现代大学英语精读5Lesson4ProfessionsforWomen

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现代大学英语精读lessonProfessionsforWomen_图文

Between the Acts 《幕间》
闹鬼的屋子及其他（The Haunted House and Others)（短篇小说集）
Modernism
Modern literary practices. Also, the principles of a literary school that lasted roughly the beginning the 20th century until the end of World War II. Modernism is defined by its rejection of the literary conventions of the nineteenth century and by its opposition to conventional morality, taste, traditions and economic values.
Her Writing Style
experimentation and innovation in novel writing the psychological realm of her characters and the
moment-by-moment experience of living the techniques of interior monologue and stream of
contribution, influence, writing style) 3. Modernism (time. Characteristics, representatives,
influence) 4. The characteristics of the language in this essay. (using

大学精读英语unit4 professional for women 重点

1.My profession is literature; and in that profession there are fewer experiences for women than in any other,with the exception of the stage---fewer, I mean, that are peculiar to women. (Para. 1)Translation: 我的专业是文学，而在这个专业中，妇女的特殊经历比其他专业中妇女面临的特殊经历要少，舞台艺术是个例外。

2.For the road was cut. (Para. 1)Paraphrase: Early women writers had made their way into the profession of literature. The road was shaped.Translation: 道路已经开辟出来了。

3.Writing was a reputable and harmless occupation. (Para. 1)Translation: 写作是个受人尊敬且无害的职业。

4.No demand was made upon the family purse. (Para. 1)Paraphrase: There was no need for a writer to spend much of the family money in order to write.5.Pianos and models, Paris, Vienna and Berlin, masters and mistresses, are not needed by a writer. (Para. 1)Paraphrase: If you want to be a musician or a painter, you must own a piano or hire models, and you have to visit or even live in cultural centers like Paris, Vienna and Berlin. And also you have to be taught by masters and mistresses. However, if you want to be a writer, you don’t need all these.Translation: 当个作家不需要钢琴、模特，也无需住在巴黎、维也纳、柏林等文化之都, 或受教于专业教师。

现代大学英语精读5 Lesson 4 Professions for Women

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And while I was writing this review, I discovered that if I were going to review books I should need to do battle with a certain phantom. And the phantom was a woman, and when I came to know her better I called her after the heroine of a famous poem, The Angel in the House. In those days – the last of Queen Victoria – every house had its Angel. She slipped behind me and whispered… And she made as if to guide my pen. I turned upon her and caught her by the throat. I did my best to kill her. My excuse,… would be that I acted in self-defence. Had I not killed her she would have killed me. She would have plucked the heart out of my writing. Thus, whenever I felt the shadow of her wing or the radiance of her halo upon my page, I took up the inkpot and flung it at her. She died hard.

现代大学英语精读5 Professions for Women中英文

Professions for WomenVirginia Woolf (1882-1941) When your secretary invited me to come here, she told me that your Society is concerned with the employment of women and she suggested that I might tell you something about my own professional experiences. It is true that I am a woman; it is true I am employed; but what professional experiences have I had? It is difficult to say. My profession is literature; and in that profession there are fewer experiences for women than in any other, with the exception of the stage--fewer, I mean, that are peculiar to women. For the road was cut many years ago---by Fanny Burney, by Aphra Behn, by Harriet Martineau, by Jane Austen, by George Eliot —many famous women, and many more unknown and forgotten, have been before me, making the path smooth, and regulating my steps. Thus, when I came to write, there were very few material obstacles in my way. Writing was a reputable and harmless occupation. The family peace was not broken by the scratching of a pen. No demand was made upon the family purse. For ten and sixpence one can buy paper enough to write all the plays of Shakespeare--if one has a mind that way. Pianos and models, Paris, Vienna, and Berlin, masters and mistresses, are not needed by a writer. The cheapness of writing paper is, of course, the reason why women have succeeded as writers before they have succeeded in the other professions.But to tell you my story--it is a simple one. You have only got to figure to yourselves a girl in a bedroom with a pen in her hand. She had only to move that pen from left to right--from ten o’clock to one. Then it occurred to her to do what is simple and cheap enough after all--to slip a few of those pages into an envelope, fix a penny stamp in the corner, and drop the envelope into the red box at the corner. It was thus that I became a journalist; and my effort was rewarded on the first day of the following month--a very glorious day it was for me--by a letter from an editor containing a check for one pound ten shillings and sixpence. But to show you how little I deserve to be called a professional woman, how little I know of the struggles and difficulties of such lives, I have to admit that instead of spending that sum upon bread and butter, rent, shoes and stockings, or butcher’s bills, I went out and bought a cat--a beautiful cat, a Persian cat, which very soon involved me in bitter disputes with my neighbors.What could be easier than to write articles and to buy Persian cats with the profits? But wait a moment. Articles have to be about something. Mine, I seem to remember, was about a novel by a famous man. And while I was writing this review, I discovered that if I were going to review books I should need to do battle with a certain phantom. And the phantom was a woman, and when I came to know her better I called her after the heroine of a famous poem, The Angel in the House. It was she who used to come between me an my paper when I was writing reviews. It was she who bothered me and wasted my time and so tormented me that at last I killed her. You who come off a younger and happier generation may not have heard of her--you may not know what I mean by The Angel in the House. I will describe her as shortly as I can. She was intensely sympathetic. She was immensely charming. She was utterly unselfish. She excelled in the difficult arts of family life. She sacrificed herself daily. If there was chicken, she took the leg; if there was a draft she sat in it--in short she was so constituted that she never had a mind or a wish of her own, but preferred to sympathize always with the minds and wishes of others. Above all--I need not say it--she was pure. Her purity was supposed to be her chief beauty--her blushes, her great grace. In those days--the last of Queen Victoria--every house had its Angel. And when I came to write I encountered her with the very first words. The shadow of her wings fell on my page; I heard the rustling of her skirts in the room. Directly, that is to say, I took my pen in my hand to review that novel by a famous man, she slipped behind me and whispered:“My dear, you are a young woman. You are writing about a book that has been written by a man. Be sympathetic; be tender; flatter; deceive; use all the art and wiles of our sex. Never let anybody guess that you have a mind of our own. Above all, be pure.” And she made as if to guide my pen. I now record the one act for which I take some credit to myself, though the credit rightly belongs to some excellent ancestors of mine who left me a certain sum of money--shall we say five hundred pounds a year? --so that it was not necessary for me to depend solely on charm for my living. I turned upon her and caught her by the throat. I did my best to kill her. My excuse, If I were to be had up in a court of law, would be that I acted in self-defense. Had I not killed her she would have killed me. She would have plucked the heart out of my writing. For, as I found, directly I put pen to paper, you cannot review even a novel without having a mind of your own, without expressing what you think to be the truth about human relations, morality, sex. And all these questions, according to the Angel of the House, cannot be dealt with freely and openly by women; they must charm, they must conciliate, theymust—to put it bluntly-—tell lies if they are to succeed. Thus, whenever I felt the shadow of her wing or the radiance of her halo upon my page, I took up the inkpot and flung it at her. She died hard. Her fictitious nature was of great assistance to her. It is far harder to kill a phantom than a reality. She was always creeping back when I thought I had dispatched her. Though I flatter myself that I killed her in the end, the struggle was severe; it took much time that had better have been spent upon learning Greek grammar; or in roaming the world in search of adventures. But it was a real experience; It was an experience that was bound befall all women writers at that time. Killing the Angel in the House was part of the occupation of a woman writer.But to continue my story. The Angel was dead; what then remained? You may say that what remained was a simple and common object--a young woman in a bedroom with an inkpot. In other words, now that she had rid herself of falsehood, that young woman had only to be herself. Ah, but what is “herself”? I mean, what is a woman? I assure you, I do not know. I do not believe that you know. I do not believe that anybody can know until she has expressed herself in all the arts and professions open to human skill. That indeed is one of the reasons why I have come here--out of respect for you, who are in process of showing us by your experiments what a woman is, who are in process of providing us, by your failures and succeeded, with that extremely important piece of information.But to continue the story of my professional experiences. I made one pound ten and six by my first review; and I bought a Persian cat with the proceeds. Then I grew ambitious. A Persian cat is all very well, I said; but a Persian cat is not enough. I must have a motorcar. And it was thus that I became a novelist--for it is a very strange thing that people will give you a motorcar if you will tell them a story. It is a still stranger thing that there is nothing so delightful in the world as telling stories. It is far pleasanter than writing reviews of famous novels. And yet, if I am to obey your secretary and tell you my professional experiences as a novelist, I must tell you about a very strange experience that befell me as a novelist. And to understand it you must try first to imagine a novelist’s state of mind. I hope I am not giving away professional secrets if I say that a novelist’s chief desire is to be as unconscious as possible. He has to induce in himself a state of perpetual lethargy. He wants life to proceed with the utmost quiet and regularity. He wants to see the samefaces, to read the same books, to do the same things day after day, month after month, while he is writing, so that nothing may break the illusion in which he is living--so that nothing may disturb or disquiet the mysterious nosings about, feelings round, darts, dashes, and sudden discoveries of that very shy and illusive spirit, the imagination. I suspect that this state is the same both for men and women. Be that as it may, I want you to imagine me writing a novel in a state of trance. I want you to figure to yourselves a girl sitting with a pen in her hand, which for minutes, and indeed for hours, she never dips into the inkpot. The image that comes to my mind when I think of this girl is the image of a fisherman lying sunk in dreams on the verge of a deep lake with a rod held out over the water. She was letting her imagination sweep unchecked round every rock and cranny of the world that lies submerged in the depths of our unconscious being. Now came the experience that I believe to be far commoner with women writers than with men. The line raced through the girl’s fingers. Her imagination had rushed away. It had sought the pools, the depths, the dark places where the largest fish slumber. And then there was a smash. There was an explosion. There was foam and confusion. The imagination had dashed itself against something hard. The girl was roused from her dream. She was indeed in a state of the most acute and difficult distress. To speak without figure, she had thought of something, something about the body, about the passions which it was unfitting for her as a woman to say. Men, her reason told her, would be shocked. The consciousness of what men will say of a woman who speaks the truth about her passions had roused her from her artist’s state of unconsciousness. She could write no more. The trace was over. Her imagination could work no longer. This I believe to be a very common experience with women writers--they are impeded by the extreme conventionality of the other sex. For though men sensibly allow themselves great freedom in these respects, I doubt that they realize or can control the extreme severity with which they condemn such freedom in women.These then were two very genuine experiences of my own. These were two of the adventures of my professional life. The first--killing the Angel in the House--I think I solved. She died. But the second, telling the truth about my own experiences as a body, I do not think I solved. I doubt that any woman has solved it yet. The obstacles against her are still immensely powerful--and yet they are very difficult to define. Outwardly, what is simpler than to write books? Outwardly, what obstacles are there for a woman rather than for a man? Inwardly, I think, the case is very different;she has still many ghosts to fight, many prejudices to overcome. Indeed it will be a long time still, I think, before a woman can sit down to write a book without finding a phantom to be slain, a rock to be dashed against. And if this is so in literature, the freest of all professions for women, how is it in the new professions which you are now for the first time entering?Those are the questions that I should like, had I time, to ask you. And indeed, if I have laid stress upon these professional experiences of mine, it is because I believe that they are, though in different forms, yours also. Even when the path is nominally open--when there is nothing to revert a woman from being a doctor, a lawyer, a civil servant--there are many phantoms and obstacles, as I believe, looming in her way. To discuss and define them is I think of great value and importance; for thus only can the labor be shared, the difficulties be solved. But besides this, it is necessary also to discuss the ends and the aims for which we are fighting, for which we are doing battle with these formidable obstacles. Those aims cannot be taken for granted; they must be perpetually questioned and examined. The whole position, as I see it--here in this hall surrounded by women practicing for the first time in history I know not how many different professions--is one of extraordinary interest and importance. You have won rooms of your own in the house hitherto exclusively owned by men. You are able, though not without great labor and effort, to pay the rent. You are earning your five hundred pounds a year. But this freedom is only a beginning; the room is your own, but it is still bare. It has to be furnished; it has to be decorated; it has to be shared. How are you going to furnish it, how are you going to decorate it? With whom are you going to share it, and upon what terms? These, I think are questions of the utmost importance and interest. For the first time in history you are able to ask them; for the first time you are able to decide for yourself what the answers should be. Willingly would I stay and discuss those questions and answers--but not tonight. My time is up; and I must cease.女性职业——弗吉尼亚·伍尔夫你们的秘书告诉我，贵协会所关注的是妇女的就业情况。

现代大学英语第5册(精读5)lesson

Jordan, 85.6% in Guinea [‘ɡini] , 85.4% in Zambia, 81.2% in Laos, and 81%
in Ethiopia [i:θi’əupjə]
Women in the past have been excluded from higher education. When women were admitted to higher education, they were encouraged to major in subjects that were considered less intellectual; the study of English literature in English and U.S. colleges and universities was in fact instituted as a field of study considered suitable to women's "lesser intellects.“
I have to keep silent
In which fields are women discriminated?
Sexism against Women
The term 'sexism' is most commonly applied to sexism against women, and expressed by either men or women is called male chauvinism.
Consciousness Text appreciation: the organization of the speech;

高级英语5-lesson-four---Professions-for-women

MODERNISM
• Vertically • Classicism • Romanticism • Realism • Modernism • postmodernism
laterally
Symbolism literature Expressionist literatur futurism Stream of consciousnes Image literature
• his 2nd wife Julia Prinsep Jackson, a beauty,widow of Herbert Duckworth,3 kids: George, Stella and Gerald
• 4 kids with Julia:
• Vanessa, Thoby, Virginia, and Adrian
1. Sir Leslie Stephen, anEnglish author, critic and mountaineer
2. his 1st wife Harriet Marian (1840–1875), daughter of W. M.Thackeray, with whom he had a mentally disabled daughter, Laura
Interior Monologue
• In a psychological sense, stream of consciousness is the subject‐matter, while interior monologue is the technique for presenting it".
Three waves of feminism
The first wave--- the campaingn for women’suffrage. Women gained the right to vote(if they were over the age of 30) in 1918 in Britain.

现代大学英语精读5professions_for_women

In 1912 she married Leonard Woolf, a critic and writer on economics, with whom she set up the Hogarth Press in 1917. Their home became a gathering place for a circle of artists, critics, and writers known as the Bloomsbury group. As a novelist Woolf’s primary concern was to represent the flow of ordinary experience.
Virginia Woolf (1882-1941) :
English novelist, critic, and essayist. One of the greatest writers of modernism; One of the pioneers of women’s liberation from patriarchy.
Aphra Behn, (1640-1689)

perhaps the first professional English woman writer and playwright Aphra Behn's influence was later applauded by Virginia Woolf in A Room of One's Own, but during her own time she was suspected of plagiarism and accused of lewdness because of her gender. Buried in Westminster Abbey

现代大学英语精读5 lesson 4 Professions for Women

Women’s social status
women did not receive the vote in the U.S. until 1920 and in the U.K. until 1918. New Zealand 1894, Australia 1914, Britain 1918( over 30, and 1928 for all women) America (1920) Japan (1954) China (1953)
Many countries around the world make it mandatory(强制的，义务的） for males to join the military, but not females. Men at 18 years of age in the United States are required to register for military conscription to be drafted to war or military service.
consciousness poetic and symbolic quality, subtle style and rich
historical and literary reference
Stream of Consciousness
A psychological term
Stream of consciousness denotes a literary technique which seeks to describe an individual's point of view by giving the written equivalent of the character's thought processes.

Professions for Women

Professions for Women Virginia Woolf
Virginia Woolf
The author was born in 1882 and died in 1941, who was one of the three greatest writers of stream of consciousness and one of feminist pioneers. She was deeply influenced by Fraud’s psychology, feminism and homosexual movement. She still takes an important position in literature in terms of achievements and creativity. Virginia Woolf was educated at home, who was called Adeline Virginia Stephen before marriage. She encountered her mental collapse in 1895 when her mother died. In 1904, after her father’s death,
Is this the end to which we are reduced? Is the disaster film the highest form of art we can expect from our era? Perhaps we should examine the alternatives presented by independent film maker Joe Blow . . . . I agree the funding and support are still minimal, but shouldn't worthy projects be tried, even though they are not certain to succeed? So the plans in effect now should be expanded to include . . . . [Note: Here is an example where the answer "yes" is clearly desired rhetorically by the writer, though conceivably someone might say "no" to the question if asked straightforwardly.]

现代大学英语精读(5)professions for women

Illustrations of Political Economy (18321834), Poor Laws and Paupers (1833), and Illustrations of Taxation (1834)
Society in America (1837), Eastern Life, Present and Past (1848), Letters on the Laws of Man's Nature and Development (1851)
▪ Do you think Chinese career women share the same problem?
▪ What is the Angel in the House like? Can you find the her in the Chinese family?
讲课人：苏安梅
华南农业大学外国语学院
▪ In which aspects are men and women are equal? In which are not ?
讲课人：苏安梅
华南农业大学外国语学院
The speech by Woolf
▪ According to woolf, what are the two problems that prohibit her from pursuing her career as a writer?
讲课人：苏安梅
华南农业大学外国语学院
Aphra Behn, (1640-1689)
perhaps the first professional English woman writer and playwright
Aphra Behn's influence was later applauded by Virginia Woolf in A Room of One's Own, but during her own time she was suspected of plagiarism and accused of lewdness because of her gender.

professions for women中文译文

女人的职业听说你们协会是有关妇女就业的。

协会秘书要我就职业问题谈谈自己的阅历。

不错，我是女人，我也正在就业。

可是我有些什么阅历呢？这个问题似乎很难回答。

我的职业是文学，文学给予女人特有的阅历比其他职业要少，舞台表演除外。

这是因为许多年前范妮•伯尼、阿普拉•贝恩、哈丽雅特•马蒂诺、简•奥斯丁、乔治•爱略特就在这条路上披荆斩棘了。

无数知名的、不知名的女人在我之前扫除了障碍，调整了我的步伐。

我开始写作时，这个职业已经不拒绝女性了。

写作是个高尚而无害的职业，家庭的安宁不会被钢笔的嚓嚓声打破，也不需要很多的经济投资。

花十六便士买的纸足够写下莎士比亚所有巨著--------假如你也有个莎士比亚的脑袋的话。

作家不需要有钢琴、模特儿，不要周游巴黎、维也纳和柏林，也不需聘请家庭教师。

纸张便宜也许是女人在写作领域比其他领域成功的原因。

言归正传吧。

我当作家的故事其实很简单，你们大可想象一个手执钢笔的姑娘坐在卧室，从左到右不停地写着，写着，从十点写到一点。

然后，她把这些稿件装进信封，贴上一便士邮票投进信筒。

我就是这样成为报纸撰稿人的。

第二个月的第一天---- 那对我是辉煌的一天--- 我竟收到编辑给我的信，还附了张一镑十六便士的支票。

可我多不懂生活的艰辛呀！我没用这钱买面包和黄油，买鞋子或袜子，或者付杂货店老板的欠单，而是用它买了一只漂亮的波斯猫，一只不久便令我陷入邻里唇枪舌战的小猫。

还有什么比写文章，比用稿费买小猫更容易呢？可是，等等！文章得表明见地。

记得那篇文章是评论某个著名作家小说的。

写那篇文章时我就发现，评论作品时我需要与一种幻影搏斗。

这个幻影就是女人。

多次交锋以后，感觉开始明晰，我借一首著名诗歌里女主人公之名，称她为“屋子里的天使”。

她横亘在我和稿纸之间，困绕我，折磨我，消耗我，令我最终忍无可忍，杀了她。

你们年轻一代比较幸运，可能没听说过她--------因而不知道何为“屋子里的天使”。

我简要地解释一下。

她温柔可爱，善良无私。

现代大学英语精读5第四单元Professions For Women

MOMENTS OF BEING(瞬间的存在)
• She thought that each individual reacts in a different way to the hundreds of sensations and impressions he or she receives every day: • “ Life is a luminous halo（发光的光环）… surrounding us from the beginning of consciousness to the end”.
Seven of the Article
A husband can abandon his wife rightly if she：
First, is not filial. (不顺父母) Second, has no son. (无子) Third, is wanton. (淫) Fourth, tends to be jealous. (妒) Fifth, has serious disease. (有恶疾) Sixth, is gossipy or has a big mouth. (口多言) Seventh, steals. (盗窃)
Women In Ancient Time
Three Obediences and Four Virtues for Woman
Obey her father before marriage (未嫁从父) Obey her husband when marriage (既嫁从夫) Obey her sons in widowhood (夫死从子) Morality (妇德) Proper speech(妇言) Modest manner(妇容) Diligent work(妇功)

4-ProfessionsforWomen

4-ProfessionsforWomenLesson Four Professions for Women ObjectivesTo enable the students1)To grasp some knowledge about literature terms including modernism, stream ofconsciousness, feminist writers and women’s liberation movement,2)To appreciate the poetic and symbolic quality, the subtle style as well as their richhistorical and literary reference of Woolf’s works.3)To understand the speech by making comparison between the dominant socialvalues and women’s conditions now and then.Time Allotment:The teaching plan will be carried out within 8 periods.Background InformationAbout the Author:Virginia Woolf:1882—1941, English novelist, critic, and essayist. 1) one of the world’s g reatest writers of modernism 2) woman writer for women liberation, solving women’s issues.In the home of her father, Sir Leslie Stephen, Virginia Woolf reared/ brought up in an atmosphere of literature and learning, receiving her education in her father’s own extensive library and meeting many of the outstanding literary and intellectual figures of the day. She was keenly aware that if she had been a boy she would have gone on to Cambridge or Oxford. Later with this sense of injustice, she wrote two feminist works,A Room of One’s Own (1929) and Three Guineas (1938). Her mother died when she was 13.and she had a mental breakdown. When shehad a second mental breakdown she tried to commit suicide by jumping out of a window. She remained in frail health all her life. After her father’s death, Virginia and her sister, Vanessa, hosted many gatherings of artists and writers who had been friends at Cambridge University. This began what came to be known as the Bloomsbury Group. Virginia Woolf’s books draw largely on her own life experience. Her childhood provides the background for her novel To the Lighthouse. Almost all of her characters are members of her own leisured, intellectual, upper—middle class. Many of the novels are set in London, where she lived most of her life. In 1941, profoundly depressed by the war and afraid of the recurrence of a nervous breakdown, she filled her pockets with stones and drowned herself in the River Ouse, leaving suicide note for her husband and sister. Her major works include Jacob’s room 1922; Mrs Dalloway 1925; To the Lighthouse 1927; Orlando: A Biography 1928 ; A Room of One’s Own 1929 ; and essays The Death of a Moth 1942; A Haunted House 1943. Figurative speech: metaphor e.g. angel; fisherman; room for your ownDo you like this essay? Why or why not?Detailed Study of the TextPart I paras 1-2 the beginning part of the whole speech, introducing the topic under discussion.Para 1 Main idea: In the profession of literature, the author finds that there are fewer experiences peculiar to women than in other profession because many women writers before her have made the road smooth.1.Why does the author say that in the profession of literature---that are peculiar to women? The answer is in the next sentence: The road was cut many years ago by many famouswomen writers as well as many more unknown and forgotten women writers who have been before her, who have made the path smooth, regulating her steps. The implied meaning is that other professions, such as science, medicine, law, are newer for women, and therefore the road is harder for them, with more experiences peculiar to them. The profession of drama is an exception. Like literature, drama also involves more women than other profession.2. All the women mentioned above are women writers who have made special contributions to English literature in their unique way. Here the author does not want to make a long list, but intends to give the idea that early women writers like Burney and Helen had already made their way into the profession of literature as early as in the 17th century.3. Then, when I came to write, there are few material obstacles in my way: Here ―material obstacles‖ implies that there are other obstacles in her way, probably obstacles opposed to material, that is, obstacles of spiritual, mental or psychological nature. As readers, we naturally expect a discussion of those obstacles in the following parts of the essay.4. Family peace was not broken by the scratching of a pen. Family peace: 1) Writing can’t make noise, so, calm, quiet, tranquility; 2) no quarrel with husband and others while you’re busy writin g. So, harmony, lack of worry and quarrels5. No demand was made upon the family purse: There was no need for a writer to spend much of the family money in order to write. You just spend little money on writing, because you just need paper which is very cheap.6.if one has a mind that way: a witty remark. The implied meaning is that though everybody can afford the money to buypaper to write all the plays of Shakespeare, who has the kind of intelligence and talent that produced those great works.7. Pianos and models, Paris, Vienna and Berlin, masters and mistresses, are not needed by a writer: If you want to be a musician or a painter, you must own a piano or hire models, and you have to visit or even live in cultural centers like Paris, Vienna and Berlin. And you have to be taught by masters or mistresses. However, if you want to be a writer, you don’t need all these.8. Ls The cheapness of writing paper is the reason why--- in the other professions: In the patriarchal society women have been forced into a lower financial status that men. Para2 transitional para -----easiness of writing to difficulty of writing In this para the author responds to the host’s suggestion that she should tell the audience sth. About her own professional experiences. So she tells her own story---how she became a book reviewer when she was a girl.1. from left to right from morning to night from beginning to end from top totail2. Ls: In the lives of professional women there are usually struggles and difficulties. When they make some money, they would spend it on bread and butter, rent, shoes and stockings or butcher’s bills, all of which are basic daily necessities.Bread and butter, rent, sho es and stockings, or butcher’s bills: synecdoche. E.g. I need ten hands (men). Give me a hand (help). foot soldier (infantry)Para3main idea: This is an important part of her speech. In this para the speaker focuses on the first obstacle to becoming a prof essional women writer. She uses a figure of speech ―killing the Angel in the House‖ in describing her determination to getrid of the conventional role of women in her writing.1. S1 What could be easier than---. But wait a moment: 1) This is a rhetorical question, implying that writing articles and buying Persian cats with the profits were very easy. 2) ―wait a moment‖ calls for a second thought or more attention from the audience, signifying that things may not as easy as they seem to be, and that sth. important is coming up. The two sentences serve as a transitional device linking her simple story with a discussion of a more serious nature.2. Mine was about a novel by a famous man: Note the contrast between a girl, who is writing for the first time, and a famous man. The girl’s task of writing a review abouta novel by a famous man cannot be easy at all.3. Phantom: 1) literary meaning: Something that seems to appear to the sight but has no physical existence; a ghost or a specter. 幻影；鬼怪, 幽灵. 2) figurative meaning: an apparition, a vision, sth. Feared or dreaded, sth that exists only in the mind; an illusion, any mental image 幻想, Here, Phantom appears to the sight in the form of an angel, and also it is a mental representation of the stereotyped Victorian woman.5. The Angel in the House a poem written by Coventry Patmore, in this poem he set up the model of housewife. He believed that ideal woman is his wife, a qualified wife, an example of Victorian women.Virtuous wife and mother（贤妻良母）-----responsible for the family, attending children and husband, doing housework, ------6. Angel: a messenger of God and a supernatural being. The conventionalized image of an angel is one of a white-robed figure in human form with wings and a halo. When usedfiguratively, the word means a person, esp. women and children, regarded as beautiful, good, innocent, etc. as an angel,. Since an angel is supernatural and often female, it is appropriate for the author to call the phantom an angel.7. It was she who used to come between me and my paper when I was writing reviews: She used to cause argument or problems between me and what I was writing. Here the paper stands for what she was writing. If something comes between two people or things, it causes an argument or problems between them.8. Took the leg: In western culture, chicken legs are cheaper and tasteless, (in China, it is opposite, chicken breast is tasteless, and the chicken leg is delicious) so women should sacrifice themselves to eat it9. Drought: draft. A current of air in a room. In Britain, it is wet and cold, so it is uncomfortable to sit in a draught. The most comfortable place in an English house is by the fireplace. But if there was a drought, women should sit in it another example to prove women’s spirit of sac rifice and unselfishness.10. She was so constituted that she had never had a mind ora wish of her own: She was made up or formed in such a way that she never had an opinion or wish of her own. The word ―constituted‖ implies that the traditional values we re so deeply rooted/planted in her mind that she didn’t think of herself, and didn’t have her own mind or wish.11. The shadow of her wings fell on my page: When writing, she has to fight against the image of this kind of women. It was hard for her to get rid of the influence of traditional writing skills.12.Directly:conj. (Chiefly British) as soon as.一…就；刚…就we came directly we got your telephone.13. be sympathetic, be tender, flatter, deceive, use all the arts and wiles of our sex: These words reflect the traditional Victorian values about gender roles. As soon as the author began to write her review, she seemed to hear a voice telling her what to do. The author is urged to use tricks of the female sex because a woman has to do so in order to be successful in a man-dominated profession.14. Have sb. Up: (usu. Used in passive voice) cause sb. To be accused of a crime, etc. in a law court. 押送（到法庭）；对某人起诉He was had up for dangerous driving.15. Act in self-defense: If I didn’t kill her, she would kill me; this is a life –and –death struggle.She would have plucked the heart of my writing: there would be no meaning in my writing; I would become a meaningless writer, which would destroy my future.16. Had I not killed her she would have killed me: If I had not done so (getting rid of these Victorian attitudes completely), these traditional ideas would have destroyed me. It is a life-and-death struggle.17. She would have plucked the heart out of writing: metaphor of the Angel in the House. Those conventional attitudes would have taken away the most important part of her writing, that is, the essence of her writing, which is, as explained in the next sentence, having a mind of your own, expressing what you think to be the truth about human relations, morality, and sex.18.ll these questions, according to the angel in the house, cannot be dealt with--- if they are to succeed: According to the Victorian attitudes, women are not supposed to discuss and explore these questions freely and openly. They must use theircharm to gain recognition from men, they must make concessions in their arguments, and they must tell lies in order to succeed in the profession of writing.19. Thus, whenever I felt the shadow of her wings or the radiance of her halo upon my page, I took up the inkpot and flung it at her: Thus, whenever I felt the influence of the Victorian attitudes on my writing, I fought back with all my power.20. She died hard: She did not die easily. She had to be killed. One had to fight against the Victorian traditions bravely and resolutely in order to get rid of them. It is difficult to fight against her.21. Her fictitious nature was of great assistance to her. It is far harder to kill a phantom than a reality: The phantom or the Angel in the House is not a real person. The author is only personifying it. It does not have a physical form. In fact it is a mental image and has an imaginary nature. So, it is more difficult to kill a phantom (for it is invisible) than to kill a reality (for it is visible) (SARS is more threatened than a war for it is invisible)22. She was always creeping back when I thought I had dispatched her: It is hard to overcome those prejudices once and for all. When you think that you have done away with them, you will find they are back again. So the struggle takes a long time, as explained in the next sentence.23. Though I flatter myself that I killed her in the end--- in search of adventures: Although I made myself believe that I killed her in the end, the struggle was severe and it took so much more time than had been expected that one would rather spend all that time on learning Greek grammar or traveling in the world in search of adventure. Flatter myself: If you flatter yourself that sth.Is true about your abilities or achievements you made yourself believe it is true, although it is not. So when the author says that she flatters herself that she had killed the phantom in the end, she implies that actually she had not really put an end to the existence of the phantom: it may come back again.24. But it was a real experience--- the occupation of a woman writer: the last two sentences of this para sum up the main idea of her first experience as a woman writer: killing the Angel in the House. That is, all women writers had to make continuous efforts to fight against the strong influence of the Victorian attitudes about the traditional role of women.Para4main idea: After the Angel was dead, the question which remains to be answered is ―what is a woman?‖. It is a transitional link between the autho r’s first and second experiences.1. She had rid herself of falsehood: She had got rid of those wrong ideas and stopped telling lies.2. I mean, what is a woman?: I mean, what is the identity of a woman? This seemingly simple question implies that: When traditional values are criticized, it takes time for new values to be shaped and accepted. This is a long process.3.I don’t believe t hat anybody can know until---open to human skill: I believe that to know what is a woman, we women have to participate in all the arts and professions open to human knowledge and understanding and to give expressions to our feelings in creative forms.Para5 main idea: In this para the author talks about her second experience in her profession of literature. As a novelist, she wished to remain ―as unconscious as possible‖ so that nothing might disturb or disquiet the imagination. But she wasfaced with the conflict between her own approach to art and the conventional approach expected of her by male critics. She believed that sex-consciousness was a great hindrance to women’s writing. To illustrate this point she employs a second figure of speech, ―the image of a fisherman lying sunk in dreams on the verge of a deep lake.‖1.I hope I am not give away professional secrets--- to be as unconscious as possible: Why does the author say that a novelist’s chief desire is to be as unconscious as possible? Because the ―unconscious‖ state would allow her to bring her imagination into the fullest play, to see and to express her reality in stream of consciousness,fragmentation, or to develop her feminine writing.2. He has to induce in himself a state of perpetual lethargy: He has to cause in himselfa particular condition in which he will remain abnormally drowsy and sluggish for a long time.3. He wants life to proceed with quiet and regularity---- the imagination: Why does the author want life to proceed with quiet and regularity? Why does the author want to do the same things day after day, month after month? Meeting people, reading books and doing things are some of the external factors of the author’s life, the routine, and the predictable social events. Wanting to see the same people, to read same books and to do the same things further explains her idea about life with the utmost quiet and regularity. Reducing everyday life to unchanging routines avoids having to pay much attention to the people or events. In this way writers do not have to worry about meals, children or housecleaning but only write.他希望在他写作时，他每天所的人，读的书，做的事都是相同的，这样任何事物都不会打破他生活的幻想，也不会搅乱他的四处探求以及对那令人难以琢磨的东西――想象力的突然发现。

现代大学英语精读5翻译及课后习题答案（5个单元）

现代大学英语精读5翻译及课后习题答案（5个单元）现代大学英语V-4译文及练习答案女性的职业弗吉尼亚·伍尔夫l.你们的秘书邀请我时对我说你们妇女服务团关注的是女性就业问题，她提议我讲一讲我就业的亲身体验。

我是女性，这是事实；我有工作，这也是事实。

但我又有什么职业体验呢?这很难讲。

我从事的是文学职业，与其他职业相比，当然不包括戏剧行业，在文学职业里几乎没有什么女性体验，我的意思是几乎没有女性特有的体验。

多年前，路已开辟出来。

许多知名的女性---范妮·伯尼、阿芙拉.贝恩、哈丽雅特·马蒂诺、简·奥斯汀、乔治·艾略特---和许多不知名以及已被人忘记的女性在我之前铺平了道路并指导我向前走。

因此，在我从事写作时，几乎没有物质障碍。

写作这个职业既受人尊敬又没有危险。

写字的沙沙声不会打破家庭的和平，写作也不需要什么家庭开销。

花16便士买的纸足够用来写莎士比亚的所有戏剧---要是你有那样的才智的话。

作家不需要钢琴和模特，不用去巴黎、维也纳和柏林，也不需要家庭教师。

当然，廉价的写作用纸是女性作为作家成功而先于其他职业的原因。

2．我讲讲我的故事，那只是个平常的故事。

你们自己设想一个姑娘，手里握着一支笔坐在卧室里。

从十点钟到一点钟她只是不停地由左向右写，然后她想到做一件既省钱又省力的事---把那些纸张放进信封，在信封的一角贴上一张一便士的邮票，把信封投进拐角的一个红色邮筒。

我就是这样成了一名撰稿人。

我的努力在下个月的第一天得到了回报---_那是我一生中非常快乐的一天。

我收到了编辑寄来的一封信，里面装有一张一英镑十先令六便士的支票。

为了让你们了解我不值得被称作职业女性，对人生的艰难和奋斗知之甚少，我得承认我没用那笔钱买食物、付房租、买袜子和肉，而是出去买了一只猫，一只漂亮的波斯猫，这只猫不久就引起了我和邻居间的激烈争端。

3．什么会比写文章并用赚得的钱买波斯猫来得更容易?但再想一想，文章得有内容。

现代大学英语精读5ProfessionsforWomen中英文

现代大学英语精读5ProfessionsforWomen中英文Professions for WomenV irginia Woolf (1882-1941) When your secretary invited me to come here, she told me that your Society is concerned with the employment of women and she suggested that I might tell you something about my own professional experiences. It is true that I am a woman; it is true I am employed; but what professional experiences have I had? It is difficult to say. My profession is literature; and in that profession there are fewer experiences for women than in any other, with the exception of the stage--fewer, I mean, that are peculiar to women. For the road was cut many years ago---by Fanny Burney, by Aphra Behn, by Harriet Martineau, by Jane Austen, by George Eliot —many famous women, and many more unknown and forgotten, have been before me, making the path smooth, and regulating my steps. Thus, when I came to write, there were very few material obstacles in my way. Writing was a reputable and harmless occupation. The family peace was not broken by the scratching of a pen. No demand was made upon the family purse. For ten and sixpence one can buy paper enough to write all the plays of Shakespeare--if one has a mind that way. Pianos and models, Paris, V ienna, and Berlin, masters and mistresses, are not needed by a writer. The cheapness of writing paper is, of course, the reason why women have succeeded as writers before they have succeeded in the other professions.But to tell you my story--it is a simple one. Y ou have only got to figure to yourselves a girl in a bedroom with a pen in her hand. She had only to move that pen from left to right--from ten o’clock to one. Then it occurred to her to do what is simple andcheap enough after all--to slip a few of those pages into an envelope, fix a penny stamp in the corner, and drop the envelope into the red box at the corner. It was thus that I became a journalist; and my effort was rewarded on the first day of the following month--a very glorious day it was for me--by a letter from an editor containing a check for one pound ten shillings and sixpence. But to show you how little I deserve to be called a professional woman, how little I know of the struggles and difficulties of such lives, I have to admit that instead of spending that sum upon bread and butter, rent, shoes and stockings, or butcher’s bills, I went out and bought a cat--a beautiful cat, a Persian cat, which very soon involved me in bitter disputes with my neighbors.What could be easier than to write articles and to buy Persian cats with the profits? But wait a moment. Articles have to be about something. Mine, I seem to remember, was about a novel by a famous man. And while I was writing this review, I discovered that if I were going to review books I should need to do battle with a certain phantom. And the phantom was a woman, and when I came to know her better I called her after the heroine of a famous poem, The Angel in the House. It was she who used to come between me an my paper when I was writing reviews. It was she who bothered me and wasted my time and so tormented me that at last I killed her. Y ou who come off a younger and happier generation may not have heard of her--you may not know what I mean by The Angel in the House. I will describe her as shortly as I can. She was intensely sympathetic. She was immensely charming. She was utterly unselfish. She excelled in the difficult arts of family life. She sacrificed herself daily. If there was chicken, she took the leg; if there was a draft she sat in it--in short shewas so constituted that she never had a mind or a wish of her own, but preferred to sympathize always with the minds and wishes of others. Above all--I need not say it--she was pure. Her purity was supposed to be her chief beauty--her blushes, her great grace. In those days--the last of Queen V ictoria--every house had its Angel. And when I came to write I encountered her with the very first words. The shadow of her wings fell on my page; I heard the rustling of her skirts in the room. Directly, that is to say, I took my pen in my hand to review that novel by a famous man, she slipped behind me and whispered:“My dear, you are a young woman. Y ou are writing about a book that has been written by a man. Be sympathetic; be tender; flatter; deceive; use all the art and wiles of our sex. Never let anybody guess that you have a mind of our own. Above all, be pure.” And she made as if to guide my pen. I now record the one act for which I take some credit to myself, though the credit rightly belongs to some excellent ancestors of mine who left me a certain sum of money--shall we say five hundred pounds a year? --so that it was not necessary for me to depend solely on charm for my living. I turned upon her and caught her by the throat. I did my best to kill her. My excuse, If I were to be had up in a court of law, would be that I acted in self-defense. Had I not killed her she would have killed me. She would have plucked the heart out of my writing. For, as I found, directly I put pen to paper, you cannot review even a novel without having a mind of your own, without expressing what you think to be the truth about human relations, morality, sex. And all these questions, according to the Angel of the House, cannot be dealt with freely and openly by women; they must charm, they must conciliate, theymust—to put it bluntly-—tell lies if they are to succeed. Thus,whenever I felt the shadow of her wing or the radiance of her halo upon my page, I took up the inkpot and flung it at her. She died hard. Her fictitious nature was of great assistance to her. It is far harder to kill a phantom than a reality. She was always creeping back when I thought I had dispatched her. Though I flatter myself that I killed her in the end, the struggle was severe; it took much time that had better have been spent upon learning Greek grammar; or in roaming the world in search of adventures. But it was a real experience; It was an experience that was bound befall all women writers at that time. Killing the Angel in the House was part of the occupation of a woman writer.But to continue my story. The Angel was dead; what then remained? Y ou may say that what remained was a simple and common object--a young woman in a bedroom with an inkpot. In other words, now that she had rid herself of falsehood, that young woman had only to be herself. Ah, but what is “herself”?I mean, what is a woman? I assure you, I do not know. I do not believe that you know. I do not believe that anybody can know until she has expressed herself in all the arts and professions open to human skill. That indeed is one of the reasons why I have come here--out of respect for you, who are in process of showing us by your experiments what a woman is, who are in process of providing us, by your failures and succeeded, with that extremely important piece of information.But to continue the story of my professional experiences. I made one pound ten and six by my first review; and I bought a Persian cat with the proceeds. Then I grew ambitious. A Persian cat is all very well, I said; but a Persian cat is not enough. I must have a motorcar. And it was thus that I became a novelist--for it is a very strange thing that people will give you a motorcar if youwill tell them a story. It is a still stranger thing that there is nothing so delightful in the world as telling stories. It is far pleasanter than writing reviews of famous novels. And yet, if I am to obey your secretary and tell you my professional experiences as a novelist,I must tell you about a very strange experience that befell me asa novelist. And to understand it you must try first to imagine a novelist’s state of mind. I hope I am not giving away professional secrets if I say that a novelist’s chief desire is to be as unconscious as possible. He has to induce in himself a state of perpetual lethargy. He wants life to proceed with the utmost quiet and regularity. He wants to see the samefaces, to read the same books, to do the same things day after day, month after month, while he is writing, so that nothing may break the illusion in which he is living--so that nothing may disturb or disquiet the mysterious nosings about, feelings round, darts, dashes, and sudden discoveries of that very shy and illusive spirit, the imagination. I suspect that this state is the same both for men and women. Be that as it may, I want you to imagine me writing a novel in a state of trance. I want you to figure to yourselves a girl sitting with a pen in her hand, which for minutes, and indeed for hours, she never dips into the inkpot. The image that comes to my mind when I think of this girl is the image of a fisherman lying sunk in dreams on the verge of a deep lake with a rod held out over the water. She was letting her imagination sweep unchecked round every rock and cranny of the world that lies submerged in the depths of our unconscious being. Now came the experience that I believe to be far commoner with women writers than with men. The line raced through the girl’s fingers. Her imagination had rushed away. It had sought the pools, the depths, the dark places where the largest fish slumber.And then there was a smash. There was an explosion. There was foam and confusion. The imagination had dashed itself against something hard. The girl was roused from her dream. She was indeed in a state of the most acute and difficult distress. To speak without figure, she had thought of something, something about the body, about the passions which it was unfitting for her as a woman to say. Men, her reason told her, would be shocked. The consciousness of what men will say of a woman who speaks the truth about her passions had roused her from her artist’s state of unconsciousness. She could write no more. The trace was over. Her imagination could work no longer. This I believe to be a very common experience with women writers--they are impeded by the extreme conventionality of the other sex. For though men sensibly allow themselves great freedom in these respects, I doubt that they realize or can control the extreme severity with which they condemn such freedom in women.These then were two very genuine experiences of my own. These were two of the adventures of my professional life. The first--killing the Angel in the House--I think I solved. She died. But the second, telling the truth about my own experiences as a body, I do not think I solved. I doubt that any woman has solved it yet. The obstacles against her are still immensely powerful--and yet they are very difficult to define. Outwardly, what is simpler than to write books? Outwardly, what obstacles are there for a woman rather than for a man? Inwardly, I think, the case is very different;she has still many ghosts to fight, many prejudices to overcome. Indeed it will be a long time still, I think, before a woman can sit down to write a book without finding a phantom to be slain, a rock to be dashed against. And if this is so inliterature, the freest of all professions for women, how is it in the new professions which you are now for the first time entering?Those are the questions that I should like, had I time, to ask you. And indeed, if I have laid stress upon these professional experiences of mine, it is because I believe that they are, though in different forms, yours also. Even when the path is nominally open--when there is nothing to revert a woman from being a doctor, a lawyer, a civil servant--there are many phantoms and obstacles, as I believe, looming in her way. To discuss and define them is I think of great value and importance; for thus only can the labor be shared, the difficulties be solved. But besides this, it is necessary also to discuss the ends and the aims for which we are fighting, for which we are doing battle with these formidable obstacles. Those aims cannot be taken for granted; they must be perpetually questioned and examined. The whole position, as I see it--here in this hall surrounded by women practicing for the first time in history I know not how many different professions--is one of extraordinary interest and importance. Y ou have won rooms of your own in the house hitherto exclusively owned by men. Y ou are able, though not without great labor and effort, to pay the rent. Y ou are earning your five hundred pounds a year. But this freedom is only a beginning; the room is your own, but it is still bare. It has to be furnished; it has to be decorated; it has to be shared. How are you going to furnish it, how are you going to decorate it? With whom are you going to share it, and upon what terms? These, I think are questions of the utmost importance and interest. For the first time in history you are able to ask them; for the first time you are able to decide for yourself what the answers should be. Willingly would I stay and discuss those questions and answers--but not tonight. My time is up; andI must cease.女性职业——弗吉尼亚·伍尔夫你们的秘书告诉我，贵协会所关注的是妇女的就业情况。

《现代大学语精读5》教案

英语专业精读授课教案（第五册）Lesson One Where Do We Go from HereTeaching aims: 1. fully understand the article2. grasp the rhetorical device in the textTeaching difficulties: how to identify the rhetorical device in the sentence and understand theimplication for some sentencesTime distribution: eight periodsTeaching method: students-centeredTeaching procedures:I. Background information:The 1960s were turbulent times for the United States. The anti-war movement, the Civil Right movement, the counter-culture movement, the feminist movement were all unfolding in this period of time. The civil Rights movement was a major movement which began with the Supreme Court decision of Brown v. Board of Education of Topeka in 1954 and the Montgomery bus boycott of 1955. Martin Luther King jr. (1929-1968), as a key leader of the movement, played a significant and irreplaceable role. His name is associated with the march on Washington in 1963 and his famous speech “ I have a dream”, delivered in front of the Lincoln Memorial. He was awarded Nobel Peace Prize in 1964. this speech, delivered in 1967, in more on the side of reasoning and persuasion and less on emotional appeal. Thus his analysis of riots and revolution in the united states in his speech is sound and convincing. On the night of April4. 1968, King was shot dead, as he stood o the balcony of his hotel in Memphis, Tennessee.Part II. Details studies of the textPart III. Structure of the text:Part i. Para. 1—2 Martin Luther King link the theme of the speech with the question of "Where we are now". That is, in order to know where we go from here we must first recognize where we are now. Without knowing our present situation, how can we design a policy for the future?Part ii Para. 3--5 This is a transitional paragraph to call for all the African-American must “rise up with an affirmation of his own Olympian manhood”.Part iii (Para. 6--9) In this part the author puts forward the second task: how to organize the strength of the Negro in terms of economic and political power. Then the author goes on to define power and points out the consequence of the misinterpretation of power.Part iv (Paras.10--15) This part deals with economic security for the Negro Americans. The speaker advocates guaranteed annual income which he thinks is possible and achievable. He also deals on the advantages of this security.Part v (paras. 16—20) In this part, Martin reaffirms his commitment to nonviolence. He explains why he thinks violence is no solution to racial discrimination. He refutes the idea of Black revolution.Part vi (para 21—25) In this part, Dr. King raises a fundamental question—the restructuring of the whole of American society. He points out that the problem of racism. The problem of economic exploitation and the problem of war are tied together. They are the triple evils of the society.Part vii. (para 26—28) This part serves as the concluding remark for the speech: we shall overcome.Lesson Two Two KindsTeaching aims: 1. fully understand the article2. present their viewpoint on generation gapTeaching difficulties: how to identify the development of a storyTime distribution: eight periodsTeaching method: students-centeredTeaching procedures:Part I. Background information:The Joy Luck Club, from which “Two Kinds” is taken, explores conflicts between two generations and two different cultures. Set in China and in the United States, the novel is woven by stories of four Chinese mothers and their four daughters. Four Chinese women, who have just arrived in the United States and who are drawn together by the shadow of their past—meet in San Francisco to play mah-jongg, eat dim sum and tell stories. They call their gatherings the Joy Luck Club. While they place high hopes on their daughters, the youger generation think of themselves as Americans and resist their mothers’ attempts to change them into obedient Chinese daughters. Only after theyhave grown up and become more mature do they realize that the legacy left by their mothers is an important part of their lives, too. The noivel stayed on the best-selling book list of The New York Times for 9 months. A finalist for the national Book Award and the National Book Critics Circle Award, it has been translated into about 20 languages and made into a Hollywood movie.Part II. Detailed Study of the TextPart III. The Structure of the text:Part i (paras.1—3) the beginning part of the story provides the reader with some background information. It tells about the mother and her hopes for her daughter. This paves the way ofr the development of the conflict between the daughter and the mother.Part ii(paras.4—11)this part is about the mother’s unsuccessful attempt to change her daughter into a Chinese Shirley Temple. In the beginning the child was as excited as the mother about becoming a prodigy. At this point, the conflict between mother and daughter was not visible.Part iii(paras12—20) in this part we learn that the mother was trying very hard to train her daughter to be a genius. As the tests got more and more difficult, the daughter lost heart. She decided that she would not let her mother change her. This change of attitudes would lead to the gradual development of the conflict.Part iv (paras 21—28) while watching a Chinese girl playing the piano on an Ed Sullivan Show, a new idea flashed into the mother’s head. With the new plan introduced, the ocnflict would develop further.Part v (paras 29—46) it tells about how the girl was made to learn the piano under the instructions of Old Chong. The relationship between mother and daughter was getting more and more tense.Part vi (para.47—60) Jing-mei was to perform in a talent show held in the church. Jing-mei started all right and soon made a mess of her performance. Undoubtedly this was a heavy blow to her mother. The crisis of the story is about to come.Part vii (para 61—76) the girl assumed that her failure at the show meant she would never have to play the paino. Yet two days later her mother urged her to practice as usual. She refused and the mother insisted. They had the most fierce quarrel they had ever had. This is the crisis or climax of the story.Part viii( 77—93) this concluding part is narrated from a different point of view. Now the daughter had grown up form a little girl to a mature woman.Part IV. Discussion about generation gap.Part V. Complete the exercises of the text.A report about generation gapLesson ThreeGoods Move. People Move. Ideas Move. And Cultures Change.Teaching aims: 1. fully understand the article2. How to develop an argumentTeaching difficulties: how to develop an argumentTime distribution: eight periodsTeaching method: students-centeredTeaching procedures:Part I. Lead-in : Globalization has become one of those words with the highest frequency of appearance but at the same time it is also a most controversial issue in terms of content, implication and consequence. Since the early 1990s, globalization has developed rapidly and brought great changes to the world. However, groups of people for various reasons oppose globalization and point to the negative effects of globalization. So when we face an article of such an important and sensitive issue, we are apt to ask:What is the author’s attitude towards globalization? What makes her adopt such an attitude? How does she present her argument?Part II. Detailed study of the textPart III. Structure of the textPart i (para 1—3) Globalization is a reality but it is not something complietly new. What is new is the speed and scope of changes.Part ii (para 4—6) this part deals with different views on globalization.Part iii (para 7—9) three points are made in this part:a. Westernization is not a straight road to hell, or to paradise either.b. Cultures are as resourceful, resilient, and unpredictable as the people who compose them.c. Teenagers are one of the powerful engines of merging global cultures.Part iv (para 10—13) this part tells of the author’s experience with Amanda Freeman.Part v (para 14—19) in order to prove fusion is the trend, the author used Tom Soper and mah-jongg as an example.Part vi(para 20—24) this part describes the cultural trends in Shanghai.Part viii( para25—28) the author used the experience at Shanghai Theatre Academy to illustrate the point that the change is at the level of ideas.Part ix (para 29—34)the author in this part introduced Toffler’s view on conflict, change and world order.Part x (para35—36)the main idea is there will not be a uniform world culture in the future; the cultures will coexist and transform each other.Part xii(37—39) the author again used an example in Shanghai to illustrate the transformation of culture.Part IV. Complete the exercises in the textbookPart V. collect their viewpoints about attitude towards globalizaion.Lesson FourProfessions for WomenTeaching aims: 1. fully understand the article2. grasp the rhetorical device in the textTeaching difficulties: how to understand the poetic and symbolic sentences in the articleTime distribution: eight periodsTeaching method: students-centeredTeaching procedures:Part I. Background information:Virginia Woolf is generally regarded as one of the greatest writers of modernism as well as one of the pioneers of women’s libera tion from patriarchy. She is known for her experimentation and innovation in novel writing. In her novel, emphasis is on the psychological realm of her characters and the moment-by-moment experience of living, which are depicted by the techniques of interior monologue and stream of consciousness. In this essay, Virginia Woolf gives a clear and convincing presentation of the obstacles facing professional women.Part II. Detailed study of the textPart III. General analysis of the textPara 1: In the profession of literature, the author finds that there are fewer experiences peculiar to women than in other profession because many women writers before her have made the road smooth.Para 2: the author responds to the host’s suggestion that she should tell t he audience something about her own professional experiences. So she now tells her own story –how she became a book reviewer when she was a girl.Para 3.the speaker focuses on the first obstacle to becoming a professional women writer. She uses a figure o f speech “killing the Angel in the House” in describing her determination to get rid of the conventional role of women in her writing.Para 4. after the Angel was dead, the question which remains to be answered is “what is a woman?” it is a transitional link between the quthor’s first and second experience.Paragraph 5. In this paragraph the author talks about her second experience in her profession of literature. As a novelist, she wished to remain "as unconscious as possible" so that nothing might disturb or disquiet the imagination. But she was faced with the conflict between her own approach to art and the conventional approach expected of her by male critics. She believed that sex-consciousness was a great hindrance to women's writing. To illustrate this point, she employs a second figure of speech, "the image of a fisherman lying sunk in dreams on the verge of a deep lake."Para 6. This paragraph sums up the author's two experiences, pointing out that the second obstacle is more difficult to overcome than the first. Women have many prejudices to overcome in the profession of literature and especially in new professions that women are entering.Para.7. In this last paragraph Woolf concludes her speech by raising some important questions concerning the new role of women and the new relationship between men and women.Part IV. Complete the exercise of the textPart V. a report on the professional women in ChinaLesson FiveLove Is a FallacyTeaching aims: 1. fully understand the article2. grasp the rhetorical device in the textTeaching difficulties: how to identify the rhetorical device in the sentence and understand theimplication for some sentencesTime distribution: eight periodsTeaching method: students-centeredTeaching procedures:Part I. Lead-in:This is a humorous essay in which the narrator tells his failure to win the heart of a young woman with the force of logic, which therefore proves to him that "love is a fallacy"--"it is inconsistent with logic."Part II. Detailed study of the textPart III. Question on Appreciation:1.How did the narrator describe himself? What does it show? How does the author bring out the pomposity of the narrator? What makes the satire humorous?2.why was the narrator interested in Polly Espy? What kind of girl was she.3. How did the narrator's first date with Polly Espy go?4. How does the language used by Polly strike you? Find some examples from the text and explain what effect her language creates.5. Why did the narrator teach Polly Espy logic? Did he succeed?6. Did the narrator love Polly Espy? How did he try to "acquaint her with his feeling"?7. How did Polly respond to the narrator's arguments for going steady with her? Why did shereject him? What does it show? As the story progresses, Polly turned out to be smarter than the narrator had previously thought. How does this contrast contribute to the humor of the piece?Part IV complete the exercise in the textLesson SixLife Beyond EarthTeaching aims: 1. fully understand the article2. learn to analyze the textTeaching difficulties: how to learn to analyze the text and understand the implication for some sentencesTime distribution: eight periodsTeaching method: students-centeredTeaching procedures:Part I. General introduction:The author deals with recent developments in the search for alien organisms. He discusses various arguments about alien civilization. He does not think that such belief and search is irrational or even crazy. He writes that most people with such belief “operate from the same instinct, which is to know the truth about the universe”. At the same time he maintains a scientific attitude, pointing out that although there are many persuasive arguments, there is still no hard evidence to prove the existence of alien life. Yet he does not stop there. He further points out that since the world we live in—the only inhabitable world in the universe so far—is still far from perfect, people in the world need to direct more energy to making it better. Life on Earth is his greater concern.Part II. Detailed study of the text:Part III. Organization of the piece:1. Analysis of the text:(1) Paras. 1--2 the emergence of life(2) Para. 3 (transition) What else is alive out(3) Paras. 4--10 search for life(4) Paras. 11--23 search for intelligence(5) Paras. 24--42 Mars.(6) Paras. 43--45 Dyson's argument(7) Paras. 46--52 conclusion2. Questions to discuss:1) What do you think of the opening paragraph? Does the author begin the article in a forceful way?2)What role does this paragraph play? What is meant by "the enveloping nebula of uncertainties"? What is the contrast involved as imroduced by "despite"?3) What new idea is introduced in Paras. 17--19?4) Comment on the first sentence in Paragraph 21.5) Comment on the role of Paragraph 35.6) What is the conclusion of the author? What would the author expect of people investigating extraterrestrial life?Lesson SevenInvisible ManTeaching aims: 1. fully understand the article2. grasp the implied meaning of some sentencesTeaching difficulties: how to identify the implied meaning in the sentenceTime distribution: eight periodsTeaching method: students-centeredTeaching procedures:Part I. Background Information:1. about the author2. about the articlePart II. Detailed study of the textPart III. Analysis of the text:Para 1. From this opening paragraph we readers can learn a number of important things:(l) By saying "It goes a long way back, some twenty years," the author tells us that the story took place in the past.(2) The "I' here is the narrator, not the author, of the story, and the author is using the first-person narration in telling the story. As we read On, we will find this narrator is also the main character, the protagonist, of the story.(3) Words like "I was looking for myself" and "I am nobody but myself" point out the central theme of the novel--searching for self-identity.Para. 2 This paragraph tells us a bit about the historical background against place. It also introduces a new character--the narrator's grandfather. On his deathbed, he said something that alarmed and puzzled the whole family.Para 3 This paragraph is about the tremendous effect of the grandfather's words upon the narrator, Those words became a constant puzzle for him. As the old man said these words ironically, the boy couldn't understand him. Although the grandfather did not appear in the battle royal scene or any other events in the rest of the book, his words haunted the narrator at every important moment in his life.Para 4 It tells us about the setting of the battle royal. The narrator was to give his speech at a smoker in a leading hotel in the town. The time is round 1950, the place is a hotel in a Southern town, and the occasion is a gathering of the leading white men of the town. Bearing these in mind will help us readers understand why things happened that way and what was the meaning of all this.Para. 5 Besides giving more details about the place, this paragraph introduces the people involved in the incident the town's big shots, who were "wolfing down the buffet food, drinking beer and whisky and smoking black cigars," and the other black boys who were to take part, who were "tough guys".Para 6 to 9 The main body of the battle royal incident is from Paragraph 4 to paragraph 9. It can be further divided into 4 subsections: the naked white girl's dance; the fight itself; the grabbing for the prize money; the narrator's speech. Paragraphs 6 to 9 form the first subsection in which the author describes the white girl's dance.Paras. 10--28 They form the second subsection of the battle royal incident violent and brutal fight itself. Pay attention to the use of specific words narration realistic and vivid.Paras. 29--46 They describe how the white men further humiliated the black boys even after the battle royal was over. Instead of giving the money the boys were supposed to get for their performance, the white men made fun of them by making them scramble for the money on an electrified rug. This part adds to the general chaos of the whole scene.Para 47--90 They form the last subsection of the whole battle royal incident. In this part the narrator finally got his chance to deliver his well-prepared speech. However, in the middle of his speech, he made a mistake, but everything went well in the end and he was given an award--a scholarship for college.Para. 91—94 They bring the story to a final end. The narrator was overjoyed with his triumph, and that night he dreamed of his grandfather and awoke with the old man’s laughter rining in his ears.Part IV. Complete the exercise in the textPart V. Do some translation work.Lesson EightThe Merely Very GoodTeaching aims: 1. fully understand the article2. grasp the development of the textTeaching difficulties: how to analyze the development of the article and the implied meaning for some sentencesTime distribution: eight periodsTeaching method: students-centeredTeaching procedures:Part I. Information on the author:Jeremy Bernstein(1929- ): professor of physics and writer. After getting his Ph. D. in physics at Harvard, he spent time at the institute for advanced study in Princeton and at the National Science Foundation. He taught physics for 5years at New York University and then at Stevens Institute of Technology, Hoboken, New Jersey.But Jeremy Bernstein has also spent more than 30 years on the staff of The New Yorker magazine, writing mostly about physics, computers, and other topics in physical science. He moves as comfortably among sentences and paragraphs as among equations.Part II. Detailed study of the text:Part III. Questions about the article1. Oppenteimer is called “ Father of the Atomic Bomb” and had been in charge of the Los Alamas nuclear laboratory for many years. Yet the author considers him as merely very good. Do you think the author is right and fair in relegating Oppenheimer to the merely very good?2. Do you think it is right to say to be highly focused or not is the cause separating the great ones from the merely very good? What is your view?3. How does the author manage to bring the people he wants to compare into the article?Oppenheimer’s anecdote: Oppenheimer and dirac meetingGottingen, talking about poetry and physicsHis decision to go to the conferenceSpender’s being at the conference—Spend er’s obsession with Auden—great versus merely very good.4.How does the author develop the article?He uses the 1981 conference as the benchmark and goes back to earlier times and in the last two paragraphs returns the scene to the time of writing. This technique of montage is used largely in cinema.For example:The 1981 conference and the author’s indecision—(flashback to 1925—1927) earlier life of Oppenheimer and his relations with Dirac—(back to 1981) the author’s decision: Spender and Auden—(flashback)Spender and Oppenheimer(1956)—(1958)Oppenheimer, Dirac and the author—(back to 1981) meeting with Spender—(bringing the scene to 1996) concluding remarks.Lesson NineThe Way to Rainy MountainTeaching aims: 1. fully understand the article2. grasp the rhetorical device in the textTeaching difficulties: how to identify the rhetorical device in the sentence and understand theimplication for some sentencesTime distribution: eight periodsTeaching method: students-centeredTeaching procedures:Part I. About the AuthorN. Scott Momaday was born in Lawton, Oklahoma in 1934. Momaday belongs to a generation of American Indians born when most tribal communities had long ceased to exist as vital social organizations. His Kiowa ancestors shared with other Plains Indians the horrors of disease, military defeat, and cultural and religious deprivation in the 19th century. Their only chance of survival was to adapt themselves to new circumstances. Momaday’s grandfather, for example, adjusted to changing conditions by taking up farming, a decision pressed upon him by the General Allotment Act of 1887.Part II. Detailed study of the textPart III. The analysis of the textPara 1. the opening paragraph of the essay is a lyrical description of the aut hor’s ancestral land, which plays a key role in his exploration of his Kiowa identity.Para 2. the author explains his purpose of his visit to Rainy Mountain: to be at his grandmother’s grave.Para 3. it sums up the history of the Kiowas as a Plains Native culture—the golden time and the decline in their history.Para 4. it is about how the Kiowas migrated from western Montana and how the migration transformed the Kiowas.Para 5. the author returns to his grandmother again. Since she is the immediate reason for him to come to Rainy Mountain, she is the link between the author and his ancestors.Para 6. The Kiowas felt a sense of confinement in Yellowstone, Montana.Para 7. this paragraph is a depiction of the landscape which they came upon when they got out of the highlands in Montana.Para 8. in this para the author describes Devil’s Tower and tells the Kiowas’s legend about it.Para 9. the author tells about the last days of the Sun Dance culture by using his grandmother as a witness.Para 10. for the first time, the author concentrates only on his grandmother’s story rather than mixing it with the history of the whole Kiowa tribe. Also for the first time, the author shifts the focus of depicting the lanscape to describing a person—his grandmother Aho as an old woman.Para 11—12 paragraph 11 is about the old houses at Rainy Mountain, which the author’s grandmother and other Kiowas used to live in, but which are now empty. This paragraph serves as a transition between the depiction of Grandma Aho and the reunion at her house.Para 11 and 12 describe the reunions that were once held at the grandmother’s house when the author was a child. We can see the author accepts change and loss as facts of life. He neither denies nor defies them. Imagination helps him strike a balance between them. So, after depicting his dead grandmother’s old house, he brings to life the joy and activity that once filled it. As a child Momaday took part in those events. By re-creating those scenes, he reminds himself of who he is.Part IV. Complete the exercise of the text。