你的秋天
2017年11月，刚好怀孕4个月，刚好时间比较多，秉着不想浪费时间的心态，就参加了2017年的英文导游考试。后面通过半个多月的努力，通过了考试。考完之后，也第一时间在微博上发表了考试通过的喜讯，却得到了很多人的私信（都是想准备英文考试的朋友。）他们大多有考试的心，但是却不知道从哪里下手。有买一大堆材料的，不知道买啥材料的，不知道哪里购买的，考试范围不清的。所以秉着分享的心情，写了这边一篇文章，希望对大家准备英文考试有帮助。书籍主要买两本就行。书本找当地旅游局，旅游培训中心都可以购买的到。第一本为导游词做准备，里面有各个省的主要景点导游词。以福建省为例，书籍《福建省主要旅游景点英文导游词》第二本，为现场在200道题中抽4道题做准备。书籍《导游服务能力》这本书的第二部分。这本身全国通用，不过200道题，题目答案都是中文的，你需要自己翻译！不打无准备的仗。考试之前首先要了解分数的构成，这样子我们才能有目标性的，有重点性的针对考试，进行准备。 一、英文面试的分数构成： 1：英文导游词所占比重为百分之30，占30 分。书本参考《福建省主要旅游景点英文导游词这本书籍》。考的13篇导游词，参考《导游服务能力》这本书，目录画三角形的景点，为考试的景点。 2：现场200题抽，3部分抽4道题回答，占20分。书本参考《导游服务能力——第二部分》（第一部分抽1道题5分，第二部分抽2道题10分，第3部分抽1道5分。） 3：现场翻译4道题占20分。没得准备，题目为随机，没有书本参考。（中文翻译英文2道题10分，英文翻译中文2道题10分。） 4：仪容仪表占30分。（仪容仪表不只是妆容，谈吐，更多的是全场的发挥，言语是否流畅） 了解完分数的构成大家可以确定复习的重点。建议以下： 1：200道题，着重准备第二部分，2道题占了10分。第一部分，第三部分各5分，对于专业性太强的题目可跳过，准备一些数字型，简易回答型的题目就可以。 2：13篇导游词的准备。一个城市考一个景点且两个，选择自己最熟悉那个景点做准备即可。又如龙岩跟漳州同有土楼，可把土楼选做一个重点准备的景点，讲土楼的来源，功能及特点，在加各个景点不同楼的历史就行、这样子就可以准备讲解词，应对两个城市。 3：现场翻译20分，其实也不是没有范围，基本上都在13篇导游词当中。所以导游词读的透彻点，没问题的。比如我抽到的是老君岩石像高约20英尺，厚约23英尺，宽约26英尺，席地面积66平方码。 二、导游词准备技巧 1、划定的考试范围为13篇，考试当天分为13个签。所以如果时间来不急，准备9篇即可。因为考试当天分为13个签，你随机抽5个签，准备9篇，就算你抽了4个不会的，也确保了一个你有准备。然后在五个签中，抽一个你最擅长的景点进行面试。 2、导游词头脑要有自己的框架。原则为大概介绍景区的总体情况——总体情况中屠出一个你要讲解的重点。这样分段式的，一段一段分解，有利于自己头脑的清晰。要不然进到现场会发现，场外多熟，进到面试官面前，你就能忘得多干净。 如大概介绍鼓浪屿名字的由来及有三大特点，万国建筑博物馆（为什么会有这个称呼）；钢琴之岛，音乐之乡；步行岛；——在加上你要突出的景点，比如八卦楼（地标建筑，历史故事），海天堂构、菽庄花园。 3、不要完整的记整片导游词，记重点词汇，会避免在面试的时候卡壳。如和贵楼有四奇。重点词汇就是：最大的方形土楼，沼泽地上的土楼，住址风水好，阴阳井一清一浊的现象。 三、200道题的翻译可参考第一本书的后半部分，但是书本上可能翻译的比较官方，冗长，所以建议大家，通过自己的理解形成自己的口语化回答，增强口语能力，降低考试难度。 如：地陪小张带团去鼓浪屿的途中，有一位旅游者车上突然昏厥，家人怀疑心脏病发作，作为小张，应该如何处理？它的翻译是： is a local guide with a tour group to gulangyu .one of the tour members on the bus suddenly passes out ,his family suspect it is a heart disease ,what should do in this case ? 这样子很冗长，其实重点只是，旅游者 the tour membere ——昏厥passes out ——和心脏病 heart disease .所以只需要记住重点单词。 对于回答的解决方法也是一样。不要跟着答案背，容易记不住，又没效果。记住重点单词，进行口语化回答即可。 刚刚考到导游证也没啥经验，一个下午没睡，就写了这么一篇，不知道用处大不大，但想想还是写了。希望对周边想考英文导游证的朋友有些帮助。
海上的海
英语导游词作文
一篇完整的`导游词，其结构一般包括习惯用语、概括介绍、重点讲解三个部分。那大家会用英语写一份导游词吗？下面是我为大家整理的英语导游词作文，供大家参考。
Emperor Qin Shihuang (.) had Ying as his surname and Zheng as his given name. He name to the throne of the Qin at age 13, and took the helm of the state at age of 22. By 221 ., he had annexed the six rival principalities of Qi, Chu, Yan, Han, Zhao and Wei, and established the first feudal empire in China’s history.
In the year 221 ., when he unified the whole country, Ying Zheng styled himself emperor. He named himself Shihuang Di, the first emperor in the hope that his later generations be the second, the third even the one hundredth and thousandth emperors in proper order to carry on the hereditary system. Since then, the supreme feudal rulers of China’s dynasties had continued to call themselves Huang Di, the emperor.
After he had annexed the other six states, Emperor Qin Shihuang abolished the enfeoffment system and adopted the prefecture and county system. He standardized legal codes, written language, track, currencies, weights and measures. To protect against harassment by the Hun aristocrats. Emperor Qin Shihuang ordered the Great Wall be built. All these measures played an active role in eliminating the cause of the state of separation and division and strengthening the unification of the whole country as well as promotion the development of economy and culture. They had a great and deep influence upon China’s 2,000 year old feudal society.
Emperor Qin Shihuang ordered the books of various schools burned except those of the Qin dynasty’s history and culture, divination and medicines in an attempt to push his feudal autocracy in the ideological field. As a result, China’s ancient classics had been devastated and destroy. Moreover, he once ordered 460 scholars be buried alive. Those events were later called in history“the burning of books and the burying of Confucian scholars.”
Emperor Qin Shihuang，for his own pleasure, conscribed several hundred thousand convicts and went in for large-scale construction and had over seven hundred palaces built in the Guanzhong Plain. These palaces stretched several hundred li and he sought pleasure from one palace to the other. Often nobody knew where he ranging treasures inside the tomb, were enclosed alive.
Emperor Qin Shihuang’s Mausoleum has not yet been excavated. What looks like inside could noly be known when it is opened. However, the three pits of the terra-cotta warriot excavated outside the east gate of the outer enclosure of the necropolis can make one imagine how magnificent and luxurious the structure of Emperor Qin Shihuang’s Mausoleum was.
Pit was stumbled upon in March 1974 when villagers of Xiyang Village of Yanzhai township, Lintong County, sank a well east of the mausoleum. In 1976, and 3 Pits were found 20m north of Pit respectively after the drilling survey. The terra-cotta warriors and horses are arrayed according to the Qin dynasty battle formation, symbolizing the troops keeping vigil beside the mausoleum. This discovery aroused much interest both at home and abroad. In 1975, a museum, housing the site of and covering an area of 16,300 square meters was built with the permission of the State Council. The museum was formally opened to public on , the National Day, 1979.
Pit is 230 meters long from east to west, 62m wide from north to south and 5m deep , covering a total area of 14,260 square meters. It is an earth-and-wood structure in the shape of a tunnel. There are five sloping entrances on the eastern and western sides of the pit respectively. The pit is divided into eleven corridors by ten earthen partition walls, and the floors are paved with bricks. Thick rafters were placed onto the walls (but now one can only see their remains), which were covered with mats and then fine soil and earth. The battle formation of the Qin dynasty, facing east. In the east end are arrayed three lines of terra-cotta warriors, 70 pieces in each, totaling 210 pieces. They are supposed to be the van of the formation. Immediately behind them are 38 columns of infantrymen alternating with war chariots in the corridors, each being 180m long. They are probably the main body of the formation. There is one line of warriors in the left, right and west ends respectively, facing outwards. They are probably the flanks and the rear. There are altogether 27 trial trench, it is assumed that more than 6,000 clay warriors and horses could be unearthed from Pit.
Pit sis about half the size of Pit, covering about 6,000 square meters Trail diggings show this is a composite formation of infantry, cavalry and chariot soldiers, from which roughly over 1,000 clay warriors, and 500 chariots and saddled horses could be unearthed. The 2,000-year-old wooden chariots are already rotten. But their shafts, cross yokes, and wheels, etc. left clear impressions on the earth bed. The copper parts of the chariots still remain. Each chariot is pulled by four horses which are one and half meters high and two metres long. According to textual research, these clay horses were sculptures after the breed in the area of Hexi Corridor. The horses for the cavalrymen were already saddled, but with no stirups.
Pit covers an area of 520m2 with only four horses, one chariot and 68 warriors, supposed to be the command post of the battle formation. Now, and 3 Pits have been refilled, but visitors can see some clay figures and weapons displayed in the exhibition halls in the museum that had been unearthed from these two pits. The floors of both and 2 Pits were covered with a layer of silt of 15 to 20cm thick. In these pits, one can see traces of burnt beams everywhere, some relics which were mostly broken. Analysis shows that the pits were burned down by Xiang Yu, leader of a peasant army. All of the clay warriors in the three pits held real weapons in their hands and face east, showing Emperor Qin Shihuang’s strong determination of wiping out the six states and unifying the whole country.
The height of the terra-cotta warriors varies from , the shortest, to , the tallest. They look healthy and strong and have different facial expressions. Probably they were sculpted by craftsmen according to real soldiers of the Qin dynasy. They organically combined the skills of round engraving, bas-relief and linear engraving, and utilized the six traditional folk crafts of sculpturing, such as hand-moulding, sticking, cutting, painting and so on. The clay models were then put in kilns, baked and colour-painted. As the terra-cotta figures have beeb burnt and have gone through the natural process of decay, we can’t see their original gorgeous colours. However, most of the terra-cotta figures bear the trace of the original colours, and few of them are still as bright as new. They are found to be painted by mineral dyestuffs of vermilion, bright red, pink dark green, powder green, purple, blue, orange, black and white colours.
Thousands of real weapons were unearthed from these terra-cotta army pits, including broad knives, swords, spears, dagger-axes, halberds, bows, crossbows and arrowheads. These weapons were exquisitely made. Some of theme are still very sharp, analyses show that they are made of alloys of copper and tin, containing more than ten kinds of other metals. Since their surfaces were treated with chromium, they are as bright as new, though buried underground for more than 2,000 years. This indicates that Qin dynasty’s metallurgical technology and weapon-manufacturing technique already reached quite a high December 1980, two teams of large painted bronze chariots and horses were unearthed 20 metres west of the mound of Emperor Qin Shihuang’s Mausoleum. These single shaft four-horse chariots each comprises 3,462 spare parts, and has a body with two compartments, one behind the other, and an elliptical umbrella like canopy. The four horses harnessed to the chariot are 65-67 centimeters tall. The restored bronze chariots and horses are exact imitations of true chariot, horse and driver in half life-size.
The chariots and horses are decorated with coloured drawings against white background. They have been fitted with more than 1,500 piecese of gold and silvers and decorations, looking luxurious, splendid and graceful. Probably they were meant for the use of Emperor Qin Shihuang’s soul to go on inspection. The bronze chariots and horses were made by lost wax casting, which shows a high level of technology. For instance, the tortoise-shell-like canopy is about 4mm thick, and the window is only 1mm thick on which are many small holes for ventilation. According to a preliminary study, the technology of manufacturing the bronze chariots and horses has involved casting, welding, reveting, inlaying embedding and chiseling. The excavation of the bronze chariots and horses provides extremely valuable material and data for the textual research of the metallurgical technique, the mechanism of the chariot and technological modeling of the Qin dynasty.
bronze chariot and horses now on display were found broken into 1,555 pieces when excavated. After two-and-half years’ careful and painstaking restoration by archaeologists and various specialists, they were formally exhibited in the museum on October 1, 1983. bronze chariot hand horses are on display from 1988.
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