施心远主编《听力教程》4-(第2版)Unit(00002)

施心远主编《听力教程》4-(第2版)Unit-4答案

A Listening Course 4

施心远主编《听力教程》4 (第2版)答案

Unit 4

Section One: Tactics for Listening Part 1: Listening and Translation

1. Clara Barton made a big difference in many lives. 克拉拉·巴顿极大地改变了许多人的生活。

2. She went to the fields of battle to nurse the wounded. 她前往战场护理伤员。

3. She wrote letters in support of an American Red Cross organization.

她写信支持建立美国红十字会组织。

4. The United States Congress signed the World's Treaty of the International Red Cross. 美国国会签署了国际红十字公约。

5. Today her work continues to be important to thousands of people in trouble.

今天，她的工作对于成千上万遭遇困难的人来说仍然很重要。

Section Two Listening Comprehension

Part 1 Dialogue How to Be a Good Interviewer

Exercise: Listen to the dialogue and choose the best answer

to complete each of the following sentences.

1. A 2. D 3. C 4. D 5. A 6.B 7. D 8. A 9. D 10. A 11. C

Script of the dialogue: prerequisite

something that is required in advance先决条件,前提 tombstone

a stone that is used to mark a grave墓碑 aide

someone who acts as assistant 助手 aforesaid

being the one previously mentioned or spoken of;上述的,前述的

spin

有倾向性地陈述；（尤指）以有利于自己的口吻描述

Interviewer: With all your experience of interviewing, Michael, how can you tell if somebody is going to make a good interviewer?

Parkinson: Oh, I say, what a question! I’ve never been asked that before. Urn, I think that the prerequisite obviously is curiosity. I think that’s the, er, a natural one, not an

assumed one. I think the people who have, um, done my job—and the graveyard of the BBC is littered with them, their tombstones are there, you know—who failed to have been because basically they’ve not been journalists. Um, my training was in journalism. I’ve been 26 years a journalist and er, to be a journalist argues that you like meeting people to start with, and also you want to find out about them. So that’s the prerequisite. After that, I think there’s something else that comes into it, into play, and I think, again, most successful journalists have it—it’s a curious kind of affinity with people, it’s an ability to get on with people, it’s a kind of body warmth, if you like. If you knew the secret of it and could bottle it and sell it, you’d make a fortune.

Interviewer: When you’ve done an interview yourself, how do you feel whether it’s been a good interview or not a good interview?

Parkinson: I can never really tell, er, on air. I have to watch it back, because television depends so much on your director getting the right shot, the right reaction. You can’t; it’s amazing. Sometimes I think “Oh, that’s a boring interview” and just because of the way my director shot it, and shot reaction, he’s composed a picture that’s made it

far more interesting than it actually was.

Interviewer: How do you bring out the best in people, because you always seem to manage to, not only relax them, but somehow get right into the depths of them.

Parkinson: By research, by knowing, when you go into a television studio, more about the guest in front you than they’ve forgotten about themselves. And, I mean that’s pure research. I mean, you probably use…in a 20-minute interview, I probably use a 20th of the research material that I’ve absorbed, but that’s what you’re gonna have to do. I mean I once interviewed Robert Mitchum for 75 minutes and the longest reply I got from him was “yes”. And that…that’s the only time I’ve used every ounce of research and every question that I’d ever thought of, and a few that I hadn’t thought of as well. But that really is the answer—it’s research. When people say it to you, you know, “Oh you go out and wing it, I mean that’s nonsense. If anybody ever tries to tell you that as an interviewer just starting, that you wing it, there’s no such thing. It’s all preparation; it’s knowing exactly what you’re going to do at any given point and knowing what you want from the person.

Interviewer: And does that include sticking to written