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Part 1·Read this letter from Ms. Lee.KEG AUDIOMAIDSTON KENT ME15 6QPTel: (01622) 672261Fax: (01622) 750653Mr. Yoshi Watenable2-9-9 Shinjuku, Shunjuku-kuToyko 160JapanDear Mr. Yoshi,We would like to invite you to join us for the annual sales conference and to give a talk at the conference on 15 March. The conference will start at 8.30 am. 230 company directors are expected to attend.I would be grateful if you could inform me whetheryou will be available on 15 March and tell me the topic of your speech.Yours sincerely,Gina LeeSecretaryWrite a reply (50-60 words) to Ms. Lee:☆ Thanking her for the invitation☆ Agreeing to give a talk☆ Saying what you will talk about☆ Asking where the meeting will be held.
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Part 2Questions 1-8·Read the following passage and answer questions 9-18.1. People have been painting pictures for at least 30,000 years. The earliest pictures are painted by people who hunted animals. They used to paint pictures of the animals they want to catch and kill. Pictures of this kind have been found in walls or caves in France and Spain. No one knows why they were painted there. Perhaps painters thought that their pictures would help them to catch these animals. Or perhaps human beings have always wanted to tell stories in picture.2. About 5,000 years ago the Egyptians and other people in the east began to use pictures as a kind of writing. They drew simple pictures or signs to represent things and ideas, and to represent the sounds of their language. The signs these people used become a kind of alphabet.3. The Egyptians used to record information and tell stories by putting picture writing and pictures together. When an important person died, scenes and stories from his life were painted and carved on the walls of the place where he was buried. Some of these pictures are like modem comic-strip stories. It has been said that Egypt is the home of the comic strip. But, for the Egyptians, pictures still had magic power. So they did not try to make their way of writing simple. The ordinary people could not understand it.4. By the year 1000 BC, people who lived in area around the Mediterranean Sea had developed a simpler system of writing. The signs they used were very easy to write, and there were fewer of them than in the Egyptian system. This was because each sign, or letter, represented only one sound in their language. The Greeks developed this system and formed the letters of Greek alphabet. The Romans copied the idea, and the alphabet is now used over the world.5. These days, we can write down a story, or record the information without using pictures. But we still need pictures of all kinds: drawings, photographs, signs and diagrams. We find them everywhere: in books and newspapers, in the street, and on the walls of the places where we live and work. Pictures help us to understand and remember things easily, and they can make a story much more interesting.Questions 14-18·Using the information in the text, complete each sentence 14-10 with a word or phrase from the list below.·For each sentence (14-18), mark one letter (A -G) on the Answer Sheet.·Do not mark any letter twice. The Roman alphabet is developed from （）.
How do you think the author feels about these long-lived people（）
CONVERSATION 1(Questions 1-4)John and Sue: the (1) wedding anniversaryThe present Sue likes: a (2) ringThe present Sue guesses her husband will give her: the (3) earringsThe present Paul guesses John will give Sue: a mink (4) (4) should be filled in （）
Part 3Questions 1-7Directions: Read the following passage and choose the correct answer from A, B, C and D.At the time Jane Austin’s novels were published — between 1811 and 1818 — English literature was not part of any academic curriculum. In addition, fiction was under strenuous attack. Certain religious and political groups felt novels had the power to make so-called immoral characters so interesting that young readers would identify with them; these groups also considered novels to be of little practical use. Even Cole ridge, certainly no literary reactionary, spoke for many when he asserted that "novel-reading occasions the destruction of the mind’s powers."These attitudes toward novels help explain why Austin received little attention from early nineteenth-century literary critics. (In any case, a novelist published anonymously, as Austin was, would not be likely to receive much critical attention.) The literary response that was accorded her, however, was often as incisive as twentieth-century criticism. In his attack in 1816 on novelistic portrayals "outside of ordinary experience", for example, Scott made an insightful remark about the merits of Austin’s fiction. "Her novels", wrote Scott, "present to the reader an accurate and exact picture of ordinary everyday people and places, reminiscent of seventeenth-century Flemish Painting." Scott did not use the word "realism", but he undoubtedly used a standard of realistic probability in judging novels, the critic Whately didn’t use the word realism either, but he expressed agreement with Scott’s evaluation, and went on to suggest the possibilities for moral instruction in what we have called Austin’s realistic method. "Her characters", wrote Whately, "are persuasive agents for moral truth since they are ordinary persons so clearly evoked that we feel an interest in their fate as if it were our own." "Moral instruction", explained Whately, "is more likely to be effective when conveyed through recognizably human and interesting characters than when imparted by a sermonizing narrator". Whitely especially praised Austin’s ability to create characters who "mingle goodness and villainy, weakness and virtue, as in life they are always mingled." Whitely concluded his remarks by comparing Austin’s art of characterization to Dickens’, stating his preference to Austin’s.Yet the response of nineteenth-century literary critics to Austin was not always so laudatory, and often anticipated the reservations of twentieth century critics. An example of such a response was Lewes’ complaint in 1859 that Austin’s range of subjects and characters was too narrow. Praising her verisimilitude, Lewes added that nonetheless her focus was too often upon only the unlofty and the commonplace. (Twentieth-century, Marxists, on the other hand, were to complain about what they saw as her exclusive emphasis on a lofty upper-middle class.) In any case, having been rescued by some literary critics from neglect and indeed gradually lionized by them, Austin steadily reached, by the mid-nineteenth century, the enviable pinnacle of being considered controversial. The passage suggests that twentieth-century Marxists would have admired Jane Austin’s novels more if the novels, as the Marxists understood them, had （）.
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