passage1

注解：標(biāo)題為紅色，翻譯為藍(lán)色，分析為綠色。

????????Of all the changes that have taken place in English-language newspapers during the past quarter-century, perhaps the most far-reaching(far-reaching影響深遠(yuǎn)的,深遠(yuǎn)意義的) has been the inexorable(不可阻止的，難以阻擋的) decline in the scope and seriousness of their arts coverage.

????????It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews. To read such books today is to marvel (感到驚奇，大為贊嘆)at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.

????????We are even farther removed from the unfocused(沒有集中力的，這里是指報(bào)紙的內(nèi)容東拉西扯) newspaper reviews published in England between the turn of the 20th century and the eve of World War II, at a time when newsprint(新聞?dòng)眉? was dirt-cheap and stylish arts criticism(stylish arts criticism時(shí)髦的文藝評論) was considered an ornament(裝飾品，點(diǎn)綴品) to the publications in which it appeared. In those far-off(遙遠(yuǎn)的) days, it was taken for granted that(it was taken for granted that被視為理所當(dāng)然) the critics of major papers would write in detail and at length about the events they covered. Theirs was a serious business(business這個(gè)熟詞多意前面多次提到了，要么指商業(yè)，要么指產(chǎn)業(yè)，要么指事業(yè)，要么指行業(yè)。這里是指事業(yè)，是指前面提及的評論家們所從事的是一個(gè)嚴(yán)肅的事業(yè)), and even those reviewers who wore their learning lightly(wore their learning lightly喜歡賣弄學(xué)問), like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about.(知道自己在做什么， 這一點(diǎn)足以讓人信任)?These men believed in journalism as a calling(強(qiáng)烈愿望，行業(yè)，職業(yè)(取這個(gè)意思)), and were proud to be published in the daily press.[這里是指他們的文章能夠在報(bào)紙上刊登出來感到很自豪]. “So few authors have brains enough or literary gift enough to keep their own end up in journalism(sb have sth enough to keep their own end up in sth

某人有足夠的某物可以在某方面功成名就),” Newman wrote, “that I am tempted to(be tempted to 借tempt的貶意來戲謔，表示忍不住做某事，受到誘惑或者自發(fā)不覺的做某事)?define ‘journalism’ as ‘a(chǎn) term術(shù)語?of contempt輕蔑?applied by writers who are not read to writers who are.’”

????????Unfortunately, these critics are virtually forgotten. Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays on the game of cricket. During his lifetime, though, he was also one of England’s foremost classical-music critics, a stylist so widely admired that his Autobiography (1947) became a best-seller(這里指暢銷書). He was knighted in 1967, the first music critic to be so honored. Yet only one of his books is now in print, and his vast body of writings on music is unknown save to specialists.(save to除了...以外)

????????Is there any chance that Cardus’s criticism will enjoy a revival? The prospect seems remote. Journalistic tastes(這個(gè)詞在達(dá)爾文那篇文章好像出現(xiàn)過吧，表示品味) had changed long before his death, and postmodern readers have little use for the richly upholstered(裝上軟墊的,經(jīng)過布置的(/?p?h??lst?d/)) Vicwardian prose(散文，白話文) in which he specialized. Moreover, the amateur tradition in music criticism has been in headlong(輕率地，猛然地(這里取這個(gè)意思)) retreat.

一、文章結(jié)構(gòu)分析

?本文是一篇現(xiàn)象解釋型文章，是探討美國藝術(shù)、文化評論和新聞報(bào)道沒落的現(xiàn)象的文章。

文章結(jié)構(gòu)分為三部分、

第一、二段是第一部分，主要是提出現(xiàn)象：在過去的報(bào)紙中有很多高質(zhì)量的文藝評論，而如今的讀者會(huì)對這一事實(shí)感到驚訝；

第三段為第二部分，介紹二戰(zhàn)前夕報(bào)紙的情況；

第四、五段為第三部分，轉(zhuǎn)而介紹了報(bào)紙中評論的衰落。

二、核心詞匯與超綱詞匯

21. It is indicated in Paragraphs 1 and 2 that .

[A] arts criticism has disappeared from big-city newspapers

[B] English-language newspapers used to carry more arts reviews

[C] high-quality newspapers retain a large body of readers

[D] young readers doubt the suitability of criticism on dailies

21. 文章第一、二段指出 。

[A] 藝術(shù)批評已經(jīng)從大城市的報(bào)紙中消失

[B] 英語報(bào)紙過去常載有更多的藝術(shù)評論

[C] 高質(zhì)量的報(bào)紙未喪失大量的讀者

[D] 年輕的讀者懷疑報(bào)紙上的評論不合適

22. Newspaper reviews in England before World War II were characterized by .

[A] free themes

[B] casual style

[C] elaborate layout

[D] radical viewpoints

22. 二戰(zhàn)前英國新聞報(bào)紙的特點(diǎn)是 。

[A] 主題自由

[B] 風(fēng)格隨意

[C] 布局精心

[D] 觀點(diǎn)激進(jìn)

23. Which of the following would Shaw and Newman most probably agree on?

[A] It is writers’ duty to fulfill journalistic goals.

[B] It is contemptible for writers to be journalists.

[C] Writers are likely to be tempted into journalism.

[D] Not all writers are capable of journalistic writing.

23. 紐曼最有可能同意下面哪種觀點(diǎn)？

[A] 實(shí)現(xiàn)新聞業(yè)的目標(biāo)是作家的職責(zé)。

[B] 作家成為記者是值得鄙視的。

[C] 作家容易被新聞業(yè)吸引。

[D] 并不是所有的作家都能承擔(dān)新聞寫作。

24. What can be learned about Cardus according to the last two paragraphs?

[A] His music criticism may not appeal to readers today.

[B] His reputation as a music critic has long been in dispute.

[C] His style caters largely to modern specialists.

[D] His writings fail to follow the amateur tradition.

24. 從最后兩段，有關(guān)卡達(dá)斯我們得知什么？

[A] 他的音樂評論也許不能吸引當(dāng)今的讀者。

[B] 作為一位音樂評論家，他的名譽(yù)一直有爭議。

[C]?他的風(fēng)格符合現(xiàn)在的專家。

[D] 他的作品跟不上業(yè)余愛好者的品味。

25. What would be the best title for the text?

[A] Newspapers of the Good Old Days

[B] The Lost Horizon in Newspapers

[C] Mournful Decline of Journalism

[D] Prominent Critics in Memory

25. 以下哪一項(xiàng)是本文的最好的題目是？

[A] 報(bào)紙行業(yè)過去的黃金歲月

[B] 報(bào)紙行業(yè)的消失的視野

[C] 令人惋惜的新聞業(yè)的墮落

[D] 記憶中的杰出的評論家

三、閱讀答案：B A D A B

四、全文翻譯：?

????????過去的 25 年，在英文報(bào)紙發(fā)生的所有變化中，或許最具有深遠(yuǎn)意義的變化就是這些報(bào)紙文藝報(bào)道的范圍在縮小，嚴(yán)肅性在減弱，勢頭不可阻擋。

????????我懷疑，年齡在 40 歲以下的普通讀者無法想象那樣一個(gè)能夠在大部分的大城市報(bào)紙上找到高質(zhì)量的文藝評論的時(shí)代。然而有大量在20 世紀(jì)出版的具有最重要意義的評論作品在報(bào)紙?jiān)u論中占據(jù)了很大部分。如今去讀這種書籍會(huì)使人們對這樣一種事實(shí)感到大為驚訝，那就是這些書籍廣博的內(nèi)容曾經(jīng)被人們認(rèn)為很適合在面對大眾發(fā)行的日報(bào)上刊登。

????????我們離 20 世紀(jì)初期和二戰(zhàn)前夕期間在英國發(fā)表的東拉西扯的報(bào)紙?jiān)u論甚至更遠(yuǎn)，當(dāng)時(shí)，新聞?dòng)眉埛浅１阋?，而且時(shí)髦的文藝評論被認(rèn)為是一種對刊登這種內(nèi)容的出版物的裝飾。在那些遙遠(yuǎn)的年代，主流報(bào)紙的評論家們會(huì)把報(bào)道的事件詳細(xì)充分地記錄下來，這被視為理所當(dāng)然。這些評論家們所從事的是嚴(yán)肅的事業(yè)。甚至是那些喜歡賣弄學(xué)問的評論家們(像蕭伯納和歐內(nèi)斯特·紐曼)也知道自己在做什么， 這一點(diǎn)足以讓人信任。這些男人把新聞業(yè)認(rèn)為是一個(gè)職業(yè)，并且對于他們的文章能夠在報(bào)紙上刊登出來感到很自豪?！澳軗碛凶銐虻乃枷牖蜃銐虻奈膶W(xué)天賦可以使他們在新聞業(yè)上成就自己的事業(yè)的作者是如此之少”， 紐曼寫道，“以致于我禁不住把‘新聞業(yè)’定義成被某些作家所使用的一個(gè)恥辱的術(shù)語。對真正的作家而言，他們根本就沒有學(xué)問”。

???????????不幸的是，這些評論家們都被人們忘記了。從 1917 年開始一直到 1975 年死前不久還在為曼徹斯特《衛(wèi)報(bào)》寫文章的內(nèi)維爾·卡達(dá)斯，如今僅僅作為一個(gè)撰寫關(guān)于板球比賽文章的作家被人們所知。然而，在他的一生中，他也是英國最重要的古典音樂評論家之一。他也是一位被廣為贊賞的文體家，其 1947 年的《自傳》是一本暢銷書。他于 1967 年被授予爵士稱號，也是第一位被授予這個(gè)頭銜的音樂評論家。然而，他出的書中如今只有一本還在版。并且，他關(guān)于音樂方面的大量作品都不為人知，除了專業(yè)人士以外。

????????????卡達(dá)斯的評論還有可能享有在他死后重新流行嗎？前景似乎渺茫。 在他去世以前很久，新聞業(yè)的品味就已經(jīng)改變了。并且后現(xiàn)代的讀者們很少閱讀他所擅長的經(jīng)過華麗修飾的文章。而且，音樂評論中的業(yè)余傳統(tǒng)就一直在迅猛地衰退。