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问答题

Section A
Translate the underlined sentences in the following passage into Chinese. Remember to write the answers on the answer sheet.
You might have to go back to the initial epoch printing press to find a publishing technology as disruptive. The Interact can reproduce content and distribute it almost anywhere at nearly light speed. You can call it the perfect copying machining--with an out tray to everyone.
And that’s the trouble. (81) For any creator of" "intellectual property"--text, software, music, video, and so on--the Internet is challenging the fundamental notion of who owns the content and how it can be used. This week, the issue reached the United States Supreme Court in a case that may go a long way toward deciding what rights creators have. The issue isn’t clear cut.
(82) Protect the creators too much and it may inhibit technological progress and chill artistic expression, some argue. Others say the technology and culture of sharing electronic files has made the philosophy of "all rights reserved" outdated. What’s needed, some observers urge, is a new copyright that recognizes a middle ground between all rights and no rights to a work of art.
In court, the big music and film companies "can win every single case, but they can’t put the genie back in the bottle because people have discovered that they have the tools of participation," says Andrew Zolli, founder of Z + Partines Company. (83) What the Internet has done is wrest away from a few producers the ability to sell scarce goods to a large group of consumers through expensive and highly controlled channels, he adds, such as when three commercial networks controlled what TV viewers saw in the 1960s. (84) Now everyone with access to a computer has the tools to produce as much media products as--if not more than--they consume.
(85) Indeed, the Internet hasn’t only made copying easy, it also has helped foster a culture in which some artists create new work by literally reusing or remixing the work of others. Hip-hop music, built on the idea of "sampling" the beats or sounds of earlier music, is the most obvious of several examples. "The very works that we seek to copyright are built from found objects of other cultural products," Mr. Zolli says.

答案：对于所有“知识产权”——文本、软件、音乐、影像等——的创作者来说，因特网正在对其内容的归属及其使用方式等方面提出挑战。(...

问答题

Section A
Translate the underlined sentences in the following passage into Chinese. Remember to write the answers on the answer sheet.
You might have to go back to the initial epoch printing press to find a publishing technology as disruptive. The Interact can reproduce content and distribute it almost anywhere at nearly light speed. You can call it the perfect copying machining--with an out tray to everyone.
And that’s the trouble. (81) For any creator of" "intellectual property"--text, software, music, video, and so on--the Internet is challenging the fundamental notion of who owns the content and how it can be used. This week, the issue reached the United States Supreme Court in a case that may go a long way toward deciding what rights creators have. The issue isn’t clear cut.
(82) Protect the creators too much and it may inhibit technological progress and chill artistic expression, some argue. Others say the technology and culture of sharing electronic files has made the philosophy of "all rights reserved" outdated. What’s needed, some observers urge, is a new copyright that recognizes a middle ground between all rights and no rights to a work of art.
In court, the big music and film companies "can win every single case, but they can’t put the genie back in the bottle because people have discovered that they have the tools of participation," says Andrew Zolli, founder of Z + Partines Company. (83) What the Internet has done is wrest away from a few producers the ability to sell scarce goods to a large group of consumers through expensive and highly controlled channels, he adds, such as when three commercial networks controlled what TV viewers saw in the 1960s. (84) Now everyone with access to a computer has the tools to produce as much media products as--if not more than--they consume.
(85) Indeed, the Internet hasn’t only made copying easy, it also has helped foster a culture in which some artists create new work by literally reusing or remixing the work of others. Hip-hop music, built on the idea of "sampling" the beats or sounds of earlier music, is the most obvious of several examples. "The very works that we seek to copyright are built from found objects of other cultural products," Mr. Zolli says.

问答题

Section A
Translate the underlined sentences in the following passage into Chinese. Remember to write the answers on the answer sheet.
You might have to go back to the initial epoch printing press to find a publishing technology as disruptive. The Interact can reproduce content and distribute it almost anywhere at nearly light speed. You can call it the perfect copying machining--with an out tray to everyone.
And that’s the trouble. (81) For any creator of" "intellectual property"--text, software, music, video, and so on--the Internet is challenging the fundamental notion of who owns the content and how it can be used. This week, the issue reached the United States Supreme Court in a case that may go a long way toward deciding what rights creators have. The issue isn’t clear cut.
(82) Protect the creators too much and it may inhibit technological progress and chill artistic expression, some argue. Others say the technology and culture of sharing electronic files has made the philosophy of "all rights reserved" outdated. What’s needed, some observers urge, is a new copyright that recognizes a middle ground between all rights and no rights to a work of art.
In court, the big music and film companies "can win every single case, but they can’t put the genie back in the bottle because people have discovered that they have the tools of participation," says Andrew Zolli, founder of Z + Partines Company. (83) What the Internet has done is wrest away from a few producers the ability to sell scarce goods to a large group of consumers through expensive and highly controlled channels, he adds, such as when three commercial networks controlled what TV viewers saw in the 1960s. (84) Now everyone with access to a computer has the tools to produce as much media products as--if not more than--they consume.
(85) Indeed, the Internet hasn’t only made copying easy, it also has helped foster a culture in which some artists create new work by literally reusing or remixing the work of others. Hip-hop music, built on the idea of "sampling" the beats or sounds of earlier music, is the most obvious of several examples. "The very works that we seek to copyright are built from found objects of other cultural products," Mr. Zolli says.

答案：他还说，一些生产者曾经可以通过昂贵且高度控制的渠道向大批消费者销售稀缺的商品，例如，二十世纪六十年代商业电视网就控制了电...

问答题

Section A
Translate the underlined sentences in the following passage into Chinese. Remember to write the answers on the answer sheet.
You might have to go back to the initial epoch printing press to find a publishing technology as disruptive. The Interact can reproduce content and distribute it almost anywhere at nearly light speed. You can call it the perfect copying machining--with an out tray to everyone.
And that’s the trouble. (81) For any creator of" "intellectual property"--text, software, music, video, and so on--the Internet is challenging the fundamental notion of who owns the content and how it can be used. This week, the issue reached the United States Supreme Court in a case that may go a long way toward deciding what rights creators have. The issue isn’t clear cut.
(82) Protect the creators too much and it may inhibit technological progress and chill artistic expression, some argue. Others say the technology and culture of sharing electronic files has made the philosophy of "all rights reserved" outdated. What’s needed, some observers urge, is a new copyright that recognizes a middle ground between all rights and no rights to a work of art.
In court, the big music and film companies "can win every single case, but they can’t put the genie back in the bottle because people have discovered that they have the tools of participation," says Andrew Zolli, founder of Z + Partines Company. (83) What the Internet has done is wrest away from a few producers the ability to sell scarce goods to a large group of consumers through expensive and highly controlled channels, he adds, such as when three commercial networks controlled what TV viewers saw in the 1960s. (84) Now everyone with access to a computer has the tools to produce as much media products as--if not more than--they consume.
(85) Indeed, the Internet hasn’t only made copying easy, it also has helped foster a culture in which some artists create new work by literally reusing or remixing the work of others. Hip-hop music, built on the idea of "sampling" the beats or sounds of earlier music, is the most obvious of several examples. "The very works that we seek to copyright are built from found objects of other cultural products," Mr. Zolli says.

答案：如今，每一个使用电脑的人都能够做到，要消费多少就能制造出多少媒体产品，甚至还能生产更多。(本句由于加入破折号显得有些繁琐...

问答题

Section A
Translate the underlined sentences in the following passage into Chinese. Remember to write the answers on the answer sheet.
You might have to go back to the initial epoch printing press to find a publishing technology as disruptive. The Interact can reproduce content and distribute it almost anywhere at nearly light speed. You can call it the perfect copying machining--with an out tray to everyone.
And that’s the trouble. (81) For any creator of" "intellectual property"--text, software, music, video, and so on--the Internet is challenging the fundamental notion of who owns the content and how it can be used. This week, the issue reached the United States Supreme Court in a case that may go a long way toward deciding what rights creators have. The issue isn’t clear cut.
(82) Protect the creators too much and it may inhibit technological progress and chill artistic expression, some argue. Others say the technology and culture of sharing electronic files has made the philosophy of "all rights reserved" outdated. What’s needed, some observers urge, is a new copyright that recognizes a middle ground between all rights and no rights to a work of art.
In court, the big music and film companies "can win every single case, but they can’t put the genie back in the bottle because people have discovered that they have the tools of participation," says Andrew Zolli, founder of Z + Partines Company. (83) What the Internet has done is wrest away from a few producers the ability to sell scarce goods to a large group of consumers through expensive and highly controlled channels, he adds, such as when three commercial networks controlled what TV viewers saw in the 1960s. (84) Now everyone with access to a computer has the tools to produce as much media products as--if not more than--they consume.
(85) Indeed, the Internet hasn’t only made copying easy, it also has helped foster a culture in which some artists create new work by literally reusing or remixing the work of others. Hip-hop music, built on the idea of "sampling" the beats or sounds of earlier music, is the most obvious of several examples. "The very works that we seek to copyright are built from found objects of other cultural products," Mr. Zolli says.

答案：事实上，互联网不仅使复制变得容易，还推动发展了一种文化。这种文化实际上就是一些艺术家通过对别人的作品进行再利用、再融合...

问答题

Section A
Translate the underlined sentences in the following passage into Chinese. Remember to write the answers on the answer sheet.
You might have to go back to the initial epoch printing press to find a publishing technology as disruptive. The Interact can reproduce content and distribute it almost anywhere at nearly light speed. You can call it the perfect copying machining--with an out tray to everyone.
And that’s the trouble. (81) For any creator of" "intellectual property"--text, software, music, video, and so on--the Internet is challenging the fundamental notion of who owns the content and how it can be used. This week, the issue reached the United States Supreme Court in a case that may go a long way toward deciding what rights creators have. The issue isn’t clear cut.
(82) Protect the creators too much and it may inhibit technological progress and chill artistic expression, some argue. Others say the technology and culture of sharing electronic files has made the philosophy of "all rights reserved" outdated. What’s needed, some observers urge, is a new copyright that recognizes a middle ground between all rights and no rights to a work of art.
In court, the big music and film companies "can win every single case, but they can’t put the genie back in the bottle because people have discovered that they have the tools of participation," says Andrew Zolli, founder of Z + Partines Company. (83) What the Internet has done is wrest away from a few producers the ability to sell scarce goods to a large group of consumers through expensive and highly controlled channels, he adds, such as when three commercial networks controlled what TV viewers saw in the 1960s. (84) Now everyone with access to a computer has the tools to produce as much media products as--if not more than--they consume.
(85) Indeed, the Internet hasn’t only made copying easy, it also has helped foster a culture in which some artists create new work by literally reusing or remixing the work of others. Hip-hop music, built on the idea of "sampling" the beats or sounds of earlier music, is the most obvious of several examples. "The very works that we seek to copyright are built from found objects of other cultural products," Mr. Zolli says.

问答题

Section A
Translate the underlined sentences in the following passage into Chinese. Remember to write the answers on the answer sheet.
You might have to go back to the initial epoch printing press to find a publishing technology as disruptive. The Interact can reproduce content and distribute it almost anywhere at nearly light speed. You can call it the perfect copying machining--with an out tray to everyone.
And that’s the trouble. (81) For any creator of" "intellectual property"--text, software, music, video, and so on--the Internet is challenging the fundamental notion of who owns the content and how it can be used. This week, the issue reached the United States Supreme Court in a case that may go a long way toward deciding what rights creators have. The issue isn’t clear cut.
(82) Protect the creators too much and it may inhibit technological progress and chill artistic expression, some argue. Others say the technology and culture of sharing electronic files has made the philosophy of "all rights reserved" outdated. What’s needed, some observers urge, is a new copyright that recognizes a middle ground between all rights and no rights to a work of art.
In court, the big music and film companies "can win every single case, but they can’t put the genie back in the bottle because people have discovered that they have the tools of participation," says Andrew Zolli, founder of Z + Partines Company. (83) What the Internet has done is wrest away from a few producers the ability to sell scarce goods to a large group of consumers through expensive and highly controlled channels, he adds, such as when three commercial networks controlled what TV viewers saw in the 1960s. (84) Now everyone with access to a computer has the tools to produce as much media products as--if not more than--they consume.
(85) Indeed, the Internet hasn’t only made copying easy, it also has helped foster a culture in which some artists create new work by literally reusing or remixing the work of others. Hip-hop music, built on the idea of "sampling" the beats or sounds of earlier music, is the most obvious of several examples. "The very works that we seek to copyright are built from found objects of other cultural products," Mr. Zolli says.

问答题

Section A
Translate the underlined sentences in the following passage into Chinese. Remember to write the answers on the answer sheet.
You might have to go back to the initial epoch printing press to find a publishing technology as disruptive. The Interact can reproduce content and distribute it almost anywhere at nearly light speed. You can call it the perfect copying machining--with an out tray to everyone.
And that’s the trouble. (81) For any creator of" "intellectual property"--text, software, music, video, and so on--the Internet is challenging the fundamental notion of who owns the content and how it can be used. This week, the issue reached the United States Supreme Court in a case that may go a long way toward deciding what rights creators have. The issue isn’t clear cut.
(82) Protect the creators too much and it may inhibit technological progress and chill artistic expression, some argue. Others say the technology and culture of sharing electronic files has made the philosophy of "all rights reserved" outdated. What’s needed, some observers urge, is a new copyright that recognizes a middle ground between all rights and no rights to a work of art.
In court, the big music and film companies "can win every single case, but they can’t put the genie back in the bottle because people have discovered that they have the tools of participation," says Andrew Zolli, founder of Z + Partines Company. (83) What the Internet has done is wrest away from a few producers the ability to sell scarce goods to a large group of consumers through expensive and highly controlled channels, he adds, such as when three commercial networks controlled what TV viewers saw in the 1960s. (84) Now everyone with access to a computer has the tools to produce as much media products as--if not more than--they consume.
(85) Indeed, the Internet hasn’t only made copying easy, it also has helped foster a culture in which some artists create new work by literally reusing or remixing the work of others. Hip-hop music, built on the idea of "sampling" the beats or sounds of earlier music, is the most obvious of several examples. "The very works that we seek to copyright are built from found objects of other cultural products," Mr. Zolli says.

问答题

Section A
Translate the underlined sentences in the following passage into Chinese. Remember to write the answers on the answer sheet.
You might have to go back to the initial epoch printing press to find a publishing technology as disruptive. The Interact can reproduce content and distribute it almost anywhere at nearly light speed. You can call it the perfect copying machining--with an out tray to everyone.
And that’s the trouble. (81) For any creator of" "intellectual property"--text, software, music, video, and so on--the Internet is challenging the fundamental notion of who owns the content and how it can be used. This week, the issue reached the United States Supreme Court in a case that may go a long way toward deciding what rights creators have. The issue isn’t clear cut.
(82) Protect the creators too much and it may inhibit technological progress and chill artistic expression, some argue. Others say the technology and culture of sharing electronic files has made the philosophy of "all rights reserved" outdated. What’s needed, some observers urge, is a new copyright that recognizes a middle ground between all rights and no rights to a work of art.
In court, the big music and film companies "can win every single case, but they can’t put the genie back in the bottle because people have discovered that they have the tools of participation," says Andrew Zolli, founder of Z + Partines Company. (83) What the Internet has done is wrest away from a few producers the ability to sell scarce goods to a large group of consumers through expensive and highly controlled channels, he adds, such as when three commercial networks controlled what TV viewers saw in the 1960s. (84) Now everyone with access to a computer has the tools to produce as much media products as--if not more than--they consume.
(85) Indeed, the Internet hasn’t only made copying easy, it also has helped foster a culture in which some artists create new work by literally reusing or remixing the work of others. Hip-hop music, built on the idea of "sampling" the beats or sounds of earlier music, is the most obvious of several examples. "The very works that we seek to copyright are built from found objects of other cultural products," Mr. Zolli says.

问答题

Section A
Translate the underlined sentences in the following passage into Chinese. Remember to write the answers on the answer sheet.
You might have to go back to the initial epoch printing press to find a publishing technology as disruptive. The Interact can reproduce content and distribute it almost anywhere at nearly light speed. You can call it the perfect copying machining--with an out tray to everyone.
And that’s the trouble. (81) For any creator of" "intellectual property"--text, software, music, video, and so on--the Internet is challenging the fundamental notion of who owns the content and how it can be used. This week, the issue reached the United States Supreme Court in a case that may go a long way toward deciding what rights creators have. The issue isn’t clear cut.
(82) Protect the creators too much and it may inhibit technological progress and chill artistic expression, some argue. Others say the technology and culture of sharing electronic files has made the philosophy of "all rights reserved" outdated. What’s needed, some observers urge, is a new copyright that recognizes a middle ground between all rights and no rights to a work of art.
In court, the big music and film companies "can win every single case, but they can’t put the genie back in the bottle because people have discovered that they have the tools of participation," says Andrew Zolli, founder of Z + Partines Company. (83) What the Internet has done is wrest away from a few producers the ability to sell scarce goods to a large group of consumers through expensive and highly controlled channels, he adds, such as when three commercial networks controlled what TV viewers saw in the 1960s. (84) Now everyone with access to a computer has the tools to produce as much media products as--if not more than--they consume.
(85) Indeed, the Internet hasn’t only made copying easy, it also has helped foster a culture in which some artists create new work by literally reusing or remixing the work of others. Hip-hop music, built on the idea of "sampling" the beats or sounds of earlier music, is the most obvious of several examples. "The very works that we seek to copyright are built from found objects of other cultural products," Mr. Zolli says.