Ⅱ only
Ⅲ only
I and Ⅱ only
Ⅱ and Ⅲ only
第1题：
What is the passage mainly about?（ ）
A．The changes of the author's attitude to her mother's English．
B．The limitation of the author's perception of her mother．
C．The author's misunderstanding of“limited”English．
D．The author's experiences of using broken English．
第2题：
The author suggests that a man becomes a philosopher when he ______.
A. studies philosophy as a subject
B. collects all the facts
C. realizes obvious truths
D. seeks a meaning for life
第3题：
Judging from the passage, the author ______.
A．suggests that New Castle is fortunate
B．wonders at Wilmington's prosperity
C．regrets that the two places should have become so different
D．thinks that Wilmington should not tear down old houses
第4题：
The author suggests that our perception of children's psychological devotement was much influenced by ________.
[A] the marketing of products for children
[B] the observation of children's nature
[C] researches into children's behavior.
[D] studies of childhood consumption
第5题：
Lord Bacon's remarks on Machiavelli is quoted as
[A] a support for the author's viewpoint.
[B] one of the mainstream views on him.
[C] a judgment in support of most critics.
[D] a modification of the author's previous stand.
第6题：
The author of the text mainly______.
A. describes the activities of a law-breaker
B. suggests an ideal way to travel
C. argues against the air-courier travel
D. tells us about a developing business
第7题：
Which of the following statements is true?
A. The author's father built a bonfire on VE Day.
B. The author's father had fought in the First World War.
C. The author's father had fought in the Second World War.
D. The author's father threw two chairs on the fire to keep it going.
第8题：
Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith (1875-1948). Before Griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the actors. The exploitation of the camera's possibilities produced novel dramatic effects. By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to camera shot.
Griffith also achieved dramatic effects by means of creative editing. By juxtaposing images and varying the speed and rhythm of their presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since. Those included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space.
Besides developing the cinema's language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic, it included not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browning and Tennyson, and treatments of social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema. When he remade Enoch Arden in 1911, he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffith's introduction of the American-made multireel picture began an elaborate historical and philosophical spectacle. It reached the unprecedented length of four reels, or one hour's running time. From our contemporary viewpoint, the pretensions of this film may seem a trifle ludicrous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema.
The author of this passage seems to imply that Victorian novels ______.
A．are like films
B．may not narrate events chronologically
C．exploit cinema's language
D．feature juxtaposed images
第9题：
The author suggests in the last paragraph that the effect of peer pressure is
[A] harmful
[B] desirable
[C] profound
[D] questionable
第10题：
When the author mentions the Indian fakir, he suggests that______.
A) Indians are not at all afraid of pain
B) people may be senseless of pain
C) some people are able to handle pain
D) fakirs have magic to put needles right through their arms