Lecture 1
托福听力tpo40 lecture1、2、3、4 原文+题目+答案+译文
托福听力tpo40lecture1、2、3、4原文+题目+答案+译文Lecture1 (2)原文 (2)题目 (4)答案 (5)译文 (6)Lecture2 (7)原文 (7)题目 (9)答案 (11)译文 (11)Lecture3 (13)原文 (13)题目 (16)答案 (18)译文 (18)Lecture4 (20)原文 (20)题目 (22)答案 (24)译文 (24)Lecture1原文NARRATOR:Listen to part of a lecture in an art history class.MALE PROFESSOR:Last class I passed out your assignment for your first paper,and today I want to spend some time going over it.Mm…most people never take any art history until they get to college,so many of you have probably never written an art history paper before.I gave you a list of appropriate works of art for you to write about.So your next step in this process needs to be to go look at the work you've selected as your topic.And bring a pencil and a notepad with you,because I don't mean you should just drop by at the museum and glance at it so you can say you've seen it in real life.You need to go and sit in front of the work and really look at it—carefully and slowly.And keep careful notes about what you see—you’ll need them for the kind of art history paper you're going to be writing…it's what we call a formal analysis.A formal analysis of a work of art,any kind of art,is based on its formal qualities, which means qualities related to the form—things like color…texture…line…shapes…proportion…and composition.Probably the closest thing to a formal analysis you might have written is for an English class.If you've…say…written an analysis of a poem,you've used the same skills—you've given an analysis of the poem by describing and analyzing its form and meter.A formal analysis paper in art history is very similar.Now,before you begin writing your formal analysis,you'll want to start with a summary of the overall appearance of the work—a brief description of what you see. Are there figures—people?What are they doing?Or is it a landscape…or an abstract representation of something?Tell what the subject is,and what aspects are emphasized in the painting.This will give your reader an overview of what the work looks like before you analyze it.The next part of your paper—the actual formal analysis—will be the longest and most important section of your paper,where you describe and analyze individual design elements.For this portion of the paper,you're going to rely on the notes you took at the museum,because you should be able to describe in detail the design elements the artist uses,and how they are used.For example,does the artist use harsh lines or soft lines—are the colors bright or muted?Focus on the design elements that you feel are most strongly represented in that particular work of art. And if you don't know where to begin,take note of where your eye goes first.Then describe things in the order in which your eye moves around the work.This will help you understand how one part relates to another—the interaction between the different parts of the work.OK,this kind of analysis should occur throughout the main portion of the paper.In the last section of your paper—and this goes beyond formal analysis—you comment on the significance of what you have seen.What details of the work convey meaning?Some significant details will not be apparent to you right away,but if you look long enough,you realize how important they are for your interpretation of the work.Many years ago,I was writing a formal analysis of a painting of a little boy.In the painting,a little boy was standing in his nursery,and he was holding a toy bird in his hand,and there were more toys around him in the background of the painting. Because of the bird he was holding,I assumed at first that the painting was about the innocence of children.But as I looked at the painting longer,I realized that the boy's eyes looked sad even though there was no discernable expression on his face.And then it dawned on me that,even though he was surrounded by toys,he was all alone in his nursery.The boy's eyes were a significant detail in the painting,that I didn't notice at first.题目1.What point does the professor make about the writing of a formal analysis in art history?A.Its objective is to identify common features of several works of art.B.Its most important part is the explanation of an artwork's significance.C.Several styles of writing a formal analysis are used by art historians.D.A particular approach is required to present Information about an artwork.2.According to the professor,what will students need to do before writing the art history paper?A.Look at examples of formal analysis in textbooksB.Take notes on the artwork they will write aboutC.Go to different museums before selecting a topic for the paperD.Study the historical context of the artwork they will write about3.Why does the professor mention an English class?A.To explain the difference between visual language and written languageB.To explain that students need good writing skills for their assignmentC.To point out similarities between a poetry paper and the students'assignmentD.To point out that many art historians become writers4.What does the professor recommend as a way to understand the relationship between different parts of an artwork?A.Looking for lines that connect different parts of the workB.Examining the artwork from several different anglesC.Looking for similar colors the artist used throughout the workD.Determining how the viewer's eyes move around the work5.Why does the professor talk about his own experience analyzing the painting of a little boy?A.To point out a common misconception about formal analysisB.To stress the importance of looking at an artwork thoroughlyC.To show why a formal analysis should not emphasize small detailsD.To provide an example of an artwork that is easy to analyze6.The professor describes three sections the art history paper should contain.Place them in the order in which they should appear in the paper.Click on a phrase.Then drag it to the space where it belongs.A.Analysis of the design elements the artist usesB.Discussion of the meaning of the artworkC.Summary of the appearance of the artwork答案D B C D B CAB译文旁白：下面听一段艺术史课程的片段。
托福听力tpo68 lecture1、2、3 原文+题目+答案+译文
托福听力tpo68 lecture1、2、3 原文+题目+答案+译文Lecture1 (2)原文 (2)题目 (4)答案 (6)译文 (6)Lecture2 (7)原文 (8)题目 (10)答案 (12)译文 (12)Lecture3 (14)原文 (14)题目 (17)答案 (19)译文 (19)Lecture1原文Professor: OK, let’s look at two specific ancient cultures of the arctic, both of which lived on the far northern edge of the continent, the Dorset and the Thule. The Dorset culture began around eight hundred BC and ranged to cross most of arctic Canada. The Thule, well, they lived in the same area, but about twelve hundred years later. Both groups left some beautiful art behind, really are best evidence that these folks even existed. And although these two cultures lived in the same region, each group approached their art in very different ways.Alright, so the Dorset culture. Archaeologists have unearthed hundreds of Dorset sculptures mostly carve from ivory or bone and sometimes stone. They were mostly small sculptures of animal or human figures. And our best guess is that they were probably used mainly for religious purposes. The main subject of Dorset animal sculptures is the polar bear. Some of these polar bears are represented in naturalistic or realistic ways, but usually, their abstracted or stylized that is to say less realistic. Here is a typical polar bear sculpture. It's carved from ivory, we call these artifacts flying or floating polar bears, because, because they look like the polar bears doing just that flying or floating. Notice the distinctive markings, they seem to mark out the skeleton or joints of the bear.While polar bears were favorite subject, the Dorset created sculptures of other animals too, like seals and caribou which were represented in a more realistic fashion. We speculate that if the Dorset feared or respected a particular animal, they were more likely to present it in a stylized way, like with the polar bear, which, of course, is a large dangerous predator, maybe, it was a way of dealing with their fear. We also have Dorset’s sculptures whose meaning is more allusive. I'm talking about horns with many human faces carved into them. What's remarkable about these sculptures is the variety of facial types in expressions that appear on the single horn. If only the people represented on these artifacts could answer our questions, it tells us whetherthey are ancestors or residents of villager or what.Okay, let's switch to Thule art, which differs from Dorset art in, in some important ways. Interestingly, Thule artwork wasn't generally influenced by the earlier Dorset culture. It seems it would’ve grown out of a separate tradition that originated in Alaska. Thule artwork was most likely used to decorate common objects such as tools with attractive designs, we can't be entirely sure about this. However, we've tried to interpret the symbolic designs into the art. But of course, it's impossible to confirm the accuracy of such interpretations. What we do know is that the Thule people made extensive use of engravings, they drove the small holes and carve lines into various materials. These engravings, engraved patterns, rather, are found on the diverse group of artifacts, things ranging from weapons to jewelry to cones and boxes. Here's some examples. It's hard to see, but most of these objects do have engravings on them. Thule art was more of a graphic art. Uh, more like drawing. Many of their designs are geometric and abstract. Others containing engravings of human and animal figures.For instance, the long skinny object, among left, has a face at the top. We’ve also found the tool handle with hunting and camp scenes carved into it. As far as Thule’s sculpture goes, there is only a few small objects in wooden dowels like the one in the bottom right-hand corner. These have either no facial features or very rudimentary ones, less detailed, less individualized than the faces of Dorset’s sculpture.One scholar has argued that this difference resulted from the nature of Thule’s society which was built around group hunting expeditions on the ocean. This hunting approach required a great deal of cooperation which may have led to a kind of an overall uniformity in their art. And emphasis on commonality rather than individuality, which probably explains why there’re human figures like the faces or had standardized faces that all look similar. The most famous of the few Thule sculptures are the ones of birds in creatures that are part bird and part woman. While the sculpture is probably had some symbolic purpose, patterns of holes were drilled into them too. So, in general compared with artwork of the Dorset, Thule artprobably had a more decorative or utilitarian function.题目1.What is the main purpose of the lecture?A. To examine the extent to which Thule and Dorset art influenced the artwork of other arctic culturesB. To examine how Thule and Dorset designs changed over timeC. To compare and contrast artwork from two ancient arctic culturesD. To discuss how the natural world is shown in the artwork of two ancient arctic cultures2.What does the professor imply about “flying”or “floating”polar-bear sculptures?[Click on 2 answers.]A. They may have helped the Dorset people cope with their fear of a dangerous animal.B. Art historians consider them to be of little religious importance to the Dorset people.C. The Dorset people created them to demonstrate respect for polar bears.D. They were designed to take advantage of the natural shape of the ivory.3.According to the professor, what can be inferred about Dorset society based on its artwork?A. It placed more emphasis on religious beliefs than Thule society did.B. It relied on hunting large animals to a greater extent than Thule society did.C. It placed an emphasis on the production of jewelry.D. It was structured to support long ocean expeditions.4.According to the professor, what appears to be the main reason that the Thule engraved holes and lines into their artifacts?A. To honor their Alaskan ancestorsB. To illustrate the layout of their campgroundsC. To add realism to their sculpturesD. To add decoration to their sculptures5.Why does the professor mention Thule group-hunting expeditions?A. To explain why the Thule had plenty of time to produce detailed artworkB. To draw a connection between cooperation in finding food and uniformity in artC. To compare Thule hunting practices with Dorset hunting practicesD. To suggest that the majority of Thule sculptures were probably lost at sea6.Why does the professor saythis:If only the people represented on these artifacts could answer our questionsA. To suggest that the students interview descendants of Dorset peopleB. To propose a topic that the students could write aboutC. To ask students who they think the faces representD. To indicate that there is still a lot of missing information答案C AC AD B D译文教授:好的，让我们来看一下北极的两种特定的古代文化，它们都生活在大陆的最北端，Dorset文化和Thule文化。
托福听力tpo51 lecture1、2、3、4 原文+题目+答案+译文
托福听力tpo51lecture1、2、3、4原文+题目+答案+译文Lecture1 (1)原文 (1)题目 (3)答案 (5)译文 (6)Lecture2 (7)原文 (7)题目 (10)答案 (12)译文 (12)Lecture3 (14)原文 (14)题目 (16)答案 (18)译文 (18)Lecture4 (20)原文 (20)题目 (22)答案 (24)译文 (24)Lecture1原文NARRATOR:Listen to part of a lecture in a botany class.FEMALE PROFESSOR:So,continuing with crop domestication,and corn—or,um, maize,as it's often called.Obviously it's one of the world's most important cropstoday.It's such a big part of the diet in so many countries,and it's got so many different uses,that it's hard to imagine a world without it.But because it doesn't grow naturally,without human cultivation,and because there's no obvious wild relative of maize…uh,well,for the longest time,researchers weren’t able to find any clear link between maize and other living plants.And that's made it hard for them to trace the history of maize.Now,scientific theories about the origins of maize first started coming out in the 1930s.One involved a plant called teosinte.Teosinte is a tall grass that grows wild in certain parts of Mexico and Guatemala.When researchers first started looking at wild teosinte plants,they thought there was a chance that the two plants—um, maize and teosinte—were related.The young wild teosinte plant looks a lot like the corn plant,and the plants continue to resemble each other—at least superficially—even when they're developed.But when the scientists examined the fruits of the two plants,it was a different story. When you look at ripe corn,you see row upon row of juicy kernels…um,all those tiny little yellow squares that people eat.Fully grown teosinte,on the other hand, has a skinny stalk that holds only a dozen or so kernels behind a hard,um,almost stonelike casing.In fact,based on the appearance of its fruit,teosinte was initially considered to be a closer relative to rice than to maize.But there was one geneticist,named George Beadle,who didn't give up so easily on the idea that teosinte might be…well…the“parent”of corn.While still a student in the1930s,Beadle actually found that the two plants had very similar chromosomes—very similar genetic information.In fact,he was even able to make fertile hybrids between the two plants.In hybridization,you remember,the genes of two species of plants are mixed to produce a new,third plant—a hybrid.And if this offspring—this hybrid—is fertile,then that suggests that the two species are closely related genetically.This new,hybrid plant looked like an intermediate,right between maize and teosinte.So,Beadle concluded that maize must've been developed over many years,uh,that it is a domesticated form of teosinte.Many experts in thescientific community,however,remained unconvinced by his conclusions.They believed that,with so many apparent differences between the two plants,it would have been unlikely that ancient—that prehistoric peoples could’ve domesticated maize from teosinte.I mean,when you think about it,these people lived in small groups,and they had to be on the move constantly as the seasons changed.So for them to selectively breed,to have the patience to be able to pick out just the right plants…and gradually—over generations—separate out the durable,nutritious maize plant from the brittle teosinte that easily broke apart…it's a pretty impressive feat,and you can easily see why so many experts would have been skeptical.But,as it turns out,Beadle found even more evidence for his theory when he continued his experiments,producing new hybrids,to investigate the genetic relationship between teosinte and maize.Through these successive experiments,he calculated that only about five specific genes were responsible for the main differences between teosinte and maize—the plants were otherwise surprisingly similar genetically.And more recently,botanists have used modern DNA testing to scan plant samples collected from throughout the Western Hemisphere.This has allowed them to pinpoint where the domestication of maize most likely took place—and their research took them to a particular river valley in southern Mexico.They've also been able to estimate that the domestication of maize most likely occurred about9,000 years ago.And subsequent archaeological digs have confirmed this estimate.In one site,archaeologists uncovered a set of tools that were nearly9,000years old.And these tools were covered with a dusty residue…a residue of maize,as it turns out…thus making them the oldest physical evidence of maize that we've found so far.题目1.What is the lecture mainly about?A.A research study that compares wild and domesticated plantsB.Problems with a commonly held hypothesis about the origin of teosinteC.Reasons why wild plants are usually unsuitable for agricultureD.The process used to identify the ancestor of a modern crop2.What evidence seemed to indicate that maize and teosinte are not related?A.Young teosinte plants do not physically resemble young maize plants.B.Preliminary DNA evidence indicated that teosinte was related to rice.C.Maize and teosinte usually grow in significantly different climates.D.Maize and teosinte have very different types of kernels.3.Why does the professor discuss hybrids?A.To explain how a geneticist confirmed that maize was widely grown9,000years agoB.To indicate the earliest method used by geneticists to identify plant originsC.To explain a method used to demonstrate a link between two plant speciesD.To describe how geneticists distinguish between wild plants and domesticated plants4.What was most researchers'initial view of George Beadle's theory about teosinte?A.They accepted it but questioned the evidence cited.B.They rejected it because of conflicting archaeological evidence.C.They questioned it because it implies that ancient farmers were sophisticatedplant breeders.D.They questioned it because genetic research was viewed with skepticism at that time.5.What did Beadle conclude about maize and teosinte?A.Both plants lack particular genes that are common in most domesticated plants.B.Both plants have particular genes that enable them to adapt to varying climates.C.Only a small number of genes are responsible for the differences between the two plants.D.The genetic composition of both plants is very similar to that of rice.6.According to the professor,why was the discovery of stone tools important?A.It proved that teosinte was simultaneously domesticated in multiple locations.B.It helped to confirm the period in which maize was first domesticated.C.It suggested that maize required farming techniques that were more complex than experts had previously assumed.D.It provided evidence that maize plants were used for more purposes than experts had previously assumed.答案D D C C C B译文旁白：请听一段植物学讲座的节选。
Lecture 1-绪论
loose or minor sentences (松散句), contracted sentences (紧缩句), elliptical sentences, run-on sentences (流水句), and composite sentences (并列句). English sentence building is featured by an “architecture style” (楼房建筑 法) with extensive use of longer or subordinate structures, while Chinese is marked by a “chronicle style” (流水记事法) with frequent use of shorter or composite structures.
2. Compact vs. Diffusive
English is rigid in S-V concord, requiring a complete formal cohesion. Chinese has flexible sentence structures through semantic coherence.
他的讲话并无前后矛盾之处。 There is no inconsistency in what he said. There is nothing inconsistent in what he said 她闪亮的眼睛说明她非常激动。 Her sparkling eyes betrayed her great excitement. The sparkle of her eyes betrayed her great excitement.
Lecture 1
– Lecture 15 Dickens………….4 periods – Lecture 16 Emily Bronte……4 periods – Lecture 17 Hardy……………4 periods
2. What ?
• Part 7 The 20th century literature（20世纪
• Lecture 2 Beowulf……2 periods • Lecture 3 Chaucer……4 periods – Part 2 Renaissance (文艺复兴时期英国文学) • Lecture 4 The English Bible……4 periods • Lecture 5 Shakespeare ………..6 periods
– General Literary Trends
– Representative Writers
• Life Story
• Major Works • Representative works
3. How ?
• (2) What the students should do? • A. Prepare a notebook • B. Classroom rules
英国文学)
– Lecture 18 Yeats……2 periods
– Lecture 19 Joyce……2 periods
• Lecture 20 The middle and late 20th
century literature…….2 periods
• Lecture 21 Review…...2 periods
understanding of plots
of novels and dramas
【托福听力备考】TPO17 听力文本——Lecture 1
【托福听力备考】TPO17 听力文本——Lecture 1众所周知，托福TPO材料是备考托福听力最好的材料。
相信众多备考托福的同学也一直在练习这套材料，那么在以下内容中我们就为大家带来托福TPO听力练习的文本，希望能为大家的备考带来帮助。
TPO 17 Lecture 1 Art History(Prehistoric Art Dating)Narrator ：Listen to part of a lecture in an art history class.Professor ：Good morning, ready to continue our review of prehistoric art?Today, we will be covering the Upper Paleolithic Period, which I am roughlydefining as the period from 35,000 to 8,000 BC. A lot of those cave drawings youhave all seen come from this period. But we are also be talking about portableworks of art, things that could be carried around from place to place. Here isone example. This sculpture is called the Lady with the Hood1 , and it wascarved from ivory, probably a mammoth’s tusk. Its age is a bit of a mystery.According to one source, it dates from 22,000 BC. But other sources claimed ithas been dated closer to 30,000 BC. Amy?Amy ：Why don’t we know the exact date when this head was made?Professor ：That’s a fair question. We are talking about prehistory here. Soobviously the artists didn’t put a signature or a date on anything they did. Sohow do we know when this figure was carved?Tom ：Last semester I took an archaeology class and we spent a lot time on,studying ways to date things. One technique I remember was using the location ofan object to date it, like how deep it was buried.Professor ：That would be Stratigraphy. Stratigraphy is used for dating portable art. When archaeologists are digging at a site, they make very careful notes about which stratum(strata), which layer of earth they find things in. And, you know, the general rule is that the oldest layers are at the lowest level. But this only works if the site hasn’t been touched, and the layers are intact. A problem with this dating method is that an object could have been carried around, used for several generations before it was discarded. So it might be much older than the layer or even the site where it was found. The stratification technique gives us the minimum age of an object, which isn’t necessarilly its true age. Tom, in your archaeology class, did you talk about radiocarbon dating?Tom ：Yeah, we did. That had to do with chemical analysis, something to do with measuring the amount of radiocarbon that’s left in organic stuff. Because we know how fast radiocarbon decays, we can figure out the age of the organic material.Professor ：The key word there is organic. Is art made of organicmaterial?Tom ：Well, you said the lady with the hood was carved out of ivory. That ’s organic.Professor ：Absolutely. Any other examples?Amy ：Well, when they did those cave drawings. Didn’t they use, like chacoalor maybe colors, dyes made from plants?Professor ：Fortunately, they did, at least some of the time. So it turns outthat radiocarbon dating works for a lot of prehistoric art. But again there’s aproblem. This technique destroys what it analyzes, so you have to chip off bits of the object for testing. Obviously we are reluctant to do that in some cases.And apart from that, there’s another problems. The date tells you the age of thematerial, say, a bone or a tree, the object is made from, but not the date when the artist actually created it. So, with radiocarbon dating, we get the maximum possible age for the object, but it could be younger.Ok, let’ s say our scientific analysis has produced an age range. Can we narrow it down?Amy ：Could we look for similar styles or motives? You know, try to find things common to one time period.Professor ：We do that all the time. And when we see similarities in pieces of art, we assume some connection in time or place. But is it possible that we could be imposing our own values on that analysis?Tom ：I am sorry. I don’t get your point.Professor ：Well, we have all kinds of pre-conceived ideas about how artistic styles develop. For example, a lot of people think the presence of details demonstrates that the work was done by a more sophisticated artist. While a lack of detail suggests a primitive style. But trends in art in the last century orso certainly challenge that idea. Don’t get me wrong though, analyzing the styles of prehistoric art can help dating them. But we need to be careful with the idea that artistic development occurs in a straight line, from simple to complex representations.Amy ：What you are saying is, I mean, I get the feeling that this is like a legal process, like building a legal case, the more pieces of evidence we have, the closer we get to the truth.Professor ：Great analogy. And now you can see why we don’t have an exact date for our sculpture, the lady with the hood.。
托福听力tpo49 lecture1、2、3、4 原文+题目+答案+译文
托福听力tpo49lecture1、2、3、4原文+题目+答案+译文Lecture1 (1)原文 (1)题目 (4)答案 (6)译文 (6)Lecture2 (8)原文 (8)题目 (10)答案 (12)译文 (12)Lecture3 (14)原文 (14)题目 (17)答案 (19)译文 (19)Lecture4 (21)原文 (21)题目 (23)答案 (25)译文 (25)Lecture1原文NARRATOR:Listen to part of a lecture in a geology class.MALE PROFESSOR:Alaska is fascinating to geologists because of its incrediblelandscapes.Uh,permafrost has a lot to do with this.That is,the areas where the ground—the soil—is always frozen,except for the very top layer—what we call the active layer of permafrost—which melts in the summer and refreezes again in the winter.The northern part of Alaska is covered in lakes—thousands of them—and most of these are what we call thaw lakes.T-h-a-w.Thaw lakes.I'm gonna show you a few sketches of them in a minute,so you'll have a good idea of what I'm talking about.So, how these thaw lakes are formed has to do with…OK,it starts with ice wedges.The top part of the ice wedge melts—Should I back up?Ice wedges form when water runs into cracks in the ground,the permafrost,then freezes.You ever see mud after it dries?Dried mud has cracks,because when it dries, it contracts,it shrinks.Well,in winter,permafrost behaves similarly.It shrinks in winter,because it freezes even more thoroughly then,and as it shrinks,it forms deep,deep cracks.Then in the summer,when the active layer—the top layer of the permafrost—melts,the melt water runs into those cracks in the permafrost,then freezes again—because that ground,the ground beneath the active layer,is still below freezing.So,you have wedges of ice in the permafrost.Now the ice wedges widen the original cracks in the permafrost,because water expands when it freezes.All right?OK,then in autumn,the active layer on top freezes again.Then in winter,the permafrost starts contracting again and the cracks open up even wider.So the next summer,when the active layer melts again and flows into the widened cracks…and…freezes…it makes the cracks even wider.So it’s sort of a cycle through which the cracks and the wedges grow wider and wider.So when the ice wedge reaches a certain size,its top part—in the active layer—turns into a little pond when it melts in the summer.And that's the beginning of your thaw lake.[pause]There are thousands of them in northern Alaska.One of the most fascinating things about these lakes—and this is important—is that they mostly havethe same shape.Like an elongated oval,or egg shape.And what's more,all the ovals are oriented in the same way.Here's an idea of what they look like,what the landscape looks like from an aerial view,with the lakes side by side.There's been considerable research done to try to figure out what causes them to be shaped and oriented this way.We know that the shape and orientation are caused by the way the lakes grow once they're formed,but the question is,what makes them grow this way?One theory sees winds as the cause.This region of Alaska has strong winds that blow perpendicular to the lakes.What happens is,wind blows straight into the longer side of the lakes.Now,wouldn’t that erode the lake bank in that direction?The same direction as the wind?Well…no.Actually,what happens is that the waves caused by the winds build a sorta protective layer of sediment—it's called a“protective shelf”—along the bank of the lake directly in front of them;so that bank is shielded from erosion,and the waves are diverted to the sides,to the left and to the right,and that’s why the left and the right banks start eroding.Get it?The bank straight ahead is protected,but the lake currents--the waves--erode the banks to the sides.That's the current model,um,the wind erosion model,which is generally accepted.But,there's a new theory that says that[deliberately]thaw slumping,not wind,is what shapes the thaw lakes.Thaw slumping,um…OK.Sometimes,in the summer,the temperature rises pretty quickly.So the active layer of permafrost thaws faster than the water can drain from the soil.So the sides of the thaw lakes get,like,mushy,and slump,or slide,into the lake.Then,the lake water spreads out more,and the lake gets bigger,OK?Also,in that part of Alaska,the terrain is gently sloped,so the lakes are all on an incline.Here.Now,this is an exaggeration of the angle—the hill isn't this steep—butsee how with the lake's banks,the side that is farther downhill…it's smaller,lower. This short bank thaws faster than the tall one does,so it falls into the lake—it slumps, much more and much faster than the other bank.When the short banks of many lakes slump,they move farther downhill and the lakes grow—all in the same downhill direction.This is a new theory,so it hasn't been tested much yet.In field studies,when we've looked at the banks of these thaw lakes,there's not much evidence of slumping. We'd expect to see cliff-like formations there,from the slumping,but we haven't really found many of those.题目1.What is the main purpose of the lecture?[Click on two answers.]A.To contrast how different kinds of thaw lakes growB.To explain why a new theory of thaw lakes is gaining acceptanceC.To explain how processes in permafrost lead to the formation of thaw lakesD.To describe two competing theories about the growth of thaw lakes2.The professor explains thaw lake formation as a cycle of events that occur repeatedly.Summarize this cycle,starting with the event filled in below.[Click on a sentence.Then drag it to the space where it belongs.The first one is done for you. One sentence will not be used]A.Meltwater flows into cracks in permafrostB.Ice wedges inside permafrost completely meltC.Freezing water expands cracks in permafrostD.Ice in the active layer melts as temperatures riseE.Permafrost shrinks and cracks as temperatures drop..3.What is the significance of the'protective shelf'discussed by the professor?A.It prevents the slumping of lake banks.B.It shields the lake surface from strong winds.C.It redirects the waves to lake banks that do not face the wind.D.It allows the lakes to grow in the same direction as the wind blows.4.According to the thaw slumping model,which side of a thaw lake grows fastest?A.The side where the bank is shortestB.The side least exposed to windC.The side that is at the highest elevationD.The side opposite the protective shelf5.What is the professor's opinion of the thaw slumping model?A.He thinks it was urgently needed.B.He is not convinced that it has a firm basis.C.He thinks it would be better if it were simplified.D.He does not think it is very different from the old model.6.Why does the professor say this:You ever see mud after it dries?A.He wants some information from the students.B.He thinks that the students may find an example helpful.C.He realizes that he forgot to mention an important topic.D.He wants to point out an important difference between frozen ground and dry ground.答案CD EDACB C A B B译文听一段地质学的讲座。
托福听力TPO1原文 Lecture 1
托福听力TPO1原文Lecture 1下面就让小编来为大家介绍一下托福听力TPO1原文中Lecture 1的文本内容吧，大家要好好把握，这些都是非常有价值的材料，希望能够给准备托福听力的同学带来帮助。
TPO 1 Lecture 1Contemporary artListen to part of a lecture in a contemporary art class.ProfessorOk, I’m going to begin this lecture by giving you your next assignment. Remember I said that at some point during this semester I wanted you to attend an exhibit at the Fairy Street Gallery and then write about it? Well, the exhibit that I want you to attend is coming up. It’s already started in fact, but it’ll be at the gallery for the next month, which should give you plenty of time to complete this assignment.The name of the artist exhibiting there is Rose Frantzen. Frantzen’s work may be unfamiliar to you since she’s a relatively young artist. But she’s got a very unusual style, compared to some of the artists we’ve looked at this term. But anyway, Frantzen’s style is what she herself calls Realistic Impressionism. So you’ve probably studied both of these movements separately, separate movements, Realism and Impressionism, in some of your art history courses. So who can just sum these up?StudentWell, Impressionism started in the late 19th century. Um…the basic impressionist style was very different from earlier styles. It didn’t depict scenes or models exactly as they looked. Um… Impressionist painters tended to apply paint really thickly, and in big brushstrokes, so the texture of the canvas was rough.ProfessorGood. What else? What were the subjects?StudentWell, a lot of impressionist artists painted everyday scenes, like people on the streets and in cafes, uh, lots of nature scenes, especially landscapes.ProfessorGood. So when you go to the exhibit, I really want you to take a close look at a certain painting. It’s a farm scene. And you will see it right as you enter the gallery. The reason I think this painting is so important is that it stresses the impressionist aspect of Frantzen’s style. It’s an outdoor scene, an everyday scene. It’s kind of bleak, but you can really see those broad brushstrokes and the blurry lines. The colors aren’t quite realistic. The sky is kind of, well an unnatural pinkish yellow. And the fence in the foregroundis blue, but somehow the overall scene gives an impression of a cold, bleak winter day on a farm. So that’s the impressionist side of her work.Oh, and speaking about farms, that reminds me. One interesting thing I read about Franzten is that when she first moved back to Iowa after living abroad, she often visited this place in her town called the Sales Barn. And the Sales Barn, it was basically this place where the local farmers bought and sold their cattle, their farm animals. And the reason Frantzen went there, and she later on would visit other places like dance halls, was to observe people and the ways that they moved. She really found that this helped her work---that it gave her an understanding of body movements and actions, how humans move, and stand still, what their postures were like, too.So, what about Realism? What are the elements of Realism we should be looking for in Frantzen’s work?StudentUm… real honest depictions of subject matter, pretty unidealized stuff, and pretty everyday subject matter, too.ProfessorGood. One other painting I really want you to look at is of a young woman surrounded by pumpkins. You will notice that the woman’s face is so realistic looking that it’s almost like a photograph. The woman’s nose is a little less than perfect and her hair is kind of messed up. This is realism. But then, the background of the painting, this woman with the pumpkins is wrapped in a blanket of broad thick brushstrokes, and, it’s all kinds of zigzagging brushstrokes and lines, kind of chaotic almost when you look at it close. And there are vibrant colors. There’s lots of orange, with little hints of an electric blue peeking out.I find Frantzen to be a very accessible artist. I mean, some artists, to appreciate them, you have to know their life story. But here’s a little bit about Rose Frantzen’s life anyway. She attended art school, but was told by one of her instructors that she was not good at illustration, that she should go into advertising instead. So she took advertising classes and fine arts classes too, until she was convinced by the head of an advertising agency that her work was really good, that she could be an artist. But of course, it’s not as easy as that, and so Frantzen had to paint other people’s portraits at places like art fairs just to make money to buy paint for her more serious art work. No matter what, she never stopped painting. And now, Frantzen is doing extremely well. And her work is being shown all over the country. So I think most of us would be discouraged if we had to face challenges and difficulties like that. But what’s important is that you keep at it that you don’t give up. That’s what is really important to remember.《当代艺术》独白：听一段节选自当代艺术课堂的讲座。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
The
collective actions and situations of many individuals. of social science is to explain why aggregated patterns of behavior are regular even when individuals change over time.
Focus
Concepts and Variables
Variables
– Logical groupings of attributes.
Attributes
– Characteristics or qualities that describe an object.
Figure 1.5
Figure 1.6
Independent
Variable – A variable with values that are not problematical in an analysis but are taken as simply given.
Dependent
Variable – A variable assumed to depend on or be caused by another.
– An approach to explanation in which we seek to identify a few causal factors that generally impact a class of conditions of event.
Nomothetic
Inductive and Deductive Theory
Prediction
Tradition Authority
versus Understanding
Errors in Inquiry and Some Solutions
Inaccurate
Observations
devices offer accuracy.
Measurement
Overgeneralizations
Large
and representative samples are a safeguard against overgeneralization.
Replication
– Repeating a research study to test and either confirm or question the findings of an earlier study.
CHAPTER 1
Beginning Principles
Chapter Outline
Looking for Reality The Foundation of Social Science Some Dialectics of Social Research
Looking for Reality
– The science of knowing.
– A subfield of epistemology.
Ordinary Human Inquiry
Humans
We
want to predict the future. Why?
recognize that the future is caused in part by the present. Cause and effect patterns are probabilistic in nature.
Experiential Reality VS. Agreement Reality Knowledge from Agreement Reality
Assertions
empirical.
must be both logical and
Epistemology
Methodology
Deduction
Qualitative and Quantitative Data
Qualitative
Data – non-numerical data Quantitative Data – numerical data
Pure and Applied Research
Pure
The
The
Figure 1.1
The Foundations of Social Science
The foundations of social science are logic and observation.
Figure 1.4
Theory, Not Philosophy or Belief
The Purposes of Social Research
1.
2.
3.
Mapping out a topic that may warrant further study later (exploratory) Describing the state of social affairs (descriptive) Providing reasons for phenomena, in terms of causal relationships (explanatory)
science can help us know what is and why.
Theory
Social
Social Regularities
Exceptions?
Social
regularities represent probabilistic patterns.
Aggregates, Not Individuals
Social
theory has to do with what is, not with what should be. – A systematic explanation for the observations that relate to a particular aspect of life.
Selective
Avoid
Observations
looking for “deviant” cases.
Illogical
Reasoning
fallacy”
“Gambler’s
What’s Really Real?
The
Premodern View – Things are as they seem. Modern View – Acknowledgement of human subjectivity. Postmodern View – There is no objective reality.
Research – Gaining “knowledge for knowledge’s sake.” Applied Research – Putting research into practice.
The Research Proposal
Introduction (Chapter 1) Review of the Literature (Chapters 2, 14, Appendix A) Specify the Problem/Question/Topic (Chapters 4, 5, 11) Research Design (Chapter 15)
Induction
(归纳)– The logical model in which general principles are developed from specific observations.
(演绎)– The logical model in which specific expectations of hypotheses are developed on the basis of general principles.
The Ethics of Human Inquiry
Some Dialectics of Social Research
Idiographic and Nomothetic Explanation
Idiographic
– An approach to explanation in which we seek to exhaust the idiosyncratic causes of a particular condition of event.