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SectionⅠUseofEnglishDirections:Readthefollowingtext.Choosethebestword(s)foreachnumberedblankandmark［A］,［B］,［C］or［D］onAnswerSheet1.(10points)Mostworthwhilecareersrequiresomekindofspecializedtraining.Ideally,therefore,thechoiceofan1shouldbemadeevenbeforechoiceofacurriculuminhighschool.Actually,2,mostpeoplemakeseveraljobchoicesduringtheirworkinglives,3becauseofeconomicandindustrialchangesandpartlytoimprovetheirposition.Theoneperfectjobdoesnotexist.Youngpeopleshould4enterintoabroadflexibletrainingprogramthatwillfitthemfora5ofworkratherthanforasinglejob.Unfortunatelymanyyoungpeoplehavetomakecareerplans6benefitofhelpfromacompetentvocationalcounselororpsychologist.Knowing7abouttheoccupationalworld,orthemselvesforthatmatter,theychoosetheirlifeworkonahit-or-miss8.Somedriftfromjobtojob.Others9toworkinwhichtheyareunhappyandforwhichtheyarenotfitted.Onecommonmistakeischoosinganoccupationforitsrealor10prestige.Toomanyhigh瞫choolstudentsortheirparentsforthemchoosetheprofessionalfield,11boththerelativelysmallproportionofworkersintheprofessionsandtheextremelyhigheducationalandpersonal12.Theprestigethatpeopletendto13toaprofessionorawhite-collarjobisnogoodreasonforchoosingitaslife'swork.14,theseoccupationsarenotalwayswellpaid.Sincealarge15ofjobsareinmechanicalandmanualwork,themajorityofyoungpeopleshouldgiveserious16tothesefields.Beforemakinganoccupationalchoice,apersonshouldhaveageneralideaofwhathewants17lifeandhowhardheiswillingtoworktogetit.Somepeopledesiresocialprestige,othersintellectual18.Somewantsecurity;othersarewillingtotake19forfinancialgain.Eachoccupationalchoicehasitsdemandsaswellasits20.1.［A］identification［B］entertainment［C］accommodation［D］occupation2.［A］however［B］therefore［C］though［D］thereby3.［A］entirely［B］mainly［C］partly［D］his4.［A］since［B］therefore［C］furthermore［D］forever5.［A］place［B］chance［C］field［D］opening6.［A］to［B］for［C］without［D］with7.［A］little［B］few［C］much［D］alot8.［A］chance［B］basis［C］purpose［D］opportunity9.［A］apply［B］appeal［C］stick［D］turn10.［A］imagined［B］substantial［C］acquired［D］demanded11.［A］concerning［B］following［C］considering［D］disregarding12.［A］preferences［B］requirements［C］tendencies［D］ambitions13.［A］contribute［B］attach［C］attribute［D］allot14.［A］Therefore［B］However［C］Nevertheless［D］Moreover15.［A］proportion［B］part［C］quanitity［D］batch16.［A］proposal［B］suggestion［C］consideration［D］appraisal17.［A］towards［B］against［C］outof［D］without18.［A］knowledge［B］satisfaction［C］culture［D］sensitivity19.［A］turns［B］parts［C］choices［D］risks20.［A］awards［B］requirements［C］results［D］needsSectionⅡReadingComprehensionPartADirections:Readthefollowingfourtexts.Answerthequestionsbeloweachtextbychoosing［A］,［B］,［C］or［D］.MarkyouranswersonAnswerSheet1.(40points)Text1Itissaidthatpeoplebuycontemporaryartwhentheyareconfidentaboutthefutureandoldartwhentheyarenot.Conventionalwisdomhasitthatolderartholdsitsvalue,whilecontemporarystuffisforrisk-lovers.WilliamGoetzmann,aprofessoratYale,estimatesthatduringthelastart-marketdepression,whichsetinafter1990,impressionistandcontemporaryworksfellbymost(51%and40%respectively),whileOldMasterssufferedleast(downby16%).Yetdespitetheupsanddowns,contemporaryworkshavebeenrewardingforthosewhoarepreparedtohangon:accordingtoJianpingMeiandMichaelMoses,professorsatNewYorkUniversity(NYU)since1970thereturnsoncontemporaryarthavefarexceededthoseonOldMastersand19th-centurypaintings.Sincethelate1980s,moresophisticatedanalysisoftheartmarketandagrowinginterestinalternativeinvestmentshavespurredthecreationofseveralnewinvestmentfundsfocusedonart.Atarecentconferenceorganisedbyoneofthese,theFineArtFund,RachelCampbellofMaastrichtUniversitypointedoutthelowcorrelationbetweenreturnsonartandonthoseotherinvestments.Giventhatitusuallypaystodiversify,thatisagoodargumentforinvestinginart,whateveryourtaste.TheFineArtFund,whichbeganbuyingthisApril(andhas36%ofitsmoneyincash),advisesthatinvestorsspreadtheirartallocationfairlyevenlybetweenImpressionists,OldMasters,modernartandcontemporaryworks.Contemporaryart,inparticular,hasservedrichinvestorswellinthepastfewyears.Pricesstayedstablewhenstockmarketsfell.Nevertheless,onerecentacademicstudyhasfoundacorrelationwithanotherassetclass:duringthelastworldartboom,inthelate1980s,priceswerecloselytiedtopropertyvalues,specificallyJapaneselandprices.After1990,artandpropertyfelltogether.Nowpropertypricesinseveralcountriesareonceagainatfrighteningheights.Investinginartwillalwaysbeariskybusiness.Worksofartbydefinitionbelongtodifferentcategories;holdingperiodsvary;themarketisilliquid;artyieldsnoincome,producingonlycapitalgainorloss;transactioncostsarehigh.Asforcontemporaryartinparticular,itisasoberingthoughtthat,accordingtoMrMoses,eachyearanaverageofonlytwoartistsemergewhoseworkincreasesinvalueovertime.Allthisspeaksagainstabigcommitmenttospeculatinginart;better,maybe,simplytobuywhatyoulike,ifyoucan:treatyourmoney,inotherwords,notasinvestedbutasconsumed.21.Bysayingthatthemarketisilliquid(Line2,Para.4),theauthorsuggeststhat.［A］artworksseldomlosetheirvalueinthemarket［B］investmentinartdoesnothaveguaranteedreturnofpro