Yellowstone National Park offers a variety of ranger programs throughout the park, and throughout the year. The following are descriptions of the ranger programs this summer.
Experiencing Wildlife in Yellowstone（May 26 to September 2）
Whether you’re hiking a backcountry trail（小径）, camping, or just enjoying the park’s amazing wildlife from the road, this quick workshop is for you and your family. Learn where to look for animals and how to safely enjoy your wildlife watching experience. Meet at the Canyon Village Store.
Junior Ranger Wildlife Olympics（June 5 to August 21）
Kids can test their skills and compare their abilities to the animals of Yellowstone. Stay for as little or as long as your plans allow. Meet in front of the Visitor Education Center.
Canyon Talks at Artist Point（June 9 to September 2）
From a classic viewpoint, enjoy Lower Falls, the Yellowstone River, and the breathtaking colors of the canyon（峡谷）while learning about the area’s natural and human history. Discover why artists and photographers continue to be drawn to this special place. Meet on the lower platform at Artist Point on the South Rim Drive for this short talk.
Photography Workshops（June 19& July 10）
Enhance your photography skills—join Yellowstone’s park photographer for a hands-on program to inspire new and creative ways of enjoying the beauty and wonder of Yellowstone.
6/19-Waterfalls &Wide Angles: meet at Artist Point.
7/10-Wildflowers &White Balance: meet at Washburn Trailhead in Chittenden parking area.
Which of the four programs begins the earliest?
What is the short talk at Artist Point about?
Where will the participants meet for the July 10 photography workshop?
Turning soil, pulling weeds, and harvesting cabbage sound like tough work for middle and high school kids. And at first it is, says Abby Jaramillo, who with another teacher started Urban Sprouts, a school garden program at four low-income schools. The program aims to help students develop science skills, environmental awareness, and healthy lifestyles.
Jaramillo’s students live in neighborhoods where fresh food and green space are not easy to find and fast food restaurants outnumber grocery stores. "The kids literally come to school with bags of snacks and large bottles of soft drinks," she says. "They come to us thinking vegetables are awful, dirt is awful, insects are awful." Though some are initially scared of the insects and turned off by the dirt, most are eager to try something new.
Urban Sprouts’ classes, at two middle schools and two high schools, include hands-on experiments such as soil testing, flower-and-seed dissection, tastings of fresh or dried produce, and work in the garden. Several times a year, students cook the vegetables they grow, and they occasionally make salads for their entire schools.
Program evaluations show that kids eat more vegetables as a result of the classes. "We have students who say they went home and talked to their parents and now they’re eating differently," Jaramillo says.
She adds that the program’s benefits go beyond nutrition. Some students get so interested in gardening that they bring home seeds to start their own vegetable gardens. Besides, working in the garden seems to have a calming effect on Jaramillo’s special education students, many of whom have emotional control issues. "They get outside," she says, "and they feel successful."
What do we know about Abby Jaramillo?
What was a problem facing Jaramillo at the start of the program?
Which of the following best describes the impact of the program?
What can be a suitable title for the text?
Reading Art: Art for Book Lovers is a celebration of an everyday object-the book, represented here in almost three hundred artworks from museums around the world. The image of the reader appears throughout history, in art made long before books as we now know them came into being. In artists’ representations of books and reading, we see moments of shared humanity that go beyond culture and time.
In this "book of books,” artworks are selected and arranged in a way that emphasizes these connections between different eras and cultures. We see scenes of children learning to read at home or at school, with the book as a focus for relations between the generations. Adults are portrayed（描绘）alone in many settings and poses—absorbed in a volume, deep in thought or lost in a moment of leisure. These scenes may have been painted hundreds of years ago, but they record moments we can all relate to.
Books themselves may be used symbolically in paintings to demonstrate the intellect（才智）, wealth or faith of the subject. Before the wide use of the printing press, books were treasured objects and could be works of art in their own right. More recently, as books have become inexpensive or even throwaway, artists have used them as the raw material for artworks-transforming covers, pages or even complete volumes into paintings and sculptures.
Continued developments in communication technologies were once believed to make the printed page outdated. From a 21st-century point of view, the printed book is certainly ancient, but it remains as interactive as any battery-powered e-reader. To serve its function, a book must be activated by a user: the cover opened, the pages parted, the contents reviewed, perhaps notes written down or words underlined. And in contrast to our increasingly networked lives where the information we consume is monitored and tracked, a printed book still offers the chance of a wholly private, “off-line” activity.
Where is the text most probably taken from?
What are the selected artworks about?
What do the underlined words “relate to” in paragraph 2 mean?
What does the author want to say by mentioning the e-reader?
As cities balloon with growth, access to nature for people living in urban areas is becoming harder to find. If you’re lucky, there might be a pocket park near where you live, but it’s unusual to find places in a city that are relatively wild.
Past research has found health and wellness benefits of nature for humans, but a new study shows that wildness in urban areas is extremely important for human well-being.
The research team focused on a large urban park. They surveyed several hundred park-goers, asking them to submit a written summary online of a meaningful interaction they had with nature in the park. The researchers then examined these submissions, coding（编码） experiences into different categories. For example, one participant’s experience of "We sat and listened to the waves at the beach for a while" was assigned the categories “sitting at beach” and “listening to waves.”
Across the 320 submissions, a pattern of categories the researchers call a “nature language” began to emerge. After the coding of all submissions, half a dozen categories were noted most often as important to visitors. These include encountering wildlife, walking along the edge of water, and following an established trail.
Naming each nature experience creates a usable language, which helps people recognize and take part in the activities that are most satisfying and meaningful to them. For example, the experience of walking along the edge of water might be satisfying for a young professional on a weekend hike in the park. Back downtown during a workday, they can enjoy a more domestic form of this interaction by walking along a fountain on their lunch break.
"We’re trying to generate a language that helps bring the human-nature interactions back into our daily lives. And for that to happen, we also need to protect nature so that we can interact with it," said Peter Kahn, a senior author of the study.
What phenomenon does the author describe at the beginning of the text?
Why did the researchers code participant submissions into categories?
What can we learn from the example given in paragraph 5?
What should be done before we can interact with nature according to Kahn?
As an artist who shares her journey on social media, I’m often asked by curious followers how to begin an art journey. Unfortunately, there is no magic list I can offer. I do remember, though, what it was like to be a complete beginner. So I’ve put together some good tips for starting an art journey.
·Start small. I suggest using a sketchbook（素描本）for small studies. These small studies provide inspiration and may be a springboard for more complex works in the future. 36 You’ll want to look back on your journey to see how far you’ve come.
·Paint often and paint from life. There’s no better way to improve than to put in those brush miles. Whether you paint still lifes, portraits, or landscapes, paint from life as much as possible. 37
·Continually challenge yourself to try something new. 38 Artistic growth can be a bit painful. Welcome to the club, we’ve all been there. I love taking on challenges. I once took up a challenge to create a painting every day for a month and post the works online.
· 39 Seeking and accepting constructive feedback（反馈）is crucial to growth. I post my work on social media and, in turn, have met some of the kindest people. They make me feel valued and respected, no matter my level of artistic ability.
The journey you’re on won’t follow a straight path. 40 Push through, give it time and put in the effort. You will harvest the rewards of an artistic life.
A. Get out of your comfort zone.
B. Make career plans and set goals.
C. Don’t throw away your beginner art.
D. Share your work if you feel comfortable doing so.
E. You’ll hit roadblocks, and you’ll feel discouraged at times.
F. Evaluate your performance and, if needed, redefine your role.
G. You’ll develop that painting muscle memory that only comes with repetition.
36C 37G 38A 39D 40E
In April last year, I saw a post on the PNP（Pilots N Paws）website from a family in Topeka. They had to move to Virginia but they were on a very tight 41 . They could not afford to pay for 42 for their dog, Tiffy, and 43 wanted to take her with them.
It just 44 that I was planning another PNP flight with another pilot, Karen, who 45 to take Tiffy from Kansas City to Virginia. What I was to do was fly to Topeka to 46 Tiffy.
When I met Tiffy’s owners, they seemed very 47 . George, the husband, was trying to be calm, but I could tell this was 48 for him, having to leave his dog to a 49 and trust that everything would 50 .
After some goodbyes, I asked George and his wife to help me 51 Tiffy into the plane. I promised to take care of Tiffy and 52 them as soon as we got to Kansas City.
The flight was 53 , and Tiffy was a great passenger. The next day, she 54 with Karen and made it back to George in Virginia within a few days. He was so 55 and sent me a nice e-mail with pictures. It felt great to know that I had helped bring this family together again.
41A. turn B. budget C. schedule· D. connection
42A. food B. shelter C. medicine D. transportation
43A. desperately B. temporarily C. secretly D. originally
44A. appeared B. proved C. happened D. showed
45A. waited B. offered C. hurried D. failed
46A. see off B. look for C. hand over D. pick up
47A. confused B. nervous C. annoyed D. curious
48A. hard B. fine C. common D. lucky
49A. coworker B. passenger C. stranger D. neighbor
50A. speed up B. work out C. come back D. take off
51A. feed B. follow C. change D. load
52A. call B. join C. leave D. serve
53A. unnecessary B. unexpected C. unavoidable D. uneventful
54A. returned B. fought C. flew D. agreed
55A. thankful B. generous C. proud D. sympathetic
41B 42D 43A 44C 45B 46D 47B 48A 49C 50B 51D 52A 53D 54C
Whenever I tell people that I teach English at the Berlin Zoo, I almost always get a questioning look. Behind it, the person is trying to figure out who exactly I teach…the animals?
Since June 2017, right before the 56 （arrive）of the two new pandas, Meng Meng and Jiao Qing, I have been helping the panda keepers at the zoo to feel more comfortable and 57 （confidence）speaking English. And who do they speak English 58 ?
Not the pandas, even though 59 language used for the medical training instructions is actually English. They talk to the flood of international tourists and to 60 （visit）Chinese zookeepers who often come to check on the pandas, which are on loan from China. They also need to be ready to give 61 （interview）in English with international journalists. This is 62 they need an English trainer.
So, what are they learning? 63 （basic）, how to describe a panda’s life. It’s been an honor to watch the panda programme develop 64 to see the pandas settle into their new home. As a little girl, I 65 （wish）to be a zookeeper when I grew up. Now, I’m living out that dream indirectly by helping the panda keepers do their job in English.
56arrival 57confident 58to 59the 60visiting 61interviews 62why 63Basically 64and 65wished
假定你是李华, 外教Ryan准备将学生随机分为两人一组, 让大家课后练习口语, 你认为这样分组存在问题。请你给外教写一封邮件, 内容包括:
阅读下面材料, 根据其内容和所给段洛开头语续写内段, 使之构成一篇完整的短文。
When I was in middle school, my social studies teacher asked me to enter a writing contest. I said no without thinking. I did not love writing. My family came from Brazil, so English was only my second language. Writing was so difficult and painful for me that my teacher had allowed me to present my paper on the sinking of the Titanic by acting out a play, where I played all the parts. No one laughed harder than he did.
So, why did he suddenly force me to do something at which I was sure to fail? His reply: "Because I love your stories. If you’re willing to apply yourself, I think you have a good shot at this.” Encouraged by his words, I agreed to give it a try.
I chose Paul Revere’s horse as my subject. Paul Revere was a silversmith（银匠）in Boston who rode a horse at night on April 18, 1775 to Lexington to warn people that British soldiers were coming. My story would come straight from the horse’s mouth. Not a brilliant idea, but funny; and unlikely to be anyone else’s choice.
What did the horse think, as he sped through the night? Did he get tired? Have doubts? Did he want to quit? I sympathized immediately. I got tired. I had doubts. I wanted to quit. But, like Revere’s horse, I kept going. I worked hard. I checked my spelling. I asked my older sister to correct my grammar. I checked out a half dozen books on Paul Revere from the library. I even read a few of them.
When I handed in the essay to my teacher, he read it, laughed out loud, and said, “Great. Now, write it again." I wrote it again, and again and again. When I finally finished it, the thought of winning had given way to the enjoyment of writing. If I didn’t win, I wouldn’t care.