公共英語(yǔ)三級(jí)閱讀文章

　　對(duì)于閱讀理解來(lái)說(shuō)，練習(xí)是最好的辦法。只有在反復(fù)的閱讀中，才能培養(yǎng)良好的英語(yǔ)閱讀能力。下面，就為大家送上3篇公共英語(yǔ)三級(jí)閱讀文章。

　　公共英語(yǔ)三級(jí)閱讀文章一

　　A painter hangs his or her finished picture on a wall, and everyone can see it. A composer writes a work, but no one can hear it until it is performed. Professional singers and players have great responsibilities, for the composer is utterly dependent on them. A student of music needs as long and as arduous a training to become a performer as a medical student needs to become a doctor. Most training is concerned with technique, for musicians have to have the muscular proficiency of an athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be inadequate without controlled muscular support. String players practice moving the fingers of the left hand up and down, while drawing the bow to and fro with the right arm —— two entirely different movements.

　　Singers and instrumentalists have to be able to get every note perfectly in tune. Pianists are spared this particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner's responsibility to tune the instrument for them. But they have their own difficulties: the hammers that hit the strings have to be coaxed not to sound like percussion, and each overlapping tone has to sound clear.

　　This problem of getting clear texture is one that confronts student conductors: they have to learn to know every note of the music and how it should sound, and they have to aim at controlling these sounds with fanatical but selfless authority.

　　Technique is of no use unless it is combined with musical knowledge and understanding. Great artists are those who are so thoroughly at home in the language of music that they can enjoy performing works written in any century.

　　畫(huà)家將已完成的作品掛在墻上，每個(gè)人都可以觀賞到。作曲家寫完了一部作品，得由 演奏者將其演奏出來(lái)，其他人才能得以欣賞。因?yàn)樽髑�家是如此完全地依賴于職業(yè)歌手和職 業(yè)演奏者，所以職業(yè)歌手和職業(yè)演奏者肩上的擔(dān)子可謂不輕。一名學(xué)音樂(lè)的學(xué)生要想成為一名演奏者，需要經(jīng)受長(zhǎng)期的、嚴(yán)格的訓(xùn)練，就象一名醫(yī)科的學(xué)生要成為一名醫(yī)生一樣。絕大多數(shù)的訓(xùn)練是技巧性的。音樂(lè)家們控制肌肉的熟練程度，必須達(dá)到與運(yùn)動(dòng)員或巴蕾舞演員相當(dāng)?shù)?水平。歌手們每天都練習(xí)吊嗓子，因?yàn)槿绻�不能有效地控制肌肉的話，他們的聲帶將不能滿足演唱的要求。弦樂(lè)器的演奏者練習(xí)的則是在左手的手指上下滑動(dòng)的同時(shí)，用右手前后拉動(dòng)琴弓——兩個(gè)截然不同的動(dòng)作。

　　歌手和樂(lè)器演奏者必須使所有的音符完全相同協(xié)調(diào)。鋼琴家們則不用操這份心，因?yàn)槊總�(gè)音符都已在那里等待著他們了。給鋼琴調(diào)音是調(diào) 音師的職責(zé)。但調(diào)音師們也有他們的難處：他們必須耐心地調(diào)理敲擊琴弦的音錘，不能讓音錘發(fā)出的聲音象是打擊樂(lè)器，而且每個(gè)交疊的音都必須要清晰。

　　如何得到樂(lè)章清晰的紋理是學(xué)生指揮們所面臨的難題：他們必須學(xué)會(huì)了解音樂(lè)中的每一個(gè)音及其發(fā)音之道。 他們還 必須致力于以熱忱而又客觀的權(quán)威去控制這些音符。除非是和音樂(lè)方面的知識(shí)和悟性結(jié)合起來(lái)，單純的技巧沒(méi)有任何用處。藝術(shù)家之所以偉大在于他們對(duì)音樂(lè)語(yǔ)言駕輕就熟，以致于可以滿懷喜悅地演出寫于任何時(shí)代的作品。

　　音樂(lè)方面的知識(shí)和悟性結(jié)合起來(lái)，單純的技巧沒(méi)有任何用處。藝術(shù)家之所以偉大在于他們對(duì)音樂(lè)語(yǔ)言駕輕就熟，以致于可以滿懷喜悅地演出寫于任何時(shí)代的作品。

　　公共英語(yǔ)三級(jí)閱讀文章二

　　Prices determine how resources are to be used. They are also the means by which products and services that are in limited supply are rationed among buyers. The price system of the United States is a complex network composed of the prices of all the products bought and sold in the economy as well as those of a myriad of services, including labor, professional, transportation, and public-utility services. The interrelationships of all these prices make up the"system" of prices. The price of any particular product or service is linked to a broad, complicated system of prices in which everything seems to depend more or less upon everything else. If one were to ask a group of randomly selected individuals to define "price", many would reply that price is an amount of money paid by the buyer to the seller of a product or service or, in other words, that price is the money value of a product or service as agreed upon in a market transaction. This definition is, of course, valid as far as it goes. For a complete understanding of a price in any particular transaction, much more than the amount of money involved must be known. Both the buyer and the seller should be familiar with not only the money amount, but with the amount and quality of the product or service to be exchanged, the time and place at which the exchange will take place and payment will be made, the form of money to be used, the credit terms and discounts that apply to the transaction, guarantees on the product or service, delivery terms, return privileges, and other factors. In other words, both buyer and seller should be fully aware of all the factors that comprise the total "package" being exchanged for the asked-for amount of money in order that they may evaluate a given price.

　　價(jià)格決定資源的使用方式。價(jià)格也是有限的產(chǎn)品與服務(wù)在買方中的配給手段。美國(guó)的價(jià)格系統(tǒng)是復(fù)雜的網(wǎng)狀系統(tǒng)，包括經(jīng)濟(jì)生活中一切產(chǎn)品買賣的價(jià)格，也包括名目繁多的各種服務(wù)，諸如勞動(dòng)力、專職人員、交通運(yùn)輸、公共事業(yè)等服務(wù)的價(jià)格。所有這些價(jià)格的'內(nèi)在聯(lián)系構(gòu)成了價(jià)格系統(tǒng)。任何一種個(gè)別產(chǎn)品或服務(wù)的價(jià)格都與這個(gè)龐大而復(fù)雜的系統(tǒng)密切相關(guān)，而且或多或少地受到系統(tǒng)中其它成份的制約。如果隨機(jī)挑選一群人，問(wèn)問(wèn)他們?nèi)绾味�義"價(jià)格"，許多人會(huì)回答價(jià)格就是根據(jù)賣方提供的產(chǎn)品或服務(wù)，買方向其付出的錢數(shù)。換句話說(shuō)，價(jià)格就是市場(chǎng)交易中大家認(rèn)同的產(chǎn)品或服務(wù)的貨幣量。該定義就其本身來(lái)說(shuō)自有其道理。但要獲得對(duì)價(jià)格在任何一樁交易中的完整認(rèn)識(shí)，就必須考慮到大量"非貨幣"因素的影響。買賣雙方不但要清楚交易中的錢數(shù)，而且要非常熟悉交易物的質(zhì)量和數(shù)量，交易的時(shí)間、地點(diǎn)，采用哪種形式付款，有怎樣的緩付和優(yōu)惠，對(duì)交易物的質(zhì)量保證、交貨條款、退賠權(quán)利等等。也就是說(shuō)，為了能估算索價(jià)，買賣雙方必須通曉構(gòu)成交易物價(jià)格的通盤細(xì)節(jié)。

　　公共英語(yǔ)三級(jí)閱讀文章三

　　There are many theories about the beginning of drama in ancient Greece. The one most widely accepted today is based on the assumption that drama evolved from ritual. The argument for this view goes as follows. In the beginning, human beings viewed the natural forces of the world - even the seasonal changes - as unpredictable, and they sought through various means to control these unknown and feared powers. Those measures which appeared to bring the desired results were then retained and repeated until they hardened into fixed rituals. Eventually stories arose which explained or veiled the mysteries of the rites. As time passed some rituals were abandoned, but the stories, later called myths, persisted and provided material for art and drama.

　　Those who believe that drama evolved out of ritual also argue that those rites contained the seed of theater because music, dance, masks, and costumes were almost always used. Furthermore, a suitable site had to be provided for performances and when the entire community did not participate, a clear division was usually made between the "acting area" and the "auditorium." In addition, there were performers, and, since considerable importance was attached to avoiding mistakes in the enactment of rites, religious leaders usually assumed that task. Wearing masks and costumes, they often impersonated other people, animals, or supernatural beings, and mimed the desired effect —— success in hunt or battle, the coming rain, the revival of the Sun —— as an actor might. Eventually such dramatic representations were separated from religious activities.

　　Another theory traces the theater's origin from the human interest in storytelling. According to this view tales (about the hunt, war, or other feats) are gradually elaborated, at first through the use of impersonation, action, and dialogue by a narrator and then through the assumption of each of the roles by a different person. A closely related theory traces theater to those dances that are primarily rhythmical and gymnastic or that are imitations of animal movements and sounds.

　　關(guān)于古希臘戲劇的起源存在著多種理論，其中一個(gè)最普遍為人接受的理論假設(shè)認(rèn)為戲劇從儀式演化而來(lái)。這個(gè)觀點(diǎn)是這樣進(jìn)行論證的：一開(kāi)始，人類把世界上的自然力量，甚至季節(jié)的變化都看成是不可預(yù)料的。他們?cè)噲D通過(guò)各種方式去控制這些未知的、令人恐懼的力量。那些似乎帶來(lái)了滿意結(jié)果的手段就被保留下來(lái)并且重復(fù)直到這些手段固化為不變的儀式，最后產(chǎn)生了能夠解釋或者掩蓋這些儀式神秘性的故事。隨著時(shí)間的推移，一些儀式被廢棄了，但這些后來(lái)被稱作神話的故事流傳下來(lái)并且為藝術(shù)和戲劇提供了素材。

　　認(rèn)為戲劇從儀式演化而來(lái)的人們還認(rèn)為那些儀式包含了戲劇的基本因素，因?yàn)橐魳?lè)、舞蹈、面具和服裝幾乎經(jīng)常被使用，而且，必須為演出提供一個(gè)合適的地點(diǎn);如果不是整個(gè)社區(qū)共同參加演出，經(jīng)常在"演出區(qū)"和"觀眾席"之間劃分出明顯的分界。另外，儀式中還有演員，而且宗教領(lǐng)袖通常承擔(dān)演出任務(wù)，因?yàn)樵趦x式的執(zhí)行中避免錯(cuò)誤的發(fā)生被認(rèn)為有相當(dāng)大的重要性;他們經(jīng)常帶著面具，穿著服裝象演員那樣扮演其它人、動(dòng)物或超自然的生靈，用動(dòng)作來(lái)表演以達(dá)到所需要的效果，比如打獵的成功或戰(zhàn)斗的勝利、將至的雨、太陽(yáng)的復(fù)活。最后這些戲劇性的表演從宗教活動(dòng)中分離了出來(lái)。另一個(gè)追溯戲劇起源的理論認(rèn)為它來(lái)自人們對(duì)敘述故事的興趣。根據(jù)這個(gè)觀點(diǎn)，故事(關(guān)于狩獵、戰(zhàn)爭(zhēng)或者其它偉績(jī))是逐漸豐富起來(lái)的。首先通過(guò)一個(gè)講解人來(lái)運(yùn)用模仿、表演和對(duì)話，然后再由不同的人扮演各自的角色;另一個(gè)與之緊密相關(guān)的理論將戲劇的起源追溯至舞蹈，這些舞蹈大體上是有節(jié)奏感的'和體操式的那一類，或者是對(duì)動(dòng)物動(dòng)作和聲音的模仿。

　　理論認(rèn)為它來(lái)自人們對(duì)敘述故事的興趣。根據(jù)這個(gè)觀點(diǎn)，故事(關(guān)于狩獵、戰(zhàn)爭(zhēng)或者其它偉績(jī))是逐漸豐富起 來(lái)的。首先通過(guò)一個(gè)講解人來(lái)運(yùn)用模仿、表演和對(duì)話，然后再由不同的人扮演各自的角色;另一個(gè)與之緊密相關(guān)的理論將戲劇的起源追溯至舞蹈，這些舞蹈大體上是有節(jié)奏感的和體操 式的那一類，或者是對(duì)動(dòng)物動(dòng)作和聲音的模仿。的理論認(rèn)為它來(lái)自人 們對(duì)敘述故事的興趣。根據(jù)這個(gè)觀點(diǎn)，故事(關(guān)于狩獵、戰(zhàn)爭(zhēng)或者其它偉績(jī))是逐漸豐富起 來(lái)的。首先通過(guò)一個(gè)講解人來(lái)運(yùn)用模仿、表演和對(duì)話，然后再由不同的人扮演各自的角色;另一個(gè)與之緊密相關(guān)的理論將戲劇的起源追溯至舞蹈，這些舞蹈大體上是有節(jié)奏感的和體操 式的那一類，或者是對(duì)動(dòng)物動(dòng)作和聲音的模仿。

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