单选题According to the passage, Niall FitzGerald

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

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

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

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

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 "Much of the sickness and death attributed to the major communicable (可传染的) diseases is in fact caused by malnutrition (营养不良) which makes the body less able to withstand infections when they strike," said Dr. Hiroshi Nakajima, Director-General of the World Health Organization (WHO). "At the same time," he added, "in developing countries today, malnutrition is the cause of 174 million children under five years of age being underweight, and 230 million being stunted in their growth. Such figures represent deprivation, suffering and wasted human potential on a scale that is unacceptable from every point of view. Whether we think in terms of humanitarian concern, common justice or development needs, they demand a response, both from national governments and from the international community. " WHO, working closely with its member states, other United Nations agencies and nongovernmental organizations, is focusing on major crippling (致残的) forms of malnutrition, such as protein-energy malnutrition, vitamin A deficiency (缺乏，不足). At the end of January 1996, 98 countries had national plans of action for nutrition and 41 countries had one under preparation, in keeping with their commitments made at the International Conference on Nutrition in Rome December 1992. The global situation, however, remains grim. Over 800 million people around the world still cannot meet basic needs for energy and protein, more than two thousand million people lack essential micro-nutrients, and hundreds of millions suffer from diseases caused by unsafe food or unbalanced diets. It is now recognized that 6. 6 million out of the estimated 12.2 million deaths annually among children under five—or 54% of young child mortality (死亡率) in developing countries—is associated with malnutrition In addition to the human suffering, the loss in human potential translates into social and economic costs that no country can afford. In 1990, only 53 developing countries had reliable data on the number of young children under weight; by 1995, 97 countries had such data, nearly all of which included information on stunting and wasting. In some regions, such as sub-Saharan Africa and south Asia, stagnation of nutritional improvement combined with a rapid rise in population has resulted in an actual increase in the total number of malnourished children. Currently, over two-thirds of the world's malnourished children live in Asia (especially south Asia). followed by Africa and Latin America.

单选题A long time ago, at

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.

单选题Britain is divided into ______.

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The wedding ceremony was ______ because the bride could not find her wedding ring.