1、 Such bodily reaction might conceivably help _9_the effects of psychological stress. Anyway, the act of laughing probably does produce other types of _10_ feedback, that improve an individuals emotional state. _11_one classical theory of emotion, our feelings are partially rooted _12_ physical react
2、ions. It was argued at the end of the 19th century that humans do not cry _13_they are sad but they become sad when the tears begin to flow. Although sadness also _14_ tears, evidence suggests that emotions can flow _15_ muscular responses. In an experiment published in 1988,social psychologist Frit
3、z Strack of the University of wrzburg in Germany asked volunteers to _16_ a pen either with their teeth-thereby creating an artificial smile or with their lips, which would produce a(n) _17_ expression. Those forced to exercise their enthusiastically to funny catoons than did those whose months were
4、 contracted in a frown, _19_ that expressions may influence emotions rather than just the other way around _20_ , the physical act of laughter could improve mood. 1Aamong Bexcept Cdespite Dlike 2Areflect Bdemand Cindicate Dproduce 3Astabilizing Bboosting Cimpairing Ddetermining 4Atransmit Bsustain C
5、evaluate Dobserve 5Ameasurable Bmanageable Caffordable Drenewable 6AIn turn BIn fact CIn addition DIn brief 7Aopposite Bimpossible Caverage Dexpected 8Ahardens Bweakens Ctightens Drelaxes 9Aaggravate Bgenerate Cmoderate Denhance 10Aphysical Bmental Csubconscious Dinternal 11AExcept for BAccording to
6、 CDue to DAs for 12Awith Bon Cin Dat 13Aunless Buntil Cif Dbecause 14Aexhausts Bfollows Cprecedes Dsuppresses 15Ainto Bfrom Ctowards Dbeyond 16Afetch Bbite Cpick Dhold 17Adisappointed Bexcited Cjoyful Dindifferent 18Aadapted Bcatered Cturned Dreacted 19Asuggesting Brequiring Cmentioning Dsupposing20
7、AEventually BConsequently CSimilarly DConversely Section II Reading Comprehension Part A Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on ANSWER SHEET 1. (40 points) Text 1 The decision of the New York Philharmonic to hire Alan Gilber
8、t as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009. For the most part, the response has been favorable, to say the least. “Hooray! At last!” wrote Anthony Tommasini, a sober-sided classical-music critic. One of th
9、e reasons why the appointment came as such a surprise, however, is that Gilbert is comparatively little known. Even Tommasini, who had advocated Gilberts appointment in the Times, calls him “an unpretentious musician with no air of the formidable conductor about him.” As a description of the next mu
10、sic director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez, that seems likely to have struck at least some Times readers as faint praise. For my part, I have no idea whether Gilbert is a great conductor or even a good one. To be sure, he performs an imp
11、ressive variety of interesting compositions, but it is not necessary for me to visit Avery Fisher Hall, or anywhere else, to hear interesting orchestral music. All I have to do is to go to my CD shelf, or boot up my computer and download still more recorded music from iTunes. Devoted concertgoers wh
12、o reply that recordings are no substitute for live performance are missing the point. For the time, attention, and money of the art-loving public, classical instrumentalists must compete not only with opera houses, dance troupes, theater companies, and museums, but also with the recorded performance
13、s of the great classical musicians of the 20th century. There recordings are cheap, available everywhere, and very often much higher in artistic quality than todays live performances; moreover, they can be “consumed” at a time and place of the listeners choosing. The widespread availability of such
14、recordings has thus brought about a crisis in the institution of the traditional classical concert. One possible response is for classical performers to program attractive new music that is not yet available on record. Gilberts own interest in new music has been widely noted: Alex Ross, a classical-
15、music critic, has described him as a man who is capable of turning the Philharmonic into “a markedly different, more vibrant organization.” But what will be the nature of that difference? Merely expanding the orchestras repertoire will not be enough. If Gilbert and the Philharmonic are to succeed, t
16、hey must first change the relationship between Americas oldest orchestra and the new audience it hops to attract. 21. We learn from Para.1 that Gilberts appointment has Aincurred criticism. Braised suspicion. Creceived acclaim. Daroused curiosity. 22. Tommasini regards Gilbert as an artist who is Ai
17、nfluential. Bmodest. Crespectable. Dtalented. 23. The author believes that the devoted concertgoers Aignore the expenses of live performances. Breject most kinds of recorded performances. Cexaggerate the variety of live performances. Doverestimate the value of live performances. 24. According to the
18、 text, which of the following is true of recordings? AThey are often inferior to live concerts in quality. BThey are easily accessible to the general public. CThey help improve the quality of music. DThey have only covered masterpieces. 25. Regarding Gilberts role in revitalizing the Philharmonic, t
19、he author feels Adoubtful. Benthusiastic. Cconfident. Dpuzzled. Text 2 When Liam McGee departed as president of Bank of America in August, his explanation was surprisingly straight up. Rather than cloaking his exit in the usual vague excuses, he came right out and said he was leaving “to pursue my g
20、oal of running a company.” Broadcasting his ambition was “very much my decision,” McGee says. Within two weeks, he was talking for the first time with the board of Hartford Financial Services Group, which named him CEO and chairman on September 29. McGee says leaving without a position lined up gave
21、 him time to reflect on what kind of company he wanted to run. It also sent a clear message to the outside world about his aspirations. And McGee isnt alone. In recent weeks the No.2 executives at Avon and American Express quit with the explanation that they were looking for a CEO post. As boards sc
22、rutinize succession plans in response to shareholder pressure, executives who dont get the nod also may wish to move on. A turbulent business environment also has senior managers cautious of letting vague pronouncements cloud their reputations. As the first signs of recovery begin to take hold, depu
23、ty chiefs may be more willing to make the jump without a net. In the third quarter, CEO turnover was down 23% from a year ago as nervous boards stuck with the leaders they had, according to Liberum Research. As the economy picks up, opportunities will abound for aspiring leaders. The decision to qui
24、t a senior position to look for a better one is unconventional. For years executives and headhunters have adhered to the rule that the most attractive CEO candidates are the ones who must be poached. Says Korn/Ferry senior partner Dennis Carey:”I cant think of a single search Ive done where a board
25、has not instructed me to look at sitting CEOs first.” Those who jumped without a job havent always landed in top positions quickly. Ellen Marram quit as chief of Tropicana a decade age, saying she wanted to be a CEO. It was a year before she became head of a tiny Internet-based commodities exchange.
26、 Robert Willumstad left Citigroup in 2005 with ambitions to be a CEO. He finally took that post at a major financial institution three years later. Many recruiters say the old disgrace is fading for top performers. The financial crisis has made it more acceptable to be between jobs or to leave a bad
27、 one. “The traditional rule was its safer to stay where you are, but thats been fundamentally inverted,” says one headhunter. “The people whove been hurt the worst are those whove stayed too long.” 26. When McGee announced his departure, his manner can best be described as being Aarrogant. Bfrank. Cself-centered. Dimpulsive. 27. According to Paragraph 2, senior executives quitting may be spurred by Atheir expectation of better financial status. Btheir need to reflect on their private life. Ctheir strained relations with the boards. Dtheir pursuit of new
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