题目内容
Shopping for clothes is not the【61】experience for a man as it is for a woman. A man goes shopping because he needs something. His purpose is settled and decided in【62】. He knows what he wants,【63】his objective is to find it and buy it; the price is a secondary【64】All men simply walk into a shop and ask【65】what they want. If the shop has it in【66】, the salesman promptly produces it, and the business of【67】it on proceeds at once. All【68】well, the deal can be and often is completed【69】less than five minutes, with【70】chat and to everyone' s satisfaction.
Now how does a woman go【71】buying clothes？ Her shopping is not always【72】on needs. She has【73】fully made up her mind what she wants, and she is only " having a look【74】". She is always open to【75】, indeed she gets great store by what the salesman tells her, even by what companions tell her. She will try on any number of things. Uppermost in her mind【76】the thought of finding something that everyone thinks suits her.【77】to a lot of jokes, most women have an excellent sense of value when they buy clothes. They are always in the lookout for the unexpected【78】. Faced with a roomful of dresses, a woman may easily【79】an hour going from one rail to another, to and fro, often retracing her steps, before selecting the dresses she wants to try on. It is a laborious process, but apparently an【80】one. Most dress shops provide chairs for the waiting husbands.
(61)
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A．persuasionB．wordsC．fashionD．deal
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Part A
Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D . Mark your answers on ANSWER SHEET 1.
Marion Brando is the overwhehningly outstanding creative artist among contemporary American film actors. Kirk Douglas can sometimes match Brando in force, but he lacks Brando's subtlety and pathos'; Burt Lancaster has comparable ambition but small talent. Brando begins with a good actor's instrument -- his body. Not a huge man, he is both solid and lithe. We are, perhaps, too much aware of the basic physical effect of his chest partially covered by a torn undershirt. But, more to the point, Marlon Brando seems to carry in him a silently humming dynamo of energy, bridled and instantly ready. Whenever he moves, something seems to impend. Indisputably, there is in acting an element that is often called star quality; in Brando, it is this constant hint of possible lightning.
Actors, even more than most artists, are restricted by their personalities, but Brando strives to expand as far as possible, to use himself in playing other people rather than to bring those people to himself. In The Young Lions, for instance, we can see at once that he has caught perfectly the stiff cordiality, the slightly declamatory speech, the somewhat angular movements, the charm and the consciousness of charm that create another man -- Diestl -- for us. Yet, Brando shows us that paradox which is part of the fascination of acting because he is also always and unmistakably Brando, not some flavorless hack with a wig and a putty nose and a laboriously disguised voice.
Brando has evolved a personal style. which relies largely on understatement and the liberal use of pauses. Often the effect is heartbreaking; remember the poignancy he evoked from the vapid monosyllabic "Wow" in On the Waterfront, when he realized that his brother was threatening his life. Occasionally, his style. lapses out of meaning and into mannerism; some of Sayonara could have used compression.
But in essence, Brando reflects in his style. -- as actors often do -- the prevalent artistic vein of his day. Kemble exemplified the classic, elegant 18th century; Kean, the wild, torrential romantics of the early 19th century; Irving, the elaborate majesty of the late Victorians. I compare Brando to these luminaries only to draw a parallel. He is a taciturn realist: an epitome not of that joyous, realistic revolution which swept away the humbug that had obscured the contours of the world, but of that generation, born into realism, which has seen its world with harsh clarity, and whose work is to reconcile itself to that world's revealed boundaries and to find its triumphs inwardly.
The author suggests that Brando's success as an actor is due, in part, to ______.
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