Doctors and hospitals try hard to avoi...

单项选择题

In a recent survey, Garber and Hohz concluded that the average half-hour children"s television show contains 47 violent acts. When asked about the survey network television executive Jean Pater responded. "I sure as heck don"t think that Bugs Bunny"s pouring a glass of milk over a chipmunk"s head is violence." Unfortunately, both Garber and Holtz and Pater beg the question. The real issue is whether children view such acts as violence.
The violence programming aimed at children almost always appears in the context of fantasy. Cartoon violence generally includes animation, humor, and a remote setting. There is no evidence of direct imitation of television violence by children, though there is evidence that fantasy violence can energize previously learned aggressive response such as a physical attack on another child during play. It is by no means clear, however, that the violence in a portrayal is solely responsible for this energizing effect. Rather, the evidence suggests that any exciting material can trigger subsequent aggressive behavior and that it is the excitation rather than the portrayal of violence that instigates or energizes any subsequent violent behavior. "Cold" imitation of violence by children is extremely rare, and the very occasional evidence of direct, imitative associations between television violence and aggressive behavior has been limited to extremely novel and violent acts by teenagers or adults with already established patterns of deviant behavior. The institutional effect means, in the short term, that exposure to violent portrayals could be dangerous if shoaly after the exposure (within 15 to 20 minutes), the child happens to be in a situation that calls for interpersonal aggression as an appropriate response, for example, an argument between siblings or among peers. This same institutional effect, however, could be produced by other exciting but nonviolent television content or by any other excitational source, including, ironically, a parent"s turning off the set.
So there is no convincing causal evidence of any cumulative instigational effects such as more aggressive or violent dispositions in children. In fact, passivity is a more likely long term result of heavy viewing of television violence. The evidence does not warrant the strong conclusions advanced by many critics who tend to use television violence as a scapegoat to draw public attention away from the real causes of violence—causes like abusive spouses and parents and a culture that celebrates violence generally.The word "beg" underlined in Paragraph 1 is closest in meaning to ______.

A．doubt
B．confirm
C．agree
D．disagree

单项选择题

In a recent survey, Garber and Hohz concluded that the average half-hour children"s television show contains 47 violent acts. When asked about the survey network television executive Jean Pater responded. "I sure as heck don"t think that Bugs Bunny"s pouring a glass of milk over a chipmunk"s head is violence." Unfortunately, both Garber and Holtz and Pater beg the question. The real issue is whether children view such acts as violence.
The violence programming aimed at children almost always appears in the context of fantasy. Cartoon violence generally includes animation, humor, and a remote setting. There is no evidence of direct imitation of television violence by children, though there is evidence that fantasy violence can energize previously learned aggressive response such as a physical attack on another child during play. It is by no means clear, however, that the violence in a portrayal is solely responsible for this energizing effect. Rather, the evidence suggests that any exciting material can trigger subsequent aggressive behavior and that it is the excitation rather than the portrayal of violence that instigates or energizes any subsequent violent behavior. "Cold" imitation of violence by children is extremely rare, and the very occasional evidence of direct, imitative associations between television violence and aggressive behavior has been limited to extremely novel and violent acts by teenagers or adults with already established patterns of deviant behavior. The institutional effect means, in the short term, that exposure to violent portrayals could be dangerous if shoaly after the exposure (within 15 to 20 minutes), the child happens to be in a situation that calls for interpersonal aggression as an appropriate response, for example, an argument between siblings or among peers. This same institutional effect, however, could be produced by other exciting but nonviolent television content or by any other excitational source, including, ironically, a parent"s turning off the set.
So there is no convincing causal evidence of any cumulative instigational effects such as more aggressive or violent dispositions in children. In fact, passivity is a more likely long term result of heavy viewing of television violence. The evidence does not warrant the strong conclusions advanced by many critics who tend to use television violence as a scapegoat to draw public attention away from the real causes of violence—causes like abusive spouses and parents and a culture that celebrates violence generally.The primary purpose of the passage is to ______.

单项选择题

Sofia Coppola"s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who have gotten lost in their own lives. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood. In only her second feature, Coppola has made a poised, intelligent film that nicely balances laughs with a poignancy rarely seen in American movies. If Focus Features markets "Lost in Translation" carefully, this most original comedy could win audiences well beyond art houses.
Bob Harris (Murray) is a grumpy movie star in town to shoot a whiskey commercial. He is not only plagued by jet lag and gloom over a deteriorating marriage of many years, he is also in the midst of a midlife crisis that dampens his spirits but not his wit.
Charlotte (Johansson), the neglected wife of a photographer, experiences a similar air-condi-tioned nightmare. Married two years, she already feels lost in the relationship, unable to participate in her husband"s career or pinpoint what she wants out of life. When she ventures into the city, she is confronted by a distorted version of Western modernity.
These two people discover each other late at night at the bar. Neither one can sleep. A friendship evolves in their mutual isolation.
Coppola sees in Tokyo"s crowded, neon-lit urban landscape a society estranged from its own culture. The night is filled with pleasure-seekers obsessed by games, toys and American pop culture. Only when Charlotte takes a train to Kyoto is she able to experience the old Japan of ancient temples and gardens, tea houses and kimono-clad figures. This role fits Murray like his own skin. A middle-aged burnout who sees no challenges on his horizon gradually changes into a man revitalized by another alienated soul. His comic touch enriches the character with a self-deprecating wit and. in a few sequences, a rubbery physicality that earns sustained laughs. Johansson makes Charlotte"s loneliness and disillusionment palpable as the woman is cut off from life in ways she never imagined.
Using high-speed film stock, cinematographer Lance Acord gives the glaring neon and numbingly sleek interiors a kind of romantic sheen. The score produced by Brian Reitzell created out of Japanese musical themes and "Tokyo dream-pop" adds to the sense of an Eastern city that has succumbed in large measure to Western culture.The word "slapstick" underlined in Paragraph 1 is closest in meaning to ______.

A．farce
B．soap opera
C．idol play
D．science fiction

单项选择题

In a recent survey, Garber and Hohz concluded that the average half-hour children"s television show contains 47 violent acts. When asked about the survey network television executive Jean Pater responded. "I sure as heck don"t think that Bugs Bunny"s pouring a glass of milk over a chipmunk"s head is violence." Unfortunately, both Garber and Holtz and Pater beg the question. The real issue is whether children view such acts as violence.
The violence programming aimed at children almost always appears in the context of fantasy. Cartoon violence generally includes animation, humor, and a remote setting. There is no evidence of direct imitation of television violence by children, though there is evidence that fantasy violence can energize previously learned aggressive response such as a physical attack on another child during play. It is by no means clear, however, that the violence in a portrayal is solely responsible for this energizing effect. Rather, the evidence suggests that any exciting material can trigger subsequent aggressive behavior and that it is the excitation rather than the portrayal of violence that instigates or energizes any subsequent violent behavior. "Cold" imitation of violence by children is extremely rare, and the very occasional evidence of direct, imitative associations between television violence and aggressive behavior has been limited to extremely novel and violent acts by teenagers or adults with already established patterns of deviant behavior. The institutional effect means, in the short term, that exposure to violent portrayals could be dangerous if shoaly after the exposure (within 15 to 20 minutes), the child happens to be in a situation that calls for interpersonal aggression as an appropriate response, for example, an argument between siblings or among peers. This same institutional effect, however, could be produced by other exciting but nonviolent television content or by any other excitational source, including, ironically, a parent"s turning off the set.
So there is no convincing causal evidence of any cumulative instigational effects such as more aggressive or violent dispositions in children. In fact, passivity is a more likely long term result of heavy viewing of television violence. The evidence does not warrant the strong conclusions advanced by many critics who tend to use television violence as a scapegoat to draw public attention away from the real causes of violence—causes like abusive spouses and parents and a culture that celebrates violence generally.The phase "by no means" underlined in Paragraph 2 is closest in meaning to ______.

A．not at all
B．a little
C．not
D．apparently

单项选择题

Sofia Coppola"s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who have gotten lost in their own lives. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood. In only her second feature, Coppola has made a poised, intelligent film that nicely balances laughs with a poignancy rarely seen in American movies. If Focus Features markets "Lost in Translation" carefully, this most original comedy could win audiences well beyond art houses.
Bob Harris (Murray) is a grumpy movie star in town to shoot a whiskey commercial. He is not only plagued by jet lag and gloom over a deteriorating marriage of many years, he is also in the midst of a midlife crisis that dampens his spirits but not his wit.
Charlotte (Johansson), the neglected wife of a photographer, experiences a similar air-condi-tioned nightmare. Married two years, she already feels lost in the relationship, unable to participate in her husband"s career or pinpoint what she wants out of life. When she ventures into the city, she is confronted by a distorted version of Western modernity.
These two people discover each other late at night at the bar. Neither one can sleep. A friendship evolves in their mutual isolation.
Coppola sees in Tokyo"s crowded, neon-lit urban landscape a society estranged from its own culture. The night is filled with pleasure-seekers obsessed by games, toys and American pop culture. Only when Charlotte takes a train to Kyoto is she able to experience the old Japan of ancient temples and gardens, tea houses and kimono-clad figures. This role fits Murray like his own skin. A middle-aged burnout who sees no challenges on his horizon gradually changes into a man revitalized by another alienated soul. His comic touch enriches the character with a self-deprecating wit and. in a few sequences, a rubbery physicality that earns sustained laughs. Johansson makes Charlotte"s loneliness and disillusionment palpable as the woman is cut off from life in ways she never imagined.
Using high-speed film stock, cinematographer Lance Acord gives the glaring neon and numbingly sleek interiors a kind of romantic sheen. The score produced by Brian Reitzell created out of Japanese musical themes and "Tokyo dream-pop" adds to the sense of an Eastern city that has succumbed in large measure to Western culture."Lost in translation" is a movie about ______.

A．a couple who sought happiness in a foreign country
B．some westerners keen on learning the oriental culture
C．the funny experiences of some film-making crew in Japan
D．people whose lives got disrupted in an alien culture

单项选择题

In a recent survey, Garber and Hohz concluded that the average half-hour children"s television show contains 47 violent acts. When asked about the survey network television executive Jean Pater responded. "I sure as heck don"t think that Bugs Bunny"s pouring a glass of milk over a chipmunk"s head is violence." Unfortunately, both Garber and Holtz and Pater beg the question. The real issue is whether children view such acts as violence.
The violence programming aimed at children almost always appears in the context of fantasy. Cartoon violence generally includes animation, humor, and a remote setting. There is no evidence of direct imitation of television violence by children, though there is evidence that fantasy violence can energize previously learned aggressive response such as a physical attack on another child during play. It is by no means clear, however, that the violence in a portrayal is solely responsible for this energizing effect. Rather, the evidence suggests that any exciting material can trigger subsequent aggressive behavior and that it is the excitation rather than the portrayal of violence that instigates or energizes any subsequent violent behavior. "Cold" imitation of violence by children is extremely rare, and the very occasional evidence of direct, imitative associations between television violence and aggressive behavior has been limited to extremely novel and violent acts by teenagers or adults with already established patterns of deviant behavior. The institutional effect means, in the short term, that exposure to violent portrayals could be dangerous if shoaly after the exposure (within 15 to 20 minutes), the child happens to be in a situation that calls for interpersonal aggression as an appropriate response, for example, an argument between siblings or among peers. This same institutional effect, however, could be produced by other exciting but nonviolent television content or by any other excitational source, including, ironically, a parent"s turning off the set.
So there is no convincing causal evidence of any cumulative instigational effects such as more aggressive or violent dispositions in children. In fact, passivity is a more likely long term result of heavy viewing of television violence. The evidence does not warrant the strong conclusions advanced by many critics who tend to use television violence as a scapegoat to draw public attention away from the real causes of violence—causes like abusive spouses and parents and a culture that celebrates violence generally.According to the author, the immediate effect of TV cartoons on children is that they become ______.

A．violent
B．excited
C．imaginative
D．aggressive

单项选择题

Sofia Coppola"s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who have gotten lost in their own lives. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood. In only her second feature, Coppola has made a poised, intelligent film that nicely balances laughs with a poignancy rarely seen in American movies. If Focus Features markets "Lost in Translation" carefully, this most original comedy could win audiences well beyond art houses.
Bob Harris (Murray) is a grumpy movie star in town to shoot a whiskey commercial. He is not only plagued by jet lag and gloom over a deteriorating marriage of many years, he is also in the midst of a midlife crisis that dampens his spirits but not his wit.
Charlotte (Johansson), the neglected wife of a photographer, experiences a similar air-condi-tioned nightmare. Married two years, she already feels lost in the relationship, unable to participate in her husband"s career or pinpoint what she wants out of life. When she ventures into the city, she is confronted by a distorted version of Western modernity.
These two people discover each other late at night at the bar. Neither one can sleep. A friendship evolves in their mutual isolation.
Coppola sees in Tokyo"s crowded, neon-lit urban landscape a society estranged from its own culture. The night is filled with pleasure-seekers obsessed by games, toys and American pop culture. Only when Charlotte takes a train to Kyoto is she able to experience the old Japan of ancient temples and gardens, tea houses and kimono-clad figures. This role fits Murray like his own skin. A middle-aged burnout who sees no challenges on his horizon gradually changes into a man revitalized by another alienated soul. His comic touch enriches the character with a self-deprecating wit and. in a few sequences, a rubbery physicality that earns sustained laughs. Johansson makes Charlotte"s loneliness and disillusionment palpable as the woman is cut off from life in ways she never imagined.
Using high-speed film stock, cinematographer Lance Acord gives the glaring neon and numbingly sleek interiors a kind of romantic sheen. The score produced by Brian Reitzell created out of Japanese musical themes and "Tokyo dream-pop" adds to the sense of an Eastern city that has succumbed in large measure to Western culture.The boldfaced word "poignancy" in Paragraph 1 is closest in meaning to ______.

A．happiness
B．clarity
C．cleverness
D．sadness

单项选择题

Almost every day the media discovers an African American community fighting some form of environmental threat from land fills, garbage dumps, petrochemical plants, refineries, bus depots, and the list goes on. For years, residents watched helplessly as their communities became dumping grounds.
But citizens didn"t remain silent for long. Local activists have been organizing under the mantle of environmental justice since as far back as 1968. More than three decades ago, the concept of environmental justice had not registered on the radar screens of many environmental or civil rights groups. But environmental justice fits squarely under the civil rights umbrella. It should not be forgotten that Dr. Martin Luther King Jr. went to Memphis on an environmental and economic justice mission in 1968, seeking support for striking garbage workers who were underpaid and whose basic duties exposed them to environmentally hazardous conditions.
In 1979, a landmark environmental discrimination lawsuit filed in Houston, followed by similar litigation efforts in the 1980s, rallied activists to stand up to corporations and demand government intervention .
In 1991, a new breed of environmental activists gathered in Washington, D. C., to bring national attention to pollution problems threatening low-income and minority communities. Leaders introduced the concept of environmental justice, protesting that Black, poor and working-class communities often received less environmental protection than White or more affluent communities. The first National People of Color Environmental Leadership Summit effectively broadened what "the environment" was understood to mean. It expanded the definition to include where we live, work, play, worship and go to school, as well as the physical and natural world. In the process, the environmental justice movement changed the way environmentalism is practiced in the United States and, ultimately, worldwide.
Because many issues identified at the inaugural summit remain unaddressed, the second National People of Color Environmental Leadership Summit was convened in Washington, D. C., this past October. The second summit was planned for 500 delegates; but more than 1,400 people attended the four-day gathering.
"We are pleased that the Summit Ⅱ was able to attract a record number of grassroots activists, academicians, students, researchers, planners, policy analysts and government officials. We proved to the world that our movement is alive and well, and growing," says Beverly Wright, chair of the summit. The meeting produced two dozen policy papers that show powerful environmental and health disparities between people of color and Whites.In Paragraph 1, the word "residents" underlined refers to ______ in particular.

A．ethnic groups in the U.S.
B．the American general public
C．African Americans
D．the U. S. working-class

单项选择题

In a recent survey, Garber and Hohz concluded that the average half-hour children"s television show contains 47 violent acts. When asked about the survey network television executive Jean Pater responded. "I sure as heck don"t think that Bugs Bunny"s pouring a glass of milk over a chipmunk"s head is violence." Unfortunately, both Garber and Holtz and Pater beg the question. The real issue is whether children view such acts as violence.
The violence programming aimed at children almost always appears in the context of fantasy. Cartoon violence generally includes animation, humor, and a remote setting. There is no evidence of direct imitation of television violence by children, though there is evidence that fantasy violence can energize previously learned aggressive response such as a physical attack on another child during play. It is by no means clear, however, that the violence in a portrayal is solely responsible for this energizing effect. Rather, the evidence suggests that any exciting material can trigger subsequent aggressive behavior and that it is the excitation rather than the portrayal of violence that instigates or energizes any subsequent violent behavior. "Cold" imitation of violence by children is extremely rare, and the very occasional evidence of direct, imitative associations between television violence and aggressive behavior has been limited to extremely novel and violent acts by teenagers or adults with already established patterns of deviant behavior. The institutional effect means, in the short term, that exposure to violent portrayals could be dangerous if shoaly after the exposure (within 15 to 20 minutes), the child happens to be in a situation that calls for interpersonal aggression as an appropriate response, for example, an argument between siblings or among peers. This same institutional effect, however, could be produced by other exciting but nonviolent television content or by any other excitational source, including, ironically, a parent"s turning off the set.
So there is no convincing causal evidence of any cumulative instigational effects such as more aggressive or violent dispositions in children. In fact, passivity is a more likely long term result of heavy viewing of television violence. The evidence does not warrant the strong conclusions advanced by many critics who tend to use television violence as a scapegoat to draw public attention away from the real causes of violence—causes like abusive spouses and parents and a culture that celebrates violence generally.The word "ironically" underlined in Paragraph 2 is closest in meaning to ______.

A．sarcastically
B．surprising
C．astounding
D．sneering

单项选择题

Sofia Coppola"s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who have gotten lost in their own lives. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood. In only her second feature, Coppola has made a poised, intelligent film that nicely balances laughs with a poignancy rarely seen in American movies. If Focus Features markets "Lost in Translation" carefully, this most original comedy could win audiences well beyond art houses.
Bob Harris (Murray) is a grumpy movie star in town to shoot a whiskey commercial. He is not only plagued by jet lag and gloom over a deteriorating marriage of many years, he is also in the midst of a midlife crisis that dampens his spirits but not his wit.
Charlotte (Johansson), the neglected wife of a photographer, experiences a similar air-condi-tioned nightmare. Married two years, she already feels lost in the relationship, unable to participate in her husband"s career or pinpoint what she wants out of life. When she ventures into the city, she is confronted by a distorted version of Western modernity.
These two people discover each other late at night at the bar. Neither one can sleep. A friendship evolves in their mutual isolation.
Coppola sees in Tokyo"s crowded, neon-lit urban landscape a society estranged from its own culture. The night is filled with pleasure-seekers obsessed by games, toys and American pop culture. Only when Charlotte takes a train to Kyoto is she able to experience the old Japan of ancient temples and gardens, tea houses and kimono-clad figures. This role fits Murray like his own skin. A middle-aged burnout who sees no challenges on his horizon gradually changes into a man revitalized by another alienated soul. His comic touch enriches the character with a self-deprecating wit and. in a few sequences, a rubbery physicality that earns sustained laughs. Johansson makes Charlotte"s loneliness and disillusionment palpable as the woman is cut off from life in ways she never imagined.
Using high-speed film stock, cinematographer Lance Acord gives the glaring neon and numbingly sleek interiors a kind of romantic sheen. The score produced by Brian Reitzell created out of Japanese musical themes and "Tokyo dream-pop" adds to the sense of an Eastern city that has succumbed in large measure to Western culture.The word "grumpy" underlined in Paragraph 2 is closest in meaning to ______.

A．short-tempered
B．snippy
C．testy
D．cranky

单项选择题

Almost every day the media discovers an African American community fighting some form of environmental threat from land fills, garbage dumps, petrochemical plants, refineries, bus depots, and the list goes on. For years, residents watched helplessly as their communities became dumping grounds.
But citizens didn"t remain silent for long. Local activists have been organizing under the mantle of environmental justice since as far back as 1968. More than three decades ago, the concept of environmental justice had not registered on the radar screens of many environmental or civil rights groups. But environmental justice fits squarely under the civil rights umbrella. It should not be forgotten that Dr. Martin Luther King Jr. went to Memphis on an environmental and economic justice mission in 1968, seeking support for striking garbage workers who were underpaid and whose basic duties exposed them to environmentally hazardous conditions.
In 1979, a landmark environmental discrimination lawsuit filed in Houston, followed by similar litigation efforts in the 1980s, rallied activists to stand up to corporations and demand government intervention .
In 1991, a new breed of environmental activists gathered in Washington, D. C., to bring national attention to pollution problems threatening low-income and minority communities. Leaders introduced the concept of environmental justice, protesting that Black, poor and working-class communities often received less environmental protection than White or more affluent communities. The first National People of Color Environmental Leadership Summit effectively broadened what "the environment" was understood to mean. It expanded the definition to include where we live, work, play, worship and go to school, as well as the physical and natural world. In the process, the environmental justice movement changed the way environmentalism is practiced in the United States and, ultimately, worldwide.
Because many issues identified at the inaugural summit remain unaddressed, the second National People of Color Environmental Leadership Summit was convened in Washington, D. C., this past October. The second summit was planned for 500 delegates; but more than 1,400 people attended the four-day gathering.
"We are pleased that the Summit Ⅱ was able to attract a record number of grassroots activists, academicians, students, researchers, planners, policy analysts and government officials. We proved to the world that our movement is alive and well, and growing," says Beverly Wright, chair of the summit. The meeting produced two dozen policy papers that show powerful environmental and health disparities between people of color and Whites.The word "squarely" underlined in Paragraph 2 is closest in meaning to ______.

A．fairly
B．precisely
C．honestly
D．well

单项选择题

In a recent survey, Garber and Hohz concluded that the average half-hour children"s television show contains 47 violent acts. When asked about the survey network television executive Jean Pater responded. "I sure as heck don"t think that Bugs Bunny"s pouring a glass of milk over a chipmunk"s head is violence." Unfortunately, both Garber and Holtz and Pater beg the question. The real issue is whether children view such acts as violence.
The violence programming aimed at children almost always appears in the context of fantasy. Cartoon violence generally includes animation, humor, and a remote setting. There is no evidence of direct imitation of television violence by children, though there is evidence that fantasy violence can energize previously learned aggressive response such as a physical attack on another child during play. It is by no means clear, however, that the violence in a portrayal is solely responsible for this energizing effect. Rather, the evidence suggests that any exciting material can trigger subsequent aggressive behavior and that it is the excitation rather than the portrayal of violence that instigates or energizes any subsequent violent behavior. "Cold" imitation of violence by children is extremely rare, and the very occasional evidence of direct, imitative associations between television violence and aggressive behavior has been limited to extremely novel and violent acts by teenagers or adults with already established patterns of deviant behavior. The institutional effect means, in the short term, that exposure to violent portrayals could be dangerous if shoaly after the exposure (within 15 to 20 minutes), the child happens to be in a situation that calls for interpersonal aggression as an appropriate response, for example, an argument between siblings or among peers. This same institutional effect, however, could be produced by other exciting but nonviolent television content or by any other excitational source, including, ironically, a parent"s turning off the set.
So there is no convincing causal evidence of any cumulative instigational effects such as more aggressive or violent dispositions in children. In fact, passivity is a more likely long term result of heavy viewing of television violence. The evidence does not warrant the strong conclusions advanced by many critics who tend to use television violence as a scapegoat to draw public attention away from the real causes of violence—causes like abusive spouses and parents and a culture that celebrates violence generally.The boldfaced word "appropriate" in Paragraph 2 means ______.

A．moral
B．agreeable
C．normal
D．polite

单项选择题

Sofia Coppola"s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who have gotten lost in their own lives. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood. In only her second feature, Coppola has made a poised, intelligent film that nicely balances laughs with a poignancy rarely seen in American movies. If Focus Features markets "Lost in Translation" carefully, this most original comedy could win audiences well beyond art houses.
Bob Harris (Murray) is a grumpy movie star in town to shoot a whiskey commercial. He is not only plagued by jet lag and gloom over a deteriorating marriage of many years, he is also in the midst of a midlife crisis that dampens his spirits but not his wit.
Charlotte (Johansson), the neglected wife of a photographer, experiences a similar air-condi-tioned nightmare. Married two years, she already feels lost in the relationship, unable to participate in her husband"s career or pinpoint what she wants out of life. When she ventures into the city, she is confronted by a distorted version of Western modernity.
These two people discover each other late at night at the bar. Neither one can sleep. A friendship evolves in their mutual isolation.
Coppola sees in Tokyo"s crowded, neon-lit urban landscape a society estranged from its own culture. The night is filled with pleasure-seekers obsessed by games, toys and American pop culture. Only when Charlotte takes a train to Kyoto is she able to experience the old Japan of ancient temples and gardens, tea houses and kimono-clad figures. This role fits Murray like his own skin. A middle-aged burnout who sees no challenges on his horizon gradually changes into a man revitalized by another alienated soul. His comic touch enriches the character with a self-deprecating wit and. in a few sequences, a rubbery physicality that earns sustained laughs. Johansson makes Charlotte"s loneliness and disillusionment palpable as the woman is cut off from life in ways she never imagined.
Using high-speed film stock, cinematographer Lance Acord gives the glaring neon and numbingly sleek interiors a kind of romantic sheen. The score produced by Brian Reitzell created out of Japanese musical themes and "Tokyo dream-pop" adds to the sense of an Eastern city that has succumbed in large measure to Western culture.Which of the following is NOT true about Bob Harris

A．He is a bad-tempered movie star.
B．He is sad because of his unhappy marriage.
C．He is a bit slow as he is in a midlife crisis.
D．He is one of Charlotte"s friends.

单项选择题

Almost every day the media discovers an African American community fighting some form of environmental threat from land fills, garbage dumps, petrochemical plants, refineries, bus depots, and the list goes on. For years, residents watched helplessly as their communities became dumping grounds.
But citizens didn"t remain silent for long. Local activists have been organizing under the mantle of environmental justice since as far back as 1968. More than three decades ago, the concept of environmental justice had not registered on the radar screens of many environmental or civil rights groups. But environmental justice fits squarely under the civil rights umbrella. It should not be forgotten that Dr. Martin Luther King Jr. went to Memphis on an environmental and economic justice mission in 1968, seeking support for striking garbage workers who were underpaid and whose basic duties exposed them to environmentally hazardous conditions.
In 1979, a landmark environmental discrimination lawsuit filed in Houston, followed by similar litigation efforts in the 1980s, rallied activists to stand up to corporations and demand government intervention .
In 1991, a new breed of environmental activists gathered in Washington, D. C., to bring national attention to pollution problems threatening low-income and minority communities. Leaders introduced the concept of environmental justice, protesting that Black, poor and working-class communities often received less environmental protection than White or more affluent communities. The first National People of Color Environmental Leadership Summit effectively broadened what "the environment" was understood to mean. It expanded the definition to include where we live, work, play, worship and go to school, as well as the physical and natural world. In the process, the environmental justice movement changed the way environmentalism is practiced in the United States and, ultimately, worldwide.
Because many issues identified at the inaugural summit remain unaddressed, the second National People of Color Environmental Leadership Summit was convened in Washington, D. C., this past October. The second summit was planned for 500 delegates; but more than 1,400 people attended the four-day gathering.
"We are pleased that the Summit Ⅱ was able to attract a record number of grassroots activists, academicians, students, researchers, planners, policy analysts and government officials. We proved to the world that our movement is alive and well, and growing," says Beverly Wright, chair of the summit. The meeting produced two dozen policy papers that show powerful environmental and health disparities between people of color and Whites.More than three decades ago, environmental justice was ______.

A．controversial among local activities
B．first proposed by Martin Luther King Jr.
C．fascinating to the civil rights groups
D．barely realized by many environmentalists

单项选择题

In a recent survey, Garber and Hohz concluded that the average half-hour children"s television show contains 47 violent acts. When asked about the survey network television executive Jean Pater responded. "I sure as heck don"t think that Bugs Bunny"s pouring a glass of milk over a chipmunk"s head is violence." Unfortunately, both Garber and Holtz and Pater beg the question. The real issue is whether children view such acts as violence.
The violence programming aimed at children almost always appears in the context of fantasy. Cartoon violence generally includes animation, humor, and a remote setting. There is no evidence of direct imitation of television violence by children, though there is evidence that fantasy violence can energize previously learned aggressive response such as a physical attack on another child during play. It is by no means clear, however, that the violence in a portrayal is solely responsible for this energizing effect. Rather, the evidence suggests that any exciting material can trigger subsequent aggressive behavior and that it is the excitation rather than the portrayal of violence that instigates or energizes any subsequent violent behavior. "Cold" imitation of violence by children is extremely rare, and the very occasional evidence of direct, imitative associations between television violence and aggressive behavior has been limited to extremely novel and violent acts by teenagers or adults with already established patterns of deviant behavior. The institutional effect means, in the short term, that exposure to violent portrayals could be dangerous if shoaly after the exposure (within 15 to 20 minutes), the child happens to be in a situation that calls for interpersonal aggression as an appropriate response, for example, an argument between siblings or among peers. This same institutional effect, however, could be produced by other exciting but nonviolent television content or by any other excitational source, including, ironically, a parent"s turning off the set.
So there is no convincing causal evidence of any cumulative instigational effects such as more aggressive or violent dispositions in children. In fact, passivity is a more likely long term result of heavy viewing of television violence. The evidence does not warrant the strong conclusions advanced by many critics who tend to use television violence as a scapegoat to draw public attention away from the real causes of violence—causes like abusive spouses and parents and a culture that celebrates violence generally.If there is an argument between siblings one hour after their watching some TV violence, these children would ______.

A．likely fall into a state of total passivity to their parents
B．likely behave less aggressively than on other occasions
C．unlikely resort to any violent actions but keep peaceful
D．unlikely be more violent than without watching the program

单项选择题

Sofia Coppola"s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who have gotten lost in their own lives. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood. In only her second feature, Coppola has made a poised, intelligent film that nicely balances laughs with a poignancy rarely seen in American movies. If Focus Features markets "Lost in Translation" carefully, this most original comedy could win audiences well beyond art houses.
Bob Harris (Murray) is a grumpy movie star in town to shoot a whiskey commercial. He is not only plagued by jet lag and gloom over a deteriorating marriage of many years, he is also in the midst of a midlife crisis that dampens his spirits but not his wit.
Charlotte (Johansson), the neglected wife of a photographer, experiences a similar air-condi-tioned nightmare. Married two years, she already feels lost in the relationship, unable to participate in her husband"s career or pinpoint what she wants out of life. When she ventures into the city, she is confronted by a distorted version of Western modernity.
These two people discover each other late at night at the bar. Neither one can sleep. A friendship evolves in their mutual isolation.
Coppola sees in Tokyo"s crowded, neon-lit urban landscape a society estranged from its own culture. The night is filled with pleasure-seekers obsessed by games, toys and American pop culture. Only when Charlotte takes a train to Kyoto is she able to experience the old Japan of ancient temples and gardens, tea houses and kimono-clad figures. This role fits Murray like his own skin. A middle-aged burnout who sees no challenges on his horizon gradually changes into a man revitalized by another alienated soul. His comic touch enriches the character with a self-deprecating wit and. in a few sequences, a rubbery physicality that earns sustained laughs. Johansson makes Charlotte"s loneliness and disillusionment palpable as the woman is cut off from life in ways she never imagined.
Using high-speed film stock, cinematographer Lance Acord gives the glaring neon and numbingly sleek interiors a kind of romantic sheen. The score produced by Brian Reitzell created out of Japanese musical themes and "Tokyo dream-pop" adds to the sense of an Eastern city that has succumbed in large measure to Western culture.The word "pinpoint" underlined in Paragraph 3 is closest in meaning to ______.

A．subscribe exactly
B．know
C．confirm
D．point out

单项选择题

Almost every day the media discovers an African American community fighting some form of environmental threat from land fills, garbage dumps, petrochemical plants, refineries, bus depots, and the list goes on. For years, residents watched helplessly as their communities became dumping grounds.
But citizens didn"t remain silent for long. Local activists have been organizing under the mantle of environmental justice since as far back as 1968. More than three decades ago, the concept of environmental justice had not registered on the radar screens of many environmental or civil rights groups. But environmental justice fits squarely under the civil rights umbrella. It should not be forgotten that Dr. Martin Luther King Jr. went to Memphis on an environmental and economic justice mission in 1968, seeking support for striking garbage workers who were underpaid and whose basic duties exposed them to environmentally hazardous conditions.
In 1979, a landmark environmental discrimination lawsuit filed in Houston, followed by similar litigation efforts in the 1980s, rallied activists to stand up to corporations and demand government intervention .
In 1991, a new breed of environmental activists gathered in Washington, D. C., to bring national attention to pollution problems threatening low-income and minority communities. Leaders introduced the concept of environmental justice, protesting that Black, poor and working-class communities often received less environmental protection than White or more affluent communities. The first National People of Color Environmental Leadership Summit effectively broadened what "the environment" was understood to mean. It expanded the definition to include where we live, work, play, worship and go to school, as well as the physical and natural world. In the process, the environmental justice movement changed the way environmentalism is practiced in the United States and, ultimately, worldwide.
Because many issues identified at the inaugural summit remain unaddressed, the second National People of Color Environmental Leadership Summit was convened in Washington, D. C., this past October. The second summit was planned for 500 delegates; but more than 1,400 people attended the four-day gathering.
"We are pleased that the Summit Ⅱ was able to attract a record number of grassroots activists, academicians, students, researchers, planners, policy analysts and government officials. We proved to the world that our movement is alive and well, and growing," says Beverly Wright, chair of the summit. The meeting produced two dozen policy papers that show powerful environmental and health disparities between people of color and Whites.The word "intervention" underlined in Paragraph 3 is closest in meaning to ______.

A．interposition
B．participation
C．involvement
D．management

单项选择题

In a recent survey, Garber and Hohz concluded that the average half-hour children"s television show contains 47 violent acts. When asked about the survey network television executive Jean Pater responded. "I sure as heck don"t think that Bugs Bunny"s pouring a glass of milk over a chipmunk"s head is violence." Unfortunately, both Garber and Holtz and Pater beg the question. The real issue is whether children view such acts as violence.
The violence programming aimed at children almost always appears in the context of fantasy. Cartoon violence generally includes animation, humor, and a remote setting. There is no evidence of direct imitation of television violence by children, though there is evidence that fantasy violence can energize previously learned aggressive response such as a physical attack on another child during play. It is by no means clear, however, that the violence in a portrayal is solely responsible for this energizing effect. Rather, the evidence suggests that any exciting material can trigger subsequent aggressive behavior and that it is the excitation rather than the portrayal of violence that instigates or energizes any subsequent violent behavior. "Cold" imitation of violence by children is extremely rare, and the very occasional evidence of direct, imitative associations between television violence and aggressive behavior has been limited to extremely novel and violent acts by teenagers or adults with already established patterns of deviant behavior. The institutional effect means, in the short term, that exposure to violent portrayals could be dangerous if shoaly after the exposure (within 15 to 20 minutes), the child happens to be in a situation that calls for interpersonal aggression as an appropriate response, for example, an argument between siblings or among peers. This same institutional effect, however, could be produced by other exciting but nonviolent television content or by any other excitational source, including, ironically, a parent"s turning off the set.
So there is no convincing causal evidence of any cumulative instigational effects such as more aggressive or violent dispositions in children. In fact, passivity is a more likely long term result of heavy viewing of television violence. The evidence does not warrant the strong conclusions advanced by many critics who tend to use television violence as a scapegoat to draw public attention away from the real causes of violence—causes like abusive spouses and parents and a culture that celebrates violence generally.The word "scapegoat" underlined in the last Paragraph refers to ______.

A．someone punished for the errors of others
B．victim
C．casuahy
D．crew

单项选择题

Sofia Coppola"s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who have gotten lost in their own lives. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood. In only her second feature, Coppola has made a poised, intelligent film that nicely balances laughs with a poignancy rarely seen in American movies. If Focus Features markets "Lost in Translation" carefully, this most original comedy could win audiences well beyond art houses.
Bob Harris (Murray) is a grumpy movie star in town to shoot a whiskey commercial. He is not only plagued by jet lag and gloom over a deteriorating marriage of many years, he is also in the midst of a midlife crisis that dampens his spirits but not his wit.
Charlotte (Johansson), the neglected wife of a photographer, experiences a similar air-condi-tioned nightmare. Married two years, she already feels lost in the relationship, unable to participate in her husband"s career or pinpoint what she wants out of life. When she ventures into the city, she is confronted by a distorted version of Western modernity.
These two people discover each other late at night at the bar. Neither one can sleep. A friendship evolves in their mutual isolation.
Coppola sees in Tokyo"s crowded, neon-lit urban landscape a society estranged from its own culture. The night is filled with pleasure-seekers obsessed by games, toys and American pop culture. Only when Charlotte takes a train to Kyoto is she able to experience the old Japan of ancient temples and gardens, tea houses and kimono-clad figures. This role fits Murray like his own skin. A middle-aged burnout who sees no challenges on his horizon gradually changes into a man revitalized by another alienated soul. His comic touch enriches the character with a self-deprecating wit and. in a few sequences, a rubbery physicality that earns sustained laughs. Johansson makes Charlotte"s loneliness and disillusionment palpable as the woman is cut off from life in ways she never imagined.
Using high-speed film stock, cinematographer Lance Acord gives the glaring neon and numbingly sleek interiors a kind of romantic sheen. The score produced by Brian Reitzell created out of Japanese musical themes and "Tokyo dream-pop" adds to the sense of an Eastern city that has succumbed in large measure to Western culture.Charlotte sees no hope in life because ______.

A．she feels alienated from her busy husband
B．she feels unable to stand the hardships in Japan
C．she has been abandoned by her husband
D．she has had a recurring nightmare about her death

单项选择题

In a recent survey, Garber and Hohz concluded that the average half-hour children"s television show contains 47 violent acts. When asked about the survey network television executive Jean Pater responded. "I sure as heck don"t think that Bugs Bunny"s pouring a glass of milk over a chipmunk"s head is violence." Unfortunately, both Garber and Holtz and Pater beg the question. The real issue is whether children view such acts as violence.
The violence programming aimed at children almost always appears in the context of fantasy. Cartoon violence generally includes animation, humor, and a remote setting. There is no evidence of direct imitation of television violence by children, though there is evidence that fantasy violence can energize previously learned aggressive response such as a physical attack on another child during play. It is by no means clear, however, that the violence in a portrayal is solely responsible for this energizing effect. Rather, the evidence suggests that any exciting material can trigger subsequent aggressive behavior and that it is the excitation rather than the portrayal of violence that instigates or energizes any subsequent violent behavior. "Cold" imitation of violence by children is extremely rare, and the very occasional evidence of direct, imitative associations between television violence and aggressive behavior has been limited to extremely novel and violent acts by teenagers or adults with already established patterns of deviant behavior. The institutional effect means, in the short term, that exposure to violent portrayals could be dangerous if shoaly after the exposure (within 15 to 20 minutes), the child happens to be in a situation that calls for interpersonal aggression as an appropriate response, for example, an argument between siblings or among peers. This same institutional effect, however, could be produced by other exciting but nonviolent television content or by any other excitational source, including, ironically, a parent"s turning off the set.
So there is no convincing causal evidence of any cumulative instigational effects such as more aggressive or violent dispositions in children. In fact, passivity is a more likely long term result of heavy viewing of television violence. The evidence does not warrant the strong conclusions advanced by many critics who tend to use television violence as a scapegoat to draw public attention away from the real causes of violence—causes like abusive spouses and parents and a culture that celebrates violence generally.As the evidence shows, who would most likely imitate TV violence

A．The children who are the only child of the family.
B．The children who are extraordinarily imaginative.
C．The children who like to act against the rules.
D．The children who like fantasy TV programs.

单项选择题

Almost every day the media discovers an African American community fighting some form of environmental threat from land fills, garbage dumps, petrochemical plants, refineries, bus depots, and the list goes on. For years, residents watched helplessly as their communities became dumping grounds.
But citizens didn"t remain silent for long. Local activists have been organizing under the mantle of environmental justice since as far back as 1968. More than three decades ago, the concept of environmental justice had not registered on the radar screens of many environmental or civil rights groups. But environmental justice fits squarely under the civil rights umbrella. It should not be forgotten that Dr. Martin Luther King Jr. went to Memphis on an environmental and economic justice mission in 1968, seeking support for striking garbage workers who were underpaid and whose basic duties exposed them to environmentally hazardous conditions.
In 1979, a landmark environmental discrimination lawsuit filed in Houston, followed by similar litigation efforts in the 1980s, rallied activists to stand up to corporations and demand government intervention .
In 1991, a new breed of environmental activists gathered in Washington, D. C., to bring national attention to pollution problems threatening low-income and minority communities. Leaders introduced the concept of environmental justice, protesting that Black, poor and working-class communities often received less environmental protection than White or more affluent communities. The first National People of Color Environmental Leadership Summit effectively broadened what "the environment" was understood to mean. It expanded the definition to include where we live, work, play, worship and go to school, as well as the physical and natural world. In the process, the environmental justice movement changed the way environmentalism is practiced in the United States and, ultimately, worldwide.
Because many issues identified at the inaugural summit remain unaddressed, the second National People of Color Environmental Leadership Summit was convened in Washington, D. C., this past October. The second summit was planned for 500 delegates; but more than 1,400 people attended the four-day gathering.
"We are pleased that the Summit Ⅱ was able to attract a record number of grassroots activists, academicians, students, researchers, planners, policy analysts and government officials. We proved to the world that our movement is alive and well, and growing," says Beverly Wright, chair of the summit. The meeting produced two dozen policy papers that show powerful environmental and health disparities between people of color and Whites.In 1968, Martin Luther King Jr. went to Memphis to help the garbage workers ______.

A．get relieved of some of their basic duties
B．know what environmental justice was
C．fight for better working conditions
D．recognize their dangerous surroundings

单项选择题

Sofia Coppola"s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who have gotten lost in their own lives. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood. In only her second feature, Coppola has made a poised, intelligent film that nicely balances laughs with a poignancy rarely seen in American movies. If Focus Features markets "Lost in Translation" carefully, this most original comedy could win audiences well beyond art houses.
Bob Harris (Murray) is a grumpy movie star in town to shoot a whiskey commercial. He is not only plagued by jet lag and gloom over a deteriorating marriage of many years, he is also in the midst of a midlife crisis that dampens his spirits but not his wit.
Charlotte (Johansson), the neglected wife of a photographer, experiences a similar air-condi-tioned nightmare. Married two years, she already feels lost in the relationship, unable to participate in her husband"s career or pinpoint what she wants out of life. When she ventures into the city, she is confronted by a distorted version of Western modernity.
These two people discover each other late at night at the bar. Neither one can sleep. A friendship evolves in their mutual isolation.
Coppola sees in Tokyo"s crowded, neon-lit urban landscape a society estranged from its own culture. The night is filled with pleasure-seekers obsessed by games, toys and American pop culture. Only when Charlotte takes a train to Kyoto is she able to experience the old Japan of ancient temples and gardens, tea houses and kimono-clad figures. This role fits Murray like his own skin. A middle-aged burnout who sees no challenges on his horizon gradually changes into a man revitalized by another alienated soul. His comic touch enriches the character with a self-deprecating wit and. in a few sequences, a rubbery physicality that earns sustained laughs. Johansson makes Charlotte"s loneliness and disillusionment palpable as the woman is cut off from life in ways she never imagined.
Using high-speed film stock, cinematographer Lance Acord gives the glaring neon and numbingly sleek interiors a kind of romantic sheen. The score produced by Brian Reitzell created out of Japanese musical themes and "Tokyo dream-pop" adds to the sense of an Eastern city that has succumbed in large measure to Western culture.The two characters in the film can be described as ______.

A．exhausted but happy
B．energetic but indifferent
C．enthusiastic and romantic
D．emotionally tired and lonely

单项选择题

Almost every day the media discovers an African American community fighting some form of environmental threat from land fills, garbage dumps, petrochemical plants, refineries, bus depots, and the list goes on. For years, residents watched helplessly as their communities became dumping grounds.
But citizens didn"t remain silent for long. Local activists have been organizing under the mantle of environmental justice since as far back as 1968. More than three decades ago, the concept of environmental justice had not registered on the radar screens of many environmental or civil rights groups. But environmental justice fits squarely under the civil rights umbrella. It should not be forgotten that Dr. Martin Luther King Jr. went to Memphis on an environmental and economic justice mission in 1968, seeking support for striking garbage workers who were underpaid and whose basic duties exposed them to environmentally hazardous conditions.
In 1979, a landmark environmental discrimination lawsuit filed in Houston, followed by similar litigation efforts in the 1980s, rallied activists to stand up to corporations and demand government intervention .
In 1991, a new breed of environmental activists gathered in Washington, D. C., to bring national attention to pollution problems threatening low-income and minority communities. Leaders introduced the concept of environmental justice, protesting that Black, poor and working-class communities often received less environmental protection than White or more affluent communities. The first National People of Color Environmental Leadership Summit effectively broadened what "the environment" was understood to mean. It expanded the definition to include where we live, work, play, worship and go to school, as well as the physical and natural world. In the process, the environmental justice movement changed the way environmentalism is practiced in the United States and, ultimately, worldwide.
Because many issues identified at the inaugural summit remain unaddressed, the second National People of Color Environmental Leadership Summit was convened in Washington, D. C., this past October. The second summit was planned for 500 delegates; but more than 1,400 people attended the four-day gathering.
"We are pleased that the Summit Ⅱ was able to attract a record number of grassroots activists, academicians, students, researchers, planners, policy analysts and government officials. We proved to the world that our movement is alive and well, and growing," says Beverly Wright, chair of the summit. The meeting produced two dozen policy papers that show powerful environmental and health disparities between people of color and Whites.The word "protesting" underlined in Paragraph 4 is closest in meaning to ______.

A．combat
B．confirm
C．consider
D．affirm

单项选择题

In a recent survey, Garber and Hohz concluded that the average half-hour children"s television show contains 47 violent acts. When asked about the survey network television executive Jean Pater responded. "I sure as heck don"t think that Bugs Bunny"s pouring a glass of milk over a chipmunk"s head is violence." Unfortunately, both Garber and Holtz and Pater beg the question. The real issue is whether children view such acts as violence.
The violence programming aimed at children almost always appears in the context of fantasy. Cartoon violence generally includes animation, humor, and a remote setting. There is no evidence of direct imitation of television violence by children, though there is evidence that fantasy violence can energize previously learned aggressive response such as a physical attack on another child during play. It is by no means clear, however, that the violence in a portrayal is solely responsible for this energizing effect. Rather, the evidence suggests that any exciting material can trigger subsequent aggressive behavior and that it is the excitation rather than the portrayal of violence that instigates or energizes any subsequent violent behavior. "Cold" imitation of violence by children is extremely rare, and the very occasional evidence of direct, imitative associations between television violence and aggressive behavior has been limited to extremely novel and violent acts by teenagers or adults with already established patterns of deviant behavior. The institutional effect means, in the short term, that exposure to violent portrayals could be dangerous if shoaly after the exposure (within 15 to 20 minutes), the child happens to be in a situation that calls for interpersonal aggression as an appropriate response, for example, an argument between siblings or among peers. This same institutional effect, however, could be produced by other exciting but nonviolent television content or by any other excitational source, including, ironically, a parent"s turning off the set.
So there is no convincing causal evidence of any cumulative instigational effects such as more aggressive or violent dispositions in children. In fact, passivity is a more likely long term result of heavy viewing of television violence. The evidence does not warrant the strong conclusions advanced by many critics who tend to use television violence as a scapegoat to draw public attention away from the real causes of violence—causes like abusive spouses and parents and a culture that celebrates violence generally.The last paragraph indicates the truth that ______.

A．TV violence makes some children more violent and others more passive
B．the long-term exposure to TV violence is the major cause of violence
C．violence has little to do with TV but much with children"s nature
D．the family and social environment play a big role in children"s violence

单项选择题

Almost every day the media discovers an African American community fighting some form of environmental threat from land fills, garbage dumps, petrochemical plants, refineries, bus depots, and the list goes on. For years, residents watched helplessly as their communities became dumping grounds.
But citizens didn"t remain silent for long. Local activists have been organizing under the mantle of environmental justice since as far back as 1968. More than three decades ago, the concept of environmental justice had not registered on the radar screens of many environmental or civil rights groups. But environmental justice fits squarely under the civil rights umbrella. It should not be forgotten that Dr. Martin Luther King Jr. went to Memphis on an environmental and economic justice mission in 1968, seeking support for striking garbage workers who were underpaid and whose basic duties exposed them to environmentally hazardous conditions.
In 1979, a landmark environmental discrimination lawsuit filed in Houston, followed by similar litigation efforts in the 1980s, rallied activists to stand up to corporations and demand government intervention .
In 1991, a new breed of environmental activists gathered in Washington, D. C., to bring national attention to pollution problems threatening low-income and minority communities. Leaders introduced the concept of environmental justice, protesting that Black, poor and working-class communities often received less environmental protection than White or more affluent communities. The first National People of Color Environmental Leadership Summit effectively broadened what "the environment" was understood to mean. It expanded the definition to include where we live, work, play, worship and go to school, as well as the physical and natural world. In the process, the environmental justice movement changed the way environmentalism is practiced in the United States and, ultimately, worldwide.
Because many issues identified at the inaugural summit remain unaddressed, the second National People of Color Environmental Leadership Summit was convened in Washington, D. C., this past October. The second summit was planned for 500 delegates; but more than 1,400 people attended the four-day gathering.
"We are pleased that the Summit Ⅱ was able to attract a record number of grassroots activists, academicians, students, researchers, planners, policy analysts and government officials. We proved to the world that our movement is alive and well, and growing," says Beverly Wright, chair of the summit. The meeting produced two dozen policy papers that show powerful environmental and health disparities between people of color and Whites.Paragraph 3 implies that, in 1979, ______.

A．the environmental justice issues were first brought to court in Houston
B．environmental activists cooperated in defying the U.S. government
C．the government intervention helped promote environmental justice
D．environmental problems attracted the attention of the government

单项选择题

Sofia Coppola"s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who have gotten lost in their own lives. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood. In only her second feature, Coppola has made a poised, intelligent film that nicely balances laughs with a poignancy rarely seen in American movies. If Focus Features markets "Lost in Translation" carefully, this most original comedy could win audiences well beyond art houses.
Bob Harris (Murray) is a grumpy movie star in town to shoot a whiskey commercial. He is not only plagued by jet lag and gloom over a deteriorating marriage of many years, he is also in the midst of a midlife crisis that dampens his spirits but not his wit.
Charlotte (Johansson), the neglected wife of a photographer, experiences a similar air-condi-tioned nightmare. Married two years, she already feels lost in the relationship, unable to participate in her husband"s career or pinpoint what she wants out of life. When she ventures into the city, she is confronted by a distorted version of Western modernity.
These two people discover each other late at night at the bar. Neither one can sleep. A friendship evolves in their mutual isolation.
Coppola sees in Tokyo"s crowded, neon-lit urban landscape a society estranged from its own culture. The night is filled with pleasure-seekers obsessed by games, toys and American pop culture. Only when Charlotte takes a train to Kyoto is she able to experience the old Japan of ancient temples and gardens, tea houses and kimono-clad figures. This role fits Murray like his own skin. A middle-aged burnout who sees no challenges on his horizon gradually changes into a man revitalized by another alienated soul. His comic touch enriches the character with a self-deprecating wit and. in a few sequences, a rubbery physicality that earns sustained laughs. Johansson makes Charlotte"s loneliness and disillusionment palpable as the woman is cut off from life in ways she never imagined.
Using high-speed film stock, cinematographer Lance Acord gives the glaring neon and numbingly sleek interiors a kind of romantic sheen. The score produced by Brian Reitzell created out of Japanese musical themes and "Tokyo dream-pop" adds to the sense of an Eastern city that has succumbed in large measure to Western culture.The word "succumbed" underlined in the last Paragraph refers to ______.

A．submit to
B．obey
C．resign
D．truckle

单项选择题

Sofia Coppola"s "Lost in Translation" is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who have gotten lost in their own lives. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood. In only her second feature, Coppola has made a poised, intelligent film that nicely balances laughs with a poignancy rarely seen in American movies. If Focus Features markets "Lost in Translation" carefully, this most original comedy could win audiences well beyond art houses.
Bob Harris (Murray) is a grumpy movie star in town to shoot a whiskey commercial. He is not only plagued by jet lag and gloom over a deteriorating marriage of many years, he is also in the midst of a midlife crisis that dampens his spirits but not his wit.
Charlotte (Johansson), the neglected wife of a photographer, experiences a similar air-condi-tioned nightmare. Married two years, she already feels lost in the relationship, unable to participate in her husband"s career or pinpoint what she wants out of life. When she ventures into the city, she is confronted by a distorted version of Western modernity.
These two people discover each other late at night at the bar. Neither one can sleep. A friendship evolves in their mutual isolation.
Coppola sees in Tokyo"s crowded, neon-lit urban landscape a society estranged from its own culture. The night is filled with pleasure-seekers obsessed by games, toys and American pop culture. Only when Charlotte takes a train to Kyoto is she able to experience the old Japan of ancient temples and gardens, tea houses and kimono-clad figures. This role fits Murray like his own skin. A middle-aged burnout who sees no challenges on his horizon gradually changes into a man revitalized by another alienated soul. His comic touch enriches the character with a self-deprecating wit and. in a few sequences, a rubbery physicality that earns sustained laughs. Johansson makes Charlotte"s loneliness and disillusionment palpable as the woman is cut off from life in ways she never imagined.
Using high-speed film stock, cinematographer Lance Acord gives the glaring neon and numbingly sleek interiors a kind of romantic sheen. The score produced by Brian Reitzell created out of Japanese musical themes and "Tokyo dream-pop" adds to the sense of an Eastern city that has succumbed in large measure to Western culture.It can be learned that "Tokyo dream-pop" ______.

A．was adapted to the music of the film
B．was composed by Brian Reitzell
C．must be a theme song sung in the movie
D．must be about Tokyo"s Westernization

单项选择题

Almost every day the media discovers an African American community fighting some form of environmental threat from land fills, garbage dumps, petrochemical plants, refineries, bus depots, and the list goes on. For years, residents watched helplessly as their communities became dumping grounds.
But citizens didn"t remain silent for long. Local activists have been organizing under the mantle of environmental justice since as far back as 1968. More than three decades ago, the concept of environmental justice had not registered on the radar screens of many environmental or civil rights groups. But environmental justice fits squarely under the civil rights umbrella. It should not be forgotten that Dr. Martin Luther King Jr. went to Memphis on an environmental and economic justice mission in 1968, seeking support for striking garbage workers who were underpaid and whose basic duties exposed them to environmentally hazardous conditions.
In 1979, a landmark environmental discrimination lawsuit filed in Houston, followed by similar litigation efforts in the 1980s, rallied activists to stand up to corporations and demand government intervention .
In 1991, a new breed of environmental activists gathered in Washington, D. C., to bring national attention to pollution problems threatening low-income and minority communities. Leaders introduced the concept of environmental justice, protesting that Black, poor and working-class communities often received less environmental protection than White or more affluent communities. The first National People of Color Environmental Leadership Summit effectively broadened what "the environment" was understood to mean. It expanded the definition to include where we live, work, play, worship and go to school, as well as the physical and natural world. In the process, the environmental justice movement changed the way environmentalism is practiced in the United States and, ultimately, worldwide.
Because many issues identified at the inaugural summit remain unaddressed, the second National People of Color Environmental Leadership Summit was convened in Washington, D. C., this past October. The second summit was planned for 500 delegates; but more than 1,400 people attended the four-day gathering.
"We are pleased that the Summit Ⅱ was able to attract a record number of grassroots activists, academicians, students, researchers, planners, policy analysts and government officials. We proved to the world that our movement is alive and well, and growing," says Beverly Wright, chair of the summit. The meeting produced two dozen policy papers that show powerful environmental and health disparities between people of color and Whites.The word "grassroot" underlined in Paragraph 6 refers to ______.

A．basic level
B．middle class
C．peasant
D．worker

单项选择题

Almost every day the media discovers an African American community fighting some form of environmental threat from land fills, garbage dumps, petrochemical plants, refineries, bus depots, and the list goes on. For years, residents watched helplessly as their communities became dumping grounds.
But citizens didn"t remain silent for long. Local activists have been organizing under the mantle of environmental justice since as far back as 1968. More than three decades ago, the concept of environmental justice had not registered on the radar screens of many environmental or civil rights groups. But environmental justice fits squarely under the civil rights umbrella. It should not be forgotten that Dr. Martin Luther King Jr. went to Memphis on an environmental and economic justice mission in 1968, seeking support for striking garbage workers who were underpaid and whose basic duties exposed them to environmentally hazardous conditions.
In 1979, a landmark environmental discrimination lawsuit filed in Houston, followed by similar litigation efforts in the 1980s, rallied activists to stand up to corporations and demand government intervention .
In 1991, a new breed of environmental activists gathered in Washington, D. C., to bring national attention to pollution problems threatening low-income and minority communities. Leaders introduced the concept of environmental justice, protesting that Black, poor and working-class communities often received less environmental protection than White or more affluent communities. The first National People of Color Environmental Leadership Summit effectively broadened what "the environment" was understood to mean. It expanded the definition to include where we live, work, play, worship and go to school, as well as the physical and natural world. In the process, the environmental justice movement changed the way environmentalism is practiced in the United States and, ultimately, worldwide.
Because many issues identified at the inaugural summit remain unaddressed, the second National People of Color Environmental Leadership Summit was convened in Washington, D. C., this past October. The second summit was planned for 500 delegates; but more than 1,400 people attended the four-day gathering.
"We are pleased that the Summit Ⅱ was able to attract a record number of grassroots activists, academicians, students, researchers, planners, policy analysts and government officials. We proved to the world that our movement is alive and well, and growing," says Beverly Wright, chair of the summit. The meeting produced two dozen policy papers that show powerful environmental and health disparities between people of color and Whites.The new breed of environmental activists differed from the previous activists in that ______.

A．they noticed environmental disparities between the rich and the poor
B．they cried for government intervention in saving the environment
C．they knew what "the environment" really meant to the White people
D．they practiced environmentalism outside as well as within the U. S.

单项选择题

Most people would be impressed by the high quality of medicine available to most Americans. There is a lot of specialization , a great deal of attention to the individual, a vast amount of advanced technical equipment, and intense effort not to make mistakes because of the financial risk which doctors and hospitals must face in the courts if they handle things badly.
But the Americans are in a mess . The problem is the way in which health care is organized and financed. Contrary to public belief, it is not just a free competition system. To the private system has been joined a large public system, because private care was simply not looking after the less fortunate and the elderly.
But even with this huge public part of the system, which this year will eat up 84.5 billion dollars—more than 10 percent of the U.S. budget—large numbers of Americans are left out . These include about half the 11 million unemployed and those who fail to meet the strict limits on income fixed by a government trying to make savings where it can.
The basic problem, however, is that there is no central control over the health system. There is no limit to what doctors and hospitals charge for their services, other than what the public is able to pay. The number of doctors has shot up and prices have climbed. When faced with toothache, a sick child, or a heart attack, all the unfortunate person concerned can do is pay up.
Two-thirds of the population are covered by medical insurance. Doctors charge as much as they want knowing that the insurance company will pay the bill.
The medical profession has as a result become America"s new big businessmen. The average income of doctors has now reached $100,000 a year. With such vast incomes the talk in the doctor"s surgery is as likely to be about the doctor"s latest financial deal, as about whether the minor operation he is recommending at, several thousand dollars is entirely necessary.
The rising cost of medicine in the U. S. A. is among the most worrying problem facing the country. In 1981 the country"s health cost climbed 15.9 percent—about twice as fast as prices in general.In the U. S. patients can expect, in medical treatment, ______.

A．occasional mistakes by careless doctors
B．a great deal of personal attention
C．low charge by doctors and hospitals
D．slacking nurses and bad services

单项选择题

Most people would be impressed by the high quality of medicine available to most Americans. There is a lot of specialization , a great deal of attention to the individual, a vast amount of advanced technical equipment, and intense effort not to make mistakes because of the financial risk which doctors and hospitals must face in the courts if they handle things badly.
But the Americans are in a mess . The problem is the way in which health care is organized and financed. Contrary to public belief, it is not just a free competition system. To the private system has been joined a large public system, because private care was simply not looking after the less fortunate and the elderly.
But even with this huge public part of the system, which this year will eat up 84.5 billion dollars—more than 10 percent of the U.S. budget—large numbers of Americans are left out . These include about half the 11 million unemployed and those who fail to meet the strict limits on income fixed by a government trying to make savings where it can.
The basic problem, however, is that there is no central control over the health system. There is no limit to what doctors and hospitals charge for their services, other than what the public is able to pay. The number of doctors has shot up and prices have climbed. When faced with toothache, a sick child, or a heart attack, all the unfortunate person concerned can do is pay up.
Two-thirds of the population are covered by medical insurance. Doctors charge as much as they want knowing that the insurance company will pay the bill.
The medical profession has as a result become America"s new big businessmen. The average income of doctors has now reached $100,000 a year. With such vast incomes the talk in the doctor"s surgery is as likely to be about the doctor"s latest financial deal, as about whether the minor operation he is recommending at, several thousand dollars is entirely necessary.
The rising cost of medicine in the U. S. A. is among the most worrying problem facing the country. In 1981 the country"s health cost climbed 15.9 percent—about twice as fast as prices in general.The word "specialization" underlined in Paragraph 1 is closest in meaning to ______.

A．restriction
B．class
C．standard
D．norm

单项选择题

Almost every day the media discovers an African American community fighting some form of environmental threat from land fills, garbage dumps, petrochemical plants, refineries, bus depots, and the list goes on. For years, residents watched helplessly as their communities became dumping grounds.
But citizens didn"t remain silent for long. Local activists have been organizing under the mantle of environmental justice since as far back as 1968. More than three decades ago, the concept of environmental justice had not registered on the radar screens of many environmental or civil rights groups. But environmental justice fits squarely under the civil rights umbrella. It should not be forgotten that Dr. Martin Luther King Jr. went to Memphis on an environmental and economic justice mission in 1968, seeking support for striking garbage workers who were underpaid and whose basic duties exposed them to environmentally hazardous conditions.
In 1979, a landmark environmental discrimination lawsuit filed in Houston, followed by similar litigation efforts in the 1980s, rallied activists to stand up to corporations and demand government intervention .
In 1991, a new breed of environmental activists gathered in Washington, D. C., to bring national attention to pollution problems threatening low-income and minority communities. Leaders introduced the concept of environmental justice, protesting that Black, poor and working-class communities often received less environmental protection than White or more affluent communities. The first National People of Color Environmental Leadership Summit effectively broadened what "the environment" was understood to mean. It expanded the definition to include where we live, work, play, worship and go to school, as well as the physical and natural world. In the process, the environmental justice movement changed the way environmentalism is practiced in the United States and, ultimately, worldwide.
Because many issues identified at the inaugural summit remain unaddressed, the second National People of Color Environmental Leadership Summit was convened in Washington, D. C., this past October. The second summit was planned for 500 delegates; but more than 1,400 people attended the four-day gathering.
"We are pleased that the Summit Ⅱ was able to attract a record number of grassroots activists, academicians, students, researchers, planners, policy analysts and government officials. We proved to the world that our movement is alive and well, and growing," says Beverly Wright, chair of the summit. The meeting produced two dozen policy papers that show powerful environmental and health disparities between people of color and Whites.With respect to getting environmental justice, Summit Ⅱ was aimed for ______.

A．showing the achieved success
B．attracting national attention
C．identifying relevant issues
D．finding solutions to the problems

单项选择题

Most people would be impressed by the high quality of medicine available to most Americans. There is a lot of specialization , a great deal of attention to the individual, a vast amount of advanced technical equipment, and intense effort not to make mistakes because of the financial risk which doctors and hospitals must face in the courts if they handle things badly.
But the Americans are in a mess . The problem is the way in which health care is organized and financed. Contrary to public belief, it is not just a free competition system. To the private system has been joined a large public system, because private care was simply not looking after the less fortunate and the elderly.
But even with this huge public part of the system, which this year will eat up 84.5 billion dollars—more than 10 percent of the U.S. budget—large numbers of Americans are left out . These include about half the 11 million unemployed and those who fail to meet the strict limits on income fixed by a government trying to make savings where it can.
The basic problem, however, is that there is no central control over the health system. There is no limit to what doctors and hospitals charge for their services, other than what the public is able to pay. The number of doctors has shot up and prices have climbed. When faced with toothache, a sick child, or a heart attack, all the unfortunate person concerned can do is pay up.
Two-thirds of the population are covered by medical insurance. Doctors charge as much as they want knowing that the insurance company will pay the bill.
The medical profession has as a result become America"s new big businessmen. The average income of doctors has now reached $100,000 a year. With such vast incomes the talk in the doctor"s surgery is as likely to be about the doctor"s latest financial deal, as about whether the minor operation he is recommending at, several thousand dollars is entirely necessary.
The rising cost of medicine in the U. S. A. is among the most worrying problem facing the country. In 1981 the country"s health cost climbed 15.9 percent—about twice as fast as prices in general.Doctors and hospitals try hard to avoid making mistakes because ______.

A．they fear to be sued by the patients
B．they care much about their reputation
C．they compete for getting more patients
D．they wish to join the private medical system

单项选择题

Most people would be impressed by the high quality of medicine available to most Americans. There is a lot of specialization , a great deal of attention to the individual, a vast amount of advanced technical equipment, and intense effort not to make mistakes because of the financial risk which doctors and hospitals must face in the courts if they handle things badly.
But the Americans are in a mess . The problem is the way in which health care is organized and financed. Contrary to public belief, it is not just a free competition system. To the private system has been joined a large public system, because private care was simply not looking after the less fortunate and the elderly.
But even with this huge public part of the system, which this year will eat up 84.5 billion dollars—more than 10 percent of the U.S. budget—large numbers of Americans are left out . These include about half the 11 million unemployed and those who fail to meet the strict limits on income fixed by a government trying to make savings where it can.
The basic problem, however, is that there is no central control over the health system. There is no limit to what doctors and hospitals charge for their services, other than what the public is able to pay. The number of doctors has shot up and prices have climbed. When faced with toothache, a sick child, or a heart attack, all the unfortunate person concerned can do is pay up.
Two-thirds of the population are covered by medical insurance. Doctors charge as much as they want knowing that the insurance company will pay the bill.
The medical profession has as a result become America"s new big businessmen. The average income of doctors has now reached $100,000 a year. With such vast incomes the talk in the doctor"s surgery is as likely to be about the doctor"s latest financial deal, as about whether the minor operation he is recommending at, several thousand dollars is entirely necessary.
The rising cost of medicine in the U. S. A. is among the most worrying problem facing the country. In 1981 the country"s health cost climbed 15.9 percent—about twice as fast as prices in general.The phase "in a mess" underlined in Paragraph 2 is closest in meaning to ______.

A．in disorder
B．untidy
C．unclean
D．chaotic

单项选择题

Most people would be impressed by the high quality of medicine available to most Americans. There is a lot of specialization , a great deal of attention to the individual, a vast amount of advanced technical equipment, and intense effort not to make mistakes because of the financial risk which doctors and hospitals must face in the courts if they handle things badly.
But the Americans are in a mess . The problem is the way in which health care is organized and financed. Contrary to public belief, it is not just a free competition system. To the private system has been joined a large public system, because private care was simply not looking after the less fortunate and the elderly.
But even with this huge public part of the system, which this year will eat up 84.5 billion dollars—more than 10 percent of the U.S. budget—large numbers of Americans are left out . These include about half the 11 million unemployed and those who fail to meet the strict limits on income fixed by a government trying to make savings where it can.
The basic problem, however, is that there is no central control over the health system. There is no limit to what doctors and hospitals charge for their services, other than what the public is able to pay. The number of doctors has shot up and prices have climbed. When faced with toothache, a sick child, or a heart attack, all the unfortunate person concerned can do is pay up.
Two-thirds of the population are covered by medical insurance. Doctors charge as much as they want knowing that the insurance company will pay the bill.
The medical profession has as a result become America"s new big businessmen. The average income of doctors has now reached $100,000 a year. With such vast incomes the talk in the doctor"s surgery is as likely to be about the doctor"s latest financial deal, as about whether the minor operation he is recommending at, several thousand dollars is entirely necessary.
The rising cost of medicine in the U. S. A. is among the most worrying problem facing the country. In 1981 the country"s health cost climbed 15.9 percent—about twice as fast as prices in general.What do Most Americans think about health care in the U. S.

A．It must be in total chaos.
B．It must be a free competition system.
C．It should cover the unemployed.
D．It should involve private care.

单项选择题

Most people would be impressed by the high quality of medicine available to most Americans. There is a lot of specialization , a great deal of attention to the individual, a vast amount of advanced technical equipment, and intense effort not to make mistakes because of the financial risk which doctors and hospitals must face in the courts if they handle things badly.
But the Americans are in a mess . The problem is the way in which health care is organized and financed. Contrary to public belief, it is not just a free competition system. To the private system has been joined a large public system, because private care was simply not looking after the less fortunate and the elderly.
But even with this huge public part of the system, which this year will eat up 84.5 billion dollars—more than 10 percent of the U.S. budget—large numbers of Americans are left out . These include about half the 11 million unemployed and those who fail to meet the strict limits on income fixed by a government trying to make savings where it can.
The basic problem, however, is that there is no central control over the health system. There is no limit to what doctors and hospitals charge for their services, other than what the public is able to pay. The number of doctors has shot up and prices have climbed. When faced with toothache, a sick child, or a heart attack, all the unfortunate person concerned can do is pay up.
Two-thirds of the population are covered by medical insurance. Doctors charge as much as they want knowing that the insurance company will pay the bill.
The medical profession has as a result become America"s new big businessmen. The average income of doctors has now reached $100,000 a year. With such vast incomes the talk in the doctor"s surgery is as likely to be about the doctor"s latest financial deal, as about whether the minor operation he is recommending at, several thousand dollars is entirely necessary.
The rising cost of medicine in the U. S. A. is among the most worrying problem facing the country. In 1981 the country"s health cost climbed 15.9 percent—about twice as fast as prices in general.The phase "left out" underlined in Paragraph 3 is closest in meaning to ______.

A．ignore
B．consider
C．eliminate
D．debar

单项选择题

Most people would be impressed by the high quality of medicine available to most Americans. There is a lot of specialization , a great deal of attention to the individual, a vast amount of advanced technical equipment, and intense effort not to make mistakes because of the financial risk which doctors and hospitals must face in the courts if they handle things badly.
But the Americans are in a mess . The problem is the way in which health care is organized and financed. Contrary to public belief, it is not just a free competition system. To the private system has been joined a large public system, because private care was simply not looking after the less fortunate and the elderly.
But even with this huge public part of the system, which this year will eat up 84.5 billion dollars—more than 10 percent of the U.S. budget—large numbers of Americans are left out . These include about half the 11 million unemployed and those who fail to meet the strict limits on income fixed by a government trying to make savings where it can.
The basic problem, however, is that there is no central control over the health system. There is no limit to what doctors and hospitals charge for their services, other than what the public is able to pay. The number of doctors has shot up and prices have climbed. When faced with toothache, a sick child, or a heart attack, all the unfortunate person concerned can do is pay up.
Two-thirds of the population are covered by medical insurance. Doctors charge as much as they want knowing that the insurance company will pay the bill.
The medical profession has as a result become America"s new big businessmen. The average income of doctors has now reached $100,000 a year. With such vast incomes the talk in the doctor"s surgery is as likely to be about the doctor"s latest financial deal, as about whether the minor operation he is recommending at, several thousand dollars is entirely necessary.
The rising cost of medicine in the U. S. A. is among the most worrying problem facing the country. In 1981 the country"s health cost climbed 15.9 percent—about twice as fast as prices in general.From Paragraph 3 we know that ______ from the public health system.

A．millions of jobless people get support
B．those with steady income do not seek help
C．some people are made ineligible to benefit
D．those with private health care are excluded

单项选择题

Most people would be impressed by the high quality of medicine available to most Americans. There is a lot of specialization , a great deal of attention to the individual, a vast amount of advanced technical equipment, and intense effort not to make mistakes because of the financial risk which doctors and hospitals must face in the courts if they handle things badly.
But the Americans are in a mess . The problem is the way in which health care is organized and financed. Contrary to public belief, it is not just a free competition system. To the private system has been joined a large public system, because private care was simply not looking after the less fortunate and the elderly.
But even with this huge public part of the system, which this year will eat up 84.5 billion dollars—more than 10 percent of the U.S. budget—large numbers of Americans are left out . These include about half the 11 million unemployed and those who fail to meet the strict limits on income fixed by a government trying to make savings where it can.
The basic problem, however, is that there is no central control over the health system. There is no limit to what doctors and hospitals charge for their services, other than what the public is able to pay. The number of doctors has shot up and prices have climbed. When faced with toothache, a sick child, or a heart attack, all the unfortunate person concerned can do is pay up.
Two-thirds of the population are covered by medical insurance. Doctors charge as much as they want knowing that the insurance company will pay the bill.
The medical profession has as a result become America"s new big businessmen. The average income of doctors has now reached $100,000 a year. With such vast incomes the talk in the doctor"s surgery is as likely to be about the doctor"s latest financial deal, as about whether the minor operation he is recommending at, several thousand dollars is entirely necessary.
The rising cost of medicine in the U. S. A. is among the most worrying problem facing the country. In 1981 the country"s health cost climbed 15.9 percent—about twice as fast as prices in general.According to the author, what is the key factor in the rise of health cost in the U. S.

A．The refusal of insurance companies to pay the bills.
B．The increase of the number of doctors and hospitals.
C．The lack of government control over the medical prices.
D．The merger of private health care with the public system.

单项选择题

Most people would be impressed by the high quality of medicine available to most Americans. There is a lot of specialization , a great deal of attention to the individual, a vast amount of advanced technical equipment, and intense effort not to make mistakes because of the financial risk which doctors and hospitals must face in the courts if they handle things badly.
But the Americans are in a mess . The problem is the way in which health care is organized and financed. Contrary to public belief, it is not just a free competition system. To the private system has been joined a large public system, because private care was simply not looking after the less fortunate and the elderly.
But even with this huge public part of the system, which this year will eat up 84.5 billion dollars—more than 10 percent of the U.S. budget—large numbers of Americans are left out . These include about half the 11 million unemployed and those who fail to meet the strict limits on income fixed by a government trying to make savings where it can.
The basic problem, however, is that there is no central control over the health system. There is no limit to what doctors and hospitals charge for their services, other than what the public is able to pay. The number of doctors has shot up and prices have climbed. When faced with toothache, a sick child, or a heart attack, all the unfortunate person concerned can do is pay up.
Two-thirds of the population are covered by medical insurance. Doctors charge as much as they want knowing that the insurance company will pay the bill.
The medical profession has as a result become America"s new big businessmen. The average income of doctors has now reached $100,000 a year. With such vast incomes the talk in the doctor"s surgery is as likely to be about the doctor"s latest financial deal, as about whether the minor operation he is recommending at, several thousand dollars is entirely necessary.
The rising cost of medicine in the U. S. A. is among the most worrying problem facing the country. In 1981 the country"s health cost climbed 15.9 percent—about twice as fast as prices in general.The word "they" underlined in Paragraph 5 refers to ______.

A．doctors
B．money
C．population
D．patients

单项选择题

Most people would be impressed by the high quality of medicine available to most Americans. There is a lot of specialization , a great deal of attention to the individual, a vast amount of advanced technical equipment, and intense effort not to make mistakes because of the financial risk which doctors and hospitals must face in the courts if they handle things badly.
But the Americans are in a mess . The problem is the way in which health care is organized and financed. Contrary to public belief, it is not just a free competition system. To the private system has been joined a large public system, because private care was simply not looking after the less fortunate and the elderly.
But even with this huge public part of the system, which this year will eat up 84.5 billion dollars—more than 10 percent of the U.S. budget—large numbers of Americans are left out . These include about half the 11 million unemployed and those who fail to meet the strict limits on income fixed by a government trying to make savings where it can.
The basic problem, however, is that there is no central control over the health system. There is no limit to what doctors and hospitals charge for their services, other than what the public is able to pay. The number of doctors has shot up and prices have climbed. When faced with toothache, a sick child, or a heart attack, all the unfortunate person concerned can do is pay up.
Two-thirds of the population are covered by medical insurance. Doctors charge as much as they want knowing that the insurance company will pay the bill.
The medical profession has as a result become America"s new big businessmen. The average income of doctors has now reached $100,000 a year. With such vast incomes the talk in the doctor"s surgery is as likely to be about the doctor"s latest financial deal, as about whether the minor operation he is recommending at, several thousand dollars is entirely necessary.
The rising cost of medicine in the U. S. A. is among the most worrying problem facing the country. In 1981 the country"s health cost climbed 15.9 percent—about twice as fast as prices in general.It is implied that American doctors often ______.

A．trade their professionalism for financial benefits
B．fail to recognize the paying power of the patients
C．discuss about how to make money during the surgery
D．give the patients expensive but needless treatments

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