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下列关于POWER和安腾2处理器说法错误的是？（）

Of all the 18th century novelists Henry Fielding was the first to set out, both in theory and practice, to write specifically a “_____ in prose,” the first to give the modern novel its structure and style.

Passage 6　　They weren’t exactly Hollywood’s idea of a power couple: Disney CEO Robert Iger, once derided as a “suit,” and studio chief Richard Cook, who got his start as a monorail operator at Disneyland. But last week Iger and Cook dropped a bomb bigger than any of the explosions you’ll see in “Pirates of the Caribbean: Dead Man’s Chest.” Just weeks after the record-smashing release of the sequel—soon to be the highest-grossing film in Disney history—Cook fired studio president Nina Jacobson and announced Disney was slashing 20 percent of its studio staff and cutting the number of films it makes each year by a third.　　As usual, Hollywood thought it was all about them. “People are concerned that if Disney is cutting back on live-action movies, then what are other companies going to do,” says Jim Wiatt, chief executive of the William Morris Agency. The unflappable Iger’s response: “We’re focused on our own issues and strategies. If it has an effect on the industry, so be it. But it really is about us.”　　Not bad for two guys who were considered perpetual bridesmaids. Iger and Cook both spent years toiling in the shadow of larger-than-life CEO Michael Eisner, who ran Disney like his personal kingdom. When Eisner’s reign came to a Shakespearean end after a shareholder revolt led by Walt Disney’s nephew, Iger found himself having to audition for his boss’s job. Cook, who came up through the marketing ranks, had to endure similar Tinseltown tongue-clucking from those who assumed the affable bear of a guy didn’t have teeth.　　No one’s saying Iger and Cook aren’t “sexy” anymore. In short order, Iger made up with shareholders and Pixar honcho Steve Jobs, who’ d had an epic battle with Eisner, even persuading Jobs to sell the animation company to Disney. Cook, meanwhile, had been turning theme-park rides into movies and getting Disney back to its family roots. “Dick and Bob go by their own beat,” says Oren Aviv, who was promoted to president of production last week. “They’ re not interested in fanfare or press or what other people think.” (Mostly not interested: Iger did tell NEWSWEEK once, “I hate being called a suit.”)　　What people think now is that Disney is setting the pace for the industry. The film business has been on shaky ground: U. S. box office is flat, DVD sales have stalled and the cost of making movies is soaring. Family films seem like the only sure bets these days, and Disney is in a prime position to meet the demand. “Disney is the only real brand name in the movie business around the world,” says Cook. In fact, Iger is taking the name “Disney World” quite literally. He spoke to NEWSWEEK Friday after flying home from a five-day trip to Asia, where he attended the stage premiere of “The Lion King” in Shanghai. His immediate goal is to build the Disney brand in China and India. Iger has also aggressively embraced technological advances, podcasting and Webcasting episodes of “Lost” and “Desperate Housewives,” hits on Disney’s ABC network. “I don’t see technology as a threat,” he says. “Technology allows us to be in step with the consumer.”　　All of which sounds pretty good to Wall Street. Last week’s cuts will save the company between $ 90 million and $100 million a year, according to Cook, and while that wasn’t enough to boost its stock price, it sure doesn’t hurt investor relations. “Iger has stated his goals and stuck to [them]; investors like that predictability,” says analyst Jason Helfstein of CIBC World Markets. “He’s widely regarded in a positive light.” Ironic, since he wasn’t supposed to have the job in the first place.　　1. What was the “bomb” that Iger and Cook dropped in Disney Company?　　2. What contributions have Iger and Cook done to Disney Company?　　3. Why does the author say that “the film business has been on shaky ground”? (Para. 5)　　4. Why do people believe now that Disney is setting the pace for the industry? (Para. 5)

_____ is a folk legend brought to England by Anglo-Saxons from their continental homes. It is a long poem of over 3000 lines and the national epic of the English people.

Passage 2The Ant Society　　Described as a “six-legged lliad”, Wilson’s Anthill draws parallels between human and ant societies. Though there are no ant symphony orchestras, secret police, or schools of philosophy, both ants and men conduct wars, divide into specialized castes of workers, build cities, maintain infant nurseries and cemeteries, take slaves, practice agriculture, and indulge in occasional cannibalism, though ant societies are more energetic, altruistic, and efficient than human ones. (The New York Review of Books)　　A  “Go to the ant, thou sluggard” says the Bible. “Consider her ways, and be wise.” The book of Proverbs, chapter six, says that the industrious legions of ants, which have now colonized every continent on earth, except Antarctica, have “no guide, overseer, or ruler”.　　B  In fact, the good book got ants all wrong. Ant societies are rigidly stratified and usually ruled by queens. The little creatures are constantly guided by their scent trails and other chemical signals, not to mention their genes. Nobody has done more to reveal the true nature of the “super organisms” that ant societies comprise than Edward Wilson, a Harvard biologist, campaigning green, two-time Pulitzer prize-winning author, pioneer of sociobiology, and now, at the age of 80, also a debut novelist.　　C  One part of Anthill, by the world’s leading myrmecologist, demonstrates that in Mr. Wilson ants have found not only their Darwin but also their Homer. Midway through the novel, and comprising a fifth of the whole, is a self-contained novella, “The Anthill Chronicles”, which purports to be an undergraduate biology thesis by the protagonist of Anthill, about the rise and fall of four ant colonies in a tract of forest in southern Alabama. Happily for the reader, these chronicles bear no resemblance to student reports, though most of the details of life among the six-legged will be familiar to fans of Mr. Wilson’s entomological writings. The “thesis”, we are told, has been lightly edited by two professors to present the story “as near as possible to the way ants see such events themselves”.　　D  The success of this novella-within-a-novel derives from the fact that Mr. Wilson has no need to resort to the Hollywood method of anthropomorphizing his ants, as two popular animated features-Antz and A Bug’s Life—did in 1998. There are no individual perspectives in The Anthill Chronicles: no lovers, no personalities, no neuroses, and no selves. The only heroes are the ant colonies themselves, and they are as engaging and at least as memorable as most two legged Hollywood creations.　　E  Mr. Wilson’s mini-epic begins with the demise of the queen of the Trailhead Colony, whose death is not at first noticed by her daughter-followers. While her body rots encased in its external skeleton, her lingering scent misleadingly tells the colony that all is still well.　　F  The neighboring Streamside Colony wipes out the Trailheaders, and then it self falls victim to a “super colony”, comprising millions of workers and thousands of queens, which rose to power thanks to a single-gene mutation that weakens their sensitivity to queen-odors, and thus permits them to tolerate multiple simultaneous queens. Growing out of control, the super colony in effect eats up its own territory and is exterminated by “the moving tree trunks, the ant gods”—i.e., humans spraying insecticide. This leaves room for the tiny Woodland Colony to expand its territory and thrive, and so the epic struggle continues, as it has for thousands of years.　　G  The tale within a tale is an astonishing literary achievement; nobody but Mr. Wilson could have written it, and those who read it will tread lightly in the forest, at least for a while. Yet Mr. Wilson wants his audience to do more than that. The novel as a whole is mainly about people, and an author’s prologue—echoing the theme of some of Mr. Wilson’s earlier work—warns of further disaster if this wayward species does not start to take better care of its biosphere, the planet.　　H  The hero of Anthill is Raft Cody, an Alabaman youngster who follows up his biology studies with a stint at Harvard law school, with the express purpose of returning equipped to save his beloved patch of forest from rapacious property developers. This character owes something to Mr. Wilson’s own background, and so does the story’s narrator, Raff’s biology professor. It’s one of the few defects in the novel that Mr. Wilson hasn’t quite decided which of the pair is him.　　I  Raft’s early adventures in the swamps owe something to Huck Finn’s; and the novel’s denouement, with a monstrously eccentric woodsman and some implausible Fundamentalist villains, recalls the Florida black comedies of Carl Hiaasen, only without the laughs. One can’t help rooting for the ants. Thanks to the depth of Mr. Wilson’s understanding of them, his evocation of their ways is a more powerful tool for raising ecological awareness than any Disneyfication is likely to be.　　This passage has nine paragraphs, A-I.　　Which paragraph contains the following information?　　Write the correct letter, A-I, in boxes 1-6 on your answer sheet.　　NB You may use any letter more than once.　　1. fierce struggle of the ant world　　2. comparison of the book with biology paper　　3. the real theme of the novel　　4. the hierarchical system of the ant society　　5. the weakness that existed in the book　　6. particular feature of Anthill in contrasted with Hollywood products

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