試題一：
在一個極爲漫長.的歷史階段中，人類只能通過音樂表演和口授來傳播音樂。當人類發明了樂譜後，音樂便開始脫離表演而演變成“文字”得以記錄和傳播。然而，人類音樂傳播的真正革命性里程碑的建立者無疑是科學家們。他們創造了令人歎爲觀止的音樂傳播手段，從最早的機械“留聲機”到今天五花八門的“電子媒體”。在20世紀諸多的音樂傳播手段中，無線電廣播的發明和發展對音樂的傳播起了極爲重要的作用。然而，高科技的高速發展也使我國廣播音樂工作者在新世紀中面臨着嚴峻的挑戰。
【參考譯文】
For a very long period of historical development, mankind could only pass on music though performance and oral instruction. When mankind invented musical scores, music started to break away from the boundaries of being merely a performing art, and develop into a system of “written symbols” that can be recorded and spread. Undoubtedly, however, it was the scientists who should be crowned as the founders of the real revolutionary milestone of human musical communication. Scientists invented marvelous means of music transmission, beginning from the earliest mechanical “record turntable” to today’s many kinds of “electronic media”. Among the numerous means of music transmission of the 20 century, the creation and development of radio broadcasting played an extremely important role in the industry of music transmission. Nevertheless, the rapid development of high technology has brought serious challenges to China’s radio music workers in the new
試題二：
《my long friendship with nger》
At one point during the more than half century of our friendship, J.D. Salinger told me he had an idea that someday，when “all the fiction had run out,”he might try to do something straight，“really factual...” “It might be readable，maybe funny，” he said，and “not just smell like a regular autobiography.” The main thing was that he would use straight facts and “thereby put off or stymie one or two vultures—freelancers or English-department scavengers—who might come around and bother the children and the family before the body is even cold.”
A single straight fact is that Salinger was one of a kind. His writing was his and his alone, and his way of life was only what he chose to follow. The older and crankier he got, the more convinced he was that in the end all writers get pretty much what's coming to them: the destructive praise and flattery, the killing attention and appreciation. The trouble with all of us, he believed, is that when we were young we never knew anybody who could or would tell us any of the penalties of making it in the world on the usual terms: “I don't mean just the pretty obvious penalties, I mean the ones that are just about unnoticeable and that do really lasting damage, the kind the world doesn’t even think of as damage.” He talked about how easily writers could become vain, complaining that they got puffed up by the same“authorities” who approved putting monosodium glutamate in baby food. (Lillian Ross)
相關詞彙：
stymie 阻礙阻撓
freelancer 自由職業者
scavenger 拾荒者
one of a kind 獨一無二，獨特
flattery 阿諛，奉承
vain 自負的，自視甚高
be/get puff up 自滿，自負
monosodium glutamate 味精，穀氨酸鈉
文章品鑑：
J.D.塞林格 (1919-2010)，美國20世紀著名小說家，其經典之作《麥田守望者》是20世紀影響最深的小說之一，被譯成各種語言併爲世界各國讀者所傳閱，影響了一代年輕人。塞林格其人頗受爭議，有人說他性格孤僻，也有人說他獨具匠心、文筆新穎然而在莉莉安.羅斯的筆下，我們看到的是一位行事風格獨特，在洶涌而至的讚譽中始終保持清醒頭腦、敏銳觸覺，且對待寫作嚴肅認真的作家。
全文語言優美，比喻得當，意蘊深遠.塞林格從不盲從，對自己的創作及生活都有其獨特的認識。他古怪卻洞察入微，明白作家在收穫名譽的同時也因此喪失了某些創作能力。他身在其中，卻能跳出圈外，何其大膽、真實。
參考譯文：
在我們長達半個多世紀的友誼中，J.D.塞林格曾對我提起他的一個想法，等有一天當“所 有的小說虛構都已枯竭”，他想嘗試一些直接“真正真實”的東西。他說，“這可能會很具可讀 性，也許很有意思”，而“不僅僅像一本普通自傳”。而這主要就是他會採用直接事實陳述，借 此防止那麼一兩個想從中獲利的人——自由撰稿人或是英語專業的拾荒者——在他屍骨未寒時便來騷擾他的'孩子和家人。
其中一個事實是塞林格獨樹一幟。他的寫作屬於他自己，也僅屬於他一個人;他的生活也純粹是按照自己所選擇的方式進行的。隨着年齡的增長，他變得愈發古怪，也更加深信所有的作家最終都得到了這些東西：極具破壞性的讚揚與奉承，將其扼殺的關注與欣賞。他認爲我們所有人的問題在於，在年輕時未能結識些能告知我們平時這些行爲所帶來的苦果的人：“我的 意思並非只是那些非常明顯的不利結果，而是那些不甚引人注意卻真正造成永久傷害(這種傷害不會被世人視爲傷害)的影響。”他曾談及作家們會極易變得驕傲自大，並抱怨就是那些同意在嬰兒食品中加味精的“權威們”將他們鼓吹至此。
莉莉安.羅斯
