It is evident that there is a close connection between the capacity to use language and the capacities covered by the verb" to think". Indeed, me writers have identified thinking with using words: Plato coined the saying, "In thinking the soul is talking to itself"; J.B. Watson reduced thinking to inhibited speech located in the minute movements or tensions of the physiological mechanisms involved in speaking; and although Ryle is careful to point out that there are many senses in which a person is said to think in which words are not in evidence, he has also said that saying something in a specific frame of mind is thinking a thought.
Is thinking reducible to, or dependent upon, language habits It would seem that many thinking situations are hardly distinguishable from the skilful use of language, although there are some others in which language is not involved. Thought cannot be simply identified with running language. It may be the case, of course, that the non-linguistic skills involved in thought can only be acquired and developed if the learner is able to use and understand language. However, this question is one which we cannot hope to answer in this book. Obviously being able to use language makes for a considerable development in all one’s capacities but how precisely this comes about we cannot say.
At the common-sense level it appears that there is often a distinction between thought and the words we employ to communicate with other people. We often have to struggle hard to find words to capture what our thinking has already grasped, and when we do find words we sometimes feel that they fail to do their job properly. Again when we report or describe our thinking to other people we do not merely report unspoken words and sentences. Such sentences do not always occur in thinking, and when they do they axe merged with vague imagery and the hint of unconscious or subliminal activities going on just out of range. Thinking, as it happens, is more like struggling, striving, or searching for something than it is like talking or reading. Words do play their part but they are rarely the only feature of thought. This observation is supported by the experiments of the Wurzburg psychologists reported in Chapter Eight who showed that intelligent adaptive responses can occur in problem solving situations without the use of either words or images of any kind; ",Set" and "determining tendencies" operate without the actual use of language in helping us to think purposefully and intelligently.
Again the Study of speech disorders due to brain injury or disease suggest that patients can think without having adequate control over their language, some patients, for example, fail to find the names of objects presented to them and are unable to describe simple events which they witness; they even find it difficult to interpret long written notices. But they succeed in playing games of chess or draughts. They can use the concepts needed for chess playing or draughts playing but are unable to use many of the concepts in ordinary language. How they manage to do this we do not know. Yet animals such as Kohler’s chimpan2ees can solve problems by working out strategies such as the invention of implements or Climbing aids when such animals have not language beyond a few warning cries. Intelligent or "insightful" behavior is not dependent in the case of monkeys on language skills: presumably human beings have various capacities for thinking situations which are likewise independent of language.
According to the author, when we intend to describe our thoughts______.

A:we merely report internal speech B:neither words nor imagery works C:we are overwhelmed with vague imagery D:words often fail to do their job

More than any other industry, the luxury-goods business needs people to feel good about spending money. So at a recent conference in Moscow, Bernard Arnault, the head of Moet Hennessy Louis Vuitton (LVMH), the world’s biggest luxury-goods group, went to great lengths to dismiss investors’ fears about the impact on the industry of America’s credit crisis, a possible recession and the weak dollar. Indeed, Mr. Arnault said he expects the industry’s sales almost to double in the next five years, thanks to strong demand from emerging markets and the creation of new wealth across the globe.
After a depressing period at the beginning of the decade when the terrorist attacks in America, the outbreak of SARS and the war in Iraq reduced international travel and people’s appetite for frivolous things, the industry has had three excellent years. According to Bain, a consultancy, sales of luxury goods grew by 9% in 2006 to 159 billion ($ 200 billion) and will reach about 170 billion this year, which would double the 1996 figure. Europe remains the biggest market, with about 40% of sales, though the strongest growth is in China, Russia, the Middle East and some Latin American countries.
Can the industry really double again in half the time Analysts at Citigroup say that Christmas will be good this year for luxury-goods firms, but they are more cautious about next year because of worries about falling demand in America. It is tempting to think that luxury goods are isolated from the broader economy, because customers are rich enough to ignore it, says Luca Solca, a luxury-goods analyst. But the industry’s expansion into a broader "aspirational" market, by selling to the merely affluent, makes it susceptible.
And as luxury firms expand in Asia and the Americas, they will continue to suffer currency woes. Most of the industry’s production is in the euro-zone, mainly in France and Italy. Even the optimistic Mr. Arnault complained at his firm’s recent annual meeting that the euro had reached "incomprehensible" levels against the dollar and the yen. Luxury companies could shift more of their production to countries with weaker currencies and cheap labor (ie, China), but some customers-especially Asian customers-want the elitism and craftsmanship associated with products manufactured in Europe.
At least sales in emerging markets are growing fast. But Melanie Flouquet, a luxury analyst at JPMorgan, an investment bank, says that this growth is not enough to offset a slowdown in America. Chinese and Russian consumers account for around 7% and 4% of global luxury sales respectively, compared with 16-18% for Americans. Even so, European firms are sticking to their plans in New York, America’s fashion capital. Gucci will open its biggest shop in February in Trump Tower, a shiny skyscraper on New York’s Fifth Avenue. Ermenegildo Zegna will also open a shop on Fifth Avenue next year. And this week Dolce & Gabbana re-opened its spruced-up shop on Madison Avenue.
Claudia D’ Arpizio of Bain thinks luxury makers need to follow Giorgio Armani and segment their customers more carefully with different product lines at different price ranges. She predicts that the industry will see solid growth rates of up to 10% a year in the near term. This means that the industry could double in ten years-by which time China is likely to account for more than a quarter and maybe as much as a third of the world’s consumption of luxury goods. Yet Mr. Arnault’s rosy prediction seems unlikely to come true. As Americans tighten their purse-strings, over-optimism is a luxury even this industry cannot afford.
What does the "broader ’ aspirational’ market" refer to in the text

A:Newly developed markets such as Asia. B:Markets with customers being merely affluent. C:Markets in developing countries. D:New market in European and American countries.

Text 4

What does the "broader ’ aspirational’ market" refer to in the text

A:Newly developed markets such as Asia. B:Markets with customers being merely affluent. C:Markets in developing countries. D:New market in European and American countries.

Part A
Directions:
Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers ma ANSWER SHEET 1.
Text 1

According to the author, when we intend to describe our thoughts______.

A:we merely report internal speech B:neither words nor imagery works C:we are overwhelmed with vague imagery D:words often fail to do their job

More than any other industry, the luxury-goods business needs people to feel good about spending money. So at a recent conference in Moscow, Bernard Arnault, the head of Moet Hennessy Louis Vuitton (LVMH), the world’s biggest luxury-goods group, went to great lengths to dismiss investors’ fears about the impact on the industry of America’s credit crisis, a possible recession and the weak dollar. Indeed, Mr. Arnault said he expects the industry’s sales almost to double in the next five years, thanks to strong demand from emerging markets and the creation of new wealth across the globe.
After a depressing period at the beginning of the decade when the terrorist attacks in America, the outbreak of SARS and the war in Iraq reduced international travel and people’s appetite for frivolous things, the industry has had three excellent years. According to Bain, a consultancy, sales of luxury goods grew by 9% in 2006 to 159 billion ($ 200 billion) and will reach about 170 billion this year, which would double the 1996 figure. Europe remains the biggest market, with about 40% of sales, though the strongest growth is in China, Russia, the Middle East and some Latin American countries.
Can the industry really double again in half the time Analysts at Citigroup say that Christmas will be good this year for luxury-goods firms, but they are more cautious about next year because of worries about falling demand in America. It is tempting to think that luxury goods are isolated from the broader economy, because customers are rich enough to ignore it, says Luca Solca, a luxury-goods analyst. But the industry’s expansion into a broader "aspirational" market, by selling to the merely affluent, makes it susceptible.
And as luxury firms expand in Asia and the Americas, they will continue to suffer currency woes. Most of the industry’s production is in the euro-zone, mainly in France and Italy. Even the optimistic Mr. Arnault complained at his firm’s recent annual meeting that the euro had reached "incomprehensible" levels against the dollar and the yen. Luxury companies could shift more of their production to countries with weaker currencies and cheap labor (ie, China), but some customers-especially Asian customers-want the elitism and craftsmanship associated with products manufactured in Europe.
At least sales in emerging markets are growing fast. But Melanie Flouquet, a luxury analyst at JPMorgan, an investment bank, says that this growth is not enough to offset a slowdown in America. Chinese and Russian consumers account for around 7% and 4% of global luxury sales respectively, compared with 16-18% for Americans. Even so, European firms are sticking to their plans in New York, America’s fashion capital. Gucci will open its biggest shop in February in Trump Tower, a shiny skyscraper on New York’s Fifth Avenue. Ermenegildo Zegna will also open a shop on Fifth Avenue next year. And this week Dolce & Gabbana re-opened its spruced-up shop on Madison Avenue.
Claudia D’ Arpizio of Bain thinks luxury makers need to follow Giorgio Armani and segment their customers more carefully with different product lines at different price ranges. She predicts that the industry will see solid growth rates of up to 10% a year in the near term. This means that the industry could double in ten years-by which time China is likely to account for more than a quarter and maybe as much as a third of the world’s consumption of luxury goods. Yet Mr. Arnault’s rosy prediction seems unlikely to come true. As Americans tighten their purse-strings, over-optimism is a luxury even this industry cannot afford.

What does the "broader ’ aspirational’ market" refer to in the text（）

A:Newly developed markets such as Asia B:Markets with customers being merely affluent C:Markets in developing countries D:New market in European and American countries

Every artist knows in his heart that he is saying something to the public. Not only does he want to say it well, but he wants it to be something which has not been said before. He hopes the public will listen and understand—he wants to teach them, and he wants them to learn from him.
What visual artists like painters want to teach is easy to make out but difficult to explain, because painters translate their experiences into shapes and colors, not words. They seem to feel that a certain selection of shapes and colors, out of the countless billions possible, is exceptionally interesting for them and worth showing to us. Without their work we should never have noticed these particular shapes and colors, or have felt the delight which they brought to the artist.
Most artists take their shapes and colors from the world of nature and from human bodies in motion and repose (安息); their choices indicate that these aspects of the world are worth looking at, that they contain beautiful sights. Contemporary artists might say that they merely choose subjects that provide an interesting pattern, that there is nothing more in it. Yet even they do not choose entirely without reference to the character of their subjects.
If one painter chooses to paint a gangrenous (坏疽) leg and another a lake in moonlight. Each of them is directing our attention to a certain aspect of the world, each painter is telling us something, showing us something, emphasizing something—all of which means that, consciously or unconsciously, he is trying to teach us.

An artist’s choice of shapes and colors indicates that he believes them to be （　）

A:meaningful in themselves B:merely beautiful C:a reflection of his experiences D:worth looking at

Every artist knows in his heart that he is saying something to the public. Not only does he want to say it well, but he wants it to be something which has not been said before. He hopes the public will listen and understand—he wants to teach them, and he wants them to learn from him.
What visual artists like painters want to teach is easy to make out but difficult to explain, because painters translate their experiences into shapes and colors, not words. They seem to feel that a certain selection of shapes and colors, out of the countless billions possible, is exceptionally interesting for them and worth showing to us. Without their work we should never have noticed these particular shapes and colors, or have felt the delight which they brought to the artist.
Most artists take their shapes and colors from the world of nature and from human bodies in motion and repose (安息); their choices indicate that these aspects of the world are worth looking at, that they contain beautiful sights. Contemporary artists might say that they merely choose subjects that provide an interesting pattern, that there is nothing more in it. Yet even they do not choose entirely without reference to the character of their subjects.
If one painter chooses to paint a gangrenous (坏疽) leg and another a lake in moonlight. Each of them is directing our attention to a certain aspect of the world, each painter is telling us something, showing us something, emphasizing something—all of which means that, consciously or unconsciously, he is trying to teach us.

Implied but not stated: （　）

A:A painting is more easily understood than a symphony B:Art is merely the arranging of shape and color C:Every artist tries to say something to the public D:One must look beyond shape and color to find what the artist is saying

Michael is now merely a good friend.

A:largely B:barely C:just D:rarely

Michael is now merely a good friend.（　）.

A:largely B:possibly C:just D:rarely

Their research merely {{U}}duplicates{{/U}} work already done elsewhere.

A:borrowed B:purchased C:copied D:rewritten