新标准大学英语综合教程3课文与翻译
clumsy and a child who falls over may be laughed at, shouted at, or 之为 poto）。小孩子经常因为笨手笨脚而挨beaten. Children are thought of as mischievous; they cry or want to 骂，他们连摔跤都会被嘲笑、呵斥，甚至被feed simply because they are naughty, and beatings are at their most 打。人们认为儿童很顽皮，都是因为淘气他severe betweenthe ages of three and five when children are seen as 们才哭闹，或者要东西吃。在大人看来，三particularly wilful. Parents believe that social competence can only 至五岁的儿童尤其任性，因此他们打这个年be achieved through discipline and physical punishment, and treat 龄段的孩子也打得最狠。父母们相信，只有their children in ways that have seemed very harsh to outsiders.
靠训导和体罚才能使孩子获得社会能力，所以他们用一种在外人看来非常严厉的方式对
7 In other cases, ideas about children are radically different. For 待孩子。 example, the Beng, a small ethnic group in West Africa, assume that
very young children know and understand everything that is said to 7. 在其他的例子中，有关儿童的观念则截them, in whatever language they are addressed. The Beng, who've 然不同。例如，西非的一个叫孟加拉的很小been extensively studied by another anthropologist, Alma Gottlieb, 的族群认为，不管说什么、用什么语言说，believe in a spirit world where children live before they are born and 小孩子都能听明白，并且能理解。另一位人where they know all human languages and understand all cultures. 类学家阿尔玛·戈特利布对孟加拉族进行了广Life in the spirit world is very pleasant and the children have many 泛的研究，孟加拉族人认为小孩子出生前居friends there and are often very reluctant to leave it for an earthly 住在灵界，在那里他们通晓人类所有的语言，family (a fictional account of a spirit child's journey between the 能理解所有的文化。灵界的生活很惬意，小spirit and the earthly world is given in Ben Okri's novel, The 孩子在那里有很多朋友，他们通常极不愿意Famished Road). When they are born, they remain in contact with 离开那儿，来到地球上的家庭中（本·奥克雷this other world for several years, and may decide to return there if 的小说《饥饿之路》就描述了一个小孩在灵they are not properly looked after. So parents treat young children 界和人世之间往返的故事） 。他们出生后仍with great care so that they're not tempted to return, and also with 然与那个世界保持长达数年的联系，如果没some reverence, because they're in contact with the spirit world in a 有得到良好的照顾，他们就可能要返回灵界。way that adults aren't.
因此，父母们悉心照料孩子，以免他们受到诱惑，回归灵界，而且对他们也有几分敬畏，
8 There's a tendency to view children in the UK, and in the 因为他们具备大人所不具备的通灵的本领。 Western world in general, as incompetent and dependent. But this
isn't the case throughout the world. In many societies children work 8. 在英国及其他西方国家，越来越多的人and contribute to the family in whatever way they can from a very 认为儿童缺乏能力，依赖性强。但也不是全early age. A good example of this is childcare. In the UK, it is illegal 世界的人都持这种看法。在很多社会里孩子for a child under the age of 14 to look after another child 从小就开始工作，寻找各种机会为家里挣钱。unsupervised,
because
they're
deemed
incompetent
and 以看管孩子为例，在英国，14岁以下的儿童
irresponsible. In other cultures, this is not the case. Michelle Johnson 在没有成人监督的情况下照看其他孩子是非has written about the Fulani of West Africa describing how by the 法的，因为人们认为他们缺少看孩子的能力age of four, girls are expected to be able to care for their younger 和责任心。而在其他文化里，情况并非如此。siblings, fetch water and firewood and by the age of six will be 米歇尔·约翰逊曾写过西非的富拉尼族女孩四pounding grain, producing milk and butter and selling these 岁就得照看年幼的弟弟妹妹，要打水、拾柴，alongside their mothers in the market.
9 Across the world, among the Yanamam? of the Amazonian
rainforest, another anthropologist, Napoleon Chagnon, has shown 9. 另一位人类学家拿破仑·沙尼翁证实了在how different these children's childhoods are from Western ones, 世界的另一端，地处亚马逊雨林的亚那马莫and also how differently boys and girls grow up in comparison with 族孩子的童年与西方孩子的童年有什么不other parts of the world. He has written how a Yanamam? girl is 同，以及那里的男孩儿女孩儿们跟世界其他expected to help her mother from a young age and by the age of ten 地方的男孩儿女孩儿的成长方式的差异。他
11 / 64
六岁就得舂米、挤奶、做黄油，并和妈妈一起到市场上去贩卖这些东西。
新标准大学英语综合教程3课文与翻译
will be running a house. By the age of 12 or 13 she is probably 写道，亚那马莫族女孩儿很小就得帮妈妈做married and will have started to have babies. Boys on the other hand, 家务，到十岁就开始管家。到十二、三岁时have far fewer responsibilities. They don't marry until later than girls 可能就结婚生子了。男孩儿的责任则要少得and are allowed to play well into their teens. Western notions of 多，他们比女孩儿晚结婚，可以玩到十八九childhood simply do not \in these cases, where children's 岁。西方的童年观在这里根本不适用，因为competence and responsibilities are understood very differently. 10 Social anthropologists ask questions about how childhood,
and the role of children, is seen within the commUnit ies they study, 10. 社会人类学家探寻的是在他们所研究的rather than how it fits into Western ideas about childhood. By doing 族群里人们是如何看待童年，以及儿童扮演this they seek to avoid imposing outside ideas onto people with very 的角色问题，而不是研究那些地区的童年观different understandings of the world or of making value judgments 是否符合西方的观念。他们这么做是为了避on other people's ways of raising their children. While Westerners 免把外界的观念强加给那些持不同世界观的might take exception to eight- year-old girls working or to 人身上，或者是为了避免对其他民族养育孩12-year-old girls marrying, within their own commUnit ies such 子的方式作价值观方面的判断。西方人可能activities are seen as a normal and positive part of childhood. Indeed, 会反对八岁的女孩儿打工，反对12岁的女孩seen through the eyes of non-Westerners, many \结婚，但在他们自己的族群里，这些事情被childcare practices are seen as extremely bizarre and possibly 视为童年生活的一个积极的常态。的确，在harmful to children. Placing children in rooms of their own, refusing 非西方人看来，许多―正常的‖西方育儿方式to feed them on demand, or letting them cry rather than 极其怪异，可能对孩子是有害的。让孩子在immediately tending to them, are viewed very negatively in many 自己的屋里呆着，想吃东西的时候不给他们societies and lead some to think that Westerners don't know how to 吃，或者任由他们哭闹而不赶快去安抚他们，look after children properly.
11 Childhood is a changing social phenomenon, of continual
fascination and concern. Looking at it from a cross-cultural 11. 童年是一种处于变化之中的社会现象，perspective shows the wide variety of childhoods that exist across 具有持续的吸引力，并且不断受到关注。从the world and warns against interfering in or criticizing people 跨文化角度来看待这个问题能展示出世界上whose lives, and understandings of the world, are very different to 各种各样的童年生活，并警示我们不要随意our own. All societies recognize that children are different to adults 干涉或指责那些生活方式及世界观跟我们不and have particular qualities and needs; what anthropologists and 一样的人。所有的社会都承认儿童和成年人other social scientists are interested in are the ideas that each society 是不同的，他们有自己独特的品性和需求；has about the nature of childhood and the impact these views have 人类学家和社会科学家感兴趣的是每个社会on children's lives.
对儿童的天性都有什么样的看法，以及这些看法又如何影响儿童的生活。
这些在很多社会里都是不对的事情，会让人觉得西方人根本不懂得如何照看孩子。 这里的人们对儿童的能力和责任有着完全不同的理解。
Unit 2-3 Childhood around the world 世界各地的童年 1 My Jewish grandmother used to live close by. She was a 1. 以前，我的犹太奶奶和我住得很近。 她marvelous cook and there would always be something happening in 做得一手好菜，厨房里从来没有消停的时候。 12 / 64
新标准大学英语综合教程3课文与翻译
the kitchen. When a religious festival was approaching, she used to 每逢宗教节日临近，她都要忙上一整天，为家be busy all day preparing a sumptuous family dinner for the 人准备丰盛的晚宴。 小时候我一直和爷爷奶evening. As a child, I would often stay with my grandparents and so 奶在一起，也就成了奶奶的帮厨。 那时我对I was her helper. I used to feel really proud going to the larder to 自己能到储藏室把鸡蛋完好无损地取回来感fetch the eggs, carrying them back carefully so as not to drop them. 到非常自豪。 储藏室里五味俱全，里面有面The larder smelled of everything all at once, flour, spices, honey, 粉、香料、蜂蜜、食用油、柴禾。 我总在观oil, wood. I would watch her every move and she would describe 察奶奶的动作，她会把手头的每一样活都细细everything she was doing in detail so that I would learn.―Pass me 地给我解释，教我怎么做。 她经常会说―把那that fella there‖, she would said, pointing to a frying pan or an 东西递给我‖，手指着一个炒菜锅或是一颗洋onion. Everything was important. Deborah, England
葱。 每件事都很重要。 黛博拉 英国
2 I spent my childhood with my grandmother. I have a funny 2. 我的童年是跟奶奶过的，说起她就让我想memory of her. She used to smoke cigarettes that she rolled herself 起一段有趣的往事。 她经常用报纸卷烟抽。 in a piece of newspaper. When she was not home, I decided to try 有一天她不在家，我想学她的样，就用报纸卷the same. I rolled a piece of newspaper without tobacco inside. 了一个烟卷，但里面没放烟丝。 我点燃报纸Then I lit the roll and tried to smoke it. It burned quickly all the way 卷，放到嘴里吸，报纸很快就烧到了我的鼻头to my nose. I was so embarrassed. Even now, my family talks about 上。 我觉得很丢脸，至今家里人还时常提起that incident. Myeong Ok Lee, South Korea
这件糗事。 李明宇 韩国
3 When I was a child, I would play with stray cats and dogs in 3. 我小时候常和附近的流浪猫、流浪狗玩。 the neighbourhood.
4. 我训练它们，我们一起玩―老师和学生‖、
4 I trained them. We played games which could be called ―医生和病人‖、―售货员和顾客‖、―抢劫犯和他―teachers and students‖, ―doctors and patients‖, ―sellers and 们的头儿‖等游戏。 buyers‖, ―robbers and their leader‖, and so on.
5. 我回家时后面跟了一帮―朋友‖，妈妈吓坏
5 One day when I came home with ―my friends‖ following me, 了。 她冲我直嚷嚷，我只好答应她以后再也my mother was shocked. She shouted at me, and I promised that it 不带它们回家了。 可是后来有一次，她又发would never happen again. However, she found me once again in 现我在自己屋里和好几只狗一起玩―合唱队与my room with my dogs playing a game: ―the chorus and the 乐团‖的游戏。 奥尔加 俄罗斯 orchestra‖. Olga, Russia
6. 小时候，我们没钱买玩具。 有一天，我
6 When I was a small boy, we didn't have any money to buy toys. 们没花一分钱就得到了一个大玩具。 一架俄But one day we got a big toy without paying any money at all. A 罗斯飞机因为燃油耗尽迫降在操场的沙地上，Russian plane, low on fuel, made an emergency landing in the sand 这对我们这个只有几百号人的寂静的小村庄on our playground. It was such exciting news for a small, sleepy 来说可是个激动人心的消息。 因为以前没见village with a population of several hundred people. As no one had 过飞机，全村的人都到操场围观。 我父亲和ever seen a plane before, the entire population of the village came 镇公所的几个官员逮捕了飞行员，那架飞机则to see the plane in our playground. My father and other town 永远地留在了沙地里，成了我们最喜爱的玩officials arrested the pilot, but his plane stayed in that sand forever. 具。 我们常坐在驾驶座上，好像自己与那位It became our favourite toy. We would sit in the pilot's seat, and 糟糕的俄罗斯飞行员不同，是世界上最棒的飞pretend that, unlike the Russian pilot, we were the best pilots in the 行员。 意德兹 土耳其 world. Yildiz, Turkey
13 / 64
新标准大学英语综合教程3课文与翻译
Unit 3-1 How we listen
我们是怎样听音乐的
1 We all listen to music according to our separate capacities. 1. 我们都按照各自不同的能力来听音乐。 但But, for the sake of analysis, the whole listening process may 为了便于分析，如果把听的整个过程分成几个become clearer if we break it up into its component parts, so to 组成部分，那么这个过程会更清晰一些。 从某speak. In a certain sense we all listen to music on three separate 种意义上来说，我们听音乐有三个不同的层次。 planes. For lack of a better terminology, one might name these: 由于缺乏更好的术语，我们姑且把它们命名为：(1) the sensuous plane, (2) the expressive plane, (3) the sheerly （1）感官层次；（2）表现层次；（3）纯音乐musical plane. The only advantage to be gained from 层次。 把听的过程机械地分割为以上三个假想mechanically splitting up the listening process into these 的层次，唯一的好处是让我们更清楚地了解自hypothetical planes is the clearer view to be had of the way in 己是怎样听音乐的。 which we listen.
2. 听音乐最简单的方式是为了去获取乐声带
2 The simplest way of listening to music is to listen for the 来的纯粹的愉悦感，这是音乐的感官层次。 在sheer pleasure of the musical sound itself. That is the sensuous 这个层次上，我们只是听音乐，不做任何思考。 plane. It is the plane on which we hear music without thinking, 我们打开收音机，一边做着其他的事情，一边without considering it in any way. One turns on the radio while 心不在焉地沉浸在音乐中。 乐声本身的魅力带doing something else and absent-mindedly bathes in the sound. A 我们进入一种无需思考的美妙心境。 kind of brainless but attractive state of mind is engendered by the mere sound appeal of the music.
3. 令人意外的是，许多自认为是合格的音乐爱好者在听音乐时过多地使用了这一层次。 他们
3 The surprising thing is that many people who consider 去听音乐会是为了忘却自我。 他们把音乐当成themselves qualified music lovers abuse that plane in listening. 一种慰藉，一种逃避，由此他们进入了一个可They go to concerts in order to lose themselves. They use music 以忘却日常生活的理想世界。 当然，他们也没as a consolation or an escape. They enter an ideal world where 有在思考音乐。 音乐允许他们离开现实，到另one doesn't have to think of the realities of everyday life. Of 一个地方去做梦，因为音乐而做梦，做有关音course they aren't thinking about the music either. Music allows 乐的梦，却从没有真正欣赏过音乐。 them to leave it, and they go off to a place to dream, dreaming
because of and apropos of the music yet never quite listening to it. 4. 的确，乐声的魅力是一种强大而原始的力
量，但是你不该让它占据你过多的兴趣空间。 4 Yes, the sound appeal of music is a potent and primitive 感官层次是音乐的一个重要层次，非常重要，force, but you must not allow it to usurp a disproportionate share 但并不是音乐的全部。 of your interest. The sensuous plane is an important one in music, a very important one, but it does not constitute the whole story.
5. 音乐存在的第二个层次就是我所说的表现层次。 一提到这个问题，我们马上就进入到一
5 The second plane on which music exists is what I have called 个颇具争议的领域。 作曲家总是设法避开有关the expressive one. Here, immediately, we tread on controversial 音乐表现方面的讨论。 斯特拉温斯基不是曾经ground. Composers have a way of shying away from any 声称他的音乐是一个―物体‖，是一件有自我生命discussion of music's expressive side. Did not Stravinsky himself 的―东西‖，除了纯音乐性的存在之外没有任何别proclaim that his music was an \的含意吗？斯特拉温斯基这种不妥协的态度可its own, and with no other meaning than its own purely musical 能源于这样的一个事实：有那么多的人尝试着existence? This intransigent attitude of Stravinsky's may be due to 从众多的音乐作品中读出完全不同的含意。 确the fact that so many people have tried to read different meanings 实，要准确地说出一部音乐作品的含意已经很
14 / 64
新标准大学英语综合教程3课文与翻译
into so many pieces. Heaven knows it is difficult enough to say 难了，要肯定并确定地说出来，还要使每个人precisely what it is that a piece of music means, to say it 对你的解释都感到满意，是难上加难。 但我们definitely, to say it finally so that everyone is satisfied with your 不该因此走到另一个极端，不能去剥夺音乐―表explanation. But that should not lead one to the other extreme of 现‖的权利。 denying to music the right to be \
6. 可能的话，你不妨听听巴赫的《平均律钢琴
6 Listen, if you can, to the 48 fugue themes of Bach's 曲集》中的48个赋格主题。 依次地、一个个Well-Tempered Clavichord. Listen to each theme, one after 地听听其中的每一个主题，你很快就会意识到another. You will soon realize that each theme mirrors a different 每个主题都反映了一个不同的情感世界，你很world of feeling. You will also soon realize that the more 快也会意识到你越觉得某个主题美妙，就越难beautiful a theme seems to you the harder it is to find any word 找到令你完全满意的字眼来描述它。 是的，你that will describe it to your complete satisfaction. Yes, you will 当然知道那个主题是欢快的还是悲伤的。 换句certainly know whether it is a gay theme or a sad one. You will be 话说，你能够在脑海中勾勒出那个主题的情感able, in other words, in your own mind, to draw a frame of 框架。 那么就更仔细地听一下这个悲伤的主题emotional feeling around your theme. Now study the sad one a 吧，要明确悲伤的性质。 是悲观厌世的悲伤，little closer. Try to pin down the exact quality of its sadness. Is it 还是无可奈何的悲伤？是时运不济的悲伤，还pessimistically sad or resignedly sad; is it fatefully sad or 是强颜欢笑的悲伤？ smilingly sad?
7. 假设你很幸运，能用许多词句充分表达你对
7 Let us suppose that you are fortunate and can describe to your 选中主题的确切理解。 但这仍然无法保证其他own satisfaction in so many words the exact meaning of your 人对你的理解都感到满意，他们也完全没有必chosen theme. There is still no guarantee that anyone else will be 要感到满意。 重要的是，每个人能亲自感受某satisfied. Nor need they be. The important thing is that each one 个主题的表现力，或以同样的方式去感受一部feels for himself the specific expressive quality of a theme or, 完整的音乐作品独特的表现力。 如果是一部伟similarly, an entire piece of music. And if it is a great work of art, 大的音乐作品，就别指望每次去听它都能给你don't expect it to mean exactly the same thing to you each time 带来相同的感受。 you return to it.
8. 音乐存在的第三个层次是纯音乐层次。 除
8 The third plane on which music exists is the sheerly musical 了令人愉悦的乐声及其所表现的情感之外，音plane. Besides the pleasurable sound of music and the expressive 乐也因其音符本身以及对音符的处理而存在。 feeling that it gives off, music does exist in terms of the notes 多数听众都没有充分认识到音乐的这第三个层themselves and of their manipulation. Most listeners are not 次。 sufficiently conscious of this third plane.
9. 对我们所有人来说，更加充分地认识这个纯
9 It is very important for all of us to become more alive to 音乐层次非常重要。 毕竟乐曲使用的是实实在music on its sheerly musical plane. After all, an actual musical 在的音乐材料。 聪明的听众一定要做好准备，material is being used. The intelligent listener must be prepared to 随时提升自己对音乐材料以及这些材料的使用increase his awareness of the musical material and what happens 的理解。 他必须要更加有意识地倾听音乐的旋to it. He must hear the melodies, the rhythms, the harmonies, the 律、节奏、和弦及音色。 但最重要的是，为了tone colors in a more conscious fashion. But above all he must, in 能够跟上作曲家的思路，他还必须了解一些音order to follow the line of the composer's thought, know 乐形式方面的知识。 去听所有这些成分就是在something of the principles of musical form. Listening to all of 纯音乐层次上欣赏音乐。 these elements is listening on the sheerly musical plane.
10. 让我重复一遍，我仅仅是为了讲解得更清楚
10 Let me repeat that I have split up mechanically the three 才把听音乐的三个层次机械地分割开来的。 事separate planes on which we listen merely for the sake of greater 实上，我们从来都不会只在其中的一个层次上
15 / 64