新标准大学英语第四册第二单元第一篇课文

新视野大学英语第三版第二册课文语法讲解

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新视野三版读写 B2 U4 Text A College sweethearts 1 I smile at my two lovely daughters and they seem so much more mature than we, their parents, when we were col ege sweethearts. Linda, who's 21, had a boyfriend in her freshman year she thought she would marry, but they're not together anymore. Melissa, who's 19, hasn't had a steady boyfriend yet. My daughters wonder when they wil meet "The One", their great love. They think their father and I had a classic fairy-tale romance heading for marriage from the outset. Perhaps, they're right but it didn't seem so at the time. In a way, love just happens when you least expect it. Who would have thought that Butch and I would end up getting married to each other He became my boyfriend because of my shal ow agenda: I wanted a cute boyfriend! 2 We met through my col ege roommate at the university cafeteria. That fateful night, I was merely curious, but for him I think it was love at first sight. "You have beautiful eyes", he said as he gazed at my face. He kept staring at me al night long. I real y wasn't that interested for two reasons. First, he looked like he was a real y wild boy, maybe even dangerous. Second, although he was very cute, he seemed a little weird. 3 Riding on his bicycle, he'd ride past my dorm as if "by accident" and pretend to be surprised to see me. I liked the attention but was cautious about his wild, dynamic personality. He had a charming way with words which would charm any girl. Fear came over me when I started to fal in

新标准大学英语3unit2CulturalChildhoods原文译文

Cultural Childhoods不同文化的童年 1 When I look back on my own childhood in the 1970s and 1980s and compare it with children today, it reminds me of that famous sentence "The past is a foreign country: They do things differently there" (from L. P. Hartley's novel The Go-Between). Even in a relatively short period of time, I can see the enormous transformations that have taken place in children's lives and in the ways they are thought about and treated. 每当我回顾20世纪七八十年代我的童年时光，并将它与现在孩子的童年相比较时，就会想起句名言：“往昔是异国他乡，那里有着不同的习俗”（可参见L.P.哈特利的小说《传信人》）。甚至在相对短暂的一段时间内，我也能够察觉到儿童的生活以及人们对待儿童的方式上所经历的巨大变化。 2.Looking further back I can see vast differences between contemporary and historical childhoods. Today, children have few responsibilities, their lives are characterized by play not work, school not paid labour, family rather than public life and consumption instead of production. Yet this is all relatively recent. A hundred years ago, a 12 year old working in a factory would have been perfectly acceptable. Now, it would cause social services' intervention and the prosecution of both parents and factory owner. 回顾更久远的岁月，我可以看到现在和古代童年生活的巨大差别。如今的儿童责任很少，他们生活的主要内容是玩耍而非工作，上学而非劳动，在家里呆着而不是和外界交往，消费而非生产。这种变化也是最近才显现出来的。一百年前，12 岁的孩子在工厂打工是完全可以接受的事情，而现在，这会招来社会服务机构的介入，其父母和工厂主会被起诉。 3. The differences between the expectations placed on children today and those placed on them in the past are neatly summed up by two American writers, Barbara Ehrenreich and Deirdre English. Comparing childhoods in America today with those of the American colonial period (1600–1776), they have written: "Today, a four year old who can tie his or her shoes is impressive. In colonial times, four-year-old girls knitted stockings and mittens and could produce intricate embroidery: At age six they spun wool. A good, industrious little girl was called 'Mrs‘instead of 'Miss' in appreciation of her contribution to the family economy: She was not, strictly speaking, a child." 有两位美国作家，芭芭拉·埃伦里奇和迪尔德丽·英格利希，她们简要地概括了过去和现在人们对儿童的期待的差异。在比较美国现在的儿童和殖民地时期（1600–1776）的儿童时，她们写道：“今天，如果一个四岁的孩子能自己系鞋带就很了不起了。而在殖民地时期，四岁的女孩会织长筒袜和连指手套，能做复杂的刺绣，六岁就能纺毛线了。一个善良勤快的女孩被称为‘夫人’而不是‘小姐’，这是为了表彰她对家庭经济的贡献，严格说来她不是一个孩子了。” 4 These changing ideas about children have led many social scientists to claim that childhood is a "social construction". They use this term to mean that understandings of childhood are not the same everywhere and that while all societies acknowledge that children are different from adults, how they are different and what expectations are placed on them, change according to the society in which they live. 对儿童的看法不断变化着，这使得许多社会科学家宣称童年是一种“社会建构”。他们用这个术语来说明不同的地区对童年的理解是不一样的，虽然所有社会都承认儿童与成年人有区别，至于他们之间有何不同，人们对儿童又有何期待，不同的社会给出了不一样的答案。

新视野大学英语第二册课文原文

Unit 1 Time-Conscious Americans Americans believe no one stands still. If you are not moving ahead, you are falling behind. This attitude results in a nation of people committed to researching, experimenting and exploring. Time is one of the two elements that Americans save carefully, the other being labor. 美国人认为没有人能停止不前。如果你不求进取，你就会落伍。这种态度造就了一个投身于研究、实验和探索的民族。时间是美国人注意节约的两个要素之一，另一要素是劳力。 "We are slaves to nothing but the clock," it has been said. Time is treated as if it were something almost real. We budget it, save it, waste it, steal it, kill it, cut it, account for it; we also charge for it. It is a precious resource. Many people have a rather acute sense of the shortness of each lifetime. Once the sands have run out of a person's hourglass, they cannot be replaced. We want every minute to count. 人们一直说：“只有时间才能支配我们。”人们似乎把时间当作一个差不多是实实在在的东西来对待。我们安排时间、节约时间、浪费时间、挤抢时间、消磨时间、缩减时间、对时间的利用作出解释；我们还要因付出时间而收取费用。时间是一种宝贵的资源，许多人都深感人生的短暂。时光一去不复返。我们应当让每一分钟都过得有意义。

新标准大学英语综合教程3课文summary

↓↓↓ 大英3课文Summary UNIT 1 1.1 catching crabs In the fall of our final year,our mood changed.The relaxed atmosphere had disappeared, and peer group pressure to work hard was strong. Meanwhile,at the back of everyone’s mind was what we would do next after graduation. As for me,I wanted to travel,and I wanted to be a writer.I braced myself for some resistance to the idea from my father,who wanted me to go to law school,and follow his path through life. However,he supported what I wanted but he made me think about it by watching the crabs.The cage was full of crabs. One of them was trying to escape,but each time it reached the top the other crabs pulled it back.In the end it gave up lengthy struggle to escape and started to prevent other crabs from escaping.By watching crabs,my father told me not to be pulled back by others,and to get to know himself better. 1.2We are all dying Life is short.We never quite know when we become coffin dwellers or trampled ash in the rose garden of some local ceremony.So there’s no p oint in putting our dreams on the back burner until the right time arrives.Now is the time to do what we want to do. Make the best of our short stay and fill our life with the riches on offer so that when the reaper arrives,we’ve achieved much instead of regrets. UNIT 2 2.1superman The extract from Johnny Panic and the Bible of Dreams by Sylvia Plath is a combination of her real life and imaginary life in her childhood.In the real life,Plath was a winner of the prize for drawing the best Civil Defense signs,lived by an airport and had an Uncle who bore resemblance to Superman.In her imagination,the airport was her Mecca and Jerusalem because of her flying dreams.Superman fulfilled her dream at the moment. David Stirling,a bookish boy,also worship Superman.During the recess at school,he and the author played Superman https://www.360docs.net/doc/c116299479.html,pared with their school-mates who played the routine games,they felt they were outlaws but had a sense of windy superiority.They also found a stand-in,Sheldon Fein, who later invented tortures. 2.2cultual childhoods Historically,childhood has undergone enormous transformations in terms of children’s responsibilities and parental expectations.Culturally,childhood is socially constructed.The interplay of history and cultural leads to different understanding of childhood,consequently it is advisable not to impose ideas from one culture to understand childhood in another culture. UNIT 3 3.1how we listen For the sake of clarify,we split up the process of listening to music into three hypothetical planes.Firstly,the sensuous plane.It is a kind of brainless but attractive state of mind engendered

新标准大学英语综合教程3课文原文

We all listen to music according to our separate , for the sake of analysis, the whole listening process may become clearer if we break it up into its component parts, so to certain sense we all listen to music on three separate lack of a better terminology, one might name these: 1) the sensuous plane, 2) the expressive plane, 3) the sheerly musical only advantage to be gained from mechanically splitting up the listening process into these hypothetical planes is the clearer view to be had of the way in which we listen. The simplest way of listening to music is to listen for the sheer pleasure of the musical sound is the sensuous is the plane on which we hear music without thinking, without considering it in any turns on the radio while doing something else andabsent-mindedly bathes in the kind of brainless but attractive state of mind is engendered by the mere sound appeal of the music. The surprising thing is that many people who consider themselves qualified music lovers abuse that plane in go to concerts in order to lose use music as a consolation or an enter an ideal world where one doesn’t have to think of the realities of everyday course they aren’t thinking about the music allows them to leave it, and they go off to a place to dream, dreaming because of and apropos of the music yet never quite listening to it. Yes, the sound appeal of music is a potent and primitive force, but you must not allow it to usurp a disproportionate share of your sensuous plane is an important one in music, a very important one, but it does not constitute the whole story. The second plane on which music exists is what I have called the expressive , immediately, we tread on controversial have a way of shying away from any discussion of music’s expressive not Stravinsky himself proclaim that his music was an “object”, a “thing”, with a life of its own, and with no other meaning than its own purely musical existenceThis intransigent attitude of Stravinsky’s may be due to the fact that so many people have tried to read different meanings into so many knows it is difficult enough to say precisely what it is that a piece of music means, to say it definitely to say it finally so that everyone is satisfied with your that should not lead one to the other extreme of denying to music the right to be “expressive”. Listen, if you can,to the 48 fugue themes of Bach’s Well-tempered to each theme, one after will soon realize that each theme mirrors a different world of will also soon realize that the more beautiful a theme seems to you the harder it is to find any word that will describe it to your complete , you will certainly know whether it is a gay theme or a sad will be able, on other words, in your own mind, to draw a frame of emotional feeling around your study the sad one a little closer. Try to pin down the exact quality of its it pessimistically sad or resignedly sad; is it fatefully sad or smilingly sadLet us suppose that you are fortunate and can describe to your own satisfaction in so many words the exact meaning of your chosen is still no guarantee that anyone else will be need they important thing is that each one feels for himself the specific expressive quality of a theme or, similarly, an entire piece of if it is a great work of art, don’t expect it to mean exactly the same thing to you each time you return to it. The third plane on which music exists is the sheerly musical the pleasurable sound of music and the expressive feeling that it gives off, music does exist in terms of the notes themselves and of their listeners are not sufficiently conscious of this third plane. It is very important for all of us to become more alive to music on its sheerly musical all, an actual musical material is being intelligent listener must be prepared to increase his awareness of the musical material and what happens to must hear the melodies, the rhythms, the harmonies, the tone colors in a more conscious above all he must, in order to follow the line of the composer’s thought, know something of the principles of musical to all of these elements is listening to the sheerly musical plane. Let me repeat that I have split up mechanically the three separate planes on which we listen merely for the sake of greater clarity. Actually, we never listen on one or the other of these we do is to correlate them—listening in all three ways at the same takes no mental effort, for we do it instinctively Perhaps an analogy with what happens to us when we visit the theater will make this instinctive correlation the theater, you are aware of the actors and actresses, costumes and sets, sounds and these give one the sense that the theater is a pleasant place to be constitute the sensuous plane in our theatrical reactions. The expressive plane in the theater would be derived from the feeling that you get from what is happening on the are moved to pity, excitement, or is this general feeling, generated aside from the particular words being spoken, a certain emotional something which exists on the stage,that isanalogous to the expressive quality in music. The plot and plot development is equivalent to our sheerly musical playwright creates and develops a character in just the same way that a composer creates and develops a to the degree of your awareness of the way in which the artist in either field handles his material will you become a more intelligent is easy enough to see that the theatergoer never is conscious of any of these elements is aware of them all at the same same is true of music simultaneously and without thinking listen on all three planes. It is not surprising that modern children tend to look blank and dispirited when info rmed that they will someday have to “go to work and make a living”. The problem is that they cannot visualize what work is in corporate Americ a. Not so long ago, when a parent said he was off to work, the child knew very well what was about to happen. His parent was going to make something or fix something. T

新标准大学英语4课文summary

Unit1 reading2 if you ask me This is an informal and personalized account of an economic graduate who gets a job in a pub for a year and then has an opportunity to be successful (a lucky break). Since her family can’t support her to further study, she has to work. She has financial problems and feels lonely. She tells her troubles to Tony, a regular customer of the pub, who talks to some friends and gets her a loan to set up a business. With this help she has her master’s degree and her own company. however, unluckliy,Tony is disabled after an accident and needs the repayment of the loan to adapt his house for his disability. She pay back Tony’s help, and Tony thinks that investing in people gives the best return you can ever hope for. Unit2 reading1 Reading is a life-changing activity. It helps us enter a new world and liberate us from the real world we come from; it stimulates our emotions and allows us enjoy and celebrate the variety and difference from books; it aids us to get out of confusion in a material world and to discover the real meaning of the life. Simply put, books are supremely influential in the way we live. Homerun book might be the answer for the book that everyone should read. It describes the first reading experience that

新视野大学英语第二册Unit 2课文翻译

新视野大学英语第二册Unit 2课文翻译尼克莱·彼得罗维奇·安尼金一点都不像我想象的那么吓人。不，他不可能是我父亲特地送我来见的那位前苏联教练。可他的确是尼克莱·彼得罗维奇·安尼金本人。他请我进门，在沙发上坐下，又拍了拍身边的垫子，让我坐在他旁边。在他面前，我真的很紧张。 “你还年轻，”他的英语带着俄语口音： “如果你愿意试着向奥林匹克运动会进军，我想你能行。长野奥运会来不及参加了，但你可以准备参加2002年盐湖城奥运会。” “完全可以，不是吗？”看到我脸上惊愕的表情，他又说道。我那时是一个很有前途的业余滑雪运动员，但在国内决不是顶尖选手。 “当然，你需要进行很多艰苦的训练，你会哭鼻子，但你一定会进步的。” 的确，后来我经历了无数痛苦的训练，还为此流了不少眼泪。但在后来的五年里，我总能从尼克莱讲的有趣故事和他的幽默感中得到鼓励。他开始总是说：“我的朋友们常去看电影，去跳舞，去和女孩子约会，”然后他会压低嗓门接着说：“我就在运动场上训练、训练、再训练。第二年，我的15公里滑雪比赛成绩缩短了1.5分钟。” “朋友们问我：‘尼克莱，你怎么做到的呢？’我回答：‘你们去看电影、跳舞、和女孩子约会，而我一直在训练、训练、再训练。’” 故事通常到这儿就结束了。但有一次──后来我们知道那天是他结婚25周年纪念日──他穿着一件旧的毛衣，很自豪地站着，微笑着轻声说道：“告诉你们，我可是在26岁那年才第一次亲吻女孩子。她后来就和我结了婚。”

不管他是不是懂得浪漫，尼克莱知道什么是爱。他以一贯的幽默、默默的感恩、敏锐的感觉和真诚的态度为爱设立了奥林匹克般的标准。即使在我结束了滑雪生涯之后，我仍一直努力去达到那个标准。但他又从不娇惯我。二月里的一天，我头很疼，感到十分疲倦。我在一片空地上遇见了他，在寒风中的雪地里滑了大概十五分钟后，我赶上了他，有点小题大做地说：“嘿，尼克莱，我感觉我要死了。” “如果活到一百岁，人人都会死的，”他对我的痛苦无动于衷，态度坚决地接着说：“但你现在必须滑、滑、再滑。” 在滑雪板上，我照他说的去做。但在其他事情上我会反抗他。在一次经费并不宽裕的滑雪露营活动中，他让我们十个人挤在一个单身汉住的芬兰式屋子里。第一天我们醒来时发现尼克莱正在做早餐。然后我们坐在临时拼凑起来的椅子上，围着张小小的牌桌，用勺子很快地吃完早饭。吃完后，尼克莱把摞起来的油腻腻的碗向我和我唯一的另一个女队友前一推，武断地说：“女孩子们，现在去洗碗吧！” 我把餐巾往地上一扔，向他骂道：“让该死的男孩子们去洗吧！这不公平！”他没再让我去洗碗，也没对我的大发脾气显得太在意。他只在滑雪时才显露出强烈的情感。训练的时候，他会岁着我们迈步的节奏大声发出指令：“对，就这样，一二三，一二三。”我祖父的一个好朋友──一位上了年纪的女士──看了尼克莱带我训练的录像带后问道：“他也教舞蹈吗？”