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M: Our team won yesterday’s football game.
W: Oh, you’re excited, are you
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Before starting our tour of Monticello, I’d like to give you some historical facts that might help you appreciate what you see today even more.
Monticello was the very much loved home of Thomas Jefferson for over fifty years. Jefferson, who was, of course, President, was also a great reader and language enthusiast. He read widely on different subjects, including architecture. He wasn’t formally trained in architecture, but as a result of his study and observation of other buildings, he was able to help design and build the house. He chose the site himself, naming the estate "Monticello", which means "little mountain" in Italian. In fact, many of the ideas behind the design also came from the Italian architect Andrea Palladio, who lived in the sixteenth century and who had a great influence on the architecture of England.
Jefferson, however, ignored one of Palladio’s principles—that is, not to build in a hi
A. To describe Jefferson’s role in history.
B. To introduce a tour of Jefferson’s home.
C. To train a group of architects.
D. To raise money for the Monticello Historical Society.
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When we accept the evidence of our unaided eyes and describe the Sun as a yellow star, we have summed up the most important single fact about it—at this moment in time. It appears probable, however, that sunlight will be the color we know for only a small part of the Sun’s history.
Stars, like individuals, age and change. As we look out into space. We see around us stars at all stages of evolution. There are faint bloodred dwarfs school that their surface temperature is a mere 4,000 degrees Fahrenheit, there are searing ghosts blazing at 100,000 degrees Fahrenheit and almost too hot to be seen, for the great part of their radiation is in the invisible ultraviolet range. Obviously, the "daylight" produced by any star depends on its temperature; today (and for ages to come) our Sun is at about 10,000 degrees Fahrenheit, and this means that most of the Sun’s light is concentrated in the yellow band of the spectrum, falling slowly in
A. The dangers of invisible radiation.
B. Faint dwarf stars.
C. The Sun’s fuel problem.
D. The evolutionary cycle of the Sun.
[听力原文]
M: This house won’t be big enough when the new baby arrives in two months. I’m afraid we’ll have to buy a big one.
W: But I don’t see we can afford it right now. We can let Andy live with my mother then.
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W: This house won’t be big enough when the new baby arrives in two months. I’m afraid we have to buy a big one.
M: But I don’t see we can afford it right now. We can let Andy live with my mother then.
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M: I am afraid Peter won’t be back until 12:00. Shall take a message for him
W: Oh, yeah, please ask him to give me a call when he gets back.
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M: As the pollution is going up. I won’t he able to stay here next year.
W: You earned so well! Why don’t you stay longer
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M: Mary, our meeting may last longer than planned. Would you call my wife and tell her I wouldn’t have supper at home
W: Yes, sir. If anyone calls while you are out, I’ll take the message.
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W: Would you like to come to our English party this weekend I’d like you to meet my new friends from Australia.
M: Sorry, I can’t. I have to meet an American friend at the airport and make arrangements for his speech.
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M: My parents are coming to see our apartment this weekend.
W: Looks like I’d better lend you my vacuum cleaner then.
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M: Where shall we go for our holiday this year
W: Let’ s have a change. I’ m tired of Spain. How about Italy or Greece
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W: Our rent is now 500 dollars a month.
M: Really It’s too high! It’s exactly twice the rent for my apartment.
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Before we begin our tour, I’d like to give you some background information on the painter Grand Wood. We’ll be seeing much of his work today. Wood was born in 1881 in Iowa farm country, and became interested in art very early in life. Although he studied art in both Minneapolis and Chicago, the strongest influences on his art work were European. He spent time in both Germany and France and his study there helped shape his own stylized form of realism. When he returned to Iowa, Wood applied the stylistic realism he had learned in Europe to the rural life he saw around him and that he remembered from his childhood around the turn of the century. His portraits of farm families imitate the still formalism of photographs of early settlers posed in front of their homes. His paintings of farmers at work, and of their tools and animals, demonstrate a serious respect for the life of the mid-western United States.
By the 1930’s, Wood was a leading f
A. Churches.
B. Farmhouses.
C. Lakes.
D. Young ladies.
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