题目内容

【题目】Earth Day is celebration of life and our planet. It is a reminder that we need to________the world we live in and that we should learn to respect life and nature.

A.care about

B.think of

C.refer to

D.watch out

【答案】A

【解析】后一句意思:这提醒我们有必要关注我们所居住的世界而且我们应该学会尊重生命和自然。care about“关注”。

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【题目】 Today scientists are creating cool designs with smoother moves. Let’s check out the science behind four awesome robots.

TYPES

HOW IT WORKS

WHAT IT MEANS FOR YOU

T-HR3

The two-legged walking robot imitates the way people move. A human operator wears a headset with cameras that show what the robot “sees”. The human can then control the robot’s actions with his or her own human movements.

With a human helper, T-HR3 could assist people in medical facilities, burning buildings, construction sites, and even space. Its creators hope that T-HR3 will learn to do some tasks itself one day …like, say, your chores, maybe?

SHAPE-SHIFTIING

When a scientist programs in a shape/ the motors change different parts of the surface to make it look like whatever the scientist wants! The shape-shifting robot can be programmed to look like just about anything small and enter tiny space.

In addition to helping scientists secretly observe animals, the shape-shifting robot might one day be used to create more immersive virtual reality experiences. Imagine being able to touch objects in your VR game and not just see them!

SALTO

Rescuers have long used remote-controlled robots to search through nibble. But what’s special about Salto is its jumping ability, enabling it to reach places humans can’t. Twisted rubber bands in its legs make it bouncy enough to leap to high spaces.

Salto’s not just helpful in emergencies. Its technology might one day help fetch things from hard-to-reach places in your home, like that candy bar you hid on the top shelf of the cupboard.

SPOTMINI

The four-legged robot is designed to help with house chores. With its extendable arms, Spotmini can unload dishes and put them in high shelves, grab debris (碎片) in hard-to-reach places. It can even climb stairs.

Experts say future homes will have robots doing chores so that people have more free time. Instead of earning your allowance by taking out the garbage, you might be doing robot repairs instead.

1If you want to take a close picture of a poisonous snake, which robot is the most suitable?

A.T-HR3B.SHAPE-SHIFTINGC.SALTOD.SPOTMINI

2What these robots have in common is that they .

A.work by using a remote-control

B.are designed to help with the housework

C.enable people to see whatever they “see”

D.carry out tasks where humans are hard to reach

【题目】 With depressingly few exceptions, performances are dull and lack vitality…

After years of trying to convince myself otherwise, I now feel sure that ballet is dying.”

-----Jennifer Homans, Apollo’s Angels

Is ballet dead? Has the art form evolved to depression? Jennifer Homans’s conclusion to her fascinating history of ballet, Apollo’s Angels, is worrying.

It appears that ballet’s pulse continues to beat strongly, however, especially with a Tchaikovsky defibrillator attached. So why are some dance commentators arguing that ballet is dying? And do they have a point?

“Ballet is dead”----“Ballet is dying” ---all ring tones of Friedrich Nietzsche’s philosophical claim: “God is dead.” Headline grabbling, certainly. Yet can ballet be defined in such black and white terms? Surely it is more abstract, filled with shades of popular grey.

To start with, how do you define ballet? What is ballet today? Consider popular modern classics like Twyla Tharp’s In the Upper Room, where dancers wear pointy shoes and sneakers, combining contemporary and classical vocabulary together. Or closer to home, there is Graeme Murphy’s Swan Lake, which layers elements of Petipa’s choreography(编舞) with a contemporary theme and aesthetic. Many contemporary choreographers all embrace classical form and principles, then manipulate(操纵) the rules. .

The line between contemporary dance and ballet is vague. In an interview with The Telegraph (2015), British choreographer Mattew Bourne acknowledges that this “cross-fertilisation” between contemporary dance and ballet continues to grow, as evidenced by the rise in new commissions from contemporary choreographers at the Royal Ballet and English National Ballet. Referring to Homans’s book, Bourne believes what has changed is that “the dance forms are coming closer together”. Not dying, but merging. Reinventing. This has been the case amongst Australasian ballet companies for many years now. .

Homans writes that ballet’s decline began after the passing of Ashton and Balanchine. Something ahs changed, certainly. A stylisic transition----from neo-classical to contemporary ballet----has occurred.

Our art form’s evolution has always been with extinction. Prominent dance critic with The New York Times, Alastair Macaulay, says: “ballet has died again and again over the centuries,” and yet, “phoenix-like, rose again from its ashes”. History shows there were periods where ballet hibernated and lacked popularity. This coincided with the art form’s changing forums.

So here is the irony: what sells best, still, are reproductions of Petipa’s classics. A season without a Tchaikovsky score is a financial risk. And without Nutcracker(《胡桃夹子》), half the ballet companies in North America would not exist. Admittedly, as a dancer, my favourite roles---Albrecht, Prince Siegfried and Romeo----were from the classical canon; I am a traditionalist at heart (who loves to be challenged by good contemporary ballets). A part of the charm behind classical repertoire, for me, was in reproducing the glories of past greats. Classical ballet’s framework supports the modern process of bench-marking.

Perhaps Jennifer Homans’s thoughts are not completely unfounded. Perhaps ballet is dying for some. Ballet’s evolution has been delayed by its audiences. And as Homans suggests in her epilogue, perhaps also by its creatives.

Now here is a bold prediction. In line with the Royal Ballet’s programming in Brisbane this year----of Christopher Wheeldon’s The Winter’s Tale, and Wayne MacGregor’s Woolf Works----over the next 20 years, ballet’s reliance on Petipa will decrease. Contemporary ballets and merge-styled ballets will produce their box-office influence ever more.

Why?

It is simple: our audiences will be ready for ballet to change again.

1Why does the writer cite Jennifer Homans’s words at the beginning of the passage?

A. To support the writer’s viewpoint.B. To introduce the topic of the passage.

C. To highlight the theme of the passageD. To provide the background knowledge.

2The sentence ‘Is this not ballet?” should be put in ______.

A. B.

C. D.

3Which of the following statements is a fact about ballet?

A. “Surely it is more abstract, filled with shades of popular grey.” (Para.3)

B. “The line between contemporary dance and ballet is vague.” (Para.5)

C. “Our art form’s evolution has always been with extinction.” (Para.7)

D. “What sells best, still, are reproductions of Petipa’s classics.” (Para.8).

4According to Matthew Bourne, _____.

A. the dance forms remain unchanged

B. contemporary dance has reinvented classic ballet

C. ballet is experiencing growth and will continue to develop

D. a new form of ballet is widely accepted among Australians

5The writer takes himself as an example in Paragraph 8 in order to show _____.

A. classics should be promoted

B. classics are still of great significance

C. classical ballet’s framework is out of date

D. contemporary ballets attract more audiences

6What may be the audiences’ attitude to the change of ballet?

A. Supportive.B. Arbitrary.

C. Critical.D. Concerned

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