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Passage Two While the college campus may be the perfect forum in which to exhibit your taste for the latest in fashion style, the interview is not the place to do so. With very few unusual exceptions, sandals and sweatshirts are out. Oxfords and business suits are still in. Even though many companies have relaxed the internal company dress code, interviews still follow the conservative standard. Don’t buck the trend. Unfortunately, most college grads are underprepared with proper interview dress. They feel they can " get by" with what is already in their wardrobe. Usually not. Remember that stylish is not conservative. You should be doing the talking, not your clothes. This is not to say that you need to go out and buy a whole new wardrobe. Go for quality over quantity. One or two well-chosen business suits will serve you all the way to the first day on the job and beyond. Then, when you are making some money, you can begin to round out your wardrobe. For now, no one will fault you for wearing the same sharp outfit each time you interview. If you are still not sure how to dress for the interview, call them and ask! But this is one time when you do not want to call the Hiring Manager—instead, ask to be put through to Human Resources. Sure, you run the risk of someone in HR thinking you are a social idiot, but that’s a lot better than having the Hiring Manager distracted by inappropriate interview dress. While many work environments have shifted to business casual as the work standard, business suits are still the interview standard. When in doubt, it is almost always better to err on the side of conservatism. One final note on interview dress: while it goes without saying that your interview elothes should be neat and clean, very few interviewees give the same time and attention to their shoes. Shoes Yes, shoes. I am aware of at least one Corporate Recruiter who forms first impressions based solely on shoes. He subjectively judges that those who pay attention to details like their shoes are also likely to be diligent in their work life. And it is not just that person’s opinion. So it is not enough to be elean, pressed, and ironed. Make sure your shoes are conservative, clean, and polished. The passage is mainly written to ______.
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Part Ⅳ ClozeDirections: In this part, there is a passage with 15 blanks. For each blank there are four choices mrarked A, B, C and D. According to the U. S. National Highway Traffic Safety Administration (NHTSA) , car crashes are the leading cause of death among children between 5 and 14 years of age. Says NHTSA: " (61) 50% of children who die in crashes are unrestrained. In addition, 4 out of 5 children are (62) restrained. " The NHTSA offers a number of safety (63) and cautions for those who are accompanied by children while driving. (64) laws vary from country to country and even from state to state, these guidelines may serve as food for (65) to many parents and guardians of children. The safest place for all children is in the back seat. Infants should be placed in a rear-facing child safety seat in the baekseat of the car. A child (66) a year old and weighing at least 20 pounds may be placed in a forward-facing seat. At 40 pounds, the child can use a "booster seat(儿童案例椅) ", (67) is secured by one of the car’s lap and shoulder belts. At approximately 80 pounds and a (68) of about four feet nine inches, the child may begin using an adult safety strap. Children should not sit in the front passenger seat (69) they are at least 13 years of age. Front- passenger air bags can cause serious (70) to younger children and babies. When a booster seat is used, a lap belt alone will not provide (71) protection if the booster seat does not have a (72) . Do not think that a shoulder belt alone will protect a small child; in the (73) of a crash, the belt may (74) the neck of the child, causing serious injury or even death. Follow instructions closely when (75) and using child seats. According to NHTSA, "even the ’safest’ seat may not protect your child if it isn’t used correctly. "
Passage Three Musicians are fascinated with the possibility that music may be found in nature; it makes our own desire for art seem all the more essential. Over the past few years no less a bold musical explorer than Peter Gabriel has been getting involved. At the Research Center in Atlanta, Georgia, he has been making music together with Kanzi, one of the bonobo apes (倭黑猩猩) involved in the long-term language acquisition studies of Sue and Duane Savage-Rumbaugh. I have seen the video of Kanzi picking notes out on a piano-like keyboard, with Gabriel and members of his band playing inside the observation booth in the lab. (They did it this way because Kanzi had bitten one of his trainers a few days previously—interspecies communication is not without its dangers. ) The scene is beautiful, the ape trying out the new machine and looking thoughtfully pleased with what comes out. He appears to be listening, playing the right notes. It is tentative but moving, the animal groping for something from the human world but remaining isolated from the rest of the band. It is a touching encounter, and a bold move for a musician whose tune Shock the Monkey many years ago openly condemned the horrors of less sensitive animal experiments than this. What is the scientific value of such a jam session The business of the Research Center is the forging of greater communication between human and animal. Why not try the fertile and mysterious ground of music in addition to the more testable arena of simple language The advantage of hearing music in nature and trying to reach out to nature through music is that, though we don’t fully understand it, we can easily have access to it. We don’t need to explain its workings to be touched by it. Two musicians who don’t speak the same language can play together, and we can appreciate the music from human cultures far from our own. Music needs no explanation, but it clearly expresses something deep and important, something humans cannot live without. Finding music in the sounds of birds, whales and other animals makes the farther frontiers of nature seem that much closer to us. The author seems to suggest that ______.
Passage Four It was 1985, and Rafe Esquith was beginning his third year of teaching in Los Angeles public schools. He faced a class of 40 sixth-graders from low-income homes where English rarely was spoken, and the best reader among them was two years below grade level. So, what the beck, he decided to teach them Shakespeare. Five families agreed to let their children play "Macbeth" for two hours after school. This proved to be so much fun that, within weeks, Esquith had 28 kids happily soaking up the drama of blood and betrayal in medieval Scotland. They were learning many words they had never heard before. But when Esquith asked a school district supervisor for official approval, he received this note: " Mr. Esquith, it is not appropriate that you stay after school to teach Shakespeare. It would be better if you did something with the children that is academic. " It would not be the last time that the narrow thinking of bigcity school administration got in Esquith’s way. Yet the bearded, 6-foot-tall cyclone has proved that a teacher who thinks very big— much harder lessons, larger projects, extra class time—can help disadvantaged children in ways most educators never imagine. This was difficult at first, until he stumbled upon a concept of teaching that is at the core of his success. American children, even those from hardworking immigrant cultures, have in Esquith’s view been wrongly taught that learning should always be fun, by teachers who think hard lessons are bad for kids from low-income homes. When faced with something difficult, such ’students don’t know what to do. The Declaration of Independence says Americans are entitled to the pursuit of happiness, but the emphasis in public schooling has been on the happiness, he believes. "What happened to pursuit" Esquith said. So he has created an entirely new universe in his classroom, cherishing effort and the slogan, "There Are No Shortcuts". As for their own dramatic performances, Esquith got around the original ban on his after-school "Macbeth" rehearsals by switching to Thornton Wilder’s " Our Town. " When that class finally performed the Shakespeare play, a school district supervisor showed up. The high-ranking district administrator came up afterward and shook his hand. "Rare," she said, " I’ve never seen Shakespeare done better. " It can be learned from the passage that Esquith’s students ______.
Passage Four It was 1985, and Rafe Esquith was beginning his third year of teaching in Los Angeles public schools. He faced a class of 40 sixth-graders from low-income homes where English rarely was spoken, and the best reader among them was two years below grade level. So, what the beck, he decided to teach them Shakespeare. Five families agreed to let their children play "Macbeth" for two hours after school. This proved to be so much fun that, within weeks, Esquith had 28 kids happily soaking up the drama of blood and betrayal in medieval Scotland. They were learning many words they had never heard before. But when Esquith asked a school district supervisor for official approval, he received this note: " Mr. Esquith, it is not appropriate that you stay after school to teach Shakespeare. It would be better if you did something with the children that is academic. " It would not be the last time that the narrow thinking of bigcity school administration got in Esquith’s way. Yet the bearded, 6-foot-tall cyclone has proved that a teacher who thinks very big— much harder lessons, larger projects, extra class time—can help disadvantaged children in ways most educators never imagine. This was difficult at first, until he stumbled upon a concept of teaching that is at the core of his success. American children, even those from hardworking immigrant cultures, have in Esquith’s view been wrongly taught that learning should always be fun, by teachers who think hard lessons are bad for kids from low-income homes. When faced with something difficult, such ’students don’t know what to do. The Declaration of Independence says Americans are entitled to the pursuit of happiness, but the emphasis in public schooling has been on the happiness, he believes. "What happened to pursuit" Esquith said. So he has created an entirely new universe in his classroom, cherishing effort and the slogan, "There Are No Shortcuts". As for their own dramatic performances, Esquith got around the original ban on his after-school "Macbeth" rehearsals by switching to Thornton Wilder’s " Our Town. " When that class finally performed the Shakespeare play, a school district supervisor showed up. The high-ranking district administrator came up afterward and shook his hand. "Rare," she said, " I’ve never seen Shakespeare done better. " It can be learned ft’om the last paragraph that ______.
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