材料题根据下列材料，回答问1~20题
The idea that plants have some degree of consciousness first took root in the early 2000s; the term “plant neurobiology” was 1 around the notion that some aspects of plant behavior could be 2 to intelligence in animals. 3 plants lack brains, the firing of electrical signals in their stems and leaves nonetheless triggered responses that 4 consciousness, researchers previously reported. But such an idea is untrue, according to a new opinion article. Plant biology is complex and fascinating, but it 5 so greatly from that of animals that so-called 6 of plants’ intelligence is inconclusive, the authors wrote. Beginning in 2006, some scientists have 7 that plants possess neuron—like cells that interact with hormones and neurotransmitters, 8 “a plant nervous system, 9 to that in animals,” said lead study author Lincoln Taiz, “They 10 claimed that plants have ‘brain-like command centers’ at their root tips.” This 11 makes sense if you simplify the workings of a complex brain, 12 it to an array of electrical pulses; cells in plants also communicate through electrical signals. 13, the signaling in a plant is only 14 similar to the firing in a complex animal brain, which is more than “a mass of cells that communicate by electricity,” Taiz said. “For consciousness to evolve, a brain with a threshold 15 of complexity and capacity is required,” he 16. “Since plants don’t have nervous systems, the 17 that they have consciousness are effectively zero.” And what’s so great about consciousness, anyway? Plants can’t run away from 18, so investing energy in a body system which 19 a threat and can feel pain would be a very 20 evolutionary strategy, according to the article.

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材料题根据以下材料，回答21~25题
People often complain that plastics are too durable. Water bottles, shopping bags, and other trash litter the planet, from Mount Everest to the Mariana Trench, because plastics are everywhere and don’t break down easily. But some plastic materials change over time. They crack and frizzle. They “weep” out additives. They melt into sludge. All of which creates huge headaches for institutions, such as museums, trying to preserve culturally important objects. The variety of plastic objects at risk is dizzying: early radios, avant-garde sculptures, celluloid animation stills from Disney films, the first artificial heart.
Certain artifacts are especially vulnerable because some pioneers in plastic art didn’t always know how to mix ingredients properly, says Thea van Oosten, a polymer chemist who, until retiring a few years ago, worked for decades at the Cultural Heritage Agency of the Netherlands. “It’s like baking a cake: If you don’t have exact amounts, it goes wrong,” she says. “The object you make is already a time bomb.”
And sometimes, it’s not the artist’s fault. In the 1960s, the Italian artist Picro Gilardi began to create hundreds of bright, colorful foam pieces. Those pieces included small beds of roses and other items as well as a few dozen “nature carpets”—large rectangles decorated with foam pumpkins, cabbages, and watermelons. He wanted viewers to walk around on the carpets—which meant they had to be durable.
Unfortunately, the polyurethane foam he used is inherently unstable. It’s especially vulnerable to light damage, and by the mid-1990s, Gilardi’s pumpkins, roses, and other figures were splitting and crumbling. Museums locked some of them away in the dark. So van Oosten and her colleagues worked to preserve Gilardi’s sculptures. They infused some with stabilizing and consolidating chemicals. Van Oosten calls those chemicals “sunscreens” because their goal was to prevent further light damage and rebuild worn polymer fibers. She is proud that several sculptures have even gone on display again, albeit sometimes beneath protective cases.
Despite success stories like van Oosten’s, preservation of plastics will likely get harder. Old objects continue to deteriorate. Worse, biodegradable plastics designed to disintegrate, are increasingly common. And more is at stake here than individual objects. Joana Lia Ferreira, an assistant professor of conservation and restoration at the NOVA School of Science and Technology, notes that archaeologists first defined the great material ages of human history—Stone Age, Iron Age, and so on—after examining artifacts in museums. We now live in an age of plastic, she says, “and what we decide to collect today, what we decide to preserve ... will have a strong impact on how in the future we’ll be seen.”

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材料题根据以下材料，回答41~45题
（41） Teri Byrd I am a veterinarian who was a zoo and wildlife park employee for years before obtaining my veterinary degree. Both the wildlife park and zoo claimed to be operating for the benefit of the animals and for conservation purposes. This claim was false. Neither one of them actually participated in any contributions to animal research or conservation. They are profitable institutions whose bottom line is much more important than the condition of the animals. Animals despise being captives in zoos. No matter how you “enhance” enclosures, they do not allow for freedom, a natural diet or adequate exercise. Animals end up stressed and unhealthy or dead. It’s past time for transparency with these institutions, and it’s past time to eliminate zoos from our culture. （42） Karen R. Sime As a zoology professor and, thanks to my kids, a frequent zoo visitor, I agree with Emma Marris that zoo displays can be sad and cruel. But she underestimates the educational value of zoos. The zoology program at my State University of New York campus attracts students for whom zoo visits were the crucial formative experience that led them to major in biological sciences. These are mostly students who had no opportunity as children to travel to wilderness areas, wildlife refuges or national parks. Although good TV shows can help stir children’s interest in conservation, they cannot replace the excitement of a zoo visit as an intense, immersive and interactive experience. They also get to meet adults who have turned their love for animals into a career, and with whom they can identify. Surely there must be some middle ground that balances zoos’ treatment of animals with their educational potential. （43） Greg Newberry Emma Marris’ article is an insult and a disservice to the thousands of passionate, dedicated people who work tirelessly to improve the lives of animals and protect our planet. Ms. Marris uses outdated research and decades-old examples to undermine the noble mission of organizations committed to connecting children to a world beyond their own. Zoos are at the forefront of conservation and constantly evolving to improve how they care for animals and protect each species in its natural habitat. Are there tragedies? Of course. But they are the exception, not the norm that Ms. Marris implies. A distressed animal in a zoo will get as good or better treatment than most of us at our local hospital. （44） Dean Gallea As a fellow environmentalist, animal-protection advocate and longtime vegetarian, I could properly be in the same camp as Emma Marris on the issue of zoos. But I believe that well-run zoos, and the heroic animals that suffer their captivity, do serve a higher purpose. Were it not for opportunities to observe these beautiful, wild creatures close to home, many more people would be driven by their fascination to travel to wild areas to seek out, disturb and even hunt them down. Zoos are, in that sense, similar to natural history and archaeology museums, serving to satisfy our need for contact with these living creatures while leaving the vast majority undisturbed in their natural environments. （45） John Fraser Emma Marris selectively describes and misrepresents the findings of our research. Our studies focused on the impact of zoo experiences on how people think about themselves and nature, and the data points extracted from our studies do not, in any way, discount what is learned in a zoo visit. Zoos are tools for thinking. Our research provides strong support for the value of zoos in connecting people with animals and with nature. Zoos provide a critical voice for conservation and environmental protection. They afford an opportunity for people from all backgrounds to encounter a range of animals, from drone bees to springbok or salmon, to better understand the natural world we live in.

A.Zoos, which spare no effort to take care of animals, should not be subjected to unfair criticism.

B. To pressure zoos to spend less on their animals would lead to inhumane outcomes for the precious creatures in their care.

C. While animals in captivity deserve sympathy, zoos play a significant role in starting young people down the path of related sciences.

D. Zoos save people trips to wilderness areas and thus contribute to wildlife conservation.

E. For wild animals that cannot be returned to their natural habitats, zoos offer the best alternative.

F. Zoos should have been closed down as they prioritize money making over animals’ well-being.

G. Marris distorts our findings which actually prove that zoos serve as an indispensable link between man and nature.

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请将材料中46-50划线的句子翻译成中文
The Man Who Broke Napoleon’s Codes - Mark Urban Between 1807 and 1814 the Iberian Peninsula （comprising Spain and Portugal） was the scene of a titanic and merciless struggle. It took place on many different planes: between Napoleon’s French army and the angry inhabitants; between the British, ever keen to exacerbate the emperor’s difficulties, and the marshals sent from Paris to try to keep them in check; between new forces of science and meritocracy and old ones of conservatism and birth. （46） It was also, and this is unknown even to many people well read about the period, a battle between those who made codes and those who broke them. I first discovered the Napoleonic cryptographic battle a few years ago when I was reading Sir Charles Oman’s epic History of the Peninsular War. In volume V he had attached an appendix, “The Scovell Ciphers.” （47） It listed many documents in code that had been captured from the French army of Spain, and whose secrets had been revealed by the work of one George Scovell, an officer in British headquarters. Oman rated Scovell’s significance highly, but at the same time, the general nature of his History meant that （48） he could not analyze carefully what this obscure officer may or may not have contributed to that great struggle between nations or indeed tell us anything much about the man himself. I was keen to read more, but was surprised to find that Oman’s appendix, published in 1914, was the only considered thing that had been written about this secret war. I became convinced that this story was every bit as exciting and significant as that of Enigma and the breaking of German codes in the Second World War. The question was, could it be told? Studying Scovell’s papers at the Public Record Office, London, I found that he had left an extensive journal and copious notes about his work in the peninsula. What was more, many original French dispatches had been preserved in this collection. I realized at once that this was priceless. （49） There may have been many spies and intelligence officers during the Napoleonic Wars, but it is usually extremely difficult to find the material they actually provided or worked on. Furthermore, Scovell’s story involved much more than just intelligence work. His status in Lord Wellington’s headquarters and the recognition given to him for his work were all bound up with the class politics of the army at the time. His tale of self-improvement and hard work would make a fascinating biography in its own right, but represents something more than that. （50） Just as the code breaking has its wider relevance in the struggle for Spain, so his attempts to make his way up the promotion ladder speak volumes about British society. It was also, and this is unknown even to many people well read about the period, a battle between those who made codes and those who broke them.

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Write an e-mail to a professor at a British university, inviting him/her to organize a team for the international innovation to be held at your university.
（1） You should write about 100 words on the ANSWER SHEET.
（2） Do not sign your own name at the end. Use “Li Ming” instead.
（3） Do not write the address.（）。

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Write an essay of 160-200 words based on the following drawing. In your essay, you should
（1） describe the drawing briefly,
（2） explain its intended meaning, and then
（3） give your comments.
You should write neatly on the ANSWER SHEET. （20 points）

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