英语问题 请大声指教
sensational是形容词表示耸人听闻的、引起轰动的、是个中性词。。
sensationalized用某种手法故意引起轰动。是个贬义词。
这里说话带有一种讽刺的意味，所以要用贬义词。
有关钓鱼岛的英语作文，
CHINA discussed the sensationalized reports involving a Chinese vessel’s scientific research in the Diaoyu Island sea area with Japan yesterday.
A senior official with the country’s Ministry of Foreign Affairs met the officials from Japan’s Embassy to China yesterday in Beijing, expressing China’s concern over the reports.
Diaoyu Island and the adjacent islets have been China’s territory since ancient times and China has incontestable historical and legal evidence on this, the Chinese official said.
“China’s scientists have sovereignty to do maritime surveys on the islands and the neighboring sea zone,“ the official added.
“我只是来打酱油的”用英语怎么说啊
很高兴为您解答~
翻译为：打酱油 bystander
e.g. Don’t drag me into this, I am just an innocent bystander.
不要拖我下水。我只是个无辜的打酱油的。
1. 囧 dumbfounded
e.g. I am dumbfounded when a kid asks me about sex.
有个小孩问我关于性的问题时，我很囧。
2. 赞 fabulous
e.g. I watched Li Na’s game, she is fabulous.
我看了李娜的比赛，她很赞。
3. 给力 brilliant/awesome
e.g. I watched “Let the Bullets Fly“ yesterday, it’s awesome.
我昨天看了《让子弹飞》，很给力。
4. 打酱油 bystander
e.g. Don’t drag me into this, I am just an innocent bystander.
不要拖我下水。我只是个无辜的打酱油的。
5. 神马都是浮云 nothing matters to me
e.g. Lamborghini, Ferrari, Porsche, nothing matters to me.
兰博基尼,法拉利,保时捷,对我来说神马都是浮云。
6. 雷人 startling
e.g. I read some startling news today on BBS.
我在留言版上读到了一些雷人的新闻。
7. 杯具 bummer
e.g. My wallet was stolen today, what a bummer.
我的钱包被偷了，杯具啊!
8. 剩女 cougar
e.g. My neighbor is an old cougar.
我的邻居是个老剩女。
9. 炒作 to sensationalize
e.g. The media sensationalized the divorce of Yao Chen.
媒体炒作姚晨的离婚。
10. 爆料 revelations
According to revelations by artists’ friends, they take drugs.
通过艺人朋友的爆料，他们吸毒。
11. 封口费 hush money
e.g. They are bribing the reporters with hush money.
他们用非扣费贿赂记者。
保证正确率，望采纳；如仍有疑问，请追问；
谢谢~
托福写作范文：怎样看待社交媒体上的新闻
参考范文：
词句积累：
To the best of their ability. 尽他们最大的能力
false perceptions regarding XXX 关于XXX的错误观念
at large 整体上，一般来说
insert personal opinions into their analysis 把个人观点插入他们的分析中
barrage of fake news 接二连三的假消息
sensationalized headlines 令人耸人听闻的标题
elicit tougher gun control 引出更加严格的枪支管控(政策)
fall into this trap 落入陷阱
place an emphasis on 强调
make XXX more accountable for YYY 让XXX对YYY更加负责任
become more susceptible to 更容易收到…的影响
pop up 涌现出来
get clicks 获取点击量
BY：极客英语
英语作文
CHINA discussed the sensationalized reports involving a Chinese vessel’s scientific research in the Diaoyu Island sea area with Japan yesterday.
A senior official with the country’s Ministry of Foreign Affairs met the officials from Japan’s Embassy to China yesterday in Beijing, expressing China’s concern over the reports.
Diaoyu Island and the adjacent islets have been China’s territory since ancient times and China has incontestable historical and legal evidence on this, the Chinese official said.
“China’s scientists have sovereignty to do maritime surveys on the islands and the neighboring sea zone,“ the official added.
如何翻译“炒作”
两层意思： 1 经济中“炒作”股票，房产等，用
speculation[名词]，to speculate (in stocks)[动词]
[Informal] sensationalization
2. “炒作”新闻等 to sensationalize (news)
求助 帮忙找一篇英文文章 关于西部片的
《天地无限Open Range》2003
Open Range, directed by Kevin Costner, opens in theaters today. The movie sheds light on the life of the cowboy, after what critics consider an 11-year drought in the genre of Western movies.
In the movie, the characters of Boss (Robert Duvall), Charley (Kevin Costner), Mose (Abraham Benrubi), and Button (Diego Luna) are “free-grazers“ during a critical time in the history of the cowboy. In the backdrop of the movie, the Mexican cowboy, Button, represents the rarely recognized truth of how the West was really won.
Hispanic Roots
One out of every three cowboys in the late 1800s was the Mexican vaquero, says Kendall Nelson, a photographer from Idaho whose recent book, Gathering Remnants: A Tribute to the Working Cowboy, showcases the few remaining cowboys of the West. Nelson is currently working on a documentary of the same title, capping an eight-year documentation of the last cowboys.
The story of Nelson’s photos and Costner’s Open Range really begins in the Southwest, two decades before the pilgrims landed in 1620 on Plymouth Rock, when adventurous criollos (Spanish-born Americans) and mestizos (mixed Spanish and Indian settlers) pushed past the Rio Grande River to take advantage of land grants in the kingdom of New Mexico, which included most of the western states.
They were called caballeros, says Donald Gilbert Y Chavez, a historian of the cowboy’s Spanish origins.
“One of the highest stations you could have in life was to be a caballero,“ said Chavez, a resident of New Mexico whose lineage can be traced to the Don Juan de Oñate colony, the caballero who was among the first cowboys in the U.S.
“Even the poor Mexican vaqueros were very proud and there were few things they couldn’t do from a saddle.“
Caballero is literally translated as “gentleman.“ The root of the word comes from caballo—Spanish for “horse.“ For every caballero there were perhaps dozens of independents—the true “drivers“ of cattle: vaqueros.
“All of the skills, traditions, and ways of working with cattle are very much rooted in the Mexican vaquero,“ Nelson told National Geographic News. “If you are a cowboy in the U.S. today, you have developed what you know from the vaquero.“
Vaqueros were proverbial cowboys—rough, hard-working mestizos who were hired by the criollo caballeros to drive cattle between New Mexico and Mexico City, and later between Texas and Mexico City. The title, though denoting a separate social class, is similar to caballero, and is a mark of pride.
“Vaquero is a transliteration of the words ’cow’ and ’man.’ Vaca means ’cow,’“ said Chavez. “Interestingly enough, in Spanish, we call ourselves cowmen; in English, it was demoted to cowboys.“
Texas Longhorn for the Taking
In 1821 Anglo settlers arrived in Texas and became the first English-speaking Mexican citizens in the territory. Led by Stephen F. Austin, they arrived in San Felipe de Austin, Texas, to take advantage of the vast expanse of cattle, free for the taking.
“There were millions of longhorn cattle in the brush country of Texas that were loose, strayed, and had multiplied,“ says Nelson. All the new settlers had to do was round up the cattle.
It was something the vaqueros had been doing for 223 years, since 1598, when Don Juan de Oñate, one of the four richest men in New Spain (present-day Mexico) sent an expedition across the Rio Grande River into New Mexico.
Oñate spent over a million dollars funding the expedition, and brought some 7,000 animals to the present-day United States. It eventually paid off; the first gold to come from the West was not from the Gold Rush, but rather from its wool-bearing sheep and then its long-horned livestock.
Modernization and Civilization: A Cowboy’s Culprits
By the conclusion of the Civil War the cattle-driving industry was at its apogee. But the top was about to spiral downwards with the invention of barbed wire in 1873, inciting a rapid rise in large private landholdings.
In Open Range, the battle between private landowners and “free-grazers“—one-third of which were vaqueros, one-fifth African American—serves as the central conflict of the plot.
“[Cowboys] don’t understand why there’s a traffic light. They don’t like the idea of being told when to stop and go—literally,“ said Nelson. When barbed wire was posted across the plains, it was an eyesore to many cowboys, and the closing off of what they believed to be in the public domain. Conflicts inevitably ensued, which gave rise to the Hollywood portrayal of the gun-slinging, lawless cowboy.
“The first thing historians will tell you is that Hollywood has completely sensationalized the Western cowboy,“ said Nelson. “But the movies have also portrayed the cowboys in positive ways. The hardworking, rough-riding, individualistic characteristics…those are all basically true.“
Disappearing?
It’s been four centuries since the vaqueros first roamed the plains of Texas and New Mexico. Many say that the culture is dead, or on the verge of dying—along with the cattle-driver culture in general. Nelson disagrees.
“In doing this film [her documentary] one of the questions that I always ask the cowboys is: ’Is it disappearing?’“ Nelson said. “They all say that there will always be cowboys as long as there are cattle, because they all claim that the most efficient way to work cattle is from horseback.“
And the vaqueros?
“Compare the cowboy culture to a car,“ said Chavez. “If the vaqueros invented the car, the styles change a little bit, but you still have the basic chassis, four wheels, and a motor. I think it will stay very much the same.“
Though there may be optimism about the preservation of the culture, there is pessimism about outside influences.
“When I first started photographing the cowboys, nobody had a television in the bunkhouse.“ Nelson said. “But now I actually walk into the bunkhouse, and there’s a TV in there…I have to admit, I’ve gone in, and they’re watching John Wayne movies.
“But they’re very proud of who they are. They are very much interested in keeping their culture alive and viable.“
sensationalize是什么意思
sensationalize
英[senˈseɪʃənəlaɪz]美[sen’seɪʃənəlaɪz]
vt.
使引起轰动，以耸人听闻的手法处理
网络
使引起轰动; 使耸人听闻; 以耸人听闻的手法处理
第三人称单数：sensationalizes现在分词：sensationalizing过去式：sensationalized过去分词：sensationalized
stephen crane历史背景对他作品的影响，以及他为什么要以这些做为他的写作主题
“The Open Boat” is a fictionalized account of a very traumatic personal experience in Crane’s life: a ship on which he was a passenger sank off the coast of Florida, and he found himself one of four men in a tiny open dinghy, struggling to make it through a narrow strip of rough sea and pounding surf that separated them from dry land.
As it was, the men were forced to remain for thirty hours in the boat, rowing frantically against the tide and bailing constantly to keep the craft afloat in the treacherous water, before they were able to come ashore at Daytona Beach. We would expect that this story would be written as a heart-pounding adventure tale; yet it is very cerebral in its approach, focusing less on the adrenaline rush of danger than on the philosophical question of man’s relationship to the world of nature that so completely overwhelms him.
As Crane shows in this story, the protagonist’s salvation is dependent upon whether or not he will adapt to his surroundings and help his fellow man, not whether or not he can conquer nature. As he demonstrates, this is a moot point, because it is impossible to conquer nature; it is too big, and too impersonal, and man is just a speck against its awesome power. The best one can do is learn nature’s ways and work with, not against, them.
This sense of complete absorption in the struggle against nature is illustrated by the famous first line of the story: “None of them knew the color of the sky.” The reason for this is soon made obvious; the imperiled survivors could not take their eyes off the waves, for to let their guard down for a moment would mean certain death. Significantly, Crane does not deal with the question of heroism; the men in the boat do not feel heroic, nor do they ask us to think of them in those terms. They are simply doing what they need to in order to survive, and supporting one another in this effort.
Interestingly, however, this does not make Crane’s story realistic; it actually creates a kind of hyper-realism, an excruciatingly vivid nightmare state, in which waves resemble horses “scrambl[ing] over walls of water,” “carpets on a line in a gale,” and “white flames,” to mention only a few of the dozens of metaphors. The homeliness of these images does not make the Crane’s rendering of the experience any less profound; they simply call attention to the inability of mere words to convey it.
They also accentuate the gulf between an objective journalistic rendering of going down with a ship and the only way to convey the full horror of this experience. Crane borrows, in his fierce and startling imagery, something from Gothic romantics such as Poe; but in no other respect is this story romanticized. On the contrary, the threat of death is not in any way sensationalized, because it does not need to be; the usage of such extreme imagery makes it even more terrifyingly real.
In addition to vivid language, Crane uses carefully-chosen anecdotes to make the situation seem harrowing. The extent to which these men are poised on the brink of life and death is illustrated by the seagull that lands on the captain’s head; as Crane says, “The captain naturally wished to knock it away with the end of the heavy painter, but he did not dare do it, because anything resembling an emphatic gesture would have capsized this freighted boat; and so, with his open hand, the captain gently and carefully waved the gull away.” To have remained in this state for thirty hours seems almost incomprehensible.
Crane’s remarkable use of rhythm in this story reminds one of the motion of the sea; while each phrase has a distinct sense of rising and falling, each one is also a different length, just like the waves — some of which are huge and rolling, while others are merely little swells. One can feel this in the lines “The craft pranced and reared, and plunged like an animal. As each wave came, and she rose for it, she seemed like a horse making at a fence outrageously high.” In his imagery, in his rhythm, Crane never allows us to forget the story’s setting, even for a second; the huge and harrowing presence of nature, poised to destroy the insignificance which is man, commands our attention at all times.
But the most significant aspect of this struggle lies in the men’s attempts to help one another survive. Consider this passage where Crane describes the time “when we were swamped by the surf and making the best of our way toward the shore”. “But finally [the correspondent] arrived at a place in the sea where travel was beset with difficulty. He did not pause swimming to inquire what manner of current had caught him, but there his progress ceased. The shore was set before him like a bit of scenery on a stage, and he looked at it and understood with his eyes each detail of it. — As the cook passed, much farther to the left, the captain was calling to him. ‘Turn over on your back, cook! Turn over on your back and use the oar.’ — ‘All right, sir.’ The cook turned on his back, and paddling with an oar, went ahead as if he were a canoe.”
There is no fighting the sea; it cannot be conquered; but one can learn to bob along on its surface, and aid to the best of one’s ability those fellow human beings who are also caught in the grip of nature’s immense indifference.