单选题Forget football. At many high schools, the fiercest competition is between Coke and Pepsi over exclusive "pouring rights" to sell on campus. But last week Jeffrey Dunn, president of Coca-Cola Americas, called a timeout: Coke's machines will now also stock water, juice, and other healthful options—even rival brands and their facades will feature school scenes and other "noncommercial graphics" instead of Coke's vivid red logo. "The pendulum needs to swing back" on school-based marketing, said Dunn. Coke's about-face—particularly the call to end the exclusive deals that bottlers make with school districts—comes amid rising concern over kids' health. American children are growing ever more obese and developing weight-related diseases usually found in adults. While inactivity and huge helpings factor heavily, a recent study in the Lancet fingered soda pop as a likely culprit. Communities—and legislators—are already on the case. Last year, for instance, parents in Philadelphia detailed a proposed contract with Coca-Cola that would have netted the school system $ 43 million over 10 years. And in a searing report to congress last month, the U. S. Department of Agriculture recommended that all snacks sold in schools meet federal nutrition standards(the requirements are loose enough that Snickers bars qualify). Spare change? Activists hope Coke's capitulation will help curb commercialism in schools altogether. From ads on Channel One, which broadcasts current-affairs programs on classroom TV, to middle-school math texts that cite Nike and other brand-name products in their word problems, to company-sponsored scoreboards on football fields, American pupils are bombarded. But Andrew Hagelshaw, executive director of the Oakland, Calif. -based Center for Commercial-Free Public Education, views Coca-Cola's policy shift as a "partial victory". Schools sign contracts with local bottlers; the parent company can only urge them to back off. Moreover, Coke's machines will remain in place, although with healthier options. And don't expect teenagers to suddenly swear off the stuff—or school districts to give up the revenue. At Wheeler High School in Marietta, Ga., where students arrive before 7 a. m. and stay as late as 11 o'clock at night, they rely on the machines. And the $ 50,000 in annual vending revenues have enabled Principal Joe Boland to refinish the gym floor, install a new high-jump pit, and pay $ 7,000 for two buses. "If someone made an offer to me to take the machines out, I'd consider it," says Boland. "But nobody's offering me any money. "

单选题According to the passage, Niall FitzGerald

单选题Current Group, a Germantown-based technology firm, has taken over an ordinary looking house in Bethesda and turned it into a laboratory for smart-grid technology, the system the company believes will bring the nation"s electricity grids into the digital age. In the front yard stands a utility pole hooked up to a special transformer that connects the power lines to high-speed Internet. Hundreds of sensors attached to the lines monitor how power flows through the home. That information is then sent back to the utility company. The process lets a utility more efficiently manage the distribution of electricity by allowing two-way communication between consumers and energy suppliers via the broadband network on the power lines. Based on data they receive from hundreds of homes, utilities can monitor usage and adjust output and pricing response to demand. Consumers can be rewarded with reduced rates by cutting back on consumption during peak periods. And computerized substations can talk to each other so overloaded circuits hand off electricity to those that axe not fully loaded, helping to prevent blackouts. Some utility companies have launched initiatives to give consumers data about their energy consumption habits in an effort to lower energy bills. Smart-grid technology takes such programs further by automating electricity distribution, which would make grids more reliable and efficient. By partnering with utilities, the company hopes to tap into $4.5 billion in stimulus grants intended to encourage smart-grid development. When he announced the funding, President Obama pointed to a project in Boulder, Colo., as an example of a successful smart-grid experiment. Current is one of the companies working on the project. Current"s chief executive Tom Casey believes the technology will help utility companies better distribute electricity produced by renewable resources, such as solar panels or wind farms. "A smart grid"s system can be paired up with the renewable resources so that when the renewable source is varying, the overall load can be varied as well," Casey told the House Select Committee on Energy Independence and Global Warming. "This will reduce or eliminate the need for backup coal or gas based power generation plants."

单选题In Action Painting, the paint is sometimes ______ onto the canvas. A. trickled B. trampled C. stroked D. soaked

单选题Client: Could you please break the dollar into quarters? I need the coins for thetelephone stand. Bank Clerk :______ A. Here, you have them. B. Here, take them. C. Sure, in what denomination? D. Sure, here you are.

单选题Attending a church, temple, or mosque is one way to make {{U}}agreeable{{/U}} friends.

单选题The crucial years of the Depression, as they are brought into historical focus, increasingly emerge as the decisive decade for American art, if not for American culture in general. For it was during this decade that many of the conflicts which had blocked the progress of American art in the past came to a head and sometimes boiled over. Janus-faced, the thirties look backward, sometimes as far as the Renaissance; and at the same time forward, as far as the present and beyond. It was the moment when artists, like Thomas Hart Benton, who wished to turn back the clock to regain the virtues of simpler times came into direct conflict with others, like Stuart Davis and Frank Lloyd Wright, who were ready to come to terms with the Machine Age and to deal with its consequences. America in the thirties was changing rapidly. In many areas the past was giving way to the present, although not without a struggle. A Predominantly rural and small town society was being replaced by the giant complexes of the big cities; power was becoming increasingly centralized in the federal government and in large corporations. Many Americans, deeply attached to the old way of life, felt disinherited. At the same time, as immigration decreased and the population became more homogeneous, the need arose in art and literature to commemorate the ethnic and regional differences that were fast disappearing. Thus, paradoxically, the conviction that art, at least, should serve some purpose or carry some message of moral uplift grew stronger as the Puritan ethos lost its contemporary reality. Often this elevating message was a sermon in favor of just those traditional American virtues, which were now threatened with obsolescence in a changed social and political context. In this new context, the appeal of the paintings by the regionalists and the American Scene painters often lay in their ability to recreate an atmosphere that glorified the traditional American values—self-reliance tempered with good-neighborliness, independence modified by a sense of community, hard work rewarded by a sense of order and purpose. Given the actual temper of the times, these themes were strangely anachronistic, just as the rhetoric supporting political isolationism was equally inappropriate in an international situation soon to involve America in a second world war. Such themes gained popularity because they filled a genome need for a comfortable collective fantasy of a God-fearing, white picket fence America, which in retrospect took on the nostalgic appeal of a lost Golden Age. In this light, an autonomous art-for-art's sake was viewed as a foreign invader liable to subvert the native American desire for a purposeful art. Abstract art was assigned the role of the villainous alien; realism was to personify the genuine American means of expression. The arguments drew favor in many camps: among the artists, because most were realists; among the politically oriented intellectuals, because abstract art was apolitical; and among museum officials, because they were surfeited with mediocre imitations of European modernism and were convinced that American art must develop its own distinct identity. To help along this road to self-definition, the museums were prepared to set up an artificial double standard, one for American art, and another for European art. In 1934, Ralph Flint wrote in Art News, "We have today in our midst a greater array of what may be called second-, third-, and fourth-string artists than any other country. Our big annuals are marvelous outpourings of intelligence and skill; they have all the diversity and animation of a fine-ring circus. "

单选题Both police officers and high officials here are susceptible to corruption.

单选题The thief tried to open the locked door but ______. A) in no way B) in vain C) without effect D) at a loss

单选题What's wrong with Tony? ______ very stressed and nervous lately.

单选题The "reward" in the passage means ______.

单选题Britain is divided into ______.

单选题A long time ago, at

单选题What can be inferred from the sentence "it’s the account holder who may get burned" ( Line 2, Paragraph 1 ) ?

单选题______ I left school he had taught our class for two years. A. Whenever B. The moment C. By the time D. Since

单选题It seems that the cold winter ______.

单选题The earth is ______ the moon.