新视野听说教程4文本.docx
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新视野听说教程4文本.docx
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新视野听说教程4文本
Unit1
ShortConversations:
(ACBBD,BACCD)
1.W:
Youdon’treallyseeminterestedinpaintingpictures,sowhydidyouapplytothisartprogram?
M:
Tobehonest,Ithoughtthatthroughart,Icouldbecomefamous.Prettystupid,huh?
Q:
Whatcanbeinferredfromthisconversation?
2.W:
Youhaveeverythingyoueverwanted!
Butwhydoyoulooksoblue?
M:
Ah,man,Idiscoveredthatallthosethings—money,fame,andthelot—areallempty.Andintryingtogetthem,Iignoredmyart.
Q:
Whyisthemannothappy?
3.W:
Hey,Marty.What’sthematter,pal?
Whenyoufirststartedwriting,youdidsomuchbetterwork.Areyouboredorsomething?
M:
Iknowmyworkissuffering,butIdon’tknowthereason.Idon’tseemsointerestedanymore.Maybe,asyousaid,Iambored.Whoknows?
Q:
Whatarethespeakerstalkingabout?
4.W:
Isittruewhattheysayaboutthedirector?
Doeshereallyworkforart,notforfame?
M:
That’swhatpeoplesay,andI’minclinedtobelievethem.Hecertainlyhasn’tsoldouttothecheapfilmcompanies.
Q:
Whatcanbeinferredfromtheconversation?
5.W:
What’sontheschedulefortonight’sshow?
SomethingI’mlikelytoenjoy?
M:
Youmightlikeit—astoryaboutadancerwhosellshissoultobecomefamousandthenloseshisfriends,family,andeverythingimportant.
Q:
Whatistonight’sshowabout?
6.W:
Isn’tthatthemanwhowonanAcademyAwardforhiscartoonartwork?
M:
What?
Thattramp?
Hey,youknow,Ithinkyou’reright.Man,whathappenedtohim?
Hewasreallyfamous!
Q:
Whathappenedtotheartistatlast?
7.W:
Look!
Look!
Look!
Lookatme,Dad!
I’vedoneit!
Success,money,popularity…TheworldisatthetipofmyfingersandIfeellikeaqueen!
M:
Sweetheart,Ithinkyouneedtocooldownabit.Don’tletallofthissuccessgotoyourhead.
Q:
whathashappenedtothewoman?
8.W:
Getagriponyourself!
Don’tyoudarequityourjob!
Youreallythinkyoucansucceedasanactor?
Doyoureallythinkyoucanbecomefamous?
M:
Idon’tthinkIneedtobefamoustosucceed.I’msureIcangetworkasanextraandthenmaybemoveontomoreinterestingroles.
Q:
Whatarethespeakerstalkingabout?
9.M:
Hey,you!
Watchout!
Where’syourhead?
Walkinginfrontofcarslikethat?
W:
Huh?
Ah!
Oh!
Sorry,Imean…thanks.Ijustreceivedwordfrommyagentthatmybookistobepublished.Isn’titwonderful?
SorryIwasdaydreamingaboutthefametocomeandforgottolookatthetraffic.
Q:
Whereistheconversationtakingplace?
10.W:
Thanksforcomingin,Ilovedyourwork,butIwishitlookedmorelikeyourpreviouspieces.
M:
God!
Iknewit!
Complaintsfrommyteacher,mymother…evenmydoctor!
Andnow,myboss?
SinceIbecamefamous,noonewillletmechange!
Q:
Whatistherelationshipbetweenthespeakers?
Longconversation:
(ABACB)
M:
There’sonlyonethinginlifeworsethanbeingtalkedabout,andthat’snotbeingtalkedabout.
W:
ThatwassaidbyOscarWilde,wasn’tit?
M:
That’sright.You’reprettysmart.
W:
Ihavemymoments.ButI’mafraidthatIwon’trememberanythingelseforyourtesttomorrow.
M:
Well,let’shavearun-through.First,whatcanyourememberaboutWilde?
W:
Thebasics,obviously—British,19thcenturywriter…Hewasgay,wasn’the?
M:
That’sright.Andheactuallywenttojailforit.
W:
Why?
Theremust’vebeenmanygaysinEnglishatthetime.Whywashesingledouttobeputinprison?
Or,weretheEnglishthrowingallgaysinjail?
M:
NO,noteveryone.ButthingsweredifferentforWilde.Afamousperson,likehim,isn’tfreetodowhathelikes.Peoplepaidmoreattentiontohisactions.Therewerereporters,andeverythingthathesaidanddidwaswatchedcarefully.
W:
Yeah?
Itmight’vebeenbetterforhimifhewasn’tfamous.
M:
Maybe.But,thenagain,ifhewasn’twell-known,wemightnothavehiswonderfulstoriestoday.
UnderstandingaPassage:
(AADBC)
Youyoungpeoplegocrazyoverfamouspeople.WillyoulistentomewhenItellyouyourgenerationiswrongaboutthis?
Letmeuseanexampletoillustratemypointtoyou.
MarilynMonroe,youmightnotevenknowwhoshiis.Backinmyday,whenIwasyourage,shewasabigmoviestar.Butshewasn’tbornamoviestar,nosir.ShewasasimplegirlwithbeautyandinnocenceuntilshewenttoHollywoodtomakemovies.That’sright.Insteadoflivingoutasimplelifeofintegrityandhardworkortryingtodeveloparespectablenameinherprofession,shesoughtfame.Well,I’lltellyou,shegotherwish.Shemadehermovies—AllAboutEvein1950,GentlemenPreferBlondesin1953,SomeLikeItHotin1959,andmore.Shegotintotroublethroughout—drugs,abuse…Allofthiscamecrashingdownonherhead,andshediedatanearlyagein1962.Sad,really.
Ihopethatthisexampleshowsyouthedangersoffame.Believeme,it’sbestjusttoliveasimplelife.
Unit2
Shortconversations:
(DDDCB,AABCD)
1.W:
Idon’tquiteunderstandwhatmadeCharlieChaplinsuchapopularmoviestar.
M:
Serious?
Lookathisworkandcompareittootherfilmsofthetime.Hewassooriginalthatpeoplewerereallysurprisedbyhisfilms.
Q:
whatcanbeinferredfromtheconversation?
2.W:
MydramateachersaidChaplinisanexcellentmodelforayoungactortopatternhimselfon.
M:
I’dbehard-pressedtoarguewiththat.Theguywasinnovativeandpossessedsuchacreativemind.Yeah,trytobelikehim.
Q:
Whatarethespeakerstalkingabout?
3.W:
I’vegivensomethoughttoenteringpoliticswhenIgetolder—youknow,maybeworkingbehindthescenestohelpsomeonegetapositioningovernment.
M:
Whynotrunforofficeyourself?
Areyouafraidofstandingoutasafemalepolitician?
Q:
whatcanbeinferredfromtheconversation?
4.W:
Iadmireher,notbecauseshe’sawomaninthetough,maleworldofinternationalpolitics,butbecauseshe’ssohonest.
M:
Yeah,Ifeelthesameway.Certainly,therearen’tmanypeopleastruetotheirwordassheis.
Q:
Whatdoesthemanthinkaboutthepolitician?
5.W:
Youknow,ourfamilyisreallyspecial.Manyofourancestorsarerememberedasgreatinventorsandscientistswhocontributednewideastosociety.
M:
Yes,that’swhatI’vealsoheardfromUncleMarty.Hesaidourfamilytreewasfullofgeniuses.
Q:
Whatarethespeakerstalkingabout?
6.W:
DidyouseewhatImade?
It’salightbulbthat’llneverburnout.
M:
That’samazing!
Athinglikethatcouldmakeyoufamous.Youshouldcontactapatentofficeassoonaspossibleandregisteraclaim!
Q:
Whatwillmakethewomanfamous?
7.W:
Nomatterwhatapersonsaysaboutme,noonecansaythatI’mnotoriginal.
M:
Forsure,that’sonecriticismthatnoonewillhityouwith.Yourartworkisdefinitelyunique.AndIthinkthat’sreallyimportant.
Q:
Accordingtotheman,whatshouldbevaluedaboveallelse?
8.W:
Whatdoyouthink?
Isitdangeroustobeunlikeotherpeoplesometimes?
M:
Nah.Ithinkit’smoredangeroustobesimilartoothers—that’swhenyouruntheriskofbecominginsignificantandforgotten.
Q:
Accordingtotheman,whatisdangerous?
9.M:
IsupposeIcould’vebeensuccessfulbybeinglikeotherpeople,butIfeltthatIshouldexpressmyownoriginalideas.AndIthinkthisisalessonyoushouldlearn.
W:
Masaysthesamethingabouthersuccess.Iguessthinkingthesameaboutthatiswhatfirstbroughtyoutwotogether.
Q:
Whatistherelationshipbetweenthespeakers?
10.W:
I’mnotsayingthatyourworkispoor,justthatitlacksimagination.Youhaven’tdoneanythingtosetyourselfapartfromyourclassmates.
M:
Ifmyassignmentslooksomuchlikeothers,whydoyougivemelowergradesthanyougivethem?
Q:
Whatistherelationshipbetweenthespeakers?
Longconversation:
(DABBA)
M:
Lookatyou,alldressedupinabowlerhat,lookingalldapperlikeCharlieChaplin.It’snotHalloween,though.Areyougoingtoleavethehouselookinglikethat?
W:
WouldyoubelievethatI’mgoingtoaparty?
M:
Iftherewasapartytonight,Iwould’veheardaboutitbynow.Sowhat’sthedeal?
W:
I’mauditioningforafilm.Ithought,well,thislookworkedwellforChaplin.
M:
Soyouthoughtit’dworkforyou.Idon’tthinkmuchofthatidea.
W:
Whynot?
ChaplingotalotofsuccessbecauseofhisLittleTrampcostume.AndI’vecopieditexactly.
M:
Chaplindidverywell—butthat’sbecausethelookwasoriginal.Hedidn’tcopyanyoneinHollywood.
W:
Butlook,I’mawoman,awomandressedlikeChaplin.That’soriginal,isn’tit?
M:
I’mafraidnot.I’mprettysurethatI’veseenotherwomendothesamething.IfyoureallywanttosucceedlikeChaplindid,youshoulddowhathesaid.Trytoinventanddevelopsomethingpeoplehaven’tseenbefore.
W:
Iguessyou’reright.I’llgobackuptomyroomandchange.
1)Whatarethespeakerstalkingabout?
2)WhyisthewomandressedlikeChaplin?
3)Whatcanbeinferredfromtheconversation?
4)Besides“beoriginal”,whatadvicedoesthemanhaveforthewoman?
5)Whereistheconversationtakingplace?
Passage:
(BCDAC)
Somepeoplestandoutastrulyspecialandoneofakind.CharlieChaplin,asuperstarofsilentcomediesandoneofthegreaticonsofthe20th-centuryfilm,isoneofthoseuniquepeople.Chaplinhadarottenchildhoodandanearlystartonstage,performingevenasachildinvaudeville.HewenttoHollywoodin1914andbeganactinginsilentcomedies.By1915,hecontrolledmostaspectsofhisfilms,inwhichheusuallyappearedasacharactercalledsimplythe“LittleTramp”:
alovablyshabbydreamerwithabushymoustache,bowlerhatandcane.ChaplinwasoneofthefoundersofUnitedArtistsStudiosandwasoneofthefirstmoviemakerstohavecompletecontroloverhisfeatures.Hisbest-knownfilmsinclude1925’sTheGoldRush,1931’sCityLights,and1936’sModernTimes.Famouslyoutspokenandsympatheticto
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