阅读下面的材料，按要求作文。 20世纪30年代，梅兰芳先生初到

【名词&注释】

相互影响(interaction)、客观条件(objective condition)、《窦娥冤》(the tragedy of dou e)、情真意切、鸦片战争前(before the opium war)、生死存亡(grave crisis)、《西游记》作者吴承恩、日新月异(change quickly)、内容空洞

[多选题]阅读下面的材料，按要求作文。 20世纪30年代，梅兰芳先生初到上海，虽然他唱功绝佳，誉满京华，但要在大上海一下子出名也难。当时想在报纸上登广告，但广告怎么写，才能引起人们的注意呢？经过一番筹划，戏班子决定在报纸上只印三个字--梅兰芳。当时上海的市民并不知道梅兰芳是谁，因为好奇，都在互相打听，连登了一周之后，报纸上登出了一个详细的广告："梅兰芳--京剧名旦，今晚在上海茶戏园登台献艺。欢迎观看。"就这样，先生在上海一唱走红。 　　综合上述材料所引发的思考和感悟，写一篇不少于800字的论说文。 　　要求： 　　用规范的现代汉语写作，角度自选，立意自定，标题自拟。

A. 【参考范文】参考范文：创新是社会发展的主动力 《大学》有云："苟日新，又日新，日日新。"著名的喜剧演员卓别林曾经说过："对于一个艺术家来说，如果能够打破常规，完全自由进行创作，其成绩往往会是惊人的。"古往今来，无数仁人志士以创新推动着社会的进步，进入21世纪，创新更是已经成为社会发展的主动力。创新引领科技的未来。如果没有创新，世界上第一盏电灯就不能诞生，我们还要在煤油灯暗淡的光下生活一辈子：如果没有创新，第一架飞机就不能出现，人们要经过几个月乃至几十年的时间历经艰辛，长途跋涉才能到达目的地；如果没有创新，社会便不会如此现代化，人们之间的联系也不会如此紧密。因为创新，电灯取代了蜡烛，楼房取代了平房，空调取代了风扇。因为创新，科技日益进步。 创新是民族的希望。回顾中国历史，在15世纪以前，我们有四大发明，我们出现过汉唐盛世，中国的经济技术在世界上一直处于领先地位。此后便逐渐从强盛走向没落，来到鸦片战争前夕更是腐朽到极点，从头到脚都烂透了。其中一个重要原因就是封建统治者的闭关自守、固步自封、因循守旧、不思创新。在科技日新月异^{(change quickly)}的今天，世界各国人民都在争相创新，如果我们不紧跟时代，勇于创新，就有可能重蹈近代史上那种濒临亡国灭种的悲剧。所以邓小平告诫："一个党，一个国家，一个民族，如果一切从本本出发，思想僵化，迷信盛行，那它就不能前进，它的生机就停止了，就要亡党亡国。"江泽民同志更是把创新提到前所未有的高度，他指出"创新是一个民族的灵魂，是一个国家兴旺发达的不竭动力，也是一个政党永葆生机的源泉"。两代领导人都把创新与国家和民族的生死存亡紧密相连。 创新是国家发达的不竭动力。惟创新者进，惟创新者强，惟创新者胜。新时代，创新驱动发展是实现经济社会持续健康发展的必由之路。习近平同志指出，必须把创新作为引领发展的第一动力，把创新摆在国家发展全局的核心位置，不断推进理论创新、制度创新、科技创新、文化创新等各方面创新，让创新贯穿党和国家一切工作，让创新在全社会蔚然成风。惟创新才能在世界潮流激荡中站稳脚跟，惟创新才能让国家在持续健康发展中强起来。 创新让艺术百家争鸣；创新让技术改变生活；创新让科技引领未来：创新可以使一个人收获他所没有的荣耀和地位：创新可以让艺术百家争鸣、让技术改变生活；创新可以使一个民族挺起脊梁，让一个国家有未来；创新可以使一个时代成为荣耀；创新让社会充满源源不断的发展动力。

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学习资料：

[单选题]"字字写来都是血，十年辛苦不寻常"是对( )的评价。

A. 《水浒传》
B. 《窦娥冤》
C. 《红楼梦》
D. 《西游记》

[单选题]新课程改革后，学生的学习方式转变为"自主学习"、"合作学习"和( )。

A. 被动学习
B. 接受学习
C. 个体学习
D. 研究性学习

[单选题]从现代认知心理学的观点看，创造力培养的最好途径是( )。

A. 进行发散性思维训练
B. 进行反省认知训练
C. 加强基本技能训练
D. 在重视基础知识、基本技能的同时，注意解决问题策略训练

[单选题]以下现象，不属于学习的迁移的是( )。

A. 由于经常打篮球，小陈的跳高能力很不错
B. 学会骑自行车后，学会骑摩托车的速度特别快
C. 由于画画得很好，小张在美术社表现很出色
D. 由于从小喜欢剪草，小王长大了成了一名出色的理发师

[单选题]学习迁移产生的客观条件是( )。

A. 学生的智力水平
B. 学习的理解和巩固程度
C. 学习对象之间的共同要素
D. 学习的方法

[单选题]通过平行四边形的判断训练，学生对长方形面积的判断的成绩提高，而对三角形、圆形、不规则图形的判断的成绩没有提高。可用于解释这种现象的迁移理论是( )。

A. 形式训练说
B. 共同要素说
C. 概括化理论
D. 学习定势说

[单选题]请阅读 Passage 1,完成1~5小题。 　　Passage 1 　　In the field of psychology,there has long been a certain haziness surrounding the definition of creativity,an I-know-it-when-I-see-it attitude that has eluded a precise formulation.During our conversation,Mark Beeman,a cognitive neuroscientist at Northwestern University,told me that he used to be reluctant to tell people what his area of study was,for fear of being dismissed or misunderstood.What,for instance,crosses your mind when you think of creativity? Well,we know that someone is creative if he produces new things or has new ideas.And yet,as John Kounios,a psychologist at Drexel University who collaborates frequently with Beeman,points out,that view is wrong,or at least not entirely right."Creativity is the process,not the product," he says. 　　To illustrate,Beeman offers an example.Imagine someone who has never used or seen a paperclip and is struggling to keep a bunch ofpapers together.Then the person comes up with a new way of bending a stiff wire to hold the papers in place. "That was very creative," Beeman says.On the flip side,if someone works in a new field-Beeman gives the example of nanotechnology-anything that he produces may be considered inherently "creative".But was the act of producing it actually creative? As Beeman put it,"Not all artists are creative.And some accountants are very creative." 　　Insight,however,has proved less difficult to define and to study.Because it arrives at a specific moment in time,you can isolate it,examine it,and analyze its characteristics."Insight is only one part of creativity," Beeman says."But we can measure it.We have a temporal marker that something just happened in the brain.I'd never say that's all of creativity,but it's a central, identifiable component." When scientists examine insight in the lab.they are looking at what types of attention and thought processes lead to that moment of synthesis: If you are trying to facilitate 　　a breakthrough,are there methods you can use that help? If you feel stuck on a problem,are there tricks to get you through? 　　In a recent study,Beeman and Kounios followed people's gazes as they attempted to solve what's called the remote-associates test,in which the subject is given a series of words,like "pine" "crab" and "sauce" and has to think of a single word that can logically be paired with all of them.They wanted to see if the direction of a person's eyes and her rate ofblinking could shed light on her approach and on her likelihood of success.It turned out that if the subject looked directly at a word and focused on it-that is,blinked less frequently,signaling a higher degree of close attention-she was more likely to be thinking in an analytical,convergent fashion,going through possibilities that made sense and systematically discarding those that didn't.If she looked at "pine" say,she might.be thinking of words like "tree" "cone" and "needle" ,then testing each option to see if it fit with the other words.When the subject stopped looking at any specific worD.either by moving her eyes or by blinking,she was more likely to think of broader,more abstract associations.That is a more insight-oriented approach."You need to learn not just to stare but to look outside your focus," Beeman says.(The solution to this remote-associates test: "apple" .) 　　As it turns out,by simple following someone's eyes and measuring her blinks and fixation times,Beeman's group can predict how someone will likely solve a problem and when she is nearing that solution.That's an important consideration for would-be creative minds: it helps us understand how distinct patterns of attention may contribute to certain kinds ofinsights.

In PARAGRAPH FOUR,which of the following shows the purpose of describing the experiment?

A. To discern the link between analytical thinking and insights.
B. To discern connection between close attention and insights.
C. To discern connection between close attention and imagination.
D. To test people's capacity for close attention and abstract association.

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