Bộ 20 đề luyện thi Chuyên Anh năm 2023 có đáp án (Đề 87)
22 người thi tuần này 4.6 9.6 K lượt thi 80 câu hỏi 60 phút
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Danh sách câu hỏi:
Đoạn văn 1
Read the following passage and choose the correct word for each of the blanks
Parrots and macaws have become so (01)......... that special varieties of these birds are (02) ......... up to £9,000 each on the black market in Britain. Macaws from Brazil cost from £1,000 and parrots from Australia can cost £7,500 a pair. The demand for parrots, cockatoos and macaws has led to a (03)......... increase in thefts from zoos, wildlife parks and pet shops. London and Whipsnade zoos are among the many places from which parrots have been stolen. Some thefts have not been (04)......... in an effort to prevent further (05).......... Parrot rustling, as it is known among bird fanciers, has increased rapidly in Britain since 1976 when imports and exports of (06)......... birds became (07)......... controlled. Quarantine controls, (08)......... with the scarcity of many types of parrots in the wild in Africa, Australia, Indonesia, and South America, have caused a shortage of birds which can be sold legally under (09)..........This has sent prices to (10)......... levels. Working at night and equipped with wire-cutters, nets and substances to dope the birds, the rustlers are prepared to (11)......... serious risks to capture the parrots they want. At Birdworld, a specialist zoo, thieves (12)......... two parrots after picking their (13)......... through an enclosure containing cassowaries, The cassowary is a large flightless bird, related to the emu, which can be extremely (14)......., and has been (15)........ to kill humans with blows from its powerful legs.
Câu 14:
The cassowary is a large flightless bird, related to the emu, which can be extremely (14).......,
Câu 29:
For lunch, I always have something quick and easy: a sandwich, a salad, toast and the _______.
Đoạn văn 2
Read the following passage and choose the correct answer
In the last third of the nineteenth century a new housing form was quietly being developed. I n 1869 the Stuyvesant, considered New York’s first apartment house was built on East Eighteenth Street. The building was financed by the developer Rutherfurd Stuyvesant and designed by Richard Morris Hunt, the first American architect to graduate from the Ecole des Beaux Arts in Paris. Each man had lived in Paris, and each understood the economics and social potential of this Parisian housing form. But the Stuyvesant was at best a limited success. In spite of Hunt’s inviting façade, the living space was awkwardly arranged. Those who could afford them were quite content to remain in the more sumptuous, single-family homes, leaving the Stuyvesant to newly married couples and bachelors. The fundamental problem with the Stuyvesant and the other early apartment buildings that quickly followed, in the 1870’s and early 1880’s was that they were confined to the typical New York building lot. That lot was a rectangular area 25 feet wide by 100 feet deep–a shape perfectly suited for a row house. The lot could also accommodate a rectangular tenement, though it could not yield the square, well-lighted, and logically arranged rooms that great apartment buildings require. But even with the awkward interior configurations of the early apartment buildings, the idea caught on. It met the needs of a large and growing population that wanted something better than tenements but could not afford or did not want row houses. So while the city’s newly emerging social leadership commissioned their mansions, apartment houses and hotels began to sprout in multiple lots, thus breaking the initial space constraints. In the closing decades of the nineteenth century, large apartment houses began dotting the developed portions of New York City, and by the opening decades of the twentieth century, spacious buildings, such as the Dakota and the Ansonia finally transcended the tight confinement of row house building lots. From there it was only a small step to building luxury apartment houses on the newly created Park Avenue, right next to the fashionable Fifth Avenue shopping area.
Câu 65:
It can be inferred that the majority of people who lived in New York’s first apartments were
Đoạn văn 3
Read the following passage and choose the correct answer
Even before the turn of the century, movies began to develop in two major directions: the realistic and the formalistic. Realism and formalism are merely general, rather than absolute, terms. When used to suggest a tendency toward either polarity, such labels can be helpful, but in the end they are still just labels. Few films are exclusively formalist in style, and fewer yet are completely realist. There is also an important difference between realism and reality, although this distinction is often forgotten. Realism is a particular style, whereas physical reality is the source of all the raw materials of film, both realistic and formalistic. Virtually all movie directors go to the photographable world for their subject matter, but what they do with this material - how they shape and manipulate it - determines their stylistic emphasis. Generally speaking, realistic films attempt to reproduce the surface of concrete reality with a minimum of distortion. In photographing objects and events, the filmmaker tries to suggest the copiousness of life itself. Both realist and formalist film directors must select (and hence emphasize) certain details from the chaotic sprawl of reality. But the element of selectivity in realistic films is less obvious. Realists, in short, try to preserve the illusion that their film world is unmanipulated, an objective mirror of the actual world. Formalists, on the other hand, make no such pretense. They deliberately stylize and distort their raw materials so that only the very naive would mistake a manipulated image of an object or event for the real thing. We rarely notice the style in a realistic movie; the artist tends to be self-effacing. Some filmmakers are more concerned with what is being shown than how it is manipulated. The camera is used conservatively. It is essentially a recording mechanism that reproduces the surface of tangible objects with as little commentary as possible. A high premium is placed on simplicity, spontaneity, and directness. This is not to suggest that these movies lack artistry, however, for at its best the realistic cinema specializes in art that conceals art.
1917 Đánh giá
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