新編英語教程7譯文

1、TEXT 1Unit OneENGLISH AND AMERICAN CONCEPTS OF SPACEEdward T. HallTEXT1It has been said that the English and the Americans are two greatpeople separated by one language.T he differences for which languagegets blamed may not be due so much to words as to communications on other levels beginning with

2、English intonation (which soundsaffected to many Americans) and continuinto eo-linked ways ofhandlintime, space, and materials. If there ever were two cultures in which differences of the proxemic details are marked it is in the educated (public school) English and the middle-class Americans. One of

3、 the basic reasons for this wide disparity is that in the United States we use space as a way of classifying people and activities, whereas in England it is the social system that determines who you are. In the United States, your address is an important cue to status (this applies not only to onebu

4、t to the business address as well). The Joneses from Brooklyn and Miami are not as “in” as the Joneses from Newport and Palm Beach2. Greenwich and Cape Cod are worlds apart from Newark and Miami 3.Businesses located on Madison and Park avenues have more tone than those on Seventh and Eighth avenue4s

5、. A corner office is more prestigiousthan one next to the elevator or at the end of a long hall. The Englishman, however, is born and brought up in a social system. He is still Lord 5-no matter where you find him, even if it is behind the counter in a fishmonger stsa ll. In addition to class distinc

6、tions, there are differences between the English and ourselves in how space iasl lotted.2The middle-class American growing up in the United States feels he has a right to have his own room, or at least part of a room. My American6subjects, when asked to draw an ideal room or office, invariably drew

7、itfor themselves and no one else. When asked to draw their present room or office, they drew only their own part of a shared room and then drew aline down the middle. Both male and female subjects identified the kitchen and the master bedroom7 as belonging to the mother or the wife, whereasFatheresr

8、ritory was a study or den, if one was available; otherwise, itwas “ the shop, ” “ the bas8 eomr seonmt, eti” mes only a workbench or the garage. American women who want to be alone can go to the bedroom and close the door. The closed door is the sign meaning Do not disturb“” orI m angry. ”An Ameraic

9、vaani liasb le if his door is open at home or at his office. He is expected not to shut himself off but to maintain himself in astate of constant readiness to answer the demands of others. Closed doors are for conferences, private conversations, and business, work that requires concentration, study,

10、 resting, sleeping, dressing, and sex.3The middle-and upper-class Englishman, on the other hand, is brought up in a nursery shared with brothers and sisters. The oldest occupies a room by himself which he vacateswhen he leaves for boarding school, possibly even at the age of nine or ten. The differe

11、nce between a room of one so wn and early conditioning to shared space, while seeming inconsequential, has an important effect on the Englishman astt itude toward his own space. He may never have a permanent “ roomo f his own” and seldom expects one or feels he is entitled to one. Even Members of Pa

12、rliament9 have no offices and oftenc onduct their business on the terrace overlooking the Thames10. As a consequenc,e the English are puzzled by the American need for a secure place in which to work, an office. Americans working in England may become annoyed if they are not provided with what they c

13、onsider appropriate enclosed work space .In regard to the need for walls as a screen for the ego, this places theAmericans somewhere between the Germans and the Engli.s h4The contrasting English and American patterns have some remarkable implications, particularly if we assume that man, like other a

14、nimals, has a built-in need to shut himself off from others from time to time. An English student in one of my seminars typified what happens when hidden patterns clash. He was quite obviously experiencing strain in his relationships with Americans. Nothing seemed to go right and it was quite clear

15、from his remarks that we did not know how to behave. An analysis of his complaints showed that a major source of irritation was thatno American seemed to be able to pick up thes ubtleclues that there weretimes when he didnt want his thoiungthrutsd ed on. As he stated it,walking around the apartment

16、and it seems that whenever i want to be alone my roommate starts talking to me. Pretty soon he s askthe matter? and wants to know if I m angry. By then ida sma ya ngr something. ”5It took some time but finally we were able to identify most of the contrasting features of the American and British prob

17、lems that were in conflict in this case. When the American wants to be alone he goes into a room and shuts the door-he depends on architectural features for screening. For an American to refuse to talk to someone else present in the same room, tog ive them the “ silent treatment, ultim” at eisf othr

18、me of rejection and a sure sign of great displeasure. The English, on the other hand, lacking rooms of their own since childhood, never developed the practice of using space as a refuge from others. They have in effect internalized a set of barriers, which they erect and which others are supposed to

19、 recognize. Therefore, the more the Englishman shuts himself off when he is with an American the more likely the American is to break in to assure himself that all is well. Tension lasts until the two get to know each other. The Important point is that the spatial and architectural needs of each are

20、 not the same at all.人們說英國(guó)人和美國(guó)人是被同一種語言分離開的兩個(gè)偉大的民族。英美民族之間的差異使得英語本身受到很多指責(zé)，然而，這些差異也許不應(yīng)該過分歸咎于語言，而應(yīng)該更多的歸因于其他層面上的交流：從使很多美國(guó)人感到做作的英式語音語調(diào)到以自我為中心的處理時(shí)間、空間和物品的不同方法。如果說這世上有兩種文化間的空間關(guān)系學(xué)的具體內(nèi)容迥然不同，那就是在有教養(yǎng)（私立學(xué)校）的英國(guó)人和中產(chǎn)階級(jí)的美國(guó)人之間了。造成這種巨大差異的一個(gè)基本原因是在美國(guó)人們借助空間大小來對(duì)人或事加以分類，而在英國(guó)決定你身分的卻是社會(huì)等級(jí)制度。在美國(guó)，你的住址可以很好的暗示你的身分（這不僅適用于你的家庭住址，也

21、適用于你的商業(yè)地址）。住在紐波特和棕櫚灘的人要比布魯克林和邁阿密的人高貴時(shí)髦得多。格林尼治和科德角與紐華克和邁阿密簡(jiǎn)直毫無類似之處。座落在麥迪遜大道和花園大道的公司要比那些座落在第七大道和第八大道的公司更有情調(diào)。街角辦公室要比電梯旁或者長(zhǎng)廊盡頭的辦公室更受尊敬。而英國(guó)人是在社會(huì)等級(jí)制度下出生和成長(zhǎng)的。無論你在哪里看到他，他仍然是貴族，即便是在魚販攤位的柜臺(tái)后面。除了階級(jí)差異，英國(guó)人和我們美國(guó)人在如何分配空間上也存在差異。在美國(guó)長(zhǎng)大的中產(chǎn)階級(jí)美國(guó)人覺得自己有權(quán)擁有自己的房間，或者至少房間的一部分。當(dāng)我讓我的美國(guó)研究對(duì)象畫出自己理想的房間或辦公室時(shí)，他們毫無例外的只畫了自己的空間，而沒有畫其他人的

22、地方。當(dāng)我要求他們畫出他們現(xiàn)有的房間或辦公室時(shí)，他們只畫出他們共享房間里自己的那部分，然后在中間畫一條分隔線。無論是男性還是女性研究對(duì)象，都把廚房和主臥劃歸母親或妻子的名下，而父親的領(lǐng)地則是書房或休息室，如果有的話；要不然就是工場(chǎng)，地下室，或者有時(shí)僅僅是一張工作臺(tái)或者是車庫(kù)。美國(guó)女性如果想獨(dú)處，可以走進(jìn)臥室、關(guān)上門。 關(guān)閉的門是“不要打擾”或 “我很生氣”的標(biāo)志。如果一個(gè)美國(guó)人家里或辦公室的房門是開著的，則說明他現(xiàn)在有空。在這樣的暗示下，人們不會(huì)認(rèn)為他想把自己關(guān)閉起來，而會(huì)認(rèn)為他正處于一種隨時(shí)響應(yīng)他人的準(zhǔn)備就緒的狀態(tài)中。關(guān)閉的門是用于會(huì)議、私人會(huì)談、生意往來、需要集中精力的工作、學(xué)習(xí)、休息、睡

23、覺、穿衣服和性的。相比之下，中產(chǎn)階級(jí)和上流階級(jí)的英國(guó)人從小是在和兄弟姐妹共享的兒童室里長(zhǎng)大的。最大的孩子一般獨(dú)占一個(gè)房間，直到他9 歲 10 歲左右去上寄宿學(xué)校時(shí)再空出來。擁有自己的房間和很早就習(xí)慣于共享房間之間的差異似乎并無重大意義，但這卻對(duì)英國(guó)人對(duì)待自己空間的態(tài)度有著重大的影響。一個(gè)英國(guó)人可能從來都不曾有過永久的屬于自己的房間，他也很少會(huì)去企盼或者認(rèn)為自己應(yīng)該有權(quán)擁有這樣的房間。即使是下議院的議員也沒有自己的辦公室，他們通常在俯瞰泰晤士河的陽臺(tái)上處理事務(wù)。所以英國(guó)人會(huì)對(duì)美國(guó)人需要一個(gè)安穩(wěn)的地方去工作（即辦公室）這樣的需求感到困惑不解。在英國(guó)工作的美國(guó)人如果沒有得到他們認(rèn)為適當(dāng)?shù)姆忾]的工作空

24、間，也許會(huì)非常生氣。就出于保護(hù)自我的目的而將墻壁作為屏蔽物的需求而言，美國(guó)人應(yīng)該位列德國(guó)人和英國(guó)人之間。英國(guó)人和美國(guó)人的行為特點(diǎn)之間的顯著差別有著極其重要的意義，尤其是在我們假設(shè)人和其他動(dòng)物一樣，有時(shí)也有一種內(nèi)在的封閉自己的需求的情況下。我的研討班的一個(gè)學(xué)生生動(dòng)的刻畫了當(dāng)這種看不見的行為特點(diǎn)之間產(chǎn)生沖突時(shí)可能發(fā)生的情狀。很顯然他在和美國(guó)人交往中承受了很大的壓力。仿佛沒有什么是正常的，而且從他的評(píng)論里可以清楚地了解到他認(rèn)為我們美國(guó)人不知道如何舉止得體。通過分析他的抱怨，我們發(fā)現(xiàn)他煩悶的一個(gè)根源是似乎沒有哪個(gè)美國(guó)人能夠辨別出這樣的細(xì)微的暗示：即有時(shí)他不想讓別人擾亂他的思緒。正如他自己所說的：“我在

25、公寓里漫步，好像每次當(dāng)我想獨(dú)處的時(shí)候我的室友就會(huì)和我搭話。很快他就在問你怎么了？而且想知道我是否生氣了。這時(shí)我真的生氣了，然后就會(huì)沖他說些什么?！北M管需要花費(fèi)一些時(shí)間，但最終我們還是能夠分辨出在這個(gè)事例的沖突中，美國(guó)人和英國(guó)人各自所遇到的不同的麻煩，以及這些特征之間的明顯差別。當(dāng)美國(guó)人想獨(dú)處時(shí)，他會(huì)進(jìn)到自己的房間里并且關(guān)上門 他借助于建筑物來屏蔽他人。對(duì)美國(guó)人來說，拒絕同在場(chǎng)的人談話，對(duì)其采取“冷處理 ”，是最極端的拒絕形式，同時(shí)也是非常不高興的明顯的表示。而另一方面，英國(guó)人由于從小就沒有自己的房間，從來沒有利用空間作為躲避他人的避難所的習(xí)慣。他們實(shí)際上在潛意識(shí)里設(shè)立了一系列的屏障，他們認(rèn)為這

26、些屏障其他人應(yīng)該能夠理解或辨別。因此，當(dāng)英國(guó)人和美國(guó)人在一起時(shí)，他越不想和這個(gè)美國(guó)人說話，這個(gè)美國(guó)人就越可能找他說話，因?yàn)樗氪_保一切正常。這種沖突會(huì)一直持續(xù)下去，直到這兩個(gè)人開始互相了解彼此。重要的是雙方對(duì)空間和建筑的需求并不一樣。Unit TwoTEXT 1TOURISTSNancy Mitford1The most intensive study i ever made of tourists was at Torcello, where it is impossible to avoid them. Torcello is a minute island in the Venetian

27、 lagoon: here, among vineyards and wild flowers, some thirty cottages surround a great cathedral which was being built when William the Conqueror came to England. A canal and a path lead from the lagoon to the village; the vineyards are intersected by canals; red and yellow sails glide slowly throug

28、h the vines. Bells from the campanile ring out reproaches three time a day ( “ cloches, cloches, divins reprochesjoined by a chorus from the surrounding islands 2. There is an inn where i lived one summer, writing my book and observing the tourists. Torcello which used to bel onely as a cloud has re

29、cently become an outing from Ven.i ce Many more visitors than it can comfortably hold pour into it, off the regular steamers, off chartered motor-boats, and off yachts, all day they amble up the towpath, looking for what? The cathedral is decorated with early mosaics-scenes from hell, much restored,

30、 and a great sad,a ustere Madonna4; Byzantine art5 is an acquired taste and probably not one in ten of the visitors has acquired i.t They wander into the church and look round aimlessly. They come out on to the village green 6 and photograph each other in a stone armchair, said to be the throne of A

31、ttila 7. They relentlesslytear at the wild roses which one has seen in bud and longed to see in bloom and which, for a day have scented the whole island. As soon as they are picked the roses fade and are thrown into the canal. The Americans visit the inn to eat or drink something. The English declar

32、e thatthey can t afford to do this. They take food which they habvreought with them into the vineyard and i am sorry to say leave the devil of a mess behind them8. Every Thursday Germans come up the towpath, marching as to war9, with a Leader10. There is a standing order for fifty luncheons at the i

33、nn; while they eat the Leader lectures them through a megaphone. After luncheon they march into the cathedral and undergo another lecture. They, at least, know what they are seeing. Then they march back to their boat. They are tidy; they leave no litter.2More interesting, however, than the behaviour

34、 of the tourists is that of the islanders. As they are obliged, whether they like it or not, to live in public during the whole summer, they very naturally try to extract some financial benefit from this state of affairs. The Italian is a born actor;between the first boat from Venice, at 11 a.m. and

35、 the last on which the ordinary tourist leaves at 6 p.m., the island is turned into a stage with all the natives playing a part. Young men from Burano, the next island, dress up as gondoliers and ferry tourists from the steamer to the village in sandolos11. One of them brings a dreadful little broth

36、er called Eric who pesters everybody to buy the dead bodies of sea-horses, painted gold.12“ Buonafo rtuna ”, he chants. I got very fond of Eric. Sweet-faced old women sit at the cottage doors selling postcards and trinkets and apparently making point de Venis elace13. They have really got it, on sal

37、e or return , from relations in Burano, where it is made by young girls. Old women, with toil-worn hands, cannot do such fine work. It is supposed that the tourists are more likely to buy if they think they see the lace being made, but hardly any of them seem to appreciate its marvellous quality. Ba

38、bies toddle about offering four-leafed clovers14 and hoping for a tip. More cries of “ Buona fortuTnhae. pri” est organizes holy procession1s5 to coincide with the arrival of the steame.rAnd so the play goes on. The tourists are almost incredibly mean, they hardly leave anything on the island except

39、 empty cigarette boxes and flappingD aily Mails16.The lace is expensive, but they might buy a few postcards or shell necklaces and give the children some pennies; they seem to have hearts of stone.3As soon as the last boat has gone, down comes the curtain. The “ gondolierssh”ed their white linen jac

40、kets and silly straw hats and go back to Burano, taking Eric, highly dissatisfied with his earnings and saying if this goes on he will die of hunger. The sweet old women let the smiles fade from their faces, put away their lace-making pillows, and turn to ordinary activities of village life such as

41、drowning kittens. The father of the clover babies creeps about on his knees finding four-leafed clovers for the next day. The evening reproaches ring out, the moon comes up, the flapping Daily Mails blow into the lagoon. Torcello is itself again.The most intensive（ 強(qiáng)烈的 ） study I ever made of tourist

42、s was at Torcello, where it is impossible to avoid them. Torcello is a minute island in the Venetian lagoon （瀉湖） ;here among vineyards and wild flowers, some thirty cottages surround a great cathedral（大教堂）which was being built when William the Conqueror came toEngland.我所做過的關(guān)于游客的最透徹的研究是在Torcello 完成的，

43、在那里你根本沒法避開他們。Torcello 是威尼斯瀉湖上一個(gè)很小的島嶼：這里的葡萄園和野花間散布了大概三十間村舍，環(huán)繞著建立于征服者威廉到達(dá)英國(guó)時(shí)期的一座大教堂。A canal and a path lead from the lagoon to the village; the vineyards are intersected （分隔的）by canals ;red and yellow sails （帆船）glide slowly through the vines.Bells from the campanile （鐘塔）ring out reproaches three time

44、a day （"cloches,cloches, divins reproaches"）joined by a chorus from the surrounding islands.一座運(yùn)河和一條小道將瀉湖和村莊連結(jié)起來；運(yùn)河蜿蜒而過將葡萄園隔開；紅色和黃色的船帆緩慢地穿梭于葡萄藤之間。鐘樓每天三次鳴響譴責(zé)曲，屆時(shí)周 圍島嶼的鐘聲也會(huì)響起，組成一曲大合唱。There is an inn （hotel ） where I lived one summer, writing my book and observing the tourists .Torcello which

45、used to be lonely as a cloud has recently become an outing from Venice. Many more visitors than it can comfortably hold pour into it, off the regular steamers, off chartered motor-boats, and off yachts, all day they amble up the towpath, looking for what?我曾花費(fèi)一年夏天的時(shí)間住在一間小旅館寫作，同時(shí)觀察形形色色的游客。曾經(jīng)孤獨(dú)如一片浮云的To

46、rcello 最近成為從威尼斯出發(fā)的短途旅游熱點(diǎn)。游客之多遠(yuǎn)遠(yuǎn)超出了Torcello 的正常接待能力：他們跳下定期汽輪、跳下租借的摩托艇、跳下豪華游艇，蜂擁而至；他們整天都在運(yùn)河邊的小路上漫步，到底在尋找什么？The cathedral is decorated（裝飾） with early mosaics-scenes from hell, much restored,and a great sad， austere（嚴(yán)峻的）Madonna; Byzantine art is an acquired taste andprobably not one in ten of the visito

47、rs has acquired it.大教堂由早期的馬賽克裝飾，很好的重現(xiàn)了地獄般風(fēng)格，其間還有一尊巨大的神情悲傷而嚴(yán)峻的圣母像；拜占庭藝術(shù)品味需要后天培養(yǎng)，而真正能夠欣賞的 游客可能還不到十分之一。They wander into the church and look round aimlessly. They come out on to the village green and photograph each other in a stone armchair said to be the throne （王 座 ）of Attila. They relentlessly tear

48、at the wild roses which one has seen in bud and longed to see in bloom and which, for a day have scented the whole island.他們步入教堂，漫無目的地四處張望。他們走進(jìn)村莊的綠地中，坐在據(jù)說是匈奴王阿提拉坐過的一張石椅上互相拍照。他們無情地將野玫瑰摘走，很多人曾經(jīng)見過這些玫瑰含苞時(shí)的樣子，并且渴望著看到它們盛開時(shí)的景象，而且它們?cè)?jīng)在一天內(nèi)就讓整個(gè)小島遍布花香。As soon as they are picked the roses fade and are thrown in

49、to the canal .The Americans visit the inn to eat or drink something. The English declare that they can't afford to do this .They take food which they have brought with them into the vineyard and I am sorry to say leave the devil of a mess behind them.一經(jīng)摘取，這些玫瑰很快凋零，隨后就被丟棄至運(yùn)河內(nèi)。美國(guó)人到餐館里吃喝。英國(guó)人聲稱他們負(fù)擔(dān)不

50、起這樣的花費(fèi)，他們將自帶的食物拿到葡萄園里，我很遺憾地說他們留下一片狼藉。Every Thursday Germans come up the towpath, marching as to war, with a Leader .There is a standing order for fifty luncheons at the inn; while they eat the Leader lectures them through a megaphone .每周四德國(guó)人沿運(yùn)河邊的小路上來，跟著導(dǎo)游，就像奔赴戰(zhàn)場(chǎng)一樣。在餐館里他們總會(huì)要50 桌正餐；在他們吃飯時(shí)，他們的導(dǎo)游通過擴(kuò)音器向他

51、們演講。After luncheon they march into the cathedral and undergo another lecture. They, at least, know what they are seeing .Then they march back to their boat. They are tidy; they leave no litter.午餐后他們長(zhǎng)驅(qū)直入到教堂內(nèi)，再聽取導(dǎo)游的另一次講座。至少他們知道他們?cè)诳词裁?。隨后他們整齊劃一地退回到他們的船上。他們很整潔；不留任何垃 圾。More interesting, however, than the

52、behavior of the tourists is that of the islanders. As they are obliged, whether they like it or not, to live in public during the whole summer, they very naturally try to extract some financial benefit from this state of affairs.然而島上居民的行為比游客更有趣。由于他們被迫整個(gè)夏天都生活在公眾視野之下，無論他們喜愛與否，他們很自然的想從這樣的狀況中極力獲取一些經(jīng)濟(jì) 利益

53、 .The Italian is a born actor; between the first boat from Venice, at 11a.m. and the last on which the ordinary tourist leaves at 6p.m.,the island is turned into a stage with all the natives playing a part.意大利人是天生的演員；上午11 點(diǎn)從威尼斯開來第一班船，下午6 點(diǎn)普通的游客會(huì)乘最后一班船離開，在此期間，整個(gè)小島變成一個(gè)所有本地人都參與進(jìn)來的一個(gè)大舞臺(tái)。Young men from B

54、urano, the next island, dress up as gondoliers and ferry tourists from the steamer to the village in sandolos. One of them brings a dreadful little brother called Erin who pesters everybody to buy the dead bodies of sea-horses, painted gold.隔壁的布拉諾島年輕人裝扮成剛朵拉船（ Gondola） 的船夫， 用桑德拉船（ Sandolo）將游客從汽輪擺渡到島上

55、的村子來。其中一人帶著他名叫艾瑞克的令很多人很討厭的弟弟，他糾纏所有人讓他們買漆成金黃色的海馬的死尸。"Buona fortuna", he chants. I got very fond of Eric. Sweet-faced old women sit at the cottage doors selling postcards and trinkets and apparently making point de Venise lace.他嘴里不斷重復(fù)著意大利語的“祝您好運(yùn)”。我很喜歡艾瑞克。面色和藹的上了年紀(jì)的女人們坐在村舍的門口賣明信片和小裝飾品，而且很顯然她們

56、也在做針繡緞帶。They have really got it, on sale or return, from relations in Burano, where it is made by young girls. Old women , with toil-worn hands, cannot do such fine work.而實(shí)際上，她們是通過關(guān)系從布拉諾島批發(fā)或回收過來的，那里的年輕姑娘們制作了這些緞帶。上了年紀(jì)的女人是無法用她們飽經(jīng)風(fēng)霜的手做出如此精細(xì)的 活計(jì)的。It is supposed that the tourists are more likely to buy i

57、f they think they see the lace being made, but hardly any of them seem to appreciate its marvelous quality. Babies toddle about offering four-leafed clovers and hoping for a tip.一般認(rèn)為游客看到這些緞帶是現(xiàn)做的話會(huì)更愿意購(gòu)買，但實(shí)際上似乎很少有人欣賞緞帶的不同凡響的質(zhì)地。極小的小孩子們步伐蹣跚的四處走動(dòng)，將有四片 葉子的三葉草遞到人們面前，希望能夠得到一些小費(fèi)。More cries of "Buona for

58、tuna ".The priest organizes holy processions to coincide with the arrival of the steamer. And so the play goes on.這時(shí)會(huì)有更多的意大利語的“祝您好運(yùn)”四下響起。在汽輪到來的同時(shí)，神父開始組織神圣的宗教游行。這出戲就這樣繼續(xù)下來。The tourists are almost incredibly mean, they hardly leave anything on the island except empty cigarette boxes and flapping Daily Mails .The lace is expensive, but they might buy a few postcards or shell necklaces and give the children some pennies; they seem to have hearts of stone.游客們幾乎都吝嗇的讓人難以置信，除了空的煙盒和窸窣作響的每日郵報(bào)，他們幾乎什么都不留下。緞帶很昂貴，但是他們也許會(huì)買一些明信片或