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In general, aisle seats are safer than window seats, where a passenger is more likely to come in contact with broken glass or be thrown from the train, Capon told CBS New York.

Safety experts also recommend choosing a rear-facing seat, because a person sitting there is less likely to be thrown forward during a collision. Trains are more likely to hit something side-on than head-on or from behind, according to the FRA. If the train has a café car, it's a good idea to avoid spending too much time there, because the rigid tables can become dangerous if the train suddenly breaks or hits something, Vocativ.com reported.

Trains are still one of the safest modes of transport; in 2013, 891 U.S. fatalities were linked to rail travel, compared with more than 32,700 deaths from highway accidents, according to the National Transportation Safety Board. And the vast majority of railroad deaths are trespassers(违规穿行者) struck by trains. 56．According to FRA, the most common cause of train accidents is ______. A. Derailments B. Head-on collision C. Hit from behind D. Collision with trespassers 57. In general, the safest place on a train is ______. A. The café car on the train

B. A car near the middle of the train C. Window seats at the back of the train D. Rear-face seats at the front of the train

58. What does the underlined word “fatalities” in the last paragraph mean? A. accidents B. deaths C. threats D. facilities

B

Saravjeet Kaur meets hundreds of nurses every year－but she knows she should not get too attached to them. “If they complete one year,” says Ms Kaur, director of nursing for one of the biggest private-hospital systems in India, “I’m happy with them.” The World Health Organization recommends 2.5 doctors, nurses and midwives for every 1,000 people. America and Britain have more than 12. India has just 1.6. As the world grows older and fatter, competition for health-care workers will only intensify.

In the rich world, shortages vary in size and nature. America may be the best example of dysfunction. Becoming a doctor consumes a minimum of seven years, not counting four years spent in university. More than 80% of graduates leave medical school with debt, owing an average of $149,103. That underlines incentives to practice the more profitable, specialized types of medicine, and leads to a shortage of primary-care doctors, who earn less and work harder than, say, dermatologists(皮肤科医生). The Association of American Medical Colleges predicts a shortage of 45,000 primary-care doctors by 2010, precisely the type of doctors who might manage choronic(慢性的) conditions.

This may drive rich countries to look for talent in poor ones－where the shortage of professionals is already much worse. Governments invest too little in medical training, and those doctors who are trained often leave to seek higher salaries or better working conditions. India supplies about one in ten of Britain’s physicians.

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Worried about such draining of brains, in 2010 members of the World Health Organization signed a resolution to prevent the recruitment(招募) of doctors from the poor world to the rich one. But limiting the movement of workers is a far poorer solution than expanding training programmes. The Philippines is the world’ leading exporter of nurses, yet continues to have more nurses per person than Spain or Japan. The chance of migration encourages students to become nurses. Some, inevitably, stay home. In a study of 127 developing countries in 2009, the prospect of migration boosted human capital, rather than draining it. Trouble begins only if more than 20% of college graduates leave, according to an earlier study.

At Max Healthcare, her company in India, Ms Kaur does not mind when some nurses move abroad; after all, many choose not to. Max even has a programme that explicitly uses the West’s attraction to its advantage. To boost its supply of emergency doctors, Max created a training programme with George Washington University in America. “You can’t stop people from moving,” says Tamorish Kole, who runs the programme, “So you might as well use it as a tool of recruitment.” 59. According to Saravjeet Kaur, in India ______. A. Nurses’ working conditions are pretty good

B. It’s not a good idea to be closely related to nurses

C. It’s quite common for nurses to leave for better salaries D. The number of nurses moving abroad keeps decreasing 60. Why is there a shortage of primary-care doctors in America? A. Because primary-care doctors are not well-paid. B. Because governments fail to invest enough money. C. Because it takes at least 7 years to become a doctor.

D. Because more and more people come down with diseases. 61. Max created a training programme to ______. A. improve doctors’ skills B. attract more doctors to stay C. limit the movement of doctors

D. export more doctors to the rich world

C

I’m good under pressure. Part of that comes from my dad, who taught me the best defense against fear is faith. Then there were the six years I served in the military. I learned to handle myself in all kinds of situations. The key was being prepared, so I could remain in control even if everything around me was going haywire. After I fulfilled my term of enlistment, I pursued my dream of becoming a pilot. I enrolled at one of the top flight-training schools.

My flight instructor was surprised at how easily I took to flying. He was amazed to find I had fun practicing stalls(飞机失速). Stalling an airplane has to do with air speed. It’s when you lose lift over the wings. To me, practicing was a chance to become a better pilot.

Nothing, though, could have prepared me for what happened on February 12, 2008. Class had ended for the day. I hopped into my red 2006 Ford Mustang, got on the highway and headed toward my apartment. A car pulled in behind me. Turning

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onto my street, I glanced in the rearview mirror and noticed the car behind me turn too. _A_ Nah, I was just cautious from my military training.

My apartment complex was just ahead. I slowed and signaled, then turned into the parking lot. I checked the rearview again. The car went into the lot across the street. Nothing to worry about. I pulled into a parking space and killed the engine. I was about to open the door when I saw a man approaching. Right away I knew he was trouble. Quickly I assessed options. I had two choices: Restart the engine, back up and floor it, or get out of the car and flee on foot. I ruled out the car－I didn’t want to risk being trapped inside. I decided to see what he wanted. Grabbing my keys and cell, I got out.

That’s when the man pointed a gun at me: “Give me your purse!” I said, “I don’t have a purse.”

He kept coming. “Give me your purse!” He stuck the gun in my stomach. I didn’t want to upset him. He reached over and snatched my keys and phone and popped the trunk. He forced me to the back of my car. “Get in.” I hesitated. “Get in,” he snarled. “Now!”

I did－but only because I remembered the trunk release. I’d read every word of the Mustang owner’s manual as soon as I got home from buying the car. I knew exactly where the trunk release was.

“Don’t move, don’t make a noise,” he warned. He slammed the trunk shut. Everything went dark. I was trapped.

Fighting the instinctive panic, I found the trunk release and put my hand on it. Gently, I began to pull. But something stopped me: _B_

My eyes were adjusting to the darkness. Not that there was much to see. No room to move around either.

_C_ I told myself. I heard the kidnapper start the car. He put it in reverse. What was he planning to do with me? I shuddered. Had I survived six years on active duty, only to have my life threatened in some senseless crime? _D_ Right there in the trunk, my fear receded. My mind cleared. I knew whatever direction he turned, he’d have to slow down. If he went straight, he’d have to stop at the stop sign. I waited for my chance.

He drove the Mustang forward, then stopped. I heard another car honk. Then he accelerated again. The speed limit was 15 mph. I couldn’t tell what direction we were going. As soon as he slowed down. I pushed the trunk open and jumped out.

I landed on my feet. There was a car stopped behind me. I stared into the driver’s eyes. Something told me he was in league with my kidnapper. The driver froze. It seemed like he stared at me forever. Then he turned his wheel. I didn’t hesitate. I took off down the side of the road. I raced through people’s yards. I ran back to my apartment complex and beat on doors. One finally opened. An old lady let me in. I quickly closed the door and locked it. I was on with the 911 operator when there was a knock at the door. The door swung open. A strong figure stood there－a Daytona Beach police officer. He had been in the community and responded immediately. 62. The writer was saved because ______. A. the kidnappers weren’t cautious

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B. the police officer was very brave C. he was always prepared for anything D. he practiced hard and was a good pilot

63. What does the underlined phrase “going haywire” mean? A. in chaos B. being astonishing C. driving people crazy D. very demanding

64. The following sentences should be put in blanks A－D in the order of ______? ① You have just one chance. ② Pay attention! ③ Is he following me? ④ Get a hold of yourself.

A. ①③②④ B. ③①②④ C. ③①④② D. ③②①④

65. What does the underlined sentence The driver froze. It seemed like he stared at me forever. suggest?

A. The writer’s sudden falling frightened the driver. B. It took the driver a long time to decide to take action. C. The writer’s landing was what the driver didn’t expect. D. The driver had nothing to do with the kidnapping.

D

Motion pictures are so much a part of our lives that it’s hard to imagine a world without them. We enjoy them in theatres, at home, in offices, in cars and buses, and on airplanes.

① For about 100 years, people have been trying to understand why this medium has so attracted us. Films communicate information and ideas, and they show us places and ways of life we might not otherwise know. Important as the benefits are, though, something more is at stake. Films offer us ways of seeing and feeling that we find deeply satisfying. They take us through experiences. The experiences are often driven by stories, with characters we come to care about, but a film might also develop an idea or explore visual qualities or sound textures. A film takes us on a journey, offering a patterned experience that engages our minds and emotions.

② Films are designed to have effects on viewers. Late in the 19th century, moving pictures emerged as a public amusement. They succeeded because they spoke to the imaginative needs of a broad-based audience. All the traditions that emerged－ telling fictional stories, recording actual events, animating objects or pictures, experimenting with pure form－aimed to give viewers experiences they couldn’t get from other media. The men and women who made films discovered that they could control aspects of cinema to give their audience richer, more engaging experiences. Learning from one another, expanding and refining the options available, filmmakers developed skills that became the basis of film as an art form.

③ The popular origins of cinema suggest that some common ways of talking won’t help us much in understanding film. Take the distinction between art and entertainment. Some people would say that blockbusters(大片) playing at the multiplex are merely “entertainment”, whereas films for a narrower public－perhaps independent films for festival fare, or specialized experimental works－are true art.

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Usually the art / entertainment split carries a not-so-hidden value judgment: art is high-brow, whereas entertainment is superficial. Yet things aren’t that simple. As we just indicated, many of the artistic resources of cinema were discovered by filmmakers working for the general public. During the 1910s and 1920s, for instance, many films that aimed only to be entertaining opened up new possibilities for film editing. As for the matter of value, it’s clear that popular traditions can promote art of high quality. Cinema is an art because it offers filmmakers ways to design experiences for viewers, and those experiences can be valuable.

④ Sometimes, too, people treat film art as opposed to film as a business. This split is related to the issue of entertainment, since entertainment generally is sold to a mass audience. Again, however, in most modern societies, no art floats free of economic ties. Novels good, bad, or indifferent are published because publishers expect to sell them. Painters hope that collectors and museums will acquire their work. True, some artworks are funded through taxes or private donations, but that process, too, involves the artist in a financial transaction(交易). Films are no different. Others are funded by patronage or public moneys. Even if you decide to make your own digital movie, you face the problem of paying for it－and you may hope to earn a little extra for all your time and effort.

The crucial point is that considerations of money don’t necessarily make the artist any less creative or the project any less worthwhile. Money can corrupt any line of business (consider politics), but it doesn’t have to. In Renaissance Italy, painters were commissioned by the Catholic church to illustrate events from the Bible. Michaelangelo and Lenonardo da Vinci worked for hire, but it would be hard to argue that it hurt their artistry.

Here we won’t assume that film art prevents entertainment. We won’t take the opposite position either－claiming that only Hollywood mass-market movies are worth attention. Similarly, we don’t think that film art rises above commercial demand, but we also won’t assume that money rules everything. Any art form offers a vast range of creative possibilities. Our basic assumption is that as an art, film offers experiences that viewers find worthwhile.

66. Where should It doesn’t happen by accident. be put in the passage? A. ① B. ② C. ③ D. ④ 67. Which of the following statements about film is TRUE? A. Hollywood films are usually far more appealing. B. Film offers a wide variety of creative possibilities.

C. Films are made in the hope that consumers will pay to see them. D. When watching films, viewers feel controlled by film designers.

68. The writer uses the examples of Michaelangelo and Lenonardo da Vinci to ______.

A. indicate that money is unlikely to corrupt artistry B. show that money doesn’t necessarily destroy artistry

C. prove that money cannot buy everything in the field of art

D. suggest that money is an important concern even for famous artists 69. According to the writer, film should ______.

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