現代大學英語閱讀2unit15
no trees or grass on the western end of the Denon Wing to cushion
㈡ 求現代大學英語閱讀教材2中一個作者叫Leslie Norris的資料
The old poet doesn't walk as well as he once did. At 83, his mind is keen to take in the world as always, but the legs aren't so willing. He heads out the door for his walk early each morning with his dog, Tansi, trotting at his feet. He walks only a few blocks near his home along the Orem river bottoms, and then on the return trip his legs begin to ache and he must stop and pretend to look at the trees until he recovers.
Stuart Johnson, Deseret Morning NewsLeslie Norris, with some of his works in front of him, sits in his study at his Orem home. Although retired, BYU has named Norris its poet in residence. This is a damnable thing for Leslie Norris. He has always been a walking man. He walks for pleasure and exercise, but mostly he walks to turn his keen eye on the world and see what it says to him. He walks to turn things over in his mind, from the mundane to the profound, hoping for the magic to happen again, a few scraps of words or a line or two that will start another poem.
He doesn't entirely understand the process himself; all he knows is that what he ruminates and observes while walking — the people he meets along the way, the river, the sunrise, the birds — are where the poetry begins. He needs walking the way a carpenter needs a hammer and wood, but the walks are growing shorter.
"It's terribly hard," his wife Kitty observes.
"So frustrating. He thinks best when his legs are moving. He believes to have an idea, it's got to come from something tangible, something he is a part of, something he sees."
Norris lives in the Utah suburbs, which seems a strange place for an internationally recognized poet, much less one who grew up in the lush Welsh countryside. Except in academia, he is little recognized in his adopted state and country, yet he is a poet of considerable renown across the sea and a favorite son and national treasure of Wales. It was a strange turn of events that took him out of a humble coal-mining town in Wales and plunked him down in the desert at Brigham Young University.
He has published some two dozen books of poetry, short stories and children's books. He has won honorary degrees. He was a candidate for poet laureate of England, which eventually went to Ted Hughes, the former husband of the late poet Sylvia Plath. He is the subject of at least two books and one video. He has done readings at some of the great festivals in the world and once served as poet in residence at Eton College. He has done almost everything in the literary world from teaching poetry at every level of school to doing a poetry reading in front of thousands in Westminster Abbey upon the presentation of Dylan Thomas' memorial stone in Poets' Corner.
Courtesy Leslie NorrisLeslie Norris, a renown poet, is seen here when he was 6 with his younger brother Eric, age 2. Ask Ken Brewer, poet laureate of Utah, to comment on Norris' standing in the literary community and he chuckles and stammers, as if this is the mbest question he ever heard because, well, doesn't everyone know?
"He's got to have the biggest literary reputation in the state," he begins. "He's an internationally known writer. He's certainly the major star in the state."
Norris officially retired from BYU a couple of years ago after heart surgery but only formally. BYU named him its poet in residence, essentially subsidizing his poetry while also utilizing him as a roving ambassador and tutor of poetry and literature. Who better for the job than the warm, humorous, mild-tempered man whose work is immediately accessible in a way many poets are not?
Author James Dickey once wrote that poets would kill for Norris' authenticity of voice. Jerry Johnston, a Deseret Morning News editorial writer and columnist and a personal friend of Norris, explains it this way: "He has one of the clearest voices, his own way of saying things. It's not a derivative of other poets or tradition. It's not putting on a front. He speaks as who he is. You recognize it as him. And he writes in a very authentic, measured, precise way that is very alive."
Brewer says simply, "Leslie is an absolutely immaculate writer. The craft is superb but hidden. It's like the substructure of a house. You see the exterior, but you don't see how well it's built. It's not intrusive."
The words and the music of his words came from his father George. He grew up a sensitive, observant, aware boy in a hardscrabble steel and coal town, Merthyr Tydfil, which was one valley over from the town that was the setting for the book, "How Green Was My Valley."
His father George was a tall, athletic man who missed his chance for ecation and professional training while fighting World War I. He worked as an engineer in the mines until a falling rock broke his back. "We would stick pins in his back and he would never feel them," recalls Norris.
Stuart Johnson, Deseret Morning NewsLeslie Norris and his wife, Kitty, walk their dog, Tansi. Norris says he gets most of his inspiration while walking. George was only 27 and the Depression was on. He took a job delivering milk seven days a week, 365 days a year, with no holidays. They were poor, but they were one of only a handful of families in the town who had employment.
George was innately intelligent in prep school — he won many of the academic prizes — and a voracious reader. Each night he would come home and immerse himself in a book. He committed hundreds of poems and parodies to memory, which he liked to recite while carrying Leslie on his tall shoulders "up in the clouds." As his father's official librarian, responsible for returning and checking out his father's books, Leslie became acquainted with literature and began reading at an early age.
"My father came home every day after work and read books," recalls Norris. "We could play around and make the most terrible din, and he never even seemed to hear us. . . . He was the only one who was allowed to read at the table. He'd eat a whole pie without knowing it. He'd say, 'Is there no pie today?' "
They were an academic and athletic family. George himself competed in track and field for money. Leslie became a fine soccer player who received offers to play professionally. He continued to play soccer and run track into his 30s. But his passion was his words.
Leslie was the boy resident poet of the Norris house. In the summer he liked to lie on his back in the grass with the feel of the earth against his back and the clouds scudding by overhead, plucking stalks of grass from their tubes and chewing on them. "I would look until I would demand to see the motes of the air," he says in the biographical video, "Crossing Borders." "I would look until it was not merely the clouds but the tiniest structures of the rim of the clouds."
He sat cross-legged on the short grass,
Intent, still, staring into a sky
Without clouds until he saw the world
Transformed into its motes,
the visible element
Of his meditation. — Excerpt from "A Blade of Grass"
Years later, Peter Makuck, a professor at East Carolina, would note of Norris, "He sees what he sees because he's ready, because he's always on ty, because he doesn't miss anything."
Courtesy Leslie NorrisLeslie Norris, seen above when he was a 28-year-old teacher at Grass Royal School in Yevil, England, poses with the school football (soccer) team, which he coached. That includes something as mundane as a wall. Norris had an epiphany at the age of 12. He was walking home alone one hot summer afternoon when he noticed the sandstone walls of the houses he was passing. As he tells it in "Crossing Borders," "I put my finger on the wall and it was rough and I could feel the indivial grains, and then I put my hand against the wall and little grains fell to the ground, tiny things, and I suddenly knew that my life was going to be the recognition of solid things like this and making relationships of the real world, of the material world, and that the only way to do that was to have the words that stood for stones and rocks and mountains, and that the rhythms would create the formation of such things, and I was going to do this all my life."
Norris was moved to write poetry even as a boy. "I thought everyone did that," he recalls. As a teen, he sometimes rode a bike 28 miles to a neighboring town just to sit at the foot of a handful of poets as they met in a small room above a bookstore. Among those poets: Dylan Thomas and Vernon Watkins. The older men drank beer and read their poems and discussed them while the kid, largely ignored, listened. They would go on all night, but eventually, Norris would retire to a tent he had set up on the edge of town and ride home the next morning.
Sitting at a picnic table on his back porch, Norris relaxes with Tansi asleep in his arms. He loves dogs. In his study, there are several dog trophies sharing shelf space with the hundreds of books that are lined up floor to ceiling. For years he showed fox and Welsh terriers and was a patron of dog and horse racing. He has written magazine articles about terriers. The local shelter called him when Tansi showed up.
Kitty, his wife, keeps coming out to check on him. "Are you all right, love?" she says in her tiny voice. This is how they talk to each other. She brings cookies and coffee and juice on a tray and sets them on the table. "Thank you, love," he says.
He is such an innately kind, pleasant man that a poet once teasingly chewed him out for not being the stereotypical brooding poet. How could he consider himself a poet, after all, if he was so even-tempered?
"The thing about him is that he is just a wonderful human being," says Brewer. "That doesn't always go together."
Kitty says he is frequently singing and whistling around the house. But she notes that he is always thinking, always keeping his senses open for his art. She knows this well. It has been just the two of them. They have no children. They have been married for 56 years.
Hudson tells us of them,
the two migrating geese,
she hurt in the wing
indomitably walking
the length of a continent,
and he wheeling above
calling his distress. — Excerpt from "Hudson's Geese"
"It's a useless craft really," he is saying. He is talking about poetry of course. "You don't make any money. But it's a great craft. You create worlds. The Scottish word for poet is 'maker.' So is the Greek word."
Courtesy Leslie NorrisLeslie Norris' father, George Norris, is seen with Leslie's younger brother Gordon and their dog. George worked as an engineer in the mines until a falling rock broke his back. But there is that matter of money. Even poets have to eat. He became a teacher to earn a living and discovered he had a passion for it and was sidetracked by it. He published his first book of poetry at 20; he published a second book two years later. And then he didn't publish another book for 15 years.
"I was a very naive kid," he explains, stroking his dog absentmindedly. "I thought you published your poems, then you die when you're 30. And when I hadn't died, I thought, well, you're not a poet, are you?"
He immersed himself in teaching school and virtually left his poetry behind. He prepared his lessons and spent all day in classes ring the week. On Saturdays he coached a soccer team and on Sunday he played soccer himself. "Life was good," he says. Eventually, his renown as a teacher earned him a series of promotions, to principal, then to the university level and finally to the university administration at South Hampton Institute of Ecation. By then he was earning a good salary, but he wasn't teaching and he wasn't writing much and he was unhappy.
"I didn't whistle, I didn't sing, I was going to die," he says. So he quit and for a year, "I didn't make a cent." He wrote children's programs for the BBC for a while, but eventually he returned to his poetry.
"I had to make a choice: Am I an ecator or a poet?" he recalls.
He began writing more while also accepting poetry reading engagements and teaching university courses. He worked ring the week and on weekends retired to a farm he kept in Wales, where he could do his writing.
He accepted an invitation to teach summer term at the University of Washington and discovered he liked it. He did this for several years in the '70s. One of his doctoral students had connections at BYU, and one thing led to another. He was invited to give public readings and lectures for two weeks at BYU. In 1983, at the age of 61, he was asked to teach at BYU for six months. He wound up staying two decades.
For seventy hardening
seasons I've watched
the stopping of waterfalls.
some of the time
I knew and perhaps
understood how water
changed in winter,
what happened to molecules,
how the structures
of elements could petrify
In a night from bounding liquid to
an obrate smoothness.
Not any longer.
All that's confusing now.
I am content to
watch the world turn cold
with its old grace. — Excerpt from "Bridal Veil Falls, Early Winter"
"I'd never heard of Provo," he says. "I had never seen anything like that. The snow was dirty by the roads. There was not a bit of green. Kitty said to me, 'Do you think you can make it for six weeks?' But there it is. We've been here all these years. Although it is a beautiful place, it is mainly because of the people we are here. They have been very welcoming. I don't think there was another gentile on the staff when I came."
Stuart Johnson, Deseret Morning NewsPoet Leslie Norris holds his Welch Terrier, Tansi, while he shows off some of the trophies he has won. Years later, they sold their house in Sussex when they realized they were here to stay.
"The students were very much a revelation to me," he says. "They are able and hardworking. There was no tension as there was in some universities at that time. If I made an assignment, it would be done. It was a pleasure for me to go to school. What I taught in my classes was more intense than I had taught previously. Some of it had been part of my doctoral classes."
"We've never had to worry about money because of BYU," says Kitty. "It subsidizes Leslie's poetry. It's been wonderful. Without BYU, I don't know what would have happened."
In "Crossing Borders," Guy Lebeda of the Utah Arts Council says of Norris, "He perceives more of the experiences of life. He has antenna for receiving information that you and I don't have. He's living the most intense life that I know of."
Norris, who was held spellbound by the mere touch of a sandstone wall and the clouds rolling overhead, still has his antenna up and working. Once he was out in the yard when he heard a small boy next door talking to his dog. "There are three things I want you to remember," the boy told the dog. Norris rushed over to the fence to hear what the boy would say. From that experience came a children's book, "Albert and the Angels."
Ask Norris about the creative process and this is what he says: "I think I do most of my work walking about. I let my mind go. Most of my work is waiting really. I wait for the poem to come in and be ready and welcome it. But I train for it. I study every day."
His study consists of reading. These days he favors Yeats, Wordsworth, Henry Vaughn. "He reads for pleasure what other people read for penance," says Kitty. "It's not accessible to most people, but nothing's inaccessible to Leslie."
He used to write daily, although he claims much of his work was tossed in the garbage bin at the end of the day. Kitty would come in to the office later and read through the stuff, and, if Norris is to be believed, threw it back in the bin.
These days he writes most of the poem in his head and lets "the image breed. Then I get a couple of lines and come home as quickly as I can and write. Sometimes it's gone. If they are really strong signals, the thing will come back strong. Now I'm getting signals from parts of the poem I have not gotten to yet. I'll write them on the side. I'm getting all the images. Then I get the last one when I know I'm not going to get anymore. Now is the time of labor."
As a teenager, he sent his poems to Watkins, a poet he admired. After one of the bookstore meetings, Watkins took Norris aside and told him he didn't work hard enough on his poems. As Norris recalls it in "Crossing Borders," Watkins told him, "You really just scribble them down and you never look at them and read them properly. Put them in a drawer for six weeks and preferably for six months and take them out and those that are dead throw them out and those that have a spark of life, work and work and work and work until there is nothing more you can do with them. And then if there is not a mark of that work, if the poem seems to be completely spontaneous . . . then you've got a poem."
Courtesy Leslie NorrisLeslie Norris is seen when he was 19 years old and in the Royal Air Force. At first Norris thought the advice was ridiculous, but it later took hold. He views the time of laboring over his poetry on paper, in long hand, with a certain reverence.
"I am seeing the world more clearly," he says. "I come back and polish it, making it smaller and smaller. It's also incredibly oral and highly musical. I can hear the pattern of it. Sometimes I forget the words but remember the tune."
There are times when he works straight through meals or notices that he has changed into his pajamas and can't remember doing so. When he is finished he reads the work aloud to himself. Once a cop saw him walking on a road at 2 a.m. with a sandwich in one hand and his latest poem in the other, reciting it out loud to himself. "What are you doing?" the cop asked.
Pointing to the brick wall of his house, Norris says, "I like a poem to be like that wall, linked hard, with each word so important that it couldn't stand without it."
After a day's work he reads his poem, then takes it to Kitty. "Is this any good. Is it worth going on with?"
Ask Kitty what Norris is like when he feels a poem coming in, she says, "Horrid. He is a sweet man. He's always about the house singing. But when the poem is on the way, he is a bear. He's grumpy. I don't think he tastes dinner. But I'm glad because of what's on the way."
The process of polishing, as Watkins once urged, never really ends for Norris. "Even when I am doing a reading," he says, "I'll think you were wrong there. I can see a weak word."
After eight decades of writing, he still marvels at the process of it all. "The poem is the total mystery," he says. "You don't know what's going to start it. If someone asks me to write a poem about something, I can do it, but it's not really a poem. The gift doesn't exist if you make it up. I have to be given these poems. I think they're floating about somewhere. My job, my ty really, is to receive them and make them as clear as I can. . . . I'm sure there are a finite number of poems in the world."
"Time," he concludes, "will decide if it's any good, or if it's even a poem at all."
"Still," he adds, "I don't really know what makes them poems, you know."
He is collecting the Christmas poems he has written annually for friends at the request of an English composer who wants to put them to music. He is doing some work for BYU. "And I am waiting for other poems to come to me," he says.
"It's an astonishing life," he says ring a quiet moment. "It doesn't seem like a career. Whatever I have done, I have devoted it to poetry."
㈢ 現代大學英語閱讀2課文翻譯
Tell you about a failure when I was a teacher. It was January 1940, shortly after I graated from graate school, I began my first semester of teaching at Kansas City University. A tall, thin, hairy beancurd like student walked into my classroom, sat down, put his arms across his chest, looked at me as if he was saying, "OK, teach me something."
給你們講講我剛當老師時候的一次失敗經歷吧。那是1940年的1月，我從研究生院畢業不久，在堪薩斯城大學開始第一學期的教學工作。一個瘦高，長得就像頂.上有毛的豆角架-樣的男學生走進我的課堂，坐下，雙臂交叉放在胸前，看著我，好像在說:好吧，教我一些東西。」
Two weeks later, we began to learn Hamlet. Three weeks later, he walked into my office with his hands on his hips. "Look," he said, "I'm here to study as a pharmacist. Why do I have to read this? "Because he didn't take his own book with him, he pointed to my book on the table.
兩周後我們開始學習《哈姆雷特》。三周後他雙手叉腰走進我的辦公室，「看， 」他說，「 我來這是學習當葯劑師的。我為什麼必須讀這個?」由於沒有隨身帶著自己的書，他就指著桌子上放著的我的那本。
Although I'm a new teacher, I could have told this guy a lot. I could have pointed out that he was admitted not to a pharmaceutical technician training school but to a university, and that he should have graated with a Bachelor of Science degree rather than a "qualified Grinder".
雖然我是位新老師，我本來可以告訴這個傢伙許多事情的。我本來可以指出，他考入的不是制葯技工培訓學校而是大學，而且他在畢業時，應該得到一張寫有理學學士而不是「合格的磨葯工」的學位證書。
This certificate will prove that he majored in pharmaceutics, but it can further prove that he has been exposed to some ideas in the history of human development. In other words, he went to a university instead of a skill training school, where students need both training and ecation.
這證書會證明他專修過葯劑學，但它還能進一-步證明他曾經接觸過一些人類發展史上產生的思想。換句話說，他上的不是技能培訓學校而是大學，在大學里學生既要得到培訓又要接受教育。
I could have told him all this, but it's clear that he won't stay for a long time and it's useless to say it. But since I was young and responsible at the time, I tried to put it this way: "for the rest of your life," I said, "on average about 24 hours a day.
我本來可以把這些話都告訴他，但是很明顯，他不會待很長時間，說了也沒用。但是，由於我當時很年輕而且責任感也很強，我盡量把我的意思這樣表達出來:「在你的餘生中,」我說，「平均每天24小時左右。
When you are in love, you will think it is a little short. When you are lovelorn, you will think it is a little long. But on average, it stays the same 24 hours a day. For the remaining eight hours or so, you will be asleep.
談戀愛時，你會覺得它有點短，失戀時，你會覺得它有點長。但平均每天24小時會保持不變。在其餘的大約8個小時的時間里，你會處於睡眠狀態。
(3)現代大學英語閱讀2unit15擴展閱讀
這部分內容主要介紹的是賓語補足語的知識點：
在英語中有些及物動詞，接了賓語意義仍不完整，還需要有一個其他的句子成分，來補充說明賓語的意義、狀態等，簡稱賓補。賓語和它的補足語構成復合賓語。而復合賓語的第一部分通常由名詞或代詞充當，第二部分表示第一部分的名詞或代詞發出的動作或身份、特徵等，稱為賓語補足語，簡稱賓補。
句子中的the desk是賓語。一般來說，一個句子由「主謂賓」結構組成——也即是說，上面這個句子如果是I'm going to paint the desk. 也是完全正確的。（我 主語） （塗色 謂語） （桌子 賓語）主謂賓結構最簡單的例子，就是「我愛你」。一個句子只要像「我愛你」這句話一樣有主謂賓就是正確的。
那為什麼the desk後面還要加一個pink呢？因為我想補充說明我想把桌子塗成什麼樣的。我將要做的不只是要塗桌子，而是把桌子塗成粉紅色。「pink」 是句子中的賓語補足語，pink闡述了the desk的狀態，讓句子意思更加完整。
「pink」是形容詞做賓語補足語。能夠充當賓補的還有：不定式，現在分詞，過去分詞，副詞，介賓短語。一般情況下，賓補通常緊跟在賓語之後。
㈣ 有誰能夠提供現代大學英語閱讀3的翻譯
字型大小：大 中 小 Unit7 ○1我們的校運動會將在下星期六舉行 Our school』s sports meet is e next Saturday。 2由於不斷有水災和旱災，那個地區的農業一直很不穩定 Due to repeated floods and droughts, the farming in that area has been unstable. 3她突然發現他們的房租第二天就到期了 She suddenly found that their rent would be e the next day. 4最後他們經過核實，發現那個朝正北方飛的東西是天鵝 Finally，they identified the objet flying e north as swans. 5很多人認為經過一定時間後，中國的農民就能在國際市場上成功地和別人競爭 Many people believe that in e course Chinese farmers will compete with others in international market successfully. 6請原諒我的冒昧，我並不認為我們應該採取等著瞧的政策 With e respect, I don』t believe that we should adopt a wait and see policy. 7根據該協議，兩個國家應該互相通報重大的軍事行動 According to the agreement, the two countries should inform each other of major military actions. 8因為在他得到潛艇已經沉沒的通知時沒有立即採取措施，他為此受到批評 He was criticized for not taking immediate actions after he was informed of the sinking of the submarine. 9諸葛亮雖然一直住在小草房裡，但他的消息非常靈通 Although he had lived in a small hut, Zhu Geliang was well informed. 10在文革的時候，人們不但被鼓勵，而且被強迫互相告發 During the Culture Revolution, people were not only encouraged but also forced to inform on each other. 11在那時候，學者們強烈地勸我們保護城牆。但我們沒有足夠的遠見去採納他們的建議 At that time, scholars strongly advised us to protect the city walls, but we were not far-sighted enough to adopt their suggestions. 12瞧他愛媽媽的樣子，你永遠猜不到他是領養的 To see how he loved his mother, you could never guess he was adopted. 13這本古典小說描寫了宋朝一批人，他們像羅賓漢一樣劫富濟貧 This classical novel depicts a group of people in the Song Dynasty, who robbed the rich to help the poor like Robin hood. 14他們搶走了她的所有東西，然後把她從車里扔了出去 They robbed her of everything and then threw her out of the car. 15永遠不要伸手拿不屬於你的東西，不然，你遲早會被抓住 Never reach out for things that don』t belong to you, otherwise, you』ll be caught sooner or later. 16我的目標是建立一個富裕，自由和公正的社會。但是我們不付出痛苦的代價是達不到這個目的的 Our goal is to build a rich, free and just society. But without pain and suffering, we will not realize it. 17我做了一個可怕的夢。我夢見我在拚命追一個我想要的東西，但總是夠不著 I had a terrible dream in which I ran after something I wanted, but it was always beyond my reach. 18那時候曹操相信最後勝利已唾手可得，他不知道一場慘敗正等著他 CaoCao believed that final victory was within his easy reach, but he didn』t know that a terrible defeat was waiting for him.
㈤ 現代大學英語閱讀1第二版的前十二課課文的大致內容加中心思想
The Selfish Giant (by Oscar Wilde)
The Sheik's White Donkey
I Met a Bushman
Never Too Old to Live Your Dream (by Dan Clark)
Your Legacey (by Tony D'Angelo)
The Unicorn in the Garden (by James Thurber)
The New Assistant
The Killers (by Ernest Hemingway)
The Painting of Ngley Hall(by M.R.James)
The Green Door (by O.Henry)
The Yellow Shirt (by Darline Anderson)
The Open Window (by H.H.Muntro/Saki)
自私的巨人（奧斯卡王爾德）
教長的白驢
我遇到一位布希曼
從來沒有太老了，住你的夢（作者Dan克拉克）
您Legacey（托尼安吉洛）
獨角獸（詹姆斯瑟伯的花園）
新助理
殺手（由海明威）
這幅畫（由M.河詹姆斯Ngley廳）
綠門（由歐亨利）
黃襯衫（由Darline安德森）
在打開的窗口（由H.H.Muntro /扎基）
㈥ 現代大學英語閱讀2的A new millennium的主旨
xperience becomes ours, and
㈦ 現代大學英語精讀2課文翻譯
第一單元
我最初聽到這個故事是在印度，那兒的人們今天講起它來仍好像實有其事似的——盡管任何一位博物學家都知道這不可能是真的。後來有人告訴我，在第一次世界大戰之後不久就出現在一本雜志上。但登在雜志上的那篇故事, 以及寫那篇故事的人，我卻一直未能找到。故事發生在印度。某殖民官員和他的夫人舉行盛行的晚宴。跟他們一起就座的客人有——軍官和他人的夫人，另外還有一位來訪的美國博物學家——筵席設在他們家寬敞的餐室里，室內大理石地板上沒有鋪地毯；屋頂明椽裸露；寬大的玻璃門外便是陽台。席間，一位年輕的女士同一位少校展開了熱烈的討論。年輕的女士認為，婦女已經有所進步，不再像過去那樣一見到老鼠就嚇得跳到椅子上；少校則不以為然。「女人一遇到危急情況，」少校說，反應便是尖叫。而男人雖然也可能想叫，但比起女人來，自製力卻略勝一籌。這多出來的一點自製力正是真正起作用的東西。」那個美國人沒有參加這場爭論，他只是注視著在座的其他客人。在他這樣觀察時，他發現女主人的臉上顯出一種奇異的表情。她兩眼盯著正前方，臉部肌肉在微微抽搐。她向站在座椅後面的印度男僕做了個手勢，對他耳語了幾句。男僕兩眼睜得大大的，迅速地離開了餐室。在座的客人中，除了那位美國人以外論證也沒有注意到這一幕，也沒有看到那個男僕把一碗牛奶放在緊靠門邊的陽台上。那個美國人突然醒悟過來。在印度，碗中的牛奶只有一個意思——引蛇的誘餌。他意識到餐室里一定有條眼鏡蛇。他意識到餐室里一定有條眼鏡蛇。他抬頭看了看屋頂上的椽子——那是最可能有蛇藏身的地方——但那上面空盪盪的。室內的三個角落裡也是空的，而在第四個角落裡，僕人們正在等著下一道菜。這樣，剩下的就只有一個地方了餐桌下面。他首先想到的是往後一跳，並向其他人發警告。但他知道這樣會引起騷亂，致使眼鏡索受驚咬人。於是他很快講了一通話，其語氣非常威嚴，竟使所有的人安靜了下來。我想了解一下在座的諸位到底有多大的剋制能力，我數三百下——也就五分鍾——你們誰都不許動一動。動者將罰款五十盧比。准備好！」在他數數的過程中，那20個人像一尊尊石雕一樣端坐在那兒。當他數到「……280……」時，突然從眼然處看到那條眼鏡蛇鑽了出來，向那碗牛奶爬去。在他跳起來把通往陽台的門全都砰砰地牢牢關上時，室內響起了一片尖叫聲。「你剛才說得很對，少校！」男主人大聲說。一個男子剛剛為我們顯示了從容不迫、鎮定自若的範例。」「且慢」，那位美國人一邊說著一邊轉向女主人。溫茲太太，你怎麼知道那條眼鏡蛇是在屋子裡呢？」女主人的臉上閃現出一絲淡淡的微笑，回答說：「因為它當時正從我的腳背上爬過去。」
第二單元
傑斐遜很久以前就死了，但是我們仍然對他的一些思想很感興趣,傑斐遜的箴言, 布魯斯.布利文、托馬斯.傑斐遜美國第三任總統，也許不像喬治.華盛頓和亞伯拉罕.林肯那樣著名，但大多數人至少記得有關他的一件事實：《獨立宣言》是他起草的。
雖然傑斐遜生活在二百多年以前，但我們今天仍可以從他身上學到很多東西。他的許多思想對當代青年特別有意義。下面就是他講過和寫到過的一些觀點：
自己去看。傑斐遜認為，一個自由的人除了從書本中獲取知識外，還可以從許多別的來源獲得知識；親自做調查是很重要的。當他還年輕的時候，他就被任命為一個委員會的成員，去調查詹姆斯河南部支流的水深是否可以通行大型船隻。委員會的其他成員都坐在州議會大廈內，研究有關這一問題的文件，而傑斐遜卻跳進一隻獨木舟去做現場觀測。
你可以向任何人學習。按出身及其所受的教育，傑斐遜均屬於最高的社會階層。然而很少跟出身卑賤的人說話的年代，在那個貴人們除了發號施令以外。傑斐遜卻想盡辦法跟園丁、僕人和侍者交談。有一次傑斐遜曾這樣對法國貴族拉斐特說：你必須像我那樣到平民百性的家裡去，看看他們的燒飯鍋，吃吃他們的麵包。只要你肯這樣做，你就會發現老百姓為什麼會不滿意，你就會理解正在威脅著法國的革命。」
自已作判斷。未經過認真的思考，傑斐遜絕不接受別人的意見。「不要相信它或拒絕它。」他在給侄子的信中寫道，「因為別的人相信或拒絕了什麼東西。上帝賜予你一個用來判斷真理和謬誤的頭腦。那你就運用它吧。」
傑斐遜覺得人民是「完全可以依賴的，應該讓它們聽到一切真實和虛偽的東西，然後作出正確的判斷。倘使讓我來決定，我們是應該有一個政府而不要報紙呢，還是應該有報紙而不要政府，我會豪不猶豫地選擇後者。」
做你認為是正確的事。在一個自由的國家裡總會有各種相互沖突的思想，而這正是力量的源泉。使自由保持活力的是沖突而不是絕對的一致。雖然有好多年傑斐遜一直受到激烈的批評，但他從不回答那些批評他的人。他在想寫給一位朋友的信中表達他自己的觀點：「每個問題都有兩面。如果你堅持站在一面，根據它有效地採取行動，那麼，站在另一面的那些人當然會對你的行動怨恨不滿。」
相信未來，相信青年。傑斐遜認為，絕不可以用那些已經無用的習俗來束縛住「現在」的手腳。「沒有哪個社會，」他說，「可以制訂一部永遠適用的憲法，甚至連一條永遠適用的法律也制訂不出來。地球是屬於活著的一代的。他不害怕新的思想，也不害怕未來。「有多少痛苦，」他評論說，「是有一些從未發生的災難引起的啊！我期待的是最好的東西，而不是最壞的東西。我滿懷希望地駕駛著自已的航船，我滿懷希望地駕駛著自已的航船，而把恐懼拋在後面。」
傑斐遜的勇氣和理想主義是以知識為基礎的。他懂得的東西也許比同時代的任何人都要多。在農業、考古學和醫學方面他都是專家。在人人普遍採用農作物輪作和土壤保持的作法以前一個世紀，他就這樣做了。他還發明了一種比當時任何一種都好的耕犁。他影響了整個美國的建築業，他還不斷地製造出各種器械的裝置，使日常生活中需要做的許多工作變得更加容易。
在傑斐遜的眾多才能中，有一種是最主要的：他首先是一位優秀的、不知疲倦的作家。他的全集，目前正在第一次出版的，將超過五十卷。他作為一個作家的才能很快便被發現了，所以，當1776年在費城要撰寫《獨立宣言》的時刻來到時，這一任務便落在了他的肩上。數以百萬計的人們讀到他寫的下列詞句都激動不已：我們認為這些真理是不言而喻的；一切人生來就是平等的……」
傑斐遜在1826年7月4日與世長辭，正值美國獨立五十周年紀念日之際，他給他的同胞留下了一份豐富的思想遺產和眾多的榜樣。托馬斯 傑斐遜對美國的教育事業作出了巨大的貢獻，他認為，只有受過教育的人民組成的國家才能保持自由。
第三單元
進入大學之前，盡力去攢一些錢。作者申請了一個教書職業。但是面試變得越來越糟。我的第一份工作, 在我等著進大學期間，我在一份地方報紙上看到一張廣告，說是在倫敦某郊區有所學樣要招聘一名教師. 離我住處大約十英里, 我因為手頭很拮據，同時也想干點有用的事，於是便提出了申請，在提出申請的同時我也擔心，自己一無學位，二無教學經驗，得到這份工作的可能性是微乎其微的。
然而，三天之後，卻來了一封信，叫我到克羅伊頓去面試。這上路去那兒原來還真麻煩：先乘火車到克羅伊頓車站，再乘十分鍾公共汽車，然後還要步行至少四分之一英里。結果，我在六月一個炎熱的上午到了那兒，因為心情非常沮喪，竟不感到緊張了。
學校是一座裝著大窗戶了紅磚房子。前庭園是個鋪著礫的正方形：四個角上各有一叢冬青灌木，它們經受著從繁忙的大街一吹來的塵煙，掙扎著活下去。
開門的顯然是校長本人。他又矮又胖，留著沙色的小鬍子，前額上布滿皺紋，頭發差不多已經禿光。
他帶著一種吃驚的、不以為然的神態看著我，就像一位上校看著一名沒系好靴帶的二等兵一樣。「哦，」他咕噥著說。「你最好到裡面來。」那狹窄的，不見陽光的走廊里散發出一股腐爛的捲心菜味，聞上去很不舒服；牆上墨跡斑斑，顯行很臟，周圍一片靜寂。他的書房，從地毯上的麵包屑來判斷，也是他的餐室。「你最好坐下，」他說，接著便問了我許多問題：為了得到普通學校證書我學過哪些課程；我多大歲數了；我會玩些什麼游戲；問到這里他突然用他那雙充滿血絲的眼睛盯住我，問我是否認為游戲是兒童教育的一個極為重要的組成部分。我含含糊糊地說了些不必太重視游戲之類的話。他咕噥了幾句。我說了錯話。我和校長顯然沒有多少共同語言。
他說，學校只有一個班，二十四名男生，年齡從七歲到十三風不等，除了美術課他親自教以外，其餘所有的課程都得由我來教。星期三和星期六的下午要到一英里以外的公園去踢足球、打板球。
整個教學計劃把我嚇壞了。我得把全班學生分成三個組，按三種不同的程度輪流給他們上課；想到要教代數和幾何這兩門我在讀書時學得極差的科目，我感到很害怕。更糟糕的也許是星期六下午打板球的安排，因為這時候我的朋友大都會在悠閑地自得其樂。
我羞羞答答地問，「我的薪水是多少？」「每周十二鎊外加中飯。」還沒等我來得及提出異議，他已經站了起來。「好了，」他說，「你最好見見我的妻子。她才是這所學校真正的主管人。」
我再也無法忍受了。我當時很年輕，想到將在一個女人手下幹活，就覺得是最大的侮辱。
第四單元
教授和游游- -
在一個年輕的朋友的眼裡，愛因斯坦是一個樸素、謙虛而普通的人。
作者：托馬斯?李?巴基與約瑟夫?布蘭克
我的父親是阿爾伯特?愛因斯坦的親密朋友。做為一個靦腆的年輕的來訪者來到愛因斯坦的家裡時，我感到舒適，因為愛因斯坦說，"我有東西要給你看。"他走到他的桌前返回來時帶著一個游游。他試圖給我看它是怎樣工作的但他沒有辦法讓它的線繞回去。當該我來玩時，我展示我的一點技巧並向他指出繞得不正確的線使這個玩具失去了平衡。愛因斯坦點頭，並對我的技術與知識留下了印象。後來，我買了一個新的游游做為聖誕節禮物寄給教授，我收到一首答謝詩。
做為一個小孩和做為一個成人，我一直都想了解身為名人的愛因斯坦。他是我認識的所有的這樣的人中的一個，他承認他自身的有限性並與他周圍的世界和平相處。他知道他想要的是什麼並且他想要的僅僅是這個：理解在他做為一個人的限度之內宇宙的特性和在它的作用中的邏輯與簡單性。他知道在他的智力所能達到的地方之外有答案。但這不能使他沮喪。他要盡自己的可能來努力。
在我們的23年的友誼里，我從未看到他顯示出嫉妒、空虛、痛苦、生氣、怨恨，或者個人的野心。他顯得不受這些強烈情緒的影響。他超越了一切虛榮。雖然他與這個世界上最著名的人們中的一些人通信，但他的信箋只有一個水印的符號——W——是伍爾沃思連鎖店的標記。
做工作時他只需要一隻鉛筆和一張紙。物質的事情對於他意味著什麼也不存在。我從不知道他帶錢因為他從不用錢。他信奉樸素，如此之深以至於他僅僅使用安全剃須刀沾水剃鬍須。當我建議他試用剃須膏時，他說，"這把剃須刀與水一起就可以了。"
"但教授，你為什麼不試一次這種膏呢？"我爭辯道。"它使遞須更平滑更少疼痛。"
他聳聳肩。最後，我送給他一管遞須膏。第二天早晨當他下樓來吃早餐時，他正因為一個新的大的發現而快樂。"你知道，那膏真正有效，"他宣布說。"它沒有扯胡須。感覺很棒。"於是，他每天早晨使用這種遞須膏直到這管用空為止。然後他又恢復使用平常的水。
愛因斯坦是一位純粹而完全的理論家。他對於自己的思想與理論的實際運用一點兒興趣也沒有。他的E=mc(c平方)恰是歷史上最為著名的方程式——愛因斯坦也不會走到街上來看看反應堆製造原子能。他由於自己的光電學理論贏得了諾貝爾獎，在這個理論中有他在重要性上相互考慮得更少的一系列方程式，但他沒有任何好奇心去觀察他的理論如何使電視成為可能。
我的兄弟曾經送給教授一個玩具鳥，這只鳥站在一碗水的邊緣並重復地將頭浸入水中。愛因斯坦高興地注視它，試圖找出操作的原理。但他不能做到。
第二天早晨他宣布，"在我上床前我考慮那隻鳥比較長的時間，我想它是這樣工作的......"他開始了一次長的解釋。然後他停住了，領悟到他的理論中有一個缺陷。"不，我猜想不會是這樣，"他說。他推斷各種理論達幾天直到我建議我們將玩具拆開看看它是怎樣工作的。他的迅速的不贊成的表情告訴我他不同意這種實踐方法。他從沒有說清這個原理。
另一個讓愛因斯坦困惑的是他的名聲。他已經創造了如此深奧並讓少數相關的科學家興奮的理論。但他的名字在文明世界家喻戶曉。"我有好的主意，其他人也有，"他曾經說。"但它是我的幸運因為我的觀點被接受了。"他讓自己的名聲弄糊塗了：人們想要見他；陌生人在街上凝視他；科學家，政治家，學生，和家庭婦女寫信給他。他從不能理解為什麼他得到了這種關注，為什麼他就像某種特別的事物一樣突出。
第六單元
一名外科大夫的成功之道-作者：諾蘭博士
一位著名的外科大夫告訴說，在他的經歷中自信是重要的。
一名醫生是怎樣看待他成為一名外科大夫那一刻的？當我做為一名住院醫生的歲月即將結束時我不止一次地這樣問自己。
這個答案，我判斷，是自信。當你能對自己說，"沒有外科病人我不能熟練治療，就像其他外科大夫治療的一樣好甚至比他們還要好"——那麼，一直到這時候，你才確實是一名外科大夫。我正在期待著這一刻。
例如，我們幾乎每天夜晚都要遇到緊急狀態。這一年開頭的幾個月我害怕電話鈴聲響起。我知道它意味著另一次批評的機會被製造。經常，當我告訴瓦特或勞瑞在一個特殊的情形下做什麼之後，我很難再入睡了。我回想這件事的全部事實，不是少有的，想知道我是否已經做了一個糟糕的決定。不止一次在凌晨2點至3點，我醒著躺在床上一個小時，就起床，穿上衣服並驅車到醫院看望我的病人。這是我能夠找到的讓心靈平靜並松馳下來的惟一途徑。
現在，在我的住院實習的最後一個月，睡覺不再是一個問題。依然有我不能確定我的決定是否正確的情形，但我已經了解到一名外科大夫存在的經常的問題，他從來不能夠完全能解決——並且我能夠與它同在。於是，我做出了一個深思熟慮的決定，我不再想這事。回想將是無助的並且我知道憑我的知識與能力，我所做出的決定是正確的。這是一種很不錯的感覺。
在手術室里，我通常是自信的。我知道我有知識、技術，和在以往實踐中遭遇到的緊急情形的把握能力。沒有更多的緊張當我切開一個腹部或一個胸腔時。我知道即使這個病例不能夠預見前進中的問題，但我能夠把握住我發現的什麼。我出的汗流過戳傷的肺、刺穿的胃和粉碎性骨折的我的部分。我已經流汗淌過這些部位有5年了。我不需要出更多的汗。
現在我也不害怕出錯。當我結束實習期後我知道自己不可避免地要出一次又一次錯，並且為不需要做手術的人做了手術或者忽視了某人的這種情形。5年前——甚至一年前——我還不能夠單獨地為自己判斷上出現的錯誤負責任。現在我能夠。我仍然害怕出錯——我會盡量做得好一些以避免它——但我知道它們是一名外科大夫生命中的一部分。我能夠鎮靜地接受這個事實因為我知道我是不能夠避免錯誤的，別的外科大夫也難以避免。
這些話聽起來挺自負的並且我猜它是如此——但一個外科大夫需要良好的自我感覺。他需要它鼓勵他在努力的這一刻當他困惑於醫療過程中常有的懷疑與不確定時。他不得不感覺他與世界上其他所有的外科大夫一樣好甚至還要強。稱之為自負——稱它為自信；無論它是什麼，我擁用它。
第七單元
人們認為埃塞爾?阿姆斯特德準是瘋了，竟然敢去面對那些在她房子外面販賣毒品的年輕人。但埃塞爾已忍無可忍。她鼓足勇氣，走出去跟那幫人談話。下面就是所發生的故事。
離開我這個街區 琳恩?羅塞利尼
埃塞爾?阿姆斯特德一下子就喜歡上了那棟灰色的聯房。房子里多出了一間卧室，還有一個很大的後院，可以讓她的小外孫和外孫女在那兒玩耍。那個大理石的門廊將是夏天夜晚坐著乘涼的理想場所。
但搬進來後的第一個晚上，當阿姆斯特德下班回到家時，她卻發現有一幫樣子很兇的人坐在她家門前的台階上。
她大吃一驚，說道：「請原諒，我住在這兒。」那一幫七個年輕人不情願地站了起來，用冷酷無情的目光盯著她看。一走進去，阿姆斯特德就鎖上門，從窗口往外看。她吃驚地發現那幾個年輕人已經又坐在了她家的台階上。
在以後的幾個星期里，阿姆斯特德了解到她那棟房子過去長期空關時，曾被一些毒品販子用來在前面台階下面藏過毒品。當川流不息的車輛和行人經過時，毒品販子就在門廊上做生意。吸毒成癮的人就在房子後面的小路上注射毒品，並在後院里隨地撒尿。
阿姆斯特德對佔用她家前門的那些人不抱任何幻想。在東巴爾的摩那個充滿犯罪與暴力的奧利弗地區居住的十年間，幾乎每個晚上，她躺在床上都能聽到毒品戰激烈進行時的槍擊聲。但是，（在）這棟房子，有毒品販子經常出沒於她的門廊卻是最糟糕的。
有時候她一天要報警好幾次，懇請警察把這些毒品販子驅散。但警車一旦在街角消失，那些毒品販子們又會陸陸續續地回來。
作為一個50多歲、子女已經長大成人的母親，阿姆斯特德從未想像過要進行這場戰斗。但這並不是她第一次奮起應付突如其來的挑戰了。在20世紀90年代中期，當她自己的女兒染上毒癮，她的小外孫和外孫女需要人領養時，阿姆斯特德就把那三個男孩和一個女孩領來照管了。
2000年9月的一個夜晚，在她遷入新居後大約一個月的時候，阿姆斯特德向上帝祈禱：「明天我要跟那些傢伙談一談。請幫助我。」
第二天，她直接找到那幫人的頭，一個身穿牛仔褲、白色T恤衫的年輕人。阿姆斯特德的五臟六腑在翻滾，但她知道她絕不能露出恐懼的樣子。
「這里是我的地方，」她平靜而溫和地說，臉上一直掛著裝出來的微笑。「我本不需要在進自己家時還要說一聲『請原諒』。」
她對那個年輕人說，她不希望他和他的朋友們再當著她小外孫和外孫女的面販賣毒品。他們必須離開她的住宅，離開隔壁空關的住宅，離開那個街角。</Para>
那人一聲不響。阿姆斯特德的心已跳到喉嚨口。隨後那人點了點頭。那伙人離開了。但過了幾天，他們又回來了。阿姆斯特德把她的要求重說了一遍。第二天、第三天又重說了一遍。
隨後，一件有趣的事情發生了。那伙人開始聽話了。他們轉移到了下一個街區。冬天來了，他們把她房前路上的積雪掃干凈，她生病的時候，他們還來看望她。不久，他們就開始喊她「大媽」了。
她的外孫、外孫女們現在可以在街上打球了。有時候，那些年輕人也和他們一起玩。如果哪個孩子跟外婆頂嘴，某個年輕人就會說：「你不可以這樣講話。她是你外婆!」</Para>
阿姆斯特德不停地「嘀咕」，警告他們輕易得來的錢有危險。「你們會被殺頭的！」她對他們說。「還是干點正經事吧！」
人們對她說，她跟那幫惡棍這樣講話真是太蠢了。尤其是在僅僅五個街區外另一個表明自己立場的大媽被殺之後。這個大媽叫安吉拉?道森。她隻身與另一夥毒品販子進行了一場戰斗——結果失敗了。道森家的房子被人放火燒了，安吉拉、她的丈夫卡內爾和他們的五個孩子都死了，這一悲劇成了震驚全國的新聞。鄰近地區內的一名男子受到指控。阿姆斯特德不認識安吉拉?道森，但她認識她的孩子。在這場致死的大火後，她更加當心了——但她並沒有停止。
而且她不僅僅限於談話。她一直是社區組織巴爾的摩發展領導才能聯合會（BUILD）的推動力。他們一起把毒品販子從一塊空地上趕走，在那裡建了一個兒童游樂場。他們在學校里開辦了一項放學後的校內活動，讓孩子們不要到街上去。他們促使市裡和當地的教堂加快了重建棄房的步伐。
不久前，阿姆斯特德偶然碰見了過去常在她門前台階上盪來盪去的那伙人中的一個。「嗨，大媽！」那人大喊了一聲，一邊緊緊地擁抱著她。他告訴她，他已經找到一份工作，接著又說：「我真要謝謝你當年給我們嘀咕的那些話。」
阿姆斯特德對她產生的影響很是謙虛。她只是說：「知道自己那番話至少說服了一個年輕人，這就讓我很開心了。」
第八單元
以往考慮過考試中的做弊嗎？當然沒有。但一些學生並不那麼誠實...
誠實：它將離開時尚？- 作者：斯泰茜婭?羅賓斯
按照最近的一次民意測驗，61%的美國高中學生承認在考試時至少做弊一次。它被爭論如此一個反饋並不意味著多少。畢竟，最多的學生已經面對窺視鄰近考試卷的誘惑。並且學生幾乎不能自主地判斷如此的行為。不管怎樣，有其他的顯示高中做弊行為可能是在上升。
越來越多的州要求學生通過能力測試為了接收他們的高中文憑。許多教育者擔心在州測試的習慣中的一個增長將導致做弊行為的相應增長。一個適合的例子是紐約州的學生受到犯有輕罪的指控，即擁用並出售州董事考試的高級拷貝。
做弊現在被認為是大專院校的主要問題。幾名教授說他們已經放棄了傳統的答題紙的需求因為許多學生購買事先寫好的答題紙，並且他們不能搜尋到更多的做弊者。
這個國家的大專院校已經決定不只是光談論學生做弊的上升還要採取行動。例如，邁阿密大學的心理學系發動了一場停止做弊形成的運動。當409名學生列隊離開他們的考場時，他們發現除了一個以外所有的出口都被鎖住了。監考人要求每個學生出示一張附有照片的ID卡。那些說將ID卡留在宿舍或家裡的學生被拍了面部照片。這個運動的目的是要抓那些來為別人考試的"替考人"學生。
邁阿密大學的大多數學生贊成這個運動。這所大學的報紙社論說，"像警察逮捕違法超速駕駛者一樣，這個目的不是要抓每一個人而是能夠概括這個詞的人。"
我們經常聽到"過去的好時代"的話，那裡美國人更好，更幸福，更誠實。但是他們更誠實嗎？也許是吧，長時間以前生活是很不同於今天的樣子的。
學校的孩子習慣於知道亞伯拉罕?林肯怎樣走了5公里返還一便士因為他對一位顧客要價高了些。這是我們知道的像神話一樣好的故事。但在林肯的情形中，這個故事是真實的......不像喬治?華盛頓與櫻桃樹的故事那樣。華盛頓的第一位傳記作者杜撰了喬治對他父親說，"我不能告訴一個謊話，我要用斧頭來對待它。"的故事。在這兩個故事中什麼是重要的，不論如何，誠實被看做美國人個性的重要部分。
這些只是許多故事之外的兩個故事。在上個世紀里的學生通常不讀"娛樂"故事。他們閱讀講有關道德價值的故事。這些故事相當清晰地指出說謊、欺騙或偷竊的孩子的結局都是糟糕的。
父母可能會進一步鼓勵這些價值。要想知道是困難的。我們知道孩子不聽他們的父母談論在稅收上欺騙政府——沒有任何東西。
關於為什麼過去時代的美國人更誠實的一個線索就是亞伯拉罕?林肯的故事。林肯認識他的顧客。他們都生活在一個小鎮子里。大超市裡的結帳員會返還錢給一名顧客？它是更少有可能性。就其他方面而言，在一家夫妻經營的小店裡過夜的客人會偷毛巾？它是更少有可能性。
可能這告訴我們人們需要相互知道是最誠實的。
美國人的絕大部分仍然相信誠實是一個美國人個性的重要部分。因為這一點，有大量的監督委員會分散在社會的各個層面。比起過去的歲月最近幾年在學校、商業和政府中的不誠實現象顯得更多，但這也可能是因為我們在揭露不誠實行為方面做得更好。
有證據表明不誠實會時高時落。當時代是困難的時偷盜和欺騙事件會上升。當時代變得更好如此事件會趨於下降。
學校中的做弊也呈現出或高或落。但它並不顯示出與經濟有關。
許多教育者感到當學生獲得自信對於自己的能力，他們是更少會做弊。奇怪的是，一些防止做弊的努力實際上在鼓勵做弊——一個人可能會感到"他們怎麼也不信任我，"並且試圖"沖擊這個制度"。不信任會被傳染。但，信任也能夠傳染！
㈧ 求 現代大學英語精讀第二版 課後練習答案 網盤資源
《現代大學英語精讀第二版》網路網盤txt 最新全集下載
鏈接: https://pan..com/s/1FS-SDCGl4_K_6ltS75U-DQ
一、寫作和翻譯(含Part 1寫作和Part 6翻譯)(佔20%)，滿分為142分； 二、閱讀理解(含Part 2快速閱讀理解和Part 4仔細閱讀理解)(佔35%)，滿分為249分； 三、聽力(含Part 3,包括長、短對話聽力理解和短文聽力理解與聽寫)(佔35%)，滿分為249分； 四、綜合填空