综合教程Unit-1-3.docVIP

Unit 1 1. What were the author and his wife doing in Nanjing in the spring of 1987？ They were studying arts education in Chinese kindergartens and elementary schools in Nanjing. 2. What was their son Benjamin fond of doing during their stay at the Jinling Hotel? Their 18-month-old son Benjamin was fond of trying to place the key into the slot of the key box during their stay at the Jinling Hotel. 3. How would Chinese staff members of the hotel respond to Benjamins attempt to place the key into the slot? They would come over to watch Benjami, and then try to teach him how to do it properly. 4. Why did the author decide to work the key-slot anecdote into his discussions with Chinese educators? Because he realized that this anecdote was directly relevant to their assigned tasks in China: to investigate early childhood education and to throw light on Chinese attitudes toward creativity. 5. What did his Chinese colleagues think of the key-slot incident? Most of them displayed the same attitude as the staff at the Jinling Hotel. 6. What did the author emphasize in presenting his views about the incident? He emphasized that the most important thing is to teach the child that one can solve a problem effectively by oneself. 7. What does the author mean by saying this incident was key in more than one sense? He means that this incident pointed to important differences in educational and artistic practices between China and the USA. 8. In what way does the author associate the key-slot incident with teaching by holding his hand? The manner in which the Chinese staff saw the need to teach the child by guiding his hand is characteristic of a broader attitude to education, one that stands in contrast to the Western preference for leaving the child to explore and learn unaided. 9. What examples does the author give to illustrate childhood education in the arts in China? One example is of children at the age of 5 or 6 painting flowers, fish and animals skillfully and confidently