ChaseDream
搜索
返回列表 发新帖
查看: 5412|回复: 9
打印 上一主题 下一主题

6.17 US JJ

[精华] [复制链接]
楼主
发表于 2005-6-19 04:38:00 | 只看该作者

6.17 US JJ

2个月前刚开始准备的时候模了一次2**--270,昨天考了还是这个分数,失败,不知道这两个月干吗了。分数不高,不过够用了


听力,因为我声音没调好,比较小,郁闷,只能摁着耳机听,效果可想而知了


短对话不记得了


段子有melodrama那篇,还比较容易,说了2种音乐,要注意听,有匹配,说一种是相当于背景音乐的,另一种是标示人物的


水的黏度那篇,好像也有JJ,就描述海水怎么split的过程,先怎么怎么,然后拉长,最后断掉了


还有一篇关于美国一个区域叫做dust bowl的,包括了哪几个州,为什么会形成dust的,似乎是那些农民为了种crops把草除掉了,后来风就把浮土扬起来了,那些农民就转移到加州去了,后来有一些没听清楚,就是加州如何如何的,有一道双选,要注意听


作文,跟小猪头的题目一样,人们是不是应该只读那些关于real events, real people的书



一点体会:我听力作的不好,可能比较紧张,音量也没调好,猜了好几个,很郁闷,做到后来就开始琢磨下次什么时候再考,又琢磨显示器不错,一点都不闪=.=!


语法也是我的弱项,每次都要错,不提也罢


中途休息的时候就在想,阅读要好好做,说不定还能扳回来,最后真的还是靠阅读28分拉回来一点,所以大家如果中途觉得做得不好也不要放弃,一定要调整好心态!

沙发
发表于 2005-6-19 04:50:00 | 只看该作者

谢谢!!

板凳
发表于 2005-6-19 05:49:00 | 只看该作者
thanks for sharing
地板
发表于 2005-6-19 07:26:00 | 只看该作者

是啊。我的听力也很惨,听得全云山雾罩。后来告诉自己一定要靠语法和阅读稳住,一定要力挽狂澜。最后听力还好,就错了4个。


我不是小猪头,我都快27乐。这么大岁数还考托福,我自己都觉得丢人呢!

5#
发表于 2005-6-19 09:27:00 | 只看该作者




楼主看看,和哪有关


The Primary 19th CenturyTheatrical Form


Melodrama was the primary form of theatre during the 19th century, despite other influences, becoming the most popular by 1840. Melodrama is still with us today.


In the early 1800’s, most were romantic, exotic, or supernatural.


In the 1820’s, they became more familiar in settings and characters.


In the 1830’s, became more elevated: "gentlemanly" melodrama.


Characteristics of Melodrama:




  • Comes from "music drama" – music was used to increase emotions or to signify characters (signature music).


  • A simplified moral universe; good and evil are embodied in stock characters.


  • Episodic form: the villain poses a threat, the hero or heroine escapes, etc.—with a happy ending.


  • Almost never five acts – usually 2-5 (five acts reserved for "serious" drama).


  • Many special effects: fires, explosions, drownings, earthquakes.


Types of Melodrama:




  • Animals used (along with the Romantic concept of nature):


  • Equestrian dramas: horses, often on treadmills – forerunners of the modern Western.


  • Canine melodramas: like Lassie


  • Nautical melodramas: interest in the sea.


  • Disaster melodramas.


The most successful and popular melodrama:


Uncle Tom’s Cabin – the novel by Harriet Beecher Stowe (1852) had several dramatizations:




George L. Aiken’s was the most popular--1853. Six acts, done without an afterpiece – established the single-play format. 325 performances in New York.


In the 1870’s, at least 50 companies doing it in the U.S.


In 1899: 500 companies.


In 1927: 12 still doing it.


12 movie versions since 1900.


The most popular melodrama in the world until the First World War.




MELODRAMA FILMS



Melodramatic Films are a sub-type of drama films, characterized by a plot to appeal to the heightened emotions of the audience. Melodrama, a combination of drama and melos (music), literally means "play with music." The themes of dramas, the oldest literary and stage art form, were exaggerated within melodramas, and the liberal use of music often enhanced their emotional plots. Often, film studies criticism used the term 'melodrama' pejoratively to connote an unrealistic, pathos-filled, campy tale of romance or domestic situations with stereotypical characters (often including a central female character) that would directly appeal to feminine audiences.


There are many names for melodramatic films - 'women's pictures', 'weepies', tearjerkers, soap operas (or soapers), and more recently, 'chick flicks'. However, not all melodramas are tearjerkers, but more like heightened dramas. Pure melodramas reached their pinnacle in the films of the 50s by Douglas Sirk. (Entertainment Weekly's November 28, 2003 issue listed their choices for the Top 50 Greatest Tearjerkers: each one "involves a terminally ill loved one, or an impossible love, or a giant robot that dies for our sins." And O Magazine compiled their 50 Greatest Chick Flicks in their July 2004 issue.)


Melodramatic plots with heart-tugging, emotional plots (requiring multiple hankies) usually emphasize sensational situations or crises of human emotion, failed romance or friendship, strained familial situations, tragedy, illness, neuroses, or emotional and physical hardship within everyday life. Victims, couples, virtuous and heroic characters or suffering protagonists (usually heroines) in melodramas are presented with tremendous social pressures, threats, repression, fears, improbable events or difficulties with friends, community, work, lovers, or family. The melodramatic format allows the character(s) to work through their difficulties or surmount the problems with resolute endurance, sacrificial acts, and steadfast bravery.


Melodramas were the prime form of dramas until they were overtaken by straight-forward, realistic dramatic forms in the 50s and afterwards, although they continue to occasionally appear into the present. Even today, horror films, adventure pictures, war movies, thriller films, and even westerns (such as Fred Zinnemann's psychological western High Noon (1952) and Delmer Daves' 3:10 to Yuma (1957)) are described as melodramatic.


Directors that have often been associated with melodramas include the following:



  • Frank Borzage - his definitive works being Man's Castle (1933), The Mortal Storm (1940), and Moonrise (1948); also Borzage's romantic melodramas including: Seventh Heaven (1927) and Street Angel (1928) - both with Charles Farrell and Janet Gaynor


  • George Cukor - a legendary 'women's director'; noted for The Women (1939) - a melodramatic comedy with an all-female cast - a group of catty, back-biting, competitive, and richly-spoiled high-society women


  • Max Ophuls - known for the melodramatic noir Caught (1949), and for the quintessential Letter From an Unknown Woman (1948) - a classic tale of unrequited love


  • Douglas Sirk - with 50's classics including All That Heaven Allows (1955), Written on the Wind (1956), and Imitation of Life (1959)


  • Vincente Minnelli - examples include The Bad and the Beautiful (1952), the slow-burning character study Some Came Running (1959) with Frank Sinatra in the lead role as a returning soldier to a Midwestern town, and the soapy romantic drama The Sandpiper (1965) starring Elizabeth Taylor and Richard Burton

Early Melodramas:

Tragically-realistic films were a big part of the silent film era - the silents naturally lent themselves to melodrama. The only means by which an actor or actress could communicate meaning and feelings was through facial expressions and gestures. One of the earliest melodramas was director Frank Powell's silent film (based upon a stage play) titled A Fool There Was (1915), with Theda Bara (in her star-making film debut) cast as an evil, dark, wicked and mysterious vampire who seductively lures a weak-willed family man away and controls his heart with her sexy wiles.

The master of silent melodramas was director D. W. Griffith, who featured the innocent heroine Lillian Gish in many of his films, such as Broken Blossoms (1919) as a fragile and waif-like daughter of an abusive prizefighter, or in the melodramatic epic of the French Revolution Orphans of the Storm (1922) and of World War I Hearts of the World (1918), or in Way Down East (1920) with Gish as a naive and wronged woman after being seduced, made pregnant, and abandoned. Small-town prejudice sends Gish into a death-threatening blizzard and entrapment on an ice floe. King Vidor's WWI epic The Big Parade (1925) featured melodrama within the romantic subplot between a French girl (Renee Adoree) and an American doughboy (John Gilbert). One of the earliest, most influential romantic melodramas of the era was the classic silent masterpiece from F. W. Murnau titled Sunrise (1927). Another was director Erich von Stroheim's silent masterpiece Greed (1924) - a marital drama about an avaricious couple.

Fannie Hurst's best-selling, tear-jerking novel of an ill-fated romance and sacrificial love was remade numerous times: John Stahl's Back Street (1932) with Irene Dunne and John Boles, Robert Stevenson's Back Street (1941) with Charles Boyer and Margaret Sullavan, and David Miller's Back Street (1961) with Susan Hayward and John Gavin.

Melodramatic Tales of Fallen and Liberated Women:

Before the Production Code Administration in 1934 clamped down with strict censorship codes, Hollywood produced a number of frank and sordid melodramas featuring tough, sinful, bawdy, naughty and fallen women, pleasure-loving golddiggers, prostitutes and ruthless divorcees - some of whom were repaid for their sinfulness and indiscretions by rejection, drug-addiction, death, or anonymity. The silent Madame X (1920) was one of the first of such films - in which a woman (Pauline Frederick) was separated from her legitimate child, and then defended by her unknowing, grown-up son when wrongly accused of murder.

Norma Shearer won the Best Actress Oscar for MGM's The Divorcee (1930) as a recent divorcee who finds revenge on her faithless husband by becoming a philanderer herself. Cecil B. DeMille directed the outrageous Madam Satan (1930) about a wealthy socialite (Kay Johnson) who pretends to be a sultry French vamp in order to seduce her own husband away from his mistress. (The film featured an infamous debauchery scene - a masquerade costume ball aboard a zeppelin dirigible above New York harbor.)

Gloria Swanson (in Manhandled (1924), and in Sadie Thompson (1928) as a fallen woman of loose morals), and liberated sexy screen siren Clara Bow (in My Lady of Whims (1925), Mantrap (1926), Dancing Mothers (1926), the star-making light comedy It (1927) ("It" means sex appeal), and Hula (1928)) emerged as the newest stars of melodramatic pictures in the 20s. Liberated females (society women, stenographers, actress/starlets) were the main characters in pre-code melodramatic soap operas, including MGM's pre-censorship era Three On A Match (1932) featuring three girlhood friends - a working girl stenographer (Bette Davis), a bored society dame and rich man's wife (Ann Dvorak) and a jaded showgirl/actress with a gangster boyfriend (Joan Blondell), and What Price Hollywood? (1932) with Constance Bennett as an aspiring young Hollywood starlet (later remade three times as A Star is Born in 1937 (with Janet Gaynor), 1954 (with Judy Garland), and 1976).

One of the only female Hollywood directors in the 1930s was Dorothy Arzner, who made Katharine Hepburn's second film, giving the actress her first starring role in Christopher Strong (1933), a tale of a daring female aviator who fell in love with a married British statesman. Margaret Sullavan starred in her first role as an unwed mother (with an unknowing father) in Only Yesterday (1933). By 1934, explicit tales of fallen women involved in dangerous or disastrous relationships with men came to be banned or rigorously censored by the Production Code censors.

The 30s "Weepies":

Hollywood cranked out women's pictures (or 'weepies' as they came to be known, or are now known as "chick flicks") with excessive emotional fervor in the 1930s and after. In part because they contained few strong male characters and matinee idols suitable for swooning, they were films created for the female segment of the audience. Producers thought women would be more interested than men in relationships, love, and marriage, thereby escaping from their own problems, and empathizing (and weeping) with the on-screen sufferings of strong female protagonists. Female audiences would be attracted to plot lines that included doomed love affairs, infidelity, unrequited love, various family crises, or marital separation. The protagonists of women's films would often overcome stereotypical gender roles, and the films would examine the strong achievements of these characters.

Five female actresses were known for their redefinition of feminine roles in the 1930s (both pre- and post- code):


  • BARBARA STANWYCK: appearing as a shrewd, tough-minded, often amoral and wisecracking woman, in Frank Capra's Ladies of Leisure (1930) as a gold-digger, in William Wellman's sordid pre-code Night Nurse (1931) with several scenes of undressing, in the hit Illicit (1931) as a free-spirited, co-habitating adventuress, in Frank Capra's Forbidden (1932) as a liberated heroine, in Shopworn (1932), in Warner Bros.' prison drama Ladies They Talk About (1933) as a tough-talking, imprisoned gangster's moll, in the risque Baby Face (1933) as a street-wise dame who uses men to climb to the top of the corporate ladder, and in Warner Bros.' Gambling Lady (1934) - films now marketed as "Forbidden Hollywood"


  • MARLENE DIETRICH: often appearing as an exotically-perverse, sensual, sometimes androgynous, and seductive character, as a cabaret singer in The Blue Angel (1930), Morocco (1930) and Blonde Venus (1932), as an alluring woman in the historical melodrama The Devil is a Woman (1935), and as an exotic South Seas vamp/entertainer in Seven Sinners (1940)


  • GRETA GARB bewitching, enigmatic, often tragic and desirable, in Anna Christie (1930) as an ex-prostitute, in Mata Hari (1931) as the infamous exotic WWI dancer/spy ultimately destroyed by her love of a young Russian, in Susan Lenox: Her Fall and Rise (1931) as an on-the-run fallen woman, in the historical costume drama Queen Christina (1933) as a self-exiled Swedish queen, in Anna Karenina (1935), and as a dying courtesan in the suffering romantic love film Camille (1936)


  • JOAN CRAWFORD: glamorous and often fashionable, as a decadent flapper hurt by the Stock Market Crash in Dance, Fools, Dance (1931), as a struggling wronged prostitute in Rain (1932), in the vintage melodrama Sadie McKee (1934) as the sexy title character, in the historical costume drama The Gorgeous Hussy (1936) as Peggy O'Neal Eaton - Andrew Jackson's mistress, in the romantic dramas The Bride Wore Red (1937) and director Frank Borzage's Mannequin (1937), in Borzage's doomed romance The Shining Hour (1938) and in the mystical melodrama Strange Cargo (1940) as a trollop teamed with Clark Gable, and in A Woman's Face (1941) as a sullen, scar-faced blackmailing con. Grand Hotel (1932), starred both an insolent Crawford and a tragically-radiant Garbo, and used Berlin's Grand Hotel as the backdrop for its anthology of intersecting lives of different characters.


  • JEAN HARLOW: a platinum blonde sexpot appearing as a smart-aleck vamp in pre-Hays Code productions, in films such as in Howard Hughes' WWI war drama Hell's Angels (1930) - the film with her famous question: "Would you be shocked if I changed into something more comfortable?", the steamy classic Red Dust (1932) where she played a stranded prostitute on an Indochinese rubber plantation run by loutish Clark Gable, as an indiscreet, trashy home-wrecking gold-digger (with her blonde hair dyed red) in Red Headed Woman (1932), as a Broadway song and dance showgirl in Reckless (1935), as a tough, questionable woman who ends up pregnant in a reform school in Hold Your Man (1933), and as a working girl who is again pregnant and jailed in Riffraff (1935).

Maternal Melodramas: Definitive Examples

Maternal melodramas featured plots with sacrificial, selfless mother-loving figures who suffered hardships. They were a popular tearjerker (or 'soaper') sub-genre requiring multiple hankies to make it to the emotional finales. Maternal characters were cruelly neglected and scorned by their children, or separated from their children for any number of causes (social pressures to give up the child, financial destitution, scandal or a moral lapse, etc.). However victimized, they would often become heroines by sacrificing themselves for their children.

Many exceptional films are noted for being definitive, mother-love 'weepies':


  • Best Actress Oscar-winning Helen Hayes (in her first film role) as a devoted, all-suffering heroine toward her child born out of wedlock (Robert Taylor), by becoming a street-walker in the early The Sin of Madelon Claudet (1931)


  • the emotional telling of Fannie Hurst's story of a widowed mother (Claudette Colbert, Lana Turner) and a black maid (Louise Beavers, Juanita Moore) who both have problems with their love-starved and troubled daughters (Rochelle Hudson, Fredi Washington; Sandra Dee, Susan Kohner) - one of whom is light-skinned, in John Stahl's restrained Imitation of Life (1934) and Douglas Sirk's glamorized, ultra-emotional version Imitation of Life (1959)


  • King Vidor's Stella Dallas (1937) with a self-sacrificing, adoring, poverty-stricken mother Stella (Barbara Stanwyck) giving all for her daughter Laurel (Anne Shirley) in the film's heart-breaking finale in the rain; also director Henry King's popular silent soaper Stella Dallas (1925) starred Belle Bennett


  • Edmund Goulding's soap opera That Certain Woman (1937) with Bette Davis as a sacrificial wife and mother after an annulled marriage to Henry Fonda (this was a remake of the silent film The Trespasser (1929), starring Gloria Swanson - in her first talkie)


  • another collaboration between Bette Davis and Edmund Goulding - with Davis as an embittered, long-suffering 'old maid' spinster - and unwed mother who gives up her illegitimate daughter to be raised by her selfish, married and childless cousin (Miriam Hopkins) in the superb The Old Maid (1939)


  • in Edmund Goulding's The Great Lie (1941), newly-widowed Bette Davis aids her husband's pregnant ex-wife (Mary Astor) in bearing and then raising the child


  • Best Actress Oscar-winning Olivia de Haviland as a loving mother who selflessly gives up her illegitimate son (conceived with a WWI fighter pilot who dies in battle before they can marry) for adoption and then becomes her son's 'aunt' without revealing the truth in To Each His Own (1946)


  • the melodramatic film-noir classic Mildred Pierce (1945) starred Best Actress Oscar-winner Joan Crawford (who took the role that had been rejected by both Davis and Stanwyck) as a hard-working, excessively-devoted, long-suffering divorcee/mother for her spoiled, murderous daughter Veda (Ann Blyth)
6#
发表于 2005-6-19 09:32:00 | 只看该作者

黏性物质
emplastic


黏液
grume

7#
发表于 2005-6-19 09:33:00 | 只看该作者

1930's Dust Bowl





Excerpts from "The Dust Bowl, Men,  Dirt and Depression" by Paul Bonnifield.


The 1930's Dust Bowl


"Dust Bowl" was a term born in the hard times from the people who lived in the drought-stricken region during the great depression. The term was first used in a dispatch from Robert Geiger, an AP correspondent in Guymon, and within a few short hours the term was used all over the nation. The "Dust Bowl Days", also known as the "Dirty Thirties", took its toll on Cimarron County. The decade was full of extremes: blizzards, tornadoes, floods, droughts, and dirt storms.


Early Thirties Economy


In 1930 and 1931, the decade opened with unparalleled prosperity and growth. NATION'S BUSINESS magazine labeled the panhandles of Oklahoma and Texas as the most prosperous region. The Panhandle was a marked contrast to the long soup lines of the Eastern United States.


Farming in the Panhandle


Wheat was a real good thing. The world needed it and was paying a good price for it. Wheat farmers with tractors, one way plows and combines purchased by most farmers after the phenomenal crop of 1926, began plowing and planting wheat as never before. The lands were planted to wheat year after year without a thought as to the damage that was being done. Grasslands that should have never been plowed were plowed up. Millions of acres of farm land in the great plains were broken.


1930 was dry but most of the farmers made a wheat crop. In 1931 the wheat crop was considered a bumper crop with over twelve million bushels of wheat. Wheat was everywhere, in the elevators, on the ground and in the road. The wheat supply forced the price down from sixty-eight cents/bushel in July 1930 to twenty-five cents/bushel in July 1931. Many farmers went broke and others abandoned their fields.


With continuing hard times and dry years, the farmers, who still had a lot of pioneering spirit and faith in the land, made ready to weather the storms. The old survival methods of pioneering were brought out of storage, dusted off and put into practice. Many farmers increased their milk cow herd. The cream from the cows was sold and the skim milk was fed to chickens and pigs.


When normal feed crops failed, thistles were harvested, and when thistles failed, hardy souls dug up soap weed which was chopped in a feed mill or by hand and fed to the stock. This was a back breaking, disheartening chore which would have broken weaker people. But to the credit of the residents of the Dust Bowl, they shouldered their task and carried on.


"I don't know, we just made it." The people of the region made it because they knew how to take the everyday practical things which had been used for years and adapt them to meet the crisis. Finding a way to make do or do differently was a way of life for the pioneers who had come to the region only a short time earlier. When they arrived there were no houses, wells, cars, telephones or fields. Times were hard when the land was settled, and the people knew how to live and grow in difficult periods.


The Storms


In 1934 to 1936, three record drought years were marked for the nation. In 1936, a more severe storm spread out of the plains and across most of the nation. The drought years were accompanied with record breaking heavy rains, blizzards, tornadoes and floods. In September 1930, it rained over five inches in a very short time in the Oklahoma Panhandle. The flooding in Cimarron County was accompanied by a dirt storm which damaged several small buildings and graineries. Later that year, the regions were whipped again by a strong dirt storm from the southwest until the winds gave way to a blizzard from the north.


After the blizzards in winter 1930-1931, the drought began. First the northern plains felt the dry spell, but by July the southern plains were in the drought. It was not until late September that the ground had enough water to justify planting. Because of the late planting and early frost, much of the wheat was small and weak when the spring winds of 1932 began to blow. The wheat was also beaten by dirt from the abandoned fields. In March, there were twenty-two days of dirt storms and drifts began to build in the fence rows.


In late January 1933, the region was blasted by a magnificent dirt storm which killed much of the wheat. In early February, the thermometer dropped seventy four degrees in eighteen hours to a record low at Boise City. The mercury stayed below freezing for several days until another dirt storm scourged the land. Before the year was over, locals counted 139 dirty days in 1933.


Although the dirt storms were fewer in 1934, it was the year which brought the Dust Bowl national attention. In May, a severe storm blew dirt from Texas, Oklahoma and Kansas as far east as New York City and Washington D.C. In spite of the terrific storm in May, the year 1934 was pleasant respite from the blowing dirt and tornadoes of the previous year. But nature had another trick up her sleeve, the year was extremely hot with new records being made and broken at regular intervals. Before the year had run its course, hundreds of people in Colorado, Texas, Oklahoma and Kansas had died from the heat.


In 1935, the weather in the Dust Bowl again made the national headlines. This storm was followed by another and yet another in rapid succession. In late March a severe storm lashed Boise City so hard that many people were stranded for hours. No one dared to leave a store and head for home although it might be less than a block away.


On Sunday April 14, 1935, the sun came up in a clear sky. The day was warm and pleasant, a gentle breeze whimpered out of the southwest. Suddenly a cloud appeared on the horizon. Birds flew swiftly ahead of it, but not swift enough for the cloud traveling at sixty miles per hour. This day, which many people of the area readily remember, was named "Black Sunday".


By May, it seemed like the wind and dirt had been blowing for an eternity. Rain was an event occurring only in dreams. It was a year of intensive dirt storms, gales, rollers and floods mixed with economic depression, sickness and disaster. It was a year of extreme hardship, but surprisingly the vast majority of the people stayed. By 1935, the unusual had become the usual, the extreme became the normal, the exception became the routine.


During 1936, the number of dirt storms increased and the temperature broke the 1934 record high by soaring above 120 degrees. On one pleasant June day in 1936, the ground began to tremble. A sharp earthquake shook the land from Kenton to Perryton and from Liberal to Stratford. By the fall of 1936, the rains began to return and the heat wave was broken. The following year, 1937 was another year of unprecedented dirt storms. Day after day, Dust Bowl farmers unwillingly traded farms as the land moved back and forth between Texas and Kansas. And of course there were the usual floods. 1938 was the year of the "snuster". The snuster was a mixture of dirt and snow reaching blizzard proportions. The storm cause a tremendous amount of damage and suffering.





A giant dust storm engulfs Boise City. Cyclic winds rolled up two miles high, stretched out a hundred miles and moved faster than 50 miles an hour. These storms destroyed vast areas of the Great Plains farmland. The methods of fighting the dust were as many and varied as were the means of finding a way to get something to eat and wear. Every possible crack was plugged, sheets were placed over windows and blankets were hung behind doors. Often the places were so tightly plugged against the dust (which still managed to get in) that the houses became extremely hot and stuffy.




The clouds appeared on the horizons with a thunderous roar. Turbulent dust clouds rolled in generally from the North and dumped a fine silt over the land. Men, women and children stayed in their houses and tied handkerchiefs over their noses and mouths. When they dared to leave, they added goggles to protect their eyes. Houses were shut tight, cloth was wedged in the cracks of the doors and windows but still the fine silt forced its way into houses, schools and businesses. During the storms, the air indoors was "swept" with wet gunny sacks. Sponges were used as makeshift "dust masks" and damp sheets were tied over the beds.




Black Sunday April 14, 1935. The dust storm that turned day into night. Many believed the world was coming to an end.

The Future


The Dust Bowl taught farmers new farming methods and techniques. The 1930's fostered a whole new era of soil conservation. Perhaps the most valuable lesson learned form the Dust Bowl - take care of the land. The Dust Bowl's future is controlled almost exclusively by the weather. The prolonged drought combined with the meteorological phenomena of the 1930's was rare and never before tortured the Great Plains as it did. Droughts and winds still cause many problems, but most are averted and minimized with proper soil conservation. When times turn dry again, will the wind blow and history repeat itself? Only time will tell.


===============


About The Dust Bowl







For eight years dust blew on the southern plains. It came in a yellowish-brown haze from the South and in rolling walls of black from the North. The simplest acts of life — breathing, eating a meal, taking a walk — were no longer simple. Children wore dust masks to and from school, women hung wet sheets over windows in a futile attempt to stop the dirt, farmers watched helplessly as their crops blew away. [source]  



[Map source]


The Dust Bowl of the 1930s lasted about a decade. Its primary area of impact was on the southern Plains. The northern Plains were not so badly effected, but nonetheless, the drought, windblown dust and agricultural decline were no strangers to the north. In fact the agricultural devastation helped to lengthen the Depression whose effects were felt worldwide. The movement of people on the Plains was also profound.


As John Steinbeck wrote in his 1939 novel The Grapes of Wrath: "And then the dispossessed were drawn west- from Kansas, Oklahoma, Texas, New Mexico; from Nevada and Arkansas, families, tribes, dusted out, tractored out. Car-loads, caravans, homeless and hungry; twenty thousand and fifty thousand and a hundred thousand and two hundred thousand. They streamed over the mountains, hungry and restless - restless as ants, scurrying to find work to do - to lift, to push, to pull, to pick, to cut - anything, any burden to bear, for food. The kids are hungry. We got no place to live. Like ants scurrying for work, for food, and most of all for land."  


Poor agricultural practices and years of sustained drought caused the Dust Bowl. Plains grasslands had been deeply plowed and planted to wheat. During the years when there was adequate rainfall, the land produced bountiful crops. But as the droughts of the early 1930s deepened, the farmers kept plowing and planting and nothing would grow. The ground cover that held the soil in place was gone. The Plains winds whipped across the fields raising billowing clouds of dust to the skys. The skys could darken for days, and even the most well sealed homes could have a thick layer of dust on furniture. In some places the dust would drift like snow, covering farmsteads.


Timeline of The Dust Bowl


1931



Severe drought hits the midwestern and southern plains. As the crops die, the 'black blizzards" begin. Dust from the over-plowed and over-grazed land begins to blow.  


1932



The number of dust storms is increasing. Fourteen are reported this year; next year there will be 38.


1933



March: When Franklin Roosevelt takes office, the country is in desperate straits. He took quick steps to declare a four-day bank holiday, during which time Congress came up with the Emergency Banking Act of 1933, which stabilized the banking industry and restored people's faith in the banking system by putting the federal government behind it.



May: The Emergency Farm Mortgage Act allots $200 million for refinancing mortgages to help farmers facing foreclosure. The Farm Credit Act of 1933 established a local bank and set up local credit associations.



September: Over 6 million young pigs are slaughtered to stabilize prices With most of the meat going to waste, public outcry led to the creation, in October, of the Federal Surplus Relief Corporation. The FSRC diverted agricultural commodities to relief organizations. Apples, beans, canned beef, flour and pork products were distributed through local relief channels. Cotton goods were eventually included to clothe the needy as well.



October: In California's San Joaquin Valley, where many farmers fleeing the plains have gone, seeking migrant farm work, the largest agricultural strike in America's history begins. More than 18,000 cotton workers with the Cannery and Agricultural Workers Industrial Union (CAWIU) went on strike for 24 days. During the strike, two men and one woman were killed and hundreds injured. In the settlement, the union was recognized by growers, and workers were given a 25 percent raise.  


1934



May: Great dust storms spread from the Dust Bowl area. The drought is the worst ever in U.S. history, covering more than 75 percent of the country and affecting 27 states severely.



June: The Frazier-Lemke Farm Bankruptcy Act is approved. This act restricted the ability of banks to dispossess farmers in times of distress. Originally effective until 1938, the act was renewed four times until 1947, when it expired. Roosevelt signs the Taylor Grazing Act, which allows him to take up to 140 million acres of federally-owned land out of the public domain and establish grazing districts that will be carefully monitored. One of many New Deal efforts to reverse the damage done to the land by overuse, the program was able to arrest the deterioration, but couldn't undo the historical damage.



December: The "Yearbook of Agriculture" for 1934 announces, "Approximately 35 million acres of formerly cultivated land have essentially been destroyed for crop production. . . . 100 million acres now in crops have lost all or most of the topsoil; 125 million acres of land now in crops are rapidly losing topsoil. . . "  


1935



January 15: The federal government forms a Drought Relief Service to coordinate relief activities. The DRS bought cattle in counties that were designated emergency areas, for $14 to $20 a head. Those unfit for human consumption - more than 50 percent at the beginning of the program - were destroyed. The remaining cattle were given to the Federal Surplus Relief Corporation to be used in food distribution to families nationwide. Although it was difficult for farmers to give up their herds, the cattle slaughter program helped many of them avoid bankruptcy. "The government cattle buying program was a God-send to many farmers, as they could not afford to keep their cattle, and the government paid a better price than they could obtain in local markets."  



April 8: FDR approves the Emergency Relief Appropriation Act, which provides $525 million for drought relief, and authorizes creation of the Works Progress Administration, which would employ 8.5 million people.  



April 14: Black Sunday. The worst "black blizzard" of the Dust Bowl occurs, causing extensive damage.



April 27: Congress declares soil erosion "a national menace" in an act establishing the Soil Conservation Service in the Department of Agriculture (formerly the Soil Erosion Service in the U.S. Department of Interior). Under the direction of Hugh H. Bennett, the SCS developed extensive conservation programs that retained topsoil and prevented irreparable damage to the land. Farming techniques such as strip cropping, terracing, crop rotation, contour plowing, and cover crops were advocated. Farmers were paid to practice soil-conserving farming techniques.



December: At a meeting in Pueblo, Colorado, experts estimate that 850,000,000 tons of topsoil has blown off the Southern Plains during the course of the year, and that if the drought continued, the total area affected would increase from 4,350,000 acres to 5,350,000 acres in the spring of 1936. C.H. Wilson of the Resettlement Administration proposes buying up 2,250,000 acres and retiring it from cultivation.  


1936



February: Los Angeles Police Chief James E. Davis sends 125 policemen to patrol the borders of Arizona and Oregon to keep "undesirables" out. As a result, the American Civil Liberties Union sues the city.



May: The SCS publishes a soil conservation district law, which, if passed by the states, allows farmers to set up their own districts to enforce soil conservation practices for five-year periods. One of the few grassroots organizations set up by the New Deal still in operation, the soil conservation district program recognized that new farming methods needed to be accepted and enforced by the farmers on the land rather than bureaucrats in Washington.  


1937



March: Roosevelt addresses the nation in his second inaugural address, stating, "I see one-third of the nation ill-housed, ill-clad, ill-nourished . . . the test of our progress is not whether we add more to the abundance of those who have much; it is whether we provide enough for those who have too little."   FDR's Shelterbelt Project begins. The project called for large-scale planting of trees across the Great Plains, stretching in a 100-mile wide zone from Canada to northern Texas, to protect the land from erosion. Native trees, such as red cedar and green ash, were planted along fence rows separating properties, and farmers were paid to plant and cultivate them. The project was estimated to cost 75 million dollars over a period of 12 years. When disputes arose over funding sources (the project was considered to be a long-term strategy, and therefore ineligible for emergency relief funds), FDR transferred the program to the WPA, where the project had limited success.


1938



The extensive work re-plowing the land into furrows, planting trees in shelterbelts, and other conservation methods has resulted in a 65 percent reduction in the amount of soil blowing. However, the drought continued.  


1939



In the fall, the rain comes, finally bringing an end to the drought. During the next few years, with the coming of World War II, the country is pulled out of the Depression and the plains once again become golden with wheat.  


8#
发表于 2005-6-20 03:32:00 | 只看该作者
感谢分享! Good Luck!
9#
 楼主| 发表于 2005-6-20 12:13:00 | 只看该作者

david_he,你的背景资料挺好的,不过太长了


关于melodrama还有点补充,就是好人坏人很分明,好人就是长得也好,品德也高尚,坏人就是贼眉鼠眼,总是和好人过不去,然后好人总是关键时刻就逃脱了魔爪,不停的迫害与逃脱交替进行,但是最终结局通常都是大团圆的,这些都是教授讲的,不是背景知识哦

10#
发表于 2005-6-20 13:04:00 | 只看该作者
背景好复杂啊,听天由命把
您需要登录后才可以回帖 登录 | 立即注册

Mark一下! 看一下! 顶楼主! 感谢分享! 快速回复:

所属分类: TOEFL / IELTS

近期活动

正在浏览此版块的会员 ()

手机版|ChaseDream|GMT+8, 2026-5-7 10:30
京公网安备11010202008513号 京ICP证101109号 京ICP备12012021号

ChaseDream 论坛

© 2003-2025 ChaseDream.com. All Rights Reserved.

返回顶部