问题 选择题

从A={a1,a2,a3,a4}到B={b1,b2,b3,b4}的一一映射中,限定a1的象不能是b1,且b4的原象不能是a4的映射有(  )个.

A.12

B.13

C.14

D.16

答案

a1的象不能是b1,分两种情况:

①a1的象是b4,a4的象有3种选择,其它两个元素的象分别有2和1选择,共3×2×1=6;

②a1的象不是b4,有两种选择,a4的象也有2种选择,其它两个元素的象分别有2和1选择,

共2×2×2×1=8.

∴总计6+8=14.

故选C.

阅读理解与欣赏

老师,你能抱我一下

陈 敏

  他很小就有疝气,这种病哭不得,所以大人们就尽量不让他哭,也就因此设法去满足他的一切要求。  

       他仿佛也是一个被命运诅咒了的孩子,三岁里,上天就带走了他的妈妈,他被托付给保姆照看。他无拘无束,野草一样疯长。他打骂小伙伴,抢他们的玩具,损坏他们的东西。他那样为所欲为似乎并没什么大碍,因为他的保姆会替他摆平一切。她善于向别人说软话,喜欢提着钱袋跟在他的身后给别人赔款道歉。他觉得这一切很好玩,因此,当他感到周围的世界太过平静的时候,他就要闹出一点动静来。他曾无缘无故地打落了一个小女孩的门牙。  

     这个大名鼎鼎的孩子在校内外声名远扬。他把老师的头弄得很大。没有一个班主任愿意接纳他,你像一只皮球一样从一个班被抛到另一个班。无奈,年级主任采用了抓阄的方法确定他的班主任。他的命运不错,被一个美丽、和蔼、可亲的女老师抓了去。  

       他依旧我行我素,夜晚在网吧里激战,白天在教室里酣睡。他打了不少人,也被不少人打过。这一次,他的伤势不轻,他的头被打了一个窟窿,让医生缝了好几针。他头上扎着绷带,戴着一个脏兮兮的军帽,像一名从战场上归来的伤员,教室里响起一阵巨大的哄笑声。  

       老师轻轻地走到他跟前,微笑着说:“小强,今晚教室里很闷,我们出去透透风好吗?”他跟着老师走出教室,来到校园边的草地旁。老师抬起手,轻轻地揭开他头上的军帽,问:“疼吗?你真让我心疼!”老师手上的温度烫得他心中一热,生命中,他第一次感受到这样的抚摩,第一次听到这么顺耳的话。他抬头看老师,感到自己的眼圈竟热了一下,但他没有掉眼泪。  

        多年来,从来没有人问过他哪里疼不疼,舒服不舒服;也没有人叫他的乳名,连那个保姆喊他里也只是“喂”!同伴们总给他取难听的外号,什么“狗都嫌”、“犯人坏”,怎么难听怎么叫。谁打了他骂了他,他都是自己冲上去解决。那个保姆只管做好好的陪他吃,吃饱喝足了就卧在沙发里养膘,然后找机会给他爸爸打电话,说他以惹祸了,需要更多的赔偿费。于是,他变成了一只好斗的小公鸡,他通过不停地惹麻烦来换取爸爸的电话。他喜欢听爸爸发脾气的声音,只要爸爸生气,他就觉得很得意。而今夜,老师这么一个轻经的抚摩,一句简单的问候,竟触动了他一贯坚硬的神经。夜色里,他看见老师的眼睛你天上的星星,正散发着柔和的光芒。  

        又是一个炎热的下午,他被网吧里的几个小混混追 到学校。一场混战就在教室门口展开了。老师及时赶来,她用双臂严严实实地护佑着他,像一只牢牢保护小鸡的母鸡,替他挨了结结实实的拳头。  

        几天后,他由爸爸领到老师家里。爸爸让他向老师道歉,他不肯笔直地站在老师面前,两眼红红的。许久,他,给老师深深地鞠了一躬。他给老师唱了一首歌,他把《祝你生日快乐》的歌词改成了“祝你早日康复”。他唱得很深情,听到老师湿润了眼睛。  

        冬天里的第一场雪来临时,他的一篇名《老师的那双手》的作文在市里获了二等奖,居然有三百元奖金。  

        花钱无数的他在拿到这三百元的奖励时,感到那段懵懂叛逆的日子在一点一点远去。  

        圣诞节来临,他走进一家商场,精心地选购了一条红红亮亮的围巾。  

        圣诞节早上,他来到老师必经的那条路口。老师被他的突然出现吓了一跳,以为他又惹了祸。这时,一团棉绒绒的、火热般的围巾立即被挂到她的脖子上。他凑到她的耳边,悄声地说:“师,你能抱我一下吗?很久了,我一直想让妈妈抱一下,可一直没等来……”   

        老师不顾身边的人来车往,一下子拥住了他,一张泪光满面的脸贴到了他温热的小脸上。  

        “今天起,如果你愿意,老师天天抱你一下,好吗,小强……”

1、小强使老师很头疼。那么,他是一个怎样的孩子?是什么原因使他变成的?(简略概括) 

     答:                                                                                                                                              

                                                                                                                                                          

2、“教室里响起一阵巨大的哄笑声”。同学们为什么如此哄笑?

     答:                                                                                                                                               

3、“她用双臂严严实实地护佑着他,像一只牢牢保护小鸡的母鸡”,请说说这个比喻表现了老师怎样的精神?

     答:                                                                                                                                               

                                                                                                                                                           

4、“老师不顾身边的人来车往,一下子拥住了他,一张泪光满面的脸贴到了他温热的小脸上”。是哪些原因使老师产生这样的举动?

     答:                                                                                                                                                

                                                                                                                                                           

5、假如惹是生非的小强是你班的同学,你认为大家应该怎样对待他?

    答:                                                                                                                                                

                                                                                                                                                           

单项选择题

Questions 26~30


It was books that first captured my imagination about faraway places. TV travelogues always seemed the poor relation to the classic written accounts, although of course the pictures were rather better. And then there was the issue of authenticity. All those pretentious theatrical types dying of thirst in the desert, as if we didn’t realize there was a camera crew on hand to cater for their every need. These days programme-makers know that the audience is more sophisticated and the presence of the camera is acknowledged. But can a journey with filming equipment ever be anything other than a cleverly constructed fiction
I recently got the chance to find out, when I was asked to present two one-hour programmes for an adventure travel series. The project was the brainchild of the production company Trans-Atlantic Films, which wanted the series presented by writers and adventurers, as well as TV professionals. My sole qualification was as a journalist specialising in "adventure" travel. However, I was thought to have "on-screen" potential.
The first programme was filmed in Costa Rica. Within 24 hours of my arrival, I realized that this was going to be very different from my usual "one man and his laptop" expeditions. For a start, there were five of us—director, cameraman, sound recordist, producer and presenter. And then there was the small matter of £100,000 worth of equipment. I soon realized that the director, Peter Macpherson, was a vastly experienced adventure film-maker. In his case, the term "adventure" meant precisely that. "Made a film with X," he would say (normally a famous mountaineer or skier), before describing a death-defying sequence at the top of a glacier in Alaska or hand-gliding off the Angel Falls in Venezuela. Invariably, these reminiscences would end with the words: "Had a great deal of respect for X. Dead now, sadly... "
Part of the brief for the series was to put the presenter in unusual situations and see how he or she coped. One such sequence was the night we spent in the rainforest canopy near the National Park in Guanacaste province. I don’t have a head for heights and would make a poor rock-climber, so my distress is real enough as the camera catches me dangling on a rope some 30 metres up, well short of the canopy platform.
Ironically, it was the presence of the camera, looking down on me from above, that gave me the impetus for the final push to the top. By this time, I’d learnt how "sequences" were cut together and realized that one last effort was required. I had to struggle to stay coherent while the camera swooped within a few millimeters of my face for my reaction In the end, it was a magical experience, hightened all the more by the sounds of the forest—a family of howler monkeys in a nearby tree, amplified through the sound recordist’s headphones.
Learning how to establish a rapport with the camera is vital and it took me a while to think of it as a friend rather than a judge and jury. The most intimidating moments were when Peter strolled up to me, saying that the light would only be right for another 10 minutes, and that he needed a "link" from one sequence to another. The brief was simple. It needed to be 30 seconds long, sum up my feelings, be informative, well-structured and, most important of all, riveting to watch "Ready to go in about five minutes" he would say breezily.

The writer uses the sequence filmed in the National Park as an example of ______.

A. something he had been worried about before any filming started
B. the sort of challenge that presenters were to face in the series
C. something he was expected to be unable to deal with
D. the technical difficulties involved in making films in certain places