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| 文章题目 | The influence of social network to people's loneliness |
| 重复年份 | 20140920 20130622 |
| 题材 | 人文社科 |
| 题型 | 配对6+选择4+判断4 |
| 文章大意 | 社交媒体对人孤独的影响.越来越多的人开始使用社交媒体，有些人认为社交媒体使人变得更加孤独，有些人却不同意。在大学生中做了一个调查，结果表明孤独感与人们花时间在社交媒体上无关。社交媒体会使人变得焦虑，也会让人上瘾。 |
| 参考阅读： Ethan Kross, a psychologist at the University of Michigan, suggests that his recent research shows that online social media use, rather than making us as users feel inter-connected, contributes to overall life dis-satisfaction and loneliness. This side-effect can have drastic results, considering over 1.1 billion users around the world are linked up on Facebook alone. The study monitored 82 participants’ feelings and well-being, compared to their social media use, over a long period of time. This kind of LONG TERM comparative research was the first of its kind to be conducted. The main correlation result was: the more time spent on social media, the less happy you will be over time. A separate study in 2010 conducted by Carnegie Mellon University discovered that when users are DIRECTLY interacting with social media friends, such as posting pictures and status updates, tagging photos, or liking things, their sociability and well-being increased. However, the dangerous part of our social media use stems from the time we are passively consuming social media content, which represents a majority of user time spent on these platforms. This passive consumption of other peoples idealized vacations, days off, meals, boyfriends, family, etc. led users to feel lonely and unsatisfied with their own lives, despite how eschewed this perception of others lives ACTUALLY is. Thus, social media has forced us to face a grave paradox: social media claims to be the platform that can connect users with their friends, family, community and the like within seconds, and this is true; however, never before have we experienced more isolation than we are now as a result. Our obsession with our digital social media lives is beginning to take precedence over our physical, here-and-now lives, resulting in our inability to interact with real people, and enjoy life’s current moments without being distracted by how this will be portrayed on social media. | |
| 文章题目 | Typography Introduction of Printed books |
| 重复年份 | 20160312 20110127 |
| 题材 | 发展史 |
| 题型 | 判断4+填空9 |
| 文章大意 | 活字印刷的历史。两个德国人去Italy的一个地方，后来又搬去了罗马，之后很多商人就开始注意到印刷的潜在经济价值。 |
| 参考答案： 判断题： 1. Early books have many errors–F 2.活字印刷里就记得在M**某个地方只有富人才买得起书–T 3.刚开始printing的书，插图illustration–T 4. Business man in Roma begin to notice the value of printing can make moneyF 填空题： 5.类似流程图从上往下一步步说怎么印刷 6-7.Assembling Fonts:sheet of paper 8.第1版是用来更正错误的proof reading 9.types……pages are in right sequence 10.Local newspapers做宣传 11-12.问两种印刷方法的单词:bindingandsimulating 13. They lived very near to the book industry | |
| 文章题目 | Undergraduate students study dramas |
| 重复年份 | 20160331 20141018 |
| 题材 | 人文社科 |
| 题型 | 暂无 |
| 文章大意 | 文学专业学生的课程指南，提到了让学生观看英国不同时期剧院中的戏剧，并列举了不同时期四种剧院的特点。 |
| 参考阅读： Medieval period Main article: Medieval theatre By the medieval period, the mummers' plays had developed, a form of early street theatre associated with the Morris dance, concentrating on themes such as Saint George and the Dragon and Robin Hood. These were folk tales re-telling old stories, and the actors travelled from town to town performing these for their audiences in return for money and hospitality. Renaissance: Elizabethan and Jacobean periods The period known as the English Renaissance, approximately 1500—1660, saw a flowering of the drama and all the arts. The two candidates for the earliest comedy in English Nicholas Udall's Ralph Roister Doister (c. 1552) and the anonymous Gammer Gurton's Needle (c. 1566), belong to the 16th century. During the reign of Elizabeth I (1558–1603) and then James I (1603–25), in the late 16th and early 17th century, a London-centred culture, that was both courtly and popular, produced great poetry and drama. The English playwrights were intrigued by Italian model: a conspicuous community of Italian actors had settled in London. The linguist and lexicographer John Florio (1553–1625), whose father was Italian, was a royal language tutor at the Court of James I, and a possible friend of and influence on William Shakespeare, had brought much of the Italian language and culture to England. He was also the translator of Montaigne into English. The earliest Elizabethan plays includes Gorboduc (1561) by Sackville and Norton and Thomas Kyd's (1558–94) revenge tragedy The Spanish Tragedy (1592), that influenced Shakespeare's Hamlet. 17th and 18th centuries Aphra Behn was the first professional English woman playwright. During the Interregnum 1649—1660, English theatres were kept closed by the Puritans for religious and ideological reasons. When the London theatres opened again with the Restoration of the monarchy in 1660, they flourished under the personal interest and support of Charles II. Wide and socially mixed audiences were attracted by topical writing and by the introduction of the first professional actresses (in Shakespeare's time, all female roles had been played by boys). New genres of the Restoration were heroic drama, pathetic drama, and Restoration comedy. Notable heroic tragedies of this period include John Dryden's All for Love (1677) and Aureng-zebe (1675), and Thomas Otway's Venice Preserved (1682). The Restoration plays that have best retained the interest of producers and audiences today are the comedies, such as George Etherege's The Man of Mode (1676), William Wycherley's The Country Wife (1676), John Vanbrugh's The Relapse (1696), and William Congreve's The Way of the World (1700). This period saw the first professional woman playwright, Aphra Behn, author of many comedies including The Rover (1677). Restoration comedy is famous or notorious for its sexual explicitness, a quality encouraged by Charles II (1660–1685) personally and by the rakish aristocratic ethos of his court. Victorian era A change came in the Victorian era with a profusion on the London stage of farces, musical burlesques, extravaganzas and comic operas that competed with Shakespeare productions and serious drama by the likes of James Planché and Thomas William Robertson. In 1855, the German Reed Entertainments began a process of elevating the level of (formerly risqué) musical theatre in Britain that culminated in the famous series of comic operas by Gilbert and Sullivan and were followed by the 1890s with the first Edwardian musical comedies. W. S. Gilbert and Oscar Wilde were leading poets and dramatists of the late Victorian period.[16] Wilde's plays, in particular, stand apart from the many now forgotten plays of Victorian times and have a much closer relationship to those of the Edwardian dramatists such as Irishman George Bernard Shaw and Norwegian Henrik Ibsen. | |
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