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By "permissive period in education" (L. 1, Para. 2) the author means a time ______.
A．when children are allowed to do what they wish to
B．when everything can be taught at school
C．when every child can be educated
D．when children are permitted to receive education
答案
更多“By "permissive period in education" （L. 1, Para. 2) the author means a time ______.A．when”相关的问题
第1题
在病毒感染中，术语许可性(permissive)和非许可性(nonpermissive)是什么含义？
第2题
A.legitimate
B.legible
C.eligible
D.permissive
第3题
A.prospective
B.perspective
C.permissive
D.prominent
第4题
A．The young people themselves.
B．Parents who are too permissive.
C．School authorities.
D．The permissive society.
第5题
A.闭锁式(blocking)
B.允许式(permissive)
C.直接跳闸式(directtrip)
D.允许闭锁式(permissiveblocking)
第6题
听力原文： Office Depot is having a special sale this weekend for the 'Back to School' period. We specialize in office supplies, furniture, and equipment for organizations of any size. Daily supplies like paper, folders, staplers, chairs, desks, and file cabinets have been marked down drastically up to 40%. This week we plan to take orders for customizing simple furniture and flyers, to decorate your working environment, and to promote your business at exceptionally low prices. Don't let this great opportunity pass you by. Come visit Office Depot, located on Seminole Drive. We are open 7 days a week till 5 P.M.
What is being announced？
A．Discounts on office supplies.
B．An advertisement for a furniture store.
C．A special sale on cars.
D．The relocation of a store.
第7题
听力原文： A good marriage means growing as a couple but also growing as individuals. This isn't easy; marriage has always been difficult. Why then are we seeing so many divorces at this time？ Yes, our modern social fabric is thin, and yes, the permissiveness of society has created unrealistic expectations and threw the family into disorder. But divorce is so common because people today are unwilling to exercise the self-discipline that marriage requires. They expect easy joy, like the entertainment on TV, the thrill of a good party.
Marriage takes some kind of sacrifice, not dreadful self-sacrifice of the soul, but some level of compromise. Some of one's fantasies, some of one's legitimate desires, have to be given up for the value of the marriage itself. "While all marital partners feel shacked at times, it is they who really choose to make the martial ties into confining chains or supporting bonds, says Dr. Walter. Marriage requires sexual, financial and emotional discipline. A man and a woman cannot follow every impulse, cannot allow them to stop growing or changing.
(30)
A．Because it is difficult to maintain a marriage.
B．Because people like watching TV programs.
C．Because people prefer freedom to self-discipline.
D．Because our society is permissive towards divorces.
第8题
DIRECTIONS: READ THE PASSAG
E. THEN ANSWER THE QUESTIONS. GIVE YOURSELF 20 MINUTES TO COMPLETE THIS PRACTICE SET. CAVE ART IN EUROPE THE EARLIEST DISCOVERED TRACES OF ART ARE BEADS AND CARVINGS, AND THEN PAINTINGS, FROM SITES DATING BACK TO THE UPPER PALEOLITHIC PERIO
D. WE MIGHT EXPECT THAT EARLY ARTISTIC EFFORTS WOULD BE CRUDE, BUT THE CAVE PAINTINGS OF SPAIN AND SOUTHERN FRANCE SHOW A MARKED DEGREE OF SKILL. SO DO THE NATURALISTIC PAINTINGS ON SLABS OF STONE EXCAVATED IN SOUTHERN AFRICA. SOME OF THOSE SLABS APPEAR TO HAVE BEEN PAINTED AS MUCH AS 28,000 YEARS AGO, WHICH SUGGESTS THAT PAINTING IN AFRICA IS AS OLD AS PAINTING IN EUROP
E. BUT PAINTING MAY BE EVEN OLDER THAN THAT. THE EARLY AUSTRALIANS MAY HAVE PAINTED ON THE WALLS OF ROCK SHELTERS AND CLIFF FACES AT LEAST 30,000 YEARS AGO, AND MAYBE AS MUCH AS 60,000 YEARS AGO. THE RESEARCHERS PETER UCKO AND ANDREE ROSENFELD IDENTIFIED THREE PRINCIPAL LOCATIONS OF PAINTINGS IN THE CAVES OF WESTERN EUROPE:(1)IN OBVIOUSLY INHABITED ROCK SHELTERS AND CAVE ENTRANCES;(2)IN GALLERIES IMMEDIATELY OFF THE INHABITED AREAS OF CAVES; AND(3)IN THE INNER REACHES OF CAVES, WHOSE DIFFICULTY OF ACCESS HAS BEEN INTERPRETED BY SOME AS A SIGN THAT MAGICAL-RELIGIOUS ACTIVITIES WERE PERFORMED THER
E. THE SUBJECTS OF THE PAINTINGS ARE MOSTLY ANIMALS. THE PAINTINGS REST ON BARE WALLS, WITH NO BACKDROPS OR ENVIRONMENTAL TRAPPINGS. PERHAPS, LIKE MANY CONTEMPORARY PEOPLES, UPPER PALEOLITHIC MEN AND WOMEN BELIEVED THAT THE DRAWING OF A HUMAN IMAGE COULD CAUSE DEATH OR INJURY, AND IF THAT WERE INDEED THEIR BELIEF, IT MIGHT EXPLAIN WHY HUMAN FIGURES ARE RARELY DEPICTED IN CAVE ART. ANOTHER EXPLANATION FOR THE FOCUS ON ANIMALS MIGHT BE THAT THESE PEOPLE SOUGHT TO IMPROVE THEIR LUCK AT HUNTIN
G. THIS THEORY IS SUGGESTED BY EVIDENCE OF CHIPS IN THE PAINTED FIGURES, PERHAPS MADE BY SPEARS THROWN AT THE DRAWINGS. BUT IF IMPROVING THEIR HUNTING LUCK WAS THE CHIEF MOTIVATION FOR THE PAINTINGS, IT IS DIFFICULT TO EXPLAIN WHY ONLY A FEW SHOW SIGNS OF HAVING BEEN SPEARE
D. PERHAPS THE PAINTINGS WERE INSPIRED BY THE NEED TO INCREASE THE SUPPLY OF ANIMALS. CAVE ART SEEMS TO HAVE REACHED A PEAK TOWARD THE END OF THE UPPER PALEOLITHIC PERIOD, WHEN THE HERDS OF GAME WERE DECREASIN
G. THE PARTICULAR SYMBOLIC SIGNIFICANCE OF THE CAVE PAINTINGS IN SOUTHWESTERN FRANCE IS MORE EXPLICITLY REVEALED, PERHAPS, BY THE RESULTS OF A STUDY CONDUCTED BY RESEARCHERS PATRICIA RICE AND ANN PATERSO
N. THE DATA THEY PRESENT SUGGEST THAT THE ANIMALS PORTRAYED IN THE CAVE PAINTINGS WERE MOSTLY THE ONES THAT THE PAINTERS PREFERRED FOR MEAT AND FOR MATERIALS SUCH AS HIDES. FOR EXAMPLE, WILD CATTLE(BOVINES)AND HORSES ARE PORTRAYED MORE OFTEN THAN WE WOULD EXPECT BY CHANCE, PROBABLY BECAUSE THEY WERE LARGER AND HEAVIER(MEATIER)THAN OTHER ANIMALS IN THE ENVIRONMENT. IN ADDITION, THE PAINTINGS MOSTLY PORTRAY ANIMALS THAT THE PAINTERS MAY HAVE FEARED THE MOST BECAUSE OF THEIR SIZE, SPEED, NATURAL WEAPONS SUCH AS TUSKS AND HORNS, AND THE UNPREDICTABILITY OF THEIR BEHAVIOR. THAT IS, MAMMOTHS, BOVINES, AND HORSES ARE PORTRAYED MORE OFTEN THAN DEER AND REINDEER. THUS, THE PAINTINGS ARE CONSISTENT WITH THE IDEA THAT THE ART IS RELATED TO THE IMPORTANCE OF HUNTING IN THE ECONOMY OF UPPER PALEOLITHIC PEOPL
E. CONSISTENT WITH THIS IDEA, ACCORDING TO THE INVESTIGATORS, IS THE FACT THAT THE ART OF THE CULTURAL PERIOD THAT FOLLOWED THE UPPER PALEOLITHIC ALSO SEEMS TO REFLECT HOW PEOPLE GOT THEIR FOO
D. BUT IN THAT PERIOD, WHEN GETTING FOOD NO LONGER DEPENDED ON HUNTING LARGE GAME ANIMALS(BECAUSE THEY WERE BECOMING EXTINCT), THE ART CEASED TO FOCUS ON PORTRAYALS OF ANIMALS. UPPER PALEOLITHIC ART WAS NOT CONFINED TO CAVE PAINTINGS. MANY SHAFTS OF SPEARS AND SIMILAR OBJECTS WERE DECORATED WITH FIGURES OF ANIMALS. THE ANTHROPOLOGIST ALEXANDER MARSHACK HAS AN INTERESTING INTERPRETATION OF SOME OF THE ENGRAVINGS MADE DURING THE UPPER PALEOLITHI
C. HE BELIEVES THAT AS FAR BACK AS 30,000
B.
C., HUNTERS MAY HAVE USED A SYSTEM OF NOTATION, ENGRAVED ON BONE AND STONE, TO MARK PHASES OF THE MOO
N. IF THIS IS TRUE, IT WOULD MEAN THAT UPPER PALEOLITHIC PEOPLE WERE CAPABLE OF COMPLEX THOUGHT AND WERE CONSCIOUSLY AWARE OF THEIR ENVIRONMENT. IN ADDITION TO OTHER ARTWORKS, FIGURINES REPRESENTING THE HUMAN FEMALE IN EXAGGERATED FORM. HAVE ALSO BEEN FOUND AT UPPER PALEOLITHIC SITES. IT HAS BEEN SUGGESTED THAT THESE FIGURINES WERE AN IDEAL TYPE OR AN EXPRESSION OF A DESIRE FOR FERTILITY. DIRECTIONS: NOW ANSWER THE QUESTIONS. THE EARLIEST DISCOVERED TRACES OF ART ARE BEADS AND CARVINGS, AND THEN PAINTINGS, FROM SITES DATING BACK TO THE UPPER PALEOLITHIC PERIO
D. WE MIGHT EXPECT THAT EARLY ARTISTIC EFFORTS WOULD BE CRUDE, BUT THE CAVE PAINTINGS OF SPAIN AND SOUTHERN FRANCE SHOW A MARKED DEGREE OF SKILL. SO DO THE NATURALISTIC PAINTINGS ON SLABS OF STONE EXCAVATED IN SOUTHERN AFRICA. SOME OF THOSE SLABS APPEAR TO HAVE BEEN PAINTED AS MUCH AS 28,000 YEARS AGO, WHICH SUGGESTS THAT PAINTING IN AFRICA IS AS OLD AS PAINTING IN EUROP
E. BUT PAINTING MAY BE EVEN OLDER THAN THAT. THE EARLY AUSTRALIANS MAY HAVE PAINTED ON THE WALLS OF ROCK SHELTERS AND CLIFF FACES AT LEAST 30,000 YEARS AGO, AND MAYBE AS MUCH AS 60,000 YEARS AGO.
第9题
Adults may offend their peers also by their inattention to nonverbal responses. The sense of personal space varies among individuals and cultures. The salesman who puts his arm around the shoulder of a prospective buyer should realize the possible consequences of his gesture. Physical contact conveys sense of intimacy that the relationship may or may not warrant. Standing very close to someone during a face-to-face conversation may produce a negative reaction. In fact, you may observe the person back away.
Practice and traditions are more permissive in some cultures than in ours. In most situations, those people of power often take or receive more space. Think of the teacher whose large desk is surrounded by more space than the students' smaller desks.
Tone of voice also conveys messages and emotions. "Beautiful" may be used to describe bouquet of roses or a black eye, but the tone of voice will not be the same. "Thanks a lot" can be said with genuine gratitude or with sarcasm.
Dog trainers report that dogs respond to tone of voice than to the particular words that are said. Dogs are often praised in a consistent tone of voice that may be slightly high-pitched and somewhat singsong. They will respond to this tone of voice with wagging tails even if the words don't match.
The main point of the article is that
A．dogs and humans communicate the same way.
B．gestures and tone of voice convey a great deal of information.
C．our system of communication is changing rapidly.
D．only human beings are capable of verbal communication.
第10题
The word "principal" in the passage is closest in meaning to
DIRECTIONS: READ THE PASSAG
E. THEN ANSWER THE QUESTIONS. GIVE YOURSELF 20 MINUTES TO COMPLETE THIS PRACTICE SET. CAVE ART IN EUROPE THE EARLIEST DISCOVERED TRACES OF ART ARE BEADS AND CARVINGS, AND THEN PAINTINGS, FROM SITES DATING BACK TO THE UPPER PALEOLITHIC PERIO
D. WE MIGHT EXPECT THAT EARLY ARTISTIC EFFORTS WOULD BE CRUDE, BUT THE CAVE PAINTINGS OF SPAIN AND SOUTHERN FRANCE SHOW A MARKED DEGREE OF SKILL. SO DO THE NATURALISTIC PAINTINGS ON SLABS OF STONE EXCAVATED IN SOUTHERN AFRICA. SOME OF THOSE SLABS APPEAR TO HAVE BEEN PAINTED AS MUCH AS 28,000 YEARS AGO, WHICH SUGGESTS THAT PAINTING IN AFRICA IS AS OLD AS PAINTING IN EUROP
E. BUT PAINTING MAY BE EVEN OLDER THAN THAT. THE EARLY AUSTRALIANS MAY HAVE PAINTED ON THE WALLS OF ROCK SHELTERS AND CLIFF FACES AT LEAST 30,000 YEARS AGO, AND MAYBE AS MUCH AS 60,000 YEARS AGO. THE RESEARCHERS PETER UCKO AND ANDREE ROSENFELD IDENTIFIED THREE PRINCIPAL LOCATIONS OF PAINTINGS IN THE CAVES OF WESTERN EUROPE:(1)IN OBVIOUSLY INHABITED ROCK SHELTERS AND CAVE ENTRANCES;(2)IN GALLERIES IMMEDIATELY OFF THE INHABITED AREAS OF CAVES; AND(3)IN THE INNER REACHES OF CAVES, WHOSE DIFFICULTY OF ACCESS HAS BEEN INTERPRETED BY SOME AS A SIGN THAT MAGICAL-RELIGIOUS ACTIVITIES WERE PERFORMED THER
E. THE SUBJECTS OF THE PAINTINGS ARE MOSTLY ANIMALS. THE PAINTINGS REST ON BARE WALLS, WITH NO BACKDROPS OR ENVIRONMENTAL TRAPPINGS. PERHAPS, LIKE MANY CONTEMPORARY PEOPLES, UPPER PALEOLITHIC MEN AND WOMEN BELIEVED THAT THE DRAWING OF A HUMAN IMAGE COULD CAUSE DEATH OR INJURY, AND IF THAT WERE INDEED THEIR BELIEF, IT MIGHT EXPLAIN WHY HUMAN FIGURES ARE RARELY DEPICTED IN CAVE ART. ANOTHER EXPLANATION FOR THE FOCUS ON ANIMALS MIGHT BE THAT THESE PEOPLE SOUGHT TO IMPROVE THEIR LUCK AT HUNTIN
G. THIS THEORY IS SUGGESTED BY EVIDENCE OF CHIPS IN THE PAINTED FIGURES, PERHAPS MADE BY SPEARS THROWN AT THE DRAWINGS. BUT IF IMPROVING THEIR HUNTING LUCK WAS THE CHIEF MOTIVATION FOR THE PAINTINGS, IT IS DIFFICULT TO EXPLAIN WHY ONLY A FEW SHOW SIGNS OF HAVING BEEN SPEARE
D. PERHAPS THE PAINTINGS WERE INSPIRED BY THE NEED TO INCREASE THE SUPPLY OF ANIMALS. CAVE ART SEEMS TO HAVE REACHED A PEAK TOWARD THE END OF THE UPPER PALEOLITHIC PERIOD, WHEN THE HERDS OF GAME WERE DECREASIN
G. THE PARTICULAR SYMBOLIC SIGNIFICANCE OF THE CAVE PAINTINGS IN SOUTHWESTERN FRANCE IS MORE EXPLICITLY REVEALED, PERHAPS, BY THE RESULTS OF A STUDY CONDUCTED BY RESEARCHERS PATRICIA RICE AND ANN PATERSO
N. THE DATA THEY PRESENT SUGGEST THAT THE ANIMALS PORTRAYED IN THE CAVE PAINTINGS WERE MOSTLY THE ONES THAT THE PAINTERS PREFERRED FOR MEAT AND FOR MATERIALS SUCH AS HIDES. FOR EXAMPLE, WILD CATTLE(BOVINES)AND HORSES ARE PORTRAYED MORE OFTEN THAN WE WOULD EXPECT BY CHANCE, PROBABLY BECAUSE THEY WERE LARGER AND HEAVIER(MEATIER)THAN OTHER ANIMALS IN THE ENVIRONMENT. IN ADDITION, THE PAINTINGS MOSTLY PORTRAY ANIMALS THAT THE PAINTERS MAY HAVE FEARED THE MOST BECAUSE OF THEIR SIZE, SPEED, NATURAL WEAPONS SUCH AS TUSKS AND HORNS, AND THE UNPREDICTABILITY OF THEIR BEHAVIOR. THAT IS, MAMMOTHS, BOVINES, AND HORSES ARE PORTRAYED MORE OFTEN THAN DEER AND REINDEER. THUS, THE PAINTINGS ARE CONSISTENT WITH THE IDEA THAT THE ART IS RELATED TO THE IMPORTANCE OF HUNTING IN THE ECONOMY OF UPPER PALEOLITHIC PEOPL
E. CONSISTENT WITH THIS IDEA, ACCORDING TO THE INVESTIGATORS, IS THE FACT THAT THE ART OF THE CULTURAL PERIOD THAT FOLLOWED THE UPPER PALEOLITHIC ALSO SEEMS TO REFLECT HOW PEOPLE GOT THEIR FOO
D. BUT IN THAT PERIOD, WHEN GETTING FOOD NO LONGER DEPENDED ON HUNTING LARGE GAME ANIMALS(BECAUSE THEY WERE BECOMING EXTINCT), THE ART CEASED TO FOCUS ON PORTRAYALS OF ANIMALS. UPPER PALEOLITHIC ART WAS NOT CONFINED TO CAVE PAINTINGS. MANY SHAFTS OF SPEARS AND SIMILAR OBJECTS WERE DECORATED WITH FIGURES OF ANIMALS. THE ANTHROPOLOGIST ALEXANDER MARSHACK HAS AN INTERESTING INTERPRETATION OF SOME OF THE ENGRAVINGS MADE DURING THE UPPER PALEOLITHI
C. HE BELIEVES THAT AS FAR BACK AS 30,000
B.
C., HUNTERS MAY HAVE USED A SYSTEM OF NOTATION, ENGRAVED ON BONE AND STONE, TO MARK PHASES OF THE MOO
N. IF THIS IS TRUE, IT WOULD MEAN THAT UPPER PALEOLITHIC PEOPLE WERE CAPABLE OF COMPLEX THOUGHT AND WERE CONSCIOUSLY AWARE OF THEIR ENVIRONMENT. IN ADDITION TO OTHER ARTWORKS, FIGURINES REPRESENTING THE HUMAN FEMALE IN EXAGGERATED FORM. HAVE ALSO BEEN FOUND AT UPPER PALEOLITHIC SITES. IT HAS BEEN SUGGESTED THAT THESE FIGURINES WERE AN IDEAL TYPE OR AN EXPRESSION OF A DESIRE FOR FERTILITY. DIRECTIONS: NOW ANSWER THE QUESTIONS. THE EARLIEST DISCOVERED TRACES OF ART ARE BEADS AND CARVINGS, AND THEN PAINTINGS, FROM SITES DATING BACK TO THE UPPER PALEOLITHIC PERIO
D. WE MIGHT EXPECT THAT EARLY ARTISTIC EFFORTS WOULD BE CRUDE, BUT THE CAVE PAINTINGS OF SPAIN AND SOUTHERN FRANCE SHOW A MARKED DEGREE OF SKILL. SO DO THE NATURALISTIC PAINTINGS ON SLABS OF STONE EXCAVATED IN SOUTHERN AFRICA. SOME OF THOSE SLABS APPEAR TO HAVE BEEN PAINTED AS MUCH AS 28,000 YEARS AGO, WHICH SUGGESTS THAT PAINTING IN AFRICA IS AS OLD AS PAINTING IN EUROP
E. BUT PAINTING MAY BE EVEN OLDER THAN THAT. THE EARLY AUSTRALIANS MAY HAVE PAINTED ON THE WALLS OF ROCK SHELTERS AND CLIFF FACES AT LEAST 30,000 YEARS AGO, AND MAYBE AS MUCH AS 60,000 YEARS AGO.
