哈工程综合英语考试阅读部分学.docx

1、哈工程综合英语考试阅读部分学Text 1Vinton Cerf, known as the father of the Internet, said on Wednesday that the Web was outgrowing the planet Earth and the time had come to take the information superhighway to outer space. “The Internet is growing quickly, and we still have a lot of work to do to cover the planet,

2、” Cerf told the first day of the annual conference of the Internet Society in Geneva where more than 1,500 cyberspace fans have gathered to seek answers to questions about the tangled web of the Internet. Cerf believed that it would soon be possible to send real-time science data on the Internet fro

3、m a space mission orbiting another planet such as Mars. “There is now an effort under way to design and build an interplanetary Internet. The space research community is coming closer and closer and merging. We think that we will see interplanetary Internet networks that look very much like the ones

4、 we use today. We will need interplanetary gateways and there will be protocols to transmit data between these gateways,” Cerf said. Francois Fluckiger, a scientist attending the conference from the European Particle Physics Laboratory near Geneva, was not entirely convinced, saying: “We need dreams

5、 like this. But I dont know any Martian whom Id like to communicate with through the Internet.” Cerf has been working with NASAs Pasadena Jet Propulsion Laboratory the people behind the recent Mars expedition to design what he calls an “interplanetary Internet protocol.” He believes that astronauts

6、will want to use the Internet, although special problems remain with interference and delay. “This is quite real. The effort is becoming extraordinarily concrete over the next few months because the next Mars mission is in planning stages now,” Cerf told the conference. “If we use domain names like

7、Earth or Mars.jet propulsion laboratory people would be coming together with people from the Internet community.” He added. “The idea is to take the interplanetary Internet design and make it a part of the infrastructure of the Mars mission.” He later told a news conference that designing this syste

8、m now would prepare mankind for future technological advances. “The whole idea is to create an architecture so the design works anywhere. I dont know where were going to have to put it but my guess is that well be going out there some time,” Cerf said. “If you think 100 years from now, it is entirel

9、y possible that what will be purely research 50 years from now will become commercial 100 years from now. The Internet was the same it started as pure research but now it is commercialized. ” 21. According to Cerf, the purpose to design interplanetary internet is to A send real-time science data. B

10、communicate with astronauts. C lay foundation for future technological advances. D commercialize it. 22. From the text, we learn that Vinton Cerf is A seeking answers to questions about the internet web. B working on interplanetary internet with collaboration of NASA. C trying to commercialize the i

11、nterplanetary internet. D exploring the possibility of establishing internet network on Mars. 23. It can be inferred from the last paragraph that A the dream to build interplanetary internet can be fulfilled in the future. B interplanetary internet will be commercialized in 100 years. C the research

12、 of internet took 50 years. D it will take a long time to build interplanetary internet. 24. We know from the text that Mars mission is A one of NASAs internet projects.B an expedition to Mars. C the infrastructure of the interplanetary internet.D to create an architecture on Mars. 25. Which of the

13、following is the main point of the text ? A The development of the internet. B The possibility of space research. C Universal information superhighway. D The technological advances of Mars mission.Text 2It is said that people buy contemporary art when they are confident about the future and old art

14、when they are not. Conventional wisdom has it that older art holds its value, while contemporary stuff is for risk-lovers. William Goetzmann, a professor at Yale, estimates that during the last art-market depression, which set in after 1990, impressionist and contemporary works fell by most (51% and

15、 40% respectively), while Old Masters suffered least (down by 16%). Yet despite the ups and downs, contemporary works have been rewarding for those who are prepared to hang on: according to Jianping Mei and Michael Moses, professors at New York University (NYU) since 1970 the returns on contemporary

16、 art have far exceeded those on Old Masters and 19th-century paintings. Since the late 1980s, more sophisticated analysis of the art market and a growing interest in alternative investments have spurred the creation of several new investment funds focused on art. At a recent conference organized by

17、one of these, the Fine Art Fund, Rachel Campbell of Maastricht University pointed out the low correlation between returns on art and on those other investments. Given that it usually pays to diversify, that is a good argument for investing in art, whatever your taste. The Fine Art Fund, which began

18、buying this April (and has 36% of its money in cash), advises that investors spread their art allocation fairly evenly between Impressionists, Old Masters, modern art and contemporary works. Contemporary art, in particular, has served rich investors well in the past few years. Prices stayed stable w

19、hen stock markets fell. Nevertheless, one recent academic study has found a correlation with another asset class: during the last world art boom, in the late 1980s, prices were closely tied to property values, specifically Japanese land prices. After 1990, art and property fell together. Now propert

20、y prices in several countries are once again at frightening heights. Investing in art will always be a risky business. Works of art by definition belong to different categories; holding periods vary; the market is illiquid; art yields no income, producing only capital gain or loss; transaction costs

21、 are high. As for contemporary art in particular, it is a sobering thought that, according to Mr. Moses, each year an average of only two artists emerge whose work increases in value over time. All this speaks against a big commitment to speculating in art; better, maybe, simply to buy what you like

22、, if you can: treat your money, in other words, not as invested but as consumed. 26. By saying that the market is illiquid (Line 2, Para. 4), the author suggests that . A art works seldom lose their value in the market B investment in art does not have guaranteed return of profits C the difficulty t

23、o trade art works is obvious and evident D the art market tends to be responsive to the economic situation 27. The Fine Art Fund advise that investors need to spread their art allocation because A Old Masters always promise a high return of profits B different art works are valued differently in the

24、 market C buying art works is always a good way of investment D people should be aware of the risks of investment in art 28. The returns on contemporary art indicate . A people have come to see the value of contemporary art B the economic prospects are positively assessed C there is a growing intere

25、st in alternative art investments D investors have learned to spread their art allocation 29. We can learn from the text that . A the two NYU professors advise people against buying Old Masters B cautious investors are advised to stay away from the art market C the real estate market is a good indic

26、ator of the art market D art investors should not speculate in the art market 30. What is the possible attitude of Mr Moses toward investing in contemporary art? A Investors in contemporary art should be more patient. B A supplicated analysis of the art market is always a must. C Contemporary art se

27、ems to promise greater returns of profits. D It is dangerous to speculate in the contemporary art market. Text 3They have been writers and actors, entertainers and creators. They have won Academy Awards and received critical acclaim. They have graced the covers of magazines. In the arts and entertai

28、nment world, women have made a myriad of contributions to what we know as popular culture. Although many female celebrities may be known more for their figures than their talents, women remain more than just pretty faces. Womens History Month promises to take a look back at the influential female li

29、ves and legacies that have shaped our society. In this century alone, a number of famous females have made their artistic marks. In the literary world, women such as Sylvia Plath and Colette composed celebrated works, establishing themselves as creative writers to be reckoned with. Colette, a prolif

30、ic French novelist, tackled weighty themes such as the womans struggle for independence. Her catalog of works includes celebrated novels such as Cheri and The Pure and the Impure. Plath, renowned for her suicide as much as for her writing, wrote The Bell Jar as well as a wealth of poetry. Within the

31、 realm of fashion, influential designers such as Coco Chanel changed the face of female dressing. The Chanel name has become synonymous with high style. Coco invented the little black dress, perfected a trademark scentChanel No. 5and became famous for her tweed suits and quilted handbags. Hollywood

32、starlets such as Katharine Hepburn transformed the film world. She was known for her portrayal of strong, spirited females in her films, clearly embodying what it means to be an independent woman. As Hepburn once said, “I never realized until lately that women were supposed to be the inferior sex.” The music industry has also seen its share of barrier-breaking female stars. Women such as Billie Holiday and Ella Fitzgerald endure as revered names wit