题目内容
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What does the writer intend to illustrate with Marks and Spencer？
A．British affections for euro.
B．The success of euro in Britain.
C．Europe's support for euro.
D．The great influence of retailers.
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更多“What does the writer intend to…”相关的问题
What does the writer imply according to the passage？
A．Male elephants are hunted more than female elephants
B．Both male elephants and female elephants are equally hunted
C．Each elephant has a long life
D．There are not any ivory hunters in the world now.
What does the writer say of the stock market decline？
A．Such an acute Crisis usually precedes a boom.
B．It will constitute attractive takeover targets.
C．Investors have trouble plucking up courage.
D．It triggered responses from various sectors.
What does the writer mean by saying "we pay for our sensitivity" in the first paragraph？
A．We have to take care of our sense of pain.
B．We suffer from our sense of feeling.
C．We should try hard to resist pain.
D．We are hurt when we feel pain.
What does the writer think of the Brazil team？
A．He thinks the Brazil team simply has bad luck.
B．He thinks the Brazil team should be sympathized.
C．He thinks the Brazil team has played quite well.
D．He thinks the Brazil team has not improved its technique.
The thing the writer does NOT tell you to do to deal with failure is to______.
A．check out your goals to see if they are right for you
B．think about failure as part of your life
C．think about failure to find out what went wrong
D．avoid things that are beyond you
A．The violation of a Supreme Court decision.
B．Frequent clashes between Hindus and Muslims.
C．The brutality of extreme Indian policemen.
D．Social privileges entitled to Hindus mobs.
A．The brutality of extreme Indian policemen.
B．Frequent clashes between Hindus and Muslims.
C．The cruelty as shown by Hindus to Muslims.
D．The disappearance of extreme religious violence.
A man who knows a bit about carpentry (木工术) will make his table more quickly than the man who does not. If the instructions are not very clear, or the shape of a piece is puzzling his experience helps him to conclude that it must fit there, or that its function must be that. In the same way, the reader's sense and experience helps him to predict what the writer is likely to ,say next; that he must be going to say this rather than that. A reader who can think along with the writer in this way will find the text.
This skill is so useful that you may wish to make your students aware of it so that they can use it to tackle difficult texts. It does seem to be the case that as we read we make hypotheses (假设) about what the writer intends to say; these are immediately modified by what he actually does say, and are replaced by new hypotheses about what will follow. We have all had the experience of believing we were understanding a text until suddenly brought to a halt by some word or phrase that would not fit into the pattern and forced us to reread and readjust our thoughts. Such occurrences lend support to the notion of reading as a constant making and remaking of hypotheses.
If you are interested in finding out how far this idea accords with (符合) practice, you may like to try out the text and questions. To do so, take a piece of card and use it to mask the text. Move it down the page, revealing only one
t a time. Answer the question before you go on to look at the next section. Check your prediction against what the text actually says, and use the new knowledge to improve your next prediction. You will need to look back to earlier parts of the text if you are to make accurate prediction, for you must keep in mind the general organization of the argument as well as the detail within each sentence. If you have tried this out, you have probably been interested to find how much you can predict, though naturally we should not expect to be right every time -- otherwise there would be no need for us to read.
Conscious use of this technique can be helpful when we are faced with a part of the text that we find difficult: if we can see the overall pattern of the text, and the way the argument is organized, we can make a reasoned guess at the next step. Having an idea of what something might mean can be a great help in interpreting it.
The author uses the examples of carpentry and reading to show______.
A．the importance of making prediction
B．the similarity in using one's senses
C．the necessity of making use of one's knowledge
D．the most effective method in doing anything
The writer is mainly talking about ______.
A．a person's living space needs
B．building and floors
C．equipment and conditions
D．population and violence
Does using a word processor affect a writer s style？
The medium usually does do something to the message after all, even if Marshall McLuhan's claim that the medium simply is the message has been heard and largely forgotten now. The question matters. Ray Hammond, in his excellent guide The Writer and the Word Processor, predicts that over half the professional writers in Britain and the USA will be using word processors by the end of 1985. The best known recruit is Leu Deighton, from as long ago as 1968, though most users have only started since the microcomputer boom began in 1980.
Ironically word processing is in some ways psychologically more like writing in rough than typing, since it restores fluidity and provisionality to the text. The typist's dread of having to get out the Tippex, the scissors and paste, or of redoing the whole thing if he has any substantial second thoughts, can make him consistently choose the safer option in his sentences, or let something stand which he knows to be unsatisfactory or incomplete, out of weariness. In word processing the text is loosened up whilst still retaining the advantage of looking formally finished.
This has, I think, two apparently contradictory effects. The initial writing can become excessively sloppy and careless, in the expectation that it will be corrected later. That crucial first inspiration is never easy to recapture, though, and therefore, on the other hand, the writing can become over-deliberated, lacking in flow and spontaneity, since revision becomes a larger part of composition. However, these are faults easier to detect in others than in oneself. My own experience of the sheer difficulty of committing any words at all to the page means I'm grateful for all the help I can get.
For most writers, word processing quite rapidly comes to feel like the ideal method (and can always be a second step after drafting on paper if you prefer). Most of the writers interviewed by Hammond say it has improved their style. ("immensely", says Deighton). Seeing your own word on a screen helps you to feel cool and detached about them.
Thus is not just by freeing you from-the labor of mechanical retyping that a word processor can help you to write. One author (Terence Feely) claims it has increased his output by 400%. Possibly the feeling of having a reactive machine, which appears to do things, rather than just have things done with it, accounts for this—your slave works hard and so do you.
Are there no drawbacks？ It costs a lot and takes time to learn—"expect to lose weeks of work", says Hammond, though days might be nearer the mark. Notoriously it is possible to lose work altogether on a word processor, and this happens to everybody at least once. The awareness that what you have written no longer exists anywhere at all, is unbelievably enraging and baffling.
Will word processing generally raise the level of professional writing then？ Does it make writers better as well as more productive？ Though all users insist it has done so for them individually, this is hard to believe. But reliance happens fast.
According to the passage what appears to be changing rapidly in Britain and the USA？
A．The style. writers are employing.
B．The way new writers are being recruited.
C．The medium authors are using.
D．The message authors are putting forward.
