2019版英语浙江选考大二轮复习优选习题：专题一　阅读理解提升练6 Word版含答案.docxVIP

阅读理解提升练(六) A (2018·浙江宁波诺丁汉大学附属中学高三下学期期中) In the first days of the new year,a photo from Rio’s traditional fireworks show on Copacabana Beach has spread like wildfire on Brazilian social networks—a shot of a little boy,alone,wading into the water,separated from the joyful crowd celebrating and taking pictures behind him.Arms crossed,he stares up wide-eyed and open-mouthed at the fireworks in the sky. Despite the absence of any information about the child other than his age 9,the image Lucas Landau shot for Reuters news agency has sparked tens of thousands of shares and comments on social media,newspaper articles,blog posts and a national debate about race,class and inequality.To some,it’s just a photo of a young black boy attracted by the spectacular New Year’s Eve fireworks.People need to stop thinking that all black boys,without shirts on,are abandoned,sad,alone and unhappy.To others,the image is emblematic of Brazil’s severe inequality. About half of Brazil’s population of 200 million identify as mixed-race/black,second only to Nigeria.But black and mixed-raced Brazilians are minor in academia,politics and leadership roles.Less than 10 percent of Brazil’s Congress is black,and just 18 percent of leadership roles are held by Afro-Brazilians. For Luiz Augusto Campos,a sociologist at Rio State University,the wide-ranging interpretations of the photo,as well as the explosive debate it generated,represents a changing tide for Afro-Brazilians.“The fact that it’s become so problematic is a reflection of a complex transition in terms of race in Brazil,” he said,adding that 20 or 30 years ago,the photo would have stirred few or no concerns about whether it strengthened negative stereotypes (刻板印象). “These changes are still relatively small in Brazil,but they have the long-term objective of dissociating the ideas of blackness and poverty,” Campos said. 1.What can we learn from the passage? A.The boy’s age is mentioned in the news. B.The debate the image causes worsens the s