南京大學(xué)外國語學(xué)院《211翻譯碩士英語》專業(yè)碩士歷年考研真題及詳解

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2010年南京大學(xué)211翻譯碩士英語考研真題及詳解

PartOne:ProofReading

Thefollowing

sentencescontainsomeerrors.Copyandeditthemonyouranswersheet.(1.5×10)

1

AnimportantinformationIgotfromherisourteacher’snewmarriage.

2Shehadalotofdifficultywiththelongvowel/ei/,soItaughtherhowtopronounce.

3Thetutoraskedthepupils:“Howtowriteanessayonyourmother?” 

4Thevolleyballplayersofourdepartmentwent

throughverytoughtrainingforawholesemesterandfinallywinthe

championshipoftheuniversity.

5I

feltfrustratedandwonderedwhymyEnglishwasn’timprovedevenafterhaving

watchedmanymoviesandreadmanybooks.

6ThenewsoftheH1N1fluworriedthe

headmaster,butanothernewswas

upbeat:sofar,everyoneinhisschoolwashealthy.

7Allofusinthe

classwouldliketobecomeateacherinthefuture.

8Inhighschool,wehadtotakemanyclasses,

Chinese,English,physics,chemistry,mathematicsandhistoryandsoon.

9Thestudentsfound

itdissatisfiedthattheirhardworkwasnotrewardedorrecognized.

10Theuniversity

attachesgreatimportancetoteacher’sresearchandpublications.

【答案與解析】

1An:The

（information為不可數(shù)名詞，因此將An改為The。）

2pronounce/\:it

（pronounce后應(yīng)該有賓語it，不可以省略。）

3pupils:pupil

（pupil前有定冠詞the，而且主語是家庭教師，因此pupil應(yīng)該用單數(shù)。）

4a:the

（thewhole修飾單數(shù)名詞，表示“整個”。）

5even

（after引導(dǎo)時間狀語從句，even成分多余，應(yīng)該去掉。）

6another/\news:

pieceof

（another之后只能接單數(shù)可數(shù)名詞，不可以加不可數(shù)名詞。）

7All:Each

（由于賓語是ateacher，因此主語應(yīng)該是eachofus。）

8classes:courses

（后文“Chinese,English”等都屬于課程，對應(yīng)的單詞是course而不是class。）

9dissatisfied:dissatisfying

（句中是他們的辛勤工作沒有得到獎勵和認(rèn)可這一事實(shí)使人不滿，因此應(yīng)該用dissatisfying。）

10teacher’s:teachers’

（句中的老師應(yīng)該只這所大學(xué)中的所有老師，因此應(yīng)該用復(fù)數(shù)。）

PartTwo:Vocabularyand

Reading

Directions:Read

thepassagebelowandthenanswerthequestionsthatfollow.

TheArchaicSmile

FrancisHenryTaylor

1）Fiftyyearsagoarchaicsculpturewasknownonly

asacuriousphenomenon.Itwasassumedthatallprimitivepeoplesmadestatues

inmuchthesamespiritinwhichchildrenmademudpies.Noonebutarchaeologists—antiquarians

andnumismatiststheywereCalledthen—botheredtolookatnumismatiststhey

werecalledthesebarbariceffortsinstoneandclay.Archaicsculptureisanartbelongingtothatperiodofman’s

religiousdevelopmentwhentheideawasasbigandimportantastheformswhich

symbolizedit.Moralvaluesandconceptshadnotyetbecomeestablishedand

confusionexistedbetweenobjectsofrealityandtheworldofthespirit.The

rationalandirrationalweremergedtogetherandrespondedtophysicaland

mentalstimuli.Strangeandoccultpowerswereascribedtorocksandtrees,to

eventsandnaturalphenomena.Therewasnopartofmaterialexistencethatwas

notboundedbytabooandsuperstition.Chancewascompletelyunknown,aswas

theconceptofnatureasathingapart;realitywasamysticalexperienceand

everyactiondeterminedbyparticipationratherthanbynaturallaw.

2）Theartworldtodayisdividedintotwo

camps—thosewhowishtopreservetheagelessandguidingprinciplesofhumanism,

andthesewhoseektofindinartanexpressionoftheirowngropingwiththe

mechanicaldeterminismofthepresentday.Thehumanitiestodayareunderstood

bythemassesasthatresidueofhumanexperiencewhichhasprovedtobeofno

practicalvaluewhateverintheordinaryconductofcontemporarylife,whereas

thesciences,bereftofphilosophicalorspeculativesignificance,appearto

offertheanswertoeverymaiden’sprayer.

3）Thegulflyingbetweentheartistandhispublic

iswideanddeep;itisthemereseriousbecauseithaslastednowfornearlya

century.Thusthethoughtsprovokedbythisinquiryshouldnotbeconsidereda

polemicfororagainstcontemporaryart,butratherasanattempttoexplore

theterrainandclimateinwhichtheartistworkstoday—foratbestthepainter

andthesculptoraremerelyrepresentativeoftheirtimeandtheirenvironment.

4）Themodernmovementisnotatheory;itisa

condition.Itisaconditionarisingoutofaseriesofhistoricalfactsand

consequenceswhichcenteronthedignityofman—hispositionintheuniverse,

hissearchfortruth,andhisconstantdesiretorendertruthinsensibleform

sothatothermenmaygraspitsmeaninganditsbeauty.

5）Artistsandlaymenhavebecomethevictimsof

thescientificworldtheyhavecreated,andintheircommonfearforthefuture

havelostcontactwithoneanother.Thecrisisintheartsisnothingmoreor

lessthanthecrisisofthehumanrace.Howfar,onemayask,cantheartistbe

heldresponsibleforthesocietyofwhichheisaproduct?Arewetoassume

thathehassoldhisbirthrightforamessofpsychicandmechanisticpottage?

No,norcanwelaytheblameforunintelligibilityaloneuponthefailureof

theartisttocontinuethetraditionsofcraftsmanshipoftheoldmasters.

6）Toynbeehasofferedapartialexplanation:The

prevailingtendencytoabandonourartistictraditionsisnottheresultof

technicalincompetence;itisthedeliberateabandonmentofastylewhichis

losingitsappealtoarisinggenerationbecausethisgenerationisceasingto

cultivateitsaestheticsensibilities,onthetraditionalWesternlines.Our

abandonmentofourtraditionalartistictechniqueismanifestlytheconsequence

ofsomekindofspiritualbreakdowninourWesternCivilization;andthecause

ofthisbreakdownevidentlycannotbefoundinthephenomenonwhichisoneof

thesubsequentsymptoms.

7）Theproblemtodayisnotsomuchthatofalack

ofsingleconviction,butthemultiplicityofconvictionswithwhichthecreative

artistisconfronted.

8）Intherapidlyexpanding,secularizedworldin

whichwelive,whereneithertheBiblenorBulfinch’sAgeofFableseems

toplayanyusefulroleandwhereoneperson’sgodsappeartobeasgoodasthe

nextperson’s,itbecomesimperativethattherebeareturn,ifnottothegods

ofourfathersthemselves,tosomeunifyingprincipleinwhichthe

twentieth-centurymanofmanyfaithscanfindthecomfortofauthority.Forthe

artisthaseverrequiredauthorityasaframework—apointofdeparture—forhis

ownexperience.

9）Theartisttodayhasbecomethefavorite

whippingboyinastrugglebetweentheintelligibleandtheunintelligible.

Sinceheissupposedtobethecustodianoftheineffablethingcalledbeauty,

heisblamedifhedoesnotjealouslyconserveitwithoutchange,andequally

blamedifhetriestoplaceitwithinthecontextoftheworldinwhichhe

lives.

10）Havingacceptedmodernartassomethingwhich,

whiletheyneverunderstoodit,theyneverthelessvaguelyapproved,thepeople,

afterthreescoreyearsandtenofbeingtoldtolikeit,havebeguntowonder

whethertheyarenot"beinghad."Theyareaccustomedtodaily

accountsofworldcrisesinthepressandontheair.Thesearethestuffof

whichordinaryexperiencesaremade,andinsofarastheartistdealswith

themobjectivelythepubliciswillingtoadmithisrighttoexpresshis

opinionsandeventofind,ifhecan,somebeautyinthem.Butwheretheartist

andlaymanpartcompanyisintherealmofthesubjective:interpretation,

representationornon-representationastheeasemaybe,thepsychologyof

colorandthemyriademotionalandintellectualconnotationswithwhichevery

contemporaryworkisfilled.

11）Theissueofourgenerationisnotsomuchone

ofprincipleasitisoneofthedegreeofcommunicabilityversus

incommunicability.And,whilenosensiblepersonwouldwishtoturnbackthe

clock,therearemanywhomightwishtoreaditsfacewithouthavingtotake

itsworksapart.

12）Thequestionisnolongeroneoftechniqueor

taste,butrevolvesagainaboutthevenerableproblemofreality.Obscuredby

theconquestofmaterialexistenceinthenineteenthcentury,philosophyhas

againreappearedasthechampionofthosenewfreedomsofconscienceand

opinionwhichhaveresultedintheliberationoftheindividualMarthas

misinterpretedhisownresearchesintothemodernworldofscienceasthe

answertoultimatecauseandpurpose.Hehasbecome,indeed,thearbiterofhis

ownfate,buthehasnotyetlearnedthatthecosmicisdistinguishedfromthe

comicbyonlyasingleconsonant.

13）Morerecentlyanothertechnicalproblemofthe

modernworldhashaditsimpactupontheartist—timeisnowconceivedasakind

offourthdimensionprojectingitselfthroughspace.Itsimpacthasbeena

by-productofEinstein’stheoryofrelativityandoftheinvestigationsin

nuclearphysics.Timeandspaceareshowntobenolongerabsolute.Art,

therefore,mightconceivablybecometheillustrationofenergyratherthanthe

illustrationofform;theartististhuspresentedwithanotherrealityor

absoluteaspotentialelectricityoratomicpower.

14）Thehistoryofartisavisualrecordofthe

philosophicalconceptswhichhaveengrossedcreativethinkersofeachage.In

theirworkstheartistsleavebehindthemboththehistoryoftheirpersonal

reactionsandanaccuratebarometricreadingoftheirintellectualclimate.

Recognitionisinstantaneousanduniversal.Itdoesnotrequireanyactof

intuitionorspecialgiftsofbirthoreducationtoexperienceit.Anyonewho

looksatapicture,astatue,orthearchitectureofabuilding,learns

instinctivelyandimmediatelysomethingoftheworldwhichproducedit.What

willtheartoftodaytellthespectatoroftomorrow?

15）Ifweacceptthedefinitionofartasthe

renderingoftruthinsensibleform,andtruththeinterpretationofhuman

experience,itisobviousthataworkofartisessentiallycommunicative.It

mustmeansomethingtosomeoneotherthanthepersonwhocreatedit—infact,

andmoreimportantstill,itcanmeanthesamethingorseveraldifferent

thingstoanumberofpersons.Butmeaningitmusthave.

16）Notuntilthesecondquarterofthetwentieth

centurywastheessentialcommunicabilityofarteverdenied.Communicationhas

beencommontoallthegreatracialtraditionsand,onceestablished,cantake

anyvarietyofexpressions.Itisunlimitedincontentorsubjectmatter,free

toadoptanystyleortechnique.Theoneandonlyqualitydeniedaworkofart

throughouttheagesisprivacy.Unless

participationisallowedthespectator,itbecomesahopelessriddleandceases

tobeaworkofartatall.

17）Iftheartistisobligatedtocommunicatehis

meaning,thepublicinreturnshouldbearinmindthattheyarenoless

obligatedtomakeanefforttounderstandwhattheartistisattemptingtosay

tothem.Themessageofartisnotnecessarilyasimplemessageoraneasyone;

anditisquitelegitimatethatapaintingorastatuebemeaninglesstopersons

atonelevelofeducationandyetbeclearandexplicittothoseatanother

level,whoareparticularlytrainedtounderstandit.Inthesciences,inthe

socialsciences,andinthehumanitiesthereisageneralacceptanceofthe

factthatcertainstudiesarereservedforthehigherintellect.Unfortunately,

thisisnottrueinthearts.

18）Despairappearstobeperhapsthemostfamiliar

trademarkofthecontemporaryartistdespairspringingnotsomuchfromasense

ofhopelessnessasfromhisechoingandengulfingloneliness.Theadjustmentto

societyandtothelifeandpeopleabouthim,whichwastheveryqualitywhich

inthepastbroughttheartistintodirectandintimatecontactwithhis

audience,seemstohaveslippedawayfromhim,andheiscreatinginavacuum.

Withtheessentialcommunicationofhisworkdeniedhim,heautomaticallyfalls

backuponhimselfandthoseaspectsofhisinnerlifewhich,priortothe

adventofabnormalpsychology,wereseldomexposedtoview.Yethecannotbe

contenttomirrorhisownsoul.Itmustrevealthetormentandtheparticular

revoltofthemomenttowhichtheartistfeelsobligedtosubscribe.This

revolthasceased,however,tobeanindignantprotestagainstthesinsofthe

pastandofthepresent,buthasbecomeinsteadasortofgeneratorof

perpetualmotion.Whereweoncehad“artforart’ssake,”wenowhave

“revolutionforrevolution’ssake”—anequallysterileendinitself.

19）Individualism,thetypeoffearless,rugged

individualismwhichdespiteitsmanyfaultscreatedthecapitalisticworldin

whichwelive,alonecangivetheartisttheconfidencewhichhemusthaveto

expresshisinnerthoughtsandfeelings.Anditisneithernecessarynorwise

forhimtoalignhimselfwithpartisanconvictionsorpoliticalideologies.

Academiesandsocietieswhichveertotheleftortotheright,farfrombeing

theguardiansofanimmortaltradition,aremerelythetoolsofpressuregroups

whose,greatestfearisfearitself.

20）Theartists,whotoooftensufferfroman

exaggeratedsenseoftimeliness,arereallynodifferentfromtheworldin

whichtheylive.Thefactthattheyarefrightenedandinsecure,andvisionary,

intheirprotestsagainstasocietyinwhichtheynolongerfeelathomeisone

oftheinevitabletragediesofagenerationwhichhasgonethroughtwoworld

warsandadepression.Whattheyarevoicingistheterribleinadequacyof

individualmaninamechanisticage,anditdoesnotmeanthatindoingsothey

necessarilysubscribetoanypoliticalorideologicalconspiracy.Theyare

merelylonelyandfrequentlydespairingmenandwomenwhoaretryingtoexpress

inplastictermstheirpersonalandintimatereactionstoworldphenomenathat

theyareill-equippedtounderstand.Theyfailtoseeinourpresent

civilizationthechangelessvalueswhichhavemarkedthegreatpagesof

history.

21）Perhapstheartist’suniquegiftistoseebeyondthe

narrowrealityofthemomentintothebreadthofeternity.Thisissuperblyexpressedbythewordsofthe

ChinesephilosopherLiPo,whowroteandpaintedatthecourtofEmperorMing

Huangintheeighthcentury:

I

wouldnotpaintaface,arocknorbrooksnortrees,

Meresemblancesofthings,butsomethingmorethanthese.

Iwouldnotplayatuneupontheshengorlute

Somethingthatdidnotsingmeaningsthatelseweremute.

Thatartisbestwhichtothesoul’srangegivesnobound.

Somethingbesidestheform,somethingbeyondthesound.

22）Progressandcatastrophe.Theanswerliesinour

heartsratherthaninourintellects.Standingonthethresholdofanewand

infinitelymoreproductiveworldfromwhichnationalandinternationalsuicide

isseparatedbyonlythethinnestandmostfragilemembrane,wewhohave

derivedsomuchfromourinheritedcivilizationareobligatedtogiveit

anotherchance.Theartist,then,ifhechoosestoretainhisstatureas

prophet,mustreasserthisbeliefinman.

23）Revelationoftheuniverseisnottobehad

merelyfortheasking.Itrequireshumilityandfaith—faithinmanandsome

acceptanceofadivineordermoreconsiderablethanthepettyemotional

experiencesofmanhimself.Tocreate,amanmustgivehimself,andifhegives

himself,hemustbelieve.Thenandonlythenwillhisworkshinewiththe

contentmentofthearchaicsmile.

I.Vocabulary

A.Forthedefinitiongivenineachitemin

questions11to20,findamatchingwordinthespecifiedparagraph.Thenumber

givenaftereachdefinitionindicatestheparagraphinwhichthewordappears.

(1×10)

11primitive;crude

(1)

12regardedas

belongingto;attributed(1)

13deprived;divested

(2)

14inexpressible(9)

15implications:

suggestedmeanings(10)

16judge;personwho

decides(12)

17understoodorexplained

incorrectly(12)

18completedina

moment;immediate(14)

19unproductive(18)

20anygreatorsudden

disaster(22)

【答案】11.Archaic查看答案

12ascribed

13bereft

14ineffable

15connotations

16arbiter

17misinterpreted

18Instantaneous

19sterile

20catastrophe

B.Forthegivenwordineachiteminquestions

2tto25,decidewhichsemanticvariationbestconveysthemeaningofthe

author.Thenumbergivenaftereachwordindicatestheparagraphinwhichthe

wordappears.(1×5)

21archaic(1)_____.

A.nolongerusedinordinaryspeech

B.characteristicofanearlierperiod

C.borrowedfromanolderusage

22occult(1)_____.

A.mysterious

B.hiddenfromview

C.esoteric

23polemic(3)_____.

A.personinclinedtoargue

B.controversial

C.anargument

24secularized(8)

_____.

A.transferredtociviluse

B.changedfromregulartosecular

C.separatedfromspiritualinfluence

25imperative(8)

_____.

A.absolutely,necessary,urgent

B.havingthenatureofauthority

C.acommand

【答案與解析】

21B 這句話中archaic修飾的是sculpture，指的是年代久遠(yuǎn)的，古老的。

22A 由and可知，occult應(yīng)該與strange意思相近。

23C 由句意可知，polemic的作用是用來支持或反對當(dāng)代藝術(shù)，因此C項(xiàng)正確。

24C 這一段中說的是人們內(nèi)心信仰的問題，因此C項(xiàng)正確。

25A 句中的imperative為形容詞，itbecomesimperativethat指的是人們必須要做某件事。

II. Reading

comprehension:

A.Forquestions26to35,choosethebest

answer.(3×10)

26Toexpresshis

innerthoughtsandfeelings,theartistmustbasehisconfidenceon_____.

A.engulfingloneliness

B.abnormalpsychology

C.truepatriotism

D.ruggedindividualism

E.idealdemocracy

27Theartist’sunique

giftisto_____.

A.paintthesemblancesofthingsasinafacem”rockor

tree

B.seebeyondthenarrowrealityofthemoment

C.portrayrealityinproperformandsound

D.yieldtopressuregroupsandbeindependentofany

tradition

E.alignhimselfwithpartisanconvictionsorpolitical

ideologies

28Inorderforthe

artisttoretainhistraditionalstatureasaprophethemust_____.

A.reasserthisbeliefinman

B.searchhisownemotionalexperiences

C.avoidthestereotypeofthearchaicsmile

D.strikeoutindependentlyofanyinheritanceortradition

E.searchhisintellectandnothisheart

29Inthesecularizedworldinwhichwelive,20th-century

manfindsitimperativeimperativetoreturnto_____.

A.someunifyingprincipleandauthoritativesynthesis

B.reflectingbasicfeelingsofsimplepeople

C.subjectiveinterpretationofordinaryexperiences

D.emotionalandintellectualconnotationsoftheAgeof

Fable

E.primitiverhythms,sentiments,andfeelings

30Thereligiousandhistoricalsettingof

archaicsculptureisusuallycharacterizedbyallofthefollowingqualities

exceptone.Whichisthenon-characteristicquality?

A.moralvaluesnotfullyestablished

B.objectsofreality,confusedwiththeworldofthe

spirit

C.everyactiondeterminedbyanaturallaw

D.rationalmergedwithirrational

E.materialexistenceboundbytabooandsuperstition

31Theissuetoour

generationinregardtoartisits_____.

A.adherencetoprinciple

B.relationtoarchaicsculpture

C.strangeandoccultpowers

D.degreeofcommunicability

E.psychologyofcolor

32Aworkofart

becomesahopelessriddleandceasestobeartunless_____.

A.digressionsandirrelevanciesareavoided

B.theimportanceofspiritandstaminaisapparent

C.itsmessageis,ofnecessity,simpleandeasy

D.thepubliccanreadilyunderstandit

E.participationisallowedthespectator

33Accordingtotheauthor,ifartisdefined

asarenderingoftruthinsensibleform,andtruthistheinterpretationof

humanexperience,itfollowsthataworkofart_____.

A.doesnotenjoyascholarlylife

B.deservesgreaterrecognition

C.influencesopinion

D.canhaveonlyonemeaning

E.isessentiallyCommunicative

34Theauthorfirmlybelievesthatin

relationshiptotheworldinwhichtheylivetoday,artistsare_____.

A.failingtoexpressadequatelyinplastictermstheir

intimatereactionstoworldphenomena

B.clearlyexpressingchangelessvalues

C.voicingthegeneralsenseofinadequacyfeltby

individualmaninamechanisticage

D.merelytoolsofpressuregroupswhosegreatestfearis

fearitself

E.wisetoalignthemselveswithpartisanconvictionsand

politicalideologies

35Oneofthemajor

relationshipspointedoutbyauthorismatthecrisisintheartsisthe_____.

A.reflectionofmechanicaldeterminism

B.crisisofthehumanrace

C.absenceofpractical-value

D.crisisinspeculativesignificance

E.crisisofthedeclineofeducation

【答案與解析】

26D 第19段第一句說到“Individualism,thetypeoffearless,rugged

individualism…cangivetheartisttheconfidencewhichhemusthavetoexpress

hisinnerthoughtsandfeelings.”，因此D項(xiàng)正確。

27B 根據(jù)第21段中“theartist’suniquegiftistoseebeyondthenarrowrealityofthe

momentintothebreadthofeternity.”可知B項(xiàng)正確。

28A 根據(jù)第22段最后一句“ifhechoosestoretainhisstatureasprophet,must

reasserthisbeliefinman”可知A項(xiàng)正確。

29A 第8段提到“itbecomesimperativethattherebeareturn…tosome

unifyingprincipleinwhichthetwentieth-centuryman...”，因此A項(xiàng)正確。

30C 由第1段最后一句“realitywasamysticalexperienceandeveryaction

determinedbyparticipationratherthanbynaturallaw”可知，那個時期人類的活動并不是由自然法則決定，因此C項(xiàng)不是古老雕塑宗教與歷史背景的特征。

31D 第11段中提到“Theissueofourgenerationisnotsomuchoneofprinciple

asitisoneofthedegreeofcommunicabilityversusincommunicability.”，即我們這一代的問題與其說是原則的問題，不如說是溝通能力程度的問題。

32E 第16段最后一句說到，“Unlessparticipationisallowedthespectator,itbecomesa

hopelessriddleandceasestobeaworkofartatall.”，因此E項(xiàng)正確。

33E 根據(jù)第15段“If

weacceptthedefinitionofartastherenderingof…aworkofartis

essentiallycommunicative.”可知E項(xiàng)正確。

34D 第19段中說到“Academiesandsocieties...aremerelythetoolsofpressure

groupswhose,greatestfearisfearitself.”，因此D項(xiàng)正確。

35B 由第5段中“thecrisisintheartsisnothingmoreorlessthanthecrisisofthe

humanrace”可知，藝術(shù)的危機(jī)正是人類的危機(jī)。

B.Basedonyourunderstandingofthepassage

youhavejustread,giveabriefanswerinyourownwords,within60words,to

thefollowingquestion.(10)

36InParagraph21,theauthorquotesLiPo(李白)

toillustrateoneofthefinequalitiesofart.Whatistheartisticqualityillustratedthrough

thequotedpoem?

【答案】Artistscangospirituallybeyondrealityofthemomentanddiveinto

thebreadthofeternity.Theycanseebeyondtangibleforms.Throughart,

artistscanseethingsthatareinvisibletoordinarypeople.Artworksinterpretanddescribethesoulandthemyriademotional

andintellectualconnotations.查看答案

【解析】第21段中，作者引用李白的詩是為了證明藝術(shù)家可以超越狹隘現(xiàn)實(shí)進(jìn)入永恒。他們可以透過藝術(shù)看到常人用肉眼看不見的東西，將常見事物總結(jié)升華。藝術(shù)作品詮釋和描述了靈魂、無數(shù)的情感和知識內(nèi)涵。

PartThree:Writing(30)

Cinderella(灰姑娘)isaninternationallywell-knownfairytaleinwhichayounggirl

livinginmiseryissuddenly,rescuedbyahandsomeprince.Somepeoplesay

thatthisstoryshowsthedesireofwomen,especiallythatofpoorwomen,for

loveandforabetterlifeandthatthestoryteachespeoplenevertogiveup

hope.Others,however,claimthatthisstoryisafantasythatonerarelyfinds

inreallifeandthatratherthanteachingpeopletotakeanactiverole,it

teachesthemtobepatient,obedientandpassivelywaitingforoutsidehelp.

Whichsidewouldyousupport?Writeanessayinabout400toclarifyand

supportyouropinion.

Inthisessay,youmusthaveaclearstatementofyour

opinion,youshouldgiveatleasttworeasonsinsupportofyouropinion,and

youshouldgivereasonswhytheopinionoropinionsyouopposearewrongorare

notaswelldevelopedasyouropinion.

【參考范文】

Cinderella

isregardedasagoodreadingmaterialforchildrenandhasbeenadoptedto

filmsandplays.Itcontinuestotouchpeople,bothchildrenandadults,in

variousartforms.C