托福TPO5听力Conversation2文本+题目+答案解析
托福听力tpo52 section2 对话讲座原文+题目+答案+译文
托福听力tpo52section2对话讲座原文+题目+答案+译文Conversation2 (1)原文 (1)题目 (3)答案 (5)译文 (5)Lecture3 (7)原文 (7)题目 (9)答案 (11)译文 (11)Lecture4 (13)原文 (13)题目 (15)答案 (17)译文 (17)Conversation2原文NARRATOR:Listen to part of a conversation between a student and an employee at the campus store.FEMALE STUDENT:I like those ceramic coffee mugs you have on display at the other end of the store.Were they made by students?MALE PROFESSOR:Oh,we only use certain suppliers—wholesalers who've been selected by the store manager.FEMALE STUDENT:Do you ever sell things made by students?MALE PROFESSOR:We use preferred vendors only because,I mean…if we said yes to one student,we’d have to say yes to any student who asks.And the store's only so big!FEMALE STUDENT:Hmm,that’s too bad,'cause—um,I make these pretty ceramic bowls—I design'em myself—I'm a studio art major.Anyway,I was hoping I could sell’em here.You see,I’m taking Art202—“Marketing your Art.”And for my final project,I need to find a way to sell my own artwork.MALE PROFESSOR:Hmm…What about selling online?A lotta art and crafts are marketed that way.FEMALE STUDENT:I really don't have the computer skills,or the time to manage a Web site.MALE PROFESSOR:What about the Emporium—you know,that gift shop downtown? I’ve seen items by local artists there—FEMALE STUDENT:The Emporium buys directly from artists?MALE PROFESSOR:Well,they sell items on consignment.FEMALE STUDENT:Consignment…I think my professor mentioned that.MALE PROFESSOR:Yeah,you give them some items to sell on your behalf,and then you and the store split the purchase price.But they wouldn't pay you anything up front—if that’s what you want.And might may need to provide your own display case.FEMALE STUDENT:Oh,I already have a display case,a portable one with three shelves.But aren't there shops that would,you know,just buy stuff from me outright? 'Cause,if not enough bowls are sold,how would I recoup the cost of my materials—they’re not cheap…and neither was the case!MALE PROFESSOR:All the stores around here that sell craft items are small andindependently owned,like the Emporium.For them,selling on consignment lowers their risk;they don’t get stuck with unsold items—they can return them to the owner. You just have to make sure you set a retail price high enough to make it worth your while.But you're right,consignment isn't for everyone.What about the spring craft fair?You know,that outdoor market that’s held on Saturdays?Plenty of local people sell their stuff there—ceramics,jewelry,decorative items…The vendor fee is nominal,I believe.FEMALE STUDENT:Oh yeah,I remember seeing that last year…all those tables lined up in that vacant lot on Main Street,right?MALE PROFESSOR:Right!Since the craft fair's only a few blocks from campus,it seems like a good place for students to sell things.FEMALE STUDENT:Do you know how it works?MALE PROFESSOR:I think you'd just rent a space and set up a table to display your bowls on.You’d set the prices and keep all the profits.FEMALE STUDENT:Seems doable—But,hmm I don't have a car to haul everything down there.MALE PROFESSOR:You could take the campus bus—it goes into town on weekends.FEMALE STUDENT:True.But…I'd also hafta sit there all day when I should be in the library or the studio.I dunno…I suppose I could do my reading assignments between customers.题目1.Why does the woman go to talk to the man?A.To find out how the store pays artists for their workB.To purchase some ceramic coffee mugsC.To find out if the store sells objects made by studentsD.To ask about the advantages and disadvantages of consignment sales2.What is the main reason that the woman cannot display her ceramic bowls in the campus store?A.Her bowls are too expensive.B.There is not enough room for her display case.C.The store gets merchandise only from approved suppliers.D.There is little demand on campus for ceramic bowls.3.According to the conversation,what is a reason that the woman wants to sell her bowls?A.To earn enough money to buy a second display caseB.To fulfill a requirement of one of her coursesC.To impress her studio art professorD.To gain experience that could help in her future career4.What is the woman's attitude toward selling items at the Emporium?A.She is eager to display her work to the public thereB.She is encouraged because the Emporium specializes in selling ceramicsC.She is worried because she does not fully understand the consignment process.D.She is worried that she might not make much money.5.What concerns does the woman initially express about selling items at the craft fair? [Click on2answers]A.Whether doing so would interfere with her studiesB.Whether customers would appreciate her artistryC.Whether she could afford the fee charged to sellersD.Whether she would be able to transport her items to the fair答案C C BD AD译文旁白：请听一段学生和大学商店雇员之间的对话。
托福TPO53听力Conversation2文本+题目+答案解析
为了帮助大家高效备考托福，为大家带来托福TPO53听力Conversation2文本+题目+答案解析，希望对大家备考有所帮助。
托福TPO53听力Conversation2文本 Sounds In The Film Listen to part of a lecture in a film studies class. Professor: Nowadays we take sound in films for granted. I mean you still might see black and white films occasionally. But you'll hardly ever see silent films anymore. So it's interesting to note that the use of recorded sound was originally controversial. And some directors, uh, some filmmakers even thought it shouldn't be used, that it would destroy the purity of cinema, somehow reverse all the progress that had been made in the art of cinema. Abby? Abby: What about all the sounds you hear in some silent movies? Like, you know, a loud sound when somebody falls down or something? Professor: Okay, you're talking about a soundtrack added much later, which has over time become part of the film we know. But this recorded track didn't exist then. And it's not that most people didn't want sound in films. It's just that the technology wasn't available yet. Don't forget that instead of recorded sound, there was often live music that accompanied movies in those days, like a piano player or a larger orchestra in the movie theater. Also, think of the stage, the live theater, it has used wonderful sound effects for a long time. And if wanted, these could be produced during the viewing of a film. You know, the rolling of drums for thunder or whatever. But that wasn't as common. Oh, and another thing, that they might have in movie theaters in the early days, was a group of live actors reading the parts to go along with the film, or, and this seems a particularly bad idea to us now, one person narrating the action, an early example of a long tradition of movie producers, the ones concerned mostly about making money, not having much confidence in their audience, thinking that people somehow couldn't follow the events otherwise. So, it finally became possible to play recorded sound as part of the film in the 1920s. Trouble was, it wasn't always used to very good effect. First it was, you know, amazing to see somebody's mouth move at the same time you hear the words, or hear a door close when you see it closing on screen. But that luster wears off, of course. And if you're a director, a filmmaker, what's the next step? Abby: Well, you sound to enhance the movie right? Bring something more to it that wasn’t possible? Professor: Yes. That’s exactly what directors, who were more interested in cinema as art, not commerce, were thinking. But they also predicted that there would be a problem that sound would be misused and, boy, was it ever.Because the commercial types, the producers and so on, were thinking, “Okay. Now that sound is possible, let's talk as much as possible and forget about the fact that we're making a movie, that we have this powerful visual medium.” So many of the films of the twenties were basically straight adaptations of successful shows from the stage, theatre. The name they used for sound films then was “talking films” and that was on the mark, since, well, all they pretty much did was talk and talk. So, remedy? Well what was proposed by a number of filmmakers and theorists was the creative expressive use of sound, what they generally called nonsynchronous sound. Okay, synchronous sound means basically that what we hear is what we see. Everything on the soundtrack is seen on the screen. And everything was recorded simultaneously, which… Well, since the sound technicians working on films often had experience with live radio that made sense to them. Recording the sound separately and adding it in afterward? Well, that idea was less obvious. Anyway synchronous sound means the source of the sound is the image on the screen.Nonsynchronous sound then is… Abby: The sound doesn't match the picture? Professor: Right. Now we can look at this in various ways. But let's take it as literally as possible. Music, unless we see the radio or the orchestra, that's nonsynchronous. If the camera shot is of the listener rather than the speaker that's nonsynchronous. If we hear, say, background sounds that aren't on the screen, that's nonsynchronous. So, that doesn't seem so radical, does it? But again, those early producers didn't think their audiences could keep up with this.。
托福TPO5听力Conversation2文本+题目+答案解析
托福TPO5听力Conversation2文本+题目+答案解析为了帮助大家高效备考托福，为大家带来托福TPO5听力Conversation2文本+题目+答案解析，希望对大家备考有所帮助。
托福TPO5听力Conversation2文本Narrator: Listen to a conversation between a student and a professor.Student: Hi, I was wondering if I could talk with you about the assignment in the film theory class.Professor: Of course, Jill.Student: It seems that pretty much everyone else in the class gets what they are supposed to be doing but I’m not so sure.Professor: Well, the class is for students who are really serious about film. You must have taken film courses before.Student: Yeah, in high school, film appreciation.Professor: Hmmm…I wouldn’t think that would be enough. Did you concentrate mainly on form or content?Student: Oh, definitely content. We’d watch, say Lord of the Flies, and then discuss it.Professor: Oh, that approach, treating film as literature, ignoring what makes it unique.Student: I liked it, though.Professor: Sure, but that kind of class. Well, I’m not surprised that you are feeling a little lost. You know, we have two introductory courses that are supposed to be taken before you get to my course, one in film art, techniques, technical stuff and another in film history. So students in the class you are in should be pretty far along in film studies. In fact, usually the system blocks anyone trying to sign up for a class they shouldn’t be taking, who hasn’t taken the courses you are required to do firstas prerequisites.Student: Well, I did have a problem with that but I discussed it with one of your office staff, and she gave me permission.Professor: Of course. No matter how many times I tell them, they just keep on… Well, for your own good, I’d really suggest dropping back and starting at the usualplace.Student: Yes. But I’ve already been in this class for 4 weeks. I’d hate to just drop it now especially since I find it so different, so interesting.Professor: I guess so. Frankly I can’t believe you’ve lasted this long. These are pretty in-depth theories we’ve been discussing and you’ve been doing OK so far, I guess. But still, the program’s been designed to progress through certain stages. Like any other professional training we build on pervious knowledge.Student: Then maybe you could recommend some extra reading I can do to… catch up?Professor: Well, are you intending to study film as your main concentration?Student: No, no. I am just interested. I’m actually in marketing, but there seems to be a connection.Professo r: Oh…well, in…in that case, if you’re taking the course just out of interest, I mean I still highly recommend signing up for the introductory courses at some point, but in the meantime, there is no harm I guess in trying to keep up with this class. The interest is clearly there. Eh, instead of any extra reading just now though, you could view some of the old introductory lectures. We have them on video. That would give you a better handle on the subject. It’s still a pretty tall order, and we will bemoving right along, so you will really need to stay on top of it.Student: OK, I’ve been warned. Now, could I tell you about my idea for the assignment?托福TPO5听力Conversation2题目Question 1 of 5What is the conversation mainly about?A. An assignment about which the student would like advice.B. Concerns as to whether the student should be in the professor’s course.C. The selection of films to be viewed by students in a film theory course.D. The structure and sequence of courses in the Film Department.。
托福TPO35听力Conversation2文本+题目+答案解析
为了帮助大家高效备考托福，为大家带来托福TPO35听力Conversation2文本+题目+答案解析，希望对大家备考有所帮助。
托福TPO35听力Conversation2文本 Narrator: Listen to a conversation between a student and his European History Professor. Professor: So I wanted to talk about your outline. I do like your topic: William, the conqueror, leading the Norman invasion of England. But I'm a little concerned about your source and the fact that you want to use it as the entire basis of your paper. Student: Really? The Bayeux tapestry? I thought it was pretty creative to use something that was made to hang on a wall as a source. And as far as I know it's the most important documentation of the invasion, a first-hand account, right? Professor: Well, you are right. It's considered a primary source. And at 70 meters long, the tapestry certainly is impressive. Imagine the time it took for those embroiderers to sew all those words and images to tell the story of the Norman forces sailing from France to England. So, yeah, it's an amazing artifact, but what’s problematic is that the tapestry is a very controversial source. Were you aware of this? Student: Well, I know some pieces of it were probably lost. Professor: It is incomplete, but... Student: But I also read that historians have relied on it to help interpret the events leading up to the invasion and the battle itself. Professor: Well, it has great historical value, no doubt, but in my opinion, there's a problem because...well...do you know who commissioned the tapestry? Student: It was a church official...um...the bishop of Bayeux, a city in France? Professor: Yes. And the bishop was also William the Conqueror's half-brother. Student: Oh! That I didn't know. But regardless of who commissioned it, isn't the fact that it was based on eye witness accounts the most important thing? I mean, it was made only 17 years after the battle. So plenty of eye witnesses were still alive. Professor: Yes, that's true. But the real point of the controversy isn't thebattle itself. It has to do with the reason for the battle: who was the rightful heir to the throne? Who would be the next king? And if William the Conqueror's brother is the one who's commissioned this tapestry... Student: Then he would be the one to decide which words and images would go on the tapestry and what would be left out. Professor:Exactly. So of course the tapestry shows why William should be the new king. Student:I guess I see your point. Embroiderers are just gonna do what they are told to do. Professor:You have to understand that the tapestry depicted an entire series of events as they were interpreted by the Normans, the victors of the battle. And that's a problem if you are trying to write objectively about the invasion, especially if you use it as your only source of information. After all, it's important for historians to examine an event from all sides. 托福TPO35听力Conversation2题目 1.Why does the professor want to talk to the student? A. To review material from a previous class. B. To recommend a resource for an assignment. C. To outline steps the student should take to complete his research. D. To discuss the student's plan for a paper. 2.What does the professor imply about the student's outline? A. It needs to have a clearer thesis. B. It needs to include specific examples. C. It needs to have information from additional sources. D. It needs to be better organized. 3.According to the student, why is the Bayeux Tapestry an important historical document?。
托福TPO52听力Conversation2文本+题目+答案解析
为了帮助大家高效备考托福，为大家带来托福TPO52听力Conversation2文本+题目+答案解析，希望对大家备考有所帮助。
托福TPO52听力Conversation2文本 标题：Selling Self-made Ceramic Bowls Listen to part of a conversation between a student and an employee at the campus store. Student: I’d like the ceramic coffee mugs you have on display at the other end of the store. Were they made by students? Employee: Oh, we only use certain suppliers, wholesalers who’ve been selected by the store manager. Student: Do you ever sell things made by students? Employee: We used preferred vendors only because……I mean if we said yes to one student, we’d have to say yes to any student who asks. And this store is only so big. Student: That’s too bad because I make these pretty ceramic bowls. I designed them myself. I’m a studio art major. Anyway… um… I was hoping I could sell them here. You see I’m taking art 202, marketing your art. And for my final project I need to find a way to sell my own art work. Employee: Um… what about selling on line? A lot of art and crafts so marketed that way…… Student: I really don’t have the computer skills or the time to manage a website. Employee: What about the emporium? You know, that gift shop downtown. I’ve seen items by the local artists there. Student: They’re importing buys directly from the artists? Employee: Well, they sell items on consignment. Student: Consignment… I think my professor mentioned that. Employee: Yeah, you give them some items to sell on your behalf and then you and the stores split the purchase price. But they wouldn’t pay you anything up front if that’s what you want. And you might need to provide your own display case. Student: Oh, I already have display case, a portable one with three shelves. But aren’t the shops that were… you know, just buy stuff from me outright? Because if not enough bowls were sold, how would I recruit the cost of my materials? They are not cheap and neither was the case. Employee: All the stores around here that sell craft items are small and independently owned, like the emporium. For them, selling in consignment lowers their risk. They don’t get stuck with unsold items. They can return them to the owner. You just have to make sure you set the retail price high enough to make it worth you want. But you’re right, consignment isn’t for everyone. What about the spring craft fair? You know that outdoor market that‘s held on Saturdays? Plenty of local people sell their stuff there, ceramics, jewelry, decorative items. The demand fee is nominal I believe. Student:Oh, yeah. I remember seeing that last year. All those tables lined up at that weekend on main street, right? Employee:。
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TPO-5TPO 05 – Listening PartConversationNarratorListen to a conversation between a student and a counselor at the University Counseling Center.StudentHi, thanks for seeing mein such short notice.CounselorNo problem. How can Ihelp?StudentWell, Ithink I might have made a mistake coming to the school.CounselorWhat makesyou say that?StudentI’m a little overwhelmed bythe size ofthis place. I comefrom a small town. Therewere only 75 of us in myhigh school graduating class. Everyone knew everyone.We all grew up together.CounselorSo it’s a bit of a culture shock for you? Being one of15,000 studentson a bigcampus in an unfamiliar city?StudentThat’s an understatement. Ijust can’t getcomfortable in class or in the dorms. You know, socially.CounselorUm…well,let’s startwith theacademics. Tellme about you classes.StudentI’m taking mostly introductorycourses and some are taught in these huge lecturehalls.CounselorAnd you are having trouble in keeping pace with the material?StudentNo, in fact I got an A on my first economics paper.It’s just that,it’s so impersonal, I’m not used to it.CounselorAre your classes impersonal?StudentNo, it’s just that…for example, in sociology yesterday,the professor asked a question, so I raised my hand, several of us raised our hands. And Ikept my hand up because Idid the reading and knew theanswer.But the professor just answered his own question and continued with the lecture.CounselorWell, in a big room it’s possible he didn’tnotice you. Maybe he was starting to save time.In eithercase Iwouldn’t takeit personally.StudentI suppose. ButI just don’t know how to,you know,distinguish myself.CounselorWhy not stop by his office during office hours?StudentThat wouldn’tseem right. You know, taking time from other studentswho needhelp?CounselorDon’t say that. That’s what office hours are for. Thereis no reason you couldn’t pop in to say hi and tomake yourself known. Ifyou are learning a lot in class,let theprofessor know. Wouldn’t you appreciate positive feedbackif you werea professor?StudentYou are right. That’s a good idea.CounselorOK, er…let’s turn toyour social life. How’s it going in thedorms?StudentI don’t have much in common with myroommate or anyone else I’ve met so far.Everyone’s into sports and I’m m ore artsy,you know,into music. I play thecello. CounselorHah, have you been playing long?StudentSince age ten. It’s a big part ofmy life. Athome I was the youngest memberofour community orchestra.CounselorYou are not going tobelieve this. Thereis a string quarteton campus, all students. And it so happened that the cellist graduated last year.They’ve been searching high and low for a replacement,someone with experience. Wouldyou be interested in auditioning?StudentAbsolutely.I wanted toget myacademic worksettled beforepursuing mymusic here.But Ithink this would be a good thing for me. Iguess if I reallywant to fit in hereI should find people who love music as much as I do. Thank you. CounselorMypleasure.LectureNarratorListen to part ofa lecturein a sociology class.Professor:Have you everheard theone about alligatorsliving in New York sewers?Thestorygoes like this: a family went on vacation in Florida and bought a couple of baby alligatorsas presentsfor theirchildren, then returned from vacation toNew York, bringing the alligators home with themas pets. But thealligatorswould escape and find their wayinto the New Yorksewer system where they startedreproducing, grew to huge sizesand now strike fear into sewer workers.Have you heard this story? Well,it isn’ttrue and it never happened. Butdespite that, thestory has been around since the 1930s. Or how about thesong ‘twinkle, twinkle little star’,you know, ‘twinkle, twinkle, little star,ho w I wonder what you are’. Wellwe’ve all heard this song. Where am I going withthis? Well, both the song and the storyare examplesof memes.And that’swhat we would talkabout, thetheoryof memes.A meme is defined as a pieceof information copied from person toperson. Bythis definition, most ofwhat you know, ideas, skills, stories, songs are memes.All thewords you know, allthe scientific theoriesyou’ve learned, therules your parentstaught you to observe, all arememes that have been passed on fromperson to person.So what?You maysay. Passing on ideas from one person to another isnothing new.Well, thewhole point of defining this familiar process astransmission of memesis so that wecan exploreits analogy with thetransmission of genes. Asyou know, all living organisms pass on biologicalinformation through the genes.What’s a gene? A gene is a piece ofbiological information that getscopied or replicated, and thecopy or replica is passed onto the new generation. So genesare defined as replicators.Genesare replicatorsthat pass on information about propertiesand characteristicsoforganisms. Byanalogy, memesalso get replicated and in theprocess pass on cultureinformation from person to person, generation togeneration. So memes arealso replicators.To be a successful replicator,thereare threekeycharacteristics: longevity,fecundity and fidelity.Let’s take acloser look.First, longevity. A replicator must exist long enough to be able to get copied,and transfer itsinformation. Clearly, thelonger a replicator survives, the better itschances of getting its message copied and passed on. So longevity is a key characteristicof a replicator. Ifyou take thealligator story,it can exist for a long time in individual memory, let’s say, mymemory.I can tellyou thestory now orten yearsfrom now,the same with the twinkle, twinkle song. So these memeshave longevity because theyarememorable for one reason or another.Next,fecundity.Fecundity is theability toreproduce in large numbers. Forexample,the common housefly reproducesby laying several thousand eggs,so each fly gene getscopied thousands of times. Memes, well, theycan bereproduced in large numbersas well. How many timeshave you sung the‘twinkle, twinkle song’ to someone? Each timeyou replicated that song, andmaybe passed it along to someone who did not know it yet,a small childmaybe.And finally, fidelity. Fidelity means accuracyofthe copying process. We knowfidelity is an essential principle ofgenetic transmission. Ifa copy ofa geneis abit different from theoriginal, that’s called a genetic mutation. And mutationsare usually bad news. An organism often can not survive with a mutated gene.And so a gene usually can not be passed on, unless it’s an exactcopy. For memeshowever,fidelity is not always so important.For example, if you tellsomeone thealligator story Itold you today, it probably won’t be word for word exactly as I said it. Still, it will be basically the same story,and the person who hearsthe storywill be able to pass it along. Other memesare replicated withhigher fidelity though, like the twinkle, twinkle song. Ithad the exact samewords 20 years ago as it does now.Well, that’s because we see songs assomething that has to be performed accuratelyeach time.Ifyou change aword, the otherswill usuallybring you in line. They’ll say, ‘that’s not how you sing it’,right?So, you can see how looking at piecesof culturalinformation as replicators,as memes, and analyzing them in termsoflongevity, fecundity and fidelity, wecan gain some inside about how theyspread, persist or changeLectureNarratorListen to part ofa lecturein an Astronomy ClassProfessor:Last week, wecovered some argumentsagainst going back to the Moon. Butthereare compelling reasons in favor of another Moon landing too, um… notthe least of which is trying topinpoint themoon’s age. We could do this in theoryby studying an enormousimpact crater,known as the SouthPole-Aitken Basin. Um…it’s located in themoon’s South Polar Region. But, since it’s on thefar side of the moon, it can only be seen from space. Hereis an image of…we’ll callit theSPA Basin. Thiscolor-coated image of theSPA Basin, those aren’t itsactual colors obviously, thisimage is from the mid 90s, from the American spacecraft called Clementine. Um…unlike earlier lunar missions, Clementine didn’t orbit only around the moon’s equator.Itsorbits enable it to send back data to create thistopographical map of … well,the grey and white area towardsthe bottom is the South Pole, thepurples and blues inthe middle correspond to low elevations - theSPA Basin itself, theorangesand redsaround it are higher elevations. The basin measures an amazing2,500 km in diameter,and itsaverage depth is 12 km. That makesit thebiggest known crater in our solar system and it maywell be theoldest.You know planetary researcherslove studying deep craters untillearn aboutthe impacts thatcreated them,how theyredistributed piec esof a planet’s crust and in this case, we especially want to know if any ofthe mantle, thelayerbeneath the crust,was exposed by the impact. Not everyone agrees, but some expertsare convinced thatwhatever created the SPA Basin did penetrate theMo on’s mantle.And we need to find out, because much more than thecrust,the mantle containsinformation about a planet’s or Moon’s totalcomposition. And that’s keyto understanding planet formation. Um… Dian?Dian: So, the only wayto know the basin’s age is tostudy its rocksdirectly? Professor: well,from radio survey data,we know that the basin contains lots of smaller craters. So it must be really old, about 4 billion years, give or takea few hundred million years. But that’s not very precise.Ifwe had rocksamplesto study,we’d know whetherthe small craters wereformed by impacts duringthe final stagesof planetaryformation, or if theyresulted from later meteor showers.Dian: But if we know around how old the Basin is, I’m not sure that’s reas on enough to go to the Moon again.Professor: No…,but such crude estimates…um…wecan do better than that. Besides, thereare other things worth investigating, like is there waterice on the moon? Clementine’s data indicated that thewall of the south-polar crater was more reflective than expected. So some experts thinkthere’s probably ice there.Also, data from a later mission indicatessignificant concentrations of hydrogen and by inferencewater less than a meterunderground at both poles. Student: Well if there’s water,how did it get there?Underground rivers?Professor: Wethink meteors that crashed into the moon or tails ofpassing cometsmay have introduced water molecules. Anywater moleculesthat foundtheir wayto the floors of cratersnear th e moon’s poles, that water would be perpetuallyfrozen,because thefloors ofthose cratersare always in shadow. Um…furthermore,if the water icewas mixed in with rockand dust, it would be protected from evaporation.Dian: So are you saying theremight be primitive life on the moon?Professor: that’s not mypoint at all. Um… o.k.,say thereis waterice on the moon. That would be a verypracticalvalue for a future moon base forastronauts. Water ice could be melted and purified for drinking. Itcould also be broken down into itscomponent parts- oxygen and hydrogen. Oxygen couldbe used to breathe,and hydrogen could be turned into fuel, rocketfuel. So waterice could enable the creation ofa self-sustaining moon base someday, a mining camp perhapsor a departure point for further space exploration.Student: Butholding tonsof equipment to the moon to make fueland build alife support system for a moon base, wouldn’t that be too expensive?Professor: Permanentbase, maybe a way’s off,but weshouldn’th ave to waitfor that. The dust at the bottom ofthe SPA Basin reallydoes have a fascinating storyto tell.I wouldn’t give for a fewsamples of it.ConversationNarratorListen to a conversation between a student and a professor.StudentHi, Iwas wondering if Icould talkwith you about the assignment in the filmtheoryclass.ProfessorOf course,Jill.StudentItseems that prettymuch everyone else in the class getswhat theyaresupposed to be doing but I’m not so sure.ProfessorWell, theclass is for studentswho are reallyserious about film. You must havetaken film coursesbefore.StudentYeah, in high school, film appreciation.ProfessorUm…Iwouldn’t think thatwould be enough. Did you concentrate mainly onform or content?StudentOh, definitely content.We’d watch,say Lord of the Flies, and then discuss it.ProfessorOh, that approach, treating film as literature, ignoring what makes it unique.StudentI liked it, though.ProfessorSure, but that kind of class. Well, I’m not surprised that you are feeling a little lost. You know, we have two introductory coursesthat are supposed to betaken beforeyou get to mycourse, one in film art, techniques, technical stuffand another in film history. So studentsin theclass you are in should be prettyfar along in film studies. In fact, usually thesystem blocks anyone trying to sign up for the class theyshouldn’t be taking. And who hasn’t takenthe coursesyou are required todo first as prerequisites.StudentWell, Idid have a problem with that but I discussed it with one of your office staff, and she gave me permission.ProfessorOf course.No matter how many timesI tellthem,theyjust keep on…Well, foryour own good, I really suggest dropping back and starting at theusual place. StudentYes. ButI’ve already been in thisclass for 4 weeks. I’d hate to just drop it now especially since Ifind it so different,so interesting.ProfessorI guess so. Frankly Ican’t believe you’ve lasted this long. These are prettyin-depth theorieswe’ve been discussing and you’ve beendoing OKso far,Iguess. Butstill, theprogram’s been designed to progress through certainstages. Like anyother professional training we build on pervious knowledge.StudentThen maybe you could recommend some extra reading I can do to…catchup?ProfessorWell, areyou intending to study film as your main concentration?StudentNo, no. Iam just interested. I’m actually in marketing,but thereseemsto be aconnection.ProfessorOh…well, in…in that case, if you’re taking thecourse just out of interest, Imean I still highly recommend signing up for theintroductory coursesat somepoint, but in the meantime,thereis no harm I guess in trying to keepup withthis class. Theinterest is clearly there.Eh, instead ofany extra reading justnow though, you could view some of theold introductorylectures. Wehavethem on video. That would give you a better handle on the subject.It’s still aprettytall order,and wewill be moving right along, so you will reallyneed tostayon top of it.StudentOK, I’ve been warned. Now,could Itellyou about the idea for the assignment?LectureNarratorListen to part ofa lecturein a chemistryclass.ProfessorOkay. Iknow you all have a lot ofquestions about this lab assignment that'scoming out so ... I'mgonna takea little time this morning to discuss it.So, you know theassignment has to do with Spectroscopy, right?And yourreading should help you get a good idea of what that'sall about. But,let's talkabout Spectroscopya littlenow just tocover the basics.What is Spectroscopy? Well,the simplest definition I can give you is thatSpectroscopy is the study of theinteraction between matterand light. Now,visible light consists of different colorsor wavelengths, which together make upwhat's called spectrum, a band of colors, like you see in a rainbow. And allsubstances,all forms of matter,can be distinguished according to whatwavelength of light theyabsorb and which ones theyreflect.It'slike, um, well,everyelementhas, what we call, itsown spectralsignature.Ifwe can read thatsignature,we can identify the element.And that's exactlywhat spectroscopydoes.Now,Laser Spectroscopy,which is the focus ofyour assignment, worksbymeasuring veryprecisely what parts ofthe spectrum are absorbed bydifferentsubstances.And it has applications in a lot of different disciplines. And yourassignment will be to choose a discipline that interestsyou, and devise anexperiment. For example,I'm gonna talk about art. I'minterested in the artandto me it'sinteresting how spectroscopy is used to analyze art.Er... let'ssay a museum curatorcomes toyou with a problem. She's comeacross this painting that appears to be an original - let'ssay, a Rembrandt.And she wants to acquire it for her museum. Butshe's got a problem: she's not absolutelycertain it'san original.So, what do you do? How do you determine whetherthe painting's authentic?Okay. Thinkabout the scientific process. You've got the question: Isthepainting a Rembrandt? So first, you'll need to make a list of characteristics the painting would have tohave to be a Rembrandt.Then you have to discover whetherthe painting in question has those characteristics.So first ofall, you'll need to know thetechniques Rembrandt used when he applied paint tocanvas - his brushstrokes, how thickly he applied his paint. So you’d need to workwith an art historian who has expert knowledge ofRembrandt'sstyle.You'd have to know when he created his paintings, um...what pigmentsheused, in otherwords, what ingredients he used to make different colors ofpaint, costhe ingredients used in paints and binding agents plus varnishes, finishes, what have you, have changed over time.Since you're trying to verify that'sa Rembrandt, theingredients in thepigment would need to have been used during Rembrandt's lifetime - in the 17thcentury.And that's wherechemistrycomes in. You've got to find out what'sinthose pigments, learn their composition, and that requireslab work - detectiveworkreally - in a word, Spectroscopy.So, how do we use Spectroscopy? Well, we put an infrared microscope - a spectroscope - on tinytiny bitsof paint. And using ultraviolet light we can see the spectralsignature ofeach component part ofthe pigment. Then wecompare these signatureswith those ofparticular elements like zinc or lead, to determine what the pigment was made of.So, you can see whythis type ofanalysis requires a knowledge ofthe history ofpigments, right?How and when theyweremade? Say we determined a pigment was made with zinc, forexample.We know the spectralsignature ofzinc. And it matchesthat of thepaint sample. We also know that zinc wasn't discovered untilthe 18th century. And since Rembrandt lived during the 17th century, we know he couldn't have painted it.Now,Spectroscopy has a verydistinct advantage over previous methods of analyzing our works, because it's not invasive. You don't have to remove big chips of paint to do your analysis, which is what othermethods require.All you do is train themicroscope on tiny flecksof paint and analyze them.Now a word or two about restoration. Sometimes original art works appear questionable or inauth entic because they’ve had so many restorersaddtouchup layers to cover up damage, damage from the paint havingdeteriorated over time.Well, spectroscopy can reviewthe composition ofthose touchup layers too. So we can find out when theywereapplied. Then if wewant to undo some bad restoration attempts, we can determine what kind of process wecan use to remove them to dissolve the paint and uncover theoriginal.LectureNarratorListen to part ofa lecturein a literatureclass.ProfessorNow we can't really talkabout fairy taleswithout first talking about folk tales because there'sa strong connection between these two genres, these twotypesof stories. In fact,many fairy talesstarted out as folk tales.So, what's a folk tale?How would you characterize them?Jeff?Jeff:Well, theyareold stories, traditional stories. Theywerepassed down orallywithin culturesfrom generation togeneration, so theychanged a lot over time.I mean,everystory teller,or, maybe everytown, might have had a slightlydifferent version ofthe same folk tale.Professor:That's right.There'slocal difference.And that'swhy wesay folk talesare communal. Bycommunal, we mean theyreflectthe traitsand the concernsofa particular community at a particular time.So essentially the same tale could be told in different communities, with certain aspectsof the tale adapted to fitthe specific community.Um, not the plot, the details of what happens in the storywould remain constant.That was the thread that held the tale together.But allthe other elements, like the location or characters, might be modified for each audience.Okay. So what about fairy tales? Th…theyalso are found in most cultures, buthow are theydifferent from folk tales?I guess the first question is: what is a fairy tale?And don’t anyone say “a storywith a fairy in it” because we all know that very few fairy talesactually have those tinymagical creaturesin them.But,whatelse can we say about them?Mary.Mary:Well, theyseem tob e lessrealistic than folk tales…like theyhave something improbable happening - a frog turning into a prince, say. Oh, that'sanother common element,royalty - a prince or princess. And fairy talesall seem to take place in a location that'snowhere and everywhereat the same time.Professor:What's the line-up? How do all the storiesstart?Once upon a time, in a faraway land...oh, in the case of folk tales,each story teller would specify a particular location and time,though the time and location would differ for different storytellers.With fairy tales, however,the location is generally unspecified, no matterwho the storytelleris. That land far away... We'llcomeback to thispoint in a few minutes.Student:Um...I,I thought that a fairy tale was just a written version of an oral folk tale. Professor:Well, not exactly,though that is how many fairy talesdeveloped. For example,in thelate 18th century, theGrimm Brotherstraveled throughout what's now Germany, recording localfolk tales. These were eventually published as fairytales, but not before undergoing a processof evolution.Now,a number ofthings happen when an oral talegetswritten down. First, the language changes. Itbecomesmore formal, more standard - some might say,"less colorful". It's like thedifference in your language depending on whetheryou are talking to someone, or writing them a letter.Second, when an orally transmitted story is written down, an authoritative version with a recognized author is created. The communal aspect getslost. The tale no longer belongsto the community.It belongs to theworld, so to speak. Because ofthis,elementslike place and time can no longer be tailored to suit a particular audience. So theybecome less identifiable, moregeneralizable to anyaudience.On the other hand, descriptions ofcharactersand settings can be developedmore completely. Infolk tales,charactersmight be identified bya name, butyou wouldn't know anything more about them. Butin fairy tales,people nolonger have to remember plots. They're written down, right? So more energycan be put into otherelementsof thestory like characterand setting. So youget more details about thecharacters, about where the action takesplace,what people's houseswere like,ur, whetherthey're small cabins or grandpalaces. And it's worth investing thatenergybecause thestory,now in bookform, isn't in danger ofbeing lost. Those details won't be forgotten. Ifa folk taleisn't repeated byeach generation, it may be lost for all time.But with a fairytale,it's always there in a book, waiting to be discovered, again and again.Another interesting differenceinvolves thechange in audience.Who thestoriesare meant for? Contraryto what many people believe today, folk taleswereoriginally intended for adults, not for children. So why is it that fairy talesseem targeted toward children nowadays?源于：小马过河相关推荐：2012年11月18日托福写作真题解析2012年11月18日托福口语真题解析2012年11月18日托福阅读真题解析2012年11月18日托福听力真题解析。
托福TPO5口语Task2题目+满分范文
为了帮助大家高效备考托福，为大家带来托福TPO5口语Task2题目+满分范文，希望对大家备考有所帮助。
托福TPO5独立口语Task2题目： Do you agree or disagree with the following statement? Why or why not? Use details and examples to explain your answer. It is more important to study math or science than it is to study art or literature. 托福TPO5独立口语Task2满分范文： I strongly disagree with the statement that studying math or science is more important than studying art or literature. Of course, math and science are very important, but it doesn't mean that they are more important than art or literature. We admire Newton for his scientific achievements such as Newton's first law. We also admire Leonardo for his art accomplishments such as MonaLisa. These two people are not comparable because they are in two different fields. So some people like studying science; some like studying literature. They all make great contributions to the human civilizations. So all these subjects are equally important. 以上是给大家整理的托福TPO5口语Task2题目+满分范文，希望对你有所帮助!。
英语听力教程5unit2part2答案及文本
英语听力教程5U n i t2P a r t2答案及文本-CAL-FENGHAI.-(YICAI)-Company One1Unit 2 New Developments in medicinePart IIAA Comparison Between Western and Holistic MedicineWestern medicine1. treating patients as a series of isolated partsHolistic medicinetaking into account the symptoms, age, habits, emotions and lifestyleWestern medicine2. looking at the part which isn't working wellHolistic medicinebuilding an overall pictureWestern medicine3. trying to remove symptoms, not the causeHolistic medicinetreating the cause of illnessWestern medicine4. using drug and surgeryHolistic medicinepreventing illness -- balanced diet & healthy lifestyleB1.(T)2.(F)3.(T)4.(T)5.(F)6.(F)P: Good morning, and welcome to our program Worldly Wise. Today our attention turns to medicine and health care, and we examine a move which is becoming more and more popular, a move away from western attitudes to medicine towards what is known as the holistic approach. But what is it What does holistic mean I spoke to Dr. Henry Wilson, of the National Homeopathic Center.W: Well, holistic means "whole", or more than that. But in terms of health care, what it means is looking at the whole body, the whole person when it comes to treating them.P: And how does that differ from a more western approach?W: Modem medicine treats patients as a series of parts that are all isolated. It looks at the part which isn't working and tries to remove the symptoms until everything's working well again a bit like a mechanic repairing a car. The opposite of holistic is symptomatic. Too often, modem medicine treats the symptoms and not the cause of an illness. Drugs and surgery can remove the symptoms ...P: But what's wrong with that Surely that's what a person who's ill wants, isn't it to feel better, not to have the pain any moreW: Yes, but as I said, the cause remains. If you have a backache, painkillers will take away the pain, but there's still something wrong somewhere that caused the backache in the first place.P: So what does the holistic approach think about illness?W: Well, it takes into account not only the symptoms, but also the age, habits, emotions and lifestyle of the individual, and tries to build an overall picture. You see, being healthy means there is a balance, or a harmony, between your mind and your body. When you're ill, it's because there's an imbalance somewhere, and this imbalance is shown by symptoms. The symptoms themselves aren't very important. For example, two people suffering from headaches might be given very different treatment, because the cause of the headache is not the same.P: You mentioned treatment. If holistic medicine doesn't prescribe drugs, how does it treat illness?W: It's important to understand that what holistic medicine tries to do above all is prevent illness, and we all know that prevention is better than cure. A good diet, with lots of fresh food, not processed food with its preservatives and chemicals is essential; and a healthy lifestyle, without too much pressure and worry, and lots of exercise and rest, not too much, not too little -- these are things that will prevent illness.Statements:1.More and more people are moving away from western medicine to holistic medicine.2.Western medicine is good for a mechanic while repairing a car.3.The cause of a backache is more important than the symptom itself.4.According to the holistic approach,when one is ill,it means there is an imbalance somewhere in him.5.If there are two people suffering from a headache,holistic medicine will treat them in the same way.6.The prevention of an illness is much easier than curing it.。
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为了帮助大家高效备考托福，为大家带来托福TPO5听力Conversation2文本+题目+答案解析，希望对大家备考有所帮助。
托福TPO5听力Conversation2文本
Narrator: Listen to a conversation between a student and a professor.
Student: Hi, I was wondering if I could talk with you about the assignment in the film theory class.
Professor: Of course, Jill.
Student: It seems that pretty much everyone else in the class gets what they are supposed to be doing but I’m not so sure.
Professor: Well, the class is for students who are really serious about film. You must have taken film courses before.
Student: Yeah, in high school, film appreciation.
Professor: Hmmm…I wouldn’t think that would be enough. Did you concentrate mainly on form or content?
Student: Oh, definitely content. We’d watch, say Lord of the Flies, and then discuss it.
Professor: Oh, that approach, treating film as literature, ignoring what makes it unique.
Student: I liked it, though.
Professor: Sure, but that kind of class. Well, I’m not surprised that you are feeling a little lost. You know, we have two introductory courses that are supposed to be taken before you get to my course, one in film art, techniques, technical stuff and another in film history. So students in the class you are in should be pretty far along in film studies. In fact, usually the system blocks anyone trying to sign up for a class they shouldn’t be taking, who hasn’t taken the courses you are required to do first as prerequisites.
Student: Well, I did have a problem with that but I discussed it with one of your office staff, and she gave me permission.
Professor: Of course. No matter how many times I tell them, they just keep on… Well, for your own good, I’d really suggest dropping back and starting at the usual
place.
Student: Yes. But I’ve already been in this class for 4 weeks. I’d hate to just drop it now especially since I find it so different, so interesting.
Professor: I guess so. Frankly I can’t believe you’ve lasted this long. These are pretty in-depth theories we’ve been discussing and you’ve been doing OK so far, I guess. But still, the program’s been designed to progress through certain stages. Like any other professional training we build on pervious knowledge.
Student: Then maybe you could recommend some extra reading I can do to… catch up?
Professor: Well, are you intending to study film as your main concentration?
Student: No, no. I am just interested. I’m actually in marketing, but there seems to be a connection.
Professor: Oh…well, in…in that case, if you’re taking the course just out of interest, I mean I still highly recommend signing up for the introductory courses at some point, but in the meantime, there is no harm I guess in trying to keep up with this class. The interest is clearly there. Eh, instead of any extra reading just now though, you could view some of the old introductory lectures. We have them on video. That would give you a better handle on the subject. It’s still a pretty tall order, and we will be moving right along, so you will really need to stay on top of it.
Student: OK, I’ve been warned. Now, could I tell you about my idea for the assignment?
托福TPO5听力Conversation2题目
Question 1 of 5
What is the conversation mainly about?
A. An assignment about which the student would like advice.
B. Concerns as to whether the student should be in the professor’s course.
C. The selection of films to be viewed by students in a film theory course.
D. The structure and sequence of courses in the Film Department.。