单选题He was concerned only with mundane matters, especially the daily stock market quotations.

单选题She was unimpressed by the actor, describing him as "a vain man and ______ dull". A. intensively B. intensely C. downright D. actual

单选题The discoveries of science often are a mixed blessing. On the one hand they give us valuable pesticides that enable the farmer to grow more abundant crops and on the other hand they ______ the benefits by destroying the balance of nature.

单选题Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith. Before griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and a rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the acting and extreme long shots to achieve a sense of spectacle and distance. His appreciation of the camera"s possibilities produced novel dramatic effects. By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to camera shot. Griffith also achieved dramatic effects by means of creative editing. By putting images together and varying the speed and rhythm of their presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since. These included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the victorian novel to film and gave film mastery of time as well as space. Besides developing the cinema"s language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic: it included not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browning and Tennyson, and treatments of social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema. When he remade Enoch Arden in 1911, he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffith"s introduction of the American-made multireel picture began an immense revolution. Two years later, Judith of Bethulia, an elaborate historicophilosophical spectacle, reached the unprecedented length of four reels, or one hour"s running time. From our contemporary viewpoint, the pretensions of this film may seem a trifle ludicrous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema.

单选题______ in doing an examination, the time passed by quickly. A. Being absorbed B. Having been absorbed C. When they were absorbed D. Be absorbed

单选题In November 1987 the government ______ a public debate on the future direction of the official sports policy.(2008年四川大学考博试题)

单选题The passage suggests that the principal effect of the state action limitation was to ______.

单选题Suppose you go into a fruiterer's shop, wanting an apple—you take up one, and on biting it you find it is sour; you look at it, and see that it is hard and green. You take up another one, and that, too, is hard, green, and sour. The shopman offers you a third; but, before biting it, you examine it, and find that it is hard and green, and you immediately say that you will not have it, as it must be sour, like those that you have already tried. Nothing can be more simple than that, you think; but if you will take the trouble to analyze and trace out into its logical elements what has been done by the mind, you will be greatly surprised. In the first place you have performed the operation of induction. You find that, in two experiences, hardness and greenness in apples went together with sourness. It was so in the first case, and it was confirmed by the second. True, it is a very small basis, but still it is enough from which to make an induction; you generalize the facts, and you expect to find sourness in apples where you get hardness and greenness. You found upon that a general law, that all hard and green apples are sour; and that, so far as it goes, is a perfect induction. Well, having got your natural law in this way, when you are offered another apple which you find it hard and green, you say, "all hard and green apples are sour; this apple is hard and green; therefore, this apple is sour." That train of reasoning is what logicians call a syllogism, and has all its various parts and terms — its major premises, its minor premises, and its conclusion. And by the help of further reasoning, which, if drawn out, would have to be exhibited in two or three other syllogisms, you arrive at your final determination, "I will not have that apple. " So that, you see, you have, in the first place, established a law by induction, and upon that you have founded a deduction, and reasoned out the special particular case. Well now, suppose, having got your conclusion of the law, that at some times afterwards, you are discussing the qualities of apple with a friend; you will say to him, "It is a very curious thing, but I find that all hard and green apples are sour!" Your friend says to you, "But how do you know that?" You at once reply, "Oh, because I have tried them over and over again, and have always found them to be so." Well, if we are talking science instead of common sense, we should call that an experimental verification. And, if still opposed, you go further, and say, "I have heard from people, in Somerset shire and Devon shire, where a large number of apples are grown, and in London, where many apples are sold and eaten, that they have observed the same thing." It is also found to be the case in Normandy, and in North America. In short, I find it to be the universal experience of mankind wherever attention has been directed to the subject. Whereupon, your friend, unless he is a very unreasonable man, agrees with you, and is convinced that you are quite right in the conclusion you have drawn. He believes, although perhaps he does not know he believes it, that the more extensive verifications have been made, and results of the same kind arrived at—that the more varied the conditions under which the same results are attained, the more certain is the ultimate conclusion, and he disputes the question no further. He sees that the experiment has been tried under all sorts of conditions, as to time, place, and people, with the same result; and he says with you, therefore, that the law you have laid down must be a good one, and he must believe it.

单选题The current political debate over family values personal responsibility, and welfare takes for granted the entrenched American belief that dependence on government assistance is a recent and destructive phenomenon. Conservatives tend to blame this dependence on personal irresponsibility aggravated by a swollen welfare apparatus that saps individual initiative. Liberals are more likely to blame it on personal misfortune magnified by the harsh lot that falls to losers in our competitive market economy. But both sides believe that "winners" in America make it on their own that dependence reflects some kind of individual or family failure, and that the ideal family is the self-reliant unit of traditional lore--a family that takes care of its own, carves out a future for its children, and never asks for handouts. Politicians at both ends of the ideological spectrum have wrapped themselves in the mantle of these "family values" arguing over why the poor have not been able to make do without assistance, or whether aid has exacerbated their situation, but never questioning the assumption that American families traditionally achieve success by establishing their independence from the government. The myth of family self-reliance is not compelling that our actual national and personal histories often buckle under its emotional weight. "We always stood on our own two feet", my grandfather used to say about his pioneer heritage, whenever he walked me to the top of the hill to survey the property in Washington State that his family had bought for next to nothing after it had been logged off in the early 1900s. Perhaps he didn't know that the land came so cheap because much of it was part of a federal subsidy originally allotted to the railroad companies, which had received 183 million acres of the public domain in the nineteenth century. These federal giveaways were the original source of most major western logging companies' land, and when some of these logging companies moved on to virgin stands of timber, federal lands trickled down to a few early settlers who were able to purchase them inexpensively. Like my grandparents, few families in American history--whatever their "values" have been able to rely solely on their own resources. Instead, they have depended on the legislative, judicial and social support structures set up by governing authorities, whether those authorities were the clan elders of Native American societies, the church courts and city officials of colonial America, or the judicial and legislative bodies established by the Constitution. At America's inception, this was considered not a dirty little secret but the norm, one that confirmed our social and personal interdependence. The idea that the family should have the sole or even primary responsibility for educating and socializing its members, finding them suitable work, or keeping them from poverty and crime was not only ludicrous to colonial and revolutionary thinkers but dangerously parochial.

单选题Though sometimes too lazy to work as hard as her sisters, Linda has a more {{U}}avid{{/U}} fondness for the limelight.

单选题I arrive at nine o'clock, teach until twelve thirty and then have a meal; that is my morning ______. A) habit B) custom C) practice D) routine

单选题It is not an agreement ______, but it will serve as one. A. on such B. for such C. as such D. in such

单选题 For years, doctors have given cancer patients three main treatments: surgery, radiation and chemotherapy. Now researchers are developing a fourth weapon: the patient's own immune system. New vaccines and drugs can stimulate the production of an army of cells and antibodies that kill cancer cells. Drug-vaccine therapy may be lifesaver for Deerfield man. Few people survive advanced melanoma, but immune therapy is giving Deerfield resident Douglas Parker a fighting chance. The 46-year-old salesman noticed a mole on his chest three and a half years ago that was found to be cancerous. Doctors removed the mole but didn't get all of the cancer. The cancer spread to other parts of his body, including his liver, where a tumor grew as large as a baseball. Parker took interferon and interleukin-2 to boost his immune system's ability to fight the cancer. The tumor shrank but didn't disappear. In August, 1997, surgeons removed it, along with two-thirds of his liver. Last January, doctors discovered a new tumor on Parker's left adrenal gland. He received an experimental cancer vaccine at the University of Chicago Hospitals, but the vaccine didn't stop the cancer from spreading to his right adrenal gland. To augment the vaccine, doctors at Lutheran General Hospital gave Parker a new round of interleukin-2 and interferon. The drug-vaccine combination has shrunk the tumors. And while it's too early to pronounce Parker cured, immune therapy may save his life. "I want to do this to help myself as well as other people who have melanoma, ' he said. Immune therapy "ultimately will be a significant change in the way we treat a lot of different cancers," said Dr. Jon Richards of Lutheran General Hospital in Park Ridge, who is testing cancer vaccines on melanoma patients. "It will be an equal partner with the other three treatments in the next five to ten years." Several drugs that bolster the immune system have been approved, and vaccines are being tested in dozens of clinical trials, including several in the Chicago area. Many of the experimental vaccines have been tested on patients with advanced melanoma who have little chance of surviving with conventional treatments alone. Researchers also have begun doing work that could lead to vaccines to treat prostate, lung, colon and other cancers. Immune therapy alone won't cure cancer. But when used after conventional treatments, it could kill cancer cells that survive surgery, radiation or chemotherapy, researchers said. Some day, vaccines also might be able to prevent certain cancers. It may be possible to vaccinate against viruses and bacteria that help cause cervical, liver and stomach cancers, the National Cancer Institute said.

单选题Both police officers and high officials here are susceptible to corruption.

单选题Forget football. At many high schools, the fiercest competition is between Coke and Pepsi over exclusive "pouring rights" to sell on campus. But last week Jeffrey Dunn, president of Coca-Cola Americas, called a timeout: Coke's machines will now also stock water, juice, and other healthful options—even rival brands and their facades will feature school scenes and other "noncommercial graphics" instead of Coke's vivid red logo. "The pendulum needs to swing back" on school-based marketing, said Dunn. Coke's about-face—particularly the call to end the exclusive deals that bottlers make with school districts—comes amid rising concern over kids' health. American children are growing ever more obese and developing weight-related diseases usually found in adults. While inactivity and huge helpings factor heavily, a recent study in the Lancet fingered soda pop as a likely culprit. Communities—and legislators—are already on the case. Last year, for instance, parents in Philadelphia detailed a proposed contract with Coca-Cola that would have netted the school system $ 43 million over 10 years. And in a searing report to congress last month, the U. S. Department of Agriculture recommended that all snacks sold in schools meet federal nutrition standards(the requirements are loose enough that Snickers bars qualify). Spare change? Activists hope Coke's capitulation will help curb commercialism in schools altogether. From ads on Channel One, which broadcasts current-affairs programs on classroom TV, to middle-school math texts that cite Nike and other brand-name products in their word problems, to company-sponsored scoreboards on football fields, American pupils are bombarded. But Andrew Hagelshaw, executive director of the Oakland, Calif. -based Center for Commercial-Free Public Education, views Coca-Cola's policy shift as a "partial victory". Schools sign contracts with local bottlers; the parent company can only urge them to back off. Moreover, Coke's machines will remain in place, although with healthier options. And don't expect teenagers to suddenly swear off the stuff—or school districts to give up the revenue. At Wheeler High School in Marietta, Ga., where students arrive before 7 a. m. and stay as late as 11 o'clock at night, they rely on the machines. And the $ 50,000 in annual vending revenues have enabled Principal Joe Boland to refinish the gym floor, install a new high-jump pit, and pay $ 7,000 for two buses. "If someone made an offer to me to take the machines out, I'd consider it," says Boland. "But nobody's offering me any money. "

单选题In Action Painting, the paint is sometimes ______ onto the canvas. A. trickled B. trampled C. stroked D. soaked

单选题The crucial years of the Depression, as they are brought into historical focus, increasingly emerge as the decisive decade for American art, if not for American culture in general. For it was during this decade that many of the conflicts which had blocked the progress of American art in the past came to a head and sometimes boiled over. Janus-faced, the thirties look backward, sometimes as far as the Renaissance; and at the same time forward, as far as the present and beyond. It was the moment when artists, like Thomas Hart Benton, who wished to turn back the clock to regain the virtues of simpler times came into direct conflict with others, like Stuart Davis and Frank Lloyd Wright, who were ready to come to terms with the Machine Age and to deal with its consequences. America in the thirties was changing rapidly. In many areas the past was giving way to the present, although not without a struggle. A Predominantly rural and small town society was being replaced by the giant complexes of the big cities; power was becoming increasingly centralized in the federal government and in large corporations. Many Americans, deeply attached to the old way of life, felt disinherited. At the same time, as immigration decreased and the population became more homogeneous, the need arose in art and literature to commemorate the ethnic and regional differences that were fast disappearing. Thus, paradoxically, the conviction that art, at least, should serve some purpose or carry some message of moral uplift grew stronger as the Puritan ethos lost its contemporary reality. Often this elevating message was a sermon in favor of just those traditional American virtues, which were now threatened with obsolescence in a changed social and political context. In this new context, the appeal of the paintings by the regionalists and the American Scene painters often lay in their ability to recreate an atmosphere that glorified the traditional American values—self-reliance tempered with good-neighborliness, independence modified by a sense of community, hard work rewarded by a sense of order and purpose. Given the actual temper of the times, these themes were strangely anachronistic, just as the rhetoric supporting political isolationism was equally inappropriate in an international situation soon to involve America in a second world war. Such themes gained popularity because they filled a genome need for a comfortable collective fantasy of a God-fearing, white picket fence America, which in retrospect took on the nostalgic appeal of a lost Golden Age. In this light, an autonomous art-for-art's sake was viewed as a foreign invader liable to subvert the native American desire for a purposeful art. Abstract art was assigned the role of the villainous alien; realism was to personify the genuine American means of expression. The arguments drew favor in many camps: among the artists, because most were realists; among the politically oriented intellectuals, because abstract art was apolitical; and among museum officials, because they were surfeited with mediocre imitations of European modernism and were convinced that American art must develop its own distinct identity. To help along this road to self-definition, the museums were prepared to set up an artificial double standard, one for American art, and another for European art. In 1934, Ralph Flint wrote in Art News, "We have today in our midst a greater array of what may be called second-, third-, and fourth-string artists than any other country. Our big annuals are marvelous outpourings of intelligence and skill; they have all the diversity and animation of a fine-ring circus. "

单选题I've never ______ the theory that people are more important than animals.