单选题Why will Boeing not need a replica of the 777?

单选题{{B}}TEXT C{{/B}} Tell an investment banker that a picture bought in 1950 for $30,000 sold this month for $104.1 million and you will be unlucky if you fail to get his attention. That was the case with the portrait of a young boy by Picasso when Sotheby's dispersed on May 5 the tail end of the famous collection formed by the late John Hay Whitney and his wife Betsy Cushing Whitney. Sales added up to almost $190 million within two hours. If you then go on to explain that Whitney bought the 1905 portrait not for investment but for art's sake, because he loved 19th- and 20th-century painting, you might well be greeted with a stare of compassionate irony. Yet that was exactly so. Had the heir to a vast fortune consulted experts at the time, most would have advised against the acquisition. Received wisdom in the 1950s had it that it was Picasso's breakthrough in modern art that made him truly important, i. e. his early Cubist work. The Picasso case, which is probably the greatest success story ever in the art market, neatly illustrates the financial gamble that buying art represents. The biggest winners are not investors, but art lovers with a great eye who follow their intuition. Art cannot be an investment because perception determines everything. No two works are ever identical. One Picasso does not equal another Picasso. On May 6, one day after the Whitney sale, Sotheby's was offering another five Picassos. All fetched different prices. That night the market was on a roll and two of the Picassos sold extremely well. Even so, their diverging fates illustrate the impossibility of predicting prices. Presale calculations are frequently belied, up or down. "Le Nu Accroupi" (describing a seated woman), dated "21/24.6.59," was expected to bring $3 million to $4 million plus the 12 percent sale charge. Furious bidding sent it climbing to $11,768,000. The second of the two most expensive Picassos sold within the expected price bracket, costing $14,792,000．"Le Sauvetage" ("The ReScue") was painted in November 1932．This is seen as a seminal year. Why did it not arouse enthusiasm in proportion to the "Nu Accroupi" and increase the estimate by 250 percent? One reason, in favor of the "Nu Accroupi", is that the figure of the seated woman is distorted in a manner that best fits the general public's idea of what Picasso's art looks like. The face broken up in separate halves that can be read as seen sideways or full front is typical of this stereotype even if in reality Picasso was the most versatile artist of his time. Another reason works against "Le Sauvetage". A jarring note is introduced by the spiky rendition of the human figures. Moreover, some deem the composition to be loose. Others, by contrast, praise its rhythm. The argument can go on indefinitely. In short, no complete agreement is ever reached over the aesthetic characterization of a painting. Nor is there ever total agreement over the assessment of its importance relative to the artist's oeuvre. How good within the 1932 style "Le Sauvetage" is will be seen differently by different viewers. Cubism was a crucial phase of Picasso's art in the view of virtually all art historians today and yet the-1909 to 1914 revolutionary works are not always well received by the public at auction. Immediately before the "Nu Accroupi", a large charcoal sketch of a man's head done by Picasso in 1909 in his first Cubist manner reflecting the impact that African sculpture had on its emergence came up with a $400,000 to $600,000 estimate. The drawing came from a European estate, and works with an estate provenance generally do well because they have long been out of sight. Moreover, it had previously passed through the hands of one of the greatest 20th-century dealers, Heinz Berggruen, while he was based in Paris. All to no avail. The drawing fell unsold, probably too ungainly for its art historical importance to weigh sufficiently in its favor. But both these characterizations are a matter of perception.

单选题Dr. Martin Luther King, ______, was assassinated in March 1968. A. a white clergyman B. a black clergyman C. a black senator D. a white senator

单选题In sixteenth-century Italy and eighteenth-century France, waning prosperity and increasing social unrest led the ruling families to try to preserve their superiority by withdrawing from the lower and middle classes behind barriers of etiquette. In a prosperous community, on the other hand, polite society soon adsorbs the newly rich, and in England there has never been any shortage of books on etiquette for teaching them the manners appropriate to their new way of life. Every code of etiquette has contained three elements; basic moral duties; practical rules which promote efficiency; and artificial, optional graces such as formal compliments to, say, women on their beauty or superiors on their generosity and importance. In the first category are considerations for the weak and respect for age. Among the ancient Egyptians the young always stood in the presence of older people. Among the Mponguwe of Tanzaia, the young men bow as they pass the huts of the elders. In England, until about a century ago, young children did not sit in their parents' presence without asking permission. Practical rules are helpful in such ordinary occurrences of Social life as making proper introductions at parties or other functions so that people can be brought to know each other. Before the invention of the fork, etiquette directed that the fingers should be kept as clean as possible; before the handkerchief came into common use, etiquette suggested that after spitting, a person should rub the spit inconspicuously underfoot. Extremely refined behavior, how-ever, cultivated as an art of gracious living, has been characteristic only of societies with wealth and leisure, which admitted women as the social equals of men. After the fall of Rome, the first European society to regulate behavior in private life in accordance with a complicated code of etiquette was twelfth-century Province, in France. Provence had become wealthy. The lords had returned to their castle from the crusades, and there the ideals of chivalry grew up, which emphasized the virtue and gentleness of women and demanded that a knight should profess a pure and dedicated love to a lady who would be his inspiration, and to whom he would dedicate his valiant deeds, though he would never come physically close to her. This was the introduction of the concept of romantic love, which was to influence literature for many hundreds of years and which still lives on in a debased form in simple popular songs and cheap novels today. In Renaissance Italy too; in the fourteenth and fifteenth centuries, a wealthy and leisured society developed an extremely complex code of manners, but the rules of behavior of fashionable society had little influence on the daily life of the lower classes. Indeed many of the rules, such as how to enter a banquet room, or how to use a sword or handkerchief for ceremonial purposes, were irrelevant to the way of life of the average working man, who spent most of his life outdoors or in his own poor hut and most probably did not have a handkerchief, certainly not a sword, to his name. Yet the essential basis of all good manners does not vary. Consideration for the old and weak and the avoidance of banning or giving unnecessary offence to others is a feature of all societies everywhere and at all levels from the highest to the lowest.

单选题WhichofthefollowingisCORRECTabouttheaccident?A.Theyoungladywasthrownthroughthewindscreen.B.Theyoungladydidn'twearaseatbeltdespiteSimpson'sadvice.C.ThetwopassengersweredriventohospitalbyMr.Simpson.D.Simpson'swifegotmoreseriousinjuriesthantheyounglady.

单选题{{B}}TEXT C{{/B}} "The Icarus Girl" is the story of 8-year-old Jessamy Harrison, nicknamed Jess. The daughter of a Nigerian mother and an English father, she is a troubled child given to tantrums and uncontrollable screaming fits. She has no friends, hates school and is far happier sitting inside a cupboard or writing haiku alone in her bedroom. Quite naturally worded by all this, her mother decides that a change of scenery is in order, so she takes the family away from its home in England and back to Nigeria for a brief visit. Initially, Jess feels out of place there as well — until she meets Titiola, a mysterious girl of exactly her own age, whom she calls TillyTilly. From the start, there's something not quite right about TillyTilly: she seems out of proportion. "Was she too tall and yet too ... small at the same time? Was her neck too long? Her fingers?” At first, she merely echoes Jess's words, but she soon develops into the friend and playmate Jess has never had. Together they have adventures: they manage to break into Jess's grandfather's locked study and then into an amusement park (also locked) where the gates magically swing open. All too quickly, though, the family returns from exotic Nigeria to prosaic England, where Jess is surrounded once again by bullying schoolmates, a hostile teacher and her hateful, doll-like blond cousin, Dulcie. Then, to Jess's joy, TillyTilly reappears, simply knocking on her door. They play together, go on a picnic, write a poem. But TillyTilly also formulates a plan to "get" Jess's tormentors. The reader suspects that TillyTilly is one of those imaginary friends so common to lonely childhoods, and that the strange and sinister events art happening only in Jess's imagination. But just as Jess herself begins to doubt whether TillyTilly is "really really" there, her playmate's malevolent magic begins to spread, infecting every corner of Jess's world. TillyTilly's power, at least, is far from imaginary. She reveals that Jess had a twin who died at birth — and that she intends to act on that twin's behalf. No longer a girl but a hordfic primeval presence, she takes over Jess's beciroom, turning it from a safe haven into a place of terror. "Stop looking to belong, half-and-half child," TillyTilly intones, "Stop. There is nothing; there is only me, and I have caught you." Oyeyemi brilliantly conjures up the raw emotions and playground banter of childhood, writing with the confidence and knowledge of one who has only recently left that state herself. Jess' s schoolmates, her therapist, the people she meets in Africa, even her parents, remain suitably shadowy figures, seen solely through the distorting lens of Jess's increasingly skewed perception. "The Icarus Girl" explores the melding of cultures and the dream time of childhood, as well as the power of ancient lore to tint the everyday experiences of a susceptible little girl's seemingly protected life. Deserving of all its praise, this is a masterly first novel — and a nightmarish story that will haunt Oyeyemi's readers for months to come.

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Which of the following works is NOT written by Samuel Taylor Coleridge?

单选题Which of the following is not a black writer? A. Richard Wright. B. Ralph Ellison. C. Tennessee Williams. D. Alice Walker.

单选题The heroic couplet,a(n)______pentameter couplet, was a popular verse form during the 18th century. A. trochaic B. anapestic C. dactylic D. iambic

单选题Which of the following procedure is NOT specifically explained as a guarantee of good quality for Scottish Borders Cashmere?

单选题The Input Hypothesis was put forward byA. Chomsky.B. Sapir.C. Krashen.D. Hymes.

单选题According to the passage, why can't any physical theory be permanently established?

单选题In the case of vowel sounds, the ______ and the mouth cavities are changed by the shape and position of the tongue and lips.

单选题 {{B}}TEXT A{{/B}} What kind of magic can make an 800-page novel seem too short? Whatever it is, debut author Susanna Clarke is possessed by it, and her astonished readers will surely hope she never recovers. Her epic history of an alternative, magical England is so beautifully realized that not one of the many enchantments Clarke chronicles in the book could ever be as potent or as quickening as her own magnificent narrative. It is 1806, and Gilbert Norrell is the only true magician in England. He sets out to restore the practice of magic to a nation that has not seen it for more than 300 years. But there is an odd and fateful twist to Norrell's character: he is as scholarly and insufferably pedantic as he is gifted. In short, Norrell is the most boring and unmagical person imaginable. This is Clarke's masterstroke, the necessary touch of ordinary candleshine in the midst of all the uncanny fairy light she dispenses. Enter Jonathan Strange, the intuitive magician--the natural-- who can improvise in a flash what Norrell has gleaned from long study. Strange becomes Norrell's pupil, but soon the tension between their styles mounts to a breaking point. The two men realize that they have a fundamental disagreement about how to approach the mysterious and terrifying sources of English magic, in the face of which even Albus Dumbledore might find himself unnerved. Just as Norrell and Strange apprentice themselves to a Golden Age of medieval magicians, Clarke tethers her craft to the great 19th-century English masters of the novel, Jane Austen and Charles Dickens. The book offers not only an Austen-like. inquiry into the fine human line between ridiculous flaw and serious consequence, but also a Dickensian flow of language in which a comical surplus of detail rings at last with certain and inevitable significance. This elixir of literary influences gives the story its delightful texture. But there is so much more to Jonathan Strange & Mr. Norrell an energy buckling and straining at the edges of the book in sheer imaginative overflow, just as the realm of Faerie buckles and strains beyond the edges of England's green fields, beckoning us down the overgrown path and through the dark wood. Thus it happens that a novel of 800 pages seems far too short. This is the strangest--and, as we gratefully come to understand, the "norrellest"--magic a book lover could wish for.

单选题Which of the following pairs of words can be described as stylistic synonyms?

单选题{{B}}TEXT B{{/B}} Students of United States history, seeking to identify the circumstances that encouraged the emergence of feminist movements, have thoroughly investigated the mid-nineteenth-century American economic and social conditions that affected the status of women. These historians, however, have analyzed less fully the development of specifically feminist ideas and activities during the same period. Furthermore, the ideological origins of feminism in the United States have been obscured because, even when historians did take into account those feminist ideas and activities occurring within the United States, they failed to recognize that feminism was then a truly international movement actually centered in Europe. American feminist activists who have been described as "solitary" and "individual theorists" were in reality connected to a movement — utopian socialism — which was already popularizing feminist ideas in Europe during the two decades that culminated in the first women's rights conference held at Seneca Falls, New York, in 180o8. Thus, a complete understanding of the origins and development of nineteenth-century feminism in the United States requires that the geographical focus be widened to include Europe and that the detailed study already made of social conditions be expanded to include the ideological development of feminism. The earliest and most popular of the utopian socialists were the Saint-Simonians. The specifically feminist part of Saint-Simonianism has, however, been less studied than the group's contribution to early socialism. This is regrettable on two counts. By 1832 feminism was the central concern of Saint- Simonianism and entirely absorbed its adherents' energy. Hence, by ignoring its feminism, European historians have misunderstood Saint- Simonianism. Moreover, since many feminist ideas can be traced to Saint- Simonianism, European historians' appreciation of later feminism in France and the United States remained limited. Saint-Simon's followers, many of whom were women, based their feminism on an interpretation of his project to reorganize the globe by replacing brute force with the rule of spiritual powers. The new world order would be ruled together by a male, to represent reflection, and a female, to represent sentiment. This complementarity reflects the fact that, while the Saint-Simonians did not reject the belief that there were innate differences between men and women, they nevertheless foresaw an equally important social and political role for both sexes in their Utopia. Only a few Saint-Simonians opposed a definition of sexual equality based on gender distinction. This minority believed that individuals of both sexes were born similar in capacity and character, and they ascribed male-female differences to socialization and education. The envisioned result of both currents of thought, however, was that women would enter public life in the new age and that sexual equality would reward men as well as women with an improved way of life.

单选题Which book is a collection of papers?

单选题Which of the following statements about the Church of England is INCORRECT? A. It was established in 1534. B. It is governed by ministers and elders. C. It has two provinces: Canterbury and York. D. The archbishops and bishops of it are appointed by the Monarch on the advice of the Prime Minister.

单选题Research into the material culture of a nation is of great importance bucause ______.