mind readers雅思阅读答案
一切皆有可能英文
1. 希腊coin早在3000年就出现了=F
barack obama 2. T
3. Sparta地区侵略Athens并强制Athens用他们的货币=F
wrapper 4. Great coins在整个欧洲流传=F
横越
5. Persian 入侵了Lydia并且使用人家的硬币=T
6. 用硬币上的头像来奖励做出杰出贡献的人=NG
7. mint
简爱在线阅读
8. stamps
9. anvil
10. rerve dies
11. 希腊硬币的重量至少=0.15g
12. 硬币的图案=the king的头像
voip是什么 13. 希腊被波斯征服之前的花纹是lion and doil
14. coin 在雅典被称为 owl
Passage2： 悉尼交通标识Street markers in Sydney
Passage3： Musical Maladies
参考答案：
A. Music and the brain are both endlessly fascinating subjects， and as a neuroscientist specializing in auditory learning and memory， I find them especially intriguing. So I had high expectations of Musicophilia， the latest offering from neurologist and prolific author Oliver Sacks. And I confess to feeling a little guilty reporting that my reactions to the book are mixed.
教程英文 B. Sacks himlf is the best part of Musicophilia. He richly documents his own life in the book and reveals highly personal experiences. The photograph of him>C. The preface gives a good idea of what the book will deliver. In it Sacks explains that he wants to convey the insights gleaned from the enormous and rapidly growing body of work>complex and often bizarre disorders to which the are prone.＂ He also stress the importance of the simple art of obrvation＂ and the richness of the human context. He wants to combine obrvation and description with the latest in technology，” he says， and to imaginatively enter into the experience of his patients and subjects. The reader can e that Sacks， who has been practicing neurology for 40 years， is torn between the old-fashioned path of obrvation and the new-fangled， high-tech approach： He knows that he needs to take heed of the latter， but his heart lies with the former.
D. The book consists mainly of detailed descriptions of cas， most of them involving patients whom Sacks has en in his practice. Brief discussions of contemporary neuroscientific reports are sprinkled liberally throughout the text. Part I， Haunted by Muspanic button
ic，＂ begins with the strange ca of Tony Cicoria， a nonmusical， middle-aged surgeon who was consumed by a love of music after being hit by lightning. He suddenly began to crave listening to piano music， which he had never cared for in the past. He started to play the piano and then to compo music， which aro spontaneously in his mind in a torrent of notes. How could this happen？ Was I the cau psychological？ （He had had a near-death experience when the lightning struck him.） Or was it the direct result of a change in the auditory regions of his cerebral cortex？ Electro-encephalography （EEG） showed his brain waves to be normal in the mid-1990s， just after his trauma and subquent conversion to music. There are now more nsitive tests， but Cicoria has declined to undergo them； he does not want to delve into the caus of his musicality. What a shame！
E. Part II， “A Range of Musicality，” covers a wider variety of topics，but unfortunately， some of the chapters offer little or nothing that is new. For example， chapter 13， which is five pages long， merely notes that the blind often have better hearing than the sighted. The most interesting chapters are tho that prent the strang
est cas. Chapter 8 is about “ amusia， ” an inability to hear sounds as music， and “dysharmonia，”a highly specific impairment of the ability to hear harmony， with the ability to understand melody left intact. Such specific dissociations are found throughout the cas Sacks recounts.
F. To Sacks＇s credit， part III， ＂Memory， Movement and Music，＂ brings us into the underappreciated realm of music therapy. Chapter 16 explains how ＂melodic intonation therapy＂ is being ud to help expressive aphasic patients （tho unable to express their thoughts verbally following a stroke or other cerebral incident）>G. To readers who are unfamiliar with neuroscience and music behavior， Musicophilia may be something of a revelation. But the book will not satisfy tho eking the caus and implications of the phenomena Sacks describes. For>appears to be more at ea discussing patients than discussing experiments. And he tends to be rather uncritical in accepting scientific findings and theories.
H. It＇s true that the caus of music-brain oddities remain poorly understood. However，
Sacks could have done more to draw out some of the implications of the careful obrvations that he and other neurologists have made and of the treatments that have been successful. For example， he might have noted that the many specific dissociations among components of music comprehension， such as loss of the ability to perceive harmony but not melody， indicate that there is no music center in the brain. Becau many people who read the book are likely to believe in the brain localization of all mental functions， this was a misd educational opportunity.
I. Another conclusion>patient. Treatments mentioned em to be almost exclusively antiepileptic medications， which ＂damp down＂ the excitability of the brain in general； their effectiveness varies widely.
J. Finally， in many of the cas described here the patient with music-brain symptoms is reported to have ＂normal＂ EEG results. Although Sacks recognizes the existence of new technologies， among them far more nsitive ways to analyze brain waves than the standard neurological EEG test， he does not call for their u. In fact， although he
exhibits the greatest compassion for patients， he conveys no n of urgency about the pursuit of new avenues in the diagnosis and treatment of music-brain disorders. This abnce echoes the book＇s preface， in which Sacks express fear that the simple art of obrvation may be lost＂ if we rely too much on new technologies. He does call for both approaches， though， and we can only hope that the neurological community will respond.
27-30：B C A A
alimta
小个子女生穿衣搭配 31-36：YES NG NO NG YES NO
