2021 #6 AAFRBNARFRAMSRATM( FB 3B) Part I Writing hl Ze BE BY A RRS (51 RMR. MB) Y Sai shake off/get rid of povertys lift sb out of poverty 86 achieve a complete victory in its fight against poverty reduce/relieve/alleviate poverty 58 A&B EST AAT ot AL tackle poverty ff A SM implement the targeted poverty alleviation strategy fight/conibar poverty 4 & #8 FAA AR climinate/eradicate poverty 34 A boost infrastructure construction in rural areas attain sustainable incothes "® 4.71 2B HOA: oh Rabe Wi ae ak ak secure a life with sufficient food and clothing hoost rural-economy through new business models HEABEP HR such as e-commerce and tourism guaranteed access to compulsory education, basic Mi 2A RH FMLA LRARRRH BH medical services and safe housing offer free training in vocational skills RFMD RAE AREER FHL DEAR AL ARAB A a steady/continuous decrease in the number of build a moderately well-off/prosperous society in all impoverished rural people AAFS BA wa 88 FE respects i st il HAE YS sea B-A MARMARA, LMA RO RI, S68 FA QEKKLMH RASRKS MAP PAG AHP AMKERA RAH RB, PER: ALKIMTTAHPARRTRE, FERX DEX SsRK As is demonstrated in the chart, China has witnessed a Ore ee PMR TBA steady decline in the number of impoverished rural residents. HEED FA 2012 Ah it — from nearly 100 million (about 10% of rural population) in 2012 MACH &RAA HEH 10%) to close to zero by the end of 2020, @ These encouraging figures 8) 2020 FREAHE, Qik eK mark the country's complete victory in its fight against AS 4 F AR AP RE poverty. RAT 2A, Such remarkable achievements owe a great deal to the Dot At th RR aR AR A ARE government's policy support, @ In recent years, China has 23) FA APH RRA, Qe implemented the targeted poverty alleviation strategy, tailoring APART MART RG, Arelief plans for each poverty-stricken village or even household. @ These designed ranging infrastructure improvements to industrial development, lay a solid foundation specially measures. from for eradicating poverty and building a moderately well-off society in all respects, @At the same time. various social sectors have got involved by introducing new business models such as ecommerce and tourism to rural areas. @ This has injected fresh impetus into the local economy. @Moreover, individual efforts constitute another crucial factor in getting rid of poverty, as evidenced by the stories of numerous underprivileged rural students changing their future through hard work, Just as President Xi once put its being lifted out of poverty is not an end in itself but the starting point of a new life and a new pursuit. @The C prosperity with strong determination and concerted efforts, people will continue (© strive for common ica 7 witness ['watsies] i, ZEA Aeseeny HERO TT BAR SH HE 5 impoverished [im'povorift] a. ST 48 sds eb ; resident ['rezidont } n, J R318 4 ecommerce | implement [‘tmpliment] v. #4 554 ¢ tailor sth to/for sb RAEI Ril Ay 5 stricken ['strikon] a, WALOG EMBs | infrastructure [‘infvastraktfo(n)] mn, a ahi 3. § lay a solid foundation for... 2 +++ JE MEIER a $ sume of inject fresh impetus into, HRA EASES PRAT R RAT WAR A, OMA ab ik AMA UARR RHENM TH E36 BRT He SE > Rs RBSRRT ERK, OHH FA ASERURS ERD RAE a RAT AAT HE. OH BIR RE ATHHAA, ORH FABRA AMKHF-ARBA. RAT MRSRAR BA ATMS EA REA HHK YP RNIER, Dew] LRAT RT RARE RA EB A THRE A. OF BARH SMR RHE BF LMARAR AER HD, ‘eradicate [i'reedikeit] v. IRAE: AR introduce sth to/into, .. 5% 349 8] Aveo komss] n, & Fi Aw aA constitute ['konstitjut] w, CARA A D3 underprivileged [sandal rivotidsd] a. 28-7 54305 EE strive for sth 3 2 A (te prosperity [pro!speroti] n. $4 : 8 a (RE) ADF AF (be successful) because of foie heal agegaegeyy NCE verious different things such a: Fas th D1 te work together to do sth EBs owe tos be attributed/credited to range from... 10... make concerted efforts to do sthy do sth with concerted efforts 4 China has achieved its poverty alleviation goals with all of the country’s nearly 100 million rural F idents living below the current poverty line shaking off poverty after eight years of arduous efforts, the 100 million, the changes are real—it is an ill man being able to afford treatment. a mother having a job. a family moving out of a ramshackle shelter. or a student no longer having to climb a cliff to go to school, Improved lives give these people hopes and dreams HEAP OME AS PS RIM A ARORA HAR RARE AM — A Ob 20 A aT FORT AAD SE, PTE ERMA T LAM ER HE BM FLAG ASRERALE, AHHASFST ALAR DHFR,4 As an old saying in China goes, “Give « man a fish and you feed him for a day: teach him how to fish and you feed him for a lifetime.” In addition to external assistance, China has fostered among the poor an awareness of escaping poverty through self-reliance, It has focused on improving their skills through training programs and providing them with jobs instead of giving grants. In this ways the poor have become more involved in poverty alleviation programs. PRA SHE RAAG.RA-MZE ARB MMR LZ CBI) T PARIS I. EOBAT SARL A ALARMA AKER AEALANRAARALMOLE RARLRSH HARLFADE, PERATA TALSURS NRTA PR, + developing country globally, still facing problems caused by unbalanced and inadequate development, It ina’s poverty alleviation is a success. but far from a full stop, China remains the biggest will always put the people before everything else, and continue to strive for the people's well-being and the rejuvenation of the Chinese nation, PRORRIMRAT RH PRLERASA. PRHRERERAHRR PAR ARKF RI HRI FAL, APART AR AL HE WAR MRE DP ARR EAS RR HRI BBS RE ARA REREAD Part J] _ Reading Comprehension Section A EAR“ PEL” TART HRB: Sydney Morning Herald ( & # H RAR) 2019, 11, 12 LX 3 Our Midlife Should Be Celebrated, Please Stop Labelling It a “Crisis"(P 48.05 RW , i 9 Ab2 EME" EPL" HR), AR A PP BI ek AY RAE" HH ILL CS — ER) —— BEF] * i YF HAR A he ae AR a RP A BABA) ABP EME T RAY AAS RKC TY SAE A) adversity Bi EI ‘H) fragility BR HF IR J) obscurity LRA AB 2, HAR i ANE OE 3, oR D) depictions AOI8 BAS K) outlines: 1, EH 5 ARIE 2. A RA C) convey RGR CE AR) 2 A a a a ee ee 2. ~ on/upon sth 4 ArH A Co eh AR AE N) submit LAR SM CLA RE) 2M: RM AH RPC RE 7 LAR RAD PR TBA 2 BA APA 8 a LAE AD noo 42Cto suppress a smile BAEK)oe K) outlines 1 ESE 5 ABE 2, HY a EA a8 ae ED) E) diminished 1a a 5 AR BB PRA 2. AR 5 HE A BA F) drowned 1, GR) FE 2, HR HEAR RAB, 3, ~ sb/sth Cour) Hats Aik 1) neglected LRT RM ATAE 2. 2M ATEN RE B) authentic 1, Ave iy NiO) 2, AEH REM 3 NY 1) neglected RE BR ARE L) prevalent HAT AD 5 ARG AA BE M) purchasable 1, RAPS, TM HAG 2, Tok wy 5 MAL A A SAR yi o.0008 T @At 43, I've reached the stage where women are 13 F RAB TAA RABE: warned t6 watehout” for ihe ereeping” sadness of middle RA aR Bo fp RH KE age. @We're served up® an endless stream of® advice on fi 4. 47 ALA 7M He AE A HK Pte FTIR “how to survive” your 40s”, as if we're in the endurance® "i 40 "#9 RGN, 15-46 AAD EAT — Ah OThisis the age | HHO HAS HR, RR—P women start to “become “invisible "our yalue, — A#eSRAR HR” 6 4 eo — 2 165 AA attractiveness” and power supposedly 27 by the 744k AZ ARM AR AD oH. fe vanishing” of youth. @But I don’t feel like I'm fading - RFREFACESHAR, ALAA into” 28. @1 feel more seen than I ever have, and HeAARAEATAE HABE TL”, a LAY A Vk for the first time in my life. I have a clear-eyed” view of RB KR CAT — A GR, myself that is 29 _. compassionate” and accepting”, MARR THAW SLRT RR, stage of @ Slow limp® toward (WLERSRARH- y Dwateh out de; BHP 5 invisible [in'vizobl] a. AH 49 5 6B HG #9 Dereeping ['kerispr)] a. (7 4o 7 iE wh.) i A AE aH 5 Dattractiveness [o'travktivnos] 3] A) 8b 7 QDserve up % 3 481 $ vanish ['veentf] v. KA HE a stream of — it # KE 5 Dfade into 37 85 fk A survive (so!vav] v. RAL ALK 4 Beteareyed [sktio6r) ‘aicl} a, 3 BHA HH 5 ATLA A 08 @endurance [1n'djvarans| m, ¥ a 5 BH 5 ‘DBeompassionate [ kam'pefanat | a. # Fl ths #9 Dlimp Chump] v. (5 4 3 1 AE sk oh HE AS 4 Daccepting [ak'septr] a. T4k 5 44 sme. of 26. RH) fragility UBL AE] SHMETHRONHAARBA as PEP IA toward 09 HI. AB ia), CHESS] FH 13 FHKRARESL LS PHEMAKO RAE, FIOM AMAR Pte MRL 10 SHH ER BAM EA FAI HE Ah mh Bre, DA AEH (AS 408) BAA FEE EIR AHF He, 2 ARH AA A PPP aR RHR ALAM MIEL, LAP .H) fragility &4 creeping sadness,slow limp M+#FK HHH RB"LE, LHBRFILD A) adversity.) obscurity 3448 Ai6 X . Lat a2 FX women start to become “invisible”. ABAKFR, UR -PPM Te EMS EA AE YH A Ra A AG OP RIL EH 5] HRA MO] 4 become “invisible”. Lik 4] AAD PFS F GH EHR BY, E:SALAAAM WTAE ATLSHRAER,27, SBE) diminis Dae At] 2% BAD AR EG LA EP. S iT A 8154 supposedly, 6 ARH #0 by sth Ab AY BAGG A ed SPA] supposedly by the vanishing of youth #464 our value. .. power He ERE. Cae a EAB 6) a ARAN ER eT a AE” BA A 2 eI 8 «RAFAL HG — AED RAT — AB A 45 ALAEAL by the vanishing of youth(-# 48 BL) AFA This is the age. 49 "38 A * 4F” our value. attractiveness and power( {ii tt 2 fb 1) E/E TL our value. .. supposedly _ #12 become “invisible” #3 61" Fl 3 21 9s /REB . 2B GF" Eh, CHPRFID D neglected A "98" 19.8 45 6105 Z Sh A KRM RR As ee a EO SP Be FRR aR Ae A AEA HAT RRR A AT RB HY RR” a AE CARE] ARAL AAOHSALAHFRBARER. HRS 4 P. warned, watch out.creeping sadness survive your 40s endurance stageslow limp toward invisible 4 FAA ALO HH CHAN PFEERAAED A GRE. TI, 2627 HAHA NABEL, 28, $3 :J) obscurity (ie i E] 2H THAD A fade into sth 49 P , FH id HAP into HRS, BABA, (42S) 4 H Bur I don't feel like & EDL URE I do HL) AEA TE oe CT #2)" DRA AMAA KHIM BA ASM TAH HRB. PERSE RB. G- QR MHRA BS re AE ET pa BTL” TARE 8 LAA PERM CHA ERR R/S RR FM" |RSS WR. Map eT ASG Aik JM, CRRRD) ALE RARM HTT RS TSO RAM OIE Do PERE ABR RAB" Qe Buwse a3) ak that a Arak APR eto BAT eG Poa ER AAR MT AZ 28 BS EX invisibless UAE HFK sees LAK. 29, SF BY authentic (ae it) 2% TARO 4% RBA A that is... CF 4 view of n compassionate accepting 4 4) 09 3f 5 £36. AB, CHESR] SHAADI HERA -K AA ACAT—H AMOUR, SARS BR THRE, SHALE FAAS KTRA ROK. ALARM EDM. SAM PRA BA eid. 1p SBS I @When I look in the mirror, I'm proud of who I SAME a RA DS 81 ” parts that for so long seemed RFP ARIE AE AL A Vk RP a a impossible to love, @So when advertisers try to sell me BER HD, AL STS HRA ways to “turn back the clock”, Ihave to__30__ a laugh, RRA A SRA RRA RB 1 wouldn't go back to the rippling" self-consciousness” FEAR. PREHRSK, RAE] ‘of my youth if you paid me, @This hard-won® sense of #420 MAPA AA H ARSRRA PK, self-acceptance is one of the joys of being an older #RZAPHARRMBR HHS woman, @But it’s a narrative” often 31 _ out by the SR Me BS, Bk AL Gk oP shame that marketers rely on to peddle” us their diet BE AAA OG BM BPE EAN a ee pills, miracle face creams and breathable yoga pants—as RRA RAE RC A i Hoi if self-love is a 32 commodity”. ‘(0 —— $5 Hh 8) — A AT EY n those “broke tawseane of Derippling [erp] a. HATE HEAL AK HY Dmnerative ['rarouv’] a8 TRE Dself-consciousness [self 'konfasnos] m, sR 2 Gpeddle [pest] v. 8 4 hard-won [shad wan] a, RLF Hw $ Ocommodity [ko!modoni] n, 8 But it’s a narrative often drowned out by the shame that marketers rely on to peddle us their diet pills, miracle face creams and breathable yoga pants—as if selflove is a purchasable commodity.=f: But anarrative offen..by the shame the shameffi[~that marketers rely on to peddle..pants iia) Ei i] FG a narrativelt a Reis] METI) || Gia) EI igi BARGE (eee —asif self-love is a purchasable commodity. Ba ai amen. of 30, 38:0) suppress Cb aE) SA A A) AGL FH OF MARIS AAA So when... “turn back the clock” 4 £4] I have to a laugh 84 shave to HEQOMBRD 2 BOTH. UALSR] FARO MAT DACRE EA mM RRO, Oa deh, & PARE RAGA ASR MRE KK. OAH PRAM RR MLK BS] AMR ORERRSP. KR AT HET ACHPERARMN AE. FARIS FRR. SRG AD Bh AZ a a A A OE A AR A KS PR — Bk HO RIB / BEY suppress a laugh GRABER A” HAE AC RAR BA” OM Te MS TOMER, 31, 458: ) drowned CR ED SH PRIA H RAH TAD 1K AHH A AA But GE HA din's( FI8+ he (AGB often out by the shame( 6 3% 18,484 a narfative)ihat marketers rely on to... yoga pants 354K 4) 15-6 theeshame)) 2246988 ed $948] CH si donesby sth 8 AYALA 45 out HA, CES RZ He as a HRS A HE HS HOP RA) EE BR RB AMES, SBOE HLA SER RAI ASH SHAER AAR ROAM NCIS APH Foie Mr Ae. TP RIE Sir HAR” RAS HAO LE ood Bt DL ROE GS io RP] ALAR Sa 67 TA) AR AT But) RB RET fo, EH LD RR EP aR A OY ARPA (narrative PEAR)" RE RA AS” HER / H/F sown out AB RIS ME ASE RF RA SRE. 32, $3 :M) purchasable CREA] SHAT HE a narrative = HO 4 HF AMINA as if self-love is a commodity # +a commodity #4) Ai E4844 4 PS 479 commodity #15 6 RAY «THe Ay Biel FEB AA ed SP -ing SH, (HES) £67 L SHAREKATREMAERCRO ERE SHR EB PR ag Att, BUS, BALAI aa AE A AR Te RRA NY BA A CAB A RRR MT UE. HS HTT AE TA se th a 8 BR A hh AE A Oh eR aR a a SE Fo RARE BBP A RE AN os oa ab a ad SP KO KAY, BHA BY We SE AY / BY BEA” MH A ES CARTHY L) prevalent SALAAM ALAA BRAT VERE RH MRE RS do 45 i." 947 WH oe "38 FA popular commodity Rik, HI. LETARA HRR—AA AM. Kika EM ERI ARS OE ATE I @For some women I know, this sense of trust and MTRURG REBATE self-belief later in life gave them the courage to leave MOREE SORBET dysfunctional” relationships” or 33 on new career AF RMAGAG AL EL BFK se aH paths, @Others talked about enjoying their own company, BA, Hie ie MRS) A aH ae Ae OE of growth through 34 deepening bonds of friendships, ERNARR OAK RATA the ability to be more compassionate, less judgmental” and FH OR, RIS RT IF AS to listen more and appreciate the small pleasures, @ Life OF Rb ads a oes A A A A HE A, 40H a ‘ling, but it’s so much more A) A 36 AE — OLIN 12 3 ER than the reductive we see in women's magazines and Mea He E fot RIG KARL AAI ‘on the Hollywood big screen, [300 words] 5 1 CHIE. past 40 is far from smoothsmite Sa 7 Daysfunctional (dis'faykfont | a. 1 45 # EH HS 5 @Dsmooth sailing — H R.AT relationship (ri'lenfip] n. Sik AMR KK : @reductive [ri'daktiv] a. 4695 5 vA AE REH judgmental [d5ad5!menti] a, 48 FF Hh $ seme of 33. #38 :G) embark UBL WE] * ZA to leave... paths 4 the courage #4 4 H LiF, HP leave dysfunctional relationships, on new career paths 12 F674 or 248 $44 BARA — sk on $48 leaves #639. RES on 3 HARM HARK. CGR SIR) AG wh Ae Ah AR aR A AS He EIT TAT RHI, appa BRAS aR haa BAF RM MI” — AF ATP ID AS te SE RE SB” sembark on 71 ZIBB, A ARIES ALA” vembark on new carver paths BPRS AGAR SIE" AEE LE, 34, BHA) adversity CBRE] SHH AY OSS RAS MF OHHH B HD, HE FH =A of growth through PAA of HY Ame talked. Ab2 HP H talked of growth through TEA IE APIA through Rit LAB, CESS) 246) 5 ROKR AMT SS ARR RT RAR GRIT) RA AY GRE T) & deth AM, FIA Rabel AES ARMED, RMR AML, 1) HE RH AB BAP A He otk MRAM, growth through adversity 4% MAAK. SA" AHR AES GE Ss Bie AMA SR 3 LE PLOT hE 26 RIL A BL (095 0 AB BL 333 eT RA) AE A AR HS I TP PIED AR Vy RARE Ye TRAE SP EO HA APL SEAS R HY, ALAR AP VL For some women... DAP PEAR AIO LGM HILT HE 33,34 ARTY GH PEM CHAR, 35. $38 :D) depictions (HED H] SHAT AAODA HH F=444 bur... screen PH 4) 2A A butik it's B+ K so much more( 448 )than the reductive CORAL) we see in... big screen A 86 that #9 58.56 4) 54h the reductive ). BAIA reductive, LA 4 (that) we see in... big screen 3 F546 a) Psi. Choe SE) Ste 6 48 th 40 FE A 8 aE ME HR ERA A He to RH KARE A318 5 He RP ide APR AIL RAD RH LE SRB SMR MORAG R) TLE SAR HR /RB/RE" FD RE. Section B CGI RR A BME Zt A— MN SEMRAAR AG? BRST AKI A New Scientists 4+ % )2020 4 1 A 15 8 3 What Are the Ethies of CGI Actors—And Will They Replace Real Ones? (CGL 3 i M4 i848 LIE RH A2— WM FRRAAR AG?) RHRRAB EM CCI RRA EMR HE PRE AA CCL AA CHR A HE I Re RT aR HES ARR AMSR REP CCORRERMARA HHH MEF RELA RR. Y Stee BE eB 6. There is an debate amc the s ongoing? debate among the (71) ing debate among the public AHR. AE LAR sed? eee pace nreehomaor a ee [2] whether... should be recreated Ede. ASH 8.aa 37. The CGI technology allows the image of the deceased James Dean to be presented to young. people in new settings, 38, It is very likely that the CGl-recreated image of a deceased celebrity will fail to mateh® the real actor especially in facial expressions. 39. The use of digital technology can bring images of deceased celebrities hack to the screen, 40, Recreating a deceased famous actor or actress may violate” their legitimate” rights. al. celebrities are expected to appear on.sereen, More CGFrecreated images of deceased 42, The image of James Dean will be recreated fon screen with his voice dubbed® by someone else, 43, However advaneed® the CGI technology is+ the recreated image will differ in a way from the real actor, 44, A lot of actors today are likely to make use of the CGI technology to have their images stored for the benefit of their families. 45, Some actors are concerned” that they may lose jobs because of the CGI technology. ete ia [1] James Dean [2] young people [3] new settings [1] very likely [2] fail to match [3] facial expressions [1] deceased celebrities [2] back to the screen [1] violate their legitimate rights [1] More CGHrecreated images of deceased celebrities [2] expectéd' td appear an’ Sereée [1] James Dean [2] voice dubbed by someone else [1] However advanced [2] will differ. .. from [1] have their images stored [2] for the benefit of their families [1] actors are concerned [2] lose jobs BR BON CGL HL HY HE A TERRE ME + th Ba SEP REA, CGIAR AH A, LH BRAM LAMA RA, BRA AEM Ae Ek RAEURR. MOK HS RH Pe RRS RAL, AAG BR ES a ALGAM CORRE BH EMBEAGR, OM MATE HERA A, CGIAR HR Ritte A AMHR ER SRAKMR Hf SHH a CGIAR BLAM R RR Aha, — EH ek. a CGIAR Ria KE HLeRSeaom- of Dongoing ['ongownt] a. HH A) 5 HAAR ATA $ @violate ["varolet] v. #48 58 HF Daeceased [ di'sisst ] a. AT 45 Gtk 4 legitimate [ l1'dsitumat] a. a 44 5 i 324 Deelebrity (sa! lebrati] n. As 4 ik @dub (dab) v. Ave Drecreate [ritkri'et] v. HL; HO] @advanced [ad'vainst | a. (AR FEE) Heit @mateh [meet J) v. 5 ++ 4a BE Ak Deoncerned [kan'ssind] a. 42 #5 5 HEB 4 SEL ME BUI : C1 A a & LILO FAME AE & te CGI/digital (technology) vactors. celebrities. 42% 5 EA Ay PR AE fn RAH BL Oh AGE to More CGl-recreated images of deceased celebrities, #6 % AE RAL ORL TAARMER ERA ZRH ies F. (2) AikIE SA th dX WH & 11 42% Jo ongoing debate among the public, young people, facial expressions 4 . (ab HRA SMR A TOR eM 64 fa FEB, 4 fail 10 match, violate their legitimate rights, lose jobs ¥. AD RM: FRAKGIRG 1H). +4 James Dean, deceased cele!= WR What Are the Ethics of CGI Actors —And Will They Replace Real Ones? A) @ Digital humans are coming to a screen near you. @ As computer-generated® imagery (CGI) has become cheaper and more sophisticated”. the film industry can now convincingly® recreate people on screen—even actors who have been dead for decades”. The technology's ability to effectively keep celebrities alive beyond the grave is raising questions about public legacies” and image rights B) @Late in 2019, it James Dean, who died in 19 War film scheduled” for release” later this year. @In the film, which, will be: called Finding Jack Dean will be T based on old footage CBI ) and photographs, with another actor voicing him, s announced that US actor + will star in a Vietnam recreated on sereen with ad Phe news was met with excitement by those keen to see Dean digitally brought back to life for only bis fourth @ “ This is puppeteering® the dead for their fame alone.” film, but it also drew sharp criticism. actress Zelda Williams wrote on Twitter, @“It sets such an awful precedent” for the future of performance, ” @ Her father, Robin Williams, who died in 20144 was keen to @ Before his death, he filed” a protecting the use of his image until 2039, avoid the same fate. ting others from recreating him using CG: to appear in a film, TV show or as a hologram (4 .& BR). COLMA MMM AHA —HMNeRRAAR RM? REAR WHS ERR, RAH IEA RAR (CGD Hk RAB RAE TE WRAL TL, Jo DB AF ok fe aE A—H#ERMEEBRELT ER R—BOARAMTRELE. RAH RBREMNLEALE LE ABA AT HREEE PE ARB ER HR, 2019 +k EA. UF 1955 PHLARA ARH LEAT FAH ab ae a AT HY HP de EM. EBSA FRALIO EDP. RA on et ee aT RS RR GR AT HE) COLOR AM TARA. RAE AABRKAR, A-MRLMK UR BAIA A 3) ih BVA BG A ILE HE RIAL 09 th a AiR ah > t MUA Lak TR OLA ALTE, “HER Abo a BRA RAATAMLEO SAGE” aR Rae + ee ae ES i, “RAR AE HOT EE FA RHO HH + 201A SF RAL AY A ha RR LA BAW REA T—ORP HED 45 2039 FZ AAR A A LY SERA, AMCCRRAKE LY BF APE BL RAD BBR AS i, acest of Dgenerate ['asenoreit] v, #5 2K Dsophisticated [sa'fistksertid] a. RAE) Ai A Deonvincingly [kon'vinsitli) ad. AAA, Deecade ['dekerd] w. + HOLA — A ARD Dlegaey (iegasi] n. 18 * schedule [edju:t] v, AeA AD AE 4 Dretease [1 tis] n, CB 88 HEA) A AAT 2 @keen [kisn] a, 38 B66 ssh by { Opuppeteer [spaprtioc)] v, ARM CA A) S Dprecedent ['presidont|] n. 34 + a4 Ofte (tant) v. AGRA L AED $ Bedeed [aie] m. RA ADEA aia. / ABRERSL AES BH is Bit FAM (CCHRRBMERRA L-MKI ASW, A Bf Zt Bid CORAL Mie RS fH iz S| BIL. D4 A Digital humans are coming to a screen $28 % #8, @ 4 ML compurer-generated imagery (CGD , the film industry screen 191 4) 5H #4 FA KSEE ALAR" a9 LAR AF 4 CGT AL A OL ab oh Oh AP EAR BALE = recreate people onP. BAA even BE CCLHRR AERA MPRA CHA UHR PHAR RAPA GEM CGIAR EROKRALE SF RA PBR Bs CCCI AR HH es (QCCLR RAR ¥948"CGI 4k K” sis raising questions about. . AMEE MM Dei HERD HR, GRR). (8 HLH EAL] 39 8 deceased celebrities Fl L4F4O 4 actors who have been dead; back to the screen #F OA recreate... on screen, CAOLER] D4 HK CRAM AR ROKR A ART REL LTE 39 MMOL, BRAVIA CRRA SOM - ib BH CCRABARKR"R—HHRAKMAM. O BF H, O£O4 A The news was... Thi «will star, ., Dean will be. Kee. but aR A HD James Dean. FH. OF OO4a" AMR AAAM AS. SRBOMB:(L) SAM actor voicing him, & 4 5 6 Bs excitement vs sharp criti AGE Ae 42 89 PAF HF AGL, puppeteering the dead for their fame alone ¥% Sif feta Hy LA. w, BLARMRRADATAMNCHRAH STFA MADARA GKTMATKA SRM, eda fH 0 3K do HRA AT AES EAE AT» H (BOVERI OH FH Ca EH SH OH ARE AH ae Te? MSR, ©) OThe James Dean film is a way to keep the actor's image relevant for younger génctations. says Mark Roeslér of CMG Worldwidéy he” firm that represents! Dean's estate”, @*I think this is the beginning of an entire wave,” says Travis Cloyd, CEO of Worldwide XR, one of the companies behind the digital recreation of Dean, @*Moving we want James Dean to be brought into into the future, different gaming environments, or different virtual environments, or augmented” reality environments.” he D) @ Other actors permission of their estates, for advertising purposes: for been revived”. with the example, a 2011 advertisement for Dior featured contemporary” actress Charlize Theron alongside iconie® 20th-century stars Marilyn Monroe, Grace Kelly and Marlen @Later, Audrey digitally recreated for a chocolate commercial in 2013. Dietrich, Hepburn was ln the same year, a CGI Bruce Lee appeared in a which offended many fans because Lee was widely known not Chinese-language ad for a whisky brand, to drink alcohol at all, @ “In the last five years, it's become more affordable” and more achievable in a whole movie.” says Tim Webber at UK visual effects firm Framestore, the company behind the Hepburn chocolate ad, @Framestore used body doubles” with resemblance” to Hepburn’s facial structure and body shape as a framework® for manual animation, @ The process was extremely difficult and expensive, says Webber, but the technology has moved on, CMG 25h 2 9] Gb 8 it 8 RAD 5 RF a Bh AH) AK ane, HR Gk BORTRABMH - REGR MHD Ke RUA RRA ARI TH HEXR AG] CACF Ab BH HAE NA] Z—) 8) CEO HARM + Lier. “Ave FRG AUN EET EAB RL 08 ER IRI BERT FRAMED RBZ PI, HBR ALE AAR MAH HTT RE BRATS AH, Pose, E2011 4,20 tb 2205 Ae AB BR PEAT H+ MAF RE BRS IRARASLH + REGS RT DRG MH, 2, 2013 REM RAMP BABLE— BG RAP SLY. BCCI HE RE Kae Ete — PRPS PRY HIRT ASH RAD hm fo ELK GR, a ARB, AMD his CGA RE EAR RAT WARS KH" EASE AP8US] Framestore a R75 8.71 7-469 MESA) AE + ABLE. Framestore th TAT 55 aR A i ap 25 Hh Ho 1h te EH RAMAFLAR HAM. Blade Hh kab ALAS PAR AE LOT AG AR aE 1a GRACE MMAR, 3. DA The technology OOAHR 2M CGIAR AA LA ART AAR ECR RR DARK M, CELIA ALY 12 M James Dean FKP FA LAM; voice dubbed by someone else FM RF ® 4 anotherE) @Now, « person can be animated from seratch”, e rigs. you can get every detail of their body analysed very carefully and that makes it much e working from available photographs is tricky” .” Webber, who won an Academy Award for his vis they're alive today, you can put them in scanning ier, whereas al lot effects work on the 2013 film Gravity, @*T also se of actors today who will have the desire to take advantage of this technology: to have their likeness eaptured” and stored for future content,” says Cloyd. @"They foresee” this being something that could give their estates and give wA CCL RAT AME Ff a Ar — PAB, “HAIL GE AA, ap AAR AA A EF dak A ae Sy A He — He ba AS Hh A ba AT, LPH RARS ROSY HAMA A i AT el TF ak GRO Eh MS A408 EA 2013 FB YOR S Bl HH LHR DRAPER, “KLEMM BARES RRM BLA RARE CHHRCRARATA US AE AS AMELIA” LBP BM ELA RAM TYEE ARBARRRABAS HES OEM CH ARR.” their families the ability to make money from their likeness when they're gone.” wWikwswasi of Drepresent,{ irepri'zent] v. KBs KA ) Dbody double % 4 7% H Destate [i'sien) w, ths + Aw (resemblance | r'zemblons] n. #844: AR Qvirtual [var fual | a. a LH) ‘framework ['fremwsk] n, RAR A augment [9:9!ment] wv. $38 5A 5. Banimation [.ent'mesfn] n, 34.834 4148 revive [rtlvaty ]e.(18) 56 Sha t Drom scratch In IAs EI HS feature ("iar |v. Wee EA f Drig [rig] mA 11 ma 6 ak Deontemporary [kon 'temprori] a. 3 AA § Dirieky ['truki] a. AE SH PALE a A AE a @ieonie [at'konnk’] a. 48 AHEAD 5 AR. AD 4 Bilikeness ['iarknas] on offend [a'fend] v. F404 A & Deapture [keeptfaCr)] wv. Datfordable [o!toxdabl] a. % Ae sR IE 4 @foresee [to:'sit] v. Hs 364 “If they're alive today, you can put them in scanning rigs, you can get every detail of their body analysed very carefully and that makes it much easier, wher ible photographs is tricky," says Webber, who won an Academy Award for his visual effects work on the 2013 film Gravity. as working from a £f: ‘says Webber, |Webberti {FBR who won an...Award _for...Gravity. Wie Es [WIRE a1Si) ii Ri a Bee CBSE “you can put them in scanning rigs, you can get...analysed very carefully and TPM FSIS MA2 (sb gets sth doneZifiy ) HEHEI) ARV ARITTSA foxes, deat eae whereas working from...photographs _ is tricky, —— 519d aan ae “ROM: s CHE BMT CCBA CARAS LOMAS RRR. C BMD ROH RE RAE RED MM, SAR COL RAT RE A BO AY, ALUM A. D4 a way to keep the actor's image relevant for younger generations 440i 7 RDF HA 614 SCF Rik 2 Clb at relevant FG LER MRA RS FR RARER EP HBR 42"), QBé4) vA says Travis Cloyd, he says 444 4t *F wl 4f # #9 BLik. AVA this is the beginning of an entire wave AOA} Aa th A By — MUA te BE BAL CGT ARR ATH A 4, 60% brought into different, .. environments At k/>20 8 5 Aid BA AM BIH that makes it much easier,” SESE ASUE ALE ALY 37 BW James Dean FLY ¥ KLM snew settings LAF@ 4 different gaming environments, different virtual reality environments,augmented reality environments 4 873% 45838 89-3 HAG , (OREM) BSE Bir CGI MRM BRAT ERG RF — AM Ho CGT HR AR AE SHB RIB PT Be 37 MAS L. DATA CORARDAE-HD advertising for example... % five years... whole movie 5 © 2.@ 4) 2011 advertisemet ia & 2011 2 2013 4 ,C HAKRCCLRAHRERR. O RASLEN MAR. O£O4 wx Other actor: Ea A EAE, DOCG ME DERE REE KG" — FS BEOE|OS MRA CCARG RA THAR CHR AGRE BRA, com RABAT BMH vA used body doubles.m: ial in 2013,In the same yer ARTA FRAG, RM RL GRAM CCLALARAMHRR, SHBMMAB CCAR AR CK Y EAM, Cetra et) x, ERP CCEAMABRAM ULF SRAM RRRWSE, KH A says Webber.says Cloyd # mM BRD, OD 4 Are soit ir — AH CGI HH. D4] Now... animated from scratch AM € 4738) 4 EB in SEED BRAM HAG ZCGIRARGAR, OA If they’ «tricky #f +t 4+ 38 AP CGI 3h 89 il 1 ok AE A Ad AA RR 2013... used body double much e ier vs where alive... SH 6078 Aa st fi Povs SAR AL. MRF HA WMH RAT BRS KAM ZA). ODO 4 a lot of actors... take advantage of this-technology REAEKARE, SRMOEB = AONE SH Lat CGH RA AAG Ae 2A GLE RAMA th 05H te Q2)IP SMH at COLA AR, We tL EAL 11:90 have their images stored FX FAD 4) have their liken their families A 2A¢@ 4 give sheir families theability-to make monty from their likeness. CALXEM) OOH SRK C RATER MMS. F) @A hidden hazard” of digitally recreating a deceased (8449) celebrity is the risk of damaging their legacy”. @“We have to respect the security and the integrity® of rights holders.” says John Canning at Digital Domains a US firm that created a hologram of rapper (ii% ZA) Tupac Shakur. which appeared at the Coachella music festival in 2012, 15 years after his death, G) @ Legally”, a person's rights to control the commercial use of their name and image beyond their On certain US states, for example, these rights are treated death differ between and even within count similarly to property” rights, and are transferable” to a person's heirs”, @ In California, under the Celebrities Rights Act, the p 70 years alter their death. @*We've got a societal debate conality rights for a celebrity last for going on about access” to our public commons, as were, about famous faces.” says Lilian Edwards a Newcastle University, UK, @ Should the public be allowed to use or reproduce” images of famous peoples given how iconic they are? @ And what is in the best interest of a deceased person's legacy may conflict with the desires of their family or the public, says Edwards, ak Aes A AE A CGIAR AA A CHS AIR AF RRA BARERREROK BAH — AD HEM Be ATT ie SAAS Me A HR A “PMN LREERAHAAH RA SSM ARMM RD RF EMA SH 254 + K THE, READ MET RSCAR RK KR LARGE EL YR. BYR F 2012 4— ELF RE 15 EA HPRPLES EM, BRL RT -RANREB HL fo BEOHALAMHRAR, AAAEHE FA -WRARA RA MMR, do Ae Gh RAH AR PARAL HM PRK Fk, TAREE A RRA fede #148, RE AEB ARAL BAAR RD Ray MG EG 70%, RAE MRAP OME REP MRM ANRSE ERA MKF LB MEARE EUTAHRATRAARHK EH HE ARA—_—H FEOF RASA BR SABRE TIE RARE BRAM KLMELGR? LRM RANT RPRAA FP HR TES SHEAR Ahk th HSB ABA AR, revived... for EKA In the last oad FB ai BE animation extremely difficult expensive - stored; for the benefit of‘wleR Season of $, @transferable [treens'fairabl] a. 7 44 ) heir [ea(r)] n. th RAGE AD @access ['eekses] n, AMARA MRS reproduce [rispro'djus] v. LH hazard ["heezad) of es Me Dlegacy ['legasi] w. i * + 3 wt Mt ty integrity [mn tegr: te HE RAE legally ["izgati] ad. 3% AE yak EH. property ['propati] n. Ht * MATH sam of I—GC BART ABA CCLRARBMEREA HENS. V RHA COLRABMORAA MME SRSA ABH. Of A hidden hazard 4A At Mie / FRA #it#. QA respect the security and the integrity of rights holders(st A rights holders ¥*}-F ail #40 A 4& AAARARHA” LEA MATS OT OAAAOD MERA HSL. SHARMA Ewe, SBR CCRAFREMLZAMM AME, (UB (119 EA) 10 4 violate their legitimate rights #@4 damaging their legacy. UD NER) DY AG BARFARAMERLATESM TS MMH MAT A OME. CRPMMEAMARABHMHEHS HACMAABKARRERFESM, DEO4A Legally, a person’s rights... differ... within countries... In certain US states. for example. .. In California. .. % “A. EE DON A RR MERRY EAE SR PRA PAM RAB R RHE. O YA We've got a societal-debate,. . Should the’public be allowed, .. 4 A.“ HAE — if 16" AR, WMA Ae ah B AGRMRARW FH LAGRLE THE RAEH'? ARLE THATHMTRM LM? OMA may conflict with Boe) A & 95 #46 #).ai AO 7P 09S Hs a & Acai PCH Bak HAIRY vs" BA Hy RA BD AE EM BAM BAG IG BY” BAB: RES AY GOT GAR A A AE HH PAR (GE (219 E {J 36 M ongoing debate among the public, whether... should be recreated 4 8] #f 2 societal debate going on 4¢@)4) Should the public be allowed to use or reproduce images of famous people. CRULERI OO4 AG BALE LARA— MKT RAT BURA MAL SAW RH PD” 45 36 MRE XH, H) @A recreation, however lifelike” , will never be HAAR Kit $4 HH BL, ay indistinguishable® from a real actor, says Webber, RTLSRARRAA RA, “SAAN @*When we are bringing someone back, representing “LE RDA AAR Rb AMR 1a th someone who is no longer alive on the screen, what we are AAS ATO AR OG ALE A IE He a aK doing is extremely sophisticated digital make-up .” he say FAH HEIL RT RAR RP AL ©*A performance is a lot more than a physical” resemblance, fawn.” 1) @As it becomes easier to digitally recreate MHEAKFRRAMBAUREL rites and to entirely manufacture” on-screen MARA AT HARA RRMA SB . , could this kind of technology put actors out of RAPALA BT HE HH Rak? “RGA ident jobs? @ “1 think actors are worried about this,” says aR SUM Absete GS NPM "a ie Me ait Ae Edw ut I think it will take a very long time.” ABLES LRK HMI RPRTAA @This is partly because of the risk that viewers find HAFAG DUNE, Hak A th ak ML de oH) SIP virtual humans scary, @Edwards cites” widespread RR, RERRRAN RR— FP AR backlash” to the digital recreation of Carrie Fisher as a FBA HILAR UM + SHIRT HR young Princess Leia in Rogue One. a trick® later repeated HE REE] T RABE JG AGE in the recent Star Wars: The Rise of Skywalkers which — SCRSRAW: RATA MALI RH MT was filmed after Fisher's death in 2016. @*People didn’t Hie 3 AL 2016 FB Ee ab like it,” she says, @*They discovered the uncanny valley 1s “AAR Bak MAA ILA fh B48. CRIB)" “ADR T ERS.”J) @This refers to the idea that when objects trying RHSBER HA, BARAK to resemble humans aren't quite perfect, they can make RB MAMA HALA ZK Ob, HAGE M AKANE DACMEREERAR, obviously non-human and fully human, @“That's alwz RARER RMAAR, * fe th al te EAT er when you're doing anything human or human- ASSIA Sieh, ik HO A Be BA ” says Webber, @"There are a thousand? things that "448 AR.“ Ht SEALE RH aR AH A could go wrong with a computer-generated facial HS Mo AT Hee a, a RP EAT — y one of those could make it fall into ABARAT ERE ARS "ik, the uncanny valley,” he says, @* Your brain just knows “Hh ty KA aR OR AE SE AEB) HR a he OK ah there's something wrong.” @The problem often arises” Bh” FAG AS PAR AE Ee Ae a BO around the eyes or mouth, says Webber, @“ They're the FU 8) A “RR te A a a areas that you look at when you're talking 10 someone.” PAR AR ME ALA IL” viewers feel uneasy because they fall” somewhere betwe performances and WER Sead of lifelike ["arflatk] a. 3A §} Dhaektash ["beekclel] n. 5 AIK A SARL @indistinguishable [ sind’ stygwifabl ]_a. Ls 4H A @twick [trik] n. 4475 GR makeup E'meskapl mn Mee Ora [isi] wT RE AF physical [Muzkt) a, $f AH ARB @a thousand 7 3 $ $4 LH manufacture [meenju' feet foCr)] v. 38 5H 38 Darise [orate] v, 5% Oe Csane ov. SAORI) a EE Ca) Edwards cites widespread backlash to the digital recreation of Carrie Fisher as a young Princess Leia in Rogue One , a trick later repeated in the recent Star Wars: The Rise of Skywalker, which was filmed after Fisher’s death in 2016. +£%J:| Edwards cites widespread backlash to the digital recreation of Cartie Fisher ‘a8 a young Princess Leia in Rogue One, digital...Fisherft 5) {it r~Skywalkertt Jater repeated in the recent Sia EDR i His HFA | Wars: The Rise of Skywalker, sane. of H—) Bik CCLRARERHBRMRM. HARA COLRAMERMBRSAARRZARREWAA, OYRRALAZABR MRM. LE def A MS ORAM A LH. QDMA what we are doin A performance PRM R ASA ARTA — FUE LAMLAGR. APR LA PKR PE BRS A AAVE AAD RRR APRA & A SRM CGI RAL BAH & HH BR (CELE) 13 4 However advanced & 3D 4 however lifelikeswill differ... from #204 will never he indistinguishable from, (BONER) DOYS LAGS ABRAHAM MS ORAM AABN" S 13 MS LH, IRV CCLRAM EMRE TSM, SRE FAME R ARI. DEO4 M easier to digitally recreate. .. entirely manufacture... could this... technology put actors out of jobs... actors are - it will take a very long time A 50 #638 6 38 AE 48 $e BF ALAA RR AE AT FR SLT REI No et HARK wt HG Ht SER, DA v2 This is partly because of 4] sk HF APMMARLERLAT AAD EMA TESLA BML TRR. OF cites... Ki HMM A BRAMAN FE. OOM HA MOM He RH SM, SBE: CL)CGT AR abe Fa Ws (2)CGI AR A SLA BA AE RS, (BALA AL] 15 84 actors are concemed 34 @ 4) actors are wortiedslose jobs *204) put. .. out of jobs. altrick worried about this. u(@o0X ER) OC MM Ay CGT AE AR 5 a Re. — a aE HA ds BA He Bk TE A aL”. ° IRUBRASBC HRBLACHFERHKRBAKHAHAR. D4 This 94K uncanny refers to the idea that... MATE H BMI”: HH MAARPRAG LEG RMSE MAGNE, 4) That 28D 4) KO HG BRM REET ARR RAH RE THERA SRR. ODA vA“There are a thousand things that could go wrong with... Your brain just knows there’s something wrong” BR Lt RM ZAR ob Ie, AAU. OO 4 A The problem often arises around... They're the areas... LK 9 RSH AAA HY BIL. Ro toh SB HK, SRB ly PERCE ABH SLs (Qt EA RO RE Ho I CLE LY 38 A very likely #¢2@ 4 always a danger %A@ 4 a thousand things that could go wrong... and any one of those could. sfail to match 4D 4 aren't quite perfect, fall somewhere between obviously non-human and fully human; facial expressions #1 @ 4) facial performance, (GOLEM) AREAS KFRAMALLERAA, GHAMALE DERE A?L 38 EHS LH, ALIA OGL AR A 4) 38 FE AL RUB GMb Ae Fhe BH HAG AR HEAT AERA SAMBA SI A, Hi ae ES AE HF AL HFA 40 BL RAAT BEATA Hh.” RB Ph. Re PEBABERT. An unfamiliar digital human that has been created through CGI will also face the same challenge as an unknown, actor: they don’t have the appeal” of an established” name”, @*You have to spend. substan I capital” in creating awareness” around their likene: familiar-with) who they/are." ind making sure people are says Cloyd © This is now starting t6 happen? “The way you presell” a movie ina SAA WH LAG & BH ARLET foreign market is based on relevant talents” he says. @“] ASLAM 4 BPH RAL, think we're a long way away from having virtual beings that “PAA RANE AA TATE AS have the ability to pre-sell content.” 4A 3B AARK — BEB” acensaaat of Dappeal [o'picl] n. & 431 A $$ Deapital ["keepiel] n, 34 established [1'steeblift] a. #4 #9 5 ah ah 2 awareness [a'weanas] n. GR; T A @name [nem] m. 2A § Opresell [spr 'sel] v. GEit TPIT substantial [sob!staenfl] a, AEH $ + RIM + K BAA CGI A BIE OY S BF EAM BA AEA. D 4 A An unfamiliar digital human that has been created through CGI 4.1 ALK ERM WL“ CGAL RAL BAM BEE HCCI HR 4) 38 BE FAM". DOA challenge,don't have the appeal ,substantial capital :making sure $ Aik & B CGI HK A)RE AG PSEA Hh UG OY PER IR AS AMBALA S| RAHA AAA H Rar ih do BAL MARA ATI SEAM. QOKWATARAKEAAABHZHTH, ODYA EHH THRE EYE Sp th HH MLA MeO EGA LEC RA EB MAR KO de Bh TARE AS eh Bota, SB Heat AB AB CGT HL AO) 3 9 FAH A HR. LetriWe tr) £. L) © Webber expects tha humans on screen, @*It's happening because it can happen,” Referring to a line from Jurassic Park (RF 22 + “People are too busy thinking about what they we will see more digital he say @). he can do to think about whether they should do it.” [1,197 words] PMMA MAERE ERA RGWREAR, “LEAR BERGHE B, RARE ADP WH SIA WAP RIA MARE RA A LAMA A EF MEARE BRAM,” wLeRSeaom- of Tine [lain] n. & 34mim. of LARBA A COMERAERMAMHBBR BN, DU SEMA* RAH AMELA NR FMF AR", QA HY Lk A Ge oh ty” Bip AG RR AR RAR SB aA ty RE aR A) 2 oh OR Th a) 3 RC EHLEPRAABFRAMEA SHORE), OTKMEBEATDA] DUMB AME FARA RAKFRLTSOREPR’. SRAM: RMADHRRBH, (UE (Li EY 41 MW More CGl-recreated images of deceased celebrities expected to appear on screen 4 3) %} (D4) more digital humans.will see. ..on screen. (GOLEM) OFAN ARKE LIL SHMFAR( CHAM CCLRKALHZAGR PAM CGIAR A 4 58 05 2B AG GOS 41 MA L— HK, Y BSR ae 36. RAMA LEREMZAWBR-AGEBW, (SR1G [HH1GROOHHA AAELALG-HXFAARE ARRAHRMRLM SABE fy Pie, RAR At 4) Oh HL ARIK. HP celebrities F] XH 4&@ 4 famous people. whether... should be recreated £ #i& 4] Should the public be allowed to... reproduce... # #M2#, 37. CCLRAE CAH SOM + RAMHCRABE HGR RMAE EA, [28] © [ABME] C HAAN BE) HE CGT Mk tk GER SE YO GE BO Ob $9, ACG RES RAS) HR MAME HRTF H ARMAS PST Ao BY RE THOR EP RABE BAS IKAD st CALA SIAL HAs IEP allows the image of. .. James Dean to be presented to young people fi] X 443 (D4) keep the actor's image relevant for younger generations. 38, HA CORABMMAMSAMV RRA LCRA RRAKA LULEMBRAH. [252] J SR PAAR IE FE MDI ak MARAE A KA BOA AA 8 TB BRA ATA A RG HAR KEM A OB EBAY LEM, KM RRFA RK EECA CCL RRA LOMA) BK Bk a Oh 8 39. CAMFRREBCLEMSAMBRBERR. (SRA (RIA RODE we YTS CCLAACATRERADMA—REREH Jot # RR — AM FIA EGR ICR APH Aw H] LAE AK. SEP bring images of deceased c back to the screen F1 3.5 4) 'P recreate people on screen—even actors who have been dead for decades. 40. BLEUMRS RATES LA ELA (SRIF CRF RODY MA SHRFRRA LOR LAM BAM AT AWE A THA EMM LAMLAG AFAR AROS ERATE R MAE, RMR AIA MEH HIE. P may violate their legitimate rights 4} A hidden hazard, .. is the risk of damaging their legacy. 41 LRH RE SAA CCL BABMMERSAMER. (SS) LAA] LDA AS aH BT ATA ARAL ILE SARA ERT dt de aE aE HD RPAR OIA M CCUMRRAMH SAG R404 CCRAAL HAHA DHS RM ERS A 42. SH - PEORRBRRTRRZL HA-TARHRA, (SR) B [HA] BAO] KH, CHA AM + th CAA CGIAR ARGLERK.F-BRAS BRT, RELA HALE, BAS CG RAM Et AMOCRSSSAARRAMRAA, (SR) HN CR] HRD EAs CCLRRA AMM ZAG Re ATER MRT HS AAR A Al, GRALR ATI 4 65 BI LAB JEP However advanced the CGI technology is Rt A rece: lifelike #4 ] #5 .will differ in a way 2 *t 4) P R¥ FS (never. , . indistinguishable) #4 F] LAH, 44. US FS RRR ESA A CCLRARBRUR AGT ROERA RB. [GRIE [BRIE ROOQURAH SHR atCGIRAG SAB BAMRARRH DH WIR HOAFR ALLA RBAR RAL A LHS HHA A Soh RR, GRR oh A OH Hs HERR, JEP make use of LAR] take advantage of. 45, — MER RAB HR BAIT FT RES CGI ATE Me. CSR DR] ROD A MH CORRAL ZAA AMER MAT ERE RE GMAME Y AER ARS CGT AA Sed RHI Mi, GRAAL a Sem 47 8 BR SIE IE they may lose jobs because of the CGI technology 12 48 44D 4 could this kind of technology put actors out of jobs #582, 16Section C Passage One 38 BL 3# 8 3 yD Al Mn 3 Ht 3B Hy AYA FF TART f HR: The Guardian’ B.4%)2019, 10, 18 X# The Guardian View on Creativity in Schools: A Missing Ingredient( BAF FR P HOA: —RARAHEHA), SO RHRGFERKA PAM AGA MRS MKF MEAGHER FHM BLP THERM ART HOE ALHEAEAH, RH REAK7 “ity AFR — IL) EH HH HT HEAT HR“) 38 creativity)”. FA ARS LADERA A AEA KA KR AM RA Oo SHES RAR $k) 4b a 2 a A ES HR 1 38 HEALRAA AGRARARTMERKABG EM, = Sea RRBAR 1 @You can’t sce it, smell it, or hear it, and people MAAN E ASC. ARN ET, disagree on® how precisely to define it, or where exactly it A eT RMS LER EC RA comes from, @ It_isn}t a school subject, or an academic AML” AMLERMER. CRR— RAM FA. ET RES ERERELE HREM LAE THERPRLEH REP. RH RAMEE RFE SRNEBEME we thrive mentally and spiritually when we arevable to wield” pte 4 yas Ap goth ab an TR ALA it, @lt is a delicate” thing, casily stamped out”; in factit pe ee — AIRE OH Ae RED aE flourishes” most fully when people are playful” and A, 3b. A Most SARA Ma childlike®. @ Meanwhile, it works best in conjunction with CRAKEAR, Mop, SSR RRS deep knowledge and expertise”. ALAR GEA SO EAR KE A, discipline”. but it can be learned, @lt isa quality that is required of artists, but it is also present” in the lives.of scientists and entrepreneurs’. @All.of us benefit {rom it and vmceeseaan - of Ddisagree on sth FLA Pa AK EL § Ostamp out i RK sk ROK) Discipline ['aisoplin] ». Ft 5 @Mourish Cars] o. RRs HAE present ['preznt] a. 4444 2 Dplaytut ['ptertt] a. A A a Ht entrepreneur [,ontrapra!nsi(r) } n, dak & 2 Dehildlike ['tfandiank] a, FAH 5 HAR H wield Cwitd] &, #18 578 § Din conjunetion with, .. delicate [‘delikat ] a. 54 45; H 45 $) Dexpertise [.eksps:'tizz] n. $ Ks 11 4K sams of HEOERS, 1 it OES EA DOAN it HBA ARAB D4 You can’t... 5... + 07. sand people disagree on. HA HH it HASH RAAAOBAS LRA AMHRL RH, D4 Ivisn't... but it canbe... #-F BLOT: HEF RE AAR TRAN, OOAI H tM RHAAA' MM ABH". Oe Assess (burs dit RETREGHLEAM, HE Rhee ROMA ET. D8 AG MAE & Cand) a8 a it AE AE ATA CALL of us) ART A BR BAEC thrive mentally and spiritually). OMA it HIE AN, D4 delicate,easily stamped out H MAH Ht in HF BAL CE De PD; in fact. .. flourishes most fully... playful and childlike A&A] it AAA 40R-@ AA i OP ABR. OH rr it works best. .. 34 at A AEA AE 1 J As 5 IR A oR fo aL Re 2 & ét — Az AF Cin. conjunction with deep knowledge and expertise) . CREME) HA 8A FH EGO HBG BEELABAATH AREAS TRE OLA it RR ATAE PR PAE,+ man of 46, What do we learn from the passage about creativity? M6, KF MEA BAM EMAL AM ITA? spiritually prepare A) It develops best when people ADS Ati aba Ee a at ERE RF tists and entrepre B) It is most often wielded by s urs. BERRA Efe b ke RAM. C) It is founded on scientific knowledge and analytical skills, OCRAAAFMROPHREZLE, D) It contributes to intellectual growth but can easily be killed, DYE AH TAIRA KARE FAK (FREE) AM HAE RAG Ae, ALT KALA creativity TALS) H =A | This mysterious—but teachable—quality is creativity) « fi —9 ARM This #74 4 MA AME MARR ALB HEL (HS) Do BRAM RA HR RAE RAE. BAA it FPA“ ASE A (creativity), ws ST FG AIRE AF Od ab Hy ABR, Ko D6 Ha ae AAA AL A BA DS A APE PBL BK AIR Cathrive mentally and spiritually) | 4) ¥ Ht C138 7) RAPS ARS I ARIE. A (delicat ly stamped out), RD HIE SPR aE 05 BLAS A JEM. IE AP contributes to intellectual growth #e easily be killed Bat B LAE 4 05 FLA, (HE DRF HR] A Kat D4 MAH BR .we thrive mentally and spiritually when we are able to wield it 48 441 IRE LE Ab RATA AA hy AAP LE BAR AIR RR AAA AB fe APY OD a AP K BAROG AOS ARREREWLEE MR HER GELELMA EH THLE A ERER Bi RMI AES CRW ARO MERGE 25 Aaa fe LAE HEF ATCin conjunction with)” w At “Ak ae £4 4ode 45 pat ak eX _E Gs founded on)". (2 Be] AIH 1 AAD AS AH aE we BAe ED 4 :C WARM scientilic knowledge and aalyti easily be killed BAZ BOO, ALM fo LES Ham ATH KARA D REM RL S05 AI, I @ This mysterious—but teachable” —quality is creativity, the subject of a recently-published report by Durham Commission® on Creativity and Education, @ The report concludes that er the vity should not inhabit school curriculum” only as it relates to” drama, musies art and other obviously creative subjects, but that creative thinking ought to run through all of school lifes infusing (Hei) the way humanities and natural sciences are learned, KADRA it H creativity. MLE MARA 2G i RPA Se, A HALAS spiritually tt 2@4) ;B A ARAB wielded by scientists and entrepreneurs | skills © 42 £@4 ;D “WAKA intellectual growth 4 FR AR AR BC RRR TP 38H a $8 4) 40 TAR FERRARA RHRRCM EHH TAKAREARH—- AREER, BIS SA AAR BRERA AAPM TRE RF ME A) eK AA DRAAFRRA, OHREAB RF FRESH GD BAHAR HEP ORAP HEI AAP. sacemseaai of Dieachable ['vitfobl] a, TAH 6 § [ko!mifn] n, inhabit (in'hebi] v. 4 T $ ‘The report concludes that creativity should not inhabit the rt and other ob infusing the way humanities and natural sciences are learned, Deurriculum [ko'vikjolom] n. 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CRM) KEEP AR 8159 HH Abe Conly ys all ) AA 4 10 sh K #8 HO AP HL Cdrama, music, art and other obviously creative subjects vs humanities and natural sciences) 48 81 : #4289 4138.1 KW KBR A AFERAGAAD DASA NMAMBALFR AH RA EH MHASH, -Heim- of 47. What is the conclusion of a recently-published report? 47. BER ROAR EMBER HA? A) Natural sciences should be learned the way humanities courses are, A) A RAE BAA SRA TRAE B) Cultivation of creativity should permeate the-entire school curtictluim, B) 4) 7 HIE RAT FRA ERR ©) Art courses should be made compulsory for all students, CPE RARE BIL A i Oy EK A HR D) Students should learn more obviously creative subjects, DFA RE] RH 8) OE RAD. (AR RRE A) AR a EAS SG MF A $A the conclusion of, .. report FX 42 ZH = #24 (The report. concludes thaty. .). (MESH) Bo OYHRHLARARAKRARAATHORMER EH MGRAA YS YRLRATE PARA 6 65 AH (run through all of school life) AS] A X44 fo A RATE HY FD AP Chumanities and natural sciences) . 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WD 50 A 8 RAE LIN A HR to HAR OB” BL RARE RPA TEAR" TH BE IM @The authors, who focus on education in England, offer @ number of sensible” recommendations”. some of which are an attempt to alleviate? the uninspiring and fact- based approach to education that has erept® into policy in recent years. @When children are regarded as vessels® to be filled with fac ity does not prospers nor does it cre when teach sole objective” is coaching” children towards exams, @One suggestion from the commission is a network ”, along the lines of® existing maths hubs (PS), with the aim of supporting of teacher-led “creativity collaborativ teaching for creativity through the school curriculum, ah OF EH HH. 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Hi RAL ATE number of of supporting teaching for creativity) Av vA KE # . 3% Wik ARDS EE RAHEEM AR -nanm- of 48. What does the report say is detrimental to the fostering of creativity? | 48. 2 PRA RA Fis KI? A) Alleviation of pressure, ADEE. B) Teacher-led school activities. BH SHER IED, C) Test-oriented teaching. OCORERA H 1 HF. D) Independent learning. D)kaF7. (FHVESE Oe] AAA HO) HEIR LAE HE. ARAB the report. is detrimental to the fostering of creativity REX FAM TEAL ZF 24D AC... creativity dose not prosper.nor does it. 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