115. OG10 (Botany)+ s4 a3 a( k( _5 ~7 s
开始听写在：2008-6-1 下午 09:15:25
  Y! f/ Y9 n7 W( T8 sListen to part of (a) talk in a botany class, okay, so we’ve talk (about) some types of root systems of plants, and I’ve shown you some pretty cool slides, but now I want to talk about the extent (of) the root system, the overall size of the root system, the depth, I want to tell you about one particular experiment, I think you’re going to find this pretty amazing, okay, so, there was this scientist, this very (meticulous{n.一丝不苟的})scientist decided that the best (place) to see the whole root system, to actually see how big the entire system got, the best place to be to grow it, where, um, water, in water, so he took (rye{n.裸麦,黑麦}) plants, it was rye plants, and he started growing them in water, now, you’ve all heard (of) growing (staff) in water (before), right? It’s done commercially, like to grow vegetables and flowers, right, they grow all (kind of) commercial crops in water, so, if you’re growing things in water, you can add the fertilizer, what do you need to do to that water besides to put fertilizer in it, anyone (ever) actually tried to grow plants in water, you must bubble water through it, bubble gas through it, I’m sorry, you must bubble gas through it, so, gas, you have to bubble through, think about the soil we talked about last week, about growing plants in soil, think about some of you who have killed your favorite plant because you loved them to much, if you over water, why do your favorite houseplants die, oh, no oxygen, not enough oxygen for the roots, which do what twenty-four hours a day in all seasons, respiration, respire, respiration, they breathe, if you just (stick rye) plants in water, it doesn’t make difference how much fertilizer you add, you also need to bubble gas through the water, so they have access to that oxygen, if they don’t have that, they’re in big trouble, okay, so this (guy), this scientist grew a rye plant in water so he could see the root system how big (it) got, its surface area, I read about this and the book said one thousand kilometers of roots, I kept thinking, this has to be a mistake, it just doesn’t make any sense, to me, that, that could be right, but that’s (what) all the books have, and no one’s ever corrected it, so, let me explain to you about this rye plant, if you take a little seed of many grasses, and remember rye is a grass, and if you take a tiny little seed and you (germinate{v.使发芽}), actually, take one of my least favorite grasses that’s starts growing about may, what’s my least favorite grass that growing about may, crabgrass, remember how I show you in the lab, one little seed starts (out producing) one little shoot, then at a week so later you’ve got about six shoots, and then, three weeks later you’ve got about fifteen shoots coming out all directions like this, all those little shoots up there, well, that’s what they did (with the rye), and (the) little seedling started and pretty soon there were several shoots, and then more shoots, in the end, that one signal seed produced eighty shoots, with an average of fifty centimeters of height, from one seed, eighty shoots coming out, average fifty centimeters high, when they looked at the shoot (versus{prep.对;与...相对}) the root surface, they found (that) the shoot surface, with all of its leaves, had a total surface area of about five square meters, now, here is the (biggie{n.大的东西}), when they looked at the root surface area, you would except (that) the root and the shoot would be in balance, right, so, they should be pretty close in (terms of) surface area, right, um, what’s that, does somebody say no, well, you’re absolutely correct, instead of five square meters, the root system was found to have more than two hundred square meters of surface area, where did all of that extra surface area come from, who did it, who was responsible for those extra square meters of surface area, what did roots do to increase their surface area, root hairs, root hairs, that’s exactly it, so those root hairs were responsible for incredible chunk of surface area, they constantly have to be spread out in the water so they can absorb minerals from the fertilizer, and of course they need oxygen access as well.
& t' B8 O; d$ O以上听写编辑在：2008-6-1 下午 10:15:57
9 ?4 V' T& D# c! j7 |听写结束。共录入 1句， 737英文单词。
9 r5 n% Z$ ^) G. E- B3 O开始时间为：2008-6-1 下午 09:15:25，结束时间为： 2008-6-1 下午 10:15:58，共用时
+ _7 \2 d; v/ p' n60分钟。平均 12.2833333333333词每分钟。116. 0310 (Plant react pest)" `5 }6 l9 O3 @5 @# l! z# o& X; M! {4 B
开始听写在：2008-6-1 下午 11:25:08
' ^& V* t/ ~# X8 I4 B5 J' ?Listen to part of
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+ p( W$ v2 l( otalk) s2 F# D- @/ q7 b, v. R# t. n% E
in biology class, today, we’re going to talk about special way some plants respond to the invaded by pests, the plants react by (emitting) a chemical signal, which (acts) like (a) call for help, let’s take corn plants for example, sometimes, caterpillars chew on the corn leaves, when the caterpillar (saliva{n.唾液}) mixes with the chew potion of (a) leaf, the plant releases a chemical cream that attracts wasps, the wasps respond (to) the signal by flying to the chewed on leaf, and laying their eggs on the caterpillars, the caterpillar die in the next few days (as) the swaps offspring nourish themselves by feeding of them, thus the corn plant prevents all (its) leaves from being eaten by the caterpillars, this chemical cream is specific, it’s only (released after) the plant has detected the caterpillar (saliva), a plant that (is cut) by the other means doesn’t give off the same signal, nor doesn’t undamaged plant, this also explains how wasp can find caterpillar in (a) huge (field) of corn, soybean, cotton (and) probably many other plants use the similar type of defense against pests, by enhancing this natural response (in) plants, researchers might reduce, some day even eliminate the (need) for chemical pesticide, which can cause ecological damage, for example, scientist might (breed) plants for this (creaming trait), or they might transplant specific genes to increase the release of (the) chemical signals.
  R! b2 i6 f+ B& H以上听写编辑在：2008-6-1 下午 11:58:18
9 Z# n' m- T0 _" ~% n听写结束。共录入 1句， 228英文单词。3 u9 l5 o; z1 o
开始时间为：2008-6-1 下午 11:25:08，结束时间为： 2008-6-1 下午 11:58:18，共用时
5 Z. J( w+ b- f$ s4 K7 K: k* e4 l33分钟。平均 6.90909090909091词每分钟。
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[ 本帖最后由 eagledoudou 于 2008-6-2 20:00 编辑 ]

哇，强楼主加油

117. 模考(Bird Song)
4 A( X/ m* s: l/ [9 W' g* n开始听写在：2008-6-3 上午 02:42:56* ?6 T6 `. j! l# m
Listen to part of a lecture in (a) biology class, so today we’re going to talk about song development in birds and how, you may be surprise to know, the songs of most songbird species are learned, not completely <instinctual{ad.本能地}>, which is what we used to think, so I’d like to start things off today by, centering our discussion on the chaffinch{n.苍头燕雀}, the chaffinch is (a type of) European songbird, and we’re going to use the chaffinch’s song development as (illustrative of) songbirds’ song development in general, because many other songbirds follow this same pattern, this pattern of learning songs, okay, so soon after hatching, baby chaffinch start producing these begging songs, begging calls, actually, which basically (are a) message to the parents saying, feed me, feed me, that all for about five weeks, until they grow feathers and start getting ready to fly, you know, become (fledgling{n.羽毛初长的雏鸟;刚会飞的幼鸟}), and then those calls, begging sounds, are replaced by, well, you know how babies, human babies, you know how they make that baby babbling{v.牙牙学语} sounds? like little, soft, (vocalized) murmurings, well, that’s pretty much similar to the noises that fledgling chaffinches make at this next stage (of) development, which is called subsong, subsong makes sense, right, because sub means below, and the subsong is below or happens before their mature song, right, it’s the (immature) or underdeveloped songs, a baby song, make sense, okay, now, they’re not begging for food (anymore) with the subsong, so what do you figure they (are) making these soft murmurings for, well, it’s at this stage, what we call early subsong, that, and this is important, the chaffinch’s subsong begins to provide auditory feedback from which the chaffinch learns, and so, self learning is taking place, because the fledgling hears itself calling out, hears the sounds it’s making, you know, hears (its) subsong, and so, it’s (kinda’) comparing (it) to the parent’s song and so self-learning is taking place through this process, get it, all right, now, as the chaffinch gets a little older, it’s (enters) in what could be called late subsong (where parts of its subsong) sounding more and more like its parent’s song, and we have the next step in song development taking place in late subsong, that is, the introduction of plastic song within the subsong, plastic song referring to, I don’t have (to) write that on the board, do I, referring to the parts of the subsong that sound like the parent’s song, plastic song, dose that sound a little strange to you, well, keep in mind that plastic has formative implications, you know, it (can) mean, like, growth, or development into something, like what the chaffinch’s song is doing, it’s developing into its parent’s song, it’s, not quiet fully realize yet, it doesn’t sound precisely like its parent’s song, remember this’s still the subsong stage we’re talking about, but it’s on its way, (the fledgling is) still learning, imitating parts of its parent’s song, just not quiet the whole thing yet, so, the fledgling gets older and now it’s winter, and during the winter, the young chaffinch doesn’t (practicing its) singing, but in the spring, the chaffinch start back (up) again, singing and practicing, and this time there’s more (of) an emergence plastic song, a stronger presence (of it) within the subsong, and so thereby, their parent’s song is growing increasingly more recognizable and distinct, follows, then, after about a month, the young chaffinch’s song, <crystallizes{v.明确}> into what’s called full song, the exactly song the adults sing, so full songs, (a) full-blown imitation of the adult song, all right, now what’s interesting is that chaffinches are able to complete this process, even from (only) a short exposure to their parents’ songs, exposure during the first few weeks of life is really all they need, and after that they can remember it, even though they need quiet a bit (of) practice to produce actually themselves, so the theory is that there is a sensitive period in the chaffinch’s early life, it’s (early) development, a special sensitive period during which it learns what (its song) should sound like, so chaffinches along with (many) other birds, learn songs early in life, and when they become adults, they don’t change their songs, it’s (a) copy of the parent’s song, like we said, okay.
; n  B" M2 p/ ^& f4 N; G以上听写编辑在：2008-6-3 上午 04:13:266 R& U' {- ]6 m3 {  {% K
听写结束。共录入 1句， 717英文单词。4 a+ w4 j) b! P8 o
开始时间为：2008-6-3 上午 02:42:56，结束时间为： 2008-6-3 上午 04:13:27，共用时' ?& }! j+ P) [: y
91分钟。平均 7.87912087912088词每分钟。
2 R" S+ O5 w6 p6 m* V118. 0301 (DNA)
& P. K: ^3 H/ T2 n: S# z( c开始听写在：2008-6-4 上午 02:08:11
- O) D% V. h% L; y/ hListen to part of a talk in a biology class, I’ve mentioned how DNA solved (many mysteries) in biology, and today I want (to) talk about how it (might relate) to <hypothesis> about (the) travels of the green turtle, every winter some green turtles make a two thousand kilometer journey from Brazil to Ascension Island in (the middle of) Atlantic, where they mate and lay eggs, but the question is why do they travel so far to lay their eggs, one researcher <hypothesized> there are two parts to the (explanation), one is (natal{a.出生的,诞生的} homing), the instinct drives green turtles (to always) return to the beach where they were hatched, the second part has to do with continental drift, a theory that positions (of) earth continents have changed considerably overtime, Brazil and Ascension island were much (close) together, and continental drift drove them apart, but the turtles kept on going back to the island where they hatched, however another scientist question this explanation on the ground that (it) would be very unlikely that conditions would allow generations of turtle over hundreds of millions of years to keep going back to the same nesting ground every single year, so, what’s the connection to DNA? Well, there’re groups of green turtle that nest in locations other than the Ascension island, if green turtle always (return to) the place where they were hatched, then the turtles (that have been) going to the Ascension island to nest would (have been) genetically isolated long enough (to) have DNA (that was very) different from the green turtles (that nest) elsewhere, but when scientists examine DNA from these turtles, their DNA wasn’t that different from the DNA of the turtles that go to Ascension island, we still don’t know the answer to the question about why (a) certain group of turtles go to Ascension island, but this study was a nice example of the usefulness of DNA analysis to biology.9 a* _$ Q$ [3 Z1 q2 e
以上听写编辑在：2008-6-4 上午 02:40:05
+ }( [/ Y1 {- o% ^. I听写结束。共录入 1句， 287英文单词。5 F2 \3 q2 F  a( R, \( Z6 o
开始时间为：2008-6-4 上午 02:08:11，结束时间为： 2008-6-4 上午 02:40:06，共用时
3 J6 e% t1 X' [3 D7 k32分钟。平均 8.96875词每分钟
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[ 本帖最后由 eagledoudou 于 2008-6-4 03:12 编辑 ]

厉害,每天坚持

加油！！！坚持呀！！！

119. OG11 (Business)/ R5 h( E1 N. K
开始听写在：2008-6-4 下午 07:38:096 F, X8 L/ ]( m6 U7 @, H
Listen to part of a lecture in a business management class, okay, let’s talk about the organization and structure in (a) company, how are companies typically structured, functionally, and, by projects, right by function and by projects, twenty years ago companies were organized in function groups, where people with (a certain) expertise work together as a unit, the architects in one unit, the finance people in another unit, well, nowadays a lot of companies are organized around projects, like a construction company could (be) building an office building in one city and (an) apartment (house) somewhere else, and each project has (its) own architects and engineers, now the good thing about project organization (is that it’s easier to change to) adapt to
1 N" ]6 J7 |1 h# \1 bthe needs (of) the project, it’s a small group, (a) dedicated team, not the whole company, now, with that (in) mind, here is a question for you, why do we continue to organize ourselves by function, even now, when in fact we admit that projects are the (lifeblood{n.生机的根源} of) a lot of organizations, why do some companies maintain (a) functional organization instead of (organizing) around projects, yes, because if you don’t have that functional structure within your organization, (chance are) you’d have a harder time to meet the goals of the projects, why, listen, let’s say we (got) four new cars we want to design, why do we need a functional organization, why not just organize the company around the (four) project, these people work for car number 1, those other people (make) car number 2, (yeah, but who’s ganna be) responsible for what, you know, the way you tell who’s, well, we’ll appoint a manager, new car number 1 manager, car number 2 manager, they’re completely responsible, why (should we) have a single organization department that has all four cars passing through it, when you design a car, you need expertise of all the engineers in the company, each engineer needs to be in touch with the entire engineering department, yeah, but I keep asking, why, I want to know why, yes, well, to (eliminate redundancy{n. 冗余,多余物}) probably (one of) the biggest factors in (an) organization, so that there is standards for uniformly and efficiency (in the) organization, okay, that’s probably the primary reason for functional organization right there, is that we want some engineering consistency, we want the same kind of technology used in all four cars, if we disperse those four engineers into the four parts (of the) organization and they work by themselves, there’s a lot less chance that (the) technology’s ganna be the same from car to car, so instead we maintain the functional organization, that means (the) engineers work together in one part of the building, their offices are next to each other because we want them to talk to each other, when an engineer works on a project, they bring the expertise of their whole function group with them, but there is a downside though, isn’t there, I mean, organized a company into functional groups is not all positive, where is the (allegiance{n.忠诚}) of those engineers, it’s to their coordinator, right, it’s to that chief engineer, but we really want our one engineer, this engineer working on car number 1, we want that person’s loyalty to be to that project as well as (to the heart of) the engineering group, we really want both, don’t we, we want to maintain the functional organization, so we can maintain uniformity and technology transfer, (and)
0 f  G( |2 e1 ~8 @expertise, we want cutting edge expertise in every group, but (at) the same time we (also) want the engineer to be totally (dedicated) to the needs (of) the project, ideally, we have a <hybrid{n.混血儿,混合物}>, a combination of both functional and project organization, but there is (a) problem with this (kind of) <hybrid> structure, when you have both functional and project organization, well, what does that violate in terms of basic management principles, unity of command, unity of command, that’s exactly right, so this is a (vicious{a.邪恶的,品性不端的}) violation of unity of command, isn’t it, it (says) that when the engineer working on (a) project seems to have two bosses, we got the engineer boss, and we got the project manager boss, but the project manager is responsible to the project, and is not the official manager of the engineer who works on the project, (and) we try to maintain (peace) of the organizations and sometimes it’s disrupted and (we) have conflicts, don’t we, the project manager for car 1 wants a car part (to) fit in a particular way, for (a) specific situation, (a) specialized case, well, the engineering director says no, we got to have standardization, we got (to) have all (the) cars done this way, we can’t make a special mold for that particular part for that particular car, we’re not gonna do that, so we got a conflict.
% m! d& Y; A7 W0 w; S2 {% \以上听写编辑在：2008-6-4 下午 08:39:11
" d5 z! w* ?" u& a9 h7 t听写结束。共录入 1句， 759英文单词。' u. `8 m- r) B+ z) z7 T5 f' g: M: m7 Y
开始时间为：2008-6-4 下午 07:38:09，结束时间为： 2008-6-4 下午 08:39:12，共用时+ S1 H; e2 c0 L. w* [; R5 k
61分钟。平均 12.4426229508197词每分钟。: i0 L+ o5 b% V6 |
120. 0001 (Music) , a* S9 o% J2 y8 z% X
开始听写在：2008-6-5 下午 11:10:588 q! I5 \; P/ \4 B* s
Listen to part of a talk in music class, the professor is discussion a musical theater production, it may seem strange that we’re discussing music from (a) Broadway Production in this class, the lion king, since it’s based on Hollywood movie, I mean music performed for Broadway theater in the heart of New York city surely (would) seem to be in the western tradition of popular music and not have much in common with the music we’ve been study in this course, such as music in Indonesia, or Zulu (chants{n.曲子;赞美诗}) of south Africa, music (that) developed outside the western tradition of European and America, but in fact, musicians have a long-standing tradition of borrowing from one another’s cultures, and this production’s director intentionally included both western and non-western music, that way, some of the (rhythms), instruments harmonies typical of non-western music contrast with (and) complement popular music (more) familiar to audiences in North America and Europe, music like rock jazz, or Broadway (style) show tunes, so I want to spend (the) rest of this class and most of (the) next one on the music of show (the) lion king as a way of summarizing some of the technical distinctions between typical western music and non-western music (that) we’ve been studying, now the African influence on the music is clear, the story takes place in Africa, so the director got (a) south Africa composer to write songs with the distinctly African sound, and the songs even include (words from) African languages, but (we’ll get back to the) African influence later, first let’s turn to the music that (was) written for the shadow (puppet{n.木偶}) scenes in the show of the lion king, music based on the Indonesian music used in the shadow (puppet) theater (of) that region.9 u  M9 w  c+ a0 D* s( `- H
以上听写编辑在：2008-6-5 下午 11:34:14; B* Z5 R: a4 v' y; y2 R: @, A
听写结束。共录入 1句， 284英文单词。
( {* i+ Y- _2 X& m& _& y开始时间为：2008-6-5 下午 11:10:58，结束时间为： 2008-6-5 下午 11:35:11，共用时
  G  F# u: u$ g/ E" B' @& R25分钟。平均 11.36词每分钟。( ?+ S' ]+ O( N( Q, s0 C  I( i

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[ 本帖最后由 eagledoudou 于 2008-6-6 01:54 编辑 ]

不错不错 我哪天达到这个水平 就笑死了！！！9 u( r3 k6 P8 Y9 w* {& b
加油加油！！！

121. 模考3 (History)
+ g$ s9 `. A4 v0 C开始听写在：2008-6-4 下午 10:10:56) Y% K1 g6 `1 @6 m+ Z6 k+ M
Listen to part of a talk in a history class, okay, so last time we (were) talking about the expansion of the railroad in the nineteen century, um, why it (was) so important in the development in the southwestern United States, we talked about a couple of things, the railroad brought (about) land speculation, and development of lands for timber and farming, and, well, this is what I (want) to talk about today, the railroad brought tourists, they traveled by train, viewing the landscape, (and) came to (get a) taste what the wild west (was) like, in the past one hundred years, a whole of tourism industry (was) grown up around this idea, just like ranching or gold mining, it helped to integrate the southwest into the economy of the rest of the country, tourism helped integrate the culture or life (in the southwest) into, well, (kind of) into the minds of the rest of the country, and large-scale tourism couldn’t (have) happened without the expansion of the railroad, (so the) railroad brought tourists, and tourists brought (some) changes that I think really interesting, the thing about tourism (that) you should know first (and this has been) determined by sociologists, sociologists say that tourists look for (the) familiar, most tourists don’t go someplace looking for new things, they go looking for things they already know something about, tourists (will) have some sense of the culture of (a) place, may be based on the <stereotype{n.陈规,刻板模式}> or (a) generalization, but, that’s what they expect to see, and places that deal with tourism create things knowing this, they create what tourists (are) looking for, take the grand (canyon) railway, any of you been on it, well, this is (a) train takes tourists to the grand (canyon), and while you are on the train, you see (shootouts{n.枪战}) and gun (fights), now, the railroad running with the great (canyon) was never actually (robbed), but tourists have this idea the what things (were) like (in) the wild west, you know, gun fights and train robberies, and the (tourist) railway wants to make them happy, there is a great term for this, it’s called staged (authenticity{n.可信赖性;诚实;确实}), in other words, people go to the grand (canyon) to take the fantastic natural landscape but they also want to get (a) sense of what (it) was like there during the real wild west, well, the railway knows this, so they try to re-create some of that culture history, oh, and we also see this at the grand (canyon) with the creation of Hopi house, have any of you visited Hopi house, I went there last year, would you tell the class what it was like, yeah, it’s kind of (a big) gift shop, (where they) sell traditional crafts, jewelry, pottery, (staff) like that, and supposedly it’s made by Hopi people, the people who live there, anything else, what about the architecture, oh right, it’s unusual building, it’s (supposed to look) like a real Hopi building, I think, good, I (noticed) the same (things), now I’m not (saying) Hopi house (is) a (fraud{n.欺骗;骗局}), and the staff they (sell) really is made by Hopi artists, but it’s still an example of staged (authenticity), something I bet you didn’t know, the Hopis never actually live in or even near the grand (canyon), there was another native American people who lived in the (canyon), known as the Havasupi, but the tourist company (that) ran the place, it was called Harvey company, (decided to hire the) the Hopi instead of the Havasupi, can anyone guess why, were the Hopi better artists, I mean, did they made better things, not really, the way I understand it, the people in the Harvey company were very good at making money, and they figured that the Hopi people and the Hopi crafts would sell better to the tourists, so they built Hopi house, and hired the Hopi people to work there, and one of those people a famous Hopi (potter), was hired by the Harvey company and she worked to rebuild, or kind of restructure the Hopi pottery, it not sure whether this was her own doing or whether she was instructed to do this but (archaeologists) working at ancient sites in the southwest uncovered pottery and she started copying the same style, well, there’s some debit about that whether (it) was her idea, or (whether) she was told to do it, either way, before you know (it) Hopi pottery was changing, it’s another case of contradictions (of) staged authenticity, certainly the Hopi pottery you buy there is real, I mean, it does represent the pottery of the southwest, but the Hopi people (are) not the (traditional) habitats of the (canyon), and their art gets affected by the tourist market, the Harvey company basically changed history to make money.
0 W; q3 y* U- m  l以上听写编辑在：2008-6-4 下午 11:09:59. N5 g2 d) e3 S& V/ }
听写结束。共录入 1句， 780英文单词。
3 L* V+ Z  `' f& a开始时间为：2008-6-4 下午 10:10:56，结束时间为： 2008-6-4 下午 11:10:00，共用时
6 \7 b% S0 N# ]2 R60分钟。平均 13词每分钟。
& j) I' Z, x0 B: \, S2 e+ E# w+ J122. 9910 (Literature)
3 T$ \6 t7 q0 D6 b6 i/ W开始听写在：2008-6-5 下午 11:35:16
1 c. w  G' x. a' m2 |Listen to part of the talk in the United State literature class, continuing our survey (of the) nineteen century, let’s take a look now at Harriet Beecher Stowe, now Stowe is best known for her novel Uncle Tom’s <Cabin>, a book that details the harshness of plantation life in the south, the book was <extremely> popular in the United States as well as in other countries, (ironically{ad.说反话地;讽刺地}) though, for all the attention given to Uncle Tom’s Cabin, it’s far from Stowe’s best work, she did write one other novel about life in the south, but much of her best work has nothing to do with south at all, in fact, Stowe’s best work is about the village life in the New England’s states in the nineteenth century, in (recording to) the customs of the villages she wrote about, Stowe claimed that her purpose was (to) reflect the (images) as <realistically> as possible, she usually succeeded, for her settings were often described actually and in detail, in this sense, she was an important forerunner to the realistic movement (that) become popular later in the nineteenth century, she was one of the first writers (to) use the local dialect for her characters when they spoke, and she did this for thirty years before Mark Twain <popularized> (the) use of (local) dialect, it makes sense that Stowe (would) write (about) New England life, since she was born in Connecticut, as a young woman there, she worked as a teacher, the teaching job helped to lead (to) her first published work, a geography book for children, later when she was married, her writing helped (her) support her family <financially>, throughout her life she (wrote poems), travel books, biological (sketches) and children’s books, as well as novels for adults.# A: [: ^" r+ P: v. D& W
以上听写编辑在：2008-6-5 下午 11:55:17" P8 U6 }' C1 h, ~( r& x" V( X
听写结束。共录入 1句， 279英文单词。) k& B5 @8 y2 K
开始时间为：2008-6-5 下午 11:35:16，结束时间为： 2008-6-5 下午 11:55:19，共用时9 p; C( T0 X9 u' ^
20分钟。平均 13.95词每分钟。
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" r7 h; R% i7 f  r5 g[ 本帖最后由 eagledoudou 于 2008-6-6 02:38 编辑 ]

123. OG6 (Campus)9 g! T* {4 e, F( i* Y) w/ U
开始听写在：2008-6-5 下午 08:30:32
" B' e  S: L, \9 RListen to a conversation between a student and her professor, hey, Helen, how are you doing, pretty good, thanks, how are you, okay, did you have a chance to look my graduate school application, you know, the statement (of purpose) I wrote, well, yes, in fact, here it is, I just read it, oh, great, what did you think, basically, it’s good, what (you might) actually do is take some (of these) different points here, and (actually) break them out into several paragraphs, so, one, your purpose for applying graduate study, why do you want to go to graduate school, and an area of specialty, and, why you want to do the area you’re specifying, what do you want to do with your degree (once you) get it, okay, so those are, they’re pretty clear on those four points they want, right, so you just break them out into, you know, separate paragraphs and (expand) on each point some, (but) really (what’s) critical with these is that you got to let yourself come through, so you get to let them see you (in these) statements, expand some more on what’s happened in your own life, and what shows your motivation and interest in this area, in geology, let them see what really, what captures your imagination about this field, okay so, make it a little more personal, that’s okay, that’s fine, they (look) for that staff, you don’t want (to) go overboard, but it’s critical that somebody see what your passion is, you personal motivation (for) doing this, okay, and that’s (gotta) come out in here, and let’s see, you might also give a little, since this is your only chance to do it, you might give a little more explanation about your unique undergraduate background, so you know (how) you went through, you know, the music program, what you got from that, why you decided to change, I mean it’s kind of unusual (to go) from music to geology, right, yeah, I was afraid that, you know, (maybe) the personal type staff wouldn’t be what they want it, no, in fact it’s, given an example, I had a friend, when I was (an) undergraduate, went to medical school, and he put on (his) medical school application, and he could actually tell (if) somebody actually read (it) because he had (asthma{n.哮喘,气喘}) and (the reason that he) wanted to go medical school (was) he said he want to do he wants to do sports medicine because he had this real interest, he was (an athlete too) and he wanted to help the (the athletes who had this) physical problem, and he could always tell (if somebody) actually read his letter because they would (always) ask him about that, so something unique, so see, you know that was good and I think for you probably, your music background’s the most unique thing that you’ve got in your record, so you see, you got to make yourself stand out from a couple hundred applications, (does that help any), yeah, it dose, it gives to me some (good) ideas, and what you might also do too is, you might get a friend proof it or something at some point, oh sure, (also) think about presentation, how the application looks, in (a) way you show some other skills here, like organization, a lot of staff (that) they are formally asking for, they’re looking at, so your presentation (format{n.格式,结构}), your grammar, all that staff, they’re looking at your materials at the same time.
2 N: s5 Q3 g7 _; @; J& ?) t& R4 f8 E以上听写编辑在：2008-6-5 下午 09:12:45
. O: D$ H/ J/ {9 Q. E5 T听写结束。共录入 1句， 548英文单词。; `; u! k" S+ L( e7 h
开始时间为：2008-6-5 下午 08:30:32，结束时间为： 2008-6-5 下午 09:12:45，共用时8 y, O3 p: G) ^7 ]* m" g
42分钟。平均 13.047619047619词每分钟。  X) Y& W! E5 p8 U) l) _
124. 9908 (Film History)
. W; `3 i. ^4 e开始听写在：2008-6-5 下午 11:55:548 z! L% ?7 e4 y- f
Listen to part of a talk being given to a film class on a college campus, to get (us) started this semester I’m going to spend the first two classes given you background lectures about some (basic cinematic{a.电影的;影片的}) concepts, once you are a little familiar with basic film <terminology{n.用辞,术语学}>, we’ll be ready to (look at) the history of movies in United States, you’ll be (expected) to attend showing (of films on) Tuesday evening at seven o’clock in (Jennings Auditorium), that’s our lab, then during our Wednesday <seminar>, we’ll discuss in (depth) the movie you saw the night before, we’re not covering silent film in this course, that we’ll begin with the first talking motion picture, the jazz singer, released in nineteen twenty seven, the (next) week we’ll be looking at the gold diggers in nineteen thirty three, a piece (that is) very <representative> of the escapist (trend in) films released during the depression, some of the films watching will (probably) be new to you, like Frank Capra’s why we fight, other you might (have) already seen on TV like Cooper’s doctor’s strange love, however, I hope you’ll see even familiar film with new eye, in the last three weeks for the course, we’ll (be) watching films (from the) nineteen eighties, and you’ll choose one of them as a subject for extensive written (critique{n.批评,评论}), we’ll talk more about the requirements of the (critique) later in this semester." j9 i8 v+ Y+ `6 P
以上听写编辑在：2008-6-6 上午 12:20:23: |/ {$ N8 P' T" ]1 f% L: R