form简单

form

形式

But all too often such policies are an insincere form of virtue-signaling that benefits only the most privileged and does little to help average people.

但这类政策往往只是一种虚伪的道德作秀，只让最有特权的人受益，对普通人几乎毫无帮助。

“Rats have been shown to engage in multiple forms of reciprocal help and cooperation, including what is referred to as direct reciprocity — where a rat will help another rat that has previously helped them,” says Quinn.

“已有研究表明，老鼠会进行多种形式的互助与合作，包括所谓的直接互惠——即一只老鼠会帮助之前帮助过它的另一只老鼠，”奎因说。

(46) By the date of his birth Europe was witnessing the passing of the religious drama, and the creation of new forms under the incentive of classical tragedy and comedy.

(46) 到他出生时，欧洲正在见证宗教剧的消亡，以及在古典悲剧和喜剧的激励下新的戏剧形式的诞生。

These new forms were at first mainly written by scholars and performed by amateurs, but in England, as everywhere else in western Europe, the growth of a class of professional actors was threatening to make the drama popular, whether it should be new or old, classical or medieval, literary or farcical.

这些新形式起初主要由学者创作、由业余演员表演，但在英国，正如在西欧其他各地一样，职业演员阶层的壮大正使戏剧趋于大众化，无论它是新是旧，是古典的还是中世纪的，是文学性的还是闹剧性的。

Court, school, organizations of amateurs, and the traveling actors were all rivals in supplying a widespread desire for dramatic entertainment; and (47) no boy who went to a grammar school could be ignorant that the drama was a form of literature which gave glory to Greece and Rome and might yet bring honor to England.

宫廷、学校、业余团体以及巡回演员在满足人们对戏剧娱乐的普遍需求方面相互竞争；而且，(47) 凡是上过文法学校的男孩，无不知道戏剧是一种曾为希腊和罗马带来荣耀、也可能为英国带来荣誉的文学形式。

Soon after Sketches by Boz appeared, a publishing firm approached Dickens to write a story in monthly installments, as a backdrop for a series of woodcuts by the then-famous artist Robert Seymour, who had originated the idea for the story. With characteristic confidence, Dickens successfully insisted that Seymour’s pictures illustrate his own story instead. After the first installment, Dickens wrote to the artist and asked him to correct a drawing Dickens felt was not faithful enough to his prose. Seymour made the change, went into his backyard, and expressed his displeasure by committing suicide. Dickens and his publishers simply pressed on with a new artist. The comic novel, The Posthumous Papers of the Pickwick Club, appeared serially in 1836 and 1837, and was first published in book form in 1837.

《博兹随笔》问世后不久，一家出版公司找到狄更斯，请他按月分期创作一个故事，作为当时著名画家罗伯特·西摩一系列木刻画的背景故事，而这个故事的构想最初正是出自西摩。狄更斯以他特有的自信，成功地坚持让西摩的画反过来为他自己的故事配图。第一期刊出后，狄更斯写信给这位画家，要求他修改一幅狄更斯认为不够忠实于其文字的插图。西摩改了画，走进自家后院，以自杀的方式表达了他的不满。狄更斯和他的出版商干脆换了一位新画家继续推进。这部喜剧小说《匹克威克俱乐部遗稿》于1836年和1837年连载，并于1837年首次以书籍形式出版。

It’s a form of innate or unlearned optimism.

这是一种与生俱来、无须习得的乐观。

Emerging in the late Sixties and reaching a peak in the Seventies, Land Art was one of a range of new forms, including Body Art, Performance Art, Action Art and Installation Art, which pushed art beyond the traditional confines of the studio and gallery.

大地艺术兴起于60年代末，在70年代达到顶峰，它是包括身体艺术、行为艺术、动作艺术和装置艺术在内的一系列新艺术形式之一，这些形式把艺术推出了工作室和画廊的传统界限。

Long is Britain’s best-known Land Artist and his Stone Circle, a perfect ring of purplish rocks from Portishead beach laid out on the gallery floor, represents the elegant, rarefied side of the form.

朗是英国最著名的大地艺术家，他的《石圈》——用波蒂斯黑德海滩上的紫色岩石在画廊地板上摆成的一个完美圆环——代表了这种艺术形式优雅、高雅的一面。

(48) The gardens of the homeless, which are in effect homeless gardens, introduce form into an urban environment where it either didn’t exist or was not discernible as such.

（48）无家可归者的花园实际上也是无家可归的花园，它们把一种形式引入了城市环境，而在这样的环境中，这种形式要么原本不存在，要么无法被辨识出来。

In them we can see biophilia — a yearning for contact with nonhuman life — assuming uncanny representational forms.

在它们身上，我们可以看到亲生命性——一种渴望与非人类生命接触的情感——呈现出种种奇异的表现形式。

First, it is very [expensive] to set up the computer, card reader, and telecommunications networks necessary to make electronic money the [dominant] form of payment.

首先，要让电子货币成为主导的支付形式，就必须建立计算机、读卡器和电信网络，而这些设施的建设成本非常高昂。

This is a subtle form of peer pressure: we unconsciously imitate the behavior we see every day.

这是一种微妙的同伴压力：我们会不自觉地模仿每天看到的行为。

Just as the bewildering variety of human courtship rituals might all be considered forms of sexual selection, perhaps the world's languages, music, social and religious customs and even history are governed by universal features.

正如人类求偶仪式虽然多得令人眼花缭乱，却都可以被视为性选择的形式一样，或许世界上的语言、音乐、社会和宗教习俗乃至历史都受普遍特征的支配。

Suddenly, Britain looks to have fallen out with its favorite historical form.

突然之间，英国似乎与它最钟爱的历史写作形式闹翻了。

While traditional “paid” media — such as television commercials and print advertisements — still play a major role, companies today can exploit many alternative forms of media.

虽然传统的“付费”媒体——如电视广告和平面广告——仍然发挥着重要作用，但如今的公司可以利用许多其他形式的媒体。

Dickens was born in Portsmouth, on England’s southern coast. His father was a clerk in the British Navy Pay Office — a respectable position, but with little social status. His paternal grandparents, a steward and a housekeeper, possessed even less status, having been servants, and Dickens later concealed their background. Dickens’s mother supposedly came from a more respectable family. Yet two years before Dickens’s birth, his mother’s father was caught stealing and fled to Europe, never to return. The family’s increasing poverty forced Dickens out of school at age 12 to work in Warren’s Blacking Warehouse, a shoe-polish factory, where the other working boys mocked him as “the young gentleman.” His father was then imprisoned for debt. The humiliations of his father’s imprisonment and his labor in the blacking factory formed Dickens’s greatest wound and became his deepest secret. He could not confide them even to his wife, although they provide the unacknowledged foundation of his fiction.

狄更斯出生于英格兰南部海岸的朴次茅斯。他的父亲是英国海军军饷处的一名职员——一个体面的职位，但社会地位不高。他的祖父母分别是管家和女管家，因为当过仆人，地位更低，狄更斯后来隐瞒了他们的出身。据说狄更斯的母亲出身于一个更体面的家庭。然而在狄更斯出生前两年，他的外祖父因偷窃被抓，逃往欧洲大陆，再也没有回来。家境日益贫困，迫使狄更斯在12岁时辍学，到沃伦鞋油作坊——一家鞋油厂——做工，在那里其他做工的男孩嘲笑他是“小绅士”。后来他的父亲因负债入狱。父亲入狱的屈辱和他在鞋油厂做工的经历成了狄更斯最大的创伤，也成了他最深的秘密。他甚至无法向妻子吐露这些事，尽管它们构成了他小说中未被承认的基础。

You make further inferences, for instance, about how the text may be significant to you, or about its validity — inferences that form the basis of a personal response for which the author will inevitably be far less responsible.

你会作进一步的推断，例如，推断这篇文本对你可能有何意义，或者推断它是否站得住脚——这些推断构成了个人反应的基础，而作者对这种反应的责任必然要小得多。

In response, the American Academy formed the Commission on the Humanities and Social Sciences.

作为回应，美国艺术与科学院成立了人文与社会科学委员会。

His concern is mainly with the humanities: literature, languages, philosophy and so on. These are disciplines that are going out of style: 22% of American college graduates now major in business compared with only 2% in history and 4% in English. However, many leading American universities want their undergraduates to have a grounding in the basic canon of ideas that every educated person should possess. But most find it difficult to agree on what a “general education” should look like. At Harvard, Mr. Menand notes, “the great books are read because they have been read” — they form a sort of social glue.

他关注的主要是人文学科：文学、语言、哲学等。这些学科正在变得不受欢迎：如今22%的美国大学毕业生主修商科，而主修历史的只有2%，主修英语的只有4%。然而，许多美国一流大学希望本科生打好基础，掌握每一个受过教育的人都应具备的基本思想经典。但大多数大学难以就“通识教育”应该是什么样子达成一致。梅南先生指出，在哈佛，“名著之所以被阅读，是因为它们一直被人阅读”——它们形成了一种社会黏合剂。