Chọn B
Kiến thức: Từ vựng
Giải thích:
A. repealed (v): bãi bỏ
B. sacrificed (v): hi sinh
C. abolished (v): bãi bỏ
D. devoted (v): tận tụy
Tạm dịch: Dù mẹ tôi muốn tiếp tục làm việc, bà vẫn hi sinh sự nghiệp của mình để sinh con.
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 28 to 35.
It is an undeniable fact that a woman's place was once in the home. In the past, women were merely required to fulfill the role of mother and housewife. Today, this situation has changed tremendously. If a woman possesses the attributes and qualities of her male counterpart, she will definitely be given equal opportunities in the career world without much bias. Therefore, women began to make the scene and, eventually, there was a steady flow of women leaving their homes. A certain vacuum or emptiness was thus created in the households. No more could the husbands turn to their wives after a hard day's work. Society marveled at the ability of women, but it also suffered at the realization of the important role that women play in their homes. Should women be allowed to work after marriage then? The answer is undoubtedly positive although this issue is highly debatable in terms of the nature of the professions involved. If a woman pursues her career but is at the same time able to care for her home and children, one simply cannot find any reason why she should not be allowed to do so.
A woman's influence is greatly needed in the home, on the children. What a child needs most is his mother's care because how the child is molded depends greatly on her. It is a real pity that women who leave their homes solely in search of a career seldom give a thought to this. The children, being helpless and dependent creatures, may have nobody to turn to at home, except servants or relatives. With the mother's back only after a hard day's toil, the children surely do not get much attention.
Whether a woman should continue to work after marriage would depend on the nature of her profession. It is a waste of resources if women, after seeking higher education, immediately abandon their careers after matrimony. A woman's effort can also contribute to the well-being and development of society. In the Malaysian context, a teacher is only required to work a five-day week with term holidays every now and then. Moreover, she is in school for only half of the day. The other half of the day can be devoted to her home. A teacher, besides educating the society, can fulfill the role of both mother and housewife. There are many other careers like those of nurses, clerks and typists where women can fulfill the double role.
Nevertheless, there are many professions which would not be advisable for women to indulge in after marriage. A public relations officer spends almost three-quarters of her time in her career. She has heavy tasks to shoulder which might require her to entertain others till odd hours at night. Women who venture into the business world should think twice before plunging into it. It would be beyond their means to fulfill two demanding roles at the same time.
As it is, a woman's most important responsibility still lies in her home. Without her around in the house, one just cannot bear to think of the consequences. Unless and until she can fulfill the basic role of a housewife and mother, she should not make a career her sole responsibility.
Why should a businesswoman have the second thought before starting her career?
A. Because she has heavy tasks to shoulder till very late at night.
B. As it would be hard for her to fulfill the double role at the same time.
C. Since she has to spend three quarters of her time on business.
D. Because she has to plunge into this job.
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 comparison with children of earlier years, Mollie feels that modern children are _____.
A. better informed
B. more intelligent
C. less interested in fiction
D. less keen to learn
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.'
How does Mollie feel about what has happened to her birthplace?
A. surprised
B. ashamed
C. disappointed
D. confused
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 “its” in paragraph 3 refer to?
A. ambition
B. picture
C. novel
D. struggle
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 is the writer’s purpose in this text?
A. to provide information for Mollie Hunter’s exsisting readers
B. to introduce Mollie Hunter’s work to a wider audience
C. to describe Mollie Hunter’s most successful books
D. to share her enjoyment of Mollie Hunter’s books
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.'
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 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.'
Mollie’s adult visitors generally discover that _____.
A. she talks a lot about her work
B. she is a very generous person
C. she pays more attention to their children
D. she is interesting company
