Danh sách câu hỏi ( Có 87,842 câu hỏi trên 1,757 trang )

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 32 to 36. Even with his diverse experience as an elected official at the state level, Andrew Johnson was the first president of the United States ever to be impeached, primarily because of his violent temper and unyielding stubbornness. His career started in 1828 with his election to the city council of Greenville, Tennessee, and after two years, as an alderman, he took office as mayor. His advancements followed in rapid succession when he was elected to the Tennessee state senate, then as the state governor, and later to the U.S. House of Representatives for five consecutive terms. In 1864, Johnson ran for the office of vice–president on the Lincoln–Johnson ticket and was inaugurated in 1865. After Lincoln’s assassination six weeks into his term, Johnson found himself president at a time when southern leaders were concerned about their forced alliance with the northern states and feared retaliation for their support of the secession. Instead, however, with the diplomatic skill he had learned from Lincoln, Johnson offered full pardon to almost all Confederates on the condition that they take an oath of allegiance. He further reorganized the former Confederate states and set up legislative elections. Congressional opposition to his peace–making policies resulted in gridlock between the House and Johnson, and the stalemate grew into an open conflict on the issue of emancipation of slaves. While Johnson held the view that newly freed slaved lacked understanding and knowledge of civil liberties to vote intelligently, Congress overrode Johnson’s veto of the Civil Rights Bill, which awarded them citizenship and ratified the Fourteenth Amendment. In the years that followed, Congress passed bills depriving the president of the power to pardon political criminals, stripping away his status of commander–in–chief, and taking away Johnson’s right to dismiss civil and executive officers from their duties. Johnson vetoed each bill, and each veto was overridden. When Johnson dismissed the secretary of war, Edwin Stanton, Stanton refused to step down and was supported by House of Representative, which voted to impeach Johnson. At the trial, the Senate came one vote short of the two–thirds majority necessary to remove his from office. After Johnson’s term expired, he returned to his home state, but in 1875 he was elected senator and went back to Washington to take his seat. According to the passage, the attempt to impeach Andrew Johnson ______. 

Xem chi tiết 3.5 K lượt xem 6 năm trước

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.Animals have an intuitive awareness of quantities. They know without analysis the difference between a number of objects and a smaller number. In his book “ The natural History of Selboure ” (1786 ) , the naturalist Gilbert White tells how he surreptitiously removed one egg a day from a plover’s nest , and how the mother laid another egg each day to make up for the missing one . He noted that other species of birds ignore the absence of a single egg but abandon their nests if more than one egg has been removed. It has also been noted by naturalists that a certain type of wasp always provides five – never four, never six - caterpillars for each of their eggs so that their young have something to eat when the eggs hatch . Research has also shown that both mice and pigeons can be taught to distinguish between odd and even numbers of food pieces. These and similar accounts have led some people to infer that creatures other than humans can actually count. They also point to dogs that have been taught to respond to numerical questions with the correct number of barks, or to horses that seem to solve arithmetic problems by stomping their hooves the proper number of times. Animals respond to quantities only when they are connected to survival as a species – as in the case of the eggs – or survival as individuals - as in the case of food. There is no transfer to other situations or from concrete reality to the abstract notion of numbers. Animals can “count” only when the objects are present and only when the numbers involved are small – not more than seven or eight. In lab experiments, animals trained to “count” one kind of object were unable to count any other type. The objects, not the numbers, are what interest them. Animals admittedly remarkable achievements simply do not amount to evidence of counting, nor do they reveal more than innate instincts, refined by the genes of successive generations, or the results of clever, careful conditioning by trainers .What is the main idea of this passage?

Xem chi tiết 694 lượt xem 6 năm trước

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 32 to 36. Even with his diverse experience as an elected official at the state level, Andrew Johnson was the first president of the United States ever to be impeached, primarily because of his violent temper and unyielding stubbornness. His career started in 1828 with his election to the city council of Greenville, Tennessee, and after two years, as an alderman, he took office as mayor. His advancements followed in rapid succession when he was elected to the Tennessee state senate, then as the state governor, and later to the U.S. House of Representatives for five consecutive terms. In 1864, Johnson ran for the office of vice–president on the Lincoln–Johnson ticket and was inaugurated in 1865. After Lincoln’s assassination six weeks into his term, Johnson found himself president at a time when southern leaders were concerned about their forced alliance with the northern states and feared retaliation for their support of the secession. Instead, however, with the diplomatic skill he had learned from Lincoln, Johnson offered full pardon to almost all Confederates on the condition that they take an oath of allegiance. He further reorganized the former Confederate states and set up legislative elections. Congressional opposition to his peace–making policies resulted in gridlock between the House and Johnson, and the stalemate grew into an open conflict on the issue of emancipation of slaves. While Johnson held the view that newly freed slaved lacked understanding and knowledge of civil liberties to vote intelligently, Congress overrode Johnson’s veto of the Civil Rights Bill, which awarded them citizenship and ratified the Fourteenth Amendment. In the years that followed, Congress passed bills depriving the president of the power to pardon political criminals, stripping away his status of commander–in–chief, and taking away Johnson’s right to dismiss civil and executive officers from their duties. Johnson vetoed each bill, and each veto was overridden. When Johnson dismissed the secretary of war, Edwin Stanton, Stanton refused to step down and was supported by House of Representative, which voted to impeach Johnson. At the trial, the Senate came one vote short of the two–thirds majority necessary to remove his from office. After Johnson’s term expired, he returned to his home state, but in 1875 he was elected senator and went back to Washington to take his seat. In paragraph 3, the word “pardon” is closest in meaning to _____. 

Xem chi tiết 1.7 K lượt xem 6 năm trước

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.The piece titled The Priestess has all of the following characteristics EXCEPT

Xem chi tiết 2.7 K lượt xem 6 năm trước

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.The phrase “a break with” in line 30 is closest in meaning to

Xem chi tiết 1.8 K lượt xem 6 năm trước

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.Where did Robert Laurent learn to carve?

Xem chi tiết 1.6 K lượt xem 6 năm trước

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.The word “witnessed” in line 23 is closest in meaning to

Xem chi tiết 749 lượt xem 6 năm trước

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.How does direct carving differ from the nineteenth-century tradition of sculpture?

Xem chi tiết 4 K lượt xem 6 năm trước

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.The word “dictates” in line 8 is closest in meaning to

Xem chi tiết 1.3 K lượt xem 6 năm trước

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.         With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving - in which the sculptors themselves carve stone or wood with mallet and chisel - must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well: that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.The technique of direct carving was a break with the nineteenth-century tradition in which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble. With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent and Zorach most notably — had adopted it as their primary means of working.Born in France, Robert Laurent(1890-1970)was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.What is one of the fundamental principles of direct carving?

Xem chi tiết 4.5 K lượt xem 6 năm trước