Unit1NoLimitsCListeningandspeaking（分層練習(xí)）2023-2024學(xué)年高一英語上學(xué)期（上教版2020）原卷版

Unit1:NoLimitsC：Listeningandspeaking分層練習(xí)Ⅰ.MultipleChoicesDirections:BeneatheachofthefollowingsentencestherearefourchoicesmarkedA,B,CandD.Choosetheanswerthatbestpletesthesentence.1.Approximately45percentoftheworld'spopulationliveintheclimatezone__________mosquitoestransmitmalaria.A.that B.whose 2.Theprofessorandherachievement__________youtoldmeaboutareadmiredbyusall.A.who 3.Governmentshouldbearagreaterresponsibility__________fundingandsettingupamonitoringmechanismtosupporttheeducationreform.A.onaccountof B.regardlessof C.onbehalfof D.intermsof 4.Asimilarmechanismmayperhaps__________thefactthatsomegrouplivinganimalsdrivesickorinjuredindividualsoutofthegroup.A.resultfrom B.bringout C.accountfor D.approveof 5.WhenIamabouttogo__________aplanetogo__________,Ioftenthinkofafunnyjoketoldbymydad.A.abroad,broad B.board,broad C.aboard,board D.aboard,abroadⅠ.Translation1.有些動(dòng)物滅絕的原因是它們無法適應(yīng)新的環(huán)境，因此我們必須注意保持生態(tài)平衡。(adapt)2.很多新移民無法適應(yīng)新生活的原因在于他們不能很好理解并融入當(dāng)?shù)匚幕?adapt)3.他在一些無關(guān)緊要的事上花費(fèi)太多時(shí)間，導(dǎo)致了整個(gè)項(xiàng)目的失敗。(leadto)4.有時(shí)我們發(fā)現(xiàn)自己處于這樣的窘境:即便覺得自己所做的不對(duì)，也要勉強(qiáng)為之。(where)5.先進(jìn)的電腦技術(shù)正在逐漸改變我們的購(gòu)物方式。(way)Ⅱ.BlankfillingDirections:pletethefollowingpassagebyusingthesentencesgivenbelow.Eachsentencecanbeusedonlyonce.Notethattherearetwomoresentencesthanyouneed.A.Thepanyhasalreadyachievedseveralmilestonessinceitwasfounded.B.Itsgoalistocreatesustainablemeatproductstoreplacemeatssuchasbeef,chickenandevenfish.C.Thelayersofmeatandfatcanbcregroupedindifferentproportionstocreatedifferentflavorexperiences.D.Additionally,producingmeatwithouthavingtoraiseandkillcattlemayworkoutbetterforensuringanimalwelfareandoverallhealth.E.Themeatproductisthefirstofitskindandwascreatedusingaspecific3Dbioprintingtechnologythatwasrecentlypatentedbythepany.F.Inthefinalsteps,themusclecellsandfatcellsareturnedintomeat,readytobeprocessedintothefinalproduct,whetherit'saburger,steak,orevenameatloaf.IsraelipanyDevelops3DPrintedBeefIftherewereanawardforthefunniestpanynameof2022,thenthe3Dprintedmeatpany“Steakholder"wouldwinthataward.lsraelipanySteakholderFoodsLtd.hasintroduceditsnewproduct,OmakaseBeefMorsels,whicharebioprintedwithculturedmeat.ThebitesareinspiredbytheworldfamousWagyubeef,famousforitsfatmarblingpatterns(大理石花紋)inthemeat,whichisalsoveryexpensive.Stakeholderusesstemcellsfromcattlefortheproductionofitsprintedbeef,andthemuscletissueandfatareprintedfromtwoseparatebioinks.____2_____Abitecanbemadejuicier,chewier,andthetastecanalsobealtered.Theprocessworksbyfirstselectingtheanimalstoextract(提取)thestemcellsfrom.Thecellsareselectedfromanimalsthatwillprovidethebestmeatandyield.Thenextstepisproliferation,inwhichthecellsareplacedintoanutrientrichreactortomultiply.Whenthecellsreachappropriatenumbers,thestemcellschangeintomusclecellsandfatcells___3_____“Thisproductmarksamajorstepforwardforusandfortheculturedmeatindustryingeneral,”saidArikKaufman,CEOofSteakholderFoods.“Itistheresultofalotofhardworkandourdesiretoachievethehighestlevelofmeatpossiblethroughbioprintingandcellcultureprocesses.”_____4_____Itspatentfor3Dbioprintingtechnologyistheresultofintensivecooperationbetweenits3Dprintingengineersandcellbiologists.“WeseeOmakaseBeefMorselsasthebinationoffood,technologyandfineart,"Kaufmansaid.“Wewanttoinspirechefsaroundtheworldtocreatedeliciousmasterpiecesandunforgettablediningexperiences."Sothereyouhaveit,guiltfreemeateatingmaybejustaroundthecorner.Ⅰ.ReadingprehensionDirections:Readthefollowingthreepassages.Eachpassageisfollowedbyseveralquestionsorunfinishedstatements.ForeachofthemtherearefourchoicesmarkedA,B,CandD.Choosetheonethatfitsbestaccordingtotheinformationgiveninthepassageyouhavejustread.OneofthemostfamousworksofartintheworldisLeonardodaVinci’sMonaLisa.Nearlyeveryonewhogoestoseetheoriginalwillalreadybefamiliarwithitfromreproductions,buttheyacceptthatfineartismorerewardinglyviewedinitsoriginalform.Despiteanimplicitrecognitionthatthespreadofgoodreproductionscanbeculturallyvaluable,museumscontinuetopromotethespecialstatusoforiginalwork.Unfortunately,thisseemstoplaceseverelimitationsonthekindofexperienceofferedtovisitors.Onelimitationisrelatedtothewaythemuseumpresentsitsexhibits.Asrepositoriesofuniquehistoricalobjects,artmuseumsareoftencalled‘treasurehouses’.Weareremindedofthisevenbeforeweviewacollectionbythepresenceofsecurityguards,attendants,ropesanddisplaycasestokeepusawayfromtheexhibits.Inmanycases,thearchitecturalstyleofthebuildingfurtherreinforcesthatnotion.Inaddition,amajorcollectionlikethatofLondon'sNationalGalleryishousedinnumerousrooms,eachwithdozensofworks,anyoneofwhichislikelytobeworthmorethanalltheaveragevisitorpossesses.Inasocietythatjudgesthepersonalstatusoftheindividualsomuchbytheirmaterialworth,itisthereforedifficultnottobeimpressedbyone'sownrelative‘worthlessness’insuchanenvironment.Furthermore,considerationofthe‘value’oftheoriginalworkinitstreasurehousesettingimpressesupontheviewerthat,sincetheseworkswereoriginallyproduced,theyhavebeenassignedahugemonetaryvaluebysomepersonorinstitutionmorepowerfulthanthemselves.Evidently,nothingtheviewerthinksabouttheworkisgoingtoalterthatvalue,andsotoday'sviewerisdeterredfromtryingtoextendthatspontaneous,immediate,selfreliantkindofreadingwhichwouldoriginallyhavemetthework.Thevisitormaythenbestruckbythestrangenessofseeingsuchdiversepaintings,drawingsandsculpturesbroughttogetherinanenvironmentforwhichtheywerenotoriginallycreated.This‘displacementeffect’isfurtherheightenedbythesheervolumeofexhibits.Inthecaseofamajorcollection,thereareprobablymoreworksondisplaythanwecouldrealisticallyviewinweeksorevenmonths.Thisisparticularlydistressingbecausetimeseemstobeavitalfactorintheappreciationofallartforms.Afundamentaldifferencebetweenpaintingsandotherartformsisthatthereisnoprescribedtimeoverwhichapaintingisviewed.Bycontrast,theaudienceencountersanoperaoraplayoveraspecifictime,whichisthedurationoftheperformance.Similarly,novelsandpoemsarereadinaprescribedtemporalsequence,whereasapicturehasnoclearplaceatwhichtostartviewing,oratwhichtofinish.Thusartworksthemselvesencourageustoviewthemsuperficially,withoutappreciatingtherichnessofdetailandlabourthatisinvolved.Consequently,thedominantcriticalapproachbeesthatofthearthistorian,aspecialisedacademicapproachdevotedto‘discoveringthemeaning'ofartwithintheculturalcontextofitstime.Thisisinperfectharmonywiththemuseum’sfunction,sincetheapproachisdedicatedtoseekingoutandconserving‘a(chǎn)uthentic’,‘original’readingsoftheexhibits.1.ThewritermentionsLondon'sNationalGallerytoillustrate_A.theundesirablecosttoanationofmaintainingahugecollectionofart.B.theconflictthatmayariseinsocietybetweenfinancialandartisticvalues.C.thenegativeeffectamuseumcanhaveonvisitors'opinionsofthemselves.D.theneedtoputindividualwellbeingabovelargescaleartisticschemes.2.Thewritersaysthattoday,viewersmaybeunwillingtoc