C
When I was seven, my father gave me a Timex, my first watch. I loved it, wore it for years, and haven’t had another one since it stopped ticking a decade ago. Why? Because I don’t need one, I have a mobile phone and I’m always near someone with an iPod or something like that. All these devices(装置)tell the time----which is why, if you look around, you’ll see lots of empty wrists; sales of watches to young adults have been going down since 2007.
But while the wise have realized that they don’t need them, others----apparently including some distinguished men of our time----are spending total fortunes on them. Brands such as Rolex, Patek Philippe and Breitling command shocking prices, up to ￡250,000 for a piece.
This is ridiculous. Expensive cars go faster than cheap cars. Expensive clothes hang better than cheap clothes. But these days all watches tell the time as well as all other watches. Expensive watches come with extra functions----but who needs them? How often do you dive to 300 metres into the sea or need to find your direction in the area around the South Pole? So why pay that much of five years’ school fees for watches that allow you to do these things?
If justice were done, the Swiss watch industry should have closed down when the Japanese discovered how to make accurate watches for a five-pound note. Instead the Swiss reinvented the watch, with the aid of millions of pounds’ worth of advertising, as a message about the man wearing it. Rolexes are for those who spend their weekends climbing icy mountains; a Patek Philippe is for one from a rich or noble family; a Breitling suggests you like to pilot planes across the world.
Watches are now classified as “investments”(投资). A 1994 Philippe recently sold for nearly ￡350,000, while 1960s Rolexes have gone from ￡15,000 to ￡30,000 plus in a year. But a watch is not an investment. It’s a toy for self-satisfaction, a matter of fashion. Prices may keep going up----they’ve been rising for 15 years. But when fashion moves on, the owner of the ￡350,000 beauty will suddenly find his pride and joy is no more a good investment than my childhood Timex.
59 The sales of watches to young people have fallen because they__________.
A. have other devices to tell the time
B. think watches too expensive
C. prefer to wear an iPod
D. have no sense of time
What dose Gerner think of the ideas of green schools?
A. They are questionable.
B. They are out of date.
C. They are advanced.
D. They are practical.
②这首词的风格与宋代哪两位词人比较接近？这种风格的词人属于哪一流派？（3分）
20世纪60年代后期，布雷顿森林体系出现危机，美国一度出动军用飞机紧急空运黄金供应伦敦黄金市场，美国的黄金储备因此遭受损失。美国这样做的目的应该是
A．维持美元价格B.赚取更多英镑C.支持浮动汇率D.制造金融混乱
昆曲本是吴方言区域里的产物，现今还有人在那里传习。苏州地方，曲社有好几个。退休的官僚，现任的善堂董事，学校教员，中年田主少年田主，还有诸如此类的一些业余的唱曲家，都是那几个曲社里的成员。至于职业的演唱家，只有一个班子，就是上海“大千世界”的仙霓社。逢到星期日，没有什么事情来逼迫，我也偶尔跑去看他们的演唱，消磨一个下午。
演唱昆曲是厅堂里的事情。地上铺了一方红地毯，就算是剧中的境界；唱的时候，笛子是主要的乐器，声音当然不会怎么响，但是在一个厅堂里，也就各处听得见了。搬上旧式的戏台去，即使在一个并不宽广的戏院子里，就不及平剧①那样容易叫全体观众听清。如果搬上新式的舞台去，那简直没有法子听，大概坐在第五六排的人就只看见演员拂袖按鬓了。
昆曲那些戏本子虽然也有幽期密约，盗劫篡夺，但是总要归结到教忠教孝，劝贞劝节，神佛有灵，人力微薄。就文词而言，据内行家说，多用词藻故实②是不算稀奇的，要像元曲那样亦文亦话才是本色。但是，即使像了元曲，又何尝能够句句像口语一样听进耳朵就明白？再说，昆曲的调子有非常迂缓的，一个字延长到了十几拍，那就无论如何讲究辨音，讲究发声跟收声，听的人总之难以听清楚那是什么字了。所以，听昆曲先得记熟曲文；自然，能够通晓曲文里的故实跟词藻那就尤其有味。
昆曲的串演，歌舞并重。舞的部分就是身体的各种动作跟姿势，唱到哪个字，眼睛应该看哪里，手应该怎样，脚应该怎样，都由老师傅传授下来，世代遵守着。动作跟姿势大概重在对称，向左方做了这么一个舞态，接下来就向右方也做这么一个舞态，意思是使台下的看客得到同等的观赏。譬如《牡丹亭》里的《游园》一出，杜丽娘小姐跟春香丫头就是一对舞伴，自从闺中晓妆起，直到游罢回家止，没有一刻不是带唱带舞的，而且没有一刻不是两人互相对称的。这一点似乎比较平剧与汉调来得高明。前年看见过一本《国剧身段谱》，详记平剧里各种角色的各种姿势，实在繁复非凡；可是我们去看平剧，就觉得演员很少有动作，如《李陵碑》里的杨老令公，直站在台边尽唱，两手插在袍甲里，偶尔伸出来挥动一下罢了。昆曲虽然注重动作跟姿势，也要演员能够体会才好，如果不知道所以然，只是死守着祖传表演，也就跟木偶戏差不多。
（取材于叶圣陶1934年所作《昆曲》，有删改）
注：①平剧：即京剧，当时亦称国剧。②故实：以往的有历史意义的事实；典故
14．下列说法符合文意的一项是（3分）
A．昆曲的内容有的诲淫诲盗，有的也教忠教孝，劝贞劝节。
B．昆曲里好的戏文词藻故实颇丰，而且文言白话兼而有之。
C．昆曲的舞注重手脚之间的协调，是为了准确地表现唱词。
D．昆曲人物舞台站位互相对称，因其舞台布景讲究对称性。