Đề thi thử tốt nghiệp THPT môn Tiếng Anh năm 2022 - Mã đề 11

The "greenhouse effect" is the warming that happens when certain gases in Earth's atmosphere (26) ________ heat. These gases let in light but keep heat from escaping, like the glass walls of a greenhouse. First, sunlight shines onto the Earth's surface, (27) ________ it is absorbed and then radiates back into the atmosphere as heat. In the atmosphere, “greenhouse gases trap some of this heat, and the rest escapes into space. The more greenhouse gases are in the atmosphere, the more heat gets trapped. Scientists have known about the greenhouse effect since 1824, when Joseph Fourier calculated that the Earth would be much colder if it had no atmosphere. This greenhouse effect is what keeps the Earth's climate (28) ________ . Without it, the Earth's surface would be an average of about 60 degrees Fahrenheit cooler. Scientists often use the term "climate change" instead of global warming. This is because as the Earth's average temperature climbs, winds and ocean currents move heat around the globe in ways that can cool some areas, warm (29) ________, and change the amount of rain and snow falling. (30) ________, the climate changes differently in different areas. (Source: https://www.open.edu/openlearncreate/mod/oucontent)

In most families, conflict is more likely to be about clothing, music, and leisure time than about more serious matters such as religion and core values. Family conflict is rarely about such major issues as adolescents' drug use and delinquency. Nevertheless, it has been estimated that in about 5 million American families (roughly 20 percent), parents and adolescents engage in intense, prolonged, unhealthy conflict. In its most serious form, this highly stressful environment is associated with a number of negative outcomes, including juvenile delinquency, moving away from home, increased school dropout rates, unplanned pregnancy, membership in religious cults, and drug abuse (Steinberg & Morris, 2001). Many of the changes that define adolescence can lead to conflict in parent- adolescent relationships. Adolescents gain an increased capacity for logical reasoning, which leads them to demand reasons for things they previously accepted without question, and the chance to argue the other side (Maccoby,1984). Their growing critical-thinking skills make them less likely to conform to parents' wishes the way they did in childhood. Their increasing cognitive sophistication and sense of idealism may compel them to point out logical flaws and inconsistencies in parents' positions and actions. Adolescents no longer accept their parents as unquestioned authorities. They recognize that other opinions also have merit and they are learning how to form and state their own opinions. Adolescents also tend toward ego-centrism, and may, as a result, be ultra-sensitive to a parent's casual remark. The dramatic changes of puberty and adolescence may make it difficult for parents to rely on their children's preadolescent behavior to predict future behavior. For example, adolescent children who were compliant in the past may become less willing to cooperate without what they feel is a satisfactory explanation.

Even before the turn of the century, movies began to develop in two major directions: the realistic and the formalistic. Realism and formalism are merely general, rather than absolute, terms. When used to suggest a tendency toward either polarity, such labels can be helpful, but in the end, they are still just labels. Few films are exclusively formalist in style, and fewer yet are completely realist. There is also an important difference between realism and reality, although this distinction is often forgotten. Realism is a particular style, whereas physical reality is the source of all the raw materials of film, both realistic and formalistic. Virtually all movie directors go to the photographable world for their subject matter, but what they do with this material - how they shape and manipulate it determines their stylistic emphasis. Generally speaking, realistic films attempt to reproduce the surface of concrete reality with a minimum of distortion. In photographing objects and events, the filmmaker tries to suggest the copiousness of life itself. Both realist and formalist film directors must select (and hence emphasize) certain details from the chaotic sprawl of reality. But the element of selectivity in realistic films is less obvious. Realists, in short, try to preserve the illusion that their film world is unmanipulated, an objective mirror of the actual world. Formalists, on the other hand, make no such pretence. They deliberately stylize and distort their raw materials so that only the very naive would mistake a manipulated image of an object or event for the real thing. We rarely notice the style in a realistic movie; the artist tends to be self-effacing. Some filmmakers are more concerned with what is being shown than how it is manipulated. The camera is used conservatively. It is essentially a recording mechanism that reproduces the surface of tangible objects with as little commentary as possible. A high premium is placed on simplicity, spontaneity, and directness. This is not to suggest that these movies lack artistry, however, for at its best the realistic cinema specializes in art that conceals art.