Black sheep refers to someone who is blamed for the wrongdoings, mistakes, or faults of others, especially for reasons of expediency.

A、it was snowing hard B、hard it was snowing C、how it was snowing hard D、how hard it was snowing

A . could B . will have to C . must to D . might

A . periodic survey B . statutory survey C . additional survey D . annual survey

A．ranges B．constitutes C．composes D．consists

A．It's preserved in liquid. B．The skin is removed. C．It's dried in the sun. D．It's freeze-dried.

是 否

On the face of it, it looks as though Mr. Phillips is right. Only 27% of Afro-Caribbean boys get five A-C grades at GCSE, the exams taken by 16-year-olds, compared with 47% of boys as a Whole and 44% of Afro-Caribbean girls. Since, in some subjects, candidates who score less than 50% get Cs, those who don't reach this threshold have picked up pretty little at school. Mr. Phillips's suggestion that black boys should be taught separately implies that ethnicity and gender explain their underachievement. Certainly, maleness seems to be a disadvantage at school. That's true for all ethnic groups: 57% of girls as a whole get five A-Cs, compared with 47% of boys. But it's not so clear that blackness is at the root of the problem. Among children as a whole, Afro-Caribbeans do indeed perform. badly. But Afro Caribbeans tend to be poor. So to get a better idea of whether race, rather than poverty, is the problem, one must control for economic status. The only way to do that, given the limits of British educational statistics, is to separate out the exam results of children who get free school meals: only the poor get free grub. Poor children's results tell a rather different story. Afro-Caribbeans still do remark ably badly, but whites are at the bottom of the pile. All ethnic minority groups do better than them. Even Bangladeshis, a pretty deprived lot, do twice as well as the natives in their exams; Indians do better still. And absolute numbers of underperforming whites dwarf those of underperforming Afro-Caribbeans: last year, 131,393 of white boys failed to hit the government's benchmark, compared with 3,151 Afro-Caribbean boys. These figures suggest that, at school at least, black people's problem is not so much race as poverty. And they undermine the idea of teaching black boys separately, for if poor whites are doing worse than poor blacks, there's not much argument for singling out blacks for special measures: whites need help just as badly. According to the text, the public response to Mr. Philips' claim is A．a nervous impression. B．a mixed reception. C．a particular performance. D．a critical comment.

Although fiction assuredly springs from political circumstances, its authors react to those circumstances in ways other than ideological, and talking about novels and stories .primarily as instruments of ideology limits much of the fictional enterprise. Rosenblatt's literary analysis discloses relations and connotations among works of Black fiction which solely political studies have overlooked or ignored. Writing acceptable criticism of Black fiction, however, presupposes giving satisfactory answers to a number of questions. First of all, is there a sufficient reason, other than the racial identity of the authors, to group together works by Black authors？ Second, how does Black fiction make itself distinct from other modern fiction with which it is largely contemporaneous？ Rosenblatt's idea shows that Black fiction constitutes a distinct body of writing that has an identifiable, coherent literary tradition. Looking at novels written by Blacks over the last eighty years, lie discovers recurring concerns and designs independent of chronology. These structures are thematic, and they spring, not surprisingly, from the central fact that the Black characters in these novels exist in a predominantly White culture, whether they try to conform. to that culture or rebel against it. Black Fiction does leave some aesthetic questions open. Rosenblatt's thematic analysis permits considerable objectivity; he even states that it is not his intention to judge the merit of the various works--yet his reluctance seems misplaced, especially since an attempt to appraise might have led to interesting results. For instance, some of the novels appear to be structurally diffused. Is this a defect, or are the authors working out of, or trying to create, a different kind of aesthetic？ In addition, the style. of some Black novels, like Jean Toomer's Cane, verges on expressionism or surrealism; does this technique provide a counterpoint to the popular theme that describes the fate against which Black heroes are struggling, a theme usually conveyed by more naturalistic modes of expression？ In spite of such omissions, what Rosenblatt does include in his discussion makes for a keen and worthwhile study. Black Fiction surveys a wide variety of novels, bringing to our attention in the process some fascinating and little-known works like James Weldon Johnson's Autobiography of an Ex-Colored Man. Its argument is tightly constructed, and its forthright, clear style. exemplifies levelheaded and penetrating criticism. Roger Rosenblatt looked at Addison Gayle's criticism of Black Fiction with a (n) __ attitude. A．disapproving B．consenting C．objective D．cautious

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对 错

A．挂羊头卖狗肉 B．害群之马 C．待宰羔羊 D．狗仗人势

A．business B．politics C．religion D．market

A．horror B．desperation C．uncertainty D．distrust