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This story began about 10 years age. I was coming out of a very bad marriage. For seven lo

ng years my husband spent his every waking moment telling me just what was wrong with me. When I finally asked for a divorce, he answered by telling me that I would never find anyone to love me because I was just so unattractive. This went on for about two years. One night one of my friends convinced me to go out with her. We went to a nightclub and that's when I met him.

Clint was playing a game with a girl. I sat in the corner watching him. I didn't feel that I had whatever it took to get up and mix with others because of my self-esteem problem. Finally I got up the courage to order a drink for him. When he got it, he gave me the most dazzling smile. We spent the rest of the evening talking until I realized that it was almost morning. I figured that he was simply being nice to me because I had bought him a drink, but the very next day he called and told me that he could not stop thinking about me and that he wanted to meet my kids too.

(81) About 3 months later, my divorce was final and Clint sat my boys down and asked them if it was all right with them if he asked me to marry him because he could not imagine life without the three of us anymore. I was so touched that he went to my boys and asked for their approval because they were the "men of the house" at the ripe old ages of 2 and 4. They said yes and we have all been together ever since. Clint gave me and my boys a second chance at a wonderful life. (82) Not a day goes by that he doesn't tell we are the best thing that ever has happened to him and that he loves us.

The writer's first marriage was unsuccessful because______ .

A.her husband often woke her up at midnight

B.her husband kept criticizing her

C.she was unattractive

D.she had a self-esteem problem

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更多“This story began about 10 year…”相关的问题
第1题
It is acknowledged that the modem musical show is America's most original and dynamic cont
ribution toward theater. In the last quarter of 20th century, America has produced large 【21】______ of musical plays that have been popular abroad 【22】______ at home. 【23】______ , it is very difficult to explain 【24】______ is new or 【25】______ American about them, for the 【26】______ are centuries old.

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

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第2题
The history of responses to the work of the artist Sandro Botticelli (1444-1510) suggests

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.

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第3题
The fox really exasperated them both. As soon as they had let the fowls out, in the early
summer mornings, they had to take their guns and keep guard; and then again as soon as evening began to mellow, they must go once more. And he was so sly. He slid along in the deep grass; he was difficult as a serpent to see. And he seemed to circumvent the girls deliberately. Once or twice March had caught sight of the white top of his brash, or the ruddy shadow of him in the deep grass, and she had let fire at him. But he made no account of this.

The trees on the wood-edge were a darkish, brownish green in the full light, for it was the end of August. Beyond, the naked, copper-like shafts and limbs of the pine trees shone in the air. Nearer the rough grass, with its long, brownish stalks all agleam, was full of light. The fowls were round about—the ducks were still swimming on the pond under the pine trees. March looked at it all, saw it all, and did not see it. She heard Banford speaking to the fowls in the distance and she did not hear. What was she thinking about? Heaven knows. Her consciousness was, as it were, held back.

She lowered her eyes, and suddenly saw the fox. He was looking up at her. His chin was pressed down, and his eyes were looking up. They met her eyes. And he knew her. She was spellbound—she knew he knew her. So he looked into her eyes, and her soul failed her. He knew her, he was not daunted.

She straggled, confusedly she came to herself, and saw him making off, with slow leaps over some fallen boughs, slow, imprudent jumps. Then he glanced over his shoulder, and ran smoothly away. She saw his brush held smooth like a feather, she saw his white buttocks twinkle. And he was gone, softly, soft as the wind.

She put her gun to her shoulder, but even then pursed her mouth, knowing it was nonsense to pretend to fire. So she began to walk slowly after him, in the direction he had gone, slowly, pertinaciously. She expected to find him. In her heart she was determined to find him. What she would do when she saw him again she did not consider. But she was determined to find him. So she walked abstractedly about on the edge of the wood, with wide, vivid dark eyes, and a faint flush in her cheeks. She did net think. In strange mindlessness she walked hither and hither...

As soon as supper was over, she rose again to go out, without saying why.

She took her gun again and went to look for the fox. For he had lifted his eyes upon her, and his knowing look seemed to have entered her brain. She did not so much think of him: she was possessed by him. She saw his dark, shrewd, unabashed eye looking into her, knowing her. She felt him invisibly master her spirit. She knew the way he lowered his chin as he looked up, she knew his muzzle, the golden brown, and the grayish white. And again she saw him glance over his shoulder at her, half inviting, half contemptuous and cunning. So she went, with her great startled eyes glowing, her gun under her arm, along the wood edge. Meanwhile the night fell, and a great moon rose above the pine trees.

At the beginning of the story, the fox seems to be all EXCEPT______.

A.cunning

B.fierce

C.defiant

D.annoying

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第4题
People in the small village have never heard of ______before.A.so a shocking storyB.a so s

People in the small village have never heard of ______before.

A.so a shocking story

B.a so shocking story

C.so shocking a story

D.a such shocking story

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第5题
From the story we may infer that Tom drove to the beach cottage _______.A.with his familyB

From the story we may infer that Tom drove to the beach cottage _______.

A.with his family

B.with Evelyn

C.alone

D.with his children

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第6题
The Tale of Two Cities is about a story happened in time of ______.A.Napoleon WarB.British

The Tale of Two Cities is about a story happened in time of ______.

A.Napoleon War

B.British Civil War

C.WW Ⅱ

D.French Revolution

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第7题
It was in 2005______we began to introduce this new technique into our company.A.whichB.the

It was in 2005______we began to introduce this new technique into our company.

A.which

B.then

C.when

D.that

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第8题
It can be inferred from the story that rich people like to ______.A.live outside New York

It can be inferred from the story that rich people like to ______.

A.live outside New York City

B.live in New York City

C.live in apartments

D.have many neighbors

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第9题
Raju and His Father's Shop My mother told me a story every evening while we waited for fat

Raju and His Father's Shop

My mother told me a story every evening while we waited for father to close the shop and come home. The shop remained open till midnight. Bullock-carts in long caravans arrived late in the evening from distant villages, loaded with coconut, rice, and other commodities for the market. The animals were unyoked under the big tamarind tree for the night, and the cartmen drifted in twos and threes to the shop, for a chat or to ask for things to eat or smoke. How my father loved to discuss with them the price of grain, rainfall, harvest, and the state of irrigation channels. Or they talked about old litigations. One heard repeated references to magistrates, affidavits, witnesses in the case, and appeals, punctuated with roars of laughter—possibly the memory of some absurd legality or loophole tickled them.

My father ignored food and sleep when he had company. My mother sent me out several times to see if he could be. made to turn in. He was a man of uncertain temper and one could not really guess how he would react to interruptions, and so my mother coached me to go up, watch his mood, and gently remind him of food and home. I stood under the shop-awning, coughing and clearing my throat, hoping to catch his eye. But the talk was all-absorbing and he would not glance in my direction, and I got absorbed in their talk, although I did not understand a word of it.

After a while my mother's voice came gently on the night air, calling, "Raju, Raju," and my father interrupted his activities to look at me and say, "Tell your mother not to wait for me. Tell her to place a handful of rice and buttermilk in a bowl, with just, one piece of lime pickle, and keep it in the oven for me. I'll come in later." It was almost a formula with him five days in a week. He always added, "Not that I'm really hungry tonight." And then I believe he went on to discuss health problems with his cronies.

But I didn't stop to hear further. I made a quick dash back home. There was a dark patch between the light from the shop and the dim lantern shedding its light on our threshold, a matter of about the yards, I suppose, but the passage through it gave me a cold sweat. I expected wild animals and supernatural creatures to emerge and grab mc. My mother waited on the doorstep to receive me and said, "Not hungry, I suppose! That'll give him an excuse to talk to the village folk all night, and then come in for an hour's sleep and get up with the crowing of that foolish cock somewhere. He will spoil his health."

I followed her into the kitchen. She placed my plate and hers side by side on the floor, drew the rice-pot within reach, and served me and herself simultaneously, and we finished our dinner by the sooty tin lamp, stuck on a nail in the wall. She unrolled a mat for me in the front room, and I lay down to sleep. She sat at my side, awaiting father's return. Her presence gave me a feeling of inexplicable coziness. I felt I ought to put her proximity to good use, and complained, "Something is bothering my hair," and she ran her fingers through my hair, and scratched the nape of my neck. And then I commanded, "A story."

Immediately she began, "Once upon a time there was a man called Devaka..." I heard his name mentioned almost every night. He was a hero, saint, or something of the kind. I never learned fully what he did or why, sleep overcoming me before my mother was through even the preamble.

Which of the following was NOT what we can infer from the conversation between Father and the cartmen?

A.Sometimes during lawsuits, one side or the other tricked the law, probably by finding faults in the legal code which were favorable to themselves.

B.There were times when the courts came to foolish decisions.

C.Matters related to fanning were of great interest to them.

D.The magistrates were ludicrous.

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第10题
The story of the woman and her sun supports the idea that ______.A.some things are better

The story of the woman and her sun supports the idea that ______.

A.some things are better left unsaid

B.honesty is fine for most of the time

C.good intention leads to good results

D.one should be encouraged to tell the truth

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第11题
According to the author, the 18th-century philosophers began to believe in ______ .A.GodB.

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

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