填空题Note：AnswereachquestionbychoosingA，B，orCandmarkiton{{B}}ANSWERSHEET1．{{/B}}Somechoicesmayberequiredmorethanonce．{{B}}A=HallucinogensB=CocaineC=AlcoholWhichdrug…{{/B}}·mayslowdownbodyfunction?71．______·canleadtothedrivers'distortedperceptionofreality?72．______·mayinfluencethedrivers'visionnegatively?73．______·ispsychologicallyaddictivetothosechronicuses?74．______·cancausetheimpairmentofdriving?75．______·cancausedifficultyfocusing?76．______·canmakedriversdissociatefromtheenvironment?77．______·canmakedriverseasilyirritated?78．______·canaffecthowdriversthink．feelandact?79．______·maystimulatedriverstofleeintheircars?80．______ATheterm“hallucinogen”describesanydrugthatradicallychangesaperson'smentalstatebydistortingtheperceptionofrealitytothepointwhere，athighdoses，hallucinationsoccur．Normalsensitivityisusuallyrestoredafterabstainingforseveralconsecutivedays．Chronicusersmayalsobecomepsychologicallydependentonhallucinogens．Psychologicaldependenceexistswhenadrugissocentraltoaperson'sthoughts，emotions，andactivitiesthattheneedtocontinueitsusematstoacravingorcompulsion．AccordingtotheNationalSurveyonDrugAbuse，fourmillionAmericansusedhallucinogensin1982．Presumablymostofthemdrive．PaulFishbeinofPhoenixHouseinNewYorkCity，oneofthenation'slargestresidentialdrug-treatmentfacilities，describesthedriver-impairingimpactofphencyclidine(PCPor“angeldust”)，adepressantwithhallucinogeniceffects：“Afterthefirstfewhits(drags)ofaPCP-lacedjoint,”heexplains,“youhavetolookatthefloortoseewhereyourfeetare．Afewmorehitsandyoudissociatefromtheenvironment．WhenapersondrivesundertheinfluenceofPCP，LSDorotherhallucinogens，hemaystopinthemiddleofafreewaytolookathismap．Everythingelsegoingonhimisnotpartofhisexperience—sowhyshouldhecareaboutothercars?”{{B}}B{{/B}}Thechangesinaperson'sperception,mood，andthinkingduringcocaineintoxicationareparticularlyrelevanttodrivingskills．Themostdramaticeffectsofcocainewithrespecttodrivingareonvision．Cocainemaycauseahighersensitivitytolight，halosaroundobjects，anddifficultyfocusing．Usershavealsoreportedblurredvision，glareproblems，andhallucinations，particularly“snowlights”—weakflashesormovementsoflightintheperipheralfieldofvision，whichtendtomakedriversswervetowardorawayfromthelights．Someusershavealsoreportedauditoryhallcucinations(e.g.ringbells)andoldfactoryhallucinations(e.g.smellofsmokeorgasoline)．Manyuserssaythatcocaineactuallyimprovestheirdrivingability，whichisnotsurprisingbecausethedruginduceseuphoriaandfeelingsofincreasedmentalandphysicalabilities．Suchself-reportsmustbeacceptedwithcaution，however，sincetheseeffectsofcocaineareshort-livedandareoftenfollowedbyfatigueandlassitude．Cocainecanalsoheightenirritability，excitability，andstartleresponse．Usershavereportedthatsuddensounds，suchashornsorsirens，havecausedthemsevereanxietycoupledwithrapidsteeringorbrakingreactions，evenwhenthesourceofthesoundwasnotintheimmediatevicinityoftheirvehicles．Suspiciousness，distrust，andparanoia—otherreactionstococaine—haveprompteduserstofleeintheircarsordriveevasively．Everyonesurveyedreportedattentionlapseswhiledrivingandignoringrelevantstimulisuchaschangesintrafficsignals．InMay1983Dr．MarkGold，medicaldirectorofFairOaksHospitalinSummit，N.J.，setupatelephonehotlineforcocaineusers，whichineightmonthsreceivedsome220,000calls．“Cocaineuserstellustheyhavesuchafeelingofpowerandmasterywhenthey'reonthedrugthattheythinktheycandothingswiththecartheycan'tdo，”saysGold．“Withcocaine，”exulteda30-year-oldadexecutive，“Icangoahundredmilesanhourandgivedeathafingerintheeye．”Suchdriverspresentahorrifyinghighwayhazard．{{B}}C{{/B}}Whatdoesalcoholdotoadriverthatmakesdrivingsodangerous?Howdoesitaffectdrivingskills?Alcoholimpairsdrivingskills．Alcoholisadepressantdrugthatslowsdownbodyfunctions．TheamountofalcoholinthebloodatanypointintimeisreferredtoastheAlcoholConcentration(AC)level．ThegreatertheamountofalcoholinthebloodthehighertheAClevelandgreatertheimpairmentofdriving．EvenatverylowAClevels(.01-.04)，importantbodyfunctionsandskillscanbeaffected．AthigherAClevels(.05andabove)thesefunctionsbecomegreatlyimpaired．Thosefunctionsmostdirectlyrelatedtodrivingincludecoordinationandbalance，vision，steering，perception，processingofinformation，attentionandjudgment．Itisimportanttorememberthatthereisnosafelevelofalcoholthatapersoncanassumewillnotimpairdrivingperformance．Alcoholcanaffecthowwethink，feelandact．

填空题A = Steve Frost B = Kate Harwood C = Kate Beedles Which producer(s) used to work with high budgets? is the producer of the soap with the longest history? is satisfied with being and trying to be an invisible producer? believes that the soap is being undervalued now? admit that their soaps are not the top ones? joined the team when the soap was in a difficult situation? has the experience of working in two soaps? criticizes tabloids of destroying the aura of soap? wasn't discouraged by negative comment on story-writing skills? 1. ______ 2. ______ 3. ______ 4. ______ 5. ______ 6. ______ 7. ______ 8. ______ 9. ______ 10. ______ A Steve Frost Producer, Coronation Street, 33 Steve Frost has, he says, a lot to do at Coronation Street. He admits the soap is not at the top of its game and he is engaged in a constant battle with a tabloid culture that exposes the artifice of what he does. "The audience is so jaded now, so cynical. People can see the strings and the puppeteers, and because they do, it's harder for them to lose themselves in it. It's hard to carry people away like you used to -- and it's getting harder." Frost blames, among other things, the rise of celebrity. "The magazine interview culture that tells you every detail of actors' lives does make it harder and harder to create characters with mystique and magic that people really believe in. Whet Raquel left, there was such magic to that, it was a really compelling moment. But now, it is impossible for people not to know, six months in advance that Jane Danson is taking maternity leave." Having been in the job six months, he has no urge to make a name for himself. Not for Frost the desire to coin some "axeman" moniker? "I'd like to be as invisible as possible," he says. "I would hope viewers wouldn't notice a new producer because it's not about the producer. The producer should be unseen and of no interest. The writers should be unseen and of no interest. In a way, to be bothered about who's producing it is to detract entirely from the fiction of it." Frost says his only brief is to keep the viewing figures up, to make it fresh. He has his work cut out for him. He concedes, with so many episodes, it is not appointment to view any more and that one of his tasks is to inspire more loyalty in viewers. "The days of 25 million viewers for anything is long gone. That mass viewing experience has passed. But even in the fragmented, depleted market, soaps remain the most-viewed things." Frost argues that the audience has a finite appetite for soap. "There was a peak of soap saturation some years back," he says. "Since then, we've seen Night and Day, Crossroads, Family Affairs and Brookside all go. I think that's telling. In a competitive market, people will only watch so much." And there is no room for complacency. "Coronation Street has been there for 45 years and there's a real danger in that. It can't afford to remain what it's always been. The show in 1960 wasn't the same as the show that was being made in 1970 or 1980 or 1990. It has to keep up with modern life. People need to see something that's recognisably Corrie but also something they've never seen before -- I feel, at the moment, it's moving out of the 1990s five years too late. What is entirely new? What is the 21st century character? What does 21st century Corrie look like? don't think we've seen it yet. That's my big challenge." B Kate Harwood Executive producer, EastEnders, 46 When Kate Harwood got the job as executive producer of EastEnders arms were folded, brows were furrowed and eyebrows raised, Pauline Fowler-style. Her pedigree was in plush, lush costume drama. She produced, among other things, David Copperfield, Daniel Deronda and Charles I1: The Power I worked on Corrie so I know the atmosphere there and I presume it's the same at EastEnders -- you can get complacent very easily. When you're the underdog, you strive." Beedles has been striving since she was 12 and was inspired to write after watching Monty Python. When she was a teenager, she sent scripts she had written to the makers of Birds of a Feather and despite being told by her English teacher she could not write, she persevered with her ambition. At 21, she did an MA in screenwriting. When she was 23, she got a storylining job on Coronation Street and then moved to Emmerdale. "Corrie is the hardest place to work. It was one of those jobs you wouldn't choose on a personal level because it was horrendously difficult, but you learn so much." With more than 300 episodes a year, she has plenty of characters and stories to work on. She has just added another, in fact -- a new Dingle. Beedles says that chief among her soap's strengths is the consistency of its characters. "It all boils down to consistency. Zak is still the Zak he was 12 years ago. The stable moral things that drove him when he arrived still drive him today. And stories come from those consistent characters, stories that really reward the audience." Beedles says one of the most important things she has learnt is that "even if it's wrong, it's OK". "Sometimes an episode isn't going to turn out how you wanted," she says. "You have to live with that and learn from it, and not beat yourself up over it. The wheels don't come off when mistakes happen. Having the balls to admit you've made a mistake and make a change -- and while it's not ideal, we have made major changes at very late stages -- is really important. You can do that and nobody dies, nobody loses respect for you." Isn't that another way of saying that with such high volume, standards slip? "Not at all. Standards haven't fallen. The more pressure you're under, the better work you do./

填空题In the following article, some paragraphs have been removed. For Questions 66 to 70, choose the most suitable paragraph from the list A-F to fit into each of the numbered gaps. There is ONE paragraph which does not fit in any of the gaps. Mark your answers on ANSWER SHEET 1. The British philosopher and logician Bertrand Russell once wrote: "Mathematics, rightly viewed, possesses not only truth, but supreme beauty—a beauty cold and austere, like that of sculpture." {{U}} {{U}} 1 {{/U}} {{/U}} This seems curious, since it is clear that artists have long found inspiration in mathematics. Greek architects appear to have used a number known as the golden ratio when designing the Parthenon, and Leonardo De Vinci's Vitruvian Man, which depicts an outstretched figure encompassed by square and a circle, is an attempt to link human beauty with geometry. And in the 20th century, artists have been exposed even more to mathematical ideas, initially because Victorian mathematicians found ways of visualizing formulae and functions in physical form. Now computers have made it possible to visualize even more complex functions such as fractal patterns, and then mathematical objects like the Mandelbrot set have become a household image. {{U}} {{U}} 2 {{/U}} {{/U}} What, then, constitutes beautiful mathematics? This is rarely debated among mathematicians, but there are some generally accepted tests that a piece of work must pass to be deemed beautiful—it must employ a minimal number of assumptions, for example, or give some original and important insight, or throw other work into new perspective. Elegance is perhaps a better term for it. There is a flip side, of course, a piece of mathematics laden with unnecessary assumptions and offering no new insights is deemed ugly. The most famous example of a function that meets all the requirements of beauty is Euler's formula (em+1=0), which links some of the most fundamental concepts in mathematics and draws together two entirely separate branches of the science—geometry, the study of space, and algebra, the study of structure and quantity. I have never seen a physical model of Euler's formula, but it would be impossible to get a sense of the function's power and majesty from such a thing. {{U}} {{U}} 3 {{/U}} {{/U}} Yet it need not be like that ten years ago, I began assembling the most beautiful examples of mathematics and exhibiting them as digital prints. My latest exhibition opens next week in London. I imagined the task an intellectual diversion, like hunting for shells on the seashore. Instead, I have found it a profoundly creative experience, and laden with emotional undertones. {{U}} {{U}} 4 {{/U}} {{/U}} Most people's reaction to all this is fascination. They ask questions and demand explanations and answers. I cannot tell them what to think, but now when I display the images I write a commentary for each exhibit—not an explanation of the mathematics, but a snapshot of the ideas and emotions that the mathematics inspires me. {{U}} {{U}} 5 {{/U}} {{/U}} Which is why I have come to disagree with Russell. The beauty of mathematics can be cold and austere, when viewed in a particular way. But viewed in another, it can be rich and warm, funny and sad, romantic and profound. Just like sculpture—he was right about that. A. But mathematicians are not usually thinking of images, models and sculptures when they talk about beauty. Mathematical beauty is not a visual quality. Judging a piece of mathematics by the way it looks when printed on paper is like judging a book by its typeface—it is an absurd notion. B. For example, it is hard not to be awestruck by the language of symmetry, a branch of mathematics called group theory. Likewise, who could fail to be inspired by the mathematical description of the birth of stars? There are rich veins of inspiration wherever you look. And thus, for me, mathematical photography has become an art. C. t is the equation that everybody knows, but it is just part of a theory. How you go about proving E really does equal mc2? The short answer is, with a great deal of care. A multinational team has just published the most accurate ever test of Einstein's equation. D. The best way I can describe it is to compare it with photography. Just as an ordinary photograph is a snapshot of natural beauty, an equation is a snapshot of mathematical beauty, or indeed ugliness or some other aesthetic. My "photographs" are simply mathematical statements that I have chosen. But like conventional images, making the choice can imbue them with emotion. E. Sculpture is widely admired in our societies--there is hardly a public space in our cities that does not boast a sculpture of some sort. But mathematical beauty is barely recognized beyond the confines of academia, and it is never celebrated. F. So why has mathematical beauty failed to make a cultural impact? One reason could be that this spectrum of aesthetics, with beauty at one end and ugliness at the other, sounds horribly one-dimensional. And having rules for mathematical beauty feels, as Russell put it, cold and austere: this is beauty devoid of emotion, profoundly different to that which we experience and admire in the physical world.

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填空题AccordingtotheFBI,howmanyrobberiesweresolvedbythepolicelastyearintermsofpercentage?

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填空题·owns three coffins within it?

填空题{{B}} [A] = A rock painting [B] = Painting of beauties [C] = Landscape painting [D] = New Year painting Which painting says that{{/B}} {{B}} A A rock painting{{/B}} Paintings or engravings found on precipitous cliffs in Sichuan, Yunnan and Guizhou in Southwest China; Fujian in East China and Mount Yinshan in Inner Mongolia; Altai in China's extreme west and Heihe in the far north, are even more ancient. Strong visual effects characterize the bright red cliff paintings in southern China that depict scenes of sacrificial rites, production activities and daily life. In comparison, hunting, animal grazing, wars and dancing are the main themes of cliff paintings in northern China. Before paper was invented, the art of silk painting had been developing. The earliest silk painting was excavated from the Mawangdui Tomb in central China of the Warring States Period (476-221 BC). Silk painting reached its artistic peak in the Western Hah Dynasty (206 BC-AD 25 ). Following the introduction of Buddhism to China during the first century from India, and the carvings on grottoes and temple building that ensued, the art of painting religious murals gradually gained prominence.{{B}} B Painting of beauties{{/B}} The Tang Dynasty (618-907) witnessed the prosperity of figure painting, where the most outstanding painters were Zhang Xuan and Zhou Fang. Their paintings, depicting the life of noble women and court ladies, exerted an eternal influence on the development of shi nu hua (painting of beauties), which comprise an important branch of traditional Chinese painting today. Beginning in the Five Dynasties (907-960), each dynasty set up an art academy that gathered together the best painters throughout China. Academy members, who were on the government payroll and wore official uniforms, drew portraits of emperors, 'nobles and aristocrats that depicted their daily lives. The system proved conducive to the development of painting. The succeeding Song Dynasty (960-1127) developed such academies into the Imperial Art Academy.{{B}} C Landscape painting{{/B}} During the Yuan Dynasty (127]_-1368) the "Four Great Painters" --Huang Gongwang, Ni Zan, Wei Zhen and Wang Meng--represented the highest level of landscape painting. Their works immensely influenced landscape painting of the Ming (1368-1644) and Qing (1644-1911) dynasties. The Ming Dynasty saw the rise of the Wumen Painting School, which emerged in Suzhou on the lower reaches of the Yangtze River. Keen to carry on the traditions of Chinese painting, the four Wumen masters blazed new trails and developed their own unique styles. When the Manchus came to power in 1644, the then-best painters showed their resentment to the Qing (1644-1911) court in many ways. The "Four Monk Masters" --Zhu Da, Shi Tao, Kun Can and Hong Ren--had their heads shaved to demonstrate their determination not to serve the new dynasty, and they soothed their sadness by painting tranquil nature scenes and traditional art. Yangzhou, which faces Suzhou across the Yangtze River, was home to the "Eight Eccentrics" - the eight painters all with strong characters, proud and aloof, who refused to follow orthodoxy. They used freehand brushwork and broadened the horizon of flower-and-bird painting. By the end of the Qing Dynasty and the beginning of the Republic of China, Shanghai, which gave birth to the Shanghai Painting School, had become the most prosperous commercial city and a gathering place for numerous painters. Following the spirit of the Eight Eccentrics of Yangzhou, the Shanghai School played a vital role in the transition of Chinese traditional painting from a classical art form to a modern one. The May 4th Movement of 1919, or the New Culture Movement, inspired the Chinese to learn from western art and introduce it to China. Many outstanding painters, led by Xu Beihong, emerged, whose paintings recognized a perfect merging of the merits of both Chinese and Western styles, absorbing western classicism, romanticism and impressionism. Other great painters of this period include Qi Baishi, Huang Binhong and Zhang Daqian. Oil painting, a western art, was introduced to China in the 17th century and gained popularity in the early 20th century. In the 1980s Chinese oil painting boomed.{{B}} D New Year painting{{/B}} Then came popular folk painting--Chinese New Year pictures pinned up on doors, room walls and windows on the Chinese New Year to invite heavenly blessings and ward off disasters and evil spirits - which dates back to the Qin and Hah dynasties. Thanks to the invention of block printing, folk painting became popular in the Song Dynasty and reached its zenith of sophistication in the Qing. Woodcuts have become increasingly diverse in style, variety, theme and artistic form since the early 1980s.·drew the daily life of upper classes? 71. ______.·was aimed to invite blessings and ward off disasters? 72. ______.· witnessed the rise of Wumen painting school ? 73. ______.·introduced the western art into China? 74. ______.·depicts scenes of production activities and animal grazing? 75. ______.·was pinned up on doors, walls and windows? 76. ______.·was found in the extreme north of China? 77. ______.·combines the merits of Chinese and Western classicism,romanticism and etc? 78. ______.·has painters to use freehand brushwork in their flower-and-bird painting? 79. ______.·paints with the painters getting government payroll? 80. ______.

填空题 {{B}} A = Country & Folk Music B = Jazz C = Rock' N' Roll Which music...{{/B}}·cares most about politics and social problems? 71. ______.·was popular in 1920s? 72. ______.·had a song writer Wooie Guthrie? 73. ______.·built an American Hero Elvis Presley? 74. ______.·was most popular in WW Ⅱ? 75. ______.·was most popular in Tennessee at first? 76. ______.·was first played mostly for dancing then for listening? 77. ______.·was played and sung by marchers? 78. ______.·was made up by Alan Freed? 79. ______.·was especially worshiped by teenagers? 80. ______.{{B}}A{{/B}} The people living in the Appalachian Mountains are sometimes called "hillbillies". The first settlers there came from the British Isles, and they brought their folk music with them. This music, mixed with the blues, became hillbilly music. Later, as hillbilly music became more popular, it was called country music. Country songs are often sad stories of love and broken hearts. The center for this kind of music was Nashville, Tennessee. In the 1920s people listened to country music on the radio. The most famous Nashville radio show was the "Grand Ole Opry". This show, and country singers like Willie Nelson are still popular today. Not all country people were farmers. Many made their lives in the mines and factories. They also loved country music and it became the music of the working people. During the 1930s American had many economic problems. Workers expressed their troubles in the folk music of the time. Folk songs are like country songs but they are more traditional and more serious. They don't just talk about love, they tell about the lives of ordinary people. Woodie Guthrie was a folk song writer during the 30s. He traveled around the country and wrote songs about the poor people. During the 1950s folk music became popular again. Martin Luther King wanted to improve the lives of black Americans. He led peaceful marches to change the laws in the U. S. The marchers sang old folk songs like "We Shall Overcome". Modem folk singers like Pete Seeger wrote new folk songs about problems in America in the 50s. In the 1960s many people were against the war in Vietnam. Folk singers like Bob Dylan and Joan Baez wrote anti-war songs like Dylan's "Blowing in the Wind", and other songs about the problems of American society. Folk music kept to be the most political of all music in America.{{B}}B{{/B}} Although jazz began in New Orleans, it soon moved to all the big cities like St. Louis, Chicago, New York, and Los Angeles. New forms of jazz developed and their styles changed. In the 1920s, American fell in love with dancing and popular jazz music. Big hotels hired dance bands. Dance halls were opened around the country. New dances with strange names like the Charleston were popular. Women cut their hair short and wore short skirts for the first time. These women were called "flappers". Older Americans were shocked by jazz music, the new dances, and the flappers. One of the most famous musicians of this time was Louis Armstrong. He became famous for his trumpet playing and his low rough voice. Musicians like Armstrong brought a new form of music to America and the world. The 1930s in America was the time of the big hands and a new kind of jazz called swing. This new music had a special rhythm. Harlem, part of New York, became the center of swing music. Big band leaders like Benny Goddman, Duke Ellington, and Glenn Miller played in Harlem at the Cotton Club and the Savoy Ballroom. People came and danced the foxtrot and the jitterbug. Swing music was the popular music of World War Ⅱ. When Dixieland, ragtime, and swing musicians changed to new, more complex styles. At first jazz was dance music. As it became more complex it was mostly for listening. For this reason most jazz is now played in small bars and live jazz clubs, not in big dance halls. Jazz styles are always changing. In recent years, jazz musicians have put together jazz music and rock instruments like the electric guitar. This new jazz style is called electric jazz or fusion.{{B}}C{{/B}} The 1950s were a golden time for music in America. The economic problems of the 30s and the war of the 40s were over. America was rich again. A new group of people became important--American teenagers. For the first time in history young people had money to spend. They had a new way of dressing, new hair styles and new dances. In the early 50s slow romantic songs were still popular. But teenagers liked dance music with a good beat, and so they began to listen to R & B(rhythm and blues)on the black radio stations. A white disc jockey, Alan Freed, began to play R & B on the radio for white teenagers. He was the first person to call this new music rock and roll. The first white group to make a rock and roll hit record was Bill Haley and the Comets, with "Rock Around the Clock." Rock and roll music had a strong dance beat. The musicians played electric guitars and the music was fast. American teenagers loved it. About the same time, the owner of Sun Record Company, Sam Phillips said, "If I could find a white man who had the Negro(black) sound and the Negro feel, I could make a billion dollars. "He found his wish in Elvis Presley, the king of rock and roll. Elvis became a new American hero and young people copied his hair style, his dress, as well as his music. On February 3, 1959 three famous rock and roll stars, Buddy Holly, The Big Bopper, and Richie Valens, died in a plane crash. As a result many people thought that rock and roll music had died too. But the music of the late 50s lived on. Rock and pop from the 60s to the 90s grew out of this old rock and roll. As the song says "Rock and roll is here to stay.

填空题 A job interview is your chance to{{U}} (31) {{/U}}an employer what he or she will get if you're{{U}} (32) {{/U}}. That is why it is{{U}} (33) {{/U}}to be well prepared for the job interview. Preparing means knowing about the industry, the employer, and yourself. It means{{U}} (34) {{/U}}attention to details like personal appearance, punctuality, and demeanor. {{U}} (35) {{/U}}you begin to think about how you will dress for the interview, or answer questions, you should gather as much information about the employer as you can. Not only will you appear informed and intelligent, it will also help you make a decision if a job{{U}} (36) {{/U}}is eventually made. {{U}}(37) {{/U}}employer information is not always an easy task, {{U}}(38) {{/U}}if the employer is a small private company. Next step is answering{{U}} (39) {{/U}}. You might want to prepare for answering questions by listing some of your attributes. Talk to former co-workers with{{U}} (40) {{/U}}you worked closely. Ask them to list some traits about you that they most admired—work{{U}} (41) {{/U}}, of course. Try to find some faults as well. One question that sometimes comes{{U}} (42) {{/U}}in an interview is "What is something that has been a problem for you at work?" {{U}}(43) {{/U}}studying your faults, you will be able to choose one that is somewhat innocuous or could be{{U}} (44) {{/U}}around into a positive. You want to seem somewhat spontaneous, but you also want to appear self-confident. The way to do that is to rehearse, not exactly what you will say, but{{U}} (45) {{/U}}you will say it. A great{{U}} (46) {{/U}}is to rehearse in front of a video camera. Study your posture, the way you make eye{{U}} (47) {{/U}}, and your body{{U}} (48) {{/U}}. If you don't have a video camera, a mirror will do. Have a friend do mock{{U}} (49) {{/U}}with you. The more you repeat a scenario, the{{U}} (50) {{/U}}comfortable you will begin to feel with it.

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填空题 The United Nations has reported that{{U}} {{U}} 1 {{/U}} {{/U}}progress is being made in the fight{{U}} {{U}} 2 {{/U}} {{/U}}malaria in Africa. The UNICEF website says the area that is{{U}} {{U}} 3 {{/U}} {{/U}}the most dramatic improvement is sub- Saharan Africa. This is the region hardest hit by the{{U}} {{U}} 4 {{/U}} {{/U}}One of the biggest reasons for these gains against the killer infection is the increased use of special insect nets. This{{U}} {{U}} 5 {{/U}} {{/U}}solution can reduce child deaths by as much as 20 percent. The{{U}} {{U}} 6 {{/U}} {{/U}}says the number of children using the insecticide- treated{{U}} {{U}} 7 {{/U}} {{/U}}has tripled since 2000. According to UNICEF's Executive Director Ann Veneman, controlling malaria is vital{{U}} {{U}} 8 {{/U}} {{/U}}improving child health and economic{{U}} {{U}} 9 {{/U}} {{/U}}in affected countries. Studies show that malaria unfairly affects the poorest people in these countries, and contributes to their poorer{{U}} {{U}} 10 {{/U}} {{/U}}conditions. UNICEF prepared the{{U}} {{U}} 11 {{/U}} {{/U}}together with the Roll Back Malaria Partnership. This organisation is a collaboration of aid agencies launched in 1998 to{{U}} {{U}} 12 {{/U}} {{/U}}fight malaria. Its vision is that{{U}} {{U}} 13 {{/U}} {{/U}}2015, malaria "is no longer a major{{U}} {{U}} 14 {{/U}} {{/U}}of mortality and no longer a barrier{{U}} {{U}} 15 {{/U}} {{/U}}social and economic development". The report{{U}} {{U}} 16 {{/U}} {{/U}}provides a healthy picture of the use of drugs in{{U}} {{U}} 17 {{/U}} {{/U}}the number of malaria cases. Since 2003, national health programmes have{{U}} {{U}} 18 {{/U}} {{/U}}heavily in buying anti-malarial drugs called ACTs. UNICEF's health chief Pater Salama is{{U}} {{U}} 19 {{/U}} {{/U}}and says the future looks bright. He reports: "With the strong backing of some of the international donors and the{{U}} {{U}} 20 {{/U}} {{/U}}of ACTs starting to be reduced, I think governments are becoming more confident now that this will be a sustainable strategy for anti-malaria treatment."

填空题 How men first learned to invent words is{{U}} (31) {{/U}}; in other words, the origin of language is a mystery. All we really know is that men, {{U}}(32) {{/U}}animals, somehow invented certain sounds to{{U}} (33) {{/U}}thoughts and feelings, actions and things, so that they could communicate{{U}} (34) {{/U}}each other; and{{U}} (35) {{/U}}later they agreed{{U}} (36) {{/U}}certain signs, called letters, which could be combined to represent those{{U}} (37) {{/U}}, and which could be written down. Those sounds, whether{{U}} (38) {{/U}}or written in letters, we call{{U}} (39) {{/U}}. The power of words, then, lies in their association—the things they bring up before our{{U}} (40) {{/U}}. Words become filled with{{U}} (41) {{/U}}for us by experience; and the{{U}} (42) {{/U}}we live, the more certain words recall to us the glad and sad events of our{{U}} (43) {{/U}}; and the more we read and learn, the more the number of words that mean something to us increase. Great writers are{{U}} (44) {{/U}}who not only have great thoughts but also{{U}} (45) {{/U}}these thoughts in words which appeal powerfully{{U}} (46) {{/U}}our minds and emotions. This charming and telling use of words is{{U}} (47) {{/U}}we call literary style. Above all, the real poet is a master of{{U}} (48) {{/U}}. He can convey his meaning in words which sing like music, and{{U}} (49) {{/U}}by their position and association can move men to tear. We should, {{U}}(50) {{/U}}, learn to choose our words carefully and use them accurately, or they will make out speech silly and vulgar.

填空题called for reform in economic and financial structures, which was particularly true during the crisis in South-east Asia?

填空题 These days we are so accustomed to telegraph messages{{U}} (31) {{/U}}it is hard for us to imagine the excitement that was felt in the nineteenth century when the first cables were laid, Cable{{U}} (32) {{/U}}proved to be immensely difficult. The cable{{U}} (33) {{/U}}was laid in the autumn of 1850 carried the first telegraph messages{{U}} (34) {{/U}}England and France had a very short life. The day after, a fisherman "caught" the cable by mistake. Thinking that the copper wire at the centre of the thick cable was gold, he cut a piece{{U}} (35) {{/U}}to show his friends. However, a new cable was put down and{{U}} (36) {{/U}}news could travel quickly across Europe. But there was{{U}} (37) {{/U}}to way of sending messages between Europe and America. When the Atlantic Telegraph Company was formed in 1856, a serious{{U}} (38) {{/U}}was made to "join" Europe to America with no less{{U}} (39) {{/U}}2,300 miles of cable. As{{U}} (40) {{/U}}single ship could carry such a weight, the job was shared by two sailing vessels, the Agamemnon and the Niagara. The intention was{{U}} (41) {{/U}}after setting out in opposite directions, they should{{U}} (42) {{/U}}in the middle of the Atlantic Ocean{{U}} (43) {{/U}}the two cables would be connected together. But the ships had{{U}} (44) {{/U}}covered 300 miles when the cable broke. In 1858, a second attempt was made. This time, greatly hindered by storms, the ships were again unsuccessful. There was great rejoicing a few months later, when after the combined efforts of both ships, Britain and America were at last connected by cable and the Queen of England was able to speak{{U}} (45) {{/U}}the President of the United States. This cable, {{U}}(46) {{/U}}only lasted eleven weeks. {{U}}(47) {{/U}}attempts were postponed until 1864 when Brunel's steamship, the Great Eastern, set forth. This powerful ship did the whole job{{U}} (48) {{/U}}itself, but again messages could not travel freely{{U}} (49) {{/U}}the cable developed a fault. While it was being mended, it broke and 1,300 mile of it lay on the ocean floor. But two years later the Great Eastern completed a highly successful journey and{{U}} (50) {{/U}}then it has become possible to send messages to all parts of the world.

填空题· has the inner walls and arched ceiling of its gateway and halls decorated with four celestial guardians?

填空题It was a cold day. I sat in my room writing letters. I glanced out of the window. In the window directly opposite me stood Herr Stroh, gazing blatantly upon me. I was annoyed at his interest. I pulled down the blind and switched on the light to continue my writing. But the drawn blind and the artificial light irritated me, and suddenly I didn" t see why I shouldn" t write my letters by daylight without being stared at. I switched off the light and released the blind. Herr Stroh had gone. I concluded that he had taken my action as a signal of disapproval, and I settled back to write. 1 I left my room and went down to complain to Frau Lublonitsch. "She"s gone to the market," Gertha said. "She" 11 be back in half an hour." 2 "I shall tell Frau Chef," she said. Something in her manner made me ask, "Has this ever happened before."?" "Once or twice this year," she said. "I" 11 speak to Frau Chef." And she added, with her music-hall grimace, "He was probably counting your eyelashes." 3 For nearly an hour I sat patiently at the window. Herr Stroh rested his arms now and again, but he did not leave his seat. I could see him clearly, although I think I imagined the grin on his face as, from time to time, he raised the glasses to his eyes. There was no doubt that he could see, as if it were within an inch of his face, the fury on mine. It was too late now for one of us to give in, and I kept glancing down at the entrances to the hotel Stroh, expecting to see Frau Lublonitsch or perhaps one of her sons or the yard hands going across to deliver a protest. But no one from our side approached the Stroh premises. I continue to stare, and Herr Stroh continued to goggle through his glasses. Then he dropped them. It was as if they had been jerked out of his hands by an invisible nudge. He approached close to the window and gazed, but now he was gazing at a point above and slightly to the left of my room. After about two minutes, he turned and disappeared. 4 "Did she telephone to his house?" "No, Frau Chef doesn"t use the phone; it mixes her up." "Who protested, then?" "Frau Chef." "But she hasn"t been across to see him. I" ve been watching the house." "No, Frau Chef doesn"t visit with him. But don"t worry, he knows all right that he mustn"t annoy our guests." When I looked out of the window again, I saw that the blind of Herr Stroh" s room had been pulled down, and so it remained for the rest of my stay. Meantime, I went out to post my letters in the box opposite our hotel, across the path. The sun had come out more strongly, and Herr Stroh stood in his doorway blinking up at the roof of the Guesthouse Lublonitsch. He was engrossed, he did not notice me at all. 5 Like most of the roofs in that province, the Lublonitsch roof had a railed ledge running several inches above the eaves, for the purpose of preventing the snow from falling in heavy thumps during the winter. On this ledge, just below an attic window, stood the gold-and-rose ormolu clock that I had seen in Frau Lublonitsch"s splendid bedroom. I turned the corner just as Herr Stroh gave up his gazing; he went indoors, sullen and bent. Two car-loads of people who had moved into the hotel that morning were now moving out, shifting their baggage with speed and the signs of a glad departure. I know that his house was nearly empty. A. I didn" t want to draw his attention by following the line of his gaze but I was curious as to what held him staring so trancelike up at our roof. On my way back from the postbox I saw what it was. B. I caught sight of a tiled stove constructed of mosaic tiles that were not a local type. I also noticed, standing upon the cabinet, a large ornamental clock; each curve and twirl in the case of this clock was overlaid with that gildedbronze alloy which is known as ormolu. The clock twinkled in the sunlight which slanted between the window hangings. C. I looked up a few moments later, and this time Herr Stroh was seated on a chair a little way back from the window. He was facing me squarely and holding to his eyes a pair of field-glasses. D. I returned to my room. Herr Stroh still sat in position, the field-glasses in his hands resting on his knees. As soon as I came within view, he raised the glasses to his eyes. I decided to stare him out until such time as Frau Lublonitsch should return and take the matter in hand. E. Just then Gertha knocked at my door. "Frau Chef has protested, and you won"t have any more trouble," she said. F. So I lodged my complaint with Gertha.

填空题indicates that a 63-year-old man might find job-sharing against his interest?

填空题 tells us that the government will give support to employers, who offer part-time jobs? {{U}} {{U}} 1 {{/U}} {{/U}} states that employers can benefit from having two people performing the same job? {{U}} {{U}} 2 {{/U}} {{/U}} provides means for older people to ease into retirement? {{U}} {{U}} 3 {{/U}} {{/U}} implies that work-sharing schemes have so far been unsatisfactory? {{U}} {{U}} 4 {{/U}} {{/U}} shows that the author approves the Government's plan? {{U}} {{U}} 5 {{/U}} {{/U}} indicates that a 63-year-old man might find job-sharing against his interest? {{U}} {{U}} 6 {{/U}} {{/U}} states that job-sharing can offer the chance of interesting work to people who can only work part-time? {{U}} {{U}} 7 {{/U}} {{/U}} says that many organizations are doubting the motives of the government in advocating job sharing? {{U}} {{U}} 8 {{/U}} {{/U}} implies that increased payment for less work would destroy the scheme? {{U}} {{U}} 9 {{/U}} {{/U}} states that a rise in output does not reduce unemployment? {{U}} {{U}} 10 {{/U}} {{/U}} A. The Government is going to give new "job splitting", grants to employers willing to offer part-time work to people claiming unemployment benefit. The next scheme, which took many union leaders and large employers by surprise yesterday night, will be announced in detail in the autumn. It is intended to cost die taxpayer nothing because of savings in unemployment benefit. The proposal, unveiled last night by Mr. Norman Tebbit, Secretary of State for Employment, will be in addition to the new Community Programme for the long-term unemployed. Mr. Tebbit said that under the scheme a vacancy could be offered to two unemployed people, one existing full-time employee or two existing full-time employees if one of them would otherwise have been made redundant. The Employment Secretary suggested yesterday that workers reaching retirement might find the idea of sharing their job attractive, if pensions could be secured. But he also said that firms might find it attractive to offer one vacancy to two school leavers. In a sharp reaction to the Community Programme, Mr. Nicholas Hinton, director of the National Council for Voluntary Organizations, whose members will be expected to sponsor many of the new places, said: "The Government is trying to spread too little money too thinly among too many people and many voluntary organizations are suspicious of its motives. " B. Few people believe that unemployment in the United Kingdom will fall favorably below the 3.2 million mark, or 13.4 percent of the labour force, during the next few years. The remarkable rise in productivity over the past year will, if it continues, make it even more difficult to tackle unemployment. Many firms are confident that they can meet any increase in demand without hiring extra staff. Remedies more imaginative and more permanent than those tried so far are needed. The Government's job-splitting scheme announced on Tuesday is one example that should be welcomed. Another good idea is Rank Xerox's "networking" plan, by which executives would be able to work part-time from home. The possibilities of work-sharing need to be more vigorously investigated, on the lines indicated by a recent OECD study. If the total hours of work required are not going to increase with output rising thanks to improved productivity then let us try to share those working hours more equitably among the labour force. Work-sharing helps to produce new jobs by reducing the working hours of those in existing jobs. The danger with work-sharing is that employees may expect to be paid more per hour for working shorter hours, and that fixed labour costs will rise as the numbers on the payroll increase. Many employers therefore fear that the effect on costs and prices would be inflationary. The Government is therefore subsidizing employers to participate in its job splitting scheme. Most kinds of work-sharing involve marginal cuts of a few per cent in total working hours, and thus only modest increases in the number of jobs. The biggest difference would be made if a substantial number of full-time jobs could be tamed into part-time jobs. The Government's role would be to adapt the tax and social security system to make part-time work more attractive to employers and employees, notably by ensuring that as many part time employees as possible escape both tax and social security payment. The social effects of work-sharing, are likely to be beneficial, since it would involve an attempt to match work opportunities to a wider variety of life styles. The combination of one full-time and one part-time spouse might become much more universal. C. Part-timers usually earn less per hour than a full-timer, have fewer fringe benefits and less job security. They have virtually no career prospects. Employers often think that working part-time means that a person has no ambition and no chance of promotion. But job-sharing bridges that gap and offers the chance of interesting work to people who can only work part-time and that does not mean just married women. As Adrienne Broyle of "New Ways to Work" formally the London Job-sharing Project points out: "There are various reasons why people want to job-share and so have more spare time. "A growing number of men want to job-share so that they can play an active role in bringing up their children. It allows people to study at home in their free time, and means that disabled people or those who otherwise stay at home to look after them, can work. Job-sharing is also an ideal way for people to ease into retirement. Many employers are wary of new work schemes, but an investigation carded out by the EOC shows that they can profit in various ways from sharing. If one sharer is away sick, at least half the job continues to be done. Skilled workers who cannot work full-time can bring years of experience to a job. Half-timers have to work flat out without a tea break. Another attraction is that two people bring to one job twice as much experience, sets of ideas and discussion. But there are financial pitfalls for the job-sharers. If one becomes unemployed, he should be eligible for Unemployment Benefit. But he has to sign on as being available for full-time work. Otherwise, he can not claim the benefit. Pensions are a big block. The EOC paper points out that the Local Government Superannuation Scheme excludes people who work less than 30 hours a week. For those who are attracted to job-sharing, beware. Most occupational pension schemes are based either on the average annual earnings during membership of the scheme or on the employee's final salary.

填空题ThemassivesearchforamissingSannichwomantodayfailedto______anytraceofthe20-year-oldstudent.