(資料圖)

以下是2010年12月19日六級(jí)答案 聽(tīng)力 “長(zhǎng)對(duì)話1原文”

W: When you write a novel, you know where you are going, Dr. James ?
M: Yes, you must really if you are writing a classical detective story. Because it must be so carefully plotted and so carefully clued. I have schemes, I have charts I have diagrams. It doesn’t mean to say I always get it right, but I do plan before I begin writing, but what is so fascinating is how a book changes during the process of writing. It seems to me that creative writing is a process of revelation really rather than of creativity in the ordinary sense.
W: When are you planning the basic structure, do you like to go away to be sure that you are by yourself …?
M: I need to be by myself certainly, absolutely, I can’t even bear anybody else in the house. I don’t mind much where I am as long as I have got enough space to write, but I need to be completely alone.
W: Is that very important to you?
M : Oh, yes, I’ve never been lonely in all my life.
M : How extraordinary! Never ?
M : No, never.
W: You are very lucky. Some one once said that there is a bit of ice at the the heart of a writer.
M: Yes, I think this is true, the writer can stand aside from the experience and look at it, watch it happening. This is the detachment; and I realize that there are obviously experiences which would overwhelm everyone, but very often a writer can appear to stand aside and this detachment makes people feel there is a bit of ice in the heart.

Questions 19 to 21 are based on the conversation you have just heard.
19. What is the key to write a good classical detective story according to the man?
20. what is the man mainly need when working on a book?
21. what does the man say about writers?

長(zhǎng)對(duì)話2：

W: there is an element there about the competitioner, isn’t there? Because British railways are a nationalized industry, there isn’t any one railway system in the country. If you don’t like a particular kind of big beans, you can go on by another; but if you don’t like the particular railway, you can’t go on using another.
M: some people who write to me say this. They say that if you did not have a monopoly, you would not be able to do the things you do. Well, I don’t think we do anything deliberately to upset our customers, we have particular problems. Since 1946, when the Transport Act came in, we were nationalized.
W: Do you think that is a good thing? Has it been a good thing for the railways, do you think, to be nationalized?
M: Oh, I think so, yes, because in general, most of the transports are all around. Let’s face the fact, the car are arrived, the cars are here to stay. There is no question about that
W: So what’s your saying then? Is it if the railways haven’t been nationalized, they would simply have disappeared?
M: Oh, I think they would have. They are disappearing fast in America. Er, The French railways lose 1 billion pounds a year, the German railways, 2 billion a year. But you see those governments are preparing to pour the money into the transport system to keep it going.
W: So, In a sense, you call between two extremes. On the one hand, they are trying not to lose too much money, and on the other hand, you’ve got to provide the best service.
M: Yes, you are right.
Questions 22 to 25 are based on the conversation you’ve just heard.
22. What does the woman say about the British railways?
23. What do some people who write to the man complain about?
24. What does the man say threatens the existence of the railways?
25. What does the man say about the railways in other countries?