美文視頻
發(fā)布時(shí)間:2017-01-24 來源: 美文摘抄 點(diǎn)擊： 
美文視頻篇一：適合朗誦的散文_個(gè)人推薦
朱自清《匆匆》
推薦指數(shù)：4.5
推薦理由：文字極好，適合配樂
原文：
燕子去了，有再來的時(shí)候；楊柳枯了，有再青的時(shí)候，桃花謝了，有再開的時(shí)候。但是，聰明的，你告訴我，我們的日子為什么一去不復(fù)返呢？——是有人偷了他們罷：那是誰？又藏在何處呢？是他們自己逃走了罷：現(xiàn)在又到了那里呢？
我不知道他們給了我多少日子；但我的手確乎是漸漸空虛了。在默默里算著，八千多日子已經(jīng)從我手中溜去；像針尖上一滴水滴在大海里，我的日子滴在時(shí)間的流里，沒有聲音，也沒有影子。我不禁頭涔涔而淚潸潸了。
去的盡管去了，來的盡管來著；去來的中間，又怎樣地匆匆呢？早上我起來的時(shí)候，小屋里射進(jìn)兩三方斜斜的太陽。太陽他有腳��！輕輕悄悄地挪移了；我也茫茫然跟著旋轉(zhuǎn)。于是——洗手的時(shí)候，日子從水盆里過去；吃飯的時(shí)候，日子從飯碗里過去；默默時(shí)，便從凝然的雙眼前過去。我覺察他去的匆匆了，伸出手遮挽時(shí)，他又從遮挽著的手邊過去，天黑時(shí)，我躺在床上，他便伶伶俐俐地從我身上跨過，從我腳邊飛去了。等我睜開眼和太陽再見，這算又溜走了一日。我掩著面嘆息。但是新來的日子的影兒又開始在嘆息里閃過了。
在逃去如飛的日子里，在千門萬戶的世界里的我能做些什么呢？只有徘徊罷了，只有匆匆罷了；在八千多日的匆匆里，除徘徊外，又剩些什么呢？過去的日子如輕煙，被微風(fēng)吹散了，如薄霧，被初陽蒸融了；我留著些什么痕跡呢？我何曾留著像游絲樣的痕跡呢？我赤裸裸來到這世界，轉(zhuǎn)眼間也將赤裸裸的回去罷？但不能平的，為什么偏要白白走這一遭�。�
高爾基《海燕》
推薦指數(shù)：5
推薦理由：磅礴激昂，無數(shù)人實(shí)踐過的朗誦名篇
缺點(diǎn)：大家都知道這篇好，選的人多了，考官一定有審美疲勞
原文：
在蒼茫的大海上，狂風(fēng)卷集著烏云。在烏云和大海之間，海燕象黑色的閃電，在高傲地飛翔。
一會(huì)兒翅膀碰著波浪，一會(huì)兒箭一般地直沖向?yàn)踉�，它叫喊著，——就在這鳥兒勇敢的叫喊聲里，烏云聽出了歡樂。
在這叫喊聲里——充滿著對(duì)暴風(fēng)雨的渴望！在這叫喊聲里，烏云聽出了憤怒的力量，熱情的火焰和勝利的信心。
海鷗在暴風(fēng)雨來臨之前呻吟著，——呻吟著，它們?cè)诖蠛Ｉ巷w竄，想把自己對(duì)暴風(fēng)雨的恐懼，掩藏到大海深處。
海鴨也在呻吟著，——它們這些海鴨啊，享受不了生活的戰(zhàn)斗的歡樂：轟隆隆的雷聲就把它們嚇壞了。
蠢笨的企鵝，膽怯地把肥胖的身體躲藏在懸崖底下??只有那高傲的海燕，勇敢地，自
由自在地，在泛起白沫的大海上飛翔！
烏云越來越暗，越來越低，向海面直壓下來，而波浪一邊唱歌，一邊沖向高空，去迎接那雷聲。
雷聲轟響。波浪在憤怒的飛沫中呼叫，跟狂風(fēng)爭(zhēng)鳴�？窗桑耧L(fēng)緊緊抱起一層層巨浪，惡恨恨地將它們甩到懸崖上，把這些大塊的翡翠摔成塵霧和碎末。
看吧，它飛舞著，象個(gè)精靈，——高傲的、黑色的暴風(fēng)雨的精靈，——它在大笑，它又在號(hào)叫??它笑那些烏云，它因?yàn)闅g樂而號(hào)叫！
這個(gè)敏感的精靈，——它從雷聲的震怒里，早就聽出了困乏，它深信，烏云遮不住太陽——是的，遮不住的！
狂風(fēng)吼叫??雷聲轟響??
一堆堆烏云，象青色的火焰，在無底的大海上燃燒。大海抓住閃電的箭光，把它們熄滅在自己的深淵里。這些閃電的影子，活象一條條火蛇，在大海里蜿蜒游動(dòng)，一晃就消失了。
——暴風(fēng)雨！暴風(fēng)雨就要來啦！
這是勇敢的海燕，在怒吼的大海上，在閃電中間，高傲地飛翔；這是勝利的預(yù)言家在叫喊：
——讓暴風(fēng)雨來得更猛烈些吧！
朱自清《春》
推薦指數(shù)：3
原文：
盼望著，盼望著，東風(fēng)來了，春天的腳步近了。
一切都像剛睡醒的樣子，欣欣然張開了眼。山朗潤(rùn)起來了，水長(zhǎng)起來了，太陽的臉紅起來了。
小草偷偷地從土里鉆出來，嫩嫩的，綠綠的。園子里，田野里，瞧去，一大片一大片滿是的。坐著，躺著，打兩個(gè)滾，踢幾腳球，賽幾趟跑，捉幾回迷藏。風(fēng)輕悄悄的，草綿軟軟的。
桃樹、杏樹、梨樹，你不讓我，我不讓你，都開滿了花趕趟兒。紅的像火，粉的像霞，白的像雪。花里帶著甜味，閉了眼，樹上仿佛已經(jīng)滿是桃兒、杏兒、梨兒！花下成千成百的蜜蜂嗡嗡地鬧著，大小的蝴蝶飛來飛去。野花遍地是：雜樣兒，有名字的，沒名字的，散在草叢里，像眼睛，像星星，還眨呀眨的。
“吹面不寒楊柳風(fēng)”，不錯(cuò)的，像母親的手撫摸著你。風(fēng)里帶來些新翻的泥土的氣息，混著青草味，還有各種花的香，都在微微潤(rùn)濕的空氣里醞釀。鳥兒將窠巢安在繁花嫩葉當(dāng)中，高興起來了，呼朋引伴地賣弄清脆的喉嚨，唱出宛轉(zhuǎn)的曲子，與輕風(fēng)流水應(yīng)和著。牛背上牧童的短笛，這時(shí)候也成天在嘹亮地響。
雨是最尋常的，一下就是三兩天�？蓜e惱，看，像牛毛，像花針，像細(xì)絲，密密地斜織著，人家屋頂上全籠著一層薄煙。樹葉子卻綠得發(fā)亮，小草也青得逼你的眼。傍晚時(shí)候，上燈了，一點(diǎn)點(diǎn)黃暈的光，烘托出一片安靜而和平的夜。鄉(xiāng)下去，小路上，石橋邊，撐起傘慢慢走著的人；還有地里工作的農(nóng)夫，披著蓑，戴著笠的。他們的草屋，稀稀疏疏的在雨里靜默著。
天上風(fēng)箏漸漸多了，地上孩子也多了。城里鄉(xiāng)下，家家戶戶，老老小小，他們也趕趟兒似的，一個(gè)個(gè)都出來了。舒活舒活筋骨，抖擻抖擻精神，各做各的一份事去�！耙荒曛�(jì)在
于春”；剛起頭兒，有的是工夫，有的是希望。
春天像剛落地的娃娃，從頭到腳都是新的，它生長(zhǎng)著。
春天像小姑娘，花枝招展的，笑著，走著。
春天像健壯的青年，有鐵一般的胳膊和腰腳，他領(lǐng)著我們上前去。
《豐碑》
推薦指數(shù)：5
推薦理由：聲情并茂啊這篇，有不同人的語氣，有動(dòng)作，很能體現(xiàn)表現(xiàn)力，而且感人，煽情！我當(dāng)年就是用這篇在年級(jí)里拿獎(jiǎng)的??
原文：
紅軍隊(duì)伍在冰天雪地里艱難地前進(jìn)。嚴(yán)寒把云中山凍成了一個(gè)大冰坨�？耧L(fēng)呼嘯，大雪紛飛，似乎要吞掉這支裝備很差的隊(duì)伍。
他的馬讓給了重傷員。他率領(lǐng)戰(zhàn)士們向前挺進(jìn)，在冰雪中為后續(xù)部隊(duì)開辟一條通路。等待著他們的是惡劣的環(huán)境和殘酷的戰(zhàn)斗，可能吃不上飯，可能睡雪窩，可能一天要走一百幾十里路，可能遭到敵人的突然襲擊。這支隊(duì)伍能不能經(jīng)受住這樣嚴(yán)峻的考驗(yàn)?zāi)�？將軍思索著�?/p>
隊(duì)伍忽然放慢了速度，前面有許多人圍在一起，不知在干什么。
將軍邊走邊喊："不要停下來，快速前進(jìn)！"
"前面有人凍死了。"警衛(wèi)員跑回來告訴他。
將軍愣了一下，什么話也沒說，快步朝前走去。
一個(gè)凍僵的老戰(zhàn)士，倚靠光禿禿的樹干坐著。他一動(dòng)不動(dòng)，好似一尊塑像，身上落滿了雪，無法辨認(rèn)他的面目，但可以看出，他的神態(tài)十分鎮(zhèn)定，十分安詳：右手的中指和食指間還夾著半截紙卷的旱煙，火早已被雪打滅；左手微微向前伸著，好象在為戰(zhàn)友指明前景的道路。單薄破舊的衣服緊緊地貼在他的身上。
將軍的臉色頓時(shí)嚴(yán)峻起來，嘴角邊的肌肉抽動(dòng)著。忽然他轉(zhuǎn)過臉向身邊的人吼道："把軍需處長(zhǎng)和我叫來！為什么不給他發(fā)棉衣？"
呼嘯的狂風(fēng)淹沒了將軍的話音。沒有人回答他，也沒有人走開。他紅著眼睛，像一頭發(fā)怒的豹子，樣子十分可怕。
"聽見沒有，警衛(wèi)員？叫軍需處長(zhǎng)跑步過來！"將軍兩腮的肌肉抖動(dòng)著。
這時(shí)候，有人小聲告訴將軍："他就是軍需處長(zhǎng)??"
將軍愣住了，久久地站在雪地里。他的眼睛濕潤(rùn)了。他深深吸了一口起，緩緩地舉起右手，舉到齊眉出，向那位跟云中山化為一體的軍需處長(zhǎng)敬了一個(gè)軍禮。
風(fēng)更狂了，雪更大了。大雪很快地覆蓋了軍需處長(zhǎng)的身體，他成了一座晶瑩的豐碑。 將軍什么話也沒說，大步走進(jìn)漫天的風(fēng)雪中。他聽見無數(shù)沉重而堅(jiān)定的腳步聲。那聲音似乎在告訴人們：如果勝利不屬于這樣的隊(duì)伍，還會(huì)屬于誰呢？
補(bǔ)充：
（字?jǐn)?shù)限定這么嚴(yán)格，還真是不好找??）
不知道這個(gè)考試是咋規(guī)定的，如果沒硬性規(guī)定，何必非得用散文呢？如果是我就一定會(huì)用詩歌，詩歌才是更適合抒情更適合朗誦的�。≡姼韬玫膶�(shí)在是太多了??如果需要長(zhǎng)度的話，艾青《大堰河我的保姆》就不錯(cuò)。
總之就是找特煽情的（比如歌頌?zāi)赣H歌頌總理之類的，讀起來都顫顫巍巍的那種，不把你眼淚讀下來不罷休），或者特激昂的（排比句特多嘆號(hào)特多的那種，一般是歌頌祖國(guó)的什么的）。
不知道是如何規(guī)定的，我個(gè)人其實(shí)不傾向于找名篇（雖然名篇比較穩(wěn)妥，但是我喜歡劍走偏鋒），換做我的話我可能會(huì)找汶川相關(guān)的煽情散文吧。。。（其實(shí)我更可能自己寫，因?yàn)榫W(wǎng)上那些都不咋地）（不過這就不提了吧，我也沒空替人執(zhí)筆~）
如果選我列的那幾篇的話，最好自己去找下原文，我都是從網(wǎng)上down的，不免有些錯(cuò)誤哈。
附一些時(shí)文：
強(qiáng)烈推薦：
有水平的cctv朗誦大賽，可以找視頻來看，借鑒人家的文章、配樂，這網(wǎng)址里很全，從這里挑不錯(cuò)~我覺得都挺好的，看自己適合哪一路吧！
美文視頻篇二：推薦美文40篇
>01 The Language of Music
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.
01 音樂的語言
畫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，其他人才能得以欣賞。因?yàn)樽髑沂侨绱送耆匾蕾囉诼殬I(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)乃�。歌手們每天都練�?xí)吊嗓子，因?yàn)槿绻荒苡行У乜刂萍∪獾脑�，他們的聲帶將不能滿足演唱的要求。弦樂器的演奏者練習(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器，而且每個(gè)交疊的音都必須要清晰。如何得到樂章清晰的紋理 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。除非是和音樂方面的知識(shí)和悟性結(jié)合起來，單純的技巧沒有任何用處。藝術(shù)家之所以偉大在于他們對(duì)音樂語言駕輕就熟，以致于可以滿懷喜悅地演出寫于任何時(shí)代的作品。
>02 Schooling and Education
It is commonly believed in the United States that school is where people go to get an education. Nevertheless, it has been said that today children interrupt their education to go to school. The distinction between schooling and education implied by this remark is important.
Education is much more open-ended and all-inclusive than schooling. Education knows no bounds. It can take place anywhere, whether in the shower or in the job, whether in a kitchen or on a tractor. It includes both the formal learning that takes place in schools and the whole universe of informal learning. The agents of education can range from a revered grandparent to the people debating politics on the radio, from a child to a distinguished scientist.
Whereas schooling has a certain predictability, education quite often produces surprises. A chance conversation with a stranger may lead a person to discover how little is known of other religions. People are engaged in education from infancy on. Education, then, is a very broad, inclusive term. It is a lifelong process, a process that starts long before the start of school, and one that should be an integral part of one's entire life. Schooling, on the other hand, is a specific, formalized process, whose general pattern varies little from one setting to the next.
Throughout a country, children arrive at school at approximately the same time, take assigned seats, are taught by an adult, use similar textbooks, do homework, take exams, and so on. The slices of reality that are to be learned, whether they are the alphabet or an understanding of the workings of government, have usually been limited by the boundaries of the subject being taught. For example, high school students know that they are not likely to find out in their classes the truth about political problems in their communities or what the newest filmmakers are experimenting with.
There are definite conditions surrounding the formalized process of schooling.
上學(xué)與受教育
在美國(guó)，人們通常認(rèn)為上學(xué)是為了受教育。而現(xiàn)在卻有人認(rèn)為孩子們上學(xué)打斷了他們受教育的過程。這種觀念中的上學(xué)與受教育之間的區(qū)別非常重要。
與上學(xué)相比，教育更具開放性，內(nèi)容更廣泛。教育不受任何限制。它可以在任何場(chǎng)合下進(jìn)行，在淋浴時(shí)，在工作時(shí)，在廚房里或拖拉機(jī)上。它既包括在學(xué)校所受的正規(guī)教育，也包括一切非正規(guī)教育。傳授知識(shí)的人可以是德高望重的老者，可以是收音機(jī)里進(jìn)行政治辯論的人們，可以是小孩子，也可以是知名的科學(xué)家。上學(xué)讀書多少有點(diǎn)可預(yù)見性，而教育往往能帶來意外的發(fā)現(xiàn)。與陌生人的一次隨意談話可能會(huì)使人認(rèn)識(shí)到自己對(duì)其它宗教其實(shí)所知甚少。人們從幼時(shí)起就開始受教育。因此，教育是一個(gè)內(nèi)涵很豐富的詞，它自始至終伴隨人的一生，早在人們上學(xué)之前就開始了。
教育應(yīng)成為人生命中不可缺少的一部分。然而，上學(xué)卻是一個(gè)特定的形式化了的過程。在不同場(chǎng)合下，它的基本形式大同小異。在全國(guó)各地，孩子們幾乎在同一時(shí)刻到達(dá)學(xué)校，坐在指定的座位上，由一位成年人傳授知識(shí)，使用大致相同的教材，做作業(yè)，考試等等。
他們所學(xué)的現(xiàn)實(shí)生活中的一些片斷，如字母表或政府的運(yùn)作，往往受到科目范 圍的限制。 例如，高中生們知道，在課堂上他們沒法弄清楚他們社區(qū)里政治問題的真情，也不會(huì)了解到最新潮的電影制片人在做哪些嘗試。學(xué)校教育這一形式化的過程是有特定的限制的。
>03 The Definition of "Price"
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, includinglabor, 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"的定義 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，問問他們?nèi)绾味x"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，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。該定義就其本身來說自有其道理。
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，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)。
>04 Electricity
The modern age is an age of electricity. People are so used to electric lights, radio, televisions, and telephones that it is hard to imagine what life would be like without them. When there is a power failure, people grope about in flickering candlelight, cars hesitate in the streets because there are no traffic lights to guide them, and food spoils in silent refrigerators.
Yet, people began to understand how electricity works only a little more than two centuries ago. Nature has apparently been experimenting in this field for millions of years. Scientists are discovering more and more that the living world may hold many interesting secrets of electricity that could benefit humanity.
All living cells send out tiny pulses of electricity. As the heart beats, it sends out pulses of record; they form an electrocardiogram, which a doctor can study to determine how well the heart is working. The brain, too, sends out brain waves of electricity, which can be recorded in an electroencephalogram. The electric currents generated by most living cells are extremely small -- often so small that sensitive instruments are needed to record them. But in some animals, certain muscle cells have become so specialized as electrical generators that they do not work as muscle cells at all. When large numbers of these cells are linked together, the effects can be astonishing.
The electric eel is an amazing storage battery. It can send a jolt of as much as eight hundred volts of electricity through the water in which it lives. (An electric house current is only one hundred twenty volts.) As many as four-fifths of all the cells in the electric eel's body are specialized for generating electricity, and the strength of the shock it
can deliver corresponds roughly to the length of its body.
電 當(dāng)今時(shí)代是電氣時(shí)代。人們對(duì)電燈、收音機(jī)、電視和電話早已司空見慣以致很難想 象沒有它們生活會(huì)變成什么樣。當(dāng)停電時(shí)，人們?cè)趽u曳不定的燭光下暗中摸索；因沒有紅綠燈的指示，汽車在道路上遲疑不前；冰箱也停止工作，導(dǎo)致食物變質(zhì)。人們只是在兩個(gè)世紀(jì)前一點(diǎn)才開始了解電的使用原理，自然界卻顯然在這方面經(jīng)歷過了數(shù)百萬年。科學(xué)家不斷發(fā)現(xiàn)許多生物世界里可能有益于人類的關(guān)于電的有趣秘密。所有生物細(xì)胞都會(huì)發(fā)出微小的電脈沖。 當(dāng)心臟跳動(dòng)時(shí)，把它發(fā)出的脈沖記錄下來就成了心電圖，這可讓醫(yī)生了解心臟的工作狀況。大腦也發(fā)出腦電波，這可在腦電圖上記錄下來。
許多生物細(xì)胞發(fā)出的電流都是極微小的，小到要用靈敏儀器才能記錄和測(cè)量。但一些動(dòng)物的某些肌肉細(xì)胞能轉(zhuǎn)化成一個(gè)個(gè)發(fā)電機(jī)，以致完全失去肌肉細(xì)胞的功能。
這種細(xì)胞大量地連接在一起時(shí)產(chǎn)生的效果將是非常令人吃驚的。電鰻就是一種令人驚異的蓄電池。它可以在水中發(fā)出相當(dāng)于 800 伏特電壓電流(家庭用戶的電壓只有 120 伏特)。 在電鰻的身體里，多至五分之四的細(xì)胞都專門用來發(fā)電，而且發(fā)出的電流的強(qiáng)度大約和它身體的長(zhǎng)度成正比。
>05 The Beginning of Drama
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 measureswhich 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 becausemusic, 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, t
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.
戲劇的起源 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。 這個(gè)觀點(diǎn)是這樣進(jìn)行論證的：一開始，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。 那些似乎帶來了滿意結(jié)果的手段就被保留下來并且重復(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，但這些后來被稱作神話的故事流傳下來并且為藝術(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�、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。
另一個(gè)追溯戲劇起源的理論認(rèn)為它來自人們對(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 來的。
首先通過一個(gè)講解人來運(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。 >06 Television
Television -- the most pervasive and persuasive of modern technologies, marked by rapid change and growth -- is moving into a new era, an era of extraordinary sophistication and versatility, which promises to reshape our lives and our world. It is an electronic revolution of sorts, made possible by the marriage of television and computer technologies.The word "television", derived from its Greek (tele: distant) and Latin (visio: sight) roots, can literally be interpreted as sight from a distance. Very simply put, it works in this way: through a sophisticated system of electronics, television provides the capability of converting an image(focused on a special photoconductive plate within a camera) into electronic impulses, which can be sent through a wire or cable. These impulses, when fed into a receiver (television set), can then be electronically reconstituted into that same image.
Television is more than just an electronic system, however. It is a means of expression, as well as a vehicle for communication, and as such becomes a powerful tool for reaching other human beings.
The field of television can be divided into two categories determined by its means of transmission. First, there is broadcast television, which reaches the masses through broad-based airwave transmission of television signals.Second, there is nonbroadcast television, which provides for the needs of individuals or specific interest groups through controlled transmission techniques.
Traditionally, television has been a medium of the masses. We are most familiar with broadcast television because it has been with us for about thirty-seven years in a form similar to what exists today. During those years, it has been controlled, for the most part, by the broadcast networks, ABC, NBC, and CBS, who have been the major purveyors of news, information, and entertainment. These giants of broadcasting have actually shaped not only television but our perception of it as well. We have come to look upon the picture tube as a source of entertainment, placing our role in this dynamic medium as the passive viewer.
電視電視--以快速變化與發(fā)展為標(biāo)志的最普遍、最具有影響力的一項(xiàng)現(xiàn)代技術(shù)，正在步入一個(gè)極端復(fù)雜化與多樣化的新時(shí)代。
這個(gè)時(shí)代承諾重新塑造我們的生活和我們的世界。這可以稱得上是又一次電子革命，其關(guān)鍵在于電視技術(shù)與計(jì)算機(jī)技術(shù)的結(jié)合。"電視"這個(gè)詞 來源于希臘語詞根(tele：遠(yuǎn))和拉丁語詞根(vision：景象)，可以從字面上理解為來自遠(yuǎn)處的 景象。
簡(jiǎn)單說來，電視是以這種方式工作的，通過一個(gè)復(fù)雜的電子系統(tǒng)，電視能夠?qū)⒁环鶊D像(這幅圖像被聚焦在一部攝像機(jī)內(nèi)的一塊特殊的光導(dǎo)底片上)轉(zhuǎn)換成能經(jīng)過導(dǎo)線或電纜發(fā)送出去的電子脈沖信號(hào)。
當(dāng)這些電子脈沖信號(hào)被輸入一部接收機(jī)(電視機(jī))時(shí)，就可以用 電子學(xué)的方法把脈沖信號(hào)重新恢復(fù)成同一幅圖像。但是，電視不僅僅是一個(gè)電子系統(tǒng)，它還是一種表達(dá)工具和傳播渠道。因此，電視成了一個(gè)對(duì)其他人發(fā)生影響的強(qiáng)大工具。電視這個(gè)領(lǐng)域可以根據(jù)其發(fā)射方式分為兩類。
第一類為廣播電視，通過電視信號(hào)的寬帶無線電波 發(fā)射展現(xiàn)在大眾面前；第二類為非廣播電視，使用受控的發(fā)射技術(shù)來滿足個(gè)人以及某些特殊利益群體的需要。電視早已成為大眾媒介。我們熟悉廣播電視，因?yàn)閺V播電視已經(jīng)以類似目前的方式存在了大約37 年。
在那些年頭中，電視絕大部分一直由 ABC、NBC、CBS 這些廣播電視公司控制著，這些廣播電視公司一直是新聞、信息和娛樂的主要提供者。 這些廣播業(yè)的巨頭實(shí)際上不僅塑造了電視，而且也塑造了我們對(duì)電視的理解。 我們漸漸把顯像管看作是娛樂的來源，讓自己成為這個(gè)生動(dòng)的媒介的被動(dòng)觀眾。
>07 Andrew Carnegie
Andrew Carnegie, known as the King of Steel, built the steel industry in the United States, and, in the process, became one of the wealthiest men in America. His success resulted in part from his ability to sell the product and in part from his policy of expanding during periods of economic decline, when most of his competitors were reducing their investments.Carnegie believed that individuals should progress through hard work, but he also felt strongly that the wealthy should use their fortunes for the benefit of society. He opposed charity, preferring instead to provide
educational opportunities that would allow others to help themselves. "He who dies rich, dies disgraced, " he often said.Among his more noteworthy contributions to society are those that bear his name, including the Carnegie Institute of Pittsburgh, which has a library, a museum of fine arts, and a museum of national history. He also founded a school of technology that is now part of Carnegie-Mellon University. Other philanthropic gifts are the Carnegie Endowment for International Peace to promote understanding between nations, the Carnegie Institute of Washington to fund scientific research, and Carnegie Hall to provide a center for the arts.
Few Americans have been left untouched by Andrew Carnegie's generosity. His contributions of more than five million dollars established 2,500 libraries in small communities throughout the country and formed the nucleus of the public library system that we all enjoy today.
安德魯?卡內(nèi)基被稱作鋼鐵大王的安德魯?卡內(nèi)基在美國(guó)建立了鋼鐵工業(yè)。在這個(gè)過程中，他變成了美國(guó)最富有的人之一。
他的成功，部分來自于他銷售產(chǎn)品的能力，部分來自于經(jīng)濟(jì)蕭條時(shí)期的擴(kuò)充策略。在蕭條時(shí)期，他的多數(shù)對(duì)手都在縮減投資�？▋�(nèi)基認(rèn)為個(gè)人應(yīng)該通過努力工作來獲得進(jìn)展，但他也強(qiáng)烈地感到有錢人應(yīng)該運(yùn)用他們的財(cái)富來為社會(huì)謀取福利。 他反對(duì)施舍救濟(jì)，更愿意提供教育機(jī)會(huì)，使別人自立。
卡內(nèi)基經(jīng)常說："富有著 死去的人死得可恥。"他對(duì)社會(huì)的較重要的貢獻(xiàn)都以他的名字命名。這些貢獻(xiàn)包括匹茲堡卡內(nèi)基學(xué)校。
這個(gè)學(xué)校有一個(gè)圖書館，一個(gè)美術(shù)館和一個(gè)國(guó)家歷史博物館；他還創(chuàng)立了一所 技術(shù)學(xué)校，這所學(xué)校現(xiàn)在是卡內(nèi)基梅隆大學(xué)的一部分；其他的慈善捐贈(zèng)有為促進(jìn)國(guó)家間了解的"卡內(nèi)基國(guó)際和平基金"，為科學(xué)研究提供經(jīng)費(fèi)的華盛頓卡內(nèi)基學(xué)院以及給各種藝術(shù)活動(dòng)提供活動(dòng)中心的卡內(nèi)基音樂廳。安德魯?卡內(nèi)基的慷慨大度幾乎影響到每個(gè)美國(guó)人的生活。由于他超過五百萬美元的捐款，2500個(gè)圖書館得以建立起來，遍布在美國(guó)各地的小村鎮(zhèn)，形成了我們今天還在享用的公共圖書館系統(tǒng)的核心。
>08 American Revolution
The American Revolution was not a revolution in the sense of a radical or total change. It was not a sudden and violent overturning of the political and social framework, such as later occurred in France and Russia, when bothwere already independent nations. Significant changes were ushered in, but they were not breathtaking. What
happened was accelerated evolution rather than outright revolution. During the conflict itself people went on working and praying, marrying and playing. Most of them were not seriously disturbed by the actual fighting, and many of the more isolated communities scarcely knew that a war was on. America's War of Independence heralded the birth of three modern nations. One was Canada, which received its first large influx of English-speaking population from the thousands of loyalists who fled there from the United States. Another was Australia, which became a penal colony now that America was no longer available for prisoners and debtors. The third newcomer -- the United States -- based itself squarely on republican principles.Yet even the political overturn was not so revolutionary as one might suppose. In some states, notably Connecticut and Rhode Island, the war largely ratified a colonial self-rule already existing. British officials, everywhere ousted, were replaced by a home-grown governing class, which promptly sought a local substitute for king and Parliament.
美國(guó)革命美國(guó)革命其實(shí)并不算是一場(chǎng)革命，因?yàn)樗⑽磳?dǎo)致完全的和徹底的變化。這次革命并不是對(duì)政治和社會(huì)框架的一次突然和猛烈的顛覆，象后來在已經(jīng)是獨(dú)立國(guó)家的法國(guó) 和俄國(guó)所爆發(fā)的革命那樣。
革命帶來了重大的變化，但并非翻天覆地，所發(fā)生的只是進(jìn)化 的加速，而不是一場(chǎng)徹底的革命；在沖突期間，人們?nèi)匀簧习�、做禮拜、結(jié)婚、玩耍。多數(shù)人并沒有受到實(shí)際戰(zhàn)斗的嚴(yán)重影響。許多較閉塞的社區(qū)對(duì)這場(chǎng)戰(zhàn)爭(zhēng)幾乎一無所知。美國(guó)獨(dú)立戰(zhàn)爭(zhēng)宣布了三個(gè)現(xiàn)代國(guó)家的誕生，其中一個(gè)是加拿大。
加拿大的第一大批講英語的流 入人口來自于成千上萬英王的效忠者，這些人從美國(guó)逃到了加拿大。另一個(gè)國(guó)家是澳大利亞，因?yàn)槊绹?guó)不再是容納罪犯和欠債者的國(guó)度了，澳大利亞就變成了一個(gè)懲治罪犯的殖民地(注：獨(dú)立戰(zhàn)爭(zhēng)前，英國(guó)政府將罪犯流放到美國(guó))。第三個(gè)國(guó)家就是美國(guó)，它完全建立在共和原則基礎(chǔ)上。即使政治上的顛覆也不如人們可能想象的那樣具有革命性。在一些州，特別是康涅狄格和羅德島，戰(zhàn)爭(zhēng)基本上只是承認(rèn)了已經(jīng)存在的殖民地的自治。四處被驅(qū)逐的英國(guó)官員都被本土的統(tǒng)治階級(jí)所替代，這個(gè)統(tǒng)治階級(jí)迅速地以地方權(quán)力機(jī)關(guān)來替代國(guó)王和議會(huì)。
>09 Suburbanization
If by "suburb" is meant an urban margin that grows more rapidly than its already developed interior, the process of suburbanization began during the emergence of the industrial city in the second quarter of the nineteenth century. Before that period the city was a small highly compact cluster in which people moved about on foot and goods were conveyed
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