【单选题】 Glaciers, (mass) of ice that flow (outward) from ice caps, cover (about) one-tenth of earth's (land) area.
A．mass
B．outward
C．about
D．land
A．mass
B．outward
C．about
D．land
【单选题】 The phrase "regardless of" in line 3 is closest in meaning to
A．( as a result of
B．( no matter what
C．( proud of
D．( according to
A．( as a result of
B．( no matter what
C．( proud of
D．( according to
【单选题】 The word "insignificant" in line 16 is closest in meaning to
A．( unimportant
B．( undisturbed
C．( immature
D．( inappropriate
A．( unimportant
B．( undisturbed
C．( immature
D．( inappropriate
【单选题】 The passage probably continues with a discussion of
A．( ancient scrub found in other areas of the country
B．( geographers who study Florida's scrub
C．( the climate of the Lake Wales Ridge
D．( the unique plants found on the Lake Wales Ridge
A．( ancient scrub found in other areas of the country
B．( geographers who study Florida's scrub
C．( the climate of the Lake Wales Ridge
D．( the unique plants found on the Lake Wales Ridge
【单选题】 Which of the following is NOT mentioned in paragraph 1 as resulting from rapid ecological change
A．( Temperature changes
B．( Availability of food resources
C．( Introduction of new species
D．( Competition among species
A．( Temperature changes
B．( Availability of food resources
C．( Introduction of new species
D．( Competition among species
【分析解答题】rEADing 2 "pAlEolithiCArt"
→ thE sEvErAl millEnniA Following 30,000B、
C、sAw A powErFul outBurst oF ArtistiC CrEAtivity. thE Artworks proDuCED rAngE From simplE shEll nECklACEs to humAn AnD AnimAl Forms in ivory, ClAy, AnD stonE to monumEntAl pAintings, EngrAvings, AnD rEliEF sCulpturEs CovEring thE hugE wAll surFACEs oF CAvEs. From thE momEnt in 1879 thAt CAvE pAintings wErE DisCovErED AtAltAmirA, sCholArs hAvE wonDErED why thE huntEr-Artists oF thE olD stonEAgE DECiDED to CovEr thE wAlls oF DArk CAvErns with AnimAl imAgEs. vArious AnswErs hAvE BEEn givEn, inCluDing thAt thEy wErE mErE DECorAtion, But this thEory CAnnot ExplAin thE nArrow rAngE oF suBjECts or thE inACCEssiBility oF mAny oF thE pAintings. in FACt, thE rEmotEnEss AnD DiFFiCulty oF ACCEss oF mAny oF thE CAvE pAintings AnD thE FACt thEy AppEAr to hAvE BEEn usED For CEnturiEs ArE prECisEly whAt hAvE lED mAny sCholArs to suggEst thAt thE prEhistoriC huntErs AttriButED mAgiCAl propErtiEs to thE imAgEs thEy pAintE
D、ACCorDing to this ArgumEnt, By ConFining AnimAls to thE surFACEs oF thEir CAvE wAlls, thE Artists BEliEvED thEy wErE Bringing thE BEAsts unDEr thEir Control. somE hAvE EvEn hypothEsizED thAt rituAls or DAnCEs wErE pErFormED in Front oF thE imAgEs AnD thAt thEsE ritEs sErvED to improvE thE huntErs’ luCk. still othErs hAvE stAtED thAt thE pAintED AnimAls mAy hAvE sErvED As tEAChing tools to instruCt nEw huntErs ABout thE ChArACtEr oF thE vArious spECiEs thEy woulD EnCountEr or EvEn to sErvE As tArgEts For spEArs!
By ContrAst, somE sCholArs hAvE ArguED thAt thE mAgiCAl purposE oF thE pAintings wAs not to FACilitAtE thE DEstruCtion oF Bison AnD othEr spECiEs. instEAD, thEy BEliEvE prEhistoriC pAintErs CrEAtED AnimAl imAgEs to AssurE thE survivAl oF thE hErDs. pAlEolithiC pEoplEs DEpEnDED on For thEir FooD supply AnD For thEir Clothing.
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A、CEntrAl proBlEm For Both thE hunting-mAgiC AnD FooDCrEAtion thEoriEs is thAt thE AnimAls thAt sEEm to hAvE BEEn DiEt stAplEs oF olD stonEAgE pEoplEs ArE not thosE most FrEquEntly portrAyE
D、
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othEr sCholArs hAvE sought to rEConstruCt An ElABorAtE mythology BAsED on thE CAvE pAintings, suggEsting thAt pAlEolithiC humAns BEliEvED thEy hAD AnimAl AnCEstors. still othErs hAvE EquAtED CErtAin spECiEs with mEn AnD othErs with womEn AnD Also FounD sExuAl symBolism in thE ABstrACt signs thAt somEtimEs ACCompAny thE imAgEs.
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Almost All oF thEsE thEoriEs hAvE BEEn DisCrEDitED ovEr timE, AnD Art historiAns must ADmit thAt no onE knows thE intEnt oF thEsE pAintings.
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in FACt, A singlE ExplAnAtion For All pAlEolithiC murAls, EvEn pAintings similAr in suBjECt, stylE, AnD Composition (how thE motiFs ArE ArrAngED on thE surFACE), is unlikEly to Apply univErsAlly. For now, thE pAintings rEmAin An EnigmA、
→ thAt thE pAintings DiD hAvE mEAning to thE pAlEolithiC pEoplEs who mADE AnD oBsErvED thEm CAnnot, howEvEr, BE DouBtE
D、 in FACt, signs Consisting oF ChECks, Dots, squArEs, or othEr ArrAngEmEnts oF linEs oFtEn ACCompAny thE piCturEs oF AnimAls. sEvErAl oBsErvErs hAvE sEEn A primitivE writing Form in thEsE rEprEsEntAtions oF nonliving things, But thE signs, too, mAy hAvE hAD somE othEr signiFiCAnCE. somE look likE trAps AnD Arrows AnD, ACCorDing to thE hunting-mAgiC thEory, mAy hAvE BEEn DrAwn to insurE suCCEss in CApturing or killing AnimAls with thEsE DEviCEs.At pECh-mErlE in FrAnCE, thE "spottED horsEs" pAintED on thE CAvE wAll mAy not hAvE spots. somE sCholArs hAvE ArguED thAt thE "spots," whiCh AppEAr Both within AnD without thE horsEs’ outlinEs, ArE pAintED roCks thrown At thE AnimAls.
→ rEprEsEntAtions oF humAn hAnDs Also ArE Common. thosE ArounD thE pECh-mErlE horsEs, AnD thE mAjorit
→ thE sEvErAl millEnniA Following 30,000B、
C、sAw A powErFul outBurst oF ArtistiC CrEAtivity. thE Artworks proDuCED rAngE From simplE shEll nECklACEs to humAn AnD AnimAl Forms in ivory, ClAy, AnD stonE to monumEntAl pAintings, EngrAvings, AnD rEliEF sCulpturEs CovEring thE hugE wAll surFACEs oF CAvEs. From thE momEnt in 1879 thAt CAvE pAintings wErE DisCovErED AtAltAmirA, sCholArs hAvE wonDErED why thE huntEr-Artists oF thE olD stonEAgE DECiDED to CovEr thE wAlls oF DArk CAvErns with AnimAl imAgEs. vArious AnswErs hAvE BEEn givEn, inCluDing thAt thEy wErE mErE DECorAtion, But this thEory CAnnot ExplAin thE nArrow rAngE oF suBjECts or thE inACCEssiBility oF mAny oF thE pAintings. in FACt, thE rEmotEnEss AnD DiFFiCulty oF ACCEss oF mAny oF thE CAvE pAintings AnD thE FACt thEy AppEAr to hAvE BEEn usED For CEnturiEs ArE prECisEly whAt hAvE lED mAny sCholArs to suggEst thAt thE prEhistoriC huntErs AttriButED mAgiCAl propErtiEs to thE imAgEs thEy pAintE
D、ACCorDing to this ArgumEnt, By ConFining AnimAls to thE surFACEs oF thEir CAvE wAlls, thE Artists BEliEvED thEy wErE Bringing thE BEAsts unDEr thEir Control. somE hAvE EvEn hypothEsizED thAt rituAls or DAnCEs wErE pErFormED in Front oF thE imAgEs AnD thAt thEsE ritEs sErvED to improvE thE huntErs’ luCk. still othErs hAvE stAtED thAt thE pAintED AnimAls mAy hAvE sErvED As tEAChing tools to instruCt nEw huntErs ABout thE ChArACtEr oF thE vArious spECiEs thEy woulD EnCountEr or EvEn to sErvE As tArgEts For spEArs!
By ContrAst, somE sCholArs hAvE ArguED thAt thE mAgiCAl purposE oF thE pAintings wAs not to FACilitAtE thE DEstruCtion oF Bison AnD othEr spECiEs. instEAD, thEy BEliEvE prEhistoriC pAintErs CrEAtED AnimAl imAgEs to AssurE thE survivAl oF thE hErDs. pAlEolithiC pEoplEs DEpEnDED on For thEir FooD supply AnD For thEir Clothing.
D、
othEr sCholArs hAvE sought to rEConstruCt An ElABorAtE mythology BAsED on thE CAvE pAintings, suggEsting thAt pAlEolithiC humAns BEliEvED thEy hAD AnimAl AnCEstors. still othErs hAvE EquAtED CErtAin spECiEs with mEn AnD othErs with womEn AnD Also FounD sExuAl symBolism in thE ABstrACt signs thAt somEtimEs ACCompAny thE imAgEs.
→ thAt thE pAintings DiD hAvE mEAning to thE pAlEolithiC pEoplEs who mADE AnD oBsErvED thEm CAnnot, howEvEr, BE DouBtE
D、 in FACt, signs Consisting oF ChECks, Dots, squArEs, or othEr ArrAngEmEnts oF linEs oFtEn ACCompAny thE piCturEs oF AnimAls. sEvErAl oBsErvErs hAvE sEEn A primitivE writing Form in thEsE rEprEsEntAtions oF nonliving things, But thE signs, too, mAy hAvE hAD somE othEr signiFiCAnCE. somE look likE trAps AnD Arrows AnD, ACCorDing to thE hunting-mAgiC thEory, mAy hAvE BEEn DrAwn to insurE suCCEss in CApturing or killing AnimAls with thEsE DEviCEs.At pECh-mErlE in FrAnCE, thE "spottED horsEs" pAintED on thE CAvE wAll mAy not hAvE spots. somE sCholArs hAvE ArguED thAt thE "spots," whiCh AppEAr Both within AnD without thE horsEs’ outlinEs, ArE pAintED roCks thrown At thE AnimAls.
→ rEprEsEntAtions oF humAn hAnDs Also ArE Common. thosE ArounD thE pECh-mErlE horsEs, AnD thE mAjorit
【多选题】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】 Après avoir annoncé le divorce de cette actrice, les journaux ont _______ la nouvelle.
A．contredit
B．démenti
C．refuté
D．opposé
A．contredit
B．démenti
C．refuté
D．opposé
【单选题】 Ils n'ont rien voulu entendre et j'ai d partir sans _________.
A．m'être démis
B．m'être rendu compte
C． m'être laissé
D． m'être expliqué E m'être levé
A．m'être démis
B．m'être rendu compte
C． m'être laissé
D． m'être expliqué E m'être levé
【单选题】listEning 3 "philosophyClAss"
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whAt CAn BE inFErrED ABout thE EArly grEEk philosophErs
A、thEy wErE Exploring thE physiCAl sCiEnCEs.
B、thEy rECorDED mAny oF thE grEEk myths.
C、thEy wErE primArily intErEstED in rEligion.
D、thEy hAD ContACt with othErEuropEAn sCholArs.
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A、thEy wErE Exploring thE physiCAl sCiEnCEs.
B、thEy rECorDED mAny oF thE grEEk myths.
C、thEy wErE primArily intErEstED in rEligion.
D、thEy hAD ContACt with othErEuropEAn sCholArs.
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