单选题The present established church in Scotland is ______.

单选题______is NOT the work by Walter Scott.A. Emma B. Woodstock C. Marimon D. Kenilworth

单选题According to the passage, prostitution falls into the category of______.

单选题The attitude held by the assured towards language is

单选题Of the following four types of music, ______ is considered the native American music.

单选题As for functions of language, Jakobson defined the following key elements of communication: Speaker, Addressee, Context, Message, Code and

单选题Between 1337 and 1453 the ______ took place in Britain. A. Wars of Roses B. Black Death C. Hundred Years' War D. Peasants Uprising

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单选题The author means ______ by "whole persons" in Par

单选题Most of poems in Leaves of Grass was about _____.

单选题{{B}}TEXT E{{/B}} This is the weather Scobie loves. Lying in bed he touches his telescope lovingly, turning a wistful eye on the blank wall of rotting mud-bricks which shuts off his view of the sea. Scobie is getting on for seventy and still afraid to die; his one fear is that he will awake one morning and find himself dead—Lieutenant-Commander Scobie, O. B. E. Consequently it gives him a seuere shock every morning when the water carriers shriek under his window before dawn, waking him up. For a moment, he says, he dares not open his eyes. Keeping them fast shut (for fear they might open on the heavenly host) ho gropes along the cake stand beside his bed and grabs his pipe. It is always loaded from the night before and an open matchbox stands beside it. The first whiff of tobacco restores both his composure and his eyesight. He breathes deeply, grateful for reassurance. He smiles. He gloats. Then, drawing the heavy sheepskin, which serves him as a bed-cover up to his ears, he sings a little triumphal song to the morning. Taking stock of himself he discovers that ho has the inevitable headache: His tongue is raw from last night's brandy. But against these trifling discomforts the prospect of another day in life weighs heavily. He pauses to slip in his false teeth. He places his wrinkled fingers to his chest and is comforted by the sound of his heart at work. He is rather proud of his heart. If you ever visit him when he is in bed he is almost sure to grasp your hand in his and ask you to feel it. Swallowing a little, you shove your hand inside his cheap night-jacket to experience those sad, blunt, far-away bumps—like those of an unborn baby. He buttons up his pajamas with touching pride and gives his imitation roar of animal health— " Bounding from my bed like a lion" that is another of his phrases. You have not experienced the full charm of the man unless you have actually seen him, bent double with rheumatism, crawling out from between his coarse cotton sheets like a ruin. Only in the warmest months of the year do his bones thaw out sufficiently to enable him to stand erect. In the summer afternoons he walks in the park, his little head glowing like a minor sun, his jaw set in a violent expression of health. His tiny nautical pension is hardly enough to pay for one cockroach-infested room; he ekes it out with an equally small salary from the Egyptian government, which carries with it the proud title of Bimbashi in the Police Force. Origins he has none. His past spreads over a dozen continents like a true subject of myth. And his presence is so rich with imaginary health that he needs nothing more except perhaps an occasional trip to Cairo during Ramadhan, when his office is closed and presumably all crime comes to a standstill because of the past.

单选题 Itzik Galili really is an artist of the floating world. Born in Israel in 1961, he moved to Amsterdam when he was 30 and is shaping up as one of Europe's most idiosyncratic choreographers. Mr. Galili holds dual Israeli and Dutch citizenship. He has three children in Israel and visits them every ten days. In addition to his native Hebrew, he also speaks good English and Dutch. Mr. Galili is highly regarded in the Netherlands. Marking the tenth anniversary of the founding of his company, Galili Dance, a new show, "Heads or Tales", has been receiving enthusiastic reviews as it tours the country. Fiercely contemporary, "Heads or Tales" is full of gorgeous imagery, compelling ensemble work and arresting solos. One thing it is not, though, is balletic. Scenes include a naked man being showered with bits of paper, men doing the pogo, and a man and woman engaged in tentative ballet while conducting a dialogue about genocide. Mr. Galili's artistic style is confrontational: athletic, unsentimental and often witty. He claims not to be specifically political, believing that politics and choreography rarely sit well together. But in "For Heaven's Sake", a powerful piece that he first staged in 2001 and which he revised last year, the images of occupation—conjuring up the Israelis in Palestine, perhaps, or the Americans in Iraq—could not be mistaken for anything else. Ten years ago, Mr. Galili moved from Amsterdam to the northern town of Groningen. A friend had called, urging him to apply for a position there as director of dance. Mr. Galili got the job. Groningen is a pleasant place, with an old university, but its claims to fame do not extend too much beyond the industrial processing of sugar-beet and a glorious 15th-eentury tower. "Who would want to go to Groningen?" asks Mr. Galili with an ironic smile. Yet in many respects it was a shrewd move. For such a small country, the Netherlands has an unusual quantity of world-class dance troupes, including the Dutch National Ballet, based in Amsterdam, and the more experimental Netherlands Dance Theatre (NDT) in The Hague. Both fill theatres across the globe. In Groningen, though, Mr. Galili is dance's top dog. That allows him to work with a freedom and intensity that he might not be permitted were he competing with a bigger troupe in a major urban centre. One measure of Galili Dance's status is the number of young hopefuls who want to join. The full tally of its performing employees amounts to only ten people. Yet once or, at most, twice a year, Mr. Galili sees between 350 and 500 applicants over three days each time. Small, for Mr. Galili, is clearly beautiful. His thinking about dance is correspondingly original. Talent, even if discernible from an early stage, develops only slowly. Almost everything begins in improvisation, and his aim is never merely to make an audience laugh or cry. There must always be a journey "within", he says. Mr. Galili knew nothing about dance until he was in his early 20s. He had had a disrupted childhood, with his parents divorcing and his mother suffering a breakdown. He and two other siblings were fostered by three different families, and Mr. Galili recalls with evident pain that he grew up in 17 different places between the ages of five and 18. After doing his military service in Israel in the early 1980s, he caught the dance bug when watching five men dancing to a Greek folk tune; he had always loved Greek music.

单选题The study of a language as it changes through time is ______ linguistic. A. comparative B. diachronic C. up-to-date D. descriptive

单选题The proposal as offered by Kaus ______.

单选题______ has the world's oldest written constitution and political party.A. America B. Canada C. Britain D. Australia

单选题Linguistics use _______ to refer to the abstract linguistic system shared by the members of a speech community.

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单选题 {{B}}TEXT A{{/B}} Web Du Bois was born a free man in his small village of Great Barington, Massachusetts, three years after the Civil War. For generations, the Du Bois family had been an accepted part of the community since before his great-grandfather had fought in the American Revolution. Early on, Du Bois was given an awareness of his African-heritage, through the ancient songs his grandmother taught him. This awareness set him apart from his New England community, with an ancestry shrouded in mystery, in sharp contrast to the precisely accounted history of the Western world. This difference would be the foundation for his desire to change the way African-Americans co-existed in America. As a student, Du Bois was considered something of a prodigy who excelled beyond the capabilities of his white peers. He found work as a correspondent for New York newspapers, and slowly began to realize the inhibitions of social boundaries he was expected to observe every step of the way. When racism tried to take his pride and dignity, he became more determined to make sure society 'recognized his achievements. Clearly, Du Bois showed great promise, and although he dreamt of attending Harvard, some influential members Of his community arranged for his education at Fisk University in Nashville. His experiences at Fisk changed his life, and he discovered his fate as a leader of the black struggle to free his people from oppression. At Fisk, Du Bois became acquainted with many sons and daughters of former slaves, who felt the pain of oppression and shared his sense of cultural and spiritual tradition. In the South, he saw his people being driven to a status of little difference from slavery, and saw them terrorized at the polls. He taught school during the summers in the eastern portion of Tennessee, and saw the suffering firsthand. He then resolved to dedicate his life to fighting the terrible racial oppression that held the black people down, both economically and politically. Du Bois's determination was rewarded with a scholarship to Harvard, where he began the first scientific sociological studies in the United States. He felt that through science, he could dispel the irrational prejudices and ignorance that prevented racial equality. He went on to create great advancements in the study of race relations, but oppression continued with segregation laws, lynching, and terror tactics on the rise. Du Bois then formed the Niagara Movement, and in 1909, was a vital part in establishing the National Association for the Advancement of Colored People. He was also the editor of the NAACP magazine The Crisis from 1910 to 1934. In this stage of his life, he encouraged direct assaults on the legal, political, and economic system, which he felt blossomed out of the exploitation of the poor and powerless black community. He became the most important black protest leader of the first half of the 20th century. His views clashed with Booker T. Washington, who felt that the black people of America had to simply accept discrimination, and hope to eventually earn respect and equality through hard work and success. Du Bois wrote The Souls of Black Folk in 1903, criticizing Booker, claiming that his ideas would lead to a perpetuation of oppression instead of freeing the black people from it. Du Bois's criticism lead to a branching out of the black civil rights movement, Booker% conservative followers, and a radical following of his critics. Du Bois had established the Black .Nationalism that was the inspiration for all black empowerment throughout the civil rights movement, but had begun during the progressive era. Although the movement that germinated from his ideas may have taken on a more violent form, Web Du Bois felt strongly that every human being could shape their own destinies with determination and hard work. He inspired hope by declaring that progress would come with the success of the small struggles for a better life.

单选题The passage is taken from______.

单选题The largest and smallest states of the United States are_____. A. Alaska and Rhode Island. B. Texas and Maine. C. Texas and Rhode Island. D. Alaska and Maine.