新概念英语三册（新概念英语第三册音频）

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新概念英语第三册精选必背文章

《新概念英语》是我国引进外国教材比较成功的一种,尤其第三册(技能的培养)部分,句型集中,词汇丰富,用法新颖。下面是我带来的新概念英语第三册精选必背文章，欢迎阅读!

新概念英语第三册精选必背文章1

The process of ageing衰老过程

At the age of twelve years, the human body is at its most vigorous. It has yet to reach its full size and strength, and its owner his or her full intelligence; but at this age the likelihood of death is least. Earlier, we were infants and young children, and consequently more vulnerable; later, we shall undergo a progressive loss of our vigour and resistance which, though imperceptible at first, will finally become so steep that we can live no longer, however well we look after ourselves, and however well society, and our doctors, look after us. This decline in vigour with the passing of time is called ageing. It is one of the most unpleasant discoveries which we all make that we must decline in this way, that if we escape wars, accidents and diseases we shall eventually ‘die of old age’, and that this happens at a rate which differs little from person to person, so that there are heavy odds in favour of our dying between the ages of sixty-five and eighty. Some of us will die sooner, a few will live longer----on into a ninth or tenth decade. But the chances are against it, and there is a virtual limit on how long we can hope to remain alive, however lucky and robust we are.

Normal people tend to forget this process unless and until they are reminded of it. We are so familiar with the fact that man ages, that people have for years assumed that the process of losing vigour with time, of becoming more likely to die the older we get, was something self-evident, like the cooling of a hot kettle or the wearing-out of a pair of shoes. They have also assumed that all animals, and probably other organisms such as trees, or even the universe itself, must in the nature of things ‘wear out’. Most animals we commonly observe do in fact age as we do, if given the chance to live long enough; and mechanical systems like a wound watch, or the sun, do in fact run out of energy in accordance with the second law of thermodynamics (whether the whole universe does so is a moot point at present). But these are not analogous to what happens when man ages. A run-down watch is still a watch and can be rewound. An old watch, by contrast, becomes so worn and unreliable that it eventually is not worth mending. But a watch could never repair itself----it does not consist of living parts, only of metal, which wears away by friction. We could, at one time, repair ourselves----well enough, at least, to overcome all but the most instantly fatal illnesses and accidents. Between twelve and eighty years we gradually lose this power; an illness which at twelve would knock us over, at eighty can knock us out, and into our grave. If we could stay as vigorous as we are at twelve, it would take about 700 years for half of us to die, and another 700 for the survivors to be reduced by half again.

人体在12岁时是生命力最旺盛的时期。虽然在这个时期人的身材、体力和智力还有待发展和完善，但在这个年龄死亡的可能性最小。再早一些，我们是幼儿和小孩子，身体较脆弱;再迟一些，我们就要经历生命力和抵抗力逐步衰退的过程。虽然这个过程起初难以觉察，但最终会急转直下，不管我们怎样精心照料我们自己，不管社会和医生怎样对我们进行精心照顾，我们也无法再活下去了。生命力随时间的流失而衰退叫做衰老。人类发现的最不愉快的一个事实是：人必然会衰老。既使我们能避开战争、意外的事故和各种疾病，我们最终也会“老死”;衰老的速度在人与人之间相差甚微，我们最可能死亡的年龄在65至80岁之间，有些人会死得早一些，少数人寿命会长一些——活到八十几岁或九十几岁，但这种可能性很小。不管我们多么幸运，多么健壮，我们所希望的长寿实际上是有限度的。

衰老的过程，不经提起，正常人容易忘记;一经提醒，才会记起。我们对人总是要衰老的现象并不陌生，多年来就已认识到。生命力随着时间流失而丧失活力，人随着年龄的增长而接近死亡，这是不言而喻的，就像一壶热水迟早会凉下来，一双鞋渐渐会磨破一样。人们不但认识到所有的动物，大概也认识到所有的有机物，如树木，甚至宇宙本身，从事物的本质上来说都会“磨损掉”。我们通常看到的大多数动物，即使能让它们活得足够长久的话，也会像我们一样衰老的。像上紧发条的手表那样的机械装置，或太阳，也都会消耗完其能量(整个宇宙是否如此，目前尚有争论)。不过，这些衰老的情况同人并不相似。手表停了依然是只手表，还可以重上好发条。然而一只老掉牙的手表，磨损太厉害，老得一点儿也不准了，最终会不值得修理了。但是，手表决不会自行修理，它不是由有生命的部件组成，而是由金属组成，而金属可以随着磨擦而磨损殆尽。而我们人，在一定时间内是可以自行修复的，除了暴病而死或意外事故外，至少足以克服一切一般疾病和事故。在12岁至80岁之间，我们逐渐丧失这种能力。能使我们在12岁时病倒的疾病，到了80岁可能会使我们一蹶不振而进入坟墓。假如我们能保持12岁时的旺盛生命力，那么我们当中的一半人过700年才死去，剩下的一半人再过700年，才会又减少一半。

新概念英语第三册精选必背文章2

What every writer want作家之所需

I have known very few writers, but those I have known, and whom I respect, confess at once that they have little idea where they are going when they first set pen to paper. They have a character, perhaps two; they are in that condition of eager discomfort which passes for inspiration; all admit radical changes of destination once the journey has begun; one, to my certain knowledge, spent nine months on a novel about Kashmir, then reset the whole thing in the Scottish Highlands. I never heard of anyone making a ‘skeleton’, as we were taught at school. In the breaking and remaking, in the timing, interweaving, beginning afresh, the writer comes to discern things in his material which were not consciously in his mind when he began. This organic process, often leading to moments of extraordinary self-discovery, is of an indescribable fascination. A blurred image appears; he adds a brushstroke and another, and it is gone; but something was there, and he will not rest till he has captured it. Sometimes the yeast within a writer outlives a book he has written. I have heard of writers who read nothing but their own books; like adolescents they stand before the mirror, and still cannot fathom the exact outline of the vision before them. For the same reason, writers talk interminably about their own books, winkling out hidden meanings, super-imposing new ones, begging response from those around them. Of course a writer doing this is misunderstood: he might as well try to explain a crime or a love affair. He is also, incidentally, an unforgivable bore.

This temptation to cover the distance between himself and the reader, to study his image in the sight of those who do not know him, can be his undoing: he has begun to write to please.

A young English writer made the pertinent observation a year or two back that the talent goes into the first draft, and the art into the drafts that follow. For this reason also the writer, like any other artist, has no resting place, no crowd or movement in which he may take comfort, no judgment from outside which can replace the judgment from within. A writer makes order out of the anarchy of his heart; he submits himself to a more ruthless discipline than any critic dreamed of, and when he flirts with fame, he is taking time off from living with himself, from the search for what his world contains at its inmost point.

我所认识的作家寥寥无几，然而凡是我所认识和尊敬的作家，都立即承认在他们动笔时，不清楚要写什么，怎么写。他们心中有一个或两个角色。他们处于急切不安的状态，而这被当作是灵感。他们无不承认，一旦“旅程”开始，“目的地”常有急剧的变化。据我所知，有位作家花了9个月的时间写了一部有关克什米尔的小说，后来却把整个故事背景换成了苏格兰高地。我从未听说过任何一位作家像我们在学校学的那样，动笔前先列什么提纲。作家在剪裁修改、构思时间、穿插情节、以至从头重写的过程中，会领悟到素材中有很多东西是他刚动笔时所未意识到的。这种有机的加工过程往往达到不寻常自我发现的境界，具有难以言表的构思魅力。一个朦胧的形象出现在作家的脑海里，他左添一笔，右添一笔，形象反而消逝了;可是，好像还有什么东西存在着，不把它捕捉到，作家是不会罢休的。有时，一个作家一本书写完了，但兴奋仍不消散。我听说一些作家，除了自己的书外，别的书一概不读，犹如希腊神话中那位漂亮少年，站在镜前，不能辨认出自身的真面目。由于这个原因，作家喋喋不休地谈论自己的书，挖掘其隐晦的含义，增添新的含义，询问周围人的反应。作家如此行事当然会被人误解。他还不如给人讲一个犯罪案件或一个恋爱故事。顺便说一句，他也是个不可饶恕的令人厌烦的人。

这种企图消除自己和读者之间距离的作法，企图用不了解自己的人的观点来研究自己塑造的形象的作法，会导致作家的毁灭，因为他已经开始为取悦他人而写作了。

一两年前，一位年轻的英国作家发表了中肯的看法。他说，初稿是才华，以后各稿是艺术。也是由于这个原因，作家同任何艺术家一样，找不到可休息的场所，找不到伙伴和活动使自己得到安逸。任何局外人的判断也比不上他自己内心的正确判断。一旦作家从内心的紊乱中理出头绪，就应按任何评论家想像不到的无情规范约束自己去写作;当他沽名钓誉时，他就脱离了自我生活，脱离了对自己灵魂最深处世界的探索。

新概念英语第三册精选必背文章3

Patterns of culture 文化的模式

Custom has not commonly been regarded as a subject of any great moment. The inner workings of our own brains we feel to be uniquely worthy of investigation, but custom, we have a way of thinking, is behavior at its most commonplace. As a matter of fact, it is the other way around. Traditional custom, taken the world over, is a mass of detailed behavior more astonishing than what any one person can ever evolve in individual actions, no matter how aberrant. Yet that is a rather trivial aspect of the matter. The fact of first-rate importance is the predominant role that custom plays in experience and in belief, and the very great varieties it may manifest.

No man ever looks at the world with pristine eyes. He sees it edited by a definite set of customs and institutions and ways of thinking. Even in his philosophical probings he cannot go behind these stereotypes; his very concepts of the true and the false will still have reference to his particular traditional customs. John Dewey has said in all seriousness that the part played by custom in shaping the behavior of the individual, as against any way in which he can affect traditional custom, is as the proportion of the total vocabulary of his mother tongue against those words of his own baby talk that are taken up into the vernacular of his family. When one seriously studies the social orders that have had the opportunity to develop autonomously, the figure becomes no more than an exact and matter-of-fact observation. The life history of the individual is first and foremost an accommodation to the patterns and standards traditionally handed down in his community. From the moment of his birth, the customs into which he is born shape his experience and behavior. By the time he can talk, he is the little creature of his culture, and by the time he is grown and able to take part in its activities, its habits are his habits, its beliefs his beliefs, its impossibilities his impossibilities. Every child that is born into his group will share them with him, and no child born into one on the opposite side of the globe can ever achieve the thousandth part. There is no social problem it is more incumbent upon us to understand than this of the role of custom. Until we are intelligent as to its laws and varieties, the main complicating facts of human life must remain unintelligible.

The study of custom can be profitable only after certain preliminary propositions have been accepted, and some of these propositions have been violently opposed. In the first place, any scientific study requires that there be no preferential weighting of one or another of the items in the series it selects for its consideration. In all the less controversial fields, like the study of cacti or termites or the nature of nebulae, the necessary method of study is to group the relevant material and to take note of all possible variant forms and conditions. In this way, we have learned all that we know of the laws of astronomy, or of the habits of the social insects, let us say. It is only in the study of man himself that the major social sciences have substituted the study of one local variation, that of Western civilization.

Anthropology was by definition impossible, as long as these distinctions between ourselves and the primitive, ourselves and the barbarian, ourselves and the pagan, held sway over people's minds. It was necessary first to arrive at that degree of sophistication where we no longer set our own belief against our neighbor’s superstition. It was necessary to recognize that these institutions which are based on the same premises, let us say the supernatural, must be considered together, our own among the rest.

风俗一般未被认为是什么重要的课题。我们觉得，只有我们大脑内部的活动情况才值得研究，至于风俗呢，只是些司空见惯的行为而已。事实上，情况正好相反。从世界范围来看，传统风俗是由许多细节性的习惯行为组成，它比任何个人养成的行为都更加引人注目，不管个人行为多么异常。这只是问题的一个次要的侧面。最重要的是，风俗在实践中和信仰上所起的举足轻重的作用，以及它所表现出来的极其丰富多采的形式。

没有一个人是用纯洁而无偏见的眼光看待世界。人们所看到的是一个受特定的风俗习惯、制度和思想方式剪辑过的世界。甚至在哲学领域的探索中，人们也无法超越这些定型的框框。人们关于真与伪的概念依然和特定的传统风俗有关。约翰•杜威曾经非常严肃地指出：风俗在形成个人行为方面所起的作用和一个人对风俗的任何影响相比，就好像他本国语言的总词汇量和自己咿呀学语时他家庭所接纳的他的词汇量之比。当一个人认真地研究自发形成的社会秩序时，杜威的比喻就是他实事求是观察得来的形象化的说法。个人的生活史首先就是适应他的社团世代相传形成的生活方式和准则。从他呱呱坠地的时刻起，他所生于其中的风俗就开始塑造他的经历和行为规范。到他会说话时，他就是传统文化塑造的一个小孩子了;等他长大了，能做各种事了，他的社团的习惯就是他的习惯，他的社团的信仰就是他的信仰，他的社团不能做的事就是他不能做的事。每一个和他诞生在同一个社团中的孩子和他一样具有相同的风俗;而在地球的另一边，诞生在另一个社团的孩子与他就很少有相同的风俗。没有任何一个社会问题比得上风俗的作用问题更要求我们对它理解。直到我们理解了风俗的规律性和多样性，我们才能明白人类生活中主要的复杂现象。

只有在某些基本的主张被接受下来、同时有些主张被激烈反对时，对风俗的研究才是全面的，才会有收获。首先，任何科学研究都要求人们对可供考虑的诸多因素不能厚此薄彼，偏向某一方面。在一切争议较小的领域里，如对仙人掌、白蚁或星云性质的研究，应采取的研究方法是，把有关各方面的材料汇集起来，同时注意任何可能出现的异常情况和条件。例如，用这种方法，我们完全掌握了天文学的规律和昆虫群居的习性。只是在对人类自身的研究中，各主要的社会学科才用对一个局部地区各种情况的研究(如对西方文明的研究)来代替对全人类的研究。只要我们同原始人，我们同野蛮人，我们同异教徒之间存在的区别在人的思想中占主导地位，那么人类学按其定义来说就无法存在。我们首先需要达到这样一种成熟的程度：不用自己的信仰去反对我们邻居的迷信。必须认识到，这些建立在相同前提基础上的风俗，暂且可以说是超自然的东西，必须放在一起加以考虑，我们自己的风俗和其他民族的风俗都在其中。

新概念英语三册（新概念英语第三册音频）