单选题Since the Hawaiian Islands have never been connected to other landmasses, the great variety of plants in Hawaii must be a result of the long-distance dispersal of seeds, a process that requires both a method of transport and an equivalence between the ecology of the source area and that of the recipient area. There is some dispute about the method of transport involved. Some biologists argue that ocean and air currents are responsible for the transport of plant seeds to Hawaii. Yet the results of flotation experiments and the low temperatures of air currents cast doubt on these hypotheses. More probable is bird transport, either externally, by accidental attachment of the seeds to feathers, or internally, by the swallowing of fruit and subsequent excretion of the seeds. While it is likely that fewer varieties of plant seeds have reached Hawaii externally than internally, more varieties are known to be adapted to external than to internal transport.

单选题There can be no collapse in the property market because sellers have a real ______to sell if they can't make last year's prices.

单选题That ______ criminal was finally put to death.

单选题You should keep a low ______ before this trouble passes. A. image B. profile C. figure D. shadow

单选题Several experts have been called in to______plan for boating, tennis, refreshments and children's game in the projected town park. A. equipment B. instruments C. implement D. facilities

单选题{{B}}Passage Four{{/B}} Changes in art and cultural history have never been easy to assimilate to political or economic changes. But perhaps we have enough evidence to show that particular sub-ideologies, combined with or supported by a bureaucratic upsurge, have caused, or been associated with, what appear to be downhill trends. Different generations naturally engender different styles. No harm in that. Still, it can be argued that some fashions in the field are less troublesome than others. In an analysis of this sort, one cannot exclude subjectivity. When a writer finds spokesmen of a new generation not susceptible to his or others' earlier work, several notions may occur to him. First, that tastes change. To judge art and culture is indeed, in part, to make a more subjective assessmet of the aesthetics, which is of taste. And if one asserts that a current trend or current trends are negative, one is, of course, open to the retort that, in various epochs, changes of taste have emerged delored by the representatives of earlier trends but later seen as having their own value. True, but it is equally true that some striking and popular new art has soon proved no more than a regrettable and temporary fad. Moreover, our cultural people, in the sense of producers of the arts defined as creative, are now in a strong and unprecedented relationship with the bureaucratic world discussed earlier. Of course, there is no reason to think that sections of the intelligentsia are any sounder on the arts than they are on politics or history. And, here again, they, as a phenomenon, form a far larger social stratum than at any time in the past. It might be argued that, as with the personnel of the state, apparatus proper, there is now such a superfluity of the artistically and literary "educated" class that their very number is part of the means of coping with, and employing part of, the product. There comes to a point, hard to define specifically but more or less obvious, when a regrettable general impression is unarguably convincing—well, not "unarguably," yet beyond serious debate, Still, an organism, or a polity, may present faults seen as lethal that are in practice confortable contained and do not require therapy. Nor would one want there to be any implied use of power from outside institutions or individuals. Even apart from analytics, a great deal of nonsense has been talked or written about art, or rather art. Some reflections seem to be in order. The question of what constitutes "art", and what distinguishes good from less good art, is an old one. We can be certain that humanity was creating what we call art long before the word or the concept existed. And—a further complication—how is it that we all accept that some Paleolithic paintings are among the best of their kind and excel by any standards? Well, not all; there are presumably those who are beyond such acceptance. And in considering the 15 paintings of Lascaux, Altamira, and elsewhere, the question arises: What did their creators think they were doing? Not decorating—they did not live in the caves. So why did these men go deep into them, too deep to see, and paint by the light of cedar wicks set in grease-filled hollow stones'? Why are the hooves of many, but not all, the cattle shown in twisted perspective? "Magic" is a word often used of all this. But it is indisputable that this was not the "hunting magic" found in later, and more distant, "primitive" depictions. "Religious" is also often applied. But magic or religious in what way? We simply don't know—but one thing seems obvious: they did not think of their painting as something called "art". This point was reinforced a few years ago by an interview with a Nigerian village Sculptor of some fine formal statuettes. I suppose you would call them. Asked why he carved them, he could only reply that this is what he did.

单选题 Science Fiction can provide students interested in the future with a basic introduction to the concept of thinking about possible futures in a serious way, a sense of the emotional forces in their own culture that are affecting the shape the future may take, and a multitude of predictions regarding the results of present trends. Although SF seems to take as its future social settings nothing more ambiguous than the current status or its totally evil variant, SF is actually a more important vehicle for speculative visions about macroscopic social change. At this level, it is hard to deal with any precision as to when general value changes or evolving social institutions might appear, but it is most important to think about the kinds of societies that could result from the rise of new forms of interaction, even if one cannot predict exactly when they might occur. In performing this "what if..." function, SF can act as a social laboratory as authors ruminate upon the forms social relationships could take if key variables in their own societies were different, and upon what new belief systems or mythologies could arise in the future to provide the basic rationalizations for human activities. If it is true that most people find it difficult to conceive of the ways in which their society, or human nature itself, could undergo fundamental changes, then SF of this type may provoke one's imagination --to consider the diversity of paths potentially open to society. Moreover, if SF is the laboratory of the imagination, its experiments are often of the kind that may significantly alter the subject matter even as they are being carried out. That is, SF has always had a certain cybernetic effect on society, as its visions emotionally engage the future--consciousness of the mass public regarding especially desirable and undesirable possibilities. The shape a society takes in the present is in part influenced by its image of the future; in this way particularly powerful SF images may become self-fulfilling or self-avoiding prophecies for society. For that matter, some individuals in recent years have even shaped their own life styles after appealing models provided by SF stories. The reincarnation and diffusion of SF futuristic images of alternative societies through the media of movies and television may have speeded up and augmented SF's social feedback effects. Thus SF is not only change speculator but change agent, send an echo from the future that is becoming into the present that is sculpting it. This fact alone makes imperative in any education system the study of the kinds of works discussed in this section.

单选题Its subject is "life-as-spectacle" for readers, diverted by its various incidents, observe its hero Odysseus primarily from without; the tragic Iliad, however, presents "life-as-experience": readers are asked to identify with the mind of Achilles, whose motivations render him a not particularly likeable hero. A. inside B. outside C. lacking D. surrounding

单选题It ______ me to see him in such a bad health. He was such an energetic and strong young man only several months ago.(2006年中国矿业大学考博试题)

单选题The city is an important railroad ______ and industrial and convention center. A. communication B. network C. junction D. link

单选题Space is full of unseen hazards among which are cosmic rays.

单选题Peter will ______ as managing director when Bill retires.

单选题His dislike of the course may prove to be a ______ barrier he cannot overcome.

单选题The problem of pollution as well as several other issues is going to be discussed when the Congress is in ______ again next spring. (2005年清华大学考博试题)

单选题He is a (an) ______ and well-behaved child, but his parents worry about him for he talks too little.

单选题The author skillfully fuses these fragments into a______whole.(2013年10月中国科学院考博试题)

单选题Smoking is so harmful to personal health that it kills people each year ______ than automobile accidents.