初一英語(yǔ)美文100詞
誦讀經(jīng)典美文,是一種熏陶,也是一種積累,能有效提高學(xué)生的文學(xué)素養(yǎng),培養(yǎng)學(xué)生的語(yǔ)言能力和寫(xiě)作能力。學(xué)習(xí)啦小編整理了100詞初一英語(yǔ)美文，歡迎閱讀!
100詞初一英語(yǔ)美文篇一
Movie Music
Accustomed though we are to speaking of the films made before 1927 as "silent", the film hasnever been, in the full sense of the word, silent.From the very beginning, music was regarded asan indispensable accompaniment; when the Lumiere films were shown at the first public filmexhibition in the United States in February 1896, they were accompanied by pianoimprovisations on popular tunes. At first, the music played bore no special relationship to thefilms; an accompaniment of any kind was sufficient.Within a very short time,however,theincongruity of playing lively music to a solemn film became apparent, and film pianists beganto take some care in matching their pieces to the mood of the film.
As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would beadded to the pianist in certain cases, and in the larger movie theaters small orchestras wereformed. For a number of years the selection of music for each film program rested entirely inthe hands of the conductor or leader of the orchestra, and very often the principalqualification for holding such a position was not skill or taste so much as the ownership of alarge personal library of musical pieces. Since the conductor seldom saw the films until thenight before they were to be shown (if indeed, the conductor was lucky enough to see themthen), the musical arrangement was normally improvised in the greatest hurry.
To help meet this difficulty,film distributing companies started the practice of publishingsuggestions for musical accompaniments. In 1909,for example, the Edison Company beganissuing with their films such indications of mood as "pleasant", "sad", "lively". The suggestionsbecame more explicit, and so emerged the musical cue sheet containing indications of mood,the titles of suitable pieces of music, and precise directions to show where one piece led intothe next.
Certain films had music especially composed for them. The most famous of these early specialscores was that composed and arranged for D. W. Griffith's film Birth of a Nation, which wasreleased in 1915.
電影插曲
盡管我們習(xí)慣于將 1927 年以前的電影稱為"無(wú)聲電影"，但是就無(wú)聲這個(gè)詞完整的意義上來(lái)說(shuō)，電影從未真正的無(wú)聲過(guò)，從最初開(kāi)始音樂(lè)就被視為必不可少的伴奏。 當(dāng)盧米埃爾的電影在 1896 年2 月美國(guó)首屆影片公映展覽上放映的時(shí)候，影片便用當(dāng)時(shí)的流行曲臨場(chǎng)鋼琴伴奏。 最初，這些音樂(lè)伴奏與電影沒(méi)有什么特別的關(guān)系，用什么曲子伴奏都行。 但在很短的時(shí)間內(nèi)，為一部莊重的影片演奏快活的音樂(lè)所產(chǎn)生的不協(xié)調(diào)感變得顯而易見(jiàn)，因此鋼琴家們開(kāi)始注意將自己的作品與影片的情調(diào)結(jié)合起來(lái)。 隨著影劇院在數(shù)量上與重要性上的不斷增長(zhǎng)，在一些場(chǎng)合，除了鋼琴師外，還要加上小提琴師，或許還有一位大提琴師。 較大的影劇院里還組成了小型的管弦樂(lè)隊(duì)。 在很長(zhǎng)的時(shí)間內(nèi)，為各部影片選擇配樂(lè)完全掌握在樂(lè)隊(duì)指揮或隊(duì)長(zhǎng)手中，而通常把持這種職位的資格不是技巧或鑒賞品味，而是擁有一個(gè)大的音樂(lè)作品的個(gè)人收藏。 因?yàn)橹钡诫娪吧嫌车那耙惶焱砩蠘?lè)隊(duì)指揮才能看到影片(如果這個(gè)指揮真正有幸能夠看到影片的話)，音樂(lè)安排通常是在非常匆忙的情況下臨場(chǎng)進(jìn)行的。為了解決以上的困難，電影發(fā)行公司開(kāi)辦了為音樂(lè)伴奏印制提示單的業(yè)務(wù)。例如 1909 年愛(ài)迪生公司開(kāi)始將一些諸如"喜悅的"、"悲傷的"、"活潑的"之類(lèi)表明影片情調(diào)特征的提示與影片一起發(fā)行。 這些提示逐漸變得更加具體，并且出現(xiàn)了包括影片情調(diào)說(shuō)明、適用樂(lè)曲名稱和樂(lè)曲轉(zhuǎn)換點(diǎn)等內(nèi)容的配樂(lè)說(shuō)明單。 某些影片擁有專門(mén)為其創(chuàng)作的音樂(lè)。 這些早期特創(chuàng)樂(lè)譜中最著名的便是為D. W. 格雷夫斯 1915 年上映的影片《一個(gè)國(guó)家的誕生》所創(chuàng)作的音樂(lè)。
100詞初一英語(yǔ)美文篇二
Mimicry in Plants
Plant adaptations can be remarkably complex. Certain species of orchids, for instance, imitatefemale bees, other plants look and smell like dead animals, and still others have theappearance of stones. These strange adaptations to life represent just a few of thesophisticated means by which plants enhance their chances of survival. Mimicry in plants oranimals is a three part system. There is a model: the animal, plant or substrate being initiated.There is a mimic: the organism that imitates the model. And there is a signal receiver ordupe: the animal that cannot effectively distinguish between the model and the mimic.Mimetic traits may include morphological structures, color patterns, behaviors or otherattributes of the mimic that promote its resemblance to a model.That model may be either anunrelated species or an inanimate object, such as the background against which an organismspends most of its time. Mimicry is not an active strategy on the part of an individual plant;flowers do not deliberately trick or deceive animals into visiting them.Mimicry arises as theresult of evolution through natural selection and the occurrence of random geneticmutations that lead over many generations to the appearance of favorable characteristics. Ifsuch traits help to camouflage a plant, for example, the plant is likely to have a survivaladvantage over other plants that are less well camouflaged.The plant will leave moredescendants, thereby passing the advantage to the next generation. For natural selection tofavor the evolution of mimicry, the mimicry must derive a reproductive advantage frommodeling itself after another organism or object: its fitness, measured as the number ofoffspring produced that survive into the next generation, must be increased as the result ofdeception.
植物擬態(tài)
植物的適應(yīng)性極為復(fù)雜。 某種蘭花模仿雌蜂，還有些植物看上去或嗅起來(lái)象死去的動(dòng)物，更有些植物具有石頭的外表。 這些稀奇古怪的適應(yīng)性不過(guò)是植物的眾多求生手段中的一小部分罷了。 動(dòng)植物的擬態(tài)包括三方面的內(nèi)容：一是被模仿者，動(dòng)物，植物或是生態(tài)基層，二是模仿者，即那些去模擬其它東西的生物，三是上當(dāng)受騙者，即不能分辨模仿者與被模仿者的動(dòng)物。 被模仿特征包括形態(tài)結(jié)構(gòu)，色彩花紋，動(dòng)作習(xí)性或其它模仿者實(shí)現(xiàn)它與被模仿者相似的特點(diǎn)。 被模仿者可以是其它種類(lèi)的生物或非生命物，如棲居地的環(huán)境。 擬態(tài)并非某個(gè)植物主動(dòng)的策略。 花朵并非故意誘騙動(dòng)物來(lái)訪。 擬態(tài)是無(wú)數(shù)代自然選擇和遺傳變異的進(jìn)化而獲得的有利特征的結(jié)果。 比如，有些特征有利于偽裝，那么具有這些特征的植物就比不具有的易于生存。 這種植物就會(huì)有更多的后代，并把這些特征代代相傳。 要讓自然選擇惠顧模仿者的進(jìn)化，模仿者必須在模仿其它生物或物體中得到繁殖優(yōu)勢(shì)：它的適應(yīng)能力，以存活至下一代的幼獸的數(shù)目來(lái)衡量，必定因?yàn)槠垓_而加強(qiáng)了。
100詞初一英語(yǔ)美文篇三
Marine Mammals
Since there is such an abundance of food in the sea,it is understandable that some of theefficient, highly adaptable, warm-blooded mammals that evolved on land should have returnedto the sea.Those that did have flourished. Within about 50 million years -- no time at all,geologically speaking -- one of the four kinds of mammals that has returned to a marineenvironment has developed into the largest of all animal forms, the whale. A second kind, theseal,has produced what is probably the greatest population of large carnivorous mammals onEarth.
This suggests that these "top dogs" of the ocean are prospering and multiplying. However,such has not been the case,at least not for the last 150 years.Trouble has closed in on thesemammals in the form of equally warm-blooded and even more efficient and adaptablepredators, humans. At sea, as on land, humans have now positioned themselves on the top ofthe whole great pyramid of life, and they have caused serious problems for the mammals ofthe sea. There is a simple reason for this. Marine mammals have the misfortune to beswimming aggregates of commodities that humans want: fur, oil and meat. Even so, they mightnot be so vulnerable to human depredation if they did not,like humans, reproduce so slowly.Every year humans take more than 50 million tons of fish from the oceans without criticallydepleting the population of any species. But the slow-breeding mammals of the sea have beenall but wiped out by humans seeking to satisfy their wants and whims.
海洋哺乳動(dòng)物
既然海洋中有如此豐富的食物，一些原本在陸地生存的高效率的，適應(yīng)性強(qiáng)的暖血型動(dòng)物返回海洋生存是不難理解的。 那些已經(jīng)返回海洋的哺乳動(dòng)物種族繁榮。 在大約 5 千萬(wàn)年間(這在地質(zhì)學(xué)上不過(guò)是彈指一揮間)，返回海洋的4 種浦乳動(dòng)物之一的鯨已成為體積最龐大的動(dòng)物。 而另一種哺乳動(dòng)物海豹，它的數(shù)量恐怕是地球上大型食肉哺乳動(dòng)物中最大的。 這似乎表明這些海洋中的"大哥大"們?nèi)硕∨d旺，一派繁榮景象。但至少在近 150 年以來(lái)，事實(shí)并非如此。 同樣是暖血?jiǎng)游锒倚矢摺⑦m應(yīng)性更強(qiáng)的捕食者，人類(lèi)，成為這些哺乳動(dòng)物的日益迫近的威脅。 在陸地和海洋，人類(lèi)都已處在巨大的生物金字塔的最頂端，成為所有生物的主宰，并給海洋哺乳動(dòng)物帶來(lái)巨大的危脅。 原因很簡(jiǎn)單。 這些哺乳動(dòng)物不幸成為人類(lèi)所需要的一堆游動(dòng)著的商品，如皮毛、油和肉。 盡管如此，如果它們不象人類(lèi)一樣繁殖如此緩慢，它們對(duì)人類(lèi)的掠奪也不會(huì)如此無(wú)能為力。 每年人類(lèi)從海洋中捕撈約 5 千萬(wàn)噸的魚(yú)類(lèi)，但這并未導(dǎo)致任何魚(yú)種的滅絕。但繁殖緩慢的海洋哺乳動(dòng)物卻因?yàn)橛辛艘恍闹幌霛M足一已私欲的人類(lèi)而瀕臨。
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