What kind of image does “Godzilla” stand for in the article?
A.a weak country
B.a strong country
C.a harmless country
D.a hegemonic country
A.a weak country
B.a strong country
C.a harmless country
D.a hegemonic country
What kind of problem do African Americans face in society?
A.They would look ugly if they don't change their hairstyles.
B.Their natural image may not be accepted by white Americans.
C.They would never find a suitable hairstyle. in the hair salons.
D.Their cultural heritage may risk being abandoned by themselves.
A、A quotation.
B、The opposite opinion.
C、A brief story.
D、A question.
听力原文:M: I'd like to know more information about your background.
W: I studied at the university in Barcelona and after graduating I worked for my father's advertising agency for three years. In 1976, I decided to quit the job and devote myself to Photography.
M: You learned Photography on your own. Why didn't you go to a school of Photography instead of studying Communication Sciences?
W: At that time there was no school of Photography in Spain. While I worked at my father's agency, during vacations I would study how the agency's professional photographers were taking photos.
M: Photographers seem to take pictures of things that exist around us, but your works are different in this way. Your works are neither documentary nor landscape photos, so you capture a completely different subject. What made you start photographing the kind of subjects that don't exist?
W: I was thrilled at the fact that people tend to confuse the photograph with the reality, as if a photograph functions as a mirror of reality. For me it was clear that a photograph is just a constructed image, an image that is not natural nor spontaneous but made intellectually and technologically.
M: It means that a photograph doesn't exist by itself, it contains an exterior factor, so the photograph is a mixture of arguments.
W: Yes, for me any photograph is an invention.
When did the woman decide to learn Photography?
A.When she was studying in the university.
B.When she was working for her father.
C.In 1976.
D.Three years ago.
Cafepress. com is one of the latter group. It's a website that provides users with online stores where they can sell shirts, mugs, and mousepads customized with their own logos and/or slogans. By itself, this is a fairly useful service, and an example of how the Internet has changed the art of marketing and customer service.
Cafepress. com, however, is rather remarkable for another reason. Customers don't need to print large lots of items. They don't need to worry about shipping the goods to their customers. And they don't need to talk to another human being to get their store "built" in the first place. The site lets you upload an image and choose what sort of item you'd like it to appear on. You can then choose how much to mark the item up--the difference between the item's base cost and your mark-up price is your profit.
Base prices are high, but understandable when you consider what cafepress. com does for the initial investment. An 11-ounce mug starts at $10.99. For that, cafepress. com prints the mug on a piece-by-piece basis, provides the ordering software, handles the money, packs it, and ships it for you. The mug's purchaser pays shipping and handling costs; the store owner's effort is limited to uploading the original image for the mug, setting the cost, and writing a brief description of the item.
It seems to be catching on. "More and more companies come to us, who want to do some kind of merchandising, who want to offer a range of products to their users, but don't want the hassles associated with it," says Maheesh Jain, cafepress, corn's co-founder and vice-president. "That's where we come in--we're one of the few companies that offer this kind of full-service solution."
But the most exciting aspect of cafepress, com is not its ability to help major corporations outsource and customize their merchandising efforts. What's remarkable about the system is how simple it is to open a store. An average individual with an idea that could sell 50 T-shirts or mugs can't justify a traditional merchandising effort, but with cafepress. com, users can easily bring ideas to fruition with very little time and no financial risk. Moreover, the quality of the merchandise is good; I've ordered a mug and a shirt from cafepress. com, and both were shipped relatively promptly, and arrived exactly as promised.
Cafepress. com is an idea that's easy to get excited about. It's a small--but tangible--example of how the Internet can change the way we live.
The expression "weathering the storm" in the first sentence means
A.surviving a crisis.
B.coming into being.
C.struggling in the storm.
D.being dominated by a stormy high tech wave.
C
When word got out that Doug Beardsley was introducing a new course this spring-" Hockey (冰球) Literature and the Canadian Psyche (精神 ) " -the 40 seats in the class were quickly taken. ESPN offered to fly him to New York for a TV chat show, and e-mail arrived from hockey fans and researchers from as far away as Texas and China.
" think they can learn something about us as a nation by learning about the game, about Canadian people. They ' re right. " says Beardsley.
Students in Beardsley ' s class completed three research papers related to hockey. The reading list included famous works like The Divine Ryans by Wayne Johnston , The Good Body by Bill Gas- ton and Les Canadiells by Rick Salutin. They are the kind of books that get at the true meaning of being Canadian.
In Beardsley' s words, hockey shows the very nature of the polite Canadian. "I think that a- long with this peace-sharing, gentle image comes a need for mayhem(混乱),So we invent the game and-whammo ! -you get on the ice and it serves as a way of letting out those energies that we don ' t allow ourselves elsewhere. " says Beardsley, who added that the reason the game needs to be played in winter is our form. of saying, " Look, even up here in the frozen north we can turn this around and make it work for us. "
"I' m talking about something larger than what happens on the ice and so is the course. "
64. What is the main purpose of the text?
[A] To teach how to play hockey.
[B] To introduce an English teacher.
[C] To introduce a book by Beardsley.
[D]To talk about hockey and the Canadians.
According to the speaker, how can we improve our image?
A.By decorating our homes.
B.By being kind and generous.
C.By wearing fashionable clothes.
D.By putting on a little make-up.
Why Japanese people queue so often? Do they love it? Probably they do. According to Japanese people, just like an excessively high price can evoke an image of equally high quality, long waiting lines act as an indicator for popularity, reduce availability and increase the subjective value of a good. Thus, for many Japanese customers, waiting lines are probably the most effective advertisement. For example, in an article published in The Japan Times in summer 2007, a Japanese woman confessed that she enjoyed queuing outside shops and restaurants and that she usually joined the line before asking the person in front of her what kind of product was sold. Standing in line also increases and extends anticipation until—yatto! (finally!) —patience is rewarded with the desired product. But when taken to an extreme level, the product one is actually queuing for ceases to be of any importance at all.
There are also some customers who are unable to queue or who are unwilling to wait, thinking it' s a waste of time queuing in a line. What could they do? They can rent a queuer who will stand in line and purchase the desired product for them. Obviously, this service is not free of charge. Some service companies who offer all kinds of unusual service provide rentable " queuers". What' s more, in addition to providing queuers to individuals, the service companies also provide queuers to some shops to increase the image of a hard-to-get product and make customers want to join the line by forming or extending lines. Therefore, waiting lines have become a marketing tool and it would not be surprising to find professional queuers in a line. Some people view it a pure speculation, but they can't deny that it really works and the wage of a few professional queuers to keep the line in shape would be a minor investment compared with what would happen if the queue suddenly disappeared.
However, success is not always guaranteed because the attractiveness of waiting in line can easily backfire if the desired product does not meet expectations.
What is the marketing tool appears in the text?
A.Providing queuers to individuals.
B.Providing queuers to shops.
C.Hiring professional queuers to wait for oneself.
D.Hiring professional queuers to keep a line in shape.
Pauline: Very much so. There is not just individual taste in our clothes but also a thinking behind what we wear.
John: Do you think that at work clothes and general appearance have any significance?
Pauline: True, but that’s a conscious act. What I' m talking about is more of a subconscious thing.
John: We surely dress up when we want to impress someone, such as for a job interview. That’s right. So there is a generally accepted... Why?
Pauline: Take for example the student who is away from home at college or university: if he tends to wrap himself up more than the others, he is probably feeling homesick. I think people who are sociable and outgoing tend to dress in an extrovert way, preferring brighter or more dazzling colors -yellow, bright reds, and so on. Definitely. We're al. ready spoken about job interviews a bit.., code of dressing. Yes. And a recent survey suggested that employers prefer young executives to stick to gray, black and dark blue suits if they are men, and classical outfits and dres ses in sober colors if they are women. Perhaps they feel this is a reflection of a more responsible and sober attitude to work and will also project this image to customers.
What does Pauline mean by psychology of clothing?
A.Our clothes are a reflection of our individual taste.
B.What we wear is an expression of a thinking in our subconscious mind.
C.We all dress up in order to impress others.
D.We are always aware of our clothing.
Decades after Marilyn Monroe's death, there was a burst of speculation about what she might have been doing if (and it is a very big if) she had not met a premature end from an overdose in 1962, at the age of 36. The American writer Joyce Carol Oates, whose recent novel B/on& is a fictionalized version of Marilyn's life, thinks she might have left Hollywood for a successful career in the theatre. The feminist commentator Gloria Steinem, who has also written a book about the actress, imagines her living in the country and running an animal sanctuary. I have to say that these imaginary careers, and many other things that have been suggested about Marilyn in recent years, fall into the category of rescue fantasies. The point about her life is that it went hideously and predictably wrong, with self-destruction always a more likely outcome than a revival of her acting career as an interpreter of Chekhov or an early conversion to the animal rights movement.
This is not to denigrate the woman herself, whose story seems to me genuinely tragic. Hers is a dread/ul catalogue of abandonment, abuse and a desperate re-invention of .the self in terms that successfully courted fame and disaster in just about equal measure. Fragile egos often invited other people's projections and Marilyn came to see herself, in her own words, as "some kind of mirror instead of a person". This is half-perceptive, in that what she actually became in her lifetime was a blank screen on which men could project their fantasies and anyone who wants to understand what kind of fantasies they were has only to look at Norman Mailer's creepy biography, with its drooling images of Marilyn as a vulnerable child, incapable of saying no.
What she is unlikely to have anticipated is that, four decades later, thoughtful women would look at her image and see, perversely, a reflection of themselves. Ms. Steinem has been reported as saying that she thinks Marilyn's experiences might have pushed her into embracing the women's movement. But Marilyn was a male-identified woman, a product of a virulently misogynist culture that was erotically stimulated by the pairing of beauty and brains -- but only as long as women did the beauty while men got to direct movies, write plays and run the country. That Marilyn played this role to perfection, then loathed it and rebelled against its limitations, hardly needs saying.
The author implies at the beginning that
A.Marilyn's tragic death was difficult to avoid.
B.Marilyn could have died earlier than 1962.
C.people are no longer interested in how Marilyn died.
D.Marilyn was to be blamed for her death.
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