[考研类试卷]考研英语(翻译)模拟试卷86及答案与解析.doc
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1、考研英语(翻译)模拟试卷 86 及答案与解析Part CDirections: Read the following text carefully and then translate the underlined segments into Chinese. (10 points) 0 Bernard Bailyn has recently reinterpreted the early history of the United States by applying new social research findings on the experiences of European mi
2、grants. In his reinterpretation, migration becomes the organizing principle for rewriting the history of preindustrial North America. His approach rests on four separate propositions.【F1】The first of these asserts that residents of early modern England moved regularly about their countryside; migrat
3、ing to the New World was simply a natural spillover.【F2】Although at first the colonies held little positive attraction for the Englishthey would rather have stayed homeby the eighteenth century people increasingly migrated to America because they regarded it as the land of opportunity. Secondly, Bai
4、lyn holds that, contrary to the notion that used to flourish in America history textbooks, there was never a typical New World community. For example, the economic and demographic character of early New England towns varied considerably.Bailyns third proposition suggest two general patterns prevaili
5、ng among the many thousands of migrants: one group came as indentured servants, another came to acquire land. Surprisingly, Bailyn suggests that those who recruited indentured servants were the driving forces of transatlantic migration.【F3 】These colonial entrepreneurs helped determine the social ch
6、aracter of people who came to preindustrial North America. At first, thousands of unskilled laborers were recruited; by the 1730s, however, American employers demanded skilled artisans.Finally, Bailyn argues that the colonies were a half-civilized hinterland of the European culture system. He is und
7、oubtedly correct to insist that the colonies were part of an Anglo-American empire. But to divide the empire into English core and colonial periphery, as Bailyn does, devalues the achievements of colonial culture. It is true, as Bailyn claims, that high culture in the colonies never matched that in
8、England. But what of seventeenth-century New England, where the settlers created effective laws, built a distinguished university, and published books? Bailyn might respond that New England was exceptional. However, the ideas and institutions developed by New England Puritans had powerful effects on
9、 North American culture.Although Bailyn goes on to apply his approach to some thousands of indentured servants who migrated just prior to the revolution, he fails to link their experience with the political development of the United States. Evidence presented in his work suggests how we might make s
10、uch a connection. These indentured servants were treated as slaves for the period during which they had sold their time to American employers.【F4】It is not surprising that as soon as they served their time they passed up good wages in the cities and headed west to ensure their personal independence
11、by acquiring land.【F5】Thus, it is in the west that a peculiarly American political culture began, among colonists who were suspicious of authority and intensely anti-aristocratic.1 【F1】2 【F2】3 【F3】4 【F4】5 【F5】5 【F1】Proponents of different jazz styles have always argued that their predecessors musica
12、l style did not include essential characteristics that define jazz as jazz. Thus, 1940s swing was belittled by beboppers of the 1950 s who were themselves attacked by free jazzes of the 1960 s. The neoboppers of the 1980s and 1990 s attacked almost everybody else. The titanic figure of Black saxopho
13、nist John Coltrane has complicated the arguments made by proponents of styles from bebop through neobop because in his own musical journey he drew from all those styles. His influence on all types of jazz was immeasurable. At the height of his popularity, Coltrane largely abandoned playing bebop, th
14、e style that had brought him fame, to explore the outer reaches of jazz.Coltrane himself probably believed that the only essential characteristic of jazz was improvisation, the one constant in his journey from bebop to open-ended improvisations on modal, Indian, and African melodies.【F2】On the other
15、 hand, this dogged student and prodigious technician who insisted on spending hours each day practicing scales from theory bookswas never able to jettison completely the influence of bebop, with its fast and elaborate chains of notes and ornaments on melody.Two stylistic characteristics shaped the w
16、ay Coltrane played the tenor saxophone: he favored playing fast runs of notes built on a melody and depended on heavy, regularly accented beats.【F3】The first led Coltrane to sheets of sound where he raced faster and faster, pile-driving notes into each other to suggest stacked harmonies; the second
17、meant that his sense of rhythm was almost as close to rock as to bebop.Three recordings illustrate Coltranes energizing explorations. Recording Kind of Blue with Miles Davis, Coltrane found himself outside bop, exploring modal melodies. Here he played surging, lengthy solos built largely around repe
18、ated motifsan organizing principle unlike that of free jazz saxophone player Ornette Coleman, who modulated or altered melodies in his solos. On Giant Steps, Coltrane debuted as leader, introducing his own compositions.【F4 】Here the sheets of sound, downbeat accents, repetitions, and great speed are
19、 part of each solo, and the variety of the shapes of his phrases is unique. Coltranes searching explorations produced solid achievement. My Favorite Things was another kind of watershed. Here Coltrane played the soprano saxophone, an instrument seldom used by jazz musicians. Musically, the results w
20、ere astounding.【F5】With the sopranos piping sound, ideas that had sounded dark and brooding acquired a feeling of giddy fantasy.6 【F1】7 【F2】8 【F3】9 【F4】10 【F5】10 【F1】Roger Rosenblatts book Black Fiction, in attempting to apply literary rather than sociopolitical criteria to its subject, successfully
21、 alters the approach taken by most previous studies. As Rosenblatt notes, criticism of Black writing has often served as a pretext for expounding on Black history. Addison Gayle s recent work, for example, judges the value of Black fiction by overtly political standards, rating each work according t
22、o the notions of Black identity which it propounds.【F2】Although fiction assuredly springs from political circumstances, its authors react to those circumstances in ways other than ideological, and talking about novels and stories primarily as instruments of ideology circumvents much of the fictional
23、 enterprise. Rosenblatts literary analysis discloses affinities and connections among works of Black fiction which solely political studies have overlooked or ignored.Writing acceptable criticism of Black fiction, however, presupposes giving satisfactory answers to a number of questions. First of al
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