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[ TOP1 L1 ]
Listen to part of a lecture in a contemporary art class.
MALE PROFESSOR
Ok, 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?
FEMALE STUDENT
Well, Impressionism... started in the late nineteenth century.
Uh, the basic Impressionist style was very different from earlier styles... It didn't depict scenes or models exactly as they looked.
Uh, Impressionist painters tended to apply paint really thickly, and in big brushstrokes, so the texture of the canvas was rough.
MALE PROFESSOR
Good... what else? What were the subjects?
MALE STUDENT
Well, a lot of impressionist artists painted everyday scenes, like people on the streets and in cafes, uh, lots of nature scenes, especially landscapes.
MALE PROFESSOR
Good.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's kind of, well, an unnatural pinkish yellow, and the fence in the foreground is 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 Frantzen 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?
MALE STUDENT
Um... real honest depictions of subject matter, pretty unidealized stuff, and pretty everyday subject matter, too.
MALE PROFESSOR
Good. 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 wasn't 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.
term n. 学期(尤用于英国，学校一年分三个学期);术语;
Impressionism n. 印象主义;印象派
sum up 简而言之;概括地说;扼要描述（人或情况）;（在发言或文章结尾）作总结;
separate v. 分离;(使)分开;分割;划分;
depict vt. 描绘;描画;描写;描述;刻画
depiction n. 描绘;描画;描写;描述;刻画
paint n. 油漆;油漆涂层;绘画颜料
thick adj. 厚的;粗的;
brushstroke n. 笔触;(绘画的)一笔
stress v. 强调;着重;重读;用重音读;(使)焦虑不安，疲惫不堪 n. 应力;压力;
bleak adj. 凄凉的;荒凉的;暗淡的;阴冷的;
broad adj. 宽阔的;广阔的;
blurry adj. 模糊不清的
pinkish adj. 浅粉色的;略带桃红色的
Realism 现实主义;实在论;写实主义;唯实论
pumpkin n. 南瓜;南瓜大果
chaotic adj. 混乱的;杂乱的;紊乱的
wrap v. 包;裹(礼物等);用…包裹
blanket n. 毯子;毛毯;厚层;厚的覆盖层
zigzagging v. 曲折前进
vibrant adj. 鲜艳的;明亮的;充满活力的
hint n. 暗示;提示;示意;征兆;迹象;少许;
accessible adj. 可到达的;可接近的;可使用的;;易懂的;易接近的;易相处的;易打交道的
illustration n. 插图;图解;
fair adj. 公平的;合理的;露天游乐场;(评比农畜产品的)集市;商品交易会;展销会;
What is the purpose of the lecture?
A. To explain the difference between two artistic styles
B. To describe a new art gallery to the class
C. To introduce an artist's work to the class
D. To show how artists' styles can evolve over time
What does the professor say about Frantzen's painting of a farm scene?
A. It resembles a photograph
B. It may be Frantzen's best-known painting
C. It was painted in the Impressionist style
D. It was painted while Frantzen lived abroad
Why did Frantzen go to the Sales Barn?
A. To study human form and movement
B. To earn money by painting portraits
C. To paint farm animals in an outdoor setting
D. To meet people who could model for her paining
What does the professor imply about the painting of the young woman surrounded by pumpkins?
A. It was painted at an art fair
B. It combines Impressionism with Realism
C. It convinced Frantzen that she was a good illustrator
D. It was originally meant to be used in an advertisement
Why does the professor discuss Frantzen's difficulties as a young painter?
A. He wants to point out mistakes that young artists commonly make
B. He thinks her example can inspire the students in their own lives
C. Her difficulties remind him of the difficulties he himself experienced as a young artist
D. Her difficulties are the subject of some of the paintings in the gallery that the students will visit
What does the professor imply when he says this:
A. The students can understand Frantzen's art without knowing about her life
B. The students should pay very close attention to what he is going to say
C. Some of his students are already familiar with Frantzen's life story
D. Some of his students may not appreciate Frantzen's work
[ TOP3 L3 ]
NARRATOR：
Listen to part of a lecture in an Art History class.The professor has been discussing the origins of art.
MALE PROFESSOR：
Some of the world's oldest preserved art is the cave art of Europe, most of it in Spain and France.
And the earliest cave paintings found to date are those of the Chauvet Cave in France discovered in 1994.
And you know, I remember when I heard about the results of the dating of the Chauvet paintings, I said to my wife, "Can you believe these paintings are over 30,000 years old?"and my 3-year-old daughter piped up and said, "Is that older than my great-grandmother?"
But, uh, That was the oldest age she knew.
And you know, come to think of it, It's pretty hard for me to really understand how long 30,000 years is too.
I mean, we tend to think that people who lived at that time must have been pretty primitive..., but I'm gonna show you some slides in a few minutes, and I think you'll agree with me that this art is anything but primitive-They are masterpieces.
And they look so real, so alive that it's very hard to imagine that they are so very old.
Now, not everyone agrees on exactly how old.
A number of the Chauvet paintings have been dated by a lab to 30,000 or more years ago.
That would make them not just older than any other cave art, but about twice as old as the art in the caves at Altamira or Lascaux, which you may have heard of.
Some people find it hard to believe Chauvet is so much older than Altamira and Lascaux, and they noted that only one lab did the dating for Chauvet, without independent confirmation from any other lab.
But be that as it may, whatever the exact date, whether it's 15,000, 20,000 or 30,000 years ago, the Chauvet paintings are from the dawn of art, so they are a good place to start our discussion of cave painting.
Now, one thing you've got to remember is the context of these paintings.
Paleolithic humans - that's the period we are talking about here, the Paleolithic, the early stone age, not too long after humans first arrived in Europe.
The climate was significantly colder then, and so rock shelters-shallow caves-were valued as homes protected from the wind and rain.
And in some cases at least, artists drew on the walls of their homes.
But many of the truly great cave art sites-like Chauvet-were never inhabited.
These paintings were made deep inside a dark cave, where no natural light can penetrate.
There's no evidence of people ever living here-Cave bears, yes, but not humans.
You would have had to make a special trip into the cave to make the paintings, and a special trip to go see it, and each time you'd have to bring along torches to light your way.
And people did go see the art-there's charcoal marks from their torches on the cave walls, clearly dating from thousands of years after the paintings were made, so we can tell people went there.
They came but they didn't stay.
Deep inside a cave like that is not really a place you'd want to stay, so, why?
What inspired the Paleolithic artists to make such beautiful art in such inaccessible places?
We'll never really know, of course, though it's interesting to speculate.
But, um, getting to the paintings themselves.
Virtually all Paleolithic cave art represents animals, and Chauvet is no exception.
The artists were highly skilled at using-or even enhancing-the natural shape of the cave walls to give depth and perspectives to their drawings.
The sense of motion and vitality in these animals-Well, wait till I show you the slides.
Anyway, most Paleolithic cave art depicts large herbivores.
Horses are most common overall with deer and bison pretty common too. Probably animals they hunted.
But earlier at Chauvet, there is a significant interest in large dangerous animals.
Lots of rhinoceros, lions, mammoth, bears...remember that the ranges of many animal species were different back then, so all these animals actually lived in the region at that time-but the Chauvet artists didn't paint people.
There is a half-man-half-bison creature and there is outlines of human hands, but no depiction of a full human.
So, why these precise animals? Why not birds, fish, snakes?
Was it for their religion? Magic? Or sheer beauty?
We don't know, but whatever it was, it was worth it to them to spend hours deep inside a cave with just a torch between them and utter darkness.
So..., on that note, let's dim the lights, so we can see these slides and actually look at the techniques they used.
found to date 迄今为止发现
pipe up 尖声唱；吹奏乐曲;开始（大声）讲话
tend v. 倾向;往往会;常常就;趋向;
primitive adj. 原始的;远古的;
slide n. 滑梯;降低;跌落;衰落;(在冰上或光滑表面上)滑行;山崩;幻灯片;
anything but 决不，根本不
masterpiece n. 杰作;名著;代表作
date v. 注明日期;写上日期;确定年代
twice adv. 两次;两遍;两倍
be that as it may 尽管那样;即便如此
dawn n. 黎明;拂晓;破晓;开端;
period n. 一段时间，时期;（人生或国家历史的）阶段，时代;
paleolithic 旧石器时代;旧石器时代的;石器;石器时代
Stone Age n. 石器时代
shallow adj. 浅的;肤浅的;浅薄的;(呼吸)浅的，弱的
inhabit vt. 居住在;栖居于
ever adv. 曾经;(用于否定句和疑问句，或与if连用的句子)在任何时候;
special 特殊的;特别的;不寻常的;;特别关照的;特设的;有专门目的的;
trip n.（尤指短程往返的）旅行，旅游
bring vt. 带…到某处;带来;取来;
mark v. 做记号;做标记;留下痕迹;
get to 开始;接触;使生气（烦恼）;抓住;
Virtually adv. 实际上;几乎;事实上;
shape n. 形状，（人或物的）特有形状;外形，样子，轮廓;
depth n. 深度;纵深;向下的距离;深(度);
perspective n. 视角;态度;观点;思考方法;客观判断力;权衡轻重的能力
sense n. 感觉;知觉;
motion n. 运动;移动;动;
vitality n. 生命力;活力;热情
herbivore n. 食草动物;草食动物
back then 当时;那时候
on that note 关于这一点 就此而言 照这么说
What does the professor mainly discuss?
A. The oldest known cave art
B. How ancient cave art is dated
C. The homes of Paleolithic humans
D. How Paleolithic humans thought about animals
Why does the professor mention his daughter?
A. To describe her reaction to seeing the paintings
B. To explain the universal appeal for the Chauvet paintings
C. To demonstrate the size of most Paleolithic cave art
D. To emphasize his point about the age of Chauvet paintings
What is the professor’s opinion about the art at the Chauvet cave?
A. It is extremely well done
B. It probably reflected artists’ religious beliefs
C. It is less sophisticated than the art at Lascaux and Altamira
D. It is probably not much older than the art at Lascaux and Altamira
According to the professor, what is the significance of charcoal marks on the walls of the Chauvet cave?
A. They suggest that Paleolithic people cooked their food in the cave
B. They prove that people came to the cave long after the paintings were made
C. They show how much light the Paleolithic artists needed for their work
D. They were used in recent times to date the paintings
Compared to other Paleolithic art, what is unusual about the animals painted at Chauvet?
A. Most of them are horses
B. Many of them are dangerous
C. Many of them are shown alongside humans
D. All of them are species that are still found in France
What are two questions about the Chauvet cave artists that the professor raises but cannot answer? [ Click on 2 answers ]
A. How they lighted their work area
B. How they obtained pigments for their paints
C. Why they chose to paint certain animals and not others
D. Why they placed their art in dark, uninhabited places
[ TOP7 L1 ]
NARRATOR
Listen to part of a lecture in a class on theater history. The professor is discussing the theater of 19th-century France .
MALE PROFESSOR
The 19th century was the time that saw what we call “realism” developing in European theater.
Uh to understand this, though, we first need to look at an earlier form of drama known as the “well-made play,” which, basically, was a pattern for constructing plays—plays that, um, beginning with some early nineteenth-century comedies in France, proved very successful commercially.
The dramatic devices used here weren't actually anything new, they have been around for centuries.
But the formula for a well-made play required that the certain of these elements being included, in a particular order, and most importantly, that everything in the play be logically connected.
In fact, some of the playwrights would start by writing the end of the play and work backward toward the beginning, just to make sure each event led logically from what had gone before.
Ok, so what are the necessary elements of a well-made play?
Well, the first is logical exposition.
Exposition is whatever background information you have to reveal to the audience so they’ll understand what’s going on.
Before this time, exposition might come from the actors simply giving speeches.
Uh someone might walk out on stage and say, “In fair Verona, where we lay our scene,” and then tell all about the feuding families of Romeo and Juliet.
But for the well-made play, even the exposition had to be logical... believable.
So, for example, uh you might have two servants gossiping as they’re cleaning the house, and one says, “Oh, what a shame the master’s son is still not married.”
And the other might mention a rumor about a mysterious gentleman who just moved into the town with his beautiful daughter.
These comments are part of the play's logical exposition.
The next key element of the well-made play refer to as “the inciting incident.”
After we have the background information, we need a key moment to get things moving, they really makes the audience interested in what happens to the characters we just heard about.
So, for example, after the two servants reveal all this background information, we meet the young man, just as he first lays eyes on the beautiful young woman and immediately falls in love.
This is the inciting incident. It sets off the plot of the play.
Now, the plot of a well-made play is usually driven by secrets.
Things, the audience knows, but the characters often don't know.
So, for example, the audience learned through a letter or through someone else's conversation
Who this mysterious gentleman is, and why he left the town many years before.
But the young man doesn't know about this.
And the woman doesn't understand the ancient connection between her family and his.
And before the secrets are revealed to the main characters, the plot of the play proceeds as a series of sort of up and down moments.
For example, the woman first appears not to even notice the young man, and it seems to him like the end of the world.
But then, he learns that she actually wants to meet him too. So, life is wonderful.
Then, if he tries to talk with her, maybe her father gets furious, for no apparent reason.
So, they can‘t see each other.
But, just as the young man has almost lost all hope, he finds out, well you get the idea, the reversals of the fortune continue, increasing the audience's tension and excitement,
making them wonder if everything is going to come out okay or not.
Next comes an element known as the: An obligatory scene.
It's a scene, a moment in which all the secrets are revealed.
In generally, things turn out well for the hero and others we care about, a happy ending of some sorts.
This became so popular that the playwright almost had to include it in every play, which is why it's called: the obligatory scene.
And that's followed by the final dramatic element---the denouement or the resolution, when all the loose ends have to be tied up in a logical way.
Remember, the obligatory scene gives the audience emotional pleasure.
But the denouement offers the audience a logical conclusion.
That's the subtle distinction we need to try very hard to keep in mind.
So, as I said, the well-made play, this form of play writing, became the basis for realism in drama, and for a lot of very popular 19th-century plays.
And also, a pattern we find in the plots of many later plays, and even movies that we see today.
form n.表，表格;类别，种类;形状，外形;体形;（存在的）形态，形式;
play n. 游戏;玩耍;比赛;娱乐;戏剧;剧本;
device n. 装置;仪器;器具;设备;炸弹;爆炸性武器;爆炸装置;手段;策略;方法;技巧;花招
around adv. 围绕;周围;大约;四周;环绕;到处;闲散地;出现;转弯
led v. 带路;领路;引领;(与…)相连，相通;通向;通往 lead的过去分词和过去式
exposition n. 博览会;(理论、计划等的)解释;阐述;(产品的)展销;商品交易会;产品博览会
speech n. 演讲;讲话;演说;发言;说话的能力;说话方式;口语;（戏剧中的）台词
fair adj. 公平的;合理的;顺风的;美丽的 n. 露天游乐场;(评比农畜产品的)集市;商品交易会;
scene n. 场景;场面;情景;镜头;(尤指不愉快事件发生的)地点，现场;
feud n. 长期不和;争吵不休;世仇;夙怨
shame n. 羞耻;羞愧;惭愧;羞耻心;羞愧感;令人惋惜的事;让人遗憾的事;
rumor n. 谣言
incite vt. 煽动;鼓动
incident n.发生的事情;严重事件，暴力事件(如犯罪、事故、袭击等);(两国间的)摩擦，冲突;
just as 正像;正在…的时候
set off 动身，出发，启程;引爆（炸弹）;触发，拉响（警报等）;引发，激起;
through adv. 通过(障碍、阶段或测试);从一端到另一端;自始至终;从头至尾;直达;
letter n. 信;函;字母;
reversal n. 倒转;逆转;反转;颠倒;彻底转变;倒置;倒退;退步;
fortune n.财富;机会;巨款;发展变化的趋势，命运，际遇;（个人的）命运，前途
come out （书或光盘）出版，发行;（事实）暴露，披露
wonder v. 想知道;想弄明白
obligatory adj. 强制性的;(按法律、规定等)必须的，强制的;
turn out （发生;最后是;结果是;（尤指天气突然）变得（晴好）;原来是;结果发现;
denouement n. 结局;(戏剧、小说等的)收场;(事情的)结果
resolution n. 决议;正式决定;(问题、分歧等的)解决，消除;坚定;坚决;有决心;分辨率;
tie n. 领带;联系;纽带;绳子; v. (用线、绳等)系，拴，绑，捆，束;
subtle adj. 不易察觉的;不明显的;微妙的;机智的;机巧的;狡猾的;巧妙的;敏锐的
distinction n. 差别;区别;对比;优秀;杰出;
What does the professor imply about the obligatory scene and the denouement?
A. The difference between them might be unclear to some people
B. Both are useful techniques for developing realistic characters
C. The denouncement usually occurs within the obligatory scene
D. The obligatory scene is usually less exciting than the denouement
What is the lecture mainly about?
A. The importance of creating believable characters in plays
B. The influence of the literature of "realism" on French theater
C. A successful standard formula for writing plays
D. A famous example of a well-made play
According to the professor ,why did some playwrights write the end of a play before the beginning?
A. To produce multiple scripts as quickly as possible
B. To prevent the audience from using logic to guess the endings
C. To avoid writing endings similar to those of other plays
D. To ensure that the plot would develop in a logical manner
Why does the professor mention a conversation between two servants？
A. To give examples of typical characters in a well-made play
B. To show how background information might be revealed in a well-made play
C. To explain why Romeo and Juliet can be considered a well-made play
D. To explain how playwrights develop the obligatory scene of a well-made play
According to the professor, what dramatic elements are typically included in a well-made play to help move the plot forward? Click on 2 answers
A. A series of major changes in the hero's apparent chances of success
B. The introduction of new characters midway through the play
C. Information known to the audience but not to the main characters
D. The movement of major characters from one setting to another
Listen again to part of the Lecture.Then answer the question
Why does the professor say this:
A. To help students understand the meaning of a new term
B. To indicate that his point is not related to the main topic of the lecture
C. To emphasize one element of a play over all others
D. To begin to summarize the main points of the lecture
[ TOP8 L2 ]
NARRATOR
Listen to part of a lecture in an art history class.
MALE PROFESSOR
We had been talking about the art world of the late 19th century in Paris, and today I'd like to look at the women who went to Paris at that time to become artists.
Now from your reading what do you know about Paris…about the art world of Paris during the late 19th century?
MALE STUDENT
People came there from all over the world to study.
FEMALE STUDENT
It had a lot of art schools and artists who taught painting.
There were…our book mentions classes for women artists.
And it was a good place to go to study art.
MALE PROFESSOR
If you wanted to become an artist, Paris was not a good place to go, Paris was THE place to go. And women could find skilled instructors there.
Before the late 19th century, if they…women who wanted to become artists had to take private lessons or learn from family members.
They had more limited options than men did.
But around 1870s, some artists in Paris began to offer classes for female students. These classes were for women only.
And by the end of the 19th century, it became much more common for women and men to study together in the same classes.
So…so within a few decades, things had changed significantly.
Ok. Let's back up again and talk about the time period from the 1860s to the 1880s and talk more about what happened in women's art classes.
In 1868, a private art academy opened in Paris—and for decades it was probably the most famous private art school in the world.
Its founder, Rodolphe Julian, was a canny businessman and quickly established his school as a premier destination for women artists.
What he did was, after an initial trial period of mixed classes, he changed the school policy; he completely separated the men and women students.
FEMALE STUDENT
Any reason why he did that?
MALE PROFESSOR
Well. Like I said, Julian was a brilliant businessman, with progressive ideas.
He saw that another small private art school where all the students were women was very popular at that time.
And that's probably why he adopted the women-only classes.
His classes were typically offered by ....by established artists and were held in the studio, the place where they painted.
This was a big deal because finally women could study art in a formal setting.
And there was another benefit to the group setting of these classes.
The classes included weekly criticism.
And the teacher would rank the art of all the students in the class from best to worst.
How would you like it if I did that in this class? [joking]
MALE STUDENT
Hah......no way.
FEMALE STUDENT
But our textbook said that the competitive…the competition was good for women.
It helped them see where they needed to improve.
MALE PROFESSOR
[Agreeing] Isn't that interesting? One woman artist, her name was Marie Bashkirtseff.
Bashkirtseff once wrote how she felt about a classmate's work.
She thought her classmates' art was much better than her own and it gave her an incentive to do better.
Overall, the competition in the women's art classes gave women more confidence… confidence that they could also compete in the art world after their schooling.
And even though Bashkirtseff could not study in the same classes as men, she was having an impact as an artist.
Just look at the salon, what do you know about the salon?
FEMALE STUDENT
It was a big exhibition, a big art show that they had in Pairs every year.
Their art had to be accepted by judges.
MALE STUDENT
It was a big deal you can make a name for yourself.
MALE PROFESSOR
You can have a painting or sculpture in the salon and go back to your home country saying you've been a success in the Paris.
It was sort of uh, a seal of approval.
It was a great encouragement for an artist's career.
And by the last two decades of 19 century, one fifth of the paintings in the salon were by woman, much higher than in the past.
In fact, Marie Bashkirtseff self had a painting in the salon in 1881.
Interestingly, this masterpiece, called In the Studio is a painting of the interior of Julian's art school.
Um, it’s not in your textbook—I’ll show you the painting next week…
Uh, the painting depicts an active, crowded studio with women drawing and painting a live model.
It was actually Bashkirtseff actually follow Julian's savvy suggestion and painted her fellow students in a class at the school with the artist herself at far right.
A great advertisement for the school when the painting eventually hung up at the salon, for a women's studio had never been painted before.
taught v. 教(课程);讲授;教授;训练;教育;教导;使懂得(情理) teach的过去分词和过去式
academy n. 学院;专科院校;(艺术、文学、科学等的)研究院，学会;
founder n. 创始人;(组织、机构等的)创建者，创办者，发起人
canny adj. 精明的，狡黠的，头脑灵活的;
quickly adv. 迅速地;很快地;不久;立即
progressive adj. 进步的;先进的;开明的;稳步的;逐步的;稳定发展的;(动词)进行时的
held v. 拿着;抓住;抱住;托住;捂住，按住;使保持 hold的过去分词和过去式
deal n. 特定政策;发牌;冷杉木;坏运气，不公平的对待;局面，情况
formal adj. 正式的;适合正式场合的;
setting n. 环境;
seal n. 印章;图章;玺;印记;保证;信物;密封垫(或带等);封蜡;封蜡模（印）;海豹
interior n. 内部;里面;内陆;
savvy adj. 有见识的;懂实际知识的;通情达理的
What is the lecture mainly about?
A. Why the Salon exhibitions became popular among women artists in Paris
B. Why French society did not approve of art schools or women
C. How opportunities for women artists in Paris improved
D. How women artists in Paris cooperated with one another
What point does the professor make about Julian when he mentions that Julian’s art school offered some classes only for women?
A. Julian’s school was the first art school in Paris to offer women-only classes
B. Julian wanted to encourage the distinctive style of women in Paris
C. Julian viewed himself as a social reformer
D. Julian possessed outstanding business skills
What does the professor emphasize as one benefit of competition in women’s classes?
A. Women gained more confidence in their artistic abilities
B. Women became instructors in private art studios
C. Women were able to sell their paintings for large amounts of money
D. Women created new styles of painting
According to the professor, what were two ways that the situation of women artists had changed by then end of the nineteenth century in Paris? Click on 2 answers
A. Women and men took art classes together
B. Women artists played a greater role in the Salon exhibitions
C. More schools were established by women artists
D. Fewer women artists were traveling to Paris
What does the professor imply about Bashkirtseff’s painting In the Studio?
A. It was one of many paintings that depicted a women’s studio
B. It did not bring Bashkirtseff recognition for her artistic ability
C. It was criticized for an unrealistic depiction of women artists
D. It was beneficial for both Bashkirtseff and the school where she studied
What does the professor mean when he says this:
A. Paris was a popular place to visit, but not the best place to study art
B. Paris was the most important place for an artist to study and work
C. Living in Paris was difficult for women artists from other countries
D. Studying in Paris was beneficial for some artists, but not for others.
[ TOP1 L4 ]
NARRATOR
Listen to part of a lecture in a biology class.
FEMALE PROFESSOR
For today's discussion, we'll review the case study on how some animals have behaviorally adapted to their environments.
Now you had to read about two animal species,:the Eastern marmot and the Olympic marmot.
Marmots are rodents... they're large ground squirrels about the size of an average house cat, and they live in a variety of habitats.
And even though they spend the significant portion of the year hibernating, according to this case study, marmots are still considered excellent subjects for animal behavioral studies. Why is that?
MALE STUDENT
Well, when they're not hibernating, you can find them in open areas, and they're pretty active during the day, which makes them easy to observe, right? [rising tone]
FEMALE PROFESSOR
[encouraging tone] Unh huh. So, first let's discuss the eastern marmots.
They reside throughout the eastern region of North America where there's a temperate climate, where the growing season lasts for at least five months of the year... which is when they do all their mating, playing, and eating.
MALE STUDENT
Oh, I see... at first, I wasn't sure what 'growing season' meant just from the reading, but now I get it.
It's the amount of time it takes for them to grow, right? [rising tone]
So it would be five months?
FEMALE PROFESSOR
Hm? Ohh, I'm sorry but no, It has nothing to do with that.
It's not about the time it takes for Eastern marmots to grow,It's when the food is available.
That is--when it’s not covered in snow and there's no frost covering the grass, and um vegetative parts of uh, plants, herbs, and the flowers that marmots like to eat.
So, 'growing season' refers to the availability of the food they eat. Ok?
So now how would you describe the Eastern marmots'social habits?
FEMALE STUDENT
Well, they are really territorial, and loners, and just so aggressive even with other Eastern marmots.
And their mating ritual is just so... impersonal.
FEMALE PROFESSOR
[agreement] Uh huh.
Now when they emerge in the spring from hibernation, the mating process begins.
For them, well, they come together to mate and then they go their separate ways.
Then about six to eight weeks after birth, the offspring leave their mothers.
FEMALE STUDENT
Really? Just six weeks?
Is it possible for the offspring to make it on their own so young? [concerned]
FEMALE PROFESSOR
Well, it's not as if they aren't ready for the real world because they are.
Remember, they mature quickly and the weather's nice.
Also they live in open fields where there is lots of edible vegetation.
So roughly six weeks after birth, eastern marmots are just old enough to take their chances of surviving in a temperate environment. [pause]
So how does this relate to their behavior?
FEMALE STUDENT
Oh, I get it.
Since the climate's not too bad, the Eastern marmots don't have to rely on each other too much and they really don't need to stay together as a family to survive either.
FEMALE PROFESSOR
Uh huh. And in contrast... the Olympic marmots... what about them?
FEMALE STUDENT
Well, they live together as a family and take care of their young until they are at least two years old.
They're really friendly with each other, and what I really like is that they even have greeting ceremonies and they're not at all aggressive and territorial like the eastern marmots.
So their social behavior is so different from Eastern marmots because of the climate where they live?
That seems so bizarre.
FEMALE PROFESSOR
Well, the Olympic marmots inhabit meadows high in the Olympic Mountains where the weather conditions are much harsher so there is a lot more wind and snow.
The growing season only lasts about two to three months.
So in that much shorter period of time, all the Olympic marmots, male and female, eat, play, work and nurture the young together.
Because the climate is so harsh, cooperation increases the survival rate of the Olympic marmots.
They keep their young at home until they are physically able to survive on their own.
This could explain why the social behavior of the Olympic marmots is so unlike that of the Eastern marmots.
marmot n. 土拨鼠;旱獭(居于地穴，分布于欧洲及美洲)
rodent n. 啮齿动物
spend v. 花费;度过;花(钱或时间);消耗(精力等)
portion n. 部分;(食物的)一份，一客;分享的部分;分担的责任
hibernating v. 冬眠;蛰伏 hibernate的现在分词
subject n. 主题;题目;话题;题材;问题;学科;科目;课程;表现对象;绘画题材;接受试验者;
mating n. 交尾;交配
It has nothing to do with that. 这与此无关。
covered 掩蔽;遮盖;盖;覆盖;撒上，洒上，溅上 cover的过去分词和过去式
frost v. (使)蒙上霜，结霜;
loner n. 独来独往的人;喜欢独处的人;不合群的人
ritual n. 仪式;礼节;程序;
edible adj. 可食用的;适宜食用的;(无毒而)可以吃的
ceremonies n. 典礼;仪式;礼节;礼仪;客套 ceremony的复数
bizarre adj. 奇怪的;异乎寻常的;极其怪诞的
meadow n. 草地;牧场
harsher adj.残酷的;严酷的;严厉的;恶劣的;艰苦的;强烈刺眼的;丑陋的 harsh的比较级
nurture vt. 养育;养护;培养;扶持;帮助;支持;滋长;助长
physically adv. 身体上;肉体上;依据自然规律;按自然法则;根本上
What is the main topic of the lecture？
A. The types of habitats marmots prefer
B. Methods of observing marmot behavior
C. Feeding habits of some marmot species
D. Differences in behavior between marmot species
According to the case study, why are marmots ideal for observation？
A. They do not hide from humans
B. They reside in many regions throughout North America
C. They are active in open areas during the day
D. Their burrows are easy to locate
Listen again to part of the Lecture.Then answer the question
Why does the professor say this:
A. To inform the student that his definition is incorrect
B. To suggest that the student did not do the reading
C. To encourage the student to try again
D. To change the topic of discussion
What reason does the professor give for the difference in marmot behaviour patterns?
A. Type of food availabl
B. The size of the population
C. Interaction with other marmot species
D. Adaptations to the climate
Listen again to part of the Lecture.Then answer the question
Why does the professor say this:
A. To express a similar concern
B. To encourage the student to explain what she means
C. To address the student's concer
D. To agree with the student
[ TOP11 L1 ]
NARRATOR
Listen to part of a lecture in a biology class. The class has been learning about birds.
FEMALE PROFESSOR
OK, today we are going to continue our discussion of the parenting behaviors of birds.
And we are going to start by talking about what are known as "distraction displays".
Now if you are a bird, and there was a predator around, what are you going to do?
Well, for one thing, you are going to try to attract as little attention as possible, right?
Because if the predator doesn't know you are there, it's not going to try to eat you.
But sometimes, certain species of birds do the exact opposite.
When the predator approaches, they do their best to attract the attention of that predator.
[not a question]Now why would they do that?
Well, they do that to draw the predator away from their nests, away from their eggs or their young birds.
And the behaviours that the birds engage in to distract predators are called "distraction displays".
And there are a number of different kinds of distraction displays.
Most of the time, when birds are engaging in distraction displays, they are going to be pretending…either that they have injury…or that they are ill…or that they are exhausted…
You know something that will make the predator think, “Oh, here’s an easy meal.”
One pretty common distraction display is what's called the "broken-wing display".
And in a broken-wing display, the bird spreads and drags a wing or its tail, and while it does that, it slowly moves away from the nests, so it really looks like a bird with a broken wing.
And these "broken-wing displays" can be pretty convincing.
Another version of this kind of "distraction display" is where the birds create the impression of a mouse or some other small animals that's running around the ground.
A good example of that kind of display is created by a bird called "the purple sandpiper".
Now what the purple sandpiper does is when a predator approaches, it drags its wings,
but not to give it the impression that its wings is broken,
but to create the illusion that it has a second pair of legs.
And then it raises its feathers, so it looks like it's got a coat of fur.
And then it runs along the ground swirling left and right, you know like it's running around little rocks and sticks.And as it goes along it makes a little squealing noises.
So from a distance it really looks and sounds like a little animal running along the ground trying to get away.
Again, to the predator, it looks like an easy meal.
Now, what's interesting is that birds have different levels of performance of these distraction displays.They don't give their top performance, their prime time performance every time.
What they do is, they save their best performances, their most conspicuous and most risky displays, for the time just before the baby birds become able to take care of themselves.
And they time it that way because that's when they'll have made the greatest investment in parenting their young.
So they’re not going to put on their best performance just after they’ve laid their eggs, because they haven’t invested that much time or energy in parenting yet.
The top performances are going to come later.
Now you have some birds that are quite mature, quite capable, almost as soon as they hatch. In that case, the parent will put on the most conspicuous distraction displays just before the babies hatch.
Because once the babies are hatched, they can pretty much take care of themselves.
And then you have other birds that are helpless when they hatch.
In that case, the parent will save its best performances until just before the babies get their feathers.
parenting n. 养育;抚养;教养
distraction n. 分散注意力;消遣;娱乐;使人分心的事
opposite n. 对立的人(或物);对立面;反面
draw v. 画;(用铅笔、钢笔或粉笔)描绘;描画;拖(动);拉(动);牵引;吸引;（向某个方向）
draw away 抽离;（使）离开，移开;在竞争中领先于他人或物
engage v. 从事;聘用;吸引住(注意力、兴趣);雇用;与…建立密切关系;
a number of 一些;许多的
meal n. 一餐;早(或午、晚)餐;一餐所吃的食物;谷物粗粉(用作饲料或加工面粉)
spread v. 传播;展开;打开;摊开;使散开;张开;伸开;
drag v. 拖，拽;<口>硬拉，硬拖;硬撑着行进，费劲地移动;
tail n. 尾;尾巴;有…尾巴的;尾部;后部;尾状
illusion n. 幻觉;错觉;幻想;错误的观念;幻想的事物
pair of 一对;裤子
raise vt. 提升;举起;提起;(使)直立，站立;增加
swirl v. 旋转;(使)打旋，旋动，起旋涡
stick n. 枝条;枯枝;柴火棍儿;球棍;条状物;棍状物;
squeal v. 尖叫;告密;尖声长叫;发出长而尖的声音;尖声说，高声嚷着说;告发
from a distance 从远处;在远处;相距遥远;久远地
get away 离开，脱身;逃离，逃脱;逃掉，脱身;
prime time n. (广播、电视的)黄金时间
conspicuous adj. 引人注目的;明显的;易见的;惹人注意的
time v. 为…安排时间;选择…的时机，为...选择时机;计时;测定…所需的时间;调准，调整;
energy n. 能量;能源;精力;活力;干劲;力量;能
quite adv. 相当地;相当;很;非常;十分;完全;颇;某种程度上;彻底;在很大程度上;的确;对，正是
as soon as 一…就…
What is the talk mainly about?
A. Various predators that threaten young birds
B. Various patterns of growth in young birds
C. One way that birds protect their young
D. One way that birds provide food for their young
According to the lecture, what do birds usually do when putting on a distraction display?
Click on 2 answers
A. They imitate another kind of animal
B. They fly in circles around their nest
C. They cover their nest with their wings
D. They pretend they are sick or injured
According to the lecture,when do birds put on their most conspicuous distraction displays?
A. Just before they lay their eggs
B. Immediately after they have laid their eggs
C. Just before their young become independent
D. Immediately after young have left the nest
Why does the professor say this:
A. To introduce an explanation
B. To express uncertainty
C. To point out an error
D. To emphasize a point that should be obvious
Listen again to part of the Lecture.Then answer the question
Why does the professor say this:
A. To explain the behavior of the predator
B. To emphasize that predators have excellent hunting skills
C. To state the purpose of birds' behavior
D. To emphasize the risks involved in a distraction display
Listen again to part of the Lecture.Then answer the question
why does the professor say this:
A. To describe the behavior of an injured sandpiper
B. To give an example of a well-performed broken-wing display
C. To show why some sandpipers fail to distract predators
D. To distinguish the sandpiper's display from another kind of display
[ TOP11 L4 ]
NARRATOR
Listen to part of a lecture in a Business Class.
FEMALE PROFESSOR
Let's get started. Last time we were talking about the need for advertising.
Now, let's look at how you can successfully call attention to the service or product you want to sell.
To succeed, you've got to develop a systematic approach.
If you don't come up with a system, um, a plan, you risk making decisions that waste money, or even drive away potential customers.
But what does a systematic advertising plan look like?
Well, it covers what we call the 'Four Ms'.
The 'Four Ms': Market, Media, Money, Message.
All are important areas to focus on when creating your advertising plan.
We will look at them one by one.
The First step is to look at your Market, that's the people who might become customers, buyers of your service or product.
You need to know all about your possible customers:
Who are they? What age group are they? What do they like, or dislike? How do they shop?
So, you got that?
A market is a group of potential customers.
Next, Media...
Obviously the major media are television, radio, newspapers, magazines, um, billboards, and so forth.
There are all avenues of communication.
And you need to figure out: Which media you should advertise through? Which media will reach your intended audience - your market?
So, you do research, trying to determine which media will reach the most potential customers for the lowest cost.
For instance, if you have a product, that ...oh....say teachers would like, then teachers are your market.
So you ask yourself: What magazines do the majority of teachers read?
What TV programs do teachers watch?
Do teachers listen to much radio?
At what times of the day?
Say, now your research turns up two magazines that teachers read.
And it also shows that the majority of teachers - say ages twenty to thirty - read the magazine about classroom activities.
While most teachers older than that read the other magazine, the one about, oh, let's say "Educational Psychology".
You think your product will appeal most to teachers ages twenty to thirty, so you decide to put your advertisement in their favor magazine, the one about classroom activities.
You don't waste money advertising in the "Educational Psychology" magazine, you know, the one that the younger teachers generally don't read.
And since you're reaching the majority of the teachers in your target age group, you're probably spending your money well, which bring us to the third M - Money.
You have an advertising budget to spend, but how do you spend it wisely.
Again, research is the key.
Good research gives you facts, facts that can help you decide, well, as we already mentioned, decide the right market to target, and the best media to use.
But also: When to advertise? Or... or how to get the best rates?
Like, may be you're advertising Sports equipment, and you have been spending most of your budget during the holiday season when people buy gifts for each other.
Now, in theory, that would seem a great time to advertise, but may be research shows you're wrong, that the customers who buy sports equipment tend not to give it as a holiday gift, but want to use it themselves.
In that case, advertising during a different season of the year might give you better results.
And, um, maybe at even lower, non-holiday rates, so you actually save money.
But you need to get the facts, facts that come from good research to be certain and know for sure that you're getting your money's worth.
OK, finally, there is your message: What you want to say about your product?
Why buying it will make the customer's life easier, or safer or better somehow.
Whatever the message is, make sure you get it right.
Let me give you an example of not getting it right, Ha...ha...ha... you are going to love this one: There was this Soup Shop, the soup was really tasty, but there weren't a lot of customers.
The owner thought that may be if they gave something away for free with each purchase, then more people would come buy soup.
So they got some cheap socks, and they advertised to give a pair away with each bowl of soup.
But, then even fewer people came to the restaurant.
Well, you can imagine why.
People started to associate the soup with feet.
They began to imagine the soup smelled like feet.
The advertising message, soup means free socks, was a bad choice. It was a waste of money.
And worse, it caused the loss of customers.
Now, I want everyone to get into small groups and come up with some examples, not of good advertising messages, but of truly disastrous ones.
Think of real examples or make some up, and talk about the reasons those messages are unsuccessful.
And then we'll get back together and share.
risk n. 危险;风险;危险人物;
drive away 驶离;驱走;使不愿久留;使想离去
age group n. 年龄组;年龄段
billboard n. (大幅)广告牌
avenue n. (城镇的)大街;途径;林荫道(尤指通往大住宅者);选择;手段
figure out 解决;算出;想出;理解;断定
turn up 调大;出现;出现，到来，露面;找出;发现;注意到;开大，调高（收音机、暖气等）
What is the main topic of the talk?
A. How to analyze various types of advertising
B. How to develop products that people will like
C. How to use advertising successfully
D. How to satisfy customer demands
According to the professor,what might be two results of NOT having a good advertising plan?
Click on 2 answers
A. Delays in the introduction of new products
B. The loss of customers
C. Too much attention focused on one product
D. The unnecessary spending of money
Why does the professor talk about teachers?
A. To emphasize the advantages of marketing products to specific groups of people
B. To illustrate how to select the most appropriate media for advertising a product
C. To prove that it is not necessary to spend money on advertisements
D. To show how a poorly communicated message can ruin a business
In the example about sports equipment, what does the professor imply about spending money on advertising?
A. It is most effective just before holidays when people give gifts
B. It may require quick decision making
C. It is a waste, since many consumers select products based on their previous experiences
D. It is better guided by good research than by good theories
What is the professor's point when she talks about a soup shop?
A. It is difficult to understand how some customers react to advertising
B. It is important to ensure the quality of a product before advertising it
C. A poorly chosen advertising message can have negative consequences
D. Some businesses remain unsuccessful even when they focus on the four M's
Listen again to part of the Lecture.Then answer the question
00:00 / 00:12
What does the professor mean when she says this:
A. She is eager to share an amusing story
B. She made up the story she is about to tell
C. She believes humor in advertising is important
D. She will tell a story about a popular celebrity.
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