单选题The novel Pride and Prejudice was written by the famous woman writer ______.

单选题According to the componential analysis, the words "boy" and "man" differ in the feature of ______.

单选题Questions 9 and 10 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Gradually March seems to be in a state of

单选题According to the passage, all of the following statements are true EXCEPT______.

单选题Questions l 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. Now listen to the news.

单选题 In this section there are four reading passages followed by a total of 20 multiple-choice questions. Read the passages and then mark your answers on your answer sheet. {{B}}TEXT A{{/B}} Theodoric Voler had been brought up, from infancy to the confines of middle age, by a fond mother whose chief solicitude had been to keep him screened from what she called the coarser realities of life. When she died she left Theodoric alone in a world that was as real as ever, and a good deal coarser than he considered it had any need to be. To a man of his temperament and upbringing even a simple railway journey was crammed with petty annoyances and minor discords, and as he settled himself down in a second-class compartment one September morning he was conscious of ruffled feelings and general mental discomposure. He bad been staying at a country vicarage, the inmates of which had been certainly neither brutal nor bacchanalian, but their supervision of the domestic establishment had been of that lax order which invites disaster. The pony carriage that was to take him to the station had never been properly ordered, and when the moment for his departure drew near, the handyman who should have produced the required article was nowhere to be found. In this emergency Theodoric, to his mute but very intense disgust, found himself obliged to collaborate with the vicar's daughter in the task of harnessing the pony, which necessitated groping about in an ill-lighted outbuilding called a stable, and smelling very like one—except in patches where it smelled of mice. As the train glided out of the station Theodoric's nervous imagination accused himself of exhaling a weak odour of stable yard, and possibly of displaying a mouldy straw or two on his unusually well brushed garments. Fortunately the only other occupation of the compartment, a lady of about the same age as himself, seemed inclined for slumber rather than scrutiny; the train was not due to stop till the terminus was reached, in about an hour's time, and the carriage was of the old fashioned sort that held no communication with a corridor, therefore no further travelling companions were likely to intrude on Theodoric's semiprivacy. And yet the train had scarcely attained its normal speed before he became reluctantly but vividly aware that he was not alone with the slumbering lady; he was not even alone in his own clothes. A warm, creeping movement over his flesh betrayed the unwelcome and highly resented presence, unseen but poignant, of a strayed mouse, that had evidently dashed into its present retreat during the episode of the pony harnessing. Furtive stamps and shakes and wildly directed pinches failed to dislodge the intruder, whose motto, indeed, seemed to be Excelsior; and the lawful occupant of the clothes lay back against the cushions and endeavoured rapidly to evolve some means for putting an end to the dual ownership. Theodoric was goaded into the most audacious undertaking of his life. Crimsoning to the hue of a beetroot and keeping an agonised watch on his slumbering fellow traveller, he swiftly and noiselessly secured the ends of his railway rug to the racks on either side of the carriage, so that a substantial curtain hung athwart the compartment. In the narrow dressing room that he had thus improvised he proceeded with violent haste to extricate himself partially and the mouse entirely from the surrounding casings of tweed and half-wool. As the unravelled mouse gave a wild leap to the floor, the rug, slipping its fastening at either end, also came down with a heart-curdling flop, and almost simultaneously the awakened sleeper opened her eyes. With a movement almost quicker than the mouse's, Theodoric pounced on the rug and hauled its ample folds chin-high over his dismantled person as he collapsed into the farther corner of the carriage. The blood raced and beat in the veins of his neck and forehead, while he waited dumbly for the communication cord to be pulled. The lady, however, contented herself with a silent stare at her strangely muffled companion. How much had she seen, Theodoric queried to himself; and in any case what on earth must she think of his present posture?

单选题According to the passage, interdisciplinary studies are characterized by all the following EXCEPT that ______.

单选题Except jewelry, diamonds can be used as ______.

单选题TEXT B As a contemporary artist, Jim Dine has often incorporated other people's photography into his abstract works. But, the 68-year-old American didn't pick up a camera himself and start shooting until he moved to Berlin in 1995—and once he did, he couldn't stop. The result is a voluminous collection of images, ranging from early-20th-century-style heliogravures to modern-day digital printings, a selection of which are on exhibition at the Maison Européenne de la Photographie in Paris. They are among his most prized achievements. "I make photographs the way I make paintings, "says Dine, "but the difference is, in photography. It's like lighting a fire every time. " Though photography makes up a small slice of Dine's vast oeuvre, the exhibit is a true retrospective, of his career. Dine mostly photographs his own artwork or the subjects that he has portrayed in sculpture, painting and prints including Venus de Milo, ravens and owls, hearts and skulls. There are still pictures of well-used tools in his Connecticut workshop, delightful digital self-portraits and intimate portraits of his sleeping wife, the American photographer Diana Michener. Most revealing and novel are Dine's shots of his poetry, scribbled in charcoal on walls like graffiti. To take in this show is to wander through Dine's life: his childhood obsessions, his loves, his dreams. It is a poignant and powerful exhibit that rightly celebrates one of modern art's most intriguing—and least hyped-talents. When he arrived on the scene in the early 1960s, Dine was seen as a pioneer in the pop-art movement. But he didn't last long; once pop stagnated, Dine moved on. "Pop art had to do with the exterior world, " he says. He was more interested, he adds, in "what was going on inside me". He explored his own personality, and from there developed themes. His love for handcrafting grew into a series of artworks incorporating hammers and saws. His obsession with owls and ravens came from a dream he once had. His childhood toy Pinocchio, worn and chipped, appears in some self-portraits as a red and yellow blur flying through the air. Dine first dabbled in photography in the late 1970s, when Polaroid invited him to try out a new large-format camera at its head-quarters in Cambridge, Massachusetts. He produced a series of colorful, out-of-focus self-portraits, and when he was done, he packed them away. A half dozen of these images—in perfect condition—are on display in Paris for the first time. Though masterful, they feel flat when compared with his later pictures. Dine didn't shoot again until he went to Berlin in the mid-90s to teach. By then he was ready to embrace photography completely. Michener was his guide: "She opened my eyes to what was possible," he says. "Her approach is so natural and classic. I listened. " When it came time to print what he had photographed, Dine chose heliogravure, the old style of printing favored by Alfred Stieglitz, Edward Curtis and Paul Strand, which gives photographs a warm tone and an almost hand drawn look—like Dine's etchings. He later tried out the traditional black-and-white silver-gelatin process, then digital photography and jet-ink printing, which he adores. At the same time, Dine immersed himself into Jungian psychoanalysis. That, in conjunction with his new artistic tack, proved cathartic. "The access photography that gives you to your subconscious is so fantastic," he says. "I've learned how to bring these images out like a stream of consciousness—something that's not possible in the same way in drawing or painting because technique always gets in your way. " This is evident in the way he works: when Dine shoots, he leaves things alone. Eventually, Dine turned the camera on himself. His self-portraits are disturbingly personal; he opens himself physically and emotionally before the lens. He says such pictures are an attempt to examine himself as well as "record the march of time, what gravity does to the face in everybody. I'm a very willing subject. " Indeed, Dine sees photography as the surest path to serf discovery. "I've always learned about myself in my art," he says. "But photography expresses me. It's me. Me. " The Paris exhibit makes that perfectly clear.

单选题Without treatment, the virus in an infected animal will_____.

单选题The author considers that a fairy story is more effective when it is ______.

单选题______ is the national symbol of New Zealand. A.The kiwi B.The kangaroo C.The tulip D.The koala

单选题{{B}}TEXT D{{/B}} David Landes, author of The Wealth and Poverty of Nations: Why Some Are So Rich and Some So Poor, credits the world's economic and social progress over the last thousand years to" Western civilization and its dissemination." The reason, he believes, is that Europeans invented systematic economic development. Landes adds that three unique aspects of European culture were crucial ingredients in Europe's economic growth. First, science developed as an autonomous method of intellectual inquiry that successfully disengaged itself from the social constraints of organized religion and from the political constraints of centralized authority. Though Europe lacked a political center, its scholars benefited from the use of a single vehicle of communication: Latin. This common tongue facilitated an adversarial discourse in which new ideas about the physical world could be tested, demonstrated, and then accepted across the continent and eventually across the world. Second, Landes espouses a generalized form of Max Weber's thesis that the values of work, initiative, and investment made the difference for Europe. Despite his emphasis on science, Landes does not stress the notion of rationality as such. In his view," what counts is work, thrift, honesty, patience, [and] tenacity." The only route to economic success for individuals or states is working hard, spending less than you earn, and investing the rest in productive capacity. This is his fundamental explanation of the problem posed by his book's subtitle:" Why Some Are So Rich and Some So Poor." For historical reasons—an emphasis on private property, an experience of political pluralism, a temperate climate, and an urban style—Europeans have, on balance, followed those practices and therefore have prospered. Third, and perhaps most important, Europeans were learners. They "learned rather greedily," as Joel Mokyr put it in a review of Landes's book. Even if Europeans possessed indigenous technologies that gave them an advantage (spectacles, for example), as Landes believes they did, their most vital asset was the ability to assimilate knowledge from around the world and put it to use—as in borrowing the concept of zero and rediscovering Aristotle' s Logic from the Arabs and taking paper and gunpowder. from the Chinese via the Muslim world. Landes argues that a systematic resistance to learning from other cultures had become the greatest handicap of the Chinese by the eighteenth century and remains the greatest handicap of Arab countries today. Although his analysis of European expansion is almost nonexistent, Landes does not argue that Europeans were beneficent bearers of civilization to a benighted world. Rather, he relies on his own commonsense law:" When one group is strong enough to push another around and stands to gain by it, it will do so." In contrast to the new school of world historians, Landes believes that specific cultural values enabled technological advances that in turn made some Europeans strong enough to dominate people in other parts of the world. Europeans therefore proceeded to do so with great viciousness and cruelty. By focusing on their victimization in this process, Landes holds, some postcolonial states have wasted energy that could have been put into productive work and investment, ff one could sum up Landes's advice to these states in one sentence, it might be" Stop whining and get to work." This is particularly important, indeed hopeful, advice, he would argue, because success is not permanent. Advantages are not fixed, gains from trade are unequal, and different societies react differently to market signals. Therefore, not only is there hope for undeveloped countries, but developed countries have little cause to be complacent, because the current situation" will press hard" on them. The thrust of studies like Landes's is to identify those distinctive features of European civilization that fie behind Europe's rise to power and the creation of modernity more generally. Other historians have placed a greater emphasis on such features as liberty, individualism, and Christianity. In a review essay, the art historian Craig Clunas listed some of the less well-known linkages that have been proposed between Western culture and modernity, including the propensities to think quantitatively, enjoys pornography, and consumes sugar. All such proposals assume the fundamental aptness of the question: What elements of European civilization led to European success? It is a short leap from this assumption to outfight triumphalism. The paradigmatic book of this school is, of course, The End of History and the Last Man, in which Francis Fukuyama argues that after the collapse of Nazism and communism in the twentieth century, the only remaining model for human organization in the industrial and communications ages is a combination of market economics and limited, pluralist, democratic government.

单选题Question 8 is based on the following news.

单选题Howmanytimesistheindoorairmorehazardousthantheoutdoorair?

单选题Jan Fleming, the creator of James Bond, is well known for writing_______.A. detective storiesB. science fictionC. spy storiesD. adventure stories

单选题"Snowball Earth" might have occurred as a result of ______________.

单选题Which sport is regarded as a major British industry? A. Tennis. B. Golf C. Horse racing. D. Boxing.

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