Một vật được ném ngang từ độ cao h với vận tốc v₀ nào đó. Bỏ qua sức cản của không khí. Thời gian vật rơi đến mặt đất (t) là

Xét các chuyển động sau:

Ở trường hợp nào, vật chuyển động không chịu tác dụng của lực hoặc chịu tác dụng của một hợp lực bằng không ($\sum \overrightarrow{F} = \overrightarrow{0}$)?

Tác dụng lực (F) hướng sang phải lên vật từ trạng thái nghỉ trong rãnh đệm không khí trong khoảng thời gian ngắn (Δt). Lực đó đã truyền cho vật vận tốc v.

Cho rằng vật di chuyển với vận tốc V ở trên và khi đó ta tác dụng lực hướng sang trái (-F) trong cùng khoảng thời gian (Δt). Vật  sau thời gian t sẽ

Trên hành tinh X, gia tốc tơi tự do chỉ bằng  gia tốc rơi tự do trên Trái Đất. Vậy nếu thả vật từ độ cao h trên Trái Đất mất thời gian là t thì cũng ở độ cao đó vật sẽ rơi trên hành tinh X mất bao lâu?

Một vật được ném ngang từ độ cao h với vận tốc v₀ nào đó. Bỏ qua sức cản của không khí. Thời gian vật rơi đến mặt đất (t) là

Một vật được hạ xuống bằng dây với vận tốc giảm dần. Gọi mg là trọng lực tác dụng lên vật và T là lực căng dây. Hệ thức nào sau đây đúng?

Cho ba ví dụ sau:
(1): Rũ mạnh quần áo cho sạch bụi.
(2): Khi đang chạy nếu bị vướng chân thì luôn ngã về phía trước.
(3): Vận động viên nhảy xa phải chạy lấy đà (trớn).
Ví dụ nào là sự biểu hiện của quán tính?

So sánh các chỉ số lực kế trong thang máy với trọng lượng của vật ta có thể biết được

Một lò xo có chiều dài khi chưa biến dạng là l₀. Lực đàn hồi phụ thuộc vào chiều dài của lò xo theo đồ thị nào sau đây?

Ôtô chuyển động đều trên đường nằm ngang, qua cầu vồng lên và qua cầu vồng xuống. Áp lực của ôtô lên mặt đường khi nào là lớn nhất?

Một thùng đựng viên gạch chuyển động đều theo đường tròn, trong mặt phẳng thẳng đứng như hình vẽ. Thùng quay đủ để viên gạch dính chặt không rơi ra ngoài. Vận tốc góc ω của thùng là

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions:

During the seventeenth and eighteenth centuries, almost nothing was written about the contributions of women during the colonial period and the early history of the newly formed United States. Lacking the right to vote and absent from the seats of power, women were not considered an important force in history. Anne Bradstreet wrote some significant poetry in the seventeenth century, Mercy Otis Warren produced the best contemporary history of the American Revolution,  and Abigail Adams penned important letters showing she exercised great political influence over her husband, John, the second President of the United States. But little or no notice was taken of these contributions. During these centuries, women remained invisible in history books.Throughout the nineteenth century, this lack of visibility continued, despite the efforts of female authors writing about women. These writers, like most of their male counterparts, were amateur historians. Their writings were celebratory in nature, and they were uncritical in their selection and use of sources. During the nineteenth century, however, certain feminists showed a keen sense of history by keeping records of activities in which women were engaged. National, regional, and local women's organizations compiled accounts of their doings. Personal correspondence, newspaper clippings, and souvenirs were saved and stored. These sources from the core of the two greatest collections of women's history in the United States one at the Elizabeth and Arthur Schlesinger Library at  Radcliffe College, and the other the Sophia Smith Collection at Smith College. Such sources have provided valuable materials for later Generations of historians. Despite the gathering of more information about ordinary women during the nineteenth Century, most of the writing about women conformed to the "great women" theory of History, just as much of mainstream American history concentrated on "great men." To demonstrate that women were  making significant contributions to American life, female authors singled out women leaders and wrote biographies, or else important women produced their autobiographies. Most of these leaders were involved in public life as reformers, activists working for women's right to vote, or authors, and were not representative at all of the great of ordinary woman. The lives of ordinary people continued, generally, to be untold in the American histories being published.

Question 5: The word "they" in the 2nd paragraph refers to ________.         

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions:

During the seventeenth and eighteenth centuries, almost nothing was written about the contributions of women during the colonial period and the early history of the newly formed United States. Lacking the right to vote and absent from the seats of power, women were not considered an important force in history. Anne Bradstreet wrote some significant poetry in the seventeenth century, Mercy Otis Warren produced the best contemporary history of the American Revolution, and Abigail Adams penned important letters showing she exercised great political influence over her husband, John, the second President of the United States. But little or no notice was taken of these contributions. During these centuries, women remained invisible in history books.Throughout the nineteenth century, this lack of visibility continued, despite the efforts of female authors writing about women. These writers, like most of their male counterparts, were amateur historians. Their writings were celebratory in nature, and they were uncritical in their selection and use of sources. During the nineteenth century, however, certain feminists showed a keen sense of history by keeping records of activities in which women were engaged. National, regional, and local women's organizations compiled accounts of their doings. Personal correspondence, newspaper clippings, and souvenirs were saved and stored. These sources from the core of the two greatest collections of women's history in the United States one at the Elizabeth and Arthur Schlesinger Library at  Radcliffe College, and the other the Sophia Smith Collection at Smith College. Such sources have provided valuable materials for later Generations of historians. Despite the gathering of more information about ordinary women during the nineteenth Century, most of the writing about women conformed to the "great women" theory of History, just as much of mainstream American history concentrated on "great men." To demonstrate that women were  making significant contributions to American life, female authors singled out women leaders and wrote biographies, or else important women produced their autobiographies. Most of these leaders were involved in public life as reformers, activists working for women's right to vote, or authors, and were not representative at all of the great of ordinary woman. The lives of ordinary people continued, generally, to be untold in the American histories being published.

Question 4: In the last paragraph, the author mentions all of the following as possible roles of nineteenth-century "great women" EXCEPT ________.         

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions:

In most of the earliest books for children, illustrations were an afterthought. But in the Caldecott “toy books”, which first appeared in 1878, they were almost as important as the lines of text, and occupied far more space in the book. One can almost read the story from the dramatic action in the pictures. Since then, thousands of successful picture books have been published in the United States and around the world. In the best, the words and illustrations seem to complement each other perfectly. Often a single person is responsible for both writing and illustrating the book. One of the greatest, and certainly one of the most successful, illustrator-authors was Dr. Seuss, whose real name was Theodor Geisel. His first children’s book, And to Think That I Saw It on Mulberry Street, hit the market in 1937, and the world of children’s literature was changed forever. Seuss’s playful drawings were a perfect complement to his engaging stories and unforgettable characters. In 1957, Seuss’s The Cat in the Hat became the first book in Random House’s best-selling series, Beginner Books, written by Seuss and several other authors. These combine outrageous illustrations of people, creatures, and plants, and playful stories written in very simple language. Dr. Seuss is not the only well-known author-illustrator, of course. There is Max Sendak, who wrote and illustrated Where the Wild Things Are, the story of a little boy named Max, who becomes king of the fierce (but funny) creatures that live in the Land of the Wilds Things. Robert McCloskey produced both the richly textured illustrations and delightful story of a family of ducks living in downtown Boston, Make Ways for Ducklings. Some books are produced by a collaborative author artist team. Author Margaret Wise Brown combined with illustrator Clement Hurd to produce two delightful books loved by very young children, Goodnight Moon and The Runaway Bunny. Another example is the husband-and-wife team of writer Audrey Wood and illustrator Don Wood, who were responsible for King Bidgoods in the Bathtub and The Napping House. Wordless and nearly wordless picture books have become popular. With a little help, three and four-year-olds can follow the sequence of events, and they can understand the stories suggested in them. The marvel of books with few or no words is that they allow children and their parents the opportunity to tell and retell the same stories over and over in their own words. One of the most charming examples of a wordless book is Jan Omerod's Sunshine. Barbara Berger’s Grandfather Twilight and David Weisner’s Tuesday are examples of books containing only a few words. U.S. publishers have also drawn on illustrators from other countries whose original, imaginative works have brought their different visions to American children’s books. Among them are Leo Lionni from Italy, Feodor Rojankovsky from Russia, and Taro Yashimi from Japan.

Question: What is the main idea of the reading passage?

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions:

In most of the earliest books for children, illustrations were an afterthought. But in the Caldecott “toy books”, which first appeared in 1878, they were almost as important as the lines of text, and occupied far more space in the book. One can almost read the story from the dramatic action in the pictures. Since then, thousands of successful picture books have been published in the United States and around the world. In the best, the words and illustrations seem to complement each other perfectly. Often a single person is responsible for both writing and illustrating the book. One of the greatest, and certainly one of the most successful, illustrator-authors was Dr. Seuss, whose real name was Theodor Geisel. His first children’s book, And to Think That I Saw It on Mulberry Street, hit the market in 1937, and the world of children’s literature was changed forever. Seuss’s playful drawings were a perfect complement to his engaging stories and unforgettable characters. In 1957, Seuss’s The Cat in the Hat became the first book in Random House’s best-selling series, Beginner Books, written by Seuss and several other authors. These combine outrageous illustrations of people, creatures, and plants, and playful stories written in very simple language. Dr. Seuss is not the only well-known author-illustrator, of course. There is Max Sendak, who wrote and illustrated Where the Wild Things Are, the story of a little boy named Max, who becomes king of the fierce (but funny) creatures that live in the Land of the Wilds Things. Robert McCloskey produced both the richly textured illustrations and delightful story of a family of ducks living in downtown Boston, Make Ways for Ducklings. Some books are produced by a collaborative author artist team. Author Margaret Wise Brown combined with illustrator Clement Hurd to produce two delightful books loved by very young children, Goodnight Moon and The Runaway Bunny. Another example is the husband-and-wife team of writer Audrey Wood and illustrator Don Wood, who were responsible for King Bidgoods in the Bathtub and The Napping House. Wordless and nearly wordless picture books have become popular. With a little help, three and four-year-olds can follow the sequence of events, and they can understand the stories suggested in them. The marvel of books with few or no words is that they allow children and their parents the opportunity to tell and retell the same stories over and over in their own words. One of the most charming examples of a wordless book is Jan Omerod's Sunshine. Barbara Berger’s Grandfather Twilight and David Weisner’s Tuesday are examples of books containing only a few words. U.S. publishers have also drawn on illustrators from other countries whose original, imaginative works have brought their different visions to American children’s books. Among them are Leo Lionni from Italy, Feodor Rojankovsky from Russia, and Taro Yashimi from Japan.

Question: “Sunshine” is given in the passage as an example of a book that ________.         

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions:

In most of the earliest books for children, illustrations were an afterthought. But in the Caldecott “toy books”, which first appeared in 1878, they were almost as important as the lines of text, and occupied far more space in the book. One can almost read the story from the dramatic action in the pictures. Since then, thousands of successful picture books have been published in the United States and around the world. In the best, the words and illustrations seem to complement each other perfectly. Often a single person is responsible for both writing and illustrating the book. One of the greatest, and certainly one of the most successful, illustrator-authors was Dr. Seuss, whose real name was Theodor Geisel. His first children’s book, And to Think That I Saw It on Mulberry Street, hit the market in 1937, and the world of children’s literature was changed forever. Seuss’s playful drawings were a perfect complement to his engaging stories and unforgettable characters. In 1957, Seuss’s The Cat in the Hat became the first book in Random House’s best-selling series, Beginner Books, written by Seuss and several other authors. These combine outrageous illustrations of people, creatures, and plants, and playful stories written in very simple language. Dr. Seuss is not the only well-known author-illustrator, of course. There is Max Sendak, who wrote and illustrated Where the Wild Things Are, the story of a little boy named Max, who becomes king of the fierce (but funny) creatures that live in the Land of the Wilds Things. Robert McCloskey produced both the richly textured illustrations and delightful story of a family of ducks living in downtown Boston, Make Ways for Ducklings. Some books are produced by a collaborative author artist team. Author Margaret Wise Brown combined with illustrator Clement Hurd to produce two delightful books loved by very young children, Goodnight Moon and The Runaway Bunny. Another example is the husband-and-wife team of writer Audrey Wood and illustrator Don Wood, who were responsible for King Bidgoods in the Bathtub and The Napping House. Wordless and nearly wordless picture books have become popular. With a little help, three and four-year-olds can follow the sequence of events, and they can understand the stories suggested in them. The marvel of books with few or no words is that they allow children and their parents the opportunity to tell and retell the same stories over and over in their own words. One of the most charming examples of a wordless book is Jan Omerod's Sunshine. Barbara Berger’s Grandfather Twilight and David Weisner’s Tuesday are examples of books containing only a few words. U.S. publishers have also drawn on illustrators from other countries whose original, imaginative works have brought their different visions to American children’s books. Among them are Leo Lionni from Italy, Feodor Rojankovsky from Russia, and Taro Yashimi from Japan.

Question: Leo Lionni, Feodor Rojankovsky, and Taro Yashimi are mentioned in the passage to show that ________.         

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions:

In most of the earliest books for children, illustrations were an afterthought. But in the Caldecott “toy books”, which first appeared in 1878, they were almost as important as the lines of text, and occupied far more space in the book. One can almost read the story from the dramatic action in the pictures. Since then, thousands of successful picture books have been published in the United States and around the world. In the best, the words and illustrations seem to complement each other perfectly. Often a single person is responsible for both writing and illustrating the book. One of the greatest, and certainly one of the most successful, illustrator-authors was Dr. Seuss, whose real name was Theodor Geisel. His first children’s book, And to Think That I Saw It on Mulberry Street, hit the market in 1937, and the world of children’s literature was changed forever. Seuss’s playful drawings were a perfect complement to his engaging stories and unforgettable characters. In 1957, Seuss’s The Cat in the Hat became the first book in Random House’s best-selling series, Beginner Books, written by Seuss and several other authors. These combine outrageous illustrations of people, creatures, and plants, and playful stories written in very simple language. Dr. Seuss is not the only well-known author-illustrator, of course. There is Max Sendak, who wrote and illustrated Where the Wild Things Are, the story of a little boy named Max, who becomes king of the fierce (but funny) creatures that live in the Land of the Wilds Things. Robert McCloskey produced both the richly textured illustrations and delightful story of a family of ducks living in downtown Boston, Make Ways for Ducklings. Some books are produced by a collaborative author artist team. Author Margaret Wise Brown combined with illustrator Clement Hurd to produce two delightful books loved by very young children, Goodnight Moon and The Runaway Bunny. Another example is the husband-and-wife team of writer Audrey Wood and illustrator Don Wood, who were responsible for King Bidgoods in the Bathtub and The Napping House. Wordless and nearly wordless picture books have become popular. With a little help, three and four-year-olds can follow the sequence of events, and they can understand the stories suggested in them. The marvel of books with few or no words is that they allow children and their parents the opportunity to tell and retell the same stories over and over in their own words. One of the most charming examples of a wordless book is Jan Omerod's Sunshine. Barbara Berger’s Grandfather Twilight and David Weisner’s Tuesday are examples of books containing only a few words. U.S. publishers have also drawn on illustrators from other countries whose original, imaginative works have brought their different visions to American children’s books. Among them are Leo Lionni from Italy, Feodor Rojankovsky from Russia, and Taro Yashimi from Japan.

Question: According to the passage, pictures help make children’s books ________.         

Read the following passage and mark the letter A, B, C or D on your answer sheet to indicate the correct answer to each of the questions:

In most of the earliest books for children, illustrations were an afterthought. But in the Caldecott “toy books”, which first appeared in 1878, they were almost as important as the lines of text, and occupied far more space in the book. One can almost read the story from the dramatic action in the pictures. Since then, thousands of successful picture books have been published in the United States and around the world. In the best, the words and illustrations seem to complement each other perfectly. Often a single person is responsible for both writing and illustrating the book. One of the greatest, and certainly one of the most successful, illustrator-authors was Dr. Seuss, whose real name was Theodor Geisel. His first children’s book, And to Think That I Saw It on Mulberry Street, hit the market in 1937, and the world of children’s literature was changed forever. Seuss’s playful drawings were a perfect complement to his engaging stories and unforgettable characters. In 1957, Seuss’s The Cat in the Hat became the first book in Random House’s best-selling series, Beginner Books, written by Seuss and several other authors. These combine outrageous illustrations of people, creatures, and plants, and playful stories written in very simple language. Dr. Seuss is not the only well-known author-illustrator, of course. There is Max Sendak, who wrote and illustrated Where the Wild Things Are, the story of a little boy named Max, who becomes king of the fierce (but funny) creatures that live in the Land of the Wilds Things. Robert McCloskey produced both the richly textured illustrations and delightful story of a family of ducks living in downtown Boston, Make Ways for Ducklings. Some books are produced by a collaborative author artist team. Author Margaret Wise Brown combined with illustrator Clement Hurd to produce two delightful books loved by very young children, Goodnight Moon and The Runaway Bunny. Another example is the husband-and-wife team of writer Audrey Wood and illustrator Don Wood, who were responsible for King Bidgoods in the Bathtub and The Napping House. Wordless and nearly wordless picture books have become popular. With a little help, three and four-year-olds can follow the sequence of events, and they can understand the stories suggested in them. The marvel of books with few or no words is that they allow children and their parents the opportunity to tell and retell the same stories over and over in their own words. One of the most charming examples of a wordless book is Jan Omerod's Sunshine. Barbara Berger’s Grandfather Twilight and David Weisner’s Tuesday are examples of books containing only a few words. U.S. publishers have also drawn on illustrators from other countries whose original, imaginative works have brought their different visions to American children’s books. Among them are Leo Lionni from Italy, Feodor Rojankovsky from Russia, and Taro Yashimi from Japan.

Question: According to the passage, when was the world of children’s literature changed?         

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions:

You can usually tell when your friends are happy or angry by the looks on their faces or by their actions. This is useful because reading their emotional expressions helps you to know how to respond to them. Emotions have evolved to help us respond to important situations and to convey our intentions to others. But does raising the eyebrows and rounding the mouth say the same thing in Minneapolis as it does in Madagascar? Much research on emotional expressions has centered on such questions. According to Paul Ekman, the leading researcher in this area, people speak and understand substantially the same “facial language”. Studies by Ekman’s group have demonstrated that humans share a set of universal emotional expressions that testify to the common biological heritage of the human species. Smiles, for example, signal happiness and frowns indicate sadness on the faces of people in such far - flung places as Argentina, Japan, Spain, Hungary, Poland, Sumatra, the United States, Vietnam, the jungles of New Guinea, and the Eskimo villages north of Artic Circle. Ekman and his colleagues claim that people everywhere can recognize at least seven basic emotions: sadness, fear, anger, disgust, contempt, happiness, and surprise. There are, however, huge differences across cultures in both the context and intensity of emotional displays - the so called display rules. In many Asian cultures, for example, children are taught to control emotional responses - especially negative ones - while many American children are encouraged to express their feelings more openly. Regardless of culture, however, emotions usually show themselves, to some degree, in people’s behavior. From their first days of life, babies produce facial expressions that communicate their feelings. The ability to read facial expressions develops early, too. Very young children pay close attention to facial expressions, and by age five, they nearly equal adults in their skill at reading emotions on people’s faces. This evidence all points to a biological underpinning for our abilities to express and interpret a basic set of human emotions. Moreover, as Charles Darwin pointed out over a century ago, some emotional expressions seem to appear across species boundaries. Cross - cultural psychologists tell us that certain emotional responses carry different meanings in different cultures. For example, what emotion do you suppose might be conveyed by sticking out your tongue? For Americans, this might indicate disgust, while in China it can signify surprise. Likewise, a grin on an American face may indicate joy, while on a Japanese face it may just as easily mean embarrassment. Clearly, culture influences emotional expressions.

Question: Many studies on emotional expressions try to answer whether________                 

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions:

You can usually tell when your friends are happy or angry by the looks on their faces or by their actions. This is useful because reading their emotional expressions helps you to know how to respond to them. Emotions have evolved to help us respond to important situations and to convey our intentions to others. But does raising the eyebrows and rounding the mouth say the same thing in Minneapolis as it does in Madagascar? Much research on emotional expressions has centered on such questions. According to Paul Ekman, the leading researcher in this area, people speak and understand substantially the same “facial language”. Studies by Ekman’s group have demonstrated that humans share a set of universal emotional expressions that testify to the common biological heritage of the human species. Smiles, for example, signal happiness and frowns indicate sadness on the faces of people in such far - flung places as Argentina, Japan, Spain, Hungary, Poland, Sumatra, the United States, Vietnam, the jungles of New Guinea, and the Eskimo villages north of Artic Circle. Ekman and his colleagues claim that people everywhere can recognize at least seven basic emotions: sadness, fear, anger, disgust, contempt, happiness, and surprise. There are, however, huge differences across cultures in both the context and intensity of emotional displays - the so called display rules. In many Asian cultures, for example, children are taught to control emotional responses - especially negative ones - while many American children are encouraged to express their feelings more openly. Regardless of culture, however, emotions usually show themselves, to some degree, in people’s behavior. From their first days of life, babies produce facial expressions that communicate their feelings. The ability to read facial expressions develops early, too. Very young children pay close attention to facial expressions, and by age five, they nearly equal adults in their skill at reading emotions on people’s faces. This evidence all points to a biological underpinning for our abilities to express and interpret a basic set of human emotions. Moreover, as Charles Darwin pointed out over a century ago, some emotional expressions seem to appear across species boundaries. Cross - cultural psychologists tell us that certain emotional responses carry different meanings in different cultures. For example, what emotion do you suppose might be conveyed by sticking out your tongue? For Americans, this might indicate disgust, while in China it can signify surprise. Likewise, a grin on an American face may indicate joy, while on a Japanese face it may just as easily mean embarrassment. Clearly, culture influences emotional expressions.

Question: The biggest difference lies in _______.         

Read the following passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions:

You can usually tell when your friends are happy or angry by the looks on their faces or by their actions. This is useful because reading their emotional expressions helps you to know how to respond to them. Emotions have evolved to help us respond to important situations and to convey our intentions to others. But does raising the eyebrows and rounding the mouth say the same thing in Minneapolis as it does in Madagascar? Much research on emotional expressions has centered on such questions. According to Paul Ekman, the leading researcher in this area, people speak and understand substantially the same “facial language”. Studies by Ekman’s group have demonstrated that humans share a set of universal emotional expressions that testify to the common biological heritage of the human species. Smiles, for example, signal happiness and frowns indicate sadness on the faces of people in such far - flung places as Argentina, Japan, Spain, Hungary, Poland, Sumatra, the United States, Vietnam, the jungles of New Guinea, and the Eskimo villages north of Artic Circle. Ekman and his colleagues claim that people everywhere can recognize at least seven basic emotions: sadness, fear, anger, disgust, contempt, happiness, and surprise. There are, however, huge differences across cultures in both the context and intensity of emotional displays - the so called display rules. In many Asian cultures, for example, children are taught to control emotional responses - especially negative ones - while many American children are encouraged to express their feelings more openly. Regardless of culture, however, emotions usually show themselves, to some degree, in people’s behavior. From their first days of life, babies produce facial expressions that communicate their feelings. The ability to read facial expressions develops early, too. Very young children pay close attention to facial expressions, and by age five, they nearly equal adults in their skill at reading emotions on people’s faces. This evidence all points to a biological underpinning for our abilities to express and interpret a basic set of human emotions. Moreover, as Charles Darwin pointed out over a century ago, some emotional expressions seem to appear across species boundaries. Cross - cultural psychologists tell us that certain emotional responses carry different meanings in different cultures. For example, what emotion do you suppose might be conveyed by sticking out your tongue? For Americans, this might indicate disgust, while in China it can signify surprise. Likewise, a grin on an American face may indicate joy, while on a Japanese face it may just as easily mean embarrassment. Clearly, culture influences emotional expressions.

Question: Young children ________.