Q的听写作业

名字是个词儿UID：2707493

12月6日 TPO L13 全套听写正式上场～～～
先来C1，稍后核对。

Listen to a conversation between a student and his psychology professor.

Good afternoon Alex, can I help you with something?

Well, I wanted to talk with you about the research project you assigned today, I Hmmm, hope you can clarify a few things for me.

Well I'll certainly try.

OK, all we have to do is to do two observations and take notes on them, right?

That's a start, but you'll need to do some research too. Then you'll write a paper that's not so much about the observations but a sympathis of what you observed and read.
OK, and what about the children that I'm supposed to observe?

Not, children, a single child observed twice.

Oh, OK, so I should choose a child, with the permission of the child's parents of course, and then observe that child a couple of times and take good notes, then?

Actually after your first observation, you'll go back and look through your textbook or go to the library and find a few sources concerning the stage of development this paticuly child is in, and then with that knowledge you'll make a second observation, of the same child, to see if the expected development or behaviors are exhibited.

Can you give me an example?

Well, Hmmmm, if you observed a four-year-old child, for example my daughter is four years old, you might read upon Piajey's stages of cognitive development, we covered thoes in class.

Ah-ha.

Most likely, what stage would a child of that age be in?

Hmm, the pre-operational stage?

Exactly. If that's the case, her language use would be maturing, and her memory and imagination would be developed...

So she might play pretent. Like she can pretend when driving her toy car cross the couch, that the couch is actually a bridge or something.

That's right. In addition her thinking would be primarily egocentric...

So she'd be thinking mostly about herself and her own needs, and might not be able to see things from anyone else's perspective? But what if she doesn't? I mean what if she doesn't demonstrate those behaviors?

Well that's fine, you'll note that in your paper. See, you paper should compare what is expected of children at certain stages of development with what you actually observe.

OK, I have one more question now.

And what's that?

Where can I find a child to observe?

Hmm, I suggest you contact the education department secretary. She has a list of contacts of various schools and with certain families who are somehow connected to the university, that sometimes are willing to help out students with project like yours.

OK, I'll stop by the education department office this afternoon.

And if you have any trouble or any more questions, feel free to come by during my office hours.

名字是个词儿UID：2707493

TPO L13 L1
六分多钟啊，做题的时候不觉得。。。。。。。说话又快，连读，还活活读了六分钟:L  么人性啊

Listen to part of a lecture in a city planning class.

In the last fifty years or so, many american cities have had difficulty in maintaining a successful retail environment. Business owners in the city centers or the downtown areas have experienced some financial losses, because of the city movement of the people out the cities and into the sub-urbs. In general downtown areas, just don't have that many residential areas, errrr not that many people live there. So what have city planers decided to do about it? Well, one way they've come up with some ways to attract more people to shop downtown was by creating P malls.

Now, what is a P mall? It's a pretty simple concept really, it's essencialy an out-door shopping area, designed just for people on foot, and well unlike many other shopping malls that are built in the sub-urbs nowadays, these P malls are typically located in the downtown area of the city, and now they are features like outside walls, comfortable outdoor seating, and maybe even thoudens, and, you know, art. There are variations on this mall of course, but the common denomenator is always the idea of creating a shopping space that will get people to shop in the city without needing their cars. So I'm sure you can see how having an area that's off limites to automobile trafic would be ideal for a heavily populated the city, where, Ahh, well the streets would otherwise be busetling with noisy unpleasant trafic inggestion.

Now the concept which origionated in Europe was adopted by american city planners in the late 1950s. And since then, a number of United States' cities have created P malls, and many of them have been highly successful. So, what have city planners learned about making this mall succeed? Well, there are two critical factors to consider when creating a P mall: Location, and Design, both of which are equally important.

Now let's start with the location. In choosing a specific location for a P mall, there are in fact two considerations. Proximity to potential customers, that's what we would call a customer base, and accessability to public transportation, which we'll get to in just a moment.

Now, for a customer base, the most obvious example would be a large office building. Since the employees could theoraticaly go shopping after work, or during their lunch break, right? Ahh, another good example is a convention center, which typically has a hotel, and large meeting spaces, to drive visitors to the city for major business conferences an events. But idealy, the P mall would be used by local residents, not just people work in the city, or work in the area. So that's where access to public transportation comes in. Either the designer's plan to locate the mall near a central transportation hop, like a bus terminal or major train or subway station, or they work with city officials to creat sufficient parking areas not too far from the mall, which makes sense, because if people can drive into the mall area, well then they need to have easy access to it.

OK, so that's location, but what about design? Well, design doesn't neccessarily include things like sculptures or decorated walk ways or even eye-catching window displays, you know, art, although I'd be the first to admit those thing are aetheticaly appealing. However visualy pleasing sites, well they're not a part of the P mall design that matter the most. The key consideration is a compact and convenient layout, one which allows Pedestrians to walk from one end of the mall to the other in just a few munites, so they can get to the major stores, restaurants, and other central places without having to take more than one or two turns.

Now this takes careful and creative planning. But now what if one ingredian to this planning recipe is missing? There could quite possibly be long lasting of facts. And I think a good example is the P mall in L, K for instance. Now when the L mall was built, it had lots of visual appeal. It was attractively designed, right in the small part of downtown, and it pretty much besesed all of the other designed elements for success. But now here is where my point about location comes into play. There wasn't a convention center around to help draw in visitors, and well the only near-by hotel eventually closed down for that same reason. Well you can imagine how this must have affected local and P mall business owners, sort of what we call a chain reaction. It was until a convention center and a parking garage were built about a decade later, that the mall started to be successful.

名字是个词儿UID：2707493

TPO L13 L2
今天晚上第三篇～～我要牺牲了，，不要怀念我。。。。

Listen to part of a lecture in an ecology class.

So, continuing our disscussion of ecological systems, whole systems. The main thing to keep in mind here is the interrelationships. The spieces in the system, even the landscape itself, they are interdependant. Let take what you read for this weed and see if that we can apply this interdependance idea. Mike?

Well, Ummm, how about beavors? Ecosystems with beavors in water wise.

Good, good, go on.

Like, well, you can see how it's so important, cause if you go back before European settles in north america, like before the 1600s, back when native americans were the only people liveing here, well, back then there were a lot of beavors, but later on, after Europeans..

OK, wait, I see where you are heading with this, but before we go into how European settlement affacted the egosystem, tell me this, what kind of environment do beavors live in? Think about what it was like before the Europeans settlers came, we'll come back to where you were headed.

OK, well, beavors live in streams and rivers and they block up the streams and rivers with black logs and steaks and mud, you know, they build dams, that really slow down the flow of the stream, so than the water backs up, and creats like a pond that flood the nearby land.

And that creats wetlands. OK, tell me more.

Well with wetlands, it's like there is more standing water, more still water around, and that water is a lot cleaner than swiffly flowing water, because the dirt and settlement and stuff has the chance to sink to the bottom.

More important for our discussion, wet land areas support a lot more variaty of life than swiffly flowing water. For example, there are more variaties of fish or insects, lots of frog spieces, and then spieces that rely on thoes spieces start to live near the wet lands too.

Yes, like birds and mammals that eat the fish and insects, and you get trees and plants that begin to grow near the standing water, that can't grow near running water. Oh, and there's something about wetland, and ground water too.

OK, good. Wetlands have a big affect on groundwater, the amount of water below the surface of the land. Think of wetlands as, Umm, like a giant spunge, the earth sokes up a lot of this water that's continuealy flooding the surface, which increases the amount of water below. So where is there a wetland, you get a lot of ground water, and groundwater happens to be a big source of our own drinking water today. All right, so back to the beavors. What if the beavors weren't there?

You just have a regular running stream, cause there is no dam, so the egosystem would be completely different, there'd be fewer wetlands.

Exactly. So, now let's go back to where you were heading before, Mike. You mentioned a change that occured after Euopeans came to north america.

Yeah, well, there used to be beavors all over the place, something like 200 million beavors, just in the contenentally United States. But when Europeans came, they started hunting the beavors for their fur, cause beavor fur is really warm, and it was really popular for making hats in Europe, so the beavors were hunted a lot, over hunted, they are almost extinct by the 1800s, so that meant fewer wetlands, less standing water.

And what does that mean for the ecosystem? Kate?

Well if there is less standing water, then the ecosystem can't support as many spieces, because a lot of insects and fish and frogs can't live in running water, and then the birds and animals that eat them, lose their food supply.

Precisely. So the beavor in this ecosystem is what we call a keystone spieces. Ther term keystone kind of explain itself. In archetecture, a keystone in an archway or doorway is the stone that holds the whole thing together, and keeps it from collapsing. Well, that's what a keystone spieces does in an ecosystem. It's the crutial spieces that keeps the system going. Now beavor populations are on the rides again, but there are something go think about, consider humans as part of these ecosystems, you've probably heard about water shortages or restrictions on how much water you can use, especially in the summer time, in reacent years, and remember what I said about groundwater, imagine if we still have all those beavors around, all those wetlands, what would our water supply by like then?

名字是个词儿UID：2707493

继续， TPO13 C2
其实应该七遍精听再跟读的，那个稍后弄，先上菜。
Listen to a conversation between a student and the language lab manager.

Hi, I'm not sure, but is this the carter language lab?

Yes it is. How can I help you.

I'm taking first year Spanish this semester, our professor says we need to come here review a serie of vedios, I think it's called Spanish Working on Your Accent.

Yes, we have it at...Umm, they are on the wall behind you.

OK, so I can just take...Can I take the whole therie home? I think there are three of them.

I guess you haven't been here before.

No, no I haven't.

OK, well, you have to watch the vedios here. You need to sign in to reserve an open room and sign out the vedio you need. Just start with the first one in the serie, each vedio is half an hour long.

So, it's a vedio library, basically?

Yes, but unlike the library, you can't take any vedios out of the lab.

OK, so how long can I use a vedio room for?

You can sign up for two hours at a time.

Oh, good, so I can watch more than one vedio when I come up here. Is the lab pretty busy all the time? Well, rooms are usually full right after dinner time, but you can sign up a day before to reserve a room if you want.

Uhhh, the day before...But I can just step in too to see if there is any room open, right?

Sure. Step in anytime.

Ummm, what about copies of the vedios? Is there just one copy of each in the series, I don't want miss out if everyone comes in at once.

Oh, no, we have several copies of each tape in the spanish accent series. We usually have multiple copies of everything for each vedio collection.

Super! So how many rooms are there total in the lab?

20. They are pretty small, so we normally get one person or no more than a small group of people in there watching a vedio together.

Actually, someone else from your class just came in and took the first spanish vedio in to watch. You could probably run in there watch it with him. Of course you are welcome to have your own room, but sometimes students like to watch with a classmate, so they can review the material with each other afterwards. For example if there was some content they didn't really understand.

I guess I prefer my own room, I concentrate better by myself, and I don't wanna miss anything, you know, and he's probably already started watching and...

No problem, we've got a lot of rooms open right now, when you come in, you sign your name on the list, and are signed a room number. Or if you call in advance, the attendent will tell you your room number. If you forget, just come in and take a look at the list.

The vedios are over there.

Great, thanks!

名字是个词儿UID：2707493

TPO 13 L3，变态的七分钟演讲
才发现一个严重的问题，为啥写在记事本里的文字，全文粘贴过来，就少了好多空格捏？？？不少单词都连到一起去了。
Listen to part of a lecture in a poetry class. The professer is discussing medieval poetry.

OK, so the two poems we are looking at today fall into the catigary of medieval time, which was how long ago?

Almost a thousand years ago, right?

Yes, that's right.

But professor are you sure these are poems? I mean I thought poems were shorter, these are more like long stories. I mean, one of them is all about love, but the other one that Chan-chang-cha...whatever it's called, the other one, well it was all about fighting and battles, I mean, can both of them be consider poems?

Well, think back to the very beginning of this course. Remember how we define poetry? In the very broadest sense, we said it's written to evoke to make you, the audiance, have some kind of the emotional experience through the use of imagary. Umm, some kind of pridictable rythem, and usually, but not always, there is more than one meaning impplied with the word that is used. Let's start with the Chanson poetry first. That's Chanson. Chanson poems became popular in Europe, paticulally in France, and the term is actually short for a longer Franch phrase that translate to songs of deeds. Now they were called songs of deeds, because strangly enough, they were written to discribe the heroic deeds or actions of warriers, the knights during conflicts. We don't know a lot about the authors, it's still contested somewhat, but we're pretty sure about who the Chanson poems were written for. That is, they were written for the knights and the lords, the nobility that they served. The poems were song performed by a minstrila, a singer who travel from castle to castle, singing to the local lords and his knights. Well, would someone summarize the main features of the chanson poem you read?

Well, there is a hero, a knight, who goes to battle, and he's admired for his currage, bravary and loyalty, loyalty to the lord he serves, his country and his fellow warriers in the field, he is a skilled fighter, willing to face the most extreme dangers, sacraficial, will to sacrafise anything and everything to protect his king and country.

OK, now given that the intended audiance for these poems were knights and lords, what can we say about the purpose of chanson poetry? What kinds of feelings was it meant to provoke?

I guess they must have been really appealing to those knights and lords who were listening to them, hearing the songs probably made them feel more patrayotic, made they feel like it was a good and nobel thing to serve their country in whatever way they could.

Good, we've got a pretty good picture of what the chanson hero was like. Now let's compare that to the hero in the other poem. The other poem is an example of what's called romance poetry, and the hero in the romance poem was also a knight, but what made the knight in the romance poetry different from the knight in chanson poetry? Well, first, the purpose of the hero's actions was different. The hero in romance poetry is independant, purely solitary in a way, not like the chanson poeit, who was alway surround by his fighting componiants, he doesn't engage in conflict to protect his lord or country, he does it for the sake of adventure, to improve himself, to show his worthy of respect and love for his lady. He is very concious of the patitular rules of social behaviors he has to live up to, somehow, and all of his actions are for the purpose of proving    that he is an upright moral well-mannered well-behaved individual. You may have noticed that in chanson poetry, there isn't much about the hero's feelings, the focus is on the actions, the deeds, but the romance poetry discribes a lot of the inner feelings, the motivations, psychology, you could say, of a knight trying to improve himself, to better himself, so that he is worthy of the love of a woman.

What explains this difference? Well, digging into the historical context tells us a lot. Romance poetry emurged a few generations after chanson, and its roots were in geographic regions of France that were calmer, where conflict wasn't central to people's lives. More peaceful time meant there was more time for education, travel, more time for reflection, another name for romance poetry that's often synonimoused with it is troubadour poetry.

Troubadours were the authors of these new romance poems, and we know a lot more about the troubadours than we do about the chanson authors, because they often had small biographical sketches added to thire poems, that gave pretty specific information about thire social status, geographical location, and a small outline of their career. This information wasn't particulaly reliable, because they were sometimes based on fictitious stories of great adventure or scrabed together from parts of different poems, but there is enough there to squeeze or infer some facts about their social class. The political climate has settled down enough so that troubadours had the luxary of beking able to spend most, if not all of their time, creating, crafting, or composing their love songs for thire audiances. And yes, these poems were also sung, many troubadours were able to make a living being full time poeists, which should tell you something about the value of that profession during medieval time.

名字是个词儿UID：2707493

TPO L13 L4
作业完成，我去挺尸了。。。。。。

Listen to part of a lecture in an astronomy class.

OK, I wanna go over the different types of meteoroids, and what we've learnt from them about the formation of earth, and sollar system. The thing is what's specially interesting about meteoroids is that they come from interplanetary space, but they consist of the same chemical elements that are in matter oringinating on earth, just in different proportions. But that makes it easier to identify something as a medeoroid, as opposed to two just a torestrial rock. So to talk about where medeoroids come from, we need to talk about comets and asteroids, which basically...they are basically made up of debreave left over from the origion of the sollar system 4.6 billion years ago.

Now I'm going a bit out of boarder here, I'm not going to go into any deepth on comets and asteroids now, but we'll come back later and do that. For now, I'll just cover some basic info about them. OK, comets and astroids. It might help if you think of...remember we talked about the two classes of planets in our sollar system, and how they differ in composition? The torestrial planets like Mars and Earth, compose largely of rocks and metals, and the large gas giants, like Jupiter. Well, the sollar system also has two analogus classes of objects, smaller than planets, mainly asteroids and comets. Relatively near the sun in the inner sollar system, between Jupiter and Mars to be precise, we got the asteroid belt, which contains about 90 percents of all asteroids orbiting the sun. These asteroids are like the torestrial planets, and they're composed mostly of rocky material and metals. Far from the sun, in the outer sollar system, beyond Jupiter's orbit, tempretures are low enough to permit ices to for out of water and out of gases like mathing and carbondioxide. Lose collections of these ices and small rocky particals form into comets. So comets are simillar incompositon to the gas giants. Both comets and asteroids are... typically are smaller than planets.

And even smaller type of inter-planet terridebree, is the meteoroid, and it's from meteorids that we get meteors and meteorites. "roids" are, for the most part anyway, they are just smaller bits of asteroids and comets. When these bits enter earth atomosphere, well, that makes so special that they get a special name. They're called meteors. Most of them are very small, and they burn up soon after entering earth atomosphere, the larger ones that make it through the atomosphere and hit the ground are called meteorites. So meteorites are the ones that actually make it through.

Now we've been finding meteorites on earth for thousands of years, and we've analyzed enough of them to learn a lot about their compositon, most come from asteroids, though a few may have come from comets, so essencially they are rocks. And like rocks, they're mixures of meterals. They are generally classified into three broad categories, stones, stony irons and irons. Stone meteoroids, which we refer to simply as stones are often entirely rock material. They actualy account for almost all of the meteoroid material that falls to earth. But even so, it's rare to ever find one. I mean, it's easier to find an iron meteorite or stony iron. Anyone guess why? Look at their names. What do you think iron meteorites consist of?

Mostly iron?

Yeah, iron and some nickel, both of which are metals, and if you're trying to find metal...

Oh, metal detectors!

Right, thank you! At least that's part of it. Stone meteoroids, there if they lie around exposed to the whether for a few years, well, they're made of rock, so they end up looking almost indistinguishable from common torestrial rocks. Ones that origionated on earth. So it's hard to spot them by eye. But we can use metal detectors to help us find the others, and they're easier to spot by eye. So most of the meteoroites in collections, in museums, they'll be...they're iron meteorites, or the stony iron kind, even though they only make up about 5 percent of the meteorite material on the ground.

tina-gaoUID：2719334

加油啊加油。。。一天一套别的就不能做了。。我还得写作文做阅读和分析呢。。。

happyfaith2008UID：2709856

名字加油！我今天也发听写了，嘿嘿！:lol

名字是个词儿UID：2707493

12月9日听写
TPO 4 C1 戏剧评论
这男生的语速要不要这么快啊啊啊？
Listen to a conversation between a stuent and a librarian.

Can I help you?

Yeah, I need to find a review, it's for my English class, we have tofind reviews of the play we are reading, but they have to be from whenthe play was first performed, so I need to know when it[that] was, and I suppose I should start with newspaper reviews...

Contemperary[Contemporary] reviews.

Sorry?

You want contemperary[contemporary] reviews. What's the name of the play?

It's happy strangers. It was written in 1962 and we're suppose to write about its influence on american theater[theatre] and show why it's been so important.

Well, that certainly explains why your professor want[wants] you to read some of those old reviews. The critics[critiques] really tore the play to pieces when it opened, it was just so contravertial[controversial], nobody had ever seen anything like it on the stage.

Really? That big a deal?

Oh sure, of course the critics'[critiques'] reaction made some people kindda curious about it, they wanted to see what[what's]causing all the fuss. In fact, we were on a vacation in New York, Oh, Ihad to be...Oh...around sixteen or so, and my parents took me to seeit, that would've be[been] about 1965.

Oh so that was the year of premier? Great, but newspapers shouldn't act in[Newspaper from back then weren't] online, so...how do I ...

Well, we have copies of old newspapers in the basement, and all themajor papers published reference guides to their articals, reviews,extra. You'll find them in the reference stacks in the back. But I'd start with 1964. I think the play had been running for a little while when I saw it.

Hmmm, how do you like it? I mean it's just two charactors on stage hanging around, basically doing nothing.

Well, I was impressed. The actors was[were] famous, and besides it was my first time in a real theater[theatre]. But you're right, it was defenitely[definitely] different from any[many] plays that we've read in high school. Of course, in a small town the assignments were pretty traditional.

I've only read it, but it doesn't seem like it'd be much want[fun] to watch, story doesn't progress and... and in sort of logical matter doesn't have any real ending either, just stops. Honestly, you know, I thought it was kind of slow and boring.

Ohhhh, well, I guess you might think that. But what I thought[when I saw it]back then, it was anything but boring. Some parts were really funny,but I remember crying too. But I'm not sure just reading it. You know,they've done this play at least once on campus, I'm sure there is atape of this play in our vedio library, you might wanna borrow it.

That's a good idea. I'll have a better idea what I really think of if before I read those reviews.

I'm sure you'll be surprised that anyone ever found it ratical[radical], but you'll see why it's still powerful, dramatically speaking.

Well, there[it] must be something about it, or the professor wouldn't have assigned it. I'm sure I'll figure it out.

名字是个词儿UID：2707493

补上周听写。TPO L4 L4

斜体为需要学习的生词和短语。下划线为跟读时的弱点

Listen to part of a lecture in a United States government class.
OK, last time we were talking about government support for the arts. Who can sum up some of the main points? Frank.
Well, I guess there wasn't really any, you know, official government support for the arts untill the 20th century, but the first attempt the United States government made to, you know, to suppport the art[arts] was the federal art project.
Right, so what can you say about the project?
Ummm, it was started during the depression, Ummm, in the 1930s, to employ out-of-work artists.
So was it successful? Jennet[Janet], what do you say?
Yeah, sure, it was successful, I mean for one thing, the projet established a lot of..errrr...like community art centers and galaries[galleries] in place like rural areas, where people hadn't really had access to the arts.
Right.
Yeah, but didn't the government end up wasting a lot of money for art that wasn't even very good?
Ahhh, some people might say that, but wasn't the primary object[objective] of the federal art project to provide jobs?
Hmmm, that's true, I mean it did provide jobs for thousands of unemployed artists.
Right, but then when the United States became involved in the second world war, unemployment was down, and it seemed[seems] that these programs weren't really neccessary[necessary] any longer.
So, moving on. We don't actually see any govern...any real government involvement in the arts again until the early 1960s, when President Canidy[Kennedy:L] and other polititions[politicians] started to push for major funding to support and promote the art[arts].It was felt by a number of polititions[politicians] that...well, that the government had a responsibility to support the art, as sort of...oh, what can we say, the sole[soul], the[or] spirit of the country. The idea was that there be a federal subsity[subsidy 补助金，津贴], financial assistance to artists and artistical[artistic] or cultral institutions, and for just those reasons, in 1965, the National Endoument[Endowment 捐助，奖金]
for the Arts was created.
So it was through the NEA, the Natioal Endoument[Endowment] for the Arts that the arts was developed[would develop],would be promoted throughout the nation. And then individual states throughout the country started to establish their own state art consils[councils] to help support the art[arts]. There was kind of cultral explosion. And by the mid 1970s, by 1974 I think, all 50 states had their own art[arts] agencies, their own state arts concils[councils 晕，两次错的还不一样] that work with the federal government, with coorporations[corporations], artists, performers, you name it.
Did you just say coorporations[corporations]? How are they involved?
Well, you see, corporations aren't always altrulistic[altruistic 得他主义的].They might not support the arts unless, well, unless the government made it attractive for them to do so, by offering corporations tax incentives[刺激，激励] to support the arts. That is by letting corporations pay less in taxes if they were patroits[patrons赞助人] of the arts. Ummm, the Cenidy[Kennedy] Center in Washington DC, you may...maybe you've been there, or Lincon[Lincoln] Center in NY, both of these were built with substantial financial support from corporations. And the Cenidy and Lincon[Kennedy and Lincoln] Centers aren't the only examples, many of your cultral establishments in the United States will have aplaques[a plaque 饰板，匾] somewhere, acknowledgeing[acknowledging] the support, the money they recieve[recieved] from whatever corporation. Yes, Jennet[Janet]?
But Aren't there a lot of people who don't think it's the government's role to support the art[arts]?
Well, as a matter of fact, a lot of polititions[politicians] who did not believe in government support for the arts, they wanted to do a way[away with the agency entirly, for that very reason, to get rid of governmental support, but they only succeeded in taking away about half the annual budget, and as far as the
public goes,well, there are about as many individuals who disagree with the government support as there are those who agree. In fact, with artists in paticular, you have lots of artists who support, and who have benefited from this agency, although it seems that just as many artists oppose the government agency being involved in the arts, for many different reasons. Reasons like they don't want the government to control what they creat. In other words, the arguments both for and againt government's[government] funding of the arts are as many and as vary[varied] as the individual styles of the artists who hold them.

名字是个词儿UID：2707493

12月15日 听写 TPO5 L4


Listen to part of a lecture in a literature class.

Now we can't really talk about fairy tales without first talking aboutfolk tales, because there is a strong connection between these twoJonvus[genres 体裁],these two types of stories. In fact, many fairy tales started out asfolk tales. So, what's a folk tale? How would you charactorize[characterize] them? Jeff?

Well, they are old stories, traditonal stories, they were passed down oraly[orally]within cultures from generation to generation, so they changed a lotover time, I mean every story teller or maybe every town might have hada slightly different virsion[version] of the same folk tale.

That's right, there's local difference, and that's why we say folk tales are communal 共有的. By communal, we mean they reflect the trace[traits 特性] and the concerns of a perticular[particular] community at a perticular[particular] time. So essencially[essentially]the same tale could be told in different communities, with certainaspects of the tale adapted to fit the specific community. Hmmm, notthe plah[plot 故事情节]...the details of what happens in the story would remain constant, that was the thread 线索 that held the tale together. But all the other elements, like the location, or charactors[characters], might be modified for each audiance.

OK, so what about fairy tales? They also are found in most cultures,but how are they different from folk tales? I guess the first questionis, what is a fairy tale? And don't anyone say, "a story with a fairyin it", because we all know that very few fairytales actually havethose tiny migical creatures in them. But what else can we say aboutthem? Mary.

Well, they seem to be a lot[less] realistic than folk tales, like they have something inprobable[improbable] happening, a frog turning into a prince, say. Oh, there's[that's] another common element, rayalty[royalty], a prince or princess, and fairy tales all seem to take place in a location that's nowhere and everywhere at the same time.

What's the line[line-up], how do allthose stories start? "Once upon a time, in a far-away land..." In thecase of folk tales, each story teller would specify a paticular[particular]location and time, though the time and location would differ fordifferent story tellers. With fairy tales, however, the location isgenerally unspecified, no matter who the story tell is. "That land faraway". We'll come back to this point in a few minutes.

I thought that a fairy tale was just a written virsion[version] of an oral folk tale.

Well, not exactly, though that is how many fairy tales developed. For example, in the late 18th century the Green[Grimm] brothers travelled[traveled] throughout what's now Germanyrecording local folk tales. These were eventually published as fairytales, but not before undergoing a process of evolution. Now, a numberof things happen when an oral tale gets written down. First, thelanguage changes, it becomes more formal, more standard. Some mightsay, less colorful. It's like the difference in your language dependingon whether you are talking to someone or writing them a letter. Second,when an orally transported[transmitted] story is written down, and a fartated[an authoritative] virsion[version]with a recognized author is created. The communal aspect gets lost, thetale no longer belongs to the community, it belongs to the world, so to speak. Because of this, elements like place and time can no longer be taler[tailored 使适应特殊需要] to suit a perticular[particular] audiance[audience]. So they become less identifiable, more generalizable to any audiance[audience].

On the other hand, discriptions of charactors[characters] and settings can be developed more completely. In folk tales, charactors[characters]can be identified by name, but you wouldn't know anything more aboutthem. But in fairy tales, people no longer have to remember plahs[plots], they're written down, right? So more energy can be put into other elements of the story, like charactor[character], and setting, so you get more details about the charactors[characters], about where the action takes place, what people's house[houses]were like, whether they are small cabins or grant palaces, and it'sworth investing that energy, because the story, now in book form, isn'tin danger of being lost, those details won't be forgotten. If afolktale isn't repeated by each generation, it may be lost for alltime. But with the[a] fairy tale, it's always there in a book, waiting to be discovered, again and again.

Another interesting difference involves the change in audiance[audience]. Who this story is aluminied[the stories are meant] for? Contray to what many people believe today, folk tales were originaly[originally] intended for adults, not for children. So why is it that fairy tales seem targeted to[toward] children nowadays?

名字是个词儿UID：2707493

TPO 5 Conversation1
Listen to a conversation between a student and a university consolor[counselor] at the universtity counsoling[counseling] center.

S: Hi, thanks for seeing me on such short notic.
C: No problem. How can I help?
S: Well, I think I might have made a mistake comeing to this school.
C: What makes you say that?
S: I'm a little overwhelmed by the size of this place. I come from asmall town, there were only 75 of us in my highschool graduating class.Everyone knew everyone. We all grew up together.
C: So...it's a bit of a culture shock for you? Being one of 15,000 students on a big campus in a unfamiliar city?
S: that's an undersatement. I just can't get comfortable in class or in the dorms, you know, socialy[socially].
C: Well, let's start with the acadamics[academics]. Tell me about your classes.
S: I'm taking mostly introductary[introductory] courses, and some are taught in these huge lecture halls.
C: And you're having trouble keeping pace with the material?
S: No. In fact I got an A on my first economics paper. It's just that it's so impersonal. I'm not used to it.
C: Are all your classes impersonal?
S: No, it's just that...For example, in socieology[sociology] testoday[yestoday],the professor asked a question, so I raised my hand, several of usraised our hands, and I kept my hand up because I did the reading andknew the answer. But the professor just answered his own question andcontinued with the lecture.
C: Well, in a big room it's possible he didn't notic[notice] you. Maybe he was trying[starting] to save time. In either case I wouldn't take it personally.
S: I suppose, but I just don't know how to...you know, distinguish myself.
C: Why not stop by his office during office hours?
S: That wouldn't seem right, you know, taking time from other students who need help.
C: Don't say that. That's what office hours are for. There's no reasonyou couldn't pop in to say "Hi" to make yourself known, if you'relearning a lot in class, let the professor know. Wouldn't youappreciate positive feed back if you were a prefessor?
S: You're right, that's a good idea.
C: OK, let's turn to your social life. How is going in the dorms?
S: I don't have much in common with my roommate or anyone else I've met so far. Everyone is into sports and I'm more artsy, you know, into the music, I play the chelo[cello].
C: Haaa, have you been playing long?
S: Since age ten. It's a big part of my life. At home I was the youngest member of my[our] community orchistra[orchestra].
C: You're not going to believe this. There is a string quantate[quartet] on campus, all students, and it so happened that the cellist graduated last year, they've been searching high and low for a replacement, someone with experiance[experience], would you be interested in auditioning?
S: Absolutely. I wanted to get my acadamic[academic]work settled before pursuing my music here, but I think this would be agood thing for me, I guess if I really wanna fit in here, I should findpeople who love music as much as I do. Thank You.
C: My plesure.

难道这篇我跟读过，貌似很熟的样子，不记得了。很多都是错在拼写和打字错误。刚被童话那篇虐了之后，再做conversation真是很欢乐啊很欢乐～～

名字是个词儿UID：2707493

TPO 5-2
Listen to part of a lecture in a sosiology[sociology] class.

Have you ever heard the one about alegators[alligators] living in NY sewers 下水道?The story goes like this: A family went on vacation in Florida andbought a couple of baby alligators as presents for their children, thenreturned from vacation to NY, bringing the alligators home with them aspets. But the alligators would escape, and find their way into the NYsewer system where they started reproducing, grew to huge sizes, andnow strike fear into sewer workers. Have you heard this story? Well, itisn't true, and it never happened, but despite that, the story's beenaround since the 1930s. Or how about the song Twinkle Twinkle LittleStar? You know, Twinkle twinkle little star, how I wonder what you are.Well, we've all heard this song. Where am I going with this？ Well, boththe song and the story are examples of memes, and that's what we'lltalk about, the theory of memes.

A meme is defined as a piece of information copied from person toperson. By this definition, most of what you know, ideas, skills,stories, songs, are memes. All the words you know, all the scientifictheories you've learnt, the rules your parents taught you to observe,all are memes, that have been passed on from person to person.

So what, you may say, passing on ideas from one person to another isnothing new. Well, the whole point of defining this familiar process astransmition[transmission]of memes is so that we can explore it analogy with the transmission ofgenes. As you know, all living organisms pass on biological informationthrough the genes. What's a gene? Gene is a piece of biologicalinformation that gets copied or replicated 复制, and copy or replica is passed on to the new generation. So genes are defined as replicators.

Genes are replicators that pass on information about properties andcharacristics of organisms. By analogy, memes also get replicated, andin the process pass on cultural information from person to person,generation to generation. So memes are also replicators. To be asuccessful replicator, there are three key charactoristics[characteristics]. Longevity, fucontity[fecundity 多产], and fidelity. Let's take a closer look.

First, longevity. A replicator must exist long enough to be able to getcopied and transfer information. Clearly the longer a replicatorsurvives, the better its chance is of getting its message copied andpassed on. So longevity is a key characteristic of a replicator. If youtake the alligator story, it can exist for a long time in individualmemory, let say, my memory. I can tell you the story now or ten yearsfrom now. The same with the twinkle twinkle song, so these memes havelongevity, because they are memorable, for one reason or another.

Next, fecundity. Fecundity is the ability to reproduce in largenumbers. For example, the common house fly reproduces by laying severalthousand eggs, so each fly gene gets copied thousands of times. Memes,well, they can be reproduced by large numbers as well. How many timeshave you sung the twinkle twinkle song to someone? Each time youreplicted the song, and maybe passed along it to someone who didn'tknow it yet, a small child maybe.

Finally, fidelity. Fidelity means acuracy[accuracy] of the copying process. We know fidelity as an essencial[essential] principle of genetic transmission. If a copy of a gene is of big difference[a bit different]from the original, that's called a genetic mutation, and mutations areusually bad news. An organism often can not survive with a mutatedgene, and so a gene usually can not be passed on, unless it's an exactcopy. For memes, however, fidelity is not always so important. Forexample, if you tell someone the alligator story I told you today, itprobably won't be word for word exactly as I said it. Still it will bebasically the same story. And the person who hear[hears] the story will be able to pass it along. Other memes are replicated for[with] higher fidelity, though. Like the twinkle twinkle song, it has[had]the exact same words twenty years ago as it does now. Well, that'sbecause we see songs as something that has to be performed accuratelyeach time. If you change a word, the others will usually bring you inline, they'll say, "That's not how you sing it", right?

So, you could see how looking at pieces of cultural information asreplicators, as memes, and analyzing them in terms of longevity,fecundity and fidelity, we can gain some insight about how they spread,persist, or change.

名字是个词儿UID：2707493

TPO5 Lecture2

太狗血了这篇，活活用了我一个多小时。几乎没有一句是没问题的。。。。隔行如隔山，不服不行啊～～

Listen to part of a lecture in an astronamy class.

Last week we covered some arguments against going back to the moon. But there are compelling 令人信服的 reasons in favor of another moon landing, too, not the least of which is trying to pinpoint the moon's age. We could do this in theoy by studying an enormous 巨大的 impact creator[crater 坑], known as the South Pole-Aitken Basin. Umm, it's located in the moon's South Poler[Polar 地极]region, but since it's on the far side of the moon, it can only be seenfrom space. Here is an image of...we'll call it the SPA basin. Thiscolor coded[color-coated] image of the SPAbasin...those aren't its actual colors obviously, this image is fromthe mid ninties, from an American space craft called Climentine[Clementine]. Unlike earlier lunar 月球的 missions, Clementine didn't orbit only around the moon's equatar[equator 赤道], it's orbits in able[enable it] to do sent[send] back data to create this topygraphical[topographical 地形学的] map of..of...well, the grand[gray and] white area towards the bottom is the south pole, the purples and blues in the middle corespond[correspond] to low elevations 高度, the SPA basin itself. The oranges and reds around it are higher elevations. The basin measures in[an] amazing 2500 kms in diamitor. And it's average deapth[depth] is 12 kms. That makes it the biggest known crater in our solar system, and it may well be the oldest.

You know, vanitory[planetary] researchers love studying deep craters, to learn about the impacts created them, how they redistributed pieces of the[a] planet's crust. And in this case, we especially want to know if any of the metal[mantle 地幔]-the layer beneath the crust, was exposed by the impact. Not everyone agrees, but some experts are convinced that whatever created the SPA basin did penitrate[penetrate]the moon's mantle. And we need to find out because much more than thecrust, the mantle contains information about a planet's or a moon's total composition 构成. And that's key to understanding plant information[formation]. Dian?

The only way to know the basin's age is to study the[its] rocks directly?

Well, from radio survey data, we know that the basin contains lots ofsmaller craters, so it must be really old, about 4 billion years, give a[or] take 左右 of a few hundred million years, but that's not very precise. If we have[had] rock samples to study, we[we'd]know whether these small craters were formed by impacts during thefinal stages of planetary formation, or if they are resulted from latermetiar [meteor 流星] shellers[showers].

But if we know around how old the basin is, I'm not sure that's reason enough to go to the moon again.

No, but such crude estiments[estimates] 粗略估计...We can do better than that. Besides, there is other things worthinvestigating, like "Is there water ice on the moon?"  Clementine'sdata indicated that the wall of the south polar crater was morereflective than expected. So some experts think there's probably icethere. Also, data from a later mission indicates significantconcentrations of hydragion[hydrogen 氢], and by infrence[inference 推论] water less than a meter undergroud at both poles.

Well if there is water, how did it get there? underground rivers?

We think meteors that crash[crashed] into the moon or tails of passing comits[comets 彗星] may have introduced water moloquls[molecules 分子]. Any water molecules have found their wage of[way to] the floors of craters near the moon's poles, that water would be propatrually[perpetually 持久的]frozen, because the floors of these craters are always in shadow.Furthermore, if the water ice was mixed in with rock and dust, it'd beprotected from vaporation[evaporation 蒸发].

So are you saying there might be permitive[primitive 原始的] life on the moon?

Ahh, that's not my point at all. OK, say there is water ice on the moon, that would be a very pragical[practical] value for a fufure moon base forestranons[for astronauts 宇航员], water ice could be melted and purefied[purified] for drinking. It could also be broken down into its component parts, Oxygen and Hydrogen. Oxygen could be used to breath[breathe],and Hydrogen could be turned into fuel, rocket fuel. So water ice couldenable the creation of a self-sustaining moon base someday. A miningcamp perhaps, or a departure point for a further space exploration.

But holding tuns of equipments to the moon to make fuel and build a life suport[support] system for a moon base, wouldn't that be too expensive?

Permanent base may be a waste off[maybe a way's off 有很大距离], but we shouldn't have to wait for that. The dust at the bottom of the SPA basin really does have a fasinating[fascinating] story to tell. I wouldn't give for 牺牲，交换 a few samples of it.

名字是个词儿UID：2707493

TPO 7-1

Listen to a conversation between a student and a professor.

S: Hi, professor Mason, do you have a minute?
P: Yes, of course Eric, I think there was something I wanted to talk to you about, too.
S: Probably my late essay.
P: Aha, that must've been it. I thought maybe I'd lost it.
S: No, I'm sorry, actually it was my computer that lost it, the first draft of it. And...well, anyway, I finally put it in your mail box yesterday.
P: Oh, and I havn't checked the mail box yet today. Well, I'm glad it's there. I'll read it this weekend.
S: Well, sorry again. Say, I can send it to you by email, too, if you like.
P: Great, I'll be interested to see how it all came out.
S: Right, now I just overheard some graduate students talking, something about a party for Dean Adams (2)?
P: Retirement party, yes, all students are invited. Wasn't there a notice on the Anthropology 人类学 department's bulliton board?
S: Aha, I don't know, but I wanted to offer to help out with it (1), you know, whatever you need. Dean Adams, well I took a few anthropology classes with her, and they were great, inspiring, I honestly[and well I just] want to pich[pitch] in 协力，做出贡献.
P: Oh, that's very thoughtful of you, Eric, but it wil be pretty low key, nothing falshy[flashy],(3) that's not her style.
S: So there's nothing?
P: No, we'll have coffee and cookies, maybe a cake, but actually a couple of the admitrative[administrative] assistants are working on that, you could ask them, but I think they've got it covered (3).
S: OK.
P: Actually, oh, no, never mind.
S: What is it?
P: Well, it's nothing to do with the party, and I'm sure there are more exciting ways you could spend your time, but we do need some help with something. We are compiling a database of articles the antropology faculty has published, there's not much glory in it, but we are looking for someone with some knowledge of anthropology who can enter the articles. I hesitate to mention it, but I don't suppose this is something you would...(5)
S: No, that sounds kind of cool, I'd like to see what they are writing about.
P: Wonderful. And there are also some unpublished studies. Did you know Dean Adams did a lot of field research in Indonisia[Indonesia]? Most of it hasn't been published yet.
S: No, like what?
P: Well, she is really versital[versatile 多才多艺的]. She just spent several months studying social interactions in Indonesia, and she's been influencial in anthropology[anthnology ?????]. Oh, and she has also done work in south america, that's closer to biology, especially with speciation 物种形成.(4)
S: Aha, not to seem uninformed. ?????
P: Well, how species form. You know, how two distinct species form form one, like when populations of the same species are isolated from each other, and then develop in two different directions, and end up this[with] two distinct species.
S: Interesting.
P：Yes. And while she was there in south america, she collected a lot of linguistic information, and songs, really fasinating[fascinating 有强大吸引力的].
S：Well, I hate to see her leave.
P:  Don't worry, she'll still be around. She's got lots of projects that she's still in the middle of.

总体来讲这篇不难，但species那部分没听太懂，关键是学科的名称很多词不懂。导致错了一道题。词汇的问题。五个红色问号表示那里不明白啥意思。有些部分，第一次听不太清楚，尤其是做笔记会耽误听力。听写的时候，多听几遍就明白了。
粗体标号为题目定位。

4题错，本来那一段就没听太懂，看笔记，只记得是说起要学生帮忙后，说啊说就讲到了species。至于列举几点，来说明Dean很有才，完全没听出来。逻辑关系没搞通。