题目内容
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TERSE: SUPERFLUITY ::
A．laconic: intelligence
B．austere : adornment
C．ascetic : rejuvenation
D．gradual : transformation
E．incredulous: suspicion
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If a super-flu strikes, face masks may not protect you. Whether widespread use of masks will help, or harm, during the next worldwide flu outbreak is a question that researchers are studying furiously. No results have come from their mask research yet. However, the government says people should consider wearing them in certain situations anyway, just in case.
But it's a question the public keeps asking while the government are making preparations for the next flu pandemic. So the Centers for Disease Control and Prevention (CDC) came up with preliminary guidelines. "We don't want people wearing them everywhere, " said the CDC. "The overall recommendation really is to avoid exposure. "
When that's not possible, the guidelines say to consider wearing a simple surgical mask if you are in one of the three following situations. First, you're healthy and can't avoid going to a crowded place. Second, you're sick and think you may have close contract with the healthy, such as a family member checking on you. Third, you live with someone who's sick and thus might be in the early stages of infection, but still need to go out.
Influenza (流行性感冒) pandemics (全国流行的) can strike (打击) when the easy-to-mutate flu virus shifts to a strain that people never have experience D. Scientists cannot predict when the next pandemic will arrive, although concern is rising that the Asian bird flu might trigger one if it starts spreading easily from person to person.
During the flu pandemic, you should protect yourself. Avoid crowds, and avoid close contract with the sick unless you must care for someone. Why can't mask added to this self-protection list？ Because they help trap virus-laden droplets flying through the air with a cough or sneeze (打喷嚏). Simple surgical masks only filter the larger droplets (小滴). Besides, the CDC is afraid？ masks may create a false sense of security. Perhaps someone who should have stayed home would don an ill-fitting (不合的) mask and hop on the subway instead.
Nor does flu only spread through the air. Say someone covers a sneeze with his or her hand, then touches a doorknob or subway pole. If you touch that spot next and then put germy hands on your nose or mouth, you've been exposed. It's harder to rub your nose while wearing a mask and so your face may get pretty sweaty under masks. You reach under to wipe that sweat, and may transfer germs caught on the outside of the mask straight to the nose. These are the problems face masks may create for their users.
Whether people should or should not use face masks still remains a question. The general public has to wait patiently for the results of the mask research scientists are still doing.
A. Reasons for Excluding Masks from the Self-protection List
B. Effort to Stop Flu Spreading
C. When to Use Face Masks
D. Guidelines on Mask Use
E. Warnings from the CDC
F. Danger of Infection through Germy Hands and Masks
Paragraph 2 ______
A、to put
B、to have
C、to try
D、to be responsible for
A、Va a estar
B、Está
C、Estaba
D、Estará
A．the automatic nature of dance tends to restrict the extent to which dances can be "read"
B．the value and effectiveness of dance performance lies in transmitting social memory through unconscious means
C．the legitimization of most social orders stems from social memory transmitted through dance
D．folklore and community history are the principal narratives dance is capable of expressing
E．social structures would most likely be more conservative if dance did not transmit social memory
should imply neither a mutual exclusiveness nor a hierarchic differentiation of
these processes. Leonardo demonstrated that producing art and theorizing about
Line it need not be antithetically opposed activities and that meaningful contributions
(5) can be achieved successfully in more than one field. Inexplicably, few theorists
have built as memorable architectural structures as his and even fewer artists
have been entrusted with the directorship of an influential art institution.
Unfortunately, as theory and practice became more specialized in the modern
era and their operational framework clearly defined both in the cultural milieu
(10) and the educational process, their independent paths and boundaries have
curtailed possibilities of interaction. The creations of categories and divisions
have further emphasized highly individualized idiosyncrasies and, by exposing
differences, diminished the value of a unifying artistic vocabulary. The
transformative cultural process of the last decades has critically examined the
(15) artificial separations between theoretical and studio practices and disclosed
viable connections between making, writing, thinking, looking and talking
about art. The recent dialogue between the various components of the artistic
discourse has recognized the common denominators shared by theoretical
analyses and artistic production, one of which is clearly exposed by the
(20) argument that the central objective of the theorist and artist is to unmask and
understand artistic meanings in painting or text.
The notion that "true" art is the product of individuals who are incapable of
in-depth understanding, in stark contrast to erudite, restrained and controlled
scholars, is an outdated model. The assumption that artists make art but cannot
(25) or do not have to talk or write about it and that theorists rarely know anything
about the creative process, has been consistently refuted by the many texts
written from Leonardo da Vinci to Mary Kelly. Even van Gogh, a martyr of the
stereotypical "misunderstood genius," whose artistic career has been distorted
by scores of films and books, wrote with lucidity and insight about art and his
(30) work. Apparently, the "mystery" of the creative process, jealously protected
by artists but also selectively cultivated by some art historians has been both a
fascination and frustration for those extrinsic to the process and artists have
exposed the intimacy of creativity while acknowledging the role of cognition in
creativity.
(35) Even the ironic and subversive demise of authorship of the post-modern and
electronic age acknowledges, at least indirectly, the value of the artist's
individual participation. However, many contemporary artists have abandoned
the hierarchic segregation of the inner realm of the creator and, by combining
theoretical and studio practices, brought a reconciliatory tone to the processes
(40) of making art and analyzing it. Their works, which are often simultaneously
artistic productions and critique of the artistic discourse, make use of visual and
&nbs
A．reduce the level of control artists have over artistic institutions
B．increase the usefulness of creating a unifying artistic vocabulary
C．permit a greater level of development of knowledge concerning both
D．curtail interactions and establish false boundaries between the two fields
E．complicate the educational process of artists in an unfortunate manner
Directions: Each question below consists of a word printed in capital letters followed by five lettered words or phrases. Choose the lettered word or phrase that is most nearly opposite in meaning to the word in capital letters. Since some of the questions require you to distinguish fine shades of meaning, be sure to consider all the choices before deciding which one is best.
SHALLOW:
A．insightful
B．penitent
C．conscientious
D．fidgety
E．random
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