题型:任务型阅读 题类:常考题 难易度:普通
辽宁省庄河市高级中学2018-2019学年高一上学期英语入学考试试卷
A. Use words, not complete sentences. B. First, the simple act of writing something down makes it easier for you to understand and remember it. C. That means you must first decide what is important enough to include in your notes. D. You will also want to develop your own method for taking notes. |
Taking good notes is a time-saving skill that will help you to become a better student in several ways. Second, your notes are excellent materials to refer to when you are studying for a test. Third, note-taking offers variety to your study time and helps you to hold your interest.
You will want to take notes during classroom discussions and while reading a textbook or doing research for a report. Whenever or however you take notes, keep in mind that note-taking is a selective process.
The following methods may work best for you.
●Read the text quickly to find the main facts and ideas in it.
●Carefully read the text and watch for words that can show main points and supporting facts.
●Write your notes in your own words.
●
●Note any questions or ideas you may have about what was said or written.
As you take notes, you may want to use your own shorthand (速记). When you do, be sure that you understand your symbols (符号) and that you use them all the time. Otherwise, you may not be able to read your notes later.
What is style? Style is the special visual paradigm centering on the visual symbol system. It is contained in the materialized products of daily life such as fashion, borne, architecture, horticulture; and environment. It is reflected in the creation of cultural products including literature, films and music. It is still a way of behavior and life that expresses specific customs. To sum up, style is not only the core of cultural products with visual, melodic, literal and abstract symbols, but also a way of life.
The style of China means the expression of Chinese elements. Chinese elements are the inheritance(传承)of cultural genes. The style of China relies on thousands of years of cultural accumulation(积累). It should not be limited to objects. It is supposed to express the Chinese cultural concept of Confucianism and Taoism. It must reflect the specific views of man and nature, man and objects as well as man and social relations.
The style of China ought to be oriented towards the world. It did influence the world. Silk and ceramics were the main products traded along the Silk Road. They contained rich Chinese culture. The thousand-year-old Silk Road spread the style of China to the West. And the craze for Chinoiserie(中国艺术品)was a popular fashion in European society at that time.
The style of China is the reproduction and variation of cultural genes. It is the inheritance along with innovation.
The style of China is duty-bound to select as always silk, bamboo, wood, stone clay, glass and porcelain. Meanwhile, the materials in modern industrial era like meats, glass and cement should be fully used. Besides, it is necessary to continue the concept of interactive space planning between man and nature and between man and man. It also needs to explore such new spaces as digitization, the Internet, virtual reality and artificial intelligence.
The style of China must show the transformation and promotion from Chinese manufacturing to Chinese creation. It relies on the manufacturing power and the industrial strength. The style of China presents to the world the image of a large industrial producer and a birthplace of global creativity.
The style of China represents not only the reconstruction of objects, but also the renewal of Chinese value system.
The style of China ought to rely on rich historical heritage(遗产), draw on strengths of others and keep up with the times. It should focus on the life of the general public, the world and the future.
Parts |
Paragraphs |
Main idea |
Key information |
1 (style) |
1 |
what style is |
● a special visual paradigm ● {#blank#}1{#/blank#} in both materialized and cultural products ● a way of behavior and life |
2 (Chinese style) |
2 |
the {#blank#}2{#/blank#} of Chinese style |
● the expression of Chinese culture elements {#blank#}3{#/blank#} over thousands of years. ● not only objects, but also cultural concept |
3 |
{#blank#}4{#/blank#} oriented |
● once influenced the world with silk and ceramics along the Silk Road |
|
4-7 |
not only inheritance but also innovation |
● {#blank#}5{#/blank#} products like silk and porcelain should be selected ● Modern {#blank#}6{#/blank#} and concept should also be used. ● from “made in China” to “{#blank#}7{#/blank#} in China” ● reconstruction of objects {#blank#}8{#/blank#} renewal of value system |
|
8 |
{#blank#}9{#/blank#} |
● traditional, open and {#blank#}10{#/blank#} ● life-focused on the public, world and future |
Pretending you're someone else can make you creative
One great irony(讽刺) about our collective fascination with creativity is that we tend to frame it in uncreative ways. That is to say, most of us marry creativity to our concept of self: We are either "creative" people or we aren't, without much of a middle ground.
Pillay, a tech businessman and Harvard professor has spent a good part of his career destroying these ideas. Pillay believes that the key to unlocking your creative potential is to dismiss the conventional advice that urges you to "believe in yourself". In fact, you should do the exact opposite: believe you are someone else.
In a recent column for Harvard Business Review, Pillay pointed to a 2016 study showing the impact of stereotypes(刻板印象)on one's behavior. The authors, education psychologists Denis Dumas and Kevin Dunbar, divided their college student subjects into three categories, instructing the members of one group to think of themselves as "eccentric(古怪的) poets" and the members of another to imagine they were "rigid librarians" (people in the third category, the control group, were left alone for this part). The researchers then presented participants with 10 ordinary objects, including a fork, a carrot, and a pair of pants, and asked them to come up with as many different uses as possible for each one. Those who were asked to imagine themselves as "eccentric poets" came up with the widest range of ideas for the objects, while those in the "rigid librarian" group had the fewest. Meanwhile, the researchers found only small differences in students' creativity levels across academic majors—in fact, the physics majors inhabiting(寄生) the personas(伪装的外表) of "eccentric poets" came up with more ideas than the art majors did.
These results, write Dumas and Dunbar, suggest that creativity is not an individual quality, but a "malleable(可塑的) product of context and perspective." Everyone can be creative, as long as they feel like creative people.
Pillay's work takes this a step further: He argues that identifying yourself with creativity is less powerful than the creative act of imagining you're somebody else. This exercise, which he calls "psychological halloweenism", refers to the conscious action of inhabiting another persona—an inner costuming of the self. It works because it is an act of "conscious unfocus", a way of positively stimulating the default mode(默认模式) network, a collection of brain regions that spring into action when you're not focused on a specific task or thought.
Most of us spend too much time worrying about two things: How successful/unsuccessful we are, and how little we're focusing on the task at hand. The former feeds the latter—an unfocused person is an unsuccessful one, we believe. Thus, we force ourselves into quiet areas, buy noise canceling headphones, and hate ourselves for taking breaks.
What makes Pillay's argument stand out is its healthy, forgiving realism: According to him, most people spend nearly half of their days in a state of "unfocus". This doesn't make us lazy people—it makes us human. The idea behind psychological halloweenism is: What if we stopped judging ourselves for our mental down time, and instead started using it? Putting this new idea on daydreaming means addressing two problems at once: You're making yourself more creative, and you're giving yourself permission to do something you'd otherwise feel guilty about. Imagining yourself in a new situation, or an entirely new identity, never felt so productive.
Title: Pretending you're someone else can make you creative
Some misleading ideas about creativity |
●Most of us are {#blank#}1{#/blank#} with the idea that we are either creative or we are not: there doesn't exist a middle ground in between. ●{#blank#}2{#/blank#} to popular belief, Pillay's suggestion is that you should believe you are someone else. |
Dumas and Dunbar's study |
●One group were asked to think of themselves as "eccentric poets", another "rigid librarians" and a third {#blank#}3{#/blank#} as the control group. The former two groups were required to come up with as many different uses as possible for each {#blank#}4{#/blank#} object. ●The level of students'{#blank#}5{#/blank#} is not always in direct proportion to the type of academic majors. ●Therefore, creativity is probably a product of context and perspective rather than something {#blank#}6{#/blank#}. |
Pillay's further study |
●The exercise of "psychological halloweenism" refers to the conscious action of being others by {#blank#}7{#/blank#} stimulating the default mode network. ●Pillay {#blank#}8{#/blank#} firmly to the idea of imaging you're someone else and advises us not to worry about how successful/unsuccessful we are. |
The {#blank#}9{#/blank#}significance of the exercise |
●We should start using it instead of stopping judging ourselves for our mental down time. ●We have every right to {#blank#}10{#/blank#} ourselves for being unfocused because it is not only human but also makes us more creative and productive. |
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