试题与答案

To produce the upheaval (激变) in the United

题型:单项选择题

题目:

To produce the upheaval (激变) in the United States that changed and modernized the domain of higher education from the mid-1860s to the mid-1880s, three primary causes interacted. The (1) of a half-dozen leaders in education provided the personal force that was needed. (2) , an outcry (呐喊) for a fresher, more practical, and more advanced kind of instruction (3) among the alumni (校友) and friends of nearly all of the old colleges and grew into a movement that overrode (压倒) all (4) opposition. The aggressive "Young Yale" movement appeared, demanding partial alumni control, a more (5) spirit, and a broader course of study. The graduates of Harvard College simultaneously (6) to relieve the college’s poverty and demand new (7) . Education was pushing toward higher standards in the East by (8) off church leadership everywhere, and in the West by finding a wider range of studies and a new (9) of public duty.

The old-style classical education received its most crushing (10) in the citadel (城堡) of Harvard College, (11) Dr. Charles Eliot, a young captain of thirty-five, son of a former treasurer of Harvard, led the (12) forces. Five revolutionary advances were made during the first years of Dr. Eliot’s (13) They were the elevation and amplification of entrance requirements, the enlargement of the (14) and the development of the (15) system, the recognition of graduate study in the liberal arts, the raising of professional training in law, medicine, and engineering to a postgraduate level, and the fostering (培养) of greater (16) in student life. Standard of admission were sharply advanced in 1872—1877. (17) the appointment of a clean (院长) to take charge of student affairs, and a wise handling of (18) , the undergraduates were led to regard themselves more as young gentlemen and (19) as young animals. One new course of study after another was (20) —science, music, the history of the fine arts, advanced Spanish, political economy, physics and international law.

8()

A.putting

B.taking

C.growing

D.letting

答案:

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参考答案:一对多(1:M或1:N)解析: 本题中一个项目对应有一个项目主管,一个项目主管可对应多个项目,所以项目主管与项目之间的联系是一对多的联系。

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题型:阅读理解与欣赏

阅读下面的文字,完成下面问题。

一幅烟雨牛鹭图

汤世杰

  一眼看见那幅大地上的水墨小品,我还真有些忘情:烟雨中一头灰黑的水牛孤零零地站在路边,脚下是无边无际待耕的田野。黝黑的身影像一具活体雕塑,身后的木犁是另一件静物,犁把翘翘直指云天,晶亮的犁铧斜插进泥土。耕作像是在不该停下的时候骤然停下——高黎贡山西麓的雨来去无定,说下就下说停就停,农事却不能等待。阵雨初停自不必说,稍小些就要抓紧犁田耙地。农人大约直到雨下得太大才去躲躲——不知是躲在某棵大树下眼巴巴地等着雨停,还是蹲在自家老屋屋檐下抽着旱烟。只有那头老牛留在那里,忠实而又无奈。人有时真是太粗心,为什么就让牛站在雨里的泥水之中?其实旁边就是一道弯弯的田埂,只几步就能让它站到干一些的地方。现在它只能一动不动,一任烟雨把它淋得透湿,浑身的短毛紧贴在身上,看上去倒比裸体更像裸体。雨顺着老牛的脊背直往下淌,头,角,嘴,穿着牛绳的鼻子,无望的眼睛,牛轭,滚圆的牛肚子,都在滴水,耷拉着的尾巴竟像一根水管,水流成线。

  一群白鹭就在那时飞来,从阴绿模糊的背景划过,银白的身影如同闪电,在老牛四周上下翻飞盘旋。一动不动的老牛连眼都不眨。白鹭越飞越低,通红细长的脚爪伸出来,像飞机降落前放下了起落架。老牛“哞”地叫了一声,给老朋友打着招呼:地我刚犁过,有的是虫子!白鹭唧唧喳喳地齐声欢呼,盘旋俯冲终至落定,一如几页湿透的情书,撒在老牛的四周。那只胆大些的竞在牛背落下,单腿而立,引颈而望,活像个临时风向标。然后它开始走动,如淑女迈着优雅的碎步,在牛背上从尾部踱到双角之间,然后再次返回——或许它眼里的牛背根本不是牛背,怎么走都是一条宽敞的步行街。

  面对那个场景,时装设计师或能看到一场山野T台秀(时装表演):高黎贡山西麓,牛和鹭的联袂献演,是大与小的默契组合,既有静与动的古老元素,也有黑与白的时尚流行。诗人呢,说不定会在便条簿上记下突来的灵感:持重与轻盈相辅相成的野趣,敦实与机巧搭配的哲理,憨厚与灵慧共生的诗情。画家将一幅水墨在心头铺开,顺手拾起《老牛白鹭图》的几个细节:细雨如烟,老牛如定,木犁如船,白鹭如歌,翻开的土垡如波如浪……

  我像什么都看到了,但又像什么都没看到——我在想着那个农人。在远处躲雨的农人一直没有入画,但我相信他一直在场。眼前的一切都与他有关,他才是那个场景真正的主角。21世纪,风雨中的老牛木犁,暗示的是古老的农耕的伟大。大山下的土地是农人唯一的财富,其实不也是整个人类的唯一财富?那个场景尽管太古老太原始,一无现代文明的气息——没有拖拉机,没有化肥,没有杀虫剂,没有汽油味儿,没有订单农业,没有CEO(首席执行官),没有与污染一起抵达的富裕;有人在渴望它的改变,有人在期待它的延续——一切都在两难之中。我忘情地凝视着,仿佛怕它转眼终会消失,就像它所象征的那种生存方式终将消失一样。拍一张照片吧,或者干脆就像我那样,用目光把它留在心中:那是少小离家的游子思念中的家园,在遥远的梦中看上一眼,暗夜醒来,泪水也会悄然洇湿枕角——一片自由自在充满闲趣却供养着我们的田野,怎么都是从简朴的远古出走的现代人的永远的牵挂。

  高黎贡山:在云南怒江西部的中缅边界附近。

1.文章开头两段的景物描写各有什么特点?你更喜爱哪一段?请从修辞手法的运用上说明理由。

 _______________________________________________________

2.作者在描绘“烟雨牛鹭图”后,又写了时装设计师、诗人和画家的感受,这在文中有什么作用?

 _______________________________________________________

3.请阅读文中画线的句子,结合全文,简要说明作者对古老农耕文明的态度。

 _______________________________________________________

4.作者把“烟雨”作为牛鹭的活动场景,其用意是什么?

 _______________________________________________________

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