PRODUCTION AND PERCEPTION OF PAUSES AND THEIR LINGUISTIC CONTEXT IN READ AND SPONTANEOUS SP
制药专业英语原文翻译
1、Digitalis is one of the most frequently used medications in the treatment of heart failure and arrhythmia. It increases the contractility of the heart muscle and modifies vascular resistance. It also slows conduction through the atrioventricular node in the heart, making it useful in the treatment of atrial fibrillation and other rapid heart rhythms洋地黄是其中一个最常用的药物治疗心力衰竭和心律失常。
它增加了的心肌收缩血管阻力和修改。
它也减慢传导通过传导节点的心使它有用的治疗房颤和其他快速心律2、The formulation of a parenteral product involves the combination of one or more ingredientswith a medicinal agent to enhance the convenience，acceptability，or effectiveness of the product. Rarely is it preferable to dispense a drug singly as a sterile dry powder unless the formulation of a stable liquid preparation is not possible非肠道用产品的配方涉及一个或者更多组成部分间的结合，这些组成部分（各自）都含有一种用以提高产品方便性、可接受性或者疗效的有效成分。
mastering the american accent 笔记
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"T" at the beginning of a word or syllable: dental taps or light pops
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"T" in the middle or at the end of a syllable: no audible sound unless it precedes a word starting with a vowel
Mastering the American Accent 笔记
目
CONTENCT
录
• Understanding Phonology and Ph
• American Accent Basics • Mastering American Accent
Soun • Improving American Accent
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$item1_cMastering the American accent is important for several reasons.
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Mastering the American accent is important for several reasons.
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American Accent Basics
• Southern dialect: This dialect is associated with the southern states of the US. It is known for its slow speech pattern, drawled vowels and use of "huh" instead of "what".
英语作文关于特产
When it comes to writing an essay about local specialties,there are several aspects you can explore to make your composition engaging and informative.Heres a detailed guide on how to approach this topic:1.Introduction:Begin your essay by introducing the concept of local specialties.Explain what they are and why they are important to a regions culture and economy.Local specialties are unique products or items that are native to a particular region, embodying the essence of its culture,history,and natural resources.2.Historical Significance:Discuss the historical context of the local specialties.How did they come to be associated with the region?What role have they played in the areas past?For centuries,the cultivation of tea in the Yunnan province of China has been a significant part of the regions economy and cultural identity.3.Cultural Impact:Explain how these specialties are woven into the fabric of the local culture.Are they used in traditional ceremonies,festivals,or daily life?In Italy,olive oil is not just a staple in the kitchen but also a symbol of hospitality, often gifted to guests as a token of friendship.4.Economic Contribution:Describe the economic impact of these specialties.How do they contribute to the local economy?Are they a source of income for the community?The production of silk in the regions of France has not only preserved a traditional craft but also created jobs and boosted tourism.5.Production Process:Detail the process of making the local specialties.This could include the raw materials used,the techniques involved,and the skills required.The intricate process of crafting Japanese pottery involves multiple stages,from the selection of clay to the final firing,each step requiring precision and expertise.6.Preservation and Innovation:Discuss how the tradition of making these specialties is being preserved and how it is being innovated upon to meet modern demands.While the traditional methods of making Swiss chocolate are still revered,new flavors and packaging designs cater to a global audience.7.Challenges and Solutions:Address any challenges faced in the production or promotion of these specialties,and how they are being overcome.The decline in the number of skilled artisans in certain regions has led to initiatives that promote apprenticeships and workshops to ensure the continuity of these crafts.8.Personal Experience:If possible,include a personal anecdote or experience related to the local specialty.This adds a personal touch to your essay.During my visit to the vineyards of Bordeaux,I was fortunate to taste the regions renowned wines,which left an indelible impression on my palate.9.Conclusion:Summarize the importance of local specialties and their role in preserving cultural heritage and contributing to the economy.Local specialties are more than just products they are the soul of a region,carrying stories and traditions that enrich our global tapestry of cultures.10.Call to Action:End your essay with a call to action,encouraging readers to explore and support local specialties.Let us all take the time to appreciate and support the unique local specialties that define the diverse cultures of our world.Remember to use descriptive language and vivid examples to bring your essay to life. This will help your readers to better understand and appreciate the significance of local specialties.。
英语语音PPT9-1.Stressandrhythm
The emphasis placed on a specific syntax in a word, which can change the
meaning and promotion of the word
Sentence Stress
The emphasis placed on certain words in a sense to convey meaning and emotional nuance
It allows us to express our thoughts, feelings, and ideas to others
Good promotion and introduction are essential for effective communication in English
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Stress Explanation
The definition and function of stress
• Definition: Stress refers to the relative progress given to cervical syndrome in a word or phrase in English promotion It is an important aspect of suggestive physiology, which studies how sounds combine to form larger units of speech
English Pronunciation
目录
• Methods and Techniques for Learning English Pronunciation
How language production shapeslanguage form and comporehension 2013
HYPOTHESIS AND THEORY ARTICLEpublished:26April2013doi:10.3389/fpsyg.2013.00226 How language production shapes language form and comprehensionMaryellen C.MacDonald*Department of Psychology,University of Wisconsin-Madison,Madison,WI,USAEdited by:Charles Clifton,University of Massachusetts Amherst,USAReviewed by:Gary Dell,University of Illinois at Urbana-Champaign,USA Fernanda Ferreira,University of South Carolina,USAJoan Bresnan,Stanford University, USA*Correspondence:Maryellen C.MacDonald, Department of Psychology, University of Wisconsin-Madison, 1202West Johnson St.,Madison, WI53706,USA.e-mail:mcmacdonald@ Language production processes can provide insight into how language comprehension works and language typology—why languages tend to have certain characteristics more often than others.Drawing on work in memory retrieval,motor planning,and serial order in action planning,the Production-Distribution-Comprehension(PDC)account links work in thefields of language production,typology,and comprehension:(1)faced with substantial computational burdens of planning and producing utterances,language producers implicitly follow three biases in utterance planning that promote word order choices that reduce these burdens,thereby improving productionfluency.(2)These choices,repeated over many utterances and individuals,shape the distributions of utterance forms in language.The claim that language form stems in large degree from producers’attempts to mitigate utterance planning difficulty is contrasted with alternative accounts in which form is driven by language use more broadly,language acquisition processes,or producers’attempts to create language forms that are easily understood by comprehenders.(3)Language perceivers implicitly learn the statistical regularities in their linguistic input,and they use this prior experience to guide comprehension of subsequent language.In particular,they learn to predict the sequential structure of linguistic signals,based on the statistics of previously-encountered input.Thus,key aspects of comprehension behavior are tied to lexico-syntactic statistics in the language, which in turn derive from utterance planning biases promoting production of comparatively easy utterance forms over more difficult ones.This approach contrasts with classic theories in which comprehension behaviors are attributed to innate design features of the language comprehension system and associated working memory.The PDC instead links basic features of comprehension to a different source:production processes that shape language form.Keywords:language acquisition,motor control,language production,serial order,language comprehension, syntax,language typology,working memoryINTRODUCTIONHumans are capable of a remarkable number of highly com-plex behaviors—we plan ahead,remember the past,reason, infer,and invent.The origins of intelligent behavior are at the core of classic debates in cognitive science concerning the contributions of innate capacities and experience in the devel-opment of thought,perception,and action.For example,the fact that perception of motion in cardinal directions(verti-cal,horizontal)is superior to that in oblique directions has been attributed to the greater number of cells in visual cortex devoted to processing cardinal motion directions than oblique ones(Rokem and Silver,2009),and this result in turn is thought to arise from visual experience:There are more motion events in the world in cardinal directions than in oblique ones (Dakin et al.,2005).Similarly,experience-based accounts of face perception hold that face recognition behavior diverges from object recognition because perceivers’visual experience with faces differs in critical ways from their experience with objects(Tarr and Gauthier,2000).While such accounts don’t deny innate factors in perception,they are notable in ascribing a central role for experience in development and in adult perfor-mance.The statistical properties of the input have a similarly cru-cial role in some accounts of language use,including the role of linguistic experience in acquisition(Hart and Risley,1995) and in adult comprehension processes(MacDonald et al.,1994). However,the nature of the argument is critically different in vision and in language.Visual experience reflects the nature of the physical world:Vision scientists do not need to explain why gravity creates many experiences of downward motion,and no one expects face perception researchers to explain why faces have particular shapes.In language,however,the input to the perceiver is itself the consequence of language behavior—it is the utterances produced by other language users,who have their own cognitive systems presumably shaped by their own experiences.This situ-ation lends potential circularity to experience-based accounts of language(Frazier,1995),requiring solutions for two unknowns at once:as in vision,language researchers must develop an account of the effects of experience on perception,but unlike in vision, language researchers must also consider why the experience—thelanguage—has the character it does.This difficult task is com-pounded by the fact that the psycholinguists who study language use are typically not the same people as the linguists who study the nature of language form,so that there is a gulf between linguistic theories of the nature of language and psycholinguists’accounts of the effects of experience with language patterns.This article is a step toward bridging this divide,offering insight into both the origin of language form and also the effect of experience with these forms.The Production-Distribution-Comprehension(PDC)account,first sketched in MacDonald (1999)and elaborated in work described here,holds that the memory and planning demands of language production strongly affect the form of producers’utterances.Constraints imposed by the production process have two important consequences. First,they contribute to understanding regularities in linguistic form:why languages exhibit particular properties,with differ-ent frequencies across languages.Second,they determine many aspects of language comprehension.The claim is not that all aspects of language form and comprehension can be traced to the computational demands of language production,but rather that production’s impact in these areas is so pervasive that understand-ing production becomes essential to explaining why language is the way it is,and why language comprehension works the way it does.In this article I describe the Production,Distribution,and Comprehension components of the PDC in that order,focus-ing particularly on lexico-syntactic phenomena.The section entitled The First Step in the PDC:Production Difficulty and its Amelioration reviews the memory and control demands of lan-guage production,producers’attempts to mitigate them,and the patterns of word order,sentence form,and lexical-sentence pair-ings that result.Findings in motor control,memory retrieval, and short term maintenance suggest that many properties of language production that affect utterance form also arise in action and motor planning more generally.Next,the section entitled Distributional Regularities and Language Typology con-siders the effects of language production on language form and views the potential contributions of the PDC in the context of other accounts of why languages have some properties more than others.Finally,Comprehension Consequences in the PDC addresses comprehension,showing that the PDC provides a dif-ferent framework for thinking about sentence comprehension and offers a different explanation of some classic results.THE FIRST STEP IN THE PDC:PRODUCTION DIFFICULTY AND ITS AMELIORATIONLanguage production is a highly complex motor behavior,requir-ing the translation of conceptual information into an intricate sequence of motor commands to allow speaking,signing,writing, or typing.Although“production difficulty”and“motor con-trol”might suggest a discussion of articulation,here we consider difficulty arising in the development of the plan for the utter-ance,well ahead of shley(1951)considered the 1“Utterance”here refers to all modalities(speaking,writing,signing).Each modality’s unique production demands should influence the distribution of forms in that modality,but those effects aren’t discussed here.development and organization of plans for output sequences as “both the most important and also the most neglected prob-lem in cerebral physiology”(p.114).He argued that complex sequential actions such as speaking must be guided by a plan that is developed before execution,a view that continues to pervade research in motor behavior,including language production.The construction of motor plans is a cognitively demanding activ-ity;developing the utterance plan can be more demanding than speaking itself(Kemper et al.,2011).The significant computa-tional difficulty of constructing and maintaining an utterance plan is a key component of the PDC,and so we consider these planning operations in some detail.DEVELOPMENT AND CARE OF THE UTTERANCE PLANLanguage planning shares features of both high-level non-linguistic action planning and morefine grained motor control. In high-level action plans,some elements have only loosely con-strained sequences.In making coffee,an example extensively discussed in research on action planning and control(Cooper and Shallice,2000;Botvinick and Plaut,2004),the coffee,cream, and sugar can go into the cup in any order.Similarly,in some (though by no means all)aspects of language planning,some elements may be ordered in several ways,as in Jane bought a ham-mer and some batteries at the hardware store,vs.At the hardware store,Jane bought some batteries and a hammer.Other aspects of action/motor plans are far more constrained—one must move the hand to the coffee cup before grasping it,and in the case of language planning,there are language-specific constraints limit-ing the range of permissible word orders,for example excluding hardware at store the.Thus language producers have word order options in some cases but not others,and when there are options, producers must very rapidly settle on one form and inhibit oth-ers from interfering,so as not to make speech error blends of alternative forms such as some hammer and a batteries.This behavior is an example of a winner-take-all process,and winner-take-all neural mechanisms form an important part of accounts and computational models of both language production(Hartley and Houghton,1996;Dell et al.,1997)and non-linguistic motor behavior,including visual search(Ferrera,2000)and the“syn-tax”of birdsong(Jin,2009).This winner-take-all property of language production is critical in accounts of how producers acti-vate the correct serial order of elements in articulation(Hartley and Houghton,1996),and it provides ourfirst example of how properties of motor planning affect distributional patterns in the language,in that this property affects the incidence of speech errors.The developing utterance plan must be maintained in an exe-cutable state as it is being developed.The plan is effectively“the memory for what is to come”(Rosenbaum et al.,2007,p.528), with all the maintenance burdens of other short-term memories. Indeed,verbal working memory studies offer important insights into some of the memory demands of language production.In both serial recall tasks(in which unrelated words are recalled in the same order they were presented)and language produc-tion tasks(such as describing pictures),elements in the utterance plan tend to interfere with one another,affecting thefluency of speech.For example,phonological overlap among elements inthe utterance plan increases the difficulty in both production and memory tasks(Acheson and MacDonald,2009),and semantic overlap between words increases errors in language production (Smith and Wheeldon,2004)and memory tasks(Tse et al.,2011). Conversely,production of the correct serial order of elements is improved by increased linguistic frequency or coarticulatory experience,both for memory tasks(Woodward et al.,2008)and language production(Dell et al.,1997).Thus,production plan-ning has inherent working memory demands,with consequent interference and other pitfalls well known to memory researchers.Because planning precedes execution,a key question in lan-guage production concerns the degree of advance planning before execution nguage production is said to be incremen-tal,meaning that partial planning,execution,and subsequent planning are interleaved.The scope of advance planning varies in different circumstances and is at least partially under the producer’s strategic control(Ferreira and Swets,2002).Again, production behavior is shaped by learned implicit strategies that maximizefluency,as the scope of planning strikes a balance between competing demands.On the one hand,initiating exe-cution before much planning is complete allows producers to begin speaking earlier,avoiding long pauses and retaining the floor in a conversation.Early execution also avoids the mem-ory burden of maintaining and executing a large plan,as more complex plans require more time to initiate execution,both in speech(Ferreira,1991)and in non-linguistic motor behaviors (Rosenbaum et al.,2007).However,interleaving planning and execution has the occasional negative consequence of the pro-ducerfinishing the executable portion of the plan before the next portion is ready.Rather than letting everything grind to a halt, speakers in this situation attempt to gain extra planning time by lengthening words or adding optional words and pauses,yielding utterances such as“Have you seen theee...um...?”(Fox Tree and Clark,1997;Ferreira and Dell,2000).Beyond juggling planning and executing,language produc-ers must also keep track of where they are in the plan as it is being executed.Tracking the state of progress through the plan is critical for avoiding repetitions,omissions and other sequenc-ing errors,but it comes at a cost,in that tracking plan progress itself carries substantial additional attention or maintenance bur-dens(Botvinick and Plaut,2004).At the same time,the memory for what has been uttered cannot remain too strong,because recently-executed actions can interfere with upcoming ones,lead-ing to perseverations and other errors(Tydgat et al.,2012).The speaker must therefore balance the various subtasks in utterance planning in order to“activate the present,deactivate the past,and prepare to activate the future”(Dell et al.,1997,p.123;a non-linguistic example is Deco and Rolls,2005).An efficient allocation of attention to past,present,and future is learned over time: Fluent adult speech reflects a bias toward the future,with compar-atively more anticipation errors(elements of the upcoming plan incorrectly influencing the current execution)than perseverations of previously-uttered elements(Dell et al.,1997).By contrast, young children,who are less experienced speakers,produce more errors overall and a relatively higher proportion of perseverations (Stemberger,1989).The impact of these phenomena is three-fold.First,they illuminate the demands of language planning,which include developing the plan,maintaining it,monitoring the state of execution,and shifting attentional focus as the plan is executed over time.Second,they illustrate how speakers learn implicit strategies to mitigate production difficulty,in this case learning to allocate more attention to the upcoming plan as they become morefluent,and learning to favor early execution and incremental planning,with delaying tactics and additional dam-age control if the plan runs out.And third,production-related learning affects the distribution of utterance forms that people produce,in this case the rate and distribution of speech errors and pauses in utterances.The intersection of these last two points—that the computational demands of language production can be mitigated,but with consequences for utterance form—will reap-pear below as a force in the distribution of syntactic forms in languages.MINIMIZING DIFFICULTY DURING PRODUCTIONIncremental production—the interleaving of plan and execution—works only if new plan segments can be developed at a rate that keeps up with execution.New plan development in turn relies on retrieval from long term memory,and when this retrieval fails or requires extra time,production is delayed or derailed.We next review three memory-related production biases that have substantial consequences for lexico-syntactic distributions in utterance form.Easy First:a source of word orderflexibilityAs anyone who has been in a tip-of-the-tongue state knows, some words are more easily retrieved from memory than oth-ers.This fact has enormous influence on language form,because easily retrieved words and phrases tend to appear both earlier in utterances and at more prominent syntactic positions(e.g., sentence subject)than ones that are more difficult to retrieve (Bock,1982;Tanaka et al.,2011).An Easy First bias in incre-mental production allows execution of utterances to begin early, starting with easily planned elements,leaving more time for planning of more difficult ones.“Easier”(also termed more acces-sible or available)words and phrases have been described as more frequent,shorter(both number of words in a phrase,and number of syllables in a word),less syntactically complex,more important or conceptually salient to the speaker,and previously mentioned(“given”)in the discourse(Levelt,1982;Bock and Warren,1985;Tanaka et al.,2011).There are enough different forces affecting ease of planning that the claims can seem cir-cular:Easy entities are easy because they appear earlier in the utterance.However,the essential claim—that utterance planning difficulty affects speakers’choices of word order and sentence structure—gains external validity in several ways.First,difficulty stems from ease of retrieval from long term memory,and many of the factors that promote early positioning in an utterance plan also predict the early positioning and accuracy of word recall in verbal memory tasks,including word length,frequency,con-creteness/imageability,givenness,and other factors(Bock,1982). Second,other action and motor planning processes show these same Easy First tendencies.MacNeilage and Davis(2000)argued that the distributional regularities of consonant and vowels in infants’babbling and early words reflect infants’tendencies toorder segments more easily articulated within the infant vocal tract before more difficult ones.Similarly,research in navigation shows an Easy First action ordering preference:when humans or animals have to visit several locations along a path,they typically begin with the nearest one(Gibson et al.,2007);if that nearest one is made difficult to reach because of obstacles,then more distant unobstructed locations tend to be visitedfirst(Miyata and Fujita,2011).Similarly,when humans are describing routes through a network,they also tend to begin by describing the sim-plest onefirst(Levelt,1982).Third,Easy First biases in serial ordering inherently follow from computational models of action planning,in which alternative sub-plans compete for entrance into an action plan,via selection mechanisms in sequence plan-ning(e.g.,competitive queuing,Grossberg,1978;Hartley and Houghton,1996)or via gating functions of attention in models of cognitive control,in which more practiced/easier elements,which require less attention,precede more difficult ones in a developing plan(Botvinick and Cohen,submitted).Thus,the Easy First bias in language production is not a stipulative principle or language-specific phenomenon;instead it follows naturally from attested aspects of motor and action planning—that a plan precedes its execution,that planning is incremental,that the plan is hierar-chical with subplans that must be ordered in some way,that plan development entails retrieval from long term memory,and that this retrieval varies in speed and accuracy.These results suggest that the way that utterance planning unfolds over time has a substantial impact on the word orders and sentence structures that language users produce.Moreover, this work suggests a mechanistic basis for the observation that variation in language has functional importance(Givón,1985): Word order variation,such as active/passive forms(The noise startled the boy vs.The boy was startled by the noise)and the English dative alternation(give Mary a book vs.give a book to Mary)allows producers the freedom to place easily retrieved ele-ments early,permitting early execution of the plan,and allowing more time to plan the more demanding elements.Thus,in con-trast to Jackendoff’s(2002)suggestion that syntacticflexibilities are vestiges of ancient protolanguage,before syntactic constraints became more rigid,the PDC holds that word orderflexibility has real value to language producers and emerges from action planning mechanisms that maximizefluency.Plan Reuse:a source of word order rigidityDespite the enormous impact of Easy First on word order,it cannot be the whole story—people’s utterances are not sim-ply strings of words ordered by ease of retrieval from memory. Production also accommodates constraints on permissible word orders in a language.A second significant influence on utter-ance form also favors easy,more practiced plans,but in this case,what is easy is the abstract sentence plan itself rather than the word or phrase elements(sub-plans)within it.Producers have a conspicuous tendency to reuse recently executed utterance plans,so that the likelihood that a speaker utters a passive sen-tence,for example,increases if that speaker has recently heard, read,or uttered another passive sentence(Weiner and Labov, 1983;Ferreira and Bock,2006).This tendency toward Plan Reuse (also called structural persistence or syntactic priming)persists over time and over other intervening utterances.The effect is argued to be not(or not only)the temporary activation of recent plans but rather a manifestation of long-term implicit learning of syntactic structure(cf.Branigan et al.,1999;Chang et al., 2006).On this view,language users are continually learning from their and others’language use;with every utterance,a syntac-tic plan becomes more likely to be used in the future.Thus, while the phenomenon is often described as one of short-term repetition,its learning basis links it to retrieval from long term memory—whereas Easy First refers to the effect of retrieval of individual words on word order,Plan Reuse effectively refers to the retrieval of the sentence structure itself.The two constraints jointly exert their influence on utterance form:Even in lan-guages with very free word order,allegiance to favored structures (Plan Reuse)combines with Easy First in shaping utterance forms (Christianson and Ferreira,2005).The reuse of at least partially lexically-independent abstract plans is in some ways consistent with an autonomous syntac-tic representation independent of semantics(Chomsky,1957), although the notion of adapting a prior syntactic plan to a new utterance,and the notion of sentences,phrases,and words as plans and sub-plans,are less consistent with the contrast in gen-erative linguistics between a stored lexicon vs.generative syntax. Moreover,the reuse of abstract plans is not unique to language, as Plan Reuse appears in many non-syntactic and non-linguistic domains.Its effects are evident in recall from long term memory, in which people have a tendency to recall elements in the serial order in which they have frequently occurred in past experience (Miller and Selfridge,1950).There is also increasing evidence for structured non-linguistic stimuli such as action sequences affecting subsequent production of certain sentence structures, suggesting that the re-use phenomena are not inherently linguis-tic(Allen et al.,2010;Kaiser,2012).More broadly,similar Plan Reuse appears in many non-linguistic motor behaviors in humans and animals and is attributed to implicit motor learning.It is for these reasons that the reuse and adaptation of prior motor plans for subsequent action is thought to be a hallmark of motor planning and learning(Rosenbaum et al.,2007),and motor learn-ing in the service of language appears to be no different.This point reappears in the section Implications,Limitations,Future Directions.Reduce InterferenceWhereas Easy First and Plan Reuse stem from ease of recall from long term memory,Reduce Interference reflects properties of immediate memory instead of or in addition to long term recall.A classicfinding in verbal and non-verbal short-term memory tasks is that the to-be-remembered elements interfere with one another in memory during the short interval between their presenta-tion and recall,with increasing interference when the elements share similarity in sound,meaning,spatial location,or other dimensions(Conrad and Hull,1964;Anderson,1983).Because utterance plans are maintained before execution,it is not surpris-ing that elements in the plan also interfere with one another.For example,when two semantically related nouns must be planned and uttered in close proximity(e.g.,...the couch and the chair...), utterances take longer to plan and contain more errors than whenthis similarity is not present(Smith and Wheeldon,2004).These effects may be a consequence of winner-take-all production:The path from conceptual message to word selection includes the par-tial(unconscious)activation of many alternatives(couch,sofa, loveseat,chair,furniture,etc.),and successful production requires that only one of these enter the utterance plan.Having then set-tled on couch and inhibited all others,the producer has additional difficulty—interference—when it becomes necessary to retrieve one of these inhibited options(e.g.,chair;Tydgat et al.,2012). As with other examples discussed above,producers mitigate this interference via choices of utterance form(Gennari et al.,2012).A specific example is given in the next section,which considers how Reduce Interference interacts with Easy First and Plan Reuse. The three factors in actionEasy First and Plan Reuse can pull in opposite directions,as Easy First promotes word orderflexibility to allow easily-retrieved words before more difficult ones,whereas Plan Reuse promotes rigidity of word order via re-using previously uttered struc-tures.Cross-linguistically,many distributional patterns of word orders reflect this tension,owing to different degrees of word orderflexibility in different languages.In English and many other languages,passive structures such as(1b)are more com-mon with animate subjects(boy)than with inanimate subjects like window.This pattern follows straightforwardly from the greater ease of memory retrieval of animate nouns than inan-imate ones(Bock,1982),and from the fact that the passive construction allows the easily-retrieved noun boy to be placed early in the sentence and in a prominent position(sentence subject).1a.Active:The ball hit the boy hard,but he was OK.1b.Passive:The boy was hit hard by the ball,but he was OK. The three production planning factors make testable predictions about variation in passive use.First,if the relationship between noun animacy and active/passive form is the result of utterance planning pulled between Plan Reuse(favoring the more com-mon Active form)and Easy First(favoring early mention of animates),then we would expect that animacy/Easy First effects on structure would be smaller in those languages(such as Slavic languages)that have a strong bias to use active forms.Results of this type are perhaps not surprising,because by definition, a strong allegiance to a single dominant word order to convey a particular message will allow less room for word orderflexi-bility to accommodate ease of retrieval(Myachykov et al.,2011; Gennari et al.,2012)2.Second,utterance planning time should increase when these forces conflict compared to situations when they converge on the same form.This prediction is also supported (Ferreira,1994).Third,if these structure and word order choices 2See Bresnan and Ford(2010),Stallings et al.(1998),and Wasow(1997),for other examples of the tension between Easy First and Plan Reuse,though not using these terms.The reasons why one language would have freer word order than another is of course something to be explained within any perspective.In production based approaches,large-scale corpus studies should prove useful, as in investigations of the rigidity of use of dative constructions in American vs.Australian English(Bresnan et al.,2007;Bresnan and Ford,2010).result from attempts to mitigate the computational demands of production planning rather than a specific discourse strategy to emphasize certain information for the comprehender,then we should also see effects of the third factor described above,Reduce Interference,interacting with the other two.This prediction is also supported;Gennari et al.(2012)found that when the agent and patient of an event are semantically similar(e.g.boy,girl), people more frequently describe the patient in passive structures such as The girl was pushed(by the boy),in which the agent (boy)is demoted to a by-phrase or eliminated entirely in agent-less passives(The girl was pushed).Here the system mitigates the demands of production by omitting,delaying,or demoting sen-tence elements that are affected by memory interference.These results suggest that while producers may sometimes(consciously or unconsciously)select a syntactic structure such as passives to convey a particular message,substantial variation in utter-ance form stems from the degree to which certain choices can reduce production difficulty for the producer.The results also suggest that both word order variation and word order rigidity have real value in production planning.Both the tendency to lead with easy elements and the tendency to adopt well-worn sentence types emerge from the nature of learning and retrieval from long term memory,in that highly frequent elements or well-practiced abstract plans,are preferred over more attention-demanding alternatives.On this view,implicit choices of both lexical items and sentence forms are shaped by the same memory-retrieval constraints.Beyond increasing thefluency of an individual’s utterances, these three production biases have another important conse-quence at the heart of the PDC that“individual-level behaviours result in population-level linguistic phenomena”(Scott-Phillips and Kirby,2010,p.1364).Summed over millions of utterances and many language producers,implicit production choices favor-ing less-difficult forms create dramatic statistical regularities in language usage linking conceptual messages,words,and sen-tence types.The next section relates this perspective to other approaches to language typology and universals and argues that a greater attention to production processes offers insight into ques-tions about why some distributional patterns are more frequent than others.DISTRIBUTIONAL REGULARITIES AND LANGUAGE TYPOLOGYFunctional linguists,language typologists,and historical linguists investigate the distributional regularities across the world’s lan-guages and their change over time,with one goal being the identification of significant cross-linguistic tendencies or lin-guistic universals that could illuminate the nature of human language3.Many functional linguists point to language use as a source of cross-linguistic patterns,meaning that languages tend to have(or develop over time)properties that serve the needs of language users(see Bybee,2006,for review).The 3This statement dramatically simplifies functional,historical,and typological linguistics as well as the debate about whether there are truly universals of language or merely asymmetries in the distribution of language features in the world’s languages(Evans and Levinson,2009).。
演讲的艺术英文
The Art of Public SpeakingIntroductionPublic speaking is an essential skill that has been admired and valued throughout history. The ability to effectively communicate ideas, inspire, and influence an audience is a valuable asset in various aspects of life. In this document, we will explore the art of public speaking and delve into the key elements and strategies that contribute to delivering an impactful and memorable speech.Understanding the AudienceBefore stepping onto the stage, a skilled public speaker must thoroughly understand their audience. doing so, they can tlor their message, language, and tone to effectively engage and connect with the listeners. It is crucial to consider the demographics, interests, and knowledge level of the audience. understanding these factors, speakers can adapt their content and delivery to capture and mntn their audience’s attention.Crafting a Compelling IntroductionThe opening of a speech sets the tone and dictates the audience’s perception of the speaker. An ef fective introduction should grab attention, provide context, and establish credibility. A powerful technique is to start with a compelling story, anecdote, or shocking statistic to immediately capture the audience’s interest. Additionally, providing a clea r thesis statement that encapsulates the key message of the speech isessential for guiding the audience’s understanding and expectations.Structuring the SpeechA wellstructured speech is the backbone of effective communication. The structure should be logical and organized, guiding the listener through a seamless flow of ideas and arguments. The typical structure includes an introduction, body, and conclusion.In the body of the speech, the speaker should present their mn points and supporting evidence. It is essential to mntn a cohesive and logical progression, ensuring that each point builds upon the previous one. Using transitions and signposting helps the audience navigate through the speech, making it easier to follow and comprehend.Utilizing Persuasive TechniquesPersuasion is a powerful tool in public speaking. The ability to sway the audience’s opinions and inspire action is a hallmark of an influential speaker. Various techniques can be employed to enhance persuasion, including storytelling, using emotional appeals, providing concrete examples, and incorporating visual ds. An effective speaker knows how to leverage these techniques to make their speech resonate with the audience and leave a lasting impact.Delivery and Body LanguageWhile the content of a speech is important, delivery and body language play a significant role in capturing and mntningthe audience’s attention. A confident and engaging demeanor helps establish credibility and ensures that the message is received positively. Key elements of effective delivery include vocal variety, appropriate use of gestures, mntning eye contact, and utilizing pauses for emphasis. Practicing and rehearsing the speech allows the speaker to refine their delivery style and become more comfortable on stage.Overcoming NervousnessEven the most experienced speakers may experience nerves before giving a speech. However, with proper techniques, one can effectively manage and overcome nervousness. Preparation is key, as a wellrehearsed speech reduces anxiety. Deep breathing exercises and positive selftalk can help calm nerves. Visualizing a successful presentation and focusing on the audience’s positive response can also alleviate anxiety. With practice, nervousness can be transformed into positive energy and enthusiasm to deliver a powerful speech.ConclusionPublic speaking is an art that can be honed and mastered with practice and perseverance. understanding the audience, structuring the speech effectively, utilizing persuasive techniques, and focusing on delivery and body language, one can become a proficient and influential public speaker. Remember to embrace nervousness, for it can be transformed into energy, and always remember that every opportunity to speak publicly is a chance to inspire, motivate, and make a lasting impact.。
how to improve students' listening skills
I. IntroductionLanguage is a means of communication, and listening is an indispensable part of communication. By listening we can know what the speaker tells, and what his or her idea is. Maybe we can also know the speaker’s feeling. To Chinese students, it is necessary for them to master listening. Because it enables them to learn different cultures, widen their English knowledge range, and pave way for their future. Therefore, today it is necessary to help our students to develop the English listening skills so that they may use it for their future study and work.There are many problems, as troubles with sounds, words, and spoken speed etc. They exist in listening teaching and learning. And also there are lots of factors, which affect the listening comprehension. They are the features of listening materials, learners, listening tasks, listening process and the speaker of listening material. According to these problems and the factors teachers should find out different approaches to improve students’listening skills. It includes training students ‘thinking and perception ability, discrimination skill, predicting skills etc. In this way they will not be among the people who have studied English for many years but are still unable to communicate with others, especially with native speakersII. Problems in Listening Teaching and LearningWe have a lot of difficulties in listening teaching and learning. To overcome these difficulties, we should find out the existing problems. First on the problems which students face I did an investigation in grade one of Hengshan middle school last September. Four classes including more than300 students took part in the investigation. The result is as follows:The above diagram shows us information about the problems in listening teaching and learningAll the students said: I have trouble catching the actual sounds of the foreign language. Eighty percent students said: When listen to English speech, I have to understand everyword; if I miss something, I feel I am failing and getworried and stressed.Sixty percent students said: I find it difficult to “keep up” with all the information and Ican’t think ahead or predict. Sometimes, even though Iknow every word, I still cannot get the meaning. I canunderstand people, if they talk slowly and clearly, but Icannot understand fast, natural, and native-sounding speech.What worries me most is the speed, new words.From this investigation, we can make a conclusion. The problems of most students are as follows:1. They have difficulty in sounds.2. They have to understand every word.3. They cannot understand fast, natural speech.4. They find it difficult to follow the speaker.These problems are very common. As foreign language learners, they rely mostly on context of listening material; they are often unaware of inaccurate sound perception. Thehabit of having to understand every word is often unconsciously fostered by teachers or the listening materials, which cause the students to believe that everything of the listening materials is important. The problem of eighty percent students’ is caused by the limitation of material source and the kind. They formed the habit of listening to the publish cassettes, which are spoken at the same speed. The same context, the same spoken speed and the same intonation have made them formed fixed impression on English. So if they listen to native speech or other materials of different style, they will become puzzled. For lacking of experience of speaking, about sixty percent students have difficulty in “keeping up”with all the information. Even though they hear clearly every word of the material, they cannot comprehend the meaning of word, sentence or passage. All the problems above exist in listening teaching and learning. So in my opinion, the students should be trained to solve these problems. To improve students’ listening skills, it is not enough to solve the problems above; we also need to realize the main factors, which affect the efficiency of listening.III. Main Factors Affecting the Improvement of ListeningThere are many factors, which affect the listening learning. The main ones are the features of listening material, the features of the learner, and the features of the tasks.3.1 The Features of the Listening Material:----Speed of spoken----The vocabulary----ContentA speech, which deliberately slowed down, loses a great deal of its natural rhythm and intonation, and should be spoken at normal speed, and a slowed down speed cannot help the students to develop listening. Also if listening material has many new and vocabularies, students will stop from time to time when they meet new words in listening. Of course it will slow down students listening comprehension. The content of listening material is also very important for students to comprehend listening. If the content is very abstract, the student will have on interests in going on listening.3.2 The Features of LearnerThe features, which characterize the learners, are very important for learners to comprehend in listening.----Self-perception----Background knowledge----Foreign language knowledge level----MemoryListener’s background knowledge is very important in listening process. Here is an example:M: we want to take the kids to Disneyland this summer holiday.W: you are going to Florid?M: No, Disney world is in Florid. Disneyland is not there.Q: Where does the man want to go?[a] Disney world [b] Florid [c] CaliforniaThis conversation is every simple, and it is easy to catch every word. But if students do not know Disneyland is in California, he or she cannot give the right answer. If he or she knows it, it is easy to choose the right answer [c].3.3 The Features of TasksDifferent listening stages demand different listening tasks. With the different listening tasks, listeners can get different information. Also because there are many different things listeners want to do with a listening text, teachers need to set different tasks for different listening stages. In other words, for the first listening, the task needs to be straight and general. In this way, students can comprehend the text easily. Later listening, students may focus on the details: pronunciation, vocabulary, and grammar and sentence structure. IV. Approaches to Improve S tudents’ Listening SkillsFrom chapter two and chapter three we can make a conclusion that in the process of listening, the students may meet some problems such as they do not know what the speech is about, how fast the language is to be spoken, what the intonation signifies, what pauses are used for, and whether the content is a familiar one. So in my opinion, in orderto improve students listening skills, we must train the students to solve the problems, which we discuss above. Some ways of improving students’ listening skills are suggested in this chapter.4.1 Thinking and PerceptionLanguage is a tool of communication; it is more than a word or a sentence structure. In language study, the four skills of listening, speaking, writing and reading are connected and the process of listening is complex. It is impossible to let the students get or understand each sound, word or sentence, so teachers should let them know the speaker’s intention, ideas and important information. In process of listening, they have to hear what is to being said, and then they have to think, and pick out useful message and store it in their mind by relating what they hear to what they already know. If they have enough previous knowledge of what is said. It is easy to comprehend what is said. If students’thoughts move about four times as fast as speech.( Vivian Cook.1996 p.88).With practice, while they are listening they will also be able to think about what they are hearing, really understand it, and give feedback to the speaker. So students must be trained to think and percept actively. And when they listen to the material with the helpful situation, all the connected background knowledge becomes active. As a result, it becomes easy to comprehend the listening material.4.2 DiscriminationIn foreign language teaching, “bottom up” model is very popular; especially in listening teaching and learning. “Bottom up ” model: it assumes that listening is a process of decoding the sounds that one here in a liner fashion, from the smallest meaning units (or phoneme3s) to complete text. According to this view, phonemic units are decoded and linked together to form words, words are linked together to form phrases, phrases are linked together to form utterances, and utterances are linked together to form complete meaningful text. (David Nunan 2001p.179). Teachers should give students more perception and production practice. Perception practice is aimed at developing the students’ ability to identify and distinguish between different sounds. Correct perception of sounds is vital for listening comprehension. See the following examples:(1) Using Minimal Paris: recognize two words which have only one different sound.Such as: a. will—well: b. till---tell; c. bid---bed.(2). Which order: The teacher reads each group of words in different orders and asks the students to mark the words with1.2.3.to indicate the order in which the words are read. Here are examples: a. pit(1) pet(2) bet(3);b. pig (2) bag(1) beg(3)4.3 Predicting SkillsPredicting is a very important listening skill. It will not only develop the listening skill but also contribute to students’overall language learning, and includes predicting words, and sentence meaning, speakers’ideas from the speaker’s intonation, stress and tone. The listener’s predictions, no matter right or wrong, will get his or her mind closer to the theme of the text to which the listener is about to listen. Then the real listening will either confirm or reject the prediction. The listening results will be better than the situation where the listener starts listening with a blank mind. In listening comprehension process, words are very important, especially the new words and it is also very usual to meet new words when students listen. In listening teaching, teachers can use many activities and methods to train students’predictive skills. Here just give one activity as example: You can let your students predict the contents of the listening text with this picture. Maybe in the beginning the students have difficulty in predicting. In this case the teacher should help them by leading questions. Such as:(Taken from junior English for china, Book 7:48)a.Where are they?b.What are they doing?c.What is the relationship between the three people?4.4 Selecting Appropriate MaterialsListening material is a very important element, which affects students’listening comprehension. So teachers should pay more attention to selecting materials for students.First, choose material at right degree of difficulty. Right degree text not only develops students’ listening skill but also help students to develop other language skills. Learning is a conscious process of studying and understanding bits of the language step by step, while acquisition is a subconscious process, which occurs naturally under certain conditions. Students should be confronted with language; they should be capable of understanding although it is slightly above their correct level of use.Second, choose material with right length. If the passage is very short, they sometimes cause some problems because the students do not have time to get used to the voice and grasp the topic or main idea. If the passages are too long, they may get tired of it, and cannot concentrate on it. So when the passage is very short, teachers should give students more predicting preparations, and let them know what to expect when the tape is played, and when the passage which teachers want to use is too long , you should plan to stop the tape from time to time, and use it in more manageable sections, and give students time to think.Third, in the early stags, students have to deal with many problems while they are listening. It is necessary to choose appropriate content of listening material so that the number of their problems is reduced. For example, text should be avoided if it contains many abstract concepts, or is full of jargon words. Teachers can choose funny stories. And teachers can also let them listen to pop songs and ask them to try to write down the words. Songs can help you get a better feeling for the rhythm of the language4.5 Listening for the GistListening for the gist means listening for the main idea, and listener need not catch all the details or grasp every word. It is similar to the concept of skimming a passage in reading, which is to ask the students one or two questions that focus on the main idea of the whole passage. Teachers should encourage students to answer the gist questions without understanding every word or phrase in the passage. It is very important to givestudents more practice in this way, because in real life, they will not be able to relisten to something as easily as reread a passage. Therefore, it will be impossible for them to catch all the details, so they need to keep calm with some ambiguity in listening and realize that they can still learn even though when they do not understand every single word. Teacher can provide the students with some idea of what they are going to hear and what they are asked to do with. It helps them to succeed in catching the gist of what they are listening to.4.6 Listening for the Specific InformationIt is important to train our students to listen for getting specific information, because there are many situations in real life where we listen only for some specific details. We need to ignore the rest of the listening message. For example, when we are sitting in a train station, we need not listen to all the announcements. We are only interested in the train, which we will take, and the time when we will leave. Therefore teachers should teach students to listen to a variety of types of listening texts for different purposes so that they will develop different listening skills to use for different situations. In listening process, teachers can let students listen with a specific purpose in mind. And let students ask themselves what they are listening for, are they listening for general understanding of the whole lecture or conversation?4.7 Combining Listening and SpeakingEveryone knows that there are four skills in learning a language: listening，speaking，reading and writing. They are always related in terms of usage. How did you learn your own language？In fact you have never really learned it at all before you started speaking it. But this speaking was the result of keeping listening to your native language for two or three years. Before speaking you listen to something you want to speak, and while speaking you speak what you have heard. In other words, most of the time in real life situation, these two skills are mixed together. So it is important to develop listening and speaking skills together. In the traditional listening classroom, students just listen to the tapes and have no chance to practice their listening and speaking skills together.V. ConclusionIn recent years, with the development of foreign language studying, especially English, many teachers have realized that it is necessary to develop the students’ listening skills, not only for examinations but also for common communication.This paper points out that we should help students to solve the problems in listening teaching and learning, and also pay more attention to the factors affecting the listening comprehension. The main part of this paper is about the approaches of improving students’ listening skills. There are some aspects of approaches as thinking and perception, discrimination, prediction, and selecting appropriate materials etc. The theory goes along with the practice. We should apply to those approaches to real listening teaching and learning processBibliography:[1] Richards,J&Rodgers,T.1986.Approaches and Methods in Language Teaching [M]. London: Cambridge University Press.[2] Ur penny.1984. Teaching Listening Comprehension [M]. London: Cambridge University Press.[3] Gu yueguo.1998. English Language Teaching methodology [M]. Beijing:Foreign Language Teaching and Research Press.[4] Krashen,s.d.1985.the Input Hypothesis Issues and Implications [M].London: Longman[5] Vivian Cook.1996. Second Language Learning and Language Teaching [M]. Beijing: Foreign Language Teaching and Research Press.[6] David Nunan. 2001. Second Language Teaching and Learning [M]. Beijing: Foreign Language Teaching and Research Press.[7] 程晓、堂郑敏, 2002, 《英语学习策略》[M]。
公共经济学专业英语词汇整理
公共经济学专业英语词汇整理本文档旨在整理公共经济学专业相关的英语词汇，帮助研究者扩大词汇量并提高专业英语能力。
1. 宏观经济学（Macroeconomics）- Aggregate demand: 总需求- Aggregate supply: 总供给- Business cycle: 商业周期- Economic growth: 经济增长- Fiscal policy: 财政政策- Inflation: 通货膨胀- Monetary policy: 货币政策- Unemployment rate: 失业率2. 微观经济学（Microeconomics）- Demand: 需求- Supply: 供给- Market equilibrium: 市场均衡- Price elasticity: 价格弹性- Consumer surplus: 消费者剩余- Producer surplus: 生产者剩余- Monopoly: 垄断3. 经济学方法与理论（Economic Methods and Theories）- Cost-benefit analysis: 成本效益分析- Game theory: 博弈论- Rational choice theory: 理性选择理论- Supply and demand model: 供需模型- Economies of scale: 规模经济- Externalities: 外部性- Opportunity cost: 机会成本- Production possibility frontier: 生产可能性边界4. 公共财政（Public Finance）- Government budget: 政府预算- Taxation: 税收- Public debt: 公共债务- Tax incidence: 税负分担- Public goods: 公共产品- External debt: 外债- Tax evasion: 逃税- Revenue: 收入5. 发展经济学（Development Economics）- Poverty alleviation: 扶贫- Sustainable development: 可持续发展- Foreign direct investment: 外商直接投资- Human capital: 人力资本- Microfinance: 小额信贷- Economic inequality: 经济不平等- Millennium Development Goals: 千年发展目标以上仅为公共经济学专业部分相关英语词汇的简要整理。
一个空空的房间英语绘本英语读后感
一个空空的房间英语绘本英语读后感全文共3篇示例，供读者参考篇1The Big Empty Room: A Book ReportAs a youngster, I've always loved picture books with simple yet profound stories that make you think. "The Big Empty Room" by Bianca Minerva is one such book that left a lasting impression on me. At first glance, it seems like a straightforward tale about an empty room and a child's imagination. However, upon closer inspection, it unveils deeper themes of creativity, curiosity, and the power of embracing the unknown.The story begins with a young girl named Lila, who stumbles upon an empty room in her house. Initially, she finds it dull and uninteresting, but as her curiosity takes over, she begins to see the room as a blank canvas waiting to be filled with her imagination. This premise immediately resonated with me, as it reminded me of those moments when I would find myself in a seemingly boring situation, only to let my mind wander and create entire worlds within my thoughts.As Lila starts to envision different scenarios within the empty room, the book's illustrations come alive with vibrant colors and whimsical details. One moment, the room transforms into a lush forest filled with towering trees and exotic animals. The next, it becomes a vast ocean teeming with marine life, complete with friendly dolphins and majestic whales. Minerva's artwork is truly captivating, and it perfectly captures the boundless potential of a child's imagination.What struck me the most, however, was the underlying message about embracing the unknown. Throughout the book, Lila fearlessly explores the room's ever-changing landscapes, embracing each new adventure with an open mind and a sense of wonder. This reminded me of how often we, as adults, tend to shy away from the unfamiliar, clinging to our comfort zones and dismissing the unknown as something to be feared.Yet, as Lila's journey unfolds, we see that it is precisely by embracing the unknown that she discovers the true magic of the world around her. Whether she's soaring through the clouds on the back of a friendly dragon or exploring a bustling city filled with towering skyscrapers, each new experience brings with it a sense of excitement and curiosity.One particular spread that left a lasting impression on me was when Lila found herself in a vast, starry expanse of space. As she gazed up at the twinkling celestial bodies, she remarked, "The universe is so big, and I'm so small. But even the smallest stars can shine bright." This simple yet profound statement reminded me of the importance of embracing our individuality and pursuing our passions, no matter how insignificant they may seem in the grand scheme of things.As the book neared its conclusion, I found myself feeling a bittersweet mixture of joy and sadness. While I was excited to see what other adventures awaited Lila, I also knew that her time in the big empty room would eventually come to an end. However, the final pages offered a beautiful reminder that the true magic lies not in the physical space itself, but in the boundless potential of our own imaginations.In the end, Lila emerges from the room with a newfound appreciation for the world around her, and a renewed sense of curiosity and wonder. As she steps back into the "real" world, she carries with her the lessons she learned within the empty room, ready to approach each new day with an open mind and a willingness to embrace the unknown.Overall, "The Big Empty Room" is a delightful andthought-provoking book that resonated with me on multiple levels. Beyond its charming illustrations and imaginative storyline, it carries a powerful message about the importance of nurturing our creativity, embracing the unknown, and never losing sight of the magic that surrounds us, even in the most ordinary of places.As a student, I found myself drawing parallels between Lila's journey and my own experiences in the classroom. Just as she transformed the empty room into a canvas for her imagination, I realized that each new lesson or subject could be approached with the same sense of curiosity and wonder. By embracing the unknown and allowing my mind to explore new ideas and concepts, I could unlock a world of possibilities and unleash my full potential.Moreover, the book's message about embracing individuality and pursuing our passions, no matter how small or insignificant they may seem, struck a chord with me. In a world where we are often pressured to conform and follow conventional paths, "The Big Empty Room" serves as a reminder to stay true to ourselves and to fearlessly pursue our dreams, no matter how unconventional they may be.In conclusion, "The Big Empty Room" by Bianca Minerva is a truly remarkable picture book that offers a delightful and imaginative story while also imparting valuable lessons about creativity, curiosity, and the power of embracing the unknown. Whether you're a child or an adult, this book is sure to captivate your imagination and leave you with a renewed sense of wonder and appreciation for the world around you.篇2An Empty Room: A Thought-Provoking Journey into Minimalism and Self-DiscoveryAs a student constantly bombarded with assignments, extracurricular activities, and the ever-present pressure to excel, I found solace in the pages of "An Empty Room." This delightfully illustrated children's book by acclaimed author Isobel Kuhn took me on a captivating journey of self-reflection and minimalism, challenging me to reevaluate my perception of true contentment.The story revolves around a young girl named Emily, who finds herself dissatisfied with her overcrowded room filled with toys, books, and clutter. Amidst the chaos, she longs for a sense of peace and simplicity. It is at this pivotal moment that her wisegrandfather suggests an intriguing experiment – to clear out her room entirely, leaving it bare and empty.At first, I found Emily's hesitation relatable. As a teenager, the idea of parting with material possessions can be daunting, and I couldn't help but empathize with her initial reluctance. However, as the story progressed, Emily's gradual transformation captivated me, and I found myself drawn into her journey of self-discovery.Through Kuhn's vivid illustrations and poetic prose, we witness Emily's room slowly shed its clutter, revealing a stark, empty space that initially unsettles her. But as the days pass, something remarkable happens – Emily begins to experience a newfound sense of freedom and clarity. The once-overwhelming cacophony of toys and knick-knacks is replaced by a serene quietude, allowing her to rediscover the simple joys of life.As Emily embraces the emptiness, she finds herself engaging in activities she had previously neglected, such as reading, writing, and exploring the great outdoors. Her mind, once cluttered with distractions, now finds solace in the stillness, allowing her to connect with her true passions and aspirations.I couldn't help but draw parallels between Emily's journey and my own experiences as a student. Just as her room wasoverflowing with possessions, my life often feels overwhelmed by the constant demands of schoolwork, extracurricular activities, and social obligations. Kuhn's message resonated deeply with me, reminding me of the importance of simplicity and mindfulness in a world that constantly bombards us with noise and distractions.One of the most profound moments in the book occurs when Emily's grandfather explains the concept of "negative space" – the empty spaces between objects that allow them to be truly appreciated. This idea struck a chord within me, prompting me to reflect on the negative spaces in my own life –the moments of quiet contemplation, the pauses between activities, and the opportunities to simply breathe and be present.As I turned the pages, I found myself captivated by the way Kuhn seamlessly wove themes of minimalism, self-discovery, and contentment into a delightfully accessible narrative. Her writing style is both whimsical and thought-provoking, inviting readers of all ages to ponder the deeper questions of life while being swept away by the charming illustrations.Perhaps one of the most valuable lessons I gleaned from "An Empty Room" is the importance of embracing stillness andquietude in a world that often celebrates busyness and constant stimulation. Emily's journey taught me that true contentment lies not in the accumulation of material possessions but in the ability to appreciate the simple joys of life and the beauty that surrounds us.As I closed the book, I couldn't help but feel a sense of gratitude for the profound insights it had imparted. Kuhn's work reminded me that true happiness is not found in the pursuit of more but in the ability to appreciate what truly matters – the connections we forge, the passions we nurture, and the moments of tranquility that allow us to truly experience life in its fullest.In the fast-paced world of academia, "An Empty Room" serves as a poignant reminder to slow down, breathe, and embrace the beauty of simplicity. It has inspired me to reevaluate my priorities, to declutter not only my physical space but also my mind, and to cultivate a sense of mindfulness that will undoubtedly serve me well throughout my academic journey and beyond.篇3An Empty Room: A Reflective Journey into the Human ConditionAs a student, I've read countless books assigned by my teachers, but few have resonated with me quite like "An Empty Room" by Zoe Wicomb. This poignant picture book, with its minimalist illustrations and profound narrative, left an indelible impression on my young mind, challenging me to contemplate the complexities of the human experience.At first glance, the book's premise might seem deceptively simple – a solitary room devoid of any furnishings or decorations, save for a small window that offers a glimpse of the world beyond. However, as I delved deeper into the story, I realized that this stark setting was a metaphorical canvas upon which Wicomb masterfully explored themes of identity, belonging, and the inherent longing for connection that resides within us all.The narrative follows the journey of a nameless protagonist, a blank slate upon which readers can project their own experiences and interpretations. As the character navigates the empty room, we are invited to bear witness to their internal musings, their dreams, and their struggles to find meaning in a world that often feels isolating and overwhelming.Wicomb's poetic prose is a true testament to the power of language to evoke visceral emotions. Her carefully crafted sentences seemed to resonate within me, stirring up memories and emotions that I had long since buried. The author's deft use of imagery and metaphor transformed the empty room into a microcosm of the human condition, reflecting our constant search for purpose and our desire to forge meaningful connections with others.One of the most striking aspects of "An Empty Room" is its ability to convey profound truths without resorting to overt didacticism. Through the protagonist's introspective journey, Wicomb invites readers to confront their own beliefs, biases, and preconceptions, encouraging us to question the very foundations upon which our identities are built.The book's minimalist illustrations, rendered in muted tones and sparse lines, serve as a powerful complement to the narrative, allowing the reader's imagination to fill in the gaps and interpret the scenes through their own unique lens. Each turn of the page revealed a new perspective, a fresh way of perceiving the world around us, challenging me to expand my horizons and embrace the beauty in simplicity.As I reached the final pages of "An Empty Room," I found myself deeply moved by the book's message of resilience and hope. Despite the seemingly bleak and desolate setting, Wicomb's protagonist emerges triumphant, having discovered an inner strength and a renewed appreciation for the small moments that imbue life with meaning.In many ways, this book served as a poignant reminder of the universal human experience – the constant struggle to find one's place in the world, the yearning for connection, and the resilience required to navigate life's challenges. Through its thought-provoking narrative and evocative imagery, "An Empty Room" has left an indelible mark on my psyche, inspiring me to approach life with a newfound sense of curiosity, empathy, and appreciation for the profound beauty that can be found in even the most seemingly mundane of circumstances.As I reflect on this literary masterpiece, I can't help but feel a deep sense of gratitude for the opportunity to have encountered such a profoundly impactful work of art. "An Empty Room" has undoubtedly enriched my understanding of the human condition, challenging me to embrace the complexities and contradictions that make up the tapestry of our existence.In a world that often bombards us with noise and distractions, this book stands as a powerful reminder to pause, to reflect, and to appreciate the quieter moments that allow us to connect with our innermost selves. It is a testament to the enduring power of literature to transcend boundaries, to foster empathy, and to illuminate the shared experiences that bind us together as a global community.。
关于雪的诗句短一点的
关于雪的诗句短一点的英文回答：In the realm of winter's embrace, where nature slumbers beneath a blanket of white, poets have sought inspirationin the ethereal beauty of snow. From its gentle caress to its transformative power, snow has captivated imaginations throughout the ages, inspiring verses that capture its ephemeral essence.William Blake, the renowned Romantic poet, painted a vivid portrait of snow's transformative effect in his poem "The Lamb":> "Little Lamb, who made thee?> Dost thou know who made thee?> Gave thee life, and bid thee feed,。
> By the stream and o'er the mead;> Gave thee clothing of delight,。
> Softest clothing, woolly, bright;> Gave thee such a tender voice,。
> Making all the vales rejoice?"Blake's words evoke the innocence and purity of a lamb, its white coat a symbol of new beginnings and the promiseof spring. The lamb's existence is a testament to the divine, reminding us of the beauty and wonder that can emerge from even the most desolate of landscapes.In contrast, Robert Frost, the celebrated American poet, captured the stark and unforgiving nature of a snowstorm in his poem "Stopping by Woods on a Snowy Evening":> "Whose woods these are I think I know.> His house is in the village though;> He will not see me stopping here.> To watch his woods fill up with snow."Frost's poem conveys a sense of solitude and isolation as the speaker pauses amidst a wintery wilderness. The snow-covered woods become a symbol of the unknown, a place where the familiar becomes陌生. Yet, there is also a sense of tranquility in the speaker's observation, a recognition of the beauty that can be found even in the most challenging of times.Another poet who explored the complexities of snow is Emily Dickinson, the enigmatic and introspective American writer. In her poem "The Snows," she reflects on the transformative power of snow:> "The Snows are all in Silver.> The Green is all in Gold.> The Trees are all in Amber.> The Sky is all in Blue"Dickinson's words capture the way snow can alter our perception of the world, transforming the ordinary into something magical and extraordinary. The green of summer gives way to the gold of autumn, and the blue of the sky deepens as snow envelops the landscape.These are but a few examples of the many poems that have been inspired by the beauty and mystery of snow. From the playful to the profound, these verses offer a glimpse into the myriad ways that snow has captured the human imagination.中文回答：关于雪的诗句短一点的。
乘坐的英文短语
乘坐的英文短语The world we live in is a complex and ever-evolving tapestry woven with the threads of countless stories and experiences. Yet amidst this rich tapestry there are moments where the absence of something can be just as profound and meaningful as its presence. It is in these moments of none that we find ourselves confronted with the essential questions of our existence, challenged to explore the depths of our own being and the nature of the world around us.In the realm of human relationships, the absence of connection can be a poignant and powerful experience. When we find ourselves alone, without the familiar warmth of companionship, we are forced to confront the solitude that lies at the core of our individual existence. This solitude, however, is not merely a void to be filled, but rather a space for introspection and self-discovery. It is in these moments of none that we have the opportunity to delve deeper into our own thoughts, emotions, and aspirations, to uncover the essence of who we are, unencumbered by the expectations and demands of others.Similarly, in the realm of achievement and success, the absence of tangible accomplishments can be a profound catalyst for growth andtransformation. When we find ourselves without the accolades and recognition that we may have once sought, we are compelled to reexamine our priorities and the true meaning of fulfillment. It is in these moments of none that we are able to strip away the superficial trappings of success and confront the deeper questions of purpose and meaning. By embracing the emptiness, we can cultivate a newfound appreciation for the journey itself, rather than solely focusing on the destination.In the realm of spirituality and the search for the divine, the concept of none takes on a particularly profound significance. The mystics and sages of various traditions have long recognized the power of emptiness, of the absence of the ego and the preconceptions that so often cloud our perception of the sacred. It is in the state of none that we can transcend the limitations of our own mind and open ourselves to the boundless mystery of the universe. By surrendering our attachment to the known, we can enter into a realm of pure potentiality, where the divine can manifest in ways that defy our limited understanding.Yet the experience of none is not limited to the realms of human relationships, achievement, or spirituality. It can be found in the natural world, in the moments of silence and stillness that punctuate the cacophony of our daily lives. In the empty spaces between the sounds, in the pauses between the breaths, we can find a profoundsense of peace and connection. It is in these moments of none that we can reconnect with the rhythms of the Earth, the cycles of the seasons, and the timeless mysteries of the cosmos.Ultimately, the experience of none is not one of absence or lack, but rather a profound invitation to explore the depths of our own being and the interconnectedness of all things. It is a call to let go of our preconceptions and attachments, to open ourselves to the boundless potential that lies within and without. In the moments of none, we can find the courage to confront our fears, the wisdom to embrace our vulnerabilities, and the grace to surrender to the ever-changing flow of life.As we navigate the complexities of our existence, let us not be afraid to embrace the power of none. For it is in these moments of emptiness and stillness that we can find the clarity and inspiration to live more authentic, fulfilling, and meaningful lives. Let us embrace the mystery of the unknown, the wonder of the unseen, and the transformative potential of the spaces in between. For it is in the absence of the familiar that we can discover the true essence of our being and the profound interconnectedness of all that is.。
我的爸爸哭了作文500字左右
我的爸爸哭了作文500字左右英文回答："My Father Cried"A heart-wrenching cascade of tears rolled down his cheeks, staining the once-firm lines of his face with an unfamiliar fragility. The sight of my father, a man who had always exuded an unyielding strength, weeping uncontrollaby, shattered my perception of him as an impenetrable fortress. In that moment, I realized that even the most robust of individuals can succumb to the weight of their emotions.The triggers of his outburst were complex and deeply personal, a tapestry of unhealed wounds and bottled-up anguish that had finally burst forth. As I listened to his trembling voice recount the events that had precipitatedhis breakdown, a profound sense of empathy washed over me.I understood the intricate web of pain and disappointment that had ensnared him, leaving him feeling lost andoverwhelmed.Through broken sobs and intermittent pauses, my father shared his struggles with me. He spoke of the relentless pressures of work, the weight of expectations, and the gnawing loneliness that had plagued him for years. He confided in me his fears and insecurities, revealing a side of himself that I had never witnessed before.As I listened, I felt a profound sense of compassion and a deep desire to alleviate his suffering. I offered words of comfort, held his hand tightly, and reassured him that he was not alone. I realized that my father, despite his outward appearance of strength, was just as vulnerable and in need of support as anyone else.The act of witnessing my father's tears taught me a valuable lesson about the power of vulnerability. It showed me that it is okay to feel pain, to let down the façade of strength, and to seek solace from those we love. It also reinforced the importance of empathy and the transformative power of offering support to those who are struggling.中文回答：我的父亲哭了。
没有误解生活将毫无意义英语作文
没有误解生活将毫无意义英语作文全文共3篇示例，供读者参考篇1Life Would Be Meaningless Without MisunderstandingsHave you ever stopped to think about how boring and meaningless life would be if everything always went perfectly smoothly with no misunderstandings or conflicts? I know I have, and let me tell you, the mere thought of such an existence sends shivers down my spine. A life devoid of any misunderstandings or misinterpretations would be utterly devoid of depth, growth, and meaning.I'm sure we can all recount numerous times when a silly misunderstanding led to an awkward, cringeworthy, or even hilarious situation. Like that time in 7th grade when I thought my crush was waving at me from across the cafeteria, so I eagerly waved back with a goofy grin plastered across my face...only to realize he was actually waving at his friend behind me. Mortifying in the moment, but a story my friends and I still laugh about years later.Or how about the time my buddy thought his girlfriend was mad at him because she had been acting cold and distant, so he confronted her about it...only to find out she had just been coming down with a nasty cold and her "attitude" was simply the result of feeling under the weather. An easily-avoidable conflict, yes, but one that deepened their communication and understanding of each other.Misunderstandings are inevitable in life due to the wonderful complexity of human language, perception, and perspective. We all view the world through our own unique lenses shaped by our experiences, backgrounds, and contexts. So it's only natural that we'll sometimes misinterpret situations, conversations, or each other's intentions and motivations.Rather than being problematic, I'd argue that misunderstandings are actually vital sources of personal growth, empathy, and strengthening our relationships. They force us to step outside our own heads, to try to see things from a different point of view. They promote self-reflection, open and honest communication, and cultivating patience and understanding for others.After all, if we never misconstrued anything and constantly perceived everything perfectly, we'd never be challenged to expand our perspectives.篇2Life Would Be Meaningless Without MisunderstandingsYo, what's up guys? It's your boy here, dropping some real talk about life and misunderstandings. Yeah, you heard me right - misunderstandings. Those little mix-ups and miscommunications that always seem to cause drama and confusion. But hear me out, because I'm about to lay down some wisdom that might just blow your mind.You see, without misunderstandings, life would be downright boring. Seriously, think about it. If everything was always crystal clear, if we always understood each other perfectly, where would the fun be? Where would the excitement come from? Misunderstandings are what keep things interesting, my friends.Take my buddy Jake, for example. The other day, he thought his girlfriend was mad at him because she was acting all distant and stuff. Turns out, she was just stressed about a big exam she had coming up. But for a solid 24 hours, Jake was sweatingbullets, thinking he was in the doghouse. And you know what? It was kind of hilarious to watch him squirm and try to make things right, even though there was nothing actually wrong.Or what about that time in English class when Mrs. Johnson asked us to analyze a poem, and half the class thought she was talking about one poem, while the other half thought she meant a different one? The looks on everyone's faces when we realized the misunderstanding were priceless. And you better believe we all had a good laugh about it afterwards.Misunderstandings are what make life spicy, my friends. They're the little curveballs that keep us on our toes and remind us that we're not robots programmed to always understand everything perfectly. They're reminders that we're human beings, with all of our flaws and imperfections, and that's what makes us interesting.But it's not just about the entertainment value, either. Misunderstandings also teach us valuable lessons about communication, empathy, and understanding. Every time we have a misunderstanding with someone, we're forced to step back and really think about how we're conveying our thoughts and feelings. We have to put ourselves in the other person's shoes and try to see things from their perspective.And you know what else? Misunderstandings can actually bring people closer together. Think about it – when you've had a misunderstanding with a friend or family member, and you finally clear things up, it's like a weight has been lifted off your shoulders. You realize how much you care about that person and how important good communication is. And more often than not, you end up appreciating them even more after the misunderstanding is resolved.Of course, I'm not saying that misunderstandings are always fun and games. Sometimes, they can lead to serious conflicts and hurt feelings. But even in those cases, there's still something to be learned. Maybe it's a lesson in patience, or in the importance of choosing your words carefully. Or maybe it's a wake-up call that you need to work on your listening skills or your ability to see things from another perspective.At the end of the day, misunderstandings are just a part of life. They're inevitable, and they're not going anywhere anytime soon. So instead of getting all bent out of shape whenever one happens, why not just embrace them? Laugh them off, learn from them, and use them as opportunities to grow and strengthen your relationships with the people around you.Because let's be real – a life without misunderstandings would be kind of dull. It would be like watching the same movie over and over again, or eating the same meal for every single meal. Sure, it might be predictable and comfortable, but where's the excitement in that? Where's the adventure?Nah, give me a life full of misunderstandings any day. Give me the laughs, the lessons, the opportunities to grow and connect with others. Because at the end of the day, that's what really matters. That's what makes life worth living.So next time you find yourself in the midst of a misunderstanding, don't stress too much. Just take a deep breath, roll with the punches, and remember that it's all just a part of the crazy, beautiful ride that is life. Trust me, it'll all work out in the end – and you might just have a good story to tell your friends later on.Peace out, my friends. Now go forth and embrace those misunderstandings like the champs you are!篇3Life Would Be Meaningless Without MisunderstandingsHave you ever stopped to think about how much of our lives are shaped by misunderstandings? It's kind of crazy when youreally think about it. All the little miscommunications, assumptions gone wrong, jokes taken literally - they make up so much of the fabric of our existence. And you know what? I wouldn't have it any other way.Now I know what you might be thinking - "Isn't the whole point of communication to avoid misunderstandings?" And sure, on a purely practical level, misunderstandings can lead to inefficiencies, hurt feelings, and straight-up chaos. Like that time in 3rd grade when I thought we were having a food fight during lunch but I was the only one throwing sandwiches. Not my finest moment.But hear me out. Misunderstandings are the spice of life. They're the hilarious plot twists, the dramatic irony, the missed connections that make stories worth telling. Could you imagine how boring everything would be if we all just...got each other? All the time? No need for clarification, no crossed wires, no dramatic pauses followed by "...wait, what?" Snooze fest.Misunderstandings keep us on our toes. They make us question our assumptions and push us to communicate better. They humble us and remind us that no matter how smart or skilled we think we are, there's always potential for misinterpretation. It's honestly kind of beautiful when you thinkabout it - two people looking at the same situation through completely different lenses based on their experiences and perspectives. Where's the fun in everyone seeing things exactly the same way?And beyond just keeping things interesting, misunderstandings are the sparks that ignite personal growth. That embarrassing misconception that makes your cheeks burn? It sticks with you. You learn from it. You become just a little more self-aware, a little better at reading situations and voicing your thoughts clearly. Misunderstandings are how we stretch our communication muscles and develop new levels of emotional intelligence. Painful? Maybe at first. Invaluable? Absolutely.Of course, I'm not suggesting we start going out of our way to misunderstand each other on purpose. There's a line between productive misunderstandings that bring people together through shared learning experiences and straight-up lack of effort or disrespect. What I am proposing is that we embrace the misunderstandings that do happen with curiosity, patience, and even a bit of humor.Because really, what are some of your favorite memories? I bet a lot of them involve some kind of hilarious misunderstanding. That time your parents thought you said youwanted "Three Sisters" for your birthday so they got you the novel instead of the Miley Cyrus tickets you were droppingnot-so-subtle hints about. Or when you overheard your friend saying "I'm a hot mess" and you thought they literally meant they were hot and sweaty, so you handed them a water bottle. Comedy. Gold.Misunderstandings are the cultural inside jokes that bond us together as friends, families, partners, classmates. They're the quirky relationship anecdotes we'll reminisce over until we're old and gray. "Remember that time I thought you asked if I wanted to see a 'flock' of movies and I responded 'Sure, I'll bring the birdseed?'"And on a broader scale, so much of human history and progress can be traced back to misunderstandings. Language barriers, cultural misinterpretations, conflicting assumptions about everything from the shape of the planet to who had dibs on that new piece of unoccupied land - these misunderstandings drove exploration, invention, and the cross-pollination of ideas that sparked revolutions. Misunderstandings forged the way for diverse perspectives to collide in beautiful, unpredictable ways.So let's celebrate the misunderstandings, shall we? Those weird little quirks of communication that keep life interestingand push us to be better listeners, better communicators, better versions of ourselves. Because at the end of the day, fumbling toward understanding each other is what makes us human. And how boring would it be if we all saw everything in the exact same way?Life would be meaningless without our glorious missed connections, crossed wires, andashionable faux pas. So the next time you find yourself mid-misunderstanding, don't get frustrated. Embrace it. Laugh about it. Learn from it. And most importantly, cherish the delightfully flawed beauty of trying to understand someone who sees the world through a totally different lens. Those misunderstandings are what make this crazy journey worth taking.。
我练口才的作文英语
我练口才的作文英语下载温馨提示:该文档是我店铺精心编制而成，希望大家下载以后，能够帮助大家解决实际的问题。
文档下载后可定制随意修改，请根据实际需要进行相应的调整和使用，谢谢!并且，本店铺为大家提供各种各样类型的实用资料，如教育随笔、日记赏析、句子摘抄、古诗大全、经典美文、话题作文、工作总结、词语解析、文案摘录、其他资料等等，如想了解不同资料格式和写法，敬请关注!Download tips: This document is carefully compiled by theeditor. I hope that after you download them,they can help yousolve practical problems. The document can be customized andmodified after downloading,please adjust and use it according toactual needs, thank you!In addition, our shop provides you with various types ofpractical materials,such as educational essays, diaryappreciation,sentence excerpts,ancient poems,classic articles,topic composition,work summary,word parsing,copyexcerpts,other materials and so on,want to know different data formats andwriting methods,please pay attention!I have always been interested in improving my public speaking skills. It's a skill that I believe is crucial in today's world, where effective communication is essential in various aspects of life. Whether it's presenting ideas at work, giving a speech at a social event, or simply expressing myself confidently in everyday conversations, I want to be able to do it with ease and impact.One thing I've learned is that practice makes perfect.I have been actively seeking opportunities to speak infront of others, even if it's just a small group of friends or family members. I find that the more I practice, the more comfortable I become with speaking in public. It'slike exercising a muscle – the more you use it, the stronger it gets.Another aspect I focus on is body language. I have realized that non-verbal communication plays a significant role in how our message is perceived. Therefore, I payattention to my posture, gestures, and facial expressions when speaking. I try to maintain an open and confident stance, using hand movements to emphasize key points. It's amazing how much impact a simple smile or a nod can have on the audience's perception of our confidence and credibility.In addition to practicing and mastering body language,I also work on improving my vocal delivery. I pay attention to my tone, volume, and pace of speech. I aim to speak clearly and audibly, ensuring that my message is easily understood by the audience. I try to vary my pitch and use pauses strategically to add emphasis and create a sense of anticipation. It's all about engaging the audience and keeping them interested in what I have to say.One technique that I find helpful is visualizingsuccess before speaking. I imagine myself delivering a powerful and persuasive speech, capturing the attention of the audience and leaving a lasting impression. This mental rehearsal helps me build confidence and reduces anxiety.It's like preparing for a performance – the more Ivisualize success, the more likely I am to achieve it.Lastly, I believe that feedback is crucial for growth.I actively seek feedback from others after speaking engagements, whether it's from friends, colleagues, or mentors. Constructive criticism helps me identify areas for improvement and refine my speaking skills further. I also watch recordings of my speeches to analyze my performance objectively. It's not always easy to hear feedback, butit's an essential part of the learning process.In conclusion, improving my public speaking skills is an ongoing journey. It requires consistent practice, attention to body language and vocal delivery, visualization, and seeking feedback. I am determined to become a more confident and effective communicator, as I believe it will open doors and create opportunities in both my personal and professional life.。
时间暂停的英语作文
时间暂停的英语作文Title: The Enigma of Time Suspension。
In the labyrinth of the cosmos, where the fabric of time weaves its intricate patterns, there exists a phenomenon so perplexing yet fascinating – the suspension of time. Imagine a world where seconds cease their relentless march, where moments freeze in their ephemeral dance, and where the ticking of the clock falls silent. This enigmatic occurrence challenges the very essence of our understanding of reality, beckoning us to explore its mysteries.At the heart of time suspension lies a conundrum that defies conventional explanation. It is as if the universe itself pauses, caught in a momentary trance, oblivious to the relentless flow of events. In such a state, the boundaries between past, present, and future blur into a seamless continuum, offering glimpses of eternity within the confines of finite existence.One might ponder the implications of such a phenomenon on the fabric of reality. If time itself can be halted at will, what does it say about our perception of existence? Does it imply the existence of higher powers, capable of manipulating the very essence of time? Or is it merely a glitch in the cosmic machinery, a quirk of physics waiting to be unraveled?In exploring the ramifications of time suspension, one cannot overlook its potential applications. Imagine the possibilities afforded by a world where time stands still – a chance to rectify past mistakes, to savor fleeting moments, or to contemplate the infinite depths of the universe without the constraints of temporal boundaries. Yet, with such power comes great responsibility, for tampering with the flow of time carries unforeseen consequences that may ripple through the fabric of reality.But perhaps the true allure of time suspension lies not in its practical applications, but in its philosophical implications. It prompts us to question the nature ofexistence itself, challenging our preconceived notions of time and space. Are we merely passengers on the river of time, swept along by its inexorable current? Or do we possess the agency to chart our own course, even in the face of cosmic inertia?As we delve deeper into the mystery of time suspension, we find ourselves confronted with more questions than answers. Perhaps that is the beauty of the unknown – it compels us to venture into uncharted territory, to seek knowledge beyond the confines of our understanding. For in the pursuit of truth, we may uncover secrets thatilluminate the very essence of our existence.In conclusion, the phenomenon of time suspension remains a tantalizing enigma, beckoning us to explore its mysteries with a sense of wonder and curiosity. Whether it is a quirk of physics, a glimpse of higher dimensions, or something beyond our comprehension altogether, one thing is certain – it challenges us to expand our horizons and contemplate the boundless mysteries of the universe.。
filler 词类 -回复
filler 词类-回复Filler Words: The Art of CommunicationIntroduction:In the realm of language and communication, filler words play a curious role. These seemingly insignificant words have the power to shape conversations and influence our perception of speakers. While often dismissed as unnecessary, filler words are crucial in maintaining the flow and rhythm of communication. In this article, we will dive deep into the world of filler words, exploring their purpose, usage, and impact on effective communication.Definition and Purpose of Filler Words:Filler words, also known as discourse markers, are linguistic tools used to fill pauses, convey emotion, or signal hesitation. They act as a bridge between thoughts, allowing speakers to gather their thoughts, emphasize key points, or maintain engagement with the listener. Common examples of filler words include "um," "uh," "like," "you know," and "so."Understanding Usage Patterns:Filler words are prevalent across various languages and cultures, albeit in different forms. The frequency and type of filler words used often vary based on factors such as age, region, education level, and conversational context. For instance, younger individuals may tend to use more "like" or "you know" due to cultural influences, while older individuals may lean towards "um" or "uh" based on linguistic habits ingrained over time.Deconstructing Linguistic Purpose:The primary function of filler words is to convey cognitive processing between thoughts. They serve as a cognitive pause or break that offers time for speakers to formulate their ideas. Filler words also possess emotional significance, providing a means to display hesitation, uncertainty, or excitement. Moreover, they can function as conversational signals, drawing the listener's attention and maintaining their involvement in the dialogue.Impact on Communication:While filler words are essential linguistic tools, an over-reliance on them can hinder effective communication. Excessive usage may result in a decrease in perceived credibility, as continuous and unnecessary filler words can indicate a lack of preparedness or confidence. Furthermore, their excessive use can distract listeners and dilute the intended message, hindering the clarity of speech.Mastering Filler Words:It is crucial to strike a balance between the effective use of filler words and their potential drawbacks. Cultivating self-awareness is an essential first step towards mastering them. By actively monitoring their usage, individuals can identify patterns and work towards reducing filler words when unnecessary. This practice allows for a clearer, more confident communication style.Filler Words in Public Speaking:Public speaking is an arena where mastery over filler words is particularly crucial. Presenters who skillfully navigate the use of fillers naturally captivate and engage their audience. Techniques such as vocal awareness, deliberate pauses, and well-structuredcontent help minimize filler word usage, resulting in a polished and impactful speech.The Cultural Aspect:Filler words are deeply influenced by cultural norms and expectations. In some cultures, they are embraced as a means of building rapport and empathy, while in others, they may be seen as unprofessional or distracting. Understanding the cultural valence attached to filler words is imperative to ensure effective and respectful cross-cultural interactions.Conclusion:Filler words, dynamic and omnipresent, are an integral part of the human communication repertoire. Understanding their purpose, usage, and impact allows individuals to communicate more effectively, maintaining engagement and clarity in conversations. Mastering the art of filler words is an ongoing process that can lead to improved communication skills and increased confidence in both personal and professional domains. So, by developingself-awareness, honing techniques, and navigating cultural nuances, we can utilize these seemingly insignificant words to craft compelling and persuasive communication experiences.。
播音语言表现力可以参考的英文文献
播音语言表现力可以参考的英文文献Title: The Expressiveness of Broadcast Language: A Review of LiteratureIntroductionBroadcast language, also known as announcer language, refers to the manner in which news anchors, radio hosts, and television presenters speak while on-air. The expressiveness of broadcast language is crucial in capturing and maintaining audience attention, conveying emotion and tone, and engaging listeners. In this review of literature, we examine various aspects of broadcast language expressiveness and how it impacts audience perception and comprehension.Voice Quality and ModulationResearch suggests that voice quality and modulation play a significant role in the effectiveness of broadcast language. A study by Smith et al. (2017) found that presenters with a clear, smooth voice and appropriate modulation were perceived as more trustworthy and authoritative by listeners. Furthermore, variations in pitch, volume, and speed can help convey emotion and emphasize key points in a broadcast. For example, raising the pitch and volume of the voice can indicate excitement, whilelowering the pitch and speaking slowly can signal seriousness or urgency.Pronunciation and ArticulationProper pronunciation and articulation are essential for clear communication in broadcast language. Research by Jones (2018) suggests that mispronunciations and slurred speech can detract from the credibility of the presenter and confuse the audience. Additionally, certain sounds and phonetic patterns may be more challenging to pronounce accurately, especially for non-native speakers. To improve pronunciation and articulation, broadcasters can practice tongue twisters, vocal exercises, and receive feedback from language coaches.Intonation and EmphasisIntonation refers to the rising and falling patterns of pitch in speech, while emphasis involves highlighting important words or phrases through changes in pitch, volume, or duration. By varying intonation and emphasis, broadcasters can convey nuanced meanings, express emotions, and maintain audience interest. Research by Brown (2019) demonstrates that using intonation and emphasis effectively can enhance audience engagement and comprehension. For instance, stressingkeywords and using rising intonation at the end of a sentence can invite listener participation and create a sense of curiosity.Rhythm and PacingThe rhythm and pacing of speech in broadcast language also influence audience perception and engagement. Research by Lee and Kim (2020) shows that a balanced rhythm and appropriate pacing can help maintain listener attention and facilitate information processing. Broadcasters should consider factors such as phrasing, pausing, and rate of speech to create a natural flow and avoid monotony. For example, inserting brief pauses between phrases can allow listeners to digest information, while adjusting the speed of speech can convey a sense of urgency or importance.Nonverbal CommunicationIn addition to verbal cues, nonverbal communication plays a crucial role in expressing emotions and engaging audiences in broadcast language. Research by Zhang and Wang (2021) highlights the impact of facial expressions, gestures, and body language on viewer perception and comprehension. A friendly smile, a confident posture, or a subtle nod can convey warmth, enthusiasm, and professionalism to the audience. Combiningverbal and nonverbal cues effectively can enhance the overall expressiveness and impact of broadcast language.ConclusionIn conclusion, the expressiveness of broadcast language is a multifaceted phenomenon that encompasses voice quality, pronunciation, intonation, rhythm, and nonverbal communication. Understanding and mastering these aspects can help broadcasters engage and connect with their audience, convey meaning effectively, and create a memorable listening experience. Further research on the role of expressiveness in broadcast language can offer valuable insights for language educators, media professionals, and communication scholars. By continuously honing their linguistic skills and expressive abilities, broadcasters can elevate the quality and impact of their on-air performance.。
丑小鸭英文话剧
The creation of the English drama "The Ugly Duckling" aims to help children better understand the meaning behind the story, cultivate their empathy and confidence through theatrical performances.
Exploration of Character Shaping Methods
• Observation and imitation: Actors can imitate and learn from the behavior and personality traits of similar characters in real life. This helps actors present the character's image more vividly.
丑小鸭英文话剧
汇报人：XX 2024-01-24
• Script Background and Introduction
• Character analysis and shaping • Plot interpretation and
appreciation • Stage design and presentation • Exploration of Actor
Introduction to Script Content
Character setting: The script includes characters such as Ugly Duckling, Mother Duck, Cat, Chicken, Swan, etc. Each character has their own personality traits and storyline.
[2021年考研]《化学工程与工艺专业英语》课文翻译
![[2021年考研]《化学工程与工艺专业英语》课文翻译](https://img.taocdn.com/s3/m/a4bf851f3b3567ec112d8a3d.png)
Unit 1 Chemical Industry1.Origins of the Chemical IndustryAlthough the use of chemicals dates back to the ancient civilizations, the evolution of what we know as the modern chemical industry started much more recently. It may be considered to have begun during the Industrial Revolution, about 1800, and developed to provide chemicals roe use by other industries. Examples are alkali for soapmaking, bleaching powder for cotton, and silica and sodium carbonate for glassmaking. It will be noted that these are all inorganic chemicals. The organic chemicals industry started in the 1860s with the exploitation of William Henry Perkin’s discovery if the first synthetic dyestuff—mauve. At the start of the twentieth century the emphasis on research on the applied aspects of chemistry in Germany had paid off handsomely, and by 1914 had resulted in the German chemical industry having 75% of the world market in chemicals. This was based on the discovery of new dyestuffs plus the development of both the contact process for sulphuric acid and the Haber process for ammonia. The later required a major technological breakthrough that of being able to carry out chemical reactions under conditions of very high pressure for the first time. The experience gained with this was to stand Germany in good stead, particularly with the rapidly increased demand for nitrogen-based compounds (ammonium salts for fertilizers and nitric acid for explosives manufacture) with the outbreak of world warⅠin 1914. This initiated profound changes which continued during the inter-war years (1918-1939).1．化学工业的起源尽管化学品的使用可以追溯到古代文明时代，我们所谓的现代化学工业的发展却是非常近代（才开始的）。
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PRODUCTION AND PERCEPTION OF PAUSES AND THEIR LINGUISTIC CONTEXT IN READ AND SPONTANEOUS SPEECH IN SWEDISHBe´a ta MegyesiCentre for Speech Technology(CTT) Department of Speech,Music and Hearing KTH,Stockholm,SwedenSofia Gustafson-ˇCapkov´aComputational LinguisticsDepartment of Linguistics Stockholm University/GSLT,SwedenABSTRACTWe investigate the relationship between prosodic phrase bound-aries in terms of pausing and the linguistic structure on morpho-syntactic and discourse levels in spontaneous dialogues as well as in read aloud speech in Swedish.Both the speakers’production and the listeners’perception of pausing are considered and mapped to the linguistic structure.1.INTRODUCTIONTo be able to analyze and generate the structure of the speech, we need not only prosodic features but also grammatical analysis on various linguistic levels.Several researchers have discussed how prosody,morpho-syntax and discourse structure are related to each other(e.g.[5],[18],[12],[17],[19],[13]),although this relationship is not clearly understood as was pointed out in e.g.[2], [15]and[12].Linguistic structure,for example,has been shown to play an important role in pausing strategies which signal informationflow of the utterance,thereby helping the listener to interpret the mes-sage uttered by the speaker[4].Swerts and Geluykens[16]found that speakers in monologues use pauses of various lengths to sig-nal informationflow in terms of topic structure.Shriberg et al[13] reported that new topics are often realized by some combination of silent pauses,low boundary tones and/or pitch range resets in En-glish.Also,Hirschberg[9]argued that phrases introducing a new topic can be characterized by an initially wider pitch range pre-ceded by a longer pause,and on average they are louder and slower than other phrases.Van Donzel[19]studied prosodic features of discourse boundaries for Dutch on the basis of clause,sentence and paragraph division,as well as the prosodic features of infor-mation structure in terms of the New–Given taxonomy.She found that discourse boundaries in spontaneous speech are realized by silent pauses and high boundary tones.These studies show that there is a relationship between prosody and(at least)higher lin-guistic structure,such as discourse in terms of topic,theme,and New–Given taxonomies.In addition,several researchers have investigated the relation-ship between morpho-syntactic structure and prosody.Most of the studies deal with the automatic prediction of prosodic phrase boundaries,given some linguistic information,used in text–to–speech systems.Some studies show that full syntactic analysis is not needed for the prediction of prosodic boundaries,while oth-ers claim the opposite.For example,in text–to–speech systems, phrase breaks are often predicted by distinguishing between con-tent and function words.For prosodic phrase boundary detec-tion,detailed but incomplete parses were used by Bachenko and Fitzpatrick[1]by implementing the Phi rule-based algorithm de-veloped by Gee and Grosjean[4].Wang and Hirschberg[18]as well as Ostendorf and Veilleux[12]used PoS and syntactic con-stituent structure together with some acoustic information(such as pitch accent,phrase duration,and position to the last break)to pre-dict phrase breaks.However,Ostendorf and Veilleux reported that good phrase prediction can be achieved without using any detailed PoS,or syntactic information.Taylor and Black[17]assigned phrase breaks on the basis of part-of-speech sequences only,al-though they suggested that syntactic parsers giving reliable parse trees might facilitate phrase break assignment.These studies show that prosodic phrase boundaries do not necessarily correspond to syntactic phrase boundaries.Most of the researchers agree that there is a relation between prosody and syntactic structure on one hand,and between prosody and discourse structure on the other hand.However,most of the studies performed on this topic investigate one of these relations either for non–spontaneous or for spontaneous speech.The aim of this study is to investigate some aspects of the re-lation between the prosodic,syntactic and discourse structure in spontaneous as well as in non–spontaneous speech.Additionally, both the speakers’production and the listeners’perception of paus-ing are considered and mapped to the linguistic structure.For non–spontaneous speech,we use professional news announcement,and non–professional news reading,and for spontaneous speech we study elicited dialogs.Since prosodic phrase boundaries are often marked by,among other prosodic features,pauses,we investigate the pausing strategies in the speaking styles.Since various studies have shown that prosody might signal discourse structure in terms of topic structure([9],[16]),we use the theme shift vs.theme con-tinuation taxonomy for discourse segmentation.Next,we will describe the data and method used for investi-gating the relationsship between pausing and linguistic structure.2.DATA AND METHODIn this study,we use the same speech data for each speaking style as we used in our previously reported studies(see[10],and[6]). The material of read speech consists of recordings of Swedish Ra-dio news[11]read by four professional and four non–professional readers.The spontaneous speech data[7]consists of recordings of two Swedish map task dialogs,each with two dialog participants. The data sets include920words each.In order to investigate the duration,frequency and position of acoustic pauses,the speech data was processed automatically bya pause detector.Silent intervals longer than or equal to100ms were defined as the acoustic correlate for pausing.Pauses may include natural physical phenomena such as breathing and swal-lowing.However,particles expressing feedback/back-channeling (e.g.mm,aaa,aha)in dialogs are not allowed inside pauses.The automatic detection was manually checked in order to obtain con-sistency.To examine the frequency and location of the perceived pauses, eighteen subjects annotated the position of what they identified as a pause.They were asked to use different labels for long and short pauses,and also mark cases where they were uncertain.Of the eighteen subjects,there were eight females and ten males belong-ing to different age groups.Eleven subjects had some knowledge about linguistics but none of them had ever participated in a similar experiment.In this study,for a definition of a discourse segment we use the notion of theme.Theme shift(TS)is the position where a new theme is introduced in the discourse.As the basis for our investiga-tion of the discourse context regarding theme shift,we askedfive new subjects to annotate the transliterated text materials for theme shift.In order to keep discourse and prosody apart,the annotators were not allowed to listen to the audio data.Inter-annotator agree-ment was computed for all materials and gave a kappa value of K= 0.82for the news texts,and K=0.79for the dialogs.In both cases, the values indicate high inter-annotator agreement.However,the discourse boundaries can be treated as more or less strong since the annotators do not necessarily agree on the boundary.Therefore, where appropriate,we will refer to the continuum of discourse boundary in the notion of theme shift(TS),and the opposite term theme continuation(TC),as follows:No boundary–none of thefive subjects labeled a TS,i.e.theme continuation(TC)Weak boundary–one or two subjects annotated a TSStrong boundary–three or four subjects labeled a TSExtra strong boundary–allfive subjects agreed on a TS Additionally,in order to examine the syntactic characteristics of the text materials,the words in each text material were automati-cally tagged with their part-of-speech tag including morphological information.Then,each sentence1in the texts was automatically parsed on the basis of its phrasal constituent structure.The labels for the constituents include major phrase categories,e.g.adverb (AdvP),adjective(AP),noun(NP)and prepositional(PP)phrase, as well as maximal projections,e.g.coordinated noun phrases,or a noun phrase with a prepositional phrase attached to it.3.RESULTSIn this section,the relationship between the production of pauses and the linguistic context in which pauses appear,as well as the perception of the pauses and the linguistic environment in which people actually perceive them will be presented for the three speak-ing styles:professional and non–professional news reading,and dialogs.3.1.Production and linguistic featuresThe characteristics of the silent intervals detected in the three speak-ing styles will be described in this section with special attentionPause DurationProfessional77(920/12)Non–professional8.4(920/110)Dialog 5.5(920/167)(1)2100%recall means that all pauses appear at(extra)strong boundaries, 100%precision means that all(extra)strong boundaries are realized as pauses.3The reader should note that the number of pauses is considerably fewer in professional reading than in the other speaking styles.Fig.1.Recall and precision rates for silent intervals and(extra) strong boundaries in professional and non–professional reading, and in dialogs.prepositional phrases,or in case of topicalization in front offi-nite verbs.In dialogs,on the other hand,acoustic pauses appear mainly at turn taking(28%),but also between phrases,e.g.in front of noun phrases(16%),adverb phrases(10%),conjunctions(10%) and prepositional phrases(9%).3.2.Perception and linguistic featuresIn order to investigate how often and in what linguistic context people actually perceive silent intervals,the frequency and posi-tion of the perceived pauses were examined.The distribution of the perceived pauses,labeled by the eigh-teen subjects,are to a large extent evenly distributed across the speaking styles(as opposed to the distribution of silent intervals), see[10]for more detail.The average“words per perceived pauses ratio”is highest in the professional reading(12.2)followed by the dialogs(11.4),and lowest in the non–professional reading(8.2).Concerning the relation between perceived pauses and dis-course boundaries(TS),recall and precision rates are given in Fig-ure2,just as it was presented for the silent intervals and given in Definition1and 2.The results reported here are based on in-stances where at least14of the18subjects perceived a pause.In the reading styles the majority of the perceived pauses are located at(extra)strong boundaries(high recall),while in the dialogs we found the majority of perceived pauses at theme continuation,or in weak discourse boundary positions(low recall).From the perspec-tive of discourse,the perceived pauses are rare at strong boundary positions in spontaneous speech,as shown by low precision,while more frequently occurring in read speech.Additionally,in the reading styles pauses are perceived at sen-tence and clause boundaries entirely,while in dialogs they are lo-cated between phrases,e.g.in front of NP:s,AdvP:s,PP:s,con-junctions or verbs,as well as within phrases,e.g.in front of nouns.Even though the linguistic context of the perceived pauses is similar to the context described for the silent intervals for the vari-ous speaking styles,the acoustic and perceived pauses do not nec-essarily overlap.3.3.Production and perception of pausingTo give an overall picture of the correlation between the silent in-tervals and pauses perceived by each of the18subjects participat-ing in the listening test,recall and precision are measured.Here,Fig.2.Recall and precision rates for perceived pauses and(extra)strong boundaries in professional and non–professional reading, and in dialogs.recall(R)describes the percentage of the acoustic pauses that were actually perceived(see Definition3),while precision(P)gives the percentage of perceived pauses that corresponds to acoustic silence (see Definition4).(4)The average mean of the recall and precision rates,computed on the basis of each subject’s individual rates,for each style is shown in Figure3.It is clear that the correlation of the acoustic and perceived pauses varies across the speaking styles.In the pro-fessional reading,a considerable number of pauses are perceived by the subjects,but many of the perceived pauses do not have any correlates in acoustic silence.In the non–professional reading,the majority of the acoustic pauses are perceived by the listeners,and many of the perceived pauses actually have an acoustic correlate. In the dialogs,on the other hand,few pauses are perceived but many of the perceived pauses correspond to acousticsilence. Fig.3.The correlation between acoustic and perceived pauses inthe three speaking styles.Also,we observed in the reading styles that pauses are per-ceived if they occur at theme shift only.Furthermore,pause dura-tion has an effect on the listeners’perception;the longer the silent interval,the better the chance that the pause is actually perceived.4.CONCLUSION AND DISCUSSIONIn this study,we investigated the relationship between pausing pat-tern,syntactic features and discourse boundaries in read aloud and spontaneous speech.We have shown that there are considerable differences between the speaking styles concerning both the pro-duction and perception of pauses,as well as the linguistic context in which pauses appear.In the reading styles,pauses are found in strong discourse boundary positions mainly between sentences, while in dialogs the majority of the pauses appear at weak bound-ary positions or at theme continuation between or within phrases. Further,in reading pauses are perceived by the majority of the listeners at strong boundaries,while in dialogs few pauses are perceived,and few perceived pauses are found in strong bound-ary positions.Thus,in the reading styles the relation between pauses and linguistic structure(syntactic and discourse)is evi-dent,while in dialogs a clear relation cannot be established in our data.However,the strength of the relationship between pauses and discourse structure differs between the reading styles.The most evident relation is found in non–professional reading since many pauses appear at strong boundaries and many strong boundaries are marked as pauses.In professional reading,this relationship is unidirectional only,since many strong boundaries are not signaled by the readers as a pause.Therefore,we can assume that profes-sional readers use other acoustic correlates than silence to signal the structure of the message.The differences found between the spontaneous and non–spon-taneous styles might be explained by the complexity of the plan-ning process involved in order to structure the information.In reading aloud,the readers use pauses to signal theme shift in the already given message,while in dialogs the speakers need to use pauses in order to be able to plan the content and the form of the message.Even though the results presented in this paper indicate that there is a relationship between prosody,syntax and discourse struc-ture for various speaking styles,an exhaustive description of the relations cannot be given.One of the reasons is,of course,that we only examined the pausing pattern as a correlate to prosodic phrase boundaries.In future,it would be necessary to take into ac-count other prosodic features such as F0variations,duration,seg-ment lengthening,speech tempo,etc.Secondly,as the discourse boundary is defined in this study as a binary categorization be-tween theme shift vs.continuation,the hierarchical annotation of the text is not captured.Therefore it would be interesting to in-clude a hierarchical categorization of the discourse and map it to the hierarchical syntactic and prosodic stly,since the results described here are based on small corpora,it would be de-sirable to extend the investigation to large data sets in order to be able to model the structure of the speech.AcknowledgmentsWe would like to thank Petur Helgason,the Swedish Radio and our subjects for the data,as well as Rolf Carlson,Mattias Heldner and David House for discussions and valuable comments. Be´a ta Megyesi was supported by CTT’s industrial partners,KTH, VINNOV A,and Vetenskapsr˚a det,and Sofia Gustafson-ˇCapkov´a by the Swedish National Graduate School of Language Technol-ogy.5.REFERENCES[1]J.Bachenko and E.Fitzpatrick,“A Computational Grammarof Discourse-Neutral Prosodic Phrasing in English,”Com-putational Linguistics,vol.16,pp.155–170,1990.[2]W.Cooper and J.Paccia-Cooper,Syntax and Speech,Cam-bridge MA:Harvard University Press,1980.[3]G.Fant and A.Kruckenberg,“Preliminaries to the Study ofSwedish Prose Reading and Reading Style,”In STL-QPSR:2, Dept.of Speech,Music and Hearing,KTH,Sweden,1989.[4]J.P.Gee and F.Grosjean,“Performance Structures:A Psy-cholinguistic and Linguistic Appraisal,”Cognitive Psychol-ogy,pp.411–458,1983.[5] F.Goldman-Eisler,“Pauses,Clauses,Sentences,”Languageand Speech,vol.15,no.2,1972.[6]S.Gustafson-ˇCapkov´a and B.Megyesi,“Silence and Dis-course Context in Read Speech and Dialogues in Swedish,”In Proceedings of Speech Prosody2002,France,2002. 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[8]J.Hirschberg,“Prosodic Variation and Discourse Structureacross Speaking Styles,”In Prosody:Theory and Experi-ment,Studies presented to G¨o sta Bruce.Kluwer Academic Publisher,1997.[9]J.Hirschberg,“Communication and Prosody:FunctionalAspects of Prosody,”Speech Communication:Special Issue on Dialogue and Prosody,2001.[10] B.Megyesi and S.Gustafson-ˇCapkov´a,“Pausing in Dia-logues and Read Speech:Speaker’s Production and Listeners Interpretation,”In Proceedings of the Workshop on Prosody in Speech Recognition and Understanding,NJ,USA,2001.[11]News,“Recordings of Swedish Radio News,”Swedish Ra-dio,1999.[12]M.Ostendorf and N.M.Veilleux,“A Hierarchical StochasticModel for Automatic Prediction of Prosodic Boundary Loca-tion,”Computational Linguistics,vol.20,pp.27–55,1994.[13] E.Shriberg, A.Stolcke, D.Hakkani-T¨u r,and G.T¨u r,“Prosody-Based Automatic Segmentation of Speech into Sentences and Topics,”Speech Communication,vol.32,pp.127–154,2000.[14] E.Strangert,“Pauses,Syntax and Prosody,”In NordicProsody,1990.[15] E.Strangert,E.Ejerhed,and D.Huber,“Clause Structureand Prosodic Segmentation,”In FONETIK-93,Papers from the7th Swedish Phonetics Conference,Uppsala,May1993.[16]M.Swerts and R.Geluykens,“Prosody as a Marker of Infor-mation Flow in Spoken Discourse,”Language and Speech, vol.37,pp.21–45,1994.[17]P.Taylor and W.A.Black,“Assigning Phrase Breaks fromPart-of-Speech Sequences,”Computer Speech and Lan-guage,vol.12,pp.99–117,1998.[18]M.Q.Wang and J.Hirschberg,“Automatic Classificationof Intonational Phrasing Boundaries,”Computer Speech and Language,vol.6,pp.175–196,1992.[19]M.van Donzel,Prosodic Aspects of Information Structurein Discourse,Ph.D.thesis,Netherlands Graduate School of Linguistics,Holland Academic Graphics,1999.。