题目内容
Questions 1 to 5 are based on an interview. At the end of the interview you will be given 10 seconds to answer each of the following five questions. Now listen to the interview. Which of the following did NOT happen to Mr. Green when he was traveling
查看答案
搜索结果不匹配？点我反馈
更多问题
Anniversaries are the opium of museums, publishers, theaters and opera houses. Fixing their eyes on some round-number birth or death date of a major creator, they start planning to cash in years before. For 2006, birthdays are the winning numbers: Rembrandt’s 400th; Mozart’s 250th; and the 100th for Samuel Beckett and Dmitri Shostakovich. The Dutch have organized a score of Rembrandt shows, starting appropriately with an exhibition based around his mother in the town of his birth, Leiden. Mozart’s music will be heard more than usual in churches, concert hails and opera houses around the world, with his birthplace, Salzburg, once again trying to compensate for the indifference it showed him during his lifetime. But do such anniversaries and accompanying celebrations serve much purpose Are they just marketing devices to sell tickets to museums and performances Or do they help draw the attention of younger generations to the giants of Western culture who at times seem crowded out by the pygmies of popular culture As it happens, the practice is not new. The birth of Bardolatry, or Shakespeare worship, is generally traced to the Shakespeare Jubilee, which was organized by the actor-manager David Garrick to celebrate the 200th anniversary of the playwright’s birth (the jubilee was actually held in 1769, five years after the anniversary, but presumably time was more flexible in those days). Until then, perhaps surprisingly, Shakespeare was not doing too well. The popularity of many of his plays did not survive the l8-year-long closure of London’s theaters during the Civil War and Cromwell’s rule. Then, after theaters reopened in 1660 with the Restoration of the monarchy, several of his major works -- "Richard Ⅲ" and "King Lear" among them -- were drastically revised by other playwrights. Today, Mozart, for one, is hardly in need of revival. No opera house plans a season these days without including at least one of his stage masterpieces: "Le Nozze di Figaro", "Don Giovanni", "Cosi fan tutte" and "Die Zauberflote". His "Requiem", "Coronation Mass" and other sacred works are regularly performed. His instrumental works -- he wrote hundreds -- keep soloists and orchestras busy throughout the year. A more interesting reflection for Jan. 27, the 250th anniversary of his birth, is: how would Western culture have fared without Mozart True, the same question might be asked of myriad great artists who have bequeathed beauty, emotion and understanding. Yet Mozart was unique, not only because he excelled in every kind of music (while, say, Verdi and Wagner were great composers only of opera), but also because, more even than Bach, he turned listening into a deeply personal experience. There is that perennial: who killed Mozart In Peter Schaffer’s 1979 play, "Amadeus", adapted as an Oscar-winning movie by Milos Forman in 1984, the finger of guilt was pointed at Mozart’s contemporary, Antonio Salieri. But even that charge was old hat: Pushkin first raised it in his 1830 play, "Mozart and Salieri", which Rimsky-Korsakov adapted as an opera in 1897. Still, the question is again being trotted out for the anniversary. No such mystery surrounds Rembrandt’s life or death. But if his greatness was only fully recognized in the 19th century, he certainly is in need of no anniversary "special offers" to be admired today. His more than 600 oils are in collections around the world and, whenever selected for exhibitions, they draw huge crowds. The organizers of Rembrandt 400, as the anniversary has been tagged, evidently again have crowds in mind, hoping that some 250,000 people will travel to the Netherlands for the occasion. Will Rembrandt’s fans cross paths with those of Mozart If they did, they might find that their idols have something in common. In his 75 or so self portraits, recording his passage from youth to old age, Rembrandt seems to offer a window into his soul. Cannot Mozart’s compositions also be considered as self-portraits Certainly, it is by displaying their intimacy that they share their genius with us. But of course only time will define their place in the pantheon. As happened to Rembrandt and many others, great artists are often forgotten before they are enshrined by posterity. After that, thankfully, anniversaries make little difference. It can be inferred from the passage that ______.
Anniversaries are the opium of museums, publishers, theaters and opera houses. Fixing their eyes on some round-number birth or death date of a major creator, they start planning to cash in years before. For 2006, birthdays are the winning numbers: Rembrandt’s 400th; Mozart’s 250th; and the 100th for Samuel Beckett and Dmitri Shostakovich. The Dutch have organized a score of Rembrandt shows, starting appropriately with an exhibition based around his mother in the town of his birth, Leiden. Mozart’s music will be heard more than usual in churches, concert hails and opera houses around the world, with his birthplace, Salzburg, once again trying to compensate for the indifference it showed him during his lifetime. But do such anniversaries and accompanying celebrations serve much purpose Are they just marketing devices to sell tickets to museums and performances Or do they help draw the attention of younger generations to the giants of Western culture who at times seem crowded out by the pygmies of popular culture As it happens, the practice is not new. The birth of Bardolatry, or Shakespeare worship, is generally traced to the Shakespeare Jubilee, which was organized by the actor-manager David Garrick to celebrate the 200th anniversary of the playwright’s birth (the jubilee was actually held in 1769, five years after the anniversary, but presumably time was more flexible in those days). Until then, perhaps surprisingly, Shakespeare was not doing too well. The popularity of many of his plays did not survive the l8-year-long closure of London’s theaters during the Civil War and Cromwell’s rule. Then, after theaters reopened in 1660 with the Restoration of the monarchy, several of his major works -- "Richard Ⅲ" and "King Lear" among them -- were drastically revised by other playwrights. Today, Mozart, for one, is hardly in need of revival. No opera house plans a season these days without including at least one of his stage masterpieces: "Le Nozze di Figaro", "Don Giovanni", "Cosi fan tutte" and "Die Zauberflote". His "Requiem", "Coronation Mass" and other sacred works are regularly performed. His instrumental works -- he wrote hundreds -- keep soloists and orchestras busy throughout the year. A more interesting reflection for Jan. 27, the 250th anniversary of his birth, is: how would Western culture have fared without Mozart True, the same question might be asked of myriad great artists who have bequeathed beauty, emotion and understanding. Yet Mozart was unique, not only because he excelled in every kind of music (while, say, Verdi and Wagner were great composers only of opera), but also because, more even than Bach, he turned listening into a deeply personal experience. There is that perennial: who killed Mozart In Peter Schaffer’s 1979 play, "Amadeus", adapted as an Oscar-winning movie by Milos Forman in 1984, the finger of guilt was pointed at Mozart’s contemporary, Antonio Salieri. But even that charge was old hat: Pushkin first raised it in his 1830 play, "Mozart and Salieri", which Rimsky-Korsakov adapted as an opera in 1897. Still, the question is again being trotted out for the anniversary. No such mystery surrounds Rembrandt’s life or death. But if his greatness was only fully recognized in the 19th century, he certainly is in need of no anniversary "special offers" to be admired today. His more than 600 oils are in collections around the world and, whenever selected for exhibitions, they draw huge crowds. The organizers of Rembrandt 400, as the anniversary has been tagged, evidently again have crowds in mind, hoping that some 250,000 people will travel to the Netherlands for the occasion. Will Rembrandt’s fans cross paths with those of Mozart If they did, they might find that their idols have something in common. In his 75 or so self portraits, recording his passage from youth to old age, Rembrandt seems to offer a window into his soul. Cannot Mozart’s compositions also be considered as self-portraits Certainly, it is by displaying their intimacy that they share their genius with us. But of course only time will define their place in the pantheon. As happened to Rembrandt and many others, great artists are often forgotten before they are enshrined by posterity. After that, thankfully, anniversaries make little difference. Which of the following about Shakespeare can NOT be inferred from the passage
Question 10 is based on the following news. At the end of the news item, you will be given 10 seconds to answer each question. Now listen to the news.
A funny thing happened on the way to the communications revolution: we stopped talking to one another. I was walking in the park with a friend recently, and his cell phone rang, interrupting our conversation. There we were, walking and talking on a beautiful sunny day and -- poof! -- I became invisible, absent from the conversation. The park was filled with people talking on their cell phones. They were passing other people without looking at them, saying hello, noticing their babies or stopping to pet their puppies. Evidently, the untethered electronic voice is preferable to human contact. The telephone used to connect you to the absent. Now it makes people sitting next to you feel absent. Recently I was in a car with three friends. The driver shushed the rest of us because he could not hear the person on the other end of his cell phone. There we were, four friends zooming down the highway, unable to talk to one another because of a gadget designed to make communication easier. Why is it that the more connected we get, the more disconnected I feel Every advance in communications technology is a setback to the intimacy of human interaction. With e-mail and instant messaging over the Internet, we can now communicate without seeing or talking to one another. With voice mail, you can conduct entire conversations without ever reaching anyone. If my mom has a question, I just leave the answer on her machine. As almost every conceivable contact between human beings gets automated, the alienation index goes up. You can’t even call a person to get the phone number of another person anymore. Directory assistance is almost always fully automated. Pumping gas at the station Why say good-morning to the attendant when you can swipe your credit card at the pump and save yourself the both. Making a deposit at the bank Why talk to a clerk who might live in the neighborhood when you can just insert your card into the ATM Pretty soon you won’t have the burden of making eye contact at the grocery store. Some supermarket chains are using a self-scanner so you can check yourself out, avoiding those annoying clerks who look at you and ask how you are doing. I am no Luddite. I own a cell phone, an ATM card, a voice-mall system, an e-mail account. Giving them up isn’t an option -- they’re great for what they’re intended to do. It’s their unintended consequences that make me cringe. More and more, I find myself hiding behind e-mall to do a job meant for conversation. Or being relieved that voice mail picked up because I didn’t really have time to talk. The industry devoted to helping me keep in touch is making me lonelier -- or at least facilitating my antisocial instincts. So I’ve put myself on technology restriction: no instant messaging with people who live near me, no cell-phoning in the presence of friends, no letting the voice mall pick up when I’m home. What good is all this gee-whiz technology if there’s no one in the room to hear you exclaim, "Gee whiz\ The word "Luddite" in paragraph 10 is closest in meaning to ______.
微信支付 
支付宝支付