时间:2018-12-04 作者:英语课 分类:新编大学英语教程


英语课


Unit 2

DIALOGUE I

Friday Evening or Not

A: We're going to put on an English play on Hong Kong's return to the motherland. Would you like to have a role in the play?
B: Me?
A: Yes. Won't you work with us?
B: I'd love to. But what's this play about?
A: It's a four-act play adapted from the novel Good Morning, Hong Kong!
B: Oh, I know the story. I've read it twice. It's a very moving and uplifting novel about how Hong Kong people have been working together to build a new and prosperous community under the principle of "one country, two systems" since China resumed sovereignty over this former British colony in 1997. I'd certainly feel honoured to have a role in the play.
A: I'm glad you like it. Yes, our play has as its theme how Hong Kong people successfully govern Hong Kong as a special administrative 1 region that enjoys a high degree of autonomy.
B: It's a full-length play, I suppose.
A: Yeah, it is. And it's the first time in the history of our college to stage such a grand performance.
B: I'm very excited about it. When do we start rehearsing?
A: What about this Friday? And every Friday evening until the dress rehearsal 2?
B: Friday evening? Don't count me in then. I don't like to work on Friday evenings. Besides, everyone'll be homeward-bound, or else they'll have some kind of personal engagement.
A: But that's the only time available when we have no classes. I hope it won't trouble you too much.
B: All right, all right, I'll try. But I'm worried about the others.
A: I've talked to the people of the College Drama Society and those who will play major roles in the cast. They're very cooperative and promise to save Friday evenings for this play. No parties, no TV and, of course, no games. As for the stand-ins, they don't have to come to the rehearsal every Friday evening.
B: That's fine. What I'm concerned about is that it's a very important play for the college as well as for us personally. I can't help worrying about its outcome. If we don't rehearse often enough, we'll get catcalls from the audience, or worse! None of us wants the performance to flop 3.
A: That's right. I really appreciate your concern, but don't worry. Everything will come out all right. We'll do it and do it well.

DIALOGUE II

Dialogue:

Joan is from Scotland and has just started a new job in London. This is her first weekend in London and she's had no shortage of invitations from her new colleagues to take her out. Friday night the telephone rings.

Joan: Hello, 438 0043.
Bob: Hello, Joan, this is Bob. How are you?
Joan: Fine, thank you. I'm trying to get everything sorted out in the flat.
Bob: Oh, I see. Well, I was wondering if you'd like to go to a concert on Saturday night. I think it'll be good, and if I remember correctly, you did say you like classical music.
Joan: Yes, that's right, I do. It's nice of you to ask. Bob, but I don't think I can. Margaret has already asked me to go to the theatre with her tomorrow night and she's getting the tickets this evening.
Bob: Oh, well, never mind. What about next weekend? This concert is still on then, I think, if you're free next Saturday.
Joan: Oh, I'd like to very much, but what time exactly?
Bob: It starts at 7:30, I think.
Joan: Oh, good. That'll be fine. The tennis match will be over by 5 o'clock, I'm sure.
Bob: How about Sunday, Joan? Do you feel like going for a ride in the countryside by bike?
Joan: Oh, yes. That sounds marvellous, but what time exactly?
Bob: I thought, perhaps, about 9:30. If we leave early we can cycle to Greenwich.
Joan: I can't, I'm afraid, not at 9:30. I've already arranged to go somewhere at 8 o'clock. Can you make it a little later?
Bob: Yes, of course. What about 10:30?
Joan: Oh yes, that's fine.
Bob: Good, I'll come and pick you up at 10:30 then, all right?
Joan: Yes, surely. I look forward to it. See you on Sunday, Bob. Bye!

READING I

Stunts 5 in the Cinema

Have you ever wondered how action scenes are made in films? The people you see fighting, crashing cars or jumping from buildings are not actors, of course. They are experts called stuntmen.
In fights, stuntmen don't even touch each other. They work out their movements before the scene is filmed and they mime 6 the fights. Cameras are placed at an angle so that you can't tell that the stuntmen are only pretending to hit each other. Sound effects help to make the scene seem real. Did you know that someone stands near a microphone and punches a leg of lamb or a cabbage? This sounds just as if someone is being punched.
Real bullets aren't used in films. Generally, sound effects are all that is needed to make the shooting seem real. The actors, of course, must act as if they had been shot. Stuntmen are used if someone has to fall off a horse or tumble down a staircase in the scene. However, if bullet holes must appear in a door or wall, for example, it is more complicated. Before the scene is filmed, small holes have to be drilled where the bullets are to hit. Tiny explosives are placed inside the holes. Then the holes are covered up. At the right moment - when an actor pulls a trigger - someone sets off the explosives. The drilled holes suddenly appear again. On film they will look exactly like bullet holes.
Air rifles are sometimes loaded with "blood" pellets. When a pellet hits an actor, the red colouring makes him look as if he is wounded. If a bullet is supposed to go through a glass door or window, a pellet with jelly inside is used. When the jelly hits the glass, the glass looks as if it is broken. By the way, when you see actors crashing through doors or windows, they won't be hurt at all. The "glass" is very often just a thin sheet of toffee!
Other stunts with explosives are more dangerous. For example, dynamite 7 is still used in war films for bombing scenes: In these scenes dynamite is placed in the ground. This is much safer of course than dropping real bombs. But people can still get hurt. Tricks are used too. One of them is to hide a trampoline below ground level. When an explosion is filmed, the stuntman 8 jumps on the trampoline and bounces up into the air. In the film it will look as if he has been thrown backwards 9 by the explosion.
Fire stunts can also be very dangerous. They have to be planned very carefully. Stuntmen wear asbestos suits under their clothes and they cover their skins with protective jelly. But they can still be badly injured if there is any delay in putting out the flames.
Some stunts have now been banned. They used to tie wire to horses' legs to make them fall over. As the horse galloped 10 the wire was stretched and it tripped the horse and made it fall. This was very cruel. Most of the horses could never be ridden again because they were so terrified. Now stunts which are cruel to animals are not allowed. Horses must be specially 11 trained to fall. It is still very difficult for the stuntman. He has to throw himself off a galloping 12 horse and make sure that the horse doesn't fall on top of him.
High falls and high dives are very risky 13. Some stuntmen dive from forty, even fifty metres. They tie their legs together so that they will not break when they hit the water. When stuntmen fall to the ground, they land on specially prepared material. They usually fall with their arms and legs stretched out and they land on their backs. Some stuntmen have fallen from as high as thirty metres.
Some stuntmen have crashed aeroplanes without jumping out before the crash. In a lot of films stuntmen have climbed onto the wings of biplanes (those very old double-winged planes). Several stuntmen have even climbed from the wings of one aeroplane onto the wings of another aeroplane in mid-air.
Some of the most dangerous and exciting stunts have been done in motor cars, motor cycles and aeroplanes. One stuntman drove a car at full speed along a wharf 14 and landed it on a ship 50 metres away! This stunt 4 has never been repeated.
Would you like to be a stuntman or a stuntwoman? To be an all-rounder, you would have to learn boxing, judo 15, karate 16 and wrestling. You would have to be an acrobat 17, a good swimmer and a good jumper. You would have to be a good horse-rider and an expert driver. Many stuntmen specialize - i.e., they do one type of stunt really well. They can earn a lot of money - up to $ 5,000 for one dangerous stunt. But of course they do risk their lives.

READING II

Soap Opera

Soap opera is for TV what the popular novel is for books. It's easy to understand, you know all the people in it, and it goes on for a long time.
All over the world, people watch soap operas ("soaps") on television.
Some soaps are shown in the afternoons. They are cheap productions because they are intended for a limited audience. Others are multi-million dollar productions, often with big stars. These are shown at peak times-weekend evenings. A successful prime-time soap can make unknown actors and actresses world-famous. It will also make a lot of money for the producer.
Some soaps run for years. Others flash across our screens for a year or two, and then vanish. Some viewers get so involved in a soap that they imagine the characters are real. A world-wide successful soap can start a fashion and hit the headlines.

How are they written?
Soaps are written to a formula. The main types are:
A. The rich and grand
Often, the main characters belong to one family, and they run a family business. Viewers watch them for the glamour 18 of big houses, fast cars and huge business deals.
B. The professionals
These soaps take place in a workplace. Hospitals and hotels are popular. The main characters are doctors and nurses, managers and room staff. Patients / guests come and go, but there is plenty of opportunity for drama and crises. These are mixed in with complicated bits of the characters' private lives.
C. The neighbours
Another popular kind of soap is that which centres on the lives of people living in the same street or area. They are usually working class, and people watch them because they represent Ordinary People, just like You and Me.



1 administrative
adj.行政的,管理的
  • The administrative burden must be lifted from local government.必须解除地方政府的行政负担。
  • He regarded all these administrative details as beneath his notice.他认为行政管理上的这些琐事都不值一顾。
2 rehearsal
n.排练,排演;练习
  • I want to play you a recording of the rehearsal.我想给你放一下彩排的录像。
  • You can sharpen your skills with rehearsal.排练可以让技巧更加纯熟。
3 flop
n.失败(者),扑通一声;vi.笨重地行动,沉重地落下
  • The fish gave a flop and landed back in the water.鱼扑通一声又跳回水里。
  • The marketing campaign was a flop.The product didn't sell.市场宣传彻底失败,产品卖不出去。
4 stunt
n.惊人表演,绝技,特技;vt.阻碍...发育,妨碍...生长
  • Lack of the right food may stunt growth.缺乏适当的食物会阻碍发育。
  • Right up there is where the big stunt is taking place.那边将会有惊人的表演。
5 stunts
n.惊人的表演( stunt的名词复数 );(广告中)引人注目的花招;愚蠢行为;危险举动v.阻碍…发育[生长],抑制,妨碍( stunt的第三人称单数 )
  • He did all his own stunts. 所有特技都是他自己演的。
  • The plane did a few stunts before landing. 飞机着陆前做了一些特技。 来自《简明英汉词典》
6 mime
n.指手画脚,做手势,哑剧演员,哑剧;vi./vt.指手画脚的表演,用哑剧的形式表演
  • Several French mime artists will give some lectures this afternoon.几位法国哑剧表演艺术家将在今天下午做几场讲座。
  • I couldn't speak Chinese,but I showed in mime that I wanted a drink.我不会讲汉语,但我作摹拟动作表示要一杯饮料。
7 dynamite
n./vt.(用)炸药(爆破)
  • The workmen detonated the dynamite.工人们把炸药引爆了。
  • The philosopher was still political dynamite.那位哲学家仍旧是政治上的爆炸性人物。
8 stuntman
n.特技演员
  • The stuntman will double for the main actor during the action scenes.一些动作场景中,特技演员代替主演。
  • The stuntman flew the aircraft upside-down within a hair's breadth of the rooftops.那位做电影演员替身的杂技演员驾驶着飞机翻过来又倒过去,差一点撞着平顶房的屋顶。
9 backwards
adv.往回地,向原处,倒,相反,前后倒置地
  • He turned on the light and began to pace backwards and forwards.他打开电灯并开始走来走去。
  • All the girls fell over backwards to get the party ready.姑娘们迫不及待地为聚会做准备。
10 galloped
(使马)飞奔,奔驰( gallop的过去式和过去分词 ); 快速做[说]某事
  • Jo galloped across the field towards him. 乔骑马穿过田野向他奔去。
  • The children galloped home as soon as the class was over. 孩子们一下课便飞奔回家了。
11 specially
adv.特定地;特殊地;明确地
  • They are specially packaged so that they stack easily.它们经过特别包装以便于堆放。
  • The machine was designed specially for demolishing old buildings.这种机器是专为拆毁旧楼房而设计的。
12 galloping
adj.有风险的,冒险的
  • It may be risky but we will chance it anyhow.这可能有危险,但我们无论如何要冒一冒险。
  • He is well aware how risky this investment is.他心里对这项投资的风险十分清楚。
13 wharf
n.码头,停泊处
  • We fetch up at the wharf exactly on time.我们准时到达码头。
  • We reached the wharf gasping for breath.我们气喘吁吁地抵达了码头。
14 judo
n.柔道
  • The judo is a kind of fighting sport.柔道是一种对抗性体育活动。
  • Which is more important in judo, strength or techniques?柔道运动中,力量和技术哪个更重要?
15 karate
n.空手道(日本的一种徒手武术)
  • Alice's boyfriend knew a little karate.艾丽斯的男朋友懂一点儿空手道。
  • The black belt is the highest level in karate.黑腰带级是空手道的最高级别。
16 acrobat
n.特技演员,杂技演员
  • The acrobat balanced a long pole on his left shoulder.杂技演员让一根长杆在他的左肩上保持平衡。
  • The acrobat could bend himself into a hoop.这个杂技演员可以把身体蜷曲成圆形。
17 glamour
n.魔力,魅力;vt.迷住
  • Foreign travel has lost its glamour for her.到国外旅行对她已失去吸引力了。
  • The moonlight cast a glamour over the scene.月光给景色增添了魅力。
学英语单词
3-methyl-2-cyclopentenone
anterolateral groove of spinal cord
AQCS (Analytical Quality Control Services)
art-style
be in blinkers
Benfeld
Bergading, Gunong
bexarotene
bioecologists
bridge mark
chalinid
climatic reaction
clorofenazole
contact acne
contract of mandate
contracted method
copper contact
creditor country
Delano
dimethylation
EDVAC(electron discrete variable automatic compiler)
entropy ratio map
Euclasterida
excudate
facing up to
farinaceous albumen
flake coffee
fluffing tendency
foot squared
free surface flow
furuto
fusion cast refractory
GAT-1
girllover
grayanotoxanes
hawes water
horizontal creel
Kali Yuga
Laser Dust Monitors
legists
leish
lift winch
light flash sensor
Lorain, John
maaseik
Mababe Dpr.
magnetostrictions
mckewen
McLellan
medievally
metal ink
miniature score
monochrome television
more sail than ballast
motor compensator with PID regulator
My Le
myodynias
noise identification
Obure
Olenus
Ophiopogon sylvicola
optimal coupling
output from decision-assisting models
pascal function
photo transmission
physical topology
pie crimper
Pilina
piringer-kuchinka(syndrome)
pitty-patty
pnina
quintuplet elliptic spring
regulating blood method
relegate to
rest position
rhizopus arrhizus
rhodotorula rubra
rousseaux
sarcocystiss
seagoing freighter
second viscosity coefficient
sending current
setscrews
shaft skid
shrinkage retarding treatment
side-trip
silicon photodetector
space writers
spot (satellite positionting and tracking)
streptobaeillus moniliforrais
subliminal
summer theater
transformer bridges
tuft row
undrooping
unqualified approval
viverriculas
wardrobe crate
white-chinned petrels
wildauer
zanily
Zikhron Ya'aqov