218 考完 分手 渣分数也分手 哈哈

6382121

HI 大家好 我是Rick 楼主只考了 640 真心对不起 复习了5个月啊 哎 没办法 申请截止日期要到了 没有时间再考 说实话有点不甘心啊 哎 但是我还是会很怀念 这么多个日日夜夜付出的努力 会记得 大家建立起来的CD， 有空会回来看看的 最后我把我记得的狗都放了 谢谢大家

作文：jj 第23篇

数学：我只说和JJ不一样的部分 37题 确认是 后面两个人 做了4.5 小时 总小时是6.5

PS 说落地的d=v平方 还是D平方=V 自由落地（但是是匀速） 问了 从100米落下比从50米落下 相差的时间？ 不确定 反正很简单 读懂题就行

有一个集合的 总共40人 5%neither 说A 50% 共同是15% B是多少 我差点做错

答案应该是60%乘以40=24

63题 我的版本是 a平方b+还是-不记得了ab平方 大于或者小于0

条件和63题一样

PS 大意就是 A B同时工作， A先用了2小时 完成了四分之一， 然后A B一起 用了4.5小时 完成接下来的 问 A(B)单独做需要多久

94 问的是 答案6000那个

114题 我做到的 是选C

告诉两个人的 4次考试的平均数相同 求A第四次的成绩

1A前三次多少

2 B 四次多少

136题 我做的版本 是2 3是对的 不加括号的X可以四舍五入

貌似第一个是 中括号里面x-0.5 是不行的 后面两个是可以的

新： 数轴 5个点 从左到右一次是 A B C D E 求D点坐标 告诉了a点-5 E点11

1 2ab=bc

2 5ab=ce

144确定礼拜一

148 A条件不成立 选B 具体忘了

164 选项中有b+2/2 不过我还是选了 原来JJ那个答案

逻辑：

有一个新的 说是某地一个airport 常年有浓雾笼罩，然后调查发现这个地方的飞机容易延误，给了两个数字， 说延误率中 起飞的延误率是10% 落地延误率是20%, 结论是说 就是雾就是影响延误的因素， 问加强

我按元su那个版本的题号来写

第一个 可以秒选 fishing用的net不会capture或者杀死A

第15题 问加强 答案是 新发现的那种虫子 会慢慢取代原来那个害虫

35题 原始和答案都是对的

阅读： 盐那篇 我记得 第3段里 写了 工厂用盐可以被预料，也就是说工厂可以先定盐 这里有题

疑似原文95%吻合 这一篇题目极恶心

我记得问了一个 说以下哪一个 会引起盐的价格升高 然后全是例子

比如 公司预定了大量的盐 或者是 工厂的盐有剩余之类的

反正认真读下疑似， 看懂了文章 题目也没那么好做

还考到了 互联网广告那一篇 元su第18篇 JJ整理稿里的18篇里 考古可以确认 就是那篇 molly和楼下补充的 和原文一样 仔细看

考到一篇 非JJ的  两段 很短

第一段说的是 古希腊的什么 那单词应该是陶瓷 说有一个人 S 对这个做了巨大的贡献，

第二段说了 以前这些东西是用oral来描述的（就是买这些瓷器的人 想刻字刻东西上去），说了几个原因， 因为 social什么 这两个单词 高亮了 问什么 我选的是描述当时合适的环境？有类似单词的选项， 还因为经济，因为很难刻上去，然后说这个人 貌似是尝试了 想用written来代替 这个 然后说他是个里程碑式的人物，（关系我有点没看懂）待考古吧

还中了一篇JJ 是鸟叫

考古和元su版本那四道题 基本一样 答案也差不多

就爱吃芒果

谢谢狗主放狗狗哦~~~~~~~~

leoninfuzhou

感谢！！！！！！！！！！！！！

猫猫323

谢谢楼主！祝楼主申请顺利！

lindalindaliu

谢谢RICK!!!!!

wsywsywsy

48 荷马史诗
本月原始 V1 【捏捏lele】
还有一篇大概是关于oral poetry 和 什么的 实在是忘了

V2 【canna 3】
关于原始狗狗主提到的那个oral poetry我也考到了。但是印象中和考古不一样。总共两段。第一段就说有个有名的诗人创造了inscription的先河。第二段说以前诗都是靠oral的方法记录的, 但是由于一些局限性, inscription就应允而生了, 自此以后就变得很popular了。
※ 主题思路：
主旨：墓志铭经一个大牛演变成一种艺术形式。

※ 段落大意：
第一段：说明为何此碑文为art
epitaph 墓志铭 给了名词给解释。 古希腊碑文原本并不是一种艺术形式 直到一个大师的出现的出现。有一种在石头上刻诗的艺术品，是某S诗人发明的。他prefer把他写的epitaph刻在石头上。然后讲他是怎么具体把这种艺术形式形成的/他将这种类型发扬光大了还是怎么的。
第二段：讲这些刻字原来是oral的，现在是written的了，以及交代此art和poetry的差别及当年应用的限制
以前的人们都是通过口头上表达，讲到一个人，这个人要刻在碑上 （肯定是墓志铭 我又想起还说了inscription什么的）。这里有比较这种形式和另外所盛行的oral epitaph的区别，分别说他们包括什么。描述了两种诗歌的form IN form 和EN form(具体忘记了)，然后说其中一种form 是有利于social 交流和XX信息传达（这句话是P2的重点，有两道考题），而另外一种则不是。/然后说这种类型的诗和oral poem（是碑文还是诗歌有待确定）是不同的，主要在于physical？ 然后又说了还是有经济的推动什么的。以及他用的石头成本高是一个限制。

※ 题目:
1）主旨
忘记选的什么了 好像是介绍还是描述（12年11月狗主）
有讲述一个人对这种东西的贡献（考古狗主）
2）问那种有利于social 形式的会怎么样
好像是选的是 读这种诗歌有利于交流
3）高亮social 问提到social 的作用是什么
好像我题目2 和题目3 有点记不清了 但是都定位那一句话附近 比较简单
4）文章说oral里面restrict在某几个方面,为什么作者要说这个方面
我好象是选的是表明oral和inscript的区别，然后这两句又出了一个题目
5）social XX(一个单词，不认得．．．)的作用  (from 考古)
这个词在第二段前后比较时出现，我选了为了比较
6）考点：印象中是材料必须由patron买来(讲当年此art应用的限制)
7）这里有比较这种形式和另外所盛行的oral epitaph的区别。

相关文章
【V1：2011.09】荷马史诗在200-600 B.C.的时候被篡改了很多，因为人们在口头流传的时候改了很多原来的语言，现代人想编辑出最authentic的edition。普遍方法是通过脚注来解释篡改的内容，但是有一个人说这些不同其实是因为演员在表演这些诗歌的时候加入了自己的即兴所以慢慢原本的语言就不在了，而这些演员自己的创造又是很valuable的所以should be paid more attention，而且提出出multi-version的荷马史诗让其中包含这个新加入的元素。

【V2：2009】荷马史诗. (P1) 无法确认荷马史诗是writeby荷马ororal，从16世纪到20世纪出现了很多关于此的text，有很多variation，很多学者对此很敢兴趣，但是却无法解决。(P2) F提出了一个新观点，认为研究这些variation并不重要，而更加注重讲述故事的时间，地点，意义等内容。并且用了一种不同与其他学者的方式，将这些variation describe as footnote(有细节题)文章最后一句对F提出疑问，大概是doubt whetherthe variation‘ sinsignificance intersttoF notenoug has(有一题问此句意义) 有主题题：我选提出了一种新的theoryexplainaphenomena78.关于canada以前是否有hugehot-blooded举了很多原因：气候，气候对plantbiomass的影响以及其对hot-blooded的predator的影响等(有题，except题型)后面有转折however，

【V3：2002】荷马史诗(伊利亚特、奥的赛): 对于荷马的两个作品，有一个人好像是通过结构来分析(有composed一词)说6世纪之前怎样怎样(有single一词)，6世纪之后发生变化，在6世纪及其second century开始divergent了，第二段说有另一个家伙，认为不应该从结构上分析，而是要考虑到他的performance(好像是)和其他一些东西，诸如时间地点等等 .

相关文章
While a new surge of critical interest in the ancient Greek poems conventionally ascribed to Homer has taken place in the last twenty years or so, it was nonspecialists rather than professional scholars who studied the poetic aspects of the Iliad and the Odyssey between, roughly, 1935 and 1970. During these years, while such nonacademic intellectuals as Simone Weil and Erich Auerbach were trying to define the qualities that made these epic accounts of the Trojan War and its aftermath great poetry, the questions that occupied the specialists were directed elsewhere: ?Did the Trojan War really happen?? ?Does the bard preserve Indo-European folk memories?? ?How did the poems get written down?? Something was driving scholars away from the actual works to peripheral issues.

Scholars produced books about archaeology, about gift-exchange in ancient societies, about the development of oral poetry, about virtually anything except the Iliad and the Odyssey themselves as unique reflections or distillations of life itself?as, in short, great poetry. The observations of the English poet Alexander Pope seemed as applicable in 1970 as they had been when he wrote them in 1715: according to Pope, the remarks of critics ?are rather Philosophical, Historical, Geographic?or rather anything than Critical and Poetical.?

Ironically, the modern manifestation of this ?nonpoetical? emphasis can be traced to the profoundly influential work of Milman Parry, who attempted to demonstrate in detail how the Homeric poems, believed to have been recorded nearly three thousand years ago, were the products of a long and highly developed tradition of oral poetry about the Trojan War. Parry proposed that this tradition built up its diction and its content by a process of constant accumulation and refinement over many generations of storytellers. But after Parry?s death in 1935, his legacy was taken up by scholars who, unlike Parry, forsook intensive analysis of the poetry itself and focused instead on only one element of Parry?s work: the creative limitations and possibilities of oral composition, concerning on fixed elements and inflexibilities, focusing on the things that oral poetry allegedly can and cannot do. The dryness if this kind of study drove many of the more inventive scholars away from the poems into the rapidly developing field of Homer?s archaeological and historical background.
Appropriately, Milman Parry?s son Adam was among those scholars responsible for a renewed interest in Homer?s poetry as literary art. Building on his father?s work, the younger Parry argued that the Homeric poems exist both within and against a tradition. The Iliad and the Odyssey were, Adam Parry thought, the beneficiaries of an inherited store of diction, scenes, and at the same time highly individual works that surpasses these conventions. Adam Parry helped prepare the ground for the recent Homeric revival by affirming his father?s belief in a strong inherited tradition, but also by emphasizing Homer?s unique contributions within that tradition.

1. Which one of the following best states the main idea of the passage?
(A) The Homeric poems are most fruitfully studied as records of the time and place in which they were written.
(B) The Homeric poems are the products of a highly developed and complicated tradition of oral poetry.
(C) The Homeric poems are currently enjoying a resurgence of critical interest after an age of scholarship largely devoted to the poems? nonpoetic elements.
(D) The Homeric poems are currently enjoying a resurgence of scholarly interest after am age during which most studies were authored by nonacademic writers.
(E) Before Milman Parry published his pioneering work in the early twentieth century, it was difficult to assign a date or an author to the Homeric poems.

2. According to the passage, the work of Simone Weil and Erich Auerbach on Homer was primarily concerned with which one of the following?
(A) considerations of why criticism of Homer had moved to peripheral issues
(B) analyses of the poetry itself in terms of its literary qualities
(C) studies in the history and nature of oral poetry
(D) analyses of the already ancient epic tradition inherited by Homer
(E) critiques of the highly technical analyses of academic critics

3. The passage suggests which one of the following about scholarship on Homer that has appeared since 1970?
(A) It has dealt extensively with the Homeric poems as literary art.
(B) It is more incisive than the work of the Parrys.
(C) It has rejected as irrelevant the scholarship produced by specialists between 1935 and 1970.
(D) It has ignored the work of Simone Weil and Erich Auerbach.
(E) It has attempted to confirm that the Iliad and the Odyssey were written by Homer.

4. The author of the passage most probably quotes Alexander Pope (lines 24-26) in order to
(A) indicate that the Homeric poems have generally received poor treatment at the hands of English critics
(B) prove that poets as well as critics have emphasized elements peripheral to the poems
(C) illustrate that the nonpoetical emphasis also existed in an earlier century
(D) emphasize the problems inherent in rendering classical Greek poetry into modern English
(E) argue that poets and literary critics have seldom agreed the interpretation of poetry

5. According to the passage, which one of the following is true of Milman Parry?s immediate successors in the field of Homeric studies?
(A) They reconciled Homer?s poetry with archaeological and historical concerns.
(B) They acknowledged the tradition of oral poetry, but focused on the uniqueness of Homer?s poetry within the tradition.
(C) They occupied themselves with the question of what qualities made for great poetry.
(D) They emphasized the boundaries of oral poetry.
(E) They called for a revival of Homer?s popularity.

6. Which one of the following best describes the organization of the passage?
(A) A situation is identified and its origins are examines.
(B) A series of hypotheses is reviewed and one is advocated.
(C) The works of two influential scholars are summarized.
(D) Several issues contributing to a currently debate are summarized.
(E) Three possible solutions to a long-standing problem are posed

wsywsywsy

48 荷马史诗
本月原始 V1 【捏捏lele】
还有一篇大概是关于oral poetry 和 什么的 实在是忘了

V2 【canna 3】
关于原始狗狗主提到的那个oral poetry我也考到了。但是印象中和考古不一样。总共两段。第一段就说有个有名的诗人创造了inscription的先河。第二段说以前诗都是靠oral的方法记录的, 但是由于一些局限性, inscription就应允而生了, 自此以后就变得很popular了。
※ 主题思路：
主旨：墓志铭经一个大牛演变成一种艺术形式。

※ 段落大意：
第一段：说明为何此碑文为art
epitaph 墓志铭 给了名词给解释。 古希腊碑文原本并不是一种艺术形式 直到一个大师的出现的出现。有一种在石头上刻诗的艺术品，是某S诗人发明的。他prefer把他写的epitaph刻在石头上。然后讲他是怎么具体把这种艺术形式形成的/他将这种类型发扬光大了还是怎么的。
第二段：讲这些刻字原来是oral的，现在是written的了，以及交代此art和poetry的差别及当年应用的限制
以前的人们都是通过口头上表达，讲到一个人，这个人要刻在碑上 （肯定是墓志铭 我又想起还说了inscription什么的）。这里有比较这种形式和另外所盛行的oral epitaph的区别，分别说他们包括什么。描述了两种诗歌的form IN form 和EN form(具体忘记了)，然后说其中一种form 是有利于social 交流和XX信息传达（这句话是P2的重点，有两道考题），而另外一种则不是。/然后说这种类型的诗和oral poem（是碑文还是诗歌有待确定）是不同的，主要在于physical？ 然后又说了还是有经济的推动什么的。以及他用的石头成本高是一个限制。

※ 题目:
1）主旨
忘记选的什么了 好像是介绍还是描述（12年11月狗主）
有讲述一个人对这种东西的贡献（考古狗主）
2）问那种有利于social 形式的会怎么样
好像是选的是 读这种诗歌有利于交流
3）高亮social 问提到social 的作用是什么
好像我题目2 和题目3 有点记不清了 但是都定位那一句话附近 比较简单
4）文章说oral里面restrict在某几个方面,为什么作者要说这个方面
我好象是选的是表明oral和inscript的区别，然后这两句又出了一个题目
5）social XX(一个单词，不认得．．．)的作用  (from 考古)
这个词在第二段前后比较时出现，我选了为了比较
6）考点：印象中是材料必须由patron买来(讲当年此art应用的限制)
7）这里有比较这种形式和另外所盛行的oral epitaph的区别。

相关文章
【V1：2011.09】荷马史诗在200-600 B.C.的时候被篡改了很多，因为人们在口头流传的时候改了很多原来的语言，现代人想编辑出最authentic的edition。普遍方法是通过脚注来解释篡改的内容，但是有一个人说这些不同其实是因为演员在表演这些诗歌的时候加入了自己的即兴所以慢慢原本的语言就不在了，而这些演员自己的创造又是很valuable的所以should be paid more attention，而且提出出multi-version的荷马史诗让其中包含这个新加入的元素。

【V2：2009】荷马史诗. (P1) 无法确认荷马史诗是writeby荷马ororal，从16世纪到20世纪出现了很多关于此的text，有很多variation，很多学者对此很敢兴趣，但是却无法解决。(P2) F提出了一个新观点，认为研究这些variation并不重要，而更加注重讲述故事的时间，地点，意义等内容。并且用了一种不同与其他学者的方式，将这些variation describe as footnote(有细节题)文章最后一句对F提出疑问，大概是doubt whetherthe variation‘ sinsignificance intersttoF notenoug has(有一题问此句意义) 有主题题：我选提出了一种新的theoryexplainaphenomena78.关于canada以前是否有hugehot-blooded举了很多原因：气候，气候对plantbiomass的影响以及其对hot-blooded的predator的影响等(有题，except题型)后面有转折however，

【V3：2002】荷马史诗(伊利亚特、奥的赛): 对于荷马的两个作品，有一个人好像是通过结构来分析(有composed一词)说6世纪之前怎样怎样(有single一词)，6世纪之后发生变化，在6世纪及其second century开始divergent了，第二段说有另一个家伙，认为不应该从结构上分析，而是要考虑到他的performance(好像是)和其他一些东西，诸如时间地点等等 .

相关文章
While a new surge of critical interest in the ancient Greek poems conventionally ascribed to Homer has taken place in the last twenty years or so, it was nonspecialists rather than professional scholars who studied the poetic aspects of the Iliad and the Odyssey between, roughly, 1935 and 1970. During these years, while such nonacademic intellectuals as Simone Weil and Erich Auerbach were trying to define the qualities that made these epic accounts of the Trojan War and its aftermath great poetry, the questions that occupied the specialists were directed elsewhere: ?Did the Trojan War really happen?? ?Does the bard preserve Indo-European folk memories?? ?How did the poems get written down?? Something was driving scholars away from the actual works to peripheral issues.

Scholars produced books about archaeology, about gift-exchange in ancient societies, about the development of oral poetry, about virtually anything except the Iliad and the Odyssey themselves as unique reflections or distillations of life itself?as, in short, great poetry. The observations of the English poet Alexander Pope seemed as applicable in 1970 as they had been when he wrote them in 1715: according to Pope, the remarks of critics ?are rather Philosophical, Historical, Geographic?or rather anything than Critical and Poetical.?

Ironically, the modern manifestation of this ?nonpoetical? emphasis can be traced to the profoundly influential work of Milman Parry, who attempted to demonstrate in detail how the Homeric poems, believed to have been recorded nearly three thousand years ago, were the products of a long and highly developed tradition of oral poetry about the Trojan War. Parry proposed that this tradition built up its diction and its content by a process of constant accumulation and refinement over many generations of storytellers. But after Parry?s death in 1935, his legacy was taken up by scholars who, unlike Parry, forsook intensive analysis of the poetry itself and focused instead on only one element of Parry?s work: the creative limitations and possibilities of oral composition, concerning on fixed elements and inflexibilities, focusing on the things that oral poetry allegedly can and cannot do. The dryness if this kind of study drove many of the more inventive scholars away from the poems into the rapidly developing field of Homer?s archaeological and historical background.
Appropriately, Milman Parry?s son Adam was among those scholars responsible for a renewed interest in Homer?s poetry as literary art. Building on his father?s work, the younger Parry argued that the Homeric poems exist both within and against a tradition. The Iliad and the Odyssey were, Adam Parry thought, the beneficiaries of an inherited store of diction, scenes, and at the same time highly individual works that surpasses these conventions. Adam Parry helped prepare the ground for the recent Homeric revival by affirming his father?s belief in a strong inherited tradition, but also by emphasizing Homer?s unique contributions within that tradition.

1. Which one of the following best states the main idea of the passage?
(A) The Homeric poems are most fruitfully studied as records of the time and place in which they were written.
(B) The Homeric poems are the products of a highly developed and complicated tradition of oral poetry.
(C) The Homeric poems are currently enjoying a resurgence of critical interest after an age of scholarship largely devoted to the poems? nonpoetic elements.
(D) The Homeric poems are currently enjoying a resurgence of scholarly interest after am age during which most studies were authored by nonacademic writers.
(E) Before Milman Parry published his pioneering work in the early twentieth century, it was difficult to assign a date or an author to the Homeric poems.

2. According to the passage, the work of Simone Weil and Erich Auerbach on Homer was primarily concerned with which one of the following?
(A) considerations of why criticism of Homer had moved to peripheral issues
(B) analyses of the poetry itself in terms of its literary qualities
(C) studies in the history and nature of oral poetry
(D) analyses of the already ancient epic tradition inherited by Homer
(E) critiques of the highly technical analyses of academic critics

3. The passage suggests which one of the following about scholarship on Homer that has appeared since 1970?
(A) It has dealt extensively with the Homeric poems as literary art.
(B) It is more incisive than the work of the Parrys.
(C) It has rejected as irrelevant the scholarship produced by specialists between 1935 and 1970.
(D) It has ignored the work of Simone Weil and Erich Auerbach.
(E) It has attempted to confirm that the Iliad and the Odyssey were written by Homer.

4. The author of the passage most probably quotes Alexander Pope (lines 24-26) in order to
(A) indicate that the Homeric poems have generally received poor treatment at the hands of English critics
(B) prove that poets as well as critics have emphasized elements peripheral to the poems
(C) illustrate that the nonpoetical emphasis also existed in an earlier century
(D) emphasize the problems inherent in rendering classical Greek poetry into modern English
(E) argue that poets and literary critics have seldom agreed the interpretation of poetry

5. According to the passage, which one of the following is true of Milman Parry?s immediate successors in the field of Homeric studies?
(A) They reconciled Homer?s poetry with archaeological and historical concerns.
(B) They acknowledged the tradition of oral poetry, but focused on the uniqueness of Homer?s poetry within the tradition.
(C) They occupied themselves with the question of what qualities made for great poetry.
(D) They emphasized the boundaries of oral poetry.
(E) They called for a revival of Homer?s popularity.

6. Which one of the following best describes the organization of the passage?
(A) A situation is identified and its origins are examines.
(B) A series of hypotheses is reviewed and one is advocated.
(C) The works of two influential scholars are summarized.
(D) Several issues contributing to a currently debate are summarized.
(E) Three possible solutions to a long-standing problem are posed

hcs1021

恭喜分手~~~