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You seldom go to the cinema on the weekends, ______ ？A．don't youB．will youC．do youD．did yo

You seldom go to the cinema on the weekends, ______ ？

A．don't you

B．will you

C．do you

D．did you

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更多“You seldom go to the cinema on…”相关的问题

第1题

So what is depression？ Depression is often more about anger turned （1)_____ than it is abo

So what is depression？ Depression is often more about anger turned (1)_____ than it is about sadness. But it's usually (2)_____ as sadness. Depression can (3)_____ at all ages, from childhood to old age, and it's the United States' No. 1 (4)_____ problem.

When someone is depressed, her behavior. (5)_____ change and she loses interest in activities she (6)_____ enjoyed (like sports, music, friendships). The sadness usually lasts every day for most of the day and for two weeks or more.

What (7)_____ depression？ A (8)_____ event can certainly bring (9)_____ depression, but some will say it happens (10)_____ a specific cause. So how do you know if you're just having a bad day (11)_____ are really depressed？ Depression affects your (12)_____, moods, behavior. and even your physical health. These changes often go (13)_____ or are labeled (14)_____ simply a bad case of the blues.

Someone who's truly (15)_____ depression will have (16)_____ periods of crying spells, feelings of (17)_____ (like not being able to change your situation) and (18)_____ (like you'll feel this way forever), irritation or agitation. A depressed person often (19)_____ from others. Depression seldom goes away by itself, and the greatest (20)_____ of depression is suicide. The risk of suicide increases if the depression isn't treated.

A．on

B．down

C．inward

D．up

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第2题

__________him to go swimming in the river.

A、Seldom I have advised

B、I seldom have advised

C、Seldom have I advised

D、I have advised him seldom

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第3题

I can clearly remember the first time I met Mr. Andrews, my old headmaster,【21】that was ov

er twenty years ago. During the war, I was at school in the north of England. As soon as it ended, my family returned to London. There were not enough schools left for children to go to and my father had to go from one school to another, asking them to【22】me as a pupil. I used to go with him but he had such a【23】time trying to persuade people even to see him that I seldom had to do any tests. We had been to all the schools near we lived, but the more my father argued, the more【24】it became. In the end, we went to a school about five miles away from home. The headmaster kept us waiting for【25】an hour. While we were waiting, I【26】around at the school building, which was one of those old Victorian structures, completely out of date but still standing. I could hear the boys playing in the playground outside when the headmaster's secretary finally【27】us into his office. Mr. Andrews spoke to me first. "Why do you want to come here？" he asked. I had been thinking of saying something about studying but I couldn't【28】remembering the boys outside. "I don't know anyone in London," I said. "I like to play with the other boys. I like to read a lot of books too." I【29】. "All right," Mr. Andrews said. "We have one place【30】, in fact."

My two years at that school were the happiest of my life.

(56)

A．if

B．despite

C．although

D．since

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第4题

Talk to those people who first saw films when they were silent, and they will tell you the

experience was magic. The silent film had extraordinary powers to draw members of an audience into the story, and an equally potent capacity of make their imaginations work. It required the audience to become engaged—to supply voices and sound effects. The audience was the final, creative contributor to the process of making a film.

The finest films of the silent era depended on two elements that we can seldom provide today a large and receptive audience and a well-orchestrated score. For the audience, the fusion of picture and live music added up to more than the sum of the respective parts.

The one word that sums up the attitude of the silent filmmakers is enthusiasm, conveyed most strongly before formulas took shape and when there was more room for experimentation. This enthusiastic uncertainty often resulted in such accidental discoveries as new camera or editing techniques. Some films experimented with players; the 1915 film Regeneration, for example, by using real gangsters and streetwalkers, provided startling local color. Other films, particularly those of Thomas Ince, provided tragic endings as often as films by other companies supplied happy ones.

Unfortunately, the vast majority of silent films survive today in inferior prints that no longer reflect the care that the original technicians put into them. The modern versions of silent films may appear jerky and flickery, but the vast picture palaces did not attract four to six thousand people a night by giving them eyestrain. A silent film depends on its visuals; as soon as you degrade those, you lose elements that go far beyond the image on the surface. The acting in silent was often very subtle and very restrained, despite legends to the contrary.

In paragraph 2, the sentence" For the audience. . . parts, "indicates that______.

A．music was the most important element of silent films

B．silent films rely on a combination of music and image in affecting an audience

C．the importance of music in silent film has been overestimated

D．live music compensated for the poor quality of silent film images

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第5题

You seldom eat a fruit like this, ______ you？A．doB．don'tC．areD．aren't

You seldom eat a fruit like this, ______ you？

A．do

B．don't

C．are

D．aren't

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第6题

You seldom have to do the cooking,______？ A. have you B. haven't you C. do yo

You seldom have to do the cooking,______？

A. have you

B. haven't you

C. do you

D. don't you

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第7题

Our house was the oldest in the village. It was nearly three hundred years old. Although w

e were six children, and a mother and a father, we were not by any means alone in the house. We were sharing it with big families of mice and spiders(蜘蛛). There were great- grandparents, grandparents, fathers and mothers, and hundreds of mouse and spider children.

My mother would never let us kill a spider, not even a hairy old grandfather. "If you want to live and rich," she used to say, "let a spider run alive." And so the spiders, our enemies, were beaten and kicked but never killed. But she had no such dealing with the mice.

One of our problems was that my mother hated cats; and we never owned a single cat. We kept dogs, often two or three at the same time, but very few dogs can move fast enough to catch a lively young mouse. Every night we set a dozen mousetraps(捕鼠器), each with a small piece of cheese. Sometimes the cheese disappeared, but the mice usually seemed too wise to go near the traps. We seldom caught anything.

My mother herself had far better luck. Her arms and hands moved as fast as any cat's paws. Often, when she was scrubbing or polishing a floor on her hands and knees, some foolish little grey fellow would try to run past her. He never got very far. Quick as lightning her hard hands would smack(用掌击) together--and there on the floor would be one dead mouse. "Oh, you were a proud one," she would say to it then.

One day my father decided to clean out the water tank, which stood on four iron legs in a corner upstairs. He was soon sorry that he had started the job. In the mud at the bottom of the tank, there were sixteen of the little grey fellows, all as solid and hard as stones. We had been drinking the water from that tank for twelve years.

Which of followlng statements is true？

A．Because the house was old, the family were troubled by lots of mice and spiders.

B．The children did not live in the house because they were afraid of the spiders.

C．The trouble was that there was no water supply in the old house.

D．Spiders and mice are a part of the family.

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第8题

In order to understand, however imperfectly, what is meant by "face", we must take【1】of th

e fact that, as a race, the Chinese have a strongly【2】instinct. The theatre may almost be said to be the only national amusement, and the Chinese have for theatricals a【3】like that of the Englishman【4】athletics, or the Spaniard for bull-fights. Upon very slight provocation, any Chinese regards himself in the【5】of an actor in a drama. He throws himself into theatrical attitudes, performs the salaam, falls upon his knees, prostrates himself and strikes his head upon the earth,【6】circumstances which to an Occidental seem to make such actions superfluous,【7】to say ridiculous. A Chinese thinks in theatrical terms. When roused in self-defense he addresses two or three persons as if they were a multitude. He exclaims: "I say this in the presence of You, and You, and You, who are all here present. " If his troubles are adjusted he【8】of himself as having "got off the stage" with credit, and if they are not adjusted he finds no way to "retire from the stage". All this,【9】it clearly understood, has nothing to do with realities. The question is never of facts, but always of【10】. If a fine speech has been【11】at the proper time and in the proper way, the requirement of the play is met. We are not to go behind the scenes, for that would【12】all the plays in the world. Properly to execute acts like these in all the complex relations of life, is to have "face". To fail them, to ignore them, to be thwarted in the performance of them, this is to "【13】face". Once rightly apprehended, "face" will be found to be in itself a【14】to the combination lock of many of the most important characteristics of the Chinese.

It should be added that the principles which regulate "face" and its attainment are often wholly【15】the intellectual apprehension of the Occidental, who is constantly forgetting the theatrical element, and wandering【16】into the irrelevant regions of fact. To him it often seems that Chinese "face" is not unlike the South Sea Island taboo, a force of undeniable potency, but capricious, and not reducible to rule, deserving only to be abolished and replaced by common sense. At this point Chinese and Occidentals must agree to【17】, for they can never be brought to view the same things in the same light. In the adjustment of the incessant quarrels which distract every hamlet, it is necessary for the "peace-talkers" to take a careful account of the【18】of "face" as European statesmen once did of the balance of power. The object in such cases is not the execution of even-handed justice, which, even if theoretically desirable, seldom【19】to an Oriental as a possibility, but such an arrangement as will distribute to all concerned "face" in due proportions. The same principle often applies in the settlement of lawsuits, a very large percentage of which end in what may be called a【20】game.

(1)

A．account

B．hold

C．shape

D．care

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第9题

Max: You should go out more. Peter: （58) ？

Max: You should go out more.

Peter: (58) ？

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第10题