一、单项选择题在每小题列出四个备选项中选择一个最佳答案。
Although the earliest films in cinema were done in one shot without any editing,cutting is so fundamental to the medium that it began to emerge relatively quickly. There was a basic disparity between the amount of film that a camera's magazine could hold and the evolving desire of filmmakers and audiences for longer and more elaborate story films. Only by editing shots together could longer narrative forms be achieved. A Trip to the Moon(1914), directed by Georges Melies (1861~1938), for example, creates a narrative by assembling a series of scenes, with each scene filmed in a single shot. The edit points occur between the scenes, in order to link them together.
The Great Train Robbery(1930), directed by Edwin S. Porter(1870~1941), follows a band of Western outlaws robbing a train and interrupts the chronology of the action with a cutaway showing the rescue of a telegraph operator whom the outlaws earlier had tied up. Following the cutaway,Porter introduces a second line of action, showing the roundup of a posse and the pursuit of the outlaws. Film historians commonly cite this as an early example of parallel editing, showing two lines of narrative action happening at the same time, although Porter's use of this device here is ambiguous. It's not clear that he means for the parallel editing to establish that the two lines of action are in fact happening simultaneously. In other respects, editing in The Great Train Robbery remains very primitive,with cuts used only to join scenes and with no intercutting inside a scene.
In contrast with Porter, D. W. Griffith (1875~1948) freed the camera from the conventions of stage perspective by breaking the action of scenes into maw different shots and editing these according to the emotional and narrative rhythms of the action. Griffith explored the capabilities of editing in the films he made at Biograph studio from 1908 to 1913, primarily the use of continuity matches to link shots smoothly and according to their dramatic and kinesthetic properties. Cutting from full-figure shots to a close-up accentuated the drama, and matching the action on a cut as a character walks from an exterior into a doorway and, in the next shot, enters an interior set enabled Griffith to join filming locations that were physically separated but adjacent in terms of the time and place of the story.
Griffith became famous for his use of crosscutting in the many "rides to the rescue" that climax his films. In The Girl and Her Trust(1912), for example, Griffith cuts back and forth from a pair of robbers, who have abducted the heroine and are escaping on a railroad pump car, to the hero, who is attempting to overtake them by train. By intercutting these lines of action, Griffith creates suspense, and by shortening the lengths of the shots, he accelerates the pace. Crosscutting furnished a foundation for narrative in cinema, and there is little structural difference between what Griffith did here and what a later filmmaker such as Steven Spielberg (b. 1946) does in Jaws (1975). Griffith extended his fluid use of continuity editing and crosscutting in his epics The Birth of a Nation (1915) and Intolerance (1916). The latter film is a supreme example of crosscutting, which is here used to tell four stories set in different time periods in simultaneous fashion. The majority of successful senior managers do not closely follow the classical rational model of first clarifying goals,assessing the problem, formulating options, estimating likelihoods of success, making a decision, and only then taking action to implement the decision. Rather, in their day-by-day tactical maneuvers, these senior executives rely on what is vaguely termed "intuition" to manage a network of interrelated problems that require them to deal with ambiguity,inconsistency,novelty,and surprise; and to integrate action into the process of thinking.
Generations of writers on management have recognized that some practicing managers rely heavily on intuition. In general, however, such writers display a poor grasp of what intuition is. Some see it as the opposite of rationality; others view it as an excuse for capriciousness.
Isenberg's recent research on the cognitive processes of senior managers reveals that managers' intuition is neither of these. Rather, senior managers use intuition in at least five distinct ways. First, they intuitively sense when a problem exists. Second, managers rely on intuition to perform well-learned behavior patterns rapidly. This intuition is not arbitrary or irrational, but is based on years of painstaking practice and hands-on experience that build skills. A third function of intuition is to synthesize isolated bits of data and practice into an integrated picture,often in an "Aha!" experience. Fourth,some managers use intuition as a check on the results of more rational analysis. Most senior executives are familiar with the formal decision analysis models and tools, and those who use such systematic methods for reaching decisions are occasionally leery of solutions suggested by these methods which run counter to their sense of the correct course of action. Finally, managers can use intuition to bypass in-depth analysis and move rapidly to engender a plausible solution. Used in this way,intuition is an almost instantaneous cognitive process in which a manager recognizes familiar patterns.
One of the implications of the intuitive style of executive management is that "thinking" is in-separable from acting. Since managers often "know" what is right before they can analyze and explain it, they frequently act first and explain later. Analysis is inextricably tied to action in thinking/acting cycles, in which managers develop thoughts about their companies and organizations not by analyzing a problematic situation and then acting, but by acting and analyzing in close concert.
Given the great uncertainty of many of the management issues that they face, senior managers often instigate a course of action simply to learn more about an issue. They then use the results of the action to develop a more complete understanding of the issue. One implication of thinking/acting cycles is that action is often part of defining the problem, not just of implementing the solution. 二、简答题(本大题共20分)
根据题目要求完成下列任务,用中文作答。
1. 认知法是针对听说法的缺陷而提出的一种外语教学方法。试将两种教学方法进行比较,并评价其在中学英语教学中的应用。
听说法强调语音和口语训练,主张先听说、后读写的教学顺序,提倡句型操练。针对听说法的缺陷而提出的认知法强调培养学生的创造性思维,主张外语学习要以理解语言规则为前提,语言练习要结合学生的生活实际并有意义。听说法提倡的句型操练对初学外语者帮助较大,已广泛运用于外语教学中。但是听说法不利于发展学生的创造性思维,大量的机械操练、模仿和简单重复容易使学生失去学习的主动性。认知法有利于调动学生学习的积极性,也有助于提高学生使用外语的准确性和得体性。但是,认知法全盘否定机械操练,这在实际教学中并不可行,特别是在初学英语阶段,一定数量的机械练习是不可避免的。
四、教学设计题(本大题共40分)
根据提供的信息和语言素材设计教学方案,用英文作答。
1. 设计任务:请阅读下面学生信息和语言素材,设计一节课的教学方案。该教案没有固定格式,但必须包含下列要点:
Teaching objectives
Teaching contents
Key and difficult points
Major steps and time allocation
Activities and justifications
教学时间:45分钟
学生概况:某城镇普通中学高中一年级第一学期学生,班级人数40人。多数学生已经达到《普通高中英语课程标准(实验)》五级水平。学生课堂参与积极性一般。
语言素材:
The Ancient Olympic Games
The original Olympic Games were part of an important religious festival to honor the Greek gods, especially Zeus. They were held in a valley in Olympia every four years and men from all the Greek city states attended. Women did not compete in the games or even attend. The first record of the Olympic Games dates from 778 BC, but they were probably established hundreds of years before that.
At first there was only one competition in the games—a 200m foot race. The distance was based on a myth about the hero Hercules who was said to have run this distance in one breath. At later other Olympic events were introduced, including a 365 meter and a 5 kilometer race, boxing and wreathing, chariot races and the pentathlon jumping, running, javelin, discus and wrestling.
Athletes came to Olympia to train lull-time for 10 months. As they were allowed to compete, they were examined by a committee of 10 men to make sure they were of good character and physically fit. All wars between cities had to stop for the five days of the games.
The prize for the winners was a crown made from an olive tree branch, cut with a gold handled knife from a scared tree. The olive branch was believed to give the athlete great strength and health. The winner gave public thanks to Zeus and to his city or district. Winners were believed to have gained the favor of the gods.
Teaching objectives:
(1)Knowledge objectives
①Students can master the related words about Olympics.
②Students can understand the passage and speak out their thoughts about the Olympic Games.
(2)Ability objective
Students can briefly describe the Olympic Games and express it in written form.
(3)Emotion objective
Students will get Io know more about Olympic Cames and the Olympic spirit.
Teaching contents:
This lesson contains some new words about Olympics and a brief description of the ancient Olympic Games.
Teaching key and difficult points:
Teaching key points:
Make students understand the passage and help them express their ideas about the Olympic Games.
Teaching difficult points:
Let students know how to describe a game.
Teaching procedures:
Step 1 Warming-up (5 minutes)
The teacher show some pictures about Olympic on the screen, and ask students what they know about Olympic.
(Justification: This step will help students activate their knowledge about Olympic Games and can draw their attention to the class.)
Step 2 Reading (25 minutes)
Activity 1 Intensive reading
Ask students to read the passage carefully and answer the following questions:
(1)Where were the original Olympic Games held?
(2)How many competitions did the games include at first? And what were they?
(3)What was the prize for the winners of the Olympic Games?
After reading, the teacher can divide the students into several groups to discuss these questions. Then, the teacher will invite some students to share their opinions to the whole class.
(Justification: Through answering questions and discussion, students can have a good understanding of the passage.)
Activity 2 Writing
Ask students to write a short composition about modern Olympic Games according to their own knowledge.
(Justification: Through writing composition, students can improve their writing skills and know how to describe a game.)
Step 3 Post-writing (15 minutes)
After writing, the teacher can let students exchange their compositions to check carefully the vocabulary, grammar and punctuation. At last, students need to rewrite their compositions and hand in them after class.
(Justification: Peer checking can help students know their merits and shortcomings and encourage them to learn useful expressions from others.)