Text 2
Today business cards are distributed by working people of all social classes, illustrating not only the uniquity of commercial interests but also the fluidity of the world of trade. Whether one is buttonholing potential clients for a carpentry service, announcing one’s latest academic appointment, or “networking” with fellow executives, it is permissible to advertise one’s talents and availability by an outstretched hand and the statement "H6re’s my card." As Robert Louis Stevenson once observed, everybody makes his living by selling something. Business cards facilitate this endeavor.
It has not always been this way. The cards that we use today for commercial purposes are a vulgarization of the nineteenth-century social calling cards, an artifact with a quite different purpose. In the Gilded Age, possessing a calling card indicated not that you were interested in forming business relationships, but that your mo
A. you have an old pound note
B. your money was useless
C. you have a lot of money
D. you inherited a fortune from your ancestors
Text 2
Today business cards are distributed by working people of all social classes, illustrating not only the uniquity of commercial interests but also the fluidity of the world of trade. Whether one is buttonholing potential clients for a carpentry service, announcing one’s latest academic appointment, or “networking” with fellow executives, it is permissible to advertise one’s talents and availability by an outstretched hand and the statement "H6re’s my card." As Robert Louis Stevenson once observed, everybody makes his living by selling something. Business cards facilitate this endeavor.
It has not always been this way. The cards that we use today for commercial purposes are a vulgarization of the nineteenth-century social calling cards, an artifact with a quite different purpose. In the Gilded Age, possessing a calling card indicated not that you were interested in forming business relationships, but that your mo
A. at the beginning of nineteenth century
B. at the beginning of twentieth century
C. before the nineteenth-century
D. after World War I
Text 2
Today the study of language in our schools is somewhat confused. It is the most traditional of scholastic subjects being taught in a time when many of our traditions no longer fit our needs. You to whom these pages are addressed speak English and are therefore in a worse case than any other literate people.
People pondering the origin of language for the first time usually arrive at the conclusion that it developed gradually as a system of conventionalised grunts, hisses, and cries and must have been a very simple affair in the beginning. But when we observe the language behavior of what we regard as primitive cultures, we find it strikingly elaborate and complicated. Stefansson, the explorer, said that "In order to get along reasonably well an Eskimo must have at the tip of his tongue a vocabulary of more than 10,000 words, much larger than the active vocabulary of an average businessman who speaks English. Moreover these Eskimo words are far m
A. primitive language may be large, complex, and complicated
B. primitive language may be large, complex, and logical
C. primitive language may be large, old, and logical
D. primitive language may be similar to pidgin English
Text 2
We know today that the traditions of tribal art are more complex and less "primitive" than its discoverers believed; we have even seen that the imitation of nature is by no means excluded from its aims. But the style of these ritualistic objects could still serve as a common focus for that search for expressiveness, structure, and simplicity that the new movements had inherited from the experiments of the three lonely rebels: Van Gogh, Cezanne, and Gauguin.
The experiments of Expressionism are, perhaps, the easiest to explain in words. The term itself may not be happily chosen, for we know that we are all expressing ourselves in everything we do or leave undone, but the word became a convenient label because of its easily remembered contrast to Impressionism, and as a label it is quite useful. In one of his letters, Van Gogh had explained how he set about painting the portrait of a friend who was very dear to him. The conventional likeness
A. makes the public suspect their true motives.
B. displayed too much of the dark side of the human society.
C. was characteristic of an insistence on harmony and beauty.
D. reflected the objective world insincerely.
我来回答:
