Unit 1 Laugh out loud!（单元分层自测·基础通关卷）英语外研版选择性必修第一册

**基本信息** 本试卷为高二选择性必修第一册英语单元自测（Unit 1 "Laugh out loud!"），聚焦“幽默与人文关怀”主题，通过真实情境素材融合语言能力、文化意识与思维品质，适配新高考非听力题型，助力单元复习与核心素养提升。 **题型特征** |题型|题量/分值|知识覆盖|命题特色| |----|-----------|----------|----------| |阅读|15+5题/50分|含医院小丑社会价值（B篇）、幽默研究结论（C篇）等跨文化素材|以“幽默的多维功能”为主线，设推理题（如第6题“refused to stand aside”）考查思维深度| |语言运用|15+10题/30分|完形填空（医院狂欢节活动）、语法填空（卓别林艺术成就）|语境化考查词汇（如25题“choice”）与语法（38题现在分词作定语），强化语用能力| |写作|2题/40分|邮件邀请（幽默短剧评委）、故事续写（喜剧晚会突发应对）|任务贴近真实交际，续写题（Ethan主持危机）培养创新思维与人文关怀|

2026-2027学年高二选择性必修第一册英语单元自测 Unit 1 Laugh out loud!·基础通关 学校：___________　班级：___________　姓名：___________　分数：___________ （时间：100分钟　满分：120分） 注意事项： 1．答题前，考生务必将学校、班级、姓名填写在相应位置。 2．选择题选出答案后填涂在答题卡上；非选择题写在答题卡相应区域。 3．本卷不设听力，其他题型与全国新高考英语非听力部分一致。 第一部分　阅读（共两节，满分50分） 第一节（共15小题；每小题2.5分，满分37.5分） 阅读下列短文，从每题所给的A、B、C、D四个选项中选出最佳选项。 A Laugh and Learn: Four Opportunities for Students Chaplin's World School Visit, Switzerland Follow Charlie Chaplin from his difficult childhood to his international film career. The museum's educational materials connect cinema with twentieth-century history, social justice and creative expression. School groups may add a guided tour of the studio and family home. General group visits should be booked in advance, while guided tours require earlier reservation. National Comedy Center Field Trip, United States Interactive galleries trace comedy from early stage acts to online humour. Students analyse how comedy responds to social and cultural questions and can join short discussion programmes. A special option for Grades 11–12 introduces behind-the-scenes museum careers, including exhibition design, marketing, technology and archival work. Groups should plan two to three hours and provide one adult for every ten students. Class Clowns, Australia This national secondary-school programme helps young people develop original comedy through workshops and live performance. Rather than rewarding imitation, it encourages students to observe daily life, shape a point of view and speak in their own voice. It can support learning in English, Drama and Media Arts. Stephen Leacock Student Humorous Story Competition, Canada Ontario students aged 14–19 may submit an original humorous story or personal essay in English. Entries must have a title, contain no more than 1,500 words and be judged without the writer's identity being shown. Winners receive cash prizes and read their work at a public literary event. 1．Which opportunity best suits students curious about work behind a cultural institution? A. Chaplin's World School Visit. B. National Comedy Center Field Trip. C. Class Clowns. D. Stephen Leacock Student Competition. 2．What is required by the Stephen Leacock competition? A. Performing a comedy routine on stage. B. Working with a professional film director. C. Entering as part of a school group. D. Producing an original piece of humorous writing. 3．What do the four opportunities have in common? A. They prepare students for full-time entertainment jobs. B. They focus mainly on the life of a famous comedian. C. They use humour as a path to learning or self-expression. D. They require students to travel outside their own country. 【答案】1．B　2．D　3．C 【语篇导读】应用文。介绍四项与幽默相关的学生学习机会。 1．B。细节理解。National Comedy Center 的高年级项目明确介绍展览设计、市场、技术和档案等博物馆幕后职业。 2．D。细节理解。竞赛要求提交原创英文幽默故事或个人随笔；舞台表演、导演合作和团体报名均未提及。 3．C。主旨归纳。四项活动形式不同，但都以幽默促进历史文化学习、创造性表达或个人声音形成。 【题源】根据Chaplin's World、National Comedy Center、Melbourne International Comedy Festival及Stephen Leacock Associates公开项目资料综合改编；题源S3—S6。 【教师点拨】先读题干中的对象需求，再回到四个项目做定向匹配；第3题需概括共同功能，不能被“职业”“名人”局部信息干扰。 B Keeping Childhood Present When a children's hospital in Kyiv was badly damaged in the summer of 2024, young patients had to be moved, often while treatment was still continuing. Among the adults who responded were Olha Bulkina and Maryna Berdar, founders of a hospital-clown group called the Bureau of Smiles and Support. The two women had created the project the year before, after gaining several years of experience in hospital clowning. Their aim was simple but demanding: illness and crisis should not be allowed to erase childhood. After the attack, Bulkina and Berdar first helped with practical tasks. They cleared broken material and supported families as children were taken to safer hospitals. Then their clown work became even more necessary. Medical machines, unfamiliar rooms and worried adults could make a child feel that every choice had disappeared. The clowns tried to return a small part of that choice. A child could join a song, refuse a game, invent a character or simply watch. Two younger volunteers, Tetiana Nosova and Vladyslava Kulinich, visited wards in bright costumes and used music, movement and gentle nonsense. Yet they did not treat laughter as an order. If a child was frightened or in pain, they stayed with that feeling instead of covering it with a joke. Their task was to build connection, not to put on a show at any cost. Hospital staff noticed that some quiet children began to communicate more when the clowns arrived. The effect did not replace medicine, and no one claimed that it did. What changed was the emotional climate around treatment. For a few minutes, a patient could become the director of a ridiculous scene rather than only the object of medical attention. The volunteers themselves were impressed by the children. Even in extremely difficult conditions, some young patients tried to comfort anxious adults. That courage reminded the clowns why they refused to stand aside: their work protected a space in which fear was real, but so were play, dignity and hope. 4．Why did the clown group's work become more urgent after the hospital was damaged? A. The group needed a new place for public performances. B. The volunteers hoped to attract more professional actors. C. Displaced children needed emotional support during treatment. D. Hospital staff asked the clowns to replace practical assistance. 5．What did the clowns do when a child did not want to laugh? A. They respected the child's feeling and remained present. B. They asked medical staff to continue the performance. C. They changed the child into the director of every activity. D. They left immediately to avoid increasing the child's fear. 6．What does the underlined idea “refused to stand aside” imply in the last paragraph? A. They would not compete with the medical team. B. They chose to take action instead of remaining inactive. C. They decided to keep away from dangerous buildings. D. They wished to become the centre of public attention. 7．Which title best captures the main idea of the text? A. When Performers Become Medical Experts B. A Hospital That Learned to Laugh Again C. How Children Entertain Worried Adults D. Protecting Childhood Through Careful Humour 【答案】4．C　5．A　6．B　7．D 【语篇导读】记叙文。医院受损后，志愿小丑以尊重儿童情绪和选择的方式守护童年。 4．C。因果推断。医院受损后，儿童在转院和持续治疗中面对陌生环境与焦虑，因而更需要情感支持。 5．A。细节理解。第三段说明，小丑不会强迫孩子笑，而是接纳恐惧或疼痛并陪伴孩子。 6．B。词义推断。前文写他们清理现场、协助转移并继续进入病房，表明他们没有袖手旁观，而是选择行动。 7．D。标题归纳。全文重点不是表演本身，而是医院小丑以尊重选择、接纳情绪的方式守护儿童的游戏、尊严与希望。 【题源】根据Associated Press 2024年关于乌克兰医院小丑志愿者的报道重写；题源S7。 【教师点拨】关注叙事中的“行动—方式—价值”链。文本刻意区分“制造笑声”与“建立连接”，是推断和标题题的依据。 C Can a Red Nose Be Part of Care? Hospital clowning is easy to describe badly. A colourful visitor enters a ward, a child laughs, and the story ends with the claim that laughter is “the best medicine”. Research asks a more careful question: can trained clowning support children who are already receiving medical care? Systematic reviews have brought together controlled studies from paediatric settings. In these studies, children receiving a clown intervention are compared with those receiving routine care or another form of support. Anxiety is the outcome examined most often, especially before operations, injections or other stressful procedures. Across many studies, children accompanied by medical clowns show lower anxiety, and parents sometimes become less anxious as well. Some research also reports benefits involving pain, crying or general wellbeing. The findings are promising, but they are not a blank cheque. Studies differ in the age of the children, the medical procedure, the length of the visit and the way outcomes are measured. A playful interruption that comforts one child may tire or frighten another. In addition, a small reduction on an anxiety scale does not mean that the medical problem itself has been treated. For these reasons, researchers describe clowning as a complementary intervention—an addition to professional care, not a substitute for it. Good practice therefore depends less on a fixed bag of tricks than on attention. Trained clowns watch body language, consult staff and parents, and allow the child to control the interaction. They may lower their voice, change a game or leave when invited to do so. Working in pairs can also reduce pressure: the clowns can play with each other while the child decides whether to enter the scene. The strongest conclusion is neither “clowns cure” nor “humour is only decoration”. Emotional experience is part of healthcare, particularly for children who have little control over what happens to their bodies. Carefully delivered humour can make a difficult procedure feel more manageable. Its value lies precisely in knowing both what it can do and where its limits are. 8．Why do researchers compare clown interventions with routine care? A. To decide which clowns should work in pairs. B. To judge whether clowning adds measurable support. C. To prove that anxiety is the only important outcome. D. To replace children's reports with medical opinions. 9．What does “a complementary intervention” in paragraph 3 mean? A. A treatment that is mainly decorative. B. Support used together with professional care. C. A method that produces the same result for everyone. D. Care delivered only when medicine is unavailable. 10．Why does the author mention differences among the studies? A. To show that most findings should be ignored. B. To argue that hospital clowning is too hard to study. C. To explain why the evidence needs cautious interpretation. D. To suggest that only older children should meet clowns. 11．What is the author's attitude towards hospital clowning? A. Doubtful because humour has no place in healthcare. B. Enthusiastic because it can solve medical problems. C. Indifferent because emotional outcomes are unimportant. D. Supportive while recognising conditions and limits. 【答案】8．B　9．B　10．C　11．D 【语篇导读】说明文。介绍医院小丑研究的主要发现、证据边界和专业实施条件。 8．B。研究目的题。对照设计用于判断在常规照护之外，小丑干预是否带来可测量的焦虑、疼痛或幸福感变化。 9．B。词义理解。破折号后的“an addition to professional care, not a substitute”直接解释其含义。 10．C。写作意图。年龄、程序、时长和测量方式不同，会限制结论的统一性，作者借此提示审慎解读证据。 11．D。观点态度。作者肯定其潜在支持作用，同时反复强调个体差异、专业配合和不能替代治疗。 【题源】根据BMJ/PMC医院小丑系统综述与元分析改编；题源S8。 【教师点拨】科学说明文常同时呈现证据与限制。识别promising、but、for these reasons等态度标记，避免把“辅助有效”偷换为“治疗疾病”。 D Laughter Is More Than a Reaction We often imagine laughter as the final step in a simple process: someone hears a joke, understands it and laughs. Everyday life is less tidy. People laugh while greeting friends, easing an awkward moment or showing that a comment should not be taken as a threat. Much laughter in conversation follows ordinary remarks rather than carefully constructed jokes. One explanation looks far back into human social life. Suppose an early group mistook a harmless shape for a dangerous animal. Once the error was discovered, a burst of laughter could act as an “all clear” signal. Because the sound is hard to hide and easily spreads, it would quickly tell others that tension could be released. This idea does not explain every laugh, but it helps account for two familiar facts: laughter is contagious, and people are far more likely to laugh with others than alone. Shared laughter can also create closeness. When people respond to the same playful moment, they demonstrate a temporary agreement about what is safe, surprising or acceptable. That agreement may reduce social distance, which is why gentle humour can help strangers begin a conversation or teammates recover after a mistake. Yet the bonding power of laughter is sometimes overstated. A group may grow closer by laughing at someone outside it. A person may laugh because of nervousness or politeness rather than pleasure. Even a well-meant joke can fail when speakers do not share the same experiences or when one person has more power than another. The sound of laughter alone, therefore, cannot tell us whether an interaction is kind. This is why a mature sense of humour involves interpretation as well as invention. The useful questions are not only “Is this funny?” but also “Who is laughing?”, “Who is silent?” and “What happens after the laugh?” Humour that leaves people able to speak, disagree and remain respected is doing social work. Humour that closes the conversation may be performing a very different task. Laughter, then, is neither a magic medicine nor meaningless noise. It is a flexible social signal. Used with attention, it can communicate safety and build connection; used carelessly, it can hide discomfort or strengthen exclusion. Understanding that double possibility is part of learning to laugh well. 12．What does the “all clear” explanation suggest about early laughter? A. It could signal that an apparent danger had passed. B. It developed mainly to reward skilled joke-tellers. C. It prevented people from making the same error twice. D. It allowed individuals to hide fear from their group. 13．Why does the author discuss laughter spreading through a group? A. To prove that laughter always creates friendship. B. To show why people cannot control their emotions. C. To illustrate laughter's function as social communication. D. To explain why jokes are easier to understand in public. 14．What is closest in meaning to “overstated” in paragraph 4? A. Ignored. B. Exaggerated. C. Questioned. D. Measured. 15．What is the main idea of the text? A. Laughter is valuable only when everybody understands a joke. B. Human laughter developed entirely from reactions to danger. C. A mature sense of humour depends mainly on comic creativity. D. Laughter is a social tool whose effect depends on context and use. 【答案】12．A　13．C　14．B　15．D 【语篇导读】议论文。笑既能传递安全、建立联结，也可能掩盖不适或造成排斥。 12．A。细节理解。第二段将笑解释为错误警报解除后的“all clear”信号。 13．C。篇章功能。笑声易传播、群体中更常见，用于说明笑具有快速传递安全信息的社会功能。 14．B。词义猜测。后文列举排斥、紧张性发笑和权力差异，说明“笑一定能凝聚关系”的说法被夸大。 15．D。主旨大意。文章从安全信号、群体联结写到排斥风险，结论是笑的社会效果取决于语境和使用方式。 【题源】根据Smithsonian关于笑的社会信号解释及UC Berkeley Greater Good有关笑与社会联结的研究综述改编；题源S9—S10。 【教师点拨】D篇重点考查论证结构。作者先肯定社会功能，再以Yet转向边界，最终形成“双重可能性”的平衡结论。 第二节（共5小题；每小题2.5分，满分12.5分） 阅读下面短文，从短文后的选项中选出可以填入空白处的最佳选项。选项中有两项为多余选项。 How to Use Humour Without Losing the Point Humour can make an English classroom feel less threatening. It can invite attention, make a difficult example memorable and help students take the risk of speaking. But a class does not improve simply because it becomes noisier or funnier. 　16　 Keep the humour connected to the learning goal. A playful comparison may clarify a grammar pattern, while a short comic dialogue may provide material for pronunciation or inference. 　17　 If students remember the joke but forget the language point, the humour has taken over the lesson. Laugh with people, not at them. The easiest safeguard is to avoid turning a learner's body, accent, background or mistake into performance material. 　18　 A classroom should make error safer, not make the person who made it feel smaller. Read the room. Humour is shaped by culture, personality and experience, so a line that works with one group may puzzle another. 　19　 Watch faces and listen to the quality of the response instead of assuming that laughter proves success. Finally, allow students to choose how far they join in. Some enjoy acting out a comic scene; others prefer writing a caption or simply observing. Forced fun quickly becomes another form of pressure. When laughter is absent, treat that silence as information rather than failure. 　20　 Used in this way, humour is not a break from serious learning. It is one way of building the trust and attention that serious learning requires. The teacher still needs a clear destination, accurate language input and a way to check what students have understood. Humour helps only when it serves those decisions. A. A joke aimed at one student's weakness may entertain others while silencing its target. B. If a humorous moment clarifies an idea or lowers useful tension, it has a reason to be there. C. Students should therefore be required to tell a joke before answering every question. D. It may show that the joke, timing or level of participation needs to change. E. Begin by deciding what the humour is supposed to achieve. F. Professional performers may accept risks that do not belong in an ordinary classroom. G. Different groups do not always share the same signals about what is safe or funny. 【答案】16．E　17．B　18．A　19．G　20．D 【语篇导读】说明文。给出课堂中使用幽默的目的、关联性、尊重、受众和参与边界。 16．E。承上启下：上文指出“变热闹”不等于“变有效”，下文依次给出操作原则，因此先明确幽默目的。 17．B。段落中心是“与学习目标相关”，B项中的clarifies an idea与本段形成同义复现。 18．A。前句禁止拿身体、口音、背景或错误开玩笑，A项说明这种做法会使被针对者沉默。 19．G。前句指出幽默受文化、性格、经历影响，G项概括不同群体不共享相同幽默信号。 20．D。前句要求把沉默当作信息，D项具体说明沉默提示笑话、时机或参与方式需要调整。 【题源】根据Columbia University语言课堂幽默综述及高校课堂适切幽默研究改编；题源S11。 【教师点拨】七选五先抓段落中心词：purpose、learning goal、not at them、read the room、silence；再用指代和同义复现校验。 第二部分　语言运用（共两节，满分30分） 第一节（共15小题；每小题1分，满分15分） 阅读下面短文，从每题所给的A、B、C、D四个选项中选出可以填入空白处的最佳选项。 Carnival in Rio is famous for crowded streets, loud music and energetic dancing. In March 2025, however, a much gentler version of the celebration 　21　 a children's hospital. Members of the Clown Circle project walked through the corridors with instruments, colourful clothes and a small flag. The group knew that an ordinary street party would be 　22　 for children receiving treatment. The performers therefore 　23　 the volume and approached each bed slowly. Instead of demanding attention, they waited for a sign that a child wanted to 　24　. Some children danced; others watched from a parent's arms. That freedom of 　25　 was part of the care. For families, a hospital stay can be physically tiring and emotionally 　26　. One mother said the visit gave her young son a chance to enjoy the kind of cheerful disorder he loved at home. A doctor also noticed that children who had been quiet and 　27　 sometimes began to communicate, sing or move with the music. The purpose was not to 　28　 the huge street celebration inside a medical building. Julia Schaeffer, a programme coordinator, explained that the team had to 　29　 every part of the event to the hospital environment. A trumpet might become softer; a fast dance might turn into a hand movement; a public performance might become a one-to-one 　30　. The project offers activities every week, often building them around festivals or seasons. Its work shows that humour does not have to be 　31　 to be powerful. What matters is the performers' willingness to notice what the audience needs. In the hospital, the best comic idea may be the one that is 　32　, changed or dropped. By bringing Carnival indoors with “an extra dose of care”, the clowns created more than a 　33　 from treatment. They gave children and caregivers a moment of shared attention that was not organised around illness. The music did not 　34　 medicine, but it changed the room—and sometimes that small change was exactly what people 　35　. 21．A. entered B. avoided C. surrounded D. closed 22．A. familiar B. unsuitable C. convenient D. invisible 23．A. recorded B. tested C. reduced D. ignored 24．A. recover B. compete C. participate D. escape 25．A. movement B. speech C. payment D. choice 26．A. demanding B. ordinary C. efficient D. brief 27．A. withdrawn B. curious C. independent D. impatient 28．A. replace B. reproduce C. describe D. discover 29．A. compare B. return C. adapt D. add 30．A. interaction B. argument C. examination D. competition 31．A. expensive B. loud C. traditional D. professional 32．A. collected B. repeated C. translated D. softened 33．A. break B. lesson C. warning D. cure 34．A. limit B. replace C. advertise D. deliver 35．A. feared B. needed C. proved D. remembered 【答案】21—25：A B C C D　26—30：A A B C A　31—35：B D A B B 【语篇导读】记叙文。里约医院中的小丑团队把喧闹嘉年华调整为尊重患者需要的温和互动。 21．A。庆典的温和版本“进入”医院，entered符合情境。 22．B。街头嘉年华喧闹拥挤，不适合治疗中的儿童，unsuitable正确。 23．C。为适应医院环境，表演者降低音量，reduced正确。 24．C。等待儿童愿意参与的信号，participate正确。 25．D。跳舞、观看或不加入均由儿童选择，choice与前文freedom呼应。 26．A。住院对家庭身心要求很高，emotionally demanding搭配自然。 27．A。后文“开始交流”与原先的沉默退缩形成对比，withdrawn正确。 28．B。不是把大型街头庆典原样搬进医院，reproduce意为“再现、复制”。 29．C。根据医院环境调整活动，adapt...to...为固定搭配。 30．A。公共表演转化为一对一互动，interaction正确。 31．B。上文反复写降低音量，说明幽默不必喧闹也能有力量。 32．D。根据病人需要，创意可能被弱化、修改或放弃，softened与changed/dropped构成递进。 33．A。活动为治疗提供短暂休息与转换，a break from...正确。 34．B。音乐不能替代医疗，replace与单元“laughter is not literal medicine”的边界一致。 35．B。小变化有时正是人们所需要的，needed完成意义闭环。 【题源】根据Associated Press 2025年里约医院“Clown Circle”报道重写并重新设空；题源S12。 【教师点拨】先通读确定“将街头庆典适配医院”的主线，再处理搭配与近义词；21、28、33、34考查全篇语义闭环。 第二节（共10小题；每小题1.5分，满分15分） 阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。 Charlie Chaplin, 　36　 was born in London in 1889, turned personal hardship into a form of art understood around the world. His early life 　37　 (mark) by poverty, and he began performing on stage while still young. He later created the Little Tramp, a character 　38　 (wear) a bowler hat, large shoes and a small moustache. The figure looked weak, yet he repeatedly protected his pride in a difficult world. Chaplin worked mainly in silent film, 　39　 allowed movement and facial expression to carry much of the meaning. Through carefully 　40　 (control) actions, he was able 　41　 (express) pride, fear and hope without long speeches. In Modern Times, for example, he used the experience of 　42　 ordinary factory worker to question a world ruled by machines. Although his films are highly 　43　 (amuse), their humour often protects human dignity rather than escaping serious problems. Viewers laugh at mistakes and accidents, but they are also invited to notice poverty, loneliness and unfairness. Chaplin's art 　44　 (influence) generations of performers since the early twentieth century. At Chaplin's World in Switzerland, students can now explore his life and understand more 　45　 (deep) how comedy can carry both laughter and social concern. His work shows that a comic artist may entertain an audience while still asking serious questions. 【答案】36 who　37 was marked　38 wearing　39 which　40 controlled　41 to express　42 an　43 amusing　44 has influenced　45 deeply 36．who。非限制性定语从句修饰Charlie Chaplin，指人并在从句中作主语。 37．was marked。主语life与mark为被动关系，叙述过去经历。 38．wearing。现在分词作后置定语，character与wear为主动关系。 39．which。非限制性定语从句指代前面的silent film工作方式/整件事。 40．controlled。过去分词作定语，表示“经过精心控制的动作”。 41．to express。be able to do sth 能够做某事。 42．an。ordinary以元音音素开头，且worker为可数名词单数。 43．amusing。修饰films，表示“令人发笑的”。 44．has influenced。since引出时间范围，使用现在完成时。 45．deeply。副词修饰understand。 【题源】人物事实依据Charlie Chaplin官方网站及Chaplin's World教育资料；语篇为教学改编，题源S3、S13。 【教师点拨】36、39聚焦本单元非限制性定语从句；其余空兼顾高中语篇中的非谓语、冠词、词性和时态。 第三部分　写作（共两节，满分40分） 第一节（满分15分） 假定你是校英语社团负责人李华，社团将举办主题为“Humour with Kindness”的英语幽默短剧展演。请给外教Mr Allen写一封邮件，邀请他担任评委，内容包括： 1．活动目的； 2．时间、地点和主要形式； 3．发出邀请。 注意： 1．写作词数应为80个左右； 2．请按如下格式在答题卡的相应位置作答。 Dear Mr Allen, 【写作思路】目的与主题价值 → 时间、地点、形式 → 邀请担任评委及评价维度。 【参考范文】 Dear Mr Allen, Our English Club will hold a short-play show called “Humour with Kindness” in the school hall at 4:30 p.m. next Friday. The event aims to help students use English creatively and understand that good humour brings people together without hurting anyone. Six groups will perform original five-minute sketches, after which the judges will offer brief comments on language, creativity and respect for the audience. We would be honoured if you could serve as a judge and share your advice. Yours sincerely, Li Hua 【评分建议】内容覆盖5分，语言准确与得体5分，连贯和格式3分，主题表达与适切语言2分。非限制性定语从句可作为语言亮点，但不机械要求。 第二节（满分25分） 阅读下面材料，根据其内容和所给段落开头语续写两段，使之构成一篇完整的短文。 Ethan had volunteered to host the school comedy evening because he wanted to become less afraid of speaking in public. At home, he could make his little sister laugh by describing ordinary problems in surprising ways. On a stage, however, every joke suddenly sounded borrowed. During rehearsal, Ethan delivered three lines he had memorised from the internet. His classmates smiled politely, but the room remained painfully quiet. Ms Chen, the drama teacher, did not give him another list of jokes. “Humour begins with noticing,” she said. “Pay attention to what is actually happening, and make sure people feel included.” On the night of the show, Ethan stood behind the curtain holding a neat pile of cue cards. The hall was full. The first two performances went smoothly, and his prepared introductions earned a few warm laughs. Then, just before the final group's comic film was to begin, the projector went black. The technician checked a cable. Nothing happened. A minute passed, and the audience began whispering. Ethan looked at his cue cards, but none of them contained a line for a broken projector. He could feel the old fear returning. From the side of the stage, Ms Chen pointed first at the dark screen and then at the audience, reminding him to notice. Ethan took a breath. “Our projector,” he announced, “has chosen this exact moment to think seriously about its future.” The audience laughed—not loudly, but together. Encouraged, Ethan added, “While it makes a life decision, perhaps someone can tell us about a small disaster that became funny later.” For a second, nobody moved. Ethan wondered whether he had asked too much. He noticed a younger student in the front row whispering to her friend and nearly raising her hand. Instead of filling the silence with another borrowed line, he waited and smiled. The whispering around the hall gradually stopped. A hand rose slowly from the front row. _________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________ When the projector finally came back to life, Ethan no longer needed his carefully memorised jokes.________ ________________________________________________________________________________________________________________________________________________________________________________________ 【续写要点】第一段：前排学生分享尴尬经历，Ethan以善意回应并带动更多人参与；第二段：投影恢复，Ethan自然完成主持并领悟幽默来自观察、倾听与联结。 【参考范文】 A hand rose slowly from the front row. A girl said that she had once dropped her lunch tray on her first day at school and had wanted to disappear. Before Ethan could answer, she added that another student had placed his own tray on the floor and announced, “Now it looks planned.” The hall burst into gentle laughter. Ethan thanked her and invited one more story. Soon a teacher admitted walking into the wrong classroom, and a parent described waving confidently at a stranger. Ethan linked each story with a light comment, careful to laugh at the situations rather than the people. When the projector finally came back to life, Ethan no longer needed his carefully memorised jokes. He introduced the film in his own words and the final group performed to a relaxed audience. Afterwards, Ms Chen asked what had changed. Ethan realised that he had stopped trying to prove that he was funny. Instead, he had listened, noticed the room and helped other people feel safe enough to speak. The broken projector had seemed like a disaster, but it taught him the lesson behind the evening: the best humour was not a perfect line. It was a form of attention that turned nervous strangers into a temporary community. 【评分建议】内容与原文衔接10分，语言与句式8分，篇章连贯5分，价值导向与书写2分。重点检查人物动机延续、两段首句衔接及“善意幽默”主题落点。 【题源】读后续写为教师原创情境，主题依据本单元“积极生活态度与负责任幽默”。 原创精品资源学科网独家享有版权，侵权必究！1 学科网（北京）股份有限公司1 / 23 学科网（北京）股份有限公司 $ 2026-2027学年高二选择性必修第一册英语单元自测 Unit 1 Laugh out loud!·基础通关 参考答案 第一部分　阅读（共两节，满分50分） 第一节（共15小题；每小题2.5分，满分37.5分） 1—5：B　D　C　C　A　　6—10：B　D　B　B　C　　11—15：D　A　C　B　D 第二节（共5小题；每小题2.5分，满分12.5分） 16—20：E　B　A　G　D 第二部分　语言运用（共两节，满分30分） 第一节（共15小题；每小题1分，满分15分） 21—25：A　B　C　C　D　　26—30：A　A　B　C　A　　31—35：B　D　A　B　B 第二节（共10小题；每小题1.5分，满分15分） 36．who　　37．was marked　　38．wearing　　39．which　　40．controlled　　 41．to express　　42．an　　43．amusing　　44．has influenced　　45．deeply 第三部分　写作（共两节，满分40分） 第一节（满分15分） 【参考范文】 Dear Mr Allen, Our English Club will hold a short-play show called “Humour with Kindness” in the school hall at 4:30 p.m. next Friday. The event aims to help students use English creatively and understand that good humour brings people together without hurting anyone. Six groups will perform original five-minute sketches, after which the judges will offer brief comments on language, creativity and respect for the audience. We would be honoured if you could serve as a judge and share your advice. Yours sincerely, Li Hua 第二节（满分25分） 【参考范文】 A hand rose slowly from the front row. A girl said that she had once dropped her lunch tray on her first day at school and had wanted to disappear. Before Ethan could answer, she added that another student had placed his own tray on the floor and announced, “Now it looks planned.” The hall burst into gentle laughter. Ethan thanked her and invited one more story. Soon a teacher admitted walking into the wrong classroom, and a parent described waving confidently at a stranger. Ethan linked each story with a light comment, careful to laugh at the situations rather than the people. When the projector finally came back to life, Ethan no longer needed his carefully memorised jokes. He introduced the film in his own words and the final group performed to a relaxed audience. Afterwards, Ms Chen asked what had changed. Ethan realised that he had stopped trying to prove that he was funny. Instead, he had listened, noticed the room and helped other people feel safe enough to speak. The broken projector had seemed like a disaster, but it taught him the lesson behind the evening: the best humour was not a perfect line. It was a form of attention that turned nervous strangers into a temporary community. 原创精品资源学科网独家享有版权，侵权必究！1 学科网（北京）股份有限公司1 / 2 学科网（北京）股份有限公司 $………………○………………外………………○………………装………………○………………订………………○………………线………………○……………… ………………○………………内………………○………………装………………○………………订………………○………………线………………○……………… 此卷只装订不密封 ………………○………………内………………○………………装………………○………………订………………○………………线………………○……………… ………………○………………外………………○………………装………………○………………订………………○………………线………………○……………… … 学校：______________姓名：_____________班级：_______________考号：______________________ 2026-2027学年高二选择性必修第一册英语单元自测 Unit 1 Laugh out loud!·基础通关 学校：___________　班级：___________　姓名：___________　分数：___________ （时间：100分钟　满分：120分） 注意事项： 1．答题前，考生务必将学校、班级、姓名填写在相应位置。 2．选择题选出答案后填涂在答题卡上；非选择题写在答题卡相应区域。 3．本卷不设听力，其他题型与全国新高考英语非听力部分一致。 第一部分　阅读（共两节，满分50分） 第一节（共15小题；每小题2.5分，满分37.5分） 阅读下列短文，从每题所给的A、B、C、D四个选项中选出最佳选项。 A Laugh and Learn: Four Opportunities for Students Chaplin's World School Visit, Switzerland Follow Charlie Chaplin from his difficult childhood to his international film career. The museum's educational materials connect cinema with twentieth-century history, social justice and creative expression. School groups may add a guided tour of the studio and family home. General group visits should be booked in advance, while guided tours require earlier reservation. National Comedy Center Field Trip, United States Interactive galleries trace comedy from early stage acts to online humour. Students analyse how comedy responds to social and cultural questions and can join short discussion programmes. A special option for Grades 11–12 introduces behind-the-scenes museum careers, including exhibition design, marketing, technology and archival work. Groups should plan two to three hours and provide one adult for every ten students. Class Clowns, Australia This national secondary-school programme helps young people develop original comedy through workshops and live performance. Rather than rewarding imitation, it encourages students to observe daily life, shape a point of view and speak in their own voice. It can support learning in English, Drama and Media Arts. Stephen Leacock Student Humorous Story Competition, Canada Ontario students aged 14–19 may submit an original humorous story or personal essay in English. Entries must have a title, contain no more than 1,500 words and be judged without the writer's identity being shown. Winners receive cash prizes and read their work at a public literary event. 1．Which opportunity best suits students curious about work behind a cultural institution? A. Chaplin's World School Visit. B. National Comedy Center Field Trip. C. Class Clowns. D. Stephen Leacock Student Competition. 2．What is required by the Stephen Leacock competition? A. Performing a comedy routine on stage. B. Working with a professional film director. C. Entering as part of a school group. D. Producing an original piece of humorous writing. 3．What do the four opportunities have in common? A. They prepare students for full-time entertainment jobs. B. They focus mainly on the life of a famous comedian. C. They use humour as a path to learning or self-expression. D. They require students to travel outside their own country. B Keeping Childhood Present When a children's hospital in Kyiv was badly damaged in the summer of 2024, young patients had to be moved, often while treatment was still continuing. Among the adults who responded were Olha Bulkina and Maryna Berdar, founders of a hospital-clown group called the Bureau of Smiles and Support. The two women had created the project the year before, after gaining several years of experience in hospital clowning. Their aim was simple but demanding: illness and crisis should not be allowed to erase childhood. After the attack, Bulkina and Berdar first helped with practical tasks. They cleared broken material and supported families as children were taken to safer hospitals. Then their clown work became even more necessary. Medical machines, unfamiliar rooms and worried adults could make a child feel that every choice had disappeared. The clowns tried to return a small part of that choice. A child could join a song, refuse a game, invent a character or simply watch. Two younger volunteers, Tetiana Nosova and Vladyslava Kulinich, visited wards in bright costumes and used music, movement and gentle nonsense. Yet they did not treat laughter as an order. If a child was frightened or in pain, they stayed with that feeling instead of covering it with a joke. Their task was to build connection, not to put on a show at any cost. Hospital staff noticed that some quiet children began to communicate more when the clowns arrived. The effect did not replace medicine, and no one claimed that it did. What changed was the emotional climate around treatment. For a few minutes, a patient could become the director of a ridiculous scene rather than only the object of medical attention. The volunteers themselves were impressed by the children. Even in extremely difficult conditions, some young patients tried to comfort anxious adults. That courage reminded the clowns why they refused to stand aside: their work protected a space in which fear was real, but so were play, dignity and hope. 4．Why did the clown group's work become more urgent after the hospital was damaged? A. The group needed a new place for public performances. B. The volunteers hoped to attract more professional actors. C. Displaced children needed emotional support during treatment. D. Hospital staff asked the clowns to replace practical assistance. 5．What did the clowns do when a child did not want to laugh? A. They respected the child's feeling and remained present. B. They asked medical staff to continue the performance. C. They changed the child into the director of every activity. D. They left immediately to avoid increasing the child's fear. 6．What does the underlined idea “refused to stand aside” imply in the last paragraph? A. They would not compete with the medical team. B. They chose to take action instead of remaining inactive. C. They decided to keep away from dangerous buildings. D. They wished to become the centre of public attention. 7．Which title best captures the main idea of the text? A. When Performers Become Medical Experts B. A Hospital That Learned to Laugh Again C. How Children Entertain Worried Adults D. Protecting Childhood Through Careful Humour C Can a Red Nose Be Part of Care? Hospital clowning is easy to describe badly. A colourful visitor enters a ward, a child laughs, and the story ends with the claim that laughter is “the best medicine”. Research asks a more careful question: can trained clowning support children who are already receiving medical care? Systematic reviews have brought together controlled studies from paediatric settings. In these studies, children receiving a clown intervention are compared with those receiving routine care or another form of support. Anxiety is the outcome examined most often, especially before operations, injections or other stressful procedures. Across many studies, children accompanied by medical clowns show lower anxiety, and parents sometimes become less anxious as well. Some research also reports benefits involving pain, crying or general wellbeing. The findings are promising, but they are not a blank cheque. Studies differ in the age of the children, the medical procedure, the length of the visit and the way outcomes are measured. A playful interruption that comforts one child may tire or frighten another. In addition, a small reduction on an anxiety scale does not mean that the medical problem itself has been treated. For these reasons, researchers describe clowning as a complementary intervention—an addition to professional care, not a substitute for it. Good practice therefore depends less on a fixed bag of tricks than on attention. Trained clowns watch body language, consult staff and parents, and allow the child to control the interaction. They may lower their voice, change a game or leave when invited to do so. Working in pairs can also reduce pressure: the clowns can play with each other while the child decides whether to enter the scene. The strongest conclusion is neither “clowns cure” nor “humour is only decoration”. Emotional experience is part of healthcare, particularly for children who have little control over what happens to their bodies. Carefully delivered humour can make a difficult procedure feel more manageable. Its value lies precisely in knowing both what it can do and where its limits are. 8．Why do researchers compare clown interventions with routine care? A. To decide which clowns should work in pairs. B. To judge whether clowning adds measurable support. C. To prove that anxiety is the only important outcome. D. To replace children's reports with medical opinions. 9．What does “a complementary intervention” in paragraph 3 mean? A. A treatment that is mainly decorative. B. Support used together with professional care. C. A method that produces the same result for everyone. D. Care delivered only when medicine is unavailable. 10．Why does the author mention differences among the studies? A. To show that most findings should be ignored. B. To argue that hospital clowning is too hard to study. C. To explain why the evidence needs cautious interpretation. D. To suggest that only older children should meet clowns. 11．What is the author's attitude towards hospital clowning? A. Doubtful because humour has no place in healthcare. B. Enthusiastic because it can solve medical problems. C. Indifferent because emotional outcomes are unimportant. D. Supportive while recognising conditions and limits. D Laughter Is More Than a Reaction We often imagine laughter as the final step in a simple process: someone hears a joke, understands it and laughs. Everyday life is less tidy. People laugh while greeting friends, easing an awkward moment or showing that a comment should not be taken as a threat. Much laughter in conversation follows ordinary remarks rather than carefully constructed jokes. One explanation looks far back into human social life. Suppose an early group mistook a harmless shape for a dangerous animal. Once the error was discovered, a burst of laughter could act as an “all clear” signal. Because the sound is hard to hide and easily spreads, it would quickly tell others that tension could be released. This idea does not explain every laugh, but it helps account for two familiar facts: laughter is contagious, and people are far more likely to laugh with others than alone. Shared laughter can also create closeness. When people respond to the same playful moment, they demonstrate a temporary agreement about what is safe, surprising or acceptable. That agreement may reduce social distance, which is why gentle humour can help strangers begin a conversation or teammates recover after a mistake. Yet the bonding power of laughter is sometimes overstated. A group may grow closer by laughing at someone outside it. A person may laugh because of nervousness or politeness rather than pleasure. Even a well-meant joke can fail when speakers do not share the same experiences or when one person has more power than another. The sound of laughter alone, therefore, cannot tell us whether an interaction is kind. This is why a mature sense of humour involves interpretation as well as invention. The useful questions are not only “Is this funny?” but also “Who is laughing?”, “Who is silent?” and “What happens after the laugh?” Humour that leaves people able to speak, disagree and remain respected is doing social work. Humour that closes the conversation may be performing a very different task. Laughter, then, is neither a magic medicine nor meaningless noise. It is a flexible social signal. Used with attention, it can communicate safety and build connection; used carelessly, it can hide discomfort or strengthen exclusion. Understanding that double possibility is part of learning to laugh well. 12．What does the “all clear” explanation suggest about early laughter? A. It could signal that an apparent danger had passed. B. It developed mainly to reward skilled joke-tellers. C. It prevented people from making the same error twice. D. It allowed individuals to hide fear from their group. 13．Why does the author discuss laughter spreading through a group? A. To prove that laughter always creates friendship. B. To show why people cannot control their emotions. C. To illustrate laughter's function as social communication. D. To explain why jokes are easier to understand in public. 14．What is closest in meaning to “overstated” in paragraph 4? A. Ignored. B. Exaggerated. C. Questioned. D. Measured. 15．What is the main idea of the text? A. Laughter is valuable only when everybody understands a joke. B. Human laughter developed entirely from reactions to danger. C. A mature sense of humour depends mainly on comic creativity. D. Laughter is a social tool whose effect depends on context and use. 第二节（共5小题；每小题2.5分，满分12.5分） 阅读下面短文，从短文后的选项中选出可以填入空白处的最佳选项。选项中有两项为多余选项。 How to Use Humour Without Losing the Point Humour can make an English classroom feel less threatening. It can invite attention, make a difficult example memorable and help students take the risk of speaking. But a class does not improve simply because it becomes noisier or funnier. 　16　 Keep the humour connected to the learning goal. A playful comparison may clarify a grammar pattern, while a short comic dialogue may provide material for pronunciation or inference. 　17　 If students remember the joke but forget the language point, the humour has taken over the lesson. Laugh with people, not at them. The easiest safeguard is to avoid turning a learner's body, accent, background or mistake into performance material. 　18　 A classroom should make error safer, not make the person who made it feel smaller. Read the room. Humour is shaped by culture, personality and experience, so a line that works with one group may puzzle another. 　19　 Watch faces and listen to the quality of the response instead of assuming that laughter proves success. Finally, allow students to choose how far they join in. Some enjoy acting out a comic scene; others prefer writing a caption or simply observing. Forced fun quickly becomes another form of pressure. When laughter is absent, treat that silence as information rather than failure. 　20　 Used in this way, humour is not a break from serious learning. It is one way of building the trust and attention that serious learning requires. The teacher still needs a clear destination, accurate language input and a way to check what students have understood. Humour helps only when it serves those decisions. A. A joke aimed at one student's weakness may entertain others while silencing its target. B. If a humorous moment clarifies an idea or lowers useful tension, it has a reason to be there. C. Students should therefore be required to tell a joke before answering every question. D. It may show that the joke, timing or level of participation needs to change. E. Begin by deciding what the humour is supposed to achieve. F. Professional performers may accept risks that do not belong in an ordinary classroom. G. Different groups do not always share the same signals about what is safe or funny. 第二部分　语言运用（共两节，满分30分） 第一节（共15小题；每小题1分，满分15分） 阅读下面短文，从每题所给的A、B、C、D四个选项中选出可以填入空白处的最佳选项。 Carnival in Rio is famous for crowded streets, loud music and energetic dancing. In March 2025, however, a much gentler version of the celebration 　21　 a children's hospital. Members of the Clown Circle project walked through the corridors with instruments, colourful clothes and a small flag. The group knew that an ordinary street party would be 　22　 for children receiving treatment. The performers therefore 　23　 the volume and approached each bed slowly. Instead of demanding attention, they waited for a sign that a child wanted to 　24　. Some children danced; others watched from a parent's arms. That freedom of 　25　 was part of the care. For families, a hospital stay can be physically tiring and emotionally 　26　. One mother said the visit gave her young son a chance to enjoy the kind of cheerful disorder he loved at home. A doctor also noticed that children who had been quiet and 　27　 sometimes began to communicate, sing or move with the music. The purpose was not to 　28　 the huge street celebration inside a medical building. Julia Schaeffer, a programme coordinator, explained that the team had to 　29　 every part of the event to the hospital environment. A trumpet might become softer; a fast dance might turn into a hand movement; a public performance might become a one-to-one 　30　. The project offers activities every week, often building them around festivals or seasons. Its work shows that humour does not have to be 　31　 to be powerful. What matters is the performers' willingness to notice what the audience needs. In the hospital, the best comic idea may be the one that is 　32　, changed or dropped. By bringing Carnival indoors with “an extra dose of care”, the clowns created more than a 　33　 from treatment. They gave children and caregivers a moment of shared attention that was not organised around illness. The music did not 　34　 medicine, but it changed the room—and sometimes that small change was exactly what people 　35　. 21．A. entered B. avoided C. surrounded D. closed 22．A. familiar B. unsuitable C. convenient D. invisible 23．A. recorded B. tested C. reduced D. ignored 24．A. recover B. compete C. participate D. escape 25．A. movement B. speech C. payment D. choice 26．A. demanding B. ordinary C. efficient D. brief 27．A. withdrawn B. curious C. independent D. impatient 28．A. replace B. reproduce C. describe D. discover 29．A. compare B. return C. adapt D. add 30．A. interaction B. argument C. examination D. competition 31．A. expensive B. loud C. traditional D. professional 32．A. collected B. repeated C. translated D. softened 33．A. break B. lesson C. warning D. cure 34．A. limit B. replace C. advertise D. deliver 35．A. feared B. needed C. proved D. remembered 第二节（共10小题；每小题1.5分，满分15分） 阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。 Charlie Chaplin, 　36　 was born in London in 1889, turned personal hardship into a form of art understood around the world. His early life 　37　 (mark) by poverty, and he began performing on stage while still young. He later created the Little Tramp, a character 　38　 (wear) a bowler hat, large shoes and a small moustache. The figure looked weak, yet he repeatedly protected his pride in a difficult world. Chaplin worked mainly in silent film, 　39　 allowed movement and facial expression to carry much of the meaning. Through carefully 　40　 (control) actions, he was able 　41　 (express) pride, fear and hope without long speeches. In Modern Times, for example, he used the experience of 　42　 ordinary factory worker to question a world ruled by machines. Although his films are highly 　43　 (amuse), their humour often protects human dignity rather than escaping serious problems. Viewers laugh at mistakes and accidents, but they are also invited to notice poverty, loneliness and unfairness. Chaplin's art 　44　 (influence) generations of performers since the early twentieth century. At Chaplin's World in Switzerland, students can now explore his life and understand more 　45　 (deep) how comedy can carry both laughter and social concern. His work shows that a comic artist may entertain an audience while still asking serious questions. 第三部分　写作（共两节，满分40分） 第一节（满分15分） 假定你是校英语社团负责人李华，社团将举办主题为“Humour with Kindness”的英语幽默短剧展演。请给外教Mr Allen写一封邮件，邀请他担任评委，内容包括： 1．活动目的； 2．时间、地点和主要形式； 3．发出邀请。 注意： 1．写作词数应为80个左右； 2．请按如下格式在答题卡的相应位置作答。 Dear Mr Allen, ________________________________________________________________________________________________________________________________________________________________________________________ Yours sincerely, Li Hua 第二节（满分25分） 阅读下面材料，根据其内容和所给段落开头语续写两段，使之构成一篇完整的短文。 Ethan had volunteered to host the school comedy evening because he wanted to become less afraid of speaking in public. At home, he could make his little sister laugh by describing ordinary problems in surprising ways. On a stage, however, every joke suddenly sounded borrowed. During rehearsal, Ethan delivered three lines he had memorised from the internet. His classmates smiled politely, but the room remained painfully quiet. Ms Chen, the drama teacher, did not give him another list of jokes. “Humour begins with noticing,” she said. “Pay attention to what is actually happening, and make sure people feel included.” On the night of the show, Ethan stood behind the curtain holding a neat pile of cue cards. The hall was full. The first two performances went smoothly, and his prepared introductions earned a few warm laughs. Then, just before the final group's comic film was to begin, the projector went black. The technician checked a cable. Nothing happened. A minute passed, and the audience began whispering. Ethan looked at his cue cards, but none of them contained a line for a broken projector. He could feel the old fear returning. From the side of the stage, Ms Chen pointed first at the dark screen and then at the audience, reminding him to notice. Ethan took a breath. “Our projector,” he announced, “has chosen this exact moment to think seriously about its future.” The audience laughed—not loudly, but together. Encouraged, Ethan added, “While it makes a life decision, perhaps someone can tell us about a small disaster that became funny later.” For a second, nobody moved. Ethan wondered whether he had asked too much. He noticed a younger student in the front row whispering to her friend and nearly raising her hand. Instead of filling the silence with another borrowed line, he waited and smiled. The whispering around the hall gradually stopped. A hand rose slowly from the front row. _________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________ When the projector finally came back to life, Ethan no longer needed his carefully memorised jokes.________ ________________________________________________________________________________________________________________________________________________________________________________________ 试题 第3页（共8页） 试题 第4页（共8页） 试题 第1页（共8页） 试题 第2页（共8页） 学科网（北京）股份有限公司 $ 2026-2027学年高二选择性必修第一册英语单元自测 Unit 1 Laugh out loud!·基础通关 学校：___________　班级：___________　姓名：___________　分数：___________ （时间：100分钟　满分：120分） 注意事项： 1．答题前，考生务必将学校、班级、姓名填写在相应位置。 2．选择题选出答案后填涂在答题卡上；非选择题写在答题卡相应区域。 3．本卷不设听力，其他题型与全国新高考英语非听力部分一致。 第一部分　阅读（共两节，满分50分） 第一节（共15小题；每小题2.5分，满分37.5分） 阅读下列短文，从每题所给的A、B、C、D四个选项中选出最佳选项。 A Laugh and Learn: Four Opportunities for Students Chaplin's World School Visit, Switzerland Follow Charlie Chaplin from his difficult childhood to his international film career. The museum's educational materials connect cinema with twentieth-century history, social justice and creative expression. School groups may add a guided tour of the studio and family home. General group visits should be booked in advance, while guided tours require earlier reservation. National Comedy Center Field Trip, United States Interactive galleries trace comedy from early stage acts to online humour. Students analyse how comedy responds to social and cultural questions and can join short discussion programmes. A special option for Grades 11–12 introduces behind-the-scenes museum careers, including exhibition design, marketing, technology and archival work. Groups should plan two to three hours and provide one adult for every ten students. Class Clowns, Australia This national secondary-school programme helps young people develop original comedy through workshops and live performance. Rather than rewarding imitation, it encourages students to observe daily life, shape a point of view and speak in their own voice. It can support learning in English, Drama and Media Arts. Stephen Leacock Student Humorous Story Competition, Canada Ontario students aged 14–19 may submit an original humorous story or personal essay in English. Entries must have a title, contain no more than 1,500 words and be judged without the writer's identity being shown. Winners receive cash prizes and read their work at a public literary event. 1．Which opportunity best suits students curious about work behind a cultural institution? A. Chaplin's World School Visit. B. National Comedy Center Field Trip. C. Class Clowns. D. Stephen Leacock Student Competition. 2．What is required by the Stephen Leacock competition? A. Performing a comedy routine on stage. B. Working with a professional film director. C. Entering as part of a school group. D. Producing an original piece of humorous writing. 3．What do the four opportunities have in common? A. They prepare students for full-time entertainment jobs. B. They focus mainly on the life of a famous comedian. C. They use humour as a path to learning or self-expression. D. They require students to travel outside their own country. B Keeping Childhood Present When a children's hospital in Kyiv was badly damaged in the summer of 2024, young patients had to be moved, often while treatment was still continuing. Among the adults who responded were Olha Bulkina and Maryna Berdar, founders of a hospital-clown group called the Bureau of Smiles and Support. The two women had created the project the year before, after gaining several years of experience in hospital clowning. Their aim was simple but demanding: illness and crisis should not be allowed to erase childhood. After the attack, Bulkina and Berdar first helped with practical tasks. They cleared broken material and supported families as children were taken to safer hospitals. Then their clown work became even more necessary. Medical machines, unfamiliar rooms and worried adults could make a child feel that every choice had disappeared. The clowns tried to return a small part of that choice. A child could join a song, refuse a game, invent a character or simply watch. Two younger volunteers, Tetiana Nosova and Vladyslava Kulinich, visited wards in bright costumes and used music, movement and gentle nonsense. Yet they did not treat laughter as an order. If a child was frightened or in pain, they stayed with that feeling instead of covering it with a joke. Their task was to build connection, not to put on a show at any cost. Hospital staff noticed that some quiet children began to communicate more when the clowns arrived. The effect did not replace medicine, and no one claimed that it did. What changed was the emotional climate around treatment. For a few minutes, a patient could become the director of a ridiculous scene rather than only the object of medical attention. The volunteers themselves were impressed by the children. Even in extremely difficult conditions, some young patients tried to comfort anxious adults. That courage reminded the clowns why they refused to stand aside: their work protected a space in which fear was real, but so were play, dignity and hope. 4．Why did the clown group's work become more urgent after the hospital was damaged? A. The group needed a new place for public performances. B. The volunteers hoped to attract more professional actors. C. Displaced children needed emotional support during treatment. D. Hospital staff asked the clowns to replace practical assistance. 5．What did the clowns do when a child did not want to laugh? A. They respected the child's feeling and remained present. B. They asked medical staff to continue the performance. C. They changed the child into the director of every activity. D. They left immediately to avoid increasing the child's fear. 6．What does the underlined idea “refused to stand aside” imply in the last paragraph? A. They would not compete with the medical team. B. They chose to take action instead of remaining inactive. C. They decided to keep away from dangerous buildings. D. They wished to become the centre of public attention. 7．Which title best captures the main idea of the text? A. When Performers Become Medical Experts B. A Hospital That Learned to Laugh Again C. How Children Entertain Worried Adults D. Protecting Childhood Through Careful Humour C Can a Red Nose Be Part of Care? Hospital clowning is easy to describe badly. A colourful visitor enters a ward, a child laughs, and the story ends with the claim that laughter is “the best medicine”. Research asks a more careful question: can trained clowning support children who are already receiving medical care? Systematic reviews have brought together controlled studies from paediatric settings. In these studies, children receiving a clown intervention are compared with those receiving routine care or another form of support. Anxiety is the outcome examined most often, especially before operations, injections or other stressful procedures. Across many studies, children accompanied by medical clowns show lower anxiety, and parents sometimes become less anxious as well. Some research also reports benefits involving pain, crying or general wellbeing. The findings are promising, but they are not a blank cheque. Studies differ in the age of the children, the medical procedure, the length of the visit and the way outcomes are measured. A playful interruption that comforts one child may tire or frighten another. In addition, a small reduction on an anxiety scale does not mean that the medical problem itself has been treated. For these reasons, researchers describe clowning as a complementary intervention—an addition to professional care, not a substitute for it. Good practice therefore depends less on a fixed bag of tricks than on attention. Trained clowns watch body language, consult staff and parents, and allow the child to control the interaction. They may lower their voice, change a game or leave when invited to do so. Working in pairs can also reduce pressure: the clowns can play with each other while the child decides whether to enter the scene. The strongest conclusion is neither “clowns cure” nor “humour is only decoration”. Emotional experience is part of healthcare, particularly for children who have little control over what happens to their bodies. Carefully delivered humour can make a difficult procedure feel more manageable. Its value lies precisely in knowing both what it can do and where its limits are. 8．Why do researchers compare clown interventions with routine care? A. To decide which clowns should work in pairs. B. To judge whether clowning adds measurable support. C. To prove that anxiety is the only important outcome. D. To replace children's reports with medical opinions. 9．What does “a complementary intervention” in paragraph 3 mean? A. A treatment that is mainly decorative. B. Support used together with professional care. C. A method that produces the same result for everyone. D. Care delivered only when medicine is unavailable. 10．Why does the author mention differences among the studies? A. To show that most findings should be ignored. B. To argue that hospital clowning is too hard to study. C. To explain why the evidence needs cautious interpretation. D. To suggest that only older children should meet clowns. 11．What is the author's attitude towards hospital clowning? A. Doubtful because humour has no place in healthcare. B. Enthusiastic because it can solve medical problems. C. Indifferent because emotional outcomes are unimportant. D. Supportive while recognising conditions and limits. D Laughter Is More Than a Reaction We often imagine laughter as the final step in a simple process: someone hears a joke, understands it and laughs. Everyday life is less tidy. People laugh while greeting friends, easing an awkward moment or showing that a comment should not be taken as a threat. Much laughter in conversation follows ordinary remarks rather than carefully constructed jokes. One explanation looks far back into human social life. Suppose an early group mistook a harmless shape for a dangerous animal. Once the error was discovered, a burst of laughter could act as an “all clear” signal. Because the sound is hard to hide and easily spreads, it would quickly tell others that tension could be released. This idea does not explain every laugh, but it helps account for two familiar facts: laughter is contagious, and people are far more likely to laugh with others than alone. Shared laughter can also create closeness. When people respond to the same playful moment, they demonstrate a temporary agreement about what is safe, surprising or acceptable. That agreement may reduce social distance, which is why gentle humour can help strangers begin a conversation or teammates recover after a mistake. Yet the bonding power of laughter is sometimes overstated. A group may grow closer by laughing at someone outside it. A person may laugh because of nervousness or politeness rather than pleasure. Even a well-meant joke can fail when speakers do not share the same experiences or when one person has more power than another. The sound of laughter alone, therefore, cannot tell us whether an interaction is kind. This is why a mature sense of humour involves interpretation as well as invention. The useful questions are not only “Is this funny?” but also “Who is laughing?”, “Who is silent?” and “What happens after the laugh?” Humour that leaves people able to speak, disagree and remain respected is doing social work. Humour that closes the conversation may be performing a very different task. Laughter, then, is neither a magic medicine nor meaningless noise. It is a flexible social signal. Used with attention, it can communicate safety and build connection; used carelessly, it can hide discomfort or strengthen exclusion. Understanding that double possibility is part of learning to laugh well. 12．What does the “all clear” explanation suggest about early laughter? A. It could signal that an apparent danger had passed. B. It developed mainly to reward skilled joke-tellers. C. It prevented people from making the same error twice. D. It allowed individuals to hide fear from their group. 13．Why does the author discuss laughter spreading through a group? A. To prove that laughter always creates friendship. B. To show why people cannot control their emotions. C. To illustrate laughter's function as social communication. D. To explain why jokes are easier to understand in public. 14．What is closest in meaning to “overstated” in paragraph 4? A. Ignored. B. Exaggerated. C. Questioned. D. Measured. 15．What is the main idea of the text? A. Laughter is valuable only when everybody understands a joke. B. Human laughter developed entirely from reactions to danger. C. A mature sense of humour depends mainly on comic creativity. D. Laughter is a social tool whose effect depends on context and use. 第二节（共5小题；每小题2.5分，满分12.5分） 阅读下面短文，从短文后的选项中选出可以填入空白处的最佳选项。选项中有两项为多余选项。 How to Use Humour Without Losing the Point Humour can make an English classroom feel less threatening. It can invite attention, make a difficult example memorable and help students take the risk of speaking. But a class does not improve simply because it becomes noisier or funnier. 　16　 Keep the humour connected to the learning goal. A playful comparison may clarify a grammar pattern, while a short comic dialogue may provide material for pronunciation or inference. 　17　 If students remember the joke but forget the language point, the humour has taken over the lesson. Laugh with people, not at them. The easiest safeguard is to avoid turning a learner's body, accent, background or mistake into performance material. 　18　 A classroom should make error safer, not make the person who made it feel smaller. Read the room. Humour is shaped by culture, personality and experience, so a line that works with one group may puzzle another. 　19　 Watch faces and listen to the quality of the response instead of assuming that laughter proves success. Finally, allow students to choose how far they join in. Some enjoy acting out a comic scene; others prefer writing a caption or simply observing. Forced fun quickly becomes another form of pressure. When laughter is absent, treat that silence as information rather than failure. 　20　 Used in this way, humour is not a break from serious learning. It is one way of building the trust and attention that serious learning requires. The teacher still needs a clear destination, accurate language input and a way to check what students have understood. Humour helps only when it serves those decisions. A. A joke aimed at one student's weakness may entertain others while silencing its target. B. If a humorous moment clarifies an idea or lowers useful tension, it has a reason to be there. C. Students should therefore be required to tell a joke before answering every question. D. It may show that the joke, timing or level of participation needs to change. E. Begin by deciding what the humour is supposed to achieve. F. Professional performers may accept risks that do not belong in an ordinary classroom. G. Different groups do not always share the same signals about what is safe or funny. 第二部分　语言运用（共两节，满分30分） 第一节（共15小题；每小题1分，满分15分） 阅读下面短文，从每题所给的A、B、C、D四个选项中选出可以填入空白处的最佳选项。 Carnival in Rio is famous for crowded streets, loud music and energetic dancing. In March 2025, however, a much gentler version of the celebration 　21　 a children's hospital. Members of the Clown Circle project walked through the corridors with instruments, colourful clothes and a small flag. The group knew that an ordinary street party would be 　22　 for children receiving treatment. The performers therefore 　23　 the volume and approached each bed slowly. Instead of demanding attention, they waited for a sign that a child wanted to 　24　. Some children danced; others watched from a parent's arms. That freedom of 　25　 was part of the care. For families, a hospital stay can be physically tiring and emotionally 　26　. One mother said the visit gave her young son a chance to enjoy the kind of cheerful disorder he loved at home. A doctor also noticed that children who had been quiet and 　27　 sometimes began to communicate, sing or move with the music. The purpose was not to 　28　 the huge street celebration inside a medical building. Julia Schaeffer, a programme coordinator, explained that the team had to 　29　 every part of the event to the hospital environment. A trumpet might become softer; a fast dance might turn into a hand movement; a public performance might become a one-to-one 　30　. The project offers activities every week, often building them around festivals or seasons. Its work shows that humour does not have to be 　31　 to be powerful. What matters is the performers' willingness to notice what the audience needs. In the hospital, the best comic idea may be the one that is 　32　, changed or dropped. By bringing Carnival indoors with “an extra dose of care”, the clowns created more than a 　33　 from treatment. They gave children and caregivers a moment of shared attention that was not organised around illness. The music did not 　34　 medicine, but it changed the room—and sometimes that small change was exactly what people 　35　. 21．A. entered B. avoided C. surrounded D. closed 22．A. familiar B. unsuitable C. convenient D. invisible 23．A. recorded B. tested C. reduced D. ignored 24．A. recover B. compete C. participate D. escape 25．A. movement B. speech C. payment D. choice 26．A. demanding B. ordinary C. efficient D. brief 27．A. withdrawn B. curious C. independent D. impatient 28．A. replace B. reproduce C. describe D. discover 29．A. compare B. return C. adapt D. add 30．A. interaction B. argument C. examination D. competition 31．A. expensive B. loud C. traditional D. professional 32．A. collected B. repeated C. translated D. softened 33．A. break B. lesson C. warning D. cure 34．A. limit B. replace C. advertise D. deliver 35．A. feared B. needed C. proved D. remembered 第二节（共10小题；每小题1.5分，满分15分） 阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。 Charlie Chaplin, 　36　 was born in London in 1889, turned personal hardship into a form of art understood around the world. His early life 　37　 (mark) by poverty, and he began performing on stage while still young. He later created the Little Tramp, a character 　38　 (wear) a bowler hat, large shoes and a small moustache. The figure looked weak, yet he repeatedly protected his pride in a difficult world. Chaplin worked mainly in silent film, 　39　 allowed movement and facial expression to carry much of the meaning. Through carefully 　40　 (control) actions, he was able 　41　 (express) pride, fear and hope without long speeches. In Modern Times, for example, he used the experience of 　42　 ordinary factory worker to question a world ruled by machines. Although his films are highly 　43　 (amuse), their humour often protects human dignity rather than escaping serious problems. Viewers laugh at mistakes and accidents, but they are also invited to notice poverty, loneliness and unfairness. Chaplin's art 　44　 (influence) generations of performers since the early twentieth century. At Chaplin's World in Switzerland, students can now explore his life and understand more 　45　 (deep) how comedy can carry both laughter and social concern. His work shows that a comic artist may entertain an audience while still asking serious questions. 第三部分　写作（共两节，满分40分） 第一节（满分15分） 假定你是校英语社团负责人李华，社团将举办主题为“Humour with Kindness”的英语幽默短剧展演。请给外教Mr Allen写一封邮件，邀请他担任评委，内容包括： 1．活动目的； 2．时间、地点和主要形式； 3．发出邀请。 注意： 1．写作词数应为80个左右； 2．请按如下格式在答题卡的相应位置作答。 Dear Mr Allen, ________________________________________________________________________________________________________________________________________________________________________________________ Yours sincerely, Li Hua 第二节（满分25分） 阅读下面材料，根据其内容和所给段落开头语续写两段，使之构成一篇完整的短文。 Ethan had volunteered to host the school comedy evening because he wanted to become less afraid of speaking in public. At home, he could make his little sister laugh by describing ordinary problems in surprising ways. On a stage, however, every joke suddenly sounded borrowed. During rehearsal, Ethan delivered three lines he had memorised from the internet. His classmates smiled politely, but the room remained painfully quiet. Ms Chen, the drama teacher, did not give him another list of jokes. “Humour begins with noticing,” she said. “Pay attention to what is actually happening, and make sure people feel included.” On the night of the show, Ethan stood behind the curtain holding a neat pile of cue cards. The hall was full. The first two performances went smoothly, and his prepared introductions earned a few warm laughs. Then, just before the final group's comic film was to begin, the projector went black. The technician checked a cable. Nothing happened. A minute passed, and the audience began whispering. Ethan looked at his cue cards, but none of them contained a line for a broken projector. He could feel the old fear returning. From the side of the stage, Ms Chen pointed first at the dark screen and then at the audience, reminding him to notice. Ethan took a breath. “Our projector,” he announced, “has chosen this exact moment to think seriously about its future.” The audience laughed—not loudly, but together. Encouraged, Ethan added, “While it makes a life decision, perhaps someone can tell us about a small disaster that became funny later.” For a second, nobody moved. Ethan wondered whether he had asked too much. He noticed a younger student in the front row whispering to her friend and nearly raising her hand. Instead of filling the silence with another borrowed line, he waited and smiled. The whispering around the hall gradually stopped. A hand rose slowly from the front row. _________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________ When the projector finally came back to life, Ethan no longer needed his carefully memorised jokes.________ ________________________________________________________________________________________________________________________________________________________________________________________ 原创精品资源学科网独家享有版权，侵权必究！1 1 / 12 学科网（北京）股份有限公司 学科网（北京）股份有限公司 $