(*Hãy xoay ngang màn hình nếu bạn dùng trên điện thoại nhé!)
(Vui lòng xem hết bài giảng trước khi ấn nút "Next" để làm bài tập.)
If everyone takes part in protecting the environment, our children _____ a better planet to live in.
We'll see lots of new technology in the future if inventors _____ successful.
Complete the second sentence so that it has the same meaning to the first.
Train hard every day, and you can break your SEA GAMES record one day.
=> If ...........
Complete the second sentence so that it has the same meaning to the first.
If you don’t try hard, you will not pass your final exam.
=> Unless ..........
Complete the sentences. Use pronouns or one another.
1. A: Did you decorate the house ?
B: Yes, we did most of it .
2. The train was crowed so we decided to catch a later .
3. I'm surprised they didn't do the job . I suppose it was too much work for .
4. Isabel and Tyler are neighbors. They see nearly every day.
5. They say it's only through solitude that one gets to know .
6. The washing machine switches off when it's done.
7. It was the King who gave the opening address.
8. I don't know whether to buy the small blue glasses or the large green . Please help to choose.
9. Bob is building a barn. needs some tools.
Read the paragraph.
Although it may seem overwhelming at first, learning to identify wildflowers is not necessarily complicated. The easy way to start is by learning the common characteristics of the different plant families. Members of the mint family are easily recognizable by the four-sided shape of their stems. Mints also have opposite leaves and tubular-lipped flowers. Plants of the carrot family bloom in compound umbels-umbrella-shaped clusters. They are also characterized by hollow flower stalks. Members of the rose family include much more than the familiar garden rose. Apples, strawberries, and raspberries, for example, are all members of the rose family. Plants in this family have opposite leaves, flowers with five petals, and their stems may or may not be thorny.
Match each plant family with the correct characteristics.
Read the paragraph.
Words for different types of traditional Native American shelters are well known in our language, but there is often confusion or misinformation about what type of shelters these words actually refer to. The word wigwam refers to a type of shelter that was typical in the northeastern part of what is now the United States. It was a small, dome-shaped dwelling made of a frame of arched poles covered with materials such as grass, brush, reeds, or bark. The tipi was typical on the Great Plains. It was a tall, tent-like structure made of the hides of bison stretched over a framework of poles lashed together at the top. Perhaps the most misunderstood word of all is an igloo. This does not necessarily refer to a house made of snow, although it often does. Among the Inuit, the native people of northern Alaska and Canada, the word simply means house and can refer to any dwelling at all: a sod house, a wood shack, a modern house made of concrete, or any other building that people live in.
Match each shelter type with the correct description.
Read the passage and decide if the following sentences are YES/NO/NOT GIVEN.
Books, Films, and Plays
The novelist's medium is the written word, one might almost say the printed word; the novel as we know it was born with the invention of printing. Typically the novel is consumed by a silent, solitary reader who may be anywhere at the time. The paperback novel is still the cheapest, most portable, and most adaptable form of narrative entertainment. It is limited to a single channel of information - writing. But within that restriction, it is the most versatile of narrative forms. The narrative can go, effortlessly, anywhere: into space, people's heads, palaces, prisons, and pyramids, without any consideration of cost or practical feasibility. In determining the shape and content of his narrative, the writer of prose fiction is constrained by nothing except purely artistic criteria.
This does not necessarily make the task any easier than that of the writer of plays and screenplays, who must always be conscious of practical constraints such as budgets, performance time, casting requirements, and so on. The very infinity of choice enjoyed by the novelist is a source of anxiety and difficulty. But the novelist does retain absolute control over his text until it is published and received by the audience. He may be advised by his editor to revise his text, but if the writer refused to meet this condition, no one would be surprised. It is not unknown for a well-established novelist to deliver his or her manuscript and expect the publisher to print it exactly as written.
However, not even the most well-established playwright or screenplay writer would submit a script and expect it to be performed without any rewriting. This is because plays and motion pictures are collaborative forms of narrative, using more than one channel of communication.
The production of a stage play involves, as well as the words of the author, the physical presence of the actors, their voices, and gestures as orchestrated by the director, spectacle in the form of lighting and 'the set', and possibly music. In the film, the element of spectacle is more prominent in the sequence of visual images, heightened by various devices of perspective and focus. In film too, music tends to be more pervasive and potent than in straight drama. So, although the script is the essential basis of both stage play and film, it is a basis for subsequent revision negotiated between the writer and the other creative people involved; in the case of the screenplay, the writer may have little or no control over the final form of his work. Contracts for the production of plays protect the rights of authors in this respect. They are given 'approval' of the choice of director and actors and have the right to attend rehearsals. Often a good deal of rewriting takes place in the rehearsal period and sometimes there is an opportunity for more rewriting during previews before the official opening night.
In film or television work, on the other hand, the screenplay writer has no contractual right to this degree of consultation. Practice in this respect varies very much from one production company to another, and according to the nature of the project and the individuals involved. In short, while the script is going through its various drafts, the writer is in the driver's seat, albeit receiving advice and criticism from the producer and the director. But once the production is underway, artistic control over the project tends to pass to the director. This is a fact overlooked by most journalistic critics of television drama, who tend (unlike film critics) to give all the credit or blame for the success or failure of a product to the writer and actors, ignoring the contribution for good or ill of the director.
Novelists have fewer restrictions on their work than other artists.
Novelists must agree to the demands of their editors.
Playwrights envy the simplicity of the novelist's work.
Music is a more significant element of theatre than cinema.
Experience in the theatre improves the work of screenplay writers.
Playwrights are frequently involved in revising their work.
Screenplay writers usually have the final say in how a TV drama will turn out.
TV critics often blame the wrong people for the failure of a program.
You should spend about 40 minutes on this task. Write at least 250 words about the following topic:
These days, in many countries, fewer and fewer people want to become teachers, particularly in secondary schools. What are the reasons for this, and how could the problem be solved?
Give reasons for your answer and include any relevant examples from your own knowledge or experience.