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Questions 7 to 10 are based on the following conversation. At the end of the conversation, you will be given 20 seconds to answer the questions. What does the man want to do
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Questions 14 to 17 are based on the following passage. At the end of the passage, you will be given 20 seconds to answer the questions. The first permanent picture was made by ______.
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. How old was the shoe
A new study of the brain is helping scientists better understand how humans process language. One of the patients is a woman with epilepsy(羊癫疯). Doctors are (31) Denise Harris to see if she is a good (32) for an operation that could stop her seizures. They are monitoring her through wire electrodes (33) in her brain. But (34) she is in the hospital, she is also helping scientists understand (35) the brain works with language. The study (36) a part of the frontal lobe called Broca’s area. The electrode implants have shown that the area very quickly (37) three different language functions. Eric Halgren, one of the main investigators, says they found different (38) doing, at different times, different processes all (39) a centimeter. The first function deals with (40) a word. The second deals with understanding the word’s meaning within a sentence. (41) the third lets us speak the word. Ned Sahin, a researcher, says scientists (42) for some time that traditional explanations for how parts of the brain work need to be (43) One such belief is that there is a (44) of language tasks between two very different parts of the brain. One is Broca’s area (45) the front. The other is Wernicke’s area (46) back in the brain. The belief is that Broca’s area is (47) speaking and that Wernicke’s area is responsible for comprehending. (48) the new study shows that Broca’s area is (49) both speaking and comprehension. He says this shows how parts of the brain (50) more than one task.
This is the 12th book of poems in about 50 years of writing by a great Northern Irish poet who is now in his eighth decade, and who recently recovered from a serious illness. Ageing and that brush with death have profoundly marked this new collection by Seamus Heaney. The change has stripped the poetry back to spare concentration on the small things of life—an old suit, the filling of a fountain pen, the hug that didn’t happen—which then open up to ever fuller significance, the more closely they are examined. It has also made the poems easier to engage with: there are no puzzling Ulsterisms, for instance. Complications have been tossed aside. Words are no longer delved into for their etymological significance as they were in the 1970s. Now they are caressed for their mellifluousness. The collection feels personal—as if it had a compelling need to be written. A decade and a half ago Mr. Heaney told The Economist that once the evil banalities of sectarianism seemed to be receding, his verse was able to admit the "big words" with which poetry had once abounded, soul and spirit, for example. In this collection both are present, at some level. The words describing a simple act—the passing of meal in sacks by aid workers onto a trailer—in the title poem, "Human Chain", transform this 12-line poem into a kind of parable. There is the collective, shared human burden of the act itself—the "stoop and drag and drain" of the heavy lifting—and then there is the wonderful letting go: "Nothing surpassed/That quick unburdening." Is the poet talking about the toil of life, and the aftermath of that toil The poems snatch precious remembered moments. They linger over the sweetness of particulars—vetch, the feel of an eel on a line. They pay attention to the heightened ritual of everyday things. The lines are short but move at a gentle pace and need to be read slowly, as the verse drifts back and forth over its country setting like a long-legged fly on a stream. Above all, and this is an odd thing to say of words on a page, the book feels like handcrafted work. Time and again Mr. Heaney returns to the image of the pen. He began his long career writing of such a pen, nestling snug as a gun between finger and thumb. The gun, we hope, is history. The pen still nestles, fruitfully. What is the distinction between the 12th book of poems and others by Seamus Heaney
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