Chọn D
A. who: ai (chỉ chủ ngữ)
B. whom: ai (chỉ tân ngữ)
C. which: cái gì
D. whose: của ai
Tạm dịch: Chúng tôi đang bàn về tác giả mà cuốn sách mới nhất của ông ta là một trong những cuốn bán chạy nhất năm
Mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions.
We are talking about the writer _________latest book is one of the best-sellers this year.
A. who
B. whom
C. which
D. whose
Mark the letter A, B, C, or D on your answer sheet to indicate the option that best completes each of the following exchanges.
Hana and Jennifer are talking about the book they have read.
- Hana: ‘The book is really interesting and educational.’
- Jennifer: ‘________.’
A. I'd love to
B. Don't mention it
C. It's nice of you to say so
D. I can't agree more
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions.
‘A good book for children should simply be a good book in its own right.' These are the words of Mollie Hunter, a well known author of books for youngsters. Born and bred near Edinburgh, Mollie has devoted her talents to writing primarily for young people. She firmly believes that there is always and should always be a wider audience for any good book whatever its main market. In Mollie's opinion it is essential to make full use of language and she enjoys telling a story, which is what every writer should be doing: 'If you aren't telling a story, you're a very dead writer indeed,' she says.
With the chief function of a writer being to entertain, Molly is indeed an entertainer. 'I have this great love of not only the meaning of language but of the music of language,' she says. This love goes back to early childhood. 'I've told stories all my life. I had a school teacher who used to ask us what we would like to be when we grew up and, because my family always had dogs, and I was very good at handling them, I said I wanted to work with dogs, and the teacher always said "Nonsense, Mollie dear, you'll be a writer." So eventually I thought that this woman must have something, since she was a good teacher - and I decided when I was nine that I would be a writer.’
This childhood intention is described in her novel, A Sound of Chariots, which although written in the third person is clearly autobiographical and gives a picture both of Mollie's ambition and her struggle towards its achievement.
Thoughts of her childhood inevitably brought thoughts of the time when her home was still a village with buttercup meadows and strawberry fields - sadly now covered with modern houses. 'I was once taken back to see it and I felt that somebody had lain dirty hands all over my childhood. I'll never go back,' she said. 'Never.' 'When I set one of my books in Scotland,' she said, 'I can recapture my romantic feelings as a child playing in those fields, or watching the village blacksmith at work. And that's important, because children now know so much so early that romance can't exist for them, as it did for us.'
To this day, Mollie has a lively affection for children, which is reflected in the love she has for her writing. 'When we have visitors with children the adults always say, "If you go to visit Mollie, she'll spend more time with the children." They don't realise that children are much more interesting company. I've heard all the adults have to say before. The children have something new.'
What does Mollie Hunter feel about the nature of a good book?
A. It should be based on original ideas
B. It should not aim at a narrow audience
C. It should not include too much information
D. It should be attractive to young readers
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions.
‘A good book for children should simply be a good book in its own right.' These are the words of Mollie Hunter, a well known author of books for youngsters. Born and bred near Edinburgh, Mollie has devoted her talents to writing primarily for young people. She firmly believes that there is always and should always be a wider audience for any good book whatever its main market. In Mollie's opinion it is essential to make full use of language and she enjoys telling a story, which is what every writer should be doing: 'If you aren't telling a story, you're a very dead writer indeed,' she says.
With the chief function of a writer being to entertain, Molly is indeed an entertainer. 'I have this great love of not only the meaning of language but of the music of language,' she says. This love goes back to early childhood. 'I've told stories all my life. I had a school teacher who used to ask us what we would like to be when we grew up and, because my family always had dogs, and I was very good at handling them, I said I wanted to work with dogs, and the teacher always said "Nonsense, Mollie dear, you'll be a writer." So eventually I thought that this woman must have something, since she was a good teacher - and I decided when I was nine that I would be a writer.’
This childhood intention is described in her novel, A Sound of Chariots, which although written in the third person is clearly autobiographical and gives a picture both of Mollie's ambition and her struggle towards its achievement.
Thoughts of her childhood inevitably brought thoughts of the time when her home was still a village with buttercup meadows and strawberry fields - sadly now covered with modern houses. 'I was once taken back to see it and I felt that somebody had lain dirty hands all over my childhood. I'll never go back,' she said. 'Never.' 'When I set one of my books in Scotland,' she said, 'I can recapture my romantic feelings as a child playing in those fields, or watching the village blacksmith at work. And that's important, because children now know so much so early that romance can't exist for them, as it did for us.'
To this day, Mollie has a lively affection for children, which is reflected in the love she has for her writing. 'When we have visitors with children the adults always say, "If you go to visit Mollie, she'll spend more time with the children." They don't realise that children are much more interesting company. I've heard all the adults have to say before. The children have something new.'
In Molie Hunter’s opinion, one sign of a poor writer is ________.
A. complicated ideas
B. the weakness of the description
C. lifeless characters
D. the absence of a story
Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions.
‘A good book for children should simply be a good book in its own right.' These are the words of Mollie Hunter, a well known author of books for youngsters. Born and bred near Edinburgh, Mollie has devoted her talents to writing primarily for young people. She firmly believes that there is always and should always be a wider audience for any good book whatever its main market. In Mollie's opinion it is essential to make full use of language and she enjoys telling a story, which is what every writer should be doing: 'If you aren't telling a story, you're a very dead writer indeed,' she says.
With the chief function of a writer being to entertain, Molly is indeed an entertainer. 'I have this great love of not only the meaning of language but of the music of language,' she says. This love goes back to early childhood. 'I've told stories all my life. I had a school teacher who used to ask us what we would like to be when we grew up and, because my family always had dogs, and I was very good at handling them, I said I wanted to work with dogs, and the teacher always said "Nonsense, Mollie dear, you'll be a writer." So eventually I thought that this woman must have something, since she was a good teacher - and I decided when I was nine that I would be a writer.’
This childhood intention is described in her novel, A Sound of Chariots, which although written in the third person is clearly autobiographical and gives a picture both of Mollie's ambition and her struggle towards its achievement.
Thoughts of her childhood inevitably brought thoughts of the time when her home was still a village with buttercup meadows and strawberry fields - sadly now covered with modern houses. 'I was once taken back to see it and I felt that somebody had lain dirty hands all over my childhood. I'll never go back,' she said. 'Never.' 'When I set one of my books in Scotland,' she said, 'I can recapture my romantic feelings as a child playing in those fields, or watching the village blacksmith at work. And that's important, because children now know so much so early that romance can't exist for them, as it did for us.'
To this day, Mollie has a lively affection for children, which is reflected in the love she has for her writing. 'When we have visitors with children the adults always say, "If you go to visit Mollie, she'll spend more time with the children." They don't realise that children are much more interesting company. I've heard all the adults have to say before. The children have something new.'
What do we learn about Mollie Hunter as a very young child?
A. She didn’t enjoy writing stories
B. She didn’t have any particular ambitions
C. She didn’t expect to become a writer
D. She didn’t respect her teacher’s views
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.
Milpa Alta is a region of twelve villages and towns to the south of Mexico City. In Milpa Alta, traditions are still very important and one of the most famous traditional events is a community meal. It takes place every Christmas and is called La Rejunta. More than a meal, it’s a feast, where about sixty thousand tamales and fifteen thousand litres of hot chocolate are made and consumed. Tamales are made from corn. They are typical of the region: the name Milpa Alta means “High cornfield”. The feast is offered to the people who go on the long walk to El Señor de Chalma about 80 kilometers away. It’s an important event on the religious calendar for local people and as many as 20,000 people take part.
The planning and organisation of La Rejunta takes the whole year. Every year, different people are given the job of majordomo, which means they’re responsible for organising the meal. There’s a waiting list for the opportunity to do this and currently the next available year is 2046. This year’s majordomos are Virginia Meza Torres and her husband Fermín Lara Jiménez, who put their names on the list 14 years ago.
One year before the meal, men go to the forest and collect wood that they store near the home of the majordomo. It has to be dry when it’s used to make the cooking fires. Local farmers grow most of the corn, meat and vegetables that are needed as ingredients. In the week before the feast, hundreds of volunteers arrive to help with the preparation and the cooking. No instant or ready-made foods are allowed. Amazingly, everyone seems to know what they have to do. On the day of the feast, the majordomos and others have stayed up all night cooking. Fermin is in charge of the numbers – making sure there are enough tamales for everyone.
For the people of Milpa Alta, eating together is one of their most important traditions. One woman, Josefina García Jiménez, explains that sitting together at the table is like a glue that keeps people together. It feels like I am passing down a tradition, and when they are adults, they will remember what I have done. Here we have time to cook, time to think about the ingredients, time to show our kids through cooking that we love them. ‟ The time that everybody stays at the table after the meal has finished is just as important as the food. They talk, tell stories and laugh together. At Christmas, La Rejunta is a giant version of a family meal
What is the article about?
A. daily life in Mexico
B. farming in Milpa Alta
C. Mexican cuisine
D. traditions in Mexico
Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.
In most of the earliest books for childre n, illustrations were an afterthought. But in the Caldecott “toy books”, which first appeared in 1878, they were almost as important as the lines of text, and occupied far more space in the book. One can almost read the story from the dramatic action in the pictures.
Since then, thousands of successful picture books have been published in the United States and around the world. In the best, the words and illustrations seem to complement each other perfectly. Often a single person, is responsible for both writing and illustrating the book. One of the greatest, and certainly one of the most successful, illustrator-authors was Dr. Seuss, whose real name was Theodor Geisel. His first children’s book, And to Think That I Saw It on Mulberry Street, hit the market in 1937, and the world of children’s literature was changed forever. Seuss’s playful drawings were a perfect complement to his engaging stories and unforgettable characters. In 1957, Seuss’s The Cat in the Hat became the first book in Random House’s best -selling series, Beginner Books, written by Seuss and several other authors. These combine outrageous illustrations of people, creatures, and plants, and playful stories written in very simple language.
Dr. Seuss is not the only well-known author-illustrator, of course. There is Max Sendak, who wrote and illustrated Where the Wild Things Are, the story of a little boy named Max, who becomes king of the fierce ( but funny) creatures that live in the Land of the Wilds Things. Robert McCloskey produced both the richly textured illustrations and delightful story of a family of ducks living in downtown Boston, Make Ways for Ducklings. Some books are produced by a collaborative author artist team. Author Margaret Wise Brown combined with illustrator Clement Hurd to produce two delightful books loved by very young children, Goodnight Moon and The Runaway Bunny. Another example is the husband-and-wife team of writer Audrey Wood and illustrator Don Wood, who were responsible for King Bidgood’s in the Bathtub and The Napping House.
Wordless and nearly wordless picture books have become popular. With a little help, threeand four-year-olds can follow the sequence of events, and they can understand the stories suggested in them. The marvel of books with few or no words is that they allow children and their parents the opportunity to tell and retell the same stories over and over in their own words. One of the most charming examples of a wordless book is Jan Omerod’sSunshine. Barbara Berger’s Grandfather Twilight and David Weisner’s Tuesday are examples of books containing only a few words.
U.S. publishers have also drawn on illustrators from other countries whose original, imaginative works have brought their different visions to American children’s books. Among them are Leo Lionni from Italy, Feodor Rojankovsky from Russia, and Taro Yashimi from Japan.
The phrase “the best” in paragraph 2 refers to the best __________.
A. picture books
B. illustrations
C. authors
D. words
Read the following passage and mark the letter A, B, C or D to indicate the correct answer to each of the questions from 43 to 50.
In most of the earliest books for children, illustrations were an afterthought. But in the Caldecott "toy books", which first appeared in 1878, they were almost as important as the lines of text, and occupied far more space in the book. One can almost read the story from the dramatic action in the pictures.
Since then, thousands of successful picture books have been published in the United States and around the world. In the best the words and illustrations seem to complement each other perfectly. Often a single person is responsible for both writing and illustrating the book. One of the greatest, and certainly one of the most successful, illustrator-authors was Dr. Seuss, whose real name was Theodor Geisel. His first children's book, And to Think That I Saw It on Mulberry Street, hit the market in 1937, and the world of children's literature was changed forever. Seuss's playful drawings were a perfect complement to his engaging stories and unforgettable characters. In 1957, Seuss's The Cat in the Hat became the first book in Random House's best -selling series, Beginner Books, written by Seuss and several other authors. These combine outrageous illustrations of people, creatures, and plants, and playful stories written in very simple language.
Dr. Seuss is not the only well-known author-illustrator, of course. There is Max Sendak, who wrote and illustrated Where the Wild Things Are, the story of a little boy named Max, who becomes king of the fierce ( but funny) creatures that live in the Land of the Wilds Things. Robert McCloskey produced both the richly textured illustrations and delightful story of a family of ducks living in downtown Boston, Make Ways for Ducklings. Some books are produced by a collaborative author artist team. Author Margaret Wise Brown combined with illustrator Clement Hurd to produce two delightful books loved by very young children, Goodnight Moon and The Runaway Bunny. Another example is the husband-and-wife team of writer Audrey Wood and illustrator Don Wood, who were responsible for King Bidgood's in the Bathtub and The Napping House.
Wordless and nearly wordless picture books have become popular. With a little help, three and four-year-olds can follow the sequence of events, and they can understand the stories suggested in them. The marvel of books with few or no words is that they allow children and their parents the opportunity to tell and retell the same stories over and over in their own words. One of the most charming examples of a wordless book is Jan Omerod's Sunshine. Barbara Berger's Grandfather Twilight and David Weisner's Tuesday are examples of books containing only a few words.
U.S. publishers have also drawn on illustrators from other countries whose original., imaginative works have brought their different visions to American children's books. Among them are Leo Lionni from Italy, Feodor Rojankovsky from Russia, and Taro Yashimi from Japan.
hen did illustrations become important in books for children?
Question 45: The phrase "the best" in paragraph 2 refers to the best ________.
A. picture books
B. illustrations
C. authors
D. words
Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions from 43 to 50.
Milpa Alta is a region of twelve villages and towns to the south of Mexico City. In Milpa Alta, traditions are still very important and one of the most famous traditional events is a community meal. It takes place every Christmas and is called La Rejunta. More than a meal, it’s a feast, where about sixty thousand tamales and fifteen thousand litres of hot chocolate are made and consumed. Tamales are made from corn. They are typical of the region: the name Milpa Alta means “High cornfield”. The feast is offered to the people who go on the long walk to El Señor de Chalma about 80 kilometers away. It’s an important event on the religious calendar for local people and as many as 20,000 people take part.
The planning and organisation of La Rejunta takes the whole year. Every year, different people are given the job of majordomo, which means they’re responsible for organising the meal. There’s a waiting list for the opportunity to do this and currently the next available year is 2046. This year’s majordomos are Virginia Meza Torres and her husband Fermín Lara Jiménez, who put their names on the list 14 years ago.
One year before the meal, men go to the forest and collect wood that they store near the home of the majordomo. It has to be dry when it’s used to make the cooking fires. Local farmers grow most of the corn, meat and vegetables that are needed as ingredients. In the week before the feast, hundreds of volunteers arrive to help with the preparation and the cooking. No instant or ready-made foods are allowed. Amazingly, everyone seems to know what they have to do. On the day of the feast, the majordomos and others have stayed up all night cooking. Fermin is in charge of the numbers – making sure there are enough tamales for everyone.
For the people of Milpa Alta, eating together is one of their most important traditions. One woman, Josefina García Jiménez, explains that sitting together at the table is like a glue that keeps people together. It feels like I am passing down a tradition, and when they are adults, they will remember what I have done. Here we have time to cook, time to think about the ingredients, time to show our kids through cooking that we love them. ‟ The time that everybody stays at the table after the meal has finished is just as important as the food. They talk, tell stories and laugh together. At Christmas, La Rejunta is a giant version of a family meal
What’s unusual about La Rejunta?
A. A huge amount of food is made
B. The event lasts for many days
C. The ingredients are very unusual
D. The preparation only takes a few days
