托福閱讀中的精讀示范

 在托福閱讀的學習中，除了做題之外，更多的是把文章讀透，里面的詞，短語， 包括句間關系，段落分層，都要非常的清晰，這樣一篇文章才算真正的吃透。這就是我們所謂的精讀 intensive Reading。這樣做的好處是我們的基本功才會非常扎實。今天我們就其中的一段來說明一下。

The Origins of Theater

In seeking to describe the origins of theater, one must rely primarily on speculation, since there is little concrete evidence on which to draw. The most widely accepted theory, championed by anthropologists in the late nineteenth and early twentieth centuries, envisions theater as emerging out of myth and ritual. The process perceived by these anthropologists may be summarized briefly. During the early stages of its development, a society becomes aware of forces that appear to influence or control its food supply and well-being. Having little understanding of natural causes, it attributes both desirable and undesirable occurrences to supernatural or magical forces, and it searches for means to win the favor of these forces. Perceiving an apparent connection between certain actions performed by the group and the result it desires, the group repeats, refines and formalizes those actions into fixed ceremonies, or rituals.

精讀： Seek 尋找，尋求，一般在閱讀中的同義替換有 search，look for, forage, scout這些都是必備的詞匯。Speculate 猜想，猜測 通常跟我們的assume 同替，這里的主語應該是 one 指代一個人。 這樣的用法我們經(jīng)常見到，比如用many some代替People。concrete 具體的，specific detailed 等。在后面都不同程度的使用了非謂語做后置定語的用法 比如 perceived by these anthropologists做了the process 的修飾。

Having little understanding of natural causes, it attributes both desirable and undesirable occurrences to supernatural or magical forces, and it searches for means to win the favor of these forces. 在這個句子中，having 是現(xiàn)在分詞做原因狀語，大家面臨這樣的動詞ing開頭，但是又沒做主語的情況下，建議在理解時候一定要結合語境。 Perceiving ...后面這句話同樣用了做狀語的用法。

參考翻譯： 由于幾乎沒有具體材料可供研究，探尋戲劇的起源只能憑推測。19世紀末20世紀初，為人類學家們所擁護的一種理論得到了世人的廣泛認同;這種觀點認為戲劇起源于神話和宗教儀式。這些人類學家們推論過程可簡要概括如下：在社會發(fā)展早期，人們相信有股力量可以影響甚至操控他們的食物供應和幸福生活。在對自然原因并不十分了解的情況下，他們把希望或不希望發(fā)生的事情都歸咎于超自然的或魔幻的力量，并且試圖尋找各種途徑贏得這些力量的厚愛。當他們意識到自己的某些行為和期許的結果之間存在明顯的聯(lián)系以后，人們便開始重復并且完善這些行為，最終形成固定的典禮或宗教儀式。

Stories (myths) may then grow up around a ritual. Frequently the myths include representatives of those supernatural forces that the rites celebrate or hope to influence. Performers may wear costumes and masks to represent the mythical characters or supernatural forces in the rituals or in accompanying celebrations. As a person becomes more sophisticated, its conceptions of supernatural forces and causal relationships may change. As a result, it may abandon or modify some rites. But the myths that have grown up around the rites may continue as part of the group’s oral tradition and may even come to be acted out under conditions divorced from these rites. When this occurs, the first step has been taken toward theater as an autonomous activity, and thereafter entertainment and aesthetic values may gradually replace the former mystical and socially efficacious concerns.

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