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1.CR
In a city known for its livability, the unemployment rate is surprisingly high. The government explains that the high unemployment rate is due to the city's livability: even those who cannot find jobs are unwilling to move away. Which of the following, if true, most effectively weakens the government's explanation for the high unemployment rate?
A. The outflow of jobs from the city is due to employers relocating their businesses to areas more conducive to commercial growth.
B. Many residents have chosen to stay in the city despite job offers in other areas due to the city’s high quality of life.
C. Recent surveys indicate that most unemployed residents remain in the city due to its high quality of life, although a few are looking for jobs elsewhere.
D. The cost of living in the city is lower than in neighboring areas, making it easier for unemployed residents to remain.
E. There has been a rise in the number of remote working opportunities for the city's residents.
A company manager notes that their office building is empty during weekends and evenings, indicating a low rental space utilization rate. They propose that employees should work during these times to increase the utilization rate. Which of the following, if true, would best evaluate the effectiveness of this proposal?
A. Whether working on weekends and evenings would result in an increase in the company's overall rent expenses.
B. If employees are willing to work during weekends and evenings.
C. Whether the productivity of employees working during weekends and evenings is comparable to regular working hours.
D. The potential cost savings if the company were to downsize its office space.
E. Whether the use of the office space on weekends and evenings would require additional maintenance and utility costs
答案:AA
2.RC
The threat of competition also forces existing companies to invest more in their own business. In an era of rapid technological change, there is another strong incentive to invest—fear. Brick-and-mortar companies were petrified that a dot.com would spring up and undercut them. As a result, existing businesses spent big bucks to set up websites, even if there was no immediate way these investments could make money.
In 1982, William Baumol, an economist at Princeton University at the time (and now on the short list of potential Nobel Prize winners), coined the term “contestable markets.” This was the the idea that price increases could be restrained by fear of new entrants: the greater the fear of potential competition, the less inflation.
The prototypical contestable markets was originally supposed to be the airline industry. It turned out, however, that existing airlines had sufficient pricing leverage and power to keep out most new airlines. Moreover, it was difficult in most industries for new entrants to get the financing that would make them realistic competitors.
That changed in the New Economy. In the expansion phase of the tech cycle, rapid technological change and the availability of capital for startups turn virtually every industry into a conestable industry. Retailing, real estate, financial services, insurance, banking, media, software, hardware, grocery store chains, mammoth financial institutions: in virtually every industry, new competitors can come out of nowhere.
As long as the money keeps flowing to new businesses, there will plenty of pressure to keep prices low. This may be one reason why inflation stayed under control so long during the boom of the 1990s. When rapid growth is driven by technological change, it creates more opportunities for new entrants and puts more pressure one existing firms to hold down prices.
Competition is also reaching deep into areas of the economy where competition has traditionally been anathema. Real estate brokerage commission, for instance, have long been resistant to change. But a plethora of online real estate brokers offering lower commissions or fixed fee deals have begun to drive down the price of real estate transactions.
The combination of both the new technology and the capital for startups throws fear into existing companies and induces them to either hold down their price increases or to change lower prices. For example, in June 1999, the threat of ETrade, the lower cost Internet broker, forced Merrill Lynch, the largest brokerage firm in the country, to start an online service that let customers trade for a flat fee of $29.95 per transaction, much less than most of them had to pay before. Charles Schwab, the discount brokerage, had been charging a flat fee for much longer, but it wasn’t until ETrade showed up that Merrill was forced to cut its prices.
It is important to note that ETrade posed a serious challenge to Merrill and the other Wall Street brokers only because it was able to raise large sums of money from venture capital firms, an IPO, and a secondary offering of stock. All told, these provided the base of capital that ETrade needed to be a first-string competitor.
1. The primary purpose of the passage is to:
A. Illustrate the impact of technological advancements on traditional businesses
B. Explain how the concept of contestable markets affects inflation
C. Argue that competition drives innovation and investment in various industries
D. Demonstrate how new entrants can disrupt established industries with sufficient capital
E. Analyze the relationship between technological change, competition, and pricing strategies
2. According to the passage, what motivated brick-and-mortar companies to invest heavily in setting up websites?
A. The potential for immediate monetization of online platforms
B. The fear of being undercut by emerging dot.com competitors
C. The desire to expand their customer base beyond physical stores
D. The availability of cheap and accessible web development tools
E. The pressure from consumers to provide online shopping options
3. The author mentions William Baumol's concept of "contestable markets" in order to:
A. Provide historical context for the idea that potential competition can curb price increases
B. Argue that the airline industry is the most representative example of a contestable market
C. Illustrate the challenges new entrants face in securing financing to compete with established firms
D. Introduce a counterargument to the notion that competition drives down prices
E. Highlight the influence of economists in shaping public policy related to market competition
4. Which of the following best describes the shift in market dynamics that occurred in the New Economy?
A. Established companies gained even greater pricing power and leverage over new entrants
B. Technological advancements and access to capital made industries more resistant to competition
C. New entrants found it easier to secure financing and compete with existing firms across various sectors
D. The tech cycle's expansion phase led to a decrease in the availability of capital for startups
E. The rapid pace of technological change discouraged new competitors from entering the market
5. The author suggests that the prolonged period of controlled inflation during the 1990s boom can be attributed to:
A. The dominance of established firms in setting prices across industries
B. The lack of technological innovation and disruption during this period
C. The continuous flow of funding to new ventures, which pressured existing firms to keep prices low
D. The inability of new entrants to secure the necessary financing to compete with established companies
E. The government's interventionist policies aimed at regulating prices and curbing inflation
6. According to the passage, what trend is emerging in the real estate industry?
A. Real estate brokerage commissions are becoming more resistant to change
B. Online real estate brokers are driving up the cost of real estate transactions
C. Fixed-fee deals are being phased out in favor of traditional commission structures
D. The proliferation of online real estate brokers is putting downward pressure on transaction costs
E. New entrants in the real estate market are struggling to secure funding from investors
7. The author mentions the example of ETrade and Merrill Lynch to illustrate:
A. The limitations of online trading platforms in competing with traditional brokerage firms
B. The reluctance of established companies to adapt to technological changes in their industry
C. The impact of lower-cost competitors in forcing market leaders to reduce their prices
D. The importance of brand recognition in maintaining customer loyalty despite price differences
E. The role of government regulations in promoting fair competition within the brokerage industry
8. Which of the following can be inferred from the passage about the relationship between capital availability and market competition?
A. Access to capital is a critical factor in enabling new entrants to pose a credible threat to established firms
B. The availability of capital for startups has a limited impact on the competitive dynamics within industries
C. Established firms have an inherent advantage in securing funding compared to new entrants
D. The flow of capital to new ventures is primarily determined by the level of technological innovation in an industry
E. Government regulations play a more significant role than capital availability in shaping market competition
1. E - 通过分析全文,可以看出作者的主要目的是分析技术变革、竞争和定价策略之间的关系。
2. B - 第一段明确指出,实体公司大量投资建立网站是出于对可能出现的网络公司削弱他们的恐惧。
3. A - 作者提到威廉·鲍莫尔的"可竞争市场"概念,是为了提供历史背景,说明潜在竞争可以
4. C - 根据第四段,在新经济中,快速的技术变革和创业资本的可获得性使几乎每个行业都变得可竞争。新进入者更容易获得资金,并在各个行业与现有公司竞争。
5. C - 根据第五段,只要资金持续流向新企业,就会有足够的压力来保持低价。这可能是20世纪90年代繁荣期间通货膨胀长期得到控制的一个原因。
6. D - 根据倒数第三段,大量在线房地产经纪公司提供较低的佣金或固定费用交易,已经开始压低房地产交易的成本。这表明在线房地产经纪公司的激增正在给交易成本带来下行压力。
7. C - 作者提到ETrade和美林证券的例子,是为了说明低成本竞争对手如何迫使市场领导者降低价格。ETrade的威胁迫使美林证券推出一项在线服务,允许客户以每笔交易29.95美元的统一费用进行交易,大大低于之前的价格。
8. A - 根据最后一段,ETrade之所以能够对美林证券和其他华尔街经纪人构成严重挑战,只是因为它能够从风险投资公司、首次公开募股和二次股票发行中筹集大量资金。这表明获得资本是新进入者能够对现有公司构成可信威胁的关键因素。
3.DI
Italian opera, a breathtaking amalgamation of music, drama, poetry, and visual splendor, has captivated audiences for over four centuries, leaving an indelible mark on the world of performing arts. Its evolution is a testament to the indomitable spirit of human creativity, passion, and the relentless pursuit of artistic excellence. From its humble beginnings in the late Renaissance to its current status as a global cultural phenomenon, Italian opera has undergone a series of transformations, each reflecting the social, political, and artistic climate of its time. To fully comprehend the magnitude of its impact and the intricacies of its development, one must embark on a journey through the annals of history, exploring the myriad factors that have shaped this magnificent art form.
The genesis of Italian opera can be traced back to the late 16th century, a period marked by the flourishing of the Renaissance in Italy. It was during this time that a group of erudite Florentine intellectuals, known as the Camerata de' Bardi, began to contemplate the possibility of reviving the ancient Greek tradition of integrating music, poetry, and dance to create a new form of musical drama. Their experiments culminated in the creation of the first opera, "Dafne," composed by Jacopo Peri in 1598. Although the music for this groundbreaking work has been lost to the ravages of time, its libretto, penned by the illustrious poet Ottavio Rinuccini, has survived, offering us a glimpse into the nascent stages of this art form. Peri's subsequent work, "Euridice" (1600), is the oldest surviving opera, and its premiere at the wedding of King Henry IV of France and Maria de' Medici marked a pivotal moment in the history of music.
As the Baroque era dawned in the early 17th century, Italian opera underwent a significant transformation, characterized by the emergence of elaborate ornamentation, complex harmonies, and virtuosic vocal performances. Composers such as Claudio Monteverdi, Francesco Cavalli, and Antonio Cesti played a pivotal role in shaping the Baroque style, pushing the boundaries of musical expression and dramatic intensity. Monteverdi's "L'Orfeo" (1607), often regarded as the first great opera, showcased the composer's unparalleled ability to convey the depths of human emotion through music. His later works, such as "Il ritorno d'Ulisse in patria" (1640) and "L'incoronazione di Poppea" (1643), further solidified his reputation as a master of the art form. These operas also introduced the concept of the recitative, a style of singing that closely mimics the natural rhythms and inflections of speech, which would become a hallmark of Italian opera.
The mid-18th century saw the rise of the Classical period in Italian opera, as composers sought to streamline the elaborate Baroque style and focus on more natural, expressive melodies. The opera buffa, or comic opera, gained prominence during this time, offering a delightful contrast to the more serious opera seria. Composers such as Niccolò Piccinni, Giovanni Paisiello, and Domenico Cimarosa excelled in this genre, creating works that showcased their wit, charm, and musical ingenuity. Cimarosa's "Il matrimonio segreto" (1792) is a prime example of the opera buffa style, with its lively melodies, engaging characters, and humorous plot twists. This period also witnessed the emergence of the bel canto style, which emphasized the beauty and agility of the human voice, setting the stage for the Romantic era to come.
The Romantic period, which spanned the early to mid-19th century, represented a watershed moment in the history of Italian opera. Composers such as Gioachino Rossini, Gaetano Donizetti, and Vincenzo Bellini brought a new level of emotional intensity, lush orchestration, and melodic richness to the art form. Rossini's "Il barbiere di Siviglia" (1816) and "La Cenerentola" (1817) exemplified his mastery of comedic timing and virtuosic vocal writing, while Donizetti's "Lucia di Lammermoor" (1835) and Bellini's "Norma" (1831) explored themes of love, tragedy, and sacrifice, showcasing the composers' extraordinary ability to portray complex emotions and create unforgettable melodies. This period also saw the opera house become the center of social and cultural life, attracting audiences from all strata of society.
The late 19th century witnessed the emergence of two giants in the realm of Italian opera: Giuseppe Verdi and Giacomo Puccini. Verdi, widely regarded as the greatest Italian opera composer, created works that embodied the spirit of the Risorgimento, the movement for Italian unification. His operas, such as "Rigoletto" (1851), "La traviata" (1853), and "Aida" (1871), tackled social and political issues while showcasing his mastery of dramatic expression. Puccini, on the other hand, brought a new level of realism and psychological depth to Italian opera. His works, including "La bohème" (1896), "Tosca" (1900), and "Madama Butterfly" (1904), explored the inner lives of his characters and featured lush, emotionally charged music.
As the 20th century unfolded, Italian opera continued to evolve, with composers such as Ottorino Respighi, Luigi Dallapiccola, and Luciano Berio pushing the boundaries of the art form. Respighi's "La fiamma" (1934) and Dallapiccola's "Il prigioniero" (1948) reflected the influence of modernism and atonality, while Berio's "Opera" (1970) incorporated elements of electronic music and avant-garde techniques. This period also saw the rise of the opera director, who brought fresh interpretations to classic works through innovative staging and performance practices.
In the post-World War II era, Italian opera experienced a period of relative stability, albeit with notable developments. Composers such as Gian Carlo Menotti and Luciano Berio continued to push the envelope of innovation, while opera houses began to experiment with new production methods, such as collaborations with film and television. The latter half of the 20th century also witnessed the emergence of a new generation of exceptional Italian singers, including Luciano Pavarotti, Plácido Domingo, and José Carreras, who captivated audiences worldwide with their extraordinary voices and stage presence.
As we entered the 21st century, Italian opera has continued to adapt to the tastes and expectations of modern audiences while preserving its rich heritage. Opera houses have embraced modern technology, such as high-definition video projections and interactive elements, to enhance the viewer experience. Moreover, innovative productions that reimagine classic works for contemporary audiences have become increasingly common. Despite facing challenges such as funding and audience development, Italian opera remains a vital force in the global cultural landscape.
According to data from the Italian National Institute of Statistics (ISTAT), as of 2023, there are approximately 150 opera houses in Italy, with an average of 1,500 performances per year. The Teatro alla Scala in Milan, one of the most prestigious opera houses in the world, attracts an audience of approximately 450,000 annually. These figures serve as a testament to the enduring appeal of Italian opera and its significance within the cultural fabric of Italy and beyond.
The allure of Italian opera extends far beyond its native land, with countless opera enthusiasts and scholars from around the globe dedicating their lives to the study and appreciation of this art form. The influence of Italian opera can be seen in the works of composers from other nations, such as Wolfgang Amadeus Mozart, who drew inspiration from the Italian tradition and incorporated elements of opera seria and opera buffa into his own compositions. Similarly, the bel canto style, which originated in Italy, has had a lasting impact on vocal technique and training worldwide.
In recent years, there has been a resurgence of interest in lesser-known works by Italian composers, as opera companies and musicologists seek to rediscover and revive forgotten gems. This trend has led to a more comprehensive understanding of the scope and diversity of Italian opera, shedding light on the contributions of composers who may have been overshadowed by the towering figures of Verdi and Puccini.
Moreover, Italian opera has served as a catalyst for cultural diplomacy, fostering international collaboration and exchange. Opera productions featuring artists from different countries have become increasingly common, promoting cross-cultural understanding and appreciation. The global popularity of Italian opera has also contributed to the preservation and restoration of historic opera houses, many of which are architectural marvels in their own right.
In conclusion, Italian opera is a living testament to the power of music and drama to transcend time and space, to evoke the deepest of human emotions, and to illuminate the complexities of the human condition. Its enduring legacy is a reflection of the indomitable spirit of the countless composers, librettists, singers, and artists who have dedicated their lives to this sublime art form. As we look to the future, it is clear that Italian opera will continue to evolve and adapt, embracing new technologies and artistic visions while remaining rooted in the rich soil of its heritage.
The study of Italian opera is not merely an academic pursuit but a gateway to understanding the very essence of human creativity and expression. It is a lens through which we can examine the social, political, and cultural forces that have shaped our world and a mirror that reflects the hopes, fears, and aspirations of generations past and present. To fully appreciate the significance of Italian opera, one must approach it with an open mind and a willingness to be transported by its beauty, moved by its passion, and enlightened by its insights.
As we continue to explore the fascinating history and development of Italian opera, we must also recognize its potential to inspire and transform future generations. By supporting the creation of new works, nurturing young talent, and making opera accessible to diverse audiences, we can ensure that this timeless art form remains a vital and relevant part of our cultural heritage. In doing so, we not only pay tribute to the genius of the past but also lay the foundation for a bright and vibrant future, one in which the power of music and drama continues to enrich our lives and elevate our spirits.
In the final analysis, Italian opera is more than just a musical genre or a cultural artifact; it is a testament to the indomitable human spirit, a celebration of our capacity for creativity, passion, and self-expression. It is a reminder that even in the face of adversity and change, the arts have the power to unite us, to inspire us, and to transform our world. As we embark on this journey of discovery and appreciation, let us embrace the rich tapestry of Italian opera with open hearts and minds, ready to be moved, challenged, and uplifted by its timeless beauty and enduring truth.
1. Which of the following statements best describes the relationship between the Camerata de' Bardi and the development of Italian opera?
A. The Camerata de' Bardi actively opposed the creation of opera, preferring to focus on instrumental music.
B. The Camerata de' Bardi's experiments with integrating music, poetry, and dance led to the creation of the first opera.
C. The Camerata de' Bardi was a group of composers who collaborated on the first opera, "Dafne."
D. The Camerata de' Bardi's influence on Italian opera was limited to the city of Florence.
E. The Camerata de' Bardi was a group of artists who designed sets and costumes for early Italian operas.
2. According to the passage, which of the following best describes the significance of Claudio Monteverdi's contributions to Italian opera?
A. Monteverdi's operas were the first to incorporate ballet and dance.
B. Monteverdi's operas marked a departure from the use of recitative and aria.
C. Monteverdi's operas introduced the concept of the opera buffa, or comic opera.
D. Monteverdi's operas showcased his ability to convey deep emotions through music and introduced the recitative style.
E. Monteverdi's operas were primarily influenced by French and German musical traditions.
3. The passage suggests that the opera buffa gained prominence during which period of Italian opera?
A. Renaissance
B. Baroque
C. Classical
D. Romantic
E. 20th century
4. Which of the following composers is NOT mentioned in the passage as a prominent figure of the Romantic period in Italian opera?
A. Gioachino Rossini
B. Gaetano Donizetti
C. Vincenzo Bellini
D. Giuseppe Verdi
E. Giacomo Meyerbeer
5. The passage implies that the resurgence of interest in lesser-known works by Italian composers has led to:
A. A decrease in the popularity of operas by Verdi and Puccini
B. A more comprehensive understanding of the scope and diversity of Italian opera
C. A rejection of traditional Italian operatic styles in favor of more modern compositions
D. A decline in the quality of contemporary Italian opera productions
E. An increased focus on the contributions of non-Italian composers to the development of opera
6. According to the passage, Italian opera has served as a catalyst for which of the following?
A. The decline of traditional musical genres
B. The rise of nationalism in European countries
C. The development of new languages and dialects
D. Cultural diplomacy and international collaboration
E. The spread of political ideologies across borders
7. The author of the passage would most likely agree with which of the following statements?
A. Italian opera has remained largely unchanged since its inception in the late 16th century.
B. The future of Italian opera lies in the strict adherence to traditional styles and techniques.
C. Italian opera's influence is limited to the realm of classical music and has little relevance to other art forms.
D. The study of Italian opera is essential for understanding the broader landscape of human creativity and expression.
E. Italian opera has reached its pinnacle and has little room for further development or innovation.
8. The passage suggests that the collaboration between Italian opera and which of the following media has helped to broaden its appeal and reach?
A. Literature and poetry
B. Painting and sculpture
C. Film and television
D. Architecture and design
E. Fashion and costume design
9. Which of the following best describes the author's perspective on the role of technology in the future of Italian opera?
A. Technology poses a threat to the integrity and authenticity of Italian opera.
B. The integration of technology is essential for the survival and relevance of Italian opera in the modern era.
C. The use of technology in Italian opera productions should be limited to preserve its traditional essence.
D. Technology has no significant impact on the artistic value or audience experience of Italian opera.
E. The author does not express a clear stance on the role of technology in the future of Italian opera.
10. The passage's central argument could be best summarized as:
A. Italian opera's evolution reflects the changing social, political, and artistic landscape of Italy.
B. Italian opera is a testament to the enduring power of music and drama to evoke human emotions and illuminate the human condition.
C. The study of Italian opera is essential for understanding the foundations of Western classical music.
D. Italian opera's influence extends far beyond the borders of Italy and has shaped the development of opera worldwide.
E. Italian opera is a complex and multifaceted art form that has undergone significant transformations while maintaining its core essence and values.
1. B
2. D
3. C
4. E
5. B
6. D
7. D
8. C
9. B
10. E
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发表于 2024-5-1 10:42:41
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