第二十五篇（历史gold rush）:
. Y! `6 F' T9 `8 JToday, I want to talk about the Cariboo gold rush of 1858, which began when gold was discovered in the frontier town of Quesnel Folks in the Canadian province of British Columbia. By 1861 thousands of men had (flocked) to the region hoping to strike it rich. Naturally, as the town (grew), supplies had to be (brought in) and this was done with (mules).
: P& b9 _" q0 k1 O/ J- w 3 |5 E/ t' R% V1 i. C4 Q
Now, the mules were quite <reliable>. But there were some drawbacks, for example, a mule carrying a heavy load could travel only fifteen miles in a day—meaning that a (typical) <trip>
% L8 Y: }$ y9 n/ Pinto Quesnel could take as long as twenty days. (So, as the) demand for supplies continued to grow, a group of merchants and <packers> decided to try a new approach—believed it or not, they shipped in a herd of camels. I know that sounds strange, but camel trains had been used quite effectively during California gold rush some ten years earlier.: K8 p6 E( E6 Z+ i6 ?, n

6 Y9 j; O7 }' d5 lBut the results in the Cariboo region weren’t quite the same. In fact it was a <disaster>. The camels couldn’t carry the heavier loads the merchant (expected) them to. Their two-toed feet were perfect for desert travel, but they weren’t suited for Cariboo (rugged) mountain (terrain). To make matters worse, the mules became very (agitated) whenever they came across a camel—and that caused a lot of accidents on the (treacherous) mountain trails. The mulepackers went so far (as to threaten the camel owners with a lawsuit). But the reason the merchant finally got (rid of) camel is because these animals simple weren’t cut out for the job." y" p, g# e, P  K  E' j
flock: [ flɔk ] n. 群v. 成群而行,聚集1 {/ N8 |& K1 M% A  m& M1 d8 y
grew: [ gru: ]! W, [3 T/ ^! D4 A- Z
mule: [ mju:l ]2 s. r; |3 I0 [" {* n/ ^! e
reliable: [ ri'laiəbl ] 可靠的0 L' O  d2 c4 r3 v
drawback: [ 'drɔ:.bæk ]8 o$ Y( _5 w0 r4 l' q  s
typical: [ 'tipikəl ] & Q4 a5 ^$ }5 F3 ]
trip: [ trip ]- u) u! Z8 v/ A4 D
merchant: [ 'mə:tʃənt ]
$ w# N4 n* w$ Q" \! a. Apacker: [ 'pækə ] 包装者(打包机,密垫)2 s* k+ X& k8 `" F
approach: [ ə'prəutʃ ]
7 w* C, h8 v5 g0 a  I: K* kherd: [ hə:d ] n. 兽群,人群,牧人v. 群集" ], j$ L/ p! S# f8 B( X
camel: [ 'kæməl ]
. d2 c! q& q7 N- K( i$ Jdisaster: [ di'zɑ:stə ] 6 T8 M' B+ _  I. X9 k
rugged: [ 'rʌgid ] 高低不平的,崎岖的,粗糙的
" w+ X0 c5 @4 J/ X3 l; R# I6 \terrain: [ 'terein ] 地带,地域,地形
# O" Q7 Z' H9 c, n  ~agitate: [ 'ædʒiteit ] v. 使...摇动,骚动
9 t( c5 \7 `1 _5 k' Fagitated: [ 'ædʒiteitid ] 激动不安的,焦虑的
3 J2 h$ l  Q- N9 l8 ytreacherous: [ 'tretʃərəs ]  叛逆的,危险的
, R# w2 i1 D* `  \3 otrail: [ treil ]
9 {. s( b& S" `1 L+ z3 `threaten: [ 'θretn ] 动词
: C8 R: s- R  v4 clawsuit: [ 'lɔ:su:t, 'lɔ:sju:t ] 诉讼,控诉
! x+ B8 B/ t8 L: {+ o" L: nrid: [ rid ]

加油加油啊5 |/ K6 l& ~# L7 r

6 F; P. A1 H' ], ^4 F' v- h" ^lz的认真让我汗颜
8 }) B4 ?4 U) n. K) b! ?8 z1 A  |$ I1 V" B0 Y( X5 V( `: |. j6 O
向lz学习- M) {: J$ G, _# |/ K+ u7 o
态度决定成败呀

LZ搓得越来越少了！牛！欢迎来到我们听写板块斑竹小姐 ！大家一起加油！

大家共同努力!
6 x2 l5 ~+ W$ b* N* G, |第二十六篇（艺术史）:3 @' x3 E4 K( s& d
Today we’re going to continue our discussion of modern art and talk about Charles Csuri. Charles Csuri has been a part of many modern art movements. He’s work in (Pop art, Cubism and Conceptual art), but he made his mark as a (pioneer) in computer art. Even long before computers became popular, he was (punching) cards and (feeding into) the big (mainframe) computer at Ohio State university. In the beginning, he had to work without a (monitor), so he was (virtually) creating art in the dark. He even learned computer programming, so he could experiment with this new tool.0 J- A1 `# U# d# U9 q

, V" E# Y. ~! x+ K( x  KThrough the computer, Csuri has been able to explore a new world of possibilities. For example, the computer enables him to <sculpt> in three <dimensions>, also he can look at a (sculpture) from any angle, move it around, change the location of the light source, or he can copy it in different colors.
  L- c0 g0 p' P: _0 r + R( O  X0 Y/ B& H; `/ o- u9 M- e
Over the years, Csuri received (numerous) grants from (various) projects, this money allowed him to train students in computer graphics and (animation techniques), and to (advance) the computer as a <medium> for artists. Even though he uses modern technology, Csuri still insists he is creating art. He’s always told his students to keep the issues of art in focus, and not get so (caught up) in the technology that you forget about the image.
+ A  t5 D/ P! ]% MCubism: [ 'kju:bizm ]
' m' a  {+ G, f1 }$ u4 vConceptual: [ kən'septʃuəl, -tjuəl ]
- T. O4 U& S; q" S* {" Ipunch: [ pʌntʃ ] 打洞9 I% G" B/ _" b) p& h% {. r7 R
purchase: [ 'pə:tʃəs ]# `" T! M$ P* S; _
mainframe: [ 'meinfreim ] 主机
& k3 Z" r; M6 J) ^5 Z- H1 h4 M. Jmonitor: [ 'mɔnitə ]
" u5 t8 P1 `% M- J' N5 ~% J/ Kvirtually: [ 'vɜ:tjʊəli ]  几乎,差不多8 t# ?! K7 E6 A! N$ Q% H
sculpt: [ skʌlpt ]  g雕刻
2 I0 ~  n5 Q, e. o0 Ldimension: [ di'menʃən ]6 F# N% b2 m) d: F; x# ~2 ~
numerous: [ 'nju:mərəs ]
) R8 G* v( u( T% \1 i' |animation: [ .æni'meiʃən ] 活泼,卡通制作9 q+ ~0 b+ w, _$ P
technique: [ tek'ni:k ]
2 Z* T9 D+ y7 S( [$ C: \advance: [ əd'vɑ:ns ]
# Y! U+ i, }0 H7 I& ?2 c, n( cmedium: [ 'mi:djəm ]
0 E+ X, [/ E' ]8 `
7 q5 ?, }5 [1 ^5 G7 O; |[ 本帖最后由 流浪北国 于 2008-6-2 00:41 编辑 ]

今天听课去了先占个位吧- N& l0 Q" N2 e3 @/ u
补上:1 K4 S% o& I0 i8 r- [* |0 a( {
第二十七篇（雕刻）:6 \7 t+ C  o4 t5 W, A
And as we (enter this) next (gallery), please turn your attention to the (statue) on your right. It’s a bust of the seventh president of the United States, Andrew Jackson. It was done by American <sculptor> Hiram Powers. Mr. Power is particularly significant to (our sculpture) collection here at the Metropolitan Museum of art. His statue (entitled) California was the first work by American artist to become part of collection at the Met, but (back to) this piece. When Power was modeling this bust, he asked the President, who was sixty-eight years old at that time, if he wanted to be made to (appear) younger than that. President Jackson replied he didn’t. So as you can see, he’s shown here with (wrinkles) and lines of (aging etched on his) face. (Consequently), this bust is considered to be one of the most <realistic> <portrayals> of Andrew Jackson. Powers traveled from his (studio in Italy) to the White house to do the original study for the bust. He did study in clay, but he (sculpted) the final statue from fine Italian (marble) as you can see. I should (add that) the usual practice at the time was to get local <artisans> to do the actual <carving> of the marble. Note that the president is (draped) in a roman (toga). This was because in the nineteenth century, that was the (customary attire for representations) of heads of state and other important figures. Power (kept) the bust in his studio until of after President Jackson’s death, when it was (sold to the Democratic Club) in New York city. It was (lent to us here) at the Met in 1874 and twenty years later became part of our (permanent) collection. Now, if you’ll step this way, we’ll move on to the next piece.: n4 }" p2 l- v  h+ v$ ~. U( ?
gallery: [ 'gæləri ] 美术馆,画廊. L; t; ]" q; b$ B# Q3 a
bust: [ bʌst ] 半身像
- }" y( ^1 d6 _9 z+ E1 A& i萧条
. r! w' e1 P$ k) k! s% j# T0 Xstatue: [ 'stætju: ]  塑像,雕像
4 {& Y4 q" |; Y4 L; ?, q/ V' H+ u$ p8 psculpt: [ skʌlpt ] go
8 H$ a4 {' X- R" @/ b6 p( ]wrinkle: [ 'riŋkl ] 皱纹
5 \( f% ?4 t! J8 S6 f$ b  u4 o2 Petch: [ etʃ ] 蚀刻,铭刻
- F$ ?& W$ f1 G1 xportrayal: [ pɔ:'treiəl ] n. 描绘' y( ~/ x0 h% K7 s$ Q
studio: [ 'stju:diəu ]
$ ?& q% @; j& \+ Qmarble: [ 'mɑ:bl ]  大理石
1 G1 A  m0 t: D4 E形容词
! M1 i0 G8 [# Y) n6 k冷酷的5 {( O- l0 l3 l" F
artisan: [ ɑ:ti'zæn ] 工匠,技工
$ ?* U! r# T) U& Ccarve: [ kɑ:v ] : v, f" ?% u# h2 l$ z; a' m
drape: [ dreip ]  
7 n$ ?: d! P9 J9 r- n' N  ]披盖9 d5 P! X) b2 Z: V5 s# k5 p
toga: [ 'təugə ]  (古罗马)宽外袍; d. g) B# {# \" H2 K9 j
customary: [ 'kʌstəməri ] 通常的，向来的5 U- y1 O0 I' ?7 O  J3 }+ }- s
attire: [ ə'taiə ] 装束: H* X! i3 R- U& n9 B5 b" o* B
动名词
2 P4 k0 m; T- v) Z. U: Orepresentation: [ .reprizen'teiʃən ]% V: H1 G6 @9 e' ?2 k
figure: [ 'figə ]  6 A2 W8 p% [( ^" A
Democratic: [ .demə'krætik ] 民主的+ E$ O  [7 @/ \: U1 Y& \
domestic: [ də'mestik ]
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, b4 l. y9 |0 o- A1 b) `/ A9 M[ 本帖最后由 流浪北国 于 2008-6-3 00:09 编辑 ]

哈哈~让我逮住你占座一次~~  有了第一次就很容易有第二次、第三次……这我可是深有体会。

被发现了 ,占座是不得已而为之啊,不过都是我的错拉
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第二十八篇（soap）:5 L  x4 k5 [, u4 q$ V2 O
Okay, as you look at this next exhibit, you’ll (notice) something quite common—(an ordinary bar) of soap. Now soap has been around a long time—in fact, the (ancient Phoenicians) produced soap as a (substance) for washing the body way back in six hundred B.C. they made it by (blending goat’s fat) with wood ash. The Phoenicians as you may know. <Regularly> (trade) along the Mediterranean, and they were the ones who introduced soap to the Greeks and Romans.5 d6 p; i, z* A
Now soap was not something welcome by all countries. In fact, during the (Superstitious Middle ages), many people were (afraid to bath) their whole body too (frequently). They thought it could be dangerous for their health—that it could even kill them. And even after the production of soap became common in some European countries in the eleventh and <twelfth> century—even then some of people in the (hear) of Europe refused to use it. You’ll find it interesting that (when a duchess) was given a box of soap as a present in 1549 she was so (insulted) that she had the (gift—giver thrown off her estate).1 r( A9 W* Z% M

6 W8 I; h6 s' N: Y% |But by the nineteenth century, the (attitude) toward soap had changed <drastically>. In some regions of Europe the tax on soap was so high that people secretly made their own. A baron went so far as to suggest that the (wealth of a nation) could be judged according to the amount of soap it used. Now, if you turn your attention to the next exhibit, you can see how soap is manufactured today.
& F1 T0 \9 b' G7 p) X1 t  xnotice: [ 'nəutis ]
3 l, M  S' ?/ C1 U: o# E) k4 Lbar: [ bɑ: ]  # |7 ~% Z- l  O7 X, U6 m* D
ancient: [ 'einʃənt ] ( u" r2 f$ @6 C0 }, g: T
Phoenician: [ fi'niʃiən ] 腓尼基人(的)
, e% b5 d" ~8 [! f; `substance: [ 'sʌbstəns ]  
% O6 h! `2 }( @% ?+ e3 f8 ]* p7 {blend: [ blend ] v. 混合n. 混合物. @: M* d8 y% d& @; _* L7 z4 ?" x
goat: [ gəut ] 山羊
0 Q8 `9 j( `& ~# E1 H$ G3 \1 KSuperstitious: [ .sju:pə'stiʃəs ] a. 迷信的
2 A, G. ?/ O& k, j  T$ G7 `) B) eafraid: [ ə'freid ]
& h* Q0 h/ q, r6 ]9 o* e: {3 K8 tbath: [ bɑ:θ ] 1 V" {2 n8 j  ~0 A! S5 w3 a
frequent: [ 'fri:kwənt ]
+ k' A1 T% v' t5 Dduchess: [ 'dʌtʃis ] 公爵夫人,女公爵8 x( g8 T2 O: k9 v, g
insult: [ 'insʌlt ]  " a& a( Y# v* A9 C1 Y1 _6 j) |
侮辱) b! o5 }' z9 _# F6 u
estate: [ i'steit ] + ?7 b! }3 S! O  [# U" r
attitude: [ 'ætitju:d ] 1 |# }4 M- x* O0 @+ {) M
drastically: [ 'dræstikəli ] 激烈地,彻底地
4 r- v4 Q9 [  j6 i2 cbaron: [ 'bærən ] 男爵& r/ ]; c. B8 U; J' f$ U& {0 o
manufacture: [ .mænju'fæktʃə ] 0 H  i3 ~8 P& p  q8 ]( `8 z

; j9 K2 b2 K7 J- |: m[ 本帖最后由 流浪北国 于 2008-6-5 23:12 编辑 ]

落下好几天了,我要坚持 / s4 C* [2 C; q1 e: J/ I* ~
第二十九篇（Radio）:: U1 {9 O0 }3 @7 _3 A) Z) ~/ |
These days we take for granted the wide (variety) of music <available> on radio. But this wasn’t always the case. In the early days of radio, stations were (capable) of broadcasting only a narrow range of sounds, which was all right for the human voice, but music didn’t sound very good. There was also a great deal of <crackling> and other (static noises) that (further interfered) with quality of the sound.
6 y& W) p3 i* s: V2 h2 d
+ \+ n; s! i! D& w( J+ oA man named Edwin Armstrong, who was a music lover set out to change this. He invented FM radio, a technology that allowed station to send broad range <frequencies> that greatly improved the quality of the music.1 \  `6 X& e5 @; W8 x

9 y" ?1 l; w* u2 [Now you’d think that this would have made him a <millionaire>, it didn’t. Radio stations at that time had invested <enormous> amount of money in the old technology. So the last thing they wanted was to invest millions more in the new technology. Nor did they want to have to compete with other radio stations that had a superior sound and could put them out of business. So they pressure the <Federal> Communications <Commission>—the (department) of the United States government that regulates radio stations—to put <restrictive> regulations on FM radio., j  @% O% v( Z2 j, y2 h1 b

6 K1 s0 a/ a" }7 G( v% _The result was that its use was limited to a very small area around New England. Of course as we all know, Edwin Armstrong’s FM technology eventually prevailed and was (adopted) by thousands of stations around the world. But this took years of (court) battles, and he never saw how it came to affect lives of almost everyone.5 h% I8 q+ N# j, ?" B
variety: [ və'raiəti ] / P8 T, Z  i8 h  W- V6 l6 L
available: [ ə'veiləbəl ]
: R9 G# z+ T5 W" s. w9 d8 Scapable: [ 'keipəbl ]  
6 ]; ?" w+ e6 B+ r' c& s6 xbroadcast: [ 'brɔ:dkɑ:st ]  
4 T7 n: ]6 B7 k& h1 Oə1 V* t4 L5 v/ ?# v3 u
crackling: [ 'krækliŋ ] 噼噼啪啪的响声
8 F2 d) d- R5 q' g' mstatic: [ 'stætik ] 静电,静态的
( v. q8 A9 E' @0 jfrequency: [ 'fri:kwənsi ]  frequence: [ 'fri:kwəns ]( Z8 F7 N2 Q8 @8 b  r! P' M, Z- r! p
millionaire: [ .miljə'nɛə ]2 D2 f4 L. @  S* S  _: M
enormous: [ i'nɔ:məs ]
+ P1 v. Z+ C) J6 }) J) Ssuperior: [ sju:'piəriə ]
& K( M1 n  B, c" a* x- sFederal: [ 'fedərəl ] 4 q5 j6 P+ x2 d  @6 o2 N
Commission: [ kə'miʃən ]
' ?  |$ ^, F; K# crestrictive: [ ris'triktiv ]  
2 I, E$ h' K: N5 N4 c/ {" ^prevail: [ pri'veil ]  
! @; L! M9 i) B0 w5 b, B# J9 seventually: [ i'ventjʊəli ]: ~# ]% n! S6 {8 a$ L; N
adopt: [ ə'dɔpt ] 采用,收养,接受
2 s2 O1 i7 n' F9 sadapt: [ ə'dæpt ] 使...适应,改编
5 e  z# O  g- h# acourt: [ kɔ:t ]

呵呵~ 错得真的是越来越少~
2 a: D/ g* C1 o" h* S- Y( ]还是那句话~ 听写是提高听力的唯一途径！
! r( r, K+ v3 ?向北北学习吖~

听了两天新东方的公开课,接着听写!+ J2 n. G% c/ q9 @) \
第三十篇（Train）:: Z" ^4 b+ D7 V- h, m, o' {' w
I’m going to talk about train that <exemplifies> the (rise and fall) of <passenger> trains in the United States: the Twentieth Century Limited. Let we go back just (a bit). In 1893, the special train was established to take people from New York to an (exposition) in Chicago. It was so successful that regular service was then set up between these cities.
' ~4 Z$ ~2 L; k+ Y; Y. Q7 ^
' y. ?; `, X( r) hThe (inaugural) trip of the Twentieth Century Limited was made in 1902. The train was different from what anyone had ever seen before. It was (pulled) by a steam engine and had five cars: two sleepers, a (dining) car and a (observation) car and a <baggage> car, which—believe it or not—(contained) a library. The forty-two passengers the train could carry were waited on by a large staff. There were even (secretaries and a barber) on board.
. s- F7 h# h6 h. e$ Y* M. j
# a. p' X( a* Q* YIt wasn’t long before people had to wait two years to get a (reservation). As time passed, <technical> improvement <shortened> the trip by a few hours. Perhaps the biggest technological change occurred in 1945—the switch from steam to (diesel) engines. By the 1960’s, people were traveling by car and airplane. Unfortunately, the great old train didn’t survive (until the end of) the century it was named for.0 [" Q) x1 \1 R/ u
exemplify: [ ig'zemplifai ]7 O  j7 @7 S* h, P( T
passenger: [ 'pæsindʒə ]
; E% w3 \8 J- m3 Q9 e+ E) _exposition: [ .ekspə'ziʃən ] 博览会,展览会,说明
! d/ \3 q2 {7 a! linaugural: [ i'nɔ:gjurəl ]  开幕的
/ n9 i- y% l, A! J! T0 ~dining: [ 'dainiŋ ]8 F, }) O, J! k% L
observation: [ .əbzə:'veiʃən ]2 M- T: y4 I1 R3 r
baggage: [ 'bægidʒ ] # O7 M9 W8 O/ O7 L+ R; F8 h  r
staff: [ stɑ:f ] æ stuff: [ stʌf ]  
3 k5 K( z& \( C; B4 Y, [* X4 z* jsecretary: [ 'sekrətri ] ( S- s2 e& {5 \9 ]3 t* B# }; q
barber: [ 'bɑ:bə ]  理发师
4 s8 D. @7 K4 f9 C  y# m; Kreservation: [ .rezə'veiʃən ] 预定6 f6 R0 I: Y5 M
technical: [ 'teknikəl ] 工艺的,技术的
5 _) ^' f* d+ P3 F  q2 ctechnological: [ .teknə'lɔdʒikəl ]  科技的3 o# g) l1 L- g$ @. K( B" x4 O# Z
diesel: [ 'di:zəl ] 柴油机,内燃机