英翻汉第一单元1. On university campuses in Europe, mass socialist or communist movements gave rise to increasingly violent clashes between the establishment and the college students, with their new and passionate commitment to freedom and justice.在欧洲的大学校园里，大学生以新的姿态和激情投入到争取自由和正义的事业中去，大规模的社会主义或共产主义运动引发了他们与当权者之间日益升级的暴力冲突。
2. These days political, social and creative awakening seems to happen not because of college, but in spite of it. Of course, it's true that higher education is still important. For example, in the UK, Prime Minister Blair was close to achieving his aim of getting 50 per cent of all under thirties into college by 2010 (even though a cynic would say that this was to keep them off the unemployment statistics).现在，政治、社会和创造意识的觉醒似乎不是凭借大学的助力，而是冲破其阻力才发生的。
当然，一点不假，高等教育仍然重要。
例如，在英国，布莱尔首相几乎实现了到2010年让50％的30岁以下的人上大学的目标（即使愤世嫉俗的人会说，这是要把他们排除在失业统计数据之外）。
3. I never hoped to understand the nature of my generation or how American colleges are changing by going to Lit Theory classes. This is the class where you look cool, a bit sleepy from too many late nights and wearing a T-shirt with some ironic comment such as "Been there, done that and yes, this IS the T-shirt".我从没指望通过上文学理论课来了解我这一代人的特征，或了解美国大学在如何变化。
这门课是让你在课堂上扮酷的——带着一丝熬夜太多的困劲儿，穿着一件T恤衫，上面印着―去过那儿，干过那事儿，对，这就是那件T恤衫‖，或诸如此类带有揶揄意味的俏皮话。
4. We're a generation that comes from what has been called the short century (1914–1989), at the end of a century of war and revolution which changed civilizations, overthrew repressive governments, and left us with extraordinary opportunities and privilege, more than any generation before.我们这一代人来自所谓的短世纪（1914－1989），生于其后期。
这个世纪充满了战争和革命，它改变了人类文明，推翻了强权政府，给我们留下了非同寻常的机会和特权。
我们所得到的机会与特权比从前任何一代人都要多。
第二单元1. Such motor mimicry, as it is called, is the original technical sense of the word empathy as it was first used in the 1920s by E. B. Titchener, an American psychologist. Titchener's theory was that empathy stemmed from a sort of physical imitation of the distress of another, which then evokes the same feelings in oneself.这种所谓的运动神经模仿就是―同感‖的原始技术含义，而―同感‖这个词于20世纪20年代由美国心理学家E.B.铁钦纳首次使用。
铁钦纳的理论是：同感发自对他人痛苦的一种身体模仿，这种模仿继而在自身引起同样的心理感受。
2. He sought a word that would be distinct from sympathy, which can be felt for the general plight of another with no sharing whatever of what that other person is feeling. Motor mimicry fades from toddlers' repertoire at around two and a half years, at which point they realize that someone else's pain is different from their own, and are better able to comfort them.他当时在寻找一个与同情有所区别的词；同情是针对他人的一般困境而发的，无须分担他人的任何感受。
小孩两岁半左右就渐渐不再有运动神经模仿行为，那时他们会意识到别人的痛苦与自己的不同，会更有能力安慰别人。
3. I also love the split-second shocked expression on the new people, the hasty smiles and their best imitations of what they think of as their "normal faces". If they do the ritual well enough I turn my head ever so slightly and tuck my hair behind one of my ears, whichever one's closer to them.我也喜欢生人脸上那瞬间的震惊表情、匆忙的微笑和他们竭力装出的―正常脸色‖。
如果他们这套仪式做得够好，我就会微微转过头，把头发掖到离他们较近的那只耳朵后面。
4. "I mostly just read lips because it was easier to pick up than signing, although that's not the only reason I was staring at your lips," I told him. He laughed. We talked more, and then the host upped the music volume and dimmed the lights for the "dance floor", and I had to lean in much, much closer to be able to continue reading his lips in the semi-darkness. And read his lips I did.我告诉他说：―我基本上只读唇语，因为这比用手语更容易，但这不是我一直盯着你的嘴唇的唯一原因。
‖他大笑起来。
我们又说了一会儿话。
后来，主人放大音乐的音量，调暗―舞池‖的灯光；我不得不凑近他，近得多得多，以便能在昏暗中接着读他的唇语。
我的确读到了他的唇语。
第四单元1. The objective importance of an event is obviously not enough—there are plenty of enormous global issues out there, with dramatic consequences, from poverty to global warming—but since they are ongoing, they don't all make the headlines on the same day. 9/11, in contrast, was not just international, but odd, unexpected, and (in the sense that it was possible to identify with the plight of people caught up in the drama) very human.一个事件光有客观重要性显然还不够——世界上有大量全球性的大问题，都会造成戏剧性的后果，从贫困问题到全球变暖问题——但由于它们都是进行中的，并不都会在同一天成为头条。
对比之下，9/11不仅具有国际性，而且奇特怪异、出人意料，还（可能使读者对身陷那场悲剧中的人们的痛苦感同身受，从这个意义上讲）极具人性。
2. But TV news is not necessarily more objective or reliable than a newspaper report, since the images you are looking at on your screen have been chosen by journalists or editors with specific objectives, or at least following set guidelines, and they are shown from a unique viewpoint. By placing the camera somewhere else you would get a different picture.但是，电视新闻未必比报纸报道更客观或更可靠，因为你在屏幕上看到的图像是经记者或编辑根据特殊的目的，或至少是按照预定指示筛选过的；它们是从一个独特的视点展现给观众的。