单选题Flannery O'Connor, (which) wrote novels and stories about (the) American south, was best known (for) her portrayals of (social) and religious fanaticism(狂热).A. whichB. manyC. forD. social

单选题According to the passage, the discussion on the rights of animals ______.

单选题Speaker A: Professor Lee, can I come to see you about my presentation this evening?Speaker B: ______ A. Yes. Is 8 o'clock a convenient time? B. Fine. Please come by Bus No.2. C. No. Never mind. D. Oh. That's my pleasure.

单选题______, he did become annoyed with her at times.(清华大学2005年试题)

单选题How difficult it is______the modern world without oil.

单选题Who invented Email? A．Bolt B．Newman C．Ray Tomlinson D．The text doesnt tell

单选题The market for dust masks and air purifiers is ______ in Beijing because the capital has been shrouded for several days in thick fog and haze. A. booming B. looming C. dooming D. zooming

单选题The {{U}}daring{{/U}} young man rode through the Indian village trying to find his long-lost sister.

单选题Even as child, I was ______ by my mother"s accomplishments and beauty.

单选题He walked in the street without______ to buy anything. A. intention B. heart C. purpose D. thought

单选题Lithography (平版印刷术) is an art process of printing from a plane surface on which the image to be printed is ink-receptive and the blank area ink-repellent. Lithography is based on the antipathy of oil and water. A drawing is made in reverse on the ground surface of the stone with a crayon or ink that contains soap or grease. The image produced on the stone will accept printing ink and reject water. Once the grease in the ink has penetrated the stone, the drawing is washed off and the stone kept moist. It is then inked with a roller and printed on a lithographic press. As a process, lithography is probably the most unrestricted, allowing a wide range of tones and effects. Several hundred fine prints can be taken from a stone. The medium was employed by many 19 th century artists, including Goya, Delacroix, Daumier, Degas, and remains popular with contemporary artists. Among American artists noted for their lithographs are Currier and Ives. The Currier and Ives firm of lithographers was founded Nathaniel Currier in 1834. James Ives joined the firm as a bookkeeper eighteen years later just after becoming Currier"s brother-in-law, and was made a partner in 1857. The pair showed an uncanny (神秘的) ability to predict what the American public would rash to buy in the way of cheap art, and literally hundreds of thousands of prints from as many as 7,000 individual pictures were turned out and sold from the firm"s shop in lower New York by street vendors and over shop counters throughout the country and even in Europe. Though in the course of time the firm employed some of America"s finest artists, artistic excellence could certainly not be counted among the firm"s real goals. Nevertheless, some time after it went out of business in 1907, the prints enjoyed new popularity as collectors" items, the rarer examples fetching thousands of dollars in the 1920"s.

单选题The January fashion show, called FutureFashion, exemplified how far green design has come. Organized by the New York-based nonprofit Earth Pledge, the show inspired many top designers to work with sustainable fabrics for the first time. Several have since made pledges to include organic fabrics in their lines. The designers who undertake green fashion still face many challenges. Scott Hahn, cofounder with Gregory of Rogan and Loomstate, which uses all-organic cotton, says high-quality sustainable materials can still be tough to find. " Most designers with existing labels are finding there aren't comparable fabrics that can just replace what you're doing and what your customers are used to," he says. For example, organic cotton and non-organic cotton are virtually indistinguishable once woven into a dress. But some popular synthetics, like stretch nylon, still have few eco-friendly equivalents. Those who do make the switch are finding they have more support. Last year the influential trade show Designers & Agents stopped charging its participation fee for young green entrepreneurs who attend its two springtime shows in Los Angeles and New York and gave special recognition to designers whose collections are at least 25% sustainable. It now counts more than 50 green designers, up from fewer than a dozen two years ago. This week Wal-Mart is set to announce a major initiative aimed at helping cotton farmers go organic: it will buy transitional (过渡型的) cotton at higher prices, thus helping to expand the supply of a key sustainable material. " Mainstream is about to occur," says Hahn. Some analysts are less sure. Among consumers, only 18% are even aware that ecofashion exists, up from 6% four years ago. Natalie Hormilla, a fashion writer, is an example of the unconverted consumer. When asked if she owned any sustainable clothes, she replied: "Not that I'm aware of. " Like most consumers, she finds little time to shop, and when she does, she's on the hunt for "cute stuff that isn't too expensive. " By her own admission, green just isn't yet on her mind. But—thanks to the combined efforts of designers, retailers and suppliers—one day it will be.

单选题How long ______ each other when they got married? A. had they known B. have they known C. would they know D. did they know

单选题Thank you for all your hard work, I don't think we______it without you.

单选题His doctor suggested that he ______ a short trip abroad.A. will takeB. would takeC. takeD. took

单选题In the absence of optimism, we are left with nothing but critics, naysayers, and prophets of doom. When a nation expects the worst from its people and institutions, and its experts focus exclusively on faults, hope dies. Too many people spend too much time looking down rather than up, finding fault with their country's political institutions, economic system, educational establishment, religious organizations, and—worst of all—with each other. Faultfinding expends so much negative energy that nothing is left over for positive action. It takes courage and strength to solve the genuine problems that afflict every society. Sure, there will always be things that need fixing. But the question is, do you want to spend your time and energy tearing things down or building them up? The staging of a Broadway show could illustrate my point. Let's say a new production is about to open. A playwright has polished the script, investor have put up the money,and the theater has been rented. A director has been chosen, actors have been auditioned and selected, and the cast has been rehearsing for weeks. Set, lighting, and sound engineers have been hard at work. By the time opening night arrives, nearly a hundred people have labored tirelessly—all working long hours to make magic for their audience. On opening night, four or five critics sit in the audience. If they pan it, the play will probably close in a matter of days or weeks. If they praise it, the production could go on for a long and successful run. In the end, success or failure might hinge on the opinion of a single person—someone who might be in a bad mood on opening night! What's wrong with this scene? In one sense, nothing. Critics have a legitimate role. The problem arises when we make critics our heroes or put them in control of our fate. When we empower the criti cmore than the playwright, something is wrong. It is much easier to criticize than to create.When we revere the critics of society, we eventually become a society of critics, and when that happens, there is no room left for constructive optimism.