1 . At a museum in Vietnam, Lena Bui’s film Where Birds Dance Their Last reflected on the beauty and vulnerability of Vietnamese feather farms after Bird Flu. During a festival in Rwanda, Ellen Reid’s audio experience Soundwalk was shared in a hopeful discussion about music, parks and mental health. These are a few of the things I have helped bring to life over the years, working at the intersection of scientific research, the arts and advocacy to support science in solving global health challenges.
Science is key to addressing these issues. But it isn’t the only key. To achieve its potential and for its advances to be implemented and reach all who could benefit, science depends on trust and good relationships. People might not always see science as relevant, trustworthy or meaningful to their lives. There are reasons why some see science as having a chequered past, from nuclear weapons to eugenics, and are therefore uninterested in, or suspicious of, what it proposes. Others feel excluded by the incomprehensibility of hyper specialist knowledge.
In its capacity to build upon and test an evidence base, science is powerful, but researchers and funders haven’t been as good at ensuring this evidence base responds to the needs and interests of diverse communities, or informs policy makers to take action. Science might be perceived as distancing itself from the personal, the poetic and the political, yet it is precisely these qualities that can be most influential when it comes to public interest in atopic or how a government prioritizes a decision.
A moving story well told can be more memorable than a list of facts. This is where the arts come in. Artists can give us different perspectives with which to consider and reimagine the world together. They can redress the proclaimed objectivity in science by bringing stories —subjectivities —into the picture, and these can help foster a sense of connection and hope.
In 2012, I set up artist residencies in medical research centres around the world. Bui was attached to the Oxford University Clinical Research Unit in Vietnam. The head of the research team was delighted, finding that Bui, as a Vietnamese artist, had license to be in, and to share useful insights from, villages where infectious disease researchers weren’t welcome. Six years later, I led Wellcome’s Contagious Cities program, which established artist residencies worldwide to support locally led explorations of epidemic preparedness. The recent pandemic made this work more noticeable, and has informed our Mindscapes program which is currently sharing experiences of mental health through the work of artists.
With pandemic, climate and mental health crises upon us, rising inequality and what feels like an increasingly broken world, never has there been more need to build and nurture hopeful and imaginative spaces to grow human connection and shared purpose for the common good. Science and the arts can work hand in glove to achieve this.
1. The author lists two works in Paragraph 1 mainly to ______.| A．reveal the gap between science and art | B．prove his competence in both science and art |
| C．introduce successful science-related artworks | D．show that science can be promoted in art forms |
| A．Recent and remote. | B．Good and bad. |
| C．Usual and unusual. | D．Peaceful and scary. |
| A．Policy-makers base their decisions on science. | B．Researchers popularize science effectively. |
| C．Science is well received among the public. | D．The arts help people build connections. |
| A．The Value of the Arts to Science | B．Where Do Science and the Arts Meet? |
| C．A New Way to Fight Pandemic—the Arts | D．Which Matters More, Science or the Arts? |
2 . What are pillows really stuffed with? Not physically, but symbolically? The question occurred to me with the photos in the news and social media from the 50 cities around the world that staged public celebrations for International Pillow Fight Day. Armed with nothing more than bring-our-own sacrificial cushions, strangers struck heavily each other in playful feather from Amsterdam to Atlanta, Warsaw to Washington DC. But why? Is there anything more to this delightful celebration?
As a cultural sign, the pillow is deceptively soft. Since at least the 16th Century, the humble pillow has been given unexpected meanings. The Chinese playwright Tang Xianzu tells a famous story about a wise man who meets a depressed young scholar at an inn and offers him a magic pillow filled with the most vivid dreams of a seemingly more fulfilling life. When the young man awakens to discover that his happy 50-year dream has in fact come and gone in the short space of an afternoon’s nap, our impression of the pillow’s power shifts from wonder to terror.
Subsequent writers have likewise seized upon the pillow. When the 19th-Century English novelist Charlotte Bronte poetically observed “a ruffled (不平的) mind makes a restless pillow”, she didn’t just change the expected order of the adjectives and nouns, but instead she made unclear the boundaries between mind and matter — the thing resting and the thing rested upon.
It’s a trick perhaps Bronte learned from the Renaissance philosopher Montaigne, who once insisted that “ignorance is the softest pillow on which a man can rest his head”. On Montaigne’s thinking, intelligence and happiness confront each other forever in a pillow fight that only one can win.
With the words of Tang. Bronte, and Montaigne, we can perhaps more easily measure the attraction of the global pillow fight. Like a ritual of release, the annual international pillow fight amounts to a kind of cleansing, a brushing off of daily worries: an emptying of the world’s collective mind. Rather than a launch-pad for weightless rest, the pillow is a symbol of heavy thought: an anchor that drags the world’s soul down — one that must be lightened.
1. The example of Tang Xianzu is used to illustrate that ________.| A．pillows give people satisfactory dreams |
| B．dreams are always wonderful while the real world is cruel |
| C．people’s impression of pillows changes from wonder to terror |
| D．pillows symbolically convey the meaning in contrast to their soft appearance |
| A．wrote poems about pillows |
| B．regarded pillows as reflections of our minds |
| C．shared the same viewpoint as Tang Xianzu on pillows |
| D．was likely to have been influenced by the thoughts of the Renaissance |
| A．pillows give us comfort |
| B．pillows make people more intelligent |
| C．people with too many thoughts have less inner peace |
| D．people can easily fall asleep when they know nothing |
| A．Because it is a ritual release. |
| B．Because it makes life delightful. |
| C．Because it comforts restless minds. |
| D．Because it contains a profound meaning of life. |
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4 . How to Find the Theme of a Book or Short Story
If you’ve ever been assigned a book report, you may have been asked to address the theme of the book.
Themes can be broad or they can focus on a specific notion. For example, a romance novel may have the obvious, but very general, theme of love, but the storyline may also address issues of society or family.
A book’s theme is not the same as its plot or its moral lesson, but these elements are related and necessary in building the larger story.
If you find yourself struggling to identify the theme of a book you’re reading, there’s a simple trick you can use.
| A．A story’s theme isn’t typically stated outright. |
| B．In order to do that, you really have to understand what a theme is. |
| C．The theme of a novel or short story may not necessarily be clear. |
| D．When you finish reading, ask yourself to sum up the book in a single word. |
| E．The plot of a novel is the action that takes place within the course of the narrative. |
| F．Many stories have a major theme and several minor themes that help develop the major theme. |
| G．There are several themes that are reoccurring in literature, many of which we can identify quickly. |
5 . Mathilde Loisel, a beautiful woman, is miserable with her life. Although from a family of clerks, she always felt she had “fallen from a higher station” and longs to be part of the upper class. With no prospect of meeting these dreams she marries a middle-class Parisian clerk. This leaves her unhappy, suffering from what she thinks as a life of poverty. Although her husband’s income is sufficient for their needs, Mathilde still dreams of being wealthy. Mathilde focuses on her lack of possessions such as gowns and jewelry instead of enjoying the life she has. She even becomes jealous of her school friend, Madame Forestier, who has married a wealthy man.
One evening, the triumphant Monsieur Loisel comes home and hands her an invitation to a ball at the Ministry of Public Instruction where he works. Mathilde surprises him by refusing to go and throws the invitation onto the floor. She gets upset and tells her husband that without a new gown and jewelry she cannot possibly attend the ball. Monsieur Loisel reluctantly agrees to pay for a gown costing four hundred francs, knowing he will not be able to afford the hunting gun he had been saving up to buy. Mathilde buys the dress but complains that she still has no jewelry. For once though, Mathilde is pleased when her husband comes up with the solution to ask her friend to lend some jewelry.
Madame Forestier offers Mathilde to choose what she wants and Mathilde selects a beautiful diamond necklace from a black satin box. When Madame Forestier sees how happy the necklace makes her friend feel she agrees to lend it to her for the ball.
At the ball, Mathilde is the most elegant and graceful woman there, smiling and happy. All the men ask her name and want to be introduced to her. She dances with all of the attaches from the cabinet and is even noticed by the minister. Dancing with happiness and passion, intoxicated with pleasure, Mathilde exists for a time in the world she longs to be part of.
At 4 am, she is ready to leave. As Monsieur Loisel places the wrap over his wife’s shoulders, the contrast of the poverty of her wrap with the elegant ball gown is too much to bear and to save any embarrassment she hurries to leave before anyone notices her. When they reach the street, they cannot find a cab and start to walk home. They walked towards the Seine in despair, shivering with cold. At last on the quay side they find “one of those ancient night cabs which, as though they were ashamed to show their shabbiness during the day, are never seen round Paris until after dark”.
The Loisels arrive home at the Rue des Martyrs, and Mathilde’s happiness turns to horror as she sees that the necklace is missing when she looks in the mirror to admire herself one more time. She and Monsieur Loisel search frantically, but they cannot find the necklace. Monsieur Loisel even retraces their steps back along the whole route and then spends the next day enquiring and trying to find the necklace. Finally, in defeat, he suggests Mathilde writes a letter to Madame Forestier, explaining she will return the necklace after repair, lying that the clasp had broken. This story allows them time to continue the search.
When the Loisels are unable to find the necklace, they use its jewelry box to search for the jeweler where it was purchased. The jeweler offers the couple a similar necklace for thirty-six-thousand francs with the understanding that he will buy it back if they find the necklace before the end of February. However, they do not find the necklace, and they take on huge debt that forever changes their lives. Monsieur Loisel, frightened by the trouble yet to come, by the “black misery” that is about to fall upon him, by the prospect of all the physical sacrifices and the “moral tortures” he is about to suffer, goes to pay the jeweler thirty-six-thousand francs and collects the diamond necklace.
When Mathilde takes the newly purchased necklace to Madame Forestier, she fears her friend will discover that the necklace is a replacement and consider her a thief. Although Madame Forestier criticizes Mathilde for bringing the necklace back late, she never opens the case to look at it.
The next years are horrible for Mathilde, who works like a servant, her own servant having been dismissed. The Loisels move to cheaper housing. Mathilde dresses in work clothing and becomes responsible for doing all the family’s “odious” housework duties. She takes on this role with “sudden heroism”. Monsieur Loisel works a second job at night. They work for ten years to repay their debts. The strain of deprivation takes its toll, and Mathilde ages rapidly. Occasionally, she thinks back and remembers the wonders of the ball, but finally, their debt is paid in full.
One day on the street, Mathilde meets Madame Forestier, still looking lovely. At first not recognizing Mathilde, Madam Forestier is shocked by her friend’s haggard appearance. Mathilde explains that her life has been hard because of Madame Forestier. Mathilde shares the truth regarding her loss and replacement of the necklace that she had borrowed. She explains that it was purchased with ten years of hard labour. She proudly describes how she met her obligation both to Madame Forestier and to society.
Madame Forestier, deeply moved, takes Mathilde’s hands in her own and tells her the truth. The necklace that she had loaned Mathilde was mere costume jewelry worth only five hundred francs.
1. Mathilde Loisel refused to go to the ball because she ________.| A．was angry with her husband |
| B．thought she was not invited |
| C．was upset for having lost her jewelry |
| D．feared that she would be looked down upon |
① Mathilde realized that the necklace was missing.
② The Loisels worked hard to pay their debt.
③ Monsieur Loisel brought home an invitation to a ball
④ Monsieur Loiser bought a diamond necklace from a jeweler.
⑤ Mathilde borrowed a necklace from her friend Madame Forestier.
⑥ Mathilde talked to her friend Madame Forestier about her “sudden heroism”
| A．③⑤①④②⑥ | B．③①⑤②④⑥ |
| C．⑤③①②④⑥ | D．⑤③④②①⑥ |
| A．trusts her friend very much |
| B．forgets about the necklace |
| C．is sure that the necklace is in the case |
| D．doesn’t care much about the necklace |
| A．unfortunate but honest. | B．lucky but selfish. |
| C．smart but lazy. | D．beautiful but evil. |
7 . 
pine cone
In the past many studies placed too much emphasis on how animals are trained to learn. But recently more and more studies have focused on how animals equip themselves to learn.
One study started with a school field trip to a pine forest where many pine cones were discovered, stripped (剥壳) to the central core. So the investigation was directed at finding out what was eating the pine seeds and how they managed to get them out of the cones. The culprit proved to be the black rat, and the technique was to bite each cone from base to top, following the growth pattern of the cone.
Urban black rats were found to lack the skill. However, babies of urban mothers cross-fostered by stripper mothers acquired the skill, whereas babies of stripper mothers fostered by an urban mother could not. Clearly the skill had to be learned from the mother. In the case of rats, the youngsters take cones away from the mother when she is still eating them, allowing them to acquire the stripping skill.
Another study, Bird Behaviour, provides a different view of the adaptiveness of social learning. It concerns the seed caching (hiding) behaviour of Clark’s Nutcracker and the Mexican Jay. The former is a specialist, caching about 30,000 seeds in scattered locations that it will recover over the months of winter; the Mexican Jay will also cache food but is much less dependent on this than the Nutcracker. The two species also differ in their social structure: the Nutcracker prefers living alone while, the Jay, in social groups.
The experiment is to discover if a bird can remember where it hid a seed but also if it can remember where it saw another bird hide a seed. The design is funny with a cacher bird hiding food in a room, while watched by a caged observer bird. Two days later, cachers and observers are tested for their discovery rate against estimated random performance (预估随机表现). Both cachers performed above chance. More surprisingly, jay observers were as successful as jay cachers, whereas nutcracker observers did no better than chance. It seems that, whereas the Nutcracker is highly skilled at remembering where it hid its own seeds, the social living Mexican Jay is more adept at remembering, and so making use of, the caches of others.
1. Urban black rats were able to learn to strip when ________.| A．living with stripper babies | B．fostered by urban mothers |
| C．fed by stripper mothers | D．eating cones by themselves |
| A．the Mexican Jay benefits from social living |
| B．the Clark’s Nutcraker has better learning skills |
| C．Nutcraker observers perform well in remembering |
| D．Jay cachers are only good at hiding food |
| A．skills are equipped in childhood | B．skills improve by practice |
| C．animals study through playing | D．animals learn by examples |
