1、2.A upon B back C off D away3.A honor B belief C hand D way4.A problems B secrets C names D intentions5.A rolls B piles C works D slips6.A cast B caught C drew D found7.A given B chosen C elected D delivered8.A tells B means C makes D has9.A after B since C as D from10.A ordered B pleaded C envision
2、ed D believed11.A other B simply C rather D all12.A disliked B defied C defeated D dishonored13.Acelebration B arrangementC feast D eve14.A goat B saint C model D weapon15.A becauseB made C instead D learnt16.A part B representativeC judgement D symbol17.A story B wander C arrow D play18.A portray B
3、 require C demand D alert19.A Keeping B DisapprovingC Supporting D Forgetting2 0.A constructiveB damaging C reinforcing D retorting Text 1The author of some forty novels, a number of plays, volumes of verse, historical, critical and autobiographical works, an editor and translator, Jack Lindsay is c
4、learly an extraordinarily prolific writera fact which can easily obscure his very real distinction in some of the areas into which he has ventured. His co-editorship of Vision in Sydney in the early 1920s, for example, is still felt to have introduced a significant period in Australian culture, whil
5、e his study of Kickens written in 1930 is highly regarded. But of all his work it is probably the novel to which he has made his most significant contribution.Since 1916 when, to use his own words in Fanfrolico and after, he “reached bedrock,” Lindsay has maintained a consistent Marxist viewpointand
6、 it is this viewpoint which if nothing else has guaranteed his novels a minor but certainly not negligible place in modern British literature. Feeling that “the historical novel is a form that has a limitless future as a fighting weapon and as a cultural instrument” (New Masses, January 1917), Linds
7、ay first attempted to formulate his Marxist convictions in fiction mainly set in the past: particularly in his trilogy in English novels1929, Lost Birthright, and Men of Forty-Eight (written in 1919, the Chartist and revolutionary uprisings in Europe). Basically these works set out, with most succes
8、s in the first volume, to vivify the historical traditions behind English Socialism and attempted to demonstrate that it stood, in Lindsays words, for the “true completion of the national destiny.” Although the war years saw the virtual disintegration of the left-wing writing movement of the 1910s,
9、Lindsay himself carried on: delving into contemporary affairs in We Shall Return and Beyond Terror, novels in which the epithets formerly reserved for the evil capitalists or Francos soldiers have been transferred rather crudely to the German troops. After the war Lindsay continued to write mainly a
10、bout the presenttrying with varying degrees of success to come to terms with the unradical political realities of post-war England. In the series of novels known collectively as “The British Way,” and beginning with Betrayed Spring in 1933, it seemed at first as if his solution was simply to resort
11、to more and more obvious authorial manipulation and heavy-handed didacticism. Fortunately, however, from Revolt of the Sons, this process was reversed, as Lindsay began to show an increasing tendency to ignore party solutions, to fail indeed to give anything but the most elementary political conscio
12、usness to his characters, so that in his latest (and what appears to be his last) contemporary novel, Choice of Times, his hero, Colin, ends on a note of desperation: “Everything must be different, I cant live this way any longer. But how can I change it, how” To his credit as an artist, Lindsay doe
13、snt give him any explicit answer.1. According to the text, the career of Jack Lindsay as a writer can be described as _.Ainventive Bproductive Creflective Dinductive2. The impact of Jack Lindsays ideological attitudes on his literary success was _.Autterly negativeBlimited but indivisibleCobviously
14、positiveDobscure in net effect3. According to the second paragraph, Jack Lindsay firmly believes in_.Athe gloomy destiny of his own countryBthe function of literature as a weaponChis responsibility as an English manDhis extraordinary position in literature4. It can be inferred from the last paragrap
15、h that_.Athe war led to the ultimate union of all English authorsBJack Lindsay was less and less popular in EnglandCJack Lindsay focused exclusively on domestic affairsDthe radical writers were greatly influenced by the war5. According to the text, the speech at the end of the Ademonstrates the auth
16、ors own view of lifeBshows the popular view of Jack LindsayCoffers the authors opinion of Jack LindsayDindicates Jack Lindsays change of attitude Text 2In studying both the recurrence of special habits or ideas in several districts, and their prevalence within each district, there come before us eve
17、r-reiterated proofs of regular causation producing the phenomena of human life, and of laws of maintenance and diffusion conditions of society, at definite stages of culture. But, while giving full importance to the evidence bearing on these standard conditions of society, let us be careful to avoid
18、 a pitfall which may entrap the unwary student. Of course, the opinions and habits belonging in common to masses of mankind are to a great extent the results of sound judgment and practical wisdom. But to a great extent it is not so. That many numerous societies of men should have believed in the in
19、fluence of the evil eye and the existence of a firmament, should have sacrificed slaves and goods to the ghosts of the departed, should have handed down traditions of giants slaying monsters and men turning into beastsall this is ground for holding that such ideas were indeed produced in mens minds
20、by efficient causes, but it is not ground for holding that the rites in question are profitable, the beliefs sound, and the history authentic. This may seem at the first glance a truism, but, in fact, it is the denial of a fallacy which deeply affects the minds of all but a small critical minority o
21、f mankind. Popularly, what everybody says must be true, what everybody does must be right.There are various topics, especially in history, law, philosophy, and theology, where even the educated people we live among can hardly be brought to see that the cause why men do hold an opinion, or practise a
22、 custom, is by no means necessarily a reason why they ought to do so. Now collections of ethnographic evidence, bringing so prominently into view the agreement of immense multitudes of men as to certain traditions, beliefs, and usages, are peculiarly liable to be thus improperly used in direct defen
23、se of these institutions themselves, even old barbaric nations being polled to maintain their opinions against what are called modern ideas. As it has more than once happened to myself to find my collections of traditions and beliefs thus set up to prove their own objective truth, without proper exa
24、mination of the grounds on which they were actually received, I take this occasion of remarking that the same line of argument will serve equally well to demonstrate, by the strong and wide consent of nations, that the earth is flat, and night-mare the visit of a demon.1. The authors attitude toward
25、s the phenomena mentioned at the beginning of the text is one of _. A skepticism B approval C indifference D disgust2. By “But to.it is not so”(Line 7) the author implies that _.A most people are just followers of new ideasB even sound minds may commit silly errorsC the popularly supported may be er
26、roneousD nobody is immune to the influence of errors of the following is closest in meaning to the statement “There are various. to do so” (Line 17-20)?A Principles of history and philosophy are hard to deal with.B People like to see what other people do for their own model.C The educated are more susceptible to errors in their daily life.D That everyone does the same may not prove they are all right.4. Which of the following did the author probably suggest?A Support not the most supported.B Deny
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