22届韩素英翻译大赛原文, 中译英 英译中。
英译汉：
Hidden Within Technology?s Empire, a Republic of Letters
When I was a boy “discovering literature”, I used to think how wonderful it would be if every other person on the street were familiar with Proust and Joyce or T. E. Lawrence or Pasternak and Kafka. Later I learned how refractory to high culture the democratic masses were. Lincoln as a young frontiersman read Plutarch, Shakespeare and the Bible. But then he was Lincoln.
Later when I was traveling in the Midwest by car, bus and train, I regularly visited small-town libraries and found that readers in Keokuk, Iowa, or Benton Harbor, Mich., were checking out Proust and Joyce and even Svevo and Andrei Biely. D. H. Lawrence was also a favorite. And sometimes I remembered that God was willing to spare Sodom for the sake of 10 of the righteous. Not that Keokuk was anything like wicked Sodom, or that Proust?s Charlus would have been tempted to settle in Benton Harbor, Mich. I seem to have had a persistent democratic desire to find evidences of high culture in the most unlikely places.
For many decades now I have been a fiction writer, and from the first I was aware that mine was a questionable occupation. In the 1930?s an elderly neighbor in Chicago told me that he wrote fiction for the pulps. “The people on the block wonder why I don?t go to a job, and I?m seen puttering around, trimming the bushes or painting a fence instead of working in a factory. But I?m a writer. I sell to Argosy and Doc Savage,” he said with a certain gloom. “They wouldn?t call that a trade.” Probably he noticed that I was a bookish boy, likely to sympathize with him, and perhaps he was trying to warn me to avoid being unlike others. But it was too late for that.
From the first, too, I had been warned that the novel was at the point of death, that like the walled city or the crossbow, it was a thing of the past. And no one likes to be at odds with history. Oswald Spengler, one of the most widely read authors of the early 30?s, taught that our tired old civilization was very nearly finished. His advice to the young was to avoid literature and the arts and to embrace mechanization and become engineers.
In refusing to be obsolete, you challenged and defied the evolutionist historians. I had great respect for Spengler in my youth, but even then I couldn?t accept his conclusions, and (with respect and admiration) I mentally told him to get lost.
Sixty years later, in a recent issue of The Wall Street Journal, I come upon the old Spenglerian argument in a contemporary form. Terry Teachout, unlike Spengler, does not dump paralyzing mountains of historical theory upon us, but there are signs that he has weighed, sifted and pondered the evidence.
He speaks of our “atomized culture,” and his is a responsible, up-to-date and carefully considered opinion. He speaks of “art forms as technologies.” He tells us that movies will soon be “downloadable”—that is, transferable from one computer to the memory of another device—and predicts that films will soon be marketed like books. He predicts that the near-magical powers of technology are bringing us to the threshold of a new age and concludes, “Once this happens, my guess is that the independent movie will replace the novel as the principal vehicle for serious storytelling in the 21st century.”
In support of this argument, Mr. Teachout cites the ominous drop in the volume of book sales and the great increase in movie attendance: “For Americans under the age of 30, film has replaced the
novel as the dominant mode of artistic expression_r_r.” To this Mr. Teachout adds that popular novelists like Tom Clancy and Stephen King “top out at around a million copies per book,” and notes, “The final episode of NBC?s …Cheers,? by contrast, was seen by 42 million people.”
On majoritarian grounds, the movi es win. “The power of novels to shape the national conversation has declined,” says Mr. Teachout. But I am not at all certain that in their day “Moby-Dick” or “The Scarlet Letter” had any considerable influence on “the national conversation.” In the
mid-19th century it was “Uncle Tom?s Cabin” that impressed the great public. “Moby-Dick” was a small-public novel.
The literary masterpieces of the 20th century were for the most part the work of novelists who had no large public in mind. The novels of Proust and Joyce were written in a cultural twilight and were not intended to be read under the blaze and dazzle of popularity.
Mr. Teachout?s article in The Journal follows the path generally taken by observers whose aim is to discover a trend. “According to o ne recent study 55 percent of Americans spend less than 30 minutes reading anything at all. . . . It may even be that movies have superseded novels not because Americans have grown dumber but because the novel is an obsolete artistic technology.”
“We are not accustomed to thinking of art forms as technologies,” he says, “but that is what they are, which means they have been rendered moribund by new technical developments.”
Together with this emphasis on technics that attracts the scientific-minded young, there are other preferences discernible: It is better to do as a majority of your contemporaries are doing, better to
be one of millions viewing a film than one of mere thousands reading a book. Moreover, the reader reads in solitude, whereas the viewer belongs to a great majority; he has powers of numerosity as well as the powers of mechanization. Add to this the importance of avoiding technological obsolescence and the attraction of feeling that technics will decide questions for us more dependably than the thinking of an individual, no matter how distinctive he may be.
John Cheever told me long ago that it was his readers who kept him going, people from every part of the country who had written to him. When he was at work, he was aware of these readers and correspondents in the woods beyond the lawn. “If I couldn?t picture them, I?d be sunk,” he said. And the novelist Wright Morris, urging me to get an electric typewriter, said that he seldom turned his machine off. “When I?m not writing, I listen to the electricity,” he said. “It keeps me company. We have conversations.”
I wonder how Mr. Teachout might square such idiosyncrasies with his “art forms as technologies.” Perhaps he would argue that these two writers had somehow isolated themselves from
“b road-based cultural influence.” Mr. Teachout has at least one laudable purpose: He thinks that he sees a way to bring together the Great Public of the movies with the Small Public of the highbrows. He is, however, interested in millions: millions of dollars, millions of readers, millions of viewers.
The one thing “everybody” does is go to the movies, Mr. Teachout says. How right he is.
Back in the 20?s children between the ages of 8 and 12 lined up on Saturdays to buy their nickel tickets to see the crisis of last Saturday resolved. The heroine was untied in a matter of seconds just before the locomotive would have crushed her. Then came a new episode; and after that the
newsreel and “Our Gang.” Finally there was a western with Tom Mix, or a Janet Gaynor picture about a young bride and her husband blissful in the attic, or Gloria Swanson and Theda Bara or Wallace Beery or Adolphe Menjou or Marie Dressler. And of course there was Charlie Chaplin in “The Gold Rush,” and from “The Gold Rush” it was only one step to the stories of Jack London.
There was no rivalry then between the viewer and the reader. Nobody supervised our reading. We were on our own. We civilized ourselves. We found or made a mental and imaginative life. Because we could read, we learned also to write. It did not confuse me to see “Treasure Island” in the movies and then read the book. There was no competition for our attention.
One of the more attractive oddities of the United States is that our minorities are so numerous, so huge. A minority of millions is not at all unusual. But there are in fact millions of literate Americans in a state of separation from others of their kind. They are, if you like, the readers of Cheever, a crowd of them too large to be hidden in the woods. Departments of literature across the country have not succeeded in alienating them from books, works old and new. My friend Keith Botsford and I felt strongly that if the woods were filled with readers gone astray, among those readers there were probably writers as well.
To learn in detail of their existence you have only to publish a magazine like The Republic of Letters. Given encouragement, unknown writers, formerly without hope, materialize. One early reader wrote that our paper, “with its contents so fresh, p erson-to-person,” was “real,
non-synthetic, undistracting.” Noting that there were no ads, she asked, “Is it possible, can it last?” and called it “an antidote to the shrinking of the human being in every one of us.” And toward the end of her letter our co rrespondent added, “It behooves the elder generation to come up with reminders of who we used to be and need to be.”
This is what Keith Botsford and I had hoped that our “tabloid for literates” would be. And for two years it has been just that. We are a pair of utopian codgers who feel we have a duty to literature. I hope we are not like those humane do-gooders who, when the horse was vanishing, still donated troughs in City Hall Square for thirsty nags.
We have no way of guessing how many independent, self-initiated connoisseurs and lovers of literature have survived in remote corners of the country. The little evidence we have suggests that they are glad to find us, they are grateful. They want more than they are getting. Ingenious technology has failed to give them what they so badly need.
蜗居在巷陌的寻常幸福 (韩素音翻译大赛汉译英原文)
隐逸的生活似乎在传统意识中一直被认为是幸福的至高境界。但这种孤傲遁世同时也是孤独的，纯粹的隐者实属少数，而少数者的满足不能用来解读普世的幸福模样。
有道是小隐隐于野，大隐隐于市。真正的幸福并不隐逸，可以在街市而不是丛林中去寻找。
晨光，透过古色古香的雕花窗棂，给庭院里精致的盆景慢慢地化上一抹金黄的淡妆。那煎鸡蛋的“刺啦”声袅袅升起，空气中开始充斥着稚嫩的童音、汽车启动的节奏、夫妻间甜蜜的道别，还有邻居们简单朴素的问好。巷陌中的这一切，忙碌却不混乱，活泼却不嘈杂，平淡却不厌烦。
巷尾的绿地虽然没有山野的苍翠欲滴，但是空气中弥漫着荒野中所没有的生机。微黄的路灯下，每一张长椅都写着不同的心情，甜蜜与快乐、悲伤与喜悦，交织在一起，在静谧中缓缓发酵。谁也不会知道在下一个转角中会是怎样的惊喜，会是一家风格独特食客不断的小吃店？是一家放着爵士乐的酒吧？还是一家摆着高脚木凳、连空气都闲散的小小咖啡馆？坐在户外撑着遮阳伞的木椅上，和新认识的朋友一边喝茶，一边谈着自己小小的生活，或许也是一种惬意。
一切，被时间打磨，被时间沉淀，终于形成了一种习惯，一种默契，一种文化。
和来家中做客的邻居朋友用同一种腔调巧妙地笑谑着身边的琐事，大家眯起的眼睛都默契地闪着同一种狡黠；和家人一起围在饭桌前，衔满食物的嘴还发着含糊的声音，有些聒噪，但没人厌烦。
小巷虽然狭窄，却拉不住快乐蔓延的速度……
随着城市里那些密集而冰冷的高楼大厦拔地而起，在拥堵的车流中，在污浊的空气里，人们的幸福正在一点点地破碎，飘零。大家住得越来越宽敞，越来越私密。自我，也被划进一个单独的空间里，小心地不去触碰别人的心灵，也不容许他人轻易介入。可是，一个人安静下来时会觉得，曾经厌烦的那些嘈杂回想起来很温情很怀念。
比起高楼耸立的曼哈顿，人们更加喜欢佛罗伦萨红色穹顶下被阳光淹没的古老巷道；比起在夜晚光辉璀璨的陆家嘴，人们会更喜欢充满孩子们打闹嬉笑的万航渡路。就算已苍然老去，支撑起梦境的应该是老房子暗灰的安详，吴侬软语的叫卖声，那一方氤氲过温馨和回忆的小弄堂。
如果用一双细腻的眼眸去观照，其实每一片青苔和爬山虎占据的墙角，都是墨绿色的诗篇，不会飘逸，不会豪放，只是那种平淡的幸福，简简单单。
幸福是什么模样，或许并不难回答。幸福就是一本摊开的诗篇，关于在城市的天空下，那些寻常巷陌的诗。
夜幕笼罩，那散落一地的万家灯火中，有多少寻常的幸福正蜗居在巷陌……
英语原文及其翻译
Exploring Filipino School Counselors’ Beliefs about Learning Allan B. I. Bernardo [Abstract] School reform efforts that focus on student learning require school counselors to take on important new roles as advocates of student learning and achievement.But how do school counselors understand the process of learning? In this study, we explore the learning beliefs of 115 Filipino school counselors who indicated their degree of agreementwith 42 statements about the process of learning and the factors thatinfluence this process.A principal components analysis of the responses to the 42 statements suggested three factors:(F1)social-cognitive constructivist beliefs, (F2) teacher-curriculum-centered behaviorist beliefs,and (F3) individual difference factors.The preliminary results are briefly discussed in terms of issues related to how Filipino school counselors’ conceptions of learning may guide their strategies for promoting student learning and achievement. [Key words]beliefs about learning, conceptions of learning, school counselors, student learning, Philippines School reform efforts in different parts of the world have focusedon students’learning. In particular,most school improvement programsnow aim to ensure that students acquire the high-level knowledge and skills that help them to thrive in today’s highly competitive globaleconomy (e.g., Lee & Williams, 2006). I n this regard, school reform programs draw from various contemporary theories and research on learning (e.g.,Bransford,Brown, & Cocking, 1999; Lambert & McCombs, 1998).The basic idea is that all school improvement efforts should be directed at ensuring students achieve high levels of learning or attainment of well-defined curricular objectives and standards.For example, textbooks (Chien & Young, 2007), computers and educational technology (Gravoso, 2002; Haertnel & Means, 2003;Technology in Schools Task Force, 2003), and educational assessment systems (Black & Wiliam2004; Cheung & Ng, 2007; Clark, 2001; Stiggins, 2005) are being reconsidered as regards how they can effectively provide scaffolds and resources for advancing student learning. Likewise,the allocation and management of a school’s financial resources are assessed in terms ofwhether these are effectively mobilized and utilized towards improving student learning (Bolam, 2006; Chung & Hung, 2006; Retna, 2007). In this regard, some advocates have also called for an examination of the role of school counselors in these reform efforts (Herr, 2002). Inthe United States, House and Hayes (2002) challenged school counselors to take proactive leadership roles in advocating for the success of all
初中语文古文赏析韩愈《讳辨》原文、译文与赏析
讳辨 作者：韩愈 愈与李贺书［1］，劝贺举进士［2］。贺举进士有名，与贺争名者毁之，曰贺父名晋肃，贺不举进士为是，劝之举者为非。听者不察也，和而唱之［3］，同然一辞。皇甫湜曰［4］：“若不明白，子与贺且得罪。”愈曰：“然。” 律曰：“二名不偏讳［5］。”释之者曰：“谓若言‘徵’不称‘在’，言‘在’不称‘徵’是也［6］。”律曰：“不讳嫌名［7］。”释之者曰：“谓若‘禹’与‘雨’、‘丘’与‘蓲’之类是也［8］。”今贺父名晋肃，贺举进士，为犯二名律乎［9］？为犯嫌名律乎？父名晋肃，子不得举进士，若父名仁，子不得为人乎？ 夫讳始于何时？作法制以教天下者［10］，非周公孔子欤［11］？周公作诗不讳［12］，孔子不偏讳二名［13］，《春秋》不讥不讳嫌名［14］，康王钊之孙，实为昭王［15］。曾参之父名晳，曾子不讳昔［16］。周之时有骐期［17］，汉之时有杜度［18］，此其子宜如何讳？将讳其嫌，遂讳其姓乎？将不讳其嫌者乎？汉讳武帝名彻为通［19］，不闻又讳车辙之辙为某字也；讳吕后名雉为野鸡［20］，不闻又讳治天下之治为某字也。今上章及诏［21］，不闻讳浒、势、秉、机也［22］。惟宦官宫妾，乃不敢言谕及机［23］，以为触犯。士君子言语行事［24］，宜何所法守也？今考之于经，质之于律［25］，稽之以国家之典［26］，贺举进士为可邪？为不可邪？ 凡事父母，得如曾参，可以无讥矣；作人得如周公孔子，亦可以止矣［27］。今世之士，不务行曾参周公孔子之行［28］，而讳亲之名，则务胜于曾参周公孔子，亦见其惑也。夫周公孔子曾参卒不可胜，胜周公孔子曾参，乃比于宦者宫妾［29］，则是宦者宫妾之孝于其亲，贤于周公孔子曾参者邪？ 【注释】 ［1］李贺（790—816）：字长吉，唐代著名诗人，因避父讳，不能应试出身，只做过奉礼郎之类的小官。著有《昌谷集》。 ［2］进士：唐代科举制度分常科和制科，常科是定期分科举行的考试，有秀才、明经、进士、明法等名目；制科是皇帝临时特设的考试。 ［3］和（ｈè）而唱之：一唱一和。 ［4］皇甫湜：字持正，元和进士。曾从韩愈学。 ［5］律：此处当指唐代某项法律条文。唐代法典总称《唐律》，分十二篇五百条，其中未见“二名不偏讳”及下引“不讳嫌名”等条文。“二名不偏讳”最早见于《礼记》的《典礼上》及《檀弓下》，意为二字之名在用到其中某一字时不避讳。偏：一半。一说偏即徧（遍），全部、普遍的意思。根据《礼记》的释文，似乎不能作这样的解释。 ［6］“谓若”二句：孔子的母亲名“徵在”，孔子在说“徵”时不连用“在”，在说“在”时不连用“徵”。意即只要不连用，就用不着避讳。如唐代律文中有“二名不偏讳”的条文，则二句为律的释文。这条释文袭用《礼记·檀弓下》正文及《礼记·曲礼上》郑玄注。 ［7］嫌名：指与名字中所用字音相近的字。音近则有称名之嫌，所以叫嫌名。 ［8］“谓若禹”二句：亦袭用《礼记·曲礼上》郑玄注。禹、雨，丘、蓲，都是同音字。禹即夏禹，丘为孔子名。 ［9］为：是。 ［10］法制：礼法制度。 ［11］周公：西周初年政治家，名姬旦，周武王的弟弟，帮助武王灭殷（商），又辅佐成王，主持制定了周朝的典章制度。他和孔子都被历代统治者尊崇为“圣人”。
韩素英翻译比赛原文
参赛原文： 英译汉原文 Hidden Within Technology’s Empire, a Republic of Letters When I was a boy “discovering literature”, I used to think how wonderful it would be if every other person on the street were familiar with Proust and Joyce or T. E. Lawrence or Pasternak and Kafka. Later I learned how refractory to high culture the democratic masses were. Lincoln as a young frontiersman read Plutarch, Shakespeare and the Bible. But then he was Lincoln. Later when I was traveling in the Midwest by car, bus and train, I regularly visited small-town libraries and found that readers in Keokuk, Iowa, or Benton Harbor, Mich., were checking out Proust and Joyce and even Svevo and Andrei Biely. D. H. Lawrence was also a favorite. And sometimes I remembered that God was willing to spare Sodom for the sake of 10 of the righteous. Not that Keokuk was anything like wicked Sodom, or that Proust?s Charlus would have been tempted to settle in Benton Harbor, Mich. I seem to have had a persistent democratic desire to find evidences of high culture in the most unlikely places. For many decades now I have been a fiction writer, and from the first I was aware that mine was a questionable occupation. In the 1930?s an elderly neighbor in Chicago told me that he wrote fiction for the pulps. “The people on the block wonder why I don?t go to a job, and I?m seen puttering around, trimming the bushes or painting a fence instead of working in a factory. But I?m a writer. I sell to Argosy and Doc Savage,” he said with a certain gloom. “They wouldn?t call that a trade.” Probably he noticed that I was a bookish boy, likely to sympathize with him, and perhaps he was trying to warn me to avoid being unlike others. But it was too late for that. From the first, too, I had been warned that the novel was at the point of death, that like the walled city or the crossbow, it was a thing of the past. And no one likes to be at odds with history. Oswald Spengler, one of the most widely read authors of the early 30?s, taught that our tired old civilization was ve ry nearly finished. His advice to the young was to avoid literature and the arts and to embrace mechanization and become engineers.
韩素音青翻译奖赛中文原文及参考译文和解析
老来乐 Delights in Growing Old 六十整岁望七十岁如攀高山。不料七十岁居然过了。又想八十岁是难于上青天，可望不可即了。岂知八十岁又过了。老汉今年八十二矣。这是照传统算法，务虚不务实。现在不是提倡尊重传统吗? At the age of sixty I longed for a life span of seventy, a goal as difficult as a summit to be reached. Who would expect that I had reached it? Then I dreamed of living to be eighty, a target in sight but as inaccessible as Heaven. Out of my anticipation, I had hit it. As a matter of fact, I am now an old man of eighty-two. Such longevity is a grant bestowed by Nature; though nominal and not real, yet it conforms to our tradition. Is it not advocated to pay respect to nowadays? 老年多半能悟道。孔子说“天下有道”。老子说“道可道”。《圣经》说“太初有道”。佛教说“邪魔外道”。我老了，不免胡思乱想，胡说八道，自觉悟出一条真理: 老年是广阔天地，是可以大有作为的。 An old man is said to understand the Way most probably: the Way of good administration as put forth by Confucius, the Way that can be explained as suggested by Laotzu, the Word (Way) in the very beginning as written in the Bible and the Way of pagans as denounced by the
英文翻译(原文)
GRA VITY RETAINING?WALL 1. INTRODUCTION Retaining walls are structures used to provide stability for earth or other material where conditions disallow the mass to assume its natural slope, and are commonly used to hold back or support soilbanks,coal or ore piles, and water. Retaining walls are classified, based on the method of achieving stability, into six principal types (Fig.1). The gravity-wall depends upon its weight, as the name implies, for stability. The cantilever wall is a reinforced-concrete wall that utilizes cantilever action to retain the mass behind the wall from assuming a natural slope. Stability of this wall is partially achieved from the weight of soil on the heel portion of the base slab. A counterfort retaining wall is similar to a cantilever retaining wall, except that it is used where the cantilever is long or for very high pressures behind wall and has counterforts, which tie the wall and base together, built at intervals along the wall to reduce the bending moments and sheers. As indicated in Fig.1c, the counterfort is behind the wall and subjected to tensile forces. A buttressed retaining wall is similar to a counterfort wall, except that the bracing is in front of the wall and is in compression instead of tension. Two other types of walls not considered further are crib walls, which are built-up members of pieces of precast concrete, metal, or timber and are supported by anchor pieces embedded in the soil for stability, and semigravity walls, which are walls intermediate between a true gravity and a cantilever wall. (a)(b)(e)
古诗蝴蝶儿·晚春时翻译赏析
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舞的胡蝶所吸引，凭倚着疏窗，手挥彩笔为它真。这对上文摹写胡蝶具有充实深化的作用，更好地表现了纷飞的胡蝶非常惹人喜爱，以至少女捃摭入画。这两句写少女也是十分工致的。晚春是春夏更替的季节，人感受到新季节的来临，带着欣喜的心情送旧迎新，换装是自然的事。“初着淡黄衣”，不仅说出了这些变化，而且刻划了少女美丽动人，充满青春活力的形象。“倚窗”的情态更描写出了少女凭窗握管的风姿。前人说：“阿娇二句妩媚。”（旧题汤显祖《花间集评》）是很有见地的。换头就少女“学画”运笔“还似花间见，双双对对飞”，画出的胡蝶栩栩如生，妙通造化，犹如真的胡蝶一样。“双双对对”既同字重叠，又近义词反复，强调了所画蝴蝶的特点。古代诗词中，写蜂蝶成双成对的情景，往往是表现男女相恩相爱的感情。词中的少女这么爱画双蝶，透露了她内心的感情活动。她触景生情，借物寓情，一种热切的怀春感情涌起。眼前数不清的双蝶可说是冶游酣畅，春情骆荡，而少女的心事毕竟虚幻成空，这就引起了她的伤心。“无端和泪湿胭脂，惹教双翅垂。”她泪下滂沱，沾湿了脸上的胭脂，真是伤心透了。这似乎感染了胡蝶，惹得它们双翅下垂，不再翩翩飞动，同情少女的悲伤。作者不直写主人公心情沮丧，致使她笔下的胡蝶失却了写真的生气，而说蝴蝶灵犀一点，关怀同情人，极为深刻地表现了人的感情的婉曲、细腻。这首词，写得切题但又不粘题，既写真蝴蝶，也写画的蝴蝶，真假不辨，玲线透脱，还关合著作画少女的情感，表现了深致、凄婉的心理活动。词虽属小令，气势却一波三折，极富变化。词的语言浅近通俗，颇具民间词的特色，而表情达意，则
韩素音翻译大赛原文
Irritability is the tendency to get upset for reasons that seem – to other people – to be pretty minor. Your partner asks you how work went and the way they ask makes you feel intensely agitated. Your partner is putting knives and forks on the table before dinner and you mention (not for the first time) that the fork should go on the left hand side, not the right. They then immediately let out a huge sigh and sweep the cutlery onto the floor and tell you that you can xxxx-ing do it yourself if you know better. It was the most minor of criticisms and technically quite correct. And now they’ve exploded. There is so much irritability around and it exacts a huge daily cost on our collective lives, so we deserve to get a lot more curious about it: what is really going on for the irritable person? Why, really, are they getting so agitated? And instead of blaming them for getting het up about “little things”, we should do them the honour of working out why, in fact, these things may not be so minor after all.
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Lesson 1 I’m not feeling well. Let’s talk （M=Mom, T= Tom） M: What,'s the matter, Tom T: I'm not feeling well, Mom M: Do you have a cold T: Yes, I think so. Could you give me some water, please M: Here you are. T: Thank you, Mom. M: Tom, you must go and see a doctor. T: OK, Mom. M: It's cold outside. You must wear your coat. T: OK, Mom. Could you pass me my coat,please M: Here you are. T: Thank you, Mom M: Tell me your teacher's number. I'll call him and tell him you are sick. T: OK. Here it is. 译文 (M=妈妈,T=汤姆) 妈妈:怎么了,汤姆 汤姆:我感觉不舒服,妈妈。 妈妈:你感冒了吗 汤姆:是的,我想是这样的。您能给我一些水吗 妈妈:给你。 汤姆:谢谢您,妈妈。 妈妈:汤姆,你必须去看医生. 汤姆:好的,妈妈。 妈妈:外面很冷。你必须穿你的外套。 汤姆:好的,妈妈。您能把我的外套递给我吗 妈妈:给你。 汤姆:谢谢您,妈妈。 妈妈:告诉我你老师的电话号码。我将给他打电话告诉他你生病了。
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The Posteverything Generation I never expected to gain any new insight into the nature of my generation, or the changing landscape of American colleges, in Lit Theory. Lit Theory is supposed to be the class where you sit at the back of the room with every other jaded sophomore wearing skinny jeans, thick-framed glasses, an ironic tee-shirt and over-sized retro headphones, just waiting for lecture to be over so you can light up a Turkish Gold and walk to lunch while listening to Wilco. That’s pretty much the way I spent the course, too: through structuralism, formalism, gender theory, and post-colonialism, I was far too busy shuffling through my Ipod to see what the patriarchal world order of capitalist oppression had to do with Ethan Frome. But when we began to study postmodernism, something struck a chord with me and made me sit up and look anew at the seemingly blasé college-aged literati of which I was so self-consciously one. According to my textbook, the problem with defining postmodernism is that it’s i mpossible. The difficulty is that it is so...post. It defines itself so negatively against what came before it –naturalism, romanticism and the wild revolution of modernism –that it’s sometimes hard to see what it actually is. It denies that anything can be explained neatly or even at all. It is parodic, detached, strange, and sometimes menacing to traditionalists who do not understand it. Although it arose in the post-war west (the term was coined in 1949), the generation that has witnessed its ascendance has yet to come up with an explanation of what postmodern attitudes mean for the future of culture or society. The subject intrigued me because, in a class otherwise consumed by dead-letter theories, postmodernism remained an open book, tempting to the young and curious. But it also intrigued me because the question of what postmodernism –what a movement so post-everything, so reticent to define itself – is spoke to a larger question about the political and
英文翻译原文
南京师范大学泰州学院 英文翻译原文 年级： 2011级学号：12110330 姓名：申佳佳 系部：信息工程学院 专业：通信工程 题目：基于C51的数字测速仪设计与仿真 指导教师：焦蓬蓬 2015 年 4 月 5 日
Linux - Operating system of cybertimes Though for a lot of people , regard Linux as the main operating system to make u p huge work station group, finish special effects of " Titanic " make , already can be re garded as and show talent fully. But for Linux, this only numerous news one of. Rece ntly, the manufacturers concerned have announced that support the news of Linux to i ncrease day by day, users' enthusiasm to Linux runs high unprecedentedly too. Then, Linux only have operating system not free more than on earth on 7 year this piece wh at glamour, get the favors of such numerous important software and hardware manufa cturers as the masses of users and Orac le , Informix , HP , Sybase , Corel , Intel , Net scape , Dell ,etc. , OK? 1.The background of Linux and characteristic Linux is a kind of " free (Free ) software ": What is called free, mean users can o btain the procedure and source code freely , and can use them freely , including revise or copy etc.. It is a result of cybertimes, numerous technical staff finish its research a nd development together through Inte rnet, countless user is it test and except fault , c an add user expansion function that oneself make conveniently to participate in. As th e most outstanding one in free software, Linux has characteristic o f the following: (1)Totally follow POSLX standard, expand the network operating system of sup porting all AT&T and BSD Unix characteristic. Because of inheritting Unix outstandi ng design philosophy , and there are clean , stalwart , high-efficient and steady kernels , their all key codes are finished by Li nus Torvalds and other outstanding programmer s, without any Unix code of AT&T or Berkeley, so Linu x is not Unix, but Linux and Unix are totally compatible. (2)Real many tasks, multi-user's system, the built-in n etwork supports, can be with such seamless links as NetWare , Windows NT , OS/2 , Unix ,etc.. Network in various kinds of Unix it tests to be fastest in comparing and ass ess efficiency. Support such many kinds of files systems as FAT16 , FAT32 , NTFS , E x t2FS , ISO9600 ,etc. at the same time .
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连成一片，近看时却显得稀疏零星。这是一年中最美的季节，远胜过绿杨满城的暮春（一说为：早春皇都长安烟柳满城的景色是绝美的，从诗意上看编者同意此说，详见附文）。 其二： 不要说官事冗杂，年纪老大，已经失去了少年时追赶春天的心情。请你忙里偷闲地先到江边游春散心，看看如今的柳色是否已经很深。 《早春呈水部张十八员外》赏析范文 早春呈水部张十八员外二首（其一） 韩愈 天街小雨润如酥，草色遥看近却无。 最是一年春好处，绝胜烟柳满皇都。 这首小诗是写给水部员外郎张籍的。张籍在兄弟辈中排行十八，故称“张十八”。诗的风格清新自然，简直是口语化的。看似平淡，实则是绝不平淡的。韩愈自己说：“艰穷怪变得，往往造平淡”（《送无本师归范阳》）。原来他的“平淡”是来之不易的。 全篇中绝妙佳句便是那“草色遥看近却无”了。试想：早春二月，在北方，当树梢上、屋檐下都还挂着冰凌儿的时候，春在何处？连影儿也不见。但若是下过一番小雨后，第二天，你瞧吧，春来了。雨脚儿轻轻地走过大地，留下了春的印迹，那就是最初的春草芽儿冒出来了，远远望去，朦朦胧胧，仿佛有一片极淡极淡的青青之色，这是早春的草色。看着它，人们心里顿时充满欣欣然的生意。可是当你带着无限喜悦之情走近去看个仔细，地上是稀稀朗朗的极为纤细的芽，却
第24届韩素英翻译大赛译文
重思建筑暂时性 我们往往认为建筑是永恒的,是对纪念碑地位的渴求。那种建筑有它的地位, 不同种类的建筑也同样如此。 对于21世纪的头十年大部分时间来说, 建筑是关于大楼的声明。建筑无论是一个有争议的纪念,还是一个豪华得不可思议的公寓大楼，其存在的原因就是创造一个永久的印象。建筑一直是永恒的代名词，但事实上它应该是这样的吗？ 在过去的几年里，相反的观点可能是真的。建筑正处于完全的至低点，主要依据稀少而遥不可及。能引起新闻的建筑是快速而飞逝的的: 弹出式商店，食品车，市场，表演空间。虽然许多风格的表现形式已经失去了吸引力（如，一个玩具反斗城弹出店），目前有一个不可否认的机会：这是对不断变迁文明的恰当反应。 和许多流行趋势一样----共同消费（又名，“共享”），社区花园，易货贸易-“临时”是如此的复古以至于变得激进了。 在11月,我有幸和利物浦大学的一名研究便携式临时移动建筑的大师-----Robert Brandenburg 见面，他主持了Moonie . Moonie是南加利福尼亚建筑大学的一个专门小组. 作者的一个搁架上放满了关于建筑这个话题的书籍,包括“灵活:架构,响应变化”、“便携式架构:设计和技术”和“房屋的议案:“创世纪”Brandenburg痴迷于此。 也许所有的建筑不应追求永恒的构思，是建筑的一个巨大的转变。没有负担，建筑师，设计师，建筑商和开发商可以更快地利用当今的技术。建筑可以重复使用，回收和可持续。以这种方式转变，它能更好地解决看似不可解决的问题,还成功地创造一种地方感。 在他的报告中，Brandenburg提供了便携式的临时建筑如何应用于人类活动的各个方面的例子，包括卫生保健（从弗洛伦斯·南丁格尔的重新设计的医院,到在甘乃迪政府期间,作为移动医疗诊所的气流拖车），住房（从蒙古包帐篷建筑师坂茂的震后纸屋），文化和商业（布景和伟大的展览建筑，塞纳河边古老的Burinists，移动食品，提供一切的从故事记录到美味的cryème brutes的艺术和音乐场馆。） Brandenburg做了一个令人信服的论证，实验所固有的这种结构挑战先入为主的观念,即建筑物可以而且应该是什么。策略性，他解释说，“适应不可预测的要求，提供更多的不足，并鼓励创新。”他强调，它的时间为最终用户，设计师，建筑师和建筑公司，制造商重新考虑他们对待临时，便携和移动结构的态度。 这对于建筑是真正的发展和城市规划。城市建构应该在像丹尼尔伯翰或罗伯特，摩西的大师规划者的桌子上的一起发生，但真的不是像发生在今天的那种方式。没有一个单一的计划可以预见因为日益多样化的人口或通过短期的，实验的努力可以实现的弹性,反应能力和灵活性的演变和多样化的需求。这并不是说长期规划没有它的作用。这两项工作同时并进地开展得很好。麦克林登，主要的街道计划协会创始人，认为注射自发性纳入城市发展，并认为这些作为短期的行动临时措施（他所称的“战术城市主义”）影响长期的变化。 虽然已经有了巨大的媒体重视快速和廉价的项目如旧金山和纽约的“路面排水沟的咖啡馆，”莱登看到的东西比饲料板块风格大。“很多事情不仅仅是乐趣和凉爽，”他说。“这不仅仅是一个自下而上的努力。这不是自己动手的城市主义。这是一个被雇用的所有不同的尺度的,连续的想法，技术和战术。” “我们看到许多这些事情出现的原因有三个，”莱登继续。“一，经济。人们更富有创造性，做事。二，互联网。四或五年前，我们无法通过YouTube或脸谱网分享策略和技巧，。有些事可能会在随即发生,现在我们可以听到它了。这是在促进这个想法的生长，约克郡和旧金山的双向沿海的竞争说明谁是凉的，更好的东西。三，人口变化。城市社区的温和化和改变。