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Section II Reading Comprehension
Part A
Directions:
Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on the ANSWER SHEET. (40 points)
Text 1
The grammar school boy from Stratford-upon-Avon has landed a scholarly punch after groundbreaking research showed he does benefit children’s literacy and emotional development.But only if you let him act.
A study found that a “rehearsal room” approach to teaching Shakespeare broadened children’s vocabulary and the complexity of their writing as well as their emotional literacy.
Its randomised control trial involved hundreds of year 5 pupils — aged nine and ten — at 45 state primary schools that had not been “previously exposed to RSC pedagogy”, and with above- average eligibility for free schools meals.They were split into target and control groups with both asked to write, for example, a message in a bottle as Ferdinand following the shipwreck in The Tempest. The target group were given a 30-minute drama-based activity based on the RSC’s own models to accompany the passage.
The peer-reviewed results showed the target group of pupils drew on a wider vocabulary, used words “classed as more sophisticated or rarer”, and wrote at greater length.They also “appear to be more comfortable writing in role … while [control] pupils imagine how they themselves would react to being shipwrecked, [target] children put themselves in the shoes of a literary character and express that character’s emotion” . The Time to Act study, which is published by the RSC this week, also found that while control pupils relied on “desert island clichés” such as palm trees, target pupils were “more expansive [giving] a broader picture of the sky, thesea and the atmospheric conditions” .
O'Hanlon said she had been most surprised by the “emotional literacy that was evident in the [target] children's writing” and that they were “more resilient in their writing, more hopeful". She added: “The emotional understanding was very evident and it is probably related to the [rehearsal room process] where you are used to trying to imagine your way through. They were comfortable in describing different emotional states and part of what you do in drama is put yourself in different shoes." The study showed the importance of embedding arts in education, she said.
But could the results be replicated with any old dramatist? O'Hanlon said more research would be needed but suggested that Shakespeare's use of 20,000 words, compared with the everyday 2,000
words, gave a "massive expansion of language into children's lives", which was combined with children “using their whole bodies to bring words to life".
21. The “rehearsal room” approach requires pupils to
A. rewrite the lines from Shakespeare
B. watch RSC actors’ performances
C. play the roles in Shakespeare
D. study drama under RSC artists
22. The study divided the publis into two groups to find whether
A.The change in instruction enhances learning outcomes
B.expanding vocabulary helps develop reading fluency C.emotion affects understanding of sophisticated works D.the classroom activity stimulates interest in the arts
23. Control pupils’ reliance on “desert island clichés” shows their
A.weakness in description
B.omission of small details C.casual style of writing
D.preference for big words
24. According to O'Hanlon, what can promote children's emotional literacy?
A. Writing in an imaginative manner.
B. Identifying with literary characters.
C. Drawing inspiration from nature.
D. Concentrating on real - life situations.
25. It can be inferred from the last paragraph that
A. the new teaching method may work best with Shakespeare
B.the language of Shakespeare maybe formidable for pupils
C.other old dramatists maybe included in primary education
D.pupils maybe reluctant to work on other old dramatists
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