| 考博易错题（2019/10/31） |
| 第1题：Which of the following best summarizes the author's attitude toward theAdvanceDirective
A. It should be made legally binding inBritain. B．It's morally questionable. C．It is the same as mercy killing, and therefore should not be encourageD、 D．It runs counter to traditionalEnglish law. |
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| 第2题： CLAY: PORCELAIN A．flax: linen B．sand: sediment C．computer: program D．soup: luncheon |
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| 第3题：Let us assume, for the moment, that labor is not prepared to work for a lower money-wage and that a reduction in the existing level of money-wages would lead, through strikes or otherwise, to a withdrawal from the labor market of labor which is now employeD、Does it follow from this that the existing level of real wages accurately measures the marginal disutility of labor Not necessarily. For, although a reduction in the existing money-wage would lead to a withdrawal of labor, it does not follow that a fall in the value of the existing money-wage in terms of wage-goods would do so, if it were due to a rise in the price of the latter. In other words, it may be the case that within a certain range the demand of labor is for a minimum money-wage and not for a minimum real wage. The classical school has tacitly assumed that this would involve no significant change in their theory.But this is not so. For if the supply of labor is not a function of real wages as its sole variable, their argument breaks down entirely and leaves the question of what the actual employment will be quite indeterminate. They do not seem to have realized that. Unless the supply of labor is a function of real wages alone, their supply curve for labor will shift bodily with every movement of prices. Thus their method is tied up with their very special assumptions, and cannot be accepted to deal with the more general case. Now ordinary experience tells us, beyond doubt, that a situation where labor stipulates (within limits) for a money-wage rather than a real wage, so far from being a mere possibility, is the normal case. Whilst workers will usually resist a reduction of money-wages, it is not their practice to withdraw their labor whenever there is a rise in the price of wage-goods. It is sometimes said that it would be illogical for labor to resist a reduction of money-wages but not to resist a reduction of real wages. For reasons given below, this might not be so illogical as it appears at first; and, as we shall see later, fortunately so.But, whether logical or illogical, experience shows that this is how labor in fact behaves. Moreover, the contention that the unemployment which characterizes a depression is due to a refusal by labor to accept a reduction of money-wages is not clearly supported by the facts. It is not very plausible to assert that unemployment in the United States in 1932 was due either to labor obstinately refusing to accept a reduction of money-wages or to its obstinately demanding a real wage beyond what the productivity of the economic machine was capable of furnishing. Wide variations are experienced in the volume of employment without any apparent change either in the minimum real demands of labor or in its productivity. Labor is not more truculent in the depression than in the boom.... far from it. Nor is its physical productivity less. These facts from experience are a prima facie ground for questioning the adequacy of the classical analysis. According to the author, the supply curve fop labor depends on the ______.A．real money wages B．movement of price C．function of money-wages D．bothA、andB |
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| 第4题：One of the most interesting inhabitants of our world is the bee, an insect which is indigenous to all parts of the globe except the polar regions.
A．residents B．pets C．intimates D．creatures |
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| 第5题：The history of responses to the work of the artist SandroBotticelli (1444-1510) suggests gests that widespread appreciation by critics is a relatively recent phenomenon. Writing in 1550, Vasari expressed an unease withBotticelli’s work, admitting that the artist fitted awkwardly into his evolutionary scheme of the history of art. Over the next two centuries, academic art historians defamedBotticelli in favor of his fellow Florentine, Michelangelo.Even when anti-academic art historians of the early nineteenth century rejected many of the standards of evaluation adopted by their predecessors,Botticelli’s work remained out side of accepted taste, pleasing neither amateur observers nor connoisseurs. (Many of his best paintings, however, remained hidden away in obscure churches and private homes. ) The primary reason forBotticelli’s unpopularity is not difficult to understand: most observers, up until the mid-nineteenth century, did not consider him to be noteworthy, because his work, for the most part, did not Seem to these observers to exhibit the traditional characteristics of fifteenth-century Florentine art. For example,Botticelli rarely employed the technique of strict perspective and, unlike Michelangelo, never used chiaroscuro. Another reason forBotticelli’s unpopularity may have been that his attitude toward the style of classical art was very different from that of his contemporaries.Although he was thoroughly exposed to classical art, he showed little interest in borrowing from the classical style. Indeed, it is paradoxical that a painter of large-scale classical subjects adopted a style that was only slightly similar to that of classical art. In any case, when viewers began to examine more closely the relationship ofBotticelli’s work to the tradition of fifteenth-century Florentine art, his reputation began to grow.Analyses and assessments ofBotticelli made between 1850 and 1870 by the artists of the Pre-Raphaelite movement, as well as by the’ writer Pater (although he, unfortunately, based his assessment on an incorrect analysis ofBotticelli’s personality), inspired a new appreciation ofBotticelli throughout theEnglish-speaking worlD、YetBotticelli’s work, especially the Sistine frescoes, did not generate worldwide attention until it was finally subjected to a comprehensive and scrupulous analysis by Home in 1908. Home rightly demonstrated that the frescoes shared important features with paintings by other fifteenth-century Florentines-features such as skillful representation of anatomical proportions, and of the human figure in motion. However, Home argued thatBotticelli did not treat these qualities as ends in themselves-rather, that he emphasized clear depletion of a story, a unique achievement and one that made the traditional Florentine qualities less central.Because of Home’s emphasis crucial to any study of art, the twentieth century has come to appreciateBotticelli’s achievements. We can learn from the text that art critics have a history of ______. A、suppressing painters’ art initiatives B、favoring aBotticelli’s best paintings C、rejecting traditional art characteristicsD、undervaluingBotticelli’s achievements |
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