自考高級(jí)英語(yǔ)上冊(cè)課文中英對(duì)照

1、- 1 -Lesson 1: Rock Superstars: What Do They Tell Us About Ourselves and Our Society?關(guān)于我們和我們的社會(huì)，他們告訴了我們些什么？ What Do They Tell Us About Ourselves and Our Society? 搖滾樂(lè)是青少年叛逆的音樂(lè)。 ——搖滾樂(lè)評(píng)論家約相?羅克韋爾 Rock is the music

2、 of teenage rebellion. --- John Rockwell, rock music critic 知其崇拜何人便可知其人。 ——小說(shuō)家羅伯特?佩恩?沃倫 By a man’s heroes ye shall know him. --- Robert Penn Warren, novelist 1972 年 6 月的一天，芝加哥圓形劇場(chǎng)擠滿了大汗淋漓、瘋狂搖擺的人們。 It was mid-J

3、une, 1972, the Chicago Amphitheater was packed, sweltering, rocking. 滾石搖滾樂(lè)隊(duì)的邁克?賈格爾正在臺(tái)上演唱“午夜漫步人”。 Mick Jagger of the Rolling Stones was singing “Midnight Rambler.” 演唱結(jié)束時(shí)評(píng)論家唐?赫克曼在現(xiàn)場(chǎng)。 Critic Don Heckman was there when t

4、he song ended. 他描述道：“賈格爾抓起一個(gè)半加侖的水罐沿舞臺(tái)前沿邊跑邊把里面的水灑向前幾 排汗流浹背的聽(tīng)眾。聽(tīng)眾們蜂擁般跟隨著他跑，急切地希望能沾上幾滴洗禮的圣水。 “Jagger,” he said, “grabs a half-gallon jug of water and runs along the front platform, sprinkling its contents over the first f

5、ew rows of sweltering listeners. They surge to follow him, eager to be touched by a few baptismal drops”. 1973 年 12 月下旬的一天，約 1.4 萬(wàn)名歌迷在華盛頓市外的首都中心劇場(chǎng)尖叫著， 亂哄哄地?fù)硐蚺_(tái)前。 It was late December, 1973, Some 14,000 screaming fans wer

6、e crunching up to the front of the stage at Capital Center, outside Washington, D.C. 美國(guó)的恐怖歌星艾利絲?庫(kù)珀的表演正接近尾聲。 Alice Cooper, America’s singing ghoul, was ending his act. 他表演的最后一幕是假裝在斷頭臺(tái)上結(jié)束自己的生命。 He ends it by pretending

7、 to end his life – with a guillotine. 他的“頭”落入一個(gè)草籃中。 His “head” drops into a straw basket. “哎呀！”一個(gè)黑衣女孩子驚呼道：“啊!真是了不起，不是嗎？”。 “Ooh,” gasped a girl dressed in black. “Oh, isn’t that marvelous?” 當(dāng)時(shí)，14 歲的邁克珀力也在場(chǎng)，但他的父母不在那里。

8、 Fourteen-year-old Mick Perlie was there too, but his parents weren’t. “他們覺(jué)得他惡心，惡心，惡心，”邁克說(shuō)，“他們對(duì)我說(shuō)，你怎么受得了那些？” “They think he’s sick, sick, sick,” Mike said. “They say to me, ‘How can you stand that stuff?’” 1974 年 1 月下

9、旬的一天，在紐約州尤寧谷城拿騷體育場(chǎng)內(nèi)，鮑勃?狄倫和“樂(lè)隊(duì)” 樂(lè)隊(duì)正在為音樂(lè)會(huì)上要用的樂(lè)器調(diào)音。 It was late January, 1974. Inside the Nassau Coliseum in Uniondale, New York, Bob Dylan and The Band were tuning for a concert. 館外，搖滾歌迷克利斯?辛格在大雨中等待著入場(chǎng)。 Outside, in the p

10、ouring rain, fan Chris Singer was waiting to get in. “這是朝圣，”克利斯說(shuō)，“我應(yīng)該跪著爬進(jìn)去。” “ This is pilgrimage,” Chris said, “I ought to be crawling on my knees.” 對(duì)于這一切好評(píng)及個(gè)人崇拜，你怎么看？ How do you feel about all this adulation and hero

11、 worship? 當(dāng)米克?賈格爾的崇拜者們把他視為上帝的最高代表或是一個(gè)神時(shí)，你是贊成還是反- 3 -kind of “debate” took place. 多數(shù)年紀(jì)大的觀眾眉頭緊皺，而大多數(shù)年輕觀眾則報(bào)以掌聲歡迎。 Most of the older viewers frowned, while most of the younger viewers applauded. 搖滾樂(lè)評(píng)論家們說(shuō)，從埃爾維斯到艾利絲，許多歌星幫助我們

12、的社會(huì)解說(shuō)其信仰 與態(tài)度。 Between Elvis and Alice, rock critics say, a number of rock stars have helped our society define its beliefs and attitudes. 鮑勃?狄倫觸動(dòng)了對(duì)現(xiàn)狀不滿的神經(jīng)，他唱到民權(quán)、核散落物以及孤獨(dú)。 Bob Dylan touched a nerve of disaffection. He

13、spoke of civil rights, nuclear fallout, and loneliness. 他唱到變革和老一代人的迷茫，他在歌聲中唱道：“這兒正發(fā)生著什么事，你不知 道是什么事，對(duì)嗎，瓊斯先生？” He spoke of change and of the bewilderment of an older generation. “Something’s happening here,” he sang. “Yo

14、u don’t know what it is, do you, Mr.Jones?” 其他人也加入了這場(chǎng)辯論。 Others entered the debate. 霍洛威茨說(shuō)，甲殼蟲(chóng)樂(lè)隊(duì)以幽默的方式，或許還借助麻醉品的力量來(lái)倡導(dǎo)和平與 虔誠(chéng)。傲慢無(wú)理、打架斗毆的滾石樂(lè)隊(duì)成員要求革命。杰斐遜飛機(jī)樂(lè)隊(duì)的歌曲“我們能 夠聯(lián)合”和“志愿者”（有一場(chǎng)革命）則是激進(jìn)青年的更進(jìn)一步的兩項(xiàng)聲明。 The Beatles, Horowitz sai

15、d, urged peace and piety, with humor and maybe a little help from drugs. The Rolling Stones, arrogant street-fighting men, demanded revolution. The Jefferson Airplane’s “We Can Be Together” and Volunteers (Got a Revolu

16、tion)” were two further statements of radical youth. 但政治并不是 60 年代強(qiáng)硬派搖滾樂(lè)所辯論的惟一主題，始終作為任何音樂(lè)永恒組 成部分的情感也是一個(gè)重要題目。 But politics wasn’t the only subject debated in the hard rock of the sixties. Feelings, always a part of any m

17、usical statement, were a major subject. 詹妮絲?喬普林用歌聲表達(dá)自己的悲哀。 Janis Jophin sang of her sadness. 甲殼蟲(chóng)樂(lè)隊(duì)揭示出愛(ài)與恨之間的一系列的感情。 The Beatles showed there were a range of emotions between love and hate. 以后又出現(xiàn)了“樂(lè)隊(duì)”樂(lè)隊(duì)把鄉(xiāng)村音樂(lè)和西部音樂(lè)所表達(dá)的較為

18、傳統(tǒng)的觀念與強(qiáng)硬 派搖滾樂(lè)較為激進(jìn)的“都市”觀念結(jié)合在一起。 Then came The Band, mixing the more traditional ideas of country and western music into the more radical ”city” ideas of the hard rock. 霍洛威茨認(rèn)為這一成分的鄉(xiāng)村音樂(lè)幫助聽(tīng)眾表達(dá)了一種“擺脫這一切”，“重返過(guò)去 時(shí)光”的強(qiáng)烈愿望。 This

19、 country element, Horowitz feels, helped its audience express an urge to “get away from it all,” to “go back to the old day. 當(dāng)前最能說(shuō)明霍洛威茨看法的例子之一就是約翰?丹佛，他最著名的歌曲《陽(yáng)光照 在我肩上》 、 《高高的落基山》和《鄉(xiāng)間小路》把民間搖滾樂(lè)的音樂(lè)靈魂與力量結(jié)合了 起來(lái)，而歌詞則贊美了“往日美好時(shí)

20、光”的樸素的歡樂(lè)。 .” One of the best current examples of what Horotwitz is talking about is John Denver. His most notable songs – “Sunshine on My Shoulders”, “Rocky Mountain High”, and “Country Road” – combine the musical driv