The first sentence is the general description of what the table or figure is about.

听力原文： The first English dictionary, called An Alphabetical Table of Hard Words, was published in 1604. The dictionary was actually nothing more than a list of about 3,000 difficult words, each followed by a one-word definition. The author, Robert Cawdrey, made no attempt to include everyday words in his dictionary. No one, he reasoned, would ever have to look up a word in a dictionary if he already knew the meaning of the word. During the 1600's, more dictionaries were published. Each followed Cawdrey' s lead and presented a few thousand hard words. Around 1700 one dictionary maker, John Kersey, did define easy words as well as hard ones. But until the 1750's all dictionaries were rather crude and not very valuable.

A man named Dr. Samuel Johnson charged all this. In 1755 Dr. Johnson produced the first modem dictionary. He included in his dictionary all important words, both easy and hard, and he gave good meanings. He also gave good sentences to show how each word was actually used in speech and in writing. By the end of the 1700' s most dictionary makers had followed Johnson' s lead. Dictionaries were getting better and better.

The 1800's saw the greatest improvement in the quality of dictionaries. In England scholars planned and prepared the Oxford English Dictionary, a twenty-volume work. One of the most interesting features of the Oxford Dictionary is its word histories. It traces the history of each word from its earliest recorded use up to the time of the printing of the dictionary.

The first English dictionary was published ______

A．1604

B．around 1700

C．1750

D．1755

The first English dictionary, called an Alphabetical Table of Hard Words, was published in 1604. The dictionary was actually【C1】______a list of about 3 000 difficult words, each followed by a one word【C2】______. The author, Robert Cawdrey,【C3】______to include everyday words in his dictionary.【C4】______, he reasoned, would ever have to look up a word in a dictionary if he already knew the meaning of the word. During the 1600' s more dictionaries were published. Each followed Cawdrey' s【C5】______and presented a few thousand【C6】______words. Around 1700 one dictionary maker, John Kersey,【C7】______define easy words as well as hard ones. But until the 1750' s all dictionaries were rather【C8】______and not very valuable.

A man named Dr. Samuel Johnson【C9】______all this. In 1755 Dr. Johnson produced the first modern dictionary. He【C10】______in his dictionary all important words, both easy and hard, and he gave good meanings. He also gave good sentences to show how each word was【C11】______used in speech and【C12】______. By the end of the 1700' s most dictionary makers【C13】______Johnson' s lead. Dictionaries were getting better and better.

The 1800' s【C14】______the greatest improvement【C15】______the quality of dictionaries. In England scholars planned and prepared the Oxford English dictionary, a【C16】______work. One of the most interesting【C17】______of the Oxford Dictionary is its word histories. It【C18】______the history of each word from its earliest【C19】______use【C20】______the time of the printing of the dictionary.

【C1】

A．no less than

B．much less than

C．nothing more than

D．much more than

Why is (1) fun? What delights may its practitioner expect as his reward? First is the sheer joy of making things. As the child delights in his mud pie, so the adult enjoys building things, especially things of his own design. Second is the pleasure of making things that are useful to other people. Third is the fascination of fashioning complex puzzle-like objects of interlocking moving parts and watching them work in subtle cycles, playing out the consequences of principles built in from the beginning. Fourth is the joy of always learning, which springs from the (2) nature of the task. In one way or another the problem is ever new, and its solver learns something: sometimes (3), sometimes theoretical, and sometimes both. Finally, there is the delight of working in such a tractable medium. The (4), like the poet, works only slightly removed from pure thought-stuff. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures.

Yet the program (5), unlike the poet's words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself. It prints results, draws pictures, produces sounds, moves arms. Programming then is fun because it gratifies creative longings built deep within us and delights sensibilities we have in common with all men.

(1)

A．programming

B．composing

C．working

D．writing

Why is (1) fun? What delights may its practitioner expect as his reward? First is the sheer joy of making things. As the child delights in his mud pie, so the adult enjoys building things, especially things of his own design. Second is the pleasure of making things that are useful to other people. Third is the fascination of fashioning complex puzzle-like objects of interlocking moving parts and watching them work in subtle cycles, playing out the consequences of principles built in from the beginning. Fourth is the joy of always learning, which springs from the (2) nature of the task. In one way or another the problem is ever new, and its solver learns something: sometimes (3), sometimes theoretical, and sometimes both. Finally, there is the delight of working in such a tractable medium. The (4), like the poet, works only slightly removed from pure thought-stuff. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures.

Yet the program (5), unlike the poet's words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself. It prints results, draws pictures, produces sounds, moves arms. Programming then is fun because it gratifies creative longings built deep within us and delights sensibilities we have in common with all men.

(1)

A．programming

B．composing

C．working

D．writing

Why is (1) fun?What de lights may itS practitioner expect as his reward? First is the sheer joy of making things. As the child delights in his mud pie, so the adult enjoys building things, especially things of his own design. Second is the pleasure of making things that are useful to other people. Third is the fascination of fashioning complex puzzle-like objects of interlocking moving parts and watching them work in subtle cycles, playing out the consequences of principles built in from the beginning. Fourth is the joy of always learning, which springs from the (2) nature of the task. In one way or another the problem is ever new, and its solver learns something: sometimes (3), sometimes theoretical, and sometimes both. Finally, there is the delight of working in such a tractable medium. The (4), like the poet, works only slightly removed from pure thought-stuff. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures.

Yet the program (5), unlike the poet's words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself. It prints results, draws pictures, produces sounds, moves arms. Programming then is fun because it gratifies creative longings built deep within us and delights sensibilities we have in common with all men.

(1)

A．programming

B．composing

C．working

D．writing

Why is (1) fun?What de lights may itS practitioner expect as his reward? First is the sheer joy of making things. As the child delights in his mud pie, so the adult enjoys building things, especially things of his own design. Second is the pleasure of making things that are useful to other people. Third is the fascination of fashioning complex puzzle-like objects of interlocking moving parts and watching them work in subtle cycles, playing out the consequences of principles built in from the beginning. Fourth is the joy of always learning, which springs from the (2) nature of the task. In one way or another the problem is ever new, and its solver learns something: sometimes (3), sometimes theoretical, and sometimes both. Finally, there is the delight of working in such a tractable medium. The (4), like the poet, works only slightly removed from pure thought-stuff. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures.

Yet the program (5), unlike the poet's words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself. It prints results, draws pictures, produces sounds, moves arms. Programming then is fun because it gratifies creative longings built deep within us and delights sensibilities we have in common with all men.

(1)

A．programming

B．composing

C．working

D．writing

The database administrator of your company created a public synonym called HR for the HUMAN_RESOURCES table of the GENERAL schema, because many users frequently use this table. As a user of the database, you created a table called HR in your schema. What happens when you execute this query? SELECT * FROM HR; （）

A. You obtain the results retrieved from the public synonym HR created by the database administrator.

B. You obtain the results retrieved from the HR table that belongs to your schema.

C. You get an error message because you cannot retrieve from a table that has the same name as a public synonym.

D. You obtain the results retrieved from both the public synonym HR and the HR table that belongs to your schema, as a Cartesian product.

E. You obtain the results retrieved from both the public synonym HR and the HR table that belongs to your schema, as a FULL JOIN.

● Why is （71） fun? What delights may its practitioner expect as his reward? First is the sheer joy of making things. As the child delights in his mud pie, so the adult enjoys building things, especially things of his own design. Second is the pleasure of making things that are useful to other people. Third is the fascination of fashioning complex puzzle-like objects of interlocking moving parts and watching them work in subtle cycles, playing out the consequences of principles built in from the beginning. Fourth is the joy of always learning, which springs from the （72） nature of the task. In one way or another the problem is ever new, and its solver learns something: sometimes （73） , sometimes theoretical, and sometimes both. Finally, there is the delight of working in such a tractable medium. The （74） , like the poet, works only slightly removed from pure thought-stuff. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures. Yet the program （75） , unlike the poet's words, is real in the sense that it moves and

works, producing visible outputs separate from the construct itself. It prints results, draws pictures, produces sounds, moves arms. Programming then is fun because it gratifies creative longings built deep within us and delights sensibilities we have in common with all men.

（71）

A. programming

B. composing

C. working

D. writing

（72）

A. repeating

B. basic

C. non-repeating

D. advance

（73）

A. semantic

B. practical

C. lexical

D. syntactical

（74）

A. poet

B. architect

C. doctor

D. programmer

（75）

A. construct

B. code

C. size

D. scale writing

● Why is （71） fun? What delights may its practitioner expect as his reward? First is the sheer joy of making things. As the child delights in his mud pie, so the adult enjoys building things, especially things of his own design. Second is the pleasure of making things that are useful to other people. Third is the fascination of fashioning complex puzzle-like objects of interlocking moving parts and watching them work in subtle cycles, playing out the consequences of principles built in from the beginning. Fourth is the joy of always learning, which springs from the （72） nature of the task. In one way or another the problem is ever new, and its solver learns something: sometimes （73） , sometimes theoretical, and sometimes both. Finally, there is the delight of working in such a tractable medium. The （74） , like the poet, works only slightly removed from pure thought-stuff. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures. Yet the program （75） , unlike the poet's words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself. It prints results, draws pictures, produces sounds, moves arms. Programming then is fun because it gratifies creative longings built deep within us and delights sensibilities we have in common with all men.

（71）

A. programming

B. composing

C. working

D. writing

（72）

A. repeating

B. basic

C. non-repeating

D. advance

（73）

A. semantic

B. practical

C. lexical

D. syntactical

（74）

A. poet

B. architect

C. doctor

D. programmer

（75）

A. construct

B. code

C. size

D. scale