题目内容
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The story does not say this, but from what we have read, we can tell that ______ .
A．you get much hungrier in space than you do on the earth
B．you can't have water to drink in a spaceship
C．astronauts must learn many new and different things
D．you can't eat anything in a spaceship
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Part A
Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D. (40 points)
Many people seem to think that science fiction is typified by the covers of some of the old pulp magazines, the Bug-Eyed Monster, embodying every trait and feature that most people find repulsive, is about to grab, and presumably ravish, a sweet, blonde, curvaceous, scantily clad Earth girl. This is unfortunate because it demeans and degrades a worthwhile and even important literary endeavor. In contrast to this unwarranted stereotype, science fiction rarely emphasizes sex, and when it does, it is more discreet than other contemporary fiction. Instead, the basic interest of science fiction lies in the relation between man and his technology and between man and the universe. Science fiction is a literature of change and a literature of the future, and while it would be foolish to claim that science fiction is a major literary genre at this time, the aspects of human life that it considers make it well worth reading and studying for no other literary form. does quite the same things.
What is science fiction？ To begin, the following definition should be helpful: science fiction is a literary subgenre which postulates a change (for human beings) from conditions as we know them and follows the implications of these changes to a conclusion. Although this definition will necessarily be modified and expanded, it covers much of the basic groundwork and provides a point of departure.
The first point-that science fiction is a literary subgenre-is a very important one, but one which is often overlooked or ignored in most discussions of science fiction. Specifically, science fiction is either a short story or a novel. There are only a few dramas which could be called science fiction, with Karel Capek's RUR (Rossum's Universal Robots) being the only one that is well known, the body of poetry that might be labeled science fiction is only slightly larger. To say that science fiction is a subgenre of prose fiction is to say that it has all the basic characteristics and serves the same basic functions in much the same way as prose fiction in general, that is, it shares a great deal with all other novels and short stories.
Everything that can be said about prose fiction, in general, applies to science fiction. Every piece of science fiction, whether short story or novel, must have a narrator, a story, a plot, a setting, characters, language, and theme. And like any prose, the themes of science fiction are concerned with interpreting man's nature and experience in relation to the world around him. Themes in science fiction are constructed and presented in exactly the same ways that themes are dealt with in any other kind of fiction. They are the result of a particular combination of narrator, story, plot, character, setting, and language. In short, the reasons for reading and enjoying science fiction, and the ways of studying and analyzing it, are basically the same as they would be for any other story or novel.
Science fiction is called a literary subgenre because______.
A．it is not important enough to be a literary genre
B．it cannot be made into a dramatic presentation
C．it shares characteristics with other types of prose fiction
D．to call it a "genre" would subject it to literary jargon
Which of the following does the story lead you to believe？
A．Food for astronauts must be made in a special way.
B．All meat on earth comes in bite - size pieces.
C．Astronauts will only eat cakes made from crumbs.
D．Astronauts have to go hungry in a spaceship.
What does the author tell us in this passage？
A．How trees help prevent droughts and floods.
B．The relationship between trees and man.
C．How an empire fell to pieces in ancient times.
D．A story of trees.
Hollywood produces many different kinds of films, (1 ) mysteries, musical, love stories and horror films. (2 ) these films maybe, they generally have one thing (3 ) common：The (4 ) character wants something very (5 ) and will do (6 ) to get it. The opponent tries to stop the main character (7 ) achieving his goal. This opposition (8 ) conflict. And conflict is the (9 ) of drama. To give an example, Let’s say the main character is a young man of (10 ) origin who wants to (11 ) the beautiful daughter of a rich banker. The father thinks the young man is (12 ) of his daughter and he does not allow her to see him. The young man, who was very (13 ) in love, refuses to give (14 ) without a fight. The conflict between the young man and the girl’s father is what makes the story interesting. It forces the main character to (15 ) action. And through their actions, we see then (16 ) they really are. In a good story, the main character (17 ) .he is not the same at the end of the story as he was at the (18 ) .he learns something (19 ) his own experiences that make him a different, or perhaps better person. And we learn something from watching him. Good movies not only (20 ) us, they also help us understand a little more about life.
1.A.except
B.besides
C.including
D.apart form
2. A.Mysterious
B.Different
C.Horrible
D.Musical
3.A.of
B.at
C.in
D.on
4.A.main
B.small
C.great
D.minor
5.A.worst
B.worse
C.bad
D.badly
6. A.everything
B.anything
C.something
D.what
7.A.from
B.of
C.at
D.with
8. A.makes
B.turns
C.has
D.creates
9. A.mind
B.center
C.soul
D.point
10. A.good
B.high
C.humble
D.bad
11.A.marry
B.marry with
C.marry to
D.get married
12.A.worthwhile
B.worthy
C.unworthy
D.worth
13.A.little
B.much
C.deeply
D./
14.A.out
B.off
C.in
D.up
15.A.find
B.take
C.make
D.do
16.A.who
B.when
C.unlike
D.as
17.A.turns
B.changes
C.forces
D.gets
18.A.middle
B.last
C.beginning
D.first
19.A.of
B.from
C.with
D.on
20. A.entertain
B.enjoy
C.enrich
D.embody
Like other forms of representation, architecture is the embodiment of the decisions that go into its making, not the result of impersonal forces, market or history. Therefore, says Mr. Rykwert, adapting Joseph de Maistre's dictum that a nation has the government it deserves, our cities have the faces they deserve.
In this book, Mr. Rykwert. a noted urban historian of anthropological love, offers a flaneur's approach to the city's exterior surface rather than an urban history from the conceptual inside out. He does not drive, so his interaction with the city affords him a warts-and-all view with a sensual grasp of what it is to be a "place".
His story of urbanization begins, not surprisingly, with the industrial revolution when populations shifted and increased, exacerbating problems of housing and crime. In the 19th century many planning programs and utopias (Ebenezer Howard's garden city and Charles Fourier's "phalansteries" among them) were proposed as remedies. These have left their mark on 20th-century cities, as did Baron Hausmann's boulevards in Paris, Eugene Viollet-le-Duc's and Owen Jones's arguments for historical style, and Adolf Loos's fateful turn-of-the-century call to abolish ornament which, in turn, inspired Le Corbusier's bare functionalism. The reader will recognize all these ideas in the surfaces of the cities that hosted them: New York, Paris, London, and Vienna.
Cities changed again after the Second World War as populations grew, technology raced and prosperity spread. Like it or not, today's cities are the muddled product, among other things, of speed, greed, outmoded social agendas and ill-suited postmodern aesthetics. Some lament the old city's death; others welcome its replacement by the electronically driven "global village". Mr. Rykwert has his worries, to be sure, but he does not see ruin or chaos everywhere. He defends the city as a human and social necessity. In Chandigarh, Canberra and New York he sees overall success; in New Delhi, Paris and Shanghai, large areas of falling. For Mr. Rykwert, a man on foot in the age of speeding virtual, good architecture may still show us a face where flaneurs can read the story of their urban setting in familiar metaphors.
An argument made by supporters of functionism is that______.
A．post-war modernist architecture was coming under fire
B．UN building in New York blocks the housing projects
C．windswept plazas present "face" to the inhabitants of the city
D．functionism reflects the needs of the social body
Many months after, four thousand miles away, a group of United States Marines found a little Chinese girl. No one could tell how she had got there. She refused to talk or give her name. The captain who spoke Chinese named her Patsy Lee because he thought she looked like a white plum blossom.
When the New York Times told about the finding of "Patsy Lee", Mrs. Li's sister saw the news and wrote to her sister about it. Could Patsy Lee be the lost child Patsy Li？ The mother made the long voyage to find out. The little "white plum blossom" was indeed her own Pasty Li.
According to the story, what does "Patsy Li" mean？
A．White apple blossom.
B．White peach blossom.
C．White pear blossom.
D．White plum blossom.
The husband' s story and his wife' s story ______each other.
A．retract
B．contract
C．distract
D．contradict
A.thirties
B.thirty
C.thirty’s
D.thirtieth
The story implies that the author's mother was______.
A．critical
B．fault-finding
C．optimistic
D．pessimistic
