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Scientists are uncovering the secrets of two port cities lost under the waters of the Mediterranean Sea, a researcher said yesterday.
Herakleion and Menouthis were rich and proud cities until something reduced them to rubble (碎石) and buried them in the mud beneath 30 feet of sea water, French underwater explorer Franck Goddio said at the American Geophysical Union conference.
“This is a mystery that is ongoing,” said Goddio, a founder of the European Institute of Marine Archeology, a Paris-based underwater research organization backed by the wealthy Hilti Foundation of Liechtenstein(列支敦士登基金会).
The destruction of the twin port cities has haunted Goddio ever since he happened upon the site about 15 miles from Alexandria while exploring sunken ships from Napoleon’s fleet.
Goddio and his group of expert divers, marine archeologists(海洋考古学家) and others, are using high powered vacuums, satellite navigation systems and sophisticated sonar(声纳) to excavate(挖掘) the sunken cities from underneath a carpet of silt about one meter (three feet) high.
Walls of shops, remains of streets and gold artifacts have been found and recovered.
Some experts believe that the port cities were destroyed by a series of massive earthquakes, much like the quakes scientists believe felled Troy(特洛伊城), Jericho and other ancient cities. The uniform direction of the collapsed columns and walls suggest an earthquake, Goddio said, but no fault lines have been found nearby.
Other researchers believe a massive wave, caused by either an offshore earthquake or a distant underwater landslide, could explain the catastrophe. Still others think rising seas and a shift in the Nile River outlet doomed the cities.
“The argument, as you can see, continues,” Goddio said.
The reason why the two port cities disappeared under the waters of Mediterranean Sea is that ______.

A．the two port cities were destroyed by huge earthquakes

B．the disappearance of the two port cities was caused by underwater landslide

C．rising seas and a shift in the Nile River outlet doomed the cities

D．the story didn’t tell us at all

From the story we can draw a conclusion that _______.

A．the two port cities were famous for their wealth and the mystery

B．the two cities belonged to France

C．some mysterious creatures from other planets destroyed the two cities

D．the American Geophysical Union conference was once held in one of the two cities

This article is probably from _______.

A．a scientific magazine	B．a report to the government
C．a school text book	D．a scientific report in a newspaper

Want a glance of the future of health care? Take a look at the way the various networks of people about patient care are being connected to one another, and how this new connectivity is being exploited to deliver medicine to the patient —no matter where he or she may be.
Online doctors offering advice based on normal symptoms(症状) are the most obvious example. Increasingly, however, remote diagnosis(远程诊断) will be based on real physiological data(生理数据) from the actual patient. A group from the University of Kentucky has shown that by using personal data assistance plus a mobile phone, it is perfectly practical to send a patient’s important signs over the telephone. With this kind of equipment, the cry asking whether there was a doctor in the house could well be a thing of the past.
Other medical technology groups are working on applying telemedicine to rural(countryside) care. And at least one team wants to use telemedicine as a tool for disaster need—especially after earthquakes. On the whole, the trend is towards providing global access to medical data and experts’ opinions.
But there is one problem. Bandwidth(宽带) is the limiting factor for sending complex(复杂的) medical pictures around the world — CT photos being one of the biggest bandwidth users. Communication satellites may be able to deal with the short-term needs during disasters such as earthquakes or wars. But medicine is looking towards both the second-generation Internet and third-generation mobile phones for the future of remote medical service.
Doctors have met to discuss computer-based tools for medical diagnosis, training and telemedicine. With the falling price of broadband communications, the new technologies should start a new time when telemedicine and the sharing of medical information, experts’ opinions and diagnosis are common.
The writer chiefly talks about _______.

A．the use of telemedicine	B．the on-lined doctors
C．medical care and treatment	D．communication improvement

The basis of remote diagnosis will be _______.

A．personal data assistance	B．some words of a patient
C．real physiological information	D．medical pictures from the Internet

Which of the following statements is true according to the text？

A．Patients don’t need doctors in hospitals any more.

B．It is impossible to send a patient’s signs over the telephone.

C．Many teams use telemedicine dealing with disasters now.

D．Broadband communications will become cheaper in the future.

The “problem” in the fourth paragraph refers to the fact that _______.

A．bandwidth isn’t big enough to send complex medical pictures

B．the second-generation of Internet has not become popular yet

C．communication satellites can only deal with short-term needs

D．there is not enough equipment for spreading the medical care

It is sometimes said that strange flying objects have been seen high up in the sky. People call these strange objects Unidentified Flying Objects (UFO). These UFOs caused a lot of interest. Some of the reports about them are difficult to believe. Some have been explained in scientific ways. Others have never been explained. Here is an account of UFOs from a report.
Dennis Burdens, who wrote an article, tells us that he once saw a UFO himself. He was having dinner one night with a friend near Tripoli, Libya, and after dinner the two men walked across a yard to his room to look at some papers. Burdens noticed that the moon looked strange that night.
“It wasn’t the moon ”, was the reply.
They watched the light and saw that it was moving. It seemed to be an object rather like a big plate. In some ways it looked like smoke with a light on it, but it wasn’t smoke because it didn’t change its shape. It was moving in a regular way. That is to say, it didn’t go suddenly faster or more slowly, and it didn’t go higher or lower. So the two men decided that there must be men in it.
After that, Burdens said that he felt eyes looking at him. He was being watched in the darkness.
When it was nearer, they noticed that the bottom parts were brighter than the top. The bottom was yellow and the top red. Then the object suddenly turned away and left Libya, moving very fast.
On a later day Burdens talked to other people about it, and he found some who had seen it. They all described it in the same way. Could they all be mistaken?
UFOs are _____.

A．flying high up in the sky	B．strange flying objects
C．difficult to believe	D．very interested

A UFO was seen one night _____.

A．when they were walking across a yard to Burdens’ room

B．while they were looking at the light

C．when Burdens noticed the moon appearing strange

D．while they were having dinner

The UFO moved _______.

A．regularly

B．in a changeable way

C．slowly

D．fast

The UFO looked like _____ .

A．smoke

B．a large plate

C．light

D．a jumping object

The UFO was seen ______ .

A．by Burdens and his friend	B．brighter in the darkness
C．by several people	D．to have a yellow bottom and a red top in the same way

The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century, the defence of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.
Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves—anything but making works of art. They are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art. It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.
Photographers’ disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art. For example, those photographers who suppose that, by taking pictures, they are getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of painting. Much of photography’s prestige today derives from the convergence of its aims with those of recent art, particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the 1960’s. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist painting—that is, abstract art as developed in different ways by Picasso, Kandinsky, and Matisse—presupposes highly developed skills of looking and a familiarity with other paintings and the history of art. Photography, like Pop painting, reassures viewers that art is not hard; photography seems to be more about its subjects than about art.
Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity—in short, an art.
What is the author mainly concerned with? The author is concerned with
[A]. defining the Modernist attitude toward art.
[B]. explaining how photography emerged as a fine art.
[C]. explaining the attitude of serious contemporary photographers toward photography as art and placing those attitudes in their historical context.
[D]. defining the various approaches that serious contemporary photographers take toward their art and assessing the value of each of those approaches.
Which of the following adjectives best describes “the concept of art imposed by the triumph of Modernism” as the author represents it in lines 12—13?
[A]. Objective [B]. Mechanical. [C]. Superficial. [D]. Paradoxical.
Why does the author introduce Abstract Expressionist painter?
[A]. He wants to provide an example of artists who, like serious contemporary photographers, disavowed traditionally accepted aims of modern art.
[B]. He wants to set forth an analogy between the Abstract Expressionist painters and classical Modernist painters.
[C]. He wants to provide a contrast to Pop artist and others.
[D]. He wants to provide an explanation of why serious photography, like other contemporary visual forms, is not and should not pretend to be an art.
How did the nineteenth-century defenders of photography stress the photography?
[A]. They stressed photography was a means of making people happy.
[B]. It was art for recording the world.
[C]. It was a device for observing the world impartially.
[D]. It was an art comparable to painting.

When we say that Cambridge is a university town, we do not mean just that it is a town with a university in it. Manchester and Milan have universities, but we do not call them university towns. A university town is one where there is no clear separation between the university buildings and the rest of the city. The university is not just one part of the town; it is all over the town. The heart of Cambridge has its shops, pubs, market-place and so on, but most of it is university-colleges, faculties, libraries, clubs and other places for university staff and students. Students fill the shops, cafes, banks, and churches, making these as well part of the university.,
The town was there first. Two Roman roads crossed there, and there are signs of building before Roman times (earlier than A.D. 43). Cambridge became a center of learning, and the authority of the head of the university was recognized by the king in 1226.
With about 8,250 undergraduates and over2,000 postgraduates, the city is a busy place in “full term” .Undergraduates are not allowed to keep cars in Cambridge, so nearly all of them use bicycles. Don’t try to drive through Cambridge during the five minutes between lectures. Your bicycle must go through a boiling sea of other bicycles hurrying in all directions, if you are in Cambridge at five minutes to the hour any morning of full term, you know that you are in a university town.
What is called a university town?
A.A town with a university in it
B.B. A university with a town in it.
C. One where there is no clear separation between a university and a town.
D.One where there are both a university and a town.
How many students does Cambridge have?

A．Eight thousand, two hundred and fifty.	B．Two thousand.
C．Ten thousand.	D．More than ten thousand.

Which of the following is NOT mentioned in the passage?

A．the university is all over the town

B．the town came earlier than the university

C．during the five minutes between lectures, your bicycle must go through other bicycles hurrying in all directions.

D．the teachers have many strange ways of making their lectures lively and interesting.

What’s the title of the passage?

A．Cambridge—A University Town.	B．Cambridge – A Centre of Learning
C．Cambridge with Many Students.	D．Cambridge with a Long History