2019英语专八听力材料：interview练习附音频及文本（3）

2019英语专八听力材料：interview练习附音频及文本（3）

　　英语专八听力材料内容一般是有关政治、经济、历史、文化、教育、语言、文学、科普方面的演讲和访问，多听多练错不了，最好能积累相关的词语。下面是新东方在线英语专八频道整理的2019英语专八听力材料：interview练习。

2019英语专八听力材料：interview练习附音频及文本十篇

　　[00:23.81]INTERVIEW 3

　　[00:25.46]In this section

　　[00:26.50]you will hear ONE interview.

　　[00:28.27]The interview

　　[00:29.18]will be divided into TWO parts.

　　[00:31.70]At the end of each part,

　　[00:33.22]five questions will be asked

　　[00:34.73]about what was said.

　　[00:36.57]Both the interview

　　[00:38.13]and the questions

　　[00:38.89]will be spoken ONCE ONLY.

　　[00:41.58]After each question

　　[00:43.14]there will be a ten-second pause.

　　[00:45.50]During the pause,

　　[00:47.18]you should read the four choices

　　[00:49.31]of A, B, C and D,

　　[00:51.90]and mark the best answer

　　[00:53.50]to each question

　　[00:54.62]on ANSWER SHEET TWO.

　　[00:56.90]You have THIRTY seconds

　　[00:58.58]to preview the questions.

　　[01:30.51]Now, listen to Part One

　　[01:32.02]of the interview.

　　[01:33.45]Questions 1 to 5 are based on

　　[01:35.98]Part One of the interview.

　　[01:38.42]W: Welcome

　　[01:38.98]to our program Book Review.

　　[01:41.40]Today we are honored

　　[01:43.21]to have invited Paul Hendrickson

　　[01:45.31]to tell us a different story

　　[01:46.31]about Ernest Hemingway.

　　[01:48.47]Mr. Hendrickson is

　　[01:49.81]an American author, journalist,

　　[01:52.30]and professor.

　　[01:53.89]In 2003, he was the recipient

　　[01:56.88]of the Chicago Tribune's

　　[01:58.66]Heartland Prize for Sons

　　[02:00.53]of Mississippi: A Story of Race

　　[02:02.74]and Its Legacy.

　　[02:04.19]In 2012, he was honored

　　[02:06.81]with a second Heartland Prize

　　[02:08.69]for the book

　　[02:09.81]about Hemingway.

　　[02:10.63]M: Thank you.

　　[02:11.58]W: After the book

　　[02:12.97]about Hemingway was published,

　　[02:14.83]Howell Raines made a comment

　　[02:17.02]in The Washington Post,

　　[02:18.57]saying "While reading

　　[02:21.06]Hemingway's Boat,

　　[02:21.66]it occurred to me

　　[02:22.66]that serious students

　　[02:23.99]of Ernest Hemingway have been

　　[02:25.06]like passengers

　　[02:27.06]in another vessel,

　　[02:28.08]the metaphorical boat

　　[02:29.91]invoked by his friend and rival F.

　　[02:32.45]Scott Fitzgerald in The Great Gatsby.

　　[02:34.92]As readers,

　　[02:36.21]we have been beating

　　[02:37.36]against a ceaseless current

　　[02:39.15]of posthumously published novels,

　　[02:41.58]biographies,

　　[02:42.35]family memoirs,

　　[02:43.59]psychoanalytic studies

　　[02:45.53]and polarized critical debates

　　[02:48.06]about Hemingway's oeuvre

　　[02:50.62]and character.

　　[02:51.50]Now thanks to Paul Hendrickson,

　　[02:54.05]we can rest

　　[02:54.93]on our oars for a while."

　　[02:57.08]M: That is a high compliment.

　　[02:59.89]W: If I'm not mistaken,

　　[03:01.07]the name of the book

　　[03:02.36]is Hemingway's Boat.

　　[03:04.02]M: Yes, but to be precise,

　　[03:06.40]its full name is Hemingway's Boat:

　　[03:08.60]Everything He Loved in Life,

　　[03:10.41]and Lost,

　　[03:11.28]1934-1961.

　　[03:14.55]W: That is to say,

　　[03:15.79]it is focused on one period

　　[03:18.05]of Hemingway's life?

　　[03:18.91]M: Yes,

　　[03:20.21]and the most important period.

　　[03:22.13]W: In the book you wrote,

　　[03:23.60]"Scholarly forests have been

　　[03:25.81]clear-cut

　　[03:26.71]in the service of explaining

　　[03:28.21]his so-called fetishes."

　　[03:29.88]What does that mean?

　　[03:31.50]M: Well, what I mean is

　　[03:33.36]that there are lots of

　　[03:34.97]previous works

　　[03:35.64]that shed light

　　[03:36.57]on the legendary life

　　[03:37.60]of Hemingway,

　　[03:38.50]but that does not mean there

　　[03:40.19]is nothing new

　　[03:41.09]to discover on the subject.

　　[03:42.96]W: Wow, that's indeed always

　　[03:45.00]the case.

　　[03:46.25]M: And what I wanted was

　　[03:47.29]making my book

　　[03:48.56]to be far less a biography

　　[03:50.16]than an interpretation,

　　[03:51.94]an evocation,

　　[03:52.91]with other lives streaming in.

　　[03:55.56]W: Sounds innovative.

　　[03:57.31]I have noticed that,

　　[03:59.27]in the bibliography,

　　[04:00.87]76 biographical works

　　[04:02.34]about Ernest Hemingway

　　[04:04.27]are listed,

　　[04:05.52]9 of them by wives,

　　[04:07.20]siblings and children,

　　[04:08.70]followed by memoirists,

　　[04:10.58]respected biographers

　　[04:12.34]and doctoral students.

　　[04:14.21]M: Yes. I did a lot of

　　[04:15.94]preparations for the book,

　　[04:17.80]and having picked my way

　　[04:19.22]through this thick undergrowth

　　[04:20.51]of biographical criticism and research,

　　[04:23.67]I believe that

　　[04:24.62]by focusing on Pilar,

　　[04:26.62]the 38-foot cabin cruiser

　　[04:28.65]Hemingway purchased

　　[04:29.68]in New York in 1934 for $7,495,

　　[04:36.04]I have found a fresh way

　　[04:37.77]of telling a familiar story.

　　[04:39.70]W: Well,

　　[04:40.36]that sounds really impressive.

　　[04:42.30]But what is so special

　　[04:44.18]about this cruiser?

　　[04:45.65]M: Pilar was designed

　　[04:47.34]for catching big fish

　　[04:49.02]in the Caribbean,

　　[04:49.82]and my book mainly describes

　　[04:51.79]Hemingway's life on board.

　　[04:53.60]In this way,

　　[04:54.73]I can concentrate on fishing,

　　[04:56.85]friendship and fatherhood.

　　[04:59.06]I lavished pages

　　[05:00.60]on cordial relationships

　　[05:02.21]that blossomed on the boat

　　[05:03.51]with otherwise

　　[05:04.62]anonymous characters,

　　[05:06.05]for example,

　　[05:06.72]an American diplomat

　　[05:08.18]in Havana whose wife

　　[05:09.97]typed Hemingway's letters;

　　[05:11.90]an aspiring writer

　　[05:13.28]who knocked on Hemingway's door

　　[05:15.53]in Key West seeking advice

　　[05:17.67]and was co-opted

　　[05:18.97]as a crewman.

　　[05:21.23]This is the end of Part One

　　[05:22.88]of the interview.

　　[05:24.35]Questions 1 to 5 are based on

　　[05:26.76]what you have just heard.

　　[05:28.78]1.When was Paul Hendrickson

　　[05:32.64]honored with

　　[05:33.74]a second Heartland Prize?

　　[05:45.12]2. What did the man want his book,

　　[05:48.64]Hemingway's Boat,

　　[05:49.53]to be like?

　　[06:00.55]3. How many biographical works

　　[06:03.61]about Hemingway are listed

　　[06:05.58]in the bibliography

　　[06:06.72]of Hemingway's Boat?

　　[06:18.55]4.How did the man find

　　[06:21.66]a fresh way

　　[06:21.63]of telling a familiar story?

　　[06:33.74]5.Why does the man describe

　　[06:37.38]Hemingway's life on board

　　[06:38.91]in his book?

　　[06:49.78]Now, listen to Part Two

　　[06:51.13]of the interview.

　　[06:52.76]Questions 6 to 10 are based on

　　[06:55.27]Part Two of the interview.

　　[06:57.58]W: Are these characters real?

　　[06:59.37]M: Yes, and both of them tried

　　[07:01.61]to write about their experiences

　　[07:03.15]with Hemingway,

　　[07:04.60]but their memoirs

　　[07:05.76]went unpublished

　　[07:06.82]and unknown until I came along.

　　[07:09.67]W: I get it.

　　[07:10.31]So what did Pilar actually mean

　　[07:12.98]to Hemingway?

　　[07:14.07]M: For Hemingway,

　　[07:15.34]Pilar was also the scene

　　[07:16.91]of time spent

　　[07:18.30]with wives and children,

　　[07:19.99]but these reflections

　　[07:21.04]do not sweeten Hemingway's

　　[07:22.70]reputation.

　　[07:24.19]His youngest son,

　　[07:25.57]Gregory, once called him

　　[07:27.25]"a gin-soaked monster".

　　[07:29.22]W: What a pity!

　　[07:30.74]I guess the relationship

　　[07:32.40]between them went rather lousy.

　　[07:34.66]M: Yes.

　　[07:35.91]But contrary to other accounts,

　　[07:37.63]including Gregory's own memoir,

　　[07:39.64]which depicts them

　　[07:41.00]as totally estranged

　　[07:42.29]for the last decade

　　[07:43.76]of Ernest's life,

　　[07:44.96]their contacts continued,

　　[07:47.06]by letter and phone,

　　[07:49.02]until a few months

　　[07:50.33]before Hemingway killed himself

　　[07:51.94]in 1961.

　　[07:53.43]W: Well, that's really unexpected.

　　[07:55.79]Does it have anything

　　[07:57.28]to do with Hemingway's fiction?

　　[07:58.97]M: Yes, Hemingway's fiction

　　[08:01.06]is sometimes said

　　[08:02.26]to express the anxiety

　　[08:03.54]of American men

　　[08:04.46]about their masculinity.

　　[08:06.81]But in my opinion,

　　[08:09.03]behind the mask

　　[08:09.89]of hyper-masculinity lies

　　[08:11.33]a trembling soul,

　　[08:13.00]which is why Hemingway's

　　[08:14.56]writing survives.

　　[08:16.40]W: So it seems

　　[08:17.22]that the hard man

　　[08:18.69]we are so familiar

　　[08:19.78]with actually wears a mask

　　[08:21.74]or something.

　　[08:23.02]M: Yes. "Tenderness",

　　[08:24.89]I would like to call it.

　　[08:26.06]By the mid-1930s Hemingway

　　[08:28.37]found it easier

　　[08:29.77]to catch huge marlin than

　　[08:32.04]to write.

　　[08:32.89]In 1954,

　　[08:34.68]he won the Nobel Prize mainly

　　[08:36.54]for The Old Man and the Sea.

　　[08:38.93]His friend,

　　[08:39.89]John O'Hara,

　　[08:40.94]declared extravagantly

　　[08:43.01]that he was

　　[08:43.37]the most outstanding author

　　[08:45.40]since Shakespeare.

　　[08:46.74]But what Hemingway heard loudest

　　[08:49.04]in those years was criticism.

　　[08:51.29]While sailing on Pilar

　　[08:53.34]he read a good deal of it,

　　[08:54.97]and he found it intolerable.

　　[08:57.31]W: So that is what you are trying

　　[08:59.73]to evoke in your book,

　　[09:01.48]the humanized Hemingway

　　[09:02.82]image not

　　[09:03.87]as a bullying old booby,

　　[09:05.73]but as a person who knows

　　[09:07.30]when to laugh

　　[09:08.21]and when to cry?

　　[09:09.63]M: Exactly.

　　[09:10.80]I intended to offer readers

　　[09:12.47]a valuable new tool

　　[09:13.76]of seeing Hemingway,

　　[09:15.18]the great artist,

　　[09:16.23]the hero, and the fool,

　　[09:17.96]as the same person.

　　[09:19.73]W: How did you do that?

　　[09:21.08]M: I did that

　　[09:21.92]by documenting a fourth persona:

　　[09:24.37]Hemingway

　　[09:25.14]as a medical basket case.

　　[09:27.90]Indeed,

　　[09:28.77]Four times between 1928

　　[09:31.18]and 1954 Hemingway suffered

　　[09:33.92]major brain concussions

　　[09:35.70]in plane crashes

　　[09:37.03]and other accidents,

　　[09:38.69]often in combination

　　[09:40.30]with spinal and intestinal injuries.

　　[09:42.97]Then there was his mid-life mania

　　[09:45.35]for boxing against

　　[09:47.38]much younger men and,

　　[09:49.17]in one case,

　　[09:50.02]a knockout inflicted

　　[09:51.35]by a boxing professional.

　　[09:53.21]W: I see.

　　[09:54.19]So what happened to Pilar

　　[09:55.51]in the end?

　　[09:56.95]M: Pilar is now a museum piece

　　[09:59.25]like some old

　　[10:00.15]and gasping browned-out whale

　　[10:01.96]in the garden

　　[10:02.94]of Hemingway's house

　　[10:04.40]outside Havana.

　　[10:06.34]That image contributes

　　[10:07.44]to the strong feeling

　　[10:08.79]of melancholy

　　[10:09.97]that pervades my book.

　　[10:11.87]I sometimes feel we have lost

　　[10:13.54]all sense of who Hemingway

　　[10:15.72]really was.

　　[10:16.96]W: Then by evoking

　　[10:18.19]and interpreting Hemingway's

　　[10:20.12]smaller moments,

　　[10:21.65]you have found an ingenious way

　　[10:23.37]of showing how this unhappy

　　[10:25.86]and vulnerable man was generally

　　[10:27.81]nicer outside his family than in it.

　　[10:30.81]M: You can say that again!

　　[10:33.31]This is the end

　　[10:34.16]of Part Two of the interview.

　　[10:36.37]Questions 6 to 10 are based on

　　[10:38.49]what you have just heard.

　　[10:50.21]6. According to the man,

　　[10:53.29]what did Pilar mean

　　[10:55.26]to Hemingway?

　　[11:06.28]7. What does the man see

　　[11:09.16]from Hemingway's fiction?

　　[11:20.87]8. What did Hemingway

　　[11:23.22]hear loudest

　　[11:24.22]in those years around 1954?

　　[11:37.14]9. How did the man manage

　　[11:39.82]to offer a new tool

　　[11:41.33]of seeing a different Hemingway?

　　[11:53.51]10. What happened to Pilar

　　[11:56.14]in the end?

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