研究生英语综合教程下课文翻译详解版

就必须吸引广大观众买门票或在

电视上观看比赛。

吸引和娱乐广大观众并非易事，

因为这些观众中有

很多人没有 技木性的知识，

因而不懂得运动员和教练采取的复杂竞技

技巧和 策略。

由于缺乏这些技术性知识，

人们容易受到运动或赛事之< /p>

外的东西的影响，容易受到天花乱坠的宜传的迷惑。在比赛期间，他

们经常关注那些他们容易理解的事情。

他们喜欢那种运动员冒险并明

< br>显面临身体危险的情境，

他们喜爱那些善长戏剧化表现或者愿意超越

正常的生理极限以致威胁到自己的安全和健康的运动员。

他们喜欢看

到运动员不惜代价，立志求胜。

example, when people lack technical knowledge about

basketball, they are more likely to talk about a single

slam dunks

than

about the consistently

flawless

defense that enabled a team to win a

game .Similarly, those who know little about the technical aspects of ice

skating are more entertained by triple and

quadruple

jumps than by

routines carefully

choreographed

and practiced until they are smooth and

flawless. Without dangerous jumps, naive spectators get bored. They like

athletes who project exciting or controversial

personas

,and they often

rate performances in terms of dramatic expression leading to dramatic

results. They want to see athletes occasionally collapse as they surpass

physical limits, not athletes who know their limits so well they can

successfully compete for years without going beyond them.

5

比如，

他们更津津乐道于某

< br>一个灌篮，而不会关注球队取胜必需的因素

:

自始至终配 合得天衣无

缝的后防。同样，

那些对滑冰技术知之甚少的人，他 们更感兴趣的是

三连跳或四连跳，

而不是那些精心设计并训练直 至流畅、

完美的舞步。

没有惊险的跳跃，

无知的观众会感到厌倦。

他们喜欢那些表现得激动

人心或有争 议性的运动员。

他们往往根据戏剧化的表现是否导致戏剧

化的结 果来评价比赛。

他们想看运动员在超越自己极限时偶尔的突然

失 败，

而不是多年来稳操胜券，

熟知自己极限而不去超越它的运动 员。

a sport comes to depend on entertaining a mass audience,

those involved in the sport often revise their ideas about what is important

in sport. This revision usually involves a shift in emphasis from what

might be called an aesthetic orientation to a heroic orientation. In fact, the

people in sport may even refer to games or matches as

they may refer to themselves as entertainers as well as athletes. This does

not mean that aesthetic orientations disappear, but it does mean that they

often

take a back seat to

the heroic actions that entertain spectators who

don't know enough to appreciate the strategic and technical aspects of the

game or match.

6

< br>当一项体育运动变得依赖于娱乐广大观众时，

对于运动什么才是

< br>重要的，

运动参与者们往往会改变观念。

这一改变常常意 味着重心从

所谓的美学取向向英雄主义取向转变。

其实，

运动员可能甚至把运动

或比赛称为

“

表演秀

”

，并把自己称作表演者兼运动员。这并 不意味着

美学取向不复存在了，

但是这却是意味着与英雄主义行 为相比，

它们

常常退居其后。

英雄主义 行为吸引着那些没有足够的知识欣赏运动或

比赛的策略和技术的观众。

< br>

the need to please naive audiences becomes greater, so does the

emphasis on heroic orientations. This is why television

commentators

for

US football games continually talk about danger, injuries, playing with

pain, and courage. Some athletes, however, realize the dangers associated

with heroic orientations and try to slow the move away from aesthetic

orientations in their sports. For example, some former figure skaters have

called for restrictions on the number of triple jumps that can be included

in skating programs. These skaters are worried that the commercial

success of their sport is coming to rely on the danger of movement rather

than the beauty of movement. However, some skaters seem to be willing

to adopt heroic orientations if this is what will please audiences and

generate revenues. These athletes usually evaluate themselves and other

athletes in terms of the sport

ethic

, and they learn to see heroic actions

signs of true commitment and

dedication

to their sport.

7

取悦无知观众的需求越强烈，

就越会强调英雄主义取向。

这就是

为什么美国橄榄球比 赛的电视评论员喋喋不休地谈论危险、

受伤、

带

伤比赛和胆量。

不过，

有些运动员意识到了与英雄主义 取向随之而来

的危险，并试图在他们的运动中放慢偏离美学取向的步伐。比如，一

些前花样滑冰运动员已经呼吁限制滑冰项目中三连跳的数量。

这些滑< /p>

冰运动员担心，

他们的体育项目在商业上的成功正越来越依赖于动 作

的危险性，而不是动作的美感。然而，另外一些滑冰运动员似乎愿意

< br>采取英雄主义取向，只要这样能取悦观众，获得收入。这些运动员用

体育道德规范 去评价自己和他人，

他们还学会把英雄主义行为看成是

真正地投 入及为运动献身的标志。

8 Commercialization also leads to changes in the organizations that

control sports. When sports begin to depend on generating revenues, the

control of sport organizations usually shifts further and further away from

the players. In fact, the players often lose effective control over the

conditions of their own participation in the sport. These conditions come

under the control of general managers

，

team owners

，

corporate sponsors,

advertisers, media personnel, marketing and publicity staff, professional

management staff, accountants, and agents.

8

商业化同样会导致那些控制体育的组织发生 变化。

当体育开始依

赖于创造收入时，

体育组织的控制权就会离运动员越来越远。

事实上，

运动员常常 对于自身的体育参与环境失去有效控制。

这些环境越来越

受控于 下列人员

:

总经理、运动队老板、企业赞助商、广告商、传媒< /p>

人员、营销和宜传推广人员、专业管理人员、会计师以及经纪人。

9..The organizations that control commercial sports are usually

complex, since they are intended to coordinate the interests of all these

people, but their primary goal is to maximize revenues. This means that

organizational decisions generally reflect the combined economic

interests of many people having no direct personal connection with a

sport or with the athletes involved. The power to affect these decisions

is

grounded in

a variety of resources, many of which are not even connected

with sports. Therefore athletes in many commercial sports find

themselves cut out of decision-making processes even when decisions

affect their health and well- being.

9

那些控制商业体育的组织通常非常复杂，

这是因为它们企图协调

上述所有人的利益，

但它们的首要目标还是盈利最大化。

这意味着组

织决策通常反映 的是许多人的混合利益，

而他们与体育或相关运动员

没有直接联 系。

影响这些决策的力量根植于各种不同的资源，

其中许

多甚至与体育没有关联。

因此，

许多商业体育 中的运动员发现自己被

逐出了决策过程，即便这些决策影响到他们的健康和幸福。

Unit4 Is Google Making Us Stupid

the past few years I've had an uncomfortable sense that

someone, or something, has been tinkering with my brain, remapping the

neural circuitry, reprograming the memory. My mind isn't going

一

so far

as I can tell

一

but it's changing. I'm not thinking the way I used to think.

I

can feel it most strongly when I’m reading. Immersing myself in a book

or a lengthy article used to be easy. My mind would get caught up in the

narrative or the turns of the argument, and I’d spend hours strolling

through long stretches of prose. That's rarely the case anymore. Now my

concentration often starts to drift after two or three pages. I get fidgety,

lose the thread, begin looking for something else to do. I feel as if I'm

always dragging my wayward brain back to the text. The deep reading

that used to come naturally has become a struggle.

1

在过去的几年里，

我老有一种不祥之感，

觉得有什么人，

或什么

东西，

一直在我脑袋里捣鼓不停，

重绘我的脑电 图，

重写我的脑内存。

我的思想倒没跑掉

—

到目前为止我还能这么说，

但它正在改变。

我的

思维方式在变。

这种感觉在我阅读的时候尤为强烈 。

过去总是不费劲

就能让自己沉浸在一本书或一篇长文章中，< /p>

被其中的叙述或不同的论

点深深吸引。

我 还会花数小时徜徉在长篇散文中。

可如今这都不灵了。

现在，我 翻上两三页书，注意力就开始不集中了。我会变得烦躁，抓

不住重点，

< br>开始想找点其他的事情做。

我感觉我似乎要硬拖着我任性

的大脑才能回到文章中。

原本轻松自然的深度阅读，

已成了痛苦 挣扎。

2.I think I know what's going on. For more than a decade now, I've

been spending a lot of time online, searching and surfing and sometimes

adding to the great databases of the Internet. The Web has been a godsend

to me as a writer. Research that once required days in the stacks or

periodical rooms of libraries can now be done in minutes. A few Google

searches, some quick clicks on hyperlinks, and I've got the telltale fact or

pithy quote I was after. Even when I'm not working, I'm as likely as not to

be foraging in the Web's info-thickets2-reading and writing emails,

scanning headlines and blog posts, watching videos and listening to

podcasts, or just tripping from link to link to link. (Unlike footnotes, to

which they're sometimes likened, hyperlinks don't merely point to related

works; they propel you toward them.)

2

我想我知道到底是怎么一回事了。

十多年 来，

我在网上花了好多

时间，在因特网的信息汪洋中冲浪、搜寻 、添加。对作家而言，网络

就像个天上掉下来的聚宝盆。

过去要 在书堆里或图书馆的期刊阅览室

中花上好几天做的研究，现在几分钟就齐活。

谷歌

”

几下，快速点开

几个链接，

就可以找到我所需要的事实或者精炼的引证。

即使在工作

之余，

我也很有可能在信息丰富的 网络里遨游

—

收发电子邮件、

浏览

头条新闻、点击博客、看视频、听播客或者只是从一个链接跳转到一

个又一个链接。

(

超链接常被比作脚注，但是和脚注不一样，超 链接

不仅仅链接到相关作品

;

它们还驱 使你去点击创门。

)

me, as for others , the Net is becoming a universal medium, the

conduit

for most of the information that flows through my eyes and ears

and into my mind. The advantages of having immediate access to such an

incredibly rich store of information are many, and they've been widely

described and

duly

applauded.

Wired's0 Clive Thompson has written,

thinking.

McLuhan pointed out in the 1960s, media are not just passive channels of

information. They supply the stuff of thought, but they also shape the

process of thought. And what the Net seems to be doing is

chipping away

at

my capacity for concentration and contemplation. My mind now

expects to take in information the way the Net distributes it: in a swiftly

moving stream of particles. Once I was a

scuba diver

in the sea of words.

Now I

zip along

the surface like a guy on a Jet Ski.

3

对我来说，

像对其他人也 一样，

网络已经成为了一种通用的媒介，

大部分信息都通过这个 渠道进人我们的眼、

耳，

最后进人我们的大脑。

能从这样一个异常丰富的信息库中直接获取信息，其优点是很多的，

而且也得到 了广泛的描述和适当的赞誉。

“

硅存储器的完美记忆性，

”

《连线》

杂志的克莱夫

?

汤普森写道，

“

对于思想来说是 一个大实惠。

”

但是这个实惠是要付出代价的。

(

此文来自袁勇兵博客

)

就像 媒体理论

家马歇尔

?

麦克卢恩在上世纪

60

年代所指出的那样，

媒体可不只是 被

动的信息渠道。它们不但提供了思想的源泉，也塑造了思想的进程。

< br>网络似乎粉碎了我专注与沉思的能力。

现如今，

我的脑袋 就盼着以网

络提供信息的方式来获取信息

:

飞快的微粒运动。曾经我是文字海洋

中的潜水者，现在我则像是摩托艇骑手在海面上 风驰电掣。

4.I’m not the only one. When I mention my troubles with reading to

friends and acquaintances-literary types, most of them-many say they're

having similar experiences. The more they use the Web, the more they

have to fight to stay focused on long pieces of writing. Some of the

bloggers I follow have also begun mentioning the phenomenon. Scott

Karp, who writes a blog about online media, recently confessed that he

has stopped reading books altogether.

used to be a

voracious

book reader,

speculates on

the answer:

much because the way I read has changed, i.e. I'm just seeking

convenience, but because the way I think has changed?

4

我并不是唯一一个有 此感觉的人。

当我向文学界的朋友和熟人提

到我在阅读方面的困 扰，

许多人说他们也有同样的感受。

他们上网越

多，在阅读长文章时，就越难集中精力。我所关注的一些博主也提到

了类似的现 象。斯科特

?

卡普开了一个有关在线媒体的博客，最近他

承认自己已经完全不读书了。

“