题目内容

Directions: The following is a list of road signs. After reading it, you are required to find the items equivalent to (与……等同) those given in Chinese in the table below. Then you should put the corresponding letters in the brackets on the Answer Sheet, numbered 6 through 10.
A--No parking in front of this gate
B--Guest&39;s ear park
C--Dangerous bend
D--Diverted traffic
E--Limited parking
F--Low bridge ahead
G--New hours of parking control
H--Entry to motorway
I--Parking for taxis only
J--No entry
K--Pedestrian crossing ahead
L--Peak hours only
M--Please drive carefully
N--Road closed
O--Speed limit of 48 kmh
P--In case of fire, stay in vehicle
Q--One way
6. ()弯道危险 ()访客停车场
7. ()此路封闭 ()只准许出租车停
8. ()前方桥低 ()只限高峰时段
9. ()禁止驶入 ()限速每小时48公里
10. ()单行道 ()停车位有限

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The list below gives some of the factors that are necessary to assist the revitalisation of a language within a community.
Which THREE of the factors are mentioned by the writer of the text？
Write the appropriate letters A-G in boxes 33-35 on your answer sheet.
A——the existence of related languages
B——support from the indigenous population
C——books tracing the historical development of the language
D——on-the-spot help from language experts
E——a range of speakers of different ages
F——formal education procedures
G——a common purpose for which the language is required
【33】

X
123 4
P
0.2 0.3α 0.4
(1)求常数α；
(2)求X的数学期望E(X)．

① Total Physical Response
② the Silent Way
③ Community Language Learning
④ Suggestopaedia
⑤ Three Dimensional Approach
B: the advocator or practitioner
a. J. Asher
b. G. Lozanov
c. Zhang Zhengdong
d. Charles A. Curran
e. Gattegno
①

听力原文： Broadly speaking, there are two types of paintings: representational and abstract. The former portrays specific, recognizable physical objects.
For most of history, the primary purpose of painting had been to portray images. Starting with the Post-Impressionists, however, the emphasis began to shift to unconscious feeling.
There are two types of abstract paintings. "Abstracted" paintings may not look realistic, but you can get an idea of what you are looking at. "Pure" abstract paintings are just shapes, colors, lines, patterns, and so on.
In truth, there is a lot more to abstract art than what meets the eye. To truly appreciate a work of art, you need to understand there must be context involved and a particular environment created. More importantly, art allows us indirect access to our inner psyche. Great art affords a way to get in touch with the unconscious part of our existence, even if we don't realize what we are doing.
The reason abstract art has the potential to be so powerful is that it keeps the conscious distractions to a minimum. This, of course, only works if you cooperate with the artist. If you are to truly appreciate a work of art, you must be willing to let yourself go, to put yourself in the hands of the artist, so to speak, and let him take you wherever he wants.
Broadly speaking, there are two types of paintings :【21】and abstract. The former portrays specific, recognizable physical objects.
For most of history, the primary purpose of painting had been to portray images. Starting with the Post-Impressionists, however, the【22】began to shift to unconscious feeling.
There are two types of abstract paintings. "【23】" paintings may not look realistic, but you can get an idea of what you are looking at. "【24】" abstract paintings are just shapes, colors, lines, patterns ,, and so on.
In truth, there is a lot more to abstract art than what meets the eye. To truly appreciate a work of art, you need to understand there must be【25】involved and a particular【26】created. More importantly, art allows us indirect access to our inner【27】. Great art affords a way to get in touch with the unconscious part of our【28】, even if we don't realize what we are doing.
The reason abstract art has the【29】to be so powerful is that i: keeps the conscious distractions to a minimum. This, of course, only works if you【30】with the artist. If you are to truly appreciate a work of art, you must be willing to let yourself go, to put yourself in the hands of the artist, so to speak, and let him take you wherever he wants.
(21)