Time was not so important in my life and I was not a very responsible person before I received a watch from my father.

A . Overloading B . Over discharging C . Overflow D . Overtaking

A．realized B．have realized C．realize D．should realize

A．what B．which C．when D．that

A．realized B．have realized C．realize D．should realize

A B C D

A．disappointing B．disappointed C．disappoint D．be disappointed

It is generally recognized,【B9】, that the introduction of the computer in the early 20th century,【B0】by the invention of the integrated circuit during the 1960s, radically changed the process,【B11】its impact on the media was not immediately【B12】. As time went by, computers became smaller and more powerful, and they became "personal" too, as well as【B13】, with display becoming sharper and storage【B14】increasing. They were thought of, like people,【B15】generations, with the distance between generations much【B16】. It was within the computer age that the term "information society" began to be widely used to describe the【B17】within which we now live. The communications revolution has【B18】both work and leisure and how we think and feel both about place and time, but there have been【B19】views about its economic, political, social and cultural implications. "Benefits" have been weighed【B20】"harmful" outcomes. And generalizations have proved difficult. 【B1】 A．between B．before C．since D．later

A．clear B．conscious C．alert D．critical

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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．realized B．have realized C．realize D．should realize

A．urged B．encouraged C．promised D．persuaded