英语专业八级模拟试题(阅读练习)A magazines design is more than decoration, more than simple packaging. It express the magazines very character. The Atlantic Monthly has long attempted to provide a design environment in which two disparate traditions -- literary and journalistic -- can co-exist in pleasurable dignity. The redesign that we introduce with this issue -- the work of our art director, Judy Garlan -- reprents, we think, a服务器管理软件 notable enhancement of that environment. Garlan explains some of what was in her mind as she began to create the new design:" I saw this as an opportunity to bring the look附近美食餐厅 clor to matching the elegance and power of the writing which the magazine is known for. The overall design has to be able to encompass a great diversity of styles and subjects -- urgent piecespity怎么读 of reporting, rious essays, lighter pieces, lifestyle- oriented pieces, short stories, poetry. We dont want lighter pieces to em too heavy, and we dont want heavier pieces to em too pretty. We also u a broad range of art and photography, and the design has to work well with that, too. At the same time, the magazine needs to have a consistent feel, needs to underscore the n that everything in it is part of one Atlantic world. The primary typefaces Garlan cho for this task are Tim
es Roman, for a more readable body type, and Bauer Bodoni, for a more stylish and flexible display太阳从东方升起 type
(article titles, large initials, and so on). Other aspects of the new design are structural. The梦想之家 articles in the front 60岁生日祝福of the magazine, which once flowed into one another, now stand on their own, to gain prominence. The Travel column, now featured in every issue, has been moved from the back to the front. As noted in this space last month, the word "Monthly" rejoins "The Atlantic" on the cover, after a decade-long abnce. Judy Garlan came to the Atlantic in 1981 after having rved as the art director of veral other magazines.
During her tenure here the Atlantic has won more than 300 awards for visual excellence. from the Society of illustrators, the American Institute of Graphic Arts, the Art Directors Club, Communication Arts, and elwhere. Garlan was in various ways assisted in the redesign by the entire art-department staff: Robin Gilmore, Barnes, Betsy Urrico, Gillian Kahn, and Lisa Manning. The artist Nicholas Gaetano contributed as well: he redre
w our colophon (the figure of Neptune that appears on the contents page) and created the symbols that will appear regularly on this page (a rendition of our building), on the Puzzler page, above the opening of letters, and on the masthead. Gaetano, who work manages to combine stylish clarity and breezy strength, is the cover artist for this issue.
11. Part of the new design is to be concerned with the following
EXCEPT
______
A) variation in the typefaces.
B) reorganization of articles in the front.
C) creation of the travel column.
D) reinstatement of its former name.
12. According to the passage, the new design work involves ______
A) other artists as well.
B) other writers as well.
C) only the cover artist.
D) only the art director.
13. This article aims to ______
A) emphasize the importance of a magazine's design.
B) introduce the magazine's art director.
C) persuade the reader to subscribe to the magazine.
D) inform the reader of its new design and features. TEXT B
This rather puts the 1,068 in Missing Persons in the shade. When Dr Nicholls wrote to the Spectator in 1989 asking for names of people whom readers had looked up in the DNB and had been disappointed not to find, she says that she received some 100,000 suggestions. (Well, she had written to "other quality newspapers" too. ) As soon as her committee had whittled the numbers down, the professional problems of an editor began. Contributors didnt file copy on time ; some who did nt too many: 50,000 words instead of 500 is a record, according Dr Nicholls. There remains the dinner-party game of whos out. That is a game that the reviewers have played and will continue to play. Criminals were my initial worry. After all, the original edition of the DNB boasted: Malefactors who crimes excite a permanent interest have received hardly less attention 初级经济法基础than benefactors. Mr. John Gross clearly had similar anxieties, for he complains that, while the murderer Christie is in, Crippen is out. One might say in reply that
the injustice of the hanging of Evans instead of Christie was a force in the repeal of capital punishment in Britain, as Ludovie Kennedy (the author of Christie entry in Missing Persons) notes.
But then Crippen was reputed as the first murderer to be caught强排式燃气热水器 by telegraphy (he had tried to escaped by ship to America). It is surprising to find Max Miller excluded when really not very memorable names get in. There has been a conscious effort to put in artists and architects from the Middle Ages. About their lives not much is always known. Of Hugo of Bury St. Edmunds, a 12th-century illuminator who dates of birth and death are not recorded, his biographer comments:" Whether or not Hugo was a wall-painter, the records f his activities as carver and manuscript painter attest to his versatility". Then there had to be more women, too (12 per cent, against the original DBNs 3), such as Roy Strongs subject, the Tudor painter Levina Teerlinc, of whom he remarks:" her most characteristic feature is a
