英文名著經(jīng)典段落閱讀
英文名著經(jīng)典段落閱讀
經(jīng)典名著是人類優(yōu)秀思想的記錄與保存,是當(dāng)下人類物質(zhì)和精神生活的源頭活水,更是實(shí)施通識(shí)教育的重要載體。下面是學(xué)習(xí)啦小編帶來(lái)的英文名著經(jīng)典段落閱讀，歡迎閱讀!
英文名著經(jīng)典段落精選
The process of adaptation has been seen as unidirectional – going always from literary text to film – with priority for the former at the expense of the latter. Consequently, the study of adaptation tended to concentrate on the comparison between two types of text and the measure of success attained transferring from one to the other. In summary, the concern of critics has been to verify the faithfulness of the film compared to the work of fiction, that is, if the film manages to capture all the elements of the narrative: plot, characters, etc.
The first serious theoretical work on adaptation appeared in 1957.George Bluestone defended the possibility of the metamorphosis of novels into other means, each with their narrative resources. Studies such as those of Geoffrey Wagner and Dudley Andrew followed, both adopting the criterion of faithfulness. The former classified adaptations according to how close they were to the literary text, considering those which were closest as transpositions, those which were not so close as commentaries and those which used the original only as a clue as allegories. Dudley Andrew classified them in a way more or less parallel to Wagner’s terminology, as loans, intersections and transformations, respectively. As a whole, all the process was seen as a translation – an intersemiotic translation – in so far as it was meant to transmit a message/story/idea, conceived in a given system –literature – in terms of another sign system – the cinema. The analysis of adaptation concentrated on seeking equivalencies, that is, in the success of the filmmaker finding filmic means to substitute the literary. Therefore, they began to look for filmic resources which had functions parallel to those of the literary work. However, this held its privileged position, the touchstone to evaluate the film. They always sought to find “What Novels Can do that Films Can’t and vice-versa”.
英文名著經(jīng)典段落鑒賞
Me and My Cello
我和我的大提琴
Six years ago I, then a fellow of 35, was struck by an impulse of the romantic and irreducible sort, which I have since compared to a torrid scene in The Godfather except that it was not a Sicilian virgin who fired my thoughts but a shapely descendant of the violin family, the cello.Straightaway I obtained a rental instrument of heavy plywood and appeared before Wendell Margrave, professor of musical instruction. It was winter. "You can be as good as you want to be," Margrave said rather mysteriously. On a scrap of paper he drew a staff with the notes E and F. He showed me where to put my fingers on the neck and how to draw the bow. Then he entered my name in his book: 10 a.m. Tuesday. Tuesday followed Tuesday, and soon it was spring.
六年前，我已是35歲的人了，心里卻突然產(chǎn)生一種浪漫卻又無(wú)法減弱的沖動(dòng)，我把這種沖動(dòng)比作電影《教父》里熱烈的一幕。不過(guò)，激起我這種想法的，不是西西里島上的少女，而是提琴家族中外形優(yōu)美的后裔——大提琴。我立刻租了一具厚膠合板制作的大提琴，然后來(lái)到音樂(lè)教授溫德?tīng)?middot;馬格瑞夫面前。那是冬天的事。“你想拉得多好就可以有多好，”馬格瑞夫的話說(shuō)得很玄妙。他在一張紙上畫出五線譜，標(biāo)上E和F兩個(gè)音調(diào)符。他向我示范手指應(yīng)放在琴頸的什么部位，怎樣運(yùn)弓。然后，他在記事簿上記下我的姓名：星期二上午10時(shí)。一個(gè)又一個(gè)星期二過(guò)去，很快就到了春天。
ignorance and into the dream. Is there one among us who has not had this dream? Who hasnot picked up a friend's guitar and felt the songs locked inside? Who has not wondered if hecould learn to play the Moonlight Sonata, at least the easy beginning part? It was mostremarkable to have a teacher again. E-F, E-F, we played together - and moved on to G. It wasa happy time. I was again becoming, and no longer trapped in what I had become.Surely themost abominable recognition of middle life is that we are past changing. Oh, we switch –switch salad dressings and mutual funds -- but we don't change. We do what we can alreadydo. The cello was something I demonstrably couldn't do. Yet each Tuesday I could not do itslightly less.No one was watching, and a good thing. In an upstairs room of my city house, atmidnight, I would send out through the open windows long, tortured fragments of AlwinSchroeder's 170 Foundation Studies for Violoncello to mingle with the squeals of cats. Thefootfalls of unseen passers-by would curiously stop, and then 1resume in haste.Riding homeon the bus one snowy night and perusing the score of Mozart's C-Major 1Quintet, I felt thepage burst into music in my hands. I could by then more or less read a score, and washumming the cello line, when suddenly all five parts blossomed 1harmonically in my head.The fellow across the aisle stared. I met his glance with tears, actually hearing the music in myhead for the first time. Could he hear it too, perhaps? No, he got off at the next stop.
我就是這樣開(kāi)始了從無(wú)知駛向夢(mèng)想的航行。我們當(dāng)中有誰(shuí)沒(méi)做過(guò)這樣的夢(mèng)?誰(shuí)沒(méi)拿起過(guò)朋友的吉他而感覺(jué)到其中所藏著的妙歌仙曲?誰(shuí)沒(méi)有思忖著自己能否學(xué)會(huì)演奏《月光》奏鳴曲，哪怕是開(kāi)頭容易的那部分?再次有個(gè)老師真是再好不過(guò)了。E——F，E——F，我們一起拉，然后移到G調(diào)。這是一段愉快的時(shí)光。我再次有了變化，變得不再深陷在已成形的自我里了。當(dāng)然，中年人最不愿承認(rèn)的，就是自己已經(jīng)錯(cuò)過(guò)了能改變的時(shí)候。噢，我們也改變——變變色拉的調(diào)料，換換互惠基金——但我們自己并無(wú)變化。我們做已經(jīng)會(huì)做的事情，拉大提琴是我顯然不會(huì)做的事情，不過(guò)，每星期二，我多少總得學(xué)會(huì)一點(diǎn)。沒(méi)有人看我拉琴，這是件好事。午夜時(shí)分，我在城里住宅的樓上房間里，經(jīng)常拉阿爾溫·舒羅德的《大提琴基本練習(xí)曲170首》，從敞開(kāi)的窗戶傳出長(zhǎng)時(shí)間折磨人的練習(xí)曲片段，和貓的抗議聲混在一起。看不見(jiàn)過(guò)路人，但聞其腳步聲好奇地停下，然后又匆匆走開(kāi)。在一個(gè)飄雪的夜晚，我乘公共汽車回家，在車上仔細(xì)閱讀莫扎特C大調(diào)五重奏的總譜。我覺(jué)得樂(lè)譜在我手中突然變成了音樂(lè)。當(dāng)時(shí)，我已多少能閱讀總譜，小聲哼著大提琴的調(diào)子，突然，那五個(gè)部分如花一般很和諧地在我腦中開(kāi)放。坐在我對(duì)面的人盯著我看。我迎著他的目光時(shí)，眼里含著淚，這的確是我第一次在心中聽(tīng)到了音樂(lè)。也許他也能聽(tīng)到?不，他第二站就下車了。
As the years slipped by, my daughter passed into the teen-age vale, developing a youthfulproficiency on the piano. My goal was that she and I would one day perform together. I alsowanted to perform in public with and for my 1peers, and to be secretly envied.I continue toplay, to perform, but it is not the same. Fantasy, it turns out, is 1debased in the1attainment. Before, when I heard a cello, it was all beauty and light. Now, as the TV camerapushes in close to Rostropovich's face, I recognize that 1charismatic grin as a mask offierce determination. Even for him, the cello is an 1intractable instrument, unforgiving ofambition. I picked up my cello, 1screw tight the hairs of the bow and soar once more intoBelle Nuit, the 1vibrato still wobbling like an unbalanced tire. As good as I wanted to be, I amas good as I'm going to get. It is good enough.
時(shí)間一年年地過(guò)去，我女兒已是十幾歲的少女，成長(zhǎng)為熟練的青年鋼琴手。我的目標(biāo)是有朝一天能和女兒一起演奏。我還向往能同像我一樣的音樂(lè)愛(ài)好者們?cè)诠矆?chǎng)所演奏，而且有人在暗中羨慕我。我繼續(xù)練琴、演奏，但情形和從前大不一樣了。結(jié)果是，幻想在實(shí)現(xiàn)后魅力大減。從前我聽(tīng)到大提琴，覺(jué)得那聲音是美麗和光彩的組合?，F(xiàn)在，電視鏡頭放出羅斯特羅波維奇的面部特寫時(shí)，我發(fā)現(xiàn)他那充滿魅力的笑臉其實(shí)是堅(jiān)定決心的面具。即使對(duì)他來(lái)說(shuō)，大提琴也是難以駕馭的樂(lè)器——它對(duì)雄心萬(wàn)丈的人也一樣鐵面無(wú)情。我拿起我的大提琴，擰緊弓毛，再一次悠揚(yáng)地奏起《夜色美麗》，顫音仍然顫抖如同不平衡的輪胎。以前我想拉一手好琴，現(xiàn)在我已做到了，我和我想的一樣好。這就已經(jīng)夠了。
英文名著經(jīng)典段落欣賞
A Reason, Season, or Lifetime
People come into your life for a reason, a season, or a lifetime. When you figure outwhich one it is, you will know what to do for each person.
When someone is in your life for a REASON, it is usually to meet a need you have expressed. They have come to assist you through a difficulty, to provide you with guidance and support, to aid you physically, emotionally, or spiritually. They are there for the reason you need them to be. Then, without any wrongdoingon your part, or at an inconvenient time, this person will say or do something to bring the relationship to an end. Sometimes they walk away. Sometimes they act up and force you to take a stand. Sometimes they die. What we must realize is that our need has been met, our desire fulfilled, their work is done. Your need has been answered, and now it is time to move on.
When people come into your life for a SEASON, it is because your turn has come to share, grow, or learn. They bring you an experience of peace, or make you laugh. They may teach you something you have never done. They usually give you an unbelievable amount of joy. Believe it! It is real! But, only for a season.
LIFETIME relationships teach you lifetime lessons; things you must build upon in order to have a solid emotional foundation. Your job is to accept the lesson, love the person, and put what you have learned to use in all other relationships and areas of your life. It is said that love is blind but friendship is clairvoyant.
英文名著經(jīng)典段落閱讀
A Great Friendship
—Thomas Jefferson and James Madison
Thomas Jefferson and James Madison met in 1776. Could it have been any other year? They worked together starting then to further the American Revolution and later to shape the new scheme of government. From that work sprang a friendship perhaps incomparable in intimacy and the trustfulness of collaboration and indurations. It lasted 50 years. It included pleasure and utility but over and above them, there were shared purpose, a common end and an enduring goodness on both sides. Four and a half months before he died, when he was ailing, debt-ridden, and worried about his impoverished family, Jefferson wrote to his longtime friend. His words and Madison's reply remind us that friends are friends until death. They also remind us that sometimes a friendship has a bearing on things larger than the friendship itself, for has there ever been a friendship of greater public 1consequence than this one?
"The friendship which has 1subsisted between us now half a century, the harmony of our political 1principles and pursuits have been sources of constant happiness to me through that long period. It's also been a great 1solace to me to believe that you're 1engaged in 1vindicating to 1posterity the course that we've pursued for preserving to them, in all their purity, their blessings of self-government, which we had assisted in acquiring for them. If ever the earth has beheld a system of administration 1conducted with a single and 1steadfast eye to the general interest and happiness of those committed to it, one which, protected by truth, can never know 1reproach, it is that to which our lives have been devoted. Myself, you have been a 2pillar of support throughout life. Take care of me when dead and be assured that I shall leave with you my last 2affections." (Feb 17, 182
A week later Madison replied--
"You cannot look back to the long period of our private friendship and political harmony with more 2affecting 2recollections than I do. If they are a source of pleasure to you, what aren't they not to be to me? We cannot 2be deprived of the happy 2consciousness of the pure devotion to the public good with which we 2discharge the trust committed to us and I 2indulge a confidence that 2sufficient evidence will find its way to another generation to ensure, after we are gone, whatever of justice may be 2withheld 3whilst we are here."