托福TPO53听力文本+音频下载+答案
托福TPO36听力文本+题目+答案+MP3音频
托福TPO36听力文本+题目+答案+MP3音频下载上海新航道整理! 由于托福TPO听力36文本已经很长了，此文档不包含托福听力TPO36题目+答案，托福TPO36MP3题目+答案+音频下载，请移步：/toefl/tpotingli/596362.html托福TPO听力1-48文本查看及下载，请移步：/toefl/tpotingli/更多托福TPO查看，请点击：托福TPO写作大全托福TPO口语大全托福TPO阅读大全Conversation 1Listen to a conversation between a student and an admission officer at City College.Student: Hi, can I ask you a few questions about starting classes during your summer session? Q1Admission officer: Sure, ask away. It starts next week, you know.Student: Yeah, and I wanted to get some required courses out of the way, so I can, maybe I can graduate one term earlier and get out into the job market sooner. Q2Admission officer: That sounds like a good idea. Let me pull up the summer school database on my computer here.Student: Ok.Admission officer: OK, here it is. What’s your student ID number?Student: Oh, well, the thing is, I’m no t actually admitted here. I will be starting school upstate at Hooper University in the fall, but I’m down here for the summer staying with my grandparents, ‘cause I have a summer job near here.Admission officer: Oh, I see. Well.Student: So I’m out of lu ck?Admission officer: Well, you would be if you were starting anywhere but Hooper, but City College has a sort of special relationship with Hooper, a full exchange agreement. So our students can take classes at Hooper, and vice versa.Q5 So if you can show me proof, eh, your admissions letter from Hooper, then I can get you into our system here and give you an ID number.Student: Oh, cool. So, um, I wanna take a math course and a science course, preferably biology, and I was also hoping to get my English Composition Course out of the way, too.Admission officer: Well, all three of those courses are offered in the summer, but you’ve got to understand that summer courses are condensed. You need longer hours and the assignments are doubled up because it’s the s ame amount of information presented and tested in a regular term, but it’s only six weeks long. Two courses are considered full time in summer term. Q3 Even if you weren’t working, I couldn’t let you register for more than that.Student: Yeah, I was half expecting that. What about the schedule? Are classes only offered during the day?Admission officer: Well, during the week, we have some classes in the daytime and some at night. And on the weekends, we have some classes all day Saturday or all day Sunday for the six weeks.Student: My job is pretty flexible, so one on the weekday and one on the weekend shouldn’t be any problem. Ok, so after I bring you my admissions letter, how do I sign up for the classes?Admission officer: Well, as soon as your student ID number is assigned and your information is in our admission system, you can register by phone almost immediately. Q4Student: Oh, what about financial aid? Is it possible to get it for the summer?Admission officer: Sorry, but that’s something you would have to work out long before now, but the good news is that the tuition for our courses is about half of what you’re gonna be paying at Hooper.Student: Oh, well, that helps. Thank you so much for answering all my questions. Ah, I’ll be back tomorrow with my letter.Admission officer: I won’t be here then, but do you see that lady sitting at that desk over there? That’s Ms Brinker. I’ll leave her a note about what we discussed and she’ll get you started. Q4Student: Cool.Lecture 1 World History ClassListen to part of a lecture in a world history class.Professor: In any introductory course, I think it’s always a good idea to step back and ask ourselves: What are we studying in this class? And why are we studying it? So, for example, when you looked at the title of this course in the catalogue, Introduction to World History, what did you think you were getting into? What made you sign up for it, besides filling the social science requirement?Students: HahahahahProfessor: Anyone?Student: Well, just the history of everything, you know like starting at the beginning with, I guess the Greeks and Romans, the Middle Ages, the Renaissance, you know, that kind of stuff, like what we did in high school.Professor: Ok, now what you are describing is one approach to world history. In fact, there are several approaches, basic models or conceptual frameworks of what we study when we do history. And what you studied in high school, what I call the western-heritage model, this used to be the most common approach in US high schools and colleges. In fact, it’s the model I learned with, when I was growing up back, oh, about a hundred years ago.Students: HahahahahhaProfessor: Ah, at Middle Town High School up in Maine, I guess it made sense to my teachers back then, since, well, the history of Western Europe was the cultural-heritage of everyone in my class, and this remained the dominant approach in most US schools till, oh, maybe 30, 40 years ago. But it doesn’t take more than a quick look around campus, even just this classroom today, to see that the student body in the US is much more diverse than my little classin Middle Town High. And this western-heritage model was eventually replaced by or sometimes combined with one or more of the newer approaches. And I want to take a minute to describe these to you today. So you can see where this course fits in. Ok, so up until the mid-20th century, the basic purpose of most world history courses was to learn about a set of values, institutions, ideas, which were considered the heritage of the people of Europe. Things like democracy, legal systems, types of social organization, artistic achievements. Now, as I said, this model gives us a rather limited view of history. So in the 1960s and 70s, it was combined with or replaced by what I call the different-cultures model. The 60s were a period in which people were demanding more relevance in the curriculum, and there was criticism of the European focus that you’re likely to find in all the academic disciplines. For the most part, the different-cultures model didn’t challenge the basic assumptions of the western-heritage model. What it did was insist on representing other civilizations and cultural categories, in addition to those of Western Europe. In other words, the heritage of all people, not just what goes back to the Greeks and Romans, but also the origins of African, Asian, Native American civilizations. Though more inclusive, it’s still basically a heritage model, which brings us to a third approach. What I call the patterns-of-change model. Like the different-cultures model, this model presents a wide cultural perspective. But with this model, we’re no longer limited by notions of fixed cultural or geographical boundaries. So then, studying world history is not so much a questio n of how a particular nation or ethnic group developed, but rather it’s a look at common themes, conflicts, trends that cut across modern-day borders of nations or ethnic groups. In my opinion, this is the best way of studying history, to better understand current-day trends and conflicts. For example, let’s take the study of the Islamic world. Well, when I first learned about Islamic Civilization, it was from the perspective of Europeans’. Now, with the patterns-of-change model, we’re looking at the past t hrough a wider length. So we would be more interested, say, in how interactions with Islamic civilization, the religion, art, literature, affected cultures in Africa, India, Spain, and so on. Or let’s take another example, instead of looking at each cultur al group as having a separate, linear development from some ancient origin, in this course, we’ll be looking for the common themes that go beyond cultural or regional distinctions, so instead of studying a particular succession of British Kings or a dynasty of Chinese emperors. In this course, we’ll be looking at the broader concepts of monarchy, imperialism and political transformation.Lecture 2 Environmental Science ClassListen to part of a lecture in an environmental science class.Professor: OK, now let’s talk about another environmental concern, soil erosion. It’s a major problem all around the world. Sometimes erosion damages soil so severely that the land can no longer be cultivated, and it’s just abandoned. That happened in a big way right here i n the United States. Some of you have probably read the novel “the Grapes of Wrath”, and maybe you remember that the story took place in the 1930s during the time of what was called the Dust Bowl. Dust Bowl is a term we use to describe an ecological and human disaster that took place in the Southern Great Plains region. For nearly eight years, dust and sand blew across the area and covered everything. It was so bad, iteven made breathing and eating difficult, and farmers could only look on helplessly if their crops were destroyed, and the land and their lives were ruined.Now, there’ve always been droughts and strong winds in that region, but that was ok because the native grasses had deep roots in the ground that were able to hold the soil in place. So the wind wasn’t able to, you know, erode the soil too badly. This changed though between the 1900 and 1930. Agriculture was expanding rapidly then, and lots of farmers in the Southern Great Plains wanted to grow wheat and other crops they could sell for cash, uh, crops that would be profitable. So they ripped up much of the grassland to plant these crops like wheat which don’t hold the soil down nearly as well. At the same time, livestock, cattle, too many of them were feeding on grasses in the area, and damag ing a lot of the grassland. So these animals caused even more erosion of the soil. It didn’t help that many of the actual owners of the land were not living anywhere near the area. A lot of the landowners lived way back east and rented out the land to loca l people who lived on the land and worked on it, but didn’t have much reason to take really good care of it. I mean, it wasn’t their land, right? The tenant farmers weren’t really interested in conserving someone else’s soil, not for the long term anyway. Also, some thought the land couldn’t be really damaged. You know that the soil was so rich and deep that it didn’t matter if the topsoil, the soil on the surface, blew away. They thought they could just plow more, but they were wrong. Good topsoil takes a long time to form. It can literally take thousands of years to create good topsoil that will grow vegetation, and a very short time to ruin it. So after only a few years of excessive plowing, the land pretty much couldn’t be farmed any more. And people mov ed on to other places, and let the old areas just sit there, and when they didn’t plant anything on that land, that made it vulnerable to even more erosion. So it was kind of vicious cycle you could say. Another problem, ironically, was that advances in technology were actually destroying the land, instead of improving it. A lot of farmers were using huge new tractors that dug deep into the ground, and tore up a lot of the soil. And then of course there was the weather. You know, when people look back on th e Dust Bowl era, they tend to blame the drought, the lack of rain between 1934 and 1937. We can’t ignore the drought.I mean, it was the worst on record at the time, and did help bring on this disaster. But without the soil destruction, the drought alone w ouldn’t have resulted in the devastation we call the Dust Bowl. It was poor farming techniques that made that happen. Since then, though, we’ve paid more attention to trying to prevent a future Dust Bowl. One thing congress did was an act of massive govern ment effort to improve soil conservation called the “Soil Erosion Act”. Under this law, large stretches of land in the Southern Great Plains were identified as being at risk for erosion, and we’re taking active production and turn it into permanent grassla nd. What that did, by protecting the land from excessive farming, was to stabilize the soil. Also the “Soil Erosion Act” helped educate farmers to practice better soil conservation techniques, like reducing how often they plowed and using better equipment that would, you know, minimize damage to the soil structure.Conversation 2Listen to a conversation between a student and his academic advisor.Student: Excuse me, Ms Chambers. Um, I don’t have an appointment, but I was kind of wondering if you had a minute to help me with something.Academic advisor: Oh, sure, have a seat. What’s on your mind?Student: Well, uh, I guess I really don’t know where to start. It’s not just one class. It’s….I’m not doing all that great. Like on my homework assignments, and i n class, and I don’t know why. I mean I just don’t get it. I read the assignments and I do the homework, and I’m still not doing too well.Academic advisor: Um, which classes? You mean like Spanish or…You’re taking Spanish, right?Student: Oh, no, not Span ish. If it weren’t for Spanish, I’d be really in trouble. No, but it’s really all the others, psychology and sociology especially.Academic advisor: Is it the material? What you read in the textbooks? You don’t understand it?Student: No, that’s just it. I think I understand stuff when I read it.Academic advisor: You don’t read….Student: Remember, well, I remember names and definitions, but like in the class when the professor asks about the theories, what they’re all about, I never have the answer.Acade mic advisor: Sounds like you’re trying to learn by memorizing details instead of picking out the main points of reading. So tell me, how do you study?Student: Well, I, I, I mean I read the assigned chapters and I try to underline everything, like all of the words I don’t know and I always memorize the definitions but I don’t know. When I get back in class, it always seems like the other students have got a better handle on what’s in the reading. So maybe it’s just me.Academic advisor: Oh, it’s not. Believ e me. Lots of students, you know, my first year as a college student, I really had a hard time. I spent hours reading in the library, but I was just wasting time, ‘cause I wasn’t really studying the right things. I did the same sort of thing that sounds li ke you’re doing. Not focusing on what’s really important in the reading, but on the smaller details.Student: Yeah, maybe. But I spent so much time studying. It seems like I should be doing better.Academic advisor: The first year of college can be a little overwhelming, I know. Point is, lots of students have trouble adjusting at first. You know, figuring out how to study, how to use their time, you know, to your best advantage. It’s good that you do the assigned readings, but you, well, I think you’re unn ecessarily underlining and memorizing. That takes a lot of time. And, well, it’s not the best use of your time. Here’s something you can do. When you read, just read the assigned sections, and then and without looking back of the text, write a summary of the key points, the main ideas in the chapter. And after you do that, it’s good to go back and reread the text. And you look for any examples you can find to support those key points. Let me show you an example of what I mean.Lecture 3 Astronomy ClassListen to part of a lecture in an astronomy class.Professor: I’ll tell you a story about how one astronomy problem was solved. It happened many years ago, but you’ll see that it’s interesting and still relevant. Two, three hundred years ago, astronomers alr eady had telescopes, but they were not as powerful as those we have now. Let’s say they were the level of telescopes amateur astronomers use today. Tell me. What do you see in the night sky when you use a telescope like that? Quick, tell me.Student: Planets.Professor: Right.Student: Even like the moons of Jupiter.Professor: Right.Student: Stars.Professor: OK, what else? You think that’s all? Ever heard of nebulae? I’ll bet you have. Well, let’s just, um, put it up anyway. Nebular are small fuzzy patches you see in the sky. They look like little clouds. Many of them have a spiral shape, and that’s why we call them spiral nebulae. So astronomers in the 18th century, 18th century, when they looked through the telescope, they could see planets. They knew those were planets. The moons of Jupiter? And they knew they were the moons of Jupiter. And then they saw spiral nebulae. And they didn’t have a clue. What could those be? So some of them thought these things are cloudy and fuzzy, so they’re probably small clouds of cosmic dust and they don’t have to be very far away from us. But there were others who thought, ok, the things look small and fuzzy, but maybe they’re actually distant galaxies of stars, but we can’t see the stars because they’re so far away, and they seem so tiny. They look like dust and even the whole galaxy looks like a tiny little cloud. Which of the two theories do you think was more surprising?Student: The galaxy one.Professor: And why?Student: Well, I mean that they assumed that the nebulae are not what look like at first sight. The first theory assumed that, right?Professor: Ok, now tell me this. Which one would have seemed more likely at the time?Student: Uh, They couldn’t tell.Professor: Right. Two morals here. First, there can be different explanations for the same observation. And second, obvious doesn’t necessarily mean right. What happened next was for a long time, nothing. More than 150 years. No one could decide. Both hypotheses seemed plausible, and a lot was at stake because if the galaxy theory was right, it would be proof that the universe is enormous. And if the dust theory was right, maybe not so enormous. So the size of the universe was at stake. And finally in the 1920s, we came up with a telescope that was strong enough to tell us something new here. When we used it to look at the spiral nebulae, we saw, well, we are not absolutely sure, but it really looked like there were stars in those nebulae. So not dust after all, but stars. But how far away were they really? And how would you measure that? Any ideas? Laura?Student: Well, how about measuring how strong those stars shine, because if the stars are far away, then its light would be weak, right?Professor: Yes, but there’s a problem here. You need to know how bright th e star is in the first place, because some stars are naturally much brighter than others. So if you see a star that’s weak, it can mean one of two things.Student: Oh, it’s either far away or it’s just a weak star.Professor: And you can’t really always tell which, but you’re on the right track. There’s a kind of star where you can calculate its natural brightness, and you guess it. We found some in the nebulae. It’s called a variable star, or a variable for sure, because its brightness varies in regular in tervals. I won’t go into detail here, but, basically, the longer the interval, the brighter the star. So from the length of those intervals, we are able to calculate their natural brightness. This told us how distant they were and many turned out to be very, very far away. So we can be sure that the spiral nebulae really are very distant galaxies, which is what some 18th century astronomers guessed, but didn’t have the instruments to prove. Now one reason I told you this story is that today there are still plenty of situations when we see something out there, but we really aren’t sure what it is. Examples of one such mysterious observation would be gamma-ray bursters. We’ve known about these gamma-ray bursters for a long time now, but we can’t all agree on w hat they are.Lecture 4 Art History ClassListen to part of a lecture in an art history class.Professor: Today we’re going to talk about how to look at a piece of art. How to read it. What you should look for. What aspects of it you should evaluate. A lot of people think that if you stand in front of a work of art and gaze at it for a couple of minutes, you are evaluating it. But truly reading a piece of art, evaluating it properly, is a complex process, a process that takes time. When we’re confronted with a piece of art, there’re several things we have to keep in mind. For example, its beauty. That’s where aesthetics comes in. Aesthetics is the philosophy that deals with the definition of beauty, which goes all the way back to ancient Greece. They, um, the early Greek philosophers said that beauty and art are based on imitation. Their feeling about art was that it’s beautiful when it imitates life. They thought that the truthfulness of an image, how truthful it is to life determines its value as art. Today we have a broader definition of aesthetics. Now don’t identify aesthetics as personal taste. Taste is bound by time. Taste is tied to a society, a given set of moral values usually. You may not like a piece of art from a different culture, it may not be your taste, but you appreciate its beauty, ‘cause you recognize certain aesthetic principles. Art generally adheres to certain aesthetic principles like balance, balance proportions, contrast, movement or rhythm. We’ll discuss aesthetics more in detail when we look at some pieces of art together. Another thing to keep in mind in evaluating art is that art has a purpose, generally determined by the artist. You may not know what it is. And you don’t need to know what it is to appreciate a piece of art, but i t helps. For example, if you know what the artist’s purpose is, if you know that a piece of art expresses the artist’s feeling about a political or social situation, you’ll probably look at it differently. Now, besides beauty andpurpose, what are the other aspects of a piece of art that needs to be evaluated? Very simple, you examine a piece of art following these four formal steps.The first step is description. Describe physical characteristics of the piece, like this painting is large. It’s oil on canva s. Describe the object. It’s a person. It’s a landscape or predominant colors like, um, earth colors. That’s the description, ok? So you describe the piece. The next step is analysis. You’re looking at the piece for any universal symbols, characters or themes that might contain. Certain symbols are universal, and the artist counts on your understanding of symbols. Even colors have symbolic significance as you may know. And also objects depicted in a piece of art are often used to represent an abstract idea, like wheels or spheres. They look like circles, right? So wheels and spheres represent wholeness and continuity. I have a handout of a list of these symbols and images and their interpretations that I’ll give you later. But for now, the point is that afte r you describe the piece of art, you analyze its content. You determine whether it contains elements that the artist is using to try to convey a certain meaning. If it does, the next step is interpretation. Interpretation follows analysis very closely. You try to interpret the meaning of the symbols you identify in the piece. Almost all art has obvious and implied meaning. The implied meaning is hidden in the symbolic system expressed in the piece of art. What was he depicted is one scene, but there can be several levels of meaning. Your interpretation of these symbols makes clear what the artist is trying to tell us. The last step is judgment or opinion. What do you think of the piece? Is it powerful or boring? But I give that hardly any weight. If the four steps were to be divided up into a chart, then description, analysis, and interpretation would take up 99 percent. Your opinion is not important in understanding a piece of art. It’s nice to say “I like it. I wouldn’t mind hanging it over my couch’. But t o evaluate a piece of art, it’s not critical, ok? Now you know what I mean by reading a piece of art and what it entails. Try to keep all that in mind. Next time you go to an art museum, I can tell you right now that you probably won’t be able to look at more than 12 pieces of art during that visit. Ok. Now let’s look at a slide of a piece of art and try to read it together.。
托福听力tpo50 lecture1、2、3、4 原文+题目+答案+译文
托福听力tpo50 lecture1、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 (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 ancient history class.FEMALE PROFESSOR: OK, last time we were discussing trade and commerce during the Bronze Age … And I said a little over 3,000 years ago there was quite a lively trade among the countries along the Mediterranean Sea—people were making objects out of bronze, and they were using bronze tools to make other goods, and they developed trade networks to trade these goods with other countries around the Mediterranean … One of the things they traded was glass …And recently there was an archeological excavation in Egypt—on the Nile River, around where it enters the Mediterranean Sea—where they discovered an ancient glass factory. Robert?MALE STUDENT: I thought our textbook said that the Egyptians imported their glass from other countries.FEMALE PROFESSOR: Well, until now that's what the evidence seemed to suggest. I mean, we had some evidence that suggested that the Egyptians were making glass objects, uh, but not glass.MALE STUDENT: OK, am-am I missing something? They're making glass, but they're not making glass.FEMALE PROFESSOR: I said they were making glass objects, right? You see, it was previously thought that they weren't actually making the raw glass itself, that they were importing unfinished glass from Mesopotamia—um, which today is a region consisting of Iraq, and parts of Syria, Turkey, and Iran—and simply reworking it. Most archeologists believed that the glass factories were in Mesopotamia because that's where the oldest known glass remains come from. You see, there were two stages of glassmaking: the primary production stage, where they made disks of raw glass… Uh, an- and then there was the secondary stage, where they melted the raw glass, the glass disks, and created decorative objects or whatever.And from this new Egyptian site we've learned that the primary production stage had several steps. First, they took quartz—a colorless, transparent mineral—and crushed it. Then they took that crushed quartz and mixed it with plant ash; uh, “plant ash” is just what it soundslike—the ash that's left after you've burned plant material. They slowly heated this mixture, at a relatively low temperature, in small vessels, um containers, like jars, made out of clay. Uh, and that yielded a kind of glassy material…They took this glassy material and ground it up into a powder, and then they used metallic dye to color it… After that, they poured the colored powder out into disk-shaped molds and heated it up to very high temperatures, so that it melted. After it cooled, they'd break the molds, and inside…there were the glass disks. These disks were shipped off to other sites within Egypt and places around the Mediterranean. Then, in the secondary phase, the disks were reheated and shaped into decorative objects. Susan?FEMALE STUDENT: So what kind of objects were people making back then? FEMALE PROFESSOR: Well, the most common objects we’ve found—mostly in Egypt and Mesopotamia—uh, the most common objects were beads; one thing Egyptians were very, very good at was imitating precious stones; they created some beads that looked so much like emeralds and pearls that it was very difficult to distinguish them from the real thing. Uh, and-and also beautiful vessels, uh, with narrow necks; they were probably really valuable, so they wouldn't have been used to hold cooking oil or common food items; they were most likely used for expensive liquids like perfume. Now the glass made at this factory was mostly red; to get this red color, they used copper; in a sophisticated process. Of course, any kind of glass was very valuable, so these red bottles would only have been owned by wealthy people. In fact, because it was so difficult to make, and sort of mysterious and complicated, it was probably a product produced for the royal family, and they probably used glass to show their power. Also, beautiful, expensive objects make great gifts if you're looking to establish or strengthen political alliances…and it's quite possible that ancient Egyptians were actually exporting glass, not just making it or importing it. The trade with Mesopotamia was probably a friendly, mutual trade…because, uh, Mesopotamian glass was usually white or yellow, so Mesopotamians might have said something like, “We'll give you two white disks for two red disks.” There’s no proof ofthat, uh—at least not yet…题目1.What is the lecture mainly about?A. New information about glass production and use in ancient EgyptB. Whether Egyptians or Mesopotamians were the first to invent glassC. Differences between Egyptian glass and other kinds of glassD. Reasons why ancient Egyptians imported glass from other countries2.What is the importance of the archaeological evidence recently found in Egypt?A. It supports the theory that ancient Egyptians imported glass from Mesopotamia.B. It proves that ancient Egyptians made glass objects prior to the Bronze Age.C. It provides the first evidence that glassmaking in the Bronze Age required two different stages.D. It shows that ancient Egyptians were producing raw glass.3.The professor describes a process for making glass disks. Summarize the process by putting the steps in the correct order. [Click on a sentence. Then drag it to the space where it belongs. The last one is done for you.]A.Glass-like material is ground up and dyed blue or red.B.Powdered material is heated at very high temperatures.C.Crushed quartz and plant ash are heated at low temperatures.D.Containers are broken to remove glass disks.4.Based on the lecture, what are two kinds of glass objects that were valued in ancient Egypt and Mesopotamia? [Click on 2 answers.]A. BeadsB. Cooking utensilsC. ContainersD. Windows5.According to the professor, what are two reasons why ancient Egyptians exported glass? [Click on 2 answers.]A. To build relationships with foreign leadersB. To hold cooking oil that was sold in other countriesC. To get bronze tools from other countriesD. To acquire colors of glass not made in Egypt6.Why does the professor say this:Robert: Ok. Am……Am I missing something? They are making glass but they are not making glass?Professor: I said they were making glass objects, right?A. To emphasize that glass objects were only made in ancient EgyptB. To find out what the student does not understandC. To indicate that there was no contradiction in her previous statementD. To correct what she said in her previous statement答案A D CABD AC AD C译文旁白：请听一个古代历史课上的讲座片段。
托福TPO50听力Conversation2文本+题目+答案解析
托福TPO50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TPO50听力Conversation2文本+题目+答案解析，希望对大家备考有所帮助。
托福TPO50听力Conversation2文本Listen to a conversation between a student and the head of building maintenance.Teacher: Can I help you?Student: Yeah, I um……I’m taking summer classes right now and they put me in Robert’s Dormitory, over by the library.Teacher: Ok.Student: And I guess they are painting the library or doing something to the outside of the building?Teacher: Ah……yes, they are. They are replacing the bricks on the outside walls.Student: Well, whatever it is, it’s like……really disturbing, for those of us with windows facing the library. They are working on the wall right opposite us. I mean, dust is everywhere coming in the windows, and, the noise, cos we are like…… what, ten feet away. And……well, it is just not a pretty picture.Teacher: Right, well, that’s why we waited until now to start work on it. I mean, most students have already left campus for summer vacation.Student: Yeah, but Robert’s Hall has been used by all the summer students.Teacher: Really? The housing didn’t notify us of that.Student: Yeah. It’s pretty full. I mean, I can’t sleep at night, because of the smell and the dust and……You know, I’d love to just like close the windows but you know (it’s) being summer now.Teacher: Yes, I know. There is no air-conditioning in that building.Student: Right! So I mean, we got five more weeks of classes left, and we were really wondering how much longer they are going to be working on that particular wall. Because maybe it’s going to be a while.Do you think they could maybe work on a different side of the building for now, one that's not facing people’s dorm rooms, and wait until the students are gone? To come back and finish this side? I mean, that way the dust and noise won’t be coming directly into our windows while we are here.Teacher: You know, I wish it weren’t being done this way and it doesn’t make sense. But……this p articular decision was made by a special committee and their plan was finalized several months ago. They just didn’t realize there would be students in Robert’s Hall now.Student: Yeah.Teacher: Plus, well, the equipment is all set up, you know, the scaffolding is up on that side of the building and……oh it just won’t be practical to have the construction workers move everything to another side and leave a whole side of the library all torn out like that.Student: I guess not. Isn’t there another dorm open anywhere?Teacher: Not that I know. Oh, wait. I overheard someone saying today that Manchester Hall isn’t being used by the city’s summer camp after all. You know, most years they house their participants in that dorm all summer.Student: Well, there is an idea.Teacher: Now it’s a smaller dorm and it’s a little out of theway but……well, I bet……I bet they could move the affected student from Robert’s Hall.Student: Wow, I think a lot of people would definitely appreciate that.Teacher: Ok, well, let me call the housing people and I will get back to you. Leave your name and number, ok? And I will let you know what I find out.Student: Great. Thanks.托福TPO50听力Conversation2题目1.What problem is the student having?A. His dormitory is in need of repairs.B. He does not have summer housing.C. He is bothered by construction on campus.D. He is not able to use the university library.2.What does the student suggest that the construction workers do?。
TPO53托福综合写作听力原文
TPO53托福综合写作听力原文TPO53托福综合写作听力原文Now listen to a part of a lecture on the topic you just read about.Asteroid colonization is not a very practical idea. Each of the points in the reading has a serious downside.First, while low gravity on an asteroid would make landing and taking off relatively easy, low-gravity environments also present certain risks. In a low-gravity environment, people start losing muscle mass and their bone density becomes lower. Even astronauts who spend just a few months in spaceships, which are low-gravity environments, suffer from health problems like muscle and bone density loss. Imagine the health problems that long-term colonists would experience on asteroids.Second, the availability of valuable metals might make an asteroid colony seem like a profitable idea but that’s not the whole picture. You have to consider additional factors. One thing is the costs. The costs of supporting a colony and of transporting the metals are likely to be high and will reduce the profits. And furthermore, there’s no guarantee that the price for which you can sell the metals will remain the same. If precious metals are mined in large quantities, it would increase the supply of the metals, which could end up lower in the market price. So mining on asteroids may not be very profitable.Third, even if some asteroids are easy to reach, they may not be easy to return from. Asteroid orbits, the path on which asteroids travel through space, can be unusual. Some orbital paths come close to earth but then move away from earth, often a great distance away from earth. So even if an asteroid getsclose to earth at one point, making it easy for colonists to get to the asteroid, it does not stay close to earth. It can actually travel much farther away from earth than a planet like Mars. Getting back from an asteroid that travels that far would be a challenge.TPO53托福综合写作阅读原文1 Directions: You have 20 minutes to plan and write your response. Yourresponse will be judged on the basis of the quality of your writing and on how well your response presents the points in the lecture and their relationship to the reading passage. Typically, an effective response will be 150 to 225 words.Question: Summarize the points made in the lecture, being sure to explain how they challenge the specific points made in the reading passage.Asteroids are large space objects made of rock and ice. There are hundreds of thousands of asteroids in our solar system. Though we often hear ideas about establishing colonies of humans to live and work on our Moon or our neighboring planet, Mars, some think that sending people to an asteroid would actually be the best colonization option for a number of reasons Low GravityTo begin with, asteroids are often much smaller than planets, so they have lower gravity. When landing a spaceship, the craft would not be pulled as strongly or as forcefully toward the asteroid's surface, making the landing safer than landing on the Moon or Mars; it would also allow a spacecraft to carry much more equipment needed to set up the colony. It would also be easier for the spacecraft to take off again, so the spaceship would need to carry considerably less fuel for the trip back to Earth.Mining Valuable MetalsNext some asteroids are rich in valuable elements and precious metals that are relatively rare on Earth, such as gold and platinum. An asteroid colony would be extremely profitable and a good source of these raw materials. The colonists or businesses sponsoring them could more than pay for the cost of their support by mining minerals and sending them back to Earth.Easy to ReachFinally, asteroids are a good option for colonization because some of them would be very easy to reach. There are a number of asteroids that periodically come within or near Earth's orbit Some of them actually get closer to Earth than our Moon. So these asteroids would be much easier and more affordable to get to andget back from than a planet like Mars, which would require a two-year trip in each direction.。
托福TPO52听力文本+音频下载+答案
得听力者得天下，托福听力对于考生来说至关重要!如何攻克托福听力，除了要多听，托福TPO听力也是托儿必刷的真题.今天，小编给大家带来了托福TPO52听力文本+音频下载+答案。
TPO52 玛雅文明Maya CivilizationListen to part of a lecture in an archeology class. The professor has beendiscussing ancient Mayan civilization.Professor: Now, as you remember from your reading, the Maya were an ancientcivilization which occupied in area corresponding to parts of modern-day Mexicoand Central America. Early Mayan settlements date back over 3,000 years and sayfrom about 600 to 900 C.E. The civilization was in what’s considered a goldenage of cultural achievement, what we call the Classic period.The period after this, after the Classic Period, is called the Postclassicperiod. Now it’s long been thought that during the PostClassic period, Mayancivilization was in decline. But we’re continuing to find new evidence that incertain areas Mayan civilization flourished right up to the end of thePostclassic period, what we refer to as the late Postclassic period. The latePostclassic corresponds to the period from the 1200s to 1500s, right until thearrival of the Spanish in the mid-1500s. A good example of a site whichcontinued to flourishthrough the late Postclassic is the inland Mayan communityof Lamanai, located in what is today the country of Belize in Central America.Now, Lamanai is one of the largest and most prominent archeological sites inBelize. It was occupied for over 3000 years. That makes it the longestcontinually-occupied site by the ancient Maya. Large-scale excavation at Lamanaibegan back in 1974 under the leadership of a Canadian archeologist. The firstexcavation there was on a building that dated back to the late Postclassic period. When the excavation began, we didn’t know much about Mayan life during that time. As I said, most people considered the Postclassic period as a time of decline that came after the so-called golden era. But during the first few years of excavation, the archeological team realized that Lamanai had continued to be an important center of classic Mayan culture, almost right up until the1500s.Student: So basically, what you are saying is while other Mayan cities were collapsing or had already collapsed, Lamanai was one of those places that was flourishing?Professor: Uh huh…exactly! In fact, the evidence shows that one of the greatest periods of construction in the city occurred during the Postclassic. That’s definitely not what was happening at neighboring sites during that time. And consider this, archeologists found ceramic artifacts from Lamanai’s late Postclassic period at a recently-discovered site on an island off the coast of Belize. And in Lamanai they found objects that had been imported from parts of the region which correspond to modern-day Mexico during the late Postclassic. What did those finds tell us?Female student: eh…the trade was still going on? So you probably still find the same Mayan social structure and economic practices, right?Professor: Yes. Now, these researchers and subsequent research teams havebeen helping us see a bigger picture. We now know that there was still a widespread trading network up and down a long portion of the coast of what is modern-day Mexico and Central America for more than two centuries after the。
托福TPO5套听力真题(文本)
托福TPO5套听力真题（文本）小马过河为大家准备了“托福TPO5套听力真题（文本）”，供各位备考托福的考生们参考使用，来提高自己的托福成绩！免费咨询电话：400-0123-267。
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。
TPO53托福阅读Passage1原文及答案解析
TPO53托福阅读Passage1原文及答案解析现在大家在进行托福备考时TPO托福模考软件相信是大家用的最多的工具了，对于托福成绩的提升是非常有帮助的今天小编在这里整理了TPO53托福阅读Passage1原文文本+题目+答案解析来分享给大家，希望对大家托福听力备考有帮助。
TPO53托福阅读Passage1原文文本Questions About A Drama ClassListen to a conversation between a student and his drama professor.Professor: Hi Robert. So how's your paper going?Robert: Pretty well. It's a lot of work, but I’m getting into it, so I don't mind. I’ll probably have some questions for you in the next week or so.Professor: Okay. Glad to hear you’re progressing so well.Robert: Um… There was something you said at the end of the lecture on Tuesday, something about there not really being any original plays.Professor: There’s no such thing as an origi nal play. Yes. That's the direct quote from Charles Mee.Robert: Mee… that's with two “e”s, right?Professor: Yep. M-E-E. You'll probably be hearing a lot about him. He's becoming a pretty famous playwright.Robert: Yeah，well, I’ve been thinking about his quote. I mean there must be some original plays out there.Professor: I’ll grant that he's overstating things somewhat. But the theater does have a long tradition of borrowing. Take Shakespeare. Like most writers of his day, he borrowed plots from other sources unabashedly. And the ancient Greeks, all the plays they wrote were based on earlier plays, poems and myths.Robert: And borrowing applies to plays being written nowadays, too?Professor: T o some extent, yes. Mee, for example, he's made a career out o f remaking plays, one of which we’ll be studying soon. It’s called Full Circle and Mee based it on an earlier play by a German playwright.Robert: Oh Full Circle… Wasn't that based on the Caucasian Chalk Circle?Professor: That's right.Robert: I remember hearing about that play from my acting coach.Professor: Okay. Well, the Caucasian Chalk Circle was based on a play by yet another German playwright, someone who was fascinated by the ancient literatures of China, India and Persia, and many of his works were adapted from those literatures, including his version of the Chalk Circle which was based on an early Chinese play.Robert: So this Full Circle play, by Charles Mee, the one we're going to study, it's like the third or fourth remake. Wow… And we complain that Hollywood keeps making the same movies over and over again.Professor: Well, part of what Mee’s trying to do is drive home the point that: One, theater’s always a collaborative effort.Robert: Well, yeah, the playwright, the director, the actors, people have to work together to produce a play.Professor: Yes, of course. But Mee means historically. The dramatic literature of early periods is hugely influential in shaping later dramatic works.Robert: So it's like when the playwright bases a play on a previous playwright's theme or message.It's like they're talking toeach other, collaborating. Uh, just not at the same time right?Professor: Exactly. And the second point Mee's trying to make, I think, is that it's legitimate to retell an old story in a new way, in a way that’s, uh… more in line with contemporary concerns. So when playwrights reinvent or update an earlier play, it shouldn't be construed as a lack of imagination or an artistic failure.TPO53托福阅读Passage1题目Question 1 of 5Why does the man go to see the professor?A. To discuss a play he heard aboutB. To get feedback on a paper he is writingC. To ask about a point made in classD. To get information about an acting coachQuestion 2 of 5Why does the professor mention Shakespeare and the ancient Greek playwrights?A. To support her statement that some original plays do existB. To show that playwrights historically have used themes from earlier playsC. To point out that Shakespeare was greatly influenced by ancient Greek playsD. To give examples of playwrights whose plays have inspired later playwrightsQuestion 3 of 5What does the professor imply about the play Full Circle by Charles Mee?A. It served as the basis for a Hollywood film.B. It is indirectly based on a Chinese play.C. It has influenced a more recent play.D. It uses themes from ancient Greek literature.Question 4 of 5What two points does Charles Mee make about playwriting? Click on 2 answersA. Rewriting old plays to deal with modern issues is a respectable practice.B. Playwrights should preserve as much of the original as possible when updating an older play.C. Older plays tend to show more imagination than newer plays.D. In a way, modern playwrights work with playwrights of the past.Question 5 of 5What does the man imply when he says this:A. He thinks the professor misunderstood his point.B. He has written some original plays himself.C. He doubts that what Charles Mee said is true.D. He has read some original plays by Charles Mee.TPO53托福阅读Passage1解析正确答案：C题目解析：本题定位到原文：Robert: Um… There was something you said at the end of the lecture on Tuesday, something about there're not really being any original plays. 此处原文的大意是：学生提到教授上节课说其实没有完全原创的戏剧。
托福TPO35听力Conversation1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Conversation1文本+题目+答案解析，希望对大家备考有所帮助。
托福TPO35听力Conversation1文本 Narrator:Listen to a conversation between a student and a counselor. Student: Hi, I’m Tina Molly.Employee:Oh, Tina, yeah, good to meet you!You told me on the phone that you are looking for a part-time position? Student:Yeah! My roommate works at the dining hall, and she heard a part-time job might be opening up there for this new semester. So I was hoping... Employee:There was one, but that got filled a couple days ago. Student:Oh, no! Really? The thing is I've got to do something to pay for expenses. And, well, I'm not afraid of hard work. Employee:I guess not. You see, I always have to check the class schedules of potential applicants to make sure they are full time students in good standing. And your schedule this past semester, I mean, everything from computer science, to African history, to zoology and physics. How do you manage with such a heavy class load? Student:Pretty well! Actually. If I do get a job, of course, I may have to cut back to a more normal schedule. But, you know, there're so many great subjects to learn about. Employee: Ah, a generalist. Student:Yeah! It's gonna be hard for me to pick just one thing to specialize in. Employee:Say, that gives me an idea. You're pretty comfortable on a computer, right? With learning new software applications? Student:Sure! I’m pretty good at that. Why? Employee:Well, last week I got a call from the folks over at the visualization project. They wanna add a couple part-timers to their staff. Student:Visualization project? Employee:Yes, they help professors from all different departments turn information into something their students can see. You know, instead of just writing on a black board, more and more professors want to project information onto a screen.And how do I say this? Some professors are really good in their own subject areas, but when it comes to computers, well... Student:I get the picture. So they use the visualization project to create what? Like graphs of different sorts? Employee:Graphs of economic trends for instance or population growth. And sometimes dynamic maps, maps that change on screen to show for instance how trade ebbed and flowed over the centuries along various routes between China and the Mediterranean. Student:Wow, that'd be interesting. Employee:Yeah! And that's just what they do for classroom lectures. A project staffer might also be asked for to help professors pool together some of their research data and model that visually. They claim that putting their research in a map, for example, or a moving image helps them see connections, new relationships in data on, say, animal migration patterns that they might miss if they're just looking numbers on a piece of paper. Student:That's terrific! What about working hours? Employee:They are pretty flexible. Staffers can go in to work day or night. They just have to make sure it's all done by the time the professor needs it. So shall I give you the number to call to get in touch with these people? Student:Oh, would you? To think I came in just hoping to get something in the dining hall. 托福TPO35听力Conversation1题目 1.What is the conversation mainly about? A. The woman’s schedule of classes for the coming semester. B. A job possibility in the dining hall. C. The woman’s need to specialize in a particular subject. D. Work involving the use of computer application. 2.What does the man imply about some professors? A. They have difficulty with some computer technology.。
- 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)。
得听力者得天下，托福听力对于考生来说至关重要!如何攻克托福听力，除了要多听，托福TPO听力也是托儿必刷的真题.今天，小编给大家带来了托福TPO53听力文本+音频下载+答案。
TPO53 针对戏剧课的师生问答
Questions About A Drama Class
Listen to a conversation between a student and his drama professor.
Professor: Hi Robert. So how's your paper going?
Robert: Pretty well. It's a lot of work, but I’m getting into it, so I
don't mind. I’ll probably have some questions for you in the next week or
so.
Professor: Okay. Glad to hear you’re progressing so well.
Robert: Um… There was something you said at the end of the lecture on
Tuesday, something about there not really being any original plays.
Professor: There’s no such thing as an original play. Yes. That's the
direct quote from Charles Mee.
Robert: Mee… that's with two “e”s, right?
Professor: Yep. M-E-E. You'll probably be hearing a lot about him. He's
becoming a pretty famous playwright.
Robert: Yeah，well, I’ve been thinking about his quote. I mean there must be
some original plays out there.
Professor: I’ll grant that he's overstating things somewhat. But the
theater does have a long tradition of borrowing. Take Shakespeare. Like most
writers of his day, he borrowed plots from other sources unabashedly. And the
ancient Greeks, all the plays they wrote were based on earlier plays, poems and
myths.
Robert: And borrowing applies to plays being written nowadays, too? Professor: To some extent, yes. Mee, for example, he's made a career out of remaking plays, one of which we’ll be studying soon. It’s called Full Circle and Mee based it on an earlier play by a German playwright.
Robert: Oh Full Circle… Wasn't that based on the Caucasian Chalk
Circle?
Professor: That's right.
Robert: I remember hearing about that play from my acting coach.
Professor: Okay. Well, the Caucasian Chalk Circle was based on a play by
yet another German playwright, someone who was fascinated by the ancient literatures of China, India and Persia, and many of his works were adapted from those literatures, including his version of the Chalk Circle which was based on an early Chinese play.
Robert: So this Full Circle play, by Charles Mee, the one we're going to study, it's like the third or fourth remake. Wow… And we complain that Hollywood keeps making the same movies over and over again.
Professor: Well, part of what Mee’s trying to do is drive home the point that: One, theater’s always a collaborative effort.
Robert: Well, yeah, the playwright, the director, the actors, people have
to work together to produce a play.
Professor: Yes, of course. But Mee means historically. The dramatic
literature of early periods is hugely influential in shaping later dramatic works.
Robert: So it's like when the playwright bases a play on a previous。