题目内容
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A．The style. of their own.
B．The style. mixed with English and American elements.
C．The style. mixed with native-American and British tradition.
D．The style. of established European poets.
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In his novels these various impulses were sacrificed to each other inevitably and often inevitably, because Hardy did not care in the way that novelists such as Flaubert or James learned, and therefore took paths of least resistance. Thus one impulse often surrendered to a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. A desire to throw over reality a light that never was might give way abruptly to the desire on the part of what we might consider a novelist scientist to record exactly and concretely the structure and texture of a flower.
In this instance, the new impulse was at least an energetic one. And thus its indulgence did not result in a relaxed style. But on other occasions Hardy abandoned a perilous risky and highly energizing impulse in favor of what was for him the fatally relaxing impulse to classify and schematize abstractly. When a relaxing impulse was indulged, the style—that sure index of an author's literary worth—was certain to become verbose.
Hardy's weakness derived from his apparent inability to control the comings and goings of these divergent impulses and from his unwillingness to cultivate and sustain the energetic and risky ones. He submitted of first one and then another, and the spirit blew where it listed; hence the unevenness of any one of his novels. His most controlled novel, Under the Greenwood Tree, prominently exhibits two different but reconcilable impulses—a desire to be a realist-historian and a desire to be a psychologist of love but the slight interlockings of plot are not enough to bind the two completely together. Thus even this book splits into two distinct parts.
Which of the following is the most appropriate title for the passage, based on its content？
A．Hardy's Novelistic Style. A Literary Light.
B．Hardy's Creative Conflict: Rationalism and Realism.
C．Hardy's Achievements: An Ambiguous Triumph.
D．Hardy's Novelistic Impulses: The Problem of Conflicts.
I did not get what I wanted when I did not ask for it. We had cubiele(小隔间) offices and window offices. I sat in the cubicles with several male colleagues. One by one they were moved into window offices, while I remained in the cubicles. Several males who were hired after me also went to offices. One in particular told me he was next in line for an office and that it had been part of his negotiations for the job. I guess they thought me content to stay in the cubicles since I did not voice my opinion either way.
It would be nice if we all received automatic pay increases equal to our merit, but "nice" isn't a quality attributed to most organizations. If you feel you deserve a significant raise in pay, you'll probably have to ask for it.
Performance is your best bargaining chip(筹码) when you are seeking a raise. You must be able to demonstrate that you deserve a raise. Timing is also a good bargaining chip. If you can give your boss something he or she needs (a new client or a sizable contract,for example) just before merit pay decisions are being made, you are more likely to get the raise you want.
Use information as a bargaining chip too. Find out what you are worth on the open market. What will someone else pay for your services？
Go into the negotiations prepared to place your chips on the table at the appropriate time and prepared to use communication style. to guide the direction of the interaction.
According to the passage,before taking a job, a person should______.
A．demonstrate his capability
B．give his boss a good impression
C．ask for as much money as he can
D．ask for the salary he hopes to get
This passage is primarily meant for__________ ．
A.parents
B.teenagers
C.educators
D.psychologists
In the past, the working-class tended to be paid less than middle-class people, such as teachers and doctors. As a result of this and also of the fact that workers' jobs were generally much less secure, distinct differences in life-styles and attitudes came into existence. The typical working man would collect his wages on Friday evening and then, it was widely believed, having given his wife her "housekeeping", would go out and squander the rest on beer and betting.
The stereotype of what a middle-class man did with his money was perhaps nearer the troth. He was — and still is — inclined to take a longer-term view. Not only did he regard buying a house as a top priority, but he also considered the education of his children as extremely important. Both of these provided him and his family with security. Only in very few cases did workers have the opportunity (or the education and training) to make such long-term plans.
Nowadays, a great deal has changed. In a large number of cases factory workers earn as much, if not more, than their middle-class supervisors. Social security and laws to improve job-security, combined with a general rise in the standard of living since the mid-fifties of the 20th century, have made it less necessary than before to worry about "tomorrow". Working-class people seem slowly to be losing the feeling of inferiority they had in the past. In fact there has been a growing tendency in the past few years for the middle-classes to feel slightly ashamed of their position.
The changes in both life-styles and attitudes are probably most easily seen amongst younger people. They generally tend to share very similar tastes in music and clothes, they spend their money in having a good time, and save for holidays or longer-term plans when necessary. There seems to be much less difference than in previous generations. Nevertheless, we still have a wide gap between the well-paid (whatever the type of job they may have) and the low-paid. As long as this gap exists, there will always be a possibility that new conflicts and jealousies will emerge, or rather that the old conflicts will re-appear, but between different groups.
Which of the following is seen as the cause of class differences in the past？
A．Life style. and occupation.
B．Attitude and income.
C．Income and job security.
D．Job security and hobbies.
Then you place them in order of importance.The most important should be on top of the list.Once you are clear on your standards, you may get some idea of how your future boss operates by the way the interview is conducted.For example, did it start and finish on time？ How formal or informal was the room？
When the interview gets to the "Do you have any questions？" stage, you might like to ask some questions.With well-prepared questions, you can develop a very good idea of your future boss's management style.
36、Many people leave an organization because ______.
A.the boss doesn't like the employees
B.they don't like the boss
C.the organization is not good
D.the organization is not important
37、If you place your questions in order of importance, you ______.
A.put the least important first
B.put the longest question first
C.put the most important last
D.put the most important first
38、You can judge your future boss by the following EXCEPT ______.
A.whether the interview started on time
B.whether the interview room was formal
C.whether the boss played funny jokes
D.whether the interview finished on time
39、From this passage we get to know ______.
A.the interviewee can ask any question to the interviewer
B.the interviewer asks many difficult questions to the interviewee
C.the interviewer asks questions first
D.the interviewee asks questions first
40、The best title for this passage might be ______.
A.How to Get Along with Your New Boss
B.How to Ask Your New Boss Questions
C.How to Select Your New Boss
D.How to Prepare for Interview
The history of responses to the work of the artist Sandro Botticelli (1444-1510) suggests gests that widespread appreciation by critics is a relatively recent phenomenon. Writing in 1550, Vasari expressed an unease with Botticelli's work, admitting that the artist fitted awkwardly into his evolutionary scheme of the history of art. Over the next two centuries, academic art historians defamed Botticelli in favor of his fellow Florentine, Michelangelo. Even when anti-academic art historians of the early nineteenth century rejected many of the standards of evaluation adopted by their predecessors, Botticelli's work remained out side of accepted taste, pleasing neither amateur observers nor connoisseurs. (Many of his best paintings, however, remained hidden away in obscure churches and private homes. )
The primary reason for Botticelli's unpopularity is not difficult to understand: most observers, up until the mid-nineteenth century, did not consider him to be noteworthy, because his work, for the most part, did not Seem to these observers to exhibit the traditional characteristics of fifteenth-century Florentine art. For example, Botticelli rarely employed the technique of strict perspective and, unlike Michelangelo, never used chiaroscuro.
Another reason for Botticelli's unpopularity may have been that his attitude toward the style. of classical art was very different from that of his contemporaries. Although he was thoroughly exposed to classical art, he showed little interest in borrowing from the classical style. Indeed, it is paradoxical that a painter of large-scale classical subjects adopted a style. that was only slightly similar to that of classical art.
In any case, when viewers began to examine more closely the relationship of Botticelli's work to the tradition of fifteenth-century Florentine art, his reputation began to grow. Analyses and assessments of Botticelli made between 1850 and 1870 by the artists of the Pre-Raphaelite movement, as well as by the' writer Pater (although he, unfortunately, based his assessment on an incorrect analysis of Botticelli's personality), inspired a new appreciation of Botticelli throughout the English-speaking world. Yet Botticelli's work, especially the Sistine frescoes, did not generate worldwide attention until it was finally subjected to a comprehensive and scrupulous analysis by Home in 1908. Home rightly demonstrated that the frescoes shared important features with paintings by other fifteenth-century Florentines-features such as skillful representation of anatomical proportions, and of the human figure in motion. However, Home argued that Botticelli did not treat these qualities as ends in themselves-rather, that he emphasized clear depletion of a story, a unique achievement and one that made the traditional Florentine qualities less central. Because of Home's emphasis crucial to any study of art, the twentieth century has come to appreciate Botticelli's achievements.
Which of the following would be the best title for the text？
A．The Role of Standard Art Analyses and Appraisals.
B．Sandro Botticelli: From Rejection to Appreciation.
C．The History of Critics' Responses to Art Works.
D．Botticelli and Florentine: A Comparative Study.
—She gave two weeks.
A.What did she get
B.How much time did she give
C.What did she do
A.What are you doing now
B.What did Peter do last night
C.What did you do last night
