Passage 2 Questions 6 to 10 are based on the following passage. 　Apart from the numerous benefits and conveniences people around the world can enjoy due to the Internet, there are also multiple drawbacks（缺陷）．There is one big problem almost any Internet user has encountered at least once in a lifetime-spam（垃圾邮件）．Unlike what people might think, spam is not just an annoying but harmless email message In fact, spam can be a dangerous tool capable of harming its receivers, and should be outlawed. 　Spam can cause real damage. If you wonder how a mere electronic letter can be harmful, first recall the usual contents of spam letters. Along with commercials and newsletters from electronic shops you have used just once, every email user is also at risk of receiving spam letter advertising pornography（淫秽内容），weapons, and other questionable content. Although it might be safe in the United States of America, the European Union, and some other western countries, it can be illegal in more religious countries-especially in Islamic states. A citizen of such a country who has received a spam letter with pornography can be thrown in jail for nothing. A person who never looked for such content might be accused of consuming it. This is not to mention child pornography, which is also distributed and advertised through spam messages. 　Having to deal with spam day by day can be stressful. Even though spam messages usually have an“unsubscribe”link, getting off a spammer’s list requires a number of actions, such as visiting the website, acknowledging unsubscription, sending confirmation letters, and so on. This might be not a problem in the case of being a target of just several spammers; however, usually Internet uses receive dozens of spam messages daily; unsubscribing from each of them is almost impossible. Many AOL users, who are now having hard times dealing with spam, report they are already close to the point when their mailboxes stop working. 　Spam can be harmful in yet another way. Rather often, spam emails contain viruses such as Trojans, worms, unblockable ads, and the like. Opening a message with such a program can instantly damage users’ computers. Spam is a tool for all kinds of frauds; for example, popular are inheritance frauds, when a user receives a personalized and seemingly trustworthy email from a lawyer informing them about inheriting a sum of money, or real estate, and requiring them to send some personal data for a final check. 　Spam often advertises low quality, fake, or misleading products; various self-improvement and plastic surgery services and products are also distributed through spam-no need to say they deal with more harm than use. All these facts speak in favor of the necessity to proclaim spam illegal.A computer can be damaged when people _____.

Passage 2 Questions 6 to 10 are based on the following passage. 　Apart from the numerous benefits and conveniences people around the world can enjoy due to the Internet, there are also multiple drawbacks（缺陷）．There is one big problem almost any Internet user has encountered at least once in a lifetime-spam（垃圾邮件）．Unlike what people might think, spam is not just an annoying but harmless email message In fact, spam can be a dangerous tool capable of harming its receivers, and should be outlawed. 　Spam can cause real damage. If you wonder how a mere electronic letter can be harmful, first recall the usual contents of spam letters. Along with commercials and newsletters from electronic shops you have used just once, every email user is also at risk of receiving spam letter advertising pornography（淫秽内容），weapons, and other questionable content. Although it might be safe in the United States of America, the European Union, and some other western countries, it can be illegal in more religious countries-especially in Islamic states. A citizen of such a country who has received a spam letter with pornography can be thrown in jail for nothing. A person who never looked for such content might be accused of consuming it. This is not to mention child pornography, which is also distributed and advertised through spam messages. 　Having to deal with spam day by day can be stressful. Even though spam messages usually have an“unsubscribe”link, getting off a spammer’s list requires a number of actions, such as visiting the website, acknowledging unsubscription, sending confirmation letters, and so on. This might be not a problem in the case of being a target of just several spammers; however, usually Internet uses receive dozens of spam messages daily; unsubscribing from each of them is almost impossible. Many AOL users, who are now having hard times dealing with spam, report they are already close to the point when their mailboxes stop working. 　Spam can be harmful in yet another way. Rather often, spam emails contain viruses such as Trojans, worms, unblockable ads, and the like. Opening a message with such a program can instantly damage users’ computers. Spam is a tool for all kinds of frauds; for example, popular are inheritance frauds, when a user receives a personalized and seemingly trustworthy email from a lawyer informing them about inheriting a sum of money, or real estate, and requiring them to send some personal data for a final check. 　Spam often advertises low quality, fake, or misleading products; various self-improvement and plastic surgery services and products are also distributed through spam-no need to say they deal with more harm than use. All these facts speak in favor of the necessity to proclaim spam illegal.The spam problem should be taken seriously because spam _____.

Passage 3 Questions 11 to 15 are based on the following passage. 　Icons are objects in our environment that evoke deeply-felt emotional responses from those for whom they have a special, shared meaning. These magical items also function in popular art as a type of expression and provide both the creator and the audience with shared cultural experiences that carry with them a deep and meaningful significance far beyond their physical reality. 　Icons have a type of religious significance. It is this religious significance that provides them with their basic power. A few years ago there was a story about a silver chalice（圣杯）brought to a small town in Brazil by a visiting American priest which bore the following words:“In memory of Marilyn Monroe.”A remarkable mixture of the sacred and the secular（世俗的）,an integration of the strengths of both into a super icon. 　The Western romance is at its very basis religious in its implications. The hero, standing between the wilderness on the one hand and civilization on the other, balances, much like a priest, between the powers of light and darkness because he has the strengths of both and uses them against the weaknesses of the wilderness. The hero-priest functions as a nineteenth-century savior by combining NEW Testament mercy with Old Testament justice. 　In the Western romance the gun, the horse, and the landscape are central icons. While the horse enables the hero to move easily about the virtue-laden（富有美德的）and vice-ridden landscape, the gun aids him in the final judgment between good and evil. The hero’s gun must, of course, be special, almost magical; it is given the power with the forces of life and death, right and wrong. The hero’s gun is not a tool, but a real extension of the manhood and the “rightness”of the hero-savior. Speaking of the horse as an icon, it is representative of the force of nature, mute evidence of the hero’s mastery over nature, of his ability to command respect from nature’s forces. Consistent with the iconic significance of the gun and the horse, is the landscape itself, which finds its most complete expression in film. The landscape is not just a backdrop against which the story is set, but rather an integral part of the action. It is the wilderness in all of its positive-negative completeness, being able to provide spiritual and physical healthfulness for the modern experience.Which of the following is closest in meaning to the word“icon”?

Passage 3 Questions 11 to 15 are based on the following passage. 　Icons are objects in our environment that evoke deeply-felt emotional responses from those for whom they have a special, shared meaning. These magical items also function in popular art as a type of expression and provide both the creator and the audience with shared cultural experiences that carry with them a deep and meaningful significance far beyond their physical reality. 　Icons have a type of religious significance. It is this religious significance that provides them with their basic power. A few years ago there was a story about a silver chalice（圣杯）brought to a small town in Brazil by a visiting American priest which bore the following words:“In memory of Marilyn Monroe.”A remarkable mixture of the sacred and the secular（世俗的）,an integration of the strengths of both into a super icon. 　The Western romance is at its very basis religious in its implications. The hero, standing between the wilderness on the one hand and civilization on the other, balances, much like a priest, between the powers of light and darkness because he has the strengths of both and uses them against the weaknesses of the wilderness. The hero-priest functions as a nineteenth-century savior by combining NEW Testament mercy with Old Testament justice. 　In the Western romance the gun, the horse, and the landscape are central icons. While the horse enables the hero to move easily about the virtue-laden（富有美德的）and vice-ridden landscape, the gun aids him in the final judgment between good and evil. The hero’s gun must, of course, be special, almost magical; it is given the power with the forces of life and death, right and wrong. The hero’s gun is not a tool, but a real extension of the manhood and the “rightness”of the hero-savior. Speaking of the horse as an icon, it is representative of the force of nature, mute evidence of the hero’s mastery over nature, of his ability to command respect from nature’s forces. Consistent with the iconic significance of the gun and the horse, is the landscape itself, which finds its most complete expression in film. The landscape is not just a backdrop against which the story is set, but rather an integral part of the action. It is the wilderness in all of its positive-negative completeness, being able to provide spiritual and physical healthfulness for the modern experience.Why are icons important for artists?

Passage 3 Questions 11 to 15 are based on the following passage. 　Icons are objects in our environment that evoke deeply-felt emotional responses from those for whom they have a special, shared meaning. These magical items also function in popular art as a type of expression and provide both the creator and the audience with shared cultural experiences that carry with them a deep and meaningful significance far beyond their physical reality. 　Icons have a type of religious significance. It is this religious significance that provides them with their basic power. A few years ago there was a story about a silver chalice（圣杯）brought to a small town in Brazil by a visiting American priest which bore the following words:“In memory of Marilyn Monroe.”A remarkable mixture of the sacred and the secular（世俗的）,an integration of the strengths of both into a super icon. 　The Western romance is at its very basis religious in its implications. The hero, standing between the wilderness on the one hand and civilization on the other, balances, much like a priest, between the powers of light and darkness because he has the strengths of both and uses them against the weaknesses of the wilderness. The hero-priest functions as a nineteenth-century savior by combining NEW Testament mercy with Old Testament justice. 　In the Western romance the gun, the horse, and the landscape are central icons. While the horse enables the hero to move easily about the virtue-laden（富有美德的）and vice-ridden landscape, the gun aids him in the final judgment between good and evil. The hero’s gun must, of course, be special, almost magical; it is given the power with the forces of life and death, right and wrong. The hero’s gun is not a tool, but a real extension of the manhood and the “rightness”of the hero-savior. Speaking of the horse as an icon, it is representative of the force of nature, mute evidence of the hero’s mastery over nature, of his ability to command respect from nature’s forces. Consistent with the iconic significance of the gun and the horse, is the landscape itself, which finds its most complete expression in film. The landscape is not just a backdrop against which the story is set, but rather an integral part of the action. It is the wilderness in all of its positive-negative completeness, being able to provide spiritual and physical healthfulness for the modern experience.In the Western romance, the hero has to balance between the powers of light and darkness to _____.

Passage 3 Questions 11 to 15 are based on the following passage. 　Icons are objects in our environment that evoke deeply-felt emotional responses from those for whom they have a special, shared meaning. These magical items also function in popular art as a type of expression and provide both the creator and the audience with shared cultural experiences that carry with them a deep and meaningful significance far beyond their physical reality. 　Icons have a type of religious significance. It is this religious significance that provides them with their basic power. A few years ago there was a story about a silver chalice（圣杯）brought to a small town in Brazil by a visiting American priest which bore the following words:“In memory of Marilyn Monroe.”A remarkable mixture of the sacred and the secular（世俗的）,an integration of the strengths of both into a super icon. 　The Western romance is at its very basis religious in its implications. The hero, standing between the wilderness on the one hand and civilization on the other, balances, much like a priest, between the powers of light and darkness because he has the strengths of both and uses them against the weaknesses of the wilderness. The hero-priest functions as a nineteenth-century savior by combining NEW Testament mercy with Old Testament justice. 　In the Western romance the gun, the horse, and the landscape are central icons. While the horse enables the hero to move easily about the virtue-laden（富有美德的）and vice-ridden landscape, the gun aids him in the final judgment between good and evil. The hero’s gun must, of course, be special, almost magical; it is given the power with the forces of life and death, right and wrong. The hero’s gun is not a tool, but a real extension of the manhood and the “rightness”of the hero-savior. Speaking of the horse as an icon, it is representative of the force of nature, mute evidence of the hero’s mastery over nature, of his ability to command respect from nature’s forces. Consistent with the iconic significance of the gun and the horse, is the landscape itself, which finds its most complete expression in film. The landscape is not just a backdrop against which the story is set, but rather an integral part of the action. It is the wilderness in all of its positive-negative completeness, being able to provide spiritual and physical healthfulness for the modern experience.What does the horse in the Western romance represent?

Passage 3 Questions 11 to 15 are based on the following passage. 　Icons are objects in our environment that evoke deeply-felt emotional responses from those for whom they have a special, shared meaning. These magical items also function in popular art as a type of expression and provide both the creator and the audience with shared cultural experiences that carry with them a deep and meaningful significance far beyond their physical reality. 　Icons have a type of religious significance. It is this religious significance that provides them with their basic power. A few years ago there was a story about a silver chalice（圣杯）brought to a small town in Brazil by a visiting American priest which bore the following words:“In memory of Marilyn Monroe.”A remarkable mixture of the sacred and the secular（世俗的）,an integration of the strengths of both into a super icon. 　The Western romance is at its very basis religious in its implications. The hero, standing between the wilderness on the one hand and civilization on the other, balances, much like a priest, between the powers of light and darkness because he has the strengths of both and uses them against the weaknesses of the wilderness. The hero-priest functions as a nineteenth-century savior by combining NEW Testament mercy with Old Testament justice. 　In the Western romance the gun, the horse, and the landscape are central icons. While the horse enables the hero to move easily about the virtue-laden（富有美德的）and vice-ridden landscape, the gun aids him in the final judgment between good and evil. The hero’s gun must, of course, be special, almost magical; it is given the power with the forces of life and death, right and wrong. The hero’s gun is not a tool, but a real extension of the manhood and the “rightness”of the hero-savior. Speaking of the horse as an icon, it is representative of the force of nature, mute evidence of the hero’s mastery over nature, of his ability to command respect from nature’s forces. Consistent with the iconic significance of the gun and the horse, is the landscape itself, which finds its most complete expression in film. The landscape is not just a backdrop against which the story is set, but rather an integral part of the action. It is the wilderness in all of its positive-negative completeness, being able to provide spiritual and physical healthfulness for the modern experience.In the Western romance, the landscape as a backdrop _____.

Passage 4 Questions 16 to 20 are based on the following passage. 　I was supposed to have been a nice, church-going Swiss housewife, but I ended up a psychiatrist in the American Southwest for my belief in the power of unconditional love that set me to work with AIDS-infected patients. 　I was destined to work with dying patients. I had no choice when I encountered my first AIDS patient. I felt called to travel some 250,000 miles each year to hold workshops that helped people cope with the most painful aspects of life, death and the transition between the two. 　Later in my life, I was compelled to buy a 300-acre farm in rural Virginia, and I poured all the money I earned from publishing and lectures into making it a reality. I constructed a healing center where I held workshops, allowing me to cut down on my busy travel schedule. I was planning to adopt AIDS-infected babies, who would enjoy however many days remained of their lives in the splendor of the outdoors. After announcing my intention of adopting AIDS-infected babies, I became the most despised （厌恶） person in the whole Shenandoah Valley, and even though I soon abandoned my plans, there was a group of men who did everything in their power short of killing me to get me to leave. They fired bullets through my windows and shot at my animals. 　The simple life on the farm was everything to me. The fields rolled out as far as I could see. Ancient trees offered their silent wisdom. 　Then, on October 6, 1994, my house was set on fire. It burned down to the ground and all my papers were destroyed. Everything I owned turned to ash. 　I was hurrying through the airport in Baltimore, trying to catch a plane home, when I got the news that it was on fire. The friend who told me begged me not to go home, not yet. But my whole life I had been told not to become a doctor, not to talk with dying patients, not to start an AIDS hospice （临终安养院）, and each time I had stubbornly （倔强地） done what felt right rather than what was expected. 　That is how I have lived. If I am opinionated and independent, if I am stuck in my ways, so what? That is me.Believing in the power of unconditional love, the author__________ .

Passage 4 Questions 16 to 20 are based on the following passage. 　I was supposed to have been a nice, church-going Swiss housewife, but I ended up a psychiatrist in the American Southwest for my belief in the power of unconditional love that set me to work with AIDS-infected patients. 　I was destined to work with dying patients. I had no choice when I encountered my first AIDS patient. I felt called to travel some 250,000 miles each year to hold workshops that helped people cope with the most painful aspects of life, death and the transition between the two. 　Later in my life, I was compelled to buy a 300-acre farm in rural Virginia, and I poured all the money I earned from publishing and lectures into making it a reality. I constructed a healing center where I held workshops, allowing me to cut down on my busy travel schedule. I was planning to adopt AIDS-infected babies, who would enjoy however many days remained of their lives in the splendor of the outdoors. After announcing my intention of adopting AIDS-infected babies, I became the most despised （厌恶） person in the whole Shenandoah Valley, and even though I soon abandoned my plans, there was a group of men who did everything in their power short of killing me to get me to leave. They fired bullets through my windows and shot at my animals. 　The simple life on the farm was everything to me. The fields rolled out as far as I could see. Ancient trees offered their silent wisdom. 　Then, on October 6, 1994, my house was set on fire. It burned down to the ground and all my papers were destroyed. Everything I owned turned to ash. 　I was hurrying through the airport in Baltimore, trying to catch a plane home, when I got the news that it was on fire. The friend who told me begged me not to go home, not yet. But my whole life I had been told not to become a doctor, not to talk with dying patients, not to start an AIDS hospice （临终安养院）, and each time I had stubbornly （倔强地） done what felt right rather than what was expected. 　That is how I have lived. If I am opinionated and independent, if I am stuck in my ways, so what? That is me.The author built a healing center to __________ .

Passage 4 Questions 16 to 20 are based on the following passage. 　I was supposed to have been a nice, church-going Swiss housewife, but I ended up a psychiatrist in the American Southwest for my belief in the power of unconditional love that set me to work with AIDS-infected patients. 　I was destined to work with dying patients. I had no choice when I encountered my first AIDS patient. I felt called to travel some 250,000 miles each year to hold workshops that helped people cope with the most painful aspects of life, death and the transition between the two. 　Later in my life, I was compelled to buy a 300-acre farm in rural Virginia, and I poured all the money I earned from publishing and lectures into making it a reality. I constructed a healing center where I held workshops, allowing me to cut down on my busy travel schedule. I was planning to adopt AIDS-infected babies, who would enjoy however many days remained of their lives in the splendor of the outdoors. After announcing my intention of adopting AIDS-infected babies, I became the most despised （厌恶） person in the whole Shenandoah Valley, and even though I soon abandoned my plans, there was a group of men who did everything in their power short of killing me to get me to leave. They fired bullets through my windows and shot at my animals. 　The simple life on the farm was everything to me. The fields rolled out as far as I could see. Ancient trees offered their silent wisdom. 　Then, on October 6, 1994, my house was set on fire. It burned down to the ground and all my papers were destroyed. Everything I owned turned to ash. 　I was hurrying through the airport in Baltimore, trying to catch a plane home, when I got the news that it was on fire. The friend who told me begged me not to go home, not yet. But my whole life I had been told not to become a doctor, not to talk with dying patients, not to start an AIDS hospice （临终安养院）, and each time I had stubbornly （倔强地） done what felt right rather than what was expected. 　That is how I have lived. If I am opinionated and independent, if I am stuck in my ways, so what? That is me.Why did the author try to leave the farm?