大學(xué)英語(yǔ)綜合教程1課文翻譯-大學(xué)英語(yǔ)fame課文翻譯大學(xué)

大學(xué)英語(yǔ)綜合教程1課文翻譯|大學(xué)英語(yǔ)fame課文翻譯大學(xué)學(xué)習(xí)大學(xué)英語(yǔ)，經(jīng)常會(huì)遇到課文翻譯的題目，你知道大學(xué)英語(yǔ)fame課文怎么翻譯嗎？以下是小編整理的大學(xué)英語(yǔ)fame課文翻譯，歡迎閱讀?！敬髮W(xué)英語(yǔ)fame課文】Fameisverymuchlikeananimalchasingitsowntailwho,whenhecapturesit,doesnotknowwhatelsetodobuttocontinuechasingit.Fameandtheexhilaratingcelebritythataccompaniesit,forcethefamouspersontoparticipateinhisorherowndestruction.Ironicisn9;tit?Thosewhogainfamemostoftengainitasaresultofpossessingasingletalentorskill:singing,dancing,painting,orwriting,etc.Thesuccessfulperformerdevelopsastylethatismarketedaggressivelyandgainssomepopularity,anditisthispopularitythatusuallyconvincestheperformertocontinueperforminginthesamestyle,sincethatiswhatthepublicseemstowantandtoenjow.Butintime,theperformerbecomesboredsingingthesamesongsinthesamewayyearafteryear,orthepainterbecomesboredpaintingsimilarscenesorportraite,ortheactoristiredofplayingthesamecharacterrepeatedly.Thedemandofthepublicholdstheartisthostagetohisorherownsuccess,fame.Iftheartistattemptstochangehisorherstyleofwritingordancingorsinging,etc.,theaudiencemayturnawayandlooktoconferfleetingficklefameonanotherandthen,intime,onanother,andsoonandsoon.WhocannotrecognizeaTennesseeWilliamsplayoranovelbyJohnUpdikeorErnestHemingwayorapoembyRobertFrostorW.H.AudenorT.S.Eliot?ThesameistrueofpainterslikeMonet,Renoir,DaliorPicassoanditistrueofmoviemakerslikeHitchcock,Fellini,Spielberg,ChenKai-georZhangYimou.Theirdistinctivestylesmarkedasignificantchangeinthetraditionalformsandgrantedthemfameandforturn,buttheywerenotfreetodevelopotherstylesorformsbecausetheiraudiencedemandedofeachofthemwhattheyoriginallypresented.HemingwaycannotevennowbeconfusedwithHenryJamesoranyoneelse,norcanForstbeconfusedwithYeats,etc.Theuniqueformseachofthemcreated,createdthem.Noartistorperformercanentirelyescapethelureoffameanditspromiseofendlessadmirationandrespect,butthereisaheavypriceonemustpayforit.Famebringscelebrityandhighregardfromadoringandloyalfansineachfieldofendeavoranditisheadystuff.Aperformercaneasilycometobelievethatheorsheisasgoodashisorherpress.Butmostpeople,mostartistsdonotgainfameandfortune.Whataboutthoseperformerswhofail,oranyonewhofails?Curiouslyenough,failureoftenservesasitsownrewardformanypeople!Itbringssympathyfromotherswhoaredelightednottobeyou,anditallowsfamilyandfriendstolowertheirexpectationofyousothatyouneednotcompetewiththosewhohavemoretalentandwhosecceed.Andtheyfindexcusesandexplanationsforyourinabilitytosucceedandbecomefamous:youaretoosensitive,youarenotinterestedinmoney,youarenotinterestedinthepowerthatfamebringsandyouarenotinterestedinthelossofprivacyitdemands,etc.---allexcuses,butcomfortingtothosewhofailandthosewhopretendnottonoticethefailure.Historyhasamplyproventhatsomefailureforsomepeopleatcertaintimesintheirlivesdoesindeedmotivatethemtostriveevenhardertosucceedandtocontinuebelievinginthemselves.ThomasWolfe,theAmericannovelist,hadhisfirstnovelLookHomeward,Angerrejected39timesbeforeitwasfinallypublishedandlaunchedhiscareerandcreatedhisfame.Beethovenovercamehistyrannicalfatherandgrudgingacceptanceasamusiciantobecomethegreatest,mostfamousmusicianintheworld,andPestalozzi,thefamousItalianeducatorinthe19thcentury,failedateveryjobheeverhaduntilhecameupontheideaofteachingchildrenanddevelopingthefundamentaltheoriestoproduceanewformofeducation.ThomasEdisonwasthrownoutofschoolinfourthgrade,ataboutage10,becauseheseemedtotheteachertobequitedullandunruly.Manyothercasesmaybefoundofpeoplewhofailedandusedthefailuretomotivatethemtoachieve,tosucceed,andtobecomefamous.But,unfortunately,formostpeoplefailureistheendoftheirstruggle,notthebeginning.Therearefew,ifany,famousfailures.Wellthen,whydoesanyonewantfame?Doyou?Doyouwanttobeknowntomanypeopleandadmiredbythem?Doyouwantthemoneythatusuallycomeswithfame?Doyouwantthemediatonoticeeverythingyoudoorsaybothinpublicandinprivate?Doyouwantthemhoundingyou,questioningyouandtryingtoundoyou?InAmericanpoliticsitisveryobviousthattobefamousistobethetargetofeveryonewhodisagreeswithyouaswellasofthemedia.Fameturnsallthelightsonandwhileitgivespowerandprestige,ittakestheyououtofyou:youmustbewhatthepublicthinksyouare,notwhatyoureallyareorcouldbe.Thepolitician,liketheperformer,mustpleasehisorheraudiencesandthatoftenmeanssayingthingshedoesnotmeanordoesnotbelieveinfully.Nowondersofewpeopletrustpoliticians.Butwehavenotansweredthequestionatthebeginningofthisparagraph:whydoesanyonewantfame?Severalreasonscometomind:todemonstrateexcellenceinsomefield;togaintheadmirationandloveofmanyothers;tobetheoneeveryonetalksabout;toshowfamilyandfriendsyouaremorethantheythoughtyouwere.Probablyyoucanlistsomeotherreasons,butIthinkarereasonablycommon.Isaytothosewhodesperatelyseekfameandfortune，celebrity：goodluck.Butwhatwillyoudowhenyouhavecaughtyourtail，yoursuccess，andyourfame？Keepchasingit？Ifyoudocatchit，hangonfordearlifebecausefallingisnotaspainfulaslanding.Seeyousoonfamousandalmostfamous.【翻譯】名聲就像一只追逐自己尾巴的動(dòng)物，當(dāng)它抓住它的時(shí)候，它不知道還能做什么，只能繼續(xù)追逐它。名聲和隨之而來的令人興奮的名聲，迫使名人參與到他或她自己的毀滅中。諷刺的不是嗎？獲得名望通常獲得它的人由于擁有一個(gè)天賦或技能：唱歌，跳舞，繪畫，或?qū)懽?，等等。成功的表演者積極開發(fā)銷售的風(fēng)格并獲得一些聲望，和這個(gè)流行通常讓表演者繼續(xù)在同一風(fēng)格的表現(xiàn)，因?yàn)檫@就是公眾似乎想要和enjow。但隨著時(shí)間的推移，表演者厭倦了同樣的歌曲，年復(fù)一年地唱著同樣的歌，或者畫家厭倦了畫類似的場(chǎng)景或肖像，或者演員厭倦了反復(fù)扮演同一個(gè)角色。公眾對(duì)藝術(shù)家的要求使他或她自己的成功成為人質(zhì)。如果藝術(shù)家試圖改變他或她的寫作風(fēng)格、舞蹈或歌唱等，觀眾可能會(huì)轉(zhuǎn)向別處，尋求稍縱即逝的浮躁的名聲，然后，在時(shí)間上，在另一個(gè)，如此等等。誰(shuí)不認(rèn)識(shí)田納西·威廉姆斯的戲劇或者約翰·厄普代克（JohnUpdike）或歐內(nèi)斯特·海明威（ErnestHemingway）的小說，還是羅伯特·弗羅斯特（RobertFrost）或w·h·奧登（w。h。Auden）或艾略特（t。s。Eliot）的一首詩(shī)？像莫奈、雷諾阿、達(dá)利或畢加索這樣的畫家也是如此，像希區(qū)柯克、費(fèi)里尼、斯皮爾伯格、陳凱歌或張藝謀這樣的電影制作人也是如此。他們獨(dú)特的風(fēng)格標(biāo)志著傳統(tǒng)形式的顯著改變，并賦予他們名聲和力量，但他們因?yàn)樗麄兊挠^眾要求他們每個(gè)人最初呈現(xiàn)的東西，所以他們沒有自由發(fā)展其他的風(fēng)格或形式。海明威甚至不能與亨利·詹姆斯或其他任何人混淆，也不能與葉芝混淆。這些獨(dú)特的形式創(chuàng)造了他們，創(chuàng)造了他們。沒有一個(gè)藝術(shù)家或表演者能完全逃脫名聲的誘惑，也沒有得到無限欽佩和尊重的承諾，但必須付出沉重的代價(jià)。在每一個(gè)領(lǐng)域都有名人和忠誠(chéng)的粉絲，這是令人興奮的事情。一個(gè)表演者很容易就會(huì)相信自己和他的媒體一樣優(yōu)秀。但大多數(shù)人，大多數(shù)藝術(shù)家并不會(huì)名利雙收。那些失敗的表演者，或者失敗的人怎么辦？奇怪的是，失敗往往是對(duì)許多人的獎(jiǎng)賞。它能帶給那