问题 开放性试题

阅读材料,分析问题:(13分)

材料:2013年6月8日,对外经贸大学副教授廉思课题组在北京举办我国首部青年蓝皮书《中国青年发展报告》发布会,第一次提出“拐点一代”的时代论断。书中指出,“刘易斯拐点”、“老龄化拐点”、“城镇化拐点”是当代中国面临的三大拐点。其中,“刘易斯拐点”预示着中国将由生产型社会化向教育型社会化转变。刘易斯拐点的到来,意味着劳动力无限供给特征逐渐消失,支撑我国经济30年高速增长的丰富劳动力开始变得稀缺。对劳动者知识技能要求的提高,导致青年所必须的学习期限延长,参加工作的时点推后。广大青年将接受更长时间的教育型社会化熏陶,较晚地体验社会责任感,具有普遍的乌托邦倾向,形成自己价值观的机会多。

思考:

(1)请你结合材料概述“刘易斯拐点”的社会特点。

(2)请结合所学知识,谈谈当代青年在“刘易斯拐点”到来之际如何应对?

答案

(1)①中国由生产型社会化向教育型社会化转变,劳动力无限供给特征逐渐消失,支撑我国经济 30年高速增长的丰富劳动力开始变得稀缺。②对劳动者知识技能要求提高,青年所必须的学习期限延长,参加工作时点推后。③广大青年接受社会化教育时间长,体验社会责任感较晚,具有乌托邦倾向,价值观个人化。 (2点即可  4分)

(2)①责任是一个人应当做的事情,我们在社会中生活,扮演不同角色,每一种角色往往都意味着一种责任。我们要积极参与社会公益活动,既要承担社会责任,又要帮助他人,热心公益,服务社会,使自身价值在奉献中得以提升. (3 分)

② 我们要树立终身学习观念,具备终身学习能力,应对未来社会挑战。这要求我们珍惜在学校学习的机会.要掌握知识,增强获取知识、自主判断与选择的能力,养成主动学习、持续学习的习惯。 ( 3 分)   

题目分析:(1)认真审题,结合设问,回归材料,即可很好的概述“刘易斯拐点”的社会特点。即:劳动力稀缺;对劳动者知识技能要求提高;广大青年接受社会化教育时间长。

广大青年将接受更长时间的教育型社会化熏陶,所以作为青少年要要树立终身学习观念,珍惜在学校 学习的机会,掌握更多的知识和本领.针对青少年较晚地体验社会责任感的现状,青少年要增强责任意识,做一个对自己、对他人、对社会负责的人。

考点:本题考查终身学习观念、做负责任的公民的相关知识。

多项选择题 案例分析题
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.