单选题FERMENT:
单选题Themedianofthepositiveintegersl，m，n，r，andsis10，wherel＜m＜n＜r＜s．
单选题It was a new era, one that was witnessing breathtaking transformations in traditional ways of life and that demanded______transformations in the institutions and techniques of government.
单选题POSEUR: UNAFFECTED::(A) interlocutor : accessible(B) teetotaler: abstemious(C) soprano : pretentious(D) provincial : cosmopolitan(E) prig : amenable
单选题There are threequestions below
单选题MALEVOLENT:(A) marred(B) meticulous(C) magnanimous(D) malcontent(E) malignant
单选题APOCRYPHA:
单选题The author refers to lead and cadmium (line 18) in order to show
单选题EXCOR1ATE:(A) agree to provisionally(B) regard reluctantly(C) authorize(D) commend unrestrainedly(E) unwind
单选题aandbarepositiveintegers
单选题His initial broadcasting success as a young man was due at least as much to his considerable professional______as it was to his father's broadcasting connections.(A) aplomb(B) uncertainty(C) hubris(D) seniority(E) nepotism
单选题It can be inferred from the passage that dual-aspect theory relies on what key assumption concerning the "transcendent intelligence" to establish the connection between mental and physical occurrences?(A) The intelligence is omniscient with regard to mental and physical occurrences, envisioning all acts of causation in advance.(B) The intelligence transcends consciousness and extension, but not other categories of substance.(C) Only infinite substances can establish a unity of finite substances, whether that of a mental or physical nature.(D) The intelligence exists in a state of invariable consistency, allowing the synthesis of different metaphysical categories.(E) The intelligence is the only means of establishing a common category between distinct consciousnesses.
单选题OBDURATE:(A) compliant(B) forthright(C) loquacious(D) buoyant(E) relaxed
单选题Thedecoratingcommitteeforadanceplanstofringethe3-inch—wideendofastreamerbymakingsmallcutseveryinch．Howmanycutsmustbemadetofringetheend?A.45B.46C.47D.48F.49
单选题SURVEYOFPETSINHOUSEHOLDSINANAPARTMENTCOMPLEXKindofPetNumberofHouseholdsDog25Cat41Other19NoPet44
单选题FILIBUSTER: POSTPONE ::
单选题DOGGEREL : POET ::
单选题Regionssharingacommonborderaretobedifferentcolors．
单选题According to the passage, extending solar record is important for which of the following reasons?(A) It would determine the extent to which sunspots plays a role in increasing the sun's irradiance.(B) It would help establish whether the data supporting the existence of the Maunder Minimum is reliable.(C) It would allow scientists to establish whether the warming trends owe to industrialization or to natural factors existing prior to industrialization.(D) It could possibly corroborate the information on sunspots provided by satellites.(E) It would establish that sunspots do indeed appear in regular and periodic cycles.
单选题When you first saw a piece of African art, it impressed you as a unit; you did not see it as a col- lection of shapes or forms. This, of course, means Line that the shapes and volumes within the sculpture (5) itself were coordinated so successfully that the viewer was affected emotionally. It is entirely valid to ask how, from a purely artis- tic point of view, this unity was achieved. And we must also inquire whether there is a recurrent pat- (10) tern or rules or a plastic language and vocabulary which is responsible for the powerful communica- tion of emotion which the best African sculpture achieves. If there is such a pattern or rules, are these rules applied consciously or instinctively to (15) obtain so many works of such high artistic quality? It is obvious from the study of art history that an intense and unified emotional experience, such as the Christian Credo of the Byzantine or 12th or 13th century Europe, when expressed in art forms, gave (20) great unity, coherence, and power to art. But such an integrated feeling was only the inspirational element for the artist, only the starting point of the creative act. The expression of this emotion and its realization in the work could be done only with dis- (25) cipline and thorough knowledge of the craft. And the African sculptor was a highly trained workman. He started his apprenticeship with a master when a child, and he learned the tribal styles and the use of tools and the nature of woods so thoroughly that his (30) carving became what Boas calls "motor action." He carved automatically and instinctively. The African carver followed his rules without thinking of them; indeed, they never seem to have been formulated in words. But such rules existed, (35) for accident and coincidence cannot explain the common plastic language of African sculpture. There is too great a consistency from one work to another. Yet, although the African, with amazing insight into art, used these rules, I am certain that (40) he was not conscious of them. This is the great mystery of such a traditional art: talent, or the abili- ty certain people have, without conscious effort, to follow the rules which later the analyst can discov- er only from the work of art which has already (45) been created.