1、2006 年新概念作文篇一：新概念推荐背诵篇目1 What every writer wantsWhat every writer wants作家之所需How do professional writers ignore what they were taught at school about writing?I have known very few writers, but those I have known, and whom I respect, confess at once that they have little idea where they the are going
2、when they first set pen to paper. They have a character, perhaps two; they are in that condition of eager discomfort which passes for inspiration; all admit radical changes of destination once the journey has begun; one, to my certain knowledge, spent nine months on a novel about Kashmir, then reset
3、 the whole thing in the Scottish Highlands. I never heard of anyone making a skeleton, as we were taught at school. In the breaking and remaking, in the timing, interweaving, beginning afresh, the writer comes to discern things in his material which were not consciously in his mind when he began. Th
4、is organic process, often leading to moments of extraordinary self-discovery, is of an indescribable fascination. A blurred image appears; he adds a brushstroke and another, and it is gone; but something was there, and he will not rest till he has captured it. Sometimes the yeast within a writer out
5、lives a book he has written. I have heard of writers who read nothing but their own books; like adolescents they stand before the mirror, and still cannot fathom the exact outline of the vision before them. For the same reason, writers talk interminably about their own books, winkling out hidden mea
6、nings, super-imposing new ones, begging response from those around them. Of course a writer doing this is misunderstood: he might as well try to explain a crime or a love affair. He is also, incidentally, an unforgivable bore.This temptation to cover the distance between himself and the reader, to s
7、tudy his image in the sight of those who do not know him, can be his undoing: he has begun to write to please.A young English writer made the pertinent observation a year or two back that the talent goes into the first draft, and the art into the drafts that follow. For this reason also the writer,
8、like any other artist, has no resting place, no crowd or movement in which he may take comfort, no judgment from outside which can replace the judgment from within. A writer makes order out of the anarchy of his heart; he submits himself to a more ruthless discipline than any critic dreamed of, and
9、when he flirts with fame, he is taking time off from living with himself, from the search for what his world contains at its inmost point. JOHN LE CARRE What every writer wants from HarpersNew words and expressions 生词和短语confessv. 承认inspirationn. 灵感Kashmirn. 克什米尔interweavev. 交织afreshadv. 重新discernv.
10、辨明，领悟indescribableadj. 无法描述的blurv. 使.模糊不清yeastn. 激动fathomv. 领悟，彻底了解interminablyadv. 没完没了地winklev. 挖掘incidentallyadv. 顺便说一下pertinentadj. 中肯的flirtv. 调情inmostadj. 内心深处参考译文我的认识的作家寥寥无几，然而凡是我所认识和尊敬的作家，都立即承认在他们动笔时，不清楚要写什么，怎么写。他们心中只在一个或两个角色。他们处于急切不安的状态，而被当作是灵感。他们无不承认，一旦“旅程”开始， “目的地”常有急剧的变化。据我所知，有位作家花了 9 个月的
11、时间写了一部关克什米尔的小说，后来却把整个故事背景换成了苏格兰高地。我从未听说过任何一位作家像我们在学校那样，动笔前先列什么提纲。作家在剪裁修改、构思时间、穿插情节、以至从头重写的过程中，会领悟到素材中很多东西是他刚动笔时所未意识到的。这种有机的加工过程往往达到不寻常自我发现的境界，具有难以言表的构思魅力。一个朦胧的形象出现在作家的脑海里，他左添一笔，右添一笔，形象反而消逝了；可是，好像还有什么东西存在着，不把它捕捉到，作家是不会罢休的。有时，一个作家一本书写完了，但兴奋仍不消散。我听说一些作家，除了自己的书外，别的书一概不读，犹如希腊神话中那位漂亮的少年，站在镜前，不能辨认自身的真面目。由于
12、这个原因，作家喋喋不休地谈论自己的书，挖掘其隐晦的含义，询问周围人的反应。作家如此行事当然被人误解。他还不如给人讲一个犯罪案件或一个恋爱故事。顺便说一句，他也是个不可饶恕的令人厌烦的人。这种企图消除自己和读者之间距离的作法，企图用不了解自己的人的观点来研究自己塑造的形象的作法，会导致作家的毁灭，因为他已经开始为取悦他人而写作了。一两年前，一位年轻的英国作家发表了中肯的看法。他说，初稿是才华，以后各稿是艺术。也是由于这个原因，作家同任何艺术家一样，找不到可休息的场所，找不到伙伴和活动使自己得到安逸。任何局外人的判断也比不上他内心的正确判断。一旦作家从内心的紊乱中理出头绪，就应该按任何评论家想像不
13、到的无情规范约束自己写作；当他沽名钓誉时，他就脱离了自我生活，脱离了对自己灵魂最深处世界的探索。2 Patterns of culturePatterns of culture文化的模式What influences us from the moment of birth?Custom has not commonly been regarded as a subject of great moment. The inner workings of our wonbrains we feel to be uniquely worthy of investigation, but custom,
14、 we have a way of thinking, is behaviour at its most commonplace. As a matter of fact, it is the other way around. Traditional custom, taken the world over, is a mass of detailed behaviour more astonishing than what any one person can ever evolve in individual actions, no matter how aberrant. Yet th
15、at is a rather trivial aspect of the matter. The fact of first-rate importance is the predominant role that custom plays in experience and in belief, and the very great varieties it may manifest.No man ever looks at the world with pristine eyes. He sees it edited by a definite set of customs and ins
16、titutions and ways of thinking. Even in his philosophical probing he cannot go behind these stereotypes; his very concepts of the true and the false will still have reference to his particular traditional customs. John Dewey has said in all seriousness that the part played by custom in shaping the b
17、ehaviour of the individual, as against any way in which he can affect traditional custom, is as the proportion of the total vocabulary of his mother tongue against those words of his own baby talk that are taken up into the vernacular of his family. When one seriously studies the social orders that
18、have had the opportunity to develop autonomously, the figure becomes no more than an exact and matter-of-fact observation. The life history handed down in his community. From the moment of his birth, the customs into which he is born shape his experience and behaviour. By the time he can talk, he is
19、 the little creature of his culture, and by the time he is grown and able to take part in its activities, its habits are his habits, its beliefs his beliefs, its impossibilities his impossibilities. Every child that is born into his group will share them with him, and no child born into one on the o
20、pposite side of the globe can ever achieve the thousandth part. There is no social problem it is more incumbent upon us to understand than this of the role of custom. Until we are intelligent as to its laws and varieties, the main complicating facts of human life must remain unintelligible.The study
21、 of custom can be profitable only after certain preliminary propositions have been accepted, and some of these propositions have been violently opposed. In the first place, any scientific study requires that there be no preferential weighting of one or another of the items in the series it selects f
22、or its consideration. In all the less controversial fields, like the study of cacti or termites or the mature of nebulae, the necessary method of study is to group the relevant material and to take note of all possible variant forms and conditions. In this way, we have learned all that we know of th
23、e laws of astronomy, or of the habits of the social insects, let us say. It is only in the relevant material and to take note of all possible variant forms and conditions. In this way, we have learned all that we know of the laws of astronomy, or of the habits of the social insects, let us say. It i
24、s only in the study of man himself that the major social sciences have substituted the study of one local variation, that of Western civilization.Anthropology was by definition impossible, as long as these distinctions between ourselves and the primitive, ourselves and the barbarian, ourselves and t
25、he pagan, held sway over peoples minds. It was necessary first to arrive at that degree of sophistication where we no longer set our own belief against our neighbours superstition. It was necessary to recognize that these institutions which are based on the same premises, let us say the supernatural
26、, must be considered together, our own among the rest. RUTH BENEDICT Patterns of CultureNew words and expressions 生词和短语commonplaceadj. 平凡的aberrantadj. 脱离常轨的，异常的trivialadj. 微不足道的，琐细的predominantadj. 占优势的，起支配作用的manifestv. 表明pristineadj. 纯洁的，质朴的stereotypen. 陈规vernacularn. 方言accommodationn. 适应incumbentadj. 义不容辞的，有责任的preliminaryadj. 初步的propositionn. 主张(转载自：www.BdfQy.Com 千 叶帆 文摘:2006 年新概念作文)preferrentialadj. 优先的controversialadj. 引起争论的cactusn. 仙人掌termiten. 白蚁nebulaadj. 星云variantn. 不同的barbariann. 野蛮人pagann. 异教徒sophisticationn. 老练
