ChimamandaAdichieThedangerofasinglestory单一故事地危险性

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Chimamanda Adichie The danger of a single story单一故事地危险性

Chimamanda Adichie The danger of a single storyI'm a storyteller.And I would like to tell you a few personal stories about what I like to call "the danger of the single story."I grew up on a university campus in eastern Nigeria.My mother says that I started reading at the age of two, although I think four is probably close to the truth.So I was an early reader, and what I read were British and American children's books.I was also an early writer, and when I began to write, at about the age of seven, stories in pencil with crayon illustrations that my poor mother was obligated to read, I wrote exactly the kinds of stories I was reading: All my characters were white and blue-eyed, they played in the snow, they ate apples, and they talked a lot about the weather, how lovely it was that the sun had come out. (Laughter)Now, this despite the fact that I lived in Nigeria.I had never been outside Nigeria.We didn't have snow, we ate mangoes, and we never talked about the weather, because there was no need to.My characters also drank a lot of ginger beer because the characters in the British books I read drank ginger beer.Never mind that I had no idea what ginger beer was.(Laughter)And for many years afterwards, I would have a desperate desire to taste ginger beer. But that is another story.What this demonstrates, I think, is how impressionable and vulnerable we are in the face of a story, particularly as children.Because all I had read were books in which characters were foreign, I had become convinced that books by their very nature had to have foreigners in them and had to be about things with which I could not personally identify.Things changed when I discovered African books.There weren't many of them available, and they weren't quite as easy to find as the foreign books.But because of writers like Chinua Achebe and Camara Laye I went through a mental shift in my perception of literature.I realized that people like me, girls with skin the color of chocolate, whose kinky hair could not form ponytails, could also exist in literature.I started to write about things I recognized.Now, I loved those American and British books I read.They stirred my imagination. They opened up new worlds for me.But the unintended consequence was that I did not know that people like me could exist in literature.So what the discovery of African writers did for me was this: It saved me from having a single story of what books are.I come from a conventional, middle-class Nigerian family.My father was a professor.My mother was an administrator.And so we had, as was the norm, live-in domestic help, who would often come from nearby rural villages.So the year I turned eight we got a new house boy.His name was Fide.The only thing my mother told us about him was that his family was very poor. My mother sent yams and rice, and our old clothes, to his family.And when I didn't finish my dinner my mother would say, "Finish your food! Don't you know? People like Fide's family have nothing."So I felt enormous pity for Fide's family.Then one Saturday we went to his village to visit, and his mother showed us a beautifully patterned basket made of dyed raffia that his brother had made.I was startled.It had not occurred to me that anybody in his family could actually make something. All I had heard about them was how poor they were, so that it had become impossible for me to see them as anything else but poor.Their poverty was my single story of them.Years later, I thought about this when I left Nigeria to go to university in the United States.I was 19.My American roommate was shocked by me.She asked where I had learned to speak English so well, and was confused when I said that Nigeria happened to have English as its official language.She asked if she could listen to what she called my "tribal music," and was consequently very disappointed when I produced my tape of Mariah Carey. (Laughter)She assumed that I did not know how to use a stove.What struck me was this: She had felt sorry for me even before she saw me.Her default position toward me, as an African, was a kind of patronizing,well-meaning pity.My roommate had a single story of Africa: a single story of catastrophe.In this single story there was no possibility of Africans being similar to her in any way, no possibility of feelings more complex than pity, no possibility of a connection as human equals.I must say that before I went to the U.S. I didn't consciously identify as African. But in the U.S. whenever Africa came up people turned to me.Never mind that I knew nothing about places like Namibia.But I did come to embrace this new identity, and in many ways I think of myself now as African.Although I still get quite irritable when Africa is referred to as a country, the most recent example being my otherwise wonderful flight from Lagos two days ago,in which there was an announcement on the Virgin flight about the charity work in "India, Africa and other countries."(Laughter)So after I had spent some years in the U.S. as an African, I began to understand my roommate's response to me.If I had not grown up in Nigeria, and if all I knew about Africa were from popular images, I too would think that Africa was a place of beautiful landscapes, beautiful animals, and incomprehensible people, fighting senseless wars, dying of poverty and AIDS, unable to speak for themselves and waiting to be saved by a kind, white foreigner.I would see Africans in the same way that I, as a child, had seen Fide's family. This single story of Africa ultimately comes, I think, from Western literature. Now, here is a quote from the writing of a London merchant called John Locke, who sailed to west Africa in 1561 and kept a fascinating account of his voyage. After referring to the black Africans as "beasts who have no houses," he writes, "They are also people without heads, having their mouth and eyes in their breasts." Now, I've laughed every time I've read this.And one must admire the imagination of John Locke.But what is important about his writing is that it represents the beginning of a tradition of telling African stories in the West: A tradition of Sub-Saharan Africa as a place of negatives, of difference, of darkness, of people who, in the words of the wonderful poet Rudyard Kipling, are "half devil, half child."And so I began to realize that my American roommate must have throughout her life seen and heard different versions of this single story, as had a professor, who once told me that my novel was not "authentically African."Now, I was quite willing to contend that there were a number of things wrong with the novel, that it had failed in a number of places, but I had not quite imagined that it had failed at achieving something called African authenticity.In fact I did not know what African authenticity was.The professor told me that my characters were too much like him, an educated and middle-class man.My characters drove cars.They were not starving.Therefore they were not authentically African.But I must quickly add that I too am just as guilty in the question of the single story.A few years ago, I visited Mexico from the U.S.The political climate in the U.S. at the time was tense, and there were debates going on about immigration.And, as often happens in America, immigration became synonymous with Mexicans. There were endless stories of Mexicans as people who were fleecing the healthcare system, sneaking across the border, being arrested at the border, that sort of thing.I remember walking around on my first day in Guadalajara, watching the people going to work, rolling up tortillas in the marketplace, smoking, laughing.I remember first feeling slight surprise.And then I was overwhelmed with shame.I realized that I had been so immersed in the media coverage of Mexicans that they had become one thing in my mind, the abject immigrant.I had bought into the single story of Mexicans and I could not have been more ashamed of myself.So that is how to create a single story, show a people as one thing, as only one thing, over and over again, and that is what they become.It is impossible to talk about the single story without talking about power. There is a word, an Igbo word, that I think about whenever I think about the power structures of the world, and it is "nkali."It's a noun that loosely translates to "to be greater than another."Like our economic and political worlds, stories too are defined by the principle of nkali: How they are told, who tells them, when they're told, how many stories are told, are really dependent on power.Power is the ability not just to tell the story of another person, but to make it the definitive story of that person.The Palestinian poet Mourid Barghouti writes that if you want to dispossess a people, the simplest way to do it is to tell their story and to start with, "secondly." Start the story with the arrows of the Native Americans, and not with the arrival of the British, and you have an entirely different story.Start the story with the failure of the African state, and not with the colonial creation of the African state, and you have an entirely different story.I recently spoke at a university where a student told me that it was such a shame that Nigerian men were physical abusers like the father character in my novel.I told him that I had just read a novel called American Psycho -- (Laughter) -- and that it was such a shame that young Americans were serial murderers. (Laughter)(Applause)Now, obviously I said this in a fit of mild irritation.(Laughter)But it would never have occurred to me to think that just because I had read a novel in which a character was a serial killer that he was somehow representative of all Americans.This is not because I am a better person than that student, but because of America's cultural and economic power, I had many stories of America.I had read Tyler and Updike and Steinbeck and Gaitskill.I did not have a single story of America.When I learned, some years ago, that writers were expected to have had really unhappy childhoods to be successful, I began to think about how I could invent horrible things my parents had done to me.(Laughter)But the truth is that I had a very happy childhood, full of laughter and love, in a very close-knit family.But I also had grandfathers who died in refugee camps.My cousin Polle died because he could not get adequate healthcare.One of my closest friends, Okoloma, died in a plane crash because our fire trucks did not have water.I grew up under repressive military governments that devalued education, so that sometimes my parents were not paid their salaries.And so, as a child, I saw jam disappear from the breakfast table, then margarine disappeared, then bread became too expensive, then milk became rationed.And most of all, a kind of normalized political fear invaded our lives.All of these stories make me who I am.But to insist on only these negative stories is to flatten my experience and to overlook the many other stories that formed me.The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete.They make one story become the only story.Of course, Africa is a continent full of catastrophes: There are immense ones, such as the horrific rapes in Congo and depressing ones, such as the fact that 5,000 people apply for one job vacancy in Nigeria.But there are other stories that are not about catastrophe, and it is very important, it is just as important, to talk about them.I've always felt that it is impossible to engage properly with a place or a person without engaging with all of the stories of that place and that person.The consequence of the single story is this: It robs people of dignity.It makes our recognition of our equal humanity difficult.It emphasizes how we are different rather than how we are similar.So what if before my Mexican trip I had followed the immigration debate from both sides, the U.S. and the Mexican?What if my mother had told us that Fide's family was poor and hardworking? What if we had an African television network that broadcast diverse African stories all over the world?What the Nigerian writer Chinua Achebe calls "a balance of stories."What if my roommate knew about my Nigerian publisher, Mukta Bakaray, a remarkable man who left his job in a bank to follow his dream and start a publishing house? Now, the conventional wisdom was that Nigerians don't read literature.He disagreed. He felt that people who could read, would read, if you made literature affordable and available to them.Shortly after he published my first novel I went to a TV station in Lagos to do an interview, and a woman who worked there as a messenger came up to me and said, "I really liked your novel. I didn't like the ending.Now you must write a sequel, and this is what will happen ..."(Laughter)And she went on to tell me what to write in the sequel.I was not only charmed, I was very moved.Here was a woman, part of the ordinary masses of Nigerians, who were not supposed to be readers.She had not only read the book, but she had taken ownership of it and felt justified in telling me what to write in the sequel.Now, what if my roommate knew about my friend Fumi Onda, a fearless woman who hosts a TV show in Lagos, and is determined to tell the stories that we prefer to forget? What if my roommate knew about the heart procedure that was performed in the Lagos hospital last week?What if my roommate knew about contemporary Nigerian music, talented people singing in English and Pidgin, and Igbo and Yoruba and Ijo, mixing influences from Jay-Z to Fela to Bob Marley to their grandfathers.What if my roommate knew about the female lawyer who recently went to court in Nigeria to challenge a ridiculous law that required women to get their husband's consent before renewing their passports?What if my roommate knew about Nollywood, full of innovative people making films despite great technical odds, films so popular that they really are the best example of Nigerians consuming what they produce?What if my roommate knew about my wonderfully ambitious hair braider, who has just started her own business selling hair extensions?Or about the millions of other Nigerians who start businesses and sometimes fail, but continue to nurse ambition?Every time I am home I am confronted with the usual sources of irritation for most Nigerians: our failed infrastructure, our failed government, but also by the incredible resilience of people who thrive despite the government, rather than because of it.I teach writing workshops in Lagos every summer, and it is amazing to me how many people apply, how many people are eager to write, to tell stories.My Nigerian publisher and I have just started a non-profit called Farafina Trust, and we have big dreams of building libraries and refurbishing libraries that already exist and providing books for state schools that don't have anything in their libraries, and also of organizing lots and lots of workshops, in reading and writing, for all the people who are eager to tell our many stories.Stories matter.Many stories matter.Stories have been used to dispossess and to malign, but stories can also be used to empower and to humanize.Stories can break the dignity of a people, but stories can also repair that broken dignity.The American writer Alice Walker wrote this about her Southern relatives who had moved to the North.She introduced them to a book about the Southern life that they had left behind: "They sat around, reading the book themselves, listening to me read the book, and a kind of paradise was regained."I would like to end with this thought: That when we reject the single story, when we realize that there is never a single story about any place, we regain a kind of paradise.Thank you.(Applause)。

Thedangerofasinglestory

C h i m a m a n d a N g o z i A d i c h i e:T h e d a n g e r o f a s i n g l e s t o r yI'm a storyteller. And I would like to tell you a few personal stories about what I like to call "the danger of the single story." I grew up on a university campus in eastern Nigeria. My mother says that I started reading at the age of two, although I think four is probably close to the truth. So I was an early reader, and what I read were British and American children's books.00:38 I was also an early writer, and when I began to write, at about the age of seven, stories in pencil with crayon illustrations that my poor mother was obligated to read, I wrote exactly the kinds of stories I was reading: All my characters were white and blue-eyed, they played in the snow, they ate apples,01:05 and they talked a lot about the weather, how lovely it was that the sun had come out.01:11 Now, this despite the fact that I lived in Nigeria. I had never been outside Nigeria. We didn't have snow, we ate mangoes, and we never talked about the weather, because there was no need to. 01:25 My characters also drank a lot of ginger beer, because the characters in the British books I read drank ginger beer. Never mind that I had no idea what ginger beer was.01:36 And for many years afterwards, I would have a desperate desire to taste ginger beer. But that is another story.01:43 What this demonstrates, I think, is how impressionable and vulnerable we are in the face of a story, particularly as children. Because all I had read were books in which characters were foreign, I had become convinced that books by their very nature had to have foreigners in them and had to be about things with which I could not personally identify. Now, things changed when I discovered African books. There weren't many of them available, and they weren't quite as easy to find as the foreign books.02:14 But because of writers like Chinua Achebe and Camara Laye, I went through a mental shift in my perception of literature. I realized that people like me, girls with skin the color of chocolate, whose kinky hair could not form ponytails, could also exist in literature. I started to write about things I recognized.02:35 Now, I loved those American and British books I read. They stirred my imagination. They opened up new worlds for me. But the unintended consequence was that I did not know that people like me could exist in literature. So what the discovery of African writers did for me was this: It saved me from having a single story of what books are.02:58 I come from a conventional, middle-class Nigerian family. My father was a professor. My mother was an administrator. And so we had, as was the norm, live-in domestic help, who would often come from nearby rural villages. So, the year I turned eight, we got a new house boy. His name was Fide. The only thing my mother told us about him was that his family was very poor. My mother sent yams and rice, and our old clothes, to his family. And when I didn't finish my dinner, my mother would say, "Finish your food! Don't you know? People like Fide's family have nothing." So I felt enormous pity for Fide's family.03:42 Then one Saturday, we went to his village to visit, and his mother showed us a beautifully patterned basket made of dyed raffia that his brother had made. I was startled. It had not occurred to me that anybody in his family could actually make something. All I had heard about them was how poor they were, so that it had become impossible for me to see them as anything else but poor. Their poverty was my single story of them.04:12 Years later, I thought about this when I left Nigeria to go to university in the United States. I was 19. My American roommate was shocked by me. She asked where I had learned to speak English so well, and was confused when I said that Nigeria happened to have English as its official language. She asked if she could listen to what she called my "tribal music," and was consequently very disappointed when I produced my tape of Mariah Carey.04:44 She assumed that I did not know how to use a stove.04:48 What struck me was this: She had felt sorry for me even before she saw me. Her default position toward me, as an African, was a kind of patronizing, well-meaning pity. My roommate had a single story of Africa: a single story of catastrophe. In this single story, there was no possibility of Africans being similar to her in any way, no possibility of feelings more complex than pity, no possibility of a connection as human equals.05:20 I must say that before I went to the U.S., I didn't consciously identify as African. But in the U.S., whenever Africa came up, people turned to me. Never mind that I knew nothing about places like Namibia. But I did come to embrace this new identity, and in many ways I think of myself now as African. Although I still get quite irritable when Africa is referred to as a country, the most recent example being my otherwise wonderful flight from Lagos two days ago, in which there was an announcement on the Virgin flight about the charity work in "India, Africa and other countries." 05:55 So, after I had spent some years in the U.S. as an African, I began to understand my roommate's response to me. If I had not grown up in Nigeria, and if all I knew about Africa were from popular images, I too would think that Africa was a place of beautiful landscapes, beautiful animals, and incomprehensible people, fighting senseless wars, dying of poverty and AIDS, unable to speak for themselves and waiting to be saved by a kind, white foreigner. I would see Africans in the same way that I, as a child, had seen Fide's family.06:34 This single story of Africa ultimately comes, I think, from Western literature. Now, here is a quote from the writing of a London merchant called John Locke, who sailed to west Africa in 1561 and kept a fascinating account of his voyage. After referring to the black Africans as "beasts who have no houses," he writes, "They are also people without heads, having their mouth and eyes in their breasts."07:04 Now, I've laughed every time I've read this. And one must admire the imagination of John Locke. But what is important about his writing is that it represents the beginning of a tradition of telling African stories in the West: A tradition of Sub-Saharan Africa as a place of negatives, of difference, of darkness, of people who, in the words of the wonderful poet Rudyard Kipling, are "half devil, half child."07:31 And so, I began to realize that my American roommate must have throughout her life seen and heard different versions of this single story, as had a professor, who once told me that my novel was not "authentically African." Now, I was quite willing to contend that there were a number of things wrong with the novel, that it had failed in a number of places, but I had not quite imagined that it had failed at achieving something called African authenticity. In fact, I did not know what African authenticity was. The professor told me that my characters were too much like him, an educated and middle-class man. My characters drove cars. They were not starving. Therefore they were not authentically African.08:20 But I must quickly add that I too am just as guilty in the question of the single story. A few years ago, I visited Mexico from the U.S. The political climate in the U.S. at the time was tense, and there were debates going on about immigration. And, as often happens in America,immigration became synonymous with Mexicans. There were endless stories of Mexicans as people who were fleecing the healthcare system, sneaking across the border, being arrested at the border, that sort of thing.08:53 I remember walking around on my first day in Guadalajara, watching the people going to work, rolling up tortillas in the marketplace, smoking, laughing. I remember first feeling slight surprise. And then, I was overwhelmed with shame. I realized that I had been so immersed in the media coverage of Mexicans that they had become one thing in my mind, the abject immigrant. I had bought into the single story of Mexicans and I could not have been more ashamed of myself. 09:25 So that is how to create a single story, show a people as one thing, as only one thing, over and over again, and that is what they become.09:36 It is impossible to talk about the single story without talking about power. There is a word, an Igbo word, that I think about whenever I think about the power structures of the world, and it is "nkali." It's a noun that loosely translates to "to be greater than another." Like our economic and political worlds, stories too are defined by the principle of nkali: How they are told, who tells them, when they're told, how many stories are told, are really dependent on power.10:11 Power is the ability not just to tell the story of another person, but to make it the definitive story of that person. The Palestinian poet Mourid Barghouti writes that if you want to dispossess a people, the simplest way to do it is to tell their story and to start with, "secondly." Start the story with the arrows of the Native Americans, and not with the arrival of the British, and you have an entirely different story. Start the story with the failure of the African state, and not with the colonial creation of the African state, and you have an entirely different story.10:51 I recently spoke at a university where a student told me that it was such a shame that Nigerian men were physical abusers like the father character in my novel. I told him that I had just read a novel called "American Psycho" --11:09 -- and that it was such a shame that young Americans were serial murderers.11:24 Now, obviously I said this in a fit of mild irritation.11:29 But it would never have occurred to me to think that just because I had read a novel in which a character was a serial killer that he was somehow representative of all Americans. This is not because I am a better person than that student, but because of America's cultural and economic power, I had many stories of America. I had read Tyler and Updike and Steinbeck and Gaitskill. I did not have a single story of America.11:54 When I learned, some years ago, that writers were expected to have had really unhappy childhoods to be successful, I began to think about how I could invent horrible things my parents had done to me.12:09 But the truth is that I had a very happy childhood, full of laughter and love, in a veryclose-knit family.12:16 But I also had grandfathers who died in refugee camps. My cousin Polle died because he could not get adequate healthcare. One of my closest friends, Okoloma, died in a plane crash because our fire trucks did not have water. I grew up under repressive military governments that devalued education, so that sometimes, my parents were not paid their salaries. And so, as a child, I saw jam disappear from the breakfast table, then margarine disappeared, then bread became too expensive, then milk became rationed. And most of all, a kind of normalized political fear invaded our lives.12:56 All of these stories make me who I am. But to insist on only these negative stories is to flatten my experience and to overlook the many other stories that formed me. The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story.13:24 Of course, Africa is a continent full of catastrophes: There are immense ones, such as the horrific rapes in Congo and depressing ones, such as the fact that 5,000 people apply for one job vacancy in Nigeria. But there are other stories that are not about catastrophe, and it is very important, it is just as important, to talk about them.13:44 I've always felt that it is impossible to engage properly with a place or a person without engaging with all of the stories of that place and that person. The consequence of the single story is this: It robs people of dignity. It makes our recognition of our equal humanity difficult. It emphasizes how we are different rather than how we are similar.14:08 So what if before my Mexican trip, I had followed the immigration debate from both sides, the U.S. and the Mexican? What if my mother had told us that Fide's family was poor and hardworking? What if we had an African television network that broadcast diverse African stories all over the world? What the Nigerian writer Chinua Achebe calls "a balance of stories."14:32 What if my roommate knew about my Nigerian publisher, Muhtar Bakare, a remarkable man who left his job in a bank to follow his dream and start a publishing house? Now, the conventional wisdom was that Nigerians don't read literature. He disagreed. He felt that people who could read, would read, if you made literature affordable and available to them.14:55 Shortly after he published my first novel, I went to a TV station in Lagos to do an interview, and a woman who worked there as a messenger came up to me and said, "I really liked your novel.I didn't like the ending. Now, you must write a sequel, and this is what will happen ..."15:13 And she went on to tell me what to write in the sequel. I was not only charmed, I was very moved. Here was a woman, part of the ordinary masses of Nigerians, who were not supposed to be readers. She had not only read the book, but she had taken ownership of it and felt justified in telling me what to write in the sequel.15:32 Now, what if my roommate knew about my friend Fumi Onda, a fearless woman who hosts a TV show in Lagos, and is determined to tell the stories that we prefer to forget? What if my roommate knew about the heart procedure that was performed in the Lagos hospital last week? What if my roommate knew about contemporary Nigerian music, talented people singing in English and Pidgin, and Igbo and Yoruba and Ijo, mixing influences from Jay-Z to Fela to Bob Marley to their grandfathers.16:05 What if my roommate knew about the female lawyer who recently went to court in Nigeria to challenge a ridiculous law that required women to get their husband's consent before renewing their passports? What if my roommate knew about Nollywood, full of innovative people making films despite great technical odds, films so popular that they really are the best example of Nigerians consuming what they produce? What if my roommate knew about my wonderfully ambitious hair braider, who has just started her own business selling hair extensions? Or about the millions of other Nigerians who start businesses and sometimes fail, but continue to nurse ambition?16:46 Every time I am home I am confronted with the usual sources of irritation for most Nigerians: our failed infrastructure, our failed government, but also by the incredible resilience of people who thrive despite the government, rather than because of it. I teach writing workshops inLagos every summer, and it is amazing to me how many people apply, how many people are eager to write, to tell stories.17:13 My Nigerian publisher and I have just started a non-profit called Farafina Trust, and we have big dreams of building libraries and refurbishing libraries that already exist and providing books for state schools that don't have anything in their libraries, and also of organizing lots and lots of workshops, in reading and writing, for all the people who are eager to tell our many stories. 17:35 Stories matter. Many stories matter. Stories have been used to dispossess and to malign, but stories can also be used to empower and to humanize. Stories can break the dignity of a people, but stories can also repair that broken dignity.17:55 The American writer Alice Walker wrote this about her Southern relatives who had moved to the North. She introduced them to a book about the Southern life that they had left behind. "They sat around, reading the book themselves, listening to me read the book, and a kind of paradise was regained."18:16 I would like to end with this thought: That when we reject the single story, when we realize that there is never a single story about any place, we regain a kind of paradise.18:29 Thank you.。

尼采名言英文版

尼采名言英文版1、等我学会了飞翔，便不需要推动就可从一处移到另一处。

When I learn to fly, I can move from one place to another without pushing.2、对于纯粹的认知者而言，知识无关紧要。

Knowledge does not matter to pure cognizers.3、世上的滑稽大大多于悲剧，人欢笑的频率大大高于震惊的频率。

There are more funny things in the world than tragedies. People laugh more often than shocks.4、精神怎么变成骆驼，骆驼怎么变成狮子，狮子怎么变成孩子。

How does spirit bee a camel, how does camel bee a lion, how does lion bee a child?5、寂寞是一种心的疾病。

单独是一种治疗。

Loneliness is a heart disease. It's a treatment alone.6、一切弊病的根源：逆来顺受、贞洁、忘我和绝对服从。

这些奴隶道德竟然取得了胜利。

The root causes of all ills are: resignation, chastity, selflessness and absolute obedience. These slave morals had triumphed.7、一口好牙和一个强健的胃，便是我对你的期待！只要你受得了我的书，我们就一定合得来！A good tooth and a strong stomach are my expectations for you! As long as you can stand my book, we will certainly get along!8、天啊！哪里还有我们可以自沉的海呢？God! Where else can we sink?9、在高傲负伤之处，会长出一种比高傲更佳的东西。

英语专业八级考前拉力赛答案（5）（5）

TEXT F短⽂⼤意本⽂主要介绍关于咖啡因的⼀项新发现。

咖啡因是咖啡中的⼀种兴奋剂，被称为“应⽤最⼴泛的精神兴奋物质”。

Snyder Dally Bruns 最近指出咖啡因影响⼈的⾏为在于它会阻碍⼈体中的合成的腺苷（adenosine）在⼈⾝中的活动。

⽂章接着就对这⼀发现进⾏理论上的⽀持，并通过对相关试验的解说来加以验证。

28.答案B 「参考译⽂」本⽂的主要⽬的在于…… 「试题分析」本题考查学⽣对⽂章主旨的把握。

「详细解答」B项认为本⽂是在描述⼀个替代的设想并给出证据和论证过程，是正确的。

因为 Snyder 等⼈的理论就是他们代替不正确的长久以来看法的替代理论，作者提到了证据，并给出了 Snyder 等⼈论证⽼理论为⾮，以及⼀个例外并不能影响其理论有效性的过程。

29.答案D 「参考译⽂」 Snyder 等⼈认为，咖啡因和腺苷的区别在于…… 「试题分析」此题是⼀道细节题。

「详细解答」⽂章第⼀段的最后⼀句话指出，咖啡因附着腺苷受体上阻⽌腺苷附着。

因此它肯定会促进神经元传导物质的释放。

只有D符合原⽂，故⽽选D. 30.答案A 「参考译⽂」以 Snyder 等⼈的观点，下⾯哪⼀项不能附着在脑神经特殊受体上。

「试题分析」这是⼀道细节题。

「详细解答」根据第⼀段最后⼀句话可知，咖啡因和腺苷可以附着，⽽C项的IBMX是咖啡因的衍⽣物也可以附着。

由此可见，只有A.phosphodiesterase 不能附着，所以选A. PART Ⅳ TRANSLATION SECTION A 「参考译⽂」 In all this serenity of ocean it is seldom that we espy so much as another ship；the jolly dolphins and the scratchy little flying|fish have the vast circle all to themselves，“the Flying|Fish，who has a part with the birds，”and doubtless are glad to see the last of the monster which bears us into and out of sight.Our wake closes up and we might never have been.But it does happen from time to time that an island appears on the horizon，nameless to us and full of mystery，the peak of a submarine mountain rang，lonely，unblemished，remote.Does one like islands because one unconsciously appropriates them，a small manageable domain in a large unmanageable world？ I cannot tell why it should give me such a queer sensation to reflect that that island has always been there （unless indeed it is no more than the work of the patient coral）and will be there still，should I return to find it waiting for me. 「详细解答」全⽂⼀共有四句要求翻译。

高二英语气候变迁阅读理解25题

高二英语气候变迁阅读理解25题1<背景文章>Climate change is one of the most significant challenges facing our planet today. The Earth's climate has been changing for millions of years, but in recent decades, the rate of change has accelerated dramatically. Global temperatures are rising, causing a wide range of impacts. One of the most visible effects is the melting of glaciers and ice caps, which is leading to a rise in sea levels. This poses a serious threat to coastal communities and low-lying islands.The increase in temperature is also affecting weather patterns. We are seeing more extreme weather events such as hurricanes, floods, droughts, and wildfires. These events can cause significant damage to infrastructure, agriculture, and human lives.Another consequence of climate change is the disruption of ecosystems. Many species are struggling to adapt to the changing climate, and some may even face extinction. This can have a domino effect on the entire food chain.Scientists are working hard to understand the causes and consequences of climate change. They are also looking for solutions to mitigate its effects. One of the key strategies is to reduce greenhouse gasemissions. This can be achieved by increasing the use of renewable energy sources such as solar and wind power, improving energy efficiency, and reducing deforestation.In conclusion, climate change is a complex and urgent problem that requires immediate action. We all have a role to play in protecting our planet for future generations.1. What is one of the most visible effects of climate change?A. Increase in population.B. Melting of glaciers and ice caps.C. Decrease in temperature.D. Increase in deforestation.答案：B。

高考英语阅读理解素材24索马里将禁止随意屠杀动物素材

索马里将禁止随意屠杀动物A ban on slaughtering animals anywhere except at a central abattoir has come into force in the Somali capital.索马里首都已经开始执行一项禁止屠杀动物的禁令，中心屠宰场除外。

Camels are highly prized in Somalia for their milk and meatUntil the start of the civil war in 1991, all meat had to be butchered at the Mogadishu Slaughterhouse.The local authorities have now paid for the premises（前提） on the eastern outskirts of Mogadishu to be revamped and the abattoir has reopened for business.The BBC's Ibrahim Mohamed says it is part of moves to improve hygiene in the city recovering from years of conflict.Our reporter says traders in Mogadishu have welcomed the move, saying it will be good for business to be able to market "clean meat".The Mogadishu Slaughterhouse is a partnership between the local city government and a private firm, Limco Ltd, he says.The head of the abattoir, Abdullahi Museh, says 452 people work at the slaughterhouse, which has running water and electricity and is divided into three sections for camels, goats and cows.At the moment 170 camels, 500 goats and 100 cows were slaughtered each day, he told the BBC's Somali Service.Lorries distribute meat each day to different markets across the city and herders and private individuals could make use of its services, he said.It costs about $10 to butcher a camel, $5 for a cow and $3 for a goat.Our correspondent says the opening of the abattoir is the latest public service to return to the city, which is slowly recovering from occupation by rival warlords and latterly Islamist militants.Somalia has the largest population of camels in Africa, many of which are exported to the Arabian Gulf.。

chimamandaadichiethedangerofasinglestory单一故事的危险性

chimamandaadichiethedangerofasinglestory单一故事的危险性Chimamanda Adichie The danger of a single storyI'm a storyteller.And I would like to tell you a few personal stories about what I like to call "the danger of the single story."I grew up on a university campus in eastern Nigeria.My mother says that I started reading at the age of two, although I think four is probably close to the truth.So I was an early reader, and what I read were British and American children's books.I was also an early writer, and when I began to write, at about the age of seven, stories in pencil with crayon illustrations that my poor mother was obligated to read, I wrote exactly the kinds of stories I was reading: All my characters were white and blue-eyed, they played in the snow, they ate apples, and they talked a lot about the weather, how lovely it was that the sun had come out.(Laughter)Now, this despite the fact that I lived in Nigeria.I had never been outside Nigeria.We didn't have snow, we ate mangoes, and we never talked about the weather, because there was no need to.My characters also drank a lot of ginger beer because the characters in the British books I read drank ginger beer.Never mind that I had no idea what ginger beer was.(Laughter)And for many years afterwards, I would have a desperate desire to taste ginger beer. But that is another story.What this demonstrates, I think, is how impressionable and vulnerable we are in the face of a story, particularly as children.Because all I had read were books in which characters were foreign, I had become convinced that books by their very nature had to have foreigners in them and had to be about things with which I could not personally identify.Things changed when I discovered African books.There weren't many of them available, and they weren't quite as easy to find as the foreign books.But because of writers like Chinua Achebe and Camara Laye I went through a mental shift in my perception of literature.I realized that people like me, girls with skin the color of chocolate, whose kinky hair could not form ponytails, could also exist in literature.I started to write about things I recognized.Now, I loved those American and British books I read.They stirred my imagination. They opened up new worlds for me.But the unintended consequence was that I did not know that people like me could exist in literature.So what the discovery of African writers did for me was this: It saved me from having a single story of what books are.I come from a conventional, middle-class Nigerian family.My father was a professor.My mother was an administrator.And so we had, as was the norm, live-in domestic help, who would often come from nearby rural villages.So the year I turned eight we got a new house boy.His name was Fide.The only thing my mother told us about him was that hisfamily was very poor. My mother sent yams and rice, and our old clothes, to his family.And when I didn't finish my dinner my mother would say, "Finish your food! Don't you know People like Fide's family have nothing."So I felt enormous pity for Fide's family.Then one Saturday we went to his village to visit, and his mother showed us a beautifully patterned basket made of dyed raffia that his brother had made.I was startled.It had not occurred to me that anybody in his family could actually make something. All I had heard about them was how poor they were, so that it had become impossible for me to see them as anything else but poor.Their poverty was my single story of them.Years later, I thought about this when I left Nigeria to go to university in the United States.I was 19.My American roommate was shocked by me.She asked where I had learned to speak English so well, and was confused when I said that Nigeria happened to have English as its official language.She asked if she could listen to what she called my "tribal music," and was consequently very disappointed when I produced my tape of Mariah Carey. (Laughter)She assumed that I did not know how to use a stove.What struck me was this: She had felt sorry for me even before she saw me.Her default position toward me, as an African, was a kind of patronizing,well-meaning pity.My roommate had a single story of Africa: a single story of catastrophe.In this single story there was no possibility of Africans being similar to her in any way, no possibility of feelings more complex than pity, no possibility of a connection as human equals.I must say that before I went to the U.S. I didn't consciously identify as African. But in the U.S. whenever Africa came up people turned to me.Never mind that I knew nothing about places like Namibia.But I did come to embrace this new identity, and in many ways I think of myself now as African.Although I still get quite irritable when Africa is referred to as a country, the most recent example being my otherwise wonderful flight from Lagos two days ago, in which there was an announcement on the Virgin flight about the charity work in "India, Africa and other countries."(Laughter)So after I had spent some years in the U.S. as an African, I began to understand my roommate's response to me.If I had not grown up in Nigeria, and if all I knew about Africa were from popular images, I too would think that Africa was a place of beautiful landscapes, beautiful animals, and incomprehensible people, fighting senseless wars, dying of poverty and AIDS, unable to speak for themselves and waiting to be saved by a kind, white foreigner.I would see Africans in the same way that I, as a child, had seen Fide's family. This single story of Africa ultimately comes, I think, from Western literature. Now, here is a quote from the writing of a London merchant called John Locke, who sailed towest Africa in 1561 and kept a fascinating account of his voyage.After referring to the black Africans as "beasts who have no houses," he writes, "They are also people without heads, having their mouth and eyes in their breasts." Now, I've laughed every time I've read this.And one must admire the imagination of John Locke.But what is important about his writing is that it represents the beginning of a tradition of telling African stories in the West: A tradition of Sub-Saharan Africaas a place of negatives, of difference, of darkness, of people who, in the words of the wonderful poet Rudyard Kipling, are "half devil, half child."And so I began to realize that my American roommate must have throughout her life seen and heard different versions of this single story, as had a professor, who once told me that my novel was not "authentically African."Now, I was quite willing to contend that there were a number of things wrong with the novel, that it had failed in a number of places, but I had not quite imagined that it had failed at achieving something called African authenticity.In fact I did not know what African authenticity was.The professor told me that my characters were too much like him, an educated and middle-class man.My characters drove cars.They were not starving.Therefore they were not authentically African.But I must quickly add that I too am just as guilty in the question of the single story.A few years ago, I visited Mexico from the U.S.The political climate in the U.S. at the time was tense, andthere were debates going on about immigration.And, as often happens in America, immigration became synonymous with Mexicans. There were endless stories of Mexicans as people who were fleecing the healthcare system, sneaking across the border, being arrested at the border, that sort of thing.I remember walking around on my first day in Guadalajara, watching the people going to work, rolling up tortillas in the marketplace, smoking, laughing.I remember first feeling slight surprise.And then I was overwhelmed with shame.I realized that I had been so immersed in the media coverage of Mexicans that they had become one thing in my mind, the abject immigrant.I had bought into the single story of Mexicans and I could not have been more ashamed of myself.So that is how to create a single story, show a people as one thing, as only one thing, over and over again, and that is what they become.It is impossible to talk about the single story without talking about power. There is a word, an Igbo word, that I think about whenever I think about the power structures of the world, and it is "nkali."It's a noun that loosely translates to "to be greater than another."Like our economic and political worlds, stories too are defined by the principle of nkali: How they are told, who tells them, when they're told, how many stories are told, are really dependent on power.Power is the ability not just to tell the story of another person,but to make it the definitive story of that person.The Palestinian poet Mourid Barghouti writes that if you want to dispossess a people, the simplest way to do it is to tell their story and to start with, "secondly." Start the story with the arrows of the Native Americans, and not with the arrival of the British, and you have an entirely different story.Start the story with the failure of the African state, and not with the colonial creation of the African state, and you have an entirely different story.I recently spoke at a university where a student told me that it was such a shame that Nigerian men were physical abusers like the father character in my novel.I told him that I had just read a novel called American Psycho -- (Laughter) -- and that it was such a shame that young Americans were serial murderers. (Laughter)(Applause)Now, obviously I said this in a fit of mild irritation.(Laughter)But it would never have occurred to me to think that just because I had read a novel in which a character was a serial killer that he was somehow representative of all Americans.This is not because I am a better person than that student, but because of America's cultural and economic power, I had many stories of America.I had read Tyler and Updike and Steinbeck and Gaitskill.I did not have a single story of America.When I learned, some years ago, that writers were expected to have had really unhappy childhoods to be successful, I began to think about how I could invent horrible things my parents had done to me.(Laughter)But the truth is that I had a very happy childhood, full of laughter and love, in a very close-knit family.But I also had grandfathers who died in refugee camps.My cousin Polle died because he could not get adequate healthcare.One of my closest friends, Okoloma, died in a plane crash because our fire trucks did not have water.I grew up under repressive military governments that devalued education, so that sometimes my parents were not paid their salaries.And so, as a child, I saw jam disappear from the breakfast table, then margarine disappeared, then bread became too expensive, then milk became rationed.And most of all, a kind of normalized political fear invaded our lives.All of these stories make me who I am.But to insist on only these negative stories is to flatten my experience and to overlook the many other stories that formed me.The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete.They make one story become the only story.Of course, Africa is a continent full of catastrophes: There are immense ones, such as the horrific rapes in Congo and depressing ones, such as the fact that 5,000 people apply for one job vacancy in Nigeria.But there are other stories that are not about catastrophe, and it is very important, it is just as important, to talk about them.I've always felt that it is impossible to engage properly with a place or a person without engaging with all of the stories of that place and that person.The consequence of the single story is this: It robs people of dignity.It makes our recognition of our equal humanity difficult.It emphasizes how we are different rather than how we are similar.So what if before my Mexican trip I had followed the immigration debate from both sides, the U.S. and the Mexican What if my mother had told us that Fide's family was poor and hardworkingWhat if we had an African television network that broadcast diverse African stories all over the worldWhat the Nigerian writer Chinua Achebe calls "a balance of stories."What if my roommate knew about my Nigerian publisher, Mukta Bakaray, a remarkable man who left his job in a bank to follow his dream and start a publishing house Now, the conventional wisdom was that Nigerians don't read literature.He disagreed. He felt that people who could read, would read, if you made literature affordable and available to them.Shortly after he published my first novel I went to a TV station in Lagos to do an interview, and a woman who worked there as a messenger came up to me and said, "I really liked your novel. I didn't like the ending.Now you must write a sequel, and this is what will happen ..."(Laughter)And she went on to tell me what to write in the sequel.I was not only charmed, I was very moved.Here was a woman, part of the ordinary masses of Nigerians, who were not supposed to be readers.She had not only read the book, but she had taken ownership of it and felt justified in telling me what to write in the sequel.Now, what if my roommate knew about my friend Fumi Onda, a fearless woman who hosts a TV show in Lagos, and is determined to tell the stories that we prefer to forget What if my roommate knew about the heart procedure that was performed in the Lagos hospital last weekWhat if my roommate knew about contemporary Nigerian music, talented people singing in English and Pidgin, and Igbo and Yoruba and Ijo, mixing influences from Jay-Z to Fela to Bob Marley to their grandfathers.What if my roommate knew about the female lawyer who recently went to court in Nigeria to challenge a ridiculous law that required women to get their husband's consent before renewing their passportsWhat if my roommate knew about Nollywood, full of innovative people making films despite great technical odds, films so popular that they really are the best example of Nigerians consuming what they produceWhat if my roommate knew about my wonderfully ambitious hair braider, who has just started her own business selling hair extensionsOr about the millions of other Nigerians who start businesses and sometimes fail, but continue to nurse ambitionEvery time I am home I am confronted with the usual sources of irritation for most Nigerians: our failed infrastructure, our failed government, but also by theincredible resilience of people who thrive despite the government, rather than because of it.I teach writing workshops in Lagos every summer, and it is amazing to me how many people apply, how many people are eager to write, to tell stories.My Nigerian publisher and I have just started a non-profit called Farafina Trust, and we have big dreams of building libraries and refurbishing libraries that already exist and providing books for state schools that don't have anything in their libraries, and also of organizing lots and lots of workshops, in reading and writing, for all the people who are eager to tell our many stories.Stories matter.Many stories matter.Stories have been used to dispossess and to malign, but stories can also be used to empower and to humanize.Stories can break the dignity of a people, but stories can also repair that broken dignity.The American writer Alice Walker wrote this about her Southern relatives who had moved to the North.She introduced them to a book about the Southern life that they had left behind: "They sat around, reading the book themselves, listening to me read the book, and a kind of paradise was regained."I would like to end with this thought: That when we reject the single story, when we realize that there is never a single story about any place, we regain a kind of paradise.Thank you.(Applause)。

是否允许攀登珠穆朗玛峰英语专四作文

是否允许攀登珠穆朗玛峰英语专四作文English: Climbing Mount Everest is a dream for many adventure enthusiasts, but it is not something that should be taken lightly. The high altitude, extreme weather conditions, and physical demands make it a dangerous and challenging endeavor. In recent years, there has been a significant increase in the number of climbers attempting to reach the summit, leading to overcrowding, long lines, and increased risk of accidents. Additionally, the mountain's fragile ecosystem is being threatened by the large number of climbers, and the waste left behind by expeditions is causing environmental damage. While climbing Mount Everest can be a remarkable achievement, it is important to consider the impact it has on both the environment and other climbers. Proper training, experience, and respect for the mountain are essential for those considering such a feat.Translated content: 登上珠穆朗玛峰是许多冒险爱好者的梦想，但这并不是一件应该轻率对待的事情。

大熊猫处在危险中的英语作文

大熊猫处在危险中的英语作文Title: The Endangered Giant PandaThe giant panda, a national treasure of China, has long been a symbol of peace and harmony.However, this adorable creature is currently facing a severe threat, and its survival is hanging in the balance.This essay will discuss the threats faced by the giant panda and the efforts being made to protect this iconic species.The main threat to the giant panda is the loss of its natural habitat.Due to human activities such as deforestation and urbanization, the bamboo forests that pandas rely on for food and shelter are disappearing.This has led to a significant reduction in the panda population, with only around 1,800 left in the wild.Another threat to the giant panda is poaching.Unfortunately, some people kill pandas for their fur or other body parts, which are believed to have medicinal properties.This illegal activity not only kills pandas but also disrupts their population structure and genetic diversity.To address these threats, various conservation efforts have been initiated.One of the most successful initiatives is the establishment of nature reserves specifically for giant pandas.These reserves provide a safe haven for pandas, protecting their habitat and allowing their population to recover.Additionally, reforestation projects are being carried out to restore the bamboo forests that pandas depend on.Breeding programs are also playing a crucial role in the conservation of giant pandas.Zoos and research centers around the world have joined forces to breed and raise pandas, with the goal of eventually reintroducing them into the wild.These programs have achieved significant success, with many pandas being born and raised in captivity.Despite these efforts, the future of the giant panda remains uncertain.The threats they face are severe, and their habitat is continuing to decline.It is crucial for governments, organizations, and individuals to work together to protect the remaining pandas and their habitat.In conclusion, the giant panda is an iconic species that is currently in danger.The loss of habitat and poaching are the primary threats to their survival.However, through the efforts of conservationists and researchers, progress is being made to protect and restore the pandas" natural environment.It is essential for everyone to play a role in ensuring the survival of this unique and beloved creature.。

我最喜欢的动物濒危英语作文

我最喜欢的动物濒危英语作文Amidst the vast array of creatures that populate our planet, one particular species holds a special place in my heart - the panda. This adorable mammal, with its black-and-white fur and signature panda eyes, has captivated my imagination since childhood. However, beyond its charming appearance, the panda is a symbol of the fragility and importance of biodiversity, a reminder of the urgent need to protect endangered species.Pandas are endemic to the bamboo forests of China, where they spend their days peacefully grazing and lazily snoozing. Their diet, consisting almost entirely of bamboo, is unique among mammals and reflects their adaptation to their specific habitat. Unfortunately, this habitat is increasingly threatened by deforestation, climate change, and human encroachment. As a result, the panda population has dwindled to dangerously low levels, and the species is now classified as endangered.The plight of the panda is a microcosm of the larger issues facing biodiversity globally. Habitat loss, pollution, and climate change are all contributing to thedecline of numerous species. The loss of these species not only robs us of their beauty and ecological services but also undermines the balance of our ecosystems, potentially leading to irreversible damage.As a passionate advocate for conservation, I am deeply concerned about the future of the panda and other endangered animals. I believe that every individual has a responsibility to protect our planet's biodiversity. We can do so by supporting conservation efforts, reducing our carbon emissions, and preserving natural habitats. By doing so, we can help ensure that future generations will be able to enjoy the beauty and wonder of these amazing creatures. Moreover, the panda's endangered status serves as a powerful reminder of the interconnectedness of all life. Our actions, whether big or small, have the potential to impact the survival of other species. It is our duty to act with compassion and respect for all life, recognizing that we are all part of a larger, intricate web of existence.In conclusion, the panda is not only my favorite animal but also a powerful symbol of the need for conservation.Its endangered status is a wake-up call to action, urgingus to protect our planet's biodiversity and ensure a sustainable future for all. As I continue to learn more about the panda and the challenges it faces, I am inspired to do my part in preserving this iconic species and the natural world it inhabits.**我最喜欢的动物：濒危大熊猫**在地球上众多生物中，有一种动物在我心中占有特殊地位——那就是大熊猫。

那年夏天定是那耐不住寂寞的鸣蝉读后感

那年夏天定是那耐不住寂寞的鸣蝉读后感英文版"That Summer Must Have Been the Impatient Cicada Unable to Bear the Loneliness" - Book ReviewAs the sun cast its golden rays over the vast expanse of the summer sky, the chirping of cicadas filled the air, creating a symphony of life. This summer, I found myself deeply immersed in the world created by the author in "That Summer Must Have Been the Impatient Cicada Unable to Bear the Loneliness".The novel, set against the backdrop of a small town during the dog days of summer, tells the tale of a young girl named Lin Xiaoyao. Xiaoyao is an outcast, shunned by her peers for being different. She finds solace in the chirping of the cicadas, which seem to echo her own loneliness and impatience. As the story unfolds, we witness Xiaoyao's journey of self-discovery, growth, and acceptance.The author's portrayal of Xiaoyao is both heartbreaking and inspiring. Through her eyes, we see the beauty of nature, the cruelty of society, and the power of friendship. The description of the summer landscape, with its vivid details and rich imagery, brings the reader to the heart of the story, making it difficult to put the book down.The relationship between Xiaoyao and her best friend, An Na, is particularly noteworthy. Their bond, forged through shared experiences and understanding, is a testament to the power of true friendship. Despite the challenges they face, they support and encourage each other, helping each other to overcome their fears and insecurities.The novel also deals with the themes of acceptance and self-worth. Xiaoyao's struggle to fit in and be accepted by society is a common experience for many. However, through her journey, the author shows us that true worth comes from within and that it is important to embrace our differences rather than hide them."That Summer Must Have Been the Impatient Cicada Unable to Bear the Loneliness" is a beautiful and heartfelt tale that will resonate with readers of all ages. It is a reminder that we are all unique and that it is okay to be different. The power of friendship, the beauty of nature, and the importance of self-acceptance are themes that are timeless and universal. As the last chirp of the cicada fades into the distance, leaving only the echo of its song in our hearts, we are left with a profound understanding of the value of every moment and every experience.中文版《那年夏天定是那耐不住寂寞的鸣蝉》读后感在那个阳光洒满天空的夏日，蝉鸣之声在空气中回荡，编织出生命的交响曲。

熊猫处于危险之中英语作文六年级

熊猫处于危险之中英语作文六年级Pandas in DangerPandas are one of the most beloved and iconic animals in the world, but sadly they are also one of the most endangered species. As their natural habitats continue to be destroyed and their population declines, it is becoming increasingly urgent to protect these beautiful creatures.One of the main reasons for the decline in panda population is the destruction of their natural habitats. Pandas mainly live in the bamboo forests of central China, but these forests are rapidly disappearing due to deforestation and urban development. This loss of habitat forces pandas to search for food in new areas, where they are more vulnerable to predators and other dangers.Another major threat to pandas is poaching. Despite stringent laws and protections in place, poachers continue to hunt pandas for their fur, which is highly prized in some parts of the world. The illegal wildlife trade is a booming industry, and pandas are unfortunately one of the most sought-after targets.Climate change is also a significant factor contributing to the endangerment of pandas. As temperatures rise and weather patterns become more unpredictable, bamboo forests arestruggling to survive. Bamboo is the main source of food for pandas, so any disruption in its growth and availability can have devastating effects on panda populations.Conservation efforts are being made to protect pandas and their habitats, but more needs to be done to ensure their survival. Organizations like the World Wildlife Fund (WWF) are working tirelessly to raise awareness and funds for panda conservation projects. By supporting these initiatives and spreading the word about the plight of pandas, we can all play a part in saving these magnificent animals from extinction.In conclusion, pandas are in danger and it is up to us to take action to protect them. By addressing the issues of habitat loss, poaching, and climate change, we can help ensure a future for these beloved animals. Let us all do our part to save the pandas and keep them safe for generations to come.。

南极冰川危险之处呢英语作文

The Hidden Dangers of Antarctic GlaciersNestled amidst the desolate and frigid landscape of Antarctica, the glaciers of this icy continent hold a myriad of hidden dangers that can pose significant risks to explorers and researchers alike. The Antarctic glaciers, while majestic in their beauty, are treacherous in nature, often concealing deadly crevasses, ice shelves prone to collapse, and extreme weather conditions that can turn a routine expedition into a life-threatening adventure.Firstly, the glaciers of Antarctica are riddled with crevasses—deep cracks in the ice that can span hundreds of meters in length and are often covered by thin layers of snow, making them difficult to detect. These crevasses can form suddenly due to shifts in the glacier's structure or changes in temperature, posing a constant threat to those traversing the icy terrain. A misstep or an unexpectedshift in weight can easily lead to a fall into one of these crevasses, often resulting in serious injury or even death. Moreover, the ice shelves of Antarctica areparticularly vulnerable to collapse. These vast floating platforms of ice can suddenly break apart due to acombination of factors such as rising ocean temperatures, increased glacial melt, and seismic activity. Such collapses can occur without warning, releasing massive chunks of ice into the surrounding ocean and creating dangerous waves that can sweep away anything in their path. Extreme weather conditions are another significant danger in Antarctica. The continent experiences blizzards, gale-force winds, and frigid temperatures that can drop below -50°C. These conditions not only make navigation and survival challenging but can also lead to hypothermia and frostbite in exposed skin. Visibility can be severely reduced during storms, making it difficult to see potential hazards or to stay on course.In addition to these natural hazards, the remoteness of Antarctica poses its own challenges. Help can be a long way off in case of an emergency, and even basic medical supplies or equipment may be scarce or unavailable. This underscores the importance of thorough preparation, experienced guides, and rigorous safety protocols for anyone planning to explore the glaciers of Antarctica.The dangers of Antarctic glaciers are not to be underestimated. From hidden crevasses to collapsing ice shelves and extreme weather conditions, these glaciers present a unique set of challenges that require utmost caution and vigilance. It is essential for explorers and researchers to be well-informed about the risks involvedand to take all necessary precautions to ensure their safety.**南极冰川的危险之处**南极洲的冰川隐匿在这片荒凉、寒冷的土地上，它们虽然壮丽，却充满了未知的危险，给探险家和研究者带来了极大的风险。

七下英语作文熊猫处于危险

七下英语作文熊猫处于危险{z}Title: The Endangered Giant PandaThe giant panda, a national treasure of China, has long been a symbol of wildlife conservation.However, this adorable creature is facing increasing threats, placing it in great danger.The primary threat to giant pandas is habitat loss.Due to human activities such as agriculture and urbanization, the natural habitat of the panda has been severely fragmented.This not only reduces the available food sources for pandas but also isolates their populations, making it difficult for them to find mates.Another significant threat to giant pandas is poaching.The demand for panda products, such as panda fur and bones, has led to illegal hunting and trafficking of these animals.This not only endangers the survival of the species but also causes suffering to the individual animals.Additionally, climate change poses a significant risk to the survival of giant pandas.As temperatures rise, the bamboo, which is the primary food source for pandas, is flowering earlier and earlier.This disrupts the panda"s breeding cycle and can lead to food shortages, further endangering the species.Despite the challenges, efforts are being made to protect the giant panda.China has established numerous nature reserves to protect their habitat and has implemented strict laws to combat poaching.Additionally,captive breeding programs are helping to increase the population of giant pandas.In conclusion, the giant panda is facing numerous threats that place it in great danger.However, through conservation efforts and strict laws, there is hope for the survival of this iconic species.It is crucial that we continue to work towards the protection of the giant panda and its habitat to ensure its survival for future generations.。

千切豹马英语作文

千切豹马英语作文The cheetah, with its sleek and powerful build, is a marvel of nature. Its muscular body is designed for speed, allowing it to sprint at astonishing rates across the savannah.In the wild, the cheetah is a solitary hunter, relying on its keen eyesight and agility to spot and chase down its prey. It is known for its stealth, often stalking its target before making a lightning-fast dash to catch it off guard.Despite its incredible abilities, the cheetah faces many challenges. Habitat loss and poaching have put thismagnificent creature at risk. Conservation efforts arecrucial to ensure that future generations can witness the grace and power of the cheetah in its natural environment.Cheetahs are not only fast runners but also excellent climbers. They have been observed scaling trees to surveytheir territory or to escape from potential threats. This ability showcases their adaptability and resourcefulness inthe wild.As apex predators, cheetahs play a vital role in maintaining the balance of the ecosystem. They help control populations of smaller animals, ensuring that the savannah remains a thriving and diverse habitat.The cheetah's unique spots are not just for camouflage; they also serve as a means of identification among the species. Each cheetah has a distinct pattern, much like a human fingerprint.Sadly, the cheetah is listed as vulnerable due to the threats it faces. It is our collective responsibility to protect these magnificent animals and their habitats, so that they can continue to thrive in the wild.In conclusion, the cheetah is an extraordinary creature that embodies the beauty and power of the natural world. Its survival is a testament to the resilience of life and a reminder of the importance of conservation for all living beings.。

逃离大象岛作文英文版

逃离大象岛作文英文版Escaping Elephant Island.In the heart of the vast and untamed Southern Ocean, lies a remote island known as Elephant Island. This desolate land, with its stark landscape and constant howling of the wind, is a place where few dare to tread. However, for a group of intrepid souls, it became a place of refuge, a last resort in their never-ending quest for survival.The story begins with a tragic turn of events. A group of adventurers, seeking to claim a piece of the unexplored, had ventured into the frozen wasteland. Their ship, the Endurance, was a testament to their resolve, a sturdy vessel built for the harshest of conditions. But even the mightiest of ships could not withstand the fury of nature. Trapped in the icy grip of the Antarctic winter, the Endurance was slowly crushed under the weight of ice, leaving its crew stranded on the icy waters.Miraculously, the crew survived the sinking of the ship. With nothing but their wits and limited resources, they managed to launch a small boat and make their way to Elephant Island. There, they found a temporary home, a sanctuary from the relentless cold and stormy seas.But Elephant Island was not a paradise. It was a desolate place, barren and unforgiving. The crew had to scavenge for food, relying on seals and seabirds for sustenance. They huddled together for warmth, bracing against the constant chill and the threat of hunger.Days turned into weeks, and weeks into months. Thecrew's spirits began to sag. Hope seemed like a distant memory, buried deep under the weight of despair. But then,a ray of hope appeared in the form of a rescue ship.The rescue ship, the York City, had been sent in response to the crew's distress signal. It was a beacon of hope in the midst of despair. As the ship drew nearer, the crew's spirits lifted. They knew that they had survived theworst, and now, they were finally being rescued.The rescue operation was not without its challenges. The York City had to navigate through treacherous icebergs and strong currents to reach the island. But the crew's resilience and determination paid off. After a series of dangerous maneuvers, the ship finally made it to Elephant Island.The moment the crew of the York City set foot on the island, they were greeted with relief and jubilation. The stranded adventurers, weak and emaciated, were lifted onto the ship, their faces beaming with gratitude and relief. They had escaped the clutches of death, and were now on their way back to civilization.The journey back was filled with jubilation and celebration. The crew of the York City and the rescued adventurers shared stories, laughed, and wept tears of joy. They had faced the worst nature could throw at them, and had emerged stronger, with a newfound respect for life and each other.As the York City sailed into the horizon, leaving Elephant Island behind, the adventurers looked back with a mixture of nostalgia and relief. They had escaped the island that had once been their prison, and had found newfound purpose and meaning in their lives. Elephant Island, though still a desolate and unforgiving place, would forever hold a special place in their hearts, as a reminder of their resilience and spirit.。