单项选择题 1953年，孙渠教授首先在原北京农业大学，从（）引进“Общее Земледелие”这门课程，随后被列入全国高等农业院校的课程计划。 A、俄罗斯 B、前苏联 C、英国 D、美国

问答题 用加注法翻译“Benz”为[填空(1)]

未知题型 Education is one of the key words of our timE.A man, without an education, many of us believe, is an unfortunate victim of unfortunate circumstances deprived of one of the greatest twentieth-century opportunities. Convinced of the importance of education, modern states 'invest' in institutions of learning to get back 'interest' in the form. of a large group of enlightened young men and women who are potential leaders. Education, with its cycles of instruction so carefully worked out, is punctuated by textbooks—those purchasable wells of wisdom—what would civilization be like without its benefits?So much is certain: that we would have doctors and preachers, lawyers and defendants, marriages and births; but our spiritual outlook would be different. We would lay less stress on 'facts and figures' and more on a good memory, on applied psychology, and on the capacity of a man to get along with his fellow-citizens. If our educational system were fashioned after its bookless past we would have the most democratic form. of 'college' imaginablE.Among the people whom we like to call savages all knowledge inherited by tradition is shared by all; it is taught to every member of the tribe so that in this respect everybody is equally equipped for lifE.It is the ideal condition of the 'equal start' which only our most progressive forms of modern education try to reach again. In primitive cultures the obligation to seek and to receive the traditional instruction is binding on all. There are no 'illiterates'—if the term can be applied to peoples without a script—while our own compulsory school attendance became law in Germany in 1642, in France in 1806, and in England 1976, and is still non-existent in a number of 'civilized' nations. This shows how long it was before we considered it necessary to make sure that all our children could share in the knowledge accumulated by the 'happy few' during the past centuries. Education in the wilderness is not a matter of monetary means. All are entitled to an equal start. There is none of the hurry that, in our society, often hampers the full development of a growing personality. There, a child grows up under the ever-present attention of his parents; therefore the jungles and the savages know of no 'juvenile delinquency'. No necessity of making a living away from home results in neglect of children, and no father is confronted with his inability to 'buy' an education for his chilD.Notes:juvenile delinquency青少年犯罪The word 'interest' in the first paragraph most probably meansA.pleasurE.B.returns.C.sharE.D.knowledgE.

未知题型 The expression 'do the trick' in the last paragraph most probably meansA.come to the point.B.fulfill their purposE.C.fail of their success.D.live up to their promisE.

未知题型 Picture-taking is a technique both for reflecting the objective world and for expressing the singular selF.Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer's temperament, discovering itself through the camera's cropping of reality. That is, photography has two directly opposite ideals, in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of fearlessness, questing subjectivity and the photographer is all.These conflicting ideals arise from uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in 'taking' a picturE.Accordingly, the ideal of a photographer as observer is attracting because it implicitly denies that picturetaking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championeD.An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography's means. Whatever are the claims that photography might make to be a form. of personal expression just like painting, its originality is closely linked to the power of a machinE.The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton's high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis strokE.But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limit imposed by pre-modern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier Bresson, to refuse to use modern equipment. These photographers have come to doubt the value of the camera as an instrument of 'fast seeing'. Cartier Bresson, in fact, claims that the modern camera may see too fast.This ambivalence toward photographic means determines trends in tastE.The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past when images had a handmade quality. This longing for some primitive state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the work of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness.Notes:crop vt. 播种,修剪(树木)收割count for little 无关紧要predatory 掠夺成性的champion n. 冠军；vt.支持benevolent 好心肠的ambivalence 矛盾心理make (+不定式) 似乎要: He makes to begin.(他似乎要开始了)swirls and eddies 漩涡cult 狂热崇拜daguerreotypes (初期的)银板照相法The two directly opposite ideals of photography differ primarily in theA.emphasis that each places on the emotional impact of the finished product.B.degree of technical knowledge that each requires of the photographer.C.way in which each defines the role of the photographer.D.extent of the power that each requires of the photographer's equipment.