单选题 Everyone has been trying to understand Michael Jackson's death this summer. While medics are still picking at his slender corpse, cultural authorities argue like vultures over his reputation. Should he be remembered as a great singer, a man possibly sexually attracted to children, an emblematic black artist who tried to bleach his face white, the Fred Astaire (a major founder of stage dance) of the 1980s, the first to master the MTV pop video, or a troubled victim of a domineering father? His difficult journey from unhappy childhood, to weird quasi-adulthood has been told and re-told frequently and annoyingly across the world.
Yet Jackson's current crisis is an extreme version of a process that will happen to us all. For, as Jean-Paul Sartre (French existentialist philosopher) put it, at death we become prey to the "Other"—our identity dissipating into the sum total of what is thought about us. While we are alive, Sartre explained, we can resist this pressure: we can defy the opinions that other people try to project onto us. We can't erase our pasts, but we can always overturn future expectations. It's a struggle Sartre saw as central to our existence as moral beings: we must do more than act out the roles others have scripted for us.
This is the existential condition of humanity—we are the artists of our own lives, although with the anguish that comes from being condemned to be free. Given the weight of expectations heaped on his shoulders, it's something Michael Jackson felt more crushingly than most: a burden reflected in his lifelong modifications of his own appearance. The human body, Ludwig Wittgenstein (an Austrian-British philosopher) once declared, is the best picture we have of the human soul. And Jackson's body in his last days legibly expressed something very revealing.
Death, of course, takes everything away. The back catalogue of Jackson's songs is now the complete catalogue. Yet, according to Sartre, death is not the final chord of a melody that suddenly resolves and makes sense of what went before. Instead, it merely begins an endless new argument over meanings from which the core—the real person—is perpetually absent. Michael Jackson is no longer with us. Instead, "Michael Jackson" is becoming the sum of what others hope to make of him.

单选题 Paragraph 1 mainly tells that people have been trying to ______.
A. define Jackson as a person B. speculate on Jackson's death
C. stain Jackson's reputation D. question Jackson as a celebrity

单选题 According to Sartre, everybody at his death will surely ______.
A. draw attention far and wide B. suffer immense defamation
C. be the center of people's talk D. be put under others' judgment

单选题 Sartre held that, as a moral being, one should NOT ______.
A. do simply as others expect B. conceal one's shameful past
C. always defy others' opinions D. retreat from various pressures

单选题 As claimed by Wittgenstein, Jackson's dead body revealed that he ______.
A. had worked too hard in pleasing his fans
B. had fallen victim to public opinion
C. had been an extremely sentimental guy
D. had experienced both joys and sorrows

单选题 In the last paragraph, the "back catalogue" refers to Jackson's ______.
A. albums released at his death B. MTV videos of his dancing
C. music he had recorded before D. songs sung in his childhood

单选题 It can be concluded that today what we hear about Michael Jackson may NOT be ______.
A. invented stories B. variable stories
C. biased stories D. factual stories