现代大学英语听力4答案-Unit4

现代大学英语听力4 答案 八年级地理上册填图题岩土工程勘察试题省略号的作用及举例应急救援安全知识车间5s试题及答案 -Unit4 Unit 4 Task 1: 【答案】 A. 1) Temple，Cemetery，Kong Family Mansion. 2) the centre of 3) 33 metres，glazed tiles，stone columns 4) a statue of Confucius，the life story of Confucius B. 1) F 2) F 3) F 【原文】 Qufu is the hometown of Confucius (551BC—479BC), a great thinker, statesman and educator in China's history, and founder of the Confucian school of philosophy, which has had a great influence on Chinese society and on the way Chinese people think. The place abounds in cultural relics, of which the most famous are the Confucian Temple and Cemetery of Confucian and the Kong Family Mansion. The Confucian Temple, standing in the centre of Qufu City, was first built in 478 BC. Repeated renovations and expansions have turned the temple into a palatial complex with 9 rows of buildings. Today there are 466 halls, pavilions and rooms intact, coveting a total area of 21.8 hectares. The Great Accomplishment Hall, the major structure of the temple, is 33 metres tall and is roofed with yellow glazed tiles. In front of the Hall stand 10 stone columns carved with dragons. The Hall houses a statue of Confucius and a stone inscription of Ming Dynasty, which tells the life story of Confucius in 120 pictures. The Confucian Cemetery, occupying more than 200 hectares, has served as the graveyard of Confucius and his descendants for more than 2,300 years. The Kong Family Mansion, standing tight next to the Confucian Temple, was the living quarters of Confucius' descendants. The Family Mansion now houses a large number of documents, files and antiques. The Temple and Cemetery of Confucian and the Kong Family Mansion in Qufu were put on the list of world cultural heritage sites in 1994. Task 2: 【答案】 A. 1) The kings of ancient Egypt wanted to keep their bodies safe after death and to hold their treasures. 2) It is located on the west bank of the Nile, not far from Cairo. 3) The ancient Egyptians compared the setting of the sun to the end of life and this is why all the pyramids are on the west bank. 4) They were taken across the river in boats at flood time. 5) The limestone, which used to make the pyramid smooth, is gone. So people can climb the huge stones like steps to the top. 6) The Libyan Desert. B. Number of blocks of stone: 2,300,000. Average weight of the blocks: 2.5 tons. Number of slaves on the project: 100,000. Number of years taken: 20. The height of the pyramid: over 450 feet. Area covered: 13 acres. Length of each side: 755 feet. 【原文】 The kings of ancient Egypt planned strong tombs to keep their bodies safe after death and to hold their treasures. Over these tombs huge stone pyramids were built. There are over 80 known pyramids in Egypt, but the Great Pyramid is the largest of all. The Great Pyramid was built thousands of years ago for a king called Khufu. It stands on the west bank of the Nile River not far from Cairo. In fact all the pyramids along the Nile are on its west bank. The ancient Egyptians compared the rising of the sun to the beginning of life and the setting of the sun to the end of life. This is why their dead bodies were buried on the west bank of the Nile. It’s very hard to imagine just how big the Great Pyramid is. It has over 2,300,000 blocks of solid stone. Theses huge stone blocks weigh an average of two and a half tons each, as heavy as a big car. Some even weigh 15 tons. Without machinery, the ancient Egyptians cut and moved and lifted each of these stones. Many of the blocks came from the east bank of the Nile, and they were taken across the fiver in boats at flood time. It took more than 100,000 slaves 20 years to build the Great Pyramid. The Great Pyramid is over 450 feet high today, and it was once higher. Its base covers 13 acres. Each of the sides of the pyramid is 755 feet long. It takes about 20 minutes to walk all the way around the pyramid. Every king wanted his tomb to be the best. But Khufu outdid them all. The surface of his pyramid used to shine with smooth white limestone, and its top came to a sharp point. Inside, the body of Khufu rested in a great stone coffin. His body was preserved to last forever, and many treasures were buried with him. After many years, the shining surface was worn away, and men took some of the huge stone blocks to build other things: Thieves stole the treasures, and the body of Khufu was stolen, too. Today, the sides of the Great Pyramid are no longer smooth and white. The limestone is gone. The huge stones are exposed and you can climb them, like steps, to the top. When you have reached the top, you can see for miles about you. You can see the smaller pyramids and the Sphinx, the great stone statue of the lion with a human head. To the west you can see the Libyan Desert, and to the east you can see the green Nile Valley and the modern city of Cairo. Task 3: 【答案】 A. 1) the joy of the family or the unity of the whole empire 2) the thriving children 3) the rank of an official B. 1) F 2) F 3) T 4) F 5) T 【原文】 In China, people can often see a pair of stone lions, a male and a female, in front of the gates of traditional buildings. The male is on the left with his right front paw resting on a ball, and the female on the right with her left front paw fondling their cub. The lion is a very special animal to Chinese people. Traditionally, he is regarded as the king of the animal world, the animal that represents power and prestige. The ball the male lion is playing with probably symbolizes the joy of family or the unity of the whole empire, and the cub the female is fondling, the thriving children. Traditionally, however, the stone lions were only to be found in front of the gates of mansions of powerful officials. In fact, the rank of the officials was indicated by the number of curls on the lion's head. The lion for the highest rank had 13 curls, and the number decreased by one as the rank went down until it reached the 7th rank, because below that no one was allowed to have stone lions guard their house at all. It is interesting to note that lions were not native to China. It is said that the first lion was brought into the country as a girl from the King of Parthia to the Chinese Emperor of the Eastern Han who reigned the country at around 87 AD. The next year, another lion was given by a country from Central Asia. But it was probably the introduction of Buddhism to China during this period that got sculptors interested in, making stone lions, because according to the legend, when Sakyamuni, the founder of Buddhism, was born, he was seen to "point to Heaven with one hand and to Earth with the other, mating like a lion." In the Buddhist faith, therefore, the lion is considered divine. It is a noble creature sent by the Buddha to protect the Truth and keep off evils. Stone lions have also been used to decorate bridges for the same reason. The best known is the Lugouqiao (also known as Marco Polo Bridge). Built from 1189 to 1192, the lion stones sculpted on the posts of the bridge have stood on guard for more than 800 years. One funny thing about the stone lions on the bridge is people often 'disagree on the exact number. It is said that there are 485 in all, but there may be 498 or 501. No wonder people often say "as many as the stone lions on the Lugouqiao". You cannot count them. Task 4: 【答案】 A. 1) It's "Liberty Enlightening the World". 2) It stands on Liberty Island in Upper New York Bay. B. Material: mostly copper. Original color: reddish-brown. Color now: green. In her right hand: a torch. In her left hand: a tablet. On her head: a crown. At her feet: a broken chain. C. 1) a 2) b 3) b 4) b 5) a 6) c 【原文】 Americans like to say the Statue of Liberty is in good condition for a woman of her age. She is more than one-hundred-years old. France gave the statue to the United States in Eighteen-Eighty-Four. For more than thirty years the statue welcomed millions of foreign people arriving by ship to live in the United States. Today more than two-million people visit the statue every year. The Statue of Liberty has become a representation of freedom. The full name of the statue is "Liberty Enlightening the World." It stands on Liberty Island in Upper New York Bay, about two-and-one-half kilometers from Manhattan Island. It was built in the nineteenth century. But it still remains the tallest metal statue in the world. The Statue of Liberty is mostly made of copper. Once it was a reddish-brown color. But time and weather have turned it green. The statue wears a loose robe. She raises her right arm high in the air. Her right hand holds a torch -- a golden light. Her left hand holds a tablet. It shows the date of the American Declaration of Independence – July Fourth, Seventeen-Seventy-Six. The statue wears a crown on her head. The crown has seven points. Each of these rays represents the light of freedom. This light shines on seven seas and seven continents. A chain representing oppression lies broken at her feet. Twelve-million immigrants from other countries passed the statue by ship between Eighteen-Ninety-Two and Nineteen Twenty-Four. Then they were taken to the immigration center on nearby Ellis Island. There they went through the processes necessary to live in the United States. Many immigrants thought of the statue as a welcoming mother for refugees. Emma Lazarus expressed this idea in a poem in Eighteen-Eighty-Three. She called her poem "The New Colossus." She wrote: "Here at our sea-washed, sunset gates shall stand A mighty woman with a torch, whose flame Is the imprisoned lightning, and her name Mother of Exiles. " The people of France gave the Statue of Liberty to the United States in Eighteen-Eighty-Four. Their gift honored freedom. It also marked the friendship between the two nations. This friendship had developed during America's revolution against Britain. France helped the revolutionary armies defeat the soldiers of King George the Third. The war officially ended in Seventeen-Eighty-Three. A few years later, the French rebelled against their own king. A French historian and politician named Edouard-Rene Lefebvre de Laboulaye started the idea for a statue. Mister Laboulaye was giving a party in his home near Versailles in Eighteen-Sixty-Five. This was the year the American Civil War ended. Slavery also ended in the United States. It was a time when Mister Laboulaye and others were struggling to make their own country democratic. France was suffering under the rule of Napoleon the Third. Mr. Laboulaye suggested that the French and Americans build a monument together to celebrate freedom. One of the guests at the party was a young sculptor, Frederic Auguste Bartholdi. For years Mister Bartholdi had dreamed of creating a very large statue. By the end of the party he had been invited to create a statue of freedom for the United States. Mr. Bartholdi had never designed anything taller than four meters. But he planned this statue as the largest since ancient times. Its face would be the face of his mother, Auguste-Charlotte Bartholdi. In Eighteen-Seventy-Five the French established an organization to raise money for Mister Bartholdi's creation. Two years later the Americans established a group to help pay for the pedestal. This structure would support the statue. American architect Richard Morris Hunt was chosen to design the pedestal. It would stand forty-seven meters high inside the walls of a fort. The fort had been built in the early Eighteen-Hundreds. It was designed in the shape of a star. In France, Mister Bartholdi designed a small version of his statue. Then he built a series of larger copies. Workers created wood forms covered with plaster for each main part. Then they placed three-hundred pieces of copper on the forms. The copper "skin" was less than three centimeters thick. France had hoped to give the statue to the United States on July Fourth, Eighteen-Seventy-Six. That was the one-hundredth anniversary of the signing of America's Declaration of Independence. But technical problems and lack of money delayed the project by eight years. At last France presented the statue to the United States. The celebration took place in Paris on July Fourth, Eighteen-Eighty-Four. Americans started building the pedestal that same year. But they had to stop. People had not given enough money to finish the structure.A New York newspaper urged Americans to give more money for the pedestal. People reacted by giving one-hundred-thousand dollars. Now the huge statue had a pedestal to stand on. In France, the statue was taken apart for shipping to the United States. It was shipped in two-hundred-fourteen wooden boxes. On October Twenty-Eighth, Eighteen-Eighty-Six, President Grover Cleveland officially accepted Liberty Enlightening the World. He said: "We will not forget that Liberty has here made her home." Mister Bartholdi and representatives of the French government attended the ceremony. People paraded through the streets of New York. Boats filled the harbor. Over the years Americans shortened the name of the statue. They called it the Statue of Liberty, or Miss Liberty. The statue continued to welcome many immigrants arriving by ship until Nineteen-Twenty-Four. That is when Ellis Island stopped much of its operation. The great wave of immigration to the United States was mostly over. But millions of visitors kept coming to see the Statue of Liberty. By the Nineteen-Eighties, the statue badly needed repairs. Again people on both sides of the Atlantic Ocean cooperated to raise money. Automobile manufacturer Lee Iacocca led the campaign in the United States. Big companies gave money for the repairs. So did school children. Fireworks lit the sky at the celebration for the restored Statue of Liberty on July Fourth, Nineteen-Eighty-Six. Thousands of people still visit the Statue of Liberty every day. They reach the statue by boat. Many people climb the three-hundred-fifty-four steps to the crown. Or they ride up to observation areas in an elevator. Or they study the story of the statue in a museum in the monument. Task 5: 【答案】 A. 1) Their guidelines were too general/unspecific on how to safeguard those artifacts. 2) She thinks that a country is entitled to keep its heritage and with the ownership goes the responsibility to protect it. 3) He was afraid of being accused of selling away the artifacts for personal gain, 4) She suggested having an exhibition abroad. B. I. Reasons local communities should be involved. A. Cultural properties can be appreciated and better protected. B. The government is unable to take care of everything itself. II. Education is the key. A. Lobby aggressively to put heritage subjects into the school curriculum. B. Produce awareness-raising materials. C. Build a good distribution system to get the information out to everyone. 【原文】 Interviewer: One of the most basic issues affecting cultural heritage preservation is the question of ownership. What does current international law allow for? What are the shortcomings of current UNESCO conventions in regard to cultural heritage preservation? Dupree: That is a question particularly relevant to Afghanistan. When the massive looting of the Kabul Museum took place, nobody paid much attention, except for the specialists. UNESCO didn't say much of anything. Then the Bamiyan Buddhas were blown up, and immediately UNESCO came out with guidelines. However, their guidelines—which concerned safe havens for artifacts when the environment surrounding them was threatening—were so unspecific. They spoke about safeguarding any Afghan artifacts anywhere in the world. Which is fine, but how? They didn't say. So UNESCO was criticized. The whole question of who owns the national heritage of a country, and who is responsible for it, is very difficult. I personally talked to Commander Ahmed Shah Massoud who was unfortunately later assassinated. I said, “Look, the museum collections are in danger. Is there any chance you would consider sending them out of the country to be held in some safe haven?" And he said, “Personally I think it would be a good idea to put them in some safe haven, but politically I cannot do this. My opponents would say I am selling away the artifacts for my own personal gain." I think that a country is entitled to keep its heritage. But, at the same time, in keeping their heritage they have the responsibility to protect it. This is not always possible. Interviewer: What more do you think could have been done by the international community to safeguard the artifacts in the Kabul Museum? Dupree: Actually, once I was here at the Asia Society, and I asked the director of the galleries, "Would you consider having an exhibition?" That would have been one way to take them out without the critics being able to say they had been sold for personal benefit. This way, they would not only be on display, but they would be gathering income. Look at what happened with the Tutankhamen exhibit: long, long lines all over the world. So this could have been one way of doing it. But the leadership in Afghanistan kept changing so quickly that even if you came to an agreement with one person, he would soon be out, and then you'd have to go through it all over again with another person. Interviewer: To many people in the non-Western world, cultural heritage does not imply a collection of artifacts behind glass, but rather objects that are an indiscernible, integral part of their daily lives. What more do you think can be done at the grassroots level to promote cultural resource protection and involve local people in preserving and maintaining the objects that inform their lives? What role does education play in cultural heritage preservation? Dupree: This is one of my main concerns. Of course, cultural heritage has many components; some are tangible, some are intangible. Problems in the past existed on many levels. For one, the government has always been responsible for repair and maintenance. The people were not involved; so they felt no responsibility for cultural properties around them. Now we see that monuments that are living parts of the community have suffered less during the war. So I am convinced that we have to involve communities, by forming action committees, so those monuments and other parts of the culture that they are living with can be appreciated. Local people often don't see there is anything unique in some of the things they work with daily. You have to raise their awareness of this, because for a long, long time the government will not be able to take care of everything itself, nor should it. It should be the community acting out of a sense of responsibility for their past. As far as education is concerned, it is the key. In Afghanistan, heritage subjects were not included in an appropriate way in the school curriculum. Now there are two generations of young people who have grown up outside of their own country. They haven't a clue as to what their culture is. They don't have a clue of the glorious things in their history. And why should they be held accountable for them unless they understand, and understand clearly, that this is part of their past, and it is part of their culture. So the education sector must become involved, and this includes aggressive lobbying. They're going to revise the curriculum in Afghanistan, and we must lobby aggressively to see that these issues are put into the entire curriculum. But that doesn't do all that is necessary. You have to produce reading materials, posters, and other awareness-raising materials. And even that is not enough. Unless you have a good distribution system, this will all be concentrated in the cities. You need to get the information out to everyone, so civil society can be intelligently informed about its heritage and how to protect it. Task 6: 【答案】 A. 1) People wanted to build ever more impressive structures, but lacked the technology needed for great buildings. 2) They symbolized power and wealth. 3) It began in 1173. 4) They found that the tower was leaning slightly and began to wait for the tower to settle. 5) The soil was too soft to bear the weight. 6) It has leant to different directions. Now it leans to the south. B. 1) F 2) T 3) F 4) F 5) T 6) T 7) F 【原文】 In the world of medieval Europe, buildings were thought to represent humankind's greatest stamp upon the universe. Ambitions for ever more impressive structures sometimes soared, often ignoring the technical knowledge needed for human hands to craft masterpieces out of stone and mortar, and imperfect creations resulted from time to time. One such flawed design, however, produced a structure that not only survived the ages but also achieved great fame, becoming a much-celebrated marvel of human fallibility. The town of Pisa, in the west-central part of the Italian peninsula, had been a major trading and maritime center for some 300 years when 12th-century builders began constructing a bell tower in its famous piazza. The freestanding bell tower was to be a worthy accompaniment to the piazza's superb cathedral, which was still not finished after a century of construction. Such bell towers symbolized power and wealth, and various republics seemed to compete with one another to construct ever more grand ones. It was only reasonable then that Pisa, whose economic position and power rivaled that of its northern neighbors, Genoa and Venice, should construct a particularly impressive tower. Conceived in the comparatively elaborate Pisan style, the bell tower would measure 52 feet in diameter at the ground level. The original design called for a relatively tall first level that was to be ornamented by engaged columns and which was to be capable of supporting six additional stories, each embellished with marble arcades. A portal decorated with sculptures of animals and monsters would function as an entranceway to the tower. Inside, 294 steps would lead visitors upward through the successive arcades to an open terrace. Of course, at the very top of the stone tower there would be space devoted to a bell chamber. In 1173, workers began to construct the tower. After they had completed the first three floors—only about a third of the intended 191-feet height—it became obvious to them and to the designers that the tower was leaning slightly. The sad fact was that the soft soil on which it stood simply was not capable of bearing the weight of the structure. The townspeople halted the construction project and began a long wait for the tower to settle. But when 100 years had passed and their patience had grown very thin, people finally had to admit that the tilt had only gotten worse. The Pisans nevertheless decided to resume work on the tower, determined to make the remainder of the building straight, even if such an arrangement would create a curve in the tower above its third story. Work proceeded through the second third of the structure, but by the time it was completed, the builders had made the awful discovery that the tilt had become more noticeable. Again the Pisans brought everything to a halt, pausing for almost a century. Finally, in 1350, the still leaning tower was finished. Its unfortunate feature did not make it unique, however. Other European towers of that era leaned as well. But the angle of Pisa's Leaning Tower became more and more remarkable as it liter-ally began to screw itself into the soft ground, leaning at first to the northwest, then to the north, to the east, and to the south, where it still slants today. Despite its instability, or perhaps because of it, the tower has risen into the ranks of world-class landmarks. Today, the tower is a full 17 feet out of plumb, a situation that puts immense stresses on its lower levels. Workers have been strapping steel cables to the tower's lower part in an effort to keep it from becoming crushed under the strain. Numerous international experts also feel the strain while trying—so far in vain—to find a way that will somehow save the Leaning Tower of Pisa. It is unfortunate that these experts are not able to consult one of the city's favorite sons. The great Renaissance scientist Galileo grew up in Pisa and, in fact, climbed the tower to perform his free-tall gravity experiments. As someone who had wanted to understand gravity, perhaps he would have enjoyed trying to combat the very force that at last may topple Pisa's remarkable Leaning Tower. Task 7: 【答案】 A. 1) a Bronze Age culture was developing 2) it was reserved for vessels B. 1) It seems to have developed in about 2,200 BC. 2) In the Central Plains of the Yellow River valley. 3) They were made to be used in state ritual and ancestor worship. 4) For over 1,000 years. 5) To represent his land which he had divided into nine provinces. 6) They did this to reaffirm their hereditary rights to power and to persuade the ancestors and deities to influence events favorably. 7) They were buried either in storage pits or in tombs. C. Late Shang Dynasty Western Zhou The End of the Bronze Age Changing Content of the Name of the owner or Achievements Inscriptions replaced by rich Surface of the ancestor and wish surfaces Bronze Vessels 【原文】 From the first simple wine cup — one of the earliest Chinese bronze vessels yet known — to the extraordinary life-sized terracotta figures buried with the First Emperor of Qin, this exhibition features discoveries that have fundamentally changed our knowledge of ancient Chinese history and art. At about the same time that Stonehenge was rising in England and Abraham was framing the principles of Judaism in the Middle East, a Bronze Age culture was developing in China that in many respects was seldom equaled and never surpassed. This development seems to have occurred early in the first half of the second millennium B.C. in the fertile Central Plains of the Yellow River valley. Unlike other cultures, where bronze was first used chiefly for tools and weapons, in China this alloy of copper and tin was reserved for the manufacture of majestic vessels that played central roles in state ritual and ancestor worship for more than 1,000 years, even after the official beginnings of the Iron Age in the fifth century B.C. Representing the wealth and power of the rulers, these ritual utensils show the highest degree of technical and artistic accomplishment in early Chinese civilization. The legend of the founding of China's first dynasty demonstrates the importance of bronze to the ancient Chinese: After King Yu of the Xia brought the primordial floods under control, in about 2200 B.C., he divided his land into nine provinces, and had nine ding (food cauldrons) cast to represent them. When the Xia dynasty fell, the "nine ding," also called the "Auspicious Bronzes of the State," passed to the Shang dynasty, and, in turn, to the Zhou when they conquered the Shang. Possession of bronze vessels thus became a symbol for the holding of power and prestige. Rulers used bronze cauldrons, cups, drinking vessels, and other containers to present offerings of food and wine to royal ancestors and deities. In this way they reaffirmed their hereditary rights to power and attempted to persuade the ancestors to influence events favorably. After the Shang period, ritual vessels became more important as expressions of personal prestige than as vehicles for pious offerings. This is evident from the changing content of bronze inscriptions. Cast into the surface of a vessel, these inscriptions first appeared during the last Shang dynasty as a terse identification of the vessel's owner or of the ancestor to whom it was dedicated. During the Western Zhou period inscriptions became increasingly common and lengthier, extolling the achievements of the owner and expressing the poignant wish that the piece might not only honor his forebears, but also recall his own merits to his descendants "for generations without end." By the end of the Bronze Age, the vessels became worldly status symbols, more important in celebrations of the living than in rituals for the dead. Inscriptions all but disappeared, replaced by rich surfaces inlaid with gold, silver, and precious stones. We owe the preservation of these ancient bronzes to their burial, either in storage pits, where they were hastily hidden by fleeing members of a defeated elite house, or, more commonly, in tombs. During the Shang dynasty, members of the royalty were accompanied in the afterlife by their bronzes, ceramics, weapons, amulets, and ornaments, and even the human and animal entourage that surrounded them in life: servants, bodyguards, horses, chariots, and charioteers. During the Zhou and Han periods sumptuous burials continued, but human sacrifice was rarely practiced, although the custom was preserved by the substitution of figurines of wood or clay. Task 8: 【原文】 The Chinese have long believed that the flexible brush is the perfect means to express one's inner spirit. Thus calligraphy with ink on paper or silk, whether by scholars, poets, monks, or government officials, is often considered the highest form of art. Great masterworks from earlier periods such as the Tang Dynasty were used as models for the proper style and proportion of the more than 50,000 Chinese characters. There were also a number of different scripts to choose from. Ancient seal script, used even today for carving seals, conveys an archaic flavor, as does clerical script, developed in the Han Dynasty by clerks to record government documents. Calligraphy, however, could also be written in regular, running, or cursive script, not unlike our own choices in English--for example, most of us do not write the small letter a in the printed form, but in more rapid pencil or pen movement. Similarly, Chinese calligraphers usually preferred less formal and more dramatic styles of brushwork to regular script. Some masters, however, combined scripts, such as the painter-poet-calligrapher Zheng Xie, who enjoyed mixing clerical, regular, running, and cursive scripts.