Americans often（）each other simply with "hello" or "Hi".

A . into B . onto C . over D . for

A . 18 B . 26 C . 28 D . 32

A . dividing walls B . divided walls C . dividing liners D . divided jacket

A . 16 B . 32 C . 18 D . 36

A．Right． B．Wrong． C．Doesn’t say．

A．will most likely remarry B．prefer the way they live C．have lost faith in marriage D．are the vast majority of people in the society

What does the speaker mean？ A．Americans are worried about only two things. B．Americans are worried more about death than about taxes. C．Americans are as worried about death as about taxes. D．Americans are as sure of taxes as of death.

A．A.ran into B．B.went up C．C.looked after D．D.came to

A．A.hang up B．B.hang in C．C.hang out D．D.hang onto

A．Taxes are much too high. B．We pay more taxes than we may realize. C．Inheritance taxes and real estate taxes are unfair. D．Some taxes are hidden.

Although fiction assuredly springs from political circumstances, its authors react to those circumstances in ways other than ideological, and talking about novels and stories .primarily as instruments of ideology limits much of the fictional enterprise. Rosenblatt's literary analysis discloses relations and connotations among works of Black fiction which solely political studies have overlooked or ignored. Writing acceptable criticism of Black fiction, however, presupposes giving satisfactory answers to a number of questions. First of all, is there a sufficient reason, other than the racial identity of the authors, to group together works by Black authors？ Second, how does Black fiction make itself distinct from other modern fiction with which it is largely contemporaneous？ Rosenblatt's idea shows that Black fiction constitutes a distinct body of writing that has an identifiable, coherent literary tradition. Looking at novels written by Blacks over the last eighty years, lie discovers recurring concerns and designs independent of chronology. These structures are thematic, and they spring, not surprisingly, from the central fact that the Black characters in these novels exist in a predominantly White culture, whether they try to conform. to that culture or rebel against it. Black Fiction does leave some aesthetic questions open. Rosenblatt's thematic analysis permits considerable objectivity; he even states that it is not his intention to judge the merit of the various works--yet his reluctance seems misplaced, especially since an attempt to appraise might have led to interesting results. For instance, some of the novels appear to be structurally diffused. Is this a defect, or are the authors working out of, or trying to create, a different kind of aesthetic？ In addition, the style. of some Black novels, like Jean Toomer's Cane, verges on expressionism or surrealism; does this technique provide a counterpoint to the popular theme that describes the fate against which Black heroes are struggling, a theme usually conveyed by more naturalistic modes of expression？ In spite of such omissions, what Rosenblatt does include in his discussion makes for a keen and worthwhile study. Black Fiction surveys a wide variety of novels, bringing to our attention in the process some fascinating and little-known works like James Weldon Johnson's Autobiography of an Ex-Colored Man. Its argument is tightly constructed, and its forthright, clear style. exemplifies levelheaded and penetrating criticism. Roger Rosenblatt looked at Addison Gayle's criticism of Black Fiction with a (n) __ attitude. A．disapproving B．consenting C．objective D．cautious

Escrow: a financial instrument or an asset held by a third party on behalf of () other parties that are in the process of completing a transaction.(第三方托管)

A．everyone gets a chance to be successful by their own efforts and talents B．everyone has the right of all individuals to control their own destiny C．everyone is the members of a close-knit, interdependent collectivity D．everyone is responsible for their own situations in life 此题为多项选择题。