题目内容

【题目】假定英语课上老师要求同桌之间交换修改作文,请你修改你同桌写的以下作文。文中共有10处语言错误,每句中最多有两处。每处错误仅涉及一个单词的增加、删除或修改。

增加:在缺词处加一个漏字符号(),并在其下面写出该加的词。

删除:把多余的词用斜线()划掉。

修改:在错的词下划一横线,并在该词下面写出修改后的词。

注意:1. 每处错误及其修改均仅限一词;

2. 只允许修改10处,多者(从第11处起)不计分。

During the National holiday, I tried a new way to explore the Forbidden City, where left me deep impression. To avoid waste time buying a ticket on the spot, I made a reservation online. I got my ticket from a machine without difficulty and start the exploration. I was deep attracted by the grand architecture. To my excited, I could scan the QR codes to get detailed informations. With the VR glasses on, I even found me back to the time when the palace was under construction. How impressive! I found the Forbidden City both traditional or modem because of our history is made alive here.

【答案】1. where 改为which

2. deep 前加a

3. waste改为wasting

4. start改为started

5.deep改为deeply

6. excited改为excitement

7. informations改为information

8.me改为myself

9. or改为and

10. 去掉of

【解析】

这是一篇记叙文。文章记叙了国庆节期间,作者用新的方法探索紫禁城的经历和感受。

第一处:考查定语从句。逗号后面是非限制性定语从句,修饰the Forbidden City。引导词在从句中作主语,指物,应用关系代词which引导该从句。故将where改为which

第二处:考查冠词。impression是可数名词。该处指“给我留下一个深刻的印象”,故应在medeep之间加上不定冠词a

第三处:考查动词用法。avoid doing sth.意为“避免做某事”,是固定用法。故将waste改为wasting

第四处:考查时态。根据上下文可知,该句叙述的是发生在过去的事情,应用一般过去时态。故将start改为started

第五处:考查副词。修饰动词attract应用副词,故将deep改为deeply

第六处:考查名词。to ones +n.表示“令某人……的是”,是固定搭配,其中,to是介词,后面接名词作宾语,故将excited改为excitement

第七处:考查名词。information是不可数名词,无复数形式,故将informations改为information

第八处:考查反身代词。该句主语为Ifind后面的表语则应用“I”的反身代词。故将me改为myself

第九处:考查固定搭配。bothand…意为“既……又……”,是固定搭配。故将or改为and

第十处:考查介词。because of中,of是介词,后面接名词。在该句中,because of后是个句子,应用连词引导句子。故of多余,应去掉。

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【题目】Directions: Fill in each blanks with a proper word chosen from the box. Each word can be used only once. Note that there is one word more than you need.

The Danger of Sharenting

For the vast majority of people, checking social media involves a mix of expectation and curiosity. The app feeds on a collective 1 that we are missing out on something, whether it’s a fabulous party, a pop-up sale, or the mere concept of vacation. But the same dynamic doesn’t quite 2 to parents sharing pictures of their young children online. There certainly may be an element of proud boasting: “Admire my little son’s taste in jazz,” etc. But these carefully chosen photos often do little more than help parents escape from a harsh day 3. The isolation of parenthood delivers one to strange places, and you need your tribe. Sharing images on social media makes the experience 4, connecting one to a larger world.

In his new book Why We Should Think Before We Talk About Our Kids Online, Leah Plunkett, a Harvard psychology professor, argues that “sharenting” happens when an adult transmits private details about a child via digital channels. It 5 a child’s entry into “digital life.” Studies estimate that by 2030 nearly two-thirds of identity-fraud cases affecting today’s children will have been caused by sharenting.

For Plunkett, there are a couple of reasons to be concerned about sharenting. On a philosophical level, sharenting exposes children to the larger digital world without their permission, 6 them of a kind of privacy. This feeds into Plunkett’s second, much broader concern. The 7 problem with sharenting is the same with many adult-world privacy issues: the bargain we have made in exchange for these services is that we surrender our data and choose not to imagine the worst-case scenarios. Could things that parents post about children produce real-world 8, in terms of bullying, professional reputation, or future prospects? Today, long before children take their first step, their digital data already travels to “thousands, likely tens of thousands, of human and machine users.” How long will it be until someone 9 the power to predict who a child will become as an adult based on these data points?

Plunkett’s concerns made parents reconsider their choices. In the end, Plunkett’s advice is to “make more mindful choices” about digital lives though parenthood is often so 10 vague that mindfulness seems impossible.

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