单选题A.Sheiseagertobeacceptedbytheuniversity.B.SheiswaitingtoseeifshecouldgetthejobfromCole's.C.SheisexpectingtoseeifColewouldlendhersomecash.D.Shehasnoideaaboutwhethershecanaffordtheuniversitytuition.

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单选题Don"t hate those people who are perky (精力充沛的) and efficient after only a few hours of sleep. They can"t help it. New research suggests that a genetic mutation (基因突变) may explain why some people sleep less. In 2001, geneticist Ying-Hui Fu and colleagues identified a mutation in a gene called Per2 that appeared to cause Familial Advanced Sleep-Phase Syndrome (FASPS). People who have this condition sleep a normal 8 hours, but they go to bed earlier than most people, retiring at 6 or 7 in the evening and waking at 3 or 4 in the morning. "After that was published, a lot of these people with unusual sleep schedules came to us," says Fu, who is now at the University of California, San Francisco. "So we started to collect DNA samples." The team now has genetic information from more than 60 families. Fu and her colleagues have spent the past several years mining this vast genetic storehouse for more mutations that might affect sleep patterns. In 2005, they uncovered another mutation associated with FASPS. And now they say they have found the first genetic mutation in humans that appears to affect sleep duration rather than sleep timing. The mutation lies in DEC2, a gene that codes for a protein that helps turn off expression of other genes, including some that control circadian rhythm (生理节律), the internal clock (生物钟) that regulates a person"s sleep-wake cycle. The mutation occurred in just two people, a mother and her daughter. The women sleep an average of only 6.25 hours, whereas the rest of the family members sleep a more typical 8 hours. To confirm that this mutation shortens sleep, Fu and colleagues engineered mice to carry the mutant form of DEC2. The mutant mice slept about an hour less than normal mice, the team reports on 13 August in Science. The finding also held for fruit flies: Mutant flies slept about 2 hours less than normal flies. DEC2 likely isn"t the whole story when it comes to short sleep. "Genetic control of sleep is going to be complex and is going to include multiple types of genes," says Shaw, who was not affiliated with (与......有关系) the study. But that doesn"t diminish the importance of this paper, he notes. "It"s really an amazing piece of work." "The findings", says Fu, "could lead to better treatments for sleep disorders". If the mutated form of DEC2 were available in a pill, Fu says she"d take it, noting that she needs about 8 hours of shuteye a night to feel rested. "All my life I"ve wanted to be able to sleep less."

单选题American dramas and sitcoms (连续剧) would have been candidates for prime time several years ago. But today those programs--though some remain popular- increasingly occupy fringe times slots on foreign networks. Instead, a growing number of shows produced by local broadcasters are on the air at the best times. The shift counters longstanding assumptions that TV shows produced in the United States would continue to overshadow locally produced shows from Singapore to Sicily. The changes are coming at a time when the influence of the United States on_ international affairs has chafed (使恼火) friends and foes, and some people are expressing relief that at least on television American culture is no longer quite the force it once was. "There has always been a concern that the image of the world would be shaped too much by American culture," said Dr. Jo Groebek, director general of the European Institute for the Media, a non-profit group. Given the choice, he adds, foreign viewers often prefer homegrown shows that better reflect local tastes, cultures and historical events. Unlike in the United States, commercial broadcasting in most regions of the world--including Asia, Europe and a lesser extent Latin American, which has a long history of commercial TV--is a relatively recent development. A majority of broadcasters in many countries were either state-owned or state- subsidized for much of the last century. Governments began to relax their control in the 1980's by privatizing national broadcasters and granting licenses to dozens of new commercial networks. The rise of cable and satellite pay-television increased the spectrum of channels. Relatively inexperienced and often financed on a shoestring, these new commercial stations needed hours of programming fast. The cheapest and easiest way to fill airtime was to buy shows from American studios, and the bidding wars for popular shows were fierce. The big American studios took advantage of that demand by raising prices and forcing foreign broadcasters to buy less popular programs if they wanted access to the best-selling shows and movies. "The studios priced themselves out of prime time," said Harry Evans Sloan, chairman of SBS Broadcasting, a Pan-European broadcaster. Mr. Sloan estimates that over the last decade, the price &American programs has increased fivefold even as the international ratings for these shows have declined. American broadcasters are still the biggest buyers of American-made television shows, accounting for 90% of the $25 billion in 2001 sales. But international sales which totaled $2.5 billion last year often make the difference between a profit and a loss on a show. As the pace of foreign sales slows--the market is now growing at 5% a year, down from the double-digit growth of the 1990's--studio executives are rethinking production costs.

单选题Passage Three Questions 33 to 35 are based on the passage you have just heard.

单选题The longest bull run in a century of art-market history ended on a dramatic note with a sale of 56 works by Damien Hirst, "Beautiful Inside My Head Forever", at Sotheby"s in London on September 15th 2008. All but two pieces sold, fetching more than $70m, a record for a sale by a single artist. It was a last victory. As the auctioneer called out bids, in New York one of the oldest banks on Wall Street, Lehman Brothers, filed for bankruptcy, triggering the most severe financial crisis since the 1920s. The world art market had already been losing momentum for a while after rising bewilderingly since 2003. At its peak in 2007 it was worth some $65 billion, reckons Clare McAndrew, founder of Arts Economics, a research firm—double the figure five years earlier. Since then it may have come down to ＄50 billion. But the market generates interest far beyond its size because it brings together great wealth, enormous egos, greed, passion and controversy in a way matched by few other industries. In the weeks and months that followed Mr. Hirst"s sale, spending of any sort became deeply unfashionable. In the art world that meant collectors stayed away from galleries and salerooms. Sales of contemporary art fell by two-thirds, and in the most overheated sector, they were down by nearly 90% in the year to November 2008. Within weeks the world"s two biggest auction houses, Sotheby"s and Christie"s, had to pay out nearly $200m in guarantees to clients who had placed works for sale with them. The current downturn in the art market is the worst since the Japanese stopped buying Impressionists at the end of 1989. This time experts reckon that prices are about 40% down on their peak on average, though some have been far more volatile (动荡的). But Edward Dolman, Christie"s chief executive, says, "I"m pretty confident we"re at the bottom." What makes this slump different from the last, he says, is that there are still buyers in the market, whereas in the early 1990s, when interest rates were high, there was no demand even though many collectors wanted to sell. Christie"s revenues in the first half of 2009 were still higher than in the first half of 2006. Almost everyone who was interviewed for this special report said that the biggest problem at the moment is not a lack of demand but a lack of good work to sell. The three Ds—death, debt and divorce—still deliver works of art to the market. But anyone who does not have to sell is keeping away, waiting for confidence to return.

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单选题{{B}}Directions:{{/B}}{{I}} In this section, you will hear 8 short conversations and 2 long conversations. At the end of each conversation, one or more questions will be asked about what was said. Both the conversation and the questions will be spoken only once. After each question there will be a pause. During the pause, you must choose the best answer from the four choices marked A), B), C) and D). Then mark the corresponding letter on Answer Sheet 2 with a single line through the centre.{{/I}} {{B}}Questions 11 to 18 are based on the conversation you have just heard.{{/B}}

单选题Many objects in daily use have clearly been influenced by science, but their form and function, their dimensions and appearance were determined by technologists, artisans, designers, inventors, and engineers--using nonscientific modes of thought. Many features and qualities of the objects that a technologist thinks about cannot be reduced to unambiguous verbal descriptions; they are dealt with in the mind by a visual, nonverbal process. ①In the development of Western technology, it has he en nonverbal thinking, by and large, that has fixed the outlines and filled in the details; and rockets exist not because of geometry or thermodynamics (热力学), but because they were first a picture in the minds of those who built them. The creative shaping process of a technologist's mind can be seen in nearly every artifact that exists. For example, in designing a diesel engine, a technologist might impress individual ways of nonverbal thinking on the machine by continually using an intuitive sense of rightness and fitness. What would be the shape of the combustion chamber? Where should the valves be placed? Should it have a long or short piston? Such questions have a range of answers that are supplied by experience, by physical requirements, by limitations of available space, and not least by a sense of form. Some decisions, such as wall thickness and pin diameter, may depend on scientific calculations, but the nonscientific component of design remains primary. Design courses, then, should be an essential element in engineering curricula. Nonverbal thinking, a central mechanism in engineering design, involves perceptions, the stock in trade of the artist, not the scientist. ②Because perceptive processes are not assumed to entail. "hard thinking", nonverbal thought is sometimes seen as a primitive stage in the development of cognitive processes and infeiror to verbal or mathematical thought, ③But it is paradoxical that when the staff of the Historic American Engineering Record wished to have drawings made of machines and isometric(等比例 的)views of industrial processes for its historical record of American engineering, the only college students with the requisite abilities were not engineering students, but rather students attending architectural schools. ④If courses in design, which in a strong]y analytial engineering curriculum provide the backgound required" for practical problem solving, are not provided, we can expect to encounter silly but costly enors gccurring in advanced engineering systems. For example, early models of high-speed railroad cars loaded with high-tech controls were unable to operate in a snowstorm because the fan sucked snow into the electrical system. ⑤Absurd random failures that plague automatic control systems are not merely trivital aberrations(失常); they are a reflection of the chaos that results when design is assumed to be primarily a prgblem in mathematics:

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单选题[A]Theclassroomwasunderconstruction.[B]Hecouldn'tfocusontheclassduetothenoise.[C]Hefeltthathisstudyingwasnoteffective.[D]Hewentbacktogetthebookleftathome.

单选题Ice particles bouncing off hail falling through a cloud acquire______.

单选题-- The radio says it will be raining tomorrow. -- I'll stay at home if it ______. [A] rains [B] will rain [C] rained

单选题Which of the following is one of the areas that the states governments is involved in the nineteenth century?

单选题{{B}}Passage Two{{/B}} Everyone has a moment in history, which belongs particularly to him. It is the moment when his emotions achieve their most powerful sway over him; and afterward when you say to this person "the world today" or "life" or "reality", he will assume that you mean this moment, cyan if it is fifty years past. The world, through Ms unleashed emotions, imprinted itself upon him, and he carries the stamp of that passing moment forever. For me, this moment—four years in a moment in history—was the war. The war was and is reality for me. I still instinctively live and think in its atmosphere. These are some of its characteristics: Franklin Delano Roosevelt is the president of the United States, and he always has been. The other two eternal world leaders are Winston Churchill and Joseph Stalin. America is not, never has been, and never will be what the songs and poems call it, a land of plenty. Nylon, meat, gasoline, and steel are rare. There are too many jobs and not enough workers. Money is very easy to earn but rather hard to spend, because there isn't very much to buy. Trains are always late and always crowded with "service men". The war will always be fought very far from America, and it will never end. Nothing in America stands still for very long, including the people who are always either leaving or on leave. People in America cry often. Sixteen is the key, crucial and natural age for a human being to be, and people of all other ages are ranged in an orderly manner ahead of and behind you as a harmonious setting for the sixteen-year-olds of the world. When you are sixteen, adults are slightly impressed and almost intimidated by you. This is a puzzle finally solved by the realization that they foresee your military future: fighting for them. You do not foresee it. To waste anything in America is immoral. String and tinfoil are treasures. Newspapers are always crowded with strange maps and names of towns, and every few months the earth seems to lurch(突然倾斜) from its path when you see something in the newspapers, such as the time Mussolini, who almost seemed one of the eternal leaders, is photographed hanging upside down on a meat hook.

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