【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】thE sEnsAtion oF sounD is proDuCED how viBrAtions trAnsmittED through thE Air strikE thE EArDrum.
【单选题】 Initially introduced in 1852, the gyroscope consists a spinning device, usually in theform of a wheel, that exhibits strong angular momentum.
【单选题】 The college that became Harvard University, the oldest institution of higher learning at the United States, was founded in Cambridge, Massachusetts, in 1636.
【单选题】origins oF jAzz musiC
thE musiCAl phEnomEnon known As jAzz DEvElopED in thE yEArs just prior to 1900, mAinly in thE City oF nEw orlEAns AnD to A lEssEr ExtEnt in othEr lArgEAmEriCAn CitiEs. thE roots oF this quintEssEntiAllyAmEriCAn musiC ArE vAriED AnD ComplEx, But sEvErAl mAin strAnDs oF CulturE AnD musiCAl trADition CAn BE thought oF As prECursors whiCh EvEntuAlly CulminAtED in A rECognizABlE musiCAl gEnrE.
it is proBABlE thAt BlACkAFriCAns who wErE Brought to thE nEw worlD to work As slAvEs on plAntAtions CArriED with thEm An ABility to improvisE in musiC, in othEr worDs, to spontAnEously vAry inDiviDuAl pArts in A musiCAl pErFormAnCE.
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whilE working As slAvEs on plAntAtions AnD lAtEr As FrEE hAnDs in work plACEs, BlACks usED work songs with A DEgrEE oF improvisAtion, rECAlling thEirAFriCAn hEritAgE, As A rhythm to EAsE thE pAin oF hArD mAnuAl lABor.
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thEsE songs inCluDED spirituAls, thAt is, rEligious songs ExprEssing thE hArD ConDition oF BEing slAvEs, AnD FiElD hollErs, whiCh wErE A Form oF CommuniCAtion BEtwEEn FiElD hAnDs.
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thE proBlEms FACED By thE nEwly FrEED slAvEs Also BECAmE mAtEriAl For A stylE oF singing whiCh originAtED in moAning AnD lAmEntAtions ABout thE DiFFiCultiEs oF liFE.At First thEsE improvisAtions wErE not ACCompAniED By instrumEnts, But lAtEr, trAvEling musiCiAns with guitArs or BAnjos CrEAtED sounDs with soAring AnD sliDing pitCh.
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EvEntuAlly A pAttErn oF musiC EmErgED whiCh wAs rEFErrED to As thE BluEs, An importAnt ComponEnt oF EArly jAzz Forms.
AnothEr importAnt ingrEDiEnt in thE FormAtion oF jAzz is whAt BECAmE known As rAgtimE, A musiCAl Form thAt FlourishED From ABout 1890 until thE stArt oF worlD wAr i, in whiCh thE mEloDy oF A tunE wAs synCopAtED ovEr thE BAss linE AnD gAvE A rAggED FEEl. rAgtimE EvEntuAlly BECAmE FormAlizED AnD writtEn, But thE stylE oF thE rAgtimE tunEs wAs inFluEntiAl in Forming thE EArly DirECtion oF jAzz musiC、
musiCologists hAvE pointED out thAt nEw orlEAns BECAmE thE FoCAl point oF EArly jAzz pErFormAnCE BECAusE BrAss instrumEnts usED By militiA BAnDs During thECivil wAr AnD By town BAnDs For EntErtAinmEnt BEgAn to FinD thEir wAy into sEConDhAnD storEs AnD pAwn shops in nEw orlEAns. this EnABlED poorEr pEoplE to oBtAin instrumEnts ChEAply. thE DEmAnD For livE musiC wAs so grEAt thAt mAny oF thEsE AmAtEurs, whosE mAstEry oF thEsE ChEAply Bought instrumEnts wAs oFtEn inComplEtE, wErE CAllED on to pErForm, thEir unpolishED stylE mAy hAvE BEEn An importAnt ingrEDiEnt oF thE spontAnEous AnD unorthoDox sounD typiCAl oF EArly jAzz.
ACCorDing to lEn wEinstoCk, A historiAn oF jAzz, AnothEr rEAson why nEw orlEAns BECAmE A CEntEr oF this musiCAl stylE wAs thE ExistEnCE within thE City’s populAtion oF A lArgE group oF FrEnCh AnD spAnish sEttlErs who prEsErvED thEir ChArACtEristiC spEECh AnD CulturE. through intErmArriAgE withAFriCAnAmEriCAns, A suBCulturE oF DEsCEnDAnts DEvElopED, thECrEolEs. sinCE thECrEolEs in nEw orlEAns hAD not BEEn EnslAvED, mAny oF thEm BECAmE DistinguishED in thE EConomiC AnD CulturAl liFE oF thE FrEnCh sECtion oF thE City.CrEolEs hAD thEir own musiCAl rEsourCEs inFluEnCED By FrEnCh or spAnish ColoniAl trADitions, But somE wErE Also FormAlly trAinED in thEEuropEAn ClAssiCAl trADition AnD lEArnED thE prECisE tEChniquEs AnD tonAl sophistiCAtion nECEssAry to plAy in ChAmBEr EnsEmBlEs AnD EvEn At thE opErA housE. howEvEr, in 1894,CrEolEs living in nEw orlEAns wErE ForCED By A rACiAl sEgrEgAtion lAw to movE to thE ArEA oF thE City inhABitED By thE poor, lArgEly unEDuCAtED BlACk populAtion whosE musiCAl trADition wAs typiCAlly ChArACtErizED By mEmorizAtion An
thE musiCAl phEnomEnon known As jAzz DEvElopED in thE yEArs just prior to 1900, mAinly in thE City oF nEw orlEAns AnD to A lEssEr ExtEnt in othEr lArgEAmEriCAn CitiEs. thE roots oF this quintEssEntiAllyAmEriCAn musiC ArE vAriED AnD ComplEx, But sEvErAl mAin strAnDs oF CulturE AnD musiCAl trADition CAn BE thought oF As prECursors whiCh EvEntuAlly CulminAtED in A rECognizABlE musiCAl gEnrE.
it is proBABlE thAt BlACkAFriCAns who wErE Brought to thE nEw worlD to work As slAvEs on plAntAtions CArriED with thEm An ABility to improvisE in musiC, in othEr worDs, to spontAnEously vAry inDiviDuAl pArts in A musiCAl pErFormAnCE.
AnothEr importAnt ingrEDiEnt in thE FormAtion oF jAzz is whAt BECAmE known As rAgtimE, A musiCAl Form thAt FlourishED From ABout 1890 until thE stArt oF worlD wAr i, in whiCh thE mEloDy oF A tunE wAs synCopAtED ovEr thE BAss linE AnD gAvE A rAggED FEEl. rAgtimE EvEntuAlly BECAmE FormAlizED AnD writtEn, But thE stylE oF thE rAgtimE tunEs wAs inFluEntiAl in Forming thE EArly DirECtion oF jAzz musiC、
musiCologists hAvE pointED out thAt nEw orlEAns BECAmE thE FoCAl point oF EArly jAzz pErFormAnCE BECAusE BrAss instrumEnts usED By militiA BAnDs During thECivil wAr AnD By town BAnDs For EntErtAinmEnt BEgAn to FinD thEir wAy into sEConDhAnD storEs AnD pAwn shops in nEw orlEAns. this EnABlED poorEr pEoplE to oBtAin instrumEnts ChEAply. thE DEmAnD For livE musiC wAs so grEAt thAt mAny oF thEsE AmAtEurs, whosE mAstEry oF thEsE ChEAply Bought instrumEnts wAs oFtEn inComplEtE, wErE CAllED on to pErForm, thEir unpolishED stylE mAy hAvE BEEn An importAnt ingrEDiEnt oF thE spontAnEous AnD unorthoDox sounD typiCAl oF EArly jAzz.
ACCorDing to lEn wEinstoCk, A historiAn oF jAzz, AnothEr rEAson why nEw orlEAns BECAmE A CEntEr oF this musiCAl stylE wAs thE ExistEnCE within thE City’s populAtion oF A lArgE group oF FrEnCh AnD spAnish sEttlErs who prEsErvED thEir ChArACtEristiC spEECh AnD CulturE. through intErmArriAgE withAFriCAnAmEriCAns, A suBCulturE oF DEsCEnDAnts DEvElopED, thECrEolEs. sinCE thECrEolEs in nEw orlEAns hAD not BEEn EnslAvED, mAny oF thEm BECAmE DistinguishED in thE EConomiC AnD CulturAl liFE oF thE FrEnCh sECtion oF thE City.CrEolEs hAD thEir own musiCAl rEsourCEs inFluEnCED By FrEnCh or spAnish ColoniAl trADitions, But somE wErE Also FormAlly trAinED in thEEuropEAn ClAssiCAl trADition AnD lEArnED thE prECisE tEChniquEs AnD tonAl sophistiCAtion nECEssAry to plAy in ChAmBEr EnsEmBlEs AnD EvEn At thE opErA housE. howEvEr, in 1894,CrEolEs living in nEw orlEAns wErE ForCED By A rACiAl sEgrEgAtion lAw to movE to thE ArEA oF thE City inhABitED By thE poor, lArgEly unEDuCAtED BlACk populAtion whosE musiCAl trADition wAs typiCAlly ChArACtErizED By mEmorizAtion An
【单选题】 Music (involves) the (interaction) of three (elements): rhythm, (melodic), and harmony.
A．involves
B．interaction
C．elements
D．melodic
A．involves
B．interaction
C．elements
D．melodic
【单选题】 According to the passage, when did the domestication of plants begin in North America
A．( 7,000 years ago
B．( 4,000 to 2,000 years ago
C．( Long after the Neolithic period
D．( Before the Archaic period
A．( 7,000 years ago
B．( 4,000 to 2,000 years ago
C．( Long after the Neolithic period
D．( Before the Archaic period
【单选题】sCiEnCE FiCtion notAny morE
sCiEnCE FiCtion hAs oFtEn BEEn thE sourCE oF inspirAtion For nEw tEChnologiEs. thE ExoskElEtons AnD hEAD-mountED DisplAys FEAturED in thE Film "AliEns", For ExAmplE, spAwnED A numBEr oF militAry-FunDED projECts to try to CrEAtE similAr tEChnologiEs.AutomAtiC sliDing Doors might nEvEr hAvE BEComE populAr hAD thEy not AppEArED on thE tElEvision sEriEs "stAr trEk".AnD thE populArity oF Flip-top or "ClAmshEll" moBilE phonEs mAy stEm From thE DEsirE to look likECAptAin kirk Flipping opEn his CommuniCAtor on thE sAmE progrAm.
now it sEEms thAt "stAr trEk" hAs DonE it AgAin. this month,AmEriCAn solDiErs in irAq will BEgin triAls oF A DEviCE inspirED By thE "Comm BADgE" FEAturED in "stAr trEk: thE nExt gEnErAtion". likE CrEw mEmBErs oF thE stArshipEntErprisE, solDiErs will BE ABlE to tAlk to othEr mEmBErs oF thEir unit just By tApping AnD thEn spEAking into A smAll BADgE worn on thE ChEst. whAt sEts thE Comm BADgE ApArt From A mErE wAlkiE-tAlkiE, AnD AppEAls to "stAr trEk" FAns, is thE systEm’s AppArEnt intElligEnCE. it works out who you ArE CAlling From spokEn CommAnDs, AnD ConnECts you instAntly.
thE systEm, DEvElopED By voCErACommuniCAtions oFCupErtino,CAliForniA, usEs A ComBinAtion oF wi-Fi wirElEss nEtworking AnD voiCE-ovEr-intErnEt protoCol (volp) tEChnologiEs to link up thE BADgEs viA A CEntrAl sErvEr, Akin to A switChBoArD、thE BADgEs ArE AlrEADy BEing usED in 80 lArgE institutions, most oF thEm hospitAls, to rEplACE ovErhEAD pAging systEms, sAysBrEnt lAng, voCErA’s viCE-prEsiDEnt.
likE its sCiEnCE-FiCtion CountErpArt, thE BADgE is DEsignED so thAt All FunCtions CAn BE CArriED out By prEssing A singlE Button. on prEssing it, thE CAllEr givEs A CommAnD AnD spECiFiEs thE nAmE oF A pErson or group oF pEoplE, suCh As "CAllDr. smith" or "loCAtE thE nEArEst AnEsthEsiologist". voiCE-rECognition soFtwArE intErprEts thE CommAnDs AnD loCAtEs thE AppropriAtE pErson or group, BAsED on whiChEvEr wi-Fi BAsE-stAtion thEy ArE ClosEst to. thE pErson rECEiving thE CAll thEn hEArs An AuDiBlE AlErt stAting thE nAmE oF thE CAllEr AnD, iF hE or shE wishEs to tAkE thE CAll, rEsponDs By tApping thE BADgE AnD stArting to spEAk.
thAt highlights A kEy DiFFErEnCE BEtwEEn thE "stAr trEk" Comm BADgE AnD thE rEAl-liFE vErsion:
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voCErA’s implEmEntAtion Allows pEoplE to rEjECt inComing CAlls, rAthEr thAn hAving thE voiCE oF thE CAllEr pAtChED through AutomAtiCAlly.
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But EvEn thE most purist FAns CAn ForgivE voCErA For DEviAting From thE sCript in this wAy, sAysDAviDBAtChElor, An AstrophysiCist AnD " stAr trEk" EnthusiAst At nAsA’s goDDArD spACE FlightCEntEr in grEEnBElt, mArylAnD、
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For thErE ArE, hE notEs, somE Curious AspECts to thE BEhAvior oF thE Comm BADgEs in "stAr trEk".
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whEn thE CAptAin oF thEEntErprisE sAys "piCArD to siCk-BAy: mEDiCAl EmErgEnCy on thE BriDgE", For ExAmplE, his BADgE somEhow ConnECts him to thE siCk-BAy BEForE hE hAs stAtED thE DEstinAtion oF thE CAll.
Allowing BADgE usErs to rEjECt inComing CAlls iF thEy ArE Busy, rAthEr thAn BEing ConnECtED instAntly, wAs A FEAturE ADDED At thE rEquEst oF CustomErs, sAys mr. lAng.But in Almost All othEr rEspECts thE BADgEs work just likE thEir FiCtionAl CountErpArts. this is not vEry surprising, sAys lAwrEnCE krAuss, An AstrophysiCist AtCAsE wEstErn rEsErvE univErsity inClEvElAnD, ohio, AnD thE Author oF "thE physiCs oF stAr trEk". in sCiEnCE FiCtion, AnD pArtiCulArly in "stAr trEk", most proBlEms hAvE tEChnologiCAl FixEs. somEtimEs, it sEEms, thosE FixEs CAn BE AppliED to rEAl-worlD proBlEms too.
voCErA’s systEm is pArtiCulArly wEll suitED to hospitAls, sAysChristinE tAr
sCiEnCE FiCtion hAs oFtEn BEEn thE sourCE oF inspirAtion For nEw tEChnologiEs. thE ExoskElEtons AnD hEAD-mountED DisplAys FEAturED in thE Film "AliEns", For ExAmplE, spAwnED A numBEr oF militAry-FunDED projECts to try to CrEAtE similAr tEChnologiEs.AutomAtiC sliDing Doors might nEvEr hAvE BEComE populAr hAD thEy not AppEArED on thE tElEvision sEriEs "stAr trEk".AnD thE populArity oF Flip-top or "ClAmshEll" moBilE phonEs mAy stEm From thE DEsirE to look likECAptAin kirk Flipping opEn his CommuniCAtor on thE sAmE progrAm.
now it sEEms thAt "stAr trEk" hAs DonE it AgAin. this month,AmEriCAn solDiErs in irAq will BEgin triAls oF A DEviCE inspirED By thE "Comm BADgE" FEAturED in "stAr trEk: thE nExt gEnErAtion". likE CrEw mEmBErs oF thE stArshipEntErprisE, solDiErs will BE ABlE to tAlk to othEr mEmBErs oF thEir unit just By tApping AnD thEn spEAking into A smAll BADgE worn on thE ChEst. whAt sEts thE Comm BADgE ApArt From A mErE wAlkiE-tAlkiE, AnD AppEAls to "stAr trEk" FAns, is thE systEm’s AppArEnt intElligEnCE. it works out who you ArE CAlling From spokEn CommAnDs, AnD ConnECts you instAntly.
thE systEm, DEvElopED By voCErACommuniCAtions oFCupErtino,CAliForniA, usEs A ComBinAtion oF wi-Fi wirElEss nEtworking AnD voiCE-ovEr-intErnEt protoCol (volp) tEChnologiEs to link up thE BADgEs viA A CEntrAl sErvEr, Akin to A switChBoArD、thE BADgEs ArE AlrEADy BEing usED in 80 lArgE institutions, most oF thEm hospitAls, to rEplACE ovErhEAD pAging systEms, sAysBrEnt lAng, voCErA’s viCE-prEsiDEnt.
likE its sCiEnCE-FiCtion CountErpArt, thE BADgE is DEsignED so thAt All FunCtions CAn BE CArriED out By prEssing A singlE Button. on prEssing it, thE CAllEr givEs A CommAnD AnD spECiFiEs thE nAmE oF A pErson or group oF pEoplE, suCh As "CAllDr. smith" or "loCAtE thE nEArEst AnEsthEsiologist". voiCE-rECognition soFtwArE intErprEts thE CommAnDs AnD loCAtEs thE AppropriAtE pErson or group, BAsED on whiChEvEr wi-Fi BAsE-stAtion thEy ArE ClosEst to. thE pErson rECEiving thE CAll thEn hEArs An AuDiBlE AlErt stAting thE nAmE oF thE CAllEr AnD, iF hE or shE wishEs to tAkE thE CAll, rEsponDs By tApping thE BADgE AnD stArting to spEAk.
thAt highlights A kEy DiFFErEnCE BEtwEEn thE "stAr trEk" Comm BADgE AnD thE rEAl-liFE vErsion:
Allowing BADgE usErs to rEjECt inComing CAlls iF thEy ArE Busy, rAthEr thAn BEing ConnECtED instAntly, wAs A FEAturE ADDED At thE rEquEst oF CustomErs, sAys mr. lAng.But in Almost All othEr rEspECts thE BADgEs work just likE thEir FiCtionAl CountErpArts. this is not vEry surprising, sAys lAwrEnCE krAuss, An AstrophysiCist AtCAsE wEstErn rEsErvE univErsity inClEvElAnD, ohio, AnD thE Author oF "thE physiCs oF stAr trEk". in sCiEnCE FiCtion, AnD pArtiCulArly in "stAr trEk", most proBlEms hAvE tEChnologiCAl FixEs. somEtimEs, it sEEms, thosE FixEs CAn BE AppliED to rEAl-worlD proBlEms too.
voCErA’s systEm is pArtiCulArly wEll suitED to hospitAls, sAysChristinE tAr
【单选题】tourism inChilE
thE BiggEst proBlEm FACingChilE, As it promotEs itsElF As A tourist DEstinAtion to BE rECkonED with, is thAt it is At thE EnD oF thE EArth. it is too FAr south to BE A ConvEniEnt stop on thE wAy to AnywhErE ElsE AnD it is ConsiDErABly FArthEr thAn A rElAtivEly ChEAp hAlF-DAy’s Flight AwAy From othEr mAjor tourist mArkEts, suCh As mExiCo.
ChilE, thErEForE, is hAving to Fight hArD to AttrACt tourists, to ConvinCE trAvElErs thAt it is worth Coming hAlFwAy rounD thE worlD to visit.But it is suCCEEDing, not only in Existing mArkEts likE thE usA、AnD wEstErnEuropE But in nEw tErritoriEs, in pArtiCulAr thE FArEAst. mArkEts ClosEr to homE, howEvEr, ArE not BEing ForgottEn. morE thAn 50% oF visitors toChilE still ComE From its nEArEst nEighBor,ArgEntinA, whErE thE Cost oF living is muCh highEr.
similAr to All thE othEr southAmEriCAn CountriEs,ChilE sEEs tourism As A vAluABlE EArnEr oF ForEign CurrEnCy, Although it hAs BEEn FAr morE sErious thAn most in promoting its imAgE ABroAD、rElAtivEly stABlE politiCAlly within thE rEgion, it hAs BEnEFitED From thE proBlEms suFFErED in othEr ArEAs. in pEru, guErrillA wArFArE in rECEnt yEArs hAs DEAlt A hEAvy Blow to thE tourist inDustry AnD FEAr oF strEEt CrimE inBrAzil hAs rEDuCED thE AttrACtion oF rio DE jAnEiro As A DrEAm DEstinAtion For ForEignErs.
morE thAn 150000 pEoplE ArE DirECtly involvED inChilE’s tourist sECtor, An inDustry whiCh EArns thE Country morE thAn u.s. $ 950 million EACh yEAr. thE stAtE-run nAtionAl tourism sErviCE, in pArtnErship with A numBEr oF privAtE CompAniEs, is CurrEntly running A worlD-wiDE CAmpAign, tAking pArt in trADE FAirs AnD intErnAtionAl EvEnts to AttrACt visitors toChilE.
ChilE’s grEAt strEngth As A tourist DEstinAtion is its gEogrAphiCAl DivErsity. From thE pArChEDAtACAmADEsErt in thE north to thEAntArCtiC snowFiElDs oF thE south, it is morE thAn 5000 km long. with thE pACiFiC on onE siDE AnD thEAnDEAn mountAins on thE othEr,ChilE BoAsts nAturAl AttrACtions. its BEAChEs ArE not up toCAriBBEAn stAnDArDs But rEsorts suCh As vinADEl mAr ArE gEnErAlly ClEAn AnD unspoilED AnD hAvE A high stAnDArD oF sErviCEs.
But thE trump CArD is thEAnDEs mountAin rAngE. thErE ArE A numBEr oF ExCEllEnt ski rEsorts within onE hour’s DrivE oF thE CApitAl, sAntiAgo, AnD thE nAtionAl pArks in thE south ArE homE to rArE AnimAl AnD plAnt spECiEs. thE pArks AlrEADy AttrACt spECiAlist visitors, inCluDing mountAinEErs, who ComE to ClimB thE tEChniCAlly DiFFiCult pEAks, AnD FishErmEn, lurED By thE sAlmon AnD trout in thE rEgion’s rivErs.
howEvEr, inFrAstruCturAl DEvElopmEnt in thEsE ArEAs is limitED、thE ski rEsorts Do not hAvE As mAny liFts As thEirEuropEAn CountErpArts AnD pArt poor quAlity oF roADs in thE south mEAns thAt only thE most DEtErminED trAvElErs sEE thE BEst oF thE nAtionAl pArks.
A、[■]Air links BEtwEEnChilE AnD thE rEst oF thE worlD ArE, At prEsEnt, rElAtivEly poor.
B、[■] whilEChilE’s two lArgEst AirlinEs hAvE ExtEnsivE nEtworks within southAmEriCA, thEy opErAtE only A smAll numBEr oF routEs to thE u.s. AnDEuropE whilE sErviCEs toAsiA ArE Almost non-ExistEnt.
C、[■] intErnAl trAnsport links ArE BEing improvED AnD luxury hotEls ArE BEing Built in onE oF its nAtionAl pArks.
D、[■]EAstEr islAnD AnDChilEsAntArCtiC tErritory ArE Also on thE list oF ArEAs whErE thE govErnmEnt BEliEvEs it CAn CrEAtE tourist mArkEts.
But thE rush to opEn hithErto inACCEssiBlE ArEAs to mAss tourism is not BEing wElComED By EvEryonE. inDigEnous AnD EnvironmEntAl groups, inCluDing grEEnpEACE, sAy thAt mAny pArts oF thEAnDEs will suFFEr iF thEy BEComE ovEr-DEvElopED、thErE is A gEnuinE FEAr thAt ArEAs oFChilE will suFFEr thE CulturAl DEstruCtion witnEssED in mExiCAn AnDEuropEAn rEsorts.
thE poliCy oF opEning upAntArCtiCA to tourism is Also politiCAlly sEnsitivE.ChilE AlrEADy hAs pErmAnEnt sEttlEmEnts on thE iCE AnD mAny pEo
thE BiggEst proBlEm FACingChilE, As it promotEs itsElF As A tourist DEstinAtion to BE rECkonED with, is thAt it is At thE EnD oF thE EArth. it is too FAr south to BE A ConvEniEnt stop on thE wAy to AnywhErE ElsE AnD it is ConsiDErABly FArthEr thAn A rElAtivEly ChEAp hAlF-DAy’s Flight AwAy From othEr mAjor tourist mArkEts, suCh As mExiCo.
ChilE, thErEForE, is hAving to Fight hArD to AttrACt tourists, to ConvinCE trAvElErs thAt it is worth Coming hAlFwAy rounD thE worlD to visit.But it is suCCEEDing, not only in Existing mArkEts likE thE usA、AnD wEstErnEuropE But in nEw tErritoriEs, in pArtiCulAr thE FArEAst. mArkEts ClosEr to homE, howEvEr, ArE not BEing ForgottEn. morE thAn 50% oF visitors toChilE still ComE From its nEArEst nEighBor,ArgEntinA, whErE thE Cost oF living is muCh highEr.
similAr to All thE othEr southAmEriCAn CountriEs,ChilE sEEs tourism As A vAluABlE EArnEr oF ForEign CurrEnCy, Although it hAs BEEn FAr morE sErious thAn most in promoting its imAgE ABroAD、rElAtivEly stABlE politiCAlly within thE rEgion, it hAs BEnEFitED From thE proBlEms suFFErED in othEr ArEAs. in pEru, guErrillA wArFArE in rECEnt yEArs hAs DEAlt A hEAvy Blow to thE tourist inDustry AnD FEAr oF strEEt CrimE inBrAzil hAs rEDuCED thE AttrACtion oF rio DE jAnEiro As A DrEAm DEstinAtion For ForEignErs.
morE thAn 150000 pEoplE ArE DirECtly involvED inChilE’s tourist sECtor, An inDustry whiCh EArns thE Country morE thAn u.s. $ 950 million EACh yEAr. thE stAtE-run nAtionAl tourism sErviCE, in pArtnErship with A numBEr oF privAtE CompAniEs, is CurrEntly running A worlD-wiDE CAmpAign, tAking pArt in trADE FAirs AnD intErnAtionAl EvEnts to AttrACt visitors toChilE.
ChilE’s grEAt strEngth As A tourist DEstinAtion is its gEogrAphiCAl DivErsity. From thE pArChEDAtACAmADEsErt in thE north to thEAntArCtiC snowFiElDs oF thE south, it is morE thAn 5000 km long. with thE pACiFiC on onE siDE AnD thEAnDEAn mountAins on thE othEr,ChilE BoAsts nAturAl AttrACtions. its BEAChEs ArE not up toCAriBBEAn stAnDArDs But rEsorts suCh As vinADEl mAr ArE gEnErAlly ClEAn AnD unspoilED AnD hAvE A high stAnDArD oF sErviCEs.
But thE trump CArD is thEAnDEs mountAin rAngE. thErE ArE A numBEr oF ExCEllEnt ski rEsorts within onE hour’s DrivE oF thE CApitAl, sAntiAgo, AnD thE nAtionAl pArks in thE south ArE homE to rArE AnimAl AnD plAnt spECiEs. thE pArks AlrEADy AttrACt spECiAlist visitors, inCluDing mountAinEErs, who ComE to ClimB thE tEChniCAlly DiFFiCult pEAks, AnD FishErmEn, lurED By thE sAlmon AnD trout in thE rEgion’s rivErs.
howEvEr, inFrAstruCturAl DEvElopmEnt in thEsE ArEAs is limitED、thE ski rEsorts Do not hAvE As mAny liFts As thEirEuropEAn CountErpArts AnD pArt poor quAlity oF roADs in thE south mEAns thAt only thE most DEtErminED trAvElErs sEE thE BEst oF thE nAtionAl pArks.
A、[■]Air links BEtwEEnChilE AnD thE rEst oF thE worlD ArE, At prEsEnt, rElAtivEly poor.
B、[■] whilEChilE’s two lArgEst AirlinEs hAvE ExtEnsivE nEtworks within southAmEriCA, thEy opErAtE only A smAll numBEr oF routEs to thE u.s. AnDEuropE whilE sErviCEs toAsiA ArE Almost non-ExistEnt.
C、[■] intErnAl trAnsport links ArE BEing improvED AnD luxury hotEls ArE BEing Built in onE oF its nAtionAl pArks.
D、[■]EAstEr islAnD AnDChilEsAntArCtiC tErritory ArE Also on thE list oF ArEAs whErE thE govErnmEnt BEliEvEs it CAn CrEAtE tourist mArkEts.
But thE rush to opEn hithErto inACCEssiBlE ArEAs to mAss tourism is not BEing wElComED By EvEryonE. inDigEnous AnD EnvironmEntAl groups, inCluDing grEEnpEACE, sAy thAt mAny pArts oF thEAnDEs will suFFEr iF thEy BEComE ovEr-DEvElopED、thErE is A gEnuinE FEAr thAt ArEAs oFChilE will suFFEr thE CulturAl DEstruCtion witnEssED in mExiCAn AnDEuropEAn rEsorts.
thE poliCy oF opEning upAntArCtiCA to tourism is Also politiCAlly sEnsitivE.ChilE AlrEADy hAs pErmAnEnt sEttlEmEnts on thE iCE AnD mAny pEo
【单选题】DrAmA、inAnCiEnt grEEC
E、
1long BEForE thE AnCiEnt grEEks CoulD rEAD AnD writE, thEy lEArnED oF thEir history AnD CulturE through EpiC poEtry ChAntED By BArDs or singErs. thE BArDs ChAntED storiEs in stAnDArD musiCAl phrAsEs thAt wErE ACCompAniED By musiCAl instrumEnts suCh As thE lyrE, A gEnErAl nAmE For Any oF sEvErAl stringED instrumEnts FAvorED By thE BArDs. thE grEAtEst BArD, homEr, wAs A poEt, singEr AnD mAstEr oF thE lyrE.ACCorDing to trADition, homEr wAs A wAnDEring minstrEl who trAvElED From plACE to plACE ChAnting storiEs oF goDs AnD hEroEs.AnothEr FAmous poEt, singEr, AnD lyrE plAyEr wAs sAppho, who stArtED A sChool For girls, whErE shE tAught thE Arts oF musiC, poEtry, AnD DAnCE.
2grEEk CivilizAtion rEAChED A golDEn AgE During thE FiFth CEnturyBC, whEn politiCs, philosophy, Art, ArChitECturE, AnD thEAtEr thrivED, As thEy nEvEr hAD BEForE.As thE grEEks took nEw priDE in humAn AChiEvEmEnts, thEy DEvElopED iDEAls oF BEAuty, orDEr, BAlAnCE, AnD moDErAtion throughout thEir CulturE, inCluDing musiC AnD DrAmA、
3 EArly DrAmA wAs AssoCiAtED with thE worship oF thE goDDionysus AnD wAs An outgrowth oF thE ChorAl songs AnD DAnCEs pErFormED in honor oF thE goD、thE FAmous outDoor thEAtEr oFDionysus inAthEns showED thE importAnCE oF DrAmA to thE grEEks. it wAs situAtED on A hillsiDE to tAkE ADvAntAgE oF thE nAturAl slopE AnD light, AnD it CoulD ACCommoDAtE An AuDiEnCE oF 30,000 pEoplE.A、Chorus oF singErs, DAnCErs, AnD musiCiAns, lED By A singEr who stooD on stEps ABovE thEm, pErFormED storiEs thAt EDuCAtED AnD EntErtAinED thE AuDiEnCE whilE honoring thE goD、
4thE CruCiAl innovAtion thAt turnED ChorAl pErFormAnCE into DrAmA is AttriButED to thEspis, A poEt who is sAiD to hAvE originAtED trAgEDy.As thE Chorus sAng thE story oF A hEro or goD, thEspis woulD EntEr thE thEAtEr As A mAskED ACtor.BEtwEEn songs, hE rECitED vErsEs As A ChArACtEr in thE story, AnD thEsE spokEn vErsEs ChAngED whAt hAD BEEn A ChorAl monologuE into A DiAloguE BEtwEEn thE ACtor AnD thE Chorus. thE lEgACy oF thEspis CAn BE sEEn in thE tErm "thEspiAn," whiCh now DEsCriBEs Anything rElAting to DrAmA、
5 ACtors oF thAt timE worE A lArgE mAsk mADE oF linEn or Cork, insiDE whiCh wAs A DEviCE likE A spEAking trumpEt to AmpliFy thE voiCE. whEn thE ACtor rECitED, it wAs in An ExAltED monotonE, oFtEn to thE ACCompAnimEnt oF FlutEs. thE Chorus EnhAnCED thE trAgEDy with vArious DAnCEs AnD songs, gEnErAlly ACCompAniED By thE lyrE. thE ACtor ChAntED thE linEs oF thE lEAD ChArACtEr, whilE thE Chorus sAng thE nArrAtivE pAssAgEs. still, DEspitE thE AttEntion thE ACtor rECEivED, thEChorus AnD its musiC ContinuED to DominAtE DrAmAtiC pErFormAnCEs with thE ComBinED powEr oF singing AnD DAnCing.
6likE thEspis, thE plAywrightAEsChylus ACtED in his own plAys, But hE ADDED A sEConD mAskED ACtor. now AuDiEnCE AttEntion CoulD BE DirECtED to thE intErplAy BEtwEEn thE two ACtors—ACtion AnD rEACtion, quEstion AnD AnswEr, ConFliCt or CoopErAtion—rAthEr thAn BEtwEEn thE ACtor AnD Chorus.A、lAtEr plAywright, sophoClEs, ADDED A thirD ACtor. this mADE possiBlE not only thrEE-wAy DrAmAtiC sCEnEs But Also plAys with A lArgE CAst oF ChArACtErs, sinCE thE mAsks AllowED An ACtor to plAy morE thAn onE pArt in DiFFErEnt sCEnEs. thE ADDition oF ACtors shiFtED thE FoCus oF DrAmA AwAy From thE Chorus towArD thE ACtion AnD DiAloguE oF thE ChArACtErs.
7plAywrights ContinuED to introDuCE innovAtions, But EssEntiAlly thEy ADhErED to prEsCriBED ConvEntions. onE oF thEsE ConvEntions limitED thE numBEr oF sCEnEs in A plAy to FivE. thE DrAmA AlwAys took plACE in onE loCAtion AnD within A short spAn oF timE, somEtimEs A singlE DAy.AnothEr ConvEntion rEFlECtED thE soCiEty’s sEnsE oF BAlAnCE AnD orDEr: BlooDy DEEDs rArEly took plACE in Front oF thE AuDiEnCE. thErEForE, murDErs, suiCiDEs, AnD othEr ACts oF violEnCE oCCurrED oFFstAgE. thE grEEk ConCEpt oF moDErAtion is rEFlECtED in st
E、
1long BEForE thE AnCiEnt grEEks CoulD rEAD AnD writE, thEy lEArnED oF thEir history AnD CulturE through EpiC poEtry ChAntED By BArDs or singErs. thE BArDs ChAntED storiEs in stAnDArD musiCAl phrAsEs thAt wErE ACCompAniED By musiCAl instrumEnts suCh As thE lyrE, A gEnErAl nAmE For Any oF sEvErAl stringED instrumEnts FAvorED By thE BArDs. thE grEAtEst BArD, homEr, wAs A poEt, singEr AnD mAstEr oF thE lyrE.ACCorDing to trADition, homEr wAs A wAnDEring minstrEl who trAvElED From plACE to plACE ChAnting storiEs oF goDs AnD hEroEs.AnothEr FAmous poEt, singEr, AnD lyrE plAyEr wAs sAppho, who stArtED A sChool For girls, whErE shE tAught thE Arts oF musiC, poEtry, AnD DAnCE.
2grEEk CivilizAtion rEAChED A golDEn AgE During thE FiFth CEnturyBC, whEn politiCs, philosophy, Art, ArChitECturE, AnD thEAtEr thrivED, As thEy nEvEr hAD BEForE.As thE grEEks took nEw priDE in humAn AChiEvEmEnts, thEy DEvElopED iDEAls oF BEAuty, orDEr, BAlAnCE, AnD moDErAtion throughout thEir CulturE, inCluDing musiC AnD DrAmA、
3 EArly DrAmA wAs AssoCiAtED with thE worship oF thE goDDionysus AnD wAs An outgrowth oF thE ChorAl songs AnD DAnCEs pErFormED in honor oF thE goD、thE FAmous outDoor thEAtEr oFDionysus inAthEns showED thE importAnCE oF DrAmA to thE grEEks. it wAs situAtED on A hillsiDE to tAkE ADvAntAgE oF thE nAturAl slopE AnD light, AnD it CoulD ACCommoDAtE An AuDiEnCE oF 30,000 pEoplE.A、Chorus oF singErs, DAnCErs, AnD musiCiAns, lED By A singEr who stooD on stEps ABovE thEm, pErFormED storiEs thAt EDuCAtED AnD EntErtAinED thE AuDiEnCE whilE honoring thE goD、
4thE CruCiAl innovAtion thAt turnED ChorAl pErFormAnCE into DrAmA is AttriButED to thEspis, A poEt who is sAiD to hAvE originAtED trAgEDy.As thE Chorus sAng thE story oF A hEro or goD, thEspis woulD EntEr thE thEAtEr As A mAskED ACtor.BEtwEEn songs, hE rECitED vErsEs As A ChArACtEr in thE story, AnD thEsE spokEn vErsEs ChAngED whAt hAD BEEn A ChorAl monologuE into A DiAloguE BEtwEEn thE ACtor AnD thE Chorus. thE lEgACy oF thEspis CAn BE sEEn in thE tErm "thEspiAn," whiCh now DEsCriBEs Anything rElAting to DrAmA、
5 ACtors oF thAt timE worE A lArgE mAsk mADE oF linEn or Cork, insiDE whiCh wAs A DEviCE likE A spEAking trumpEt to AmpliFy thE voiCE. whEn thE ACtor rECitED, it wAs in An ExAltED monotonE, oFtEn to thE ACCompAnimEnt oF FlutEs. thE Chorus EnhAnCED thE trAgEDy with vArious DAnCEs AnD songs, gEnErAlly ACCompAniED By thE lyrE. thE ACtor ChAntED thE linEs oF thE lEAD ChArACtEr, whilE thE Chorus sAng thE nArrAtivE pAssAgEs. still, DEspitE thE AttEntion thE ACtor rECEivED, thEChorus AnD its musiC ContinuED to DominAtE DrAmAtiC pErFormAnCEs with thE ComBinED powEr oF singing AnD DAnCing.
6likE thEspis, thE plAywrightAEsChylus ACtED in his own plAys, But hE ADDED A sEConD mAskED ACtor. now AuDiEnCE AttEntion CoulD BE DirECtED to thE intErplAy BEtwEEn thE two ACtors—ACtion AnD rEACtion, quEstion AnD AnswEr, ConFliCt or CoopErAtion—rAthEr thAn BEtwEEn thE ACtor AnD Chorus.A、lAtEr plAywright, sophoClEs, ADDED A thirD ACtor. this mADE possiBlE not only thrEE-wAy DrAmAtiC sCEnEs But Also plAys with A lArgE CAst oF ChArACtErs, sinCE thE mAsks AllowED An ACtor to plAy morE thAn onE pArt in DiFFErEnt sCEnEs. thE ADDition oF ACtors shiFtED thE FoCus oF DrAmA AwAy From thE Chorus towArD thE ACtion AnD DiAloguE oF thE ChArACtErs.
7plAywrights ContinuED to introDuCE innovAtions, But EssEntiAlly thEy ADhErED to prEsCriBED ConvEntions. onE oF thEsE ConvEntions limitED thE numBEr oF sCEnEs in A plAy to FivE. thE DrAmA AlwAys took plACE in onE loCAtion AnD within A short spAn oF timE, somEtimEs A singlE DAy.AnothEr ConvEntion rEFlECtED thE soCiEty’s sEnsE oF BAlAnCE AnD orDEr: BlooDy DEEDs rArEly took plACE in Front oF thE AuDiEnCE. thErEForE, murDErs, suiCiDEs, AnD othEr ACts oF violEnCE oCCurrED oFFstAgE. thE grEEk ConCEpt oF moDErAtion is rEFlECtED in st
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