As audience people had better ask at least one question for each presentation.

A、horror

B、romantic

C、/

D、/

A、the differentiation of syndromes.

B、western medicine

C、five element theory

D、Yin and Yang theory

Directions: In this section, there is a passage with ten blanks. You are required to select one word for each blank from a list of choices given in a word bank following the passage.

Contrary to popular belief, older people generally do not want to live with their children. Moreover, most adult children _provide____(27)every bit as much care and support to their aging parents as was the case in the "good old days", and roost older people do not feel __abandoned___(28).

About 80% of people 65 years and older have living children, and about 90% of them have _frequent____(29)contact with their children. About 75% of elderly parents who don't go to nursing homes live within 30 minutes of at least one of their children.

However, __merely___(30)having contact with children does not guarantee happiness in old age. In fact, some research has found that people who are most involved with their families have the lowest spirits. This research may be __ biased___(31), however, as ill health often makes older people more _dependent____(32)and thereby increases contact with family members. So it is more likely that poor health, not just family involvement, __dampens___(33)spirits.

Increasingly, researchers have begun to look at the quality of relationships, rather than at the frequency of contact, between the elderly and their children. If parents and children share interests and values and agree on childrearing practices and religious ___commitment __(34)they are likely to enjoy each other's company. Disagreements on such matters can ___understandably__(35)cause problems. If parents are angered by their daughter's divorce, dislike her new husband, and disapprove of how she is raising their grandchildren, ___chances _(36)are that they are not going to enjoy her visits.

A.abandoned

B.advanced 年老的;先进的

C.biased 有偏见的

D.chances 机会;偶然

E.commitment 承诺，保证

F.dampens 潮湿;丧气

G.dependent 依赖人的

H.distant 遥远的，冷漠的

I.frequent 频繁的

J.fulfillment 履行，实行

K.grant 同意

L.merely 仅仅

M.provide 提供

N.understandably 可理解地

O.unrealistically 不切实际地

A、Examining the underlying bases of a firm’s strategy

B、Comparing the expected to actual results

C、Identifing corrective actions to ensure that performance conforms to plans

D、analyzing industry environment

【单选题】Passage 2 Choose the best answer by making inferences. At 9:00 Dick Spivak's bank telephoned and said his payment was late. “The check is in the post,” Dick replied quickly. At 11:45 Dick left for a 12:00 meeting across town. Arriving late, he explained that traffic had been bad. That evening, Dick's girlfriend wore a new dress. He hated it. “It looks just great on you,” he said. Three lies in one day! Yet Dick Spivak is just an ordinary man. Each time, he told himself that sometimes the truth causes too many problems. Most of us tell much the same white lies, harmless untruths that help to save trouble. How often do we tell white lies? It depends in part on our age, education, and even where we live. According to one US study, women are more truthful than men, and honesty increases as we get older. While most people use little white lies to make life easier, the majority of Americans care about honesty in both public and personal life. They say that people today are less honest than they were ten years ago. Although it is believed that things are getting worse, lying seems to be an age-old human problem. The French philosopher Vauvenarges, writing in the eighteenth century, touched on the truth when he wrote, “All men are born truthful and die liars.” 1. When the writer says “Dick Spivak is just an ordinary man,” he means _______.

A、it is common that people tell white lies

B、Dick could do nothing about bad traffic

C、it is common that people delay their payment

D、Dick found it hard to deal with everyday problems

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、The National Gallery of Ireland now owns the painting.

B、The National Gallery of Ireland bought the painting from the Jesuits.

C、The National Gallery of Ireland can display the painting, but the Jesuits still own it.

D、The National Gallery of Ireland can display the painting as long as they allow it to travel.