Ⅱ .
1.The younger generation of the 1920s were thought to be wild becau they visited speakeasies, denounced Puritan morality, etc. (See para. 1).
针织服装 2. "Yes" and "no Yes" becau the business of growing up is always accompanied by a Younger Generation Problem, "no" becau all their actions can now be en in perspective as being something considerably less nsational than the degeneration of jazz mad youth.
3. Yes. Youth was faced with the challenge of changing the standards of social behavior, of rejecting Victorian gentility. But in America the young people tried to escape their responsibilities and retreat behind and air of naughty alcoholic sophistication and a po of Bohemian immorality.
4. The revolt was logical and inevitable becau of the conditions in the age. First of all, the rebellion affected the entire Western world. Second, people in the United States realized their country was no longer isolated in either politics or tradition and that they could no longer take refuge in isolationism.
5. All the activities mentioned above were means to help the young people to escape their more rious responsibilities of changing society and most young people went in for the activities. It became a general pattern of behavior.
6. The war whipped up their energies but destroyed their naivette. It made them cynical. They could not fit themlves into postwar society so they rebelled and tried to overthrow completely the genteel standards of behavior.
幽静的 7. Intellectuals and non-intellectuals began to imitate the pattern of life t by tho living in Greenwich Village. The people lived a Bohemian and eccentric life. They defied the law and flouted all social conventions. They attacked the war, Babbittry, and "Puritanical" gentility.
8. The young intellectuals wanted America to become more nsitive to art and culture, less avid for material gain, and less susceptible to standardization.
9. They emigrated to Europe becau there "they do things better" than in the United States where people only care for money and wealth. Only in Europe will they be able to find remedy for their nsitive minds.
10. They were called the "lost generation" by Gertrude Stein becau they were troubled and worried and had emigrated to Europe. But they were never really lost for they finally returned to America and produced the liveliest, freshest, most stimulating works in America's literary experience.
Ⅲ .
1. The structural organization of this essay is clear and simple. The essay divides logically into paragraphs with particular functions: to introduce the subject (introduction) in paragraph 1, to support and develop the thesis (the body or the middle) in paragraphs 2 through 9, to bring the discussion to an end (conclusion)in paragraphs 10 and 11.
2. Horton and Edwards state their thesis in the last paragraph of the essay: "The intellectuals of the Twenties, the "sad young men", as F. Scott Fitzgerald called them, curd their luck but didn't die; escaped but voluntarily returned; flayed the Babbits but loved their country, and in so doing gave the nation the liveliest, freshest, most stimulating writing in its literary experience. "
3. They support their thesis by providing historical material concerning the revolt of the
younger generation of the twenties in a ries of paragraphs and paragraph units between the introduction and conclusion.
4. Yes. Each paragraph or paragraph unit develops a new but related aspect of the thought stated in the thesis. Frequently the first ntence of the middle paragraphs states clearly the main idea of the material that follows and indicates a new but related stage of the developing thought. For example : The rejection of Victorian gentility was, in any ca, inevitable. (paragraph 3). The rebellion started with World War I . (paragraph 5) Greenwich Village t the pattern. (paragraph 7) Meanwhile the true intellectuals were far from flattered. (paragraph 9).
5. The two paragraphs form a single unit. The writers begin with a clearly stated main idea -- Greenwich Village t the pattern and u paragraph 7 to explain Greenwich Village to the reader, following in paragraph 8 with supporting material showing how the rest of the country imitated life in the "Village".
6.Student' s choice.
7.Student's choice.
卡内基培训laxIII. Paraphra
1.At the very mention of this post-war period, middle-aged people begin to think about it longingly.
2.In any ca, an American could not avoid casting aside抛弃；废除 its middle-class respectability and affected做作的；假装的 refinement精制；文雅.
3.The war only helped to speed up the breakdown of the Victorian social structure.
一对一课程 4.In America at least, the young people were strongly inclined to shirk their responsibilities. They pretended to be worldly-wi老于世故的；精于世故的, drinking and behaving naughtily.
5.The young people found greater pleasure in their drinking becau Prohibition, by making drinking unlawful, added a n of adventure.
6.Our young men joined the armies of foreign countries to fight in the war.
7.The young people wanted to take part in the glorious adventure before the whole war ended.
美国文化 8.The young people could no longer adapt themlves to lives in their home towns or their families.
9. The returning veteran also had to face the stupid cynicism of the victorious allies in Versailles who acted as cynically as Napoleon did, and to face Prohibition which the lawmakers hypocritically assumed would do good to the people.
英语自我介绍短文
10. (Under all this force and pressure) something in the youth of America, who were already very ten, had to break down.
11. It was only natural that hopeful young Writers who minds and writings were filled with violent anger against war, Babbitry, and "Puritanical" gentility, should come in great numbers to live in Greenwich Village, the traditional artistic centre.
12. Each town was proud that it had a group of wild, reckless people, who lived unconventional lives.
IV. A.
1. speakeasy：a place where alcoholic drinks are sold illegally，esp．such a place in the U．S．during Prohibition
2. sheik: a masterful有驾驭力的plum blossomman to whom women are suppod to be irresistibly attracted
3. flapper: (Americanism) (in the 1920s) a young woman considered bold and unconventional in action and dress
4. drugstore cowboy: a western movie extra斯洛伐克英文群众演员 who loafs袼褙游荡in front of drugstores between pictures
