阅读理解:请根据短文内容,为每题确定l个最佳选项。 The National Trust。 The National Trust in Britain plays an increasingly important part in the preservation for public enjoyment of the best that is left unspoiled of the British countryside. Although the Trust has received practical and moral support from the Government, it is not a rich government department. It is a voluntary association of people who care for the unspoiled countryside and historic buildings of Britain. It is a charity which depends for its existence on voluntary support from members of the public. Its primary duty is to protect places of great natural beauty and places of historical interest. The attention of the public was the first drawn to the dangers threatening the great old houses and the castles of Britain by the death of the Lord Lothian, who left his great seventeenth-century house to the Trust together with the 4500-acre park and estate surrounding it. This gift attracted wide publicity and started the Trust’s “Country House Scheme” Under this scheme, with the help of the Government and the general public, the Trust has been able to save and make accessible to the public about 150 of these oil houses. Last year, about 1.75 million people paid to visit these historic houses, usually at a very small charge. In addition to country houses and open spaces, the Trust now owns some examples of ancient wind and water mills, nature reserves, 540 farms and nearly 2500 cottages or small village houses, as well as some complete villages. In these villages no one is allowed to build, develop or disturb the old village environment in any way and all the houses are maintained in their original 16th century style. Over 4,000 acres of coastline , woodland, and hill country are protected by the Trust and no development or disturbances of any kind are permitted. The public has free access to these areas and is only asked to respect the peace, beauty and wildlife. Over the past 80 years the Trust has become a big and important organization and an essential and respected part of national life. It helps to preserve all that and of historical significance not only for future generations of Britons but also for the millions of tourists who each year invade Britain in search of a great historic and cultural heritage. The National Trust is dedicated to______.()

阅读理解:请根据短文内容,为每题确定l个最佳选项。 The National Trust。 The National Trust in Britain plays an increasingly important part in the preservation for public enjoyment of the best that is left unspoiled of the British countryside. Although the Trust has received practical and moral support from the Government, it is not a rich government department. It is a voluntary association of people who care for the unspoiled countryside and historic buildings of Britain. It is a charity which depends for its existence on voluntary support from members of the public. Its primary duty is to protect places of great natural beauty and places of historical interest. The attention of the public was the first drawn to the dangers threatening the great old houses and the castles of Britain by the death of the Lord Lothian, who left his great seventeenth-century house to the Trust together with the 4500-acre park and estate surrounding it. This gift attracted wide publicity and started the Trust’s “Country House Scheme” Under this scheme, with the help of the Government and the general public, the Trust has been able to save and make accessible to the public about 150 of these oil houses. Lats year, about 1.75 million people paid to visit these historic houses, usually at a very small charge. In addition to country houses and open spaces, the Trust now owns some examples of ancient wind and water mills, nature reserves, 540 farms and nearly 2500 cottages or small village houses, as well as some complete villages. In these villages no one is allowed to build, develop or disturb the old village environment in any way and all the houses are maintained in their original 16th century style. Over 4,000 acres of coastline , woodland, and hill country are protected by the Trust and no development or disturbances of any kind are permitted. The public has free access to these areas and is only asked to respect the peace, beauty and wildlife. Over the past 80 years the Trust has become a big and important organization and an essential and respected part of national life. It helps to preserve all that and of historical significance not only for future generations of Britons but also for the millions of tourists who each year invade Britain in search of a great historic and cultural heritage. The National Trust is a _______.

概括大意与完成句子: The Storyteller 1.Steven Spielberg has always had one goal: to tell as many great stories to as many people as will listen.And that’s what he has always been about.The son of a computer scientist and a pianist, Spielberg spent his early childhood in New Jersey and, later, Arizona.From the very beginning, his fertile imagination filled his young mind with images that would later inspire his filmmaking.    2.Even decades later, Spielberg says he has clear memories of his earliest years, which are the origins of some of his biggest hits.He believes that E.T.is the result of the difficult years leading up to his parent’s 1966 divorce, “It is really about a young boy who was in search of some stability in his life.”“He was scared of just about everything,” recalls his mother, Leah Adler.“When trees brushed against the house, he would head into my bed.And that’s just the kind of scary stuff he would put in films like Poltergeist.” 3.Spielberg was 11 when he first got his hands on his dad’s movie camera and began shooting short flicks about flying saucers and World War ΙΙ battles.Spielberg’s talent for scary storytelling enabled him to make friends.On Boy Scout camping trips, when night fell, Spielberg became the center of attention.“Steven would start telling his ghost stories,” says Richard Y.Hoffman Jr., leader of Troop 294, “and everyone would suddenly get quiet so that they could all hear it.” 4.Spielberg moved to California with his father and went to high school there, but his grades were so bad that he barely graduated.Both UCLA and USC film schools rejected him, so he entered California State University at Long Beach because it was close to Hollywood.Spielberg was determined to make movies, and he managed to get an unpaid, non-credit internship(实习)in Hollywood.Soon he was given a contract, and he dropped out of college.He never looked back. 5.Now, many years later, Spielberg is still telling stories with as much passion as the kid in the tent.Ask him where he gets his ideas, Spielberg shrugs.“The process for me is mostly intuitive (凭直觉的),” he says.“There are films that I feel I need to make, for a variety of reasons, for personal reasons, for reasons that I want to have fun, that the subject matter is cool, that I think my kids will like it.And sometimes I just think that it will make a lot of money, like the sequel(续集) to Jurassic Park.” Spielberg says he makes movies for ________.

概括大意与完成句子: The Storyteller 1.Steven Spielberg has always had one goal: to tell as many great stories to as many people as will listen.And that’s what he has always been about.The son of a computer scientist and a pianist, Spielberg spent his early childhood in New Jersey and, later, Arizona.From the very beginning, his fertile imagination filled his young mind with images that would later inspire his filmmaking.    2.Even decades later, Spielberg says he has clear memories of his earliest years, which are the origins of some of his biggest hits.He believes that E.T.is the result of the difficult years leading up to his parent’s 1966 divorce, “It is really about a young boy who was in search of some stability in his life.”“He was scared of just about everything,” recalls his mother, Leah Adler.“When trees brushed against the house, he would head into my bed.And that’s just the kind of scary stuff he would put in films like Poltergeist.” 3.Spielberg was 11 when he first got his hands on his dad’s movie camera and began shooting short flicks about flying saucers and World War ΙΙ battles.Spielberg’s talent for scary storytelling enabled him to make friends.On Boy Scout camping trips, when night fell, Spielberg became the center of attention.“Steven would start telling his ghost stories,” says Richard Y.Hoffman Jr., leader of Troop 294, “and everyone would suddenly get quiet so that they could all hear it.” 4.Spielberg moved to California with his father and went to high school there, but his grades were so bad that he barely graduated.Both UCLA and USC film schools rejected him, so he entered California State University at Long Beach because it was close to Hollywood.Spielberg was determined to make movies, and he managed to get an unpaid, non-credit internship(实习)in Hollywood.Soon he was given a contract, and he dropped out of college.He never looked back. 5.Now, many years later, Spielberg is still telling stories with as much passion as the kid in the tent.Ask him where he gets his ideas, Spielberg shrugs.“The process for me is mostly intuitive (凭直觉的),” he says.“There are films that I feel I need to make, for a variety of reasons, for personal reasons, for reasons that I want to have fun, that the subject matter is cool, that I think my kids will like it.And sometimes I just think that it will make a lot of money, like the sequel(续集) to Jurassic Park.” Spielberg is very good at _________.

概括大意与完成句子: The Storyteller 1.Steven Spielberg has always had one goal: to tell as many great stories to as many people as will listen.And that’s what he has always been about.The son of a computer scientist and a pianist, Spielberg spent his early childhood in New Jersey and, later, Arizona.From the very beginning, his fertile imagination filled his young mind with images that would later inspire his filmmaking.    2.Even decades later, Spielberg says he has clear memories of his earliest years, which are the origins of some of his biggest hits.He believes that E.T.is the result of the difficult years leading up to his parent’s 1966 divorce, “It is really about a young boy who was in search of some stability in his life.”“He was scared of just about everything,” recalls his mother, Leah Adler.“When trees brushed against the house, he would head into my bed.And that’s just the kind of scary stuff he would put in films like Poltergeist.” 3.Spielberg was 11 when he first got his hands on his dad’s movie camera and began shooting short flicks about flying saucers and World War ΙΙ battles.Spielberg’s talent for scary storytelling enabled him to make friends.On Boy Scout camping trips, when night fell, Spielberg became the center of attention.“Steven would start telling his ghost stories,” says Richard Y.Hoffman Jr., leader of Troop 294, “and everyone would suddenly get quiet so that they could all hear it.” 4.Spielberg moved to California with his father and went to high school there, but his grades were so bad that he barely graduated.Both UCLA and USC film schools rejected him, so he entered California State University at Long Beach because it was close to Hollywood.Spielberg was determined to make movies, and he managed to get an unpaid, non-credit internship(实习)in Hollywood.Soon he was given a contract, and he dropped out of college.He never looked back. 5.Now, many years later, Spielberg is still telling stories with as much passion as the kid in the tent.Ask him where he gets his ideas, Spielberg shrugs.“The process for me is mostly intuitive (凭直觉的),” he says.“There are films that I feel I need to make, for a variety of reasons, for personal reasons, for reasons that I want to have fun, that the subject matter is cool, that I think my kids will like it.And sometimes I just think that it will make a lot of money, like the sequel(续集) to Jurassic Park.” When Spielberg was a boy, he used to be scared of ________。

概括大意与完成句子: The Storyteller 1.Steven Spielberg has always had one goal: to tell as many great stories to as many people as will listen.And that’s what he has always been about.The son of a computer scientist and a pianist, Spielberg spent his early childhood in New Jersey and, later, Arizona.From the very beginning, his fertile imagination filled his young mind with images that would later inspire his filmmaking.    2.Even decades later, Spielberg says he has clear memories of his earliest years, which are the origins of some of his biggest hits.He believes that E.T.is the result of the difficult years leading up to his parent’s 1966 divorce, “It is really about a young boy who was in search of some stability in his life.”“He was scared of just about everything,” recalls his mother, Leah Adler.“When trees brushed against the house, he would head into my bed.And that’s just the kind of scary stuff he would put in films like Poltergeist.” 3.Spielberg was 11 when he first got his hands on his dad’s movie camera and began shooting short flicks about flying saucers and World War ΙΙ battles.Spielberg’s talent for scary storytelling enabled him to make friends.On Boy Scout camping trips, when night fell, Spielberg became the center of attention.“Steven would start telling his ghost stories,” says Richard Y.Hoffman Jr., leader of Troop 294, “and everyone would suddenly get quiet so that they could all hear it.” 4.Spielberg moved to California with his father and went to high school there, but his grades were so bad that he barely graduated.Both UCLA and USC film schools rejected him, so he entered California State University at Long Beach because it was close to Hollywood.Spielberg was determined to make movies, and he managed to get an unpaid, non-credit internship(实习)in Hollywood.Soon he was given a contract, and he dropped out of college.He never looked back. 5.Now, many years later, Spielberg is still telling stories with as much passion as the kid in the tent.Ask him where he gets his ideas, Spielberg shrugs.“The process for me is mostly intuitive (凭直觉的),” he says.“There are films that I feel I need to make, for a variety of reasons, for personal reasons, for reasons that I want to have fun, that the subject matter is cool, that I think my kids will like it.And sometimes I just think that it will make a lot of money, like the sequel(续集) to Jurassic Park.” Some of Spielberg’s most successful movies came from _______

概括大意与完成句子: The Storyteller 1.Steven Spielberg has always had one goal: to tell as many great stories to as many people as will listen.And that’s what he has always been about.The son of a computer scientist and a pianist, Spielberg spent his early childhood in New Jersey and, later, Arizona.From the very beginning, his fertile imagination filled his young mind with images that would later inspire his filmmaking.    2.Even decades later, Spielberg says he has clear memories of his earliest years, which are the origins of some of his biggest hits.He believes that E.T.is the result of the difficult years leading up to his parent’s 1966 divorce, “It is really about a young boy who was in search of some stability in his life.”“He was scared of just about everything,” recalls his mother, Leah Adler.“When trees brushed against the house, he would head into my bed.And that’s just the kind of scary stuff he would put in films like Poltergeist.” 3.Spielberg was 11 when he first got his hands on his dad’s movie camera and began shooting short flicks about flying saucers and World War ΙΙ battles.Spielberg’s talent for scary storytelling enabled him to make friends.On Boy Scout camping trips, when night fell, Spielberg became the center of attention.“Steven would start telling his ghost stories,” says Richard Y.Hoffman Jr., leader of Troop 294, “and everyone would suddenly get quiet so that they could all hear it.” 4.Spielberg moved to California with his father and went to high school there, but his grades were so bad that he barely graduated.Both UCLA and USC film schools rejected him, so he entered California State University at Long Beach because it was close to Hollywood.Spielberg was determined to make movies, and he managed to get an unpaid, non-credit internship(实习)in Hollywood.Soon he was given a contract, and he dropped out of college.He never looked back. 5.Now, many years later, Spielberg is still telling stories with as much passion as the kid in the tent.Ask him where he gets his ideas, Spielberg shrugs.“The process for me is mostly intuitive (凭直觉的),” he says.“There are films that I feel I need to make, for a variety of reasons, for personal reasons, for reasons that I want to have fun, that the subject matter is cool, that I think my kids will like it.And sometimes I just think that it will make a lot of money, like the sequel(续集) to Jurassic Park.” Paragraph 4______

概括大意与完成句子: The Storyteller 1.Steven Spielberg has always had one goal: to tell as many great stories to as many people as will listen.And that’s what he has always been about.The son of a computer scientist and a pianist, Spielberg spent his early childhood in New Jersey and, later, Arizona.From the very beginning, his fertile imagination filled his young mind with images that would later inspire his filmmaking.    2.Even decades later, Spielberg says he has clear memories of his earliest years, which are the origins of some of his biggest hits.He believes that E.T.is the result of the difficult years leading up to his parent’s 1966 divorce, “It is really about a young boy who was in search of some stability in his life.”“He was scared of just about everything,” recalls his mother, Leah Adler.“When trees brushed against the house, he would head into my bed.And that’s just the kind of scary stuff he would put in films like Poltergeist.” 3.Spielberg was 11 when he first got his hands on his dad’s movie camera and began shooting short flicks about flying saucers and World War ΙΙ battles.Spielberg’s talent for scary storytelling enabled him to make friends.On Boy Scout camping trips, when night fell, Spielberg became the center of attention.“Steven would start telling his ghost stories,” says Richard Y.Hoffman Jr., leader of Troop 294, “and everyone would suddenly get quiet so that they could all hear it.” 4.Spielberg moved to California with his father and went to high school there, but his grades were so bad that he barely graduated.Both UCLA and USC film schools rejected him, so he entered California State University at Long Beach because it was close to Hollywood.Spielberg was determined to make movies, and he managed to get an unpaid, non-credit internship(实习)in Hollywood.Soon he was given a contract, and he dropped out of college.He never looked back. 5.Now, many years later, Spielberg is still telling stories with as much passion as the kid in the tent.Ask him where he gets his ideas, Spielberg shrugs.“The process for me is mostly intuitive (凭直觉的),” he says.“There are films that I feel I need to make, for a variety of reasons, for personal reasons, for reasons that I want to have fun, that the subject matter is cool, that I think my kids will like it.And sometimes I just think that it will make a lot of money, like the sequel(续集) to Jurassic Park.” Paragraph 3______

概括大意与完成句子: The Storyteller 1.Steven Spielberg has always had one goal: to tell as many great stories to as many people as will listen.And that’s what he has always been about.The son of a computer scientist and a pianist, Spielberg spent his early childhood in New Jersey and, later, Arizona.From the very beginning, his fertile imagination filled his young mind with images that would later inspire his filmmaking.    2.Even decades later, Spielberg says he has clear memories of his earliest years, which are the origins of some of his biggest hits.He believes that E.T.is the result of the difficult years leading up to his parent’s 1966 divorce, “It is really about a young boy who was in search of some stability in his life.”“He was scared of just about everything,” recalls his mother, Leah Adler.“When trees brushed against the house, he would head into my bed.And that’s just the kind of scary stuff he would put in films like Poltergeist.” 3.Spielberg was 11 when he first got his hands on his dad’s movie camera and began shooting short flicks about flying saucers and World War ΙΙ battles.Spielberg’s talent for scary storytelling enabled him to make friends.On Boy Scout camping trips, when night fell, Spielberg became the center of attention.“Steven would start telling his ghost stories,” says Richard Y.Hoffman Jr., leader of Troop 294, “and everyone would suddenly get quiet so that they could all hear it.” 4.Spielberg moved to California with his father and went to high school there, but his grades were so bad that he barely graduated.Both UCLA and USC film schools rejected him, so he entered California State University at Long Beach because it was close to Hollywood.Spielberg was determined to make movies, and he managed to get an unpaid, non-credit internship(实习)in Hollywood.Soon he was given a contract, and he dropped out of college.He never looked back. 5.Now, many years later, Spielberg is still telling stories with as much passion as the kid in the tent.Ask him where he gets his ideas, Spielberg shrugs.“The process for me is mostly intuitive (凭直觉的),” he says.“There are films that I feel I need to make, for a variety of reasons, for personal reasons, for reasons that I want to have fun, that the subject matter is cool, that I think my kids will like it.And sometimes I just think that it will make a lot of money, like the sequel(续集) to Jurassic Park.” Paragraph 2______

概括大意与完成句子: The Storyteller 1.Steven Spielberg has always had one goal: to tell as many great stories to as many people as will listen.And that’s what he has always been about.The son of a computer scientist and a pianist, Spielberg spent his early childhood in New Jersey and, later, Arizona.From the very beginning, his fertile imagination filled his young mind with images that would later inspire his filmmaking.    2.Even decades later, Spielberg says he has clear memories of his earliest years, which are the origins of some of his biggest hits.He believes that E.T.is the result of the difficult years leading up to his parent’s 1966 divorce, “It is really about a young boy who was in search of some stability in his life.”“He was scared of just about everything,” recalls his mother, Leah Adler.“When trees brushed against the house, he would head into my bed.And that’s just the kind of scary stuff he would put in films like Poltergeist.” 3.Spielberg was 11 when he first got his hands on his dad’s movie camera and began shooting short flicks about flying saucers and World War ΙΙ battles.Spielberg’s talent for scary storytelling enabled him to make friends.On Boy Scout camping trips, when night fell, Spielberg became the center of attention.“Steven would start telling his ghost stories,” says Richard Y.Hoffman Jr., leader of Troop 294, “and everyone would suddenly get quiet so that they could all hear it.” 4.Spielberg moved to California with his father and went to high school there, but his grades were so bad that he barely graduated.Both UCLA and USC film schools rejected him, so he entered California State University at Long Beach because it was close to Hollywood.Spielberg was determined to make movies, and he managed to get an unpaid, non-credit internship(实习)in Hollywood.Soon he was given a contract, and he dropped out of college.He never looked back. 5.Now, many years later, Spielberg is still telling stories with as much passion as the kid in the tent.Ask him where he gets his ideas, Spielberg shrugs.“The process for me is mostly intuitive (凭直觉的),” he says.“There are films that I feel I need to make, for a variety of reasons, for personal reasons, for reasons that I want to have fun, that the subject matter is cool, that I think my kids will like it.And sometimes I just think that it will make a lot of money, like the sequel(续集) to Jurassic Park.” Paragraph 1______

阅读判断:下面的短文后列出了7个句子,请根据短文的内容对每个句子作出判断:如果该句提供的是正确信息,请选择A;如果该句提供的是错误信息,请选择B;如果该句的信息文中没有提及,请选择C。 When Our Words Collide “Wanna buy a body?” That was the opening line of more than a few phone calls I got from freelance(自由职业 ) photographers when I was a photo editor at U.S. News. Like many in the mainstream press, I wanted to separate the world of photographers into “them”, who trade in picture of bodies or chase celebrities, and “us”, the serious news people. But after 16 years in that role. I came to wonder whether the two worlds were easily distinguishable. Working in the reputable world of journalism, I assigned photographers to cover other people’s nightmares. I justified invading moments of grief, under the guise(借口) of the reader's right to know. I didn’t ask photographers to trespass(冒犯) or to stalk(跟踪),but I didn’t have to: I worked with pros(同行) who did what others did: talking their way into situations or shooting from behind police lines to get pictures I was after. And I wasn’t alone. In the aftermath of a car crash or some other hideous incident when ordinary people are hurt or killed, you rarely see photographers pushing past rescue workers to capture the blood and gore(血雨腥风). But you are likely to see the local newspaper and television photographers on the scene - and fast. How can we justify our behavior? Journalists are taught to separate doing the job from worrying about the consequence of publishing what they record. Repeatedly, they are reminded of a news-business dictum(格言): leave your conscience in the office. You get the picture of the footage: the decision whether to print or air it comes later. A victim may lie bleeding, unconscious, or dead: your job is to record the image. You put away your emotions and document the scene. We act this way partly because we know that the pictures can have important meaning. Photographs can change deplorable(凄惨的) situations by mobilizing public outrage or increase public understanding. However, disastrous events often bring out the worst in photographers and photo editors. In the first minutes and hours after a disaster occurs, photo agencies buy pictures. Often an agency buys a picture from a local newspaper or an amateur photographer and put it up for bid by major magazines. The most keenly sought “exclusives” command tens of thousands of dollars through bidding contests. Many people believe that journalists need to change the way they do things, and it’s our pictures that annoy people the most. Readers may not believe, as we do, that there is a distinction between sober-minded “us” and sleazy(低级庸俗的) “them”. In too many cases, by our choices of images as well as how we get them, we prove our readers right. Many people say that they are annoyed by the U.S. News pictures.

阅读判断:下面的短文后列出了7个句子,请根据短文的内容对每个句子作出判断:如果该句提供的是正确信息,请选择A;如果该句提供的是错误信息,请选择B;如果该句的信息文中没有提及,请选择C。 When Our Words Collide “Wanna buy a body?” That was the opening line of more than a few phone calls I got from freelance(自由职业 ) photographers when I was a photo editor at U.S. News. Like many in the mainstream press, I wanted to separate the world of photographers into “them”, who trade in picture of bodies or chase celebrities, and “us”, the serious news people. But after 16 years in that role. I came to wonder whether the two worlds were easily distinguishable. Working in the reputable world of journalism, I assigned photographers to cover other people’s nightmares. I justified invading moments of grief, under the guise(借口) of the reader's right to know. I didn’t ask photographers to trespass(冒犯) or to stalk(跟踪),but I didn’t have to: I worked with pros(同行) who did what others did: talking their way into situations or shooting from behind police lines to get pictures I was after. And I wasn’t alone. In the aftermath of a car crash or some other hideous incident when ordinary people are hurt or killed, you rarely see photographers pushing past rescue workers to capture the blood and gore(血雨腥风). But you are likely to see the local newspaper and television photographers on the scene - and fast. How can we justify our behavior? Journalists are taught to separate doing the job from worrying about the consequence of publishing what they record. Repeatedly, they are reminded of a news-business dictum(格言): leave your conscience in the office. You get the picture of the footage: the decision whether to print or air it comes later. A victim may lie bleeding, unconscious, or dead: your job is to record the image. You put away your emotions and document the scene. We act this way partly because we know that the pictures can have important meaning. Photographs can change deplorable(凄惨的) situations by mobilizing public outrage or increase public understanding. However, disastrous events often bring out the worst in photographers and photo editors. In the first minutes and hours after a disaster occurs, photo agencies buy pictures. Often an agency buys a picture from a local newspaper or an amateur photographer and put it up for bid by major magazines. The most keenly sought “exclusives” command tens of thousands of dollars through bidding contests. Many people believe that journalists need to change the way they do things, and it’s our pictures that annoy people the most. Readers may not believe, as we do, that there is a distinction between sober-minded “us” and sleazy(低级庸俗的) “them”. In too many cases, by our choices of images as well as how we get them, we prove our readers right. Editors sometimes have to pay a lot of money for exclusive pictures.

阅读判断:下面的短文后列出了7个句子,请根据短文的内容对每个句子作出判断:如果该句提供的是正确信息,请选择A;如果该句提供的是错误信息,请选择B;如果该句的信息文中没有提及,请选择C。 When Our Words Collide “Wanna buy a body?” That was the opening line of more than a few phone calls I got from freelance(自由职业 ) photographers when I was a photo editor at U.S. News. Like many in the mainstream press, I wanted to separate the world of photographers into “them”, who trade in picture of bodies or chase celebrities, and “us”, the serious news people. But after 16 years in that role. I came to wonder whether the two worlds were easily distinguishable. Working in the reputable world of journalism, I assigned photographers to cover other people’s nightmares. I justified invading moments of grief, under the guise(借口) of the reader's right to know. I didn’t ask photographers to trespass(冒犯) or to stalk(跟踪),but I didn’t have to: I worked with pros(同行) who did what others did: talking their way into situations or shooting from behind police lines to get pictures I was after. And I wasn’t alone. In the aftermath of a car crash or some other hideous incident when ordinary people are hurt or killed, you rarely see photographers pushing past rescue workers to capture the blood and gore(血雨腥风). But you are likely to see the local newspaper and television photographers on the scene - and fast. How can we justify our behavior? Journalists are taught to separate doing the job from worrying about the consequence of publishing what they record. Repeatedly, they are reminded of a news-business dictum(格言): leave your conscience in the office. You get the picture of the footage: the decision whether to print or air it comes later. A victim may lie bleeding, unconscious, or dead: your job is to record the image. You put away your emotions and document the scene. We act this way partly because we know that the pictures can have important meaning. Photographs can change deplorable(凄惨的) situations by mobilizing public outrage or increase public understanding. However, disastrous events often bring out the worst in photographers and photo editors. In the first minutes and hours after a disaster occurs, photo agencies buy pictures. Often an agency buys a picture from a local newspaper or an amateur photographer and put it up for bid by major magazines. The most keenly sought “exclusives” command tens of thousands of dollars through bidding contests. Many people believe that journalists need to change the way they do things, and it’s our pictures that annoy people the most. Readers may not believe, as we do, that there is a distinction between sober-minded “us” and sleazy(低级庸俗的) “them”. In too many cases, by our choices of images as well as how we get them, we prove our readers right. Journalists aren’t supposed to think about whether they are doing the right thing.

阅读判断:下面的短文后列出了7个句子,请根据短文的内容对每个句子作出判断:如果该句提供的是正确信息,请选择A;如果该句提供的是错误信息,请选择B;如果该句的信息文中没有提及,请选择C。 When Our Words Collide “Wanna buy a body?” That was the opening line of more than a few phone calls I got from freelance(自由职业 ) photographers when I was a photo editor at U.S. News. Like many in the mainstream press, I wanted to separate the world of photographers into “them”, who trade in picture of bodies or chase celebrities, and “us”, the serious news people. But after 16 years in that role. I came to wonder whether the two worlds were easily distinguishable. Working in the reputable world of journalism, I assigned photographers to cover other people’s nightmares. I justified invading moments of grief, under the guise(借口) of the reader's right to know. I didn’t ask photographers to trespass(冒犯) or to stalk(跟踪),but I didn’t have to: I worked with pros(同行) who did what others did: talking their way into situations or shooting from behind police lines to get pictures I was after. And I wasn’t alone. In the aftermath of a car crash or some other hideous incident when ordinary people are hurt or killed, you rarely see photographers pushing past rescue workers to capture the blood and gore(血雨腥风). But you are likely to see the local newspaper and television photographers on the scene - and fast. How can we justify our behavior? Journalists are taught to separate doing the job from worrying about the consequence of publishing what they record. Repeatedly, they are reminded of a news-business dictum(格言): leave your conscience in the office. You get the picture of the footage: the decision whether to print or air it comes later. A victim may lie bleeding, unconscious, or dead: your job is to record the image. You put away your emotions and document the scene. We act this way partly because we know that the pictures can have important meaning. Photographs can change deplorable(凄惨的) situations by mobilizing public outrage or increase public understanding. However, disastrous events often bring out the worst in photographers and photo editors. In the first minutes and hours after a disaster occurs, photo agencies buy pictures. Often an agency buys a picture from a local newspaper or an amateur photographer and put it up for bid by major magazines. The most keenly sought “exclusives” command tens of thousands of dollars through bidding contests. Many people believe that journalists need to change the way they do things, and it’s our pictures that annoy people the most. Readers may not believe, as we do, that there is a distinction between sober-minded “us” and sleazy(低级庸俗的) “them”. In too many cases, by our choices of images as well as how we get them, we prove our readers right. News photographers are usually a problem for rescue workers at an accident.

阅读判断:下面的短文后列出了7个句子,请根据短文的内容对每个句子作出判断:如果该句提供的是正确信息,请选择A;如果该句提供的是错误信息,请选择B;如果该句的信息文中没有提及,请选择C。 When Our Words Collide “Wanna buy a body?” That was the opening line of more than a few phone calls I got from freelance(自由职业 ) photographers when I was a photo editor at U.S. News. Like many in the mainstream press, I wanted to separate the world of photographers into “them”, who trade in picture of bodies or chase celebrities, and “us”, the serious news people. But after 16 years in that role. I came to wonder whether the two worlds were easily distinguishable. Working in the reputable world of journalism, I assigned photographers to cover other people’s nightmares. I justified invading moments of grief, under the guise(借口) of the reader's right to know. I didn’t ask photographers to trespass(冒犯) or to stalk(跟踪),but I didn’t have to: I worked with pros(同行) who did what others did: talking their way into situations or shooting from behind police lines to get pictures I was after. And I wasn’t alone. In the aftermath of a car crash or some other hideous incident when ordinary people are hurt or killed, you rarely see photographers pushing past rescue workers to capture the blood and gore(血雨腥风). But you are likely to see the local newspaper and television photographers on the scene - and fast. How can we justify our behavior? Journalists are taught to separate doing the job from worrying about the consequence of publishing what they record. Repeatedly, they are reminded of a news-business dictum(格言): leave your conscience in the office. You get the picture of the footage: the decision whether to print or air it comes later. A victim may lie bleeding, unconscious, or dead: your job is to record the image. You put away your emotions and document the scene. We act this way partly because we know that the pictures can have important meaning. Photographs can change deplorable(凄惨的) situations by mobilizing public outrage or increase public understanding. However, disastrous events often bring out the worst in photographers and photo editors. In the first minutes and hours after a disaster occurs, photo agencies buy pictures. Often an agency buys a picture from a local newspaper or an amateur photographer and put it up for bid by major magazines. The most keenly sought “exclusives” command tens of thousands of dollars through bidding contests. Many people believe that journalists need to change the way they do things, and it’s our pictures that annoy people the most. Readers may not believe, as we do, that there is a distinction between sober-minded “us” and sleazy(低级庸俗的) “them”. In too many cases, by our choices of images as well as how we get them, we prove our readers right. The writer believes that shooting people’s nightmares is justifiable.

阅读判断:下面的短文后列出了7个句子,请根据短文的内容对每个句子作出判断:如果该句提供的是正确信息,请选择A;如果该句提供的是错误信息,请选择B;如果该句的信息文中没有提及,请选择C。 When Our Words Collide “Wanna buy a body?” That was the opening line of more than a few phone calls I got from freelance(自由职业 ) photographers when I was a photo editor at U.S. News. Like many in the mainstream press, I wanted to separate the world of photographers into “them”, who trade in picture of bodies or chase celebrities, and “us”, the serious news people. But after 16 years in that role. I came to wonder whether the two worlds were easily distinguishable. Working in the reputable world of journalism, I assigned photographers to cover other people’s nightmares. I justified invading moments of grief, under the guise(借口) of the reader's right to know. I didn’t ask photographers to trespass(冒犯) or to stalk(跟踪),but I didn’t have to: I worked with pros(同行) who did what others did: talking their way into situations or shooting from behind police lines to get pictures I was after. And I wasn’t alone. In the aftermath of a car crash or some other hideous incident when ordinary people are hurt or killed, you rarely see photographers pushing past rescue workers to capture the blood and gore(血雨腥风). But you are likely to see the local newspaper and television photographers on the scene - and fast. How can we justify our behavior? Journalists are taught to separate doing the job from worrying about the consequence of publishing what they record. Repeatedly, they are reminded of a news-business dictum(格言): leave your conscience in the office. You get the picture of the footage: the decision whether to print or air it comes later. A victim may lie bleeding, unconscious, or dead: your job is to record the image. You put away your emotions and document the scene. We act this way partly because we know that the pictures can have important meaning. Photographs can change deplorable(凄惨的) situations by mobilizing public outrage or increase public understanding. However, disastrous events often bring out the worst in photographers and photo editors. In the first minutes and hours after a disaster occurs, photo agencies buy pictures. Often an agency buys a picture from a local newspaper or an amateur photographer and put it up for bid by major magazines. The most keenly sought “exclusives” command tens of thousands of dollars through bidding contests. Many people believe that journalists need to change the way they do things, and it’s our pictures that annoy people the most. Readers may not believe, as we do, that there is a distinction between sober-minded “us” and sleazy(低级庸俗的) “them”. In too many cases, by our choices of images as well as how we get them, we prove our readers right. The writer was a photographer sixteen years ago.

阅读判断:下面的短文后列出了7个句子,请根据短文的内容对每个句子作出判断:如果该句提供的是正确信息,请选择A;如果该句提供的是错误信息,请选择B;如果该句的信息文中没有提及,请选择C。 When Our Words Collide “Wanna buy a body?” That was the opening line of more than a few phone calls I got from freelance(自由职业 ) photographers when I was a photo editor at U.S. News. Like many in the mainstream press, I wanted to separate the world of photographers into “them”, who trade in picture of bodies or chase celebrities, and “us”, the serious news people. But after 16 years in that role. I came to wonder whether the two worlds were easily distinguishable. Working in the reputable world of journalism, I assigned photographers to cover other people’s nightmares. I justified invading moments of grief, under the guise(借口) of the reader's right to know. I didn’t ask photographers to trespass(冒犯) or to stalk(跟踪),but I didn’t have to: I worked with pros(同行) who did what others did: talking their way into situations or shooting from behind police lines to get pictures I was after. And I wasn’t alone. In the aftermath of a car crash or some other hideous incident when ordinary people are hurt or killed, you rarely see photographers pushing past rescue workers to capture the blood and gore(血雨腥风). But you are likely to see the local newspaper and television photographers on the scene - and fast. How can we justify our behavior? Journalists are taught to separate doing the job from worrying about the consequence of publishing what they record. Repeatedly, they are reminded of a news-business dictum(格言): leave your conscience in the office. You get the picture of the footage: the decision whether to print or air it comes later. A victim may lie bleeding, unconscious, or dead: your job is to record the image. You put away your emotions and document the scene. We act this way partly because we know that the pictures can have important meaning. Photographs can change deplorable(凄惨的) situations by mobilizing public outrage or increase public understanding. However, disastrous events often bring out the worst in photographers and photo editors. In the first minutes and hours after a disaster occurs, photo agencies buy pictures. Often an agency buys a picture from a local newspaper or an amateur photographer and put it up for bid by major magazines. The most keenly sought “exclusives” command tens of thousands of dollars through bidding contests. Many people believe that journalists need to change the way they do things, and it’s our pictures that annoy people the most. Readers may not believe, as we do, that there is a distinction between sober-minded “us” and sleazy(低级庸俗的) “them”. In too many cases, by our choices of images as well as how we get them, we prove our readers right. The writer never get an offer for a photograph of a dead person.

This was disaster on a cosmic scale.

His stomach felt hollow with fear.

His professional career spanned 16 years.

A person’s wealth is often in inverse proportion to their happiness.

She felt that she had done her good deed for the day. ()

The country was torn apart by strife.

Some of the larger birds can remain stationary in the air for several minutes.()

That uniform makes the guards look absurd.()

The symptoms of the disease manifested themselves ten days later.

The department deferred the decision for six months.

The original experiment cannot be exactly duplicated.

The group does not advocate the use of violence.

The committee was asked to render a report on the housing situation.

New secretaries came and went with monotonous regularity.

There was an inclination to treat geography as a less important subject.

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