Millonig缓冲福尔马林(10%)

1milli_head.xlsmilliard milliards 吉；十万万；毫巴millibar 亳巴；百帕；毫巴毫巴millibars milligram milligrams [ˈmɪlɪˌgræmz]milliliter 毫升；毫升计量单位；公撮milliliters millimeter 公厘；毫米波；位为公厘millimeters 公厘；成毫米；毫米表示milliner 女帽制造及贩卖商；女帽设计者；妇女头饰milliners [ˈmilinəz]millinery milling million 百万个；兆；百万社millionaire millionaires 百万美金millionairess 女百万富翁；女百分富翁millionairesse 女百万富翁；女百分富翁millions 百万小富翁；数百万；百万鱼millionth millionths 第一百万的；百万分之一的；兆分之一millipede 节肢动物；蜈蚣千足；马陆之类millipedes millisecond 微秒；表示毫秒；毫秒级milliseconds微秒；毫秒数；的毫秒数英['mɪljɑ:d]美['mɪljɑd]n.十亿美 英美 ['mɪlɪ.bɑr] 英 ['mɪlɪ.bɑː(r)] n.毫巴(millibar 的复数)英[ˈmɪligræm]美[ˈmɪlɪˌɡræm]n.毫克（千分之一克）n.毫克（千分之一克）( milligram 的名词复数 )美 ['mɪlɪ.litər] 英 ['mɪlɪ.liːtə(r)] 美 ['mɪlɪ.mitər] 英 美 ['mɪlɪ.mitər] 英美 ['mɪlɪnər] 英 ['mɪlɪnə(r)] n.女帽制造及贩卖商( milliner 的名词复数 )英[ˈmɪlɪnəri]美[ˈmɪlɪneri]n.女帽类; 女帽制造（贩卖）业英[ˈmɪlɪŋ]美[ˈmɪlɪŋ]adj.成群乱转的美 ['mɪljən] 英 ['mɪljən]英[ˌmɪljəˈneə(r)]美[ˌmɪljəˈner]n.百万富翁; 大富翁; 大财主; 有钱人美 [ˌmiljəˈnɛr] 英 [ˌmiljəˈnɛə(r)] 美 [.mɪljə'nerəs] 英 [.mɪljə'neərəs] 美 [.mɪljə'nerəs] 英 [.mɪljə'neərəs] 美 ['mɪljən] 英 ['mɪljən] 英[ˈmɪljənθ]美[ ˈmɪljənθ]n.第一百万，百万分之一美 [ˈmɪlyənθs] 英 [ˈmiljənθs] 美 ['mɪlɪ.pid] 英 ['mɪlɪpiːd] 英[mɪ'lɪpi:dz]美[mɪ'lɪpidz]n.马陆，千足虫( millipede 的名词复数 )美 ['mɪlɪ.sekənd] 英 ['mɪlɪ.sekənd] 美 ['mɪlɪ.sekənd] 英 ['mɪlɪ.sekənd]。

MILLENIUM CLUBfrom the book by Lyle Poe, notes by Daniel NeillOPENING BIDS:1C = 15(+)-21 bal, OR 15+ clubs, OR std 2C op1D = 4+ cards unbalanced, 11-19 (4441's with D, 4D-5C ok)1M = (11)12-19, 5+ crds1N = 12-15(-)2C = (8 good long suit)10-14 HCP, (6)5+ clubs unbal.2D/H/S = Weak Two (or whatever)2N = 22-231C Opener:Responses-1D 4+ hearts, 0+ HCP... 1H non-forcing (15-21 bal 4H, 15-17 unbal 4H, 15-21 unbal 3H) ... Pass real bad... 1S relay... 1N 15-18 bal, 4H... 2C/D/H/S 3-4/5/6/7 ctrls, semibal, some SI... 2S/N = 15-16/17-18 (bid doub, then 3Nasks cue Q's [4N = 2 side Q's])... Jump-shift mild splinter... Double-jump-shift serious splinter... 3N/4H suggests contract... 2C minimum natural, 3H... 2D/S maximum 5C-3H 4D/S... 2H 15-17 4H side splinter... 2N 19-21 bal, 4H (doub-showing and queen-showing as above)... 3C extras, 6+C 3H... 1N 4H-4S forcing... 2C minimum nat, 3H no S fit... 2D... 2H minimum 4H... 2S minimum 4S-3H... jumps extras... 2C 4H, 3C, 5-6 HCP... 2D 4H, 4+D, 5-6 HCP... 2H 5-6 H, 5-6 HCP... Jump-shift mild splinters, 5+H... Double Jump-shift serious splinters, 5+H... 3H 5-6 H, 7-8 HCP... 4H to play... 1S 5C-4S, 0-2 H, min... 1N 15-18 bal, not 4H (occ. bad 6 clubs unbal)... 2N/3N invit/to play... 2C invit. checkback, or to find 3-crd supp... 2D 2-crd supp... 2M 3-crd supp... non-game bids invit. nat. (canape m) ... 2D retransfer to major (even S), to play or any GF ... 2S 4+H 4S GF (nat cont)... 2N some lower 4-crd suit, usu. 5M (baron), GF... 3m 5-5 GF... raise 1-suiter SI... 2M weak 5M-5m (2N asks minor)... (2H/1H) 5-4+ majors weak... 3C/D weak canape... 3S 24(43) bad spades, or 1444, choice-of-games... 4D texas retransfer (may RKC)... 4S 1444 SI... 4N quant... 2C Any Strong 2 Bid... 2D 0-1 ctrls... 2M F1 5+ crds (3C 2nd neg, 3M good, 4M bad, ns F)... 2N invit minor, or strong bal, or whatever... 3C 2nd neg (P/3m to play)... 3D GF nat or lack S stop... 3M GF rebiddable M... 3oM GF, values... 3N S stop... 3m GF... games/slams to play... 2H/S 2/3 ctrls GF... 2N 4+ ctrls no extra distrib.... 3y 4+ ctrls biddable suits... 3M 4+ ctrls long good M... 2D 15-21, 5C-4D, 0-2 H (cheap ns/nt Leb, 2M F1, else GF) ... 2H 15-17 5H bal... 2S 5C-4S, 0-2 H, 19-21 (see 2D)... 2N 19-21 bal, not 4H... 3C relay to 3D... Pass to play... 3H/1H weak pick-a-major... orig. major to play... 3S/1D GF 4H-4S... 3N 4H-4m mild SI... 4m 4H-4m serious SI... 3D GF checkback... 3oM 6-4 GF... 4C Gerber... 4red retransfer... 4N quant... (4S/1D) 1444 SI... 3C 15-18 decent 1-suiter, 0-2 H (bids GF seminat)... 3D... 3H any non-club 18-21 splinter (relay for nat. short)... 3S/4D 22+ splinters... 3N... 4C 4-crd supp., AKxxxx+ clubs... 4H 18-21 5H bal1H 4+ spades, 0+ HCP... as after 1D1S catchall (may be 4M-5m GF)... 1N 15(+)-18 bal... 2N/3N/4N invit / to play / quant... 2C GF with D and side suit... 2(N)D (no) interest in diamonds (bid any side suit) ... 2D/H/S GF with C and bid side suit (3C loves C, 2N wait, 3N to play)... 3m to play (better than 3m response to 1C, op may occ. bid on)... 3M xx in M, 3oM, bal (op picks final contract)... 4C Gerber... 4M xx in M, 4-4+ minors, SI for a minor... 2C any strong 2 bid... ctrls as after 1C-1red-2C... 2N... 3C 2nd neg ... 3D/H/S cheapest stoppers GF ... 2D/H/S 15+ 5C-4 suit (1-step 2nd neg, else GF)... 2N 19-21 bal... 3C both minors NF (3M values w/ interest in m or NT, raise nat)... 3D both minors GF (4m fit [rel RKC], 3/4N NF)... 3M 5m-4M rare GF (4M nat constr., 3N asks m [4N to play, rel RKC]... 3C 1-suiter... 3D/H/S cheapest stoppers ... 4C forc ... 4D RKC for C ... 4M spl1N 8-10 bal, no major, perfecto for declaring... 2C any strong 2... 2D/H/S reverses with clubs... (Pass)/2N/3N (bare min... usu. sing honor) / invit / to play 2C diamonds, invit+ (if slam then 5 ok)... 2D F1, constructive with fit or good frag, OR any strong 2 waiting (new suit GF)... 2N F1, strong NT, no D interest (new suit GF)... 3D super-accept... 3N max, no D interest... 4D sets suit... new suit C and bid suit (or values)2D/H 6 hearts/spades, 0-6... accept or super-accept 15-18 NT or some club hands... new suit strong 2 forcing (except games)2S clubs, invit+ (see 1C-2C above)2N 11-12 bal, no major, perfecto for declaring... most nat... 4S quant 4-4 minors... 4N quant3C/D 6+ C/D 0-5 HCP3M GF splinter, both minors 5+-4+3N 13-14 bal, no major, perfecto for declaring (see 2N above)INTERFERENCE OVER 1C:General Idea: common sense, opener passes often with 15-18 NT handSecond seat -(X - any meaning)... system on... Pass 0-4 HCP... XX interest in either penalizing opps or playing 1C-XX(1D - any meaning)... system on (X stolen bid, Pass 0-4 or trap)(1N - any meaning)... assume op has strong NT and respond as to 1N opening... can pretend NT, or break nat with C or good NT, or cue with strong 2(1H [1S similar])actions show good 5+ HCP... P weak usu.... P 15-18 NT 3+H... X take-out... 1N 19-21... suit nat with clubs and distr... cue very strong force... X negative... General Op Rebids nat with various NT's to split possible NT ranges... 1S 5+S... 1N nat NF... 2m nat F... 2H nat!... 3m weak NF... 3H stopper-ask(2-level or 3-level)... X negative... suits FFourth-Seat -Op rebids:... X penalty-oriented Hxxx+ 18+ HCP (or less with better D) UNLESS 1C-(1y)-bid-(2/3y), then supp. double (even if neg X or 5-crd freebid)... raise 4-crd or unbal 3-crd... clubs nat extra dist but maybe not extra strength... 1N non-min NT... 2N 18-21... cue can be strong 2----------------------------------------------------------1D Opener:Responses -1H nat up the line... 1S D-S may have 3H... 1N 1-2 H... 2C any GF (2H 2-crd supp)... 2D/H to play... 2S nat F... 2N/3C/3D/3H nat invit... 2C Cole (many hands, including 3-crd raise without spades) ... 2D normal relay... 2H 3-crd raise, min... 2oM 3-crd raise, 15+ artif... 2N 15-17 short H... 3C 5D-5C min, 0-2 H... 3D 6+D 3H extras... 3H highly invit... 3S/N GF both minors, 0-2 H, no S stopper or S stopper... 4C/H slam C/S splinters ... 4D slam fit-raise ... 2H weak to play (even oppos. intermediate 3-crd supp)... 2N invit, 4H... 3C invit canape... 3D invit 4D-4H... 3H invit very good suit... 2D more distr. than 1N, 0-2 H... 2H 4-crd supp.... 2S Jump shift... 2N 16-19 acc. to D quality, long D but side stoppers ... 3C Wolff as after 1C...2N... 3D/H GF nat... 3C 15-17 5D-5C... 3D 16-19 acc. to D quality, not all side stoppers, 0-2 H... 3H 13-16 4-crd raise acc. to suits and distr.... 3S/4C splinters... 3N 16-18, tricks, short H... 4D AKxxxx+ and 4-crd supp., strong... 4H usu. 2452 strong1S nat (as above, except where obvious)raises natural, need fewer cards than standard1M 1N 2C 2D 2H 2S 2N OPENERS:Use favorite responses, not systemically defined。

１勒克斯解释：照度的国际单位（SI ），又称米烛光（米烛光是表示光照强度大小的单位名称。

它是以一个国际烛光的点光源为中心，以一米为半径所做的球面上的照度，是光照强度的测量单位。

即一支点燃的蜡烛，在距被照射物体一米远的距离上投射在该物体上的光的亮度为一米烛光，或叫勒克斯。

）。

1流明的光通量均匀分布在1平方米面积上的照度，就是一勒克斯。

可以标作勒［克斯］，简称勒。

英为lux ，简作lx 。

勒克斯是引出单位，由流明(lm)引出。

流明则由标准单位烛光(cd)引出。

勒克斯是照度单位照度是反映光照强度的一种单位，其物理意义是照射到单位面积上的光通量，照度的单位是每平方米的流明（Lm ）数，也叫做勒克斯（Lux ），即：确 1Lux=1Lm/m2关系：1lux=1lm/平方米=1cd×sr/平方米。

附件：流明解释：流明，光通量的单位。

发光强度为1坎德拉(cd)的点光源，在单位立体角（1球面度）内发出的光通量为“1流明”，英文缩写(lm)。

流明定义所谓的流明简单来说，就是指蜡烛一烛光在一公尺（1 公尺 = 1 米）以外的所显现出的亮度。

一个普通40瓦的白炽灯泡，其发光效率大约是每瓦10流明，因此可以发出400流明的光.。

40瓦的白炽灯220伏时，光通量为340流明。

光通量是描述单位时间内光源辐射产生视觉响应强弱的能力，单位是流明，也叫明亮度。

投影仪表示光通量的单位是ANSI 流明，ANSI 流明是美国国家标准化协会制定的测量投影仪光通量的标准，它测量屏幕"田"字形九个交叉点上的各点照度，乘以面积，再求九点的平均值，即为该投影仪的ANSI 流明。

流明值越高表示越亮，明亮度越高则在投影时就不需要关灯。

ANSI 为American National Standards Institute （美国国家标准局）的缩写。

详细介绍同样，这个量是对光源而言，是描述光源发光总量的大小的，与光功率等价。

Jean-François Millet (October 4, 1814 – January 20, 1875) was a French painter and one of the founders of the Barbizon school in rural France. Millet is noted for his scenes of peasant farmers; he can be categorized as part of the naturalism and realism movements.Youth:Millet was the first child of Jean-Louis-Nicolas and Aimée-Henriette-Adélaïde Henry Millet, members of the peasant community in the village of Gruchy, in Gréville-Hague (Normandy).[1] Under the guidance of two village priests, Millet acquired a knowledge of Latin and modern authors, before being sent to Cherbourg in 1833 to study with a portrait painter named Paul Dumouchel. By 1835 he was studying full-time with Lucien-Théophile Langlois, a pupil of Baron Gros, in Cherbourg. A stipend provided by Langlois and others enabled Millet to move to Paris in 1837, where he studied at the École des Beaux-Arts with Paul Delaroche. In 1839 his scholarship was terminated, and his first submission to the Salon was rejected.[1]Paris:After his first painting, a portrait, was accepted at the Salon of 1840, Millet returned to Cherbourg to begin a career as a portrait painter. However, the following year he married Pauline-Virginie Ono, and they moved to Paris. After rejections at the Salon of 1843 and Pauline's death by consumption, Millet returned again to Cherbourg.[1] In 1845 Millet moved to Le Havre with Catherine Lemaire, whom he would marry in a civil ceremony in 1853; they would have nine children, and remain together for the rest of Millet's life.[2] In Le Havre he painted portraits and small genre pieces for several months, before moving back to Paris.It was in Paris in the middle 1840s that Millet befriended Constant Troyon, Narcisse Diaz, Charles Jacque, and Théodore Rousseau, artists who, like Millet, would become associated with the Barbizon school; Honoré Daumier, whose figure draftsmanship would influence Millet's subsequent rendering of peasant subjects; and Alfred Sensier, a government bureaucrat who would become a lifelong supporter and eventually the artist's biographer.[3] In 1847 his first Salon success came with the exhibition of a painting Oedipus Taken down from the Tree, and in 1848 his Winnower was bought by the government. The Captivity of the Jews in Babylon, Millet's most ambitious work at the time, was unveiled at the Salon of 1848, but was scorned by art critics and the public alike. The painting eventually disappeared shortly thereafter, leading historians to believe that Millet destroyed it. In 1984, scientists at the Museum of Fine Arts in Boston x-rayed Millet's 1870 painting The Young Sherpherdess looking for minor changes, and discovered that it was painted over Captivity. It is nowbelieved that Millet reused the canvas when materials were in short supply during the Franco-Prussian War.Barbizon:In 1849 Millet painted Harvesters, a commission for the state. In the Salon of that year he exhibited Shepherdess Sitting at the Edge of the Forest, a very small oil which marked a turning away from previous idealized pastoral subjects, in favor of a more realistic and personal approach.[4] In June of that year he settled in Barbizon with Catherine and their children.In 1850 Millet entered into an arrangement with Sensier, who provided the artist with materials and money in return for drawings and paintings, while Millet simultaneously was free to continue selling work to other buyers as well.[5] At that year's Salon he exhibited Haymakers and The Sower, his first major masterpiece and the earliest of the iconic trio of paintings that would include The Gleaners and The Angelus.[6]From 1850 to 1853 Millet worked on Harvesters Resting (Ruth and Boaz), a painting he would consider his most important, and on which he worked the longest. Conceived to rival his heroes Michelangelo and Poussin, it was also the painting that marked his transition from the depiction of symbolic imagery of peasant life to that of contemporary social conditions. It was the only painting he ever dated, and was the first work to garner him official recognition, a second-class medal at the 1853 salon.[7]Later years:Despite mixed reviews of the paintings he exhibited at the Salon, Millet's reputation and success grew through the 1860s. At the beginning of the decade he contracted to paint 25 works in return for a monthly stipend for the next three years, and in 1865 another patron, Emile Gavet, began commissioning pastels for a collection that would eventually include 90 works.[10] In 1867 the Exposition Universelle hosted a major showing of his work, with the Gleaners, Angelus, and Potato Planters among the paintings exhibited. The following year Frédéric Hartmann commissioned Four Seasons for 25,000 francs, and Millet was named Chevalier de la Légion d'Honneur.[10] In 1870 Millet was elected to the Salon jury. Later that year he and his family fled the Franco-Prussian War, moving to Cherbourg and Gréville, and did not return to Barbizon until late in 1871. His last years were marked by financial success and increased official recognition, but he was unable to fulfill government commissions due to failing health. On January 3, 1875 he married Catherine in a religious ceremony. Millet died on January 20, 1875.[10]。

Merton H. Miller, 1923-2000没国芝加哥大学商学院财务学教授米勒博士（ler），2000年6月3日因癌症在芝加哥逝世，享年77岁。

米勒教授1923年生于美国波士顿，中学就读于波士顿拉丁学校，1940年进入哈佛大学学习，3年后获哈佛大学文学学士学位。

二战期间，米勒先后任职于美国财政部税务研究部和联邦储备委员会研究及统计部。

1949年进入约翰霍普金斯大学学习，1952年获经济学博士学位，其后任教于伦敦经济学院和卡内基——米伦大学，1961年开始任教于芝加哥大学商学院，直至1993年退休，在此期间，米勒于1983年至1985年还曾兼任芝加哥交易所理事，1990年以后，米勒还一直担任着芝加哥商品交易所理事。

米勒教授是世界知名的财务学家，在财务理论方面卓有建树，出版了八部著作。

他早期一直致力于财务理论的研究，后期因工作关系，其研究范围还涉及证券及期权交易的监管问题，不过他最突出的贡献是在资本结构理论方面。

他与另一位财务专家莫迪格莱尼（Franco Modigliani）通过大量的分析研究，于1956年在美国计量经济学会年会上发表了著名论文《资本成本、公司财务及投资理论》（The Cost of Capital，Corporation Finance and the Theory of Investment），此文经修改后发表于《美国经济评论》1958年6月期上，该文提出：公司价值取决于投资组合，而与资本结构和股息政策无关（称之为“MM理论”），1961年又与莫迪格莱尼合作发表了《胜利政策、增长及股份估价》（Dividend Policy， Growth and the Valuation of Shares）一文，进一步阐述并发展了这一理论，并因此而获得了1990年的诺贝尔经济学奖。

米勒的“MM理论”，在财务理论界引起较大反响，在于它与传统财务理论的大相径庭。

早期的“MM理论”（“无关论”）包括如下三个重要结论：1、资本结构与资本成本和公司价值无关。

John Milton (December 9, 1608 – November 8, 1674) was an English poet, prose polemicist, and civil servant for the English Commonwealth. Most famed for his epic poem Paradise Lost, Milton is celebrated as well for his eloquent treatise condemning censorship, Areopagitica. Long considered the supreme English poet, Milton experienced a dip in popularity after attacks by T.S. Eliot and F.R. Leaves in the mid-twentieth century; but with multiple societies and scholarly journals devoted to his study, Milton’s re putation remains as strong as ever in the twenty-first century.V ery soon after his death – and continuing to the present day – Milton became the subject of partisan biographies, confirming T.S. Eliot’s belief that “of no other poet is it so difficult to c onsider the poetry simply as poetry, without our theological and political dispositions…making unlawful entry.”[1] Milton’s radical, republican politics and heretical religious views, coupled with the perceived artificiality of his complicated Latinate verse, alienated Eliot and other readers; yet by dint of the overriding influence of his poetry and personality on subsequent generations--particularly the Romantic movement--the man whom Samuel Johnson disparaged as “an acrimonious and surly republican” must be counted one of the most significant writers and thinkers of all time.2. Literary career.(1) The 1st period was up to 1641, during which time he is to be seen chiefly as a son of the humanists and Elizabethans, although his Puritanism is not absent. Areopagitica and The Masque Camus (1632) are his early masterpieces, in which we find Milton a true offspring of the Renaissance, a scholar of exquisite taste and rare culture. Next The Masque Camus The greatest of early creations was Lucida, a pastoral elegy on the death of a college mate, Edward King.(2) The second period is from 1641 to 1654, when the Puritan was in such complete ascendancy that he wrote almost no poetry. In 1641, he began a long period of pamphleteering for the puritan cause. For some 15 years, the Puritan in him alone ruled his writing. He sacrificed his poetic ambition to the call of the liberty for which Puritans were fighting.(3) The third period is from 1655 to 1671, when humanist and Puritan have been fused into an exalted entity. This period is the greatest in his literary life, epics and some famous sonnets. The three long poems are the fruit of the long contest within Milton of Renaissance tradition and his Puritan faith. They form the greatest accomplishments of any English poet except Shakespeare. In Milton alone, it would seem, Puritanism could not extinguish the lover of beauty. In these works we find humanism and Puritanism merged in magnificence.4. Features of Milton’s works.(1) Milton is one of the very few truly great English writers who is also a prominent figure in politics, and who is both a great poet and an important prose writer. The two most essential things to be remembered about him are his Puritanism and his republicanism.(2) Milton wrote many different types of poetry. He is especially a great master of blank verse. He learned much from Shakespeare and first used blank verse in non-dramatic works.(3) Milton is a great stylist. He is famous for his grand style noted for its dignity and polish, which is the result of his life-long classical and biblical study.(4) Milton has always been admired for his sublimity of thought and majesty of expression. Abstract: "Paradise lost” about human depravity of long epic. It tells the story of the first man Adam and eve in the Garden of Eden was pure and innocent, because the devil the temptation of Satan and against the will of god, and finally to the process of sin in fall. The author Milton poemsin the use of the "bible" character image, so that the theme to show incisively and vividly. This paper discussed the Milton's paradise lost, and Satan in the role of "paradise lost, Milton in works of Satan and pity of fear is double feelings.King words: Free will自由意志Rebel反叛Heroism英雄气概Invincible Spirit不屈意志"Paradise lost" from the origin of the bible where the story of the century that the lawsuit is derived“失乐园”的由来是从《圣经》中创世纪中所诉的故事中得来的在《失乐园》所塑造的人物中，撒旦形象历来受赞扬最多，同时争议也最大。

武汉大学2016-2017学年度第一学期2017级《大学英语一级》期末试卷（A卷）2016年01月10日学号＿＿＿＿＿姓名＿＿＿＿＿院（系）＿＿＿＿＿考生注意事项：1．本次考试共计120分钟（08：30--10：30）2.09：00正式播放听力录音；3．在答题卡准考证号一栏添入自己的学号：4．准考证号一栏涂黑相应的阿拉伯数字（漏填或填错将影响卷面得分）；5．在试卷类型处涂黑A或B（机读卡的试卷类型在答题卡右上角，主观题答题卡试卷类型在答题卡上方。

两卡都要填写试卷类型，漏填或错填将影响卷面得分）；6．主观题部分（词汇、翻译、作文等）写在主观题答题卡上；7．考试结束时请将机读答题卡，主观答题纸和试题册一并交给监考人员（不交试题册者按零分处理）；8．请将姓名、学号等相关信息填入上栏（重修学生请在姓名后注明“重修”二字）。

9．考生联系方式审题人：＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿Part I Listening Comprehension(25%)Section ADirections:In this section,you will hear eight short conversations. At the end of each conversation, a question will be asked about what was said. Both the conversation and the question will be spoken only once.After each question there will be a pause.During the pause. you must read the four choices marked A). BL. C) and D).and decide which is the best answer. Then mark the corresponding letter on the Answer Sheet with a single line though the centre.I.A) She mst walk five miks.B)She must walk five or six blocks.C)She must walk to the comer for three blocks.D)She must tour two bbcks.2.A)He will do anything to make the soup.B)He can't eat any soup.C)He prefers another job.D)He doesn't want any dinner.3.A)He ade an improper turmB)He went the wrong direction on a one-way street.C)He got a one-way plane ticket.D)He sbwed down at the wrong time.4.A) She i too shy to apply for the job.B)She is peiful.C)She is quabfied.D)She is inteligent.5.A) The bus has broken down and will not arrive.B)The bus was debiyed by the traffic jamC)The bus will probably arrive at 9:15.D)The bus will arive tonighu.but the man isn't sure.6.A) The report might be short.B)The report might be bngC)The report has been finished.D)The report mighu be easy.7.A)Go to her sister's home.B)Go to make the phone callC)Go to the dinner.D)Go to the concert.8.A)James never comes bate.B)James i always bte.C)James is not surprised.D)James hates to wai.Section BDirectlons:In this section,you will hear TWO shon passages. At the end of each passage. you will hear some questions. Borh the passage and the questions will be spoken only once.After you hear a question, you must choose the bes answer fom the four choices marked A). B).C) and D1.Then mark the corresponding letter on the Answer Sheet with a single line though the centre.Questions 9 to 12 are based on the following passage:9.A)It helps the Estener to remember what has been sail.B) It interferes with listening comprehensionC)It has no effect on Estening comprehension.D) It helps the students with poor memory.10.A)50%B)80%C)90%D)100%11.A)They shoukd keep their notes as kong as possible.B)They should check ther notes wih other students.C)They should review their noles from time to time.D) They should never take notes when Estening.Questions 13 to 15 are based on the following passage:12.A)They speak several bngunges.B)They offen travel by air for free.C)They needn't work lke a wairess.D)They eam money and see the world at the same time.13.A)They can speak several langunges.B)They can do the simple job in the routine manner.C)They must kam abou psychology.D)They must work Eke a nurse sometimes.14.A)She must be able to carry oul the necessary procedure wih calm and efficiency.B)She must be able to expbin the situation in several anguages.C)She mst take the advantage of the psychology and the murse.D)She must estirate the work of the pilot exactly.15.A)Because she does the routine job effciently.B)Because she ik a charming waitress.C)Because she is a well-trained essential menber of the crew.D)Because she is able to communicate wih the passengers in several bingunges.Section CDirections:In this section,you will hear TWO passages. Each passage will be read TWICE. Listen carefully and fill in the blanks with the information you get from the reconding.（注意：本部分请直接把答案写在主观答题纸上。

millennium翻译基本解释●millennium：千年，千禧年●/mɪˈlɛnɪəm/●n. 一千年，千禧年变化形式●n. 复数形式：millennia 或millenniums具体用法●n.:o一千年，千禧年o同义词：millenary, kiloyear, age, epoch, erao反义词：instant, moment, second, minute, houro例句：●The millennium is a period of one thousand years, often usedto mark significant historical events. (千年是一个一千年的时期，通常用于标记重要的历史事件。

)●Many people celebrated the turn of the millennium withgrand parties and fireworks. (许多人用盛大的派对和烟花庆祝千禧年的到来。

)●The concept of a millennium is often associated with religiousor cultural significance. (千年的概念通常与宗教或文化意义相关。

)●Scientists study climate patterns over millennia to understandlong-term changes. (科学家研究千年间的气候模式以了解长期变化。

)●The ancient civilization thrived for several millennia before itsdecline. (这个古代文明在衰落之前繁荣了几个千年。

)●The millennium bug was a computer flaw that was expectedto cause problems in the year 2000. (千年虫是一个计算机缺陷，预计会在2000年引发问题。

millencon读法
摘要：
一、millencon 概述
lencon 的来源
lencon 的定义
lencon 的特点
二、millencon 的读法
1.字母发音
2.连字符发音
3.整体发音
三、millencon 在实际应用中的读法
1.句子中的millencon
2.专有名词中的millencon
四、总结
lencon 的读法规则
2.需要注意的发音细节
3.实际运用中的建议
正文：
millencon 是一个由字母m、i、l、e、n、c、o、n 组成的词汇。

这个词来源于millennium（世纪）和encore（再来一次）的结合，意味着在一个新的世纪里，人们期待再次看到精彩的表现。

millencon 常常用于描述具有跨
世纪意义的事件或现象。

millencon 的发音较为独特，其字母发音与其他词汇并无太大差异。

需要注意的是，millencon 中的连字符“-”应作为一个整体发音。

具体来说，millencon 的读法为：[mln.kn]。

在实际应用中，millencon 的读法有时会受到上下文的影响。

例如，在句子中，millencon 通常会被作为一个整体发音；而在专有名词中，如“millencon 演唱会”，“millencon 奖”等，millencon 的发音则会根据词汇的常规发音规则进行。

总的来说，millencon 的读法并没有严格的规则，但我们可以根据其来源和常见用法来掌握其发音。

在实际运用中，要注意观察上下文，灵活运用millencon 的发音。