英语专业综合教程3答案unit 10

Unit 10 The TransactionSection One Pre-reading Activities (1)I. Audiovisual Supplement (1)II．Cultural Background (2)Section Two Global Reading (3)I. Text Analysis (3)II. Structural Analysis (3)Section Three Detailed Reading (4)I. Text 1 (4)II. Questions (5)III.Words and Expressions (6)IV. Sentences (8)Section Four Consolidation Activities (8)Ⅰ.Vocabulary (8)Ⅲ. Translation (13)Ⅳ. Exercises for Integrated Skills (15)Ⅴ. Oral Activities (17)Ⅵ. Writing (17)Section Five Further Enhancement (19)I. Lead-in Questions (19)II. Text 2 (20)III. Memorable Quotes (22)Section One Pre-reading ActivitiesI. Audiovisual SupplementWatch the video clip and answer the following questions.Script:Mr. Keating: Go on. Rip it out. Tha nk you Mr. Dalton. Gentlemen, tell you what, don’t just tear out that page, tear out the entire introduction. I want it gone, history. Leave nothingof it. Rip it out. Rip! Begone J. Evans Pritchard, Ph.D. Rip. Shred. Tear. Rip it out! Iwant to hear nothi ng but ripping of Mr. Pritchard. We’ll perforate it, put it on a roll.It’s not the Bible. You’re not going to go to hell for this. Go on. Make a clean tear. Iwant nothing left of it.Cameron:We shouldn’t be doing this.Neil: Rip! Rip! Rip!Mr. Keating: Rip it out! Rip!McAllister: What the hell is going on here?Mr. Keating: I don’t hear enough rips.McAllister: Mr. Keating.Mr. Keating: Mr. McAllister.McAllister: I’m sorry, I—I didn’t know you were here.Mr. Keating: I am.McAllister: Ah, so you are. Excuse me.Mr. Keating: Keep ripping gentlemen. This is a battle, a war. And the casualties could be your hearts and souls. Thank you Mr. Dalton. Armies of academics going forward,measuring poetry. No, we will not have that here. No more of Mr. J. Evans Pritchard.Now in my class you will learn to think for yourselves again. You will learn to savorwords and language. No matter what anybody tells you, words and ideas can changethe world.（在每个问题下面设置按钮，点击以后出现下面的答案）1. What does Mr. Keating ask students to do?He asks students to rip the introduction part of the poetry text book.2. What is the purpose of his doing so?His intention is to develop the students’ ability of independent thinking which is quite important in literature study. He believes that words and ideas can change the world.II．Cultural BackgroundThe Importance of DialogueMany philosophers and writers would like to express their philosophic ideas through the form of dialogue. And one important theorist making great contribution in clarifying the function of dialogic thinking is Mikhail Bakhtin.1) Self-other relationship —―other‖ plays a key role in understanding:In order to understand, it is immensely important for the person who understands to be located outside the object of his or her creative understanding — in time, in space, in culture.—Mikhail Bakhtin (from New York Review of Books, June 10, 1993)2) Polyphony (many voices) — single voice is not the carrier of truth:Truth is a number of mutually addressed, albeit contradictory and logically inconsistent, statements. Truth needs a multitude of carrying voices.Section Two Global ReadingI. Text AnalysisThe text opens with two writers answering student s’ questions about how to write in dialogue, showing sharp contrasts from various aspects. By summarizing different methods in writing, the text later on points out that even with diversity and differentiation, the common ground of any writing is the same. Many renowned philosophers and writers such as Plato and Oscar Wilde expressed their philosophic ideas in the form of dialogue where different aspects of truth were better presented. Through dialogue between people on an equal footing, we get the revelation that different, sometimes even seemingly contradictory elements, can co-exist so harmoniously within the range of one truth. Human beings have an inclination to look at the world from a self-centered perspective, and it will result in an illusion far from truth. Therefore, it is important for one to try his best to train his mind from an early time in his life to tolerate other people’s opinions of the world because such different understanding of life helps one better pursue the truth.II. Structural Analysis1) In terms of organization, the article clearly falls into two main parts:The first part (Paragraphs 1-17) is devoted to answers given by two writers to the students’questions.The second part (Paragraphs 18-22) is a generalization of the essence of writing.2) In order to deliver the sharp differences in the answers of the two writers in the first part, the author uses●Short paragraphs and the repetition of ―he said …‖ and ―Then I said …‖●The rhetorical trick of contraste.g. ―The words just flowed. It was easy.‖ (Paragraph 3) vs. ―It was hard and lonely, and thewords seldom just flowed.‖ (Paragraph 4)●Advantage of such rhetoric technique: some knowledge of different and even conflictingideas helps one to gain greater thinking power and acquire a broader vision.3) The diversity of the writing methods in the second part is expressed by the parallel use of―some …‖ and ―others …‖e.g. Some people write by day, others by night. Some people need silence, others turn on the radio. (Paragraph 18)4) The transition paragraph from the specific examples to general discussion of the topic is Paragraph 17; The shift from the diversity to the commonality shared by all writers is realized with two words ―But all‖ in the beginning of Paragraph 19.Section Three Detailed ReadingI. Text 1The TransactionWilliam Zinsser1 About ten years ago a school in Connecticut held ―a day devoted to the arts,‖ and I was asked if I would come and talk about writing as a vocation. When I arrived I found that a second speaker had been invited —Dr. Brock (as I’ll call him), a surgeon who had recently begun to write and had sold some stories to national magazines. He was going to talk about writing as an avocation. That made us a panel, and we sat down to face a crowd of student newspaper editors, English teachers and parents, all eager to learn the secrets of our glamorous work.2 Dr. Brock was dressed in a bright red jacket, looking vaguely bohemian, as authors are supposed to look, and the first question went to him. What was it like to be a writer?3 He said it was tremendous fun. Coming home from an arduous day at the hospital, he would go straight to his yellow pad and write his tensions away. The words just flowed. It was easy.4 I then said that writing wasn’t easy and it wasn’t fun. It was hard and lonel y, and the words seldom just flowed.5 Next Dr. Brock was asked if it was important to rewrite. ―Absolutely not,‖ he said. ―Let it all hang out, and whatever form the sentences take will reflect the writer at his most natural.‖6 I then said that rewriting is the essence of writing. I pointed out that professional writers rewrite their sentences repeatedly and then rewrite what they have rewritten. I mentioned that E. B. White and James Thurber rewrote their pieces eight or nine times.7 ―What do you do on days when it isn’t going well?‖ Dr. Brock was asked. He said he just stopped writing and put the work aside for a day when it would go better.8 I then said that the professional writer must establish a daily schedule and stick to it. I said that writing is a craft, not an art, and that the man who runs away from his craft because he lacks inspiration is fooling himself. He is also going broke.9 ―What if you’re feeling depressed or unhappy?‖ a student asked. ―Won’t that affect your writing?‖10 Probably it will, Dr. Brock replied. Go fishing. Take a walk.11 Probably it won’t, I said. If your job is to write every day, you learn to do it like any other job.12 A student asked if we found it useful to circulate in the literary world. Dr. Brock said that he was greatly enjoying his new life as a man of letters, and he told several stories of being taken to lunch by his publisher and his agent at chic Manhattan restaurants where writers and editors gather.I said that professional writers are solitary drudges who seldom see other writers.13 ―Do you put symbolism in your writing?‖ a student asked me.14 ―Not if I can help it,‖ I replied. I have an unbroken record of missing the deeper meaning in any story, play or movie, and as for dance and mime, I have never had even a remote notion of what is being conveyed.15 ―I love symbols!‖ Dr. Brock exclaimed, and he described with gusto the joys of weaving them through his work.16 So the morning went, and it was a revelation to all of us. At the end Dr. Brock told me he was enormously interested in my answers —it had never occurred to him that writing could be hard. I told him I was just as interested in his answers —it had never occurred to me that writing could be easy. (Maybe I should take up surgery on the side.)17 As for the students, anyone might think we left them bewildered. But in fact we probably gave them a broader glimpse of the writing process than if only one of us had talked. For of course there isn’t any ―right‖ way to do such intensely personal work. There are all kinds of writers and all kinds of methods, and any method that helps people to say what they want to say is the right method for them.18 Some people write by day, others by night. Some people need silence, others turn on the radio. Some write by hand, some by typewriter or word processor, some by talking into a tape recorder. Some people write their first draft in one long burst and then revise; others can’t write the second paragraph until they have fiddled endlessly with the first.19 But all of them are vulnerable and all of them are tense. They are driven by a compulsion to put some part of themselves on paper, and yet they don’t just write what comes naturally. They sit down to commit an act of literature, and the self who emerges on paper is a far stiffer person than the one who sat down. The problem is to find the real man or woman behind all the tension.20 For ultimately the product that any writer has to sell is not the subject being written about, but who he or she is. I often find myself reading with interest about a topic I never thought would interest me —some unusual scientific quest, for instance. What holds me is the enthusiasm of the writer for his field. How was he drawn into it? What emotional baggage did he bring along? How did it change his life? It’s not necessary to want to spend a year alone at Walden Pond to become deeply involved with a writer who did.21 This is the personal transaction that’s at the heart of good nonfiction wr iting. Out of it come two of the most important qualities that this book will go in search of: humanity and warmth. Good writing has an aliveness that keeps the reader reading from one paragraph to the next, and it’s not a question of gimmicks to ―personalize‖ the author. It’s a question of using the English language in a way that will achieve the greatest strength and the least clutter.22 Can such principles be taught? Maybe not. But most of them can be learned.II. Questions1.Do you think the process of the activity is within the expectation of both the speakers and theaudience? (Paragraphs 1-17)No. Due to the differences in the background of the two speakers, different views towards the topic of writing are somewhat anticipated. But the fact that their opinions should be so conflicting to each other is a surprise to both the speakers and the audience.2.What would be the possible response of the students as suggested by the writer?(Paragraph17)The students might have a broader glimpse of the writing process. They would realize that there might be totally different writers and methods of writing and the most effective method of writing is the one that helps the writer to say what he wants to say.3.What does the writer mean when he says that all of the w riters are ―vulnerable and tense‖?(Paragraph 19)―Vulnerable‖ refers to the quality of being sensitive to all the stimulus in life, and ―tense‖ refers to the sharp awareness of expressing natural feelings in an artistic way.4.What does the writer think is the very thing that makes a piece of good writing? (Paragraph21)According to the writer, it’s the existence of the personal transaction that makes a piece of good writing. The writer should devote genuine emotion in the process of writing and only thus can he arouse the expected response in his readers.5.What does the writer mean that such principles cannot be taught but can be learned?(Paragraph 22)What can be taught in writing is the writing skills, but writing skills alone cannot make a great, or even a good, piece of writing. The genuine enthusiasm for art and sincere emotion for the world, which are essential to good writing, can only be learned by heart and through one’s life experiences.Class Activity （放在课文的末尾）Group discussion: Do you enjoy the process of writing? Do you write with the flow of thought or based on careful planning and meditation? Share your experiences with you classmates. Impromptu writing: Use ten minutes to write whatever in your mind on a piece of paper and read this writing to the class.III.Words and ExpressionsParagraphs1-17bohemian a.having or denoting the qualities of a person with artistic or literary interests who disregards conventional standards of behaviore.g. bohemian cafes frequented by artists, musicians, and actorsarduous a.involving strenuous effort, difficult and tiringe.g.After a long, hot, and arduous journey we fell asleep the moment our heads touched the pillows.The experiment was far more arduous than most of us had expected.Antonym:facilecirculate v.move around a social function to talk to different people; move continuously through a closed system or areae.g. Rumours started to circulate among the villagers about the cause of his death right after hedied.Derivation:circulation (n.)e.g. This kind of stamp is no longer in circulation.symbolism n.Symbolism is an artistic and poetic movement or style using symbolic images and indirect suggestion to express mystical ideas, emotions, and states of mind. It originated in late 19th-century France and Belgium, flourished all over Europe, had great international impact, and influenced 20th-century art and literature.e.g. poetry full of religious symbolismDerivations:symbol (n.), symbolic (a.), symbolize (v.)Practice:What does this ____ ____? (symbol, symbolize) symbolize这个符号象征着什么？bewilder v.cause sb. to become perplexed and confusede.g. He was bewildered by his daughter's reaction.Synonyms:puzzle, perplex, confoundParagraphs18-22fiddle v.tinker with sth. in an attempt to make minor adjustments or improvementse.g. She sat in the car and played the radio, fiddling with the knobs.Collocations:fiddle withe.g. Feeling nervous when facing the interviewer, she fiddled with the strings of her purse.fiddle about / arounde.g. Stop fiddling about and do some work.commit v.do sth. wrong or illegale.g.It was disclosed in the media that this senior official had committed adultery with severalfemales.Collocations:commit sb. / sth. to sth.:order sb. to be put in a hospital or prisone.g. commit a man to prisoncommit sb. / oneself (to sth. / to doing sth.):say that sb. will definitely do sth. or must do sth.e.g.He has committed himself to support his brother’s children.Derivation:commitment (n.): a promise to do sth. or to behave in a particular waye.g.the government's commitment to public servicesIV. Sentences1．Coming home from an arduous day at the hospital, he would go straight to his yellow pad and write his tensions away. (Paragraph 3)Paraphrase:After a whole day’s intense work at the hospital, he would get rid of his tensions through writing.2．“Let it all hang out, and whatever form the sentences take will reflect the writer at his most natural.” (Paragraph 5)Paraphrase:Let the writer relax completely and the sentences he writes will show the most natural state of him.3．I have an unbroken record of missing the deeper meaning in any story, play or movie, and as for dance and mime, I have never had even a remote notion of what is being conveyed. (Paragraph 14)Paraphrase:I have nearly always failed to understand the hidden, implicit meaning expressed in any story, play or movie, and I do not have the slightest idea of what is being conveyed in dance and mime.4．Maybe I should take up surgery on the side. (Paragraph 16)Paraphrase:Perhaps I should take up surgery as a hobby.5．They sit down to commit an act of literature (paragraph 19)Paraphrase:They sit down to do some literary writing.Section Four Consolidation ActivitiesⅠ.VocabularyI. Explain the underlined part in each sentence in your own words.1. unconventional2. socialize3. dramatic disclosure of something not previously known or realized4. sensitive to the stimulus in life; sharply aware of expressing their natural feelings in an artistic way5. serve the writer’s purpose most effectively and efficientlyII. Fill in the blank in each sentence with a word taken from the box in its appropriate form.1. transaction2.cluttered3. arduous4. humanitymitted6. gusto7. bewildered8. solitaryIII. Word Derivation1) drudge n. → drudge v. → drudgery n.无尽无休的﹑单调乏味的家务the endless drudgery of housework给那个公司打工无异于做苦力。