s="" culture="" requires="" readers="" to="" be="" able="" not="" only="" read="" for="" pleasure="" and="" information="" but="" ask="" questions="" of="" the="" text,="" recognize="" how="" writer="" tries="" position="" reader,="" become="" what="" is="" called="" a="" “critical”="" reader.The simple Venn diagram that had been used to depict the language cueing systems in the age of making meaning (Figure below) has evolved to a more complex diagram that includes the impact of culture and context on a reader as well as the roles that the reader must take on in order to be effective.Reading and the teaching of reading have become more complex and reach out across a wider and wider audience, so that we now accept that we are lifelong learners of reading—or, to be more precise, of literacy. We accept that we will learn new skills in new contexts. It is a K-adult curriculum now.However, it is an age when politics and politicians have taken control of the literacy agenda. This is not surprising, as those who don't have high levels of literacy are more likely to end up ’on some sort of social support and thus are viewed as a “burden” to society. So, in order to save money in the long-term, ”it seems politicians have agreed that literacy begins in the early years. And they are finally prepared to support this concept.
1.According to the passage, a critical reader should be able to （ ）.2.From the context of the passage we can infer the possible meaning of “K-adult curriculum (Paragraph 3)” as （ ）.3.In the diagram we can infer that the features of text analyst practices mainly involves（ ）.
'>As we move into the 21st century the concept of reading was recognized by most as involving a much more complex set of skills than had been understood in the past. Today's culture requires readers to be able not only to read for pleasure and information but to ask questions of the text, to recognize how the writer tries to position the reader, and to become what is called a “critical” reader.The simple Venn diagram that had been used to depict the language cueing systems in the age of making meaning (Figure below) has evolved to a more complex diagram that includes the impact of culture and context on a reader as well as the roles that the reader must take on in order to be effective.Reading and the teaching of reading have become more complex and reach out across a wider and wider audience, so that we now accept that we are lifelong learners of reading—or, to be more precise, of literacy. We accept that we will learn new skills in new contexts. It is a K-adult curriculum now.However, it is an age when politics and politicians have taken control of the literacy agenda. This is not surprising, as those who don't have high levels of literacy are more likely to end up ’on some sort of social support and thus are viewed as a “burden” to society. So, in order to save money in the long-term, ”it seems politicians have agreed that literacy begins in the early years. And they are finally prepared to support this concept.
1.According to the passage, a critical reader should be able to （ ）.2.From the context of the passage we can infer the possible meaning of “K-adult curriculum (Paragraph 3)” as （ ）.3.In the diagram we can infer that the features of text analyst practices mainly involves（ ）.
A.appreciate and interpret the readings holistically in various dimensions and approaches B.evaluate the passage with cultural background and context C.read and apprehend the information of the passages with various and comprehensive techniques of reading D.deduct the theme of passage with neutral and critical view问题2： A.a curriculum of reading course with comprehensive skills for adult learners B.a course plan with combination skills of both culture and context interpretation in reading C.a lifelong reading teaching schedule from childhood (Kindergarten) to adulthood D.a reading course plan with various knowledge for adult reader问题3： A.clear separation from code breaker practices but close relation with text user practices B.the gra相关问题推荐
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It is so mild and moist as I saunter along by the wall east of the Hill that I remember, or anticipate, one of those warm（1） in the spring, when the earth is just laid bare, the wind is south, and the cladonia lichens are （2） and lusty with moisture, your foot sinking into them and pressing the water out as from a sponge, and the （3）places also are drinking it in. You wander （4） in a beaded coat, wet to the skin of your legs, sit on moss-clad rocks and stumps, and hear the （5）of migrating sparrows flitting amid the shrub oaks, sit long at a time, still, and have your thoughts. A rain which is as serene as fair （6） , suggesting fairer weather than was ever seen. You could hug the clods that （7） you. You feel the fertilizing influence of the rain in your mid. The part of you that is wettest is fullest of life, — （8） the lichens. You discover evidences of immortality not known to （9） .You cease to die. You detect some buds and sprouts of life. Every （10）in the old rye-field is on virgin soil.And then the rain comes thicker and faster than before, thawing the （11） frost in the ground, detaining the migrating bird, and turn your back to it, full of serene, contented （12） , soothed by the steady dropping on the withered leaves, more at home for being abroad, more comfortable for being wet, sinking at each step （13）into the thawing earth, gladly （14）the gray rotting ice. The dullest sounds seem sweetly modulated by the air. You leave your tracks （15） spring rye, scaring the fox-colored sparrows along the woodsides. You cannot go home yet; you stay and sit in the rain. You （16） along the distant woodsides, full of joy and expectation, seeing （17）beauty, hearing nothing but music, as free as the （18）sparrow, seeing far ahead, a courageous （19） ,a great philosopher, not indebted to any academy or college for this （20）,but chiefly to the April rain, which descend on all alike.
A.showers B.pitfalls C.blizzards D.rainstorms
问题2：
A.swollen B.springe C.winded D.swabbed
问题3：
A.sunny B.saggy C.sandy D.faddy
问题4：
A.absolutely B.indefinitely C.consequently D.magnificently
问题5：
A.vibration B.murmuring C.uproar D.lisping
问题6：
A.sky B.weather C.moisture D.climates
问题7：
A.defile B.deveined C.doxastic D.granulate
问题8：
A.simulate to B.dislike to C.like D.likewise
问题9：
A.snobbism B.steals C.genius D.divines
问题10：
A.step B.press C.cornerstone D.episode
问题11：
A.restraining B.upstanding C.demanding D.remaining
问题12：
A.believe B.thought C.entrust D.perception
问题13：
A.deep B.hovering C.shadow D.paraffined
问题14：
A.disturbed in B.breaking up C.interruption D.breaking through
问题15：
A.perspective B.in respects of C.in fields of D.aspects of
问题16：
A.glide B.slide C.corroded D.crush
问题17：
A.no other than B.nothing but C.thereafter D.withstanding
问题18：
A.color of fox B.fox color C.color like fox D.fox-colored
问题19：
A.patriot B.coregency C.knight D.armor
问题20：
A.extravagation B.expenditure C.expectation D.expansion -
That Louise Nevelson is believed by many critics to be the greatest twentieth-century sculptor is all the more remarkable because the greatest resistance to women artists has been, until recently, in the field of sculpture. Since Neolithic times, sculpture has been considered the prerogative of men, partly, perhaps, for purely physical reasons; it was erroneously assumed that women were not suited for the hard manual labor required in sculpting stone, carving wood, or working in metal. It has been only during the twentieth century that women sculptors have been recognized as major artists, and it has been in the United States, especially since the decades of the fifties and sixties, that women sculptors have shown the greatest originality and creative power. Their rise to prominence parallels the development of sculpture itself in the United States; while there had been a few talented sculptors in the United States before the 1940, it was only after 1945 ——when New York was rapidly becoming the art capital of the world ——that major sculpture was produced in the United States. Some of the best was the work of women.By far the most outstanding of these women is Louise Nevelson, who in the eyes of many critics is the most original female artist alive today. One famous and influential critic, Hilton Kramer, said of her work. “For myself, I think Ms. Nevelson succeeds where the painters often fail.”Her works have been compared to the Cubist constructions of Picasso, the Surrealistic objects of Miro, and the Merzbau of Schwitters. Nevelson would be the first to admit that she has been influenced by all of these, as well as by African sculpture, and by Native American and pre-Columbian art, but she has absorbed all these influences and still created a distinctive art that expresses the urban landscape and the aesthetic sensibility of the twentieth century. Nevelson says, “I have always wanted to show the world that art is everywhere, except that it has to pass through a creative mind.”Using mostly discarded wooden objects like packing crates, broken pieces of furniture, and abandoned architectural ornaments, all of which she has hoarded for years, she assembles architectural constructions of great beauty and power. Creating very freely with no sketches, she glues and nails objects together, paints them black, or more rarely white or gold, and places them in boxes. These assemblages, walls, even entire environments create a mysterious, almost awe-inspiring atmosphere. Although she has denied any symbolic or religious intent in her works, their three-dimensional grandeur and even their titles, such as Sky Cathedral and Night Cathedral, suggest such connotations. In some ways, her most ambitious works are closer to architecture than to traditional sculpture, blit then neither Louise Nevelson nor her art fits into any neat category.1.The passage focuses primarily on which of the following?2.Which of the following statements is supported by information given in the passage?3.It can be inferred from the passage that the author believes which of the following about Nevelson’s sculptures?4.Which of the following statements about Nevelson’s sculptures can be inferred from the passage?
A.A general tendency in twentieth-century art B.The work of a particular artist C.The artistic influences on women sculptors D.Critical responses to twentieth-century sculpture
问题2：
A.Prior to 1945 there was little major sculpture produced by men or women sculptors working in the United States. B.Since 1950 sculpture produced in the United States has been the most original and creative sculpture produced anywhere. C.From 1900 to 1950 women sculptors in Europe enjoyed more recognition for their work than did women sculptors in the United States. D.Prior to 1945 there were many women sculptors whose work was ignored by critics.
问题3：
A.They show the influence of twentieth-century architecture. B.They do not have qualities characteristic of sculpture C.They are mysterious and awe-inspiring, but not beautiful. D.They suggest religious and symbolic m -
No one is （ ）about Stephens; he inspires either uncritical adulation or profound antipathy in those who work for him.
A.neutral B.infuriated C.anxiety D.consternation -
Before about 1960, virtually all accounts of evolution assumed most adaptation to be a product of selection at the level of populations; recent studies of evolution, however, have found no basis for this （ ）view of selection.
A.controversial B.pervasive C.unchallenged D.renowned -
A major goal of law, to deter potential criminals by punishing wrongdoers, is not served when the penalty is so seldom invoked that it ceases to be a （ ）threat.
A.serious B.coercive C.credible D.deceptive