题目内容
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A、A. Studying overseas
B、B. University study
C、C. Living in a different culture
D、none
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更多“2.people. But while it may offer some advantages, it is probably better to stay home because of the …”相关的问题
A、A. Satisfaction of human needs
B、B. Relations between animals and humans
C、c.Animal rights
D、none
A、A.Animal cruelty
B、B.Blood sports
C、C.Uncivilized activity
D、none
A、A．Officing online
B、B. Telecommuting
C、C. Computer technology
D、none
Assignment I Read the following passage, and choose the best answer to the following question. Every student needs a place to study. Some students like to study in the quite atmosphere of a library. Most school libraries have large study tables with many chairs. They also have individual study booths called carrels. A carrel is a small table with “walls” around three sides. A carrel is for one person, so there is only one chair at each carrel. Other students prefer to study in their own rooms at home or in a dormitory. In their rooms, these students have a desk, some bookshelves, and perhaps a study lamp to provide good lightning. All students need comfortable chairs because they spend many hours sitting. Students have different ideas about the best atmosphere for studying. Some students prefer one kind of lighting, one kind of table or desk, and one kind of chair. Other students prefer a different kind of lighting and furniture. Some students listen to music or study in groups. Other students need to be alone in a quiet room. In other words, there is not one best atmosphere for studying: There is a “best” atmosphere for each other individual student. ( ) “There is not one best atmosphere for studying.” This sentence means: A. There is no best atmosphere for studying. B. There is not even one best atmosphere for studying C. There are different best atmospheres for studying D. None of the above.
II Read the following passage, and choose the best answer The Caravaggio Mystery Italian painter Michelangelo Merisi da Caravaggio (1571-1610), usually known simply as “Caravaggio,” had a dramatic life, of which parts remain mysterious to scholars even today. Why, then, would it be a surprise that mysteries also surround his work? For example, The Taking of Christ, one of his paintings that had been considered lost since the eighteenth century, was rediscovered in 1990. It had hung, seemingly unrecognized, in the dining room of the Society of the Jesuits in Dublin, Ireland, for more than fifty years. The discovery that the painting was, indeed, a Caravaggio, led many to wonder how such a treasure could be hidden—seemingly in plain sight. The first clue historians have about The Taking of Christ is in the 1603 accounts of an Italian nobleman, Ciriaco Mattei, who paid 125 “scudi” for “a painting with its frame of Christ taken in the garden.” At the time, Caravaggio’s style, with its striking use of light and dark, was admired and often imitated by both students and fellow artists. However, trends in the art world come and go, and two centuries later, Caravaggio’s work had fallen out of favor with collectors. In fact, it wouldn’t be until the 1950s that a Caravaggio “renaissance” occurred, and interest in the artist was renewed. In the meantime, The Taking of Christ had traveled far and wide. Ironically, it was the Mattei family itself that originally misidentified the work, though several centuries after the original purchase. In 1802, the family sold it as a Honthorst to a Scottish collector. This collector kept it in his home until his death in 1921. By 1921, The Taking of Christ—now firmly attributed to Gerard van Honthorst—was auctioned off in Edinburgh for eight guineas. This would have probably been a fair price if the work had been a van Honthorst; for a true Caravaggio, though, it was the bargain of the century. An Irish doctor bought the painting and donated it to the Dublin Jesuit Society the following decade. From the 1930s onward, The Taking of Christ hung in the offices of the Dublin Jesuits. However, the Jesuits, who had a number of old paintings in their possession, decided to bring in a conservator to discuss restoring them in the early 1990s. Sergio Benedetti, the Senior Conservator at the National Gallery of Ireland, went to the building to examine the paintings and oversee their restoration. Decades of dirt, including smoke from the fireplace above which it hung, had to be removed from the painting before Benedetti began to suspect that the painting was not a copy of the original, but the original itself. Two graduate students from the University of Rome, Francesca Cappelletti and Laura Testa, were primarily responsible for verifying that Caravaggio did, in fact, create this version of the painting. Over years of research, they found the 1603 Mattei accounts. The verification of the painting, though, went far beyond this circumstantial evidence. Certifying that a painting came from a certain artist’s hand is not easy, though forensic science that wouldn’t have been available in the 1920s helped to attribute the work to Caravaggio definitively. The canvas underwent a number of treatments. It was X-rayed and scanned with an infrared light. The cracks on the surface of the painting (known in the industry as “craquelure”) were studied. Furthermore, The Taking of Christ underwent much analysis by art historians, who studied the form and color in the painting to determine its authenticity. For example, Caravaggio never used sketches to set up the composition of his paintings. Instead, he made marks with the end of his brush as he painted—marks that can still be visible today. Of course, the verification of the painting required entire teams of people, in addition to the three mentioned above, and took years. By 1993, the announcement was finally made that the long-lost Caravaggio had been found. Rather than sell the painting, which is most likely worth millions of dollars, the Jesuits decided to make it available to the nation of Ireland for viewing. Thus, the painting is on “indefinite loan” to the National Gallery of Ireland. Nevertheless, the painting continues its travels as it features in exhibitions around the world, from the United States to Amsterdam. In 2010, it even travelled back to Rome to be displayed for the 400th anniversary of the painter’s death. A fitting tribute, many would say, to a mysterious master. ( ) Which of the sentences below best expresses the essential information in the highlighted sentence in paragraph 6? Why?
A、A. The National Gallery of Ireland now owns the painting.
B、B. The National Gallery of Ireland bought the painting from the Jesuits.
C、C. The National Gallery of Ireland can display the painting, but the Jesuits still own it.
D、D. The National Gallery of Ireland can display the painting as long as they allow it to travel.
1. Read the passage about argument identification and then choose from (a), (b), (c), (d) for the blanks: Argument identification and argument analysis cannot be separated very (1) – that is, they are (2) procedures. We need to identify when an argument is being made and what it is about before we can analyze its structure. In fact, as we shall see, the first step in analyzing an argument involves the (3) of its major parts. I shall provide some simple rules to follow here. Most rules will be coupled with a “question” which should help in the (4) application of that rule to some given argument. An argument is any group of (5) that support or give evidence for another proposition. From this definition of an argument we can extract three important points: a) an argument’s structure is going to consist of two basic components: the (6) , or what we are being persuaded to do or believe; and the main (7) , or the evidence that is supposed to persuade us; b) an argument has a function – to try and persuade someone of something using reason; and, c) there will be some structural relation between the (8) and the conclusion – the way in which the evidence supports the conclusion. We should note here that the evidence or reason supporting the conclusion does not have to be good – bad evidence or reasons make for a bad argument, but it is still an argument. (1)
A、clearly
B、cleanly
C、neat
D、purely
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