主题：国人讲英语（一） CNN　对邓亚萍的访谈 -- pxpxpx

Sha Zu Kang is an excellent lecturer. 15 (maybe 16?) years ago he came to my university and gave a lecture on the Midway Ship Incidence. He fascinated all the audience. I was deeply impressed so that I remembered his name ever since.

复 Sha Zu Kang is an excellent

家园

Midway Ship Incidence?

I am wondering what "Midway Ship Incidence" was. Do you actually mean "Yin He" incident? That incident did happen in 1993.

Anyway, I can't say I am his fan. But I like this guy. Being a diplomat, he seems way too aggressive, bold, emotional, impulsive, and ... you name it. But he becomes the one who speaks on behalf of the entire country in UN.

In term of career achievements, I admire him.

And I hope later we can see more diplomats who are more competent and experienced.

Hopefully, they don't have to be aggressive, bold and emotional by then.

End of the day, the business of diplomacy is business, not show business though.

复 Midway Ship Incidence?

家园

Yin He Hao

Thank you for pointing out. It is a typo, not "Midway", but "Milkway", or Yin He Hao Shi Jian.

Agree with you.

复国人讲英语（一） CNN　对邓亚萍的访谈

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.

－－－－－－－－－－－－－－－－－－－－－－－－－－－

＜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)

【整理】《国人讲英语》by pxpxpx

复在WHO大会散会后

家园

"谁理你啊"

"谁理你啊"

复国人讲英语（九）幸运儿王健

家园

这片子我有全本

谈不上多喜欢，就是个怀旧，那时人的眼睛真干净。

不过呢，那些知识分子还是那样，见了洋人整个一见了包青天的感觉，

只要是开座谈会就是倾诉啊倾诉。洋大爷明显不敢兴趣，坐蜡只好。

让我想起来王小东讲的一个段子，一个澳大利亚的海员在天安门玩，

居然被一帮人问中国的改革应该怎么搞？

而且，洋人的特权地位那时候就很明显了。

在上海找不到合用的钢琴，斯坦恩立马提出用“军用飞机”运过来。

这种傲慢不假思索，脱口而出，可见那时候洋人在中国享受特权

已经是习惯了。

复其实外交官并不需要这样高声大嚷

家园

那时采访，不是会谈

那时采访，不是会谈

而且说话如何没有一定之规，不用成天拿着。

复国人讲英语（一） CNN　对邓亚萍的访谈

家园

国人讲英语（十）蒋夫人美玲

１９４３年２月，宋美玲分别给美国的参议员和众议员做了一次讲演，主题都是一致的：支援中国继续抗日。

在网上，可以找到那两次演讲的全文，Youtube上还有宋给众院议员所做演讲的录音。

在对众议员的演讲里，宋谈到了两层意思：

一是日本比德国更加危险，也对美国更加有威胁；

二是中国一直在坚持抗战，而美国所给予的援助远远不够；

从反应上看，宋的观点无疑是极其成功的得到了听众的支持，尤其是第二点。

印象里，在常见的评论中，宋的英文水平多被评价为流利，但是从上面的演讲里可以看出，评价宋的英文水平是何等的没有必要。

摘段她演讲中的几段话吧：

When Japan thrust total war on China in 1937, military experts of every nation did not give China even a ghost of a chance. But when Japan failed to bring China cringing to her knees as she vaunted, the world took solace in this phenomenon by declaring that they had overestimated Japan's military might.

Again, now the prevailing opinion seems to consider the defeat of the Japanese as of relative unimportance and that Hitler is our first concern. This is not borne out by actual facts, nor is it to the interests of the United Nations as a whole to allow Japan to continue not only as a vital potential threat but as a waiting sword of Damocles, ready to descend at a moment's notice.

Man's mettle is tested both in adversity and in success. Twice is this true of the soul of a nation.

陈香梅曾讲宋总是自己写英文的演讲稿，如果上面的这篇演讲也是出自宋的手笔的话，那真是太震撼了。

两次讲演的全文：

http://www.lib.umich.edu/govdocs/text/mchiang.htm

宋给美众院议员所做演讲的录音－－上

[FLASH]http://www.youtube.com/v/61bV9-zeCrA[/FLASH]

宋给美众院议员所做演讲的录音－－下

[FLASH]http://www.youtube.com/v/vqAPuIEsoh8&feature=related[/FLASH]

下面是３７年控诉日本侵略者罪行的讲话，由３８秒开始

[FLASH]http://www.youtube.com/v/TRF2WTNwo0M[/FLASH]

本帖一共被 1 帖引用 (帖内工具实现)

【整理】《国人讲英语》by pxpxpx

复国人讲英语（十）蒋夫人美玲

家园

宋美龄的英语

应该是一流的，毕竟是美国受的教育，而且是韦斯理学院的。以前在文章里读到宋氏姐妹英语有美国南方口音，这次宋美龄的好像没听出来。

但觉得她的英语也并不是特别的震撼。可能是她们那个年代的英语与当代的不太一样了吧。这种语言现象在各语言里都一样。记得几年前读到冀朝柱（还是冀朝鼎？忘了）的英语，刚一看也是感觉一顿，与当代人说的不一样，冀是哈佛出来的。另外，美国人对一个人的英文本身并不是特别注重，甚至不大喜欢太专注咬文嚼字。从我个人的感受，老美对人的个性魅力更重视，有独特个性魅力的人，更容易敲开美国人的大们（或许还有他们的钱包）。私以为这才是宋美龄在美演讲游说成功的第一要素。

叉开一下，章诒和的《往是并不如烟》里提到康有为的外孙女与罗隆基之间的英文书信往来，用的是非常典雅的英语，是不是他们是英国的英文教育，古典英语？

英语的引文好像有几个小地方有误，the Hitler is our first concern。这里的the是不是衍文？as a moment's notice应是AT a moment's notice.还有when Japan failed to bring China cringing to her knees as she vaunted里的第二个she有点问题，从面看，she（her）指中国，但第二个明显是指日本，这种用法不能说错，但不是太好，而且说到敌国用she，不太合适。

这几个华人中，洪晃与王健的英语，耳朵听上去最舒服，与母语没什么区别。马英九的次之，马的与母语还差很多，但听上去比较顺耳。邓亚萍，李小龙还有大使的，听不了，其他的都不太“顺耳”。口音不是关键，主要是不流畅。李小龙的英语听过一些，很不错，但还是有些顿的感觉，还不是很母语。

几位外交官里，李肇星的英语能感觉到是下了功夫的，而且肯定作过大量的书报阅读，遣词造句与老美的习惯很接近。以前常常看到关于我们的外交官如何与老美“斗争”的报导，什么反击了他们的挑衅之类。对此有点不以为然，外交官的一个任务就是交朋友，建立关系，越多越好，你不知到什么时候就能用上。而且美国人与人初次见面，很喜欢用一句听上去不太友好的话刺你一下，不仅是外交场合，一般人也是这样。他们会观查你的反映，如果你能用双关语，笑话等把球踢回去，他们会哈哈大笑。下面的事就好办了，老美会认为你是自己人，跟他们有共同语言。如果你老是绷着一根阶级斗争的弦，动不动就火药味十足，别人只能敬尔远之。

好文，期待下文

关键词(Tags): #宋美龄，#韦斯理，#外交官，

复国人讲英语（一） CNN　对邓亚萍的访谈

家园

您这一系列特别好，特别喜欢，谢谢!

送花、收藏啦！

谢谢！

不知道您有没有宋美龄1995年抗战胜利50年后重回美国国会的演讲、纪念反法西斯胜利50周年的全文和视频、音频。我在凤凰电视上看过，印象深刻的是：

At the time, I said that I came here a child, spent my formative years here, and stayed through college. Therefore, I will always think of America as my second home. And it's good to be back home again.

(听写)

外链出处

98岁的人说出来特别有气势。

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]