专业英语四级阅读理解分类模拟432Word文档下载推荐.docx
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专业英语四级阅读理解分类模拟432Word文档下载推荐.docx
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tseethemuntilthey'
reoverbythebread.Theonethatcaughtmyeyefirstwastheoneintheplaidgreentwo-piece.Shewasachunkykid,withagoodtanandasweetbroadsoft-lookingcanwiththosetwocrescentsofwhitejustunderit,wherethesunneverseemstohit,atthetopofthebacksofherlegs.IstoodtherewithmyhandonaboxofHiHocrackerstryingtorememberifIrangitupornot.Iringitupagainandthecustomerstartsgivingmehell.She'
soneofthesecash-register-watchers,awitchaboutfiftywithrougeonhercheekbonesandnoeyebrows,andIknowitmadeherdaytotripmeup.She'
dbeenwatchingcashregistersfortyyearsandprobablyneverseenamistakebefore.
(2)BythetimeIgotherfeatherssmoothedandhergoodiesintoabag—shegivesmealittlesnortinpassing,ifshe'
dbeenbornattherighttimetheywouldhaveburnedheroverinSalem—bythetimeIgetheronherwaythegirlshadcircledaroundthebreadandwerecomingback,withoutapushcart,backmywayalongthecounters,intheaislebetweenthecheck-outsandtheSpecialbins.Theydidn'
tevenhaveshoeson.Therewasthischunkyone,withthetwo-piece—itwasbrightgreenandtheseamsonthebrawerestillsharpandherbellywasstillprettypalesoIguessedshejustgotit(thesuit)—therewasthisone,withoneofthosechubbyberry-faces,thelipsallbunchedtogetherunderhernose,thisone,andatallone,withblackhairthathadn'
tquitefrizzedright,andoneofthesesunburnsrightacrossundertheeyes,andachinthatwastoolong—youknow,thekindofgirlothergirlsthinkisvery"
striking"
and"
attractive"
butneverquitemakesit,astheyverywellknow,whichiswhytheylikehersomuch—andthenthethirdone,thatwasn'
tquitesotall.Shewasthequeen.Shekindofledthem,theothertwopeekingaroundandmakingtheirshouldersround.Shedidn'
tlookaround,notthisqueen,shejustwalkedstraightonslowly,ontheselongwhiteprimadonnalegs.Shecamedownalittlehardonherheels,asifshedidn'
twalkinherbarefeetthatmuch,puttingdownherheelsandthenlettingtheweightmovealongtohertoesasifshewastestingthefloorwitheverystep,puttingalittledeliberateextraactionintoit.Youneverknowforsurehowgirls'
mindswork(doyoureallythinkit'
samindinthereorjustalittlebuzzlikeabeeinaglassjar?
)butyougottheideashehadtalkedtheothertwointocominginherewithher,andnowshewasshowingthemhowtodoit,walkslowandholdyourselfstraight.
(3)Shehadonakindofdirty-pink—beigemaybe,Idon'
tknow—bathingsuitwithalittlenubblealloveritand,whatgotme,thestrapsweredown.Theywereoffhershouldersloopedloosearoundthecooltopsofherarms,andIguessasaresultthesuithadslippedalittleonher,soallaroundthetopofthecloththerewasthisshiningrim.Ifithadn'
tbeenthereyouwouldn'
thaveknowntherecouldhavebeenanythingwhiterthanthoseshoulders.Withthestrapspushedoff,therewasnothingbetweenthetopofthesuitandthetopofherheadexceptjusther,thiscleanbareplaneofthetopofherchestdownfromtheshoulderboneslikeadentedsheetofmetaltiltedinthelight.Imean,itwasmorethanpretty.
(4)Shehadsortofoakyhairthatthesunandsalthadbleached,doneupinabunthatwasunraveling,andakindofprimface.WalkingintotheA&
Pwithyourstrapsdown,Isupposeit'
stheonlykindoffaceyoucanhave.Sheheldherheadsohighherneck,comingupoutofthosewhiteshoulders,lookedkindofstretched,butIdidn'
tmind.Thelongerherneckwas,themoreofhertherewas.
(本文选自A&
P)
PassageTwo
(1)Whoeverwishestocollectfromthemouthofthepeopleshouldhurry;
folksongsaredisappearingoneafteranother.ThuswroteLudolfParisius,aGermansongcollector,nearlytwocenturiesago.Othershavesincesaidthesame,forjustasspokenlanguagescandie,sotoocanmusicalones.
(2)Acenturyagosong-collectionwasanimportantpartofthestudyofmusicallanguages.Therewerearchivesof"
fieldrecordings"
inBerlin,LondonandWashingtonDC,whichcouldexpressdeepsocialtruth:
theyweretheheartbeatofhumanity.Theyservedotherpurposes,too.Likemanyoftheircontemporaries,ZoltanKodalyandBelaBartok,twoHungarianswhovisitedMagyarvillagesintheearly1900s,usedthefolkmusictheyhoovereduptoenrichtheirowncompositions.
(3)Meanwhile,thenascentrecordcompanieswerealsogettinginontheact.ButtheBritishGramophoneCompanyanditsGermanandAmericanrivalshadlittleinterestinmusicology.ThesongsanddancestheyrecordedinCentralandSouth-EastAsiawereforsalebacktothepeopleofthoseregions,whowould,itwashoped,buytheexpensiveequipmentneededtoplaythem.Itisasweethistoricalironythattheirshellacdiscsarenowmusicologicaltreasures:
someantiqueBalinesepiecesareknownsolelybecauseintheearly1930saCanadiancomposerboughtsomeofthoserecordsinashopinBali.Thewarehousemanager,angrythathiswareswerenotselling,smashedtherestinarage.
(4)Itwasonlyin1933,whenJohnLomax,anAmericanfolklorist,beganmakinghismarathoncollectionofrecordingsfromtheAmericanSouthfortheLibraryofCongress,thatthesignificanceoffieldrecordingsbecamegenerallyrealised.Bythemid-1900stheworldwasbeingscouredbymusicologistsseekingtodocumentandpreserve,withethnographiclabelsgivingthemaltruisticsupport:
FolkwaysinAmerica,TopicinBritainandOcora,setupbytheFrenchgovernmentinitiallytorecordthemusicoftheFrenchWestAfricancoloniesastheymovedtowardsindependence.Itwasameasureoftheprestigeattachedtofield-recordingsthat,in1977,oneoftheNonesuchlabel'
srecordingsoftraditionalBalinesegamelanmusicwassentintoouterspaceaspartoftheVoyagerGoldenRecord.
(5)Theworldmusicboomofthe1990swasgalvanisedbyabest-sellingCubanalbum,"
BuenaVistaSocialClub"
.Whocouldnotbefiredbythespectacleofsomeveryoldmenandwomen(andtheirlabel)strikinggoldwithforgottenmusicofirresistiblecharm?
Recordcompaniesrushedtojointhebonanza,butitlastedonlyafewyears.ThegrowthofdigitalmediaandthedeclineinthemarketforspecialistCDs(andrecordshops'
increasingreluctancetostockthem)turnedboomintobust.Thisslumphittheethnographiccompanieshard.Somecloseddown,andothersabandonedCDsinfavourofdigitaldistribution.Thelong-awaitedreleaseofDust-to-Digital'
sboxofMoroccanfieldrecordings,madeinthe1950sbyPaulBowles,authorof"
TheShelteringSky"
highlightsanothermarketingploy:
withBowles'
snoteshandsomelypresentedinaleather-boundbook,theboxisanart-objectinitself.ButTopicnowsurvivesonitsbacklist,andisnolongerabletofinancenewfieldrecordings;
Ocorastillbravelycontinuestoproducethem,thoughitsdirectorSergeNoel-Ranaivoadmitsthelabel'
sfutureis"
notassured"
.
(6)SmithsonianFolkwaysisinfinefettle,inlargepartbecauseofitsunparalleledresources.Thenot-for-profitlabeloftheAmericanmuseumfollowsthepolicyofMosesAsch,whosecompany,Folkways,itacquiredin1987:
everyreleaseshouldbekeptavailabletothepublic,whetherprofitableornot.Smithsonian'
sdistributionisincreasinglydigitalanditisexpandingitscollectionbyacquiringothers,including127unreleasedalbumsoftraditionalmusicthatweremadebyUNESCOinover70countries.Itstillreleasesnewfieldrecordings,butitssplendidten-CDsurveyofthemusicofCentralAsiawasonlypossiblethankstoasubsidyfromtheAgaKhanTrustforCulture.AprojectedAfricanserieswillnothappenwithoutsimilarhelp.
(7)ProfessorTheodoreLevin,producerofthatCentralAsianseries,isarareoptimist."
Ethnographicrecordingshaveneverbeeneasiertomakeanddisseminate,"
hesays."
AnyonewithaZoomrecorderandalaptopcanmakedigitalfieldrecordingsandputthemonline."
Healsopointstotheproliferationofcross-culturalfusionsnowbeingrecorded.
(8)Buttherearemorereasonstobepessimistic.YouTuberecordingsarenosubstituteforthescrupulouslycuratedproductsofSmithsonianandOcora,andalthoughsomeinspiredfusionsarebeingcreatedinCentralAsia,mostcomeandgowithoutatrace.Traditionalmusictypicallyevolvesslowly,andinastableenvironment.Ifitsecosystemisdestroyed,itcanwitheranddie.Newmusicalforms,rapincluded,continueemerging.But,assoundarchivesnowrecognise,localmusicisfadingaway.Parisius,theGermancollectorofearlysong,wasspot-on.
(本文选自TheEconomist)
PassageThree
(1)Thecementindustryisoneoftheworld'
smostpolluting:
itaccountsfor5%ofman-madecarbon-dioxideemissionseachyear.Makingthismostusefulofgluesrequiresvastquantitiesofenergyandwater.Calciumcarbonate(generallyintheformoflimestone),silica,ironoxideandaluminaarepartiallymeltedbyheatingthemto1450℃inaspecialkiln.Theresult,clinker,ismixedwithgypsumandgroundtomakecement,abasicingredientofconcrete.Breakingdownthelimestoneproducesabouthalfoftheemissions;
almostalltherestcomefromtheburningoffossilfuelstoheatthekiln.
(2)About4.3b
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