■NPR是National Public Radio，即美國國家公共之聲。節(jié)目以新聞及綜述為主,是美國國內(nèi)收聽率最高的廣播之聲。
■該臺節(jié)目較為公正，銳利，反映美國生活的方方面面，具有很強(qiáng)的思想性。
■新聞稿寫作工整，用詞固定和地道，書面化很強(qiáng)，非常值得大家認(rèn)真學(xué)習(xí)。播音員發(fā)音純正，平緩。

概括：As Italy and much of Europe struggle with their finances, the city of Florence has staged an art exhibition looking at the critical — and controversial — role that financial institutions have played for centuries.
聽寫方式：全文聽寫
Hints:
Catholic Church
usury
Ludovica Sebregondi
theologian
Florence
Palazzo Strozzi
James Bradburne
"Money and Beauty"
Florentine
renaissance特指文藝復(fù)興時，請大寫首字母
請注意文中有兩處連字符
請注意被采訪者的口誤
The Catholic Church didn't like what was happening, considering usury a sin. But art historian Ludovica Sebregondi, who also curated the exhibit, says in the audio guide that some theologians began to make exceptions to the condemnation of money lending. "Amid this tension between opposing views, many bankers made donations for the salvation of their souls, devoting money to good works or art. It was said great sinners great cathedrals." And in a hedge against burning in hell in eternal damnation, bankers filled those great cathedrals with great paintings and great sculptures. Through penitential patronage - the fear of God - Florence became the foundry of great art works and set the stage for the Renaissance. This exhibit was set up in Florence's majestic 15th century Palazzo Strozzi. James Bradburne, director of the exhibition space, says "Money and Beauty" has a particular resonance in today's financially troubled world. "It asks people to think about bankers' bonuses. It asks people to think about how bankers do make their money. How mysterious was a letter of credit? It was just like short-selling. It was like derivatives." Many of the same questions, Bradburne says, that are being asked today. "Are the bankers the devils? Are they making illegitimate profits, or are they just good chaps, or we need the banking system? I mean, the dilemma is the same, and it devolves into a social and a moral dilemma, then as now." What's less clear is whether today's bankers, perhaps less guilt-ridden than their Florentine forerunners, are willing to finance a new renaissance.