分享 散文阅读第三单元笔记 Unit Three The Future of Reading
Unit Three The Future of Reading
Part 1 Notes to vocabulary and texts
I. V ocabulary
1. cite: v.
a) to mention something as an example, especially one that supports, proves, or explains an idea or situation. E.g. The judge cited a 1956 Supreme Court ruling in her decision.
cite something as something else. E.g. Several factors have been cited as the cause of the unrest.
b) to give the exact words of something that has been written, especially in order to support an opinion or prove an idea SYN quote. E.g. The passage cited above is from a Robert Frost poem. c) to order someone to appear before a court of law SYN summon. E.g. cite somebody for something / Two managers had been cited for similar infractions.
d) (British English) to mention someone by name in a court case. E.g. Sue was cited in the divorce proceedings.
e) to mention someone because they deserve praise. E.g. cite somebody (for something) / Garcia was cited for her work with disabled children.
2. literacy: n. the state of being able to read and write.
3. attendant: adj. relating to or caused by something.
4. cortex: n. the outer layer of an organ in your body, especially your brain.
5. hunch: n. strong, intuitive feeling, suspicion. / intuitive feeling or a premonition.
6. breach: n. an action that breaks a law, rule, or agreement.
7. render: v. to cause someone or something in a particular condition.
8. amorphous: adj. having no definite shape or features.
9. facet: n. aspect, one of several parts of a person's character.
10. avocation: an activity taken up in addition to one's regular work or profession, usually for enjoyment; a hobby.
11. scriptorium: a writing room; specifically, the room assigned in a monastery for the copying of manuscripts.
12. mandarinate: n. the collective body of officials or persons of rank in China.
13. besmirch: v. to make dirty or to soil.
14. grid: n. the network of roads / the network of electricity supply wires that connect power stations and provides electricity to buildings in an area.
II. Expressions from the text
1. elemental literacy: n. basic skills of reading and writing for everyday use.
2. by heart: by rote, from memory.
3. political reach: n. scope of political influence.
III. Notes to the text
1. Gutenberg:
c.1397-1468, German inventor and printer, long credited with the invention of a method of printing from movable type, including the use of metal molds and alloys, a special press, and oil-based inks: a method that, with refinements and increased mechanization, remained the principal means of printing until the late 20th cent. His type, which was hand set with characters of equal height, was printed on handmade paper. Similar printing had been done earlier in China and Korea. In China printing from movable woodblocks was invented by Pi Sheng in 1040, and printing with movable type made of clay was also prevalent; in Korea movable copper type was invented as early as 1392. Europeans who have been thought by some to have preceded Gutenberg in the practice of his art include Laurens Janszoon Koster, of Holland, and Pamfilo Castaldi, of Italy. Early in the 21st cent. scholars, using computer technology, proposed that Gutenberg's movable type may actually have been sand cast, rather than produced in metal molds. If true, this would indicate that the development of Western printing technology was somewhat more gradual than previously thought.
Evidence indicates that Gutenberg was born in Mainz, trained as a goldsmith, and entered a partnership in which he taught his friends his secret profession of printing in the 1430s. He lived in Strasbourg for some years, and he may have made his great invention there in 1436 or 1437; he returned to Mainz (c.1446) and formed a partnership with a goldsmith, Johann Fust. Gutenberg's goal was to mechanically reproduce medieval liturgical manuscripts without losing their color or beauty of design. The masterpiece of his press has been known under several names: the Gutenberg Bible; the Mazarin Bible; and in modem times, as the 42-line Bible, for the number of lines in each printed column. Fust's demand (1455) for repayment of sums advanced resulted in a
settlement in which Gutenberg abandoned his claims to his invention and surrendered his stock, including type and the incomplete work on the 42-line Bible, to Fust, who continued the business and completed printing the Bible with the help of Peter Schoffer, who later became his son-in-law. Although the work bears no place of printing, date, or printer's name, it is usually dated to 1455. Printed in an edition of about 180 copies, it is the earliest extant Western book printed in movable type.
It is thought that Gutenberg reestablished himself in the printing business with the aid of Conrad Humery; works attributed, not unanimously, to him include a Missale speciale constantiense and a Catholicon (1460). The Elector of Mainz, Archbishop Adolf of Nassau, presented him with a benefice (1465) yielding an income and various privileges. There is a Gutenberg Museum in Mainz.
(Source: Columbia Encyclopedia: John Gutenberg)
2. De Quincey
De Quincey, Thomas (da kwin'se), 1785-1859, English essayist. In 1802 he ran away from school and tramped about the country, eventually settling in London. His family soon found him and entered him (1803) in Worcester College, Oxford, where he developed a deep interest in German literature and philosophy. He left Oxford in 1808 without completing his degree and settled (1809) at Grasmere, where he made the acquaintance of Wordsworth. By 1817 the opium habit, which he had begun while at Oxford, had reached its height. He achieved literary eminence with the publication of his Confessions of an English Opium-Eater (1822), which first appeared in the London Magazine in 1821. It is an account of the progress of his drug habit, including descriptions of the bizarre and spectacular dreams he had while under the influence of opium. He became a prolific contributor to various journals, especially to Blackwood's, Edinburgh, after 1825. Among his best works-all written in a polished, highly imaginative, and discursive prose-are "On Murder Considered as One of the Fine Arts," "Suspiria de Profundis," "On the English Mail-Coach," "On the Knocking at the Gate in Macbeth," and Autobiographic Sketches (1853).
3. Dark Ages
A term deployed in the 17th and 18th cents. to indicate the intellectual darkness which was believed to have descended on Europe with the ending of the Roman empire until new light was provided by the Renaissance. In the field of British history it is sometimes applied just to the 5th and 6th
cents., which many historians would prefer to designate as sub- or post-Roman.
4. Erasmus
Desiderius Erasmus
(born Oct. 27, 1469, Rotterdam, Holland - died July 12, 1536, Base1, Switz.) Dutch priest and humanist, considered the greatest European scholar of the 16th century. The illegitimate son of a priest and a physician's daughter, he entered a monastery and was ordained a priest in 1492. He studied at the University of Paris and trave1ed throughout Europe, coming under the influence of St. Thomas More and John Co1et. The book that first made him famous was the Adagia (1500, 1508), an annotated collection of Greek and Latin proverbs. He became noted for his editions of Classical authors, Church Fathers, and the New Testament as well as for his own works, including Handbook of a Christian Knight (1503) and Praise of Folly (1509). Using the philological methods pioneered by Italian humanists, he helped lay the groundwork for the historical-critical study of the past. By criticizing ecclesiastical abuses, he encouraged the growing urge for reform, which found expression both in the Protestant Reformation and in the Catholic Counter-Reformation. Though he saw much to admire in Martin Luther, he came under pressure to attack him; he took an independent stance, rejecting both Luther's doctrine of predestination and the powers claimed for the papacy.
(Source: Britannica Concise Encyclopedia: Erasmus)
5. Montaigne
(1533-92). Moralist and author of the Essais, composed during the last 20 years of his life, which have left an indelible impression not only on French but on European culture. In the eyes of many of his contemporaries he was a striking example of a Neostoic author; to the sceptics and libertins of the 17th c. He was their precursor and inspiration; in the following century, Diderot admired him as a philosophe avant la lettre, and Rousseau saw in him the first of the great confessional writers. More recently, Nietzsche praised him as a destructive relativist, and Gide saw in him a proponent of sexual honesty and liberation. One of the peculiar qualities of his Essais is to reflect the intimate preoccupations of their readers; it is thus hardly surprising that for his most modern critics his work is marked by the aesthetics of the fragmentary; that it exemplifies intertextuality (incorporating as it does 1, 264 explicit quotations, as well as countless other allusions); and that Montaigne himself anticipated reader-response theories of interpretation. This protean quality
assures the Essais their status as a classic.
Montaigne was born in Gascony of a recently ennobled well-to-do family, and given a solid humanist education at the College de Guyenne. He was destined for a career in the law, and after university studies at either Toulouse or Paris he became in 1557 a minor magistrate at the Parlement de Bordeaux, where La Boetie was his colleague and friend. He sold his post in 1570 in order to 'retire into the bosom of the learned Virgins'. His father had died two years before, leaving him the estate of Montaigne, where he resolved to devote the remainder of his life to reading, contemplation, and writing in the tower of his chateau, which housed his extensive library and whose exposed beams were inscribed with his favourite quotations.
His retirement was, however, not entirely uneventful; he left it to travel extensively in France, Switzerland, Germany, and Italy in 1580-1, leaving an interesting Journal de voyage which was discovered and published in 1774. Subsequently he became mayor of nearby Bordeaux (1581-5). Between 1570 and 1588 he was intermittently involved in highlevel diplomatic negotiations on behalf of Henri III and Henri de Navarre, later Henri IV, the heir presumptive to the throne, both of whom conferred honours on him. He died in 1592, of the painful hereditary disease (the kidney stone) of which his father also died. By that time he was a famous author whose works had run through several editions. He published the first two books of Essais at his own expense in Bordeaux in 1580, and had them reprinted in a revised version in 1582; in 1588 an enlarged edition, which included the third book, appeared in Paris; at the time of his death he was working on a much-expanded edition, which came out in 1595, edited by Marie de Goumay, his 'fille d'alliance'.
This bare outline of his life does not reveal the intense and exciting intellectual journey on which he embarked when he retired in 1570, and which ended only at his death. He may have intended only to read and meditate; but he soon began to write, and scholars have been able to establish with some certainty the order in which he wrote the Essais. ,Why he began to write is not altogether clear, even though he offered various reasons. An important factor might well be the death of his closest friend, the moralist Etienne de la Boetie, in 1563; it has been plausibly suggested that the Essais are a one-sided continuation of their conversations together. Another factor could be the existence of loosely organized books of gleanings from the ancients, which offered Montaigne a model for arranging by theme and subject the notes he himself made from his reading. In giving
his work the novel title 'Essals'; which suggests 'experiments' or 'trials', Montaigne may well be alluding to aspects of this work of compilation and reflection. It is the very reverse of a confident or assertive title. Nor did Montaigne claim to be writing for the benefit of anyone other than his intimates and immediate family; indeed, the prologue of 1580 tells the casual reader that he would do better not to bother with the book at all.
The subjects which most interest him initially are those closest to his own preoccupations and to those of his contemporaries. Montaigne belonged to the post- Reformation generation for whom the schism in the Church was an irreversible fact and a burning personal issue: some of his own siblings had become Protestants, although he was to remain a staunch Catholic. The optimistic era of humanist learning was past: but attention was still paid to the principal topics of humanist concern: education, war, moral philosophy, history, politics, and the higher disciplines of law and medicine. Montaigne's early interests revolve around human inconsistency, ambition, and above all pain and death in this broad context. His reading and writing are designed to console him and strengthen him against what he perceives as future threats: death from a painful disease, social disorder, religious uncertainty, personal perplexity. This is often said to be his Neostoic phase, characterized by his essays on philosophizing as learning to die (1, 20) and solitude (1, 40), in which the wise man is said to withdraw from public life and even social contact and to make himself master of his own happiness QY steeling himself against misfortune. But even in this phase, Montaigne's penchant for paradox and issues of doubt is clear, and his awareness of the bewildering diversity of human character and experience is explicit (1, 23; 1,31).
A major development in his writings - sometimes called the 'sceptical crisis' - occurred in the middle years of the 1570s when Montaigne had a medal struck with the device 'Que scay-je?' It is sometimes connected with the incident he records in the chapter on practice (Il, 6), in which the experience of falling off a horse and apparently drifting towards death makes him realize that his policy of steeling himself against future misfortune is misplaced. But it may have much more to do with his defence of Raymond Sebond (Sabunde), which he was apparently commissioned to write by Marguerite de Valois, the Catholic wife of Henri de Navarre. Montaigne had translated the 15th-c. Sebond's Theologia naturalis in 1569 at the behest of his father; it is a work which purports to prove God's existence by rational means, and which describes man's preeminence in God's creation. Montaigne's 'Apologie de Raymond Sebond' (11, 12) - an apologia presumably
against Protestant critiques - is a thoroughgoing though unsystematic exercise in Pyrrhonism. It constitutes a withering sceptical attack on all forms of dogmatic philosophy and on all of man's intellectual pretensions. Man is shown to be no higher than the animals; his reason, weak and faulty; his senses, through which he acquires all knowledge, fallible and untrustworthy; and his moral convictions, lacking secure rational bases. Diversity and difference, not similarity and consensus, are shown to be ubiquitous; and the whole universe, in continual, incommensurable flux. Man, his faculty for judging and reasoning, and the objects of his perception are perpetually changing and unstable. Not only Sebond's adversaries, but arguably Sebond himself was demolished by this radical sceptical critique.
But it did not produce despair in Montaigne: instead, in his later Essais, he began cautiously to search for new bases for human enquiry. Ancient moral philosophies had failed to come up with a way of achieving happiness which was generally applicable; it was clear, therefore, that everyone had to search for their own answers by beginning their enquiries with that which they knew best: themselves. Personal anecdotes had been related by Montaigne from the very beginning of his writing; but they did not amount to fully fledged self-study. Self-study requires a method, however; Montaigne's was a unique form of non-self-indulgent introspection. This had to be honest, and unconstrained by convention; it had to be unselective; it had to take into account the fundamental mutability of man. As a practice, it led to self-portrayal: the recording of facts and opinion about the self in an infmitely extendable list. Because man changes constantly, the self-portrait cannot be revised, only augmented. In Book 3 of the Essais, and in the additions inserted in the first two books, the results of this method unfold. Montaigne records his most intimate sexual and gastronomic practices, as well as his most lofty thoughts; he leaves contradictions and inconsistencies in his text as a proof of its veracity; his arguments and discussions are rarely sustained for more than a paragraph or two (indeed, the titles of the Essais seldom indicate adequately their contents, and sometimes, playfully, have nothing to do with them whatsoever); he records his judgements on other people and other subjects as evidence about himself as much as about these people or subjects.
The conclusions of this enquiry are, if anything, yet more surprising for their day. Man is seen as a corporeal more than a rational being. He is an amalgam of vice and virtue, in which the two elements are inseparable. He is irreducibly individual, but every man 'porte la forme entiere de
l'humaine condition' (111, 2). All men share the same nature, but their social, political, and (implicitly) religious institutions are relative to specific societies, political systems, and religions. This relativistic attitude leads to a plea for toleration and the expression of horror at unjustifiable repression in the name of law, religion, or 'reason': the chapters which deal with the burning of witches and the Spanish treatment of Amerindians (1, 31; Ill, 6; Ill, II) are especially eloquent condemnations of intolerance. But Montaigne himself derives political and religious conformism from his relativistic and sceptical stance.
The Essais accumulated additions (with few amendments) over the period of their composition; one can only imagine that, had Montaigne lived longer, they would have continued to do so, because he tells us that he has discovered an inexhaustible vein of rich material to exploit. As his confidence in his enterprise grows, the Essais become more complex, more paradoxical, more playful, more idiosyncratic in expression. Indeed, one of their most remarkable features is their style.
By adding to his own essays Montaigne becomes an alien reader of his own writing, and offers many penetrating insights into the reading process itself. Towards the end of Book 3 the Essais become a celebration of reading and writing, of human conversation and friendship, of living life to the full, which contrasts with the stiffly Neostoic attitudes expressed in the first period. Experience, not Seneca or Cato, has taught him the best way of managing pain; he is able to rejoice in the legitimate pleasures of life, and the very last quotation in his Essais has a distinctly pagan, hedonistic ring to it. But to suggest that this is the conclusion of such a multifaceted and complex work would be wrong. Just as scepticism is present from the beginning, so also is a certain sort of Stoicism present at the end. Plausible it may be to see a development in the Essais from one philosophical stance to another: but it is more plausible to see them all as expressions of the complex personality of an author whose investigation into human nature marks a turning-point in man's enquiry into man.
(Source: French Literature Companion: Michel de Montaigne)
6. the Morgan Library
The Morgan Library & Museum (formerly The Pierpont Morgan Library) is a museum and research library in New York City, USA. It was founded to house the private library of J. P. Morgan in 1906, which included, besides the manuscripts and printed books, some of them in rare bindings, his
collection of prints and drawings. The library was designed by Charles McKim from the firm of McKim, Mead and White and cost $1.2 million. It was made a public institution in 1924 by his son, John Pierpont Morgan, Jr.
The building was declared a National Historic Landmark in 1966.
7. Missa Solemnis
Solemn mass; it has become the name by which Beethoven's Mass in D op.123 (1823) is known. Structure of Miss a Solemnis
Like most masses, Beethoven's Missa solemnis is in five movements:
Kyrie: Perhaps the most traditional of the mass movements, The Kyrie is in a traditional ABA' structure, with stately choral writing in the first movement section and more contrapuntal voice leading in the Christe, which also introduces the four vocal soloists.
Gloria: Quickly shifting textures and themes highlight each portion of the Gloria text, in a beginning to the movement that is almost encyclopedic in its exploration of 3/4 time. The movement ends with the first of the work's two massive fugues, on the text "In gloria Dei patris. Amen", leading into a recapitulation of the initial Gloria text and music.
Credo: One of the most remarkable movements to come from Beethoven's pen opens with a chord sequence that will be used again in the movement to effect modulations. The Credo, like the Gloria, is an often disorienting, mad rush through the text. The poignant modal harmonies for the "et incamatus" yield to ever more expressive heights through the "crucifixus", and into a remarkable, a cappella setting of the "et resurrexit" that is over almost before it has begun. Most notable about the movement, though, is the closing fugue on "et vitam venturi" that includes one of the most difficult passages in the choral repertoire, when the subject returns at doubled tempo for a thrilling conclusion.
The form of the Credo is divided into four parts: (I) allegro ma non troppo through "descendit de coelis" in B-flat; (11) "Incarnatus est" through "Resurrexit" in D; (Ill) "Et ascendit" through the Credo recapitulation in F; (IV) Fugue and Coda "et vitam venturi saeculi, amen" in B-flat. Sanctus: Up until the benedictus of the Sanctus, the Missa solemnis is of fairly normal classical proportions. But then, after an orchestral preludio, a solo violin enters in its highest range ?representing the Holy Spirit descending to earth - and begins the Missa's most transcendently beautiful music, in a remarkably long extension of the text.
Agnus Dei: A setting of the plea "miserere nobis" ("have mercy on us") that begins with the
men's voices alone yields, eventually, to a bright D-major prayer "dona nobis pacem" ("grant us peace") in a pastoral mode. After some fugal development, it is suddenly and dramatically interrupted by martial sounds (a convention in the 18th century, as in Haydn's Missa in tempore belli), but after repeated pleas of "miserere!", eventually recovers and brings itself to a stately conclusion.
(Source: adapted from Wikipedia)
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冰心散文读后感200字
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反分却你眼底的春光。”诗歌集里，我最欣赏的就是这首诗了。我从前就是个爱幻想的人，天天沉迷于对未来的幻想，而不能明智地改善现在。我小时都会幻想自己的未来多么的成功，多么一帆风顺、无与伦比，但那仅仅就是幻想中的开得一朵尤其艳丽而遥不可及的花儿，不是现实，我那时学习就是因为“爱想而不爱做”变得一点也不用心，成绩也是日益地跟不上。天天幻想，很多时候会与难得的大好机会擦肩而过，我记得是我二年级的时候，数学计算比赛，其他同学全都跃跃欲试，积极准备着，而我却想象自己一定会有好成绩，到了比赛时，一看试题，就傻眼了，大部分同学都上榜了，我却一鼻子灰，那时是追悔莫及呀!喜爱幻想，而没有一点意向想努力去争取现时中真正香味扑鼻的花，那就只是一场毫无意义的白日梦!我们都应该把幻想的花扔掉，去摘真的鲜花! 读了>后我最喜欢的一篇文章就是>。文章的内容大概是这样的：一只鸟,每天到枝头唱歌，几个小朋友想把它占为己有，结果射在鸟的身体上，最终人们再也听不到鸟儿的歌声了。 我觉得这篇文章写出了小朋友的自私，想要把鸟儿占为己有，同时也写出了人类的自私。 我觉得我们不能像那些孩子一样只想着自己，什么事都要站在别人的角度去想，就算他要伤你，也要想想为什么，
优美散文随笔
优美散文随笔 一则优美随笔是难以书写的，何况是三则。接下来X为大家整理了优美随笔三则，欢迎阅读! 优美随笔三则篇一 连日来的阴雨给人带来了一丝寒意，明明已是春天，却还有着冬的寒冷。于是，多了些思念，思念已逝的季节和属于那个季节的故事，幸福却又夹杂着些许悲伤。 雨，终究是停了。久违的太阳也再次升起，将光芒投射在大地上。看着那明晃晃的阳光，暖意也顿时涌入心头，温暖着那冰凉的心，于是再回首那些经历过的风风雨雨，似乎已不再那般心潮澎湃了。 春天，真的是一个让人很想睡觉的季节，慵懒却又惬意。突然很想去爬山，看山中的树山中的花，然后流一身的汗将所有的不快统统随汗流掉。 三月的天气，温暖、明媚，如刚涉世的少女一般清新美好。其实一直以来自己钟情
的都是秋天，虽草木开始萧条但却也是新生命开始与丰收的季节，有一丝的悲凉却又充满着希望，因为有了希望我们就会有继续下去的勇气。但直至今日却发现，春天，原来也是一个这般美好的季节! 春往夏来，秋去冬至，季节总是在不断的更替着。人生亦是如此。失去，总是难免的，然而或许正因为某些方面的失去却让我们在另一方面拥有的更多。回忆失去的东西有时是让人伤感的，但既已失去又何必再苦苦留恋不肯忘记?别忘了，回忆只是回忆，回忆没有任何力量，少了激情剩下的就只是苍白而已。常常问自己，何必将自己弄得这般苦不堪言?没有什么样的坎是我们越不过去的! 似乎做了一个很久的梦，本不想醒来。因为知道醒来后便什么也没有了。可是，是梦终会醒的，我们无法逃离只能面对。现实总是有些残酷的，但也正因为如此我们才变得更加勇敢和坚强，不是吗? 人生，本身就是一场最大的考验，时间从不会停下它的步伐来等待，我们只能努力
《冰心散文集》读书笔记
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笑是一种快乐的表情。那安琪儿的笑，那小孩儿的笑，那老妇人的笑，是那么纯正，那么美好，那么友善，她们的笑不仅打动了冰心，更打动了我的心。那种笑，是表情，也是快乐，在平凡而又简单的生活中，她们却充满快乐，这种快乐溢于言表，这微微一笑，让生活在快节奏中城市的我感受到了一种久违的和谐与温馨。她们的笑让人为之一振。 笑是一段美妙的音乐。虽然很短，却令人刻骨铭心。那抱着花儿、扬着翅儿、赤着脚儿、微微一笑，就好像是动人的音符，串连在一起，成为一段音乐。音乐给人以享受，而笑也给人享受，快节奏生活中的我们，浮躁、紧张，这微微一笑让我们放松了心情，能够静下心，享受生活中的乐趣。这笑是那么自然，让人难以置信。 笑是一种唯美的爱。三个微笑，笑容相似，神韵相同，让我们深切体会到了暖暖的爱意。世界并非如此冰冷，只是我们难以发现爱，而这微微一笑，表现了生活中那温馨而又无须回报的爱。这笑是那么平凡，让人惊讶。也让我们的生活多一些笑吧。 《冰心散文集》读书笔记2 寒假我读了冰心散文集一书，其中包括了《寄小读者》。《寄小读者》，是冰心女士在1923年——1926年间写给小读者的通讯，共二十九篇，其中有二十一篇是她赴美留学期间写成的，主要记述了海外的风光和奇闻异事，同时 也抒发了她对祖国、对故乡的热爱和思念之情。《寄小读者》可以说是中国近现代较早的儿童文学作品，冰心女士也因此成为中国儿童文学的奠基人。主题自然、童真。这样的主题恰好显现了冰心女士
张培基散文佳作108篇
第一部分汉译英 1. 丑石(An Ugly Stone) 2. 匆匆(Rush) 3. 冬夜(Winter Night) 4. 互助(Helping Each Other) 5. 黄昏(Dusk) 6. 盼头(Something to Look Forward to) 7. 媲美(Beauty) 8. 枪口(The Muzzles) 9. 鸲鹆(The Story of a Myna) 10. 铜镜(The Bronze Mirror) 11. 学校(The College) 12. 野草(Wild Grass) 13. 种梨(Planting a Pear Tree) 14. 哀互生(Mourning for Husheng) 15. 落花生(The Peanut) 16. 盲演员(A Blind Actor) 17. “孺子马” (An”Obedient Horse”) 18. 小麻雀(A Little Sparrow) 19. 雄辩症(A Case of Eloquence) 20. 大钱饺子(A Good-luck Dumpling) 21. 荷塘月色(Moonlight over the Lotus Pond) 22. 黄龙奇观(A View of Huangllong) 23. 枯叶蝴蝶(Lappet Butterfies) 24. 泡菜坛子(A pickle Pot) 25. 田水哗啦(The Irrigation Water Came Gurgling) 26. 我若为王(If I Be King) 27. 西式幽默(Western Humour) 28. 项脊轩志(Xiangjixuan) 29. 夜间来客(A Night Visitor——A True Story about a ”Celebrity”Being Interviewed) 30. 珍禽血雉(China…s Native Pheasant)31. 常胜的歌手(A Singer Who Always Wins) 32. 健忘的画眉(The Forgetful Song Thrush) 33. 可爱的南京(Nanjing the Beloved City) 34. 鲁迅先生记(In Memory of Mr.Lu Xun) 35. 苗族龙船节(The Miao Drangon-Boat Festival) 36. 秋天的怀念(Fond Memories of You) 37. 献你一束花(A Bouquet of Flowers for you) 38. 鸭巢围的夜(A Night at Mallard-Nest Village) 39. 玫瑰色的月亮(The Rosy Moon) 40. 内画壶《百子图》(Snuff Bottles with Pictures Inside) 41. 维护团结的人(A Man Upholding Unity) 42. 我有一个志愿(I Have a Dream) 43. 运动员的情操(Sportsmen…s Values) 44. 神话世界九寨沟(Jiuzhaigou,China…s Fairyland)45. 生命的三分之一(One Third of Our Lifetime) 46. 我可能是天津人(I Might Have Come from Tianjin) 47. 五台名刹画沧桑(The famous Monastery Witnesses Vicissitudes) 48. 爱梦想的羞怯女孩(A Shy Dreamer) 49. 永久的憧憬和追求(My Lnging and yearning) 50. 老人和他的三个儿子(The Old Man and his three sons) 51. 乐山龙舟会多姿多彩(dragon-Boat Festival at Leshan) 52. 撷自那片芳洲的清供(An Offering from his Sweet homeland) 53. 三峡多奇景妙笔夺开工(The Scenic Three Gorges Captured ) 54. 初中国旅游可到哪些地方(Tips on Traveling to China the First Time) 第二部分英译汉 1. A Ball to Roll Around(滚球) 2. A Boupquet for Miss Benson(送给卞老师的一束花) 3. A Boy and His Father Become Partners(父子伙伴情) 4. A Gift of Dreams(梦寐以求的礼物) 5. A Hard Day in the Kitchen(厨房里的一场闹刷) 6. A Nation of Hypochondriacs(一个疑病症患者的国度) 7. Are Books an Endangered Species? (书籍是即将灭绝的物种吗?) 8. A Sailor…s Christmas Gift(一个海员的圣诞礼物) 9. A Tale of Two Smut Merchants(两上淫秽照片商的故事) 10. A Visit with the Folks(探访故亲) 11. Canadian Eskimo Lithographs(加拿大爱斯基摩人的石版画) 12. Divorce and Kids(离婚与孩子) 13. Doug Heir(杜格·埃厄) 14. Fame(声誉) 15. Felicia…s Journey(费利西娅的旅行) 16. Genius Sacrificed for failure(为育庸才损英才) 17. Glories of the Storm(辉煌壮丽的暴风雨) 18. Han Suyin…s China(韩素音笔下的中国) 19. Hate(仇恨) 20. How Should One Read a Book? (怎样读书?) 21. In Praie of the Humble Comma(小小逗号赞) 22. Integrity——From A Mother in Mannville(正直) 23. In the Pursuit of a Haunting and Timeless Truth(追寻一段永世难忘的史实) 24. Killer on Wings is Under Threat(飞翔的杀手正受到威胁) 25. Life in a Violin Case(琴匣子中的生趣) 26. Love Is Not like Merchandise(爱情不是商品) 27. Luck(好运气) 28. Mayhew(生活的道路) 29. My Averae Uncle(艾默大叔——一个普通人) 30. My Father…s Music(我父亲的音乐) 31. My Mother…s Gift (母亲的礼物) 32. New Light Buld Offers Energy Efficiency(新型灯泡提高能效) 33. Of Studies(谈读书) 34. On Leadership(论领导) 35. On Cottages in General(农舍概述) 36. Over the Hill(开小差) 37. Promise of Bluebirds(蓝知更鸟的希望) 38. Stories on a Headboard(床头板上故事多) 39. Sunday(星期天) 40. The Blanket(一条毛毯) 41. The Colour of the Sky(天空的色彩) 42. The date Father Didn…t Keep(父亲失约) 43. The Kiss(吻) 44. The Letter(家书) 45. The Little Boat That Sailed through Time(悠悠岁月小船情) 46. The Living Seas(富有生命的海洋) 47. The Roots of My Ambition(我的自强之源) 48. The song of the River(河之歌) 49. They Wanted Him Everywhere——Herbert von Karajan(1908-1989) (哪儿都要他) 50. Three Great Puffy Rolls(三个又大双暄的面包圈) 51. Trust(信任) 52. Why measure Life in Hearbeats? (何必以心跳定生死？) 53. Why the bones Break(骨折缘何而起) 54. Why Women Live Longer than Men(为什么女人经男人活得长)
散文随笔
工作心态最重要 “你的心在哪里，你的收获就在哪里。”读了《为自己工作》一书，这句话至今仍然在脑海环绕。无论你在什么岗位，要想站得住脚，并有所作为，工作心态最为重要。每个人都拥有成为优秀员工的潜能，都拥有被委以重任的时机。从平凡的工作中脱颖而出，一方面由个人的才能决定，另一方面则取决于个人的进取心。这个世界仅为那些努力工作的人大开绿灯。 做事要用心。“努力做事，只能把事做对，用心做事，才能把事做好。”我们不能简单的为工作而工作，也不能为薪水而工作，要对自己承担的工作有责任心，做任何事情都要用心，要会做事，能做事，做成事。不要对任何失败的事情找借口，问题就是问题，没有任何理由和借口，因为每一个理由和借口都将让你付出代价。优秀的人才，只不过比你多干一点，比你多发现一点，比你多有心一点，就是这些用心的一点一点，组成了优秀人才的必备素质。 改变命运，首先要从改变思想开始！心态决定一切。一个人如果能拥有为自己工作的观念，那么命运将会给出他巨大的回报，有效地调整自我的工作心态，就会实现个人和企业双赢。如果你一直努力工作，一直在进步，你就会有一个良好的、非常完美的人生记录，使你在企业甚至整个行业拥有一个好名声，良好的声誉将陪伴你一生。 但如果把工作当成是为领导干的，为单位干的，那你就会有很多理由和借口，心中会有太多的不平衡，工作就会马马虎虎、推诿
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励志的哲理散文随笔200字
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