填空题Eighth graders from Fayerweather School go to the natural goods grocer rather than the ______.

填空题The backgrounds of the people who make up the X-Prize Foundation.

填空题You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 below. Paul Nash Paul Nash, the elder son of William Nash and his first wife, Caroline Jackson, was born in London on 11th May, 1889. His father was a successful lawyer who became the recorder of Abingdon. According to Ronald Blythe: 'In 1901 the family returned to its native Buckinghamshire, where the garden of Wood Lane House at Iver Heath, and the countryside of the Chiltern Hills, with its sculptural beeches and chalky contours, were early influences on the development of the three children. Their lives were overshadowed by their mother's mental illness and Nash himself was greatly helped by his nurse who, with some elderly neighbours, introduced him to the universe of plants.' Nash was educated at St. Paul's School and the Slade School of Art, where he met Stanley Spencer, Mark Gertler, C. R. W. Nevinson, Edward Wadsworth, Dora Carrington, William Roberts and Claughton Pellew. Unlike some of his contemporaries at the Slade School, Nash remained untouched by the two post-impressionist exhibitions organised by Roger Fry in 1910 and 1912. Instead, he was influenced by the work of William Blake. He also became a close friend of Gordon Bottomley, who took a keen interest in his career. Nash had his first one-man show, of ink and wash drawings, at the Carfax Gallery in 1912. The following year he shared an exhibition at the Dorien Leigh Gallery with his brother, John Nash. The art critic, Ronald Blythe, has argued: 'Due to the enthusiasm of Michael Sadler and William Rothenstein, the exhibition, though modestly hung on the walls of a lampshade shop and announced by a home-made poster, was a success.' Myfanwy Piper, has added: 'Nash had a noteworthy sense of order and of the niceties of presentation; his pictures were beautifully framed, drawings mounted, his studio precisely and decoratively tidy, and oddments which he collected were worked up into compositions.' On the outbreak of the First World War Nash considered the possibility of joining the British Army. He told a friend: 'I am not keen to rush off and be a soldier. The whole damnable war is too horrible of course and I am all against killing anybody, speaking off hand, but beside all that I believe both Jack and I might be more useful as ambulance and red cross men and to that end we are training. There may be emergencies later and I mean to get some drilling locally and learn to fire a gun but I don't see the necessity for a gentle-minded creature like myself to be rushed into some stuffy brutal barracks to spend the next few months practically doing nothing but swagger about disguised as a soldier in case the Germans poor misguided fellows—should land.' Nash enlisted in the Artists' Rifles. He told Gordon Bottomley: 'I have joined the Artists' London Regiment of Territorials the old Corps which started with Rossetti, Leighton and Millais as members in 1860. Every man must do his bit in this horrible business so I have given up painting. There are many nice creatures in my company and I enjoy the burst of exercise—marching, drilling all day in the open air about the pleasant parts of Regents Park and Hampstead Heath.' In March 1917 he was sent to the Western Front. Nash, who took part in the offensive at Ypres, had reached the rank of lieutenant in the Hampshire Regiment by 1916. Whenever possible, Nash made sketches of life in the trenches. In May, 1917 he was invalided home after a non-military accident. While recuperating in London, Nash worked from his sketches to produce a series of war paintings. This work was well received when exhibited later that year. As a result of this exhibition, Charles Masterman, head of the government's War Propaganda Bureau (WPB), and the advice of Edward Marsh and William Rothenstein, it was decided to recruit Nash as a war artist. In November 1917 in the immediate aftermath of the battle of Passchendaele Nash returned to France. Nash's work during the war included The Menin Road, The Ypres Salientat Night, The Mule Track, A Howitzer Firing, Ruined Country and Spring in the Trenches. Nash was unhappy with his work as a member of War Propaganda Bureau. He wrote at the time: 'I am no longer an artist. I am a messenger who will bring back word from the men who are fighting to those who want the war to go on for ever. Feeble, inarticulate will be my message, but it will have a bitter truth and may it burn their lousy souls.' However, as Myfanwy Piper has pointed out: 'The drawings he made then, of shorn trees in ruined and flooded landscapes, were the works that made Nash's reputation. They were shown at the Leicester Galleries in 1918 together with his first efforts at oil painting, in which he was self-taught and quickly successful, though his drawings made in the field had more immediate public impact. From April of that year until early in 1919 Nash was engaged on paintings commissioned by the Department of Information for the newly established Imperial War Museum... His poetic imagination, instead of being crushed by the terrible circumstances of war, had expanded to produce terrible images—terrible because of their combination of detached, almost abstract, appreciation and their truth to appearance.' In 1919 Nash moved to Dymchurch in Kent, beginning his well-known series of pictures of the sea, the breakwaters, and the long wall that prevents the sea from flooding Romney Marsh. This included Winter Sea and Dymchurch Steps. Nash also painted the landscapes of the Chiltern Hills. In 1924 and 1928 he had successful exhibitions at the Leicester Galleries. Despite this popular acclaim in 1929 his work became more abstract. In 1933 Nash founded Unit One, the group of experimental painters, sculptors, and architects which included Herbert Read, Edward Wadsworth, Henry Moore, Barbara Hepworth, Edward Burra, Ben Nicholson and Wells Coates. Nash also contributed to the Architectural Review and Country Life and wrote Shell Guide to Dorset (1936). During the Second World War Nash was employed by the Ministry of Information and the Air Ministry and paintings produced by him during this period include the Battle of Britain and Totes Meer. His biographer, Myfanwy Piper, has argued: 'This war disturbed Nash but did not change his art as the last one had. His style and his habits were formed, and in the new war he treated his new subjects as he had treated those he had been thinking about for so long. His late paintings, both oils and watercolours, are alternately brilliant and sombre in colour with the light of setting suns and rising moons spreading over wooded and hilly landscapes.' Paul Nash died at 35 Boscombe Spa Road, Bournemouth, on 11th July 1946. —www.spartacus.schoolnet.co.uk

填空题The young boy finds writing the strokes of Chinese characters in the ______ to be difficult.

填空题Language immersion programmes were set up for sectors of the population.

填空题The man has lived in the house for________.

填空题Questions 25-26 Choose TWO letters A-E. Write your answers in boxes 25-26 on your answer sheet. Which TWO of the following statements form part of Cornett’s opposition to fluoridation? A．Fluoridation is proven to be poisonous. B．Individuals react differently to fluoride. C．People may be fluoridated against their knowledge or will. D．Drinking water is not the most effective way to fluoridate teeth. E．When fluoridation stops, occurrences of tooth decay increase only slightly.

填空题 Questions 36-40 Look at the following statements (Questions 36-40). Indicate: TRUE　　　　 if the statement agrees with information in the passage FALSE　　　　if the statement contradicts information in the passage NOT GIVEN if the information is not given in the passage. Write your answers in boxes 36-40 on your Answer Sheet.

填空题The merger of entertainment companies follows a pattern evident in other industries.

填空题hard-earned bonus schemes

填空题i human differences on humor ii social functions of laughter iii the favorable influence on your brain iv importance of humor to human v laughter and human emotion vi laughter and humor vii new therapies to human psychological diseases viii improvement of your health ix research on physical health by looking at humor x connection between laughter and some brain area xi brain wave responses to outside change xii requirement of keeping fresh xiii diversity of brain functions

填空题Taipei 101 A The Taipei Financial Centre, also known as Taipei 101, has become a centerpiece of the Taipei city skyline. The building reflects Taiwanese culture and at the same time embodies a spirit of internationalism. It is a highly automated building with state-of-the-art facilities and communications infrastructure, yet the ancient art of Fengshui was referred to in most aspects of design, layout and planning. Above all, it put Taiwan area on the world map with the number of records it broke. B Some of the titles that Taipei 101 held when completed were the tallest to structural top, tallest to roof and highest occupied floor. It is 509 metres high (1,671 feet) which means that it was the first and only building in the world to break the half-kilometre mark in height. It is also the first and only supertall that is built on a highly active earthquake zone. The building also boasts the world's first triple-stage anti-overshooting system for its elevators and the world's fastest elevators, travelling upwards at 1,008 metres/minute (60.48 km/h) and downwards at 610 metres/minute. Their top speeds are 34 percent faster than the previous fastest of Japan's Yokohama Landmark Tower. They did not come cheaply, though, at a cost of over $US 2 million for each elevator. There are still some records upheld by other buildings around the world. Taipei 101 's outdoor observation deck is the second highest in the world, surpassed only by the Shanghai World Financial Centre. Petronas Tower 1 and Petronas Tower 2 in Malaysia still hold the world's tallest twin towers title. C Although the designers knew they would be breaking some records, they also managed to create a statement building. The greatest challenge in this was not the construction technology involved, but how the building reflected the culture in which it functioned. Architects were able to strike a balance between the local culture and internationalism and this is where the spirit of architecture lies. High-rise buildings in the west demand respect and attention from the spectators. However, to the Asians, they symbolise a broader understanding and anticipation of things to come: we "climb" in order to "see further". The architect of the Taipei Financial Centre, Mr. C.Y. Lee, has taken appropriate and original expressions from oriental elements. The height of the Taipei Financial Centre is reached one step at a time, like petals of a flower unfolding or sections of a bamboo pole rising from the ground. Fengshui masters who also had a major influence based the tower's design and specifications on the number 8, a lucky number in traditional Chinese culture. This kind of "8-design" was also widely used in the Jin Mao Tower in Shanghai. D Taipei 101 has accomplished a number of technical feats which also deserve admiration. Structural standards applied in designing the Taipei Financial Centre include the ability to withstand the strongest earthquakes in a 2,500-year cycle and resist wind forces of more than 60 metres per second. This was accomplished during the building's design stage when experts from Taiwan area and around the world performed a detailed evaluation of wind and seismic effects. An 800-ton wind damper at the top of the building was also put in place to significantly reduce lateral building movements created by the effects of wind. The damper also reduces the duration and intensity of lateral movements induced by an earthquake. E Financial institutions occupy floors 7-84 of which the Taiwan Stock Exchange occupies seven. B1-4F are dedicated to shopping with the aim of rivalling other upmarket shopping precincts like '5th Avenue' in New York, the 'Champs Elysees' in Paris and 'Spanish Steps' in Rome. Taipei 101 has 4 floors of underground parking facilities which can accommodate 1,800 cars and 2,000 scooters. There is both an indoor and outdoor observatory. The former is located on the 89th floor and the latter on the 91st. From these points you can see the bustling streets of Taipei, the surrounding green mountains and the Tamshui River winding all the way to the sea.The observatory works with educational institutions, travel organisations and event coordinators to fully maximise the benefits it has to offer. The higher floors also have restaurants, executive clubs and sky lobbies. F Taipei 101, and the area surrounding it, is fast becoming the "Manhattan" of Taipei. It is creating a new profile of Taipei for both international visitors and locals as well as creating an ideal base of operations for international and transnational business.

填空题Completetheflowchartbelow.ChooseNOMORETHANTHREEWORDSfromthepassageforeachanswer.Writeyouranswersinboxes23-26onyouranswersheet.

填空题The intentions of those who coined the term 'ecotourism' were sincere.

填空题The disadvantages of LCDs.

填空题No exit - yet

填空题Complete each sentence with the correct ending, A-E, below. Write the correct letter, A-E, on your answer sheet. A. young people have no problem separating their own lives from the ones they play on the screen. B. levels of reading ability will continue to drop significantly. C. new advances in technology have to be absorbed into our lives. D. games cannot provide preparation for the skills needed in real life. E. young people will continue to play video games despite warnings against doing so.

填空题{{I}}Complete the sentences below. Write {{B}}NO MORE THAN THREE WORDS {{/B}}for each answer.{{/I}}

填空题What does the customer say the reception area should be like?