【推荐1】“Wanna buy a body?” That was the opening line of more than a few phone calls I got from self-employed photographers when I was a photo editor at U.S. New. Like many in the mainstream press, I wanted to separate the world of photographers into “them”, who trade in pictures of bodies or run after famous people like Princess Diana, and “us”, the serious newspeople. But after 16 years in that role, I came to wonder whether the two worlds were easily distinguishable.

Working in the reputable world of journalism, I told photographers to cover other people’s difficult life situations. I justified marching into moments of sadness, under the appearance of the reader’s right to know. I worked with professionals talking their way into situations or shooting from behind police lines. And I wasn’t alone.

In any American town, after a car crash or some other horrible incident when ordinary people are hurt or killed, you rarely see photographers pushing past rescue workers to take photos of the blood and injuries. But you are likely to see local newspaper and television photographers on the scene-and fast...

How can we justify doing this? Journalists are taught to separate, doing the job from worrying about the consequences of publishing what they record. Repeatedly, they are reminded of a news-business saying: Leave your conscience in the office. A victim may lie bleeding, unconscious, or dead. Your job is to record the image. You’re a photographer, not an emergency medical worker. You put away your feelings and document the scene.

But catastrophic events often bring out the worst in photographers and photo editors. In the first minutes and hours after a disaster occurs, photo agencies buy pictures. They rush to obtain the rights to be the only one to own these shocking images and death is usually the subject Often, an agency buys a picture from a local newspaper or an amateur photographer and puts it up for bid by major magazines. The most sought-after special pictures commend tens of thousands of dollars through bidding contests.

I worked on all those stories and many like them. When they happen, you move quickly: buying, dealing, trying to beat the agencies to the pictures.

Now, many people believe journalists are the hypocrites(伪君子) who need to be brought down, and it’s our pictures that most anger others. Readers may not believe, as we do, that there is a distinction between clear-minded ‘us" and mean-spirited “them”. In too many cases, by our choices of images as well as how we get them, we prove our readers right.

1. We can learn from the passage that________.

A．The author told photographers to take pictures of people’s happy life situations

B．Professional newspeople may talk their way into situations or shooting from behind police lines

C．In America, local newspaper and television photographers rarely push on the scene to take pictures of the victims

D．In America, photographers always push past rescue workers to take pictures of the victims

2. When journalists are working, they are told to________.

A．work with their conscience	B．respect the privacy of the victim
C．separate their work from feelings	D．ask police for permission to take photos

3. The 5th and 6th paragraphs mainly tell us that________.

A．speed determines the success of a news story

B．photo agencies are greedier than serious newspeople

C．photographers have free access to photos of accidents

D．profit is the driving force behind the competition for photos

4. It can be learned from the last paragraph that serious newspeople________.

A．obtain photos differently from news agencies

B．are no better than self-employed photographers

C．are more devoted to work than non-professionals

D．have a higher moral standard than self-employed photographers

【推荐2】People often imagine that a knowledge of languages is sufficient to make an interpreter. Of course it is a prerequisite, as are two hands to a professional boxer. But just as the fact of having two hands does not make a boxer, so the knowledge of different languages, be they many or few, does not make an interpreter. It is only an instrument which you must learn how to use in a particular way — for which you may or may not be gifted.

The basic qualities required of the interpreter are not exceptionally rare, but their combination is very uncommon. They are:

(1) A capacity for being passively receptive, i.e. for drinking in readily and without any personal reaction all that may be said by the speaker.

(2) The type of quick-wittedness which makes for prompt and effective repartee (妙语), interpretation being a sort of mental game of tennis.

(3) A good memory, because all the tricks of the trade are intended only to make up for its deficiencies. Two things are expected of the interpreter’s memory: first, that it should store up an exceptionally large vocabulary in the related languages and supply instantly the required word or phrase; second, that it should retain for a very brief period(seldom more than one hour) a picture as full, detailed, and accurate as possible of what has just been said after which the interpreter will be well advised to wash his mind clear of most of what he has memorized. In this latter function, the interpreter’s memory is therefore the reverse of the comedian’s. Whereas the actor has ample time to learn his part, gradually, and methodically, and is then expected to remember it over a long period and repeat it on a succession (连续) of occasions, the interpreter must wholly commit to his memory fleeting thoughts and words as they fly past, and then bring them back to mind only once, a very short while later.

The work of the translator and that of the interpreter are fundamentally different and can hardly be combined. Very rare indeed are people who can do both. The reason for this is clear: the translator can or should search at leisure for the accurate term, as well as effort to express himself in the best possible grammar and style; he may re-write the same paragraph ten times or more, improving it each time; he may consult all dictionaries and reference books, and ask for help and advice. The interpreter, on the other hand, is given hardly any time to think, can consult neither books nor friends, and must “put across”, immediately and as accurately as possible, whatever the speaker wishes to convey. But he may express nuances (微妙) by varying the tone of his voice, he may paraphrase when he does not find the exact word, he may repeat, correct or add to what he has just said, if he sees that he was not properly understood. These are in reality two contrary techniques.

1. Interpretation is similar to playing tennis in that both need _________.

A．two hands	B．quick response
C．mental fitness	D．good muscle memory

2. A good memory is required of an interpreter so that he can _________.

A．memorize all that is said and remember it for a long time

B．memorize the important part of what is said and remember it for a long time

C．memorize for a short period all that is said and then forget about it

D．memorize all that is said gradually and completely

3. What is the author’s opinion of the qualities mentioned for an interpreter?

A．It is not necessary for the interpreter to possess all the basic qualities.

B．It is uncommon for the interpreter to possess all the basic qualities.

C．Certain qualities are more important than the others.

D．Only two of the qualities are actually required.

4. Which of the following can best indicate the author’s understanding of the difference between a translator and an interpreter?

A．The qualities required of a translator are basically opposite what is required of an interpreter.

B．Being an interpreter is more stressful because an interpreter cannot take back what has been said.

C．Putting effort into combing the qualities of a translator and an interpreter can enhance their performance.

D．The qualities of a translator are easier to obtain than those of an interpreter.