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听力原文：M: Good morning, Miss WhitE.I'm Bill Green. Yesterday afternoon I called you...
W: Ah, yes, Mr. Green, I remember our appointment. You said you have some trouble in finding a job?
M: Yes. You see, personally I think I have got good qualifications. But out of some reason, I often fail during or after the interview.
W: May I have a look at your resume?
M: SurE.
W: Well, first I must say, your resume has outlined your past very well, but only a statement of past can rarely get you inside a company. I suggest you give employers an example of what you can do for them. You may create a new area in your resumE.Call it 'value offered'. In two sentences, state the value you would bring to that particular employer.
M: Oh, I get that point!
W: But be specific and create a separate resume for each company you approach. By the way, do you feel nervous at an interview?
M: On, yes. I always think these interviewers want nothing but to humiliate us. So I always feel it's like facing your enemy.
W: Then you should give yourself an attitude adjustment. Remember, the employers want to hire you. A company holds interviews so it can find the best person for the joB.If you convince yourself the manager wants to hire you, you will have a positive attitude at the interview, and your attitude might influence the manager to feel good about you.
M: Thank you, Miss WhitE.I have learned a lot from what you've told mE.
W: You're welcomE.I wish you good luck.
(23)
A.Yesterday morning.
B.Yesterday noon.
C.Yesterday afternoon.
D.Yesterday evening.

A...
W:
B.
W:
C.
W:
D.
M:
E.
W:
F.
M:
G.
W:
H.
(23)
A.Yesterday
I.
B.Yesterday
J.
C.Yesterday
K.
D.Yesterday

【参考答案】

C
解析：选项都和时间有关，本题是时间题。从Yesterday afternoon I called you........

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选择题本大题共12小题，每小题2分。在每小题所给出的四个选项中，只有一项是符合题目要求的。下列哪个选项属于条件反射( )D.信号反射

A.眨眼反射
B.吸吮反射
C.防御反射

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The making of classifications by literary historiabs can be a somewhat risky enterprisE.When Black poets are discussed separately as a group, for instance, the extent to which their work reflects the development of poetry in general should not be forgotten, or a distortion of literary history may result. This reminder is particularly relevant in an assessment of the differences between Black poets at the turn of last century (1900-1909) and those of the generation of the 1920s. These differences include the bolder and more forthright speech of the later generation and its technical inventiveness. It should be remembered, though, that comparable differences also existed for similar generations of White poets.When poets of the 1910s and 1920s are considered together, however, the distinctions that literary historians might make between 'conservative' and 'experimental' would be of little significance in a discussion of Black poets, although these remain helpful classification for White poets of these decades. ①Certainly differences can be noted between 'conservative' Black poets such as Countee Cullen ,and Cluade McKay and 'experimental' ones such as Jean Toomer and Langston Hughes. But Black poets were not battling over old or new styles; rather, one accomplished Black poet was ready to welcome another. whatever his or her style, for what mattered was racial pridE.However, in the 1920s Black poets did debate with specifically racial subjects. They asked whether they should only write about Black experience for a Black audience or whether such demands were restrictivE.It may be said, though, that virtually all those poets wrote their best poems when they spoke out of racial feeling, race being, as James Johnson rightly put it 'inevitably the thing the Negro poet knows best'.At the turn of the 20th century, by contrast, most Black poets generally wrote in the conventional manner of the age and expressed noble, if vague, emotions in their poetry. These poets were not unusually gifted, though Roscoe Jamision and G. M. McClellen may be mentioned as exceptions. They chose not to write in dialect, which, as Sterling Brown has suggested, 'meant a rejection of stereotypes of Nero lifE.' and they refused to write only about racial subjects. This refusal had both a positive and a negative consequencE.As Brown observes, 'Valuably insisting that Negro poets should not be confined to issues of race, these poets committed (an) error they refused to look into their hearts and writE.' These are important insights, but one must stress that this refusal to look within was also typical of most White poets of the United States at the timE.They, too, often turned from their own experience and consequently produced not very memorable poems about vague topics, such as the peace of naturE.What is the author's attitude toward the classification as a technique in literary history'?A.SarcastiC.B.Indifferent.C.Cautious.D.Critical.

A.When
B.
C.
D.
E.'
F.'
G.
What
H.SarcastiC.
B.Indifferent.
C.Cautious.