口琴吹法图解17. Travelling around China
Travelling around China can be tiring but fun as well. However, how you travel often determines whether your travel will be a success or a failure. Here is some information about how it can be done.
BY TRAIN Most parts of China can now be reached by rail. Generally speaking, the train rvice is efficient. However, the trains are sometimes overcrowded, especially on national holidays. The kind of ticket you need depends on the distance of your journey. A hard or soft at is fine for a short journey. For long journeys, a sleeper ticket is a better choice.
BY SHIP A number of a routes exist that can take you from one aport to another along the coast of China. There are also a few inland waterways. The most attractive one is that from Chongqing to Shanghai. Along this route ships pass through the famous Three Gorges(长江三峡) and stop at many beautiful towns and historic sites.
BY AIR This is often the first choice for tho who have limited time to spend on a journey. But, of cour, this time-saving advantage has to be paid for---tickets are more expensive. While CAAC(中国民用航空总局) ud to be the only airline rvice in the country, there are now a number of regional airlines. The safety record has also improved much over the past decades. Air tickets are available thro
ugh CITS(中国国际旅行社), at hotel travel desks or in air ticket offices. Most large cities and many popular tourist destinations have their own airports.
BY BUS Highway networks in China are developing very fast. There are both inner- and inter-city bus rvices, they are well managed and cheap. State-owned long-distance bus rvices operate on schedule and are inexpensive. There are also private bus. They run mainly on local routes, and often will not depart until they are completely filled up.
BY BICYCLE Besides what is mentioned above, cycling is also one of the best ways for traveling around town, unless you are in Chongqing---the only city with very few bicycles becau of its steep streets. If you plan to stay in China for sometime, buy one as the natives do.
Hope you will find this information helpful during your stay in China.
19. The Sydney Harbour Bridge
There’s no feeling quite like eing Sydney from the top of the Harbour Bridge.
There I stood, looking up at Sydney’s Harbour Bridge---one of the most famous bridges in the world. Located near the magnificent Sydney Opera Hou, the 40-storey bridge towers over Australia’s larg
est city. The bridge was certainly beautiful to look at. But who in their right mind would want to climb it?
Me, of cour! Climbing the bridge is not such a crazy thing to do, in fact. Tourists started climbing the bridge in 1998. Now it’s one of Sydney’s most popular attractions.
To prepare for the climb, our group of 12 climbers had to take a special class. First, we stored all our personal belongings and changed into special bridge climbing clothes. Then, the climb o
rganizers showed us how to u the safety belts and climb the steep ladders.
We were even given little personal radios to receive instructions from our guide during the climb!
Our expectations began to build and our group became excited. One hour later, we were ready to go!
We first crosd some catwalks below the road part of the bridge. I was glad I wasn’t afraid of heights. Looking down through the catwalk I could e the ground 50 meters (164 feet) below!
Next we climbed the ladders leading up, up, up to the bridge’s arch. Cars sped by on the road below.
The wind blew more fiercely the higher we climbed. More and more of the city slowly came into view. Soon we were approaching the very top of the bridge!
What a scene it was at the top! Clear, bird’s eye views of the city extended in all directions. Looking south we saw the city skyline, the famous Opera Hou and the ocean. It was just like looking at a postcard, except that we were really part of the picture! Everyone felt proud of having reached this spot in the city.
No one was ready to leave when it was time to go down. The two hours we had spent on the bridge emed to pass in an instant. But the memory of having en such a unique scene will stay with us for a lifetime.
21. Using English properly
If you don’t want to offend someone, you’d better know which English words to u---and which to avoid.
Imagine that you’re in a restaurant in America. You want some water, so you called out “Waitress!” A waitress comes to your table, but she’s clearly unhappy. What did you do wrong? You may have offended her by calling her a “waitress.” Today, many people prefer the word “rver” to “waitress.”
Why? As society changes, so does our language. Today the word “rver” is more appropriate. It gives the person a n of being respected. Using English properly is an attempt to make language more respectful to all people.
Words that put too much emphasis on gender are carefully avoided. The include words that end in “-ess” or “-man.” For example, people who rve pasngers on airlines are now called “flight attendants,” not “stewardess.” In the past, only women could be flight attendants; today, many men have entered the profession. “Flight attendant” is a better expression becau it includes both men and women. Many women are entering jobs that were once only occupied by men, so words like “policeman” and “chairman” are being replaced. Now “police officer” and “chairperson” are the preferred terms.
Unfortunately, English has no singular pronoun that can be ud to replace either “he” or “she.” This creates some problems. How do we treat both genders fairly without such a pronoun? One way is to u the plural structure. So instead of saying “If a person wants to learn English, he should study every day,” many people would prefer “If people want to learn English, they should study every day.”
Using
植物素描English properly extends further than gender. It also includes issues of race and disability. For example, some people prefer the term “people with a disability” to “handicapped.” The word “handicapped” can be considered disrespectful becau it implies that a person is helpless.
However, there are people who don’t like being told what words they have to u. And they insist on not changing their way of talking---they don’t think they are obliged to make others feel better. But most people agree that making language respectful to all is fair. So people do change with the times.
23. Eye contact
Lunch was now over, and I offered to drive James back to his hotel. He said he had walked over to my place but politely accepted the lift. We drove the few blocks back to his hotel and pulled into the driveway. I got out, went quickly to his side of the car, opened the door, and started to lean forward with one hand reaching out. Then my eyes met his. Not a word was spoken, but the message I got was clear, “Don’t you dare try to help me out of this car!”
陶醉的意思是什么I backed off. James got out and then gave me a big smile---his way of saying, “No harm done. All is well.”
If we pay enough attention, we’ll e our audience is often communicating with us without words. It is important to read the silent signals in one’s eyes. If you introduce a subject that caus much movement in the audience, you know that you have aroud their attention. They are shifting in their ats or exchanging looks with their neighbours. The reaction from your audience should be your guide. When you continue your talk, you know that to drop, what to revi and what to add, all bad on your reading of the eyes of the audience.
If you’ve told a joke or story that hasn’t gone down well, the audience may be telling you that they want to hear or what they don’t want to hear. Such information can and should lead to some change in the content, humour and style of what you still have to say.
The most obvious display of an audience’s silent communication is their lack of attention. Yawning, programme studying, chatting in very low voices or dozing, to mention the worst, are warnings. Through eye contact you will be the first to know if you have lost them. An immediate change of attitude is called for. No speaker is ever honoured for going down with the ship.
Silent clues, however, may also communicate good news. Smiling, leaning forward, watching attentively---all tell you that the track is clear of obstacles; the signals are green---so go ahead.
25. Arturo Toscanini
Arturo Toscanini, who conducted the first public performance of many world-famous operas (such as Othello and La Boheme), is regarded as the greatest conductor of the first part of the twentieth century.
Toscanini was born in Italy on March 25, 1867. He entered a music school when he was nine and graduated in 1885 with the highest honours in cello and composition.
At the age of nineteen
, he joined an Italian orchestra on a tour in Brazil. During that tour, the conductor of the orchestra suddenly quit his job. Toscanini was thus called in to fill in as conductor at very short notice. It was not surprising that the audience laughed at him as he leapt onto the stage. His passionate interpretation of Aida was, however, greeted with loud cheers.
What was most special about Toscanini was that he did his job without the help of a score. Having read through a score, he could recall every note many years later. However, the fact that he had a marvelous memory alone did not make him a great conductor. It was his energy, strict attitude towards performance, and loyalty to the compor’s intention that made him outstanding.
During rehearsals, to get what he wanted from his orchestra, he would sometimes stamp his feet, snap his baton and tear his store to pieces. He tried to make u of every means to interpret music. Once he found himlf at a loss when trying to describe to an American orchestra a very light effect in a passage (his English was poor). After thinking hard for a while, he drew a white silk handkerchief from his pocket and threw it into the air, watching with the orchestra as it floated to the floor. “There!” he said. “Play like that!”
英语加油Toscanini drove himlf as hard as he did his orchestra. If the orchestra met his demands, he would weep for joy. Otherwi, he would not spare them from punishment. If he himlf made a rare mistake, he would slap his own face in front of the orchestra. He would not spare even himlf from punishment.
Toscanini would shout at anyone who dared talk during the performance or, even wor, arrived late.
All through his life, Toscanini was anti-fascist. In1931, he was physically attacked for refusing to play the fascist anthem and for protesting against Hitler’s ban on Jewish musicians.
He dropped his baton in 1954, and died in 1957 at the age of 90.
27. Stunts in movies工商银行活期存款利率
On the screen, the US actor Tom Crui is throwing himlf through a glass window as a large car explodes behind him; the actress Helen Hunt is running from hurricanes as homes and cows are swept up.
写一封求职信
And, of cour, there is Stallone doing…everything.
It ems to be popular the days for actors and actress to do their own stunts in action movies, and the fact is that the big names are indeed doing more stunts. According to a director, some actors do as much as ninety per cent of their own stunts, while the last ten per nt are generally left to stunt professionals. The are the men and women who make a living risking their lives on behalf of the big names in action movies.
However, there is an exception. The only actor who does any allow anyone el to do his stunts is Jackie Chan, the Hong Kong phenomenon. He takes pride in doing all the stunts in his action movies. Jackie Chan has been doing his individual brand of dramatic martial arts for fifteen years. He is no doubt a walking miracle of physical
午餐肉怎么做endurance. Of cour, along with that heroism are numerous broken bones and a hole the size of a coin in his head.
US action filmmakers do not want their movie stars to be injured, so stunt experts are always called in to do dangerous parts that require talent. At the same time, they also try hard to make the audience believe that the famous faces are performing every stunt.
Actors and actress would also like the fans to believe that there are no professionals doing the stunts for them. Many of them insist on doing their own stunts in the movies. Then accidents are inevitable. For instance, Helen Hunt was knocked unconscious when filming one scene---she opened the door of a vehicle and jumped off while it was speeding through a cornfield. Helen later admitted, “I have all the courage of a stunt person, but I don’t have all the talent.”喧嚷的反义词
As for the audience, there is absolutely no need for you to worry about your favourite stars, who are bragging about performing the stunts on TV talk shows. It’s entirely possible that someone el took the fall. As Helen said, there is still a lot of work out there for stunt professionals.
