關(guān)于介紹名人的英語(yǔ)文章范文
關(guān)于介紹名人的英語(yǔ)文章范文
那些名人的存在總是不缺少描述他們偉大事跡的文章，多閱讀這些英語(yǔ)文章能有效提高我們的英語(yǔ)能力。學(xué)習(xí)啦小編今天帶來(lái)了一些介紹名人的英語(yǔ)文章，歡迎大家閱讀!
關(guān)于介紹名人的英語(yǔ)文章篇一
史蒂夫喬布斯英文簡(jiǎn)介Steve Jobs' English introduction
Nobody else in the computer industry, or any other industry for that matter, could put on a show like Steve Jobs. His product launches, at which he would stand alone on a black stage and conjure up a “magical” or “incredible” new electronic gadget in front of an awed crowd, were the performances of a master showman. All computers do is fetch and shuffle numbers, he once explained, but do it fast enough and “the results appear to be magic”. He spent his life packaging that magic into elegantly designed, easy to use products.
到目前為止，世界上還沒(méi)有哪個(gè)計(jì)算機(jī)行業(yè)或者其他任何行業(yè)的領(lǐng)袖能夠像喬布斯那樣舉辦出一場(chǎng)萬(wàn)眾矚目的盛會(huì)。在每次蘋(píng)果推出新產(chǎn)品之時(shí)，喬布斯總是會(huì)獨(dú)自站在黑色的舞臺(tái)上，向充滿敬仰之情的觀眾展示出又一款“充滿魔力”而又“不可思議”的創(chuàng)新電子產(chǎn)品來(lái)，他的發(fā)布方式充滿了表演的天賦。計(jì)算機(jī)所做的無(wú)非是計(jì)算，但是經(jīng)過(guò)他的解釋和展示，高速的計(jì)算就“仿佛擁有了無(wú)限的魔力”。喬布斯終其一生都在將他的魔力包裝到了設(shè)計(jì)精美、使用簡(jiǎn)便的產(chǎn)品當(dāng)中去。
He had been among the first, back in the 1970s, to see the potential that lay in the idea of selling computers to ordinary people. In those days of green-on-black displays, when floppy discs were still floppy, the notion that computers might soon become ubiquitous seemed fanciful. But Mr Jobs was one of a handful of pioneers who saw what was coming. Crucially, he also had an unusual knack for looking at computers from the outside, as a user, not just from the inside, as an engineer—something he attributed to the experiences of his wayward youth.
喬布斯早在20世紀(jì)70年代便已經(jīng)看到了向普通大眾出售計(jì)算機(jī)這塊業(yè)務(wù)的潛力。在當(dāng)年世界還在使用綠黑相間的屏幕、5寸軟盤的時(shí)代，讓電腦成為家家戶戶必備的設(shè)備似乎還是一個(gè)遙不可及的夢(mèng)想。但是喬布斯是少數(shù)幾位具有遠(yuǎn)見(jiàn)卓識(shí)的先驅(qū)之一。而更為重要的是，喬布斯擁有一個(gè)不尋常的本領(lǐng)，即他不僅會(huì)從工程開(kāi)發(fā)人員的角度從內(nèi)審視電腦，同時(shí)他還會(huì)從用戶的角度來(lái)從外界觀察人們對(duì)電腦的需求——他將這一本領(lǐng)歸功于他自己任性的青年時(shí)代。
Mr Jobs caught the computing bug while growing up in Silicon Valley. As a teenager in the late 1960s he cold-called his idol, Bill Hewlett, and talked his way into a summer job at Hewlett-Packard. But it was only after dropping out of college, travelling to India, becoming a Buddhist and experimenting with psychedelic drugs that Mr Jobs returned to California to co-found Apple, in his parents’ garage, on April Fools’ Day 1976. “A lot of people in our industry haven’t had very diverse experiences,” he once said. “So they don’t have enough dots to connect, and they end up with very linear solutions.” Bill Gates, he suggested, would be “a broader guy if he had dropped acid once or gone off to an ashram when he was younger”.
喬布斯從小在硅谷長(zhǎng)大，使得他從小便有機(jī)會(huì)耳濡目染到計(jì)算機(jī)的世界。在20世紀(jì)60年代末，他有幸認(rèn)識(shí)了自己心目中的偶像比爾·休利特(Bill Hewlett)，并成功地為自己獲得了到休利特創(chuàng)辦的惠普做暑期兼職的機(jī)會(huì)。此后他在讀了1年大學(xué)后輟學(xué)、前往印度、開(kāi)始篤信佛教并嘗試了迷幻藥劑，最終他選擇回到了加利福尼亞州并與好友聯(lián)合創(chuàng)辦了蘋(píng)果。他的公司于1976年的愚人節(jié)當(dāng)天在他的父母的車庫(kù)里正式開(kāi)張。他曾經(jīng)表示：“很多在我們這個(gè)行業(yè)的人都沒(méi)有過(guò)如此復(fù)雜的經(jīng)歷，因此他們沒(méi)有足夠的經(jīng)驗(yàn)來(lái)推出非線性的解決方案。”他表示比爾·蓋斯“如果在年輕的時(shí)候吸吸迷幻藥或者經(jīng)常去花天酒地一下的話，他的眼界肯定將會(huì)更加開(kāi)闊。”
Dropping out of his college course and attending calligraphy classes instead had, for example, given Mr Jobs an apparently useless love of typography. But support for a variety of fonts was to prove a key feature of the Macintosh, the pioneering mouse-driven, graphical computer that Apple launched in 1984. With its windows, icons and menus, it was sold as “the computer for the rest of us”. Having made a fortune from Apple’s initial success, Mr Jobs expected to sell “zillions” of his new machines. But the Mac was not the mass-market success Mr Jobs had hoped for, and he was ousted from Apple by its board.
例如喬布斯從大學(xué)輟學(xué)并去參加了書(shū)法班，使得喬布斯對(duì)排版產(chǎn)生了濃厚的興趣。但是他學(xué)習(xí)各種字體的目的卻是使之成為麥金塔(Macintosh)系統(tǒng)的核心賣點(diǎn)，這款由蘋(píng)果于1984年推出的電腦產(chǎn)品還具有開(kāi)拓了鼠標(biāo)驅(qū)動(dòng)、圖形優(yōu)化的特性。其中的窗口、圖標(biāo)以及菜單等用戶友好的界面和功能被外界視為一款“給大眾使用的電腦”。喬布斯在通過(guò)蘋(píng)果挖得了第一桶金子之后，便期望著通過(guò)未來(lái)新的機(jī)型獲得“數(shù)以億計(jì)”的收益。但是Mac并沒(méi)有像喬布斯的想象那樣大獲成功，而他自己也被蘋(píng)果踢出了董事會(huì)。
Yet this apparently disastrous turn of events turned out to be a blessing: “the best thing that could have ever happened to me”, Mr Jobs later called it. He co-founded a new firm, Pixar, which specialised in computer graphics, and NeXT, another computer-maker. His remarkable second act began in 1996 when Apple, having lost its way, acquired NeXT, and Mr Jobs returned to put its technology at the heart of a new range of Apple products. And the rest is history: Apple launched the iMac, the iPod, the iPhone and the iPad, and (briefly) became the world’s most valuable listed company. “I’m pretty sure none of this would have happened if I hadn’t been fired from Apple,” Mr Jobs said in 2005. When his failing health forced him to step down as Apple’s boss in 2011, he was hailed as the greatest chief executive in history. Oh, and Pixar, his side project, produced a string of hugely successful animated movies.
然而塞翁失馬焉知非福，喬布斯在多年以后談到被踢出蘋(píng)果董事會(huì)這件事情的時(shí)候表示，“這是我人生經(jīng)歷當(dāng)中最令人高興的一件事。”他在離開(kāi)蘋(píng)果后又聯(lián)合創(chuàng)辦了皮克斯動(dòng)畫(huà)公司(Pixar)，專攻電腦動(dòng)畫(huà)業(yè)務(wù);并又創(chuàng)辦了另外一家從事電腦產(chǎn)品生產(chǎn)的企業(yè)NeXT。他于蘋(píng)果在1996年陷入困境的時(shí)候再度出山，在蘋(píng)果收購(gòu)了NeXT之后再度將自己的創(chuàng)意注入到了蘋(píng)果的系列產(chǎn)品當(dāng)中。之后的歷史便成為了經(jīng)典：蘋(píng)果先后推出了iMac、iPod、iPhone以及iPad，并且很快便成為了全世界市值最高的企業(yè)之一。喬布斯在2005年表示：“我敢肯定，如果蘋(píng)果當(dāng)年沒(méi)有開(kāi)除我的話，這一切都不會(huì)發(fā)生。”直到他于2011年8月由于健康原因辭去CEO職務(wù)之前，他一直被外界視為最杰出的CEO。而皮克斯作為喬布斯的一個(gè)副業(yè)產(chǎn)品，也為大眾帶來(lái)了大量精彩的動(dòng)畫(huà)電影。
In retrospect, Mr Jobs was a man ahead of his time during his first stint at Apple. Computing’s early years were dominated by technical types. But his emphasis on design and ease of use gave him the edge later on. Elegance, simplicity and an understanding of other fields came to matter in a world in which computers are fashion items, carried by everyone, that can do almost anything. “Technology alone is not enough,” said Mr Jobs at the end of his speech introducing the iPad, in January 2010. “It’s technology married with liberal arts, married with humanities, that yields the results that make our hearts sing.” It was an unusual statement for the head of a technology firm, but it was vintage Steve Jobs.
回顧喬布斯的一生，喬布斯早在開(kāi)發(fā)出第一款蘋(píng)果電腦時(shí)便已經(jīng)遠(yuǎn)遠(yuǎn)地走在了時(shí)代的前沿。早年的計(jì)算機(jī)技術(shù)主要是強(qiáng)調(diào)技術(shù)，而喬布斯則率先關(guān)注了設(shè)計(jì)以及使用的便捷性，這也為他在后來(lái)推出產(chǎn)品的特性奠定了基礎(chǔ)。在他心目當(dāng)中，電腦應(yīng)該是一款優(yōu)雅、簡(jiǎn)潔并且可以輕松方便地用來(lái)了解世界的時(shí)尚產(chǎn)品，而大眾應(yīng)該人手一份，同時(shí)可以用它來(lái)做任何事情。喬布斯在2010年1月發(fā)布iPad時(shí)，在演說(shuō)收尾時(shí)指出：“單靠科技是遠(yuǎn)遠(yuǎn)不夠的，必需要讓科技與人文科學(xué)以及人性相結(jié)合，其成果必需能夠讓用戶產(chǎn)生共鳴。”這段臺(tái)詞對(duì)于科技業(yè)的領(lǐng)袖來(lái)說(shuō)十分不可思議，但是如果了解了喬布斯的背景的話，這也不難理解他為何會(huì)如此表述了。
His interdisciplinary approach was backed up by an obsessive attention to detail. A carpenter making a fine chest of drawers will not use plywood on the back, even though nobody will see it, he said, and he applied the same approach to his products. “For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through.” He insisted that the first Macintosh should have no internal cooling fan, so that it would be silent—putting user needs above engineering convenience. He called an Apple engineer one weekend with an urgent request: the colour of one letter of an on-screen logo on the iPhone was not quite the right shade of yellow. He often wrote or rewrote the text of Apple’s advertisements himself.
他將自己把不同行業(yè)和學(xué)科集成的思維歸功于自己關(guān)注細(xì)節(jié)。他表示，“為了讓自己能夠睡個(gè)好覺(jué)，我必須確保所有產(chǎn)品的外觀美學(xué)、設(shè)備質(zhì)量都必須一絲不茍地完成。”他在開(kāi)發(fā)第一臺(tái)麥金塔電腦的時(shí)候曾經(jīng)強(qiáng)烈要求電腦不能內(nèi)置冷卻扇，以確保電腦運(yùn)行的時(shí)候能夠足夠安靜——他將用戶的需求凌駕于了工程設(shè)計(jì)之上。他還曾經(jīng)命令一位蘋(píng)果的工程師花一個(gè)周末的時(shí)間加班解決iPhone的屏幕上一個(gè)字母的顏色不顯示精確的問(wèn)題。同時(shí)他還會(huì)經(jīng)常自己撰寫(xiě)或者修改蘋(píng)果的廣告文字。
His on-stage persona as a Zen-like mystic notwithstanding, Mr Jobs was an autocratic manager with a fierce temper. But his egomania was largely justified. He eschewed market researchers and focus groups, preferring to trust his own instincts when evaluating potential new products. “A lot of times, people don’t know what they want until you show it to them,” he said. His judgment proved uncannily accurate: by the end of his career the hits far outweighed the misses. Mr Jobs was said by an engineer in the early years of Apple to emit a “reality distortion field”, such were his powers of persuasion. But in the end he changed reality, channelling the magic of computing into products that reshaped music, telecoms and media. The man who said in his youth that he wanted to “put a ding in the universe” did just that.
喬布斯在公眾場(chǎng)合上是一個(gè)如禪宗一般神秘的人物。他是一個(gè)專制而脾氣暴躁的經(jīng)理人。但是他是有狂妄的本錢的。他在評(píng)估和開(kāi)發(fā)潛在新產(chǎn)品的時(shí)候總是拒絕使用市場(chǎng)調(diào)研以及觀察機(jī)構(gòu)，而更樂(lè)意相信他自己的直覺(jué)。他表示：“很多情況下，人們?cè)谝?jiàn)到一件新事物之前是很難說(shuō)出自己到底想要什么的。”而他的觀點(diǎn)在大多數(shù)情況下毫無(wú)疑問(wèn)是正確的：在他的職業(yè)生涯中，他的成功遠(yuǎn)遠(yuǎn)超過(guò)了失敗。一位蘋(píng)果的早期員工稱喬布斯擁有“屏蔽現(xiàn)實(shí)”的本領(lǐng)，以便追尋自己的內(nèi)心直覺(jué)，但是最終他卻能夠改變現(xiàn)實(shí)，通過(guò)魔法般的手段重塑了電腦與音樂(lè)、通訊以及媒體的關(guān)系。喬布斯在年輕的時(shí)候曾經(jīng)表示“希望能夠做出一番讓宇宙為之一震的事業(yè)。”而他也的確做到了。
關(guān)于介紹名人的英語(yǔ)文章篇二
MARILYN MONROE’S FINAL DAYS
The last few weeks of Marilyn’s life were not just a straight drug-induced run to the grave. Some days she was able to pick herself up, and Truman Capote, lunching with her early in June, was surprised to note, “There was a new maturity about her eyes. She wasn’t so giggly anymore and she had never looked better.” Marylin had two last public engagements, a photo session for Vogue and the interview with Life.
Nobody knows what it is like to have all that I have and yet not be loved or know happiness. All I ever wanted out of life is to be nice to people and have them be nice to me . It’s a fair exchange. And I’m a woman. I want to be loved by a man from his heart as I would love him from mine. I’ve tried but it simply hasn’t happened yet.
I really resent the way the press is now saying that I’m depressed and in a slump, as if I’m finished. Nothing’s going to sink me although it might be kind of a relief to be finished with moviemaking. You think you’ve made it. But you never have. There’s always another scene, another film, and you always have to start all over again…. I want to be an artist and an actress with integrity; I really don’t care about the money, I
Just want to be wonderful.
She was dead less than a week later.
Of the 300 books that have been published about Marilyn since her death, fifty are full-length accounts of only the last week in her life and the multiple, conflicting, contradictory and often downright fantastical conspiracy theories that have grown up around her demise.
One of these claims that she was killed by the Mafia because she knew too much about a possible relationship with Frank Sinatra; another that the Kennedys somehow had her killed before she could spill the beans on the brothers’ *ual antics, time and again the CIA has been cited as a possible murderer murderer because her loose-cannon *uality meant that she was altogether too directly plugged into the innermost secrets of the United States; and there are many who believe that the shadowy cares of her last weeks killed her for the contents of her jewelbox and safe. The following facts, however, are indisputable.
At about midnight on 4 August 1962, Marilyn went to her room, taking her personal telephone with her. She bade Mrs Murray goodnight and shut her door. When Marylin’s lawyer called he was told that Marilyn was in her bedroom but the light was still on. Mrs Murray says At about 2 a. m., she noticed that the light was still on and she became concerned. She knocked but could get no response and finally called the ambulance service to effect a forced entry. At 3:30 in the morning of 5 August, Marilyn was found dead, nude on her bed, one arm stretched out towards the telephone. The first coroner’s report declared that her death was due to “presumed suicide caused by an overdose of barbiturates.”
Marilyn went down like a battleship. Firing on her rescuers; it must also be admitted, though, that among those rescuers were doctors and nurses anxious to deep her totally dependent upon them and therefore inclined to allow her to abuse herself with whatever substance was available on or off prescription. The most likely cause of death, on balance and with the wisdom of almost forty years’ hindsight, seems to be that Marilyn did indeed swallow, quite possibly unintentionally in her already drugged state, the overdose of hoarded Nembutal barbiturates which rapidly killed her before she could once again rescue herself by calling either Mrs Murray or a friend by telephone.
However, this verdict does not rule out the fact that there were a large number of people who by now wanted her out of the way for one reason or another. In that sense, her suicide was one of the most welcome and well-timed acts that Marilyn ever succeeded in carrying through.
瑪麗蓮夢(mèng)露的最后時(shí)刻
瑪麗蓮生命的最后幾周不單單是由于毒品誘發(fā)走向死亡的。有些日子她還能振作一下，何況在六月初，當(dāng)杜魯門卡波特與她共進(jìn)午餐時(shí)，還驚訝地注意到，“她的眼神中有一種全新的成熟。她不再動(dòng)輒傻笑而且看上去從沒(méi)有這么完美。”瑪麗蓮有兩次最后的公開(kāi)約會(huì)，一次是參加《時(shí)尚》的拍照，一次是接受〈生活〉的采訪：
沒(méi)人知道我不愁吃穿但不為人愛(ài)、不知快樂(lè)是什么滋味。我只求在生活中能善待他人，他人也同樣善待我。我是公平交換。我是個(gè)女人，我需要被一個(gè)男人真心地去愛(ài)，同時(shí)我也會(huì)真心地愛(ài)他。我做過(guò)嘗試，但這種事壓根兒就沒(méi)有發(fā)生過(guò)。
我的確不滿媒體現(xiàn)在的說(shuō)三道四，說(shuō)我情緒低落而且生活頹廢，好像是我要完蛋了。盡管不拍電影了可能會(huì)是種解脫，但任何事情也不會(huì)使我消沉。你覺(jué)得可以不拍電影了。但你是拍不完的?？倳?huì)有另一場(chǎng)，另一部電影，而你總是要從頭開(kāi)始 。我想當(dāng)一名正直的藝術(shù)家和演員;我真的不在乎金錢，我只求美好。
不到一周后她離開(kāi)了人世。
自從瑪麗蓮去世后，出版了300部有關(guān)她的書(shū)籍，其中五十部通篇講述的僅僅是她生命最后一周的經(jīng)歷以及圍繞她的死編造出的許許多多自相矛盾的、茺唐的、卑鄙的猜測(cè)。
其中一種說(shuō)法宣稱她被黑手黨所殺，因?yàn)樗龑?duì)弗蘭克西奈特可能有的風(fēng)流韻事知之太多;另一種說(shuō)法是在她行將泄露肯尼迪弟兄們的性丑聞時(shí)，肯尼迪家族的人派人殺害了她，更有甚者有人說(shuō)中央情報(bào)局可能是殺害她的兇手，因?yàn)樗攀幍男陨钜馕吨苯佑|及到美國(guó)最深層的機(jī)密;還有許多人認(rèn)為她在最后幾周對(duì)珠寶盒及保險(xiǎn)箱中的財(cái)寶憂心忡忡有關(guān)。然而，以下是不爭(zhēng)的事實(shí)。
1962年8月4日午夜時(shí)分，瑪麗蓮拿著她的私人電話走進(jìn)房間。她向默里夫人道了晚安便關(guān)緊房門。當(dāng)瑪麗蓮的律師來(lái)電話時(shí)，他被告知瑪麗蓮呆在臥房，但燈卻亮著。默里夫人說(shuō)凌晨?jī)牲c(diǎn)她發(fā)現(xiàn)燈還亮著隨即就開(kāi)始擔(dān)心起來(lái)。她敲了敲門，但沒(méi)有回音，最后打電話給醫(yī)療救護(hù)隊(duì)才硬撞進(jìn)去。8月5日凌晨3：30，人們發(fā)現(xiàn)瑪麗蓮已死，赤裸在床上，一只胳膊朝電話方向伸著。首次驗(yàn)尸報(bào)告稱她的死是由于“過(guò)量服用鎮(zhèn)靜類藥物引起的假定性自殺。”
瑪麗蓮像一艘向營(yíng)救者開(kāi)火的戰(zhàn)艦慢慢下沉;但是，也必須承認(rèn)，在這些救援者中，醫(yī)生和護(hù)士們都希望使瑪麗蓮?fù)耆蕾囁麄?，從而傾向于讓她隨意服用處方中或處方外的任何藥物。最有可能的死因，總的說(shuō)來(lái)并憑著近四十年的事后分析，瑪麗蓮似乎的確吞食了過(guò)量的家里儲(chǔ)存的耐波他牌的鎮(zhèn)靜類藥，這很有可能是在她已吸食毒品的情況下無(wú)意之中所為，但她沒(méi)來(lái)得及打電話給默里夫人或朋友去求救，這藥就很快使她送了命。
然而，這個(gè)判斷并不能排除一個(gè)事實(shí)，即有許多人當(dāng)時(shí)出于這樣那樣的理由希望她退出歷史舞臺(tái)。在這個(gè)意義上，瑪麗蓮的自殺是她所曾完成的一種最受歡迎和合時(shí)宜的舉動(dòng)。
關(guān)于介紹名人的英語(yǔ)文章篇三
永遠(yuǎn)的奧黛麗·赫本
瘋狂英語(yǔ)精選輯 A Tribute to the Late Great Audrey Hepburn
Her stunning combination of vulnerability, sophistication, elfin beauty and indomitable spirit engaged both men and women alike. But while Audrey Hepburn's loveliness may have gotten her noticed, it was her talent that made her a legend, as well as her heart.
Audrey Hepburn was born in Brussels, Belgium, on May 4, 1929. Although she was the daughter of a Dutch baroness and a wealthy English banker, Audrey had a difficult childhood. Her parents divorced when she was young and Audrey went to live with her mother in the Netherlands. Soon after, the German army invaded Holland. During the Nazi occupation, Audrey's uncle and a cousin were executed for supporting the Resistance and her brother was placed in a labor camp. Her family faced starvation and Audrey suffered from severe anemia, and respiratory problems.
Audrey was sixteen when the occupation ended. She and her mother returned to London, where Audrey earned a ballet scholarship and began dancing in small revues, modeling, and playing bit parts in films. Her big break came when the French novelist Colette discovered her in a crowd and insisted that Hepburn be cast as Gigi in a Broadway adaptation of her novel. In spite of Hepburn's inexperience, audiences and critics alike were captivated by her performance. Subsequently, William Wyler chose her to be the lead in Roman Holiday, opposite Gregory Peck. For her role as Princess Ann, she won the 1953 Academy Award for Best Actress and began a string of box office hits, among them "Sabrina" (1954),"Love in the Afternoon"(1957), and "The Nun's Story"(1959).In "Breakfast at Tiffany's"(1961), her sad, soulful rendition of the movie's theme song, "Moon River", remains a truly indelible moment in the history of film. After winning a fifth and final Oscar nomination for the chilling "Wait Until Dark"(1967), Audrey worked less and devoted more time to her family and various charities. Her longtime marriage to actor Mel Ferrer ended in divorce in 1968. After a second short-lived marriage to an Italian psychiatrist, she settled down with another Dutch actor, Robert Wolders.
Audrey Hepburn became a goodwill ambassador and spokesperson for UNICEF in 1986. Traveling to areas afflicted by famine and devastation, Hepburn worked to raise public awareness of the plight faced by children in times of crises-for example, in Ethiopia during the famine and in war-torn Somalia. Her commitment to improve the welfare of children across the world was intense and genuine. This commitment earned her the Presidential Medal of Freedom and the Humanitarian Award from the Congress on Racial Equality.
Soon after her trip to Somalia in 1991, Hepburn was diagnosed with colon cancer and was too ill to accept in person the Screen Actors Guild award for lifetime achievement in 1992.
In 1993, Audrey Hepburn died at the age of 63. She was posthumously awarded the 1993 Academy of Motion Picture Arts and Sciences Jean Hershold Humanitarian Award.
纖弱與成熟、精靈般的美麗和頑強(qiáng)不屈的精神在她身上完美的結(jié)合不但吸引了男人，也同樣吸引了女人。但如果說(shuō)奧黛麗·赫本的可愛(ài)使她受到矚目的話，那么是她的才華和心靈使得她成為傳奇。
1929年5月4日，奧黛麗·赫本了出生在比利時(shí)的首都布魯塞爾。盡管她是一個(gè)荷蘭女男爵和一個(gè)富有的英國(guó)銀行家的女兒，奧黛麗的童年并不幸福。年幼時(shí)父母離異，奧黛麗跟隨母親居住在荷蘭。不久，德定入侵荷蘭。在納粹占領(lǐng)時(shí)期，奧黛麗的叔叔和表兄弟因?yàn)橹С值挚惯\(yùn)動(dòng)而被處死，她的哥哥也被關(guān)進(jìn)勞動(dòng)營(yíng)。一家人都遭受饑餓的威脅，奧黛麗也病魔纏身，患上嚴(yán)重的貧血和呼吸疾病。
在奧黛麗十六歲那年，納粹統(tǒng)治時(shí)期結(jié)束了。她隨同母親回到倫敦，在那里獲得芭蕾舞獎(jiǎng)學(xué)金，并開(kāi)始在一些時(shí)事諷刺劇中跳舞、做模特，以及在電影里擔(dān)任一些不起眼的小角色。當(dāng)法國(guó)小說(shuō)家科利特在人群中發(fā)現(xiàn)她，并堅(jiān)持讓赫本在根據(jù)她的小說(shuō)改編的百老匯劇中擔(dān)任琪琪一角時(shí)，赫本時(shí)來(lái)運(yùn)轉(zhuǎn)了，盡管赫本的演技并不成熟，但觀眾和評(píng)論界都被她的表演深深感動(dòng)。接下來(lái)，威廉·懷勒選定她出演《羅馬假日》的女主角安妮公主，與格列高里·派克演對(duì)手戲。1953年赫本因飾演安妮公主一角贏得奧斯卡最佳女主角獎(jiǎng)，隨后演出了一系列票房收入可觀的風(fēng)行一時(shí)的電影，如《莎冰娜》(1954)、《午生我愛(ài)》(1957)和《修女傳》(1959)。在《第凡內(nèi)早餐》(1961)里，她悲傷而動(dòng)情地演唱主題歌《月亮河》的一段，成為電影史上難忘的一幕。在第五次——也是最后一次以反應(yīng)平平的《等待黃昏》(1967)獲得奧斯卡獎(jiǎng)提名后，奧黛麗漸漸淡出銀幕，獎(jiǎng)更多的時(shí)間花在家庭和幾個(gè)慈善事業(yè)上。她與演員梅爾·費(fèi)勒的婚姻維持了相當(dāng)長(zhǎng)的一段時(shí)間，一直到1968年以離婚告終。在與意大利精神病學(xué)家有了一段短暫的婚姻后，她最終與一名荷蘭演員羅伯特·沃爾斯走到了一起。
1986年，奧黛麗·赫本擔(dān)任聯(lián)合國(guó)兒童基金會(huì)的親善大使和發(fā)言人。在游歷了受饑荒侵害的地區(qū)后，赫本試圖喚起人們對(duì)于危機(jī)中的兒童所面臨的困境的注意：如饑荒中的埃塞俄比亞以及戰(zhàn)火蹂躪中的索馬里。她對(duì)提高全世界兒童的福利所做的一切是熱切而真誠(chéng)的。這使她贏得了總統(tǒng)自由獎(jiǎng)?wù)乱约胺N族平等大會(huì)的人道主義獎(jiǎng)。1991年索馬里之后不久，赫本被確診患有結(jié)腸癌。到了1992年，她已虛弱得無(wú)法親自領(lǐng)取電影演員的終生成就獎(jiǎng)。
1993年，奧黛麗·赫本逝世，享年63歲。在她去世后還獲得了1993年電影藝術(shù)科學(xué)瓊·赫什德人道主義獎(jiǎng)。
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