假定英语课上老师要求同桌之间交换修改作文，请你修改你同桌写的以下作文，文中共有10处语言错误，每句中最多有两处。错误涉及一个单词的增加、删除或修改。
增加：在缺词处加一个漏词符号（/\）,并在该句下面写出该加的词。
删除：把多余的词用斜线（\）划掉。
修改：在错的词下划一横线（___），并在该词下面写出修改后的词。
注意：1．每处错误及其修改均仅限一词；
2. 只允许修改10处，多者（从11处起）不计分。
Dear Lucy,
I am very excited to learn that you’re coming to Xi’an for travel. Both my parent miss you a lot. So is our friend, Ruby. April is best time of the year to visit Xi’an. There is only a few rain and the weather is neither too hot or too cold. There are so many places I wanted to take you to after I finish my work like a volunteer in the local charity. When you come, you can stay with ourselves. My house is about three kilometers far away from Xi’an Moslem Street where is full of local foods.
Best regards,
Janet
根据短文内容，从下框的A---F选项中选出能概括每一段主题的最佳选项,并在答题卡上将该选项涂黑。 选项中有一项为多余选项。
A. Current reviews and suggestions
B. Commercial pressures on people in charge
C. Mixed views on current changes to museums
D. Collections of factual evidence
E. Interpreting the facts to meet visitor expectations
F. Fewer differences between public attractions
1.
It was convinced that historical relics provide evidence about the past. Such conviction was, until recently, reflected in museum displays. Museums used to look - and some still do - much like storage rooms of objects packed together in showcases: good for scholars to study, but not for the average visitor, to whom it all looked alike.
2.
Recently, however, attitudes towards history and the way it should be presented have become different. The key word in heritage display is now ‘experience’, the more exciting the better and, if possible, involving all the senses. On so called heritage sites computers will soon provide reality experiences, which will present visitors with a vivid image of the period of their choice, in which they themselves can act as if part of the historical environment. Such developments have been criticized by some experts, but the success of many historical theme parks suggests that the majority of the public does not share this opinion.
3.
In a related development, the sharp distinction between museum and heritage sites on the one hand, and theme parks on the other is gradually evaporating(蒸发). They already borrow ideas and concepts from one another. For example, museums have adopted storylines for exhibitions, sites have accepted ‘theming’ as a relevant tool, and theme parks are moving towards more realness and research-based presentations.
4.
Theme parks are undergoing other changes, too, as they try to present more serious social and cultural issues, and move away from fantasy. This development is a response to market forces and exhibits must be both based on artifacts and facts as we know them, and attractively presented. Those who are professionally working in the art of interpreting(诠释) history are thus in a difficult position, as they must manage a narrow course between the demands of ‘evidence’ and ‘attractiveness’, especially given the increasing need in this industry for income making activities.
5.
It could be claimed that in order to make everything in heritage more ‘real’, historical accuracy must be increasingly changed. For example, in the Museum of Natural History in Washington, Neanderthal man is shown making a commanding gesture to his wife. Such presentations tell us more about contemporary understandings of the world than about our ancestors. In fact if the professionals did not provide the interpretation, visitors would do it for themselves, based on their own ideas, misconceptions and prejudices. And no matter how exciting the result, it would contain a lot more bias(偏见) than the presentations provided by experts.
More than a century ago, the composer and bandleader John Philip Sousa warned that technology would destroy music, who said, “These talking machines are going to ruin the artistic development of music in this country. When I was a boy … in front of every house in the summer evenings you would find young people together singing the songs of the day or th
e old songs. Today you hear these terrible machines going night and day. We will not have a vocal cord (声带) left.”
Music has greatly changed in the past hundred years, which has been everywhere in our world: rivers of digital melody flow on the Internet or on disc; MP3 players with forty thousand songs can be put in a back pocket or a purse. Yet, for most of us, music is no longer something we do ourselves, or even watch othe
r people do in front of us. It has become a radically virtual medium, an art without a face.
Ever since Edison invented the phonograph cylinder(留声机), people have been assessing what the medium of recording has done for and to the art of music. Sousa was a spokesman for the party of doom; in the opposite corner are the utopians(乌托邦), who argue that technology has not imprisoned music but liberated it. Before Edison came along, Beethoven’s symphonies could be heard only in select concert halls. Now the recordings carry the man from Bonn to the corners of the earth. Glenn Gould, after renouncing live performance in 1964, predicted that within the century the public concert would disappear into the electronic air.
Having discovered much of my favorite music through LPs and CDs, I am not about to join Sousa’s party. Modern urban environments are often so soulless or ugly that I’m grateful for the humanizing touch of electronic sound. But neither can I accept Gould’s slashing futurism. I want to be aware of technology’s effects, positive and negative. Fortunately, scholars and critics have been methodically exploring this terrain for many decades, trying to figure out exactly what happens when we listen to music with no musicians in the room.
1.The first paragraph is intended to .
A. defend an argument B. make a prediction
C. criticize an attitude D. summarized a viewpoint
2.The author’s attitude towards the recorded music may best be described as .
A. dissatisfied B. defensive C. optimistic D. objective
3.The underlined word “terrain” in the last paragraph most nearly means .
A. region B. subject C. land D. distinction
4.The primary purpose of the passage is to .
A. explain different attitudes of scholars and critics
B. defend the view of one group from the criticism of another
C. advocate an unexpected solution to a pressing problem
D. present the key issues in an ongoing debate
“Enough” with the multivitamins already. That’s the message from experts behind three new studies that tackled an often debated question: Do daily multivitamins多种维生素make you healthier?
“We believe that the case is closed - supplementing(补充) the diet of well-nourished adults with (most) mineral or vitamin supplements has no clear benefit and might even be harmful,” concluded the authors of the editorial summarizing the new research papers. They urge consumers to not ‘waste’ their money on multivitamins. “The ‘stop wasting your money’ means that perhaps you’re spending money on things that won’t protect you long term,” editorial co-author, Dr. Edgar Miller said, “What will protect you is if you spend the money on fruits, vegetables, nuts, beans, low fat dairy, and things like that. Exercis
ing would probably be a better use of the money.”
The strong message was based on a review of the findings from three studies that tracked multivitamins link to cancer protection, heart health, and brain and cognitive(认知的) measures. The first study looked at vitamin supplementation’s role in preventing chronic(慢性的) disease. The next study looked at whether long-term use of multivitamins would have any effect on slowing cognitive decline. The third study looked specifically at multivitamins and minerals role in preventing heart attack. “The three studies found no difference in rates of chronic disease, heart attack and the need for hospitalization between vitamin-takers and placebo(安慰剂)-takers.” Dr. Edgar Miller stated.
One expert agreed some nutrient-deficient people may still benefit from multivitamins. “There might be an argument to continue taking a multi(vitamin) to replace or supplement your not healthy diet,” Dr. Edgar Miller added. He also notes that vitamins can benefit people with celiac disease and those who are pregnant.
1.This text is likely to be selected from a book of .
A. medicine B. education C. food D. business
2.Which of the following is NOT Dr. Edgar Miller’s opinion according to the passage?
A. Vitamins should not be used for chronic disease prevention. Enough is enough.
B. Having a balanced diet and exercising would probably be a better way to keep healthy.
C. The three studies do not provide support for use of multivitamin supplements.
D. Taking vitamins to replace or supplement your healthy diet is necessary.
3.What can be inferred from the text?
A. Vitamin supplements have proved harmful to the health of adults.
B. Vitamin supplements are beneficial in certain conditions.
C. Nowadays taking vitamin supplements is common to most people.
D. Daily multivitamins will make you healthier.
4.The author’s purpose of writing the text is most likely to___________. .
A. persuade B. describe C. inform
D. instruct
This place was darker than I expected, and, in spite of the rain, dirtier. Used to the life of rural Puerto Rico(波多黎各), I had to adjust to the similarly arranged, aggressive two-dimensionality of New York. Everywhere I looked, my eyes met gray and brown straight-edged buildings with sharp corners and deep shadows. Every few blocks there was a cement(水泥) playground surrounded by chain-link fence.
A girl came out of the building next door, a jump rope in her hand, and she hopped over. “Are you Hispanic?” she asked. “No, I’m Puerto Rican.” “Same thing. Puerto Rican, Hispanic. That’s what we are here.” She skipped a tight circle, stopped abruptly, and shoved the rope in my direction. “Want a turn?”
“Sure.” I hopped on one leg, then the other. “So, if you’re Puerto Rican, they call you Hispanic?”
“Yeah. Anybody who speaks Spanish.”
I jumped a circle, as she had done, but faster. “You mean, if you speak Spanish, you’re Hispanic?”
“Well, yeah. No . . . I mean your parents have to be Puerto Rican or Cuban or something.”
“Okay, your parents are Cuban, let’s say, and you’re born here, but you don’t speak Spanish. Are you Hispanic?”
“I guess so,” she finally said. “It has to do with being from a Spanish country. I mean, you or your parents, like, even if you don’t speak Spanish, you’re Hispanic, you know?” She looked at me uncertainly. But I didn’t know. I’d always been Puerto Rican, and it hadn’t occurred to me that in New York I’d be someone else.
Later, I asked. “Are we Hispanics, Mami?” “Yes, because we speak Spanish.” “But a girl said you don’t have to speak the language to be Hispanic.” “What girl? Where did you meet a girl?” “Outside. She lives in the next building.” “Who said you could go out to the sidewalk? This isn't Puerto Rico. Something could happen to you.”
I listened to Mami’s lecture with depressed eyes and the necessary respect. But inside, I quaked. Two days in New York, and I’d already become someone else. It wasn’t hard to imagine that greater dangers lay ahead.
1.The first paragraph suggests that the author experienced New York as .
A. mysterious and unknowable
B. regular and depressing
C. orderly and appealing
D. impressive and dangerous
2.For the author, being considered Hispanic represents .
A. a restriction to be overcome
B. an opportunity for self-redefinition
C. the loss of her former identity
D. an unavoidable result of movement to a new place
3.The mother refers to “Puerto Rico” in order to impress upon the author that .
A. she should not miss her birthplace
B. New Yorkers may not like newcomers
C. different rules apply to life in New York
D. life was more restricted in Puerto Rico
4.The author’s mood can best be described as
A. angry and confused B. fearful and uncertain
C. excited but lonely D. worried and resistant
OSCAR THEATRE
BOOKING
- in person
The Box Office is open Monday to Saturday, 10 am-8 pm.
- by post
Stating the performance and choice of seats, enclosing a cheque, postal order, or your credit card details to Oscar Theatre Box Office, PO Box 220, Main street. All cheques should be made payable to Oscar Theatre.
- by telephone
Ring 0844 847 2484 to reserve your tickets or to pay by credit card (Visa, MasterCard accepted).
- on-line
Complete the on-line booking form at www.oscartheatre.com.
DISCOUNTS
Saver: $2 off any seat booked any time in advance for performances from Monday to Thursday inclusive, and for all matinees(下午场). Savers are available for children up to 16 years old, over 60s and full-time students.
Supersaver: half-price seats are available for people with disabilities and one companion. It is advisable to book in advance. There is a maximum of eight wheelchair spaces available and one wheelchair space will be held until one hour before the show (subject to availability).
Standby: best a
vailable seats are on sale for $6 from one hour before the performance for people eligible(有资格的) for Saver and Supersaver discounts and thirty minutes before for all other customers.
Group Bookings: there is a ten per cent discount for parties of twelve or more.
Schools: school parties of ten or more can book $9 tickets in advance and will get every tenth ticket free.
Please note: we are unable to exchange tickets or refund money unless a performance is cancelled due to unforeseen circumstances.
1.How can you pay for a ticket when you book by post?
A. By visiting the website of a post office.
B. By going to you local bank in person.
C. By enclosing your MasterCard in an envelope.
D. By providing your credit card information.
2.What benefit can bookers enjoy according to the text?
A. A group of ten adults going to a performance can claim a discount.
B. A school party of 15 persons that book in advance pay $135 in total for a performance.
C. Someone accompanying a wheelchair user to a performance receives a discount.
D. An 18-year-old teenager is eligible for Saver discounts.
3.According to the text, who can get Standby tickets?
A. Full-time students buying tickets 45 minutes before a performance begins.
B. 65-year-olds buying tickets an hour and a half before a performance begins.
C. Theatre-goers who are unexpectedly unable to be present at a performance.
D. Anyone who buys tickets an hour before a performance begins.
