看電視和閱讀是我們生活中兩個(gè)很重要的休閑方式,那么它們都有什么樣的優(yōu)點(diǎn)和缺點(diǎn)呢?讓我們來(lái)比較一下!
Viewing vs. Reading
The pace of reading, clearly, depends entirely upon the reader. He may read as slowly or as rapidly as he can or wishes to read. If he does not understand something, he may stop and reread it, or go in search of elucidation before continuing. The reader can accelerate his pace when the material is easy or less than interesting, and slow down when it is difficult or absorbing. If what he reads is moving, he can put down the book for a few moments and cope with his emotions without fear of losing anything①.
The pace of the television experience cannot be controlled by the viewer; only its beginning and end are within his control as he clicks the knob on and off. He cannot slow down a delightful program or speed up a dreary one. He cannot “turn back” if a word or phrase is not understood. The program moves inexorably forward, and what is lost or misunderstood remains so.
Nor can the television viewer readily transform the material he receives into a form that might suit his particular emotional needs, as he invariably does with material he reads. The images move too quickly. He cannot use his own imagination to invest the people and events portrayed on television with the personal meanings that would help him understand and resolve relationships and conflicts in his own life; he is under the power of the imagination of the show’s creators. In the television experience the eyes and ears are overwhelmed with the immediacy of sights and sounds.
If someone enters the room while one is watching television — a friend, a relative, a child, someone, perhaps, one has not seen for some time — one must continue to watch or one will lose the thread②. The greetings must wait, for the television program will not. A book, of course, can be set aside, with a little regret, perhaps, but with no sense of permanent loss.
[331 words]
行文點(diǎn)評(píng)
本文結(jié)構(gòu)屬于comparison and contrast,把兩類(lèi)事物進(jìn)行對(duì)照比較。comparison and contrast不要求作者有鮮明的立場(chǎng),即支持哪一方,或反對(duì)哪一方,只要清楚明白地說(shuō)出兩者之間的異同就可以了,這是它與議論文(argument)不同的一點(diǎn)。
縱觀(guān)全文,可以明顯看出,作者偏向于閱讀,所以在對(duì)比過(guò)程中作者肯定了閱讀的優(yōu)點(diǎn)。在第一段中clearly的插入,使句式新穎。文章的前兩段從速度方面將viewing與reading兩者進(jìn)行了對(duì)比。句首The pace of...排比句的應(yīng)用形成了段落間的并列,使文章結(jié)構(gòu)嚴(yán)謹(jǐn)。這兩段都是首句提出主題,然后圍繞這句話(huà)再展開(kāi)具體的論述。第三段作者旨在說(shuō)明看電視限制了人們的想象空間。在第四段中作者通過(guò)生活中一個(gè)非常普遍的例子論證了前文談到的觀(guān)點(diǎn),其中插入語(yǔ)的運(yùn)用增加了文章句式的變化。
好文妙譯
看電視與閱讀
很明顯,閱讀的速度完全由讀者決定。他可以按自己的能力和意愿讀慢一點(diǎn)或讀快一點(diǎn)。如果有什么他沒(méi)讀懂,他可以停下來(lái)再讀一遍,或看一下注釋說(shuō)明再繼續(xù)往下讀。當(dāng)閱讀材料易懂或者不太有趣時(shí),讀者可以加快閱讀速度;當(dāng)它難懂或引人入勝時(shí)可以放慢速度。如果閱讀的東西令人感動(dòng),他可以放下書(shū)停一會(huì)兒,調(diào)整一下情緒,而不必?fù)?dān)心錯(cuò)過(guò)了什么。
電視的速度不能由看電視的人來(lái)控制;只有它的開(kāi)始與結(jié)束在他的掌握中,因?yàn)樗梢园验_(kāi)關(guān)打開(kāi)或按下。他不能慢放一個(gè)令人愉快的節(jié)目,也不能快放一個(gè)令人乏味的節(jié)目。如果有一個(gè)字或一個(gè)詞組沒(méi)聽(tīng)懂,他也不能“倒回去”再聽(tīng)一次。節(jié)目無(wú)動(dòng)于衷地進(jìn)行著,而錯(cuò)過(guò)的就這樣錯(cuò)過(guò)了,沒(méi)看懂的也沒(méi)機(jī)會(huì)看懂了。
看電視的人也不能像他在閱讀時(shí)通常做的那樣,將他接收到的材料轉(zhuǎn)化為一種可能適合他的特殊感情需求的形式。圖像變化得太快。他不可能用他的想象給電視中飾演的人和事賦予個(gè)人意義,以幫助他理解和解決自己生活中的關(guān)系和沖突;他被節(jié)目制作者的想象力控制住了?措娨晻r(shí),眼睛和耳朵被稍縱即逝的圖像和聲音控制住了。
當(dāng)一個(gè)人正在看電視時(shí),如果有人——朋友,親戚,小孩,可能是一個(gè)他很久沒(méi)見(jiàn)過(guò)的人進(jìn)入房間,他必須繼續(xù)觀(guān)看電視,不然就會(huì)亂了頭緒。必須等一會(huì)兒再招呼客人,因?yàn)楣?jié)目不會(huì)等人。當(dāng)然,一本書(shū)可以被放在一旁,可能會(huì)有些惋惜,但不會(huì)有永久的損失。
詞匯斟酌
elucidation n. 注釋?zhuān)忉?BR> knob n. 旋鈕
drearya. 沉悶的,枯燥無(wú)味的
inexorablyad. 無(wú)動(dòng)于衷地,無(wú)情地
invariablyad. 不變地,始終如一地,總是
portrayvt. ①描寫(xiě),描繪②扮演,飾演
set aside 把…置于一旁,不理會(huì)
permanent a. 永久(性)的
佳句臨摹
、佟咀⑨尅縞ope with (成功地)應(yīng)付,(妥善地)處理
【臨摹】The task looks a formidable one ,but I think we can cope with it.這項(xiàng)任務(wù)看起來(lái)很難,但我想我們能夠應(yīng)付。
②【注釋】lose the thread 失去頭緒
【臨摹】He had lost his thread and didn’t know what to say next.他斷了思緒,不知道接下去該講什么。
思如泉涌
Choice of the end covers choice of the means. 選擇目的包含著選擇手段。
Eyes are as eloquent as lips. 眼睛會(huì)和嘴一樣說(shuō)話(huà)。
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