单选题During recent years we have heard much about "race": how this race does certain things and that race believes certain things and so on. Yet, the (1) phenomenon of race consists of a few surface indications. We judge race usually (2) the coloring of the skin: a white race, a brown race, a yellow race and a black race. But (3) you were to remove the skin you could not (4) anything about the race to which the individual belonged. There is (5) in physical structure, the brain or the internal organs to (6) a difference. There are four types of blood. (7) types are found in every race, and no type is distinct to any race. Human brains are the (8) . No scientists could examine a brain and tell you the race to which the individual belonged. Brains win (9) in size, but this occurs within every race. (10) does size have anything to do with intelligence. The largest brain (11) examined belonged to a person of weak (12) . On the other hand, some of our most distinguished people have had (13) brains. Mental tests which are reasonably (14) show no differences in intelligence between races. High and low test results both can be recorded by different members of any race. (15) equal educational advantages, there will be no difference in average standings, either on account of race or geographical location. Individuals of every race (16) civilization to go backward or forward. Training and education can change the response of groups of people, (17) enable them to behave in a (18) way. The behavior and ideals of people change according to circumstances, but they can always go back or go on to something new (19) is better and higher than anything (20) the past.

单选题The speech act theory was developed by______. (对外经贸2006研)

单选题— Could you mail these letters for me please? — ______ letters? Your friends are going to be very happy to hear from you again.A. WhatB. SomeC. MoreD. Different

单选题All the rooms on the second floor have nicely______carpets, which are included in the price of the house.

单选题______ is a central vowel.

单选题Please ______ her of that important meeting again. She is always forgetting things. A. warn B. relieve C. remind D. inform

单选题That ______ out to me at the very beginning. A. ought to be pointed B. ought to point C. ought to have been pointed D. ought to have pointed

单选题The Last Supper is a late 15th-century mural painting by Leonardo da Vinci in the refectory of the Convent of Santa Maria delle Grazie, Milan. The work is presumed to have been commenced around 1495 and was commissioned as part of a scheme of renovations to the church and its convent buildings by Leonardo"s patron Ludovico Sforza, Duke of Milan. The painting represents the scene of The Last Supper of Jesus with his disciples, as it is told in the Gospel of John. Leonardo has depicted the consternation that occurred among the Twelve Disciples when Jesus announced that one of them would betray him. The Last Supper measures 460cm×880cm and covers an end wall of the dining hall at the monastery of Santa Maria delle Grazie in Milan, Italy. The theme was a traditional one for refectories, although the room was not a refectory at the time that Leonardo painted it. The main church building had only recently been completed(in 1498), but was remodeled by Bra-mante, hired by Ludovico Sforza to build a Sforza family mausoleum. The painting was commissioned by Sforza to be the centerpiece of the mausoleum. The lunettes above the main painting, formed by the triple arched ceiling of the refectory, are painted with Sforza coats-of-arms. The opposite wall of the refectory is covered by the Crucifixion fresco by Giovanni Donatoda Montorfano, to which Leonardo added figures of the Sforza family in tempera. Leonardo began work on The Last Supper in 1495 and completed it in 1498—he did not work on the painting continuously. The beginning date is not certain; as the archives of the convent for the period have been destroyed and a document dated 1497 indicates that the painting was nearly completed at that date. One story goes that a prior from the monastery complained to Leonardo about the delay, enraging him. He wrote to the head of the monastery, explaining he had been struggling to find the perfect villainous face for Judas, and that if he could not find a face corresponding with what he had in mind, he would use the features of the prior who complained. In common with other depictions of The Last Supper from this period, Leonardo seats the diners on one side of the table, so that none of them have their backs to the viewer. Most previous depictions excluded Judas by placing him alone on the opposite side of the table from the other eleven disciples and Jesus or placing halos around all the disciples except Judas. Leonardo instead has Judas lean back into shadow. Jesus is predicting that his betrayer will take the bread at the same time he does to Saints Thomas and James to his left, who react in horror as Jesus points with his left hand to a piece of bread before them. Distracted by the conversation between John and Peter, Judas reaches for a different piece of bread not noticing Jesus too stretching out with his right hand towards it. The angles and lighting draw attention to Jesus, whose head is located at the vanishing point for all perspective lines. The painting contains several references to the number 3, which represents the Christian belief in the Holy Trinity. The Apostles are seated in groupings of three; there are three windows behind Jesus; and the shape of Jesus" figure resembles a triangle. There may have been other references that have since been lost as the painting deteriorated.

单选题You seldom have to do the cooking, ______? A. have you B. haven't you C. do you D. don't you

单选题My landlady is always trying to meddle in everything we do.

单选题One type of person that is common in every country is the one who ______.

单选题There was ______that we were in a fix, as we had no food in the coach and no water.

单选题Every weekend when I came back from school, Mother prepared meals______enough for a Sahara-bound camel and made me eat them up.

单选题Anyone who has ever attended a university knows that the quality of lecturers varies greatly. A few are very effective communicators, conveying the substance of their lectures clearly and interestingly and inspiring students to want to know more about the subject. Others produce dull lectures from which the students learn little and which are likely to kill any interest they may have in the subject. Lecturing is a major part of a university lecturer's job and it would seem reasonable that effectiveness in this task should be a major standard in assessing a lecturer for promotion. However, it is very often the case that far more weight is given to such factors as participation in research, number of publications and even performance of administrative duties. My point of view is that a lecturer's lecturing should be regularly evaluated and that the best people to carry out this evaluation are those directly on the receiving end. It could, of course, be argued that students are not competent to evaluate the academic quality of lectures, If anyone should evaluate lecturers, it should be their colleagues. However, I am not arguing that students should be asked to comment on the academic content of lectures, but to evaluate the effectiveness. I suspect that many of the objections to student evaluation stem from the fear some lecturers have of being subject to criticism by their students. However, lecturers should see such evaluation as an opportunity to become aware of defects in their lecturing techniques and thus to become better lecturers. Such a system should benefit both students and lecturers as well as help department heads to assess the strengths and weaknesses of their teaching staff.

单选题Man: Do you know Jason"s phone number? Woman: ______ Man: OK. I might as well look it up in the phone book.

单选题If you do something on ______, you do it because you suddenly want to, although you haven"t planned to.

单选题That was so serious a matter that I had no choice but ______ the police.A. called inB. calling inC. call inD. to call m

单选题{{B}}Directions:{{/B}} There are 4 reading passages in this part. Each passage is followed by some questions or unfinished statements. For each of them there are four choices marked A, B, C, and D. You should decide on the best choice and mark your answer on the ANSWER SHEET by blackening the corresponding letter in the brackets. Called by many critics the greatest achievement of English lyrical poetry, this elegy was written upon the death of a fellow alumnus of Milton's, Edward King, who was drowned in the Irish Sea in 1637. A group of King's former schoolmates at Cambridge issued a commemorative volume titled Obsequies to the Memory of Mr. Edward King (1638). It was in this limited publication that Lycidas first appeared. Heretofore, of his great poems only Comus had been published, and that anonymously. Lycidas is not an expression of personal grief ( personal grief was to be eloquent in Milton's next important poem, the Latin Epitaphium Damonis), but rather a record of the thoughts that King's death evoked in the poet. King had written verses himself and had prepared himself for the Church. These two facts of the dead man's career form the basis for what Milton had to say. Outwardly the poem is written in the tradition of pastoral poetry, and more particularly in the tradition of the pastoral elegy as exhibited in the ancient Greek Lament for Bion by Moschus. The poet is spoken of as a shepherd. But Milton introduces the innovation of identifying the Christian idea of shepherd (pastor) as meaning priest. In a wonderful fusion of pagan and Christian tradition, Milton makes his elegy the occasion for a scathing attack on the corruptions of the clergy in his time, with parenthetical thrusts of scorn at his trivial contemporaries, the Cavalier poets. Samuel Johnson, who disliked all pastoral poetry, made the one outstandingly foolish judgment of his career, in dismissing Lycidas as a work of an. He said its "diction is harsh, the rhymes uncertain, and the numbers unpleasing, "--a testimony of the fact that Johnson was deaf to the refinements of English poetry at its subtlest, for Lycidas is an exquisite piece of music from the first line through the last. Moreover, Johnson was upset at the mingling of "trifling fictions" with "the most awful and sacred truths, such as ought never to be polluted with such irreverent combinations." That pronouncement can only mean that Johnson failed to grasp the noble idea at the center of the poem: Milton's definition of the high function of a poet.