1.阅读理解

According to the Solar Energy Industry Association, the number of solar panels installed(安装)has grown rapidly in the past decade, and it has to grow even faster to meet climate goals. But all of that growth will take up a lot of space, and though more and more people accept the concept of solar energy, few like large solar panels to be installed near them.

Solar developers want to put up panels as quickly and cheaply as possible, so they haven't given much thought to what they put under them. Often, they'll end up filling the area with small stones and using chemicals to control weeds. The result is that many communities, especially in farming regions, see solar farms as destroyers of the soil.

"Solar projects need to be good neighbors," says Jordan Macknick, the head of the Innovative Site Preparation and Impact Reductions on the Environment(InSPIRE)project. "They need to be protectors of the land and contribute to the agricultural economy." InSPIRE is investigating practical approaches to "low-impact" solar development, which focuses on establishing and operating solar farms in a way that is kinder to the land. One of the easiest low-impact solar strategies is providing habitat for pollinators(传粉昆虫).

Habitat loss, pesticide use, and climate change have caused dramatic declines in pollinator populations over the past couple of decades, which has damaged the U.S. agricultural economy. Over 28 states have passed laws related to pollinator habitat protection and pesticide use. Conservation organizations put out pollinator-friendliness guidelines for home gardens, businesses, schools, cities—and now there are guidelines for solar farms.

Over the past few years, many solar farm developers have transformed the space under their solar panels into a shelter for various kinds of pollinators, resulting in soil improvement and carbon reduction. "These pollinator-friendly solar farms can have a valuable impact on everything that's going on in the landscape," says Macknick.

(1) What do solar developers often ignore? A. The decline in the demand for solar energy. B. The negative impact of installing solar panels. C. The rising labor cost of building solar farms. D. The most recent advances in solar technology.
(2) What does InSPIRE aim to do? A. Improve the productivity of local farms. B. Invent new methods for controlling weeds. C. Make solar projects environmentally friendly. D. Promote the use of solar energy in rural areas.
(3) What is the purpose of the laws mentioned in paragraph 4? A. To conserve pollinators. B. To restrict solar development. C. To diversify the economy. D. To ensure the supply of energy.
(4) Which of the following is the best title for the text? A. Pollinators: To Leave or to Stay B. Solar Energy: Hope for the Future C. InSPIRE: A Leader in Agriculture D. Solar Farms: A New Development
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推理判断题; 细节理解题; 科普环保类; 说明文; 标题选择;
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1.阅读理解

A paper published on November 15 in Current Biology suggests that a patch (小块) of cells developed for identifying human faces, the fusiform face area (FFA), is up and running in infants (婴儿) as young as two months old.

Rebecca Saxe, a professor of brain and cognitive sciences at the Massachusetts Institute of Technology, and her colleagues scanned 42 infants ranging in age from two to nine months using a special functional magnetic resonance (磁共振) imaging (fMRI) helmet designed specifically for babies. Data from 16 of the infants had to be thrown out because it is extremely difficult to keep them happy, still and awake for long. For the 26 remaining infants, the scientists compared activity in visual areas of the brain while they watched 2. 7-second video clips that described faces, body parts, landscapes, and other objects. Results showed more activity in the areas of the brain's visual system that are specialized for recognizing faces, bodies and scenes than areas for other observed objects.

"There's every reason to think that babies are born expecting and looking for their most important social partners, " Saxe says. "Something in their brain makes them interested in faces actually before they've had any experience with faces at all. Babies look toward face-like images from hours after birth. "

Other researchers are not convinced by Saxe's conclusions/41 don't believe that there are face patches present at birth, " Livingstone says. He views experience and learning are essential for the development of the FFA.

To Kalanit Grill-Spector, a psychology professor at Stanford University, the most exciting part of the new paper is not about this question of learned versus inborn development. "I think the study is kind of attempting to address this question, but it doesn't really provide a perfect answer one way or another. What impressed me is the amount of babies that they've scanned and with a lot of new innovations in baby fMRI, " she says. "That's going to push the field forward. "

(1) Why were the data from the 16 infants abandoned? A. Because the infants didn't watch the video clips. B. Because the infants made no response to the objects. C. Because the infants couldn't focus on objects for some time. D. Because the infants were unwilling to wear helmets for long.
(2) How did the researchers get the results? A. By listing figures. B. By asking questions. C. By analyzing reasons. D. By making comparisons.
(3) Which statement would Rebecca Saxe probably agree with? A. Infants can process facial patterns and give them meaning. B. Specialized areas for recognizing faces are present at birth. C. Some abilities of the visual system are gradually developed. D. Experience and learning are essential for the development of the FFA
(4) Which word best describes Grill—Spector's attitude to the way of the research? A. Objective. B. Skeptical. C. Favorable. D. Disapproving.
阅读理解 模拟题 普通
2. 阅读理解

Outdoor Football @Braywick

Tue, Mar 8, 9:00 P. M.

A friendly kickabout, open to all levels. Different players each week. Newcomers welcome. 

We book the pitch(球场)when we hit the minimum of 8 "yes"RSVPs(回复),which we need to do by the day before. 

The cost is E4 to E6 each, depending on how many sign up (£50 for the pitch, divided by the number of players)

DON'T BE LATE! We need to be there, changed and ready for kick-off at 9:00 P. M. If the game is ever cancelled, we will let those who have already RSVP "yes" know. 

LOCATION: Toby Carvery Stafferton Lodge

PLEASE BRING:

·Suitable boots for the outdoor 3G pitches. Artificial grass(AG)football boots are strongly recommended as the best option for the surface. 

·Some cash-up to £6, as explained above. 

RSVP TERMS AND CONDITIONS

·When you RSVP "Yes", we book a spot on the pitch for you. The organizer is charged for the pitch unless they cancel it at least 48 hours before the game. 

·If you change your RSVP to "No" less than 48 hours before play or you are a "No Show" and nobody is able to take your spot, you will be asked to pay the price as if you took part. 

BRINGING GUESTS:

You are more than welcome to bring I or 2 friends to play (but only if you add "+1" or "+2" to your RSVP, so that we don't end up with too many players).

(1) What is the deadline for the booking of the pitch? A. Mar 5. B. Mar 6. C. Mar 7. D. Mar 8.
(2) What are you required to do as a player? A. Arrive at the pitch at 9:00P. M. B. Wear firm-ground boots when playing. C. Bring at least £6 to the pitch. D. Inform cancellation 48 hours ahead.
(3) What will happen if you fail to turn up? A. You still need to pay. B. You can join the next game for free. C. You will be fined for it. D. You will be banned from the games.
阅读理解 未知 普通
3.阅读理解

The 20th-century philosopher Hans-Georg Gadamer considered the encounter between the viewer and a work of art to be a dynamic relationship. Meeting a work of art made in the past involves a reaction, an actual event, in the present. Coming across the same work of art later will set up another event, another reaction, in which the artwork will be, as it were, activated afresh by the intellect and emotions of the viewer. When we interpret a work of art, we are teasing out(梳理)its possible meanings in the moment;but those meanings will change, depending on the viewer and the time.

Extend this thought into the world of the museum and it becomes clear that these institutions are not simply about the past. They are, necessarily, about the present. Paintings and sculptures of all kinds become meaningful in the"now"of their being viewed and considered. They shape us as we dig out new depths from them.

In a more purely functional manner, museums are increasingly embracing their capacity to be actors in the present worlds of their communities-rather than simply repositories(存储库)of things of the past, and gatherers and protectors of collective memories.

An example is Derby's Museum of Making, which both respects the city's history of manufacturing and aims to develop skills and inspire new acts of creativity. That in itself is nothing new, of course:part of the purpose of the Victoria and Albert Museum in London was to encourage innovation in design and manufacturing. But the Museum of Making takes things a step further-hosting, for example, sessions for teachers and educators on creating environments conducive to creativity, and"maker challenges"for teenagers. In so doing, it bridges the gap between museum and educational institution.

It is a welcome change. Museums, often in the teeth of terrible loss of income thanks to COVID-19 closures, are increasingly becoming ethical actors, as heavily invested in conversations about the kind of places communities want to be as what they once were. It should go without saying that they need to be properly supported to do this, by the government and local authorities. As the effects of COVID-19 continue to bite, the work of reimagining museums and communities is more important than ever.

(1) Why does the author mention philosopher Hans-Georg Gadamer in paragraph 1? A. To introduce the topic of the text. B. To stress the importance of philosophy. C. To tell Hans-Georg Gadamer is famous. D. To state the link between viewers and arts.
(2) What's the new function of the Museum of Making? A. To store things of the past. B. To encourage innovation in design. C. To become protectors of collective memories. D. To bridge the gap between museum and educational institution.
(3) What's stressed in the last paragraph? A. Why to revive the museums. B. How to get rid of the effects of COVID-19. C. The measures to be taken to improve economy. D. The importance of reimagining museums and communities.
(4) What's the author's attitude to the change of museum functions? A. Negative. B. Doubtful. C. Favourable. D. Unclear.
阅读理解 常考题 普通