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2019专八听力全真模拟练习mp3附文本(7)

2019-01-10 10:48:55 来源:网络专四专八资料下载

2019专八听力全真模拟练习mp3附文本(7)

  2019专八考试将于2019年3月23日上午开考,专八听力占整个试卷25分,是除阅读外第二大分值题型,需要通过长期的积累和多听多练才能提高此题型得分率,在考试前期新东方在线整理了20套专八听力全真模拟练习题,音频内容完全按照专八听力考试形式,包含minilecture和conversation希望对大家自测练习有所帮助。

2019专八听力全真模拟练习二十篇


  [00:23.26]TEST 7

  [00:25.08]SECTION A MINI-LECTURE

  [00:27.88]In this section

  [00:29.11]you will hear a mini-lecture.

  [00:31.20]You will hear

  [00:31.90]the mini-lecture ONCE ONLY.

  [00:34.17]While listening to the mini-lecture,

  [00:36.34]please complete the gap-filling task

  [00:38.48]on ANSWER SHEET ONE and write

  [00:40.38]NO MORE THAN THREE WORDS

  [00:42.26]for each gap.

  [00:44.13]Make sure the word(s) you fill in

  [00:47.17]is (are) both grammatically

  [00:49.23]and semantically acceptable.

  [00:52.35]You may use the blank sheet

  [00:53.89]for note-taking.

  [00:55.86]You have THIRTY seconds

  [00:57.37]to preview the gap-filling task.

  [01:29.60]Now listen to the mini-lecture.

  [01:31.72]When it is over,

  [01:33.01]you will be given THREE minutes

  [01:34.50]to check your work.

  [01:36.62]What Is Literary Writing?

  [01:39.46]Good morning,

  [01:40.48]welcome to our writing class.

  [01:42.75]Today we'd like to take a glimpse

  [01:44.83]at literary writing.

  [01:46.82]The term "literary writing"

  [01:48.90]calls to mind works by writers

  [01:51.13]such as Shakespeare,

  [01:52.71]Milton or Wordsworth—

  [01:55.10]definitive examples of all

  [01:56.86]that the term implies.

  [01:59.10]We instinctively associate the term

  [02:01.06]with characteristics

  [02:02.24]such as artistic merit,

  [02:04.48]creative genius,

  [02:06.07]and the expression

  [02:07.01]of mankind's noblest qualities.

  [02:09.96]In this lecture I will explore

  [02:11.72]some of the characteristics

  [02:13.40]of this kind of writing.

  [02:15.50]Literary works

  [02:16.72]are primarily distinguishable

  [02:18.61]from other pieces of writing

  [02:20.39]by their creative or artistic content.

  [02:24.15]A piece of literature differs

  [02:25.78]from specialized treatises

  [02:27.96]on astronomy, political economy,

  [02:30.68]philosophy, or even history,

  [02:32.97]in part because it appeals,

  [02:35.72]not to a particular

  [02:36.74]class of readers only,

  [02:38.28]but to men and women;

  [02:40.28]and in part because,

  [02:42.01]while the object of the treatise

  [02:43.84]is simply to impart knowledge,

  [02:46.32]one ideal end

  [02:47.69]of the piece of literature,

  [02:49.50]whether it also imparts knowledge

  [02:51.51]or not,

  [02:52.64]is to yield aesthetic satisfaction

  [02:55.04]by the manner in which

  [02:56.49]it handles its theme.

  [02:58.79]In fundamental terms literature

  [03:00.64]is an expression of life

  [03:02.96]through the medium of "language",

  [03:05.25]but language used more profoundly

  [03:07.45]than when used simply

  [03:08.97]to convey information.

  [03:11.47]Literature is a vital record

  [03:13.10]of what people have seen in life,

  [03:15.75]what they have experienced of it,

  [03:17.89]and what they have thought

  [03:19.13]and felt about those aspects of it

  [03:21.93]which have the most immediate

  [03:23.30]and enduring interest for all of us.

  [03:26.36]So literary writing,

  [03:27.97]having creative and artistic content,

  [03:30.81]is more carefully structured

  [03:32.88]and uses words

  [03:34.03]for the rhetorical effect

  [03:35.44]of their flow,

  [03:36.64]their sound, and their emotive

  [03:38.61]and descriptive qualities.

  [03:40.54]Literary writers can also employ tone,

  [03:43.60]rhyme, rhythm, irony, dialogue

  [03:47.11]and its variations

  [03:48.53]such as dialects and slang,

  [03:51.39]and a host of other devices

  [03:53.00]in the construction

  [03:53.86]of a particular prose work,

  [03:55.73]poem or play.

  [03:58.06]Literary writing is,

  [03:59.43]in essence, a "response",

  [04:01.56]a subjective personal view

  [04:03.79]which the writer expresses

  [04:05.21]through his themes,

  [04:06.43]ideas, thoughts, reminiscences,

  [04:09.54]using his collection of words

  [04:11.41]to try to evoke a response

  [04:13.56]in his reader.

  [04:15.25]It is not only a question

  [04:16.71]of the artist looking into himself

  [04:19.27]but also a question

  [04:20.93]of his looking into others

  [04:22.66]with the experience

  [04:24.00]he has of himself.

  [04:26.75]He writes with sympathy

  [04:28.03]because he feels

  [04:29.44]that the other man is like him.

  [04:32.08]Literature is

  [04:33.16]a process of communication;

  [04:35.32]it "helps us to understand life".

  [04:38.77]Perhaps we should also consider

  [04:40.56]the motivation of the writer

  [04:42.44]as a factor

  [04:43.47]which distinguishes literature

  [04:45.17]from other forms of writing.

  [04:47.78]The writer's motivation is the energy

  [04:50.11]that pulls together

  [04:51.35]the strands of his creativity

  [04:53.99]in the shaping of the finished work.

  [04:56.49]Personal motivation

  [04:57.80]is an essential characteristic

  [05:00.12]of literary writing.

  [05:02.25]It is the engine behind creativity.

  [05:05.41]Some of the great themes,

  [05:07.00]which occur again and again,

  [05:09.38]not only in literary writing,

  [05:11.52]but in all the arts:

  [05:13.12]love, death, war, and peace,

  [05:15.88]seem to provide

  [05:17.14]permanent inspiration for artists.

  [05:20.40]So perhaps an inventory

  [05:22.24]of literary writers' motives

  [05:24.33]should include

  [05:25.14]the overflowing of their passions,

  [05:27.69]their desire for self-expression,

  [05:30.15]an abiding fascination with humanity

  [05:32.83]in all its variety,

  [05:34.88]the need to come

  [05:35.64]to grips with relationships

  [05:37.35]as they really are in the world

  [05:39.80]as it really is,

  [05:41.88]the striving after an ideal world

  [05:44.30]which can exist only

  [05:45.76]in the imagination,

  [05:47.52]and, perhaps at the heart of it all,

  [05:50.34]the need to form,

  [05:51.59]shape things of beauty.

  [05:54.13]The artist needs to resolve conflicts

  [05:56.85]within himself,

  [05:58.31]to reach an understanding,

  [06:00.11]to search for

  [06:01.04]some credible meaning of life,

  [06:02.86]death, and everything.

  [06:05.02]He is always reaching

  [06:06.28]toward some sort of truth;

  [06:08.68]an artistic creative truth,

  [06:10.97]a truth that resides

  [06:12.06]in the individual artist

  [06:13.54]and needs to be grasped,

  [06:16.11]made real,

  [06:17.36]and made understandable.

  [06:19.76]Perhaps in some cases

  [06:21.61]the artist's motivation could be seen

  [06:23.60]as a need to create other worlds,

  [06:26.69]in order that they can project

  [06:27.97]real conflicts onto another plane.

  [06:32.20]The many different genres of the novel

  [06:34.39]constitute a particular challenge

  [06:36.50]to the concept of "literary writing".

  [06:39.44]Detective novels

  [06:40.58]and science fiction novels,

  [06:42.27]for example, are creative,

  [06:44.43]imaginative depictions of life.

  [06:47.35]We might question

  [06:48.24]their seriousness as literature,

  [06:50.54]or whether they can achieve

  [06:52.36]the high ideals of art,

  [06:54.70]but then we might equally well question

  [06:56.64]the meaning of "seriousness"

  [06:59.03]and "the high ideals of art".

  [07:01.72]Popular novels may not

  [07:03.13]deal with life's great conflicts,

  [07:05.63]or search for truth and beauty,

  [07:07.92]and they may deal with

  [07:09.48]the dark side of life,

  [07:11.30]or escape into the fantastic,

  [07:13.58]but can they still be considered

  [07:15.59]"literature"?

  [07:17.32]Do they still make

  [07:18.16]an important contribution

  [07:19.50]to our understanding of the world

  [07:21.50]as "real" literature does?

  [07:24.34]Obviously "literary" works

  [07:26.40]take an event, an aspect of life

  [07:29.44]as a nucleus and construct a world

  [07:31.61]around that core.

  [07:33.76]They are works about real people,

  [07:35.82]engaged in the real business

  [07:37.44]of living.

  [07:38.73]They convey knowledge,

  [07:40.07]Understanding and experience,

  [07:42.81]and are hence considered important.

  [07:45.51]Yet they have in common

  [07:46.71]with the detective

  [07:47.72]and science fiction novels

  [07:49.71]that they are books,

  [07:51.30]consisting of words

  [07:52.92]that have been used

  [07:53.80]to express something,

  [07:55.14]words that may or may not be read,

  [07:58.51]and may or may not succeed

  [08:00.36]in conveying an understanding

  [08:02.04]of the world they depict.

  [08:04.55]In my view,

  [08:05.44]it comes down

  [08:06.24]to subjective value judgments.

  [08:09.03]I believe literature is a "broad church"

  [08:12.24]which ought to be able

  [08:13.40]to deal with any subject,

  [08:15.69]and that ultimately

  [08:16.78]it is individual reader,

  [08:18.90]or readers all together,

  [08:21.07]who decide on the value

  [08:22.66]of any particular work

  [08:24.59]and on whether or not

  [08:26.08]it deserves a place

  [08:27.22]in the annals of literature.

  [08:29.99]Writers aim to show us "the world",

  [08:32.89]but no single writer can do this,

  [08:35.09]and "literature" should encompass

  [08:37.48]numerous different kinds of writers

  [08:39.78]because each is trying

  [08:41.66]to show us something

  [08:42.94]which cannot be shown as a whole.

  [08:46.41]Each can only give us

  [08:47.44]his own small fragment

  [08:48.78]of understanding.

  [08:51.18]Ultimately it is those works

  [08:53.33]which endure that should be considered

  [08:55.80]"literature",

  [08:57.27]those which have succeeded

  [08:58.76]in holding firm a fragment of life,

  [09:01.87]to be seen,

  [09:02.89]to be read,

  [09:03.72]to be understood.

  [09:06.13]Perhaps we should let a writer

  [09:07.86]have the last word on summing up

  [09:09.66]the writers' art:

  [09:11.44]The aim of every artist

  [09:13.03]is to arrest motion,

  [09:15.34]which is life,

  [09:16.71]by artificial means and hold it fixed,

  [09:19.96]so that a hundred years later,

  [09:22.04]when a stranger looks at it,

  [09:23.92]it moves again since it is life.

  [09:27.25]Since man is mortal,

  [09:29.32]the only immortality possible for him

  [09:32.21]is to leave something behind him

  [09:34.31]that is immortal

  [09:36.00]since it will always move.

  [09:39.26]OK, in conclusion,

  [09:41.16]today we have discussed

  [09:42.72]some distinguishable characteristics

  [09:44.85]of literary writing.

  [09:46.96]Literary writing is a self-conscious,

  [09:49.10]imaginative mode of writing

  [09:51.37]which uses words

  [09:52.94]not just to convey information,

  [09:55.13]but as an art form.

  [09:57.65]Ultimately it is a response to life.

  [10:01.62]This is the end of the lecture.

  [10:03.62]Thank you very much!

  [10:06.20]Now, you have THREE minutes

  [10:07.95]to check your work.

  [13:07.43]This is the end of

  [13:08.67]Section A Mini-lecture.

  [13:11.47]SECTION B INTERVIEW

  [13:13.82]In this section

  [13:14.92]you will hear ONE interview.

  [13:17.03]The interview will be

  [13:18.17]divided into TWO parts.

  [13:20.21]At the end of each part,

  [13:21.78]five questions will be

  [13:22.99]asked about what was said.

  [13:25.57]Both the interview

  [13:26.45]and the questions

  [13:27.74]will be spoken ONCE ONLY.

  [13:30.33]After each question

  [13:32.01]there will be

  [13:32.65]a ten-second pause.

  [13:34.66]During the pause,

  [13:35.78]you should read

  [13:36.89]the four choices

  [13:38.11]of A, B, C and D,

  [13:40.57]and mark the best answer

  [13:41.97]to each question

  [13:43.42]on ANSWER SHEET TWO.

  [13:45.76]You have THIRTY seconds

  [13:47.12]to preview the questions.

  [14:19.26]Now, listen to Part One

  [14:20.61]of the interview.

  [14:22.28]Questions 1 to 5

  [14:23.65]are based on

  [14:24.66]Part One of the interview.

  [14:27.87]W: Good morning, everybody.

  [14:29.29]Today, we are pleased

  [14:30.37]to have invited Mikey Rox,

  [14:32.76]an award-winning journalist

  [14:34.28]and personal finance expert

  [14:36.29]to give us some suggestions

  [14:37.82]on the do's and don'ts

  [14:39.46]of lending money to family.

  [14:41.40]Welcome, Mikey.

  [14:42.60]M: Thank you.

  [14:43.44]I'm very happy to meet you all.

  [14:45.69]W: Mikey, we know

  [14:47.13]that loaning money to family

  [14:48.59]is one of life's greatest dilemmas.

  [14:51.33]On the one hand,

  [14:52.51]we want to help somebody

  [14:53.66]we care for

  [14:54.72]when they're in a financial bind.

  [14:56.69]On the other hand,

  [14:57.81]we know it probably won't go off

  [14:59.45]without a hitch.

  [15:00.68]So, how do I know

  [15:02.09]when I should and shouldn't help?

  [15:04.70]M: Well, first,

  [15:05.56]you should carefully consider

  [15:06.68]who you're helping.

  [15:08.65]W: Then what kind of person

  [15:09.74]should I help?

  [15:11.31]M: If it's your brother

  [15:12.31]who's in need of a quick loan,

  [15:13.91]and you know he'll pay you back

  [15:15.37]on time with interest,

  [15:17.06]your decision to lend money

  [15:18.38]is a no-brainer.

  [15:19.84]But if it's your deadbeat cousin Steven

  [15:22.75]who has never had two nickels

  [15:24.37]to rub together,

  [15:25.68]but always somehow

  [15:26.78]has a pocketful of cash

  [15:27.94]to buy rounds of shots

  [15:29.21]for his lady friends at the bar

  [15:31.09]because he wants to look like a baller,

  [15:33.33]you should probably sleep on it.

  [15:35.36]W: Which means…

  [15:36.89]M: When there's not

  [15:37.47]a snowball's chance in hell

  [15:39.16]that you'll see your money again,

  [15:41.04]resolve to help

  [15:41.90]without the expectation

  [15:43.28]of being paid back,

  [15:44.81]or just say no.

  [15:46.52]W: But is it OK to say no

  [15:48.09]to the family members

  [15:49.40]who ask for help?

  [15:51.09]M: Don't be afraid to say no.

  [15:53.10]This is the second advice.

  [15:54.72]Because you're under no obligation

  [15:56.12]to give anyone—

  [15:57.39]besides the government

  [15:58.33]and your own creditors,

  [15:59.82]of course—

  [16:00.85]a dime of your hard-earned money.

  [16:03.02]If you don't feel comfortable

  [16:04.38]lending money to a family member,

  [16:06.31]just say no.

  [16:07.50]They'll get over it.

  [16:08.60]Or they won't,

  [16:09.82]and you'll be better off for it.

  [16:11.62]But if you have

  [16:12.53]the disposable income

  [16:13.58]to offer a loan

  [16:14.60]without feeling the pinch,

  [16:15.95]then OK.

  [16:17.69]W: What if the person

  [16:18.45]really deserves my help,

  [16:20.26]but I cannot afford it

  [16:21.29]from my own disposable income?

  [16:23.76]Should I dip into my own savings?

  [16:26.08]M: No, I'm afraid.

  [16:27.56]You should only lend

  [16:28.47]what you can afford

  [16:29.65]without compromising

  [16:30.57]your own financial situation.

  [16:33.04]Your savings are just that—

  [16:34.83]savings for emergencies,

  [16:36.89]a new investment,

  [16:38.08]or, frankly,

  [16:38.93]whatever you want.

  [16:40.60]That's money

  [16:40.94]that you've worked hard to build up,

  [16:43.44]and you shouldn't let anyone

  [16:44.66]take away from that.

  [16:46.29]The best thing you could do

  [16:47.59]is to politely explain the situation,

  [16:49.55]and close the case.

  [16:51.87]W: What about co-signing for loans?

  [16:53.97]M: No.

  [16:54.68]Never co-sign for a loan.

  [16:56.80]Lending cash is one thing,

  [16:58.58]but co-signing for loans

  [17:00.04]is a whole other ball game,

  [17:01.77]and you absolutely don't want

  [17:03.44]any part of it.

  [17:05.03]It is almost guaranteed

  [17:06.37]to be a disaster.

  [17:07.95]If that discussion is on the table,

  [17:09.77]swiftly shut it down.

  [17:11.66]You're not the person for the job.

  [17:14.25]This is the end of

  [17:15.40]Part One of the interview.

  [17:17.69]Questions 1 to 5 are based on

  [17:19.86]what you have just heard.

  [17:22.30]1. What is the topic of the interview?

  [17:35.46]2. According to Mikey,

  [17:38.12]what kind of person

  [17:39.02]can you lend money to?

  [17:50.81]3. According to Mikey,

  [17:53.34]what should you do

  [17:54.21]when there is no chance

  [17:55.55]you will get your money back?

  [18:06.99]4. According to Mikey,

  [18:09.51]what is the best thing you could do

  [18:11.27]if you cannot afford the money?

  [18:22.83]5. According to Mikey,

  [18:25.61]what should NOT be done

  [18:26.95]when lending money to someone?

  [18:38.58]Now, listen to Part Two

  [18:39.90]of the interview.

  [18:41.65]Questions 6 to 10

  [18:43.13]are based on

  [18:44.02]Part Two of the interview.

  [18:46.89]W: What should be noted

  [18:47.84]if I can afford the loan,

  [18:49.37]and plan to help my family?

  [18:51.35]M: Getting the details.

  [18:52.50]You should know

  [18:53.29]what will this loan be paying for,

  [18:55.42]how will it affect

  [18:56.39]your borrower's financial state,

  [18:58.53]and what will be

  [18:59.25]the terms of repayment.

  [19:01.29]Part of the reason family loans

  [19:02.82]are rarely paid back

  [19:04.41]is that they are not discussed enough

  [19:06.09]beforehand.

  [19:07.39]This is your money.

  [19:08.56]You have the right to know

  [19:09.57]where it's going,

  [19:11.01]what it will do,

  [19:12.16]and how it will be repaid.

  [19:14.30]W: If I'm lending

  [19:14.92]a relatively large sum of money,

  [19:17.36]is it necessary to draw up

  [19:18.75]a written contract?

  [19:20.15]M: Of course.

  [19:21.20]Lending money is a business deal,

  [19:23.13]not a friendly transaction.

  [19:25.21]And when you treat it

  [19:26.08]like the former,

  [19:26.98]the experience is likelier

  [19:28.17]to go much smoother

  [19:29.56]than when it's positioned

  [19:30.68]as the latter.

  [19:32.16]When you draw up a written contract,

  [19:33.98]establish repayment terms—

  [19:35.78]including interest

  [19:37.23](doesn't have to be bank-rate interest,

  [19:39.51]but at least something minimal

  [19:40.92]to provide motivation to pay on time)—

  [19:43.43]and have both parties sign.

  [19:45.32]Each of you should keep a copy,

  [19:46.75]and post it on the fridge,

  [19:48.41]as a reminder of

  [19:49.19]what one of you is owed

  [19:50.69]and what the other owes.

  [19:52.68]W: You know

  [19:53.25]that lending money to family

  [19:54.53]doesn't always go as planned,

  [19:56.67]what should we do

  [19:57.47]to prevent that situation?

  [19:59.97]M: To have Plan B.

  [20:01.69]W: What is Plan B?

  [20:03.42]M: Discuss the worst-case scenario

  [20:04.49]and put a conflict resolution plan

  [20:06.60]in place that you both agree on.

  [20:09.43]Things can get awkward

  [20:10.51]when it comes to money,

  [20:11.66]so planning out

  [20:12.49]how you will handle a conflict

  [20:13.90]if one does happen

  [20:15.31]when you are cool-headed

  [20:16.26]versus acting on hot-headed emotion

  [20:19.16]will protect your relationship

  [20:20.51]in the future.

  [20:21.76]W: Are there any other do's and don'ts

  [20:24.15]of lending money to family?

  [20:25.63]M: Yes,

  [20:26.30]there are two more tips

  [20:27.47]that I want to remind you of.

  [20:29.66]The first is,

  [20:31.01]avoiding giving in to emotional bullying.

  [20:33.96]People who need money

  [20:35.21]will sometimes pull out all the stops

  [20:37.57]when trying to convince you

  [20:38.82]to subsidize their life.

  [20:40.68]Stay strong.

  [20:41.99]Don't let those sad excuses

  [20:43.50]and crocodile tears drag you down,

  [20:46.09]especially when the dramatics

  [20:47.50]are from someone you know better

  [20:48.95]than to trust with a loan.

  [20:50.81]W: And the second?

  [20:52.02]M: Don't expect favor in return.

  [20:54.03]If you want to pay the person

  [20:55.33]in need of money

  [20:56.05]for completing tasks

  [20:57.15]around the house or office,

  [20:58.65]that's quite acceptable.

  [21:00.02]There's no harm

  [21:00.72]in earning the cash you need.

  [21:02.72]But if that's not part

  [21:03.73]of the original deal,

  [21:04.97]don't expect the borrower

  [21:06.13]to go out of their way

  [21:07.29]to help you with anything.

  [21:08.74]Sure,

  [21:09.41]it's the decent thing to do—

  [21:10.71]helping someone in other ways

  [21:12.17]when they lend you money—

  [21:13.44]but not everyone thinks that way,

  [21:15.38]and it's not fair

  [21:16.04]to place those expectations

  [21:17.21]on unsuspecting people.

  [21:19.60]W: Well, Mikey,

  [21:20.49]thank you for staying with us today.

  [21:22.44]M: My pleasure.

  [21:24.21]This is the end of

  [21:25.82]Part Two of the interview.

  [21:27.49]Questions 6 to 10 are based on

  [21:29.84]what you have just heard.

  [21:32.24]6. Which of the following is NOT

  [21:35.09]what you should know

  [21:36.21]before lending money to your family?

  [21:48.20]7. What will make it much smoother

  [21:51.32]when lending money to family?

  [22:03.06]8. According to Mikey,

  [22:05.56]what is Plan B?

  [22:16.88]9. According to Mikey,

  [22:19.74]what kind of people

  [22:20.67]should you avoid lending money to?

  [22:32.89]10. What does Mikey think

  [22:35.60]of expecting favor in return?

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