● DISPLAY ● OUR JOURNEYS ● 12 April-29 May 2008 Young people explore how they have adapted to life in Oxford. “When I first came here,” says one young African woman, “I just wanted to cry all the time. And now I have learned to laugh again.” Working with photographer Rory Carnegie and writer Nikki van der Gaag, young men and women explore their journey from the time they first arrived in a strange place to where they find themselves today. Organized by The Sunday Times Oxford Literary Festival (10-17 April 2008). Supported by the Maggie Black Trust and Oxford City Council. |
● ACTIVlTlES FOR CHlLDREN AND FAMILIES ● MODERN ART TROLLEY FREE Art activities for children every weekend during the exhibition in the Entrance Space from 2 p. m. to 4 p. m. Just drop in. Children must be led by an adult. |
● WORKSHOP FOR 8 TO 12 YEAR OLDS Thursday 7 April, 10:30 a. m. to 1:30 p. m. Looking at themes from the exhibition and exploring pictures based ideas through group discussion and using digital cameras. Led by Judie Waldmann. |
● BOOK LAUNCH FREE The Drawing Book by Sarah Simblet is a practical approach to drawing the world around you. Sarah Simblet, who teaches at the Ruskin School of Drawing and Fine Art, University of Oxford, will be present to give a short talk about the development of her book. Special price of£18 on copies purchased in the evening. Booking recommended on 01865 813802 |
● TEACHERS’ EVENING FREE Thursday 21 April, 5 p.m. to 7:30 p. m. Lecture by Susan Bright, independent writer and lecturer, at 5:30 p. m. followed by an opportunity to view the exhibition. FREE Education Notes will be provided for teachers attending the evening. |
● WORKSHOP FOR PRIMARY TEACHERS Saturday 7 May, 10:30 a. m. to 1:30 p. m. Workshop for primary teachers who would like to develop their practical art skill as well as gain an understanding of modern art practice. Led by Judie Waldmann, artist and former primary school teacher. |
● TALKS AND WORKSHOPS FOR SCHOOL GROUPS Exhibition talks and artist-led workshops to create work in response to the exhibition are available for pre-booked school groups. Suitable for primary and secondary schools, to check availability and discuss details call Sarah Mossop on 1865 813816. |
1.If you are a teacher and interested in art, you probably would like to go to ________.
A. TEACHERS’ EVENING
B. MODERN ART TROLLEY
C. WORKSHOP FOR PRIMARY TEACHERS
D. TALKS AND WORKSHOPS FOR SCHOOL GROUPS
2.What can we learn from the passage?
A. Susan Bright will give a short talk at the launch of the Drawing Book.
B. Rory Carnegie and Nikki will teach young people how to take photos.
C. The workshop led by Judie is intended for the secondary school students.
D. The children who go to the Modern Art Trolley must be led by an adult.
3.Which of the following would be the best title of the text?
A. FREE JOURNEYS B. SPRING EVENTS
C. WEEKEND ACTIVITIES D. ACTIVITIES FOR TEACHERS
4.The passage makes you believe that __________.
A. if you attend “BOOK LAUNCH”, you can get the book at a low price.
B. school groups can attend talks and workshops for them at any time.
C. almost all the young people have difficulty in adapting to life in Oxford.
D. TEACHERS’ EVENING is only accessible to teachers.
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Experience is our ability to make noises with our mouths, and so transmit ideas and thoughts to each other’s minds. This ability comes so naturally that tend to forget what a miracle(奇跡)it is.
Obviously, the ability to talk is something that marks humans off from animals. Of course, some animals have powers just as amazing. Birds can fly thousands of miles by observing positions of the stars in the sky in relation to the time of day and year. In Nature’s went show, humans are a species of animal that have deve pod their own special act. If we reduce it to basie ferms, it’s a ability for communicating information to ther by varying sounds we make as we breathe out.
Not the to don’t have other powers of communication. Our facia. expressions convey our emotions, such as anger, or jout or disappointment. The way we hold our beads can indicate to others whether we are happy or sad. This is so-called “body language”. Bristling(直立的)fur is an unmistakable warning of attack among many animals. Similarly, the bowed bead or drooping tail shows a readiness to take second place in any animal gathering.
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“But we really do need cockroaches.”
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Despite their less-than-attractive reputation, cockroaches actually aren’t that dirty. Greig even went so far as to call them “fastidious” saying they don’t enjoy rooting(用嘴拱食) in waste. They’re only dirty if, say, they used a sewer(下水道)line to gain access into a home.
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D.We have reasons to like them.
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Seventeenth-century houses in colonial(殖民地的) North America were simple structures that were primarily functional, carrying over traditional designs that went back to the Middle Ages. During the first half of the eighteenth century, however, houses began to show a new fashion. As wealth increase, more and more colonies built fine houses.
Since art of constructing houses was not yet a specialized profession in the colonies, the design of buildings was left to carpenters who were responsible for interpreting handbooks relating to the design of houses imported from England. Libraries still preserve an astonishing number of these handbooks for builders, and the houses appeared during the first three-quarters of eighteenth century show their influence. Nevertheless, most of them display a wide difference of taste and freedom of using the rules in these books.
Increasing wealth and growing experience throughout the colonies resulted in houses of improved design, whether the material was wood, stone, or brick. New England still favored wood, though brick houses became common in Boston and other towns, where the danger of fire urged the use of more durable material. A few houses in New England were built of stone, but only in Pennsylvania and neighboring areas were stone widely used in accommodations. An increased use of brick in houses and outbuildings is noticeable in Virginia and Maryland, but wood remained the most popular material even in houses built by wealthy landowners. In the Carolinas, wooden houses were much more common than brick houses.
Eighteenth-century houses showed great interior improvements over what they were before. Windows were made larger and shutters were taken away. Large, clear sheet of glass replaced the small leaded glass of the seventeenth century. Doorways were larger and more decorative. Fireplaces became decorative features of rooms. Walls were made of plaster(灰泥) or wood, sometimes were decorated with square or rectangular wooden boards. White paint began to take the place of blues, yellows, greens and lead colors, which had been popular for walls in the earlier years. After about 1730, advertisements for wallpaper styles in scenic pattern began to appear in colonial newspapers.
51. What does the passage mainly about?
A. The improvement design of eighteenth-century colonial houses.
B. The comparison of eighteenth-century houses and modern ones.
C. The structures of eighteenth –century colonial houses.
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52. What was one of the main reasons for the change in eighteenth-century houses in North America?
A. More designers arrived in the colonies in North America.
B. The carpenters were smart and experienced enough.
C. Bricks were more widely used in North America.
D. The colonists had more money to spend on housing.
53. According to the passage, who designed houses in eighteenth-century North America?
A. Professional designers. B. House owners.
C. Businessmen. D. Carpenters.
54. Where was stone commonly used to build houses?
A. Virginia. B. Pennsylvania. C. Boston. D. Charleston.
55. What does the author imply about the use of wallpaper before 1730?
A. Wallpaper was introduced in handbooks of designing houses.
B. Wallpaper was the same color as what the wall was painted.
C. Patterned wallpaper was not widely used.
D. Wallpaper was not used in stone houses.
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