英文名著经典段落阅读
经典名著是人类优秀思想的记录与保存,是当下人类物质和精神生活的源头活水,更是实施通识教育的重要载体。下面是小编带来的英文名著经典段落阅读，欢迎阅读!
英文名著经典段落精选
The process of adaptation has been seen as unidirectional – going always from literary text to film – with priority for the former at the expense of the latter. Consequently, the study of adaptation tended to concentrate on the comparison between two types of text and the measure of success attained transferring from one to the other. In summary, the concern of critics has been to verify the faithfulness of the film compared to the work of fiction, that is, if the film manages to capture all the elements of the narrative: plot, characters, etc.
The first serious theoretical work on adaptation appeared in 1957.George Bluestone defended the possibility of the metamorphosis of novels into other means, each with their narrative resources. Studies such as those of Geoffrey Wagner and Dudley Andrew followed, both adopting the criterion of faithfulness. The former classified adaptations according to how close they were to the literary text, considering those which were closest as transpositions, those which were not so close as commentaries and those which used the original only as a clue as allegories. Dudley Andrew classified them in a way more or less parallel to Wagner’s terminology, as loans, intersections and transformations, respectively. As a whole, all the process was seen as a translation – an intersemiotic translation – in so far as it was meant to transmit a message/story/idea, conceived in a given system –literature – in terms of another sign system – the cinema. The analysis of adaptation concentrated on seeking equivalencies, that is, in the success of the filmmaker finding filmic means to substitute the literary. Therefore, they began to look for filmic resources which had functions parallel to those of the literary work. However, this held its privileged position, the touchstone to evaluate the film. They always sought to find “What Novels Can do that Films Can’t and vice-versa”.
英文名著经典段落鉴赏
Me and My Cello
我和我的大提琴
Six years ago I, then a fellow of 35, was struck by an impulse of the romantic and irreducible sort, which I have since compared to a torrid scene in The Godfather except that it was not a Sicilian virgin who fired my thoughts but a shapely descendant of the violin family, the cello.Straightaway I obtained a rental instrument of heavy plywood and appeared before Wendell Margrave, professor of musical instruction. It was winter. "You can be as good as you want to be," Margrave said rather mysteriously. On a scrap of paper he drew a staff with the notes E and F. He showed me where to put my fingers on the neck and how to draw the bow. Then he entered my name in his book: 10 a.m. Tuesday. Tuesday followed Tuesday, and soon it was spring.
六年前，我已是35岁的人了，心里却突然产生一种浪漫却又无法减弱的冲动，我把这种冲动比作电影《教父》里热烈的一幕。不过，激起我这种想法的，不是西西里岛上的少女，而是提琴家族中外形优美的后裔——大提琴。我立刻租了一具厚胶合板制作的大提琴，然后来到音乐教授温德尔·马格瑞夫面前。那是冬天的事。“你想拉得多好就可以有多好，”马格瑞夫的话说得很玄妙。他在一张纸上画出五线谱，标上E和F两个音调符。他向我示范手指应放在琴颈的什么部位，怎样运弓。然后，他在记事簿上记下我的姓名：星期二上午10时。一个又一个星期二过去，很快就到了春天。
ignorance and into the dream. Is there one among us who has not had this dream? Who hasnot picked up a friend&39;s guitar and felt the songs locked inside? Who has not wondered if hecould learn to play the Moonlight Sonata, at least the easy beginning part? It was mostremarkable to have a teacher again. E-F, E-F, we played together - and moved on to G. It wasa happy time. I was again becoming, and no longer trapped in what I had become.Surely themost abominable recognition of middle life is that we are past changing. Oh, we switch –switch salad dressings and mutual funds -- but we don&39;t change. We do what we can alreadydo. The cello was something I demonstrably couldn&39;t do. Yet each Tuesday I could not do itslightly less.No one was watching, and a good thing. In an upstairs room of my city house, atmidnight, I would send out through the open windows long, tortured fragments of AlwinSchroeder&39;s 170 Foundation Studies for Violoncello to mingle with the squeals of cats. Thefootfalls of unseen passers-by would curiously stop, and then 1resume in haste.Riding homeon the bus one snowy night and perusing the score of Mozart&39;s C-Major 1Quintet, I felt thepage burst into music in my hands. I could by then more or less read a score, and washumming the cello line, when suddenly all five parts blossomed 1harmonically in my head.The fellow across the aisle stared. I met his glance with tears, actually hearing the music in myhead for the first time. Could he hear it too, perhaps? No, he got off at the next stop.
我就是这样开始了从无知驶向梦想的航行。我们当中有谁没做过这样的梦?谁没拿起过朋友的吉他而感觉到其中所藏着的妙歌仙曲?谁没有思忖着自己能否学会演奏《月光》奏鸣曲，哪怕是开头容易的那部分?再次有个老师真是再好不过了。E——F，E——F，我们一起拉，然后移到G调。这是一段愉快的时光。我再次有了变化，变得不再深陷在已成形的自我里了。当然，中年人最不愿承认的，就是自己已经错过了能改变的时候。噢，我们也改变——变变色拉的调料，换换互惠基金——但我们自己并无变化。我们做已经会做的事情，拉大提琴是我显然不会做的事情，不过，每星期二，我多少总得学会一点。没有人看我拉琴，这是件好事。午夜时分，我在城里住宅的楼上房间里，经常拉阿尔温·舒罗德的《大提琴基本练习曲170首》，从敞开的窗户传出长时间折磨人的练习曲片段，和猫的抗议声混在一起。看不见过路人，但闻其脚步声好奇地停下，然后又匆匆走开。在一个飘雪的夜晚，我乘公共汽车回家，在车上仔细阅读莫扎特C大调五重奏的总谱。我觉得乐谱在我手中突然变成了音乐。当时，我已多少能阅读总谱，小声哼着大提琴的调子，突然，那五个部分如花一般很和谐地在我脑中开放。坐在我对面的人盯着我看。我迎着他的目光时，眼里含着泪，这的确是我第一次在心中听到了音乐。也许他也能听到?不，他第二站就下车了。
As the years slipped by, my daughter passed into the teen-age vale, developing a youthfulproficiency on the piano. My goal was that she and I would one day perform together. I alsowanted to perform in public with and for my 1peers, and to be secretly envied.I continue toplay, to perform, but it is not the same. Fantasy, it turns out, is 1debased in the1attainment. Before, when I heard a cello, it was all beauty and light. Now, as the TV camerapushes in close to Rostropovich&39;s face, I recognize that 1charismatic grin as a mask offierce determination. Even for him, the cello is an 1intractable instrument, unforgiving ofambition. I picked up my cello, 1screw tight the hairs of the bow and soar once more intoBelle Nuit, the 1vibrato still wobbling like an unbalanced tire. As good as I wanted to be, I amas good as I&39;m going to get. It is good enough.
时间一年年地过去，我女儿已是十几岁的少女，成长为熟练的青年钢琴手。我的目标是有朝一天能和女儿一起演奏。我还向往能同像我一样的音乐爱好者们在公共场所演奏，而且有人在暗中羡慕我。我继续练琴、演奏，但情形和从前大不一样了。结果是，幻想在实现后魅力大减。从前我听到大提琴，觉得那声音是美丽和光彩的组合。现在，电视镜头放出罗斯特罗波维奇的面部特写时，我发现他那充满魅力的笑脸其实是坚定决心的面具。即使对他来说，大提琴也是难以驾驭的乐器——它对雄心万丈的人也一样铁面无情。我拿起我的大提琴，拧紧弓毛，再一次悠扬地奏起《夜色美丽》，颤音仍然颤抖如同不平衡的轮胎。以前我想拉一手好琴，现在我已做到了，我和我想的一样好。这就已经够了。
英文名著经典段落欣赏
A Reason, Season, or Lifetime
People come into your life for a reason, a season, or a lifetime. When you figure outwhich one it is, you will know what to do for each person.
When someone is in your life for a REASON, it is usually to meet a need you have expressed. They have come to assist you through a difficulty, to provide you with guidance and support, to aid you physically, emotionally, or spiritually. They are there for the reason you need them to be. Then, without any wrongdoingon your part, or at an inconvenient time, this person will say or do something to bring the relationship to an end. Sometimes they walk away. Sometimes they act up and force you to take a stand. Sometimes they die. What we must realize is that our need has been met, our desire fulfilled, their work is done. Your need has been answered, and now it is time to move on.
When people come into your life for a SEASON, it is because your turn has come to share, grow, or learn. They bring you an experience of peace, or make you laugh. They may teach you something you have never done. They usually give you an unbelievable amount of joy. Believe it! It is real! But, only for a season.
LIFETIME relationships teach you lifetime lessons; things you must build upon in order to have a solid emotional foundation. Your job is to accept the lesson, love the person, and put what you have learned to use in all other relationships and areas of your life. It is said that love is blind but friendship is clairvoyant.
英文名著经典段落阅读
A Great Friendship
—Thomas Jefferson and James Madison
Thomas Jefferson and James Madison met in 1776. Could it have been any other year? They worked together starting then to further the American Revolution and later to shape the new scheme of government. From that work sprang a friendship perhaps incomparable in intimacy and the trustfulness of collaboration and indurations. It lasted 50 years. It included pleasure and utility but over and above them, there were shared purpose, a common end and an enduring goodness on both sides. Four and a half months before he died, when he was ailing, debt-ridden, and worried about his impoverished family, Jefferson wrote to his longtime friend. His words and Madison&39;s reply remind us that friends are friends until death. They also remind us that sometimes a friendship has a bearing on things larger than the friendship itself, for has there ever been a friendship of greater public 1consequence than this one?
"The friendship which has 1subsisted between us now half a century, the harmony of our political 1principles and pursuits have been sources of constant happiness to me through that long period. It&39;s also been a great 1solace to me to believe that you&39;re 1engaged in 1vindicating to 1posterity the course that we&39;ve pursued for preserving to them, in all their purity, their blessings of self-government, which we had assisted in acquiring for them. If ever the earth has beheld a system of administration 1conducted with a single and 1steadfast eye to the general interest and happiness of those committed to it, one which, protected by truth, can never know 1reproach, it is that to which our lives have been devoted. Myself, you have been a 2pillar of support throughout life. Take care of me when dead and be assured that I shall leave with you my last 2affections." (Feb 17, 182
A week later Madison replied--
"You cannot look back to the long period of our private friendship and political harmony with more 2affecting 2recollections than I do. If they are a source of pleasure to you, what aren&39;t they not to be to me? We cannot 2be deprived of the happy 2consciousness of the pure devotion to the public good with which we 2discharge the trust committed to us and I 2indulge a confidence that 2sufficient evidence will find its way to another generation to ensure, after we are gone, whatever of justice may be 2withheld 3whilst we are here."