英語聽力頻道為大家整理的英語聽力練習(xí)網(wǎng)：美國公司白領(lǐng)對辦公環(huán)境叫苦不迭，供大家參考:)
Every day, and certainly on Sunday when many newspapers produce a separate comics section, millions of Americans check out the strip called “Dilbert,” created by cartoonist Scott Adams. It satirizes worklife in white-collar offices, particularly those in which people toil in confined spaces called “cubicles.”
每一天,尤其是在周日的時候，許多報紙會為讀者奉上一個單獨的漫畫欄目,數(shù)百萬的美國人會意猶未盡的享受由漫畫家斯科特?亞當(dāng)斯創(chuàng)造的這個被稱為“呆伯特”的漫畫。它專門諷刺位于狹窄空間內(nèi),人們俗稱“一人占一坑”的辦公室白領(lǐng)階層。
Fortune magazine, which writes about the people who make, well, a fortune, once focused on average "worker bees” in the corporate world who sit inside these "modules," as they're called, separated by partitions, at built-in desks with eye-level shelves, all easily interchangeable. The movable walls are designed to give workers at least a tad of privacy.
財富雜志曾寫報道過那么多的人發(fā)跡,而這一次卻將注意力集中在當(dāng)下世界公司里的“工蜂”們，這類人坐在被稱為“獨立單元”的辦公區(qū)域。當(dāng)中內(nèi)置書桌和與眼同高的置物架輕易可互換位置。而移動墻的設(shè)計初衷是給工人們增加至少一點點隱私。
As Fortune lays out the story, Robert Propst, a young industrial designer in the Midwest state of Michigan, dreamed up the office cubicle in 1968.
財富雜志講的這個故事,羅伯特?普羅斯特，一位年輕的密歇根州中西部設(shè)計師，在1968年空想出了這種辦公室結(jié)構(gòu)，并使其變?yōu)楝F(xiàn)實。
Soon office mazes, or "cubicle farms," sprouted everywhere. It seemed like everyone below the rank of vice president soon worked in one of these office boxes, identical to the next one save for the photos of the family and dog.
很快這種辦公室迷宮,或“小室格局”將會發(fā)芽生根無處不在?？雌饋砻總€職位像副總統(tǒng)的人很快就會在這樣一間辦公室中工作，和隔壁屋子相同的設(shè)置是都有家人和狗的照片。
Today, cubicles are ridiculed - even loathed - as symbols of conformity, their inhabitants as clones and drones. Even the privacy part didn't work, as workers cannot help but overhear their colleagues' conversations and phone calls.
今天,這種辦公室布局風(fēng)格被人厭惡甚至嘲笑作為符號的統(tǒng)一,其居民是一直忍辱負(fù)重。隱私部分甚至沒辦法讓人工作,員工不得不聽同事們的對話和電話內(nèi)容。
Lots of people, including cartoonist Adams, have tried to humanize the sterile cubicle. In real life, he’s even designed what he calls the "ultimate cubicle," which would allow occupants to vary the flooring and lighting. They can even add a fish tank. But a box is still a box.
很多人,包括漫畫家亞當(dāng)斯,都試圖讓這種辦公室格局更加人性化。而在現(xiàn)實生活中,他甚至設(shè)計出一種“終極工作間”，這將允許使用者可以享受不同的地板和照明，甚至可以增加一個魚缸。但是盒子終歸是盒子，不管人們?nèi)绾窝b飾，終究也無法擺脫。
Before he died in 2000, Bob Propst, the father of the cubicle, told friends he was sorry, all his days, that he’d unleashed the idea on the world. He called his invention an act of "monolithic insanity.”
直到2000年去世前,這種辦公室格局的羅伯特?普羅斯特,告訴他的朋友自己感到很難過,在他不多的日子里,他會致力于向全世界傳達(dá)這種思想，他稱自己的發(fā)明是“整體的瘋狂。”
Every day, and certainly on Sunday when many newspapers produce a separate comics section, millions of Americans check out the strip called “Dilbert,” created by cartoonist Scott Adams. It satirizes worklife in white-collar offices, particularly those in which people toil in confined spaces called “cubicles.”
每一天,尤其是在周日的時候，許多報紙會為讀者奉上一個單獨的漫畫欄目,數(shù)百萬的美國人會意猶未盡的享受由漫畫家斯科特?亞當(dāng)斯創(chuàng)造的這個被稱為“呆伯特”的漫畫。它專門諷刺位于狹窄空間內(nèi),人們俗稱“一人占一坑”的辦公室白領(lǐng)階層。
Fortune magazine, which writes about the people who make, well, a fortune, once focused on average "worker bees” in the corporate world who sit inside these "modules," as they're called, separated by partitions, at built-in desks with eye-level shelves, all easily interchangeable. The movable walls are designed to give workers at least a tad of privacy.
財富雜志曾寫報道過那么多的人發(fā)跡,而這一次卻將注意力集中在當(dāng)下世界公司里的“工蜂”們，這類人坐在被稱為“獨立單元”的辦公區(qū)域。當(dāng)中內(nèi)置書桌和與眼同高的置物架輕易可互換位置。而移動墻的設(shè)計初衷是給工人們增加至少一點點隱私。
As Fortune lays out the story, Robert Propst, a young industrial designer in the Midwest state of Michigan, dreamed up the office cubicle in 1968.
財富雜志講的這個故事,羅伯特?普羅斯特，一位年輕的密歇根州中西部設(shè)計師，在1968年空想出了這種辦公室結(jié)構(gòu)，并使其變?yōu)楝F(xiàn)實。
Soon office mazes, or "cubicle farms," sprouted everywhere. It seemed like everyone below the rank of vice president soon worked in one of these office boxes, identical to the next one save for the photos of the family and dog.
很快這種辦公室迷宮,或“小室格局”將會發(fā)芽生根無處不在?？雌饋砻總€職位像副總統(tǒng)的人很快就會在這樣一間辦公室中工作，和隔壁屋子相同的設(shè)置是都有家人和狗的照片。
Today, cubicles are ridiculed - even loathed - as symbols of conformity, their inhabitants as clones and drones. Even the privacy part didn't work, as workers cannot help but overhear their colleagues' conversations and phone calls.
今天,這種辦公室布局風(fēng)格被人厭惡甚至嘲笑作為符號的統(tǒng)一,其居民是一直忍辱負(fù)重。隱私部分甚至沒辦法讓人工作,員工不得不聽同事們的對話和電話內(nèi)容。
Lots of people, including cartoonist Adams, have tried to humanize the sterile cubicle. In real life, he’s even designed what he calls the "ultimate cubicle," which would allow occupants to vary the flooring and lighting. They can even add a fish tank. But a box is still a box.
很多人,包括漫畫家亞當(dāng)斯,都試圖讓這種辦公室格局更加人性化。而在現(xiàn)實生活中,他甚至設(shè)計出一種“終極工作間”，這將允許使用者可以享受不同的地板和照明，甚至可以增加一個魚缸。但是盒子終歸是盒子，不管人們?nèi)绾窝b飾，終究也無法擺脫。
Before he died in 2000, Bob Propst, the father of the cubicle, told friends he was sorry, all his days, that he’d unleashed the idea on the world. He called his invention an act of "monolithic insanity.”
直到2000年去世前,這種辦公室格局的羅伯特?普羅斯特,告訴他的朋友自己感到很難過,在他不多的日子里,他會致力于向全世界傳達(dá)這種思想，他稱自己的發(fā)明是“整體的瘋狂。”