Section Ⅰ U of English
Directions:
Read the following text. Choo the best word(s) for each numbered blank and mark ［A］, ［B］, ［C］ or ［D］ on Answer Sheet 1. (10 points)
Most worthwhile careers require some kind of specialized training. Ideally, therefore, the choice of an 1 should be made even before choice of a curriculum in high school.
Actually, 2 , most people make veral job choices during their working lives, 3 becau of economic and industrial changes and partly to improve their position. The "one perfect job" does not exist. Young people should 4 enter into a broad flexible training program that will fit them for a 5 of work rather than for a single job.
Unfortunately many young people have to make career plans 6 benefit of help from a competent vocational counlor or psychologist. Knowing 7 about the occupational world, or themlves for that matter, they choo their lifework on a hit-or-miss 8 . Some drift from job to job. Others 9 to work in which they are unhappy and for which they are not fitted.
One common mistake is choosing an occupation for its real or 10 prestige. Too many high瞫chool students or their parents for them choo the professional field, 11 both the relatively small proportion of workers in the professions and the extremely high educational and personal 12 . The prestige that people tend to 13 to a profession or a white-collar job is no good reason for choosing it as life's work.
14 , the occupations are not always well paid. Since a large 15 of jobs are in mechanical and manual work, the majority of young people should give rious 16 to the fields.
Before making an occupational choice, a person should have a general idea of what he wants 17 life and how hard he is willing to work to get it. Some people desire social prestige, others intellectual 18 . Some want curity; others are willing to take 19 for financial gain. Each occupational choice has its demands as well as its 20 .
1. ［A］ identification ［B］ entertainment ［C］ accommodation ［D］ occupation
2. ［A］ however ［B］ therefore ［C］ though ［D］ thereby
3. ［A］ entirely ［B］ mainly ［C］ partly ［D］ his
4. ［A］ since ［B］ therefore ［C］ furthermore ［D］ forever甲秀楼简介
5. ［A］ place ［B］ chance ［C］field ［D］ opening
6. ［A］ to ［B］ for ［C］ without ［D］ with
7. ［A］ little ［B］ few ［C］ much ［D］ a lot
8. ［A］ chance ［B］ basis ［C］ purpo ［D］ opportunity
9. ［A］ apply ［B］ appeal ［C］ stick ［D］ turn
10. ［A］ imagined ［B］ substantial ［C］ acquired ［D］ demanded
11. ［A］ concerning ［B］ following ［C］ considering ［D］ disregarding
12. ［A］ preferences ［B］ requirements ［C］ tendencies ［D］ ambitions
13. ［A］ contribute
［B］ attach ［C］ attribute ［D］ allot
吉克隽逸我是歌手 14. ［A］ Therefore ［B］ However ［C］ Nevertheless ［D］ Moreover
15. ［A］ proportion ［B］ part ［C］ quanitity ［D］ batch
16. ［A］ proposal ［B］ suggestion ［C］ consideration ［D］ appraisal
17. ［A］ towards ［B］ against ［C］ out of ［D］ without
18. ［A］ knowledge ［B］ satisfaction ［C］ culture ［D］ nsitivity
19. ［A］ turns ［B］ parts ［C］ choices ［D］ risks
20. ［A］ awards ［B］ requirements ［C］ results ［D］ needs
Section Ⅱ Reading Comprehension
Part A
Directions:
Read the following four texts. Answer the questions below each text by choosing ［A］, ［B］, ［C］ or ［D］. Mark your answers on Answer Sheet 1. (40 points)
Text 1
It is said that people buy contemporary art when they are confident about the future and old art when they are not. Conventional wisdom has it that older art holds its value, while contemporary stuff is for risk-lovers. William Goetzmann, a professor at Yale, estimates that during the last art-market depression, which t in after 1990, impressionist and contemporary works fell by most (51% and 40% respectively), while Old Masters suffered least (down by 16%). Yet despite the ups and downs, contemporary works have been rewarding for tho who are prepared to hang on: according to Jianping Mei and Michael Mos, professors at New York University (NYU) since 1970 the returns on contemporary art have far exceeded tho on Old Masters and 19th-century paintings.
Since the late 1980s, more sophisticated analysis of the art market and a growing interest in alternative investments have spurred the creation of veral new investment funds focud on art. At a recent conference organid by one of the, the Fine Art Fund, Rachel Campbell of Maastricht University pointed out the low correlation between returns on art and on tho other investments. Given that it usually pays to diversify, that is a good argument for investing in art, whatever your taste. The Fine Art Fund, which began buying this April (and has 36% of its money in cash), advis that investors spread their art allocation fairly evenly between Impressionists, Old Masters, modern a
rt and contemporary works.
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Contemporary art, in particular, has rved rich investors well in the past few years. Prices stayed stable when stock markets fell. Nevertheless, one recent academic study has found a correlation with another ast class: during the last world art boom, in the late 1980s, prices were cloly tied to property values, specifically Japane land prices. After 1990, art and property fell together. Now property prices in veral countries are once again at frightening heights.
Investing in art will always be a risky business. Works of art by definition belong to different categories; holding periods vary; the
market is illiquid; art yields no income, producing only capital gain or loss; transaction costs are high. As for contemporary art in particular, it is a sobering thought that, according to Mr Mos, each year an average of only two artists emerge who work increas in value over time. All this speaks against a big commitment to speculating in art; better, maybe, simply to buy what you like, if you can: treat your money, in other words, not as invested but as consumed.
21. By saying that the market is illiquid (Line 2, Para. 4), the author suggests that .
［A］ art works ldom lo their value in the market
［B］ investment in art does not have guaranteed return of profits
［C］ the difficulty to trade art works is obvious and evident
［D］ the art market tends to be responsive to the economic situation
22. The Fine Art Fund advi that investors need to spread their art allocation becau .
［A］ Old Masters always promi a high return of profits
［B］ different art works are valued differently in the market
［C］ buying art works is always a good way of investment
［D］ people should be aware of the risks of investment in art
23. The returns on contemporary art indicate .
［A］ people have come to e the value of contemporary art
［B］ the economic prospects are positively assd
［C］ there is a growing interest in alternative art investments
［D］ investors have learned to spread their art allocation
24. We can learn from the text that .
［A］ the two NYU professors advi people against buying Old Masters
［B］ cautious investors are advid to stay away from the art market
［C］ the real estate market is a good indicator of the art market
［D］ art investors should not speculate in the art market
25. What is the possible attitude of Mr Mos toward investing in contemporary art?
［A］ Investors in contemporary art should be more patient.
［B］ A supplicated analysis of the art market is always a must.
［C］ Contemporary art ems to promi greater returns of profits.
［D］ It is dangerous to speculate in the contemporary art market.
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Text 2
They have been writers and actors, entertainers and creators. They have won Academy Awards and received critical acclaim. They have graced the covers of magazines.
澳大利亚购房移民政策 In the arts and entertainment world, women have made a myriad of contributions to what we know as popular culture. Although many female celebrities may be known more for their figures than their talents, women remain more than just pretty faces. Women's History Month promis to take a look back at the influential female lives and legacies that have shaped our society.
In this century alone, a number of famous females have made their artistic marks. In the literary world, women such as Sy
lvia Plath and Colette compod celebrated works, establishing themlves as creative writers to be reckoned with. Colette, a prolific French novelist, tackled weighty themes such as the woman's struggle for independence. Her catalog of works includes celebrated novels such as Cheri and The Pure and the Impure. Plath, renowned for her suicide as much as for her writing, wrote The Bell Jar as well as a wealth of poetry.
Within the realm of fashion, influential designers such as Coco Chanel changed the face of female dressing. The Chanel name has become synonymous with high style. Coco invented the little black dress, perfected a trademark scent-Chanel No. 5-and became famous for her tweed suits and quilted handbags.
Hollywood starlets such as Katharine Hepburn transformed the film world. She was known for her portrayal of strong, spirited females in her films, clearly embodying what it means to be an independent woman. As Hepburn once said, "I never realized until lately that women were suppod to be the inferior x. "
The music industry has also en its share of barrier-breaking female stars. Women such as Billie Holiday and Ella Fitzgerald endure as revered names within the jazz world. Similarly, Joan Baez took the folk music genre by storm. She was one of the most outspoken performers during the social turmoil of the 1960s, establishing herlf not only as an acclaimed singer/songwriter but also as an activist for civil rights and nonviolence.
Undeniably, women have contributed to our culture in immeasurable ways. From the silver screen to the record-store shelves, the most talented stars exhibit a wealth of creativity, a fan瞱inning charis
ma and a unique dedication to their respective crafts-and many of them also happen to be female.
26. Who may be considered as a feminist writer according to the passage?
［A］ Sylvia Plath.［B］ Colettle.
［C］ Both Plath and Colette.［D］ Neither Plath nor Colette.
27. From the passage, we can learn that Chanel No. 5 is .
［A］ a typical style of little black dress缺憾的意思
［B］ a perfume marketed by Chanel
［C］ a high class way of life advocated by Coco
［D］ the chanel tweed suits and quilted handbags.
28. By saying "women remain more than just pretty faces", the author means .世界上最小的城市
［A］ some women have nothing but pretty faces
［B］ beauty for many female celebrities is necessary
［C］ some women don't mange to be successful for beauty
［D］ each female celebrity has her own success story
29. Joan Baez is called an outspoken performer becau she .
［A］ stunned the world by the message her music expresd
［B］ was expressive for her performance on the stage
［C］ had to suffer the social turmoil of the 1960s
［D］ openly voiced her opinions on the major social issues
30. Women's contributions to pop culture are
NOT caud by .
［A］ their enthusiasm they have toward what they do
［B］ the physical appeal they have to the public
［C］ their understanding of the importance of pop culture
［D］ the display of their natural talents and gifts
Text 3
Old people are always saying that the young are not what they were. The same comment is made from generation to generation and it is always true. It has never been truer than it is today. The young are better educated; they have a lot more money to spend and enjoy more freedom. They grow up more quickly and are not so dependent on their parents. They think more for themlves and do not blindly accept the ideals of their elders. Events which the older generation remembers vividly are nothing more than past history. This is as it should be. Every new generation is different from the one that preceded it. Today the difference is very marked indeed. The old always assume that they know best for the simple reason that they have been around a bit longer. They don't like to feel that their values are being questioned or threatened. And this is precily what the young are doing. They are questioning the assumptions of their elders and disturbing their n of feeling contended. They doubt that the older generation has created the best of all possible worlds.
What they reject more than anything is conformity. Office hours, for instance, are nothing more than enforced slavery. Wouldn't people work best if they were given complete freedom and responsibility? And what about clothing? Who said that all the men in the world should wear dull gray suits and convict haircuts? If we turn our minds to more rious matters, who said that human differences can best be solved through conventional politics or by violent means? Why have the older generation so often ud violence to solve their problems? Why are they so unhappy and guilt-ridden in their personal lives; so obsd with mean ambitions and the desire to amass more and more material posssions? Can anything be right with the rat-race? Haven't the old lost touch with all that is important in life?
The are not questions the older generation can shrug off lightly. Their record over the past forty years or so hasn't been exactly spotless. Traditionally, the young have turned to the older for guidance. Today, the situation might be reverd. The old-if they are prepared to admit it-could learn a thing or two from their children. One of the biggest lessons they could learn is that enjoyment is not sinful. Enjoyment is a principle one could apply to all aspects of life. It is surely not wrong to enjoy your work and enjoy your leisure; to shed restricting inhibitions. It is surely not wrong to live in the prent rather than in the past or future. The world is full of uncertainty and tension. This is their glori
ous heritage. Can we be surprid that they should so often question the sanity of the generation tha点数比大小
