托福听力-关于摄影的话题

合集下载

2019年托福阅读：摄影史TheBirthofPhotography

2019年托福阅读：摄影史The Birth ofPhotography托福阅读：he Birth of PhotographyPercepti ons of the visible world were greatly altered by the inven tio n of photography in the middle of the nin etee nth cen tury .In particular, and quite logically, the art of painting was forever changed, though not always in the ways one might have expected. The realistic and naturalistic pain ters of the mid- and late-nin etee nth cen tury were all in te ntly aware of photography —as a thi ng to use, to lear n from, and react to.Un like most major inven tio ns, photography had bee n long and impatie ntly awaited. The images produced by the camera obscura, a boxlike device that used a pinhole or lens to throw an image onto a groun d-glass scree n or a piece of white paper, were already familiar ——the device had bee n muchemployed by topographical artists like the Italia n pain ter Can aletto in his detailed views of the city of Ven ice. What was lacki ng was a way of giving such images perma nent form. This was fin ally achieved by Louis Daguerre (1787-1851), who perfected a way of fixi ng them on a silvered copper plate. His discovery, the "daguerreotype," was announ ced in 1839.A sec ond and very differe nt process was pate nted by the British in ve ntor William He nry Talbot (1800-1877) in 1841. Talbot's "calotype" was the firstnegative-to-positive process and the direct an cestor of the moder nphotograph. The calotype was revoluti onary in its use of chemically treatedpaper inwhich areas hit by light became dark in tone, produc ing a n egativeimage. This "n egative," as Talbot called it, could then be used toprint multiple positive images on another piece of treated paper.The two processes produced very differe nt results. The daguerreotype was a unique image that reproduced what was in front of the camera lens in mi nute, un selective detail and could not be duplicated. The calotype could be made in series, and was thus the equivale nt of an etch ing or an en grav ing. Its general effect was soft edged and tonal.词汇解析：perception n. 看法;感知alter v. 更改logical adj. 逻辑的;合乎逻辑的intent adj. 坚决的;专注的react v. 作出反应;起不良反应；反抗impatie nt adj. 无耐心的topographical adj. 地形的permanent adj. 永久的；持续发生的silver n. 银;银器pate nt n. & v. & adj. 专利；得到...专利；显而易见的强调ancestor n. 祖先;物种原型multiple adj. & v. 多功能的；倍数reproduce v. 复制;重演duplicate v. & n. 复制；复制品etch v. 凿刻；铭刻en grave v.刻上tonal adj. 声调的难句解析：The realistic and n aturalistic pain ters of the mid- and late-nin etee nth cen tury were all inten tly aware of photography —as a thi ng to use, to lear n from, and react to.十九世纪中期与后期的现实主义和自然主义画家都高度注重摄影术，将其当作一门能够使用、借鉴而且要适合的技术。

托福听力讲座典型话题分类主题罗列介绍：艺术类和生命科学类

托福听力讲座典型话题分类主题罗列介绍：艺术类和生命科学类托福听力讲座内容涉及各学科的入门学问，话题涉猎广泛，虽然根据官方说法考生无须对材料所涉及的领域有任何预先了解。

下面就和大家共享托福听力讲座典型话题分类主题排列介绍，来观赏一下吧。

托福听力讲座典型话题分类主题排列介绍：艺术类和生命科学类托福听力讲座典型话题艺术类主题介绍Architecture(建筑)Industrial design/art(工业设计/艺术)City planning(城市规划)Crafts(weaving,knitting,fabrics,furniture,carving,mosaics,ceramics,folk and tribal art)(手工艺：纺织、编织、织物、家具、雕刻、镶嵌工艺品、陶瓷工艺，以及民间艺术和部落艺术) Cave/rock art(岩洞/石壁艺术)Music and music history(音乐和音乐史)Photography(摄影)Literature and authors(文学和作家)Books,newspapers,magazines,journals(书籍、报纸、杂志、期刊)托福听力讲座典型话题生命科学类主题介绍Extinction of or conservation efforts for animals and plants (动植物的灭亡或爱护)Fish and other aquatic organisms(鱼类和其他水生生物)Bacteria.and.other.one-celled organisms(细菌和其他单细胞生物)Viruses (病毒)Medical techniques (医疗技术)Public health(公共卫生)Physiology of sensory organs (感觉器官的生理机能)Biochemistry (生物化学)Animal.behavior(migration,food foraging,defenses)(动物行为：迁徙、觅食、防备行为)Habitats.and.the.adaptation.of.animals and plants to them(动植物的栖息地以及动植物对栖息地的适应)Nutrition.and.its.impact.on.the body(养分及其对机体的影响)Animal communication(动物沟通)托福听力：简洁粗暴有效果的笔记法1. 三个原则，写出一眼看到答案的听力笔记2. 又快又准的做艺术类讲座听力题01.一眼看到答案的听力笔记优秀的=美丽的=你以后的托福听力笔记，应当是长这样的：这样的：整齐划一、视觉清楚、详略得当......总之，有框架，有规律。

雅思口语Part1答案：Photography摄影

1. Do you like to take photographs? I got into photography because of my friends, most of my friends are amateur photographers, they organize shooting sessions during the weekends, and these sessions really pulled me into it. 我⾛近摄影是因为我的⼀些朋友们，他们都是业余摄影爱好者，他们每周末组织摄影讨论，这让我也喜欢上了摄影。

2. What kind of photos do you like to take? I prefer to take pictures of portrait, coz the moments involving people are usually quite hard to capture. So, every time a nice photo of persons can give me a sense of satisfaction and achievement. 我喜欢拍⼈像，因为有⼈的瞬间是最难捕捉的。

所以⼀张不错的⼈像照⽚每次都能给我成就感和满⾜感。

3. How do you keep your photos? People like to save tons of photos on the hard drive. I think it’s taking up too much space. I wouldn’t hassle burning them all onto CDs, that way I have a hard copy of them. ⼈们喜欢把⼤量的照⽚存到硬盘⾥。

我觉得这占⽤了⼤量的硬盘空间。

我不怕⿇烦把照⽚刻录到CD上，这样我就能有⼀份备份了。

艺术(文学、摄影、音乐、美术) 托福听力分类词汇

拍立得
camera lens
相机镜头
tripod
三脚架
dark room
暗室
wide angle lens
广角镜头
long focus lens
长镜头
filter
滤色镜
adventure
冒险
architect
建筑史
architecture
建筑学
artist
艺术家
character
人物、角色
cave
洞穴
艺术（文学、摄影、音乐、美术）
pose
散文
scene
地点、镜头
autobiography
传记
editorial
社论
narrative prose
叙述性
descriptive prose
描写性
essay
随笔
poetry
诗歌
ballad
民谣
lullaby
催眠曲
fiction
小说
allegory
寓言
fairy tale
击鼓
foot beat
跺脚
note
音符
score
乐谱
movement
乐章
fanatical
狂热的
hillbilly music
乡村音乐
folk music
民间音乐
pop music
流行音乐
classical music
古典音乐
Jazz
爵士乐
symphony
交响乐
rock and roll
摇滚乐
band music / wind music

托福口语task4听力文本

托福口语task4听力文本现在大家在进行〔托福〕备考时TPO托福模考软件相信是大家用的最多的工具了，关于托福成绩的提升是非常有帮助的。

托福听力可以说是整个托福考试当中比较重要的一个部分，下面是我为您整理的关于托福口语task4听力文本，希望对你有所帮助。

TPO9托福口语task4阅读文本：The Establishing ShotFilm directors use different types of camera shots for specific purposes. An establishing shot is an image shown briefly at the beginning of a scene, usually taken from far away, that is used to provide context for the rest of the scene. One purpose of the establishing shot is to communicate background information to the viewer, such as the settingwhere and when the rest of the scene will occur. It also establishes the mood or feeling of the scene. Due to the context that the establishing shot provides, the characters and events that are shown next are better understood by the viewer.Using the professors example, explain what an establishing shot is and how it is used.TPO9托福口语task4听力文本：Now listen to part of a lecture on this topic in a film class.(male) The other day I went to this great new movie. And one of the scenes in particular I thought was really set up nicely. At the start of the scene, before the action and talking things started, you saw on the movie screen an image of a city. You could tell it was a big city. There were lots of buildings, tall ones, skyscrapers, and the cars and signs on the city streets looked old fashioned, like they were from the past, like the 1940s.The other thing I noticed right away from this first image, just when the scene started, was that the city seemed gloomy. You couldnt see much because it was, well, it was mostly darkness rather than sunlight. And there was only just little bit of light from street lamps. On top of that, it was raining and kind of foggy.All of these details were together to create a dark, gloomy, mysterious feeling. So then, when the action started and itshowed detectives talking to each other in the office, I already knew that the office was located in a tall building, in a big city, sometime in the 1940s. And I had a good idea that the events thatd be taking place would be pretty dark and mysterious because of the shot, the image I saw at the beginning of the scene.TPO9托福口语task4题目文本：Using the professors example, explain what an establishing shot is and how it is used.TPO9托福口语task4满分范文：Establishing shot is an image shown briefly at the beginning of a scene in order to communicate background information to viewers and establish mood or feeling of the scene. The professor uses a movie he recently watched as an example. At the beginning of the movie, you can see an image of a city with tall buildings, skyscrapers. In the city the cars and signs are old-fashioned. It seems like the city is in the 1940s. Also, before the scene started, the city seemed gloomy. It was mostly darkness, with little light from street lamps and it was raining, kind of foggy. These give viewers a dark, gloomy mysterious feeling. So whendetectives are talking in an office, the professor had already known that the scene is a located in tall building, big city, sometime in the 1940s and the event is dark, gloomy and mysterious.新托福口语Task4题目:广告策略新托福口语Task4题目:ReadingAmbient advertising定义：Ambient advertising refers to an advertising strategy which using creative and unexpected ways to advertise the products.Listening例子：A snack bar make a deal with the train company and post the advertisement on the train, so compared with ads on books and magazines, people are more likely to see these ads and they may come to the snack bar to have something to eat. Snack shop in the train station also prints ads on the train tickets, in this way more customers will come to the shop.新托福口语Task4题目版本二:【名词解释】广告策略【教授举例】让广告不经意出现，比如一个snack在train ticket上做广告，这样上班族下地铁就会到四周的market去购买难度分析及注意事项此题是有关生物自我保护的一篇lecture，听力中的例子并不难，此题属于之前90分班课上讲解的类型之一，是课上必将的经典题目之一。

托福听力tpo56 lecture1、2、3 原文+题目+答案+译文

托福听力tpo56 lecture1、2、3 原文+题目+答案+译文Lecture1 (1)原文 (1)题目 (3)答案 (5)译文 (5)Lecture2 (7)原文 (7)题目 (9)答案 (11)译文 (12)Lecture3 (14)原文 (14)题目 (16)答案 (18)译文 (18)Lecture1原文NARRATOR: Listen to part of a lecture in an art history class.MALE PROFESSOR: OK, at the end of our last class I started to talk a little bit about a dominant movement in United States painting in the late 1940s and the 1950s. And I said that the artists involved shared a spirit of revolt against tradition and a belief in spontaneous freedom of expression. This significant art movement is known as Abstract Expressionism.Now, Abstract Expressionism is kind of hard to define, but it-it’s basically an attemptby the artist to convey meaning or feeling in an abstract way. So, the artists didn’t worry about whether they were painting familiar subject matter, like the kinds of things you’d see in the world around you. They’d paint...well, abstract things, on, ah, a huge canvas—which itself was a break from traditional technique. And it was common among artists to apply the paint to the canvas very rapidly and with great force. So let’s look at the work of the most famous American Abstract Expressionist, Jackson Pollock.There was nothing in Jackson Pollock’s training as an artist that suggested he would come to be seen as some sort of artistic revolutionary. In the 1930s he studied drawing and painting at the Art Students League, a popular art school in New York City. What he did later—in the 1940s—was a startling innovation. Jackson Pollock used a technique, the so called “pour and drip” technique, for which he is best known. He didn’t use the traditional easel—he laid his wall-size canvas flat on the floor, so he could move around it and work it from all sides. Then he poured and dripped his paint onto the canvas without touching it with a brush—just poured and dripped.Now, the physical movements involved in Pollock’s painting technique have led people to call it “action painting,” which almost suggests that the process of creating the painting, physically, was at least as important as the end product itself. In fact, people used to watch him work in his studio, dripping and pouring paint and other materials onto his canvases. This could make you think of Pollock’s work as being kind of like, wild or chaotic, or random. But the truth is that Pollock was in complete control of his materials and his paintings.Pollock’s pour and drip works were quite revolutionary, and at first they shocked the art world. Pollock used massive canvases. They seem more like portable murals than anything else. A good example of his technique is the painting “Autumn Rhythm,” which Pollock painted in 1950.“Autumn Rhythm,” at first glance looks like basically, just a whole lot of squiggly lines;rather bizarre, just like a bunch of pointless drips and swirls. But if you look closely, you see why it’s so admired.Beneath all the apparent chaos there’s really a very definite structure of lines, rhythms, and sensations that makes the whole piece work. Sheer randomness would not be nearly as visually appealing as this painting is. You need some structure, even if it’s not readily apparent.I’ve read some articles by other scholars who’ve, in their discussion of Pollock, um, some of them like to point out that he painted his canvases while looking down at them, since they were on the ground, as I said, but when we go to a museum, they’re up on a wall. They think this is significant because it makes our perspective different. But I mean...well, think of photography. We’ve all seen photos of the sky, the ground...meaning that the photographer was shooting from different angles. Does that mean that we should put a photo of the sky, on the ceiling? Of course not. It wouldn’t matter if you’re looking at it on a wall or in a photo album on your lap. And I think it’s the same with Pollock. It doesn’t matter from which angle we view his paintings. It’s OK that he painted on the floor and we look at it on the wall.But in spite of his work being shocking and even misunderstood at first, Pollock’s work became so influential in the development of Abstract Expressionism, that the artistic community started to shift its attention from Paris, which had been the center of the art world, to New York, where Pollock lived and worked. So Pollock’s breakthrough work helped move the focus of contemporary art, and that’s one of the measures of his greatness, really.题目1.Why does the professor discuss Jackson Pollock?A. To point out a common misconception about Abstract ExpressionismB. To help students understand the nature of Abstract ExpressionismC. To compare Pollock’s technique to that of other Abstract Expressionist paintersD. To defend Pollock and the Abstract Expressionists from criticism2.What point does the professor make about Jackson Pollock’s training as an artist?A. It motivated him to rebel against art he claimed was boring.B. It contrasted with the type of art he later created.C. It taught him how to paint using unconventional methods.D. It was very different from the type of training most artists receive.3.What were two features of Jackson Pollock’s painting technique?[Click on 2 answers.]A. He used walls as a painting surface.B. He painted the canvas while it was on the floor.C. He applied paint by pouring or dripping it.D. He allowed visitors at his studio to help with the painting.4.What is the professor’s attitude toward the term “action painting”?A. He thinks it correctly describes Pollack’s painting technique.B. He considers it less appropriate for Pollock than for other Abstract Expressionists.C. He believes that it represents the sense of movement displayed in Pollock’s paintings.D. He is pleased that contemporary critics rarely use the term.5.What feature of Autumn Rhythm does the professor imply is representative of Pollock’s works?A. It symbolizes the passage of time.B. It reveals a lack of control over emotions.C. It combines structure and the appearance of chaos.D. It combines tradition and innovation.6.Why does the professor discuss photography?A. To emphasize how different it is from paintingB. To make a point about its increasing popularity in New York’s art worldC. To show the extent of Pollock’s influenceD. To support his argument about the way people look at Pollock’s paintings答案B B BC A C D译文旁白：在艺术史课上听一部分讲座。

托福听力TPO21原文 Lecture 4

下面就让小编来为大家介绍一下托福听力TPO21原文中Lecture 4的文本内容吧，大家要好好把握，这些都是非常有价值的材料，同时，大家也可以登录前程百利论坛进行TPO练习辅导，希望能够给准备托福听力的同学带来帮助。

TPO21 Lecture 4 Art History(Alice Neel)Professor：All right, so today we are moving on to Alice Neel, N-E-E-L. Um... Alice Neel painted portraits, she was born in Pennsylvania, and she lived from 1900 to 1984. And I guess you might say, she experienced difficulties as an artist. She was in her 70s, before she had her first major solo exhibition. Um, and this is due at least in part to eh... or... because of photography. After photography became regarded as an art form, portrait painting became less prestigious6, less respected as an art form. And, well, art photography kind of took its place, so you can imagine that a portrait artist, would have had a hard time finding acceptance.Eh, but the real reason I want to look at Neel, is that I really find her style ... eh, she had interesting ways of portraying people. She combined some elements of realism. What’s realism, Alison?Student：It’s like painting something exactly how it is, so an artist would try to make it as accurate, um... and objective as possible. Painting stuff just how it appears on the surface.Professor：Ok, good. So Neel combined realism with, well, actually, with expressionism. And that is? We, we just covered this.Student：Um... It’s into emotion, like artists are trying to, well, express themselves through the painting, right?Professor：Yep. The artist is depicting subjective emotions, showing the inner reality as interpreted by the artist rather than the outward form. So the image itself might be distorted or exaggerated in some way. The expression overrides7 objective representation. Ok, so, Alice Neel combined these two styles ... Yes?Student：Em... How is that even possible? How can your portray something exactly as it is and at the same time distort it with emotions? I don’t get it.Professor：All right, good question. It is actually a good lead-in8 to some of the techniques that Neel used, that she employed to bridge that contradiction.In a minute, I’ll show you some of her portraits, and I’ll want you to notice a few things about them.First, Neel’s use of bold color. All right? You’ll see she uses color to convey emtion and feeling, like the subjects’ clothing for instance, it appears brighter than it really is. And the subjects, the people being portrayed, Neel paid special attention to faces. The way she paints the eyes and how the faces are portrayed, these are quite realistic, like the realists’ work. But another thing Neel did was use elongated, sort of stretchyfigures.Student But didn’t a lot of expressionist painters do that? So really your are saying that Ne el’s techniques were similar to what other artists were doing. What was it that she did, that was like all her own?Professor：Ok, well, I think it has to do partly with the way she combined these techniques. So, for example, those realistic faces and eyes, but bright, distorted figures. It is a mix. You’ll see that her portraits do reflect reality, the people that were actually sitting there. Realism was important in the sense that she wanted to show people as they really were, much like a photographer wo uld. But Neel wasn’t satisfied with photo-like realism, she went beyond that. And this is where expressionism comes in.She believed in capturing the whole person, not just what was on the surface, that’s where the expressionists’ distortion is important, i n an attempt to reveal the subjects’ character or personality. But Neel’s paintings are distinctive for her time in part because they are portraits. Remember I said that photography and art photography had largely taken the place of portraiture, to the extent that some critics had declared the genre of portraiture to be dead. But Neel felt that painting should reflect reality, a real realist’s stance9 you could say. And to her, individuals, people best reflect the reality of their time, of the age that they lived in, so she painted portraits. And if you look at her work, we are talking in the vicinity of10 three thousand paintings. If your looked at them, it is like this gallery of the whole century, an enomous range of subjects: families, women, children, artists, people in poverty--these paintings really span class, age and gender. It is like she transformed the genre, it is not just formal depictions of presidents and ancestors any more.But keep in mind that she was doing this when abstract art dominated t he art scene. Representations of people weren’t fashionable in the art world. And it wasn’t until fairly late in the century that critics recognized the power of what she did.教授：好啦，今天我们来讲一下爱丽丝. 尼尔，N-E-E-L。

老托福听力30篇下载之摄影(原文+翻译)

官方网站：老托福听力30篇下载之摄影（原文+翻译）老托福听力30篇是托福听力考试备考必备的材料，下面为大家整理了老托福听力30篇中摄影相关内容，还附带有原文及翻译，同学们可下载进行练习。

托福考试备考资料你选老托福听力30篇了吗？没选也不要紧，下面小马编辑为大家精选了老托福听力30篇中摄影相关的原文及翻译，同学们不用下载完整版的老托福听力30篇也可以，还等什么，赶快来下载吧。

You may remember that a few weeks ago we discussed the question of what photography is. Is it art, or is it a method of reproducing images? Do photographs belong in museums or just in our homes? Today I want to talk about a person who tried to make his professional life an answer to such questions. Alfred Stieglitz went from the United States to Germany to study engineering. While he was there, he became interested in photography and began to experiment with his camera. He took pictures under conditions that most photographers considered too difficult. He took them at night, in the rain, and of people and objects reflected in windows. When he returned to the United States he continued these revolutionary efforts. Stieglitz was the first person to photograph skyscrapers, clouds, and views from an airplane. What Stieglitz was trying to do in these photographs was what he tried to do throughout his life:make photography an art. He felt that photography could be just as good a form of self-expression as painting or drawing. For Stieglitz, his camera was his brush. While many photographers of the late 1800's and early 1900's thought of their work as a reproduction of identical images, Stieglitz saw his as a creative art form.He understood the power of the camera to capture the moment. In fact, he never retouched his prints or made copies of them. If he were in this classroom today, I'm sure he'd say, "Well, painters don't normally make extra copies of their paintings, do they?"你们也许记得几星期前我们讨论过的什么事摄影的问题。

老托福听力93篇(73-74)-Look at our topographical

老托福听力93篇(73-74)-Look at our topographical老托福听力对新托福听力的备考依然有重要的作用,老托福听力的语速比较快,有助于提高同学们的辨音能力,小编为各位考生整理老托福听力93篇精选，各位同学仔细看看吧。

73Look at our topographical map and you'll see that the middle third of the North American continent from the Rocky Mountains almost to the Mississippi River is pretty flat. This is the Great Plains. This kind of area is sometimes called a prairie, sometimes a steppe. That's s-t-e-p-p-e. The defining features are level terrain, dry climate, and an absence of trees. The Great Plains are actually the former bed of a shallow inland sea. Over millions of years, sediment left by glaciers, water, and wind smoothed out the dry sea bed. As I said, the Great Plaints are bordered on the west by the Rocky Mountains. And it's really the Rockies that are responsible for the formation of the grasslands. The mountains are so high that they block the heavy moist air traveling eastward form the Pacific Ocean. Lighter, drier air passes over the mountains. Until people intervened with irrigation and farms, only grass could grow on the dry, windy plain. In fact, we can divide the Great Plains into three zones. In the west, where it's driest and windiest, the grass is very short. In the eastern zone, there's more rain and grass grows as high as 360 centimeters. In the middle third, there's a mix of grass species that grow to an intermediate height.【生词摘录】1. topographical: adj. 地形学的2. prairie: n. [C]大草原，牧场3. steppe: n. [C]大草原，干草原4. level: adj. 平坦的5. terrain: n. 地形6. sediment: n. [C]沉淀物7. glacier: n. [C]冰川8. smooth out: v. 消除，使平滑9. moist: n. [C]潮湿的10. intervene: v. 介入，干预11. windy: adj. 多风的12. intermediate: adj. 中间的74Did you know you can catch a mood? A bad mood isn't spread by a virus like the flu is, but it can be contagious. Moods sort of drift from person to person unconsciously. Slight, unintentional signals carry the mood. You've probably experienced it yourself. You're around someone who's feeling down and showing it—slumped shoulders, downcast mouth, subdued voice—all that sort of thing. Pretty soon you begin to feel depressed too. Of course, good moods are also catching, not just bad ones. Moods spread in steps. One person's facial expression or whatever is observed by another, who then unconsciously begins to mimic. The process is automatic—a split second mimicry. The person isn'teven aware of the copying. A full-blown case of mood transfer develops as this copying continues. Not everyone picks up moods to the same degree. Those who're most susceptible often have strong physiological responses to what's going on around them. You know, people who break out in a nervous sweat easily and whose stomachs churn. People don't all send moods equally well either. The best mood senders are expressive people because mood contagion can't happen without signals. If they aren't there—that is, the person gives no indication of the mood they're in—nobody will pick up the mood.【生词摘录】1. virus: n. [C]病毒2. contagious: adj. 传染性的3. unconsciously: adv. 无意地，不知不觉4. slight: adj. 微小的5. unintentional: adj. 不是故意的，无心的，无意识的6. slumped: adj. 耷拉着的7. downcast: adj. 气馁的，沮丧的8. subdued: adj. 被抑制的9. catching: adj. 能传染的10. mimic: v. 模仿，仿效11. a split second: 一瞬间12. mimicry: n. [C]模仿13. full-blown: adj. 全面的14. susceptible: adj. 易受影响的15. physiological: adj. 生理学的16. sweat: v. 出汗17. churn: v. 产生剧烈搅动18. contagion: n. [C]传染19. indication: n. [C]迹象，指示，暗示When you are old and grey and full of sleep,And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep; How many loved your moments of glad grace, And loved your beauty with love false or true, But one man loved the pilgrim soul in you,And loved the sorrows of your changing face; And bending down beside the glowing bars, Murmur, a little sadly, how love fledAnd paced upon the mountains overheadAnd hid his face amid a crowd of stars.The furthest distance in the worldIs not between life and deathBut when I stand in front of youYet you don't know thatI love you.The furthest distance in the worldIs not when I stand in front of youYet you can't see my loveBut when undoubtedly knowing the love from both Yet cannot be together.The furthest distance in the worldIs not being apart while being in loveBut when I plainly cannot resist the yearningYet pretending you have never been in my heart. The furthest distance in the worldIs not struggling against the tidesBut using one's indifferent heartTo dig an uncrossable riverFor the one who loves you.。

托福听力必备背景知识集锦

托福听力必备背景知识集锦（经典版）编制人：__________________审核人：__________________审批人：__________________编制单位：__________________编制时间：____年____月____日序言下载提示：该文档是本店铺精心编制而成的，希望大家下载后，能够帮助大家解决实际问题。

文档下载后可定制修改，请根据实际需要进行调整和使用，谢谢!并且，本店铺为大家提供各种类型的经典范文，如演讲稿、总结报告、合同协议、方案大全、工作计划、学习计划、条据书信、致辞讲话、教学资料、作文大全、其他范文等等，想了解不同范文格式和写法，敬请关注!Download tips: This document is carefully compiled by this editor. I hope that after you download it, it can help you solve practical problems. The document can be customized and modified after downloading, please adjust and use it according to actual needs, thank you!In addition, this shop provides you with various types of classic sample essays, such as speech drafts, summary reports, contract agreements, project plans, work plans, study plans, letter letters, speeches, teaching materials, essays, other sample essays, etc. Want to know the format and writing of different sample essays, so stay tuned!托福听力必备背景知识集锦在托福听力备考的过程中，相信大家都会感觉到托福听力考试涉及的内容比较多，专业词汇更是令大家眼花缭乱。

托福听力原文与题目TPO10-22

TPO10-C1Narrator :Listen to a conversation between a student and her Photography Professor.独白 :听下面一段学生和摄影学教授的对话Student:Professor Jason, there is something that's been on my mind.学生 :杰森教授，我一直在思考一件事情。

Professor:Ok.教授 :是什么呢？Student:Remember last week, you told us that it's really important to get our photography into a show, basically as soon as we can?学生 :记得上周您说把自己的作品尽快的展览出来非常重要吗？Professor:Yes up, it's a big step, no question.教授 :是的。

这是很重要的一步，毫无疑问。

Student:Thing is, I am sitting here and I am just not sure how I get there.学生 :问题是，我就坐在这里想，真的不知道接下来该怎么办。

I mean I've got some work I like, but is it the really what the gallery is looking for?我倒是有些自己喜欢的作品，但是美术馆也会喜欢吗？How would I know, how do I make the right context to get it into show, I just reallydon't...我怎样知道如何将自己的作品展览出来呢，我真的没有头绪。

Professor:Ok, hold on, slow down.教授 :好，别急，别急。

雅思口语常考话题——照相

1. Do you like taking photos? Why or why not? 你喜欢照相吗?为什么喜欢或不喜欢? Yes, I like taking photos especially when I gotraveling. The photos are a kind of memory, youknow,when you are back home. And through photosyou can also share your travel experience with yourfriends and family. I also consider taking photos as aform of creative art. The same mountain mayappear in different angles by different people? 是的，我喜欢照相特别是出去旅游的时候。

你知道，在你回家以后，照⽚是⼀种记忆。

⽽且通过照⽚你可以与家⼈和朋友分享你的旅游经历。

我也把照相看作是⼀种创造性的艺术。

同样⼀座⼭可以被不同⼈拍出不同的⾓度。

2. When do you take photos? 2. 你什么时候照相? I take photos at family reunions and get-togethers with former classmates or friends. I alsotake my camera with me when I go traveling or go on spring outings. Recently I bought acamera phone, and with it I can take photos whenever I want and wherever I am. 我在家庭团聚以及与⽼同学或朋友聚会的时候照相。

托福听力tpo62 lecture1、2、3 原文+题目+答案+译文

托福听力tpo62 lecture1、2、3 原文+题目+答案+译文Lecture1 (1)原文 (1)题目 (3)答案 (5)译文 (6)Lecture2 (7)原文 (7)题目 (10)答案 (12)译文 (12)Lecture3 (14)原文 (14)题目 (16)答案 (18)译文 (18)Lecture1原文Listen to part of a lecture in an architectural history class.Professor: Now we’ve talked about how social concerns inform the designs of some architects in the United States in the 19th century. And it holds true not only for building architects but also for landscape architects. The way we design our landscapes is hugely important to, for how we live, easily as important as the buildings we live in. And these social concerns were especially apparent in the work of a huge figure in the history of landscape architecture: Frederick Law Olmsted. Olmsted is particularly associated with the building of public parks in the mid-1800s. At that time, with industrialization, the United States was moving from a rural, agricultural way of life to an urban one. Many people were moving from farms to cities, and cities themselves were growing fast. And that was creating concern and anxiety about people losing touch with nature.Now, based on your reading, how did this situation relate to Olmsted? Ken.Male Student: Well, he saw that as cities grew to accommodate the larger populations, a lot of open space would be used up for buildings and infrastructure. I guess he thought that eventually there might not be any open space left, green space.Professor: And others shared this concern as well, people with some power.Male Student: Right. So in New York City, they decided to build this huge park, Central Park. And they hired him to design it.Professor: Right. Olmsted together with Calbert Vaux. And he, what Olmsted wanted to do through this park and others was to preserve people’s connections with the natural world. Central Park is his best-known project and it really launched his career. There were so many details that made this such a model of success that…yeah, Julia. Female Student: It seems like he integrated the park into the city really well, especially by putting streets across the park so that you can still get from one side of the city to the other.Professor: And those streets don’t disrupt the unity of the park very much. But why not? What feature, what modification did he make?Female Student: Well, they weren’t any narrower than any regular city streets. Professor: No, not narrower.Female Student: Oh, lower. He put them at a lower level than the rest of the park and used short tunnels.Professor: Yes, exactly. The streets were designed to be as unobtrusive as possible, not interrupting the flow of people walking in the park, not interfering with the natural setting, while still functioning as streets.Making tunnels was the best way to achieve this balance in many locations within the park, and then pass for pedestrians went above the street throughout the park.What’s so special about it to me is Olmsted did such a good job of using the space by emphasizing the natural elements of the park. So with ground areas that were low, he made them even lower and turned them into ponds and meadows, then he emphasized some high, rocky areas. He used…he planted small forests close to grassy meadows. By doing this, he emphasized contrast in contour and texture, but he made it all work as a whole. He also made the northern half of the park more of the nature preserve while the southern part was more for people and recreation.So Central Park was a huge success and it led to more work for him. He designed dozens of urban parks throughout the country. So that’s probably his greatest legacy to architecture as a profession, but not his only legacy.He also designed landscapes for public buildings, campuses, even entire towns. In that area, urban planning, he showed the same concern for preserving open spaces that he had shown with Central Park. For example, his design of a town of Riverside, Illinois. He planned it so it would have the conveniences of city living, but it also had open space for recreation for nature. He lowered the streets slightly so they wouldn’t block natural views, like views of the Des Plaines River, which flows through Riverside. He really wanted to preserve the shores of the river so he didn’t put houses there. Instead, he turned the river front area into a park. And about a quarter of Riverside is parks.What’s also remarkable is that Riverside, well, even today, the streets and other parts of Olmsted’s plans are almost completely intact. It’s really an oasis in the city that’s grown around it, the city of Chicago, since that time. Goes to show you how valuable good design really is.题目1.What is the lecture mainly about?A. The reasons why Olmsted was selected to design Central ParkB. The impact that Olmsted's designs had on the growth of citiesC. Ways that Olmsted's design for Central Park influenced the design of Riverside, IllinoisD. Olmsted's design goals as revealed in two of his projects2.What does the professor imply about the increase in the population of urban areas in the middle of the nineteenth century?A. It caused difficulty in the design and creation of city parks.B. It was one of the reasons that Central Park was created.C. It forced Olmsted to build more roads in Central Park than he had originally planned.D. Olmsted viewed the increase in population as a positive trend.3.What is one of the features of Olmsted's design of Central Park that the professor particularly admires?A. The use of trees as boundaries between recreational and non-recreational areasB. The emphasis of naturally occurring contrastsC. The quality of the materials used for streets and buildingsD. The wide variety of styles used for its tunnels4.What design feature did Olmsted incorporate into both Central Park and the town of Riverside, Illinois?A. Forest areas that were left undisturbedB. Streets at lower levels than other ground areasC. The removal of large rocks that obstructed viewsD. The expansion of naturally occurring ponds5.What does the professor say about the town of Riverside, Illinois today?A. It has stayed true to Olmsted's original design.B. It is regarded as Olmsted's most successful project.C. It has even more parkland than Olmsted had created.D. It has nicer parks than the city of Chicago does.6.What can be inferred about the woman when she says this:Professor: And those streets don’t disrupt the unity of the park very much. But why not? What feature, what modification did he make?Female Student: Well, they weren’t any narrower than any regular city streets. Professor: No, not narrower.A. She believes there is more than one correct answer to the professor's question.B. She realizes she is repeating a point the professor made earlier.C. She recognizes that she is not giving a correct answer.D. She thinks the answer to the professor's question is obvious.答案D B B B A C译文请听建筑史课上的部分内容。

2017年4月15日托福听力背景知识：照相技术发展

托福考试频道为⼤家推出【2017年托福考试课程！】考⽣可点击以下⼊⼝进⼊免费试听页⾯！⾜不出户就可以边听课边学习，为⼤家的梦想助⼒!2017年4⽉15⽇托福听⼒背景知识：照相技术发展 photograph也是艺术这篇内容出现在4⽉15⽇托福听⼒题⽬中，内容⼤概为：photograph可以record life in seconds，但是有些⼈觉得这并不是艺术，其实它也是艺术的⼀种，⽐如它可以通过某些软件来替换background，让本来的颜⾊变深或者变淡，还有利⽤镜头(lens)来从不同的⾓度拍摄，这都是艺术的表现。

Photography: is it art? From the earliest days of photography, practitioners took their inspiration from paintings. But as a new exhibition at London's National Gallery shows, the link went both ways For 180-years, people have been asking the question: is photography art? At an early meeting of the Photographic Society of London, established in 1853, one of the members complained that the new technique was "too literal to compete with works of art" because it was unable to "elevate the imagination". This conception of photography as a mechanical recording medium never fully died away. Even by the 1960s and 70s, art photography – the idea that photographs could capture more than just surface appearances – was, in the words of the photographer Jeff Wall, a "photo ghetto" of niche galleries, aficionados and publications. But over the past few decades the question has been heard with ever decreasing frequency. When Andreas Gursky's photograph of a grey river Rhine under an equally colourless sky sold for a world record price of 2.7 million last year, the debate was effectively over. As if to give its own patrician signal of approval, the National Gallery is now holding its first major exhibition of photography, Seduced by Art: Photography Past and Present. The show is not a survey but rather examines how photography's earliest practitioners looked to paintings when they were first exploring their technology's potential, and how their modern descendants are looking both to those photographic old masters and in turn to the old master paintings. What paintings offered was a catalogue of transferable subjects, from portraits to nudes, still lifes to landscapes, that photographers could mimic and adapt. Because of the lengthy exposures necessary for early cameras, moving subjects were impossible to capture. The earliest known photograph of a person was taken inadvertently by Louis Daguerre – with Henry Fox Talbot one of photography's two great pioneers – when he set up his camera high above the Boulevard de Temple in Paris in 1838. His 10-minute exposure time meant that passing traffic and pedestrians moved too fast to register on the plate, but a boulevardier stood still long enough for both him and the bootblack who buffed his shoes to be captured for ever. When Daguerre turned his camera on people rather than places the results were revelatory. Elizabeth Barrett Browning was so struck by Daguerreotypes that she rhapsodised over "the very shadow of the person lying there fixed forever". The fidelity of features captured meant that she "would rather have such a memorial of one I dearly loved, than the noblest Artist's work ever produced" not "in respect (or disrespect) of Art, but for Love's sake". If, however, her photographer followed the advice of Eugène Disdéri, who wrote in 1863 that: "It is in the works of the great masters that we must study the simple, yet grand, method of composing a portrait," she could satisfy love with both physiognomy and art. What some pioneering photographers recognised straight away was that photographs, like paintings, are artificially constructed portrayals: they too had to be carefully composed, lit and produced. Julia Margaret Cameron made this explicit in her re-envisagings of renaissance pictures. Her Light and Love of 1865, for example, shows a woman in a Marian headcovering bending over her infant who is sleeping on a bed of straw. It is part of a line of nativity scenes that is as long as Christian art, and was hailed by one critic as the photographic equivalent of "the method of drawing employed by the great Italian masters". I Wait, 1872, shows a child with angel's wings resting its chin on folded arms and wearing the bored expression that brings to mind the underwhelmed cherubs in Raphael's Sistine Madonna. Such photographs were not direct quotations from paintings, but they raised in the viewer's mind a string of associations that gave photography a historical hinterland. If Cameron and contemporaries such as Oscar Rejlander and Roger Fenton (who took numerous photographs of still-life compositions of fruit and flowers as well as his better known pictures of the Crimean war) were keen that their photographs should reflect their own knowledge of art, the links went both ways. In 1873, Leonida Caldesi published a book of her photographs of 320 paintings in the National Gallery, and her intended audience was not just the public but artists themselves, for whom the photographs were both more accurate and more affordable than engraved reproductions. By 1856, thanks to Fenton's photographs, artists could study classical statues in their own studios. It was perhaps in depicting the nude – such as Fenton's bestselling photograph of the discus thrower Discobolus – that photography could repay its debt to art. Hiring a life model was expensive, and engravings were a poor substitute. Delacroix was one artist who "experienced a feeling of revulsion, almost disgust, for their incorrectness, their mannerisms, and their lack of naturalness". He praised instead the painterly aid provided by académies (books of nude photographs) since they showed him reality: "these photographs of the nude men – this human body, this admirable poem, from which I am learning to read". He even helped the photographer Eugène Durieu pose and light his models. And in 19th-century Britain and France, when pornography was illegal, photographs of the nude were in demand from customers who had no artistic interests. When it came to landscape photography the new medium appeared just as the impressionists were beginning to work in the open air. Some commentators saw photography's real challenge to painting as lying in its ability to capture what the photographer and journalist William Stillman called in 1872 "the affidavits of nature to the facts on which art is based" – the random "natural combinations of scenery, exquisite gradation, and effects of sun and shade". Another practitioner, Lyndon Smith, went further, declaring landscape photography the answer to the "effete and exploded 'High Art', and 'Classic' systems of Sir Joshua Reynolds" and "the cold, heartless, infidel works of pagan Greece and Rome". Being new was a laborious business, however. Eadweard Muybridge, the British-born photographer who first captured animals in motion and as a result ended the old painterly convention of showing horses running with all four legs off the ground, was primarily a landscape photographer. His pictures of the Yosemite wilderness, for example, involved carrying weighty cameras, boxes of glass negatives, as well as tents and chemicals for a makeshift darkroom, up mountains and through forests. Monet's painting expeditions by contrast required only paint and canvas. If early photographers had no option but to negotiate their own engagement with painting their modern descendants can call on nearly two centuries of photographic history. It is a point the exhibition makes by combining old and new. So when a contemporary photographer such as Richard Billingham photographs an empty expanse of sea and sky in Rothko washes of slate blues and greys (Storm at Sea) he is referring to a heritage that encompasses both the monochrome tonality of Gustave Le Gray's atmospheric photographic seascapes of the 1850s and a painting such as Steamer on Lake Geneva, Evening Effect, 1863, by the Swiss artist Fran漀椀猀 Bocion. The point is made across the different media. A brittle portrait of a suburban couple from Martin Parr's 1991 album Signs of the Times, for example, is contrasted with Gainsborough's Mr and Mrs Andrews of 1750. Both are images of possession and entitlement, the latter displaying landowners at ease amid their fields and woods, comfortable with both themselves and their station, the former a couple posing stiffly in their sitting room. Meanwhile a 19th-century flower painting by Henri Fantin-Latour is the starting point for Ori Gersht's fragmented blooms, Blow Up. Gersht froze his flowers with liquid nitrogen before exploding them with a small charge and photographing the petals turned to flying shards. Among the nudes, Richard Learoyd's Man with Octopus Tattoo, 2011, is placed next to the gallery's 1819-39 painting of Angelica Saved by Ruggiero by that connoisseur of bodily curves, Ingres. The appeal of flesh and its sinuosity is timeless. The curators of the National Gallery exhibition have avoided using many of contemporary photography's biggest names (there is no Andreas Gursky and no Cindy Sherman for example), and nor do they include photorealist painters such as Gerhard Richter or Andy Warhol. Their choices are largely less celebrated figures as if to show how deep is the seam of photographers still working with the long visual past. When in 1844-6 Fox Talbot published his thoughts about photography he gave the book (the first publication to contain photographic illustrations) the title The Pencil of Nature. This exhibition lays out what photography's founding father could never know: how the camera has also always been the pencil of art.官⽅站：托福报名：托福预测：成绩查询：托福真题：托福评分：★知⼼托福直达班（冲110分特⾊服务：内部讲义+专业作⽂精批+临考预测+ETS授权TPO+24⼩时答疑+⾃适应智能学习系统包含内容：名师录播（112）；直播课（32）；每⽉临考预测（4次）；电⼦讲义（有）；TPO（2套）；专业作⽂精批（2次）★知⼼托福精品直达班（冲100分）特⾊服务：内部讲义+专业作⽂精批+临考预测+ETS授权TPO+24⼩时答疑+⾃适应智能学习系统包含内容：名师录播（150）；直播课（32）；每⽉临考预测（4次）；电⼦讲义（有）；TPO（4套）；专业作⽂精批（5次）★知⼼托福直达班（冲90分）特⾊服务：内部讲义+专业作⽂精批+临考预测+ETS授权TPO+24⼩时答疑+⾃适应智能学习系统包含内容：名师录播（95）；直播课（32）；临考预测（4次）；电⼦讲义（有）；TPO（2套）；专业作⽂精批（2次）。