In most museums, there’s no shouting and no running. But the Science Museum in London is ______.A: quietB: noisyC: emptyD: crowded
题目
In most museums, there’s no shouting and no running. But the Science Museum in London is ______.
A: quiet
B: noisy
C: empty
D: crowded
相似考题
更多“In most museums, there’s no shouting and no running. But the Science Museum in London is ______.A: quietB: noisyC: emptyD: crowded”相关问题
-
第1题：
He's still as () as ever in spite of all his disappointments.A、quiet
B、calm
C、cheerful
D、painful
参考答案：C
-
第2题：
A:The area is too noisy.
B: Yes, I agree. It's ( ).
A. no enough quiet
B. not enough quiet
C. not quiet enough
答案：C
-
第3题：
48．—Mary，would you like to visit the science museum with me?
—__________but surfing the net seems more interesting．
A． l’d love to．
B． That's it
C． You're welcome
D． No problem
正确答案：A
48．A【解析】句意：——玛丽，你愿意和我一道参观这家科技博物馆吗？——我很想去，可是冲浪似乎更有趣．拒绝对方的邀请常用“No，thank you．/l'd love(like) to,but．．．”，故A正确。 -
第4题：
“Museum”is a slippery word.It first meant(in Greek)anything consecrated to the Muses:a hill,a shrine,a garden,a
festival or even a textbook.Both Plato’s Academy and Aristotle’s Lyceum had a mouseion,a muses shrine.Although the
Greeks already collected detached works of art,many temples—notably that of Hera at Olympia(before which the Olympic
flame is still lit)—had collections of objects,some of which were works of art by well-known masters,while paintings and sculptures in the Alexandrian Museum were incidental to its main purpose.
The Romans also collected and exhibited art from disbanded temples,as well as mineral specimens,exotic plants,
animals;and they plundered sculptures and paintings(mostly Greek)for exhibition.Meanwhile,the Greek word had slippeD.into Latin by transliteration(though not to signify picture galleries,which were called pinacothecae)and museum still more or
less meant“Muses-shrine”.
The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—which
focused on the gold-enshrined,bejewelled relics of saints and martyrs.Princes,and later merchants,had similar collections,
which became the deposits of natural curiosities:large lumps of amber or coral,irregular pearls,unicorn horns,ostrich eggs,
fossil bones and so on.They also included coins and gems—often antique engraved ones—as well as,increasingly,paintings and sculptures.As they multiplied and expanded,to supplement them,the skill of the fakers grew increasingly refined.
At the same time,visitors could admire the very grandest paintings and sculptures in the churches,palaces and castles;
they were not“collected”either,but“site-specific”,and were considered an integral part both of the fabric of the buildings and of the way of life which went on inside them—and most of the buildings were public ones.However,during the revival of
antiquity in the fifteenth century,fragments of antique sculpture were given higher status than the work of any contemporary,
so that displays of antiquities would inspire artists to imitation,or even better,to emulation;and so could be considered Muses-shrines in the former sense.The Medici garden near San Marco in Florence,the Belvedere and the Capitol in Rome were
the most famous of such early“inspirational”collections.Soon they multiplied,and,gradually,exemplary“modern”works were also added to such galleries.
In the seventeenth century,scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums all over the known world.But it was the age of revolutions and industry which produced the next sharp shift in the way the institution was perceived:the fury against royal and church monuments prompted antiquarians to shelter them in asylum-galleries,of which the Musee des Monuments Francais was the most famous.Then,in the first
half of the nineteenth century,museum funding took off,allied to the rise of new wealth:London acquired the National Gallery and the British Museum,the Louvre was organized,the Museum-Insel was begun in Berlin,and the Munich galleries were
built.In Vienna,the huge Kunsthistorisches and Naturhistorisches Museums took over much of the imperial treasure.
Meanwhile,the decline of craftsmanship(and of public taste with it)inspired the creation of“improving”collections.The
Victoria and Albert Museum in London was the most famous,as well as perhaps the largest of them.
The sentence “Museum is a slippery word” in the first paragraph means thatA.the meaning of the word didn’t change until after the 15th century.
B.the meaning of the word had changed over the years.
C.the Greeks held different concepts from the Romans.
D.princes and merchants added paintings to their collections.答案：B解析：本题考查语义理解。
根据下文可知，全文主旨在于介绍museum一词在历史过程中的变化，本句的意思为“museum一词的意义随着岁月的流逝发生了改变”，综上，B选项正确。
故正确答案为B项。 -
第5题：
根据下面资料，回答
As we know, museums are buildings where many valuable and important objects are kept so that people can go and see them. For examples, art museums are places where people can learn about (56) v ______ cultures. More and more popular "design museums" that are opening today, however, perform quite a different role. (57) U ______ most art museums, the design museum shows objects that are easily found in our daily life, such as fridges and washing machines.
The (58) ______ (优势) of design museums is that they are places where people feel familiar with the exhibits. Being different from the art museum visitors, design museums visitors (59) s ______ feel frightened or puzzled. This is partly because design museums clearly show how and why mass-products work and look as they do, and how design has (60) i ______ the quality of our lives. Art museum exhibits, on the other hand, would most probably fill visitors with a feeling that there is something (61) b ______ their understanding.
Several new design museums have opened their doors in (62)______ years. Each of these museums has tried to satisfy the public′s growing interest in the field with new (63) i ______ London′s Design Museum, for example, shows a collection of mass-produced objects from electric typewriters to a group of Italian fish-tins. The choices open to design museums seem (64) f______ less strict than those to art museums, and visitors may also sense the humorous part of our society while walking around such exhibits as interesting and unusually attractive toys (65) ______(收集) from our everyday life.
第（63）题答案答案：解析：ideas -
第6题：
共用题干
Changes in Museums
Museums have changed.They are no longer places that one"should"visit;they are places to enjoy and learn.
At a science museum in Ontario,Canada,you can feel your hair stand on end as harmless electricity passes through your body.At the Metropolitan（大城市的）Museum of Art in New York City , you can look at the seventeenth century instruments while listening to their music.At New York's American Museum of Natural History recently,you can help make a bone-by- bone reproduction of the museum's dinosaur（恐 龙）,a beast that lived 200 million years ago.
More and more museum directors are realizing that people learn best when they can somehow become part of what they are seeing.In many science museums,for example,there are no guided tours.The visitor is encouraged to touch,listen,operate,and experiment so as to discover scientific principles for himself. The purpose is not only to provide fun but also to help people feel at home in the world of science.The theory is that people who do not understand science will probably fear it,and those who fear science will not use it to best advantage.
One cause of all these changes is the increase in wealth and leisure time.Another cause is the rising percentage of young people in the population.Many of these young people are college students or college graduates.Leon F.Twiggs,a young black professor of art once said,"They see things in a new and different way.They are not satisfied to stand and look at works of art;they want art they can participate（参加）in."The same is true of science and history.In America today,all science museums are open to the public and free.
A:Right
B:Wrong
C:Not mentioned答案：C解析：第二段中提到，人们在博物馆中可以感受头发直立、聆听古老乐器的演奏，以及帮忙制作恐龙模型等。第三段第三句又提到，参观者被鼓励去触摸、聆听、操作和做实验等。由此可知，人们在博物馆中，可以参与很多活动。
第二段最后一句提到，最近在美国的自然历史博物馆，你可以帮忙制作恐龙模型，这只是表明美国自然历史博物馆最近开办了这项活动，并不是说美国自然历史博物馆最近才开放。
根据第三段的第二句和第三句可知，博物馆鼓励参观者去触摸，去聆听，去操控，去做实验等。
根据第三段第三、四句可知，博物馆所做的这些努力，就是想让参观者从自身体验中获得科学知识，对科学的世界不再感到陌生。
全篇文章并未提到所有的科学博物馆是否是免费开放的。
根据第四段第一句可知，导致这些变化（包括更多人去博物馆）的原因之一就是人们有了更多的财富和业余时间。
根据第四段倒数第二句可知，大多数年轻人喜欢他们可以参与其中的艺术。 -
第7题：
共用题干
Changes in Museums
Museums have changed.They are no longer places that one"should"visit;they are places to enjoy and learn.
At a science museum in Ontario,Canada,you can feel your hair stand on end as harmless electricity passes through your body.At the Metropolitan（大城市的）Museum of Art in New York City , you can look at the seventeenth century instruments while listening to their music.At New York's American Museum of Natural History recently,you can help make a bone-by- bone reproduction of the museum's dinosaur（恐 龙）,a beast that lived 200 million years ago.
More and more museum directors are realizing that people learn best when they can somehow become part of what they are seeing.In many science museums,for example,there are no guided tours.The visitor is encouraged to touch,listen,operate,and experiment so as to discover scientific principles for himself. The purpose is not only to provide fun but also to help people feel at home in the world of science.The theory is that people who do not understand science will probably fear it,and those who fear science will not use it to best advantage.
One cause of all these changes is the increase in wealth and leisure time.Another cause is the rising percentage of young people in the population.Many of these young people are college students or college graduates.Leon F.Twiggs,a young black professor of art once said,"They see things in a new and different way.They are not satisfied to stand and look at works of art;they want art they can participate（参加）in."The same is true of science and history.Young people who are well-educated like the art they can participate in.
A:Right
B:Wrong
C:Not mentioned答案：A解析：第二段中提到，人们在博物馆中可以感受头发直立、聆听古老乐器的演奏，以及帮忙制作恐龙模型等。第三段第三句又提到，参观者被鼓励去触摸、聆听、操作和做实验等。由此可知，人们在博物馆中，可以参与很多活动。
第二段最后一句提到，最近在美国的自然历史博物馆，你可以帮忙制作恐龙模型，这只是表明美国自然历史博物馆最近开办了这项活动，并不是说美国自然历史博物馆最近才开放。
根据第三段的第二句和第三句可知，博物馆鼓励参观者去触摸，去聆听，去操控，去做实验等。
根据第三段第三、四句可知，博物馆所做的这些努力，就是想让参观者从自身体验中获得科学知识，对科学的世界不再感到陌生。
全篇文章并未提到所有的科学博物馆是否是免费开放的。
根据第四段第一句可知，导致这些变化（包括更多人去博物馆）的原因之一就是人们有了更多的财富和业余时间。
根据第四段倒数第二句可知，大多数年轻人喜欢他们可以参与其中的艺术。 -
第8题：
共用题干
Changes in Museums
Museums have changed.They are no longer places that one"should"visit;they are places to enjoy and learn.
At a science museum in Ontario,Canada,you can feel your hair stand on end as harmless electricity passes through your body.At the Metropolitan（大城市的）Museum of Art in New York City , you can look at the seventeenth century instruments while listening to their music.At New York's American Museum of Natural History recently,you can help make a bone-by- bone reproduction of the museum's dinosaur（恐 龙）,a beast that lived 200 million years ago.
More and more museum directors are realizing that people learn best when they can somehow become part of what they are seeing.In many science museums,for example,there are no guided tours.The visitor is encouraged to touch,listen,operate,and experiment so as to discover scientific principles for himself. The purpose is not only to provide fun but also to help people feel at home in the world of science.The theory is that people who do not understand science will probably fear it,and those who fear science will not use it to best advantage.
One cause of all these changes is the increase in wealth and leisure time.Another cause is the rising percentage of young people in the population.Many of these young people are college students or college graduates.Leon F.Twiggs,a young black professor of art once said,"They see things in a new and different way.They are not satisfied to stand and look at works of art;they want art they can participate（参加）in."The same is true of science and history.In science museums today,people no longer feel strange in the world of science but gain scientific knowledge by themselves.
A:Right
B:Wrong
C:Not mentioned答案：A解析：第二段中提到，人们在博物馆中可以感受头发直立、聆听古老乐器的演奏，以及帮忙制作恐龙模型等。第三段第三句又提到，参观者被鼓励去触摸、聆听、操作和做实验等。由此可知，人们在博物馆中，可以参与很多活动。
第二段最后一句提到，最近在美国的自然历史博物馆，你可以帮忙制作恐龙模型，这只是表明美国自然历史博物馆最近开办了这项活动，并不是说美国自然历史博物馆最近才开放。
根据第三段的第二句和第三句可知，博物馆鼓励参观者去触摸，去聆听，去操控，去做实验等。
根据第三段第三、四句可知，博物馆所做的这些努力，就是想让参观者从自身体验中获得科学知识，对科学的世界不再感到陌生。
全篇文章并未提到所有的科学博物馆是否是免费开放的。
根据第四段第一句可知，导致这些变化（包括更多人去博物馆）的原因之一就是人们有了更多的财富和业余时间。
根据第四段倒数第二句可知，大多数年轻人喜欢他们可以参与其中的艺术。 -
第9题：
旅客最高聚集人数 most men crowded
正确答案: 指车站全年上车旅客最多月份中，一昼夜内在候车室瞬时（8~10min）出现的最大候车（含送客）人数的平均值（通勤、通学旅客除外）。 -
第10题：
单选题Of the following, the most appropriate title for the passage above would be: ______.AThe Elgin Marbles: Timeless Symbols of the Glory That Was Greece
BThe Role of Great Museums in the Preservation of Cultural Artifacts
CRepatriation of Cultural Treasures: The British Museum’s Dirty Little Secret
DThe Value of Cultural Treasures in Defining National Identity
EA Curious Curator: Lord Elgin and the Rise of the British Museum
正确答案： C解析：
主旨题。文章首句指出了本文探讨的主要内容：文物的遣返问题；通过文章最后一段内容可知，作者对于大英博物馆的行为持否定态度，所以本题应选C项。 -
第11题：
名词解释题旅客最高聚集人数 most men crowded正确答案： 指车站全年上车旅客最多月份中，一昼夜内在候车室瞬时（8~10min）出现的最大候车（含送客）人数的平均值（通勤、通学旅客除外）。解析： 暂无解析 -
第12题：
单选题What is Seattle’s most visible landmark?ASeattle Art Museum.
BA Contemporary Theater.
CHammering Man sculpture.
DThe Space Needle.
正确答案： B解析：
事实细节题。根据第一段中 “Most visitors come to the Center for Seattle’s most famous and most visible landmark, the Space Needle…”可以判断出正确答案为The Space Needle。 -
第13题：
"Did you enjoy your vacation in New York City?"" Very much. We had a good time _______?
A. the visiting of museums
B. for museum visiting
C. visiting the museums
D. to visit the museums
正确答案：C -
第14题：
To be inspired by other people's creativity，children should______.
A．write ideas
B．make up stories
C．buy good notebooks
D．visit museums，libraries，and science centers
正确答案：D
解析：事实细节题。由第六段可知：带孩子去博物馆、科学展览中心、图书馆等这些能激发孩子们创新力的地方去，在这些地方，孩子们能够观看到其他人的创意。因此，D项符合题意。 -
第15题：
“Museum”is a slippery word.It first meant(in Greek)anything consecrated to the Muses:a hill,a shrine,a garden,a
festival or even a textbook.Both Plato’s Academy and Aristotle’s Lyceum had a mouseion,a muses shrine.Although the
Greeks already collected detached works of art,many temples—notably that of Hera at Olympia(before which the Olympic
flame is still lit)—had collections of objects,some of which were works of art by well-known masters,while paintings and sculptures in the Alexandrian Museum were incidental to its main purpose.
The Romans also collected and exhibited art from disbanded temples,as well as mineral specimens,exotic plants,
animals;and they plundered sculptures and paintings(mostly Greek)for exhibition.Meanwhile,the Greek word had slippeD.into Latin by transliteration(though not to signify picture galleries,which were called pinacothecae)and museum still more or
less meant“Muses-shrine”.
The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—which
focused on the gold-enshrined,bejewelled relics of saints and martyrs.Princes,and later merchants,had similar collections,
which became the deposits of natural curiosities:large lumps of amber or coral,irregular pearls,unicorn horns,ostrich eggs,
fossil bones and so on.They also included coins and gems—often antique engraved ones—as well as,increasingly,paintings and sculptures.As they multiplied and expanded,to supplement them,the skill of the fakers grew increasingly refined.
At the same time,visitors could admire the very grandest paintings and sculptures in the churches,palaces and castles;
they were not“collected”either,but“site-specific”,and were considered an integral part both of the fabric of the buildings and of the way of life which went on inside them—and most of the buildings were public ones.However,during the revival of
antiquity in the fifteenth century,fragments of antique sculpture were given higher status than the work of any contemporary,
so that displays of antiquities would inspire artists to imitation,or even better,to emulation;and so could be considered Muses-shrines in the former sense.The Medici garden near San Marco in Florence,the Belvedere and the Capitol in Rome were
the most famous of such early“inspirational”collections.Soon they multiplied,and,gradually,exemplary“modern”works were also added to such galleries.
In the seventeenth century,scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums all over the known world.But it was the age of revolutions and industry which produced the next sharp shift in the way the institution was perceived:the fury against royal and church monuments prompted antiquarians to shelter them in asylum-galleries,of which the Musee des Monuments Francais was the most famous.Then,in the first
half of the nineteenth century,museum funding took off,allied to the rise of new wealth:London acquired the National Gallery and the British Museum,the Louvre was organized,the Museum-Insel was begun in Berlin,and the Munich galleries were
built.In Vienna,the huge Kunsthistorisches and Naturhistorisches Museums took over much of the imperial treasure.
Meanwhile,the decline of craftsmanship(and of public taste with it)inspired the creation of“improving”collections.The
Victoria and Albert Museum in London was the most famous,as well as perhaps the largest of them.
Which is the main idea of the passage?A.Collection and collectors.
B.The evolution of museums.
C.Modern museums and their functions.
D.The birth of museums答案：B解析：本题考查主旨大意。
全文介绍了museum一词意义的变化过程，以及museum一词现代意义的由来，其他三项都只是介绍museum一词的意义变化时提到的例子，不能作为全文标题，综上，B选项正确。
故正确答案为B项。 -
第16题：
“Museum”is a slippery word.It first meant(in Greek)anything consecrated to the Muses:a hill,a shrine,a garden,a
festival or even a textbook.Both Plato’s Academy and Aristotle’s Lyceum had a mouseion,a muses shrine.Although the
Greeks already collected detached works of art,many temples—notably that of Hera at Olympia(before which the Olympic
flame is still lit)—had collections of objects,some of which were works of art by well-known masters,while paintings and sculptures in the Alexandrian Museum were incidental to its main purpose.
The Romans also collected and exhibited art from disbanded temples,as well as mineral specimens,exotic plants,
animals;and they plundered sculptures and paintings(mostly Greek)for exhibition.Meanwhile,the Greek word had slippeD.into Latin by transliteration(though not to signify picture galleries,which were called pinacothecae)and museum still more or
less meant“Muses-shrine”.
The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries—which
focused on the gold-enshrined,bejewelled relics of saints and martyrs.Princes,and later merchants,had similar collections,
which became the deposits of natural curiosities:large lumps of amber or coral,irregular pearls,unicorn horns,ostrich eggs,
fossil bones and so on.They also included coins and gems—often antique engraved ones—as well as,increasingly,paintings and sculptures.As they multiplied and expanded,to supplement them,the skill of the fakers grew increasingly refined.
At the same time,visitors could admire the very grandest paintings and sculptures in the churches,palaces and castles;
they were not“collected”either,but“site-specific”,and were considered an integral part both of the fabric of the buildings and of the way of life which went on inside them—and most of the buildings were public ones.However,during the revival of
antiquity in the fifteenth century,fragments of antique sculpture were given higher status than the work of any contemporary,
so that displays of antiquities would inspire artists to imitation,or even better,to emulation;and so could be considered Muses-shrines in the former sense.The Medici garden near San Marco in Florence,the Belvedere and the Capitol in Rome were
the most famous of such early“inspirational”collections.Soon they multiplied,and,gradually,exemplary“modern”works were also added to such galleries.
In the seventeenth century,scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums all over the known world.But it was the age of revolutions and industry which produced the next sharp shift in the way the institution was perceived:the fury against royal and church monuments prompted antiquarians to shelter them in asylum-galleries,of which the Musee des Monuments Francais was the most famous.Then,in the first
half of the nineteenth century,museum funding took off,allied to the rise of new wealth:London acquired the National Gallery and the British Museum,the Louvre was organized,the Museum-Insel was begun in Berlin,and the Munich galleries were
built.In Vienna,the huge Kunsthistorisches and Naturhistorisches Museums took over much of the imperial treasure.
Meanwhile,the decline of craftsmanship(and of public taste with it)inspired the creation of“improving”collections.The
Victoria and Albert Museum in London was the most famous,as well as perhaps the largest of them.
Paintings and sculptures on display in churches in the 15th century were_______.A.collected from elsewhere.
B.made part of the buildings.
C.donated by people.
D.bought by churches.答案：B解析：本题考查推断。
由第四段开头提到的“they were not ‘collected’ either, but ‘site specific’, and were considered an integral part both of the fabric of the buildings”可知油画和雕塑并不是独立存在的，而是和建筑物联为一体、不可分割的，综上，B选项正确。
故正确答案为B项。 -
第17题：
From here you can see the city's landscape of high barren mountains.A:hairless
B:bare
C:empty
D:dead答案：B解析：本句意思：从这里你可以看到这个城市中光秃秃的山峦的景象。hairless的意思为“无毛 发的”;bare的意思为“赤裸的，光秃秃的”;empty的意思为“空的”;dead的意思为“死的”。 barren的意思为“贫瘠的，不育的”，和bare的意思接近。 -
第18题：
共用题干
Changes in Museums
Museums have changed.They are no longer places that one"should"visit;they are places to enjoy and learn.
At a science museum in Ontario,Canada,you can feel your hair stand on end as harmless electricity passes through your body.At the Metropolitan（大城市的）Museum of Art in New York City , you can look at the seventeenth century instruments while listening to their music.At New York's American Museum of Natural History recently,you can help make a bone-by- bone reproduction of the museum's dinosaur（恐 龙）,a beast that lived 200 million years ago.
More and more museum directors are realizing that people learn best when they can somehow become part of what they are seeing.In many science museums,for example,there are no guided tours.The visitor is encouraged to touch,listen,operate,and experiment so as to discover scientific principles for himself. The purpose is not only to provide fun but also to help people feel at home in the world of science.The theory is that people who do not understand science will probably fear it,and those who fear science will not use it to best advantage.
One cause of all these changes is the increase in wealth and leisure time.Another cause is the rising percentage of young people in the population.Many of these young people are college students or college graduates.Leon F.Twiggs,a young black professor of art once said,"They see things in a new and different way.They are not satisfied to stand and look at works of art;they want art they can participate（参加）in."The same is true of science and history.New York's American Museum of Natural History is opened recently.
A:Right
B:Wrong
C:Not mentioned答案：B解析：第二段中提到，人们在博物馆中可以感受头发直立、聆听古老乐器的演奏，以及帮忙制作恐龙模型等。第三段第三句又提到，参观者被鼓励去触摸、聆听、操作和做实验等。由此可知，人们在博物馆中，可以参与很多活动。
第二段最后一句提到，最近在美国的自然历史博物馆，你可以帮忙制作恐龙模型，这只是表明美国自然历史博物馆最近开办了这项活动，并不是说美国自然历史博物馆最近才开放。
根据第三段的第二句和第三句可知，博物馆鼓励参观者去触摸，去聆听，去操控，去做实验等。
根据第三段第三、四句可知，博物馆所做的这些努力，就是想让参观者从自身体验中获得科学知识，对科学的世界不再感到陌生。
全篇文章并未提到所有的科学博物馆是否是免费开放的。
根据第四段第一句可知，导致这些变化（包括更多人去博物馆）的原因之一就是人们有了更多的财富和业余时间。
根据第四段倒数第二句可知，大多数年轻人喜欢他们可以参与其中的艺术。 -
第19题：
共用题干
Changes in Museums
Museums have changed.They are no longer places that one"should"visit;they are places to enjoy and learn.
At a science museum in Ontario,Canada,you can feel your hair stand on end as harmless electricity passes through your body.At the Metropolitan（大城市的）Museum of Art in New York City , you can look at the seventeenth century instruments while listening to their music.At New York's American Museum of Natural History recently,you can help make a bone-by- bone reproduction of the museum's dinosaur（恐 龙）,a beast that lived 200 million years ago.
More and more museum directors are realizing that people learn best when they can somehow become part of what they are seeing.In many science museums,for example,there are no guided tours.The visitor is encouraged to touch,listen,operate,and experiment so as to discover scientific principles for himself. The purpose is not only to provide fun but also to help people feel at home in the world of science.The theory is that people who do not understand science will probably fear it,and those who fear science will not use it to best advantage.
One cause of all these changes is the increase in wealth and leisure time.Another cause is the rising percentage of young people in the population.Many of these young people are college students or college graduates.Leon F.Twiggs,a young black professor of art once said,"They see things in a new and different way.They are not satisfied to stand and look at works of art;they want art they can participate（参加）in."The same is true of science and history.People can afford to get into the modern museums since they have more time now.
A:Right
B:Wrong
C:Not mentioned答案：A解析：第二段中提到，人们在博物馆中可以感受头发直立、聆听古老乐器的演奏，以及帮忙制作恐龙模型等。第三段第三句又提到，参观者被鼓励去触摸、聆听、操作和做实验等。由此可知，人们在博物馆中，可以参与很多活动。
第二段最后一句提到，最近在美国的自然历史博物馆，你可以帮忙制作恐龙模型，这只是表明美国自然历史博物馆最近开办了这项活动，并不是说美国自然历史博物馆最近才开放。
根据第三段的第二句和第三句可知，博物馆鼓励参观者去触摸，去聆听，去操控，去做实验等。
根据第三段第三、四句可知，博物馆所做的这些努力，就是想让参观者从自身体验中获得科学知识，对科学的世界不再感到陌生。
全篇文章并未提到所有的科学博物馆是否是免费开放的。
根据第四段第一句可知，导致这些变化（包括更多人去博物馆）的原因之一就是人们有了更多的财富和业余时间。
根据第四段倒数第二句可知，大多数年轻人喜欢他们可以参与其中的艺术。 -
第20题：
The main idea of the last paragraph is that( )A.London still keeps buildings familiar to Dickens so as to commemorate him
B.many places in London offered inspirations to Dickens
C.a museum has been set up in honor of Dickens
D.for all the drastic changes，some places are still reminiscent of London in Dickens’s time答案：D解析：主旨题。该题是对最后一段的主旨大意进行提问。该段一开始就提到sprawling，exciting ferment…still contains buildings familiar to Dickens，随后列举了三处具体的建筑作为例子，它们历经历史变化依然保存下来。根据这些内容可知，D项最能概括本段要表达的重点。故本题选D。参考译文：查尔斯·狄更斯是作家、编辑和社会改革家，由于刻画了19世纪初期英国真实的生活画卷而闻名于世。狄更斯的许多小说都试图刻画伦敦，这座城市曾激发他的各种情感——爱情、怜悯、沮丧与激动。在小说《远大前程》《老古玩店》《小杜丽》和《双城记》中，狄更斯的笔触从19世纪初生活在伦敦的人民问题转向了几乎所有城市人民的问题。然而，如果狄更斯回到20世纪80年代的伦敦，他还能认出它来吗？伦敦经历过什么变化呢？在狄更斯的小说中，19世纪初的伦敦生活存在一个显著的问题——空气中漂浮着一层朦胧的烟雾与灰尘，充满着各种难闻的气味和令人窒息的腐烂味道。不管人们对今天伦敦的空气以及空气中的汽车尾气与偶尔出现的大雾天气有何感想，19世纪的《消烟法案》和20世纪的《消尘法案》会使狄更斯发现伦敦的空气有了相当可观的改善。在《我们共同的朋友》中，狄更斯把泰晤士河描写成遭到污秽物、老鼠和死尸污染的危险场所。如果他知道今天鲑鱼可以经由泰晤士河逆流而上进入伦敦的河流，以及现在有成千上万的伦敦人在泰晤士河岸边休憩，他一定会大吃一惊。伦敦人还和旅游观光者一起，经过伦敦塔去参观货栈和船坞的码头地区。狄更斯在《雾都孤儿》和《小杜丽》中对他那个时代的这些地方的描写，使人们对这个充满了贫穷、贸易与罪恶的城市留下了深刻的印象。被狄更斯描写过的部分伦敦现已发生了深刻的变化，这是公众对其所描绘的生动历史画面做出的反馈，狄更斯生活的那个时代的一些条件极恶劣的贫民窟已经消失。现在，人们已不再会因为负债而坐牢。狄更斯在伦敦从贫困到富有的经历，使他对这个城市产生了一种现代作家称为既爱又恨的感情，狄更斯本人则称它是一种“令人厌恶但又会被吸引的诱惑”。当他还是一个在黑涂料工厂每天长时间工作的孩子的时候，就对伦敦产生了这种情感。无论是对伦敦的街道，还是对伦敦的社会生活，具有记者眼光与改革者心胸的狄更斯，都能准确地发现作为一位小说家兼知名人士所需要进一步发展的方面。有一种变化可能不会使狄更斯惊异，那就是伦敦的发展趋势。它成了一个不断扩张的大都会，现在市区已扩张到了菲希利、汉普斯特德、彭顿维尔和坎登镇。这些地方在狄更斯时代只不过是小村庄或郊区而已。可能狄更斯已预料到来往于伦敦的流动人口的增加。早在19世纪60年代火车未通之前，每天就有多达20万人步行或乘坐公共汽车从泰晤士河沿岸的豪宅来到切尔西。随着城市的逐渐扩张，中产阶级也看到了居住在郊区的优势。在《远大前程》中，温密克赞美了他在沃尔沃斯的小“城堡”和花园享受到的乐趣。他在伦敦金融城的工作，以及他在那里不牢靠的人脉关系，决定了他能否生存下去。现在，伦敦表现出一副“臃肿”的样子，充满着大城市有规律的令人激动的嘈杂与喧闹，但还保留了一些狄更斯所熟悉的建筑物。就在英国广播电台对外播放服务社所在的“丛林之家”的外边，就是圣玛丽丝特朗教堂，狄更斯的父母是1809年在那里结婚的。马路对面是罗马浴池，据说狄更斯童年时代在那里洗过澡，后来又在《大卫·科波菲尔》中提到过。不远处就是布鲁姆斯伯里的达提街四十八号，狄更斯在那儿写出了《匹克威克外传》和《雾都孤儿》的大部分章节，接着是狄更斯故居纪念馆。按照他本人的要求，没有建立查尔斯·狄更斯公立纪念馆。但是，狄更斯故居纪念馆是所有人的中心，对这些人来说，狄更斯笔下的人物艺术比历史上的许多人物更为“真实”。 -
第21题：
单选题The situation involving the repatriation of the Elgin Marbles to Athens is most similar to which of the following ______.AA Native American tribe in Oregon requests that a museum in Chicago return some ceremonial masks that could help in fundraising efforts to build a proposed museum in Portland.
BThe nation of Peru in South America threatens the nation of Ecuador with military action if Ecuador does not hand over various gold artifacts of the Inca Empire, which originated in Peru.
CThe National Archeology Museum of Cairo in Egypt requests that the Louvre return eight mummies from the time of Ramses the Great for the Gairo Museum’s new exhibit hall dedicated to artifacts from Ramses’ court.
DThe nation of Greece requests the nation of Turkey to provide Greek archeologists with free access to ancient Greek sites on the Ionian coast of Turkey, and to transfer any cultural artifacts found there to the National Archeology Museum in Athens.
EA museum in Baton Rouge, Louisiana, requests that the Texas History Museum in Austin, Texas, send the original “Lone Star” flag to Baton Rouge for a new exhibit entitled, “Texas: Our Neighbor to the East.”
正确答案： C解析：
通过第三段内容可知，希腊博物馆的设施和参观人数都大英博物馆，这两点都对大英博物馆宣传的文物应该保存在更好的地方，供更多人观赏这一点相符，据此可知本题应选C项。 -
第22题：
问答题Should museums charge for admission? Museums are expensive to run, with the cost of acquisitions, conservation, maintenance, staff salaries and special exhibitions all weighing heavily upon their budgets. But others think as a non-profit organization, museum should not charge for admission since it can get government support. The following is an article about this issue. Read it carefully and write your response in about 300 words, in which you should: 1. Summarize briefly the author’s opinion on the issue; 2. give your comment. Marks will be awarded for content relevance, content sufficiency, organization and language quality. Failure to follow the above instructions may result in a loss of marks. Britain’s museums are in crisis. On the surface, things look good. Our galleries have benefited from years of expansion. But all over Britain, a darker reality is emerging in the wake of spending cuts. A survey has shown that since the spending review 58% of museums have suffered cuts, and a fifth have been hit by devastating cuts of 25%. On that measure, yes, 42% have not yet suffered cuts—but surely it’s a policy of divide and rule, with councils, not central government, making the big decisions, and less fashionable venues taking the biggest hits (at least as far as I can see). But an overall climate of contraction will surely hit all museums and all aspects of what they do. And there is little chance of this improving in the near future. The worst option is for museums and public collections to start selling works to pay the bills. The recent sale of a Millais by one cash-strapped council is a terrible mistake, a betrayal of our cultural heritage. The best option, I am starting to think, may be to introduce admission fees. I spat out this notion earlier this week in the wake of the attack on two paintings recently in the National Gallery. The debate was taken up by the Telegraph. Obviously, attacks on art happen at museums that charge an entry fee as well as at free ones. But this is about much more than security. I remember the drab, uncared-for feeling of some of Britain’s biggest museums in the 1980s and 90s. They seemed to be straggling now, with no big plans and no sense of splendor. Free museums with a supportive government are very different from free museums in a climate of austerity. Going to the Louvre or to American museums 20 years ago was like entering a different universe of cultural pride and enjoyment—these museums really wanted to thrill, and they did justice to their collections. So do ours—right now. Britons have realized how precious our great collections are. The world shares the passion, and if you visit the British Museum this summer the sheer crowd numbers startle. How about turning that popularity into money? We can’t let recent progress in our galleries and museums be destroyed by a cost-cutting mentality that first freezes, then rolls back, everything that has been achieved. Charging for entry cannot be a taboo. I probably make more use of free entry than most people; there are obviously ways to make entrance fees egalitarian. Free entry for everyone under 20 and all students, membership schemes for the rest of us, something like the new National Art Pass for those who want to purchase annual overall access. I think free museums are a great British tradition, but I don’t want these museums to decay. Charging for entry is a better remedy than selling paintings, closing galleries or sacking staff. Might it even give visitors a keener sense of the value of some of the greatest experiences it is possible to have?正确答案：
【参考范文】
Should Museums Charge for Admission? The article above shows us financial difficulties the British museums are confronted with because of government spending cuts. So in order to make ends meet, some museums decide to charge for entry. As far as I am concerned, charging for entry can hardly serve its purpose of reviving museums as effectively as planned.
Firstly, as is said in the article, the museums which suffered the most cut in government support are those “less fashionable venues”. Owing to the small number of visitors in these places, charging for entry would not help much in improving their financial situation. Secondly, museums are places to hold ancient and precious antiques and galleries which can represent a city’s history. By visiting museums, people can learn about the whole country. The government is incumbent on maintaining the development of museums. Thirdly, as public places, museums need to keep clean, which requires staff members. Government support is limited and it cannot completely cover the daily costs of the museums, so charging appropriate entry fees can not only make the public more careful with the exhibitions, but also can ease the financial difficulties.
I think better ways can be found rather than only charging for entry to make a balance between “protection of the museums” and “function as public welfare”. We should integrate the government’s efforts with appropriate amount of admission fees to keep the normal operation of museums. Meanwhile, the museum management system should be improved and guests number should be limited in peak periods.
In short, I think that it is useful to some extent for museums to charge for admission. But in the long run, it is not as effective as planned. Only with government’s support, better management and appropriate financial measures, the present financial issue of museums can be solved.解析：
【审题构思】
本篇文章主要讨论博物馆是否应该向参观者收费以缓解经济压力，主要包括两方面：英国的博物馆由于政府资助减少而陷入经济困境；作者认为收取门票是解决该问题的最佳方法，并给出理由和具体的门票收取方案。根据题目要求，考生可按如下思路写作：
第一段：从上述的两方面来概括文章的大意，提出自己的观点，即收取门票的方法并不能完全解决博物馆的财政问题，并给出两个理由。
第二、三段：提出理由佐证自己的观点并给出自己的建议，提出有更好的解决方法——一是倡议政府伸出援手；二是博物馆应完善管理制度；三是收取适当的门票费用。
第四段：总结全文，重申应当采取三者相结合的措施来解决目前博物馆面临的困境。 -
第23题：
单选题_____ATo the Science Museum.
BTo the History Museum.
CTo the Art Museum.
DTo the Space Museum.
正确答案： D解析：
根据选项可知该题涉及的是地点的选择，听时注意地点名词“science museum”等，可判断他要去科技馆。