| A．unless … but | B．although … and |
| C．when … where | D．even if … unless |
| A．It, where | B．What, which | C．As, where | D．What, where |
| A．to broadcast | B．being broadcast | C．broadcasting | D．broadcast |
| A．used to listening | B．who used to listen |
| C．who used to listening | D．who are used to listen |
| A．diagnosed | B．having been diagnosed |
| C．to be diagnosed | D．being diagnosed |
| A．that she be not | B．that she was not | C．on her being not | D．on her not be |
7 . By the end of the century, if not sooner, the world’s oceans will be bluer and greener thanks to a warming climate, according to a new study.
At the heart of the phenomenon lie tiny marine microorganisms(海洋微生物) called phytoplankton. Because of the way light reflects off the organisms, these phytoplankton create colourful patterns at the ocean surface. Ocean colour varies from green to blue, depending on the type and concentration of phytoplankton. Climate change will fuel the growth of phytoplankton in some areas, while reducing it in other spots, leading to changes in the ocean’s appearance.
Phytoplankton live at the ocean surface, where they pull carbon dioxide(二氧化碳) into the ocean while giving off oxygen. When these organisms die, they bury carbon in the deep ocean, an important process that helps to regulate the global climate. But phytoplankton are vulnerable to the ocean’s warming trend. Warming changes key characteristics of the ocean and can affect phytoplankton growth, since they need not only sunlight and carbon dioxide to grow, but also nutrients.
Stephanie Dutkiewicz, a scientist in MIT’s Center for Global Change Science, built a climate model that projects changes to the oceans throughout the century. In a world that warms up by 3℃, it found that multiple changes to the colour of the oceans would occur. The model projects that currently blue areas with little phytoplankton could become even bluer. But in some waters, such as those of the Arctic, a warming will make conditions riper for phytoplankton, and these areas will turn greener. “Not only are the quantities of phytoplankton in the ocean changing. ” she said, “but the type of phytoplankton is changing.”
And why does that matter? Phytoplankton are the base of the food web. If certain kinds begin to disappear from the ocean, Dutkiewicz said, “it will change the type of fish that will be able to survive.” Those kinds of changes could affect the food chain.
Whatever colour changes the ocean experiences in the coming decades will probably be too gradual and unnoticeable, but they could mean significant changes. “It’ll be a while before we can statistically show that the changes are happening because of climate change,” Dutkiewicz said, “but the change in the colour of the ocean will be one of the early warning signals that we really have changed our planet.”
1. What are the first two paragraphs mainly about?| A．The various patterns at the ocean surface. |
| B．The cause of the changes in ocean colour. |
| C．The way light reflects off marine organisms. |
| D．The efforts to fuel the growth of phytoplankton. |
| A．Sensitive. | B．Beneficial. | C．Significant. | D．Unnoticeable. |
| A．Phytoplankton play a declining role in the marine ecosystem. |
| B．Dutkiewicz’s model aims to project phytoplankton changes. |
| C．Phytoplankton have been used to control global climate. |
| D．Oceans with more phytoplankton may appear greener. |
| A．To assess the consequences of ocean colour changes. |
| B．To analyse the composition of the ocean food chain. |
| C．To explain the effects of climate change on oceans. |
| D．To introduce a new method to study phytoplankton. |
8 . A study of teenage girls’ selfie-taking (自拍) behaviors found that taking and sharing selfies on social media is not linked to poor body image or appearance concerns. However, when adolescent girls spend too much time struggling over which photo of themselves to post, or rely heavily on editing apps to alter their images, there may be cause for concern.
The study, by researchers at the University of Arizona, found that selfie editing and time invested in creating and selecting the perfect selfie were both related to self-objectification, which led to body shame, appearance anxiety and more negative appearance evaluations in teen girls. “Self-objectification is the idea that you come to think of yourself as an external object to be viewed by other people,” said senior study author Jennifer Aubrey, an associate professor at the UA.
Based on a study of 278 teenage girls, “Our main finding was that we really shouldn’t be too worried about kids who take selfies and share them; that’s not where the negative effects come from. It’s the investment and the editing that yielded negative effects,” Aubrey said. “Selfie editing and selfie investment predicted self-objectification, and girls who self-objectify were more likely to feel shameful about their bodies or anxious about their appearance.”
“Self-objectification is the pathway to so many things in adolescence that we want to prevent,” Aubrey said. “So, interventions really should focus on how we can encourage girls to develop an awareness of themselves that doesn’t only depend on what they look like to other people.” The researchers said parents and caregivers of adolescent girls should be aware that if a teen seems to be obsessed (痴迷的), it might be time for a talk.
The researchers also note that there can be different motivations for sharing selfies. “Selfies are a part of the media landscape, but you should post them for reasons other than trying to get people to admire your appearance or your body.” Aubrey said. With an estimated 93 million selfies taken each day, they aren’t going away anytime soon, nor should they. The important thing to remember is: Selfies aren’t bad. Just don’t obsess.
1. What behavior of adolescent girls may cause concern?| A．Taking selfies. |
| B．Caring about their images. |
| C．Sharing selfies on social media. |
| D．Overusing editing apps to beautify their images. |
| A．It predicts selfie investment. | B．It is linked to selfie obsession. |
| C．It prevents problems in adolescence. | D．It contributes to objective evaluation. |
| A．When to have a talk with teen girls. | B．When to end selfie-taking behaviors. |
| C．How to help form a healthy self-awareness. | D．How to prevent teenage girls' craze for selfies. |
| A．A travel brochure. | B．A science newspaper. |
| C．A psychology textbook. | D．An entertainment magazine. |
| A．that, which | B．what, which | C．which, what | D．what, that |
10 . Of all the changes that have taken place in English-language newspapers during the past quarter-century, perhaps the most far-reaching one has been the inevitable decline in the scope and seriousness of their arts coverage.
It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant collections of criticism published in the 20th century consisted in large part of newspaper reviews. To read such books today is to marvel at the fact that their learned contents were once considered suitable for publication in general-circulation dailies.
We are even farther removed from the unfocused newspaper reviews published in England between the turn of the 20th century and the eve of World War II, at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament (装饰) to the publications in which it appeared. In those far-off days, it was taken for granted that the critics of major papers would write in detail and at length about the events they covered. Theirs was a serious business, and even those reviewers who wore their learning lightly, like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about. These men believed in journalism as a calling, and were proud to be published in the daily press. “So few authors have brains enough or literary gift enough to keep their own end up in journalism,” Newman wrote, “that I am tempted to define ‘journalism’ as ‘a term of contempt applied by writers who are not read to writers who are’.”
Unfortunately, these critics are virtually forgotten. Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays on the game of cricket. During his lifetime, though, he was also one of England’s foremost classical-music critics, a stylist so widely admired that his Autobiography (1947) became a best-seller. He was knighted in 1967, the first music critic to be so honored. Yet only one of his books is now in print, and his vast body of writings on music is unknown save to specialists.
Is there any chance that Cardus’s criticism will enjoy a revival? The prospect seems remote. Journalistic tastes had changed long before his death, and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized. Moreover, the amateur tradition in music criticism has been in headlong retreat.
1. Which of the following statements is TRUE according to the first two paragraphs?| A．English-language newspapers with more arts coverage sell well. |
| B．Young readers nowadays enjoy reading high-quality arts criticism. |
| C．The criticism published in the 20th century lacked learned contents. |
| D．There were more arts reviews in English-language newspapers in the past. |
| A．The newsprint was too cheap to make profits. |
| B．Not all writers were capable of journalistic writing. |
| C．Arts criticism was removed from the print newspapers. |
| D．Writers are likely to be tempted into journalism. |
| A．Because he mainly wrote essays on the game of cricket. |
| B．Because people cast doubt on his reputation as a knight. |
| C．Because his music criticism failed to appeal to readers nowadays. |
| D．Because his works were quite amateur rather than professional. |
| A．The Distinguished Critics in Memory | B．The Lost Horizon in Newspapers |
| C．The Shortage of Literary Geniuses | D．The Newspapers of the Good Old Days |
