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(A runs into the dormilory (寝室). ) A: Hey. Jim. Gel up quickly! B: It’s only six o’clock. A: It’s snowing outside. B: Ah. howcould it be It’s only November! A: Let’s go out and have a look. B: Wait a minute. You always cheat (欺骗) me. A: Isn’t it wonderful Look at the snow. so beaufiful B: My Goodness! It’s really snowing. A: Do you have snow in your city. B: Yeah. sometimes it can be several inches (英寸) thick (厚). What’s the weather like in your hometown A: You mean winter Very nice. It isn’t so cold and seldom (很少) snows. B: Does it often rain there A: Yes. it does. especially in spring. 请回答： What is B doing at six ____________

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Many things make people think artists are weird — the odd hours, the nonconformity, the clove cigarettes. But the weirdest may be this: artists’ only job is to explore emotions, and yet they choose to focus on the ones that feel lousy. Art today can give you anomie, no problem. Bittersweetness You got it. Tristesse What size you want that in But great art, as defined by those in the great-art-defining business, is almost never about simple, unironic happiness. This wasn’t always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere in the 19th century, more artists began seeing happiness as insipid, phony or, worst of all, boring — in Tolstoy’s words, "All happy families are alike." We went from Wordsworth’s daffodils to Baudelaire’s flowers of evil. In the 20th century, classical music became more atonal, visual art more unsettling. Artists who focused on making their audiences feel good, from Usher to Thomas Kinkade, were labeled "pep". Sure, there have been exceptions (say, Matisse’s The Dance), but it would not be a stretch to say that for the past century or so, serious art has been at war with happiness. In 1824, Beethoven completed the "Ode to Joy". In 1962, novelist Anthony Burgess used it in A Clockwork Orange as the favorite piece of his ultra-violent antihero. If someone titles an art movie Happiness, it is a good bet that it will be — as the 1998 Todd Solondz film was — about deeply unhappy people, including a telephone pervert and a pedophile. You could argue that art became more skeptical of happiness because modem times have seen such misery. But it’s not as if earlier times didn’t know perpetual war, disaster and the massacre of innocents. The mason, in fact, may be just the opposite: there is too much happiness in the world today. After all, what is the one modem form of expression almost completely dedicated to depicting happiness Advertising. The rise of anti-happy art almost exactly tracks the emergence of mass media, and with it, a commercial culture in which happiness is not just an ideal but an ideology. People in earlier eras were surrounded by reminders of misery. They worked gruelingly, lived with few protections and died young. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms. On top of all this, they did not exactly need their art to be a bummer too. Today the messages your average Westerner is bombarded with are not religious but commercial, and relentlessly happy. Fast-food eaters, news anchors, text messengers, are all smiling, smiling, smiling, except for that guy who keeps losing loans to Ditech. Our magazines feature beaming celebrities and happy families in perfect homes. (Tolstoy clearly never edited a shelter mag.) And since these messages have an agenda — to pry our wallets from our pockets — they make the very idea of happiness seem bogus. "Celebrate !" commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attacks. It gets exhausting, this constant road to joy. If you’re not smiling — after we made all those wonderful pills and cell-phone plans — what’s wrong with you Not to smile is un-American. You can pick out the Americans in a crowd of tourists by their reflexive grins. The U. S. enshrined in its founding document the right to the pursuit of happiness. So we pursued it and — at least as commerce defines it — we caught it. Now, like the dog that chased and finally caught the car, we don’t know what the hell to do with it. We feel vaguely dissatisfied though we have what we should want, vaguely guilty for wanting it, vaguely angry because it didn’t come as advertised. People tsk-tsked over last month’s study in which women reported being happier watching TV than playing with their kids. But why shouldn’t they.’ This is how tile market defines happiness. Happiness is feeling good. Kids, those who exist outside ads, make you feel bad — exhausted, frustrated, bored and poor. Then they move away and break your heart. What we forget — what our economy depends on us forgetting — is that happiness is more than pleasure sans pain. The things that bring the greatest joy carry the greatest potential for Joss and disappointment. Today, surrounded by promises of easy happiness, we need someone to tell us that it is OK not to be happy, that sadness makes happiness deeper. As the wine-connoisseur movie Sideways tells us, it is the kiss of decay and mortality that makes grape juice into Pinot Noir. We need art to tell us: remember that you will die, that everything ends, and that happiness comes not in denying this but in living with it. It’s a message even more bitter than a clove cigarette, yet, somehow, a breath of fresh air. The author takes a ______ attitude toward modem art’s reflection of emotions.

A. positive
B. negative
C. detached
D. critical

The human nose is an underrated tool. Humans are often thought to be insensitive smellers compared with animals, this is largely because, animals, we stand upright. This means that our noses are to perceiving those smells which float through the air, the majority of smells which stick to surfaces. In fact, , we are extremely sensitive to smells, we do not generally realize it. Our noses are capable of human smells even when these areto far below one part in one million. Strangely, some people find that they can smell one type of flower but not another, others are sensitive to the smells of both flowers. This may be because some people do not have the genes necessary to generate smell receptors in the nose. These receptors are the cells which sense smells and send to the brain. However, it has been found that even people insensitive to a certain smell can suddenly become sensitive to it when to it often enough. The explanation for insensitivity to smell seems to be that the brain finds it to keep all smell receptors working all the time but can new receptors if necessary. This may explain why we are not usually sensitive to our own smells―we simply do not need to be. We are not of the usual smell of our own house, but we new smells when we visit someone else’’ s. The brain finds it best to keep smell receptors for unfamiliar and emergency signals the smell of smoke, which might indicate the danger of fire.

Most people know that exercise is impenant. But many people don’t exemise. In hem you will hear the five most possible masons why people don’t exercise and you will hear some easy solutions (解决方式). First. people say they cannot find time or money for exercise. Then bad weather is another excuse (借口). And sometimes people say they are too tired. Finally some even think very badly of their bodies. So fen minutes in the morning. ten minutes at lunch. and ten minutes after dinner are just fine. Walking is flee and easy. You can exemise inside. Taking a walk. going for a bike ride or nmning around me block (街区) can make you feel nol tired. You have to like your body through gradual (逐渐的) exercise. What can poople do when them is had weather

A. Do no exercise.
B. Exercise in the room.
C. Take an umbrelth (雨伞).

A. a person who visits 42. umbrella B. the United States 43. weather C. someththg people take on rainy days 44. Enghmd D. glasses 45. guest E. Blitain F. min. wind. snow. chlud. sun G. talk conversalion