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A. Pearl Harbor attack B. bombing of Guam island
C. seizing of American merchant ships D. sinking of American passenger ships
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更多“In the early 1930s, the American foreign policy was isolationist, but the ______ sudde”相关的问题
第1题
American structuralism started in______.
A. the early 20th century
B. the late 20th century
C. the early 19th century
D. the late 1930s and 40s
第2题
Consider this: though the economic recovery is now 27 months old, not a single net new dollar has been lent to business by banks in all that time. Last week the Federal Reserve reported that the amount of loans the nation's largest banks have made to businesses fell an additional $2.4 billion in the week ending June 9, to $274.8 billion. Fearful that the scarcity of bank credit might sabotage the fragile economy, the White House and federal agencies are working feverishly to encourage banks to open their lending windows. In the past two weeks, government regulators have introduced steps to make it easier for banks to lend.
Is the government's concern fully justified？ Who really needs banks these days？ Hardly anyone, it turns out. While banks once dominated business lending, today nearly 80% of all such loans come from nonbank lenders like life insurers, brokerage firms and finance companies. Banks used to be the only source of money in town. Now businesses and individuals can write checks on their insurance companies, get a loan from a pension fund, and deposit paychecks in a money-market account with a brokerage firm. "It is possible for banks to die and still have a vibrant economy", says Edward Furash, a Washington bank consultant.
The irony is that the accelerating slide into irrelevance comes just as the banks racked up record profits of $43 billion over the past 15 months, creating the illusion that the industry is staging a comeback. But that income was not the result of smart lending decisions. Instead of earning money by financing America's recovery, the banks mainly invested their funds—on which they were paying a bargain-basement 2% or so—in risk-free Treasury bonds that yielded 7%. That left bank officers with little to do except put their feet on their desks and watch the interest roll in.
Those profits may have come at a price. Not only did bankers lose many loyal customers by withholding credit, they also inadvertently opened the door to a herd of nonbank competitors, who stampeded into the lending market. "The banking industry didn't see this threat", says Furash. "They are being fat, dumb and happy. They didn't realize that banking is essential to a modern economy, but banks are not".
In the eyes of the writer, bank failures in the early 1930s ______.
A．brought about an economic crisis.
B．destroyed the whole U.S economy.
C．contributed to economic recovery.
D．exerted no influence on economy.
第3题
Bloomfield is one of the representatives of American______in the 1930s and 1940s.
A. structural linguistics
B. behaviourist linguistics
C. cognitive linguistics
D. traditional linguistics
第4题
According to the passage, improvisation was most popular______
A．in the 1930s
B．prior to 1930s
C．after 1930s
D．in the 1950s
第6题
A. Guided Language Teaching
B. Situational Language Teaching
C. Applied Language Teaching
D. Functional Language Teaching
第7题
Which of the following is true？______
A．Ragtime originated with the big bands in the 1930s
B．Ragtime and blues were based on African music
C．Ragtime and blues had not evolved until 1950s
D．Blues was performed by singers dressed in blue
第8题
Part A
Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D. (40 points)
The author of some forty novels, a number of plays, volumes of verse, historical, critical and autobiographical works, an editor and translator, Jack Lindsay is clearly an extraordinarily prolific writer—a fact which can easily obscure his very real distinction in some of the areas into which he bas ventured. His co editorship of Vision in Sydney in the early 1920's, for example, is still felt to have introduced a significant period in Australian culture, while his study of Kickens written in 1950 is highly regarded. But of all his work it is probably the novel to which he has made his most significant contribution.
Since 1936 when, to use his own words in Fanfrolico and after, he "reached bedrock", Lindsay bas maintained a consistent Marxist viewpoint—and it is this viewpoint which if nothing else has guaranteed his novels a minor but certainly not negligible place in modern British literature. Feeling that "the historical novel is a form. that bas a limitless future as a fighting weapon and as a cultural instrument" (New Masses, January 1937), Lindsay first attempted to formulate his Marxist convictions in fiction mainly set in the past: particularly in his trilogy in English novels—1949 (dealing with the Digger and Leveller movements), Lost Birthright (the Wilkesite agitations), and Men of Forth-Eight (written in 1939, the Chartist and revolutionary uprisings in Europe). Basically these works set out, with most success in the first volume, to vivify the historical traditions behind English Socialism and attempted to demonstrate that it stood, in Lindsay's words, for the "true completion of the national destiny". Although the war years saw the virtual disintegration of the left-wing writing movement of the 1930s, Lindsay himself carried on: delving into contemporary affairs in We Shall Return and Beyond Terror, novels in which the epithets formerly reserved for the evil capitalists or Franco's soldiers have been transferred rather crudely to the German troops. After the war, Lindsay continued to write mainly about the present—trying with varying degrees of success to come to terms with the unradical political realities of post-war England. In the series of novels known collectively as The British Way, and beginning with Betrayed Spring in 1953, it seemed at first as if his solution was simply to resort to more and more obvious authorial manipulation and heavy-banded didacticism. Fortunately, however, from Revolt of the Sons, this process was reversed, as Lindsay began to show an increasing tendency to ignore party solutions, to fail indeed to give anything but the most elementary political consciousness to his characters, so that in his latest (and what appears to be his last) contemporary novel, Choice of Times, his hero, Colin, ends on a note of desperation: "Everything must be different, I can't live this way any longer. But how can I change it, how？" To his credit as an artist, Lindsay doesn't give him any explicit answer.
According to the text, the career of Jack Lindsay as a writer can be described as
A．inventive.
B．productive
C．reflective.
D．inductive.
