单选题 When we say a person or an experience is " packaged" , we are complaining of a sense of excessive calculation and a lack of authenticity. Such a fear of unreality is at least a century old; it arose along with industrialization and rapid communication. Now that the world is more competitive, and we all believe we have less time to consider things, the craft of being instantaneously appealing has taken on more and more importance. We might say, cynically, that the person who appears "packaged"simply doesn"t have good packaging. Still, the sense of uneasiness about encountering packaged people in a packaged world is real, and it shouldn"t be dismissed. Indeed, it is a theme of contemporary life, equally evident in politics, entertainment, and the supermarket. Moreover, public uneasiness about the phenomenon of packaging is compounded by confusion over a loss of iconic packages and personalities. Producers of packaged products have probably never been as nervous as they became during the first half of the 1990s. Many of the world"s most famous brands were involved in the merger mania of the 1980s, which produced debt-ridden companies that couldn"t afford to wait for results either from their managers or their marketing strategies. At the same time, the feeling was that it was far too risky to produce something really new. The characteristic response was the line extension—"dry" beer, "lite"mayonnaise, "ultra" detergent. New packages have been appearing at a rapid pace, only to be changed whenever a manager gets nervous or a retailer loses patience. The same skittishness is evident in the projection of public personalities as the clear, if synthetic, images of a few decades ago have lost their sharpness and broken into a spectrum of weaker, reflected apparitions. Marilyn Monroe, for example, had an image that was, Jayne Mansfield notwithstanding, unique and well defined. She was luscious as a Hershey"s bar, shapely as a Coke bottle. But in a world where Coke can be sugar free, caffeine free, and cherry flavored, just one image isn"t enough for a superstar. Madonna is available as Marilyn or as a brunette, a Catholic schoolgirl, or a bondage devotee. Who knows what brand-extension will come next?

单选题 In Paragraph 1 is "the craft of being instantaneously appealing...importance" , by which the author means to tell the reader that people lay increasingly great emphasis on the art of______.

单选题 In Paragraph 2 is "Indeed, it is a theme of contemporary life, equally evident in politics, entertainment, and the supermarket. " The sentence tells the reader that______.

A、 writers become uneasy about the unreal and in their works covering life in politics, entertainment, and the supermarket that they turn their uneasiness into a theme running through them all
B、 musicians become uneasy about the unreal and in their works covering life in politics, entertainment, and the supermarket that they turn their uneasiness into a theme running through them all
C、 uneasiness looms so that people making a living, say, in politics, entertainment, and the supermarket can"t but talk about it
D、 uneasiness looms so that people making a living, say, in politics, entertainment, and the supermarket talk about it all the time

单选题 According to Paragraph 3, producers of packaged products were nervous during the first half of the 1990s because of the merger mania and from it also resulted a list of the things in the following except______.

单选题 In the middle of the last paragraph is " Jayne Mansfield notwithstanding" which shows that______.

【正确答案】 A

【答案解析】解析：由题干定位到原文最后一段的首句“The same skittishness is evident in the projection of publicpersonalities as the clear”表明了该段作者要论证的是这种包装不仅在商品上，公众人物也是如此，不断地更新，寻求新的包装，按照这一思路，Marilyn Monroe在作者看来是比Jayne Mansfield有所超越的，也就是A的表述是正确的。