A. Visitors come to the museum to lớn be admired with the relics that were excavated from the ancient tombs




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Kiến thức: Rút gọn gàng mệnh đề quan hệ tình dục

Giải thích:

– Để nối nhị câu, cần thực hiện mệnh đề quan liêu hệ.

Ở đây cần một đại từ quan lại hệ sửa chữa thay thế cho đồ gia dụng “relics”, vào vai trò chủ ngữ trong mệnh đề quan hệ => cần sử dụng “which” hoặc “that”: …N(thing) + which + V

Câu cất mệnh đề tình dục đầy đủ: Visitors come khổng lồ the museum to lớn admire the relics which/that were excavated from the ancient tombs.

– Rút gọn mệnh đề quan liêu hệ: lược quăng quật đại từ quan tiền hệ, cồn từ “tobe”, đồng thời:

+ Dùng cụm V.ing nếu dữ thế chủ động

+ Dùng nhiều V.p.p nếu thụ động

which/that were excavated => excavated

Câu A sai bởi dùng rượu cồn từ “admire” ngơi nghỉ thể bị động.

Câu D sai vì chưng rút gọn hai mệnh đề không thuộc một công ty ngữ.

Tạm dịch: Du khách đến bảo tàng để ngắm nhìn các di tích. Chúng được khai quật từ hầu như ngôi mộ cổ.

B. Được khai thác từ những ngôi tuyển mộ cổ, những di tích thu hút sự chú ý từ công chúng khá nhiều. => Câu B không phù hợp về nghĩa.

C. Khác nước ngoài đến bảo tàng để chiêm ngưỡng các di tích lịch sử được khai quật từ những ngôi chiêu tập cổ.

Chọn C




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Read the following passage and mark the letter A, B, C or D on your answer sheet to lớn indicate the correct answer to each of the following question.

The term "Hudson River school" was applied khổng lồ the foremost representatives of nineteenth–century North American landscape painting. Apparently unknown during the golden days of the American landscape movement, which began around 1850 & lasted until the late 1860"s, the Hudson River school seems to lớn have emerged in the 1870"s as a direct result of the struggle between the old and the new generations of artists, each to lớn assert its own style as the representative American art. The older painters, most of whom were born before 1835, practiced in a mode often self–taught & monopolized by landscape subject matter & were securely established in and fostered by the reigning American art organization, the National Academy of Design. The younger painters returning trang chủ from training in Europe worked more with figural subject matter & in a bold and impressionistic technique; their prospects for patronage in their own country were uncertain, & they sought to attract it by attaining academic recognition in New York. One of the results of the conflict between the two factions was that what in previous years had been referred khổng lồ as the "American", "native", or, occasionally, "New York" school–the most representative school of American art in any genre–had by 1890 become firmly established in the minds of critics and public alike as the Hudson River school.

The sobriquet was first applied around 1879. While it was not intended as flattering, it was hardly inappropriate. The Academicians at whom it was aimed had worked & socialized in New York, the Hudson"s port city, and had painted the river và its shores with varying frequency. Most important, perhaps, was that they had all maintained with a certain fidelity a manner of technique và composition consistent with those of America"s first popular landscape artist, Thomas Cole, who built a career painting the Catskill Mountain scenery bordering the Hudson River. A possible implication in the term applied to the group of landscapists was that many of them had, lượt thích Cole, lived on or near the banks of the Hudson. Further, the river had long served as the principal route to other sketching grounds favored by the Academicians, particularly the Adirondacks & the mountains of Vermont và New Hampshire.