单选题Questions 52 -54 are based on the following lines.

单选题We are entering a period in which rapid population growth, the presence of deadly weapons, and dwindling resources will bring international tensions to dangerous levels for an extended period. Indeed, 1 seems no reason for these levels of danger to subside unless population equilibrium is 2 and some rough measure of fairness reached in the distribution of wealth among nations. 3 of adequate magnitude imply a willingness to redistribute income internationally on a more generous 4 than the advanced nations have evidenced within their own domains. The required increases in 5 in the backward regions would necessitate gigantic applications of energy merely to extract the 6 resources. It is uncertain whether the requisite energy-producing technology exists, and more serious, 7 that its application would bring us to the threshold of an irreversible change in climate 8 a consequence of the enormous addition of manmade heat to the atmosphere. It is this 9 problem that poses the most demanding and difficult of the challenges. The existing 10 of industrial growth, with no allowance for increased industrialization to repair global poverty, hold 11 the risk of entering the danger zone of climatic change in as 12 as three or four generations. If the trajectory is in fact pursued, industrial growth will 13 have to come to an immediate halt, for another generation or two along that 14 would literally consume human, perhaps all life. The terrifying outcome can be postponed only to the extent that the wastage of heat can be reduced, 15 that technologies that do not add to the atmospheric heat burden—for example, the use of solar energy—can be utilized. (1996)

单选题For three quarters of its span on Earth, life evolved almost ______ as microorganisms.

单选题When I was told I had won first prize in the speech contest, I had to______myself to make sure I wasn't dreaming.

单选题On the Relation between Art and Society Theodor Adorno Aesthetic refraction is as incomplete without the retracted object as imagination is without the imagined object. This has special significance for the problem of the inherent functionality of art. Tied to the real world, art adopts the principle of self-preservation of that world, turning it into the idem of self-identical art, the essence of which Schonberg once summed up in the statement that the painter paints a picture rather than what it represent. Implied here is the idea that every work of art spontaneously aims at being identical with itself, just as in the world outside a fake identity is everywhere forcibly imposed on objects by the insatiable subject. Aesthetic identity is different, however, in one important respect: it meant to assist the non-identical in its struggle against the repressive identification compulsion that rules the outside world. It is by virtue of its separation from empirical reality that the work of art can become a being of a higher order, fashioning the relation between the whole and its parts in accordance with its own needs. Works of art are after-images or replicas of empirical life, inasmuch as they proffer to the latter what in the outside world is being denied them. In the process they slough off a repressive, external-empirical mode of experiencing the artist, it must be kept in mind that works of art are alive, have a life sui generic. Their life is more than just an outside fate. Over time, great works reveal new facets of themselves, they age, they become rigid, and they die. Being human artifacts, they do not "live" in the same sense as human beings. Of course not. To put he accent on the art factual aspect in works of art seems to imply that the way in which they came to be is important. It is not. The emphasis must be on their inner constitution. They have life because they speak in ways nature an man cannot. They talk because there is communication between their individual constituents, which cannot be said of things that exist in a state of mere diffusion. As artifacts, works of art communicate not only internally but also with the external reality which they try to get away from and which none the less is the substratum of their content. Art negates the conceptualization foisted on the real world and yet harbors in its own substance elements of the empirically existent. Assuming that one has to differentiate form and content before grasping their mediation, we can say that art's opposition to the real world is in the realm of form; but this occurs, generally speaking, in a mediated way such that aesthetic form is a sedimentation of content. What seem like pure forms in art, namely those of traditional music, do in all respects, and all the way down to details of musical idiom, derive from external content such as dance. Similarly, ornaments in the visual arts originally tended to be cult symbols. Members of the Warberg Institute were following this lead, studying the derivability of aesthetic forms from contents in the context of classical antiquity and its influence on later periods. This kind of work needs to be undertaken on a large scale. The manner in which art communicates with the outside world is in fact also a lack of communication, because art seeks, blissfully or unhappily, to seclude itself from the world. This noncommunication points to the fractured nature of art. It is natural to think that art's autonomous domain has no more in common with the outside world than a few borrowed elements undergoing radical change in the context of art. But there is more to it than that. There is some truth to the historical cliche which states that the developments of artistic methods, usually lumped together under the term "style", correspond to social development. Even the most sublime work of art takes up a definite position Visa-vis reality by stepping outside of reality spell, not abstractly once and for all, but occasionally and in concrete ways, when it unconsciously and tacitly polemicizes against the condition of society at a particular point in time. How can works of art be like windowless monads, representing something which is other than them? There is only one way to explain this, which is to view them as being subject to a dynamic or immanent historicity and a dialectical tension between nature and domination of nature, a dialectic that seems to be of the same kind as the dialectic of society, or to put it more cautiously, the dialectic of art resembles the social dialectic without consciously imitating it. The productive force of useful labor and that of art are the same. They both have he same teleology. And what might be termed aesthetic relations of production—defined as everything that provides an outlet for the productive forces of art or everything in which these forces become embedded—are sedimentations of social relations of production bearing the imprint of the latter. Thus in all dimension of its productive process art has a twofold essence, being both an autonomous entity and a social fact in the Durkheimian sense of the term. It is through this relationship to the empirical that work of art salvage, albeit in neutralized fashion, something that once upon a time was literally a shared experience of all mankind and which enlightenment had since expelled. Art, too, partakes of enlightenment; but in a different way: works of art do not lie; what they say is literally true. Their reality however lies in the fact that they are answers to questions brought before them from outside. The tension in art therefore has meaning only in . relation to the tension outside. The fundamental layers of artistic experience are akin to the objective world from which art recoils. The unresolved antagonisms of reality reappear in art in the guise of immanent problems of artistic form. This, and not the dilate injection of objective moments or social content, defines art's relation to society. The aesthetic tensions manifesting themselves in works of art express the essence of reality in and through their emancipation from the factual facade of exteriority. Art's simultaneous dissociation from and secret connection with empirical being confirms the strength of Hegel's analysis of the nature of a conceptual barrier: the intellect, argues Hegel against Kant, no sooner posits a barrier than it has to go beyond it, absorbing into itself that against which the barrier was set up. We have here, among other things, a basis for a non-moralistic critique of the idea of l'art pour l'art with its abstract negation of the empirical and with its monomaniac separatism in aesthetic theory. Freedom, the presupposition of art and the self glorifying conception art has of itself, is the cunning of art's reason. Blissfully soaring above the real world, art is still chained by each of its elements to the empirical other, into which it may even sink back altogether at every instant. In their relation to empirical reality works of art recall the ologumenon that in a state of redemption everything will be just as it and yet wholly different. There is an unmistakable similarity in all this with the development of the profane. The profane secularizes the sacred realm to the point where the latter is the only secular thing left. The sacred realm is thus objectified, staked out as it were, because its moment of untruth awaits secularization as much as it tries to avert it through incantation. It follows that art is not defined once and for all by the scope of an immutable concept. Rather, the concept of art is a fragile balance attained now and then, quite similar to the psychological equilibrium between id and ego. Disturbances continually upset the balance, keeping the process in motion. Every work of art is an instant; every great work of art is a stoppage of the process, a momentary standing still, whereas a persistent eye sees only the process. While it is true that works of art provide answers to their own questions, it is equally true that in so doing they become questions for themselves. Take a look at the widespread inclination(which to this day has not been mitigated by education)to perceive art in terms of extra-aesthetic or pre-aesthetic criteria. This tendency is, on the one hand, a mark of atrocious backwardness or of the recessive consciousness of many people. On the other hand, a mark of atrocious backwardness or of the recessive consciousness of many people. On the other hand, there is no denying that that tendency is promoted by something in art itself. If art is perceived strictly in aesthetic terms, then it cannot be properly perceived in aesthetic terms. The artist must feel the presence of the empirical other in the foreground of his own experience in order to be able to sublimate that experience, thus freeing himself from his confinement to content while at the same time saving he being-for-itself of art from slipping into outright indifference toward the world. Art is and is not being-for-itself. Without a heterogeneous moment, art cannot achieve autonomy. Great epics that survive their own oblivion were originally shot through with historical and geographical reporting. Valery, for one, was aware of the degree to which the Homeric, pagan-germanic and Christian epics contained raw materials that had never been melted down and recast by the laws of form., noting that this did not diminish their tank in comparison with "pure" works of art. Similarly, tragedy, the likely origin of the abstract idea of aesthetic autonomy, was also an after-image of pragmatically oriented cult acts. At no point in its history of progressive emancipation was art able to stamp out that moment, And the reason is not that the bonds were simply too strong. Long before socialist realism rationally planned its debasement, the realistic novel, which was at its height as a literary form in the 19th century, bears the marks of reportage, anticipating what was later to become the task of social science surveys. Conversely, the fanatic thoroughness of linguistic integration that characterizes Madame Bovary, for instance, is probably the result of the contrary moment. The continued relevance of this work is due to the unity of both. In art, the criterion of success is twofold: first, works of art must be able to integrate materials and details into their immanent law of form; and, second, they must not try to erase the fractures left by the process of integration. Integration as such does not guarantee quality. There is no privileged single category, not even the aesthetically central one of form, which defined the essence of art and suffices to judge its product. In short, art has defining characteristics that go against the grain of what philosophy of art ordinarily conceives as art. Hegel is the exception. His aesthetics of content recognized the moment of otherness inherent in art, thus superseding the old aesthetic of form. The latter seems to be operating with too pure a concept of art, even though it has at least one advantage, which is that it does not, unlike Hegel's(and Kierkegaaed's)substantive aesthetics, place obstacles in the way of certain historical developments such as abstract painting. This is one weakness of art regresses to a position that can only be called "pre -aesthetic" and crude, Hegel mistakes, the replicatory or discursive treatment of contend for the kind of otherness that is constitutive of art. He sins, as it were, against his own dialectical concept of aesthetics, with results that he could not foresee. He in effect helped prepare the way of the bonuses tendency to transform art into an ideology of repression. The moment of unreality and non-existence in art is not independent of the existent, as though it were posited or invented by some arbitrary will. Rather, that moment of unreality is structure resulting from quantitative relations between elements of being, relations which are in turn a response to, and an echo of, the imperfections of real conditions, their constraints, their contradictions, and their potentialities. Art is related to its other like a magnet to a field of iron filings. The elements of art as well as their constellation, or what is commonly thought to be he spiritual essence of art, point back to the real other. The identity of the works of art with existent reality also accounts for the centripetal force that enables tern to gather unto themselves the traces and membra disiecta of real life. Their affinity with the world lies in a principle that is conceived to be a contrast to that world but is in fact no different from the principle whereby spirit has dominated the world. Synthesis is not some process of imposing order on the elements of work of art. It is important, rather, that the elements interact with each other; hence there is a sense in which synthesis is a mere repetition of the pre-established interdependence among elements, where interdependence is a product of otherness, of non-art. Synthesis, therefore, is firmly grounded in the material aspects of works of art. There is a link between the aesthetic moment of form an non-violence. In its difference from the existent, art of necessity constitutes itself in terms of that which is not a work of art yet is indispensable for its being. The emphasis on non-intentionality in art, noticeable first in the sympathy for popular art in Apollinaire, early Cubism and Wedekind(who derided what he called "art-artists")indicates that art became aware, however dimly, that it interacted with its opposite. This new self conceptions of art gave rise to a critical turn signaling an eng to the illusory equation of art with pure spirituality.Notes:(1)Sui generis:(Latin)of its own kind; peculiar; unique.(2)Vis-a-vis:(French)regarding; in relation to.(3)I'artpour Tart;(French)art for art's sake.(4)membra disiecta:(Latin)scattered parts.A. Please judge whether the following statements are true or false by marking T for true and F for false.

单选题The speech sounds we hear and produce during linguistic communications are all phonemes.

单选题The faith of "Devine Rights of the King" was held by James I of the House of______.

单选题In some African countries, the cost of treating an AIDS patient may ______ his or her entire annual income.

单选题Research suggests that hypochondriacs A fell into three categories ; those who have B a variant of obsessive-compulsive disorder, those C whose hypochondria was triggered by a stressful life event, and those who D are hypersensitive to any physical symptoms.

单选题______ "s role as a leading spokesman of the famous Imagist Movement in the history of American literature can never be ignored and his one-image poem best demonstrates his principles of what a new poetry should be.

单选题Which is the description of the consonant[b]?

单选题Recent reform efforts A have been focused on encouraging lifelong or recurrent education to meet B changing individual and social needs . Thus, not only C the number of students has increased , D but the scope of education has also expanded.

单选题The policeman is demanding that the thief______the crime.

单选题Why are Arnold Schwarzenegger and Garth Brooks mentioned in Paragraph 5?

单选题They______their conversation when Mr. Chapman came into the office.

单选题Living in the central Australian desert has its problems,______ obtaining water is not the least.

单选题Compared with the writings of Mark Twain"s, Henry James"s fiction is noted for their______.

单选题Many people associate ______ of the first half of the 1950s with crime, delinquency, immorality, and amorality, although it has actually made great contributions to American literature.

单选题It is requested by the government that misleading information______on the packet.

单选题The EU welcomed 10 new members yesterday, among them small nations such as Latvia and Estonia. But what will their______do to the independence debate in Scotland?