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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. An air pollutant is defined as a compound added directly or indirectly by humans to the atmosphere in such quantities as to affect humans, animals, vegetation, or materials adversely. Air pollution requires a very flexible definition that permits continuous changes. When the first air pollution laws were established in England in the fourteenth century, air pollutants were limited to compounds that could be seen or smelled - a far cry from the extensive list of harmful substances known today. As technology has developed and knowledge of the health aspects of various chemicals has increased, the list of air pollutants has lengthened. In the future, even water vapor might be considered an air pollutant under certain conditions. Many of more important air pollutants, such as sulfur oxides, carbon monoxides and nitrogen oxides are found in nature. As the Earth developed, the concentration of these pollutants was altered by various chemical reactions; they became components in biogeochemical cycles. These serve as an air purification scheme by allowing the compounds to move from the air to the water or soil. On a global basis, nature's output of these compounds dwarfs that resulting from human activities. However, human production usually occurs in a localized area, such as a city. In such a region, human output may be dominant and may temporarily overload the natural purification scheme of the cycles. The result is an concentration of noxious chemicals in the air. The concentrations at which the adverse effects appear will be greater than the concentrations that the pollutants would have in the absence of human activities. The actual concentration need not be large for a substance to be a pollutant; in fact, the numerical value tells us little until we know how much of an increase this represents over the concentration that would occur naturally in the area. For example, sulfur dioxide has detectable health effects at 0. 08 parts per million (ppm), which is about 400 times its natural level. Carbon monoxide, however has a natural level of 0. 1 ppm and is not usually a pollutant until its level reaches about 15 ppm.The word “adversely” in the first paragraph is closest in meaning to ______.
Read the following passage and mark the letter A, B, C or D to indicate the correct answer.The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important. The author’s purpose to give the example in line15-17 is to
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. An air pollutant is defined as a compound added directly or indirectly by humans to the atmosphere in such quantities as to affect humans, animals, vegetation, or materials adversely. Air pollution requires a very flexible definition that permits continuous changes. When the first air pollution laws were established in England in the fourteenth century, air pollutants were limited to compounds that could be seen or smelled - a far cry from the extensive list of harmful substances known today. As technology has developed and knowledge of the health aspects of various chemicals has increased, the list of air pollutants has lengthened. In the future, even water vapor might be considered an air pollutant under certain conditions. Many of more important air pollutants, such as sulfur oxides, carbon monoxides and nitrogen oxides are found in nature. As the Earth developed, the concentration of these pollutants was altered by various chemical reactions; they became components in biogeochemical cycles. These serve as an air purification scheme by allowing the compounds to move from the air to the water or soil. On a global basis, nature's output of these compounds dwarfs that resulting from human activities. However, human production usually occurs in a localized area, such as a city. In such a region, human output may be dominant and may temporarily overload the natural purification scheme of the cycles. The result is an concentration of noxious chemicals in the air. The concentrations at which the adverse effects appear will be greater than the concentrations that the pollutants would have in the absence of human activities. The actual concentration need not be large for a substance to be a pollutant; in fact, the numerical value tells us little until we know how much of an increase this represents over the concentration that would occur naturally in the area. For example, sulfur dioxide has detectable health effects at 0. 08 parts per million (ppm), which is about 400 times its natural level. Carbon monoxide, however has a natural level of 0. 1 ppm and is not usually a pollutant until its level reaches about 15 ppm.What does the passage mainly dicuss?
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 36 to 42. Although speech is the most advanced form of communication, there are many ways of communicating without using speech. Signals, signs, symbols and gestures may be found in every known culture. The basic function of a signal is to impinge upon the environment in such a way that it attracts attention, as, for example, the dots and dashes of telegraph circuit. Coded to refer to speech, the potential for communication is very great. Less adaptable to the codification of words, signs also contain meaning in and of themselves. A stop sign or a barber pole conveys meaning quickly and conveniently. Symbols are more difficult to describe than either signals or signs because of their intricate relationship with the receiver's cultural perceptions. In some cultures, applauding in a theater provides performers with an auditory symbol of approval. Gestures such as waving and handshaking also communicate certain cultural messages. Although signals, signs, symbols and gestures are very useful, they do have a major disadvantage. They usually do not allow ideas to be shared without the sender being directly adjacent to the receiver. Without an exchange of ideas, interaction come to a halt. As a result, means of communication intended to be used for long distances and extended periods must be based upon speech. To radio, television and the telephone, one must add fax, paging systems, electronic mail, and the Internet, and no doubts but that there are more means of communication on the horizon.It may be concluded from this passage that _______.
Read the following passage and mark the letter A, B, C or D to indicate the correct answer.The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important. The word “Grammar ” in line 14 is closest in meaning to
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 36 to 42. Although speech is the most advanced form of communication, there are many ways of communicating without using speech. Signals, signs, symbols and gestures may be found in every known culture. The basic function of a signal is to impinge upon the environment in such a way that it attracts attention, as, for example, the dots and dashes of telegraph circuit. Coded to refer to speech, the potential for communication is very great. Less adaptable to the codification of words, signs also contain meaning in and of themselves. A stop sign or a barber pole conveys meaning quickly and conveniently. Symbols are more difficult to describe than either signals or signs because of their intricate relationship with the receiver's cultural perceptions. In some cultures, applauding in a theater provides performers with an auditory symbol of approval. Gestures such as waving and handshaking also communicate certain cultural messages. Although signals, signs, symbols and gestures are very useful, they do have a major disadvantage. They usually do not allow ideas to be shared without the sender being directly adjacent to the receiver. Without an exchange of ideas, interaction come to a halt. As a result, means of communication intended to be used for long distances and extended periods must be based upon speech. To radio, television and the telephone, one must add fax, paging systems, electronic mail, and the Internet, and no doubts but that there are more means of communication on the horizon.Why were the telephone, radio, and television invented?
Read the following passage and mark the letter A, B, C or D to indicate the correct answer.The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important. The word “it” in line 13 refers to
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 36 to 42. Although speech is the most advanced form of communication, there are many ways of communicating without using speech. Signals, signs, symbols and gestures may be found in every known culture. The basic function of a signal is to impinge upon the environment in such a way that it attracts attention, as, for example, the dots and dashes of telegraph circuit. Coded to refer to speech, the potential for communication is very great. Less adaptable to the codification of words, signs also contain meaning in and of themselves. A stop sign or a barber pole conveys meaning quickly and conveniently. Symbols are more difficult to describe than either signals or signs because of their intricate relationship with the receiver's cultural perceptions. In some cultures, applauding in a theater provides performers with an auditory symbol of approval. Gestures such as waving and handshaking also communicate certain cultural messages. Although signals, signs, symbols and gestures are very useful, they do have a major disadvantage. They usually do not allow ideas to be shared without the sender being directly adjacent to the receiver. Without an exchange of ideas, interaction come to a halt. As a result, means of communication intended to be used for long distances and extended periods must be based upon speech. To radio, television and the telephone, one must add fax, paging systems, electronic mail, and the Internet, and no doubts but that there are more means of communication on the horizon.Applauding was cited as an example of _______.
Read the following passage and mark the letter A, B, C or D to indicate the correct answer.The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important. The discovery of perspective was the result of
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 36 to 42. Although speech is the most advanced form of communication, there are many ways of communicating without using speech. Signals, signs, symbols and gestures may be found in every known culture. The basic function of a signal is to impinge upon the environment in such a way that it attracts attention, as, for example, the dots and dashes of telegraph circuit. Coded to refer to speech, the potential for communication is very great. Less adaptable to the codification of words, signs also contain meaning in and of themselves. A stop sign or a barber pole conveys meaning quickly and conveniently. Symbols are more difficult to describe than either signals or signs because of their intricate relationship with the receiver's cultural perceptions. In some cultures, applauding in a theater provides performers with an auditory symbol of approval. Gestures such as waving and handshaking also communicate certain cultural messages. Although signals, signs, symbols and gestures are very useful, they do have a major disadvantage. They usually do not allow ideas to be shared without the sender being directly adjacent to the receiver. Without an exchange of ideas, interaction come to a halt. As a result, means of communication intended to be used for long distances and extended periods must be based upon speech. To radio, television and the telephone, one must add fax, paging systems, electronic mail, and the Internet, and no doubts but that there are more means of communication on the horizon.The word “it” in paragraph refers to _______.
Read the following passage and mark the letter A, B, C or D to indicate the correct answer.The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important. According to the passage, which is the main concern for medieval artists?
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 36 to 42. Although speech is the most advanced form of communication, there are many ways of communicating without using speech. Signals, signs, symbols and gestures may be found in every known culture. The basic function of a signal is to impinge upon the environment in such a way that it attracts attention, as, for example, the dots and dashes of telegraph circuit. Coded to refer to speech, the potential for communication is very great. Less adaptable to the codification of words, signs also contain meaning in and of themselves. A stop sign or a barber pole conveys meaning quickly and conveniently. Symbols are more difficult to describe than either signals or signs because of their intricate relationship with the receiver's cultural perceptions. In some cultures, applauding in a theater provides performers with an auditory symbol of approval. Gestures such as waving and handshaking also communicate certain cultural messages. Although signals, signs, symbols and gestures are very useful, they do have a major disadvantage. They usually do not allow ideas to be shared without the sender being directly adjacent to the receiver. Without an exchange of ideas, interaction come to a halt. As a result, means of communication intended to be used for long distances and extended periods must be based upon speech. To radio, television and the telephone, one must add fax, paging systems, electronic mail, and the Internet, and no doubts but that there are more means of communication on the horizon.The phrase “impinge upon” in paragraph 1 is closest in meaning to _______.
Read the following passage and mark the letter A, B, C or D to indicate the correct answer.The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important. The word “eternal” in line 3 is closest in meaning to
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 36 to 42. Although speech is the most advanced form of communication, there are many ways of communicating without using speech. Signals, signs, symbols and gestures may be found in every known culture. The basic function of a signal is to impinge upon the environment in such a way that it attracts attention, as, for example, the dots and dashes of telegraph circuit. Coded to refer to speech, the potential for communication is very great. Less adaptable to the codification of words, signs also contain meaning in and of themselves. A stop sign or a barber pole conveys meaning quickly and conveniently. Symbols are more difficult to describe than either signals or signs because of their intricate relationship with the receiver's cultural perceptions. In some cultures, applauding in a theater provides performers with an auditory symbol of approval. Gestures such as waving and handshaking also communicate certain cultural messages. Although signals, signs, symbols and gestures are very useful, they do have a major disadvantage. They usually do not allow ideas to be shared without the sender being directly adjacent to the receiver. Without an exchange of ideas, interaction come to a halt. As a result, means of communication intended to be used for long distances and extended periods must be based upon speech. To radio, television and the telephone, one must add fax, paging systems, electronic mail, and the Internet, and no doubts but that there are more means of communication on the horizon.What does the author say about speech?
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 36 to 42. Although speech is the most advanced form of communication, there are many ways of communicating without using speech. Signals, signs, symbols and gestures may be found in every known culture. The basic function of a signal is to impinge upon the environment in such a way that it attracts attention, as, for example, the dots and dashes of telegraph circuit. Coded to refer to speech, the potential for communication is very great. Less adaptable to the codification of words, signs also contain meaning in and of themselves. A stop sign or a barber pole conveys meaning quickly and conveniently. Symbols are more difficult to describe than either signals or signs because of their intricate relationship with the receiver's cultural perceptions. In some cultures, applauding in a theater provides performers with an auditory symbol of approval. Gestures such as waving and handshaking also communicate certain cultural messages. Although signals, signs, symbols and gestures are very useful, they do have a major disadvantage. They usually do not allow ideas to be shared without the sender being directly adjacent to the receiver. Without an exchange of ideas, interaction come to a halt. As a result, means of communication intended to be used for long distances and extended periods must be based upon speech. To radio, television and the telephone, one must add fax, paging systems, electronic mail, and the Internet, and no doubts but that there are more means of communication on the horizon.Which of the following would be the best title for the passage?
Read the following passage and mark the letter A, B, C or D to indicate the correct answer.The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important. The passage mainly discusses