考研201英語(yǔ)（一）在線題庫(kù)每日一練（九十三）

本文提供考研201英語(yǔ)（一）在線題庫(kù)每日一練，以下為具體內(nèi)容

1、Of all the changes that have taken place in English-language newspapers during the past quarter-century, perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage. It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews. To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II, at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared. In those far-off days, it was taken for granted that the critics of major papers would write in detail and at length about the events they covered. Theirs was a serious business, and even those reviewers who wore their learning lightly, like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about. These men believed in journalism as a calling, and were proud to be published in the daily press. “So few authors have brains enough or literary gift enough to keep their own end up in journalism,” Newman wrote, “that I am tempted to define ‘journalism’ as ‘a(chǎn) term of contempt applied by writers who are not read to writers who are’.”Unfortunately, these critics are virtually forgotten. Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays on the game of cricket. During his lifetime, though, he was also one of England's foremost classical-music critics, a stylist so widely admired that his Autobiography (1947) became a best-seller. He was knighted in 1967, the first music critic to be so honored. Yet only one of his books is now in print, and his vast body of writings on music is unknown save to specialists.Is there any chance that Cardus's criticism will enjoy a revival? The prospect seems remote. Journalistic tastes had changed long before his death, and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized. Moreover, the amateur tradition in music criticism has been in headlong retreat.1.It is indicated in Paragraphs 1 and 2 that（  ）.2.Newspaper reviews in England before World War II were characterized by （  ）.  3.Which of the following would Shaw and Newman most probably agree on?4.What can be learned about Cardus according to the last two paragraphs?5.What would be the best title for the text?

問(wèn)題1

A、arts criticism has disappeared from big-city newspapers

B、English-language newspapers used to carry more arts reviews

C、high-quality newspapers retain a large body of readers

D、young readers doubt the suitability of criticism on dailies

問(wèn)題2

A、free themes

B、casual style

C、elaborate layout

D、radical viewpoints

問(wèn)題3

A、It is writers' duty to fulfill journalistic goals.

B、It is contemptible for writers to be journalists.

C、Writers are likely to be tempted into journalism.

D、Not all writers are capable of journalistic writing.

問(wèn)題4

A、His music criticism may not appeal to readers today.

B、His reputation as a music critic has long been in dispute.

C、His style caters largely to modern specialists.

D、His writings fail to follow the amateur tradition.

問(wèn)題5

A、Newspapers of the Good Old Days

B、The Lost Horizon in Newspapers

C、Mournful Decline of Journalism

D、Prominent Critics in Memory

2、Bankers have been blaming themselves for their troubles in public. Behind the scenes, they have been taking aim at someone else: the accounting standard-setters. Their rules, moan the banks, have forced them to report enormous losses, and it's just not fair. These rules say they must value some assets at the price a third party would pay, not the price managers and regulators would like them to fetch.Unfortunately, banks' lobbying now seems to be working. The details may be unknowable, but the independence of standard-setters, essential to the proper functioning of capital markets, is being compromised. And, unless banks carry toxic assets at prices that attract buyers, reviving the banking system will be difficult.After a bruising encounter with Congress, America's Financial Accounting Standards Board (FASB) rushed through rule changes. These gave banks more freedom to use models to value illiquid assets and more flexibility in recognizing losses on long-term assets in their income statements. Bob Herz, the FASB's chairman, cried out against those who “question our motives.” Yet bank shares rose and the changes enhance what one lobbying group politely calls “the use of judgment by management.”European ministers instantly demanded that the International Accounting Standards Board (IASB) do likewise. The IASB says it does not want to act without overall planning, but the pressure to fold when it completes its reconstruction of rules later this year is strong. Charlie McCreevy, a European commissioner, warned the IASB that it did “not live in a political vacuum” but “in the real world” and that Europe could yet develop different rules.It was banks that were on the wrong planet, with accounts that vastly overvalued assets. Today they argue that market prices overstate losses, because they largely reflect the temporary illiquidity of markets, not the likely extent of bad debts. The truth will not be known for years. But banks' shares trade below their book value, suggesting that investors are skeptical. And dead markets partly reflect the paralysis of banks which will not sell assets for fear of booking losses, yet are reluctant to buy all those supposed bargains.To get the system working again, losses must be recognized and dealt with. America's new plan to buy up toxic assets will not work unless banks mark assets to levels which buyers find attractive. Successful markets require independent and even combative standard-setters. The FASB and IASB have been exactly that, cleaning up rules on stock options and pensions, for example, against hostility from special interests. But by giving in to critics now they are inviting pressure to make more concessions.1.Bankers complained that they were forced to（  ）.2.According to the author, the rule changes of the FASB may result in （  ）.  3.According to Paragraph 4, McCreevy objects to the IASB's attempt to （  ）.  4.The author thinks the banks were “on the wrong planet” in that they （  ）.  5.The author's attitude towards standard-setters is one of（  ）.

問(wèn)題1

A、follow unfavorable asset evaluation rules

B、collect payments from third parties

C、cooperate with the price managers

D、reevaluate some of their assets

問(wèn)題2

A、the diminishing role of management

B、the revival of the banking system

C、the banks' long-term asset losses

D、the weakening of its independence

問(wèn)題3

A、keep away from political influences

B、evade the pressure from their peers

C、act on their own in rule-setting

D、take gradual measures in reform

問(wèn)題4

A、misinterpreted market price indicators

B、exaggerated the real value of their assets

C、neglected the likely existence of bad debts

D、denied booking losses in their sale of assets

問(wèn)題5

A、satisfaction

B、skepticism

C、objectiveness

D、sympathy

3、Ancient Greek philosopher Aristotle viewed laughter as “a bodily exercise precious to health.” But（1）some claims to the contrary, laughing probably has little influence on physical fitness. Laughter does （2）short-term changes in the function of the heart and its blood vessels, （3） heart rate and oxygen consumption. But because hard laughter is difficult to （4）, a good laugh is unlikely to have （5） benefits the way, say, walking or jogging does. （6）, instead of straining muscles to build them, as exercise does, laughter apparently accomplishes the （7）, studies dating back to the 1930's indicate that laughter （8） muscles, decreasing muscle tone for up to 45 minutes after the laugh dies down. Such bodily reaction might conceivably help （9） the effects of psychological stress. Anyway, the act of laughing probably does produce other types of （10） feedback, that improve an individual's emotional state.  （11） one classical theory of emotion, our feelings are partially rooted （12） physical reactions. It was argued at the end of the 19th century that humans do not cry （13） they are sad but they become sad when the tears begin to flow. Although sadness also （14） tears, evidence suggests that emotions can flow （15） muscular responses. In an experiment published in 1988, social psychologist Fritz Strack of the University of Würzburg in Germany asked volunteers to （16） a pen either with their teeth—thereby creating an artificial smile—or with their lips, which would produce a(n)（17） expression. Those forced to exercise their smiling muscles（18） more enthusiastically to funny cartoons than did those whose months were contracted in a frown,（19） that expressions may influence emotions rather than just the other way around. （20）, the physical act of laughter could improve mood. 

問(wèn)題1

A、among

B、except

C、despite

D、like

問(wèn)題2

A、reflect

B、demand

C、indicate

D、produce

問(wèn)題3

A、stabilizing

B、boosting

C、impairing

D、determining

問(wèn)題4

A、transmit

B、sustain

C、evaluate

D、observe

問(wèn)題5

A、measurable

B、manageable

C、affordable

D、renewable

問(wèn)題6

A、In turn

B、In fact

C、In addition

D、In brief

問(wèn)題7

A、opposite

B、impossible

C、average

D、expected

問(wèn)題8

A、hardens

B、weakens

C、tightens

D、relaxes

問(wèn)題9

A、aggravate

B、generate

C、moderate

D、enhance

問(wèn)題10

A、physical

B、mental

C、subconscious

D、internal

問(wèn)題11

A、Except for

B、According to

C、Due to

D、As for

問(wèn)題12

A、with

B、on

C、in

D、at

問(wèn)題13

A、unless

B、until

C、if

D、because

問(wèn)題14

A、exhausts

B、follows

C、precedes

D、suppresses

問(wèn)題15

A、into

B、from

C、towards

D、beyond

問(wèn)題16

A、fetch

B、bite

C、pick

D、hold

問(wèn)題17

A、disappointed

B、excited

C、joyful

D、indifferent

問(wèn)題18

A、adapted

B、catered

C、turned

D、reacted

問(wèn)題19

A、suggesting

B、requiring

C、mentioning

D、supposing

問(wèn)題20

A、Eventually

B、Consequently

C、Similarly

D、Conversely

4、The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009. For the most part, the response has been favorable, to say the least. “Hooray! At last!” wrote Anthony Tommasini, a sober-sided classical-music critic. One of the reasons why the appointment came as such a surprise, however, is that Gilbert is comparatively little known. Even Tommasini, who had advocated Gilbert's appointment in the Times, calls him “an unpretentious musician with no air of the formidable conductor about him.” As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez, that seems likely to have struck at least some Times readers as faint praise. For my part, I have no idea whether Gilbert is a great conductor or even a good one. To be sure, he performs an impressive variety of interesting compositions, but it is not necessary for me to visit Avery Fisher Hall, or anywhere else, to hear interesting orchestral music. All I have to do is to go to my CD shelf, or boot up my computer and download still more recorded music from iTunes. Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point. For the time, attention, and money of the art-loving public, classical instrumentalists must compete not only with opera houses, dance troupes, theater companies, and museums, but also with the recorded performances of the great classical musicians of the 20th century. There recordings are cheap, available everywhere, and very often much higher in artistic quality than today's live performances; moreover, they can be “consumed” at a time and place of the listener's choosing. The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert. One possible response is for classical performers to program attractive new music that is not yet available on record. Gilbert's own interest in new music has been widely noted: Alex Ross, a classical-music critic, has described him as a man who is capable of turning the Philharmonic into “a markedly different, more vibrant organization.” But what will be the nature of that difference? Merely expanding the orchestra's repertoire will not be enough. If Gilbert and the Philharmonic are to succeed, they must first change the relationship between America's oldest orchestra and the new audience it hopes to attract. 1.We learn from Para.1 that Gilbert's appointment has（  ）.2.Tommasini regards Gilbert as an artist who is （  ）.  3.The author believes that the devoted concertgoers （  ）.  4.According to the text, which of the following is true of recordings? 5.Regarding Gilbert's role in revitalizing the Philharmonic, the author feels（  ）.

問(wèn)題1

A、incurred criticism

B、raised suspicion

C、received acclaim

D、aroused curiosity

問(wèn)題2

A、influential

B、modest

C、respectable

D、talented

問(wèn)題3

A、ignore the expenses of live performances

B、reject most kinds of recorded performances

C、exaggerate the variety of live performances

D、overestimate the value of live performances

問(wèn)題4

A、They are often inferior to live concerts in quality.

B、They are easily accessible to the general public.

C、They help improve the quality of music.

D、They have only covered masterpieces.

問(wèn)題5

A、doubtful

B、enthusiastic

C、confident

D、puzzled

5、Come on—Everybody's doing it. That whispered message, half invitation and half forcing, is what most of us think of when we hear the words peer pressure. It usually leads to no good—drinking, drugs and casual sex. But in her new book Join the Club, Tina Rosenberg contends that peer pressure can also be a positive force through what she calls the social cure, in which organizations and officials use the power of group dynamics to help individuals improve their lives and possibly the word. Rosenberg, the recipient of a Pulitzer Prize, offers a host of example of the social cure in action: In South Carolina, a state-sponsored antismoking program called Rage Against the Haze sets out to make cigarettes uncool. In South Africa, an HIV-prevention initiative known as LoveLife recruits young people to promote safe sex among their peers. The idea seems promising, and Rosenberg is a perceptive observer. Her critique of the lameness of many pubic-health campaigns is spot-on: they fail to mobilize peer pressure for healthy habits, and they demonstrate a seriously flawed understanding of psychology. "Dare to be different, please don't smoke!” pleads one billboard campaign aimed at reducing smoking among teenagers-teenagers, who desire nothing more than fitting in. Rosenberg argues convincingly that public-health advocates ought to take a page from advertisers, so skilled at applying peer pressure. But on the general effectiveness of the social cure, Rosenberg is less persuasive. Join the Club is filled with too much irrelevant detail and not enough exploration of the social and biological factors that make peer pressure so powerful. The most glaring flaw of the social cure as it's presented here is that it doesn't work very well for very long. Rage Against the Haze failed once state funding was cut. Evidence that the LoveLife program produces lasting changes is limited and mixed. There's no doubt that our peer groups exert enormous influence on our behavior. An emerging body of research shows that positive health habits—as well as negative ones—spread through networks of friends via social communication. This is a subtle form of peer pressure: we unconsciously imitate the behavior we see every day. Far less certain, however, is how successfully experts and bureaucrats can select our peer groups and steer their activities in virtuous directions. It's like the teacher who breaks up the troublemakers in the back row by pairing them with better-behaved classmates. The tactic never really works. And that's the problem with a social cure engineered from the outside: in the real world, as in school, we insist on choosing our own friends. 1.According to the first paragraph, peer pressure often emerges as（  ）.2.Rosenberg holds that public advocates should （  ）.  3.In the author's view, Rosenberg's book fails to （  ）.  4.Paragraph 5 shows that our imitation of behaviors （  ）.  5.The author suggests in the last paragraph that the effect of peer pressure is（  ）.

問(wèn)題1

A、a supplement to the social cure

B、a stimulus to group dynamics

C、an obstacle to school progress

D、a cause of undesirable behaviors

問(wèn)題2

A、recruit professional advertisers

B、learn from advertisers' experience

C、stay away from commercial advertisers

D、recognize the limitations of advertisements

問(wèn)題3

A、adequately probe social and biological factors

B、effectively evade the flaws of the social cure

C、illustrate the functions of state funding

D、produce a long-lasting social effect

問(wèn)題4

A、is harmful to our networks of friends

B、will mislead behavioral studies

C、occurs without our realizing it

D、can produce negative health habits

問(wèn)題5

A、harmful

B、desirable

C、profound

D、questionable