党校英语试题改革(2)

enjoying a free ride in terms of global security, there is more to Europe’s unwillingness to build up its military power than comfort with the present American guarantee. After all, the United States in the 19th century was the beneficiary of the British navy’s dominance of the Atlantic and the Caribbean. But that did not stop the United States from engaging in its own peacetime naval buildup in the 1880s and 1890s, a buildup that equipped it to launch and win the Spanish-American war, acquire the Philippines, and become a world power. Late-nineteenth-century Americans did not take comfort from their security; they were ambitious for more power.

Europeans today are not ambitious for power, and certainly not for military power. Europeans over the past half century have developed a genuinely different perspective on the role of power in international relations, a perspective that springs directly from their unique historical experience since the end of World War II. They have rejected the power politics that brought them such misery over the past century and more. This is a perspective on power that Americans do not and cannot share, inasmuch as the formative historical experiences on their side of the Atlantic have not been the same. Consider again the qualities that make up the European strategic culture: the emphasis on negotiation, diplomacy, and commercial ties, on international law over the use of force, on seduction over coercion, on multilateralism over unilateralism. It is true that these are not traditionally European approaches to international relations when viewed from a long historical perspective. But they are a product of more recent European history. The modern European strategic culture represents a conscious rejection of the European past, a rejection of the evils of European Machtpolitik.

Answer the following questions briefly according to what you have just read.

26. What might be the question raised prior to the first paragraph of the passage? …… 30.

III. Translation (20 points)

Directions: Put the underlined sentences into Chinese, and write your translation on the Answer Sheet.

The freedom of art is more than an ideal. If, despite the small chance ofsuccess, the profession of artist is so popular, it is because it offers the prospect of a labor that is apparently free of narrow specialization, allowing artists, like heroes in the movies, to endow work and life with their own meanings. Equally for the viewers of art, there is

a corresponding freedom in appreciating the purposeless play of ideas and forms, not in slavishly attempting to divine artists’ intentions, but in allowing the work to elicit thoughts and sensations that connect with their own experiences. The wealthy buy themselves participation in this free zone through ownership and patronage, and they are buying something genuinely valuable; the state ensures that a wider public has at least the opportunity to breathe for a while the scent of freedom that works of art emit.

Yet there are reasons to wonder whether free trade and free art are as antithetical as they seem. Firstly, the economy of art closely re?ects the economy of ?nance capital. In a recent analysis of the meaning of cultural dominance, Donald Sassoon explored patterns of import and export of novels, opera, and films in the nineteenth and twentieth centuries. Culturally dominant states have abundant local production that meets the demands of their home markets, importing little and successfully exporting much. In the nineteenth century, France and Britain were the dominant literary powers. The US is now by far the most dominant cultural state, exporting its products globally while importing very little. As Sassoon points out, this does not mean that everyone consumes American culture, just that most of the culture that circulates across national boundaries is American.

Sassoon rules ?ne art out of his account on the sensible grounds that it has no mass market.It is hard to read trade ?gures for signs of cultural dominance in a system that is thoroughly cosmopolitan, so that you may have a German collector buying through a British dealer the work of a Chinese artist resident in the US. We can, however, get an idea of the volume of trade in each nation, and, given the high proportion of international trade in the art market, this does give an indication of global hegemony. Here there are striking parallels with the distribution of ?nancial power. It is hardly surprising that the US is dominant, accounting for a little less than a half of all global art sales; Europe accounts for much of the rest, with the UK taking as its share around a half of that.

IV. Composition (20points)

Directions: Write a composition of 250 words in about 40 minutes on the following

topic.Remember to write in readable handwriting on the Answer Sheet.

As those of the post-1980 generation become the main breadwinners in China, China is facing the challenge of a rapidly aging population.

How will we be able to support our old people? Who should beresponsible for our old people?

Give reasons for your answer.

俄语

I.词汇与语法20题，20分 总词数500词左右；

II.阅读 30题， 40分

1. 多项选择题的阅读段落4段， 20 题， 20分， 2000词左右； 2. 阅读回答问题2段，10题，20分， 1200词左右； III. 翻译20分

翻译划线部分300-350词1000词左右； IV. 写作20分

就翻译段落写一篇概要150-200词。

日语

I.词汇和语法15题，15分

总字数600字左右； II. 阅读部分20题，45分

1.多项选择题的阅读段落3段， 15题，30分， 2000字左右； 2.阅读回答问题1段， 5题，15分， 1000字左右； III. 翻译部分20分

翻译划线部分600字 1000字左右； IV. 写作部分20分

一篇450字议论文

百度搜索“77cn”或“免费范文网”即可找到本站免费阅读全部范文。收藏本站方便下次阅读，免费范文网，提供经典小说综合文库党校英语试题改革(2)在线全文阅读。