I’m sorry. Mr. Curtis is not in. Would you like to ___________<br/>a message? A: give B: ask C: leave
I’m sorry. Mr. Curtis is not in. Would you like to ___________<br/>a message? A: give B: ask C: leave
上世界初美国的Curtis Publishing公司的商业调研部雇佣的帕林所采用的是垃圾调查法就是典型的实验研究法
上世界初美国的Curtis Publishing公司的商业调研部雇佣的帕林所采用的是垃圾调查法就是典型的实验研究法
上世界初美国的Curtis Publishing公司的商业调研部雇佣的帕林所采用的是垃圾调查法就是典型的实验研究法。
上世界初美国的Curtis Publishing公司的商业调研部雇佣的帕林所采用的是垃圾调查法就是典型的实验研究法。
The purpose of the experiment of Val Curtis and her colleagues’ experiment is to ______(). A: prove that people develop disgust to protect themselves from<br/>illness B: illustrate that TV is an anti-intellectual medium C: help publicize a program called "Human Instincts" on BBC D: employ new staff free of any disease for a program on BBC
The purpose of the experiment of Val Curtis and her colleagues’ experiment is to ______(). A: prove that people develop disgust to protect themselves from<br/>illness B: illustrate that TV is an anti-intellectual medium C: help publicize a program called "Human Instincts" on BBC D: employ new staff free of any disease for a program on BBC
在Curtis先生导演的卡萨布兰卡—片中（1942年），英格丽褒曼（IngridBergman）和亨弗利鲍嘉（HumphreyBogart）在深情相望的时候，喝的是什么葡萄酒？ A: 一瓶1922年的玛歌 B: 玛姆香槟 C: 桃红葡萄酒
在Curtis先生导演的卡萨布兰卡—片中（1942年），英格丽褒曼（IngridBergman）和亨弗利鲍嘉（HumphreyBogart）在深情相望的时候，喝的是什么葡萄酒？ A: 一瓶1922年的玛歌 B: 玛姆香槟 C: 桃红葡萄酒
Match each description (1-9) with the appropriate person.changed<br/>his mind about the number of galaxies in the universe() A: Pythagoras B: Hipparchus C: Galileo D: Thomas Wright E: William Herschel F: Christopher Wren G: Jacobus Kapteyn H: Edward Barnard I: Harlow Shapley J: Heber Curtis K: Karl<br/>Jansky L: John Hey
Match each description (1-9) with the appropriate person.changed<br/>his mind about the number of galaxies in the universe() A: Pythagoras B: Hipparchus C: Galileo D: Thomas Wright E: William Herschel F: Christopher Wren G: Jacobus Kapteyn H: Edward Barnard I: Harlow Shapley J: Heber Curtis K: Karl<br/>Jansky L: John Hey
2.[阅读理解] In the 1962 movie Lawrence of Arabia,one scene shows an American newspaper reporter eagerly snapping photos of men looting a sabotaged train.One of the looters,Chief Auda abu Tayi of the Howeitat clan,suddenly notices the camera and snatches it.Am I in this?he asks,before smashing it open.To the dismayed reporter,Lawrence explains,He thinks these things will steal his virtue.He thinks you're a kind of thief. As soon as colonizers and explorers began taking cameras into distant lands,stories began circulating about how indigenous peoples saw them as tools for black magic.The ignorant natives may have had a point.When photography first became available,scientists welcomed it as a more objective way of recording faraway societies than early travelers' exaggerated accounts.But in some ways,anthropological photographs reveal more about the culture that holds the camera than the one that stares back.Up into the 1950s and 1960s,many ethnographers sought pure pictures of primitive cultures,routinely deleting modern accoutrements such as clocks and Western dress.They paid men and women to re-enact rituals or to pose as members of war or hunting parties,often with little regard for veracity.Edward Curtis,the legendary photographer of North American Indians,for example,got one Makah man to pose as a whaler with a spear in 1915--even though the Makah had not hunted whales in a generation. These photographs reinforced widely accepted stereotypes that indigenous cultures were isolated,primitive,and unchanging.For instance,National Geographic magazine's photographs have taught millions of Americans about other cultures.As Catherine Lutz and Jane Collins point out in their 1993 book Reading National Geographic,the magazine since its founding in 1888 has kept a tradition of presenting beautiful photos that don't challenge white,middle-class American conventions.While dark-skinned women can be shown without tops,for example,white women's breasts are taboo.Photos that could unsettle or disturb,such as areas of the world torn asunder by war or famine,are discarded in favor of those that reassure,to conform with the society's stated pledge to present only kindly visions of foreign societies.The result,Lutz and Collins say,is the depiction of an idealized and exotic world relatively free of pain or class conflict. Lutz actually likes National Geographic a lot.She read the magazine as a child,and its lush imagery influenced her eventual choice of anthropology as a career.She just thinks that as people look at the photographs of other cultures,they should be alert to the choice of composition and images.
2.[阅读理解] In the 1962 movie Lawrence of Arabia,one scene shows an American newspaper reporter eagerly snapping photos of men looting a sabotaged train.One of the looters,Chief Auda abu Tayi of the Howeitat clan,suddenly notices the camera and snatches it.Am I in this?he asks,before smashing it open.To the dismayed reporter,Lawrence explains,He thinks these things will steal his virtue.He thinks you're a kind of thief. As soon as colonizers and explorers began taking cameras into distant lands,stories began circulating about how indigenous peoples saw them as tools for black magic.The ignorant natives may have had a point.When photography first became available,scientists welcomed it as a more objective way of recording faraway societies than early travelers' exaggerated accounts.But in some ways,anthropological photographs reveal more about the culture that holds the camera than the one that stares back.Up into the 1950s and 1960s,many ethnographers sought pure pictures of primitive cultures,routinely deleting modern accoutrements such as clocks and Western dress.They paid men and women to re-enact rituals or to pose as members of war or hunting parties,often with little regard for veracity.Edward Curtis,the legendary photographer of North American Indians,for example,got one Makah man to pose as a whaler with a spear in 1915--even though the Makah had not hunted whales in a generation. These photographs reinforced widely accepted stereotypes that indigenous cultures were isolated,primitive,and unchanging.For instance,National Geographic magazine's photographs have taught millions of Americans about other cultures.As Catherine Lutz and Jane Collins point out in their 1993 book Reading National Geographic,the magazine since its founding in 1888 has kept a tradition of presenting beautiful photos that don't challenge white,middle-class American conventions.While dark-skinned women can be shown without tops,for example,white women's breasts are taboo.Photos that could unsettle or disturb,such as areas of the world torn asunder by war or famine,are discarded in favor of those that reassure,to conform with the society's stated pledge to present only kindly visions of foreign societies.The result,Lutz and Collins say,is the depiction of an idealized and exotic world relatively free of pain or class conflict. Lutz actually likes National Geographic a lot.She read the magazine as a child,and its lush imagery influenced her eventual choice of anthropology as a career.She just thinks that as people look at the photographs of other cultures,they should be alert to the choice of composition and images.