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任务型阅读 The Hidden Meaning of Kids' Scribb...

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The Hidden Meaning of Kids' Scribbles (胡乱画)

A parent might place his daughter's tadpole (蝌蚪) drawing on the fridge out of a love for his child rather than for the funky-looking image ,but for many people that tadpole art is actually quite charming. In fact ,adult abstract artists were often inspired by children's drawing. Observers have found similar patterns in modem abstract art and kids' drawing.

Acknowledging that young kids aren't as eager to produce a realistic rendering (呈现)helps demonstrate what the drawing experience means to them. For many kids ,drawing is enjoyable not because of the final product it leads to but because they can live completely in the world of their drawing for a few minutes. Adults may find it hard to relate to this sort of full-body ,short experience. But the opportunities for self-expression that drawing provides have important ,even therapeutic ,value for kids.

Maureen Ingram , who's a preschool teachersaid her students often tell different stories about a given piece of art depending on the day ,perhaps because they weren't sure what they intended to draw when they started the picture. "We as adults will often say‘ I'm going to draw a horseand we set out…and get frustrated when we can't do it ," Ingram said. "They seem to take a much more sensible approach where they just draw, " and then they realize ,"it is a horse."

Ultimatelywhat may be most revealing about kidsart isn't the art itself but what they say during the drawing process. Studies suggest that kids will create an elaborate narrative (详细的故事)while drawing ,but when telling adults about their work they'll simply name the items or characters in the image.

And what about those odd or scary-looking drawings? Does that mean kids are telling themselves stories that are odd or scary It's hard to saybut it's rarely a good idea to over-interpret it. Ellen Winner ,a psychology professor at Boston College pointed to parents who worry when their kid draws a child the same size as the adults ,wondering whether she's suffering from ,say ,a feeling of impotence -a desire to feel as powerful as older people. But the likely reason is that the child hasn't yet learned how to differentiate size the easiest solution is to just make all the figures the same size.

What's most important to remember is that "children's art has its own logic ," Winner said. "Children are not being crazy."

Passage outline

Supporting details

Different angles of looking at kids' drawing

Parents might display kids' drawing at home as an1.of love for their children.

Adult abstract artists could draw 2.from kids' drawing.

Real3.of drawing experience to kids

Kids enjoy the4.of drawing rather than the final product.

Though kids' drawing experience is hard for adults to 5.it allows kids to express themselves.

Typical characteristics of kids in drawing

kids just draw 6.and then they realize they have drawn something not like adults who know what they intend to draw.

Kids create stories while drawing but can't tell them 7.

A professor's opinions

There is no 8. to over-interpret odd or scary-looking drawings.

Kids are 9. to be less knowledgeable. For instance they may have no idea about size.

Conclusion

Children's art seems 10. on the surface but it has its own logic.

 

 

 

 

 

1.encouragement 2.inspiration 3.meanings/values/benefits/advantages 4.process 5.understand 6.causally 7.detailedly /logically 8.need 9.likely 10.meaningless 【解析】 这是一篇议论文。作者认为孩子们画画有自己的逻辑和意义,我们要正确看待孩子们的作品。 1.信息转换题。句意:父母可能会在家里展示孩子的图画,出于对孩子的爱的鼓励。文章第一句的A parent might place his daughter's tadpole (蝌蚪) drawing on the fridge out of a love for his child rather than for the funky-looking image,一个家长可能会把他女儿的蝌蚪画放在冰箱上,这是出于对孩子的爱,而不是因为画本身有多独特。可知,父母可能是出于对自己孩子的爱,把他们认为没有什么特别意义的涂鸦展示在家里,这种展示不是对孩子作品的认可,而是想鼓励孩子们能够作画的勇气,所以要填“鼓励”,在不定冠词an后,冠词修饰名词,要用名词形式,故填encouragement。 2.信息捕捉,词性转换题。句意:成人抽象艺术家从儿童绘画中汲取灵感。第一段的最后In fact, adult abstract artists were often inspired by children's drawing. 事实上,成人抽象艺术家往往受到儿童绘画的启发。可知,成人抽象艺术家从儿童绘画中汲取灵感。所以,所填词词义“灵感”,句子谓语动词draw后跟宾语,要用其名词形式,故填inspiration。 3.信息整合题。句意:绘画体验对孩子们的意义(价值、益处)。所填词为作者的第二个分论点,在第二段中的Acknowledging that young kids aren't as eager to produce a realistic rendering (呈现)helps demonstrate what the drawing experience means to them. 承认年幼的孩子们并非要制造现实的翻版可以帮助我们了解绘画对于他们来说到底意味着什么。接着这一段中作者给出了画画对孩子意味着什么的具体内容。可知,作者认为对于孩子们来说,他们不是想画出有完整意思的符合现实的画作,他们只是想体验画画本身并且在画画中表达自己。“绘画体验对孩子的真正意义或益处或价值”是作者的第二个分论点,由右边的两个论据可以进一步确认答案,所以要填“意义”、“益处”或“价值”词义的词汇,后面的of介词短语要修饰名词,要填其名词形式,4个名词皆为可数名词,右边的“意义”有两个,要用名词复数,故填meanings/values/benefits/advantages。 4.信息转换题。句意:孩子们享受的是绘画的过程,而不是最终的绘画作品。第二段中的For many kids, drawing is enjoyable not because of the final product it leads to, but because they can live completely in the world of their drawing for a few minutes. 对于许多孩子来说,绘画是令人愉快的,不是因为它能带来最终的画作,而是因为他们可以完全在绘画的世界里生活几分钟。可知,孩子们作画,享受的是绘画的过程,而不是最终的绘画作品,所以要填“过程”,在定冠词the后,作句中谓语动词的宾语,要用名词,故填process。 5.信息转换题。句意:虽然孩子们的绘画体验很难让成年人理解,但它能让孩子们表达自己。第二段中的Adults may find it hard to relate to this sort of full-body ,short experience. 成年人可能很难理解这种全身性的,短暂的经历。可知孩子们的绘画很难让成年人理解,所以要填“理解”词义的词汇,动词不定式to后,用动词原形,故填understand。 6.信息转换题。句意:孩子们只是随便画画,然后他们意识到他们已经画了些东西,不像成年人知道他们打算画什么。第三段中的 "They seem to take a much more sensible approach,where they just draw ,and then they realize,"it is a horse." “他们似乎采取了一个更朴素而实用的方法,他们只是画,”然后他们意识到,“这是一匹马”。可知,孩子们在开始作画时并不像成年那样先有想的目标,然后开始画,他们只是画,等画完了才知道画的是什么。所以孩子们是“随意地”画,句中所填词修饰谓语动词draw,要用其副词形式,故填causally。 7.信息转换题。句意:孩子们在画画时创作故事,但不能详细地或有逻辑地把他们讲出来。第四段中的Studies suggest that kids will create an elaborate narrative (详细的故事)while drawing,but when telling adults about their work they'll simply name the items or characters in the image. 研究表明,孩子们在画画时会创造一个详细的故事,但当告诉成年人他们的画作时,他们只会说出图画中的东西或字符。可知,孩子们作画时是有故事在心里的,但在讲述自己的画作时,只能零碎地表达不相关的物品和字符,无法把故事完整、详细讲述,也就是不能有逻辑地把故事讲出来,句中所填词修饰动词tell,副词修饰动词,要填副词,故填detailedly /logically。 8.信息转换题。句意:没有必要过度解读古怪或吓人的图画。第五段中的And what about those odd or scary-looking drawings? Does that mean kids are telling themselves stories that are odd or scary? It's hard to say,but it's rarely a good idea to over-interpret it. 那些古怪或吓人的图画呢? 这是否意味着孩子们在讲述那些古怪或恐怖的故事? 很难说,但这样去过度解读不是一个好主意。可知,对于孩子们的画作出现的古怪或吓人的画面,成年人不要去过度解读,也就是没有“必要”去过度解读。句中no为形容词,后跟名词,There is no need…没必要,故填need。 9.信息捕捉题。句意:孩子们可能缺少相关知识。例如,他们可能不知道大小。第五段最后一句But the likely reason is that the child hasn't yet learned how to differentiate size; the easiest solution is to just make all the figures the same size. 但可能的原因是,孩子还没有学会如何区分大小;最简单的解决办法就是让所有形象的大小都相同。可知,孩子们“可能”是缺少对大小的认知,不知道怎么区别大小尺寸,所以才把所有人物都画成一样大,句中为系表结构,系动词are后跟形容词作表语,be likely to很有可能,固定用法,故填likely。 10.信息转换题。句意:表面上儿童艺术是无意义的,但它有自己的逻辑。文章最后一段What's most important to remember is that "children's art has its own logic," Winner said. "Children are not being crazy." 最重要的是要记住的是,“儿童艺术有它自己的逻辑,” Winner说。“孩子们并不疯狂。”可知,虽然成年人很难理解孩子们的画作,孩子们也无法详细地有逻辑地讲述他们所画的内容和故事,但Winner认为孩子们的画作是有自己的逻辑的,也就是有意义在其中的,不是表面看起来毫无意义的,不是像是孩子们疯狂状态下的表达。句中seems为系动词,句子为系表结构,形容词作表语,meaningless无意义的,故填meaningless。
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    To err is human. Society is suffering from an inability to acknowledge as much.

For individuals, errors are painful. The trick, then, is to err well: to recognize mistakes and learn from them. Worryingly, humanity may be getting worse at admitting its mistakes.

Few enjoy the feeling of being caught out in an error. But real trouble starts when the desire to avoid a punishment leads to a refusal to deal with contrary evidence. Economists often assume that people are sensible. When faced with a new fact, these people should update their view of the world to take better decisions in future. Yet years of economic research confirms that people frequently disregard information that conflicts with their view of the world.

Why should that be? Last year Roland Benabou, of Princeton, presented a framework for thinking about the problem. In many ways, beliefs are like other economic goods. People spend time and resources building them, and get value from them: some beliefs make owners feel good and show their public identity; other beliefs provide value by shaping behavior—for example, religious asceticism(禁欲主义) can help one avoid unhealthy habits.

Because beliefs, however, are not simply tools for making good decisions, but are treasured in their own right, new information that challenges them is unwelcome. People often engage in “motivated reasoning” to manage such challenges. Mr Benabou classifies this into three categories. “Strategic ignorance” is when a believer avoids information offering conflicting evidence. In “reality denial”, troubling evidence is rationalized(合理化):real estate investors might make up fanciful theories for why prices should behave unusually, and supporters of a disgraced politician might claim the negative news to be fake. And lastly, in “self­signalling”, the believer creates his own tools to interpret the facts in the way he wants: an unhealthy person, for example, might decide that going for a daily run proves he is well.

“Motivated reasoning” is a cognitive bias(偏见). Not all the errors it leads to are  costly: praising the performance of one's supported football team despite contradictory evidence does little harm. But when biases are broadly shared—within financial world or political parties—danger arises. Motivated reasoning helps explain why viewpoints polarize (两极分化) even as information is more easily available than ever before.

Work by Mr Benabou suggests that groupthink is highest when people within groups face a shared fate: when choosing to break from a group is unlikely to spare an individual the costs of the group's errors or bring much individual benefit. The incentive(动力) to engage in motivated reasoning is high as a result. Even as the fact on a particular issue is obvious, parties can still become increasingly polarized. That, in turn, can make it harder still for a member of one party to get any benefit from breaking from a group. Indeed, the group has an incentive to silence independent voices.

Public statements of regret are risky in a rigidly polarized world. Admissions of error can not only annoy partners but also provide opportunities for opponents. But it is rarely in the interest of those in the right to pretend that they are never wrong.

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A.both are entertaining and valuable B.both can be shaped by religious faith

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D.Suspected AIDS carriers refuse to be tested though it can be done for free.

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    I first met Paul Newman in 1968, when George Roy Hill, the director of Butch Cassidy and the Sundance Kid, introduced us in New York City. When the studio didn’t want me for the film - it wanted somebody as well known as Paul — he stood up for me. I don’t know how many people would have done that; they would have listened to their agents or the studio powers.

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The pair were later able to thank Mr. Smith for his __________.

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Now Mr. Anderson has set up an online campaign to __________ money for Mr. Smith and other homeless people in the area, which by yesterday had received £8,000. "I think the faith that everyone has shown __________ him has touched him. People have been approaching him in the street; he’s had job __________ and all sorts," Mr. Anderson commented.

For Mr. Smith, this is a possible life-changing __________. The story once again tells us that one good turn deserves another.

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11.A.when B.if C.where D.because

12.A.rather B.yet C.already D.just

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