Passage  One

新舊

題材

題目

題型

舊

地理

Bondi  Beach in Australia

判斷題5

填空題8

文章主旨：文章介紹邦迪海灘。曾經(jīng)在澳大利亞并不受歡迎。直到英國人進(jìn)入的時(shí)候受英國文化的影響，后來發(fā)展了當(dāng)?shù)氐穆糜巍?/span>

判斷5：

1.         邦迪沙灘一開始是非常受歡迎的。  False

2.         NOT GIVEN

3.         NOT GIVEN

4.         TRUE

5.         FALSE

填空8

6.         Tram

7.         1954

8.         Beach volleyball

9.         Environment

10.     wealthy people

11.     Manly

12.     Bondi

13.     tiled roofs

Passage  Two

新舊

題材

題目

題型

新

科學(xué)

Wood  blocks played by children

判斷4

選擇6

填空3

文章主旨：本文主要講解了孩子們玩積木。通常情況下小孩子玩積木反而成功率高，是因?yàn)樗麄儜{感覺，而大點(diǎn)孩子考一些理論和知識(shí)反而會(huì)失敗。同時(shí)提到一個(gè)優(yōu)秀老師通過不斷提問學(xué)生，讓學(xué)生自己找到錯(cuò)誤的教學(xué)方法。

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Passage  Three

新舊

學(xué)科

題目

題型

新

歷史

Neandethal  Technology

 配對(duì)5

         選擇5

         填空3  

選擇1

文章主旨：文章主要講解了穴居人的移居的歷史過程，起初他們?cè)诙囱ɡ锩妗：髞碛捎谔鞖夂推渌虿粩喔淖兙幼〉刂泛铜h(huán)境，最后學(xué)習(xí)起火。

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Storytelling, From  Prehistoric Caves To Modern Cinemas

It was told, we suppose, to people crouched around a fire: a tale  of adventure, most likely—relating some close encounter with death: a  remarkable hunt, an escape from mortal danger, a vision, or something else  out of the ordinary. Whatever its thread, the weaving of this story was done  with a prime purpose. The listeners must be kept listening. They must not  fall asleep So. as the story went on, its audience should be sustained by one  question above all. What happens next?

The first fireside stories in human history can never be known.  They were kept in the heads of those who told them. This method of storage is  not necessarily inefficient. From documented oral traditions in Australia,  the Balkans and other parts of the world we know that specialised storytellers  and poets can recite from memory literally thousands of lines, in verse or  prose, verbatim—word for word. But while memory is rightly considered an art  in itself, it is clear that a primary purpose of making symbols is to have a  system of reminders or mnemonic cues—signs that assist us to recall certain  information in the mind's eye.

In some Polynesian communities a notched memory stick may help to  guide a storyteller through successive stages of recitation. But in other  parts of the world, the activity of storytelling historically resulted in the  development or even the invention of writing systems. One theory about the  arrival of literacy in ancient Greece, for example, argues that the epic  tales about the Trojan War and the wanderings of Odysseus—traditionally  attributed to Homer—were just so enchanting to hear that they had to be  preserved So the Greeks, c. 750-700BC. borrowed an alphabet from their  neighbors in the eastern Mediterranean, the Phoenicians.

The custom of recording stones on parchment and other materials  can be traced in many manifestations around the world, from the priestly  papyrus archives of ancient Egypt to the birch-bark scrolls on which the  North American Ojibway Indians set down their creation- myth. It is a  well-tried and universal practice: so much so that to this day storytime Is  probably most often associated with words on paper. The formal practice of  narrating a story aloud would seem—so we assume—to have given way to  newspapers, novels and comic strips This, however, is not the case  Statistically it is doubtful that the majority of humans.

currently rely upon the written word to get access to stories So  what is the alternative source'?

Each year, over 7 billion people will go to watch the latest  offering from Hollywood. Bollywood and beyond. The supreme storyteller of  today is cinema. The movies, as distinct from still photography, seem to be  an essentially modem phenomenon. This Is an illusion, for there are, as we  shall see, certain ways in which the medium of film is indebted to very old  precedents of arranging sequences' of images. But any account of visual  storytelling must begin with the recognition that all storytelling beats with  a deeply atavistic pulse: that is. a good story' relies upon formal patterns  of plot and characterisation that have been embedded in the practice of  storytelling over many generations

Thousands of scripts arrive every week at the offices of the major  film studios. But aspiring screenwriters really need look no further for  essential advice than the fourth-century BC Greek Philosopher Anstotle. He  left some incomplete lecture notes on the art of telling stories in various  literary and dramatic modes, a slim volume known as The Poetics. Though he  can never have envisaged the popcorn-fuelied actuality of a multiplex cinema.  Anstotle is almost prescient about the key elements required to get the  crowds flocking to such a cultural hub He analyzed the process with cool  rationalism. When a story enchants us. We lose the sense of where we are: we are  drawn into the story so thoroughly that we forget. It is a story being told  This is in Aristotle's phrase, the suspension of disbelief.

We know the feeling. If ever we have stayed in our seats, stunned  with grief, as the credits roll by. or for days after seeing that vivid  evocation of horror have been nervous about taking a shower at home, then we  have suspended disbelief. We have been caught, or captivated, in the  storyteller s web Did it all really happen? We really thought so—for a while.  Anstotle must have witnessed often enough this suspension of disbelief He  taught at Athens, the city where theater developed as a primary form of civic  ritual and recreation. Two theatrical types of storytelling, tragedy and  comedy, caused Athenian audiences to lose themselves in sadness and laughter  respectively Tragedy, for Anstotle. was particu- larly potent in its capacity  to enlist and then purge the emotions of those watching the story unfold on  the stage, so he tried to identify those factors in the storyteller's art  that brought about such engagement He had. as an obvious sample for analysis,  not only the fifth- century BC masterpieces of Classical Greek tragedy  written by Aeschylus, Sophocles and Euripides Beyond them stood Homer, whose  stories even then had canonical status. The Iliad and The Odyssey were  already considered literary landmarks—stories by which all other stories  should be measured So what was the secret of Homer's narrative art?

It was not hard to find Homer created credible heroes. His heroes  belonged to the past, they were mighty and magnificent, yet they were not. in  the end. fantasy figures. He made his heroes sulk, bicker, cheat and cry They  were, in short, characters—protagonists of a story that an audience would  care about, would want to follow, would want to know what happens next As  Aristotle saw. the hero who shows a human side—some flaw or weakness to which  mortals are prone——is instinctively dramatic.