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托福TPO48听力原文Passage1_Conversation_1
Narrator: Listen to a conversation between a student and a university employee at the campus employment office.
Employee: Hi, can I help you?
Student: I hope so. My name is Mark Whitman. I’m a…
Employee: Don’t I remember you from last year? You worked in the… where was it, the art library?
Student: Yeah, you’re good. That was me. And I really enjoyed the work.
Employee: Right, Yeah, your supervisor gave us some really great feedback at the end of the year. “Oh, he’s so organized, always on time, helpful.”
Student: Really? Well, I’m glad. It was a good job.
Employee: Well we usually try to match students’ jobs with their academic interests.
Student: Yeah, um, I’m not exactly sure what career I am headed for, but librarian is a possibility. It was a great perience to learn how it works and meet some people working in the field. But for this year, well, that’s what I want to ask about.
Employee: Oh. How come you waited so long to come in? You know how fast campus jobs fill up, if, if you had come in earlier, you probably would have gotten the library job again. I mean since you have the experience from last year, you don't need the training and all, but it’s been filled now.
Student: Yeah, I know, but I had planned to get a job working at a restaurant off-campus this year. I really need to make more money than I did last year and working as a waiter, there is always the tips. But I’ve tried a ton of places but I haven’t found anything. I know it’s really late. But, well, um, I was wondering if maybe there was some job that hadn’t been taken or maybe someone started a job, and you know, had to drop it or something?
Employee: Well, I doubt you’ll find anything.
Student: Could you, could you possibly check? I, I know it’s a long shot, but my friend Susan, she takes photography classes in Harrison Hall and she sort of thought there might be an opening in the janitorial staff.
Employee: Um. Why does your friend, the photography student think she has information about a janitorial staff opening? I’m pretty sure those jobs are filled. In fact, I remember taking lots of applications for them. Let me double check it online.
Student: She said the whole studio arts building and especially the photo lab have been kind of, sort of messy lately. I mean, she says there’s chemicals and stuff left out. And you know, it’s like no one’s been cleaning up. But that could just be, you know, students using the lab after hours or something, like after it’s been cleaned.
Employee: Hm. Hang on. There’s… There’s an asterisk next to one of the job numbers here. There’s a note. Let’s see. Ha. Your friend is right. It seems like one of the student janitors quit a couple of weeks ago for some reason. Hm, well, whatever. It looks like this is your lucky day.
Student: Wow. That is so great. So who’s the contact person?
Employee: Check with the janitorial office.
Student: Fine. Thanks so much.
托福TPO48听力原文Passage2_Lecture_1
Narrator: Listen to part of a talk in an art history class.
Professor: So today we’re going to continue our discussion of 20th century photography in the United States. Last time we were talking about Alfred Stieglitz and we saw that one of his goals was to introduce Americans to European art. Um. Today, we’re going to look at another photographer from the early 20th century. Um. Yes, Jenifer?
Jenifer: Before we get to that, I had a question about Stieglitz.
Professor: Sure.
Jenifer: Well, Stieglitz was married to Georgia O’Keeffe, right?
Professor: That’s right. Stieglitz was married to her, promoted her work, and actually took some amazing portraits of her when they were married. Um, for anyone who’s not familiar with this, we’re talking about the American painter Georgia O’Keeffe.
Jenifer: Okay. Well, I was wondering, Georgia O’Keeffe, you know, I’ve heard her name so many times and I’ve seen some of her work. But she’s not mentioned in any of our readings about photographers from that time.
Professor: Oh. Well, O’Keeffe was really more of a painter.
Jenifer: I thought she was a photographer, too. I mean, I just saw one of her photographs in a museum the other day. I think it was called Red Leaves on White or something like that.
Professor: Oh, right. Yes. Large Dark Red Leaves on White is the complete title. It’s a fairly well-known painting by O’Keefe.
Jenifer: Oh, oh, okay. Wow. What was I thinking! I guess I should have had a closer look.
Professor: No. No. That’s a really good observation. I mean, chronologically that would be impossible. Um, when she did that painting, color film hadn’t even been invented yet, neither had the right technology to blow pictures up that big to show that much detail. But that painting and some of her other paintings do reveal the, the influence of photography, like she would crop her images. She… she would make a frame around part of an image, say just the very center, and then cut off certain parts, the parts outside that frame, to create the effect she wanted the way a photographer does. And those paintings are close-ups like you might see today of a person or a flower in a photograph.
Now, those techniques were certainly around and being used by photographers then but just in photographs, which were smaller, not as big as what O’Keefe was painting. Also, O’Keeffe studied under an artist named Arthur Wesley Dow. That’s Dow, D-O-W, who advocated focusing on simple basic forms like the lines of a flower and its petals. And he wanted forms to be isolated from their original settings. He, he believed that by doing that, an artist could reveal an object’s… its essence. Um. He would do things like have his students take a simple ordinary form like a leaf and explore various ways of fitting all of it into a square, maybe bending it around to make the whole thing fit into the frame. Peter?
Peter: It sounds like maybe O’Keefe borrowed most of her ideas, the stuff we might think of being hers. She just got them from other people. She didn’t really have a style of her own.
Professor: Well, virtually all artists are influenced by other artists, by their predecessors, by their contemporaries, their teachers. Artists build on what other artists have done. But if they’re talented, they take it in some unique direction to develop their own distinctive style. O’Keeffe liked to create abstract interpretations of real objects. In the painting Jenifer mentioned, Large Dark Red Leaves on White, in addition to exaggerating the size of the leaf, O’Keeffe juxtaposes it against a silver or whitish background so that’s more of an abstract setting for it and so on.
Now, O’Keeffe wasn’t the first artist to create an abstract interpretation of a real object, but she used that approach to express her experience of the object she was painting. So she presented a vision that people hadn’t seen before. It’s unique. It’s compelling. She didn’t expect other people to experience the object the way she did. She knew they’d look at her painting and hang their own associations on it, which is proof for artwork in general, I think. That’s just the way the human brain works. But at least they’d be taking a careful look at something they had never really paid much attention to.
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