2017考研英語(yǔ)《經(jīng)濟(jì)學(xué)人》閱讀：社會(huì)舞臺(tái)上的社會(huì)階層

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考研英語(yǔ)閱讀百分之八十都出自一些英美報(bào)刊雜志The Economist (《經(jīng)濟(jì)學(xué)家》 ), Times(《時(shí)代周刊》等等，所以考生平時(shí)做閱讀訓(xùn)練的時(shí)候可以多看看這些文章，小編也會(huì)分享一些出自這些雜志的中英文雙語(yǔ)閱讀，大家可以看看。下面是關(guān)于社會(huì)舞臺(tái)上的社會(huì)階層的一篇文章，大家讀讀看。

Class on stage

社會(huì)舞臺(tái)上的社會(huì)階層

Charlie and the aspiration factory

查理和巧克力工廠

Why British theatre is obsessed with socialmobility

為何英國(guó)戲劇如此癡迷社會(huì)流動(dòng)性主題

THERE are several ways of retelling “Charlie and the Chocolate Factory”. In 2005 Hollywoodfocused on Willy Wonka, the factory's owner, portraying him as a purple-gloved man-child. Anew musical production of Roald Dahl's children's story at the Theatre Royal in Londonconcentrates on the up-from-poverty fortune of Charlie Bucket, the boy who finds the goldenticket. Mr Wonka lurks in beggar's dress at the side of the stage, as if selecting a specimen fora social experiment.

《查理和巧克力工廠》有好多個(gè)復(fù)述版本。2005年的好萊塢版從工廠主威利·王卡下手，劇中他是一位帶著紫色手套，充滿(mǎn)孩子氣的男子。倫敦皇家劇院新上演的羅爾德·達(dá)爾兒童故事音樂(lè)劇則側(cè)重于表現(xiàn)窮孩子查理發(fā)現(xiàn)金券，脫貧的經(jīng)歷。在該劇中，王卡衣著襤褸如乞丐隱藏著自己的身份，好似要選一個(gè)標(biāo)本做社會(huì)實(shí)驗(yàn)。

Tales of upward social mobility attempted or achieved are crowding the London stage. “BillyElliott”, the story of a miner's son who contends with bereavement, strikes and the north-southdivide to make it as a ballet dancer, recently celebrated its four-millionth visitor. “Port”, anaccount of a Stockport girl's attempts to escape her girm origins, was a success at the NationalTheatre this spring. Last year “In Basildon” depicted strivers in the quintessential upwardly-mobile Essex town.

倫敦舞臺(tái)上充斥著各種嘗試或成功轉(zhuǎn)為上流社會(huì)的故事。舞動(dòng)人生，最近剛迎來(lái)它四百萬(wàn)訪問(wèn)者，它講述的是一個(gè)關(guān)于一個(gè)礦工兒子不顧家人的反對(duì)，社會(huì)罷工及南北的分裂，毅然選擇成為芭蕾舞者的故事。Port，關(guān)于一個(gè)斯托克波特女孩試圖擺脫其悲慘出身的故事，在國(guó)家劇院熱映取得巨大成功。去年上映的《在巴斯?fàn)栴D》描述的是一群奮斗者在埃塞克斯鎮(zhèn)—一個(gè)典型的向上爬人群的小鎮(zhèn)。

It is a venerable theatrical (and literary) theme, but it is being handled in a different way.John Osborne's 1956 play “Look Back in Anger” showed a working-class man's fury at themiddle class he had married into. By the 1970s and 1980s writers were looking down theirnoses at social climbers, in plays like “Top Girls” and “Abigail's Party”, in which a middle-classarriviste serves cheesy nibbles and the wrong kind of wine.

這是個(gè)可敬的戲劇藝術(shù)主題，它卻以不同的方式呈現(xiàn)出來(lái)。約翰·奧斯本的1956年的劇本《憤怒中回顧》呈現(xiàn)的是一個(gè)通過(guò)婚姻，一個(gè)工人階級(jí)轉(zhuǎn)變?yōu)橹挟a(chǎn)階級(jí)，處于中產(chǎn)階級(jí)他的不滿(mǎn)與憤怒。20世紀(jì)七八十年代，作家們著眼于眼前的向上爬的社會(huì)群體，戲劇《巔峰女孩》，《阿比蓋爾的政黨》中產(chǎn)階級(jí)暴發(fā)戶(hù)就像低劣的老鼠，不合時(shí)宜的紅酒。

Social mobility receded as a topic for a while, as playwrights like David Hare turned toscrutinising the state of the nation. Now it has returned—and is depicted much moresympathetically. Dominic Cooke, who directed “In Basildon” at the Royal Court Theatre, saysthis may be a delayed reaction to the collapse of state socialism in Europe. Left-wing writerscan no longer look to an alternative ideal. Instead they focus on how people navigate Britishsociety.

當(dāng)劇作家諸如戴維海爾等轉(zhuǎn)身開(kāi)始審視國(guó)情，向上層社會(huì)爬的話(huà)題才稍微退熱。而今，這個(gè)話(huà)題又成為熱議，并且現(xiàn)在更多地是表現(xiàn)出一種同情。在皇家宮廷劇院上演的戲劇《在巴斯?fàn)栴D》的導(dǎo)演多米尼克這樣說(shuō)道，這也許是國(guó)家社會(huì)主義在歐洲崩潰的延遲效應(yīng)。左派作家無(wú)法尋求到另一個(gè)理想，于是他們將目光投向人們?nèi)绾尾倏v英國(guó)社會(huì)。

A possible reason for the sympathetic tone is that upward mobility can no longer be taken forgranted. In 2011 researchers at the London School of Economics concluded thatintergenerational social mobility, assessed by income for children born between 1970 and2000, had stalled. Another study, by Essex University academics, found matters had notimproved during the slump.

也許出現(xiàn)這種同情的語(yǔ)調(diào)還有另一個(gè)原因，那就是向上層社會(huì)爬不再是種理所當(dāng)然的想法。2011年，倫敦經(jīng)濟(jì)學(xué)院的調(diào)查人員通過(guò)評(píng)估1970至2000年為孩子存儲(chǔ)的收入，總結(jié)道:兩代人的社會(huì)流動(dòng)性停滯不前。另一項(xiàng)由埃塞克斯大學(xué)學(xué)者進(jìn)行的研究發(fā)現(xiàn)各項(xiàng)問(wèn)題并沒(méi)有在經(jīng)濟(jì)衰退期得到改善。

So it is fantastic fun to see people make it. Charlie Bucket does so spectacularly. At the end of“Charlie and the Chocolate Factory” he is a pint-size entrepreneur, with an immigrantworkforce of Oompa-Loompas to ensure he does not tumble back down the social ladder.

所以看看人們演繹它也很有趣。查理令人啼笑皆非。 在“查理和巧克力工廠”的結(jié)局，他是一個(gè)小型的企業(yè)家,有一群奧古倫伯人在巧克力工廠工作，以確保他永遠(yuǎn)不會(huì)從社會(huì)的樓梯中跌落下來(lái)。

1.obsessed with 癡迷

例句:What he's obsessed with is finding high-growth companies that investors areunderestimating.

奧格納真正著迷的是尋找被投資者低估的高成長(zhǎng)公司。

2.focus on 致力于;使聚焦于

例句:Their talks are expected to focus on arms control.

他們的會(huì)談?lì)A(yù)計(jì)會(huì)集中討論軍備控制問(wèn)題。

3.concentrate on 專(zhuān)心于，把思想集中于

例句:After a fourth-place finish in Sydney in2000 he retired from top-level rowing toconcentrate on his career as a practice director of performance development consultancy,lane4.

在2000年悉尼奧運(yùn)會(huì)上取得第四名的成績(jī)后，他選擇了激流勇退，在關(guān)注績(jī)效與個(gè)人發(fā)展的咨詢(xún)公司lane4當(dāng)起了一名業(yè)務(wù)主管。

4.attempt to 嘗試，企圖

例句:This is an attempt to put flesh on what has been a very bare skeleton plan up to now.

這是一次試圖使至今還只是框架的計(jì)劃充實(shí)起來(lái)的嘗試。