番木瓜
这周的时间比较充裕,所以可以连载这个系列的文章,大家可能注意到了,前两篇里面讲到的模板和句型的改写比较多,而从第六篇开始,我讲模式会比较多。昨天我们讲到一般中间段的写法,我们再来看看包装之后的中间段是怎么写的。 【认知】今天我们依然选取的是2010年第一篇文章,前4篇我们选择的是2011年的四篇不同文章,证明句型仿写等方法的普遍和广泛,从第5篇开始,我们着重对一篇文章进行分析,这样在巩固以前技能的基础上,我们会对段落以及整体文章的架构和联系有进一步的理解。今天引用的这一段,可谓是昨天那一段的进一步论证--即年轻人很难想象报刊杂志上出现大篇幅的艺术评论,而在这一段里,描述了的背景和支撑细节。原文如下:We are even farther removed from the unfocused newspaper reviews published in England between the turns of the 20th century and the eve of World War Ⅱ, at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared. In those far-off days, it was taken for granted that the critics of major papers would write in detail and at length about the events they covered. Theirs was a serious business, and even those reviewers who wore their learning lightly, like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about. These men believed in journalism as a calling, and were proud to be published in the daily press. “So few authors have brains enough or literary gift enough to keep their own end up in journalism, ”Newman wrote, “that I am tempted to define ‘journalism’ as ‘a term of contempt applied by writers who are not read to writers who are’. ”