题干

阅读下文,完成下列小题。

       ①信息时代为我们提供了获取信息的便利,世界变得既立体又平面。所谓立体,是指信息的丰富性使我们很容易较为全面地了解事物,使我们处在一个与世界的立体联系之中;所谓平面,是指大家处于同一个平面上,凌驾于人们之上的权威似乎在逐渐消逝。

       ②对于年轻人来讲,这似乎是一个无所不能的时代,也应该是一个幸福的时代。然而,事实似乎并非如此,普遍的焦虑弥漫在年轻人中间:我想知道一切,我也似乎能够知道一切,但却不知道我应该知道什么——选择的自由,使年轻的朋友们感受到了前辈们从未有过的恐慌。

       ③网络信息与传统出版业最大的不同,是前者较少受到社会理性的约束和过滤。网络上,越具有个人色彩的东西就越具有吸引力,越容易受到追捧,这样的东西有很大几率是“脾气”,而不是具有深厚时代文化内容的个性。阅读上的羊群效应使人产生从众心理,很多青年人在潜意识里以为通过这种“海量”阅读就可以产生知识和智慧,就可以建立“三观”,但最终,他们得到的却只有空虚和焦虑。

       ④这时候,基础阅读或者叫经典阅读的重要性就显现出来了。经典是什么,经典就是永不过时的东西,它是人类按照自己的根本利益共同选择下来的文明成果,是建立正确的价值观和人生观的文化基础。

       ⑤经典阅读,会在潜移默化中让人习得珍贵的思维方式和价值观念,尤其是在童年、少年和青年时期。比如读四大名著,孩子首先会为故事所吸引,而这些故事本身,都深深镌刻着中国人在漫长历史过程中总结出来的思维模式和价值观念。故事的演进,会帮助孩子们辨别正邪、建立是非观念,也使他们从中感受到扶危济困、除暴安良的快乐和坚韧不拔的精神,燃起追求正义的热情等等,而这些,都是生活的精神原动力。

       ⑥如果说小说主要作用于人的思维方式,诗词则直接作用于人的情感模式。比如小儿皆可诵的《春晓》:“春眠不觉晓,处处闻啼鸟。_________________,______________。”春光美好,生命美好,不能因贪睡而错过,对春光的珍爱与对生命的珍惜已拆解不开,春光与生命,时代与生活是如此让人爱恋,以致使人们不愿放弃片刻的光阴;诗中即使含有一丝丝的伤感,也立刻在这种青春的情绪中蒸腾为对生活与生命的深情感受。爱读这些诗的孩子,一定是热爱生活的。

       ⑦打个比方,经典阅读带来的思维模式和情感模式,就像是我们大脑的最佳操作系统。越早安装越好,任何时候安装都不算晚。有了这个操作系统,我们就能更从容地面对海量的信息,摆脱喧哗和浮躁,消除恐惧和焦虑,在令人眼花缭乱的世界里沉静下来,知道哪些是要选择的,哪些是可以忽略的,世界因此会变得更加真实和有意义。

上一题 下一题 0.0难度 选择题 更新时间:2019-04-25 11:16:08

答案(点此获取答案解析)

同类题3

阅读理解

    This is my origin story: when I was a teenager I wrote terrible poetry. Like really bad. Worse than yours, I bet. A lot of it about how every little thing reminds me that we're all going to die one day. I wrote collections and collections of these poems, thinking one day I would have my moment. I named one collection, ironically, The Eternal Optimist.

    In 1996, I found an advert for the International Poetry Competition. I was 16 years old and ready for my poetry to be released on the world. Not only was it a competition with a cash prize, but it was poetry, which I wrote, and international. This was my ticket to becoming world-famous. I submitted a poem called Trail of Thought. If you ever wrote bad poetry as a teenager, you'll have written something like it. In the poem, I went for a walk and noticed small poignant(辛酸的) things in nature, and each one reminded me that we were all going to die one day.

    I filled out the form, printed off the poem and sent it off, fingers crossed. I waited to hear back I carried on writing, I probably finished another collection. Then I got a letter from the International Society of Poets. I opened the envelope carefully, just in case a prize-winning cheque fell out I hadn't won. But, they liked my poem enough to include it in their anthology(诗选), Awaken to a Dream. I closed my eyes, I wanted to scream with happiness. I was going to be a published poet.

    All I had to do in order to be published was accept the terms and pay £ 45(plus £ 5 p & p)for an anthology. If I didn't buy a copy of the anthology, my poem wouldn't be included. I had to convince my mum, who thought my writing a meaningless pastime, to part with £ 50. She even asked the question: “Why do you have to pay to be in this book?” Nevertheless, she wrote a cheque for £ 50 and I returned it with my letter of agreement.

    I was 16 and about to be a published poet. This was what it had all been about. This is what it had all been leading to. The months waiting for the anthology were a torture. I hit some sort of writer's block, I couldn't write anything. It was almost as if, now I was published, it mattered more what I committed to page and I didn't want to write anything down unless it was good enough to go into an anthology like Awaken to a Dream.

    The book arrived through the post. Here it was. The first thing I had ever been published in a book called Awaken to a Dream, featuring a blistering take on the mundanity(世俗) of mortality by yours truly. I opened the package to find a book, containing my work. The first thing that struck me about the book was that it was bigger than A4. And it was thick. And on each page was a poem, next to another poem, next to another. The type was small and the paper thin enough to trace with. With three or four poems per page and more than 700 pages, I had a sinking realization. This was a scam, an illegal trick for making money.

    If each poem had cost the author £ 45, they were sitting on a fortune. I felt ashamed. Everyone who had submitted something to the International Poetry Competition had fallen for the same hustle(忙碌)as me. I couldn't bring myself to show my mum. And she never asked to see it. Perhaps she thought if the price of me learning a lesson was £50 we didn't really have, then so be it.

    But that stayed with me, that moment of realization. Because I determined to keep writing and ensure that my precious words always found a home worthy of them. Or at least that's how, more than 20 years later, I justify falling for a scam. Because your first time being published should be special, and if I don't convince myself that there was a reason for my first poem being in a vanity(无价值) book, then what good was it in the first place? And, strangely, someone is selling this book on Amazon at the moment. I wonder how many other writers who went on to do more stuff are in there.