科幻小说震撼语录英文小说
1. 求200词左右的英文科幻小说
我自己写得哦~~~(感觉不是很好,有什么错误麻烦告诉我哦~)
Science fiction story
AD 3,000
A group of scientists(including me) went to the bottom of the sea,some aliens are living there,they may cause a world war because they can take control of water.This time,we want to talk with them.
With the help of the sea-spaceship,we got the destination easily.To my surprise,this is a wonderful undersea world,beautiful fishes,and green coral reef which can make people feel great.
We didn't forget why we came here,but we saw no alien.Suddenly a huge screen was presented before us.It was playing a tsunami around India,and some wars around the world.Yes,this is our true life,I realized something,and turned around,a alien was looking us.Then,it began to say,"Human beings,you've made a lot trouble to the
earth,e.g. The wars,the pollution,the experiment,etc.Now,we use the water to give you a tsunami,this is only a lesson for you.If you do this continuously,you will be punished!"
We were back to the ground,everything seemed peaceful,we knew what we should do.
2. Frankenstein的英文小说里的经典语句或段落
1、Nothing contributes so much to tranquillize the mind as a steady purpose--a point on which the soul may fix its intellectual eye.
翻译：没有什么比一个稳定的目标更能使人平静下来——一个灵魂可以用理智的眼光注视的点。
2、We are unfashioned creatures, but half made up.
翻译：我们是未受惊吓的生物，但有一半是虚构的。
3、You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been.
翻译：你寻求知识和智慧，就像我曾经做的那样；我热切地希望，你的愿望得到满足，而不是像我的愿望那样，像毒蛇一样刺痛你。
小说的特点
1、价值性
小说的价值本质是以时间为序列、以某一人物或几个人物为主线的，非常详细地、全面地反映社会生活中各种角色的价值关系（政治关系、经济关系和文化关系）的产生、发展与消亡过程。非常细致地、综合地展示各种价值关系的相互作用。
2、容量性
与其他文学样式相比，小说的容量较大，它可以细致地展现人物性格和人物命运，可以表现错综复杂的矛盾冲突，同时还可以描述人物所处的社会生活环境。优势是可以提供整体的、广阔的社会生活。
3. 科幻小说震撼语录有什么
1、意大利南部的天空一片蔚蓝，我坐在阴凉的葡萄藤下写作，忽然惊讶地意识到，我参与卡沃尔先生的奇妙探险，实在非常意外，就算不是我，也会是其他人。——赫伯特·乔治·威尔斯《最早登上月球的人》
2、第一颗陨星在夜里降落了。清晨时分，人们看见陨星划过温彻斯特市向东坠落，在大气上空划出一道火光。看见的人应该有数百，但都以为是普通的流星。——赫伯特·乔治·威尔斯《世界大战》
3、专业人员一副老死不相往来的样子，捂紧口袋总怕被别人偷走些什么；情报人员则异常活跃友好，总想偷到些什么。
4、爱是没错的，一个人不可能毁灭一个世界，如果这个世界毁灭了，那是所有人，包括活着的和逝去的，共同努力的结果。
5、碑是那么小，与其说是为了纪念，更像是为了忘却。
6、过去就像攥在手中的一把干沙，自以为攥得很紧，其实早就从指缝中流光了。
7、他迷迷糊糊地做起了梦，他这辈子不朽的美梦。虽然肯普不停地打探，埃迪也细细查问过，但世上除了店主，再没有人知道书在这里。除了隐形的秘密，书里还写了十几个奇怪的秘密。只要他还活着，就没有人会知道。——赫伯特·乔治·威尔斯《隐形人》
4. 求一本英文科幻小说的名字
1.《白色魔力》[美] 劳莉·菲利亚·斯道勒兹
2.《地球杀场》[美] L·罗恩·哈伯德
3.《地球使命：入侵者计划》[美] L·罗恩·哈伯德
4.《计算中的上帝》[加] 罗伯特·J·索耶
5.《蓝色噩梦》[美] 劳莉·菲利亚·斯道勒兹
6.《绿色天使》[美] 爱丽丝·霍夫曼
7.《罗伯特·海因来因短篇小说集》
8.《美丽新世界》[法] 阿道斯·赫胥黎
9.《人格裂变的姑娘》[美] F·R·施赖勃
10.《日本沉没》[日] 小松左京
11.《宇宙漂流记》[日] 小松左京
12.《星船伞兵》[美] 罗伯特·海因莱因
13.《邪魔女巫》[美] 杰弗里·亨廷顿
5. Reading | 科幻作家刘慈欣的英文演讲（克拉克-想象力服务社会奖）
2018年，美国华盛顿当地时间11月8日晚，著名科幻小说家及《三体》作者刘慈欣被授予克拉克想象力服务社会奖（Clarke Award for Imagination in Service to Society）。
中英双语演讲稿：
Ladies and Gentleman,
女士们，先生们：
Good evening!
晚上好!
It’s my great honor to receive the Clarke Award for Imagination in Service to Society. Thank you.
很荣幸获得克拉克想象力服务社会奖。
This award is a reward for imagination. Imagination is a capability that should have exclusive belonged to God but we, as human beings, luckily have this too. It is far beyond our imagination to grasp the meaning of the existence of imagination. A historian used to say that the main reason why human beings have been able to surpass other species on earth and to build civilizations is that we are able to create something in our heads that does not exist in reality. In the future, when artificial intelligence becomes smarter than us, imagination may be the only advantage we have over AI.
这个奖项是对想象力的奖励，而想象力是人类所拥有的一种似乎只应属于神的能力，它存在的意义也远超出我们的想象。有历史学家说过，人类之所以能够超越地球上的其他物种建立文明，主要是因为他们能够在自己的大脑中创造出现实中不存在的东西。在未来，当人工智能拥有超过人类的智力时，想象力也许是我们所拥有的惟一优势。
Science fiction is a literary genre based on imagination. And the first sci-fi works that impressed me were those by Arthur C. Clarke. Together with Jules Verne and George Wells, Arthur Clarke was among the first Western modern sci-fi writers to enter China. In the early 1980s, the two novels 2001: A Space Odyssey and Rendezvous With Rama were published in my country. At that time, the Cultural Revolution just ended. While the old life and faith had collapsed, the new ones had not yet been established. Like other young people, I felt lost ring that period. These two books, for the first time, however, brought my imagination to life. My mind opened up like it has never before. I felt like a narrow stream finally embracing the sea.
科幻小说是基于想象力的文学，而最早给我留下深刻印象的是亚瑟·克拉克的作品。除了儒勒·凡尔纳(Jules Verne)和赫伯特·乔治·威尔斯(Herbert George Wells)外，克拉克的作品是最早进入中国的西方现代科幻小说。在上世纪80年代初，中国出版了他的《2001：太空漫游》和《与拉玛相会》。当时文革刚刚结束，旧的生活和信仰已经崩塌，新的还没有建立起来，我和其他年轻人一样，心中一片迷茫。这两本书第一次激活了我的想象力，思想豁然开阔许多，有小溪流进大海的感觉。
At midnight when I finished reading 2001: A Space Odyssey, I walked out of the house and stared at the starry sky. I was able to see the galaxy, thanks to the unpolluted sky of China back then. That night, I noticed that the starry sky looked nothing like before. For the first time in my life, I was awed by the magnitude and mystery of our universe, the feeling which you only get facing religion. Later on, the novel Rendezvous With Rama stunned me by showing how imagination could build a lifelike, fantastic world. It was Arthur Clarke who opened up this world of feelings to me, and who paved my way to become a sci-fi writer.
读完《2001：太空漫游》的那天深夜，我走出家门仰望星空，那时的中国的天空还没有太多的污染，能够看到银河，在我的眼中，星空与过去完全不一样了，我第一次对宇宙的宏大与神秘产生了敬畏感，这是一种宗教般的感觉。而后来读到的《与拉玛相会》，也让我惊叹想象力是如何构造出一个栩栩如生的想象世界的。正是克拉克带给我的这些感受，让我后来成为一名科幻作家。
Today, more than 30 years later, it graally dawns on me that people like me, who were born in the 1960s in China, are probably the luckiest people in human history. No generation is like us, no generation has been able to witness such tremendous changes in the world around us. The world we are living in today is completely different from that of our childhood. And such changes are taking place with even greater speed.
现在，三十多年过去了，我渐渐发现，我们这一代在上世纪60年代出生于中国的人，很可能是人类历史上最幸运的人。因为之前没有任何一代人，像我们这样目睹周围的世界发生了如此巨大的变化。我们现在生活的世界，与我们童年的世界已经完全是两个不同的世界，而这种变化还在加速发生着。
China is a highly futuristic country. It is true that the future of China may be full of challenges and risks, but never has this country been so attractive like today. This reality provides fertile soil for the growth of science fiction, and it is enjoying unprecedented attention in the country. As a Chinese sci-fi author, who was born in the 1960s, I’m the luckiest from the luckiest generation.
中国是一个充满着未来感的国度，中国的未来可能充满着挑战和危机，但从来没有像现在这样具有吸引力，这就给科幻小说提供了肥沃的土壤，使其在中国受到了空前的关注。作为一个在60年代出生在中国的科幻小说家，我则是幸运中的幸运。
I started writing sci-fi because I looked for a way to escape the ll life, and to reach out, with imagination, to the mysterious time and space that I could never truly reach. But then I realized that the world around me became more and more like science fiction, and this process is speeding up. Future is like pouring rain. It reaches us even before we have time to open the umbrella. Meanwhile, when sci-fi becomes reality, it loses all its magic, and that frustrates me. Sci-fi will soon become part of our lives. The only thing I can do, is to push my imagination further to even more distant time and space to hunt for the mysteries of sci-fi. As a sci-fi author, I think my job is to write things down before they get really boring.
我最初创作科幻小说的目的，是为了逃离平淡的生活，用想象力去接触那些我永远无法到达的神奇时空。但后来我发现，周围的世界变得越来越像科幻小说了。这种进程还在飞快地加速，未来像盛夏的大雨，在我们还不及撑开伞时就扑面而来。同时我也沮丧地发现，当科幻变为现实时，没人会感到神奇，它们很快会成为生活中的一部分。所以我只有让想象力前进到更为遥远的时间和空间中去寻找科幻的神奇，科幻小说将以越来越快的速度变成平淡生活的一部分，作为一名科幻作家，我想我们的责任就是在事情变得平淡之前把它们写出来。
This being said, the world is moving in the direction opposite to Clarke’s predictions. In 2001: A Space Odyssey, in the year of 2001, which has already passed, human beings have built magnificent cities in space, and established permanent colonies on the moon, and huge nuclear-powered spacecraft have sailed to Saturn. However, today, in 2018, the walk on the moon has become a distant memory. And the furthest reach of our manned space flights is just as long as the two-hour mileage of a high-speed train passing through my city.
但另一方面，世界却向着与克拉克的预言相反的方向发展。在《2001：太空漫游》中，在已经过去的2001年，人类已经在太空中建立起壮丽的城市，在月球上建立起永久性的殖民地，巨大的核动力飞船已经航行到土星。而在现实中的2018年，再也没有人登上月球，人类的太空中航行的最远的距离，也就是途经我所在的城市的高速列车两个小时的里程。
At the same time, information technology is developing at an unimaginable speed. The entire world is connected via the internet and people have graally lost their interest in space, as they find themselves increasingly comfortable in the space created by IT. Instead of an exploration of the real space, which is full of difficulties, people now just prefer to experiencing virtual space through VR. Just like someone said, “You promised me an ocean of stars, but you actually gave me Facebook.”
与此同时，信息技术却以超乎想象的速度发展，网络覆盖了整个世界。在IT所营造的越来越舒适的安乐窝中，人们对太空渐渐失去了兴趣。相对于充满艰险的真实的太空探索，他们更愿意在VR中体验虚拟的太空。这像有一句话说的：“说好的星辰大海，你却只给了我Facebook。”
This reality is also reflected in science fiction. Arthur Clarke’s magnificent imagination about space has graally faded away. People stopped looking at starry skies. In the sci-fi works today, there are more imagination about how we live in cyber utopia or dystopia. Writers focus more on various problems we encounter in reality. The imagination of science fiction is abandoning the vastness and profoundness that Arthur Clarke once opened up, instead people are now embracing the narrowness and introversion of cyberpunk.
这样的现实也反映在科幻小说中，克拉克对太空的瑰丽想象已经渐渐远去，人们的目光从星空收回。现在的科幻小说，更多地想象人类在网络乌托邦或反乌托邦中的生活，更多地关注现实中所遇到的各种问题，科幻的想象力由克拉克的广阔和深远，变成赛博朋克的狭窄和内向。
As a sci-fi writer, I have been striving to continue Arthur Clarke’s imagination. I believe that the boundless space is still the best direction and destination for human imagination. I have always written about the magnitude and mysteries of the universe, interstellar expeditions, and the lives and civilizations happening in distant worlds. This remains today, although this may seem childish or even outdated. It says on Arthur Clarke’s epitaph, “He never grew up, but he never stopped growing.”
作为科幻作家，我一直在努力延续着克拉克的想象，我相信，无垠的太空仍然是人类想象力最好的去向和归宿，我一直在描写宇宙的宏大神奇，描写星际探险，描写遥远世界中的生命和文明，尽管在现在的科幻作家中，这样会显得有些幼稚，甚至显得跟不上时代。正如克拉克的墓志铭所说：“他从未长大，但从未停止成长。”
Many people misunderstand sci-fi as trying to predict the future, but this is not true. It just makes a list of possibilities of what may happen in the future, like displaying a pile of cobblestones for people to see and play with. Science fiction can never tell which scenario of the future will actually become the real future. This is not its job. It’s also beyond its capabilities.
与人们常有的误解不同，科幻小说并不是在预测未来，它只是把未来的各种可能性排列出来，就像一堆想象力的鹅卵石，摆在那里供人们欣赏和把玩。这无数个可能的未来哪一个会成为现实，科幻小说并不能告诉我们，这不是它的任务，也超出了它的能力。
But one thing is certain: in the long run, for all these countless possible futures, any future without space travel is gloomy, no matter how prosperous our own planet becomes.
但有一点可以确定：从长远的时间尺度来看，在这无数可能的未来中，不管地球达到了怎样的繁荣，那些没有太空航行的未来都是暗淡的。
Sci-fi was writing about the age of digital information and it eventually became true. I now look forward to the time when space travel finally becomes the ordinary. By then, Mars and the asteroid belts will be boring places and countless people are building a home over there. Jupiter and its many satellites will be tourist attractions. The only obstacle preventing people from going there for good, will be the crazy price.
我期待有那么一天，像那些曾经描写过信息时代的科幻小说一样，描写太空航行的科幻小说也变得平淡无奇了，那时的火星和小行星带都是乏味的地方，有无数人在那里谋生;木星和它众多的卫星已成为旅游胜地，阻止人们去那里的唯一障碍就是昂贵的价格。
But even at that time, the universe is still unimaginably big that even our wildest imagination fails to catch its edge. And even the closest star remains out of reach. The vast ocean of stars can always carry our infinite imagination.
但即使在这个时候，宇宙仍是一个大得无法想象的存在，距我们最近的恒星仍然遥不可及。浩瀚的星空永远能够承载我们无穷的想象力。
Thank you all.
谢谢大家。
6. 求世界科幻玄幻英文原著
001Mystery of icicle [[United States] gold. Stanley. Robinson]
002 jungle greenhouse [[United States] Brian. Aldiss]
003CT radiation [[United States] Jack. Williamson]
004 Wizard of Earthsea [[United States] Ursula.勒奎恩]
005 Earth to kill the market [[United States] L. Ron. Hubbard]
006 white magic [[United States]劳莉.菲利亚. Enso leuze]
007 Earth's mission: the invaders plan [[United States] L. Ron. Hubbard]
008 God of subversion (Left Behind Part II) [[United States] Tim.莱希杰years. Jenkins]
009 antimatter spacecraft [[United States] Jack. Williamson]
The disappearance of 010 dragon [[Russia] Kiel.布雷切夫]
011 Gulliver's Travels [[British] Jonathan. Swift]
Fairmont Middle School 012 years of meteor [[United States] fee Connaught. Qi text]
Voyager 013 [Anonymous]
014 of the left hand of darkness [[United States] Ursula.勒奎恩]
015 and the sun [[United States] Jack. Williamson]
016 Princess of Mars [[United States] Edgar. Rice. Burroughs]
Dancing corpse live 017 (Frankenstein) [[British] Queen Mary. Shelley]
018 detectives skin [[Russia] Kiel.布雷切夫]
019 Calculation of God [Robert. J. Sawyer]
020 people have been destroyed [[United States] Alfred. Best]
021 happy-maker [[United States] James. Gunn]
022 blue nightmare [[United States]劳莉.菲利亚. Enso leuze]
023 prohibited Christ [[U.S.] Paul. McCusker]
024 demons Witch [[United States] Jeffrey. Huntington]
025 paratroopers starship [[United States] Robert. Heinlein]
026 mixed potential [[United States] Jack. Williamson]
027 snake stone Ⅱ - the final sacrifice [[United States] Nini.阿什莱]
028坦德莱奥the story of [[British] Ian. McDonald]
Sinking of Japan 029 [[Japan] Sakyo Komatsu]
030 Dune [[United States] Frank. Herbert]
031 near-death of the Earth [[United States] Jack. Vance]
032 stars, my destination [[United States] Alfred. Best]
033 abyss of the fire [[United States]弗诺. Wen-Qi]
Waves travel from 034 neurons [[Canada] William. Gibson]
035 Cthulhu mythology: the recovery of Cthulhu [[United States] HP Lovecraft]
036 Cthulhu mythology: the world of terrorism [[United States] Stephen. Kim]
037 chamaejasme [[United States] Frederick. Boer]
Predator 038 [[United States] William. F. Wu]
039 Green Angel [[United States] Alice. Hoffman]
040 Brave New World [[law] Ah Dawes. Huxley]
041 Robert. Heinlein collection of short stories [by Robert Klein]
042 Biscay magic ring [[United States] so. Ji LO]
The story of your life 043 [[United States] Ted. Chiang]
Time to kill 044 device [[Russia] Kiel.布雷切夫]
045 helpless [[United States] Jack. Williamson]
046 Double Star [[United States] Robert. Heinlein]
Adventure Gemini 047 [[United States] Michael. Scott]
048 Fiberhome space [[United States] Steven.莱哈德]
049 days of the fall network [[United States] Jack. Williamson]
050 very different from [[United States]弗诺. Wen-Qi]
051 crisis [[United States] James. Gunn]
053 crow cliffs [[United States] Jeffrey. Huntington]
054 natural selection [[United States] L. Ron. Hubbard]
Star 055 bridges [[United States] James. Gunn]
056 first contact [Gene.罗登贝里]
058 Frederick克波尔short fiction set in the [[United States] Frederick克波尔]
059 Harbor Fleet [[United States] Friedrich. Boer]
060 citizens of the Milky Way [[United States] Robert. Hain Ryan]
061 Ghost on the 5th [[United States] Robert. Hsieh Kerry]
062 fly Centaur [[United States] Frederick. Boer]
063 Halo 2:洪魔[[United States] William. C. Dietz]
064 Red Mars [[United States] gold. S. Robinson]
065 ring the world [[United States] Larry. Niven]
066 return [[United States] Frederick. Boer]
7. 三体经典语录句子
三体经典语录句子有旁观者清，千秋功罪，可真的有人评说了。前进，前进，不择手段的前进，
在意义之塔上，生存高于一切面对生存，任何低熵体都只能两害相权取其轻，这游戏真有趣，世界的最能理解之处就在于它是不能理解的，世界的最不能理解之处就在于它是能理解的把海弄干的鱼在海干前上了陆地从一片黑暗森林奔向另一片黑暗森林。
三体的特点
三体是刘慈欣创作的系列长篇科幻小说由三体、三体Ⅱ黑暗森林、三体Ⅲ死神永生组成，第一部于2006年5月起在科幻世界杂志上连载，第二部于2008年5月首次出版，第三部则于2010年11月出版作品讲述了地球人类文明和三体文明的信息交流、生死搏杀及两个文明在宇宙中的兴衰历程，其第一部经过刘宇昆翻译后获得了第73届雨果奖最佳长篇小说奖。
2019年9月23日该小说入选新中国70年70部长篇小说典藏，2020年4月列入教育部基础教育课程教材发展中心中小学生阅读指导目录2020年版高中段文学阅读，2020年9月1日奈飞Netflix宣布将把刘慈欣所著长篇科幻小说三体三部曲搬上荧屏拍摄英文电视剧。
威尔斯这部发表于1898年的科幻小说《世界大战》，被斯皮尔伯格搬上大荧幕。小说对外星人的外貌特征进行了直接描写，这也成了后来20世纪美国科幻小说“黄金时代”的一大特征。
9. 三体英文版书评翻译（上）
The roots of modern science fiction in China — brilliantly synopsized in
the pages of The Encyclopedia of Science Fiction — are to be found deep
in the early decades of the twentieth century, much like those of the
genre in the USA.
中国现代科幻小说的根源——在《科幻网络全书》的几页中有着精辟的概括——可以在20世纪初的几十年中找到，这与美国的科幻小说非常相似。
The mode continues to attract a large Chinese
readership, as exemplified by the existence of the magazine Science
Fiction World, the planet’s most widely read SF publication.
这种模式继续吸引着大量的中国读者，例如《科幻世界》（Science Fiction World）杂志的存在，这是全球阅读量最大的科幻小说出版物。
But of
course, with historically minimal foreign commercial and intellectual
contacts, either one-way or two-way, and shifting ideological banners,
Chinese writers and readers came to explore radically different story
spaces and themes, moods, and attitudes than their Gernsbackian
brethren.
当然，由于历史上很少有外国的商业和知识接触，无论是单向的还是双向的，以及意识形态的横幅变化，中国作家和读者开始探索与他们的格恩斯贝克兄弟截然不同的故事空间和主题、情绪和态度。
Unfortunately, e to the exclusionary rigors of the
foreign marketplace and the lack of a cadre of crack translators,
English-language readers have been generally cut off from this parallel
world.
不幸的是，由于外国市场的排他性和缺乏优秀的翻译队伍，英语读者普遍与这个平行的世界隔绝。
Even veteran American fans would be hard-pressed to cite famous
or representative works of Chinese SF, as opposed to recognizing French,
German, Japanese, or Russian authors.
即使是资深的美国粉丝也很难引用中国科幻小说的名著或代表作，而不是承认法国、德国、日本或俄罗斯的作家。
But welcome cracks in the
dam are appearing, most notably with the publication in English of The
Three-Body Problem, the first in a trilogy by Cixin Liu, ably translated
by the award-winning American SF writer Ken Liu.And given the fact
that filmmakers currently have in development five projects based on
various works by Cixin Liu, this could be a watershed moment for Chinese
SF in general.
但是大坝出现了令人欢迎的裂缝，最引人注目的是出版了《三体问题》的英文版，这是刘慈欣三部曲中的第一部，由获奖的美国科幻作家肯恩巧妙地翻译刘。还有鉴于电影制作人目前正在开发五个基于刘慈欣各种作品的项目，这可能是中国科幻小说的分水岭时刻。
The novel opens in the midst of China’s Cultural
Revolution, with a family tragedy in progress. A scientist deemed a
counter-revolutionary is denounced at a show trial by his brainwashed
wife, then murdered in front of a crowd that includes his young
daughter, Ye Wenjie.
这部小说在中国文化大革命期间开篇，一场家庭悲剧正在上演。一位被认为是反革命分子的科学家在一次展览审判中被洗脑的妻子谴责，然后在包括他的小女儿叶文杰在内的人群面前被谋杀。
It is Ye Wenjie, richly ambrated, who will occupy
much of the novel’s center. We follow her through her maturation and
her graal involvement in a secret Chinese research program at a place
called Red Coast Base.
叶文杰将占据这部小说的大部分中心位置，他受到了广泛的赞誉。我们跟踪她的成长过程，以及她在红海岸基地（Red Coast Base）秘密参与中国研究项目的过程。
The exact transcendental and dangerous nature of
this program is parceled out to the reader in measured fashion, in a
series of flashbacks interspersed throughout what we might b the
realtime narrative, set in the present. But Ye Wenjie will figure in
that contemporary telling as well, as an elderly woman, still pivotal to
events.
这个节目的确切的超越性和危险性是以有节制的方式分给读者的，在一系列的倒叙中穿插在我们可能称之为实时叙述的地方，以现在为背景。但叶文杰也将在这部当代小说中扮演重要角色，作为一位年长的女性，她仍然是事件的关键人物。
(9)科幻小说震撼语录英文小说扩展阅读
这部分内容主要考察的是状语的知识点：
句子的一个重要修饰成分，是谓语里的另一个附加成分。从情况、时间、处所、方式、条件、对象、肯定、否定、范围和程度等方面对谓语中心词进行修饰、限制。
在不同的语言中“状语”有不同的作用，中文状语是动词或形容词前面的连带成分，用来修饰、限制动词或形容词，表示动作的状态、方式、时间、处所或程度等；英语状语修饰动词、形容词、副词或整个句子；德语状语修饰动词、形容词、副词或整个句子。
状语一般由副词、介词短语、分词和分词短语、名词、不定式或相当于副词的词或短语来担当。其位置一般放在句末，但也可放在句首或句中。副词是一种用来修饰动词，形容词，副词或全句的词，说明时间，地点，程度，方式等概念。
副词一般在句子中做状语，He speaks English very well. 他英语说得非常好。其中的“very”是程度副词，用来修饰“well”。“very well”是修饰“speak”的程度状语。
10. 10本国外经典科幻小说
国外有很多科幻小说，就选几本经典的来读读吧。下面是我为你精心整理的10本国外经典科幻小说，希望你喜欢。
国外经典科幻小说第1本：《海底两万里Twenty Thousand Leagues Under The Sea》(1870)
儒勒·凡尔纳Jules Verne是科幻小说的先驱，他的这部小说问世60年后，“科幻小说”这个词才正式出现在公众 文化 中。《海底两万里》是儒勒·凡尔纳最具预见性的作品，其 中的潜艇战、水肺 潜水 甚至泰瑟枪之后都成为现实。美国建造的世界第一艘核动力潜艇的名字“鹦鹉螺号”就源自《海底两万里》。
国外经典科幻小说第2本：《震荡波骑士The Shockwave Rider》(1975)
赛博朋克小说的开山之作，比威廉·吉布森William Gibson(发表《神经漫游者Neuromancer》)还要早九年，甚至赛博朋克cyberpunk这个词也是在这部小说发表五年后才出现。虽然， 《震荡波骑士》中没有描写一个虚拟现实的华丽网络空间，但小说中的电脑黑客在全球计算机网络上释放了一个可以自我复制的程序，约翰·布鲁勒尔John Brunner把这个程序叫做“蠕虫”。1982年，施乐帕克研究中心的研究人员发现他们在分布式计算领域所作的工作和约翰·布鲁勒尔小说中的描述惊人地 相似。1988年第一个现实中的蠕虫病毒在互联网上出现并迅速扩散，感染了数千台电脑。
国外经典科幻小说第3本：《天堂的喷泉The Fountains of Paradise》(1979)
阿瑟·C·克拉克Arthur C. Clark的这本小说描写了“太空升降机”—从位于10000公里高处的地球轨道上，将一条缆索放到地面上。通过这条缆索，人们乘坐特殊的缆车或升降机进 入宇宙空间。如果这样的“太空升降机”有一天成为现实的话，其预见性可以和《海底两万里》中的鹦鹉螺号潜艇媲美了。阿瑟·C·克拉克没有发明出太空升降机 的实物，不过他进行了严谨的演算，证明太空升降机是可行的。他甚至预测出碳纤维将是制造升降机缆索的理想材料。二十年后，这一预测成为现实，NASA(美 国国家航空航天局)首次将太空升降机研究付诸行动时，碳纳米管成为核心材料。
国外经典科幻小说第4本：《赛亭星Cyteen》(1988)
C.J.切瑞C.J. Cherryh将 故事 背景设定在一个严酷的星球，那里的定居者和地球居民关系恶劣。《赛亭星》的矛盾主线是推动克隆人超越基因复制品限制的尝试。故事中科 学家通过创造类似的童年经历，试图塑造他们社会中最有价值公民的性格。切瑞通过这部作品，巧妙地探讨了先天遗传和后天环境孰重孰轻的争论。
国外经典科幻小说第5本：《火星三部曲The Mars Trilogy》(1992-1996)
作者金·斯坦利·罗宾逊Kim Stanley Robinson把故事中对火星的殖民化开始于2026年，200年后结束，那时火星的地形改造基本完成，人类迈出了走进星际空间的第一步。火星三部曲着 重描写火星殖民者的日常生活细节，并且密切关注火星的地理环境，仿佛我们中的每个人都会登上这个红色星球一样。
国外经典科幻小说第6本：《钻石年代The Diamond Age》(1995)
故事情节是一个下等民小女孩偶然间获得了一本世界上最前进的绘本启蒙书，这本书在各 种情况下一直指导小女孩的成长。尼尔·斯蒂芬森Neal Stephenson塑造这本启蒙书和小女孩生活的整个世界时，借鉴了埃里克·德雷克斯勒Eric Drexler关于分子纳米技术的一些观念，那就是微型机械过特定时间就会创造新奇迹。
国外经典科幻小说第7本：《彩虹尽头Rainbows End》(2006)
第一次读这本小说时，主要内容中远超现实的科技让读者感觉作者弗诺·文 奇Vernor Vinge把故事背景设定在2025年似乎过度乐观。“隐形眼镜”佩戴者的周围覆盖着网络上的数字信息—“网衣”。个人社交网络资料可能出现在他们的头 边，完整的景象也可能被投射到幻想的世界，在汽车或飞机上喷涂怪物或龙的图案。不过现实世界的科技发展速度远比我当时想象的迅猛。
国外经典科幻小说第8本：《炽热Incandescence》(2008)
格雷格·伊根Greg Egan把年代设定为：遥远的未来，背景：跨星系的文明—这部作品似乎无可争议地属于太空歌剧的范畴，不过格雷格·伊根之前还写过一本广义相对论和天体物 理学的启蒙小说。故事情节大多发生在工业革命前诡异的世界，文中的角色需要尽快发现某些先进的物理学原理，否则他们就会有大灾难。
国外经典科幻小说第9本：《时间机器The Time Machine》(1895)
H·G·威尔斯H.G. Wells的这本小说有点自我剽窃的意味—那台机器的操作原理似乎是直接从《顽固的亚尔古英雄The Chronic Argonauts》中搬过来的。H·G·威尔斯的这篇短篇小说出版于1888年，比《时间机器》出版时间早七年。尽管如此，《时间机器》仍是部出色的科 幻作品，因为这部小说传播了这样的理念：时光旅行可以靠科学技术手段实现，而不是像早期的穿越故事那样依赖于魔法。近几十年中物理学家们争先恐后进行理论 上时光机器的研究，就证明《时间机器》关于四维宇宙中时光旅行的描写极具预见性。
国外经典科幻小说第10本：《我，机器人I, Robot》(1950)
1941年艾萨克·阿西莫夫Isaac Asimov创造了“机械人工程学robotics”这个词。短篇小说集《我，机器人》收录了艾萨克 · 阿西莫夫最著名的作品—《机器人三定律》(机器人不得伤害人，也不得见人受到伤害而袖手旁观;机器人应服从人的一切命令，但不得违反第一定律;机器人应保 护自身的安全，但不得违反第一、第二定律)。虽然艾萨克·阿西莫夫的作品中没有过多描述机器人的“正电子大脑”如何运作，但提出了一种思路：机器的思想运 转正常，但指令冲突使其行为怪异。之后的计算机程序员对这种思路再熟悉不过，因为指令冲突时程序就会出现bug。
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