YLYK learning geekhuashan

封号、弹劾、起诉，特朗普将面临怎样的追责？
2021.01.12
肖云照
CSE9
课程导读

上周美国国会大厦遭受特朗普支持者冲击，让原本被很多人赋予美好希望的2021开年不利。虽然暴乱在当天就得到控制，但仍旧后续不断。即将下台的特朗普，会被追究国会大厦事件的责任吗？目前仍身为一国总统的他，如果被追责，又会面临什么样的后果呢？一起来听今天的讲解。

本文封面图片选自Australia online news，如有版权问题，请联系删除。

本篇课程首发于2021年1月12日

英文原文

Will Trump and His Republican Allies Ever Face Consequences?
特朗普和他的共和党盟友会受到惩罚吗？

By Spencer Bokat-Lindell

On Wednesday, a mob of President Trump’s supporters acting at his behest launched a destructive assault on the Capitol that led to the police fatally shooting a woman in the halls of Congress.
周三，一群特朗普总统的支持者在他的要求下，对国会大厦发动了破坏性袭击，在这次袭击中警方在国会大厅击毙了一名女性。

At the center of the campaign was President Trump, who has courted extremists like QAnon adherents and the Proud Boys in a bid to subvert the election. Politicians and pundits have proposed a few ways of holding him accountable.
这次活动的关键人物是特朗普总统，他向“匿名者Q”(QAnon)组织追随者和“骄傲男孩”(Proud Boys)组织等极端分子示好，企图颠覆选举结果。政界人士和专家提出了几种追责手段。

The 25th Amendment: The 25th Amendment of the Constitution allows for the removal of the president from office if the vice president and a majority of the cabinet determine that he is unfit.
第二十五条修正案：《宪法》第二十五条修正案规定，如果副总统和多数内阁成员认为在任总统不适合担任总统，可以将其免职。

Impeachment: Deeming him “too dangerous to leave in office for even another minute,” the Times columnist Bret Stephens argues Congress must immediately impeach and convict Mr. Trump, which could potentially bar him from ever holding office again.
弹劾：《纽约时报》专栏作家布雷特·斯蒂芬斯认为，特朗普“太危险，在总统的位置上一分钟都不能多待”，国会必须立即对其进行弹劾、定罪，这样可能将避免他以后再当总统。

Prosecution: Some have argued that at this point, simply removing Mr. Trump from office would be an insufficient punishment, given that participating in an attempted overthrow of the government is a federal crime.
起诉：一些人认为，鉴于参与政变未遂属于联邦罪行，目前仅仅罢免特朗普是不够的。

Deplatforming: After the mayhem on Wednesday, the president was suspended from Twitter for 12 hours and from Facebook for at least the next two weeks, but Greg Bensinger argues in The Times that the bans should be permanent.
关闭社交媒体账号：在周三的混乱之后，特朗普总统的Twitter账号被临时关闭12个小时，Facebook账号被冻结至少两周，但格雷格·本辛格在《纽约时报》上提出，特朗普的账号应该永久性关停。

【内容拓展】

托克维尔在《论美国的民主》中写道：
“美国人的巨大优点，在于他们允许犯错误，而事后又能纠正错误。我认为，对于公务人员的甄选，一般说来也是如此。不难发现，美国的民主常在选择受托执政的人员方面犯错误；但要解释在被选错的人执政期间，美国为什么会照样繁荣，那就不容易了。”

有气味的电影，会引领下一场观影风潮吗？
2021.01.11
Mat
CSE8
课程导读

如今，人们尝试通过各种技术手段来营造更为真实的场景体验，比如3D电影、VR技术，都从视觉和听觉方面给人带来一种身临其境的感觉。然而，嗅觉也是重要的感官之一，自二十世纪初期以来，制片人们就开始尝试为电影配上气味，以提升人们的观影体验。气味如何通过电视、电影传递？为什么这种技术没有实现普及？一起来听今天的讲解。

本文封面图片选自1001 Consejos，如有版权问题，请联系删除。

本篇课程首发于2021年1月11日

英文原文

The people who want to send smells through your TV
那些想用电视向你传递气味的人

By Mark Ellwood

Frederik Duerinck isn't a jeweller, but his next project is a necklace. This piece, though, doesn't feature a precious stone as a pendant, but rather a small box. Inside the cube is a battery and scenting system designed to deliver a puff of fragrance on demand.
弗雷德克·迪林克并非珠宝商，但他接下来的计划是做项链。不过，这种“项链”的特色不是用一颗宝石作吊坠，而是挂了一个小盒子。在这个小盒子里有一块电池和气味装置，用来随时按需传递香气。

In the movie era, attempts to add scent began as early as 1916. Then came Smellovision, unveiled in 1939, it was little more than a series of pipes attached to viewers' chairs through which a projectionist could deliver smell in sync with the images they were showing. Smellovision itself, was a flop, largely because the scent technology worked so poorly – the scents were too diffuse to give a satisfactory experience. Clearing an odour in a timely fashion for the next to waft freely was also troublesome. A rival system, known as Aromarama, displayed similar shortcomings.
电影诞生后，人们早在1916年就开始尝试给电影配上气味。然后是1939年推出的Smellovision气味装置，它只不过是连接在观众椅子上的一系列管道，放映员可以用这些管道传递与他们正在放映的图像同步的气味。Smellovision这个尝试还是失败了，很大程度上是因为这种传递气味的技术效果太差：气味太发散，观众体验感并不好。而且，及时清除空间里残留的气味，给另一种气味让道，也是一件麻烦事。它的竞争对手AromaRama装置也有类似的缺陷。

The filmmaker John Waters tried scratch and sniff cards in the early 1980s, but no other filmmaker copied his gimmick.
在20世纪80年代初，电影制片人约翰·沃特斯尝试做了气味刮刮卡，但没有哪个电影制片人模仿他的小把戏。

Even now, though, as the world of entertainment has become more high-tech, and immersive with virtual reality headsets, odour remains the one element that is elusive and hard to replicate. Perhaps the most fundamental problem is that we don't yet fully understand how our sense of smell functions.
然而，即便是现在，随着娱乐界越来越高科技，虚拟现实耳机让人身临其境，气味仍然是一个难以捉摸和复制的元素。也许最根本的问题是，我们都还没有完全了解我们的嗅觉是如何运作的。

应版权方要求，此内容仅对英国以外地区开放

为《纽约时报》抓错别字，是种什么体验？
2021.01.10
韩冰彬
CSE7
课程导读

提供准确的信息，是新闻从业者重要的职业准则。审校编辑是一份报纸付印前的质量把关人，即使是微小的错误，也会让他们彻夜难眠。近日，《纽约时报》的一位审校编辑撰文，以幽默的语言风格谈论了自己的工作感受。《纽约时报》对编辑们有什么要求？当一篇稿件中出现不可避免的错误时，编辑们如何应对？一起来听今天的讲解。

本文封面图片选自unsplash.com，如有版权问题，请联系删除。

本篇课程首发于2021年1月10日

英文原文

Because of an Editing Error
“因编辑失误……”

By David Vecsey

My job, simply speaking, is to get things right. So there is no worse feeling than the realization that you have entered a correctable error into print and that a correction will appear a day or two later to proclaim, "Because of an editing error …"
简而言之，我的职责就是确保登报的内容无误。因此，最糟糕的感觉，莫过于在付印之后，你意识到自己犯了一个原可以避免的错误，而一两天后，报纸上将刊登一条勘误声明：“因编辑失误……”

There is no escaping the page of the newspaper that you have marred; it reappears everywhere you look: blowing down the sidewalk, on a subway car, wrapped around the sea bass you've just bought at the market.
你休想摆脱被自己玷污的那页报纸。它会一次次出现在你的眼前：它要么在人行道上随风飘荡，要么现身于地铁车厢，要么你去趟市场，它都会被用来包你买的海鲈鱼。

The Times has strict policies on corrections: If it's wrong, even if just for a few minutes online or in one edition of the print newspaper, it is supposed to get a correction. Reporters and editors are expected to self-report their mistakes, which can make you feel a little like Bart Simpson writing on the blackboard, "I will never misquote Shakespeare again." But it is this dedication to accuracy that earns the trust of our readers.
《纽约时报》对勘误的规定很严格。如果出了错，即使只是上线了几分钟，或者只是在一个印版中出现，那就要出勘误。记者和编辑们都要自己报错，这感觉就好像在著名的动画场景里，巴特·辛普森被罚写黑板：“我再也不乱引用莎士比亚了”。然而，正是这份对准确的执着，赢得了读者对我们的信任。

The Corrections listings are one of the first things I read every day, and that is a common practice among many copy editors. It's not necessarily an act of schadenfreude as much as it's a daily reminder of the importance of diligence: Double-check your math. Look up even the most famous of quotations.
每天一早，我首先要读的内容之一就是勘误信息栏。这也是不少审校编辑的例行公事。这倒不全是一种幸灾乐祸的乐趣，也是一种日常提醒：细致很重要。必须反复确认。就算是最广为人知的名人名言，也要检查出处。

But Times corrections are so much more than pedestrian spelling mistakes. They are wonderfully nuanced cultural explorations. When we misidentified the name of Bilbo Baggins's sword in "The Hobbit" as Orcrist the Goblin Cleaver, it was both the greatest and the nerdiest correction of all time.
但《纽约时报》勘误绝不仅是平平无奇的拼写错误。它是一场文化探索，其中充满了美妙的细枝末节。小说《霍比特人》中，比尔博·巴金斯有一把剑。我们曾把它的名字误写成了“名为兽咬剑的斩妖刀”。这种错误，只有读书成痴的人才纠得出。这也是迄今为止最令人叫绝的一次勘误。

One of the veteran reporters said, "Doctors bury their mistakes. Lawyers lock theirs away. But reporters print theirs for the whole damn world to see."
一位资深记者

Get新技能，永远都不晚
2021.01.09
肖云照
CSE5
课程导读

你的新年计划里，还有学习新技能这一项吗？有人认为随着年龄的增长，自己不再适合学新东西了。其实只要多学习，学习速度就会越来越快，年龄并不是羁绊。从近期一项针对婴儿学步的研究中，我们了解到，新技能的养成需要一点时间和耐心，也需要不断挑战自己的能力极限。如何做到活到老学到老？如何让自己成为更好的初学者？一起来听今天的讲解。

本篇外刊封面图选自WSJ，如有版权问题，请联系删除。

本篇课程首发于2021年1月9日。

英文原文

For New Year’s Resolutions, Never Think You’re Too Old to Become a Beginner
新年立目标，做个初学者，永远不晚

By Tom Vanderbilt

As we head into a new year there is one thing from the outgoing annus horribilis we should carry forward and even deepen: the spirit of the novice.
在迈入新年之际，有一样东西，我们应该从刚刚过去的这多灾多难的一年承袭下来并发扬光大：那就是初学者心态。

Many people, in the face of such disruption, decided that they wanted to learn new things. But there’s a caveat: The older you are, the harder you’re going to have to work. There’s a happy twist, however: The more learning that older adults take on, the faster they seem to learn—the more they become like younger adults.
面对被疫情搅乱的生活，很多人决定去学一些新东西。但有一种告诫是：年纪越大，你要学新东西所付出的努力越多。然而令人欣喜的转机是：年长的人越是多学习，就越能够像年轻人那样快速地学习。

How, then, to prepare ourselves to become better beginners? We can draw crucial guidance from a group of research subjects: infants learning to walk.
那么我们如何能让自己成为更好的初学者呢？我们可以从一组研究对象，即蹒跚学步的孩童身上，获得一些重要的启发。

For adults, the lessons are clear. One is that skills take time. Infants spend roughly a third of their day for six solid months practicing walking. So don’t worry if you’re still terrible at tennis after a few months.
成年人可以从中吸取的经验是很清晰的。首先，掌握新技能会花些时间。婴儿每天大致用1/3的时间练习走路，要花上整整六个月才能学会。因此，如果你学了几个月网球，但还是打得很烂，不要着急。

Infants also remind us that progress is often not linear. Infants seem to learn best “when operating near the limits of their current skill level.” In other words: Always be at the edge of what you can’t currently do.
婴儿们的经历也提醒我们，学习新技能的进展通常不是线性的。当婴儿们触碰到了自己现有技能的天花板时，他们似乎学得最好。换言之：始终挑战自己当前能力的极限。

None of this is easy. If it feels easy, you’re not learning. If you don’t learn to fail, you’ll fail to learn. So let “beginner” be your watchword for 2021. But watch for overreach in your resolutions.
这些都不容易做到。如果你觉得容易，你就没有真的在学习。如果你不学习接受失败，你就学不会。所以让“初学者”成为你2021年的口号。但是也要小心，在制定新年计划时不要好高骛远。


【内容拓展】
① Progress is often U-shaped.
进步常常是呈现为U型的，有时前进，有时后退。学习新事物不会是一帆风顺的，过程中会有挫折（setback）、障碍（obstacle），且需要通过反复试验、试错（trial and error）来继续前进，甚至有时需要绕道而行（take a detour）。

② 通过调换调整单词的顺序，或许就有可能创造一个金句。
例：Some live to eat, but some eat to live.
Some live to work, but some work to live.

③ 设定目标时，可以

“钢琴诗人”傅聪辞世，留存音乐与家书
2021.01.08
何迅
CSE6
课程导读

在2020年的最后几日，“钢琴诗人”傅聪，也就是傅雷的长子，因感染新冠病毒在英国伦敦逝世，享年86岁。除钢琴造诣之外，傅聪被大众所熟知的另一个原因就是他父亲留下的书信，后来被汇编为《傅雷家书》出版。傅聪为何可以获得如此高的音乐成就？父亲对他的成长有着什么样的影响？一起来听今天的讲解。

本文封面图片选自Global Times，如有版权问题，请联系删除。

本篇课程首发于2021年1月8日

英文原文

Fou Ts’ong, Pianist Whose Family Letters Inspired a Generation, Dies at 86
家书影响一代人：钢琴家傅聪离世，享年86岁

By AMY QIN

Fou Ts’ong, a Chinese-born pianist known for his sensitive interpretations of Chopin, Debussy and Mozart, and whose letters from his father, a noted translator and writer, influenced a generation of Chinese readers, died on Monday at a hospital in London, where he had lived for many years. He was 86. The cause was the coronavirus.
周一，钢琴家傅聪在伦敦的一家医院去世。他出生于中国，在伦敦生活多年，以对肖邦、德彪西和莫扎特的细腻诠释而闻名。他的父亲是著名翻译家和作家（傅雷），他写给儿子傅聪的信影响了一整代中国读者。傅聪因感染新冠病毒离世，享年86岁。

In 1981, a volume of letters written by Mr. Fou’s father, primarily to Mr. Fou, was published in China. Full of advice, encouragement, life teachings and stern paternal love, the book, “Fu Lei’s Family Letters,” became a best seller in China.
1981年，傅雷写给家人的书信被汇编成书在中国出版。这本《傅雷家书》中的书信主要是写给傅聪的，里面充满忠告、鼓励、人生教诲和严厉的父爱，在中国成为了畅销书。

“My father had a saying that ‘First you must be a person, then an artist, and then a musician, and only then can you be a pianist,’” Mr. Fou once recalled in an interview. “Even now, I believe in this order — that it should be this way and that I am this way.”
傅聪在采访中回忆道，“我爸爸有句名言就是，‘得先做人，其次是做艺术家，然后是做音乐家，只有这样最后才能做一名钢琴家’。我到现在都对这个次序深以为然。就应该是这个顺序，我也是这样过来的。”

Mr. Fou remained devoted to music in his later years, playing piano for hours every day even as his fingers grew frail. It was a love that he invoked in interviews, alongside nuggets of wisdom from his father.
傅聪在晚年仍然保有对音乐的热爱，即便手指日渐无力，也还是每天都要弹几个小时琴。他在采访中一再提到这种热爱，还有那些父亲带给他的点滴智慧。

“When I was very young, I wrote to my father from Poland that I was sad and lonely,” he once recalled. “He wrote back: ‘You could never be lonely. Don’t you think you are living with the greatest souls of the history of mankind all the time?’”“Now that’s how I feel, always,” Mr. Fou said.
傅聪曾回忆道，“小时候，我在波兰给父亲写信，说我很难过，也很孤独。他回信说：‘你永远不会孤独。古今的名著，时时刻刻给你精神上的养料！’”“现在我感受到了，一向如此，”傅聪说。

《心灵奇旅》：皮克斯如何让动画片既好玩又深刻？

2021.01.07

王海迪

CSE7

课程导读

近日上映的皮克斯动画电影《心灵奇旅》（Soul）口碑爆棚。电影通过高超的制作水准，不仅温柔地抚慰了人心，更启发了观众思考人生的意义。这部电影是如何创作出来的？一起来听今天的讲解。（内无剧透，请放心食用）

本文封面图片选自Pixar，如有版权问题，请联系删除。

本篇课程首发于2021年01月07日

英文原文

How Pixar Brings ‘Soul’ and Existential Ideas to Life

皮克斯如何为“心灵奇旅”和存在主义思想赋予了生命

By John Jurgensen

How does Pixar distill big existential concepts into animated family movies? The studio is taking a run at the metaphysical with “Soul.”

皮克斯会如何将宏大的存在主义概念提炼出来，浓缩到一部老少皆宜的动画电影里？新作《心灵奇旅》就是这家动画工作室为了诠释“形而上学”而作出的尝试。

In the movie, Joe is a middle-aged jazz musician on the verge of his big break. A very cartoony accident—Joe stepping into an open manhole—triggers a near-death journey through a realm where souls exit and enter existence. Joe’s attempt to escape the afterlife leads to a caper with a soul avoiding Earth, and lots of colorful speculation about life’s purpose and how personalities get formed.

在电影中，乔是一位中年爵士乐手，即将迎来人生重大机遇。像动画片一贯的事故场景一样，乔踏入一个打开的井盖，掉进了下水道，由此开启了一段与死亡亲密接触的旅程，他穿越到了另一个世界，灵魂们可以通过这里转世到人间。乔试图逃离这个世界，并因此结识了一个不愿转世的灵魂，由此引发了一场闹剧，也引发了他们对人生意义以及不同性格如何形成等问题的有趣猜测。

The filmmakers did research on such matters with priests, rabbis and other advisers, but most of their work was more straightforward. How do you draw a soul? Should the afterlife beckon with a bright light, as reported, or be rendered in a different way?

电影制片团队的确曾与神父、拉比以及其他顾问们就这些主题进行过研究，但他们的大部分工作与电影制作有更加直接的联系，例如：如何画出灵魂的样子？另一个世界是不是应该像报道里说的那样，会用一束明亮的白光来召唤灵魂，抑或是另一番景象？

The Pixar team learned that many traditions regard the human soul as invisible, like breath. Not easy to draw. Artists initially drew souls as foggy, fuzzy, see-through figures, but their expressions and gestures were hard to read. So they added more definition and other details for the souls preparing for life on Earth, including purple eyes, because that color doesn’t naturally exist in humans.

皮克斯团队发现，在多数传统意象中，人类的灵魂就像呼吸一样，是无影无形的，要描绘出来很困难。最初，艺术家画笔下的灵魂是如迷雾一般，模糊又透明，这些灵魂的表情和手势很难读懂。于是他们把准备好要转世到人间的灵魂画得更清晰，添加了其他细节，例如紫色的眼睛，因为这种颜色在人类身上并不存在。

“In the end we went full circle. They sort of are ghosts. They’re just ghosts who haven’t lived yet,” says director and writer Pete Docter, chief creative officer of Pixar Animation Studios.

皮克斯动画工作室首席创意总监兼导演皮特·多克特说：“电影的最后，我们回到了原点。他们有点像鬼魂，只不过还没在人世间活过的鬼魂。”

【内容拓展】

1. syllepsis（一语双叙）

一种修辞手法，即在同一个句子里，一个关键词可以跟两个或两个以上的词语搭配，而且这些搭配无论在语法规则上还是语义上都是