A new hotel is set to open in a faraway village in northern Sweden，which intends to change the simple treehouse into a world—class hotel for travelers who enjoy special designs．
Treehotel，which lies in Harads about 60 km south of the Arctic Circle，will be made up of four rooms when it opens on July 17th：the Cabin，the Blue Cone，the Nest and the Mirrorcube．
Two more are due to open in October—the UFO and A Room With a View．
“Our goal in five years is to have 24 rooms from 24 different architects(建筑师)，”says Treehotel co-founder Kent Lindvall，who came up with the idea along with his wife Bfitta．
The first six rooms were designed by five different architects. The Mirrorcube which stands four meters high and four meters wide has drawn widespread attention as it will be connected to a singletree．
‘‘It’s an interesting building．You cannot find anything like this in the world today．It’s really special，”says Lindvall，as he stands next to the room’s mirrored outer wall．
‘‘Everything will reflect(映照)in this—the trees，the birds，the clouds，the sun，everything．So it should be invisible nearly in the forest．’’
Lindvall says a special film will be put onto the glass which will be seen by birds。
‘‘This is untouched forest and—we want to leave it as it is．"says Selberg，another co-founder．
She adds．’’If we’re lucky we might see a bear．I think what’s exciting here is that we’re just 60 km below the Arctic Circle which means there’s a good possibility to have the northern lights in the winter and during the during the summer of course you have the midnight sun.”
The aim of Treehotel is “feel free in a tree” and the experience will cost up to 4,200 Swedish crowns ($555,50)for two guests in the Mirrorcube, which is designed to hold up to four guests.
【小题1】What do we know about Treehotel in Harads from the text?

I used to hate myself because I wasn’t “normal”. Everyone else could play on the monkey bars and ride on a bicycle, but not 　16 . I had a severe spinal cord disorder (脊髓病) and I knew I would always be much 　17 than others.

I hated going to school and I hated people 　18 at me. I hated seeing others smiling broadly and standing 　19 and tall. And most of all, I hated looking in the 　20 and seeing an ugly hunchback (驼背).

My friends found me 　21 because I didn’t let others get close to me. I thought I was going to go on like this for the rest of my life 　22 Angela appeared.

That afternoon, I was sitting by myself in a corner of the school — a spot where no one would 　23 me. That’s when I first heard her voice.

“Hi. Can I sit down?”

I raised my head and there she was, with an irresistible smile on her round face.

“What are you looking at?” she asked.

“Ants.”

“What are they doing?”

“No 　24 .”

“I bet they’re playing games and making friends. Don’t you think so?”

That was how our 　25 started and it didn’t stop. We talked about everything under the sun — the ants, the clouds, my little niche (处境) — until it was sunset.

Then suddenly, she saw my 　26 . She just stared.

My heart 　27 . What I feared most had happened and I knew for sure she would

28 me now.

She stood up, pointed at my back and said, “I know 　29 your back is hunched.”

I closed my eyes like a criminal (罪犯) waiting to be 　30 . I begged in my heart for her to

31 , but she just kept on going. “I know what you’ve got in there. Do you?”

“No,” I answered 　32 .

She bent and whispered in my ears.

“Your back is hunched because you’ve got a pair of wings from the angels.”

I was 　33 . I looked into her eyes and her 　34 touched my heart. From that day on, I started to learn to 　35 myself because I have the wings of an angel and a kind-hearted friend.

16. A. them　　　　　　　　 B. it　　　　　　　　　　 C. me　　　　　　　　　 D. her

17. A. sadder　　　　　　　 B. shorter　　　　　　　　　　 C. weaker　　　　　　 D. slower

18. A. looking　　　　　　　 B. smiling　　　　　　 C. aiming　　　　　　　 D. glaring

19. A. still　　　　　　　　　　 B. alone　　　　　　　　 C. straight　　　　　　 D. together

20. A. street　　　　　　　　 B. sun　　　　　　　　　 C. corner　　　　　　　 D. mirror

21. A. distant　　　　　　　 B. stubborn　　　　　 C. hopeless　　　　　 D. unfortunate

22. A. after　　　　　　　　　 B. before　　　　　　　 C. since　　　　　　　　 D. until

23. A. disturb　　　　　　　 B. seek　　　　　　　　 C. interrupt　　　　　 D. ignore

24. A. wonder　　　　　　　 B. idea　　　　　　　　　 C. sign　　　　　　　　 D. action

25. A. connection　　　　 B. competition　　　 C. conversation　　 D. comprehension

26. A. face　　　　　　　　　 B. back　　　　　　　　 C. eyes　　　　　　　　 D. shoulders

27. A. sank　　　　　　　　　 B. beat　　　　　　　　 C. broke　　　　　　　 D. ached

28. A. care for　　　　　　　 B. rely on　　　　　　 C. look down upon　　　 D. put up with

29. A. that　　　　　　　　　 B. how　　　　　　　　 C. whether　　　　　 D. why

30. A. blamed　　　　　　　 B. arrested　　　　　　 C. punished　　　　　 D. sentenced

31. A. relax　　　　　　　　　 B. leave　　　　　　　　 C. stop　　　　　　　　 D. pause

32. A. shyly　　　　　　　　 B. weakly　　　　　　 C. proudly　　　　　　 D. firmly

33. A. astonished　　　　　 B. ashamed　　　　　 C. annoyed　　　　　 D. amused

34. A. wisdom　　　　　　　　　　 B. generosity　　　　 C. honesty　　　　　　 D. kindness

35. A. control　　　　　　　 B. like　　　　　　　　　 C. comfort　　　　　 D. enjoy

When a group of children politely stop a conversation with you, saying: “We have to go to work now,” you’re left feeling surprised and certainly uneasy. After all, this is the 1990s and the idea of children working is just unthinkable. That is, until you are told that they are all pupils of stage schools, and that the “work” they go off to is to go on the stage in a theatre.

　　Stage schools often act as agencies（代理机构）to supply children for stage and television work. More worthy of the name “stage school” are those few places where children attend full time, with a training for the theatre and a general education.

　　A visit to such schools will leave you in no doubt that the children enjoy themselves. After all, what lively children wouldn’t settle for spending only half the day doing ordinary school work, and acting, singing or dancing their way through the other half of the day?

　Then of course there are times for the children to make a name and make a little money in some big shows. Some stage schools give their children too much professional work at such a young age. But the law is very tight on the amount they can do. Those under 13 are limited to 40 days in the year; those over 13 to 80 days.

　The schools themselves admit that not all children will be successful in the profession for which they are being trained. So what happens to those who don’t make it? While all the leading schools say they place great importance on children getting good study results, the facts seem to suggest this is not always the case.

　People would stop feeling uneasy when realizing that the children they’re talking to________.

　　  A. attend a stage school　　　　  B. are going to the theatre

　　  C. have got some work to do 　　  D. love singing and dancing

　　 In the writer’s opinion, a good stage school should ________.

　　  A. produce star performers

　　  B. help pupils improve their study skills

　　  C. train pupils in language and performing arts

　　  D. provide a general education and stage training.

　“Professional work” as used in the text means ________.

　　  A. ordinary school work　　　　　  B. money-making performances

　　  C. stage training at school 　 　  D. acting, singing or dancing after class

　 Which of the following best describes how the writer feels about stage schools?

　　  A. He thinks highly of what they have to offer.　　　　

　　  B. He favours an early start in the training of performing arts.

　　  C. He feels uncomfortable about children putting on night shows.

　　  D. He doubts the standard of ordinary education they have reached.

When a group of children politely stop a conversation with you, saying，“We have to go to work now.” you're left feeling surprised and certainly uneasy. After all, this is the 1990s and the idea of children working is just unthinkable. That is , until you are told that they are all pupils of stage schools, and that the “work” they go off to is to go on the stage in a theatre.

Stage schools often act as agencies (代理机构) to supply children for stage and television work. More worthy of the name “stage school” are those few places where children attend full time, with a training for the theatre and a general education.

A visit to such schools will leave you in no doubt that the children enjoy themselves. After all, what lively children wouldn't settle for spending only hal

f the day doing ordinary school work, and acting, singing or dancing their way through the other half of the day?

Then of course there are times for the children to make a name and make a little money in some big shows. Some stage schools give their children too much professional work at such a young age. But the law is very tight on the amount they can do. Those under 13 are limited to 40 days in the year; those over 13 do 80 days.

The schools themselves admit that not all children will be successful in the profession for which they are being trained. So what happens to those who don't make it? While all the leading schools say they place great importance on children getting good study results, the facts seem to suggest this is not always the case.

1.People would stop feeling uneasy when realising that the children they're talking to  ________.

A. attend a stage school

B. are going to the theatre

C. have got some work to do

D. love singing and dancing 

2.In the writer's opinion, a good stage school should  ________ .

A. produce star performers

B. help pupils improve their study skills

C. train pupils in language and performing arts

D. provide a general education and stage training 

3.“Professional work” as used in the text means  ________ .

A. ordinary school work

B. money?making performances

C. stage training at school

D. acting, singing or dancing after class 

4.Which of the following best describes how the writer feels about stage schools?

A. He thinks highly of what they have to offer.

B. He favours an early start in the training of performing arts.

C. He feels uncomfortable about children putting on night shows.

D. He doubts the standard of ordinary education they have reached. 

When a group of children politely stop a conversation with you, saying:  "We have to go to work now," you' re left feeling surprised and certainly uneasy. After all, this is the 1990s and the idea of children working is just unthinkable. That is, until you are told that they are all pupils of stage schools, and that the "work" they go off to is to go on the stage in a theatre.

Stage schools often act as agencies (代理机构) to supply children for stage and television work. More worthy of the name  "stage school"  are those few places where children attend full time, with a training for the theatre and a general education.

A visit to such schools will leave you in no doubt that the children enjoy themselves. After all , what lively children wouldn't settle for spending only half the day doing ordinary school work, and acting, singing or dancing their way through the other half of the day?

Then of course there are times for the children to make a name and make a little money in some big shows. Some stage schools give their children too much professional work at such a young age. But the law is very tight on the amount they can do. Those under 13 are limited to 40 days in the year; those over 13 to 80 days.

The schools themselves admit that not all children will be successful in the profession for which they are being trained. So what happens to those who don' t make it? While all the leading schools say they place great importance on children getting good study results, the facts seem to suggest this is not always the case.

In the writer' s opinion, a good stage school should _________ .

A. produce star performers

B. help pupils improve their study skills

C. train pupils in language and performing arts

D. provide a general education and stage training.

"Professional work"  as used in the text means _________ .

A. ordinary school work            B. money-making performances

C. stage training at school             D. acting, singing or dancing after class

Which of the following best describes how the writer feels about stage schools?

A. He thinks highly of what they have to offer .

B. He favours an early start in the training of performing arts.

C. He feels uncomfortable about children putting on night shows.

D. He doubts the standard of ordinary education they have reached.