1、It was between 1830 and 1835（） the modern newspaper was born. 单选题 2分

2、 （）who had arrested him three times for smuggling. 单选题 2分

3、 John can play the guitar, and（） . 单选题 2分

4、Anthony, a meticulous young man, （）watered his neighbors’ plants once a week while they were on vacation. A. eagerly 单选题 2分

5、 The Euro has , （），but the dollar is up. 单选题 2分

6、 Dog-sitting for Buddy is easy to do; he is a （）and obedient pet. 单选题 2分

7、 Which of the follwing sets of phonetic features characterizes the English phoneme / ɔː /? 单选题 2分

8、 The phoneme /n/ in the first word of all the following phrases changes to /m/ EXCEPT （）. 单选题 2分

9、 Juliet says in Shakespeare’s Romeo and Juliet: “What’s in a name? That which we call a rose by any other name would smell as sweet,” Her words pinpoint the fact that language is （）. 单选题 2分

10、 Which of the following is a slip of tongue? 单选题 2分

11、A teacher handed out a list of twenty “if” sentences and asked students to discuss and find out the grammatical rules. What is the teacher’s grammar teaching method? A. Deduction. 单选题 2分

12、 When you focus on “utterance function” and “expected response” by using examples like “apology/acceptance, inform/acknowledge”, you are probably teaching language at the （）. 单选题 2分

13、 Asking students to explain new words in a text with known words is NOT an act of （）. 单选题 2分

14、 Which of the following is an accuracy-oriented speaking activity? 单选题 2分

15、Which of the following is NOT a suitable pre-listening activity? 单选题 2分

16、Writing exercises such as completion, reproduction, compression, and transformation are mainly the type of exercises used in （）task. 单选题 2分

17、The conversation below shows that the teacher （）. Student: I’m very down. My dad get seriously ill last week, and I’m…. Teacher:No. Not get. Say got because it’s in the past. 单选题 2分

18、 If a teacher gets an incorrect answer from students, it is most appropriate for him or her to say “ （）” in order to encourage them. 单选题 2分

19、 When a student said in class, “I goed there yesterday.” the teacher responded, “Say it again, please.” The response is an example of （）. 单选题 2分

20、 When students engage in group work, the teacher moves around to provide help if necessary and make sure they are doing the task properly. This is called （）. 单选题 2分

21、 Passage One Although the earliest films in cinema were done in one shot without any editing, cutting is so fundamental to the medium that it began to emerge relatively quickly. There was a basic disparity between the amount of film that a camera’s magazine could hlod and the evolving desire of filmmakers and audiences for longer and more elaborate story films. Only by editing shots together could longer narrative forms be achieved. A trip to the Moon (1914), directied by Georges Méliès (1861-1938), for example, creates a narrative by assembling a series of scenes, with each scene filmed in a single shot. The edit points occur between the scenes, in order to link them together. The Great Train Robbery (1903), directed by Edwin S. Porter (1870-1941), follows a band of Western outlaws robbing a train and interrupts the chronology of the acion with a cutaway showing the rescue of a telegraph operator whom the outlaws earlier had tied up. Following the cutaway, Porter introduces a second line of action, showing the roundup of a posse and the pursuit of the outlaws. Film historians commonly cite this as an early example of parallel editing, showing two lines of narrative acition happening at the same time, although Porter’s use of this device here is ambiguous. It is not clear that he means for the parallel editing to establish that the two lines of action are in fact happening simultaneously. In other respects, editing in The Great Train Robbery ramains very primitive, with cuts used only to join scenes and with no intercutting inside a scene. In contrast with Porter, D. W. Griffith (1875-1948) freed the camera from the conventions of stage perspective by breaking the action of scenes into many different shots and editing these according to the emotional and narrative rhythms of the action. Griffith explored the capabilities of edting in the films he made at Biograph studio from 1908 to 1913, primarily the use of continuity matches to link shots smoothly and according to their dramatic and kinesthetic properties. Cutting from full-figure shots to a close-up accentuated the drama, and matching the action on a cut as a character walks from an exterior into a doorway and, in the next shot, enters an interior set enabled Griffith to join filming locations that were physically separated but adjacent in terms of the time and place of the story. Griffith bacame famous for his use of crosscutting in the many “rides to the rescue” that climax his films. In The Girl and Her Trust (1912), for example, Griffith cuts back and forth from a pair of robbers, who have abducted the heroine and are escaping on a railroad pump car, to the hero, who is attempting to overtake them by train. By intercutting these lines of action, Griffith creates suspense, and by shortening the lengths of the shots, he accelerates the pace. Crosscutting furnished a foundation for narrative in cinema, and there is little structural difference between what Griffith did here and what a later filmmaker such as Steven Spielberg (b. 1946) does in Jaws (1975). Griffith extended his fluid use of continuity editing and crosscutting in his epics The Birth of a Nation (1915) and Intolerance (1916). The latter film is a supreme example of crosscutting, which is here used to tell four stories set in different time periods in simultaneous fashion. 问题:What is this reading mainly about? 单选题 2分

22、 Passage One Although the earliest films in cinema were done in one shot without any editing, cutting is so fundamental to the medium that it began to emerge relatively quickly. There was a basic disparity between the amount of film that a camera’s magazine could hlod and the evolving desire of filmmakers and audiences for longer and more elaborate story films. Only by editing shots together could longer narrative forms be achieved. A trip to the Moon (1914), directied by Georges Méliès (1861-1938), for example, creates a narrative by assembling a series of scenes, with each scene filmed in a single shot. The edit points occur between the scenes, in order to link them together. The Great Train Robbery (1903), directed by Edwin S. Porter (1870-1941), follows a band of Western outlaws robbing a train and interrupts the chronology of the acion with a cutaway showing the rescue of a telegraph operator whom the outlaws earlier had tied up. Following the cutaway, Porter introduces a second line of action, showing the roundup of a posse and the pursuit of the outlaws. Film historians commonly cite this as an early example of parallel editing, showing two lines of narrative acition happening at the same time, although Porter’s use of this device here is ambiguous. It is not clear that he means for the parallel editing to establish that the two lines of action are in fact happening simultaneously. In other respects, editing in The Great Train Robbery ramains very primitive, with cuts used only to join scenes and with no intercutting inside a scene. In contrast with Porter, D. W. Griffith (1875-1948) freed the camera from the conventions of stage perspective by breaking the action of scenes into many different shots and editing these according to the emotional and narrative rhythms of the action. Griffith explored the capabilities of edting in the films he made at Biograph studio from 1908 to 1913, primarily the use of continuity matches to link shots smoothly and according to their dramatic and kinesthetic properties. Cutting from full-figure shots to a close-up accentuated the drama, and matching the action on a cut as a character walks from an exterior into a doorway and, in the next shot, enters an interior set enabled Griffith to join filming locations that were physically separated but adjacent in terms of the time and place of the story. Griffith bacame famous for his use of crosscutting in the many “rides to the rescue” that climax his films. In The Girl and Her Trust (1912), for example, Griffith cuts back and forth from a pair of robbers, who have abducted the heroine and are escaping on a railroad pump car, to the hero, who is attempting to overtake them by train. By intercutting these lines of action, Griffith creates suspense, and by shortening the lengths of the shots, he accelerates the pace. Crosscutting furnished a foundation for narrative in cinema, and there is little structural difference between what Griffith did here and what a later filmmaker such as Steven Spielberg (b. 1946) does in Jaws (1975). Griffith extended his fluid use of continuity editing and crosscutting in his epics The Birth of a Nation (1915) and Intolerance (1916). The latter film is a supreme example of crosscutting, which is here used to tell four stories set in different time periods in simultaneous fashion. 问题:The underlined word abducted in Paragraph 4 probably means （）. 单选题 2分

23、 Passage One Although the earliest films in cinema were done in one shot without any editing, cutting is so fundamental to the medium that it began to emerge relatively quickly. There was a basic disparity between the amount of film that a camera’s magazine could hlod and the evolving desire of filmmakers and audiences for longer and more elaborate story films. Only by editing shots together could longer narrative forms be achieved. A trip to the Moon (1914), directied by Georges Méliès (1861-1938), for example, creates a narrative by assembling a series of scenes, with each scene filmed in a single shot. The edit points occur between the scenes, in order to link them together. The Great Train Robbery (1903), directed by Edwin S. Porter (1870-1941), follows a band of Western outlaws robbing a train and interrupts the chronology of the acion with a cutaway showing the rescue of a telegraph operator whom the outlaws earlier had tied up. Following the cutaway, Porter introduces a second line of action, showing the roundup of a posse and the pursuit of the outlaws. Film historians commonly cite this as an early example of parallel editing, showing two lines of narrative acition happening at the same time, although Porter’s use of this device here is ambiguous. It is not clear that he means for the parallel editing to establish that the two lines of action are in fact happening simultaneously. In other respects, editing in The Great Train Robbery ramains very primitive, with cuts used only to join scenes and with no intercutting inside a scene. In contrast with Porter, D. W. Griffith (1875-1948) freed the camera from the conventions of stage perspective by breaking the action of scenes into many different shots and editing these according to the emotional and narrative rhythms of the action. Griffith explored the capabilities of edting in the films he made at Biograph studio from 1908 to 1913, primarily the use of continuity matches to link shots smoothly and according to their dramatic and kinesthetic properties. Cutting from full-figure shots to a close-up accentuated the drama, and matching the action on a cut as a character walks from an exterior into a doorway and, in the next shot, enters an interior set enabled Griffith to join filming locations that were physically separated but adjacent in terms of the time and place of the story. Griffith bacame famous for his use of crosscutting in the many “rides to the rescue” that climax his films. In The Girl and Her Trust (1912), for example, Griffith cuts back and forth from a pair of robbers, who have abducted the heroine and are escaping on a railroad pump car, to the hero, who is attempting to overtake them by train. By intercutting these lines of action, Griffith creates suspense, and by shortening the lengths of the shots, he accelerates the pace. Crosscutting furnished a foundation for narrative in cinema, and there is little structural difference between what Griffith did here and what a later filmmaker such as Steven Spielberg (b. 1946) does in Jaws (1975). Griffith extended his fluid use of continuity editing and crosscutting in his epics The Birth of a Nation (1915) and Intolerance (1916). The latter film is a supreme example of crosscutting, which is here used to tell four stories set in different time periods in simultaneous fashion. 问题:Who popularized parallel editing? 单选题 2分

24、 Passage One Although the earliest films in cinema were done in one shot without any editing, cutting is so fundamental to the medium that it began to emerge relatively quickly. There was a basic disparity between the amount of film that a camera’s magazine could hlod and the evolving desire of filmmakers and audiences for longer and more elaborate story films. Only by editing shots together could longer narrative forms be achieved. A trip to the Moon (1914), directied by Georges Méliès (1861-1938), for example, creates a narrative by assembling a series of scenes, with each scene filmed in a single shot. The edit points occur between the scenes, in order to link them together. The Great Train Robbery (1903), directed by Edwin S. Porter (1870-1941), follows a band of Western outlaws robbing a train and interrupts the chronology of the acion with a cutaway showing the rescue of a telegraph operator whom the outlaws earlier had tied up. Following the cutaway, Porter introduces a second line of action, showing the roundup of a posse and the pursuit of the outlaws. Film historians commonly cite this as an early example of parallel editing, showing two lines of narrative acition happening at the same time, although Porter’s use of this device here is ambiguous. It is not clear that he means for the parallel editing to establish that the two lines of action are in fact happening simultaneously. In other respects, editing in The Great Train Robbery ramains very primitive, with cuts used only to join scenes and with no intercutting inside a scene. In contrast with Porter, D. W. Griffith (1875-1948) freed the camera from the conventions of stage perspective by breaking the action of scenes into many different shots and editing these according to the emotional and narrative rhythms of the action. Griffith explored the capabilities of edting in the films he made at Biograph studio from 1908 to 1913, primarily the use of continuity matches to link shots smoothly and according to their dramatic and kinesthetic properties. Cutting from full-figure shots to a close-up accentuated the drama, and matching the action on a cut as a character walks from an exterior into a doorway and, in the next shot, enters an interior set enabled Griffith to join filming locations that were physically separated but adjacent in terms of the time and place of the story. Griffith bacame famous for his use of crosscutting in the many “rides to the rescue” that climax his films. In The Girl and Her Trust (1912), for example, Griffith cuts back and forth from a pair of robbers, who have abducted the heroine and are escaping on a railroad pump car, to the hero, who is attempting to overtake them by train. By intercutting these lines of action, Griffith creates suspense, and by shortening the lengths of the shots, he accelerates the pace. Crosscutting furnished a foundation for narrative in cinema, and there is little structural difference between what Griffith did here and what a later filmmaker such as Steven Spielberg (b. 1946) does in Jaws (1975). Griffith extended his fluid use of continuity editing and crosscutting in his epics The Birth of a Nation (1915) and Intolerance (1916). The latter film is a supreme example of crosscutting, which is here used to tell four stories set in different time periods in simultaneous fashion. 问题:Which of the following films is an excellent example of crosscutting? 单选题 2分

25、 Passage One Although the earliest films in cinema were done in one shot without any editing, cutting is so fundamental to the medium that it began to emerge relatively quickly. There was a basic disparity between the amount of film that a camera’s magazine could hlod and the evolving desire of filmmakers and audiences for longer and more elaborate story films. Only by editing shots together could longer narrative forms be achieved. A trip to the Moon (1914), directied by Georges Méliès (1861-1938), for example, creates a narrative by assembling a series of scenes, with each scene filmed in a single shot. The edit points occur between the scenes, in order to link them together. The Great Train Robbery (1903), directed by Edwin S. Porter (1870-1941), follows a band of Western outlaws robbing a train and interrupts the chronology of the acion with a cutaway showing the rescue of a telegraph operator whom the outlaws earlier had tied up. Following the cutaway, Porter introduces a second line of action, showing the roundup of a posse and the pursuit of the outlaws. Film historians commonly cite this as an early example of parallel editing, showing two lines of narrative acition happening at the same time, although Porter’s use of this device here is ambiguous. It is not clear that he means for the parallel editing to establish that the two lines of action are in fact happening simultaneously. In other respects, editing in The Great Train Robbery ramains very primitive, with cuts used only to join scenes and with no intercutting inside a scene. In contrast with Porter, D. W. Griffith (1875-1948) freed the camera from the conventions of stage perspective by breaking the action of scenes into many different shots and editing these according to the emotional and narrative rhythms of the action. Griffith explored the capabilities of edting in the films he made at Biograph studio from 1908 to 1913, primarily the use of continuity matches to link shots smoothly and according to their dramatic and kinesthetic properties. Cutting from full-figure shots to a close-up accentuated the drama, and matching the action on a cut as a character walks from an exterior into a doorway and, in the next shot, enters an interior set enabled Griffith to join filming locations that were physically separated but adjacent in terms of the time and place of the story. Griffith bacame famous for his use of crosscutting in the many “rides to the rescue” that climax his films. In The Girl and Her Trust (1912), for example, Griffith cuts back and forth from a pair of robbers, who have abducted the heroine and are escaping on a railroad pump car, to the hero, who is attempting to overtake them by train. By intercutting these lines of action, Griffith creates suspense, and by shortening the lengths of the shots, he accelerates the pace. Crosscutting furnished a foundation for narrative in cinema, and there is little structural difference between what Griffith did here and what a later filmmaker such as Steven Spielberg (b. 1946) does in Jaws (1975). Griffith extended his fluid use of continuity editing and crosscutting in his epics The Birth of a Nation (1915) and Intolerance (1916). The latter film is a supreme example of crosscutting, which is here used to tell four stories set in different time periods in simultaneous fashion. 问题:What can be inferred from the passage? 单选题 2分

26、 Passage Two The first time I questioned the conventional wisdom on the nature of a healthy diet, I was in my salad days, almost 40 years ago, and the subject was salt. Researchers were claiming that salt supplementation was unnecessary after strenuous exercise, and this advice was being passed on by health reporters. All I knew was that I had played high school football in suburban Maryland, sweating profusely through double sessions in the swamplike 90-degree days of August. Without salt pills, I couldn’t make it through a two-hour practice; I couldn’t walk across the parking lot afterward without cramping. While sports nutritionists have since come around to recommend that we should indeed replenish salt when we sweat it out in physical activity, the massage that we should avoid salt at all other times remains strong. Salt consumption is said to raise blood pressure, cause hypertension and increse the risk of premature death. This is why the Department of Agriculture’s dietary guidelines still consider salt Public Enemy No.1, coming before fats, sugars and alcohol. It’s why the director of the Center for Disease Control and Prevention has suggested that reducing salt consumption is as critical to long-term health as quitting cigarettes. And yet, this eat-less-salt argument has been surprisingly controversial – and difficult to defend. Not because the food industry opposes it, but because the actual evidence to support it has always been so week. When I spent the better part of a year researching the state of the salt science back in 1998 – already a quarter century into the eat-less-salt recommendations – journal editors and public health administrators were still remarkably candid in their assessment of how flimsy the evidence was implicating salt as the cause of hypertension. While, back then, the evidence merely failed to demonstrate that salt was harmful, the evidence from studies published over the past two years actually suggests that restricting how much salt we eat can increase our likelihood of dying prematurely. Put simply, the possibility has been raised that if we were to eat as little salt as the U.S.D.A. and the .C.D.C. recommend, we’d be harming rather than helping ourselves. Why have we been told that salt is so deadly? Well, the advice has always sounded reasonable. It has what nutritionists like to call “biological plausibility.” Eat more salt and your body retains water to maintain a stable concentration of sodium in your blood. This is why eating salty food tends to make us thirsty: we drink more; we retain water. The result can be a temporary increase in blood pressure, which will persist until our kidneys eliminate both salt and water. The scientific question is whether this temporary phenomenon translates to chronic problems: if we eat too much salt for years, does it raise our blood pressure, cause hypertension, then strokes, and then kill us prematurely? It makes sense, but it’s only a hypothesis. The reason scientists do experiments is to find out if hypotheses are true. The N.I.H. has spent enormous sums of money of studies to test the hypothesis, and those studies have singularly failed to make the evidence any more conclusive. With nearly everyone focused on the supposed benefits of salt restriction, little research was done to look at the potential dangers. But four years ago, Italian researchers began publishing the results from a series of clinical trials, all of which reported that, among patients with heart failure, reducing slat consumption increased the risk of death. 问题:Salt pills seem to be a kind of substance which （）. 单选题 2分

27、 Passage Two The first time I questioned the conventional wisdom on the nature of a healthy diet, I was in my salad days, almost 40 years ago, and the subject was salt. Researchers were claiming that salt supplementation was unnecessary after strenuous exercise, and this advice was being passed on by health reporters. All I knew was that I had played high school football in suburban Maryland, sweating profusely through double sessions in the swamplike 90-degree days of August. Without salt pills, I couldn’t make it through a two-hour practice; I couldn’t walk across the parking lot afterward without cramping. While sports nutritionists have since come around to recommend that we should indeed replenish salt when we sweat it out in physical activity, the massage that we should avoid salt at all other times remains strong. Salt consumption is said to raise blood pressure, cause hypertension and increse the risk of premature death. This is why the Department of Agriculture’s dietary guidelines still consider salt Public Enemy No.1, coming before fats, sugars and alcohol. It’s why the director of the Center for Disease Control and Prevention has suggested that reducing salt consumption is as critical to long-term health as quitting cigarettes. And yet, this eat-less-salt argument has been surprisingly controversial – and difficult to defend. Not because the food industry opposes it, but because the actual evidence to support it has always been so week. When I spent the better part of a year researching the state of the salt science back in 1998 – already a quarter century into the eat-less-salt recommendations – journal editors and public health administrators were still remarkably candid in their assessment of how flimsy the evidence was implicating salt as the cause of hypertension. While, back then, the evidence merely failed to demonstrate that salt was harmful, the evidence from studies published over the past two years actually suggests that restricting how much salt we eat can increase our likelihood of dying prematurely. Put simply, the possibility has been raised that if we were to eat as little salt as the U.S.D.A. and the .C.D.C. recommend, we’d be harming rather than helping ourselves. Why have we been told that salt is so deadly? Well, the advice has always sounded reasonable. It has what nutritionists like to call “biological plausibility.” Eat more salt and your body retains water to maintain a stable concentration of sodium in your blood. This is why eating salty food tends to make us thirsty: we drink more; we retain water. The result can be a temporary increase in blood pressure, which will persist until our kidneys eliminate both salt and water. The scientific question is whether this temporary phenomenon translates to chronic problems: if we eat too much salt for years, does it raise our blood pressure, cause hypertension, then strokes, and then kill us prematurely? It makes sense, but it’s only a hypothesis. The reason scientists do experiments is to find out if hypotheses are true. The N.I.H. has spent enormous sums of money of studies to test the hypothesis, and those studies have singularly failed to make the evidence any more conclusive. With nearly everyone focused on the supposed benefits of salt restriction, little research was done to look at the potential dangers. But four years ago, Italian researchers began publishing the results from a series of clinical trials, all of which reported that, among patients with heart failure, reducing slat consumption increased the risk of death. 问题:According to the passage, when were people recommended to eat less salt? 单选题 2分

28、 Passage Two The first time I questioned the conventional wisdom on the nature of a healthy diet, I was in my salad days, almost 40 years ago, and the subject was salt. Researchers were claiming that salt supplementation was unnecessary after strenuous exercise, and this advice was being passed on by health reporters. All I knew was that I had played high school football in suburban Maryland, sweating profusely through double sessions in the swamplike 90-degree days of August. Without salt pills, I couldn’t make it through a two-hour practice; I couldn’t walk across the parking lot afterward without cramping. While sports nutritionists have since come around to recommend that we should indeed replenish salt when we sweat it out in physical activity, the massage that we should avoid salt at all other times remains strong. Salt consumption is said to raise blood pressure, cause hypertension and increse the risk of premature death. This is why the Department of Agriculture’s dietary guidelines still consider salt Public Enemy No.1, coming before fats, sugars and alcohol. It’s why the director of the Center for Disease Control and Prevention has suggested that reducing salt consumption is as critical to long-term health as quitting cigarettes. And yet, this eat-less-salt argument has been surprisingly controversial – and difficult to defend. Not because the food industry opposes it, but because the actual evidence to support it has always been so week. When I spent the better part of a year researching the state of the salt science back in 1998 – already a quarter century into the eat-less-salt recommendations – journal editors and public health administrators were still remarkably candid in their assessment of how flimsy the evidence was implicating salt as the cause of hypertension. While, back then, the evidence merely failed to demonstrate that salt was harmful, the evidence from studies published over the past two years actually suggests that restricting how much salt we eat can increase our likelihood of dying prematurely. Put simply, the possibility has been raised that if we were to eat as little salt as the U.S.D.A. and the .C.D.C. recommend, we’d be harming rather than helping ourselves. Why have we been told that salt is so deadly? Well, the advice has always sounded reasonable. It has what nutritionists like to call “biological plausibility.” Eat more salt and your body retains water to maintain a stable concentration of sodium in your blood. This is why eating salty food tends to make us thirsty: we drink more; we retain water. The result can be a temporary increase in blood pressure, which will persist until our kidneys eliminate both salt and water. The scientific question is whether this temporary phenomenon translates to chronic problems: if we eat too much salt for years, does it raise our blood pressure, cause hypertension, then strokes, and then kill us prematurely? It makes sense, but it’s only a hypothesis. The reason scientists do experiments is to find out if hypotheses are true. The N.I.H. has spent enormous sums of money of studies to test the hypothesis, and those studies have singularly failed to make the evidence any more conclusive. With nearly everyone focused on the supposed benefits of salt restriction, little research was done to look at the potential dangers. But four years ago, Italian researchers began publishing the results from a series of clinical trials, all of which reported that, among patients with heart failure, reducing slat consumption increased the risk of death. 问题:According to the author, eating more salt （）. 单选题 2分

29、 Passage Two The first time I questioned the conventional wisdom on the nature of a healthy diet, I was in my salad days, almost 40 years ago, and the subject was salt. Researchers were claiming that salt supplementation was unnecessary after strenuous exercise, and this advice was being passed on by health reporters. All I knew was that I had played high school football in suburban Maryland, sweating profusely through double sessions in the swamplike 90-degree days of August. Without salt pills, I couldn’t make it through a two-hour practice; I couldn’t walk across the parking lot afterward without cramping. While sports nutritionists have since come around to recommend that we should indeed replenish salt when we sweat it out in physical activity, the massage that we should avoid salt at all other times remains strong. Salt consumption is said to raise blood pressure, cause hypertension and increse the risk of premature death. This is why the Department of Agriculture’s dietary guidelines still consider salt Public Enemy No.1, coming before fats, sugars and alcohol. It’s why the director of the Center for Disease Control and Prevention has suggested that reducing salt consumption is as critical to long-term health as quitting cigarettes. And yet, this eat-less-salt argument has been surprisingly controversial – and difficult to defend. Not because the food industry opposes it, but because the actual evidence to support it has always been so week. When I spent the better part of a year researching the state of the salt science back in 1998 – already a quarter century into the eat-less-salt recommendations – journal editors and public health administrators were still remarkably candid in their assessment of how flimsy the evidence was implicating salt as the cause of hypertension. While, back then, the evidence merely failed to demonstrate that salt was harmful, the evidence from studies published over the past two years actually suggests that restricting how much salt we eat can increase our likelihood of dying prematurely. Put simply, the possibility has been raised that if we were to eat as little salt as the U.S.D.A. and the .C.D.C. recommend, we’d be harming rather than helping ourselves. Why have we been told that salt is so deadly? Well, the advice has always sounded reasonable. It has what nutritionists like to call “biological plausibility.” Eat more salt and your body retains water to maintain a stable concentration of sodium in your blood. This is why eating salty food tends to make us thirsty: we drink more; we retain water. The result can be a temporary increase in blood pressure, which will persist until our kidneys eliminate both salt and water. The scientific question is whether this temporary phenomenon translates to chronic problems: if we eat too much salt for years, does it raise our blood pressure, cause hypertension, then strokes, and then kill us prematurely? It makes sense, but it’s only a hypothesis. The reason scientists do experiments is to find out if hypotheses are true. The N.I.H. has spent enormous sums of money of studies to test the hypothesis, and those studies have singularly failed to make the evidence any more conclusive. With nearly everyone focused on the supposed benefits of salt restriction, little research was done to look at the potential dangers. But four years ago, Italian researchers began publishing the results from a series of clinical trials, all of which reported that, among patients with heart failure, reducing slat consumption increased the risk of death. 问题:What the passage tries to tell the reader is that （）. 单选题 2分

30、 Passage Two The first time I questioned the conventional wisdom on the nature of a healthy diet, I was in my salad days, almost 40 years ago, and the subject was salt. Researchers were claiming that salt supplementation was unnecessary after strenuous exercise, and this advice was being passed on by health reporters. All I knew was that I had played high school football in suburban Maryland, sweating profusely through double sessions in the swamplike 90-degree days of August. Without salt pills, I couldn’t make it through a two-hour practice; I couldn’t walk across the parking lot afterward without cramping. While sports nutritionists have since come around to recommend that we should indeed replenish salt when we sweat it out in physical activity, the massage that we should avoid salt at all other times remains strong. Salt consumption is said to raise blood pressure, cause hypertension and increse the risk of premature death. This is why the Department of Agriculture’s dietary guidelines still consider salt Public Enemy No.1, coming before fats, sugars and alcohol. It’s why the director of the Center for Disease Control and Prevention has suggested that reducing salt consumption is as critical to long-term health as quitting cigarettes. And yet, this eat-less-salt argument has been surprisingly controversial – and difficult to defend. Not because the food industry opposes it, but because the actual evidence to support it has always been so week. When I spent the better part of a year researching the state of the salt science back in 1998 – already a quarter century into the eat-less-salt recommendations – journal editors and public health administrators were still remarkably candid in their assessment of how flimsy the evidence was implicating salt as the cause of hypertension. While, back then, the evidence merely failed to demonstrate that salt was harmful, the evidence from studies published over the past two years actually suggests that restricting how much salt we eat can increase our likelihood of dying prematurely. Put simply, the possibility has been raised that if we were to eat as little salt as the U.S.D.A. and the .C.D.C. recommend, we’d be harming rather than helping ourselves. Why have we been told that salt is so deadly? Well, the advice has always sounded reasonable. It has what nutritionists like to call “biological plausibility.” Eat more salt and your body retains water to maintain a stable concentration of sodium in your blood. This is why eating salty food tends to make us thirsty: we drink more; we retain water. The result can be a temporary increase in blood pressure, which will persist until our kidneys eliminate both salt and water. The scientific question is whether this temporary phenomenon translates to chronic problems: if we eat too much salt for years, does it raise our blood pressure, cause hypertension, then strokes, and then kill us prematurely? It makes sense, but it’s only a hypothesis. The reason scientists do experiments is to find out if hypotheses are true. The N.I.H. has spent enormous sums of money of studies to test the hypothesis, and those studies have singularly failed to make the evidence any more conclusive. With nearly everyone focused on the supposed benefits of salt restriction, little research was done to look at the potential dangers. But four years ago, Italian researchers began publishing the results from a series of clinical trials, all of which reported that, among patients with heart failure, reducing slat consumption increased the risk of death. 问题: It can be inferred that the author is （）. 单选题 2分

31、 课堂教学目标的设定通常需要关注四个要素: Who, Will do what, Under what conditions, To what degree。请根据上述四个要素简述下列教学目标所存在的问题（12 分）， 并改写该教 学目标。（8 分） 简答题 30分

32、 请阅读下面一位教师的课后教学反思: 任务要求:根据上述教学反思回答下列三个问题，答案不得照搬原文。 （1）. 判断这是一节什么内容的课型，其教学目的是什么？（8 分） （2）. 这位教师从哪四个方面进行了教学反思？（12 分） （3）. 列出两个该教师认为值得关注的问题。（10 分） 简答题 30分

33、 设计任务:请根据所提供的信息和语言素材设计一节说写课的教学方案。该方案应突出下列要点: ●teaching objectives ●teaching contents ●key and difficult points ●major steps and time allocation ●activities and justifications 教学时间:45 分钟 学生概况:某城镇普通中学高中二年级学生，班级人数 40 人。多数学生已经达到《普通高中英语课程标准（实验）》六级水平。学生课堂参与积极性较高。 语言素材: Speaking Task Now you have the chance to create a new festival. Talk with your partner and make a name for your festival. Prepare a short report about your new festival and present it to the calss. Points to discuss: ●when the festival takes place ●what the festival is for ●what people do at the festival ●what people eat at the festival Writing Task Write a brochure for the new festival that you have created, introducing it and giving advice to those who want to come. Be sure to include: ●where it will take place ●how people can get there ●what kind of weather people should expect ●what things people should bring ●three things that visitors should see ●how much it will cost Use the following expressions to help you. 简答题 30分