题目内容
Part B
Directions: Read the following text carefully and then translate the underlined segments into Chinese. Your translation should be written clearly on ANSWER SHEET 2.
The distinctive architectural feature of the typical Broadway theater is the juxtaposition of two almost independent buildings facing and opening into one another through a proscenium arch. The audience sits in the auditorium structure and watches the actors perform. in the stage house. 61) This separation is more than an aesthetic impression, because the building codes require that a physical barrier protect the audience from a fire starting on the stage. A fireproof wall, rather than a more partition separates the structures, and 62) this separation is completed by a fireproof curtain that is rigged to fall automatically and close the proscenium opening in case of fire. Automatic fire doors similarly close all other openings between the two structures. The codes keep such openings to a minimum.
This separation came about in the 19th century in the United States as a result of theater fires. 63) It has produced a fundamental structural change from previous centuries without making much corresponding change in the appearance of the building. Most theaters of the 16th to 18th centuries were remodeled from banquet halls, tennis courts, and other rectangular halls and remained essentially a single structure with a thin partition for the proscenium wall.
So far as the audience is concerned, a theater is primarily a place for entertainment. 64) Its great attraction is the opportunity it affords for vicarious experience. The audience approaches the theater with the expectation of some form. of glamour, excitement, or emotional vividness. The architect and the decorator try to sustain and increase this excitement and anticipation as the spectator moves through the theater. 65) One of the familiar architectural devices for this effect is spaciousness of lobby, foyer, and auditorium. Color and ornamentation are other devices for the same purpose, as seen in almost all theaters built before the 20th century.
(61)
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A．By forcing them farming.B．By affecting the quality of soils.C．By adding chemicals an
At this point we raise the troublesome methodological question, "What is a fact？" While the word looks deceptively simple, it is not easy to distinguish a fact from a widely shared illusion. Suppose we define a fact as a descriptive Statement upon which all qualified observers are in agreement. By this definition, medieval ghosts were a fact, since all medieval observers agreed that ghosts were real. There is, therefore, no way to be sure that a fact is an accurate description and not a mistaken impression. Research would be easier if facts were dependable, unshakable certainties. Since they are not, the best we can do is to recognize that a fact is a descriptive statement of reality which scientists, after careful examination and cross-checking, agree in believing to be accurate.
Since science is based on verifiable evidence, science can deal only with questions about which verifiable evidence can be found. Questions like "Is there a God？" "What is the purpose and destiny of man？" or "What makes a thing beautiful？" are not scientific questions because they can not be treated factually. Such questions may be terribly important, but the scientific method has not tools for handling them. Scientists can study human beliefs about God, or man's destiny, or beauty, or anything else, and they may study the personal and social consequences of such beliefs; but these are studies of human behavior, with no attempt to settle the truth or error of the beliefs themselves.
Science then does not have answers for everything, and many important questions are not scientific questions. The scientific method is our most reliable source of factual knowledge about human behavior. and the natural universe, but science with its dependence upon verifiable factual evidence cannot answer questions about value, or esthetics, or purpose and ultimate meaning, or supernatural phenomena. Answers to such questions must be sought in philosophy, metaphysics, or religion.
Each scientific conclusion represents the most reasonable interpretation of all the available evidence—but new evidence may appear tomorrow. Therefore science has no absolute truths. An absolute truth is one which will hold true for all times, places, or circumstances. All scientific truth is tentative, subject to revision in the light of new evidence. Some scientific conclusions (e.g., that the earth is a spheroid; or that innate drives are culturally conditioned) are based upon such a large and consistent body of evidence that scientists doubt that they will ever be overturned by new evidence. Yet the scientific method requires that all conclusions be open to reexamination whenever new evidence is found to challenge them.
The central idea of the passage is
PART A
Directions: For Questions 1-5, you will hear a conversation. While you listen, fill out the table with the information you have heard. Some of the information has been given to you in the table. Write only 1 word in each numbered box. You will hear the recording twice. You now have 25 seconds to read the table below.
听力原文：Keet: Dr. Thomas？ This is Keet Bradley from the daily news. I'd like to ask you some questions about the new official standard weight that you purchased.
Thomas: I'd be happy to help you. What would you like to know'？
Keet: First of all, bow is the standard weight used？
Thomas: Well, the people in our department use it to check the scales all over the country. The department of weights and measures is a government agency. It's our responsibility to see that all the scales measure a kilogram accurately so this is the way we use to adjust the scales.
Keet: How did you check the scales before？
Thomas: We have an old standard weight that we used to use. It had to be replaced because it was imprecise. You see it was made of poor quality metal that was too porous. It absorbed too much moisture.
Keet: Oh. So when the weather was humid it weighed more and when it was dry it weighed less.
Thomas: Exactly. And that variation can affect the standards of the whole country.-So our department had the new weight made out of higher quality metal.
Keet: How much does it cost？
Thomas: About 45,000 dollars.
Keet: 45,000 dollars？ For a one kilogram weight？ That's more expensive than gold. Is it really worth that much？
Thomas: I'm sure it is. Industries depend on our government agency to monitor the accuracy of scales so that when they buy and sell their products there is one standard. Think of the drug industry, for example, those companies rely on high accuracy scales to manufacture and package medicine.
What is Keet's occupation？
Television has transformed politics in the United States by changing the way in which information is disseminated, by altering political campaigns, and by changing citizens' patterns of response to politics. By giving citizens independent access to the candidates, television diminished the role of the political party in the selection of the major party candidates. By centering politics on the person of the candidate, television accelerated the citizen's focus on character rather than issues.
Television has altered the forms of political communication as well. The messages on which most of us rely are briefer than they once were. The stump speech, a political speech given by traveling politicians and lasting 1.5 to 2 hours, which characterized nineteenth-century political discourse, has given way to the 30 second advertisement and the 10 second "sound bite" in broadcast news. Increasingly the audience for speeches is not that standing in front of the politician but rather the viewing audience who will hear and see a snippet (片断) of the speech on the news.
In these abbreviated forms, much of what constructed the traditional political discourse of earlier ages has been lost. In 15 or 30 seconds, a speaker cannot establish the historical context that shaped the issues in question, cannot detail the probable causes of the problem, and cannot examine alternative proposals to argue that one is preferable to others. In snippets, politicians assert but do not argue.
Because television is an intimate medium, speaking through it required a changed political style. that was more conversational, personal, and visual than that of the old-style. stump speech. Reliance on television means that increasingly our political world contains memorable pictures rather than memorable words. Schools teach us to analyze words and print. However, in a world in which politics is increasingly visual, informed citizenship requires a new set of skills.
Recognizing the power of television's pictures, politicians craft televisual, staged events, called pseudo-events, designed to attract media coverage. Much of the political activity we see on television news has been crafted by politicians, their speechwriters, and their public relations advisers for televised consumption. Sound bites in news and answers to questions in debates increasingly sound like advertisements.
What is the main point of the passage？
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