题目内容
SECTION B INTERVIEW
Directions: In this section you will hear everything ONCE ONLY. Listen carefully and then answer the questions that follow. Questions 1 to 5 are based on an interview. At the end of the interview you will be given 10 seconds to answer each of the following five questions.
Now listen to the interview.
听力原文：Announcer: Hello and welcome to today's show, Linda's Garden. Today, we'll be interviewing Linda on her amazing techniques at growing a square-foot garden.
Mike: Good morning and my name is Mike, and I have a special guest today, Linda. Linda, you truly have an amazing garden. Could you let us know how you' re kind of putting this together？
Linda: Well, thank you, Mike. I have tried various attempts at gardening and with different, um, degrees of success. This spring I took a square-foot gardening class, and I decided to try some of the things I've learned. Um, one of the most important things in square-toot gardening is that you choose a good location. You need at least 6 to 8 hours of direct sunshine. Um, you also need to choose a location that has good drainage, and it should be a convenient location. A garden is a lot more fun if you are walking by and seeing it all the time. Um, you need to decide what kind of containers you want, or, in my case, I used boxes, urn, wooden boxes, and then I divided them up into one-foot squares. And then just decided what I wanted to plant, and based on what the final plant would look like, I had I per square, or maybe 3 per, um, 3 or 4 per square, 12 per square.
Mike: Well, Linda, I'm, I'm ... truly amazed at kind of the architecture of this garden. I've noticed these vertical beams. I've never seen that before. Could you explain that to us a little bit？
Linda: Well, for example, right here we have some, um, cantaloupe, and cantaloupe take a lot of space when you grow them out on the ground, and I don't have that much space, and so, I've just grow them up. Just grow them vertically, I've just made, um, a metal frame, and taken some strings, I just allow them to grow up, and they will support themselves, the cantaloupe will. And all kinds of different vines you can do this with.
Mike: This is truly amazing. I noticed this garden, a vast amount of vegetation. Can you explain to me what you have growing in this garden？
Linda: Well over on the far end, I have tomatoes growing Vertically. In front of those I bare, urn, green peppers, basil, strawberries, uh, beets, nm, green beans, com, ear-rots, all kinds of different vegetables like that. Right here, as I said before, I have, urn, cantaloupe. Down at the bottom, I have some Mexican tomatoes called tomatillos. And down at this end, I have egg plant, another kind of pepper called banana peppers, urn, cucumbers, okra, pumpkins. . and I think that's about it.
Mike: Well, Linda, this is truly amazing. I'm so impressed, and I know our viewers will be impressed about this, this, this excellent garden. Just truly amazing. I'd like to thank you very much for having us in today to look at your garden [Thank you, Mike]. In a few minutes, viewers, we will let you see the entire garden, and maybe Linda will kind of show you around. So, we thank your very much for being with us today, and our special guest, Linda. Have a nice day.
Linda learned about square -foot gardening ______.
查看答案
搜索结果不匹配？点我反馈
更多问题
With modem audio-recording equipment, there is, of course, no difficulty in recording speakers in many face-to-face situations or on the telephone. Some researchers have ethical objections to such recordings; others adopt a compromise solution of recording without their knowledge and then telling them afterwards. How- ever, suppose one decides to record people with their knowledge, what solutions are there, if any, to the effect of the recording on the speakers？ In many cases, the recording may have to be with the speakers’consent in any case, for example, if recording teachers, doctors, magistrates, or official meetings of different kinds.
One argument, put forward by Wolfson(1976) ,is that there is no such thing as natural speech in any absolute sense. All language changes to be appropriate to the situation. All there is to study, then, is what people regard as appropriate in different situations. In any case, in all social situations, we ale. aware of being monitoned to some extent by others present: being monitored by a tape-recorder and researcher is therefore just a particular example of this. This type of argument usefully points out that the hunt for pure, natural or authentic data is a chimera. On the other hand, we may be investigating how people speak when they are un- comfortable. Being permanently recorded and studied is not a normal situation fox’most people, and those for whom it is an everyday occurance (including celebrities, radio personalities, courtroom lawyers ) develop special strategies to deal with it. There is always the suspicion that in extraordinary situations people produce extraordinary language.
One research strategy is proposed by J. Wilson. lie argues that since speakers will inevitably be affect- ed by the recording, one should deliberately study such effects: what he called tape-affected speech. Exam- pies would include direct references to the recording equipment or uncharacteristically polite usages, or the opposite--deliberately obscene references, for example, where speakers are showing that they do not care what is recorded. This suggestion is useful, insofar as it warns researchers what to be aware of in recordings. On the other hand, we ought to know about normal language, not about such artificially produced ones.
It is regularly proposed that speakers grow used to being recorded, and that tape-affected speeches de- crease with time. One can, therefore, record speakers over some hours or days, and either edit out tape affect- ed sections, or simply discard earlier data. Although this principle seems very plausible, there appears to be no studies which have tested its validity. A similarly plausible but not well-tested claim is that if people are recorded in self-selected groups, then the pressures of interacting in a group will overrid the iuflueuce of the tape-recorder. Labor (1972b) claimes that recording Negro youths in their peer groups deceased the attention they paid to their speech. On the other hand, he was recording gangs of boys who might have gone out of their way to display their group solidarity to the observer. A different version of this argument is to record natural social groups. I di
听力原文： The International Museum of Cartoon Art says it is reluctantly auctioning its prize exhibit--purportedly the first drawings of Mickey Mouse--to help pay debts, The museum will offer the drawings and hundreds of other items for sale to defray nearly 2 million in debt, most owed to a bank which holds the museum's mortgage.
The 36-panel storyboard from the 1928 Walt Disney cartoon "Plane Crazy" was the first drawing ever made of Mickey Mouse, according to Mort Walker, founder of the museum. The storyboard is valued at between 3.2 million and 3.7 million. The sale will include animation cells from the 1937 Disney movie "Snow White and the Seven Dwarfs", including one showing dwarfs Doc and Dopey which is expected to fetch 20,000 to 24,000. Other items range from original comic strips from the 1930s to editorial cartoons from the New York Daily News and animation cells or comic strips of such characters as Bugs Bunny, Charlie Brown, Beetle Bailey, Dennis the Menace and Prince Valiant. In all, more than 600 items, some donated and some coming from the museum's collection of 200,000 drawings, will be put On the block Saturday at the New York Historical Society. Earlier, Walker and the museum, which attracts 50,000 people each year, fought a legal battle to keep Sun Trust Bank from taking the "Plane Crazy" storyboard as collateral. The suit was settled in December when the bank gave the museum more time to come up with pay off overdue mortgage payments. But publicity about the museum's troubles failed to spur substantial donations, leading to the auction. Walker acknowledges that selling the Mickey Mouse drawings he fought so hard to keep is painful. "But I don't think the other work will bring a million dollars," he said. Walker rebutted criticism that, by auctioning off some of its most-prized holdings, the museum is ignoring its mission ms a permanent repository for valuable works. "A lot of people frown on the fact that the museums sell off their inventory, although everybody does it," he said, "It's basically when you're not going to be able to stay open ff you don't do it."
The museum was founded in Connecticut in 1972. It moved to Boca Raton in 1990 from Rye Brook, New York, and opened its current building in 1996. After that, a proposed partnership with Florida Atlantic University, in which the university would have paid off the museum's debts, fell through. The museum has since talked to other schools and arts groups about sharing its building. Several possible partnerships are being examined, including one with the museum's new neighbor, the Boca Raton Museum of Art.
Why is the International Museum of Cartoon Art auctioning its first drawings of Mickey Mouse？
According to the passage, which of the following statement is CORRECT？
企业的现金清查小组可以在出纳人员不在场的情况下进行企业库存现金进行定期或不定期的清查。()
微信支付 
支付宝支付