大学英语的段落翻译答案解析
大学英语的段落翻译答案解析
翻译是一种复杂的语言活动。所谓翻译,就是将一种语言的思想内容用另一种语言清楚准确地表达出来。 下面是学习啦小编带来的大学英语的段落翻译 ，欢迎阅读!
大学英语的段落翻译1
Unit 5
My father died from "the poor man's friend", pneumonia, one hard winter when his lung illnesses had left him low. I doubt he had much lung left at all, after coughing for so many years. He had so little breath that, during his last years, he was always leaning on something. I remembered once, at a family reunion, when my daughter was two, that my father picked her up for a minute -- long enough for me to photograph them -- but the effort was obvious. Near the very end of his life, and largely because he had no more lungs, he quit smoking. He gained a couple of pounds, but by then he was so slim that no one noticed.
肺部的病痛把我父亲折磨得虚弱不堪，一个严冬，他死于被称为‚穷人之友‛ 的疾病──肺炎。他咳嗽了这么多年，我想他的肺部已没有什么完好的地方了。去世前几年，他的呼吸已经很虚弱了，他总得倚靠着某个东西。我记得有一次全家聚会，当时我女儿才两岁，他抱了她一会儿，好让我有时间给他俩拍张照片。但是很明显，他是费了好大劲儿的。生命行将结束前，他才戒了烟，主要是因为他的肺功能已极度受损。戒烟后他的体重增加了几磅，但当时他太瘦了，所以没人注意到这一点。
Unit 6
For her first twenty-four years, she'd been known as Debbie --a name that didn't suit her good looks and elegant manner. "My name has always made me think I should be a cook," she complained. "I just don't feel like a Debbie."
One day, while filling out an application form for a publishing job, the young woman impulsively substituted her middle name, Lynne, for her first name Debbie. "That was the smartest thing I ever did," she says now. "As soon as I stopped calling myself Debbie, I felt more comfortable with myself ... and other people started to take me more seriously." Two years after her successful job interview, the former waitress is now a successful magazine editor. Friends and associates call her Lynne.
在她人生最初的24年里，人们一直叫她戴比——一个和她的漂亮容貌和优雅举止不相配的名字。‚我的名字总是使我觉得自己应该是一个厨子，‛她抱怨道，‚我真的不想要戴比这个名字。‛
一天，在填写一份出版工作职位的申请表时，这位小姐一时冲动，用她的中名林恩替了她的名字戴比。“这是我一生中干得最漂亮的一件事，”现在她对人这样说，“一旦我不再称自己为戴比，我就感到好多了;而且其他人也开始更认真地对待我了。”顺利地通过那次工作面试两年后，这位昔日的女服务员现在成了一位成功的杂志编辑。朋友和同事们都叫她林恩。
Unit 7
For many people, the root of their stress is anger, and the trick is to find out where the anger is coming from. "Does the anger come from a feeling that everything must be perfect?" Eliot asks.
"That's very common in professional women. They feel they have to be all things to all people and do it all perfectly. They think, 'I should, I must, I have to.' Good enough is never good enough.
Perfectionists cannot delegate. They get angry that they have to carry it all, and they blow their tops. Then they feel guilty and they start the whole cycle over again."
对许多人来说，压力的根源是愤怒，而对付愤怒的诀窍是找出怒从何来。埃利奥特问道：‚这种愤怒是否来自这么一种感觉：希望一切事物都必须完美无缺?‛ ‚这在职业女性中是很常见的原因。她们觉得要让人人感到她们无所不能，而且要把样样事情都做得完美无缺。
她们认为，‘我应该这样，我必须这样，我不得不这样。’追求完美永无止境。完美主义者事必躬亲。他们生气是因为他们不得不把什么事情都扛在自己肩上，还为之发脾气。随后他们就感到内疚，接着他们就再把整个过程重复一遍。‛
大学英语的段落翻译2
Unit1
Howard Gardner, a professor of education at Harvard University, reflects on a visit to China and gives his thoughts on different approaches to learning in China and the West.
哈佛大学教育学教授霍华德·加德纳回忆其中国之行，阐述他对中西方不同的学习方式的看法。
Learning, Chinese-Style
Howard Gardner
1 For a month in the spring of 1987, my wife Ellen and I lived in the bustling eastern Chinese city of Nanjing with our 18-month-old son Benjamin while studying arts education in Chinese kindergartens and elementary schools. But one of the most telling lessons Ellen and I got in the difference between Chinese and American ideas of education came not in the classroom but in the lobby of the Jinling Hotel where we stayed in Nanjing.
中国式的学习风格
霍华德·加德纳
1987年春，我和妻子埃伦带着我们18个月的儿子本杰明在繁忙的中国东部城市南京住了一个月，同时考察中国幼儿园和小学的艺术教育情况。然而，我和埃伦获得的有关中美教育观念差异的最难忘的体验并非来自课堂，而是来自我们在南京期间寓居的金陵饭店的大堂。
2 The key to our room was attached to a large plastic block with the room number on it. When leaving the hotel, a guest was encouraged to turn in the key, either by handing it to an attendant or by dropping it through a slot into a box. Because the key slot was narrow, the key had to be positioned carefully to fit into it. 我们的房门钥匙系在一块标有房间号的大塑料板上。酒店鼓励客人外出时留下钥匙，可以交给服务员，也可以从一个槽口塞入钥匙箱。由于口子狭小，你得留神将钥匙放准位置才塞得进去。
3 Benjamin loved to carry the key around, shaking it vigorously. He also liked to try to place it into the slot. Because of his tender age and incomplete understanding of the need to position the key just so, he would usually fail. Benjamin was not bothered in the least. He probably got as much pleasure out of the sounds the key made as he did those few times when the key actually found its way into the slot.
本杰明爱拿着钥匙走来走去，边走边用力摇晃着。他还喜欢试着把钥匙往槽口里塞。由于他还年幼，不太明白得把钥匙放准位置才成，因此总塞不进去。本杰明一点也不在意。他从钥匙声响中得到的乐趣大概跟他偶尔把钥匙成功地塞进槽口而获得的乐趣一样多。
4 Now both Ellen and I were perfectly happy to allow Benjamin to bang the key near the key slot. His exploratory behavior seemed harmless enough. But I soon observed an interesting phenomenon. Any Chinese staff member nearby would come over to watch Benjamin and, noting his lack of initial success, attempt to assist. He or she would hold onto Benjamin's hand and, gently but firmly, guide it directly toward the slot, reposition it as necessary, and help him to insert it. The "teacher" would then smile somewhat expectantly at Ellen or me, as if awaiting a thank you ─ and on occasion would frown slightly, as if considering us to be neglecting our parental duties.
我和埃伦都满不在乎，任由本杰明拿着钥匙在钥匙的槽口鼓捣。他的探索行为似乎并无任何害处。但我很快就观察到一个有趣的现象。饭店里任何一个中国工作人员若在近旁，都会走过来看着本杰明，见他初试失败，便都会试图帮忙。他们会轻轻握紧本杰明的手，直接将它引向钥匙的槽口，进行必要的重新定位，并帮他把钥匙插入槽口。然后那位“老师”会有所期待地对着我和埃伦微笑，似乎等着我们说声谢谢——偶尔他会微微皱眉，似乎觉得我俩没有尽到当父母的责任。
5 I soon realized that this incident was directly relevant to our assigned tasks in China: to investigate the ways of early childhood education (especially in the arts), and to throw light on Chinese attitudes toward creativity. And so before long I began to introduce the key-slot anecdote into my discussions with Chinese educators. 我很快意识到，这件小事与我们在中国要做的工作直接相关 ：考察儿童早期教育 (尤其是艺术教育)的方式，揭示中国人对创造性活动的态度。因此，不久我就在与中国教育工作者讨论时谈起了钥匙槽口一事。
TWO DIFFERENT WAYS TO LEARN
6 With a few exceptions my Chinese colleagues displayed the same attitude as the staff at the Jinling Hotel. Since adults know how to place the key in the key slot, which is the ultimate purpose of approaching the slot, and since the child is neither old enough nor clever enough to realize the desired action on his own, what possible gain is achieved by having him struggle? He may well get frustrated and angry ─ certainly not a desirable outcome. Why not show him what to do? He will be happy, he will learn how to accomplish the task sooner, and then he can proceed to more complex activities, like opening the door or asking for the key ─ both of which accomplishments can (and should) in due course be modeled for him as well.
两种不同的学习方式
我的中国同行，除了少数几个人外，对此事的态度与金陵饭店工作人员一样。既然大人知道怎么把钥匙塞进槽口——这是处理槽口一事的最终目的， 既然孩子还很年幼，还没有灵巧到可以独自完成要做的动作，让他自己瞎折腾会有什么好处呢?他很有可能会灰心丧气发脾气——这当然不是所希望的结果。为什么不教他怎么做呢?他会高兴，他还能早些学会做这件事，进而去学做更复杂的事，如开门，或索要钥匙——这两件事到时候同样可以 (也应该)示范给他看。
7 We listened to such explanations sympathetically and explained that, first of all, we did not much care whether Benjamin succeeded in inserting the key into the slot. He was having a good time and was exploring, two activities that did matter to us. But the critical point was that, in the process, we were trying to teach Benjamin that one can solve a problem effectively by oneself. Such self-reliance is a principal value of child rearing in middle-class America. So long as the child is shown exactly how to do something ─ whether it be placing a key in a key slot, drawing a hen or making up for a misdeed ─ he is less likely to figure out himself how to accomplish such a task. And, more generally, he is less likely to view life ─ as Americans do ─ as a series of situations in which one has to learn to think for oneself, to solve problems on one's own and even to discover new problems for which creative solutions are wanted.
我俩颇为同情地听着这一番道理，解释道，首先，我们并不在意本杰明能不能把钥匙塞进钥匙的槽口。他玩得开心，而且在探索，这两点才是我们真正看重的。但关键在于，在这个过程中，我们试图让本杰明懂得，一个人是能够很好地自行解决问题的。这种自力更生的精神是美国中产阶级最重要的一条育儿观。如果我们向孩子演示该如何做某件事——把钥匙塞进钥匙的槽口也好，画只鸡或是弥补某种错误行为也好——那他就不太可能自行想方设法去完成这件事。从更广泛的意义上说，他就不太可能——如美国人那样——将人生视为一系列的情境，在这些情境中，一个人必须学会独立思考，学会独立解决问题，进而学会发现需要创造性地加以解决的新问题。
TEACHING BY HOLDING HIS HAND
8 In retrospect, it became clear to me that this incident was indeed key ─ and key in more than one sense. It pointed to important differences in the educational and artistic practices in our two countries.
把着手教
回想起来，当时我就清楚地意识到，这件事正是体现了问题的关键之所在——而且不仅仅是一种意义上的关键之所在。这件事表明了我们两国在教育和艺术实践上的重要差异。
9 When our well-intentioned Chinese observers came to Benjamin's rescue, they did not simply push his hand down clumsily or uncertainly, as I might have done. Instead, they guided him with extreme facility and gentleness in precisely the desired direction. I came to realize that these Chinese were not just molding and shaping Benjamin's performance in any old manner: In the best Chinese tradition, they were ba zhe shou jiao ─ "teaching by holding his hand" ─ so much so that he would happily come back for more.
那些善意的中国旁观者前来帮助本杰明时，他们不是简单地像我可能会做的那样笨拙地或是犹犹豫豫地把他的手往下推。相反，他们极其熟练地、温和地把他引向所要到达的确切方向。我逐渐认识到，这些中国人不是简单地以一种陈旧的方式塑造、引导本杰明的行为：他们是在恪守中国传统，把着手教，教得本杰明自己会愉快地要求再来一次。
10 The idea that learning should take place by continual careful shaping and molding applies equally to the arts. Watching children at work in a classroom setting, we were astonished by their facility. Children as young as 5 or 6 were painting flowers, fish and animals with the skill and confidence of an adult; calligraphers 9 and 10 years old were producing works that could have been displayed in a museum. In a visit to the homes of two of the young artists, we learned from their parents that they worked on perfecting their craft for several hours a day.
学习应通过不间断的精心塑造与引导而得以实现，这一观念同样适用于艺术。我们观看了孩子们在教室里学习艺术的情景，他们的娴熟技艺令我们惊讶。年仅5、6岁的孩子就带着成人的那种技巧与自信在画花、画鱼和动物;9岁、10岁的小书法家写出的作品满可以在博物馆展示。有一次去两位小艺术家的家里参观，我们从孩子的父母处得知，他们每天练习数小时以完善他们的技艺。
CREATIVITY FIRST?
11 In terms of attitudes to creativity there seems to be a reversal of priorities: young Westerners making their boldest departures first and then gradually mastering the tradition; and young Chinese being almost inseparable from the tradition, but, over time, possibly evolving to a point equally original.
创造力第一?
从对创造力的态度来说，优先次序似乎是颠倒了：西方的年轻人先是大胆创新，然后逐渐深谙传统;而中国的年轻人则几乎离不开传统，但是，随着时间的推移，他们同样可能发展到具有创新的境界。
12 One way of summarizing the American position is to state that we value originality and independence more than the Chinese do. The contrast between our two cultures can also be seen in terms of the fears we both harbor. Chinese teachers are fearful that if skills are not acquired early, they may never be acquired; there is, on the other hand, no comparable hurry to promote creativity. American educators fear that unless creativity has been acquired early, it may never emerge; on the other hand, skills can be picked up later.
美国人的立场可以概括起来这么说，我们比中国人更重视创新和自立。我们两种文化的差异也可以从我们各自所怀的忧虑中显示出来。中国老师担心，如果年轻人不及早掌握技艺，就有可能一辈子掌握不了;另一方面，他们并不同样地急于促进创造力的发展。美国教育工作者则担心，除非从一开始就发展创造力，不然创造力就有可能永不再现;而另一方面，技艺可于日后获得。
13 However, I do not want to overstate my case. There is enormous creativity to be found in Chinese scientific, technological and artistic innovations past and present. And there is a danger of exaggerating creative breakthroughs in the West. When any innovation is examined closely, its reliance on previous achievements is all too apparent (the "standing on the shoulders of giants" phenomenon).
但我并不想夸大其辞。无论在过去还是在当今，中国在科学、技术和艺术革新方面都展示了巨大的创造力。而西方的创新突破则有被夸大的危险。如果仔细审视任何一项创新，其对以往成就的依赖则都显而易见(“站在巨人肩膀之上”的现象)。
14 But assuming that the contrast I have developed is valid, and that the fostering of skills and creativity are both worthwhile goals, the important question becomes this: Can we gather, from the Chinese and American extremes, a superior way to approach education, perhaps striking a better balance between the poles of creativity and basic skills?
然而，假定我这里所说的反差是成立的，而培养技艺与创造力两者都是值得追求的目标，那么重要的问题就在于：我们能否从中美两个极端中寻求一种更好的教育方式，它或许能在创造力与基本技能这两极之间获得某种较好的平衡?
Finding a way of teaching children to appreciate the value of money can be a problem. Yet the solution, David Owen suggests, is simple -- just open a bank. Easier said than done? Well, it turns out to be not quite so difficult as it sounds, as you'll discover in reading about the First National Bank of Dave.
设法教育孩子珍惜钱财会是件难事。然而，大卫·欧文说，方法也很简单——开个银行就行。说来容易做起来难?其实，这事并没听上去那么难，你读一读戴夫第一国家银行的故事就知道了。