All the flights （ ）because of the hurricane, they decided to take the train instead.

A.had been canceled B.having canceled C.have been canceled D.having been canceled

Which of the following is a typical feature of formal writing？

In my opinion she is kind and polite, so I put her rudeness today down as（ ）.

Which of the following might be Jane’s primary concern when she sincerely asks her friend“ Does your farm contain 500 acres?”

In the field of psychology, there has long been a certain haziness surrounding the definition of creativity, an I-know-it-when-I-see-it attitude that has eluded a precise formulation. During our conversation, Mark Beeman, a cognitive neuroscientist at Northwestern University, told me that he used to be reluctant to tell people what his area of study was, for fear of being dismissed or misunderstood. What, for instance, crosses your mind when you think of creativity? Well, we know that someone is creative if he produces new things or has new ideas. And yet, as John Kounios, a psychologist at Drexel University who collaborates frequently with Beeman, points out, that view is wrong, or at least not entirely right. “Creativity is the process, not the product,” he says.To illustrate, Beeman offers an example. Imagine someone who has never used or seen a paperclip and is struggling to keep a bunch of papers together. Then the person comes up with a new way of bending a stiff wire to hold the papers in place. “That was very creative,” Beeman says. On the flip side, if someone works in a new field——Beeman gives the example of nanotechnology——anything that he produces may be considered inherently “creative”. But was the act of producing it actually creative? As Beeman put it, “Not all artists are creative. And some accountants are very creative.”Insight, however, has proved less difficult to define and to study. Because it arrives at a specific moment in time, you can isolate it, examine it, and analyze its characteristics. “Insight is only one part of creativity,” Beeman says. “But we can measure it. We have a temporal marker that something just happened in the brain. I’d never say that’s all of creativity, but it’s a central, identifiable component.” When scientists examine insight in the lab, they are looking at what types of attention and thought processes lead to that moment of synthesis: If you are trying to facilitate a breakthrough, are there methods you can use that help? If you feci stuck on a problem, are there tricks to get you through?In a recent study, Beeman and Kounios followed people’s gazes as they attempted to solve what’s called the remote-associates test, in which the subject is given a series of words, like “pine” “crab” and “sauce” and has to think of a single word that can logically be paired with all of them. They wanted to see if the direction of a person’s eyes and her rate of blinking could shed light on her approach and on her likelihood of success. It turned out that if the subject looked directly at a word and focused on it—that is, blinked less frequently, signaling a higher degree of close attention— she was more likely to be thinking in an analytical, convergent fashion, going through possibilities that made sense and systematically discarding those that didn’t. If she looked at “pine” say, she might be thinking of words like “tree” “cone” and “needle”，then testing each option to see if it fit with the other words. When the subject stopped looking at any specific word, either by moving her eyes or by blinking, she was more likely to think of broader, more abstract associations. That is a more insight-oriented approach. “You need to learn not just to stare but to look outside your focus,” Beeman says. (The solution to this remote-associates test: “apple”.)As it turns out, by simple following someone’s eyes and measuring her blinks and fixation times, Beeman’s group can predict how someone will likely solve a problem and when she is nearing that solution. That’s an important consideration for would-be creative minds: it helps us understand how distinct patterns of attention may contribute to certain kinds of insights.Which of the following is closest in meaning to the underlined word “haziness” in PARAGRAPH ONE?According to John Kounios, what does the underlined word “that” in PARAGRAPH TWO refer to?In PARAGRAPH FOUR, which of the following shows the purpose of describing the experiment?Based on the experiment, which of the following may signal that the subject is nearing the solution?What is th

With her magical first novel, Garcia joins a growing chorus of talented Latino writers whose voices are suddenly reaching a far wider, more diverse audience. Unlike Latin American writers such as Colombia’s Gabriel Garcia Marquee of Peru’s Mario Vargas Llosa—whose translated works became popular here in the 1970s—these authors are writing in English and drawing their themes from two cultures. Their stories, from Dreaming in Cuban to Julia Alvarez’s How the Garcia Girls Lost Their Accent and Victor Villasenor’s Rain of Gold, offer insight into the mixture of economic opportunity and discrimination that Latinos encounter in the United States. Garcia Girls for example, is the story of four sisters weathering their transition from wealthy Dominicans to ragtag immigrants, “We didn’t feel we had the beat the United States had to offer,” one of the girls says, “We had only second-hand stuff, rental houses in one redneck Catholic neighborhood after another, clothes at Round Robin, a black and white TV afflicted with wavy lines.” Alvarez, a Middlebury College professor who emigrated from Santo Domingo when she was 10, says being an immigrant has given her a special vantage point: “We travel on that border between two worlds and we can see both points of view.”With few exceptions, such as Chicano writer Rudolfo Anaya, many Hispanic-Americans have been writing in virtual obscurity for years, nurtured only by small presses like Houston’s Arte Publico or the Bilingual Press in Tempe, Ariz. Only with the recent success of Sandra Cisneros’s Woman Hollering Creek and Oscar Hijuelos’s prize-winning novel, The Mambo Kings Play Songs of Love, have mainstream publishers begun opening door to other Latinos. Julie Grau, Cisneros’s editor at Turtle Bay, says, “Editors may now be looking more carefully at a book that before they would have deemed too exotic for the general readership.”But if Villasenor’s experience is any indication, some editors are still wary. In 1989, Putnam gave Villasenor a $75, 000 advance for the hardcover rights to Rain of Gold, the compelling saga of his family’s migration from Mexico to California. But the editors, says Villasenor, wanted major changes: “They were going to destroy the book. It’s nonfiction; they wanted to publish it as a novel. And they wanted to change the title to ‘Rio Grande’，which sounded like some old John Wayne movie.” After a year of strained relations, he mortgaged his house, borrowed his mother’s life savings and bought back the rights to the book that had taken 10 years to write.In frustration, Villasenor turned to Arte Publico. In the eight months since its release, Rain of Gold has done extremely well, considering its limited distribution; 20，000 copies have been sold. “If we were a mainstream publisher, this book would have been on The New York Times best-seller list for weeks,” says Arte Pulico’s Nicolas Kanelos. The author may still have a shot: he has sold the paperback rights to Dell. And he was just named a keynote speaker (with Molly Ivins and Norman Schwarzkopf) for the American Booksellers Association convention in May. Long before they gained this sort of attention, however, Villasenor, Cisneros and other Latino writers were quietly building devoted followings. Crossing the country, they read in local bookstores, libraries and schools. Their stories, they found, appeal not only to Latinos— who identify with them, but to a surprising number of Anglos, who find in them a refreshingly different perspective on American life. Still, there are unusual pressures on these writers. Cisneros vividly recalls the angst she went through in writing the final short stories for Woman Hollering-. UI was traumatized that it was going to be one of the first Chicano books ‘out there’. I felt I had this responsibility to my community to represent us in all our diversity.”Which of the following is true of Garcia as a Latino writer according to the passage?What advantage do the new generation Latino writers have over Latin American writers according to the passage?Which of the following is true of t