题目内容（请给出正确答案）

[主观题]

He always did well at school ______ having to do part-time jobs every now and then. A) in spite of

He always did well at school ______ having to do part-time jobs every now and then.

A) in spite of B) regardless of C) on account of D) in case of

查看答案

如搜索结果不匹配，请联系老师获取答案

您可能会需要：

重置密码查看订单联系客服

安装赏学吧APP，拍照搜题省时又省心！

更多“He always did well at school _…”相关的问题

第1题

Not only ______ study well,but also he is always ready to help others.A. he does B.

Not only ______ study well,but also he is always ready to help others.

A. he does

B. he did

C. does he

D. did he

点击查看答案

第2题

He always did well at school having to do part-time jobs every now and then（）

A．despite of

B．in spite of

C．regardless of

D．in case of

点击查看答案

第3题

He always did well at school having to do part－time jobs every now and then.

A.incase of

B.in spite of

C.regardless of

D.on account of

点击查看答案

第4题

______ was noted for the I do this I do that types of poems. In these poems, he tells

in a flat tone the little things he did on just one or any of the days in his life. The readers feel bored through most of the reading process, but feel well rewarded often by a surprise in wait for them, one that is not, however, always apparent.

点击查看答案

第5题

Jules Verne's most famous book is "Twenty Thousand Leagues under the Sea".

(A "league" is an old word 1 about three miles.) In those days submarines had not been 2 , but he describes an underwater ship very like a modern submarine. The captain of the submarine, called Captain Nemo, and his men have many strange adventures and find many strange things 3 the bottom of the ocean. He was a very good 4 . His characters often did surprising and sometimes impossible things, but they always seemed 5 real people. In another book, "Around the World in Eighty Days", Jules Verne creates Mr. Fogg, the hero, 6 made a bet that he would travel around the world in eighty days. Nowadays this may seem 7 to you, but in those days there were no planes or even cars. Mr. Fogg and his servant traveled in many different 8 , even on an elephant at one time! If you want to know their result, you should read the book. In all his books Jules Verne used his scientific knowledge 9 his imagination in describing future inventions. 10 he was wrong, of course, but often the accuracy of his descriptions is very clever.

(1).A、meaning

B、including

C、means

(2).A、made

B、discovered

C、invented

(3).A、in

B、at

C、under

(4).A、pilot

B、story-teller

C、captain

(5).A、are

B、to be

C、as if

(6).A、that

B、who

C、what

(7).A、easy

B、difficult

C、comfortable

(8).A、roads

B、paths

C、ways

(9).A、except

B、as well

C、as well as

(10).A、Always

B、Sometimes

C、Some times

点击查看答案

第6题

Thomas Hardy's impulses as a writer, all of which he indulged in his novels, were numerous

and divergent, and they did not always work together in harmony. Hardy was to some degree interested in exploring his characters' psychologies, though impelled less by curiosity than by sympathy. Occasionally he felt the impulse to comedy (in all its detached coldness) as well as the impulse to farce, but he was more often inclined to see tragedy and record it. He was also inclined to literary realism in the several senses of that phrase. He wanted to describe ordinary human beings; he wanted to speculate on their dilemma rationally (and, unfortunately, even schematically); and he wanted to record precisely the material universe. Finally, he wanted to be more than a realist. He wanted to transcend what he considered to be the banality of solely recording things exactly and to express as well his awareness of the occult and the strange.

In his novels these various impulses were sacrificed to each other inevitably and often. Inevitably, because Hardy did not care in the way that novelists such as Flaubert or James cared, and therefore took paths of least resistance. Thus, one impulse often surrendered to a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. A desire to throw over reality a light that never was might give way abruptly to the desire on the part of what we might consider a novelist-scientist to record exactly and concretely the structure and texture of a flower. In this instance, the new impulse was at least an energetic one, and thus its indulgence did not result in a relaxed style. But on other occasions Hardy abandoned a perilous, risky, and highly energizing impulse in favor of what was for him the fatally relaxing impulse to classify and schematize abstractly. When a relaxing impulse was indulged, the style. —that sure index of an author's literary worth —was certain to become verbose. Hardy's weakness derived from his apparent inability to control the comings and goings of these divergent impulses and from his unwillingness to cultivate and sustain the energetic and risky ones. He submitted to first one and then another, and the spirit blew where it listed; hence the unevenness of any one of his novels. His most controlled novel, Under the Greenwood Tree, prominently exhibits two different but reconcilable impulses —a desire to be a realist-historian and a desire to be a psychologist of love —but the slight interlockings of plot are not enough to bind the two completely together. Thus even this book splits into two distinct parts.

The most appropriate title for the passage could be ______.

A．Under the Greenwood Tree: Hardy's Ambiguous Triumph

B．The Real and the Strange: the Novelist's Shifting Realms

C．Hardy's Novelistic Impulses: the Problem of Control

D．Divergent Impulses: the Issue of Unity in the Novel

点击查看答案

第7题

Thomas Hardy's impulses as a writer, all of which indulged in his novels, were numerous an

d divergent, and they did not always work together in harmony. Hardy was to some degree interested in exploring his characters' psychologies, though impelled less by curiosity than by sympathy. Occasionally he felt the impulse to comedy (in all its detached coldness) as well as the impulse to farce, but he was more often inclined to see tragedy and record it. He was also inclined to literary realism in the several senses of that phrase; He wanted to describe ordinary human beings. He wanted to speculate on their dilemmas rationally (and, unfortunately even schematically); and he wanted to record precisely the material universe. Finally, he wanted to be more than a realist. He wanted to transcend what he considered to be the banality of solely recording things exactly and to express as well his awareness of the occult and the strange.

In his novels these various impulses were sacrificed to each other inevitably and often inevitably, because Hardy did not care in the way that novelists such as Flaubert or James learned, and therefore took paths of least resistance. Thus one impulse often surrendered to a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. A desire to throw over reality a light that never was might give way abruptly to the desire on the part of what we might consider a novelist scientist to record exactly and concretely the structure and texture of a flower.

In this instance, the new impulse was at least an energetic one. And thus its indulgence did not result in a relaxed style. But on other occasions Hardy abandoned a perilous risky and highly energizing impulse in favor of what was for him the fatally relaxing impulse to classify and schematize abstractly. When a relaxing impulse was indulged, the style—that sure index of an author's literary worth—was certain to become verbose.

Hardy's weakness derived from his apparent inability to control the comings and goings of these divergent impulses and from his unwillingness to cultivate and sustain the energetic and risky ones. He submitted of first one and then another, and the spirit blew where it listed; hence the unevenness of any one of his novels. His most controlled novel, Under the Greenwood Tree, prominently exhibits two different but reconcilable impulses—a desire to be a realist-historian and a desire to be a psychologist of love but the slight interlockings of plot are not enough to bind the two completely together. Thus even this book splits into two distinct parts.

Which of the following is the most appropriate title for the passage, based on its content？

A．Hardy's Novelistic Style. A Literary Light.

B．Hardy's Creative Conflict: Rationalism and Realism.

C．Hardy's Achievements: An Ambiguous Triumph.

D．Hardy's Novelistic Impulses: The Problem of Conflicts.

点击查看答案

第8题

"How is Dennis getting along with his work？" "Well, he could always （)

A.come up

B.come about

C.come out

D.come across