单词与拓展
1.__________v.适合,合身
2.__________n.类别,种类
3.__________vt.陈述;声明n.状态
4.__________vi.起作用,正常运转 n.作用,功能;职能
5.__________adv.完全地,彻底地
6.__________n.盘子,碟子
7.__________n.教练
8.__________adv.颇,相当,非常 adj.漂亮的,可爱的
9.__________n.啦啦队队员
10._________n.耐心→_________n.病人 adj.有耐心的→_________adv.耐心地
11._________adj.困难的→_________n.困难
假设你是红星中学高三（1）班学生李华。请根据以下四幅图的顺序，写一篇英文周记，记录你参加学校主题为“垃圾分类,我们一起来”知识竞赛的全过程。
注意：词数不少于60
提示词：垃圾分类 garbage sorting
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假设你是红星中学高三学生李华，你的英国好友 Jim 正在准备题为“保护野生动物”的演讲稿，发来邮件咨询相关信息，请你给他回复邮件，内容包括：
1.野生动物生存现状；
2.保护野生动物的措施。
注意：1.词数不少于50；
2.开头和结尾已给出，不计入总词数。
Dear Jim,
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Yours，
Li Hua
You are given many opportunities in life to choose to be a victim or creator. When you choose to be a victim, the world is a cold and difficult place. 1.“They” are wrong and bad, and life is terrible as long as “they” are around. Or you may blame yourself for all your problems, thus internalizing(内化)your victimization. The truth is, your life is likely to stay that way as long as you feel a need to blame yourself or others.
2.They know there are individuals who might like to control their lives, but they don’t let this get in the way. They know they have their weaknesses, yet they don’t blame themselves when they fail.3. They believe their dance with each sacred (神圣的) moment of life is a gift and that storms are a natural part of life which can bring the rain needed for emotional and spiritual growth.
Victims and creators live in the same physical world and deal with many of the same physical realities, yet their experience of life is worlds apart. Victims relish (沉溺) in anger, guilt, and other emotions that cause others—and even themselves—to feel like victims, too. Creators consciously choose love, inspiration, and other qualities which inspire not only themselves, but all around them. 4.
In reality, all of us play the victim or the creator at various points in our lives. One person, on losing a job or a special relationship, may feel as if it is the end of the world and sink into terrible suffering for months, years, or even a lifetime.5.He may choose to first experience the grief, then accept the loss and soon move on to be a powerful creative force in his life.
In every moment and every circumstance, you can choose to have fuller, richer life by setting a clear intention to transform the victim within, and by inviting into your life the powerful creator that you are.
A.Whatever happens, they have choice in the matter.
B.Compared with victims, creators are more emotional.
C.One’s experiences determine his attitude toward life.
D.Those who choose to be creators look at life quite differently.
E.Another with the same experience may choose to be a creator.
F.“They” did things to you which caused all of your pain and suffering.
G.Both victims and creators always have choice to determine the direction of their lives.
If humans were truly at home under the light of the moon and stars, we would go in darkness happily, the midnight world as visible to us as it is to the vast number of nocturnal(夜间活动的) species on this planet. Instead, we are diurnal creatures, with eyes adapted to living in the sun’s light. This is a basic evolutionary fact, even though most of us don’t think of ourselves as diurnal beings. Yet it’s the only way to explain what we’ve done to the night: We’ve engineered it to receive us by filling it with light.
The benefits of this kind of engineering come with consequences — called light pollution — whose effects scientists are only now beginning to study. Light pollution is largely the result of bad lighting design, which allows artificial light to shine outward and upward into the sky. Ill-designed lighting washes out the darkness of night and completely changes the light levels — and light rhythms — to which many forms of life, including ourselves, have adapted. Wherever human light spills into the natural world, some aspect or life is affected. In most cities the sky looks as though it has been emptied of stars, leaving behind a vacant haze (霾) that mirrors our fear of the dark. We’ve grown so used to this orange haze that the original glory of an unlit night, — dark enough for the planet Venus to throw shadow on Earth — is wholly beyond our experience, beyond memory almost.
We’ve lit up the night as if it were an unoccupied country, when nothing could be further from the truth. Among mammals alone, the number of nocturnal species is astonishing. Light is a powerful biological force, and on many species it acts as a magnet(磁铁). The effect is so powerful that scientists speak of songbirds and seabirds being “captured” by searchlights on land or by the light from gas flares on marine oil platforms. Migrating at night, birds tend to collide with brightly lit tall buildings.
Frogs living near brightly lit highways suffer nocturnal light levels that are as much as a million times brighter than normal, throwing nearly every aspect of their behavior out of joint, including their nighttime breeding choruses. Humans are no less trapped by light pollution than the frogs. Like most other creatures, we do need darkness. Darkness is as essential to our biological welfare, to our internal clockwork, as light itself.
Living in a glare of our own making, we have cut ourselves off from our evolutionary and cultural heritage—the light of the stars and the rhythms of day and night. In a very real sense light pollution causes us to lose sight of our true place in the universe, to forget the scale of our being, which is best measured against the dimensions of a deep night with the Milky Way—the edge of our galaxy-arching overhead.
1.What does the underlined word “it” (Paragraph 1) most probably refer to ?
A.The moon. B.The night.
C.The sky. D.The planet.
2.The writer mentions birds and frogs to _________.
A.show how light pollution affects animals
B.provide examples of animal protection
C.compare the living habits of both species
D.explain why the number of certain species has declined
3.It is implied in the last paragraph that ___________.
A.human beings cannot go to the outer space
B.light pollution does harm to the eyesight of animals
C.human beings should reflect on their position in the universe
D.light pollution has destroyed some of the world heritages
4.What might be the best title for the passage?
A.The Magic Light. B.The Orange Haze.
C.The Rhythms of Nature. D.The Disappearing Night.
How a Teacher Can Change Your Life
Smiling with satisfaction, Karin Anderson continues to conduct while dozens of students were playing their instruments, and Gustav Mahler’s Fifth Symphony fills the hall. The emotional (情感的) drama of conducting an orchestra (管弦乐团) of teenagers is part of a typical day’s teaching for Karin. “Teaching is like surfing,” she says. “You have no idea what’s going to happen and there’s no guarantee that things will go according to plan. You have to be on guard at all times.” But the unpredictability of her students doesn’t make her job hard, she says. In fact, working with sometimes difficult teenagers, which she says might exhaust other teachers, is what keeps her coming back day after day.
Karin believes music lessons may have unexpected benefits. Research has found that they improve a child’s language development, and the reasoning skills extremely important to maths and science. “We can’t be sure if music really makes kids perform better academically, or if smarter students just naturally become involved with music anyway, but there might be a connection. Certainly, schools need something for those brighter students. It’s not so much giving them a release from studying hard, but more that they need to be stretched, and pushed in a different direction.”
But the benefits of music education are for everyone, not just the clever kids. Karin points out that there are strong connections between music and the motivation to learn, the ability to focus, and even someone’s confidence and tolerance.
Music can also help to create a positive, supportive learning environment, which Karin always tries to create in her orchestra. Being grouped by age, not ability, makes everyone new feel welcome and part of a family. “In school you’re very aware of social classes—the rich kids and the poor kids—and all the little groups that gossip all the time,” says orchestra member Laura Greene. “But in the orchestra, everyone is part of the group, and equally important. We’re all trying to improve together. We’ve all got unique talents.”
In Karin’s classroom, there are no awards decorating the walls. She says this might put the orchestra under pressure or make them worry about competition, though in fact the school has won many prizes, which she is clearly proud of. “What’s most important to me is that everyone works as a team,” she says. “It’s a magic moment when there’s absolute unity.”
Karin wants the orchestra to widen the horizons of everyone who joins. When some parents weren’t able to afford certain trips of the orchestra, Karin surprised everyone by organizing what she called “scholarships”, with the school paying part of the money to students who had been positive and cooperative. They weren’t awarded on the basis of who had a special gift for music.
In her office, Karin proudly displays a picture of another student. Karin says, “Thomas was smart, but he hated school, and he seemed cut off from his peers, alone in a world of his own. The orchestra made him come out of his shell.” After graduating, Thomas wrote to Karin, “I’m so grateful to you for allowing me to play the most beautiful music in the world, even though I never took it up professionally. I understand now that music educates the mind and the heart, and helps you to connect with others.”
1.What is Karin’s attitude to teaching music?
A.It is emotionally tiring. B.It is about controlling the class.
C.It requires careful preparation. D.It gives wonderful surprises.
2.What does Karin think of music lessons?
A.They serve the needs of problem students.
B.They are more beneficial for smart students.
C.They are more rewarding than people thought.
D.They mean a lot for students’ academic work.
3.Which of the following would Karin agree with?
A.Teamwork is important in music lessons.
B.It is not worth making efforts for prizes.
C.Teachers should not ignore social classes.
D.Gifted students should have more chances.
4.What point does the example of Thomas support about music education?
A.It builds up self-confidence. B.It changes one’s attitude
C.It presents new challenges. D.It reduces academic pressure.
