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雨落无声，记忆搁浅。用心触摸着那丝丝微雨的柔美，透过时空的壁垒，苍老的故地，深沉的脚印，朦胧的身影，和那被岁月侵蚀的满怀柔情，在脑海里徘徊得太过杂乱无章，每当想要细细品味时，却不知从何道来。于是只能介乎在半梦半醒之间，任沧桑褪尽昔日芳华，孑然一身，谱写出风花雪月的篇章。人生若只如初见，那冥冥中注定的惊鸿一瞥，定格一瞬间，却又转瞬即逝，带走了无限的想象和无尽的回忆。

Philosophy, as I shall understand the word, is something intermediate between theology and science. Like theology, it consists of speculations on matters as to which definite knowledge has, so far, been unascertainable; but like science, it appeals to human reason rather than to authority, whether that of tradition or that of revelation.All definite knowledge—so I should contend—belongs to science; all dogma as to what surpasses definite knowledge belongs to theology. But between theology and science there is a No Man’s Land, exposed to attack from both sides; this No Man’s Land is philosophy. Almost all the questions of most interest to speculative minds are such as science cannot answer, and the confident answers of theologians no longer seem so convincing as they did in former centuries.

Reconstruction means broadly for us reformulate and refocusing on ties between particular practices and theories of prose fiction and the facts of life, that is, historical, biographical, and textual facts about authors, readers, critics, and their works and worlds. Critical reconstruction can even show how previous fictions have helped to call into be subsequent realities and subjectivities. But the project of reconstruction must be plural and textually specific, if it is not to be reductive and, from our late twentieth-century roller-coaster perspective to history, to turn quickly into old-hat totalizing. There are myriad ways for critics to reconstruct a relationship between a text and some aspect of reality. Let a hundred blooms flower.This book, as a whole and in its parts, features the interplay of fictions than “the real world,” but it explores and expands ideas of what fiction and reality might be. In discussions of particular texts, it raises and addresses such questions, both time and perennial, as these: How does fiction work to represent and communicate truth about the world? What is the connection between perceived historical reality and the form of language in which a novel is narrated? How does writing mediate the tensions between public and private life, and what does fiction to do with formulating the very concept of such a split? What is it exactly that people of a given time want and get from a particular novel? How does a novelist’s life give form to a novel? How are reality, the novel, knowledge, and the practice and form of fiction known as realism relating, and what might realism mean now as modern critics reconstruct ideas about it? How does a critical theorist of literature move to political theory? How do the effects of writing “travel,” both geographically and in time? And, most significantly for us, what continues to matter about some particular work or works? All these are questions Ian Watt’s work has floated for us and helped bring into focus.Watt integrated the skills and virtues of New Criticism’s close readings with concern for such historical factors as economic change, class and gender determinants, the dynamic nature of a reading public, cultural and philosophic influences, social psychology, shits in signifying practices, and theories of narrative that had been missing,lost, or slighting in much influential postwar literary criticism. His boldness in taking the study of literature initially beyond pure textual analysis into realms of sociology, ideology, and cultural relations, and then back into individual novels for richer and more complex readings was a brilliant accomplishment that broadened extending the range of literary scholarship. He opened up fields for scholars of all bents—fields consisting, to be sure, of turf to fight about. His interdisciplinary method was instrumental in helping to bring about the interaction of many critical practices and positions that continues to preoccupy critics.1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Dwarf spheroidal galaxies are small and very faint, containing few stars (1) to their total mass. They appear to be made mostly of dark matter—a (2) substance detectable only by its gravitational influence, which (3) normal matter by a factor of five to one in the universe (4) a whole. Astronomers have found it difficult to explain the origin of dwarf spheroidal galaxies. (5) theories require that dwarf spheroidal orbit near large galaxies like the Milky Way, but this does not (6) how dwarfs that have been observed in the outskirts of the “Local Group” of galaxies could have formed.“These systems are ‘elves’ of the early universe, and (7) how they formed is a (8) goal of modern cosmology,” said lead author Elena D’Onghia of the Harvard-Smithsonian Center for Astrophysics (CFA). D’Onghia and her colleagues used computer (9) to examine two scenarios for the (10) of dwarf spheroidals: 1) an encounter between two dwarf galaxies far from (11) like the Milky Way, with the dwarf spheroidal later (12) into the Milky Way, and 2) an encounter between a dwarf galaxy and the forming Milky Way in the (13) universe.The team found that the (14) encounters excite a gravitational process which they term “resonant stripping”, leading to the (15) of stars from the smaller dwarf over the course of the interaction and transforming it into a dwarf spheroidal. “Like in a cosmic dance, the encounter (16) a gravitational resonance that strips stars and gas from the dwarf galaxy, (17) long visible tails and bridges of stars,” explained D’Onghia. “This (18), explains the most important characteristic of dwarf spheroidals, which is that they are dark-matter (19),” added co-author Gurtina Besla.The long streams of stars pulled off by gravitational interactions should be (20). For example, the recently discovered bridge of stars between Leo IV and Leo V, two nearby dwarf spheroidal galaxies, may have resulted from resonant stripping.

Dark matter in the universe is, believed by some scientists, substance that is not readily observable because it does not directly refract light or energy. Its existence can only be deduced because of the effect that it has on surrounding matter. In fact, some members of the scientific community have argued that dark matter does not actually exist. Others, however, believe in its existence, in part because the scientific community does not have a complete understanding of gravitational science. On the other hand, some would argue that it is the understanding of gravitational science that leads most scientists to believe in the existence of dark matter, because without dark matter, there are many cosmological phenomena that are difficult to explain.For example, dark matter in the universe may have a peculiar effect on the Milky Way galaxy. Some scientists believe that the interaction between dark matter and other smaller, nearby galaxies is causing the Milky Way galaxy to take on a warped profile. It has been asserted that not only does dark matter exist, it may also be responsible for the Milky Way’s unusual shape. The interaction referenced involves two smaller galaxies near the Milky Way, called Magllanic Clouds, moving through an enormous amount of dark matter, which, in effect, enhances the gravitational pull that the two Magellanic Clouds could have on the Milky Way and other surrounding bodies. Without the existence of the dark matter, the Magellanic Clouds would not have sufficient mass to have such a strong effect on the bend of the Milky Way galaxy.The strongest evidence for the validity of this hypothesis rests in Newtonian physics and the hypothesis that anything with mass will exert a gravitational pull. The Milky Way and other galaxies with peculiar warped shapes are being molded by a gravitational force. However, there is nothing readily observable with sufficient mass that could cause such a high level of distortion via gravitational pull in the vicinity of the Milky Way, Therefore, something that is not easily observed must be exerting the necessary force to create the warped shape of the galaxy.Aaron Romanowsky and several colleagues have questioned the effect that dark matter might have on galaxies. They point to the existence of several elliptical galaxies surrounded by very little dark matter as evidence that dark matter is not, in fact, the cause of the warped galaxies. While they do not claim that their findings should be interpreted to conclude that dark matter does not exist, they apparently believe that the results of their studies cast doubt on some of the conventional theories of galaxy formation and manipulation.Several models constructed by researchers from the University of California at Berkeley, however, point to the idea that dark matter is the most likely explanation for the distorted shape of the Milky Way and other galaxies. Using computer models, they have mapped the likely interactions between certain galaxies and the surrounding dark matter, and those models have shown not only the possibility that dark matter is responsible for the warped shape of the Milky Way, but that the relationship between the dark matter and the Magllanic Clouds is dynamic; the movement of the clouds through the dark matter seems to create a wake that enhances their gravitational influence on the Milky Way.1. The passage states that some members of the scientific community are reluctant to believe in the existence of dark matter because .2. What does the passage offer as evidence for the existence of dark matter?3. According to the passage, what is Aaron Romanowsky’s theory regarding dark matter?4. The last paragraph supports the general hypothesis provided earlier in the passage that .5. The passage supports which of the following statements about dark matter?

My first encounter with the international artist and art critic Fairfield Porter was actually through the poetry of his wife, Anne (Channing) Porter. While both grew to become quite celebrated in their crafts, Fairfield’s story is unique.Born into an affluent, artistic family in 1907, the boy who was one day become a renowned artist and respected art critic showed a comparative lack of artistic ability when seen next to his siblings. While his older brother Eliot took to photography, Fairfield Porter, despite being remarkably intelligent, appeared to be lacking any natural artistic talents. It seemed that, although a member of a family full of artists, his true skill lay in the critiquing of others’ artistry. This was evidenced in his second year at Harvard by Farfield’s decision to pursue art history as his major field of study. After studying at Harvard under Arthur Pope and then traveling briefly through Europe, Fairfield came back to the United States to further his education at the Art Students League in New York City. There he became acquainted with the famed photographer Alfred Stieglitz—the work of whom is said to have positively influenced Fairfield’s paintings to some degree.Between the years 1931 and 1932, Fairfield spent the majority of his time in Italy learning to appreciate and critique the works of the great Renaissance painters. His training came from both direct study under world-famous art historian Bernard Berenson, and from countless hours spent in museums and galleries observing the greatest pieces of Italian art.Following his marriage to Anne upon his return from Italy, Fairfield spent the better part of the next two decades developing his skills as a painter while caring for his autistic son. During this period his meetings with the French Intimist painter Willem De Kooning would prove to have a profound effect on his later works. Porter was the first to publicly acclaim the work of Kooning.In fact, what made Porter so famous was his knack for responding directly to an artist’s work. He found fault with the common “talk based” criticism that spoke to art only in reference to its past or to some vague theoretical framework; such criticism attempted to shape the future of art and was far too biased for Porter. His time as an art critic for such publications as Art News and The Nation ended, however, in 1961 when he decided to pursue a full-time painting career.The other side of his fame, his uncommon approach to painting, is just as important to the understanding of Fairfield Porter’s contributions to the world of art. His personal philosophy comes from a blending of two views; art should be personal, emotional, and representative of its subject, while at the same time be boldly colorful, expressive, and generally abstract. Drawing on his vast knowledge of art history, especially the styles of French Intimism, Porter fused these two feelings to create a powerful, emotive collection of paintings about families, individuals, and the home, as well as moving nature scenes such as The Door to the Woods (1971) and Maine—Toward the Harbor (1967).When he died in 1975, on a morning walk along the ocean, he left the world as one of the most respected art critics in the past century. On top of that, his work as a painter is still viewed within the art community as amazingly distinctive and especially representative of his life. It is sad to say that now, however, some thirty years after his death, he is still virtually unknown outside of art circles. This remarkably insightful, articulate, creative individual needs to be discovered by the common man and revered for his continuing influence on the artists of today. The words of this intellectual were some of the best and most honest critiques of art ever spoken.1. The main purpose of the passage can best be described as an attempt to .2. The author’s attitude toward the subject of the passage can best be characterized as .3. As described in the passage, Porter’s method of criticizing art can best be summarized by which of the following statements?4. Porter’s painting style can be described by all of the following EXCEPT .5. Without the first paragraph, the passage would lose .

My father was, I am sure, intended by nature to be a cheerful, kindly man. Until he was thirty-four years old he worked as a farm hand for a man named Thomas Butterworth whose place lay near the town of Bidwell, Ohio. He had then a horse of his own and on Saturday evenings drove into town to spend a few hours in social intercourse with other farm hands…At ten o’clock Father drove home along a lonely country road, made his horse comfortable for the night and himself went to bed, quite happy in his position in life. He had at that time no notion of trying to rise in the world.It was in the spring of his thirty-fifth year that Father married my mother, then a country schoolteacher, and in the following spring I came wriggling and crying into the world. Something happened to the two people. They became ambitious. The American passion for getting up in the world took possession of them.It may have been that Mother was responsible. Being a schoolteacher she had no doubt read books and magazines. She had, I presume, read of how Garfield, Lincoln and other Americans rose from poverty to fame and greatness and as I lay beside her—in the days of her lying-in—she may have dreamed that I would someday rule men and cities. At any rate, she induced Father to give up his place as a farm hand, sell his horse and embark on an independent enterprise of his own…The first venture into which the two people went turned out badly. They rented ten acres of poor stony land on Grigg’s Road, eight miles from Bidwell, and launched into chicken raising. I grew into boyhood on the place and got my first impressions of life there. From the beginning they were impressions of disaster and if, in my turn, I am a gloomy man inclined to see the darker side of life, I attributed it to the fact that what should have been for me the happy joyous days of childhood were spent on a chicken farm.One unversed in such maters can have no notion of the many and tragic things that can happen to a chicken. It is born out of an egg lives for a few weeks as a tiny fluffy thing such as you will see pictured on Easter cards, then becomes hideously naked, eats quantities of corn and meal bought by the sweat of your father’s brow, gets diseases called pip, cholera and other names, stands looking with stupid eyes at the sun, becomes sick and dies. A few hens and now and then a rooster, intended to serve God’s mysterious ends, struggle through to maturity. The hens lay eggs out of which come other chickens and the dreadful cycle is thus made complete. It is all unbelievably complex. Most philosophers must have been raised on chicken farms. One hopes for so much from a chicken and is so dreadfully disillusioned. Small chickens just setting out on the journey of life, look so bright and alert and they are in fact so dreadfully stupid. They are so much like people they mix one up in one’s judgments of life. If disease does not kill them they wait until your expectations are thoroughly aroused and then walk under the wheels of a wag… In later life I have seen how a literature has been built up on the subject of fortunes to be made out of the raising of chickens.... Do not be led astray by it. It was not written for you. Go hunt for gold on the frozen hills of Alaska, put your faith in the honesty of a politician, believe if you will that the world is daily growing better and that good will triumph over evil, but do not read and believe the literature that is written concerning the hen…I, however, digress. My tale does not primarily concern itself with the hen. If correctly told it will center on the egg. For ten years my father and mother struggled to make our chicken farm pay and then they gave up that struggle and began another. They moved into the town of Bidwell, Ohio, and embarked in the restaurant business. After ten years of worry, …we threw all aside and packing our belongings on a wagon drove down Grigg’s Road toward Bidwell, a tiny caravan of hope looking for a new place from which to start on our upward journey through life.1. The narrator of the story views life pessimistically because .2. According to the narrator, in which way do chickens resemble human beings?3. According to the narrator, one of the few pleasures in raising chickens is that .4. The narrator’s opinion of books and articles written about chicken farming is that they are __.5. Which pair of adjectives most accurately conveys the narrator’s feelings about his childhood?

In the United States, the ______ between the rich and the poor is growing, with the gap widening yearly.

In the interest of national security, the federal government carried out its psychic pet program at a secret and location.

Corn tariffs, which the diplomat had dismissed as issue, turned out to be pertinent and in the negotiations for a new trade agreement.

After more combative approaches failed, the company took a ______ stance in its negotiations.

Not content with mere speech, she brought along charts and graphs to ______ her arguments.

Duane jumped into the pool immediately after lunch, determined to ______ the idea that one must wait 30 minutes between eating and swimming.

The city was unprepared when the danger of hurricanes became reality, bringing destructive waves that everything in their path.

Just as the scientist’s claims about cloning were proven to be and unlikely, so too were the methods used to arrive at them found to be and riddled with fundamental lapses in the scientific method.

Any possible deleterious side effects of the new drug cannot be determined by trials; several long-term studies with identical methodologies are required.

Sancho remained a ______ friend who stood by his friend Don no matter how difficult the hardships that they encountered.

The bookstore’s customers comprised ______ group, one of heterogeneous backgrounds and disparate tastes.

Mrs. Affluence is widely known as a ______ who has given millions of dollars to charity and whose generosity has helped countless poor people.

While the company portrayed its actions in the devastated city as purely ______ it could not shake accusations of selfishness and opportunism.

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