中国外交部新闻发言人

化境

Netizen

global climate change

B汉译英/B

九三学社

You' ve seen an advertisement in the "Campus News" offering a scholarship in English literature by a private foundation. Write to the advertiser asking for details. Write your letter with no less than 100 words. Write it neatly on ANSWER SHEET 2. Do not sign your own name at the end of the letter. Use " Wang Ying" instead. You do not need to write the address.

intangible cultural heritage

prudent monetary policy

New Deal

write unsolicited testimonials

博鳌亚洲经济论坛

南水北调

B汉译英/B

Writing as a Native American My writing in my late teens and early adulthood was fashioned after the U.S. short stories and poetry taught in the high schools of the 1940s and 1950s, but by the 1960s, after I had gone to college and dropped out and served in the military, I began to develop topics and themes from my Native American background. The experience in my village of Deetziyarnah and Acoma Pueblo was readily accessible. I had grown up within the oral tradition of speech, social and religious ritual, elders' counsel and advice, countless and endless stories, everyday events, and the visual art that was symbolically representative of life all around. My mother was a potter of the well-known Acoma clayware, a traditional art form that had been passed to her from her mother and the generations of mothers before. My father carved figures from wood and did beadwork. This was not unusual, as Native American people know; there was always some kind of artistic endeavor that people set themselves to, although they did not necessarily articulate it as "Art" in the sense of Western civilization. One lived and expressed an artful life, whether it was in ceremonial singing and dancing, architecture, painting, speaking, or in the way one's social-cultural life was structured. When I turned my attention to my own heritage, I did so because this was my identity, the substance of who I was, and I wanted to write about what that meant. My desire was to write about the integrity and dignity of a Native American identity, and at the same time I wanted to look at what this was within the context of an America that had too often denied its Native American heritage. To a great extent my writing has a natural political-cultural bent simply because I was nurtured intellectually and emotionally within an atmosphere of Native American resistance. The Acoma Pueblo, despite losing much of their land and surrounded by a foreign civilization, have not lost sight of their native heritage. This is the factual case with most other Native American peoples, and the clear explanation for this has been the fight-back we have found it necessary to wage. At times, in the past, it was outright armed struggle; currently, it is often in the legal arena, and it is in the field of literature: In 1981, when I was invited to the White House for an event celebrating American poets and poetry, I did not immediately accept the invitation. I questioned myself about the possibility that 1 was merely being exploited as an Indian, and I hedged against accepting. But then I recalled the elders going among our people in the poor days of the 1950s, asking for donations—a dollar here and there, a sheep, perhaps a piece of pottery—in order to finance a trip to the nation's capital. They were to make another countless appeal on behalf of our people, to demand justice, to reclaim lost land even though there was only spare hope they would be successful. I went to the White House realizing that I was to do no less than they and those who had fought in the Pueblo Revolt of 1680, and I read my poems and sang songs that were later described as "guttural" by a Washington D.C. newspaper. I suppose it is more or less understandable why such a view of Native American literature is held by many, and it is also clear why there should be a political stand taken in my writing and those of my sister and brother Native American writers. The 1960s and afterward have been an invigorating and liberating period for Native American people. It has been only a little more than twenty years since Native American writers began to write and publish extensively, but we are writing and publishing more and more; we can only go forward. We come from an ageless, continuing oral tradition that informs us of our values, concepts, and notions as native people, and it is amazing how much of this tradition is ingrained so deeply in our contemporary writing, considering the brutal efforts of cultural repression that was not long ago outright US policy. We were not to speak our languages, practice our spiritual beliefs, or accept the values of our past generations; and we were discouraged from pressing for our natural rights as Native American human beings. In spite of the fact that there is to some extent the same repression today, we persist and insist in living, believing, hoping, loving, speaking, and writing as Native Americans.Questions 11-15:Decide whether the following statements are TRUE, FALSE or NOT GIVEN.

black sheep

epidemic disease

A Tale of Two Cities

knowledge industry

近年来，海淀区围绕高新技术产业的技术创新和公共科技服务需求，加速各种创新要素的聚集，不断完善科技服务业，基本形成了研发设计、成果转移转化、创新创业、科技金融和科技咨询等科技服务业的完整链条，有效的促进了科技成果的转化和产业化。主要概括为“五化”。一、发挥科技资源密集的优势，以企业为主体，以市场为导向，政产学研协同创新；二、鼓励和引导高校和科研院所通过技术转移中心和产业技术研究院的平台开展科技成果转化；三、培育和支持高新技术产业创新、创业服务新业态的发展，推动投资主体多元化、运行机制多样化的孵化器建设；四、进一步推动设立科技金融专营机构，集中力量聚焦战略性新兴产业领域，为轻资产的软件和信息服务等科技型企业提供全链条的金融支持；五、鼓励知识产权代理机构、信息咨询公司、会计事务所、法律事务所、投资和管理咨询等专业服务机构为科技型企业提供支持，推动其创新发展。