自考高级英语上册课文中英文对照.docx
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1、Lesson 1: Rock Superstars: What Do They Tell Us About Ourselves and Our Society关于我们和我们的社会,他们告知了我们些什么? What Do They Tell Us About Ourselves and Our Society 摇滚乐是青少年叛逆的音乐。 摇滚乐评论家约相罗克韦尔 Rock is the music of teenage rebellion. - John Rockwell, rock music critic 知其崇拜何人便可知其人。 小说家罗伯特佩恩沃伦 By a mans heroes ye
2、 shall know him. - Robert Penn Warren, novelist 1972年6月的一天,芝加哥圆形剧场挤满了大汗淋漓、疯狂摇摆的人们。 It was mid-June, 1972, the Chicago Amphitheater was packed, sweltering, rocking. 滚石摇滚乐队的迈克贾格尔正在台上演唱“午夜闲逛人。 Mick Jagger of the Rolling Stones was singing “Midnight Rambler. 演唱完毕时评论家唐赫克曼在现场。 Critic Don Heckman was there
3、 when the song ended. 他描绘道:“贾格尔抓起一个半加仑的水罐沿舞台前沿边跑边把里面的水洒向前几排汗流浃背的听众。听众们蜂拥般跟随着他跑,急迫地渴望能沾上几滴洗礼的圣水。 “Jagger, he said, “grabs a half-gallon jug of water and runs along the front platform, sprinkling its contents over the first few rows of sweltering listeners. They surge to follow him, eager to be touche
4、d by a few baptismal drops. 1973年12月下旬的一天,约1.4万名歌迷在华盛顿市外的首都中心剧场尖叫着,乱哄哄地拥向台前。 It was late December, 1973, Some 14,000 screaming fans were crunching up to the front of the stage at Capital Center, outside Washington, D.C. 美国的恐惊歌星艾利丝库珀的表演正接近尾声。 Alice Cooper, Americas singing ghoul, was ending his act.
5、他表演的最终一幕是假装在断头台上完毕自己的生命。 He ends it by pretending to end his life with a guillotine. 他的“头落入一个草篮中。 His “head drops into a straw basket. “哎呀!一个黑衣女孩子惊呼道:“啊!真是了不得,不是吗?。 “Ooh, gasped a girl dressed in black. “Oh, isnt that marvelous 当时,14岁的迈克珀力也在场,但他的父母不在那里。 Fourteen-year-old Mick Perlie was there too, b
6、ut his parents werent. “他们觉得他恶心,恶心,恶心,迈克说,“他们对我说,你怎么受得了那些? “They think hes sick, sick, sick, Mike said. “They say to me, How can you stand that stuff 1974年1月下旬的一天,在纽约州尤宁谷城拿骚体育场内,鲍勃狄伦和“乐队乐队正在为音乐会上要用的乐器调音。 It was late January, 1974. Inside the Nassau Coliseum in Uniondale, New York, Bob Dylan and The
7、Band were tuning for a concert. 馆外,摇滚歌迷克利斯辛格在大雨中等待着入场。 Outside, in the pouring rain, fan Chris Singer was waiting to get in. “这是朝圣,克利斯说,“我应当跪着爬进去。 “ This is pilgrimage, Chris said, “I ought to be crawling on my knees. 对于这一切好评及个人崇拜,你怎么看? How do you feel about all this adulation and hero worship 当米克贾格
8、尔的崇拜者们把他视为上帝的最高代表或是一个神时,你是赞成还是反对? When Mick Jaggers fans look at him as a high priest or a god, are you with them or against them 你也和克利斯辛格一样对鲍勃狄伦怀有几乎是宗教般的崇敬吗? Do you share Chris Singers almost religious reverence for Bob Dylan 你认为他或狄伦是步入歧途吗? Do you think he or Dylan is misguided 你也认为艾利丝库珀令人恶心而拒不承受吗?
9、 Do you reject Alice Cooper as sick 莫非你会稀里糊涂地被这个惊异的小丑吸引,缘由就在于他表达出你最狂热的幻想? Or are you drawn somehow to this strange clown, perhaps because he acts out your wildest fantasies 这些并不是闲谈。 These arent idle questions. 有些社会学家认为对这些问题的答复可以充分说明你在想些什么以及社会在想些什么也就是说,有关你和社会的看法。 Some sociologists say that your answe
10、rs to them could explain a lot about what you are thinking and about what your society is thinking in other words, about where you and your society are. 社会学家欧文霍洛威茨说:“音乐表现其时代。 “Music expressed its times, says sociologist Irving Horowitz. 霍洛威茨把摇滚乐的舞台视为某种辩论的论坛,一个各种思想交锋的场所。 Horowitz sees the rock music
11、arena as a sort of debating forum, a place where ideas clash and crash. 他把它看作是一个美国社会努力为自己的感情及信仰不断重新进展说明的地方。 He sees it as a place where American society struggles to define and redefine its feelings and beliefs. 他说:“重新说明是一项只有青年人才能执行的任务。只有他们才把创建及夸张、理性及运动、言语及声音、音乐及政治融为一体。 “The redefinition, Horowitz s
12、ays, “is a task uniquely performed by the young. It is they alone who combine invention and exaggeration, reason and motion, word and sound, music and politics. 作曲兼演唱家托德伦德格伦对这个观点表示赞同。 Todd Rundgren, the composer and singer, agrees. 他说:“摇滚乐及其说是一种音乐力气不如说是一种社会心理的表现。就连埃尔维斯普雷斯利也并非是一种宏大的音乐力气,他只不过是表达了50年头青
13、少年那种心灰意冷的精神状态。 “Rock music, he says, “is really a sociological expression rather than a musical force. Even Elvis Presley wasnt really a great musical force. Its just that Elvis managed to embody the frustrated teenage spirit of the 1950s. 毫无疑问,普雷斯利震惊了美国的成人世界。 Of course Presley horrified adult Ameri
14、ca. 报纸写社论攻击他,电视网也制止播他,但或许埃尔维斯证明了霍洛威茨和伦德格伦的看法。 Newspapers editorialized against him, and TV networks banned him. But Elvis may have proved what Horowitz and Rundgren believe. 当他通过电视上埃德沙利文的星期日晚间的综艺节目出如今千百万人面前时,就引起了某种辩论。 When he appeared on the Ed.Sullivan Sunday night variety show in front of millions
15、, a kind of “debate took place. 多数年纪大的观众眉头紧皱,而大多数年轻观众那么报以掌声欢迎。 Most of the older viewers frowned, while most of the younger viewers applauded. 摇滚乐评论家们说,从埃尔维斯到艾利丝,很多歌星扶植我们的社会讲解其信仰及看法。 Between Elvis and Alice, rock critics say, a number of rock stars have helped our society define its beliefs and atti
16、tudes. 鲍勃狄伦触动了对现状不满的神经,他唱到民权、核散落物以及孤独。 Bob Dylan touched a nerve of disaffection. He spoke of civil rights, nuclear fallout, and loneliness. 他唱到变革和老一代人的迷茫,他在歌声中唱道:“这儿正发生着什么事,你不知道是什么事,对吗,琼斯先生? He spoke of change and of the bewilderment of an older generation. “Somethings happening here, he sang. “You
17、 dont know what it is, do you, Mr.Jones 其别人也参与了这场辩论。 Others entered the debate. 霍洛威茨说,甲壳虫乐队以幽默的方式,或许还借助麻醉品的力气来提倡和平及忠诚。高傲无理、打架斗殴的滚石乐队成员要求革命。杰斐逊飞机乐队的歌曲“我们可以结合和“志愿者有一场革命那么是激进青年的更进一步的两项声明。 The Beatles, Horowitz said, urged peace and piety, with humor and maybe a little help from drugs. The Rolling Stone
18、s, arrogant street-fighting men, demanded revolution. The Jefferson Airplanes “We Can Be Together and Volunteers (Got a Revolution) were two further statements of radical youth. 但政治并不是60年头强硬派摇滚乐所辩论的惟一主题,始终作为任何音乐永久组成部分的情感也是一个重要题目。 But politics wasnt the only subject debated in the hard rock of the si
19、xties. Feelings, always a part of any musical statement, were a major subject. 詹妮丝乔普林用歌声表达自己的哀痛。 Janis Jophin sang of her sadness. 甲壳虫乐队提示出爱及恨之间的一系列的感情。 The Beatles showed there were a range of emotions between love and hate. 以后又出现了“乐队乐队把乡村音乐和西部音乐所表达的较为传统的观念及强硬派摇滚乐较为激进的“都市观念结合在一起。 Then came The Band
20、, mixing the more traditional ideas of country and western music into the more radical city ideas of the hard rock. 霍洛威茨认为这一成分的乡村音乐扶植听众表达了一种“摆脱这一切,“重返过去时间的剧烈愿望。 This country element, Horowitz feels, helped its audience express an urge to “get away from it all, to “go back to the old day. 当前最能说明霍洛威茨看
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