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      1. ·W(wng)(qun)(w)ƽ_(ti)
        –|ھ

        2007̫Ӗ(xn)W(xu)ӢZ(y)(qing)nvx()

        (li)Դ r(sh)g2009-05-22 17:04:22
           I. Use of English (Cloze)

            Television is different from other media in some important ways. The television set is___1___ in the average American home more than six and a half hours a day. Children are born into a new symbolic environment and grow up ___2___ thousands of stories told by television each year. There is no longer any need to go ___3___ of the hometo church, to schoolor to learn to read in order to encounter the broader culture. The ritualistic ___4____ of the activity and the quantity of time children and adolescents spend watching television makes it a historically unprecedented phenomenon. We assume that there might be ___5___ unprecedented consequences.

            Some claim that television has created a brighter, more ____6___ generation, with greater knowledge of the people and the cultures of the world. Some ___7___ television can stimulate reading, increase vocabulary, expand general knowledge, and help ____8___ critical faculties.

            Many who view the mediums effects as ___9____ tend to be far more vocal, outspoken, and adamant(jin)Ƶģ about their position. To support their case, they are likely to ____10____ research studies or reports of those studies, which often exaggerate or sensationalize the data. Some of these critics point to ___11___ social developments, such as the steady decline in school performance and the ___12___ of millions of functionally illiterate adults. Critics note that the longer we live with television, the ___13___ these situations become. Similarly, veteran teachers complain about pupils with short attention spans, ___14___ frames of reference seem entirely determined by television. There is no potential source of these ills as easy to ___15___ for the blame as television. (267 words)

            1. A. nearby B. open C. up D. on

            2. A. watching B. digesting C. absorbing D. hearing

            3. A. outdoor B. exterior C. outside D. external

            4. A. essence B. nature C. character D. feature

            5. A. fairly B. equally C. similarly D. evenly

            6. A. aware B. awake C. conscious D. knowing

            7. A. debate B. indicate C. quarrel D. argue

            8. A. learn B. progress C. develop D. acquire

            9. A. different B. opposing C. contrary D. negative

            10. A. quote B. take C. cite D. extract

            11. A. frightening B. bothering C. changing D. troubling

            12. A. existence B. exertion C. expansion D. endurance

            13. A. better B. worse C. more serious D. weaker

            14. A. which B. whose C. whom D. of which

            15. A. target B. aim C. look D. find

            II. x}

            Directions:

            You are going to read a text about the tips on resume writing, followed by a list of examples. Choose the best example from the list AF for each numbered subheading (4145). There is one extra example which you do not need to use. Mark your answers on ANSWER SHEET 1. (10 points)

            The main purpose of a resume is to convince an employer to grant you an interview. There are two kinds. One is the familiartombstonethat lists where you went to school and where youve worked in chronological order. The other is what I call thefunctionalresume descriptive, fun to read, unique to you and much more likely to land you an interview.

            Its handy to have atombstonefor certain occasions. But prospective employers throw away most of those unrequestedtombstonelists, preferring to interview the quick rather than the dead.

            What follows are tips on writing a functional resume that will get read a resume that makes you come alive and look interesting to employers.

            41. Put yourself first:

            In order to write a resume others will read with enthusiasm, you have to feel important about yourself.

            42. Sell what you can do, not who you are:

            Practice translating your personality traits, character, accomplishments and achievements into skill areas. There are at least five thousand skill areas in the world of work.

            Toot your own horn!

            Many people clutch when asked to think about their abilities. Some think they have none at all! But everyone does, and one of yours may just be the ticket an employer would be glad to punch if only you show it.

            43. Be specific, be concrete, and be brief!

            Remember that brevity is the best policy.

            44. Turn bad news into good:

            Everybody has had disappointments in work. If you have to mention yours, look for the positive side.

            45. Never apologize:

            If youre returning to the work force after fifteen years as a parent, simply write a short paragraph (summary of background) in place of a chronology of experience. Dont apologize for working at being a mother; its the hardest job of a11. If you have no special training or higher education, just dont mention education.

            The secret is to think about the self before you start writing about yourself. Take four or five hours off, not necessarily consecutive, and simply write down every accomplishment in your life, on or off the job, that made you feel effective. Dont worry at first about what it all means. Study the list and try to spot patterns. As you study your list, you will come closer to the meaning: identifying your marketable skills. Once you discover patterns, give names to your cluster of accomplishments (leadership skills, budget management skills, child development skills etc.) Try to list at least three accomplishments under the same skills heading. Now start writing your resume as if you mattered. It may take four drafts or more, and several weeks, before youre ready to show it to a stranger (friends are usually too kind) for a reaction. When youre satisfied, send it to a printer; a printed resume is far superior to photocopies. It shows an employer that you regard job hunting as serious work, worth doing right.

            Isnt that the kind of person youd want working for you?

            [A] A woman who lost her job as a teachers aide due to a cutback in government funding wrote: Principal of elementary school cited me as the only teachers aide she would rehire if government funds became available.

            [B] One resume I received included the following: invited by my superior to straighten out our organizations accounts receivable. Set up orderly repayment schedule, reconciled accounts weekly, and improved cash flow 100 per cent. Rewarded with raise and promotion. Notice how this woman focuses on results, specifies how she accomplished them, and mentions her reward -- all in 34 words.

            [C] For example, if you have a flair for saving, managing and investing money, you have money management skills.

            [D] An acquaintance complained of being biased when losing an opportunity due to the statement Ready to learn though not so well educated.

            [E] One of my former colleagues, for example, wrote three resumes in three different styles in order to find out which was more preferred. The result is, of course, the one that highlights skills and education background.

            [F] A woman once told me about a cash-flow crisis her employer had faced. Shed agreed to work without pay for three months until business improved. Her reward was her back pay plus a 20 percent bonus. I asked why that marvelous story wasnt in her resume. She answered, It wasnt important. What she was really saying of course was Im not important.

            (nI(y)´no)

            Directions: You are going to read a text about For better or Worse but Not for Lunch l, followed by a list of statements.

            Choose the best statement from the list A-F for each numbered subheading (41-45). There is one extra statement which you do not need to use. Mark your answers on ANSWER SHEET 1. (10 points)

            For better or worse but not for lunch is not a laughing matter for our friend Sue. When Elliot retired, he spent the first week reorganizing my kitchen and putting all my canned goods and spices in alphabetical order, Sue said. This wasnt the kind of togetherness I wanted!

            One challenge of retirement is managing all that extra time together. If you have just retiredor are contemplating retirementhere are some tips to start out right.

            (41) Make a plan.

            (42) Talk it out.

            (43) Balance times together and times apart.

            (44) Learn to work together and share responsibility.

            (45) Serve others.

            [A] Too much togetherness can be too much. You need some personal space. But you also need to reconnect.

            [B] Share your expectations with each other. Let go of unrealistic expectations and accept each other as a packaged deal. If you keep the communication lines open and positive, you can foster a loving spirit of cooperation.

            [C] Divide up the work so you are both contributing. For instance, at the Arps. Dave does the dishes and is affectionately called the kitchen elf. In the morning, Claudia gets up and has a hot pot of coffee ready for Dave, who isnt the morning person.

            [D] Realize that change is coming and greet it with a spirit of adventure. Be willing to try new things.

            [E] Its time to celebrate! Anything goes, from dinner at your favorite restaurant to climbing a mountain together or taking a cruise.

            [F] Retirement offers you the opportunity to make a difference in your world by serving others. Consider volunteering at your church or local ministry, or becoming marriage mentors for younger couples.

            III. English-Chinese Translation

            In the two decades between 1929 and 1949, sculpture in the United States sustained what was probably the greatest expansion in sheer technique to occur in many centuries. There was, first of all, the incorporation of welding into sculptural practice, with the result that it was possible to form a new kind of metal object. 1) For sculptors working with metal, earlier restricted to the dense solidity of the bronze cast, it was possible to add a type of work assembled from paper-thin metal sheets or sinuously curved rods. Sculpture could take the form of a linear, two-dimensional frame and still remain physically self-supporting. Along with the innovation of welding came a correlative departure: freestanding sculpture that was shockingly flat.

            Yet another technical expansion of the options for sculpture appeared in the guise of motion. 2) The individual parts of a sculpture were no longer understood as necessarily fixed in relation to one another, but could be made to change position within a work constructed as a moving object; motorizing the sculpture was only one of many possibilities taken up in the 1930s. Other strategies for getting the work to move involved structuring it in such a way that external forces, like air movements or the touch of a viewer, could initiate motion. 3) Movement brought with it a new attitude towards the issue of sculptural unity: a work might be made of widely diverse and even discordant elements; their formal unity would be achieved through the arc of a particular motion completing itself through time.

            Like the use of welding and movement, the third of these major technical expansions to develop in the 1930s and 1940s addressed the issues of sculptural materials and sculptural unity. 4) But its medium for doing so was the found object and item not intended for use in a piece of artwork, such as a newspaper or metal pipe. To create a sculpture by assembling parts that had been fabricated originally for a quite different context did not necessarily involve a new technology. 5) But it did mean a change in sculptural practice, for it raised the possibility that making sculpture might involve more a conceptual shift than a physical transformation of the material from which it is composed. (377 words)

            Notes: sculpturẹ with the result that correlative P(gun)ģP(gun)“(lin)(yng)sinuously أlinear ͵guise ^motorize obl(f)(dng)C(j)

            IV. Writing Practice

            Directions:

            You are planning to start a new training program and are in need of some information on textbooks. Write a letter to the circulation department of a publishing company to:

            1) ask for relevant information about the books you want,

            2) inform the company of your plan for the books,

            3) ask for additional materials.

            Letter of Request

            Dear Sir / Madam

            I would appreciate it very much if you would send me some information about the textbook Practice, Plan and Write, which your company published last year. I would like to know how much the book costs, ÿӋ(j)ώׂ(g)Сr(sh)n, and whether a teacher's manual is available. ڿ]@һn҂ӢZ(y)̌W(xu)Ӌ(j)

            ϢܷՈ(qng)ĽoP(gun)ӢZ(y)ڶZ(y)ԵnĿ

            I am looking forward to hearing from you soon.

            Yours faithfully,

            Li Ming

            I(y)

            1. J(rn)(f)(x)Ԫ(ni)

            2. עյ}˼·͑(yng)ԇ(du)ߡ

            3. (f)(x)ӢghעL(zhng)yZ(y)Y(ji)(gu)

            4. (f)(x)ָ(do)еP(gun)(x)

            ٛ(zng)ԣsu(y)cݺكɵHonor and ease are seldom bed-fellows.

            x}g (n⾚(x))

            (du)҂݁(li)f(shu),ͬʹ͡ɲһ[¡Wݺõһ(g)ځ(li)ؽMҵďN еĹbƷ{(dio)ζƷĸД[f(shu)@ɲǷNyc

            ݺRһ(g)(zhn)ǹͬźеĿr(sh)gゃݡݡ@һЩRϿԲõСh

            ƶһ(g)Ӌ(j)J(rn)R(sh)Ҫl(f)׃һNM(jn)ȡľ(li)ӭ (l)ڇLԇ

            ͨ^(gu)ӑՓ˴˵ųЌ(sh)Hһӽܱ˴ゃַeOͨゃB(yng)һNHܺľ

            ɢr(sh)⡣^(gu)ܕ(hu)˲ゃ˴ҪЂ(g)˵Ŀg(dng)ȻゃҲҪٜͨ

            W(xu)ֹ͹(dn)؟(z)Ρֹ(du)ゃp磺ڰռҡؓ(f)؟(z)ϴˢ;߲HеطQNС` 糿˄ڵϋIһ𴲾͞(zhn)һ?z)ῧǂ(g)

            ˷(w)ݞゃṩ˙C(j)(hu)ʹゃͨ^(gu)˷(w)ͬɿ]־Ըӽû(dng)?sh)T(mn)һЩ(dng)߳ɞpD?c)ڻѡ?/p>

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