考研英語(yǔ)：100個(gè)經(jīng)典長(zhǎng)難句解析(七)

　　摘要：考研英語(yǔ)是所有備考科目中比較難的科目，語(yǔ)法長(zhǎng)難句部分更是重點(diǎn)，所以拿下這部分很關(guān)鍵。為此，小編整理了“考研英語(yǔ)：100個(gè)經(jīng)典長(zhǎng)難句解析”希望對(duì)大家有所幫助。

　　第七篇

　　61. The fact that they loved each other was merely proof that the fault lay not in themselves, in their behavior or inconstancy of feeling, but rather in their incompatibility; he was strong and she was weak.

　　他們彼此相愛(ài)，這個(gè)事實(shí)只能證明他們本身沒(méi)有問(wèn)題，他們的行為或情感的搖擺也沒(méi)問(wèn)題。問(wèn)題在于他們彼此不相容：他很堅(jiān)強(qiáng)，而她太脆弱。

　　62. They were no longer occasional practitioners of art, as the cave painters had been, but full professionals — i.e., men skilled in a specialized occupation, practicing it full-time and probably earning all of their livelihood from it.

　　他們不再像洞穴壁畫的創(chuàng)作者一樣是藝術(shù)品的偶然創(chuàng)作者，而是全職的職業(yè)創(chuàng)作者，即：他們擅長(zhǎng)于某個(gè)特定行業(yè)，全職從事之，也許還以此為生。

　　63. But even the relatively simple definition of a professional as a person receiving pay for carrying out a specialized occupation on a full-time basis is difficult to apply to the arts.

　　但是，即使將職業(yè)者相對(duì)簡(jiǎn)單地定義為全職從事某個(gè)特定行業(yè)并從中取得報(bào)酬的人，這個(gè)定義也很難適用于藝術(shù)。

　　64. Nearly everywhere and always, music, architecture, and poetry have been regarded as professions, while pottery making has been regarded as an art and granted the dignity of a profession only in some nonWestern cultures.

　　幾乎在每個(gè)地方，音樂(lè)、建筑和詩(shī)歌總是被看做是專業(yè)，而制陶只在某些西方以外的國(guó)家被看做藝術(shù)，并被冠以專業(yè)的名譽(yù)。

　　65. The attempt to gain for some of the arts the status of learned or quasi-learned professions resulted in a distinction between “the fine arts" and “the applied arts", a distinction that has done harm to both.

　　人們賦予某些藝術(shù)以有學(xué)問(wèn)或半學(xué)問(wèn)的專業(yè)地位，區(qū)分出“高雅藝術(shù)”和“應(yīng)用藝術(shù)”，這種做法對(duì)彼此都有害無(wú)益。

　　66. The gradual breakdown of the attitude that permitted such exclusive categories to be created and the general rejection of the false distinctions between art and utility are encouraging developments in the arts in recent times.

　　這種彼此排斥的分類態(tài)度正在逐漸改變，人們普遍拒絕對(duì)藝術(shù)和實(shí)用做人為的區(qū)分，態(tài)度的改變目前正在促進(jìn)藝術(shù)的發(fā)展。

　　67. Michelson’s work is valuable, as a reflection of the day to day responsibilities of Mesquakie women, yet as is often the case with lifepassage studies, it presents little of the central character’s psychological motivation.

　　邁克遜的著作是有價(jià)值的，反映了Mesquakie婦女的日常職責(zé)，但是，像其他生活過(guò)程研究一樣，它對(duì)主人翁心理動(dòng)機(jī)的描述甚少。

　　68. For example, in Maria Campbell’s account of growing up as a Canadian Metis who was influenced strongly by the nonnative American world around her, one learns a great deal about the life of native American women, but Campbell’s individual story, which is told to us directly, is always the center of her narrative.

　　例如，瑪利亞坎貝爾敘述了自己作為一個(gè)加拿大邁提斯人的成長(zhǎng)過(guò)程，她深受周圍的非本土的北美世界影響，她的故事使讀者對(duì)本土美洲婦女的生活有了很多了解，但是，坎貝爾的個(gè)人故事是她親自向讀者講述的，它始終是書的主線。

　　69. As anthropologist Ralph Lonton said, “The last thing a fish would ever notice would be water." So it is with people: except in unusual circumstances, the effects of our own culture generally remain imperceptible to us.

　　人類學(xué)家拉爾夫蘭頓說(shuō)：“魚根本注意不到水的存在。”人也是這樣：除非在不同尋常的情況下，文化對(duì)我們的影響通常不為我們所注意。

　　70. No longer could I count on people to stare only surreptitiously, to take precautions against invisible microbes, or to stand in an orderly way one behind the other on the basis of time of arrival to obtain a service.

　　我再也不能指望人們僅僅偷偷地看，不能再擔(dān)心看不見(jiàn)的細(xì)菌，或井然有序地按先來(lái)后到順序一個(gè)個(gè)排隊(duì)來(lái)獲得某項(xiàng)服務(wù)。

　?。ū疚膩?lái)源網(wǎng)絡(luò)，如有侵權(quán)，請(qǐng)聯(lián)系刪除）