21世纪大学英语教程(第四册)Unit1课文原文

21世纪大学英语教程(第四册)Unit1课文原文
21世纪大学英语教程(第四册)Unit1课文原文

21世纪大学英语读写教程(第四册)Unit1课文原文

《Who Is Great?》

Michal Ryan As a young boy, Albert Einstein did so poorly in school that teachers thought he was slow. The young Napoleon Bonaparte was just one of hundreds of artillery lieutenants in the French Army. And the teenage George Washington, with little formal education, was being trained not as a soldier but as a land surveyor.

Despite their unspectacular beginnings, each would go on to carve a place for himself in history. What was it that enabled them to become great? Were they born with something special? Or did their greatness have more to do with timing, devotion and, perhaps, an uncompromising personality?

For decades, scientists have been asking such questions. And, in the past few years, they have found evidence to help explain why some people rise above, while others—similarly talented, perhaps—are left behind. Their findings could have implications for us all.

Who is great? Defining who is great depends on how one measures success. But there are some criteria. "Someone who has made a lasting contribution to human civilization is great," said Dean Keith Simonton, a professor of psychology at the University of California at Davis and author of the 1994 book Greatness: Who Makes History and Why. But he added a word of caution: "Sometimes great people don't make it into the history books. A lot of women achieved great things or were influential but went unrecognized."

In writing his book, Simonton combined historical knowledge about great figures with recent findings in genetics, psychiatry and the social sciences. The great figures he focused on include men and women who have won Nobel Prizes, led great nations or won wars, composed symphonies that have endured for centuries, or revolutionized science, philosophy, politics or the arts. Though he doesn't have a formula to define how or why certain people rise above (too many factors are involved), he has come up with a few common characteristics.

A "never surrender" attitude. If great achievers share anything, said Simonton, it is an unrelenting drive to succeed. "There's a tendency to think that they are endowed with something super-normal," he explained. "But what comes out of the research is that there are great people who have no amazing intellectual processes. It's a difference in degree. Greatness is built upon tremendous amounts of study, practice and devotion."

He cited Winston Churchill, Britain's prime minister during World War II, as an example of a risk-taker who would never give up. Thrust into office when his country's morale was at its lowest, Churchill rose brilliantly to lead the British people. In a speech following the Allied evacuation at Dunkirk in 1940, he inspired the nation when he said, "We shall not flag or fail. We shall go on to the end...We shall never surrender."

Can you be born great? In looking at Churchill's role in history—as well as the roles of other political and military leaders—Simonton discovered a striking pattern: "Firstborns and only children tend to make good leaders in time of crisis: They're used to taking charge. But middle-borns are better as peacetime leaders: They listen to different interest groups better and make the necessary compromises. Churchill, an only child, was typical. He was great in a crisis, but in peacetime he was not effective—not even popular."

Timing is another factor. "If you took George Washington and put him in the 20th century he would go nowhere as a politician," Simonton declared. "He was not an effective public speaker, and he didn't like shaking hands with the public. On the other hand, I'm not sure Franklin Roosevelt would have done well in Washington's time. He wouldn't have had the radio to do his fireside chats."

Can you be too smart? One surprise among Simonton's findings is that many political and military leaders have been bright but not overly so. Beyond a certain point, he explained, other factors, like the ability to communicate effectively, become more important than innate intelligence as measured by an IQ test. The most intelligent U.S. Presidents, for example—Thomas Jefferson, Woodrow Wilson and John F. Kennedy—had a hard time getting elected, Simonton said, while others with IQs closer to the average (such as Warren G. Harding) won by landslides. While political and economic factors also are involved, having a genius IQ is not necessary to be a great leader.

In the sciences, those with "genius level" IQs do have a better chance at achieving recognition, added Simonton. Yet evidence also indicates that overcoming traditional ways of thinking may be just as important.

He pointed to one recent study where college students were given a set of data and were asked to see if they could come up with a mathematical relation. Almost a third did. What they did not know was that they had just solved one of the most famous scientific equations in history: the Third Law of Planetary Motion, an equation that Johannes Kepler came up with in 1618.

Kepler's genius, Simonton said, was not so much in solving a mathematical challenge. It was in thinking about the numbers in a unique way—applying his mathematical knowledge to his observations of planetary motion. It was his boldness that set him apart.

Love your work. As a child, Einstein became fascinated with the way magnets are drawn to metal. "He couldn't stop thinking about this stuff," Simonton pointed out. "He became obsessed with problems in physics by the time he was 16, and he never stopped working on them. It's not surprising that he made major contributions by the time he was 26."

"For most of us, it's not that we don't have the ability," Simonton added, "it's that we don't devote the time. You have to put in the effort and put up with all the frustrations and obstacles."

Like other creative geniuses, Einstein was not motivated by a desire for fame, said Simonton. Instead, his obsession with his work was what set him apart.

Where such drive comes from remains a mystery. But it is found in nearly all

creative geniuses—whether or not their genius is acknowledged by contemporaries.

"Emily Dickinson was not recognized for her poetry until after her death," said Simonton. "But she was not writing for fame. The same can be said of James Joyce, who didn't spend a lot of time worrying about how many people would read Finnegans Wake."

Today, researchers have evidence that an intrinsic passion for one's work is a key to rising above. In a 1985 study at Brandeis University conducted by Teresa Amabile, now a professor of business administration at Harvard University, a group of professional writers—none famous—were asked to write a short poem. Each writer was then randomly placed in one of three groups: One group was asked to keep in mind the idea of writing for money; another was told to think about writing just for pleasure; and a third group was given no instruction at all.

The poems then were submitted anonymously to a panel of professional writers for evaluation. The poetry written by people who thought about writing for money ranked lowest. Those who thought about writing just for pleasure did the best. "Motivation that comes from enjoying the work makes a significant difference, "Amabile said.

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Unit8新视野大学英语4第二版课文及翻译 I remember the very day that I became black. Up to my thirteenth year I lived in the little Negro town of Eatonville, Florida. It is exclusively a black town. The only white people I knew passed through the town going to or coming from Orlando, Florida. The native whites rode dusty horses, and the northern tourists traveled down the sandy village road in automobiles. The town knew the Southerners and never stopped chewing sugar cane when they passed. But the Northerners were something else again. They were peered at cautiously from behind curtains by the timid. The bold would come outside to watch them go past and got just as much pleasure out of the tourists as the tourists got out of the village. The front deck might seem a frightening place for the rest of the town, but it was a front row seat for me. My favorite place was on top of the <1>gatepost. Not only did I enjoy the show, but I didn't mind the actors knowing that I liked it.

大学英语4课文原文

Para1 An artist who seeks fame is like a dogchasing his own tail who, when he captures it, does not know what else to do but to continue chasing it.The cruelty of success is that it often leads those who seek such success to participate in their own destruction. 艺术家追求成名,如同狗自逐其尾,一旦追到手,除了继续追逐不知还能做些什么。成功之残酷正在于它常常让那些追逐成功者自寻毁灭。 "Don't quit your day job!" is advice frequently given by understandably pessimistic family members and friends to a budding artist who is trying hard to succeed. The conquest of fame is difficult at best, and many end up emotionally if not financially bankrupt. Still, impure motives such as the desire for worshipping fans and praise from peers may spur the artist on. The lure of drowning in fame's imperial glory is not easily resisted. 对一名正努力追求成功并刚刚崭露头角的艺术家,其亲朋常常会建议“正经的饭碗不能丢!”他们的担心不无道理。追求出人头地,最乐观地说也困难重重,许多人到最后即使不是穷困潦倒,也是几近精神崩溃。 Fame's spotlight can be hotter than a tropical jungle-a fraud is quickly exposed, and the pressure of so much attention is too much for most to endure.It takes you out of yourself: You must be what the public thinks you are, not what you really are or could be. The performer, like the politician, must often please his or her audiences by saying things he or she does not mean or fully believe. Curiously enough, it is those who fail that reap the greatest reward: freedom! They enjoy the freedom to express themselves in unique and original ways without fear of losing the support of fans. Failed artists may find comfort in knowing that many great artists never found fame until well after they had passed away or in knowing that they did not sell out. They may justify their failure by convincing themselves their genius is too sophisticated for contemporary audiences. Unit2 He was an immensely talented man, determined to a degree unusual even in the ranks of Hollywood stars. His huge fame gave him the freedom—and, more importantly, the money—to be his own master. He already had the urge to explore and extend a talent he discovered in himself as he went along. "It can't be me. Is that possible? How extraordinary," is how he greeted the first sight of himself as the Tramp on the screen. But that shock rousedhis imagination.Chaplin didn't have his jokes written into a script in advance; he was the kind of comic who used his physical senses to invent his art as he went along. Lifeless objects especially helped Chaplin make "contact" with himself as an artist. He turned them into other kinds of objects. Thus, a broken alarm clock in the movie The Pawnbroker became a "sick" patient undergoing surgery; boots were boiled in his film The Gold Rush and their soles eaten with salt and pepper like prime cuts of fish (the nails being removed like fish bones). This physical transformation, plus the skill with which he executed it again and again, is surely the secret of Chaplin's great comedy. He also had a deep need to be loved—and a corresponding fear of being betrayed. The two were hard to combine and sometimes—as in his early marriages—the collision between them resulted in disaster. Yet even this painfully-bought self-knowledge found its way into his comic creations. The Tramp never loses his faith in the flower girl who'll be waiting to walk into the sunset with him; while the other side of Chaplin makes Monsieur Verdoux, the French wife killer, into a symbol of hatred for women.

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