案例分析题Passage OneWhen Dance Speaks the Unspoken and No Language Is Required当舞蹈说出没有说出的话,就无需语言了A complete dancer today, is well trained in more than one discipline. The European dance scene has seen a rebirth of the influence of Spanish dance with the fusion of Flamenco and Classical Spanish Dance with other styles. The excitements of these fusions are very present in the Bay Area, which is America’s hotbed of Flamenco.This heat wave of creation, arrived last summer in Walnut Creek with the premiere concert season of Carolina Lugo’s Brisas de Espa—a Flamenco Dance Company. Carolina’s company not only presents the powerful intense energy of solo flamenco but the grace and joy of classical dances. She herself was trained in classical Spanish dance, which is a world apart from the introverted nature of flamenco, with its familiar roots of the earth. What ballet gives to both her traditions, is the physical strength of movement that seeks light and takes to the air. Perhaps, where these very different traditions flow within her blood we have the true creative force of Ms. Lugo’s work. Each tradition is like a river joining to form an even more powerful force with its own life. During a rehearsal in preparation for Brisas appearance with the Eagles, Clint Black, and Bruce Hornsby at the benefit concert for Tony La Russa’s Animal Rescue Foundation, Carolina explained her intense passion for dance. When a dancer is on stage, it goes without saying, they must be one with the music. Without this connection to the music, movement, and yourself, a dancer is only counting steps and performing routines. The heart of the dancer’s work is to embrace the audience with the depth of our lives and the fiery sensuality of dancing. The magic of performing is for the dancers and the audience to experience our fierce pride, love, happiness and tears. The art of Flamenco is the completeness of being, which the Gypsies ofSpain refer to as "duende", the possession of the sole. This quality, when it present, casts a spell over the audience and everyone becomes involved.The gift of the modern age is that with the speed of travel and communications we are able to emerge in the changes of the world’s cultures. Intemational artist Manuel Manolo Betanzos will be returning from a world tour for a month of performances and dance workshops with the company. Carolina believes that Manolo’s fused style of dance makes him one of Spain’s best dancers. He was trained in the earthy traditions of flamenco and the elegance of classical Spanish dance by many of the greatest maestros in Spain. His commanding presence on stage last summer earned him the admiration of local dance fans. Pepe Haro also from Spain will join the company as guest guitarist. His playing and musical arrangements bring power to every chord, shading and singing melodic line and above all, a rich rhythmic pulse.Exploring the emotions and feelings of flamenco has been a profound journey for Carolina. She was recently awarded a grand from the Diablo Regional Arts Association to further her own exploration of dance fusion and will collaborate for this year’s performance with Brazilian Samba Queen, Katia Vaz. Carolina will present the World Premier of Dance Without Borders (Bailes Sin Fronteras). She promises that this work will be a moment, when dance speaks the unspoken and no language is required, only the passion to dance free of limitations. Both Spanish and Brazilian music and dance are diverse and represent a vast m lange of cultural similarities and differences. The emotions of life are the fundamental pieces of both dance traditions. Carofina and Katia, will be joined by Carolina Acea, daughter of Carolina an American original whose style has been influenced by both traditions. The music will be sung both in Spanish and Portuguese by Roberto Zamora and Patricia Velasquez. Carolina explains that the artistic essence of both Flamenco and Samba is their expression of a gamut of feelings about life, embodied with an attitude. Which of the following does NOT represent Ms. Lugo’s views on dance()
A. Merging oneself into the music and movement while dancing.
B. Concentrating yourself on the music while dancing.
C. Involving the audience in your emotions while dancing.
D. Creating an experience of fierce pride, love and happiness and tears.
Passage Three This country, as Lincoln said, belongs to the people. So do the natural resources which make it rich. They supply the basis of our prosperity now and hereafter. In preserving them, which is a national duty, we must not forget that monopoly is based on the control of natural resources and natural advantages, and that it will help the people little to conserve our natural Wealth unless the benefits which it can yield are given back to the people. Let us remember, also, that conservation does not stop with the natural resources. The principle of making the best use of all we have requires that we stop the waste of human life in industry and prevent the waste ’of human welfare which flows from the unfair use of concentrated power and wealth in the hands of men whose eagerness for profit blinds them to the cost of what they do. We have no higher duty than to promote the efficiency of the individual. There is no surer road to the efficiency of the nation. The passage suggests that the benefit from natural resources is mainly enjoyed by ______.
A. the government
B. the monopolies
C. the businessmen
D. the people
案例分析题Every Object Tells a Story凡事皆有戏Everyone has a particular object to which they attach a special meaning or story. Every Object Tells A(1) is a participative website that enables people to explore the stories and meanings behind collections of museum objects.(2) to the site can create their own stories and share their own interpretations and objects online.The project (3) on the art of storytelling and involves four regional museums, in partnership with Channel 4 and Ultralab, a (4) technology research centre at Anglia Polytechnic University. It will be led by the Victoria and Albert Museum. It (5) the personal meanings and histories behind objects to get people to look at them in new ways. It (6) designed to inspire them to create their own stories and share their interpretations and objects of personal significance (7) a growing online community.Video, audio, text and pictures combine on the site to offer an enticing, accessible (8) into the content. Users can choose to browse the hundreds of objects featured, or they can search for (9) particular theme or person. They can decide on the level of information they want on an object, from (10) stories conveyed through text and pictures, to the richer experience offered by accompanying video and audio. They will (11) encouraged to add their own interpretation or object to the collection, by uploading text, images, video or audio (12) the site or by sending text and images from a mobile phone. In so doing, they will be (13) to the website’s content and illustrating how a single object can convey different meanings to different people.The (14) stories and wonderful objects will appeal to a broad audience. The project has specific relevance to all key (15) of the National Curriculum in English and literacy. Outreach sessions in regional partner museums will encourage people to (16) involved in the project locally and a video booth will travel around England, visiting shopping centres, libraries, bus (17) and the like, to enable people to capture their object and story in a short video. This will (18) be uploaded onto the site.In addition to the national and local publicity given to the project, Channel 4 (19) promote the website from a number of its programmes, ensuring a wide appeal and providing an added (20) for people to contribute their content. (7)处填入()
案例分析题Passage TwoRunning a School Book Stall开办学校书店I assume that the desirability of a school book stall needs no urging. Many schools sell food and toys. If we do not sell books it is surely strange Many schools serve areas where book shops do not exist and the only books brought before children for buying are the dubious selections of supermarkets. Moreover even in communities where a good book shop is available the guidance which can be given at the book stall is valuable, as we soon found.Essentially the school book stall is an extension of the encouragement and guidance in private reading which is part of the work of the English teacher. The first essential then, in setting up shop is a teacher particularly interested in children reading and in building up as wide as possible a knowledge of books to suit the school’s range of pupils.Given the teacher, the next requirement is a bookseller willing to supply you. In some cases you will be able to obtain your books on credit, paying as you sell, but if the school can find a sum to purchase its stock, or at least a part of it, this is a great help.Having found your supplier you then approach the Publisher’s Association for a Book Agent’s licence. The licence entitles you to a discount on your purchase through your chosen supplier, the usual discount being 10% with service. Service usually consists of delivery and a sale or return arrangement, the latter essential in allowing you to be enterprising and experimental in your stock. Without service a slightly higher discount is given but the former arrangement is clearly preferable.The biggest, indeed the only considerable, cost in running the book stall is the occasional theft of a book and this may well vary from school to school but the presence of the teacher and the alertness of the assistants is largely deterrent, and the discount should cover this and any other smaller expenses. Browsing is essential. The books must be handled. You cannot keep them safe and immaculate behind glass.For equipment the only essentials are some tables on which to display the books and a cupboard to store them in. Incidentally an arrangement of books with covers rather than spines visible seems to be vastly more attractive and accessible to children who have not the habit of browsing. A single way out past the cash desk is helpful to security and we record details of each purchase including the age of the buyer both for reordering and as interesting information on reading habits.Initially we stocked two hundred titles and the selection has grown to close on a thousand. It is convenient if cash or credit allows you to have duplicate copies of popular titles. What is stocked must depend on the teacher in charge. What you are prepared to sell in the cause of encouraging interest in reading will obviously be an individual judgment. Sales for their own sake are in the school context obviously purposeful and the teacher needs to be able to explain to interested parents why he thought a given book valuable for a certain child.There are always more offers of help from pupils than we can accept. The assistants serve, recommend, order, make posters and arrange displays. Some of the least able pupils have worked devotedly at the book stall.Publicity is vital. We have two display cases on the school approach containing forty books changed fortnightly and they arouse a lot of interest. Teachers’ recommendations, book lists, beginnings of stories read to classes, do much. Some classes buy a book a week between them. The book stall is always open on such occasions as Parent’s Evenings.We open twice a week in the lunch hour and we sell twenty to forty books a week, commercially not much but in our opinion well worth the effort. The school makes it possible for the children to know what books are available by().
A. rearranging all of the books every two weeks
B. arranging fortnightly visits to the book stall
C. exhibiting books to advantage
D. holding regular exhibitions of books