题目内容

I hear many parents say that their teenagers are too independent.I wish it were so.At your age you ought to be growing away from your parents.You should be learning to stand on your own feet.But take a good look at the present rebellion,it seems that teenagers are all taking the same way of showing that they disagree with their parents.Instead of striking out bravely on their own,most of them are trying to seize at one another’s hands for safety.

They say they want to dress as they please.But they all wear the same clothes.They set off in new directions in music.But the reason for thinking or acting in thus­and­such a way is that the crowd is doing it.They have come out of their cocoon (蚕茧)—into a larger cocoon.

It has become harder and harder for a teenager to stand up against the popularity wave and to go his or her own way.Industry has firmly opened up a teenager market.These days every teenager can learn from newspapers and TV what a teenager should have and be.And many of today’s parents have come to award (奖励) high marks for the popularity of their children.All this adds up to great difficulty for the teenager who wants to find his or her own path.

But the difficulty is worth getting over.The path is worth following.You may want to listen to classical music instead of going to a party.You may want to collect rocks when everyone else is collecting records.You may have some thoughts that you don’t care to share at once with your classmates.Well,go to it.Find yourself.Be yourself.Popularity will come—with the people who respect you for who you are.That’s the only kind of popularity that really counts.

60.The writer’s purpose in writing this text is to tell________.

A.readers how to be popular in the world

B.teenagers how to learn to decide things for themselves

C.parents how to control and guide their children

D.people how to understand and respect each other

61.Teenagers should________,according to the text.

A.rebel against their parents

B.find their real self

C.become different from others in as many ways as possible

D.obey what their parents say

62.Which of the following is NOT true according to the text?

A.People will respect you if you share your thoughts with others.

B.Some parents are actually keeping their children from finding their own paths.

C.It is not necessarily bad for a teenager to disagree with his or her classmates.

D.Most teenagers say they want to do what they like to,but in fact they are not doing the same.

63.What does the underlined word “counts” in the last paragraph mean?

A.To recite or list numbers.

B.To have value or importance.

C.To share some thoughts.

D.To be different.

60.B 细节理解题。作者在分析十多岁的少男少女们追求独立之路所遇到的种种困难之后,鼓励他们应克服困难追求独立。A项“告诉读者怎样让自己受世人欢迎”;C项“告诉父母怎样管理和指导自己的孩子”;D项“告诉人们怎样互相理解互相尊重”都与文章内容不一致。

61.B 主旨大意题。从短文最后一段中的“Find yourself.Be yourself.Popularity will come...”来推断,作者鼓励青少年们追求自我、追求独立的个性。

62.A 细节理解题。从倒数第二句中“with the people who respect you for who you are”可以推知,人们敬佩的是那些具有独立意识和个性的人,不是一些“从众”的人。B项可从第三段第四句得知;C项可从第四段得出;D项可由第二段推断出。

63.B 词意猜测题。由句子意思“真正起作用的正是这种名气”可以猜测出count意为“起作用”。

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There are still many things that Peter Cooke would like to try his hand at — paper-making and feather-work are on his list. For the moment, though, he will stick to the skill that he has been delighted to make perfect over the past ten years: making delicate and unusual objects out of shells.

As he leads me round his apartment showing me his work, he points to a pair of shell-covered ornaments(装饰品) above a fireplace. “I shan’t be at all bothered if people don’t buy them because I have got so used to them, and to me they’re lovely. I never meant to sell my work commercially. Some friends came to see me about five years ago and said, ‘You must have an exhibition — people ought to see these. We’ll talk to a man who owns an art gallery’”. The result was an exhibition in London, at which 70 per cent of the objects were sold. His second exhibition opened at the gallery yesterday. Considering the enormous prices the pieces command —around £2,000 for the ornaments — an empty space above the fireplace would seem a small sacrifice for Cooke to make.

There are 86 pieces in the exhibition, with prices starting at225 for a shell-flower in a crystal vase. Cooke insists that he has nothing to do with the prices and is cheerily open about their level: he claims there is nobody else in the world who produces work like his, and, as the gallery-owner told him, “Well, you’re going to stop one day and everybody will want your pieces because there won’t be any more.”

“I do wish, though,” says Cooke, “that I’d taken this up a lot earlier, because then I would have been able to produce really wonderful things — at least the potential would have been there. Although the ideas are still there and I’m doing the best I can now, I’m more limited physically than I was when I started.” Still, the work that he has managed to produce is a long way from the common shell constructions that can be found in seaside shops. “I have a miniature(微型的) mind,” he says, and this has resulted in boxes covered in thousands of tiny shells, little shaded pictures made from shells and baskets of astonishingly realistic flowers.?

Cooke’s quest(追求) for beautiful, and especially tiny, shells has taken him further than his Norfolk shore: to France, Thailand, Mexico, South Africa and the Philippines, to name but a few of the beaches where he has lain on his stomach and looked for beauties to bring home. He is insistent that he only collects dead shells and defends himself against people who write him letters accusing him of stripping the world’s beaches. “When I am collecting shells, I hear people’s great fat feet crunching(嘎吱嘎吱地踩) them up far faster than I can collect them; and the ones that are left, the sea breaks up. I would not dream of collecting shells with living creatures in them or diving for them, but once their occupants have left, why should I not collect them?” If one bases this argument on the amount of luggage that can be carried home by one man, the beauty of whose work is often greater than its natural parts, it becomes very convincing indeed.

What does the reader learn about Peter Cooke in the first paragraph?

A. He has produced hand-made objects in different materials.?

B. He hopes to work with other materials in the future.?

C. He has written about his love of making shell objects.?

D. He was praised for his shell objects many years ago. 

When mentioning the cost of his shell objects, Cooke ____.

       A. cleverly changes the subject.

       B. defends the prices charged for his work.

       C. says he has no idea why the level is so high.

       D. notes that his work will not always be so popular.

The “small sacrifice” in Paragraph 2 refers to _________.?

A. the loss of Cooke’s ornaments?          B. the display of Cooke’s ornaments?

C. the cost of keeping Cooke’s ornaments    D. the space required to store Cooke’s ornaments

What does Cooke regret about his work?

A. He is not as famous as he should have been.?B. He makes less money than he should make.

C. He is less imaginative than he used to be.?    D. He is not as skillful as he used to be. ?

What does the reader learn about Cooke's shell-collecting activities?

A. Not everyone approves of what he does.

B. Other methods might make his work easier.

C. Other tourists get in the way of his collecting.

D. Not all shells are the right size and shape for his work

There are still many things that Peter Cooke would like to try his hand at — paper-making and feather-work are on his list. For the moment, though, he will stick to the skill that he has been delighted to make perfect over the past ten years: making delicate and unusual objects out of shells.

As he leads me round his apartment showing me his work, he points to a pair of shell-covered ornaments(装饰品) above a fireplace. “I shan’t be at all bothered if people don’t buy them because I have got so used to them, and to me they’re lovely. I never meant to sell my work commercially. Some friends came to see me about five years ago and said, ‘You must have an exhibition — people ought to see these. We’ll talk to a man who owns an art gallery’”. The result was an exhibition in London, at which 70 per cent of the objects were sold. His second exhibition opened at the gallery yesterday. Considering the enormous prices the pieces command —around £2,000 for the ornaments — an empty space above the fireplace would seem a small sacrifice for Cooke to make.

There are 86 pieces in the exhibition, with prices starting at£225 for a shell-flower in a crystal vase. Cooke insists that he has nothing to do with the prices and is cheerily open about their level: he claims there is nobody else in the world who produces work like his, and, as the gallery-owner told him, “Well, you’re going to stop one day and everybody will want your pieces because there won’t be any more.”

“I do wish, though,” says Cooke, “that I’d taken this up a lot earlier, because then I would have been able to produce really wonderful things — at least the potential would have been there. Although the ideas are still there and I’m doing the best I can now, I’m more limited physically than I was when I started.” Still, the work that he has managed to produce is a long way from the common shell constructions that can be found in seaside shops. “I have a miniature(微型的) mind,” he says, and this has resulted in boxes covered in thousands of tiny shells, little shaded pictures made from shells and baskets of astonishingly realistic flowers.?

Cooke’s quest(追求) for beautiful, and especially tiny, shells has taken him further than his Norfolk shore: to France, Thailand, Mexico, South Africa and the Philippines, to name but a few of the beaches where he has lain on his stomach and looked for beauties to bring home. He is insistent that he only collects dead shells and defends himself against people who write him letters accusing him of stripping the world’s beaches. “When I am collecting shells, I hear people’s great fat feet crunching(嘎吱嘎吱地踩) them up far faster than I can collect them; and the ones that are left, the sea breaks up. I would not dream of collecting shells with living creatures in them or diving for them, but once their occupants have left, why should I not collect them?” If one bases this argument on the amount of luggage that can be carried home by one man, the beauty of whose work is often greater than its natural parts, it becomes very convincing indeed.

1.What does the reader learn about Peter Cooke in the first paragraph?

A. He has produced hand-made objects in different materials.?

B. He hopes to work with other materials in the future.?

C. He has written about his love of making shell objects.?

D. He was praised for his shell objects many years ago. 

2.When mentioning the cost of his shell objects, Cooke ____.

         A. cleverly changes the subject.

         B. defends the prices charged for his work.

         C. says he has no idea why the level is so high.

         D. notes that his work will not always be so popular.

3.The “small sacrifice” in Paragraph 2 refers to _________.?

A. the loss of Cooke’s ornaments?            B. the display of Cooke’s ornaments?

C. the cost of keeping Cooke’s ornaments      D. the space required to store Cooke’s ornaments

4.What does Cooke regret about his work?

A. He is not as famous as he should have been.?B. He makes less money than he should make.

C. He is less imaginative than he used to be.?      D. He is not as skillful as he used to be. ?

5.What does the reader learn about Cooke's shell-collecting activities?

A. Not everyone approves of what he does.

B. Other methods might make his work easier.

C. Other tourists get in the way of his collecting.

D. Not all shells are the right size and shape for his work

 

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