托福听力文本-Test 1(上)

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　　Learning Center

　　Man: Hi. Are you Paula?

　　$ Woman: Jim?

　　$ Man: Hi. Nice to meet you.

　　$ Woman: Glad to meet you.

　　$ Man: So, you need some tutoring in English?

　　$ Woman: Yeah. I'm taking English composition, and I'm not doing very well on my essays.

　　$ Man: Right. Um, well, first let's see if we can figure out a time to meet . . . that we're both free.

　　$ Woman: Okay.

　　$ Man: How about Mondays? Maybe in the morning? I don't have any classes until eleven on Mondays.

　　$ Woman: That would work, but I was hoping we could, you know, meet more than once a week.

　　$ Man: Oh. Well, Tuesdays are out. I've got classes and, uh, I work at the library part time on Tuesdays and Thursdays. But I could get together on Wednesdays.

　　$ Woman: In the morning?

　　$ Man: Probably nine-thirty would be best. That way we'd have an hour to work before I'd have to get ready for my eleven o'clock.

　　$ Woman: So that would be two hours a week then?

　　$ Man: I could do that.

　　$ Woman: Oh, but, would that be extra? You know, would I need to pay you for the extra session?

　　$ Man: No. Um, just so you meet me here at the Learning Center, and we both sign in, then I'll get paid. Tutoring is free, to you, I mean. The school pays me. But we both have to show up. If you don't show up and sign in for a session, then I don't get paid. So . . .

　　$ Woman: Oh, don't worry about that. I really need the help. I won't miss any sessions unless I'm sick or something.

　　$ Man: Okay then. So you want me to help you with your essays?

　　$ Woman: Right. I could bring you some that have, you know, comments on them. I'm getting C's and . . .

　　$ Man: Well, that's not too bad. Once I see some of your writing, we should be able to pull that up to a B.

　　$ Woman: You think so?

　　$ Man: Sure. But I need to explain something. Some of my students in the past . . . they expected me to write their essays for them. But that's not what a tutor is supposed to do. My job is to help you be a better writer.

　　$ Woman: Oh, I understand that. But you'll read my essays, right?

　　$ Man: Oh yeah. No problem. We'll read them together, and I'll make suggestions.

　　$ Woman: Great. I think part of the problem is I just don't understand the teacher's comments. $ Maybe you can help me figure them out.

　　$ Man: Sure. Who's the teacher?

　　$ Woman: Simpson.

　　$ Man: No problem. I've tutored a couple of her students, so I know more or less where she's coming from. Okay, then. I guess we'll meet here on Monday.

　　$ Woman: I'll be here. Nine-thirty you said.

　　$ Man: Just sign in when you get here.

　　Geology Class

　　Professor:

　　$ Okay, today we’re going to discuss the four major types of drainage patterns. I trust you’ve already read the chapter so you’ll recall that a drainage pattern is the arrangement of channels that carry water in an area. And these patterns can be very distinctive since they’re determined by the climate, the topography, and the composition of the rock that underlies the formations. So, consequently, we can see that a drainage pattern is really a good visual summary of the characteristics of a particular region, both geologically and climactically. In other words, when we look at drainage patterns, we can draw conclusions about the structural formation and relief of the land as well as the climate.

　　Now all drainage systems are composed of an interconnected network of streams, and, when we view them together, they form distinctive patterns. Although there are at least seven identifiable kinds of drainage patterns, for our purposes, we’re going to limit our study to the four major types. Probably the most familiar pattern is the dendritic drainage pattern.

　　$ This is a stream that looks like the branches of a tree. Here’s an example of a dendritic pattern. As you can see, it’s similar to many systems in nature. In addition to the structure of a tree, it also resembles the human circulation system. This is a very efficient drainage system because the overall length of any one branch is fairly short, and there are many branches, so that allows the water to flow quickly and efficiently from the source or sources.

　　$ Okay, let’s look at the next example.

　　$ This drainage pattern is referred to as a radial pattern. Notice how the streams flow from a central point. This is usually a high mountain, or a volcano. It kind of looks like the spokes that radiate out from the hub of a wheel. When we see a radial pattern, we know that the area has experienced uplift and that the direction of the drainage is down the slopes of a relatively isolated central point.

　　$ Going back to the dendritic for a moment. The pattern is determined by the direction of the slope of the land, but it, uh, the streams flow in more or less the same direction, and . . . so it’s unlike the radial that had multiple directions of flow from the highest point.

　　$ Now this pattern is very different from either the dendritic or the radial.

　　$ This is called a rectangular pattern, and I think you can see why. Just look at all of those right-angle turns. The rectangle pattern is typical of a landscape that’s been formed by fractured joints and faults. And because this broken rock is eroded more easily than unbroken rock, stream beds are carved along the jointed bedrock.

　　$ Finally we have the trellis pattern. And here in this example, you can see quite clearly how the tributaries of an almost parallel structure drain into valleys and . . . and form the appearance of a garden trellis. This pattern forms in areas where there are alternating bands of variable resistance, and by that I mean that the bands of rock that are very strong and resistant to erosion alternate with bands of rock that are weak and easily eroded. This often happens when a horizontal plain folds and outcroppings appear.

　　$ So, as I said, as a whole, these patterns are dictated by the structure and relief of the land.

　　$ The kinds of rocks on which the streams are developed, the structural pattern of the folds, uh, faults, and . . . uplift will usually determine a drainage system. However, I should also mention that drainage patterns can occasionally appear to be, well, out of sync (同时发生) with the landscape. And this can happen when a stream flows over older structures that have been uncovered by erosion or . . . or when a stream keeps its original drainage system when rocks are uplifted. So when that happens, the pattern appears to be contrary to the expected course of the stream. But I’m interested in your understanding the basic drainage systems. So I don’t plan to trick you with test questions about exceptional patterns, but I expect you to know that exceptions to the patterns can occur when geological events influence them.

　　Art Class

　　Professor:

　　$ Drawing is a very basic art form. It’s appealing because it can be used to make a very quick record of the ideas that an artist may be envisioning, so, a drawing can serve as a visual aid for the artist to remember a certain moment of inspiration and maybe use it for a more detailed work later on. Okay, usually such sketches allow the artist to visualize the proportions and the shapes without much attention to details so these images can be used by painters, architects, sculptors—any artist really. And large renderings, sketches of parts of the whole . . . these can be helpful in the creative process when a . . . a huge image might be more difficult to conceive of in its entirety. Or, a sketch of just one face in a crowd can allow the artist to . . . focus on creating just that part of the image. So, in many artists’ studios, countless drawings are strewn(撒满) about as the final painting or sculpture takes form. And this gives us insight into the creative process, as well the opportunity to see changes from the images at the beginning in the images of the finished work. It’s rare, in fact, for an artist to use permanent materials to begin a piece of art. And some painters, for example, even sketch onto the surface of the canvas(油画) before applying the pigments(颜料). Now, architects are especially prone to sketches because, of course, their buildings are so large that an image in smaller scale is necessary to the imagination and implementation of such projects. So, uh, these studies become the basis for future works. And again, this is very interesting as a record of the creative process. Okay so far?

　　Okay, drawing has several other functions besides as a temporary reference. For centuries, artists have used drawing as a traditional method of education. By copying the great works, especially of the Old Masters, aspiring artists could learn a lot about proportion, how to capture light and shadow and . . . and so forth. In fact, some artists who later achieve recognition, still continue to use this practice to hone(磨练) their skills or . . . or simply to pay homage(尊敬) to another artist, as is often the case when a work of art originally created in another medium like a sculpture . . . when it’s recreated in the form of a drawing. Many examples of drawings of Michelangelo’s sculptures were re-created by well-known artists. One that comes to mind is the Study of Michelangelo’s Bound Slave by Edgar Degas. The original by Michelangelo was a marble sculpture that was, oh, about seven feet in height, but the small drawing was made in a sketchpad. In any case, the study is also considered a masterpiece, on a small scale, of course.

　　So . . . what additional purposes might be served by the medium of drawing? Well, let’s remember that photography is a relatively new art form, so prior to the use of photographs to record historical events, a quick drawing by an artist was about the only way to preserve a real-time visual account of an important moment. Although a more permanent visual impression might be rendered later, it would be based on memory and not on the artist’s actual observation. Probably the most often cited example of a sketch that preserved an historical record would be the small drawing of Marie Antoinette as she was taken to the guillotine in a cart through the streets of Paris. Jacques-Louis David sketched this famous drawing on a piece of paper about the size of the palm of his hand. And the artist, the artist reporter, is still important even in modern times, when photography isn’t possible, for example, when judges won’t permit cameras in the courtroom.

　　Okay, to review, we’ve talked about three functions for drawing—as a visual aid for the artist to complete a future work, as a method of education for aspiring artists or even practiced artists, and as a way to report an event. But the sketchbook has . . . other possibilities.

　　$ Sometimes a drawing is the final execution of the art. Picasso produced hundreds of drawings in, well, every conceivable medium, but especially in pencil and crayon. I find it very interesting that Picasso did so much of this kind of work . . . drawing, I mean, in his last years. Some critics have argued that he was just laughing at the art world, which was willing to pay outrageous sums for anything with his name on it, and clearly, a drawing can be executed in a short period of time. But others, other critics, they feel as I do that Picasso was drawing because it was so basic, and because it was so spontaneous and so much fun. And also, think about how difficult it really is to produce a quick drawing with a few lines and, uh, no opportunity to . . . to recreate the original, either by painting it out or remodeling the clay or changing the building materials, or . . . or any of the other methods for revision of a finished artistic work that artists have at their disposal. So, what I’m saying is that drawing when it’s elevated to a finished piece, it must be done with confidence and it must show a high degree of creativity and mastery of the art form. In a way, it harkens back to the beginnings of art itself, when some unknown artist must have stuck a finger in the earth to draw an image or . . . maybe he picked up a stone and made a drawing on the wall of a cave.

　　Okay, so, as a first assignment, I want you to make a couple of sketches yourself. I’m not going to grade them. This isn’t a studio art class. I just want you to use a few basic strokes to capture an image. You can do the first one in pencil, crayon, ink, chalk, or even charcoal . . . whatever you like. Then, I want you to sketch the same image in a different medium. So, if you do a face in pencil, I want you to do the same face but in chalk or crayon. Bring them to class next week and we’ll continue our discussion of drawing, but we’ll talk more about the materials artists use to produce drawings, and, uh, we’ll refer to your sketches as examples.

　　Professor's Office

　　Student: Thanks for seeing me, Professor Williams.

　　$ Professor: Glad to, Alice. What do you have on your mind?

　　$ Student: Well, I got a little mixed up when I started to go over my notes from the last class, so I had a few questions.

　　$ Professor: Shoot.

　　$ Student: Okay. I understand the three basic sources of personnel for multinational companies.

　　$ That’s fairly self-explanatory.

　　$ Professor: Host country, home country, and third country.

　　$ Student: Right. But then you started talking about staffing patterns that . . . let me see . . . okay . . . you said, “staffing patterns may vary depending on the length of time that the multinational company has been operating,” and you gave some examples, but I got confused and now I can’t read my notes.

　　$ Professor: Okay. Well, one pattern is to rely on home country managers to staff the key positions when the company opens, but gradually moving more host country nationals into upper management as the company grows.

　　$ Student: So, for example, if a French company opened a factory in Canada, then French management would gradually replace themselves with Canadian managers. Is that what you mean?

　　$ Professor: Right. I think I used that very example in class. So do you want to try to explain the second pattern to me?

　　$ Student: Sure. I think it’s the one where home country nationals are put in charge of the company if it’s located in a developed country, but in a developing country, then home country nationals manage the company sort of indefinitely.

　　$ Professor: Right again. And an example of that would be . . .

　　$ Student: . . . maybe using German management for a Swiss company in Germany, but, uh, they might send Swiss management to provide leadership for a Swiss company in . . . in . . .

　　$ Professor: How about Zimbabwe?

　　$ Student: This is one of the confusing parts.

　　$ Zimbabwe has a very old and highly developed culture, so…

　　$ Professor: . . . but it’s still defined as a developing country because of the economic base—which is being developed now.

　　$ Student: Oh, okay. I guess that makes sense. Then the example of the American company with British management . . . when the company is in India . . . that would be a third-country pattern.

　　$ Professor: Yes. In fact, this pattern is fairly prevalent among multinational companies in the United States. Many Scottish or English managers have been hired for top management positions at United States subsidiaries in the former British colonies-India, Jamaica, the West Indies, some parts of Africa . . .

　　$ Student: Okay. So I’ve got all the examples right now.

　　$ Professor: Anything else?

　　$ Student: Just one thing. There were some typical patterns for certain countries.

　　$ Professor: Like the last example.

　　$ Student: No. This came later in the lecture. Something about Japan and Europe.

　　$ Professor: Oh. Right. I probably said that both Japanese multinational companies and European companies tend to assign senior-level home country managers to overseas locations for their entire careers, whereas multinational companies in the United States view overseas assignments as temporary, so they may actually find themselves reporting to a senior-level manager from the host country who has more experience.

　　$ Student: So, for example, a Japanese company in the United States would most probably have senior-level Japanese managers with mid-level managers maybe from the United States. But in Japan, the senior-level Japanese managers at an American company would probably have mid-level American managers reporting to them?

　　$ Professor: Well, generalities are always a little tricky, but for the most part, that would be a typical scenario. Because living as a permanent expatriate is a career move in Japan, but a temporary strategy in the United States.

　　$ Student: Okay. That’s interesting.

　　$ Professor: And important for you to know as a business major with an interest in international business.

　　$ You’re still on that track, aren’t you?

　　$ Student: I sure am. But, you know, I wasn’t thinking in terms of living abroad for my entire career.

　　$ That really is a huge commitment, and something to ask about going in. Anyway, like you say, most American companies view overseas assignments as temporary. That’s more what I have in mind, for myself, I mean.

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