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A、fruitful
B、futile
C、furious
D、lucrative
A、signal-to-noise ratio
B、topology
C、signal intensity
D、noise intensity
A.a torped0’s electric cells contain more than one electricDlates
B.to complete the circuit，you have to touch the fish in twoDlaces
C.the current in one place is not strong enough to give a shock
D.the fish’s electric cells are filled with jelly-like substance
A、You’re welcome but I must be off
B、My please. I’m John. Please call the bell desk if you need anything else
C、No problem. Take it easy
D、Don’t mention it
【填空题】Lesson 15 词汇拓展 Cloze-2 Fill in the blanks with the proper form of the words in the table Level Bust availability contribute relate procedural impending clarification inadequate transmission deviation obstruction Level Bust is defined as any unauthorised vertical 1 of more than 300 feet from an ATC flight clearance. Within reduced vertical separation minima airspace, this limit is reduced to 200feet. The level bust issue only 2 to aircraft in controlled airspace or a designated Air Traffic Zone outside controlled airspace and under either radar or 3 ATC control. A Level Bust can result in loss of separation between aircraft or between an aircraft and the terrain or a ground 4 such as a mast. Level busts are becoming less dangerous because improvements in technology such as better STCA (short-term conflict alert) and Mode S have improved the ability of controllers to safely manage any consequent loss of separation. Furthermore, the 5 and proper use of TCAS provides a final safety net which significantly reduces the risk of a Mid-air Collision and GPWS has also reduces the risk of a level bust resulting in CFIT( controlled flight into terrain) accident. There are a variety of factors which 6 to the risk of level bust occurring. It may be induced by controllers. For example: The ATCO is interrupted or distracted and does not take action in time to rectify an 7 loss of separation; The ATCO assigns an incorrect altitude, or reassigns a FL after the aircraft has been cleared to an altitude; The ATCO's instructions are misunderstood because of 8 English proficiency or non-use of standard phraseology. The ATCO issues a complex 9 containing more than two instructions (e.g. speed, altitude and heading). Level busts may also be caused by the pilot’s errors in which both flight crew are uncertain about ATC level instructions but failed to ask for clearance 10
He was born in a poor area of South London. He wore his mother's old red stockings cut down for ankle socks. His mother was temporarily declared mad. Dickens might have created Charlie Chaplin's childhood. But only Charlie Chaplin could have created the great comic character of "the Tramp", the little man in rags who gave his creator permanent fame.
Other countries—France, Italy, Spain, even Japan—have provided more applause (and profit) where Chaplin is concerned than the land of his birth. Chaplin quit Britain for good in 1913 when he journeyed to America with a group of performers to do his comedy act on the stage, where talent scouts recruited him to work for Mack Sennett, the king of Hollywood comedy films.
Sad to say, many English people in the 1920s and 1930s thought Chaplin's Tramp a bit, well, "crude". Certainly middle-class audiences did; the working- class audiences were more likely to clap for a character who revolted against authority, using his wicked little cane to trip it up, or aiming the heel of his boot for a well-placed kick at its broad rear. All the same, Chaplin's comic beggar didn't seem all that English or even working-class. English tramps didn't sport tiny moustaches, huge pants or tail coats: European leaders and Italian waiters wore things like that. Then again, the Tramp's quick eye for a pretty girl had a coarse way about it that was considered, well, not quite nice by English audiences—that's how foreigners behaved, wasn't it？ But for over half of his screen career, Chaplin had no screen voice to confirm his British nationality.
Indeed, it was a headache for Chaplin when he could no longer resist the talking movies and had to find "the right voice" for his Tramp. He postponed that day as long as possible: In Modern Times in 1936, the first film in which he was heard as a singing waiter, he made up a nonsense language which sounded like no known nationality. He later said he imagined the Tramp to be a college-educated gentleman who'd come down in the world. But if he'd been able to speak with an educated accent in those early short comedies, it's doubtful if he would have achieved world fame. And the English would have been sure to find it "odd". No one was certain whether Chaplin did it on purpose but this helped to bring about his huge success.
He was an immensely talented man, determined to a degree unusual even in the ranks of Hollywood stars. His huge fame gave him the freedom—and, more importantly, the money—to be his own master. He already had the urge to explore and extend a talent he discovered in himself as he went along. "It can't be me. Is that possible？ How extraordinary, " is how he greeted the first sight of himself as the Tramp on the screen.
But that shock roused his imagination. Chaplin didn't have his jokes written into a script in advance; he was the kind of comic who used his physical senses to invent his art as he went along. Lifeless objects especially helped Chaplin make "contact" with himself as an artist. He turned them into other kinds of objects. Thus, a broken alarm clock in the movie The Pawnbroker became a "sick" patient undergoing surgery; boots were boiled in his film The Gold Rush and their soles eaten with salt and pepper like prime cuts offish (the nails being removed like fish bones). This physical transformation, plus the skill with which he executed it again and again, is surely the secret of Chaplin's great comedy.
He also had a deep need to be loved—and a corresponding fear of being betrayed. The two were hard to combine and sometimes—as in his early marriages—the collision between them resulted in disaster. Yet even this painfully-bought self-knowledge found its way into his comic creations. The Tramp never loses his faith in the flower girl who'll be waiting to walk into the sunset with him; while the other side of Chaplin makes Monsieur Verdoux, the French wife killer, into a symbol of hatred for women.
It's a relief to know that life eventually gave Charlie Chaplin the stability and happiness it had earlier denied him. In Oona O'Neill Chaplin, he found a partner whose stability and affection spanned the 37 years age difference between them, which had seemed so threatening, that when the official who was marrying them in 1942 turned to the beautiful girl of 17 who'd given notice of their wedding date, he said, "And where is the young man？ "— Chaplin, then 54, had cautiously waited outside. As Oona herself was the child of a large family with its own problems, she was well prepared for the battle that Chaplin's life became as many unfounded rumors surrounded them both—and, later on, she was the center of calm in the quarrels that Chaplin sometimes sparked in his own large family of talented children.
Chaplin died on Christmas Day 1977． A few months later, a couple of almost comic body thieves stole his body from the family burial chamber and held it for money. The police recovered it with more efficiency than Mack Sennett's clumsy Keystone Cops would have done, but one can't help feeling Chaplin would have regarded this strange incident as a fitting memorial—his way of having the last laugh on a world to which he had given so many.
| A few days after the interview, I received a letter _____ me admission to the university. |
[ ] |
| A. having offered B. offered C. to be offered D. offering |
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