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单选题 Directions: In this section you will read several passages. Each one is followed by several questions about it. You are to choose ONE best answer, (A), (B), (C) or (D), to each question. Answer all the questions following each passage on the basis of what is stated or implied in that passage and write the letter of the answer you have chosen in the corresponding space in your ANSWER BOOKLET. Questions 1～5 We had been wanting to expand our children's horizons by taking them to a place that was unlike anything we'd been exposed to during our travels in Europe and the United States. In thinking about what was possible from Geneva, where we are based, we decided on a trip to Istanbul, a two-hour plane ride from Zurich. We envisioned the trip as a prelude to more exotic ones, perhaps to New Delhi or Bangkok later this year, but thought our 11-and 13-year-olds needed a first step away from manicured boulevards and pristine monuments. What we didn't foresee was the reaction of friends, who warned that we were putting our children "in danger," referring vaguely, and most incorrectly, to disease, terrorism or just the unknown. To help us get acquainted with the peculiarities of Istanbul and to give our children a chance to choose what they were particularly interested in seeing, we bought an excellent guidebook and read it thoroughly before leaving. Friendly warnings didn't change our planning, although we might have more prudently checked with the U. S. State Department's list of trouble spots. We didn't see a lot of children among the foreign visitors during our six-day stay in Istanbul, but we found the tourist areas quite safe, very interesting and varied enough even to suit our son, whose oft-repeated request is that we not see "every single" church and museum in a given city. Vaccinations weren't needed for the city, but we were concerned about adapting to the water for a short stay. So we used bottled water for drinking and brushing our teeth, a precaution that may seem excessive, but we all stayed healthy. Taking the advice of a friend, we booked a hotel a 20-minute walk from most of Istanbul's major tourist sites. This not only got us some morning exercise, strolling over the Karakoy Bridge, but took us past a colorful assortment of fishermen, vendors and shoe shiners. From a teenager and pre-teen's view, Istanbul street life is fascinating since almost everything can be bought outdoors. They were at a good age to spend time wandering the labyrinth of the Spice Bazaar, where shops display mounds of pungent herbs in sacks. Doing this with younger children would be harder simply because the streets are so packed with people; it would be easy to get lost. For our two, whose buying experience consisted of department stores and shopping mall boutiques, it was amazing to discover that you could bargain over price and perhaps end up with two of something for the price of one. They also learned to figure out the relative value of the Turkish lira, not a small matter with its many zeros. Being exposed to Islam was an important part of our trip. Visiting the mosques, especially the enormous Blue Mosque, was our first glimpse into how this major religion is practiced. Our children's curiosity already had been piqued by the five daily calls to prayer over loudspeakers in every corner of the city, and the scarves covering the heads of many women. Navigating meals can be troublesome with children, but a kebab, bought on the street or in restaurants, was unfailingly popular. Since we had decided this trip was not for gourmets, kebabs spared us the agony of trying to find a restaurant each day that would suit the adults' desire to try something new amid children's insistence that the food be served immediately. Gradually, we branched out to try some other Turkish specialties. Although our son had studied Islam briefly, it is impossible to be prepared for every awkward question that might come up, such as during our visits to the Topkapi Sarayi, the Ottoman Sultans' palace. No guides were available so it was do-it-yourself, using our guidebook, which cheated us of a lot of interesting history and anecdotes that a professional guide could provide. Next time, we resolved to make such arrangements in advance. On his trip, we wandered through the magnificent complex, with its imperial treasures, its courtyards and its harem. The last required a bit of explanation that we would have happily left to a learned third party.

单选题Questions 6-10 In the 1950s, the pioneers of artificial intelligence (AI) predicted that, by the end of this century, computers would be conversing with us at work and robots would be performing our housework. But as useful as computers are, they"re nowhere close to achieving anything remotely resembling these early aspirations for humanlike behavior. Never mind something as complex as conversation: the most powerful computers struggle to reliably recognize the shape of an object, the most elementary of tasks for a ten-month-old kid. A growing group of AI researchers think they know where the field went wrong. The problem, the scientists say, is that AI has been trying to separate the highest, most abstract levels of thought, like language and mathematics, and to duplicate them with logical, step-by-step programs. A new movement in AI, on the other hand, takes a closer look at the more roundabout way in which nature came up with intelligence. Many of these researchers study evolution and natural adaptation instead of formal logic and conventional computer programs. Rather than digital computers and transistors, some want to work with brain cells and proteins. The results of these early efforts are as promising as they are peculiar, and the new nature-based AI movement is slowly but surely moving to the forefront of the field. Imitating the brain"s neural network is a huge step in the right direction, says computer scientist and biophysicist Michael Conrad, but it still misses an important aspect of natural intelligence. "People tend to treat the brain as if it were made up of color-coded transistors", he explains, "but it"s not simply a clever network of switches. There are lots of important things going on inside the brain cells themselves. " Specifically, Conrad believes that many of the brain"s capabilities stem from the pattern recognition proficiency of the individual molecules that make up each brain cell. The best way to build an artificially intelligent device, he claims, would be to build it around the same sort of molecular skills. Right now, the option that conventional computers and software are fundamentally incapable of matching the processes that take place in the brain remains controversial. But if it proves true, then the efforts of Conrad and his fellow AI rebels could turn out to be the only game in town.

单选题Questions 27—30

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单选题 One of the most disturbing statistics I've read for a long time was published this week. The Work Foundation claims that job satisfaction in this country has fallen alarmingly. Women's satisfaction level has fallen from 51 percent in 1992 to 29 percent today; men's has fallen from 35 percent to 20. The reason — the long-hours culture and job insecurity. For my father's generation, work was something that had to be endured so that real life could be maintained. But my generation has been gulled into thinking that work is real life, Most work is not satisfying. Most work stinks. Most work, however well paid, is meaningless and dull. But somehow we've been convinced that work provides self-fulfillment. Before Mrs Thatcher, we had a famous British attitude to work — the less we did the better. Thatcher introduced the idea that, in a world where identity was so fragile, you could become real through work, through long hours and assiduous consumption, in the small amount of time you had been left after clocking off. Now Blair carries on the crusade, I've got one of the best jobs in the world — sitting in an office by myself all day trying to make up something that someone somewhere will be interested in. But I'd rather be stretched out in front of the TV, or in bed, or playing tennis, or doing just about anything else. Much of feminist thought has been about getting what men have traditionally had without examining the underlying assumption of whether it was worth having. Feminism never ended up with a life built around creative leisure, instead, women of talent and drive threw themselves into the labour pool, believing that work and its attendant income and power would affect the change of life and consciousness that would liberate them. Can anything be done? Only if we're willing to change the way we've been tricked into thinking. Most people now measure their lives primarily in units of currency — money saved and spent. I have a friend who'll travel halfway across London for a shoe sale, without factoring in how much of her precious time has been spent travelling. The most important truth I know is that all we ever own is the time we were given on this earth. We need to seize it back. Now the future has arrived, and we have the means to do it — we just don't have the imagination.

单选题There is severe classic tragedy within major-league baseball, tragedy which catches and manipulates the fife of every athlete as surely as forces beyond the heaths manipulated Hardy"s simple Wes-sex folks into creatures of imposing stature. Major-league baseball is an insecure society; it pays a lavish salary to an athlete and then, when he reaches thirty-five or so, it abruptly stops paying him anything. But the tragedy goes considerably deeper than that. Briefly, it is the tragedy of fulfillment. Each major leaguer, like his childhood friends, always wanted desperately to become a major leaguer. Whenever there was trouble at home, in school, or with a girl, there was the sure escape of baseball; not the stumbling, ungainly escape of an ordinary ballplayer, but a sudden, wondrous metamorphosis into the role of a hero. For each major leaguer was first a star in his neighborhood or in his town, and each rived with the unending solace that there was one thing he could always do with grace and skill and poise. Somehow, he once believed with the most profound faith he possessed, that if he ever did make the major leagues, everything would then become ideal. A major-league baseball team is comprised of twenty-five youngish men who have made the major leagues and discovered that, in spite of it, life remains distressingly short of ideal. In retrospect, they were better off during the years when their adolescent dream was happily simple and vague. Among the twenty-five youngish men of a ball club, who individually held the common dream which came to be fulfilled, cynicism and disillusion are common as grass. So Willie Mays angrily announces that he will henceforth charge six hundred dollars to be interviewed, and Duke Snider shifts his dream-site from a ball park to an avocado farm overlooking the Pacific, and Peewee Reese tries to fight off a momentary depression by saying, "Sure I dreamt about baseball when I was a kid, but not the night games. No, sir. I did not dream about the fights. " For most men, the business of shifting and reworking dreams comes late in life, when there are older children upon whose unwilling shoulders the tired dreams may be deposited. It is a harsh, jarring thing to have to shift dreams at thirty, and if there is ever to be a major novel written about baseball, it will have to come to grips with this theme.

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

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

单选题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.

单选题WhattimedidMr.Gaoring?[A]8:00am[B]8:30am[C]3:00pm

单选题Questions 11 to 15 are based on the following interview.

单选题Not so long ago I found myself in characteristically pugnacious discussion with a senior human rights figure. The issue was privacy. Her view was that there was an innate and largely unchanging human need for privacy. My view was that privacy was a culturally determined concept. Think of those open multiseated Roman latrines in Pompeii, and imagine having one installed at work. The specific point was whether there was a generational difference in attitudes towards privacy, partly as a consequence of interact social networking. I thought that there was. As a teenager I told my parents absolutely nothing and the world little more. Some girls of that era might be photographed bare-breasted at a rock festival, but, on the whole, once we left through the front door, we disappeared from sight. My children--Generation Y, rather than the Generation X-ers who make most of the current fuss about privacy--seem unworried by their mother's capacity to track them and their social lives through Facebook. In fact, they seem unworried by anybody's capacity to see what they're up to-until, of course, it goes wrong. They seem to want to be in sight, and much effort goes into creating the public identity that they want others to see. Facebook now acts as a vast market place for ideas, preferences, suggestions and actings-out, extending far beyond the capacity of conventional institutions to influence. And the privacy issues it raises have little to do with the conventional obsessions such as CCTV or government data-mining. At a conference at the weekend I heard that some US colleges have taken to looking at the Facebook sites of applicants before they think to alter them before an interview. This may turn out to be apocryphal, but such a thing certainly could be done. In this era of supplementing exam grades with personal statements and character assessments, what could be more useful than an unguarded record of a student's true enthusiasms? My daughter's college friends, she says, are "pretty chilled" about it. There are the odd occasions when a vinous clinch is snapped on a mobile phone and makes the social rounds to the embarrassment of the clinchers, but what ever will be will be. An EU survey two years ago suggested that this is the pattern more generally. The researchers discovered what seemed to be a paradox: although half of their young respondents were confident in their own ability to protect their online privacy, only a fifth thought it a practical idea to give users in general "more control over their own identity data". Meanwhile, their elders try to get them concerned about issues such as internet data harvesting by private companies. A US news report last week concerned the work done to create "privacy nudges "--software that reminds users at certain moments that the information they are about to divulge has implications for privacy. I have to say, as someone who often elects to receive online mailshots from companies operating in areas in which I'm interested, that this seems to me to miss the main problem. As long as you have the right to say "no" to a company's blandishments, I don't see a huge problem. That's why the now notorious Italian bullying video seems much more relevant. At the end of last week three Google employees were sentenced in absentia for breaching the privacy of a handicapped boy, whose horrid treatment at the hands of his Turin schoolmates had been posted on Google Video. This clip spent several months in circulation before being taken down. Almost everyone agrees that the sentence was wrong, perverse and a kick in the teeth for free Speech, with implications that could (but won't) undermine the internet. And they are quite right. But look at it, for a moment, from the point of view of the boy's parent, or the boy himself. They must have felt powerless and damage& So how much control or ownership can one have over one's own image and reputation? The second great question, then, raised with regard to the net is what might be called "reputation management" What is it that you want people to know about you, and can you have control over it? Last weekend I was alerted to two new phenomena, both of which caused me to miss a heartbeat. The first was the possibility of using a program, or employing someone, to "suicide" you online. Recently a company in Rotterdam used its Facebook presence to advertise its "web 2. 0 suicide machine", which would act as "a digital Dr Kevorkian [and] delete your online presence" not just from your own sites but from everyone else's--leaving just a few "last words". Unfortunately Facebook chucked the suicide machine off its premises, so it then suicided itself, ending with the words "no flowers, no speeches". As a journalist I was horrified by the implications of online suiciding. In the first place it means the erasure of documentary history. And second it raises the possibility of routine doctoring of material on the internet to render it more palatable to the offended. The second phenomenon was worse. It was that some people, many perhaps, might seek to undermine any informational authority on the web by flooding it with false information, thus obliquely protecting their own identities. As an occasional target of such misinformation, playfully or maliciously, I know it can play merry hell With everyone's sense of reality. In other words it seemed to me that there was a threat much worse than that to privacy, and that was of privacy-induced attempts to bend or erase the truth that is essential to the value of the internet. Lack of privacy may be uncomfortable. Lack of truth is fatal.

单选题According to the passage, which of the following figures is LEAST likely to voice his or her support for the stem cell research?

单选题Why do you listen to music? If you should put this question to a number of people, you might receive answers like these: "I like the beat of music," "I look for attractive tunefulness," "I am moved by the sound of choral singing," "I listen to music for many reasons but I could not begin to describe them to you clearly." Answers to this question would be many and diverse, yet almost no one would reply, "Music means nothing to me". To most of us, music means something; it evokes some response. We obtain some satisfaction in listening to music. For many, the enjoyment of music does not rein at a standstill. We feel that we can get more satisfaction from the musical experience. We want to make closer contact with music in order to learn more of its nature; thus we can range broadly and freely in the areas of musical style, form, and expression. This book explores ways of achieving these objectives. It deals, of course, with the techniques of music, but only in order to show how technique is directed toward expressive aims in music and toward the listener ~s musical experience. In this way, we may get an idea of the composer's intentions, for indeed, the composer uses every musical device for its power to communicate and for its contribution to the musical experience. Although everyone hears music differently, there is a common ground from which all musical experiences grow. That source is sound itself. Sound is the raw material of music. It makes up the body and substance of all musical activity. It is the point of departure in the musical experience. The kinds of sound that can be used for musical purposes are amazingly varied. Throughout the cultures of the world, East and West, a virtually limitless array of sounds has been employed in the service of musical expression. Listen to Oriental theatre music, then to an excerpt from a Wagner work; these two are worlds apart in their qualities of sound as well as in almost every other feature, yet each says something of importance to some listeners. Each can stir a listener and evoke a response in him. All music, whether it is the pulsation of primitive tribal drums or the complex coordination of voices and instruments in an opera, has this feature: it is based upon the power of sound to stir our senses and feelings. Yet sound alone is not music. Something has to happen to the sound: it must move forward in time. Everything that takes place musically involves the movement of sound. If we hear a series of drumbeats, we receive an impression of movement from one stroke to the next. When sounds follow each other in a pattern of melody, we receive an impression of movement from one tone to the next. All music moves; and because it moves, it is associated with a fundamental truth of existence and experience. We are stirred by impressions of movement because our very lives are constantly in movement. Breathing, the action of the pulse, growth, decay, the change of day and night, as well as the constant flow of physical action—these all testify to the fundamental role that movement plays in our lives. Music appeals to our desires and our need for movement.

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单选题What, can rigid, cold calculating mathematics possibly have in common with subtle, creative, lofty, imaginative art? This question faithfully mirrors the state of mind of most people, even of most educated people, when they regard the numbers and symbols that populate the world of mathematics. But the great leaders of mathematics thought have frequently and repeatedly asserted that the object of their pursuit is just as much an art as it is a science, and perhaps even a fine art. Maxime Bocher, an eminent mathematician living at the beginning of this century, wrote: "I like to look at mathematics almost more as an art than as a science; for the activity of the mathematician, constantly creating as he is, guided although not controlled by the external world of the senses, bears a resemblance, not fanciful, I believe, but real, to the activities of the artist—of a painter, let us say." Rigorous deductive reasoning on the part of the mathematician may be likened here to the technical skill in drawing on the part of the painter. Just as one cannot become a painter without a certain amount of skill, so no one can become a mathematician without the power to reason accurately up to a certain point. "Yet these qualities, fundamental though they are, do not make a painter or a mathematician worthy of the name, nor indeed are they the most important factors in the case. Other qualities of a far more subtle sort, chief among which in both cases is imagination, go into the making of a good artist or a good mathematician." If mathematics wants to lay claim to being an art, however, it most shows that it possesses and makes use of at least some of the elements that go to make up the things of beauty. Is not imagination, creative imagination, the most essential element of an art? Let us take a geometric object, such as the circle. To the ordinary man, this is the rim of a wheel, perhaps with spokes in it. Elementary geometry has crowded this simple figure with radii, chords, sectors, tangents, diameters, inscribed and circumscribed polygons, and so on. Here you have already an entire geometrical world created from a very rudimentary beginning. These and other miracles are undeniable proof of the creative power of the mathematieian; and, as if this were not enough, the mathematician allows the whole circle to "vanish", declares it to be imaginary, then keeps on toying with his new creation in much the same way and with much the same gusto as he did with the innocent little thing you allowed him to start out with. And all this, remember please, is just elementary plane geometry. Truly, the creative imagination displayed by the mathematician has nowhere been exceeded, not even paralleled, and, I would make bold to say, now even closely approached anywhere else. In many ways mathematics exhibits the same elements of beauty that are generally acknowledged to be the essence of poetry. First let us consider a minor point: the poet arranges his writings on the page in verses. His poem first appeals to the eye before it reaches the ear or the mind; and similarly, the mathematician lines up his "formulas and equations so that their form may make an aesthetic impression. Some mathematicians are given to this love of arranging and exhibiting their equations to a degree that borders on a fault. Trigonometry, a branch of elementary mathematics particularly rich in formulas, offers some curious groups of them, curious in their symmetry and their arrangement. The superiority of poetry over other forms of verbal expression lies first in the symbolism used in poetry, and secondly in its extreme condensation and economy of words. Take a poem of universally acknowledged merit, say, Shelley"s poem "To Night". Here is the second stanza: Wrap thy form in a mantle gray, star-in wrought! Blind with thine hair the eyes of Day; Kiss her until she be wearied out; Then wander oer city, and sea, and land, Touching all with thine opiate wand—Come, long-sought ! Taken literally, all this is, of course, sheer nonsense and nothing else. Night has no hair, night does not wear any clothes, and night is not an illicit peddler of narcotics. But is there anybody balmy enough to take the words of the poet literally? The words here are only comparisons, only symbols. For the sake of condensation the poet doesn"t bother stating that his symbols mean such and such, but goes on to treat them as if they were realities. The mathematician does these things precisely as the poet does. Take numbers, for example, the very idea of which is an abstraction, or symbol. When you write the figure 3, you have created a symbol for a symbol, and when you say in algebra that is a number, you have condensed all the symbols for all the numbers into one all-embracing symbol. These, like other mathematical symbols, and like the poets symbols, are a condensed, concentrated way of stating a long and rather complicated chain of simple geometrical, algebraic, or numerical relations.