Danh sách câu hỏi:

Câu 1:

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.

       Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in hisBostongallery.

       A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

       Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training inEngland. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

            In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

Where in the passage does the author draw a comparison of American and English practices in producing commission portraits?

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Câu 2:

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.

       Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in hisBostongallery.

       A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

       Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training inEngland. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

            In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

In what ways did American artists try to gain greater success?

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Câu 3:

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.

       Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in hisBostongallery.

       A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

       Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training inEngland. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

            In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

The final paragraph of the passage will probably continue with a discussion of …………

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Câu 4:

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.

       Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in hisBostongallery.

       A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

       Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training inEngland. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

            In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

Why does the author mention Davy Crocket in paragraph 1?

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Câu 5:

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.

       Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in hisBostongallery.

       A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

       Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training inEngland. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

            In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

In paragraph 2, what did people look for in a good portrait?

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Câu 6:

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.

       Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in hisBostongallery.

       A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

       Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training inEngland. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

            In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

Physiognomy and phrenology are theories ……………

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Câu 7:

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.

       Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in hisBostongallery.

       A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

       Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training inEngland. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

            In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

Which of the following statements best represents the meaning of the first sentence (lines1 and 2) before photography was invented in 1839?

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Câu 8:

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.

       Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in hisBostongallery.

       A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

       Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training inEngland. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

            In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

The word acquire (in Line 1- paragraph 4) is closest in meaning to …………

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Câu 9:

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.

       Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in hisBostongallery.

       A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

       Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training inEngland. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

            In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

The word poses (in Line 1- paragraph 3) is closest in meaning to ……

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Câu 10:

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.

       Before photography was invented in 1839, painted portraits, and engravings based on them, were one of the few ways to record likenesses. From the Colonial era through the 1820s, portraiture was the most widely practiced genre of American art, and it continued to be a significant form through the 19th century. The demand for likenesses was incessant, and portraiture was often the primary source of income for artists. Artists frequently made portraits of famous people to attract interest and potential patrons. For example, in 1834 Chester Harding painted frontiersman Davy Crockett, then a member of the U.S. House of Representatives, for display in hisBostongallery.

       A consistent belief through most of the 18th and 19th centuries was that character could be read from a person's face, or the bumps on his or her head, or from facial expressions, and that portraits should convey these indicators of character. These theories of physiognomy and phrenology have since been debunked, but they were important considerations in depicting the nation's leaders, since such portraits were often made for posterity. Most people had only one portrait painted in their lifetime, if at all, so artists were selected with great care, and expectations were high.

       Before the 1840s, American portraiture was influenced primarily by English techniques, poses, compositions and gestures, and many artists received at least part of their training inEngland. Even canvas sizes followed the British example. Portraits made on commission were priced according to canvas size and the materials and labor involved.

            In the late 19th century as European portraitists began traveling to the United States to acquire commissions from the growing upper class, American artists increasingly felt they needed to train abroad in order to succeed at home. Paris continued to be the main lure as painters such as Eakins, Whistler, Beaux and Sargent went to study there. Some of America's best-known portraitists, in fact, became expatriates.

What does the passage mainly discussed?

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Câu 24:

Mark the letter A, B, C, or D to indicate the correct answer to each of the following sentences.

New sources of energy are constantly being looked for _______.

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Câu 47:

Read the passage and mark the letter A, B, C or D to indicate the correct answer to  each of the questions.

          Who talk more - men or women? Most people believe that women talk more. However, linguist Deborah Tannen, who has studied the communication style of men and women , says that this is a stereotype . According to Tannen, women are more verbal - talk more - in private situations , where they use conversation as the "glue" to hold relationships together. But, she says, men talk more in public situations, where they use conversation to exchange information and gain status. Tannen points out that we can see these differences even in children. Little girls often play with one "best friend", their play includes a lot of conversation. Little boys often play games in groups; their play usually involves more doing than talking. In school, girls are often better at verbal skills, boys are often better at mathematics.

          A recent study at Emory University helps to shed light on the roots of this difference. Researchers studied conversation between children age 3-6 and their parents. They found evidence that parents talk very differently to their son than they do to their daughters. The startling conclusion was that parents use more language with their girls . Specifically, when parents talk with their daughters , they use more descriptive language and more details. There is also far more talk about emotions, especially sadness, with daughters than with sons. 

Which sentence best expresses the main idea of the first paragraph?

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Câu 48:

Read the passage and mark the letter A, B, C or D to indicate the correct answer to  each of the questions.

          Who talk more - men or women? Most people believe that women talk more. However, linguist Deborah Tannen, who has studied the communication style of men and women , says that this is a stereotype . According to Tannen, women are more verbal - talk more - in private situations , where they use conversation as the "glue" to hold relationships together. But, she says, men talk more in public situations, where they use conversation to exchange information and gain status. Tannen points out that we can see these differences even in children. Little girls often play with one "best friend", their play includes a lot of conversation. Little boys often play games in groups; their play usually involves more doing than talking. In school, girls are often better at verbal skills, boys are often better at mathematics.

          A recent study at Emory University helps to shed light on the roots of this difference. Researchers studied conversation between children age 3-6 and their parents. They found evidence that parents talk very differently to their son than they do to their daughters. The startling conclusion was that parents use more language with their girls . Specifically, when parents talk with their daughters , they use more descriptive language and more details. There is also far more talk about emotions, especially sadness, with daughters than with sons. 

Which word could best replace "startling" in line 10?

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Câu 49:

Read the passage and mark the letter A, B, C or D to indicate the correct answer to  each of the questions.

          Who talk more - men or women? Most people believe that women talk more. However, linguist Deborah Tannen, who has studied the communication style of men and women , says that this is a stereotype . According to Tannen, women are more verbal - talk more - in private situations , where they use conversation as the "glue" to hold relationships together. But, she says, men talk more in public situations, where they use conversation to exchange information and gain status. Tannen points out that we can see these differences even in children. Little girls often play with one "best friend", their play includes a lot of conversation. Little boys often play games in groups; their play usually involves more doing than talking. In school, girls are often better at verbal skills, boys are often better at mathematics.

          A recent study at Emory University helps to shed light on the roots of this difference. Researchers studied conversation between children age 3-6 and their parents. They found evidence that parents talk very differently to their son than they do to their daughters. The startling conclusion was that parents use more language with their girls . Specifically, when parents talk with their daughters , they use more descriptive language and more details. There is also far more talk about emotions, especially sadness, with daughters than with sons. 

Which word in the reading passage can be used as a synonym of the word "feelings" ?

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Câu 50:

Read the passage and mark the letter A, B, C or D to indicate the correct answer to  each of the questions.

          Who talk more - men or women? Most people believe that women talk more. However, linguist Deborah Tannen, who has studied the communication style of men and women , says that this is a stereotype . According to Tannen, women are more verbal - talk more - in private situations , where they use conversation as the "glue" to hold relationships together. But, she says, men talk more in public situations, where they use conversation to exchange information and gain status. Tannen points out that we can see these differences even in children. Little girls often play with one "best friend", their play includes a lot of conversation. Little boys often play games in groups; their play usually involves more doing than talking. In school, girls are often better at verbal skills, boys are often better at mathematics.

          A recent study at Emory University helps to shed light on the roots of this difference. Researchers studied conversation between children age 3-6 and their parents. They found evidence that parents talk very differently to their son than they do to their daughters. The startling conclusion was that parents use more language with their girls . Specifically, when parents talk with their daughters , they use more descriptive language and more details. There is also far more talk about emotions, especially sadness, with daughters than with sons. 

Which of the following phrases best explains the meaning of the word "verbal" in the reading passage?

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Câu 51:

Read the passage and mark the letter A, B, C or D to indicate the correct answer to  each of the questions.

          Who talk more - men or women? Most people believe that women talk more. However, linguist Deborah Tannen, who has studied the communication style of men and women , says that this is a stereotype . According to Tannen, women are more verbal - talk more - in private situations , where they use conversation as the "glue" to hold relationships together. But, she says, men talk more in public situations, where they use conversation to exchange information and gain status. Tannen points out that we can see these differences even in children. Little girls often play with one "best friend", their play includes a lot of conversation. Little boys often play games in groups; their play usually involves more doing than talking. In school, girls are often better at verbal skills, boys are often better at mathematics.

          A recent study at Emory University helps to shed light on the roots of this difference. Researchers studied conversation between children age 3-6 and their parents. They found evidence that parents talk very differently to their son than they do to their daughters. The startling conclusion was that parents use more language with their girls . Specifically, when parents talk with their daughters , they use more descriptive language and more details. There is also far more talk about emotions, especially sadness, with daughters than with sons. 

Which  word  is similar in meaning to  "glue"  in line 3 ?

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Câu 52:

Read the passage and mark the letter A, B, C or D to indicate the correct answer to  each of the questions.

          Who talk more - men or women? Most people believe that women talk more. However, linguist Deborah Tannen, who has studied the communication style of men and women , says that this is a stereotype . According to Tannen, women are more verbal - talk more - in private situations , where they use conversation as the "glue" to hold relationships together. But, she says, men talk more in public situations, where they use conversation to exchange information and gain status. Tannen points out that we can see these differences even in children. Little girls often play with one "best friend", their play includes a lot of conversation. Little boys often play games in groups; their play usually involves more doing than talking. In school, girls are often better at verbal skills, boys are often better at mathematics.

          A recent study at Emory University helps to shed light on the roots of this difference. Researchers studied conversation between children age 3-6 and their parents. They found evidence that parents talk very differently to their son than they do to their daughters. The startling conclusion was that parents use more language with their girls . Specifically, when parents talk with their daughters , they use more descriptive language and more details. There is also far more talk about emotions, especially sadness, with daughters than with sons. 

Which of the following statements can be inferred from the first paragraph ?

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Câu 53:

Read the passage and mark the letter A, B, C or D to indicate the correct answer to  each of the questions.

          Who talk more - men or women? Most people believe that women talk more. However, linguist Deborah Tannen, who has studied the communication style of men and women , says that this is a stereotype . According to Tannen, women are more verbal - talk more - in private situations , where they use conversation as the "glue" to hold relationships together. But, she says, men talk more in public situations, where they use conversation to exchange information and gain status. Tannen points out that we can see these differences even in children. Little girls often play with one "best friend", their play includes a lot of conversation. Little boys often play games in groups; their play usually involves more doing than talking. In school, girls are often better at verbal skills, boys are often better at mathematics.

          A recent study at Emory University helps to shed light on the roots of this difference. Researchers studied conversation between children age 3-6 and their parents. They found evidence that parents talk very differently to their son than they do to their daughters. The startling conclusion was that parents use more language with their girls . Specifically, when parents talk with their daughters , they use more descriptive language and more details. There is also far more talk about emotions, especially sadness, with daughters than with sons. 

Which of the following statements is TRUE about the passage?

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Câu 54:

Read the passage and mark the letter A, B, C or D to indicate the correct answer to  each of the questions.

          Who talk more - men or women? Most people believe that women talk more. However, linguist Deborah Tannen, who has studied the communication style of men and women , says that this is a stereotype . According to Tannen, women are more verbal - talk more - in private situations , where they use conversation as the "glue" to hold relationships together. But, she says, men talk more in public situations, where they use conversation to exchange information and gain status. Tannen points out that we can see these differences even in children. Little girls often play with one "best friend", their play includes a lot of conversation. Little boys often play games in groups; their play usually involves more doing than talking. In school, girls are often better at verbal skills, boys are often better at mathematics.

          A recent study at Emory University helps to shed light on the roots of this difference. Researchers studied conversation between children age 3-6 and their parents. They found evidence that parents talk very differently to their son than they do to their daughters. The startling conclusion was that parents use more language with their girls . Specifically, when parents talk with their daughters , they use more descriptive language and more details. There is also far more talk about emotions, especially sadness, with daughters than with sons. 

Which sentence best expresses the main idea of the second paragraph?

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Câu 55:

Read the passage and mark the letter A, B, C or D to indicate the correct answer to  each of the questions.

          Who talk more - men or women? Most people believe that women talk more. However, linguist Deborah Tannen, who has studied the communication style of men and women , says that this is a stereotype . According to Tannen, women are more verbal - talk more - in private situations , where they use conversation as the "glue" to hold relationships together. But, she says, men talk more in public situations, where they use conversation to exchange information and gain status. Tannen points out that we can see these differences even in children. Little girls often play with one "best friend", their play includes a lot of conversation. Little boys often play games in groups; their play usually involves more doing than talking. In school, girls are often better at verbal skills, boys are often better at mathematics.

          A recent study at Emory University helps to shed light on the roots of this difference. Researchers studied conversation between children age 3-6 and their parents. They found evidence that parents talk very differently to their son than they do to their daughters. The startling conclusion was that parents use more language with their girls . Specifically, when parents talk with their daughters , they use more descriptive language and more details. There is also far more talk about emotions, especially sadness, with daughters than with sons. 

Which  of the following statements can be inferred from the second paragraph?

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Câu 56:

Read the passage and mark the letter A, B, C or D to indicate the correct answer to  each of the questions.

          Who talk more - men or women? Most people believe that women talk more. However, linguist Deborah Tannen, who has studied the communication style of men and women , says that this is a stereotype . According to Tannen, women are more verbal - talk more - in private situations , where they use conversation as the "glue" to hold relationships together. But, she says, men talk more in public situations, where they use conversation to exchange information and gain status. Tannen points out that we can see these differences even in children. Little girls often play with one "best friend", their play includes a lot of conversation. Little boys often play games in groups; their play usually involves more doing than talking. In school, girls are often better at verbal skills, boys are often better at mathematics.

          A recent study at Emory University helps to shed light on the roots of this difference. Researchers studied conversation between children age 3-6 and their parents. They found evidence that parents talk very differently to their son than they do to their daughters. The startling conclusion was that parents use more language with their girls . Specifically, when parents talk with their daughters , they use more descriptive language and more details. There is also far more talk about emotions, especially sadness, with daughters than with sons. 

The word they in line 3 refers to .........

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