3. If I knew what he wanted, I _______ this.

A . Use alt_disk_install B . Backup image to NIM server C . Backup using mksysb to DVD-RAM D . Apply the upgrade and do not commit

—You will hear five recordings. —For each recording, decide what the main reason is for the phone call. —Write one letter (A—H) next to the number of the recording. —Do not use any letter more than once. —After you have listened once, replay each recording. A booking a table B cancelling a meeting C placing an order D selling something E offering a lift F congratulating someone G checking an address H making an appointment

A．will you think B．do you think C．you think D．you would think

A．sure B．rational C．content D．doubtful

A、will you suppose B、you suppose C、do you suppose D、you would suppose

What visual artists like painters want to teach is easy to make out but difficult to explain, because painters translate their experience into shapes and colors, not words.They seem to feel that a certain selection of shapes and colors, out of the countless billions possible, is exceptionally interesting for them and worth showing to us.Without their work we should never have noticed these particular shapes and colors, or have felt the delight which they brought to the artist. Most artists take their shapes and colors from the world of nature and from human bodies in motion and at rest; their choices indicate that these aspects of the world are worth looking at, that they contain beautiful sights.Contemporary artists might say that they merely choose subjects that provide an interesting pattern, that there is nothing more in it.Yet even they do not choose entirely without reference to the character of their subjects. If one painter chooses to paint a decaying leg and another a lake in moonlight, each of them is directing our attention to a certain aspect of the world.Each painter is telling us something, showing us something, emphasizing something—all of which means that, consciously or unconsciously, he is trying to teach us. 1.An artist hopes that the public will ____. A.understand him and learn from him B.notice only shapes and colors in his work C.teach him something D.believe what he says in his work 2.It is hard to explain what a painter is saying, because he/ she ___. A.uses shapes and colors instead of words B.uses unusual words and phrases C.does not express himself /herself well D.does not say anything clearly 3.The writer points out that contemporary artists might say their choices of subject _____. A.only provide interesting patterns B.teach the public important truths C.have no pattern or form D.carry a message to the public 4.The writer also points out that contemporary art contains ____. A.nothing but meaningless patterns B.uninteresting aspects of the world C.completely meaningless subjects D.subjects chosen partly for their meanings 5.What is implied in this passage？() A.A painting is more easily understood than a symphony. B.Art is merely the arranging of shape and color. C.Every artist tries to say something to the public. D.One must look beyond shape and color to find what the artist is saying.

A.the way B.in a way C.with the way D.by the way

A．challenge B．test C．deny

The primary intent of his writing, from first to last, was to seize and project for the reader what he often called "the way it .was." This is a characteristically simple phrase for a concept of extraordinary complexity, and Hemingway's conception of its meaning subtly changed several times in the course of his career--always in the direction of greater complexity. At the core of the concept, however, one can invariably discern the operation of three aesthetic instruments; the sense of place the sense of fact and the sense of scene. The first of these, obviously a strong passion with Hemingway is the sense of place. "Unless you have geography, background," he once told George Anteil, "You have nothing." You have, that is to say, a dramatic vacuum. Few writers have been more place-conscious. Few have s carefully charted out she geographical ground work of their novels while managing to keep background so conspicuously unobtrusive. Few, accordingly, have been able to record more economically and graphically the way it is when you walk through the streets of Paris in search of breakfast at corner café… Or when, at around six o' clock of a Spanish dawn, you watch the bulls running from the corrals at the Puerta Rochapea through the streets of Pamplona towards the bullring. "When I woke it was the sound of the rocket exploding that announced the release of the bulls from the corrals at the edge of town. Down below the narrow street was empty. All the balconies were crowded with people. Suddenly a crowd came down the street. They were all running, packed close together. They passed along and up street toward the bullring and behind them came more men running faster, and then some stragglers who ere really running. Behind them was a little bare space, and then the bulls, galloping, tossing their heads up and down. It all went out of sight around the corner. One man fell, rolled to the gutter, and lay quiet. But the bulls went right on and did not notice him. They were all running together." This landscape is as morning-fresh as a design in India ink on clean white paper. First is the bare white street, seem from above, quiet and empty. Then one sees the first packed clot of runners. Behind these are the thinner ranks of those who move faster because they are closer to bulls. Then the almost comic stragglers, who are "really running." Brilliantly behind these shines the "little bare space," a desperate margin for error. Then the clot of running bulls-closing the design, except of course for the man in the gutter making himself, like the designer's initials, as inconspicuous as possible. According to the author, Hemingway's primary purpose in telling a story was ______. A．to construct a well-told story that the reader would thoroughly enjoy. B．To construct a story that would reflect truths that were not particular to a specific historical period C．To begin from reality but to allow his imagination to roam from "the way it was" to "the way it might have been" D．To report faithfully reality as Hemingway had experienced it.

A．Call the manager. B．Visit the manager. C．Write to the manager with your own information.

A、get over B、get down C、get up D、get back

A．Just as I settle down to read or watch television, he demands that I play with him． B．Babysitting with my little brother is no fun． C．Then, when he finally grows tired,it takes about an hour for him to fall asleep．

A．avoid any changes B．make some changes C．be free of dangerous things D．stay away from the opportunities

What does the sentence "I knew about your promotion straight from the horse&39; s mouth." intend to stress？（） A、You are sure to be promoted. B、The source of my informaion is reliable. C、The horse is honest. D、I doubt the news.

是 否

A．immune B．impossible C．improbable D．imminent