I explained the grammar rule as _________ as I could, but many students are still confused.

LQ

Lê Quỳnh Anh

30 tháng 12 2017

Your tea is not as strong as mine

A. My tea is stronger than yours

B. My tea is stronger than your

C. My tea is more strong than yours

D. Yours is stronger than mine

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

30 tháng 12 2017

Chọn A

Kiến thức: So sánh hơn

Giải thích:

Cấu trúc: S1 + be + not + as adj as + S2

= S2 + be + short adj-er/ more long adj + than + S1

Tạm dịch: Trà của bạn không mạnh như của tôi.

= Trà của tôi mạnh hơn của bạn.

B. Sai ngữ pháp: your => yours

C. Sai ngữ pháp: more strong => stronger

D. Của bạn mạnh hơn của tôi. => sai về nghĩa

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LQ

Lê Quỳnh Anh

19 tháng 9 2017

Mark the letter A, B, C or D on your answer sheet to indicate the sentence that is best- built from the prompts given.I / strong / advise / you / take part / volunteer works / A . I am strong advise that you should take part in volunteer works B. I strongly advise that you might take part for volunteer works C. I strongly advise that you should take part in volunteer works D. I am strong in advising you to take part in volunteer works...

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#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

19 tháng 9 2017

Đáp án là C.

A loại vì tính từ “strong” và động từ “advise” không thể đi liền nhau được.

D loại, vì không có cấu trúc: be strong in V-ing

B cũng loại vì “advise - khuyên” => mệnh đề that nên dùng “should” thay cho “might”

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LQ

Lê Quỳnh Anh

19 tháng 10 2019

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.In the European Renaissance period, artists wanted to show the importance of the individual person and his or her...

Đọc tiếp

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.

The word “Grammar ” in line 14 is closest in meaning to

A. construction

B. grammatical rules

C. rules and regulations

D. tones and volume

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

19 tháng 10 2019

C

“Grammar” = “rules and regulations”: cấu trúc, quy tắc

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LQ

Lê Quỳnh Anh

19 tháng 6 2019

Mark the letter A,B,C or D on your answer sheet to show the underlined part that needs

With (A) its (B) strong claws and its many (C) protruding tooth a gopher(D) is an excellent digger.

A. its

B. strong

C. protruding tooth

D. is

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

19 tháng 6 2019

Chọn đáp án C

Kỹ năng: Dịch

Giải thích:

potruding tooth =>potruding teeth

Động từ là “is” => teeth: danh từ số ít

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LQ

Lê Quỳnh Anh

4 tháng 1 2018

Mark the letter A,B,C or D on your answer sheet to show the underlined part that needs correction. With its (A)strong claws (B) and its many (C) protruding tooth a gopher(D) is an excellent digger A. With B. strong claws C. protruding tooth D. is ...

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#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

4 tháng 1 2018

Đáp án là C.

protruding tooth => p

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LQ

Lê Quỳnh Anh

12 tháng 9 2019

Mark the letter A, B, C, or D on your answer sheet to indicate the sentence that best combines each pair of sentences in the following questions.The students presented a strong argument at the meeting. They represented their classes. A. The students, representing their classes, presented a strong argument at the meeting. B. The students, presenting a strong argument at the meeting, represented their classes. C. The students represented their classes as they presented a strong argument at the...

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#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

12 tháng 9 2019

Đáp án A

Các sinh viên thuyết trình một luận điểm mạnh mẽ tại buổi họp. Họ đã thuyết trình ở lớp của họ

A. Các sinh viên, thuyết trình ở lớp của họ, đã thuyết trình một luận điểm mạh mẽ tại buổi họp

Dùng cấu trúc rút gọn mệnh đề quan hệ để nối 2 câu trên

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LQ

Lê Quỳnh Anh

10 tháng 6 2018

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.In the European Renaissance period, artists wanted to show the importance of the individual person and his or her...

Đọc tiếp

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.

The discovery of perspective was the result of

A. Renaissance artists’ to prove that the medieval artists could show level of reality

B. the need to turn an object at an angle and draw more than one side of it

C. the subject being shifted from religious stories to individual person and surroundings

D. natural evolution of human senses

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

10 tháng 6 2018

C

Thông tin ở câu đầu đoạn số 2: “artists wanted to show the importance of the individual person and his or her possessions and surroundings.” (thể hiện sự quan trọng của cá nhân, sự sở hữu và môi trường xung quanh) tức là the subject being shifted from religious stories to individual person and surroundings. (chủ đề được di chuyển từ câu chuyện tôn giáo đến từng cá nhân và môi trường xung quanh -> từng cá nhân và môi trường đóng vai trò quan trọng)

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LQ

Lê Quỳnh Anh

4 tháng 4 2017

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.In the European Renaissance period, artists wanted to show the importance of the individual person and his or her...

Đọc tiếp

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.

The author’s purpose to give the example in line15-17 is to

A. explain how perspective work in painting

B. support two-pointed perspective

C. illustrate that there are exceptions about perspective

D. point out that the technique of perspective though seems so natural is an invented technique

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

4 tháng 4 2017

C

Thông tin ở những câu cuối đoạn 3: “Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.”

Tức là tác giả đã minh chứng về những trường hợp ngoại lệ của phối cảnh (illustrate that there are exceptions about perspective) thông qua các ví dụ

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LQ

Lê Quỳnh Anh

5 tháng 12 2018

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.In the European Renaissance period, artists wanted to show the importance of the individual person and his or her...

Đọc tiếp

Read the following passage and mark the letter A, B, C or D to indicate the correct answer.

The medieval artists didn’t know about perspective; they didn’t want to make their people look like real, individual people in a real, individual scene. They wanted to show the truth, the eternal quality of their religious stories. So these artists didn’t need to know about perspective.

In the European Renaissance period, artists wanted to show the importance of the individual person and his or her possessions and surroundings. A flat medieval style couldn’t show this level of reality and the artists needed a new technique. It was the Italian artist Brunelleschi who discovered the technique of perspective drawing. At first the artists of the Renaissance only had single-point perspective. Later they realized that they could have two-pointed perspective and still later multi-point perspective.

With two-point perspective they could turn an object (like a building) at an angle to the picture and draw two sides of it. The technique of perspective which seems so natural to us now is an invented technique, a part of the “grammar of painting”. Like all bits of grammar there are exceptions about perspective. For example, only vertical and horizontal surfaces seem to meet on eye level. Sloping roof tops don’t meet on eye level.

For 500 years, artists in Europe made use of perspective drawing in their pictures. Nevertheless, there are a range of priorities that artists give in displaying individual styles. Crivelli wanted to show depth in his picture and he used a simple single-point perspective. Cezanne always talked about space and volume. Van Gogh, like some of the other painters of the Impressionist period, was interested in Japanese prints. And Japanese artists until this century were always very strong designers of “flat” pictures. Picasso certainly made pictures which have volume and depth. However, he wanted to keep our eyes on the surface and to remind us that his paintings are paintings and not illusions.

It is technically easy to give an illusion of depth. However, a strong two dimensional design is just as important as a feeling of depth, and perhaps more important.

According to the passage, which is the main concern for medieval artists?

A. the individual person and his/her possessions and surroundings

B. real people, real scenes

C. eternal truth of the earth

D. themes of religious stories

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

5 tháng 12 2018

D

Thông tin ở câu gần cuối đoạn 1: “They wanted to show the truth, the eternal quality of their religious stories.” (Họ muốn biểu lộ sự thật, phẩm chất vĩnh hằng của những câu chuyện về tôn giáo họ) = themes of religious stories

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