1 . Just a few months earlier, I would never have pictured myself acting in a play in front of two hundred people. If not for my teacher Mr Bricker, I might never have found that ______.

In the first and second grade, I was extremely ______. It just wasn’t in my personality to be very outgoing. I would escape into my writing. Mr Bricker always ______ me to write more. I think he was the first person to see my inner ______.

One day, he announced our class was going to ______ a play. “I need someone to play the lead part of Dorothy.” A few ______ students raised their hands at once. I, of course, was not one of them. After school, Mr Bricker said to me, “Dallas, I was ______ you didn’t raise your hands.” Me, the lead? I was ______ just thinking of standing on stage in front of a lot of people.

“You’re great at ______ things, so you won’t worry about lines. And you have such a sweet personality. Perfect for Dorothy! I had you in ______ for Dorothy while writing the play!”

I realized it was time to ______ my shyness. After five months of ______, we finally made the play a success. At the end of the play, when the audience stood and applauded, I knew they were ______ not just for my performance that night, but for the ______ that they knew would come in later years because of my new-found ______.

3 . 近日，中国的传统节日春节被确定为联合国假日。请你为广播站写一篇面向全校师生的英文发言稿，分享这个好消息。内容包括：

1. 告知消息内容；

2. 说明它的意义；

3. 表达你的感想。

注意：1. 词数80左右；

2. 涵盖要点，可适当增加细节，以使行文连贯；

Dear teachers and fellow students,

___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Thanks for your listening.

5 . We talk continuously about how to make children tougher and stronger, but whatever we’re doing, it’s not working. Rates of anxiety disorders and depression are rising rapidly among teenagers. What are we doing wrong?

Nassim Taleb invented the word “antifragile” and used it to describe a small but very important class of systems that gain from shocks, challenges, and disorder. The immune (免疫的) system is one of them: it requires exposure to certain kinds of bacteria and potential allergens (过敏原) in childhood in order to develop to its full ability.

Children’s social and emotional abilities are as antifragile as their immune systems. If we overprotect kids and keep them “safe” from unpleasant social situations and negative emotions, we deprive (剥夺) them of the challenges and opportunities for skill-building they need to grow strong. Such children are likely to suffer more when exposed later to other unpleasant but ordinary life events, such as teasing and social rejection.

In the UK, as in the US, parents became much more fearful in the 1980s and 1990s to those rare occurrences of crimes and accidents that now occur less and less. Outdoor play and independent mobility went down; screen time and adult-monitored activities went up.

Yet free play in which kids work out their own rules of engagement, take small risks, and learn to master small dangers turns out to be vital for the development of adult social and even physical competence. Depriving them of free play prevents their social-emotional growth.

What can we do to change this situation? How can we raise kids strong enough to handle the ordinary and extraordinary challenges of life? We can’t guarantee that giving primary school children more independence today will bring down the rate of teenage suicide tomorrow. The links between childhood overprotection and teenage mental illness are suggestive but not clear-cut. Yet there are good reasons to suspect that by depriving our naturally antifragile kids of the wide range of experiences they need to become strong, we are systematically preventing their growth. We should let go — and let them grow.

7 . How important is fish farming? Very. Although it’s an ancient business, the rise of aquaculture (水产养殖) has been one of the biggest revolutions in food supply over the past half century.

Aquaculture has made fish more affordable for consumers around the world, popularizing the consumption of what used to be expensive, and easing the pressure on hard- pressed wild stocks (库存). Aquaculture also has many clear environmental benefits: compared with other ways of growing animal protein, it uses little or no land, and has low greenhouse emissions. And while the world has traditionally had a bad record of regulating wild fishing, fish farming generally occurs within the boundaries of governments, meaning it should, in theory, be much easier to ensure that good practices are upheld.

Crowding large numbers of fish into limited spaces means that waste products, including waste, uneaten food and dead fish, are poured into the surrounding waters, polluting them. Besides, the pesticides and drugs used to treat conditions that upset fish in concentrated numbers can also affect local wildlife. Many farmed fish are fed on other fish, so the industry also puts pressure on wild stocks: about a fifth of all caught fish, some 18 million tonnes, is used for fish oil and fish meal production. There is also the problem of fish escaping, with potentially dangerous effects on surrounding ecosystems.

In 2018 the Scottish Parliament’s environment committee published a report into the fish farming industry’s environmental effects, stating that key problems simply hadn’t been tackled, and that the Scottish government’s plan to double salmon output by 2030could cause “irrecoverable damage” to ecosystems. Since then, protections have been toughened. There is now more pressure from regulators to situate farms in remote, deep-water locations. Meanwhile, though, catches of Scottish wild salmon have fallen to their lowest level since records began in 1952. “There are good reasons for fish farming and real dangers to it as well.” concludes an official. “The question is how to make it work.”

8 . Time and time again, I hear someone ask why anyone would want to keep an “ugly” building or a building that is dirty and clearly in need of work. I think you could say we preservationists look at buildings through a different angle — an angle that can see the swan (天鹅) in the ugly duck, the story in the simple lines, the book behind the cover.

Take the Queen Emma Building for example. While people may remember that building being named as one of the ugliest buildings in town, the angle from which a preservationist will view the building is that it is uniquely constructed with an artistical brise-soleil to block the sun. The designer used standard concrete bricks to form a decorative wall. Unfortunately, the brise-soleil was removed in 2011, making the building look like many of the contemporary buildings in town.

Sometimes people remember a beautiful site that was replaced by a “horrid” piece of architecture and can’t get over their anger, even when that building becomes an important part of our story. This is particularly true in San Francisco where many preservationists themselves dislike anything newer than the Victorian era. Yes, it was a tragedy that many failed to appreciate the Victorian buildings and let many get torn down several decades ago, but those losses also tell another important story. It tells the story of the 1950s and 1960s when there was hope for a more equal society with inexpensive housing for the working class. Should that history be wiped from our memories?

Preservation is not just about keeping pretty, well-kept buildings, but about conveying parts of our history-not just the history of huge events, but the story of how everyone used to go to a certain corner market. Our history cannot be told only in buildings that meet someone’s criteria of beauty; sometimes our history is painful, but no less important.

9 . 2023 Illustration Competition

Enter the competition most respected and admired in the industry for creativity in illustration, the Communication Arts Illustration Competition. Selected by distinguished professionals, the winning entries will be distributed worldwide in the Communication Arts Illustration Annual and on commarts. com, ensuring important exposure of the creations. Each winner will receive a professionalized Award of Excellence, made from solid aluminum, and an award certificate. Communication Art’s Award of Excellence is one of the most desired awards. If chosen, winning places you in the highest ranks of your profession.

What To Enter With

Any illustration first published or produced from Jan. 2022 to Jan. 2023 is qualified. Entries may originate from any country. Descriptions in English are necessary for the judges to read.

Entries Can Be Submitted In The Following Formats

Digital Images: RGB images in JPG format with a maximum file size of 2 MB. GIF images may be livelier, but would be turned down, and so would the PNG ones.

Motion Entries: In MOV, MP4 or MPG format, with a maximum file size of 500 MB.

Illustration Competition Categories & Entry Fees

For more categories, please download the category PDF.

Late Fees

Entries must be registered no later than Jan. 13, 2023. Entries registered after that date will be charged a fee of $ 10 each. No entries can be registered after Jan. 27, 2023.