物流英语课文翻译

　　英语是当今世界上最通用的语言之一，那么英语作为最广泛的语言就有其不可忽视的重要性。以下是小编为大家整理的物流英语课文翻译，希望能帮到大家！

　　一单元

　　Logistics is a unique global “pipeline ”[1] that operates 24 hours a day； seven days a week and 52 weeks a year, planning and coordinating the transport and delivery of products and services to customers all over the world.

　　物流是一个独特的全球性的“管道”，即每天24小时运作；一星期7天，一年52周，计划和协调着产品的运输和配送以及对全球客户的服务。

　　Coming into being with the advent of civilization, logistics is anything but a newborn baby[2]. However, when it conies to modem logistics, most professionals in the business consider it one of the most challenging and exciting jobs, invisible as it is[3].

　　文明伊始，物流就已经存在，因而不是新鲜事。然而，说到现代物流，几乎所有业内专业人士认为，它的一个无形的、最有挑战性和令人兴奋的工作。

　　Modem logistics is related to the effective and efficient flow of materials and information that are of vital importance to customers and clients in various sections of the economic society[4], which may include but by no means is limited to： packaging, warehousing, material handling, inventory, transport ，forecasting, strategic planning, and customer service.

　　现代物流关系到货物流和信息流的有效性和高效率。对于经济社会各个中间商和消费者来说，货物流和信息流是非常重要的，可能包括但绝非局限于：包装、仓储、转移、存储、运输、预测、战略规划、客户服务等。

　　“Logistics is that part of the sup* chain process that plans, implements and controls the efficient, effective flow and storage of goods, service and related information from the point of origin to the point of consumption to meet customers，requirements. ” Although this definition fails to incorporate all specific terms used in the study of logistics，it does reflect the need for total movement management from point of material procurement to location of finished product distribution.

　　物流是供应链过程的一部分，它计划、实施和**着流动的.高效率、有效性和货物的储存、服务的准备以及从原始点到消费终点相关信息，以满足客户的要求。虽然这个定义不能把所有特别说法用在研究物流方面，但它反映了从物资采购点到成品分销地的整个货物流向管理的需要。

　　第二单元

　　It is universally acknowledged that products are of two kinds, products for customers and products for industrial use. As industrial products are not the key factors in planning a physical distribution strategy, they will not be mentioned in this text.

　　就产品而言，普遍认为有两类，一类是消费产品，另一类是工业用途产品。因为工业用途产品在配送战略中不是主要因素，所以就不在本文论述了。

　　An important characteristic of any product is its availability at the place where a customer wishes to consume it. And this is what logistics is chiefly concerned with. Products are of any value when and only when they are moved to the right place where it is available to the customer. Thus, we should make an ****ysis of products, depending on who uses them and how they are used.

　　任何产品的一个重要特征就是在顾客需要它时就能买到它。而这也正是物流所关心的。产品只有在被运送到能被消费者买到的场所时才体现出价值。这样，我们应该依据谁使用以及怎么使用这些产品来进行产品分析。

　　Consumer products are those that are directed to ultimate consumers. According to the three different ways in which consumers select goods and services and where they buy them, consumer products can be put into three categories : convenience products, shopping products, and specialty products .

　　消费类产品是指直接面对终端消费者的 产品。根据消费者挑选产品和服务的三种不同方式以及从哪里购买这些产品，购买型产品和特殊产品三种。

　　Convenience products are those goods and services that consumers purchase frequently, immediately, and with little comparative shopping. Typical products are banking services, tobacco items, and many foodstuffs. These products generally require wide distribution through many outlets. Distribution costs are typically high but are more than justified by the increased sales potential that is brought about by this wide and extensive distribution. Customer service levels, as expressed in terms of product availability and accessibility, must be high to encourage any reasonable degree of customer patronage for the products.

　　便利型产品是指消费者需要经常、及时购买并且不十分需要比较差价的产品和服务。银行业务、烟草产品和许多食物都是典型的便利型产品。这种产品一般都要求大范围的配送，配送成本一般都很高，但高成本却因大范围配送能增加其销售潜力而被认为合理。客户服务水*体现在产品购买时的方便性和可得性方面，为了鼓励客户购买产品，服务水*心肝提高。 Shopping products are those for which consumers are willing to seek and compare: comparing in many locations the price, quality, and performance, and making a purchase only after careful deliberation. Typical products in this category are fashion clothes, automobiles, home furnishings, and medical care. Because of the customer ’s willingness to shop around, an inpidual supplier may stock goods or offer services in only a few out-lets in a given market area. Distribution costs for such suppliers are somewhat lower than for convenience products, and product distribution need not be as widespread.

　　购买型产品是消费者愿意到处寻寻觅觅，比较价格、质量和性能，三思之后才作出购买决定的产品。这一类的典型产品有时装、汽车、家具和医疗服务等。因为消费者愿意到处看看，各供应高会在给定的市场上仅设几个销售点存放产品或提供服务。这种供应商的配送成本比便利型产品低一些，而且这类产品的配送范围也没有那么大。

　　Specialty products are those for which buyers are willing to expend a substantial effort and often to wait a significant amount of time in order to acquire them. Buyers seek out particular typesrangi and brands of goods and services. Examples can be any type of goods ranging from fine foods to custom-made automobiles or a service such as management consulting advice. Because buyers insist on particular brands, distribution is centralized and customer service levels are not as high as those for convenience and shopping products. Physical distribution costs can be the lowest of any product category. Because of this, many firms will attempt to create brand preference for their product lin0065.

　　特殊产品是指买家愿意花费大量精力并为了获得它们可以忍受很长的等待时间的产品。消费者会寻求特定类型和品牌的产品和服务，例如精美食品、定制的汽车等各种商品，或者像管理咨询建议这类服务。因为消费者对品牌很执着，所以配送是集中进行的，消费者服务水*亲不像便利型产品和购买型产品要求那么高。配送成本可能是三种类别中最便宜的。正因为这个原因，许多公司试图为他们的创造品牌效应。

　　第三单元

　　Inventory is viewed as playing a role in the value-added process. This does not mean the more you have in the form of inventory, the richer you are. If you keep an over-stock of the inventory, expenses will incur not only in warehousing, but also in many aspects, such as the capital cost and the interest accruing on it, taxes, insurance, obsolescence cost and storage cost.

　　在增值过程中库存被人们认为起着重要作用，这并不意味着以库存的形式存放的货物越多，你就越富。如果库存过量，不仅增加仓储方面的费用，如本金、随之递增的利息、税、保险、陈旧性损耗费和仓储成本。

　　On the one hand, capital cost increases with the lot size. On the other hand, the interest accrues on the capital invested in the carrying inventory, which is, in many ca-ses, com*d according to the prime interest rate or a specified rate pegged to the prime interest. The logic behind it is that the cash to replace capital invested in invent-tory can be qurchased in the money market.

　　一方面本金随着批量大小而改变；另一方面，利息了随着投资在存货上的本金的多少而增减，而大多数情况下，存货是根据主要利息或指定利息率计算的。其暗含的逻辑是用于代替投资在库存上的本金的现金可在货币市场买到。

　　In many countries, taxes are levied on the average inventory lev-dl on a specific day of the year.

　　Insurance cost is a direct levy normally based on estimated risk or exposure over time. Obsolescence means the dete-rioration of product in storage which is not covered by insurance.

　　许多国家按一年中某一特定的日子的*均库存水*征收税款。

　　保险费一般根据预计风险或风险次数直接征收。

　　损耗指仓库中的产品老旧了，这是不包含在保险范围内的。

　　The storage cost incurs in re-spect of product holding, whether you store the goods in a public warehouse, rented private ware-house or a warehouse you own yourself. The cost, which can well amount to over 37% of the total lo-gistics cost, results in the necessity of making plans for inventory.

　　储存成本产生于产品保管，不管产品储存在公共仓库、租用的私人仓库还是自有仓库。储存成本占整个物流成本的37%以上，所以做库存计划是很有必要的。

　　The plan should be able to an-swer three basic questions: when to order, how much to order and inventory control procedures.

　　库存计划要能够回答以下三个基本问题：何时订购，订购多少以及库存**程序。

　　For the time being we are con-cerned only with the question of how much to order. The lot sizing concept calances the cost of maintaining in-ventories against the cost of ordering. The key to understanding the rela-tionship is to remember that average inventory is equal to one-half the or-rer quantity. The larger the order quantity, the fewer orders required per planning period and, consequent-ly, the lower the total ordering cost. Lot quantity formulations identify the precise quantities at which the annual combined total cost of ordering and maintenance is lowest for a given sales volume.

　　这里我们仅关心订购量的问题。批量大小概念*衡了维持库存的成本和降低订购成本的矛盾，理解他们的关系的关键是要记住*均库存数等于订购数量的二分之一。每次订购的量越大，每个订购计划周期订购次数就越少。因此整个订购成本就越少。批量公式指明在给定销售额下，年综合定购成本和维持库存的最低点。

物流英语课文翻译扩展阅读

物流英语课文翻译（扩展1）

——八下英语课文翻译

八下英语课文翻译

　　在我们*凡的学生生涯里，看到知识点，都是先收藏再说吧！知识点是知识中的最小单位，最具体的内容，有时候也叫“考点”。掌握知识点有助于大家更好的学习。下面是小编为大家收集的八下英语课文翻译，欢迎大家分享。

　　八下英语课文翻译1

　　It was not until 1960 that three Chinese climbers first succeeded in standing on the top of Qomolangma by climbing the north face of the mountain.直到1960年才有三名*登山员从山峰北面成功地攀**珠穆朗玛峰顶。

　　For over two months they made their way up the mountain. They faced the cold weather and strong winds with snow.Tents, sleeping bags, food—everything they used had to be carried. 他们一路向上攀登，历时两个多月。他们面临着严寒天气和强烈风雪的`**环境，并且还必须一路带着帐篷，睡袋，食物等必需品。

　　The temperature dropped to 40 degrees below zero. Still they struggled on, and climbed steep ice walls smooth as glass. 即使气温降到零下40度，他们也没有放弃拼搏努力，（正是这种拼搏精神让他们）攀爬的陡峭冰壁也仿佛*坦如草地。

　　The lack of oxygen made their breathing painful, as if they had run for miles. Each step required great efforts of body and mind. 缺氧是他们呼吸困难，（即使是一小步的距离也会让他们看起来）就像是跑完百米后的气喘吁吁。每一步的迈出都需要他们身心作出巨大的努力。

　　八下英语课文翻译2

　　One day in ancient Greece, King Hiero asked a crown maker to make him a golden crown. At first, he was very happy with it.

　　古希腊的一天,海尔罗国王请一位制作皇冠的人给他制作一顶金皇冠.起初,他对皇冠感到非常高兴.

　　“It’s a nice crown, isn’t it?” he asked his men. Later, however, he began to doubt that it was a real golden crown. “Is it made completely of gold?” he wondered. He sent it to Archimedes and asked him to find out the truth.

　　“这是一个很漂亮的皇冠,不是吗?”他问仆人.然而后来他开始怀疑皇冠是否是一顶真的金皇冠.“这真是纯金的吗?”他纳闷着.他把皇冠送到了阿基米德那里,叫他搞清楚**.

　　“This problem seems difficult to solve. What should I do?” thought Archimedes. “这个问题似乎很难解决.我该怎么办?”阿基米德想.

　　Archimedes was still thinking about this problem as he filled his bath with water. When he got into the bath, some water ran over.

　　当阿基米德往浴池里倒水的时候他仍然思考着这个难题.当他进入浴池时,一些水溢了出来.

　　“That’s it!” shouted Archimedes. “I know how to solve the king’s problem!” “就是如此”阿基米德喊道,“我知道如何解决**的难题了!”

　　Archimedes went straight to the palace to see the king. First, he weighed the crown and asked the king for some gold of the same weight. 阿基米德直接去到了宫

　　殿觐见国王.首先,他称了皇冠,然后像国王要了同等重量的金子. Next, he put two pots into two big bowls and filled both pots with water. He put the gold into one

　　pot and some water ran into the bowl. Then he put the crown into the other pot. This time, even more water ran into the bowl.

　　接着,他放了两个罐子到两个大碗里,然后把罐子注满了水.他把金子放入其中一个罐,一些水跑到了碗里.然后他把皇冠放入另一个罐.这一次,更多的水跑到了碗里.

　　“Look at this,” said Archimedes to King Hiero. “A crown made completely of gold displaces less water than a crown made of gold and another metal. This crown

　　displaced more water than gold of the same weight, so I’m certain that it’s not completely made of gold.” “快看”阿基米德对国王说道.“一个完全由金子制作

　　的皇冠比一个由金子和其他金属制作的皇冠要取代更少的水.这顶皇冠比同等质量的金子取代更多的水,所以我确定这不是纯金的.

　　“The crown maker tricked me , didn’t he? What a bad man he is!” shouted King Hiero. He then sent the crown maker to prison.

　　“金匠骗了我,对不对?这个大坏人!”海尔罗国王喊道.然后他把金匠投入了**.

物流英语课文翻译（扩展2）

——八下英语课文及翻译

八下英语课文及翻译

　　英语翻译是八年级英语学习中的重要内容，以下是小编整理的八下英语课文及翻译，欢迎阅读参考，希望对大家有所帮助！

　　八下英语课文及翻译 篇1

　　1、2a部分翻译

　　Accidents or problems can sometimes happen when we do sports. Write the letter of each sport next to each accident or problem that can happen.

　　当我们做运动时，有时可能会出现意外或问题。在可能会出现的每个意外或问题旁边写出**每项运动的字母。

　　A=soccer

　　A=足球

　　B=mountaion climbing

　　B=爬山

　　c=swimming

　　C=游泳

　　____fall down

　　摔倒

　　___get sunburned

　　困难

　　___have problems breathing

　　被球击中

　　___cut ourselves

　　被割伤

　　___hurt our back or arm

　　伤着背或者胳膊

　　2、2b部分翻译

　　Read the passage and underline der ine the words you don't know. Then look up the words in a dic-tionary and write down their meanings

　　阅读短文，在你不认识的单词下面画线。然后查词典，写下它们的意思。

　　Finding the Order of Event

　　找出事件的顺序

　　Writers describe events in acertain Order.Finding the order of the events will help you understand what you are readin.

　　作者们按一定的顺序描写事件。找出事件的顺序将会帮助你理解你正在阅读的内容。

　　He Lost His Arm But Is Still Climbing

　　他失去了手臂但还在爬山

　　Aron Ralston is an American man who is interested in mountain climbing. As a mountain climbing. As mountain climber, Aron is used to taking risks. This is one of the exciting things about doing dangerous sport, There were many times when Aron almost lost his because of accidents. On April 26,2003 he found himself in a very dangerous situation when climbing un Utah.

　　啊伦·罗尔斯顿是一位对爬山感兴趣的**人。作为一名登山者，阿伦习惯于冒险。这是从事危险运动刺激的一面。有许多次，阿伦都因为事故而命悬一线。在2003年4月26日，在犹他州登山

　　时他发现自己处在了非常危险的禁地中。

　　On that day, Aron's arm was caught under a 2,000-kilo rock that fell on him when he was climbing by himself in the mountains.Because he coulf not free his arm,hestayed there for five days and hoped that someone would

　　find him.But when his water ran out,he know that he would have to do something to save his own life.He was not ready to die that day.So he used his life tocut off halfhis right arm.Then,with his left arm,he bandaged himself so that he would not lose too much blood.After that,he climbed dowm the mountain to find help.

　　那一天，当阿伦独自登山时，一块360公斤的岩石的`朝他落下来，他的一条胳膊被压在了岩石下。因为无法使自己的胳膊挣脱**，他在那儿待了五天，希望有人会发现他。但当他的水喝完时，他明白必须做些什么来拯救自己了。他不想那天就死去。因此他用刀子切除了他的半条右臂。然后，他用左臂给自己打上绷带，这样不至于失过多。在那之后，他爬下山去寻求帮助。

　　After losing his arm,he wrote a book called Between a Rock and aHard Place .this means being in a difficult situation that you cannot seem toget out of.In this book,Aron tells of te importance of making good decisions, and of being incontrol of one's life.His love for mountain climbing is so great that he kept on climbing mountains even after this experience.

　　在他失去胳膊之后，他写了一本名为《生死两难》的书。书名的意思是“处于一种你似乎无法的困境之中”。在这本书中，阿伦讲述了正确 ，抉择和自我掌控命运的重要性。他对登山如此酷爱，甚至在这次断臂经历之后他还继续爬山。

　　Do we have the same spirit as Aron? Let's think about it before we find ourslves "between arock and a hard place",and before we hace tomake a decision thatcould mean life or death.

　　我们有阿伦那样的精神吗？在我们发现自己处于生死两难的境地及在我们不得不作出生抉择之前，让我们先思考一下吧。

　　3、2c部分翻译

　　Read the statements and cicle True，False

　　or Don't Know．读这些陈述，圈出“正确”“错误”或“不知道”。

　　4、2d部分翻译

　　Read the passage again and answer the questions.

　　再读短文，回答问题。

　　1．Where did the accident happen on April 26,2003?

　　在2003年4月26日，这个事故发生在什么地方？

　　2．Why couldn't Aron move?

　　阿伦为什么不能动？

　　3．How did Aron free himself?

　　阿伦是怎样使自己**的？

　　4．What did Aron do after the accident?

　　事故之后阿伦做了什么？

　　5. What does "between a rock and a hard place" mean?

　　“between a rock and a hard place”的意思是什么？

　　5、2e部分翻译

　　Put the sentences iⅡthe correct order. Then use them to tell Aron's story to your partner. Try to add other details from the reading.

　　把这些句子按正确的顺序排列。然后用它们向你的同伴讲述阿伦的故事。尽量添加阅读材料中其他一些细节。

　　On April 26，2003，he had a serious mountain climbing accident.

　　在2003年4月26日，他出了一起严重的'爬山事故。

　　Aron loves mountain climbing and doesn't mind taking risks.

　　阿伦热爱爬山，不介意冒险。

　　Aron did not……after the accident and keeps on climbing mountains today.

　　阿伦在这次事故之后没有放弃 ，如今他继续爬山。

　　He'wrote a book about his experience.

　　他写了一本关于他的经历的书。

　　Aron lost half his right arm from the 2003 accident.

　　阿伦在2003年的事故中失去了半条右臂。

　　八下英语课文及翻译 篇2

　　1、2a部分翻译

　　Listen and number the pictures [1-5]the order you hear them.

　　听录音。按你听到的顺序将图画标上正确的序号[1～5]。

　　2、2b部分翻译

　　Listen again．Match the problems with the advice.

　　再听一遍录音。把问题和建议搭配起来。

　　1．fever发烧

　　2. stomachache胃痛

　　3．cough and sore throat咳嗽且喉咙痛

　　4．toothache牙痛

　　5. cut myself割伤我自己

　　a．lie down and rest躺下休息

　　b.drink some hot tea with honey喝些加蜂蜜的热茶

　　c.see a dentist and get an X-ray看牙医并做个X光检查

　　d．take your temperature量体温

　　e.put some medicine on it在它上面敷些药

　　3、2c部分翻译

　　Make conversations using the information in 2a and 2b.

　　用2a和2b中的信息编对话。

　　A:What's the matter?

　　A:怎么了?

　　B：My head feels very hot．

　　B：我感觉很热。

　　A：Maybe you have a fever…

　　A:或许你发烧……

　　B：………

　　4、2d部分翻译

　　Role-play the conversation

　　分角色表演对话。

　　Mandy：Lisa，are you OK?

　　莉萨，你没事吧？

　　Lisa:I have a headache and I can't move my neck What should I do? Should I take my temperature?

　　莉萨：我头痛，脖子动弹不得。我该怎么办？我应该量体温吗？

　　Mandy: No，it doesn't sound like you have a fever.What did you do on the weekend?曼迪：不，听起来你不像发烧。周末你做什么了？

　　Lisa:l played com*r games all weekend.

　　莉萨：我整个周末都玩电脑游戏了。

　　Mandy：That’s probably why. You need to take breaks away from the com*r.

　　曼迪：很可能那就是原因了。你需要离开电脑休息一下了。

　　Lisa：Yeah，I think I sat in the same way for too long without moving.

　　莉萨：是的，我想我以同样的姿势一动不动地坐得太久了。

　　Mandy：I think you should lie down and rest.If your head and neck still hurt tomorrow，then go toa doctor.

　　曼迪：我认为休应该躺下休息。如果明天你的头和脖子依旧痛的话，就去看医生。

　　Lisa: OK. Thanks，Mandy.

　　莉萨：好的。谢谢，曼迪。

物流英语课文翻译（扩展3）

——fame英语课文翻译

fame英语课文翻译

　　在汉语和英语两种语言中存在着许多共同之处, 在对于许多英语句子的 翻译过程中, 完全可以采取直译的方法，下面为大家分享了fame的课文翻译，一起来看看吧！

　　fame英语课文翻译 篇1

　　Fame is very much like an animal chasing its own tail who, when he captures it, does not knowwhat else to do but to continue chasing it. Fame and the exhilarating popularity thataccompanies it, force the famous person to participate in his or her own destruction. Ironicisn't it?

　　声誉很像一只追逐自己尾巴的动物，抓住后除了继续追逐不舍之外，再也没有其他方法了。声誉与随之而来的令人兴奋的赞扬迫着这位出了名的人走上自己的末路。这难道不令人啼笑皆非吗？

　　Those who gain fame most often gain it as a result of possessing a single talent or skill:singing, dancing, painting, or writing, etc. The successful performer develops a style that ismarketed aggressively and gains some popularity, and it is this popularity that usuallyconvinces the performer to continue performing in the same style, since that is what the publicseems to want and to enjoy. But in time, the performer becomes bored singing the same songsin the same way year after year, or the painter becomes bored painting similar scenes orportraits, or the actor is tired of playing the same character repeatedly. The demand of thepublic holds the artist hostage to his or her own success, fame. If the artist attempts to changehis or her style of writing or dancing or singing, etc., the audience may turn away and look toconfer fleeting fickle fame on another and then, in time, on another, and so on and so on.

　　在已经出了名的人们中间，绝大多数是因有一技之长，如唱歌、舞蹈、绘画、写作等等，而获此声誉的。这位成功的表演者展示出一种在市场上可以争雄制胜的风格，因而获得声誉。而且也就是这种声誉常使表演者确信必须把这种风格坚持下去，因为看来这正是大众所需要和喜爱的。可是随着时间之转移，歌手年复一年地依老调唱老歌，画师画同样的风景人物，演员反复重演同一角色，都会感到厌烦。为了维持自己的成功和声誉，群众的要求竟把这位艺术家如**般束缚住了。如果这位艺术家企图改变笔调、舞步、唱腔的话，听众观众就会舍他而去，把那飘忽不定的称誉转移给别人。随后有转移给另一人，这样不停地转来转去。

　　Who cannot recognize a Tennessee Williams play or a novel by John Updike or ErnestHemingway or a poem by Robert Frost or W. H. Auden or T. S. Eliot? The same is true ofpainters like Monet, Renoir, Dali or Picasso and it is true of movie makers like Hitchcock, Fellini,Spielberg, Chen Kai-ge or Zhang Yimou. Their distinctive styles marked a significant change inthe traditional forms and granted them fame and forturn, but they were not free to developother styles or forms because their audience demanded of each of them what they originallypresented. Hemingway cannot even now be confused with Henry James or anyone else, norcan Forst be confused with Yeats, etc. The unique forms each of them created, created them.No artist or performer can entirely escape the lure of fame and its promise of endlessadmiration and respect, but there is a heavy price one must pay for it.

　　有哪个人会认识不出一本田纳西·威廉斯的剧本、一本约翰·厄普代克或欧内斯特·海明威的小说，或罗伯特·弗罗斯特，或W.H奥登或T.S艾略特所写的一首诗歌呢？画家中，如莫奈、雷诺阿、达利或毕加索的画，导演制片如希区科克、费利尼、斯皮尔伯格、陈凯歌、张艺谋等等的作品，不也正是这样吗？他们的独特风格，迥异于一般传统，给他们带来美誉及财富。但他们不能**地另创风格或形式。这是因为群众向他们每个人所要求的正是他们原来所提供的一切。直到现在，海明威决不能与亨利·詹姆斯或其他任何人相混淆，弗罗斯特也决不能与叶芝相混淆，如此等等。他们每个人都创造了独特风格。也创遣了他们自己。没有一位艺术家或表演家能完全逃避荣誉的引诱，荣誉给他们带来无穷的赞扬和崇敬，但他们要付出的代价也是靠常昂贵的。

　　Fame brings celebrity and high regard from adoring and loyal fans in each field of endeavor andit is heady stuff. A performer can easily come to believe that he or she is as good as his or herpress. But most people, most artists do not gain fame and fortune. What about thoseperformers who fail, or anyone who fails? Curiously enough, failure often serves as its ownreward for many people! It brings sympathy from others who are delighted not to be you, andit allows family and friends to lower their expectation of you so that you need not competewith those who have more talent and who secceed. And they find excuses and explanations foryour i*lity to succeed and become famous: you are too sensitive, you are not interested inmoney, you are not interested in the power that fame brings and you are not interested in theloss of privacy it demands, etc. ---all excuses, but comforting to those who fail and those whopretend not to notice the failure.

　　在每个领域里，出了名就会使一些虔敬的入迷者表示赞扬和尊崇，但这也是一种容易使人陶醉的东西。一位表演家粮容易相信自己的成就当真和报章**所说的一样。可是大多数人，大多数艺人并没有得到声名财富。那些失败的表现者又如何呢？其他任何一个失败者又如何呢？真奇怪，对很多人来说，失败也常常会起一种报偿的作用！有些人庆幸自己不像你那样地失败，就会对你表示同情，你的亲朋们也会降低对你的期望，使你不必去同那些才智胜于你而获得成功的人们较量。他们会找借口解说你不成功不出名的原因，说什么：你太**了呀；你对金钱没有兴趣呀；你对声名所能带来的**不感兴趣呀；因为声誉要使你丧失隐私权，因而你不感兴趣呀，等等--这一些无非都是借口而已，但对失败者或假装不关心自己失败的人来说，都多少带来一点安慰。

　　History has am* proven that some failure for some people at certain times in their lives doesindeed motivate them to strive even harder to succeed and to continue believing inthemselves. Thomas Wolfe, the American novelist, had his first novel Look Homeward, Angerrejected 39 times before it was finally published and launched his career and created his fame.Beethoven overcame his tyrannical father and grudging acceptance as a musician to becomethe greatest, most famous musician in the world, and Pestalozzi, the famous Italian educator inthe 19th century, failed at every job he ever had until he came upon the idea of teachingchildren and developing the fundamental theories to produce a new form of education.Thomas Edison was thrown out of school in fourth grade, at about age 10, because he seemedto the teacher to be quite dull and unruly. Many other cases may be found of people who failedand used the failure to motivate them to achieve, to succeed, and to become famous. But,unfortunately, for most people failure is the end of their struggle, not the beginning. There arefew, if any, famous failures.

　　历史已充分证明有些人在生命中某些时刻遭遇的失败确实促使他们更努力奋斗，继续深信自己，以求得成功。**小说家托马斯·沃尔夫的第一部小说《天使，望故乡》出版之前，被退稿39次，终于开始了他的写作事业并赢得了声誉。贝多芬不屈服于他的专横的父亲，还忍气当过乐师，但终于克服一切，成为全世界最伟大最著名的音乐家。19世纪意大利著名***贝斯达洛齐从事各业一无成就，但最后专心于儿童教育，研讨了新教育法的基本原理，形成一种新的教育理论。托马斯·爱迪生十岁左右，从四年级里被赶出校外，因为教师觉得他又笨又倔强。这种以失败为动力，奋发有为，成名成家的人还有多例可举。但不幸的是，对多数人来说，失败是奋斗的结束，而不是开始。成名的失败事例即使有，也是少数。

　　Well then, why does anyone want fame? Do you? Do you want to be known to many peopleand admired by them? Do you want the money that usually comes with fame? Do you want themedia to notice everything you do or say both in public and in private? Do you want themhounding you, questioning you and trying to undo you? In American politics it is very obviousthat to be famous is to be the target of everyone who disagrees with you as well as of themedia. Fame turns all the lights on and while it gives power and prestige, it takes the you outof you: you must be what the public thinks you are, not what you really are or could be. Thepolitician, like the performer, must please his or her audiences and that often means sayingthings he does not mean or does not believe in fully. No wonder so few people trust politicians.But we have not answered the question at the beginning of this paragraph: why does anyonewant fame? Several reasons come to mind: to demonstrate excellence in some field; to gainthe admiration and love of many others; to be the one everyone talks about; to show familyand friends you are more than they thought you were. Probably you can list some otherreasons, but I think are reasonably common.

　　那么，一个人为什么要追求声誉呢？你追求声誉吗？你希望许多人都知道你赞赏你吗？你要那个往往随声誉而来的金钱吗？你要传播媒介注意你在公开或私下的一言一行吗？你要他们像猎狗似的追逐着你，向你**，想办法拆你的台脚吗？在**政界中非常明显，你要出名就得成为反对你的每个人的目标，也是传播媒介的目标。声誉把一切灯光打亮，一边给你**和威望，另一边也把“你”赶出你的自身之外：你必须成为大众意想之中的你，而不是那个真实的你或者可能实现的你。像表演家一样，***必须讨好他的听众，这就往往意味着要讲一点自己并不完全相信或同意的话。所以相信***的人是如此之少，这就不足为奇了。但是我们还没有回答本节开始所提的问题：为什么人人都追求声誉呢？我们想到的是下列几点理由：为了显示出在某方面的超越成就；赢得许多人的景仰爱慕；做一个人人都在提到的人；在亲朋前显示你超乎于他们对你的想象之上。也许你还可加些其他理由，但我觉得上述各点当然是普遍的。

　　Is it possible to be famous and to remain true to yourself, the real you? Perhaps, but one ishard pressed to come up with the names of those who have done their thing their way andsecceeded in the fame game. Many political dissidents around the world, in particular, DawnAung Suu Kyi of Burma, is a rare exception to the rule that says maintaining unpopular viewsor unpopular attitudes or approaches in any field will destroy you. The famous Irish writerOscar Wilde, a very successful writer of stories, poems and plays, was known for his mostunusual clothing and eccentric behavior, social and sexual. This behavior brought him to theattention of the mother of a young man Oscar was intimate with and she accused him. He wasfurious about this and sued the young man's mother which led to a trial and imprisonment fortwo years. He remained true to himself and paid a heavy price for it by being ostracized anddefamed.

　　是否有可能既出名又保持着真实的你呢？也许可能。但我苦恩冥索实在想不出那些既能以己意行事而又能在声誉角逐中获胜的人的姓名来。世界上有许多持不同政见的人们，特别像缅甸的昂山苏姬，是稀有的超越常规的例外情况。因为一般常规是在任何场合里，如果你采取反群众的观点、态度及方法，必将使你自己毁灭。著名的爱尔兰作家***。王尔德以小说、诗歌及剧本极为著称，同时，也因他的奇装异服和怪异的社交和性行为出了名。这种行为受到他的一位青年密友的母亲的注意。她指责了王尔德。王尔德为此大发雷霆，向这位青年的母亲提出控诉。之后，法庭判他两年徒刑。王尔德为了忠实于自己，付出了受社会排斥及丧失名誉的沉重代价。

　　Time magazine of June 17, 1996 devoted a good deal of its issue to discussing people (25 inAmerica) who are the most influential in the country in their opinion. They added a short essayon who are the most powerful people in America and no one on the first list appeared on thesecond list, and strangely enough, none of the poeple on either list was described as famous,although I think several surely are. Can we really distinguish influential people and powerfulpeople from those who are famous? Maybe, but their list of influential prople includes JerrySeinfeld the comedian and TV star, Courtney Love the singer and drug addict whose fame hascome largely through her husband Kurt Cobain, the guitarist who committed *, and thelist inbludes Oparh Winfrey the talk show host and Calvin Klein the clothing designer. All ofthese people are famous , but I believe, not very influential in the sense that they change theway most of us think or act. In Time magazine's list we find a Supreme Court justice, SandraDay O'Connorm, who is no more influential or powerful than any of other justices. PresidentClinton is not considered influential (?) but is considred powerful! You decide if you thinkfamous and influential and powerful are closely related, or different.

　　1996年6月17日那期的《时代》周刊以很多篇幅讨论他们心目中各国最有影响的人物（**有25人）。他们又为**最有权势的人加一篇短文。在第一个名单中（指最有影响的--译者注）没有一个人在第二个名单中（指最有权势的--译者注）出现。奇怪的是，在两个名单中，没有一个是被称为有声誉的，尽管我觉得***些人确有声誉。我们真的能把有影响的人、有**的人同有声誉的人加以区分吗？也许可以。但他们的有影响人物名单中包括喜剧演员和电视明星杰里。圣菲尔德；歌手和吸毒者哥特尼·洛夫，此人的名望主要来自她的丈夫，那个**的吉他手库尔特·柯本。这名单里还包括脱口秀主持人奥柏拉。温弗里和服装***卡尔文·克莱恩。这些都是名人，但我想不是很有影响的，因为他们不是能够改变我们大多数人的思想或行为的人。在《时代》杂志表里我们也发现最高**法官桑德拉·岱·奥康纳，她也并不比其他八位法官中的任何一位更有影响或更有**。*总统不算有影响，只被认为是有**而已！如你以为有声誉、有影响和有**三者是紧密相联或可以划分的话，那么，随你决定吧。

　　I believe that fame and celebrity, influence and power, success and failure, reality and illusionare all somehow neatly woven into a seamless fabric we laughingly call reality. I say to thosewho desperately seek fame and fortune, celebrity: good luck. But what will you do when youhave caught your tail, your success, your fame? Keep chasing it ? If you do catch it, hang onfor dear life because falling is not as painful as landing. See you soon famous and almostfamous, wayfarers on this unbright, nonlinear planet!

　　我相信声誉和赞扬、影响和**、成功和失败、现实和幻想都好像是精密编织在一匹光洁无缝的织品之中，即我们笑称之现实的东西。对那些拼命追求声誉、财富和赞赏的人们，我说：祝您好运。但当你已抓住了尾巴、成功、声誉之后，你将做什么呢？一直追逐下去吗？如你确实抓住了它的话，那就舍命也不要松手，因为下坠总比坠地要少痛苦一点。走在这苍茫而不可理喻的星球上的芸芸过客们，我盼你们不久就功成名就，或近乎功成名就吧！

　　fame英语课文翻译 篇2

　　Fame is very much like an animal chasing its own tail who, when he captures it, does not know what else to do but to continue chasing it. Fame and the exhilarating celebrity that accompanies it, force the famous person to participate in his or her own destruction. Ironic isn't it?

　　Those who gain fame most often gain it as a result of possessing a single talent or skill: singing, dancing, painting, or writing, etc. The successful performer develops a style that is marketed aggressively and gains some popularity, and it is this popularity that usually convinces the performer to continue performing in the same style, since that is what the public seems to want and to enjow. But in time, the performer becomes bored singing the same songs in the same way year after year, or the painter becomes bored painting similar scenes or portraite, or the actor is tired of playing the same character repeatedly. The demand of the public holds the artist hostage to his or her own success, fame. If the artist attempts to change his or her style of writing or dancing or singing, etc., the audience may turn away and look to confer fleeting fickle fame on another and then, in time, on another , and so on and so on.

　　Who cannot recognize a Tennessee Williams play or a novel by John Updike or Ernest Hemingway or a poem by Robert Frost or W. H. Auden or T. S. Eliot? The same is true of painters like Monet, Renoir, Dali or Picasso and it is true of movie makers like Hitchcock, Fellini, Spielberg, Chen Kai-ge or Zhang Yimou. Their distinctive styles marked a significant change in the traditional forms and granted them fame and forturn, but they were not free to develop other styles or forms because their audience demanded of each of them what they originally presented. Hemingway cannot even now be confused with Henry James or anyone else, nor can Forst be confused with Yeats, etc. The unique forms each of them created, created them. No artist or performer can entirely escape the lure of fame and its promise of endless admiration and respect, but there is a heavy price one must pay for it.

　　Fame brings celebrity and high regard from adoring and loyal fans in each field of endeavor and it is heady stuff. A performer can easily come to believe that he or she is as good as his or her press. But most people, most artists do not gain fame and fortune. What about those performers who fail, or anyone who fails? Curiously enough, failure often serves as its own reward for many people! It brings sympathy from others who are delighted not to be you, and it allows family and friends to lower their expectation of you so that you need not compete with those who have more talent and who secceed. And they find excuses and explanations for your i*lity to succeed and become famous: you are too sensitive, you are not interested in money, you are not interested in the power that fame brings and you are not interested in the loss of privacy it demands, etc. ---all excuses, but comforting to those who fail and those who pretend not to notice the failure.

　　History has am* proven that some failure for some people at certain times in their lives does indeed motivate them to strive even harder to succeed and to continue believing in themselves. Thomas Wolfe, the American novelist, had his first novel Look Homeward, Anger rejected 39 times before it was finally published and launched his career and created his fame. Beethoven overcame his tyrannical father and grudging acceptance as a musician to become the greatest, most famous musician in the world, and Pestalozzi, the famous Italian educator in the 19th century, failed at every job he ever had until he came upon the idea of teaching children and developing the fundamental theories to produce a new form of education. Thomas Edison was thrown out of school in fourth grade, at about age 10, because he seemed to the teacher to be quite dull and unruly. Many other cases may be found of people who failed and used the failure to motivate them to achieve, to succeed, and to become famous. But, unfortunately, for most people failure is the end of their struggle, not the beginning. There are few, if any, famous failures.

　　Well then, why does anyone want fame? Do you? Do you want to be known to many people and admired by them? Do you want the money that usually comes with fame? Do you want the media to notice everything you do or say both in public and in private? Do you want them hounding you, questioning you and trying to undo you? In American politics it is very obvious that to be famous is to be the target of everyone who disagrees with you as well as of the media. Fame turns all the lights on and while it gives power and prestige, it takes the you out of you: you must be what the public thinks you are, not what you really are or could be. The politician, like the performer, must please his or her audiences and that often means saying things he does not mean or does not believe in fully. No wonder so few people trust politicians. But we have not answered the question at the beginning of this paragraph: why does anyone want fame? Several reasons come to mind: to demonstrate excellence in some field; to gain the admiration and love of many others; to be the one everyone talks about; to show family and friends you are more than they thought you were. Probably you can list some other reasons, but I think are reasonably common.

　　I say to those who desperately seek fame and fortune， celebrity：good luck. But what will you do when you have caught your tail， your success， and your fame？ Keep chasing it？ If you do catch it， hang on for dear life because falling is not as painful as landing. See you soon famous and almost famous.

　　【翻译】

　　名声就像一只追逐自己尾巴的动物，当它抓住它的时候，它不知道还能做什么，只能继续追逐它。名声和随之而来的令人兴奋的名声，迫使名人参与到他或她自己的毁灭中。讽刺的不是吗？

　　获得名望通常获得它的人由于拥有一个天赋或技能：唱歌，跳舞，绘画，或写作，等等。成功的表演者积极开发销售的风格并获得一些声望，和这个流行通常让表演者继续在同一风格的表现，因为这就是公众似乎想要和enjow。但随着时间的推移，表演者厌倦了同样的歌曲，年复一年地唱着同样的`歌，或者画家厌倦了画类似的场景或肖像，或者演员厌倦了反复扮演同一个角色。公众对艺术家的要求使他或她自己的成功成为**。如果艺术家试图改变他或她的写作风格、舞蹈或歌唱等，观众可能会转向别处，寻求稍纵即逝的浮躁的名声，然后，在时间上，在另一个，如此等等。

　　谁不认识田纳西·威廉姆斯的戏剧或者约翰·厄普代克（John Updike）或欧内斯特·海明威（Ernest Hemingway）的小说，还是罗伯特·弗罗斯特（Robert Frost）或w·h·奥登（w·h·Auden）或艾略特（t·s·Eliot）的一首诗？像莫奈、雷诺阿、达利或毕加索这样的画家也是如此，像希区柯克、费里尼、斯皮尔伯格、陈凯歌或张艺谋这样的电影制作人也是如此。他们独特的风格标志着传统形式的显著改变，并赋予他们名声和力量，但他们因为他们的观众要求他们每个人最初呈现的东西，所以他们没有**发展其他的风格或形式。海明威甚至不能与亨利·詹姆斯或其他任何人混淆，也不能与叶芝混淆。这些独特的形式创造了他们，创造了他们。没有一个艺术家或表演者能完全逃脱名声的**，也没有得到无限钦佩和尊重的承诺，但必须付出沉重的代价。

　　在每一个领域都有名人和忠诚的粉丝，这是令人兴奋的事情。一个表演者很容易就会相信自己和他的**一样优秀。但大多数人，大多数艺术家并不会**双收。那些失败的表演者，或者失败的人怎么办？奇怪的是，失败往往是对许多人的奖赏。它能带给那些不喜欢你的人的同情，它允许家人和朋友降低对你的期望，这样你就不必与那些有更多天赋的人竞争。他们找借口和解释对你无法成功和成名：你太**，你的钱不感兴趣，你不感兴趣的名声带来的力量，你不感兴趣的隐私要求，等等都是借口，但安慰那些失败，那些假装没有注意到失败。

　　历史已经充分证明，某些人在某些时刻的失败确实激励他们更加努力地取得成功，并继续相信自己。**小说家托马斯·沃尔夫（Thomas Wolfe）第一部小说《回家看》（Look Homeward），愤怒被拒绝了39次才最终出版发行职业生涯并创造了他的名声。贝多芬克服了他残暴的父亲和勉强接受作为一个音乐家成为最伟大的，世界上最著名的音乐家，和裴斯塔洛齐，在19世纪意大利著名***，在每一份工作，他曾经失败，直到他来到教会孩子的想法和发展基本理论产生一种新形式的教育。托马斯·爱迪生在四年级的时候被学校开除了，大约10岁，因为他觉得老师很呆板，不守规矩。许多其他的案例可能被发现是那些失败的人，他们利用失败来激励他们取得成功，成功，并成为名人。但不幸的是，对于大多数人来说，失败是他们奋斗的终点，而不是开始。几乎没有什么著名的失败。

　　那么，为什么有人想要出名呢？你呢？你想要被许多人所了解，被他们所崇拜吗？你想要那些通常伴随名誉而来的钱吗？你想让**注意到你在公共和私人场合所做的一切吗？你是想让他们追着你，问你，想要解开你？在**的**中，很明显，要出名，就得成为所有不同意你和**的人的目标。名声把所有的灯都打开，当它赋予**和威望时，它将你从你身上带出：你必须是公众认为你是什么，而不是你真正的或可能的。***，像表演者一样，必须取悦他或她的听众，这通常意味着说他不**或不相信的事情。难怪很少人会这么做。

　　fame英语课文翻译 篇3

　　Fame

　　Fame is very much like an animal chasing its own tailwho, when he captures it, does not know what elseto do but to continue chasing it. Fame and thedelighting popularity that accompanies it, force thefamous person to participate in his or her owndestruction.

　　Those who gain fame most often gain it as a result ofpossessing a single talent or skill: singing, dancing, painting, or writing, etc. The successful perfor*velops a style that is marketed aggressively andgains some popularity. And it is this popularity that usually convinces the performer tocontinue performing in the same style, since that is what the public seems to want and toenjoy. But in time, the performer becomes bored singing the same songs in the same way yearafter year, or the painter becomes bored painting similar scenes or portraits, or the actor istired of playing the same character repeatedly. The demand of the public holds the artisthostage to his or her own success, fame. If the artist attempts to change his or her style ofwriting or dancing or singing, etc.the audience may turn away and look to confer changeablefame which is passing quickly on another.

　　I believe that fame and celebrity, influence and power,success and failure, reality and illusionare all somehow neatly woven into a seamless fabric we laughingly call reality. I say to thosewho desperately seek fame and fortune, celebrity:good luck. But what will you do when youhave caught your tail, your success, and your fame? Keep chasing it? If you do catch it, hangon for dear life because falling is not as painful as landing. See you soon famous and almostfamous.

　　声誉

　　声誉很像一只追逐自己尾巴的动物，当它抓住了自己的尾巴后，除了再继续追逐外再不知做什么。声誉与令人兴奋的知名度相生相伴，从而使名人走向毁灭。

　　那些声名鹊起之人多半是由于有一技之长；唱歌、跳舞、绘画或写作等。一个成功的表演者发展了一种雄踞市场的风格因而受到欢迎。正是由于这种受欢迎程度才使得他继续保持这种风格，因为这种风格是大众所需要和喜爱的。但最终，歌手为年复一年地以同样的方式唱同样的歌而感到心烦，画家为画类似的风景人物而感到厌倦，演员为

　　反复演同样的角色而疲惫不堪。公众的需求使得艺术家们固守自己的名誉。若他们企图改变自己的写作风格、唱腔、舞步等，则听众、观众便会离去，把稍纵即逝的名誉给予他人。

　　我相信名誉和声望、影响和**、成功与失败，现实和幻想都以某种方法整齐地编织在山张无缝隙的织缎中，即我们所笑称的现实。我对那些拼命寻求名誉、财富和声望的人说：祝你好运。但当你抓住自己的尾巴、获得成功和赢得名誉之后你又能做什么呢?继续追逐**吗?如果你确实抓住的话，千万抓紧了，因为下坠与落地的痛楚不一样。祝你很快成名或差不多成名!

物流英语课文翻译（扩展4）

——《学术英语综合》课文翻译

《学术英语综合》课文翻译

　　为了让大家更好的理解并学习《学术英语综合》，下面小编给大家带来了《学术英语综合》课文翻译，希望能帮到大家！

　　感谢全能的上帝是感恩节的主题，并自清教徒带来在他们的第一个丰收的朝圣者…直到今天，在全国各地的数以百万计的家庭，上帝会感谢许多礼物，桌上的盛宴和亲人的公司，健康和好运，在过去的一年，和*时期的家庭，为无数**出生或成为-**人。

　　但这可能不会发生在我们太多的感谢的事实，本周当地超市有大量的火鸡出售。即使不虔诚感谢上帝的航班安排，使得某些亲人飞回家过感恩节。或为当地的电影院在周末的时间掌握和（电影名）到来。或者是报纸上伟大的越橘苹果派食谱的食品部分。

　　这些东西我们采取更多或更少的理所当然。这几乎不需要一个奇迹来解释为什么杂货店的股票在感恩节前火鸡的股票，或者为什么好莱坞电影在大假期的时间**。这就是他们所做的。上帝在哪里，然而，在那里，没有什么奇妙的东西-几乎是无法解释的-在你的感恩节周末的方式是可能的技能和劳动力的大量的陌生人

　　把火鸡的餐桌，例如，需要成千上万的人努力的家禽农户养的鸟，当然，也提供营养，谁把它带到农场的卡车司机的饲料经销商，更不用说建筑师设计的孵化场，工人建造它，并保持它的运行技术人员。这只鸟已经被宰杀、拔毛和检查运输和卸载包售价并显示。完成这些任务的人是由其他人的**来完成的，其他人完成了其他的任务--从精炼的汽油，燃料的卡车，制造塑料的肉类包装。

　　无数的活动遥远的男人和女人经过结婚几个月必须精心设计和精确定时，使v'nen结果你买新鲜的感恩节火鸡，会有一个或更多的可能，几十个等待。协调水*，需要把它关闭是令人难以置信的。但更令人难以置信的是：没有一个协调。没有火鸡沙皇坐在指挥所的.地方，咨询硕士计划。发号施令。没有人骑着所有的人，迫使他们合作，为你的利益。然而他们合作。当你到达超市的时候，四只火鸡在那里。你不必做任何事情，但如果出现买thatisrit，奇迹。那我们应该称之为？

　　亚当斯密称它为“看不见的手”导致无数人的神秘力量，各为自己的利益工作，推动结束，受益多。出于对不协调的私下交易，数以百万计的混乱出现自发的市场秩序。**人**地互动，结果是一系列的商品和服务，比人类的心灵更能理解。没有襡裁者，没有官僚机构，没有超级计算机提前计划。事实上，越是计划经济，就越是困扰着短缺的错位和失败…**的社会秩序，如财富和进步，这是一个非同寻常的礼物。在这个感恩的日子，每一天，我们都要心存感激。

　　一个男人正讨论给女友的生日礼物。”我知道；”他自言自语，“我给她现金。毕竟，我不知道她有什么品味，有了钱，她可以买任何她想要的东西，”但是当他交给她钱的时候，她很生气。他并不真的爱她，她打破了关系。这个故事背后的经济学是什么？在某些方面，送礼是一种奇怪的风俗。作为男人，在我们的故事中，人们通常都知道自己的喜好比人做的更好，所以我们可以期望每个人都喜欢现金的实物转移支付。如果你的雇主用替代的商品支付你的薪水，你可能会反对支付**。但是你的反应是非常不同的，当有人（你希望）爱你做同样的事情。

　　送礼的一种解释是，它反映了非对称信息和信令。我们故事里的男人有私人信息，女朋友想知道：他是否真的爱她，选择一个好的礼物给她是他的爱的信号。当然，挑选一份礼物，有正确的特性是一个信号。它是昂贵的（需要时间），它的成本取决于私人信息（多少他爱她）。如果他真的爱她，选择一个好礼物很容易，因为他一直在想着她。如果他不爱她，找到合适的礼物就更难了。因此，给了一个适合女友的礼物，是他传达他对她的爱的私人信息的一种方式。给现金表明他甚至不想尝试。

　　送礼的最具信号原理的理论是一致的另一个观察：人们关心的惯例是，喜爱的优点是最大的问题。因此，给现金给一个女朋友或男友是个坏举动。但是当学生从家长那得到支票，他们不太经常生气。父母的爱不可能会有疑问，那么收件人可能不会将现金礼物当做喜爱缺乏的信号。

　　微软案件

　　**来最重要和最有争议的反垄断案是*****微软公司一案，于1998年提交。当然，这并不是缺少戏剧。它使世界上最富有的人之一（比尔盖茨）对抗一个世界上最强大的监管机构（**司法）。为*辩护的是一个杰出的经济学家（麻省理工学院的教授富兰克林fisher，为微软辩护的是一个同样杰出的经济学家（麻省理工学院教授李察…岌岌可危的是世界上最有价值的公司（微软）是一个经济最快发展的产业（计算机软件）。微软案涉及的一个核心问题，特别是，微软是否应该被允许将其网络浏览器整合到其视窗操作系统中。*声称，微软将这两种产品捆绑在一起共同开拓市场支配力'到已经在电脑操作系统无关的市场（网络浏览器）。允许微软将这样的产品进入其操作系统，*称，这将阻止其他软件公司如网景公司进入市场，推出新产品。微软回应指出，把新功能加进老产品是技术进步的自然部分。今天，包括汽车音响和空调，曾经单独出售，还有相机内置闪光灯。同样的操作系统是正确的。随着时间的推移，微软已经增加了许多功能给Windows窗口，它以前是**的产品。这使得计算机更可靠，更容易使用，因为消费者可以确定这些部件一起工作。微软认为，互联网技术的融合是自然的下一步。

　　意见分歧一点是微软的市场**。注意到超过80％以上的新个人电脑使用微软的操作系统，*认为该公司有大量的垄断**，它在试图扩大。微软说，软件市场是不断变化的，微软的Windows不断地被竞争对手挑战，如苹果mac和Linux操作系统。它也认为，以50美元的低价格收取Windows，或只有典型电脑价格的3％，是它的市场**力被严重限制的证据。

　　经济学家早已了解贸易收益。这里是最伟大的经济学家亚当斯密提出的论点：“这是一句格言对每一个精明的家长，不要试图怒，可在家里将花费什么他比买。裁缝不想制作自己的鞋子，但买他们的鞋匠。鞋匠不想制作自己的衣服，但采用一个裁缝。农夫既不会去做一个也不是其他，而是雇用drjferent artficers。所有的人都认为自己的利益，在一种方式中，他们有一些优势，他们的邻居，并购买其产品的一部分，或什么是相同的东西，与价格的一部分，无论他们有什么机会。这个观点来自斯密的1776年的书《探究国民财富的性质和原因》，这是一个里程碑，在分析贸易与经济的相互依赖性。

　　史密斯的著作启发了戴维李嘉图，百万富翁的经纪人，成为一个经济学家。在他的1817本书**经济学及赋税原理，李嘉图提出了正如我们今天所知道的比较优势原理。他提出一个例子，有2个商品（葡萄酒和布）和两国（英国和葡萄牙）。他表明，这两个国家可以通过开放贸易和专业的比较优势的基础上获得好处。李嘉图的理论是现代国际经济学的出发点，但他的**贸易防御的不是单纯的学术活动。李嘉图把自己的信念作为英国议会的一员，在那里他反对谷物法，是限制谷物进口的。

　　亚当史密斯和戴维李嘉图的贸易所得的结论在好长时间都经住了考验。虽然经济学家经常在**问题上意见分歧，但他们在**贸易上意见一致。此外，在过去的2个世纪中没有太多改变。虽然扩大了其范围，细化了其理论，但经济学家对贸易限制的反对是基于比较优势理论。

　　1.各种各样的证据表明：即使女性和男性说话方式相同，人们对他们的看法还是不同。这种倾向导致有关女性、男性和**耐的讨论纷争不断。女性说话讲究方式方法被认为是低微**，而换成男性则被认为是有能力的表现。视女性的语言为低微**者的语言常常反映出男性看女性行为的视觉角度。

　　2.女性不为高人一等而拼搏，往往就被认为是低人一等。在任何情况下都极容易发生误会。这也说明了为什么专家和非专家常常把女性以友善语言表述出来的思维方式曲解成低微**的表现。没有什么能比一家报社刊登的采访片段更能清楚地说明这种根深蒂固的歧义。采访对象是一对心理学家夫妇，当**问他们“表现得非常有礼貌”的含义时，这两位专家同时给出不同的答案。男性回答说：“服从”。女性回答说：“**”。两位专家都是正确的，只不过每个人描述的是不同性别的观点。

　　3.专家和非专家都习惯把女性的任何行为看为低微**的表现。以上同一篇报刊文章援引另一位心理学家的话说：“一个男人会这样问一个女人：‘请你去一趟商店好吗？’同样的情况下女人会说：‘哎，我真的需要从商店买点东西，但是我实在太累了。’”女性的这种表达方式被称为“隐蔽的”，该词含有“鬼祟”和“秘密”等贬义，而这样表达的原因归咎于一个“权”字，女人觉得她没有**直接提出要求。

　　4.的确，在我们（**）社会里，女性的地位比男性低，但这不等于说她们不愿意提出直截了当的要求。女性的这种间接方式很可能是因为她们在努力寻找某种关系。如果愿意在自己的要求下得到满足，结果就是社会地位的胜利：你高人一等，因为别人按你的意志行事。而如果你的愿望得到满足是因为他人的愿望恰好和你的一致，或者是因为对方心甘情愿，结果就是融洽**。当你和对方的需求一致而一拍即合时，你既不高人一等，也不低人一等。而且如果双方都了解这种间接方式，那就不存在什么隐蔽：提出的要求很明确。称间接的沟通方式为隐蔽反映出那些青睐直接沟通方式的人的观点，即直接的方式才是“自然的”、“合乎逻辑的”，这种观点在男性中更普遍。

　　5.间接方式本身并不反映低微**。我们不难想象出权势者中有**的人是怎样使用间接方式的。例如，一位有钱的夫妇用不着直接向听命于他们的用人发号施令，而只须简单地说明其愿望，房子的女主人说：“这儿冷，”用人就会去调高室温；房子的男主人说：“是晚饭的时间，”用人就会摆桌上菜。或许终极的间接是什么都不用说就能使某人做某事：女主人按一下铃，女仆端上下一道菜；家长走进有孩子正在嬉闹的房间，双手叉腰一站，他们就会戛然而止。

　　6.所有文化都靠以“间接”二字所形成的复杂而精巧的体制去运作。例如，我在做一个小规模的研究项目时发现：当妻子问“你想去参加那个聚会吗？”，大多数希腊人认为他们的妻子是在暗示她想去。他们认为如果妻子不想去，她就不会提出这个问题。而且他们觉得之所以不直截了当提出，是因为她不想使她的愿望听上去像是要求。间接是传达她的意愿的最好方式。

　　7.**文化把间接沟通方式发展成为精美的艺术。例如，一位名叫别府春海的***类学家这样描述一次简单的午餐邀请所涉及的微妙的间接交流。当他的朋友发出邀请后，别府首先要弄清楚这个邀请是真正的邀请，还是仅仅出于客套，就像**人说“哪天有空请你到我们家吃饭”而他并不期望你会出现在他的家门口一样。别府在确定邀请是真实的并且接受以后，对方就得问他想吃什么；按照习俗，他于是说吃什么都可以，而他的朋友也照例一定要他说的具体些，这样的交流在主人和客人之间适当重复了几次，直到别府觉得有礼貌地作出回答才是谦谦之举，于是说米饭和茶。当他就餐时，招待他的的确有米饭和茶—只不过这是一顿丰盛午餐的最后一个程序。别府对饭菜之丰盛并不感到惊讶，因为他知道按礼节就是这样。如果对方按照他的提议款待他，他就等于受到了侮辱，当然礼节也要求他做出受宠若惊的样子。

　　8.以上描述的有关午餐邀请时双方所进行的间接交流在**人看来是过分了，然而相比直接的沟通方式，世界上更多的文化崇尚细腻的间接沟通方式。唯有现代**社会推崇直接沟通方式，而且即使对我们（**人）来讲，这种方式更是一种价值观，而不是实践。

　　9.其他文化现象也清楚地表明间接本身并不能反映地位低下。在一定程度上，是我们对对女性地位的设定使我们把女性的所有行为解释成为地位低下的表现。例如，人类学家埃莉诺·基南发现在马达加斯加岛的一个说马达加斯加语的村落里，说话直截了当的是女性，拐弯抹角的是男性。而村民视男性使用隐喻和谚语的间接说话方式为更佳方式。在他们眼里，非直接方式和使用这种方式的男人一样享有崇高地位，而女性的直接风格被视为笨拙、粗鲁、有损男性语言的精深微妙之魅力。关于男性或女性谁直接谁间接在不同地域有不同情况，不变的是女性风格总遭人贬低，其地位被视为低于男性。

物流英语课文翻译（扩展5）

——《三峡》课文翻译

《三峡》课文翻译

　　三峡全篇只用一百五十五个字，既描写了长江三峡错落有致的自然风貌，又写长江三峡不同季节的壮丽景色，展示了祖国河山的雄伟奇丽、无限壮阔的景象。下面，小编为大家分享《三峡》课文翻译，希望对大家有所帮助！

　　原文

　　自三峡七百里中，*连山，略无阙处。重岩叠嶂，隐天蔽日。自非亭午夜分，不见曦月。(阙 通：缺；重岩 一作：重峦)

　　至于夏水襄陵，沿溯阻绝。或王命急宣，有时朝发白帝，暮到江陵，其间千二百里，虽乘奔御风，不以疾也。(溯 同：泝；暮到 一作：暮至)

　　春冬之时，则素湍绿潭，回清倒影。绝巘多生怪柏，悬泉瀑布，飞漱其间，清荣峻茂，良多趣味。(巘 一作：山献)

　　每至晴初霜旦，林寒涧肃，常有高猿长啸，属引凄异，空谷传响，哀转久绝。故渔者歌曰：“巴东三峡巫峡长，猿鸣三声泪沾裳。”

　　译文

　　在三峡七百里之间，*都是连绵的高山，完全没有中断的地方；重重叠叠的悬崖 峭壁，遮挡了天空和太阳。若不是在正午半夜的时候，连太阳和月亮都看不见。

　　等到夏天水涨，江水漫上小山丘的时候，下行或上行的船只都被**了，不能通航。有时候**的命令要紧急传达，这时只要早晨从白帝城出发，傍晚就到了江陵，这中间有一千二百里，即使骑上飞奔的马，驾着疾风，也不如它快。

　　等到春天和冬天的时候，就可以看见白色的急流,回旋的清波。碧绿的潭水倒映着各种景物的影子。极高的山峰上生长着许多奇形怪状的柏树，山峰之间有悬泉瀑布飞流冲荡。水清，树荣，山高，草盛，确实趣味无穷。

　　在秋天，每到初晴的时候或下霜的早晨，树林和山涧显出一片清凉和寂静，经常有高处的猿猴拉长声音鸣叫，声音持续不断，非常凄凉怪异，空荡的山谷里传来猿叫的回声，悲哀婉转，很久才消失。所以三峡中渔民的歌谣唱道：“巴东三峡巫峡长，猿鸣三声泪沾裳。”

　　赏析

　　郦道元的《三峡》（选自《水经注》）是一篇著名的山水之作，只用不到区区200字的篇幅，作者描写了三峡错落有致的自然风貌。全文描写随物赋形，动静相生，情景交融，情随景迁，简洁精练，生动传神。

　　作者用“自三峡七百里中”起笔，既交代了描写对象，又介绍了其总体长度。

　　接着，作者先写山，用“*连山，略无阙处”写山之“连”，“重岩叠嶂，隐天蔽日”写山之“高”，又用“自非亭午夜分，不见曦月”侧面烘托，让人进一步感到三峡的狭窄，寥寥数笔形象地勾勒出三峡磅礴逶迤、雄伟峭拔的整体风貌，使读者很快被三峡的雄险气势所吸引。

　　水是山的眼睛。作者按自然时令来写水，先写水势最大最急的夏季。用“夏水襄陵，沿溯阻绝”正面描写水势之险恶、水位之高、水流之急。“朝发白帝，暮到江陵，其间千二百里，虽乘奔御风，不以疾也”，通过对比、夸张更加突出了夏季江水暴涨后的水流之疾。再写水势减小的春冬，此时的三峡可用一“秀”字概括。“素湍”“绿潭”，两种色彩、两种情态，动静交织，对比鲜明；“怪柏”“悬泉”“瀑布”，也是有静有动、有声有色，山水树木交汇其中，蔚为奇观。“清荣峻茂”一句话四字写四物：“清”字写水，“峻”字写山，“荣”字写柏树，“茂”字写草。“良多趣味”，又掺入了作者的审美意趣，使得诗情画意融为一体。写秋水，作者用一“霜”字暗示，写三峡秋景的清寒，并用猿鸣来烘托萧瑟的秋高，让人不胜凄凉。

　　作为描写山水之作并非单纯写景色，而是以情托景（如“良多趣味”托出春冬景色之佳，“猿啸”“凄异”托出秋季景色之凉），缘情入景（如开头几句体现了初赏三峡的总体之情，使人顿有雄伟奇险之感，以下再分写时而悚惧，时而欣喜，时而哀凄的四季之情），作者以情而非四季的顺序来布局谋篇。

　　凡景语皆情语，初学写作者，写景状物要做到写出其特点，要和自己的思想感情相一致。

　　《三峡》以凝练生动的笔墨，写出了三峡的雄奇险拔、清幽秀丽的景色。作者抓住景物的特点进行描写。写山，突出连绵不断、遮天蔽日的特点。写水，则描绘不同季节的不同景象。夏天，江水漫上丘陵，来往的船只都被阻绝了。“春冬之时，则素湍绿潭，回清倒影。绝巘多生怪柏，悬泉瀑布，飞漱其间。”雪白的激流，碧绿的潭水，回旋的清波，美丽的倒影，使作者禁不住赞叹“良多趣味”。而到了秋天，则“林寒涧肃，常有高猿长啸”，那凄异的叫声持续不断，在空旷的'山谷里“哀转久绝”。三峡的奇异景象，被描绘得淋漓尽致。作者写景，采用的是大笔点染的手法，寥寥一百五十余字，就把七百里三峡万千气象尽收笔底。写春冬之景，着“素”“绿”“清”“影”数字；写秋季的景色，着“寒”“肃”“凄”“哀”数字，便将景物的神韵生动地表现了出来。文章先写山，后写水，布局自然，思路清晰。写水则分不同季节分别着墨。在文章的节奏上，也是动静相生，摇曳多姿。高峻的山峰，汹涌的江流，清澈的碧水，飞悬的瀑布，哀转的猿鸣，悲凉的渔歌，构成了一幅幅风格迥异而又自然**的画面，给读者以深刻的印象。引用的诗句表现了突出山高水长的特点，同时渲染三峡秋色悲寂凄凉的气氛。

物流英语课文翻译（扩展6）

——背诵英语课文的几种方法

背诵英语课文的几种方法

　　古人云：书读百遍，其义自见。不仅仅对我们的语文学习来讲是金科玉律，对英语学习也是一样的！只要彻底的背会了，便没有学不好的道理！背会了自然能读，能看，能写，那听力也就不成问题了。下面和小编一起来看背诵英语课文的几种方法，希望有所帮助！

　　1、抄诵法

　　俗话说：“抄一遍胜过读十遍。”读诗词或短文时先看一句抄一句；再看几句抄几句；最后看一段抄一段，直到看一篇抄一篇，也就是先读再抄，抄完再读。

　　2、时空法

　　记住要背内容中表示时间方位顺序的词语。

　　3、人物法

　　记住文章中依次（或分类）出现的几个人物，这样忆人思情，忆人思言，就有助于理解与背诵。

　　4、情境法

　　创设具体情境，根据情境熟读容易理解和记忆。尤其是优美的诗歌与散文，运用此法效果更佳。

　　5、情节法

　　掌握故事的起因、经过、发展、**、结果等具体情节，据情而背就容易的多了。

　　6、延伸法

　　背短文或诗歌，可从开头逐句延伸背诵，即背会第一句，背第二句时把的一句带上，背会第一二句，背第三句时再把第一二句带上，如此延伸，直到全篇。

　　7、对比法

　　把课文中具有对比的部分找出来，记住这个对比的性质、特点、作用，就容易背诵了。

　　8、问题法

　　提出几个具有连贯性、系统性的问题，根据问题答案的顺序，记取背诵内容。

　　9、提纲法

　　列出一个简单的提纲，然后根据提纲练习背诵。

　　10、列表法

　　记忆时先将需要背诵的内容进行列表归纳，使繁杂的内容简单化、特征化、条理化，一目了然，便于举一反三，加深印象。

　　11、间隔法

　　记忆课文的词语不能怕重复，第二、三天还要再读第一天读的词，温故知新，常读常新。

　　12、歌诀法

　　将要背诵的内容，编为歌诀，读来顺口，记忆深刻。

　　13、点线法

　　抓住文章的脉络，提炼出各层次的关键词语、句子作为记忆的点，如表现人物形象的动词等，根据先后次序排列起来，再连点成线，连线成面，展开快速记忆，背诵课文，也就是按照文章写作的线索顺序，把全文的'主要内容联系起来记忆。

　　14、分合法

　　先分句背，在句中背关键词，这样逐句背，而后合背，由词连句，由句连段，再由段连篇。或先抓要背内容的主要部分，再带动次要部分，再合背。

　　15、关系法

　　背诵之前，先弄清文章的结构关系，例如先总后分，先分后总，总分——总：有如动静关系，远近关系，等等。

　　16、耳听法

　　这种方法是由一个人或一部分人朗读，大家洗耳恭听。或自己先把要背的东西录音，然后放音，仔细听记，用这种方法训练背诵，比单纯反复朗读效果会更好些。

　　一、多次重复法

　　根据艾宾浩斯的遗忘曲线规律：遗忘的进程是不均匀的，在识记后最初的一段时间遗忘的比较快，而后逐渐变慢。针对小学生而言，他们的机械性记忆力比**要好，但是存在的问题是学的快，遗忘的也快，这就是有的家长(微博)提出的“孩子老记，可是老也记不住”。如何解决这个问题呢？作为教师，在教完新单词后，要尽早复习，让学过的单词有计划地多次重复出现在教学活动中，提高单词的重复出现率，达到巩固记忆的效果。作为家长，需要帮助学生反复听写新单词，并且有计划地听写以前学过的单词。

　　二、按音节记单词

　　英文单词是由字母组成的，因此在记忆单词时，要利用自然拼音的知识，并且按照音节对单词进行划分。这样单词的记忆保证了书写的正确，也保证了读音的标准，摆脱了读音受汉语的影响。我们举一个比较难的单词为例，hippopotamus(河马)，如果不懂得对单词进行划分，记忆是非常困难的，根据自然拼音知识，我们可以对单词进行如下的划分hi/ppo/po/ta/mu/s，这样拆开记忆，是有规律可循的，英文字母在单词中有发音规律，另外字母组合的发音也是有章可循的。

　　三、逻辑组记

　　逻辑组记是指把单词按逻辑顺序进行分组，分组后把同一类别的单词一起记忆，通俗一点的说是把单词“穿成了串”，然后进行记忆。比如：按照颜色、数字等分类记忆单词，互相关联，效果显著。逻辑组记还有的好处就是学生新学的单词能够划分到以前的分组中去，助学生听写单词时也可以经常按照逻辑组进行，这样可以新词带旧词的进行复习。

　　四、对比记单词

　　英语词汇中有许多的单词都有意义相对应的词，我们可以通过对比、对照的方式，帮助学生把容易混淆的词以及内容上联系密切的单词结合起来记忆。我们可以简单的归纳为以下几种对比形式：

　　1.同义词：big—large; small—little

　　2.反义词：fat—thin; long—short

　　3.呼应词：circle, square, triangle,rectangle

　　五、情景记单词

　　在不同的情景下，我们会用到不同的词汇，通过情景分类有利于结合口语句型，让学生做到活学活用。

　　六、熟悉合成词记单词

　　英语中有许多合成词，比如blackboard, baseball, supermarket, classmate等等，知道合成词的概念，有利于对单词的记忆，并且容易把单词记牢。

　　七、联系生活记单词

　　小学生善于观察生活，所以要把单词的记忆与日常生活联系起来。比如在停车场看到的大写字母P**哪个单词？VIP中的每个字母分别**什么单词？还有生活中常见的飘柔洗发水的英文Rejoice本身的意义是什么？通过点点滴滴，教会学生在生活中去发现词汇，学习记忆词汇。

　　对于小学生来讲，词汇本身的记忆是枯燥的，有的时候需要进行一些调节，在单词的讲解和引申中加入一些灵活的因素，营造活跃的课堂气氛。激情联想也是活跃课堂气氛的一个方式，比如讲完fat后，写出fatal来让学生猜，最后告诉学生fatal是“致命的”意思，fat加了al变成了fatal(致命的)，我们可以理解为“长肥肉对于女人来说是致命的”。当然，这些都是旁门左道，仅用来消除学生对背单词产生的抵触感，切不可本末倒置。

　　最后，预祝郑州的同学们都能取得优异的成绩，进入理想的中学！