题目内容
（请给出正确答案）
[单选题]
This new style. of sports shoes is very popular and it is （） in all sizes.
A.important
B.active
C.available
D.famous
答案
C、available
如果结果不匹配，请 联系老师 获取答案
题目内容
（请给出正确答案）
答案
如果结果不匹配，请 联系老师 获取答案
题目内容
（请给出正确答案）
A.important
B.active
C.available
D.famous
答案
C、available
如果结果不匹配，请 联系老师 获取答案
更多“This new style. of sports shoe…”相关的问题
In the future there is no such thing as being an American manager. Even someone who spends an entire management career in Kansas City is in international management. He or she will compete with foreign firms, buy from foreign firms, sell to foreign films, or acquire financing from foreign banks.
The globalization of the world's capital markets that has occurred in the past 10 years will be replicated right across the economy in the next decade. An international perspective has become central to management. Without it managers are operating in ignorance and cannot understand what is happening to them and their firms.
Partly because of globalization and partly because of demography, the work forces of the next century are going to be very different from those of the last century. Most firms will be employing more foreign nationals. More likely than not, you and your boss will not be of the same nationality. Demography and changing social mores mean that white males will become a smaller fraction of the work force as women and minorities grow in importance. All of these factors will require changes in the traditional methods of managing the work force.
In addition, the need to produce goods and services at quality levels previously thought impossible to obtain in mass production and the spreading use of participatory management techniques will require a work force with much higher levels of education and skills. Production workers must be able to do statistical quality control; production workers must be able to do just in-time inventories. Managers are increasingly shifting from a "don't think, do what you are told" to a "think, I am not going to tell you what to do" style. of management.
This shift is occurring not because today's managers are more enlightened than yesterday's managers but because the evidence is rapidly mounting that the second style. of management is more productive than the first style. of management. But this means that problems of training and motivating the work force both become more central and require different modes of behavior.
In the world of tomorrow managers cannot be technologically illiterate regardless of their functional tasks within the firm. They don't have to be scientists or engineers inventing new technologies, but they have to be managers who understand when to bet and when not to bet on new technologies. If they don' t understand what is going on and technology effectively becomes a black box, they will fail to make the changes that those who do understand what is going on inside the black box make. They will be losers, not winners.
Today's CEOs are those who solved the central problems facing their companies 20 years ago. Tomorrow's CEOs will be those who solve central problems facing their companies today. Sloan hopes to produce a generation of managers who will be solving today's and tomorrow's problems and because they are successful in doing so they will become tomorrow's captains of business.
The author suggests that a manager should hold a (an) ______ view on management.
A．economical
B．geographical
C．international
D．financial
Perhaps the uniqueness of America's contribution to the 【27】______ can best be characterized through brief descriptions of several of the most important and best-known musicals. One of these is surely Oklahoma by Richard Rogers and Oscar Hamerstein. It burst 【28】______ popularity in 1943. Broadway audience and critics were 【29】______ by its 【30】______ , vitality and excitement. This "new" type of musical was 【31】______ as kind of 【32】______ theater in which the play, the music and lyrics, the dancing, and the scenic background were assembled not merely to provide entertainment and 【33】______ , but to 【34】______ in a single unifying whole to contribute to its unique feature. 【35】______ , it meant that the songs and dances should 【36】______ naturally out of the situations of the story and play an important part in carrying the action 【37】______ . In Oklahoma, an American folk-dance style. was organically combined with classical ballet and modem dance. It is fight to say that the musical was a brilliantly integrated performance by the talented dancers and singing actors.
Oklahoma also marked a new 【38】______ in the choice of story on which a musical is based. Writers and composers began to abandon the sentimentally picturesque or aristocratic setting 【39】______ more realistic stories in authentic social and cultural 【40】______ Oklahoma was based on a "folk" whose story dealt not only with young love but also with the opening of the American West.
【21】
A．number
B．amount
C．quantity
D．numbers
The history of responses to the work of the artist Sandro Botticelli (1444-1510) suggests gests that widespread appreciation by critics is a relatively recent phenomenon. Writing in 1550, Vasari expressed an unease with Botticelli's work, admitting that the artist fitted awkwardly into his evolutionary scheme of the history of art. Over the next two centuries, academic art historians defamed Botticelli in favor of his fellow Florentine, Michelangelo. Even when anti-academic art historians of the early nineteenth century rejected many of the standards of evaluation adopted by their predecessors, Botticelli's work remained out side of accepted taste, pleasing neither amateur observers nor connoisseurs. (Many of his best paintings, however, remained hidden away in obscure churches and private homes. )
The primary reason for Botticelli's unpopularity is not difficult to understand: most observers, up until the mid-nineteenth century, did not consider him to be noteworthy, because his work, for the most part, did not Seem to these observers to exhibit the traditional characteristics of fifteenth-century Florentine art. For example, Botticelli rarely employed the technique of strict perspective and, unlike Michelangelo, never used chiaroscuro.
Another reason for Botticelli's unpopularity may have been that his attitude toward the style. of classical art was very different from that of his contemporaries. Although he was thoroughly exposed to classical art, he showed little interest in borrowing from the classical style. Indeed, it is paradoxical that a painter of large-scale classical subjects adopted a style. that was only slightly similar to that of classical art.
In any case, when viewers began to examine more closely the relationship of Botticelli's work to the tradition of fifteenth-century Florentine art, his reputation began to grow. Analyses and assessments of Botticelli made between 1850 and 1870 by the artists of the Pre-Raphaelite movement, as well as by the' writer Pater (although he, unfortunately, based his assessment on an incorrect analysis of Botticelli's personality), inspired a new appreciation of Botticelli throughout the English-speaking world. Yet Botticelli's work, especially the Sistine frescoes, did not generate worldwide attention until it was finally subjected to a comprehensive and scrupulous analysis by Home in 1908. Home rightly demonstrated that the frescoes shared important features with paintings by other fifteenth-century Florentines-features such as skillful representation of anatomical proportions, and of the human figure in motion. However, Home argued that Botticelli did not treat these qualities as ends in themselves-rather, that he emphasized clear depletion of a story, a unique achievement and one that made the traditional Florentine qualities less central. Because of Home's emphasis crucial to any study of art, the twentieth century has come to appreciate Botticelli's achievements.
Which of the following would be the best title for the text？
A．The Role of Standard Art Analyses and Appraisals.
B．Sandro Botticelli: From Rejection to Appreciation.
C．The History of Critics' Responses to Art Works.
D．Botticelli and Florentine: A Comparative Study.
Passage One
Questions 21 to 25 are based on the following passage.
①Many of today’s most trusted sales techniques were invented over a century ago by a young merchant named Eaton in Toronto.21 When he was young, Eaton worked briefly with his brothers in small-town stores. In 1869, he set up his own shop in downtown Toronto. He had many competitors, but he was also ambitious and had a plan for success. He offered a unique style. of trade, but as was expected, all the other shopkeepers laughed at him, believing he would eventually fail. However, Eaton was not a man to be easily defeated; he came up with（To bring forth or discover ） a brand new notion of business – “Goods satisfactory, or money refunded.(to give back)” He sold all his goods at fixed prices and only for cash.23
②With a sharp sense of what the public wanted, he went out of the way(To inconvenience oneself in doing something beyond what is required.不怕麻烦地：超出要求之外做某事而使自己麻烦) to meet their needs. His business grew rapidly. He set up new branches and started mail order service that allowed people to buy from a list of his goods.
③Eaton’s list—advertisements of his day—was the first of its kind. It was distributed and read all over the country. It was the only way to access good-quality goods at reasonable prices for people living far away from big cites.25 It became part of their life. They even called it The Wishing Book. The secret of the list’s success was that Eaton gained the respect of these customers22; they trusted him for good prices and quality goods. Probably because he remembered his miserable early days in Ireland, Eaton thought much of the welfare of his employees: better working conditions, shorter weekday（除了周日或者除了周六周日）hours than his competitors and Saturday afternoons off in the summer. In all this, he was a leader.
21. The best description of Eaton is that ______.
A. he was the richest merchant in Toronto
B. he was a successful technical inventor
C. he introduced new sales practices
D. he changed people’s ideas about businessmen
In the mid 1940s, the Second World War came to an end, and denim blue jeans, previously worn almost exclusively as workwear, gained a new status in the U. S. and Europe. Rugged but relaxed, they stood for freedom and a bright future. Sported by both men and women, by returning GI's and sharp teenagers, they seemed as clean and strong as the people who chose to wear them. In Europe, surplus Levi's were left behind by American armed forces and were available in limited supplies. It was the European population's first introduction to the denim apparel. Workwear manufacturers tried to copy the U. S. originals, but those in the know insisted on the real thing.
In the 1950s, Europe was exposed to a daring new style. in music and movies and consequently jeans took on an aura of sex and rebellion. Rock'n'roll coming from America blazed a trail of defiance, and jeans became a symbol of the break with convention and rigid social morals. When Elvis Presley sang in "Jailhouse Rock", his denim prison uniform. carried a potent, virile image. Girls swooned and guys were quick to copy the King. In movies like "The Wild One" and "Rebel Without a Cause" cult figures Marion Brando and James Dean portrayed tough anti-heroes in jeans and T-shirts. Adults spurned the look; teenagers, even those who only wanted to look like rebels, embraced it.
By the beginning of the 1960s, slim jeans had become a leisure wear staple, as teens began to have real fun, forgetting the almost desperate energy of the previous decade, while cocooned (包围在) in wealth and security. But the seeds of change had been sown, and by the mid 1960s jeans had acquired yet another social connotation—as the uniform. of the budding social and sexual revolution. Jeans were the great equalizer, the perfect all-purpose garment for the classless society sought by the Hippy generation. In the fight for civil rights, at anti-war demonstrations off the streets of Paris, at sit-ins and love-ins everywhere, the battle cry was heard above a sea of blue.
Jeans were first designed for ______.
A．soldiers
B．workmen
C．teenagers
D．cowboys
Group as a non-executive director, but is uncertain as to the level and nature of her contribution to the strategic
thinking of the Group.
The Marlow Fashion Group had been set up by a husband and wife team in the 1970s in an economically depressed
part of the UK. They produced a comprehensive range of women’s clothing built round the theme of traditional English
style. and elegance. The Group had the necessary skills to design, manufacture and retail its product range. The
Marlow brand was quickly established and the company built up a loyal network of suppliers, workers in the company
factory and franchised retailers spread around the world. Marlow Fashion Group’s products were able to command
premium prices in the world of fashion. Rodney and Betty Marlow ensured that their commitment to traditional values
created a strong family atmosphere in its network of partners and were reluctant to change this.
Unfortunately, changes in the market for women’s wear presented a major threat to Marlow Fashion. Firstly, women
had become a much more active part of the workforce and demanded smarter, more functional outfits to wear at work.
Marlow Fashion’s emphasis on soft, feminine styles became increasingly dated. Secondly, the tight control exercised
by Betty and Rodney Marlow and their commitment to control of design, manufacturing and retailing left them
vulnerable to competitors who focused on just one of these core activities. Thirdly, there was a reluctance by the
Marlows and their management team to acknowledge that a significant fall in sales and profits were as a result of a
fundamental shift in demand for women’s clothing. Finally, the share price of the company fell dramatically. Betty and
Rodney Marlow retained a significant minority ownership stake, but the company had had a new Chief Executive
Officer every year since 2000.
Required:
(a) Write a short report to Susan Grant identifying and explaining the strategic strengths and weaknesses in the
Marlow Fashion Group. (12 marks)
听力原文：M: Say, Lisa, what are you watching？
W: An old Japanese film. I'm going to spend next year there, so I'd better start familiarizing myself with the culture (23) .
M: You mean you are accepted into the program？
W: Sure was.
M: That's wonderful. You must be very-excited.
W: Excited and nervous. You know I owe a lot to Professor Whitehead. He wrote a letter of recommendation for me and he bought me some tapes and books so I can work on my basic conversation skills (24) .
M: How much Japanese can you understand？
W: Not a lot right now. But I signed up for Intensive Japanese this semester.
M: I wish I were as talented as you are in foreign languages. I'd love to study abroad.
W: Then why don't you？ The university has lots of overseas programs that don't require mastery of a foreign language. The tuition is about the same. You just have to be the kind of person who is willing to accept new culture and who can also adapt to a different kind of life style. (25) .
M: Really？ I might check into this.
W: You won't regret it.
(20)
A．Taping some music.
B．Watching a film.
C．Making a video recording.
D．Writing a letter.
TV Commercials and Print Ads
Despite the fact that advertisers spend ＄ 44 billion on the major television networks and cable TV advertising, a new study show that consumers think print ads more entertaining and less offensive than television commercials. They study, conducted by Video Storyboard Tests in New York, showed that more consumers considered prints ads "artistic" and "enjoyable".
The 2, 000 consumers surveyed blasted TV ads compared to their print counterparts: 34 percent of respondents thought print ads were artistic, compared with 15 percent for television ads; 35 per cent thought print ads were enjoyable, compared to 13 percent for television; and, most surprising, 33 percent of consumers felt print ads were entertaining, compared to only 18 percent for TV ads. Much of the artistic impact and positive reaction to print ads comes from the illustrations used. The illustration is primary in creating the mood for a print ad, which ultimately affects consumers' feelings about the image of the brand.
While the study's sponsors were somewhat surprised by the survey results, some industry executives felt that print ads were finally getting the credit they deserve. Richard Kirshenbaum, chair and chief creative officer of Kirshenbaum, Bond & Partners, a New York advertising and public relations firm, is one such believer. In fact, Kirshenbaum says that when he looks to hire a person for a creative position in his agency, "I always look at the print book first because I think it is harder to come up with a great idea on a single piece of paper. "
But as impressed as computers say they are by the aesthetics (美学)and style. of print ads, televisions executives (as you might expect )dismiss the findings. One network official said, "Nothing will replace the reach and magnitude of an elaborately produced television spot. TV ads get talked about. Print ads don't. "
The sponsors of the concerned study are______.
A．advertisers
B．Video Story Tests
C．television executives
D．not specified
Fashion is a hard business. There is a continuous amount of stress because work is at a constant breakneck (高速而危险的) speed to prepare for the next season's collections. It is extremely competitive and there is the constant need to cultivate good coverage in newspapers and magazines. It al so requires continual freshness because the appetite for new ideas is hard to satisfy. "We try to warn people before they come to us about how tough it is," says Lydia Kemeny, the Head of Fashion at St. Martin's School of Art in London. "And we point out that drive and determination are essential."
This may seem far removed from the popular image of fashionable young people spending their time designing pretty dresses, That may well be what they do in their first year of study but a good college won't be slow in introducing students to commercial realities. "We don't stamp on the blossoming flower of creativity but in the second year we start introducing the constraints of price, manufacturability, marketing and so on."
Almost all fashion design is done to a brief. It is not a form. of self-expression as such, although there is certainly room for imagination and innovation. Most young designers are going to end up as employees of a manufacturer or fashion house and they still need to be able to work within the characteristic style. of their employer. Even those students who are most avant-garde (标新立异的) in their own taste of clothes and image may need to adapt to produce designs which are right for the main stream of market. They also have to be able to work at both tire exclusively expensive and the cheap end of the market and the challenge to produce good design inexpensively may well be demanding.
To be successful as a fashion designer you must ______.
A．have excellent academic qualifications
B．be able to handle business problems
C．be well established before you are 20
D．have taken an intensive commercial course
Women’s fashion is now, some believe, at the turning point of similar magnitude, coinciding with the equally dramatic social transformation of the past several decades. The change has been slow: a century long move away from the padding, corseting, and decoration that made a woman into a kind of ornate bauble(小摆设) and displayed her family’s wealth, and toward the clean, sleek modern lines first introduced with the suffrage movement.
But the shift has accelerated in recent years, thanks to changes in the technology and business of fashion. The use by top designers of "weird, fabulous, unrecognizable synthetics," says Hollander "has ruined the status of certain fabrics, like linen, which has had a leveling effect for the sexes and for' the classes." And the emergence of chains like Club Monaco means that "forward looking style. is disseminated very fast and very cheaply," according to Valerie Steele, a historian and curator of "Shoes: A Lexicon of Style," an exhibition now on view at New York’s Fashion Institute of Technology. Such stores have succeeded, she believes, because "there’s substantial group of people with a sophisticated eye for design" who are eager for an affordable version of what was once thought to be "dog-whistle fashion," pitched so high that only a few would get it. Against that back-ground, the shoes at FIT look like fashion’s last gasp. The exhibit begins with the most symbolically loaded of women’s shoes: high heels, which Steele calls "a prime symbol of women’s sexual power over men."
That same defiance of feminine expectations is visible throughout the FIT show: in the boot, for instance, with its connotations of machismo and. military power, or the androgynous oxford, made girlisl with a big chunky heel. The show ends, fittingly, with the sneaker. No longer simply a downscale kid wear item, the big, brilliantly colored, high-tech sneaker has become one of the today’s most dramatic fashion statements, asserting street hip and futuristic velocity. Maybe shoes aren’t so indifferent to the changes in modem lives, after all.
The end of men’s lavish attention to fashion marks
A．great political and social changes.
B．aristocracy.
C．social ranks.
D．the great renunciation.
The use of deferential (敬重的) language is symbolic of the Confucian ideal of the woman, which dominates conservative gender norms in Japan. This ideal presents a woman who withdraws quietly to the background, subordinating her life and needs to those of her family and its male head. She is a dutiful daughter, wife and mother, master of the domestic arts. The typical refined Japanese woman excels in modesty and delicacy; she "treads softly (谨言慎行) in the world," elevating feminine beauty and grace to an art form.
Nowadays, it is commonly observed that young women are not conforming to the feminine linguistic (语言的)ideal. They are using fewer of the very deferential "women's" forms, and even using the few strong forms that are known as "men's". This, of course, attracts considerable attention and has led to an outcry in the Japanese media against the defeminization of women's language. Indeed, we didn't hear about "men's language" until people began to respond to girls' appropriation of forms normally reserved for boys and men. There is considerable sentiment about the "corruption" of women's language—which of course is viewed as part of the loss of feminine ideals and morality—and this sentiment is crystallized by nationwide opinion polls that are regularly carried out by the media.
Yoshiko Matsumoto has argued that young women probably never used as many of the highly deferential forms as older women. This highly polite style. is no doubt something that young women have been expected to "grow into"—after all, it is a sign not simply of femininity, but of maturity and refinement, and its use could be taken to indicate a change in the nature of one's social relations as well. One might well imagine little girls using exceedingly polite forms when playing house or imitating older women—in a fashion analogous to little girls' use of a high-pitched voice to do "teacher talk" or "mother talk" in role play.
The fact that young Japanese women are using less deferential language is a sure sign of change—of social change and of linguistic change. But it is most certainly not a sign of the "masculinization" of girls. In some instances, it may be a sign that girls are making the same claim to authority as boys and men, but that is very different from saying that they are trying to be "masculine". Katsue Reynolds has argued that girls nowadays are using more assertive language strategies in order to be able to compete with boys in schools and out. Social change also brings not simply different positions for women and girls, but different relations to life stages, and adolescent girls are participating in new subcultural forms. Thus what may, to an older speaker, seem like "masculine" speech may seem to an adolescent like "liberated" or "hip" speech.
The first paragraph describes in detail ___________.
A．the standards set for contemporary Japanese women
B．the Confucian influence on gender norms in Japan
C．the stereotyped role of women in Japanese families
D．the norms for traditional Japanese women to follow
