By Rebecca Laurence
13 June 2018
“It’s alive! It’s alive!! It’s alive!!! - Frankenstein
(James Whale, 1931)
One night during the strangely cool and wet
summer of 1816, a group of friends gathered in
the Villa Diodati on the shores of Lake Geneva.
“We will each write a ghost story,” Lord Byron
announced to the others, who included Byron’s
doctor John Polidori, Percy Shelley and the
18-year-old Mary Wollstonecraft Godwin. Frankenstein is simultaneously the first science-fiction novel, a Gothic horror, a tragic romance and a parable all sewn into one towering body
“I busied myself to think of a story,” Mary wrote.
“One which would speak to the mysterious fears
of our nature and awaken thrilling horror.” Her
tale became a novel, published two years later
as ‘Frankenstein, or The Modern Prometheus’,
the story of a young natural philosophy student,
who, burning with crazed ambition, brings a
body to life but rejects his horrifying ‘creature’ in
fear and disgust.
Mary Godwin (later Shelley) first thought of the story that became Frankenstein when she was 18 years old (Credit: Alamy)
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Frankenstein is simultaneously the first
science-fiction novel, a Gothic horror, a tragic romance and a parable all sewn into one towering body. Its two central tragedies – one of overreaching and the dangers of ‘playing God’, the other of parental abandonment and societal rejection – are as relevant today as ever.
Are there any characters more powerfully cemented in the popular imagination? The two archetypes Mary brought to life, the ‘creature’and the overambitious or ‘mad scientist’, lurched and ranted their way off the page and on to stage and screen, electrifying theatre and filmgoers as two of the lynchpins, not just of the horror genre, but of cinema itself.
Frankenstein spawned interpretations and parodies that reach from the very origins of the moving image in Thomas Edison’s horrifying 1910 short film, through Hollywood’s Universal Pictures and Britain’s Hammer series, t o The Rocky Horror Picture Show – and it
foreshadowed others, such as 2001: A Space
Odyssey. There are Italian and Japanese
Frankensteins and a Blaxploitation
film, Blackenstein; Mel Brooks, Kenneth
Branagh and Tim Burton all have their own
takes. The characters or themes appear in or
have inspired comic books, video games,
spin-off novels, TV series and songs by artists
as diverse as Ice Cube, Metallica and T’Pau: “It
was a flight on the wings of a young girl’s
dreams/ That flew too far away/ And we could
make the monster live again…”
Thomas Edison’s 1910 short film was the first time the story of Frankenstein appeared on screen (Credit: Alamy)
As a parable, the novel has been used as an argument both for and against slavery and revolution, vivisection and the Empire, and as a dialogue between history and progress, religion and atheism. The prefix ‘Franken-’ thrives in the modern lexicon as a byword for any anxiety about science, scientists and the human body, and has been used to shape worries about the atomic bomb, GM crops, strange foods, stem cell research and both
to characterise and assuage fears about AI. In the two centuries since she wrote it, Mary’s tale, in the words of Bobby Pickett’s comedy song, Monster Mash, has truly been “a graveyard smash” that “caught on in a flash”.
‘Mysterious fears of our nature’
“All them scientists –they’re all alike. They say they’re working for us but what they really want is to rule the world!” – Young Frankenstein (Mel Brooks, 1974).
Why was Mary’s vision of ‘science gone wrong’ so ripe a vessel to carry our fears? She certainly captured the zeitgeist: the early 19th Century teetered on the brink of the modern age, and although the term ‘science’ existed, a ‘scientist’ didn’t. Great change brings fear, as Fiona Sampson, author of a new biography of Mary Shelley tells BBC Culture: “With modernity –with the sense that humans are what there is, comes a sense of anxiety about what humans can do and particularly an anxiety about science and technology.” Frankenstein fused these contemporary concerns about the possibilities of science with fiction for the very first time – with electrifying results. Far from an outrageous fantasy, the novel imagined what could happen if people – and in particular overreaching or unhinged scientists – went too far.
Luigi Galvani’s experiments using electrici ty to reanimate dead frogs was possibly one of the inspirations for the novel (Credit: Alamy)
Several points of popular 19th Century
intellectual discourse appear in the novel. We
know from Mary’s writings that in that Villa
Diodati tableau of 1816, Shelley and Byron
discussed the ‘principle of life’. Contemporary
debates raged on the nature of humanity and
whether it was possible to raise the dead. In
the book’s 1831 preface, Mary Shelley noted
‘galvanism’ as an influence, referring to Luigi
Galvani’s experiments using electric currents to
make frogs’ legs twitch. Galvani’s nephew Giovanni Aldini would go further in 1803, using a newly-dead murderer as his subject. Many of the doctors and thinkers at the heart of these debates – such as the chemist Sir Humphry Davy –were connected to Mary’s father, the
pre-eminent intellectual William Godwin, who himself had developed principles warning of the dangers and moral implications of
‘overreaching’.
Despite these nuggets of contemporary thought, though, there’s little in the way of tangible theory, method, or scientific paraphernalia in Frankenstein. The climactic moment of creation is described simply: “With an anxiety that almost amounted to agony, I collected the instruments of life around me, that I might infuse a spark of being into the lifeless thing that lay at my feet.” The ‘science’ of the book i s rooted in its time and yet timeless. It is so vague, therefore, as to provide an immediate linguistic and visual
reference point for moments of great change and fear.
Monster mash-up
But surely the reason we turn to Frankenstein when expressing an anxiety about science is down to the impression the ‘monster’ and ‘mad scientist’ have had on our collective brains. How did this happen? Just as the science is vague in the book, so is the description of the creature as he comes to life. The moment is distilled into a single, bloodcurdling image:
“It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.”
Theodore von Holst's illustration shows the terrifying moment the creature comes to life (Credit: Alamy)
It’s a double-edged sword that Hollywood’s vision secured the story’s longevity but
ob scured Mary’s version of it
With his ‘yellow skin’, ‘watery eyes’, ‘shrivelled
complexion’ and ‘straight black lips’ the creature
is far from the beautiful ideal Frankenstein
intended. This spare but resonant prose proved
irresistible to theatre and later film-makers and
their audiences, as Christopher Frayling notes in
his book, Frankenstein: The First Two Hundred
Years. The shocking novel became a
scandalous play – and of course, a huge hit, first
in Britain and then abroad. These early plays,
Frayling argues, “set the tone for future
dramatisations”. They condensed the story into
basic archetypes, adding many of the most
memorable elements audiences would
recognise today, including the comical lab
assistant, the line “It lives!” and a bad-brained
monster who doesn’t speak.
James Whale’s 1931 film for Universal Pictures starred Bo ris Karloff as the creature (Credit: Alamy)
It’s a double-edged sword that the monstrous
success of Hollywood’s vision (James Whale’s
1931 film for Universal starring Boris Karloff as the creature) in many ways secured the story’s longevity but obscured Ma ry’s version of it. “Frankenstein [the film] created the definitive movie image of the mad scientist, and in the process launched a thousand imitations,” Frayling writes. “It fused a domesticated form of Expressionism, overacting, an irreverent adaptation of an acknowledged classic, European actors and visualisers – and the American carnival tradition – to create an American genre. It began to look as though Hollywood had actually invented Frankenstein.”
Making a myth
And so, a movie legend was born. Although Hollywood may have cherry-picked from Mary Shelley to cement its version of the story, it’s clear she also borrowed from historical myths to create her own. The subtitle of Frankenstein,
‘The Modern Prometheus’, namechecks the figure of ancient Greek and Latin mythology who
variously steals fire from the gods and gives it to
man (or makes a man out of clay) and
represents the dangers of overreaching. But the
other great myth of the novel is of God and
Adam, and a quote from Paradise Lost appears
in the e pigraph to Frankenstein: “Did I request
thee, Maker, from my clay / To mould me man?”.
And it is above all the creature’s tragedy – and
his humanity – that in his cinematic
transformation into a mute but terrifying monster,
has been forgotten.
The creatu re’s humanity – and his tragedy – are often forgotten in the story’s trajectory (Credit: Alamy)
Mary gave him a voice and a literary education
in order to express his thoughts and desires (he
is one of three narrators in the book). Like The
Tempest’s Calib an, to whom Shakespeare gives
a poetic and poignant speech, the creature’s
lament is haunting: “Remember that I am thy
creature; I ought to be thy Adam, but I am rather
the fallen angel, whom thou drivest from joy for
no misdeed. Everywhere I see bliss, from which
I alone am irrevocably excluded. I was
benevolent and good; misery made me a fiend.
Make me happy, and I shall again be virtuous.”As an allegory of our responsibility to children, outsiders, or those who don’t conform to conventional ideals of beauty, there isn’t a stronger one
If we think of the creature as a badly made and
unattractive human, his tragedy deepens. His
first, catastrophic rejection is by his creator (man,
God),which Christopher Frayling calls “that
post-partum moment”, and is ofte n identified as
a parental abandonment. If you consider that Mary Shelley had lost her mother Mary Wollstonecraft at her own birth, had just buried her baby girl and was looking after her pregnant step-sister as she was writing the book – which took exactly nine months to complete – the relevance of birth (and death) makes even more sense. The baby/creature is alienated further as society recoils from him; he is made good, but it is the rejection that creates his murderous revenge. As an allegory of our responsibility to children, outsiders, or those who don’t conform to conventional ideals of beauty, there isn’t a stronger one.
Mary lost her mother Mary Wollstonecraft (pictured) at her birth, had buried her baby and was looking after her pregnant
step-sister as she was writing the book (Credit: Alamy)
“The way that we sometimes identify with
Frankenstein, as we’ve all taken risks, we’ve all
had hubristic moments, and partly with the
creature; they are both aspects of ourselves – all
our selves” Fiona Sa mpson tells BBC Culture,
“they both speak to us about being human. And
that’s incredibly powerful.”
Some modern interpretations, such as Nick
Dear’s 2011 play (directed by Danny Boyle for
the National Theatre), have highlighted the
question of who is the monster and who is the
victim, with the lead actors Jonny Lee Miller and
Benedict Cumberbatch alternating roles each
night. And in this shapeshifting context, it’s fitting
that the creature is widely mistaken as
‘Frankenstein’, rather than his creator.
In Nick Dear’s 2011 play Benedict Cumberbatch and Jonny Lee Miller swapped between the roles of the creature and the doctor (Credit: Alamy)
So could a new, cinematic version of
Frankenstein be on the cards? One which brings
together the creature’s humanity, the mirroring
of man and monster and contemporary anxieties? Just like the Romantics, we edge towards a new modern age, but this time, of AI, which brings its own raft of fears and moral quandaries. A clutch of recent films and TV shows have channelled Frankenstein, exploring what it means to be human in the context of robotics and AI – Blade Runner, Ex Machina, AI, Her, Humans and Westworld among them. But there is one film director (rumoured to have been developing the story for a while) who might be able to recapture the creature’s lament as a parable for our time.
Guillermo del Toro’s The Shape of Water is also a sci-fi monster fable; he is rumoured to be producing his own version of Frankenstein (Credit: Alamy)
Collecting a Bafta for a different sci-fi monster
fable, The Shape of Water, this year, Guillermo
del Toro thanked Mary Shelley, because
“she picked up the plight of Caliban and she
gave weight to the burden of Prometheus, and
she gave voice to the voiceless and presence to
the invisible, and she showed me that
sometimes to talk about monsters, we need
to fabricate monsters of our own, and parables
do that for us”.
When the then-Mary Godwin thought up her
chilling parable that summer of 1816, she
couldn’t have imagined how far it would go to
shape culture and society, science and fear, well
into the 21st Century. “And now, once again, I
bid my hideous progeny go forth and prosper,”
she wrote in the preface to the 1831 edition. The
creator and creature, parent and child, the writer
and her story – they went forth, and did they prosper? Two hundred years since its publication, Mary Shelley’s Frankenstein is no longer just a tale of “thrilling horror” but its own myth, sent out into the world.
BBC Culture’s Stories that shaped the world series looks at epic poems, plays and novels from around the globe that have influenced history and changed mindsets. A poll of writers and critics,100 Stories that Shaped the World, was published in May.
If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message
us on Twitter.
And if you liked this story, sign up for the weekly https://www.doczj.com/doc/cb9964686.html, features newsletter, called “If You Only Read 6 Things This Week”. A handpicked selection of stories from BBC Future,
Fast Reading Materials for Senior I完形填空（共 20 小题；每小题 1.5，满分 30 分） 阅读下面短文，掌握其大意，然后从 36~55 各题所给的四个选项（A、B、C 和 D）中，选出最佳选项，并在答题卡上将该项涂黑。 While I studied at school, I felt a great difficulty in learning my Latin translations. I was always very 36 in using a dictionary, and 37 it most difficult, while to other boys it seemed no 38 . I formed an alliance（盟友）with a boy in the Sixth Grade .He was very clever and 39 read Latin as easily as English .My friend for his part was almost as 40 troubled by the English essays he had to write for the headmaster as I was 41 these Latin words .We agreed together that he would 42 me my Latin translations and that I should do his essays. The arrangement 43 wonderfully. The headmaster seemed quite 44 with my work, and I had more time to myself in the morning. On the other hand, once a week 45 I had to compose the essays of my friend. For several months no difficulty 46 , but once we were nearly caught out. One afternoon, the headmaster 47 my friend to discuss one essay with him in a lively spirit. “I was interested in this48 you make here. I think you might have gone further .Tell me 49 you had in your mind.” The headmaster continued in this50 for some time to the fear of my friend. However the headmaster, not wishing to 51 an occasion of praise into 52 of fault-finding, finally. 53 him go. He came back to me like a man who had had a very narrow 54 and I made up my mind to make every effort to study my 55 . 36．A．quick B．slow C．hard D．good 37．A．made B．got C．found D．left 38．A．trouble B．difference C．labor D．worry 39．A．might B．would C．should D．could 40．A．very B．little C．much D．few 41．A．for B．by C．in D．to 42．A．change B．take C．forgive D．tell 43．A．worked B．tried C．happened D．developed 44．A．angry B．satisfied C．frightened D．sad 45．A．or so B．or else C．as usual D．as far 46．A．became B．seemed C．lay D．appeared 47．A．called B．taught C．arranged D．sent 48．A．aim B．goal C．point D．opinion 49．A．why B．how C．which D．what 50．A．excitement B．way C．meaning D．disappointment 51．A．turn B．leave C．grow D．become 52．A．none B．one C．either D．some 53．A．ordered B．asked C．took D．let 54．A．surprise B．escape C．hope D．chance 55．A．reading B．writing C．translations D．essays II 阅读理解
V. Reading Comprehension (15%) A It was 3.21 a. m. when nine-year-old Glenn Kreamer awoke to the smell of burning. Except for the crackling （爆裂声）of flames somewhere below there was not a sound in the two-storey house at Baldwin, Long Island. With his father away on night duty at a local factory, Glenn was worried about the safety of his mother, his sister Karen, 14 and his 12-year-old brother Todd. He ran downstairs through the smoke-filled house to push and pull at Karen and Todd until they sat up. Then he helped each on through the house to the safety of the garden. There, his sister and brother, taking short and quick breaths and coughing, collapsed on the lawn. The nine-year-old raced back into the house and upstairs to his mother's room. He found it impossible to wake her up. Mrs. Kreamer, a victim of the smoke, was unconscious, and there was nobody to help Glenn carry her to the garden. But the boy remained calm and, as a fireman said later, "acted with all the self-control of a trained adult." On the bedroom telephone, luckily still working, Glenn called his father and, leaving Mr. Kreamer to telephone the fire brigade and ambulance service, got on with the task of saving his mother. First he filled a bucket with water from the bathroom and threw water over his mother and her bed. Then, with a wet cloth around his head he went back to the garden. He could hear the fire engine coming up, but how would the firemen find his mother in the smoke-filled house where flames had almost swallowed up the ground flo or? Grasping firmly a ball of string from the garage, Glenn raced back into the house and dashed upstairs to his mother's room. Tying one end of the string to her hand he ran back, laying out the string as he went, through the hall and back out into the ga rden. Minutes later he was telling fire chief John Coughlan :"The string will lead you to mother." Mrs. Kreamer was carried to safety as the flames were breaking through her bedroom floor. 71．Why did Glenn run downstairs first? A．He wanted to find out what was happening. B．He was worried about his mother's safety.
《分析化学》阅读材料03 摘自Analytical Chemistry (FECS) ●In the Br?sted-Lowry theory, an acid is a proton donor and a base is a proton acceptor. Each acid is related to its conjugate base and vice versa: Acid = base + proton Therefore, the conjugate base of a strong acid must be a weak base and the conjugate base of a weak acid must be a strong base. Together they form a couple, and an acid without its conjugate base is a meaningless concept. In order to release a proton, the acid must find a base to accept it. In an aqueous solution, the proton, H+, having an extremely small ionic radius, cannot exist as such. It is hydrated, forming the hydronium ion H3O+ and higher hydrates. Thus, an acid-base equilibrium is not a simple dissociation equilibrium, but the result of a proton transfer reaction in which there are at least two reagents and two products. Such a process is also called protolysis. The overall reaction is expressed by: HX + H2O = H3O+ + X-. The overall equilibrium constant is K = [H3O+][X-]/[HX][H2O]. The acid dissociation constant Ka is given by: Ka = K[H2O] = [H3O+][X-]/[HX]. Ka reflects not only the acid strength of HX, but also the base strength of water. This why different acid dissociation constants are observed for the same acid in different solvent. ●Similar proton transfer reactions exist in all solvents possessing proton donor and acceptor properties. Proton transfer reactions are extremely fast. This makes them very suitable for analytical applications and acid-base reactions have found wide use in volumetric methods and other analytical techniques. ●The pH value is a measure for the acidity or basicity of a solution, aqueous or nonaqueous. ●Acid-base indicators are chemical substances with acid-base properties, having different colors in their protonated and deprotonated forms. ● A most important application of acid-base systems is related to the property of such a system to act as a buffer. Many chemical reactions produce protons (in aqueous solutions hydroniums) or hydroxide ions. If these products remain in the system, a corresponding pH change is observed. However, if a buffer is present in the solution it reacts with the liberated hydrogen or hydroxide ions so that only a relative small change of pH occurs. Buffer consist of a mixture of a weak acid and its conjugate base. The most efficient buffer for a given pH consists of a 1:1 ratio of the protonated and deprotonated forms of a weak acid (with pKa = pH). This cannot always be achieved, but if we wish to prepare a solution of a certain pH, we select a weak acid with a pKa value close to the desired pH. Buffer solution resists changes in pH upon adding of strong acids or strong bases. Depending on the relative concentrations of the acid and base forms of the buffer, the system can resist small or large additions of strong acid or base. This buffer capacity is defined as the number of moles of strong acid of base required to change the pH of 1 L of buffer solution by one pH unit. Solutions with high or low pH values, formed as a result of dissolution of large quantities of a strong base or acid, are characterized by a large buffer capacity, although the electrolyte practically consists of only one of the conjugate forms (e.g., HCl or NaOH solutions). ● A general requirement for all volumetric methods is that the titration process is fast and that it proceeds in a definite stoichiometric ratio, the endpoint of the reaction must by easy to detect and the reaction should be specific and not influenced by other constituents of the solution, i.e., there should be no interference. Question: 1. A H3PO4 solution is brought to pH = 7.00 by the addition of NaOH. Calculate the concentration of the various forms of orthophosphate if the total phosphate concentration in buffer is 0.200 mol /L. pKa1 = 2.16, pKa2 = 7.21, pKa3 = 12.32. 2. A buffer solution is prepared from acid, HA, Ka = 5 10-5, and its salt. The concentration of HA in the buffer is 0.25 mol / L. To 100 mL of the buffer added 5.0 mmol of NaOH, and the pH of the resulting solution is 5.60. What was the pH of the original buffer? 3.It is desired to change the pH of 100 mL of 0.100 mol / L HCl from 1.00 to 4.40 by the addition of sodium acetate, CH3COONa3H2O. How much solid sodium acetate salt must be added in grams? Assume no volume change for the solution as the result of the addition. 4.What is the buffer capacity of a solution which is 0.100 mol / L of NH3 and 0.200 of NH4Cl? 5.Calculate the pH of each of the following solution: (a) Water in equilibrium with CO2 of the air; pKa1 = 6.38, pKa2 = 10.25. (b) Water as in part (a) brought to pH = 7.00 with NaOH and allowed to regain equilibrium with CO2. 6. Derive the following expression for the pH at the first stoichiometric point in the titration of a mixture of two weak acid: HA, the stronger, Ka1, concentration C1; HB, the weaker, Ka2, concentration C2: pH = 1/2 (pKa1 + pKa2) – 1/2 lg (C1/C2)
第六章阅读理解与阅读技能 2009-11-15 23:36:27| 分类：我的世界| 标签：|字号大中小订阅 第六章阅读理解与阅读技能 P249（1）记叙文 Stephen Hawking was born in 1942. He’s a world famous scientist and expert on space and time. Stephen is trying to find the answers to some very big questions, such as: how did the universe being? How will it end? 斯蒂芬在1942年出生。他是研究空间和时间领域的一位举世闻名的科学家和专家。斯蒂芬设法发现一些非常大问题的答案，例如：宇宙未来会怎样？它会怎样结束？ Stephen was a student at Oxford University. He studied math and science. Then, at the age of twenty, he became very ill. He was so young, but the doctor said to his family, “He has only two years to live.” The doctors were wrong-he didn’t die. He can’t walk now but he uses a wheelchair. He talks with the help of a computer. After Oxford, Stephen went to Cambridge University. Three years later, in 1963, he became a doctor of philosophy. 斯蒂芬曾经是牛津大学的学生。他学习数学和科学。然而，在20岁时，他生病了。他是如此年轻，但医生告诉他的家人，“他只活两年。”医生是错误的，他没有死。他现在虽然不能走路，但他可以使用了轮椅。随着计算机的帮助，他可以通过计算机举行会谈。牛津大学毕业后，斯蒂芬前往剑桥大学学习。3 年后，在1963年，他成为哲学博士。 Because of his health problems, it was difficult for him to draw diagrams or to write. So he started to think in pictures. With this new way of thinking, he became one of the most famous scientists in the world. In 1981, he met Pope in Rome. They talked about his ideas. Then, in 1988, he wrote his first important book, A Brief History of Time. It sold more than 5.5 million copies in 33 different countries. 由于他的健康问题，出图或写作对于他是很难的。因此他在图片上开始思考。这种新的思维方式，使他在世界上成为了一位最著名的科学家。在1981年，他在罗马遇见了教皇。他们谈论了他的想法。然后，在1988年他写了他的第一本重要的书，《时间的简史》。它在33个不同国家卖了超过550万本。 （2）说明文 One type of solar collector is not very expensive. It is put on the roof of a building. It is usually put on the sunny side of the roof. The sun is most direct in this side, and the unit will collect more heat. The surface is black because black collects more heat from the sun. Inside, there are pipes with water. The top is a piece of glass. The sun shines through the glass and air inside. It heats the water that is also inside. A pump, a machine to move the water, starts when water is warm enough. Then hot water goes into a storage tank. This tank stores or keeps the hot water. Then there is hot water to use for washing clothes or taking baths and showers.
2020年高三英语材料之阅读理解精品版
高三英语材料之阅读理解 阅读理解1 A Besides entertainment and beautiful lanterns, another important part of the Lantern Festival ,or Yuanxiao Festival is eating small dumpling balls made of glutinous rice flour. We call these balls Yuanxiao or Tangyuan. Obviously, they get the name from the festival itself. It is said that the custom of eating Yuanxiao originated during the Eastern Jin Dynasty in the fourth century, then became popular during the Tang and Song periods. The fillings inside the dumplings or Yuansiao are either sweet or salty. Sweet fillings are made of sugar, Walnuts, sesame（芝麻）, osmanthus flowers(桂花), rose petals, sweetened tangerine（橘子）peel, bean paste, or jujube paste（枣子酱）. A single ingredient or any combination can be used as the filling . The salty variety is filled with minced meat（肉末儿）, vegetables or a mixture. The way to make Yuanxiao also varies between northern and southern China. The usual method followed in southern provinces is to shape the dough of rice flour into balls, make a hole, insert the filling, then close the hole and smooth out the dumpling by rolling it between your hands. In North China, sweet or nutmeat stuffing is the usual ingredient. The fillings are pressed into hardened cores, dipped lightly in water and rolled in a flat basket containing dry glutinous rice flour. A layer of the flour sticks to the filling, which is then again dipped in water and rolled a second time in the rice flour. And so it goes, like rolling a snowball, until the dumpling is the desired size. The custom of eating Yuanxiao dumplings remains. This tradition encourages both old and new stores to promote their Yuanxiao products. They all try their best to improve the taste and quality of the dumplings to attract more customers. 1.Which of the following is NOT true? A．The custom of eating Yuanxiao dates back to the fourth century. B．Sugar, rose petals and minced meat are all fillings of Yuanxiao. C．Sweet Yuanxiao are usually made in southern China. D．People in northern China usually make Yuanxiao by rolling like a snowball. 2.Which country does the Lantern Festival come from? A．China B．South Korea C．Jin Dynasty D．Tang and Song periods. 3.Choose the right order of making Tangyuan in southern provinces. ① make a hole and insert the filling ② roll the dough between your hands ③ shape the dough of rice flour into balls ④ close the hole ⑤ prepare some rice flour A．⑤③②①④ B．③⑤①②④ C．③①④②⑤ D．⑤③①④② 4.What is the best title of this passage? A．The Lantern Festival
①化学这门科学在当今世界非常有用。 ②y对于x的依赖关系用y=f(x)来表示。 ③各种物质的导热能力差异很大③各种物质的导热能力差异很大。 ④这个参数可以准确地加以测量。 ⑤半导体的导电率随温度的变化而变化。 ⑥原子能的恰当名称是核能。 ⑦工程材料的性质依赖于（取决于）它们的成分、结构、合成、加工。 ⑧材料科学与工程这个术语将材料科学与材料工程结合在一起，材料科学在材料知识谱的基础知识端，材料工程在应用知识端，两者之间并没有分界线。 ⑨材料的许多性质强烈依赖于其结构，即使材料的成分保持不变。这就是为什么材料中结构-性质关系或者显微结构-性质关系至关重要。 ⑩上面的两个等式极为重要。 The two equations above are of great importance. 十一.金属棒热端的分子随着那里的温度的增加而振动得越来越快。 Molecules at the hot end of a metallic rod vibrate faster as the temperature there increases. 十二.通常这些参数中有一些是已知的。 Usually some of these parameters are known. 十三.当温度低于临界温度时，电子能自由地通过晶格运动。 As temperatures below the critical temperature, the electrons move freely throughout the lattice. 十四. A随温度的这种变化主要是由B的变化引起的。 This variation of A with temperature is due primarily to variations in B. 十五.这种复杂的关系必须用图解来表示。 This complicated relationship must be representedgraphically. 十六.原子间的键合作用部分取决于原子的价电子如何结合在一起。键的类型包括金属键、共价键、离子键、范德华键。 十七.键能与键的强度有关，特别是离子键和共价键结合的材料键能很高。高键能的材料常常具有高的熔点、高的弹性模量和低的热膨胀系数。 ③许多陶瓷材料中发现的离子键是当正电性的原子失去电子给负电性的原子，产生带正电的阳离子和带负电的阴离子而形成的。
计算机专业英语阅读材料 计算机英语（1） Desktop Pattern In the graphical user interface of Microsoft Windows 98,a graphical pattern-called wallpaper-displayed on the desktop (the background "beneath" windows, icons, and dialog boxes). The pattern or picture in the screen background that can be chosen by the user. To change the desktop pattern, choose Display from the Control Panel. 桌面图案 在Microsoft Windows 98的图形用户界面中,一种显示在桌面上称为壁纸(Wallpaper )的图形图案(窗口、图标和对话框后面的背景),屏幕背景可由用户选择图案样式或画面。要改变桌面图案时,从控制面板上选择显示方式。 计算机英语（2） Federated Database In scientific networking ,a collaborative database (part of a collaborator) in which scientists pool their knowledge and discoveries .Federated databases are one proposed solution to the Grand Challenges——problems that are so complex that they far outstrip the capabilities of individual scientists ,or even individual research institutions ,to tackle them independently. 联合式数据库 在科学联网中,科学家们汇集其知识和发现的一种合作数据库(合作的一部分)。联合数据库是对种种重大挑战问题(Grand Challenges)的一种建议性的解决方案——这些问题太复杂,以致于超出单个科学家的能力,甚至单个研究所都无法来单独解决它们。 计算机英语（3） Collapse When creating an outline or viewing a directory tree (such as in the Windows Explorer ),the process of hiding all the outline levels or subdirectories below the selected outline heading or directory. 折叠 当生成一个题纲或观察一个目录树(如在Windows资源管理器中)时,在选定的题纲标题或目录下隐藏所有的题纲层或子目录的过程。 计算机英语（4） Collision In local area networks (LANs) ,a garbled transmission that results when two or more workstations transmit to the same network cable at exactly the same time . Networks have means of preventing collisions. 冲突 在局域网(LANs)中,当两个或多个工作站恰好在同时向同一个网络线路上传送(数据)时产生的错乱传输。网络拥
小学英语阅读理解的常见题型设置及解题技巧 在小学阶段，阅读理解题型灵活多样，但主要有以下题型： 一、读一读，然后选一选。 这种题型的特点是在短文后给出若十个不完整的句子或若干个根据短文内容提出的问题，针对每一题都提供三到四个备选的答案，要求同学们在正确理解短文内容的基础上，从选项中选出一个正确的答案。这类试题的问题一般是紧扣短文内容编排的，既会涉及文章中的细节内容，如文中出现的人物、时间、地点、事件的前因后果等；也会涉及文章中某个词或某个句子的含义以及文章的主旨、大意和标题等。 The big day comes at last! Mrs Jones' third grade students are waiting quietly for her to come into the classroom. Today Amy brings some cakes, Joy brings some napkins, Carlos brings some soda water and Kate brings some cups. Everyone wants the party to he a surprise. Mrs Jones doesn't know the children have known today is her birthday. When she comes into the classroom, the children shout,“Happy birthday, Mrs Jones!”And then the children get a surprise,too. Mrs Jones brings everyone a party hat and an ice cream! 阅读短文，选择最佳答案。 ( ) 1. Mrs Jones' grade students are waiting for her. A. three B.third C.No.3 D.the third ( )2. Carlos brings some _____ ． A. cola B.napkins C.soda water D.cups ( )3．_____ brings some cakes. A. Amy B.Carlos C.Joey D.Kate 分析 题1短文的第二句话告诉我们是琼斯老师的三年级的学生们正静静地等候她的到来。在年级前面应该用序数词来表示，如果是在年级后面就应该用基数词表示。如：the third grade,=Grade Three.同时因为前面有定语Mrs Jones'，所以这里也应该不要the。 题2.3 短文介绍了几个同学分别带了一些东西。卡洛斯带了soda water （汽水），艾米带了蛋糕。 正确答案：1.B 2.C 3. A 二、读一读，然后判断句子正误。 该题型的特点是在短文后给出若干个句子，要求同学们根据短文内容，判断所给的句子意思是否与原文相符。做这类题应该联系短文内容进行发挥，主要是考查对意思相近或相反的几个句子进行鉴别、判断，或是变换词语、句子结构来测试同种意思的不同表达。 There are some public numbers. Do you know when to use these numbers? 110 is a number for calling policeman when you have meet some illegal things. 119 is a number using for a fire accident.
1.A strange thing happens to nearly everybody at night(英语阅读理解) A strange thing happens to nearly everybody at night. They turn off the lights, pull up the covers and close their eyes. Six or seven sleeping hours later, they wake up again. Strange, isn't it? 一个奇怪的事情发生在几乎每个人身上，并且都在晚上。他们关上灯，拉上了窗帘和闭上他们的眼睛。六或七小时的睡眠后，他们再次醒来。奇怪，不是吗？ Sleep is a great puzzle. Scientists and doctors would like to talk about why one can't fall asleep. They are not so sure what causes sleep. 睡眠是一个伟大的谜。科学家和医生谈谈为什么不能入睡。他们不知道什么是睡眠的原因。 You will sleep best both when you are in good health and when you don't eat too much or too little. No worries and a comfortable place to sleep are important, too.你会睡得最好当你身体健康时，你不要吃太多或太少。不用担心，一个舒适的睡眠环境是重要的。 Strange things happen during sleep. For example, you often move. You would feel tired ever if you didn't move. You also dream. Part of your brain is still awake when you dream. Dreaming happens when the memory and imagination parts of your brain are still awake. 奇怪的事情发生在睡眠期间。例如，你经常搬家。你会觉得累，如果你没有动。你也做梦。你大脑的一部分仍然是清醒的时候，您也做梦。做梦时发生的记忆和想象的部分你的大脑仍然清醒。 Don't worry if you dream. Some great stories and poems were finished while the writers were dreaming. 别担心，如果你有梦想。一些伟大的故事和诗歌的作家会完成梦想。 根据短文内容,判断下列句子正(T)、误( F) 。 1. A strange thing happens to only someone at night.T 2. Scientists and doctors are both sure what causes people's sleep.F 3. When you are in good health, you can sleep very well at night.T 4. The writer means that some dreams are good for people.T 5. If you eat too much or too little before sleep, you won't sleep well.T 2. At the Barber's Shop 在理发店 Jack went to a barber's shop and had his hair cut, but when he came out, he 杰克去一家理发店剪了头发，但是当他出来时，他 was not happy with the result. When his friend Bob saw him, he laughed 是不满意的结果。当他的朋友鲍波看到他时，他笑了 and said, "What has happened to your hair,Jack?" 说，“你的头发怎么了，杰克？” Jack said, "I tried a new barber's shop today, because I wasn't quite satisfied 杰克说，“我今天尝试了新的理发店，因为我不是很满意 with my old one, but this one seems even worse." 旧的，但是这一次似乎更差。” Bob agreed. "Yes, I think you're right, Jack. Now I'll tell you what 他同意了。”是的，我想你是对的，杰克。现在我要告诉你 to do when you go into a barber's shop next time: look at all the barber's hair, 做的时候，你走进一家理发店下时间：看所有理发师的头发， find out whose hair looks worst, and then go straight to him."