2017年9月公共英語(yǔ)一級閱讀理解文章
現在不少的考生已經(jīng)在為下半年的公共英語(yǔ)一級做準備了，下面這兒為考生整理了兩篇2017年9月公共英語(yǔ)一級閱讀理解文章，希望對大家有所幫助。
2017年9月公共英語(yǔ)一級閱讀理解文章一
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.
以快速變化與發(fā)展為標志的最普遍、最具有影響力的一項現代技術(shù)，正在步入一個(gè)極端復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(chēng)得上是又一次電子革命，其關(guān)鍵在于電視技術(shù)與計算機技術(shù)的結合。
“電視”這個(gè)詞來(lái)源于希臘語(yǔ)詞根(tele：遠)和拉丁語(yǔ)詞根(vision：景象)，可以從字面上理解為來(lái)自遠處的景象。簡(jiǎn)單說(shuō)來(lái)，電視是以這種方式工作的，通過(guò)一個(gè)復雜的電子系統，電視能夠將一幅圖像(這幅圖像被聚焦在一部攝像機內的一塊特殊的光導底片上)轉換成能經(jīng)過(guò)導線(xiàn)或電纜發(fā)送出去的電子脈沖信號。當這些電子脈沖信號被輸入一部接收機(電視機)時(shí)，就可以用電子學(xué)的方法把脈沖信號重新恢復成同一幅圖像。
但是，電視不僅僅是一個(gè)電子系統，它還是一種表達工具和傳播渠道。因此，電視成了一個(gè)對其他人發(fā)生影響的強大工具。
電視這個(gè)領(lǐng)域可以根據其發(fā)射方式分為兩類(lèi)。第一類(lèi)為廣播電視，通過(guò)電視信號的寬帶無(wú)線(xiàn)電波發(fā)射展現在大眾面前;第二類(lèi)為非廣播電視，使用受控的發(fā)射技術(shù)來(lái)滿(mǎn)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，因為廣播電視已經(jīng)以類(lèi)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(zhù)，這些廣播電視公司一直是新聞、信息和娛樂(lè )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電視的理解。我們漸漸把顯像管看作是娛樂(lè )的來(lái)源，讓自己成為這個(gè)生動(dòng)的.媒介的被動(dòng)觀(guān)眾。、NBC、CBS這些廣播電視公司控制著(zhù)，這些廣播電視公司一直是新聞、信息和娛樂(lè )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電視的理解。我們漸漸把顯像管看作是娛樂(lè )的來(lái)源，讓自己成為這個(gè)生動(dòng)的媒介的被動(dòng)觀(guān)眾。
2017年9月公共英語(yǔ)一級閱讀理解文章二
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(zhù)多種理論，其中一個(gè)最普遍為人接受的理論假設認為戲劇從儀式演化而來(lái)。這個(gè)觀(guān)點(diǎn)是這樣進(jìn)行論證的：一開(kāi)始，人類(lèi)把世界上的自然力量，甚至季節的變化都看成是不可預料的。他們試圖通過(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(mǎn)意結果的手段就被保留下來(lái)并且重復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(zhù)時(shí)間的推移，一些儀式被廢棄了，但這些后來(lái)被稱(chēng)作神話(huà)的故事流傳下來(lái)并且為藝術(shù)和戲劇提供了素材。
認為戲劇從儀式演化而來(lái)的人們還認為那些儀式包含了戲劇的基本因素，因為音樂(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)社區共同參加演出，經(jīng)常在"演出區"和"觀(guān)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)袖通常承擔演出任務(wù)，因為在儀式的.執行中避免錯誤的發(fā)生被認為有相當大的重要性;他們經(jīng)常帶著(zhù)面具，穿著(zhù)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)表演以達到所需要的效果，比如打獵的成功或戰斗的勝利、將至的雨、太陽(yáng)的復活。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為它來(lái)自人們對敘述故事的興趣。根據這個(gè)觀(guān)點(diǎn)，故事(關(guān)于狩獵、戰爭或者其它偉績(jì))是逐漸豐富起來(lái)的。首先通過(guò)一個(gè)講解人來(lái)運用模仿、表演和對話(huà)，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奏感的和體操式的那一類(lèi)，或者是對動(dòng)物動(dòng)作和聲音的模仿。
理論認為它來(lái)自人們對敘述故事的興趣。根據這個(gè)觀(guān)點(diǎn)，故事(關(guān)于狩獵、戰爭或者其它偉績(jì))是逐漸豐富起 來(lái)的。首先通過(guò)一個(gè)講解人來(lái)運用模仿、表演和對話(huà)，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奏感的和體操 式的那一類(lèi)，或者是對動(dòng)物動(dòng)作和聲音的模仿。的理論認為它來(lái)自人 們對敘述故事的興趣。根據這個(gè)觀(guān)點(diǎn)，故事(關(guān)于狩獵、戰爭或者其它偉績(jì))是逐漸豐富起 來(lái)的。首先通過(guò)一個(gè)講解人來(lái)運用模仿、表演和對話(huà)，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奏感的和體操 式的那一類(lèi)，或者是對動(dòng)物動(dòng)作和聲音的模仿。
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