问题 阅读理解

阅读理解。

     Every day after school millions of children-most of them in middle school or high school-head home to

empty houses. Often, they're on their own until dinnertime or later-not by choice, but by necessity. While

they may be old enough to avoid setting the house on fire, each afternoon is still a minefield (充满隐伏危险

的事物).

     It's a minefield hidden with drugs and alcohol, Internet addiction, violent video games and,perhaps worst

of all, loneliness.

     But families have little choice. With more parents working full-time than ever before, it's no surprise that

the number of so-called latchkey kids in the United States is also at an all-time (空前的, 创纪录的) high. Up

to 15 million of the country's 49 million school-age children spend part of the workweek on their own; almost

a third do so at least three days a week.

     The afternoon hours are also dangerous when it comes to crime. The U.S. Department of Justice reports

that the rate of violent crimes reaches its highest point between 3 p.m. and 4 p.m.-nearly the same time at

which children are most likely to be victims of such crimes. One study found that those who are on their own

11 hours or more a week are twice as likely as those who aren't to drink or smoke.

     All this leads some health experts to an important conclusion. "Lack of adult involvement is one of the

strongest influences on bad behavior," says Robert Blum,chairman of population and family health at Johns

Hopkins School of Public Health in Baltimore. In fact, he and others believe it's stronger than background,

family income, or family structure. "And the more time teens spend unsupervised (无人监督的), the worse

they'll behave."

     Blum and others believe teachers can help by transforming their schools into more nurturing environments.

He also argues for more and better after-school programs. But the final responsibility lies with parents. One

survey found that almost 90%of students agree that, "Even though I might complain about it, sometimes I

need to be pushed by my parents to do things that are good for me."

1. The passage is written to _____.

A. teach parents how to have good relationship with their kids

B. warn teenagers to stay away from drugs and alcohol

C. remind parents to pay more attention to teenagers who spend time alone at home

D. express the hope that kids should spend more time studying after school

2. The underlined words "latchkey kids" in paragraph 3 probably mean _____.

A. children who are at home alone after school

B. children who are addicted to video games

C. children who are in charge of the house key

D. children who spend more time online than at school

3. What is the main reason for bad behavior in children, according to the passage?

A. Violence

B. Lack of supervision

C. The Internet addiction

D. Drugs

4. Which of the following is NOT a good way to prevent children from behaving badly?

A. Having children spend more time with adults.

B. Having more and better after-school programs.

C. Having more supervision from parents.

D. Having children chat more with their friends.

答案

1-4: C A B D

阅读理解与欣赏

阅读下面的文字,完成1~3题。

论“以文为诗”

朱自清

  为什么到了宋代才有诗文分界的问题呢?这有很长的历史。原来古代只有诗和史的分别,古代所谓“文”,包括这两者而言。此外有“辞”“言”“语”。但这些都没有明划的分界,诗与史相混,从《雅》《颂》可见。诗、史、辞和言、语相混,从《老子》《庄子》等书内不时夹杂着韵语可见。至于汉代称为《楚辞》的屈、宋诸作,不用说更近于诗了。

  汉代是个赋的时代,那时所谓“文”或“文章”便指赋而言。汉代又是个乐府时代,假如赋可以说是霸主,乐府便是附庸了。乐府是诗,赋也可以说是诗,班固《两都赋序》第一句便说:“或曰:‘赋者,古诗之流也’”。赋出于《楚辞》和《荀子》的《赋篇》,性质多近于诗的《雅》《颂》,以颂美朝廷,描写事物为主,抒情的不多。晋以后的发展,才渐渐专向抒情一路,到六朝为极盛。按现在说,汉赋里可以说是散文比诗多。所谓骈体实在是赋的支与流裔,而骈体按我们说,也是散文的一部分,这可见出赋的散文性是多么大。赋是诗与散文的混合物,那么,汉人所谓“文”或“文章”,也是诗与散文的混合物了。

  乐府以叙事为主,但其中不缺少抒情的成分。它发展到汉末,萌芽了抒情的五言诗。可是纯粹的抒情的五言诗,是成立在魏、晋间的阮籍的手里,他的意境却几乎全是《楚辞》的影响。魏、晋、六朝是骈体文和五言诗的时代,但这时代还只有“文”“笔”的分别,没有“诗”“文”的分别。“有韵者文”,“无韵者笔”,是当时的“常言”。赋和诗都是“文”,和汉人意见其实一样。另一义却便不同:有对偶、谐声的抒情作品是“文”,骈体的章奏与散体的著述是“笔”。这个说法还得将诗和赋都包括在“文”里,不过加上骈体的一部分罢了。

  唐代的诗有了划时代的发展,所以当时人特别强调“诗”“笔”的分别。杜牧有“杜诗韩笔愁来读”的句子,可见唐一代都只注意这一个分别。杜牧称韩愈的散体为“笔”,似乎只看作著述,不以“文”论。韩愈和他的弟子们却称那种散体为“古文”,韩创作那种散体古文,想取骈体而代之,也是划时代。他的努力是将散体从“笔”升格到“文”里去,所以称为“古文”。他所谓“文”,似乎将诗、赋、骈体、散体,都包括在内,一面却有意扬弃了“笔”的名称。唐人连韩愈和他的追随者在内,都还没有想到诗文的对立上去。

  宋代古文大盛,散体成了正宗。骈体不论是抒情的应用的,也都附在散体里,统于“文”这一个名称之下。王应麟《困学纪闻》有评应用文的(骈体居大多数),虽分评,却都称为“文”,这个“文”的涵义,正是韩愈的理想的实现。这样,“笔”既并入“文”里,“文笔”“诗笔”的分别,自然不切用了,于是诗文的分别便应运代兴。诗文的分别看来似乎容易,似乎只消说是“有韵者诗,无韵者文”就成了。可是不然,宋人将诗从文里分出,却留着辞赋,似乎自己找麻烦,但一看当时“文体”的赋的发展,便知道这是有道理的。因为成立了诗文对立的局势,而二者的分别又不在韵脚的有无上,所以有许多争议。争议虽多,共同的倾向却很显明,那就是风诗正宗。(选自《朱自清文集》,有删改)

1.下列对于“文”的表述,不正确的一项是( )

A.由诗与史组成的古代的“文”与“辞”“言”“语”几者间没有明确的区分,《老子》《庄子》等作品是其有力的证据。

B.汉代所谓“文”就是赋,赋与诗有着密切的关系,作为赋的支与流裔的骈体又是散文的一部分,故“文”也是诗与散文的混合物。

C.魏、晋、六朝时期对“文”有另一种释义,所谓“文”是与“笔”相对的有对偶、谐声的抒情作品,包括所有的赋、诗和骈体。

D.宋代,散体成了正宗,“笔”并入“文”里,“无韵者文”,形式包括赋、骈体、散体等,这些也都统于“文”这一个名称之下。

2.下列理解,不符合原文意思的一项是( )

A.《楚辞》的屈、宋诸作,近于诗,但不是诗,这说明古代诗、史、辞、言、语之间的划分不明显,诗文分界也无从谈起。

B.汉代的赋与骈体逐渐从诗中分离出来,且二者都具有浓郁的散文性,这是因为作为散文一部分的骈体是赋的支与流裔。

C.纯粹的抒情的五言诗成于魏、晋间的阮籍之手,且可见《楚辞》之影响,而汉末的乐府孕育的五言诗也不无抒情的痕迹。

D.宋代,将“笔”并入“文”里,所以“文笔”“诗笔”的分别就不甚明了,只是“有韵者诗,无韵者文”的说法也非楚河汉界。

3.根据原文的内容,下列理解和分析不正确的一项是( )

A.诗文对立在出现之前,经历了几个重要的时期,如汉代、魏晋六朝、唐代,先后出现了诗史的分别、文笔的分别、诗笔的分别。

B.唐代的诗有了划时代的发展,当时只注意到“诗”“笔”的分别,即使韩愈和他的追随者扬弃了“笔”,也还未料及诗文的对立。

C.到了宋代,诗文才出现分界,这与历代文学样式的发展变化有着莫大的关系,如唐诗的飞跃与突破、“笔”归到了“文”中等。

D.诗文对立存在许多争议,是因为根据韵脚的有无不能区分出诗与包含在“文”中的用韵的“辞赋”,而“风”是诗的正宗却显而易见。

问答题 简答题