单选题 {{B}}Questions 27—30{{/B}}

单选题 Directions: In this section, you will read several passages. Each passage is followed by several questions based on its content. You are to choose ONE best answer, (A), (B), (C) or (D), to each question. Answer all the questions following, each passage on the basis of what is stated or implied in that passage and write the letter of the answer you have chosen in the corresponding space in your ANSWER BOOKLET. Questions 1-5 This view may be correct: it has the advantage that the currents are driven by temperature differences that themselves depend on the position of the continents. Such a back-coupling, in which the position of the moving plate has an impact on the forces that move it, could produce complicated and varying motions. On the other hand, the theory is implausible because convection does not normally occur along lines, and it certainly does not occur along lines broken by frequent offsets or changes in direction, as the ridge is. Also it is difficult to see how the theory applies to the plate between the Mid-Atlantic Ridge and the ridge in the Indian Ocean. This plate is growing on both sides, and since there is no intermediate trench, the two ridges must be moving apart. It would be odd if the rising convection currents kept exact pace with them. An alternative theory is that the sinking part of the plate, which is denser than the hotter surrounding mantle, pulls the rest of the plate after it. Again it is difficult to see how this applies to the ridge in the South Atlantic, where neither the African nor the American plate has a sinking part. Another possibility is that the sinking plate cools the neighboring mantle and produces convection currents that move the plates. This last theory is attractive because it gives some hope of explaining the enclosed seas, such as the Sea of Japan. These seas have a typical oceanic floor, except that the floor is overlaid by several kilometers of sediment. Their floors have probably been sinking for long periods. It seems possible that a sinking current of cooled mantle material on the upper side of the plate might be the cause of such deep basins. The enclosed seas are an important feature of the earth's surface and seriously require explanation because, in addition to the enclosed seas that are developing at present behind island arcs, there are a number of older ones of possibly similar origin, such as the Gulf of Mexico, the Black Sea, and perhaps the North Sea.

单选题Questions 23-26

单选题 {{B}}Questions 27—30{{/B}}

单选题WhoissmokingaFrenchcigarette?[A]Thewoman.[B]Theman.[C]Anewperson.

单选题Some people have very good memories, and can easily learn quite long poems by hearts. There are other people who can only remember things when they have said them over and over. Charles Dickens, the famous English author, said that he could walk down any long street in London and then tell you the name of every shop he had passed. Many great men of the world have had wonderful memories. A good memory is a great help in learning a language. Everybody learns his own language by remembering what he hears when he is a small child. Some children — like boys and girls who live in foreign countries with their parents — seem to learn two languages almost as easily as one. In schools it is not easy to learn a second language because the pupils have so little time for it, and they are busy with other subjects as well. The human mind is rather like a camera, but it takes photographs not only of what we see but of what we feel, hear, smell and taste. When we take a real photograph with a camera, there is much to do before the photograph is finished and ready to show to our friends. In the same way there is much work to be done before we can make a picture remain forever in the mind. Memory is the diary that we all carry about with us.

单选题The momentum towards open publishing looks unstoppable but more still needs to be done to make science truly accessible, says Stephen Curry. If you would like to read the latest research from my lab, be my guest. Our report on a protein from a mouse version of the winter vomiting virus has just been published in the journal PLoS One and is available online for free—to anyone. Contrast that with my first paper, published in 1990, which you could only have read if you had access to a university library with an expensive subscription to the journal Biochemistry. Back in 1990—before the world wide web—that was how scientific publishing was done. Today it is being transformed by open access publishers like the Public Library of Science. Rather than being funded by journal subscriptions, these publishers charge authors or their institutions the cost of publication and make their papers available for free online. Many scientists are passionate supporters of open access and want to see the old model swept away. They have launched a protest movement dubbed the Academic Spring and organised a high-profile boycott of journals published by Elsevier. And the tide appears to be turning in their favour. This week the Finch Report, commissioned by the U.K. government, recommended that research papers—especially those funded by the taxpayer—should be made freely available to anyone who wants to read them. Advocates of open access claim it has major advantages over the subscription model that has been around since academic journals were invented in the 17th century. They argue that science operates more effectively when findings can be accessed freely and immediately by scientists around the world. Better yet, it allows new results to be data-mined using powerful web-crawling technology that might spot connections between data—insights that no individual would be likely to make. But if open access is so clearly superior, why has it not swept all before it? The model has been around for a decade but about nine-tenths of the approximately 2 million research papers that appear every year are still published behind a paywall. Part of the reason is scientists" reluctance to abandon traditional journals and the established ranking among them. Not all journals are equal—they are graded by impact factor, which reflects the average number of times that the papers they publish are cited by others. Nature"s impact factor is 36, one of the highest going, whereas Biochemistry"s is around 3.2. Biochemistry is well regarded—many journals have lower factors—but a paper in Nature is still a much greater prize. Unfortunately, it is prized for the wrong reasons. Impact factors apply to journals as a whole, not individual papers or their authors. Despite this, scientists are still judged on publications in high-impact journals; funding and promotion often depend on it. Consequently few are willing to risk bucking the trend. This has allowed several publishers to resist calls to abandon the subscription model. Another reason for the slowness of the revolution is concern about quality. Unlike many traditional journals, PLoS One does not assess the significance of research during peer review; it simply publishes all papers judged to be technically sound. However, this concern proved unfounded. PLoS One now publishes more papers than any other life science journal and has an impact factor of 4.4. The world of scientific publishing is slowly changing and the hegemony of established journals is being challenged. Shaken by the competition, more of them are offering variants of open access. At the high end of the market, Nature is about to face competition from eLife , an open access journal to be launched later this year. Adding to the momentum, U.K. government research councils are increasingly insisting that the research they pay for be published in open access journals. The European Union is poised to do the same for the science it funds. In the U.S., a bill now before Congress would require all large federal funders to make papers freely available no later than six months after publication.

单选题Which of the following is true about the author's attitude towards the current GDP evaluation system adopted by the American government?

单选题Whereisthespeechtakingplace?A.AtaconstructionsiteB.Inaconcerthall.C.Inamusicclassroom.

单选题Questions 6～10 There are still many things that Peter Cooke would like to try his hand at—paper-making and feather-work are on his list. For the moment though, he will stick to the skill that he has been delighted to perfect over the past ten years: making delicate and unusual objects out of shells. "Tell me if I am boring you," he says, as he leads me round his apartment showing me his work. There is a fine line between being a bore and being an enthusiast, but Cooke need not worry: he fits into the latter category, helped both by his charm and by the beauty of the things he makes. He points to a pair of shell-covered ornaments above a fireplace. "I shan't be at all bothered if people don't buy them because I have got so used to them, and to me they're adorable. I never meant to sell my work commercially. Some friends came to see me about five years ago and said, You must have an exhibition—people ought to see these. We'll talk to a man who owns an art gallery'. " The result was an exhibition in London, at which 70 per cent of the objects were sold. His second exhibition opened at the gallery yesterday. Considering the enormous prices the pieces command—around ￡2,000 for the ornaments—and empty space above the fireplace would seem a small sacrifice for Cooke to make. There are 86 pieces in the exhibition, with prices starting at ￡225 for a shell-flower in a crystal vase. Cooke insists that he has nothing to do with the prices and is cheerily open about their level: he claims there is nobody else in the world who produces work like his, and, as the gallery-owner told him, "Well, you're going to stop one day and everybody will want your pieces because there won't be any more. " "I do wish, though," says Cooke, "that I'd taken this up a lot earlier, because then I would have been able to produce really wonderful things—at least the potential would have been there. Although the ideas are still there and I'm doing the best I can now, I'm more limited physically than I was when I started. " Still, the work that he has managed to produce is a long way from the common shell constructions that can be found in seaside shops. "I have a miniature mind," he says, and this has resulted in boxes covered in thousands of tiny shells, little shaded pictures made from shells and baskets of astonishingly realistic flowers.

单选题 Which is safer--staying at home, traveling to work on public transport, or working in the office? Surprisingly, each of these carries the same risk, which is very low: However, what about flying compared to working in the chemical industry? Unfortunately, the former is 65 times riskier than the latter! In fact, the accident rate of workers in the chemical industry is less than that of almost any of human activity, and almost as safe as staying at home. The trouble with the chemical industry is that when things go wrong they often cause death to those living nearby. It is this which makes chemical accidents so newsworthy. Fortunately, they are extremely rare. The most famous ones happened at Texas City (1947), Flixborough (1974), Seveso (1976), Pemex (1984) and Bhopal (1984). Some of these are always in the minds of the people even though the loss of life was small. No one died at Seveso, and only 28 workers at Flixborough. The worst accident of all was Bhopal, where up to 3,000 were killed. The Texas City explosion of fertilizer killed 552. The Pemex fire at a storage plant for natural gas in the suburbs of Mexico City took 542 lives, just a month before the unfortunate event at Bhopal. Some experts have discussed these accidents and used each accident to illustrate a particular danger. Thus the Texas City explosion was caused by tons of ammonium nitrate, which is safe unless stored in great quantity. The Flixborough fireball was the fault of management, which took risks to keep production going during essential repairs. The Seveso accident shows what happens if the local authorities lack knowledge of the danger on their doorstep. When the poisonous gas drifted over the town, local leaders were incapable of taking effective action. The Pemex fire was made worse by an overloaded site in an overcrowded suburb. The fire set off a chain reaction of exploding storage tanks. Yet, by a miracle, the two largest tanks did not explode. Had these caught fire, then 3,000 strong rescue team and fire fighters would all have died.

单选题Questions 6 to 10 are based on the following fieces of news.

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单选题The Panorama is not the first model of New York. In 1845 E. Porter Belden, a savvy local who had written the best city guide of its day, set 150 artists, craftsmen, and sculptors to work on what an advertisement in his guide described as "a perfect facsimile of New York, representing every street, lane, building, shed, park, fence, bee, and every other object in the city." This "Great w0rk of art," Belden said, distilled "over 200, 000 buildings, including Houses, Stores and Rear-Buildings" and two and a half million windows and doors into a twenty-by-twenty-four-foot miniature that encompassed the metropolis below Thirty-second Street and parts of Brooklyn and Governors Island, all basking under a nearly fifteen-foot-high Gothic canopy decorated with 0il paintings of "the leading business establishments and places of note in the city." Alas, every trace of it has vanished. Of course Belden"s prodigy was far from the first display of model buildings. Since antiquity architects and builders have used miniatures m solve design problems and win support from patrons and public. A recent show at die National Gallery of Art in Washington, D.C., featured fourteen models created by Renaissance architects, including the six-ton, fifteen-foot-high model of St. Peter"s that Antonio da Sangallo the Younger built for the pope. Beyond their uses as design tools and propaganda, models have always possessed a curious power to enchant and excite. The sculptor Teremy Lebensohn was describing architectural models but could have been characterizing all miniatures when he wrote, "The model offers us a Gulliver"s view of a Lilliputian world, its seduction of scale reinforcing the sense of our powers to control the environment, whether it be unbroken countryside, a city block or the interior of a room." A model 0fthe 1876 Philadelphia Centennial Exhibition presented to the city in 1889 is unique in that some of the buildings and details are made of brass and that it is still on display in the basement of what was the Liberal Arts Building at the fair in Philadelphia"s Fairmont Park. The San Francisco World"s Fair of 1915 featured another New York City model, 550 feet square and complete with a lighting system that highlighted the city"s major features. City models have also miniaturized Denver, San Diego, and San Francisco, the Denver one built during the 1930s with WPA funding. A re-creation of the city as it appeared in 1860, it includes figures of men, women, and children in period costumes, along with animals and assorted wagons, and is now on display at the Colorado History Museum in Denver. San Diego"s model, in Old Town State Historic Park, was built by Jo Toigo and completed in the 1970s and depicts that city"s Old Town section as it looked a century earlier. Like the Denver model, it includes people, animals and vehicles. A model of San Francisco is in the Environmental Simulation Laboratory in Berkeley, California. Not a realistic model in the true sense of the word, it represents the buildings and land contours of the city and has been used to study patterns of sunlight and shadow and the flower of wind caused by San Francisco"s many hills. The computer"s ability to simulate the same effects has diminished the model"s importance, and its future is uncertain. New materials and techniques have now brought the craft of architectural models to an impressive level. Computer-controlled lasers and photo-etching (the process invented to create the Panorama"s bridges) allow model makers to create presentations pieces of astonishing realism.

单选题 {{B}}Questions 1 to 5 are based on the following conversation.{{/B}}

单选题 {{B}}Questions 23—26{{/B}}

单选题At the tail end of the 19th century, Friedrich Nietzsche suggested that natural history—which he saw as a war against fear and superstition—ought to be narrated "in such a way that everyone who hears it is irresistibly inspired to strive after spiritual and bodily health and vigour", and he grumbled that artists had yet to discover the right language to do this. "None the less," Nietzsche admitted, "the English have taken admirable steps in the direction of that ideal ... the reason is that they [natural history books] are written by their most distinguished scholars—whole, complete and fulfilling natures." The English language tradition of nature writing and narrating natural history is gloriously rich, and although it may not make any bold claims to improving health and wellbeing, it does a good job—for readers and the subjects of the writing. Where the insights of field naturalists meet the legacy of poets such as Clare, Wordsworth, Hughes and Heaney, there emerges a language as vivid as any cultural achievement. That this language is still alive and kicking and read every day in a newspaper is astounding. So to hold a century"s worth of country diaries is, for an interloper like me, both an inspiring and humbling experience. But is this the best way of representing nature, or is it a cultural default? Will the next century of writers want to shake loose from this tradition? What happens next? Over the years, nature writers and country diarists have developed an increasingly sophisticated ecological literacy of the world around them through the naming of things and an understanding of the relationships between them. They find ways of linking simple observations to bigger issues by remaining in the present, the particular. For writers of my generation, a nostalgia for lost wildlife and habitats and the business of bearing witness to a war of attrition in the countryside colours what we"re about. The anxieties of future generations may not be the same. Articulating the "wild" as a qualitative character of nature and context for the more quantitative notion of biodiversity will, I believe, become a more dynamic cultural project. The re-wilding of lands and seas, coupled with a re-wilding of experience and language, offers fertile ground for writers. A response to the anxieties springing from climate change, and a general fear of nature answering our continued environmental injustices with violence, will need a reassessment of our feelings for the nature we like—cultural landscapes, continuity, native species—as well as the nature we don"t like—rising seas, droughts, "invasive" species. Whether future writers take their sensibilities for a walk and, like a pack of wayward dogs unleashed, let them loose in hills and woods to sniff out some fugitive truth hiding in the undergrowth, or choose to honestly recount the this-is-where-I-am, this-is-what-I-see approach, they will be hitched to the values implicit in the language they use. They should challenge these. Perhaps they will see our natural history as a contributor to the commodification of nature and the obsessive managerialism of our times. Perhaps they will see our romanticism as a blanket thrown over the traumatised victim of the countryside. But maybe they will follow threads we found in the writings of others and find their own way to wonder.

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单选题Congress can pass laws, regulators can beef up enforcement, and shareholders can demand more accountability. But when it comes right down to it, making sure a company is operating well is really an inside job. That"s where internal auditing comes in. It doesn"t sound glamorous, but it"s an expanding field beckoning to people with a lot of pent up we-can-do-better energy. Internal auditors keep an eye on a company"s "controls"—not just financial systems, but all sorts of functions designed to make the business run smoothly and protect the interests of shareholders. The recent string of corporate scandals provided a rude awakening to the importance of these internal checks. In the case of WorldCom, it was internal auditor Cynthia Cooper who blew the whistle on the company for inflating profits by $3.8 billion. She didn"t intend to be a hero, she said to Time magazine when it named her one of its Persons of the Year. She was just doing her job. A lot more of those jobs are opening up as companies turn to internal auditors for help in complying with the Sarbanes-Oxley Act of 2002. Top executives of publicly held companies now have to sign off on their financial statements and vouch for the effectiveness of internal controls. "Up until now, CEOs and CFOs have been going to bed and sleeping well at night, knowing that they"ve got good controls or financial reporting because they"ve got good people ... But what"s missing is the documentation that really supports that gut feel," says Trent Gazzaway, the national director of corporate governance advisory services for Grant Thornton, an accounting and business consultancy firm. "I cannot think of a time in history when there"s been a greater opportunity to enter the internal-audit field," he adds. Job postings on the website of the Institute of Internal Auditors (IIA) in Altamonte Springs, Fla., have more than doubled in the past year, says IIA president William Bishop III. And in the organization"s survey for 2002, half the internal-audit directors said they planned to make one or more new hires that year. People who can assess computerized systems are especially in demand. Privately held companies are voluntarily adding more scrutiny, as well. In a recent survey that drew responses from 1,400 CFOs in such businesses, 58 percent said they are responding to new corporate-governance standards. Of those, 36 percent are creating or expanding internal auditing, according to Robert Half Management Resources. An American company with $3 billion to $4 billion in revenue typically has about 16 internal auditors. The job is often a training ground for future management positions, but those who stay in the field and become directors earn an average of just under $100,000. The IIA offers certification for internal auditors, but many firms do not require it. Assessing "the tone at the top"—the culture and the ethical environment of a company—is one of the key charges for internal auditors, Mr. Bishop says. But their effectiveness depends on the resources and independence senior managers give them. As auditors have a perspective that encompasses every aspect of the company, executives sometimes want to hear their recommendations for improving systems. But their main goal is to make sure the systems already in place are working properly. The balancing act can be tricky. "If I make a recommendation ... and then I come and evaluate it, I"m not going to be criticizing it," says Parveen Gupta, who teaches corporate governance and accounting at Lehigh University. Ideally, the internal auditor should be an extra set of eyes, a consultant who knows the company well but has enough independence to give honest feedback. Regulations "are pushing internal auditors to become a bit more policeman-oriented," he says, "but if employees perceive it as someone second-guessing them, that is very dangerous." One tool designed to avoid that adversarial feeling is "control self-assessment". The auditor sets up discussions among employees to find out, for instance, if a written ethics policy is being implemented, or if workers are feeling such intense pressures that they might be prompted to push ethical boundaries. The power of the new laws can go only so far. "This entire issue of corporate governance—trying to run the company as if you were managing your own money—is a matter of heart and soul," Dr. Gupta says. And guts. Anyone considering a career in internal auditing, he says, "should have the guts to speak out, to tell the truth."

单选题 {{B}}Questions 23-26{{/B}}