题目内容
A Korean wave is sweeping across China, with many Chinese women worshiping South Korean actors Kin Soo-hyun and Lee Min-ho as demigods(偶像). Chinese netizens（网民）always have different opinions. Over South Korean TV dramas, but there is no doubt that programs from the neighboring country are now enjoying a new round of popularity in China, And a big part of the credit for that goes to You Who Came From The Star, the South Korean TV series which is on the air now.
You Who Came From The Star and The Heirs (继承者们) have been subjects of hot online discussions throughout Asia. Besides, the book, The Miraculous Journey of Edward Tulane, read by the hero You Who Came From The Star was a hard-to-get item on Amazon for a while.
The two TV programs have several common elements：a tall, handsome, and rich hero who loves the heroine blindly and always protects her, and an equally handsome man madly in love with the same woman. Both programs describe the purity of love, which is expressed through a kiss or a warm hug. Perhaps that’s the secret of their success; perhaps people still like Cinderella-type stories.
The widening wealth gap is a matter of social concern both in South Korea and China, and the challenges that young people face in their hope for a better life might have caused many ordinary girls to dream of marrying rich, caring men. This is precisely what the popular South Korean TV drams describe. In fact, South Korean TV dramas are tailored to meet the market’s demands.
Many netizens even said at an earlier time that South Korean TV dramas had become popular because of their stereotyped (模式化的) themes: traffic accidents, cancer and other incurable diseases. But all that has changed with the success of You Who Came From The Star and The Heirs, which Chinese directors can use as examples, as well as inspiration, to improve their productions.
1.What is the main reason for a new round of popularity in China?
A. The dramas are from the neighboring country North Korea.
B. Most of the Chinese netizens have voted for them.
C. The actors in the dramas are all gods.
D. It is because of You Who Came From The Star.
2.Which is NOT included in the elements for the success of South Korean dramas?
A. Charming pure love stories.
B. A tender kiss and a warm hug.
C. Handsome and rich heroes.
D. The heroine’s blind love with the rich.
3. The underlined sentence in Paragraph 4 means that they are designed to _______.
A. develop in a large scale
B. be measured to a certain size
C. meet popular taste purposely
D. be shown in a big market
4.The main purpose of stereotyped themes in South Korean dramas is to________.
A. present an idea B. attract TV viewers
C. make them colorful D. arouse some challenges
任务型阅读,请认真阅读下列短文，并根据所读内容在文章后表格中的空格里填入最恰当的单词。
注意：每空格只填1个单词。请将答案写在答题卡上相应题号的横线上。
Everybody loves self-improvement. That’s why we’re such enthusiastic consumers of “top 10” lists of things to do to be a more productive, promotable, mindful— you name it—leader. But these lists seldom work. What if we didn’t think of self-improvement as work? What if we thought of it as play—specifically, as playing with our sense of self?
Traditionally, people work on themselves, committed to doing everything in their power to change their leadership style. You set your goals and objectives, you are mindful of your time, and seek efficient solutions. You’re not going to deviate(偏离) from the straight and narrow. You focus on what you should do, especially as others see it, as opposed to what you want to do. It’s all very serious and not whole of fun. There is one right answer. Success or failure is the outcome. We judge ourselves.
In contrast, no matter what you’re up to, when you’re in “play” mode, your primary drivers are enjoyment and discovery instead of goals and objectives. You’re curious. You lose track of time. Like in all forms if play, the journey becomes more important than a pre-set destination.
Much research shows how play develops creativity and innovation. Play with your own idea of yourself is similar to playing with future possibilities. So, we stop evaluating today’s self against unachievable ideal of leadership that doesn’t really exist. We also stop trying to will ourselves to “commit” to becoming something we are not even sure we want to be—what we call the “feared self”, which is composed of images negative role models. And, we shift direction from submitting to what other people want us to be to becoming more self-authoring. As a result, when you play, you’re more creative and more open to what you might learn about yourself.
Unfortunately, we don’t often get —or give ourselves—permission to play with our sense of self. In life, we equate playfulness with the person who dips into a great variety of possibilities, never committing to any. We find inconsistency distasteful, so we exclude options that seem too far off from today’s “authentic self”, without ever giving them a try. This kills the discontinuous growth that only comes when we surprise ourselves.
Psychoanalyst Adam Phillips once said, “people tend to play only with serious things—madness, disaster, other people.” Playing with your self is a serious effort because who we might become is not knowable or predictable at the start. That’s why it’s as dangerous as it is necessary for growth.
Lead-in | ●People want to improve their 1. . ●People can apply work mode or play mode. |
2.between the two mode | In work mode ●one is 3. and sticks to his route ●one cares about others’ 4. of his performance. ●one judges himself with one standard— success or failure |
In play method ●the 5. outweighs the outcome; ●playfulness allows people to6. with various approaches; ●playfulness helps people obtain 7. results. | |
The 8. with application of play mode | We usually regard playfulness as equal to non-professional. |
9. | 10. danger, playfulness is a must for our self-growth. |