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问题 材料题

材料一：2007年9月，以“走进孔子，喜迎奥运，同根一脉，共建和谐”为主题的中国国际孔子文化节拉开帷幕。孔子所创立的儒家学说，对中国文化影响深远。

材料二：2008年8月8日，北京2008奥运会开幕式上，当一幅精美的巨型画卷徐徐拉开，呈现给观众的是代表中国古老文明的笔、墨、纸、砚，琴、棋等，当看见“孔子的三千弟子”表演着“和”字的发展变化，让我们不禁想起了……

请回答：

（1）孔子作为我国古代伟大的思想家，其思想核心是什么？孔子又是我国古代伟大的教育家，他对中国古代教育作出了哪些贡献？

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（2）秦、汉两朝统治者对待儒家思想的态度有何不同？分别产生了什么影响？

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（3）根据材料二：让我们不禁想起了文字和纸张作为传承人类文明的载体。经历了如下的演化过程。（请在空白处填写正确答案）

让我们不禁想起了___________时期，我国人民开始用麻造纸，在世界上最早发明造纸术；东汉时期，________改进了造纸术，纸逐渐取代竹简、木简，成为主要的书写材料。

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答案

（1）思想核心“仁”。贡献：创办私学，广招门徒，扩大教育对象；遍订《诗》《书》《春秋》等教材，丰富了教学内容；在教学方法上，主张因材施教，启发诱导。

（2）秦：“焚书坑儒”，控制人们的思想，破坏了优秀传统文化的发展。

汉：“罢黜百家，独尊儒术”，使儒家思想成为中国两千多年的封建正统思想。

（3）甲骨文，小篆，西汉，蔡伦。

单项选择题

面向对象方法主要包括哪三个环节？（）

A.OOA、OOB、OOP

B.OOA、OOB、OOC

C.OOA、OOD、OOP

D.OOB、OOC、OOD
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单项选择题

It is simple enough to say that since books have classes -- fiction, biography, poetry -- we should separate them and take from each what it is right and what should give us. Yet few people ask from books what can give us. Most commonly we come to books with blurred and divided minds, asking of fiction that it shall be true, of poetry that it shall be false, of biography that it shall be flattering, of history that it shall enforce our own prejudices. If we could banish all such preconception when we read, that would be an admirable beginning. Do not dictate to your author; try to become him. Be his fellow-worker and accomplice. If you hang back, and reserve and criticize at first, you are preventing yourself from getting the fullest possible value from what you read. But if you open your mind as widely as possible, then signs and hints of almost imperceptible fineness, from the twist and turn of the first sentences, will bring you into the presence of a human being unlike any other. Steep yourself in this, acquaint yourself with this, and soon you will find that your author is giving you, or attempting to give you, something far more definite. The 32 chapters of a novel -- if we consider how to read a novel first -- are an attempt to make something as formed and controlled as a building: but words are more impalpable than bricks; reading is a longer and more complicated process than seeing. Perhaps the quickest way to understand the elements of what a novelist is doing is not to read, but to write; to make your own experiment with the dangers and difficulties of words. Recall, then, some event that has left a distinct impression on you -- how at the comer of the street, perhaps, you passed two people talking. A tree shock; an electric light danced; the tone of the talk was comic, but also tragic; a whole vision, an entire conception, seemed contained in that moment.
But when you attempt to reconstruct it in words, you will find that it breaks into a thousand conflicting impressions. Some must be subdued; others emphasized; in the process you will lose, probably, all grasp upon the emotion itself. Then turn from your blurred and littered pages to the opening pages of some great novelist -- Defoe, Jane Austen, Hardy. Now you will be better able to appreciate their mastery. It is not merely that we are in the presence of a different person -- Defoe, Jane Austen, or Thomas Hardy -- but that we are living in a different world. Here, in Robinson Crusoe, we are trudging a plain high road; one thing happens after another; the fact and the order of the fact is enough. But if the open air and adventure mean everything to Defoe, they mean nothing to Jane Austen. Here is the drawing-room, and people talking, and by the many mirrors of their talk revealing their characters. And if, when we have accustomed ourselves to the drawing-room and its reflections, we turn to Hardy, we are once more spun around. The moors are round us and the stars are above our heads. The other side of the mind is now exposed -- the dark side that comes uppermost in solitude, not the light side that shows in company. Our relations are not towards people, but towards Nature and destiny. Yet different as these worlds are, each is consistent with itself. The maker of each is careful to observe the laws of his own perspective, and however great a strain they may put upon, they will never confuse us, as lesser writers so frequently do, by introducing two different kinds of reality into the same book. Thus to go from one great novelist to another -- from Jane Austen to Hardy, from Peacock to Trollope, from Scott to Meredith -- is to be wrenched and uprooted; to be thrown this way and then that. To read a novel is a difficult and complex art. You must be capable not only of great fineness of perception, but of great boldness of imagination if you are going to make use of all that the novelist -- the great artist -- gives you.

Which of the following is NOT the preconception the writer mentioned in the passage

A．Not many people ask from the books they are reading what books can give them.

B．Most readers ask too much from the writers with no idea of the actual situation of the different writers.

C．They think poetry should be written based on an imaginative topic.

D．Readers should take an attitude of admiration to the authors.
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