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Let children learn to judge their own work. A child learning to talk does not learn by being corrected all the time; if corrected too much, he will stop talking. He notices a thousand times a day the difference between the languages he uses and the language those around him use. Bit by bit, he makes the necessary changes to make his language like other people. In the same way, when children learn to do all the other things they learn to do without being taught-to walk, run, climb, whistle, ride a bicycle-compare those performances with those of more skilled people, and slowly make the needed changes. But in school we never give a child a chance to find out his own mistakes for himself,
let alone correct them. We do it all for him. We act as if we thought that he would never notice a mistake unless it was pointed out to him, or correct it unless he was made to. Soon he becomes dependent on the teacher. Let him do it himself. Let him work out, with the help of other children if he wants it, what this word says, what answer is to that problem, whether this is a good way of saying or doing this or not.
If it is a matter of right answers, as it may be in mathematics or science, give him the answer book. Let him correct his own papers. Why should we teachers waste time on such routine work? Our job should be to help the child when he tells us that he can’t find the way to get the right answer. Let’s end this nonsense of grades, exams, marks, Let us throw them all out, and let the children learn what all educated persons must some day learn, how to measure their own understanding, how to know what they know or do not know.
Let them get on with this job in the way that seems sensible to them. With our help as school teachers if they ask for it. The idea that there is a body of knowledge to be learnt at school and used for the rest of one’s life is nonsense in a world as complicated and rapidly changing as ours. Anxious parents and teachers say, “But suppose they fail to learn something essential they will need to get in the world?” Don’t worry! If it is essential, they will go out into the world and learn it.
1.What does the author think is the best way for children to learn
things?
A.by copying what other people do.
B.by making mistakes and having them corrected.
C.by listening to explanations from skilled people.
D.by asking a great many questions.
2.What does the author think teachers do which they should not do?
A.They give children correct answers.
B.They point out children’s mistakes to them.
C.They allow children to mark their own work.
D.They encourage children to mark to copy from one another.
3.The passage suggests that learning to speak and learning to ride a bicycle
are___.
A.not really important skills.
B.more important than other skills.
C.basically different from learning adult skills.
D.basically the same as learning other skills.
4.Exams, grades, and marks should be abolished because children’s progress
should only be estimated by___.
A.educated persons.
B.the children themselves.
C.teachers.
D.parents.
5.The author fears that children will grow up into adults while being___.
A.too independent of others.
B.too critical of themselves.
C.incapable to think for themselves.
D.incapable to use basic skills.
Roger Rosenblatt ’s book Black Fiction,in attemptingto apply
literaryratherthansociopolitical criteria to its subject, successfully alters
the approach taken by mostprevious studies. As Rosenblatt notes, criticism of
Black writing has often served as apretextfor expounding on Black
history.Addison Gayle’s recent work, for example, judgesthe value of Black
fiction by overtly political standards, rating each work according tothe notions
of Black identity which it propounds.Although fictionassuredly springs from
politicalcircumstances ，its authors react tothose circumstances in ways other
than ideological, and talking about novels and storiesprimarilyas instrumentsof
ideologycircumvents much of the fictional enterprise.Rosenblatt ’s
literaryanalysisdisclosesaffinitiesand connections among works of Blackfiction
which solely political studies have overlooked or ignored. Writing acceptable
criticism ofBlack fiction, however, presupposes giving satisfactory answers to a
number of questions.First of all, is there a sufficient reason, other than the
facial identity of the authors, to group together works by Black authorsSecond,
how does Black fiction make itself distinct from other modern fiction with which
it islargely contemporaneous Rosenblatt shows that Black fiction constitutes a
distinct bodyof writingthat has an identifiable， coherent
literarytradition.Looking at novels writtenby Black over the last eighty years,
he discovers recurringconcerns and designs independentof chronology. These
structures are thematic, and they spring, not surprisingly, from thecentralfact
that the Black charactersin these novels exist in a predominantlywhite
culture,whether they try to conform to that culture or rebel against it.Black
Fictiondoes leave some aestheticquestions open. Rosenblatt ’s thematic
analysispermits considerable objectivity; he even explicitly states that it is
not his intentionto judge the merit of the various works D yet his reluctance
seems misplaced, especiallysince an attempt to appraise might have led to
interesting results. For instance, some ofthe novels appear to be
structurallydiffuse.Is this a defect,or are the authors workingout of, or trying
to forge, a different kind of aesthetic In addition, the style of someBlack
novels, like JeanToomey’s Cane, verges on expressionism or surrealism; does
thistechnique provide a counterpointto the prevalenttheme that portrays the fate
against whichBlack heroes are pitted,a theme usuallyconveyed by more
naturalisticmodes of expressionIn spite of such omissions, what Rosenblatt does
include in his discussion makes foran astute and worthwhile study. Black Fiction
surveys a wide variety of novels, bringingto our attention in the process some
fascinating and little-known works like James WeldonJohnson’s Autobiography of
an Ex-Colored Man. Its argument is tightly constructed, andits forthright, lucid
style exemplifies levelheaded and penetrating criticism.
1. The author of the text is primarily concerned with __________.
[A] Evaluating the soundness of a work of criticism.[B] Comparing various
critical approaches to a subject.
[C] Discussing the limitations of a particular kind of criticism.
[D] Summarizing the major points made in a work of criticism.
2. The author of the text believes that Black Fiction would have been
improved hadRosenblatt __________.
[A] Evaluated more carefully the ideological andhistoricalaspects of Black
fiction.
[B] Attempted to be more objective in his approach to novels and stories by
Blackauthors.
[C] Explorein greaterdetailthe recurrentthematicconcerns of Black
fictionthroughout its history.
[D] Assessed the relative literary merit of the novels he analyzes
thematically.
3.author ’s discussion of Black Fiction can be best described as
__________.
[A] Pedantic and contentious.
[B] Critical but admiring.
[C] Ironic and deprecating.
[D] Argumentative but unfocused.author of the text employs all of the
following in the discussion ofRosenblatt ’s
4.book EXCEPT： __________.
[A] Rhetorical questions.
[B] Specific examples.
[C] Comparison and contrast.
[D] Definition of terms.
5. The author of the text refers to James WeldonJohnson’s Autobiography of
anEx-Colored Man most probably in order to __________.
[A] point out affinitiesbetween Rosenblatt ’s method of thematic analysis and
earliercriticism.
[B] Clarify the point about expressionistic style made earlier in the
passage.
[C] Qualify the assessment ofRosenblatt ’s book made in the first paragraph
of thepassage.
[D] give a specific example of one of the accomplishments ofRosenblatt ’s
work.
