TPO阅读作业 from ttuuttuu

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09/08 TPO 04先占樓
這幾天開始補習  一開始補習又要上正課又要補課
時間一整個亂  終於補完課了
話不多少  早起 就開始  作TPO 4  精讀
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TPO4 -1

Deer Populations of the Puget Sound

Two species of deer have been prevalent流行 in the Puget Sound area of Washington State in the Pacific Northwest of the United States. The black-tailed deer, lowland, west-side cousin of the mule deer of eastern Washington, is now the most common. The other species, the Columbian white-tailed deer, in earlier times was common in the open prairie country, it is now restricted to the low, marshy沼澤 islands and flood plains洪水平原 along the lower Columbia River.
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Two species- The black-tailed deer and the Columbian white-tailed deer
第一個是現在最多，第二個以前也很常見但變少了因為沼澤與洪水平原

Nearly機乎any kind of plant of the forest understory can be part of a deer's diet. Where the forest inhibits the growth of grass草 and other meadow草地 plants, the black-tailed deer browses 吃草on huckleberry, salal, dogwood, and almost any other shrub or herb. But this is fair-weather feeding. What keeps the black-tailed deer alive in the harsher seasons of plant decay 衰敗and dormancy休眠? One compensation 補償 for not hibernating is the built-in urge to migrate. Deer may move from high-elevation browse areas in summer down to the lowland areas in late fall. Even with snow on the ground, the high bushy understory is exposed; also snow and wind bring down leafy多葉 branches of cedar雪松, hemlock, red alder, and other arboreal fodder.
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植物可以影響到鹿的死亡，the black tailed deer 利用migrate去生存，夏天在高海拔，冬天在低海拔


The numbers of deer have fluctuated變動markedly 明顯 since the entry進入of Europeans into Puget Sound country. The early explorers and settlers移民者 told of abundant deer in the early 1800s and yet almost in the same breath bemoaned 哀嘆the lack of this succulent 多汁game animal. Famous explorers of the north American frontier, Lewis and Clark had experienced great difficulty finding game west of the Rockies and not until the second of December did they kill their first elk靡鹿. To keep 40 people alive that winter, they consumed 消滅approximately 150 elk and 20 deer. And when game moved out of the lowlands in early spring, the expedition decided to return east rather than face possible starvation挨餓. Later on in the early years of the nineteenth century, when Fort Vancouver became the headquarters 總部of the Hudson's Bay Company, deer populations continued to fluctuate波動. David Douglas, Scottish botanical植物 explorer探險家 of the 1830s found a disturbing打亂 change in the animal life around the fort要塞 during the period between his first visit in 1825 and his final contact with the fort in 1832. A recent Douglas biographer傳記作者 states:" The deer which once picturesquely dotted the meadows around the fort were gone [in 1832], hunted to extermination滅絕 in order to protect the crops."
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鹿的生存由於歐洲人的進入而改變，他們獵殺他們免於挨餓，到了1832年某植物學家的傳記中寫著為了保護農作物他們又撲殺鹿


Reduction in numbers of game should have boded預期 ill for their survival in later times. A worsening 更壞of the plight 情況of deer was to be expected as settlers encroached on the land, logging, burning, and clearing, eventually replacing a wilderness landscape with roads, cities, towns, and factories. No doubt the numbers of deer declined still further. Recall the fate of the Columbian white-tailed deer, now in a protected status. But for the black-tailed deer, human pressure has had just the opposite effect. Wild life zoologist Hulmut Buechner(1953), in reviewing the nature of biotic changes in Washington through recorded time, Says that "since the early 1940s, the state has had more deer than at any other time in its history, the winter population fluctuating
變動 around approximately 320,000 deer (mule and black-tailed deer), which will yield about 65,000 of either sex and any age annually for an indefinite period."
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鹿的生存環境被道路工廠取代，數量變少。Columbian white-tailed deer被保護，另一種卻是被撲殺，提出一個他們減少的數據。


The causes of this population rebound 回彈are consequences of other human actions. First, the major predators of deer---wolves, cougar, and lynx--have been greatly reduced in numbers. Second, conservation 保守has been insured確保 by limiting times for and types of hunting. But the most profound 重要極深reason for the restoration恢復 of high population numbers has been the gate of the forests. Great tracts of lowland country deforested伐木 by logging伐, fire, or both have become ideal feeding grounds of deer. In addition to finding an increase of suitable browse, like huckleberry and vine maple, Arthur Einarsen, longtime game biologist in the Pacific Northwest, found quality of browse in the open areas to be substantially more nutritive. The protein content of shade-grown vegetation, for example, was much lower than that for plants grown in clearings.
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造成鹿變多的原因 有鹿的predators變少已及打獵活動變少
引響最深的就是 森林部份。由於深林的砍伐燃燒，森林變成一個合適的吃草環境




開始作答
1.d
2.b C
3.c
4.c D
5.a
6.c
7.b A
8.a
9.c B
10.b
11.a B
12.d
13.b
14.abc BCD


先到這   精讀完作題目真的比較簡單   ~  一精讀完就作題我沒回頭看剛剛精讀的
不知道這樣有用嗎~~但我感覺~~作題時~~題目選項不友善 有些有迷惑  如果選太快很容易錯!!
  晚上在來改~ 吃早餐去~
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選答案時~被題目所迷惑~

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1202  concentrate on reading
感覺  reading 真正的提高不是去作題  作題只是去check自己懂了沒  了解了嗎~
所以 改變方法 練習9分鐘內先把一篇文章看懂
並對每段 寫出 大意~ 之後作題CHECK~
follow 小馬老師分類
歷史人文類
生物類
人體生物類
地理天文類

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歷史人文類 -1 EARLY CINEMA

The cinema did not emerge as a form of mass consumption until its technology evolved from the initial "peepshow" format to the point where images were projected on a screen in a darkened theater. In the peepshow format, a film was viewed through a small opening in a machine that was created for that purpose. Thomas Edison's peepshow device, the Kinetoscope, was introduced to the public in 1894. It was designed for use in Kinetoscope parlors, or arcades, which contained only a few individual machines and permitted only one customer to view a short, 50-foot film at any one time. The first Kinetoscope parlors contained five machines. For the price of 25 cents (or 5 cents per machine), customers moved from machine to machine to watch five different films (or, in the case of famous prizefights, successive rounds of a single fight).

電影並沒成為大量的消費直到電影技術(peepshow)被發明，影像在黑暗中被投影在一個螢幕。在peepshow格式中，電影被觀看經由一個小形opening。 Edison發明的peepshow 在1894年。 peepshow被設計用在Kinetoscope parlors，其包含只有一些獨立的機器與准許只有一個顧客觀看一個短,50 foot長度的電影在任何時間。 第一個Kinetoscope parlors 包含五部機器。 25 cents, 顧客可以看五部不同的電影或不同回合的打鬥。


1. According to paragraph 1, all of the following were true of viewing films in Kinetoscope parlors EXCEPT:
○One individual at a time viewed a film.
○Customers could view one film after another.
○Prizefights were the most popular subjects for films.  (只有說famous prizefights 並沒說這是最受歡迎的subjects)
○Each film was short.


1. consumption: 消費
2. arcades:拱廊
3. parlors: 接待室


These Kinetoscope arcades were modeled on phonograph parlors, which had proven successful for Edison several years earlier. In the phonograph parlors, customers listened to recordings through individual ear tubes, moving from one machine to the next to hear different recorded speeches or pieces of music. The Kinetoscope parlors functioned in a similar way. Edison was more interested in the sale of Kinetoscopes (for roughly $1,000 apiece) to these parlors than in the films that would be run in them (which cost approximately $10 to $15 each). He refused to develop projection technology, reasoning that if he made and sold projectors, then exhibitors would purchase only one machine-a projector-from him instead of several.

這些Kinetoscope拱廊在留聲機接待室被呈現 (Kinetoscope拱廊模彷 留聲機接待室)，其證明Edision成功好幾年前。在留聲機接待室，顧客透過個別的ear tubes去聽這些錄音，從一個機器移到另一個去聽不同的演說或音樂。 Kinetoscope接待室依照一樣的方法去操作。Edison更有興趣在賣Kinetoscopes到這些接待室勝過這些影片。他反駁去發展投影技術，假如他作這些投影機然後賣掉，展示者可能只向他買一部機器。

2. The author discusses phonograph parlors in paragraph 2 in order to
○Explain Edison's financial success
○Describe the model used to design Kinetoscope parlors
○Contrast their popularity to that of Kinetoscope parlors (X 選錯了~並沒提到popularity)
○Illustrate how much more technologically advanced Kinetoscope parlors were



3. Which of the sentences below best expresses the essential information in the highlighted sentence from the passage?
Incorrect answer choices change the meaning in important ways or leave out essential information.
○Edison was more interested in developing a variety of machines than in developing a technology based on only one.
○Edison refused to work on projection technology because he did not think exhibitors would replace their projectors with newer machines.
○Edison did not want to develop projection technology because it limited the number of machines he could sell.
○Edison would not develop projection technology unless exhibitors agreed to purchase more than one projector from him.

4. model on: 模仿~
5. proven: prove 的過去分詞
6. These Kinetoscope arcades were modeled on phonograph parlors (Kinetoscope拱廊模仿 留聲機接待室)
7. had proven successful for Edison several years earlier 被證明Edison 更早幾年 成功的 發明 **這個for 我需要check!!!


Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison's former assistant, William Dickson) perfected projection devices. These early projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makeshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience.

然而展示者想要加大他們的價值，讓他們可以透過投影一個影片一次給大量的顧客看並且收25-50cents。大約一年後，Tomas等人完成了投影機發明，這些早起的投影機被用在戲院等地方，顯示影片給大量的觀眾


4. The word readily in the passage is closest in meaning to
○Frequently
○Easily
○Intelligently
○Obviously

5. The word
assistance in the passage is closest in meaning to
○Criticism
○Leadership
○Help
○Approval

With the advent of projection in 1895-1896, motion pictures became the ultimate form of mass consumption. Previously, large audiences had viewed spectacles at the theater, where vaudeville, popular dramas, musical and minstrel shows, classical plays, lectures, and slide-and-lantern shows had been presented to several hundred spectators at a time. But the movies differed significantly from these other forms of entertainment, which depended on either live performance or (in the case of the slide-and-lantern shows) the active involvement of a master of ceremonies who assembled the final program.


隨著初期的投影機，動態影像變的大量的消費，之前，大量觀眾在戲院觀賞各種種類的影像，一次大量的影像。但電影特別不同這些其他的娛樂，現場表演或是典禮活動的主持人的參與


6. According to paragraph 4, how did the early movies differ from previous spectacles that were presented to large audiences?
○They were a more expensive form of entertainment.
○They were viewed by larger audiences.
○They were more educational.
○They did not require live entertainers.



8.ultimate : 極度
9.spectacles :影像
10.involvement : 包含，參語
11:  the active involvement of a master 主持人的主動參與


Although early exhibitors regularly accompanied movies with live acts, the substance of the movies themselves is mass-produced, prerecorded material that can easily be reproduced by theaters with little or no active participation by the exhibitor. Even though early exhibitors shaped their film programs by mixing films and other entertainments together in whichever way they thought would be most attractive to audiences or by accompanying them with lectures, their creative control remained limited. What audiences came to see was the technological marvel of the movies; the lifelike reproduction of the commonplace motion of trains, of waves striking the shore, and of people walking in the street; and the magic made possible by trick photography and the manipulation of the camera.

雖然早期展示者一般用現場活動組成點影，取代電影是大量的容意再次使用的預錄材料。即使，早期展示者透過組合影片去吸引人，但創意是有限的。觀眾會去看的是技巧的marvel;一般火車的動作，海浪拍打海岸，人走在路上，magic

7. According to paragraph 5, what role did early exhibitors play in the presentation of movies in theaters?
○They decided how to combine various components of the film program. ( mixing files and other entertain ments together)
○They advised film-makers on appropriate movie content. (X 選錯了~主要是問what role)
○They often took part in the live-action performances.
○They produced and prerecorded the material that was shown in the theaters.


With the advent of projection, the viewer's relationship with the image was no longer private, as it had been with earlier peepshow devices such as the Kinetoscope and the Mutoscope, which was a similar machine that reproduced motion by means of successive images on individual photographic cards instead of on strips of celluloid. It suddenly became public-an experience that the viewer shared with dozens, scores, and even hundreds of others. At the same time, the image that the spectator looked at expanded from the minuscule peepshow dimensions of 1 or 2 inches (in height) to the life-size proportions of 6 or 9 feet.

隨著投影機的發明，觀看者與影像的關係不在個人的，隨著 更早的peepshow發明如同kintoscope& Mutoscope，類似的機器產生這些影像。他突然變大眾化。同時，影像機從小的peepshow到大的尺寸。

8. Which of the following is mentioned in paragraph 6 as one of the ways the Mutoscope differed from the Kinetoscope?
○Sound and motion were simultaneously produced in the Mutoscope.
○More than one person could view the images at the same time with the Mutoscope.
○The Mutoscope was a less sophisticated earlier prototype of the Kinetoscope.
○A different type of material was used to produce the images used in the Mutocope.

**such as the Kinetoscope and the Mutoscope, which was a similar machine that reproduced motion by means of successive images on individual photographic cards instead of on strips of celluloid. ( the mutoscope 是一部類似的機器 利用 影像卡 其包含celluloid)

9. The word it in the passage refers to
○The advent of projection
○The viewer's relationship with the image
○A similar machine
○Celluloid

10. According to paragraph 6, the images seen by viewers in the earlier peepshows, compared to the images projected on the screen, were relatively
○Small in size
○Inexpensive to create
○Unfocused
○Limited in subject matter

11. The word expanded in the passage is closest in meaning to
○Was enlarged
○Was improved
○Was varied
○Was rejected



Paragraph 3: ■Exhibitors, however, wanted to maximize their profits, which they could do more readily by projecting a handful of films to hundreds of customers at a time (rather than one at a time) and by charging 25 to 50 cents admission. ■About a year after the opening of the first Kinetoscope parlor in 1894, showmen such as Louis and Auguste Lumiere, Thomas Armat and Charles Francis Jenkins, and Orville and Woodville Latham (with the assistance of Edison's former assistant, William Dickson) perfected projection devices. ■These early projection devices were used in vaudeville theaters, legitimate theaters, local town halls, makeshift storefront theaters, fairgrounds, and amusement parks to show films to a mass audience.■

12. Look at the four squares [■] that indicate where the following sentence can be added to the passage.
When this widespread use of projection technology began to hurt his Kinetoscope business, Edison acquired a projector developed by Armat and introduced it as “Edison’s latest marvel, the Vitascope."
Where would the sentence best fit?
this widespread use 表之前提過 X
應該看 this widespread use of projection technology

13. Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some answer choices do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points.

The technology for modern cinema evolved at the end of the nineteenth century.
●
●
●
Answer Choices
1. Kinetoscope parlors for viewing films were modeled on phonograph parlors.
2. Thomas Edison's design of the Kinetoscope inspired the development of large screen projection. (X 選錯了  並沒激發大量的投影機 是要發展讓更多人觀看)
3. Early cinema allowed individuals to use special machines to view films privately.
4. Slide-and-lantern shows had been presented to audiences of hundreds of spectators.
5. The development of projection technology made it possible to project images on a large screen.
6. Once film images could be projected, the cinema became form of mass consumption.  

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歷史人物類第四篇-TPO 1THE ORIGINS OF THEATER

In seeking to describe the origins of theater, one must rely primarily on speculation, since there is little concrete evidence on which to draw. The most widely accepted theory, championed by anthropologists in the late nineteenth and early twentieth centuries, envisions theater as emerging out of myth and ritual. The process perceived by these anthropologists may be summarized briefly. During the early stages of its development, a society becomes aware of forces that appear to influence or control its food supply and well-being. Having little understanding of natural causes, it attributes both desirable and undesirable occurrences to supernatural or magical forces, and it searches for means to win the favor of these forces. Perceiving an apparent connection between certain actions performed by the group and the result it desires, the group repeats, refines and formalizes those actions into fixed ceremonies, or rituals.



Stories (myths) may then grow up around a ritual. Frequently the myths include representatives of those supernatural forces that the rites celebrate or hope to influence. Performers may wear costumes and masks to represent the mythical characters or supernatural forces in the rituals or in accompanying celebrations. As a person becomes more sophisticated, its conceptions of supernatural forces and causal relationships may change. As a result, it may abandon or modify some rites. But the myths that have grown up around the rites may continue as part of the group’s oral tradition and may even come to be acted out under conditions divorced from these rites. When this occurs, the first step has been taken toward theater as an autonomous activity, and thereafter entertainment and aesthetic values may gradually replace the former mystical and socially efficacious concerns.




Although origin in ritual has long been the most popular, it is by no means the only theory about how the theater came into being. Storytelling has been proposed as one alternative. Under this theory, relating and listening to stories are seen as fundamental human pleasures. Thus, the recalling of an event (a hunt, battle, or other feat) is elaborated through the narrator’s pantomime and impersonation and eventually through each role being assumed by a different person.




A closely related theory sees theater as evolving out of dances that are primarily pantomimic, rhythmical or gymnastic, or from imitations of animal noises and sounds. Admiration for the performer’s skill, virtuosity, and grace are seen as motivation for elaborating the activities into fully realized theatrical performances.





In addition to exploring the possible antecedents of theater, scholars have also theorized about the motives that led people to develop theater. Why did theater develop, and why was it valued after it ceased to fulfill the function of ritual? Most answers fall back on the theories about the human mind and basic human needs. One, set forth by Aristotle in the fourth century B.C., sees humans as naturally imitative—as taking pleasure in imitating persons, things, and actions and in seeing such imitations. Another, advanced in the twentieth century, suggests that humans have a gift for fantasy, through which they seek to reshape reality into more satisfying forms than those encountered in daily life. Thus, fantasy or fiction (of which drama is one form) permits people to objectify their anxieties and fears, confront them, and fulfill their hopes in fiction if not fact. The theater, then, is one tool whereby people define and understand their world or escape from unpleasant realities.






But neither the human imitative instinct nor a penchant for fantasy by itself leads to an autonomous theater. Therefore, additional explanations are needed. One necessary condition seems to be a somewhat detached view of human problems. For example, one sign of this condition is the appearance of the comic vision, since comedy requires sufficient detachment to view some deviations from social norms as ridiculous rather than as serious threats to the welfare of the entire group. Another condition that contributes to the development of autonomous theater is the emergence of the aesthetic sense. For example, some early societies ceased to consider certain rites essential to their well-being and abandoned them, nevertheless, they retained as parts of their oral tradition the myths that had grown up around the rites and admired them for their artistic qualities rather than for their religious usefulness.