She spoke a little English, so it was difficult to communicate with her.

As with other forms of nonverbal communication, the use of touch to communicate feelings and emotions varies widely from culture to culture. Edward T. Hall theorized that, 【C1】______touch, two general cultural classes exist; contact and noncontact. He calls cultures that【C2】______much contact contact cultures and【C3】______that permit little contact noncontact cultures. People in contact cultures【C4】______in closer proximity(接近)to each other. They touch more, face one another more directly, and utilize more eye contact than those in noncontact cultures. Contact cultures【C5】______most Arab countries, Mediterranean and Jewish people, Eastern Europeans, Russians, Hispanics, and Indonesians. Noncontact people【C6】______are from northern Europe, Japan, China, Korea, and other Far Eastern countries. The United States usually is【C7】______as a noncontact culture, primarily because of its original European settlers. Touching behavior, 【C8】______, varies among the different ethnic groups that make【C9】______the country. Blacks and Italian-Americans—to【C10】______two examples—tend to use touch rather widely to communicate closeness and affection. Anglo-Americans normally are restrained in touching others.

【C1】

A．due to

B．in addition to

C．in contrast to

D．with regard to

听力原文：Interviewer: It's difficult to talk about the beauty of a sound, but our great musicians today still clearly feel that these sixteenth-century Italian violins are the best. Do you agree with them?

Scientist: Well, if you look closely at a violin, um ... it may be a beautiful-looking instrument, but it is basically just a wooden box, whose function is to take a little energy out of the string that the musician plays and to turn it into sound that is then heard by the listener. The function of an individual violin is to provide suitable playing and sound qualities for the musician to express all of his or her emotions.

You turn on the radio and hear a scientist being interviewed about violins. What is the scientist doing?

A．Explaining how a violin works.

B．Explaining how a violin is made.

C．Explaining how a violin should be played.

听力原文：W: Can you speak up a little? I'm having difficulty hearing you.

M: All right. Is that better?

Q: What can we conclude from the talk?

(4)

A．The woman doesn't like the man.

B．The man tries to speak more loudly.

C．The man doesn't want to speak up.

D．The woman has no problem hearing the man.

听力原文：W: Would you like to come with us for coffee a little later?

M: I'm off caffeine, medical restrictions.

Q: What does the man mean?

(16)

A．He doesn't like coffee anymore.

B．He's already prepared the coffee.

C．He's had to eliminate coffee from his diet.

D．He has to take his medicine first.

This is the life of someone who wrote little, spoke little, and about whom there are few memories. Yet if anyone's life is worthy of a biography it is surely Abram Petrovich Gannibal, an African slave adopted by Peter the Great, who studied mathematics and cryptography before training as a military engineer, spied for the tsar in Paris, became an expert in fortification, was sent to Siberia, became governor-general of Tallinn, and finally retired to an estate in northern Russia as the owner of slaves himself①.

These days he is best known as the great grandfather of Alexander Pushkin, whose family liked to think their illustrious forebear was an Abyssinian prince, and a direct descendant of the legendary Carthaginian general 'whose name he boldly adopted (spelling it in the Russian way with a "g"). It was not until the 1990s that an enterprising scholar from Benin was able to challenge centuries of Russian racism and suggest that Gannibal in fact came from black Africa.

Having traveled to Cameroon and paddled up-river in a 30-foot wooden boot to interview the Sultan of Logone, the intrepid Hugh Barnes lends credence to this theory with a tantalizingly plausible interpretation for the mysterious word "Fummo" (Kotoko for "homeland" ) to be found underneath the elephant portrayed on the family crest②. Mr. Barnes does far more than just "join up the dots" between Pushkin's unfinished novel about his ancestor and its subject. The result is not merely the first detailed account in English of this remarkable life, but the fullest in any language. It is a fascinating read.

With this book, the fruit of research in an impressive list of obscure archives, Mr. Barnes not only joins the ranks of those journalists able to give academics a good run for their money, but also shows him self to be a travel writer of distinction. The story of his quest to discover Gannibal's identity in places as far flung as Novoselengisk on the Chinese border, and Pskov at the other end of the Russian empire, is engagingly told. With so little biographical material to go on (even the fabled portrait of Gannibal turns out to be that of a white man when it is restored), the dots have inevitably to be joined up with a degree of speculation. Just occasionally it leads the author astray--the Winter Palace, for example, was painted first yellow and then crimson before finally acquiring the "icy turquoise facade", which Mr. Barnes claims greeted Gan nibal when he received his dismissal from Catherine the Great in 1762.

While plenty of evidence is marshaled to show that Gannibal was the first black intellectual in Europe, his personality remains frustratingly elusive. Nevertheless, this biography of the Russian Othello does much to recast our understanding of 18th century Russian life.

What is the purpose of the text?

A．To give us a portrait of a legendary person—Abram Petrovich Gannibal.

B．To reveal the origin of Gannibal.

C．To indicate the connection of Pushkin and Gannibal.

D．To introduce Hugh Barnes's research work and his book on Cannibal.

This is the life of someone who wrote little, spoke little, and about whom there are few memories. Yet if anyone's life is worthy of a biography it is surely Abram Petrovich Gannibal, an African slave adopted by Peter the Great, who studied mathematics and cryptography before training as a military engineer, spied for the tsar in Paris, became an expert in fortification, was sent to Siberia, became governor-general of Tallinn, and finally retired to an estate 'in northern Russia as the owner of slaves himself.

These days he is best known as the great grandfather of Alexander Pushkin, whose family liked to think their illustrious forebear was an Abyssinian prince, and a direct descendant of the legendary Carthaginian general whose name he boldly adopted ( spelling it in the Russian way with a "g" ). It was not until the 1990s that an enterprising scholar from Benin was able to challenge centuries of Russian racism and suggest that Gannibal in fact came from black Africa.

Having traveled to Cameroon and paddled up-river in a 30-foot wooden boot to interview the Sultan of Logone, the intrepid Hugh Barnes lends credence to this theory with a tantalizingly plausible interpretation for the mysterious word "Fummo" ( Kotoko for "homeland" ) to be found underneath the elephant portrayed on the family crest. Mr. Barnes does far more than just "join up the dots" between Pushkin's unfinished novel about his ancestor and its subject. The result is not merely the first detailed account in English of this remarkable life, but the fullest in any language. It is a fascinating read.

With this book, the fruit of research in an impressive list of obscure archives, Mr. Barnes not .only joins the ranks of those journalists able to give academics a good run for their money, but also shows himself to be a travel writer of distinction. The story of his quest to discover Gannibal's identity in places as farflung as Novoselengisk on the Chinese border, and Pskov at the other end of the Russian empire, is engagingly told. With so little biographical material to go on ( even the fabled portrait of Gannibal turns out to be that of a white man when it is restored), the dots have inevitably to be joined up with a degree of speculation. Just occasionally it leads the author astray--the Winter Palace, for example, was painted first yellow and then crimson before finally acquiring the "icy turquoise facade", which Mr. Barnes claims greeted Gannibal when he received his dismissal from Catherine the Great in 1762.

While plenty of evidence is marshaled to show that Gannibal was the first black intellectual in Europe, his personality remains frustratingly elusive. Nevertheless, this biography of the Russian Othello does much to recast our understanding of 18th century Russian life.

What is the purpose of the text?

A．To give us a portrait of a legendary person--Abram Petrovich Gannibal.

B．To reveal the origin of Gannibal.

C．To indicate the connection of Pushkin and Gannibal.

D．To introduce Hugh Barnes's research work and his book on Gannibal.

This is the life of someone who wrote little, spoke little, and about whom there are few memories. Yet if anyone's life is worthy of a biography it is surely Abram Petrovich Gannibal, an African slave adopted by Peter the Great, who studied mathematics and cryptography before training as a military engineer, spied for the tsar in Paris, became an expert in fortification, was sent to siberia, became the governor-general of Tallinn, and finally retired to an estate in northern Russia as the owner of slaves himself.

These days he is best known as the great grandfather of Alexander Pushkin, whose family liked to think their illustrious forebear was an Abyssinian prince, and a direct descendant of the legendary Carthaginian general whose name he boldly adopted (spelling it in the Russian way with a "g"). It was not until the 1990s that an enterprising scholar from Benin was able to challenge centuries of Russian racism and suggest that Gannibal in fact came from black Africa.

Having traveled to Cameroon and paddled up-river in a 30-foot wooden boot to interview the Sultan of Logone, the intrepid Hugh Barnes lends credence to this theory with a tantalizingly plausible interpretation for the mysterious word "Fummo" (Kotoko for "homeland") to be found underneath the elephant portrayed on the family crest. Mr. Barnes does far more than just "join up the dots" between Pushkin's unfinished novel about his ancestor and its subject. The result is not merely the first detailed account in English of this remarkable life, but the fullest in any language. It is a fascinating read.

With this book, the fruit of research in an impressive list of obscure archives, Mr. Barnes not only joins the ranks of those journalists able to give academics a good run for their money, but also shows him-self to be a travel writer of distinction. The story of his quest to discover Gannihal's identity in places as far-flung as Novoselengisk on the Chinese border, and Pskov at the other end of the Russian empire, is engagingly told. With so little biographical material to go on (even the fabled portrait of Gannibal turns out to be that of a white man when it is restored), the dots have inevitably to be joined up with a degree of speculation. Just occasionally it leads the author astray--the Winter Palace, for example, was painted first yellow and then crimson before finally acquiring the "icy turquoise facade", which Mr. Barnes claims greeted Gannibal when he received his dismissal from Catherine the Great in 1762.

While plenty of evidence is marshaled to show that Gannibal was the first black intellectual in Europe, his personality remains frustratingly elusive. Nevertheless, this biography of the Russian Othello does much to recast our understanding of 18th century Russian life.

What is the purpose of the passage?

A．To give us a portrait of a legendary person--Abram Petrovich Gannibal.

B．To reveal the origin of Gannibal.

C．To indicate the connection of Pushkin and Gannibal.

D．To introduce Hugh Barnes's research work and his book on Gannibal.