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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 35 to 42.         It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.         There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.                    It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie. All of the following are true about the Symphonic fantastique EXCEPT _________.

Xem chi tiết 1.4 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 35 to 42.         It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.         There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.                    It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie. Romanticism in music is characterized as being _________.

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 35 to 42.         It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.         There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.                    It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie. The Romantic musicians also made use of modem technologies such as _________.

Xem chi tiết 1.5 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 from 35 to 42.    Being aware of one’s own emotions - recognizing and acknowledging feelings as they happen - is at the very heart of Emotional Intelligence. And this awareness encompasses not only moods but also thoughts about those moods. People who are able to monitor their feelings as they arise are less likely to be ruled by them and are thus better able to manage their emotions.    Managing emotions does not mean suppressing them; nor does it mean giving free rein to every feeling. Psychologist Daniel Goleman, one of several authors who have popularized the notion of Emotional Intelligence, insisted that the goal is balance and that every feeling has value and significance. As Goleman said, “A life without passion would be a dull wasteland of neutrality, cut off and isolated from the richness of life itself.” Thus, we manage our emotions by expressing them in an appropriate manner. Emotions can also be managed by engaging in activities that cheer us up, soothe our hurts, or reassure us when we feel anxious.    Clearly, awareness and management of emotions are not independent. For instance, you might think that individuals who seem to experience their feelings more intensely than others would be less able to manage them. However, a critical component of awareness of emotions is the ability to assign meaning to them - to know why we are experiencing a particular feeling or mood. Psychologists have found that, among individuals who experience intense emotions, individual differences in the ability to assign meaning to those feelings predict differences in the ability to manage them. In other words, if two individuals are intensely angry, the one who is better able to 'understand why he or she is angry will also be better able to manage the anger.    Self-motivation refers to strong emotional self-control, which enables a person to get moving and pursue worthy goals, persist at tasks even when frustrated, and resist the temptation to act on impulse. Resisting impulsive behavior is, according to Goleman, “the root of all emotional self-control.”    Of all the attributes of Emotional Intelligence, the ability to postpone immediate gratification and to persist in working toward some greater future gain is most closely related to success - whether one is trying to build a business, get a college degree, or even stay on a diet. One researcher examined whether this trait can predict a child’s success in school. The study showed that 4-year- old children who can delay instant gratification in order to advance toward some future goal will be “far superior as students” when they graduate from high school than will 4-year-olds who are not able to resist the impulse to satisfy their immediate wishes. According to paragraph 5, children might be more successful in school if they can resist impulses because they can _____________ .

Xem chi tiết 6.7 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 35 to 42.         It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.         There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.                    It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie. The passage indicates that the Romanticist composers were inspired not only by lyrical and dramatic subjects but also by _________.

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 35 to 42.    Being aware of one’s own emotions - recognizing and acknowledging feelings as they happen - is at the very heart of Emotional Intelligence. And this awareness encompasses not only moods but also thoughts about those moods. People who are able to monitor their feelings as they arise are less likely to be ruled by them and are thus better able to manage their emotions.    Managing emotions does not mean suppressing them; nor does it mean giving free rein to every feeling. Psychologist Daniel Goleman, one of several authors who have popularized the notion of Emotional Intelligence, insisted that the goal is balance and that every feeling has value and significance. As Goleman said, “A life without passion would be a dull wasteland of neutrality, cut off and isolated from the richness of life itself.” Thus, we manage our emotions by expressing them in an appropriate manner. Emotions can also be managed by engaging in activities that cheer us up, soothe our hurts, or reassure us when we feel anxious.    Clearly, awareness and management of emotions are not independent. For instance, you might think that individuals who seem to experience their feelings more intensely than others would be less able to manage them. However, a critical component of awareness of emotions is the ability to assign meaning to them - to know why we are experiencing a particular feeling or mood. Psychologists have found that, among individuals who experience intense emotions, individual differences in the ability to assign meaning to those feelings predict differences in the ability to manage them. In other words, if two individuals are intensely angry, the one who is better able to 'understand why he or she is angry will also be better able to manage the anger.    Self-motivation refers to strong emotional self-control, which enables a person to get moving and pursue worthy goals, persist at tasks even when frustrated, and resist the temptation to act on impulse. Resisting impulsive behavior is, according to Goleman, “the root of all emotional self-control.”    Of all the attributes of Emotional Intelligence, the ability to postpone immediate gratification and to persist in working toward some greater future gain is most closely related to success - whether one is trying to build a business, get a college degree, or even stay on a diet. One researcher examined whether this trait can predict a child’s success in school. The study showed that 4-year- old children who can delay instant gratification in order to advance toward some future goal will be “far superior as students” when they graduate from high school than will 4-year-olds who are not able to resist the impulse to satisfy their immediate wishes. The word “pursue” in paragraph 4 mostly means _____________ .

Xem chi tiết 3.8 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 35 to 42.         It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.         There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.                    It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie. It is stated in the passage that the Romanticists were influenced by _________.

Xem chi tiết 5.7 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 35 to 42.    Being aware of one’s own emotions - recognizing and acknowledging feelings as they happen - is at the very heart of Emotional Intelligence. And this awareness encompasses not only moods but also thoughts about those moods. People who are able to monitor their feelings as they arise are less likely to be ruled by them and are thus better able to manage their emotions.    Managing emotions does not mean suppressing them; nor does it mean giving free rein to every feeling. Psychologist Daniel Goleman, one of several authors who have popularized the notion of Emotional Intelligence, insisted that the goal is balance and that every feeling has value and significance. As Goleman said, “A life without passion would be a dull wasteland of neutrality, cut off and isolated from the richness of life itself.” Thus, we manage our emotions by expressing them in an appropriate manner. Emotions can also be managed by engaging in activities that cheer us up, soothe our hurts, or reassure us when we feel anxious.    Clearly, awareness and management of emotions are not independent. For instance, you might think that individuals who seem to experience their feelings more intensely than others would be less able to manage them. However, a critical component of awareness of emotions is the ability to assign meaning to them - to know why we are experiencing a particular feeling or mood. Psychologists have found that, among individuals who experience intense emotions, individual differences in the ability to assign meaning to those feelings predict differences in the ability to manage them. In other words, if two individuals are intensely angry, the one who is better able to 'understand why he or she is angry will also be better able to manage the anger.    Self-motivation refers to strong emotional self-control, which enables a person to get moving and pursue worthy goals, persist at tasks even when frustrated, and resist the temptation to act on impulse. Resisting impulsive behavior is, according to Goleman, “the root of all emotional self-control.”    Of all the attributes of Emotional Intelligence, the ability to postpone immediate gratification and to persist in working toward some greater future gain is most closely related to success - whether one is trying to build a business, get a college degree, or even stay on a diet. One researcher examined whether this trait can predict a child’s success in school. The study showed that 4-year- old children who can delay instant gratification in order to advance toward some future goal will be “far superior as students” when they graduate from high school than will 4-year-olds who are not able to resist the impulse to satisfy their immediate wishes. In paragraph 3, the author explains the concept of awareness and management of emotions by _____________ .

Xem chi tiết 426 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 35 to 42.    Being aware of one’s own emotions - recognizing and acknowledging feelings as they happen - is at the very heart of Emotional Intelligence. And this awareness encompasses not only moods but also thoughts about those moods. People who are able to monitor their feelings as they arise are less likely to be ruled by them and are thus better able to manage their emotions.    Managing emotions does not mean suppressing them; nor does it mean giving free rein to every feeling. Psychologist Daniel Goleman, one of several authors who have popularized the notion of Emotional Intelligence, insisted that the goal is balance and that every feeling has value and significance. As Goleman said, “A life without passion would be a dull wasteland of neutrality, cut off and isolated from the richness of life itself.” Thus, we manage our emotions by expressing them in an appropriate manner. Emotions can also be managed by engaging in activities that cheer us up, soothe our hurts, or reassure us when we feel anxious.    Clearly, awareness and management of emotions are not independent. For instance, you might think that individuals who seem to experience their feelings more intensely than others would be less able to manage them. However, a critical component of awareness of emotions is the ability to assign meaning to them - to know why we are experiencing a particular feeling or mood. Psychologists have found that, among individuals who experience intense emotions, individual differences in the ability to assign meaning to those feelings predict differences in the ability to manage them. In other words, if two individuals are intensely angry, the one who is better able to 'understand why he or she is angry will also be better able to manage the anger.    Self-motivation refers to strong emotional self-control, which enables a person to get moving and pursue worthy goals, persist at tasks even when frustrated, and resist the temptation to act on impulse. Resisting impulsive behavior is, according to Goleman, “the root of all emotional self-control.”    Of all the attributes of Emotional Intelligence, the ability to postpone immediate gratification and to persist in working toward some greater future gain is most closely related to success - whether one is trying to build a business, get a college degree, or even stay on a diet. One researcher examined whether this trait can predict a child’s success in school. The study showed that 4-year- old children who can delay instant gratification in order to advance toward some future goal will be “far superior as students” when they graduate from high school than will 4-year-olds who are not able to resist the impulse to satisfy their immediate wishes. The word “them” in paragraph 3 refers to _____________ .

Xem chi tiết 573 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 35 to 42.         It may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings and evokes moods, through both of which various kinds of reality can be suggested or expressed. It was in the rationalist 18"1 century that musicians rather mechanically attempted to reproduce stories and subjects in sound. These literal renderings naturally tailed, and the Romanticists profited from the error. Their discovery of new realms of experience proved communicable in the first place because they were in touch with the spirit of renovation, particularly through poetry. What Goethe meant to Beethoven and Berlioz and what Gennan folk tales and contemporary lyricists meant to Weber, Schumann, and Schubert are familiar to all who are acquainted with the music of these men.         There is, of course, no way to demonstrate that Beethoven’s Egrnont music or, indeed, its overture alone corresponds to Goethe’s drama and thereby enlarges the hearer’s consciousness of it; but it cannot be an accident or an aberration that the greatest composers of the period employed the resources of their art for the creation of works expressly related to such lyrical and dramatic subjects. Similarly, the love of nature stirred Beethoven, Weber, and Berlioz, and here too the correspondence is felt and persuades the fit listener that his own experience is being expanded. The words of-the creators themselves record this new comprehensiveness. Beethoven referred to his activity of mingled contemplation and composition as dichten, making a poem; and Berlioz tells in his Memoires of the impetus given to his genius by the music of Beethoven and Weber, by the poetry of Goethe and Shakespeare, and not least by the spectacle of nature. Nor did the public that ultimately understood their works gainsay their claims.                    It must be added that the Romantic musicians including Chopin, Mendelssohn, Glinka, and Liszt-had at their disposal greatly improved instruments. The beginning of the 19th century produced the modem piano, of greater range and dynamics than theretfore, and made all wind instruments more exact and powerful by the use of keys and valves. The modem full orchestra was the result. Berlioz, whose classic treatise on instrumentation and orchestration helped to give it definitive form, was also the first to exploit its resources to the full, in the Symphonic fantastique of 1830. This work, besides its technical significance just mentioned, can also be regarded as uniting the characteristics of Romanticism in music, it is both lyrical and dramatic, and, although it makes use of a “story,” that use is not to describe the scenes but to connect them; its slow movement is a “nature poem” in the Beethovenian manner; the second, fourth, and fifth movements include “realistic” detail of the most vivid kind; and the opening one is an introspective reverie. The word “error” in paragraph 1 refers to _________.

Xem chi tiết 1.4 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 35 to 42.    Being aware of one’s own emotions - recognizing and acknowledging feelings as they happen - is at the very heart of Emotional Intelligence. And this awareness encompasses not only moods but also thoughts about those moods. People who are able to monitor their feelings as they arise are less likely to be ruled by them and are thus better able to manage their emotions.    Managing emotions does not mean suppressing them; nor does it mean giving free rein to every feeling. Psychologist Daniel Goleman, one of several authors who have popularized the notion of Emotional Intelligence, insisted that the goal is balance and that every feeling has value and significance. As Goleman said, “A life without passion would be a dull wasteland of neutrality, cut off and isolated from the richness of life itself.” Thus, we manage our emotions by expressing them in an appropriate manner. Emotions can also be managed by engaging in activities that cheer us up, soothe our hurts, or reassure us when we feel anxious.    Clearly, awareness and management of emotions are not independent. For instance, you might think that individuals who seem to experience their feelings more intensely than others would be less able to manage them. However, a critical component of awareness of emotions is the ability to assign meaning to them - to know why we are experiencing a particular feeling or mood. Psychologists have found that, among individuals who experience intense emotions, individual differences in the ability to assign meaning to those feelings predict differences in the ability to manage them. In other words, if two individuals are intensely angry, the one who is better able to 'understand why he or she is angry will also be better able to manage the anger.    Self-motivation refers to strong emotional self-control, which enables a person to get moving and pursue worthy goals, persist at tasks even when frustrated, and resist the temptation to act on impulse. Resisting impulsive behavior is, according to Goleman, “the root of all emotional self-control.”    Of all the attributes of Emotional Intelligence, the ability to postpone immediate gratification and to persist in working toward some greater future gain is most closely related to success - whether one is trying to build a business, get a college degree, or even stay on a diet. One researcher examined whether this trait can predict a child’s success in school. The study showed that 4-year- old children who can delay instant gratification in order to advance toward some future goal will be “far superior as students” when they graduate from high school than will 4-year-olds who are not able to resist the impulse to satisfy their immediate wishes. The word “critical” in paragraph 3 is closest in meaning to _____________ .

Xem chi tiết 7.5 K lượt xem 6 năm trước