The house style that dominated American housing during the 1880s and 1890s was known as Qu

A.of style

B.with style

C.out of style

D.in style

A．identical

B．vertical

C．parallel

D．specific

A、Newspaper journalists often interview people and keep a record by using shorthand or technical equipment.

B、B. Newspaper journalists should produce concise and accurate copies according to the newspaper’s house style before the deadlines.

C、C. Newspaper journalists need to answer questions at a press conference.

D、D．Newspaper journalists should be persistent, flexible, and strongly-motivated.

A、Firstly, it can keep people away from deadly wild animals in the old days.

B、Secondly, people can stay away from the humidity close to the ground and prevent humidity related diseases such as Rheumatism.

C、Thirdly, there is better lighting upstairs, so people can work on delicate handcrafts or simply enjoy the brightness.

D、Last but not least， the terrian decides the style of the house.

Why does the author use the word curious in describing the name of an American style？

A.The style was invented before Queen Anne’s reign.

B.The name was accidentally misspelled.

C.The style was more popular in Victorian England.

D.The name did not originate in American.

Which of the following can be inferred from paragraph 2 about the Queen Anne style？A.the Queen Anne style combined several other styles.

B.the Queen Anne style had to be built in the city.

C.the Queen Anne style was elaborate and ornate.

D.the Queen Anne style was not very popular.

The word it in paragraph 1 refers toA.style

B.name

C.accident

D.England

The word buffs in paragraph 3 is closest in meaning toA.experts

B.sellers

C.critics

D.painters

Which of the following is NOT mentioned as a characteristic feature of Queen Anne houses？A.decorative windows

B.wood shingle exterior walls

C.large porch

D.steeply pitched roof

请帮忙给出每个问题的正确答案和分析，谢谢！

Questions 10~14 are based on the following passageArchitecture is the art or science of designing and constructing buildings with durable materials following cert ain canons. Historically, architecture has followed a succession of recognizable styles that may, for example, be identified as Gothic, Baroque, or Neo-Classical; or it has a specific style associated with a particular culture, such as Greek, Roman, or Egyptian. Architectural style, even if it is a country house, factory, hotel, airport, or religious building, reflects the values as well as the needs of the society that produces it. However, it is governed not only by taste and aesthetic interest but also b y many practical considerations. The availability of suitable materials is closely linked to the development of skills and influenced the shapes of buildings. Carpentry developed in areas of the world that were thickly forested. Although it has become scarcer, timber remains an important building material. In other areas, stone and marble were chosen for important monuments because they are fireproof and durable. Stone is also a sculptural material; stone architecture was often integral with stone sculpture. The use of stone has declined today because a number of other materials, such as glass, steel, and concrete are more economical to use and assemble.In regions where both timber and stone were scarce, earth itself was used as a building material. Mud or clay was compact into walls or made into bricks that were dried in the sun. Later, bricks were baked in kilns , which gave them greater durability. Building with stones or bricks is called masonry. The elements cohere through sheer gravity or the use of mortar. The Romans found a natural cement that, combined with insert substances, produced concrete. In the early 19th century a truly waterproof cement, the key ingredient of modern cement, was developed. So, it is said that Romans are great contributor to t he development of architecture.The writer of this article dose not mention_________.A．the style of the buildings B．the materials of the buildings C．the concept of architecture D．the areas where stone and timber are rich

Beyond that, it is a global expression of cultural modernity. Everyone in the world with media access knows what the Sydney Opera House looks like. First designed in 1956 and finally declared completed in 1973, the opera house was the single best known modern building in the world until the arrival of Frank Gehry's equally extraordinary Bilbao Guggenheim in 1997. But it will outlive the Guggenheim as an international architectural icon--because it did all the difficult work tint.

In the pantheon(万神殿) of classic modern buildings, Utzon's creation has the status of myth. The myth states that the unknown architect, then in his thirties, submitted rough sketches to the competition judges, that he ignored most of the rules, that his as only selected after being plucked at the last moment from the rejected pile by one of the judges, and that the design was unbuildable.

But Sydney is remarkable for another reason: it is a complete one-off. It does not fit into any stylistic or chronological category. None of Utzon's other buildings--churches, government departments, house. looks anything like it, and architects today who try to copy his concept always end up looking very second-rate indeed. It is "modern", certainly, but it is an expressive modernism that was quite at odds with the rectilinear(直线的) "international style" of its time. It has more in common with the work of the American genius Frank Uloyd Wright, for whom Utzon worked briefly. Of course its location is an enormous help, sitting as it does on a promontory with water on three sides and the famous Sydney Harbor Bridge as a picture-postcard backdrop. But Utzon masterly exploited the site as nobody else could.

Utzon left Australia in high indignation in 1966, never to return, before he could finish designing the interiors.

As with Sir Christopher Wren at St Paul's Cathedral, Utzon was humiliated and removed from overseeing the final stages of his masterwork. But for all his manifold difficulties, which other contemporary architect can claim an equivalent achievement？ The Sydney Opera House showed us that anything is possible, and it demonstrated that sheer, seductive beauty for its own sake is nothing to be ashamed of.

It can be inferred from the passage that ______.

A．the Danish architect Join Utzon totally failed in his design of Sydney Opera House and was forced to resign

B．the Danish architect Jorn Utzon has been made known as the founder of all the modern landmark buildings, in spite of his part failure in his design of Sydney Opera House

C．Sydney Opera House is hopelessly ugly and has never been finished inside

D．Sydney Opera House is the single best known modern building in the world up to now

stone mansions that have stood hard by the First Presbyterian Church in West Twelfth Street for more than

100 years.

No. 12,nearest the churchyard, was built in 1849 for James W. Phillips, son of the Rev. William Wirt Phillips ,who held the pulpit next door from 1826 to 1865. No. 14 ,built at the same time as a twin, except for the interior, was the home of Charles C. Tabers, a prosperous cotton merchant.

The two buildings are the last remaining two town houses in this city of the many designed by Alexander Jackson Davis. A modest man, he conceded that the interiors of his Twelfth street designs were "remarkable". Even in their last stages of neglect the unpracticed eye can see that. They are lovely.

The buildings had famous tenants, too, at one time or another. Thurlow Weed, nineteenth century war wick he was called that in his own day for his genius in moulding political careers lived in No. 12 from 1866 to 1882. Most of the important men and women of his time were his guests there. Down the street lived Gen. Windfield Scott.

Probably the chief feature of that old Weed house was the octagonal stairwell with the stained - glass skylight at the top. The stairwell in the other house oval, but it has the same glowing dome skylight. In both dwellings you find rich stucco molding, handsome fireplaces, magnificent woods.

Just outside the old Weed study there stood, in his lifetime, a handsome willow brought from St. Helena near the grave of Napoleon. It was uprooted long ago to make play place in the churchyard for the children of the church school. Incidently, after the old mansion come down, a new church school will rise on the spot. The Davis mansions are now a five -trap.

The most famous dweller in No. 14 was John Rogers, a nineteenth -century sculptor, a kind of Edgar Guest who worked in stone. His studio was on the second floor. It looks today pretty much as it did when he worked in it from 1888 to 1895 ,turning out such groups as "Checkers up at the Farm, "" Fetching the Doctor". A part of his work are in the church office. Each has the Twelfth Street house address worked into it.

Though church folk dislike the idea of having the old mansion torn down. and architects in town frown on the notion, too, they know they must go. The place is sorely needed for the children. So, one by one, the master works of the great architects vanish from the city Davis did preliminary sketches for the old tombs, worked on the old Custom House, on many hospitals and colleages. All that will remain of his dreaming on paper, when the Twelfth Street Mansions go down in rubble, will be a few villas up in the Hudson River Valley.

The two houses were not ______.

A．of the same style

B．designed by the same designer

C．the same looking from the outside

D．the same looking from the inside

No. 12, nearest the churchyard, was built in 1849 for James W. Phillips, son of the Rev. William Wirt Phillips, who held the pulpit next door from 1826 to 1865. No. 14, built at the same time as a twin, except for the’interior, was the home of Charles C. Tabers, a prosperous cotton merchant.

The two buildings are the last remaining two town houses in this city of the many designed by Alexander Jackson Davis. A modest man, he conceded that the interiors of his Twelfth street designs were "remarkable'. Even in their last stages of neglect the unpracticed eye can see that. They are lovely.

The buildings had famous tenants, too, at one time or another. Thurlow Weed, nineteenth--century war- wick--he was called that in his own day for his genius in moulding political careers--lived in No. 12 from 1866 to 1882. Most of the important men and women of his time were his guests there. Down the street lived Gen. Windfield Scott.

Probably the chief feature of that old Weed house was the octagonal stairwell with the stained - glass skylight at tile top. The stairwell in the other house oval, but it has the same glowing dome skylight. In both dwellings you find rich stucco molding, handsome fireplaces, magnificent woods.

Just outside the old Weed study there stood, in his lifetime, a handsome willow brought from St. Helena near the grave of Napoleon. It was uprooted long ago to make play place in the churchyard for the children of the church school. Incidently, alter the old mansion come down, a new church school will rise on the spot. The Davis mansions are now a five -trap.

The most famous dweller in No. 14 was John Rogers, a nineteenth -century sculptor, a kind of Edgar Guest who worked in stone, His studio was on the second floor. It looks today pretty much as it did when he worked iii it from 1888 to 1895, turning out such groups as "Checkers up at the Farm," "Fetching the Doc, tot". A part of his work are in the church office. Each has the Twelfth Street house address worked into it.

Though church folk dislike the idea of having the old mansion torn down, and architects in town frown on the notion, too, they know they must go. The place is sorely needed for the children. So, one by one, the master works of the great architects vanish from the city--Davis did preliminary sketches for the old tombs, worked on the old Custom House, on many hospitals and colleages. All that will remain of his dreaming on paper, when the Twelfth Street Mansions go down in rubble, will be a few villas up in the Hudson River Valley.

The two houses were not ______.

A．of the same style

B．designed by the same designer

C．the same looking from the outside

D．the same looking from the inside

This is a prenuptial (婚前的)agreement—one more indication of the strange pass of marriage in this most transactional decade. You are welcome to marriage, contractual style, where increasingly detailed legal documents spell out everything from who's going to do the dishes to who's going to get the house when you split.

This is family planning taken to extreme. Once employed solely by the rich, second-timers and the old industrialist carrying off the latest young cookie, the prenuptial agreement—a written pact between a couple outlining the financial obligations in the event of divorce—is becoming commonplace in a litigious (爱打官司的),disillusioned and materialistic age in which one in every two marriages is projected to end in divorce.

The only question is: What about love？ When asked whether anyone believes in Cupid (爱神)anymore, Dr. Michael Vincent Miller says, "Given a century that is full of sexual liberation, computer-dating services and so on, one feels tempted to reply,' only in a mood of desperate nostalgia (怀旧 )'. ""Pre-nups" (prenuptial agreements)do assume negativity. Founded on disillusionment, they cannot be separated from the high divorce rate in the United States. The result, argues Miller, is a kind of defending mentality. "We've gotten good at managing finiteness, failure and trouble with a sort of 'What' s yours is yours and what's mine is mine's realism'. We've seen it isn't all about love. We've seen there's power politics in there—a fight for control, and when you've got those things, you're halfway to lawyers and money."

In other ways, however, the compacts embody positive, even idealistic thinking about marriage, love and relations, a law scholar Isabel Marcus believes. Marcus says , "Contracts could spell the end of romantic love as salvation. They say love exists, but that it's best accompanied by good, hard thinking about equitability (平等).

By writing a contract, the couple gains control of its marriage. "What's good is it contributes to honesty; what's unfortunate is the idea that any contract can govern your emotions," says the author of the book "The Nature of Love."

The scene described in the first paragraph ______.

A．is a part of a comedy film

B．is something rare

C．is something real and becoming common daily

D．is ridiculous