Reading--China's new media in 2010
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Wen Jiabao 'well-being' vow as China parliament opens
Both the economy and social issues topped Wen Jiabao's final work report to the NPC Continue reading the main story
China's New Leaders China sets 7.5% growth target Leaders meet for Congress Watch How serious is Xi on corruption? Will Xi Jinping be different?
China's Premier Wen Jiabao promised stable growth, anti-corruption efforts and better welfare provision as he opened an annual session of parliament.
Mr Wen, whose work report traditionally begins the session, also called for more balanced development in a speech on past achievements and future plans. This National People's Congress will see the final stage of the country's once-in-a-decade leadership change.
关于瞭望华章,理解当代中国英文作文
关于瞭望华章,理解当代中国英文作文全文共3篇示例，供读者参考篇1Understanding Contemporary China through the Perspective of Liao Wang Hua ZhangIntroductionLiao Wang Hua Zhang, which translates to "Observing China and the World" in English, is a Chinese idiom that reflects the importance of keeping an eye on both domestic and international affairs. In today's globalized world, understanding China's role and influence in the international arena is crucial. This essay aims to explore the significance of observing China through the lens of Liao Wang Hua Zhang and how it can help us gain a deeper understanding of contemporary China.China's Rise in the Global ArenaOver the past few decades, China has emerged as a major player in the global economy, politics, and culture. With its rapid economic growth and increasing influence on the world stage, China has become a key player in shaping the future of international relations. By observing China through theperspective of Liao Wang Hua Zhang, we can gain insights into the country's domestic policies, foreign relations, and global ambitions.Domestic Policies and ReformChina's domestic policies play a crucial role in shaping the country's economic development and social stability. By closely observing China's domestic policies, we can gain a better understanding of the challenges and opportunities facing the country. For example, China's Belt and Road Initiative, which aims to enhance connectivity and cooperation among countries along the ancient Silk Road routes, has significant implications for global trade and economic development. By studying China's domestic policies, we can analyze the impact of initiatives like the Belt and Road Initiative on the global economy and international relations.Foreign Relations and GeopoliticsChina's foreign relations and geopolitical ambitions are also key areas of interest for observers of contemporary China. By examining China's interactions with other countries and international organizations, we can gain insights into the country's strategic priorities and objectives. For example, China's growing influence in Asia-Pacific region and its assertive stanceon territorial disputes in the South China Sea have raised concerns among neighboring countries and the international community. By observing China's foreign relations through the perspective of Liao Wang Hua Zhang, we can analyze the implications of China's rise for regional stability and global security.Global Ambitions and Soft PowerChina's global ambitions and soft power strategies are another important aspect to consider when observing contemporary China. As China seeks to expand its influence on the world stage, it is increasingly using soft power tools such as cultural diplomacy, media outreach, and educational exchanges to shape international perceptions of the country. By studying China's soft power strategies, we can gain insights into how the country is seeking to enhance its image and influence in the global community.ConclusionIn conclusion, observing China through the perspective of Liao Wang Hua Zhang is essential for gaining a comprehensive understanding of contemporary China's domestic policies, foreign relations, and global ambitions. By closely following China's economic, political, and cultural developments, we cananalyze the country's role and impact in the international arena. As China continues to rise as a major global power, it is imperative that we pay close attention to its actions and policies in order to navigate the complex dynamics of the 21st century global landscape.篇2The 21st century has witnessed the rise of China as a global superpower, with its rapid economic growth, technological advancements, and increasing influence on the world stage. As the world looks to China for a better understanding of its culture, history, and future trajectory, platforms like Liaowang Huazhang play a crucial role in promoting intercultural understanding and facilitating dialogue between China and the rest of the world.Liaowang Huazhang, which translates to "Understanding China" in English, is a non-profit organization founded in 2008 with the aim of promoting mutual understanding and cooperation between China and other countries. Through its various programs, including academic conferences, cultural exchanges, and research projects, Liaowang Huazhang seeks to bridge the gap between China and the international community and foster a more inclusive and harmonious global society.One of the key objectives of Liaowang Huazhang is to provide a platform for foreign scholars, policymakers, and opinion leaders to engage with Chinese experts and officials on a wide range of issues, including politics, economics, culture, and society. By facilitating dialogue and exchange of ideas, Liaowang Huazhang helps to dispel misconceptions and stereotypes about China and promote a more nuanced understanding of the country and its people.In addition to promoting dialogue and exchange, Liaowang Huazhang also works to raise awareness about Chinese culture, history, and traditions through its various educational programs and publications. By showcasing the rich cultural heritage of China to international audiences, Liaowang Huazhang helps to foster greater appreciation and respect for Chinese civilization and its contributions to the global community.Moreover, Liaowang Huazhang plays a vital role in promoting people-to-people exchanges between China and other countries, by organizing cultural events, language courses, and youth exchange programs. By bringing together young people from different backgrounds and fostering friendships and cooperation, Liaowang Huazhang helps to build bridges between nations and cultivate a new generation of globalcitizens who are open-minded, culturally sensitive, and committed to promoting peace and understanding in the world.In conclusion, Liaowang Huazhang is a valuable platform for promoting mutual understanding and cooperation between China and the international community. By facilitating dialogue, promoting cultural exchange, and fostering people-to-people connections, Liaowang Huazhang contributes to building a more inclusive, harmonious, and prosperous global society in the 21st century.篇3Understanding Contemporary China through Liao Wang HuazhangIntroductionIn recent years, China has been rapidly developing and attracting global attention. To gain a deeper understanding of contemporary China, it is essential to explore various aspects of its society, culture, economy, and politics. One valuable resource for gaining insights into China is the publication "Liao Wang Huazhang" (瞭望华章), a prominent Chinese magazine that provides in-depth analysis and commentary on a wide range of topics. This essay will discuss how reading "Liao WangHuazhang" can help individuals better comprehend and appreciate the complexities of contemporary China.Background of "Liao Wang Huazhang""Liao Wang Huazhang" is a magazine that covers a diverse range of topics, including politics, economy, culture, technology, and international relations. It was first published in 1985 and has since become one of the most influential publications in China. The magazine is known for its high-quality journalism, insightful commentary, and in-depth reporting on both domestic and international issues. It is widely read by scholars, policymakers, business leaders, and the general public.Understanding Chinese PoliticsOne of the key areas that "Liao Wang Huazhang" covers is Chinese politics. The magazine provides analysis and commentary on the latest developments in the Chinese government, including policy decisions, leadership changes, and political trends. By reading articles in "Liao Wang Huazhang," readers can gain a better understanding of the inner workings of the Chinese Communist Party and the dynamics of Chinese politics.Economic InsightsIn addition to politics, "Liao Wang Huazhang" also offers valuable insights into the Chinese economy. The magazine covers topics such as economic reforms, growth trends, industrial policies, and trade relations. By reading articles on these topics, readers can learn about the challenges and opportunities facing the Chinese economy and gain a better understanding of China's role in the global economy.Cultural PerspectivesFurthermore, "Liao Wang Huazhang" explores various aspects of Chinese culture, including literature, art, music, film, and traditional customs. The magazine showcases the richness and diversity of Chinese culture and highlights the ways in which it is evolving in the modern world. By reading articles on Chinese culture, readers can deepen their appreciation for the cultural heritage of China and gain insights into how it is shaping contemporary Chinese society.International RelationsAnother important area covered by "Liao Wang Huazhang" is international relations. The magazine analyzes China's foreign policy, diplomatic initiatives, and global engagement. By reading articles on these topics, readers can better understand China'sposition in the international community and the geopolitical dynamics shaping its relationships with other countries.ConclusionIn conclusion, "Liao Wang Huazhang" is a valuable resource for gaining insights into contemporary China. The magazine covers a wide range of topics, including politics, economy, culture, and international relations, providing readers within-depth analysis and commentary on key issues. By reading articles in "Liao Wang Huazhang," individuals can deepen their understanding of China's society, culture, economy, and politics, and gain a more nuanced perspective on this complex and rapidly changing country. Whether you are a student, a researcher, a business professional, or simply a curious reader, "Liao Wang Huazhang" offers a wealth of information and insights that can help you navigate the complexities of contemporary China.。
二十一世纪英文报初二765期答案
二十一世纪英文报初二765期答案Enthusiasm of Gen Zers light up the Games (P4-5)Pre-readingThe 24th Winter Olympics were held successfully in Beijing this year. There were many great moments during the competitions. What impressed you most?While reading“Welcome to China!”This simple greeting from volunteer Sun Zeyu warmed the heart of US snowboarder (单板滑雪运动员) Tessa Maud at the Olympics opening ceremony (开幕式).volunteer [ˌvɒlənˈtɪə(r)] : n. 志愿者，自告奋勇者翻译：这句来自志愿者简单的问候练习：目前她在当地的一家学校做志愿工作，一周去3天。
She is a volunteer at a local school.“That guy who had said ‘Welcome to China’ literally (真正地) just makes me tear up every time because they [volunteers] are so nice. We feel so welcomed,” said Maud in the video she shared on TikTok.tear up：（因为情绪激动）眼里含泪（几乎要开始哭泣）;翻译：那个说“欢迎来到中国”的家伙真的每次都让我热泪盈眶因为他们人太好了。
练习：我切洋葱时会流泪。
I tear up if I have to cut onions.Sun, a junior student from Tsinghua University, is an example of how Generation Z (people born between 1995 and 2010) promoted cultural and people-to-people exchanges at the Beijing Winter Games. Active and open-minded, they bridge gaps in their own ways. Their pleasant personalities, global vision and new-age thinking made the Games even more fantastic.promote [prəˈməʊt] ：v. 促进; 促销; 晋升; 使…升级翻译：他是Z一代促进文化和人际交流的一个例子。
书简阅中国英文
书简阅中国英文A Brief Reading of China in EnglishChina has long been a land of mystery and fascination for the Western world. From the ancient Silk Road to the modern economic powerhouse, the Middle Kingdom has captivated the imaginations of countless travelers, scholars, and writers. As the world's most populous country and one of the oldest civilizations, China's rich history, diverse culture, and rapid transformation have been the subject of numerous books and articles written in English.One of the earliest and most influential works on China in English is "The Travels of Marco Polo," a 13th-century travelogue that introduced the Western world to the wonders of the Mongol Empire and the grandeur of the Chinese dynasties. Polo's vivid descriptions of the Kublai Khan's court, the bustling cities, and the technological marvels of China sparked the curiosity of European readers and laid the foundation for a long-standing fascination with the Middle Kingdom.In the centuries that followed, a steady stream of English-language literature on China continued to emerge, reflecting the evolving perspectives and experiences of Western authors. From the missionary accounts of the 17th and 18th centuries, which often portrayed China through the lens of Christian evangelism, to the more nuanced and analytical works of the 19th and 20th centuries, these writings have played a crucial role in shaping the West's understanding of China.One particularly influential work from this period is "The Middle Kingdom" by Samuel Wells Williams, published in 1848. This comprehensive two-volume treatise on Chinese civilization, covering everything from geography and history to language and customs, became a standard reference for generations of Sinologists and China scholars. Williams' meticulous research and insightful observations provided a detailed and authoritative portrait of China that helped to dispel many of the misconceptions and stereotypes that had previously dominated Western perceptions.As the 20th century progressed, the literature on China in English became increasingly diverse and multifaceted. The rise of modern China, with its dramatic political, economic, and social transformations, inspired a new wave of writing that sought to grapple with the country's rapid changes and their global implications. Seminal works such as "China Shakes the World" byJack Belden and "The Search for Modern China" by Jonathan Spence offered nuanced and comprehensive accounts of China's tumultuous 20th-century history, shedding light on the country's complex internal dynamics and its evolving role on the world stage.Alongside these historical and analytical works, a rich tradition of English-language literature on Chinese culture, art, and philosophy has also emerged. Books like "The Book of Tea" by Okakura Kakuzō and "The Tao of Pooh" by Benjamin Hoff have introduced Western readers to the subtleties and depths of Chinese thought, helping to bridge the cultural divide and foster a greater appreciation for the Middle Kingdom's intellectual and artistic heritage.In recent decades, the proliferation of English-language writing on China has only accelerated, reflecting the country's growing global prominence and the increasing interconnectedness of the world. From memoirs and travelogues to policy analyses and literary fiction, the range of perspectives and narratives on China has expanded exponentially, offering readers a multifaceted and dynamic portrait of this ancient and rapidly evolving nation.One particularly noteworthy trend in this contemporary literature is the emergence of a new generation of Chinese authors writing in English, who are providing fresh and often deeply personal insights into the complexities of Chinese identity, culture, and society. Workslike "Wild Swans" by Jung Chang and "The Joy Luck Club" by Amy Tan have resonated with readers worldwide, shedding light on the lived experiences of Chinese individuals and communities and challenging traditional Western stereotypes.Additionally, the rise of digital media and the internet has further expanded the reach and diversity of English-language literature on China. Blogs, social media platforms, and online publications have given voice to a wide range of perspectives, from seasoned China experts to ordinary citizens, offering readers a more immediate and multifaceted understanding of the country's rapidly evolving landscape.As the world continues to grapple with the implications of China's growing influence, the importance of English-language literature on the Middle Kingdom has only become more pronounced. These writings not only serve as a window into the complexities of Chinese culture and history but also provide a crucial bridge for cross-cultural understanding and dialogue. Whether delving into the country's ancient philosophical traditions, exploring its contemporary social and political dynamics, or simply reveling in the beauty of its art and literature, the rich tapestry of English-language literature on China offers a invaluable resource for anyone seeking to deepen their knowledge and appreciation of this remarkable civilization.。
浙江省金砖联盟2024-2025学年高二上学期11月期中英语试题
浙江省金砖联盟2024-2025学年高二上学期11月期中英语试题一、阅读理解It’s widely acknowledged that effective communication counts at work. That’s why our communication workshops, where multiple forms of presentations are offered, are so popular. Welcome to join us and here are the resumes (简历) of two potential presenters recommended for this year’s summer communication workshops.1．Who will probably be the target audience of the workshop’s presentations?A．Those desiring to improve interactions at work.B．Those longing to give public speeches to others.C．Those looking forward to having a job interview.D．Those aiming to upgrade their English writing skills.2．What do Martin and Sandra have in common in their resumes?A．A strong background on PR activities.B．Being fluent in Cantonese and Putonghua.C．Having been employed in a university.D．Working experience for more than 10 years. 3．What can be expected from the presentation of Sandra Wong?A．Corporate training in business English.B．One-to-one training in business writing.C．Tips on a good relationship with clients.D．Beneficial videos and technical support.O. Henry(1862-1910) was an American short story author whose real name was William Sydney Porter. Henry’s works reflected his wide-range of experiences and are distinctive for its witticism(俏皮话), clever wordplay, and unexpected twist endings.Like many other writers, O. Henry’s early career aims were unfocused and he wandered across different activities and professions before he finally found his calling as a short story writer. He started working in his uncle’s drugstore in 1879. Later, he moved to Texas where he lived on a farm and learned sheep shepherding, cooking, babysitting, and bits of Spanish and German fromthe many migrant farmhands.Over the next several years, he took a number of different jobs, from drafting to journalism, and banking, but he was careless with accounting, thus fired by the bank and charged with a crime in 1894. He fled the day before the trial in 1896, first to New Orleans, then to Honduras, where he learned his wife was dying and could not join him, so he returned to Austin and turned himself in to the court. His father-in-law helped him out so he could remain with his wife until her death in 1897. Later he was sentenced and served in Federal prison in Ohio from 1989-1902.The many twists and turns of O. Henry’s own life, including his travels in Latin America and time spent in prison, clearly inspired his stories’ twists and wordplay. His prolific writing period began in 1902 in New York City, where he wrote 381 short stories which show his obvious affection for this City and its diversity of people and places. O. Henry’s trademark is his witty, plot-twisting endings, and his warm characterization of the awkward and difficult situations and the creative ways people find to deal with them, which typically features in his work like The Last Leaf,The Gift of the Magi, etc. All of his stories are highly entertaining, whether read for pleasure or studied in classrooms around the world.Unfortunately, O. Henry’s personal tragedy was heavy drinking. He died in 1910 of several diseases. He was a gifted short story writer and left us a rich legacy of great stories to enjoy. 4．What happened to O. Henry in his early life?A．He took up writing as his lifelong profession early on.B．He had a pretty good command of Spanish and German.C．He engaged himself with numerous jobs to experience life.D．He failed to live a stable life and switched jobs for a living.5．What does the underlined word “prolific” in paragraph 4 mean?A．relevant B．productive C．profitable D．original 6．Which of the following words can best describe O. Henry’s works?A．Educational and tragic.B．Unpredictable and serious.C．Fascinating and twisty.D．Extraordinary and formal.7．What does O. Henry’s life story convey?A．More haste, less speed.B．Time and tide wait for no man.C．He who laughs last laughs best.D．Suffering is a stepping stone to genius.A recent study on New Scientist reveals that police can access a collection of data from smart speakers found at crime scenes that could be invaluable in solving murders or robberies. Data on recently recognised faces, internet searches and voice commands could be extracted even without the owner’s permission or assistance from the manufacturer.Jona Crasselt and Gaston Pugliese at the University of Erlangen-Nuremberg in Germany tested how much information can be pulled from such a device after seeing news report of Amazon refusing police access to smart speaker data in a murder case. “We not only obtained access to the local data, but also were able to access the data stored in the cloud,” says Crasselt. “The investigators would be able to access the data themselves without relying on Amazon to provide it to them.”The researchers focused on Amazon’s Echo Show 15, a smart assistant with a display screen, a camera, six microphones and a light sensor. They explored inside the Echo Show with a device designed to test what signals or data are flowing at various points on a circuit board. The pair were able to gain access to the unencypted (未加密的) file system. “Records of detected movement and faces recognized by the built-in camera and artificial intelligence are accessible,” says Pugliese, “as well as details of voice requests, calendars, contacts, conversations, photos and videos.” He added that it required some technical knowledge to obtain the local data, but it was surprising that the file system was not encrypted.An Amazon spokesperson told New Scientist: “The security of our devices and customer data is a top priority. In this case, the researcher’s findings required direct physical access to the Echo device and specialised expertise to extract data from internal device components. We appreciate the work the security research community does to help us further improve our devices.”Criminologist David Wilson at Birmingham City University, UK, says it’s a simple human reality that you’re most likely to be victims to someone you know. “We already have access to information from those domestic settings through mobile phones, Facebook, Instagram posts. In spite of the fact that smart speaker evidence may be useful, it is controversial,” he says. “because there are privacy issues.”8．What might be helpful in solving crimes according to the study?A．The smart speaker on the spot.B．The manufacturer’s assistance.C．The user’s or owner’s permission.D．The artificial intelligence system.9．What did Gaston Pugliese imply in paragraph 3?A．The file system is incredibly difficult to access.B．Sufficient information is stored in the speaker.C．Echo Show is equipped with various functions.D．Advanced techniques are needed to obtain data.10．What measures may Amazon take as a consequence of the researchers’ findings?A．To advocate the indirect physical access.B．To provide the files for the investigators.C．To better the security of the customer data.D．To extract the details of the users’privacy.11．What’s David Wilson attitude towards smart speaker evidence?A．Doubtful.B．Objective.C．Resistant.D．Optimistic.On Aug 20, the highly anticipated Black Myth: Wukong — A Chinese self-developed AAA game — made its first public appearance at home and abroad, immediately becoming a hit in the industry.Notably, the game has also sparked interest in Chinese culture, as it is greatly grounded in Chinese mythology and inspired by the legends of the Monkey King — or Sun Wukong — in Journey to the West, a Chinese classic novel that has been represented in numerous films, TV shows and cartoons. Another distinguishing characteristic of the game is that its art design has taken inspiration from ancient Chinese architecture and other traditional cultural heritages.This cultural feature of the game has resulted in additional benefits outside the game industry, arousing passionate enthusiasm from netizens to experience the Chinese cultural heritage displayed in the game. Thus, according to Chinese media reports, it has generated a new touring option — following in the footsteps of Wukong to see the Chinese cultural attractions.Shanxi is no doubt one of the biggest beneficiaries of this cultural tourism boom as the North China province boasts the largest number of locations where the game takes place. Of the 36 scenic spots featured in the game, 27 are located in Shanxi, according to Shanxi’s cultural and tourism officials. “Shanxi was selected by the game’s development team as the major destination for filming,” added the officials, “because it boasts some 28,000 sites of ancient buildings — thelargest number in China’s provincial-level regions.”The cooperation between Shanxi and Game Science has achieved a win-win result. As Black Myth: Wukong becomes a hit domestically and globally, Shanxi has seen an immediate rise in popularity in its tourism industry. Over the past two weeks after the game’s release, Huayan Temple in Datong, for instance, reported a 50 percent increase in tourist visits compared with the same period of last year, according to local officials.Latest media reports predicted that Shanxi will be among the hottest destinations during the coming National Day holiday in early October thanks to the game. On popular online travel platform Qunar, the number of searches of Shanxi soared by 1.2 times in August compared with the previous month.12．Why did the game immediately become a hit according to the passage?A．It appeals much to young game players.B．It is independently developed in China.C．It features varieties of cultural elements.D．It comes from an ancient classic novel. 13．What has the popular game brought about?A．A great enthusiasm about a Chinese novel.B．A keen interest in Chinese cultural heritage.C．A well-developed tourism industry in China.D．A deep exploration of the Chineselegends.14．What can be inferred from the statements of the officials of Shanxi?A．There was a rise of 50 percent in the tourist visits of Shanxi.B．Shanxi benefited the most from this phenomenal game craze.C．Shanxi owns the most ancient architectures in China’s regions.D．More than half of the scenic spots involved are located in Shanxi.15．What can be the best title of the text?A．Video Games Boost Local Tourism.B．Shanxi Tourism Sees Surprising Increase.C．Video Games Bring Digital Revival.D．Cultural Tourism Improves Video Games.The pros and cons of opening more drop-in centers for young night drifters(漂泊者)The issue of what to do with young night drifters has been much discussed. Many people think that the government ought to open more drop-in centers. 16 Following are the advantages and disadvantages of opening more drop-in centers for young night drifters.One advantage of opening more drop-in centers is that it would keep young night drifters safe. 17 For example, they may fall victim to gangs and drug dealers. Some young night drifters are also bullied. This is probably due to the fact that they are young and vulnerable.Another argument that is commonly heard is that having more drop-in centers would decrease night drifting. Drop-in centers provide an easy way to offer young night drifters professional advice. Counsellors can give young drifters advice about how to solve problems with their families. 18In addition to these advantages of opening more drop-in centers for young night drifters, however, there are also a number of disadvantages. 19 According to these people, if there are more safe places for night drifters to hang out in, there is no motive for these young people to give up their nocturnal(夜间的) habits. Moreover, the attraction of having a special place to go to may encourage others to become night drifters as well.It is also argued that resources should be focused on providing services for all young people rather than just a small proportion of them. In other words, it may not be fair to support only night drifters.20 However, personally, I believe that ensuring the safety of young people and giving night drifters counselling are both necessary. I therefore believe that more drop-in centers should be provided for young night drifters in the city.A．They can also help them to handle negative peer pressure.B．People believe that disadvantages outweigh advantages.C．It is clear that the issue is not black and white.D．However, it is an issue that still divides many people.E．Hence, more drop-in centers are of vital significance to them.F．Young people who walk the streets at night often fall into bad ways.G．Some people argue it actually fails to discourage night drifting.二、完形填空The day before we boarded the ship to London, father said goodbye to his five-year-old dog, Spider, who was 21 by us all. Father’s friend was to look after him while we were overseas.Three weeks later, news came that Spider had run away. I will always remember my father’s tears in eyes. My mom and I tried to 22 him, knowing in our hearts how useless this was. Our excitement at finally arriving in England quickly 23 . The whole family fell into deep sorrow. 24 advertised constantly on the radio and in the newspaper, Spider was never found.We came back to our home five months later. My father immediately began his own 25 for Spider, only to get some false calls. Disappointment 26 our household. We all thought the dog was gone — possibly shot or dead from hunger and exhaustion.One cold Saturday morning, my father had another 27 from Gin Gin, 375 kilometres from our home. An elderly lady told him there was a dog like Spider in her disused tennis court. That was 28 for us to drive there. Five and a half hours later, we found the lady. My father was 29 to see the dog, so we followed her to the tennis court.30 , it seemed that the dog wasn’t around. Where could he be? My father had a strange look in his eye. He put two fingers to his lips and did his special 31 for Spider. All of a sudden, Spider 32 over the tennis court fence with great force and certainty, flying right into my father’s arms. My father’s eyes shone. For so long, my father never lost 33 that he would find his dog.Spider 34 the rest of his days with us, content and satisfied. He always waited for me coming home from school. He then waited for my father by the garage door. We never left him anywhere 35 again.21．A．adopted B．named C．trained D．loved 22．A．support B．comfort C．persuade D．bless 23．A．switched B．released C．disappeared D．approached 24．A．Since B．While C．When D．Unless 25．A．search B．appeal C．travel D．desire26．A．took up B．went through C．hung over D．pulled in 27．A．letter B．mail C．poster D．call 28．A．remote B．enough C．difficult D．possible 29．A．anxious B．nervous C．worried D．excited 30．A．Luckily B．Apparently C．Hopelessly D．Sadly 31．A．gesture B．signal C．whistle D．expression 32．A．climbed B．leapt C．fell D．rolled 33．A．hope B．effort C．patience D．trust 34．A．stayed B．spared C．saved D．spent 35．A．disused B．upset C．alone D．dirty三、语法填空阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。
2011-CQ-上海真人秀解读
133 A New Spectacle in China’s Mediasphere:A Cultural Reading of a Web-Based Reality Show from Shanghai*Daria Berg†ABSTRACT This study offers a cultural reading of the web-based realityshow Soul Partners(2007)from Shanghai.Soul Partners serves as a casestudy to explore how21st-century Chinese cultural discourse debates thetransformation of urban society in China,providing insight into theChinese cultural imagination,perceptions of the globalizing metropolisand the impact of consumer culture.This reading positions Soul Partnerswithin the discursive context of Chinese popular,postmodern and post-socialist culture and in relation to the cultural import of the reality showgenre into China’s mediasphere.Analysis focuses on the quest for authen-ticity in the Chinese discourse on perceived reality and the way SoulPartners generates new urban dreams for China’s Generation X.The analy-sis of Soul Partners sheds new light on the dynamics of transcultural appro-priation in a globalizing China and the social and political implications.Reality shows have gained popularity in21st-century China as part of a globaliz-ing entertainment culture,providing the illusion of instant access to uncensored insights into lived experience.Such programmes appear to empower the audienceby encouraging viewers to participate in the decision-making process.While Big Brother remains banned on national Chinese television,the launch of the web-based reality show(wangluo zhenrenxiu jiemu网络真人秀节目)Soul Partners (Xinling paidang心灵排挡)1on the video-sharing website (mofang-wang魔方网)on18January2007demonstrates how webcasting enables a national audience to watch the protagonists enact“unscripted modernity”while establishing an interactive discourse between participants,producers and audience.*I am grateful to Professors Glen Dudbridge,Guobin Yang,Yongnian Zheng,Qianlan Wu and the par-ticipants of the symposium“New information and communication technologies and transformation inChina,”University of Nottingham,June2007,for invaluable comments,and the School ofContemporary Chinese Studies,University of Nottingham,for supporting this project.†University of Nottingham.Email:daria.berg@1Produced by“lvlvlvlv dianying gongzuoshi”(lvlvlvlv film studio).©The China Quarterly,2011doi:10.1017/S0305741010001438134The China Quarterly,205,March2011,pp.133–151Soul Partners created a storm in the media:following Chinese press reports,2 Reuters and CNN hailed the show as“Big Brother with Chinese characteristics,”an indicator of the new“web freedoms”in China.3Mofile in turn used the media discourse that described Soul Partners as“a frank reflection[of]Chinese popular opinion”to advertise its video-sharing platform on the Soul Partners website.4 Property developer Sanxiang Four Seasons Flower City(Sanxiang siji huacheng 三湘四季花城)Luxury Housing Company used it for product placement in return for sponsoring the setting,a luxury apartment in the newly constructed Thames Town(Taiwushi xiaozhen泰晤士小鎮)suburb of Shanghai.5Filmmakers have been collaborating with property developers since the mid-1990s,merging art,entertainment and commercial culture in China’s rising “cultural economy”(wenhua jingji文化经济),as Yomi Braester has shown.6 Product placement(literally“soft advertising”ruanxing guanggao软性广告)or branded entertainment began in1991with the television drama Stories from an Editorial Office(Bianjibu de gushi编辑部的故事)7and appeared in Feng Xiaogang’s冯小刚(1958–)blockbuster Cell Phone(Shouji手机,2003).8 Although advertisers pinpoint product placement as China’s future marketing strategy,Jing Wang cautions that state control over media and market prevents its proliferation in China.9Soul Partners exemplifies a new way of product place-ment by webcasting.Our cultural reading of Soul Partners explores how the Chinese media debate the rapid transformation of life in China’s cities,in particular Shanghai,the set-ting of Soul Partners and its site of production.Analysis of the show within its context enables new insights into the cultural imagination,perceptions of the glo-balizing metropolis,the impact of consumer culture and the dynamics of trans-cultural appropriation in China’s mediasphere.Soul Partners is positioned within its cultural context including cinema,video art and the blogosphere.This study adapts the concept of the mediasphere for the collective ecology of China’s published and broadcast media as a framework for analysing cultural 2Cf.Peijin Chen,“Friends–the Shanghai version,”24January2007,/ archives/2007/01/24/friendsthe_shan.php,accessed7September2008.3Richard Spencer,“No Big Brother for Chinese viewers,”Telegraph,24January2007,http://www./news/main.jhtml?xml=/news/2007/01/23/wchina23.xml,accessed1May2007;SophieTaylor,“Chinese Friends highlights web freedoms,”6February2007,/05022007/80-91/china-s-friends-highlights-web-freedoms.html,accessed5May2007.4Mofile website,/about/media.do,accessed4April2007.5Soul Partners(Xinling paidang)website,/index/htm,accessed2June2007(no longer accessible as of September2008).6Yomi Braester,“Chinese cinema in the age of advertisement:the filmmaker as a cultural broker,”The China Quarterly,No.183(2005),pp.549–64.7Michael Keane,“Television drama in China:engineering souls for the market,”in Timothy J.Craig and Richard King(eds.),Global goes Local:Popular Culture in Asia(Honolulu:University of Hawai’i Press,2002),pp.120–37.8Cf.Zhenzhi Guo and Mei Wu,“Dancing thumbs:mobile telephony in contemporary China,”in Xiaoling Zhang and Yongnian Zheng(eds.),China’s Information and Communications TechnologyRevolution(London:Routledge,2009),pp.45–46.9Jing Wang,Brand New China:Advertising,Media,and Commercial Culture(Cambridge,MA:Harvard University Press,2008),pp.282–87.A New Spectacle in China’s Mediasphere135 processes.The neologism“mediasphere”coined by Régis Debray denotes cul-tural production in the visual and textual fields characterized by endless expan-sion.10These fields include novels,non-literary books,magazines,newspapers, advertisements,film,internet writings and the blogosphere.The mediasphere emphasizes the interconnectedness of these fields,transcending the boundaries between different texts,genres,media,high culture and popular culture.This concept provokes interest because it extends attention from“the visible systemof the medium to the invisible macrosystem that gives it meaning.”11I useGuy Debord’s term“spectacle”as a commodity in analogy to Yu Huang’s adap-tation of the concept for the Chinese context,emphasizing the links between media,popular and commercial culture.12Soul Partners deserves critical attention for two reasons:first,because cultural, political and commercial negotiations converge in its production and consump-tion,illustrating the transformation of China’s new cultural discourse inpost-Deng China;and second,because the show epitomizes new trends in con-temporary Chinese popular culture.The discourse about Soul Partners highlights three specific aspects of contemporary popular culture in China:the impact of globalizing culture from Europe and the US on the quest for authenticity in post-socialist China;the consumer revolution entailing the rise of the advertising industry and a postmodern commercialized popular culture;and the digital revo-lution,specifically the rise of Web2.0technology providing a new interactive vehicle for cultural production and consumption that defies the party-state’s cen-sorship of China’s mediasphere.13Web2.0,a term coined in1999,14denotes anew generation of web applications,including blogs,social networking and video-sharing sites emphasizing interactivity,information sharing and user-centred design.15Blogging became popularized in China in2003following Muzi Mei’s木子美weblog.From2005China experienced a growth in online video-sharing services with YouTube spin-offs including Mofile,Tudou土豆网,Youku优酷.16Soul Partners enjoyed a brief spell of stardom at the centre of the media hype. Mofile released the first seven episodes between January and March2007.17Nine instalments were planned for the first season,out of20in total.18After the10Régis Debray,Cours de Médiologie Générale(Paris:Gallimard,1991).11Alexander Des Forges,Mediasphere Shanghai(Honolulu:University of Hawai’i Press,2007).12Yu Huang,“The Zhenrenxiu phenomenon in contemporary China,”/docman/ cultures-in-transit-papers/yu-huang-the-zhenrenxiu-phenomenon-in-contemporary-china/details.html,accessed6October2009,p.12;Guy Debord,La Societédu Spectacle(Paris:Buchet/Chastel,1967).13See Yongnian Zheng,Technological Empowerment(Stanford,CA:Stanford University Press,2008).14Darcy DiNucci,“Fragmented future,”Print,Vol.53,No.4(1999),p.32.15Tim O’Reilly,“What is Web 2.0,”/web2/archive/what-is-web-20.html,accessed5 November2009.16Luyi Chen,“Tudou launches new website skin:seven services compared,”China Web2.0Review, 25November2006,/365/tudou-launches-new-website-skin-seven-services-compared.html,accessed14November2009.17Episodes varied in length between seven and16minutes.18Taylor,“Chinese Friends.”136The China Quarterly,205,March2011,pp.133–151seventh episode,however,the production stalled when the investor withdrew sup-port.19The ephemeral nature of the show typifies the new globalizing entertain-ment culture,revealing the dynamics of the new web-based discourse and exposing postmodern culture as a culture of rapid consumption.20While the applicability of the postmodern condition to China has been the sub-ject of debate,21Xiaobing Yang defines postmodern in the Chinese context as resistance to the Mao–Deng discourse that“epitomizes the grand narrative of modernity,from which Chinese postmodernism defers and differs(in the Derridean sense).”22In cultural critique the postmodern refers to a“cultural paradigm that deconstructs the modern/Mao–Deng paradigm from within.”23 Wang Ning identifies three manifestations of the postmodern in China:“as a post-structuralist theoretical discourse,as an avant-garde intellectual rebellion against the modernist episteme,and as a contemporary consumer culture,”24 the latter epitomized by best-selling novelist Wang Shuo王朔(1958–)and cul-tural commercialization.25Here I position the reality show in relation to Chinese commercial culture as part of the post-Mao–Deng discourse and post-socialist modernity.26Arif Dirlik first used the term post-socialism in1989to denote adjustments in socialist ideology in response to the vernacularization of socialism in different national contexts.27I follow Dirlik and Chris Berry in defining the term by analogy to Jean-François Lyotard’s notion of postmodernism,referring to a state“where the forms and structures of the modern(in this case socialism)persist long after faith in the grand narrative that authorizes it has been lost.”28For our cul-tural reading,post-socialism denotes a“cultural logic”to“negotiate the residual socialist past and the emergent capitalist present to concoct new imaginaries of a transnational society,”as Sheldon Lu notes.29This study analyses,first,the cultural import of the reality show genre into China;second,the quest for authenticity in Chinese post-socialist discourse;third,the formation of new dreams for a new generation;fourth,audience 19Personal email communication with Mofile CEO Jason Cai,27September2008.20See also the online video“Bus uncle”;see Guo and Wu,“Thumbs,”pp.43–45.21On the debate,see Arif Dirlik and Xudong Zhang(eds.),Postmodernism&China(Durham:Duke University Press,2000).22Xiaobing Yang,“Answering the question:what is Chinese postmodernism/post-Mao-Dengism?”in Pang-Yuan Chi and David Der-Wei Wang(eds.),Chinese Literature in the Second Half of a ModernCentury(Bloomington:Indiana University Press,2000),p.201.23Ibid.p.212.24Wang Ning,“The mapping of Chinese postmodernity,”in Dirlik and Zhang,Postmodernism,p.25.25Ibid.p.30.26See Jason McGrath,Postsocialist Modernity(Stanford,CA:Stanford University Press,2008).27Arif Dirlik and Maurice Meisner(eds.),Marxism and the Chinese Experience(Armonk,NY:M.E.Sharpe,1989),p.364.28Chris Berry,“Getting real:Chinese documentary,Chinese postsocialism,”in Zhang Zhen(ed.),The Urban Generation:Chinese Cinema and Society at the Turn of the21st Century(Durham,NC:DukeUniversity Press,2007),p.116.29Sheldon H.Lu,Chinese Modernity and Global Biopolitics(Honolulu:University of Hawai’i Press,2007), p.208;see also Zhang Xudong,Postsocialism and Cultural Politics(Durham,NC:Duke UniversityPress,2008),pp.10and13.A New Spectacle in China’s Mediasphere137 reception of the web-based reality show;and finally the party-state’s censorshipof webcasting and the netizens’reactions.The Chinese Reality Show GenreThis section investigates how the cultural import of European and US reality shows functions in China’s mediasphere,exploring the nexus between globaland local popular culture in the Chinese reality show genre.The global popular-ization of digital technology has produced a new kind of localized reality show epitomized by Big Brother.Its original Dutch version first aired in1999has engendered international versions and adaptations.30Reality TV or“factual pop-ular television”straddles the borderlines between information and entertainment,and documentary and drama,and includes surveillance reality formats,reality games,life-style and talent shows.31Scholars agree on“reality TV”being a mis-nomer or oxymoron.32Mark Andrejevic has described Big Brother-style realityTV as a subgenre focusing on the“comprehensive monitoring of unscripted rhythms of life.”33While Big Brother alludes to George Orwell’s(1903–50)dys-topian novel Nineteen Eighty-Four(1949)dramatizing omnipresent surveillance,an aspect examined by Andrejevic,34this study focuses on the cultural and com-mercial aspects of reality show adaptations for the Chinese market,including cynical marketing.The following offers a brief overview of Chinese reality TV adaptations.The term zhenrenxiu(真人秀,reality show)–coined by Qinghua清华University scholar Yin Hong尹鸿–first appeared in China with The Great Survival Challenge(Shengcun datiaozhan生存大挑戰,2000),a Guangzhou Television show re-enacting the survival on the Long March,and became popu-larized in2002with the broadcast of the Sichuan Television show Into Shangri-la (Zouru xianggelila走入香格裡拉),an unlicensed adaptation of the US version Survivor(2000).35Zhenrenxiu(literally“real person show”)both translates and transliterates the title of The Truman Show(1998,directed by Peter Weir),a Hollywood film about a man whose life is broadcast by hidden cameras withouthis knowledge.36Yin Hong adapted the term for the Chinese context because it “reveals the essence of reality TV as a commercialized spectacle,”37defining it as30See Richard Kilborn,Staging the Real(Manchester:Manchester University Press,2003);Sue Holmes and Deborah Jermyn,Understanding Reality Television(London:Routledge,2004).31Annette Hill,Reality TV:Audiences and Popular Factual Television(London:Routledge,2005),pp.7–8.32Michael Keane,Anthony Y.H.Fung and Albert Moran,New Television,Globalisation,and the East Asian Cultural Imagination(Hong Kong:Hong Kong University Press,2007),p.145.33Mark Andrejevic,Reality TV:The Work of Being Watched(Lanham:Rowman&Littlefield Publishers, 2004),p.8.34Ibid.35Michael Keane,“A revolution in television and a Great Leap Forward for innovation?China in the global television format business,”in Albert Moran and Michael Keane(eds.),Television across Asia(London:RoutledgeCurzon,2003),p.91;Keane et al.,New Television,p.154.36Yu Huang,“The Zhenrenxiu phenomenon,”p.3.37Ibid.p.6.138The China Quarterly,205,March2011,pp.133–151a documentary-cum-comedy with seven elements38:voluntary participants,audi-ence involvement,competition,rules for elimination and selection,rules for time and space,on-the-spot documentary,and post-production editing.39Yin Hong points out that“contents-wise zhenrenxiu combines zhen真in the meaning of zhenshi真实(real)and xiu秀in the meaning of xugou虚构(fictional);its form merges documentary and drama;and its dissemination takes place through both watching and participating.”40The character xiu also alludes to xuanxiu选秀,talent shows with voting mechanisms,such as CCTV’s Dream China (Mengxiang Zhongguo梦想中国)and Super6+1(Feichang6+1非常6+1).41 For Chinese audiences the appeal of reality shows lies in the combination of indigenous and transnational elements of popular culture,and the play on “real”(zhen真)and“nonreal”(jia假),42a literary tease familiar from traditional Chinese fiction,transposed into the contemporary context of globalizing enter-tainment culture.43Reality shows,mainly adaptations of successful European or US reality TV formats,had a breakthrough in China in2005with the success of Hunan Satellite TV’s all-female singing contest Supergirl(Mongolian Cow Yogurth’s Supergirl’s Voice,Mengniu chaoji nüsheng蒙牛超級女聲,2004–),a Chinese adaptation of American Idol(2002)drawing an estimated400million viewers.44Chinese reality shows cover the main international reality TV sub-genres of Big Brother-style documentaries,American Idol-style elimination game and talent shows,and Extreme Makeover-style self-improvement shows, but also“educational reality shows”such as Dragon Dream(Chenglong jihua 成龙计划,2006)targeted at middle-school students.45Soul Partners has an antecedent in Hunan Economic Television’s Big Brother adaptation Perfect Holiday(Wanmei jiaqi完美假期,2001)featuring13contest-ants in a luxury holiday villa facing weekly elimination;the winner received a cash prize of500,000yuan.46Similar to Soul Partners,the moderately successful Perfect Holiday sold new consumer dreams–in this case luxury holidays–to its audience.Reality shows soared in popularity,spurring both licensed and unlicensed spin-offs of successful international formats in addition to indigenous Chinese ver-sions.47They are mainly broadcast on satellite or cable TV,but also appear 38Yin Hong,“Jiedu dianshi zhenrenxiu”(“Interpreting reality shows”),Jinchuanmei(Today’s Media), No.7(2005),p.17.39Yin Hong,Lu Hong and Ran Ruxue,“Dianshi zhenrenxiu de jiemu yuansu fenxi”(“Analysing the elements of reality shows”),Xiandai chuanbo(Modern Media),Vol.136,No.5(2005),pp.47–52.40Yin Hong,“Interpreting reality shows,”p.14.41Yu Huang,“The Zhenrenxiu phenomenon,”p.6.42See Yin Hong,“Interpreting reality shows,”p.16.43See,for example,Cao Xueqin,Hongloumeng(Beijing:Renmin wenxue,1957),Vol.1,p.5.44Keane et al.,New Television,pp.123–39.45See Wang Xi and Zhang Yuan,“‘Jiaoyu zhenrenxiu’jiemu de tansuo yu maodun:yi Tianjin weishi ‘Chenglong jihua’jiemu weilie”(“Exploration and contradiction of educational reality shows:a casestudy of Tianjin Satellite’s Dragon Dream,”Xinwenjie(Realm of Journalism),Vol.4.(2006),pp.72–73.46Keane et al.,New Television,p.156.47See Keane,“Revolution,”pp.90–91.A New Spectacle in China’s Mediasphere139 via national CCTV channels,newspapers or the internet.Official estimates in 2007gave the number of reality shows broadcast on Chinese television stationsas500.48The State Administration of Radio,Film and Television(Guojia guangbo dianying dianshi zongju國家廣播電影電視總局,SARFT),the govern-ment body responsible for media control,guided reality TV broadcasts through 2005and2006,but issued severe restrictions in2007and2008:banning realityTV broadcasts during prime-time(7.30pm–10.30pm);prohibiting voting by mobile phone,telephone or via the internet;controlling their contents;curbingthe flamboyance of participants,presenters and performances;and limiting the number and length of reality TV broadcasts.49Perfect Holiday and Chongqing Satellite’s acting talent show First Heartbeat(Diyici xindong第一次心动),for example,fell under the censor’s axe.50In2005Hunan Television group channel ETV staged a self-improvement rea-lity show entitled Angels Love Beauty(Tianshi ai meili天使爱美丽)that followedthe process of14women undergoing plastic surgery.51The show topped the rat-ings in September2005while drawing viewers’complaints about the details of its coverage.52In2006Shenzhen Satellite TV station and Shaolin Temple jointly produced the reality show Global Chinese Kungfu Star TV Competition (Zhongguo gongfu zhixing quanqiu dianshi dasai中国功夫之星全球电视大赛)to select the“Supermonk”(chaoji heshang超级和尚).The head of Shenzhen Satellite TV expected about200,000contestants to register.53In2006SARFT turned down Hunan Satellite TV’s application for a male ver-sion of Supergirls,yet in2007Shanghai Dragon TV launched the male singing contest show My Hero!or Happy Boys’Voice(Jiayou haonan’er加油好男儿). Several restrictions applied,including a veto on combining“super”and“boys”in the title.54In2006the business talent show Win in China(Ying zai Zhongguo赢在中国)appeared on CCTV’s economic Channel Two.55The pro-ducers adapted the format of The Apprentice from US(2004)and British (2005)versions for the Chinese cultural context by modelling the entrepreneur candidates on the heroes from the Ming dynasty novel The Water Margin48Xinhua,“China moves to clean up TV screens,”China Daily,12January2007,http://www.chinadaily.cn/china/2007-01/12/content_782593.htm,accessed3March2007.49Liu Yanhong,“Zhenrenxiu jiemu de bentuhua jincheng”(“The localization of reality TV”),Shitingjie (Broadcasting Realm),No.1(2009),pp.82–84.50Yu Huang,“The Zhenrenxiu phenomenon,”p.7.On Perfect Holiday,see Liu Yuying,“Zhenren zuo xiu”(“Real people make a show”),Xinwen zhoukan(News Weekly),No.37(2002),pp.43–45.51Cheng Xiaoxuan,“Nüxing xingxiang:ziwo chengxian yu meijie chengxian”(“The woman phenom-enon:self-presentation and media-presentation”),Xinwen zhishi(Journalism Knowledge),No.2(2009),pp.58–60.52See Roland Soong,“Bloody television,”EastSouthWestNorth,/200509 brief.htm,accessed20September2009.53“Shaolin facaijing”(“Shaolin temple commercialized”),Epoch Times,15April2006,http://www./gb/6/4/15/n1287881.htm,accessed21October2009.54See Yin Hong and Yan Qingsheng,“Chuangxin yule”(“Innovative entertainment”),Zhongguo guangbo dianshi xuekan(Chinese Media Journal),No.10(2006),pp.39–40.55Bai Yanyan,“Zhenrenxiu Ying zai Zhongguo jiemu yuansu fenxi”(“Analysing the reality show Win in China”),Dongnan chuanbo(Southeast Media),Vol.42,No.2(2008),pp.1–2.140The China Quarterly,205,March2011,pp.133–151(Shuihu zhuan水滸傳).Mirroring the number of outlaws in the novel,108par-ticipants selected from120,000online applicants competed for a business prize worth ten million yuan.56Beijing Satellite TV aired the talent show People in the Dream of the Red Chamber(Hongloumeng zhong ren红楼梦中人)inspired by the Qing dynasty novel.The subgenre of talent shows with traditional Chinese characteristics shows how indigenous,traditional and globalizing elements of popular culture merge in the reality genre import.The“strangers in a room”genre engendered new variants in2007alongside Soul Partners.First,the UK reality show Wife Swap(2003)inspired two similar programmes in China:Wife Swap(Jiaohuan zhufu交换主妇)by Qilu TV Shandong,exchanging spouses between city and countryside,and Life Swap (Bianxingji变形记)by Hunan Satellite TV exchanging other family members;in its first episode teenage boys from a wealthy urban family and an impoverished rural household swapped places.57The storyline detailing the moral reform of the spoilt urban boy,a school dropout and internet addict,through his“education”in the countryside,shares themes with fiction about model communist heroes, ironically echoing elements from socialist realism drama in the quest for“real stories.”A Big Brother-style reality show with real monkeys received coverage innational newspapers when six contestants entered a monkey cage in Qinling秦岭Zoo,Shaanxi陕西,to live with the animals for four days.The prize for the survivor–the last person to leave the cage–included11,888yuan and the con-ferment of the honorary title“animal lover.”58Despite SARFT’s restrictions,Sichuan Cable TV launched China’s Next Top Model(Panting shanliang mofang潘婷闪亮模坊;later Meili mofang美丽模坊) in2008,an adaptation of America’s Next Top Model.59New reality shows launched before the Beijing Olympics predominantly featured sports,such as Shanghai TV station Eastern Satellite’s Skating with Celebrities(Mingxing da lianbing明星大练冰)and Zhejiang TV’s talent show True Boys Dreaming of Olympics(Hao nan’er mengxiang aoyun好男儿梦想奥运).60Bloggers and scho-lars began to predict the demise of talent shows on Chinese television as a result of censorship.6156Michael Keane,Created in China(London:Routledge,2007),p.124.57See Xi Liu,‘Bianliang de shiyan haishi yanyi de xiuchang:cong‘Bianxingji’yu‘Wife Swap’de duibi kan zhenrenxiu dianshi jiemu”(“Experience of the variable or showground of deduction:comparing LifeSwap and Wife Swap for a study of reality TV”),Kejiao wenhui(Science Education Journal),No.5(2008),p.165.58“Big Brother the Chinese way with real monkeys,”Telegraph,9February2007,http://www.telegraph./news/main.jhtml?xml=/news/2007/02/09/wmonk09.xml,accessed11February2007.59Hu Wenwen,“Meili mofang:xuanxiu jiemu xinfengshang”(“China’s Next Top Model:new trends in talent shows”),Guanggao daguan(Advertising Survey),No.5(2009),pp.119–20.60CMM-I,Zhongguo meiti nianjian:2008China Media Yearbook&Directory(Beijing:CMM-I,2008).61Wang Xiaofeng,“Xuanxiu de zhongjie:quanmin yule yundong shiheng”(“The demise of talent shows: imbalances in mass entertainment”),Sanlian shenghuo zhoukan(Sanlian Life Weekly),No.34(2007),pp.36–38;Yu Huang,“The Zhenrenxiu phenomenon,”p.17.A New Spectacle in China’s Mediasphere141 Soul Partners and the Quest for AuthenticityThis section explores how Soul Partners as a Chinese adaptation of foreign reality formats negotiates the quest for authenticity in post-socialist discourse.Following Michel Foucault’s proposal to understand the concept of authenticity throughthe“analysis of the‘games of truth’…through which being is historically con-stituted as experience,”62Prasenjit Duara identifies“the order of authenticity”in Chinese representational practices in politics and culture“to identify[national] essences and search for roots”and also in Rey Chow’s“primitive passions”rep-resented in Chinese cinema.63This study defines the quest for authenticity as the search for representing“truth”or the“real”(zhen)in China’s post-socialist dis-course as opposed to the staged spectacles of socialism and the representation of prescribed character in socialist realism.64Soul Partners uses webcasting to move the quest for authenticity into the PRC’s cybersphere.It belongs among a new wave of web-based reality shows exposing private lives and commercial culture while feeding on what Lyotardhas called our“pornographic appetite for the real.”65A Taiwanese web-based reality show Real Life Photography Studio(Shenghuo yingxiang guan生活影像馆)allowed viewers,for a charge,to survey a group of young people round the clock everywhere inside their home,provoking controversy in mainland Chinese media in2002.66Teflon used a web-based reality show in2006to adver-tise its cookery products in China.67Soul Partners features six protagonists intheir early20s selected online as in Into Shangri-la:the male participants are Zhang Libin张黎斌,Yuan Xiaoyi袁晓毅and Cheng Xi程曦;the females areMa Ding马丁,You Zhixin有之欣and Tang Duo汤朵.All are students except media freelancer Tang Duo.Their only prompt is to“play themselves.”68Soul Partners stipulates that no talent or training is required other than“the courageto show one’s authentic side(zhenshi真實)”and spare time at weekends for the shooting.69The show promises to turn ordinary Chinese citizens into celebrities.In accordance with the demands of the reality TV genre,the Soul Partners website claims that there is“no script.”The participants instead“enact urban modernity freely,”pursuing the profane activities of daily life.70The website emphasizes that they can discuss any topic freely and develop their show without62Michel Foucault,The History of Sexuality,Vol.2,The Use of Pleasure(London:Viking,1986),pp.6–7.63Prasenjit Duara,“The regime of authenticity:timelessness,gender,and national history in modern China,”History and Theory,Vol.37,No.3(1998),pp.287–308,esp.p.295;Rey Chow,PrimitivePassions(New York:Columbia University Press,1995),pp.21–23.64On authenticity in Chinese reality TV,see Keane et al.,New Television,pp.72,141–57.65Terry Eagleton,“Forgive me,Big Brother,I have sinned,”The Sunday Times,8June2008,sec.5,p.3.66Anon.,“Wangluo zhenrenxiu:Women hai you mimi ma?”(“Web-based reality shows:do we still have secrets?”),Jisuanji jiaoyu xue(Computer Pedagogy),No.1(2002),p.73.67Shang Silin,“Tefulong‘zhudong chuji’”(“Teflon attacks first in cooking”),Shangwu zhoukan(Business Weekly),No.8(2007),pp.78–79.68Soul Partners,/index/htm,accessed2June2007.69Soul Partners,“Zhaomu guize”(“Rule”),/index/rule.do,accessed4May2007.70Soul Partners,“Huodong xiangqing”(“Detail”),/index/detail.do,accessed5 May2007.。
第2课时 Reading(1)
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（ B ）10. A. record （ A ）11. A. set up （ B ）12. A. create （ D ）13. A. always （ B ）14. A. ancient （ D ）15. A. months
第九届湖北省高三(4月)调研模拟考试英语试卷--答案-解析-听力原文
第九届湖北省高三(4月)调研模拟考试英 语 试 卷 2024.04.17第一部分 听力 (共两节，满分30分)做题时，先将答案标在试卷上。
录音内容结束后，你将有两分钟的时间将试卷上的答案转涂到答题卡上。
第一节 (共5 小题; 每小题1.5 分, 满分7.5 分)听下面5 段对话。
每段对话后有一个小题，从题中所给的A、B、C三个选项中选出最佳选项，并标在试卷的相应位置。
听完每段对话后，你都有 10 秒钟的时间来回答有关小题和阅读下一小题。
每段对话仅读一遍。
例: How much is the shirt?A. £ 19.15.B. £9.18.C.£9.15.答案是C。
1. What will the woman do tomorrow?A. Visit a school.B. See an exhibition.C. Watch a performance.2. What does the man dislike about the movie?A. The actors.B. The ending.C. The music.3. Why did Mike go to China?A. To have a business trip.B. To meet with his boss.C. To learn about tea culture.4. Where is the woman probably?A. At a restaurant.B. In an office.C. At home.5. What are the speakers talking about?A. TV programs.B. Free-time activities.C. Some athletes.第二节 (共 15 小题; 每小题1.5 分, 满分22.5 分)听下面5段对话或独白。
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Reading 4—China's new media in 2010
盘点2010改变我们生活的新媒体（上）
导读：科技的进步催化(catalyse)了许多新媒体的诞生，这不仅向传统媒体提出了挑战，同时也带来了前所未有的发展机遇。
2010年，这一新领域谁能独领风骚、更胜一筹呢？
Going far beyond human beings` traditional notions, new media has been growing fast and influencing people`s lives in ways few things have done before.
近年来，新媒体一直快速发展并以前所未有的方式影响着人们的生活，远远超出了人们的传统观念。
In 2010, China`s new media industry witnessed explosive development. But with "new" comes uncertainties and challenges. The following are brief reviews on the development of China`s new media and outlooks on its future.
2010年，中国新媒体业迅猛发展，但随“新”而来的是诸多不确定性和挑战。
下面我们就来简要地回顾并展望一下中国新媒体发展吧。
MICRO-BLOGGING
微博
At a time when netizens lost interest in lengthy articles and elites seek to always be in the spotlight, micro-blogs make their wishes come true.
当网民们一度对长篇大论失去兴趣时，当精英们总是寻求成为公众瞩目的焦点时，微博实现了他们的愿望。
Short and convenient, micro-blogs also experienced a "big bang" in China last year, with the number of micro-bloggers at China`s popular portal almost doubling in less than six months.
简短便利的微博去年在中国也经历了一场“大爆炸”。
在不到六个月的时间里，中国著名门户网站新浪网的微博用户数就翻了一倍。
Afterwards, the other three major web portals, including , and , each set up their own micro-blogging services.
随后，其他三个主门户网站包括搜狐、腾讯和网易，都各自开通了微博。
With more government officials and entities registering, China`s micro-blogging services are widely expected to play a more important role in connecting the public and the governments in 2011.
随着越来越多的政府官员和机构开通微博，2011年，人们普遍预期中国的微博将会在加强
公众与政府的联系方面起到更加重要的作用。
SEARCH ENGINES
搜索引擎
Baidu`s dominant position in the search engine market would face fierce challenges from rivals, including , Microsoft`s Bing and from the People`s Daily.
百度在搜索引擎市场的主导地位将面临来自竞争对手搜狐、微软必应和人民日报旗下的人民搜索等的严峻挑战
Xinhua is also preparing to launch its joint venture search engine, together with China Mobile, a leading company in mobile networks.
新华社也正准备与移动网络的龙头企业——中国移动一起推出他们联合经营的搜索引擎。
Goso and Xinhua both have the advantage in term of providing content, while Bing has a big edge in technology and funds. They are expected to post imminent or potential threats to Baidu in 2011. 人民搜索和新华社在提供资讯方面都占有优势，而必应搜索在技术和资金上又独占鳌头。
他们很可能在2011年威胁到百度或构成潜在威胁。
INTERNET OF THINGS
物联网
IoT refers to a network of real-world objects linked by the Internet and interacting through on-line services.
物联网是指通过互联网把真实物品连接起来并通过网上服务相互沟通的网络。
With the IoT listed as one of the "emerging strategic industries" in 2009, China set up its first IoT research center in Shanghai in March 2010.
随着物联网在2009年列入“新兴技术产业”之一，次年3月，我国第一所物联网研究中心在上海成立。
Within the same week, Premier Wen Jiabao stated in the annual government report that it would "accelerate the research and development, as well as application of the Internet of Things."
同一周内，温家宝总理在发表政府年度报告时称“该中心将会加速研发并加强物联网的应用。
”
However, some experts have said that China`s IoT was still in a very early stage, and it will take a long time for it to achieve large-scale development in order to let the public enjoy its full functions.
然而，一些专家认为中国的物联网仍处于初级阶段，要实现大规模的发展，让老百姓能享受物联网的全部功能还有很长一段路要走。