正确答案: A

李广

题目：下列人物中被誉为"飞将军"的我国古代名将是( )。

解析：李广，西汉抗击匈奴名将，被誉为"飞将军"。与李广有关的诗句：唐·王昌龄《出塞》"但使龙城飞将在，不教胡马度阴山"，"唐·卢纶《塞下曲》"平明寻白羽，没在石棱中"。故选择A。B霍去病，西汉抗击匈奴名将，逐匈奴于漠北，封狼居胥。汉武帝时候陪葬汉武帝茂陵。著名汉代雕塑"马踏匈奴"，就出土自霍去病墓。C蒙恬，秦朝名将。主持修建秦长城，却匈奴其百余里。D周亚夫，西汉名将，汉景帝时期平定七国之乱。

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学习资料的答案和解析：

[单选题]改革评价方式是基础教育课程改革的目标之一，其核心价值取向是( )。

发展性取向

解析：在《基础教育课程改革纲要>中有明确的表述："建立促进学生全面发展的体系。评价不仅要关注学生的学业成绩，而且要发现和发展学生多方面的潜能，了解学生发展中的需要，帮助学生认识自我，建立自信。"故选择C。

[单选题]文成公主入藏和亲嫁与松赞干布，这一历史事件发生的朝代是( )。

唐朝

解析：唐贞观14年(640)，唐太宗李世民封李氏为文成公主，唐贞观15年(641)远嫁吐蕃，成为吐蕃赞普松赞干布的王后。故选择C。与唐朝有关的历史事件还有：玄武门之变一一唐太宗李世民执政："以铜为鉴，可以正衣冠，以人为鉴，可以知得失，以史为鉴，可以知兴替"一一太宗李世民与大臣魏征，开启贞观之治；武周篡唐一一武则天称帝；开元盛世一一唐明皇（唐玄宗）；"在天愿作比翼鸟，在地愿为连理枝"一一唐明皇与杨贵妃的爱情故事：安史之乱一一大唐由盛转衰；藩镇割据；"冲天香阵透长安，满城尽带黄金甲"一一黄巢起义，唐朝灭亡。B选项，与晋朝有关的历史事件：司马昭之心路人皆知一一司马昭代替魏，建立西晋；八王之乱，五胡乱华一一西晋灭亡；衣冠南渡一一东晋建立；淝水之战一一东晋大败前秦。A选项，与汉朝有关的历史事件：汉高祖刘邦布衣天子一一建立西汉：封狼居胥一一汉武帝北征匈奴；罢黜百家，独尊儒术一一汉武帝；张骞出使西域一一汉武帝；王莽篡汉，光武中兴一一汉光武帝建立东汉；班超经营西域一一东汉。D选项，与宋朝有关的历史事件：陈桥兵变，黄袍加身，杯酒释兵权一一宋太祖赵匡胤建立北宋：澶渊之盟一一北宋与辽议和；王安石变法一一北宋神宗；靖康之变一一宋徽宗、宋钦宗被虏塞北，北宋灭亡；岳飞精忠报国一一南宋；"人生自古谁无死，留取丹心照汗青"一一南宋文天祥英勇就义。

[单选题]关于义务教育的理解，不正确的是( )。

义务教育是自愿接受的教育

解析：义务教育是具有强制性的教育，"自愿接受"说法错误。

[单选题]学生边听讲边记笔记属于( )。

注意的分配

解析：注意的品质包括注意的范围（注意的广度），注意的稳定性（注意的持久性），注意的分配，注意的转移。注意的分配是在同一时间内把注意力集中于两种或两种以上对象或活动上的特性。"学生边听讲边记笔记"，就是将注意力同时集中在两种以上的活动对象，故选择B。A选项，注意的分散，是注意稳定性的对立面，是指注意力不能长期保持稳定。比如，"三心二意"，"小猫钓鱼"等。C选项，注意的动摇又称注意的起伏，是指人的注意是不能长时间地保持固定不变的，经常出现周期性的加强或减弱。如，比赛时，预令和动令的间隔的时间，不能超过2秒，防止运动员因为注意的起伏而影响成绩。D选项，注意的转移是指人有意识地把注意力从一事物转到另一事物上去。与注意分散进行区分一一注意分散是无意识的，被无关事物干扰，具有消极性；注意的转移是有意识的，主动的将注意力转移到其它对象，具有激进性。

[单选题]教师在激发学生的学习动机是要对学生的学习效果提供及时的反馈，这种途径的理论基础是( )。

强化理论

解析：强化理论是美国的心理学家和行为科学家斯金纳、赫西、布兰查德等人提出的一种理论，也称为行为修正理论或行为矫正理论。故选择B。A选项，马斯洛需求层次理论将人的需要，从低到高按层次分为五种，分别是：生理需求、安全需求、社交需求、尊重需求和自我实现需求。C选项，社会学习理论的创始人班杜拉从社会学习的观点出发，在1977年提出了自我效能理论，自我效能感是个人对自己完成某方面工作能力的主观评估。评估的结果如何，将直接影响到一个人的行为动机。自我效能理论一经提出，就引起了动机心理学家们的极大兴趣。D选项，成就动机理论是研究人的需求和动机，于50年代在一系列文章中提出的。如今有两个比较著名的理论：美国哈佛大学教授戴维·麦克利兰和美国著名心理学家约翰·威廉·阿特金森。麦克利兰把人的高层次需求归纳为对成就、权力和亲和的需求。其次，由于具有不同需要的人需要不同的激励方式，了解员工的需要与动机有利于合理建立激励机制。

[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. "

What did the new generation Latino writers do to get their works known to the public?

They read their books in public places

解析：根据最后一段中的”Crossing the country,they read in local bookstores, libraries and schools,可知D项正确，故选择D。

[单选题]Passage 1 In the field of psychology, there's 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, Beeman 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. A choreographer, an artist, a writer, a scientist, or a mathematician with a novel discovery -these are the creatives, the people who bring something new into the world. 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 of papers 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 puts 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. l'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 of blinking 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 focussed on it-that is, blinked less frequently, signalling 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 simply following someone's eyes and measuring her blinks and fixation times (how long she looks at something before either looking away or closing her eyes), 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 of insights.

Based on the experiment, which of the following may signal that the subject is nearing the solution?

The subject is distracted from the given words

解析：根据原文”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.”当实验主体通过转动眼睛或眨眼，不再聚焦某一特定词语，他联想的词语可能更抽象，范围也更广。也就是说当实验主体转移注意力，不再聚焦在某一特定词语时，可以预测他解决问题的可能性以及何时能得出正确答案，故选择C。考点延伸：looks away at something else“看向别处”。