考研英語新東方寫作範文100篇八
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One of the most important social developments that helped to make possible a shift in thinking about the role of public education was the effect of the baby boom of the 1950’s and 1960’s on the schools. In the 1920’s, but especially in the Depression conditions of the 1930’s, the United States experienced a declining birth rate --- every thousand women aged fifteen to forty-four gave birth to about 118 live children in 1920, 89.2 in 1930, 75.8 in 1936, and 80 in 1940. With the growing prosperity brought on by the Second World War and the economic boom that followed it young people married and established households earlier and began to raise larger families than had their predecessors during the Depression. Birth rates rose to 102 per thousand in 1946,106.2 in 1950, and 118 in 1955. Although economics was probably the most important determinant, it is not the only explanation for the baby boom. The increased value placed on the idea of the family also helps to explain this rise in birth rates. The baby boomers began streaming into the first grade by the mid 1940’s and became a flood by 1950. The public school system suddenly found itself overtaxed. While the number of schoolchildren rose because of wartime and postwar conditions, these same conditions made the schools even less prepared to cope with the
food. The wartime economy meant that few new schools were built between 1940 and 1945. Moreover, during the war and in the boom times that followed, large numbers of teachers left their profession for better- paying jobs elsewhere in the economy.
Therefore in the 1950’s and 1960’s, the baby boom hit an antiquated and inadequate school system. Consequently, the “ custodial rhetoric” of the 1930’s and early 1940’s no longer made sense that is, keeping youths aged sixteen and older out of the labor market by keeping them in school could no longer be a high priority for an institution unable to find space and staff to teach younger children aged five to sixteen. With the baby boom, the focus of educators and of laymen interested in education inevitably turned toward the lower grades and back to basic academic skills and discipline. The system no longer had much interest in offering nontraditional, new, and extra services to older youths.
考研英語新東方寫作範文：科學理論in science, a theory is a reasonable explanation of observed events that are related. a theory often involves an imaginary model that helps scientists picture the way an observed event could be produced. a good example of this is found in the kinetic molecular theory, in which gases are pictured as being made up of many small particles that are in constant motion.
a useful theory, in addition to explaining past observations, helps to predict events that have not as yet been observed. after a theory has been publicized, scientists design experiments to test the theory. if observations confirm the scientist’s predictions, the theory is supported. if observations do not confirm the predictions, the scientists must search further. there may be a fault in the experiment, or the theory may have to be revised or rejected.
science involves imagination and creative thinking as well as collecting information and performing experiments. facts by themselves are not science. as the mathematician jules henri poincare said, “science is built with facts just as a house is built with bricks, but a collection of facts cannot be called science any more than a pile of bricks can be called a house.”
most scientists start an investigation by finding out what other scientists have learned about a particular problem. after known facts have been gathered, the scientist comes to the part of the investigation that requires considerable imagination. possible solutions to the problem are formulated. these possible solutions are called hypotheses.
in a way, any hypothesis is a leap into the unknown. it extends the scientist’s thinking beyond the known facts. the scientist plans experiments, performs calculations, and makes observations to test hypotheses. without hypothesis, further investigation lacks purpose and direction. when hypotheses are confirmed, they are incorporated into theories.
考研英語新東方寫作範文：國際商務與跨文化交際he increase in international business and in foreign investment has created a need for executives with knowledge of foreign languages and skills in cross-cultural communication. americans, however, have not been well trained in either area and, consequently, have not enjoyed the same level of success in negotiation in an international arena as have their foreign counterparts.
negotiating is the process of communicating back and forth for the purpose of reaching an agreement. it involves persuasion and compromise, but in order to participate in either one, the negotiators must understand the ways in which people are persuaded and how compromise is reached within the culture of the negotiation.
in many international business negotiations abroad, americans are perceived as wealthy and impersonal. it often appears to the foreign negotiator that the american represents a large multi-million-dollar corporation that can afford to pay the price without bargaining further. the american negotiator’s role becomes that of an impersonal purveyor of information and cash.
in studies of american negotiators abroad, several traits have been identified that may serve to confirm this stereotypical perception, while undermining the negotiator’s position. two traits in particular that cause cross-cultural misunderstanding are directness and impatience on the part of the american negotiator. furthermore, american negotiators often insist on realizing short-term goals. foreign negotiators, on the other hand, may value the relationship established between negotiators and may be willing to invest time in it for long- term benefits. in order to solidify the relationship, they may opt for indirect interactions without regard for the time involved in getting to know the other negotiator.
考研英語新東方寫作範文：movie musicaccustomed though we are to speaking of the films made before 1927 as“silent”, the film has never been, in the full sense of the word, silent. from the very beginning, music was regarded as an indispensable accompaniment; when the lumiere films were shown at the first public film exhibition in the united states in february 1896, they were accompanied by piano improvisations on popular tunes. at first, the music played bore no special relationship to the films; an accompaniment of any kind was sufficient. within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film.
as movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. for a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces. since the conductor seldom saw the films until the night before they were to be shown (if indeed, the conductor was lucky enough to see them then), the musical arrangement was normally improvised in the greatest hurry.
to help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. in 1909, for example, the edison company began issuing with their films such indications of mood as “pleasant”, “sad”, “lively”. the suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next.
certain films had music especially composed for them. the most famous of these early special scores was that composed and arranged for d.w griffith’s film birth of a nation, which was released in 1915.
考研英語新東方寫作範文：pianoThe ancestry of the piano can be traced to the early keyboard instruments of the fifteenth and sixteenth centuries --- the spinet, the dulcimer, and the virginal. In the seventeenth century the organ, the clavichord, and the harpsichord became the chief instruments of the keyboard group, a supremacy they maintained until the piano supplanted them at the end of the eighteenth century. The clavichord’s tone was metallic and never powerful; nevertheless, because of the variety of tone possible to it, many composers found the clavichord a sympathetic instrument for intimate chamber music. The harpsichord with its bright, vigorous tone was the favorite instrument for supporting the bass of the small orchestra of the period and for concert use, but the character of the tone could not be varied save by mechanical or structural devices.
The piano was perfected in the early eighteenth century by a harpsichord maker in Italy (though musicologists point out several previous instances of the instrument). This instrument was called a piano e forte (sort and loud), to indicate its dynamic versatility; its strings were struck by a recoiling hammer with a felt-padded head. The wires were much heavier in the earlier instruments. A series of mechanical improvements continuing well into the nineteenth century, including the introduction of pedals to sustain tone or to soften it, the perfection of a metal frame, and steel wire of the finest quality, finally produced an instrument capable of myriad tonal effects from the most delicate harmonies to an almost orchestral fullness of sound, from a liquid, singing tone to a sharp, percussive brilliance.
