Not only ________ to determine the depth of the ocean floor, but it is also used to locate oil.

LQ

Lê Quỳnh Anh

11 tháng 4 2019

Not only _________ to determine the depth of the ocean floor, but it is also used to locate oil.

A. seismology is used

B. is seismology used

C. using seismology

D. to use seismology

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

11 tháng 4 2019

Đáp án B

Cấu trúc đảo ngữ Not only + Auxiliary + S + V but…. also……….
Dịch nghĩa: Địa chấn học không chỉ được sử dụng để xác định độ sâu của đại dương, mà nó cũng được sử dụng để định vị dầu mỏ.

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LQ

Lê Quỳnh Anh

21 tháng 7 2018

Mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the following questions. Not only _____________ to determine the depth of the ocean floor, but it is also used to locate oil. A. seismology is used B. using seismology C. is seismology used D. to use seismology...

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#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

21 tháng 7 2018

Đáp án C

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LQ

Lê Quỳnh Anh

24 tháng 9 2017

Mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions.Not only ________ to determine the depth of the ocean floor, but it is also used to locate oil A. to use seismology B. is seismology used C. seismology is used D.using seismology...

Đọc tiếp

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

24 tháng 9 2017

Đáp án B

Khi xuất hiện “ Not only” ở đầu câu thì ngay sau đó ta phải sử dụng dạng đảo ngữ.

Dịch: Địa chấn học không chỉ được sử dụng để xác định độ sâu của tầng đại dương, mà còn được sử dụng để xác định vị trí dầu.

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LQ

Lê Quỳnh Anh

15 tháng 2 2019

Mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the following questions.Not only______to determine the depth of the ocean floor, but it is also used to locate oil. A. seismology is used B. using seismology C. is seismology used D. to use seismology...

Đọc tiếp

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

15 tháng 2 2019

Đáp án C

Kiến thức: Đảo ngữ với Not only…

Giải thích:

Not only + to be/trợ động từ + S +…, mệnh đề bình thường

Tạm dịch: Địa chấn học không chỉ được sử dụng để xác định độ sâu của đáy đại dương, mà nó còn được sử dụng để định vị dầu.

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LQ

Lê Quỳnh Anh

25 tháng 7 2018

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.The coffee was not strong. It didn’t keep us awake. A. The coffee was very strong, but it couldn’t keep us awake. B. The coffee was not strong enough to keep us awake. C. The coffee was not good enough for us to keep awake. D. We were kept awake although the coffee was not strong....

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#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

25 tháng 7 2018

Đáp án là B. adj + enough + to V: đủ ....

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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...

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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 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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LQ

Lê Quỳnh Anh

5 tháng 12 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.

According to the passage, which is the main concern for medieval artists?

A. the individual person and his/her possessions and surroundings

B. real people, real scenes

C. eternal truth of the earth

D. themes of religious stories

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

5 tháng 12 2018

D

Thông tin ở câu gần cuối đoạn 1: “They wanted to show the truth, the eternal quality of their religious stories.” (Họ muốn biểu lộ sự thật, phẩm chất vĩnh hằng của những câu chuyện về tôn giáo họ) = themes of religious stories

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LQ

Lê Quỳnh Anh

19 tháng 10 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.

The word “Grammar ” in line 14 is closest in meaning to

A. construction

B. grammatical rules

C. rules and regulations

D. tones and volume

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

19 tháng 10 2019

C

“Grammar” = “rules and regulations”: cấu trúc, quy tắc

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LQ

Lê Quỳnh Anh

14 tháng 7 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 word ”Illusion” in line 27 is closest in meaning to

A. deception

B. photograph

C. decoration

D. illustration

#Hỏi cộng đồng OLM #Mẫu giáo

1

DH

Dương Hoàn Anh

14 tháng 7 2017

A

”Illusion” = “deception”: ảo tưởng, lầm tưởng rằng, trò lừa dối khiến lầm tưởng

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