學院 班級：2017—2018學年第一學期期末考試試卷（A卷科目：英 Part ListeningComprehension(30Directions:Inthissectionyouwillhear3lectures.EachlecturewillbeyedONCE.Aftereachlecture,therewillbesomequestions.Readthe4choicesmarkedA,B,CandD,anddecidewhichisthebestanswer.Lecture1ListentopartofalectureinamarketinghowtomanagecashtheproblemscausedbywaitingintheadvantagesofusingqueuingbenefitsofhiringnewGoodqueuingsystemsaremoreimportantthangoodGoodqueuingsystemsareeasytoQueuingcanbeaneffectiveQueuingcreatestoomuchSalesThelinesgotTherewerefewerThestorepurchasedmorecashLecture2ListentopartofalectureinapsychologytodiscusstheculturalinfluencesofWesterntoexaminethefoundationoftwo rytoshowtherelationshipbetween tureandsocialtocontrastAsianandAfricansocialItisprimarilyacollectivistItisprimarilyanindividualistItdiffersgreatlyfromWesternEuropeanIthasbeeninfluencedby BotharebasedoncharacterswhoareBotharebasedoncharacterswhostrivetomeetsociety’sBothhavemaincharacterswhofollowsociety’sexpectedsocialBothareexamplesofworkswhichformthefoundationsofWestern Lecture3ListentopartofalectureinamarketingtheimportanceofsoundinmarketingaeliminatingnoiseintheservicethedistinctionbetweensoundandizingtheuseofspaceinItisessentialforgoodItisneverItissometimesItisnotasimportantaspeopleThelightsweretooTheatmospherewasnotThenoisespilledintotheThereweretoomanyTheyleftthedoorTheyturneddowntheTheyinstalledaTheylimitedthenumberofPartII.ReadingComprehension.(40PassageDirections:Inthefollowingarticle,somesentenceshavebeenremoved.ForQuestions1–5,choosethemostsuitableonefromthelistA–Gtofitintoeachofthenumberedblank.Therearetwoextrachoices,whichdonotfitinanyofthegaps.MarkyouranswersonAnswerSheet.Climber.ThenI’lldo30minutesonastairmill.OnWednesdaya trainerwillworkmelikeafarmanimalforanhour.Thursdayis“bodywedge”class,whichinvolvesanotherexercisecontraption(device).Fridaywillbringa5.5-run,theextrahalf-myexhaustingcompensationofanygastronomical(theartorscienceofgoodeating)indulgencesduringtheweek.Ihaveexercisedlikethis—obsessively,abitpersistently—foryears,butrecentlyIbegantowonder:WhyamIngthis?Exceptforatwo-yearperiodattheendofanunhappyrelationship—aperiodwhenIself-medicatedwithlotsofItaliandesserts—Ihaveneverbeenoverweight.Oneofthemostwidelyaccepted,commonlyrepeatedassumptionsinourcultureisthatifyouexercise,youwillloseweight.ButIexerciseallthetime,andsinceIendedthatrelationshipandcutmostofthosedesserts,myweighthasreturnedtothesame163lb.ithasbeenmostofmyadultlife.IstillhavegutfatthathangsovermybeltwhenIsit.Whyisn’talltheexercisewiit .Ofcourse,somepeoplejoinandnevergo.Still,asonemajorstudy—theMinnesotaHeartSurvey-found,moreofusatleastsayweexerciseregularly.Thesurveyranfrom1980,whenonly47%ofrespondentssaidtheyengagedinregularexercise,to2000,whenthefigurehadgrownto57%. .Yes,it’sentirelypossiblethatthoseofuswhoregularlygotothegymwouldweighevenmoreifweexercisedless.Butlikemanyotherpeople,IgethungryafterIexercise,soIofteneatmoreonthedaysIworkoutthanonthedaysIdon’t.Couldexerciseactuallybekeemefromlosingweight? .Todaydoctorsencourageeventheirpatientstoexercise,whichissoundadviceformanyreasons:Peoplewhoregularlyexerciseareatsignificantlylowerriskforallmannerofdiseases—thoseoftheheartinparticular.Theylessoftendevelopcancer,diabetesmanyotherillnesses.Butthepastfewyearsofobesityresearchshowthattheroleofexerciseinweightlosshasbeenwildlyoverstated. .Manyrecentstudieshavefoundthatexerciseisn’tasimportantinholdingpeopleloseweightasyouhearsoregularlyingymadvertisementsoronshowslikeTheBiggestLoser—or,forthatmatter,frommagazineslikethisone. .Thatcausesustoeatmore,whichinturncancancelouttheweight-lossbenefitswejustaccrued.Exercise,inotherwords,isn’tnecessarilyhelusloseweight.Itmayevenbemakingitharder.Andyetobesityfigureshaverisendramaticallyinthesameperiod:athirdofAmericansareobese,andanotherthirdcountasoverweightbytheFederalernment’sdefinition.Theconventionalwisdomthatexerciseisessentialforsheddingpoundsisactuallyfairlynew.Asrecentlyasthe1960s,doctorsroutinelyadvisedagainstrigorousexercise,particularlyforolderadultswhocouldinjurethemselves.It’saquestionmanyofuscouldask.Morethan45millionAmericansnowbelongtoahealthclub,upfrom23millionin1993.Wespendsome$19billionayearongymmemberships.Thefindingsweresurprising.Onaverage,thewomeninallthegroups,eventhecontrolgroup,lostweight,butthewomenwhoexercised—sweatingitoutwithatrainerseveraldaysaweekforsixmonths—didnotlosesignificantlymoreweightthanthecontrolsubjectsdid.Thebasicproblemisthatwhileit’struethatexerciseburnscaloriesandthatyoumustburncaloriestoloseweight,exercisehasanothereffect:itcanstimulatehunger.“Ingeneral,forweightloss,exerciseisprettyuseless,”saysEricRavussin,chairindiabetesandmetabolism(anybasicprocessoforganicfunctioningoroperating)atLouisianaStateUniversityandaprominentexerciseresearcher.Yes,althoughthemuscle-fatrelationshipisoftenmisunderstood.AccordingtocalculationspublishedinthejournalObesityResearchbyaColumbiaUniversityteamin2001,apoundofmusclebumsapproximaysixcaloriesadayinarestingbody,comparedwiththetwocaloriesthatapoundoffatburns.Passageofeachparagraphandsummarizethemainideas.MoonOnlythreeandahalfyearspassedbetweenthefirstmoonlandingin1969andthesixthandlastmoonlandingin1972.Butwhilethefirstlandingwasanenormousachievementinitself,thelastlandingcontributedfarmoretotheadvancementofscientificknowledge.Onthefirstmission,thetwoastronautswereontheMoonforonlyafewhoursandremainedclosetothelandingsite.TheirtimeontheMoonwasjustsufficienttoconductseveralexperimentsandcollectasmallsampleoflunarrocks.Onthelastmission,however,thethreemen(oneofwhomwasageologist)spentmuchmoretimeonthelunarsurface—threeperiodsofaboutsevenhours.Withtheirspecialmoonvehicle,theycouldtravelmuchfurtherfromthelandingsitetoinvestigatemoreofthelunarenvironmentandcollectawiderrangeofsoilandrocksamples.WhatistheorganizationalstructureoftheCauseandExComparisonandTheApollomoonlandings,maynothaveledtoanygreatdiscovery—suchasevidenceoflifeontheMoon—butitdidhaveasignificantimpactonscientificandtechnologicaldevelopmentinthetwentiethcentury.Onefieldthatwasundoubtedlyaffectedbythemoonlandingswascomputerresearch.NASA,theU.S.spaceagency,didnotinventtheintegratedcircuit(thebasisofthecomputer),butitwasthelargestsingleconsumerofintegratedcircuitsintheearly1960s.Workingforthespaceprogramundoubtedlymotivatedcomputerengineers,pushingthemtowardthedevelopmentoftoday's alcomputer.AnotherrelatedtechnologicaldevelopmentthatcouldbeattributedatleastinparttotheApolloprogramwastheinventionoftheInternet.Inthiscase,too,themoonlandingsservedasanindirectmotivationforscientistsandengineersintheirsearchfortocommunicatefromcomputersinspacecrafttocomputersonWhatistheorganizationalstructureoftheCauseandProblemandInnningforfuturelunarmissions,scientistsarefacedwithoneseriouslimitationtohumanexplorationontheMoon,andthatisthelackofwater.TheavailabilityofwaterwouldmakeanenormousdifferenceforhumansworkingontheMoonforanylengthoftime.Thesearchforwater,then,remainsahighpriorityforspacescientists.Onetechniquethattheyhaveusedistosendscrashingintothelunarsurface.Thecrashcreatesacloudofvaporanddustthatscientistscancollectandyzeforevidenceofwater.SeveralshavealreadybeensenttotheMoon,butsofartheresultshavenotbeenconclusive.Anotherlargerandheavier,whichwillbesenttothemoonin2009,willhaveagreaterimpactandmayproducedifferentresults.Withthedatafromthislargerblast,scientistshopetoestablishconclusivelythepresenceorabsenceofwaterontheMoon.WhatistheorganizationalstructureoftheCauseandProblemandexMainideaoftheLunarcratersmaketravelontheMoon'ssurfaceachallengeforastronautsorroboticrovers.ThesurfaceoftheMoonismarkedbymillionsofthedeepdepressionsorholeswhicharevisiblefromtheearthwithjustthenakedeye.Thecratersaregenerallycircular,rangeinsizefromafewfeettomanyhundredsofkilometersacross,andcanbesurroundedbysharpmountainouspeaks.Theyhavebeencreatedbytheimpactofvariousobjects—asteroids,comets,ormeteorites.SincetheMoonhasatmospheretoprotectitfrompotentiallydangerousobjectsinspace,itisexposedtoanythingthatmaybeinitspath.ThefactthatthereisnoatmosphereontheMoon,andsonowindorrain,alsomeansthatthecratersremainunchangedunlessanotherobjectlandsinthesamespot.MainideaoftheReading

MuseumsofFineArtandTheirThefactthatpeoplegototheLouvremuseuminParistoseetheoriginalpaintingMonaLisawhentheycanseeareproductionanywhereleadsustoquestionsomeassumptionsabouttheroleofmuseumsoffineartintoday'sworld.OneofthemostfamousworksofartintheworldisLeonardodaVinci'sMonaLisa.Nearlyeveryonewhogoestoseetheoriginalwillalreadybefamiliarwithitfromreproductions,buttheyacceptthatfineartismorerewardinglyviewedinitsoriginalform.However,ifMonaLisawasafamousnovel,fewpeoplewouldbothertogotoamuseumtoreadthewriter'sactualmanuscriptratherthanaprintedreproduction.Thismightbeexinedbythefactthatthenovelhasevolvedpreciselybecauseoftechnologicaldevelopmentsthatmadeitpossibletoprintouthugenumbersoftexts,whereasoilpaintingshavealwaysbeenproducedasuniqueobjects.Inaddition,itcouldbearguedthatthepracticeofinterpretingor'reading'eachmediumfollowsdifferentconventions.Withnovels,thereaderattendsmainlytothemeaningofwordsratherthanthewaytheyareprintedonthepage,whereasthe‘reader’ofapaintingmustattendjustascloselytothematerialformofmarksandshapesinthepictureastoanyideastheymaysignify.Yetithasalwaysbeenpossibletomakeveryaccuratefacsiofprettywellanyfineartwork.ThesevensurvivingversionsofMonaLisabearwitnesstothefactthatinthe16thcentury,sseemedperfectlycontenttoassignthereproductionoftheircreationstotheirworkshopapprenticesasregular'breadandbutter'work.Andtodaythetaskofreproducingpicturesis parablymoresimpleandreliable,withreprographictechniquesthatallowtheproductionofhigh-qualitymadeexactlytotheoriginalscale,withfaithfulcolorvalues,andevenwithduplicationofthesurfacereliefofthepainting.Butdespiteanimplicitrecognitionthatthespreadofgoodreproductionscanbeculturallyvaluable,museumscontinuetopromotethespecialstatusoforiginalwork.Unfortunaythisseemstoceseverelimitationsonthekindofexperienceofferedtovisitors.Onelimitationisrelatedtothewaythemuseumpresentsitsexhibits.Asrepositoriesofuniquehistoricalobjects,artmuseumsareoftencalled‘treasurehouses'.Weareremindedofthisevenbeforeweviewacollectionbythepresenceofsecurityguards,attendants,ropesanddisycasestokeepusawayfromtheexhibits.Inmanycases,thearchitecturalstyleofthebuildingfurtherreinsthatnotion.Inaddition,amajorcollectionlikethatofLondon’sNationalGalleryishousedinnumerousrooms,eachwithdozensofworks,anyoneofwhichislikelytobeworthmorethanalltheaveragevisitorpossesses.Inasocietythatjudgesthe alstatusoftheindividualsomuchbytheirmaterialworth,itisthereforedifficultnottobeimpressedbyone'sownrelative'worthlessness'insuchanenvironment.Furthermore,considerationofthe'value'oftheoriginalworkinitstreasurehousesettingimpressesupontheviewerthat,sincetheseworkswereoriginallyproduced,theyhavebeenassignedahugemonetaryvaluebysome orinstitutionmorepowerfulthanthemselves.Evidently,nothingtheviewerthinksabouttheworkisgoingtoalterthatvalue,andsotoday'sviewerisdeterredfromtryingtoextendthatspontaneous,immediate,self-reliantkindofreadingwhichwouldoriginallyhavemetthework.Thevisitormaythenbestruckbythestrangenessofseeingsuchdiversepaintings,drawingsandsculpturesbroughttogetherinanenvironmentforwhichtheywerenotoriginallycreated.This'discementeffect'isfurtherheightenedbythesheervolumeofexhibits.Inthecaseofamajorcollection,thereareprobablymoreworksondisythanwecouldrealisticallyviewinweeksorevenmonths.Thisisparticularlydistressingbecausetimeseemstobeavitalfactorintheappreciationofallartforms.Afundamentaldifferencebetweenpaintingsandotherartformsisthatthereisnoprescribedtimeoverwhichapaintingisviewed.Bycontrast,theaudienceencountersanoperaorayoveraspecifictime,whichisthedurationoftheperformance.Similarly,novelsandpoemsarereadinaprescribedtemporalsequence,whereaspicturehasnoclearceatwhichtostartviewing,oratwhichtofinish.Thusartworksthemselvesencourageustoviewthemsuperficiallywithoutappreciatingtherichnessofdetailandlaborthatisinvolved.Consequently,thedominantcriticalapproach esthatofthearthistorian,aspecializedacademicapproachdevotedto'discoveringthemeaning'ofartwithintheculturalcontextofitstime.Thisisinperfectharmonywiththemuseum'sfunction,sincetheapproachisdedicatedtoseekingoutandconserving'authentic','original'readingsoftheexhibits.Again,thisseemstoputpaidtothatspontaneous,participatorycriticismwhichcanbefoundinabundanceincriticismofclassicworksofliture,butisabsentfrommostarthistory.Thedisysofartmuseumsserveasawarningofwhatcriticalpracticescanemergewhenspontaneouscriticismissuppressed.Themuseumpublic,likeanyotheraudience,experienceartmorerewardinglywhengiventheconfidencetoexpresstheirviews.Ifappropriateworksoffineartcouldberenderedpermanentlyaccessibletothepublicbymeansofhigh-fidelityreproductions,aslitureandmusicalreadyare,thepublicmayfeelsomewhatlessinaweofthem.Unfortunay,thatmaybetoomuchtoaskfromthosewhoseektomaintainandcontroltheartestablishment.Completethesummaryusingthelistofwords,A-L,below.Writethecorrectletter,A-L,inboxes11-15onyouranswersheet.ThevalueattachedtooriginalworksofPeoplegotoartmuseumsbecausetheyacceptthevalueofseeinganoriginalworkofart.Buttheydonotgotomuseumstoreadoriginalmanuscriptsofnovels,perhapsbecausetheavailabilityofnovelshasdependedon(11)forsolong，andalsobecausewiththe arethemostimportantHowever,inhistoricaltimesssuchasLeonardowerehappytoinstruct toproducecopiesoftheirworkandthesedaysnewofreproductionallowexcellentreplicationofsurfacerelieffeaturesaswellascolorand（14）A.A.B.massC.mechanicalD.E.F.G.H.underlying basic K.pictureL.ReadthefollowingstatementsanddecidewhethertheyareTrueorFalse?WriteTifthestatementagreeswiththeviewsofthewriter.WriteFifthestatementcontradictstheviewsofthewriterornotmentionedbythewriter. Arthistoryshouldfocusondiscoveringthemeaningofartusingarangeofmedia.Theapproachofarthistoriansswiththatofart Peopleshouldbeencouragedtogivetheiropinionsopenlyonworksofart. Reproductionsoffineartshouldonlybesoldtothepubliciftheyareofhighquality. Inthefuture,thosewithpowerarelikelytoencouragemorepeopletoenjoyart.PartIII.Writing.(30ReadingThePhysiologyof...FacialChancesare,you’renotverygoodatfakingas.Youcanraisethecornersofyourlipsintoaneatgrin—asonedoesforthecamera—andyoucanprobablytightenyoureyelidsabittoenhancetheeffect.Butunlessyou’reamused,excited,grateful,relieved,orjustinhappy,youprobablycan’tpullyourcheeksupandyoureyebrowsdowntoformasthatlooksgenuine.Nomorethanonein10peoplecanvoluntarilycontroltheouterorbicularisoculi,themusclessurroundingtheeyesockets,withthatmuchPaulEkmanhasspent40yearswatchingthousandsofpeopletry.AnemeritusprofessorofpsychologyattheUniversityofCaliforniaatSanFrancisco,Ekmanisaworldauthorityonfacialexpressions.Heisalsoextraordinarilyskilledatfakingthem.Inthecourseofcatalogingmorethan10,000humanexpressions,hehastaughthimselftoflexeachofhis43musclesindividually.Hecanevenwigglehisearsoneatatime.“IfonlytheyhadanOlympiceventforfacialathletes,”hesays.CharlesDarwinwasconvincedthatfacialexpressionsdon’tvaryfromculturetoculture,butbythe1950smostsocialscientistshadcometobelievetheopposite.Toseewhowasright,EkmantraveledtothehighlandsofPaNewGuineain1967andvisitedtheForepeople,whohadneverbeenexposedtomovies,evision,magazines,ormanyoutsiders.WhenEkmanshowedtheForephotographsoffaceswithvariousexpressions,theyinterpretedthemexactlyasWesterne