HỘI CÁC TRƯỜNG CHUYÊN VÙNG
DUYÊN HẢI VÀ ĐỒNG BẰNG BẮC BỘ
ĐÁP ÁN
ĐỀ THI CHỌN HỌC SINH GIỎI LẦN THỨ VIII
MÔN: TIẾNG ANH - KHỐI 11
Ngày thi: 18 tháng 4 năm 2015
(Đáp án gồm 5 trang)
A. LISTENING: (40 pts)
Part 1: You will hear part of an interview with StanLevin, a dance critic, about a modern ballet
production involving animals. For questions 1- 5, choose the answer A, B, C or D which fits best
according to what you hear. (10 pts)
2 pts/correct answer.
1. B
2. C
3. C
4. B
5. C
Part 2. For questions 1-5, you will hear the historian, George Davies, talking about society and the
theatre in England in the time of William Shakespeare. Decide whether the following statements
are true (T) or false (F). (10 pts) 2 pts/correct answer.
1. T
2. T
3. F
4. T
5. F
Part 3. You hear a radio interview in which the presenter, Terry Davis, is talking to Dr Elizabeth
Jones, an expert on climate. Listen to the interview and complete the notes below.
Write NO MORE THAN THREE WORDS and/or A NUMBER. (20 pts) 2 pts/correct answer.
1. long-term average
6. large climate shifts
2. recreate past climates
7. hurricanes
3. heavily populated areas
8. twice as much
4. sun’s intensity
9. 200 years
5. greenhouse gas
10. major climate disruptions
B. LEXICO-GRAMMAR (60 points)
Part 1: Choose the word or phrase (A, B, C or D) which best completes each sentence. (20 pts)
1pts/correct answer.
1. D
6. D
11. C
16. A
2. C
7. D.
12. C
17. D
3. C
8. C
13. C
18. A
4. B
9. C
14. B
19. A
5. A
10. B
15. A
20. D
Part 2: Identify 10 errors in the following passage and correct them, (0) has been done as an
example. ( 20pts)
(2pt / each correct answer) one identified error: 1pt, one right corrected error: 1pt
Number
1
2
3
4
5
Line
2
3
4
4
7
Mistake
involves
functions
about
judging
impairing
Correction
involve
malfunctions
for
misjudging
impaired
Number
6
7
8
9
10
Line
8
10
12
13
14
Mistake
that
to put
for
are
acquaint
Correction
than
to be put
into
is
acquainting
Part 3. Complete each of the following sentences with a suitable preposition or particle. (10 pts)
1 pts/correct answer.
1. to
6. About
2. apart
7. Over
3. off
8. by
4. through
9. at
5. at
10. on
Part 4. Complete the following sentences with the words given in the brackets. You have to change
the form of the word. (10 pts)
1 pts/correct answer
1. dissociate
6. predetermined
2. murderous
7. maladjusted
3. irritability
8. 8. expressionless
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4. disciplinarian
9. 9. headstrong
5. outlook
10. outrageous
C. READING (60 points)
Part 1: (15 points – 1 point/correct answer)
1. B
2. B
3. D
4.C
5. C
6. A
7.A
8. D
9. A
10. D
11. C
12.C
13. C
14. A
15. B
Part 2: For questions 1-10, read the text below and think of the word which best fits each space. Use
only one word in each space. There is an example at the beginning (0). (15 pts) 1.5 pts/correct answer
1. Somewhere
2. under
3. say
4. On
5. opposite
6. face
7. against
8. For
9. Just
10. If
Part 3: Read the following passage and answer the questions that follow. (15pts) 1.5 pts/correct
answer
1. C
2. A
3. A
4. B
5. A
6. C
7. C
8. C
9. A
10. D
Part 4. Read the following passage and do the tasks that follow. (15 pts) 1.5 pts/correct answer
1. vi
2. ii
3. viii
4. iv
5. v
6. command
7. humour
8. Chief linguistic element 9. shop-talk 10. demean
D. WRITING (40 pts)
Part 1: 1pts/correct answer
A/ Finish each of the following sentences in such a way that it is as similar as possible in meaning to
the sentence printed before it. (2 pts.)
1. The sheer expense/ cost was what put me off the idea.
2. I’d rather have had the last laugh, though.
B/ For each of the sentence below, write a new sentence as similar as possible in meaning to the
original sentence but using the word given. This word must not be altered in any way. (3pts.)
3. I bought it on the spur of the moment
4. You put your foot in it / in your mouth when you asked him where his wife was.
5. I don't like him because he has a big mouth.
Part 2: (10 points)
1. Completion: 1 pts
2. Content: 3 pts
- Cover the main information in the chart yet not go into too many details.
- Make general remarks and effective comparisons.
3. Organisation: 2 pts
- The ideas are well organized
- The description is sensibly divided into paragraphs
4. Language: 3 pts
- Use a wide range of vocabulary and structure
- Good grammar
5. Punctuation and spelling: 1 pt
Part 3: (25 points)
1. Completion: (3 pt.)
2. Content: (8 pts)
Provide relevant and convincing ideas about the topic, supported by specific example and/or reasonable
justification.
3. Organisation: (8 pts)
- Ideas are well organized and presented with unity, cohesion and coherence.
4. Language: (6 pts)
- Demonstrate of a wide range of vocabulary and structures.
- Good use of grammatical structures.
- Present the ideas with clarity.
5. Punctuations and spelling. (1 pts)
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TOTAL: 200 points
LISTENING TRANSCRIPT
Part 1:
Interviewer: Stan, you are known as being something of a conservative as far as dance is concerned, so I was
intrigued when you told me you wanted to discuss Alain Platel’s ballet Wolf on tonight’s programme. Wolf
generated a furore in certain circles when it was first performed, didn’t it?
Stan: Yes, it’s attracted its fair share of criticism, but it’s also been welcomed as one of the most fascinating
modern dance productions in recent years.
Interviewer: Some of our viewers may not have seen the ballet and they may be wondering why all the fuss,
so could I ask you to describe briefly what Wolf is about.
Stan: Well, basically, it’s about homeless people living in a disused life. And it features some startling
innovations, including the use of dogs as characters.
Interviewer: How do the dogs come into it?
Stan: Well, as I understand it, the pack of dogs represents this return to a primitive state. At least, that’s the
idea Platel is trying to convey.
Interviewer: What do you think of the idea of using animals on stage in this way? Can it be justified?
Stan: Well, more and more choreographers these days are moving beyond the traditional limits of dance, and I
don’t disapprove of this in principle. Many are turning to technology, for instance, using computers to plan the
actual choreography.
Interviewer: Sometimes even using projections of dancers alongside the real ones…
Stan: Exactly. I find all this very interesting – take the work of Annette Sanderson in New York, for instance
– but I think it’s now going beyond the genre of dance and turning into something else. Whereas I think Platel
is coming from the other direction, it you like, working more with improvisation and basic ensemble
techniques.
Interviewer: How do audiences respond to Wolf?
Stan: By and large, quite enthusiastically. I think some people are surprised at how well it all works. The dogs
generally keep very close to one of the characters. Apparently, the dancer works intensively with them during
rehearsal, and the dogs have learned to imitate his movements. That fascinates audiences. Of course,
sometimes the dogs distract attention from an important piece of dancing, but I don’t feel this is a real
problem.
Interviewer: Do the dogs do anything special during the performance?
Stan: No. Their main function is to add atmosphere. It’s not like a circus, with the dogs performing tricks! At
the same time, you realize they have been trained and are, in a sense, putting on a show simply by remaining
on stage with the human performers. During the performance I saw, a member of the audience in the front row
tried to call the dogs over to him, which made them look away from the dancers towards the audience. It
spoiled the mood – though of course, this wasn’t the dog’s fault.
Interviewer: So the dogs fulfill a kind of symbolic function in the story?
Stan: Yes and no. They are attached to one of the characters, a tramp, and we are meant to understand that
they have become a pack. I must say this works rather well: you really do get the impression that the dogs and
the tramp have bonded to form a sort of community. But for me, the most striking aspect of the production
was the lurking possibility of aggression, largely as a consequence of the presence of the animals.
Interviewer: Well, Stan, I must say it all sounds fascinating. Thank you for coming along tonight and sharing
your insights with us.
Stan: My pleasure.
PART 2
Interviewer: We welcome today professor George Davies from the University
of Wales. Professor Davies is an expert on society in
sixteenth-century England, the time of Queen Elizabeth the
First and, of course, Shakespeare. So how would you
categorize society at that time, Professor?
Professor:
Well, it was certainly a society undergoing dramatic changes
in which there was an explosion of interest in the language,
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even though the printed word hadn't become universally
available. We don't quite know exactly how many people could
read and write but literacy would not have extended to all
levels of society. Some historians call it an illiterate
society, but that seems rather pejorative. No, the best way
of putting it, in my view, is to refer to it as a preliterate society, like most societies that have ever been on
planet. In fact our society, in which we tend to expect
everybody to be literate, is the one which is out of step.
Interviewer: So how did this pre-literacy affect ability to communicate
at that time?
Professor:
What it meant was that the prime form of communication was
direct speech, face to face, which means communication
involving the body, the stance, the distance between people.
It also meant that people were much more finely tuned to the
spoken word, they could take in more of it, they could
listen in a more acute way. It's therefore quite natural
that the art form which corresponds to that particular
situation should be drama.
Interviewer: One thing that has always puzzled me is where did the actors
in the sixteenth century learn their craft? Were there any
drama schools then?
Professor:
Well, Shakespeare's actors, the boys and the older men in
his company, didn't actually have any acting training before
they joined his company. You see, in Shakespeare's day you
learned your school work by repeating it out loud all day
long. The arts of oratory and rhetoric were part of your
normal education and they were also the means by which you
learned. So they had wonderful voice training, which enabled
them to develop an individual style.
Interviewer: I've always thought of the Elizabethan society as one that
revelled in its voice, that at its heart delighted in giving
voice to words. Would that be correct?
Professor:
I would certainly think that the atmosphere in the average
theatre of the time would surprise us today. I believe it
would sound and feel more like a present day football
ground! In a modern theatre there's a sort of reverential
hush as the darkness descends and we feel, you know, that
we're in some sort of temple devoted to the worship of great
art. But then, the atmosphere would have been much noisier.
Remember Shakespeare and his contemporaries had theatres
which were open to the sky, and so the noise of the city,
the shout of the street sellers, the neighing of horses and
so forth would add to and mix with the sounds of the stage
and indeed, in my view, would comment on them.
Interviewer: So, in the same way, this was not a world for the shy or the
softly spoken?
Professor:
Not at all. People's voices in the sixteenth century, it
seems to me, wouldn't have been geared to the exchange of
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intimate revelations about the self. This is a notion of
speaking that is a twentieth-century concept, as is our
notion that a play should give you the intimate, personal
feelings of the author or of a character on the stage. Then,
art was largely about external issues, how a country should
be governed, how one should deal with rebellion, questions
of that order.
Interviewer: Fascinating, Professor. I'd like at this point to bring in
another speaker who is going to tell us about Elizabethan
court life and how Shakespeare......
PART 3
TD: Doctor Jones, how can we have confidence in projections of climate a hundred years ahead when
it’s hard enough to say what the weather will be like tomorrow?
EJ: Well, the point is that climate and weather are two different things. Weather refers to temperatures,
rain and wind on a given day at a particular place. Climate reflects a long-term average, sometimes
over a very large area. Averages are easier to estimate than the specific characteristics of weather. For
example, although it’s notoriously difficult to predict if it will rain or the exact temperature of any
particular day at a specific location, it is more predictable that on average, in a certain area, it will be
colder in December than in July. And scientists now have access to climate models which are
sophisticated enough to be able to recreate past climates, which adds to our confidence that projections
of future climates are accurate.
TD: OK, but we’ve had times in the past when we’ve had rapid warming without disasters, so why
can’t we cope with future warming?
EJ: Yes the Earth experienced rapid warming at the end of the last glacial period, but for the last 10,000 years
our climate has been pretty stable. During this period, the world's population has grown tremendously. Now,
many heavily populated areas, such as urban centres in low-lying coastal zones, are much more vulnerable to
climate shifts.
TD: Even if the Earth is warming, can we be sure how much of the warming is caused by humans?
Couldn’t it just be the increased intensity of the sun?
EJ: Well yes, the sun's intensity does vary. In the late 1970s, sophisticated technology was developed that can
directly measure the sun's intensity, and these measurements show that in the past 20 years the sun's variations
have been very small. Indirect measures of changes in the sun's intensity since the beginning of the industrial
revolution show that the variations do not account for all the warming that occurred in the 20th century and
that the majority of the warming was caused by an increase in human-made greenhouse gas emissions. Most
scientists now agree that most of the warming over the last 50 years is due to human activities, not natural
causes.
TD: I read that there will be an average temperature increase of about one and a half to five and a half degrees
over the next century.
EJ: That’s one of several projections. It sounds small, but even small temperature changes can lead to large
climate shifts. For example, it has been calculated that the average temperature difference between the end of
the last ice age and today is very small, in fact only about five degrees. The impacts associated with the
deceptively small change in temperature can be seen everywhere. Glaciers are melting, spring is arriving
earlier, mountain tops are losing their snow, hurricanes are occurring more often.
TD: I also read recently that the oceans absorb most of the extra carbon dioxide.
EJ: They absorb some, but since the Industrial Revolution, the burning of fossil fuels like coal and oil has put
about twice as much carbon dioxide into the atmosphere than is naturally removed by oceans and forests.
Today, carbon dioxide levels are 30% higher than pre-industrial levels, probably at the highest level in the past
20 million years. Carbon dioxide created by burning fossil fuels like oil and coal can stay in the atmosphere
for as long as 200 years. So even if we stopped producing it today, it would take centuries for amounts of
carbon dioxide to come down to what it was in pre-industrial times. We need to act now.
TD: So, how much do we need to reduce emissions by to avoid disaster?
EJ: There are various predictions and different definitions of disaster. One of the latest studies
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projects that if carbon dioxide concentrations are capped at 450 parts per million, major climate disruptions
may be avoided, although some damage may be unavoidable. But measures need to be taken now. We can’t
afford to delay, we risk grave consequences for human society.
TD: Well, thank you very much for coming in this afternoon. It was very interesting and I’m sure it’s given
listeners a lot of food for thought.
...............THE END................
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