中英雙語名人優(yōu)秀演講稿

中英雙語名人優(yōu)秀演講稿

　　對(duì)于我們來說，英語演講稿很難寫。那么為什么不先去看看名人的優(yōu)秀英語演講稿呢?下面是小編分享給大家的中英雙語名人優(yōu)秀演講稿。

　　諾貝爾頒獎(jiǎng)詞演講稿稿與解析

　　What brings about the great shifts in the world of literature? Often it is when someone seizes upon a simple, overlooked form, discounted as art in the higher sense, and makes it mutate.

　　什么會(huì)帶來文學(xué)世界的巨變?通常，是一種簡(jiǎn)單、被人忽視，從更高意義來說被貶低為技藝的一種形式被某個(gè)人所掌握，并令其蛻變的時(shí)候。

　　discounted：已打折的

　　mutate：變化，改變，突變

　　Thus, at one point, emerged the modern novel from anecdote and letter, thus arose drama in a new age from high jinx on planks placed on barrels in a marketplace, thus songs in the vernacular dethroned learned Latin poetry, thus too did La Fontaine take animal fables and Hans Christian Andersen fairy tales from the nursery to Parnassian heights. Each time this occurs, our idea of literature changes.

　　于是，當(dāng)代小說從奇聞?shì)W事與日常通信脫穎而出，戲劇從站在市集木桶板上表演的雜耍發(fā)軔，拉丁詩文漸被方言歌謠取代，同樣地，拉·方丹將動(dòng)物寓言、安徒生把童話，從育嬰室升華到高蹈派詩歌的高度。每一次變化的出現(xiàn)，我們對(duì)于文學(xué)的看法就隨之發(fā)生改變。

　　anecdote：奇聞?shì)W事

　　plank：木板，支架

　　vernacular：本地話，方言，用本地語言寫成的

　　fable：寓言

　　In itself, it ought not to be a sensation that a singer/songwriter now stands recipient of the literary Nobel Prize. In a distant past, all poetry was sung or tunefully recited, poets were rhapsodes, bards, troubadours; 'lyrics' comes from 'lyre'.

　　本來，一位歌手或作曲家成為諾貝爾文學(xué)獎(jiǎng)得主并不應(yīng)該成為一個(gè)聳人聽聞的事件。在久遠(yuǎn)的過去，所有的詩都是唱出來或是帶著音調(diào)起伏誦讀出來的。史詩吟誦者、游吟詩人、行吟詩人，他們就是詩人;而“歌詞”一詞就來源于“里爾琴”。

　　rhapsodes：游唱詩人，吟誦史詩的人

　　bards：吟游詩人

　　troubadours： 行吟詩人

　　lyre：里爾琴;抒情詩

　　But what Bob Dylan did was not to return to the Greeks or the Provençals. Instead, he dedicated himself body and soul to 20th century American popular music, the kind played on radio stations and gramophone records for ordinary people, white and black: protest songs, country, blues, early rock, gospel, mainstream music. He listened day and night, testing the stuff on his instruments, trying to learn. But when he started to write similar songs, they came out differently.

　　但鮑勃·迪倫所做的并非要回到古希臘或中古的普羅旺斯。相反，他全身心地投入于20世紀(jì)的美國(guó)流行音樂中，這些都是為普通人創(chuàng)作的音樂，不分人種，它們?cè)趶V播電臺(tái)和留聲機(jī)唱片中播放：抗議歌曲、鄉(xiāng)村音樂、藍(lán)調(diào)、早期搖滾樂、福音音樂和主流音樂……他日夜聆聽，用樂器彈奏，試著學(xué)習(xí)創(chuàng)作。當(dāng)他開始寫出類似的歌曲時(shí)，它們呈現(xiàn)出來的卻是另一片天地。

　　gramophone：留聲機(jī)

　　In his hands, the material changed. From what he discovered in heirloom andscrap, in banal rhyme and quick wit, in curses and pious prayers, sweet nothings and crude jokes, he panned poetry gold, whether on purpose or by accident is irrelevant; all creativity begins in imitation.

　　在他的手中，這些素材發(fā)生了變化。從別人的傳家寶與廢棄之物中、從陳腐的韻律與機(jī)靈妙語中、從邪惡的詛咒和虔誠(chéng)的禱告中、從甜言蜜語和粗鄙玩笑中，他淘出了詩歌的黃金。是有心還是無意，都無關(guān)緊要。所有的創(chuàng)作都始于模仿。

　　heirloom：傳家寶

　　scrap：碎片;殘余物

　　banal：陳腐的;平庸的;老一套的

　　pan：淘金

　　Even after fifty years of uninterrupted exposure, we are yet to absorb music's equivalent of the fable's Flying Dutchman. He makes good rhymes, said a critic, explaining greatness. And it is true. His rhyming is an alchemical substance that dissolves contexts to create new ones, scarcely containable by the human brain.

　　即使在50年的不斷聆聽之后，我們還未能完全領(lǐng)悟迪倫那些在音樂領(lǐng)域能與《漂泊的荷蘭人》相媲美的歌曲。“他的旋律朗朗上口，”一位評(píng)論家如是解釋他的偉大。沒錯(cuò)。他的韻律就像是一劑煉金秘方，溶解現(xiàn)有的語境創(chuàng)造出人類大腦所難以容納的新內(nèi)容。

　　alchemical：煉金術(shù)的

　　rhyming：押韻

　　It was a shock. With the public expecting poppy folk songs, there stood a young man with a guitar, fusing the languages of the street and the bible into acompound that would have made the end of the world seem a superfluous replay.

　　多么震撼。當(dāng)大眾在期待著流行民謠的時(shí)候，一個(gè)年輕人手持吉他站在那兒，把街頭俗語與圣經(jīng)語言熔在一起，讓世界末日看起來都像是多余的再現(xiàn)。

　　compound：化合物;混合物;復(fù)合詞

　　superfluous：多余的;不必要的;奢侈的

　　At the same time, he sang of love with a power of conviction everyone wants to own. All of a sudden, much of the bookish poetry in our world felt anaemic, and the routine song lyrics his colleagues continued to write were like old-fashioned gunpowder following the invention of dynamite. Soon, people stopped comparing him to Woody Guthrie and Hank Williams and turned instead to Blake, Rimbaud, Whitman, Shakespeare.

　　與此同時(shí)，他以一種人人想擁有的、令人信服的力量來歌頌愛。突然間，世間那些書面的詩詞變得如此蒼白無力，而他的同行們那些按部就班創(chuàng)作的詞曲也仿佛成了隨著炸藥誕生而過時(shí)了的火器。很快，人們不再把他與伍迪·格思里和漢克·威廉姆斯這些音樂人相比，而是將他與威廉·布萊克(英國(guó)浪漫主義詩人)、阿蒂爾·蘭波(法國(guó)象征主義詩人)、沃爾特·惠特曼(美國(guó)世人)和莎士比亞相提并論。

　　conviction：確信，深信

　　bookish：書本上的，書呆子氣的

　　anaemic：無活力的，貧血的

　　In the most unlikely setting of all - the commercial gramophone record - he gave back to the language of poetry its elevated style, lost since the Romantics. Not to sing of eternities, but to speak of what was happening around us. As if the oracleof Delphi were reading the evening news.

　　在商業(yè)化的黑膠唱片這一最不可能的條件中，他重新賦予詩歌語言以高昂的姿態(tài)，這是自浪漫主義時(shí)代之后便已失掉的風(fēng)格。不為歌頌永恒，只在敘述我們的日常，好似德爾斐的神諭正向我們播報(bào)著晚間新聞。

　　oracle：神諭

　　Recognising that revolution by awarding Bob Dylan the Nobel Prize was a decision that seemed daring only beforehand and already seems obvious. But does he get the prize for upsetting the system of literature? Not really. There is a simpler explanation, one that we share with all those who stand with beating hearts in front of the stage at one of the venues on his never-ending tour, waiting for that magical voice.

　　通過授予鮑勃·迪倫諾獎(jiǎng)來認(rèn)可這一革命，初時(shí)似乎會(huì)覺得過于大膽，但現(xiàn)在已然覺得理所應(yīng)當(dāng)。但他獲得文學(xué)獎(jiǎng)是因?yàn)轭嵏擦宋膶W(xué)系統(tǒng)嗎?并不是。還有個(gè)更簡(jiǎn)單的解釋，這個(gè)解釋所有看過迪倫演出的觀眾都懂，他們都懷著一顆跳動(dòng)的心站在迪倫那永不停歇的巡演舞臺(tái)前，等待著那魔力般的聲音響起。

　　Chamfort made the observation that when a master such as La Fontaine appears, the hierarchy of genres - the estimation of what is great and small, high and low in literature - is nullified. “What matter the rank of a work when its beauty is of the highest rank?" he wrote. That is the straight answer to the question of how Bob Dylan belongs in literature: as the beauty of his songs is of the highest rank.

　　法國(guó)劇作家尚福爾評(píng)論說，當(dāng)諸如拉·方丹這類文學(xué)巨擘誕生時(shí)，文學(xué)類型的等級(jí)——對(duì)文學(xué)高低貴賤的價(jià)值估量——便再無約束力。他曾寫到：“當(dāng)一部作品自身的美達(dá)到了巔峰時(shí)，等級(jí)還有什么意義呢?”這也是對(duì)鮑勃·迪倫如何屬于文學(xué)范疇這一問題最直白的解答：他的音樂之美已達(dá)到最崇高的地位。

　　By means of his oeuvre, Bob Dylan has changed our idea of what poetry can be and how it can work. He is a singer worthy of a place beside the Greeks' ἀοιδόι, beside Ovid, beside the Romantic visionaries, beside the kings and queens of the Blues, beside the forgotten masters of brilliant standards. If people in the literary world groan, one must remind them that the gods don't write, they dance and they sing. The good wishes of the Swedish Academy follow Mr. Dylan on his way to coming bandstands.

　　迪倫的畢生作品已經(jīng)改變了我們對(duì)詩的認(rèn)知——詩是什么，該如何創(chuàng)作。鮑勃·迪倫作為一名歌手，值得與希臘聲樂家、古羅馬的奧維德、浪漫主義空想家、藍(lán)調(diào)歌王歌后、和以及諸多以高標(biāo)準(zhǔn)來衡量而被遺忘的大師共享盛名。如果文學(xué)界的人對(duì)此不滿，那他應(yīng)該記得：神并不寫作，他們只歌唱舞蹈。瑞典學(xué)院的美好祝愿將一路跟隨迪倫先生的音樂之路前行。

　　2分鐘英語演講——夢(mèng)想

　　I have a dream that one day this nation will rise up and live out the true meaning of its creed-we hold theses truths to be self-Oevident, that all men are created equal. I have a dream that one day on the red hills of Georgia, sons of former slaves and sons of former slave owners will be able to sit together at the table of brotherhood. I have a dream my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. i have a dream today! When we allow freedom to ring, when we let it ring from every village and hamlet, from every state and city, we will be able to speed up that day when all of God’s children-black men and white men , jews and Gentiles, Catholics and Protestants-will be able to join hands and to sing in the words of the old Negro spiritual, “free at least ,free at last . Thank God Almighty, we are free at last.”

　　我有一個(gè)夢(mèng)：有一天，這個(gè)國(guó)家將站起來，并實(shí)現(xiàn)他的信條的真正含義：我們將捍衛(wèi)這些不言而喻的真理，即所有人生來平等。我有一個(gè)夢(mèng)：有一天在喬治亞洲紅色的山丘上，從前的奴隸的子孫們能和奴隸主的子孫們像兄弟一樣坐在同一張桌旁;我有一個(gè)夢(mèng)我的四個(gè)孩子有一天將生活在這樣一個(gè)國(guó)度，在那里，人們不以膚色，而是以品格來評(píng)價(jià)他們。當(dāng)自由的鐘聲響起的時(shí)候，當(dāng)我們讓它從每一個(gè)村莊，每一個(gè)州，每一個(gè)城市響起的時(shí)候 ，我們將能夠加速這一天的到來。那是，上帝所有的孩子，無論黑人白人還是猶太人，異教徒。天主教徒，還是新教徒，他們都能夠手挽手歌唱那古老的黑人圣歌：“終于自由了，終于自由了，感謝上帝，我們終于自由了!”

　　張國(guó)榮英語演講稿

　　I am honoured to have been made CASH Ambassador. Music is a very important part in any culture and I am sure all of us here will agree that we must keep our culture alive and driving. This is particularly important for a place like Hong Kong, where most people are busy working for money and fame, culture will help us maintain a balance of lives.

　　我很榮幸被選為CASH音樂大使。音樂是任何一種文化的重要組成部分，相信在座每一位都會(huì)同意，我們必須保持文化的繁榮興旺。尤其在香港這樣一個(gè)地方，人們都在忙于追逐名利，文化可以幫助保持生活的平衡。

　　Because of this belief, I, who have not been properly trained in music, have for years been trying my best to promote music, not just by singing and performing, but also by creating tunes and writing lyrics for songs. I enjoy doing this and I think that, in a small way, I am contributing to the music and the culture of Hong Kong. I also believe that it is important for artist to be creative and so I have been working hard to create new ways of entertaining and even setting new trends.

　　基于這個(gè)信念，雖然沒有經(jīng)過音樂的專業(yè)訓(xùn)練，我一直盡己所能地推廣音樂，不僅唱歌表演，也作曲作詞。我很喜歡這些工作，我想這也是我在為香港的音樂和文化作一點(diǎn)貢獻(xiàn)。我也相信，對(duì)于藝術(shù)工作者來說，創(chuàng)新是必不可少的。因此，我一直努力創(chuàng)造新的娛樂形式，并嘗試引導(dǎo)新的潮流。

　　Last but not the least, music is our profession and our livelihood and the works we have created should be protected from piracy. Unfortunately, advanced information technology has helped aggregate this situation, causing many problems and threatening the livelihood of many artists. I wish to use this opportunity to call upon all the artists to unite in a campaign against piracy. In fact, I consider this one of the most important missions for the CASH Ambassador and I will dedicate my effort to this.

　　最后想說的是，音樂是我們的職業(yè)和謀生手段，我們的勞動(dòng)成果應(yīng)該受到保護(hù)。令人遺憾的是，先進(jìn)的信息技術(shù)加劇了盜版現(xiàn)象，帶來許多問題并威脅到藝術(shù)工作者的生計(jì)。我希望借這個(gè)機(jī)會(huì)，呼吁我們所有的藝術(shù)工作者聯(lián)合起來，反對(duì)盜版。我也把這個(gè)作為CASH音樂大使的其中一項(xiàng)重要的使命，并將致力于此。

　　Thank you very much!

　　非常感謝各位!