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At least since the Industrial Revolution, gender roles have been in a state of transition. As a result, cultural scripts about marriage have undergone change. One of the more obvious (46) has occurred in the roles that women (47) . Women have moved into the world of work and have become adept at meeting expectations in that arena, (48) maintaining their family roles of nurturing and creating a(n) (49) that is a haven for all family members. (50) many women experience strain from trying to "do it all," they often enjoy the increased (51) that can result from playing multiple roles. As women’s roles have changed, changing expectations about men’s roles have become more (52) . Many men are relinquishing their major responsibility (53) the family provider. Probably the most significant change in men’s roles, however, is in the emotional (54) of family life. Men are increasingly (55) to meet the emotional needs of their families, (56) their wives. In fact, expectations about the emotional domain of marriage have become more significant for marriage in general. Research on (57) marriage has changed over recent decades points to the increasing importance of the emotional side of the relationships and the importance of sharing in the "emotion work" (58) to nourish marriages and other family relationships. Men and women want to experience marriages that are interdependent,(59) both partners nurture each other, attend and respond to each other, and encourage and promote each other. We are thus seeing marriages in which men’s and women’s roles are becoming increasingly more (60) .
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(A large collection) of contemporary photographs, (including) some taken by Mary (are) on display (at) the museum. A. A large collection B. including C. are D. at
直到昨天晚上他才改变了他的主意。
Questions 11 to 15 are based on the following passage: In the United States elementary education begins at the age of six. At this stage nearly all the teachers are women, mostly married. (80) The atmosphere is usually very friendly, and the teachers have now accepted the idea that the important thing is to make the chil-dren happy and interested. The old authoritarian (要绝对服从的) methods of education were discredited (不被认可) rather a long time ago-so much so that many people now think that they have gone too far in the direction of trying to make children happy and interestedrather than giving them actual instruction. The social education of young children tries to make them accept the idea that human beings in a society need to work together for their common good. So the emphasis is on co- operation rather than competition throughout most of this process. This may seem curious, in view of the fact that American society is highly competitive; however, the need for mak-ing people sociable in this sense has come to be regarded as one of the functions of educa-tion. Most Americans do grow up with competitive ideas, and obviously quite a few as criminals, but it is not fair to say that the educational system fails. It probably does succeed in making most people sociable and ready to help one another both in material ways and through kindness and friendliness. The underlined word "sociable" in the passage most probably means being______.
Passage 3 Forget what Virginia Woolf said about what a writer needs--a room of one’s own. The writer she has in mind wasn’t at work on a novel in cyberspaee, one with multiple hypertexts, animated graphics and downloads of trance, charming music. For that you also need graphic interfaces, Real Player and maybe even a computer laboratory at Brown University. That was where Mark Amerika--his legally adopted name; don’t ask him about his birth name--composed much of his novel Gramatron. But Grammatron isn’t just a story. It’s an online narrative (gramatron. com) that uses the capabilities of cyberspace to tie the conventional story line into complicated knots. In the four years it took to produce-it was completed in 1997-each new advance in computer software became another potential story device. "I became sort of dependent on the industry," jokes Amerika, who is also the author of two novels printed on paper. "That’s unusual for a writer, because if you just write on paper the ’technology’ is pretty stable." Nothing about Gramatron is stable. At its center, if there is one, is Abe Golam, the inventor of nanograph a quasi mystical computer code that some unmystical corporations are itching to acquire. For much of the story, Abe wanders through Prague-23, a virtual "city" in cyberspace where visitors indulge in fantasy encounters and virtual sex, which can get fairly graphic. The reader wanders too, because most of Gramatron’s 1,000-plus text screens contain several passages in hypertext. To reach the next screen just double-click. But each of those hypertexts is a trapdoor that can plunge you down a different pathway of the story. Choose one and you drop into a corporate-strategy memo. Choose another and there’s a XXX-rated sexual rant. The st0ry you read is in some sense file story you make. Amerika teaches digital art at the University of Colorado, where his students develop works that straddle the lines between art, film and literature. "I tell them not to get caught up in mere plot," he says. Some avant-garde writers--Julio Cortazar, Italo Calvino-have also experimented with novels that wander out of their author’s control. "But what makes the Net so exciting," says Amerika, "is that you can add sound, randomly generated links, 3-D modeling, animation." That room of one’s own is turning into a fun house. Why does the author ask the reader to forget what Virginia Woolf said about the necessities of a writer
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