世纪女性作家所写的重要小说，但是这两本小说对妇女的描写却是很不相同。雪莱展现一个“男性的”版本。在这个版本中，从属的女性角色的命运似乎完全依赖于男性主角或男性反主角的行动。而布朗蒂则展现一个更加写实的世界。在这个世界中男士们为争取高傲独立女性的欢心而战。虽然如此，这两部小说在一些关键的方面是相像的。许多读者确信，每个情节中具有强烈吸引力的神秘性掩饰着复杂的影射结构和朦胧但强劲的道德雄心。这些道德雄心似乎表达形而上学的意图，虽然评论家阐明这些意图的努力产生了许多争议。两位小说家都使用讲故事的方法，这种方法既强调表面的戏剧性场面和隐含的作者意图之间的关系中所固有的那种具有讽刺意义的张力，又强调对相同事件不同观点之间的令人啼笑皆非的分歧。这种方法，我称之为提供证据的叙事技巧。宫东风老师英汉对照计划第（6）篇A serious critic has to comprehend the particular content, unique structure, and special meaning of a work of art. And here she faces a dilemma. The critic must recognize the artistic element of uniqueness that requires subjective reaction, yet she must not be unduly prejudiced by such reactions. Her likes and dislikes are less important than what the work itself communicates and her preferences may blind her to certain qualities of the work and thereby prevent an adequate understanding of it. Hence, it is necessary that a critic develop a sensibility informed by familiarity with the history of art and aesthetic theory. On the other hand, it is insufficient to treat the artwork solely historically, in relation to a fixed set of ideas or values. The critics knowledge and training are, rather, a preparation of the cognitive and emotional abilities needed for an adequate personal response to an artworks own particular qualities.严肃的评论家必须领会艺术作品的特定的内容、独特的结构以及特殊的含义。在这里，她面临着一个两难的境地。评论家必须认识要求主观反应的独特的艺术因素，但是她同时又必须不因这些主观反应而过分地抱有偏见。评论家的好恶比起作品本身所传达的内容来要次要些，并且评论家的偏爱可能使她对作品的某些特色视而不见，因而不能对作品的内容取得充分的理解。因此，评论家必须培养一种由于熟悉艺术史和美学理论而形成的艺术鉴赏力。而在另一方面，单纯从历史的角度就一套固定的思想或价值观来探讨艺术作品是不够的。更确切地说，评论家的学识和修养是对艺术作品固有特点作出充分个人反应所需的认知能力和情感能力的准备。宫东风老师英汉对照计划第（7）篇The sweep of narrative in A. N. Wilsons biography of C. S. Lewis is impressive and there is much that is acute and well argued. But much in this work is careless and unworthy of its author. Wilson, a novelist and an accomplished biographer, has failed to do what any writer on such a subject as Lewis ought to do, namely work out a coherent view of how the various literary works by the subject are to be described and commented on. Decisions have to be made on what to look at in detail and what to pass by with just a mention. Wilson has not thought this problem out. For instance, Till We Have Faces, Lewis treatment of the Eros and Psyche story and one of his best-executed and most moving works, is merely mentioned by Wilson, though it illuminates Lewis spiritual development, whereas Lewis minor work Pilgrims Regress is looked at in considerable detail.在AN威尔逊所著的CS刘易斯传记中，行文的气势磅礴给人留下深刻的印象。并且有多处表现思路敏锐，论证清晰。但是这部作品大量的内容却是粗枝大叶，这跟该书作者是很不相称的。作为一名小说家和有成就的传记作家，威尔逊未能做到任何一个论述如刘易斯这样主题的人应该做到的事情，即制定一个如何描述和评论同刘易斯这个主题有关的各种文学作品的前后一致的观点。必需决定什么样的作品要进行详细论述，什么样的作品只要略略提到就行。威尔逊一直没搞清楚这个问题。例如：刘易斯描写爱神厄洛斯同人类灵魂化身普赛克相恋的故事的我们终于有了尊严，这是他写得最好最动人的作品之一，然而威尔逊在传记中却只是提了一提，尽管这部小说阐明了刘易斯创作思想的发展。而对刘易斯次要作品朝圣者的后退，威尔逊却在传记中进行了很详细的论述。宫东风老师英汉对照计划第（8）篇National character is not formally considered by social scientists in discussing economic and social development today. They believe that people differ and that these differences should be taken into account somehow, but they have as yet discovered no way to include such variables in their formal models of economic and social development. The difficulty lies in the nature of the data that supposedly define different national characters. Anthropologists and others are on much firmer ground when they attempt to describe the cultural norms for a small homogeneous tribe or village than when they undertake the formidable task of discovering the norms that exist in a complex modern nation-state composed of many disparate groups. The situation is further complicated by the nature of judgments about character, since such judgments are overly dependent on impressions and since, furthermore, impressions are usually stated in qualitative terms, it is impossible to make a reliable comparison between the national characters of two countries.民族性并没有被当前讨论经济发展和社会发展的社会科学家所正式加以考虑。他们以为，民族各不相同，这些差别当然要以某种方式加以考虑，但是他们至今还没有发现能够把这些变量纳入其经济发展和社会发展的正式模式之中的方法。困难在于确定不同民族性的数据。人类学家和其它学者试图描述同族的小部落和小村落的文化规范，比起人类学家和其它学者承担艰巨的任务：去发现存在于由许多不同群体构成的复杂现代民族国家中的文化规范。与之相比，当他们试图描述小的同族部落和村落的文化规范时，具有更充足的根据。鉴定民族性的性质使得情况更为复杂，因为这种鉴定过分依赖于印象，尤其是因为印象通常由定性词语来表达，所以进行两个国家的民族性之间的可靠比较是不可能的。宫东风老师英汉对照计划第（9）篇Tillie Olsens fiction and essays have been widely and rightly acknowledged as major contributions to American literature. Her work has been particularly valued by contemporary feminists. Yet few of Olsens readers realize the extent to which her vision and choice of subject are rooted in an earlier literary heritage the tradition of radical political thought, mostly socialist and anarchist, of the 1910s and 1920s and the Old Left tradition of the 1930s. I do not mean that one can adequately explain the eloquence of her work in terms of its political origins, or that left-wing politics were the single most important influence on it. My point is that its central consciousness its profound understanding of class and gender as shaping influences on peoples lives owes much to that earlier literary heritage, a heritage that, in general, has not been sufficiently valued by most contemporary literary critics.蒂莉奥尔森的小说和散文已经被广泛而正确地承认是对美国文学的重要贡献。她的作品尤其为现代女权主义者所推崇。但是奥尔森的读者很少懂得，她对主题的洞察和选择在很大程度上根植于一种早期的文学传统20世纪第一和第二个十年激进的政治思想传统，多半是社会主义和无政府主义，以及20世纪30年代老左派的传统。我的意思并不是说，根据其政治根源就能充分解释她的作品的雄辩，也不是说左派政治对她的作品起到独一无二的最重要的影响。我的论点是：她的作品的中心思想关于阶级和性别对于人们生活方式所产生影响的深刻认识大大归因于那种早期的文学传统，一种一般说来还没有被当代大多数文学评论家所充分重视的传统。宫东风老师英汉对照计划第（10）篇The belief that art originates in intuitive rather than rational faculties was worked out historically and philosophically in the somewhat wearisome volumes of Benedetto Croce, who is usually considered the originator of a new aesthetic. Croce was, in fact, expressing a very old idea. Long before the Romantics stressed intuition and self-expression, the frenzy of inspiration was regarded as fundamental to art, but philosophers had always assumed it must be controlled by law and by the intellectual power of putting things into harmonious order. This general philosophic concept of art was supported by technical necessities. It was necessary to master certain laws and to use intellect in order to build Gothic cathedrals, or set up the stained glass windows of Chartreuse. When this bracing element of craftsmanship ceased to dominate artists outlook, new technical elements had to be adopted to maintain the intellectual element in art. Such were linear perspective and anatomy.艺术来自直觉而不是来自理性的想法是贝尼迪托克罗齐在其连篇累犊的历史学和哲学著作中提出的。克罗齐通常被认为是新美学的创始人。事实上，克罗齐表达了一种非常古老的思想。早在浪漫主义艺术家强调直觉和自我表现以前，灵感的激发就被认为对艺术来说是根本性的东西，但是哲学家一直认为灵感必须由规则以及理顺事物的理智力来控制。这种艺术的一般哲学概念被技术需要所支持。为了建设哥特式大教堂或者建造卡尔特修道院的彩色玻璃窗掌握某些规则并且运用智力是必要的。当工匠的这种令人振奋的要素不再支配艺术家的观点时，新的技术要素不得不被采用以保持艺术中的理智因素。直线透视和解剖学就是这类技术要素。宫东风老师英汉对照计划第（11）篇Although the development of new infrastructure (such public facilities as power plants, schools and bridges) is usually determined by governmental planning, sometimes this development can be planned more flexibly and realistically by private investors who anticipate profit from the collection of user fees. Such profits can contribute to the financing of more infrastructure if demand proves great enough, whereas the reluctance of developers to invest in such projects can signal that additional infrastructure is not needed. During the economic boom of the 1980s for example, the state of Virginia authorized private developers to build a $300 million toll road. These developers obtained the needed right-of-way from property owners, but by 1993 they still had not raised the necessary financing. The unwillingness of investors to finance this project does not negate the viability of privately financed roads; rather, it illustrates a virtue of private financing. If a road appears unlikely to attract enough future traffic to pay for the road, then it should not be built.虽然新的基础设施（诸如电厂、学校、桥梁这样的公共设施）的开发通常由政府规划决定，但是有时这种开发可以由私人投资者更为灵活、更为现实地进行规划。私人投资者提前预期收取用户交费所获得的利润。如果需求证明足够大，这种利润会有助于为开发更多的基础设施而筹集资金；而开发者不情愿在这些工程中的投资标志着不需要增加基础设施。例如，在20世纪80年代经济繁荣时期，弗吉尼亚州批准了私人开发者建设价值一条3亿美元的收费公路。虽然这些开发者从资产所有者那里获得了所需的公用事业用地，但是到1993年，他们还没有筹集到必需的资金。投资者不愿意为这项工程筹集资金不是否定私人筹集建设公路的可行性；相反，这说明私人筹集资金的优点。如果一条公路似乎不可能吸引足够的未来车辆来为这条公路支付费用，那么这条公路就不应该建设。宫东风老师英汉对照计划第（12）篇Although a historical lack of access to formal Spanish-language education initially limited the opportunities of some Chicanos to hone their skills as writers of Spanish, their bilingual culture clearly fostered an exuberant and compelling oral tradition. It has thus generally been by way of the emphasis on oral literary creativity that these Chicano writers, whose English language works are sometimes uninspired, developed the powerful and arresting language that characterized their Spanish-language works. This Spanish-English difference is not surprising. When writing in Spanish, these authors stayed close to the spoken traditions of their communities where publication, support, and instructive response would come quickly in local or regional newspapers. Works in English, however, often required the elimination of nuance or colloquialism, the adoption of a formal tone, and the adjustment of themes or ideas to satisfy the different demands of national publications.虽然在历史上由于缺乏接受正式的西班牙语教育的机会，一开始就限制了某些奇卡诺人提高自己的写作技巧成为西班牙作家的机会，但是他们的双语文化显然培养了一种生气勃勃、引人入胜的口语传统。这样，通常正是通过强调口语文学的创造性，这些奇卡诺作家形成了其西班牙语作品特色的强有力的且吸引人的语言；奇卡诺作家用英语写作的作品有时却是单调乏味的。这种西班牙语与英语的差别并不出人意外。这些作家用西班牙语写作时，接近其社区的口语传统。在社区，出版、支持以及有启发性的反响很快就在地方报纸或地区报纸上反映出来。然而，用英语写作的作品经常需要消除其语言中的微妙色彩或口语体，需要采用正式的口气，需要调整其主题或观点，以适应国家出版物的不同要求。宫东风老师英汉对照计划第（13）篇While it is true that living organisms are profoundly affected by their environment, it is equally important to remember that many organisms are also capable of altering their habitat significantly, sometimes limiting their own growth. The influence of the biological component of an ecosystem is often greater in fresh waters than in marine or terrestrial systems, because of the small size of many freshwater bodies. Many of the important effects of organisms are related to their physiology, especially growth and respiration. By their growth many species can deplete essential nutrients within the system, thus limiting their own growth or that of other species. Lund has demonstrated that in Lake Windermere the alga Asterionella is unable to grow in conditions that it itself has created. Once a year in the spring, this plant starts to grow rapidly in the lake using up so much silica from the water that by late spring there is no longer enough to maintain its own growth. The population decreases dramatically as a result.虽然活的生物深受其环境的影响是事实，但是许多生物也能大大改变其栖息地，有时甚至限制其自身的生长，这也是同样应该记住的事实。生态系统的生物组成部分对淡水水域的影响经常要比对海洋系统或陆地系统的影响大一些。这是因为许多淡水水域的规模比较小的缘故。许多重要的生物影响同其生理机能有关，尤其是同生长机能和呼吸机能有关。许多物种通过生长机能能够耗尽所在生态系统的基本营养物，因而限制自身的生长，或其他物种的生长。伦德已经证明：温得曼湖中的水藻在自身创造的环境中无法生长。一年一度的春天，这种植物开始在湖里迅速生长，耗尽湖水中许多二氧化硅，以致晚春再也没有足够的二氧化硅来维持其自身的继续生长。其结果是这种水藻种群明显地减少。宫东风老师英汉对照计划第（14）篇Echolocating bats emit sounds in patterns characteristic of each species that contain both frequency-modulated (FM) and constant-frequency (CF) signals. The broadband FM signals and the narrowband CF signals travel out to a target, reflect from it, and return to the hunting bat. In this process of transmission and reflection, the sounds are changed, and the changes in the echoes enable the bat to perceive features of the target.The FM signals re