Part B
Directions：
The following paragraphs are given in a wrong order. For Questions 41-45, you are required to reorganize into a coherent text by choosing from the list A-G and filling them into the numbered boxes .Paragraphs A and E have been correctly placed. Mark your answers on the ANSWER SHEET.（10 points)
[A] Some archaeological sites have always been easily observable—for example, the Parthenon in Athens, Greece; the pyramids of Giza in Egypt; and the megaliths of Stonehenge in southern England. But these sites are exceptions to the norm .Most archaeological sites have been located by means of careful searching, while many others have been discovered by accident. Olduvai Gorge, fell into its deep valley in 1911.Thousands of Aztec artifacts came to light during the digging of the Mexico City subway in the 1970s.
[B] In another case, American archaeologists Rene million and George Cowgill spent years systematically mapping the entire city of Teotihuacan in the valley of Mexico near what is now Mexico City .at its peak around AD 600, this city was one of the largest human settlements in the word. The researchers mapped not only the city’s vast and ornate ceremonial areas, but also hundreds of simpler apartment complexes where common people lived.
[C] How do archaeologists know where to find what they are looking for when there is nothing visible on the surface of the ground? Typically, they survey and sample (make test excavations on) large areas of terrain to determine where excavation will yield useful information. Surveys and test samples have also become important for understanding the larger landscapes that contain archaeological sites.
[D] Surveys can cover a single large settlement or entire landscapes.in one case, many researchers working around the ancient Maya city of Copán, Honduras, have located hundreds of small rural village and individual dwellings by using aerial photographs and by making surveys on foot. The resulting settlement maps show how the distribution and density of the rural population around the city changed dramatically between AD500 and 850, when Copán collapsed.
[E] To find their sites, archaeologists today rely heavily on systematic survey methods and a variety of high-technology tools and techniques. Airbone technologies, such as different types of radar and photographic equipment carried by airplanes or spacecraft, allow archaeologists to learn about what lies beneath the ground without digging. Aerial surveys locate general areas of interest or larger buried features, such as ancient buildings or fields.
[F] Most archaeological sites, however, are discovered by archaeologists who have set out to look for them. Such searches can take years. British archaeologist Howard Carter knew that the tomb of the Egyptian pharaoh Tutankhamum existed from information found in other sites. Carter sifted through rubble in the Valley of the King for seven years before he located the tomb in 1922. In the late 1800s British archaeologist Sir Arthur Eyan combed antique dealers’ stores in Athens, Greece. He was searching for thing engraved seals attributed to the ancient Mycenaean culture that dominated Greece from the 1400s to 1200s BC. Evas’s interpretations of those engravings eventually led them to find the Minoan palace at Knossos on the island of Crete, in 1900.
[G] Ground surveys allow archaeologists to pinpoint the places where digs will be successful. Most ground surveys involve a lot of walking, looking for surface clues such as small fragments of pottery. They often include a certain amounts of digging to test for buried materials at selected points across a landscape. Archaeologists also may locate buried remains by using such technologies as ground radar, magnetic-field recording, and metal detector. Archaeologists commonly use computers to map sites and the landscapes around sites. Two and three-dimensional maps are helpful tools in planning excavations, illustrating how sites look, and presenting the results of archaeological research.
41 --- A --- 42. --- E ---43 --- 44 --- 45
解析：本文選自發(fā)表于2003年The International History Project的文章，題目為Archeology.
41. 此題是首段，所以需要找尋綜述性的段落。其中A和E選項是給出的，所以只需從余下選項進行選擇。B選項中有another，所以不會是第一段。E選項中代詞their沒有指代對象。F中有however,也不會是第一段。因此，只留下C和D選項。在C選項最后一句提到survey和test sample也很重要。而在D選項開頭就提到了survey,而且整段都是，由此可看出D是對C的分述醫(yī)學(xué)全.在.線.提供. payment-defi.com。所以C是首段。
42. 此題排在A項之后，所以內(nèi)容上應(yīng)該是銜接的。A項主要談?wù)摰氖谴蟛糠挚脊诺攸c是通過仔細(xì)搜尋之后找到的，而其他的很多是被偶然發(fā)現(xiàn)的，接著舉了一些例子。接下來在看各段首句的時候，發(fā)現(xiàn)F項中提到大部分考古地點是被考古學(xué)家們特意尋找發(fā)現(xiàn)的，和A提到的偶然發(fā)現(xiàn)意思相反，所以F正確。
43. 此題排在E項之后。E選項最后一句提到天空的搜尋，而在G選項的開頭提到地面搜尋，正好形成對應(yīng)，所以為正確答案。
44. 此時，只留下B和D選項。其中B選項開頭提到了in another case,所以前面一段一定要提到in one case, 而D選項中有in one case.所以，D選項在前。
45. 根據(jù)上面的分析，此題只能選B。
Part C
Directions:
Read the following text carefully and then translate the underlined segments into Chinese. Your translation should be written on the ANSWER SHEET(10 points)
Music means different things to different people and sometimes even different things to the same person at different moments of his life. It might be poetic, philosophical, sensual, or mathematical, but in any case it must, in my view, have something to do with the soul of the human being. Hence it is metaphysical; but the means of expression is purely and exclusively physical: sound. I believe it is precisely this permanent coexistence of metaphysical message through physical means that is the strength of music.46) It is also the reason why when we try to describe music with words, all we can do is articulate our reactions to it, and not grasp music itself.
Beethoven’s importance in music has been principally defined by the revolutionary nature of his compositions. He freed music from hitherto prevailing conventions of harmony and structure. Sometimes I feel in his late works a will to break all signs of continuity. The music is abrupt and seemingly disconnected, as in the last piano sonata. In musical expression, he did not feel restrained by the weight of convention. 47) By all accounts he was a freethinking person, and a courageous one, and I find courage an essential quality for the understanding, let alone the performance, of his works.
This courageous attitude in fact becomes a requirement for the performers of Beethoven’s music. His compositions demand the performer to show courage, for example in the use of dynamics. 48) Beethoven’s habit of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage was only rarely used by composers before him.
Beethoven was a deeply political man in the broadest sense of the word. He was not interested in daily politics, but concerned with questions of moral behavior and the larger questions of right and wrong affecting the entire society.49) Especially significant was his view of freedom, which, for him, was associated with the rights and responsibilities of the individual: he advocated freedom of thought and of personal expression.
Beethoven’s music tends to move from chaos to order as if order were an imperative of human existence. For him, order does not result from forgetting or ignoring the disorders that plague our existence; order is a necessary development, an improvement that may lead to the Greek ideal of spiritual elevation. It is not by chance that the Funeral March is not the last movement of the Eroica Symphony, but the second, so that suffering does not have the last word. 50) One could interpret much of the work of Beethoven by saying that suffering is inevitable, but the courage to fight it renders life worth living.
46. It is also the reason why when we try to describe music with words, all we can do is articulate our reactions to it, and not grasp music itself.
【句型分析】本句主句主干為it is the reason，why引導(dǎo)定語從句，修飾the reason。定語從句的主干是all we can do is articulate our reactions and not grasp music itself，其表語是不定式短語，由于主語中含有do，不定式符號to省略：articulate our reactions and not grasp music itself。our reactions之后to it為其定語，it指代music。定語從句中還包含when引導(dǎo)的時間狀語從句。
【翻譯要點】①本句主干的主句是主系表結(jié)構(gòu)，reason后why引導(dǎo)的定語從句較長，翻譯時可以與主干部分結(jié)合，調(diào)整表達為：這也就是為什么….。
�、诙ㄕZ從句中，when引導(dǎo)時間狀語從句，其中with words做狀語，翻譯時需調(diào)整語序到其修飾的to describe之前，可以表達為“當(dāng)我們嘗試用語言來描述音樂時”。定語從句的主干順譯即可，其中reaction根據(jù)語境，可以翻譯為“感受”，其定語to it在表達時前置，it指代還原為“音樂”，則可以翻譯為“所有我們能做的，就是明確表達我們對于音樂的感受”，或者調(diào)整表達為“我們只能明確表達我們對于音樂的感受”。and之后，grasp依據(jù)語境，需要翻譯為“理解”。
【譯文總結(jié)】這也是為什么當(dāng)我們試圖用語言來描述音樂時，我們只能明確表達我們對于音樂的感受，而不能完全理解音樂本身。
47. By all accounts he was a freethinking person, and a courageous one, and I find courage an essential quality for the understanding, let alone the performance, of his works.
【句型分析】本句為并列句。第一個分句he was a freethinking person, and a courageous one，句首by all accounts為固定搭配，意思是“根據(jù)各方面說”。第二個分句的主干為I find courage an essential quality，其中賓語為courage，而an essential quality是賓語補足語。quality后介詞短語for the understanding of his work為其定語，其中還包含一個插入結(jié)構(gòu)let alone the performance。
【翻譯要點】① 第一個分句結(jié)構(gòu)比較簡單，句首固定搭配by all accounts，可以調(diào)整表達，翻譯為“據(jù)大家所說”。主干順譯即可，其中he指代“貝多芬”，one指代person。這一部分可以翻譯為“貝多芬是個思想自由、充滿勇氣的人”。
②第二個分句，主干為“我發(fā)現(xiàn)勇氣是一個關(guān)鍵品質(zhì)”，quality后為其定語for the understanding of his work，其中the understanding of his work意思為“對于其作品的理解”，做詞性轉(zhuǎn)化后，可以表達為“理解其作品”，這個介詞短語需要調(diào)整語序前置于quality，可以翻譯為“理解他作品的關(guān)鍵品質(zhì)”，則第二個分句可以表達為“我發(fā)現(xiàn)勇氣，是理解他作品的關(guān)鍵品質(zhì)”。還可以調(diào)整表達為“我發(fā)現(xiàn)勇氣這一品質(zhì)，是理解他作品的關(guān)鍵”。
�、墼诙ㄕZfor the understanding of his work中的插入成分，在邏輯上let alone并列the understanding和the performance，二者共用定語of his works，順譯句末即可：更不必說是演出其作品的關(guān)鍵品質(zhì)。
【譯文總結(jié)】人們普遍認(rèn)為，他（貝多芬)是個思想自由、充滿勇氣的人，我發(fā)現(xiàn)勇氣這一品質(zhì)，是理解他作品的關(guān)鍵，更不必說是演出其作品的關(guān)鍵。
48. Beethoven’s habit of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage was only rarely used by composers before him.
【句型分析】本句主干為Beethoven’s habit was used by composers before him。本句的謂語為被動語態(tài)，主語habit后介詞短語of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage為其定語，是由介詞of與and并列的兩個動名詞短語increasing the volume with an extreme intensity 和then abruptly following it with a sudden soft passage構(gòu)成醫(yī)學(xué)全.在.線.提供. payment-defi.com。
【翻譯要點】①本句主干較為簡單，但是主語habit后有很長的后置定語：Habit of increasing the volume…，其中“habit”可以詞性轉(zhuǎn)換為動詞“習(xí)慣”，而中文常常先表達次要信息，則這一部分可以翻譯一句話“貝多芬習(xí)慣增加…”，置于句首。第一個動名詞短語中，with an extreme intensity為狀語，表達時需調(diào)整語序到其修飾的increasing the volume前，根據(jù)語境，volume意思為“音量”，則increasing可以翻譯為“增高”。這一部分可以翻譯為“最大限度來逐漸增高音量”。第二個動名詞短語then abruptly following it with a sudden soft passage，狀語with a sudden soft passage需調(diào)整到following it前表達，其中passage根據(jù)語境，意思為“樂段”。則這一部分可以表達為“然后突然跟上輕柔的樂段”。整合本句主語與其定語，可以翻譯為“貝多芬習(xí)慣最大限度來逐漸增高音量，然后突然跟上輕柔的樂段”。
②本句主干意思為“在他之前，作曲家很少使用貝多芬的習(xí)慣”。中文語義重心在后，將本部分翻譯在句末即可。由于前句譯文已經(jīng)提到這種習(xí)慣，則這部分可以表達為“在他之前，作曲家很少使用這種習(xí)慣”，結(jié)合語境還可以表達為“在他之前，作曲家很少使用這種方式”，或者“在他之前，只有極個別作曲家會使用這種方式”。
【譯文總結(jié)】貝多芬習(xí)慣最大限度來逐漸增高音量，然后突然跟上輕柔的樂段，在他之前，作曲家很少使用這種方式。
49) Especially significant was his view of freedom, which, for him, was associated with the rights and responsibilities of the individual: he advocated freedom of thought and of personal expression.
【句型分析】本句為完全倒裝，主句的主干是his view of freedom was Especially significant。
his view of freedom后為which引導(dǎo)的非限定性定語從句，修飾freedom，關(guān)系代詞which在定語從句中作主語。of the individual修飾the rights and responsibilities，冒號后進行解釋說明。
【翻譯要點】
�、� 本句主干為完全倒裝，但是在翻譯時，順譯即可，其中his指代“貝多芬的”，主干可以表達為：尤為重要的是，他（貝多芬)對于自由的看法….。
② which引導(dǎo)英語從句，修飾freedom，表達時翻譯成另一句話“對于他而言，這種自由是與個人的權(quán)利和責(zé)任聯(lián)系起來的”，其中for him還可以調(diào)整表達為“他認(rèn)為”。
�、勖疤柡筮M行解釋，可以翻譯為：他倡導(dǎo)思想自由和個人言論自由。
【譯文總結(jié)】尤為重要的是貝多芬對于自由的看法，他認(rèn)為，這種自由是與個人的權(quán)利和責(zé)任聯(lián)系起來的：他倡導(dǎo)思想自由和個人言論自由。
50. One could interpret much of the work of Beethoven by saying that suffering is inevitable, but the courage to fight it renders life worth living.
【句型分析】本句主句主干為One could interpret much of the work of Beethoven，之后by saying that suffering is inevitable, but the courage to fight it renders life worth living為狀語，修飾interpret。其中that引導(dǎo)賓語從句suffering is inevitable, but the courage to fight it renders life worth living，為saying的賓語，賓語從句中it指代suffering。
【翻譯要點】①本句主語one，可以翻譯為“人們”或者“我們”。主干可以翻譯為“我們可以解釋貝多芬的大部分作品”。
�、谥鞲芍蟮臓钫Z，可以翻譯為“通過說痛苦是無法避免的，但是與之相抗?fàn)幍挠職馐沟蒙档美^續(xù)。”
�、壅现鞲�，可以表達為“我們可以這樣解釋貝多芬的大部分作品：苦難是不可避免的，但是與痛苦抗?fàn)幍挠職馐沟蒙档美^續(xù)�！�
【譯文總結(jié)】我們可以這樣解釋貝多芬的大部分作品：苦難是不可避免的，但是與痛苦抗?fàn)幍挠職馐沟蒙档美^續(xù)。
