剑桥雅思真题6
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剑桥雅思6 Test3阅读翻译PASSAGE 1 参考译文：
A The Lumiere Brothers opened their Cinematographe, at 14 Boulevard des Capucines in Paris, to 100 paying customers over 100 years ago, on December 8, 1895. Before the eyes of the stunned, thrilled audience, photographs came to life and moved across a flat screen.
A 一百多年前，在1895年12月8日，吕米埃兄弟在巴黎嘉布欣大道14号向100名买票人场的观众放映了他们制作的电影。在目瞪口呆、惊恐颤抖的观众面前，一张张照片活动起来并在平面的银幕上穿梭而过。
B So ordinary and routine has this become to us that it takes a determined leap of the imagination to grasp the impact of those first moving images. But it is worth trying, for to understand the initial shock of those images is to understand the extraordinary power and magic of cinema, the unique, hypnotic quality that has made film the most dynamic, effective art form of the 20th century.
B 看电影对于我们来说是司空见惯的事，所以要理解这些活动的画面最初产生的影响，想象力非得来次巨大的飞跃不可。然而这值得一试，因为理解了这些影像最初带来的震撼，就可以理解电影非同寻常的力量和魔力，理解为什么电影具有独特而迷人的品质。正是这种品质，使电影成为20世纪最具有活力和感染力的艺术形式。
C One of the Lumiere Brothers’ earliest films was a 30-second piece which showed a section of a railway platform flooded with sunshine. A train appears and heads straight for the camera. And that is all that happens. Yet the Russian director Andrei Tarkovsky, one of the greatest of all film artists, described the film as a ‘work of genius’. ‘As the train approached,’ wrote Tarkovsky, ‘panic started in the theatre: people jumped and ran away. That was the moment when cinema was born. The frightened audience could not accept that they were watching a mere picture. Pictures were still, only reality moved; this must, therefore, be reality. In their confusion, they feared that a real train was about to crush them.’
C 吕米埃兄弟的早期电影作品之一是一部30秒长的短片，表现了一段沐浴在阳光下的火车月台的场景。一辆火车出现了，并且直冲镜头开来。这就是电影的全部。然而，杰出的电影艺术家俄罗斯导演安德列·塔科夫斯基却称其为“天才之作”。他写道：“随着火车不断驶近，影院里呈现出一片慌恐的景象：人们跳离座位，四散而逃。就在这一刻，电影宣告诞生。恐惧的观众无法相信他们看到的仅仅是一幅图画。图画是静止的，只有现实中的事物才会运动;因此，这一定是现实。在疑惑迷茫之中，观众担心一列真正的火车将会把他们轧得粉身碎骨。”
D Early cinema audiences often experienced the same confusion. In time, the idea of film became familiar, the magic was accepted — but it never stopped being magic. Film has never lost its unique power to embrace its audiences and transport them to a different world. For Tarkovsky, the key to that magic was the way in which cinema created a dynamic image of the real flow of events. A still picture could only imply the existence of time, while time in a novel passed at the whim of the reader. But in cinema, the real, objective flow of time was captured.
D 早期的电影观众们经常会有同样的迷茫。随着时间的推移，电影这一概念为人们所熟知，电影的魔力也广为人们接受，但电影的魔力并没有因此而消失。电影不断地以其独特的力量去感染观众并将他们带人一个不同寻常的世界。对塔科夫斯基而言，魔力的关键在于电影所创造的表现方式是以动态的影像来反映真实事件的进展。静止的图画仅仅暗示了时间的存在，而小说中的时间则在读者的幻想中不断延伸。然而， 电影却捕捉了真实而客观的时间流动。
E One effect of this realism was to educate the world about itself. For cinema makes the world smaller. Long before people travelled to America or anywhere else, they knew what other places looked like; they knew how other people worked and lived. Overwhelmingly, the lives recorded — at least in film fiction — have been American. From the earliest days of the industry, Hollywood has dominated the world film market. American imagery — the cars, the cities, the cowboys — became the primary imagery of film. Film carried American life and values around the globe.
E 这种现实性的作用之一是使世界去了解自身。因为电影将世界缩小。早在人们到美国或其他地方旅行之前，他们就已经欣赏过目的地的风光，也领略过当地人的工作与生活方式。至少在虚构的电影世界中，记录的绝大多数是美国人的生活。从电影业发展初期至今，好莱坞一直占据着世界电影市场的统治地位。汽车、城市和牛仔这些美国形象已经成为电影中的主要形象。电影将美国人的生活方式和价值观念传播到了全世界。
F And, thanks to film, future generations will know the 20th century more intimately than any other period. We can only imagine what life was like in the 14th century or in classical Greece. But the life of the modern world has been recorded on film in massive, encyclopedic detail. We shall be known better than any preceding generations.
F同时，正是由于电影的帮助，相对于其他时代，我们的后代将对20世纪了解得更为清楚。对于14世纪或者古希腊的生活状况，我们只能想象。但现代世界的生活方式已经被电影事无巨细地大量记录下来。后人对我们这一代的了解将会比对任何前人的了解更加透彻。
G The ‘star’ was another natural consequence of cinema. The cinema star was effectively born in 1910. Film personalities have such an immediate presence that, inevitably, they become super-real. Because we watch them so closely and because everybody in the world seems to know who they are, they appear more real to us than we do ourselves. The star as magnified human self is one of cinema’s most strange and enduring legacies.
G“影星”是电影带来的另一个产物。实际上，影星这一概念出现于1910年。电影人物触手可及，这使他们必然显得无比真实。对于我们而言，影星们似乎比我们自身更为真实，因此我们可以如此近距离地观察他们，而县好像世界上的每个人都认识他们。作为人类自身的放大，影星是电影留下的最不可思议而又最持久的影响。
H Cinema has also given a new lease of life to the idea of the story. When the Lumiere Brothers and other pioneers began showing off this new invention, it was by no means obvious how it would be used. All that mattered at first was the wonder of movement. Indeed, some said that, once this novelty had worn off, cinema would fade away. It was no more than a passing gimmick, a fairground attraction.
H 电影也赋予小说故事新的生命。当吕米埃兄弟和其他先驱者初次展示电影这项新发明时，他们根本不淸楚该怎样应用它。最初重要的只是影像能活动。的确，有些人就断言，一旦新奇感消失，电影就会逐渐淡出人们的视线。它只不过是一种暂时流行的小玩意儿，或是露天市场上的“杂耍”而已。
I Cinema might, for example, have become primarily a documentary form. Or it might have developed like television — as a strange, noisy transfer of music, information and narrative. But what happened was that it became, overwhelmingly, a medium for telling stories. Originally these were conceived as short stories — early producers doubted the ability of audiences to concentrate for more than the length of a reel. Then, in 1912, an Italian 2-hour film was hugely successful, and Hollywood settled upon the novel-length narrative that remains the dominant cinematic convention of today.
I 例如，电影原本可能变成一种以纪录片为主的形式，或者可能像电视那样发展，成为传输音乐、信息和故事的怪异而喧闹的工具。然而，事实是，电影已经成为一种叙事的主要媒介。最初讲述的都是短小的故事，因为早期制作者们怀疑观众顶多只能集中精力去看完一卷胶片。后来，一部长达两个小时的意大利电影在1912年获得了巨大的成功，从此好莱坞电影就开始采用这种新的叙事长度。至今，这一形式依然在电影界保持着惯例式的统治地位。
J And it has all happened so quickly. Almost unbelievably, it is a mere 100 years since that train arrived and the audience screamed and fled, convinced by the dangerous reality of what they saw, and, perhaps, suddenly aware that the world could never be the same again — that, maybe, it could be better, brighter, more astonishing, more real than reality.
J 而这一切都发生得如此迅速。令人几乎难以置信的是，距离那辆火车到站时，观众们认为所看到的是危险的现实而尖叫不止、四散奔逃的景象，只不过一百年的时间。或许，人们意识到世界已经发生了彻底的改变，而且可能会变得比现实更加美好、光明、惊人和真实。
剑桥雅思6 Test3阅读翻译TEST 3 PASSAGE 2 参考译文：
Motivating Employees under Adverse Conditions
在逆境中激励员工挑战
THE CHALLENGE
It is a great deal easier to motivate employees in a growing organisation than a declining one. When organisations are expanding and adding personnel, promotional opportunities, pay rises, and the excitement of being associated with a dynamic organisation create feelings of optimism. Management is able to use the growth to entice and encourage employees. When an organisation is shrinking, the best and most mobile workers are prone to leave voluntarily. Unfortunately, they are the ones the organisation can least afford to lose — those with the highest skills and experience. The minor employees remain because their job options are limited.
挑战
在不断壮大的企业中激励员工要比在日益衰落的企业中容易得多。当企业扩大经营和增加员工人数时，晋升机会增多，薪酬提高，而且加人一家充满活力的企业所带来的振奋感也会产生乐观向上的情绪。 管理层能够利用企业的发展来吸引和鼓舞员工。当企业衰退时，流动性最强的优秀员工就会主动离开。不幸的是，这些才能出众、经验丰富的员工正是企业最不能失去的人才。表现平庸的员工坚持留下，因为可供他们选择的职位有限。
Morale also suffers during decline. People fear they may be the next to be made redundant. Productivity often suffers, as employees spend their time sharing rumours and providing one another with moral support rather than focusing on their jobs. For those whose jobs are secure, pay increases are rarely possible. Pay cuts, unheard of during times of growth, may even be imposed. The challenge to management is how to motivate employees under such retrenchment conditions. The ways of meeting this challenge can be broadly divided into six Key Points, which are outlined below.
员工的士气在企业衰退期也会下降。人们担心自己或许就是下一个被解雇的人。生产率通常有所下降，因为员工宁愿将时间花费在传播谣言和相互提供精神支持上，也不愿意专注于工作。对工作稳定的人而言，加薪几乎是不可能的。在企业发展时期闻所未闻的减薪，此时甚至也会强制实施。管理层所面对的挑战是如何在企业衰退期激励员工。迎接这一挑战的方法可以大致分为下列六个关键点。
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