Chain nervous system

Text 1
Whether or not animals feel is not altogether an easy question to answer. A human being has direct awareness only of the pains which he himself suffers. Our knowledge of the pains even of other human beings is only an inference from their words, and to a lesser extent their behaviors. Animals cannot tell us what they feel. We can, of course, study their bodily reactions to the kind of stimuli which would be painful to human beings and this has often been done. When such stimuli are applied to animals, their pupils dilate, their pulse rate and blood pressure rise, they may withdraw the stimulated limb and they may make struggling movements. Nevertheless it has been pointed out that none of these reactions can safely be taken as indications that the animal experiences pain because they can all be evoked when the parts of the body stimulated have been isolated from the higher nervous centres. Furthermore, when disease produces such an isolation in human beings the corresponding stimuli are painless. We must therefore look for other evidence as the capacity of animals to experience pain.
Basically, all the nervous elements which underlie the experience of pain by human beings are to be found in all mammalian vertebrates at least; this is hardly surprising as pain is a response to a potentially harmful stimulus and is therefore of great biological importance for survival. Is there any reason, then, for supposing that animals. though equipped with all the necessary neurological structures, do not experience pain Such a view would seem to presuppose a profound qualitative difference in the mental life of animals and men. The difference between the human and subhuman nervous system lies chiefly in the much greater development of the human forebrain. This would be significant in the present context only if there were reason to believe that it alone was correlated with the occurrence of conscious experiences. But much of our knowledge of the nervous regulation of consciousness is derived from experiments on animals.
In everyday life we take it for granted that animals see and hear, and there seems no reason to suppose that they do not feel pain. So, while the reactions of the pupils, pulse rate and blood pressure mentioned above can in exceptional circumstances occur without the conscious experience of pain, it seems likely that in the intact animal they are indications that pain is being experienced.

Pain is vital to the survival of human being and all mammalian because（）

A:it can be found in vertebrates. B:it underlies mental life. C:it consists of nervous elements. D:it is a response to harmful stimuli.

Section Ⅱ Reading Comprehension Part A Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on ANSWER SHEET 1. Text 1 Whether or not animals feel is not altogether an easy question to answer. A human being has direct awareness only of the pains which he himself suffers. Our knowledge of the pains even of other human beings is only an inference from their words, and to a lesser extent their behaviors. Animals cannot tell us what they feel. We can, of course, study their bodily reactions to the kind of stimuli which would be painful to human beings and this has often been done. When such stimuli are applied to animals, their pupils dilate, their pulse rate and blood pressure rise, they may withdraw the stimulated limb and they may make struggling movements. Nevertheless it has been pointed out that none of these reactions can safely be taken as indications that the animal experiences pain because they can all be evoked when the parts of the body stimulated have been isolated from the higher nervous centres. Furthermore, when disease produces such an isolation in human beings the corresponding stimuli are painless. We must therefore look for other evidence as the capacity of animals to experience pain. Basically, all the nervous elements which underlie the experience of pain by human beings are to be found in all mammalian vertebrates at least; this is hardly surprising as pain is a response to a potentially harmful stimulus and is therefore of great biological importance for survival. Is there any reason, then, for supposing that animals. though equipped with all the necessary neurological structures, do not experience pain Such a view would seem to presuppose a profound qualitative difference in the mental life of animals and men. The difference between the human and subhuman nervous system lies chiefly in the much greater development of the human forebrain. This would be significant in the present context only if there were reason to believe that it alone was correlated with the occurrence of conscious experiences. But much of our knowledge of the nervous regulation of consciousness is derived from experiments on animals. In everyday life we take it for granted that animals see and hear, and there seems no reason to suppose that they do not feel pain. So, while the reactions of the pupils, pulse rate and blood pressure mentioned above can in exceptional circumstances occur without the conscious experience of pain, it seems likely that in the intact animal they are indications that pain is being experienced.

Pain is vital to the survival of human being and all mammalian because（）

A:it can be found in vertebrates. B:it consists of nervous elements. C:it underlies mental life. D:it is a response to harmful stimuli.

Passage Three
The war had begun, and George had joined the air force. He wanted to be a pilot and after some months he managed to get to the air force training school, where they taught pilots to fly’.
There, the first thing that new students had to do was to be taken up in a plane by an experienced pi lot, to give them some ideas what it felt like. Even those who had traveled as passengers in commercial (商业的 ) airline planes before found it strange to be in the cockpit (驾驶舱)of a small fighter plane, and most of the students felt nervous.
The officer who had to take the students up for their first flight allowed them to fly the plane for a few seconds if’ they wanted to and if they were not too frightened to try, but be was always ready to take over as soon as the plane started to do dangerous things.
George was one of those who took over the controls of the plane when he went up in it for the first time, and after the officer had taken them [Yom him again. George thought that he had better ask a few questions to show how interested he was and how much he wanted to learn to fly. There were a number of instruments (仪表) in front of him, so he chose one and asked the officer what it was. The officer looked at him strangely for a moment and then answered, "That is the clock."

George asked the question because he wanted to show that he was （）

A:interesting B:not nervous C:different D:eager to learn

Passage Three
The war had begun, and George had joined the air force. He wanted to be a pilot and after some months he managed to get to the air force training school, where they taught pilots to fly.
There, the first thing that new students had to do was to be taken up in a plane by an experienced pi lot, to give them some ideas what it felt like. Even those who had traveled as passengers in commercial (商业的) airline planes before found it strange to be in the cockpit (驾驶舱)of a small fighter plane, and most of the students felt nervous.
The officer who had to take the students up for their first flight allowed them to fly the plane for a few seconds if they wanted to and if they were not too frightened to try, but he was always ready to take over as soon as the plane started to do dangerous things.
George was one of those who took over the controls of the plane when he went up in it for the first time, and after the officer had taken them from him again. George thought that he had better ask a few questions to show how interested he was and how much he wanted to learn to fly. There were a number of instruments (仪表) in front of him, so he chose one and asked the officer what it was. The officer looked at him strangely for a moment and then answered, "That is the clock."

Which of tile following is TRUE（）

A:All students had traveled in commercial planes before. B:All students were nervous. C:Most students felt nervous traveling in commercial planes. D:Most students felt nervous when they were taken up in a fighter plan

Passage Three
The war had begun, and George had joined the air force. He wanted to be a pilot and after some months he managed to get to the air force training school, where they taught pilots to fly.
There, the first thing that new students had to do was to be taken up in a plane by an experienced pi lot, to give them some ideas what it felt like. Even those who had traveled as passengers in commercial (商业的) airline planes before found it strange to be in the cockpit (驾驶舱)of a small fighter plane, and most of the students felt nervous.
The officer who had to take the students up for their first flight allowed them to fly the plane for a few seconds if they wanted to and if they were not too frightened to try, but he was always ready to take over as soon as the plane started to do dangerous things.
George was one of those who took over the controls of the plane when he went up in it for the first time, and after the officer had taken them from him again. George thought that he had better ask a few questions to show how interested he was and how much he wanted to learn to fly. There were a number of instruments (仪表) in front of him, so he chose one and asked the officer what it was. The officer looked at him strangely for a moment and then answered, "That is the clock."

George asked the question because he wanted to show that he was（）

A:interesting B:not nervous C:different D:eager to learn

Passage Three
The war had begun, and George had joined the air force. He wanted to be a pilot and after some months he managed to get to the air force training school, where they taught pilots to fly’.
There, the first thing that new students had to do was to be taken up in a plane by an experienced pi lot, to give them some ideas what it felt like. Even those who had traveled as passengers in commercial (商业的 ) airline planes before found it strange to be in the cockpit (驾驶舱)of a small fighter plane, and most of the students felt nervous.
The officer who had to take the students up for their first flight allowed them to fly the plane for a few seconds if’ they wanted to and if they were not too frightened to try, but be was always ready to take over as soon as the plane started to do dangerous things.
George was one of those who took over the controls of the plane when he went up in it for the first time, and after the officer had taken them [Yom him again. George thought that he had better ask a few questions to show how interested he was and how much he wanted to learn to fly. There were a number of instruments (仪表) in front of him, so he chose one and asked the officer what it was. The officer looked at him strangely for a moment and then answered, "That is the clock."

George asked the question because he wanted to show that he was （）

A:interesting B:not nervous C:different D:eager to learn

Stage Fright Fall down as you come onstage. That’s an odd trick. Not recommended. But it saved the pianist Vladimir Feltsman when he was a teenager back in Moscow. The veteran cellist Mstislav Rostropovich tripped him purposely to cure him of pre-performance panic, Mr. Feltsman said,"All my fright was_______（51）. I already fell. What else could happen?" Today, music schools are addressing the problem of anxiety in classes that_______（52）with performance techniques and career preparation. There are a variety of strategies that musicians can learn to _______（53） stage fright and its symptoms: icy fingers, shaky limbs, racing heart, blank mind. Teachers and psychologists offer wide-ranging advice, from basics like learning pieces inside out, _______（54） mental discipline, such as visualizing a performance and taking steps to relax. Don’t _______（55） that you’re jittery ,they urge; some excitement is natural, even necessary for dynamic playing. And play in public often, simply for the experience. Psychotherapist Diane Nichols suggests’some _______（56） for the moments before performance, "Take two deep abdominal breaths, open up your shoulders, then smile,"she says."And not one of these’please don’t kill me’smiles. Then _______（57） three friendly faces in the audience, people you would communicate with and make music to, and make eye contact with them."She doesn’t want performers to think of the audience _______（58） a judge. Extreme demands by mentors or parents are often at the _______（59） of stage fright, says Dorothy Delay, a well-known violin teacher. She tells other teachers to demand only what their students are able to achieve. When Lynn Harrell was 20, he became the principal cellist of the Clever land Orchestra, and he suffered extreme stage fright."There were times when I got so _______（60） I was sure the audience could see my chest responding to the throbbing. It was just total panic. I came to a _______（61） where I thought,If I have to go through this to play music, I think I’ m going to look for another job. Recovery, he said, involved developing humility-recognizing that _______（62） his talent, he was fallible, and that an imperfect concert was not a disaster. It is not only young artists who suffer, of course. The legendary pianist Vladimir Horowitz’s nerves were famous. The great tenor Franco Corelli is another example."They had to push him on stage,"Soprano Renata Scotto recalled. _______（63）, success can make things worse."In the beginning of your career, when you’re scared to death, nobody knows who you are, and they don’t have any _______（64）,"Soprano June Anderson said."There’s _______（65） to lose. Later on, when you’re known, people are coming to see you, and they have certain expectations. You have a lot to lose." 　　 Anderson added,"I never stop being nervous until I’ve sung my last note."

A:decisive B:nervous C:excited D:grateful