填空题. SECTION A MULTIPLE-CHOICE QUESTIONS In this section there are four passages followed by fourteen multiple choice questions. For each multiple choice question, there are four suggested answers marked A, B, C and D. Choose the one that you think is the best answer and mark your answers on ANSWER SHEET TWO. PASSAGE ONE The newspaper must provide for the reader the facts, unalloyed, unslanted, objectively selected facts. But in these days of complex news it must provide more; it must supply interpretation, the meaning of the facts. This is the most important assignment confronting American journalism—to make clear to the reader the problems of the day, to make international news as understandable as community news, to recognize that there is no longer any such thing (with the possible exception of such scribbling as society and club news) as "local" news, because any event in the international area has a local reaction in manpower draft, in economic strain, in terms, indeed, of our very way of life. There is in journalism a widespread view that when you embark on interpretation, you are entering choppy and dangerous waters, the swirling tides of opinion. This is nonsense. The opponents of interpretation insist that the writer and the editor shall confine themselves to the "facts". This insistence raises two questions: what are the facts? And: are the bare facts enough? As to the first query, consider how a so-called "factual" story comes about. The reporter collects, say, fifty facts; out of these fifty, his space allotment being necessarily restricted, he selects the ten, which he considers most important. This is Judgment Number One. Then he or his editor decides which of these ten facts shall constitute the lead of the piece. This is important decision because many readers do not proceed beyond the first paragraph. This is Judgment Number Two. Then the night editor determines whether the article shall be presented on page one, where it has a large impact, or on page twenty-four, where it has little. Judgment Number Three. Thus, in the presentation of a so-called "factual" or "objective" story, at least three judgments are involved. And they are judgments not at all unlike those involved in interpretation, in which reporter and editor, calling upon their general background, and their "news neutralism", arrive at a conclusion as to the significance of the news. The two areas of judgment, presentation of the news and its interpretation, are both objective rather than subjective processes—as objective, that is, as any human being can be. (Note in passing: even though complete objectivity can never be achieved, nevertheless the ideal must always be the beacon on the murky news channels.) If an editor is intent on slanting the news, he can do it in other ways and more effectively than by interpretation. He can do it by the selection of those facts that prop up his particular plea. Or he can do it by the pay he gives a story—promoting it to page one or demoting it to page thirty.PASSAGE TWO When I was 14 years old and very impressed with my teenage status, I set for myself a very special goal—that to differentiate me from my friends. My goal was a project that I undertook every day after school for several months. It began to when I stealthily made my way into the local elementary school—horror of horrors should I be seen; l was now in junior high. I identified myself as a graduate of the elementary school, and being taken under wing by a favorite fifth grade teacher, I was given a small bundle from a locked storeroom—a bundle that I quickly dropped into a bag, lest anyone see me walking home with something from the "little kids" school. I brought the bundle home proudly. I walked into the living room, and one by one, emptied the bag of basic reading books. They were thin books with colorful covers and large print. The words were monosyllabic and repetitive. I sat down to the secret task at hand. "All right," I said authoritatively to my 70-year-old grandmother, "today we begin our first reading lesson." For weeks afterwards, my grandmother and I sat patiently side by side roles reversed as she, with a bit of difficulty, sounded out every word, then read them again, piece by piece, until she understood the short sentences. When she slowly repeated the full sentence, we both would smile and clap our hands—I felt so pound, so grown up. My grandmother was born in a rocky little Greece farming village where nothing much grew. She never had the time to go to school. As she was the oldest child, she was expected to take care of her brother and sister, as well as the house and acclimating exceptions, and her father scratched out what little he could form from the soil. So, for my grandmother, schooling was out. But she had big plans for herself. She had heard about America. About how rich you could be. How people on the streets would offer you a dollar just to smell the flower you were carrying. About how everyone lived in nice houses—not stone huts on the side of mountains—and had nice clothes and time for school. So my grandmother made a decision at 14—just a child—to take a long and sickening 30-day sea voyage alone to the United States. After lying about her age to the passport officials, who would shake their heads vehemently at anyone under 16 leaving her family, and after giving her favorite gold earrings to her cousin, saying "In America, I will have all the gold I want", my young grandmother put herself on a ship. She landed in New York in 1916. No need to repeat the story of how it went for years. The streets were not made of gold. People weren't interested in smelling flowers held by strangers. My grandmother was a foreigner. Alone. A young girl who worked hard doing piecework to earn money for meals. No leisure time, no new gold earrings—and no school. She learned only enough English to help her in her daily business. English came slowly. My grandmother had never learned to read. She could make out a menu, but not a newspaper. She could read a street sign, but not a shop directory. She could read only what she needed to read as, through the years, she married, had five daughters, and helped my grandfather with his restaurant. So when I was 14—the same age that my grandmother was when she left her family, her country, and everything she knew—I took it upon myself to teach my grandmother something, something I already knew how to do. Something with which I could give back to her some of the things she had taught me. And it was slight repayment for all she taught me. How to cover the fig tree in tar paper so it could survive the winter. How to cultivate rose bushes and magnolia trees that thrived on her little piece of property. Best of all, she had taught me my ethnic heritage. First, we phonetically sounded out the alphabet. Then, we talked about vowels—English is such a difficult language to learn. I hadn't even begun to explain the different sounds "gh" could make. We were still at the basics. Every afternoon, we would sit in the living room, my grandmother with an afghan converting her knees, giving up her crocheting for her reading lesson. I, with the patience that can come only from love, slowly coached her from the basic reader to the second-grade reader, giving up my telephone gossiping. Years later, my grandmother still hadn't learned quite enough to sit comfortably with a newspaper or magazine, but it felt awfully good to see her try. How we used to laugh at her pronunciation mistakes. She laughed more heartily than I. I never knew whether I should laugh. Here was this old woman slowly and carefully sounding out each word, moving her lips, not saying anything aloud until she was absolutely sure, and then, loudly, happily saying, "Look at Spot. See Spot run." When my grandmother died and we faced the sad task of emptying her home, I was going through her night-table drawer and came upon the basic readers. I turned the pages slowly, remembering. I put them in a paper bag, and the next day returned them to the "little kids" school. Maybe someday, some teenager will request them again, for the same task. It will make for a lifetime of memories.PASSAGE THREE If you intend using humor in your talk to make people smile, you must know how to identify shared experiences and problems. Your humor must be relevant to the audience and should help to show them that you are one of them or that you understand their situation and are in sympathy with their point of view. Depending on whom you are addressing, the problems will be different. If you are talking to a group of managers, you may refer to the disorganized methods of their secretaries; alternatively if you are addressing secretaries, you may want to comment on their disorganized bosses. Here is an example, which I heard at a nurse's convention, of a story which works well because the audience all shared the same view of doctors. A man arrives in heaven and is being shown around by St. Peter. He sees wonderful accommodations, beautiful gardens, sunny weather, and so on. Everyone is very peaceful, polite and friendly until, waiting in a line for lunch, the new arrival is suddenly pushed aside by a man in a white coat, who rushes to the head of the line, grabs his food and stomps over to a table by himself. "Who is that?" The new arrival asked St. Peter. "Oh, that's God," came the reply, "but sometimes he thinks he's a doctor." If you are part of the group which you are addressing, you will be in a position to know the experiences and problems which are common to all of you and it'll be appropriate for you to make a passing remark about the inedible canteen food or the chairman's notorious bad taste in ties. With other audiences you mustn't attempt to cut in with humor as they will resent an outsider making disparaging remarks about their canteen or their chairman. You will be on safer ground if you stick to scapegoats like the Post Office or the telephone system. If you feel awkward being humorous, you must practice so that it becomes more natural. Include a few casual and apparently off-the-cuff remarks which you can deliver in a relaxed and unforced manner. Often it's the delivery which causes the audience to smile, so speak slowly and remember that a raised eyebrow or an unbelieving look may help to show that you are making a light-hearted remark. Look for the humor. It often comes from the unexpected. It's a twist on a familiar quote "If at first you don't succeed, give up" or a play on words or on a situation. Search for exaggeration and understatements. Look at your talk and pick out a few words or sentences which you can turn about and inject with humor.PASSAGE FOUR The bizarre antics of sleepwalkers have puzzled police, perplexed scientists, and fascinated writers for centuries. There is an endless supply of stories about sleepwalkers. Persons have been said to climb on steep roofs, solve mathematical problems, compose music, walk through plate glass windows, and commit murder in their sleep. How many of these stories have a basic in fact, and how many are pure fakery? No one knows, but if some of the most sensational stories should be taken with a barrel of salt, others are a matter of record. There is an early medical record of a somnambulist who wrote a novel in his sleep. And the great French writer Voltaire knew a sleepwalker who once got out of bed, dressed himself, made a polite bow, danced a minuet, and then undressed and went back to bed. At the University of Iowa, a student was reported to have the habit of getting up in the middle of the night and walking three-quarters of a mile to the Iowa River. He would take a swim and then go back to his room to bed. The world's champion sleepwalker was supposed to have been an Indian, who walked sixteen miles along a dangerous road without realizing that he had left his bed. Second in line for the title is probably either a Vienna housewife or a British farmer. The woman did all her shopping on busy streets in her sleep. The farmer, in his sleep, visited a veterinarian miles away. The leading expert on sleep in American claims that he had never seen a sleepwalker. He is Dr. Nathaniel Kleitman, a physiologist at the University of Chicago. He is said to know more about sleep than any other living man, and during the last thirty-five years had lost a lot of sleep watching people sleep. Says he, "Of course, I know that there are sleepwalkers because I have read about them in the newspapers. But none of my sleepwalkers ever walked, and if I were to advertise for sleepwalkers for an experiment, I doubt that I'd get many takers." Sleepwalking, nevertheless, is a scientific reality. Like hypnosis, it is one of those dramatic, eerie, awe—inspiring phenomena that sometimes border on the fantastic. It lends itself to controversy and misconceptions. What is certain about sleepwalking is that it is a symptom of emotional disturbance, and that the only way to cure it is to remove the worries and anxieties that cause it. Doctors say that somnambulism is much more common than is generally supposed. Some have estimated that there are four million somnambulists in the United States. Others set the figure even higher. Many sleepwalkers do not seek help and so are never put on record, which means that an accurate count can never be made. The simplest explanation of sleepwalking is that it is the acting out of vivid dream. The dream usually comes from guilt, worry, nervousness, or some other emotional conflict. The age-old question is: Is the sleepwalker actually awake or asleep? Scientists have decided that he is about half-and-half. Dr. Zelda Teplitz, who made a ten-year study of the subject, says, "Some people stay awake all night worrying about their problems. The sleepwalker thrashes them out in his sleep. He is awake in the muscular area, partially asleep in the sensory area." In other words, a person can walk in his sleep, move around, and do other things, but he does not think about what he is doing. There are many myths about sleepwalkers. One of the most common is the idea that it's dangerous or even fatal to waken a sleepwalker abruptly. Experts say that the shock suffered by a sleepwalker suddenly awakened is no greater than that suffered in waking up to the noise of an alarm clock. Another mistaken belief is that sleepwalkers are immune to injury. Actually most sleepwalkers trip over rugs or bump their heads on doors at some time or other. What are the chances of a sleepwalker committing a murder or doing something else extraordinary in his sleep? Some cases of this have been reported, but they very rarely happen. Of course the few cases that are reported receive a great deal of publicity. Dr. Teplitz says, "Most people have such great inhibitions against murder or violence that they would awaken—if someone didn't waken them." In general, authorities on sleepwalking agree with her. They think that people will not do anything in their sleep that is against their own moral code. Parents often explain their children's—or their own—nocturnal oddities as sleepwalking. Sleepwalking is used as an excuse for all kinds of irrational behavior. There is a case on record of a woman who dreamed that her house was on fire and flung her baby out of the window. Dr. Teplitz believes that this instance of irrational behavior was not due to somnambulism. She believes the woman was seriously deranged or insane, not a sleepwalker. For their own protection, chronic sleepwalkers have been known to tie themselves in bed, lock their doors, hide the keys, bolt the windows, and rip up all sorts of gadgets or wake themselves if they should get out of bed. Curiously enough, they have an uncanny way of avoiding their own traps when they sleepwalk, so none of their tricks seem to work very well. Some sleepwalkers talk in their sleep loudly enough to wake someone else in the family who can then shake them back to their senses. Children who walk in their sleep usually outgrow the habit. In many adults, too, the condition is more or less temporary. If it happens often, however, the sleepwalker should seek help. Although sleepwalking itself is nothing to become alarmed about, the problems that cause the sleepwalking may be very serious.1. Readers expect all of the following from newspapers EXCEPT ______.(PASSAGE ONE)

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PASSAGE THREE

PASSAGE THREE

Stopping cigarette smoking has become a big problem for all governments. In democratic countries, the economic strength ofthe tobacco industry is such great that measures taken by【M1】______governments to protect the rights of non-smokers cannot beapplied efficiently. In some undemocratic countries, on the other【M2】______hand, governments cannot be trusted and they lack the motivationto deal with the problem. However under any political system,【M3】______social conditioning and chemical habit make banning tobacco a【M4】______formidable task and one that would take a long time. Yet, current information campaigns are failing as worldwide use increases faster than the population. Totally banning cigarettesmoking so far as has been unsuccessful in all countries. An【M5】______alternative approach includes neither the prohibition of smoking in【M6】______the workplace and public buildings or the strict limitation ofsmoking to specific areas. This movement may be the greatest【M7】______success of the information campaign against tobacco. Its leaders insist that despite the continued sale, advertising, and use oftobacco, non-smokers have every right to be exposed to the【M8】______carcinogens, carbon monoxide, and irritants in tobacco smoke. Such a campaign can have three important effects. First of all,by banning the use of tobacco from places that non-smokers would【M9】______be exposed, thousands of lives may be saved. Second, by forcing【M10】______smokers to give up their habit while in the presence of non-smokers will provide them with an added force to quit. And third, by stigmatizing tobacco use as dangerous and antisocial, the campaign for non-smokers' rights can accomplish a goal of all anti-smoking information campaigns: to make smoking socially unattractive.

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