2019专八听力全真模拟练习mp3附文本（7）

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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