揽瓜阁训练营 第133天（含CR，RC和DI题目）

小白斩鸡

之前大家对揽瓜阁精读的反馈很好，就想着自己的时间开始把一些精读的文章根据JJ出题目～ 然后focus上线，IR需求 大家也大。就想着 把揽瓜阁的阅读 逻辑 IR 都放在这贴里打卡

每日的解析在揽瓜阁2024群更新

RC题源：揽瓜阁精读的文章+机经的题目
CR题源：本月中文JJ改编
IR题源： 往届鸡精改编

打卡内容：
一周打卡五篇，科目不限。
每天上午管理员群内发布题目，群成员做完提交打卡，第二天发布解析

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阅读：写文章结构、笔记
逻辑：写逻辑链分析
IR：写做题思路和选项分析

【现在你的笔记越全，越能帮助你捋清思路，之后回顾总结。】
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1.CR
The local government plans to hold a food festival where many vendors will set up stalls. Local restaurants have raised concerns that the festival will negatively impact their business. However, the festival organizers argue that the event will attract a large number of tourists to the area, ultimately benefiting the local economy, including the restaurants. Which of the following, if true, would best support the festival organizers' argument while acknowledging the restaurants' concerns?
A. A study of a similar festival in another city revealed that restaurant sales increased by 5% during the festival week, but the boost was primarily driven by higher-end establishments.
B. The festival organizers have agreed to limit the number of vendor stalls and have them close earlier in the evening to encourage attendees to visit local restaurants.
C. A survey of the festival's target audience found that a majority of them would be willing to pay a premium for an authentic dining experience at local restaurants.
D. The local government has offered tax incentives to restaurants that participate in the festival by setting up their own stalls or offering special festival menus.
E. An analysis of the festival's economic impact projects that the event will generate a 20% increase in overall tourist spending, with a significant portion allocated to dining expenses.

A species of spider, A. mirabilis, constructs webs to catch prey. Research has shown that the more intricate the web decorations, the higher the probability of attracting prey. However, elaborate webs also tend to attract the spider's predator, the parasitic wasp, which selectively hunts small to medium-sized A. mirabilis, avoiding larger individuals. Based on this information, scientists predicted that larger A. mirabilis would be more inclined to build intricately decorated webs compared to their smaller counterparts. Yet, field observations revealed the opposite trend.
Which of the following, if true, best accounts for the discrepancy between the scientists' prediction and the field observations?
(A) The primary purpose of elaborate web decorations for small to medium-sized A. mirabilis is to deter predators rather than to attract prey.
(B) Constructing webs is an energy-intensive process, and small to medium-sized A. mirabilis have more abundant energy reserves than larger individuals.
(C) The surface area of webs built by small to medium-sized A. mirabilis is often greater than that of webs built by larger individuals.
(D) The ability to create intricate web decorations is a skill that A. mirabilis acquires gradually throughout its growth and development.
(E) Food scarcity significantly slows down the developmental rate of A. mirabilis.

EA


2.DI

For artists and writers alike, book illustration’s threat was double: it challenged the fine arts via their shared visual medium, and literature through the shared pages of the book. As such, critics needed a way to invalidate illustration’s artistic claims on both fronts. They did so by codifying the genre as industrial and mercantile, a lethal combination. The landscape painter Raoul de Croy (1802-79) led the charge, chastising the press for its use of what he described as ‘‘crude wood engravings’’ that transform ‘‘beautiful vignettes’’ into ‘‘black ink stains.’’ Here de Croy sets up a polarity between wood and metal engraving: the former being ‘‘crude’’ and ‘‘mechanical,’’ the latter representative of ‘‘this art so perfect, so difficult, so worthy of encouragement.’’ De Mercey followed suit, noting the ‘‘difficulty’’ and ‘‘length of work’’ involved with copper and steel engraving, as well as etching. Lithography and wood engraving, on the other hand, were ‘‘much less difficult to produce and much less expensive.’’

Although the Romantics, and de Croy himself, championed lithography as a spontaneous, emotive medium that captured the visible traces of the artist’s pencil— metonymic references to the artist’s thoughts and emotions the lithography of the 1840s fell on the side of ‘‘popular’’ art more often than not, as it was primarily used in the press and for low-end prints, with subject matter ranging from political and social caricature to licentious images. Accordingly, the medium took on the attributes of its publication venues and content: mechanical, commercial, destined for a popular audience .De Mercey’s and de Croy’s distinction between lithography/wood en- graving and metal engraving/etching establishes a series of dichotomies— mechanical versus hand-produced, mass-reproduced versus limited reproduction, industrial versus individual creation—which correspond to Bourdieu’s breakdown of the cultural field. These distinctions also testify to the very real nature of image reproduction in the nineteenth century: metal engraving was a lengthy and costly procedure where the bulk of the work was often done by one engraver, while wood engraving and lithography were much less expensive and easier to produce, with individual authorship giving way to the collaborative process of publishing illustrated newspapers and books. These differences fuel de Mercey’s and de Croy’s attacks on book illustration in that each critic attributes value to time, cost of production, and individual workmanship: thus metal engraving and etching are placed at the high end of the aesthetic scale, while lithography and especially wood engraving fall to the bottom. Yet ironically, by placing illustration within the academic hierarchy of mediums, de Mercey and de Croy suggest that it is gaining not only economic but also cultural capital. Despite its ‘‘crude’’ and ‘‘mechanical’’ nature, it has earned a place on the artistic ladder, albeit the lowest rung.

Critics reinforced the high-versus-low art dichotomy by adding commercialism, what Bourdieu qualifies as the ‘‘generative principle’’ of the field of cultural production. According to de Mercey, publishers turn to book illustration because they want ‘‘to produce bargains, common goods.’’Il- lustration is a step backwards towards ‘‘the mercantile civilization of America’’; ‘‘no other century has pushed as far as ours this debauchery of illustrations commercially conceived’’; ‘‘literature has become a counter, a boutique open on the street, with display windows and a sign.’’ In short, illustration is not art; it is simply a means to ‘‘build a fortune.’’

De Mercey plays on a related fear when he protests that both wood en- graving and lithography ‘‘largely contributed . . . to the democratization of minds [esprits].’’ De Croy grants that one may applaud the press’s efforts to ‘‘bring the taste for the arts to the poor person’s home,’’ but this must not be done by way of ‘‘assassinating the fine arts’’: ‘‘Where, thus, will good taste find refuge if we inundate the poor public in such a manner?’’ De Croy’s metaphor of a flood or wave of images signals the growing anxiety that illustration will eventually drown out or homogenize the visual arts. De Mercey and de Croy fear not wood engraving and lithography per se, but rather their infiltration and subversion of high art. And in many ways book illustration did just that, for as Philippe Kaenel notes, the Mercey, publishers turn to book illustration because they want ‘‘to produce bargains, common goods.’’Il- lustration is a step backwards towards ‘‘the mercantile civilization of America’’; ‘‘no other century has pushed as far as ours this debauchery of illustrations commercially conceived’’; ‘‘literature has become a counter, a boutique open on the street, with display windows and a sign.’’ In short, illustration is not art; it is simply a means to ‘‘build a fortune.’’

De Mercey plays on a related fear when he protests that both wood en- graving and lithography ‘‘largely contributed . . . to the democratization of minds [esprits].’’ De Croy grants that one may applaud the press’s efforts to ‘‘bring the taste for the arts to the poor person’s home,’’ but this must not be done by way of ‘‘assassinating the fine arts’’: ‘‘Where, thus, will good taste find refuge if we inundate the poor public in such a manner?’’ De Croy’s metaphor of a flood or wave of images signals the growing anxiety that illustration will eventually drown out or homogenize the visual arts. De Mercey and de Croy fear not wood engraving and lithography per se, but rather their infiltration and subversion of high art. And in many ways book illustration did just that, for as Philippe Kaenel notes, the majority of visual artists from 1830 to 1880 sold images to newspapers and booksellers at one time or another, blurring the boundaries between painting, engraving, caricature, and illustration. As Kaenel points out, the entry for the letter ‘‘d’’ in Marcus Osterwalder’s Dictionnaire des illustrateurs (1983) in cludes ‘‘Dargent, Daubigny, Daumier, Debucourt, Decamps, Delacroix, Denis, Derain, Deve ?ria, Dore ?, Durf, Du Maurier, etc.’’66 When such a varied collection of painters, caricaturists, and engravers illustrate books, how does one distinguish between the artist and the commercial hack?

The same question arises in the context of literature, for as de Mercey and fellow critics argue, book illustration’s attack on the artistic field targets both visual and literary aesthetics. The critic Elias Regnault warns that in order to maintain literature’s integrity, ‘‘the publisher must bring to this new path sureness in judgment, a purity of taste, which raises him to the ranks of an artist, if he doesn’t want to descend to the role of sketch sales- man.’’ Regnault cites a number of cases where the publisher fills books with too many images, poor quality images, or images that do not correspond to the text. Worst of all is the publisher who ‘‘brazenly changes the first words of a paragraph in order to offer hospitality to his illuminated letters.’’ Here Regnault targets publishers as the instrument behind illustration’s degradation of literature: ‘‘their most common error is to take on the airs of an artist vis-a`-vis the public and to reserve their merchant ways for the writer.’’ The publisher’s true crime is that he usurps the writer, taking over the book via illustration, all under the guise of ‘‘art’’ although he is in fact a salesman in artist’s clothing.

For de Mercey, illustration’s threat to literature is even greater as it not only corrupts aesthetics but, more importantly, it distorts the reading process by substituting image for word. As he explains, there is a certain ‘‘vague- ness’’ inherent to ‘‘verbal painting’’: ‘‘Nothing is precise, the reader’s mind is constantly required to call forth its reminiscences and its personal emotions in order to interpret, as it were, the poet’s idea.’’ But illustration makes this kind of creative individual reading impossible. The reader be- comes lazy, the mind weakened from the passive viewing of images: ‘‘When the illustrator gives precise forms to the writer’s reveries, his stories, it necessarily happens that the mind is no longer accustomed to understanding these stories, these reveries, unless in the clothes that the painter has dressed them. The illustrator thus substitutes himself for the poet; he imposes his personal interpretation in place of that multiple and living interpretation that each person can create according to his imagination or his nature.’’

Yet despite the critics’ attempts to discredit illustration, de Mercey, de Croy, and Regnault actually attest to its success, in that their articles amass a body of critical discourse devoted to wood engraving and lithography. By making book illustration a topic of discussion and interpretation, the critics actually validate its entry into the cultural field. What is more, the critics’ fervent attacks suggest that illustration succeeded at destabilizing, however temporarily, the cultural field. The threat to aesthetic hierarchies was real.

1. The passage suggests that the critics' opposition to book illustration was rooted in a belief that:
A. The democratization of art and literature was inherently desirable, but book illustration was not the right means to achieve it
B. The commercialization of the arts was inevitable, but it needed to be balanced with a commitment to aesthetic standards
C. The hierarchy of the cultural field was essential to maintaining the quality and integrity of art and literature
D. The role of the artist was to challenge and subvert prevailing cultural norms and expectations
E. The technological advances in printing and reproduction posed a fundamental threat to the very nature of artistic creation

2. Which of the following theoretical frameworks would be most useful for analyzing the critics' arguments as presented in the passage?
A. Marxist theories of class struggle and the commodification of culture
B. Feminist theories of gender and the marginalization of women in the arts
C. Postcolonial theories of cultural imperialism and the globalization of Western aesthetics
D. Psychoanalytic theories of the unconscious and the role of repression in artistic creation
E. Structuralist theories of language and the arbitrary nature of signification

3. The passage implies that the "mercantile civilization of America" (paragraph 3) represented:
A. A utopian ideal of free and equal access to art and literature
B. A dystopian future in which art would be reduced to a mere commodity
C. A radical break from the traditions and hierarchies of European culture
D. A model for the democratization of the arts that could be adapted to the European context
E. A cautionary tale about the dangers of allowing market forces to dictate aesthetic values

4. The author's use of the phrase "assassinating the fine arts" (paragraph 4) can be seen as:
A. A literal description of the destructive impact of book illustration on the visual arts
B. A metaphorical expression of the critics' fear of the subversive power of popular culture
C. An ironic comment on the critics' tendency to exaggerate the threat posed by book illustration
D. A satirical jab at the elitism and conservatism of the art establishment
E. A poetic evocation of the transformative potential of new technologies and media

5. The passage suggests that the blurring of boundaries between painting, engraving, caricature, and illustration was:
A. A positive development that enriched and diversified the visual arts
B. A negative trend that led to a decline in artistic standards and a loss of cultural identity
C. An inevitable result of the increasing specialization and professionalization of the art world
D. A temporary phenomenon that was quickly reversed by the reassertion of traditional hierarchies
E. A complex and ambiguous process that defied easy categorization or evaluation

6. The critics' argument that book illustration corrupted literature by substituting image for word can be seen as:
A. A valid concern about the dumbing-down of literary culture in the face of visual oversaturation
B. A misguided attempt to privilege the verbal over the visual in a misguided hierarchy of artistic media
C. A reactionary defense of the traditional role of the imagination in the act of reading
D. A prescient warning about the dangers of multimedia and the erosion of attention spans
E. A nostalgic lament for a golden age of pure, unmediated literary experience

7. The passage can be read as a case study in:
A. The social construction of artistic value and the role of critical discourse in shaping cultural hierarchies
B. The disruptive impact of technological change on established cultural practices and institutions
C. The dialectical relationship between high art and popular culture in the context of modernization
D. The politics of taste and the struggle for cultural legitimacy in a rapidly changing society
E. All of the above

8. Which of the following questions is left unanswered by the passage?
A. What specific economic and social factors drove the rapid expansion of the book illustration industry in the 19th century?
B. How did the rise of book illustration affect the working conditions and professional status of artists and engravers?
C. To what extent did the debates over book illustration reflect broader anxieties about the modernization and democratization of culture?
D. How did the public respond to the critics' arguments, and what role did popular opinion play in shaping the cultural field?
E. What were the long-term consequences of the rise of book illustration for the development of the visual arts
CACBECED


3.RC
The Paris Opera, also known as the Palais Garnier, is a symbol of French cultural heritage and one of the most renowned opera houses in the world. Designed by Charles Garnier and inaugurated in 1875, this architectural masterpiece has been captivating audiences for nearly 150 years. With its ornate façade, grand staircase, and opulent interiors, the Palais Garnier is not only a venue for exceptional performances but also a testament to the grandeur and elegance of 19th-century French architecture.

The Paris Opera boasts an impressive seating capacity of 1,979, making it the largest theater in France. The auditorium is a work of art in itself, with its plush red velvet seats, intricate gilded decorations, and a magnificent chandelier weighing over six tons. The theater's acoustic properties are also highly regarded, ensuring that every note resonates clearly throughout the space.

The Paris Opera is home to two world-renowned artistic companies: the Paris Opera Ballet and the Paris Opera Orchestra. The Paris Opera Ballet, founded in 1669, is the oldest national ballet company in the world and has been instrumental in shaping the art form. Many famous ballets, such as "La Sylphide," "Giselle," and "Le Corsaire," were first performed by the Paris Opera Ballet. The company is known for its strict adherence to classical technique and its commitment to preserving the legacy of ballet while also embracing modern choreography.

The Paris Opera Orchestra, founded in 1672, is one of the most prestigious symphony orchestras in the world. The orchestra has been led by some of the most distinguished conductors, including Georges Prêtre, Valery Gergiev, and Philippe Jordan. The orchestra's repertoire spans from baroque to contemporary music, and it regularly collaborates with renowned soloists and conductors from around the globe.

Performance and Attendance
In 2022, the Paris Opera hosted performances on 300 days of the year, showcasing its dedication to providing a diverse and extensive program. Opera performances, which included both classic and contemporary works, were held on 40% of these days. Ballet performances, ranging from timeless classics to modern creations, accounted for 35% of the total performance days. The remaining 25% of the performance days were dedicated to classical music concerts, featuring the Paris Opera Orchestra and guest artists.

The Paris Opera's commitment to artistic excellence and its reputation as a cultural landmark attract audiences from all over the world. In 2022, the average attendance rate for all performances was an impressive 85% of the total seating capacity. However, attendance rates varied depending on the type of performance. Opera performances had an average attendance rate of 90%, reflecting the enduring popularity of this art form. Ballet performances, with their mesmerizing blend of grace, athleticism, and storytelling, had an even higher average attendance rate of 95%. Classical music concerts, while still well-attended, had a slightly lower average attendance rate of 75%.

Seating and Ticket Prices
The Paris Opera offers three main seating categories: Orchestra, Balcony, and Gallery. The Orchestra section, which provides the most immersive experience and closest proximity to the stage, accounts for 50% of the total seating capacity. The Balcony section, offering excellent views and a more elevated perspective, accounts for 30% of the seats. The Gallery section, located on the uppermost level of the auditorium, provides a bird's-eye view of the stage and accounts for the remaining 20% of the seating capacity.

Ticket prices at the Paris Opera vary based on the type of performance and seating category. In 2022, the average ticket price across all performances was €150. However, opera performances commanded a higher price, with an average ticket price 20% above the overall average, reflecting the complex production values and star power associated with this genre. Ballet performances, with their captivating artistry and athleticism, had an average ticket price 10% higher than the overall average. Classical music concerts, while still featuring world-class talent, had an average ticket price 15% lower than the overall average, making them a more accessible option for music lovers.

Within each seating category, ticket prices also varied. In the highly sought-after Orchestra section, the average ticket price was 25% higher than the overall average for that section, reflecting the premium experience and unparalleled views offered. The Balcony section, providing an excellent balance of proximity and affordability, had an average ticket price 10% higher than the overall average for that section. The Gallery section, while offering a unique perspective, had an average ticket price 5 % lower than the overall average for that section, making it an attractive option for budget-conscious attendees.

Audience Demographics and Preferences
The Paris Opera attracts a diverse audience, with visitors from around the world eager to experience the magic of this iconic institution. In 2022, international tourists accounted for 40% of the total audience, while French nationals made up the remaining 60%. Among French attendees, Parisians comprised 70%, with the remaining 30% traveling from other regions of the country.

The audience demographics also varied depending on the type of performance. Opera audiences tended to be slightly older, with an average age of 55, and had a higher proportion of subscribers and repeat visitors. Ballet performances attracted a younger audience, with an average age of 45, and had a higher percentage of first-time attendees and international tourists. Classical music concerts drew a more evenly distributed audience in terms of age and nationality, with a mix of subscribers and single-ticket buyers.

Audience preferences and behavior also played a role in shaping the Paris Opera's programming and marketing strategies. In 2022, the opera house conducted a comprehensive survey of its audience, revealing valuable insights. 60% of respondents expressed a strong preference for classic repertoire, while 40% were more interested in contemporary works. 70% of the audience reported that the reputation of the performers and creative team was a significant factor in their decision to attend a performance, highlighting the importance of star power in drawing crowds.

The survey also shed light on the audience's engagement with the Paris Opera beyond the performances themselves. 50% of respondents reported visiting the opera house's exhibitions and public spaces, such as the library and the rooftop terrace, which offers stunning views of Paris. 30% of the audience expressed an interest in attending pre-performance talks and behind-the-scenes tours, indicating a desire for a deeper understanding and appreciation of the art forms presented.

Impact and Future Outlook
The Paris Opera's cultural and economic impact on the city of Paris and the broader French cultural landscape is significant. In 2022, the opera house generated over €100 million in revenue, with ticket sales accounting for 60% of this amount. The Paris Opera also contributed to the local economy by employing over 1,500 people, including artists, technicians, and administrative staff, and by attracting tourists who patronized nearby restaurants, hotels, and shops.

Looking ahead, the Paris Opera faces both challenges and opportunities. The COVID-19 pandemic, which forced the temporary closure of the opera house in 2020 and 2021, highlighted the importance of adaptability and resilience in the face of unexpected disruptions. The opera house responded by increasing its digital offerings, live-streaming performances, and engaging with audiences through social media and virtual events.

As the world emerges from the pandemic, the Paris Opera is poised to reassert its position as a leading cultural institution. The opera house's artistic director, Alexander Neef, has outlined an ambitious vision for the future, which includes commissioning new works, fostering international collaborations, and promoting diversity and inclusion both on and off the stage.

In conclusion, the Paris Opera remains a beacon of artistic excellence and cultural heritage, captivating audiences with its breathtaking performances and iconic architecture. As it navigates the challenges and opportunities of the 21st century, the Paris Opera will undoubtedly continue to shape the landscape of opera, ballet, and classical music, ensuring that the legacy of this remarkable institution endures for generations to come.

Questions:
1. Based on the information provided, which of the following statements about the Paris Opera's seating capacity is true?
A. The Gallery section has the largest seating capacity.
B. The Orchestra section accounts for the majority of the seating capacity.
C. The Balcony section has a larger seating capacity than the Orchestra section.
D. The seating capacity is evenly distributed among the three main sections.

2. In 2022, the Paris Opera hosted performances on 300 days. Approximately how many days were dedicated to classical music concerts?
A. 50 days
B. 75 days
C. 100 days
D. 125 days

3. According to the passage, which type of performance had the highest average attendance rate in 2022?
A. Opera performances
B. Ballet performances
C. Classical music concerts
D. Cannot be determined from the information provided

4. The passage mentions that the average ticket price for opera performances was 20% higher than the overall average. If the overall average ticket price was €150, approximately how much was the average ticket price for opera performances?
A. €120
B. €160
C. €180
D. €200

5. Based on the audience survey conducted by the Paris Opera in 2022, which of the following statements is true?
A. The majority of the audience preferred contemporary works over classic repertoire.
B. The reputation of the performers and creative team was not a significant factor in audience attendance.
C. More than half of the audience expressed interest in attending pre-performance talks and behind-the-scenes tours.
D. 50% of respondents reported visiting the opera house's exhibitions and public spaces.

6. According to the passage, which of the following factors contributed to the Paris Opera's economic impact in 2022?
A. The opera house generated over €100 million in revenue, primarily from ticket sales.
B. The Paris Opera employed a significant number of people, including artists and staff.
C. The opera house attracted tourists who supported local businesses.
D. All of the above

7. The passage suggests that the COVID-19 pandemic had a significant impact on the Paris Opera. Which of the following strategies did the opera house employ to adapt to the situation?
A. Increasing digital offerings and live-streaming performances
B. Engaging with audiences through social media and virtual events
C. Temporarily closing the opera house in 2020 and 2021
D. Both A and B

8. According to the passage, what percentage of the Paris Opera's audience in 2022 were international tourists?
A. 30%
B. 40%
C. 60%
D. 70%

9. The artistic director of the Paris Opera, Alexander Neef, has outlined a vision for the future that includes all of the following EXCEPT:
A. Commissioning new works
B. Fostering international collaborations
C. Promoting diversity and inclusion
D. Focusing exclusively on classic repertoire

10. Which of the following best describes the main purpose of the passage?
A. To provide a detailed history of the Paris Opera since its inauguration in 1875
B. To compare the Paris Opera with other renowned opera houses around the world
C. To offer a comprehensive overview of the Paris Opera, including its performances, attendance, audience demographics, and future outlook
D. To argue that the Paris Opera is the most important cultural institution in France

答案解析:
1. B - 根据文章信息,乐池席(Orchestra section)占总座位数的50%,是三个座位区域中占比最大的。
2. B - 文章提到,在2022年的300个演出日中,25%的演出日专门用于古典音乐会。25% x 300 = 75天。
3. B - 文章明确指出,芭蕾舞演出的平均上座率最高,达到95%。
4. C - 文章提到,歌剧演出的平均票价比总平均票价高出20%。总平均票价为150欧元,因此歌剧演出的平均票价约为150 x (1 + 20%) = 180欧元。
5. D - 文章提到,50%的受访者报告曾参观歌剧院的展览和公共空间。
6. D - 文章提到了以上所有因素都对巴黎歌剧院2022年的经济影响做出了贡献。
7. D - 文章提到,面对疫情,巴黎歌剧院采取了增加数字节目、网络直播(A)以及通过社交媒体和虚拟活动与观众互动(B)的策略。
8. B - 文章明确指出,2022年,国际游客占巴黎歌剧院总观众的40%。
9. D - 文章提到,艺术总监Alexander Neef的未来愿景包括委托新作品、促进国际合作、提升多样性和包容性,但并未提及专注于经典剧目。
10. C - 文章全面概述了巴黎歌剧院的各个方面,包括演出、出席率、观众群体以及未来展望,而非侧重于其历史、与其他歌剧院的比较或论证其重要性

为了G700

Day133 CR
第一题，❌选D，答案E, 哪个方案既能认同当地餐饮的担心又能支持组织者。
P：当地政府计划组织一个食品节，很多供应商来摆摊。当地餐饮店认为这样会影响他们的生意，但是组织者认为会吸引很多的旅客，有助于当地经济，包括餐饮。

A.用其他城市的结果说明活动周的反馈，而且很有限。
B.组织者的方案在二者中做了取舍，不是两全的做法。
C.通过survey的发现有利于当地餐饮，不是两全方案。
D.体现了活动的优势，也让当地餐馆分享了这个benefit。
E.只体现活动优势，没解答当地餐馆的担心。

第二题，选A，解释两个相反的结论。
P：蜘蛛A织网是为了捕获猎物，研究者发现网越复杂，捕获猎物的可能性更高。但是精心制作的会吸引狩猎者，它们选择性的捕获小到中等的A蜘蛛。
C：科学家预见更大的蜘蛛比小的更倾向于织出复杂的网，但实际观察相反。

A.能够解释条件和结论，因为小蜘蛛织网的目的是阻止猎物。
B.有没有精力和文中的两个结论无关。
C.织网的大小不能解释差异。
D.如果是技能，那么大的比小的好，加强了差异。
E.食物缺乏不能解释结论的差异。

薯片家的

CR: E A
RC: B B B C D A D B D C
P1-说PO这个建筑不仅是歌剧院 还是个伟大的建筑
P2-里面的设备也很好
P3-1669年成立的芭蕾舞也很好看
P4-1672年成立的交响乐团也很牛逼
P5-2022年演奏了300场，歌剧占了40%，芭蕾占35%，25%是古典音乐会
P6-平均上座率是85%，表演形式的不同上座率也不同，歌剧有平均90%，芭蕾高于95%，古典音乐少于75%
P7-有3种座位，音乐厅 阳台和连廊，音乐厅座位占50%，阳台占30%，连廊占20%
P8-票价和表演形式和座位有关，2022年平均150刀，歌剧要高20%，芭蕾高10%，古典低15%
P9-音乐厅座位比平均座位价高25%，阳台高10%，连廊低5%
P10-国际游客占总游客40%，其中法国游客占60%，其中法国人占70%，剩下30%来自其他地区
P11-歌剧的观众有点老，平均55岁并且是常客，芭蕾观众平均45岁，更多第一次来的和国际游客，古典音乐的观众啥都有
P12-观众的喜好也决定了歌剧院的市场策略，剧院做了个调查，60%观众表达了更喜欢古典剧目，40%更喜欢现代剧目。70%表达要看表演人和团队
P13-有50%的人还去参观剧院其他地方，30%的人还要参观后台和观看前的谈话
P14-2022年，剧院赚了1亿，门票占60%，增加雇佣1500人
P14-2020~2021因为疫情，剧院开始拓展线上表演
P15-要更包容
P16-会更好

绵延CC

5/22打卡

徐公子~

CR1
我的答案：C
正确答案：E
P：组织方认为邀请供应商开设餐饮摊位可以促进旅游消费，当地餐厅认为会影响他们业务
C：计划可行，可以增加游客，同时不影响餐厅业务
任务类型：寻找促进整体经济，同时不影响餐厅正常营业的
选项分析
A：其他地区案例，促进餐饮收入，但主要是高端餐饮，普遍性不够
B：限制摊位数量和时间，鼓励游客去当地餐厅消费——保留，促进旅游，倾向于支持餐厅业务，但没有C确定性高
C：大部分节日游客愿意支付一定溢价体验当地餐厅——游客更有可能去当地餐厅消费
D：不能确定餐厅开摊位和原先状态相比，业务孰优孰劣
E：不确定餐厅是否从中获益

CR2
我的答案：A
正确答案：A
选项分析
A：可以解释中小型蜘蛛花精力织网的原因，让predator以为是大型蜘蛛而吓走
B：与prey和predator都没有关系
C：与prey和predator都没有关系
D：与prey和predator都没有关系
E：与prey和predator都没有关系

RC
我的答案：BBBCDDDBDC
正确答案：BBBCDDDBDC

xuelin99

Mark一下！               

xuelin99

D133
1.加强题
P：政府要举办美食节，当地餐厅认为会影响生意
C：政府认为会吸引很多游客有利于生意
A：另一个城市举办相似的节日，销售额增加了，加强，不优
B：组织者限制摊贩数量并要求在晚上前关门，加强
C：调查显示大多数人愿意花钱吃真正的当地餐厅，加强
D：政府为愿意参加这次活动的餐厅提供税收优惠，无关
E：分析显示游客消费增加20%，大多来源于吃饭
我的答案：C   正确答案：E

2.解释题
P：蜘蛛织网越精细越吸引猎物，但同时也吸引蜘蛛的捕食者，但会捕食中小型，避开大型
C：科学家预测大的爱织精细的网，但实际结果相反
A：小蜘蛛织精细的网为了避开捕食者而不是为了吸引猎物，备选
B：织网需要能量，小蜘蛛能量更多，无关
C：小蜘蛛织的网通常比大蜘蛛织网的面积大，无关
D：织精细的网的能力是随着成长逐渐获得的，无关
E：食物短缺减缓了蜘蛛的发育速度，无关
我的答案：A   正确答案：A

setmefree1

DAY133
CR
CA
开展美食节摊贩摆摊，当地餐馆认为会影响生意，组织者认为会吸引游客，使经济受益，能支持组织者也能承认当地餐馆的担心

jeilham

0000000000000000000000

Eunice12

我的选项：CE
正确选项：EA
第一题：增强题
P：当地政府计划举办美食节，当地餐厅担心美食节会对他们的生意造成不好的影响
P：美食节组织者认为节日将吸引大量游客到这个地方，最终会当地经济包括餐饮店有利
A:与其他城市的美食节可能不具有类比性
B:不代表美食节真的能吸引很多游客过来
C:增强（支持餐饮店生意，但不能证明会对当地经济有利）
D:税收优惠激励餐饮店摆摊——无关
E:无关
第二题：解释题
P：A蜘蛛会织网来捕捉猎物。网越复杂越容易吸引猎物。同时精心制作的网也会吸引蜘蛛的天敌黄蜂。黄蜂会选择性地攻击小型到中型的A蜘蛛
C：科学家预测更大的A蜘蛛比小蜘蛛更倾向编织复杂的网
C：观测表明结果相反
即小蜘蛛比大蜘蛛更倾向编织复杂的网
A:中小型蜘蛛编织复杂的网的意图在于预防天敌
B:编织网是要消耗体力，小型中型蜘蛛有更有体力
C:描述网的不同——无关
D:反驳前提
E:能解释