Unit 1：AR1 11-13段
标题：大学毕业找工作的第一要义：别躺在沙发上做梦
第11段： 心理治疗师盖尔•林登费尔德是《情感康复策略》的作者。她说古德温夫妇的做法是很恰当的。 从大学到工作的转换对父母和孩子来说都很艰难，关键是父母要在支持理解孩子和不溺爱孩子之间找到一个平衡点。
Gael Lindenfield, a psychotherapist and the author of The Emotional Healing Strategy, says that the Goodwin parents have struck exactly the right note. The transition from university to a job is tough for parents and children: Crucially they must balance being positive and understanding with not making life too comfortable for their offspring.
第12段： “父母的主要任务就是支持孩子，如果他们教导孩子该如何做，那么就会引起矛盾。但如果孩子找工作遇到了挫折，父母应该体谅他们，宽容他们几天甚至几周——这取决于他们受打击的程度。等他们缓过来之后，父母就该坚决要求孩子继续求职。”
“The main job for the parents is to be there because if they start advising them what to do, that is when the conflict starts. If you have contacts, by all means use those,” she says. “But a lot of parents get too soft. Put limits on how much money you give them, and ask them to pay rent or contribute to the care of the house or the pets. Carry on life as normal and don’t allow them to abuse your bank account or sap your reserves of emotional energy.”
第13段： 男孩更容易窝在家里。 林登费尔德相信男人比母亲和姐妹更容易帮助儿子、侄子或朋友的儿子。 她说，由于男人和女人处理挫折的方式不同，所以男孩需要跟男人谈话才能渡过难关。
Boys are more likely to get stuck at home. Lindenfield believes that men are often better at helping their sons, nephews, or friends’ sons than are mothers and sisters.（倒装结构） Men have a different way of handling setbacks than women, she says, so they need the male presence to talk it through.
Unit 2：AR2 6-7段
标题：危险!书可能会改变你的人生
第6段： 如果我们怀疑读书是否能给我们力量的话，我们就应该自己去一趟当地的图书馆或书店，或者，如果我们足够幸运的话，可以读一读家里书架上的书。 我们会惊奇于古今小说的标题所创造出来的壮观景象：约翰•斯坦贝克的《愤怒的葡萄》、约翰•欧文的《第四只手》、亚历山大•索尔仁尼琴的《癌病房》、欧内斯特•海明威的《丧钟为谁而鸣》、格雷厄姆•格林的《哈瓦那特派员》、奥黛丽•尼芬格的《时间旅行者的妻子》、保罗•托迪的《到也门钓鲑鱼》。 一旦开始阅读，我们就应该思考一下我们在书中读到的别样人生。
If we ever question the truth of the power of reading books, we should take the trouble to go to our local library or bookshop, or even, if we’re fortunate enough, to the books on our shelves at home. We should wonder at the striking vistas(壮观景象) created by the titles of novels ranging from the classics to the most recent: The Grapes of Wrath by John Steinbeck, The Fourth Hand by John Irving, Cancer Ward by Aleksandr Solzhenitsyn, For Whom the Bell Tolls by Ernest Hemingway, Our Man in Havana by Graham Greene, The Time Traveler’s Wife by Audrey Niffenegger or Salmon Fishing in the Yemen by Paul Torday. Then we should reflect on the other lives we’ll meet once we begin to read.
第7段： 每一本书都有自己的语言、方言、词汇和语法。 我们不见得总能理解其中的每一个字、每一句话，但不管我们是痴迷其中，还是觉得被排斥在外，我们的情感被调动起来了。 尽管在地理上有一定的距离，但其他民族、其他文化未必就离我们那么遥远。 在书里我们可能遇见生活在不同气候、有不同信仰、属于不同种族的人。 即便是住在同一条街上的邻居，我们也可能对其一无所知，而只能通过阅读结识。
Every book will have its own language and dialect, its own vocabulary and grammar. We may not always understand every word or sentence, but whether we’re enchanted or whether we feel excluded, our emotions are nevertheless stimulated. Other people and other cultures are not always distant because of geography. In a book we may confront people who live in a different climate, have different religious beliefs, or come from a different ethnic group. Even our neighbours down the road may be strangers who we can only meet through books.
Unit 3：AR1 6-8段
标题：到过某地、做过某事、买过那件T恤衫
第6段： 但今天，我们的穿着是否仍然只追求舒适？还是我们也为时尚而穿衣？时尚达人–最新时尚的追随者–选择穿着当季最流行的新设计和新色彩，但往往牺牲了舒适性和实用性。他们中的许多人喜欢米兰、巴黎、伦敦和纽约时装秀的魅力。他们喜欢打量和目睹身材匀称、精致美丽的模特所穿的最新潮流服装，这些模特与大多数普通人完全不同。
But today, do we still dress exclusively for comfort? Or do we also dress for fashion? Fashionistas – followers of the latest fashions – choose to wear the season’s fabulous new designs and colours, often at the expense of comfort and practicality. Many of them love the glamour of the fashion shows in Milan, Paris, London and New York. They like to gauge and witness the latest trends as worn by models of uniform build and exquisite beauty, who are quite unlike most ordinary people.
第7段： 有些时尚潮人甚至最后沦落为时尚的牺牲品：他们的着装选择完全被追求奢华风格的心态所主宰，但是因为固执己见，他们意识不到这种风格不适合他们。 他们因此常常会遭人白眼。
Some of the fashionistas end up as fashion victims, whose choice of clothes is dictated by a sense of extravagant style but who are so self-absorbed that they’re unable to realize how inappropriate it is. They accordingly run the risk of inviting an unkind response.
第8段： 另一些人选择服装的目的则是为了在特定场合能给会面者留下良好的印象，比如在参加面试时穿上时髦笔挺的西服及整洁干净的白衬衫，或者在他们的婚礼上穿上一身漂亮的礼服。
Others choose clothes to make a favourable impression of some kind on the people they meet in particular circumstances, such as a smart suit and a crisp, white shirt for a job interview, or a beautiful gown for their wedding.
Unit 4：AR1 23-27段
标题：信用卡陷阱
第23段： 这就是银行的所作所为。 他们常常利用我们的虚荣和贪婪，有时也利用我们生存的基本需求给我们设下陷阱。 等我们掉进陷阱时，他们就会大喊：“抓住你啦！你当初没想到这是个陷阱吧？”
So this is what the banks do. They set traps which appeal to our vanity and greed and sometimes to our basic need for survival. And then when we fall into the trap they shout “Got you! Didn’t you realize it was a trap?”
第24段： 这就是我们现在的处境。随着世界经济一落千丈，我们都处在信贷危机之中。所有这一切都是因为邪恶的银行家通过大量广告推销他们压根就不存在的贷款来吸引我们，给我们设圈套! 现在真相大白了：他们也在用自己手中金光闪闪的金卡借钱。
And here we are today, caught in the credit crunch, with world economies in free fall, all because the wicked bankers set us traps which we fell into, attracting us with endless publicity for loans of money which even they didn’t have! It now appears they were borrowing on their own flashy gold credit cards too.
第25段： 我有一个破解信用卡圈套的办法，各位请仔细听。
So I have a solution to the credit card trap, and I want all of you to listen to me very carefully.
第26段： 我要你们把所有的信用卡排成一排，拿一把大剪子把它们剪成碎片，然后把碎片装进信封寄回给银行，并附上一封信，上面（或多或少地）写上：“我信任你，可你却欺骗了我。你让全世界的人都钻进了这个荒谬的信用卡圈套。我把你的卡剪成了两半，让你再也无法像骗我这样的老实人一样去骗其他人的钱了，也许该让你来体验一下身无分文的滋味了。”
I want you to lay out all of your credit cards in a line, take a large pair of scissors and cut them into small pieces. Then put them in an envelope and send them to your bank, with a letter saying (more or less) “I trusted you and you deceived me. You’ve got the whole world into this ridiculous credit card trap, and if I now cut your cards in half, and take away your potential to tempt money away from honest people like me, maybe it will be your turn to learn what it’s like to run out of cash.”
第27段： 至于我，我再也不想要信用卡了，也不要身份的象征了，也不用费心思去炫耀我比别人优越了。我再也不会去奢望我买不起或我无法得到的东西了。
As for me, I don’t want any more credit cards, no more status symbols, no more bad feelings about wishing I could show how superior I am to others. I’m not going to yearn any more for what I cannot afford or cannot have.
Unit 5：AR2 12-13段
标题：英国人闲聊的性别差异
第12段： 女人一填表就会暴露自己的个人经历。 现在大多数的申请表会给出四种称谓选择。 男人只有一种选择，即“先生”（Mr.），这除了表明他们是男性之外没有其他任何含义。 女人则必须从三种称谓中选一个，而任何一种都是标记性的。 如果一位女士勾选了“太太”（Mrs.）或者“小姐”（Miss）的称谓，那么她不仅暴露了自己的婚姻状况，而且还表明她在称谓方面很保守，或许在其他价值观念方面也很保守。 如果她选择“女士”（Ms.）这一称谓，那么说明她拒绝透露自己的婚姻状况（而男士选“先生”这个称谓时则没有故意隐瞒任何事情，因为本来就没有要求他透露婚姻信息）。另外，在表格中勾选“女士”这一称谓的人会被标记为思想解放的人或叛逆者，这就要看评判她的人持什么样的态度和看法了。
Women can’t even fill out a form without telling stories about themselves. Most application forms now give four choices for titles. Men have one to choose – “Mr.” – so their choice carries no meaning other than to say they are male. But women must choose among three, each of them marked. A woman who checks the box for “Mrs.” or “Miss” communicates not only whether she has been married but also that she has conservative tastes in forms of address, and probably other conservative values as well. Checking “Ms.” declines to let on about marriage (whereas “Mr.” declines nothing since nothing was asked), but it also marks the woman who checks it on her form as either liberated or rebellious, depending on the attitudes and assumptions of the one making the judgment.
第13段： 我有时会选择“博士”头衔，以避开这几种带标记的称谓选项。 但这么做又会给自己带来风险，标明自己要么骄傲自大（于是乎招来讥讽的反应，比如“对不起，我不知道你是博士！”），要么是一个成功欲过强的人（那么对方的反应就是祝贺式的惊奇，比如“你真行！”）。
I sometimes try to duck these variously marked choices by giving my title as “Dr.” – and thereby risk marking myself as either uppity (hence sarcastic responses like “Excuse me!”) or an over-achiever (hence reactions of congratulatory surprise, like “Good for you!”).
Unit 6：AR2的1-2段
标题：温斯顿•丘吉尔
第1段： 1940年夏天，英国面临外敌入侵，孤立无援。 在这一危急时刻，有一个人——温斯顿•丘吉尔——挺身而出，显示了英国人的本色。 我们英国人喜欢把自己看成是一个宽容而坚忍的民族。 但是丘吉尔以他卓越的领导才能和光辉的榜样让我们看到，当我们所珍视的一切——我们的民主、我们的自由——受到威胁的时候，我们会展示出无与伦比的勇气和决心：
In the summer of 1940, Britain stood alone on the brink of invasion. At that crucial time, one man, Winston Churchill, defined what it meant to be British. We like to think of ourselves as tolerant and long-suffering people. But Churchill, through his leadership and his example, reminded us that if all we hold dear – our democracy, our freedom – is threatened, we will show courage and determination like no other nation:
第2段： “我所能奉献的唯有热血、辛劳、眼泪和汗水。你问我们的政策是什么？我会说我们的政策就是在海、陆、空全面开战，竭尽全力，尽上帝赋予我们的全部力量去战斗；与黑暗的、可悲的人类罪恶史上最穷凶极恶的暴政作战。你问我们的目标是什么？我可以用一个词来回答，那就是胜利。不惜一切代价，去夺取胜利。战胜一切恐怖，去夺取胜利。不论前方的道路多么漫长、多么艰辛，一定要夺取胜利。”
“I have nothing to offer but blood, toil, tears and sweat. You ask what is our policy? I can say it is to wage war by sea, land and air, with all our might and with all our strength that God can give us; to wage war against a monstrous tyranny, never surpassed in the dark, lamentable catalogue of human crime. You ask what is our aim? I can answer in one word: It is victory, victory at all costs, victory in spite of all terror, victory however long and hard the road may be.”
Unit 7：AR1 第1段
标题：埃菲尔铁塔
第1段： 19世纪下半叶建筑学上出现了大量的结构创新，当时世界上最大的三个建筑物正是创新的产物。 用铁制结构建成的水晶宫是专门为1851年的伦敦世博会建造的，是当时占地面积最大的建筑。1883年竣工的全钢结构的布鲁克林大桥是当时最长的桥。1887年开工建造的埃菲尔铁塔，全钢结构，是当时世界上最高的建筑物。前两个建筑都有实际的用途。 约瑟夫•帕克斯顿爵士设计的水晶宫不仅在世博会上大展用途，而且因为可拆卸，水晶宫在世博会之后被移到西德纳姆镇，用来举办雕塑、绘画和建筑展览以及音乐会。1936年11月水晶宫毁于一场大火，它是一个失落了的代表幸福和博爱的象征物。 建造布鲁克林大桥是为了把纽约城的两个大区连接起来，此举反映了纽约市政府想要提升布鲁克林区房地产价格的愿望。 而埃菲尔铁塔的情况则不同。 它是为1889年的巴黎世博会建造的，它的用途似乎也不过是让人们一睹巴黎的美景。 埃菲尔先生极力赞美此塔的功用，认为它可用作军事瞭望塔，在塔顶呼吸新鲜空气有益健康，在塔上还可以进行风和重力方面的实验。但建造埃菲尔铁塔的真正内在动机是要向世界表明，在法国大革命100年之后，法国的科技已处于世界领先地位，能够实现建造300米（差不多1,000英尺）高塔的梦想。 埃菲尔铁塔比当时的最高建筑华盛顿纪念碑高一倍。 但是不管建造动机是什么，从实用的角度来讲，这座塔本身在当时和现在都是“毫无用处”的。
The three largest structures in the world were products of an outburst of structural creativity in the last half of the 19th century. The Crystal Palace, made of iron, erected for the 1851 Great Exhibition in London, covers the largest area; the Brooklyn Bridge, completed in steel in 1883, has the longest span; and the Eiffel Tower, made of steel and started in 1887, reaches the greatest height. The first two had utilitarian purposes. Sir Joseph Paxton’s Crystal Palace not only served royally the Great Exhibition but, being demountable, was transferred afterwards to Sydenham, where it was used for sculpture, painting and architectural exhibits, and for concerts until November 1936, when it burned, a lost symbol of happiness and brotherhood. The Brooklyn Bridge, built to connect the two great boroughs of New York City, reflected the desire to increase real estate values in Brooklyn. The Eiffel Tower, on the other hand, is a case itself. Built for the Paris Exhibition of 1889, it was meant ostensibly nothing more or less than a magnificent view of Paris. Monsieur Eiffel extolled its utility as a military lookout, the salubrity of the air at its top, its uses as a laboratory to experiment with wind and gravity, but the innerspring to its construction was to demonstrate that France, 100 years after the revolution, was a leader of the technical world, capable of realizing the dream of a tower 300 meters high, almost 1,000 feet. It would be twice as high as the Washington Monument, at that time the tallest structure. Whatever its motivation, the tower in itself was and is totally “useless” from a practical point of view.