单选题HowdidthemangofromCalaistoParis?A.Bybus.B.Byboat.C.Bytrain.D.Byplane.

单选题 Until men invented ways of staying underwater for more than a few minutes, the wonders of the world below the surface of the sea were almost unknown. The main problem, of course, lies in air. How could air be supplied to swimmers below the surface of the sea? Pictures made about 2,900 years ago in Asia show men swimming under the surface with air bags tied to their bodies. A pipe from the bag carried air into the swimmer's mouth. But little progress was achieved in the invention of diving devices until about 1490, when the famous Italian painter, Leonardo da Vinci, designed a complete diving suit. In 1680, an Italian professor invented a large air bag. with a glass window to be worn over the diver's head. To "clean" the air a breathing pipe went from the air bag, through another bag to remove moisture, and then again to the large air bag. The plan did not work, but it gave later inventors the idea of moving air around in diving devices. In 1819, a German, Augustus Siebe, developed a way of forcing air into the head-covering by a machine operated above the water. Finally, in 1837, he invented the "hard-hat suit" which was to be used for nearly a century. It had a metal covering for the head and an air pipe attached to a machine above the water. It also had small openings to remove unwanted air. But there were two dangers to the diver inside the "hard-hat suit". One was the sudden rise to the surface, caused by a too great supply of air. The other was the crushing of the body, caused by a sudden diving into deep water. The sudden rise to the surface could kill the diver; a sudden dive could force his body up into the helmet, which could also result in death. Gradually the "hard-hat suit" was improved so that the diver could be given a constant supply of air. The diver could then move around under the ocean without worrying about the air supply. During the 1940s diving underwater without a special suit became popular. Instead, divers used a breathing device and a small covering made of rubber and glass over parts of the face. To improve the swimmer's speed another new invention was used: a piece of rubber shaped like a giant foot, which was attached to each of the diver's own feet. The manufacture of rubber breathing pipes made it possible for divers to float on the surface of the water, observing the marine life underneath them. A special rubber suit enabled them to stay in cold water for long periods, collecting specimens of animal and vegetable life that had never been obtained in the past. The most important advance, however, was the invention of a self-contained underwater breathing apparatus, which is called a "scuba". Invented by two Frenchmen, Jacques Cousteau and Emile Gagnan, the scuba consists of a mouthpiece joined to one or two tanks of compressed air which are attached to the diver's back. The scuba makes it possible for a diver-scientist to work 200 feet underwater or even deeper for several hours. As a result, scientists can now move around freely at great depths, learning about the wonders of the sea.

单选题{{B}}TEXT 1{{/B}} Computer microchips could become smaller, faster and cheaper, thanks to scientists in the United States who have developed a speedier method of printing minuscule patterns on silicon chips. The discovery, by Stephen Chou and fellow scientists at Princeton University in New Jersey, could allow electronics manufacturers to increase the density of transistors on silicon chips by 100- fold and streamline production at the same time. Instead of taking 10 or 20 minutes to make a computer chip, the electrical engineers have imprinted features measuring I0 nanometers, or 10 millionths of a millimeter, on a computer chip in a quarter of a millionth of a second. The achievement, which could pave the way for more powerful computers and memory chips, is reported in the science journal Nature. "You just imprint the pattern directly into the silicon. You not only reduce the steps, you can do it in nanoseconds," Chou said in a statement. Silicon chips are minute slices of semiconducting material made to carry out functions in everything from toasters and mobile phones to giant corporate computers. Scientists had been looking for a replacement for silicon because they thought it would be impossible to improve the silicon chip, which would limit advancements in chip size and speed. Chou has done away with etching, the normal way to make small patterns in silicon, and pressed a mould against a piece of silicon and applied a laser pulse for just 20 billionths of a second. It melts and resolidifies around mould. "Here we do not need to use all those steps," Chou said. "Scientifically, people are still trying to understand how it works, because it is amazing that it works at all." He calls the method Laser-Assisted Direct Imprint or LADI. Princeton University is applying for a patent on the technique. In a commentary on the research in Nature, Fabian Pease, of Stanford University, said the achievement will allow electronics manufacturers to continue the pace of miniaturization and keep Moore's laws on track. Moore's Law, observed by Intel Corp, co-founder Gordon Moore in 196.5, posits that the number of transistors on a semiconductor doubles roughly every 18 months. "A new imprinting technology for the production of silicon chips, introduced by Chou et al, could keep us on track," Pease said, adding that the law could hold for possibly another two decades.

单选题Whatshouldonedoifhewantstoworkmoreefficientlyathislowpointinthemorning?A.Changehisenergycycle.B.Overcomehislaziness.C.Getupearlierthanusual.D.Gotobedearlier.

单选题Whichofthefollowingaboutpickpocketingisnottrue?A.Itisafastincreasingcrime.B.Itsmethodsareimproving.C.Nobodyissafefromaveteranpickpocket.D.Thereareabout4000000victimseveryyear.

单选题What is the basic difference between the two classes of theories?

单选题In Line 14 ,the word "it "refers to

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单选题According to this passage, what is the most expensive resource in a corporation?

单选题Many things make people think artists are weird. But the weirdest may be this: artists" only job is to explore emotions, and yet they choose to focus on the ones that feel bad. This wasn"t always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere in the 19th century onward, more artists began seeing happiness as meaningless, phony or, worst of all, boring, as we went from Wordsworth"s daffodils to Baudelaire"s flowers of evil. You could argue that art became more skeptical of happiness because modem times have seen so much misery. But it"s not as if earlier times didn"t know perpetual war, disaster and the massacre of innocents. The reason, in fact, may be just the opposite: there is too much damn happiness in the world today. After all, what is the one modem form of expression almost completely dedicated to depicting happiness? Advertising. The rise of anti-happy art almost exactly tracks the emergence of mass media, and with it, a commercial culture in which happiness is not just all ideal but an ideology. People in earlier eras were surrounded by reminders of misery. They worked until exhausted, lived with few protections and died young. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in danger and that they would someday be meat for worms. Given all this, they did not exactly need their art to be a bummer too. Today the messages the average Westerner is bombarded with are not religious but commercial, and for ever happy Fast-food eaters, news anchors, text messengers, all smiling, smiling, smiling. Our magazines feature beaming celebrities and happy families in perfect homes. And since these messages have an agenda -- to lure us to open our wallets -- they make the very idea of happiness seem unreliable. "Celebrate!" commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attacks. But what we forget -- what our economy depends on us forgetting -- is that happiness is more than pleasure without pain. The things that bring the greatest joy carry the greatest potential for loss and disappointment. Today, surrounded by promises of easy happiness, we need art to tell us, as religion once did, Me mento mori: remember that you will die, that everything ends, and that happiness comes not in denying this but in living with it. It"s a message even more bitter than a clove cigarette, yet, somehow, a breath of fresh air.

单选题The president of a university acts as the institution's chief executive officer. Presidents usually have extensive academic experience as either college or university administrators. In some cases, they may be people of notable achievement outside of academic life. For example, Dwight D. Eisenhower served as president of Columbia University in New York City from 1948 to 1950, after commanding the Allied forces in Europe during World War Ⅱ (1939～1945). He was later elected the 34th president of the United States, in 1952. Presidents of colleges and universities enforce the policies, regulations, and other procedures that govern their institution. They also meet with the board of trustees and make recommendations to the board regarding the government and policies of the school. They appoint and, if necessary, remove other officers of the institution, such as vice presidents or deans; they approve or disapprove new policies and procedures recommended by the institution's administrative and faculty committees; and they represent the college or university to the general public and to the institution's alumni. Depending on the size of the institution, a college or university will appoint a number of vice presidents to assist the president in running the school. The academic vice president is responsible for faculty appointments and dismissals and for approving or revising academic programs. Often the academic vice president is a former dean of a college or other academic division within the institution. The institution's financial and budgetary matters are the responsibility of the vice president for finance. The vice president for student services is responsible for nonacademic matters relating to students, such as operating counseling services, residence hails, and student activities and organizations. The vice president for human resources is responsible for nonfaculty appointments such as the hiring of secretaries and personnel to maintain the grounds and other facilities. The academic deans are the chief executives and administrators of the various colleges or other academic divisions of an institution. For example, at a large university, the College of Liberal Arts and Sciences, the College of Education, and the School of Law each have a dean who is appointed by the president or the academic vice president. Frequently, deans have had experience as chairperson of academic departments in the institution. The responsibilities of deans typically include implementing policies established by the board of trustees and the president; preparing the budgets and overseeing the spending of funds within the academic division; supervising the faculty; recommending faculty in their college or school to the academic vice president for appointment, promotion, tenure, or termination; and maintaining or increasing student enrollments in their college or school.

单选题 Text 3 Every profession or trade, every art, and every science has its technical vocabulary, the function of which is partly to refer to things or processes which have no names in ordinary English, and partly to secure greater exactness in expression. Such special dialects, or jargon, are necessary in technical discussion of any kind. Being universally understood by the devotees of the particular science or art, they have the precision of a mathematical formula. Besides, they save time, for it is much more economical to name a process than to describe it. Thousands of these technical terms are very properly included in every large dictionary, yet, as a whole, they are rather on the outskirts of the English language than actually within its borders. Different occupations, however, differ widely in the character of their special vocabularies. In trades and handicrafts and other occupations, such as farming and fishing, that have occupied great numbers of men from remote times, the technical vocabulary is very old. It consists largely of native words, or of borrowed words that have worked themselves into the very fibre of our language. Hence, though highly technical in many particulars, these vocabularies are more familiar in sound, and more generally understood than most other technicalities. The special dialects of law, medicine, and philosophy have also become pretty familiar to cultivated person, and have contributed much to the popular vocabulary. Yet, every vocation still possesses a large body of technical terms that remain essentially foreign, even to educated speech. And the proportion has been much increased in the last fifty years, particularly in the various departments of natural and political sciences and in the mechanic arts. Hence new terms are coined with the greatest freedom, and abandoned with indifference when they have served their turn. Most of the new coinages are confined to special discussions and seldom get into general literature or conversation. Yet no profession is nowadays, as all professions once were, a closed guild. The lawyer, the physician, the man of science, and the cleric associates freely with his fellow creatures, and does not meet them in a merely professional way. Furthermore, what is called popular science makes everybody acquainted with modem views and recent discoveries. Any important experiment, though made in a remote or provincial laboratory, is at once reported in the newspapers, and every body is soon talking about it as in the case of the Roentgen rays and wireless telegraphy. Thus, our common speech is always taking up new technical terms and making them commonplace.

单选题From the style in which it's written, this passage was almost certainly taken from ______.

单选题The word "it" in line 2 refers to______ .

单选题 {{I}}Questions 18 to 20 are based on the monologue about pick pocketing. You now have 20 seconds to read Questions 18 to 20.{{/I}}

单选题 Text 2 Painting your house is like adding something to a huge communal picture in which the rest of the painting is done either by nature or by other people. The picture is not static; it changes as we move about, with the time of day, with the seasons, with new planting, new buildings and with alterations to old ones. Any individual house is just a fragment of this picture, nevertheless it has the power to make or mark the overall scene. In the past, people used their creative talents in painting their homes, with great imagination and in varied but always subtly blending colors. The last vestiges of this great tradition can still be seen in the towns of the extreme west of Ireland. It has never been recognized as an art form, partly because of the physical difficulty of hanging a street in a gallery and partly because it is always changing, as paint fades and is renewed. Also it is a communal art which cannot be indentified with any person, except in those many cases where great artists of the past found inspiration in ordinary street scenes and recorded them in paint. Following the principles of decoration that were so successful in the past, you should first take a long look at the house and its surroundings and consider possible limitations. The first concerns the amount of color and intensity in the day light in Britain. Colors that look perfectly in keeping with the sunny, clear skies of the Mediterranean would look too harsh in the grayer light of the north. Since bright light is uncomfortable for the eyes, colors must be strong in order to be seen clearly. Viewed in a dimmer light they appear too bright. It is easy to see this if you look at a brick house while the sun is alternately shining and then going behind a cloud. The brick work colors look much more intense when the sun is hidden. The second limitation is the colors of the surroundings: the colors which go best with Cotswold stone and a rolling green countryside will be different from those that look best by the sea or in a red-brick/blue-slate industrial town. In every area there are always colors that at once look in keeping. In many areas there are distinctive traditions in the use of color that may be a useful guide. The eastern countries of England and Scotland, particularly those with a local tradition of rendering of plastering, use colors applied solidly over the wall. Usually only the window frames and doors are picked out in another color, often white or pale grey. Typical wall colors are the pink associated with Suffolk and pate buffs. Much stronger colors such as deep earth red, orange, blue and green are also common. In the coastal villages of Essex, as well as inland in Hertfordshire, the house-fronts of overlapping boards are traditionally painted black and originally tarred like ships with windows and doors outlined in white. In Kent, these weather boarded houses are usually white. In stone areas of Yorkshire and farther north, color is rare: the houses are usually left in their natural color, though many are painted white as they probably all were once.

单选题Cloning shakes us all to our very souls. For humans to consider the cloning of one another forces them all to question the very concepts of right and wrong that make them all human. The cloning of any species, whether they are human or non-human, is wrong. Scientists and ethicists alike have debated the implications of human and non-human cloning extensively since 1997 when scientists at the Roslin Institute in Scotland produced Dolly. No direct conclusions have been drawn, but compelling arguments state that cloning of both human and non-human species results in harmful physical and psychological effects on both groups. The possible physical damage that could be done if human cloning became a reality is obvious when one looks at the sheer loss of life that occurred before the birth of Dolly. Less than ten percent of the initial transfers survive to be healthy creatures. There were 277 trial implants of nuclei. Nineteen of those 277 were deemed healthy while the others were discarded. Five of those nineteen survived, but four of them died within ten days of birth of severe abnormalities. Dolly was the only one to survive. Even Ian Wilmut, one of the scientists accredited with the cloning phenomenon at the Roslin Institute agrees, "the more you interfere with reproduction, the more danger there is of things going wrong. " The psychological effects of cloning are less obvious, but nonetheless, very plausible. In addition to physical harms, there are worries about the psychological harms to cloned human children. One of those harms is that cloning creates serious issues of identity and individuality. Human cloning is obviously damaging to both the family and the cloned child. It is harder to convince that non-human cloning is wrong and unethical, but it is just the same. Western culture and tradition has long held the belief that the treatment of animals should be guided by different ethical standards than the treatment of humans. Animals have been seen as non-feeling and savage beasts since time began. Humans in general have no problem with seeing animals as objects to be used whenever it becomes necessary. But what would happen if humans started to use animals as body for growing human organs? What if we were to learn how to clone functioning brains and have them grow inside of chimps? Would non-human primates, such as a chimpanzee, who carried one or more human genes via transgenic technology, be defined as still a chimp, a human, a subhuman, or something else? If defined as human, would we have to give it rights of citizenship? And if humans were to carry non-human transgenic genes, would that alter our definitions and treatment of them? Also, if the technology were to be so that scientists could transfer human genes into animals and vice versa, it could create a worldwide catastrophe that no one would be able to stop.

单选题 {{B}} Questions 11 to 13 are based on the following talk on greenhouse gas. You now have 15 seconds to read Questions 11 to 13.{{/B}}

单选题By saying that technical terms "on the outskirts of the English language than... ", the writer implies that______.

单选题The making of classifications by literary historians can be a somewhat risky enterprise. When Black poets are discussed separately as a group, for instance, the extent to which their work reflects the development of poetry in general should not be forgotten, or a distortion of literary history may result. This caution is particularly relevant in an assessment of the differences between Black poets at the turn of the century (1900 ～1909) and those of the generation of the 1920's. These differences include the bolder and more forthright speech of the later generation and its technical inventiveness. It should be remembered, though, that comparable differences also existed for similar generations of White poets. When poets of the 1910's and 1920's are considered together, however, the distinctions that literary historians might make between "conservative" and "experimental" would be of little significance in a discussion of Black poets, although these remain helpful classifications for White poets of these decades. Certainly differences can be noted between "conservative" Black poets such as Countee Cullen and Cluade Mckay and "experimental" ones such as Jean Toomer and Langston Hughes. But Black poets were not battling over old or new styles, rather, one accomplished Black poet was ready to welcome another, whatever his or her style, for what mattered was racial pride. However, in the 1920's Black poets did debate whether they should deal with specifically racial subjects. They asked whether they should only write about Black experience for a Black audience or whether such demands were restrictive. It may be said, though, that virtually all these poets wrote their best poems when they spoke out of racial feeling, race being, as James Weldon Johnson rightly put it, "perform the thing the Negro poet knows best". At the turn of the century, by contrast, most Black poets generally wrote in the conventional manner of the age and expressed noble, if vague emotions in their poetry. These poets were not unusually gifted, though Roscoe Jamison and G. M. McClellen may be mentioned as exceptions. They chose not to write in dialect, which, as Sterling Brown has suggested, "meant a rejection of stereotypes of Negro life", and they refused to write only about racial subjects. This refusal had both a positive and a negative consequence. As Brown observes, "Valuably insisting that Negro poets should not be confined to issues of race, these poets committed an error.., they refused to look into their hearts and write." These are important insights, but one must stress that this refusal to look within was also typical of most White poets of the United States at the time. They, too, often turned from their own experience and consequently produced not very memorable poems about vague topics, such as the peace of nature.