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by players and coaches. Without this technical knowledge, people are easily impressed by things extrinsic to the game or match itself; they get taken in by hype. During the event itself they often focus on things they can easily understand. They enjoy situations in which players take risks and face clear physical danger; they are attracted to players who are masters of dramatic expression or who are willing to go beyond their normal physical limits to the point of endangering their safety and well-being; and they like to see players committed to victory no matter what the personal cost.
4看来，与运动的结构和目的相比，商业化更多的是影响运动参与者的取向。若要通过一项运动盈利，就必须吸引广大观众买门票或在电视上观看比赛。吸引和娱乐广大观众并非易事，因为这些观众中有很多人没有技木性的知识，因而不懂得运动员和教练采取的复杂竞技技巧和策略。由于缺乏这些技术性知识，人们容易受到运动或赛事之外的东西的影响，容易受到天花乱坠的宜传的迷惑。在比赛期间，他们经常关注那些他们容易理解的事情。他们喜欢那种运动员冒险并明显面临身体危险的情境，他们喜爱那些善长戏剧化表现或者愿意超越正常的生理极限以致威胁到自己的安全和健康的运动员。他们喜欢看到运动员不惜代价，立志求胜。
5.For example, when people lack technical knowledge about basketball, they are more likely to talk about a single slam dunks than
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about the consistently flawless defense that enabled a team to win a game .Similarly, those who know little about the technical aspects of ice skating are more entertained by triple and quadruple jumps than by routines carefully choreographed and practiced until they are smooth and flawless. Without dangerous jumps, naive spectators get bored. They like athletes who project exciting or controversial personas ,and they often rate performances in terms of dramatic expression leading to dramatic results. They want to see athletes occasionally collapse as they surpass physical limits, not athletes who know their limits so well they can successfully compete for years without going beyond them.
5比如，当人们缺乏篮球方面的技术知识时，他们更津津乐道于某一个灌篮，而不会关注球队取胜必需的因素:自始至终配合得天衣无缝的后防。同样，那些对滑冰技术知之甚少的人，他们更感兴趣的是三连跳或四连跳，而不是那些精心设计并训练直至流畅、完美的舞步。没有惊险的跳跃，无知的观众会感到厌倦。他们喜欢那些表现得激动人心或有争议性的运动员。他们往往根据戏剧化的表现是否导致戏剧化的结果来评价比赛。他们想看运动员在超越自己极限时偶尔的突然失败，而不是多年来稳操胜券，熟知自己极限而不去超越它的运动员。
6.When a sport comes to depend on entertaining a mass audience, those involved in the sport often revise their ideas about what is important in sport. This revision usually involves a shift in emphasis from what
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might be called an aesthetic orientation to a heroic orientation. In fact, the people in sport may even refer to games or matches as \they may refer to themselves as entertainers as well as athletes. This does not mean that aesthetic orientations disappear, but it does mean that they often take a back seat to the heroic actions that entertain spectators who don't know enough to appreciate the strategic and technical aspects of the game or match.
6当一项体育运动变得依赖于娱乐广大观众时，对于运动什么才是重要的，运动参与者们往往会改变观念。这一改变常常意味着重心从所谓的美学取向向英雄主义取向转变。其实，运动员可能甚至把运动或比赛称为“表演秀”，并把自己称作表演者兼运动员。这并不意味着美学取向不复存在了，但是这却是意味着与英雄主义行为相比，它们常常退居其后。英雄主义行为吸引着那些没有足够的知识欣赏运动或比赛的策略和技术的观众。
7.As the need to please naive audiences becomes greater, so does the emphasis on heroic orientations. This is why television commentators for US football games continually talk about danger, injuries, playing with pain, and courage. Some athletes, however, realize the dangers associated with heroic orientations and try to slow the move away from aesthetic orientations in their sports. For example, some former figure skaters have called for restrictions on the number of triple jumps that can be included
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in skating programs. These skaters are worried that the commercial success of their sport is coming to rely on the danger of movement rather than the beauty of movement. However, some skaters seem to be willing to adopt heroic orientations if this is what will please audiences and generate revenues. These athletes usually evaluate themselves and other athletes in terms of the sport ethic, and they learn to see heroic actions signs of true commitment and dedication to their sport.
7取悦无知观众的需求越强烈，就越会强调英雄主义取向。这就是为什么美国橄榄球比赛的电视评论员喋喋不休地谈论危险、受伤、带伤比赛和胆量。不过，有些运动员意识到了与英雄主义取向随之而来的危险，并试图在他们的运动中放慢偏离美学取向的步伐。比如，一些前花样滑冰运动员已经呼吁限制滑冰项目中三连跳的数量。这些滑冰运动员担心，他们的体育项目在商业上的成功正越来越依赖于动作的危险性，而不是动作的美感。然而，另外一些滑冰运动员似乎愿意采取英雄主义取向，只要这样能取悦观众，获得收入。这些运动员用体育道德规范去评价自己和他人，他们还学会把英雄主义行为看成是真正地投入及为运动献身的标志。
8 Commercialization also leads to changes in the organizations that control sports. When sports begin to depend on generating revenues, the control of sport organizations usually shifts further and further away from the players. In fact, the players often lose effective control over the
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conditions of their own participation in the sport. These conditions come under the control of general managers，team owners，corporate sponsors, advertisers, media personnel, marketing and publicity staff, professional management staff, accountants, and agents.
8商业化同样会导致那些控制体育的组织发生变化。当体育开始依赖于创造收入时，体育组织的控制权就会离运动员越来越远。事实上，运动员常常对于自身的体育参与环境失去有效控制。这些环境越来越受控于下列人员:总经理、运动队老板、企业赞助商、广告商、传媒人员、营销和宜传推广人员、专业管理人员、会计师以及经纪人。
9..The organizations that control commercial sports are usually complex, since they are intended to coordinate the interests of all these people, but their primary goal is to maximize revenues. This means that organizational decisions generally reflect the combined economic interests of many people having no direct personal connection with a sport or with the athletes involved. The power to affect these decisions is grounded in a variety of resources, many of which are not even connected with sports. Therefore athletes in many commercial sports find themselves cut out of decision-making processes even when decisions affect their health and well-being.
9那些控制商业体育的组织通常非常复杂，这是因为它们企图协调上述所有人的利益，但它们的首要目标还是盈利最大化。这意味着组
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