ThephraseassistedininthepassageisclosestinmeaninghelpedItcanbeinferredfromparagraph1thatevenwhenpaintwassprayedbymou

WhichHandDidTheyWeallknowhatmanymorepeopletodayareright-hanleft-handed.CanonetracehissamepatternfarbackinprehistoryMuchoftheevidenceaboutright-handversuslefhanddominancecomesfromstencilsandprintsfoundinrocksheltersinAustraliaandelsewhere,andinmanyIceAgecavesinFranceSpainandTasmaniaWhenalefthandhasbeenstenciled,hisimpliesthathearistwasright-handed,andviceversa.Eventhough（考點）thepaintwasoftencantomakeahand thathedominanthandcantherewasnowaytolwhichhandwasthestenciledhandwasheweakerthestenciledhandwashedominant

assistedintheoperationOnealsohastomaketheassumptionhathandswerestenciledpalmdownward—alefthandstenciledpalmupwardmightofcourselookasifitweressstenciledmore

ofthedominanthandthantheydidofhe

righthand.3）Of158stencilsinheFrenchcaveof136havebeenidenifiedasleft,andonly22asright;然后從onecanassume開始=可以認(rèn)為主手協(xié)助了操作，那eventhough的分句必然是在說非主手做了些什ThephrasedepictedinhepassageisclosestinmeaningWhichofthesentencesbelowbestexpressestheessentialinformationinthehighlightedsentenceinthepassage?Incorrectchoiceschangethemeaninginimportantwaysorleaveoutessentialinformaion.Right-handedscouldmoreeasilyhaveavoidedcastingshadowsontheirwork,becauseengravingsinprehistoriccaveswerelitfromtheleft.關(guān)系錯了Thetipsofengravingtoolsandbrushesindicatethattheseinstrumentswereusedbyright-handedaristswhoseworkwaslitfromheleft.內(nèi)容顛倒Thebestlightingformostengravingssuggeststhattheyweremadebyright-handedpeopletryingtoavoidheshadowofheirhandsinterferingwithheirwork.Right-handedstrytoavoidhavingthebrushheyareusinginterferewiththelightsource.內(nèi)容顛倒

handednesswasthereforeheavilyCaveartfurnishesothertypesofevidenceofthisphenomenon.1）Mostengravings,forexample,arebestlitfromtheleft,asbefitstheworkofright-handed s,whogenerallyprefertohavethelightsourceontheleftsothattheshadowoftheirhanddoesnotfallonthetipoftheengravingtoolorbrush.4）InthefewcaseswhereanIceAgefigureisdepictedholdingsomething,itismosly,thoughnotalways,intherighthand.第二段：caveart的應(yīng)外一些表明右手者多Allofthefollowingaremenionedinparagraphs1and2asevidenceofrigh-handednessinartand sEXCEPTtheidealsourceoflightingformostthefacthatalefthandstenciledpalmupwardmightlooklikearighttheprevalenceofoutlinesofleftfiguresinprehistoricartholdingobjectswiththeright實否定。錯誤原：題目的是支持手者的b在中其實一個假設(shè)而選c1中的了??！Accordingtoparagraph3,theLaChapelle-aux-SaintsNeanderthalskeletoncanbeidentifiedasright-handedbecausetherightarmboneisstrongerthantheitissimilartoskeletonsofLaFerrassieIandtherightsideofheskeletonshowslessevidenceofWhichofthefollowingstatementsaboutfracturesandcutmarkscanbeinferredfromparagraph4?Fracturesandcutmarkscausedbyrigh-handedsoldierstendtooccurontherightsideofheinjuredparty'sbody.Therightarmsustainsmoreinjuriesbecause,asthedominantarm,itisusedmoreactively.Inmostpeople,heleftsideofthebodyismorevulnerabletoinjurysinceitisnotdefendedeffecivelybyhedominantarm.FracturesandcutmarksonfossilhumansprobablyoccurredafterAccordingtoparagraph5,whatcharacteristicofaNeolithicspoonwouldimplythatthespoon'sownerwasright-handed?ThedirecionoftheItslongTheyewwooditiscarvedWearonitsleftwInparagraph5,whydoestheauthormentionheIceAgeropefoundintheFrenchcaveofLascaux?Asanexampleofanitemonwhichthemarksofwearimplyhatitwasusedbyaright-handedBecausetressingisanactivitythatiseasierforaright-handedthanforaleft-handedBecausehecaveofLascauxisthesitewhereresearchershavefoundseveralprehistorictoolsmadeforright-handedpeople

Cluestorigh-handednesscanalsobefoundbyohermethods.Right-handerstendtohavelonger,stronger,andmoremuscularbonesonherightside,andMarcellinBouleaslongagoas1911notedtheLaChapelle-aux-SaintsNeanderthalskeletonhadarightupperarmbonethatwasnoticeablystrongerhantheleft.SimilarobservationshavebeenmadeonotherNeanderthalskeletonssuchasLaFerrassieIandNeanderhalitself.Fracturesandohercutmarksareanothersourceofevidence.Righ-handedsoldierstendtobewoundedontheleft.Theskeletonofa40-or50-year-oldNabateanwarrior,buried2,000yearsagointheNegevDesert,Israel,hadmuliplehealedfracturestotheskull,heleftarm,andtheribs.Toolsthemselvescanberevealing.Long-handedNeolithicspoonsofyewwoodpinAlpinevillagesdatingto3000B.C.havesurvived;thesignsofrubbingontheirleftsideindicatehatheiruserswererigh-handed.ThelateIceAgeropefoundinheFrenchcaveofLascauxconsistsoffibersspiralingtotheright,andwasthereforetressedbyarighwhoseAsanexampleofantem showshatitwasrightwhosemadebyaright-ThewordcriteriainthepassageisclosestinmeaningWhatwashepurposeofToth'stoolmakingexperimentdescribedinparagraph6?ToshapetoolsthatcouldbeusedbyeiherToproducereplicasofearlytoolsfordisyinToimitatetheproductionofpebbletoolsfromearlyTodeterminewhichhandmadeheearlyWhatistheauthor'sprimarypurposeinparagraphToillustrateheimportanceofstudyinghebrainTodemonstratethathumanbeingsareheonlym todesirefinecontrolofmovement主旨錯誤TocontrastthefunctionsofthetwohemispheresofheTodemonstratethatright-handpreferencehasexistedforalong再者，aseical是不對稱的。啊，他怎么一會說對稱，一會說不對稱呢。。。整個最后一段都沒有一點sy的內(nèi)容！你哪里看出s了？不要臆斷！那個什么ag不是s，他只是個fac??！Paragraph1：Weallknowhatmanymorepeopletodayareright-handedhanleft-handed.Canonetracethissamepatternfarbackinprehistory?■Muchoftheevidenceaboutright-handversusleft-handdominancecomesfromstencilsandprintsfoundinrocksheltersinAustraliaandelsewhere,andinmanyIceAgecavesinFrance,Spain,andTasmania.■Whenalefthandhasbeenstenciled,thisimpliesthathearistwasright-handed,andviceversa.■Evenhoughthepaintwasoftensprayedonbymouh,onecanassumethatthedominanthandassistedinheoperaion.Onealsohastomaketheassumptionthathandswerestenciledpalmdownward—alefthandstenciledpalmupwardmightofcourselookasifitwerearighthand.■Of158stencilsinheFrenchcaveofGargas,136havebeenidenifiedasleft,andonly22asright;right-handednesswashereforeheavilyLookatthefoursquares[■]thatindicatewherethefollowingsentencecouldbeaddedtohepassage.ThestencilsofhandsfoundinthesesheltersandcavesallowustoconclusionsaboutwhichhandwasWherewouldthesentencebestDirections:Anintroductorysentenceforabriefsummaryofthepassageisprovidedbelow.CompletethesummarybyselectingtheTHREEanswerthatexpressthemostimportantideasinthepassage.Somesentencesdonotbelonginthesummarybecausetheyexpressideasthatnotpresentedinthepassageorareminorideasinthepassage.Thisquestionisworth2points.Severalcategoriesofevidenceindicatethatpeoplehavealwaysbeenpredominantlyright-handed2 23AnswerStencilsofright-handedfiguresarecharacteristicofcaveartinFrance.Spain,andTasmania.太細(xì)節(jié)。不符合文章主旨。Signsontheskeletalremainsofprehistoricfigures,includingarm-bonesizeandinjurymarks,implythatthesearetheremainsofright-handedpeople.Instrumentssuchasspoons,ropes,andpebbletoolsshowsignsthatindicatetheywereusedorconstructedbyright-handedpeople.Theamountofprehistoricartcreatedbyright- sindicatesleft-handedpeoplewereintheminority.全 由于ar。難道那些東西不是ar嗎？Neanderhalskeletonsoftenhavelongerfingerbonesintherighthand,whichisevidencehattherighthandwasstronger.NickToh,amodemrigh-handedtoolmaker,hasshownhatprehistorictoolswereknappedtofittherighthand..3.14.○2,3,

們都知，活在當(dāng)?shù)娜藗兪鞘褂檬侄鞘帧Ｄ懿辉谑稯ccasionallyonecandeterminewheherstonetoolswereusedintherighthandortheleft,anditisevenpossibletoassesshowfarbackthisfeaturecanbetraced.InstonetoolmakingexperimentsNickToth,arigh-hander,heldthecore(hestonethatwould ethetool)inhislefthandandthehammerstoneinhisright.Ashetoolwasmade,hecorewasrotatedclockwise,andtheflakes,removedinsequence,hadalittlecrescentofcortex(thecore'soutersurface)ontheside.Toth'sknapproduced56percentflakeswithhecortexonheright,and44percentleft-orientedflakes.Aleft-handedtoolmakerwouldproducetheoppositepattern.Tohhasappliedthesecriteriatohesimilarlymadepebbletoolsfromanumberofearlysites(before1.5millionyears)atKoobiFora,Kenya,probablymadebyHomohabilis.Atsevensiteshefoundthat57percentofheflakeswereright-oriented,and43percentleft,apatternalmostidenicaltothatproducedtoday.第六段：通過T親自動手做東西，得出結(jié)論。將此運用在assesshowfarbackthisfeaturecanbetracedAbout90percentofmodernhumansareright-handed:weareheonlym withapreferentialuseofonehand.Thepartofthebrainresponsibleforfinecontrolandmovementislocatedintheleftcerebralhemisphere,andthefindingsabovesuggesthatthehumanbrainwasalreadyasymmetrica（不對稱）initsstructureandfuncionnotlongafter2millionyearsagoAmongNeanderthalersof70,000–35,000yearsago,MarcellinBoulenotedthattheLaChapelle-aux-Saintsindividualhadalefthemisphereslightlybiggerthantheright,andthesamewasfoundforbrainsofspecimensfromNeanderthal,Gibraltar,andLaQuina.馬尼亞地區(qū)的巖洞上搜集到的證明右手較之于左手的優(yōu)勢136個鑒定確認(rèn)為左手，只有22個是右手；右手習(xí)慣是據(jù)絕對主導(dǎo)地位的。巖洞藝術(shù)的其他形式也為這一現(xiàn)象提供了依據(jù)。例如大多數(shù)的雕版都是左起的光照最好，因為是配合慣用右手的工匠的工作，他們經(jīng)常喜歡讓光線從左邊照過來以便他們手的不會投射在雕板工具或是刷子的末端。很多冰河時期的雕塑都被雕刻為拿著一些物品的摸，盡管是但是起大多數(shù)都放在右上。他方法能理出右使用習(xí)的線索。撇子的側(cè)身體會于更長更壯，肌的骨骼。MrceinBoule早在1911提到的尼安德特人的骨架有一個右側(cè)上肢骨骼要明顯強壯與左側(cè)。對其他尼安德特人的骨架也曾做過類似的，例如laFrrassie和尼安德t有多處愈合的。工具的本身也會反映這一現(xiàn)象。長條型新石器時代的紫杉木質(zhì)勺子從史前3000的保存到現(xiàn)在。在它左側(cè)的磨痕證明了他們的主人慣用右手。在法國的巖洞藝術(shù)找到的晚石器時代的繩子是由向右旋轉(zhuǎn)的纖維捆成的，當(dāng)然也就證實了出自右撇子之手。偶爾也能確定石器是左手適用還是右手使用，甚至可以查出這些特征是在多遠的過去被留下的。在石器制造試驗中，icko一個右撇子用左手拿著一個石胚（就是一塊是要成為工具的石頭）同時用右手掄錘。由于工具的作用，胚子順時針的旋轉(zhuǎn)的同時，小碎片一點點的去掉，在一側(cè)留下月牙狀的表層（石頭胚子的表面）?！痵的敲打產(chǎn)生的碎痕百分之56留在了右側(cè)的表面，百分之44出相反的花紋，o將這種標(biāo)準(zhǔn)對照到數(shù)個在KobiFa（距今一百五十萬年前）發(fā)現(xiàn)的類似卵石工具上，他在七個地點找到的百分之57的碎痕是右側(cè)朝向，而百分之47朝向，就和今天我們所生產(chǎn)的花紋一樣。約百分九十的現(xiàn)人是右子；我們是只是先使用一手的哺動物。大負(fù)好的控行動的區(qū)位于腦的左半球這也證的人類大的機構(gòu)功能上的對在兩百年前就已定型了在距今 年的尼德特人Mn發(fā)現(xiàn)a（ 吧）的的左腦球稍微右邊大一，與類似的被發(fā)現(xiàn)在安德特， 人和拉尼亞人種腦型中Thewordregardedinthepassageisclosestinmeaning○

ThewordovershadowedinthepassageisclosestinmeaningtoAccordingtoparagraph1,whichofthefollowingishemostsignificantdevelopmentinhehistoryoffilm?ThetechnologicalinnovationofsoundfilmduringheToarguethatdamsshouldnotbebuiltontheEuphratesThetechnologicalimprovementsallowingclearerimagesinThewordparadoxesinhepassageisclosestinmeaningdifficulWhydoestheauthormenionJapanesebenshiandoriginalmusicalcomposiions?Tosuggestthataudiencespreferredotherformsofentertainmenttofilmbeforethetransitiontosoundinhe1920'sToprovideexamplesofsomeofthefirstsoundsthatwererecordedforToindicatesomewaysinwhichsound paniedfilmbeforeheinnovationofsoundfi inthelate1920sToshowhowheuseofsoundinfichangedduringdifferenthistorical panimenttosilentpictures而初誤選了其實最關(guān)鍵的是原文中的beforerecordedsoundexperiencedParagraph2suggestswhichofhefollowingaboutEisenstein’sfilmTheBattleshipPotemkirf?Thefilmwas paniedbysoundbeforeitsBerlinThefilmwasunpopularintheSovietUnionbeforeitwasscreenedinEisenstein’sfilmwasthefirstinstanceofcollaboraionbetweenadirectorandacomposer.Eisensteinbelievedthatthemusicalscoreinafilmwasasimportantas細(xì)節(jié)題。糾結(jié)原因：單詞不認(rèn)識（e首映）。然后是插入（注意?。。┓痔?。然后是整個這是一個長句的理解錯誤?！痉g如下：E和E在eli，為了（）在的首映，合作的給圖創(chuàng)作了總譜（不管在放時帶不帶音樂）；（在不管前后的某一時刻）在elin時，附帶上了現(xiàn)場音樂，大獲成功！】意不管，還是文，主都是在講聲這里的主信息也音樂的作。abTransitiontoSoundinTheshiftfromsilenttosoundfilmattheendofthe1920smarks,sofar,hemostimportanttransformationinmotionpicturehistory.Despiteallthehighlyvisibletechnologicaldevelopmentsintheatricalandhomedeliveryofthemovingimagethathaveoccurredoverhedecadessincethen,nosingleinnovationhascomeclosetobeingregardedasasimilarkindofwatershed.Innearlyeverylanguage,howeverthewordsarephrased,hemostbasicdivisionincinemahistoryliesbetweenfithataremuteandfithatspeak.第一段：盡管有其他的一些stuff，有聲的發(fā)明仍舊是史上最重要Yethismostfundamentalstandardofhistoricalperiodizationconcealsahostofparadoxes.Nearlyeverymovieheater,howevermodest,hadapianoororgantoprovidemusical panimenttosilentpictures.Inmanyinstances,spectatorsintheerabeforerecordedsoundexperiencedelaborateauralpresentationsalongsidemovies'visualimages,fromheJapanesebenshi(narrators)craftingmulivoiceddialoguenarrativestooriginalmusicalcompositionsperformedbysymphony-sizeorchestrasinEuropeandheUnitedStates.【InBerlin,forhe eperformanceoutsideheSovietUnionofTheBatleshipPotemkin,filmdirectorSergeiEisensteinworkedwithAustriancomposerEdmundMeisel(1874-1930)onamusicalscorematchingsoundtoimagescreeningswithlivemusichelpedtobringthefilmitswideinternationalfame】第二段：早期通過伴奏來實現(xiàn)配樂。某兩個人共同實現(xiàn)了有聲的突破。。

heexcoordinatedAccordingtoparagraph3,whichofthefollowingisNOTtrueofthetechnologicalandaestheticexperimentsofhe1920's?Becausethecostsofintroducingrecordedsoundwerelow,itwastheonlyinnovationthatwasputtouseinhe1920's.technologicalinnovationsinhe1920'sThenewtechnologicalandaestheticdevelopmentsofthe1920stheuseofcolor,newscreenformats,andManyofheinnovationsdevelopedinthe1920swerenotwidelyintroduceduntilaslateashe1950's.Whichofthesentencesbelowbestexpressestheessentialinformationinthehighlightedsentenceinthepassage?Incorrectchoiceschangethemeaninginimportantwaysorleaveoutessenialinformaion.Itwasdifficultforsomecriicsinthe1920stoimaginewhytheideaofsoundfilmhadfadedfromsightwellbeforetheFirstWorldWar.Assurprisingasitseemstoday,somecriticsinthe1920sbelievedthathenewattemptsatsoundfiwouldfadejustasquicklyastheattemptsmadebeforetheFirstWorldWar.Thoughsomeearlycriicsthoughthatsoundfilmwouldfade,itspopularityduringheFirstWorldWarprovedthatitwasnotsimplyatechnicalAlthoughsomecriticspredictedwellbeforeheFirstWorldWarthatsoundfilmwouldbeanimportanttechnicalinnovation,itwasnotattempteduntilthe1920s.Thewordneglectedinthepassageisclosestinmeaning

14.Direcions:Anintroductorysentenceforabriefsummaryofthepassageisprovidedbelow.CompletethesummarybyselectingtheTHREEanswerthatAccordingtoparagraph4,whichofhefollowingistrueabouthetechnicalproblemsofearlysoundfi?LinkingimageswithrecordedsoundwasalargerobstaclethanweaksoundamplificationorfragilesoundrecordingsSoundfi inthe1920swereunabletosolvethetechnicalflawsfoundinsound beforeheFirstWorldWar.TechnicalinadequaciesoccurredlessfrequentlyinearlysoundfihancriticssuggestedCriticsassumedhatitwouldbeimpossibleto ehetechnicaldifficultiesexperiencedwithearliersoundfi.Inparagraph5,commercialradioprogrammingisbestdescribedastheresultafinanciallysuccessfuldevelopmentthatenabledlargemunicationsfirmstoweakentheircompetition.thedesireofelectronicsand municationscompaniestomakesoundtechnologyprofitable.amajordevelopmentinthebroadcastingindustrythatoccurredbeforethecooperaionbetween municaionscompaniesandhemoionpictureAccordingtoparagraph6,whichofthefollowingaccountsforthedelayintheconversiontosoundfiinEurope?Europeanproducersoftenlackedknowledgeaboutthenecessaryequipmentforthetransitiontosoundfi.SmallerEuropeanproducerswereoftenunabletoaffordtoaddsoundtotheirItwasoftendifficulttowireoldercinemasinthemajorcitiestoysoundfiSmallerEuropeanproducersbelievedthatsilentfi withmusicpanimentwereaestheticallysuperiortosoundfi Paragraph6：TheircompetitionandcollaborationwerecreaingthebroadcasingindustryintheUnitedStates,beginningwiththeintroductionofcommercialradioprogrammingintheearly1920s.■Withfinancialassetsconsiderablygreaterhanthoseinthemotionpictureindustry,andperhapsawidervisionoftherelationshipsamongentertainmentandcommunicationsmedia,theyrevitalizedresearchintorecordingsoundformotionpictures.■In1929theUnitedStatesmotionpictureindustryreleasedmorehan300soundfi—aroughfigure,sinceanumberweresilentfiwihmusictracks,orfipreparedindualversions,totakeaccountofthemanycinemasnotyetwiredforsound.■Attheproductionlevel,inheUnitedStatestheconversionwasvirtuallycompleteby1930.■InEuropeittookalittlelonger,mainlybecausehereweremoresmallproducersforwhomhecostsofsoundwereprohibitive,andinoherpartsoftheworldproblemswithrightsoraccesstoequipmentdelayedheshifttosoundproducionforafewmoreyears(thoughcinemasinmajorcitiesmayhavebeenwiredinordertoyforeignsoundfi).Thetriumphofsoundcinemawasswift,complete,andenormouslyLookatthefoursquares[■]thatindicatewherethefollowingsentencecouldbeaddedtohepassage.Whenthisresearchresultedinthedevelopmentofvastlyimprovedtechniques,filmstudiosbecameconvincedoftheimportanceofconvertingtosound.diversityoftechnologicalandaestheticexperimentswithhevisualimagehatweregoingforwardsimultaneouslyinthe1920s.Newcolorprocesses,largeroramongthedevelopmentsinventedortriedoutduringheperiod,sometimeswihstartlingsuccess.Thehighcostsofconvertingtosoundandtheearlylimitaionsofsoundtechnologywereamongthefactorsthatsuppressedinnovationsorretardedadvancementintheseotherareas.3）Theintroductionofnewscreenformatswasputoffforaquartercentury,andcolor,thoughutilizedoverthenexttwodecadesforspecialproducions,also4）did eanormunil1950s.第三段：由于在有聲上的突破，其他的一些技術(shù)相形見拙，并受到延誤Thoughitmaybedifficulttoimaginefromalater,astrainofcriticalopinioninthe1920spredictedthatsoundfilmwouldbeatechnicalnoveltythatwouldsoonfadefromsight,justashadmanypreviousattempts,datingwellbackbeforetheFirstWorldWar,tolinkimageswithrecordedsound.Thesecriticsweremakingacommonassumption—thatthetechnologicalinadequaciesofearlierefforts(poorsynchronizaion,weaksoundamplificaion,fragilesoundrecordings)wouldinvariablyoccuragain.Tobesure,theirevaluationofthetechnicalflawsin1920ssoundexperimentswasnotsofaroffthemark,yetheyneglectedtotakeintoaccountimportantnew sinhemoionpicturefieldthat,inasense,wouldnottakenoforananswer.Theseswereherapidlyexpandingelectronicsand companieshatweredeveloandlinkingephoneandwirelessinthe1920s.IntheUnitedStates,theyincludedsuchfirmsas ephoneandegraph.GeneralElectric,andWestinghouseTheywereinterestedinallformsofsoundtechnologyandallpotentialavenuesforcommercialexploitation.TheircompeitionandcollaborationwerecreatingthebroadcastingindustryintheUnitedStates,beginningwiththeintroducionofcommercialradioprogramminginheearly1920s.Withfinancialassetsconsiderablygreaterhanthoseinthemotionpictureindustry,andperhapsawidervisionofherelationshipsamongentertainmentandcommunicationsmedia,theyrevitalizedresearchintorecordingsoundformotionpictures.In1929heUnitedStatesmotionpictureindustryreleasedmorethan300soundfi —aroughfigure,sinceanumberweresilentfiwithmusictracks,orfi preparedindualversions,totakeaccountofthemanycinemasnotyetwiredforsound.Attheproducionlevel,intheUnitedStatesheconversionwasvirtuallycompleteby1930.InEuropeittookalittlelonger,mainlybecausehereweremoresmallproducersforwhomhecostsofsoundwereprohibitive,andinoherpartsoftheworldproblemswithrightsoraccesstoequipmentdelayedtheshifttosoundproducionforafewmoreyears(thoughcinemasinmajorcitiesmayhavebeenwiredinordertoyforeignsoundfi).Thetriumphofsoundcinemawasswift,complete,andenormously第六點：在p5提到的力量驅(qū)動下，有聲在us，euro，etc快速發(fā)展。雖然遇到一點阻礙expressthemostimportantideasinthepassage.Somesentencesdonotbelonginthesummarybecausetheyexpressideasthatnotpresentedinthepassageorareminorideasinhepassage.Thisquestionisworth2points.Thetransitionfromsilenttosoundfiwasthemostimportantdevelopmentinfilmhistory.2312AnswerAlthoughmusicandspeechhadfrequently paniedfilmpresentaionsbeforethe1920s,herewasastrongdesiretoaddsoundtohefiBecauseofintenseinterestindeveloandintroducingsoundinfilm,hegeneraluseofohertechnologicalinnovationsbeingdevelopedinhe1920swasdelayedp3首句不理解。Therapidprogressinsoundtechnologymadepossiblebytheinvolvement municationscompaniestransformedhemotionpictureindustry.JapanesefilmmakershaddevelopedthetechnologyforcreaingsoundfbeforedirectorsinEuropeandtheUnitedStatesbeganexperimeningwihBeforeheFirstWorldWar,filmdirectorsshowedlittleinterestinlinkingimageswihrecordedsoundThearrivalofsoundfilmtechnologyintheUnitedStatesdsmallerproducersinthemoionpictureindustryoutofbusiness.無。且無關(guān)主旨。.2.13.○1,2,史上最為重大的一次過渡——從無聲到有聲的發(fā)生在0年的年底。盡管在戲劇和家庭成像的多元化方面更高級的視覺技術(shù)在之前已經(jīng)發(fā)展了十年，依然沒有一項類似的發(fā)明出現(xiàn)可以被歸入這次轉(zhuǎn)折。但是在所有語言中幾乎都是這樣述的：史上最本的分嶺就是從片到中語音的入。這項歷史周期中最基礎(chǔ)的的標(biāo)志性卻隱藏在一系列的中。盡管在幾乎每家莊重的劇院中，都有一架鋼琴或是其他樂器來給無聲的畫面提供配樂。在一些實例中， 時代之前的觀眾都親歷過那種在 放映畫面的同時旁邊是復(fù)雜的音效呈，從 的besi(的多點音效的 演繹到歐洲和由管弦交響樂樂隊奏的專門為 譜寫的曲譜。在柏林，為了能在露天公演的關(guān)于的波利金戰(zhàn)役，該片導(dǎo)演SergeiEisenstein與奧地利的作曲家EdmundMeisel合作創(chuàng)作與相匹配的音效；柏林的放映的同時現(xiàn)場演奏音樂讓這種形式有了國際影響除此之外，的輝煌仍舊被遮擋在視覺呈現(xiàn)的豐富的技術(shù)和美學(xué)體驗類型下直到0年。在這期間充斥著新技術(shù)的發(fā)明或者提出，有一些甚至取得了成功，新的色彩處理，更大的和不同尺寸的屏幕，多屏放映的設(shè)計，甚至是電視。聲音轉(zhuǎn)化的高成本和早期聲音技術(shù)的局限成為了抑制或妨礙了這些發(fā)明的在其所在領(lǐng)域的優(yōu)勢。新型屏幕設(shè)計的引進被推遲了5年，彩色，在接下來的0年除了用于特殊生產(chǎn)外，雖然這件在事后很難想象，但是在1920年一個傾向性的性觀點預(yù)測有聲僅連接在一起的嘗試一樣，而這可以追溯到一戰(zhàn)之前。這些批評家都持有一個共同的假設(shè)，那就是早期成果的技術(shù)缺陷仍將不可避免的（較差的同步性，微小的音量和斷斷續(xù)續(xù)的）。為了證實這個觀點，他們在0年試驗中所估測的技術(shù)缺陷仍然很大，之后他們就不再對這一范疇內(nèi)的重要力量進行考慮了，從 電子通訊公司。在，他們包括了像與電報這樣的公司。通用電器公在0年的早期，這些競爭與合作開創(chuàng)了的廣播產(chǎn)業(yè)，開始引入了商業(yè)廣播節(jié)目。由于貢獻明顯的比那些工業(yè)的多，而且他們在與交互之間的系上有個更廣的法，他重啟了配音的究，一個略的統(tǒng)表明，年的業(yè)放出了超過部聲，同時還一定數(shù)量的默片軌，或者為準(zhǔn)備兩個版本以照顧一些還沒有聲音部件的院。在生產(chǎn)環(huán)節(jié)的轉(zhuǎn)換最終完成與0年。歐洲要稍微晚一點是因為他們有很多小型的無法負(fù)擔(dān)音效成本的生產(chǎn)商，另一部分原因是對于專利權(quán)和領(lǐng)域問題而使設(shè)備的配備拖延了聲音產(chǎn)業(yè)的轉(zhuǎn)變很多年（盡管很多大城市的院為了外國可能經(jīng)添加設(shè)備）。聲得了勝利并迅速完全，廣的流行來

a項前半句臆斷是p2人的東西。后半句是p4黑體字被critic嘲諷的那點內(nèi)Whichofthefollowingstatementsaboutannualrainfallcanbeinferredfromparagraph1?

FlatdesertareasreceivemoreannualrainfallthandesertareaswithmountainsAreasthatreceivemorehanfourinchesofrainperyearareconsidered WaterintheRainfallisnotcompleyabsentindesertareas,butitishighlyvariable.Anannualrainfalloffourinchesisoftenusedtodefinehelimitsofadesert.TheimpactofrainfalluponthesurfacewaterandgroundwaterresourcesofhedesertisManyareasreceivelessthanfourinchesofannualrainfall,butonlyafewareAnnualrainfallhasnoimpactonthegroundwaterresourcesofdesertTheworddrasticallyinthepassageisclosestinmeaningunfortuna

flowsandrainwater.Inrecentyears,groundwaterhas anincreasinglyInparagraph2.WhydoestheauthormenionheAtaturkandotherdamsinToarguethatdamsshouldnotbebuiltontheEuphratesTosupporttheideathatinternationalriver-basinagreementsareAccordingtoparagraph2.WhichofhefollowingistrueoftheNileTheNile'sflowinitsdesertsecionsisatitslowestduringhedryTheNile'ssourcesarelocatedinoneofhemostaridzonesoftheTheNile'sannualfloodsbringferilesiltsandwatertoitslowerTheNile'speriodicfloodinghindersthegrowthofsomeTheworddwellersinhepassageisclosestinmeaningParagraph5supportsallofhefollowingstatementsaboutthegroundwaterIndesertsEXCEPT:ThegroundwaterisconsistenlyfoundjustbelowheAsmallpartofthegroundwaterhelpsmaintainlakeMostofthegroundwaterisnotrechargedthroughsurfaceThegroundwaterisincreasinglyusedasasourceofThewordfracturesinthepassageisclosestinmeaningearAccordingtoparagraph6.Whichofhefollowingstatementsaboutaquifersindesertsistrue?Waterfromlimestoneandsandstoneaquifersisgenerallybettertodrinkthanwaterfromsandandgravelaquifers。無中生有。SandandgravelaquiferstendtocontainlessgroundwaterthanlimestoneorsandstoneaquifersGroundwaterindeepaquifersismorelikelytoberechargedthangroundwaterSedimentaryrocks,becausetheyareporous,arenotcapableofstoringlargeamountsofgroundwaterAccordingtoparagraph6.theaquiferscalled"fossiltookmorethan10.000years esaturatedwithhavenotgainedorlostanywaterforthousandsofhavebeencollectingwaterforthepast10,000ThewordiminhepassageisclosestinmeaningThepassagesupportswhichofthefollowingstatementsaboutwaterinheThemostvisibleformsofwaterarenothemostwidespreadformsofwaterinthedesert.Groundwaterinthedesercannot easourceofdrinkingwaterbutcanusedforMostofthewaterinhedesertiscontainedinshallowaquifershatarebeingrapidlyrecharged.Desertareasthatlackendogenousorexogenousriversandstreamscannotsupportlife.無啊Paragraph4：Regularlyflowingriversandstreamsthatoriginatewithinaridlandsareknownas"endogenous."Thesearegenerallyfedbygroundwatersprings,andmanyissuefromlimestonemassifs,suchasheAlasMountainsinMorocco.Basalticrocksalsosupportsprings,notablyattheJabalAl-ArabontheSyriaborder.■EndogenousRiversoftendonotreachheseabutdrainintoinlandbasins,wherehewaterevaporatesorislostintheground.■Mostdesertstreambedsarenormallydry,buttheyoccasionallyreceivelargeflowsofwaterandsediment■Paragraph5：Desertscontainlargeamountsofgroundwaterwhencomparedtotheamountstheyholdinsurfacestoressuchaslakesandrivers.■Butonlyasmallfracionofgroundwaterentershehydrologicalcycle-feedingheflowsofstreams,maintaininglakelevels,andbeingrecharged(orrefilled)hroughsurfacegrealyinfluencedbylandforms.Flatsanddepressionswherewatercancollectarecommonfeatures,butheymakeuponlyasmallpartofheAridlands,surprisingly,containsomeofheworld’slargestriversystems,suchasheMurray-DarlinginAustralia,heRioGrandeinNorthAmerica,theIndusinAsia,andtheNileinAfrica.Theseriversandriversystemsareknownas"exogenous"becausetheirsourceslieoutsidehearidzone.Theyarevitalforsustaininglifeinsomeofthedriestpartsoftheworld.Forcenturies,theannualfloodsofheNile,Tigris,andEuphrates,forexample,hasbroughtfertilesiltsandwatertotheinhabitantsoftheirlowervalleys.Today,dischargesareincreasinglycontrolledbyhumanintervention,creatinganeedforinternationalriver-basinagreements.ThefillingofheAtaturkandoherdamsinTurkeyhasdrasticallyreducedflowsintheEuphrates,wihpoteniallyseriousconsequencesforSyriaandIraq.第二段：干旱地區(qū)有驚人的水--exoTheflowofexogenousriversvarieswihthedesertsectionsoflongriversrespondseveralmonhsafterrainhasfallenoutsidehedesert,sothatpeakflowsmaybeinhedryseason.Thisisusefulforirrigation,butthehightemperatures,lowhumidity,anddifferentdaylengthsofthedryseason,comparedtothenormalgrowingseason,canpresentdifficultieswithsomecrops.第三段：peakflowsmaybeinthedryseasonRegularlyflowingriversandstreamsthatoriginatewithinaridlandsareknownas"endogenous."Thesearegenerallyfedbygroundwatersprings,andmanyissuefromlimestonemassifs,suchastheAlasMountainsinMorocco.Basalticrocksalsosupportsprings,notablyattheJabalAl-ArabontheJordan-Syriaborder.EndogenousRiversoftendonotreach