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He is not ordinary. He's a boy of extraordinary talents.
A. mysterious
B. extravagant
C. remarkable
D. various
答案
更多“He is not ordinary. He's a boy of extraordinary talents.A. mysteriousB. extravagantC. rema”相关的问题
第1题
He is not ordinary. He's a boy of extraordinary talents.
A．mysterious
B．extravagant
C．remarkable
D．various
第2题
A．As unusually good.
B．As quite ordinary.
C．As not very good.
D．As unsatisfactory.
第3题
A．As unusually good.
B．As not very good.
C．As quite ordinary.
D．As unsatisfactory.
第4题
How docs the executive board consider the woman's performance？
A．As usually good.
B．As quite ordinary.
C．As not very good.
D．As unsatisfactory.
第5题
M: Hello.
W: But you don't come from an artistic background, do you, Alan？
M: Oh, absolutely not. If my father had had anything to do with it, I'd never have gone in for sculpture because he was an accountant and ideally he wanted me to join his finn, or if not, go into insurance or banking. But none of these ideas appealed to me, I'm afraid. I'd been doing sculpture as a hobby through my teenage years and, although my parents encouraged me in that, it didn't seem like a prospective career at the time, at least not to my father.
W: But he got a sculptor to look at your work at one point, didn't he？
M: Oddly enough, yes. We went to see a man who taught sculpture in a big London art school who said, "Well, let's have a look at the work", and this chap looked at it and said to my father, "Your son will never be any good, you know", and my father was rather relieved and said to me, "You see, you can do it as a hobby". And then, when we got home he said, "Well, what do you want to do？" and I didn't know … engineering？ … architecture？ I considered various things, even geology, but finally, in the end, after I’d got a maths degree, I said, "What I really want to do is sculpture, you know" and he said, "Well, you'd better do it then."
W: So, he gave in in the end？
M: He did. But I'm glad it happened that way, that I had to struggle to do it, because he made me dedicate myself to sculpture and do the job properly. He had the idea that art was for amateurs, and that was the one thing that I did not want to be. I wanted to do it as a professional. I knew he was wrong, so I set out to prove it. And, you know, I'm sure that if I had joined his firm, I'd have done it in a half-hearted way which he wouldn't have approved of anyway. And I must say, after I'd decided to become a sculptor, he couldn't have been more supportive.
W: And so you went on to Art College. Did you enjoy it？
M: At the beginning, I appreciated it a lot because we had a different teacher every term. This meant you got a good grounding in the basics because you picked up different things from each one. You know, it might be the material they worked in, for example, or their technique, or whatever. But eventually I got fairly restless because it was a five-year course and by about half-way through I was getting a bit fed up because it was extremely traditional in terms of approach and I was looking for something more out of the ordinary.
W: So this was what led you to Harold Morton？
M: Yes, he was the most advanced sculptor of the time, and he was really doing very different things which I found exciting. And so I sent him some photos of my work, on the off-chance, and amazingly he offered me a part-time job and so I managed to combine that with the final years of college, which made all the difference.
W: And how would you sum up that experience, what did you get out of it？
M: Well, we talked about art a lot. He taught me that a sculptor's studio is quite different from an art college. I had to do drawing at college, a subject I never really understood, and when I got back, he would criticise what I'd done. And from him, I learnt how a sculptor draws, because I was being taught by painters, who are looking at things in a different way.
W: And I suppose it was thanks to him that you started doing abstract art？
M: Well, yes it was, because I don't do sculptures of people or animals, they are not meant to be lifelike. So they are examples of what, I suppose, you'd call abstract art. They are meant to mean something, to make you think.
Questions:
11.What did Alan's father do？
12.Which degree did Alan get first？
13.Which statement is true about Alan and his father？
14.Which stat
A．Sculptor.
B．Accountant.
C．Banker.
D．Insurance agent.
第6题
Tourism
Tourism, holidaymaking and travel these are days more significant social phenomena than most commen tators have considered. On the face of it there could not be a more trivial subject for a book. And indeed since social scientists have had considerable difficulty explaining weightier topics, such as work or politics, it might be thought that they would have great difficulties in accounting for more trivial phenomena such as holidaymaking. However. there are interesting parallels with the study of deviance. This involves the investigation of bizarre and idiosyncratic social practices which happen to be defined as deviant in some societies but not necessarily in others. The assumption is that the investigation of deviance can reveal interesting and significant aspects of "normal" societies. It could be said that a similar analysis can be applied to tourism.
Tourism is a leisure activity which presupposes its opposite, namely regulated and organized work. It is one manifestation of how work and leisure are organized as separate and regulated spheres of social practice in "modem" societies, Indeed acting as a tourist is one of the defining characteristics of being "modern" and the popular concept of tourism is that, it is organized within particular place and occurs for regularized periods of time. Tourist relationships arise from a movement of people to, and their stay in, various destinations. This necessarily involves some movement, that is the journey, and a period of stay in a new place or places. The journey and the stay are by definition outside the normal places, of residence and work, and are of a short-term and temporary nature, and there is a clear intention to return home within a relatively short period of time.
A substantial proportion of the population of modern societies engages in such tourist practices; new socialized forms of prevision have developed in order to cope with the mass character of the gazes of tourists, as opposed to the individual character of travel. Places are chosen to be visited and be gazed upon because there is an anticipation especially through daydreaming and fantasy of intense pleasures, either on a different scale or involving different senses from those customarily encountered. Such anticipation is constructed and sustainedthrough a variety of non-tourist practices, such as films, TV, literature, magazines, records and videos which construct and reinforce this daydreaming.
Tourists tend to visit features of landscape and townscape which separate them off from everyday experience. Such aspects are viewed because they are taken to be in some sense out of the ordinary. The viewing of these tourist sights often involves different forms of social patterning with a much greater sensitivity to visual elements of landscape or townscape than is normally found in everyday life. People linger over these sights in a way that they would not normally do in their home environment and the vision is objectified or captured through photographs, postcards films and so on which enable the memory to be endlessly reproduced and recaptured.
One of the earliest dissertations on the subject of tourism is Boorstin's analysis of the "pseudo-event" (1964) where he argues that contemporary Americans cannot experience "reality" directly but thrive on "pseudo-events". Isolated from the host environment and the local people, the mass tourist travels in guided groups and finds pleasure in inauthentic contrived attractions, gullibly enjoying the pseudo-events and disregarding the real world outside. Over time the images generated of different tourist sights come to constitute a closed selfperpetuating system of illusions which provide the tourist with the basis for selecting and evaluating potential places to visit. Such visits are made, says Boorstin, within the "environmental bubble" of the familiar Americanstyle. hotel which insulates t
A．Y
B．N
C．NG
第10题
A. If he is coming
B. If is he coming
C. Whether is he coming
D. Whether he is coming
