英汉互译.文本文档

Less Meat, Less Heat—Fewer Steaks May Save Planet 少吃红肉，拯救地球
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Eating too much red meat is not only bad for your health-it is also bad for the planet, according to scientists. Worldwide, agricultural activity accounts for about a fifth of total greenhouse-gas emissions and livestock production has a particularly big impact because of the large amount of methane emitted from belching cattle. Tony McMichael of the Australian National University in Canberra and John Powles of the University of Cambridge, writing in the Lancet journal, said worldwide average meat consumption could be realistically reduced by 10 percent. This would help in the battle against global warming and also reduce health risks associated with excessive consumption of red meat, they said. Global average meat consumption is currently 100 grams per person a day but there is a tenfold variation between high-consuming and low-consuming populations.

红肉吃得太多不仅危害你的健康，而且还危害我们的地球，科学家们如是说。 在世界范围内，农业活动排放的温室气体占温室气体排放总量的1/5左右，其中畜牧业生产对环境影响尤其巨大，因为牛打隔会排放出大量的甲烷。 堪培拉澳大利亚国立大学的托尼?麦克迈克尔和剑桥大学的约翰?鲍威尔斯在《柳叶刀》杂志上撰文写道，全球肉类平均消耗量实际上可以减少10%。他们说，这将有利于阻止全球变暖，还可以减少因过量食用红肉引起的健康隐患。 目前，全球肉类平均消耗量为每人每天100克，但在高消耗和低消耗的人群之间有10倍的差异。 Remarks： 我们破坏生态环境的能力，已经大大超出我们的预料，但无视这些现实与困境，永远比做出改变容易许多。


The Olympic Flame and Olympic Torch are symbols of the Olympic Games. Commemorating the theft of fire from the Greek god Zeus by Prometheus,[1] it originated from ancient Greece, when a fire was kept burning throughout the celebration of the ancient Olympics. The fire was reintroduced at the Olympics in 1928, and it has been part of the modern Olympic Games ever since.

The Olympic Torch today is ignited several months before the opening celebration of the Olympic Games at the site of the ancient Olympics in Olympia[2], Greece. Eleven women, most of them actresses, representing the roles of priestesses, perform a ceremony in which one lights the flame, by placing a torch in a parabolic mirror which concentrates rays from the sun. The torch is then transported to the host city of the upcoming Olympics by a torch relay, which ends on the day of the opening ceremony in the central stadium of the Games. The final carrier is often kept secret until the last moment, and is usually a sports celebrity of the host country. The final bearer of the torch runs towards the cauld

ron, usually placed at the top of a grand staircase, and then uses the flame to start the torch in the stadium. It is generally considered a great honor to be asked to light the Olympic Flame.



奥运圣火和奥运火炬都是奥运会的象征。奥运圣火起源于古希腊，为的是纪念普罗米修斯从希腊主神宙斯处盗取天火的事迹。当时，古代奥运会的赛场上就会有一束始终不灭的火焰。1928年，奥运会重新启用圣火仪式，它从此就成为了现代奥运会的一个组成部分。

今天，在奥运会开幕式举行数月前，奥运火炬会在位于希腊奥林匹亚的古代奥运会旧址上点燃。11位代行女祭司之责的“圣女”（大部分是女演员）会完成一个仪式：其中一人会将火炬置于一个抛物面的反射镜上，通过聚集太阳光来点燃圣火。然后，人们就会通过接力的办法将火炬传递至即将主办奥运会的城市。接力活动会在奥运会开幕式当天结束，终点就在奥运会主会场。最后一位火炬接力手通常是主办国的体育界名人，其身份往往到最后一刻才会揭秘。火炬台通常设在一段宏伟阶梯的顶端，最后一位接力手会跑到台上，然后用接力火炬的火焰点燃会场中的火炬。受邀点燃奥运圣火常被视作一种无上的荣誉。



Nicole Kidman 妮可·基德曼——迷失在电影中★★★
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摘自：《魔力英语》2004年第4辑

音频试听（速度 一般，词汇 C ，发音 清晰）

Get Lost in It

Last year she wowed audiences in Moulin Rouge, and this year she unwows them as dowdy literary lioness Virginia Woolf in the Hours, the National Board of Review pick for best picture. Here Nicole Kidman talks about her current projects and how the pain of her private life informs her art.

EJ: You’re kind of drab-looking in this picture. Is it freeing not to have to look glamorous and gorgeous in every scene?
Kidman: It’s freeing to be given the opportunity to do it. I have to say Stephen Daldry is so bold, because a lot of directors would’ve shied away from it and he didn’t. He sort of ran with it. And he’s such a brilliant director. He is the spearhead for this whole film, you know. And the intellectual weight that it carries is because of him, and the look of it. He put us all together, and it’s his baby.
EJ: You were the bold one.
Kidman: I didn’t feel bold, I just felt like, "Wow, I get this opportunity to really go and do something I’ve never done before, and sort of exist within a character in a completely different way." And it was just at this time in my life when I was sort of umpin’ ’n’ roarin’ off to do it, and everything kind of came together. But it was frightening at times.
But it was strange because we had a small crew. It’s a small film like that, so that we were able—you

didn’t quite feel, "Oh, my gosh! This could really be a disaster if it doesn’t work!" Now I look back at it and think, "What was I thinking?!" ’Cause if I’d stepped on screen and everyone had laughed, then the whole film doesn’t work.
EJ: It seemed like what you were going through in your personal life was so raw, to play a role like this . . .
Kidman: Yeah, I didn’t want to. No, I tried to pull out. I have to say I wasn’t as bold as you would think, ’cause I actually called my agent and said, "I can’t do it. I don’t want to work. I don’t want to do this. This isn’t the right thing for me to do. If it’s too much at this stage, and I just need to sort of hibernate." And he and my friends all said, "Get on the plane and go. Go do it. Go and get lost in it." And that’s what the art is for at this stage, is actually to let it have some sort of cathartic effect on you.
EJ: You seem to have recovered so well from your personal traumas. Or is it just the actress in you that enables you to put a good face on it?
Kidman: I’m not good at acting in real life. I’ve got to get better at that. I tend to be very candid, and I sit—and I’m not good at protecting or shielding myself, which I kind of have to become a little better at, I think. But I don’t quite know how to do that. And when I work with a director, I’m like, "Here I am! This is who I am!" And I’m sort of willing to sort of open myself up. And I can do that also in an interview, which doesn’t always bode me well.
So I’ve got to be really careful about that, ’cause that’s my instinct. I love to meet people, I love to be around people, and I love to discuss things. I grew up in a family where we discussed everything.
EJ: So you’ve reached a point...
Kidman: I think you reach a point where you reach a certain age, where you’ve had a certain amount of life experiences, where you just go, "OK, well, this is the journey." And I think there’s a beautiful line in the film, where Meryl says this: "I thought that was the beginning of happiness, and it wasn’t. That was happiness." And I think you go, "OK, there’s happiness, and there’s great sadness, and there’s all . . . everyth[ing] . . . there’s the gamut of emotions." And if you keep waiting to be happy, that’s never gonna happen. So it’s more just saying, "It’s life." And that comes, unfortunately, as you get older—the wisdom of that, right? I mean, it just does.

迷失在电影中

去年，她因电影《红磨坊》而使观众倾倒，今年她在《此时此刻》中扮演了弗吉尼亚·伍尔芙这位邋遢寒酸的文学女泰斗，而又因此受到了质疑。妮可·基德曼在这次的访谈中讲述了自己最近的计划，以及个人生活的痛苦经历如何激发了她的艺术创作。

《魔力英语》：在这部影片（《此时此刻》）中，你看起来有点邋遢。不用在拍每一场戏时都打扮的光彩照人，对你来

说是一种解放吗？
基德曼：有机会拍这部电影才是一种解放。我得说斯蒂芬·戴德利相当勇敢，因为很多导演在这个（剧本）面前都会退缩，而他却没有。他有点觉得这部电影是属于他自己的。他真是才华横溢。你知道，他是整个电影的带头人。有了他，这部电影才有理性的份量和独特的形式。是他把我们团结在一起，这个电影是他的成果。
《魔力英语》：你也很勇敢。
基德曼：我不觉得，我只是想：哇，我真的有机会去做点我从来没做过的事——用一种完全不同的方式体验角色。那也正是在我生活很混乱艰难的那个时候，所有的事都撞在一起了。但有时候真觉得害怕。
不过拍这个电影有点怪，因为我们的工作人员很少。这是一个小电影，所以我们可以——你不会觉得，哦，完了！如果不成功就大祸临头了！现在回头去看，我会想：当初我在想什么啊？因为如果我出现在荧幕上，然后所有人都笑起来，这部电影就失败了。
《魔力英语》：那时候，你个人生活中有如此伤痛的经历，还要来演一个这样的角色......
基德曼：是啊，我也不想。我想抽身而出。我得说我不象你想的那么勇敢，因为那时候我实际上给经理人打了电话，说：我没法演，我不想工作。我不想演这个，这不是我该做的事。这段时间发生的事情太多，我所需要的只是一段时间的休息。可他和其他朋友都说：“登上飞机出发吧。去演戏，然后在电影中迷失自己。”这就是艺术在这种时候的意义，它其实能帮你释放自己强烈的情感。
《魔力英语》：经历了创伤后你看起来恢复的那么好, 还是说你作为演员的能力可以让你装作没事？
基德曼：我并不善于在生活中演戏。我必须更善于这个才是。我总是很坦率，当我坐着——我不善于保护自己或者提防别人，看来我必须在这方面做的更好。但我不大清楚该怎么做。当我和导演共事时，我很坦白，好像要让他知道：这就是我，我就是这样！而我也愿意敞开自我。在访谈中我也这样，结果却对我不那么有利。所以我真应该再小心一点，因为那是本能的反应。我喜欢结识朋友，喜欢和别人呆在一起，还喜欢讨论。在我成长的家庭里大家可以讨论任何事。
《魔力英语》：于是你达到一种状态……
基德曼：我想你到了一定年龄时就会达到某种状态，当你有了一定的人生经历，你就会顺其自然，认为“好吧，这就是一段旅程。”我想电影里有一句台词很美，梅尔说：“我想那就是幸福的开始，但却不是。这就是幸福本身。”我想你要顺其自然：生活有快乐，有悲伤，还有一切……每一种……全方位的情感体验。如果你等待幸福

的到来，那它永远也不会来，所以就像常说的：这就是生活。可惜的是这种体会只有你年龄大了的时候才会获得，不是吗？我的意思是，生活就是如此。

One Piece of Wisdom

EJ: Test audiences reportedly didn’t recognize you in this role.
Kidman: I love that. That’s a great compliment. I think, for me as an actor, I think it’s so important not to be attached to your physical being. And so to be able to get lost within something, and actually have people sit through a film and not recognize you, is just something that I find incredibly gratifying to hear.
EJ: How much did you work on the look of the character?
Kidman: We did a series of makeup tests, but then it was more just trying to find it in her psychology—in the way in which it could just enter into my soul, in a way. I didn’t want to be caught up in, "Oh, my gosh, I have to mimic her. I have to try and be her." I wanted to just be true to . . .
... ...

一种智慧
《魔力英语》：据说试映时观众都没从这个角色中把你认出来。
基德曼：那样真好。那真是最好的赞美。我想，作为一个演员，人们在想到你时不会只想到你的长相，这一点太重要了。所以能够在电影中失去自我，还让人们从头到尾都没有认出你来，我发现这种情况让我觉得不可思议的欣慰。
《魔力英语》：你在角色的外貌上下了多少功夫？
基德曼：我们有一系列化妆试验，不过其实那更是一种从心理上去把握她，在某种程度上，是以一种能够打动我内心的方式去表现的。我不想卷入这种状态，像是：天那！我必须模仿她。我必须试着变成她。我只想忠于……



Sarah Jessica Parker 萨拉·杰西卡·帕克——《欲望都市》的女主角畅谈自己的职业人★★
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摘自：《魔力英语》2004年第6辑

音频试听（速度 快，词汇 B ，发音 清晰）

I’m Not Carrie

Gross: I spoke with Sarah Jessica Parker at the Old Whaling Church in Martha’s Vineyard, at a benefit for public radio station WBUR.
Let me start with something that I think people really do want to know. Could you ever imagine living the kind of social life that Carrie Bradshaw does?
Parker: No. No, I would be exhausted and I’m far too old. I am a New Yorker at this point in my life. I’ve lived in New York City of about 25 years, so I know of these people. I know they exist. I’ve read about them in the style section. And I’ve seen them on lower Broadway, hailing cabs at unseemly hours of the night in tiny skirts. And my single life was not nearly as colorful as that, which is perhaps why, as a married person, I enjoy playing this part so much. You see, I have to. And it’s sort of like legalized illegal behavior.
But I think at this point in the show, four years into the run of

the show, it’s become, I think, more specific. I think it’s about four very specific women in a very specific city at a very specific time. And there’s a sort of heightened reality to it, which may not really be consistent with the single women anywhere. But I think it is the emotional journey that people seem to have responded to.
Gross: Being in such a high-visibility role and being such a strong character on that, do people nowadays project things onto you which are just really untrue of who you are, and does that ever cause really awkward moments?
Parker: Yeah. I think people say very intimate things to me without provocation. And some of it was, you know, very funny, and they would be good anecdotes for, you know, Letterman or something. But after a while I felt that I had deceived-it made me uncomfortable because I felt like I wasn’t really deserving of it, and it wasn’t my place to know it because there wasn’t a lot I could do with the information except thank them.
You know, but what I’ve-now I think is that-I had an interesting thing happen. I went to see a play, and I walked into this man’s dressing room and-who I don’t know well. And he said to me, "Oh, I didn’t recognize you with your clothes on." It’s a thing that I struggle with the, with the show, for those people who haven’t seen it.
And I struggle very hard to convince people that-without forcing them to watch the show-which I’m not, you know, disinclined to do-I’d be happy to do that, too -but that I don’t run around naked on the show. I’ve never been naked on the show. You should recognize me with clothes on because I’m, first of all, not Carrie, and second of all, she wears clothing-less so than mo... you know, sometimes it’s just a teabag, but you could call it an outfit.

我不是凯莉

格罗斯：我在马撒葡萄园岛的老捕鲸教堂采访了萨拉·杰西卡·帕克，当时她正在那里参加为公共电台WBUR（国家公共电台）募捐的义演活动。
那么，就从我觉得人们很想知道的事情开始吧。你有没有想象过，去过凯莉·布拉德肖那样的社交生活？
帕克：没，没有。那我会疲惫不堪的，我的年纪也不小了，现在，我是个纽约人。我在纽约已经生活了将近25年，所以我了解这些人。我知道他们的存在。我在时尚专栏也读到过有关她们的文章。我在百老汇的南街也见到过她们，穿着迷你裙，深更半夜叫出租车。我的单身生活远没有这样丰富多彩，这也许是为什么，作为已婚的人，我这么喜欢演这个角色。你看，我不得不如此。这有点儿像合法化了的非法行为。
不过，我想电视剧演到这儿，连续上映了四年，就变得，我想，更具体了。我认为这是一个关于四个特定具体的女性，在特定的时间和特定的城市的故事，那是一种高度升华、夸大了的现实，也许并不真的符合任何

单个的女性。但我想这是其中的情感之旅引起了人们的共鸣。
格罗斯：扮演如此引人注目的角色，而且还是如此个性鲜明的人物，人们现在是不是会将一些东西投射到你身上，而这些其实并不是真正的你，这是否会有时弄得很尴尬？
帕克：是的。我想人们会无来由地跟我说一些非常私密的话。其中有些话，你知道，很可笑，都可以给Letterman之类的杂志当作逸闻趣事了。但过了段时间，我感到我误导了别人——这让我很不安，因为我觉得我不配，这不是我该知道的，因为知道这些后除了谢谢他们以外，不能做什么。
你知道，我曾经——现在我想是这样的——我遇到过一件有趣的事。我去看一场演出，走进了一个男人的化妆间而且——我和他并不熟。他对我说：“哦，你穿着衣服我都认不出你了。”这是我拍这部，这部电视剧，需要费劲儿挣扎的地方，因为那些没有看过的人对这部片子有一定的误解。
我费尽全力去要大家相信——但并不强迫他们去看这个节目——我不是，你知道，不想这么做——我也会很乐意这么做——但我并没有在剧中赤裸着到处跑，我在剧中根本没有全身赤裸。你应该认出穿着衣服的我来，因为首先，我不是凯莉，其次，她是穿着衣服的——只是比大多数人穿得少一些而已……你知道，有时候只是穿得又薄又透，但你还是可以叫它外套的。

Heaps of Rules

Gross: Now, you’ve been acting virtually all your life. You were on Broadway when you were 10. Did you want to start acting or did your mother nudge you into that?
Parker: Actually, my brother, Toby, was the first person in our house that was an actor. And I think what happened was there was a supplement in our local paper, in The Cincinnati Enquirer-it’s called The Mini Page, it was for children. They had a little ad for an audition for The Little Match Girl.
And I just saw it and I showed it to my mother, ... ...
... ...

规则多多

格罗斯：现在，你几乎是一生都从事表演。你10岁就登台百老汇，是你想去当演员，还是你妈妈鼓励你去的？
帕克：实际上，我的兄弟托比是我们家里的第一个演员。我想，事情是这样的，我们的地方报纸《辛辛纳提讯报》有个增刊，叫《迷你版》，是给孩子们看的。上面有个小启事，要为《卖火柴的小女孩》找演员试镜。
我正好看到了，就拿给妈妈看，我不知道... ...





Hillary's Final Self-Betrayal
2008-01-25 10:31:58 ||读者：4

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The saddest thing about this campaign in some ways is how it has exposed the fallacy of the idea that Hillary Clinton had emerged from her husband's shadow and was presenting herself as an ind

ividual candidate, fighting on her own merits and for her own self. Gail Collins had a must-read this morning. Money quote:

The implicit promise of Hillary Clinton’s presidential candidacy was that she had learned from Clinton I. In her, Americans would have a candidate who had been in the very center of White House decision-making. And the very fact that so much had gone wrong was added value. She is nothing if not a good learner, and — the story went — she had discovered at great price where all the landmines lay, both in the presidency and her own character. And she had forged a separate political identity in seven years in the Senate. During an era when the challenges to a new president could be sudden and overwhelming — and here Hillary isn’t ashamed to play the terror card — she was uniquely prepared to hit the ground running and achieve the greatest do-over in American history.

Now, Bill’s role as Chief Attack Dog undermines all that. If he’s all over her campaign, he’s going to be all over her administration. Instead of the original promise of the thoroughly educated Hillary, we’re being offered the worst-case scenario — that the pair of them are going to return to Pennsylvania Avenue and recreate the old Clinton chaos.

Dynasties and psycho-dramas go together. And the times are too dangerous to roll the dice on this dysfunctional couple as the world's joint leaders again. With 300 million Americans, we really have to reward someone who has already had eight years in the White House with eight more years? To replicate the same patterns?

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