The author who was famous for his novels of the international theme was ___________.A.

Who is the author’s intended audience？[A] Working women who have no time for cookin
Who is the author’s intended audience？
[A] Working women who have no time for cooking.
[B] Husbands and children of working women.
[C] Working women who must travel on their own.
[D] Hotel personnel who must attend to working women.


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According to the author, by interacting with people who study liberal arts, engineering students can____.
A．balance engineering and the liberal arts
B．receive guidance in their careers
C．become noble idealists
D．broaden their horizons

此题为多项选择题。请帮忙给出正确答案和分析，谢谢！

According to the author, the debate has special significance for the woman who is a theoretician of feminist literary criticism because
A．women who are literary critics face professional risks different from those faced by men who are literary critics.
B．there are large numbers of capable women working within the academic establishment.
C．there are a few powerful feminist critics who have been recognized by the academic establishment.
D．like other critics, most women who are literary critics define criticism as either scientific or artistic.

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How does your reading proceed？ Clearly you try to comprehend, in the sense of identifying meanings for individual words and working out relationships between them, drawing on your explicit knowledge of English grammar (41) ______you begin to infer a context for the text, for instance, by making decisions about what kind of speech event is involved: who is making the utterance, to whom, when and where.
The ways of reading indicated here are without doubt kinds of of comprehension. But they show comprehension to consist not just passive assimilation but of active engagement inference and problem-solving. You infer information you feel the writer has invited you to grasp by presenting you with specific evidence and cues (42) _______
Conceived in this way, comprehension will not follow exactly the same track for each reader. What is in question is not the retrieval of an absolute, fixed or “true” meaning that can be read off and clocked for accuracy, or some timeless relation of the text to the world. (43) _______
Such background material inevitably reflects who we are, (44) _______This doesn’t, however, make interpretation merely relative or even pointless. Precisely because readers from different historical periods, places and social experiences produce different but overlapping readings of the same words on the page-including for texts that engage with fundamental human concerns-debates about texts can play an important role in social discussion of beliefs and values. How we read a given text also depends to some extent on our particular interest in reading it.
(45)_______such dimensions of read suggest-as others introduced later in the book will also do-that we bring an implicit (often unacknowledged) agenda to any act of reading. It doesn’t then necessarily follow that one kind of reading is fuller, more advanced or more worthwhile than another. Ideally, different kinds of reading inform. each other, and act as useful reference points for and counterbalances to one another. Together, they make up the reading component of your overall literacy or relationship to your surrounding textual environment.
A、 Are we studying that text and trying to respond in a way that fulfils the requirement of a given course？ Reading it simply for pleasure？ Skimming it for information？ Ways of reading on a train or in bed are likely to differ considerably from reading in a seminar room.
B、 Factors such as the place and period in which we are reading, our gender ethnicity, age and social class will encourage us towards certain interpretation but at the same time obscure or even close off others.
C、If you are unfamiliar with words or idioms, you guess at their meaning, using clues presented in the contest. On the assumption that they will become relevant later, you make a mental note of discourse entities as well as possible links between them.
[D]In effect, you try to reconstruct the likely meanings or effects that any given sentence, image or reference might have had: These might be the ones the author intended.
[E]You make further inferences, for instance, about how the test may be significant to you, or about its validity—inferences that form. the basis of a personal response for which the author will inevitably be far less responsible.
[F]In plays，novels and narrative poems, characters speak as constructs created by the author, not necessarily as mouthpieces for the author’s own thoughts.
[G]Rather, we ascribe meanings to test on the basis of interaction between what we might call textual and contextual material: between kinds of organization or patterning we perceive in a text’s formal structures (so especially its language structures) and various kinds of background, social knowledge, belief and attitude that we bring to the text.
41__________
42__________
43__________
44__________
45__________

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选词填空：In the following text, some sentences have been removed.

　　In the following text, some sentences have been removed. For Questions 41-45, choose the most suitable one from the fist A-G to fit into each of the numbered blanks. Mark your answers on ANSWER SHEET. (10 points)

　　How does your reading proceed？ Clearly you try to comprehend, in the sense of identifying meanings for individual words and working out relationships between them, drawing on your explicit knowledge of English grammar (41) ______you begin to infer a context for the text, for instance, by making decisions about what kind of speech event is involved: who is making the utterance, to whom, when and where.

　　The ways of reading indicated here are without doubt kinds of of comprehension. But they show comprehension to consist not just passive assimilation but of active engagement inference and problem-solving. You infer information you feel the writer has invited you to grasp by presenting you with specific evidence and cues (42) _______

　　Conceived in this way, comprehension will not follow exactly the same track for each reader. What is in question is not the retrieval of an absolute, fixed or “true” meaning that can be read off and clocked for accuracy, or some timeless relation of the text to the world. (43) _______

　　Such background material inevitably reflects who we are, (44) _______This doesn’t, however, make interpretation merely relative or even pointless. Precisely because readers from different historical periods, places and social experiences produce different but overlapping readings of the same words on the page-including for texts that engage with fundamental human concerns-debates about texts can play an important role in social discussion of beliefs and values.

　　How we read a given text also depends to some extent on our particular interest in reading it. (45)_______such dimensions of read suggest-as others introduced later in the book will also do-that we bring an implicit (often unacknowledged) agenda to any act of reading. It doesn’t then necessarily follow that one kind of reading is fuller, more advanced or more worthwhile than another. Ideally, different kinds of reading inform. each other, and act as useful reference points for and counterbalances to one another. Together, they make up the reading component of your overall literacy or relationship to your surrounding textual environment.

　　[A] Are we studying that text and trying to respond in a way that fulfils the requirement of a given course？ Reading it simply for pleasure？ Skimming it for information？ Ways of reading on a train or in bed are likely to differ considerably from reading in a seminar room.

　　[B] Factors such as the place and period in which we are reading, our gender ethnicity, age and social class will encourage us towards certain interpretation but at the same time obscure or even close off others.

　　[C] If you are unfamiliar with words or idioms, you guess at their meaning, using clues presented in the contest. On the assumption that they will become relevant later, you make a mental note of discourse entities as well as possible links between them.

　　[D]In effect, you try to reconstruct the likely meanings or effects that any given sentence, image or reference might have had: These might be the ones the author intended.

　　[E]You make further inferences, for instance, about how the test may be significant to you, or about its validity—inferences that form. the basis of a personal response for which the author will inevitably be far less responsible.

　　[F]In plays，novels and narrative poems, characters speak as constructs created by the author, not necessarily as mouthpieces for the author’s own thoughts.

　　[G]Rather, we ascribe meanings to test on the basis of interaction between what we might call textual and contextual material: between kinds of organization or patterning we perceive in a text’s formal structures (so especially its language structures) and various kinds of background, social knowledge, belief and attitude that we bring to the text.

长篇阅读：A) Looking back on too many yearsof education, I can identify one truly impossible teacher.

　　ThePerfect Essay

　　A) Looking back on too many yearsof education, I can identify one truly impossible teacher. She cared about me,and my intellectual life, even when I didn’t. Her expectations were highimpossibly so. She was an English teacher. She was also my mother.

　　B) When good students turn in anessay, they dream of their instructor returning it to them in exactly the samecondition, save for a single word added in the margin of the final page:”Flawless.” This dream came true for me one afternoon in the ninth grade. Ofcourse, I had heard that genius could show itself at an early age, so I wasonly slightly taken aback that I had achieved perfection at the tender age of14. Obviously, I did what any professional writer would do; I hurried off tospread the good news. I didn’t get very far. The first person I told was mymother.

　　C) My mother, who is just shy offive feet tall, is normally incredibly soft-spoken, but on the rare occasionwhen she got angry, she was terrifying. I am not sure if she was more upset bymy hubris(得意忘形) or by the fact that my Englishteacher had let my ego get so out of hand. In any event, my mother and her redpen showed me how deeply flawed a flawless essay could be. At the time, I amsure she thought she was teaching me about mechanics, transitions(过渡), structure, style. and voice. But what I learned, and what stuckwith me through my time teaching writing at Harvard, was a deeper lesson aboutthe nature of creative criticism.

　　D) Fist off, it hurts. Genuinecriticism, the type that leaves a lasting mark on you as a writer, also leavesan existential imprint(印记) on you asa person. I have heard people say that a writer should never take criticismpersonally. I say that we should never listen to these people.

　　E) Criticism, at its best, isdeeply personal, and gets to the heart of why we write the way we do. Theintimate nature of genuine criticism implies something about who is able togive it, namely, someone who knows you well enough to show you how your mentallife is getting in the way of good writing. Conveniently, they are also thepeople who care enough to see you through this painful realization. For me ittook the form. of my first, and I hope only, encounter with writer’s block—I wasnot able to produce anything for three years.

　　F) Franz Kafka once said:” Writingis utter solitude(独处), the descentinto the cold abyss(深渊) ofoneself. “My mother’s criticism had shown me that Kafka is right about the coldabyss, and when you make the introspective (内省的) decent that writing requires you are out always pleased by whatyou find.” But, in the years that followed, her sustained tutoring suggestedthat Kafka might be wrong about the solitude. I was lucky enough to find acritic and teacher who was willing to make the journey of writing with me. “Itis a thing of no great difficulty,” according to Plutarch, “to raise objectionsagainst another man’s speech, it is a very easy matter; but to produce a betterin its place is a work extremely troublesome.” I am sure I wrote essays in thelater years of high school without my mother’s guidance, but I can’t recallthem. What I remember, however, is how we took up the “extremely troublesome”work of ongoing criticism.

　　G) There are two ways to interpretPlutarch when he suggests that a critic should be able to produce “a better inits place.” In a straightforward sense, he could mean that a critic must bemore talented than the artist she critiques(评论). My mother was well covered on this count. But perhaps Plutarch issuggesting something slightly different, something a bit closer to MarcusCicero’s claim that one should “criticize by creation, not by finding fault.”Genuine criticism creates a precious opening for an author to become better onthis own terms—a process that is often extremely painful, but also almostalways meaningful.

　　H) My mother said she would helpme with my writing, but fist I had myself. For each assignment, I was write thebest essay I could. Real criticism is not meant to find obvious mistakes, so ifshe found any—the type I could have found on my own—I had to start fromscratch. From scratch. Once the essay was “flawless,” she would take an eveningto walk me through my errors. That was when true criticism, the type thatchanged me as a person, began.

　　I) She criticized me when Iincluded little-known references and professional jargon(行话). She had no patience for brilliant but irrelevant figures ofspeech. “Writers can’t bluff(虚张声势) theirway through ignorance.” That was news to me—I would need to find another way tostructure my daily existence.

　　J) She trimmed back my flowerylanguage, drew lines through my exclamation marks and argued for the value ofrestraint in expression. “John,” she almost whispered. I learned in to hearher:”I can’t hear you when you shout at me.” So I stopped shouting andbluffing, and slowly my writing improved.

　　K) Somewhere along the way I setaside my hopes of writing that flawless essay. But perhaps I missed somethingimportant in my mother’s lessons about creativity and perfection. Perhaps thepoint of writing the flawless essay was not to give up, but to never willinglyfinish. Whitman repeatedly reworded “Song of Myself” between 1855 and 1891.Repeatedly. We do our absolute best wiry a piece of writing, and come as closeas we can to the ideal. And, for the time being, we settle. In critique,however, we are forced to depart, to give up the perfection we thought we hadachieved for the chance of being even a little bit better. This is the lesson Itook from my mother. If perfection were possible, it would not be motivating.

　　46. The author was advised against theimproper use of figures of speech.

　　47. The author’s mother taught him avaluable lesson by pointing out lots of flaws in his seemingly perfect essay.

　　48. A writer should polish his writingrepeatedly so as to get closer to perfection.

　　49. Writers may experience periods of timein their life when they just can’t produce anything.

　　50. The author was not much surprised whenhis school teacher marked his essay as “flawless”.

　　51. Criticizing someone’s speech is said tobe easier than coming up with a better one.

　　52. The author looks upon his mother as hismost demanding and caring instructor.

　　53. The criticism the author received fromhis mother changed him as a person.

　　54. The author gradually improved hiswriting by avoiding fact language.

　　55. Constructive criticism gives an authora good start to improve his writing.

In the real world, nobody cares that you went to an Ivy League schoolA) As a high school
In the real world, nobody cares that you went to an Ivy League school
A) As a high school junior, everything in my life revolved around getting into the right college. I diligently attended my SAT, ACT, and Advanced Placement test preparation courses. I juggled (尽力应付)cross-country and track schedules, newspaper staff, and my church’s youth group and drama team. I didn’t drink, party, or even do much dating. The right college, I thought, was one with prestige, one with a name. It didn’t have to be the Ivy League, but it needed to be “top school.”
B) Looking back now, nine years later, I can’t remember exactly what it was about these universities that made them seem so much better. Was it a curriculum that appeared more rigorous, perhaps？ Or an alumni network that I hoped would open doors down the line？ Maybe. “I do think there are advantages to schools with more recognition,” notes Marybeth Gasman, a professor of higher education at the University of Pennsylvania. “I don’t necessarily think that’s a reason to go to one.”
C) In reflection, my firm belief in the power of the brand was naive, not to mention a bit snobby. I quickly passed over state schools and southern schools, believing their curriculums to be automatically inferior to northeastern or western counterparts. Instead, I dreamed of living in New York City and my parents obliged me with a visit to New York University’s (NYU) campus. During the tour, tuition fees were discusse d. (NYU is consistently ranked one of the country’s most expensive schools, with room and board costs totaling upwards of $64,000 a year.) Up until then, I hadn’t truly realized just how expensive an education can be. Over the next few months, I realized n ot only could I not afford my dream school, I couldn’t even afford the ones where I’d been accepted. City University of New York (CUNY), Rutgers University, and Indiana University were out of reach as were Mississippi State and the University of Alabama, where I would have to pay out-of-state fees. Further complicating my college search was a flourishing stack career—I wanted to keep running but my times weren’t quite fast enough to secure a scholarship.
D) And so, at 11pm on the night of Georgia State Univ ersity’s (GSU) midnight deadline, I applied online. Rated No.466 overall on Forbes’ Lists Top Colleges, No. 183 in Research Universities, and No. 108 in the South, I can’t say it was my top choice. Still, the track coach had offered me a walk-on spot, and I actually found the urban Atlanta campus a decent consolation prize after New York City.
E) While it may have been practical, it wasn’t prestigious, But here’s the thing: I loved my “lower-tier” (低层次的) university. (I use the term “low-tier” cautiously, because GSU is a well-regarded research institution that attracts high quality professors and faculty from all over the country.) We are taught to believe that only by going to the best schools and getting the best grades can we escape the rat race and build a better future. But what if lower-tier colleges and universities were the ticket to escaping the rat race？ After all, where else can you leave school with a decent degree—but without a lifetime of debt？
F) My school didn’t come pre-packaged like the more popular options, so we were left to take care of ourselves, figuring out city life and trying to complete degree programs that no one was championing for us to succeed in. What I’m saying is, I loved my university because it taught us all to be resourceful and we could make what we wanted out of it.
G) I was lucky enough to have my tuition covered by a lottery-funded scholarship called HOPE (Helping Outstanding Pupils Educationally). When I started college, the HOPE scholarship was funded by the state of Georgia and offered to graduating high school seniors with a GPA of 3.0 or higher. Living costs and books I paid for with money earned during high school, supplemented by a small college fund my deceased grandfather left for me and a modest savings account my parents created when I was born.
H) So what about all that name recognition？ Sure, many of my colleagues and competitors have more glamorous alma maters(母校)than I do. As a journalist, I have competed against NYU, Columbia, and Northeastern graduates for jobs. And yet, not a single interviewer has ever asked me about my educational background. In fact, almost every interview I’ve ever had was due to a connection—one that I’ve gained through pure determination, not a school brand.
I) According to The Bosto n Globe, students who earned their bachelor’s in 2012 have an average monthly loan payment of $312, which is one-third more than those who graduated in 2004. Ultimately, that’s the thing universities don’t want to admit. Private universities are money-making institutions. If you can afford to buy prestige, that’s your choice. For the rest of us, however, our hearty lower-tiered universities are just fine, thank you.
J) Wealthy universities talk up the benefits their name will give graduates; namely, strong alumni networks, star faculty, and a résumé boost. But you needn’t attend an Ivy League school to reap those rewards. Ludacris and the former CEO of Bank of America Ken Lewis are alumni of my college, as well as VICE’s first femaleeditor-in-chief, Ellis Jones. Successful people tend to be successful no matter where they go to school. And lower-tier schools can have alumni networks just as strong as their big name counterparts. In fact, lower-tier school alumni networks are arguably stronger, because fellow alumni recognize that you didn’t necessarily have an easy path to follow. They might be more willing to offer career help, because your less famous school denotes that, like them., you are also full of energy and perseverance.
K) The Washington Post reported on a recent study by Princeton economists, in which college graduates, who applied to the most selective schools in the 12th grade were compared to those who applied to slightly less selective schools. They found that students with more potential earned more as adults, and the reverse held true as well, no matter where they went to school.
L) Likewise, star faculty is not always found where you’d expect. Big name schools are not necessarily the best places for professors; plus, many professors split teaching time between multiple colleges and/or universities. This means, for instance, a CUNY student could reasonably expect to receive the same quality of instruction from a prestigious professor as they would if they were enrolled in the same class at NYU. M) It’s possible that some hiring managers may be drawn to candidates with a particular educational résumé, but it’s no guarantee. According to a 2012 survey described in The Atlantic, college reputation ranked lowest in relative importance of attributes in evaluating graduates for hire, beaten out by top factors like internships, employment during college, college major, volunteer experience, and extracurriculars.
N) Maybe students who choose less prestigious universities are bound to succeed because they are determined to. I tend to think so. In any case, if I could do it again, I’d still make the same choice. Today I’m debt-free, resourceful—and I understand that even the shiniest packaging can’t predict what you’ll find on the inside.
36、Modest institutions can also have successful graduates and strong alumni networks.
37、The money the author made in high school helped pay for her living expenses and books at college.
38、The author came to see how costly college education could be when she was trying to choose a university to attend.
39、A recent study found that a graduate’s salary is determined by their potential, not the university they attended.
40、The author cannot recall for sure what made certain top universities appear a lot better.
41、None o f the author’s job interviewers cared which college she went to.
42、The author thinks she did the right thing in choosing a less prestigious university.
43、In order to be admitted to a prestigious university, the author took part in various extracurricular activities and attended test preparation courses.
44、The author liked her university which was not prestigious but less expensive.
45、Colleges are reluctant to admit that graduates today are in heavier debt.


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