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1、Section Use of English Directions: Read the following text. Choose the best word(s) for each numbered blank and mark A, B, C or D on Answer Sheet 1. (10 points) Most worthwhile careers require some kind of specialized training. Ideally, therefore, the choice of an 1 should be made even before choice
2、 of a curriculum in high school. Actually, 2 , most people make several job choices during their working lives, 3 because of economic and industrial changes and partly to improve their position. The one perfect job does not exist. Young people should 4 enter into a broad flexible training program th
3、at will fit them for a 5 of work rather than for a single job. Unfortunately many young people have to make career plans 6 benefit of help from a competent vocational counselor or psychologist. Knowing 7 about the occupational world, or themselves for that matter, they choose their lifework on a hit
4、-or-miss 8 . Some drift from job to job. Others 9 to work in which they are unhappy and for which they are not fitted. One common mistake is choosing an occupation for its real or 10 prestige. Too many high瞫chool students or their parents for them choose the professional field, 11 both the relativel
5、y small proportion of workers in the professions and the extremely high educational and personal 12 . The prestige that people tend to 13 to a profession or a white-collar job is no good reason for choosing it as lifes work. 14 , these occupations are not always well paid. Since a large 15 of jobs a
6、re in mechanical and manual work, the majority of young people should give serious 16 to these fields. Before making an occupational choice, a person should have a general idea of what he wants 17 life and how hard he is willing to work to get it. Some people desire social prestige, others intellect
7、ual 18 . Some want security; others are willing to take 19 for financial gain. Each occupational choice has its demands as well as its 20 . 1. A identification B entertainment C accommodation D occupation 2. A however B therefore C though D thereby 3. A entirely B mainly C partly D his 4. A since B
8、therefore C furthermore D forever 5. A place B chance Cfield D opening 6. A to B for C without D with 7. A little B few C much D a lot 8. A chance B basis C purpose D opportunity 9. A apply B appeal C stick D turn 10. A imagined B substantial C acquired D demanded 11. A concerning B following C cons
9、idering D disregarding 12. A preferences B requirements C tendencies D ambitions 13. A contribute B attach C attribute D allot 14. A Therefore B However C Nevertheless D Moreover 15. A proportion B part C quanitity D batch 16. A proposal B suggestion C consideration D appraisal 17. A towards B again
10、st C out of D without 18. A knowledge B satisfaction C culture D sensitivity 19. A turns B parts C choices D risks 20. A awards B requirements C results D needs Section Reading Comprehension Part A Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or
11、 D. Mark your answers on Answer Sheet 1. (40 points) Text 1 It is said that people buy contemporary art when they are confident about the future and old art when they are not. Conventional wisdom has it that older art holds its value, while contemporary stuff is for risk-lovers. William Goetzmann, a
12、 professor at Yale, estimates that during the last art-market depression, which set in after 1990, impressionist and contemporary works fell by most (51% and 40% respectively), while Old Masters suffered least (down by 16%). Yet despite the ups and downs, contemporary works have been rewarding for t
13、hose who are prepared to hang on: according to Jianping Mei and Michael Moses, professors at New York University (NYU) since 1970 the returns on contemporary art have far exceeded those on Old Masters and 19th-century paintings. Since the late 1980s, more sophisticated analysis of the art market and
14、 a growing interest in alternative investments have spurred the creation of several new investment funds focused on art. At a recent conference organised by one of these, the Fine Art Fund, Rachel Campbell of Maastricht University pointed out the low correlation between returns on art and on those o
15、ther investments. Given that it usually pays to diversify, that is a good argument for investing in art, whatever your taste. The Fine Art Fund, which began buying this April (and has 36% of its money in cash), advises that investors spread their art allocation fairly evenly between Impressionists, Old Masters, modern art and contemporary works. Contemporary art, in particular, has served rich investors well in the past few years. Prices stayed stable when stock mar
