名人演讲视频：伟大故事的线索

时间：2014-05-17 05:29:52

（单词翻译:单击）

A tourist is backpacking through the highlands of Scotland, and he stops at a pub to get a drink. And the only people in there is a bartender and an old man nursing a beer. And he orders a pint¹, and they sit in silence for a while. And suddenly the old man turns to him and goes, "You see this bar? I built this bar with my bare hands from the finest wood in the county. Gave it more love and care than my own child. But do they call me MacGregor the bar builder? No." Points out the window. "You see that stone wall out there? I built that stone wall with my bare hands. Found every stone, placed them just so through the rain and the cold. But do they call me MacGregor the stone wall builder? No." Points out the window. "You see that pier² on the lake out there? I built that pier with my bare hands. Drove the pilings against the tide of the sand, plank³ by plank. But do they call me MacGregor the pier builder? No. But you fuck one goat ... "

　　(Laughter)

　　Storytelling -- (Laughter) is joke telling. It's knowing your punchline⁴, your ending, knowing that everything you're saying, from the first sentence to the last, is leading to a singular goal, and ideally confirming some truth that deepens our understandings of who we are as human beings. We all love stories. We're born for them. Stories affirm who we are. We all want affirmations that our lives have meaning. And nothing does a greater affirmation than when we connect through stories. It can cross the barriers of time, past, present and future, and allow us to experience the similarities between ourselves and through others, real and imagined.

　　The children's television host Mr. Rogers always carried in his wallet a quote from a social worker that said, "Frankly⁵, there isn't anyone you couldn't learn to love once you've heard their story." And the way I like to interpret that is probably the greatest story commandment, which is "Make me care" -- please, emotionally, intellectually, aesthetically⁶, just make me care. We all know what it's like to not care. You've gone through hundreds of TV channels, just switching channel after channel, and then suddenly you actually stop on one. It's already halfway⁸ over, but something's caught you and you're drawn⁹ in and you care. That's not by chance, that's by design.

　　So it got me thinking, what if I told you my history was story, how I was born for it, how I learned along the way this subject matter? And to make it more interesting, we'll start from the ending and we'll go to the beginning. And so if I were going to give you the ending of this story, it would go something like this: And that's what ultimately led me to speaking to you here at TED¹⁰ about story.

　　And the most current story lesson that I've had was completing the film I've just done this year in 2012. The film is "John Carter." It's based on a book called "The Princess of Mars," which was written by Edgar Rice Burroughs. And Edgar Rice Burroughs actually put himself as a character inside this movie, and as the narrator. And he's summoned by his rich uncle, John Carter, to his mansion¹¹ with a telegram saying, "See me at once." But once he gets there, he's found out that his uncle has mysteriously passed away and been entombed in a mausoleum on the property.

　　(Video) Butler: You won't find a keyhole. Thing only opens from the inside. He insisted, no embalming¹², no open coffin¹³, no funeral. You don't acquire the kind of wealth your uncle commanded by being like the rest of us, huh? Come, let's go inside.

　　AS: What this scene is doing, and it did in the book, is it's fundamentally making a promise. It's making a promise to you that this story will lead somewhere that's worth your time. And that's what all good stories should do at the beginning, is they should give you a promise. You could do it an infinite amount of ways. Sometimes it's as simple as "Once upon a time ... " These Carter books always had Edgar Rice Burroughs as a narrator in it. And I always thought it was such a fantastic device. It's like a guy inviting¹⁴ you around the campfire, or somebody in a bar saying, "Here, let me tell you a story. It didn't happen to me, it happened to somebody else, but it's going to be worth your time." A well told promise is like a pebble¹⁵ being pulled back in a slingshot and propels you forward through the story to the end.

In 2008, I pushed all the theories that I had on story at the time to the limits of my understanding on this project.

　　(Video) (Mechanical Sounds) ♫ And that is all ♫ ♫ that love's about ♫ ♫ And we'll recall ♫ ♫ when time runs out ♫ ♫ That it only ♫ (Laughter)

　　AS: Storytelling without dialogue. It's the purest form of cinematic storytelling. It's the most inclusive approach you can take. It confirmed something I really had a hunch¹⁶ on, is that the audience actually wants to work for their meal. They just don't want to know that they're doing that. That's your job as a storyteller, is to hide the fact that you're making them work for their meal. We're born problem solvers. We're compelled to deduce and to deduct¹⁷, because that's what we do in real life. It's this well-organized absence of information that draws us in. There's a reason that we're all attracted to an infant or a puppy. It's not just that they're damn cute; it's because they can't completely express what they're thinking and what their intentions are. And it's like a magnet. We can't stop ourselves from wanting to complete the sentence and fill it in.

　　I first started really understanding this storytelling device when I was writing with Bob Peterson on "Finding Nemo." And we would call this the unifying¹⁸ theory of two plus two. Make the audience put things together. Don't give them four, give them two plus two. The elements you provide and the order you place them in is crucial to whether you succeed or fail at engaging the audience. Editors and screenwriters have known this all along. It's the invisible application that holds our attention to story. I don't mean to make it sound like this is an actual exact science, it's not. That's what's so special about stories, they're not a widget, they aren't exact. Stories are inevitable¹⁹, if they're good, but they're not predictable.

　　I took a seminar in this year with an acting²⁰ teacher named Judith Weston. And I learned a key insight to character. She believed that all well-drawn characters have a spine²¹. And the idea is that the character has an inner motor, a dominant²², unconscious goal that they're striving for, an itch⁷ that they can't scratch. She gave a wonderful example of Michael Corleone, Al Pacino's character in "The Godfather," and that probably his spine was to please his father. And it's something that always drove all his choices. Even after his father died, he was still trying to scratch that itch. I took to this like a duck to water. Wall-E's was to find the beauty. Marlin's, the father in "Finding Nemo," was to prevent harm. And Woody's was to do what was best for his child. And these spines²³ don't always drive you to make the best choices. Sometimes you can make some horrible choices with them.

　　I'm really blessed to be a parent, and watching my children grow, I really firmly believe that you're born with a temperament²⁴ and you're wired a certain way, and you don't have any say about it, and there's no changing it. All you can do is learn to recognize it and own it. And some of us are born with temperaments²⁵ that are positive, some are negative. But a major threshold is passed when you mature enough to acknowledge what drives you and to take the wheel and steer²⁶ it. As parents, you're always learning who your children are. They're learning who they are. And you're still learning who you are. So we're all learning all the time. And that's why change is fundamental in story. If things go static, stories die, because life is never static.

　　In 1998, I had finished writing "Toy Story" and "A Bug's Life" and I was completely hooked on screenwriting. So I wanted to become much better at it and learn anything I could. So I researched everything I possibly could. And I finally came across this fantastic quote by a British playwright²⁷, William Archer²⁸: "Drama is anticipation²⁹ mingled³⁰ with uncertainty³¹." It's an incredibly insightful definition.

When you're telling a story, have you constructed anticipation? In the short-term, have you made me want to know what will happen next? But more importantly, have you made me want to know how it will all conclude in the long-term? Have you constructed honest conflicts with truth that creates doubt in what the outcome might be? An example would be in "Finding Nemo," in the short tension, you were always worried, would Dory's short-term memory make her forget whatever she was being told by Marlin. But under that was this global tension of will we ever find Nemo in this huge, vast ocean?

　　In our earliest days at Pixar, before we truly understood the invisible workings of story, we were simply a group of guys just going on our gut³², going on our instincts. And it's interesting to see how that led us places that were actually pretty good. You've got to remember that in this time of year, 1993, what was considered a successful animated³³ picture was "The Little Mermaid," "Beauty and the Beast," "Aladdin," "Lion King." So when we pitched "Toy Story" to Tom Hanks for the first time, he walked in and he said, "You don't want me to sing, do you?" And I thought that epitomized perfectly³⁴ what everybody thought animation³⁵ had to be at the time. But we really wanted to prove that you could tell stories completely different in animation.

　　We didn't have any influence then, so we had a little secret list of rules that we kept to ourselves. And they were: No songs, no "I want" moment, no happy village, no love story. And the irony³⁶ is that, in the first year, our story was not working at all and Disney was panicking. So they privately³⁷ got advice from a famous lyricist, who I won't name, and he faxed them some suggestions. And we got a hold of that fax. And the fax said, there should be songs, there should be an "I want" song, there should be a happy village song, there should be a love story and there should be a villain³⁸. And thank goodness we were just too young, rebellious³⁹ and contrarian at the time. That just gave us more determination to prove that you could build a better story. And a year after that, we did conquer it. And it just went to prove that storytelling has guidelines, not hard, fast rules.

　　Another fundamental thing we learned was about liking⁴⁰ your main character. And we had naively⁴¹ thought, well Woody in "Toy Story" has to become selfless at the end, so you've got to start from someplace. So let's make him selfish. And this is what you get.

　　(Voice Over) Woody: What do you think you're doing? Off the bed. Hey, off the bed! Mr. Potato Head: You going to make us, Woody? Woody: No, he is. Slinky? Slink ... Slinky! Get up here and do your job. Are you deaf? I said, take care of them. Slinky: I'm sorry, Woody, but I have to agree with them. I don't think what you did was right. Woody: What? Am I hearing correctly? You don't think I was right? Who said your job was to think, Spring Wiener?

　　AS: So how do you make a selfish character likable? We realized, you can make him kind, generous, funny, considerate, as long as one condition is met for him, is that he stays the top toy. And that's what it really is, is that we all live life conditionally⁴². We're all willing to play by the rules and follow things along, as long as certain conditions are met. After that, all bets are off. And before I'd even decided⁴³ to make storytelling my career, I can now see key things that happened in my youth that really sort of opened my eyes to certain things about story.

In 1986, I truly understood the notion of story having a theme. And that was the year that they restored and re-released "Lawrence of Arabia." And I saw that thing seven times in one month. I couldn't get enough of it. I could just tell there was a grand design under it -- in every shot, every scene, every line. Yet, on the surface it just seemed to be depicting⁴⁴ his historical lineage of what went on. Yet, there was something more being said. What exactly was it? And it wasn't until, on one of my later viewings, that the veil was lifted and it was in a scene where he's walked across the Sinai Desert and he's reached the Suez Canal, and I suddenly got it.

　　(Video) Boy: Hey! Hey! Hey! Hey! Cyclist: Who are you? Who are you?

　　AS: That was the theme: Who are you? Here were all these seemingly disparate events and dialogues that just were chronologically⁴⁵ telling the history of him, but underneath⁴⁶ it was a constant, a guideline, a road map. Everything Lawrence did in that movie was an attempt for him to figure out where his place was in the world. A strong theme is always running through a well-told story.

　　When I was five, I was introduced to possibly the most major ingredient that I feel a story should have, but is rarely invoked⁴⁸. And this is what my mother took me to when I was five.

　　(Video) Thumper⁴⁹: Come on. It's all right. Look. The water's stiff. Bambi: Yippee! Thumper: Some fun, huh, Bambi? Come on. Get up. Like this. Ha ha. No, no, no.

　　AS: I walked out of there wide-eyed with wonder. And that's what I think the magic ingredient is, the secret sauce, is can you invoke⁴⁷ wonder. Wonder is honest, it's completely innocent. It can't be artificially evoked⁵⁰. For me, there's no greater ability than the gift of another human being giving you that feeling -- to hold them still just for a brief moment in their day and have them surrender to wonder. When it's tapped, the affirmation of being alive, it reaches you almost to a cellular⁵¹ level. And when an artist does that to another artist, it's like you're compelled to pass it on. It's like a dormant⁵² command that suddenly is activated⁵³ in you, like a call to Devil's Tower. Do unto others what's been done to you. The best stories infuse wonder.

　　When I was four years old, I have a vivid memory of finding two pinpoint⁵⁴ scars on my ankle and asking my dad what they were. And he said I had a matching pair like that on my head, but I couldn't see them because of my hair. And he explained that when I was born, I was born premature⁵⁵, that I came out much too early, and I wasn't fully⁵⁶ baked; I was very, very sick. And when the doctor took a look at this yellow kid with black teeth, he looked straight at my mom and said, "He's not going to live." And I was in the hospital for months. And many blood transfusions⁵⁷ later, I lived, and that made me special.

　　I don't know if I really believe that. I don't know if my parents really believe that, but I didn't want to prove them wrong. Whatever I ended up being good at, I would strive to be worthy⁵⁸ of the second chance I was given.

　　(Video) (Crying) Marlin: There, there, there. It's okay, daddy's here. Daddy's got you. I promise, I will never let anything happen to you, Nemo.

　　AS: And that's the first story lesson I ever learned. Use what you know. Draw from it. It doesn't always mean plot or fact. It means capturing a truth from your experiencing it, expressing values you personally feel deep down in your core. And that's what ultimately led me to speaking to you here at TEDTalk today.

　　Thank you.

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收听单词发音

1 pint
n.品脱
参考例句：
I'll have a pint of beer and a packet of crisps, please.我要一品脱啤酒和一袋炸马铃薯片。 In the old days you could get a pint of beer for a shilling.从前，花一先令就可以买到一品脱啤酒。

2 pier
n.码头；桥墩，桥柱；[建]窗间壁，支柱
参考例句：
The pier of the bridge has been so badly damaged that experts worry it is unable to bear weight.这座桥的桥桩破损厉害，专家担心它已不能负重。 The ship was making towards the pier.船正驶向码头。

3 plank
n.板条，木板，政策要点，政纲条目
参考例句：
The plank was set against the wall.木板靠着墙壁。 They intend to win the next election on the plank of developing trade.他们想以发展贸易的纲领来赢得下次选举。

4 punchline
n.（笑话、故事等的）结尾警语，点睛之笔
参考例句：
Even then,the magical pause can strengthen the punchline.即使这样，有魔力的停顿依然可以增强笑点。 A good joke or a mystery novel has along wind up to the final punchline.好的笑话或神秘小说都是一路曲折，直至最后的笑料或真相。

5 frankly
adv.坦白地，直率地；坦率地说
参考例句：
To speak frankly, I don't like the idea at all.老实说，我一点也不赞成这个主意。 Frankly speaking, I'm not opposed to reform.坦率地说，我不反对改革。

6 aesthetically
adv.美地，艺术地
参考例句：
Segmental construction contributes toward aesthetically pleasing structures in many different sites. 对于许多不同的现场条件，分段施工都能提供美观，颇有魄力的桥型结构。 All isolation techniques may be aesthetically unacceptable or even dirty. 所有的隔离方法都有可能在美观方面使人难以接受，或甚至是肮脏的。

7 itch
n.痒，渴望，疥癣；vi.发痒，渴望
参考例句：
Shylock has an itch for money.夏洛克渴望发财。 He had an itch on his back.他背部发痒。

8 halfway
adj.中途的，不彻底的，部分的；adv.半路地，在中途，在半途
参考例句：
We had got only halfway when it began to get dark.走到半路，天就黑了。 In study the worst danger is give up halfway.在学习上，最忌讳的是有始无终。

9 drawn
v.拖，拉，拔出；adj.憔悴的，紧张的
参考例句：
All the characters in the story are drawn from life.故事中的所有人物都取材于生活。 Her gaze was drawn irresistibly to the scene outside.她的目光禁不住被外面的风景所吸引。

10 ted
vt.翻晒，撒，撒开
参考例句：
The invaders gut ted the village.侵略者把村中财物洗劫一空。 She often teds the corn when it's sunny.天好的时候她就翻晒玉米。

11 mansion
n.大厦，大楼；宅第
参考例句：
The old mansion was built in 1850.这座古宅建于1850年。 The mansion has extensive grounds.这大厦四周的庭园广阔。

12 embalming
v.保存（尸体）不腐( embalm的现在分词 )；使不被遗忘；使充满香气
参考例句：
The corpse was preserved from decay by embalming. 尸体用香料涂抹以防腐烂。来自《简明英汉词典》 They were experts at preserving the bodies of the dead by embalming them with special lotions. 他们具有采用特种药物洗剂防止尸体腐烂的专门知识。来自辞典例句

13 coffin
n.棺材，灵柩
参考例句：
When one's coffin is covered,all discussion about him can be settled.盖棺论定。 The coffin was placed in the grave.那口棺材已安放到坟墓里去了。

14 inviting
adj.诱人的，引人注目的
参考例句：
An inviting smell of coffee wafted into the room.一股诱人的咖啡香味飘进了房间。 The kitchen smelled warm and inviting and blessedly familiar.这间厨房的味道温暖诱人，使人感到亲切温馨。

15 pebble
n.卵石，小圆石
参考例句：
The bird mistook the pebble for egg and tried to hatch it.这只鸟错把卵石当蛋，想去孵它。 The pebble made a ripple on the surface of the lake.石子在湖面上激起一个涟漪。

16 hunch
n.预感，直觉
参考例句：
I have a hunch that he didn't really want to go.我有这么一种感觉，他并不真正想去。 I had a hunch that Susan and I would work well together.我有预感和苏珊共事会很融洽。

17 deduct
vt.扣除，减去
参考例句：
You can deduct the twenty - five cents out of my allowance.你可在我的零用钱里扣去二角五分钱。 On condition of your signing this contract,I will deduct a percentage.如果你在这份合同上签字，我就会给你减免一个百分比。

18 unifying
使联合( unify的现在分词 )；使相同；使一致；统一
参考例句：
In addition, there were certain religious bonds of a unifying kind. 此外，他们还有某种具有一种统一性质的宗教上的结合。 There is a unifying theme, and that is the theme of information flow within biological systems. 我们可以用一个总的命题，把生物学系统内的信息流来作为这一研究主题。

19 inevitable
adj.不可避免的，必然发生的
参考例句：
Mary was wearing her inevitable large hat.玛丽戴着她总是戴的那顶大帽子。 The defeat had inevitable consequences for British policy.战败对英国政策不可避免地产生了影响。

20 acting
n.演戏，行为，假装；adj.代理的，临时的，演出用的
参考例句：
Ignore her,she's just acting.别理她，她只是假装的。 During the seventies,her acting career was in eclipse.在七十年代，她的表演生涯黯然失色。

21 spine
n.脊柱，脊椎；(动植物的)刺；书脊
参考例句：
He broke his spine in a fall from a horse.他从马上跌下摔断了脊梁骨。 His spine developed a slight curve.他的脊柱有点弯曲。

22 dominant
adj.支配的，统治的；占优势的；显性的；n.主因，要素，主要的人(或物)；显性基因
参考例句：
The British were formerly dominant in India.英国人从前统治印度。 She was a dominant figure in the French film industry.她在法国电影界是个举足轻重的人物。

23 spines
n.脊柱( spine的名词复数 )；脊椎；（动植物的）刺；书脊
参考例句：
Porcupines use their spines to protect themselves. 豪猪用身上的刺毛来自卫。 The cactus has spines. 仙人掌有刺。来自《现代英汉综合大词典》

24 temperament
n.气质，性格，性情
参考例句：
The analysis of what kind of temperament you possess is vital.分析一下你有什么样的气质是十分重要的。 Success often depends on temperament.成功常常取决于一个人的性格。

25 temperaments
性格( temperament的名词复数 )；（人或动物的）气质；易冲动；（性情）暴躁
参考例句：
The two brothers have exactly opposite temperaments: one likes to be active while the other tends to be quiet and keep to himself. 他们弟兄两个脾气正好相反，一个爱动，一个好静。 For some temperaments work is a remedy for all afflictions. 对于某些人来说，工作是医治悲伤的良药。

26 steer
vt.驾驶，为…操舵；引导；vi.驾驶
参考例句：
If you push the car, I'll steer it.如果你来推车，我就来驾车。 It's no use trying to steer the boy into a course of action that suits you.想说服这孩子按你的方式行事是徒劳的。

27 playwright
n.剧作家，编写剧本的人
参考例句：
Gwyn Thomas was a famous playwright.格温·托马斯是著名的剧作家。 The playwright was slaughtered by the press.这位剧作家受到新闻界的无情批判。

28 archer
n.射手，弓箭手
参考例句：
The archer strung his bow and aimed an arrow at the target.弓箭手拉紧弓弦将箭瞄准靶子。 The archer's shot was a perfect bull's-eye.射手的那一箭正中靶心。

29 anticipation
n.预期，预料，期望
参考例句：
We waited at the station in anticipation of her arrival.我们在车站等着，期待她的到来。 The animals grew restless as if in anticipation of an earthquake.各种动物都变得焦躁不安，像是感到了地震即将发生。

30 mingled
混合，混入( mingle的过去式和过去分词 )；混进，与…交往[联系]
参考例句：
The sounds of laughter and singing mingled in the evening air. 笑声和歌声交织在夜空中。 The man and the woman mingled as everyone started to relax. 当大家开始放松的时候，这一男一女就开始交往了。

31 uncertainty
n.易变，靠不住，不确知，不确定的事物
参考例句：
Her comments will add to the uncertainty of the situation.她的批评将会使局势更加不稳定。 After six weeks of uncertainty,the strain was beginning to take its toll.6个星期的忐忑不安后，压力开始产生影响了。

32 gut
n.[pl.]胆量；内脏；adj.本能的；vt.取出内脏
参考例句：
It is not always necessary to gut the fish prior to freezing.冷冻鱼之前并不总是需要先把内脏掏空。 My immediate gut feeling was to refuse.我本能的直接反应是拒绝。

33 animated
adj.生气勃勃的，活跃的，愉快的
参考例句：
His observations gave rise to an animated and lively discussion.他的言论引起了一场气氛热烈而活跃的讨论。 We had an animated discussion over current events last evening.昨天晚上我们热烈地讨论时事。

34 perfectly
adv.完美地，无可非议地，彻底地
参考例句：
The witnesses were each perfectly certain of what they said.证人们个个对自己所说的话十分肯定。 Everything that we're doing is all perfectly above board.我们做的每件事情都是光明正大的。

35 animation
n.活泼，兴奋，卡通片／动画片的制作
参考例句：
They are full of animation as they talked about their childhood.当他们谈及童年的往事时都非常兴奋。 The animation of China made a great progress.中国的卡通片制作取得很大发展。

36 irony
n.反语，冷嘲；具有讽刺意味的事，嘲弄
参考例句：
She said to him with slight irony.她略带嘲讽地对他说。 In her voice we could sense a certain tinge of irony.从她的声音里我们可以感到某种讥讽的意味。

37 privately
adv.以私人的身份，悄悄地，私下地
参考例句：
Some ministers admit privately that unemployment could continue to rise.一些部长私下承认失业率可能继续升高。 The man privately admits that his motive is profits.那人私下承认他的动机是为了牟利。

38 villain
n.反派演员，反面人物；恶棍；问题的起因
参考例句：
He was cast as the villain in the play.他在戏里扮演反面角色。 The man who played the villain acted very well.扮演恶棍的那个男演员演得很好。

39 rebellious
adj.造反的，反抗的，难控制的
参考例句：
They will be in danger if they are rebellious.如果他们造反，他们就要发生危险。 Her reply was mild enough,but her thoughts were rebellious.她的回答虽然很温和，但她的心里十分反感。

40 liking
n.爱好；嗜好；喜欢
参考例句：
The word palate also means taste or liking.Palate这个词也有“口味”或“嗜好”的意思。 I must admit I have no liking for exaggeration.我必须承认我不喜欢夸大其词。

41 naively
adv. 天真地
参考例句：
They naively assume things can only get better. 他们天真地以为情况只会变好。 In short, Knox's proposal was ill conceived and naively made. 总而言之，诺克斯的建议考虑不周，显示幼稚。

42 conditionally
adv. 有条件地
参考例句：
We will provide necessary English training to the new employees conditionally. 公司将为员工提供必要的英语培训。 China should conditionally support and participate in the coordination. 我国对此宜持有条件支持并参与的立场。

43 decided
adj.决定了的，坚决的；明显的，明确的
参考例句：
This gave them a decided advantage over their opponents.这使他们比对手具有明显的优势。 There is a decided difference between British and Chinese way of greeting.英国人和中国人打招呼的方式有很明显的区别。

44 depicting
描绘，描画( depict的现在分词 )；描述
参考例句：
a painting depicting the Virgin and Child 一幅描绘童贞马利亚和圣子耶稣的画 The movie depicting the battles and bloodshed is bound to strike home. 这部描写战斗和流血牺牲的影片一定会取得预期效果。

45 chronologically
ad. 按年代的
参考例句：
Manuscripts show cases arranged topically not chronologically. 从原稿看案例是按专题安排的而不是按年代次序安排的。 Though the exhibition has been arranged chronologically, there are a few exceptions. 虽然展览的时间便已经安排好了，但是也有少数的例外。

46 underneath
adj.在...下面，在...底下；adv.在下面
参考例句：
Working underneath the car is always a messy job.在汽车底下工作是件脏活。 She wore a coat with a dress underneath.她穿着一件大衣，里面套着一条连衣裙。

47 invoke
v.求助于(神、法律)；恳求，乞求
参考例句：
Let us invoke the blessings of peace.让我们祈求和平之福。 I hope I'll never have to invoke this clause and lodge a claim with you.我希望我永远不会使用这个条款向你们索赔。

48 invoked
v.援引( invoke的过去式和过去分词 )；行使（权利等）；祈求救助；恳求
参考例句：
It is unlikely that libel laws will be invoked. 不大可能诉诸诽谤法。 She had invoked the law in her own defence. 她援引法律为自己辩护。来自《简明英汉词典》

49 thumper
n.击键声检测器；轰鸣器
参考例句：

50 evoked
[医]诱发的
参考例句：
The music evoked memories of her youth. 这乐曲勾起了她对青年时代的回忆。 Her face, though sad, still evoked a feeling of serenity. 她的脸色虽然悲伤，但仍使人感觉安详。

51 cellular
adj.移动的；细胞的，由细胞组成的
参考例句：
She has a cellular telephone in her car.她的汽车里有一部无线通讯电话机。 Many people use cellular materials as sensitive elements in hygrometers.很多人用蜂窝状的材料作为测量温度的传感元件。

52 dormant
adj.暂停活动的；休眠的；潜伏的
参考例句：
Many animals are in a dormant state during winter.在冬天许多动物都处于睡眠状态。 This dormant volcano suddenly fired up.这座休眠火山突然爆发了。

53 activated
adj. 激活的动词activate的过去式和过去分词
参考例句：
The canister is filled with activated charcoal.蒸气回收罐中充满了活性炭。

54 pinpoint
vt.准确地确定；用针标出…的精确位置
参考例句：
It is difficult to pinpoint when water problems of the modern age began.很难准确地指出，现代用水的问题是什么时候出现的。 I could pinpoint his precise location on a map.我能在地图上指明他的准确位置。

55 premature
adj.比预期时间早的；不成熟的，仓促的
参考例句：
It is yet premature to predict the possible outcome of the dialogue.预言这次对话可能有什么结果为时尚早。 The premature baby is doing well.那个早产的婴儿很健康。

56 fully
adv.完全地，全部地，彻底地；充分地
参考例句：
The doctor asked me to breathe in,then to breathe out fully.医生让我先吸气，然后全部呼出。 They soon became fully integrated into the local community.他们很快就完全融入了当地人的圈子。

57 transfusions
n.输血( transfusion的名词复数 )；输液；倾注；渗透
参考例句：
Still, transfusions have apparently never spread the disease, even among hemophiliacs. 还有，输血很明显从未传播过这种病，即使在血友病人之间也是如此。来自英汉非文学 - 生命科学 - 口蹄疫疯牛病 Blood transfusions are a special, limited example of tissue transplantation. 输血是一个特殊的、有限制的组织移植的例子。来自辞典例句

58 worthy
adj.(of)值得的，配得上的；有价值的
参考例句：
I did not esteem him to be worthy of trust.我认为他不值得信赖。 There occurred nothing that was worthy to be mentioned.没有值得一提的事发生。