The first outline of The Ascent of Man was written in July 1969 and the last foot of film was shot in December 1972. An undertaking as large as this, though wonderfully exhilarating, is not entered lightly. It demands an unflagging intellectual and physical vigour, a total immersion, which I had to be sure that I could sustain with pleasure; for instance, I had to put off researches that I had already begun; and I ought to explain what moved me to do so. There has been a deep change in the temper of science in the last 20 years: the focus of attention has shifted from the physical to the life sciences. As a result, science is drawn more and more to the study of individuality. But the interested spectator is hardly aware yet how far-reaching the effect is in changing the image of man that science moulds. As a mathematician trained in physics, I too would have been unaware, had not a series of lucky chances taken me into the life sciences in middle age. I owe a debt for the good fortune that carried me into two seminal fields of science in one lifetime; and though I do not know to whom the debt is due, I conceived The Ascent of Man in gratitude to repay it. The invitation to me from the British Broadcasting Corporation was to present the development of science in a series of television programmes to match those of Lord Clark on Civilisation. Television is an admirable medium for exposition in several ways: powerful and immediate to the eye, able to take the spectator bodily into the places and processes that are described, and conversational enough to make him conscious that what he witnesses are not events but the actions of people. The last of these merits is to my mind the most cogent, and it weighed most with me in agreeing to cast a personal biography of ideas in the form of television essays. The point is that knowledge in general and science in particular does not consist of abstract but of man-made ideas, all the way from its beginnings to its modern and idiosyncratic models. Therefore the underlying concepts that unlock nature must be shown to arise early and in the simplest cultures of man from his basic and specific faculties. And the development of science which joins them in more and more complex conjunctions must be seen to be equally human: discoveries are made by men, not merely by minds, so that they are alive and charged with individuality. If television is not used to make these thoughts concrete, it is wasted.

Ever since the economist David Ricardo offered the basic theory in 1817, economic scripture has taught that open trade — free of tariffs, quotas, subsidies or other government distortions — improves the well-being of both parties. U. S. policy has implemented this doctrine with a vengeance. Why is free trade said to be universally beneficial? The answer is a doctrine called "comparative advantage". Here's a simple analogy. If a surgeon is highly skilled both at doing operations and performing routine blood tests, it's more efficient for the surgeon to concentrate on the surgery and pay a less efficient technician to do the tests, since that allows the surgeon to make the most efficient use of her own time. By extension, even if the United States is efficient both at inventing advanced biotechnologies and at the routine manufacture of medicines, it makes sense for the United States to let the production work migrate to countries that can make the stuff more cheaply. Americans get the benefit of the cheaper products and get to spend their resources on even more valuable pursuits. That, anyway, has always been the premise. But here Samuelson dissents. What if the lower-wage country also captures the advanced industry? If enough higher-paying jobs are lost by American workers to outsourcing, he calculates, then the gain from the cheaper prices may not compensate for the loss in U. S. purchasing power."Free trade is not always a win-win situation," Samuelson concludes. It is particularly a problem, he says, in a world where large countries with far lower wages, like India and China, are increasingly able to make almost any product or offer almost any service performed in the United States. If America trades freely with them, then the powerful drag of their far lower wages will begin dragging down U. S. average wages. The U. S. economy may still grow, he calculates, but at a lower rate than it otherwise would have.

There they come, trudging along, straight upright on stubby legs, shoulders swinging back and forth with each step, coming into focus on the screen just as I'm eating my first bite of popcorn. Then Morgan Freeman's voice informs us that these beings are on a long and difficult journey in one of the most inhospitable places on earth, and that they are driven by their "quest for love. " I've long known the story of the emperor penguin, but to see the sheer beauty and wonder of it all come into focus in the March of the Penguins, the sleeper summer hit, still took my breath away. As the movie continues, everything about these animals seems on the surface utterly different from human existence; and yet at the same time the closer one looks the more everything also seems familiar. Stepping back and considering within the context of the vast diversity of millions of other organisms that have evolved on the tree of life — grass, trees, tapeworms, hornets, jelly-fish, tuna and elephants — these animals marching across the screen are practically kissing cousins to us. Love is a feeling or emotion — like hate, jealousy, hunger, thirst — necessary where rationality alone would not suffice to carry the day. Could rationality alone induce a penguin to trek 70 miles over the ice in order to mate and then balance an egg on his toes while fasting for four months in total darkness and enduring temperatures of minus-80 degrees Fahrenheit? Even humans require an overpowering love to do the remarkable things that parents do for their children. The penguins' drive to persist in behavior bordering on the bizarre also suggests that they love to an inordinate degree. I suspect that the new breed of nature film will become increasingly mainstream because, as we learn more about ourselves from other animals and find out that we are more like them than was previously supposed, we are now allowed to "relate" to them, and therefore to empathize. If we gain more exposure to the real — and if the producers and studios invest half as much care and expense into portraying animals as they do into showing ourselves — I suspect the results will be as profitable, in economic as well as emotional and intellectual terms — as the March of the Penguins.

英译汉英译汉第一篇Youve temporarily misplaced your cell phone and anxiously retrace your steps to try to find it

英译汉【Passage 1】 Jane Goodall was already on a London dock in March 1957 when she realized that her passport was missing. In just a few hours, she was due to depart on her first trip to Africa. A school friend had moved to a farm outside Nairobi and, knowing Goodall’s childhood dream was to live among the African wildlife, invited her to stay with the family for a while. Goodall, then 22, saved for two years to pay for her passage to Kenya: waitressing, doing secretarial work, temping at the post office in her hometown, Bournemouth, on England’s southern coast. Now all this was for naught, it seemed. It’s hard not to wonder how subsequent events in her life — rather consequential as they have turned out to be to conservation, to science, to our sense of ourselves as a species — might have unfolded differently had someone not found her passport, along with an itinerary from Cook’s, the travel agency, folded inside, and delivered it to the Cook’s office. An agency representative, documents in hand, found her on the dock. “Incredible,” Goodall told me last month, recalling that day. “Amazing.” Within two months of her arrival, Goodall met the paleontologist Louis Leakey — Nairobi was a small town for its white population in those days — and he immediately offered her a job at the natural-history museum where he was curator. He spent much of the next three years testing her capacity for repetitive work. He believed in a hypothesis first put forth by Charles Darwin that humans and chimpanzees share an evolutionary ancestor. Close study of chimpanzees in the wild, he thought, might tell us something about that common progenitor. He was, in other words, looking for someone to live among Africa’s wild animals. One night, he told Goodall that he knew just the place where she could do it: Gombe Stream Chimpanzee Reserve, in the British colony of Tanganyika (now Tanzania). In July 1960, Goodall boarded a boat and after a few hours motoring over the warm, deep waters of Lake Tanganyika, she stepped onto the pebbly beach at Gombe. Her finding, published in Nature in 1964, that chimpanzees use tools — extracting insects from a termite mound with leaves of grass — drastically and forever altered humanity’s understanding of itself; man was no longer the natural world’s only user of tools. After two and a half decades of living out her childhood dream, Goodall made an abrupt career shift, from scientist to conservationist.

英译汉Marlene Castro knew the tall blonde woman only as Laurene， her mentor. They met every few weeks in a rough Silicon Valley neighborhood the year that Ms. Castro was applying to college， and they e-mailed often， bonding over conversations about Ms. Castro’s difficult childhood. Without Laurene’s help， Ms. Castro said， she might not have become the first person in her family to graduate from college. 　　It was only later， when she was a freshman at University of California， Berkeley， that Ms. Castro read a news article and realized that Laurene was Silicon Valley royalty， the wife of Apple’s co-founder， Steven P. Jobs. 　　“I just became 10 times more appreciative of her humility and how humble she was in working with us in East Palo Alto，” Ms. Castro said. 　　The story， friends and colleagues say， is classic Laurene Powell Jobs. Famous because of her last name and fortune， she has always been private and publicity-averse. Her philanthropic work， especially on education causes like College Track， the college prep organization she helped found and through which she was Ms. Castro’s mentor， has been her priority and focus. 　　Now， less than two years after Mr. Jobs’s death， Ms. Powell Jobs is becoming somewhat less private. She has tiptoed into the public sphere， pushing her agenda in education as well as global conservation， nutrition and immigration policy. 　　“She’s been mourning for a year，” said Larry Brilliant， who is an old friend of Mr. Jobs. “Her life was about her family and Steve， but she is now emerging as a potent force on the world stage， and this is only the beginning.” But she is doing it her way. 　　“It’s not about getting any public recognition for her giving， it’s to help touch and transform individual lives，” said Laura Andreessen， a philanthropist and lecturer on philanthropy at Stanford who has been close friends with Ms. Powell Jobs for two decades. 　　While some people said Ms. Powell Jobs should have started a foundation in Mr. Jobs’s name after his death， she did not， nor has she increased her public giving. 　　Instead， she has redoubled her commitment to Emerson Collective， the organization she formed about a decade ago to make grants and investments in education initiatives and， more recently， other areas. 　　“In the broadest sense， we want to use our knowledge and our network and our relationships to try to effect the greatest amount of good，” Ms. Powell Jobs said in one of a series of interviews with The New York Times.

英译汉英译汉 Passage 1来源：联合国2030年可持续发展目标This Agenda is a plan of action for people, planet and prosperity

英译汉The runaway success of Stieg Larsson’s “Millennium” trilogy suggests that when it comes to contemporary literature in translation, Americans are at least willing to read Scandinavian detective fiction. But for work from other regions, in other genres, winning the interest of big publishing houses and readers in the United States remains a steep uphill struggle. Among foreign cultural institutes and publishers, the traditional American aversion to literature in translation is known as “the 3 percent problem.” But now, hoping to increase their minuscule share of the American book market — about 3 percent — foreign governments and foundations, especially those on the margins of Europe, are taking matters into their own hands and plunging into the publishing fray in the United States. Increasingly, that campaign is no longer limited to widely spoken languages like French and German. From Romania to Catalonia to Iceland, cultural institutes and agencies are subsidizing publication of books in English, underwriting the training of translators, encouraging their writers to tour in the United States, submitting to American marketing and promotional techniques they may have previously shunned and exploiting existing niches in the publishing industry. “We have established this as a strategic objective, a long-term commitment to break through the American market,” said Corina Suteu, who leads the New York branch of the European Union National Institutes for Culture and directs the Romanian Cultural Institute. “For nations in Europe, be they small or large, literature will always be one of the keys of their cultural existence, and we recognize that this is the only way we are going to be able to make that literature present in the United States.” For instance, the Dalkey Archive Press, a small publishing house in Champaign, Ill., that for more than 25 years has specialized in translated works, this year began a Slovenian Literature Series, underwritten by official groups in Slovenia, once part of Yugoslavia. The series’s first book, “Necropolis,” by Boris Pahor, is a powerful World War II concentration-camp memoir that has been compared to the best of Elie Wiesel and Primo Levi, and has been followed by Andrej Blatnik’s “You Do Understand,” a rather absurdist but still touching collection of sketches and parables about love and intimacy. Dalkey has also begun or is about to begin similar series in Hebrew and Catalan, and with Switzerland and Mexico, the last of which will consist of four books yearly for six years. In each case a financing agency in the host country is subsidizing publication and participating in promotion and marketing in the United States, an effort that can easily require $10,000 or more a book.

英译汉For more than a decade, archaeologists and historians have been studying the contents of a ninth-century Arab dhow that was discovered in 1998 off Indonesia’s Belitung Island. The sea-cucumber divers who found the wreck had no idea it eventually would be considered one of the most important maritime discoveries of the late 20th century. The dhow was carrying a rich cargo — 60,000 ceramic pieces and an array of gold and silver works — and its discovery has confirmed how significant trade was along a maritime silk road between Tang Dynasty China and Abbasid Iraq. It also has revealed how China was mass-producing trade goods even then and customizing them to suit the tastes of clients in West Asia. “Shipwrecked: Tang Treasures and Monsoon Winds,” at the new, lotus-shaped Art Science Museum designed by Moshe Safdie, presents items from the Belitung wreck. Curated by the Asian Civilisations Museum here and the Arthur M. Sackler Gallery in Washington, the show is expected to travel to museums around the world over the next five to six years. “This exhibition tells us a story about an extraordinary moment in globalization,” said Julian Raby, director of the Smithsonian’s Freer Gallery of Art and Arthur M. Sackler Gallery. “It brings to life the tale of Sinbad sailing to China to make his fortune. It shows us that the world in the ninth century was not as fragmented as we assumed. There were two great export powers: the Tang in the east and the Abbasid based in Baghdad.” Until the Belitung find, historians had thought that Tang China traded primarily through the land routes of Central Asia, mainly on the Silk Road. Ancient records told of Persian fleets sailing the Southeast Asian seas but no wrecks had been found, until the Belitung dhow. Its cargo confirmed that a huge volume of trade was taking place along a maritime route, said Heidi Tan, a curator at the Asian Civilisations Museum and a curator of the exhibition. Mr. Raby said: “The size of the find gives us a sense of two things: a sense of China as a country already producing things on an industrialized scale and also a China that is no longer producing ceramics to bury.” He was referring to the production of burial pottery like camels and horses, which was banned in the late eighth century. “Instead, kilns looked for other markets and they started producing tableware and they built an export market.”

英译汉Passage2 Early Maori adapted thetropically-based east Polynesian culture in line with the challenges associatedwith a larger and more diverse environment, eventually developing their owndistinctive culture. The British and Irish immigrants brought aspects of theirown culture to New Zealand and also influenced Maori culture. More recentlyAmerican, Australian, Asian and other European culture shave exerted influence onNew Zealand. Even though themajority of the population now lives in cities, much of New Zealand’s art,literature, film and humor has rural themes. New Zealand music hasbeen influenced by blues, jazz, country, rock and roll, with many of thesegenres given a unique New Zealand interpretation. Maori developed traditionalchants and songs from their ancient South-East Asian origins, and aftercenturies of isolation created a unique “monotonous” and “doleful” sound. The number of NewZealand films significantly increased during the 1970s. In 1978the New ZealandFilm Commission started assisting local film-makers and many films attained aworld audience, some receiving international acknowledgment. New Zealandtelevision primarily broadcasts American and British programming, along with alarge number of Australian and local shows. The country's diverse scenery andcompact size, plus government incentives, have encouraged some producers tofilm big budget movies in New Zealand. Our distinctive cultureis core to what makes New Zealand a great place to live. Cultural expression,engagement and understanding are fundamental to a vibrant and healthy societyand help define what it is to be a New Zealander. Maori culture makes NewZealand unique in a globalized world and is central to our sense of place,identifying us as a nation. Active participation by Maori indistinct Maoriactivity, will ensure Maori culture is protected and flourishes. The Ministry forCulture and Heritage is the Government’s leading adviser on cultural matters;funds, monitors and supports a range of cultural agencies; and delivers a rangeof high quality cultural products and services. The Ministry providesadvice to the Government on where to focus its interventions in the culturalsector. The Ministry seeks to ensure that funding is invested as effectivelyand efficiently as possible, and that the Government’s priorities are met. The Ministry has astrong track record of delivering high quality publications, managing oursignificant heritage and commemorations, and acting as guardian of NewZealand’s culture. Our work priorities cultural outcomes and supports educational,economic, and social outcomes linking with the work of a range of othergovernment agencies. Culture is produced bycreative and innovative individuals, groups and organization. The activities,goods and services they create, produce and distribute have a value which iscultural, social and economic. Cultural expression expands individualcapacities, helps bind society and provides jobs and innovation in the economy.

英译汉英译汉 Passage 2来源：经济学人Entrepreneurs in Silicon Valley, only half-jokingly, call it the URL strategy

英译汉Equipped with the camera extender known as a selfie stick, occasionally referred to as "the wand of narcissism," tourists can now reach for flattering selfies wherever they go. Art museums have watched this development nervously, fearing damage to their collections or to visitors, as users swing their slicks with abandon. Now they are taking action. One by one, museums across the United States have been imposing bans on using selfie sticks for photographs inside galleries (adding them to existing rules on umbrellas, backpacks and tripods), yet another example of how controlling crowding has become part of the museum mission. The Hirshhom Museum and Sculpture Garden in Washington prohibited the sticks this month, and the Museum of Fine Arts in Houston plans to impose a ban. In New York, the Metropolitan Museum of Art, which has been studying the matter for some time, has just decided that it will forbid selfie slicks, too. New signs will be posted soon. "From now on ,you will be asked quietly to put it away," said Sree Sreenivasan, the chief digital officer at the Metropolitan Museum of Art. "It's one thing to take a picture at arm's length, but when it is three times arm's length, you are invading someone else's personal space." The personal space of other visitors is just one problem. The artwork is another. "We do not want to have to put all the art under glass," said Deborah Ziska, the chief of public information at the National Gallery of Art in Washington, which has been quietly enforcing a ban on selfie sticks, but is in the process of adding it formally to its printed guidelines for visitors. Last but not least is the threat to the camera operator, intent on capturing the perfect shot and oblivious to the surroundings. "If people are not paying attention in the Temple of Dendur, they can end up in the water with the crocodile sculpture," Mr. Sreenivasan said. "We have so many balconies you could fall from, and stairs you can trip on." At the Metropolitan Museum of Art on Thursday, Jasmine Adaos, a selfie-stick user from Chile, expressed dismay. "It's just another product," she said. "When you have a regular camera, it's the same thing. I don't see the problem if you’re careful.” But Hai Lin student from Shandong, China, conceded that the museum might have a point. "You can hit people when they're passing by," she said

英译汉In the past few years， I’ve taught nonfiction writing to undergraduates and graduate students at Harvard， Yale， and Columbia’s Graduate School of Journalism. Each semester I hope， and fear， that I will have nothing to teach my students because they already know how to write. And each semester I discover， again， that they don’t. 　　The teaching of the humanities has fallen on hard times. So says a new report on the state of the humanities by the American Academy of Arts and Sciences， and so says the experience of nearly everyone who teaches at a college or university. Undergraduates will tell you that they’re under pressure — from their parents， from the burden of debt they incur， from society at large — to choose majors they believe will lead as directly as possible to good jobs. Too often， that means skipping the humanities. 　　In other words， there is a new and narrowing vocational emphasis in the way students and their parents think about what to study in college. There is a certain literal-mindedness in the recent shift away from the humanities. It suggests a number of things. 　　One， the rush to make education pay off presupposes that only the most immediately applicable skills are worth acquiring. Two， the humanities often do a bad job of explaining why the humanities matter. And three， the humanities often do a bad job of teaching the humanities. 　　What many undergraduates do not know — and what so many of their professors have been unable to tell them — is how valuable the most fundamental gift of the humanities will turn out to be. That gift is clear thinking， clear writing and a lifelong engagement with literature. 　　Writing well used to be a fundamental principle of the humanities， as essential as the knowledge of mathematics and statistics in the sciences. But writing well isn’t merely a utilitarian skill. It is about developing a rational grace and energy in your conversation with the world around you.

英译汉Passage 1 Along a rugged, wideNorth Sea beach here on a recent day, children formed teams of eight to 10,taking their places beside mounds of sand carefully cordoned by tape. They hadone hour for their sand castle competition. Some built fishlike structures,complete with scales. Others spent their time on elaborate ditch and dikelabyrinths. Each castle was adorned on top with a white flag. Then they watched thesea invade and devour their work, seeing whose castle could with stand the tidelongest. The last standing flag won. It was no ordinary dayat the beach, but a newly minted, state-sanctioned competition forschoolchildren to raise awareness of the dangers of rising sea levels in a countryof precarious geography that has provided lessons for the world about watermanagement, but that fears that its next generation will grow complacent. Fifty-five percent ofthe Netherlands is either below sea level or heavily flood-prone. Yet thanks toits renowned expertise and large water management budget (about1.25 percent ofgross domestic product), the Netherlands has averted catastrophe since aflooding disaster in 1953. Experts here say thatthey now worry that the famed Dutch water management system actually works toowell and that citizens will begin to take for granted the nation’s success instaying dry. As global climate change threatens to raise sea levels by as muchas four feet by the end of the century, the authorities here are working tomake real to children the forecasts that may seem far-off, but that will shapetheir lives in adulthood and old age. “Everything works sosmoothly that people don’t realize anymore that they are taking a risk indeveloping urban areas in low-lying areas,” said Raimond Hafkenscheid, the leadorganizer of the competition and a water expert with the Foreign Ministry. Before the competition,the children, ages 6 to 11, were coached by experts in dike building and watermanagement. Volunteers stood by, many of them freshly graduated civilengineers, giving last-minute advice on how best to battle the rising water. A recently releasedreport by the Organization for Economic Cooperation and Development on watermanagement in the Netherlands pointed to an “awareness gap” among Dutchcitizens. The finding did much to get the sand castle contest off the ground.

英译汉【Passage 2】 Scientists have found the first evidence that briny water flowed on the surface of Mars as recently as last summer, a paper published on Monday showed, raising the possibility that the planet could support life. Although the source and the chemistry of the water is unknown, the discovery will change scientists’ thinking about whether the planet that is most like Earth in the solar system could support present day microbial life. The discovery was made when scientists developed a new technique to analyze chemical maps of the surface of Mars obtained by NASA’s Mars Reconnaissance Orbiter spacecraft. They found telltale fingerprints of salts that form only in the presence of water in narrow channels cut into cliff walls throughout the planet’s equatorial region. The slopes appear during the warm summer months on Mars, then vanish when the temperatures drop. Scientists suspected the streaks were cut by flowing water, but previously had been unable to make the measurements. Mars Reconnaissance Orbiter makes its measurements during the hottest part of the Martian day, so scientists believed any traces of water, or fingerprints from hydrated minerals, would have evaporated. Also, the chemical-sensing instrument on the orbiting spacecraft cannot home in on details as small as the narrow streaks, which typically are less than 16 feet wide. But Ojha and colleagues created a computer program that could scrutinize individual pixels. That data was then correlated with high-resolution images of the streaks. Scientists concentrated on the widest streaks and came up with a 100 percent match between their locations and detections of hydrated salts.

英译汉Passage 2 My teenage son recently informed me that there is an Internet quiz to test oneself for narcissism. His friend had just taken it. “How did it turn out?” I asked. “He says he did great!” my son responded. “He got the maximum score!” When I was a child, no one outside the mental health profession talked about narcissism. People were more concerned by inadequate self-esteem, which at the time was thought to lurk behind nearly every issue. Like so many excesses of the 1970s, the self-love cult spun out of control and is now rampaging through our culture like Godzilla through Tokyo. A 2010 study in the journal Social Psychological and Personality Science found that the proportion of college students exhibiting narcissistic personality traits – based on their scores on the Narcissistic Personality Inventory, a widely used diagnostic test – has increased by more than half since the early 1980s, to 30 per cent. In their book, The Narcissism Epidemic, psychology professors show that narcissism has increased as quickly as obesity has since the 1980s. Even our egos are getting fat. This is a costly problem. While full-blown narcissists often report high levels of personal satisfaction, they create havoc and misery around them. There is overwhelming evidence linking narcissism with reduced honesty and increased aggression. It’s notable for occasions like Valentine’s Day that narcissists struggle to stay committed to romantic partners, in no small part because they find themselves superior. The full-blown narcissist might reply, “So what?” But narcissism isn’t an either-or characteristic. It’s more of a set of progressive symptoms (like alcoholism) than an identifiable state (like diabetes). Millions of Americans exhibit symptoms, but still have a conscience and a hunger for moral improvement. At the very least, they really do not want to be terrible people. A healthy self-love that leads to true happiness builds up one’s intrinsic well-being, as opposed to feeding shallow cravings to be admired. Cultivating amour de soi requires being fully alive at this moment, as opposed to being virtually alive while wondering what others think. The soulful connection with another person, the enjoyment of a beautiful hike alone, or a prayer of thanks over your sleeping child could be considered expressions of self-love.

英译汉Passage 1 Everyone knows that weddings—the most elaborate and costly form of old school pageantry still acceptable in modern society—are stupid expensive. But it turns out Americans are now blowing even more money than ever before on what’s supposed to be the most magical day of any couple’s life together. Money that, to be honest, could be spent on much, much cooler stuff. The Knot released its annual wedding survey this week, with findings showing that couples are spending a mind-numbing average of $32,641 on matrimonial celebrations. The study includes data from nearly 18,000 pairs across the country. While the cost of a wedding varied greatly from city to city—reaching a nauseating high of $82,300 in Manhattan—the price was steep no matter where couples chose to get hitched. All this despite the fact that weddings (and marriages in general, honestly) can be a fairly impractical thing to invest in. Seriously, even 50 Cent doesn’t spend as much in a day as you’re spending on a reception band alone. Think about that. So rather than buying into the Marriage Industrial Complex on a union that may or may not work out, wouldn’t it make more sense to save your hard-earned money by forgoing the big ceremony for the major expenses you’re likely to face in married life? You know, like a mortgage. Or braces for your wallet-draining children-to-be. And if your fianceé is dead set on a fairytale wedding? You could always just blow your financial load on a plenty fulfilling single life. With nearly $33,000 to spend in the life of a singledom, you could get pretty far when it comes to amenities and entertainment. Perhaps the best part of being free from the shackles of wedding planning is the opportunity to treat yourself. Like, why drop $1,400 on a frilly dress you’ll wear once before it turns to moth food when you can rock the most expensive shoes of the season and look great doing it? And while weddings are supposed to be all about the happy couple, everyone knows that’s bull, because you have to feed your guests and provide them entertainment and put a roof over their heads for a couple of hours and likely go into debt doing it. In addition to simply having fun, there are some more practical ways to spend your wedding purse as well. For instance, purchasing and providing for a nice house cat rather than dropping major dough on finger bling intended for fending off hotties for the rest of your life. Fluffy won’t care if you bring home someone new every weekend—he’ll just hate everyone indiscriminately.

英译汉Marlene Castro knew the tall blonde woman only as Laurene, her mentor

英译汉英译汉第二篇Many countries have adopted the principle of sustainable development it can combat gaginst environment deterioration in air quality, water quality and

英译汉Apple may well be the only technical company on the planet that would dare compare itself to Picasso. In a class at the company’s internal university, the instructor likened the 11 lithographs that make up Picasso’s “The Bull” to the way Apple builds its smartphones and other devices. The idea: Apple designers strive for simplicity just as Picasso eliminated details to create a great work of art. Steven P. Jobs established the Apple University as a way to inculcate employees into Apple's business culture and educate them about its history, particularly as the company grew and the technical business changed. Courses are not required, only recommended, but getting new employees to enroll is rarely a problem. Randy Nelson, who came from the animation studio Pixar, co-founded by Mr. Jobs, is one of the teachers of "Communicating at Apple." This course, open to various levels of employees, focuses on clear communication, not just for making products intuitive, but also for sharing ideas with peers and marketing products. In a version of the class taught last year, Mr. Nelson showed a slide of The Bull, a series of 11 lithographs of a bull that Picasso created over about a month, starting in late 1945. In the early stages, the bull has a snout, shoulder shanks and hooves, but over the iterations, those details vanish. The last image is a curvy stick figure that is still unmistakably a bull. "You go through more iterations until you can simply deliver your message in a very concise way, and that is true to the Apple brand and everything we do," recalled one person who took the course. In "What Makes Apple, Apple," another course that Mr. Nelson occasionally teaches, he showed a slide of the remote control for the Google TV, said an employee who took the class last year. The remote control has 78 buttons. Then, the employee said, Mr. Nelson displayed a photo of the Apple TV remote control, a thin piece of metal with just three buttons. How did Apple's designers decide on three buttons? They started out with an idea. Mr. Nelson explained, and debated until they had just what was needed — a button to play and pause a video, a button to select something to watch, and another to go to the main menu. The Google TV remote control serves as a counterexample. It had so many buttons, Mr. Nelson said, because the individual engineers and designers who worked on the project all got what they wanted.