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Text 4Picture-taking is a technique both for reflecting the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two directly opposite ideals, in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of fearlessness, questing subjectivity and the photographer is all.These conflicting ideals arise from uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in "taking" a picture. Accordingly, the ideal of a photographer as observer is attracting because it implicitly denies that picturetaking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever are the claims that photography might make to be a form of personal expression just like painting, its originality is closely linked to the power of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limit imposed by pre-modern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of "fast seeing". Cartier Bresson, in fact, claims that the modern camera may see too fast.This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past when images had a handmade quality. This longing for some primitive state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.Notes: crop vt.播种,修剪(树木)收割。 count for little 无关紧要。predatory 掠夺成性的。champion n.军；vt.支持。benevolent好心肠的，ambivalence矛盾心理。make (+不定式)似乎要: He makes to begin. (他似乎要开始了) swirls and eddies 漩涡。cult 狂热崇拜。daguerreotypes (初期的)银板照相法。 The author is primarily concerned with（）
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It is generally recognized in the world that the second Gulf War in Iraq is a crucial test of high-speed Web. For decades, Americans have anxiously (1) each war through a new communications (2) , from the early silent film of World War I to the 24-hour cable news (3) of the first Persian Gulf War.Now, (4) bombs exploding in Baghdad, a sudden increase in wartime (5) for online news has become a central test of the (6) of high-speed Internet connections. It is also a good (7) both to attract users to online media (8) and to persuade them to pay for the material they find there, (9) the value of the Cable News Network persuaded millions to (10) to cable during the last war in Iraq.(11) by a steady rise over the last 18 months in the number of people with high-speed Internet (12) , now at more than 70 million in the United States, the Web sites of many of the major news organizations have (13) assembled a novel collage (拼贴 of (14) video, audio reports, photography collections, animated weaponry (15) , interactive maps and other new digital rep6rtage.These Internet services are (16) on the remarkable abundance of sounds and images (17) from video cameras (18) on Baghdad and journalists traveling with troops. And they have found a (19) audience of American office workers (20) their computers during the early combat. 12（）
Text 4Picture-taking is a technique both for reflecting the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two directly opposite ideals, in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of fearlessness, questing subjectivity and the photographer is all.These conflicting ideals arise from uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in "taking" a picture. Accordingly, the ideal of a photographer as observer is attracting because it implicitly denies that picturetaking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever are the claims that photography might make to be a form of personal expression just like painting, its originality is closely linked to the power of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limit imposed by pre-modern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of "fast seeing". Cartier Bresson, in fact, claims that the modern camera may see too fast.This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past when images had a handmade quality. This longing for some primitive state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.Notes: crop vt.播种,修剪(树木)收割。 count for little 无关紧要。predatory 掠夺成性的。champion n.军；vt.支持。benevolent好心肠的，ambivalence矛盾心理。make (+不定式)似乎要: He makes to begin. (他似乎要开始了) swirls and eddies 漩涡。cult 狂热崇拜。daguerreotypes (初期的)银板照相法。 According to paragraph 2, the interest among photographers in each of the photography's two ideals can be described as（）
Text 4Picture-taking is a technique both for reflecting the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer’s temperament, discovering itself through the camera’s cropping of reality. That is, photography has two directly opposite ideals, in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of fearlessness, questing subjectivity and the photographer is all.These conflicting ideals arise from uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in "taking" a picture. Accordingly, the ideal of a photographer as observer is attracting because it implicitly denies that picturetaking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography’s means. Whatever are the claims that photography might make to be a form of personal expression just like painting, its originality is closely linked to the power of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton’s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limit imposed by pre-modern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of "fast seeing". Cartier Bresson, in fact, claims that the modern camera may see too fast.This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past when images had a handmade quality. This longing for some primitive state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.Notes: crop vt.播种,修剪(树木)收割。 count for little 无关紧要。predatory 掠夺成性的。champion n.军；vt.支持。benevolent好心肠的，ambivalence矛盾心理。make (+不定式)似乎要: He makes to begin. (他似乎要开始了) swirls and eddies 漩涡。cult 狂热崇拜。daguerreotypes (初期的)银板照相法。 The author mentions the work of Harold Edgerton in order to provide an example of（）
The euroskeptics contend that the risks of monetary union far outweigh any advantages it may bring. Since exchange rates can (1) be used to offset the strains of different economic conditions prevailing in various member countries, growth and employment problems are inevitable, they say. The resulting political pressures will (2) to demands for large intra-union (3) payments. And (4) political resistance to such payments is inevitable, skeptics regard the EMU as a (5) to further European integration.The (6) of the EMU is groundless. The countries that will soon formally renounce the right to adjust their nominal exchange rates are not (7) up anything they have not already voluntarily surrendered as part of preparations for monetary union. In the past years not one of the 11 founding members of EMU has (8) in order to enhance its (9) . What better proof of the determination and (10) of the European countries to form an economic and monetary unionThe claims by euroskeptics that the (11) to EMU membership have sacrificed growth and employment in order to fulfill the convergence criteria don’t hold water. (12) , government spending of over 50 percent of GDP and taxes and social (13) contributions of over 40 percent were clear (14) that many countries had widely (15) from being market economies. True, the plan for monetary union (16) countries to get their public finances in (17) . But such reforms--to put fiscal and social policies on a healthy, economic footing would have been indispensable anyway.Only with a common currency will the EU’s single market develop its full dynamic potential. The euro will make pricing more transparent, (18) in greater competition and, (19) , stronger growth. The days will be over (20) , for want of competition, Europe’s economies became rigid and inflexible. Read the following text. Choose the best word(s) for each numbered blank and mark A, B, C or D on ANSWER SHEET 1.16（）
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