完型：1.gold 2.challenge 3.clear 4.living 5.trace 6.landed 7.world 8.adaptable 9.distracting 10.hospital 11.ration 12.took 13.patient 14.face 15.track 16.recognized 17.bath 18.abrasive 19.foot 20.other 21.behalf 22.found 23.croweded 24.key 25.open 26.soul 27.same 28.Go 29. edge 30.worhty
改错：1.up后加with 2.on改为by/via/through 3.删掉up 4.aimed后加at 5.who改为whose 6.escape后加from 7.删掉from 8.actual前加an 9.harmony改为harmonious 10.删掉place
阅读: passage one: ABACDB
passage two: BBACA
passage three: ADDCDC
passage four: DCBDBA
passage five: BCCADBC
2008年英语语言文学专业英语综合cloze和改错答案
All three winners of this year's Nobel Prize for Medicine are eminent scientists, but Mario Capecchi is the one with the spiral-staircase story: the starving, homeless Italian street kid who found his way to America, to Harvard, to Utah, ever the refugee, before finally arriving at eternal glory and the Nobel Prize. It's in many
ways a familiar tale, Oliver Twist meets Albert Einstein, the pilgrim who comes to the promised land expecting, as he says, \"the roads to be paved in gold. What I found actually was just opportunity.\" But his story also has enough nice serrated edges to challenge our theories about genes and genius and what really makes us who we are.
You could say the visionary geneticist had a clear genetic edge. Capecchi's grandmother was a painter, his uncle a renowned physicist, and his mother Lucy Ramberg an expat American poet living in a chalet in the Italian Alps when Mario was born in 1937. She had fallen in with a group of bohemian writers who believed, her son says with just a trace of bemusement, that \"they could wipe out Fascism and Nazism with a pen.\" After the Gestapo came in 1941 to take her to Dachau, Mario landed on the streets. He was 4 years old.
All children have their own normal; they have not yet seen any worlds other than their own. Capecchi's world was an uncontrolled experiment in resilience. \"I never felt sorry for myself,\" he recalls. \"Children are remarkably adaptable. Put them in a situation, and they simply will do whatever it is they need to do.\"
For his band of urchins, that meant a cunning, methodical pursuit of food and shelter. They worked together like raptors, one child distracting the street vendor so another could steal the fruit. Capecchi finally landed in a hospital in Reggio Emilia, where he could starve more systematically. The daily ration was a piece of bread and some chicory coffee, and to keep the children from running off, \"they took all of our clothes away.\" He lay on a bed with no sheets, no blankets, feverish
with hunger. It was there he learned the art of patient plotting as he imagined all the ways he might escape and the obstacles he'd face to do so.
In 1945, when American soldiers liberated Dachau, Lucy went hunting for her son. She scoured hospital records, searching for more than a year before she tracked him down. It was on his 9th birthday, Oct. 6, 1946, that the mother he scarcely recognized arrived, a new Tyrolean outfit in hand, including the hat with the feather. She took him to Rome, where he had his first bath in six years, and ultimately to the New World, where they settled in a Quaker commune outside Philadelphia.
Creativity, Capecchi once said, comes from \"the abrasive juxtaposition\" of life experiences. His old life and new one certainly rubbed each other raw. Some teachers wrote off the feral boy who had never set foot in a school and spoke no English; but others gave him paints and told him to make murals to communicate. One day he was beating up the other third-graders, since that was what he knew how to do. And soon he was beating up older kids on behalf of his peers. \"That gave me a position,\" he says, \"some social standing.\"
Capecchi ultimately found his way to Harvard, the center of the universe in the early days of molecular biology. But he felt crowded by colleagues whose rivalries consumed them as much as their research. So he set off for the University of Utah, where the sight lines suited him better and collegiality was the key to success. He lives in a house high over a canyon. \"I love looking across long distances,\" he says. \"I think it sort of opens up my mind.\"
This vista is necessary for his work as well as his soul. Capecchi looks at science as a series of circles: the smallest circle is the one in which everyone is doing the same thing. As you move farther out, \"fewer people are willing to go there, but you're charting new areas. Go too far, step out of bounds, and you're in science fiction. So you have to be careful. But you want to be as close to the edge as possible.\" When he first proposed manipulating mouse genes to help model disease, the nih gatekeepers thought he was over the line. \"Not worthy of pursuit,\" they said of his grant proposals. Happily, Capecchi ignored them.
2008年改错
In his 1988 best seller A Brief History of Time, Stephen Hawking captivated readers with mind-bending conundrums bound to awaken childlike wonder even among the terminally unimaginative: for instance, if the universe is expanding, where is it expanding to?
Now Hawking has teamed up with his daughter, Lucy Hawking, to write George's Secret Key to the Universe, the first in a trilogy of novels directed at the fertile minds of children themselves. In an interview via e-mail, Stephen Hawking, who holds Sir Isaac Newton's former chair in mathematics at Cambridge University, explains: \"The aim of the book is to encourage children's sense of wonder at the universe. We want them to look outward. Only then will they be able to make the right decisions to safeguard the future of the human race.\"
Those are high stakes indeed, and the Hawkings spin an apocalyptic yarn to
explore them. George's Secret Key to the Universe, aimed at 9- to 11-year-olds, tells the story of a young boy, George, and a cheery astrophysicist, Eric, whose talking computer opens a portal to the known universe. The duo don spacesuits and use the portal to search for planets to which humanity can escape from the irreversible warming of the earth. Along the way, George and the reader learn the basics of astrophysics and astronomy through illustrations and captioned photographs. \"You don't need an actual secret key to explore the universe,\" George ultimately discovers. \"There's one that everyone can use. It's called physics.\"
The Hawkings portray the universe as harmonious and largely benign. Super-novas are fireworks for George's entertainment; black holes are harmless. But our present knowledge of the universe suggests that it is, in fact, a desolate and often violent expanse in which humankind plays an inconsequential role. Deep study of the cosmos, while affirming the accidental beauty of life, would seem to reinforce its futility rather than its significance. So are the Hawkings concealing the true nature of the universe from their young readers?
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