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Questions 18 to 20 are based on the following passage. At the end of the passage, you will be given 15 seconds to answer the questions. Now listen to the passage. Why do astronomers often use photographic plates
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TEXT E A review of the treatment of female characters in Chinese fiction reveals that Chinese social attitudes have undergone dramatic changes. Prior to twentieth century, women in novels were stereotyped lacking any features that made them unique individuals and were also subject to numerous restrictions imposed by the male-dominated culture. While authors of these novels often sympathetically portrayed heroines who experienced social depression. They never questioned the position of women in Chinese culture. Not until the early twentieth century did Chinese fiction focus on women’s emancipation, and then the subject became the backdrop of most novels that addressed the issue. After the Communist party established the People’s Republic in the late 1940’s, attitudes changed again: the gaining of women’s rights was treated as one of many ongoing social revolutions, although from the beginning Communist Party policy subordinated the women’s struggle to the class Struggle. In spite of the fact that the authors who dealt with women’s issues prior to 1949 agreed in principle that reforms had to be instituted, the outlook they depicted for reform was bleak. In their novels a pattern recurs: after an initial break with social conversations, women falter in their goals or tragically end their lives, defeated by the overwhelming pressures of those conventions. If some writers viewed the emancipation of women as an achievable end, most tended to regard it as related to other seemingly unattainable social changes. Individualism alone would not lead to emancipation. Taking his cue from Ibsen’s play A Doll’s House, in which the heroine, Nora, leaves home because she resents her husband’s treating her like a child. The writer Lu Xun warned that Nora would need money to support herself; she must have economic rights in order to survive. In contrast to this view of women in fiction in the early part of the century, fiction after the late 1940’s is not so pessimistic. The deeper problems of socially prescribed roles for wife and daughter, for example, are not explored, but greater freedom for women is presented as the product of collective action. Novels of this period focus primarily on the specific issues: voluntary marriage and equal participation in work. After Mao Zedong’s announcement of guidelines for a literature of social realism, this emphasis on women’s rights became more pronounced. Most women in fiction after 1949 conform to the goals set for them by Communist party policy but still experience conflicts within family and group relationships as a result of the double burden placed on them by their domestic and job roles. Fiction of this period also depicts the problems of compensating women adequately for their work and of giving them access to jobs previously performed by men. Although these novels forcefully suggest that such reforms face much resistance, all clearly conclude that eventually this resistance can be overcome. And, in fact, the past two decades have seen the beginning of some of these reforms in the lives of women in the People’s Republic of China. The passage is primarily concerned with discussing which of the following subjects
Why has the return of Discovery been delayed for 24 hours
Questions 4 to 7 are based on the following conversation. At the end of the conversation, you will be given 20 seconds to answer the questions. Now listen to the conversation. How will Ann probably spend the summer
阅读下面短文，回答下面题。很大的雨，下了一天了。这样的时候最好是哪儿也别去，缩在家里看雨。可我突然就想念书吧了，这个时候的书吧一定只有几桌客人，那面大大的落地窗一定雾蒙蒙的，一些小水珠在上面滑动。而空气里照例是香醇的咖啡气息，咖啡未必好喝，可那气息永远是迷人的。也许是刚才信手翻了第五期的《万象》，看了一组描写香港、台北、上海的文章，突然有些惆怅了，莫名其妙的小女人情怀。特别是袁紫衣的那篇《在上海开始的那篇小说》，讲一个女人在上海和巴黎游走的心绪，她说上海有一种让人无法停止的魅力。我想，她是没有在深圳生活过吧，否则，她也会这么说深圳的。每一次，外地的朋友或者刚来深圳不久的朋友问我，你最喜欢哪个城市，我都会坚定地告诉他们：深圳。一个害怕过可以预知生活的女人，一个充满变数的城市。我述说喜欢的理由，他们点头，但我知道在他们的心里充满的是对这个城市的不屑和质疑。这是一个被很多人误读的城市。这是一个空气里都飘着钱分子的城市这是一片没有文化滋润的干涸土地还记得有天晚上，一个北京来的朋友又跟我大谈深圳的没文化，我对这个词有着莫名的敏感。他神采飞扬地谈到北京，当然提到了那些古老的建筑与文化，也提到了人艺的话剧……我只淡淡地回应，如果你只从纵深意义上去理解文化，那我同意你的观点。他反唇相讥，现在有一种泛文化的观点，认为只要有人的地方就有文化。他最后抛出了这样一句，在北京至少有姑娘愿意嫁个唱摇滚的!深圳呢全深圳的姑娘都在傍大款吗无数的姑娘，无数不是大款的男人，都在干什么关于这座城市，我已经解释过大多次，我甚至花了两年的时间用一本书来解释，而我现在，在用一个书吧来解释。记起那年的冬天，我舍弃自己喜爱的这座城市跑到北京。一天，我拎着一大包菜回家，家里有一大帮的朋友在等我做饭给他们吃。我走在亚运村的街道上，走在一群陌生人中间，风很大，刮在我的脸上很疼，眼泪突然就在那时掉下来。对面的行人用奇异的目光看着这个流泪的女人，他们不知道她是在想念另一个城市。其实我也不知道，在离开以前。城市之于人的意义在哪里我去过很多的城市，可我只是个过客。那些城市的繁荣与文化，甚至情调只是我眼里的风景，那些城市里居住的人的喜怒哀乐我也永远无法真正理解。城市的意义在我只是一个位置和一群人。一个合适我的位置，一群令我快乐的朋友。城市虽然很大，但在我的眼里很小。常有人问我你为什么想开这样一家书吧，它能挣钱吗我一直找不到最好的答案。那天翻书吧的留言本，看到一个来自北京的朋友写道，这里让他想起北京的雕刻时光，他说，也许我会因为这里，爱上这座城市。现在，我时常坐在书吧那面靠窗的小桌前，我拿着一本书，但也许没有看，我只能只是在等待，一些朋友，一段风景，一个故事，我不知道。现在，雨还在下。我却迫不及待地要去“物质生活”，那里有我和我的朋友们最温暖的期待。(晓昱《城市于我》) 文中的“书吧”是谁开的（）。
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