某初级中学开展"法制教育月"活动，要求学生父母积极配合，有些父

【名词&注释】

社会生活(social life)、法制教育、学科知识(subject knowledge)、自定义(user-defined)、初级中学(junior secondary school)、幻灯片放映(run slides)、替代强化(replacement intensifying)、幻灯片切换、顿悟说(insight theory)、传统课程目标

[单选题]某初级中学开展"法制教育月"活动，要求学生父母积极配合，有些父母说："孩子送到学校，学校就该负责他的所有教育，我们平时工作忙哪有时间管呢？"这些父母的说法( )。

A. 正确，学校不能推卸自己的教育责任
B. 正确，父母没有承担法制教育的责任
C. 不正确，父母对未成年人的法制教育负有直接责任
D. 不正确，学校对未成年人的法制教育负有全部责任

查看答案&解析 查看所有试题

学习资料：

[单选题]下列PowerPoint功能选项中，可将幻灯片放映的换页效果设为"垂直百叶窗"的是( )。

A. 自定义动画
B. 动画方案
C. 幻灯片切换
D. 动作设置

[多选题]关于我国传统课程目标存在的问题，说法正确的是( )。

A. 过分重视学科知识方面的目标，忽视学生的需要
B. 过分重视学科知识的单一功能，未能体现出学科发展的整体目标
C. 过于重视未来生活的需要，而忽视了学生的现实社会生活
D. 过于注重了"教程"，而忽视了"学程"

[单选题]以下不属于班杜拉对学生行为强化的方式是( )。

A. 直接强化
B. 替代强化^{(replacement intensifying)}
C. 自我强化
D. 榜样强化

[单选题]美国心理学家桑代克通过饿猫打开迷笼的实验，提出了学习的( )。

A. 联结一试误说
B. 完形一顿悟说^{(insight theory)}
C. 认知一目的说
D. 知一发现说

[单选题]社会学习模式主要是美国的( )创立的。

A. 皮亚杰
B. 科尔伯格
C. 麦克费尔
D. 班杜拉

[单选题]Passage 1 　　With her magical first novel, Garcia joins a growing chorus of talented Latino writers whose voices are suddenly reaching a far wider, more diverse audience. Unlike Latin American writers such as Colombia's Gabriel Garcia Marquee of Peru's Mario Vargas Llosa-whose translated works became popular here in the 1970s-these authors are writing in English and drawing their themes from two cultures. Their stories, from "Dreaming in Cuban" to Julia Alvarez's "How the Garcia Girls Lost Their Accent" and Victor Villasenor's "Rain of Gold", offer insight into the mixture of economic opportunity and discrimination that Latinos encounter in the United States. "Garia Girls" for example, is the story of four sisters weathering their transition from wealthy Dominicans to ragtag immigrants, "We didn't feel we had the beat the United States had to offer:' one of the girls says, "We had only second-hand staff, rental houses in one redneck Catholic neighborhood after another, clothes at Round Robin, a black and white TV afflicted with wavy lines. " Alvarez, a Middlebury College professor who emigrated from Santo Domingo when she was 10, says being an immigrant has given her a special vantage point: "We travel on that border between two worlds and we can see both points of view. " 　　With few exceptions, such as Chicano writer Rudolfo Anaya, many Hispanic-Americans have been writing in virtual obscurity for years, nurtured only by small presses like Houston's Arte Pubilco or the Bilingual Press in Tempe, Ariz. Only with the recent success of Sandra Cisneros's "Woman Hollering Ceek" and Oscar Hijuelos's prize-winning novel, "The Mambo Kings Play Songs of Love," have mainstream publishers begun opening door to other Latinos. Julie Grau, Cisneros's editor at Turtle Bay, says, "Editors may now be looking more carefully at a book that before they would have deemed too exotic for the general readership. 　　But if Villasenor's experience is any indication, some editors are still wary. In 1989, Putnam gave Villasenor a $75,000 advance for the hardcover rights to "Rain of Gold:' the compelling saga of his family's migration from Mexico to California. But the editors, says Villasenor, wanted major changes: "They were going to destroy the book. lt's nonfiction; they wanted to publish it as a novel. And they wanted to change the title to 'Rio Grande', which sounded like some old John Wayne movie. " After a year of strained relations, he mortgaged his house, borrowed his mother's life savings and bought back the rights to the book that had taken 10 years to write. 　　In frustration, Villasenor turned to Arte Publico. In the eight months since its release, "Rain of Gold" has done extremely well, considering its limited distribution; 20,000 copies have been sold. "If we were a mainstream publisher, this book would have been on The New York Times best-seller list for weeks:' says Arte Pulico's Nicolas Kanelos. The author may still have a shot: he has sold the paperback rights to Dell. And he was just named a keynote speaker (with Molly lvins and Norman Schwarzkopf for the American Booksellers Association convention in May. Long before they gained this sort of attention, however, Villasenor, Cisneros and other Latino writers were quietly building devoted followings. Crossing the country, they read in local bookstores, libraries and schools. Their stories, they found, appeal not only to Latinos-who identify with them, but to a surprising number of Anglos, who find in them a refreshingly different perspective on American life. Still, there are unusual pressures on these writers. Cisneros vividly recalls the angst she went through in writing the final short stories for "Woman Hollering": "I was traumatized that it was going to be one of the first Chicano books 'out there. ' I felt I had this responsibility to my community to represent us in all our diversity. "

Which of the following is true of Garcia as a Latino writer according to the passage?

A. She offered insight into the confrontations between two cultures
B. She emigrated from Santo Domingo when she was 10 years old
C. She became popular for her translated works in America in the 1970s
D. She described her transition from wealthyDominicans to ragtag immigrants

[单选题]If you are curious about the history of our school or concerned about the future, you__________miss the excellent opportunity.

A. may
B. needn't
C. could
D. mustn't

[单选题]When the teacher gives feedback to students in teaching writing,he/she should 　　NOT_______.

A. make positrve comments on the good features of the writing
B. give words simply like "good" or "very good" to the writing
C. point out areas for improvement
D. express his/her personal opinion on the issue that student has written

本文链接：https://www.51bdks.net/show/9wrkv6.html