Unit 18


Fanny Kemble (1809-93) was the niece of two Shakespearean tragedians, Sarah Siddons and Siddons's brother, John Philip Kemble. Her father and her French mother were also actors. In fact her whole extended family constituted the foremost theatrical dynasty of the late 18th and early 19th centuries. Handsome and gifted, they crop up in letters and diaries throughout the period, and were generally regarded as a kind of royalty: a race apart.

The real competition for any biographer of Kemble is Kemble herself. As her friend Henry James noted: “in two hemispheres, she had seen everyone, had known everyone”. What's more, she recorded it all in many volumes of vividly written memoirs, all swarming with people, criticism, social commentary, anecdote, scenery, political opinion and superb set-pieces: the digging of Brunel's Thames tunnel, for instance.

Kemble's memoirs, especially her “Journal of a Residence on a Georgian Plantation”, are as important historically as they are engrossing. But what fascinates us now is the way that Fanny, clever and reckless as she was, broke the rules——or the way she appropriated and revised the role prescribed to her by gender politics. She never cared about such prescriptions. She spoke her mind and thought nothing of walking into a stream fully clothed if it was hot. It wasn't until her marriage that her gender collided with the realities of power and money. Though she was never intended for the stage, the looming bankruptcy of her father obliged her to try her chances. Overnight, she became the toast of London. Money flowed, and yet more on a tour of America, where she met a seductive young man, Pierce Butler, heir to huge rice and cotton slave-plantations in Georgia. Hoping to escape the shallow emotionalism of the theatre, assuming a companionship of equals and somehow managing to forget the slaves, she married him.

At a stroke she lost everything. Butler, deeply illiberal, exerted his rights. He appropriated her earnings, censored her writing and when she woke to the horrors of slavery, forbade her public opposition to it. She wept, she ran away, she returned. The birth of children, in whom she had no legal rights, further enchained her.

The rest of Kemble's life was sheer indomitability. The Butlers did divorce. She did lose the children. But on their majority, she recovered them. She made her own money again. Criss-crossing the Atlantic, she gave Shakespeare readings to packed audiences. Every summer, she climbed the Alps, startling the guides by singing loudly as she went. She met James in 1872 and he fell under her spell, fascinated by her proud idealism, her eccentric honesty and above all by her talk of “old London”. “She reanimated the old drawing rooms,”he wrote, “relighted the old lamps, retuned the old pianos.”When at last she died, he felt it, he said, “like the end of some reign or the fall of some empire”.

注（1）：本文选自Economist；

注（2）：本文习题命题模仿对象为2003年真题Text 4。

1. What is implied in the first paragraph?

A) The Kemble family kept a huge amount of diaries and letters.

B) Fanny Kemble was a renowned actress of Shakespearean plays.

C) This passage mainly focuses on the life of Fanny Kemble.

D) The Kemble family was once a royal family separated from common people.

2. The author mentions Fanny's memoirs in the second paragraph to show that_______.

A) Fanny was a prolific autobiographer of herself who can compete with all her biographers

B) Fanny wrote biographers for her family members and historical events

C) Fanny's writings are both entertaining and of historical importance

D) Fanny was a better biographer than an actress

3. The author's attitude towards Fanny Kemble is probably one of_______.

A) strong hatred

B) enthusiastic support

C) mild satire

D) objective

4. Fanny decided to marry Pierce Butler for the following reasons EXCEPT_______.

A) she did not enjoy her career as an actress

B) she longed for an ordinary life with an equal company

C) she was attracted by the handsome Pierce Butler

D) she forgot the existence of slavery in American plantations

5. The text intends to express the idea that_______.

A) Fanny Kemble had a life that is full of adversities and misfortunes

B) Fanny Kemble seldom enjoyed her life because of continuous financial restraints

C) Fanny Kemble held an optimistic attitude towards the ups and downs of her life

D) Fanny Kemble went through a dramatic life in which she remained in the dominant position





篇章剖析


本文通过主人公自己的传记介绍了女演员范妮·肯布尔的一生。第一段介绍了范妮的家庭背景；第二段简介范妮丰富的人生经历是其自传的主要素材，暗示本文基于范妮的自传对其进行介绍和回顾；第三段先对范妮的一生进行了总体评价，然后描述了她的早期生活、成名过程直至其结婚；第四段描述了范妮第一次婚姻的失败和她经历的痛苦；第五段描述了范妮乐观地度过了自己的下半生。





词汇注释


hemisphere /ˈhemɪsfɪə/ n. 半球

memoir /ˈmemwɑː/ n. 回忆录

swarm /swɔːm/ v. 涌往，挤满，密集

anecdote /ˈænɪkdəʊt/ n. 轶事，奇闻

engross /ɪnˈɡrəʊs/ vt. 吸引，使全神贯注

fascinate /ˈfæsɪneɪt/ vt. 使着迷，使神魂颠倒

appropriate /əˈprəʊprɪeɪt/ vt. 占用，挪用

prescribe /prɪsˈkraɪb/ v. 指示，规定

collide /kəˈlaɪd/ vi. 碰撞，抵触

loom /luːm/ v. 隐现，迫近

stroke /strəʊk/ n. 一次努力，打击

illiberal /ɪˈlɪbərəl/ adj. 狭隘的，偏执的

indomitability /ˌɪndɒmɪtəˈbɪlɪti/ n. 不屈不挠

startle /ˈstɑːtl/ v. 震惊

eccentric /ɪkˈsentrɪk/ adj. 古怪的





难句突破


Hoping to escape the shallow emotionalism of the theatre, assuming a companionship of equals and somehow managing to forget the slaves, she married him.

主体句式：She married him.

结构分析：这个长句的主干被放到了最后，前面两个分词短语在一般情况下都放在主干句的后面，这里放在前面不是“头重脚轻”的问题，而是强调“她嫁给他”的前提。

句子译文：肯布尔想逃离肤浅的戏剧情感主义，想有个平等的知心人陪伴自己，于是她在一定程度上忘记了奴隶制，嫁给了他。





题目分析


1. C 推理题。文章第一段开门见山地介绍范妮·肯布尔的身份及其家族，可以推出这篇文章将主要介绍范妮·肯布尔。A、B、D选项都与原文有出入，可以排除。A选项错在肯布尔家族没有保留大量的日记和信件，而是那个时代的许多日记和信件提到了该家族。B选项错在范妮·肯布尔本人并不是莎剧的演员。D选项错在肯布尔家族并不是皇族。

2. A 细节题。根据文章第二段，范妮·肯布尔自己就是自己的传记作家，她出版了好几卷关于自己经历的各种材料，这些显然都是她的其他传记作家无法比拟和超越的。C选项虽然表述上也符合文章的意思，但是这一点并不是在第二段中表现出来的，而是在第三段。

3. B 情感态度题。文章第三段第二句称范妮“clever and reckless”，之后又说她勇于冲破世俗制度和性别政治；最后一段中也是对范妮后半生不屈不挠精神的评价，可见全文中作者是在盛赞范妮。

4. D 细节题。文章第三段最后一句话说明了范妮出嫁的原因，其中提到了她“somewhat managing to forget the slaves”，这里的意思不是范妮真的忘了奴隶制的存在，而是她为了幸福回避了这个问题。从第四段中可以看出范妮是反对奴隶制的，她对这个制度感到震惊。

5. C 细节题。文章最后一段提到了范妮的后半生中她一直不屈不挠地生活，她积极地参加各类活动，到处旅游，而且最终得到了爱情，可见她对于生活起伏的态度还是非常乐观的。A选项的表述是正确的，但是文章的主旨不仅仅是描述范妮生活的坎坷，而是她在坎坷中保持的那种积极精神。B选项的错误原因在于范妮并不总是缺钱，D选项的错误原因在于她在第一次婚姻中处于被主导的地位。





参考译文


范妮·肯布尔（1809-1893）是两位莎士比亚悲剧演员莎拉·席登斯和她哥哥约翰·菲利浦·肯布尔的侄女。她的父亲和法国籍母亲也是演员。事实上，庞大的肯布尔家族是18世纪末19世纪初戏剧时代的重要组成部分。那时，他们外表英俊，具有表演天赋，不断出现在当时的信件和日记里。他们被视为皇亲贵胄——高高在上的一族。

对于写肯布尔传记的作者们来说，真正的竞争来自肯布尔本人。就像她的朋友亨利·詹姆斯说的那样：“在两个半球，她见过所有人，知道所有人。”不仅如此，她还把这些生动的经历写进了自己的回忆录里，足足有好几卷。回忆录的内容包括人物、评论、社论、轶事、风景、政见和壮观的场景等：比如布鲁内尔的泰晤士隧道挖掘场景。

肯布尔的回忆录，尤其是《乔治亚庄园的生活日记》，不仅引人入胜，而且具有重要历史意义。但是，现在吸引我们的是聪明且勇往直前的肯布尔冲破世俗的方式，或者说她如何改变和推翻性别政治强加给她的角色。肯布尔从来都不在乎这些所谓的规定。她怎么想就怎么说，如果天气太热的话，穿着衣服走到小溪里去也无所谓。直到结婚以后，她的性别才与权力和金钱这些现实发生抵触。尽管她从没想过登上这一舞台，但是父亲的破产迫使她不得不去试试运气。一夜之间，她成为了伦敦街头巷尾谈的话题。金钱滚滚而来，而美国之行让她得到了更多。在美国，她邂逅了极富魅力的年轻人皮尔斯·巴特勒——佐治亚盛产大米和棉花的大型奴隶庄园的继承人。肯布尔想逃离肤浅的戏剧情感主义，想有个平等的知心人陪伴自己，于是她在一定程度上忘记了奴隶制，嫁给了他。

一时的冲动让她失去了所有。巴特勒有着根深蒂固的传统观念，并滥用自己作为丈夫的权力。他拿走肯布尔的钱，审查她的作品，在她对奴隶制感到震惊时，禁止她公开表示反对。她哭了，离开了这个家，可又回来了。孩子的出生进一步束缚了她，但她却没有合法权利拥有孩子。

肯布尔彻底不屈不挠地度过了后半生。她最终与巴特勒离婚，也失去了孩子们，但她重新获得了大部分孩子的抚养权。她又开始赚钱了：她不停往返于大西洋两边，给人山人海的观众们分发各种莎士比亚读物。每年夏天，她都要去爬阿尔卑斯山，走到哪都大声唱歌，甚至还吓到了导游。在1872年，她遇到了詹姆斯。他为她的魅力所折服，为她高傲的理想主义、前所未见的诚实着迷，最重要的还是对她的“旧伦敦”的描述。他写道：“她修复了旧画室，重新点燃了古老的灯，给旧钢琴重新调了音律。”当她去世时，他说自己觉得“像是某种统治结束了，一个帝国覆灭了。”





Unit 19


Lately DreamWorks SKG has been a wandering tribe. The would-be studio, which made films such as “American Beauty”and “War of the Worlds”, sold itself to Paramount in 2005. When that arrangement fell apart it found new partners in Reliance Big Entertainment, a Bollywood outfit, and Universal Studios. Then it fell out with Universal. So it was rather a surprise when, on February 9th, DreamWorks abruptly found itself in the promised land. Disney, the world's foremost purveyor of wholesome entertainment, lent it money and agreed to market and distribute its films.

It is a good illustration of how the economic downturn is affecting Hollywood. Until recently executives were boasting that the film business was resistant, perhaps even immune, to recession. The number of cinema tickets sold actually increased during three out of the past four recessions. Box-office receipts so far this year are higher than last year. Admittedly, the share prices of media companies have tumbled——but that is because of the collapse in television and print advertising, and has little to do with Tinseltown.

Yet the downturn has profoundly affected the art of dealmaking. Although the breakdown of negotiations between DreamWorks and Universal has been followed by a storm of recriminations, the heart of the problem was that DreamWorks was finding it unexpectedly hard to raise debt. It is hardly alone in that. Two years ago investors were lubricating all sorts of strange alliances and start-ups——Tom Cruise wants to resurrect United Artists? Why not? But now the outside money has all but disappeared. The big studios, the primacy of which was never exactly threatened during the boom years, are now almost the only game in town.

The alliance with DreamWorks is something of an about-turn for Disney. Under Bob Iger, who took over as chief executive in 2005, Disney has culled films that are a less than perfect fit for its family-friendly brand and has concentrated on turning those that are into amusement-park rides, lunch boxes and other spin-offs. This week's deal will add as many as six films a year to Disney's pipeline, swelling it by about half. The surge will not happen at once, however: DreamWorks will have to raise more money before it is capable of producing that many.

These days DreamWorks is largely Steven Spielberg's outfit. Jeffrey Katzenberg (the “K”in SKG) runs DreamWorks Animation, a separate, publicly owned company. David Geffen (the “G”) has retired from the studio. The remaining founder spoke warmly of Disney this week, calling it the “birthplace of imagination”. He is said to be looking forward to making more family films. Perhaps, but he still looks a little out of place in the magic kingdom.

Mr. Spielberg became America's best-known, and perhaps best, film director by fusing blockbuster spectacle with an unflinching take on family life. The households even in his PG-rated films are almost uniformly dysfunctional. Think of Richard Dreyfuss flinging plants through the window in “Close Encounters of the Third Kind”, Frances O'Connor abandoning her adopted robot son by the roadside in “A.I.”or the defeated, self-deluding Christopher Walken in “Catch Me If You Can”. It is hard to imagine any of them donning Mickey Mouse ears.

注（1）：本文选自Economist；

注（2）：本文习题命题模仿对象为2004年真题Text 4。

1. Why is DreamWorks SKG described at the beginning of the article as a wandering tribe?

A) Because it has recently made some movies about different ancient tribes.

B) Because it has recently moved from Hollywood to Bollywood for development.

C) Because it lately has seen many ups and downs when cooperating with peer companies.

D) Because it eventually reached its promised land of partnership with Disneyland.

2. According to the text, which is the influence of economic downturn on Hollywood's entertainment business?

A) Companies' operation and other business activities are profoundly affected.

B) Hollywood provides the services that are resistant to economic crisis.

C) The recession has promoted the movie industry as more people watch movies.

D) Most movie companies are sunk in debt crisis because of the economic recession.

3.

Bob Iger's strategy for Disneyland centers on______.

A) adding more movies to the company's pipeline

B) switching from movie-making to amusement park

C) raising more money to expand the size of the company

D) further clarifying the company's brand

4. Steven Spielberg, according to the text, is said to be______.

A) the founder of DreamWorks

B) good at combing grand scenes with details in reality

C) the best director in American movie history

D) a major advocator of family movies

5. What does the author think of the partnership between Disneyland and DreamWorks?

A) It will result in Spielberg's concentration shift onto more family movies.

B) They will add cartoon characters like Mickey Mouse to real-life movies.

C) The combination looks somewhat weird and the prospect is not cheerful.

D) The two companies will definitely find themselves incompatible with each others.





篇章剖析


本文讨论了好莱坞电影公司梦工厂的归属和前途。第一段简单介绍了梦工厂近来的沉浮，以及与迪士尼公司新近达成的合作；第二段和第三段说明了经济危机对好莱坞娱乐业的影响；第四至六段介绍了迪士尼和梦工厂的现状，初步分析了合作前景。





词汇注释


purveyor /pəˈveɪə/ n. 提供者，承办者

wholesome /ˈhəʊlsəm/ adj. 有益于身心健康的

tumble /ˈtʌmbl/ v. （价格等）暴跌；倒塌

recrimination /rɪˌkrɪmɪˈneɪʃən/ n. 相互指责

lubricate /ˈluːbrɪkeɪt/ v. 加润滑油，行贿，收买

alliance /əˈlaɪəns/ n. 联盟，结盟

cull /kʌl/ v. 挑出，剔除

spin-off /ˈspinɒf/ n. 副产品；意外收获

pipeline /ˈpaɪplaɪn/ n. 管道，在准备中

blockbuster /ˈblɒkbʌstə/ n. 大轰动，大片

unflinching /ʌnˈflɪntʃɪŋ/ adj. 不畏缩的

dysfunctional /dɪsˈfʌŋkʃənl/ adj. 不正常的，机能失调的

delude /dɪˈluːd/ v. 欺骗，迷惑

don /dɒn/ v. 穿上，披上





难句突破


Under Bob Iger, who took over as chief executive in 2005, Disney has culled films that are a less than perfect fit for its family-friendly brand and has concentrated on turning those that are into amusement-park rides, lunch boxes and other spin-offs.

主体句式：Disney has culled films that… and has concentrated on…

结构分析：本句主语为Disney，由under引导的介宾短语充当句子的状语，其中还包含了一个由who引导的定语从句来修饰under的宾语Bob Iger。主句的谓语为两个并列结构，以and 连接。并列结构的后半部分中又包含了一个由that引导的定语从句。

句子译文：自从2005年Bob Iger就任迪士尼公司总裁之后，公司就开始筛除与其面向家庭的品牌形象不符的影片，集中力量把符合要求的影片融入游乐园的骑坐设施、午餐盒和其他周边产品。





题目分析


1. C 推理题。文章第一句话指出梦工厂最近就像是一个到处流浪的部落，细读第一段就可以发现作者的意思是梦工厂近来一直归属未定，多次合作都陆续失败，因此C是最佳答案。选项A对文章首句理解错误，B的错误在于与宝莱坞合作并不意味着梦工厂搬到了宝莱坞。D虽然在文中有所提及，但与题目并不相符。

2. A 推理题。第二段指出业界人士称从过去的经验看娱乐业对经济危机有抵抗力，但B的说法太绝对，因此不正确。尽管该段还指出今年的票房很高，但在文中没有分析其原因，因此C的判断过于武断。第三段中指出经济危机曾使梦工厂陷入危机，但并没有说大多数公司都遭遇了债务危机，因此D也不正确。第三段开头指出“然而经济滑坡却已经对电影业的交易产生了深远的影响。”通过下文可以推断出，这些影响涉及公司的正常运营和各种商业活动，因此A正确。

3. D 细节题。文中第四段指出Bob Iger就任后迪士尼“就开始筛除与其面向家庭的品牌形象不符的影片，集中力量把符合要求的影片融入游乐园的骑坐设施、午餐盒和其他周边产品。”也就是说公司要进一步明确自己的品牌形象，故选D。B和C都属于无中生有。A只是与梦工厂合作的结果，并不是Bob Iger的目标。