主题：国人讲英语（一） CNN 对邓亚萍的访谈 -- pxpxpx
- 复 宋美龄的英语
家园 洪晃英语好是必然的 博士爹说得不如自己5岁的娃，环境。
- 复 宋美龄的英语
家园 用she估计是古英语阴阳性变化的残留 也就是说当时国家仍然是作为一个需要强制用she的阴性名词来看待的。我记得现在英语中也是还有几个这样的词的，比如说ship，理论上是一定要用she的。
家园 谢谢，我后来也是这么想的
- 复 宋美龄的英语
家园 冀朝铸 几年前读到冀朝柱（还是冀朝鼎？忘了）的英语 - 复 宋美龄的英语
家园 您这语感真是好呀 宋演讲稿是扫描的，不能copy，我是敲进去的，当时可能是太困了，敲错了不少。
您举的前两个确实是敲错了，原文和您讲的一致。
最后的那个宋倒是确实用了she的，听录音和看原文都是这样的。这也许是当时的用法，也可能是宋有意为之，具体到底是为什么，我就不知道了。
李小龙的视频在这里：
[FLASH]http://www.youtube.com/v/uXOtmhA6Nvw[/FLASH]
[FLASH]http://www.youtube.com/v/RRdTJi0v3fQ[/FLASH]
[FLASH]http://www.youtube.com/v/LcSGa-TbN6U[/FLASH]
我很同意您＂顺耳＂这个讲法，同时也注意到有些人讲话的内容已经完全让人忽略了他们发音上的欠缺，李可以算做一个例子。
- 复 您这语感真是好呀
家园 有宝 谢谢：作者意外获得【通宝】一枚鲜花已经成功送出。
此次送花为【有效送花赞扬，涨乐善、声望】
- 复 您这语感真是好呀
家园 谢谢老兄 第三个不是语法错误，有人这么用。中文里也可以这么说“张三把李四按倒在地，然后他把他给打了一顿。”
我个人觉得不是太好，尤其是在这里。用she来指国家，一般用为褒义，比如我们说到祖国。如果是中性的，用it即可；而对正在交战的敌国，似乎不是最佳用词（后面的vaunted一词说明这里she指日本）。
当然，宋美龄也许有她的想法，我的英语水平恐怕还不能对她评头论足。加上那时六七十年前，那时的英语与现在的一定有很大不同，只是个人的看法。
说到时代的不同，有网友提到美国英语的语速，比英国英语慢，这恐怕也是近几十年来的事。如果看五六十年代的美国电影，那时人讲话很快，看现代电影没大问题的人可能会有困难，我就是很费劲。
再次感谢px兄的好文，以及再次贴李小龙的录音。
李的英语是真的好，就像有些网友说的，英语在李是一个工具，是被他所用，就像武术一样，随心所欲。他对英语的掌握跟母语没什么区别了。听说李是十八岁左右去的美国，能学得那么好，只能是天才。如果要在鸡蛋里面挑点骨头，还是发音，还似乎差那么一点点。当然，这是用最高标准来要求他（对天才还能用什么其它标准呢？）。
希望老兄能把这个系列继续下去。
家园 国人讲英语（九） 幸运儿王健 王健，著名的大提琴演奏家，他是Isaac Stern（艾萨克.斯特恩）在１９７９年那次著名的音乐之旅中发现的少年天才。
当时，中美关系刚刚开始正常，为了增进两国间的文化交流，时任外交部长的黄华邀请小提琴演奏家Isaac Stern到中国访问三个星期，Isaac Stern的这次访问，后来被制作成了记录片，叫＜从毛到莫扎特＞（From Mao to Mozart），这部片子 ８１年还获得了奥斯卡最佳纪录片奖。
当时１０岁的王健在片中有一段１分多钟的演奏，给人留下了极其深刻的印象，也许是导演对他的才华也十分珍爱，在片尾，王健的演奏再次出现，整部影片在他的琴声中结束。
王健也许是Isaac Stern中国之旅的最大发现，这个极具才华的孩子在１９８５年１７岁的时候终于在热心华侨林寿荣的资助下，远赴美国，先后在耶鲁和茱丽亚音乐学校深造，之后经过多年的打拼，王健终于成为了一位非常有影响力的演奏家。
下面的这段视频就是王健到美国以后拍摄的，从当时王健的模样上看，他应该是２０出头的样子。与他一起讨论问题是Isaac Stern本人，还有一位就是马友友，他其实也是Isaac Stern发现的。
视频中王健１０岁时的那段著名的演奏出现在２分钟左右，之后就是马友友和王健之间的一段对话。
[FLASH]http://www.youtube.com/v/7b_KGxFpj-A[/FLASH]
听罢之后，再次相信，天才是有的。
对比朗郎，音乐才华姑且不讲，但是这语言能力上，朗郎远远的不如当年的王健。
下面贴几段王健说过的一些话，感觉这个人非常的深：
"That's a very good analysis," Wang replies. "In England or the United States, youngsters can do so many things because they have so many choices. But I was born in a country where life was difficult, where music was one of the few things you could study. When people leave China to study somewhere, they don't back off or say, 'I don't feel like doing this any more; it's becoming too difficult,' because usually that's not an option. We have to succeed. So I think you can say that the disadvantages of being born in a country where life is difficult become an advantage. We're driven because we have no choice.""However, I'm still afraid of doing something I don't believe in. If I did everything on stage that I liked and felt was good, and the public didn't like it, I'd be upset, but I could live with that. However, if I went up there and did something I didn't believe in, simply because my teacher had told me to do it, I'd feel terrible because it wouldn't be me that the public disliked. I've never wanted to do anything that's not mine.""If I had the choice between playing as if I were coming out and hitting you over the head with a big club to impress you, or just sitting there quietly as if to say, 'Maybe you'd like to hear this story . . . ,' I'd go for the latter. But of course Mr. Parisot taught me well, so I could come out and hit you over the head if I wanted to."How, I ask, would he summarize the influence of his Chinese background on his playing of Western music? "It's funny," he smiles, "because when I'm in China I feel more American than anything. When I'm in America I feel more European. And when I'm in Europe I feel Chinese! It's very complicated. But let me answer your question this way.""Chinese people are very moved to see somebody who has a difficult life but keeps a smile on his face. That touches us much more than somebody who's suffering but complaining about it to everybody. So I'd say that I prefer to speak to people through music in a very quiet way. Western culture is a bit more dramatic—look at paintings, for example. In the West, they're full of color and drama and battles, and they always show people. The majority of Chinese paintings are watercolors, and most of them are black and white. And they're about nature, not people. For me, that's the difference.
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＜从毛到莫扎特＞是我最喜欢的纪录片，没有之一。
常常，在寂静的周末夜晚，戴上耳机，一个人看这部片子：李德伦对莫扎特的阶级分析，谭舒真对文革经历的自述，充满灵气的孩子们...不敢相信这些曾经发生在自己生活的年代里。
三十年过去了，虽然中国的经典音乐演奏水平进步不大，但是今天拥有王健那般才华的孩子们再也不需要他当年传奇般的幸运了，这本身就是很幸运的事情。
下面就是＜从毛到莫扎特＞的连接，没看过的建议一定不要错过。
[FLASH]http://www.youtube.com/v/CE3QZRbtHyU&feature=related[/FLASH]
本帖一共被 1 帖 引用 (帖内工具实现)家园 国人讲英语（八） 麦霸沙祖康 用麦霸这个很民间的词汇来形容UN副秘书长，TG外交高官沙祖康似乎比较邪恶，但是这恐怕不是我一个人的印象，但凡听过０６年BBC对沙祖康采访的朋友，可能有很多人会同意我这么讲。
在那次采访里，沙祖康的那句＂美国，闭嘴！＂一时间传遍网络，很是＂火＂了一把。
应该讲，采访沙祖康的BBC节目主持是相当有经验的，她很明显的不断地用很尖锐的问题去刺激和调动沙祖康的情绪，老沙也是不负主持的＂美意＂，毫无保留的一展＂麦霸＂风采。
抛开其他的因素不讲，单纯的从语言能力上看，沙祖康无疑属于越激动，越亢奋，表达就越清晰有力的那一类选手。平时明明看着一幅好干部的模样，但是一坐到Mic后面就不是他了。
要是打比方的话，很明显，这是一个力量型的＂人来疯＂，要看这种选手的真正实力，那得象激发麦霸的小宇宙一样，诀窍就是得有人和他们玩命的＂彪＂。
BBC节目的主持看来是做足了功课的，彪的狠卖力。
觉得自己有潜力的同学，可以将下面的几段话朗读一下，找找感觉，再听听沙祖康的讲法，相信会有所感悟地。
Taiwan is the most important issue. That is to say this issue on which we don't have any room for compromise.
The sovereignty, the territory integrity is the most sacred thing. It should be protected. We treat territory integrity more important than our lives.
Let me say the moment of declear independence by Taiwan supported by whoever. China will have no choice. We will do the business through whatever means available to my government.
It's not a matter of how big Taiwan is, how useful it is. But for China, one inch of territery is more valuable than the life of our people.
It's better for US shut up. Keep quiet.
We have to be careful. Careful to make sure no one in the world can harm China.
Why blame China? No, forget it. It's high time (for US) to shut up.
完整的BBC采访在下面的连接里：
[MP=320,240]http://www.bbc.co.uk/worldservice/meta/dps/2007/05/nb/070529_shaxukang_au_nb.asx[/MP]
本帖一共被 1 帖 引用 (帖内工具实现)家园 沙祖康的英文和气节让我折服，花之，杨澜之类就算了 自从看了一篇沙祖康的演讲稿，可惜视频没看到，我一直认为，沙祖康的气节和英文水平太牛了，以至于大大超出了中国的实际水平，所以没办法，只有放在联合国副秘书长的虚位上养着。