#/18Hewillhelpthewomansolvetheproblem.Hefindsithardtoagreewithwhatthewomansays.Thewomanwillbeabletoattendtheclassesshewants.Questions9to12arebasedontheconversationyouhavejustheard.A)Persuadethemantojoinhercompany.B)Employthemostup-to-datetechnology.C)Exportbikestoforeign)Expandtheirdomesticbusiness.A)Thestatesubsidizessmallandmediumenterprises.Thegovernmenthascontroloverbicycleimports.Theycancompetewiththebestdomesticmanufactures.Theyhaveacostadvantageandcanchargehigherprices.A)Extracostsmighteatuptheirprofitsabroad.Moreworkerswillbeneededtodopackaging.Theymightlosetoforeignbikemanufacturers.Itisverydifficulttofindsuitablelocalagents.A)Reporttothemanagement.B)Attractforeigninvestments.C)Conductafeasibilitystudy.D)Consultfinancialexperts.Questions13to15arebasedontheconversationyouhavejustheard.A)Coalburntdailyforthecomfortofourhomes.Anythingthatcanbeusedtoproducepower.Fuelrefinedfromoilextractedfromunderground.Electricitythatkeepsallkindsofmachinesrunning.A)Oilwillsoonbereplacedbyalternativeenergysources.Oilreservesintheworldwillbeexhaustedinadecade.Oilconsumptionhasgivenrisetomanyglobalproblems.Oilproductionwillbegintodeclineworldwideby2015.A)Minimizetheuseoffossil)Startdevelopingalternativefuels.C)Findtherealcauseforglobalwarming.D)Takestepstoreducethegreenhouseeffect.SectionBPassageOneQuestions16to18arebasedonthepassageyouhavejustheard.A)Theabilitytopredictfashiontrends.B)Arefinedtasteforartisticworks.C)Yearsofpractical)Strictprofessionaltraining.A)PromotingallkindsofAmericanhand-madespecialities.Strengtheningcooperationwithforeigngovernments.Conductingtradeinartworkswithdealersoverseas.Purchasinghandicraftsfromallovertheworld.A)Shehasaccesstofashionablethings.B)Sheisdoingwhatsheenjoysdoing.C)Shecanenjoylifeonamodestsalary.D)Sheisfreetodowhatevershewants.PassageTwoQuestions19to22arebasedonthepassageyouhavejustheard.A)Joininneighborhood)Getinvolvedinhiscommunity.C)Voicehiscomplaintstothecitycouncil.D)Makesuggestionstothelocalauthorities.A)Deteriorationinthequalityoflife.B)Increaseofpolicepatrolsatnight.C)Renovationofthevacantbuildings.D)Violationofcommunityregulations.A)Theymaytakealongtimetosolve.B)Theyneedassistanceformthecity.C)Theyhavetobedealtwithoneby)Theyaretoobigforindividualefforts.A)Hehadgotsomegroceriesatabigdiscount.Hehadreadafunnyposternearhisseat.Hehaddoneasmalldeedofkindness.Hehadcaughtthebusjustintime.PassageThreeQuestions23to25arebasedonthepassageyouhavejustheard.A)Childhoodandfamily)Pressureanddisease.C)Familylifeandhealth.D)Stressanddepression.A)Itexperiencedaseriesofmisfortunes.B)Itwasintheprocessofreorganization.C)Hismotherdiedofasuddenheartattack.D)Hiswifelefthimbecauseofhisbadtemper.A)Theywouldgivehimatriplebypasssurgery.Theycouldremovetheblockinhisartery.Theycoulddonothingtohelphim.Theywouldtryhardtosavehislife.SectionCWhenmostpeoplethinkoftheword“education”,theythinkofapupilasasortofanimatesausagecasing.Intothisemptycasting,theteachers(26)stuff“education.”Butgenuineeducation,asSocratesknewmorethantwothousandyearsago,isnot(27)thestuffingofinformationintoaperson,butratherelicitingknowledgefromhim;itisthe(28)ofwhatisinthemind.“Themostimportantpartofeducation,”oncewroteWilliamErnestHocking,the(29)Harvardphilosopher,“isthisinstructionofamaninwhathehasinsideofhim.”And,asEdithHamiltonhasremindedus,Socratesneversaid,“Iknow,learnfromme?！盚esaid,rather,“Lookintoyourownselvesandfindthe(30)ofthetruththatGodhasputintoeveryheartandthatonlyyoucankindle(點(diǎn)燃)toa(31).”Inadialogue,Socratestakesanignorantslaveboy,withoutadayof(32),andprovestotheamazedobserversthattheboyreally“knows”geometry一becausetheprinciplesofgeometryarealreadyinhismind,waitingtobecalledout.Somanyofthediscussionsand(33)aboutthecontentofeducationareuselessandinconclusivebecausethey(34)whatshould“gointo”thestudentratherthanwithwhatshouldbetakenout,andhowthiscanbestbedone.Thecollegestudentwhooncesaidtome,afteralecture,“IspendsomuchtimestudyingthatIdon’thaveachancetolearnanything,”wasclearlyexpressinghis(35)withthesausagecasingviewofeducation.PartIIIReadingComprehension(40minutes)ReadingcomprehensionSectionAInnovation,theelixir（靈丹妙藥）ofprogress,hasalwayscostpeopletheirjobs.IntheIndustrialRevolutionhandweaverswere___36___asidebythemechanicalloom.Overthepast30yearsthedigitalrevolutionhas___37___manyofthemid-skilljobsthatunderpinned20th-centurymiddle-classlife.Typists,ticketagents,banktellersandmanyproduction-linejobshavebeendispensedwith,justastheweaverswere.Forthosewhobelievethattechnologicalprogresshasmadetheworldabetterplace,suchdisruptionisanaturalpartofrising___38___.Althoughinnovationkillssomejobs,itcreatesnewandbetterones,asamore___39___societybecomesricheranditswealthierinhabitantsdemandmoregoodsandservices.AhundredyearsagooneinthreeAmericanworkerswas___40___onafarm.Todaylessthan2%ofthemproducefarmorefood.Themillionsfreedfromthelandwerenotrendered___41___,butfoundbetter-paidworkastheeconomygrewmoresophisticated.Todaythepoolofsecretarieshas___42___,butthereareevermorecomputerprogrammersandwebdesigners.Optimismremainstherightstarting-point,butforworkersthedislocatingeffectsoftechnologymaymakethemselvesevidentfasterthanits___43___.Evenifnewjobsandwonderfulproductsemerge,intheshorttermincomegapswillwiden,causinghugesocialdislocationandperhapsevenchangingpolitics.Technology’s___44___willfeellikeatornado（旋風(fēng)）,hittingtherichworldfirst,but___45___sweepingthroughpoorercountriestoo.NoWhytheMonaLisaStandsOutHaveyoueverfallenforanovelandbeenamazednottofinditonlistsofgreatbooks?Orwalkedaroundasculpturerenownedasaclassic,strugglingtoseewhatthefussisabout?Ifso,you?veprobablyponderedthequestionCuttingaskedhimselfthatday:howdoesaworkofartcometobeconsideredgreat?Theintuitiveansweristhatsomeworksofartarejustgreat:ofintrinsicallysuperiorquality.Thepaintingsthatwinprimespotsingalleries,gettaughtinclassesandreproducedinbooksaretheonesthathaveprovedtheirartisticvalueovertime.Ifyoucan?tseethey?resuperior,that?syourproblem.It?sanintimidatinglyneatexplanation.Butsomesocialscientistshavebeenaskingawkwardquestionsofit,raisingthepossibilitythatartisticcanonsarelittlemorethanfossilisedhistoricalaccidents.Cutting,aprofessoratCornellUniversity,wonderedifapsychologicalmechanismknownasthe“mere-exposureeffect”playedaroleindecidingwhichpaintingsrisetothetopoftheculturalleague.Cuttingdesignedanexperimenttotesthishunch.Overalecturecourseheregularlyshowedundergraduatesworksofimpressionismfortwosecondsatatime.Someofthepaintingswerecanonical,includedinart-historybooks.Otherswerelesserknownbutofcomparablequality.Thesewereexposedfourtimesasoften.Afterwards,thestudentspreferredthemtothecanonicalworks,whileacontrolgroupofstudentslikedthecanonicalonesbest.Cutting?sstudentshadgrowntolikethosepaintingsmoresimplybecausetheyhadseenthemmore.Cuttingbelieveshisexperimentoffersaclueastohowcanonsareformed.Hepointsoutthatthemostreproducedworksofimpressionismtodaytendtohavebeenboughtbyfiveorsixwealthyandinfluentialcollectorsinthelate19thcentury.Thepreferencesofthesemenbestowedprestigeoncertainworks,whichmadetheworksmorelikelytobehungingalleriesandprintedinanthologies.Thefamepasseddowntheyears,gainingmomentumfrommereexposureasitdidso.Themorepeoplewereexposedto,themoretheylikedit,andthemoretheylikedit,themoreitappearedinbooks,onpostersandinbigexhibitions.Meanwhile,academicsandcriticscreatedsophisticatedjustificationsforitspre-eminence.Afterall,it?snotjustthemasseswhotendtoratewhattheyseemoreoftenmorehighly.AscontemporaryartistslikeWarholandDamienHirsthavegrasped,criticalacclaimisdeeplyentwinedwithpublicity.“Scholars”,Cuttingargues,“arenodifferentfromthepublicintheeffectsofmereexposure.”TheprocessdescribedbyCuttingevokesaprinciplethatthesociologistDuncanWattscalls“cumulativeadvantage”:onceathingbecomespopular,itwilltendtobecomemorepopularstill.Afewyearsago,Watts,whoisemployedbyMicrosofttostudythedynamicsofsocialnetworks,hadasimilarexperiencetoCuttinginanotherParismuseum.Afterqueuingtoseethe“MonaLisa”initsclimate-controlledbulletproofboxattheLouvre,hecameawaypuzzled:whywasitconsideredsosuperiortothethreeotherLeonardosinthepreviouschamber,towhichnobodyseemedtobepayingtheslightestattention?WhenWattslookedintothehistoryof“thegreatestpaintingofalltime”,hediscoveredthat,formostofitslife,the“MonaLisa”remainedinrelativeobscurity.Inthe1850s,LeonardodaVinciwasconsiderednomatchforgiantsofRenaissanceartlikeTitianandRaphael,whoseworkswereworthalmosttentimesasmuchasthe“MonaLisa”.Itwasonlyinthe20thcenturythatLeonardo?sportraitofhispatron?swiferocketedtothenumber-onespot.Whatpropelledittherewasn?tascholarlyre-evaluation,butatheft.In1911amaintenanceworkerattheLouvrewalkedoutofthemuseumwiththe“MonaLisa”hiddenunderhissmock.Parisianswereaghastatthetheftofapaintingtowhich,untilthen,theyhadpaidlittleattention.Whenthemuseumreopened,peoplequeuedtoseethegapwherethe“MonaLisa”hadoncehunginawaytheyhadneverdoneforthepaintingitself.Fromthenon,the“MonaLisa”cametorepresentWesterncultureitself.Althoughmanyhavetried,itdoesseemimprobablethatthepainting?suniquestatuscanbeattributedentirelytothequalityofitsbrushstrokes.Ithasbeensaidthatthesubject?seyesfollowthevieweraroundtheroom.Butasthepainting?sbiographer,DonaldSassoon,drylynotes,“Inrealitytheeffectcanbeobtainedfromanyportrait.”DuncanWattsproposesthatthe“MonaLisa”ismerelyanextremeexampleofageneralrule.Paintings,poemsandpopsongsarebuoyedorsunkbyrandomeventsorpreferencesthatturnintowavesofinfluence,ripplingdownthegenerations.“Sayingthatculturalobjectshavevalue,”BrianEnooncewrote,“islikesayingthattelephoneshaveconversations.”Nearlyalltheculturalobjectsweconsumearrivewrappedininheritedopinion;ourpreferencesarealways,tosomeextent,someoneelse?s.Visitorstothe“MonaLisa”knowtheyareabouttovisitthegreatestworkofarteverandcomeawayappropriatelyimpressed—orletdown.Anaudienceataperformanceof“Hamlet”knowitisregardedasaworkofgenius,sothatiswhattheymostlysee.Wattsevencallsthepre-eminenceofShakespearea“historicalaccident”.Althoughtherigidhigh-lowdistinctionfellapartinthe1960s,westillusecultureasabadgeofidentit