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问题 选择题

1902年2月，《泰晤士报》驻北京记者莫理循（澳大利亚人）说过：“我们在‘暴乱’（指义和团运动）中并无所失。而事实上我们的威信大增，我们敢肯定地说，多少年来我们在北京或在中国的地位，从未像今天这样高。我们与清朝官员的联系从未像今天这样密切。”这是因为

A．中国开始沦为半殖民地半封建社会

B．今后外国进出中国的关税，中国必须和外国进行协商

C．清政府已成为列强统治中国的工具

D．中外交往密切，关系恢复到和谐状态

答案

答案：C

题目分析：A项错误，中国开始沦为半殖民地半封建社会是在鸦片战争之后；B项错误，协定关税的内容是在第一次鸦片战争后签订的《南京条约》中规定的；D项明显错误；故选C，从材料“从未像今天这样高。我们与清朝官员的联系从未像今天这样密切”看出这是《辛丑条约》签订后清政府已经成为了洋人的朝廷，成为了他们统治中国的工具。故选C。

多项选择题

陶瓷粘结面的有效处理办法有：（）

A.氢氟酸酸处理

B.磷酸酸处理

C.EDTA清洁

D.氧化铝喷砂

E.硅烷偶联
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单项选择题

Questions 1～5


Writing articles about films for The Front Page was my first proper job. Before then I had done bits of reviewing—novels for other newspapers, films for a magazine and anything I was asked to do for the radio. That was how I met Tom Seaton, the first arts editor of The Front Page, who had also written for radio and television. He hired me, but Tom was not primarily a journalist, or he would certainly have been more careful in choosing his staff.
At first, his idea was that a team of critics should take care of the art forms that didn’t require specialized knowledge: books, TV, theatre, film and radio. There would be a weekly lunch at which we would make our choices from the artistic material that Tom had decided we should cover, though there would also be guests to make the atmosphere sociable.
It all felt a bit of a dream at that time: a new newspaper, and I was one of the team. It seemed so unlikely that a paper could he introduced into a crowded market. It seemed just as likely that a millionaire wanted to help me personally, and was pretending to employ me. Such was my lack of self-confidence. In fact, the first time I saw someone reading the newspaper on the London Underground, then turning to a page on which one of my reviews appeared, I didn’t know where to look.
Tom’s original scheme for a team of critics for the arts never took off. It was a good idea, but we didn’t get together as planned and so everything was done by phone. It turned out, too, that the general public out there preferred to associate a reviewer with a single subject area, and so I chose film. Without Tom’s initial push, though, we would hardly have come up with the present arrangement, by which I write an extended weekly piece, usually on one film.
The space I am given allows me to broaden my argument—or forces me, in an uninteresting week, to make something out of nothing. But what is my role in the public arena I assume that people choose what films to go to on the basis of the stars, the publicity or the director. There is also such a thing as loyalty to "type" or its opposite. It can only rarely happen that someone who hates westerns buys a ticket for one after reading a review, or a love story addict avoids a romantic film because of what the papers say.
So if a film review isn’t really a consumer guide, what is it I certainly don’t feel I have a responsibility to be "right" about a movie. Nor do I think there should be a certain number of "great" and "bad" films each year. All I have to do is put forward an argument. I’m not a judge, and nor would I want to be.

According to the author, his articles ______.

A. are seldom read by filmgoers
B. are ignored by stars and film directors
C. have little effect on public viewing habits
D. have greater persuasion than people realize
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