Part B

Directions：

The following paragraphs are given in a wrong order. For Questions 41-45, you are required to reorganize into a coherent text by choosing from the list A-G and filling them into the numbered boxes .Paragraphs A and E have been correctly placed. Mark your answers on the ANSWER SHEET.(10 points)

[A] Some archaeological sites have always been easily observable—for example, the Parthenon in Athens, Greece; the pyramids of Giza in Egypt; and the megaliths of Stonehenge in southern England. But these sites are exceptions to the norm .Most archaeological sites have been located by means of careful searching, while many others have been discovered by accident. Olduvai Gorge, fell into its deep valley in 1911.Thousands of Aztec artifacts came to light during the digging of the Mexico City subway in the 1970s.

[B] In another case, American archaeologists Rene million and George Cowgill spent years systematically mapping the entire city of Teotihuacan in the valley of Mexico near what is now Mexico City .at its peak around AD 600, this city was one of the largest human settlements in the word. The researchers mapped not only the city’s vast and ornate ceremonial areas, but also hundreds of simpler apartment complexes where common people lived.

[C] How do archaeologists know where to find what they are looking for when there is nothing visible on the surface of the ground? Typically, they survey and sample (make test excavations on) large areas of terrain to determine where excavation will yield useful information. Surveys and test samples have also become important for understanding the larger landscapes that contain archaeological sites.

[D] Surveys can cover a single large settlement or entire landscapes.in one case, many researchers working around the ancient Maya city of Copán, Honduras, have located hundreds of small rural village and individual dwellings by using aerial photographs and by making surveys on foot. The resulting settlement maps show how the distribution and density of the rural population around the city changed dramatically between AD500 and 850, when Copán collapsed.

[E] To find their sites, archaeologists today rely heavily on systematic survey methods and a variety of high-technology tools and techniques. Airbone technologies, such as different types of radar and photographic equipment carried by airplanes or spacecraft, allow archaeologists to learn about what lies beneath the ground without digging. Aerial surveys locate general areas of interest or larger buried features, such as ancient buildings or fields.

[F] Most archaeological sites, however, are discovered by archaeologists who have set out to look for them. Such searches can take years. British archaeologist Howard Carter knew that the tomb of the Egyptian pharaoh Tutankhamum existed from information found in other sites. Carter sifted through rubble in the Valley of the King for seven years before he located the tomb in 1922. In the late 1800s British archaeologist Sir Arthur Eyan combed antique dealers’ stores in Athens, Greece. He was searching for thing engraved seals attributed to the ancient Mycenaean culture that dominated Greece from the 1400s to 1200s BC. Evas’s interpretations of those engravings eventually led them to find the Minoan palace at Knossos on the island of Crete, in 1900.

[G] Ground surveys allow archaeologists to pinpoint the places where digs will be successful. Most ground surveys involve a lot of walking, looking for surface clues such as small fragments of pottery. They often include a certain amounts of digging to test for buried materials at selected points across a landscape. Archaeologists also may locate buried remains by using such technologies as ground radar, magnetic-field recording, and metal detector. Archaeologists commonly use computers to map sites and the landscapes around sites. Two and three-dimensional maps are helpful tools in planning excavations, illustrating how sites look, and presenting the results of archaeological research.

41 --- A --- 42. --- E ---43 --- 44 --- 45

解析：本文选自发表于2003年The International History Project的文章，题目为Archeology.

41. 此题是首段，所以需要找寻综述性的段落。其中A和E选项是给出的，所以只需从余下选项进行选择。B选项中有another，所以不会是第一段。E选项中代词their没有指代对象。F中有however,也不会是第一段。因此，只留下C和D选项。在C选项最后一句提到survey和test sample也很重要。而在D选项开头就提到了survey,而且整段都是，由此可看出D是对C的分述。所以C是首段。

42. 此题排在A项之后，所以内容上应该是衔接的。A项主要谈论的是大部分考古地点是通过仔细搜寻之后找到的，而其他的很多是被偶然发现的，接着举了一些例子。接下来在看各段首句的时候，发现F项中提到大部分考古地点是被考古学家们特意寻找发现的，和A提到的偶然发现意思相反，所以F正确。

43. 此题排在E项之后。E选项最后一句提到天空的搜寻，而在G选项的开头提到地面搜寻，正好形成对应，所以为正确答案。

44. 此时，只留下B和D选项。其中B选项开头提到了in another case,所以前面一段一定要提到in one case, 而D选项中有in one case.所以，D选项在前。

45. 根据上面的分析，此题只能选B。

Part C

Directions:

Read the following text carefully and then translate the underlined segments into Chinese. Your translation should be written on the ANSWER SHEET(10 points)

Music means different things to different people and sometimes even different things to the same person at different moments of his life. It might be poetic, philosophical, sensual, or mathematical, but in any case it must, in my view, have something to do with the soul of the human being. Hence it is metaphysical; but the means of expression is purely and exclusively physical: sound. I believe it is precisely this permanent coexistence of metaphysical message through physical means that is the strength of music.46) It is also the reason why when we try to describe music with words, all we can do is articulate our reactions to it, and not grasp music itself.

Beethoven’s importance in music has been principally defined by the revolutionary nature of his compositions. He freed music from hitherto prevailing conventions of harmony and structure. Sometimes I feel in his late works a will to break all signs of continuity. The music is abrupt and seemingly disconnected, as in the last piano sonata. In musical expression, he did not feel restrained by the weight of convention. 47) By all accounts he was a freethinking person, and a courageous one, and I find courage an essential quality for the understanding, let alone the performance, of his works.

This courageous attitude in fact becomes a requirement for the performers of Beethoven’s music. His compositions demand the performer to show courage, for example in the use of dynamics. 48) Beethoven’s habit of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage was only rarely used by composers before him.

Beethoven was a deeply political man in the broadest sense of the word. He was not interested in daily politics, but concerned with questions of moral behavior and the larger questions of right and wrong affecting the entire society.49) Especially significant was his view of freedom, which, for him, was associated with the rights and responsibilities of the individual: he advocated freedom of thought and of personal expression.

Beethoven’s music tends to move from chaos to order as if order were an imperative of human existence. For him, order does not result from forgetting or ignoring the disorders that plague our existence; order is a necessary development, an improvement that may lead to the Greek ideal of spiritual elevation. It is not by chance that the Funeral March is not the last movement of the Eroica Symphony, but the second, so that suffering does not have the last word. 50) One could interpret much of the work of Beethoven by saying that suffering is inevitable, but the courage to fight it renders life worth living.

46. It is also the reason why when we try to describe music with words, all we can do is articulate our reactions to it, and not grasp music itself.

【句型分析】本句主句主干为it is the reason，why引导定语从句，修饰the reason。定语从句的主干是all we can do is articulate our reactions and not grasp music itself，其表语是不定式短语，由于主语中含有do，不定式符号to省略：articulate our reactions and not grasp music itself。our reactions之后to it为其定语，it指代music。定语从句中还包含when引导的时间状语从句。

【翻译要点】①本句主干的主句是主系表结构，reason后why引导的定语从句较长，翻译时可以与主干部分结合，调整表达为：这也就是为什么….。

②定语从句中，when引导时间状语从句，其中with words做状语，翻译时需调整语序到其修饰的to describe之前，可以表达为“当我们尝试用语言来描述音乐时”。定语从句的主干顺译即可，其中reaction根据语境，可以翻译为“感受”，其定语to it在表达时前置，it指代还原为“音乐”，则可以翻译为“所有我们能做的，就是明确表达我们对于音乐的感受”，或者调整表达为“我们只能明确表达我们对于音乐的感受”。and之后，grasp依据语境，需要翻译为“理解”。

【译文总结】这也是为什么当我们试图用语言来描述音乐时，我们只能明确表达我们对于音乐的感受，而不能完全理解音乐本身。

47. By all accounts he was a freethinking person, and a courageous one, and I find courage an essential quality for the understanding, let alone the performance, of his works.

【句型分析】本句为并列句。第一个分句he was a freethinking person, and a courageous one，句首by all accounts为固定搭配，意思是“根据各方面说”。第二个分句的主干为I find courage an essential quality，其中宾语为courage，而an essential quality是宾语补足语。quality后介词短语for the understanding of his work为其定语，其中还包含一个插入结构let alone the performance。

【翻译要点】① 第一个分句结构比较简单，句首固定搭配by all accounts，可以调整表达，翻译为“据大家所说”。主干顺译即可，其中he指代“贝多芬”，one指代person。这一部分可以翻译为“贝多芬是个思想自由、充满勇气的人”。

②第二个分句，主干为“我发现勇气是一个关键品质”，quality后为其定语for the understanding of his work，其中the understanding of his work意思为“对于其作品的理解”，做词性转化后，可以表达为“理解其作品”，这个介词短语需要调整语序前置于quality，可以翻译为“理解他作品的关键品质”，则第二个分句可以表达为“我发现勇气，是理解他作品的关键品质”。还可以调整表达为“我发现勇气这一品质，是理解他作品的关键”。

③在定语for the understanding of his work中的插入成分，在逻辑上let alone并列the understanding和the performance，二者共用定语of his works，顺译句末即可：更不必说是演出其作品的关键品质。

【译文总结】人们普遍认为，他(贝多芬)是个思想自由、充满勇气的人，我发现勇气这一品质，是理解他作品的关键，更不必说是演出其作品的关键。

48. Beethoven’s habit of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage was only rarely used by composers before him.

【句型分析】本句主干为Beethoven’s habit was used by composers before him。本句的谓语为被动语态，主语habit后介词短语of increasing the volume with an extreme intensity and then abruptly following it with a sudden soft passage为其定语，是由介词of与and并列的两个动名词短语increasing the volume with an extreme intensity 和then abruptly following it with a sudden soft passage构成。

【翻译要点】①本句主干较为简单，但是主语habit后有很长的后置定语：Habit of increasing the volume…，其中“habit”可以词性转换为动词“习惯”，而中文常常先表达次要信息，则这一部分可以翻译一句话“贝多芬习惯增加…”，置于句首。第一个动名词短语中，with an extreme intensity为状语，表达时需调整语序到其修饰的increasing the volume前，根据语境，volume意思为“音量”，则increasing可以翻译为“增高”。这一部分可以翻译为“最大限度来逐渐增高音量”。第二个动名词短语then abruptly following it with a sudden soft passage，状语with a sudden soft passage需调整到following it前表达，其中passage根据语境，意思为“乐段”。则这一部分可以表达为“然后突然跟上轻柔的乐段”。整合本句主语与其定语，可以翻译为“贝多芬习惯最大限度来逐渐增高音量，然后突然跟上轻柔的乐段”。

②本句主干意思为“在他之前，作曲家很少使用贝多芬的习惯”。中文语义重心在后，将本部分翻译在句末即可。由于前句译文已经提到这种习惯，则这部分可以表达为“在他之前，作曲家很少使用这种习惯”，结合语境还可以表达为“在他之前，作曲家很少使用这种方式”，或者“在他之前，只有极个别作曲家会使用这种方式”。

【译文总结】贝多芬习惯最大限度来逐渐增高音量，然后突然跟上轻柔的乐段，在他之前，作曲家很少使用这种方式。

49) Especially significant was his view of freedom, which, for him, was associated with the rights and responsibilities of the individual: he advocated freedom of thought and of personal expression.

【句型分析】本句为完全倒装，主句的主干是his view of freedom was Especially significant。

his view of freedom后为which引导的非限定性定语从句，修饰freedom，关系代词which在定语从句中作主语。of the individual修饰the rights and responsibilities，冒号后进行解释说明。

【翻译要点】

① 本句主干为完全倒装，但是在翻译时，顺译即可，其中his指代“贝多芬的”，主干可以表达为：尤为重要的是，他(贝多芬)对于自由的看法….。

② which引导英语从句，修饰freedom，表达时翻译成另一句话“对于他而言，这种自由是与个人的权利和责任联系起来的”，其中for him还可以调整表达为“他认为”。

③冒号后进行解释，可以翻译为：他倡导思想自由和个人言论自由。

【译文总结】尤为重要的是贝多芬对于自由的看法，他认为，这种自由是与个人的权利和责任联系起来的：他倡导思想自由和个人言论自由。

50. One could interpret much of the work of Beethoven by saying that suffering is inevitable, but the courage to fight it renders life worth living.

【句型分析】本句主句主干为One could interpret much of the work of Beethoven，之后by saying that suffering is inevitable, but the courage to fight it renders life worth living为状语，修饰interpret。其中that引导宾语从句suffering is inevitable, but the courage to fight it renders life worth living，为saying的宾语，宾语从句中it指代suffering。

【翻译要点】①本句主语one，可以翻译为“人们”或者“我们”。主干可以翻译为“我们可以解释贝多芬的大部分作品”。

②主干之后的状语，可以翻译为“通过说痛苦是无法避免的，但是与之相抗争的勇气使得生命值得继续。”

③整合主干，可以表达为“我们可以这样解释贝多芬的大部分作品：苦难是不可避免的，但是与痛苦抗争的勇气使得生命值得继续。”

【译文总结】我们可以这样解释贝多芬的大部分作品：苦难是不可避免的，但是与痛苦抗争的勇气使得生命值得继续。