Historically, the spread, prevalence, and very existence of contagious disease have wholly depended on the growth and concentration of human populations.（1） And though the last century has witnessed substantial worldwide success in combating many past scourges —such as polio and smallpox — infectious diseases still claim more lives than any other group of diseases. The prevailing demographic trends continue to create a crowded human “medium” that both invites and is vulnerable to infection.The share of humanity living in cities with more than 1 million people has surged from less than 5 percent in 1900 to nearly 40 percent today, creating the ideal setting for the resurgence of old infectious diseases as well as the development of new ones.（2）Overcrowding — the increased proximity of susceptible individuals — is a principal risk factor for the incidence and spread of all major infectious diseases, including tuberculosis, dengue fever, malaria, and acute respiratory illnesses, which are unable to spread and survive in low population densities.（3）Aside from sheer growth and increasing density, the urbanization under way in developing nations is often accompanied by deteriorating health indicators and increased exposure to disease risk factors.Access to clean water, good hygiene, and adequate housing are sorely lacking in developing nations. As a result, waterborne infections such as cholera and other diarrheal diseases account for 90 percent of all infectious diseases in developing countries — and 40 percent of all deaths in some nations.（4）In both industrial and developing nations, the incidences of a wide range of infectious diseases, including tuberculosis, diarrheal diseases, and HIV/AIDS, are considerably higher in urban slums — where poverty and compromised health define the way of life — than in the rest of the city.（5 ）
A.Key disease carriers, such as insects and rats, thrive in crowded urban settings, further facilitating spread. B.The unprecedented population densities in fourteenth-century Europe, for example, led to the plague outbreak that claimed the lives of one fourth of the population. C.Although these infections are easily preventable if adequate water and sanitation are available, the vast majority of the world’s population are lifelong victims. D.While new global markets have created unprecedented economic opportunities and growth, the health risks of our increasingly interconnected and fast-paced world continue to grow. E.Pathogens can more readily establish in large populations, since all infectious diseases require a critical number of vulnerable individuals in order to take root and spread. F.These areas can serve as a perpetual reservoir of disease or disease vectors, placing other parts of the city at risk of an outbreak and allowing the disease to continue evolving, often into a deadlier strain.
问题2：
A.Key disease carriers, such as insects and rats, thrive in crowded urban settings, further facilitating spread. B.The unprecedented population densities in fourteenth-century Europe, for example, led to the plague outbreak that claimed the lives of one fourth of the population. C.Although these infections are easily preventable if adequate water and sanitation are available, the vast majority of the world’s population are lifelong victims. D.While new global markets have created unprecedented economic opportunities and growth, the health risks of our increasingly interconnected and fast-paced world continue to grow. E.Pathogens can more readily establish in large populations, since all infectious diseases require a critical number of vulnerable individuals in order to take root and spread. F.These areas can serve as a perpetual reservoir of disease or disease vectors, placing other parts of the city at risk of an outbreak and allowing the disease to continue evolving, often into a deadlier strain.
问题3：
A.Key disease carriers, such as insects and rats, thrive in crowded urban settings, further facilitating spread. B.The unprecedented population densities in fourteenth-century Europe, for
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Likenesses of Buddha are these days so commonplace — the casual adornment of fashionable spas, fusion restaurants and Parisian nightclubs — that it is strange to think that artists once hesitated, out of reverence, to portray the Buddha in corporeal form. In 2nd century India, judging by a 2nd century sandstone carving excavated from Mathura, it was sufficient to simply depict an empty throne — the implication that the Buddha was a spiritual king being very clearly understood by anyone who saw it.But as the stunning new gallery of Buddhist sculpture at London’s Victoria and Albert Museum makes plain, somewhere along the line the reticence about rendering the Buddha’s likeness gave way, and the world embarked on two millenniums of rich iconography and statuary. The gallery’s 47 masterworks, culled from the museum’s renowned Asian collections, trace the Buddha’s portrayal from the 2nd to 19th centuries, in places as diverse as India, Java and Japan.Inspiration came from unexpected sources. Some sculptors in Sri Lanka and China simply shaped the Buddha in their own likenesses. A 4th century stucco bust unearthed in Afghanistan features the full lips associated with Indian Gupta art, but also fulsome curls that reflect the Greco-Roman artists brought to the region by Alexander the Great.Other enlightened souls are shown beside the Buddha. Among the gallery’s most glorious artifacts are depictions of Bodhisattvas —those who deliberately postpone their passage to nirvana, Buddhists believe, in order to help others along the eightfold path. In the 14th century, metalworkers from Nepal’s Kathmandu Valley crafted the Bodhisattva Avalokiteshvara, a manifestation of the Buddhist lord of compassion, in gilded copper and precious-stone inlay. An androgynous-looking deity with wide hips and sensuous form (in Chinese tradition, Avalokiteshvara or Guan Yin is female, in others male), Avalokiteshvara’s serene face projects the harmony to which all Buddhists aspire.John Clarke, the gallery’s principal curator, says that Avalokiteshvara is sometimes depicted holding a blooming lotus — a symbol of spiritual purity. “It comes up from the mud, flowers, and remains untouched by the dirt that surrounded it,” he says. You could say the same thing for the wonderful richness of Buddhist art.1.Spas, restaurants and nightclubs are stated to show that（ ）.2.The 2nd century Indian case mentioned denotes that artists at that time considered it disrespectful to （ ）.3.The new gallery at London’s Victoria & Albert Museum indicates that （ ）.4.The gallery’s sculptures of Buddha reflect （ ）.5.To Buddhists, Avalokiteshvara is a deity that can help one （ ）.6.The last sentence of the passage implies that Buddhist art（ ）.
A.images of Buddha are often seen in those places B.those places are frequented by many Buddhist artists C.those places are filled with flavor of Buddhist culture D.Buddhist worshippers regularly go to those places
问题2：
A.depict the figure of Buddha B.reflect things about Buddhism C.paint Buddha in a vague form D.distort Buddhist spirituality
问题3：
A.Buddha’s portrayal came to a surge in the year of 2000 B.some Buddha sculptures have a history of about 2000 years C.the image of the Buddha has been distorted for 2000 years D.the silence on portraying Buddha was broken in 2000
问题4：
A.the sculptors’ secular views about Buddhism B.the sculptors’ imitation of an alien culture C.something about the sculptors’ own cultures D.something associated with modem art
问题5：
A.against arrogance B.control his temper C.out of greediness D.out of sufferings
问题6：
A.emerges from other art forms but retains its own features B.needs to be further explored in its complex structures C.keeps its dominant position over any other form of art D.remains a symbol of spiritual purity in the world of artists
