填空题Businesses involved in environmentally-friendly power have rising ______.

填空题You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 below. Cats Show Perfect Balance Even in Their Lapping It was known that when cats lap, they extend their tongues straight down towards the bowl with the tip of the tongue curled backwards like a capital 'J' to form a ladle, so that the top surface of the tongue actually touches the liquid first. We know this because another MIT engineer, Dr. Edgerton, who first used strobe lights in photography to stop action, filmed a domestic cat lapping milk in 1940. But recent high-speed videos made by this team clearly revealed that the top surface of the cat's tongue is the only surface to touch the liquid. Cats, unlike dogs, aren't dipping their tongues into the liquid like ladles after all. Instead, the cat's lapping mechanism is far more subtle and elegant. The smooth tip of the tongue barely brushes the surface of the liquid before the cat rapidly draws its tongue back up. As it does so, a column of milk forms between the moving tongue and the liquid's surface. The cat then closes its mouth, pinching off the top of the column for a nice drink, while keeping its chin dry. The liquid column is created by a delicate balance between gravity, which pulls the liquid back to the bowl, and inertia, which in physics, refers to the tendency of the liquid or any matter, to continue moving in a direction unless another force interferes. The cat instinctively knows just how quickly to lap in order to balance these two forces, and just when to close its mouth. If it waits another fraction of a second, the force of gravity will overtake inertia, causing the column to break, the liquid to fall back into the bowl, and the cat's tongue to come up empty. While the domestic cat averages about four laps per second, with each lap bringing in about 0.1 millilitres of liquid, the big cats, such as tigers, know to slow down. They naturally lap more slowly to maintain the balance of gravity and inertia. Roman Stocker of MIT's Department of Civil and Environmental Engineering (CEE), Pedro Reis of CEE and the Department of Mechanical Engineering, Sunghwan Jung of Virginia Tech and Jeffrey Aristoff of Princeton used observational data gathered from high-speed digital videos of domestic cats, including Stocker's family cat, and a range of big cats (a tiger, a lion and a jaguar) from the Boston-area zoos, thanks to a collaboration with Zoo New England's mammal curator John Piazza and assistant curator Pearl Yusuf. And, in what could be a first for a paper published in Science, the researchers also gathered additional data by analysing existing YouTube.com videos of big cats lapping. With these videos slowed way down, the researchers established the speed of the tongue's movement and the frequency of lapping. Knowing the size and speed of the tongue, the researchers then developed a mathematical model involving the Froude number, a dimensionless number that characterises the ratio between gravity and inertia. For cats of all sizes, that number is almost exactly one, indicating a perfect balance. To better understand the subtle dynamics of lapping, they also created a robotic version of a cat's tongue that moves up and down over a dish of water, enabling the researchers to systematically explore different aspects of lapping, and ultimately, to identify the mechanism underpinning it. 'The amount of liquid available for the cat to capture each time it closes its mouth depends on the size and speed of the tongue. Our research—the experimental measurements and theoretical predictions—suggests that the cat chooses the speed in order to maximise the amount of liquid ingested per lap,' said Aristoff, a mathematician who studies liquid surfaces. 'This suggests that cats are smarter than many people think, at least when it comes to hydrodynamics.' Aristoff said the team benefited from the diverse scientific backgrounds of its members: engineering, physics and mathematics. 'In the beginning of the project, we weren't fully confident that fluid mechanics played a role in cat's drinking. But as the project went on, we were surprised and amused by the beauty of the fluid mechanics involved in this system,' said Jung, an engineer whose research focuses on soft bodies, like fish, and the fluids surrounding them. The work began three-and-a-half years ago when Stocker, who studies the fluid mechanics of the movements of ocean microbes, was watching his cat lap milk. That cat, eight-year-old CuttaCutta, stars in the researchers' best videos and still pictures. And like all movie stars (CuttaCutta means 'stars stars' in an Australian aboriginal language), he likes being waited on. With their cameras trained on CuttaCuttas bowl, Stocker and Reis said they spent hours at the Stocker home waiting on CuttaCutta...to drink. But the wait didn't dampen their enthusiasm for the project, which very appropriately originated from a sense of curiosity. 'Science allows us to look at natural processes with a different eye and to understand how things work, even if that's figuring out how my cat laps his breakfast,' Stocker said. 'It's a job, but also a passion, and this project for me was a high point in teamwork and creativity. We did it without any funding, without any graduate students, without much of the usual apparatus that science is done with nowadays.' 'Our process in this work was typical, archetypal really, of any new scientific study of a natural phenomenon. You begin with an observation and a broad question, "How does the cat drink?" and then try to answer it through careful experimentation and mathematical modeling,' said Reis, a physicist who works on the mechanics of soft solids. 'To us, this study provides further confirmation of how exciting it is to explore the scientific unknown, especially when this unknown is something that's part of our everyday experiences.' —Science Daily

填空题The students already have a printed ______ to help them with their dissertations.

填空题Look at the following statements(Questions 8-11)and the list of people below. Match each statement with the correct person, A, B, CorD. Write the correct letter, A, B, C or D, in boxes 8-11 on your answer sheet. NB You may use any letter more than once.List of People A Ian Redmond B Valerie Kapos C Ray Townsend D Chris Stapleton

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填空题Flying without Wings A The airship may well prove the solution to some pressing transport issues today. One reason is that the airship is more environmentally friendly than other airborne vehicles. It obtains most of its lift from lighter-than-air gas, usually ultra-safe helium. The engines therefore drive the vehicle through the air, rather than lifting it off the ground, resulting in considerable fuel economy. B The fascinating story of the airship began in the 13th century, when Roger Bacon, the Franciscan friar with a predilection for experimenting with gunpowder, first considered buoyant flight. He thought it could be achieved by filling a thin-walled metal sphere with rarefied air or liquid fire. C In 1670, Francesco Lana de Terzi, an Italian, calculated that four such spheres would be needed to lift a boat. But it was a French Engineer Corps officer, Jean-Baptiste-Marie Meusnier, who developed the first practical airship concept, in 1784, by devising an elongated balloon driven by airscrews. D It never got off the ground, but it did inspire Britain's first aeronautical scientist, Sir George Cayley, who in 1816, took the Frenchman's design one step further to create an egg-shaped balloon with steam-powered propellers. But France won the race, achieving the first steam-powered airship flight in 1852, when the three horsepower, hydrogen-filled Aerial Steamer, designed by Henri Giffard, flew in Paris, zipping along at a glorious 7 mph. E A motor driven by electricity was next, and the pioneers were Charles Renard and Arthur Krebs, who built La France, a 60-metre-long airship fitted with a huge wooden propeller at the front, the first that could be steered accurately, calm weather permitting. It was also considerably faster than its steam-powered predecessor 32 years earlier-reaching a magnificent 12 mph. F But all these pioneers soon made way for the master, a German aristocrat and army cavalry officer named Ferdinand von Zeppelin. He designed a large military airship, with internal gas bags in a rigid, cigar-shaped, aluminium structure. It was turned down. Zeppelin resigned and established the Zeppelin Airship Corporation in 1898 to build his first airship. The LZ-1 was successfully launched from its floating hangar on Lake Constance on 2 July, 1900, its petrol engine taking it on a 17-mile flight at an average speed of 13 mph. The age of airship travel had begun. G During the First World War, nearly 300 British airships protected allied convoys from submarine attack, while the Zeppelin undertook several successful bombing raids on Britain. But they made a large target themselves and were filled with explosive hydrogen. Around 40 were destroyed. H The airship reached its zenith in 1929 when the Graf Zeppelin circumnavigated the globe, travelling 25,000 miles at an impressive 45 mph. But the destruction by fire of the famous Hindenburg in 1937 brought to an end the golden age of the airship and the prospect of further long-haul, lighter-than-air aviation. I Unlike their predecessors, modern airships, or "blimps", are non-rigid, maintaining their shape solely through the pressure of inert, non-flammable helium in the main body of the ship, without use of any internal skeleton. At the rear end of the airship, a large vertical rudder is used to steer it left and right by means of pedals in the cockpit, and the flat movable fin protruding from the side enables upward or downward movement of the ship. At the lowest point of this part of the blimp, a small tail-wheel protects it from contact with the ground when landing or moored. J Directly under the body of the airship is the gondola: the cabin containing the cockpit, engine compartment, and facilities for crew, passengers, and cargo. Trailing from the front of the ship are the mooring lines, which hang free in flight but are used to control it when taking off or landing. These are attached to the spindle: the narrow pointed component right at the front, which in turn is held by the rounded, flattened nose cone, covering the extreme forward part of the ship. K The gondola can be more spacious than any modern aircraft. The airships can also stay airborne for long periods. While fixed-and rotary-wing aircraft measure flight time in hours, an airship can stay aloft for days, hovering silently. At sea, airships provide over-the-horizon observation coverage up to 130 nautical miles against small radar targets, such as cruise missiles. Airships are also employed in civil operations to catch drug smugglers, and to transmit television images of sport and outdoor concerts as they happen. L Airship holidays are many and varied. For a tranquil experience, you can cruise the spectacular landscape of Swiss mountains and lakes. In Africa, you can catch a glimpse of the wildlife on ecologically sound, danger-free "airship safaris". And if you want to experience Las Vegas without losing your shirt in the casinos, an American tour operator offers weekday trips with breathtaking views of the world-famous Las Vegas Strip from a 165-foot-long, nine-seater airship. M Finally, you could have caught the opening of the last Olympic Games, with an airship travel company that offered aerial surveillance of the action. You would have had a truly Olympian view of the torch's final journey as it climbed those last few steps to ignite the flame. Questions 14-17 Complete the table below. Write NO MORE THAN TWO WORDS AND/OR A NUMBER from the passage for each answer. Write your answers in boxes 14-17 on your answer sheet. Designer(s) Year Power Type Speed Giffard 1852 steam {{U}}{{U}} 1 {{/U}}{{/U}} Renard and Krebs 1884 {{U}}{{U}} 2 {{/U}}{{/U}} 12 mph (maximum) {{U}}{{U}} 3 {{/U}}{{/U}} 1900 {{U}}{{U}} 4 {{/U}}{{/U}} 13 mph (average)

填空题A description of how invasive species in nature are different from other ones.

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填空题What is the shortest time lost items are kept by the office?

填空题Burying greenhouse gases under the sea is not possible.

填空题Smokers' cardiovascular systems adapt to the intake of environmental smoke.

填空题A merger of different varieties of the language took place.

填空题Some scientists want to change the way clouded leopards are classified into species and subspecies.

填空题Increasingly common crime.

填空题Don't wait!

填空题Questions 16-20 Choose the correct letter, A, B or C.

填空题Eighth graders from Fayerweather School go to the natural goods grocer rather than the ______.

填空题The backgrounds of the people who make up the X-Prize Foundation.

填空题You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 below. Paul Nash Paul Nash, the elder son of William Nash and his first wife, Caroline Jackson, was born in London on 11th May, 1889. His father was a successful lawyer who became the recorder of Abingdon. According to Ronald Blythe: 'In 1901 the family returned to its native Buckinghamshire, where the garden of Wood Lane House at Iver Heath, and the countryside of the Chiltern Hills, with its sculptural beeches and chalky contours, were early influences on the development of the three children. Their lives were overshadowed by their mother's mental illness and Nash himself was greatly helped by his nurse who, with some elderly neighbours, introduced him to the universe of plants.' Nash was educated at St. Paul's School and the Slade School of Art, where he met Stanley Spencer, Mark Gertler, C. R. W. Nevinson, Edward Wadsworth, Dora Carrington, William Roberts and Claughton Pellew. Unlike some of his contemporaries at the Slade School, Nash remained untouched by the two post-impressionist exhibitions organised by Roger Fry in 1910 and 1912. Instead, he was influenced by the work of William Blake. He also became a close friend of Gordon Bottomley, who took a keen interest in his career. Nash had his first one-man show, of ink and wash drawings, at the Carfax Gallery in 1912. The following year he shared an exhibition at the Dorien Leigh Gallery with his brother, John Nash. The art critic, Ronald Blythe, has argued: 'Due to the enthusiasm of Michael Sadler and William Rothenstein, the exhibition, though modestly hung on the walls of a lampshade shop and announced by a home-made poster, was a success.' Myfanwy Piper, has added: 'Nash had a noteworthy sense of order and of the niceties of presentation; his pictures were beautifully framed, drawings mounted, his studio precisely and decoratively tidy, and oddments which he collected were worked up into compositions.' On the outbreak of the First World War Nash considered the possibility of joining the British Army. He told a friend: 'I am not keen to rush off and be a soldier. The whole damnable war is too horrible of course and I am all against killing anybody, speaking off hand, but beside all that I believe both Jack and I might be more useful as ambulance and red cross men and to that end we are training. There may be emergencies later and I mean to get some drilling locally and learn to fire a gun but I don't see the necessity for a gentle-minded creature like myself to be rushed into some stuffy brutal barracks to spend the next few months practically doing nothing but swagger about disguised as a soldier in case the Germans poor misguided fellows—should land.' Nash enlisted in the Artists' Rifles. He told Gordon Bottomley: 'I have joined the Artists' London Regiment of Territorials the old Corps which started with Rossetti, Leighton and Millais as members in 1860. Every man must do his bit in this horrible business so I have given up painting. There are many nice creatures in my company and I enjoy the burst of exercise—marching, drilling all day in the open air about the pleasant parts of Regents Park and Hampstead Heath.' In March 1917 he was sent to the Western Front. Nash, who took part in the offensive at Ypres, had reached the rank of lieutenant in the Hampshire Regiment by 1916. Whenever possible, Nash made sketches of life in the trenches. In May, 1917 he was invalided home after a non-military accident. While recuperating in London, Nash worked from his sketches to produce a series of war paintings. This work was well received when exhibited later that year. As a result of this exhibition, Charles Masterman, head of the government's War Propaganda Bureau (WPB), and the advice of Edward Marsh and William Rothenstein, it was decided to recruit Nash as a war artist. In November 1917 in the immediate aftermath of the battle of Passchendaele Nash returned to France. Nash's work during the war included The Menin Road, The Ypres Salientat Night, The Mule Track, A Howitzer Firing, Ruined Country and Spring in the Trenches. Nash was unhappy with his work as a member of War Propaganda Bureau. He wrote at the time: 'I am no longer an artist. I am a messenger who will bring back word from the men who are fighting to those who want the war to go on for ever. Feeble, inarticulate will be my message, but it will have a bitter truth and may it burn their lousy souls.' However, as Myfanwy Piper has pointed out: 'The drawings he made then, of shorn trees in ruined and flooded landscapes, were the works that made Nash's reputation. They were shown at the Leicester Galleries in 1918 together with his first efforts at oil painting, in which he was self-taught and quickly successful, though his drawings made in the field had more immediate public impact. From April of that year until early in 1919 Nash was engaged on paintings commissioned by the Department of Information for the newly established Imperial War Museum... His poetic imagination, instead of being crushed by the terrible circumstances of war, had expanded to produce terrible images—terrible because of their combination of detached, almost abstract, appreciation and their truth to appearance.' In 1919 Nash moved to Dymchurch in Kent, beginning his well-known series of pictures of the sea, the breakwaters, and the long wall that prevents the sea from flooding Romney Marsh. This included Winter Sea and Dymchurch Steps. Nash also painted the landscapes of the Chiltern Hills. In 1924 and 1928 he had successful exhibitions at the Leicester Galleries. Despite this popular acclaim in 1929 his work became more abstract. In 1933 Nash founded Unit One, the group of experimental painters, sculptors, and architects which included Herbert Read, Edward Wadsworth, Henry Moore, Barbara Hepworth, Edward Burra, Ben Nicholson and Wells Coates. Nash also contributed to the Architectural Review and Country Life and wrote Shell Guide to Dorset (1936). During the Second World War Nash was employed by the Ministry of Information and the Air Ministry and paintings produced by him during this period include the Battle of Britain and Totes Meer. His biographer, Myfanwy Piper, has argued: 'This war disturbed Nash but did not change his art as the last one had. His style and his habits were formed, and in the new war he treated his new subjects as he had treated those he had been thinking about for so long. His late paintings, both oils and watercolours, are alternately brilliant and sombre in colour with the light of setting suns and rising moons spreading over wooded and hilly landscapes.' Paul Nash died at 35 Boscombe Spa Road, Bournemouth, on 11th July 1946. —www.spartacus.schoolnet.co.uk