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单选题Miguel knocked on one of the doors. When no one answered, he pushed the door open. He immediately realized his mistake. He"d blundered into another dressing room. Miguel knew he should leave the room immediately, but he couldn"t help staring at the guy in the room. He seemed to be taking to himself. No one in the room was talking back. Yet there was someone else there. A girl. Most of her was hidden behind the speaker"s broad-shouldered body. Miguel saw a flash of slender hands reaching up, fussing with the front of the guy"s light brown hair. "Glenn, hold still!" the girl"s voice suddenly cut through the speaker"s monologue, "If you don"t stop wriggling. I might burn you with this curling iron!" Miguel"s blood turned to boiling acid. Leanna! She hadn"t wasted any time getting a new boyfriend. Miguel had to see what this loser looked like. "Excuse me," Miguel said, walking toward the couple. "Can you tell me the supply closet?" "This isn"t the supply closet," Glenn said arrogantly, "Get lost. " "But I"m already lost," Miguel said cheerfully. He was ignoring Glenn now and watching Leanna for some sort of reaction. Her face was totally drained of color, and her almond eyes were so wide, they almost seemed round. "What are you doing here?" Leanna gasped. "Looking for an extension cord," Miguel replied. He pointed to the white cord connecting the curling iron to the outlet. "How about that one?" "No! That"s mine," Glenn said, "Leanna, you only put one wave in my hair. " "Hey, Leanna, you never did my hair when we were dating," Miguel said. He leaned against the wall, almost in Leanna"s face, and ruffled his bangs with his fingers. Miguel wasn"t sure what he was trying to prove. He couldn"t stand seeing Leanna so close to Glenn, touching his hair. If he could goad Leanna into losing her temper, Miguel hoped he"d be able to hate her again, instead of wanting her back. "Get out of here," Leanna said coldly. "You used to go out with this janitor?" Glenn asked Leanna. "I"m not a janitor," Miguel said, "I"m helping Scott with the lights. " "Yeah?" Glenn turned to Miguel, "Make sure you keep that spotlight on me, boy. I"m the star of this show. " "You may be the star," Miguel said, his voice low, "but I"m not your boy. " "I can say whatever I want," Glenn shot back, "My parents pay taxes, but you immigrants sneak into this country illegally and take jobs away from Americans. Do you want me to call Immigration?" Leanna suddenly stepped between them. "I can"t believe you, Glenn. Miguel"s not an immigrant. His family came here from the Philippines, and—" Glenn"s nostrils flared, "These foreigners are taking over the country. It makes me sick!" "I"m a Filipino and I"m proud of it !" Leanna, hands on her hips, was shouting in Glenn"s face, "Do I make you sick, Glenn?" "Of course not !" Glenn looked shocked, "You were born here. I"m talking about people who come from other countries. Most of them go on welfare and they run down the neighborhoods and commit crimes. Why should they have the same rights as American citizens ?" "Because we"re human beings," Leanna said. Miguel noticed that Leanna had put herself in the same category. She wasn"t trying to impress him. She was speaking from the heart. "It"s not where you come from that matters," Leanna told Glenn, "It"s what kind of person you are inside. Miguel"s honest and hardworking, but you"re a conceited jerk!" "What"s going on in here?" a new voice demanded. The agent, Tyrone Ashby, appeared in the doorway. "Five minutes to curtain time! Glenn, get out there!" "I"m outta here, all right," Glenn said, "You can have your crummy show without me! " Miguel barely noticed Glenn or the agent. All his attention was on Leanna. She turned to him, tears glistening in her eyes. "Miguel, I"m sorry I lied to you," she said, "I know you"ll never forgive me. But I wanted to say thank you. Because of you, I"ve learned to love my Philippine heritage. I hope someday we can be friends. " A lump rose in Migucl"s throat, and he knew, suddenly, that friendship would never be enough. "Leanna," he began. But then he felt his body slam into the wall as Glenn pushed roughly past on his way out the door. Miguel had barely caught his breath when Tyrone grabbed his arm. "You"ve got to take Glenn"s place!" Tyrone cried, "You"ve got the right build, the same shoulders—" "Miguel hates modeling," Leanna said, "He won"t do it... will you, Miguel?" Suddenly Miguel knew he"d do whatever it took to make Leanna smile. Beside, it was partly his fault that Glenn had walked out of the fashion show in the first place. If Miguel refused to fill in, lots of people would be disappointed. "Okay," he said, "But no makeup. " "No time for makeup." Tyrone dragged Miguel toward a rack of clothes. "Leanna, go tell them to delay the curtain. " "Leanna !" Miguel called, "Wait a second !" "What?" she asked, looking hopefully. "You can talk to her later!" Tyrone almost shrieked, "Put on this suit!" Miguel pointed to the curling iron. "The extension cord—give it to Scott!" When the show ended, Leanna hurried backstage. She found Miguel talking to Tyrone. But then Miguel looked directly at her. Rescue me, his eyes seemed to say. "There you are!" Miguel said, "Excuse us, Tyrone. We"re late for—uh— something. " "What was that all about?" Leanna asked as she followed Miguel down the hallway. "Tyrone keeps saying I have The look . He wants me to enroll at Bayside. But that"s not important right now." Miguel yanked open the first door he came to and stepped inside. "Come here, I need to talk to you. " "In a broom closet?" Leanna asked, stepping into a small room filled with brooms. "I guess it"s not the most romantic spot," Miguel said, "But this isn"t the worst mistake I"ve made. My worst mistake was breaking up with you. " Leanna caught her breath. "You—you forgive me?" "I was wrong, too." Miguel swallowed hard, "When you said those things to Glenn, I realized I was just as prejudiced as he was. I wanted you to be part of my world, but I wasn"t ready to accept yours. I didn"t respect the things that were important to you." "I didn"t give you the chance to know what was important to me. " Miguel"s face turned crimson. "I felt pretty good out on that runway," he admitted, "I see why you like it. Not that I"m ready to enroll at Bayside. " "But you have The look ," Leanna teased. She took a step closer. She couldn"t keep her hand from trembling as she reached out and brushed Miguel"s silky bangs back from his forehead, "All you need are some curls here.., and here. " Leanna felt Miguel"s arms tighten around her waist. "Leanna," Miguel began, "can we give it another try?" "I"m willing if you are," Leanna said, "I"m a Filipino, but I"m an American, too. I"d like us to explore both cultures. Together. " Leanna took a deep breath and hoped she"d get her pronunciation right. "Mahal kita, Miguel. " Surprise and pleasure lit Miguel"s dark eyes. "I love you, too. " He said. And he sealed it with a kiss.

单选题It was a day that Michael Eisner would undoubtedly like to forget. Sitting in a Los Angeles witness box for four hours last week, the usually unflappable chairman of the Walt Disney Co. struggled to maintain his composure. Eisner"s protégé turned nemesis. Jeffrey Katzenberg, his former employee, was seeking $ 500 million in his breach-of-contract suit against Disney, and Eisner was trying to defend his—and his company"s integrity. At one point Eisner became flustered when Katzenberg"s attorney, Bertram Fields, asked if he recalled telling his biographer, Tony Schwartz, "I think I hate the little midget." Later Eisner recalled that the same day, he had received a fax from Katzenberg meant for Fields, thanking the lawyer for "managing" a magazine story that praised Katzenberg at Eisner"s expense: "I said to Schwartz, "Screw that. If he is going to play this disingenuous game … I simply was not going to pay him his money." Last week"s revelations were the latest twist in a dispute that has entertained Hollywood and tarnished Disney"s corporate image. The dash began five years ago, when Katzenberg quit Disney after a 10-year reign as studio chief, during which he oversaw production of such animated blockbusters as "The Lion King". Disney"s attorneys said that Katzenberg forfeited his bonus—2 percent of profits in perpetuity from all Disney movies, TV shows and stage productions from 1984 to 1994, as well as their sequels and tie-ins—when he left. The company ultimately paid Katzenberg a partial settlement of nearly $117 million, sources say. But talks broke down over how much Disney owed, and the dispute landed in court. Industry insiders never expected that Disney would push it this far. The last Hollywood accounting dispute that aired in public was Art Buchwalds’s lawsuit against Paramount for profits he claimed to be owed from the 1988 Eddie Murphy hit "Coming to America". Paramount chose to fight Buchwald in court—only to wind up paying him $1 million after embarrassing revelations about its business practices. After that, studios made a practice of quietly settling such claims. But Disney under Eisner would rather fight that settle. And he and Katzenberg are both proud, combative types whose business disagreement deepened into personal animus. So far, Disney"s image—as well as Eisner"s—has taken a beating. In his testimony last week Eisner repeatedly responded to questions by saying "I don"t recall" or "I don"t know". Katzenberg, by contrast, offered a stack of notes and memos that appeared to bolster his claim. (The Disney executive who negotiated Katzenberg"s deal, Frank Wells, died in a helicopter crash five years ago.) The trial has also offered a devastating glimpse into the Magic Kingdom~ s business dealings. Internal documents detail sensitive Disney financial information. One Hollywood lawyer calls a memo sent to Katzenberg from a former Disney top accountant "a road map to riches" for writers, directors and producers eager to press cases against Disney. The company declined requests to comment on the case. The next phase of the trial could be even more embarrassing. As Katzenberg"s profit participation is calculated, Eisner will have to argue that his animated treasures are far less valuable than Katzenberg claims. No matter how the judge rules, Disney will look like a loser.

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单选题Questions 6 to 10 are based on the following news.

单选题 {{B}}Questions 16 to 20 are based on the following talk.{{/B}}

单选题Questions 27-30

单选题 Christophe Petyt is sitting in a Paris caré, listing the adornments of his private art collection: several Van Goghs, and a comprehensive selection of the better impressionists. "I can," he says quietly, "really get to know any painting I like, and so can you. " Half an hour later I am sitting in his office with Degas' The Jockeys on my lap. If fine art looks good in a gallery, believe me, it feels even better in your hands. Petyt is the world's leading dealer in fake masterpieces, a man whose activities provoke both admiration and exasperation in the higher levels of the art world. Name the painting and for as little as $1,000 he will deliver you a copy so well executed that even the original artist might have been taken in. Petyt's company employs over eighty painters, each ordered in the style of a particular artist or school. "We choose them very carefully," he says. "They're usually people with very good technique but not much creativity, who are unlikely to make it as artists in their own right. But they love the great works and have real insight into what's gone into them. " Every work is individually ordered, using new canvases and traditional oil paints, before being artificially aged by a variety of simple but ingenious techniques. The notional value of the original is not the determining factor, however, when it comes to setting the retail value of Petyt's paintings. This is actually linked to the amount of effort and expertise that has gone into producing the copy. An obscure miniature may therefore cost much more than a bigger, better-known painting by a grand master. The Degas I'm holding looks as though it came off the artist's easel yesterday. Before being sold it has to be aged, and this, so to speak, is the real "art" of the copy. A few minutes in a hot oven can put years on a canvas, black tea apparently stains it beautifully and new frames can be buried underground, then sprayed with acid. The view when Petyt started out was that very little of this could be legal. He was pursued through the French courts by museums and by descendants of the artists. This concern was perhaps understandable in a country that has been rocked by numerous art fraud scandals. " The establishment was suspicious of us," huffs Petyt, "but for the wrong reasons, I think Some people want to keep all the best art for themselves. " He won the case and as the law now stands, the works and signatures of any artist who has been dead for seventy years can be freely copied. The main proviso is that the copy cannot be passed off to dealers as the real thing. To prevent this every new painting is indelibly marked on the back of the canvas, and as an additional precaution a tiny hidden piece of gold leaf is worked into the paint. Until he started the business ten years ago, Paetyt, a former business-school student, barely knew one artist from another. Then one particular painting by Van Gogh caught his eye. At $10 million, it was well beyond his reach so he came up with the iclea of getting an art-student friend to paint him a copy. In an old frame it looked absolutely wonderful, and Petyt began to wonder what market there might be for it. He picked up a coffee-table book of well-known paintings, earmarked a random selection of works and got his friend to knock them off. "Within a few months I had about twenty good copies. " he says, "so I organised an exhibition. In two weeks we'd sold the lot, and got commissions for sixty more. " It became clear that a huge and lucrative market existed for fake art.

单选题Directions: In this part of the test, you will hear several short talks and conversations. After each of these, you will hear a few questions. Listen carefully because you will hear the talk or conversation and questions ONLY ONCE. When you hear a question read the four answer choices and choose the best answer to that question. Then write the letter of the answer you have chosen in the corresponding space in your ANSWER BOOKLET. Questions 11-14

单选题{{B}}Statements{{/B}} Directions: In this part of the test, you will hear several short statements. These statements will be spoken ONLY ONCE, and you will not find them written on the paper ; so you must listen carefully. When you hear a statement, read the answer choices and decide which one is closest in meaning to the statement you have heard. Then write the letter of the answer you have chosen in the corresponding space in your ANSWER BOOKLET.

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单选题 {{B}}Questions 19—22{{/B}}

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单选题Every so often we read of a star trader who lost so much money that he gave back all the profits he made over several years and shook his bank to its foundations. How does this happen? Were the bank"s risk managers mistaken about this trader"s skill? Maybe. But recent research suggests an alternative explanation—that the winning streak changed the trader. Human biology can help explain what drives traders to acts of folly. When we take on risk, including financial risk, we don"t just think about it; we also prepare for it physically. Body and brain fuse as a single functioning unit. Consider what happens on the trading floor when news flashes across the wire. Traders" senses are placed on high alert. Breathing accelerates; a thumping heart gears up for action. Muscles tense, stomachs knot, and sweating begins, a sign of anticipatory cooling. We do not regard information as computers do, dispassionately. We register it physically. My colleagues at the University of Cambridge and I have conducted a series of experiments on London trading floors and found that during a winning streak, our biology can overreact and our risk taking can become pathological. When males enter competition, their testosterone levels surge, increasing their hemoglobin and hence their blood"s capacity to carry oxygen, and in the brain increasing their confidence and appetite for risk. The winner emerges with even higher levels of testosterone, and this heightens his chances of winning yet again, leading to a positive feedback loop known in animal behavior as the winner effect. For athletes preparing to compete, traders buying risky assets or even politicians gearing up for an election, this is a moment of transformation, what the French in the Middle Ages called "the hour between dog and wolf". At some point in this upward spiral of testosterone and victory, however, judgment becomes impaired. Effective risk taking morphs into overconfidence, and traders on a winning streak may take on positions of ever increasing size with ever worsening risk-reward trade-offs. What happens to traders" biology if these positions blow up? Their stress response goes into overdrive. The uncertainty people feel during a crisis can raise stress hormones and promote feelings of anxiety, a selective recall of disturbing memories and a tendency to find danger where none exists. The stress response may foster irrational risk aversion, impairing a person"s ability to manage positions taken on in more optimistic times. In short, traders" biology may cause them to take too much risk when on a winning streak and then too little when the market needs it most during a crisis. Risk managers at banks need to understand this biology. The statistical tools they rely on cannot catch the subterranean shifts taking place in their traders" risk appetite. Risk managers could, however, learn from sports scientists how to spot and manage exuberance, fatigue and stress. They may have to manage their traders much as coaches manage their athletes. And that means occasionally pulling them off the field until their biology resets.

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单选题The University in transformation, edited by Australian futurists Sohail Inayatullah and Jennifer Gidley, presents some 20 highly varied outlooks on tomorrow"s universities by writers representing both Western and non-Western perspectives. Their essays raise a broad range of issues, questioning nearly every key assumption we have about higher education today. The most widely discussed alternative to the traditional campus is the Internet University— a voluntary community to scholars/teachers physically scattered throughout a country or around the world but all linked in cyberspace. A computerized university could have many advantages, such as easy scheduling, efficient delivery of lectures to thousands or even millions of students at once, and ready access for students everywhere to the resources of all the world"s great libraries. Yet the Internet University poses dangers, too. For example, a line of franchised courseware, produced by a few superstar teachers, marketed under the brand name of a famous institution, and heavily advertised, might eventually come to dominate the global education market, warns sociology professor Peter Manicas of the University of Hawaii at Manoa. Besides enforcing a rigidly standardized curriculum, such a "college education in a box" could undersell the offerings of many traditional brick and mortar institutions, effectively driving them out of business and throwing thousands of career academics out of work, note Australian communications professors David Rooney and Greg Hearn. On the other hand, while global connectivity seems highly likely to play some significant role in future higher education, that does not mean greater uniformity in course content—or other dangers—will necessarily follow. Counter-movements are also at work. Many in academia, including scholars contributing to this volume, are questioning the fundamental mission of university education. What if, for instance, instead of receiving primarily technical training and building theft individual careers, university students and professors could focus their learning and research efforts on existing problems in their local communities and the world? Feminist scholar Ivana Milojevic dares to dream what a university might become "if we believed that child-care workers and teachers in early childhood education should be one of the highest (rather than lowest) paid professionals?" Co-editor Jennifer Gidley shows how tomorrow"s university faculty, instead of giving lectures and conducting independent research, may take on three new roles. Some would act as brokers, assembling customized degree-credit programmes for individual students by mixing and matching the best course offerings available from institutions all around the world. A second group, mentors, would function much like today"s faculty advisers, but are likely to be working with many more students outside their own academic specialty. This would require them to constantly be learning from their students as well as instructing them. A third new role for faculty, and in Gidley"s view the most challenging and rewarding of all, would be as meaning-makers: charismatic sages and practitioners leading groups of students/colleagues in collaborative efforts to find spiritual as well as rational and technological solutions to specific real-world problems. Moreover, there seems little reason to suppose that any one form of university must necessarily drive out all other options. Students may be "enrolled" in courses offered at virtual campuses on the Internet, between—or even during—sessions at a real-world problem-focused institution. As co-editor Sohail Inayatullah points out in his introduction, no future is inevitable, and the very act of imagining and thinking through alternative possibilities can directly affect how thoughtfully, creatively and urgently even a dominant technology is adapted and applied. Even in academia, the future belongs to those who care enough to work their visions into practical, sustainable realities.

单选题Questions 21-25 What we know of prenatal development makes all this attempt made by a mother to mold the character of her unborn child by studying poetry, art, or mathematics during pregnancy seem utterly impossible. How could such extremely complex influences pass from the mother to the child? There is no connection between their nervous systems. Even the blood vessels of mother and child do not join directly. An emotional shock to the mother will affect her child, because it changes the activity of her glands and so the chemistry in her blood. Any chemical change in the mother's blood will affect the child for better or worse. But we cannot see how a liking for mathematics or poetic genius can be dissolved in blood and produce a similar liking or genius in the child. In our discussion of instincts we saw that there was reason to believe that whatever we inherit must be of some very simple sort rather than any complicated or very definite kind of behavior. It is certain that no one inherits a knowledge of mathematics. It may be, however, that children inherit more or less of a rather general ability that we may call intelligence. If very intelligent children become deeply interested in mathematics, they will probably make a success of that study. As for musical ability, it may be that what is inherited is an especially sensitive ear, a peculiar structure of the hands or the vocal organs connections between nerves and muscles that make it comparatively easy to learn the movements a musician must execute, and particularly vigorous emotions. If these factors are all organized around music, the child may become a musician. The same factors, in other circumstances might be organized about some other center of interest. The rich emotional equipment might find expression in poetry. The capable fingers might develop skill in surgery. It is not the knowledge of music that is inherited then, nor even the love of it, but a certain bodily structure that makes it comparatively easy to acquire musical knowledge and skill. Whether that ability shall be directed toward music or some other undertaking may be decided entirely by forces in the environment in which a child grows up.

单选题Questions 11～14

单选题Whyhaven'ttheyseeneachotherlately?[A]ThemanhasbeentotheStates.[B]Themanhasbeenbusy.[C]Themanhasbeenill.