题目内容
自拟标题，就启用2002式车牌申领方式改革存在的利弊进行分析，提出解决弊端的对策，并就对策进行论证。要求：针对性强，重点突出，论证有力，条理清晰。篇幅不超过1000字。(50分)
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SECTION A CHINESE TO ENGLISH
Directions: Translate the following text into English.
她还清楚地记得，1941年，她刚刚在耀华中学上了半年高中，因交不起学费而中途辍学。妈妈卖掉最后一件首饰，送她到上海去自谋生路。上海，这个灯红酒绿的花花世界，对于一个初上舞台的青年女演员，处处都有是陷阱。她几次回到天津，想找个安定一些的职业，但迫于自己和朋友伞兵生计，又不得不重返舞台。往来于京沪道上，她目睹大雪封道时，躺在雪地上被鞭打的同胞。日本宪法兵在隆冬腊月，拿水龙浇散抢着登车的难民。
她在茫茫的生活大海中浮沉，寻找着新的生路。在苦闷彷徨之中，党向她伸出了手，她投身于党所领导的进步文化事业。从演《丽人行》开始，她的生活道路发生了转折。
Infant mortality in the United States is higher than 16 other nations, 【M1】______
with 11.5 babies out of 1,000 die before age 1. A report based on 【M2】______
international figures and released out last week by the Population Reference 【M3】______
Bureau (PRB) in Washington D. C. rank the United States in 17th place among 【M4】______
nations with the lowest infant mortality rates; Finland, Japan and Sweden lead
the ranking with rates of less than 7 per 1,000.
Especially in countries with low infant mortality rate, the statistics 【M5】______
reflect the incident of genetic defects leading to death. In the US, say 【M6】______
some researchers, the statistics also provide a social indicator. Says Brian
McCarthy of the Centres of Disease Control in Atlanta, "Infant mortality
rate is affected by social, medical and environmental policies."
The US statistics show that 19.6 black babies per 1,000 die before
age 1, comparing with white babies at 10.1 per 1,000. "The real cause is 【M7】______
probably poverty," says PRB'S Carl Haub, "That's represented in the
rates for low birth weight babies among black." 【M8】______
Infant mortality closely relates to low birth weight which, Haub 【M9】______
says, results in a variety of factors, including poor diet and inadequate 【M10】______
medical care.
【M1】
SECTION A MINI-LECTURE
Directions: In this section you sill hear a mini-lecture. You will hear the lecture ONCE ONLY. While listening, take notes on the important points. Your notes will not be marked, but you will need them to complete a gap-filling task after the mini-lecture. When the lecture is over, you will be given two minutes to check your notes, and another ten minutes to complete the gap-filling task on ANSWER SHEET ONE. Use the blank sheet for note-taking.
听力原文： Non-native speakers of English, like their native counterparts, usually find that the opportunity to participate in group discussions is one of the most valuable aspects in their whole academic programme. But in order to obtain full value from this type of activity the student must be proficient in asking questions. If he isn't, then any attempt to resolve his difficulties may lead to further confusion, if not considerable embarrassment.
Some students who are not fluent in the language find that in the early stages of their course there are frequent breakdowns in communication. There are？ of course, many possible explanations for this. The student may not have a sufficient command over the grammar and vocabulary of English to enable him to express himself clearly. He may, on the other hand, have a poor pronunciation. Factors such as these, of course, require urgent and persistent attention on the part of the student. But a very frequent cause of misunderstanding in discussion sessions and one which can much more easily be put right, is the teacher's uncertainty whether his student has, in fact, asked a question at all. What often happens is as follows. The student, puzzled about a particular point, decides to ask a question. As so often happens when under pressure, he tends to concentrate most of his attention on the subject matter and he pays practical[y no attention to the language. Consequently he fails to employ the correct question form. For example, he may use a statement form. instead. The result is predictable. The teacher interprets the intended question as a comment. He then either agrees or disagrees with it, or he continues with what he was saying before.
However, even when the student does employ an appropriate question form, difficulties may still arise. The teacher may not know, for example, what the source of the student's difficulty is. The basic difficulty may, in fact, be one of the several different types. It may lie in the student's limited aural perception, in other words, the student may not have clearly heard what was said; or it may lie in his insufficient linguistic knowledge, that is to say, he may not have understood the English that his teacher employed; or alternatively, it may lie in his lack of knowledge of the subject matter itself, i.e. he may not have worked out the meaning of a point in relation to the special subject. Each type of difficulty requires a different kind of question If the student, for example, does not clearly specify that his difficulty is that he did not quite catch what was said, then the teacher is quite likely to give an explanation in terms of the subject matter. All what is really necessary in such cases is a simple repetition of the original statement.
Next, a student must ensure that his teacher is clear about exactly which point he is referring to. To put it in another way, the question must be specific. In order to be absolutely precise, it is a good idea if students preface their questions with an introductory statement. They might say, for example, something like the following: "I don't understand the point you made at the beginning of the discussion about cost inflation. Could you explain it again please？" The teacher is always in a position to give a satisfactory answer to this form. of question without any waste of time. He knows what type of difficulty the student has--one of subject matter. He knows where the difficulty occurs--at the beginnin
Though photography makes up a small slice of Dine's vast oeuvre, the exhibit is a true retrospective of his career. Dine mostly photographs his own artwork or the subjects that he has portrayed in sculpture, painting and prints including Venus de Milo, ravens and owls, hearts and skulls. There are still pictures of well-used tools in his Connecticut workshop, delightful digital self-portraits and intimate portraits of his sleeping wife, the American photographer Diana Michener. Most revealing and novel are Dine's shots of his poetry, scribbled in charcoal on walls like graffiti. To take in this show is to wander through Dine's life: his childhood obsessions, his loves, his dreams. It is a poignant and powerful exhibit that rightly celebrates one of modern art's most intriguing--and least hyped--talents.
When he arrived on the scene in the early 1960s, Dine was seen as a pioneer in the pop-art movement. But he didn't last long; once pop stagnated, Dine moved on. "Pop art had 1o do with the exterior world," he says. He was more interested, he adds, in "what was going on inside me." He explored his own personality, and from there developed themes. His love for handcrafting grew into a series of artworks incorporating hammers and saws. His obsession with owls and ravens came from a dream he once had. His childhood toy Pinocchio, worn and chipped, appears in some self-portraits as a red and yellow blur flying through the air.
Dine first dabbled in photography in the late 1970s, when Polaroid invited him to try out a new large-format camera at its head-quarters in Cambridge, Massachusetts. He produced a series of colorful, out-of-focus self-portraits, and when he was done, he packed them away. A half dozen of these images in per feet condition--are on display in Paris for the first time. Though masterful, they feel flat when compared with his later pictures.
Dine didn't shoot again until he went to Berlin in the mid '90s to teach. By then he was ready to embrace photography completely. Michener was his guide: "She opened my eyes to what was possible," he says. "Her approach is so natural and classic. I listened." When it came time to print what he had photo graphed, Dine chose heliogravure, the old style. of printing favored by Alfred Stieglitz, Edward Curtis and Paul Strand, which gives photographs a warm tone and an almost hand drawn loop like Dine's etchings. He later tried out the traditional black-and-white silver-gelatin process, then digital photography and jetink printing, which he adores.
About the same time, Dine immersed himself into Jungian psychoanalysis. That, in conjunction with his new artistic tack, proved cathartic. "The access photography gives you to your subconscious is so fantastic," he says. "I've learned how to bring these images out like a stream of consciousness--something that's not possible in the same way in drawing or painting because technique always gets in your way." This is evident in the way he works: when Dine shoots, he leaves things alone.
Eventually, Dine turned the camera on himself. His self-portraits are disturbingly personal; he opens himself physically and emotionally before the lens. He says such pictures are an attempt to examine himself as well as "record the march
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