数学专业英语第二章课文翻译

1－A What is mathematics Mathematics comes from man’s social practice, for example, industrial and agricultural production, commercial activities, military operations and scientific and technological researches. And in turn, mathematics serves the practice and plays a great role in all fields. No modern scientific and technological branches could be regularly developed without the application of mathematics. 数学来源于人类的社会实践，比如工农业生产，商业活动， 军事行动和科学技术研究。反过来，数学服务于实践，并在各个领域中起着非常重要的作用。 没有应用数学，任何一个现在的科技的分支都不能正常发展。From the early need of man came the concepts of numbers and forms. Then, geometry developed out of problems of measuring land , and trigonometry came from problems of surveying . To deal with some more complex practical problems, man established and then solved equation with unknown numbers ,thus algebra occurred. Before 17th century, man confined himself to the elementary mathematics, i.e. , geometry, trigonometry and algebra, in which only the constants are considered. 很早的时候，人类的需要产生了数和形式的概念，接着，测量土地的需要形成了几何，出于测量的需要产生了三角几何，为了处理更复杂的实际问题，人类建立和解决了带未知参数的方程，从而产生了代数学，17世纪前，人类局限于只考虑常数的初等数学，即几何，三角几何和代数。The rapid development of industry in 17th century promoted the progress of economics and technology and required dealing with variable quantities. The leap from constants to variable quantities brought about two new branches of mathematics----****ytic geometry and calculus, which belong to the higher mathematics. Now there are many branches in higher mathematics, among which are mathematical ****ysis, higher algebra, differential equations, function theory and so on. 17世纪工业的快速发展推动了经济技术的进步， 从而遇到需要处理变量的问题，从常数带变量的跳跃产生了两个新的数学分支-----解析几何和微积分，他们都属于高等数学，现在高等数学里面有很多分支，其中有数学分析，高等代数，微分方程，函数论等。Mathematicians study conceptions and propositions, Axioms, postulates, definitions and theorems are all propositions. Notations are a special and powerful tool of mathematics and are used to express conceptions and propositions very often. Formulas ,figures and charts are full of different symbols. Some of the best known symbols of mathematics are the Arabic numerals 1,2,3,4,5,6,7,8,9,0 and the signs of addition, subtraction , multiplication, division and equality. 数学家研究的是概念和命题，公理，公设，定义和定理都是命题。符号是数学中一个特殊而有用的工具，常用于表达概念和命题。公式，图表都是不同的符号……..The conclusions in mathematics are obtained mainly by logical deductions and computation. For a long period of the history of mathematics, the centric place of mathematics methods was occupied by the logical deductions. Now , since electronic computers are developed promptly and used widely, the role of computation becomes more and more important. In our times, computation is not only used to deal with a lot of information and data, but also to carry out some work that merely could be done earlier by logical deductions, for example, the proof of most of geometrical theorems. 数学结论主要由逻辑推理和计算得到，在数学发展历史的很长时间内，逻辑推理一直占据着数学方法的中心地位，现在，由于电子计算机的迅速发展和广泛使用，计算机的地位越来越重要，现在计算机不仅用于处理大量的信息和数据，还可以完成一些之前只能由逻辑推理来做的工作，例如，大多数几何定理的证明。 1－B Equation An equation is a statement of the equality between two equal numbers or number symbols. Equation are of two kinds---- identities and equations of condition. An arithmetic or an algebraic identity is an equation. In such an equation either the two members are alike. Or become alike on the performance of the indicated operation. 等式是关于两个数或者数的符号相等的一种描述。等式有两种－恒等式和条件等式。算术或者代数恒等式是等式。这种等式的两端要么一样，要么经过执行指定的运算后变成一样。An identity involving letters is true for any set of numerical values of the letters in it. An equation which is true only for certain values of a letter in it, or for certain sets of related values of two or more of its letters, is an equation of condition, or simply an equation. Thus 3x-5=7 is true for x=4 only; and 2x-y=0 is true for x=6 and y=2 and for many other pairs of values for x and y. 含有字母的恒等式对其中字母的任一组数值都成立。一个等式若仅仅对其中一个字母的某些值成立，或对其中两个或着多个字母的若干组相关的值成立，则它是一个条件等式，简称方程。因此3x-5=7仅当x=4 时成立，而2x-y=0，当x=6,y=2时成立，且对x, y的其他许多对值也成立。A root of an equation is any number or number symbol which satisfies the equation. There are various kinds of equation. They are linear equation, quadratic equation, etc. 方程的根是满足方程的任意数或者数的符号。方程有很多种，例如： 线性方程，二次方程等。To solve an equation means to find the value of the unknown term. To do this , we must, of course, change the terms about until the unknown term stands alone on one side of the equation, thus making it equal to something on the other side. We then obtain the value of the unknown and the answer to the question. To solve the equation, therefore, means to move and change the terms about without making the equation untrue, until only the unknown quantity is left on one side ,no matter which side. 解方程意味着求未知项的值，为了求未知项的值，当然必须移项，直到未知项单独在方程的一边，令其等于方程的另一边，从而求得未知项的值，解决了问题。因此解方程意味着进行一系列的移项和同解变形，直到未知量被单独留在方程的一边，无论那一边。Equation are of very great use. We can use equation in many mathematical problems. We may notice that almost every problem gives us one or more statements that something is equal to something, this gives us equations, with which we may work if we need it. 方程作用很大，可以用方程解决很多数学问题。注意到几乎每一个问题都给出一个或多个关于一个事情与另一个事情相等的陈述，这就给出了方程，利用该方程，如果我们需要的话，可以解方程。     2－A Why study geometry? Many leading institutions of higher learning have recognized that positive benefits can be gained by all who study this branch of mathematics. This is evident from the fact that they require study of geometry as a prerequisite to matriculation in those schools. 许多居于领导地位的学术机构承认，所有学习这个数学分支的人都将得到确实的受益，许多学校把几何的学习作为入学考试的先决条件，从这一点上可以证明。Geometry had its origin long ago in the measurement by the Babylonians and Egyptians of their lands inundated by the floods of the Nile River. The greek word geometry is derived from geo, meaning “earth” and metron, meaning “measure” . As early as 2000 B.C. we find the land surveyors of these people re-establishing vanishing landmarks and boundaries by utilizing the truths of geometry . 几何学起源于很久以前巴比伦人和埃及人测量他们被尼罗河洪水淹没的土地，希腊语几何来源于geo ，意思是”土地“，和metron 意思是”测量“。公元前2000年之前，我们发现这些民族的土地测量者利用几何知识重新确定消失了的土地标志和边界。     2－B Some geometrical terms A solid is a three-dimensional figure. Common examples of solids are cube, sphere, cylinder, cone and pyramid. A cube has six faces which are **ooth and flat. These faces are called plane surfaces or simply planes. A plane surface has two dimensions, length and width. The surface of a blackboard or of a tabletop is an example of a plane surface. 立体是一个三维图形，立体常见的例子是立方体，球体，柱体，圆锥和棱锥。立方体有6个面，都是光滑的和平的，这些面被称为平面曲面或者简称为平面。平面曲面是二维的，有长度和宽度，黑板和桌子上面的面都是平面曲面的例子。 2－C 三角函数于直角三角形的解One of the most important applications of trigonometry is the solution of triangles. Let us now take up the solution to right triangles. A triangle is composed of six parts three sides and three angles. To solve a triangle is to find the parts not given. A triangle may be solved if three parts (at least one of these is a side ) are given. A right triangle has one angle, the right angle, always given. Thus a right triangle can be solved when two sides, or one side and an acute angle, are given. 三角形最重要的应用之一是解三角形，现在我们来解直角三角形。一个三角形由6个部分组成，三条边和三只角。解一个三角形就是要求出未知的部分。如果三角形的三个部分（其中至少有一个为边）为已知，则此三角形就可以解出。直角三角形的一只角，即直角，总是已知的。因此，如果它的两边，或一边和一锐角为已知，则此直角三角形可解。  

中文翻英文 请高手进来帮帮我 非常紧急 紧急!!!!!!!!!!!!!!可再加分 禁止翻译软件

Intro

The author depicts the possible reactions of people when their fantasies vanish.

What is fantasy and what is real?

When the so-called fantasy and dream have disappeared, one must confront the harsh reality; this is what the author wishes to express.

Paragraph 1

What will you do when your fantasy is shattered ? How do you react? Are you willing to face the harsh reality?

The music box is the sustenance of her fantasy, and it disappears when the music box is lost.

The author uses symboli** to tell the story. He applies the music box to represent the girl’s naivety and fantasy; her father gives her a very beautiful fantasy with the gift of a pretty music box. When a fantasy vanishes, a sense of loss and feelings of unable to accept and face the reality are unavoidable.

For example, the girl keeps asking her mother the whereabouts of the music box, when she is told that it is broken, she is unwilling to accept and face the fact that her fantasy has been shattered.

Another example is that when the girl has found the fragments of the broken music box in the trash, she does not pick them up, but just caresses them and put them back and goes away. It shows that the girl has accepted the reality and given up her fantasy and dream.

Paragraph 2

When fantasy has gone, no more hope is held up, and the fantasy will vanish with the time. The author applies characterization to describe the protagonist’s personality. From this passage at the beginning of the story,”…………………….”, we can see that the girl has a naïve, romantic and dreamer character; that’s why she feels grieved and sad when she discovers the music box has been broken, so much so that she shouts at her mother and accepts nothing from what her mother has said. However, after sober contemplation and time has also shifted her focus, she gives up the music box; her love for it has been played down by time; this is why the family never again mentions this music box.

Paragraph 3

What’s your reaction when confronted with the harsh reality?

The author applies description to vividly tell the story details. He meticulously describes the dialogues, behaviors and emotions of the protagonists to allow us to imagine the development of the story.

For examples:

“…………………..”, This passage shows that the mother forces the girl to accept the harsh reality. Her mother keeps on telling her the fact of the broken music box; she does not want the girl to be indulged in her dream and fantasy, that’s why her mother tells her the truth straightforward.

“………………..”, This passage shows the girl’s reaction when her feelings suffer a big blow and has to face the harsh reality.

“………………….”. This passage shows that the rooftop of this house can represent the spiritual support and spiritual state of this family. Despite poverty-stricken, they still use a spiritual well-being to deceive themselves.

The author makes the story more complete by summing up the girl’s initial unacceptable reaction to her final receptive reaction which allows her fantasy to go away.

求《远大前程》英文版简介 狄更斯的作品

英文版简介：

The development of the novel story can be roughly divided into three parts. The first part describes Pip's simple childhood in the countryside.

He met a fugitive by chance.

And stole something from home to help him. Soon, Pip was invited to play in Miss Haweishamu's Sadisi.

And his heart changed. He fell in love with the beautiful but indifferent Estella and began to feel ashamed of his own origin and loved ones.

One day, Pip was suddenly funded by a person who did not want to be named. He was overjoyed to be sent to London to receive a superior education.

The second part of the story mainly describes Pip's experience of education in London. Due to the infection of the snobbery of the upper class,.

Pip lived a luxurious and decadent life and his moral character became low.

He always thought that Miss Haweishamu had anonymously funded him to receive a noble education.

However, the appearance of the real "benefactor" forced him to face the reality again.

The last part of the novel describes Pip's experience of protecting the exiled prisoner Mageweiqi who fled home.

Although Mageweiqi was eventually unable to escape the fate of arrest, in a series of changes.

Pip finally returned to the beauty of human nature and deeply realized the value of friendship and affection.

翻译：

小说故事的发展大致可分成三个部分。第一部分记述了皮普在乡间的质朴的童年生活。一次偶然的机会他遇见了一名逃犯。

并偷了家里的东西帮助他。不久，皮普受邀到哈维沙姆小姐的萨蒂斯大院玩耍，从此内心发生变化。他爱上了美丽却冷漠的埃斯特拉，开始为自己的出身及亲人感到害臊。

一天，皮普突然受到一位不愿透露姓名的人士资助。被送到伦敦接受上等人的教育，他为此欣喜若狂。

故事的第二部分主要描写了皮普在伦敦接受教育的经历。由于受到上层社会势利习气的传染，皮普过着奢靡堕落的生活，道德品质也变得低下。

他一直以为是哈维沙姆小姐匿名资助他接受高尚教育，然而，真正“恩人”的出现使他不得不重新面对现实。

小说最后一部分记叙了皮普保护潜逃回国的流放犯马格威奇的经历。虽然马格威奇最终难逃被捕的命运，但是在一系列的变故中，皮普最终回归人性之美，深切地体会到友情和亲情的可贵。

扩展资料：

《远大前程》，黄粱一梦后回归初心

《远大前程》可以说是外国版的黄粱一梦，匹普的“远大前程”之梦幻灭记。只能说是故事，小说不等同于生活，生活是平平常常，故事是惊天动地。

一个孤儿因为一个偶然变成一个绅士，有了财富，学识，虚荣，冷漠，没有了亲情。当梦幻灭之际，重新找回人性的淳朴和真挚的感情。这也是一种回归吧。狄更斯老年认同的人性的回归。

狄更斯（David Herbert Lawrence，1885～1930），英国小说家，出生于海军小职员家庭，10岁时全家被迫迁入负债者监狱，11岁就承担起繁重的家务劳动。

曾在皮鞋作坊当学徒，16岁时在律师事务所当缮写员，后担任报社采访记者。他只上过几年学，全靠刻苦自学和艰辛劳动成为知名作家。

他生活在英国由半封建社会向工业资本主义社会的过渡时期。其作品广泛而深刻地描写这时期社会生活的各个方面.

鲜明而生动地刻画了各阶层的代表人物形象，并从人道主义出发对各种丑恶的社会现象及其代表人物进行揭露批判，对劳动人民的苦难及其反抗斗争给以同情和支持。

但同时他也宣扬以“仁爱”为中心的忍让宽恕和阶级调和思想。对劳动人民的反抗斗争抱行动上支持而道德上否定的矛盾态度。

表现了他的现实主义的强大力量和软弱空想。 狄更斯一生共创作了14部长篇小说，许多中、短篇小说和杂文、游记、戏剧、小品。

其中最著名的作品是描写劳资矛盾的长篇代表作《艰难时代》（1854）和描写1789年法国革命的另一篇代表作《双城记》（1859）。

前者展示了工业资本家对工人的残酷剥削和压迫，描写了工人阶级的团结斗争，并批判了为资本家剥削辩护的自由竞争原则和功利主义学说。

后者以法国贵族的荒淫残暴、人民群众的重重苦难和法国大革命的历史威力，来影射当时的英国社会现实，预示这场“可怕的大火”也将在法国重演。

其他作品有《奥列佛·特维斯特》（又译《雾都孤儿》1838）、《老古玩店》（1841），《董贝父子》（1848），《大卫·科波菲尔》（1850）和《远大前程》（1861），等等。

狄更斯是19世纪英国现实主义文学的主要代表。艺术上以妙趣横生的幽默、细致入微的心理分析，以及现实主义描写与浪漫主义气氛的有机结合著称。

参考资料来源：百度百科-远大前程

英语小短文带翻译

The Old Cat

An old woman had a cat. The cat was very old; she could not run quickly, and she could not bite, because she was so old. One day the old cat saw a mouse; she jumped and caught the mouse. But she could not bite it; so the mouse got out of her mouth and ran away, because the cat could not bite it.

Then the old woman became very angry because the cat had not killed the mouse. She began to hit the cat. The cat said, "Do not hit your old servant. I have worked for you for many years, and I would work for you still, but I am too old. Do not be unkind to the old, but remember what good work the old did when they were young."

【译文】

老猫

一位老妇有只猫，这只猫很老，它跑不快了，也咬不了东西，因为它年纪太大了。一天，老猫发现一只老鼠，它跳过去抓这只老鼠，然而，它咬不住这只老鼠。因此，老鼠从它的嘴边溜掉了，因为老猫咬不了它。

于是，老妇很生气，因为老猫没有把老鼠咬死。她开始打这只猫，猫说：“不要打你的老仆人，我已经为你服务了很多年，而且还愿意为你效劳，但是，我实在太老了，对年纪大的不要这么无情，要记住老年人在年青时所做过的有益的事情。”

A man was going to the house of some rich person. As he went along the road, he saw a box of good apples at the side of the road. He said, "I do not want to eat those apples; for the rich man will give me much food; he will give me very nice food to eat." Then he took the apples and threw them away into the dust.

He went on and came to a river. The river had become very big; so he could not go over it. He waited for some time; then he said, "I cannot go to the rich man's house today, for I cannot get over the river."

He began to go home. He had eaten no food that day. He began to want food. He came to the apples, and he was glad to take them out of the dust and eat them.

Do not throw good things away; you may be glad to have them at some other time.

【译文】

一个人正朝着一个富人的房子走去，当他沿着路走时，在路的一边他发现一箱好苹果，他说：“我不打算吃那些苹果，因为富人会给我更多的食物，他会给我很好吃的东西。”然后他拿起苹果，一把扔到土里去。

他继续走，来到河边，河涨水了，因此，他到不了河对岸，他等了一会儿，然后他说：“今天我去不了富人家了，因为我不能渡过河。”

他开始回家，那天他没有吃东西。他就开始去找吃的，他找到苹果，很高兴地把它们从尘土中翻出来吃了。

不要把好东西扔掉，换个时候你会觉得它们大有用处。

The City Mouse and the Country Mouse

Once there were two mice. They were friends. One mouse lived in the country; the other mouse lived in the city. After many years the Country mouse saw the City mouse; he said, "Do come and see me at my house in the country." So the City mouse went. The City mouse said, "This food is not good, and your house is not good. Why do you live in a hole in the field? You should come and live in the city. You would live in a nice house made of stone. You would have nice food to eat. You must come and see me at my house in the city."

The Country mouse went to the house of the City mouse. It was a very good house. Nice food was set ready for them to eat. But just as they began to eat they heard a great noise. The City mouse cried, " Run! Run! The cat is coming!" They ran away quickly and hid.

After some time they came out. When they came out, the Country mouse said, "I do not like living in the city. I like living in my hole in the field. For it is nicer to be poor and happy, than to be rich and afraid."

【译文】

城里老鼠和乡下老鼠

从前，有两只老鼠，它们是好朋友。一只老鼠居住在乡村，另一只住在城里。很多年以后，乡下老鼠碰到城里老鼠，它说：“你一定要来我乡下的家看看。”于是，城里老鼠就去了。乡下老鼠领着它到了一块田地上它自己的家里。它把所有最精美食物都找出来给城里老鼠。城里老鼠说：“这东西不好吃，你的家也不好，你为什么住在田野的地洞里呢？你应该搬到城里去住，你能住上用石头造的漂亮房子，还会吃上美味佳肴，你应该到我城里的家看看。”

乡下老鼠就到城里老鼠的家去。房子十分漂亮，好吃的东西也为他们摆好了。可是正当他们要开始吃的时候，听见很大的一阵响声，城里的老鼠叫喊起来：“快跑！快跑！猫来了！”他们飞快地跑开躲藏起来。

过了一会儿，他们出来了。当他们出来时，乡下老鼠说：“我不喜欢住在城里，我喜欢住在田野我的洞里。因为这样虽然贫穷但是快乐自在，比起虽然富有却要过着提心吊胆的生活来说，要好些。”

Teacher:Why are you late for school every morning?

Tom:Every time I come to the corner,a sign says,"School-Go slow".

老师:为什么你每天早晨都迟到?

汤姆:每当我经过学校的拐角处,就看见一个牌子上写着"学校----慢行".

A Good Boy

Little Robert asked his mother for two cents. "What did you do with the money I gave you yesterday?"

"I gave it to a poor old woman," he answered.

"You're a good boy," said the mother proudly. "Here are two cents more. But why are you so interested in the old woman?"

"She is the one who sells the candy."

好孩子

小罗伯特向妈妈要两分钱。

“昨天给你的钱干什么了？”

“我给了一个可怜的老太婆，”他回答说。 “你真是个好孩子，”妈妈骄傲地说。“再给你两分钱。可你为什么对那位老太太那么感兴趣呢？”

“她是个卖糖果的。”

Drunk

One day, a father and his little son were going home. At this age, the boy was interested in all kinds of things and was always asking questions. Now, he asked, "What's the meaning of the word 'Drunk', dad?" "Well, my son," his father replied, "look, there are standing two policemen. If I regard the two policemen as four then I am drunk."

"But, dad," the boy said, " there's only ONE policeman!"

醉酒

一天，父亲与小儿子一道回家。这个孩子正处于那种对什么事都很感兴趣的年龄，老是有提不完的问题。他向父亲发问道：“爸爸，‘醉’字是什么意思？” “唔，孩子，”父亲回答说，“你瞧那儿站着两个警察。如果我把他们看成了四个，那么我就算醉了。” “可是，爸爸， ”孩子说，“那儿只有一个警察呀！”

10篇英语小短文带翻译带题

My family

I love my family, because I have a happy family. My father is an English teacher. His name is Jacky. He is thirty-eight. He likes playing basketball. What’s my mother job? Is she a teacher? Yes, you’re right! My mother is very kind and nice, she is thirty-seven. My mother is always laborious work. I love my parents! On Saturday and Sunday, I often go to the library and play the piano, My father go to play basketball. Sometimes, we watch TV and listen to music at home. I love my family. Because I’m very happy to live with my parents together!

我的家庭 我爱我的家庭,因为我有一个快乐的家庭. 我的爸爸是一名英语教师,他的名字叫Jacky.他今年38岁.他非常喜欢打篮球.我的妈妈是赶什么呢?她是一名教师吗?是的.你说对了!我的妈妈是一个很亲切、友善的人,她今年37岁.我妈妈总是勤劳的干活.我爱我的父母. 在星期六和星期天里,我经常去图书馆和弹钢琴.我爸爸去打篮球.有时侯,我们都在家看电视和听音乐. 我爱我家.因为我和爸爸妈妈一起生活得很开心!

My Room

This is my room. Near the window there is a desk. I often do my homework at it. You can see some books, some flowers in a vase, a ruler and a pen. On the wall near the desk there is a picture of a cat. There is a clock above the end of my bed. I usually put my shoe under my bed. Of course there is a chair in front of the desk. I sit there and I can see the trees and roads outside.

我的房间

这是我的房间。 在窗口附近有一张书桌。 我经常在那做我的家庭作业。 您能看有些书，有些花在花瓶里，一把格尺和笔。 在墙壁在书桌有猫的图片。 有一个时钟在我的床上的末端。 我通常把我的鞋子放在我的床下。 当然有一把椅子在书桌前面。 我坐那里，并且我能看外面的树和路

Skating

Mom bought me a pair of skating shoes at my fifth birthday. From then on, I developed the hobby of skating. It not only makes me stronger and stronger, but also helps me know many truths of life. I know that it is normal to fall, and if only you can get on your feet again and keep on moving, you are very good!

滑冰

妈妈买了我一双冰鞋鞋子在我的第五个生日。 从那时起，我爱好滑冰。 它不仅使我越来越加强，而且帮助我知道生活许多真谛。 我知道摔倒是正常的，并且，如果只有你能摔倒后再站起来，就是非常好!

The Sea

What do you know about the sea? Some people know about it, but others don’t. The sea looks beautiful on a fine sunny day, the sea is very big. In the world, there is more sea than land. Do you know Hainan Island? It’s really very nice. We can see beaches, trees and the sea. We can swim and visit a lot of beautiful places.

海

你对海知道些什么？ 某些人知道关于它，但其他不。 海看起来美丽在一个美好的晴天，海是非常大的。 在世界上，比土地有更多海。 您是否知道海南岛？ 那非常好。 我们能看海滩、树和海。 我们可以游泳和参观很多美好的地方。

Computers

Computers are changing our life. You can do a lot of things with a computer. Such as, you can use a computer to write articles, watch video CDs, play games and do office work. But the most important use of a computer is to join the Internet.We don’t need to leave home to borrow books from a library or to do shopping in a supermarket.

Computers help us live a more convenient life.

计算机

计算机改变我们的生活。 您能做很多事用计算机。 例如，您能使用计算机写文章，手表录影CDs，戏剧比赛和完成办公室工作。 但对计算机的最重要的用途是加入Internet.我们不需要离开家去从图书馆借用书或在超级市场做购物。

计算机帮助我们居住更加方便的生活。

Smiling

I think **iling is as important as sunshine. Smiling is like sunshine because it can make people happy and have a good day. If you aren’t happy, you can **ile, and then you will feel happy. Someone may say, “But I don’t feel happy.” Then I would say, “Please **ile as you do when you are happy or play with your friends happily. You will really be happy again.”

Smiling can let you have more friends.So I say, **iling is like a flower. It will give you happiness.

微笑

我认为微笑是一样重要的象阳光。 微笑是象阳光，因为它可能使人愉快和有一个早晨好。 如果您不是愉快的，您能微笑，您然后将感觉愉快。 某人也许说， “但是我不感到愉快”。 然后我会说， “请微笑，您，当您愉快地是愉快或戏剧与您的朋友。 您真正地再将是愉快的”。

微笑可能让您有更多朋友。如此我说，微笑是象花。 它将给您幸福。

Sunday

It was Sunday and I didn't have to go to school. I finished my homework the day before. So I decided to help mother do housework. I washed some clothes after I got up. Then I went shopping with a basket. I bought some meat, eggs and some vegetables in the market. After I came back, I started to cook dinner for the whole family. In the evening, I sat at the table and began to write down on my notebook what I had done during the day.

星期天

它是星期天，并且我没有必须去学校。 我前一天完成了我的家庭作业。 如此我决定帮助做家事。 在我起来了之后，我洗了一些衣裳。 然后我带着篮子去购物。 我在市场上买了一些肉、蛋和有些菜。 在我回来了之后，我开始为全家烹调晚餐。 在晚上，我在我的笔记本写下什么我白天做了什么。

春天：Spring

Spring is a delightful season. The temperatures are moderate, and the blooming trees and flowers make the city bright with colors. This is the time when we can begin to wear lighter and more brightly colored clothes and go outdoors more often. Smaller children like to bring their kites out to the spacious square. Also I enjoy going back to the village on this holiday after being in the city for the winter months.

春天是个让人欣喜的季节.气温适中,挂满绿叶的树和盛开的花朵给城市增添了明亮的色彩.在这个时节里,我们可以穿上轻便靓丽的衣服经常出门去了.小孩子们则喜欢在广阔的天空中放风筝.在城里呆了一个冬天之后,我也喜欢回到村子里度假.

夏天：

Summer is the great season for all sports in the open air. It is the season for football which is often called the national sport because of its popularity. I usually watch television and read the newspaper reports about the football results of the little leagues. During the summer I like to go to the beach often because it is very close to my home. I usually go there during the summer vacation to relax after many months in school in the city. I feel very comfortable with the familiar quiet life of the villagers.

夏天是户外运动最好的季节.这是一个橄榄球的季节,橄榄球由于广受欢迎被称为全民运动.我常常看电视,看报纸,从报道中获得小联盟橄榄球赛的比赛结果.夏日里,我喜欢经常去海滩,因为那里离我家不远.在城里的学校呆了几个月后,暑假我常常去那里放松一下.此处有我很熟悉的村民们的宁静生活,这让我倍感舒适.

秋天：Autumn

For me the autumn or fall starts in September when school starts its new term. I usually do some shopping. The mild weather made it very nice to study outside under the trees in a **all park close to my house. I like to look up the leaves changing colors from green to red and yellow, and then brown colors. The park also has many bright fall flowers; sometimes I see a **all squirrel coming down from the tree to hunt for food on the ground. On the weekends, I sometimes like to fly my kite. Usually on the street corners you can see street peddlers selling warm baked sweet potatoes. This is a nice time of the year.

我觉得秋天是在9月份新学期开始的时候来临.我常常要去买一些东西.宜人的天气让我感觉在离家不远的小公园的树下学习是件非常惬意的事.我喜欢抬起头看蓍枝头上的树叶由绿变红,变黄,然后再变褐.公园里还有许多鲜艳的秋花.有时我会见到小松鼠从树上跳到地上觅食.在周末,我有时会去放风筝.在街头的拐角处,常常会有街头小贩在卖烤红薯.秋天是一年中的好时节.

冬天：Winter

Winter is very cold and windy in most parts of China. I usually look forward to the Spring Festival and the winter holiday when I can go to the south where the climate is warmer during these holidays. Also, I look forward to seeing my grandparents and my friends. Winter is the time everyone is in a festive mood. In the city, I usually do a lot of reading at home in the winter because of eh cold weather outside.

中国大部分地区的冬天是即冷又有风的。我总是盼望着春节或寒假，到时候我就可以去南方了，当地的气候在这时会暖和的多。我也盼望着去探望我的祖父母和我的朋友。冬天，每个人都怀着喜庆的心情。在城里，冬天的时候我经常待在家里尽情地看书，因为外面的天气非常的冷。

谁能帮忙找一下这篇文章的背景知识、解释和译文？急！谢谢！

Didion, Joan (1934-) Printer Format

Novelist, Film Writer, Journalist, Essayist.

Active 1956- in USA, North America

Joan Didion's name recognition as an American writer is such that her frequent byline in the New York Review of Books reads simply “Joan Didion's most recent book is Slouching Toward Bethlehem (1968), a study in the new journali** of the 1960s, remains the single best “period piece” on the California counterculture of that era. Play It As It Lays, her second novel, set in 1960s Los Angeles, was nominated for a National Book Award in 1971. Didion has written five other novels and her essays have been collected four times as books. She also has collaborated with writer/hu**and John Gregory Dunne to write numerous screenplays for Hollywood feature films.

If Joan Didion persists as something of an enigma to readers and literary critics Bher characters have been denounced as morose and her politics elitist Bit is not because her biography is a public mystery. In venues as different as Saturday Evening Post, Esquire, Vogue, American Scholar, Mademoiselle, National Review, Holiday, The New York Times Magazine, and The New York Times Book Review, Didion has written about herself, her marriage, her family history, her impatience with women's liberation and feminist art, all of these topics against the backdrop of her ongoing engagement with American politics, media, and popular culture. It is well known that Didion comes from a line of families who settled the Sacramento Valley in the 1850s. As a great - great granddaughter of people who saw themselves as wagon train pioneers, Didion grew up understanding herself as California's “native daughter ” (her term), an understanding furthered by her education at the University of California at Berkeley.

Didion's literary persona and interests evidence deep attachments to the cultures of particular places, especially to California and the American West. Even so, she left California for New York City immediately after college graduation in 1956 to accept the prestigious Prix de Paris Award sponsored by Vogue Magazine. For the next ten years, under the tutelage of various Vogue editors and amidst the larger community of New York literati, Didion honed what would become her signature spare style as well her recurrently western subject matter. The tensions between Didion's western roots, her embrace of “high cultural” trends which historically have emanated from the northeast but her rejection of northeastern liberali**, underlay her life's work and impart to her literary voice its distinctive, stylized character.

Equally important to Didion's evolution as a writer is the fact that she was raised during the years when Sacramento resembled more of a back - river Central Valley farm town than a sophisticated capital city in the making. At the very moment that Joan Didion comes of age as a thinker, a young woman, and a writer, the place her family has claimed as their birthright for a over century undergoes a thorough transformation. From an insular, nineteenth century river town dominated by the local agricultural gentry, the new Sacramento emerged after World War II. Run by Cadillac dealers and aerospace engineers Bpeople who do not know enough to care when they have not been asked to join the Sutter Club Bthe new Sacramento embodies for Didion a host of social dilemmas and questions that will drive her work for the rest of her life.

Didion's first novel Run River (1963) chronicles this watershed moment of social transformation. Both a lament but also a text which refuses nostalgia, Run River tells the story of Lily Knight McClellan, a young Sacramento wife and mother whose hu**and in the opening gambit has just shot himself after killing her lover. Lily comes from the landed Knight family, her father has once run for the Governorship. Lily's hu**and Everett comes from the landed McClennans. But in spite of wealth, education, leisure and social position, Run River suggests, this generation of westerners has lost the fortitude and national purpose of their pioneer forebearers. They fritter away their lives, bring ruin upon themselves with inexplicable infidelities and evenings spent in careless, drunken conversation. One sees dramatized in Didion's first novel a particular anxiety she remarks upon later: “My childhood was suffused with the conviction that we had long outlived our finest hour. ” This remark represents a broader fearBarticulated by many twentieth century western writers Bthat the “real ” and “rigorous ” West lay in the nineteenth century, and everything after it constitutes cultural decline. Yet lest the reader conclude Didion valorizes legendary western history, consider the novel's ultimate conclusion: that western history is but a history of accidents, of moving on and accidents. If the running out of tradition troubles Didion, so too does an innocent belief in the tradition itself.

After Run River, Didion rejects narrative forms and strategies that readily overlap with western optimi** and innocence, forging in the process new and unusual directions for her work and for western literary history. Very few “native sons” (like Wallace Stegner, A.B. Guthrie, Frank Waters, or later, Ivan Doig, N. Scott Momaday, Richard Rodriguez or Frank Chin) will locate themselves in Los Angeles, as does Didion after a decade in New York City, or in L.A.'s particular brand of literary and film noir. Through the noir form and its emphasis on “darkness ” or the gritty underside of things, Didion wrestles with all of the issues she cares about: the advent of the new West and its impact on the old, her affinity for strong women characters and their particularly female challenges, the role of sexuality in human relationships, the power of western mythology in American national memory, and the changing status of language and representation in American letters and political affairs.

The noir influence operates most obviously in Didion's second novel, Play It As It Lays (1970), made also into a “thriller ” movie of the same name. Set in a Los Angeles populated by movie people, dirty deals, sexual and drug escapade, and intrigue, Play It As It Lays cemented Didion's reputation as a writer, a stylist, and a biting social critic. Coming two years after the appearance of her critically acclaimed essay collection Slouching Towards Bethlehem (1968), the two texts proved Didion an exceptionally perceptive witness to the social confusion attending the sexual revolution and the California counterculture. With ever the eye for detail, and a perfect ear, Didion chronicles in both books what she sees as defining features of both the new West and also postwar America: that the center is not holding. In the title essay of Slouching Towards Bethlehem, she writes: A[The hippies] are less in rebellion against the society than ignorant of it, able only to feed back certain of its most publicized self - doubts, Vietnam, Saran - Wrap, diet pills, the Bomb.” In a gesture rare when critici**s of youth culture are delivered, Didion holds older people responsible for the generational impasse. “At some point between 1945 and 1967 we had somehow neglected to tell these children the rules of the game we happened to be playing. Maybe we had stopped believing in the rules ourselves, maybe we were having a failure of nerve about the game. Maybe there were just too few people around to do the telling ” (127).

To Didion, one index of the severity of national upset is young people's distance from established traditions of civic discourse. Didion applauds the inventive anarchi** of many 1960s activists, appreciating their awareness, well in advance of the press, that something important was happening Byoung people trying to create new forms of community in a social vacuum. But for Didion, this trend away from reliable forms of public debate and community organization brings with it a dangerous sloppiness of thinking, in fact, a refusal to take language seriously at all, because words, one of her countercultural interviewees states, are just another ego trip. “As it happens,” Didion counters, “I am still committed to the idea that the ability to think for one's self depends upon one's mastery of the language.” Didion sees the flower children of San Francisco's Height - Ashbury district as an army of fourteen and fifteen and sixteen year old runaways waiting to be “given the words.” And this kind of army in the wings cannot perform the job of a citizen in a democracy: namely, to discriminate between the lesser evils of the new social order. As Didion puts it, children who settle for other people's words do not inspire optimi**.

A decade later, careworn by social upheaval, Didion herself succumbs to uncertainty about all the stories she has ever believed. In the collected essays, The White Album (1979) which features on the jacket cover, among other images, that of the resigning President Nixon making his infamous double peace signBDidion muses that she was “supposed to have [had] a script [. . .] to hear cues [ . . .] to know the plot ” (13). As someone who came of age during World War II, her life education insisted the “production was never meant to be improvised.” Unlike Slouching Towards Bethlehem, this set of essays emphasizes the culture of sometimes harmless/sometimes heinous, kooky, beautiful southern California. In the context of 1960s - 1970s America, these “LA stories ” are grist for the mill examples of stories with no discernable narrative. Instead Didion perceives only “flash pictures in variable sequence, images with no 'meaning' beyond their temporary arrangement.” She asserts, “I wanted still to believe in the narrative and in the narrative's intelligibility, ” but the temporary status of all word/images suggest to her that narrative “sense ” has become less like a coherent movie than a cutting - room experience. By the collection's final essay, however, Didion has recentered her fragmented self by affirming her membership in the Silent Generation. Philosophically, Didion feels most at home in a world that comes down to the personal, to the battle with self and with “man's” own (Didion's phrase) heart of darkness.

During the 1980s, Didion's role as principle national spokesperson for California and for “quirky western Americana ” begins to decline. A new literary movement focused on the American West attracts national attention, led by such visible public figures as Leslie Marmon Silko, Maxine Hong Kingston, Terry Tempest Williams, Gretel Ehrlich, Bill Kittredge, Cormac McCarthy, and James Welch. Its left/liberal political edge, as well as its generational debts to the civil rights, environmental and women's movement, creates a new market, readership, and sense of literary culture in the West. Given Didion's different political and generational sensibility, especially alongside the larger political climate of the 1980s and the Reagan/Bush administrations which the newer regionalists wrote adamantly against, Didion and the newer writers did not seem to be bred on the same western landscape.

In part because the primacy as well as the terms of her cultural authority had called into question by the new regionalists, Didion moved during the late 1970s and the 1980s toward projects that, while still place - inspired, take up new nonwestern locations. A Book of Common Prayer (1979), Salvador (1983), Democracy (1984), and Miami (1987), deal respectively with the fictional Boca Grande, El Salvador, Vietnam, and Cuban Miami. In each instance, these books combine Didion's journalistic and novelistic skills. They permit her a broad international landscape on which to imagine the North American woman (the recurrent protagonist) in various relationships to foreign national governments, banks, diplomatic corps, and leading families. They repeatedly evoke, with the exception of Democracy, a general political landscape and Spanish speaking culture closely reminiscent of Mexico. Many questions might be raised here about the politics of representing North American women at the center of tales which emphasize other nation's dramas, but the argument urged presently concerns understanding these ostensibly non - American tales as more within the Didion tradition of writing about California and “points south ” than one might at first glance surmise, and less as entirely new imaginative ventures. The “western tale ” Didion has always told leaves room for exactly the kinds of forays into tropical airports, international scheming and female character development that appear above as standard motifs. within these texts. In keeping with Didion's gift for recognizing that which is new, these texts anticipate current trends towards transnational representations of the West.

Returning her from what might be judged a literary exile to landscapes more plainly “American, ” Didion's most recent works during the 1990s include essay collections After Henry (1993) and the forthcoming Political Fictions (2001), as well as The Last Thing He Wanted (1996), a novel. Dedicated to her longtime editor Henry Robbins at Farrar, Straus Giroux, After Henry splits her literary emphases between New York and California (as is true of previous collections) Bwith the balance tipping decidedly west (also true previously). What changes in the 1990s, making official what previously has been unofficial, is a “Washington ” section leading the way. Setting the stage for Didion's efforts throughout the 1990s, After Henry begins with a subject she treated twenty years earlier in its California incarnation: Ronald Reagan. But, Didion will take on and sustain with far more deliberate intention what we might call the “new ” politics of the post - Cold War moment. Didion investigates presidential campaigns and conventions, the culture of particular administrations, its speechwriters and everyday habits, as well as the new around the clock media industry, which comes in for her most pointed critici**s. Didion finishes out the century more unambiguously journalistic than ever, at the same ever interested in formal innovation, Didion's The Last Thing He Wanted, experiments with collapsing authorial self revelation with the fiction of a third person narrator.

If the West's prominent younger writers today have not found Joan Didion's legacy immediately enabling, it nonetheless is true that she has always forged new formal ground, experimented with narrative strategy, sought out western “truths ” well beyond western mythology, and maintained an active engagement with American political life. If she has derided feminists as too centered on victim stories, she also has written a dozen or so books in which female characters refuse to accept the limits gender roles and social mores attempt to impose on women. She is not a simple figureBeither as a woman, a writer, a westerner, an Anglo, a Californian, a member of the Silent Generation, or a Republican. Critical responses to her so far have failed to reckon satisfactorily with these competing, complex factors. Meanwhile, ever on the edge of the curve, Didion continues as one of most accomplished critics of contemporary times.

Krista Comer, Rice University

First published 24 January 2002

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