LOOMIS-WHITNEY'S INEQUALITY ABOUT MIXED BODY
历年考研英一阅读理解真题
历年考研英一阅读理解真题常言道，“得阅读者得天下”。
阅读加新题型一共50分，半壁江山啊，做得好的话根本不用担心过不了线。
对于历年的真题，不用掐时间做，定下心来慢慢做就好了，下文是我为你精心编辑整理的历年考研英一阅读理解真题，希望对你有所帮助，更多内容，请点击相关栏目查看，谢谢!历年考研英一阅读理解真题1Text 1In the 2023 film version of The Devil Wears Prada ,Miranda Priestly, played by Meryl Streep, scolds her unattractive assistant for imagining that high fashion doesn’t affect her, Priestly explains how the deep blue color of the assistant’s sweater descended over the years from fashion shows to departments stores and to the bargain bin in which the poor girl doubtless found her garment.This top-down conception of the fashion business couldn’t be more out of date or at odds with the feverish would described in Overdressed, Eliazabeth Cline’s three-year indictment of “fast fashion”. In the last decade or so ,advances in technology have allowed mass-market labels such as Zara ,HM, and Uniqlo to react to trends more quickly and anticipate demand more precisely.Quicker turnarounds mean less wasted inventory, more frequent release, and more profit. These labels encourage style-conscious consumers to see clothes as disposable-meant to last only a wash or two, although they don’t advertise that –and to renew their wardrobe every few weeks. By offering on-trend items at dirt-cheap prices, Cline argues, these brands have hijacked fashion cycles, shaking an industry long accustomed to a seasonal pace.The victims of this revolution , of course ,are not limited to designers. For HM to offer a $5.95 knit miniskirt in all its 2,300-pius stores around the world, it must rely on low-wage overseas labor, order in volumes that strain natural resources, and use massive amounts of harmful chemicals.Overdressed is the fashion world’s answer to consumer-activist bestsellers like Michael Pollan’s The Omnivore’s Dilemma.“Mass-produced clothing ,like fast food, fills a hunger and need, yet is non-durable and wasteful,” Cline argues. Americans, she finds, buy roughly 20 billion garments a year – about 64 items per person – and no matter how much they give away, this excess leads to waste.Towards the end of Overdressed, Cline introduced her ideal, a Brooklyn woman named Sarah Kate Beaumont, who since 2023 has made all of her own clothes – and beautifully. But as Cline is the first tonote, it took Beaumont decades to perfect her craft; her example can’t be knocked off.Though several fast-fashion companies have made efforts to curb their impact on labor and the environment – including HM, with its green Conscious Collection line –Cline believes lasting change can only be effected by the customer. She exhibits the idealism common to many advocates of sustainability, be it in food or in energy. Vanity is a constant; people will only start shopping more sustainably when they can’t afford not to.21. Priestly criticizes her assistant for her[A] poor bargaining skill.[B] insensitivity to fashion.[C] obsession with high fashion.[D] lack of imagination.22. According to Cline, mass-maket labels urge consumers to[A] combat unnecessary waste.[B] shut out the feverish fashion world.[C] resist the influence of advertisements.[D] shop for their garments more frequently.23. The word “indictment” (Line 3, Para.2) is closest in meaning to[A] accusation.[B] enthusiasm.[C] indifference.[D] tolerance.24. Which of the following can be inferred from the lase paragraph?[A] Vanity has more often been found in idealists.[B] The fast-fashion industry ignores sustainability.[C] People are more interested in unaffordable garments.[D] Pricing is vital to environment-friendly purchasing.25. What is the subject of the text?[A] Satire on an extravagant lifestyle.[B] Challenge to a high-fashion myth.[C] Criticism of the fast-fashion industry.[D] Exposure of a mass-market secret.历年考研英一阅读理解真题2Text 1Among the annoying challenges facing the middle class is one that will probably go unmentioned in the next presidential campaign: What happens when the robots come for their jobs?Dont dismiss that possibility entirely. About half of U.S. jobs areat high risk of being automated, according to a University of Oxford study, with the middle class disproportionately squeezed. Lower-income jobslike gardening or day care dont appeal to robots. But many middle-class occupations-trucking, financial advice, software engineering — have aroused their interest, or soon will. The rich own the robots, so they will be fine.This isnt to be alarmist. Optimists point out that technological upheaval has benefited workers in the past. The Industrial Revolution didnt go so well for Luddites whose jobs were displaced by mechanized looms, but it eventually raised living standards and created more jobs than it destroyed. Likewise, automation should eventually boost productivity, stimulate demand by driving down prices, and free workers from hard, boring work. But in the medium term, middle-class workers may need a lot of help adjusting.The first step, as Erik Brynjolfsson and Andrew McAfee argue in The Second Machine Age, should be rethinking education and job training. Curriculums —from grammar school to college- should evolve to focus less on memorizing facts and more on creativity and complex communication. Vocational schools should do a better job of fostering problem-solving skills and helping students work alongside robots. Online education can supplement the traditional kind. It could make extra training and instruction affordable. Professionals trying to acquire new skills will be able to do so without going into debt.The challenge of coping with automation underlines the need forthe U.S. to revive its fading business dynamism: Starting new companies must be made easier. In previous eras of drastic technological change, entrepreneurs smoothed the transition by dreaming up ways to combine labor and machines. The best uses of 3D printers and virtual reality havent been invented yet. The U.S. needs the new companies that will invent them.Finally, because automation threatens to widen the gap between capital income and labor income, taxes and the safety net will have to be rethought. Taxes on low-wage labor need to be cut, and wage subsidies such as the earned income tax credit should be expanded: This would boost incomes, encourage work, reward companies for job creation, and reduce inequality.Technology will improve society in ways big and small over the next few years, yet this will be little comfort to those who find their lives and careers upended by automation. Destroying the machines that are coming for our jobs would be nuts. But policies to help workers adapt will be indispensable.21.Who will be most threatened by automation?[A] Leading politicians.[B]Low-wage laborers.[C]Robot owners.[D]Middle-class workers.22 .Which of the following best represent the author’s view?[A] Worries about automation are in fact groundless.[B]Optimists opinions on new tech find little support.[C]Issues arising from automation need to be tackled[D]Negative consequences of new tech can be avoidedcation in the age of automation should put more emphasis on[A] creative potential.[B]job-hunting skills.[C]individual needs.[D]cooperative spirit.24.The author suggests that tax policies be aimed at[A] encouraging the development of automation.[B]increasing the return on capital investment.[C]easing the hostility between rich and poor.[D]preventing the income gap from widening.25.In this text, the author presents a problem with[A] opposing views on it.[B]possible solutions to it.[C]its alarming impacts.[D]its major variations.历年考研英一阅读理解真题3TEXT 1King Juan Carlos of Spain once insistedkings dont abdicate, they die in their sleep. But embarrassing scandals and the popularity of the republicans left in the recent Euro-elections have forced him to eat his words and stand down. So, does the Spanish crisis suggest that monarchy is seeing its last days? Does that mean the writing is on the wall for all European royals, with their magnificent uniforms and majestic lifestyles?The Spanish case provides arguments both for and against monarchy. When public opinion is particularly polarized, as it was following the end of the France regime, monarchs can rise above mere polities and embody a spirit of national unity.It is this apparent transcendence of polities that explains monarchys continuing popularity as heads of state. And so, the Middle East expected, Europe is the most monarch-infested region in the world, with 10 kingdoms (not counting Vatican City and Andorra). But unlike their absolutist counterparts in the Gulf and Asia, most royal families have survived because they allow voters to avoid the difficult search for a non-controversial but respected public figure.Even so, kings and queens undoubtedly have a downside. Symbolic of national unity as they claim to be, their very history-and sometimes the way they behave today-embodies outdated andindefensible privileges and inequalities. At a time when Thomas Piketty and other economists are warming of rising inequality and the increasing power of inherited wealth, it is bizarre that wealthy aristocratic families should still be the symbolic heart of modern democratic states.The most successful monarchies strive to abandon or hide their old aristocratic ways. Princes and princesses have day-jobs and ride bicycles, not horses (or helicopters). Even so, these are wealthy families who party with the international 1%, and media intrusiveness makes it increasingly difficult to maintain the right image.While Europes monarchies will no doubt be smart enough to survive for some time to come, it is the British royals who have most to fear from the Spanish example.It is only theQueen who has preserved the monarchys reputation with her rather ordinary (if well-heeled) granny style. The danger will come with Charles, who has both an expensive taste of lifestyle and a pretty hierarchical view of the world. He has failed to understand that monarchies have largely survived because they provide a service-as non-controversial and non-political heads of state. Charles ought to know that as English history shows, it is kings, not republicans, who are the monarchys worst enemies.21. According to the first two paragraphs, King Juan Carlos of Spain[A]eased his relationship with his rivals.[B]used to enjoy high public support.[C]was unpopular among European royals.[D]ended his reign in embarrassment.22. Monarchs are kept as head of state in Europe mostly[A]to give voters more public figures to look up to.[B]to achieve a balance between tradition and reality.[C]owing to their undoubted and respectable status.[D]due to their everlasting political embodiment.23. Which of the following is shown to be odd, according to Paragraph 4?[A] The role of the nobility in modern democracies.[B] Aristocrats excessive reliance on inherited wealth.[C] The simple lifestyle of the aristocratic families.[D] The nobilitys adherence to their privileges.24. The British royals have most to fear because Charles[A]takes a tough line on political issues.[B]fails to change his lifestyle as advised.[C]takes republicans as his potential allies.[D]fails to adapt himself to his future role.25. Which of the following is the best title of the text?[A]Carlos, Glory and Disgrace Combined[B]Charles, Anxious to Succeed to the Throne[C]Charles, Slow to React to the Coming Threats[D]Carlos, a Lesson for All European Monarchs21.Dended his reign in embarrassment.22. C owing to the undoubted and respectable status23. A the role of the nobility in modern democracy24. B fails to change his lifestyle as advised.25. D Carlos, a lesson for all Monarchies历年考研英一阅读理解真题4Text 1The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2023. For the most part，the response has been favorable，to say the least. “Hooray! At last!” wrote Anthony Tommasini，a sober-sided classical-music critic.One of the reasons why the appointment came as such a surprise，however，is that Gilbert is comparatively little known. Even Tommasini，who had advocated Gilbert‘s appointment in the Times，calls him “an unpretentious musician with no air of the formidable conductor about him.” As a description of the next music director of an orchestra that hashitherto been led by musicians like Gustav Mahler and Pierre Boulez，that seems likely to have struck at least some Times readers as faint praise.For my part，I have no idea whether Gilbert is a great conductor or even a good one. To be sure，he performs an impressive variety of interesting compositions，but it is not necessary for me to visit Avery Fisher Hall，or anywhere else，to hear interesting orchestral music. All I have to do is to go to my CD shelf，or boot up my computer and download still more recorded music from iTunes.Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point. For the time，attention，and money of the art-loving public，classical instrumentalists must compete not only with opera houses，dance troupes，theater companies，and museums，but also with the recorded performances of the great classical musicians of the 20th century. There recordings are cheap，available everywhere，and very often much higher in artistic quality than today‘s live performances; moreover，they can be “consumed” at a time and place of the listener’s choosing. The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert.One possible response is for classical performers to program attractive new music that is not yet available on record. Gilbert‘s owninterest in new music has been widely noted：Alex Ross，a classical-music critic，has described him as a man who is capable of turning the Philharmonic into “a markedly different，more vibrant organization.” But what will be the nature of that difference? Merely expanding the orchestra’s repertoire will not be enough. If Gilbert and the Philharmonic are to succeed，they must first change the relationship between America‘s oldest orchestra and the new audience it hops to attract.21. We learn from Para.1 that Gilbert‘s appointment has[A]incurred criticism.[B]raised suspicion.[C]received acclaim.[D]aroused curiosity.22. Tommasini regards Gilbert as an artist who is[A]influential.[B]modest.[C]respectable.[D]talented.23. The author believes that the devoted concertgoers[A]ignore the expenses of live performances.[B]reject most kinds of recorded performances.[C]exaggerate the variety of live performances.[D]overestimate the value of live performances.24. According to the text，which of the following is true of recordings?[A]They are often inferior to live concerts in quality.[B]They are easily accessible to the general public.[C]They help improve the quality of music.[D]They have only covered masterpieces.25. Regarding Gilbert‘s role in revitalizing the Philharmonic，the author feels[A]doubtful.[B]enthusiastic.[C]confident.[D]puzzled.。
Bybee (2006) From usage to grammar the mind’s response to repetition
FROM USAGE TO GRAMMAR:THE MIND’S RESPONSE TO REPETITIONJ OAN B YBEEUniversity of New MexicoA usage-based view takes grammar to be the cognitive organization of one’s experience withlanguage.Aspects of that experience,for instance,the frequency of use of certain constructionsor particular instances of constructions,have an impact on representation that is evidenced inspeaker knowledge of conventionalized phrases and in language variation and change.It is shownthat particular instances of constructions can acquire their own pragmatic,semantic,and phonolog-ical characteristics.In addition,it is argued that high-frequency instances of constructions undergogrammaticization processes(which produce further change),function as the central members ofcategories formed by constructions,and retain their old forms longer than lower-frequency in-stances under the pressure of newer formations.An exemplar model that accommodates bothphonological and semantic representation is elaborated to describe the data considered.*1.U SAGE-BASED GRAMMAR.The observance of a separation between the use of lan-guage and its internalized structure can be traced back to de Saussure’s well-known distinction between LANGUE and PAROLE(1915[1966]:6–17),which was adhered to by American structuralists and which made its way into generative grammar via Chomsky’s distinction between competence and performance(Chomsky1965).In American struc-turalism and in generative grammar,the goal of studying langue/competence was given highest priority and the study of language use in context has been considered to be less relevant to the understanding of grammar.Other goals for linguistic research which do not isolate the study of language structure from language use,however,have been pursued through the last few decades by a number of functionalist researchers(for instance,Greenberg1966,Givo´n1979,Hopper&Thompson1980,Bybee1985)and more recently by cognitive linguists as well,all working to create a broad research paradigm under the heading of USAGE-BASED THEORY(Barlow&Kemmer2000,Lan-gacker2000,Bybee2001).While all linguists are likely to agree that grammar is the cognitive organization of language,a usage-based theorist would make the more specific proposal that grammar is the cognitive organization of one’s experience with language.As is shown here, certain facets of linguistic experience,such as the frequency of use of particular in-stances of constructions,have an impact on representation that we can see evidenced in various ways,for example,in speakers’recognition of what is conventionalized and what is not,and even more strikingly in the nature of language change.The proposal presented here is that the general cognitive capabilities of the human brain,which allow it to categorize and sort for identity,similarity,and difference,go to work on the language events a person encounters,categorizing and entering in memory these experi-ences.The result is a cognitive representation that can be called a grammar.This grammar,while it may be abstract,since all cognitive categories are,is strongly tied to the experience that a speaker has had with language.In addition to presenting evidence that specific usage events affect representation,I also address the issue of the type of cognitive representation that is necessary to accom-*This article is an expanded version of the Presidential Address of January8,2005,presented at the annual meeting of the LSA in Oakland,California.I am grateful to Sandra Thompson and Rena Torres-Cacoullos for many discussions of the phenomena treated here.In addition,the questions and comments after the presentation in Oakland in2005from Ray Jackendoff,Mark Baker,Larry Horn,and Janet Pierrehumbert stimulated improvements in the article.711712LANGUAGE,VOLUME82,NUMBER4(2006)modate the facts that are brought to light in this usage-based perspective.I argue for morphosyntax,as I have for phonology,that one needs an exemplar representation for language experience,and that constructions provide an appropriate vehicle for this type of representation.2.C ONVERGING TRENDS IN LINGUISTIC THEORY.In recentyears many researchers have moved toward a consideration of the effect that usage might have on representation. One practice that unites many of these researchers is a methodological one:it is common now to address theoretical issues through the examination of bodies of naturally occur-ring language use.This practice has been in place for decades in the work of those who examine the use of grammar in discourse with an eye toward determining how discourse use shapes grammar,notably Givo´n,Thompson,Hopper,and DuBois(e.g. DuBois1985,Givo´n1979,H opper&Thompson1980,Ono etal.2000,Thompson& Hopper2001).In addition,researchers in sociolinguistic variation,such as Labov, Sankoff,and Poplack(bov1972,Poplack2001,Poplack&Tagliamonte1999, 2001,Sankoff&Brown1976),have always relied on natural discourse to study the inherentvariat ion in language use.The importance of usage-and text-based research,always important to traditional historical linguistics,is especially emphasized in functionalist work on grammaticiza-tion,for example,Bybee2003a,b,Hopper&Traugott1993,and Poplack&Tagliamonte 1999.In fact,the study of grammaticization has played a central role in emphasizing the point that both grammatical meaning and grammatical form come into being through repeated instances of language use.This line of research along with the discourse research mentioned above indeed seeks to explain the nature of grammar through an examination of how grammar is created over time,thus setting a higher goal for linguis-tic explanation than that held in more synchronically oriented theory,which requires only that an explanatory theory provide the means for adequate synchronic description (Chomsky1957).Of course,one major impetus for the shift to analysis of natural language use is the recent availability of large electronic corpora and means of accessing particular items and patterns in such corpora.Through the work of corpus linguists,such as John Sinclair (1991),computational linguists,such as Dan Jurafsky and colleagues(e.g.Jurafsky et al.2001,Gregory et al.1999),and those who are proposing probabilistic or stochastic grammar,such as Janet Pierrehumbert(e.g.2001)and Rens Bod(1998),access to the nature and range of experience an average speaker has with language is now within our grasp.Studies of words,phrases,and constructions in such large corpora present a varying topography of distribution and frequency that can be quite different from what our intuitions have suggested.In addition,the use of large corpora for phonetic analysis provides a better understanding of the role of token frequency and specific words and collocations in phonetic variation.At the same time a compatible view of language acquisition has been developing. The uneven distribution of words and constructions in speech to children is mirrored somewhat in the course of acquisition:children often produce their first instances of grammatical constructions only in the context of specific lexical items and later general-ize them to other lexical items,leading eventually to productive use by the child;see work by Tomasello,Lieven,and their colleagues(e.g.Lieven et al.2003,Savage et al.2003,Tomasello2003).3.F INDINGS.As linguists turn their attention to natural language use,they find a fascinating new source of insights about language.One finding that seems to holdFROM USAGE TO GRAMMAR:THE MIND’S RESPONSE TO REPETITION713 across many studies and has captured the interest of researchers is that both written and spoken discourse are characterized by the high use of conventionalized word sequences, which include sequences t hatwe mightcall formulaic language and idioms,butalso conventionalized collocations(sometimes called‘prefabs’;Erman&Warren2000). Idioms are conventionalized word sequences that usually contain ordinary words and predictable morphosyntax,but have extended meaning(usually of a metaphorical na-ture),as in these examples:pull strings,level playing field,too many irons in the fire. Idioms are acknowledged to need lexical representation because of the unpredictable aspects of their meaning,but as Nunberg and colleagues(1994)point out,they are not completely isolated from related words and constructions since many aspects of their meaning and form derive from more general constructions and the meaning of the component words in other contexts.Idioms provide evidence for organized storage in which sequences of words can have lexical representation while still being associated with other occurrences of the same words,as schematized in this diagram from Bybee 11998.F IGURE1.The relation of an idiom to its lexical components.Idioms have a venerable history in linguistic study,but prefabs or collocations have attracted less attention through recent decades(but see Bolinger1961,Pawley&Syder 1983,Sinclair1991,Biber etal.1999,Erman&Warren2000,and Wray2002).Prefabs are word sequences that are conventionalized,but predictable in other ways,for exam-ple,word sequences like prominent role,mixed message,beyond repair,and to need help.In addition,phrasal verbs(finish up,burn down)and verb-preposition pairings (interested in,think of,think about),which are pervasive in English as well as other languages,can be considered prefabs,though in some cases their semantic predictability could be called into question.These conventional collocations occur repeatedly in dis-course and are known to represent the conventional way of expressing certain notions (Erman&Warren2000,Sinclair1991,Wray2002).Erman and Warren(2000)found that what they call prefabricated word combinations constitute about55%of both spoken and written discourse.Speakers recognize prefabs as familiar,which indicates that these sequences of words are stored in memory despite being largely predictable in form and meaning.The line between idiom and prefab is not always clear since many prefabs require a metaphorical stretch for their interpretation.The following may be intermediate exam-ples,where at least one of the words requires a more abstract interpretation:break a habit,change hands,take charge of,give(someone/something)plenty of time,drive 1See Barlow2000for an interesting discussion of the way a conventionalized expression can undergo permutations that demonstrate that its compositionality is also maintained.714LANGUAGE,VOLUME82,NUMBER4(2006)(someone)crazy.I bring up these intermediate cases to demonstrate the gradient nature of these phenomena;the lack of a clear boundary between idioms and prefabs would also suggest that both types of expression are stored in memory.What we see instantiated in language use is not so much abstract structures as specific instances of such structure that are used and reused to create novel utterances.This point has led Hopper(1987)to propose grammar as emergent from experience,mutable, and ever coming into being rather than static,categorical,and fixed.Viewed in this way,language is a complex dynamic system similar to complex systems that have been identified,for instance,in biology(Lindblom et al.1984,Larsen-Freeman1997).It does not have structure a priori,but rather the apparent structure emerges from the repetition of many local events(in this case speech events).I describe here some data that help us understand what some of the properties of an emergent,usage-based gram-mar mightbe.4.G OALS OF THE ARTICLE.There are a number of important consequences of the fact that speakers are familiar with certain multiword units.For the present article I focus on the implications of the fact that the use of language is lexically particular; certain words tend to be used in certain collocations or constructions.My goal is to explore the implications of this fact for cognitive representation.I discuss a series of cases in which there is evidence that lexically particular instances of constructions or word sequences are stored in memory and accessed as a unit.I further discuss facts that show that the frequency of use of such lexically particular collocations must also be a part of the cognitive representation because frequency is a factor in certain types of change.I argue that in order to represent the facts of usage,as well as the facts of change that eventually emerge from this usage,we need to conceive of grammar as based on constructions and as having an exemplar representation in which specific instances of use affect representation.The model to be proposed,then,uses a type of exemplar representation with constructions as the basic unit of morphosyntax(see §§6–9and13).After discussing further aspects of the approach taken,five types of evidence are discussed.First,evidence for the importance of frequency in the developing autonomy of new constructions in grammaticization is presented.Second,I discuss the effects of context and frequency of use on the development of conventionalized collocations and grammatical constructions.Third,I briefly treat phonological reduction in high-frequency phrases.Fourth,I turn to the organization of categories within constructions where it is seen that in some cases high-frequency exemplars serve as the central members of categories.Finally,the fact that high-frequency exemplars of constructions can resist change is taken as evidence that such exemplars have cognitive representation.5.F REQUENCY EFFECTS ON PROCESSING AND STORAGE.Before turning to the evidence,I briefly review three effects of token frequency that have been established in recent literature.First,high-frequency words and phrases undergo phonetic reduction at a faster rate than low-and mid-frequency sequences(Schuchardt1885,Fidelholtz1975,Hooper 1976,Bybee&Scheibman1999,Bybee2000b,2001).This REDUCING EFFECT applies to phrases of extreme high frequency like I don’t know,which shows the highest rate of don’t reduction(Bybee&Scheibman1999),and also to words of all frequency levels undergoing gradual sound change,such as English final t/d deletion or Spanish [L]deletion,both of which affect high-frequency words earlier than low-frequency words(Bybee2001,2002,Gregory et al.1999).The explanation for this effect is that theFROM USAGE TO GRAMMAR:THE MIND’S RESPONSE TO REPETITION715 articulatory representation of words and sequences of words is made up of neuromotor routines.When sequences of neuromotor routines are repeated,their execution becomes more fluent.This increased fluency is the result of the establishment of a new routine, as when a group of words comes to be processed as a single unit(Anderson1993, Boyland1996).In the new routine articulatory gestures reduce and overlap as the routine is repeated.A second effect of token frequency(the CONSERVING EFFECT)relates to the morpho-syntactic structure of a string.High-frequency sequences become more entrenched in their morphosyntactic structure and resist restructuring on the basis of productive pat-terns that might otherwise occur.Thus among English irregular verbs the low-frequency verbs are more likely to regularize(weep,weeped)while the high-frequency verbs maintain their irregularity(keep,kept).My proposal to explain this tendency(Hooper 1976,Bybee1985)is that frequency strengthens the memory representations of words or phrases,making them easier to access whole and thus less likely to be subject to analogical reformation.This effect applies to syntactic sequences as well,allowing higher-frequency exemplars to maintain a more conservative structure(Bybee& Thompson1997).In§15the example of the maintenance of the older type of negation in English(no-negation)with high-frequency constructions is discussed.The third effect(AUTONOMY)is related to the second one.Autonomy refers to the factt hatmorphologically complex forms(or st rings of words)of high frequency can lose their internal structure as they become autonomous from etymologically related forms(Bybee1985).This can be seen for example in the way that words with deriva-tional affixes become less transparently related to their base forms as they become more frequent(Bybee1985,Hay2001).Hay(2001)argues that the semantic opacity of words like dislocate is due to the fact that their complex forms are more frequent than the bases from which they were originally derived.The effect applies to inflection only in cases of extreme high frequency,where it leads to suppletion.Thus went was formerly the past tense of wend but(for unknown reasons)itincreased in frequency and moved away from wend,joining go to become the past tense of that verb.This effect also applies in grammaticization when sequences that are originally complex (such as be going to)lose their semantic and syntactic transparency and move away from other instances of the words be,go,and to.In discussing these effects here and elsewhere,I refer to high and low frequency and to extreme high frequency without specifying exactly what these values mean in numerical terms.Thus,the conserving effect applies to high-frequency items but auton-omy appears to affect only strings of extreme high frequency.The reducing effect appears to be graded in that the higher the frequency of the string,the greater its reduction.The phenomenon discussed in§14in which higher-frequency items form the centers of categories requires that the item not be so high in frequency as to be autonomous.The impossibility at the moment of specifying ranges for extreme high, medium,and low is only a function of the state of our knowledge.As more empirical studies appear,absolute frequency ranges for each phenomena will eventually be speci-fiable.6.C ONSTRUCTION-BASED REPRESENTATIONS.For the phenomena to be examined here, cognitive representations based on constructions turn out to be highly effective.Several versions of grammar in terms of constructions have been discussed in the literature. Proposals have been made by Fillmore and Kay(e.g.Fillmore etal.1988,Kay& Fillmore1999),Goldberg(1995,2003),Lakoff(1987),Langacker(1987),and Croft716LANGUAGE,VOLUME82,NUMBER4(2006)(2001).All of these proposals agree on a basic point:Cognitive representations of grammar are organized into constructions which are partially schematic,conventional-ized sequences of morphemes with a direct semantic representation.According to Goldberg,all of the following constitute constructions:(i)idioms with fixed lexical content:go great guns;(ii)idioms that are partially filled:jogϽsomeone’sϾmemory; (iii)constructions with some fixed material:he made his way through the crowd;and (iv)fully abstract constructions:they gave him an award.It is interesting to note that almost all constructions contain some explicit morphologi-cal material,tying them fairly concretely to specific words or morphemes(e.g.way and the possessive pronoun in(iii)).The ditransitive construction in(iv)contains no specific phonological material that identifies it as the ditransitive.Only the word order signals this.However,it should be noted that only a small class of verbs can occur in this construction so that it also has a grounding in lexical items.In fact,the continuum in(i)through(iv)shows examples from the most lexically explicit to the most schematic.Prefabs can also be considered to be instances of con-structions that are lexically filled.Given the high use of prefabs and idioms in natural speech,it appears that a good deal of production(and perception)refers to sequences of prespecified lexical choices rather than to abstract grammar.For this reason,a model that builds a grammar from specific instances of language use,such as an exemplar model or a connectionist model,seems appropriate.For present purposes,I focus on representation in an exemplar model.7.E XEMPLAR REPRESENTATION.Several versions of exemplar theory have been pro-posed in the psychology literature on categorization(Nosofsky1988,Goldinger1996). The version of exemplar theory adopted here has found its way into linguistics as a means of representing phonetic variation(K.Johnson1997,Pierrehumbert2001,2002). In this model,every token of experience is classified and placed in a vast organizational network as a part of the decoding process.The major idea behind exemplar theory is that the matching process has an effect on the representations themselves;new tokens of experience are not decoded and then discarded,but rather they impact memory representations.In particular,a token of linguistic experience that is identical to an existing exemplar is mapped onto that exemplar,strengthening it.Tokens that are similar but not identical(differing in slight ways in meaning,phonetic shape,pragmat-ics)to existing exemplars are represented as exemplars themselves and are stored near similar exemplars to constitute clusters or categories.Thus the phonetic shape of a word mightconsistof a setof phonet ic exemplars t hatare very similar t o one anot her.2 Exemplar clusters can also be arranged hierarchically.A set of exemplars that are judged to be similar phonetically and represent the same meaning are clustered together and are represented as a word or phrase.Constructions emerge when phrases that bear some formal similarity as well as some semantic coherence are stored close to one another.According to K.Johnson(1997),phonetic exemplars are tagged for an array of information about their occurrence:phonetic context,semantic and pragmatic informa-tion,other linguistic context,and social context.Thus an exemplar is an extremely2In some versions of exemplar representation,exemplars are scattered randomly through space.Only when categorization of a new exemplar is necessary are they organized by similarity(Chandler2002,Skousen 1989).Because linguistic categorization takes place so often I propose that linguistic categories(in the form of phonetic,morphosyntactic,semantic/pragmatic characteristics)are more entrenched in the sense that frequently used categorizations have an impact on neurological organization.FROM USAGE TO GRAMMAR:THE MIND’S RESPONSE TO REPETITION717 complex item.Not only does the phonetic side of a word or phrase take different forms and thus require multiple exemplars,but the semantic and contextual sides also encompass ranges of variation.It is necessary,then,to expand the theory to encompass exemplars that differ by any of the facets of a linguistic sign.That is,the particular semantic interpretations associated with tokens of use also contain details and nuances that lend themselves to exemplar representation.When meanings are the same,they are mapped onto the same exemplar,but when there are differences,separate exemplars are created.Similarly,the memory for contexts of use for words and constructions can be organized in exemplar clusters.These points are further illustrated in§13.In applying this kind of model to linguistic data,it is important to bear in mind just which aspects of the model are helpful to our understanding of language.Thus I focus on the following factors because they help us understand how constructions come into being and change over time.a.Exemplar representations allow specific information about instances of useto be retained in representation.b.Exemplar representations provide a natural way to allow frequency of useto determine the strength of exemplars.c.Exemplar clusters are categories that exhibit prototype effects.They are or-ganized in terms of members that are more or less central to the category,rather than in terms of categorical features.At first it might seem rather implausible to suppose that every token of language use encountered by a speaker/hearer has an effect on cognitive representation.Therefore it is important to consider how these notions can be applied to language.First,we have to move beyond the goal of structural and generative linguistics to try to establish which features or forms are stored in the lexicon and which are not(cf. Langacker’s rule/list fallacy(1987))and take a more probabilistic view of representa-tion.A phrase that is experienced only once by an adult is likely to have only a minute impact on representation compared to all of the accumulated exemplars already existing. Compare this to a young child whose experience is much more limited:each new token of experience has a greater impact on his/her representations.In addition,given a highly organized network of morphemes,words,phrases,and constructions,it will be difficult to distinguish between specific storage(storing the relatively low-frequency phrase such as beige curtains as a unit)and distributed storage(mapping the two words onto existing exemplars of these words)because both types of processing are occurring at the same time.Only when a sequence is repeated will access to it as a unit rather than by its parts become more efficient(Boyland1996,Haiman1994,Hay2001).Thus the question of storage or nonstorage will always be a probabilistic one,based on the experience of the language user.Second,human memory capacity is quite large.Nonlinguistic memories are detailed and extensive,suggesting a strong memory capacity for experienced phenomena(Gol-dinger1996,K.Johnson1997).In particular it is interesting to consider how memory for repeated experiences is represented,because an important feature of linguistic expe-rience is the regular repetition of phonological strings,words,and constructions.Con-sider a repeated experience,such as walking from your office on campus to your classroom.You probably take much the same route each time,and although many of the perceptual details are not important,you register them anyway.Was there a pigeon on the path?Did you see your colleague coming from the other direction?These details are registered in memory so that if they are repeated,it is noted and eventually you718LANGUAGE,VOLUME82,NUMBER4(2006)may come to expect to see a pigeon on the path or your colleague returning from his class.At the same time,memories decay over time.If in fact you never see your colleague again on that path,you may forget the one time you saw him/her there.Both of these properties of memory—the build up of strength in repeated memories and the loss of nonrepeated memories—are important for explaining linguistic phenomena. Third,it is clear that linguistic memories represented as exemplars can undergo considerable reorganization,particularly when change is ongoing in a language.Exam-ples of reorganization of constructions are presented in§§10–12,but for now I mention a phonetic example.Consider the case of a sound change occurring at a word boundary which sets up variation among the forms of a word,such as in the final syllable of a Spanish word ending in[s]in dialects where it is reduced to[h]before a consonant but maintained before a vowel.In a case like this,the phonetically conditioned variation is not maintained.Rather,the more frequent variant,the one used before a consonant, is extended to use before a vowel.This gives evidence for considerable reorganization within the exemplar cluster resulting in a smaller range of variation(Bybee2000a, 2001).(For experiments that model category formation from exemplars,see Pierrehumbert2001,2002,Wedel2004.)The cases I discuss here provide evidence that linguistics needs a model that allows particular instances of use to affect representation.It is important to note that there are several models that have been computationally tested that have this property;for in-stance,connectionist models work on the principle that detailed information is the basis of more general patterns.Such models have been tested on a variety of cognitive phenomena,but it may be that language will present both the toughest testing ground for such theories and the best source of data for our understanding of categorization and memory,especially memory for repeated events.8.E XEMPLAR REPRESENTATION OF CONSTRUCTIONS.As mentioned above,exemplars of words or phrases that are similar on different dimensions are grouped together in cognitive representation.From such a grouping a construction can emerge.For example, an exemplar representation of a partially filled construction would have experienced tokens mapping onto the constant parts of the construction exactly,strengthening these parts,while the open slots would not match exactly.If there are similarities(in particu-lar,semantic similarities)among the items occurring in the open slot,a category for these items would begin to develop.Thus in a Spanish example that I discuss further in§14,adjectives following the verb quedarse‘to become’,such as quieto,tranquilo, or inmo´vil,would be categorized together due to their semantic coherence,and this category would then predict novel uses of quedarseםadjective(Bybee&Eddington 2006).(1)Example:Spanish quedarseםADJECTIVE‘become ADJ’quedarse͕tranquilo‘tranquil’quieto‘quiet,still’inmo´vil‘still,immobile’͖Further details about the mapping of form and meaning in constructions is presented in§13.9.E FFECTS OF REPETITION ON PARTICULAR INSTANCES OF CONSTRUCTIONS.The next three sections of this article contain a discussion of the effects of repetition and context of use on particular exemplars of constructions.The examples provided are intended as empirical evidence that specific instances(exemplars)of constructions are part of the cognitive representation of language and that frequency of use has an impact on。
Gossip Girl 绯闻少女中出现的歌曲 听听美国大学生都在听什么歌
Gossip Girl 绯闻少女中出现的歌曲听听美国大学生都在听什么歌~~~~ 来源：杨蕾的日志Episode 1 - "The Pilot" - September 19, 20071. "Something To Believe In" - Aqualung - series theme song2. "Young Folks" - Peter Bjorn and John - opens the episode (Opening)3. "If It's Lovin That You Want" - Rihanna (Dinner Party)4. "What Goes Around Comes Around" - Justin Timberlake (Serena arrives at the Dinner Party)5. "Back To Black" - Amy Winehouse (Serena/Blair talk @ hotel bar)6. "Diamond Hipster Boy" - Washington Social Club (Humphrey family breakfast)7. "Hang Me Up To Dry" - Cold War Kids (Nate and Blair patch things up)8. "Photograph" - Air (Montage: Nate tells Blair/Chuck knows/Nate & Serena love scene)9. "Hard To Live In The City" - Albert Hammond Jr.10. "The Way I Are" - Timbaland (People arrive at the party, Chuck eyes Jenny)11. "Go" - Hanson (Dan/Serena meet up with Rufus)12. "Don't Matter" - Akon (Chuck wants to "talk" with Jenny)13. "The Gift" - Angels And Airwaves (Serena goes to visit Eric)Episode 2 - - "The Wild Brunch" - September 26, 20071."Shut Up And Drive 1" by Rihanna (Montage: Nate looks for Serena/Serena leaves for Blair's/Blair deletes Serena's call) (Serena and Nate chase after Blair; Dan "impresses" Lily)2."When Did Your Heart Go Missing" by Rooney (Lily and Serena argue)3."Ballad of Gus and Sam" by Ferraby Lionheart (Dan invites Serena to the Brunch)4."Tell Me About It" by Joss Stone (Dan and Serena arrive at the Brunch)5."The Queen And I" by Gym Class Heros (Serena and Dan hang out at the Brunch)6."Believe" by The Bravery (Coda)Episode 3 - "Poison Ivy" - October 3, 20071."Glamorous" by Constance Billard Choir (originally by Fergie) (The girls perform)2."I Got It From My Momma" by will.I.am (Field hockey throw down)3."Can't Be Happening" by The Marlows (Dan tells Rufus about not getting the usher position)4."Raise Your Hand" by The Lights5."I feel It All" by Feist (Rufus tells his kids about the new committee positions)6."Dusk Till Dawn" by Ladyhawke (Mingling at the Ivy mixer)Episode 4 - "Bad News Blair" - October 10, 20071."Make It Bounce" by Invisible Men (Blair, Serena & Mrs. Waldorf chat)2."The Focus" by X5 (Chuck announces the rules of the Lost Weekend)3."Tambourine" by Eve (Nate & Chuck catch up with Carter)4."Candy Store" by Miss Eighty6 (The girls play around; Dan asks Serenato the movies)5."Till The Sun Comes Up" by Miss Eighty6 (Chuck complains about Carter's continued presence)6."Until You Can't" by Alana D (The hair & make-up test shoot)7."Bounce Back" by Miss Eighty 6 (Nate leaves Chuck's party)8."Beautiful Girls" by Sean Kingston (Serena & Blair take their own pictures)9."Moon River" by Henry Mancini (Blair's dream; Dan overhears Blair confronting Serena)Episode 5 - "Dare Devil" - October 17, 20071."There's A Pot Brewin" by Little Ones (Preparation for Blair's sleepover)2."Rockstar LP" by Prima J (Jenny dresses up; Truth or Dare)3."Came To Dance" by Cadence Blaze (Eric sends Jenny an S.O.S.)4."Ringing In My Eyes" by Two Hours Traffic5."Whine Up" by Kat Deluna (Jenny dares Blair)6."I'm Doing It Again" by All Wrong & The Plans Change7."Mama I'm Coming Home" by Ozzy Osbourne (Rufus' phone call interrupts the pool lessons)8."Get Ur Party On" by Zooland (Dan & Serena arrive at Visconti)9."Something Like That" by Tim (CODA)Episode 6 - "The Handmaiden's Tale" - October 24, 20071."Kiss Kiss" by Yeah Yeah Yeahs (The masked ball begins)2."Guess Who" by Nekta (Dan sees Serena dancing with her date)3."Take It To The Top" by 5 Alarm (Chuck asks Jenny to dance)4."The La La Song" by Sofi J (Dan cuts in on Serena; Nate is given clues; Jenny toys with Chuck)5."Nasty Funky Crazy" by Becca Styles (Serena confronts Dan about his lie)6."Ring a Ling" by Miss Eighty 6 (Dan tries to explain things to Vanessa)7."Timebomb" by Beck (Serena asks Jenny about Vanessa; Masks off)8."Happy Ending" by Mika (CODA)Episode 7 - "Victor, Victrola" - November 7, 20071."With Me" By Sum 41 (CODA)2."Stripper" By Soho Dolls (Chuck is entranced by a dancer)&(Blair dances on stage)3."So The Say" By Classic (Chuck pitches his burlesque club idea to Blair)4."Ballad Of An Easy" By David McConnel (Nate asks for Jenny's silence)5."Release" By Miss Eighty 6 (Bart critizes Chuck's club idea)6."Second Hand Lovers" John Ralston (Dan & Serena are interrupted by Vanessa, then Rufus)7."Just Love" By Warren (The Archibalds arrive for dinner at The Waldorfs)8." Photograph" By Air (Dan imagines Nate & Serena giving him sex tips)9."Girl I Told Ya" By Valeria Ft. Aria (Bart & Pauletta arrive to check out club Victrola)10."Whatever" By Elliot Smith (Dan & Serena talk in bed)Episode 8 - "Seventeen Candles" - November 14, 20071."One Week Of Danger" by The Virgins.(Flashback of Blair & Chuck kissing in the limo)&(Blair & Chuck bicker on the street)&(CODA)/8db4b67294b130c4fe027495ca74e075/05_One_Week _Of_Danger.mp32."Birthday Song" by The Shapes (Dan & Serena run into Vanessa at her new job)/787d792e2fe363009e974186ef07a566/06_Birthday _Song.mp33."Love Is Colder Than Death" by The Virgins (Blair & Serena talk about best friends & Nate)/music/thevirgins-loveiscolderthandeath .mp34."Rich Girls" by The Virgins. (Nate listens to music before being interrupted by his mom)/mp3/The%20Virgins%20-%20Rich%20Girls.mp35."Whenever We Finish" by Two Hours Traffic (Dan confronts his mom about not coming home sooner)/b6f71279d7e396ed49257291eb344cba/07_Whenever _We_Finish.mp36."Nice Buddy" by Puffy AmiYumi (Kati & Is arrive at Blair's birthday party)/8481660fa8443cc1537b9cdc34f5c394/01_Nice_Bud dy.mp37."How We Breathe" by Pinback (Jenny runs into Nate; Vanessa & Dan arrive at the party)/mp3_1022/000/013/414/200711/2007111612291911951873 593Y3yWI.mp38."Fernando Pando" by The Virgins (Serena tells Dan that she'll try to get along with Vanessa)/twf/mp3/gg08/The%20Virgins%20-%20Fernan do%20Pando.mp39."Free Bird" by Lynyrd Skynyrd (Serena plays Guitar Hero)/attach/8458/1397968915.mp310."Inside Out" by Miss Eighty 6 (Dan tries to explain to Serena whyhe told Vanessa about his mom instead of her)11."How Does It Feel?" by Eskimo Joe (Blair runs off after her birthday cake is brought out)/mp3_1022/000/013/414/200711/2007111423232111950538 01rcjNt6.mp312."Kissing Song" by Dawn Landes (Jenny finds her parents cuddling in the living room)/twf/mp3/gg08/Dawn%20Landes%20-%20The%20 Kissing%20Song.mp313."Radio Christiane" by The Virgins (Vanessa & Serena bond; Chuck brings Blair a gift)/music/radiochristiane.mp3Episode 9 - "The Pilot" - Blair Waldorf Must Pie!1."promiscuous" by Nelly Furtado ft Timbaland (Flashback of Dan rescuing Serena last Thanksgiving)2."Recurring" by Bonobo3."Here We Go Again" by OK Go (Flashback of Dan telling his mom & Jenny about rescuing Serena)4."Grand Opening" by Will Dailey (Serena gets called away from dinner)5."La Ritournelle (Mr. Dan's Magic Wand Mix)" by SebastienTellier (Flashback of Serena, Nate & Blair joking around)6."Today" by Stickboy (Lily arrives at the restaurant)7."Nolita Fairytale" by Vanessa Carlton (CODA)【Download】下载地址：•/files/1540af51-9e36-11dc-b68c-0014221f3995 Episode 10 - "High Society" - December 5, 20071."Secret (Piano Version)" By The Pierces (Dance rehearsal) & (Waltz & brawl)2."You're a Wolf" By High Society (Nate's arrival interrupts a Chuck/Blair make-out session)3." Pretty Please" By Lissa (Lily & Jenny run into Allison while shopping)4."What For" By Rooney (Allison's art show)5."Secret" By The Pierces6."Three wishes" By The Pierces (Blair breaks it off with Chuck; Serena confronts her grandma; Dan/Serena dance)7."Apologize" By Timbaland ft. (CODA)Episode 11 - "Roman Holiday" - December 18, 20071."Santa Baby" By CAST (The Constance Billard St. Jude's bazaar)2."O Christmas" By The Plush Interiors (Serena tries to give Dan a gift)3."Making Good Time" By Two Hours Traffic4."Christmas Alphabet" By McGuire Sisters (The Blair-capades)5."Christmaskwanakah" By The Dan Band (Jenny gives Dan gift ideas)6."Deck The Halls" By The Republic Tigers (Serena asks Vanessa for help)7."The General Specific" By Band of Horses (A gift for Blair; Dan & Serena exchange gifts)8."All That I Want" By The Weepies (CODA)9."Bounce Back" By Miss Eighty6Episode 12 - "School Lies" - January 3, 20081."Oh Yeah" By Moby (Pool party)2."Someone Great" By LCD Soundsystem (Dan & Vanessa arrive at the party) /twf/mp3/gg12/LCD%20Soundsystem%20-%20So meone%20Great.mp33."Come Flash All You Ladies" By The Filthy Youth (Dan & Vanessa arrive at Blair's)4."Orange" By The Filthy Youth (Dan tries to explain his position to Serena; Chuck confronts Blair)5."Breakfast in NYC" By Oppenheimer (Blair shows up at Vanessa's workplace)/2006/mp3/Oppenheimer-Breakfast_in_NYC.mp36."Come Home" By One Republic (Montage of Bart toasting his & Lily's engagement and Lily meeting with Rufus)ftp://61.143.203.151/20071117112856/12.mp37."Cross The River" By La Rocca (CODA)Episode 13 - "A Thin Line Between Chuck and Nate" - January 10, 20081."Got Ur Number" - Nadia Oh (Serena is seen buying a pregnancy test) /mp3_1221/000/274/046/200801/2008012416071612011620 36cHzSru.mp32."The Dark Side Of Indoor Track Meets" - Falling Up(Dan tells Serena he will support her; repeats as Dan & Serena picnic and the rumor about Blair spreads)/mp3_1221/000/274/046/200801/2008012415321112011599 31F0tffA.mp33."You'll Change" - Machine Translations (Nate asks Blair for a favor)4."Where There's Gold" - Dashboard Confessional (Bex visits Rufus' gallery)/mp3_1221/000/274/046/200801/2008012415261912011595 79aDPbme.mp35."The Air We Breathe" - The Figurines(Dan dislikes Serena's response to his declaration; Blair remembers her interludes with Nate and Chuck)/mp3/Figurines-TheAirWeBreathe.mp3 6."Goodbye" - Dan Cray Trio (Blair congratulates Chuck on his revenge)7."No Happily Never After" - Nicole Scherzinger (CODA)/downloads/36/2/35691-766b2e50fa4944dbe075ee 025c5ba6c7/No%20Happily%20Never%20After%20-%20Nicole%20Scherzinger%20 ().mp3。
抒情金曲才女黛安华伦《There you＂ll be》歌词
抒情金曲才女黛安华伦《There you＂ll be》歌词导读：《珍珠港》电影主题曲"There You''ll Be"是抒情金曲才女黛安华伦(Diane Warren)继"Because You Loved Me"(因为你爱过我)、"How Do I Live"(空中监狱)、"I Don''t Want To Miss A Thing"(世界末日)、"Can''t **ht The Moonlight"(女狼俱乐部)后,又一电影歌曲创作,2000年以抒情榜17周冠军曲"Breathe"风靡全美,2001年囊括3座葛莱美奖、3座全美音乐奖、3度入选People杂志娱乐界最美可人儿的`乡村跨界国民天后菲丝希尔(Faith Hill)真情呼唤的歌声将一份永驻心头的依偎情谊自然涌现。
80年代末期为好莱坞电影音乐工业注入新动力的音乐家汉斯季默(Hans Zimmer)继深受全球音响发烧友最爱的「绝地任务」后,再度为麦可贝执导的影片创作音乐,著名创作包括:奥斯卡得奖作「狮子王」跟「雨人」、「埃及王子」、「神鬼战士」等7度获奥斯卡提名的汉斯季默紧接着年初「人魔」烹调惊悚片型典雅精致品味。
《There you"ll be》When I think back on these times and the dreams we left behindI'll be glad 'cause I was blessed to get to have you in my lifeWhen I look back on these days I'll look and see your face You were right there for meIn my heart there'll always be a place for you, for all my lifeI'll keep a part of you with me and everywhere I am there you'll beEverywhere I am there you'll beWell you showed me how it feels to feel the sky within my reachAnd I always will remember all the strength you gave to me Your love made me make it through. I owe so much to you You were right there for meIn my dreams I'll always see you soar above the skyIn my heart there'll always be a place for you, for all my lifeI'll keep a part of you with me and everywhere I am there you'll beEverywhere I am there you'll be'Cause I always saw in you my light, my strengthAnd I want to thank you now for all the waysYou were right there for me. You were right there for me alwaysIn my heart there'll always be a place for you, for all my lifeI'll keep a part of you with me and everywhere I am there you'll beEverywhere I am there you'll be【抒情金曲才女黛安华伦《There you＂ll be》歌词】1.珍珠港精致至极的歌曲《There you＂ll be》歌词2.珍珠港主题曲《There you＂ll be》歌词3.劲歌金曲歌词4.marry you歌词5.if you 歌词6.because of you歌词7.sing for you 歌词8.here with you歌词上文是关于抒情金曲才女黛安华伦《There you＂ll be》歌词，感谢您的阅读，希望对您有帮助，谢谢。
美国歌星惠特尼
美国歌星惠特尼·休斯敦的一首“I Will Always Love You”打动了无数歌迷的心，这首歌曲娓美深沉的开头“Bitter sweet memories that is all I’m taking with me, so goodbye, please don’t cry ...”(怀着苦涩而甜蜜的回忆，我来向你道别。
除此记忆我不名他物，请别哭泣……)更是令人回味无穷。
这里使用的“bitter sweet” (苦涩的甜蜜)是一种修辞手法——矛盾修饰法(oxymoron)。
矛盾修饰法是指把意义相互矛盾或者不相协调的两个词或词组放在一起使用，来形容一种事物、表达一种思想、或者说明一个道理。
oxymoron 这个单词来源于希腊文。
“oxy-”意为“尖刻的”;“moron”意为“枯燥，愚蠢的”。
矛盾修饰法运用的例子非常多,例如：cruel kindness(残酷的温柔)，wise fool(聪明的愚人)，same difference (一样的不同), alone together (单独在一起)，busy idleness(无事忙)等等。
矛盾修饰法在英语中的应用历史悠久，涉及范围相当广泛。
比如，在莎士比亚的许多经典戏剧中就大量地出现了矛盾修饰法这种修辞格。
“Parting is such sweet sorrow, that I shall say good night till it be tomorrow”(Romeo and Juliet)(离别是这样甜蜜的凄苦，我真要向你道晚安直到天明。
)这种“甜蜜的凄苦”充分地体现了情人间的依依不舍，而“道晚安直到天明”更是说明难舍难分。
杰克·伦敦是运用矛盾修饰法的大师，他在White Fang中就有精彩的表述:“S o it was when the doom of fifty years of living death was uttered...”(所以当司各特法官宣布判处他50年活死刑以后……) 因为判处一个风华正茂的青年50年监禁与判处他死刑没什么区别，这种宣判本身就揭露了法官与对方的勾结和残忍。
gossip girl 背景音乐曲目
Episode 7 - "Victor, Victrola" - November 7, 2007
"With Me" By Sum 41
"Stripper" By Soho Dolls
"So The Say" By Classic
"Ballad Of An Easy" By David McConnel
Episode 8 - "Seventeen Candles" - November 14, 2007
"One Week Of Danger" By The Virgins
"Your Birthday" By The Shapes
"Love Is Colder Than.." By The Virgins
"4;Came To Dance" by Cadence Blaze
"Ringing In My Eyes" by Two Hours Traffic
"Whine Up" by Kat Deluna -
"I'm Doing It Again" by All Wrong & The Plans Change
"Apologize" By Timbaland ft.
Episode 11 - "Roman Holiday" - December 18, 2007
"Santa Baby" By CAST
"O Christmas" By The Plush Interiors
New York City Under the Scrutiny of Holocaust Surv
Cultural and Religious Studies, November 2022, Vol. 10, No. 11, 638-642doi: 10.17265/2328-2177/2022.11.003 New York City Under the Scrutiny of Holocaust Survivor inMr. Sammler’s PlanetXIANYU JingBeijing Union University, Beijing, ChinaDING DianJiangsu Normal University, Xuzhou, ChinaSaul Bellow ’s seventh novel Mr. Sammler’s Planet combines the urban narrative of New York City with theHolocaust narrative, revealing the crisis of postmodern American society. This paper explores Sammler’s uniqueperspective as a witness to the Holocaust history and the social phenomena of the 1960s, so as to excavate thecharacteristics of New York City. Under the shackles of modern instrumental rationality and social order, the feverishHolocaust turns into fanatical destruction that subverts traditional ethical values. Sammler discerns the destructivefactors in history and the darkness in human nature, but he is not entirely pessimistic and makes exploration for thefuture of New York City.Keywords: New York City, Holocaust, SammlerResearch ContextThe novel Mr. Sammler’s Planet (1969), written by American Jewish writer Saul Bellow, combines the urban narrative of New York City with the Holocaust narrative, revealing the crisis of postmodern American society. The 1960s is one of the most socially and culturally transformative periods in the United States, and at the same time an eventful time of conflict and contradiction. The whole American society was in a state of incomprehensible madness, experiencing a profound spiritual, cultural, and moral crisis. New York City in the 1960s, the economic and cultural center of the United States, became the central microcosm of social contradictions.In Mr. Sammler’s Planet , Sammler observes from a detached point of view the recklessness of the urban residents and the deformed urban living space in New York City. The various problems of present New York City in the countercultural chaos make him think of the devastating Holocaust and explore the future of New York City. Based on the urban features of the novel, this paper attempts to analyze the features of New York City in the novel from the perspective of Mr. Sammler, a Holocaust survivor.Features of Mr. Sammler, a Holocaust SurvivorNew York City in Mr. Sammler’s Planet is presented from the perspective of the protagonist Mr. Sammler, an aged Polish Jew and “a city odyssey ” (Fox, 1986, p. 234). This perspective is quite unique and meaningful for XIANYU Jing, Ph.D., Associate Professor, Department of English, Tourism College, Beijing Union University, Beijing, China. DING Dian, post-graduate student, College of Smart Education, Jiangsu Normal University, Xuzhou, China. D A VID PUBLISHINGDNEW YORK CITY UNDER THE SCRUTINY OF HOLOCAUST SURVIVOR639the representation of the existential problems in postmodern American society. Sammler is a Holocaust survivor living in New York, so he is both a witness to the Holocaust history and a witness to the social phenomena of the 1960s. Holocaust experience and hardships bring him special sensitivity, profound insight, and a unique perspective of observation, making him perceptively uncover the problems in the city.Although Sammler survives the Holocaust, he suffers a series of physical injuries. His left eye was shot blind. Decades have passed, but he still wakes up with a buzzing sound in his head every day, his feet burn badly at night, and he also suffers from itching. Due to his handicapped status, his range of activities is quite limited, and he mostly relies on inner thinking to obtain the richness of life, which makes him devote more time to thinking about life than healthy people and thus have a more profound view of life. His good right eye, “full of observation”, inevitably provokes or stimulates those “inward processes” he would rather hold aloof from the world (Pifer, 1985, p. 25). Therefore, although Sammler is one-eyed, he is not a victim (Salter, 1972, p. 57), and his tragic experience became a legacy in a certain sense.Mr. Sammler’s Planet uses memory to reproduce the tragic scene of the Holocaust, which greatly impacts Mr. Sammler’s reflections on life. Sammler has experienced the miserable life in the concentration camp, the terrifying situation of being buried alive, the loss of his wife, and the harrowing months hiding in the tomb. During the holocaust, he, together with millions of Jews, was shot and fell into the mass grave dug by themselves. Luckily, he managed to crawl out of the piled dead bodies and survived to join the partisans in the Zamoshit Forest in Poland to fight against the German invaders. Towards the end of the war, he was shot by anti-Semites in the partisan group. He then hid in a cemetery and pretended to be dead for three or four months. The dark, isolated tomb not only smelled of death, but the world also seemed to stand still. In his mind, the Holocaust is the highest manifestation of ethical and moral decay, an overwhelming experience of evil, and event which “marks not only the death of man, but the idea of man as well” (Berger, 1986, p. 81). The past scenes flash into his present life constantly, and deepen his understanding toward contemporary New York City.As a Holocaust survivor, Sammler’s experiences are highly respected by others as a “confidant of New York eccentrics; curate of wild men and progenitor of a wild woman” (Bellow, 2007, p. 96). Angela and Wallace, who are second-generation immigrants, have a kind of wonder and admiration for Sammler’s experience, so they are happy to confide in him about their troubles. Sammler is an objective and non-judging listener and always tries his best to exhort and enlighten them with his own experience, which gives him a unique perspective on the young people in New York City. With “survivor mission”(Berger, 1986, p. 81), Sammler documents and examines New York City in the 1960s through his own eyes, and struggles for meaning.New York Under the Scrutiny of City Observer SammlerIrrational Behaviors of the Urban ResidentsIn the 1960s, the highly developed material civilization and the consumer culture brought about hedonism and mammonism. The modern instrumental rationality and social order imprisoned people’s individuality and spiritual world. Young Americans advocated the replacement of traditional rationality and morality with spontaneous impulses and madness, creating a sizable counterculture movement (Wang, 2008, p. 19).Mr. Sammler senses sexual liberation sweeping the United States in the 1960s. He is raised as a Polish Jew in the traditional way of civility and ethical order and is astonished and distressed by the crazy worship of sex among the youth. In order to escape from the repression and control of modern industrial society in terms ofNEW YORK CITY UNDER THE SCRUTINY OF HOLOCAUST SURVIVOR640technical rationality and political institutions and realize self-liberation and individual freedom, the advocates of the counterculture movement chose to immerse in sexual desire, totally disrupting conventional sexual ethics. They are portrayed as “hedonistic, narcissistic, ignorant, and—a crystallizing symbol for all of these—sexually wanton” (Goffman, 1997, p. 709). The way they walk and the style they dress give a sense of excessive sexuality. The pursuit of sexual satisfaction in American society is similar to the ecstasy of Holocaust killing.What’s more, young people are eroded by materialism and money-worship while desecrating humanity and kinship. Sammler’s grandnephew Wallace and grandniece Angela are financially dependent on their parents but show no human love or respect for their family. Wallace is a madman whose madness lies not only in his lawlessness and audacity but also in his feverish desire for money. In the moment of his own father’s critical illness, instead of being by his father’s si de and caring about his death, he was preoccupied with a sum of money that his father had hidden in the house. His sister Angela refused to admit her mistakes and reconcile with her father even before his death, not even willing to visit him for the last time. All she could think of was the possibility that her father would disinherit her because of her promiscuity. The looseness of kinship is like the inhumanity of the Holocaust.1968 was the climax of the students’ movement. College students were frivolou s exaggerated and irresponsible. They refused to be bound by any prohibition and regarded cursing and public urination as inalienable rights. When Sammler was giving a lecture at Columbia University, some students interrupt him and speak rudely to him. The y arrogantly assumed Sammler’s point of view should be despised and trampled on just because he was an old man and had a foreign accent. The recklessness and madness of the college students is comparable to the irrationality of the Holocaust.Deformed Urban Living SpaceThe great economic changes in the 1960s brought destabilizing factors to society, with urban space being forced to be redistributed. Because of urbanization, the wealthy white middle class left for the suburbs which were inhabited by the poor before. Almost at the same time, a swarm of African Americans poured into the northern cities from the south, creating a great migration wave. Under the dual effects of the departure of the rich and the influx of the poor blacks, the formerly prosperous business districts were gradually stagnant and ghettos began to appear in every corner of New York City, resulting in rising violence and crimes and continuous deterioration of the urban environment. Sammler’s encounters in New York City often remind him of the Holocaust.The late 1960s was the peak of violence and riots in American society. New York City had become one of the few notorious crime cities in the world that was once a symbol of civilization and glory. Sammler has constantly seen a black pickpocket steal blatantly on the bus. The black pickpocket is used “as a sign for the potency of those pathological forces that claim the city for themselves” (Charlson, 1997, p. 532). The black pickpocket was brutal and bullied victims with his physical superiority when stealing. Noticing Sammler had witnessed him stealing, the black pickpocket then intimidated him by forcibly exposing his genitals in front of him which was a blatant mix of violence and sexual display. And what Sammler could see on Broadway are alcoholics, perverts, snooping thieves, idlers, and bloody street violence.In “quivering, riotous and lurid New York” (Bellow, 2007, p. 117), Sammler lives on Manhattan’s Upper West Side with the Lincoln Art Center and Columbia University. However, it became the venom for artists, and what he saw was an ugly, deformed road littered with rubbish, environmental pollution, and crumblingNEW YORK CITY UNDER THE SCRUTINY OF HOLOCAUST SURVIVOR641infrastructure. The decadent appearance of the city reminded Sammler of the images of the Holocaust. He compared the asphalt road to a rotting body, and the sewers seemed to flow out of guts. The crowded buildings form a forest, the TV antennas seem to be a series of branches, and the people living in the apartments seem to be prisoners trapped in this primitive jungle. New York made him think of the end of the world.Sammler’s Exploration for the Future of New York CitySammler is able to treat the countercultural movement dialectically, not only seeing its revolutionary side but also sensing that it carries a wave of radicality and insurrection. His attitude is not indifferent, and he is not completely pessimistic. Actually, his observation is mixed with the profound reflections on the social chaos in New York City at that time, and he makes efforts to find the solution in different ways, including a balance between rationality and irrationality and the reconstruction of traditional ethics.Rationality used to be a light of enlightenment for human beings and played an important role in the process of overcoming ignorance. But rationality is not omnipotent. The modern instrumental rationality and social order objectified urban people and made them suffer spiritual emptiness. Therefore, irrational students in the counterculture movement rejected any prohibitions and caused escalating violent incidents, resulting in the corruption of society and the degradation of human nature. Sammler believes that excessive display of sensuous individuals and unchecked brutal passion are detrimental to mankind (Quayum, 2004, p. 159). In response to the disadvantages of modernization, they should not throw away rationality and cultural tradition and seek a balance between the rational and the irrational.Sammler’s upbringing in the Jewish community which attaches great importance to traditional morality made him have a sense of personal responsibility to reconstruct the ethical values in New York City. This can be reflected in his close relationship with Dr. Elya Gruner and his appreciation for Gruner’s virtues and ideal qualities. Faced with the social chaos in the 1960s, Sammler stresses that the endless pursuit of freedom will inevitably lead to the confusion of identities and the evasion of responsibilities, and it is the root cause of the decline of morality in contemporary society and the oppression and neglect of vulnerable groups. He “struggles to make a life of dignity for himself” and clings to the values such as reason, order, tradition, and self-respect “against the hostility of his environment, the indifference of many of his acquaintances, and the perversity of circumstance”(Galloway, 1973, p. 22). Sammler is not entirely pessimistic, and he “bluntly discards Lal’s philosophy of irrational escapism in favor of the rational acceptance of life on Earth despite all its flux and follies”(Singh, 2015, p. 308).ConclusionSammler’s painful and nightmarish experiences during the Holocaust deepen his understanding of New York City where he lives. With penetrating insight, he is wary of the changes in the social and ethical order and makes his reflections on social chaos. There are some common points between the Holocaust and social chaos in the 1960s. Under the shackles of modern instrumental rationality and social order, the feverish Holocaust turns into fanatical destruction that subverts traditional ethical values. Both of them contain destructive factors and darkness in human nature. The Holocaust destroys the Jewish people, and the countercultural movement destroys the human spirit. Postmodern New York City is facing serious crises, and Sammler is always full of deep concern for the state of human survival, and he is filled with the moral responsibility of an intellectual to solve the problems with a positive attitude.NEW YORK CITY UNDER THE SCRUTINY OF HOLOCAUST SURVIVOR642ReferencesBellow, S. (2007). Mr. Sa mmler’s planet. London: Penguin Classics.Berger, A. L. (1986). Holocaust survivors and children in Anya and Mr. Sammler’s Planet. Modern Language Studies, 16(1), 81-87.Charlson, J. L. (1997). Ethnicity, power, and the p ostmodern in Saul Bellow’s Mr. Sammler’s Planet. The Centennial Review, 41(3), 529-536.Fox, F. P. (1986). Saul Bellow’s city fiction (Dissertation, University of Pennsylvania, 1986).Galloway, D. (1973). Mr. Sammler’s planet: Bellow’s failure of nerve. Modern Fiction Studies, 19(1), 17-28.Goffman, E. (1997). Between guilt and affluence: The Jewish gaze and the black thief in Mr. Sammler’s planet. Contemporary Literature, 38(4), 705-725.Pifer, E. (1985). “Two different s peeches”: Mystery and knowledge in Mr. Sammler’s planet. Mosaic: An Interdisciplinary Critical Journal, 18(2), 17-32.Quayum, M. A. (2004). Saul Bellow and American transcendentalism. New York: Peter Lang.Salter, D. P. M. (1972). Optimism and reaction in Saul Bellow’s recent work. In Critical quarterly (pp. 57-65). Oxford: Oxford University Press.Singh, S. (2015). Kant, Schopenhauer, Saul Bellow: Evil in Mr. Sammler’s planet. Philosophy and Literature, 39(1A), 280-316. Wang, E. M. (2008). The counterculture movement of the 1960s—A study of the hippie culture in the USA. Beijing: Peking University Press.。
考研英语一阅读理解真题大全
考研英语一阅读理解真题大全考研英语一阅读理解真题大全1Text 1Among the annoying challenges facing the middle class is one that will probably go unmentioned in the next presidential campaign: What happens when the robots e for their jobs?Don't dismiss that possibility entirely. Abouthalf of U.S. jobs are at high risk of being automated, according to a University of Oxford study, with the middle class disproportionately squeezed. Lower-ine jobs like gardening or day care don't appeal to robots. But many middle-class occupations-trucking, financial advice, software engineering — havearoused their interest, or soon will. The rich ownthe robots, so they will be fine.This isn't to be alarmist. Optimists point outthat technological upheaval has benefited workers in the past. The Industrial Revolution didn't go so well for Luddites whose jobs were displaced by mechanized looms, but it eventually raised living standards and created more jobs than it destroyed. Likewise, automation should eventually boost productivity, stimulate demand by driving down prices, and free workers from hard, boring work. But in the medium term, middle-class workers may need a lot of help adjusting.The first step, as Erik Brynjolfsson and Andrew McAfee argue in The Second Machine Age, should be rethinking education and job training. Curriculums —from grammar school to college- should evolve to focus less on memorizing facts and more on creativity and plex munication. Vocational schools should do a better job of fostering problem-solving skills and helping students work alongside robots. Online education can supplement the traditional kind. It could make extra training and instruction affordable. Professionals trying to acquire new skills will be able to do so without going into debt.The challenge of coping with automation underlines the need for the U.S. to revive its fading business dynamism: Starting new panies must be made easier. In previous eras of drastic technological change, entrepreneurs smoothed the transition by dreaming up ways to bine labor and machines. The best uses of 3D printers and virtual reality haven't been invented yet. The U.S. needs the new panies that will invent them.Finally, because automation threatens to widen the gap between capital ine and labor ine, taxes and the safety net will have to be rethought. Taxes on low-wage labor need to be cut, and wage subsidies such as the earned ine tax credit should be expanded: This would boost ines, encourage work, reward panies for job creation, and reduce inequality.Technology will improve society in ways big and small over the next few years, yet this will belittle fort to those who find their lives and careers upended by automation. Destroying the machines that are ing for our jobs would be nuts. But policies to help workers adapt will be indispensable.21.Who will be most threatened by automation?[A] Leading politicians.[B]Low-wage laborers.[C]Robot owners.[D]Middle-class workers.22 .Which of the following best represent the author’s view?[A] Worries about automation are in fact groundless.[B]Optimists' opinions on new tech find little support.[C]Issues arising from automation need to be tackled[D]Negative consequences of new tech can be avoidedcation in the age of automation should put more emphasis on[A] creative potential.[B]job-hunting skills.[C]individual needs.[D]cooperative spirit.24.The author suggests that tax policies be aimed at[A] encouraging the development of automation.[B]increasing the return on capital investment.[C]easing the hostility between rich and poor.[D]preventing the ine gap from widening.25.In this text, the author presents a problem with[A] opposing views on it.[B]possible solutions to it.[C]its alarming impacts.[D]its major variations.考研英语一阅读理解真题大全2TEXT 1King Juan Carlos of Spain once insisted"kingsdon't abdicate, they die in their sleep." But embarrassing scandals and the popularity of the republicans left in the recent Euro-elections have forced him to eat his words and stand down. So, doesthe Spanish crisis suggest that monarchy is seeingits last days? Does that mean the writing is on the wall for all European royals, with their magnificent uniforms and majestic lifestyles?The Spanish case provides arguments both for and against monarchy. When public opinion is particularly polarized, as it was following the end of the France regime, monarchs can rise above "mere" polities and "embody" a spirit of national unity.It is this apparent transcendence of polities that explains monarchy's continuing popularity as heads of state. And so, the Middle East expected, Europe is the most monarch-infested region in the world, with 10 kingdoms (not counting Vatican City and Andorra). But unlike their absolutist counterparts in the Gulf and Asia, most royal families have survived because they allow voters to avoid the difficult search for a non-controversial but respected public figure.Even so, kings and queens undoubtedly have a downside. Symbolic of national unity as they claim to be, their very history-and sometimes the way they behave today-embodies outdated and indefensible privileges and inequalities. At a time when Thomas Piketty and other economists are warming of rising inequality and the increasing power of inherited wealth, it is bizarre that wealthy aristocratic families should still be the symbolic heart of modern democratic states.The most successful monarchies strive to abandon or hide their old aristocratic ways. Princes and princesses have day-jobs and ride bicycles, not horses (or helicopters). Even so, these are wealthy families who party with the international 1%, and media intrusiveness makes it increasingly difficultto maintain the right image.While Europe's monarchies will no doubt be smart enough to survive for some time to e, it is the British royals who have most to fear from the Spanish example.It is only the Queen who has preserved the monarchy's reputation with her rather ordinary (if well-heeled) granny style. The danger will e with Charles, who has both an expensive taste of lifestyle and a pretty hierarchical view of the world. He has failed to understand that monarchies have largely survived because they provide a service-as non-controversial and non-political heads of state. Charles ought to know that as English history shows, it is kings, not republicans, who are the monarchy's worst enemies.21. According to the first two paragraphs, King Juan Carlos of Spain[A]eased his relationship with his rivals.[B]used to enjoy high public support.[C]was unpopular among European royals.[D]ended his reign in embarrassment.22. Monarchs are kept as head of state in Europe mostly[A]to give voters more public figures to look up to.[B]to achieve a balance between tradition and reality.[C]owing to their undoubted and respectable status.[D]due to their everlasting political embodiment.23. Which of the following is shown to be odd, according to Paragraph 4?[A] The role of the nobility in modern democracies.[B] Aristocrats' excessive reliance on inherited wealth.[C] The simple lifestyle of the aristocratic families.[D] The nobility's adherence to their privileges.24. The British royals "have most to fear" because Charles[A]takes a tough line on political issues.[B]fails to change his lifestyle as advised.[C]takes republicans as his potential allies.[D]fails to adapt himself to his future role.25. Which of the following is the best title of the text?[A]Carlos, Glory and Disgrace Combined[B]Charles, Anxious to Succeed to the Throne[C]Charles, Slow to React to the Coming Threats[D]Carlos, a Lesson for All European Monarchs考研英语一阅读理解真题大全3Text 1The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 20XX. For the most part， the response has been favorable， to say the least. “Hooray! At last!” wrote Anthony Tommasini， a sober-sided classical-music critic.One of the reasons why the appointment came as such a surprise， however， is that Gilbert is paratively little known. Even Tommasini， who had advocated Gilbert‘s appointment in the Times， calls him “an unpretentious musician with no air of the formidable conductor about him.” As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez， that seems likely to have struck at least some Times readers as faint praise.For my part， I have no idea whether Gilbert is a great conductor or even a good one. To be sure， he performs an impressive variety of interesting positions， but it is not necessary for me to visit Avery Fisher Hall， or anywhere else， to hear interesting orchestral music. All I have to do is to go to my CD shelf， or boot up my puter and download still more recorded music from iTunes.Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point. For the time， attention， and money of theart-loving public， classical instrumentalists must pete not only with opera houses， dance troupes，theater panies， and museums， but also with the recorded performances of the great classical musicians of the 20th century. There recordings are cheap， available everywhere， and very often much higher in artistic quality than today‘s live performances; moreover，they can be “consumed” at a time and place of the listener’s choosing. The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert.One possible response is for classical performers to program attractive new music that is not yet available on record. Gilbert‘s own interest in new music has been widely noted： Alex Ross， aclassical-music critic， has described him as a man who is capable of turning the Philharmonic into “a markedly different， more vibran t organization.” Butwhat will be the nature of that difference? Merely expanding the orchestra’s repertoire will not be enough. If Gilbert and the Philharmonic are to succeed， they must first change the relationship between America‘s oldest orchestra and the new audience it hops to attract.21. We learn from Para.1 that Gilbert‘s appointment has[A]incurred criticism.[B]raised suspicion.[C]received acclaim.[D]aroused curiosity.22. Tommasini regards Gilbert as an artist who is[A]influential.[B]modest.[C]respectable.[D]talented.23. The author believes that the devoted concertgoers[A]ignore the expenses of live performances.[B]reject most kinds of recorded performances.[C]exaggerate the variety of live performances.[D]overestimate the value of live performances.24. According to the text， which of the following is true of recordings?[A]They are often inferior to live concerts in quality.[B]They are easily accessible to the general public.[C]They help improve the quality of music.[D]They have only covered masterpieces.25. Regarding Gilbert‘s role in revitalizing the Philharmonic， the author feels[A]doubtful.[B]enthusiastic.[C]confident.[D]puzzled.考研英语一阅读理解真题大全4Text 1In the 20XX film version of The Devil WearsPrada ,Miranda Priestly, played by Meryl Streep, scolds her unattractive assistant for imagining that high fashion doesn’t affect her, Priestly explains how the deep blue color of the assistant’s sweater descended over the years from fashion shows todepartments stores and to the bargain bin in which the poor girl doubtless found her garment.This top-down conception of the fashion business couldn’t be more out of date or at odds with the feverish would described in Overdressed, Eliazabeth Cline’s three-year indictment of “fast fashion”. In the last decade or so ,advances in technology have allowed mass-market labels such as Zara ,H&M, and Uniqlo to react to trends more quickly and anticipate demand more precisely. Quicker turnarounds mean less wasted inventory, more frequent release, and more profit. These labels encourage style-conscious consumers to see clothes as disposable-meant to last only a wash or two, although they don’t advertise that –and to renew their wardrobe every few weeks. By offering on-trend items at dirt-cheap prices, Cline argues, these brands have hijacked fashion cycles, shaking an industry long accustomed to a seasonal pace.The victims of this revolution , of course ,are not limited to designers. For H&M to offer a $5.95 knit miniskirt in all its 2,300-pius stores around the world, it must rely on low-wage overseas labor, order in volumes that strain natural resources, and use massive amounts of harmful chemicals.Overdressed is the fashion world’s answer to consumer-activist bestsellers like Michael Pollan’s The Omnivore’s Dilemma. “Mass-producedclothing ,like fast food, fills a hunger and need,yet is non-durable and wasteful,” Cline argues. Americans, she finds, buy roughly 20 billion garments a year – about 64 items per person – and no matter how much they give away, this excess leads to waste.Towards the end of Overdressed, Cline introducedher ideal, a Brooklyn woman named Sarah Kate Beaumont, who since 20XX has made all of her own clothes – and beautifully. But as Cline is the first to note, ittook Beaumont decades to perfect her craft; her example can’t be knocked off.Though several fast-fashion panies have madeefforts to curb their impact on labor and the environment – including H&M, with its greenConscious Collection line –Cline believes lasting change can only be effected by the customer. She exhibits the idealism mon to many advocates of sustainability, be it in food or in energy. Vanity is a constant; people will only start shopping more sustainably when they can’t afford not to.21. Priestly criticizes her assistant for her[A] poor bargaining skill.[B] insensitivity to fashion.[C] obsession with high fashion.[D] lack of imagination.22. According to Cline, mass-maket labels urge consumers to[A] bat unnecessary waste.[B] shut out the feverish fashion world.[C] resist the influence of advertisements.[D] shop for their garments more frequently.23. The word “indictment” (Line 3, Para.2) is closest in meaning to[A] accusation.[B] enthusiasm.[C] indifference.[D] tolerance.24. Which of the following can be inferred from the lase paragraph?[A] Vanity has more often been found in idealists.[B] The fast-fashion industry ignores sustainability.[C] People are more interested in unaffordable garments.[D] Pricing is vital to environment-friendly purchasing.25. What is the subject of the text?[A] Satire on an extravagant lifestyle.[B] Challenge to a high-fashion myth.[C] Criticism of the fast-fashion industry.[D] Exposure of a mass-market secret.。
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2011年考研英语真题及答案详解
2011年考研英语真题及答案详解Section I Use of EnglishDirections:Read the following text. Choose the best word(s) for each numbered blank and mark [A], [B], [C] or [D] on ANSWER SHEET 1. (10 points)Ancient Greek philosopher Aristotle viewed laughter as “a bodily exercise precious to health.” But ---__1___some claims to the contrary, laughing probably has little influence on physical fitness Laughter does __2___short-term changes in the function of the heart and its blood vessels, ___3_ heart rate and oxygen consumption But because hard laughter is difficult to __4__, a good laugh is unlikely to have __5___ benefits the way, say, walking or jogging does.__6__, instead of straining muscles to build them, as exercise does, laughter apparently accomplishes the __7__, studies dating back to the 1930’s indicate that laughter__8___ muscles, decreasing muscle tone for up to 45 minutes after the laugh dies down.Such bodily reaction might conceivably help _9__the effects of psychological stress. Anyway, the act of laughing probably does produce other types of ___10___ feedback, that improve an individual’s emotional state. __11____one classical theory of emotion, our feelings are partially rooted ____12___ physical reactions. It was argued at the end of the 19th century that humans do not cry ___13___they are sad but they become sad when the tears begin to flow.Although sadness also ____14___ tears, evidence suggests that emotions can flow __15___ muscular responses. In an experiment published in 1988,social psychologist Fritz Strack of the University of würzburg in Germany asked volunteers to __16___ a pen either with their teeth-thereby creating an artificial smile –or with their lips, which would produce a(n) __17___ expression. Those forced to exercise their enthusiastically to funny catoons than did those whose months were contracted in a frown, ____19___ that expressions may influence emotions rather than just the other way around __20__ , the physical act of laughter could improve mood.1．[A]among [B]except [C]despite [D]like2．[A]reflect [B]demand [C]indicate [D]produce3．[A]stabilizing [B]boosting [C]impairing [D]determining4．[A]transmit [B]sustain [C]evaluate [D]observe5．[A]measurable [B]manageable [C]affordable [D]renewable6．[A]In turn [B]In fact [C]In addition [D]In brief7．[A]opposite [B]impossible [C]average [D]expected8．[A]hardens [B]weakens [C]tightens [D]relaxes9．[A]aggravate [B]generate [C]moderate [D]enhance10．[A]physical [B]mental [C]subconscious [D]internal11．[A]Except for [B]According to [C]Due to [D]As for12．[A]with [B]on [C]in [D]at13．[A]unless [B]until [C]if [D]because14．[A]exhausts [B]follows [C]precedes [D]suppresses15．[A]into [B]from [C]towards [D]beyond16．[A]fetch [B]bite [C]pick [D]hold17．[A]disappointed [B]excited [C]joyful [D]indifferent18．[A]adapted [B]catered [C]turned [D]reacted19．[A]suggesting [B]requiring [C]mentioning [D]supposing20．[A]Eventually [B]Consequently [C]Similarly [D]ConverselySection II Reading ComprehensionPart ADirections:Read the following four texts. Answer the questions below each text by choosing [A], [B], [C] or [D]. Mark your answers on ANSWER SHEET 1. (40 points)Text 1The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009. For the mo st part, the response has been favorable, to say the least. “Hooray! At last!” wrote Anthony Tommasini, a sober-sided classical-music critic.One of the reasons why the appointment came as such a surprise, however, is that Gilbert is comparatively little known. Even Tommasini, who had advocated Gilbert’s appointment in the Times, calls him “an unpretentious musician with no air of the formidable conductor about him.” As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez, that seems likely to have struck at least some Times readers as faint praise.For my part, I have no idea whether Gilbert is a great conductor or even a good one. To be sure, he performs an impressive variety of interesting compositions, but it is not necessary for me to visit Avery Fisher Hall, or anywhere else, to hear interesting orchestral music. All I have to dois to go to my CD shelf, or boot up my computer and download still more recorded music from iTunes.Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point. For the time, attention, and money of the art-loving public, classical instrumentalists must compete not only with opera houses, dance troupes, theater companies, and museums, but also with the recorded performances of the great classical musicians of the 20thcentury. There recordings are cheap, available everywhere, and very often much higher in artistic quality than today’s live performances; moreover, they can be “consumed” at a time and place of the listener’s choosing. The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert.One possible response is for classical performers to program attractive new music that is not yet available on record. Gilbert’s own interest in new music has been widely noted: Alex Ross, a classical-music critic, has described him as a man who is capable of turning the Philharmonic into “a markedly different, more vibrant organization.” But what will be the nature of that difference? Merely expanding the orchestra’s repertoire will not be enough. If Gilbert and the Philharmonic are to succeed, they must fir st change the relationship between America’s oldest orchestra and the new audience it hops to attract.21. We learn from Para.1 that Gilbert’s appointment has[A]incurred criticism.[B]raised suspicion.[C]received acclaim.[D]aroused curiosity.22. Tommasini regards Gilbert as an artist who is[A]influential.[B]modest.[C]respectable.[D]talented.23. The author believes that the devoted concertgoers[A]ignore the expenses of live performances.[B]reject most kinds of recorded performances.[C]exaggerate the variety of live performances.[D]overestimate the value of live performances.24. According to the text, which of the following is true of recordings?[A]They are often inferior to live concerts in quality.[B]They are easily accessible to the general public.[C]They help improve the quality of music.[D]They have only covered masterpieces.25. Regard ing Gilbert’s role in revitalizing the Philharmonic, the author feels[A]doubtful.[B]enthusiastic.[C]confident.[D]puzzled.Text 2When Liam McGee departed as president of Bank of America in August, his explanation was surprisingly straight up. Rather than cloaking his exit in the usual vague excuses, he came right out and said he was leaving “to pursue my goal of running a company.” Broadcasting his ambition was “very much my decision,” McGee says. Within two w eeks, he was talking for the first time with the board of Hartford Financial Services Group, which named him CEO and chairman on September 29.McGee says leaving without a position lined up gave him time to reflect on what kind of company he wanted to run. It also sent a clear message to the outside world about his aspirations. And McGee isn’t alone. In recent weeks the No.2 executives at Avon and American Express quit with the explanation that they were looking for a CEO post. As boards scrutinize succession plans in response to shareholder pressure, executives who don’t get the nod also may wish to move on.A turbulent business environment also has senior managers cautious of letting vague pronouncements cloud their reputations.As the first signs of recovery begin to take hold, deputy chiefs may be more willing to make the jump without a net. In the third quarter, CEO turnover was down 23% from a year ago as nervous boards stuck with the leaders they had, according to Liberum Research. As the economy picks up, opportunities will abound for aspiring leaders.The decision to quit a senior position to look for a better one is unconventional. For years executives and headhunters have adhered to the rule that the most attractive CEO candidates are the ones who must be poached. Says Korn/Ferry senior partner Dennis Carey:”I can’t think of a single search I’ve done where a board has not instructed me to look at sitting CEOs first.”Those who jumped without a job haven’t always la nded in top positions quickly. Ellen Marram quit as chief of Tropicana a decade age, saying she wanted to be a CEO. It was a year before she became head of a tiny Internet-based commodities exchange. Robert Willumstad left Citigroup in 2005 with ambitions to be a CEO. He finally took that post at a major financial institution three years later.Many recruiters say the old disgrace is fading for top performers. The financial crisis has made it more acceptable to be between jobs or to leave a bad one. “The traditional rule was it’s safer to stay where you are, but that’s been fundamentally inverted,” says one headhunter. “The people who’ve been hurt the worst are those who’ve stayed too long.”26. When McGee announced his departure, his manner can best be described as being[A]arrogant.[B]frank.[C]self-centered.[D]impulsive.27. According to Paragraph 2, senior executives’ quitting may be spurred by[A]their expectation of better financial status.[B]their need to reflect on their private life.[C]their strained relations with the boards.[D]their pursuit of new career goals.28. The word “poached” (Line 3, Paragraph 4) most probably means[A]approved of.[B]attended to.[C]hunted for.[D]guarded against.29. It can be inferred from the last paragraph that[A]top performers used to cling to their posts.[B]loyalty of top performers is getting out-dated.[C]top performers care more about reputations.[D]it’s safer to stick to the traditional rules.30. Which of the following is the best title for the text?[A]CEOs: Where to Go?[B]CEOs: All the Way Up?[C]Top Managers Jump without a Net[D]The Only Way Out for Top PerformersText 3The rough guide to marketing success used to be that you got what you paid for. No longer. While traditional “paid” media – such as television commercials and print advertisements – still play a major role, companies today can exploit many alternative forms of media. Consumers passionate about a product may create “owned” media by sending e-mail alerts about products and sales to customers registered with its Web site. The way consumers now approach the broad range of factors beyond conventional paid media.Paid and owned media are controlled by marketers promoting their own products. For earned media , such marketers act as the initiator for users’ responses. But in some cases, one marketer’s owned media become another marketer’s paid media – for instance, when an e-commerce retailer sells ad space on its Web site. We define such sold media as owned media whose traffic is so strong that other organizations place their content or e-commerce engines within that environment. This trend ,which we believe is still in its infancy, effectively began with retailers and travel providers such as airlines and hotels and will no doubt go further. Johnson & Johnson, for example, has created BabyCenter, a stand-alone media property that promotes complementary and even competitive products. Besides generating income, the presence of other marketers makes the siteseem objective, gives companies opportunities to learn valuable information about the appeal of other companies’ marketing, and may help expand user traffic for all companies concerned.The same dramatic technological changes that have provided marketers with more (and more diverse) communications choices have also increased the risk that passionate consumers will voice their opinions in quicker, more visible, and much more damaging ways. Such hijacked media are the opposite of earned media: an asset or campaign becomes hostage to consumers, other stakeholders, or activists who make negative allegations about a brand or product. Members of social networks, for instance, are learning that they can hijack media to apply pressure on the businesses that originally created them.If that happens, passionate consumers would try to persuade others to boycott products, putting the reputation of the target company at risk. In such a case, the company’s response may not be sufficiently quick or thoughtful, and the learning curve has been steep. Toyota Motor, for example, alleviated some of the damage from its recall crisis earlier this year with a relatively quick and well-orchestrated social-media response campaign, which included efforts to engage with consumers directly on sites such as Twitter and the social-news site Digg.31.Consumers may create “earned” media when they are[A] obscssed with online shopping at certain Web sites.[B] inspired by product-promoting e-mails sent to them.[C] eager to help their friends promote quality products.[D] enthusiastic about recommending their favorite products.32. According to Paragraph 2,sold media feature[A] a safe business environment.[B] random competition.[C] strong user traffic.[D] flexibility in organization.33. The author indicates in Paragraph 3 that earned media[A] invite constant conflicts with passionate consumers.[B] can be used to produce negative effects in marketing.[C] may be responsible for fiercer competition.[D] deserve all the negative comments about them.34. Toyota Motor’s experience is cited as an example of[A] responding effectively to hijacked media.[B] persuading customers into boycotting products.[C] cooperating with supportive consumers.[D] taking advantage of hijacked media.35. Which of the following is the text mainly about ?[A] Alternatives to conventional paid media.[B] Conflict between hijacked and earned media.[C] Dominance of hijacked media.[D] Popularity of owned media.Text 4It’s no surprise that Jennifer Senior’s insightful, provocative magazine cover story, “I loveMy Children, I Hate My Life,” is arousing much chatter – nothing gets people talking like the suggestion that child rearing is anything less than a completely fulfilling, life-enriching experience. Rather than concluding that children make parents either happy or miserable, Senior suggests we need to redefine happiness: instead of thinking of it as something that can be measured by moment-to-moment joy, we should consider being happy as a past-tense condition. Even though the day-to-day experience of raising kids can be soul-crushingly hard, Senior writes that “the very things that in the moment dampen our moods can later be sources of intense gratification and delight.”The magazine cover showing an attractive mother holding a cute baby is hardly the only Madonna-and-child image on newsstands this week. There are also stories about newly adoptive –and newly single –mom Sandra Bullock, as well as the usual “Jennifer Aniston is pregnant” news. Practically every week features at least one celebrity mom, or mom-to-be, smiling on the newsstands.In a society that so persistently celebrates procreation, is it any wonder that admitting you regret having children is equivalent to admitting you support kitten-killing ? It doesn’t seem quite fair, then, to compare the regrets of parents to the regrets of the children. Unhappy parents rarely are provoked to wonder if they shouldn’t have had kids, but unhappy childless folks are bothered with the message that children are the single most important thing in the world: obviously their misery must be a direct result of the gaping baby-size holes in their lives.Of course, the image of parenthood that celebrity magazines like Us Weekly and People present is hugely unrealistic, especially when the parents are single mothers like Bullock. According to several studies concluding that parents are less happy than childless couples, single parents are the least happy of all. No shock there, considering how much work it is to raise a kid without a partner to lean on; yet to hear Sandra and Britney tell it, raising a kid on the ir “own” (read: with round-the-clock help) is a piece of cake.It’s hard to imagine that many people are dumb enough to want children just because Reese and Angelina make it look so glamorous: most adults understand that a baby is not a haircut. But it’s interesting to wonder if the images we see every week of stress-free, happiness-enhancing parenthood aren’t in some small, subconscious way contributing to our own dissatisfactions with the actual experience, in the same way that a small part of us hoped getting “ the Rachel” might make us look just a little bit like Jennifer Aniston.36.Jennifer Senior suggests in her article that raising a child can bring[A]temporary delight[B]enjoyment in progress[C]happiness in retrospect[D]lasting reward37.We learn from Paragraph 2 that[A]celebrity moms are a permanent source for gossip.[B]single mothers with babies deserve greater attention.[C]news about pregnant celebrities is entertaining.[D]having children is highly valued by the public.38.It is suggested in Paragraph 3 that childless folks[A]are constantly exposed to criticism.[B]are largely ignored by the media.[C]fail to fulfill their social responsibilities.[D]are less likely to be satisfied with their life.39.According to Paragraph 4, the message conveyed by celebrity magazines is[A]soothing.[B]ambiguous.[C]compensatory.[D]misleading.40.Which of the following can be inferred from the last paragraph?[A]Having children contributes little to the glamour of celebrity moms.[B]Celebrity moms have influenced our attitude towards child rearing.[C]Having children intensifies our dissatisfaction with life.[D]We sometimes neglect the happiness from child rearing.Part BDirections:The following paragraph are given in a wrong order. For Questions 41-45, you are required to reorganize these paragraphs into a coherent text by choosing from the list A-G to filling them into the numbered boxes. Paragraphs E and G have been correctly placed. Mark your answers on ANSWER SHEET 1. (10 points)[A] No disciplines have seized on professionalism with as much enthusiasm as the humanities. You can, Mr Menand points out, became a lawyer in three years and a medical doctor in four. But the regular time it takes to get a doctoral degree in the humanities is nine years. Not surprisingly, up to half of all doctoral students in English drop out before getting their degrees.[B] His concern is mainly with the humanities: Literature, languages, philosophy and so on. These are disciplines that are going out of style: 22% of American college graduates now major in business compared with only 2% in history and 4% in English. However, many leading American universities want their undergraduates to have a grounding in the basic canon of ideas that every educated person should posses. But most find it difficult to agree on what a “general education” should look like. At Harvard, Mr Menand notes, “the great books are read because they have been read”-they form a sort of social glue.[C] Equally unsurprisingly, only about half end up with professorships for which they entered graduate school. There are simply too few posts. This is partly because universities continue to produce ever more PhDs. But fewer students want to study humanities subjects: Englishde partments awarded more bachelor’s degrees in 1970-71 than they did 20 years later. Fewer students requires fewer teachers. So, at the end of a decade of theses-writing, many humanities students leave the profession to do something for which they have not been trained.[D] One reason why it is hard to design and teach such courses is that they can cut across the insistence by top American universities that liberal-arts educations and professional education should be kept separate, taught in different schools. Many students experience both varieties. Although more than half of Harvard undergraduates end up in law, medicine or business, future doctors and lawyers must study a non-specialist liberal-arts degree before embarking on a professional qualification.[E] Besides professionalizing the professions by this separation, top American universitieshave professionalised the professor. The growth in public money for academic research has speeded the process: federal research grants rose fourfold between 1960and 1990, but faculty teaching hours fell by half as research took its toll. Professionalism has turned the acquisition of a doctoral degree into a prerequisite for a successful academic career: as late as 1969a third of American professors did not possess one. But the key idea behind professionalisation, argues Mr Menand, is that “the knowledge and skills needed for a particular specialization are transmissible but not transferable.”So disciplines acquire a monopoly not just over the producti on of knowledge, but also over the production of the producers of knowledge.[F] The key to reforming higher education, concludes Mr Menand, is to alter the way in which “the producers of knowledge are produced.”Otherwise, academics will continue to think dangerously alike, increasingly detached from the societies which they study, investigate and criticize.”Academic inquiry, at least in some fields, may need to become less exclusionary and more holistic.”Yet quite how that happens, Mr Menand dose not say.[G] The subtle and intelligent little book The Marketplace of Ideas: Reform and Resistance in the American University should be read by every student thinking of applying to take a doctoral degree. They may then decide to go elsewhere. For something curious has been happening in American Universities, and Louis Menand, a professor of English at Harvard University, captured it skillfully.G → 41. →42. → E →43. →44. →45.Part CDirections:Read the following text carefully and then translate the underlined segments into Chinese. Your translation should be written carefully on ANSWER SHEET 2. (10 points)With its theme that “Mind is the master weaver,” creating our inner character and outer circumstances, the book As a Man Thinking by James Allen is an in-depth exploration of the central idea of self-help writing.(46) Allen’s contribution was to take an assumption we all share-that because we are not robots we therefore control our thoughts-and reveal its erroneous nature. Because most of us believe that mind is separate from matter, we think that thoughts can be hidden and made powerless; this allows us to think one way and act another. However, Allen believed that the unconscious mind generates as much action as the conscious mind, and (47) while we may be able to sustain the illusion of control through the conscious mind alone, in reality we are continually faced with a question: “Why cannot I make myself do this or achieve that? ”Since desire and will are damaged by the presence of thoughts that do not accord with desire,Allen concluded : “ We do not attract what we want, but what we are.” Achievement happens because you as a person embody the external achievement; you don’t “ get” success but become it. There is no gap between mind and matter.\Part of the fame of Allen’s book is its contention that “Circumstances do not make a person, they reveal him.” (48) This seems a justification for neglect of those in need, and a r ationalization of exploitation, of the superiority of those at the top and the inferiority of those at the bottom.This ,however, would be a knee-jerk reaction to a subtle argument. Each set of circumstances, however bad, offers a unique opportunity for growth. If circumstances always determined the life and prospects of people, then humanity would never have progressed. In fat, (49)circumstances seem to be designed to bring out the best in us and if we feel that we have been “wronged” then we are unlikely to begin a conscious effort to escape from our situation .Nevertheless, as any biographer knows, a person’s early life and its conditions are often the greatest gift to an individual.The sobering aspect of Allen’s book is that we have no one else to blame for our present condition except ourselves. (50) The upside is the possibilities contained in knowing that everything is up to us; where before we were experts in the array of limitations, now we become authorities of what is possible.Section Ⅲ WritingPart A51. Directions:Write a letter to a friend of yours to1) recommend one of your favorite movies and2) give reasons for your recommendationYour should write about 100 words on ANSWER SHEET 2Do not sign your own name at the end of the leter. User “LI MING” instead.Do not writer the address.(10 points)Part B52. Directions:Write an essay of 160---200 words based on the following drawing. In your essay, you should1) describe the drawing briefly,2) explain it’s intended meaning, and3) give your comments.Your should write neatly on ANSWER SHEET 2. (20 points)答案非官方，仅供参考Section I Use of English1．C 2．D 3．B 4．B 5．A 6．B 7．A 8．D 9．C 10．A11．B 12．C 13．D 14．C 15．B 16．D 17．A 18．D 19．A 20．CSection II Reading ComprehensionPart A21.C 22.B 23.D 24.B 25.A 26.B 27.D 28.C 29.A 30.B31.D 32.C 33.B 34.A 35.A 36.C 37.D 38.A 39.D 40.BPart B41.B 42.D 43.A 44.C 45.FPart C Translation46. 我们每个人都认为：自己不是机器人，因此能够控制自己的思想；爱伦的贡献在于他研究了这一假说，并揭示其错误的本质。
2011考研英语阅读理解真题及解析（Text1）
2011考研英语阅读理解真题及解析（Text1）2011考研英语阅读理解真题及解析(Text 1)Section II Reading ComprehensionPart ADirections:Read the following four texts. Answer the questions below each text by choosing [A], [B], [C] or [D]. Mark your answers on ANSWER SHEET 1. (40 points)Text 1Text 1The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009. For the most part, the response has been favorable, to say the least. "Hooray! At last!" wrote Anthony Tommasini, a sober-sided classical-music critic.纽约爱乐乐团决定聘请Alan Gilbert作为下一任的音乐总监，这从2009年任命被宣布之日起就在古典音乐界引起了热议。
别的不说，大部分人的反应是积极的。
"好啊，终于好了!" Anthony Tommasini 写道，他可是一个以严肃著称的古典音乐评论家。
One of the reasons why the appointment came as such a surprise, however, is that Gilbert is comparatively little known. Even Tommasini, who had advocated Gilbert's appointment in the Times, calls him "an unpretentious musician with no air of the formidable conductor about him." As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez, that seems likely to have struck at least some Times readers as faint praise.但是，这个任命之所以一起人们惊讶的原因却是Gilbert相对而言并不是很有名。
萨丕尔-沃尔夫假说
萨丕尔－沃尔夫假设主要内容美国人萨丕尔及其弟子沃尔夫提出的有关语言与思维关系的假设是这个领域里至今为止最具争议的理论。
沃尔夫首先提出，所有高层次的思维都倚赖于语言。
说得更明白一些，就是语言决定思维，这就是语言决定论这一强假设。
由于语言在很多方面都有不同，沃尔夫还认为，使用不同语言的人对世界的感受和体验也不同，也就是说与他们的语言背景有关，这就是语言相对论。
Linguistic relativity stems from a question about the relationship between language and thought, about whether one's language determines the way one thinks. This question has given birth to a wide array of research within a variety of different disciplines, especially anthropology, cognitive science, linguistics, and philosophy. Among the most popular and controversial theories in this area of scholarly work is the theory of linguistic relativity(also known as the Sapir–Whorf hypothesis). An often cited "strong version" of the claim, first given by Lenneberg in 1953 proposes that the structure of our language in some way determines the way we perceive the world. A weaker version of this claim posits that language structure influences the world view adopted by the speakers of a given language, but does not determine it.[1]由萨丕尔－沃尔夫假设的这种强假设可以得出这样的结论：根本没有真正的翻译，学习者也不可能学会另一种文化区的语言，除非他抛弃了他自己的思维模式，并习得说目的语的本族语者的思维模式。
【欧美经典音乐】《那一瞬间》惠特妮.休斯顿
【欧美经典音乐】《那一瞬间》惠特妮.休斯顿
《One Moment In Time（那一瞬间）》是1988年汉城奥运会美国队队歌，一首弘扬奥林匹克精神的赞歌。
惠特妮·休斯顿演唱的《那一瞬间》官方MV背景为1924年---1988年历届奥运会的精彩瞬间集锦。
Lama添加英语歌词，另编译歌词大意：
每一天我都努力成为最好的自己
虽然我独自奋斗但并不觉得孤单
我属于那一瞬间
当我超越了自己
请给我那一瞬间
让我同命运作坚强抗争
那一瞬间
我将感到永恒
---官方MV---
---1989年格莱美颁奖典礼现场---
（“星辰涟漪”中英字幕）
---音频---
------------------------------------。
经济社会学理论传统嵌入性等当代理论
Selected Publications
1973. "The Strength of Weak Ties." American Journal of Sociology, 78 (May): 1360-1380.
1978. "Threshold Models of Collective Behavior." American Journal of Sociology, 83 (May): 1420-1443.
格拉诺维特当前的经济社会学研究
经济制度的社会建构
Professor Mark Granovetter is currently concentrating on three main projects. The first is a general treatment of economic sociology with the preliminary title Society and Economy: The Social Construction of Economic Institutions, to be published by Harvard University Press. The theoretical scheme that will inform the book is laid out in his 1985 American Journal of Sociology paper, "Economic Action and Social Structure: The Problem of Embeddedness".
☆功利主义传统：理性较少受到社会关系影响 ［例］霍布斯：自然状态（state of nature） 罗尔斯：原初位置（original position）
完整性与功利主义伦理学
完整性与功利主义伦理学关于《完整性与功利主义伦理学》，是我们特意为大家整理的，希望对大家有所帮助。
摘要：伯纳德威廉斯强调哲学必须直面人类生活的复杂性和困难性，他批判以往哲学回避现实，特别是功利主义和康德主义，以恶劣的方式将生活简单化，忽视了个人情感、规划和运气对伦理生活的影响。
他通过对功利主义后果论结构的分析，指出其中所包含的消极责任特征，批判功利主义忽视了个人分离性的重要性以及对个人完整性的破坏。
威廉斯强调个人是情感需要、功利偏好和理性能力的综合体，主张应该从人的主体自身出发去思考道德问题，认为重要问题是人如何过有意义的生活，而不是我应该遵守什么样的规则。
威廉斯的批判是强有力的，对功利主义的发展具有重要启发。
下载论文网关键词：伯纳德威廉斯；个人完整性；后果论；消极责任；不偏不倚；功利主义中图分类号：B561.6 文献标识码：A 文章编号：1672-3104(2014)03?A50?A8一、关于后果论的理论架构及其缺陷经过古典功利主义与现代功利主义的发展演进，功利主义的理论形态发生了很大的变化，但是在核心原则上仍然保持一致。
阿玛蒂亚森将功利主义的核心要素归结为三个：“后果主义”“福利主义”“总量排序”，并指出所谓“后果主义”“指的是以下主张：一切选择(无论是对于行动、规则、机构等等所做的)都必须根据其后果(即它们所产生的结果)来评值”[1]。
根据后果论，行为的道德属性取决于其后果的价值，其根本目的在于提高事态的内在价值，而对达到这一目的的手段置之不理。
伯纳德威廉斯指出：“我认为，后果论的中心思想是，只有那种具有内在价值的事物是事态(state of affairs)；任何其他事物具有价值，这是因为它导致了某些具有内在价值的事态。
”[2](8081)也就是说，具有内在价值的事物是事态而非产生价值的行为，行为与行为者只是达成事态的手段。
“功利主义者所感兴趣的，只是幸福的总量。
他们完全不在意幸福是如何产生的，也不在乎是谁的幸福岌岌可危”[3]，这种后果论的理论架构使得功利主义饱受批评。
杨乃文 越美丽越看不见 专辑中的歌曲
歌曲歌词 手是用来渐进试探 触觉会坦白我不忍耐 鼻子嗅到的就当成预感 即将发生的我不阻拦 你别怕搞不定别说来不及主导权未必在你 我突兀的冷静藏匿了某些秘密 你别怕太具体别说会失礼接下来禁止预期 我会用呼吸引导你奏起序曲
《贵族的挽歌》是杨乃文演唱的歌曲，由周耀辉填词，钟潍宇、 BOXING葛西瓦、持修、陈君豪谱曲，于2019年11月8日发布。
歌曲歌词 什么在凉凉的流着 世界有一点热 什么在暗暗的涌着 有一点饿有一点渴 到处有刹那的荒野 我们是永远的孩子舍不得 那忘不了的 那治不好的
《路痴》是杨乃文演唱的歌曲，由谢金林填词、羽田谱曲，收录于杨 乃文2019年11月15日发行的专辑《越美丽越看不见》中。
《悔过书》是杨乃文演唱的歌曲，由葛大为填词、郭顶作曲，于2019 年10月23日首播，后于2019年10月25日上线。
歌曲歌词 任由谁来吹捧 看似诚恳或只想逾越 都刻意疏远 而我依旧挥霍 与生俱来带原的自卑 遂变成虚伪 原来活该忘记收敛我的视线 就连无动于衷都能引发一场是非
《妄想》是杨乃文演唱的歌曲，由蓝小邪填词、徐佳莹谱曲，收录于 杨乃文2019年11月15日发行的专辑《越美丽越看不见》中。
《越美丽越看不见》是杨乃文演唱的歌曲，由周耀辉填词、郭顶谱曲， 收录于杨乃文2019年11月15日发行的专辑《越美丽越看不见》中。
歌曲歌词 扬起了红尘 跳进了黑洞 相信我们深或浅 心上有清晨 脚下有微风 渴望自己变不变 转眼百年 缱绻到缠绵 越美丽越看不见
《不再》是杨乃文和许钧合唱的歌曲，由许钧填词、谱曲，收录于杨 乃文2019年11月15日发行的专辑《越美丽越看不见》中。
the schuyler sisters歌曲赏析
the schuyler sisters歌曲赏析一、歌曲背景介绍《The Schuyler Sisters》是美国音乐剧《汉密尔顿》中的一首歌曲，由演员、歌手、词曲创作人林-曼努尔·米兰达创作。
这首歌是为了描绘美国革命时期四位女性角色：伊丽莎白· Schuyler、玛格丽特· Schuyler、艾莉诺·霍华德和玛丽·兰开斯特而作。
她们是汉密尔顿的妻子以及妹妹，分别在历史中扮演了重要角色。
二、歌曲歌词分析歌曲以四位女性角色的名字命名，歌词通过对她们各自特点的描绘，展现了她们独立、聪明、勇敢的品质。
歌词如下："Eliza, Eliza, how do you do?You"re everything I ever wanted in a wife, too.""Angelica, Angelica, you"re my typeTall, dark, and revolutionary.""Peggy, Peggy, steady as a drumYou"re the one who stands behind the man who stands behind the gun.""Marie, Marie, je déteste les franaisBut I love your face, and I love your charm."三、音乐风格与特点歌曲采用了流行音乐剧的风格，节奏明快，旋律优美。
歌词采用了抒情的韵律，使得歌曲充满活力和动感。
同时，这首歌还融入了嘻哈元素，展现出美国革命时期的多元文化。
四、歌手表现力与演唱技巧在这首歌中，歌手们展示了出色的演唱技巧。
他们通过不同的音色和情感表达，将四位女性角色的个性特点表现得淋漓尽致。
Spotify 的数据说,人们爱碧昂丝胜过爱迪伦
Spotify 的数据说，人们爱碧昂丝胜过爱迪伦2004 年，老牌音乐杂志《滚石》在一期封面故事中推出了“史上最伟大的 500 首歌曲榜”。
从那时起，这份由权威杂志结合 171 位歌手、制作人、音乐公司高管与专业记者评选出的榜单，就成为各大音乐网站、电台必备的 playlist。
Spotify 最近对这份榜单进行了可能是 11 年以来最大的“改动”，放弃了《滚石》杂志原来的排名，而是按照 Spotify 上所有用户的收听次数从多到少进行了排序，这个playlist 其实也应该改成“最受欢迎史上最伟大的 500 首歌曲”。
《滚石》榜单中排名第一的是传奇歌手鲍勃·迪伦 1965 年创作的“Like a Rolling Stone”，在 Spotify 的新排名规则内，这首歌被碧昂丝和 Jay-Z 在 2002 年创作的歌曲《Crazy In Love》取代，而《Crazy In Love》在《滚石》的榜单中排名仅为 118 位。
两份榜单前 20 名中唯一相同的歌曲是涅槃乐队 1991 年第二张专辑的主打歌“Smells Like Teen Spirit”，除此之外，《滚石》杂志评选的“史上最伟大的 20 首歌”都没有进入 Spotify 收听榜的前 20，包括滚石乐队、列农和披头士，都不是用户最爱听的。
一个重要的原因是，《滚石》杂志评选的 Top 500 歌曲中，39% 的歌来自 1960 年代，26.2% 来自 1970 年代，只有 9.6% 是 1990 年以后创作的歌曲，而 Spotify 6000万注册用户中，有 50% 以上处于 18－34 岁的区间内，有 26% 是在校学生，这些年轻人很多并没有像他们的父辈一样经历过摇滚乐全盛时期的洗礼。
Spotify 还针对 18－34岁千禧一代的收听数据进行了分析，发现最终排名差异不大，仅仅是相邻的歌排名有些浮动，比如千禧一代们收听 R.Kelly “Ignition”的次数要多于收听迈克尔·杰克逊的 “Billie Jean”，也证明了这个群体是 Spotify 上的主流。