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公共英語四級(jí)日常閱讀文章
每一年的公共英語考試盡管相對(duì)于英語專業(yè)的考試簡(jiǎn)單許多，還是有不少人無法順利通過。說到底一個(gè)重要的原因就是平時(shí)練習(xí)還不夠。下面，小編為大家送上兩篇公共英語的閱讀文章，希望對(duì)大家有所幫助。
公共英語的閱讀文章一
Archaeology
Archaeology is a source of history, not just a humble auxiliary discipline. Archaeological data are historical documents in their own right, not mere illustrations to written texts. Just as much as any other historian, an archaeologist studies and tries to reconstitute the process that has created the human world in which we live —— and us ourselves in so far as we are each creatures of our age and social environment. Archaeological data are all changes in the material world resulting from human action or, more succinctly, the fossilized results of human behavior. The sum total of these constitutes what may be called the archaeological record. This record exhibits certain peculiarities and deficiencies the consequences of which produce a rather superficial contrast between archaeological history and the more familiar kind based upon written records.
Not all human behavior fossilizes. The words I utter and you hear as vibrations in the air are certainly human changes in the material world and may be of great historical significance. Yet they leave no sort of trace in the archaeological records unless they are captured by a dictaphone or written down by a clerk. The movement of troops on the battlefield may "change the course of history," but this is equally ephemeral from the archaeologist's standpoint. What is perhaps worse, most organic materials are perishable. Everything made of wood, hide, wool, linen, grass, hair, and similar materials will decay and vanish in dust in a few years or centuries, save under very exceptional conditions. In a relatively brief period the archaeological record is reduced to mere scraps of stone, bone, glass, metal, and earthenware. Still modern archaeology, by applying appropriate techniques and comparative methods, aided by a few lucky finds from peat-bogs, deserts, and frozen soils, is able to fill up a good deal of the gap.
考古學(xué)
考古學(xué)是歷史學(xué)的一個(gè)來源，而不是地位卑微的輔助學(xué)科�？脊艑W(xué)資料本身也是一種 歷史文獻(xiàn)，而不僅僅是文字資料的例證。正象任何一位歷史學(xué)家那樣，考古學(xué)家研究調(diào)查并盡力去重構(gòu)一個(gè)過程。這個(gè)過程創(chuàng)造了我們生活的人類世界，也創(chuàng)造了我們自身，因?yàn)槲覀兌际俏覀兯幍臅r(shí)代和社會(huì)環(huán)境的產(chǎn)物。考古學(xué)的資料就是人類行為所造成的物質(zhì)變化。更簡(jiǎn)潔地說，是石化了的'人類行為。這些變化的總和構(gòu)成了我們所說的考古學(xué)記錄。這些記錄自有其獨(dú)特和不足之處，因而導(dǎo)致人們對(duì)考古歷史和更熟悉的文字記載歷史進(jìn)行相當(dāng)膚淺的對(duì)比。
并不是所有的人類行為都留下化石。我說的話，你通過空氣振動(dòng)聽見，這當(dāng)然是人類造成的物質(zhì)變化，也可能有重大的歷史意義，但這些話在考古學(xué)中未留下絲毫痕跡，除非有人用錄音機(jī)錄下來或文書把這些話寫了下來。戰(zhàn)場(chǎng)上軍隊(duì)的行動(dòng)可能"改變歷史的進(jìn)程"，但從考古學(xué)的觀點(diǎn)來看，這同樣是難以捕捉的;可能更糟的是，多數(shù)有機(jī)物質(zhì)會(huì)腐爛。任何由木頭、生皮、絨線、亞麻、草、毛發(fā)以及相似物質(zhì)做成的東西除非在一些非常特殊的條件下，幾年或幾個(gè)世紀(jì)以后，會(huì)在塵土中腐爛并消失。在短時(shí)期內(nèi)，能留下考古記錄的東西也都會(huì)退化為石頭、骨頭、玻璃、金屬和陶器的碎片。然而，現(xiàn)代的考古學(xué)通過運(yùn)用適當(dāng)?shù)募夹g(shù)和比較的方法，在從泥炭、沙漠和凍土中所獲得的一些幸運(yùn)發(fā)現(xiàn)的輔助下，能夠填充這個(gè)空缺的很大部分。
公共英語的閱讀文章二
Museums
From Boston to Los Angeles, from New York City to Chicago to Dallas, museums are either planning, building, or wrapping up wholesale expansion programs. These programs already have radically altered facades and floor plans or are expected to do so in the not-too-distant future.
In New York City alone, six major institutions have spread up and out into the air space and neighborhoods around them or are preparing to do so.
The reasons for this confluence of activity are complex, but one factor is a consideration everywhere -- space. With collections expanding, with the needs and functions of museums changing, empty space has become a very precious commodity.
Probably nowhere in the country is this more true than at the Philadelphia Museum of Art, which has needed additional space for decades and which received its last significant facelift ten years ago. Because of the space crunch, the Art Museum has become increasingly cautious in considering acquisitions and donations of art, in some cases passing up opportunities to strengthen its collections.
Deaccessing -- or selling off -- works of art has taken on new importance because of the museum's space problems. And increasingly, curators have been forced to juggle gallery space, rotating one masterpiece into public view while another is sent to storage.
Despite the clear need for additional gallery and storage space, however, "the museum has no plan, no plan to break out of its envelope in the next fifteen years," according to Philadelphia Museum of Art's president.
博物館
從波士頓到洛杉機(jī)，從紐約到芝加哥、到達(dá)拉斯，所有的博物館或者正在籌劃、建造或者正在完成大規(guī)模的擴(kuò)建計(jì)劃。這些計(jì)劃或者已經(jīng)根本性地改變了博物館門面與展廳的設(shè)計(jì)，或者預(yù)期在不久的將來會(huì)這樣做。
單單在紐約市，六個(gè)主要機(jī)構(gòu)或者已經(jīng)向空中和周圍擴(kuò)展，或者正準(zhǔn)備這樣做。
大家一致行動(dòng)的`原因是復(fù)雜多樣的，但其中的一個(gè)因素是普遍考慮的空間問題。隨著收藏品的增多，也隨著博物館的需要和功能的變化，空間已經(jīng)變成了一項(xiàng)非常珍貴的商品。
在我國(guó)，也許沒有任何其他地方比費(fèi)城藝術(shù)博物館更符合這個(gè)事實(shí)。這個(gè)博物館幾十年來一直需要額外的空間，十年前進(jìn)行了最后一次重大的翻新。由于空間緊缺，該藝術(shù)博物館在考慮購(gòu)買與受贈(zèng)藝術(shù)品已越來越謹(jǐn)慎，有時(shí)甚至放棄增強(qiáng)藝術(shù)收藏的機(jī)會(huì)。由于博物館的空間問題，將藝術(shù)品脫手或者說賣掉已經(jīng)有了新的重要意義。 博物館館長(zhǎng)們被迫巧妙輪換利用陳列館的空間，輪流著把一些藝術(shù)杰作向公眾展出，而把另一些送入存儲(chǔ)室中。
雖然對(duì)額外的陳列室和存儲(chǔ)室空間需要很明顯，但據(jù)費(fèi)城藝術(shù)博物館經(jīng)理講：“博物館還沒有在未來十五年打破這個(gè)束縛的計(jì)劃�！�
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