单选题The world's biggest farm refers to A. New Zealand. B. Australia. C. Canada. D. The Republic of Ireland.

单选题In this section you will hear everything ONCE ONLY. Listen carefully and then answer the questions that follow. Mark the correct answer to each question on your answer sheet. Questions 1 to 5 are based on an interview. At the end of the interview you will be given 10 seconds to answer each of the following five questions.

单选题Whathabithasthewomanrecentlygotteninto?

单选题Ernest Hemingway is one of the most famous American novelists, short-story writers and essayists, whose simple prose style in the works like ______ have influenced a wide range of writers. A. All the King's Men B. The Sun Also Rises C. The Color Purple D. The Adventures of Huckleberry Finn

单选题Harry Potter: The End Is Here What a lot of commotion over a book. Not since 19th-century New Yorkers anxiously crowded the Manhattan docks to be the first to discover the serialized fate of Dickens's Little Nell have people gotten so excited about fiction. For weeks now, the rumors have flown over the Internet: Harry lives! Harry dies! Last week the excitement reached a new pitch as the hoopla soared to unprecedented levels that not even the well-oiled publicity machinery of publishers could have ignited. Books fell into the hands of eager fans despite the closely monitored embargo of the 12 million copies —when you have 12 million copies of anything, sooner or later something's going to fall off a truck. Once the novel was on the streets, photocopies were quickly posted online. Spoilers went to work revealing the fates of various characters—and got a lot wrong. Even more-diligent fans got busy retyping the entire book to put online. Most astonishing, someone posted a bogus version of the novel that ran to well over 600 pages. That it wasn't much good is beside the point. Has anyone ever done this: sat down and composed an entirely fake version of anything on the eve of the real thing's debut? No book, no matter how wonderful, could live up to that sort of expectation. But let's say it right here: "Harry Potter and the Deathly Hallows" comes as close as any novel could. It's not without its flaws, and at 759 pages not without more than a little windiness. But when set against this final installment's achievements, its imperfections seem mighty inconsequential. Writing a decent sequel to a good novel is hard. Writing six of them is almost unheard of. Each of the "Harry Potters" deserves to stand on the shelf with its mates, and the last one more than fulfills the promise of the first six. After a leisurely start, including a wedding scene at the Weasleys that goes on and on, Rowling hits the accelerator and never takes her foot off the floor for the next 500 pages. "Action packed" is a pale description of this novel's many battles between the forces of good and evil. Rowling is not especially gifted with dialogue or subtle characterizations. Sometimes she explains things too much or too often. But she is refreshingly unsentimental—well, almost always: there's no explaining what made her write that cloying, too-cute epilogue. And she has a true storyteller's knack for incident and plot twists and what may modestly be described as a genius for fleshing out her magical world with a host of details that make it seem more real than the reader's own. To cite but one example: the "pensieve," a bowl into which one may submerge oneself to see the memories of another. Even readers too young to get the pun built into that word will be taught unconsciously to look more closely at words, to look for meanings beyond the obvious. More than that, though, Rowling succeeds because she refuses to condescend to her readers (most of the time: there is a moment, as the final climax approaches, when the younger students at Hogwarts are shooed away because they're "underage," but wait—this is to be the battle to see if good or evil will triumph, and we're worrying about kids being underage? Or is this another wry joke from Rowling at all the overcautious parents who worry about what young readers are being exposed to? Never underestimate this cagey author). The last installment is a fitting cap to the series because it does not merely tie off loose ends but extends the scope of the story. It is darker, as she's promised, but more significantly, it goes deeper. People die, yes, including a few whom readers care about. But the series is not about whether Harry survives, but about how he faces life and death. More specifically, it is about growing up—about the pains of growing up. In the last installment, Harry faces life largely on his own—he even comes to doubt the motives of his mentor, Albus Dumbledore. Most important, he comes face to face with his own mortality, with the necessity of seeing life and death as intertwined. The sadness that many readers will experience—oh, all right, the tears they will shed—when they close the cover on this novel has nothing to do with the fate of the characters and everything to do with maturity. "Harry Potter and the Deathly Hallows" is about, more than anything else, the end of childhood. The readers who have grown up with this series—who have read it, as it were, in real time as it unfolds —are themselves at that end. Saying goodbye to Harry is like saying goodbye to a piece of themselves. Rowling has honored their patience with a work as sincere and profound as anything they could ask for, with the bonus that'any time they want to relive that childhood, they only have to pick up volume one and begin again. And if that's not magic, what is?

单选题In the United States, only ______ has the power to make laws. A. the Supreme Court B. the President C. the Senate D. the Congress

单选题Whatisthemainideaofthenewsitem?A.UKhastrainedfarmorenursesthanitneeds.B.UKisfacingunemploymentanddownsizing.C.UKislosingitsnursestoAustraliainemployment.D.UKshouldencouragenursestoworkinAustralia.

单选题Questions 1 to 5 are based on an interview. At the end of the conversation you will be give 10 seconds to answer each of the following five questions.Now listen to the interview.

单选题In 1689, the Bill of Rights, which ensured that the King would never be able to ignore Parliament, was passed under the reign of

单选题In Paragraph 1, the word "consumers" most probably refers to______.

单选题How many morphemes is the word "undesirability" composed of?.A. Seven. B. Two C. Three. D. Four.

单选题Questions 8 and 9 are based on the following news. At the end of the news item, you will be given 20 seconds to answer the questions. Now listen to the news.

单选题The author believes that "rote rehearsal" is ______.

单选题Considering how jazz is transcribed in Chinese (jueshi), you may be misled into assuming that it is an aristocratic cultural form. Nothing could be further from the truth. It originated among black Americans at the end of the 19th century, at a time when they occupied the very bottom of the American social heap. So how has something that was created by a once downtrodden and despised minority acquired a central place in today's American culture? Mr. Darrell A. Jenks, director of the American Center for Educational Exchange, and also a drummer in the jazz band Window, analyses the phenomenon for us here. Perhaps the essence of America is that you could never get two Americans to agree on just what that might be. After thinking about it for a while, we might chuckle and say, "Hmm, seems like being American is a bit more complicated than we thought. " Certainly things like individualism, success (the "American Dream"), innovation and tolerance stand out. But these things come together because of our ability to work with one another and find common purpose no matter how diverse we might be. Some, like African-American writer Ralph Ellison, believe that jazz captures the essence of America. For good reason, for in jazz all of the characteristics I mentioned above come together. The solos are a celebration of individual brilliance that can't take place without the group efforts of the rhythm section. Beyond that, though, jazz has a connection to the essence of America in a much more fundamental way. It is an expression of the African roots of American culture, a musical medium that exemplifies the culture of the Africans whose culture came to dominate much of what is American. That's right, in many respects America's roots are in Africa. Read Ralph Ellison's perceptive description of the transformation of separate African and European cultures at the hands of the slaves: "... the dancing of those slaves who, looking through the windows of a plantation manor house from the yard, imitated the steps so gravely performed by the masters within and then added to them their own special flair, burlesquing the white folks and then going on to force the steps into a choreography uniquely their own. The whites, looking out at the activity in the yard, thought that they were being flattered by imitation and were amused by the incongruity of tattered blacks dancing courtly steps, while missing completely the fact that before their eyes a European cultural form was becoming Americanized, undergoing a metamorphosis through the mocking activity of a people partially sprung from Africa. " (Ralph Ellison, Living with Music, pp 83-84). Jazz brought together elements from Africa and Europe, fusing them into a new culture, an expression unique to the Americans. Out of this fusion came an idea that we Americans believe central to our identity: tolerance. Both cultures represented in Ellison's passage eventually came to realize each other's value. Americans acknowledge that in diversity is our strength. We learn every day that other cultures and peoples may make valuable contributions to our way of life. Jazz music is the embodiment of this ideal, combining elements from African and European cultures into a distinctly American music. Jazz reflects two contradictory facets of American life. On the one hand it is a team effort, where every musician is completely immersed in what the group does together, listening to each of the other players and building on their contributions to create a musical whole. On the other hand, the band features a soloist who is an individual at the extreme, a genius like Charlie Parker who explores musical territory where no one has ever gone before. In the same sense, American life is also a combination of teamwork and individualism, a combination of individual brilliance with the ability to work with others. We hope that many Chinese friends can bring their own unique contributions to our music, adding their own culture to our American heritage. As Ralph Ellison said of the US, "We have the Bill of Rights, the Constitution, and we have jazz. /

单选题Paradise Lost is a long ______ divided into 12 books.

单选题Which of the following is the masterpiece by Theodore Dreiser?A. Sister Carrie B. Jennie GerhardtC. The Genius D. An American Tragedy

单选题TEXT A Except at night, they hardly ever have time together. He often sits alone in the house waiting for Julie tocome home. It would be nice to have kids to play with when one comes home from work. But, Oh, the houseis too small, Kappy-Pappy dear. We need to save and move to a bigger place before we can start a family. Kapsak never understands that. What does a big house have to do with having children? When he and Eka Udo had children, did they have a big house? But they died, didn't they? And the doctor later said something about cramped living conditions making it easy for malaria to virtually wipe out his family. So maybe Julie has a point. All his children had died because of being cooped up in one room. All except Udo. Udo Kapsak would not ordinarily admit it but the truth is he misses the boy so much. Udo's full-faced smile. His quirky-chirpy ways. His innocent probing manner. Oh Udo! He'll be approaching five now. Five! A big baby! Sighing noisily, Kapsak tries to put thoughts of his son out of his mind. He has not seen the boy for over three years. And maybe he has gone the way his brother and sisters went. No. Not likely. Awadamoto would have told him. Awadamoto. It's been a long time since Kapsak saw him. Throwing on a shirt, Kapsak hurries off to the taxi rank in the business district. "Kapsak, Kapsak!" Awadamoto cheers as his childhood friend approaches. "Awadam0to! You have abandoned me! Use that word lightly, Kapsak. You know who has done the most abandoning between me and you. "" But Awad, we live here in town together. " "Blame that wife of yours. I did not go to school and I don't like going near peo- ple who make me remember that all the time. "Kapsak has it in mind to say something good about his wife, but something else jumps to his mouth. "Come Awad, what is Gestapo? Gestafo? No, Gestapo. "" Man, I don't know. Where did you hear it? Eh, I heard it somewhere. How is the village? Exactly as you left it. " "And..." "Eka Udo?" "Yes. How is she? How does it concern you? Anyway, I heard some big chief from her mother's village has taken her for his third wife. " "What about my son? Is it well with him? You would have known if you had bothered to go and check on him. Look, it's my turn. " Bawling out to passengers to climb into his ramshackle taxi, Awadamoto ambles off. It is pouring heavily when Julie returns. Outside, it is rain. Inside, it is confusion. Kapsak is at first happy to see her back safely. Then his happiness turns to anger as she carries on about what an exciting time she had. Finally his anger succumbs to her gentle caresses and passion rules their world. Julie shoots out at first light. "I've got to see someone urgently, Kappy-Pappy. "Kappy-Pappy, that is my name now, Kapsak laughs to himself as he shuffles off to the construction site where he manages to earn a few bucks. On his way into the main yard, he ducks out of the way of a fast-moving four-wheel drive vehicle driven by an expatriate. Cursing lightly, he looks back to see the driver locked in a passionate kiss with a woman with luxuriant hair. "No wonder he nearly killed me!"Kapsak spits out. "Early morning and he's already..." His mouth remains open but the words dry up like the water taps of the city. The woman with the expatriate turns momentarily, perhaps to pick up something from the backseat. In that instant. Kapsak sees clearly the woman for whom he had left his first wife and forsaken his family and people. But he does not see the earthmover in front of him. Neither does he hear its powerful horns. And the driver of the earthmover does not see Kapsak. By the time someone notices the crushed figure lying by the roadside, a blackening pool of blood has begun to seep into the earth.

单选题{{B}}TEXT B{{/B}} "When I direct Shakespeare," theatrical innovator Peter Sellars once said, "the first thing I do is go to the text for cuts. I go through to find the passages that are really heavy, that really are not needed, places where the language has become obscure, places where there is a bizarre detour. And then I take those moments, those elements, and I make them the centerpiece, the core of the production." In the sober matter of staging Shakespeare, such audaciousness is hard to resist -- though a lot of Chicago theatre-goers have been able to. Typically, a third of the people who have been showing up at the Goodman Theatre to see Sellars' ingenious reworking of The Merchant of Venice have been walking out before the evening is over. It's no mystery. Why? The evening isn't over for nearly four hours. Beyond that, the production pretty much upends everything the audience has come to expect from one of Shakespeare's most troubling but reliable entertaining comedies. The play has been transplanted from the teeming, multicultural world of 15th century Venice, Italy, to the teeming, multicultural world of 1994 Venice Beach, California, where Sellars lives when he isn't setting Don Giovanm in Spanish Harlem, putting- King Lear in a Lincoln Continental or deconstructing other classic plays and operas. Shylock, along with the play's other Jews, is black. Antonio, the merchant of the title, and his kinsmen are Latinos. Portia, the wealthy maiden being wooed by Antonio's friend Bassanio, is Asian. But the racial shuffling is just one of Sellars' liberties. The stage is furnished with little but office furniture, while video screens simulcast the actors in close-up during their monologues, (and, in between, display seemingly unrelated Southern California scene, from gardens and swimming pools to the L. A. riots). Cries of anguish come from the clowns, and the playfully romantic final scene, in which Portia teases Bassanio for giving away her ring to the lawyer she played in disguise, is re-imagined as the darkest, most poisonously unsettling passage in the play. Some of this seems to be sheer perversity, but the real shock of Sellars' production is how well it works both theatrically and thematically. The racial casting, for instance, is a brilliant way of defusing the play's anti-Semitism -- turning it into a metaphor for prejudice and materialism in all its forms. Paul Butler is a hardhearted ghetto businessman who, even when he is humiliated at the end, never loses his cool or stoops for pity. Wrongheaded and tortuous as this Merchant sometimes is, the updating is witty and apt. The "news of the Rialto" becomes fodder for a pair of gossip reporters on a happy-talk TV newscast. Shylock's trial is presided over by a mumbling, superannuated judge who could have stepped fight out of Court TV. With a few exceptions -- Elaine Tse's overwrought Portia, for instance -- the actors strike a nice balance between Shakespeare's poetry and Sellars' stunt driving. For the rest of us, it's a wild ride.

单选题The PT Cruiser excels the New Beetle Convertible with all the following qualities EXCEPT that______.

单选题In writing the poem "The River - Merchant’s wife: A letter", Pound took its material front the ancient______ poetry.