2015-10-13 17:19| 来源：环球教育 | 点击量：次
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Passage One |
新旧情况 | 题材 | 题目 | 题型及数量 |
| 新 | 媒体类 |
The media literacy of children |
摘要填空题 7 个 判断题 6 个 |
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| 文章大意 |
段介绍三种主要方式 二段提到儿童使用 Internet 会碰到的问题，比如 financial risk 四段提到 older media 没有 new media 获得的研究多 五段提到关于 barriers 的研究成果 六段提到长的行为带来的影响 七段提到 television 和 mobile phone 可能带来的危害 |
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| 部分答案 |
1-7 摘要填空题 1. access 2. financial risk 3. most research focus on new media 8-13 判断题 8. barriers 已经获得了 considerable research. False 9. parents 会影响孩子的 literacy True 10. mobile phones 是潜在可能带来危害的工具 True (题目顺序可能有误，答案仅供参考。 ) |
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Passage Two |
新旧情况 | 题材 | 题目 | 题型及数量 |
| V20140517 | 天文类 |
Making images from space more accessible amateur |
段落细节配对题 4 个 人名配对题 6 个 句子填空题 3 个 |
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| 文章大意 |
The difference between professional astronomers and amateur astronomers in processing space images. |
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| 部分答案 |
14-17 段落细节配对题 14. A particular method used to improve the image from Titan. C 15. What amateur astronomers often see. E 16. The development of media used by amateur astronomer. G 17. The geographic highlights made by Lieken. C 18-23 人名观点配对 18. Some experts don’t know how to utilize amateurs’ tools. Ed Flaspoehler 19. Amateur astronomers should be commended. Lebreton 20. Cooperation between professionals and amateurs would make people know how exciting the astronomy is. Robert Milkey 21. The amateurs outnumbered professionals. Ed Flaspoehler 22. The developed technology would help amateur astronomers do scientific jobs. Robert Milkey 23. Professionals have a better understanding of data than amateurs. Lieken 24-26 句子填空题 24. Amateur astronomers send the image through Cassini spacecraft. 25. Lieken’s group was aware that it might be possible to send more precise images through facilities located in Arizona University. 26. The development of technology makes amateur astronomers able to use cheaper digital cameras. (题目顺序可能有误，答案仅供参考。 ) |
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Passage Three |
新旧情况 | 题材 | 题目 | 题型及数量 |
| 新 | 发展史 |
New Zealand Home Textile Craft |
单选题 6 个 摘要题 4 个 判断题 4 个 |
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| 文章大意 |
相关背景文章 Story: Sewing, knitting and textile crafts Women’s work Women have been the primary producers of handcrafted textile items, although men have also turned their hands to this work (particularly knitting) at times. During the 19th century and much of the 20th century almost all women knew how to make clothes and household items, and this work was an important contribution to the family economy. These textile crafts were United Kingdom traditions imported to New Zealand when English and Scottish settlers arrived in the 19th century. While knitting and sewing were commonplace household jobs, they did provide house-bound women with opportunities for creative expression. Many took pride in their ability to dress their children and themselves in well-made clothes. Less immediately practical crafts like embroidery were used to beautify a wide range of items, from handkerchiefs to tablecloths. Women of limited means could create pleasing home interiors using their needles and sewing machines. The craftwork of very skilled women had artistic qualities, though it was rarely seen as fine art because of its domestic origins. Home-made to shop-bought Historically, many women were unpaid housewives, and sewing, mending and knitting were regular jobs. In the last quarter of the 20th century women entered the paid workforce in large numbers and had less time to make things at home. Because knitting was portable and easy to do in conjunction with hands-free tasks and occupations, paid work did not necessarily put an end to knitting. Female politicians like Mabel Howard and Marilyn Waring knitted during caucus meetings and parliamentary debates. The rise of the women’s liberation movement in the late 1960s affected the way women perceived home crafts. They were seen by some as examples of women’s oppression – just more chores women were expected to do. This undoubtedly contributed to the decline of home crafts, but many women did continue to knit and sew, and some recast this work as a feminist act. Perhaps more influential in turning women away from home-made everyday items was the rise of cheap, imported, commercially made clothes and soft furnishings. Tariffs (taxes on imported goods) which protected local industries were progressively lowered or removed altogether from the 1980s. In 1992 import licences for clothes were abolished, which meant anyone could import clothes. Before this, manufactured clothes were relatively expensive. While imported clothing and textiles from most countries still attracted a modest tariff in theearly 2000s, tariff reductions and low-waged labour abroad made them much cheaper to buy than make at home. Revival In the early 2000s women began to take up knitting, sewing and other textile crafts again in numbers. This was a worldwide trend evident in other comparable countries and was, in part, a reaction against mass-produced consumer items. Craft groups and organisations Sewing, knitting and other crafts could be solitary activities but sometimes women gathered to make things together. In 19th-century Waipū, Nova Scotian settlers met at ‘frolics’ with their wool, hand carders and spinning wheels and made yarn while conversing. Organised craft groups emerged in the 20th century. The activities programmes of Country Women’s Institutes, an organisation founded in 1921, regularly included home-craft demonstrations and sessions, as did those of women’s lyceum clubs. Organisations devoted to particular crafts were also founded. |
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| 部分答案 |
27-32 单选题 27. 段作者关于 domestic textile 的观点是？ C. Source of information about society 28. 二段女性做 textile 的目的是？ B. Self-expression 29. textile 为什么 not frequently collected? B. damaged 30. 关于 signature 选 fade over, not see 31. 作者在四段做什么了？ 选对比了 art and craft 32. 作者为什么吧 archaeology 跟 craft 进行比较？ 33-36 摘要题 33. wealthy element 34. practical 35. skillful 36. imperfect 37-40 判断题 37. unreliable image Yes 38. 女性那个时期是依据 duality 来选择的 No 39. only interest of makers NG 40. 女性做手工是为了 escape from society No (题目顺序可能有误，答案仅供参考。 ) |
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