题目列表(包括答案和解析)
C
When an ant dies, other ants take it out of the nest, often within an hour after its death. This behavior interests scientists and they wonder how ants know for sure--and so soon--that another ant is dead.
One scientist recently came up with a way to explain this ant behavior. Dong-Hwan Choe is a biologist, a scientist who studies animals and plants. He found that ants have a chemical on the outside of their bodies that signals to other ants, “I’m dead--take me away” when it is dead.
One scientist recently came up with a way to explain this ant behavior. Dong-Hwan Choe is a biologist, a scientist who studies animals and plants. He found that ants have a chemical on the outside of their bodies that signals to other ants, “I’m dead---take me away” when it is dead.
But there's a question to answer: As we know, if an ant is dead, it stops moving. But when an ant is sleeping or knocked unconscious, it is also not moving. However, other ants don't move the living ant out of the nest. How do they know this ant is not dead? Choe found that ants have another chemical on their bodies, which tells nearby ants something like, “Wait—I'm not dead yet” when it is not dead. Choe suspects that when an ant dies, the chemical that says, “Wait— I'm not dead yet” quickly goes away. When other ants detect the “dead” chemical without the “not dead yet” chemical, they move away the body.
To test his theory, Choe and his team put different chemicals on ants. When the scientists used the “I'm dead” chemical, other ants quickly moved the treated ant away. When the scientists used the “Wait—I'm not dead yet” chemical, other ants left the treated ant alone. Choe believes this behavior shows that the “not dead yet” chemical overrides the “dead” chemical when picked up by other ants. And that when an ant dies, the “not dead yet” chemical fades away. Other nearby ants then detect the remaining “dead” chemical and remove the body from the nest.
Understanding this behavior can help scientists figure out how to stop ants from invading new places and causing problems.
1.What is the function of the first paragraph?
A. Leading the following paragraphs.
B. Showing the main idea of the passage.
C. Introducing the background of the passage.
D. Giving a summary of the passage.
2.Which of the following has the closest meaning to the underlined word “overrides” in the fourth paragraph?
A. is weaker than B. is stronger than C. is better than D. is worse than
3.What can we learn from the passage?
A. Living ants can also be taken away when they are not moving.
B. When an ant dies, it can tell others using a certain chemical.
C. A living ant can pretend to be dead using a special chemical.
D. Ants often use chemicals to communicate with each other.
4.Which of the following descriptions about Dong-Hwan Choe is right?
A. Choe did this study in order to stop ants from invading new places.
B. Choe is a biologist who is only interested in animals, especially in ants.
C. Choe first came up with an idea to explain this ant behavior，and then did some tests to prove his theory.
D. Choe did the research on this ant behavior on his own.
When a group of children politely stop a conversation with you, saying: “We have to go to work now,” you’re left feeling surprised and certainly uneasy. After all, this is the 1990s and the idea of children working is just unthinkable. That is, until you are told that they are all pupils of stage schools, and that the “work” they go off to is to go on the stage in a theatre.
Stage schools often act as agencies（代理机构）to supply children for stage and television work. More worthy of the name “stage school” are those few places where children attend full time, with a training for the theatre and a general education.
A visit to such schools will leave you in no doubt that the children enjoy themselves. After all, what lively children wouldn’t settle for spending only half the day doing ordinary school work, and acting, singing or dancing their way through the other half of the day?
Then of course there are times for the children to make a name and make a little money in some big shows. Some stage schools give their children too much professional work at such a young age. But the law is very tight on the amount they can do. Those under 13 are limited to 40 days in the year; those over 13 to 80 days.
The schools themselves admit that not all children will be successful in the profession for which they are being trained. So what happens to those who don’t make it? While all the leading schools say they place great importance on children getting good study results, the facts seem to suggest this is not always the case.
People would stop feeling uneasy when realizing that the children they’re talking to________.
A. attend a stage school B. are going to the theatre
C. have got some work to do D. love singing and dancing
In the writer’s opinion, a good stage school should ________.
A. produce star performers
B. help pupils improve their study skills
C. train pupils in language and performing arts
D. provide a general education and stage training.
“Professional work” as used in the text means ________.
A. ordinary school work B. money-making performances
C. stage training at school D. acting, singing or dancing after class
Which of the following best describes how the writer feels about stage schools?
A. He thinks highly of what they have to offer.
B. He favours an early start in the training of performing arts.
C. He feels uncomfortable about children putting on night shows.
D. He doubts the standard of ordinary education they have reached.
When the great library of Alexandria burned, the story goes, one book was saved. But it was not a valuable book; and so a poor man, who could read a little, bought it for a few coppers（铜钱）.The book wasn’t very interesting, but between its pages there was something very interesting indeed. It was a thin strip（条）of vellum（牛皮纸）on which was written the secret of the “Touchstone”!
The touchstone was a small pebble（小园石）that could turn any common metal into pure gold. The writing explained that it was lying among thousands and thousands of other pebbles that looked exactly like it. But the secret was this: The real stone would feel warm, while ordinary pebbles are cold.
So the man sold his few belongings, bought some simple supplies, camped on the seashore, and began testing pebbles. He knew that if he picked up ordinary pebbles and threw them down again because they were cold, he might pick up the same pebble hundreds of times. So, when he felt one that was cold, he threw it into the sea. He spent a whole day doing this but none of them was the touchstone. Yet he went on and on this way. Pick up a pebble. Cold-throw it into the sea. Pick up another. Throw it into the sea.
The days stretched into weeks and the weeks into months. One day, however, about mid-afternoon, he picked up a pebble and it was warm. He threw it into the sea before he realized what he had done. He had formed such a strong habit of throwing each pebble into the sea that when the one he wanted came along, he still threw it away.
So it is with opportunity. Unless we are vigilant（警惕的）, it’s easy to fail to recognize an opportunity when it is in hand and it’s just as easy to throw it away.
The book was special to the man because ______.
A. it was made of vellum
B. it was the only book that survived the great fire
C. it was a story about how to tell the touchstone from ordinary stones
D. it included the secret of the touchstone
He threw pebbles into the sea ______.
A. to test how far he could throw
B. to practice throwing pebbles
C. to avoid picking up the same pebble once again
D. to express his disappointment at failing to find the touchstone
What message does the story want to convey?
A. Careful habits can lead to success.
B. Habits can benefit you but also hold you back.
C. Never judge a person or a thing by appearances.
D. Opportunity only visits the ready and watchful mind
How do apology languages work? Have you ever tried to apologize, only to be refused? It may be that you were offering a partial apology in a “language” , that was foreign to your listener．The five languages of apology include:
Apology Language 1: “I am sorry.”
List the hurtful effects of your action．Not “I am sorry if …”, but “I am sorry that…”．You might ask if they want to add any points that you have not recognized.
Apology Language 2:“I was wrong.”
Name your mistake and accept fault．Note that it is easier to say “You are right” than “ I am wrong”, but the latter carries more weight.
Apology Language 3: “ What can I do to make it right?”
How are you now? How shall I make amends(弥补) to you? How can I restore your confidence that I love you— even though I was so hurtful to you?
Apology Language 4: “I’ll try not to do that again.”
Engage in problem-solving．Don’t make excuses for yourself such as, “Well, my day was just so…” Instead, offer what you will change to prevent yourself from putting them in the same bad situation again．
Apology Language 5: “Will you please forgive me?”
Be patient in seeking forgiveness．They may need some time or greater clarification of your input from Apology Languages 1-4.
Finally, your apology may not be accepted, but at least you know that you have been faithful in offering a sincere olive branch of peace.
The passage mainly talks about___________
A．5 tips for apologies that work B．5 ways of refusing apologies
C．the function of apology languages D．the importance of apology languages
According to Paragraph 1, your apology may be refused mainly because________
A．your listeners can’t understand your dialect.
B．your listeners can’t hear what you said clearly.
C．your apology is not sincere.
D．your apology is not expressed well enough.
When offering an apology, which of the following does the author prefer?
A．“You are right” B．“I am sorry if …”
C.“I was wrong.” D．“Well, my day was just so…”
In the last paragraph, the author tells us even if your apology may not be accepted, at
least ___________.
A．It’s your fault any more B．your mind will be at peace
C．your friend will make peace with you D．your apology is true to your heart
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