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Is there anything more boring than hearing about someone else’s dream? And is there anything more miraculous than having one of your own? The voluptuous pleasure of Haruki Murakami’s enthralling fictions—full of enigmatic imagery, random nonsense, and profundities that may or may not hold up in the light of day—reminds me of dreaming. Like no other author I can think of, Murakami captures the juxtapositions of the trivial and the momentous that characterize dream life, those crazy incidents that seem so vivid in the moment and so blurry and preposterous later on. His characters live ordinary lives, boiling pasta for lunch, riding the bus, and blasting Prince while working out at the gym. Then suddenly and matter-of-factly, they do something utterly nuts, like strike up a conversation with a coquettish Siamese cat, or maybe mackerel and sardines begin to rain from the sky. In Murakami’s world, these things make complete, cock-eyed sensE.
Like many of Murakami’s heroes, Kafka Tamura in Kafka on the Shore has more rewarding relationships with literature and music than with peoplE.(Murakami’s passion for music is infectious; nothing made me want to rush out and purchase a Brahms CD until I read his Sputnik Sweetheart.) On his 15th birthday, Kafka runs away from his Tokyo home for obscure reasons related to his famous sculptor father. His choice of a destination is arbitrary. Or is it? 'Shikoku, I decidE.That’s where I’ll go… The more I look at the map—actually every time I study it—the more I feel Shikoku tugging at mE.'
On the island of Shikoku, Kafka makes himself a fixture at the local library, where he setties into a comfortable sofa and starts reading The Arabian Nights: 'Like the genie in the bottle they have this sort of vital, living sense of play, of freedom that common sense can’t keep bottled up.' As in a David Lynch movie, all the library staffers are philosophical eccentrics ready to advance the surreal narrativE.Oshima, the androgynous clerk, talks to Kafka about ( inevitably) Kafka and the merits of driving while listening to Schubert ('a dense, artistic kind of imperfection stimulates your consciousness, keeps you alert. If I listen to some utterly perfect performance of an utterly perfect piece while I’m driving, I might want to close my eyes and die right there'). The tragically alluring head librarian, Miss Saeki, once wrote a hit song called 'Kafka ma the Shore'—and may or may not be Katkn’s long-lost mother. Alarmingly, she also stars in his erotic fantasies.
In alternating chapters, Murakami records the even odder antics of Nakata, a simpleminded cat catcher who spends his days chatting with tabbies in a vacant Tokyo lot. One afternoon, a menacing clog leads him to the home of a sadistic cat killer who goes by the name Johnnie Walker. Walker ends up dead by the end of the encounter; back in Shikoku, Kafka unaccountably finds himself drenched in blooD.Soon, Nakata too begins feeling an inexplicable pull toward the islanD.
If this plot sounds totally demented, trust me, it gets even weirder than that. Like a dream, yon just have to be them. And, like a dream, what this dazzling novel means—or whether it means anything at all—we may never know.
What is 'Kafka on the Shore'?
A.It is a fiction written by a head librarian Miss Saeki.
B.It is an autobiographical novel of Kafka TamurA.
C.It is a movie adapted from Haruki Murakarni’s book.
D.It is the name of a hit song in a novel under the same namE.

A.B.)
C.'
D.'
E.
F.
G.
What
H.It
I.
B.It
J.
C.It
K.
D.It

【参考答案】

D
解析:第2段第1句提到卡夫卡是《海边的卡夫卡》的主人公,第3段倒数第2句提到书中图书馆馆长曾经创作一首名叫“......

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It was said by Sir George Bernard Shaw that 'England and America are two countries separated by the same languagE.' My first personal experience of this was when I worked as a camp counselor for two months in 2000 in Summer Camp run by the Boy Scouts of America, as part of an international leader exchange schemE.Before I went, all the participants in the scheme were given a short list of words that are in common use in the UK which Americans would either be confused by or would even offend them. I memorized the words and thought 'I’ll cope'.When I finally arrived in the States three months later, I realized that perhaps a lifetime of watching American television was not adequate preparation for appreciating and coping with the differences between American and British speech. In the first hour of arriving at the camp I was exposed to High School American English, Black American English and American English spoken by Joe Public, all every different to each other. Needless to say, I did cope in the enD.The Americans I met were very welcoming and helpful, and I found they were patient with me when I made a social faux pas when I used an inappropriate word or phrasE.Upon my return I began to wonder whether anyone had documented the differences between American and British English. I found several books on the subject but often these were written in a dry and academic way. I felt that I could do better and use my sense of humor and personal experiences to help people from both sides of Atlantic to communicate more effectively when they meet.My research into the subject led me to several conclusions.Firstly, American English and British English are coveting, thanks to increased transatlantic travel and the mediA.The movement of slang words is mostly eastwards, though a few words from the UK have been adopted by the Ivy League fraternities, This convergent trend is a recent one dating from the emergence of Hollywood as the predominant film making center in the world and also from the Second World War when large numbers of American GIs were stationed in the UK. This trend was consolidated by the advent of television. Before then, it was thought that American English and British English would diverge as the two languages evolveD.In 1789, Noah Webster stated that: 'Numerous local causes, such as a new country, new associations of people, new combinations of ideas in the arts and some intercourse with tribes wholly unknown in Europe will introduce new words into the American tonguE.' He was right, but his next statement has since been proved to be incorrect. 'These causes will produce in the course of time a language in North America as different from the modern Dutch, Danish and Swedish are from the German or from one another.'Webster had underrated the mount of social intercourse between England and her former colony. Even before Webster had started to compile his dictionary, words and expressions from the America had already infiltrated the British language, for example 'canoe' and 'hatchet'.Secondly, there are some generalizations that can be made about American and British English which can reveal the nature of the two nations and their peoples. British speech tends to be less general, and directed more, in nuances of meaning, attendant murmurings and pauses, carries a wealth of shared assumptions and attitudes. In other words, the British are preoccupied with their social status within society and speak and act accordingly to fit into the social class they aspire to. This is particularly evident when talking to someone from 'the middle class' when he points out that he is 'upper middle class' rather than 'middle class' or 'lower middle class'. John Major (the former UK Prime Minister) may have said that we are now living in a 'classless society' but the class system still prevails. At that moment both he and the Leader of the Opposition, Tony Blair, were talking about cA.England and America used to be one country but were separated by the languagE.B.England and America share the same language but the language separates them.C.England and America share the same language but show differences in the language usE.D.British English and American English are almost the same in the two countries.
A.'
B.
C.
D.
E.
F.'
G.'
H.
I.England
J.
B.England
K.
C.England
L.
D.British
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The road from Mildura to Merbein, in north-west Victoria, is a sad sight. Many of its farms are covered with wine grapes, dying on the vines. Farmers planted the vines hoping to cash in on the seemingly endless boom in Australian winE.But in 2007 the boom turned to bust, forcing many farmers to walk away from grapes and land they cannot sell.Over the past 15 years Australia’s wine industry has been one of its great success stories. Export revenues last year reached A$3 billion ($2.4 billion), four times the figure from 1997. Britain, America and Canada, among the most competitive markets for wine, are Australia’s three biggest customers. But the suffering in places like Mildura and nearby Remark in South Australia is a sign that the industry fell victim to its own success.Flushed with a growing demand for Australian wines, a grape shortage, and soaring grape prices, growers rushed to plant more vines in the late 1990s. In 1998 they put in a record 16,000 new hectares, double the new plantings two years earlier. In 2005 Australia produced almost 2 million tons of wine grapes, a quarter more than analysts say its markets can absorB.Then came Australia’s worst drought in a century. Mildum and Renmark are surrounded by desert, and fruit farms and vineyards survive only with irrigation from the Murray River, the lifeblood of Australia’s agriculturE.Smaller firms, which supply the big winemakers with some of their grapes, faced a double whammy: falling grape prices and cuts to irrigation water. Stephen Strachan, chief executive of the Winemakers' Federation of Australia, reckons the drought was a turning point, even a tragic one in some cases, in forcing the industry back to 'sustainable levels'. The planting rush has endeD.The 3,600 hectares of new vines planted in 2006 almost equaled the 3,400 hectares of vines ripped out of the ground that year.The drought has also led to much soul-searching among Australia’s 2,000 wine producers about how the industry can recapture its reputation for quality wines. There is now stiff competition in the mid-market from other New World producers, .notably New Zealand, where the wine industry is booming. Much Australian wine during the grape glut found its way onto the world market as bulk or 'commodity' wine, sold at low prices or even at a loss. This harmed Australia’s reputation among consumers. Australian producers now face the task of earning a reputation for quality rather than quantity. The appreciation of the Australian dollar, which makes Australian wines more expensive overseas, has brought a new urgency to the joB.Historically, many Australian winemakers have derided the French approach to making wine, especially the idea that the finest wines come only from a terroir—the union of climate and soil characteristic of each placE.Australian producers instead pride themselves on what they regard as a less snooty and more democratic approach: blending grapes from different regions to achieve a consistent winE.But some are now asking whether marketing an Australian wine’s locality, as much as its grape variety, might work better.Some smaller producers are already doing just that. In Margaret River in Western Australia, for example, small winemakers produce 3% of the country’s production, mainly at the high end of the market, and independently of the big companies that predominate in eastern AustraliA.Denis Horgan, the owner of Leeuwin Estate, raves about the region’s soil and climate, and prides himself on Leeuwin’s high-quality wines, which sell for as much as A$95 a bottlE.Steve Webber, the winemaker at De Bortoli, a family winery in the Yarra Valley of Victoria, argues that Australia can no longer hope to compete on price alonE.'We have to be making more interesting wines, and we have to look more to our regions, as the French do,' he says.Australia’s 2008 grape harvest is expected to be back down to 1.6 milliA.tamed to bust since 15 years ago.B.revived in the year 2007.C.'had virtually no competitors.D.boomed over the past 15 years.
A.B.4
C.
D.
E.
F.notably
G.
H.
I.
J.6
K.tamed
L.
B.revived
M.
C.'had
N.
D.boomed