题目内容
PART C
Directions: You will hear three dialogues or monologues. Before listening to each one, you will have 5 seconds to read each of the questions which accompany it. While listening, answer each question by choosing A, B, C or D. After listening, you will have 10 seconds to check your answer to each question. You will hear each piece ONLY ONCE.
听力原文： What is it about Paris？ For the last two centuries it has been the single most visited city in the world. Tourists still go for the art and the food, even if they have to brave the disdain of ticket takers and waiters. Revolutionaries on the run, artists in search of the galleries and writers looking for the license to explore their inner selves went looking for people like themselves and created their own fields filled with experimentation and constant arguments. Would worldwide communist revolution have been conceivable without the Paris that was home to Marx, Lenin and Ho Chi Minh？ Would Impressionism or Cubism have become "isms" without Paris as a place to work and as a subject to paint？ How did Paris come to be, for such a long time, "capital of the world" ？
The answer lies in the city's "myths", according to the distinguished Harvard historian Patrice Higonnet in Paris: Capital of the World. In his book, Paris came to stand for all the contradictions of modern life; you went there to experience more fully what modem life had to offer. Paris was imagined, by locals and foreigners alike, as the hothouse of individualism, revolution, scientific progress, urbanism, artistic innovation and cultural sophistication, but it also offered the most dangerous enticements of pornography, prostitution, alienation and, at the end of the line, crime.
Higonnet fully appreciates how the two sides of the "myth" complemented each other. A product of two cultures himself -- he wrote this book in French -- Higonnet is ideally placed to serve as the guide to the riches of the Parisian Golden Age, which ran roughly from the French Revolution to 1945. His book is beautifully produced and worth purchasing.
Which university did historian Patrice Higonnet graduate from？
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【22】
It can be inferred that the writer might be ______ when the immigration official grinned cheerfully to him.
It is acknowledged that the modem musical show is America's most original and dynamic contribution toward theater. In the last quarter of 20th century, America has produced large 【21】______ of musical plays that have been popular abroad 【22】______ at home. 【23】______ , it is very difficult to explain 【24】______ is new or 【25】______ American about them, for the 【26】______ are centuries old.
Perhaps the uniqueness of America's contribution to the 【27】______ can best be characterized through brief descriptions of several of the most important and best-known musicals. One of these is surely Oklahoma by Richard Rogers and Oscar Hamerstein. It burst 【28】______ popularity in 1943. Broadway audience and critics were 【29】______ by its 【30】______ , vitality and excitement. This "new" type of musical was 【31】______ as kind of 【32】______ theater in which the play, the music and lyrics, the dancing, and the scenic background were assembled not merely to provide entertainment and 【33】______ , but to 【34】______ in a single unifying whole to contribute to its unique feature. 【35】______ , it meant that the songs and dances should 【36】______ naturally out of the situations of the story and play an important part in carrying the action 【37】______ . In Oklahoma, an American folk-dance style. was organically combined with classical ballet and modem dance. It is fight to say that the musical was a brilliantly integrated performance by the talented dancers and singing actors.
Oklahoma also marked a new 【38】______ in the choice of story on which a musical is based. Writers and composers began to abandon the sentimentally picturesque or aristocratic setting 【39】______ more realistic stories in authentic social and cultural 【40】______ Oklahoma was based on a "folk" whose story dealt not only with young love but also with the opening of the American West.
【21】
One factor that can influence consumers is their mood state. Mood may be defined 【B1】______ a temporary and mild positive or negative feeling that is generalized and not tied 【B2】______ any particular circumstance. Moods should be 【B3】______ from emotions which are usually more intense, 【B4】______ to specific circumstances, and often conscious. 【B5】______ one sense, the effect of a consumer's mood can be thought of in 【B6】______ the same way as can our reactions to the 【B7】______ of our friends -- when our friends are happy and "up", that tends to influence us positively, 【B8】______ when they are "down", that can have a 【B9】______ impact on us. Similarly, consumers operating under a 【B10】______ mood state tend to react to stimuli (刺激因素) in a direction 【B11】______ with that mood state. Thus, for example, we should expect to see 【B12】______ in a positive mood state evaluate products in more of a 【B13】______ manner than they would when not in such a state. 【B14】______ , mood states appear capable of 【B15】______ a consumer's memory.
Moods appear to be 【B16】______ influenced by marketing techniques. For example, the rhythm, pitch, and 【B17】______ of music has been shown to influence behavior. such as the 【B18】______ of time spent in supermarkets or 【B19】______ to purchase products. In addition, advertising can influence consumers' moods which, in 【B20】______ , are capable of influencing consumers' reactions to products.
【B1】
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