Susan Sontag（1933—2004） was one of the most noticeable figures in the world of literature. For more than 40 years she made it morally necessary to know everything—to read every book worth reading, to see every movie worth seeing. When she was still in her early 30s，publishing essays in such important magazines as Partisan Review，she appeared as the symbol of American culture life，trying hard to follow every new development in literature，film and art. With great effort and serious judgment，Sontag walked at the latest edges of world culture.
　　Seriousness was one of Sontag’s lifelong watchwords（格言），but at a time when the barriers between the well-educated and the poor-educated were obvious, she argued for a true openness to the pleasure of pop culture. In “Notes Camp”, the 1964 essay that first made her name，she explained what was then a little—known set of difficult understandings，through which she could not have been more famous.“Notes on Camp”，she wrote，represents “a victory of ‘form’ over ‘content’, ‘beauty’ over ‘morals’ ”.
By conviction（信念）she was a sensualist（感觉论者），but by nature she was a moralist（伦理学者），and in the works she published in the 1970s and 1980s，it was the latter side of her that came forward. In “Illness as Metaphor”—published in 1978，after she suffered cancer—she argued against the idea that cancer was somehow a special problem of repressed personalities（被压抑的性格），a concept that effectively blamed the victim for the disease. In fact，re-examining old positions was her lifelong habit.
In America，her story of a 19th century Polish actress who set up a perfect society in California，won the National Book Award in 2000. But it was as a tireless，all-purpose cultural view that she made her lasting fame.
“Sometimes,” she once said，“I feel that，in the end，all I am really defending…is the idea of seriousness，of true seriousness.”And in the end，she made us take it seriously too.
64．The underlined sentence in paragraph l means Sontag ____________.
A．was a symbol of American cultural life
B．developed world literature，film and art
C．published many essays about world culture
D．kept pace with the newest development of world culture
65．She first won her name through____________.
A．her story of a Polish actress
B．her book Illness as Metaphor
C．publishing essays in magazines like Partisan Review
D．her explanation of a set of difficult understandings
66．Susan Sontag’s lasting fame was made upon____________.
A．a tireless，all-purpose cultural view
B．her lifelong watchword: seriousness
C．publishing books on morals
D．enjoying books worth reading and movies worth seeing
67．From the works Susan published in the 1970s and 1980s，we can learn that _____.
A．she was more a moralist than a sensualist
B．she was more a sensualist than a moralist
C．she believed repressed personalities mainly led to illness
D．she would like to re-examine old positions

When I come across a good article in reading newspapers, I often want to cut and keep it. But just as I am about to do so, I find the article on the __1__ side is as much interesting. It may be a discussion of the way to __2__ in good health, or __3__ about how to behave and conduct oneself in society. If I cut the front article, the opposite one is likely to __4__ damage, leaving out half of it or keeping the text __5__ the title. Therefore, the scissors would __6__ before they start, __7__ halfway done when I find out the __8__ result.

Sometimes two things are to be done at the same time, both worth your __9__. You can only take up one of them, the other has to wait or be __10__ up.

But you know the future is unpredictable—the changed situation may not allow you to do what is left__11__. Thus you are __12__ in a difficult position and feel sad. How __13__ that nice chances and brilliant ideas should gather around all at once? It may happen that your life __14__ greatly on your preference of one choice to the other.

In fact that is what __15__ is like: we are often __16__ with the two opposite sides of a thing which are both desirable like a newspaper cutting. It often occurs that your attention is drawn to one thing only __17__ we get into another. The __18__ may be more important than the latter and give rise to divided mind. I __19__ remember a philosopher's remarks, “When one door shuts, another opens in life.” So a casual __20__ may not be a bad one.

1.A.front　　　　 B．same　　　　　　 C．either　　　　 D．opposite

2．A.get　　　　　 B．keep　　　　　　 C．lead　　　　　 D．bring

3．A.advice　　　 B．news　　　　　　 C．a theory　　　 D．a report

4．A.suffer　　　 B．reduce　　　　　 C．prevent　　　 D．cause

5．A.on　　　　　 B．for　　　　　　 C．without　　　 D．off

6．A.use　　　　　 B．handle　　　　　 C．prepare　　　 D．stay

7．A.or　　　　　 B．but　　　　　　 C．so　　　　　　 D．for

8．A.satisfying　 B．regretful　　　 C．surprising　　 D．impossible

9．A.courage　　　 B．strength　　　　 C．attention　　 D．patience

10．A.given　　　 B．held　　　　　　 C．made　　　　　 D．picked

11．A.near　　　　 B．alone　　　　　 C．about　　　　 D．behind

12．A.filled　　　 B．attracted　　　 C．caught　　　　 D．struck

13．A.dare　　　　 B．come　 　　　　 C．deal　　　　　 D．do

14．A.improves　　 B．changes　　　　 C．progresses　　 D．goes

15．A.study　　　 B．society　　　　 C．nature　　　　 D．life

16．A.faced　　　 B．supplied　　　　 C．connected　　 D．fixed

17．A.before　　　 B．after　　　　　 C．until　　　　 D．as

18．A.following　 B．next　　　　　　 C．above　　　　 D．former

19．A.still　　　　 B．also　　　　　　 C．once　　　　　 D．almost

20．A.treatment　　 B．action　　　　　 C．choice　　　　 D．remark

My father’s reaction to the bank building at 43rd Street and Fifth Avenue in New York city was immediate and definite: “You won’t catch me putting my money in there!” he declared, “Not in that glass box!”

　  Of course, my father is a gentleman of the old school, a member of the generation to whom a good deal of modern architecture is upsetting, but I am convinced that his negative response was not so much to the architecture as to a violation of his concept of the nature of money. In his generation money was thought of as a real commodity (实物) that could be carried, or stolen.

　　Consequently, to attract the custom of a sensible man, a bank had to have heavy walls, barred windows, and bronze doors, to affirm the fact, however untrue, that money would be safe inside. If a building’s design made it appear impenetrable（难以渗透的), the institution was necessarily reliable, and the meaning of the heavy wall as an architecture symbol reflected people’s prevailing attitude toward money.

　　But the attitude toward money has, of course, changed. Excepting pocket money, cash of any kind is now rarely used; money as a tangible commodity has largely been replaced by credit. A deficit (赤字) economy, accompanied by huge expansion, has led us to think of money as product of the creative imagination. The banker no longer offers us a safe: he offers us a service in which the most valuable element is the creativity for the invention of large numbers. It is in no way surprising, in view of this change in attitude, that we are witnessing the disappearance of the heavy-walled bank.

　　Just as the older bank emphasized its strength, this bank by its architecture boasts of imaginative powers. From this point of view it is hard to say where architecture ends and human assertion (人们的说法) begins.

36. 1.The main idea of this passage is that________.

37. 2.How do the older generation and the younger one think about money respectively?

38. 3.The words “tangible commodity” (Line 2, Para. 4) refer to something ______.

39. 4.According to this passage, a modern banker should be _______.

40. 5.It can be inferred from the passage that the author’s attitude towards the new trend in banking is _______.