Are you stuck in a rut（车辙）and looking for a change? Fed up of seeing hungry, poor faces on your TV screen and want to do something to help? Perhaps you’ve considered volunteering overseas but ruled it out because you thought you were too old, couldn’t commit enough time, or have a family. If so, think again.
“Over the past five years it has become far safer --- and more professionally acceptable --- to take up a job volunteering overseas,” says David Stitt, managing director of Gap Year for Grown Ups, a company catering for volunteers in their late 20s and upwards. “While 10 years ago intrepid souls took financial and personal risks in volunteering abroad, now several organizations exist to make the experience safe and well-organized.
Nowadays, universities and business encourage overseas volunteering among students and employees. Entire families can volunteer abroad, and agencies are employing more disabled and retired people. A prosperous “humanitarian tourism” industry has sprung up; thousands of UK citizens will do some form of overseas volunteering this year.
“Some volunteering jobs are easier to find than others,” explains Kevin Cusack, from a volunteer advice agency. “If you can speak English, it’s not too hard to land a job teaching English, even without a qualification, and those who enjoy working with children should be able to find child care work.” zxxk
Whether your interest is rainforests or women’s rights, you can find a volunteer position to suit you. But be warned: unless you have relevant skills or existing overseas development experience, it’s going to cost. Just how much depends on the location and length of the position, but you should budget for somewhere between £1,500 and £6,000.
“Having to pay to volunteer may sound paradoxical (矛盾的), but it’s the best way to ensure you get a position that benefits the local community while matching your interests and skills,” explains Cusack.  “You can also discuss the time you want to commit to a project --- many positions can fit into a holiday or even a weekend.”
【小题1】The underlined words “intrepid souls” in Paragraph 2 most probably refers to ___________.

Science Daily (May 1S, 2012) - People who rate themselves as having high emotional    intelligence (El) tend to overestimate (高估) their ability to detect deception(欺骗) in others.      This is the finding of a paper published in the journal Legal and Criminological Psychology on 18 May 2012.

      Professor Stephen Porter. director of the Centre for the Advancement of Psychological     Science and Law at University of British Columbia Canada along with colleagues Dr. Leanne Brinke and Alysha Baker used a standard questionnaire to measure the EI of 116 participants.

      These participants were then asked to view 20 videos from around the world of people     pleading （祈求） for the safe return of a missing family member. In half the videos the person     making the plea was responsible for the missing person's disappearance or murder.

      The participants were asked to judge whether the pleas were honest or deceptive say how much confidence they had in their judgments, report the clues (线索) they had used to make those judgments and rate their emotional response to each plea.

      Professor Porter found that higher EI was associated with overconfidence in assessing the sincerity of the pleas and sympathetic feelings towards people in the videos who turned out to be responsible for the disappearance.

      Although EI, in general, was not associated with being better or worse at telling the difference between truths and lies. people with a higher ability to notice and express emotion (a component of EI) were not so good at spotting when people were telling lies.

      Professor Porter says: "Taken together, these findings suggest findings features of emotional     intelligence and the decision-making processes they lead to may nave the paradoxical (适得其反的) effect of weakening people's ability to detect deception."

     "These findings are important because El is a well-accepted concept and is used in a variety of fields, including the workplace"

1.Which of the following is true about the study and its findings?

A. EI has something to do with telling truths and 1ies.

B. The participants were asked to identify liars on the spot.

C. The participants had to tell reasons for their judgments.

D. Those confident participants all made wrong judgments.

2.According to Professor Porter's finding, people with higher EI

A. were actually less confident

B. were easy to be cheated for their kindness

C. had sympathy for the missing people

D. were good at spotting deception

3.What does the underlined word "they" refer to?

A. Features of EI    B. People with high Ef      C. The findings   D. The researchers

4.Workplace is specially mentioned in the last paragraph to ______.

A. indicate that people with high EI are mostly adults

B. indicate that EI is very important in the workplace

C. warn employers not to trust employees with high EI

D. warn people with high EI of deception in the workplace

5.What is the best title for the passage?

A. How to detect deception in our daily life.

B. The disadvantages of high emotional intelligence.

C. The relationship between one's El and recognition.

D. Emotionally intelligent people are less good at spotting liars.

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.

Are you stuck in a rut（车辙）and looking for a change? Fed up of seeing hungry, poor faces on your TV screen and want to do something to help? Perhaps you’ve considered volunteering overseas but ruled it out because you thought you were too old, couldn’t commit enough time, or have a family. If so, think again.

“Over the past five years it has become far safer --- and more professionally acceptable --- to take up a job volunteering overseas,” says David Stitt, managing director of Gap Year for Grown Ups, a company catering for volunteers in their late 20s and upwards. “While 10 years ago intrepid souls took financial and personal risks in volunteering abroad, now several organizations exist to make the experience safe and well-organized.

Nowadays, universities and business encourage overseas volunteering among students and employees. Entire families can volunteer abroad, and agencies are employing more disabled and retired people. A prosperous “humanitarian tourism” industry has sprung up; thousands of UK citizens will do some form of overseas volunteering this year.

“Some volunteering jobs are easier to find than others,” explains Kevin Cusack, from a volunteer advice agency. “If you can speak English, it’s not too hard to land a job teaching English, even without a qualification, and those who enjoy working with children should be able to find child care work.” zxxk

Whether your interest is rainforests or women’s rights, you can find a volunteer position to suit you. But be warned: unless you have relevant skills or existing overseas development experience, it’s going to cost. Just how much depends on the location and length of the position, but you should budget for somewhere between £1,500 and £6,000.

“Having to pay to volunteer may sound paradoxical (矛盾的), but it’s the best way to ensure you get a position that benefits the local community while matching your interests and skills,” explains Cusack.  “You can also discuss the time you want to commit to a project --- many positions can fit into a holiday or even a weekend.”

1.The underlined words “intrepid souls” in Paragraph 2 most probably refers to ___________.

A．companies        B．volunteers         C．fighters           D．students

2.In Kevin Cusack’s opinion, paying to volunteer overseas ___________.

A．must be incredible and unrealistic

B．can help volunteers learn more about another culture

C．may benefit both volunteers and the community they work in

D．needs confidence, courage and determination

3.What can we learn from the text?

A．Disabled people can also take up a job volunteering overseas.

B．In the past no one could take up a job volunteering overseas.

C．“Humanitarian tourism” industry is in its beginning stage.

D．Taking up a job volunteering overseas needs at least £1,500.

4.Where can we most probably read this article?

A．In a job guidebook.

B．In a celebrity biography.

C．In a guidebook to work overseas.

D．In a report on volunteer work.

5.What is the writer’s attitude towards volunteer work?

A．Critical.           B．Unfavorable.       C．Supportive.        D．Disagreeable.

The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century, the defence of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.

Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves—anything but making works of art. They are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art. It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.

Photographers’ disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art. For example, those photographers who suppose that, by taking pictures, they are getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of painting. Much of photography’s prestige today derives from the convergence of its aims with those of recent art, particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the 1960’s. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist painting—that is, abstract art as developed in different ways by Picasso, Kandinsky, and Matisse—presupposes highly developed skills of looking and a familiarity with other paintings and the history of art. Photography, like Pop painting, reassures viewers that art is not hard; photography seems to be more about its subjects than about art.

Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity—in short, an art.

What is the author mainly concerned with? The author is concerned with

[A]. defining the Modernist attitude toward art.

[B]. explaining how photography emerged as a fine art.

[C]. explaining the attitude of serious contemporary photographers toward photography as art and placing those attitudes in their historical context.

[D]. defining the various approaches that serious contemporary photographers take toward their art and assessing the value of each of those approaches.

Which of the following adjectives best describes “the concept of art imposed by the triumph of Modernism” as the author represents it in lines 12—13?

[A]. Objective [B]. Mechanical. [C]. Superficial. [D]. Paradoxical.

Why does the author introduce Abstract Expressionist painter?

[A]. He wants to provide an example of artists who, like serious contemporary photographers, disavowed traditionally accepted aims of modern art.

[B]. He wants to set forth an analogy between the Abstract Expressionist painters and classical Modernist painters.

[C]. He wants to provide a contrast to Pop artist and others.

[D]. He wants to provide an explanation of why serious photography, like other contemporary visual forms, is not and should not pretend to be an art.

How did the nineteenth-century defenders of photography stress the photography?

[A]. They stressed photography was a means of making people happy.

[B]. It was art for recording the world.

[C]. It was a device for observing the world impartially.

[D]. It was an art comparable to painting.