进军美利坚iBT特训营~~100+听写专用贴

i2000sUID: 2108019

TPO 5-3 lecture
1h 18m
--------------------------
7:10-7:17-7:24-7:29
d(b) a(d) b b(c) 12 b(d)
-8:02, 15:04-15:30
Last week, we covered some arguments against going back to the moon. But there're compelling reasons in favor of another moon landing, too. Uh, not the least of which is trying to pinpoint the moon's age. We could do this in theory by studying an enormous impact crater known as the South Pole-Aitken Basin. Uh, it's located in the moon's South Polar Region. But since it’s on the far side of the moon, it can only be seen from the space. Here's an image of… we’ll call it the SPA basin.

This color coated image of SPA basin--those aren't its actual color obviously--uh, this image is from the middle 90s, from the American Spacecraft called Clementin. Um… Unlike earlier lunar missions, Clementin didn't orbit only around the moon's equator. Its orbits enable it to send back data to create this topographical map of, umm, well, the grey and white area toward the bottom of the South Pole. The purples and blues, in the middle correspond to low elevations--the SPA basin itself. Uh, the oranges and reds around it are higher elevations.
不知咋滴 不在状态了
今天就做了这一点，效率极低啊 我一边抱头去了 还有一周啊

lingyeminUID: 2538874

Listen to part of lecture in the literature class

Professor: All right, so letme close today's class with some thoughts tokeep in your mind while you are doing tonight’s assignment, you willbe reading one of Ralph Waldo Emerson’sbest-known essays’ “ self-Reliance” essay andcomparing it with hispoems and other works , I think this essay has the potential to be quite meaningful for all of you. As the youngpeople who probably wonder about things like truth and where yourlives are going, all sorts of (orthoughts) profound questions. Knowing somethingabout Emerson’s philosophies will help you, whenyou read “Self-Reliance” and basically, one of the main beliefs thathe had was about truth, not that it’s somethingthat we can be taught. Emerson says it’s found within ourselves,so this truth, the idea that it’s each of us, isone of the first point that you’ll see the Emerson making in this essay, it's a bitabstract but he's very into, ah... into each person believing him or her ownthought, believing in yourself, the thought or convictionthat's true for you, but actually he ties that in witha sort of universal truth, something that everyone knows, but doesn't realizethey know, most of us aren’t in touch withourselves in a way. So we just aren’t capable ofrecognizing profound the truth. It takes geniuses, people like, I can say Shakespeare,who you’re unique because they have a glimpse at this truth, this universaltruth, they pay attentions to it and express it and don’tdismiss it like most people do.
So Emerson is really into each individual believing in and trusting him or herself. You’ll see he writes about, well, the first conformity,he criticizes that people of his time for abandoning their own minds and their own wills for thesake of conformity and consistency, they try to fit in with the rest of the world, even though it’s at odds with theirbeliefs and their identities. Thereforeit's best to be a non- conformist, to do your own thing, not worry about what otherpeople think. That's an important point, he really drives argument home throughout the essay.
When you're reading I want you to think about that and why that kind of thought would be relevant to the reader of his time, remember this is 1838, “Self-Reliance” was a novel idea at that time, and the United State’s citizenswere less secure about themselves, asindividuals and as Americans, the country as a whole was tryingto define itself. Emerson wanted to give people something to really thinkabout, help them to find their own way and what itmeant to be who they were. So that's something that I think isdefinitely as relevant today as it was then, probably, um…especially, among
young adults, likeyourself, you know, uh, college being a time tosort of really think about who you are and where you are going.

Now we already saidthat Emerson really emphasizes and non-conformity,right?
as a wayto sort of not lose your own self and identity in the world, to haveyour own truth and not be afraid to listen to it. Well, he takes this a stepfurther, not conforming also means, not conforming with yourself, or your past,what does that mean? Well, if you’ve always been acertain way or done a certain thing, but it's not working for you any moreor you’re not content. Emerson says that it’d be foolishto be consistent even with our past. Focus onthe future, he says, that is what matters more, inconsistencyis good.

He talks about a ship’s voyage, and this is the one is the mostfamous bits of the essay. How the best voyage is madeup of zigzag lines. Upclose, it seems a little all over the place, but from the farther (truepass) away, and in the end it justifies all theturns along the way. So don't worry you're notsure where you’re headed or what your long-term goalsare. Stay true to yourself and it’ll makesense in the end. I mean, I can attest to that,before I was a literature professor, I was an accountant. Before that, I was anewspaper reporter, my life is taking somepretty interesting turns and here I am, very happy with my experiences and where you’ve brought me, if you rely on yourself andtrust talents, you own interest, don't worry, you path will make sense in theend.

请大家帮我分析分析，越是小的单词，连词我越是听不出来，给我点意见，红色和黑色都平分秋色了，足以见得听力做题错误率很好，找不到一个重点去记忆和做笔记！

DarkenUID: 2286020

12.12 fatestaymind 作业
lecture --- geology class


[>d]   
[0:01.8] listen the part of lecture in the geology class[0:07.6] now we'll got a few minutes before we leave for today. so I'll just touch on the interesting subject that I think it'll make something important at the point[0:14.7] we've been covering rocks, and different types of rocks for last several weeks[0:19.0] but next week we're going to something a big different.[0:21.9] and get started,I thought I'd mention that something shows how.... some geologist[0:26.8] you need to know about more than just rocks and the structures of the solid matter[0:31.1] moving rocks, you may have head about them.[0:36.2] it's a ,, of mystery,[0:37.6] death valley is this desert plain[0:40.0] a dry lake bend in California surrounded by mountains and on the desert floor of the huge rocks[0:45.8] some of them hundreds of pounds  and they move[0:49.1] they leave long trails behind them, tracts might say that them move from one point to another [0:54.5] but no body is able to figure out how they're moving, because no one have ever seen that happen[1:00.2] now there are a lot of serials, but all we know for sure is that people aren't moving those rocks [1:05.8] there are no footprints, no tire tracts, and no heavy machinary,like a bodozer [1:10.7] Um... nothing was ever brought in to move this heavy rocks[1:17.1] so what's going on?[1:18.8] theory number 1,wind[1:21.6] some researchers think powerful windstorms might move those rocks[1:26.6] most of rocks move to the same direction in the dominant of wind pattern[1:30.5] from southwest to the southeast[1:32.8] but some, and this is interesting, move straight west[1:36.4] well some zigzag, or even moving large circles[1:40.1] Umm how can that be?[1:42.7] how about wind combined with rain?[1:46.1] the ground of this desert is made of clay[1:48.5] it's desert, so it's dry[1:50.8] but when there is an occasional rain, the clay ground becomes very extremely slippery [1:55.4] it's hard for anyone to stand on, walk on.[1:58.3] some scientists theorize that perhaps when the ground is a slippery [2:01.8] the high winds can then move the rocks[2:04.9] there is a problem with this theory, one team of scientist flooded  the area of the desert with water[2:10.6] then try to establish how much the wind force would be necessary to move the rocks[2:15.4] and get this[2:16.8] you need winds that at least 500 miles an hour to move just smallest rocks[2:21.8] and wind that strong have never been recorded ever[2:25.7] not on this planet[2:27.4] so I think it's safe to say that that issue's been settled[2:31.3] here are another possibility[2:33.1] ice[2:34.6] it's possible that rain on the desert floor could turn to thin sheets of ice when temperature drop at night [2:41.4] so if rocks of..become better than ice[2:45.8] ok could piece of ice with rocks be pushed by the wind?[2:50.9] but there is a problem with this theory too[2:54.1] rocks trapped in the ice together would have move together when the ice moved[2:59.5] but that doesn't always happen.[3:01.3] the rocks seem to take separate roots[3:04.3] there are a few other theories[3:06.0] maybe the ground vibrates,or maybe the ground itself shifting, tilting[3:11.4] may be the rocks are moved by the magnetic force[3:14.6]  all the ideas have been limited the possibilities, there is just no evidence.[3:20.5] I'd better say itself, well[3:22.6] why don't scientist just set up video cameras to record what actually happens[3:27.6] since it's, this is protected wilder area, so by law that type of research is allowed[3:33.5] are powerful windstorms, sensitive camera equipment would be destroyed[3:38.5] so why can't the researcher just leave them for a while until they observe  rocks' moving[3:43.6] same reason[3:45.0] so where're we now?[3:47.0] well  right know, we still don't have the answers[3:49.8] so all this leads back to my main point[3:52.7] you need to know about more than just rocks and geologists[3:56.6] the researcher's studying the moving rocks[3:59.1] well they combined their knowledge of rocks with knowledge of wind ice and such[4:04.3] not successfully ,not yet but you know.[4:07.1] they wouldn't even be able to  get started without..err.[4:10.8] earth science understanding[4:12.6] knowledge about wind storms , you know, mediology[4:16.7] you need to understand physics[4:18.9] so for several weeks like I say we'll address geology form a wider perspective[4:24.1] I guess that's all for today ,see you next week.[4:26.2]
[/d]

lijr03UID: 2522963

Literature class

All right, so let me quote today’s class to give you are you doing last assignment. You would be reading Emerson’s best known essays so free lines and comparing it with other works. I think this essay has potentially quite meaningful for all of you as young people who power wonder things like truth and where your minds are going. All sources of profound questions. Knowing something  for us helps you when you read so free lines and basically one of the main believes study hand was about truth. Not that something we can be taught Emerson says its found are ourselves. So this is truth. The idea that each one of us is one of the first points we can see Emerson mading in this essay. It is a bit abstract. But it is very into each person believing his or her own thought. Believing in yourself, the thought conviction that truth for you. But actually, it ties that in universal truth. Something that everyone knows but does not realize that they know. Most of us in touch ourselves in a way. So we just are capable in fracgnize in profound truth. It takes genius. People are excsay shakespare who you need because when they have glimpse this truth, this universal truth, they pay attention to and expressive and do its mess like most people do. So Emerson is really into each individual believing in and trust in him or herself. You see that he writes about, well, conformity and consistency. They try to fit them the rest of world even though at all with believes there identities. Therefore it is best to be know to do your own things not worry about what other people think. That an important point. It really derives us home when writing the essay. When you reading, I want you to think about that why that kind of thought would be relevant to the reader’s his time. Remember this was 1838, self relins was a novel idea at that time and united stated citizens were less care about themselves as individuals and as Americans. The country is whole to trying to find themselves. Emerson while to give something people to really think about how they find their own way and what might to be who they were. So that is something that I think that is definitely is relevant today is was that probably especially among as yourselves. You know colleges being a time to a sort of who you are where you are going. Now we already say that Emerson really amersize not conformity, right? As way to sort of not move on yourself indentity in the world? To have a truth not to a fraid to listen to it. He take that step further. Not conformal also means not conforming with yourself or your past. What does that mean? Well, if you always being a certain way or a certain thing, but it is not working for you anymore or you are not content. Emerson says that it is before they can consistent even if our past. Focus on the future he says, that was matters more. Inconsistency is good. He talks about the shots for each and this was one of most famous bits in the essay. How the best made for the just made up for lines. Of course, it seems that a little all of the plays. But from father away the truth path shows end and end that just find the turns on their own way. So don’t worry if you are not sure where you had it or what you own term goes on. Stay true to. I mean I can test that. Before I was a literature professor I was a count. Before that I was a newspaper reporter. My life has taken some previous interesting terms and here I am very interesting my experience and very brout me. If you rely in yourself and trust your talent. Don’t worry.. Your path makes sense in the end.

DarkenUID: 2286020

12.13-lecture6 ---by fatestaymind
  
[>d]   
[0:02.3] listen to part of a lecture in a United government class [0:09.1] ok,last time we're talking about the government supports for the arts, who can sum up some of them main points[0:17.1] frank?[0:18.3] Well I guess there wasn't really any  .. you know, official government supports until the 20th century [0:25.2] but first attempt of the United States government made to    you know, ,  to support arts was the federal art project[0:31.9] right, so what can you say about the project[0:34.5] Uh.. it was started during the depression um. in the 1930s,to employ a lot of art workers[0:41.1] so was it successful[0:43.7] Jana, what you say?[0:47.6] Yeah, sure,it was successful , I mean, for one thing, the project's established on a lot of[0:53.6] like community art centers and[0:56.7] galleries, in place like rural areas where people had really hadax to the arts, right[1:02.5] yeah, but didn't the government end up wasting a lot of money for arts that wasn't even good[1:07.5] err.. some people might say that.but.[1:10.8] wasn't primary project of the federal art project to provide jobs[1:15.0] that's true,I mean, it deprived jobs for thousands of unemployed arts[1:19.5] right, but then when the United states became involved in WWII[1:24.4] Unemployment was down,and it seems these projects weren't  really necessary any longer[1:31.5] so moving on[1:33.2] we don't actually see any govern[1:35.5] ...any real government involvement in the arts again until err...the early 1960s[1:42.3] when president Kenndy and other politicians [1:45.7] start to push from major funding to support and promote the arts[1:49.9] it was helped by  a number of politicians that[1:53.2] well that government had the responsibility to support the art and [1:59.1] what can we say the solar spirit of the country [2:03.6] the idea was there's a subsidy[2:06.7] um.. financial assitance to artists, and artistic or cultural institutions [2:13.6]  and for just those reasons,1965,the National Endowment for the art was created[2:22.5] so it was though the NEA, the National Endowment of Arts, the arts were developed[2:28.8] would be promoted throughout the nation[2:31.9] then individual states throughout the country start to established  their own state art councils to support the arts[2:39.1] there was a kind of culture explosion[2:42.5] and by the middle 1970s [2:45.0] by 1975, I think, all fifty states has their own state art agency [2:49.6] their own state art councils and that worked with federal,with cooperations,artists, performers, you name them[2:59.5] did you just say cooperations?[3:01.6] how were they involved[3:03.2] well , you see, cooperation's art were always ultralitic.[3:09.3] well unless the government make the tract for them to do [3:13.1] so by offering cooperations taxes 刺激 to support the art[3:16.9] that is by letting cooperations pay less taxes if they're patroning the art[3:23.4] em.. the Kenndy cenar and Washingdon DC,you may ..um.. maybe you've been there[3:29.3] or Lincon cenar in NY[3:31.3] both of these were built with substantial financial support from cooperations.[3:35.8] and Kenndy and Lincon senars are only the examples.[3:38.8] many of your culture establishment since the United States will have a place somewhere.[3:43.6] and knowledge in support, the money, they receive from what ever cooperation[3:48.8] yes jana[3:50.7] [3:55.4] well, as a matter of fact , a lot of politicians who didn't believe in the government support of art[4:01.4] they what to do away with the agency entirely ,for that reason[4:05.5] to get rid of governmental support[4:08.1] but they only succeed in taking away about half the annual budget.[4:13.0]   and as far as the public goes[4:15.4] well there are about many  individuals who disagree with the government support, as well there're those who agree[4:22.7] in fact with artists in particular[4:25.3] you have lots of artists to support,and  who have benefited from this agency[4:30.7] although it seems just as many artist supposing the government agency being involved the arts for many different reasons[4:38.1] reason like they don't want the government to control what they create[4:42.8] in another words,the argument both for and against government  funding of the arts are as many  and .[4:49.4] as the very does the individuals styles of artist hold them[4:53.1]
[/d]

lijr03UID: 2522963

Student and professor.

Hey, Jan, you look like a little hurry.

Yes, things are a little crazy.

What things are going on?

Oh, it is nothing. Well, a class I get ok. It is having trouble with my group project.

Ah, yes. Do next week? What is your group doing now?

It is about united states print proty cysen. We are looking at impact recyingcase practically rights.

Ok, is it going well?

No, not really. I am worry about the other two people in my group. They are just sitting back not doing that fair share of work and. I am doing everything for this project.

Ah, the group of free writer problem.

Free writer?

How it describe the problem that the situation when people in the group sit together benefit being in the group without contributing to the work. Anyway, what is exactly in English you say that sit back? I mean, they being far away from the project.

Yes, but I feel that I do 90% of the work. I hate the sound for negative feel. But honestly they take the credit they should be taking for. Like last week we came to the library. We divide the project into three parts and each of us is supposed to find sources in the library of our parts.. I find really good material for my part. But when I going back to our table, they are going off and just talking.

You know you shouldn’t do that.

I know. But I didn’t want to rest the project.

I know. Do them does not familiar with work habbits?

I know. Me too. And that is why this is really surprise me.

Does your group like the topic?

I think we already focus on cases that deal with.



You choices topics?

Yes, I thought that is good for us. All of us to try something new.

Maybe that’s the problem. Maybe to Different topic.

But It is do next week.

I think to talk about the topic with your group member.

I will think about it. Go around. See you in class.

lmsleeperUID: 2559158

TPO4-L4
Government support for the arts
Ok, last time we were talking about government support for the arts. Who can sum up the main points?
I guess there wasn’t any efficient government support for the arts until the 20 century. But the first attempt Unite State made to support the arts was the federal art project.
So what can you say about the project?
It was started during the depression, in the 1930s to employee out-of-work artists.
So, was it successful? Janet, what will you say?
Yeah, sure, it was successful. I mean for one thing, the project established a lot of like community art centers and galleries in places 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 they wasn’t even good?
Some people might say that. But, wasn’t the primary objective 目标 of the Federal art project to provide jobs?
That’s true. They did provide jobs for thousands of unemployed artists


Right. But when the unite states involved in the Second World War, unemployment was down, and it seemed these programs wasn’t really necessary any longer. So, moving on. We don’t actually see any real government involvement in the arts was gone(again) until the early 1960s. when president Kennedy and other politicians started to push for major funding 资金 to support and promote the arts. It was felt by a number of politicians that the government had the responsibility to support the arts as sort of solar (soul or) spirit of the country. The idea was that there will be a federal subsidy ['sʌbsidi; 补助金，津贴 , financial assistance to artists and artistic艺术的 or culture institutions. And for just those reasons, in 1965, the national endowment捐助 for the arts was created. So it was through the NEA, the national endowment for the arts, that the arts were developed would be promoted throughout 遍及the nation. And then individual states throughout the country started to established their own state arts councils ['kaunsil委员会 to help support the arts. There was a kind of cultural explosion. And by the middle 1970s, by 1975 I think, all fifty states had their own agency. There were own state arts councils that worked with the federal government with corporations, artists, performers, you name it.
Did you just say corporations? How were they involved?
Oh you see, corporations aren’t always altruistic  [ˌæltru'istik]利他主义的. They might not support the arts unless the government made it attractive for them to do so, by offering corporation tax incentives刺激，激励 to support the art. That is by letting corporation to pay less in taxes if they were patrons/ ˈpeɪtrən 资助人of the arts. The Kennedy center in Washington DC, maybe you’ve been there, or Lincoln center in New York, both of them were built with substantial / səbˈstænʃl;实体的，大量的 financial support from corporation. And the Kennedy and Lincoln centers aren’t the only examples. Many of your cultural establishment in United States all have a plaque plæk; 饰板，斑somewhere acknowledging 承认，致谢their support, their money, they received from whatever corporations. Yes, Janet
But aren’t there a lot of people who don’t think it’s the government’s role to support the arts?
Well as a matter of fact事实上, a lot of politicians who did not believe in government support for the arts, they wanted to do away with废除，弄死 the agency entirely, for that very reason, to get rid of governmental support. But they only succeeded in taking away about half the annual  ['ænjuəl]budget [annul [ə'nʌl]废除] And as far as 就…而言，到…程度the public goes, there are about as many individuals who disagree with the government support as there are whose who agree. In fact, with artists in particular, you have lots of artists to support it and who had been benefited from this agency, although it seems that just as many artists suppose the government agency been involved in the arts, for many different reasons, reasons like they don’t want the government to control what they create, in other words, the arguments both for and against the government funding the arts are as many and as varied as individual styles of the artist who hold them

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 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 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] somewhere, acknowledgeing[acknowledging] the support, the money they recieve[recieved] from whatever corporation. Yes, Jennet[Janet]?
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.

nicole-xihaUID: 2239935

补昨天听写 Lecture 4
感觉自己插入语、复数部分和否定部分听的不好

Last time we were talking about government supports for the arts, who can sum up some of the main points? Frank? I guess there were not (wasn't) really (any)...you know... official (government)support for the arts until 20 (twentieth) centrury. but the first attempt for(没有这个词） the United States government made to ,you know, supported to（to support) the arts was the federal art project.  So, what can you say about the project?It was started during the depression in the 1930s to employ( out-of-work) artist. So, was it successful? Janna, what  did(do) you say？yeah,sure,it was useful, i mean for one thing, the project established a lots of communities, art centers(community art centers),galleries in place of(and place like) rural areas, (where) people (hadn't really) have access to the arts. Right(yeah, but )Didn't the government realize that it's (end up wasting)a waste  of money on(for) arts what is not really(that was not even) very good? Some people might say that, but wasn't the primary (objectvie) of the federal art project to provide jobs? That's true,i mean  it did provide jobs for thousands of umemployed artist. But when united states get (became) involved in the second world war, the employment(unemployment) was done(down) ,and it seems that (these）programs was(were) not necessary any longer. So, moving on. we don't actually say any govern- government involve(involvement in) the arts again until the early 1960s the president Kenedey and other politicians started to push (for)the major funding just for the motiart(to support and promote the arts这句不知道怎么听的). It was failed(felt) by a number of politicians, well ,the government have the responsibility to support the arts a(as) sort of what can we say--- the soul (or) spirit of the country.
the idea of federal subsidy(the idea was that there be a federal subsidy) financial the assistence to artistical(artists and artistic)cultural institutions and for just little(those) reasons ,in 1965 the national endowment for the arts was created. so it was through the  (NEA)     the national endowment for the arts  the arts would develop and (would be) promoted through the  (naiton)   . (and then) the individual states through the country started to establish their own stores(state art councils) to help support the arts. There was a kind of (cultural) explosion and by the mid of the 1970s, by 1974 ,i think, all 50 states had its own art agencies. Their own state arts councils that work with the federal government, with corperations ,artist s perfomence(perfomers) ,you name  it. Did you just say coorperations? how are they involved? Well, you must know ,corperations are(aren't) always altruistic. They might not support the arts unless the government made it attractive for them to do so by offering the corperation tax (incentives) to support the arts, by letting coorperations pay less in taxes, and they will pay trings for the arts.(and if they were patrons of the arts) The kenedey center, in washington DC, you may be have been there all Lincoln center in NY, both of these was build with the substantial financial support from the corperations.And kinedey and the lincoln center are(aren't) the only emamples. Many of the cultual establishments in the united states will have a   (plaque)       some where acknowledgeing  the support the money, they illw (received from)     whatever cooperation. YES, JANNA, there were(aren't there) some(a lot of) people don't believe(think)  the government real(role） support for the arts. yes ,it's a matter of facts, there are a lot of politicians who didnot believe  inthat the government support for the arts, they want to do away with the agency entirely for that very reason to get rid of governmental support,but they only succeeded in can take(taking) away half of the(annual) budget and as far as the publicos(goes), well ,there are about many of the individuals who disagree with the government support as those they are agree(there are those who agree), in fact, with arts sup(artist in particular)     you have lots of artists  (who) support or have benefited from the agency,just as many of the people suppose the reasons of the government support for the arts, they don't want the government to control their create. in other words, the argument  both for and against the government funding of the arts are as many and it's very end of(as varied as the )individual style of the artists  who hold them

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TPO 5-3 lecture
1h 18m+2h 32m=3h 50m
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7:10-7:17-7:24-7:29
d(b) a(d) b b(c) 12 b(d)
-8:02, 15:04-15:30
Last week, we covered some arguments against going back to the moon. But there're compelling reasons in favor of another moon landing, too. Uh, not the least of which is trying to pinpoint the moon's age. We could do this in theory by studying an enormous impact crater known as the South Pole-Aitken Basin. Uh, it's located in the moon's South Polar Region. But since it’s on the far side of the moon, it can only be seen from the space. Here's an image of… we’ll call it the SPA basin.

This color coated image of SPA basin--those aren't its actual color obviously--uh, this image is from the middle 90s, from the American Spacecraft called Clementin. Um… Unlike earlier lunar missions, Clementin didn't orbit only around the moon's equator. Its orbits enable it to send back data to create this topographical map of, umm, well, the grey and white area toward the bottom of the South Pole. The purples and blues, in the middle correspond to low elevations--the SPA basin itself. Uh, the oranges and reds around it are higher elevations.

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The basin measures an amazing two thousand five hundred kilometers in diameter and its average depth in twelve kilometers. That makes it the biggest known crater in our solar system, and may well be the oldest.

You know, planetary researchers love studying deep craters, so to learn about the impacts that created them, how they redistributed pieces of planet’s crust. And in this case we especially want to know if any of the mantle, 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 penetrate the moon's mantle. And we need to find it out, because much more than the crust, the mantle contains information about the planet's or moon's total composition. And that's key to understand the planet's formation. Uh, Dian?

So, the only way to know the basin's age is to study the rocks directly?

Well, from radio survey data, we know that the basin contains lots of smaller craters. So it must be really old, about 4 billion years, give or take a few hundred million years. But that's not very precise. If we have rock samples to study, we'll know whether the small craters were formed by impacts during the final stages of planetary formation or if they resulted from later meteor 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 estimates, um… we can do better than that. Besides, there're other things worth investigating. Like, is there water ice on the moon? Clementine's data indicated the...the wall of the south polar crater was more reflective than expected, so some experts think there're probably ice there. Also, data from a later mission indicates significant concentrations of hydrogen and by influence water less in the meter underground at both poles.

Well if there’s water, how did they get there? Underground rivers?

Umm, we think meteors that crashed into the moon or tails of passing comets may have introduced water molecules. Any water molecules that found their way to the floors of craters near the moon's poles that water would be perpetually frozen, because the forge of those craters are always in shadow. Furthermore, if the water ice was mixed in with rock and dust, it could be protected from evaporation.

So are you saying there might be primitive life on the moon?

Uh, there's not my point at all. Ok, say there is water ice on the moon. There would be very practical value for future moon base for astronauts. Water ice could be melted and purified for drinking. It could also be broken down into its component parts--oxygen and hydrogen. Oxygen could be used to breathe, and hydrogen could be turned into fuel, rocket fuel. So water ice could enable the creation of a self-sustaining moon base someday, a mining camp perhaps sort of aparture point for further space exploration.

But holding tons of equipments to the moon to make fuel and build the live support system for a moon base, wouldn’t that be too expensive?

Uh, permanent base maybe a way's off. But we shouldn't have to wairt for that. The dust at the bottom of the SPA basin really does have a fascinating story to tell. And I wouldn’t give for a few samples of it.

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100# i2000s

又看不到我的注释。。。试试这个：


TPO 5-4 conversation2h 14m+1h analysis=3h 14m
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7:15-7:22-7:26-7:28
d(b) a c a(d)b b
-8:02, 8:28-8:56-9:12-9:30-9:47-9:55, -10:55分析题目及文章框架
Hi. I was wondering ifwhether I can ould talk with you about the assignment in the film theory class?
Of course. Jillo.
It seems thatthere's pretty much everyone else in the class guessesets what's they are supposed to be doing, but I'm not so sure.
Well. [url=]The class is for students who're really serious about the film.[/url][Q.C.1] You must have taken film courses before.
Yes, in high school,. Ffilm appreiciation.
Heng.[url=] I wouldn't think that'd be enough. Did you concentrate mainly on form or content?[/url]
Oh, definitely on content. We’d watch, say lose in the flightLord of the Flights and then discusses it.
Oh, that approach, treatling film with literature, ignoring what makes unique.
[Q.C.2] I like it, though.
Sure. But that kind of class--well, I'm not surpprised you're feeling a little lost. You know, we have two introductory courslasses that're supposed to be takening before you get toin my course. One in film art--, techniques, technical stuff. And another in film history. So, students in the class, your rage are in, should be pretty far along in film studies. In fact, usually, the system blocks anyone tryingies out to sign up for theis class they shouldn't be taken ining. And who hasn't taken the courses you arelasses are required to do first as prerequisites.
[url=]Well. I did have problem with that, but I discussed with one of your office staff, and she gave me permission. [/url][Q.C.3]
Of course. [url=]No matter how many times I tell them, they just keep on the... [/url][Q.C.4] Well, for your ownnly good, I really suggest you dropping back and starting at the usual place.
Yes. But I've really been in your class for four weeks. I’d hate to just drop it now, especially since I find itsomething so different, so interesting.
I guess so. [url=]Frankly, I can't believe you’ve lasted this long.[/url][Q.C.5] This is a pretty in-depth theory we've been discussing and you've been doing ok so far, I guess. But still, the program’s beingen designed to progress forthrough certain stages. Like any other professional training, we build on previous knowledge.
Then maybe you can recommend some extra reading I can do to catch up.
[url=]Well, are you intending to study film as your main concentration?[/url]
No, I'm just interested. I'm actually ain archetianmarketing, but theree seemsame to be a connection.
Oh, well, in that case, if you take the course just out of interest, I mean, I still highly recommend signing up for the introductory courslasses at some point.[Q.C.6] But in the meantime, that's no harm, I guess, in trying to keep up with this class. The interest is clearly there. [url=]Instead of any extra reading just now, though, you could view some of the old introductory lectures, we have them on videio. That'll would give you a better handle on the subject. [/url][Q.C.7] It's still a pretty tallop order and we'll be moving right along, so you really need to stay on top of it.
Ok, I've been warned. Now can I tell you about my idea forabout the assignment?
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[Q.C.1]topic出题点，要归纳全文



[Q.C.2]attitude出题点



[Q.C.3]inference出题点



[Q.C.4]语气语调很有内容



[Q.C.5]inference of reason出题点



[Q.C.6]inference of reason出题点



[Q.C.7]solution出题点


不知道怎么才能保持word的原貌，知道的说一下啊
传一下附件吧。里面有考点分析和对原参考脚本的修正（蓝色，个人意见）

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 about folk tales, because there is a strong connection between these two Jonvus[genres 体裁], these two types of stories. In fact, many fairy tales started out as folk 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 lot over time, I mean every story teller or maybe every town might have had a 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 certain aspects of the tale adapted to fit the[this] specific community. Hmmm, not the 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 question is, what is a fairy tale? And don't anyone say, "a story with a fairy in it", because we all know that very few fairy tales actually have those tiny migical creatures in them. But what else can we say about them? Mary.

Well, they seem to be a lot[less] realistic than folk tales, like they have something inprobable[improbable 未必有的] 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, how do all those stories start? "Once upon a time, in a far-away land..." In the case of folk tales, each story teller would specify a paticular[particular] location and time, though the time and location would differ for different story tellers. With fairy tales, however, the location is generally unspecified, no matter who the story teller is. "That land far away". 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 Germany recording local folk tales. These were eventually published as fairy tales, but not before undergoing a process of evolution. Now, a number of things happen when an oral tale gets written down. First, the language changes, it becomes more formal, more standard. Some might say, less colorful. It's like the difference in your language depending on 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, the tale 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 about them. 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's worth investing that energy, because the story, now in book form, isn't in danger of being lost, those details won't be forgotten. If a folk tale isn't repeated by each generation, it may be lost for all time. 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?

i2000sUID: 2108019

TPO 5-5 lecture
2h 54m
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7:13-7:20-7:25-7:28
b b(c) d a a(d) c
-7:58,
Okey. I know you all have a lot of questions about this lab assignment that’s coming up. So, I'm gonna take a little time this morning to discuss it. So you know the assignment has to do with spectroscopy, right? And your reading should help you get a good idea of what that’s all about. But let's talk about spectroscopy a little now just to cover the basics.

What is spectroscopy? Well, the simplest definition I can give you is that spectroscopy is the study of the interaction between matter and light. Now, visible light consists of different colors of wavelength, which together make up what’s called spectrum, a band of colors like you see in a rainbow. And all substances, all forms of matter can be distinguished according to what wavelength of light they absorb and which one they reflect. It's like...well...every element has what we call its own spectral signature. If we can read that signature, we can identify the element. And that's exactly what spectroscopy does.

Now, laser spectroscopy, which is the focus of your assignment, works by measuring very precisely what parts of spectrum are absorbed by different substances. And it has applications in a lot of different disciplines. And your assignment will be to choose the discipline that interests you and devise an experiment. For example, I’m gonna talk about art. I'm interested in the art. And to me is interesting how spectroscopy is used to analyze art.

8:19-8:26-9:20-9:29-9:50-10:00-10:12-10:17-10:28完成部分分析
Let's say a museum curator comes to you with a problem. She is coming across the painting that appears to be an original, let’s say, a Rembrandt. And she want to acquire it for her museum. But she’s got a problem, she is not absolutely certain it's an original. So what you do? How do you determine whether the painting is authentic? Okey, think about the scientific process. You’ve got a question, is the painting a Rembrandt. So first, you need to make a list of characteristics the painting would have to have to be a Rembrandt. Then you have to discover whether the painting in question has these characteristics. So, first of all, you need to know the techniques Rembrandt used when he applied to paint to canvas--his brushstrokes, how quickly he applied his paint...So you need to work with an art historian who has expert knowledge of Rembrandt style. You’d have to know when he created these paintings, uh, what pigments he used, in the other words, what ingredients he used to make different colors he paint? Cause the ingredients he used in paints, and binding agents, plus varnishes, finishes, what have you, have changed over time. Since you’re trying to verify that’s a Rembrandt, the ingredients in the pigments would need to been used during Rembrandt's livetime, in the seventeenth century. And that's where chemistry comes in, you’ve got to find out what's in those pigments. Learn the composition, and that requires lab work--detective work, really, in a word, spectroscopy. So, how do we use spectroscopy? Well, we put an infrared microscope, a spectroscope, on tiny tiny bits of paint, and using ultraviolet light we can see the spectral signature of each component part of the pigment. Then we compare these signatures with those of particular elements, like zinc or lead, to determine what the pigment was made of. So you can see why this type of analysis requires the knowledge of history in pigments, right? How and when they were made. Say we determine the pigment was made with zinc for example.

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We know the spectral signature of zinc, and it matches that of the paint sample. We also know that zinc wasn’t discovered until the eighteenth century, and since Rembrandt lived during the seventeenth century, we know he couldn’t have painted it. Now spectroscopy has a very distinguished advantage over previous methods of analyzing art works, because it’s not invasive, you don’t have to remove big chips of paint to do your analysis, which is what other methods require. All you do is to train the microscope on tiny flecks of paint, and analyze them.

Now, a word or two about restoration. Sometimes original art works appear questionable or inauthentic, because they’ve had so many restorers add touchup layers to cover up damage--damage from the paint having deteriorate over time. Well, spectroscopy can review the composition of those touchup layers, too. So we can find out when they were applied. Then if we want to undo some bad restoration attempts, we can determine what kind of process we can use to remove them to dissolve the paint and uncover the original.

i2000sUID: 2108019

正在做题目分析
周末考完来回报
希望有同道人 呵呵