题目内容

Born in the trough of the Great Depression, Edmund Phelps, a professor at Columbia University who won the Nobel Prize for economics, has spent much of his intellectual life studying slumps of a different kind. The Depression, which cost both of his parents their jobs, was exacerbated by the monetary, authorities, who kept too tight a grip on the money supply. Mr. Phelps is interested in unemployment that even open-handed central bankers cannot cure.
Most scholars stand on the shoulders of giants. But Mr. Phelps won his laurels in part tar kicking the feet from under his intellectual forerunners. In 1958 William Phillips, of the London School of Economics, showed that for much of the previous hundred years, unemployment was low in Britain when wage inflation was high, and high when inflation was low. Economists were too quick to conclude that policy makers therefore faced a grand, macroeconomic trade-off, embodied in the so-called "Phillips curve". They could settle for unemployment of, say, 6% and an inflation rate of 1%—as prevailed in America at the start of the 1960s—or they could quicken the economy, cutting unemployment by a couple of percentage points at the expense of inflation of 3% or so—which is roughly how things stood in America when Mr. Phelps published his first paper on the subject in 1967.
In such a tight lab our market, companies appease workers by offering higher wages. They then pass on the cost in the form. of dearer prices, cheating workers of a higher real wage. Thus policymakers can engineer lower unemployment only through deception. But "man is a thinking, expectant being,"as Mr. Phelps has put it. Eventually workers will cotton on, demanding still higher wages to offset the rising cost of living. They can be duped for as long as inflation stays one step ahead of their rising expectations of what it will be.
The stable trade-off depicted by the Phillips curve is thus a dangerous mirage. The economy will recover its equilibrium only when workers' expectations are fulfilled, prices turn out as anticipated, and they no longer sell their labour under false pretences. But equilibrium does not, sadly, imply full employment. Mr. Phelps argued that inflation will not settle until unemployment rises to its "natural rate", leaving some workers moldering on the shelf. Given economists' almost theological commitment to the notion that markets clear, the presence of unemployment in the world requires a theodicy to explain it. Mr. Phelps is willing to entertain several. But in much of his work he contends that unemployment is necessary to cow workers, ensuring their loyalty to the company and their diligence on the job, at a wage the company can afford to pay.
"Natural" does not mean optimal. Nor, Mr. Phelps has written, does it mean "a pristine element of nature not susceptible to intervention by man. " Natural simply means impervious to central bankers' efforts to change it, how much money they print.
Economists, including some of his own students, commonly take this natural rate to be slow moving, if not constant, and devote a great deal of effort to estimating it. Mr. Phelps, by contrast, has been more anxious to explain its fluctuations, and to recommend measures to lower it. His book Structural Slumps, published in 1994, is an ambitious attempt to provide a general theory of how the natural rate of unemployment evolves. Some of the factors that he considered important--unemployment benefits or payroll taxes, for example—are widely accepted parts of the story. Others are more idiosyncratic. He and his French collaborator, Jean-Paul Fitoussi, have, for example, blamed Europe's mounting unemployment in the 1980s in part on Ronald Reagan's budget deficits, which were expansionary at home, but squeezed employment in the rest of the world.
A few years ago David Walsh, an economic journalist, lamented that the glare of the Nobel Prize left other equally

A. unemployment is a hot potato for economists to study.
B. unemployment is the topic that interests Mr. Phelps the most.
C. Mr. Phelps's parents asked him to study unemployment.
D. Mr. Phelps's research is based on the existing research results.

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SECTION B INTERVIEW
Directions: In this section you will hear everything ONCE ONLY. Listen carefully and then answer the questions that follow. Questions 1 to 5 are based on an interview. At the end of the interview you will be given 10 seconds to answer each of the following five questions.
Now listen to the interview.
听力原文:W: This month we are speaking to Nick Bailey about his time in Hong Kong. Nick, why did you go to Hong Kong?
M: After I had finished university, I thought that it would be a good chance to go traveling. I'd also heard that there were some good acting opportunities for people who wanted to get into cinema or adverts or films, so I thought that would be a good chance to go and try it out in Hong Kong.
W: What were your first impressions of Hong Kong?
M: Well, as soon as you get off the plane you really, you notice the heat, it's like opening an oven door. It's really humid in Hong Kong. And then later you go to the city and it's quite amazing in the harbour and with all the tall buildings and it reminded me of the pictures I've seen of Sao Paolo, in Brazil.
W: And what were the best things about your stay there?
M: Well, the food is fantastic, you can go to these restaurants called Dim Sum restaurants, and it's like you're in this restaurant and it's massive, and there's lots of people there, and these old ladies pulling these trolleys around and they've got lots of little plates of Dim Sum. Dim Sum is basically little dumplings filled with mincemeat, or filled with chicken, or filled, or vegetables. They're really delicious, and you can have soy sauce as well, that's really great.
W: So the food is wonderful there. Anything else?
M: Also, there's lots of really interesting people there, in Hong Kong, you can get everything from Vietnam Vets to prostitutes to, to business men escaping from bad debts back home, it's quite interesting you get to meet a lot of different types of people, you know.
W: Did you come across anything undesired? Or what was your worst experience?
M: I was living on an island. It had a mountain and it was obviously surrounded by the city. There were no cars, and all were riding bicycles. But the worst thing about living there was that we were on a flat and there were lots of mosquitoes. I suppose they must have come from a pond or something. So at night I got bitten a lot.
W: So you did not live downtown? You lived on an island, not the main island I suppose? That must have given you a lot of inconvenience?
M: That's true, more or less. As I lived on an island, I had to get to the ferry in the morning, which meant I had to get up at 5:40 in the morning. Because the ferry is about 40 minutes. So that was too bad having to get up early.
W: Would you go back? Do you have a kind of plan to go there and find a more permanent job there?
M: I'd really like to go back. Since I left, it's come back to China. It went back in 1997. So I'd like really to see how it has changed, I’ve heard that it has changed a lot.
W: And what was the funniest thing that happened to you?
M: Well, lots of funny things happened really, but there was one funny incident in a post office. On the island where I lived, there was one post office. I went in there and all the blinds were pulled down. I went up to one of the windows and knocked on the window. After about a minute the blind went up and a little guy said, "yes, what do you want'?" And I said I'd got this letter and he was about to give me the stamp for England and then ! said that I needed to send it registered, and so he said, "oh, next counter" So, anyway he pulled the blind down there, and I went to the next counter and then a few seconds later the blind went up and it was the same guy there. I thought that was quite funny.
W: Did you have any problem with the language?
M: Yes. Although, you know, it was an English colony, a lot of people do speak English, taxi drivers don't

A. the amazing harbour
B. the fantastic food
C. the heat
D. the tall buildings

SECTION 4
Directions: Each question below consists of a word printed in capital letters followed by five lettered words or phrases. Choose the lettered word or phrase that is most nearly opposite in meaning to the word in capital letters. Since some of the questions require you to distinguish fine shades of meaning, be sure to consider all the choices before deciding which one is best.
OCCULT:

A. inoffensive
B. casual
C. insincere
D. slowly advanced
E. easily comprehensible

If Hunter's artistic work were to return to its earlier political forum, assessments of it

An evaluation that accords high status to her work
B. Acknowledgement of her political acumen but dismissal of her subject matter as contentious
C. Agreements with assessments made prior to the 1980's but acknowledgments of the evolution in her art work
D. Placement of her among the foremost artists of the pre-1980's
E. A reclassification of her work as psychoanalytical rather than political

According to Aristotle, the subjects of tragic drama were rightly drawn
from ancient mythology, a source considered invariably reliable, for it was
believed that if man had invented such strange incidents, they would have
Line appeared impossible. Furthermore, the chief characters of a tragic action should
(5) be persons of consequence, of exalted station, according to Aristotle, and the
leading personage should not be a man characterized by great virtue or great
vice, but of a mixed nature, a proclivity for errors and weaknesses that lead him
into misfortune. Such a mixture of good and evil makes the protagonist seem
like ourselves, thus more quickly arousing the spectator's sympathy, saturating
(10) him with feelings of compassion, driving out his petty personal emotions, and
thus "purging" the soul through pity and terror. The crimes suitable for tragic
treatment may be committed either in ignorance, or intentionally, and are
commonly against friends or relatives, though crimes committed intentionally
are generally the more dramatic and impressive-this in spite of the fact that
(15) the central crime in Oedipus the King was committed in ignorance. As to
style, a certain archaic quality of diction is needful to the dignity of tragedy.
Another of the most famous of the Aristotelian rules were those relating to
the so-called unities-of time, place, and action. The unity of time limits the
supposed action to the duration of a single day, unity of place limits it to one
(20) general locality; and unity of action limits the play to a single set of incidents
related as cause and effect, "having a beginning, a middle, and an end."
Concerning the unity of time, Aristotle noted that all the plays since Aeschylus,
except two, did illustrate such unity, but he did not lay down such a precept as
obligatory. Perhaps tacitly he assumed that the observance of the unity of place
(25) would be the practice of good playwrights, since the chorus was present during
the whole performance, and it would indeed be awkward always to devise an
excuse for moving fifteen persons about from place to place.0
A third unity, that of action, is bound up with the nature not only of Greek
but of all drama, for Aristotle conceived the action, or plot, of a play as of far
(30) greater importance than the characters. This conception he gained from the
plays of the fifth century generally centered around a personified passion rather
than around a character. Second in importance was characterization, and third
were the sentiments aroused by the action, for Aristotle insisted very clearly
that in tragedy the plot does not rise out of the characters, but that the plot
(35) tests the characters through the working-out of destiny, or "blind fate". The
main duty of the dramatist, therefore, was to first organize the action, then
display the moral character of people suffering the blows of fate.
The primary purpose of the passage is to

A. compare a philosopher's system of dramatic principles with that of the author's
B. enumerate one philosopher's view of the principles underlying good drama
C. analyze the similarities and dissimilarities between the various dramatic principles at work in Greek drama
D. contrast one philosopher's dramatic principles with those of the tradition that preceded him
E. demonstrate the wisdom and longevity in one philosopher's dramatic principles

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