题目内容
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The author suggests that in Canada during the 1950's ______.
A．the urban population decreased rapidly
B．the birth rate was very high
C．economic conditions were poor
D．fewer people married
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Recent research by Professor Charles R. Schwenk, however, suggests that the optimal level of conflict may be more complex to determine than these simple generalizations. He studied perceptions of conflict among a sample of executives. Some of the executives worked for profit seeking organizations and others for not-for-profit organizations.
Somewhat surprisingly, Schwenk found that opinions about conflict varied systematically as a function of the type of organization. Specially, managers in not-for-profit organizations strongly believed that conflict was beneficial to their organizations and that it promoted higher quality decision making than might be achieved in the absence of conflict.
Managers of for-profit organizations saw a different picture. They believed that conflict generally was damaging and usually led to poor-quality decision making in their organizations. Schwenk interpreted these results in terms of the criteria for effective decision making suggested by the executives. In the profit-seeking organizations, decision-making effectiveness was most of ten assessed in financial terms. The executives believed that consensus rather than conflict enhanced financial indicators.
In the not-for-profit organizations, decision-making effectiveness was defined from the perspective of satisfying constituents. Given the complexities and ambiguities associated with satisfying many diverse constituents executives perceived that conflict led to more considered and acceptable decisions.
In the eyes of the author, conventional opinion on conflict is ________.
A．wrong
B．oversimplified
C．misleading
D．unclear
But my own worry today is less that of the overwhelming problem of elemental literacy than it is of the slightly more luxurious problem of the decline in the skill even of the middle-class reader, of his unwillingness to afford those spaces of silence, those luxuries of domesticity and time and concentration, that surround the image of the classic act of reading, it has been suggested that almost 80 percent of America's literate, educated teenagers can no longer read without an accompanying noise (music) in the background or a television screen flickering at the corner of their field of perception. We know very little about the brain and how it deals with simultaneous conflicting input, but every common-sense intuition suggests we should be profoundly alarmed. This violation of concentration, silence, solitude goes to the very heart of our notion of literacy; this new form. of part-reading, of part-perception against background distraction, renders impossible certain essential acts of apprehension and concentration, let alone that most important tribute any human being can pay to a poem or a piece of prose he or she really loves, which is to learn it by heart. Not by brain, by heart; the expression is vital.
Under these circumstances, the question of what future there is for the arts of reading is a real one. Ahead of us lie technical, psychic, and social transformations probably much more dramatic than those brought about by Gutenberg, the German inventor in printing. The Gutenberg revolution, as we now know it, took a long time; its effects are still being debated. The information revolution will touch every fact of composition, publication, distribution, and reading. No one in the book industry can say with any confidence what will happen to the book as we've known it.
The picture of the reading ability of the American people, drawn by the author, is ______.
A．rather bleak
B．fairly bright
C．very impressive
D．quite encouraging
In his book The Tipping Point, Malcolm Gladwell argues that " social epidemics" are driven in large part by the actions of a tiny minority of special individuals, often called influential, who are unusually informed, persuasive, or well-connected. The idea is intuitively compelling, but it doesn't explain how ideas actually spread.
The supposed importance of influentials derives from a plausible-sounding but largely untested theory called the "two-step flow of communication" : Information flows from the media to the influentials and from them to everyone else. Marketers have embraced the two-step flow because it suggests that if they can just find and influence the influentials, those select people will do most of the work for them. The theory also seems to explain the sudden and unexpected popularity of certain looks, brands, or neighborhoods. In many such cases, a cursory search for causes finds that some small group of people was wearing, promoting, or developing whatever it is before anyone else paid attention. Anecdotal evidence of this kind fits nicely with the idea that only certain special people can drive trends.
In their recent work, however, some researchers have come up with the finding that influentials have far less impact on social epidemics than is generally supposed. In fact, they don't seem to be required at all.
The researchers' argument stems from a simple observation about social influence: With the exception of a few celebrities like Oprah Winfrey—whose outsize presence is primarily a function of media, not interpersonal, influence—even the most influential members of a population simply don' t interact with that many others. Yet it is precisely these non-celebrity influentials who, according to the two-step-flow theory, are supposed to drive social epidemics, by influencing their friends and colleagues directly. For a social epidemic to occur, however, each person so affected must then influence his or her own acquaintances, who must in turn influence theirs, and so on; and just how many others pay attention to each of these people has little to do with the initial influential. If people in the network just two degrees removed from the initial influential prove resistant, for example, the cascade of change won't propagate very far or affect many people.
Building on the basic truth about interpersonal influence, the researchers studied the dynamics of social influence by conducting thousands of computer simulations of populations, manipulating a number of variables relating to people's ability to influence others and their tendency to be influenced. They found that the principal requirement for what is called "global cascades"—the widespread propagation of influence through networks—is the presence not of a few influentials but, rather, of a critical mass of easily influenced people.
By citing the book The Tipping Point, the author intends to （）.
A.analyze the consequences of social epidemics.
B.discuss influentials' function in spreading ideas.
C.exemplify people' s intuitive response to social epidemics.
D.describe the essential characteristics of influentials.
Creativity
Creativity is neither something learned by applying a formula nor is it the unfettered, chaotic product of a genius. Instead, creativity should be viewed as an individualized process that helps the creator find order within chaos (or vice versa).
Creativity seems to emerge from multiple experiences, coupled with a well-supported development of personal resources, including a sense of freedom to venture beyond the known. To create is to "bring into or cause to come into existence; make; originate".
I find most often that my creative product IS my scholarship. Whether I compile a script, enact a performance art installation, or construct a fragmented review of a performance, I take a leap and then look around to see what I've gotten myself into. Although my scholarship takes many forms (screenplays; non-linear narratives; and combinations of video, sound, and movement pieces), initially my research resembles a puzzle, a collage of images and texts that do not seem to go together. I appear to have gotten into a mess, which is exactly where I had hoped to be. For me, creativity is a messy process that leads to the creation of "messy texts".
I will provide you with my working definition of creativity. Next, I will discuss the concept of "messy texts," including a brief historical overview of how such expressive forms of scholarship developed. Third, I will explain how and why I wrote a messy text. Finally, I will challenge you to write a messy text of your own.
Creativity is just something that's always been a part of my life. Ever since I first drew cartoon heads in the margins of our family Bible, I have been labeled "creative". Infrequent name calling aside, I always embraced and welcomed tile label. Teachers and family members encouraged it. I felt appreciated despite my perceived "kookiness" because some people valued my creative innovations and willingness to view things from multiple perspectives.
This willingness to innovate is alluded to in self-growth guru Gail Sheehy's book Pathfinders (1981). She suggests that we should think of creativity as a four-part process: 1) Preparation, 2) Incubation, 3) Immersion & Illumination, and 4) Revision. Although interesting, Sheehy's description of the creative process does not really capture the essence of my own creative process. However, I finally found one that provided the flexibility I needed. Franklin Baer, a public health physician fascinated with the topic of creativity has created an interactive web page that can help anyone create her/his own personalized creativity process. So I went to the site and created my own process, an acronym using the letters of the word CREATE:
Collect — gather information from a variety of sources
Reflect — generate many ideas, questions, and responses to the information
Embrace — select which idea(s) to focus on and expand
Amend — work with an idea until it begins to take shape
Toil — become obsessed with a project until it is complete
Exhibit — find a venue for displaying the creative product.
These verbs come closest to describing how the creative process works for me.
According to the first paragraph, the author would most likely agree with the idea that
A．the creative process is neither chaotic nor orderly.
B．the creative process is both chaotic and orderly.
C．the creative process is either chaotic or orderly.
D．the creative process is an individualized one.
An author must not be too______to criticism.
A．sensible
B．sensitive
C．senseless
D．insensible
According to the author, the 18th-century philosophers began to believe in ______ .
A．God
B．nature
C．their relation to God and nature
D．the ordinary people including you and me
The author believes 'that, in Western society, dreams arc considered to be ______.
A．shameful
B．beneficial
C．unimportant
D．artistic
Tile author raises issues that would most concern which of the following groups？
A．Electricians.
B．Environmentalists.
C．Aviators.
D．Teachers.
The author thinks that the current school calendar ______.
A．is still valid
B．is out of date
C．cannot be revised
D．cannot be defended
In discussing the role of SF, the author focuses on ______
A．its main characteristics.
B．its general assumptions.
C．its social impact.
D．its utter fabrications.
The author thinks that the influence of hard times on society is____.
[A]certain
[B]positive
[C]trivial
[D]destructive
