1、 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 Wrzburg in Germany asked volunteers to 16 a pen either with their teethor with their lips, which would produce a（
2、n） 17 expression. Those forced to exercise their smiling muscles 18 more enthusiastically to funny cartoons than did those whose mouths were contracted in a frown, 19 20 , the physical act of laughter could improvemood.1. A among B except C despite D like3.A stabilizing B boosting C impairing D dete
3、rmining4.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 men
4、tal 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 hold18.A adapted B catered C turned D reacted19.A sugges
5、ting B requiring C mentioning D supposing20.A Eventually B Consequently C Similarly D ConverselySection Reading ComprehensionPart A Directions:Read the following four texts. Answer the questions below each text by choosing A, B, C orD. Mark your answers on ANSWER SHEET 1. （40 points）Text 1 The decis
6、ion 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 Tommasin
7、i, 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 con
8、ductor 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 someTimes readers as faint praise. For my part, I have no idea whether Gilbert is a great conductor or
9、 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 rec
10、orded 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
11、 museums, but also with the recorded performances of the great classical musicians of the 20th century. These 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
12、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 mus
13、ic 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.Am
14、erica s oldest orchestra and the new audience it hopes to attract.21.We learn from Paragraph 1 that Gilbert s appointment hasAincurred criticism.Braised suspicion.Creceived acclaim.Daroused curiosity.22.Tommasini regards Gilbert as an artist who isABmodest.Crespectable.Dtalented.23.The author believ
15、es that the devoted concertgoersA ignore the expenses of live performances.BCexaggerate the variety of live performances.Doverestimate the value of live performances.24.According to the text, which of the following is true of recordings?AThey are often inferior to live concerts in quality.BThey are
16、easily accessible to the general public.CThey help improve the quality of music.DThey have only covered masterpieces.25.Regarding Gilbert s role in revitalizing the Philharmonic, the author feelsAdoubtful.Benthusiastic.CDpuzzled.Text 2 When Liam McGee departed as president of Bank of America in Augu
17、st, 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 weeks, he was talkingchairman on S
18、eptember 29.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
19、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. In the third quarter, CEO turnover was down 23% from a year ago as nervous
20、 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 m
21、ost attractive CEO candidates are the ones who must be poached. Says Korn/Ferry senior partner Dennis Carey: I can tthink of a single search I ve done where a board has not instructed me to look at sitting CEOst always landed in top positions quickly. Ellen Marram quit as chief of Tropicana a decade
22、 ago, 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.institution three years later. Many recruiters say the old disgrace is fading for top performers.The traditiona
23、l 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 beingAarrogant.Bfrank.Cself-centered.Dimpulsive.
24、27.According to Paragraph 2, senior executives quitting may be spurred byA B Ctheir strained relations with the boards.Dtheir pursuit of new career goals.28.The word poached Paragraph 4 most probably meansAapproved of.Battended to.Chunted for.Dguarded against.29.It can be inferred from the last para
25、graph thatAtop performers used to cling to their posts.Bloyalty of top performers is getting out-dated.Ctop performers care more about reputations.Dit s safer to stick to the traditional rules.30.Which of the following is the best title for the text?ACEOs: Where to Go?BCEOs: All the Way Up?CTop Mana
26、gers Jump without a NetDThe Only Way Out for Top PerformersText 3 The 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 advertisementsof media. Consumers passionate about a product may create e
27、arned media by willingly promoting it to friends, and a company may leverage owned media by sending e-mail alerts about products and sales to customers registered with its Web site. The way consumers now approach the process of making purchase decisions means that marketing s impact stems from a broad range of factors beyond conventional paid media. Paid and owned media are controlled by marketers promoting their own products. For earned media, such market
