托福听力TPO1原文 Lecture 1
托福听力tpo50 lecture1、2、3、4 原文+题目+答案+译文
托福听力tpo50 lecture1、2、3、4 原文+题目+答案+译文Lecture1 (1)原文 (1)题目 (4)答案 (6)译文 (6)Lecture2 (8)原文 (8)题目 (10)答案 (12)译文 (12)Lecture3 (14)原文 (14)题目 (16)答案 (18)译文 (18)Lecture4 (20)原文 (20)题目 (22)答案 (24)译文 (24)Lecture1原文NARRATOR: Listen to part of a lecture in an ancient history class.FEMALE PROFESSOR: OK, last time we were discussing trade and commerce during the Bronze Age … And I said a little over 3,000 years ago there was quite a lively trade among the countries along the Mediterranean Sea—people were making objects out of bronze, and they were using bronze tools to make other goods, and they developed trade networks to trade these goods with other countries around the Mediterranean … One of the things they traded was glass …And recently there was an archeological excavation in Egypt—on the Nile River, around where it enters the Mediterranean Sea—where they discovered an ancient glass factory. Robert?MALE STUDENT: I thought our textbook said that the Egyptians imported their glass from other countries.FEMALE PROFESSOR: Well, until now that's what the evidence seemed to suggest. I mean, we had some evidence that suggested that the Egyptians were making glass objects, uh, but not glass.MALE STUDENT: OK, am-am I missing something? They're making glass, but they're not making glass.FEMALE PROFESSOR: I said they were making glass objects, right? You see, it was previously thought that they weren't actually making the raw glass itself, that they were importing unfinished glass from Mesopotamia—um, which today is a region consisting of Iraq, and parts of Syria, Turkey, and Iran—and simply reworking it. Most archeologists believed that the glass factories were in Mesopotamia because that's where the oldest known glass remains come from. You see, there were two stages of glassmaking: the primary production stage, where they made disks of raw glass… Uh, an- and then there was the secondary stage, where they melted the raw glass, the glass disks, and created decorative objects or whatever.And from this new Egyptian site we've learned that the primary production stage had several steps. First, they took quartz—a colorless, transparent mineral—and crushed it. Then they took that crushed quartz and mixed it with plant ash; uh, “plant ash” is just what it soundslike—the ash that's left after you've burned plant material. They slowly heated this mixture, at a relatively low temperature, in small vessels, um containers, like jars, made out of clay. Uh, and that yielded a kind of glassy material…They took this glassy material and ground it up into a powder, and then they used metallic dye to color it… After that, they poured the colored powder out into disk-shaped molds and heated it up to very high temperatures, so that it melted. After it cooled, they'd break the molds, and inside…there were the glass disks. These disks were shipped off to other sites within Egypt and places around the Mediterranean. Then, in the secondary phase, the disks were reheated and shaped into decorative objects. Susan?FEMALE STUDENT: So what kind of objects were people making back then? FEMALE PROFESSOR: Well, the most common objects we’ve found—mostly in Egypt and Mesopotamia—uh, the most common objects were beads; one thing Egyptians were very, very good at was imitating precious stones; they created some beads that looked so much like emeralds and pearls that it was very difficult to distinguish them from the real thing. Uh, and-and also beautiful vessels, uh, with narrow necks; they were probably really valuable, so they wouldn't have been used to hold cooking oil or common food items; they were most likely used for expensive liquids like perfume. Now the glass made at this factory was mostly red; to get this red color, they used copper; in a sophisticated process. Of course, any kind of glass was very valuable, so these red bottles would only have been owned by wealthy people. In fact, because it was so difficult to make, and sort of mysterious and complicated, it was probably a product produced for the royal family, and they probably used glass to show their power. Also, beautiful, expensive objects make great gifts if you're looking to establish or strengthen political alliances…and it's quite possible that ancient Egyptians were actually exporting glass, not just making it or importing it. The trade with Mesopotamia was probably a friendly, mutual trade…because, uh, Mesopotamian glass was usually white or yellow, so Mesopotamians might have said something like, “We'll give you two white disks for two red disks.” There’s no proof ofthat, uh—at least not yet…题目1.What is the lecture mainly about?A. New information about glass production and use in ancient EgyptB. Whether Egyptians or Mesopotamians were the first to invent glassC. Differences between Egyptian glass and other kinds of glassD. Reasons why ancient Egyptians imported glass from other countries2.What is the importance of the archaeological evidence recently found in Egypt?A. It supports the theory that ancient Egyptians imported glass from Mesopotamia.B. It proves that ancient Egyptians made glass objects prior to the Bronze Age.C. It provides the first evidence that glassmaking in the Bronze Age required two different stages.D. It shows that ancient Egyptians were producing raw glass.3.The professor describes a process for making glass disks. Summarize the process by putting the steps in the correct order. [Click on a sentence. Then drag it to the space where it belongs. The last one is done for you.]A.Glass-like material is ground up and dyed blue or red.B.Powdered material is heated at very high temperatures.C.Crushed quartz and plant ash are heated at low temperatures.D.Containers are broken to remove glass disks.4.Based on the lecture, what are two kinds of glass objects that were valued in ancient Egypt and Mesopotamia? [Click on 2 answers.]A. BeadsB. Cooking utensilsC. ContainersD. Windows5.According to the professor, what are two reasons why ancient Egyptians exported glass? [Click on 2 answers.]A. To build relationships with foreign leadersB. To hold cooking oil that was sold in other countriesC. To get bronze tools from other countriesD. To acquire colors of glass not made in Egypt6.Why does the professor say this:Robert: Ok. Am……Am I missing something? They are making glass but they are not making glass?Professor: I said they were making glass objects, right?A. To emphasize that glass objects were only made in ancient EgyptB. To find out what the student does not understandC. To indicate that there was no contradiction in her previous statementD. To correct what she said in her previous statement答案A D CABD AC AD C译文旁白：请听一个古代历史课上的讲座片段。
托福听力tpo55 lecture1、2、3 原文+题目+答案+译文
托福听力tpo55 lecture1、2、3 原文+题目+答案+译文Lecture1原文NARRATOR: Listen to part of a lecture in an art history class.MALE PROFESSOR: OK, so we’ve all heard of the Louvre, right? Maybe the most famous art museum in Paris, France? In 1793 the Louvre was the first museum to open its doors to the public. Up till then, there were lots of private museums…private collections in the homes of Europe’s royalty and nobility…but only a select few were invited to see those works of art. The idea of a public museum was, in essence, a new one.Now, when the Louvre opened as a public museum, it was free to all artists every day of the week. But to those who were not artists—y’know, the rest of the general public? Well, they were only allowed to visit the museum on certain days. And that’s because the public museum was first seen as a teaching institution—a place where past artistic achievements would be available to current artists to learn from.OK, so you see the first step was taken—from museums that were just private institutions owned by royalty…to the Louvre, a museum open to the public—with some restrictions. But then there was another shift…and that was brought about by a French painter named Alexandre Lenoir. Lenoir was a young and enthusiastic artist who’d been assigned to be the supervisor of a storehouse for artworks in 1791.Y’see, the French Revolution was taking place at that time, and many national monuments and other works of art were getting damaged or destroyed. Consequently, a couple of large buildings in Paris were dedicated as storehouses for rescued artworks. Five years later, in 1796, Lenoir did something unique with the art in his storehouse—something never done before: he classified and displayed thepaintings and statues by period and style.So people began to notice—and admire—what Lenoir was doing. And soon, he transformed his storehouse into what would become the National Museum of French Monuments, which would later become a branch of the very Louvre that started this whole discussion. And, uh, what’s even more notable is that, Lenoir’s system of classification and display—it became a model for other public art museums…with each room in the museum representing a different century or period of art. Lenoir’s belief that a museum should be concerned with public instruction and offer education according to historical periods—this concept seems obvious now, but it was groundbreaking back then.Interestingly, though, not everyone was, uhh…impressed with Lenoir…or with museums in general, for that matter. There were people—including some artists and historians—who were as much against museums as Lenoir was for them. In fact, some argued that museums would pretty much bring an end to art. They contended that works of art removed from their original context were…incomplete—that artworks ought to remain in the places…the mountains, towns, uhh…in the locations where they were originally created and viewed.Take a painting created in an Italian seaside village, for example. Could that painting maintain its same identity once it was moved to a museum in France? Nowadays, most of us know and appreciate the fact that we can go to a museum and see many works of art from different time periods, artists, and countries. The fact that anyone can go into one place and see works of distant cultures, enjoy their beauty, and even find inspiration in them benefits us all. The Louvre clearly embraces this concept. But there are still some skeptics, people today who are just as skeptical of art museums as the critics were back in Lenoir’s day…and for all the same reasons.题目1.What is the lecture mainly about?A. The influence of private art galleries on public museumsB. The role of art museums as teaching institutions for artistsC. The debate about the Louvre’s opening to the publicD. The early history of the public art museum2.Why does the professor mention that artists were allowed to visit the Louvre every day?[Click on 2 answers.]A. To point out that the public museum was conceived as a place for studyingB. To indicate that all citizens were able to visit the museum whenever they wantedC. To question why certain artists did not spend time at the LouvreD. To contrast the accessibility of art in the Louvre with that of art in private museums3.Why does the professor mention the French Revolution?A. To name an event depicted in Alexandre Lenoir’s artworkB. To identify the theme of an exhibit room in the LouvreC. To explain why art storehouses were createdD. To help explain some people’s attitude toward public museums4.According to the professor, what major contribution did Alexandre Lenoir make to the art community?A. He donated many original paintings to public museums.B. He developed a systematic way of exhibiting art in museums.C. He invented a unique way to restore damaged artwork.D. He designed a national monument in post-Revolution France.5.The professor gives an example of a painting made in an Italian seaside village. According to the professor, what would some skeptics say about that painting?A. It should not be exhibited unless it appeals to people from a variety of cultures.B. It should not be moved out of the geographic area in which it was created.C. It should be exhibited in the Louvre before traveling to any other museum.D. It should always be grouped with similar paintings in a museum.6.What opinion about public art museums does the professor express?A. They focus too much on entertainment and not enough on education.B. They are more important to artists than to the general public.C. Their way of exhibiting artwork needs to be modernized.D. They succeed in allowing varied works of art to be appreciated in a centralized location.答案B ADC B B D译文旁白：听艺术史课上的一篇讲座。
托福听力tpo40 lecture1、2、3、4 原文+题目+答案+译文
托福听力tpo40lecture1、2、3、4原文+题目+答案+译文Lecture1 (2)原文 (2)题目 (4)答案 (5)译文 (6)Lecture2 (7)原文 (7)题目 (9)答案 (11)译文 (11)Lecture3 (13)原文 (13)题目 (16)答案 (18)译文 (18)Lecture4 (20)原文 (20)题目 (22)答案 (24)译文 (24)Lecture1原文NARRATOR:Listen to part of a lecture in an art history class.MALE PROFESSOR:Last class I passed out your assignment for your first paper,and today I want to spend some time going over it.Mm…most people never take any art history until they get to college,so many of you have probably never written an art history paper before.I gave you a list of appropriate works of art for you to write about.So your next step in this process needs to be to go look at the work you've selected as your topic.And bring a pencil and a notepad with you,because I don't mean you should just drop by at the museum and glance at it so you can say you've seen it in real life.You need to go and sit in front of the work and really look at it—carefully and slowly.And keep careful notes about what you see—you’ll need them for the kind of art history paper you're going to be writing…it's what we call a formal analysis.A formal analysis of a work of art,any kind of art,is based on its formal qualities, which means qualities related to the form—things like color…texture…line…shapes…proportion…and composition.Probably the closest thing to a formal analysis you might have written is for an English class.If you've…say…written an analysis of a poem,you've used the same skills—you've given an analysis of the poem by describing and analyzing its form and meter.A formal analysis paper in art history is very similar.Now,before you begin writing your formal analysis,you'll want to start with a summary of the overall appearance of the work—a brief description of what you see. Are there figures—people?What are they doing?Or is it a landscape…or an abstract representation of something?Tell what the subject is,and what aspects are emphasized in the painting.This will give your reader an overview of what the work looks like before you analyze it.The next part of your paper—the actual formal analysis—will be the longest and most important section of your paper,where you describe and analyze individual design elements.For this portion of the paper,you're going to rely on the notes you took at the museum,because you should be able to describe in detail the design elements the artist uses,and how they are used.For example,does the artist use harsh lines or soft lines—are the colors bright or muted?Focus on the design elements that you feel are most strongly represented in that particular work of art. And if you don't know where to begin,take note of where your eye goes first.Then describe things in the order in which your eye moves around the work.This will help you understand how one part relates to another—the interaction between the different parts of the work.OK,this kind of analysis should occur throughout the main portion of the paper.In the last section of your paper—and this goes beyond formal analysis—you comment on the significance of what you have seen.What details of the work convey meaning?Some significant details will not be apparent to you right away,but if you look long enough,you realize how important they are for your interpretation of the work.Many years ago,I was writing a formal analysis of a painting of a little boy.In the painting,a little boy was standing in his nursery,and he was holding a toy bird in his hand,and there were more toys around him in the background of the painting. Because of the bird he was holding,I assumed at first that the painting was about the innocence of children.But as I looked at the painting longer,I realized that the boy's eyes looked sad even though there was no discernable expression on his face.And then it dawned on me that,even though he was surrounded by toys,he was all alone in his nursery.The boy's eyes were a significant detail in the painting,that I didn't notice at first.题目1.What point does the professor make about the writing of a formal analysis in art history?A.Its objective is to identify common features of several works of art.B.Its most important part is the explanation of an artwork's significance.C.Several styles of writing a formal analysis are used by art historians.D.A particular approach is required to present Information about an artwork.2.According to the professor,what will students need to do before writing the art history paper?A.Look at examples of formal analysis in textbooksB.Take notes on the artwork they will write aboutC.Go to different museums before selecting a topic for the paperD.Study the historical context of the artwork they will write about3.Why does the professor mention an English class?A.To explain the difference between visual language and written languageB.To explain that students need good writing skills for their assignmentC.To point out similarities between a poetry paper and the students'assignmentD.To point out that many art historians become writers4.What does the professor recommend as a way to understand the relationship between different parts of an artwork?A.Looking for lines that connect different parts of the workB.Examining the artwork from several different anglesC.Looking for similar colors the artist used throughout the workD.Determining how the viewer's eyes move around the work5.Why does the professor talk about his own experience analyzing the painting of a little boy?A.To point out a common misconception about formal analysisB.To stress the importance of looking at an artwork thoroughlyC.To show why a formal analysis should not emphasize small detailsD.To provide an example of an artwork that is easy to analyze6.The professor describes three sections the art history paper should contain.Place them in the order in which they should appear in the paper.Click on a phrase.Then drag it to the space where it belongs.A.Analysis of the design elements the artist usesB.Discussion of the meaning of the artworkC.Summary of the appearance of the artwork答案D B C D B CAB译文旁白：下面听一段艺术史课程的片段。
托福听力tpo46 lecture1、2、3、4 原文+题目+答案+译文
托福听力tpo46lecture1、2、3、4原文+题目+答案+译文Lecture1 (2)原文 (2)题目 (4)答案 (6)译文 (6)Lecture2 (8)原文 (8)题目 (10)答案 (12)译文 (12)Lecture3 (14)原文 (14)题目 (16)答案 (18)译文 (18)Lecture4 (19)原文 (19)题目 (22)答案 (24)译文 (24)Lecture1原文NARRATOR:Listen to part of a lecture in a biology class.FEMALE PROFESSOR:I'd like to continue our discussion of animal behavior and start off today's class by focusing on a concept we haven't yet touched upon—swarm intelligence.Swarm intelligence is a collective behavior that emerges from a group of animals,like a colony of termites,a school of fish,or a flock of birds.Let's first consider the principles behind swarm intelligence,and we'll use the ant as our model.Now,an ant on its own is not that smart.When you have a group of ants,however, there you have efficiency in action.You see,there's no leader running an ant colony. Each individual,each individual ant operates by instinctively following a simple set of rules when foraging for food.Rule number1:Deposit a chemical marker…called a pheromone.And rule2:Follow the strongest pheromone path.The strongest pheromone path is advantageous to ants seeking food.So,for example,when ants leave the nest,they deposit a pheromone trail along the route they take.If they find food,they return to the nest on the same path and the pheromone trail gets stronger—it's doubled in strength.Because an ant that took a shorter path returns first,its pheromone trail is stronger,and other ants will follow it, according to rule2.And as more ants travel that path,the pheromone trail gets even stronger.So,what's happening here?Each ant follows two very basic rules,and each ant acts on information it finds in its immediate local environment.And it's important to note: Even though none of the individual ants is aware of the bigger plan,they collectively choose the shortest path between the nest and a food source because it's the most reinforced path.By the way,a-a few of you have asked me about the relevance of what we're studying to everyday life.And swarm intelligence offers several good examples of how concepts in biology can be applied to other fields.Well,businesses have been able to use this approach of following simple rules when designing complex systems,for instance,in telephone networks.When a call is placed from one city to another,it has to connect through a number of nodes along the way.At each point,a decision has to be made:Which direction does the call go from here?Well,a computer program was developed to answer this question based on rules that are similar to the ones that ants use to find food.Remember,individual ants deposit pheromones,and they follow the path that is most reinforced.Now,in the phone network,a computer monitors the connection speed of each path, and identifies the paths that are currently the fastest—the least crowded parts of the network.And this information,converted into a numeric code,is deposited at the network nodes.This reinforces the paths that are least crowded at the moment. The rule the telephone network follows is to always select the path that is most reinforced.So,similar to the ant's behavior,at each intermediate node,the call follows the path that is most reinforced.This leads to an outcome which is beneficial to the network as a whole,and calls get through faster.But getting back to animal behavior,another example of swarm intelligence is the way flocks of birds are able to fly together so cohesively.How do they coordinate their movements and know where they're supposed to be?Well,it basically boils down to three rules that each bird seems to follow.Rule1:Stay close to nearby birds.Rule2:Avoid collision with nearby birds.And rule3:Move in the average speed and direction of nearby birds.Oh,and by the way,if you're wondering how this approach can be of practical use for humans:The movie industry had been trying to create computer-generated flocks of birds in movie scenes.The question was how to do it easily on a large scale?A researcher used these threerules in a computer graphics program,and it worked!There have also been attempts to create computer-generated crowds of people using this bird flocking model of swarm intelligence.However,I'm not surprised that more research is needed.The three rules I mentioned might be great for bird simulations,but they don't take into account the complexity and unpredictability of human behavior.So,if you want to create crowds of people in a realistic way,that computer model might be too limited.题目1.What is the lecture mainly about?A.Various methods that ants use to locate foodB.A collective behavior common to humans and animalsC.A type of animal behavior and its application by humansD.Strategies that flocks of birds use to stay in formation2.According to the professor,what behavior plays an important role in the way ants obtain food?A.Ants usually take a different path when they return to their nest.B.Ants leave chemical trails when they are outside the nest.C.Small groups of ants search in different locations.D.Ants leave pieces of food along the path as markers.3.What are two principles of swarm intelligence based on the ant example?[Click on2answers.]A.Individuals are aware of the group goal.B.Individuals act on information in their local environment.C.Individuals follow a leader's guidance.D.Individuals instinctively follow a set of rules.4.According to the professor,what path is followed by both telephone calls on a network and ants seeking food?A.The path with the least amount of activityB.The most crowded pathC.The path that is most reinforcedD.The path that has intermediate stopping points5.Why does the professor mention movies?A.To identify movie scenes with computer-simulated flocks of birdsB.To identify a good source of information about swarm intelligenceC.To emphasize how difficult it still is to simulate bird flightD.To explain that some special effects in movies are based on swarm intelligence6.What is the professor's attitude about attempts to create computer-generated crowds of people?A.She believes that the rules of birds'flocking behavior do not apply to group behavior in humans.B.She thinks that crowd scenes could be improved by using the behavior of ant colonies as a model.C.She is surprised by how realistic the computer-generated crowds are.D.She is impressed that computer graphics can create such a wide range of emotions.答案C B BD C D A译文下面听一段生物学讲座的片段。
托福TPO1-31听力原文文本【最新修订版】
智课网TOEFL备考资料托福TPO1-31听力原文文本【最新修订版】摘要：托福TPO1-31听力原文文本【最新修订版】!为帮助大家更好的使用托福听力TPO资料，小编今天特给出最新修订版内容，让大家了解最新的考试内容，这是完整的托福TPO1-31听力原文文本还有音频资料哦!托福 TPO1-31听力原文文本【最新修订版】!为帮助大家更好的使用托福听力 TPO资料，小编今天特给出最新修订版内容，让大家了解最新的考试内容，这是完整的托福TPO1-31听力原文文本还有音频资料哦!TPO1Conversation 1NarratorListen to part of a conversation between a student and a librarian.StudentHi, um…, I really hope you can help me.LibrarianThat’s why I’m here. What can I do for you?StudentI’m supposed to do a literature review for my psychology course, but I’m… having a hard time finding articles. I don’t even know where to start looking.LibrarianYou said this is for your psychology course, right? So your focus is on …StudentDream Interpretation.LibrarianWell, you have a focus, so that’s already a good start. Hmmm… well, there’re a few things… oh wait… have you checked to see if your professor put any materials for you to look at on reserve?Studentifferent journals.Librarian针对大家托福听力提分困难的复习处境，小马有开发出模拟托福听力考场环境的托福听力APP,小马托福听力APP中涵盖了TPO1-34听力真题全部内容的，答案解析应有尽有。
托福听力tpo68 lecture1、2、3 原文+题目+答案+译文
托福听力tpo68 lecture1、2、3 原文+题目+答案+译文Lecture1 (2)原文 (2)题目 (4)答案 (6)译文 (6)Lecture2 (7)原文 (8)题目 (10)答案 (12)译文 (12)Lecture3 (14)原文 (14)题目 (17)答案 (19)译文 (19)Lecture1原文Professor: OK, let’s look at two specific ancient cultures of the arctic, both of which lived on the far northern edge of the continent, the Dorset and the Thule. The Dorset culture began around eight hundred BC and ranged to cross most of arctic Canada. The Thule, well, they lived in the same area, but about twelve hundred years later. Both groups left some beautiful art behind, really are best evidence that these folks even existed. And although these two cultures lived in the same region, each group approached their art in very different ways.Alright, so the Dorset culture. Archaeologists have unearthed hundreds of Dorset sculptures mostly carve from ivory or bone and sometimes stone. They were mostly small sculptures of animal or human figures. And our best guess is that they were probably used mainly for religious purposes. The main subject of Dorset animal sculptures is the polar bear. Some of these polar bears are represented in naturalistic or realistic ways, but usually, their abstracted or stylized that is to say less realistic. Here is a typical polar bear sculpture. It's carved from ivory, we call these artifacts flying or floating polar bears, because, because they look like the polar bears doing just that flying or floating. Notice the distinctive markings, they seem to mark out the skeleton or joints of the bear.While polar bears were favorite subject, the Dorset created sculptures of other animals too, like seals and caribou which were represented in a more realistic fashion. We speculate that if the Dorset feared or respected a particular animal, they were more likely to present it in a stylized way, like with the polar bear, which, of course, is a large dangerous predator, maybe, it was a way of dealing with their fear. We also have Dorset’s sculptures whose meaning is more allusive. I'm talking about horns with many human faces carved into them. What's remarkable about these sculptures is the variety of facial types in expressions that appear on the single horn. If only the people represented on these artifacts could answer our questions, it tells us whetherthey are ancestors or residents of villager or what.Okay, let's switch to Thule art, which differs from Dorset art in, in some important ways. Interestingly, Thule artwork wasn't generally influenced by the earlier Dorset culture. It seems it would’ve grown out of a separate tradition that originated in Alaska. Thule artwork was most likely used to decorate common objects such as tools with attractive designs, we can't be entirely sure about this. However, we've tried to interpret the symbolic designs into the art. But of course, it's impossible to confirm the accuracy of such interpretations. What we do know is that the Thule people made extensive use of engravings, they drove the small holes and carve lines into various materials. These engravings, engraved patterns, rather, are found on the diverse group of artifacts, things ranging from weapons to jewelry to cones and boxes. Here's some examples. It's hard to see, but most of these objects do have engravings on them. Thule art was more of a graphic art. Uh, more like drawing. Many of their designs are geometric and abstract. Others containing engravings of human and animal figures.For instance, the long skinny object, among left, has a face at the top. We’ve also found the tool handle with hunting and camp scenes carved into it. As far as Thule’s sculpture goes, there is only a few small objects in wooden dowels like the one in the bottom right-hand corner. These have either no facial features or very rudimentary ones, less detailed, less individualized than the faces of Dorset’s sculpture.One scholar has argued that this difference resulted from the nature of Thule’s society which was built around group hunting expeditions on the ocean. This hunting approach required a great deal of cooperation which may have led to a kind of an overall uniformity in their art. And emphasis on commonality rather than individuality, which probably explains why there’re human figures like the faces or had standardized faces that all look similar. The most famous of the few Thule sculptures are the ones of birds in creatures that are part bird and part woman. While the sculpture is probably had some symbolic purpose, patterns of holes were drilled into them too. So, in general compared with artwork of the Dorset, Thule artprobably had a more decorative or utilitarian function.题目1.What is the main purpose of the lecture?A. To examine the extent to which Thule and Dorset art influenced the artwork of other arctic culturesB. To examine how Thule and Dorset designs changed over timeC. To compare and contrast artwork from two ancient arctic culturesD. To discuss how the natural world is shown in the artwork of two ancient arctic cultures2.What does the professor imply about “flying”or “floating”polar-bear sculptures?[Click on 2 answers.]A. They may have helped the Dorset people cope with their fear of a dangerous animal.B. Art historians consider them to be of little religious importance to the Dorset people.C. The Dorset people created them to demonstrate respect for polar bears.D. They were designed to take advantage of the natural shape of the ivory.3.According to the professor, what can be inferred about Dorset society based on its artwork?A. It placed more emphasis on religious beliefs than Thule society did.B. It relied on hunting large animals to a greater extent than Thule society did.C. It placed an emphasis on the production of jewelry.D. It was structured to support long ocean expeditions.4.According to the professor, what appears to be the main reason that the Thule engraved holes and lines into their artifacts?A. To honor their Alaskan ancestorsB. To illustrate the layout of their campgroundsC. To add realism to their sculpturesD. To add decoration to their sculptures5.Why does the professor mention Thule group-hunting expeditions?A. To explain why the Thule had plenty of time to produce detailed artworkB. To draw a connection between cooperation in finding food and uniformity in artC. To compare Thule hunting practices with Dorset hunting practicesD. To suggest that the majority of Thule sculptures were probably lost at sea6.Why does the professor saythis:If only the people represented on these artifacts could answer our questionsA. To suggest that the students interview descendants of Dorset peopleB. To propose a topic that the students could write aboutC. To ask students who they think the faces representD. To indicate that there is still a lot of missing information答案C AC AD B D译文教授:好的，让我们来看一下北极的两种特定的古代文化，它们都生活在大陆的最北端，Dorset文化和Thule文化。
托福听力tpo51 lecture1、2、3、4 原文+题目+答案+译文
托福听力tpo51lecture1、2、3、4原文+题目+答案+译文Lecture1 (1)原文 (1)题目 (3)答案 (5)译文 (6)Lecture2 (7)原文 (7)题目 (10)答案 (12)译文 (12)Lecture3 (14)原文 (14)题目 (16)答案 (18)译文 (18)Lecture4 (20)原文 (20)题目 (22)答案 (24)译文 (24)Lecture1原文NARRATOR:Listen to part of a lecture in a botany class.FEMALE PROFESSOR:So,continuing with crop domestication,and corn—or,um, maize,as it's often called.Obviously it's one of the world's most important cropstoday.It's such a big part of the diet in so many countries,and it's got so many different uses,that it's hard to imagine a world without it.But because it doesn't grow naturally,without human cultivation,and because there's no obvious wild relative of maize…uh,well,for the longest time,researchers weren’t able to find any clear link between maize and other living plants.And that's made it hard for them to trace the history of maize.Now,scientific theories about the origins of maize first started coming out in the 1930s.One involved a plant called teosinte.Teosinte is a tall grass that grows wild in certain parts of Mexico and Guatemala.When researchers first started looking at wild teosinte plants,they thought there was a chance that the two plants—um, maize and teosinte—were related.The young wild teosinte plant looks a lot like the corn plant,and the plants continue to resemble each other—at least superficially—even when they're developed.But when the scientists examined the fruits of the two plants,it was a different story. When you look at ripe corn,you see row upon row of juicy kernels…um,all those tiny little yellow squares that people eat.Fully grown teosinte,on the other hand, has a skinny stalk that holds only a dozen or so kernels behind a hard,um,almost stonelike casing.In fact,based on the appearance of its fruit,teosinte was initially considered to be a closer relative to rice than to maize.But there was one geneticist,named George Beadle,who didn't give up so easily on the idea that teosinte might be…well…the“parent”of corn.While still a student in the1930s,Beadle actually found that the two plants had very similar chromosomes—very similar genetic information.In fact,he was even able to make fertile hybrids between the two plants.In hybridization,you remember,the genes of two species of plants are mixed to produce a new,third plant—a hybrid.And if this offspring—this hybrid—is fertile,then that suggests that the two species are closely related genetically.This new,hybrid plant looked like an intermediate,right between maize and teosinte.So,Beadle concluded that maize must've been developed over many years,uh,that it is a domesticated form of teosinte.Many experts in thescientific community,however,remained unconvinced by his conclusions.They believed that,with so many apparent differences between the two plants,it would have been unlikely that ancient—that prehistoric peoples could’ve domesticated maize from teosinte.I mean,when you think about it,these people lived in small groups,and they had to be on the move constantly as the seasons changed.So for them to selectively breed,to have the patience to be able to pick out just the right plants…and gradually—over generations—separate out the durable,nutritious maize plant from the brittle teosinte that easily broke apart…it's a pretty impressive feat,and you can easily see why so many experts would have been skeptical.But,as it turns out,Beadle found even more evidence for his theory when he continued his experiments,producing new hybrids,to investigate the genetic relationship between teosinte and maize.Through these successive experiments,he calculated that only about five specific genes were responsible for the main differences between teosinte and maize—the plants were otherwise surprisingly similar genetically.And more recently,botanists have used modern DNA testing to scan plant samples collected from throughout the Western Hemisphere.This has allowed them to pinpoint where the domestication of maize most likely took place—and their research took them to a particular river valley in southern Mexico.They've also been able to estimate that the domestication of maize most likely occurred about9,000 years ago.And subsequent archaeological digs have confirmed this estimate.In one site,archaeologists uncovered a set of tools that were nearly9,000years old.And these tools were covered with a dusty residue…a residue of maize,as it turns out…thus making them the oldest physical evidence of maize that we've found so far.题目1.What is the lecture mainly about?A.A research study that compares wild and domesticated plantsB.Problems with a commonly held hypothesis about the origin of teosinteC.Reasons why wild plants are usually unsuitable for agricultureD.The process used to identify the ancestor of a modern crop2.What evidence seemed to indicate that maize and teosinte are not related?A.Young teosinte plants do not physically resemble young maize plants.B.Preliminary DNA evidence indicated that teosinte was related to rice.C.Maize and teosinte usually grow in significantly different climates.D.Maize and teosinte have very different types of kernels.3.Why does the professor discuss hybrids?A.To explain how a geneticist confirmed that maize was widely grown9,000years agoB.To indicate the earliest method used by geneticists to identify plant originsC.To explain a method used to demonstrate a link between two plant speciesD.To describe how geneticists distinguish between wild plants and domesticated plants4.What was most researchers'initial view of George Beadle's theory about teosinte?A.They accepted it but questioned the evidence cited.B.They rejected it because of conflicting archaeological evidence.C.They questioned it because it implies that ancient farmers were sophisticatedplant breeders.D.They questioned it because genetic research was viewed with skepticism at that time.5.What did Beadle conclude about maize and teosinte?A.Both plants lack particular genes that are common in most domesticated plants.B.Both plants have particular genes that enable them to adapt to varying climates.C.Only a small number of genes are responsible for the differences between the two plants.D.The genetic composition of both plants is very similar to that of rice.6.According to the professor,why was the discovery of stone tools important?A.It proved that teosinte was simultaneously domesticated in multiple locations.B.It helped to confirm the period in which maize was first domesticated.C.It suggested that maize required farming techniques that were more complex than experts had previously assumed.D.It provided evidence that maize plants were used for more purposes than experts had previously assumed.答案D D C C C B译文旁白：请听一段植物学讲座的节选。
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tpo60 lecture1、2、3 原文+题目+答案+译文
托福听力tpo60 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 (13)原文 (13)题目 (16)答案 (18)译文 (18)Lecture1原文Listen to part of a lecture in an art history class.As you know, artists today can choose from an enormous selection of media, including water colors, acrylic paints, not to mention special pains formulated for almost any surface you might wanna paint on. But even so, oil paints are still the medium of choice among most professional artists and hobbyists. So why is that? well, for one thing, oil paints extremely versatile, suitable for many different painting styles, different subjects, and different sizes of work. Another advantage is thatthey're easy to use. Even for beginners, they can be manipulated. You can apply oil paint to a canvas. And then because they don't dry right away, they can be scraped off and paint it over.So you don't have to waste expensive material every time you make a change. Unlike acrylic paint, which really can't be moved once it's applied, acrylic paints dry very quickly. So in general, when using them, it's more difficult to make changes. And with watercolors, you can't really paint over a mistake, because it really diminishes the freshness of the colors. So oil paint is the medium of choice for many painters. Nowadays, anyway, in terms of art history, oil paints actually pretty young in Europe before the invention, rather, the development of oil paint, painters mostly used Tempera. Tempera was made with egg yolk. Believe it or not, the yoke acted as a binder. A binder enables the color pigment to stick to your canvas, and no temporal wasn't always yellow. If that's what you're thinking. Artists made their own paint by mixing egg yolk with a color pigment like powdered iron ore copper. But it dried very fast, which left little room for error or change.You really had to get it right the first time. Then in the early 15th century, a Flemish painter named Jan of Van Eyck started experimenting up after that emperor in one of the Nikes paintings cracked while drawing in the sun. He decided to try to make a paint that would avoid this fate. So he tried. And oil mixture, actually other painters before him had tried using oils as a binder. So while the Nikes credited with inventing oil paint, it's not entirely true. In Greece and Italy, olive oil had been used to prepare pigment mixtures, but the paint took a really long time to dry, just the opposite of tempera. But van Eyck had a secret recipe for his oil paint. He used linseed oil. Not only did this paint dry without cracking, van dyke also discovered that it could be applied in very thin layers. This technique gave the colors of depth that was previously unknown. And just as important, the linseed oil actually increased the brilliance of the color. So as a result, pigment oil mixtures became very popular among artists. Some tried to improve the paint by developing their own recipes, like uh, by using walnut oil, for instance, or by cooking their oil mixtures. But a greatmany began using some sort of oil as their binder.Now with all this experimentation with mixtures, well, it took a long time for artists to get comfortable with using these new oil paints to get a true feeling for how to apply them to the best effect. The early painters in oil like that Ike laid the paint down in thin layers with brush strokes that were so delicate that they're practically invisible. And it really wasn't until the end of the 16th century and in the 17th century that the full potential of oil paint was realized, for example, that's when artists finally began to combine delicately painted areas with thick brush strokes. So you could actually see the marks of the brush combining the rough and the smooth gives oil paintings great textural depth. Of course, the public who are used to smooth surfaces actually complained that these paintings looked unfinished. And some of that attitude carried over until later centuries, like, well, you're probably familiar with the work of the painter Vincent Van Gogh. Van gogh's famous nowadays for his thick, swirling brush strokes. But amazingly enough, his work was not appreciated back in the 19th century, and he sold just one painting during his lifetime. Of course, the French impressionists, who were his contemporaries, attained more popular acclaim, but they used a different technique. They applied oil paint and thick dabbs to depict the effects of light on the landscape.题目1.What does the professor mainly discuss?A. The relationship between painting techniques and types of paint that are usedB. Reasons for the changes in the popularity of oil paint since the seventeenth centuryC. The historical development and use of oil paintD. The main differences between oil paint and tempera2.What reasons does the professor give for the popularity of oil paint among modern artists?[Click on 2 answers.]A. It can be used for a number of painting styles.B. It allows artists to make changes.C. It does not fade easily.D. It can be made easily even by amateur painters.3.What property do tempera and acrylic paint have in common?A. They do not stick well to the canvas.B. They tend to crack as they dry.C. They tend to make colors look dull.D. They dry very quickly.4.What are two points the professor makes about the painter Jan van Eyck?[Click on 2 answers.]A. He did not invent the use of oil as a binder.B. He improved his own oil mixtures by heating them.C. He invented tempera.D. He applied oil paint to a canvas in thin layers.5.Why does the professor talk about combining delicate brushstrokes with thickbrushstrokes?A. To explain the popularity of van Eyck's paintingsB. To describe a difference between linseed oil and olive oil as a binderC. To indicate that artists became more experienced in the use of oil paintD. To point out a similarity between the painters van Eyck and van Gogh6.Why does the professor mention Vincent van Gogh?A. To emphasize that paintings made with thick brushstrokes were unpopular in the pastB. To show that artists did not know how to use oil paints correctly until the nineteenth centuryC. To describe the origin of a painting technique used by the French ImpressionistsD. To support his statement about when painters first began to use thick brushstrokes答案C ABD AD C A译文请听艺术史课上的部分内容。
托福听力tpo69 lecture1、2、3 原文+题目+答案+译文
托福听力tpo69 lecture1、2、3 原文+题目+答案+译文Lecture1 (2)原文 (2)题目 (5)答案 (8)译文 (8)Lecture2 (10)原文 (10)题目 (14)答案 (17)译文 (17)Lecture3 (20)原文 (20)题目 (23)答案 (26)译文 (26)Lecture1原文So, we've talked about the plates that form the earth crust and their movements and how in some places they're separating. Now, when this happens in the ocean along a middle ocean ridge, some important things can happen, in particular you can get a hydrothermal vent. This is a lot like a geyser except it’s on the ocean floor.A geyser of course is a kind of eruption from underground hot spring. Water that’s been heated up in Earth’s interior, when under pressure, can erupt, sending that water and steam, shooting upwards through crack in the earth. A hydrothermal vent is essentially this same thing, but the water is emitted out of cracks or, or fractures in the ocean floor. If Forms that don't depend on energy from the sun, but depend on chemical energy.But, the vents are also enormous significance for us. From a purely geological perspective, because the chemistry of the oceans is affected by them. To see how, let’s look at the process a little more closely. They typically occur in fields, so you might have an area with a dozen of them, but you need two things to get one of these fields, first, you got haveheat. And you’ve got have fissures in the ocean floor. So, in a vent field, you've got cracks in the ocean floor. And cold water at the bottom of the ocean, we are talking, maybe two degrees Celsius, goes down into them, as it goes underground, it heats up, because in these fields, there are magma chambers, only a few kilometers below the ocean floor.This hot molten rock heats the solid rock above it to as high as five hundred degrees Celsius. And this heated solid rock, then heats the ocean water that flows over it. Now remember, the high pressure of the deep sea, allows water to stay liquid at such a high temperature, so it can reach temperatures of, three or four hundred degrees Celsius.As the water heated, it rises up through other cracks and it shoots up back into the ocean, much like with geyser on land. Now, the important part, is what the water is carrying with it, as it emerges. The heated water draws minerals from solid rock. So, you get dissolved metals in the water, like iron and copper. When the water shoots up and re-enters the cold ocean, it quickly cools and these minerals precipitate out. They’re released and they are deposited into the ocean water, which affects its composition. And it also creates quite a site, these vents have a plume that looks like a smoke, likes smoke that’s coming up out of the vent in the earth.Remember some of the water coming out of the vents is over threehundred degree Celsius. When it’s this hot, it dissolves sulfur, iron and other metals in the rock and it interacts with. when these minerals precipitate out, the water forms of black plume, so these vents are called black smokers. It's the sulfur and metals precipitating out of the water that that's what causes black color.But there are also white smokers, these emit what looks like a white smoke. That's because their water is relatively cool, above one hundred to three hundred degrees. Still pretty warm, but, not warm enough to dissolve sulfur or iron. Instead, they draw off different minerals from rocks. Things like silica and they give off different color, whitish color, when those minerals precipitate out.But in both black and white smokers as the waters emitted in the plume, the mineral that precipitate out, eventually build up around the vent, forming large, tower, like structures or minerals, build up layer upon layer, we call these chimneys, just like a chimney on a house. Different minerals will tend to build up at different places on the chimneys. But, some of the minerals like silica, a form kind of cement, and they hold the whole structure together. So, they can grow quite large and quite quickly. If you can believe it there was one chimney that reached forty-seven meters, that’s like fourteen story It collapsed, but it’s actually now rebuilding.题目1.What does the professor mainly discuss?A. The process by which molten rock can enter the oceanB. The formation of hydrothermal ventsC. The differences between geysers and hydrothermal ventsD. The mineral composition of hydrothermal vent chimneys2.According to the professor, what is the main difference between geysers and hydrothermal vents?A. Where they occurB. What causes themC. The size of their plumesD. The temperature of the water they emit3.What aspect of hydrothermal vents is of most significance to the professor?A. Their role in supporting unusual life formsB. Their role in affecting the chemical composition of the oceansC. Their role in affecting the movement of ocean platesD. Their role in affecting the temperature of ocean water4.What conditions are needed for hydrothermal vents to form?[Click on2 answers.]A. Heated rock beneath the ocean floorB. Rocks on the ocean floor with high mineral contentC. Cracks in the ocean floorD. Strong ocean currents5.What are two differences between black smokers and whitesmokers?[Click on 2 answers.]A. Black smokers emit water at a higher temperature.B. Black smokers are more common than white smokers are.C. Black smokers are found in deeper ocean water.D. Black smokers release different types of minerals than white smokers release.6.What does the professor say about the chimney structures that grow around hydrothermal vents？A. They last only a few years.B. They are formed by a single mineral.C. They can grow very tall.D. Their growth rate depends on the temperature of the water emitted from the vent.答案B A B AC AD C译文我们之前讨论了构成地壳的板块及其运动，以及在某些地方它们如何分离。
托福听力tpo49 lecture1、2、3、4 原文+题目+答案+译文
托福听力tpo49lecture1、2、3、4原文+题目+答案+译文Lecture1 (1)原文 (1)题目 (4)答案 (6)译文 (6)Lecture2 (8)原文 (8)题目 (10)答案 (12)译文 (12)Lecture3 (14)原文 (14)题目 (17)答案 (19)译文 (19)Lecture4 (21)原文 (21)题目 (23)答案 (25)译文 (25)Lecture1原文NARRATOR:Listen to part of a lecture in a geology class.MALE PROFESSOR:Alaska is fascinating to geologists because of its incrediblelandscapes.Uh,permafrost has a lot to do with this.That is,the areas where the ground—the soil—is always frozen,except for the very top layer—what we call the active layer of permafrost—which melts in the summer and refreezes again in the winter.The northern part of Alaska is covered in lakes—thousands of them—and most of these are what we call thaw lakes.T-h-a-w.Thaw lakes.I'm gonna show you a few sketches of them in a minute,so you'll have a good idea of what I'm talking about.So, how these thaw lakes are formed has to do with…OK,it starts with ice wedges.The top part of the ice wedge melts—Should I back up?Ice wedges form when water runs into cracks in the ground,the permafrost,then freezes.You ever see mud after it dries?Dried mud has cracks,because when it dries, it contracts,it shrinks.Well,in winter,permafrost behaves similarly.It shrinks in winter,because it freezes even more thoroughly then,and as it shrinks,it forms deep,deep cracks.Then in the summer,when the active layer—the top layer of the permafrost—melts,the melt water runs into those cracks in the permafrost,then freezes again—because that ground,the ground beneath the active layer,is still below freezing.So,you have wedges of ice in the permafrost.Now the ice wedges widen the original cracks in the permafrost,because water expands when it freezes.All right?OK,then in autumn,the active layer on top freezes again.Then in winter,the permafrost starts contracting again and the cracks open up even wider.So the next summer,when the active layer melts again and flows into the widened cracks…and…freezes…it makes the cracks even wider.So it’s sort of a cycle through which the cracks and the wedges grow wider and wider.So when the ice wedge reaches a certain size,its top part—in the active layer—turns into a little pond when it melts in the summer.And that's the beginning of your thaw lake.[pause]There are thousands of them in northern Alaska.One of the most fascinating things about these lakes—and this is important—is that they mostly havethe same shape.Like an elongated oval,or egg shape.And what's more,all the ovals are oriented in the same way.Here's an idea of what they look like,what the landscape looks like from an aerial view,with the lakes side by side.There's been considerable research done to try to figure out what causes them to be shaped and oriented this way.We know that the shape and orientation are caused by the way the lakes grow once they're formed,but the question is,what makes them grow this way?One theory sees winds as the cause.This region of Alaska has strong winds that blow perpendicular to the lakes.What happens is,wind blows straight into the longer side of the lakes.Now,wouldn’t that erode the lake bank in that direction?The same direction as the wind?Well…no.Actually,what happens is that the waves caused by the winds build a sorta protective layer of sediment—it's called a“protective shelf”—along the bank of the lake directly in front of them;so that bank is shielded from erosion,and the waves are diverted to the sides,to the left and to the right,and that’s why the left and the right banks start eroding.Get it?The bank straight ahead is protected,but the lake currents--the waves--erode the banks to the sides.That's the current model,um,the wind erosion model,which is generally accepted.But,there's a new theory that says that[deliberately]thaw slumping,not wind,is what shapes the thaw lakes.Thaw slumping,um…OK.Sometimes,in the summer,the temperature rises pretty quickly.So the active layer of permafrost thaws faster than the water can drain from the soil.So the sides of the thaw lakes get,like,mushy,and slump,or slide,into the lake.Then,the lake water spreads out more,and the lake gets bigger,OK?Also,in that part of Alaska,the terrain is gently sloped,so the lakes are all on an incline.Here.Now,this is an exaggeration of the angle—the hill isn't this steep—butsee how with the lake's banks,the side that is farther downhill…it's smaller,lower. This short bank thaws faster than the tall one does,so it falls into the lake—it slumps, much more and much faster than the other bank.When the short banks of many lakes slump,they move farther downhill and the lakes grow—all in the same downhill direction.This is a new theory,so it hasn't been tested much yet.In field studies,when we've looked at the banks of these thaw lakes,there's not much evidence of slumping. We'd expect to see cliff-like formations there,from the slumping,but we haven't really found many of those.题目1.What is the main purpose of the lecture?[Click on two answers.]A.To contrast how different kinds of thaw lakes growB.To explain why a new theory of thaw lakes is gaining acceptanceC.To explain how processes in permafrost lead to the formation of thaw lakesD.To describe two competing theories about the growth of thaw lakes2.The professor explains thaw lake formation as a cycle of events that occur repeatedly.Summarize this cycle,starting with the event filled in below.[Click on a sentence.Then drag it to the space where it belongs.The first one is done for you. One sentence will not be used]A.Meltwater flows into cracks in permafrostB.Ice wedges inside permafrost completely meltC.Freezing water expands cracks in permafrostD.Ice in the active layer melts as temperatures riseE.Permafrost shrinks and cracks as temperatures drop..3.What is the significance of the'protective shelf'discussed by the professor?A.It prevents the slumping of lake banks.B.It shields the lake surface from strong winds.C.It redirects the waves to lake banks that do not face the wind.D.It allows the lakes to grow in the same direction as the wind blows.4.According to the thaw slumping model,which side of a thaw lake grows fastest?A.The side where the bank is shortestB.The side least exposed to windC.The side that is at the highest elevationD.The side opposite the protective shelf5.What is the professor's opinion of the thaw slumping model?A.He thinks it was urgently needed.B.He is not convinced that it has a firm basis.C.He thinks it would be better if it were simplified.D.He does not think it is very different from the old model.6.Why does the professor say this:You ever see mud after it dries?A.He wants some information from the students.B.He thinks that the students may find an example helpful.C.He realizes that he forgot to mention an important topic.D.He wants to point out an important difference between frozen ground and dry ground.答案CD EDACB C A B B译文听一段地质学的讲座。
托福听力tpo45 lecture1、2、3、4 原文+题目+答案+译文
托福听力tpo45 lecture1、2、3、4 原文+题目+答案+译文Lecture1 (2)原文 (2)题目 (4)答案 (6)译文 (6)Lecture2 (7)原文 (7)题目 (10)答案 (12)译文 (12)Lecture3 (15)原文 (15)题目 (17)答案 (19)译文 (19)Lecture4 (21)原文 (21)题目 (24)答案 (26)译文 (26)托福听力tpo45 lecture1、2、3、4 原文+题目+答案+译文Lecture1原文NARRATOR: Listen to part of a lecture in an art history class.MALE PROFESSOR: As I was saying, the Renaissance period—which started in the fourteen hundreds in Europe—the Renaissance was still a pretty religious period. And that's reflected in the artwork of that time.But artists were starting to experiment with a more secular point of view as well—a tendency to also use the natural world as the subject matter for their art.And there were different ways that these natural themes were explored. For instance, many artists would paint portraits, while others—although this was more common in northern Europe—would make landscapes the subject of their works.But today I'd like to consider an influential Italian Renaissance artist, Leon Battista Alberti, who took a slightly different approach.Leon Battista Alberti was a painter, sculptor, architect, musician, poet—very wide-ranging interests—like daVinci or Michelangelo, the sort of guy for whom the term “Renaissance man” was in fact created.Alberti believed that the most important approach for a painter was to capture a story or narrative. Now, as I've indicated, this narrative could be either religious or secular, depending on what the work of art was for. If the work was to be placed in a church then obviously it'd have a religious theme, whereas if it was for someone's home then it could deal with a different subject matter. The exact narrative didn't really matter, so long as it was one that captivated the audience—that held the viewer's attention.So what is actually needed to tell a story?Well, Alberti needed characters, right? Human figures.And he wanted to represent them as realistically as possible to capture the viewer's attention. One way he achieved this was to make use of what's known as the contrapposto pose.A contrapposto pose basically entails showing a slight twist in the body. The shoulders and hips are usually bent in different directions. In other words, if the left shoulder is bent so that it's slightly higher than the right shoulder, then the hips will be bent so that the left side will be slightly lower than the right side. Similarly, in sculptures, most of the weight seems to be on one foot, which also results in this slanted position—making it seem like the figure is about to walk or move. This adds to the realistic aspect of the figure.But there are actually a lot of things that could go wrong in the attempt to create such a pose. You could make a figure’s arms bigger than its legs, or the head too small for the body. Messing up the proportions can leave a figure looking cartoon-like and unnatural. But Alberti had a solution: He encouraged artists to visualize a figure's bones and structure. This would give the artist an idea of the proportions of the figure. From there, Alberti suggested the artist imagine attaching the tendons and muscles, then covering those with flesh and skin.Now, although this method may seem complicated, artists since antiquity have used anatomical observations to try to get the proportions of the human figure as accurate as possible—though obviously not to the degree that Alberti was recommending.Now, in addition to characters, the setting is extremely important, especially when attempting to tell a story realistically. Renaissance artists essentially needed to create a three-dimensional scene on a two-dimensional surface. They accomplished this by the use of perspective—a relatively new idea for artists at the time. In particular, the type of perspective that Alberti advocated was called linear one-point perspective. In fact, Alberti was one of the artists who developed the geometry behind linear one-point perspective.Linear perspective basically consists of drawing straight lines that extend from the forefront of the painting into the background—lines that seem to be parallel to each other, but which actually converge on a single point in the horizon, called the vanishing point. By drawing figures and objects smaller and smaller as the lines get closer together, the artist is able to create depth in a painting. This gives the illusion of a third dimension and makes the work of art more realistic.题目1.What is the lecture mainly about?A. Reasons for the transition from religious to secular themes in Renaissance artB. The disproportionate influence of Italian artists during the Renaissance periodC. Techniques used during the Renaissance to produce realistic works of artD. A comparison of themes in paintings and sculptures during the Renaissance2.What is the professor's opinion of Leon Battista Alberti as an artist?A. Alberti's interests were too diverse for him to succeed in any one field.B. Alberti was ineffective in imposing his own theories on other artists.C. Alberti was a much more skilled artist than da Vinci or Michelangelo.D. Alberti represents the Renaissance ideal of wide-ranging achievement.3.According to the professor, what did Alberti consider to be the most important aspect of a Renaissance painting?A. That it convey an appealing narrativeB. That its figures be posed symmetricallyC. That its theme not be religiousD. That its characters be positioned within a landscape4.Why did some artists begin to use the contrapposto pose?A. To create a cartoon-like effectB. To help viewers identify the main figure in a work of artC. To show the relative sizes of human figuresD. To make human figures appear more natural5.Why does the professor discuss tendons and muscles?A. To emphasize that Alberti's study of anatomy led to his interest in artB. To show the emphasis Alberti placed on using physically fit modelsC. To illustrate the difficulty of maintaining a contrapposto pose in real lifeD. To explain one of Alberti's methods for creating accurate proportions6.Why was the development of linear one-point perspective important to Renaissance artists?A. It helped painters to place figures more symmetrically within their paintings.B. It allowed painters to create an illusion of three dimensions.C. It enabled artists to paint large landscapes for the first time.D. It encouraged artists to take an interest in geometry.答案C D A D D B译文旁白：听一篇艺术史学科讲座。
托福TPO1-30听力中Lecture部分的每个Lecture文章主旨大意和中心思想
childhood amnesia,rate of forgetting
中 parenting behaviors of birds
中
different types of residential architectures in the United States
中
the state of Florida,farmers moved south,great citric industry in Florida,the impact of landscapes on temperature
How you can successfully call attention to the service or
product you want to sell
DNA,chromosomes
MBWA--managing by wandering around
难 Opera,the golden age in French literature
Animal communication systems,human language
How whales became ocean dwellers
中 Where american food ingredients originally come from
nutrient cycle,the carbon cycle,the Phosphorus cycle
Lec 4 Art history
Lec 1 Art history
Lec 2 Environmental Science Lec 3 History Lec 4 Biology Lec 1 Astronomy Lec 2 Art history Lec 3 European history Lec 4 Biology
托福听力tpo61 lecture1、2、3 原文+题目+答案+译文
托福听力tpo61lecture1、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 (11)Lecture3 (13)原文 (13)题目 (15)答案 (17)译文 (17)Lecture1原文Listen to part of a lecture in a sociology class.Sociology is really a cross disciplinary field.We find that elements of biology, psychology,and other sciences often overlap as we study particular phenomena.So let me introduce a concept from cognitive psychology.Okay,let's say someone asks you to look at a list and memorize as many items on it as you can.Most of us are able to remember,on average,seven items.There are several variations of this memory test.And the results consistently show that the human limit for short term memoryis seven bits of Information.This limit is called channel capacity.Channel capacity is the amount of information that can be transmitted or received over a specific connection,like our brain and the channel capacity for our short-term memory.It has some interesting real-life implications,like phone numbers.Local numbers here in the United States all have seven digits,because the phone companies realized early on that longer numbers would lead to a lot more wrong numbers being dialed.But the idea of channel capacity doesn't apply just to our cognitive abilities.It also affects our relationships with people around us.Psychologists talk about sympathy groups.These are the people,close friends,family to whom we devote the most time.We call or see them frequently,we think about them,worry about them.And studies show for each of us,the size of that group is about10to15people.But why so small?sure.Relationships take time and emotional energy.And most of us don't have unlimited amounts of either.But what if there's another reason?what if it's our brain that setting the limit?And in fact,there's evidence that indicates that our social channel capacity may actually be a function of our brain size,or more accurately,the size of our neocortex.The neocortex is the frontal region in the brain of mammals that's associated with complex thought.Primates have the largest neocortex is among mammals,but among different primate species,humans,apes,baboons, neocortex size varies.A lot of theories have been proposed for these variations.Like maybe it's related to the use of tools,but no theories ever seemed like a perfect explanation.Until the late1990s,what an anthropologist named Robin Dunbar published an article about his studies of primates.Dunbar theory is that if you look at any particular species of primate,you'll find that if it has a larger neocortex that it lives in a larger social group.Take human beings,we have the largest neocortices and we have the largest number of social relationships.So we've said that our sympathy group is10to15people.What about our other relationships other than family and close friends,such as those that occur in the workplace will call these social groups as opposed to sympathy groups?How many relationships can we handle there?Those relationships aren't as involved,so we can handle more of them.But is there an upper limit?well,Dunbar says that there is,and he developed an equation to calculate it.His equation depends on knowing the ratio between the size of the neocortex and the size of the whole brain.That is of the whole brain,what percentage of it is taken up by the neocortex?Once you know the average percentage for any particular species,the equation predicts the expected maximum social group size for that species.For humans,that number seems to be about150. So according to Dunbar’s equation,our social groups probably won't number more than150people.Now,Dunbar’s hypothesis isn't the kind of thing that's easy to confirm in a controlled experiment,but there is anecdotal evidence to support it.As part of his research,Dunbar reviewed historical records for21different traditional hunter gatherer societies.And those records showed that the average number of people in each village was just under150,148.4to be exact.Dunbar also worked with biologists to see if his hypothesis applies to other mammals besides primates. When they looked at meat eating mammals,carnivores,they found that the ones with a larger neocortex also have a bigger social group.And the number of individuals in that group is predicted by Dunbar’s equation supporting his hypothesis. But when they looked at insectivores,mammals that eat insects,the results were inconsistent.The data didn't disprove Dunbar’s hypothesis,but wasn't a nice,neat match like the carnivore studies,which isn't totally surprising.Insectivores are hard to observe,since many of them only come out at night or they spend a lot of time underground.So,we know a lot less about their social relationships.题目1.What is the lecture mainly about?A.The role that the neocortex plays in human memoryB.The connection between neocortex size and social relationships in mammalsC.Various studies that compare social group sizes in humans and other mammalsD.Ways that humans can expand the size of their social groups2.Why does the professor discuss the length of some telephone numbers?A.To show that real-world applications are informed by cognitive psychologyB.To point out an exception to a well-known principle about memoryC.To explain why telephone numbers are used in tests of memoryD.To explain why people often dial the wrong telephone number3.What does the professor imply about the size of a person's sympathy group?A.It closely matches the size of the person's family.B.It becomes larger when a person learns how to feel compassion for others.C.It may not be something a person makes a conscious decision to control.D.It may not be as predictable as the size of the person's social group.4.What did Dunbar's study of the records of some traditional hunter-gatherer societies indicate?A.Hunter-gatherer societies were the first to form social groups.B.Tool usage by humans is related to social group size.C.There is a maximum social group size for humans.D.Hunter-gatherers tend to have smaller-sized social groups.5.What does the professor say that biologists discovered in their research of animals other than primates?A.Dunbar's hypothesis accurately predicts social group sizes for all animals.B.Social group sizes of carnivores are more difficult to predict than those of insectivores.C.Data on insectivore behavior neither support nor contradict Dunbar's hypothesis.D.The size of an animal's neocortex is affected by its diet.6.Why does the professor say this:But why so small?sure.Relationships take time and emotional energy.And most of us don't have unlimited amounts of either.A.To encourage students to spend more time developing relationshipsB.To emphasize that her point is based on personal experienceC.To indicate that she realizes that the students already know the answer to her questionD.To suggest that there is more than one possible response to her question答案B AC C C D译文请听社会学课上的部分内容。
托福听力tpo67 lecture1、2、3 原文+题目+答案+译文
托福听力tpo67 lecture1、2、3 原文+题目+答案+译文Lecture1 (2)原文 (2)题目 (5)答案 (7)译文 (8)Lecture2 (10)原文 (10)题目 (13)答案 (17)译文 (17)Lecture3 (19)原文 (19)题目 (23)答案 (26)译文 (26)Lecture1原文Professor: Now we've said that animal behavior patterns involve an interplay between an animal and its environment. In particular, behavior patterns can change as an animal becomes adapted to its environment. We can see the results of this in the way that animals have developed different types of feeding behavior. Animals are generally classified as a generalist feeders and specialist feeders. Now, um, these terms are used in a variety of ways. At times, they're used to refer to an animal's range of habitats. I've also seen them used to describe the number of foraging techniques that are used by an individual or species.Um, but for our purposes, we're going to use them to refer to the range of food items that are eaten by a species. So a generalist feeder is a species that eats a wide variety of foods during its lifetime. And a specialist is a species that feeds on a highly restricted number of foods. A good example of a generalist would be a rat. Rats are notorious for eating just about anything that's available, whether it's a plant or an animal. At the other end of the spectrum, we have the koala which eats only the leaves of eucalyptus trees.Okay, now there are advantages to each. For a generalist, If 1 type of food isn't around, it can feed on another that's more abundant. On theother hand, the advantage of being a specialist is that the animal is well adapted to its food. You could say that specialists are feeding masters, their consumption, even their digestive system is just so finely tuned. For instance, take the koala. The eucalyptus leaves that it feeds on, don't contain much protein. What's more, the leaves contain compounds that are poisonous to most species? But the koalas digestive system has adapted to handle this. It's liver deactivates, the poisonous compounds, and its digestive system is designed to extract the maximum amount of nutrients from the leaves.So it's not a question of which strategy is better. The real question is, what determines how selective animal species are in what they eat? Well, the answer may lie in a concept called optimal foraging. The idea is that natural selection favors animals whose feeding behavior has the lowest cost to benefit ratio. That is you want to get the best healthiest food you can. And you want to do it as quickly as possible. And as easily as possible.Now, in a natural environment, no animal forage in an absolutely optimal manner. But, well, I read some research on a little rat called the kangaroo rat, which lives in deserts in North America. The kangaroo rat is a generalist which eats plant matter like seeds and fruit. It lives in deep burrows which provide protection from the desert heat and from predators like hawks or snakes. And it goes foraging at night for food.For plant matter, under the protection of darkness, even though it's a generalist. If the only thing available is seed, if a choice of seeds is available to it, it picks up seeds that provide more energy than those it leaves behind. And it carries them back to its burrow. Once it's there, it might eat only the richest seeds from the ones that brought back. So it selects seeds outside in a way that lets it spend as little time as possible foraging in that risky environment, and then sorts out its food later when it's safely in its burrow.Oh, yes, Kenneth. You have a question?Male student: But what about the koala? It gets by uh, by being even more selective, you'd think you would be really risky to rely completely on eucalyptus leaves. Wouldn't it be better to diversify like the kangaroo rat, and eat, at least one or two other things?Professor: Well, what do you think the koala would say? What do I gain by being so selective? In terms of optimal foraging, it's clear that eucalyptus trees provide an abundant source of food. Other animals can't eat the leaves and think of how little energy the koala uses. It spends only about 3 hours each day eating to get the energy it needs. So being a specialist allows it to get the nutrients it needs with minimal expenditure of energy.题目1.What is the lecture mainly about?A. The reasons why some animals eat only plantsB. The advantages of two different feeding adaptationsC. The variety of foods that certain animals can eatD. The relationship between two animals that share a habitat2.What definition of the term “generalist” does the professor use in the lecture?A. An animal species that eats a wide variety of foodsB. An animal species that lives in a range of different habitatsC. An animal species that uses several techniques to forage for foodD. An animal species that forages at several different times of the day3.What points does the professor make about the koala’s specialist feeding habits? [Click on 2 answers.]A. It obtains all the food it needs in relatively little time.B. It requires large amounts of protein in its diet.C. It can eat leaves that are poisonous to other animals.D. It spends most of its time eating.4.What does the professor imply about the kangaroo rat?A. It will take more risks when foraging for high-energy food.B. It is one of the most selective feeders in North America.C. Its competitors often eat its food supply.D. It is selective when choosing what food it eats.5.How does the professor organize the information in the lecture?A. By contrasting an old theory with a new theoryB. By defining important terms and then giving examples of themC. By describing the similarities between two animalsD. By describing a problem and then suggesting some solutions6.Why does the professor say this:Male student: But what about the koala? It gets by uh, by being evenmore selective, you'd think you would be really risky to rely completely on eucalyptus leaves. Wouldn't it be better to diversify like the kangaroo rat, and eat, at least one or two other things?Professor: Well, what do you think the koala would say? What do I gain by being so selective? In terms of optimal foraging, it's clear that eucalyptus trees provide an abundant source of food. Other animals can't eat the leaves and think of how little energy the koala uses.A. To express agreement that the koala should eat a greater variety of foodB. To indicate that the koala’s behavior does not illustrate optimal foragingC. To remind the man of the characteristics of selective feedersD. To encourage the man to consider the koala’s feeding behavior differently答案B A ACD B D译文我们已经说过动物的行为模式涉及到动物和它的环境之间的相互作用。
托福听力tpo53 lecture1、2、3、4 原文+题目+答案+译文
托福听力tpo53lecture1、2、3、4原文+题目+答案+译文Lecture1 (1)原文 (1)题目 (4)答案 (5)译文 (6)Lecture2 (8)原文 (8)题目 (10)答案 (12)译文 (12)Lecture3 (14)原文 (14)题目 (16)答案 (18)译文 (18)Lecture4 (20)原文 (20)题目 (22)答案 (24)译文 (24)Lecture1原文NARRATOR:Listen to part of a lecture in a film studies class.MALE PROFESSOR:Nowadays,we take sound in films for granted—I mean,you stillmight see black and white films occasionally,but you hardly ever see silent films anymore.So it's interesting to note that the use of recorded sound was originally controversial FEMALE STUDENT:What about all the sounds you hear in some silent movies?Like, you know a loud sound when somebody falls down or something?MALE PROFESSOR:OK,you're talking about a soundtrack added much later,which has,over time,become part of the film we know.But this recorded track didn't exist then.And it's not that most people didn't want sound in films;it's just that the technology wasn't available yet.Don't forget that instead of recorded sound there was often live music that accompanied movies in those days—like a piano player or a larger orchestra in the movie theater.Also,think of the stage,the live theater—it has used wonderful sound effects for a long time and,if wanted,these could be produced during the viewing of a film.You know,the rolling of drums for thunder or whatever.But that wasn't as common.Oh,and another thing that they might have in movie theaters in the early days was a group of live actors reading the parts to go along with the film.Or—and this seems a particularly bad idea to us now—one person narrating the action…an early example of a long tradition of movie producers—the ones concerned mostly about making money—not having much confidence in their audience,thinking that people somehow couldn’t follow the events otherwise.So,it finally became possible to play recorded sound as part of the film in the1920s. Trouble was,it wasn't always used to very good effect.First,it was,you know, amazing to see somebody's mouth move at the same time you hear the words…or hear a door close when you see it closing on-screen.But that luster wears off,of course,and if you're a director,a filmmaker,what's the next step?FEMALE STUDENT:Well,use sound to enhance the movie,right?Bring something more to it that wasn't possible…MALE PROFESSOR:Yes,that's exactly what directors who were more interested in cinema as art,not commerce,were thinking.But they also predicted that there would be a problem that sound would be misused, and,boy,was it ever…Because the commercial types,the producers and so on were thinking,OK,now that sound is possible,let's talk as much as possible and forget about the fact that we're making a movie,that we have this powerful visual medium.So,many of the films of the twenties were basically straight adaptations of successful shows from the stage,theater.The name they used for sound films then was"talking films,"and that was on the mark,since,well,all they pretty much did was talk.And talk.So,the remedy?Well,what was proposed by a number of filmmakers and theorists was the creative,expressive use of sound—what they generally called nonsynchronous sound.OK,synchronous sound means basically that what we hear is what we see. Everything on the soundtrack is seen on the screen.And everything was recorded simultaneously,which,well,since the sound technicians working on films often had experience with live radio,that made sense to them.Recording the sound separately and adding it in afterward—well that idea was less obvious.Anyway,synchronous sound means the source of the sound is the image on the screen.Nonsynchronous sound then,is…FEMALE STUDENT:The sound doesn't match the picture?MALE PROFESSOR:Right.Now we can look at this in various ways,but let's take it as literally as possible.Music—unless we see the radio or the orchestra—that's nonsynchronous.If the camera shot is of the listener rather than the speaker,that's nonsynchronous.If wehear,say,background sounds that aren't on the screen—that's nonsynchronous.So,that doesn't seem so radical,does it?But,again,those early producers didn't think their audiences could keep up with this.FEMALE STUDENT:Excuse me,but did you say earlier that some filmmakers actually advocated not using sound at all?MALE PROFESSOR:Well,yes,but that was a bit of an exaggeration,I guess.What I meant to say was that some filmmakers thought that the way the film sound was actually used was setting the art of filmmaking back.But everyone agreed that sound solved some very difficult issues,and offered potentially exciting tools.题目1.What is the lecture mainly about?A.The influence of theater on early sound filmsB.Conflicting views on uses of sound during the early days of sound filmsC.The great progress in cinema after the development of soundD.Viewer reactions to early sound films2.According to the professor,what types of sound were used in silent film theaters? [Click on3answers]A.Live music performed in the theaterB.Sound effects created in the theaterC.Recorded sound tracks played with the filmD.Live narration during the filmE.Musical entertainment offered before the film3.What is the professor's attitude toward early movie producers?A.He is critical of their influence on films.B.He thinks they had little influence on films.C.He thinks they understood what audiences wanted.D.He acknowledges that they made progress possible.4.According to the professor,what was characteristic of sound films in the1920s?A.Dialogues between characters were kept to a minimum.B.Many films were closely based on theater plays.C.Musical sound tracks were added to most films.D.Sounds were recorded separately and added to films later.5.What is an example of synchronous sound in a film?A.A character hearing a train that is not visibleB.A past conversation being replayed in a character's mindC.A character playing guitar and singing on screenD.A song playing at the end of a film as credits appear on the screen答案B ABD A B C译文Narrator：请听一段电影研究讲座的节选。
【托福听力备考】托福TPO1听力文本——Lecture 1
【托福听力备考】托福TPO1听力文本——Lecture 1众所周知，托福TPO材料是备考托福听力最好的材料。
相信众多备考托福的同学也一直在练习这套材料，那么在以下内容中我们就为大家带来托福TPO听力练习的文本，希望能为大家的备考带来帮助。
Lecture 1 PsychologyNarrator：Listen to part of a psychology lecture. The professor isdiscussing behaviorism.Professor：Now, many people consider John Watson to be the founder ofbehaviorism. And like other behaviorists, he believed that psychologists shouldstudy only the behaviors they can observe and measure. They’re not interested inmental processes. While a person could describe his thoughts, no one else can see or hear them to verify the accuracy of his report. But one thing you can observe is muscular habits. What Watson did was to observe muscular habits because he viewed them as a manifestation of thinking. One kind of habits that he studied are laryngeal habits.Watson thought laryngeal habits . . . you know, from larynx, in otherwords, related to the voice box . . . he thought those habits were an expression of thinking. He argued that for very young children, thinking is really talking out loud to oneself because they talk out loud even if they’re not trying to communicate with someone in particular. As the individual matures, that overt talking to oneself becomes covert talking to oneself, but thinking still shows up as a laryngeal habit. One of the bits of evidence that supports this is thatwhen people are trying to solve a problem, they, um, typically have increased muscular activity in the throat region. That is, if you put electrodes on the throat and measure muscle potential—muscle activity—you discover that when people are thinking, like if they’re diligently trying to solve a problem, that there is muscular activity in the throat region.So, Watson made the argument that problem solving, or thinking, can be defined as a set of behaviors—a set of responses—and in this case the response he observed was the throat activity. That’s what he means when he calls it a laryngeal habit. Now, as I am thinking about what I am going to be saying, my muscles in my throat are responding. So, thinking can be measured as muscle activity. Now, the motor theory . . . yes?Student： Professor Blake, um, did he happen to look at people who sign? I mean deaf people?Professor：Uh, he did indeed, um, and to jump ahead, what one finds in deaf individuals who use sign language when they’re given problems of various kinds, they have muscular changes in their hands when they are trying to solve a problem . . . muscle changes in the hand, just like the muscular changes going on in the throat region for speaking individuals.So, for Watson, thinking is identical with the activity of muscles. A related concept of thinking was developed by William James. It’s called ideomotor action.Ideomotor action is an activity that occurs without our noticing it,without our being aware of it. I’ll give you one simple example. If you think oflocations, there tends to be eye movement that occurs with your thinking aboutthat location. In particular, from where we’re sitting, imagine that you’reasked to think of our university library. Well, if you close your eyes and thinkof the library, and if you’re sitting directly facing me, then according to thisnotion, your eyeballs will move slightly to the left, to your left, ‘cause thelibrary’s in that general direction.James and others said that this is an idea leading to a motor action, andthat’s why it’s called “ideomotor action”—an idea leads to motor activity. Ifyou wish to impress your friends and relatives, you can change this simpleprocess into a magic trick. Ask people to do something such as I’ve justdescribed: think of something on their left; think of something on their right.You get them to think about two things on either side with their eyes closed,and you watch their eyes very carefully. And if you do that, you’ll discoverthat you can see rather clearly the eye movement—that is, you can see themovement of the eyeballs. Now, then you say, think of either one and I’ll tellwhich you’re thinking of.OK. Well, Watson makes the assumption that muscular activity is equivalentto thinking. But given everything we’ve been talking about here, one has to ask:are there alternatives to this motor theory—this claim that muscular activitiesare equivalent to thinking? Is there anything else that might account for this change in muscular activity, other than saying that it is thinking? And the answer is clearly yes. Is there any way to answer the question definitively? I think the answer is no.。
托福听力tpo65 lecture1、2、3 原文+题目+答案+译文
托福听力tpo65 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 (11)Lecture3 (13)原文 (14)题目 (16)答案 (18)译文 (18)Lecture1原文Listen to part of the lecture in a biology class.Professor: Until about 30 years ago, scientific opinion was pretty much unanimous in thinking that dinosaurs were cold-blooded creatures, and not warm blooded like mammals and birds. What are these terms cold- and warm-blooded mean?Well, they are imprecise terms, a little bit inaccurate, but for the sake of consistency, I’ll continue to use them.Warm-blooded animals, or technically, endothermic animals, are animals that use their own metabolism to maintain a relatively high, generally constant body temperature. They generate their own heat, whereas cold-blooded animals, uh, technically called endothermic animals, cold-blooded animals rely on the environment primarily to regulate their body temperature. And their body temperature can actually vary a great deal depending on the temperaturesurrounding them.Now, as I said, mammals and birds are warm-blooded creatures, and we being mammals, you’re familiar with, you know, your body stays pretty much the same temperature all the time, whereas if you’ve ever seen, say, snakes or lizards you know, basking in the sun on the rock, you can see the characteristic feature of a cold-blooded creature that is using the environment to help regulate its body temperature.As I said, until about 30 years ago, dinosaurs were, because they seem to most closely resemble reptiles, they were thought to be cold-blooded. Then about 30 years ago a number of scientists began to suggest the possibility that dinosaurs might in fact be warm-blooded. This was very exciting for a variety of reasons. Warm-blooded creatures are closer to us. They are more active. They move faster. They can live in a wider range of environments than cold-blooded creatures. So a lot of scientists kind of got on this bandwagon for warm-blooded dinosaurs. But unfortunately, a lot of the evidence for dinosaurs possibly being warm-blooded is indirect. Among the pieces of evidence is that the fossilized remains of dinosaurs have shown that certain kinds of dinosaurs had feathers.Now, feathers in birds, one of their main functions, apart from helping certain birds to fly, is that they are an insulator. They preserve body heat, so by analogy, some people are argued, well, ok, if they were feathered dinosaurs, maybe they had feathers for insulation. Yes, maybe. But maybe not.Another piece of indirect evidence is that some dinosaurs, uh, well, some dinosaur remains have been found in areas, latitudes that today have arctic climates and might in fact had very cold climates at the time that the dinosaurs were living there. It’s hard to function as a cold-blooded creature in an arctic climate. Unfortunately, we don’t have exact climate information. It’s only been suggested that these areas might have been as cold as they are today. So again, this is not, you know, not a knockdown argument in favor of dinosaurs being warm-blooded.Another argument for the warm-blooded theory has to do with looking at the anatomy of dinosaurs and at the similarities with warm-blooded animals. If you look at what’s around today, well, let’s see, today anything that walks on two legs is warm-blooded. That goes for humans and some other primates, and birds like the ostrich, okay? Only warm-blooded creatures, you know, like ostriches, have upright posture.Alright, so proponents of the idea that dinosaurs were warm-blooded say, well, look at dinosaurs, some of them had upright posture too. Coincidence? They say no, these two-legged dinosaurs were warm-blooded too. Okay, but on the other hand, as far as we can tell, dinosaurs lacked a body structure called the respiratory turbinate. Why is that significant?Respiratory turbinate are these complicated structures inside the nasal cavity. They are aligned with soft tissue and their function is that as the air passes through these complicated kinds of curlicue passages, air coming in is warmed up, so that warm-blooded creature isn’t shocked by.. Its lungs aren’t shocked by receiving cold air directly from the outside, which would really disturb its internal temperature. So unless there are some other mechanism that we don’t know about, it seems that these, that dinosaurs lacked this vital feature of all existing warm-blooded animals.题目1.What is the main purpose of the lecture?A. To explain the differences between dinosaurs and modern-day animalsB. To present evidence for a theory that dinosaurs were warm-bloodedC. To describe the body structures of recently discovered dinosaursD. To compare the fossils of warm- and cold-blooded dinosaurs2.There is evidence that some dinosaurs had feathers. According to the professor, why does this support the theory that dinosaurs were warm-blooded?A. Feathers prevented dinosaurs’ body heat from escaping.B. Feathers show that dinosaurs were capable of flight.C. Dinosaurs and birds descended from the same evolutionary ancestor.D. Dinosaurs used feathers to absorb heat from the sun’s rays.3.What does the professor imply about regions that now have arctic climates?A. They can probably support both warm- and cold-blooded modern animals.B. They might have been warmer in the past than they are now.C. They are areas in which dinosaurs were never able to live.D. They are good sources of fossils of feathered dinosaurs.4.Why does the professor mention ostriches?A. To point out that not all birds are able to flyB. To cite evidence that dinosaurs were cold-bloodedC. To show that not all birds have respiratory turbinatesD. To give an example of an animal with upright posture5.What is the professor's opinion of the theory that dinosaurs were warm-blooded?A. It has changed our understanding of the term “warm-blooded.”B. Thirty years ago it was not convincing, but today most evidence supports it.C. It needs more evidence in order to be convincing.D. Most of the evidence we have supports a different theory.6.What does the professor imply when she says this:A. Warming up air may not be as important a function as many scientists believe.B. Cold-blooded animals may use a different mechanism from warm-blooded animals.C. It is possible that dinosaurs had another way to warm up air they breathed.D. Warm-blooded dinosaurs were probably very different from warm-blooded animals today.答案B A B DC C译文请听生物课上的部分内容。
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。
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托福听力TPO1原文Lecture 1下面就让小编来为大家介绍一下托福听力TPO1原文中Lecture 1的文本内容吧，大家要好好把握，这些都是非常有价值的材料，希望能够给准备托福听力的同学带来帮助。
TPO 1 Lecture 1Contemporary artListen to part of a lecture in a contemporary art class.ProfessorOk, I’m going to begin this lecture by giving you your next assignment. Remember I said that at some point during this semester I wanted you to attend an exhibit at the Fairy Street Gallery and then write about it? Well, the exhibit that I want you to attend is coming up. It’s already started in fact, but it’ll be at the gallery for the next month, which should give you plenty of time to complete this assignment.The name of the artist exhibiting there is Rose Frantzen. Frantzen’s work may be unfamiliar to you since she’s a relatively young artist. But she’s got a very unusual style, compared to some of the artists we’ve looked at this term. But anyway, Frantzen’s style is what she herself calls Realistic Impressionism. So you’ve probably studied both of these movements separately, separate movements, Realism and Impressionism, in some of your art history courses. So who can just sum these up?StudentWell, Impressionism started in the late 19th century. Um…the basic impressionist style was very different from earlier styles. It didn’t depict scenes or models exactly as they looked. Um… Impressionist painters tended to apply paint really thickly, and in big brushstrokes, so the texture of the canvas was rough.ProfessorGood. What else? What were the subjects?StudentWell, a lot of impressionist artists painted everyday scenes, like people on the streets and in cafes, uh, lots of nature scenes, especially landscapes.ProfessorGood. So when you go to the exhibit, I really want you to take a close look at a certain painting. It’s a farm scene. And you will see it right as you enter the gallery. The reason I think this painting is so important is that it stresses the impressionist aspect of Frantzen’s style. It’s an outdoor scene, an everyday scene. It’s kind of bleak, but you can really see those broad brushstrokes and the blurry lines. The colors aren’t quite realistic. The sky is kind of, well an unnatural pinkish yellow. And the fence in the foregroundis blue, but somehow the overall scene gives an impression of a cold, bleak winter day on a farm. So that’s the impressionist side of her work.Oh, and speaking about farms, that reminds me. One interesting thing I read about Franzten is that when she first moved back to Iowa after living abroad, she often visited this place in her town called the Sales Barn. And the Sales Barn, it was basically this place where the local farmers bought and sold their cattle, their farm animals. And the reason Frantzen went there, and she later on would visit other places like dance halls, was to observe people and the ways that they moved. She really found that this helped her work---that it gave her an understanding of body movements and actions, how humans move, and stand still, what their postures were like, too.So, what about Realism? What are the elements of Realism we should be looking for in Frantzen’s work?StudentUm… real honest depictions of subject matter, pretty unidealized stuff, and pretty everyday subject matter, too.ProfessorGood. One other painting I really want you to look at is of a young woman surrounded by pumpkins. You will notice that the woman’s face is so realistic looking that it’s almost like a photograph. The woman’s nose is a little less than perfect and her hair is kind of messed up. This is realism. But then, the background of the painting, this woman with the pumpkins is wrapped in a blanket of broad thick brushstrokes, and, it’s all kinds of zigzagging brushstrokes and lines, kind of chaotic almost when you look at it close. And there are vibrant colors. There’s lots of orange, with little hints of an electric blue peeking out.I find Frantzen to be a very accessible artist. I mean, some artists, to appreciate them, you have to know their life story. But here’s a little bit about Rose Frantzen’s life anyway. She attended art school, but was told by one of her instructors that she was not good at illustration, that she should go into advertising instead. So she took advertising classes and fine arts classes too, until she was convinced by the head of an advertising agency that her work was really good, that she could be an artist. But of course, it’s not as easy as that, and so Frantzen had to paint other people’s portraits at places like art fairs just to make money to buy paint for her more serious art work. No matter what, she never stopped painting. And now, Frantzen is doing extremely well. And her work is being shown all over the country. So I think most of us would be discouraged if we had to face challenges and difficulties like that. But what’s important is that you keep at it that you don’t give up. That’s what is really important to remember.《当代艺术》独白：听一段节选自当代艺术课堂的讲座。