-What coarse are you taking next term? -I don’t know.but it’s time something． A．I have decided B．I decided C．I’ll decide D．I’d decided 题目和参考答案——青夏教育精英家教网—

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—What coarse are you taking next term?

—I don’t know，but it’s time something．

A．I have decided B．I decided

C．I’ll decide D．I’d decided

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At age 61, identical twins Jeanne and Susan no longer look exactly alike. Susan smoked for many years and is an admitted sun worshipper, whose habits Jeanne does not share. A new study of twins suggests you can blame those coarse(粗糙的)wrinkles, brown or pink spots on too much time in the sun, smoking, and being overweight.

Because twins share genes, but may have different exposures to environmental factors， studying twins allows an “opportunity to control for genetic susceptibility(易受影响性),” Dr. Elma D. Baron, at Case Western Reserve School of Medicine in Cleveland, Ohio, and his colleagues explain in the latest issue of Archives of Dermatology.

Their analysis of environmental skin-damaging factors in 65 pairs of twins hints that skin aging is related more to environment and lifestyle than genetic factors.

But when it comes to skin cancer, the researchers say their findings support previous reports that both environment and genes affect skin cancer risk.

Baron’s team examined facial skin of 130 twins, 18 to 77 years old, who lived mostly in the northem Midwest and Eastern regions of the US, who were attending the Twins Days Festival in Ohio in August 2002. At this time, each of the twins also separately reported how their skin burned or tanned(晒黑)without sunscreen, their weight, and their history of skin cancer, smoking, and alcohol drinking. The study group consisted of 52 fraternal(异卵双生)and 10 identical twin pairs, plus 3 pairs who were unsure of their twin status.

From these data, the researchers noted strong ties, outside of twin status, between smoking, older age, and being overweight, and having facial skin with evidence of environmental damage. By contrast, sunscreen use and drinking alcohol appeared related to less skin damage.

Baron and his colleagues say the current findings, which highlight ties between facial aging and potentially avoidable environmental factors—such as smoking, being overweight, and unprotected overexposure to the sun’s damaging rays—may help motivate people to minimize these risky behaviors.

Which of the following is true according to the passage?

A．Jeanne and Susan share all the habits including smoking.

B．Skin aging is related more to environment and lifestyle than genetic factors.

C．Only identical twins can take part in the research.

D．Sunscreen use cannot help people have less skin damage.

Why did Baron’s team do the research on twins?

A．Twins are more likely to suffer from skin cancer.

B．It may guarantee the research is not influenced by genetic factors.

C．It gives others an opportunity to control twins’ genes.

D．It helps find twins are exposed to different environments.

What can you infer from the last paragraph?

A．This research makes people aware of dangerous lifestyles.

B．The environmental factors are unavoidable.

C．Being exposed to the sun is absolutely damaging.

D．There is little relationship between skin aging and environment.

The passage is mainly concerned with .

A．skin cancer and environment

B．identical twins research

C．aging skin and environmental factors

D．genes and lifestyles

Moreover, insofar as any interpretation of its author can be made from the five or six plays attributed to him, the Wake field Master is uniformly considered to be a man of sharp contemporary observation. He was, formally, perhaps clerically educated, as his Latin and music, his Biblical and patristic lore indicate. He is, still, celebrated mainly for his quick sympathy for the oppressed and forgotten man, his sharp eye for character, a ready ear for colloquial vernacular turns of speech and a humor alternately rude and boisterous, coarse and happy. Hence despite his conscious artistry as manifest in his feeling for intricate metrical and stanza forms, he is looked upon as a kind of medieval Steinbeck, indignantly angry at, uncompromisingly and even brutally realistic in presenting the plight of the agricultural poor.

Thus taking the play and the author together, it is mow fairly conventional to regard the former as a kind of ultimate point in the secularization of the medieval drama. Hence much emphasis on it as depicting realistically humble manners and pastoral life in the bleak hills of the West Riding of Yorkshire on a typically cold bight of December 24th. After what are often regarded as almost “documentaries” given in the three successive monologues of the three shepherds, critics go on to affirm that the realism is then intensified into a burlesque mock-treatment of the Nativity. Finally as a sort of epilogue or after-thought in deference to the Biblical origins of the materials, the play slides back into an atavistic mood of early innocent reverence. Actually, as we shall see, the final scene is not only the culminating scene but perhaps the raison d’etre of introductory “realism.”

There is much on the surface of the present play to support the conventional view of its mood of secular realism. All the same, the “realism” of the Wakefield Master is of a paradoxical turn. His wide knowledge of people, as well as books indicates no cloistered contemplative but one in close relation to his times. Still, that life was after all a predominantly religious one, a time which never neglected the belief that man was a rebellious and sinful creature in need of redemption, So deeply (one can hardly say “naively” of so sophisticated a writer) and implicitly religious is the Master that he is less able (or less willing) to present actual history realistically than is the author of the Brome “Abraham and Isaac”. His historical sense is even less realistic than that of Chaucer who just a few years before had done for his own time costume romances, such as The Knight’s Tale, Troilus and Cressida, etc. Moreover Chaucer had the excuse of highly romantic materials for taking liberties with history.

Which of the following statements about the Wakefield Master is NOT True?

[A]. He was Chaucer’s contemporary.

[B]. He is remembered as the author of five or six realistic plays.

[C]. He write like John Steinbeck.

[D]. HE was an accomplished artist.

By “patristic”, the author means

[A]. realistic. [B]. patriotic

[C]. superstitious. [C]. pertaining to the Christian Fathers.

The statement about the “secularization of the medieval drama” refers to the

[A]. introduction of mundane matters in religious plays.

[B]. presentation of erudite material.

[C]. use of contemporary introduction of religious themes in the early days.

In subsequent paragraphs, we may expect the writer of this passage to

[A]. justify his comparison with Steinbeck.

[B]. present a point of view which attack the thought of the second paragraph.

[C]. point out the anachronisms in the play.

[D]. discuss the works of Chaucer.

A microscope is a useful instrument for observing small objects. By producing a bigger image, the microscope reveals details that are undetectable to the naked eye(裸眼).

Before using the microscope, please read the instructions below.

CAUTION: Microscopes are both delicate and expensive and must be handled with care.

1. Always carry the microscope with two hands — one supporting the base and the other on the arm.

2. Avoid stretching the wire of the lamp across a walkway.

3. Keep the stage clean and always use a glass slide for specimens(样本).

4. To avoid crushing the glass slide when focusing, begin with the lens close to the specimen and gradually back off to focus.

5. Keep the microscope covered to prevent the dust while it is being stored.

HOW TO USE THE MICROSCOPE:

1. Plug(接通电源) in the lamp.

2. Place a sample of what you wish to observe on a slide.

3. Adjust the mirror so it reflects light from the room up into the objective lens. When the mirror is correctly adjusted, a complete circle of light iwll appear when you look through the eyepiece.

4. Place your slide with the specimen directly over the center of the glass circle on teh stage. If it is a wet slide, be sure the bottom of the slide is dry.

5. With the LOW POWER objective leans placed over the slide, use the coarse focus knob to lower the lens to the lowest point.

6. Look through the eyepiece with one eye while closing the other eye. Slowly raise the lens until teh focus is relatively clear.

7. Use the fine focus knob to fine -tune(微调)the focus.

8. Without changing the focus knobs, switch to the HIGH POWER objective lens. Once you have switched to HIGH POWER, use only the fine focus knob to make the image sharper.

1.Which of the following is the correct way to use a microscope according to the text?

A．Use one hand to carry the microscope

B．Place a sample directly on the clean stage

C．When stored, the microscope should be adjusted.

D．Look through the eyepiece with one eye.

2.If you want to observe a thin piece of hair, which of the following should you do first.?

A．Switch to objective lens. B．Adjust the mirror.

C．Look through the eyepiece. D．Place the hair on a glass slide.

3.According to the text, you could see a complete circle of light _____.

A．after correctly adjusting the mirror

B．while looking at the specimen on a glass slide

C．after slowly raising the objective lens

D．before positioning the mirror correctly

My first most vivid and broad impression of the identity of things seems to me to have been gained on a memorable raw afternoon towards evening near my parents’ tomb in the churchyard.

“Hold your noise!” came a terrible voice, as a man started up from among the tombs at the side of the church. “Keep still, you little devil(小鬼), or I’ll cut your throat!”

A fearful man, all in coarse grey, with a great iron on his leg. A man with no hat, and with broken shoes, and with an old rag tied round his head. He seized me by the chin(下巴).

“Tell us your name!” said the man. “Quick!”

“Pip, sir.”

“Show us where you live,” said the man. “Point out the place!”

I pointed to where our village lay, on the flat in-shore among the alder-trees and pollards, a mile or more from the church.

The man, after looking at me for a moment, turned me upside down, and emptied my pockets. There was nothing in them but a piece of bread.

“You young dog,” said the man, licking his lips, “what fat cheeks you ha’ got. Darn me if I couldn’t eat em, and if I han’t half a mind to’t!”

I earnestly expressed my hope that he wouldn’t, and held tighter to the tombstone on which he had put me; partly, to keep myself upon it; partly, to keep myself from crying.

“Now then lookee here!” said the man. “Where’s your mother?”

“There, sir!” said I.

He started, made a short run, and stopped and looked over his shoulder.

“There, sir!” I timidly explained, pointed to the tombstone. “That’s my mother.”

“Oh!” said he, coming back. “And is that your father alonger your mother?”

“Yes, sir,” said I; “him too; late of this parish(教区).”

1. The “voice” in the second paragraph came from______.

A. the church B. the man C. the bank D. the boy

2.The boy probably lived _____.

A. in the parish B. in the valley C. in the city D. in the country

3.We can infer from the passage _____.

A. the boy was very calm and smart

B. the man hit the boy in the face

C. the boy would forever remember the raw afternoon

D. the man was very kind and considerate

4.The passage is most probably adapted from________.

A. a news report B. a science fiction C. a novel D. a review

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