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TPO-4TPO 04 – Listening PartConversationNarratorListen to a conversation between a student and a librarian.LibrarianCan I help you?StudentYeah, Ineed to find a review. It’s for myEnglish class. Wehave to find reviews of theplay we are reading. But theyhave to be from when the play was first performed,so I need to know when that was and I suppose I should startwith newspaper reviews and…LibrarianContemporary reviews.StudentSorry?LibrarianYou want contemporaryreviews. What’s the name of the play?StudentIt’s Happy Strangers. Itwas written in 1962 and we are supposed to writeabou t itsinfluence on American theatre and show why it’s been so important.LibrarianWell, that certainly explains whyyour professor wantsyou to read some ofthose old reviews. The critiquesreally torethe play to pieceswhen it opened.It’s so controve rsial. Nobody had everseen anything like it on the stage.StudentReally? Isthat a big deal?LibrarianOh, sure. Ofcourse thecritiques’reaction made some people kind ofcuriousabout it.Theywanted to see what’s causing all the fuss. In fact,we wer eonvacation in New York. Oh, I had tobe, eh,around 16 or so, and myparentstookme to see it. That would’ve been about 1965.StudentSo that wasthe year premier,great, but eh,newspaper from back then weren’tonline,so, how do I…LibrarianWell, wehave copies ofall the newspapers in the basement, and all the majorpapers publish reference guides to their articlesreviews,etc. You willfindthem in the reference stacksin the back. ButI start with 1964, so I thinktheplay had been running for a little while when I saw it.StudentHow do you like it?I mean just two characterson the stage hanging aroundand basically doing nothing.LibrarianWell, Iwas impressed. Theactors werefamous, and besides it was myfirsttime in a realtheatre.But you are right.It was definitelydifferent from manyplays that we read in high school. Ofcourse, in a small town the assignmentsare prettytraditional.StudentYeah, I’ve only read it but it doesn’t seem like it would be much fun to watch.The st orydoesn’t progress in anysort oflogical matter,doesn’t have realending either,just stops. Honestly,you know,I thought it was kind of slow andboring.LibrarianOh, wellI guess you might think that. Butwhen Isaw it back then it wasanything but boring. Some parts werereally funny,but Iremembercrying too.But I’m not sure just reading it. You know, they’ve done thisplay at least onceon campus. I’m sure thereis a tape of theplay in our video library. You mightwant to borrow it.StudentThat’s a good idea. I’ll have a better idea of what I really thinkof it before I read those reviews.LibrarianI’m sure you willbe surprised that anyone ever found it radical. But you will see whyit is still powerful, dramatically speaking.StudentYeah, it must be something about it,or the professor wouldn’thave assigned it.I’m sure I’ll figure it out.LectureNarratorListen to part ofa lecturein a biology class. The class is discussing animal behavior.ProfessorOk, the nextkind ofanimal behavior I want to talkabout might be familiar toyou. You mayhave seen, for example, a bird that’s in the middle ofa mating ritual, and suddenly it stops and preens,you know, takesa few momentstostraighten its feathers, and then returns tothe mating ritual. This kind of behavior,this doing something that seems completelyout ofplace, is what wecalla ‘Displacement Activity’. Displacement activitiesare activities that animal’s engaging in when theyhave conflicting drives. Ifwe takeour examplefrom a minute ago, if thebird is afraid ofits mate,it’s conflicted.It wantsto mate but it’s also afraid and wantsto run away. So, instead, it startsgrooming itself.So, the displacement activity,the grooming, the straightening ofits feathers,seems to be an irrelevant behavior.So, what do you think anotherexample ofa displacementactivity might be?KarlHow about an animal that, um, instead of fighting its enemyor running away,itattacksa plant or a bush?ProfessorThat’s reallygood suggestion, Karl. But that’s called ‘redirecting’.The animal isredirecting itsbehavior to another object, in this case, theplant or the bush.But that’s not an irrelevant or inappropriate behavior.The behavior makessense. It’s appropriate under the circumstances.But what doesn’t make senseis the object thebehavior‘s directed towards. Ok, who else? Carol?CarolI thinkI read in another class about an experimentwhere an object that theanimal was afraid of was put nextto its food – nextto the animal’s food. Andthe animal, it wasconflicted between confronting theobject and eating thefood, so instead, it just fellasleep. Like that?ProfessorThat’s exactlywhat I mean. Displacement occursbecause theanimal’s got twoconflicting drives – two competing urges, in thiscase, fear and hunger. Andwhat happens is, theyinhibit each other,theycanceleach other out in a wayand a third seemingly irrelevant behavior surfaces through a processthat wecall‘Disinhibition’. Now in disinhibition, thebasic idea is that two drivesthatseem to inhibit,to hold back, a third drive. Or, well,they’re getting in a wayofeach in a… in a conflict situation and somehow lose control,lose theirinhibiting effecton that third behavior,which means thatthe third drive surfaces, it’s expressed in theanimal’s behavior.Now,these displacementactivities can include feeding, drinking, grooming, even sleeping. These arewhat we call ‘Comfort Behavior’.So whydo you thinkdisplacement activitiesare so often comfort behaviors, such as grooming?KarlMaybe because it’s easy for them to do? I mean,grooming is like one of themost accessible things an animal can do. It’s something theydo all thetime,and theyhave the stimulus right there on the outside oftheir bodies in order to do thegrooming, or if food is right in front of them.Basically, theydon’t have to think verymuch about those behaviors.CarolProfessor,isn’t it possible that animals groom because they’ve got messed upa little from fight ing or mating? I mean if a bird’s feathersget ruffled or an animal’s fur,maybe it’s not so strange for them to stop and tidythemselves upat that point.ProfessorThat’s another possible reason although it doesn’t necessarily explain other behavi ors such as eating, drinking or sleeping. What’s interesting is that studies have been done that suggest thatthe animal’s environment mayplay apart in determining what kind of behavior it displays. For example,there’s abird, the ‘wood thrush’,anyway, when the ‘wood thrush’is in an attack-escapeconflict, that is, it’s caught between the two urges to escape from or to attackan enemy,if it’s sitting on a horizontalbranch, it’ll wipe itsbeak on itsperch.Ifit’s sitting on a verticalbranch, it’ll groom its breast feathers.The immediateenvironment of thebird, its immediate,um, its relationship to its immediateenvironment seemsto play a part in which behavior will display.LectureNarratorListen to part ofa lecturein a literatureclass.ProfessorAll right,so let me close today’s class with some thoughts to keep in mindwhile you are doing tonight’s assignment. You will be reading one of RalphWaldo Emerson’s best-known essays ‘Self-Reliance’and comparing it with hispoems and other works. Ithink this essay has the potentialto be quitemeaningful for all ofyou as young people who probably wonder about thingslike truth and whereyour lives are going - all sorts ofprofound questions.Knowing something about Emerson’s philosophie s will help you when youread ‘Self-Reliance’.And basically, one ofthe main beliefs that he had wasabout truth. Not that it’s something that wecan be taught,Emerson says it’sfound within ourselves. So this truth,the idea that it’s in each one ofus, is oneof thefirst points that you’ll see Emerson ** in this essay. It’s a bitabstract but he’s very into…ah…into each person believing his or her ownthought, believing in yourself, the thought or conviction that’s truefor you. But actually, he tiesthat in with a sort of ‘universal truth’ – something that everyone knows but doesn’t realizetheyknow. Most of us aren’tin touch with ourselvesin a way,so we just aren’t capable of recognizing profound truth. Ittakesgeniuses, people like, say,Sh akespeare, who’reunique because when theyhave a glimpse at this truth,this universal truth,theypay attention to it and expressit and don’t just dismiss it like most people do.So Emerson is reallyinto each individual believing in and trusting him orherself.You’ll see thathe writesabout, well,first, conformity. Hecriticizes that people of his time for abandoning their own minds and their own wills for thesake of conformity and consistency. Theytryto fit in with the restof the worldeven thou gh it’s at odds with their beliefsand their identities. Therefore,it’sbest to be a non-conformist – to do your own thing, not worrying about whatother people think. That’s an important point. Hereally drives thisargumenthome throughout the essay.When you are reading, I want you to think about that and why thatkind ofthought would be relevant to the readers of his time. Rememberthis is 1838,‘Self-Reliance’was a novel idea at thetime and the United State’s citizenswereless secure about themselvesas individuals and as Americans. Thecountry as a whole was trying to define itself. Emerson wanted to give peoplesomething to reallythink about, help them find theirown wayand what it meantto be who theywere.So that’s something that I thin k is definitely as relevanttoday as it was then, probably, um, especially among young adults likeyourselves, you know,uh, college being a time to sort of reallythink about whoyou are and where you’re going.Now we already said that Emerson really emphasizesnon-conformity, right,asa way to sort of not lose your own self and identityin the world, to have yourown truth and not be afraid to listen to it. Well, he takes thisa stepfurther. Notconforming also means, uh, not conforming with yourself or your past. Whatdoes that mean?Well, if you’ve always been a certain way or done a certainthing, but it’s not working for you anymore,or you’re not content,Emersonsays that it’d be foolish to be consistent evenwith our own past. ‘Focus on t hefuture,’ he says, “That'swhat matters more.Inconsistency is good.”He talksabout a ship’s voyage and this is one of themost famous bits oftheessay - how the best voyage is made up of zigzag lines. Up close, it seemsalittle all over theplace, but from fartheraway, the truepath shows and in theend it justifies all theturns along the way.So, don’t worry if you are not surewhere you’re headed or what your long-term goals are.Staytrue to yourselfand it’ll make sense in the end. I mean,I can at test tothat. BeforeI was aliteratureprofessor, Iwas an accountant.Beforethat,I was a newspaperreporter.My life is taking some prettyinteresting turns and here I am, veryhappy with my experiencesand wherethey’ve brought me. Ifyou relyonyourself and trust your own talents,your own interest, don’t worry,your pathwill make sense in the end.ConversationNarratorListen to a conversation between a student and a professor.ProfessorHey,Jane, you look like you arein a hurry.StudentYeah, things are a little crazy.ProfessorOh yeah? What’s going on?StudentOh, it’s nothing. Well, since it’s your class, I guess it’s OK. It’s, it’s just I am having trouble with mygroup project.ProfessorAh, yes, due next week.What’s your group doing again?StudentIt’s about United StatesSupreme Court Decisions. We are looking at theimpact of recent caseson propertyrights, municipal land use cases, owningdisputes.ProfessorRight,OK. And i t’s not going well?StudentNot really.I’m worried about othertwo people in my group. Theyare just sittingback, not really doing their fair share ofthe work and waiting for an A. It’s kindof stressing me out,because we aregetting close to thedeadline and I feellikeI’m doing everything for this project.ProfessorAh, the good old free writerproblem.StudentFree writer?ProfessorAh, it’s just a term that describes thissituation, when people in the group seekto getthe benefits ofbeing in a group without contributing tothe work. Anyway,what exactly do you mean when you say theyjust sit back? I mean,they’vebeen following theweekly progress repotswith me.StudentYes, but I feellike I’m doing 90% ofthe work. I hateto sound so n egative here,but honestly, theyare taking credit for things theyshouldn’t take credit for. Likelast weekin the library,we decided to split up theresearch into 3 partsandeach of us was supposed to find sources in the library for our parts. I went offto the stackand found some really good materialfor mypart, but when I gotback to our table,theywere just goofing off and talking. So I wentand gotmaterialsfor theirsections as well.ProfessorUm…you know you shouldn’t do that.StudentI know,but I didn’t want to risk the project going down thedrain.ProfessorI know Teresa and Kevin. I had both ofthem on othercourses. So, I’m familiarwith the workand work habits.StudentI know,me too. That’s why this has reallysurprised me.ProfessorDo you…does your group like your topic?StudentWell, Ithink we’d all ratherfocus on casesthat deal with personal liberties,questions about freedom of speech,things like that.But Ichose propertyrights.ProfessorYou chose the topic?StudentYeah, Ithought it would be good for us, all of us to trysomething new.ProfessorUm…maybe that’s part of theproblem. Maybe Teresa and Kevin aren’t thatexcited about the topic? And since you picked it,have you thought…talktothem at all about picking a different topic?StudentBut we’ve got all the sourcesand it’s due next week. We don’t have time to start from scratch.ProfessorOK, I will letyou go ‘cause I know you are so busy. But you might consider talking to your group about your topic choice.StudentI willthink about it. Gotto run, see you in class.LectureNarratorListen to part ofa lecturein a geology class.ProfessorNow we’ve got a few minutes beforewe leave for today.So I’ll just touch on an inter esting subject that I think makesan important point. We’ve been covering rocks and different types ofrocks for the last severalweeks. Butnext weekwe are going to do something a bit different.And to get started I thought I’d mention something that sho ws how uh…as a geologist, you need toknowabout more than just rocksand the structureof solid matter,moving rocks, you may have heard about them.It’s quite a mystery.Death valley is this desert plane, a dry lake bed inCalifornia surrounded bymountains and on the desertfloor these huge rocks,some ofthem hundreds of pounds. And theymove. Theyleave long trailsbehind them,tracksyou might say as theymove from one point to another.Butnobody has been able to figure out how theyare moving because no one haseverseen it happen.Now there area lot of theories,but all we know for sure is that people aren’t’moving the rocks. Thereare no footprints, no tyretracks and no heavymachinery like a bulldozer…uh, nothing was everbrought in to move theseheavy rocks.So what’s going on? TheoryNO.1 ---Wind? Some researchersthink powerfuluh…windstorms might move the rocks. Most of therocks move in the samedirection as the dominant wind pattern from southwest to northeast.But some,and thisis interesting, move straight west while some zigzag or even move inlarge circles.Um…How can that be?How about wind combined with rain? The ground ofthis desertis made of clay. It’s a desert,so it’s dry.But when thereis theoccasionalrain, the clay gr ound becomesextremelyslippery.It’s hard foranyone tostand on, walk on. Some scientiststheorized that perhaps when theground is slipperythe high winds can then move the rocks. There’s a problemwith this theory.One team ofscientists flooded an area ofthe desert with water,then tryto establish how much wind forcewould be necessary to move therocks. And guess this, you need winds of at least five hundred miles an hour to move just the smallest rocks. And winds that strong have neverbeen recorded. Ever!Not on thisplanet.So Ithink it’s safe to say that that issues has been settled.Hereis another possibility–ice.It’s possible that rain on thedesert floor could turn to thin sheetsof ice when temperaturesdrop at night. So if rocks…uh becomi ngbetter than ice,uh … OK, could a pieceof ice with rocks in it be pushed around by thewind? Butthere’s a problem with thistheory,too. Rockstrapped in ice togetherwould have moved togetherwhen the ice moved. Butthat doesn’talways happen. The rocksseem to take separate routes.Thereare a fewother theories. Maybe the ground vibrates, or maybe theground itself is shifting, tilting. Maybe the rocksare moved bya magnetic force. But sadly all these ideas have been eliminated as possibilities. The re’s just no evidence.I bet you are saying to yourself well, whydon’t scientists just setup video camerasto record what actually happens? Thing is this is a protective wilderness area. So by law that type of research isn’t allowed. Besides, in powerful windstorms, sensitive camera equipment would be destroyed. Sowhycan’t researchers just live therefor a while until theyobserve the rocks’moving? Same reason.So whereare we now? Well, right now we still don’t have any answers. So allthis leads backto mymain point – you need to know about more than justrocks as geologists. The researchersstudying moving rocks, well, theycombine their knowledge of rockswith knowledge of wind, ice and such…umnot successfully, not yet.But you know,theywould even have been able to getstartedwithout uh… earth science understanding – knowledge about wind,storms, you know,meteorology. You need tounderstand physics. So forseveralweeks like Isaid we’ll be addressing geology from a wider prospective.I guess that’s all for today. See you next time.LectureNarratorListen to part ofa lecturein a United Statesgovernment class.ProfessorOK, last timewe were talking about government support for the arts. Who cansum up some of themain points? Frank?FrankWell, Iguess there wasn’t reallyany, you know, official government support forthe artsuntil thetwentieth century. Butthe first attempt theUnited Statesgovernment made to,you know, to support the artswas the FederalArtProject.ProfessorRight,so what can you say about the project?FrankUm…it was started during the Depression, um…in the 1930s to employout-of-work artists.ProfessorSo wasit successful? Janet?What do you say?JanetYeah, sure,it was successful. I mean, for one thing, the project established a lot of…uh like community art centersand galleriesand places like ruralareas where people hadn’t really had access to thearts.ProfessorRight.FrankYeah. Butdidn’tthe government end up wasting a lot of money for art that wasn’t even verygood?ProfessorUh…some people might say that. Butwasn’t theprimary objective of the FederalArt Project to provide jobs?FrankThat’s true.Imean…it did provide jobs for thousands of unemployed artists. ProfessorRight.But then when the United Statesbecame involved in the Second World War,unemployment was down and it seems that these programs weren’treally necessary any longer.So, moving on, we don't actuallysee any govern…wellany realgovernment involvement in the artsagain until theearly 1960s, when President Kennedyand otherpoliticians started topush for major funding to support and promotethe arts. Itwas felt bya number ofpoliticians that …wellthat the governmenthad a responsibilityt o support the artsas sort of…oh, what can we say?...thethe soul…or spirit of the country. The idea was that therebe a federal subsidy…um…uh…financial assistance to artists and artistic or cultural institutions. And for just those reasons, in 1965, the National Endowment for the Artswas created.So it was through the NEA,the National Endowment for the Arts, um…that the artswould develop, would be promoted throughout the nation. And thenindividual statesthroughout thecountry started to establish their own state arts councils to help support the arts. Therewas kind of uh…culturalexplosion.And bythe mid 1970s, by 1974 I think, all fifty stateshad their own arts agencies, their own state artscouncils that work with the federalgovernmentwith corporations, artists, performers, you name it.FrankDid you just say corporations? How are theyinvolved?ProfessorWell, you see, corporations aren’t always altruistic. Theymight not support the artsunless…well, unless the government made i t attractive for them to do so,by offering corporations tax incentives tosupport the arts, that is, by lettingcorporations pay less in taxesif theywerepatrons ofthe arts. Um, theKennedyCentre in Washington D.C., you mayuh…maybe you’ve been there,or Lincoln Centrein New York. Bothof these werebuilt with substantialfinancial support from corporations. And the Kennedyand Lincoln centresaren’t the only examples. Manyof your cultural establishments in theUnitedStateswill have a plaque somewhere acknowledging the support – themoneytheyreceived from whatevercorporation. Oh, yes, Janet?JanetBut aren’t therea lot ofpeople who don’t think it’s thegovernment’s role tosupport the arts?ProfessorWell, as a matter offact, a lot ofpoliticians who did not believe in governmentsupport for the arts, theywantedto do away with the agencyentirely, for thatveryreason, to get rid of governmentalsupport.But theyonly succeeded intaking away about half the annual budget. And as far as thepublic goes,well…thereare about as many individuals who disagree with the governmentsupport as thereare those who agree.In fact,with artistsin particular, youhave lots of artistswho support and who have benefited from this agency,although it seems that just as many artistssuppose a government agencybeing involved in the arts, for many different reasons, reasons like theydon’twant the government to controlwhat theycreate.In other words, theargumentsboth for and against government funding ofthe artsare as manyand, and as varied as the individual styles ofthe artists who hold them.源于：小马过河相关推荐：2012年11月18日托福写作真题解析2012年11月18日托福口语真题解析2012年11月18日托福阅读真题解析2012年11月18日托福听力真题解析。
