41. ÍÆÀíÅжÏÌâ¡£Óɵ¹ÊýµÚ¶þ¶ÎÖеġ°The researchers think the Parramatta red gums were able to effectively sweat ¡ª even without photosynthesis ¡ª because they are particularly good at tapping into water deep in the soil. But if a heat wave and a severe drought £¨¸Éºµ£©were to hit at the same time and the groundwater was exhausted, the trees may not be so lucky, Drake says.¡±¿ÉÖª£¬ÕâЩÊ÷Éó¤ÎüÈ¡µØÏÂË®£¬Èç¹ûÈÈÀ˸ɺµÍ¬Ê±·¢Éú£¬µØÏÂË®¿Ý½ßµÄ»°£¬ÄÇôÕâЩÊ÷Éú´æµÄ¿ÉÄÜÐԾͱȽÏСÁË¡£ÓÉ´Ë¿ÉÒÔÍÆÖª£¬µØÏÂË®°ïÖúÕâЩÊ÷´æ»îÏÂÀ´¡£¹ÊDÑ¡ÏîÕýÈ·¡£
¡¾µã¾¦¡¿¸ù¾ÝÊÂʵϸ½Ú£¬ÍƶϺÏÀíÐÅÏ¢¡£ÍÆÀíÌâÒªÇóÔÚÀí½âÔÎıíÃæÎÄ×ÖÐÅÏ¢µÄ»ù´¡ÉÏ£¬×÷³öÒ»¶¨ÅжϺÍÍÆÂÛ£¬´Ó¶øµÃµ½ÎÄÕµÄÒþº¬ÒâÒåºÍÉî²ãÒâÒå¡£ÍÆÀíÌâËùÉæ¼°µÄÄÚÈÝ¿ÉÄÜÊÇÎÄÖÐijһ¾ä»°£¬Ò²¿ÉÄÜÊÇij¼¸¾ä»°£¬µ«×öÌâµÄÖ¸µ¼Ë¼Ï붼ÊÇÒÔÎÄ×ÖÐÅϢΪÒÀ¾Ý£¬¼È²»ÄÜ×ö³öÔÚÔÎÄÖÐÕÒ²»µ½ÎÄ×Ö¸ù¾ÝµÄÍÆÀí£¬Ò²²»Äܸù¾Ý±íÃæÎÄ×ÖÐÅÏ¢×ö¶à²½ÍÆÀí¡£ÔÚµÚËÄСÌâÖУ¬¿¼Éú¿ÉÒÔ¸ù¾Ýµ¹ÊýµÚ¶þ¶ÎÖеġ°if a heat wave and a severe drought £¨¸Éºµ£©were to hit at the same time and the groundwater was exhausted, the trees may not be so lucky¡±¿ÉÖª£¬µØÏÂË®¶ÔÓÚèñÊ÷µÄÉú´æÆð×ÅÖØÒª×÷Ó㬴ӶøÈ·¶¨´ð°¸ÎªDÑ¡Ïî¡£
C
We want our children to succeed, in school and, perhaps even more importantly, in life. But the paradox(ã£ÂÛ) is that our children can only truly succeed if they first learn how to fail. Consider the finding that world-class figure skaters fall over more often in practice than low-level figure skaters. At first sight this seems contradictory. Why are the really good skaters falling over the most?
The reason is actually quite simple. Top skaters are constantly challenging themselves in practice, attempting jumps that stretch their limitations. This is why they fall over so often, but it is precisely why they learn so fast. Lower-level skaters have a quite different approach. They are always attempting jumps they can already do very easily, remaining within their comfort zone. This is why they don¡¯t fall over. In a superficial sense, they look successful, because they are always on their feet. The truth, however, is that by never failing, they never progress.
What is true of skating is also true of life. James Dyson worked through 5,126 failed prototypes(ÔÐÍ) for his dual cyclone vacuum before coining up with the design that made his fortune. These failures were essential to the pathway of learning. As
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Dyson put it: ¡°You can¡¯t develop new technology unless you test new ideas and learn when things go wrong. Failure is essential to invention.¡±
In healthcare, however, things are very different. Clinicians don¡¯t like to admit to failure, partly because they have healthy egos(×ÔÎÒ)(particularly the senior doctors) and partly because they fear litigation(ËßËÏ). The consequence is that instead of learning from failure, healthcare often covers up failure. The direct consequence is that the same mistakes are repeated. According to the Journal of Patient Safety, 400,000 people die every year in American hospitals alone due to preventable
error. Until healthcare learns to respond positively to failure, things will not improve.
But let us return to children. One of the major mistakes in education in the 1970s was the attempt to equip children with confidence by giving them lots of successes £¨setting the bar very low£©. The consequence was that the ego of kids became bound up with success, and they became unable to take risks and collapsed as soon as they hit a proper challenge.
We need to flip(·×ª) this approach. In a complex world, failure is inevitable. It is those individuals and institutions that have the flexibility to face up to failure, learn the lessons and adapt which eventually excel(Í»³ö). 42. The question raised in the first paragraph is to ________.
A. open up a discussion on the topic B. analyze the reason for success C. express the author¡¯s opposition D. doubt the abilities of the top skaters 43. Which of the following is the structure of the passage?
A. B.
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C. D.
44. What would be the best title for the passage?
A. How we can avoid failure in life B. What we should learn from failure C. Why failure is the key to flying high D. Where we further improve ourselves ¡¾´ð°¸¡¿42. A 43. A 44. C
¡¾½âÎö¡¿ÕâÊÇһƪÒéÂÛÎÄ¡£×÷Õßͨ¹ýÕý·´Á½·½ÃæµÄÀý×ÓÂÛÖ¤ÁË¡°Ê§°ÜÊǺ¢×ӳɹ¦µÄ±ØÐëÌõ¼þ¡±ÕâÒ»¹Ûµã¡£
42. ÍÆÀíÅжÏÌâ¡£ÓɵÚÒ»¶ÎÖеġ°But the paradox£¨ã£ÂÛ£©is that our children can only truly succeed if they first learn how to fail.¡±¿ÉÖª£¬ÎÄÕµÄÖÐÐÄÂÛµãÊÇÈç¹ûº¢×ÓÏëÒªÕæÕý³É¹¦£¬Ê×ÏȾÍҪѧ»áʧ°Ü¡£ºóÃæÒÔÊÀ½ç¼¶»¬±ùÔ˶¯Ô±Ë¤µ¹µÄ´ÎÊý¸ü¶àÀ´Ö¤Ã÷ÕâÒ»µã£¬×îºóÒ»¾äÌá³öÎÊÌ⣺ΪʲôºÃµÄ»¬±ùÔ˶¯Ô±·´¶øˤµ¹µÄ´ÎÊý¶àÄØ£¿ÏÂÎĶÔÕâ¸öÎÊÌâ×öÁ˻ش𣬽øÒ»²½²ûÃ÷ÁËÎÄÕµÄÖÐÐÄÂ۵㡣ºÜÃ÷ÏÔ£¬Õâ¸öÎÊÌâ¾ÍÊÇΪÁËÒý³öÏÂÎĶÔÖÐÐÄÂÛµãµÄÂÛÊö·þÎñµÄ¡£¹ÊAÑ¡ÏîÕýÈ·¡£
43. ÎÄÕ½ṹÌâ¡£µÚÒ»¶ÎÌá³öÖÐÐÄÂ۵㲢ÒÔ»¬±ùÔ˶¯Ô±ÎªÀýÒý³öµÚ¶þ¶Î¡£µÚÈý¶ÎJames DysonΪÕýÃæÀý×ÓÖ¤Ã÷£º³É¹¦Êǽ¨Á¢Ê§°ÜµÄ»ù´¡Éϵġ£¶øµÚËĺ͵ÚÎåÁ½¶Î·Ö±ðÒÔÒ½ÁƺÍ20ÊÀ¼ÍÆßÊ®Äê´úµÄ¶ùͯ½ÌÓýΪ·´ÀýÖ¤Ã÷£º²»¾Àúʧ°Ü¾Í²»»á»ñµÃ³É¹¦ºÍÌá¸ß¡£×îºóÒ»¶ÎÔÙ´ÎÇ¿µ÷ÖÐÐÄÂ۵㡣¹ÊAÑ¡ÏîÕýÈ·¡£
44. ±êÌâ¹éÄÉÌâ¡£ÎÄÕµÚÒ»¶Î¼´Ìá³öÖÐÐÄÂ۵㣺the paradox£¨ã£ÂÛ£©is that our children can only truly succeed if they first learn how to fail£¬Öм伸¶ÎÒÔÕý·´Á½·½ÃæµÄÀý×ÓÖ¤Ã÷Á˸ÃÂ۵㡣×îºóÒ»¶ÎÓÖÖØÐÂÇ¿µ÷Á˸ÃÂ۵㡣ºÜÃ÷ÏÔ£¬ÎÄÕµÄÖÐÐÄÒâ˼¾ÍÊÇ£ºÊ§°ÜÊǺ¢×ÓÕæÕý³É¹¦µÄ±ØÒªÌõ¼þ¡£½áºÏÑ¡ÏCÑ¡ÏîΪ×î¼Ñ±êÌâ¡£
D
This is my origin story: when I was a teenager I wrote terrible poetry. Like really bad. Worse than yours, I bet. A lot of it about how every little thing reminds me that we¡¯re all going to die one day. I wrote collections and collections of these
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poems, thinking one day I would have my moment. I named one collection, ironically,
The Eternal Optimist.
In 1996, I found an advert for the International Poetry Competition. I was 16 years old and ready for my poetry to be released on the world. Not only was it a competition with a cash prize, but it was poetry, which I wrote, and international. This was my ticket to becoming world-famous. I submitted a poem called Trail of Thought. If you ever wrote bad poetry as a teenager, you¡¯ll have written something like it. In the poem, I went for a walk and noticed small poignant(ÐÁËáµÄ) things in nature, and each one reminded me that we were all going to die one day.
I filled out the form, printed off the poem and sent it off, fingers crossed. I waited to hear back I carried on writing, I probably finished another collection. Then I got a letter from the International Society of Poets. I opened the envelope carefully, just in case a prize-winning cheque fell out I hadn¡¯t won. But, they liked my poem enough to include it in their anthology(Ê«Ñ¡), Awaken to a Dream. I closed my eyes, I wanted to scream with happiness. I was going to be a published poet.
All I had to do in order to be published was accept the terms and pay ¡ê 45£¨plus ¡ê 5 p & p£©for an anthology. If I didn¡¯t buy a copy of the anthology, my poem wouldn¡¯t be included. I had to convince my mum, who thought my writing a meaningless pastime, to part with ¡ê 50. She even asked the question: ¡°Why do you have to pay to be in this book?¡± Nevertheless, she wrote a cheque for ¡ê 50 and I returned it with my letter of agreement.
I was 16 and about to be a published poet. This was what it had all been about. This is what it had all been leading to. The months waiting for the anthology were a torture. I hit some sort of writer¡¯s block, I couldn¡¯t write anything. It was almost as if, now I was published, it mattered more what I committed to page and I didn¡¯t want to write anything down unless it was good enough to go into an anthology like Awaken to a Dream.
The book arrived through the post. Here it was. The first thing I had ever been published in a book called Awaken to a Dream, featuring a blistering take on the mundanity(ÊÀË×) of mortality by yours truly. I opened the package to find a book,
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