Đề thi HSG lớp 12 môn Anh Tỉnh Phú Thọ năm 2026

The contemporary digital landscape has birthed a ubiquitous term that resonates with the anxieties of our interconnected age - the "Fear of Missing Out" or FOMO. A concept not even 29.1 the horizon a decade ago, FOMO has become a pervasive force fueled by the boom of technology and the omnipresence of social media platforms. In an era 29.2 the first thing many of us do upon waking is reach for our phones, the fear of missing out on the unknown has insidiously seeped 29.3 our daily lives, thereby shaping our perceptions and interactions.

Our daily commute, 29.4 a time for contemplation or appreciating the surroundings, has become an opportunity to relieve the fear of missing out. Stuck in traffic or halted at a red light, our reflex is not to absorb the changing scenery or appreciate the nuances of the present 29.5 to instinctively check our phones for notifications, unread messages, or missed calls. Even the seemingly peaceful moments like the conclusion of a flight are not 29.6 from the clutches of FOMO. Before the cabin crew announces that we can switch on our cell phones, the cabin is already shining with the blue hue of screens. Passengers hurriedly 29.7 up their devices, driven by the fear that they might have missed something crucial during the duration of the flight.

Furthermore, FOMO has become entwined with the need to align with the perceived "it crowd". The constant pressure to participate in what everyone else is doing shapes our choices, often 29.8 to blind conformity. In this process, people may 29.9 themselves embracing trends or activities not because they genuinely resonate with them but out of the fear of being 29.10 out. This fear-driven conformity can penetrate various aspects of our lives, from the products we consume to the life choices we make, creating a scenario where individuals may compromise their authentic preferences and priorities.

NATIVE NORTH AMERICAN HIDE PAINTING

The artistic development and diversity of a society are largely determined by the different physical media available to it. Having no technology for the production of paper or canvas, the Native North Americans turned to the painting of animal hides as a major form of artistic expression. Occasionally this took the form of painting hides intended to be used exclusively as art, but far more frequently it involved the decoration of everyday or ceremonial objects made of hide, which were abundant in Native North American cultures. Shields, tepee coverings, and hide clothing were decorated with hide paintings. Hide painting was a laborious process. First, the hide had to be cured and treated with a clear preservative coating that would retain the original color of the hide. Then an outline was scratched in the soft leather. Once the outline was finished, paints made of minerals and plants were applied to add color.

Native North American hide painting takes on many forms and styles, as might be expected of such a diverse region. Yet, it is possible to identify three distinct traditions that seem to appear in nearly all tribal hide paintings. The first is historical or biographical in subject matter and most commonly appears on ceremonial robes. This form of hide painting seems to have been almost exclusively the province of male artists. It is highly informational in nature, and the aesthetic qualities of these hide paintings are of secondary importance. [A] Biographical and historical hide paintings record the fortunes, exploits, and hardships of a tribe or individual. In this way, they are similar to the picture writing of other pre-literate cultures. [B]

Another tradition in hide painting can be termed visionary painting. [C] Visionary hide paintings are mystical or religious in nature. [D] They either tell of a visionary experience or are attempts to seek out such a supernatural connection. Astrological motifs and representations of animistic spirits are common in visionary hide painting. Shields and tunics are common mediums for visionary painting. This may reflect an attempt to invoke the aid of supernatural forces for protection and victory in battle. Tepees also often bear visionary art. This may be seen once again as an attempt to procure supernatural protection for the residents.

The final major tradition in hide painting was primarily produced by women. Highly symbolic and abstract in nature, their art represents some of the most sophisticated examples of hide painting. Symbolic hide painting employs the use of geometric shapes to create complex symmetric patterns. Boxes, triangles, and hourglass shapes all feature prominently in symbolic hide painting. One of the most interesting aspects of this form of hide painting is its use of negative space. A highly advanced artistic technique, the use of negative space requires the carefully planned placement of unpainted sections of the hide so that they also form a design that corresponds to the painted designs.

As with all aspects of Native American life, hide painting was greatly affected by contact with white settlers who were pushing westward during the 1800s. Initially, these changes were mostly material in nature. White settlers brought access to paper, canvas, and better paints and brushes, all of which were incorporated into Native American art. As they began to adopt linen clothing, they simply transferred their hide painting onto this new material. In later years, however, white culture began to influence the conventions of the art itself. White Americans ran an aggressive campaign to marginalize Native American culture and traditions. Native American children were educated not in their own communities, but in government-run schools with the goal of instilling white values and sensibilities in them. This white influence inevitably began to be seen in hide painting as these children grew up to take the artistic mantle from their elders.

GOLD DUSTERS

by Jennifer S. Holland

They are the Earth's pollinators and they come in more than 200,000 shapes and sizes.

A. Row upon row, tomato plants stand in formation inside a greenhouse. To reproduce, most flowering plants depend on a third party to transfer pollen between their male and female parts. Some require extra encouragement to give up that golden dust. The tomato flower, for example, needs a violent shake, a vibration roughly equivalent to 30 times the pull of Earth's gravity, explains Arizona entomologist Stephen Buchmann. Growers have tried numerous ways to rattle pollen from tomato blossoms. They have used shaking tables, air blowers and blasts of sound. But natural means seem to work better.

B. It is no surprise that nature's design works best. What's astonishing is the array of workers that do it: more than 200,000 individual animal species, by varying strategies, help the world's 240,000 species of flowering plants make more flowers. Flies and beetles are the original pollinators, going back to when flowering plants first appeared 130 million years ago. As for bees, scientists have identified some 20,000 distinct species so far. Hummingbirds, butterflies, moths, wasps and ants are also up to the job. Even non-flying mammals do their part: sugar-loving opossums, some rainforest monkeys, and lemurs in Madagascar, all with nimble hands that tear open flower stalks and furry coats to which pollen sticks. Most surprisingly, some lizards, such as geckos, lap up nectar and pollen and then transport the stuff on their faces and feet as they forage onward.

C. All that messy diversity, unfortunately, is not well suited to the monocrops and mega-yields of modern commercial farmers. Before farms got so big, says conservation biologist Claire Kremen of the University of California, Berkeley, "we didn't have to manage pollinators. They were all around because of the diverse landscapes. Now you need to bring in an army to get pollination done." The European honeybee was first imported to the US some 400 years ago. Now at least a hundred commercial crops rely almost entirely on managed honeybees, which beekeepers raise and rent out to tend to big farms. And although other species of bees are five to ten times more efficient, on a per-bee basis, at pollinating certain fruits, honeybees have bigger colonies, cover longer distances, and tolerate management and movement better than most insects. They're not picky – they'll spend their time on almost any crop. It's tricky to calculate what their work is truly worth; some economists put it at more than $200 billion globally a year.

D. Industrial-scale farming, however, may be wearing down the system. Honeybees have suffered diseases and parasite infestations for as long as they've been managed, but in 2006 came an extreme blow. Around the world, bees began to disappear over the winter in massive numbers. Beekeepers would lift the lid of a hive and be amazed to find only the queen and a few stragglers, the worker bees gone. In the US, a third to half of all hives crashed; some beekeepers reported colony losses near 90 percent. The mysterious culprit was named colony collapse disorder (CCD) and it remains an annual menace - and an enigma.

E. When it first hit, many people, from agronomists to the public, assumed that our slathering of chemicals on agricultural fields was to blame for the mystery. Indeed, says Jeff Pettis of the USDA Bee Research Laboratory, "we do find more disease in bees that have been exposed to pesticides, even at low levels." But it is likely that CCD involves multiple stressors. Poor nutrition and chemical exposure, for instance, might wear down a bee's immunities before a virus finishes the insect off. It's hard to tease apart factors and outcomes, Pettis says. New studies reveal that fungicides not previously thought toxic to bees can interfere with microbes that break down pollen in the insects' guts, affecting nutrient absorption and thus long-term health and longevity. Some findings pointed to viral and fungal pathogens working together. "I only wish we had a single agent causing all the declines," Pettis says, "that would make our work much easier."

F. However, habitat loss and alteration, he says, are even more of a menace to pollinators than pathogens. Claire Kremen encourages farmers to cultivate the flora surrounding farmland to help solve habitat problems. "You can't move the farm," she says, "but you can diversify what grows in its vicinity: along roads, even in tractor yards." Planting hedgerows and patches of native flowers that bloom at different times and seeding fields with multiple plant species rather than monocrops "not only is better for native pollinators, but it's just better agriculture," she says. Pesticide-free wildflower havens, adds Buchmann, would also bolster populations of useful insects. Fortunately, too, "there are far more generalist plants than specialist plants, so there's a lot of redundancy in pollination," Buchmann says. "Even if one pollinator drops out, there are often pretty good surrogates left to do the job." The key to keeping our gardens growing strong, he says, is letting that diversity thrive.

G. Take away that variety, and we'll lose more than honey. "We wouldn't starve," says Kremen. "But what we eat, and even what we wear - pollinators, after all, give us some of our cotton and flax - would be limited to crops whose pollen travels by other means." "In a sense,” she says, "our lives would be dictated by the wind." It's vital that we give pollinators more of what they need and less of what they don't, and ease the burden on managed bees by letting native animals do their part, say scientists.