When he woke up, he realized that the things he had dreamt about could not ______

LQ

Lê Quỳnh Anh

19 tháng 6 2017

Mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the following questions.

When he woke up, he realized that the things he had dreamt about could not ____ have happened.

A. likely

B. possibly

C. certainly

D. potentially

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

19 tháng 6 2017

Chọn B.

Đáp án B.
Ta có cấu trúc: can/ could (not) + possibly + V(nguyên thể): nhấn mạnh khả năng có (không) thể xảy ra
Ngoài ra ta có:
- be likely to V: có thể làm gì (trong tương lai)
- certainly (adv): chắc chắn, nhất định
- potentially (adv): có tiềm năng
Dịch: Khi tỉnh dậy, anh ta nhận ra rằng những điều anh ta mơ thấy có thể sẽ chẳng bao giờ xảy ra.

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LQ

Lê Quỳnh Anh

9 tháng 6 2018

Mark the letter A, B, C, or D on your answer sheet to show the underlined part that needs correction.He is enough strong to carry the heavy luggage. A.enough strong B. to carry C. heavy D.luggage...

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#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

9 tháng 6 2018

Đáp án là A. enough strong => strong enough. Cấu trúc : adj + enough ; enough + N

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LQ

Lê Quỳnh Anh

2 tháng 9 2019

Mark the letter A, B, C, or D on your answer sheet to indicate the sentence that is closest in meaning to each of the following questions. It was such strong coffee that he couldn’t drink it. A. The coffee was too strong for him to drink B. He couldn’t drink the coffee although the coffee was so strong. C. He couldn’t drink too strong coffee before. D. The strong coffee made him able to drink it....

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1

DH

Dương Hoàn Anh

2 tháng 9 2019

Đáp án A

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LQ

Lê Quỳnh Anh

23 tháng 10 2019

Mark the letter A, B, C or D on your answer sheet to indicate the sentence that best combines each pair of sentence in the following questions.The coffee was very strong. He couldn’t drink it. A. The coffee was so strong that he could drink it. B. He couldn’t drink the strong coffee before C. The coffee was not weak enough for him to drink. D. The coffee was too strong for him to drink....

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#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

23 tháng 10 2019

Đáp án D

Dịch nghĩa: Loại cà phê này rất mạnh. Anh ta không thể uống nó.
D. Loại cà phê này quá mạnh để anh ta uống.
Cấu trúc too adj for someone to do something: quá cho ai để làm gì
Các đáp án còn lại:
A. Loại cà phê này mạnh đến nỗi mà anh ta có thể uống nó.
B. Anh ấy không thể uống cà phê mạnh trước đây.
C. Cà phê không đủ yếu cho anh uống.
Các đáp án trên đều khác nghĩa so với câu gốc.

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LQ

Lê Quỳnh Anh

17 tháng 1 2018

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.Mike became a father. He felt a strong sense of responsibility towards his parents. A. Were Mike to become a father himself, he would feel a strong sense of responsibility towards his parents. B. Only after Mike had become a father himself did he feel a strong sense of responsibility towards his parents. C. Had Mike become a father himself, he...

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#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

17 tháng 1 2018

Chọn B

Mike đã trở thành bố. Anh ấy ý thức mạnh mẽ trách nhiệm của mình với cha mẹ.

Chỉ sau khi trở thành bố, Mikr mới ý thức mạnh mẽ trách nhiệm của mình với cha mẹ.

Cấu trúc: Only after + had + S + V-ed/V3 + did + S + V.

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LQ

Lê Quỳnh Anh

17 tháng 2 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...

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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 “he” in line 25 refers to

A. Crivelli

B. Cezanne

C. Picasso

D. Van Gogh

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

17 tháng 2 2019

C

“he” được thay thế cho Picasso trong câu phía trước: “Picasso certainly made pictures which have volume and depth.”

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LQ

Lê Quỳnh Anh

14 tháng 4 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.

It can be inferred from the passage that Renaissance artists

A. embraced the medieval style of eternal truth

B. needed to develop a new approach towards painting to show a new level of reality

C. were inspired by vertical and horizontal surfaces in inventing the technique of perspective

D. saw two dimensional design more important than a feeling of depth

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

14 tháng 4 2019

B

Thông tin ở câu thứ 2 của đoạn 2: “A flat medieval style couldn’t show this level of reality and the artists needed a new technique.” (phong cách thời Trung cổ không thể biểu đạt hết cấp bậc của thực tế và các nhà hoạ sĩ cần một công thức/công nghệ mới) = needed to develop a new approach towards painting to show a new level of reality (cần phát triển một cách tiếp cận nghệ thuật mới để biểu đạt cấp độ thực tế)

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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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