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Giải SGK, SBT Unit 3. Customs and culture Friends Global

Giải SGK, SBT Unit 3 Friends Global

126 câu hỏi
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Câu 31 :

LEARN THIS! Modals in the past

a We use may (not) / might (not) / could have + past participle to speculate about the past. We don't use couldn't have + past participle in this way.

She might have been worried about something.

b We use should / shouldn't have + past participle or ought (not) to have + past participle to say what the right or wrong way to behave was.

He shouldn't have left early. He ought to have stayed.

c We sometimes use an exclamation with might have + past participle or could have + past participle (but not may have + past participle or negative forms) to tell somebody how we think they should have behaved.

You might have offered me a biscuit! I was starving!

d We use must have + past participle and can't / couldn't have + past participle to make logical deductions about the past.

They can't have known about the meeting. They must have misunderstood your email.

e We use should have + past participle and was supposed to + infinitive to talk about things we expect to have happened.

She left an hour ago, so she should have reached the airport by now. She was supposed to take the tickets with her.

Tạm dịch

LEARN THIS! Các động từ khiếm khuyết trong quá khứ

a Chúng ta dùng may (not) / might (not) / could have + quá khứ phân từ để suy đoán về quá khứ. Chúng ta không dùng couldn't Have + quá khứ phân từ theo cách này.

Có lẽ cô ấy đang lo lắng về điều gì đó.

b Chúng ta sử dụng should / should't have + quá khứ phân từ hoặc should (not) to have + quá khứ phân từ để nói cách cư xử đúng hay sai.

Lẽ ra anh ấy không nên rời đi sớm. Lẽ ra anh ấy nên ở lại.

c Đôi khi chúng ta sử dụng câu cảm thán với might have + quá khứ phân từ hoặc could have + quá khứ phân từ (nhưng không dùng may have + quá khứ phân từ hoặc dạng phủ định) để nói với ai đó chúng ta nghĩ họ nên cư xử như thế nào.

Bạn có thể đã mời tôi một chiếc bánh quy! Tôi đã chết đói!

d Chúng ta sử dụng must have + quá khứ phân từ và can't / couldn't have + quá khứ phân từ để suy luận hợp lý về quá khứ.

Họ không thể biết về cuộc họp. Chắc họ đã hiểu nhầm email của bạn.

e Chúng ta sử dụng should have + quá khứ phân từ và must have + nguyên mẫu để nói về những điều chúng ta mong đợi sẽ xảy ra.

Cô ấy đã rời đi cách đây một giờ, lẽ ra bây giờ cô ấy đã đến sân bay. Lẽ ra cô ấy phải mang theo vé.

Câu 51 :

2 Read the extract from The Kite Runner. Which cover do you think matches the extract the best? Why?

(Đọc đoạn trích từ Người Đua Diều. Bạn nghĩ bìa nào phù hợp với trích đoạn nhất? Tại sao?)

THE KITE RUNNER

Ali and Baba grew up together as childhood playmates just like Hassan and I grew up a generation later. Baba was always telling us about their mischiefs he and Ali used to cause. But in none of his stories did Baba ever refer to Ali as his friend.

The curious thing was, I never thought of Hassan and me as friends either. 1 _____ Never mind that we taught each other to ride a bicycle with no hands, or to build a fully functional homemade camera out of a cardboard box. Never mind that we spent entire winters flying kites, running kites. Never mind that to me, the face of Afghanistan is that of a boy with a thin-boned frame, a shaved head, and low-set ears, a boy with a Chinese doll face perpetually lit by a harelipped smile.

Never mind any of those things. 2 _____ Neither is religion. In the end, I was a Pashtun and he was a Hazara, I was Sunni and he was Shi'a, and nothing was ever going to change that. Nothing.

We saw our first Western together, Rio Bravo with John Wayne, at the Cinema Park. I remember begging Baba to take us to Iran so we could meet John Wayne. Baba burst out in gales of his deep-throated laughter and then explained to us the concept of voice dubbing. 3 _____ John Wayne didn't really speak Farsi and he wasn't Iranian! He was American, just like the friendly, long-haired men and women we always saw hanging around in Kabul, dressed in their tattered, brightly colored shirts.

During the school year, we had a daily routine. By the time I dragged myself out of bed and lumbered to the- bathroom, Hassan had already washed up, prayed the morning namaz with Ali, and prepared my breakfast. While I ate and complained about homework, Hassan made my bed, polished my shoes, ironed my outfit for the day, packed my books and pencils. 4 _____

(Adapted from The Kite Runner by Khaled Hosseini)

Câu 72 :

Writing Strategy

Make a plan for your blog post so you allow enough space to include every element from the task instructions. Remember to include a good introduction and a summary.

(Chiến lược viết

Lập kế hoạch cho bài đăng trên blog của bạn để bạn có đủ không gian để bao gồm mọi yếu tố từ hướng dẫn nhiệm vụ. Hãy nhớ bao gồm phần giới thiệu hay và tóm tắt.)

 

SAVE OUR FESTIVAL!

1 I was very surprised to read an article in my local newspaper suggesting that the Kingsbridge Festival should no longer take place. The article suggested that the festival costs the council too much money and causes too much disruption to traffic in the town centre. I'd like to outline some arguments against this view.

2 I strongly disagree with the suggestion that there is no value in continuing the festival. Firstly, it has become a local tradition. Kingsbridge has held an annual food and music festival for more than ten years. Secondly, local producers and caterers can sell their food and drink there. And thirdly, after eating and drinking, visitors can stay to watch local musicians showcase their talents.

3 Last year's festival was a memorable experience. As families crowded around the food stalls, the music played non-stop. There was a lovely, friendly atmosphere until night fell. Having arrived later to hear the bands play, the local teenagers just mixed in with everybody else. Looking around, I could see young people, old people and parents with children on their shoulders, all dancing to the music.

4 In my view, festivals like this are good for local trade and advertising. They are also invaluable for bringing and keeping communities together. How can you put a price on that?

Câu 81 :

2 You are going to read an article about Cải Lương, a traditional Vietnamese theatrical art form. Match the headings (A-G) with paragraphs (1-5). There are two extra headings.

(Bạn sắp đọc một bài viết về Cải Lương, một loại hình nghệ thuật sân khấu truyền thống của Việt Nam. Nối các tiêu đề (A-G) với các đoạn văn (1-5). Có hai tiêu đề bị thừa.)

A The Development of Cải Lương

B The pioneers

C The early days

D A Vibrant Fusion of Arts

E The Future of Cải Lương

F Viet Nam's rich heritage

G The instrumental ensemble

1

Cải Lương, a form of traditional Vietnamese theatre, emerged around the 1910s and gained popularity among the communities in the south, especially in the Mekong Delta region. In the early years, Cải Lương performances were held in makeshift theatres or open-air spaces, and the plays were often performed by itinerant troupes. Just like a Western circus, they travelled together from place to place, with their families. The children grew up under the influence of parents, aunts and uncles and became actors and actresses when they were kids.

2

Cải Lương uses a combination of music, singing, acting, and dance to depict a wide range of themes and stories. These include historical events, folklore, legends, and contemporary social issues. The performances are characterised by vibrant costumes, bold makeup, and expressive gestures. With its diverse repertoire, Cai Luong offers a reflection on Vietnamese culture, history, values, and societal concerns.

3

The distinctive music in Cải Lương is created by the combination of a variety of instruments. They include the dan tranh, a 16-stringed zither with movable bridges, the đàn nguyệt, a two-stringed moon-shaped lute, the dàn cò, a two-stringed fiddle, and a bamboo flute. These instruments produce a melodic and unique sound that complements the storytelling and singing in Cải Lương.

4

Cải Lương owes its development to numerous talented individuals who have contributed their skills and creativity over the years. Prominent figures like Bay Nam, Phùng Há and Út Trà Ôn, together with others, played crucial roles in shaping and popularising Cải Lương. Through their dedication and artistry, they elevated Cải Lương to become a cherished cultural tradition in Viet Nam. Their contributions continue to inspire generations of performers and ensure the preservation of this rich theatrical heritage.

5 At present, Cải Lương faces concerns about its future due to the declining interest among younger generations and the influence of modern entertainment. However, efforts to raise awareness, engage new audiences, and adapt to new tastes may safeguard the sustainability of Cải Lương in the years to come.

Câu 86 :

Read the text and choose the best answers (A-D).

(Đọc đoạn văn và chọn câu trả lời đúng nhất (A-D).)

Mardi Gras: a party to remember

Mardi Gras. Two little words that describe a centuries-old celebration which originated in Medieval Europe. It is the name given to the final day of the Carnival season, the day that traditionally precedes forty days of fasting in some religions. The words mean 'Fat Tuesday, referring not only to the day on which the celebration is always held, but also to the custom of eating up all the forbidden food before the fast.

Today, it is the city of New Orleans in Louisiana, USA, that holds one of the most famous Mardi Gras celebrations in the world. Mardi Gras was introduced to North America in March 1699 by a French Canadian explorer called Jean-Baptiste Le Moyne de Bienville. Arriving on the eve of the festival at an area 90 kilometres south of what is now New Orleans, he organised the following day celebration on a plot of land he named Pointe du Mardi Gras. The custom soon caught on, and by the time New Orleans had been established by Bienville in 1718, Americans were celebrating their own version of Mardi Gras.

What makes the New Orleans event so special is its dazzling parades. Marching bands escort artistic carnival floats through streets lined with spectators wearing masks. These masks afforded the wearer a disguise which allowed him or her to mix with people of different classes.

As for the carnival floats, each one belongs to an organisation known as a 'krewe. The tradition of the 'krewe' began in 1856 when six young men from the nearby town of Mobile formed the 'Mistek Krewe of Comus. Not only does this group hold the distinction of being the first krewe, but it is also credited with parading the first float.

The second Mardi Gras krewe, the Twelfth Night Revelers was founded in 1870, and initiated another popular tradition, the Mardi Gras 'throws. These are small presents which are tossed to the crowd by the costumed float-riders. Mardi Gras was made official in New Orleans in 1875 when Governor Warmoth signed the Mardi Gras Act making Fat Tuesday a public holiday in Louisiana.

1 The first Mardi Gras was celebrated in North America when Bienville

A crossed the Canadian border.

B founded New Orleans.

C reached Pointe du Mardi Gras.

D landed on the coast of Louisiana.

2. Festival-goers started wearing masks at Mardi Gras because

A they were an obligatory part of the costume.

B they were made legal for the day.

C they were handed out by the float-riders.

D they hid a person's true identity.

3. 1856 is the year in which

A the first krewe was formed in New Orleans.

B floats began to take part in the parades.

C a committee was voted to organise the festival.

D the town of Mobile held its first Mardi Gras.

4. The Twelfth Night Revelers was the first krewe to

A pay for a float.

B dress up in colourful outfits.

C hand out money during a parade.

D provide gifts for spectators.

5. Before 1875,

A schools and offices were open during Mardi Gras.

B tourists were not welcome at the celebrations.

C krewes didn't have to pay for their own floats.

D Mardi Gras was financed by the governor.