Listening：Conversation （including test point & common words）
精听方式
step 1：完整地听一遍录音，可记笔记
step 2：以句子为单位 听写，做听抄对比
step 3：分析5个考点
话题范围：
TEST POINT 1: STUDENT RAISING A PROBLEM
CLUE WORDS:
转折：but, yet, however…
否定：not, no, can't, don't…
problem, question, hard time
…that's why I…; …which is why I …
TEST POINT 2: TEACHER ASKING QUESTIONS
同义替换单词或句子，选项中含义>听力原文
TEST POINT 3: REPEATED WORDS
同义词或同义句重复，则为重点
TEST POINT 4: THE ULTIMATE SOLUTION
At the end of the conversation, the two speakers decide on the ultimate solution, which is too important to be ignored. More often than not（通常出现的情况是）, it lead to the answer to the fourth question.
TEST POINT 5: PERSONAL STORY
被求助人常常会举发生在自己身上的例子提供求助者一个解决方案
论文
proposed topics 推荐的论文选题
selecting topics 选择性题目
scope 范围
wander off topic 跑题
preliminary outline 初步提纲
draft version 草拟版本
revise 校正
edited version 修订版本
final copy 最后打印版
draw up 得出结论
fixed date 固定日期
issue 发行
考试
revision 复习
re-take 重修
选课与作业
elective 选修
selective 选修课 optional class 选修课
bird course 轻松的课 hard course困难的课程
summer session 暑期课程
workshop 小型研讨会
sign up注册
sign up for a noncredit course 注册非学分课程
due 截止
quite a heavy load 课业负担沉重
required writing course 必修写作课
preparatory course 预备课程
intro/introduction course 导论课程
intermediate course 中级课程 advanced course 高级课程
注册
dean 院长；系主任
department chair /chairperson 系主任
field work /research 实地研究
academic record 学业成绩
grade point average 平均绩点
verify 证实
mailing address 邮寄地址
生活指导
facilities manage 后勤经理
language lab manager语言实验室经理
chorus /choir 合唱队
rehearsal 排练，预演
summit 提交
学分与学位
credit is awarded学分奖励
迟到或缺课
fill me in something 给我补课
extension 延期
疑难解答
bulletin board 公告板
school bulletin 学校公告栏
rushing against the clock 忙碌
transfer 转系转专业
inquiry 询问
rigorous 严格的
eligible 合格的
previous experience 事前经验
take the prerequisite 满足先决条件
soft copy 邮件发送
check back核查记录
申请与志愿：
admission 许可
fellowship 奖学金
图书馆：
inter-library 图书馆间
video library 录像图书馆
reference room 阅览室
the reference stacks 书库
charge 费用
paperback 平装本
the rare books 珍藏本书
index 索引
literature guide 导读
student orientation 情况介绍（针对大学新生）
precaution 预防
书店
store credit 商店退款；赊账购物
retreat 退书
full refund 退款
银行和工资
deposits 存款
paycheck 薪水
payroll 工资单；薪水册
salary =income 工资
实习与打工
recruit 招聘
career /job fair 招聘会
wear a suit 穿正装
firm =company =corporation 公司
advancement =promotion 晋升
校内活动
off campus 校外
commute 通勤
flyers 传单
听抄练习
TPO 5 Conversation 2
Listen to a conversation between a student and her professor.
STU: Hi, I was wondering if I could talk with you about the assignment in the film theory class?
PRO: Of course, Jewel.
STU: It's seems that pretty much everyone else in the class gets what they are supposed to be doing, but I'm not so sure.
PRO: Well. the class is for student who are really serious about film. You must taken film classes before?
STU: Yeah, in the high school, film appreciation.
PRO: Em, I wouldn't think that be enough. Did you concentrate mainly on form or content?
STU: Oh definitely on content. We'd watch, see lot of files and then discussed it.
PRO: Oh, that approach, treating films as literature and ignoring what makes it unique?
STU: I like it through.
PRO: Sure, but that kind of class, well, I'm not surprise you feeling a little lost. You know we have two introductory courses later supposed to be taken before you get to my course. One in film art, techniques, technical staff. And another in film history. So students in the class ( you are in ) should be pretty far along in film stories. In fact, usually the system blocks, anyone trying to sign up for class they shouldn't be taking. Who has taken the courses you required to do first as prerequisite.
STU: Well, I did have a problem with that, I discusses with one of your office staff, she get me permission.
PRO: Of course, no matter how many times I tell them, they just keep on and...well, for you only good I really suggest dropping back and starting at the usual place.
STU: Yes, but I've already been in this class for 4 weeks. I hate just drop it now, especially seems I find it so different, so interesting.
PRO: I guess so. Frankly, I can't believe you've last it this long. These are pretty indept theory we've been discussing and you've been doing OK so far, I guess, But still, the programs been designed to progress through certain stages. Like any other professional training, we built on precious knowledge.
STU: Then maybe you could recommend some extra reading I can do? To catch up?
PRO: Well, are you intending to study film as your main concentration?
STU: No, I...I'm just interested. I'm actually in marketing, but there seems to be a connection.
PRO: Oh well, in that case, if you taking the course just out of interest. I mean I still highly recommend signing up for the introductory courses at some point. But in the mean time, these is no harm, I guess, in trying to keep up with this class. The interest is clearly there. Eh....instead of any extra reading just now, you could view some of the old introductory lectures, we have among videos, that give you a better handle of the subject. It's still a pretty tall order and we'll be moving right long, so you really need to stay on top of it.
STU: OK, I've been warned. Now, could I tell you the idea about the assignment?
TPO 10 Conversation 1
Listen to a conversation between a student and her photography professor.
STU: Professor Johnson, there's something has(that's) been on my mind.
PRO: OK?
STU: Remember last week you told us that is really important to get our photography into a show? Basically as soon as we can?
PRO: Yep, It's a big step, no question.
STU: Thing is, I'm sitting here and I am just not sure how I('d) get there. I mean I've got some work I like, but is it really what the(a) gallery is looking for? How would I know? How do I make the right context(contacts) to get (it) into a show? I just really don't...
PRO: OK, hold on, slow down. These (are) questions that...well... just about every young artist sense(has) to struggle with. OK, the first thing you should do is you absolutely have to stay true to your artistic vision. Take the pictures you want to take. Don't start try(ing) to catch the flavor [of the mass](the month) and be trended(trendy) because you think you will get into a show. That never works. Because you [want to](wind up 结束；使紧张；卷起) create(ing) something you don't really believe in. It's uninspired and won't make any shows. I've seen this(it) happened(happen) so many times. This doesn't mean that you should [going with](go into a) cave, keep up with trains(trends) even think about how you work might fit in with them. But don't mindlessly follow them.
STU: Oh, yeah. I can see that. I think though (X)that I was(have) always been able to stay pretty true to what I want to create, not what others want me to create. I think that comes through (in) my work.
PRO: OK. Just remember that is one thing to create [worth it](work that) you really want to create when [lesson at](it's in the) classroom. The only thing (at stake)[you stay] is great(your grade). But what(work) create(d) outside the classroom, that can be a(in) different story. Not talking about techniques or things like that. It('s) just (that) there are(is) so much more (at) stake when you (are) out there making art for a living. There is a lot of pressure to become something you are not and people often [surround you at](surrender to) that pressure.
STU: But to get stuff exhibited...
PRO: Well, you need to be a bit of (an) opportunist. (You know,) Common sense things like, always having a sample of your work on hand to give to people. You won't believe the kind of contact(s) to(and) opportunities should(you can) get (in) this way. And try to get your work seen in the places like restaurants, bookstores. You('d) [will] be surprised how work(word) gets surround(arround) about the photography in [the] places like that.
STU: OK. It just so hard to think about all of those practical things and make good work, you know.
TPO 10 Conversation 2
Listen to a conversation between a student and an employee in the university bookstore.
STU: Hi, I brought this book at the beginning of the semester, but some thing's come up and I'd like to return it.
EM: Well. for a full refund, store policy is that you have to (return) merchandise 2 weeks from the time [you](it) was purchased. Eh...but for assigned text books or anything having to do with specific courses...oh wait, was it for (a) specific course?
STU: Yeah, but actually...
EM: Well, for course books, the deadline is 4 weeks after the beginning of the semester. So for this fall semester the deadline was Oct.1ST.
STU: Och, then I missed it, but why Oct.1ST?
EM: I guess the reason(ing) is [that](the) by Oct.1ST the semester is (in) [FG](full gear) and everyone kind of knows (what) courses (they'll be) [were] taking next semester.
STU: I get (it). So it's mainly for people who decided to [drop](withdraw) from...[but] to change (to) new course(s) early on.
EM: Exactly. The books have to be in perfect condition of course. They can't be marked up or look(ed) used (in) anyway, for the full refund I mean.
STU: Well, but see, my situation is (a) little different. I hope you might be able to make an [acception](exception).
EM: Well, the polic[y](ies) [is](are) generally pretty rigid and [this](the) semester is almost over.
STU: OK, here's what happened. I think my professor really miscalculated. Anyway, the syllabus was (a)way too ambitious in my opinion. There('re) only 2 weeks of class(es) left in this semester and there (are) like 6 books on the syllabus that we haven't even touched.
EM: I see, so you [are](were) hoping to return (in) this one?
STU: Yeah, (the) professor already announced that we won't be reading this one by Jane Bowls and all the others I bought used.
EM: Jane Bowls? Which book of hers?
STU: It's called Two Serious Ladies.
EM: Oh! But you should keep that one. Are you interested in literature?
STU: Well, I am an English major.
EM: You are lucky to have a professor who includes a [list known](lesser-known) writer like her on the syllabus. You know, not the usual authors we've all read.
STU: So you really think I...
EM: I do. And especially (if) you('re) into literature.
STU: Hm...Well, this I wasn't expecting. I mean..wow...
EM: I hope you don't think I am (being) too pushy. If you prefer you can return the book and arrange for a store credit. You don't [qualified](qualify) for refund. Policy is policy after all. But you can make (an it) exchange and you can use the credit for your books for next semester. The credit carries over [from](for) one semester to the next.
STU: That's good to know. But now I'm really [in treat](intrigued). I guess [it](that) just because (we) [run](ran) out of time to read this book in class doesn't mean that I can't read [this book](it) on my own time. You know I think I will give it a try.
TPO 21 Conversation 2
Listen to a conversation between a student and her public relation's professor.
STU: Hi, professor G. I really learned a lot from your lecture, the one about analyzing or those different segments of the population or the official terms' audience, right? I never imagine that one company can have over 30 audiences to communicate with.
PRO: Yeah, a lot of students check it back by this and some public relations consulted don't figure out until they work in the field a while.
STU: Everyone thinks public relation's, PR's, easy but there is lot to it, you really got to know what you are doing.
PRO: Absolutely. So Stacie, your email implied you needed my advice about graduate school?
STU: No, since my undergraduate degree will be in public relations I have already decided to get a master's degree in marketing. Sorry, it wasn't clear. My issue is that I got two require courses and two electives, I am trying to figure out which elective courses to take. My adviser suggested economic accounting but I'm not really sure...
PRO: About?
STU: Well, I'm endured in accounting and economic in high school, I barely stay awake, they were so...
PRO:OK, OK, I hear you. Uh...you say you want a master's in marketing, you've got one more semester till graduation, have you taking any marketing courses yet?
STU: No, I figure out I've got the marketing basis already since I've take every PR in communication course offer here.
PRO: Well, there are some overlap between PR and marketing, but there are important differences too. Marketing focuses on selling your products with service, you know attracting customers through advertising and also building relationships with customers. That's what marketing department does. PR's all about...it involves relationships too. That's why I'm saying two fields overlap. But in PR, you developing relationships with a wider range about audiences.
STU: Right, like employees, supplies, the media. I do understand lesson theory but are too selling your product just in a different way.
PRO: Not necessary. OK, do you remember that PR strategy I illuted to the other day, the one are university uses as strategy but doesn't overlap with its marketing strategy?
STU: You mean how the university invites local residents to attend certain lectures in classes for free?
PRO: Yes, this cultivated the sense of good will and helps the university avoid becoming isolated from the margic community. Bringing neighbors into classrooms is a good PR, but it's not marketing since our neighbors aren't our customers for the most part.
STU: That's why I wanna focus on marketing in graduate school. When having an expertise in PR and marketing give me career options.
PRO: Yeah, but also you want to enjoy your work, so for your electives why don't you take advertising principals and intrude marketing which I teach. This way, you will find out if marketing something you really want to pursue. Graduation school tuition is expensive and there courses will give you a good overview for committing yourself.
STU: I wish my adviser had suggested those courses.
PRO: Well, I'm someone whose work in both marketing and PR, so I can offer a different perspective that someone who only teaches.
TPO 17 Conversation 1
Listen to a conversation between a stu and a pro.
pro: OK, let's see,right, Modern Stagings of Shakespear in classic.Well, like I told you last week, I think that's a great topic for your paper.So the title be something like...
stu: I'm not really sure...probably something like 20 centuries Stagings of Mid Summer Night's Dream.
pro: Yes, I like that, straight forward into the point. So how's the research going?
stu: Well, that's what I came to talk to you about.I was wondering if you happen to have the copy of Peter B production of Mid Summer Night's Dream in your video collection? I've been looking for every where and I'm having a really hard time tracking it down.
pro: That's because it doesn't exist.
stu: You mean in your collection or at all?
pro: I mean at all. That particular production was never filmed or recorded.
stu: Oh no, I have no idea. From what I read that production like, it influenced every other production of play it came after...so I just assumed that it had been filmed or video taped.
pro: Oh, it definitely is a landmark production and it's not like a rant for just a week, but either was never filmed or if it was, the film has been lost. And it's ironic because there's even a film about the naking of the production but none of the production itself.
stu: So now what would I do? If there is no video.
pro: Well, think about it. This is the most important 20 century's stage in our Mid Summer Night's Dream, right?
stu: But how can I write about B's interpretation of the play if I can't see its production?
pro: Just because there is no recording doesn't mean you can't figure out how it influences other productions.
stu: I guess there is enough materials around but it will be a challenge.
pro: True. But think about it, you are writing about dramatic arts, the theatre and it's a nature theatre, isn't it?
stu: You mean beacuse it alive when the proformance finished.
pro: That's it. How musts film it's gone. But it doesn't mean we cannot study it and of course some students in this class are writing their production in the 19 century. And there is no videoes of those. You know, one of the challenge that people study in theatre is to find ways of talking about something that's really so transient, about something that in a sense doesn't exist.
step 1：完整地听一遍录音，可记笔记
step 2：以句子为单位 听写，做听抄对比
step 3：分析5个考点
话题范围：
 |
TEST POINT 1: STUDENT RAISING A PROBLEM
CLUE WORDS:
转折：but, yet, however…
否定：not, no, can't, don't…
problem, question, hard time
…that's why I…; …which is why I …
TEST POINT 2: TEACHER ASKING QUESTIONS
同义替换单词或句子，选项中含义>听力原文
TEST POINT 3: REPEATED WORDS
同义词或同义句重复，则为重点
TEST POINT 4: THE ULTIMATE SOLUTION
At the end of the conversation, the two speakers decide on the ultimate solution, which is too important to be ignored. More often than not（通常出现的情况是）, it lead to the answer to the fourth question.
TEST POINT 5: PERSONAL STORY
被求助人常常会举发生在自己身上的例子提供求助者一个解决方案
论文
proposed topics 推荐的论文选题
selecting topics 选择性题目
scope 范围
wander off topic 跑题
preliminary outline 初步提纲
draft version 草拟版本
revise 校正
edited version 修订版本
final copy 最后打印版
draw up 得出结论
fixed date 固定日期
issue 发行
考试
revision 复习
re-take 重修
选课与作业
elective 选修
selective 选修课 optional class 选修课
bird course 轻松的课 hard course困难的课程
summer session 暑期课程
workshop 小型研讨会
sign up注册
sign up for a noncredit course 注册非学分课程
due 截止
quite a heavy load 课业负担沉重
required writing course 必修写作课
preparatory course 预备课程
intro/introduction course 导论课程
intermediate course 中级课程 advanced course 高级课程
注册
dean 院长；系主任
department chair /chairperson 系主任
field work /research 实地研究
academic record 学业成绩
grade point average 平均绩点
verify 证实
mailing address 邮寄地址
生活指导
facilities manage 后勤经理
language lab manager语言实验室经理
chorus /choir 合唱队
rehearsal 排练，预演
summit 提交
学分与学位
credit is awarded学分奖励
迟到或缺课
fill me in something 给我补课
extension 延期
疑难解答
bulletin board 公告板
school bulletin 学校公告栏
rushing against the clock 忙碌
transfer 转系转专业
inquiry 询问
rigorous 严格的
eligible 合格的
previous experience 事前经验
take the prerequisite 满足先决条件
soft copy 邮件发送
check back核查记录
申请与志愿：
admission 许可
fellowship 奖学金
图书馆：
inter-library 图书馆间
video library 录像图书馆
reference room 阅览室
the reference stacks 书库
charge 费用
paperback 平装本
the rare books 珍藏本书
index 索引
literature guide 导读
student orientation 情况介绍（针对大学新生）
precaution 预防
书店
store credit 商店退款；赊账购物
retreat 退书
full refund 退款
银行和工资
deposits 存款
paycheck 薪水
payroll 工资单；薪水册
salary =income 工资
实习与打工
recruit 招聘
career /job fair 招聘会
wear a suit 穿正装
firm =company =corporation 公司
advancement =promotion 晋升
校内活动
off campus 校外
commute 通勤
flyers 传单
听抄练习
TPO 5 Conversation 2
Listen to a conversation between a student and her professor.
STU: Hi, I was wondering if I could talk with you about the assignment in the film theory class?
PRO: Of course, Jewel.
STU: It's seems that pretty much everyone else in the class gets what they are supposed to be doing, but I'm not so sure.
PRO: Well. the class is for student who are really serious about film. You must taken film classes before?
STU: Yeah, in the high school, film appreciation.
PRO: Em, I wouldn't think that be enough. Did you concentrate mainly on form or content?
STU: Oh definitely on content. We'd watch, see lot of files and then discussed it.
PRO: Oh, that approach, treating films as literature and ignoring what makes it unique?
STU: I like it through.
PRO: Sure, but that kind of class, well, I'm not surprise you feeling a little lost. You know we have two introductory courses later supposed to be taken before you get to my course. One in film art, techniques, technical staff. And another in film history. So students in the class ( you are in ) should be pretty far along in film stories. In fact, usually the system blocks, anyone trying to sign up for class they shouldn't be taking. Who has taken the courses you required to do first as prerequisite.
STU: Well, I did have a problem with that, I discusses with one of your office staff, she get me permission.
PRO: Of course, no matter how many times I tell them, they just keep on and...well, for you only good I really suggest dropping back and starting at the usual place.
STU: Yes, but I've already been in this class for 4 weeks. I hate just drop it now, especially seems I find it so different, so interesting.
PRO: I guess so. Frankly, I can't believe you've last it this long. These are pretty indept theory we've been discussing and you've been doing OK so far, I guess, But still, the programs been designed to progress through certain stages. Like any other professional training, we built on precious knowledge.
STU: Then maybe you could recommend some extra reading I can do? To catch up?
PRO: Well, are you intending to study film as your main concentration?
STU: No, I...I'm just interested. I'm actually in marketing, but there seems to be a connection.
PRO: Oh well, in that case, if you taking the course just out of interest. I mean I still highly recommend signing up for the introductory courses at some point. But in the mean time, these is no harm, I guess, in trying to keep up with this class. The interest is clearly there. Eh....instead of any extra reading just now, you could view some of the old introductory lectures, we have among videos, that give you a better handle of the subject. It's still a pretty tall order and we'll be moving right long, so you really need to stay on top of it.
STU: OK, I've been warned. Now, could I tell you the idea about the assignment?
TPO 10 Conversation 1
Listen to a conversation between a student and her photography professor.
STU: Professor Johnson, there's something has(that's) been on my mind.
PRO: OK?
STU: Remember last week you told us that is really important to get our photography into a show? Basically as soon as we can?
PRO: Yep, It's a big step, no question.
STU: Thing is, I'm sitting here and I am just not sure how I('d) get there. I mean I've got some work I like, but is it really what the(a) gallery is looking for? How would I know? How do I make the right context(contacts) to get (it) into a show? I just really don't...
PRO: OK, hold on, slow down. These (are) questions that...well... just about every young artist sense(has) to struggle with. OK, the first thing you should do is you absolutely have to stay true to your artistic vision. Take the pictures you want to take. Don't start try(ing) to catch the flavor [of the mass](the month) and be trended(trendy) because you think you will get into a show. That never works. Because you [want to](wind up 结束；使紧张；卷起) create(ing) something you don't really believe in. It's uninspired and won't make any shows. I've seen this(it) happened(happen) so many times. This doesn't mean that you should [going with](go into a) cave, keep up with trains(trends) even think about how you work might fit in with them. But don't mindlessly follow them.
STU: Oh, yeah. I can see that. I think though (X)that I was(have) always been able to stay pretty true to what I want to create, not what others want me to create. I think that comes through (in) my work.
PRO: OK. Just remember that is one thing to create [worth it](work that) you really want to create when [lesson at](it's in the) classroom. The only thing (at stake)[you stay] is great(your grade). But what(work) create(d) outside the classroom, that can be a(in) different story. Not talking about techniques or things like that. It('s) just (that) there are(is) so much more (at) stake when you (are) out there making art for a living. There is a lot of pressure to become something you are not and people often [surround you at](surrender to) that pressure.
STU: But to get stuff exhibited...
PRO: Well, you need to be a bit of (an) opportunist. (You know,) Common sense things like, always having a sample of your work on hand to give to people. You won't believe the kind of contact(s) to(and) opportunities should(you can) get (in) this way. And try to get your work seen in the places like restaurants, bookstores. You('d) [will] be surprised how work(word) gets surround(arround) about the photography in [the] places like that.
STU: OK. It just so hard to think about all of those practical things and make good work, you know.
TPO 10 Conversation 2
Listen to a conversation between a student and an employee in the university bookstore.
STU: Hi, I brought this book at the beginning of the semester, but some thing's come up and I'd like to return it.
EM: Well. for a full refund, store policy is that you have to (return) merchandise 2 weeks from the time [you](it) was purchased. Eh...but for assigned text books or anything having to do with specific courses...oh wait, was it for (a) specific course?
STU: Yeah, but actually...
EM: Well, for course books, the deadline is 4 weeks after the beginning of the semester. So for this fall semester the deadline was Oct.1ST.
STU: Och, then I missed it, but why Oct.1ST?
EM: I guess the reason(ing) is [that](the) by Oct.1ST the semester is (in) [FG](full gear) and everyone kind of knows (what) courses (they'll be) [were] taking next semester.
STU: I get (it). So it's mainly for people who decided to [drop](withdraw) from...[but] to change (to) new course(s) early on.
EM: Exactly. The books have to be in perfect condition of course. They can't be marked up or look(ed) used (in) anyway, for the full refund I mean.
STU: Well, but see, my situation is (a) little different. I hope you might be able to make an [acception](exception).
EM: Well, the polic[y](ies) [is](are) generally pretty rigid and [this](the) semester is almost over.
STU: OK, here's what happened. I think my professor really miscalculated. Anyway, the syllabus was (a)way too ambitious in my opinion. There('re) only 2 weeks of class(es) left in this semester and there (are) like 6 books on the syllabus that we haven't even touched.
EM: I see, so you [are](were) hoping to return (in) this one?
STU: Yeah, (the) professor already announced that we won't be reading this one by Jane Bowls and all the others I bought used.
EM: Jane Bowls? Which book of hers?
STU: It's called Two Serious Ladies.
EM: Oh! But you should keep that one. Are you interested in literature?
STU: Well, I am an English major.
EM: You are lucky to have a professor who includes a [list known](lesser-known) writer like her on the syllabus. You know, not the usual authors we've all read.
STU: So you really think I...
EM: I do. And especially (if) you('re) into literature.
STU: Hm...Well, this I wasn't expecting. I mean..wow...
EM: I hope you don't think I am (being) too pushy. If you prefer you can return the book and arrange for a store credit. You don't [qualified](qualify) for refund. Policy is policy after all. But you can make (an it) exchange and you can use the credit for your books for next semester. The credit carries over [from](for) one semester to the next.
STU: That's good to know. But now I'm really [in treat](intrigued). I guess [it](that) just because (we) [run](ran) out of time to read this book in class doesn't mean that I can't read [this book](it) on my own time. You know I think I will give it a try.
TPO 21 Conversation 2
Listen to a conversation between a student and her public relation's professor.
STU: Hi, professor G. I really learned a lot from your lecture, the one about analyzing or those different segments of the population or the official terms' audience, right? I never imagine that one company can have over 30 audiences to communicate with.
PRO: Yeah, a lot of students check it back by this and some public relations consulted don't figure out until they work in the field a while.
STU: Everyone thinks public relation's, PR's, easy but there is lot to it, you really got to know what you are doing.
PRO: Absolutely. So Stacie, your email implied you needed my advice about graduate school?
STU: No, since my undergraduate degree will be in public relations I have already decided to get a master's degree in marketing. Sorry, it wasn't clear. My issue is that I got two require courses and two electives, I am trying to figure out which elective courses to take. My adviser suggested economic accounting but I'm not really sure...
PRO: About?
STU: Well, I'm endured in accounting and economic in high school, I barely stay awake, they were so...
PRO:OK, OK, I hear you. Uh...you say you want a master's in marketing, you've got one more semester till graduation, have you taking any marketing courses yet?
STU: No, I figure out I've got the marketing basis already since I've take every PR in communication course offer here.
PRO: Well, there are some overlap between PR and marketing, but there are important differences too. Marketing focuses on selling your products with service, you know attracting customers through advertising and also building relationships with customers. That's what marketing department does. PR's all about...it involves relationships too. That's why I'm saying two fields overlap. But in PR, you developing relationships with a wider range about audiences.
STU: Right, like employees, supplies, the media. I do understand lesson theory but are too selling your product just in a different way.
PRO: Not necessary. OK, do you remember that PR strategy I illuted to the other day, the one are university uses as strategy but doesn't overlap with its marketing strategy?
STU: You mean how the university invites local residents to attend certain lectures in classes for free?
PRO: Yes, this cultivated the sense of good will and helps the university avoid becoming isolated from the margic community. Bringing neighbors into classrooms is a good PR, but it's not marketing since our neighbors aren't our customers for the most part.
STU: That's why I wanna focus on marketing in graduate school. When having an expertise in PR and marketing give me career options.
PRO: Yeah, but also you want to enjoy your work, so for your electives why don't you take advertising principals and intrude marketing which I teach. This way, you will find out if marketing something you really want to pursue. Graduation school tuition is expensive and there courses will give you a good overview for committing yourself.
STU: I wish my adviser had suggested those courses.
PRO: Well, I'm someone whose work in both marketing and PR, so I can offer a different perspective that someone who only teaches.
TPO 17 Conversation 1
Listen to a conversation between a stu and a pro.
pro: OK, let's see,right, Modern Stagings of Shakespear in classic.Well, like I told you last week, I think that's a great topic for your paper.So the title be something like...
stu: I'm not really sure...probably something like 20 centuries Stagings of Mid Summer Night's Dream.
pro: Yes, I like that, straight forward into the point. So how's the research going?
stu: Well, that's what I came to talk to you about.I was wondering if you happen to have the copy of Peter B production of Mid Summer Night's Dream in your video collection? I've been looking for every where and I'm having a really hard time tracking it down.
pro: That's because it doesn't exist.
stu: You mean in your collection or at all?
pro: I mean at all. That particular production was never filmed or recorded.
stu: Oh no, I have no idea. From what I read that production like, it influenced every other production of play it came after...so I just assumed that it had been filmed or video taped.
pro: Oh, it definitely is a landmark production and it's not like a rant for just a week, but either was never filmed or if it was, the film has been lost. And it's ironic because there's even a film about the naking of the production but none of the production itself.
stu: So now what would I do? If there is no video.
pro: Well, think about it. This is the most important 20 century's stage in our Mid Summer Night's Dream, right?
stu: But how can I write about B's interpretation of the play if I can't see its production?
pro: Just because there is no recording doesn't mean you can't figure out how it influences other productions.
stu: I guess there is enough materials around but it will be a challenge.
pro: True. But think about it, you are writing about dramatic arts, the theatre and it's a nature theatre, isn't it?
stu: You mean beacuse it alive when the proformance finished.
pro: That's it. How musts film it's gone. But it doesn't mean we cannot study it and of course some students in this class are writing their production in the 19 century. And there is no videoes of those. You know, one of the challenge that people study in theatre is to find ways of talking about something that's really so transient, about something that in a sense doesn't exist.
