[00:09.16]11.M: The concert starts at 9 : 00.

　　[00:12.96]W: We still have fifteen minutes.

　　[00:15.18]Q: What time is it?

　　[00:32.25]12. M: Is it still snowing outside?

　　[00:35.43]W: No, but the wind is still blowing a lot.

　　[00:38.26]Q: What do you learn from the conversation?

　　[00:56.69]13. M: These are very nice shirts. How much are they?

　　[01:00.84]W: 5 dollars each, for two, 9.5 dollars. They are on sale today.

　　[01:06.89]Q: How much does one shirt cost?

　　[01:25.50]14: M: Is this school really as good as people say?

　　[01:29.79]W: It used to be even better.

　　[01:31.99]Q: How's the school?

　　[01:49.84]15. M: Your house is bigger than mine.

　　[01:52.90]W: So is Bob's but Tom's is smaller.

　　[01:56.20]Q: Whose house is the smallest?

　　[02:14.91]16. M: The music and the flowers are lovely.

　　[02:19.20]W: Yes, I hope the food is good.

　　[02:21.38]Q: Where did this conversation most probably take place?

　　[02:41.43]17. M: I want to borrow the book "Good Earth".

　　[02:45.53]W: Ask Mary. She has almost everything.

　　[02:48.64]Q: What does the woman want the man to think about Mary?

　　[03:08.21]18. M: These tomatoes are huge!

　　[03:11.56]You must have watered them a lot.

　　[03:13.52]W: Yes, I did. They ought to be ripe enough to pick

　　[03:17.17]by next Friday when we have our picnic.

　　[03:19.29]Q: Where did this conversation most probably take place?

　　[03:39.80]Now you'll hear two long conversations.

　　[03:43.27]Conversation One

　　[03:45.65]M: Hi young lady. How may I help you? 

　　[03:48.50]W: Well,  … yeah. I'm looking for a Father's Day's gift.

　　[03:52.66]M: Okay. How about getting your father a new wallet? 

　　[03:56.37]W: Hmm. How much is that wallet? 

　　[03:59.02]M: Huh … which one? 

　　[04:00.94]W: The black one.

　　[04:02.42]M: Oh. It's only $40.95.

　　[04:06.32]W: Huh? That's too expensive for me.

　　[04:09.04]Do you have a cheaper one?

　　[04:10.91]M: Hmm. How about this brown leather one?

　　[04:14.90]W: Umm … I don't think my father will like the design on the outside,

　　[04:19.19]and it doesn't have a place to put pictures.

　　[04:21.66]How much is it anyway?

　　[04:23.81]M: It's $25.99.

　　[04:26.65]W: Hmm. I don't have that much money.

　　[04:29.33]M: Okay. How much do you have to spend? 

　　[04:32.39]W: I'm not sure.

　　[04:34.19]Probably about ten dollars or so.

　　[04:37.22]I've been helping my mom around the house

　　[04:38.99]for the past week to earn some money.

　　[04:41.22]This is all I have.

　　[04:42.79]M: Hmm. How about this tie? 

　　[04:45.83]W: That's real pretty, but the price tag says $13.99,

　　[04:50.25]and I know I don't have that much money.

　　[04:53.20]M: Well, let's just say the tie just went on sale.

　　[04:57.77]How about $5.00？What do you say?

　　[05:00.54]W: Oh, thanks. I'll take it.

　　[05:03.62]Questions 19 to 22 are based on the conversation you have just heard.

　　[05:10.00]19. What is the girl shopping for?

　　[05:28.00]20. Why doesn't the girl like the brown wallet?

　　[05:46.38]21. How does the girl get the money?

　　[06:04.16]22. What does the girl decide to buy?

　　[06:23.51]Conversation Two

　　[06:25.61]W: Dad, Dad, Dad! 

　　[06:27.74]M: Uh, what, what, uh, uh!

　　[06:31.52]W: The movie is over. You slept through the best part.

　　[06:35.52]M: Ah, ah, I must have during the last few minutes.

　　[06:39.03]W: Right. You were gone for so long

　　[06:42.11]you should have brought your pillow and blanket.

　　[06:44.91]So, what did you think about it?

　　[06:47.30]M: Well, overall, I'm a little disappointed with the movie.

　　[06:50.75]I mean, the story was a little ,

　　[06:53.67]you have to admit. I mean, really.

　　[06:56.75]How unbelievable is about a captain

　　[06:59.11]who navigates his spaceship to the far reaches of the galaxy

　　[07:02.45]and encounters a race of frog people.

　　[07:05.55]I mean, come on.

　　[07:07.15]W: Ah, I thought it was fantastic, Uhhh...

　　[07:11.22]I mean, you have to that the special effects were,

　　[07:14.95]and the acting wasn't bad either.

　　[07:17.84]M: Ah, come on. What about the ship's communications officer?

　　[07:22.61]I mean, what did you think about him?

　　[07:24.68]Well … Wasn't he a little similar to you?

　　[07:27.71]He was always talking to himself,

　　[07:30.16]and he had that funny hair do?

　　[07:32.93]W: Well, he was a little … unusual ,Yeah, yeah,

　　[07:37.14]but the ship's doctor was amazing.

　　[07:39.66]It was so cool when he brought the captain back to life during one of the battles.

　　[07:44.94]M: That was pretty realistic,

　　[07:46.78]but then the rest of the movie just went from bad to worse.

　　[07:50.28]And the photography was so fake!

　　[07:52.84]W: How do you know?

　　[07:54.05]You were snoring so loud the neighbors probably had to close their windows.

　　[07:58.45]It was that bad.

　　[07:59.68]M: Ah, well, let's go to bed.

　　[08:02.17]Questions 23 to 25 are based on the conversation you have just heard.

　　[08:08.20]23. What is one word to describe the father's opinion about the movie's storyline?

　　[08:29.92]24. Whose performance do father and daughter agree upon in the movie?

　　[08:49.57]25. What kind of movie is this?

　　[09:09.04]Section B

　　[09:10.96]Passage One

　　[09:12.81]The history of plastics is longer than you might expect.

　　[09:16.82]In fact the first man made plastic ever to appear on the market

　　[09:22.01]was made over a hundred years ago.

　　[09:24.33]It was discovered both by an Englishman

　　[09:26.65]and an American in the same year.

　　[09:29.27]But it was the American who first manufactured it

　　[09:32.18]on a large scale during the 1860s.

　　[09:35.58]Everybody was excited by this new material

　　[09:39.03]which was so cheap to buy.

　　[09:40.52]Poor young men working in smoky cities were able to buy plastic collars.

　　[09:45.60]These collars were hard and uncomfortable.

　　[09:48.37]But they did not have to wash them.

　　[09:51.01]The poor young men could rub them clean

　　[09:53.34]every evening with soap and water.

　　[09:55.67]Poor mothers who had not been able to afford playthings for their children,

　　[09:59.67]were now able to buy them playthings made of plastic.

　　[10:05.20]Questions 26 to 28 are based on the passage you have just heard.

　　[10:10.96]26. Who discovered plastics?

　　[10:29.13]27. When were plastics manufactured on a large scale?

　　[10:49.07]28. Why was everyone excited by plastics?

　　[11:08.55]Passage Two

　　[11:10.51]In 1812, in a village near Paris,

　　[11:13.58]a little boy hit himself in the eyes with one of his father's sharp tools,

　　[11:18.11]and became blind.

　　[11:19.81]His name was Louis Braille,

　　[11:22.89]and he was only four years old.

　　[11:25.30]He was a clever boy,

　　[11:26.54]and he soon learned to "see" without his eyes.

　　[11:29.86]He touched things, or smelled them, or tasted them.

　　[11:33.37]His family described things to him.

　　[11:36.06]Although he couldn't see people's faces,

　　[11:38.67]he learned to recognize their voices.

　　[11:41.68]After his seventh birthday,

　　[11:44.15]Louis went to the little school in the village.

　　[11:47.70]But there weren't any books for him.

　　[11:50.07]In 1819, the village priest told Louis Braille's story

　　[11:54.38]to the director of a famous school for blind boys.

　　[11:58.45]At this school, boys learned math, grammar, geography, history, and music.

　　[12:03.89]Also they learned to read.

　　[12:05.89]Louis went to the school in Paris in February 1819.

　　[12:10.51]He loved his classes and received high grade.

　　[12:13.84]He learned to play piano.

　　[12:15.54]Also he learned to read with his fingers.

　　[12:18.69]Questions 29 to 31 are based on the passage you have just heard.

　　[12:25.15]29. What's the main topic of the story?

　　[12:43.57]30. How did Louis remember the people he knew?

　　[13:02.09]31. When did Louis go to the school for blind boys?

　　[13:22.36]Passage Three

　　[13:24.23]Most Americans think that ice cream

　　[13:26.68]is as American as baseball and apple pie.

　　[13:31.08]But ice cream was known long before America was discovered.

　　[13:35.25]The Roman Emperor Nero may have made a kind of ice cream.

　　[13:40.51]He hired hundreds of men to bring snow and ice from the mountains.

　　[13:44.52]He used it to make cold drinks.

　　[13:46.69]Traveler Marco Polo brought the method

　　[13:49.74]of making cold and frozen milk from China.

　　[13:52.75]Hundreds of years later, ice cream reached England.

　　[13:56.01]It is said that King Charles I enjoyed that very much.

　　[13:59.69]There is a story that he ordered his cook

　　[14:02.19]to keep the method of making ice cream a royal secret.

　　[14:06.09]Today ice cream is known throughout the world.

　　[14:09.88]Americans alone eat more than two billion quarts a year.

　　[14:15.79]Questions 32 to 35 are based on the passage you have just heard.

　　[14:21.61]32. What do most Americans think about ice cream?

　　[14:40.49]33. Why did the Roman Emperor hire hundreds of men?

　　[15:00.31]34. What is Marco Polo known as?

　　[15:18.46]35. How many quarts of ice cream have been eaten by Americans in one year?

　　[15:39.83]Section C

　　[15:41.73]Art, said Picasso, is a lie that makes us realize the truth. So is a map.

　　[15:48.86]We do not usually associate the precise work

　　[15:52.31]of the mapmaker with a fanciful object of art.

　　[15:56.67]Yet a map has many qualities that a painting or a poem has.

　　[16:01.59]It is truth realized in a symbolic way,

　　[16:04.74]holding meanings it does not express on the surface.

　　[16:09.54]And like work of art, it requires imaginative reading.

　　[16:14.14]Thus, map and reality are not, and cannot be, identical.

　　[16:19.27]No aspect of map use is so obvious yet so often overlooked.

　　[16:25.84]Most map reading mistakes occur

　　[16:28.11]because the user forgets this vital fact

　　[16:31.26]and expect a one to one correspondence between map and reality.

　　[16:36.52]A map, like a painting, is just one special version of reality.

　　[16:42.23]To understand a painting,

　　[16:43.72]you must have some idea of the medium

　　[16:46.79]which was used by the artist.

　　[16:49.38]You wouldn't expect a water color to

　　[16:51.28]look anything like an oil painting or a charcoal drawing,

　　[16:55.78]even if the subject matter of all three were the same.

　　[16:59.78]In the same way, the techniques used to create maps

　　[17:03.45]will greatly influence the final representation.

　　[17:07.83]As a map reader,

　　[17:09.00]you should always be aware of the invisible hand of the mapmaker.

　　[17:13.50]If the entire map making process operates at its full potential,

　　[17:18.85]communication takes place between the mapmaker and the user.

　　[17:23.55]The mapmaker translates reality

　　[17:26.36]into the clearest possible picture under the circumstances,

　　[17:31.60]and the map reader converts this picture back

　　[17:34.33]into an impression of the environment.

　　[17:37.70]For such communication to take place,

　　[17:39.95]the map reader as well as the mapmaker

　　[17:42.36]must know something about how maps are created.

　　[17:53.08]Art, said Picasso, is a lie that makes us realize the truth. So is a map.

　　[18:00.01]We do not usually associate the precise work

　　[18:03.49]of the mapmaker with a fanciful object of art.

　　[18:09.36]Yet a map has many qualities that a painting or a poem has.

　　[18:14.33]It is truth realized in a symbolic way,

　　[18:17.94]holding meanings it does not express on the surface.

　　[18:22.72]And like work of art, it requires imaginative reading.

　　[18:27.76]Thus, map and reality are not, and cannot be, identical.

　　[18:33.94]No aspect of map use is so obvious yet so often overlooked.

　　[18:42.91]Most map reading mistakes occur

　　[18:45.32]because the user forgets this vital fact

　　[18:48.56]and expect a one to one correspondence between map and reality.

　　[18:54.88]A map, like a painting, is just one special version of reality.

　　[19:50.53]To understand a painting,

　　[19:52.03]you must have some idea of the medium

　　[19:55.07]which was used by the artist.

　　[19:57.59]You wouldn't expect a water color to

　　[19:59.63]look anything like an oil painting or a charcoal drawing,

　　[20:04.08]even if the subject matter of all three were the same.

　　[20:08.64]In the same way, the techniques used to create maps

　　[20:11.77]will greatly influence the final representation.

　　[21:06.25]As a map reader,

　　[21:07.27]you should always be aware of the invisible hand of the mapmaker.

　　[21:12.15]If the entire map making process operates at its full potential,

　　[21:17.14]communication takes place between the mapmaker and the user.

　　[22:12.13]The mapmaker translates reality

　　[22:14.76]into the clearest possible picture under the circumstances,

　　[22:19.90]and the map reader converts this picture back

　　[22:22.54]into an impression of the environment.

　　[22:25.99]For such communication to take place,

　　[22:28.29]the map reader as well as the mapmaker

　　[22:30.71]must know something about how maps are created.

　　[22:36.46]Art, said Picasso, is a lie that makes us realize the truth. So is a map.

　　[22:43.82]We do not usually associate the precise work

　　[22:46.99]of the mapmaker with a fanciful object of art.

　　[22:51.42]Yet a map has many qualities that a painting or a poem has.

　　[22:56.33]It is truth realized in a symbolic way,

　　[22:59.43]holding meanings it does not express on the surface.

　　[23:04.29]And like work of art, it requires imaginative reading.

　　[23:09.04]Thus, map and reality are not, and cannot be, identical.

　　[23:14.39]No aspect of map use is so obvious yet so often overlooked.

　　[23:20.31]Most map reading mistakes occur

　　[23:22.72]because the user forgets this vital fact

　　[23:26.05]and expect a one to one correspondence between map and reality.

　　[23:31.36]A map, like a painting, is just one special version of reality.

　　[23:37.09]To understand a painting,

　　[23:38.48]you must have some idea of the medium

　　[23:41.47]which was used by the artist.

　　[23:44.07]You wouldn't expect a water color to

　　[23:46.16]look anything like an oil painting or a charcoal drawing,

　　[23:50.53]even if the subject matter of all three were the same.

　　[23:54.77]In the same way, the techniques used to create maps

　　[23:58.26]will greatly influence the final representation.

　　[24:02.72]As a map reader,

　　[24:03.72]you should always be aware of the invisible hand of the mapmaker.

　　[24:08.75]If the entire map making process operates at its full potential,

　　[24:13.72]communication takes place between the mapmaker and the user.

　　[24:18.61]The mapmaker translates reality

　　[24:21.34]into the clearest possible picture under the circumstances,

　　[24:26.42]and the map reader converts this picture back

　　[24:29.07]into an impression of the environment.

　　[24:32.55]For such communication to take place,

　　[24:34.71]the map reader as well as the mapmaker

　　[24:37.16]must know something about how maps are created.