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Thomas was a real friend, for he advised me as well as (help)____________me with my Arabic.
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A.They were invented by Elizabeth Vergoose.
B.They were invented by Thomas Fleet.
C.They were invented by Charles Perrault.
D.Their writers are unknown.
A.Elizabeth Vergoose wrote the first Mother Goose Stories.
B.Thomas Fleet published the Mother Goose Stories.
C.The Mother Goose Stories were translated into French.
D.Charles Perrault published the first Mother Goose Stories.
Section B
Directions: In this section, you will hear 3 short passages. At the end of each passage, you will hear some questions. Both the passage and the questions will be spoken only once. After you hear a question, you must choose the best answer from the four choices marked A, B, C and D.
听力原文： The Mother Goose Stories, so well known to children all over the world, are commonly said to have been written by a little old woman for her grandchildren. According to some people, she lived in Boston, and her real name was Elizabeth Vergoose. Her son-in-law, a printer named Thomas Fleet, was supposed to have published the famous stories and poems for small children in 1719. However, no copy of this book has ever been found, and most scholars doubt the troth of this story-- and doubt, moreover, that Mother Goose was ever a real parson. They point out that the name is a direct translation of the French "Mere I'Ohe." In 1679 the Frenchman Charles Perrault published the first book in which this name was used. The collection contains eight tales, including "Sleeping Beauty", "Cinderell," and "Puss in Boots." But Perrault did not originate these stories; they were already quite popular in his day, and he only collected them.
(27)
A．Thomas Fleet published the Mother Goose Stories.
B．Elizabeth Vergoose wrote the first Mother Goose Stories.
C．The Mother Goose Stories were translated into French.
D．Elizabeth Vergoose published the first Mother Goose Stories.
Most people-or at least more Western Europeans-did not accept daydreaming as part of their lives. In fact, until recently, daydreaming was viewed as a waste of time. Or it was considered an unhealthy escape from real life and its duties. But now some people are taking a fresh look at daydreaming. And it may be that more people are suffering from a lack of daydreaming than are suffering from too much of it.
It now appears that a person's self-control and self-direction may suffer if he or she does no daydreaming at all. Such a person may become poorly equipped to deal with the pressures of daily life.
Dr. Joan T. Freyberg has concluded that daydreaming contributes to intellectual growth. It also improves concentration and the ability to get long with others, she says. Another researcher reported that daydreaming seemed to produce improved self-control and creative ability.
But that's only part of the story. The most remarkable thing about daydreaming may be its usefulness in shaping our future lives, as we want them to be.
Industrialist Henry J. Kaiser believed that much of his success was due to the positive use of daydreaming. He maintained that you can imagine your future. Florence Nightingale dreamed of becoming a nurse. The young Thomas Edison pictured himself as an inventor. For these notable achievers, it appears that their daydreams came true.
Dr. Harry Emerson Fosdick believed that the way we pictured ourselves is often the way we turn out. He offered this advice: Hold a picture of yourself in your mind’s eye, and you will be drawn towards it. Picture yourself as defeated, and that alone will make victory impossible. Picture yourself vividly as winning, and that will contribute immeasurably to success. Do not picture yourself as anything, and you will drift
(1)According to the passage, people who do not daydream will __________.
A、suffer from a lack of daydreaming
B、not waste time
C、improve concentration
D、escape from the real life
(2)What does the first sentence in the fourth paragraph mean？
A、But that's only part of the research.
B、But there are still some other stories.
C、But the story does not finish yet.
D、But there are still some other positive uses of daydreaming.
(3)The example of Thomas Edison is used to show __________.
A、he is a successful dreamer
B、he is a successful inventor
C、daydreaming can shape our future
D、daydreaming can improve creative ability
(4)According to Harry Emerson, if we do not imagine at all, we may __________.
A、be defeated
B、wander and be aimless
C、achieve success
D、overcome most of the problems
(5)Which of the following can best serve as the title of the passage？
A、Daydreaming, too much or too little？
B、Come on, Imaging Your Future!
C、New Discoveries on Daydreaming.
D、Citizens Embracing Daydreaming
The 60 Most-Recommended Novels and Short Stories
1. Austen, Jane, Pride and Prejudice (BR, 1813) / 2. Baldwin, James, Go Tell It on the Mountain (AM, 1953) / 3. Bellow, Saul, Seize the Day (AM, 1956) / 4. Bronte, Charlotte, Jane Eyre (BR, 1847) / 5. Bronte, Emily, Wuthering Heights (BR, 1847) / 6. Camus, Albert, The Stranger (FR, 1942) / 7. Carroll, Lewis, Alice' s Adventures in Wonderland (BR, 1865) / 8. Cather, Willa, My Antonia (AM, 1918) / 9. Cervantes, Miguel de, Don Quixote (SP, 1605, 1607) / 10. Chopin, Kate, The Awakening (AM, 1899) / 11. Conrad, Joseph, Heart of Darkness (BR, i902 ) / 12. Crane, Stephen, The Red Badge of Courage (AM, 1895) / 13. Defoe, Daniel, Robinson Crusoe (BR, 1719) / 14. Dickens, Charles, Great Expectations (BR, 1860～61)/ 15. Dostoevski, Feodor, Crime and Punishment (RU, 1866) / 16. Eliot, George, The Mill on the Floss (BR, 1860) / 17. Ellison, Ralph, Invisible Man (AM, 1947) / 18. Faulkner, William, The Sound and the Fury (AM, 1929) / 19. Fielding, Henry, Tom Jones (Br, 1749) / 20. Fitzgerald, F. Scott, The Great Gatsby (AM, 1925) / 21. Flaubert, Gustave, Madame Bovary (FR, 1857) / 22. Forster, E. M., A Passage to India (BR, 1924) / 23. Garcia Marquez, Gabriel, One Hundred Years of Solitude (CO, 1967) / 24. Golding, William, Lord of the Flies (BR, 1954) / 25. Hardy, Thomas, Tess of the D' Urbervilles (BR, 1891) / 26. Hawthorne, Nathaniel, The Scarlet Letter (AM, 1850) / 27. Hemingway, Ernest, A Farewell to Arms (AM, 1929) / 28. Hurston, Zora Neale, Their Eyes Were Watching God (AM, 1937) / 29. Huxley, Aldous, Brave New World (BR, 1932) / 30. James, Henry, The Turn of the Screw (AM, 1898) / 31. Joyce, James, A Portrait of the Artist as a Young Man (IR, 1916) / 32. Kafka, Franz, The Trial (CZ, 1925) / 33. Lawrence, D. H., Sons and Lovers (BR, 1913) / 34. Lewis, Sinclair, Babbitt (AM, 1922) / 35. Malamud, Bernard, The Assistant (AM, 1957) / 36. Mann, Thomas, Death in Venice (GE, 1912) / 37. Melville, Herman, Moby-Dick (AM, 1851) / 38. Morrison, Toni, Sula (AM, 1973) / 39. O'Connor, Flannery, A Good Man Is Hard to Find (AM, 1955) / 40. Olsen, Tillie, Tell Me a Riddle (AM, 1956～60) / 41. Orwell, George, Animal Farm (BR, 1945) / 42. Paton, Alan, Cry, the Beloved Country (SA, 1948 ) / 43. Poe, Edgar Allan, Great Tales and Poems (AM, 1839-45) / 44. Salinger, J. D., The Catcher in the Rye (AM, 1951)/ 45. Scott, Sir Walter, Ivanhoe (BR, 1820) / 46. Shelley, Mary, Frankenstein (BR, 1818) / 47. Stelnbeck, John, The Grapes of Wrath (AM, 1939) / 48. Swift, Jonathan, Gulliver' s Travels (BR, 1726) / 49. Thackeray, William Makepeaee, Vanity Fair (BR, 1847～48) / 50. Tolstoy , Leo , War and Peace (RU, 1865~69) / 51. Turgenev, Ivan, Fathers and Sons (RU, 1862) / 52. Twain, Mark, The Adventures of Huckleberry Finn (AM, 1886) / 53. Updike, John, Rabbit, Run (AM, 1961) / 54. Voltaire, Candide (FR, 1759) / 55. Vonnegut, Kurt, Slaughterhouse Five (AM, 1969) / 56. Walker, Alice, The Color Purple (AM, 1982) / 57. Welty, Eudora, Thirteen Stories (AM, 1956) / 58.Wharton, Edith, The Age of Innocence (AM, 1920) /59. Woolf, Virginia, To the Lighthouse (BR, 1927) /60. Wright, Richard, Native Son (AM, 1940)
Which of the following authors is NOT on the list？
A．E. M. Forster.
B．Toni Morrison.
C．J.B.Priestley.
D．Albert Camus.
第二节 完型填空
阅读下面短文，从短文后所给各题的四个选项(A、B、C和D)中选出能填入相应空白处的最佳选项。
The measure of man's real character is what he would do if he knew he would never be found out.
—Thomas Macaulay
Some thirty years ago, I was studying in a public school in New York. One day, Mrs. Nanette O'Neill gave an arithmetic 【B1】 to our class. When the papers were 【B2】 she discovered that twelve boys had made exactly the 【B3】 mistakes throughout the test.
There is nothing really new about 【B4】 in exams. Perhaps that was why Mrs. O'Neill 【B5】 even say a word about it. She only asked the twelve boys to 【B6】 after class. I was one of the twelve.
Mrs. O'Neill asked 【B7】 questions, and she didn't 【B8】 us either. Instead, she wrote on the blackboard the 【B9】 words by Thomas Macaulay. She then ordered us to 【B10】 these words into our exercise-books one hundred times.
I don't 【B11】 about the other eleven boys. Speaking for 【B12】 I can say. it was the most important single 【B13】 of my life. Thirty years after being 【B14】 to Macaulay's words, they 【B15】 seem to me the best yardstick(准绳), because they give us a 【B16】 to measure ourselves rather than others.
【B17】 of us are asked to make 【B18】 decisions about nations going to war or armies going to battle. But all of us are called 【B19】 daily to make a great many personal decisions. 【B20】 the wallet, found in the street, be put into a pocket or turned over to the policeman？ Should the extra change received at the store be forgotten or returned？ Nobody will know except you. But you have to live with yourself, and it is always better to live with someone you respect.
【B1】
A．test
B．problem
C．paper
D．lesson
In a period characterized by the abandonment of so much of the realistic tradition by authors such as John Barth, Donald Barthelme, and Thomas Pynchon, Joyce Carol Oates has seemed at times determinedly old-fashioned in her insistence on the essentially mimetic quality of her fiction. Hers is a world of violence, insanity, fractured love, and hopeless loneliness. Although some of it appears to come from her own observations, her dreams, and her fears. Much more is clearly form. the experience of others. Her first novel, With Shuddering Fall (1964), dealt with stock car racing, though she had never seen a race. In Them (1969) she focused on Detroit from the Depression through the riots of 1967, drawing much of her material from the Depression made on her by the problems of one of her students. Whatever the source and however shocking the events or the motivations, however, her fictive world remains strikingly akin to that real one reflected in the daily newspapers, the television news and talk shows, and the popular magazines of our day.
Which of the following does the passage indicate about Joyce Carol Oates' first publication？
A．It was part of her MA thesis.
B．It was a volume of short fiction.
C．It was not successful.
D．It was about an English instructor in Detroit.
根据下列材料，请回答 41～45 题：
Read the following text and answer the questions by finding information from the left column that corresponds to each of the marked details given in the right column. There are two extra choices in the right column. Mark your answers on ANSWER SHEERT 1.（10 points）
“Universal history, the history of what man has accomplished in this world, is at bottom the History of the Great Men who have worked here,” wrote the Victorian sage Thomas Carlyle. Well, not any more it is not.
Suddenly, Britain looks to have fallen out with its favourite historical form. This could be no more than a passing literary craze, but it also points to a broader truth about how we now approach the past: less concerned with learning from forefathers and more interested in feeling their pain. Today, we want empathy, not inspiration.
From the earliest days of the Renaissance, the writing of history meant recounting the exemplary lives of great men. In 1337, Petrarch began work on his rambling writing De Viris Illustribus - On Famous Men, highlighting the virtus （or virtue） of classical heroes. Petrarch celebrated their greatness in conquering fortune and rising to the top. This was the biographical tradition which Niccolo Machiavelli turned on its head. In The Prince, the championed cunning, ruthlessness, and boldness, rather than virtue, mercy and justice, as the skills of successful leaders.
Over time, the attributes of greatness shifted. The Romantics commemorated the leading painters and authors of their day, stressing the uniqueness of the artist's personal experience rather than public glory. By contrast, the Victorian author Samual Smiles wrote Self-Help as a catalogue of the worthy lives of engineers , industrialists and explores . "The valuable examples which they furnish of the power of self-help, if patient purpose, resolute working and steadfast integrity, issuing in the formulation of truly noble and many character, exhibit,"wrote Smiles."what it is in the power of each to accomplish for himself"His biographies of James Walt, Richard Arkwright and Josiah Wedgwood were held up as beacons to guide the working man through his difficult life.
This was all a bit bourgeois for Thomas Carlyle, who focused his biographies on the truly heroic lives of Martin Luther, Oliver Cromwell and Napoleon Bonaparte. These epochal figures represented lives hard to imitate, but to be acknowledged as possessing higher authority than mere morals.
Communist Manifesto. For them, history did nothing, it possessed no immense wealth nor waged battles:“It is man, real, living man who does all that.” And history should be the story of the masses and their record of struggle. As such, it needed to appreciate the economic realities, the social contexts and power relations in which each epoch stood. For:“Men make their own history, but they do not make it just as they please; they do not make it under circumstances chosen by themselves, but under circumstances directly found, given and transmitted from the past.”
This was the tradition which revolutionized our appreciation of the past. In place of Thomas Carlyle, Britain nurtured Christopher Hill, EP Thompson and Eric Hobsbawm. History from below stood alongside biographies of great men. Whole new realms of understanding - from gender to race to cultural studies - were opened up as scholars unpicked the multiplicity of lost societies. And it transformed public history too: downstairs became just as fascinating as upstairs.
[A] emphasized the virtue of
classical heroes. 41. Petrarch [B] highlighted the public glory of
the leading artists. 42. Niccolo Machiavellli [C] focused on epochal figures whose
lives were hard to imitate. 43. Samuel Smiles [D] opened up new realms of understanding
the great men in history. 44. Thomas Carlyle [E] held that history should be the story
of the masses and their record of struggle. 45. Marx and Engels [F] dismissed virtue as unnecessary for
successful leaders. [G] depicted the worthy lives of engineer
industrialists and explorers.
第 41 题 请在（41）处填上最佳答案。
The finest films of the silent era depended on two elements that we can seldom provide today a large and receptive audience and a well-orchestrated score. For the audience, the fusion of picture and live music added up to more than the sum of the respective parts.
The one word that sums up the attitude of the silent filmmakers is enthusiasm, conveyed most strongly before formulas took shape and when there was more room for experimentation. This enthusiastic uncertainty often resulted in such accidental discoveries as new camera or editing techniques. Some films experimented with players; the 1915 film Regeneration, for example, by using real gangsters and streetwalkers, provided startling local color. Other films, particularly those of Thomas Ince, provided tragic endings as often as films by other companies supplied happy ones.
Unfortunately, the vast majority of silent films survive today in inferior prints that no longer reflect the care that the original technicians put into them. The modern versions of silent films may appear jerky and flickery, but the vast picture palaces did not attract four to six thousand people a night by giving them eyestrain. A silent film depends on its visuals; as soon as you degrade those, you lose elements that go far beyond the image on the surface. The acting in silent was often very subtle and very restrained, despite legends to the contrary.
In paragraph 2, the sentence" For the audience. . . parts, "indicates that______.
A．music was the most important element of silent films
B．silent films rely on a combination of music and image in affecting an audience
C．the importance of music in silent film has been overestimated
D．live music compensated for the poor quality of silent film images
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