2018年10月自考英语二真题|2018年10月自考英语（二）阅读强化辅导【5-8】

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【篇一】

Black Holes

　　What is a black hole? Well, it's difficult to answer this question, since the terms we would normally use to describe a scientific phenomenon are inadequate here.

　　Astronomers and scientists think that a black hole is a region of space (not a thing) into which matter has fallen and from which nothing can escape - not even light.

　　So we can't see a black hole. A black hole exerts a strong gravitational pull and yet it has no matter. It is only space - or so we think. How can this happen?

　　The theory is that some stars explode when their density increases to a particular point; they collapse and sometimes a supernova occurs. From earth, a supernova looks like a very bright light in the sky which shines even in the daytime. Supernovae were reported by astronomers in the seventeenth and eighteenth centuries.

　　Some people think that the Star of Bethlehem could have been a supernova. The collapse of a star may produce a White Dwarf or neutron star - a star, whose matter is so dense that it continually shrinks by the force of its own gravity. But if the star is very large (much bigger than our sun) this process of shrinking may be so intense that a black hole results. Imagine the earth reduced to the size of a marble, but still having the same mass and a stronger gravitational pull, and you have some idea of the force of a black hole. Any matter near the black hole is sucked in. It is impossible to say what happens inside a black hole. Scientists have called the boundary area around the hole the "event horizon." We know nothing about events which happen once objects pass this boundary. But in theory, matter must behave very differently inside the hole.

　　For example, if a man fell into a black hole, he would think that he reached the center of it very quickly. However an observer at the event horizon would think that the man never reached the center at all. Our space and time laws don't seem to apply to objects in the area of a black hole. Einstein's relativity theory is the only one which can explain such phenomena. Einstein claimed that matter and energy are interchangeable, so that there is no "absolute" time and space. There are no constants at all, and measurements of time and space depend on the position of the observer. They are relative. We do not yet fully understand the implications of the relativity theory; but it is interesting that Einstein's theory provided a basis for the idea of black holes before astronomers started to find some evidence for their existence. It is only recently that astronomers have begun specific research into black hole. In august 1977, a satellite was launched to gather data about the 10 million black holes which are thought to be in the Milky Way. And astronomers are planning a new observatory to study the individual exploding stars believed to be black holes.

　　The most convincing evidence of black holes comes from research into binary star systems. Binary stars, as their name suggests, are twin stars whose position in space affects each other. In some binary systems, astronomers have shown that there is an invisible companion star, a "partner" to the one which we can see in the sky. Matter from the one which we can see is being pulled towards the companion star.

　　Could this invisible star, which exerts such a great force, be a black hole? Astronomers have evidence of a few other stars too, which might have black holes as companions.

　　The story of black holes is just beginning. Speculations about them are endless. There might be a massive black hole at the center of our galaxy swallowing up stars at a very rapid rate. Mankind may one day meet this fate. On the other hand, scientists have suggested that very advanced technology could one day make use of the energy of black holes for mankind. These speculations sound like science fiction. But the theory of black holes in space is accepted by many serious scientists and astronomers. They show us a world which operates in a totally different way from our own and they question our most basic experience of space and time.

　　黑洞

　　什么是黑洞呢?这个问题很难回答，因为我们通常用来描述一种科学现象的术语用在这里来解释是不够的。

　　天文学家和科学家们认为黑洞是个空间区域，物体会掉进去，而没有物体能从中逃逸出来――即使是光也不能，所以我们看不到黑洞。黑洞产生很强的引力，而它却没有物质。它只是空间――或者我们认为是空间。这是怎样发生的呢?

　　理论是一些星球的密度增长到特定的时刻就会爆炸。它们崩溃时会产生超新星。在地球上看去，超新星就像天空中非常耀眼的灯，即使在白天也能看到其闪光。在17、18世纪，天文学家就有关于超新星的记录，一些人认为圣诞星可能是一颗超新星。一颗星崩溃可能产生吸引力，你就了解黑洞的力量。黑洞附近任何物质都会被吸进去，根本不可能说出黑洞里面发生了什么。科学家们把这个洞的边缘区域称为"事界"。一旦物体经过这个边界，我们对所发生的事一无所知。

　　但是在理论上，在黑洞里的物质的运动肯定与洞外有很大区别。例如：如果一个人掉进黑洞，他会认为自己很快就达到了其核心，但在"事界"的观察者则认为这个人根本不会到达黑洞的核心。我们的时空规律看起来不适于黑洞里的物体。爱因斯坦的相对论是可以解释这种现象的理论。爱因斯坦声称物质和能量是可以互相转化的，因此就没有绝对的时间和空间，根本不存在永恒，时间和空间的衡量取决于观测者所在的位置，它们是相对的。我们还没有完全理解相对论的含义，但有意思的是，在天文学家的着手发现黑洞的存在证据之前，爱因斯坦就提供了黑洞这种想法的基础。只是近来科学家才开始对黑洞的具体研究。1977年8月，发射了一颗卫星去收集关于被认为是在银河系的一千万个黑洞的数据。天文学家正在计划一个新的天文台以研究个别的正在爆炸的被相信要变为黑洞的星球。

　　黑洞最有说服力的证据来自对双星系的研究。双星，正如它们的名字所表明的，是两颗在空间位置上互相影响的星球。在一些双星系里，天文学家已经表示这里有一颗看不到的伴星，即我们可以在天空中看到的一颗星球的伙伴。来自我们的看到的星球的物质正被吸引到伴星去。这颗产生如此巨大力量的看不见的星球会是黑洞吗?天文学家还有其他一些星球的证据，这些星球可能与黑洞相伴。

　　对黑洞的研究刚刚开始，各种推测会层出不穷。在我们银河系的中心很可能存在着一个巨大的黑洞正以极快的速度吞食着星球。人类有一天也会面临被吞食的命运。而科学家提出，有一天高科技利用轩洞的能量为人类服务。这些设想听起来像科幻小说，但空间中黑洞的理论被许多严谨的科学家和天文学家接受。他们向我们展示了一个以完全不同于我们理解的方式运行的世界，并对我们最基本的时空经验提出了疑问。

【篇二】

Worlds within Worlds

　　First of all let us consider the earth (that is to say, the world) as a planet revolving round the sun. The earth is one of mine planets which move in orbit round the sun. These nine planets, together with the sun, make up what is called our solar system. How this wonderful system started and what kept it working with such wonderful accuracy is largely a mystery but astronomers tell us that it is only one of millions of similar systems is space, and one of the smallest.

　　The stars which we see glittering in the sky on a dark and cloudless night are almost certainly the suns of other solar systems more or less like our own, but they are so far away in space that it is unlikely that we shall ever get to know very much about them. About our own solar system, however, we are learning more every day.

　　Before the American and Russian astronauts made their thrilling journeys into outer space it was difficult for us to realise what our earth looked like from hundreds of thousands of miles away, but the photographs which the astronauts were able to take show us the earth in space looking not very different from what the moon looks like when we look at it from the earth. The earth is, however, very different from the moon, which the American astronauts have found to be without life or vegetation, whereas our earth is very much alive in every respect. The moon, by the way , is called a satellite because it goes round our earth as well as round the sun. In other words, it goes round the sun with our earth.

　　The surface of our earth is covered by masses of land and larger areas of water. Let us consider the water areas first. The total water area is about three times as large as the land area. The very large separate areas of water are called "oceans" and the lesser areas are called "seas."

　　In most of the oceans and seas some of the water is found to be flowing in a particular direction - that is to say, from one part towards another part of the ocean or sea concerned. The water which is flowing in this manner is said to be moving as a "current." There are many thousands of currents in the waters of the oceans and seas, but only certain of the stronger and better marked currents are specially named and or great importance. These currents are important because they affect the climate of the land areas close to where they flow and also because they carry large quantities of microscopic animal and vegetable life which forms a large part of the food for fishes.

　　The nature and characteristics of the surface of the land areas of the earth vary a great deal from area to area and from place to place. The surface of some areas consists largely of high mountains and deep valleys whilst, in other areas, most of the surface consists of plains. If one made a journey over the Continents one would find every kind of surface including mountain ranges, plains, plateaux, deserts, tropical forestlands and empty areas covered permanently by ice and snow.

　　When thinking and learning about the world we should not forget that our world is the home of a very great many different people - peoples with different coloured skins, living very different lives and having very different ideas about a great many important things such as religion, government, education and social behaviour.

　　The circumstances under which different people live make a great difference between the way in which they live and the way in which we live, and it ought to be our business to try to understand those different circumstances so that we can better understand people of other lands. Above all, we should avoid deciding what we think about people different from ourselves without first having learned a great deal about them and the kind of lives they have to live. It is true to say that the more we learn about other people, the better we understand their ideas and, as a rule, the better we like those people themselves.

　　世界中的世界

　　首先让我们把地球看作是围绕太阳运行的一颗行星。地球是沿轨道围绕太阳运行的九大行星之一。这九大行星和太阳一起组成了所谓的我们的太阳系。这个奇妙的星系是怎样开始的，什么使它保持精确地运行，这是一个很大的迷。但是天文学家告诉我们太阳系只是太空里几百万个相似的星系中的一个而且是最小的一个。

　　在漆黑的夜空，我们看到的闪烁的星星几乎肯定是其他太阳系中有些类似我们星系中的恒星。但是它们在太空中距离我们如此遥远以至于我们不可能对其了解太多。

　　然而对于我们的太阳系，每天我们都会了解到更多东西。在美国和俄罗斯宇航员进行激动人心的太空旅行之前，我们很难认识到从数十万英里以外的地方看地球会是什么样子。但是宇航员们能够拍到的照片为我们展示出在太空中地球看上去和我们在地球上看到的月亮没有什么大的不同。然而，地球和月亮确有很大不同，这就是美国宇航员所发现的月球上没有生命和植物。而我们地球的各个地方都有生机。顺便说一下，月亮被称为卫星，是因为它围绕着我们地地球盍同时围绕太阳运转。换句话说，随着地球围绕太阳运行。

　　我们地球表面覆盖着一块块的陆地和更大面积的水域。让我们首先考虑一下水域，其总面积大约是陆地面积的三倍。很大的隔开的水域称为"洋"，小一些的水域称为"海"。

　　在大部分海洋里，人们发现一些水是沿着特有的方向流动---这就是说，从海洋的一个区域流向另一区域以这种方式流动的水叫做"海流"。在海洋的水域里有成千上万条海流，但只有几条较强和较显著的海流被专门命名。这些海流的重要，是因为它们影响着流经水域的陆地的气候，并携带大量的微生物、植物，而这些却是鱼类的大部分食品。

　　地球不同区域的陆地表面自然特征区别很大。一些区域的地表由大量的高山和深谷组成，而其他区域，大部分地表却由平原组成。如果一个人做一次大陆旅行，他会发现各种各样的地貌，包括山区、平原、高原、沙漠、热带雨林和永久性冰雪覆盖的空旷无人区。

　　当我们想象和了解这个世界时，我们不应忘记我们的世界是许多不同种类人居住的家园--他们有不同的肤色，过着极不相同的生活，对诸如宗教、政府、教育和社交行为等许多重要事情持有极为不同的观点。不同民族的生活环境造就了他们和我们极为不同的生活方式，我们应该做的是努力了解他们不同的生活环境以便更好地理解其他地区的人们。在没有对他们及他们必须过的那种生活有相当多的认识前，我们应当避免对他们有先入为主的看法。确实我们了解别人越多，我们越能理解他们的观点，通常我们就会更喜欢那些人。

【篇三】

The New Music

　　The new music was built out of materials already in existence: blues, rock'n'roll, folk music. But although the forms remained, something completely new and original was made out of these older elements - more original, perhaps, than even the new musicians themselves yet realize. The transformation took place in 1966-1967. Up to that time, the blues had been an essentially black medium.

　　Rock'n'roll, a blues derivative, was rhythmic dance music. Folk music, old and modern, was popular among college students. The three forms remained musically and culturally distinct, and even as late as 1965, none of them were expressing any radically new states of consciousness.

　　Blues expressed black soul; rock was the beat of youthful energy; and folk music expressed anti-war sentiments as well as love and hope.

　　In 1966-1967 there was spontaneous transformation. In the United States, it originated with youthful rock groups playing in San Francisco. In England, it was led by the Beatles, who were already established as an extremely fine and highly individual rock group.

　　What happened, as well as it can be put into words, was this. First, the separate musical traditions were brought together. Bob Dylan and the Jefferson Airplane played folk rock, folk ideas with a rock beat.

　　White rock groups began experimenting with the blues. Of course, white musicians had always played the blues, but essentially as imitators of the Negro style; now it began to be the white bands' own music. And all of the groups moved towards a broader eclecticism and synthesis.

　　They freely took over elements from jazz, from American country music, and as time went on from even more diverse sources. What developed was a music readily taking on various forms and capable of an almost limitless range of expression.

　　The second thing that happened was that all the musical groups began using the full range of electric instruments and the technology of electronic amplifiers. The electric guitar was an old instrument, but the new electronic effects were altogether different - so different that a new listener in 1967 might well feel that there had never been may sounds like that in the world before. Electronics did, in fact, make possible sounds that no instrument up to that time could produce. And in studio recordings, new techniques made possible effects that not even an electronic band could produce live.

　　Electronic amplifiers also made possible a fantastic increase in volume, the music becoming as loud and penetrating as the human ear could stand, and thereby achieving a "total" effect, so that instead of an audience of passive listeners, there were now audiences of total participants, feeling the music in all of their senses and all of bones.

　　Third, the music becomes a multi-media experience; a port of a total environment. The walls of the ballrooms were covered with changing patterns of light, the beginning of the new art of the light show. And the audience did not sit, it danced. With records at home, listeners imitated these lighting effects as best they could, and heightened the whole experience by using drugs. Often music was played out of doors, where nature provided the environment.

　　新音乐

　　新音乐的素材来源于布鲁斯、摇滚和民间音乐，虽然保存了它们的形式，但从这些较早的音乐中却产生了一些全新而富有创意的东西--也许比新的音乐家所意识到的还有创意。这种变化发生于1966-1967年间，这之前布鲁斯一直是黑人音乐的基本表现形式。

　　摇滚衍生于布鲁斯，是一种很有节奏的舞蹈音乐。而民间音乐，不论古老的还是现代的，都很受大学生们的喜爱。这三种形式一直保留着音乐和文化上和特色，甚至到了1965年，他们中也没有一种形式表达一些全新的意识形态。

　　布鲁斯表达黑人的情感;摇滚是青春活力的跳动;而民间音乐表现爱、希望以及反战情绪。

　　1966-1967年这些音乐形势自然而然地发生了变化。这一变化在美国起始于旧金山演出的青年摇滚乐队，在英国则由甲壳虫乐队，他们当时已经成立了非常不错、极有个性的摇滚组合。当时所发生的一切尽可能诉诸文字如下。

　　首先那些独立的音乐传统融合起来。鲍勃迪伦和杰菲逊飞机乐队演奏的民间摇滚将民歌的歌词配上了摇滚节奏。白人摇滚乐队也开始尝试布鲁斯。其实白人音乐家一直都在严奏布鲁斯，不过基本是模仿黑人的风范的折衷与融合。他们随意的从爵士乐、乡村音乐中吸取养分，随着时间的推移甚至从更多来源中各取所需，很快一种形式各异的极具有表现力的音乐形成了。

　　其次所有的音乐组合都开始使用全套电子乐器和电子扩间技术。吉他是旧式乐器，但是新的电子效果却完全不同，在1967年第一次听到它的人恐怕会感觉到以前世界上从来没有像这样的音响。电子技术确实制造出了此前乐器无法发出的各种声响。在录音室录音，新的技术能做出连电子乐队现场都演奏不出的效果。电子放大器也可以使音量大到极至，音乐显得洪亮而有穿透力，震耳欲聋，因而达到一种彻底的效果，使得听众不再是被动的接受者，而是完全地投入，用整个身心去感受音乐。

　　第三，音乐成为一种多媒体的感受、整个环境中的一部分。舞厅的墙上闪烁着变幻莫测的灯光。这是新的灯光艺术的开始。观众不是正襟危坐，而是跳动不已。家中有唱片的人会模仿那些灯光效果，并使用实物来加强整体的感觉。音乐还往往以大自然为背景室外演奏。

【篇四】

Different Types of Composers

　　I can see three different types of composers in musical history, each of whom creates music in a somewhat different fashion.

　　The type that has fired public imagination most is that of the spontaneously inspired composer - the Franz Schubert type, in other words. All composers are inspired, of course, but this type is more spontaneously inspired. Music simply wells out of him. He can't get it down on paper fast enough. You can almost tell this type of composer by his fruitful output. In certain months, Schubert wrote a song a day. Hugo Wolf did the same.

　　In a sense, men of this kind begin not so much with a musical theme as with a completed composition. They invariably work best in the shorter forms. It is much easier to improvise a song than it is to improvise a symphony. It isn't easy to be inspired in that spontaneous way for long periods at a stretch. Even Schubert was more successful in handling the shorter forms of music. The spontaneously inspired man is only one type of composer, with this own limitations.

　　Beethoven belongs to the second type - the constructive type, one might call it. This type serves as an example of my theory of the creative process in music better than any other, because in this case the composer really does begin with a musical theme. In Beethoven's case there is no doubt about it, for we have the notebooks in which he put the themes down. We can see from his notebooks how he worked over his themes - how he would not let them be until they were as perfect as he could make them. Beethoven was not a spontaneously inspired composer in the

　　Schubert sense at all. He was the type that begins with a theme; makes it a preliminary idea; and upon that composes a musical work, day after day, in painstaking fashion. Most composers since Beethoven's day belong to this second type.

　　The third type of composer I can only call, for lack of a better name, the traditionalist type. Men like Palestrina and Bach belong in this category.

　　They both are characteristic of the kind of composer who is born in a particular period of musical history, when a certain musical style is about to reach its fullest development. It is a question at such a time of creating music in a well-known and accepted style and doing it in a way that is better than anyone has done it before you.

　　The traditionalist type of composer begins with a pattern rather than with a theme. The creative act with Palestrina is not the thematic conception so much as the personal treatment of a well-established pattern. And even Bach, who composed forty-eight of the most various and inspired themes in his Well Tempered Clavichord, knew in advance the general formal mold that they were to fill. It goes without saying that we are not living in a traditionalist period nowadays.

　　One might add, for the sake of completeness, a fourth type of composer - the pioneer type: men like Gesualdo in the seventeenth century,

　　Moussorgsky and Berlioz in the nineteenth, Debussy and Edgar Varese in the twentieth. It is difficult to summarize the composing methods of so diversified a group. One can safely say that their approach to composition is the opposite of the traditionalist type.

　　They clearly oppose conventional solutions of musical problems. In many ways, their attitude is experimental - they seek to add new harmonies, new sonorities, new formal principles. The pioneer type was the characteristic one at the turn of the seventeenth century and also at the beginning of the twentieth century, but it is much less evident today.

　　不同类型的音乐家

　　我发现音乐有三种不同类型的作曲家，他们各自创作的方式有不同。最能激发公众想象力的是自发式灵感型即弗朗兹·舒伯特型。当然所有的作曲家都需要灵感，但这一类型的更具自发的灵感，音乐简直就是喷涌而出，多得来不及记录，通过他们多产的作品你几乎可以一下就认出他们。有几个月舒伯特几乎谱成一曲，伍尔夫·雨果也是如此。

　　从一定意义上说，这类作曲家不是从一个主题开始而是从一部完整的作品一气呵成。他们总是擅长短形式的作品。即兴创作一支歌曲比即兴创作一部交响曲要简单得多。要长时间连续不断的获得自发的灵感不容易，就是舒伯特也是短形式的音乐方面更为成功。自发式灵感型人只是作曲家的一种，他有他自己的局限。

　　贝多芬属于第二类--可以称之为建设型。和其他类型相比，这类作曲家更适合我的音乐创作过程理论的例证，因为对这类作曲家来说，他们的确是从音乐主题开始创作的。以贝多芬为例这一点毋庸质疑，因为我们有他记下音乐主题的笔记本。我们可以从他的笔记本看出他是如何在主题上下功夫的--曲不完美誓不休。从舒伯特的意义上说，贝多芬绝对不是灵感自发型的作曲家。他是那类从主题开始、形成初步的构思再日复一日辛勤地创作一部作品的作曲家。从贝多芬开始，许多的作曲家都属于这第二类。

　　由于找不到更合适的称呼，第三类作曲家姑且称他们为传统类。帕勒斯提那的创作活动与其说是主题概念不如说是对既定模式的个性化处理。即使创作了 48首主题各异充满灵感的《平均律钢琴曲集》的*也知道他们将遵循的一般模式。不用说今天我们不是生活在一个传统时期。

　　为完整起见也许还应加上第四种作曲家--先锋型，诸如17世纪的杰苏尔多、19世纪的穆索尔斯基和柏辽兹，以及20世纪的德彪西和瓦雷兹。这样一类作曲家如此多样化的创作手法难以概括，但可以肯定的一点是他们的作曲方法与传统型针锋相对。

　　他们鲜明地反对音乐问题的通行解决办法。许多方面他们的态度是试验的--寻求添加新的融合、新的音效、新的创作形式。先锋型在17世纪末和20世纪初期很具代表性，但是如今其特征已不太明显。

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