【单选题】In 1976 Sarah Caldwell became （） at the Metropolitan Opera House in New York City.
A. she was the first woman to conduct
B. the first woman conductor
C. the woman was first conducting
D. the woman conducts first
A. she was the first woman to conduct
B. the first woman conductor
C. the woman was first conducting
D. the woman conducts first
【分析解答题】 (thE morE) kinEtiC (EnErgy in) thE pArtiClEs oF (A mAtEriAl), thE (hottEst) thE mAtEriAl is.
【分析解答题】 most oF thE worlD’s EnErgy ----(inCluDing) winD (AnD) wAtEr powEr AnD (All) Fossil FuEls ---(ComE) inDirECtly From thE sun.
【单选题】 (Most) fish swim by (moving) their tails from (side to) side, with (little relatively) body undulation.
A．Most
B．moving
C．side to
D．little relatively
A．Most
B．moving
C．side to
D．little relatively
【单选题】 All of the following are defined in the passage EXCEPT
A．( "Broadsides" (line 6)
B．( "catechisms" (line 15)
C．( "chapbooks"(linel6)
D．( "Almanacs" (line 25)
A．( "Broadsides" (line 6)
B．( "catechisms" (line 15)
C．( "chapbooks"(linel6)
D．( "Almanacs" (line 25)
【单选题】nEw-AgE trAnsport
it looks As iF it CAmE strAight From thE sEt oF stAr wArs. it hAs Four-whEEl DrivE AnD risEs ABovE roCky surFACEs. it lowErs AnD rAisEs its nosE whEn going up AnD Down hills.AnD whEn it ComEs to A rivEr, it turns AmphiBious: two hyDrojEt powEr it Along By BlAsting wAtEr unDEr its BoDy. thErE is room For two pAssEngErs AnD A DrivEr, who sit insiDE A glAss BuBBlE opErAting ElECtroniC, AirCrAFt-typE Controls.A、vEhiClE so DAring on lAnD AnD wAtEr nEEDs winDsCrEEn wipErs--But it DoEsn’t hAvE Any. wAtEr molECulEs ArE DisintEgrAtED on thE sCrEEn’s surFACE By ultrAsoniC sEnsors.
this unusuAl vEhiClE is thE rACoon. it is An invEntion not oF hollywooD But oF rEnAult, A rAthEr ConsErvAtivE FrEnCh stAtE-ownED CAr-mAkEr, BEttEr known For its FAmily hAtChBACks. rEnAult Built thE rACoon to ExplorE nEw FrEEDoms For DEsignErs AnD EnginEErs CrEAtED By ADvAnCEs in mAtEriAls AnD mAnuFACturing proCEssEs. rEnAult is thinking ABout stArtlingly DiFFErEnt CArs; othEr proDuCErs hAvE rADiCAl nEw iDEAs For trAins, BoAts AnD AEroplAnEs.
thE First oF thE nEw FrEEDoms is in DEsign. powErFul ComputEr-AiDED DEsignCAD、systEms CAn rEplACE with A CliCk oF A ComputEr mousE hours oF lABorious work DonE on thousAnDs oF DrAwing BoArDs. so nEw proDuCts, no mAttEr how CompliCAtED, CAn BE DEvElopED muCh FAstEr. For thE First timE,BoEing will not hAvE to BuilD A giAnt rEpliCA oF its nEw AirlinEr, thE 777, to mAkE surE All thE Bits Fit togEthEr. itsCA
D、systEm will tAkE CArE oF thAt.
But rEnAult is tAkingCA
D、FurthEr. it ClAims thE rACoon is thE worlD’s First vEhiClE to BE DEsignED within thE DigitisED worlD oF virtuAl rEAlity.ComplEx progrAms wErE usED to simulAtE thE vEhiClE AnD thE tErrAin thAt it wAs ExpECtED to Cross. this AllowED A tEAm lED By pAtriCk g. m. lE quémEnt , rEnAult’s inDustriAl-DEsign DirECtor, to "DrivE" it long BEForE A prototypE ExistE
D、
rEnAult is not AlonE in thinking thAt virtuAl rEAlity will trAnsForm AutomotivE DEsign. inDEtroit, ForD is Also invEstigAting its potEntiAl. jACk turnEr, thE Firm’s hEAD oF DEsign, woulD likE DEsignErs in DiFFErEnt pArts oF thE worlD to work morE ClosEly togEthEr, linkED By ComputErs. thEy woulD Do morE thAn stylE CArs. virtuAl rEAlity will Allow EnginEErs to pEEr insiDE thE working pArt oF A vEhiClE.DEsignErs will wAtCh BEAtings movE, oil Flow, gEArs mEsh AnD hyDrAuliCs pump.As thEsE tEChniquEs CAtCh on, EvEn strAngEr vEhiClEs ArE likEly to ComE Along.
trAnsForming thEsE CrEAtions From virtuAl rEAlity to ACtuAl rEAlity will Also BEComE EAsiEr, EspECiAlly with ADvAnCEs in mAtEriAls. Firms thAt onCE BAshED EvErything out oF stEEl now FinD thAt nEw Alloys or CompositE mAtEriAls (whiCh CAn BE mADE From mixturEs oF plAstiC, rEsin, CErAmiCs AnD mEtAls, rEinForCED with FiBrEs suCh As glAss or CArBon) ArE ChAnging thE rulEs oF mAnuFACturing.At thE sAmE timE, olD mAtEriAls kEEp gEtting BEttEr, As thEir proDuCErs try to sECurE thEir plACE in thE FACtory oF thE FuturE.
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this CompEtition is inCrEAsing thE pACE oF DEvElopmEnt oF All mAtEriAls.
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onE CompAny in this FiElD is sCAlEDCompositEs.
![]()
it wAs stArtED in 1982 ByBurr rutAn, An AviAtor who hAs DEvisED mAny unusuAl AirCrAFt.
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it hAs Also workED on CompositE sAils For thEAmEriCA’sCup yACht rACE AnD on gEnErAl motors’ ultrAlitE, A 100-milEs pEr-gAllon ExpErimEntAl FAmily CAr Built From CArBon FiBrE.
AgAin, thE rACoon rEFlECts this rACE BEtwEEn thE olD AnD thE nEw. it usEs ConvEntionAl stEEl AnD whAt rEnAult DEsCriBEs As A nEw "high-limit ElAstiC stEEl" in its ChAssis. this stEEl is 30% lightEr thAn thE usuAl kin
D、thE rACoon Also hAs pArts mADE From C
it looks As iF it CAmE strAight From thE sEt oF stAr wArs. it hAs Four-whEEl DrivE AnD risEs ABovE roCky surFACEs. it lowErs AnD rAisEs its nosE whEn going up AnD Down hills.AnD whEn it ComEs to A rivEr, it turns AmphiBious: two hyDrojEt powEr it Along By BlAsting wAtEr unDEr its BoDy. thErE is room For two pAssEngErs AnD A DrivEr, who sit insiDE A glAss BuBBlE opErAting ElECtroniC, AirCrAFt-typE Controls.A、vEhiClE so DAring on lAnD AnD wAtEr nEEDs winDsCrEEn wipErs--But it DoEsn’t hAvE Any. wAtEr molECulEs ArE DisintEgrAtED on thE sCrEEn’s surFACE By ultrAsoniC sEnsors.
this unusuAl vEhiClE is thE rACoon. it is An invEntion not oF hollywooD But oF rEnAult, A rAthEr ConsErvAtivE FrEnCh stAtE-ownED CAr-mAkEr, BEttEr known For its FAmily hAtChBACks. rEnAult Built thE rACoon to ExplorE nEw FrEEDoms For DEsignErs AnD EnginEErs CrEAtED By ADvAnCEs in mAtEriAls AnD mAnuFACturing proCEssEs. rEnAult is thinking ABout stArtlingly DiFFErEnt CArs; othEr proDuCErs hAvE rADiCAl nEw iDEAs For trAins, BoAts AnD AEroplAnEs.
thE First oF thE nEw FrEEDoms is in DEsign. powErFul ComputEr-AiDED DEsignCAD、systEms CAn rEplACE with A CliCk oF A ComputEr mousE hours oF lABorious work DonE on thousAnDs oF DrAwing BoArDs. so nEw proDuCts, no mAttEr how CompliCAtED, CAn BE DEvElopED muCh FAstEr. For thE First timE,BoEing will not hAvE to BuilD A giAnt rEpliCA oF its nEw AirlinEr, thE 777, to mAkE surE All thE Bits Fit togEthEr. itsCA
D、systEm will tAkE CArE oF thAt.
But rEnAult is tAkingCA
D、FurthEr. it ClAims thE rACoon is thE worlD’s First vEhiClE to BE DEsignED within thE DigitisED worlD oF virtuAl rEAlity.ComplEx progrAms wErE usED to simulAtE thE vEhiClE AnD thE tErrAin thAt it wAs ExpECtED to Cross. this AllowED A tEAm lED By pAtriCk g. m. lE quémEnt , rEnAult’s inDustriAl-DEsign DirECtor, to "DrivE" it long BEForE A prototypE ExistE
D、
rEnAult is not AlonE in thinking thAt virtuAl rEAlity will trAnsForm AutomotivE DEsign. inDEtroit, ForD is Also invEstigAting its potEntiAl. jACk turnEr, thE Firm’s hEAD oF DEsign, woulD likE DEsignErs in DiFFErEnt pArts oF thE worlD to work morE ClosEly togEthEr, linkED By ComputErs. thEy woulD Do morE thAn stylE CArs. virtuAl rEAlity will Allow EnginEErs to pEEr insiDE thE working pArt oF A vEhiClE.DEsignErs will wAtCh BEAtings movE, oil Flow, gEArs mEsh AnD hyDrAuliCs pump.As thEsE tEChniquEs CAtCh on, EvEn strAngEr vEhiClEs ArE likEly to ComE Along.
trAnsForming thEsE CrEAtions From virtuAl rEAlity to ACtuAl rEAlity will Also BEComE EAsiEr, EspECiAlly with ADvAnCEs in mAtEriAls. Firms thAt onCE BAshED EvErything out oF stEEl now FinD thAt nEw Alloys or CompositE mAtEriAls (whiCh CAn BE mADE From mixturEs oF plAstiC, rEsin, CErAmiCs AnD mEtAls, rEinForCED with FiBrEs suCh As glAss or CArBon) ArE ChAnging thE rulEs oF mAnuFACturing.At thE sAmE timE, olD mAtEriAls kEEp gEtting BEttEr, As thEir proDuCErs try to sECurE thEir plACE in thE FACtory oF thE FuturE.
AgAin, thE rACoon rEFlECts this rACE BEtwEEn thE olD AnD thE nEw. it usEs ConvEntionAl stEEl AnD whAt rEnAult DEsCriBEs As A nEw "high-limit ElAstiC stEEl" in its ChAssis. this stEEl is 30% lightEr thAn thE usuAl kin
D、thE rACoon Also hAs pArts mADE From C
【单选题】 The word "littered" in line 22 is closest in meaning to
A．covered
B．displayed
C．fertilized
D．planted
A．covered
B．displayed
C．fertilized
D．planted
【单选题】 ......... crumbles readily when exposed to a moist, acid atmosphere, but the stone is durable in a dry atmosphere.
A．( The surface of marble is
B．( The surface of marble, which
C．( Although the surface of marble
D．( The surface of marble
A．( The surface of marble is
B．( The surface of marble, which
C．( Although the surface of marble
D．( The surface of marble
【单选题】looking At thEAtrE history
onE oF thE primAry wAys oF ApproAChing thE grEEk thEAtrE is through ArChEology, thE systEmAtiC stuDy oF mAtEriAl rEmAins suCh As ArChitECturE, insCriptions, sCulpturE, vAsE pAinting, AnD othEr Forms oF DECorAtivE Art.
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sErious on-sitE ExCAvAtions BEgAn in grEECE ArounD 1870, But w.D6rpFElD DiD not BEgin thE First ExtEnsivE stuDy oF thE thEAtrE oFDionysus until 1886.
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sinCE thAt timE, morE thAn 167 othEr grEEk thEAtrEs hAvE BEEn iDEntiFiED AnD mAny oF thEm hAvE BEEn ExCAvAtED、
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nEvErthElEss, thEy still Do not pErmit us to DEsCriBE thE prECisE AppEArAnCE oF thE skEnE (illustrAtions printED in Books ArE ConjECturAl rEConstruCtions), sinCE mAny piECEs ArE irrEvoCABly lost BECAusE thE BuilDings in lAtEr pErioDs BECAmE sourCEs oF stonE For othEr projECts AnD whAt rEmAins is usuAlly BrokEn AnD sCAttErED、
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thAt most oF thE BuilDings wErE rEmoDElED mAny timEs hAs CrEAtED grEAt proBlEms For thosE sEEking to DAtE Both thE pArts AnD thE suCCEssivE vErsions.DEspitE thEsE DrAwBACks, ArChEology proviDEs thE most ConCrEtE EviDEnCE wE hAvE ABout thE thEAtrE struCturEs oF AnCiEnt grEECE.But, iF thEy hAvE tolD us muCh, ArChEologists hAvE not ComplEtED thEir work, AnD mAny sitEs hAvE sCArCEly BEEn touChED、
pErhAps thE most ControvErsiAl usE oF ArChEologiCAl EviDEnCE in thEAtrE history is vAsE pAintings, thousAnDs oF whiCh hAvE survivED From AnCiEnt grEECE. (most oF thosE usED By thEAtrE sCholArs ArE rEproDuCED in mArgArEtEBiEBEr’s "thE history oF thE grEEk AnD romAn thEAtrE". )DEpiCting sCEnEs From mythology AnD DAily liFE, thE vAsEs ArE thE most grAphiC piCtoriAl EviDEnCE wE hAvE, But thEy ArE Also EAsy to misintErprEt. somE sCholArs hAvE ConsiDErED Any vAsE thAt DEpiCts A suBjECt trEAtED in A surviving DrAmA or Any sCEnE showing mAsks, FlutE plAyErs, or CErEmoniAls to BE vAliD EviDEnCE oF thEAtriCAl prACtiCE. this is A highly quEstionABlE Assumption, sinCE thE grEEks mADE wiDEsprEAD usE oF mAsks, DAnCEs, AnD musiC outsiDE thE thEAtrE AnD sinCE thE myths on whiCh DrAmAtists DrEw wErE known to EvEryonE, inCluDing vAsE pAintErs, who might wEll DEpiCt thE sAmE suBjECts As DrAmAtists without BEing inDEBtED to thEm. thosE vAsEs showing sCEnEs unquEstionABly thEAtriCAl ArE FEw in numBEr.
writtEn EviDEnCE ABout AnCiEnt grEEk thEAtrE is oFtEn trEAtED As lEss rEliABlE thAn ArChEologiCAl EviDEnCE BECAusE most writtEn ACCounts ArE sEpArAtED so FAr in timE From thE EvEnts thEy DEsCriBE AnD BECAusE thEy proviDE no inFormAtion ABout thEir own sourCEs. oF thE writtEn EviDEnCE, thE surviving plAys ArE usuAlly trEAtED As thE most rEliABlE.But thE olDEst surviving mAnusCripts oF grEEk plAys DAtE From ArounD thE tEnth CEntury,C、E、, somE 1500 yEArs AFtEr thEy wErE First pErFormED、sinCE printing DiD not Exist During this timE spAn, CopiEs oF plAys hAD to BE mADE By hAnD, AnD thErEForE thE possiBility oF tExtuAl Errors CrEEping in wAs mAgniFiED、nEvErthElEss, thE sCripts oFFEr us our rEADiEst ACCEss to thE CulturAl AnD thEAtriCAl ConDitions out oF whiCh thEy CAmE.But thEsE sCripts, likE othEr kinDs oF EviDEnCE, ArE suBjECt to vArying intErprEtAtions.CErtAinly pErFormAnCEs EmBoDiED A mAlE pErspECtivE, For ExAmplE, sinCE thE plAys wErE writtEn, sElECtED, stAgED, AnD ACtED By mEn. yEt thE Existing plAys FEAturE numErous ChorusEs oF womEn AnD mAny FEAturE strong FEmAlE ChArACtErs.BECAusE thEsE ChArACtErs oFtEn sEEm viCtims oF thEir own powErlEssnEss AnD AppEAr to BE govErnED, EspECiAlly in thE ComEDiEs, By sExuAl DEsirE, somE CritiCs hAvE sEEn thEsE plAys As rAtionAlizAtions By thE mAlE-DominAtED CulturE For kEEping womEn sEgrEgAtED AnD CloistErED、othEr CritiCs, ho
onE oF thE primAry wAys oF ApproAChing thE grEEk thEAtrE is through ArChEology, thE systEmAtiC stuDy oF mAtEriAl rEmAins suCh As ArChitECturE, insCriptions, sCulpturE, vAsE pAinting, AnD othEr Forms oF DECorAtivE Art.
pErhAps thE most ControvErsiAl usE oF ArChEologiCAl EviDEnCE in thEAtrE history is vAsE pAintings, thousAnDs oF whiCh hAvE survivED From AnCiEnt grEECE. (most oF thosE usED By thEAtrE sCholArs ArE rEproDuCED in mArgArEtEBiEBEr’s "thE history oF thE grEEk AnD romAn thEAtrE". )DEpiCting sCEnEs From mythology AnD DAily liFE, thE vAsEs ArE thE most grAphiC piCtoriAl EviDEnCE wE hAvE, But thEy ArE Also EAsy to misintErprEt. somE sCholArs hAvE ConsiDErED Any vAsE thAt DEpiCts A suBjECt trEAtED in A surviving DrAmA or Any sCEnE showing mAsks, FlutE plAyErs, or CErEmoniAls to BE vAliD EviDEnCE oF thEAtriCAl prACtiCE. this is A highly quEstionABlE Assumption, sinCE thE grEEks mADE wiDEsprEAD usE oF mAsks, DAnCEs, AnD musiC outsiDE thE thEAtrE AnD sinCE thE myths on whiCh DrAmAtists DrEw wErE known to EvEryonE, inCluDing vAsE pAintErs, who might wEll DEpiCt thE sAmE suBjECts As DrAmAtists without BEing inDEBtED to thEm. thosE vAsEs showing sCEnEs unquEstionABly thEAtriCAl ArE FEw in numBEr.
writtEn EviDEnCE ABout AnCiEnt grEEk thEAtrE is oFtEn trEAtED As lEss rEliABlE thAn ArChEologiCAl EviDEnCE BECAusE most writtEn ACCounts ArE sEpArAtED so FAr in timE From thE EvEnts thEy DEsCriBE AnD BECAusE thEy proviDE no inFormAtion ABout thEir own sourCEs. oF thE writtEn EviDEnCE, thE surviving plAys ArE usuAlly trEAtED As thE most rEliABlE.But thE olDEst surviving mAnusCripts oF grEEk plAys DAtE From ArounD thE tEnth CEntury,C、E、, somE 1500 yEArs AFtEr thEy wErE First pErFormED、sinCE printing DiD not Exist During this timE spAn, CopiEs oF plAys hAD to BE mADE By hAnD, AnD thErEForE thE possiBility oF tExtuAl Errors CrEEping in wAs mAgniFiED、nEvErthElEss, thE sCripts oFFEr us our rEADiEst ACCEss to thE CulturAl AnD thEAtriCAl ConDitions out oF whiCh thEy CAmE.But thEsE sCripts, likE othEr kinDs oF EviDEnCE, ArE suBjECt to vArying intErprEtAtions.CErtAinly pErFormAnCEs EmBoDiED A mAlE pErspECtivE, For ExAmplE, sinCE thE plAys wErE writtEn, sElECtED, stAgED, AnD ACtED By mEn. yEt thE Existing plAys FEAturE numErous ChorusEs oF womEn AnD mAny FEAturE strong FEmAlE ChArACtErs.BECAusE thEsE ChArACtErs oFtEn sEEm viCtims oF thEir own powErlEssnEss AnD AppEAr to BE govErnED, EspECiAlly in thE ComEDiEs, By sExuAl DEsirE, somE CritiCs hAvE sEEn thEsE plAys As rAtionAlizAtions By thE mAlE-DominAtED CulturE For kEEping womEn sEgrEgAtED AnD CloistErED、othEr CritiCs, ho
【单选题】 ______ of pottery is dependent on the durability of clay after firing.
A．(To make
B．(The making
C．(When to make
D．(It is making
A．(To make
B．(The making
C．(When to make
D．(It is making
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