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聽力 長篇
1. Mary Stevenson Cassatt (1844 1926), born in Allegheny City (now part of Pittsburgh), Pennsylvania, spent her early years with her family in France and Germany. From 1860 to 1862, she studied at the Pennsylvania Academy of the Fine Arts. By 1865, she had convinced her parents to let her study in Paris, where she took private lessons from leading academic painter Jean-Léon Gérôme, copied works of the old masters, and went sketching. She stayed in Courance and couen and studied with douard Fr re and Paul Soyer. In 1868, Cassatt's painting The Mandolin Player (private collection) was accepted at the Paris Salon, the first time her work was represented there. After three-and-a-half years in France, the Franco-Prussian War interrupted Cassatt's studies and she returned to Philadelphia in the late summer of 1870.
Cassatt returned to Europe in 1871. She spent eight months in Parma, Italy, in 1872, studying the paintings of Correggio and Parmigianino and working with the advice of Carlo Raimondi, head of the department of engraving at the Parma Academy. In 1873, she visited Spain, Belgium, and Holland to study and copy the works of Velázquez, Rubens, and Hals. In June 1874, Cassatt settled in Paris, where she began to show regularly in the Salons, and where her parents and sister Lydia joined her in 1877. That same year, Edgar Degas invited her to join the group of independent artists later known as the Impressionists. The only American officially associated with the group, Cassatt exhibited in four of their eight exhibitions, in 1879, 1880, 1881, and 1886. Under their influence, Cassatt revised her technique, composition, and use of color and light, manifesting her admiration for the works of the French savant garde, especially Degas and Manet. Degas, her chief mentor, provided criticism of her work, offered advice on technique, and encouraged her experiments in printmaking. Like Degas, she was chiefly interested in figure compositions. During the late 1870s and early 1880s, the subjects of her works were her family (especially her sister Lydia), the theater, and the opera. Later she made a specialty of the mother and child theme, which she treated with warmth and naturalness in paintings, pastels, and prints.
Cassatt's role as an advisor to art collectors benefited many public and private collections in the United States. From her early days in Paris, she encouraged the collection of old masters and the French avant-garde. In 1901, she accompanied Mr. and Mrs. Horace Havemeyer on a collecting trip in Italy and Spain. Cassatt had known Mrs. Havemeyer before her marriage. In 1873, she had encouraged the then seventeen-year-old Louisine Elder to buy a pastel by Degas, and the two women became close friends. Cassatt was eventually instrumental in shaping the Havemeyer collection, most of which is now in the Metropolitan Museum.
Failing eyesight severely curtailed Cassatt's work after 1900. She gave up printmaking in 1901, and in 1904 stopped painting. She spent most of the war years in Grasse and died in 1926 at her country home, Chateau de Beaufresne, at Mesnil-Theribus, Oise.
2.地中海面積達250萬平方干米，平均深度約1600米的世界上最大的陸間海-一地中海，說它在歷史上曾經乾涸過，有誰能相信呢？但據科學考察，這又確是千真萬確的事情。
近年來，經科學家們大量考察，發現了在地中海海底不同地點和不同深度上的沈積層中存在著石膏、岩鹽和其他礦物的蒸發岩，經測定，其年齡距今約700萬年至500萬年之間。從現代晒海鹽可以知道，要在封閉的鹽場中使原生海水的90％以上蒸發完，才能沈澱出鹽來。由此可以推斷，在距今約700萬年期間，地中海的古地理環境確曾是一片乾涸荒蕪的沙漠。從考証出來的蒸發岩之上又覆蓋著一層海相沈積物和深海軟泥來看，說明地中海乾涸之后，再度被海水淹沒。
地中海是地質史上遼闊的古特提斯洋的殘留部分，一度存在于北方勞亞古陸和南方岡瓦納古陸之間。在距今約2億年前的中生代初期，由於非洲大陸和印度大陸開始向北移動，使古特提斯洋逐漸變窄。到距今約6500萬年前的白堊紀末期，歐亞板塊和非洲板快開始匯聚一起，形成了地中海。這時的地中海仍然與大西洋、印度洋相通。隨著板塊繼續碰撞匯聚，在距今約800萬年前的第三紀末期，地中海就完全閉合了。這時的地中海，四周峭壁陡立，是一個封閉的海盆，成為一個地地道道的陸間海。由於降水少，海水溫度高，蒸發量大，入不敷出，經過漫長的歲月，最終使地中海成了乾涸的海谷地。
在距今約500萬年前，由於強烈的地殼運動和大西洋滾滾海浪的日夜沖刷和侵蝕，在直布羅陀地帶的地峽處首先形成了一個缺口，使大西洋的海水最初以一股涓涓細流注入了乾涸的地中海。隨著地殼的不斷運動和海浪的強烈衝擊、剝蝕，缺口越來越大，使大西洋的滾滾波濤沖過陡立的峭壁，飛流直下，形成巨大的瀑布，經過數萬年的演變，才成為今天的直布羅陀海峽和地中海的自然景象。隨著歐亞板塊和非洲板塊間的相對運動，地球上的這個古老的"特提斯洋"殘跡--地中海，今后面積將更加縮小。
3. Tuna
Skipjack tuna Katsuwonus pelamis is a highly migratory pelagic species occurring in all tropical and subtropical waters of the world. The tuna spawns throughout the year
and migrates globally after hatching, from the equatorial spawning areas to the northern and southern temperate regions (Collette & Nauen, 1983). Migrations of skipjack tuna have been examined in the Paci¢c Ocean. Several migratory routes of the tuna have
been reported, and there are a number of semiindependent stocks of skipjack tuna in the Paci¢c Ocean (Matsumoto, 1974, 1975). Further, Hilborn & Sibert
(1988) suggested that a large number of skipjack tuna do not demonstrate the long-distance movement but, rather, remain around the tropical spawning area, not migrating toward the northern and southern temperate regions. Thus, the migratory pattern throughout the life cycle of this tuna is variable and complicated. Information regarding individual migratory histories would provide basic knowledge for both ¢sh migration studies and ¢shery management, allowing e¡ective and sustainable use of skipjack tuna resources. Otolith chemistry is increasingly used as a technique to di¡erentiate stocks and reconstruct the migratory history of individual ¢sh (Campana, 1999; Arai, 2002). Otoliths
precipitate as a ¢sh grows, and elements from an individual’s surroundings are integrated into the aragoniteprotein matrix. Because otoliths are metabolically inert,
resorption or remobilization of newly deposited elements during ontogeny is negligible. Therefore, the chemical composition of otoliths may serve as natural tags or
chemical signatures that re£ect di¡erences in the chemical composition of the individual’s habitat(s). Recently, this method has been used to assess stock speci¢city of tunas,
and ¢ndings suggest that otolith elemental analysis has promise for assessing the population connectivity of pelagic stocks (Rooker et al., 2001). The objectives of the present study were to examine the otolith Sr:Ca ratios in specimens of the skipjack tuna
Katsuwonus pelamis collected in the western Paci¢c Ocean. The results provide a basis for discussion of the movements and life histories of the species.
4. 美國工業歷史 說明 印刷機器化從英國引進後，大量製造，造成書本和紙類變便宜，報紙和重媒體都能讓大眾閱讀，形成一種知識的提昇，和手錶的發明讓大眾都擁有準確的時間觀念，大眾交通系統 (鐵路) 可以準時發車，引响巨大。
5. 男和女，女生問男生明天有沒有空，男生說沒有，說他要問卷調查，針對一份心理研究作問調查，這份問卷調查是男生的額外打工時薪15美元。(大致上是這樣，聽起來有點糊)
6. 女生問男生為什麼今天遲到，男生問他有沒有miss很多，女生說教授也晚到，男生說找不到他的教科書，所以他花了點時間去找，還是找不到，最後拿他室友的，但是沒有跟他室友說，男生想說拿不回來了，女生叫他在想想，他說可能掉在圖書館，女生建議他去問library circulation table
閱讀長篇
1. 古埃及的挖掘
因為亞歷山大大帝燒掉70000冊重要史籍，使的古埃及的研究最重要來自於陵墓的挖掘，Ramesses II 的陵墓挖掘提供了重要的資料。更使的最重要的陵墓出土Tutankhamun TOMB the biggest tomb in Egypt 。
補充資料
現代"古埃及學開始於1798年拿破崙遠征埃及時。當時他隨軍帶有一大群學者，去研究埃及生活的每一個層面，從埃及的植物相與動物相一直到古建築等方面。這些人的研究成果再度喚醒了歐洲學者對埃及的興趣。這次遠征的另一結果，是一位法國學者發現羅塞塔石碑 (Rosetta Stone)。學者們明白這塊三種不同文字－通俗埃及文、象形文與希臘文－寫成的石碑，可用來解開長久遺失的埃及語文。
當歐洲與美國的收集家在找尋有價值之物時，對古埃及興趣的復甦也產生了一段不幸的時期，即無限制地掠奪遺蹟。
2. 16世紀中期書本的大量印刷，因為印刷技術的進步。大量製造和成本下降成為主要的需求，之前的書籍都是包裝精美後來為了大量印製變的比較平實。根據顧客需求作印製，法律書印最多，宗教第二，第三是小說，第四是音樂書籍……….
3. 植物和動物的飲食，植物必須有轉化能源的機制，像是光合作用的等等，動物直接消化所需的動物或是植物，像是蛋白質等等…. 所以動物的消化系統不同….這篇最難>_<
4. 美國各項fine art 的發展，說明17世紀時，一開始是說畫家，大部分是畫肖像為生，有四位著名美國畫家，名子忘記了，他們在美國很成功之後去歐洲表演。然後有音樂家在城鎮中都是業餘表演者，主要表演的都是歐洲的著作或是作品。像是巴哈等，最後提到舞台藝術，在1716以及1752 波士頓和紐約開始有私人成立theater,之後主要的城市才成立theater.他們演藝的作品多為歐洲的產品，一直到獨立戰爭後，殖民時期的美國才發展出自己的作品。
作文：20. It is better for children to grow up in the countryside than in a big city. Do you agree or disagree? Use specific reasons and examples to develop your essay
大部分是考試記下來的，閱讀、聽力有去查相關資料，潛水了很久，希望對大家有幫助，還要去考一次。
這次有考到自己的實力，不過有點緊張，希望下次能夠 range 到 260。 | 
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发表于 2006-2-10 18:36:00
