Tiêu đề ĐÁP ÁN ĐỀ DUYÊN HẢI ĐÀ NẴNG LỚP 11 2024.docx ✅

1 SỞ GD-ĐT THÀNH PHỐ ĐÀ NẴNG TRƯỜNG THPT CHUYÊN LÊ QUÝ ĐÔN ĐỀ THI ĐỀ XUẤT (Đề thi gồm 22 trang) KỲ THI HỌC SINH GIỎI CÁC TRƯỜNG THPT CHUYÊN KHU VỰC DUYÊN HẢI VÀ ĐỒNG BẰNG BẮC BỘ NĂM 2024 Môn: TIẾNG ANH – LỚP 11 Thời gian: 180 phút (không kể thời gian giao đề) SECTION A: LISTENING (50 POINTS) Part I. For questions 1-5, listen to a man and a woman talking about leisure activities and decide whether these statements are True (T), False (F) or Not Given (NG). You will listen to the recording TWICE. Write your answers in the corresponding numbered boxes on your answer sheet. (10 points) 1. The man is concerned about the way he spends his free time. - TRUE 2. The man thinks there is a lack of reality on TV. - FALSE 3. The woman suppose that the man’s experience is out of the ordinary. - FALSE 4. The woman tends to lose herself when she reads a gripping book. – NOT GIVEN 5. The woman claims that people still keep their identity when they play Fantasy Football. - TRUE TRANSCRIPT M: Whenever I'm watching a game on TV, my wife always says, "Why do you watch other people live their lives instead of living yours?' And it's true. By the time I've caught up with what friends are doing online and watched some television, I don't have much space left over for my own life. (1) W: But I think we all do that, no? (3) M: Yeah, but it's become an obsession now. Like people who watch soap operas and think those people really exist or that they're friends with them. I binge-watched a TV series and I thought I lived in that world and then my life seemed so flat. W: But don't you think it's the same with books? And people are not so critical of that I mean, you can lose yourself in a good story and escape from real life - that's been true for centuries - people love stories (4). I suppose the difference is you're kind of active; you do use your imagination – it’s not fed to you on a plate. I agree nowadays people obsess over celebrities and copy them or think they can be part of their lives (2), but I don’t see the problem. I mean, if you play Fantasy Football are you being yourself? Or are you someone else? You’re not a football manager, you are you. (5) Part II. You will hear a website interview with a fashion designer called Sam Tait. For questions 6-11, choose the answer (A, B, C, or D), which fits best according to what you hear. You will listen to the recording TWICE. Write your answers in the corresponding numbered boxes on your answer sheet. (10 points)
2 6. How does Sam explain her interest in fashion design? A. Her parents were both in the fashion industry. B. She was encouraged to develop her natural enthusiasm. C. She always took an interest in her own clothes. D. She had a very good sewing teacher at school. 7. Sam says that she changed the focus of her college studies because ____________. A. she developed a new passion B. she began thinking more about her potential career C. she attended some classes given by an inspiring teacher D. she lost her initial enthusiasm 8. What does Sam say about her apprenticeship experience? A. It came in very useful when she started her own business. B. What she learnt was more valuable than anything she did at college. C. That kind of experience should be a compulsory part of college courses. D. She is graceful to her tutor for finding her such a good placement. 9. What aspect of her personality does Sam say attracted her to fashion design? A. A wish to look attractive. B. An interest in people. C. A certain shyness. D. A love of color. 10. How could Sam’s views on fashion be summed up? A. First and foremost fashion should be functional rather than artistic. B. Fashion is a good way of expressing different moods. C. The aim of fashion is to make people look better. D. Fashion is a way of bringing art into our daily lives. TRANSCRIPT Interviewer: How did you get into fashion design? Sam: Both my parents are artists. My mom's a photographer and my dad's a leathersmith. My mom picked up on my interest in looking at pictures in her fashion magazines and actually taught me to sew when I was pretty young. I would even do clothing designs on paper without realising what I was doing. In high school, I started making my own clothes - mostly altering or adding on to other things because I never liked anything the way it was when I bought it. I also made a lot of jewellery -turquoise was the stone of choice. Interviewer: What did you study at college? Sam: I started out as a jewellery major. After randomly ending up in a textile class focusing on surface
3 design, I realised that I could make my own fabrics and then make clothing out of them. I completely fell in love with all aspects of textile design and had to sort of give up the jewellery thing, even though I still loved it. Maybe I'll go back to that one day. I ended up as both a fashion design and fibres major. Interviewer: As part of your course, did you have to do any kind of apprenticeship with an established designer? How was that? Sam: The last two and a half years of school, I worked for a small business that makes hand-painted silk clothing, bags and accessories. The owner was actually one of my teachers ... there were four of us altogether - I was really lucky she chose me as one of them - and we hand-painted all the fabric, then shipped it off to be sewn in California. It's good to get this experience - you need it at least as much as you need a college diploma if you're going to succeed as a designer. Interviewer: So what do you think really inspired you to get into fashion design? Sam: It was something that started when I was really young. One theory I have is that I've always been a rather timid person- extremely so in fact, I gradually realised that clothing was something that drew attention to me and made people talk to me so I wouldn't have to start conversations. This helped me a lot. I think that's also where my thing for turquoise comes in; it's such a unique colour and in my experience, people are really interested in it, they're sort of drawn to it. Interviewer: Can you tell us about your philosophy as far as fashion is concerned? Sam: Fashion design is of course functional. Not that all art isn't functional in some way, but it's something you can actually touch and feel and interact with. In a way, it's sort of like music - it's a part of our daily life, and so should be something we really love. I mean, we can kind of be creative through the way we dress or decorate our own bodies. And then you get all this immediate feedback and reactions out of people you meet and their thoughts on what you're doing. Above all, I just really believe that the right clothing and colour can make you feel better about yourself and can give you more confidence. I think many people dress in a very boring manner in this country - sometimes even ugly - and I just don't get it. We like to be surrounded by beautiful things so why wouldn't we want our clothing to be beautiful as well? Interviewer: How do you now feel about fashion as a business? Sam: I started making clothing because I had to; I had to satisty a creative need that I couldn't in any other way. It's not always that easy though. I think it is important for young artists and designers to know this: everyone gets so much criticism these days for 'selling out' or abandoning their principles, but sometimes you have to do certain things, compromise, in order to keep doing the thing that makes you happy. I started making clothing to sell because I needed money, not because that was my goal. I started with the idea that everything would be hand-made and one-of-a-kind, I wanted to do costume and custom orders only. I would love that, but right now it's just not possible for me. I have to start producing more of one thing because that's the only way I can survive and occupy my time in the way I want to.
4 Part III. You will hear part of a radio programme in which journalist Arabella Gordon talks about the phenomenon of technophobia. Answer the following questions with a word or a short phrase (NO MORE THAN THREE WORDS). (10 points) 11. What did people think of new machines when they first appeared in their places of work? threatening and mysterious 12. Who operated the new weaving machines? women and children 13. According to the Frame Breaking Act, what was brought in the death penalty? industrial sabotage 14. What makes electronic typewriters attractive to students in the UK? the low price 15. What did Frederick Forsyth do before he was a writer? a foreign correspondent TRANSCRIPT Presenter: Many of us know someone who walks out of the room as soon as a computer is turned on, or thinks that Twitter is something found in summer gardens. Indeed, given the explosion of modern gadgetry, increasing numbers of us are finding ourselves victims of technophobia. Journalist Arabella Gordon has just finished a book on the subject. Arabella Gordon: Technophobia is the fear or dislike of advanced technology. These days it is applied mostly to computers and other electronic devices, but it has a long history. Prior to the Industrial Revolution, there were very few complex machines in Britain. Mechanical clocks were an expensive rarity, and transport hadn’t evolved beyond the horse-drawn carriage. So when machines started arriving in the workplace, they were mysterious things, and many saw them as a threat. And in one very important respect they were indeed a threat. In the weaving profession, for example, the new machines were able to do the work of skilled craftsmen using unskilled and poorly paid women and children to operate them. The artisans lost their jobs by the thousands. In 1675, a group of weavers responded to their dismissals by destroying the machines which had replaced them. This scenario was repeated many times over the following decades. By the nineteenth century, the pace of change had increased, and with the greater changes came greater social unrest. In 1811, the Luddite movement sprang up when Nottinghamshire mills and factory machinery were burnt by handloom weavers, and it soon spread to Yorkshire and Lancashire. For a while, the Luddites were so powerful that they clashed in battles with the British Army. The situation had become so serious that in 1812, Parliament passed the Frame Breaking Act, which made industrial sabotage a capital offence. In that same year, after a mass trial in York, 17 men were sentenced to be executed and many others were forcibly transported to Australia. The Luddite movement faded away soon afterwards. The early nineteenth century also saw the rise of the Romantic movement. Poets such as William Wordsworth and William Blake captured the mood of the time. They believed that the rapid technological