填空题

The Rise of RP Historical reasons Received Pronunciation (RP) was originally associated with a ______ (1) spoken in the region between central (1) ______ England and London, including Oxford and Cambridge. Its survival was due to its use by the ______ (2) (2) ______ in the 14th century and by university students in the ______ (3). (3) ______ Its rise in importance resulted from its application in government and official documents. The prestige of its ______ (4) pattern of (4) ______ pronunciation came about with its use in ______ (5) (5) ______ in the 19th century. As a result, its ______ (6) is accepted by (6) ______ television and the radio, the professions and teaching English as a foreign language. Three characteristics of RP 1) Its speakers don’t regard themselves as connected with any geographical region; 2) RP is largely used in England; 3) RP is a "class" accent, associated with ______ (7) (7) ______ social classes. Its present status Decline in the prestige of RP is the result of a) loss of monopoly of education by the privileged; b) ______ (8) of higher education in the post-war (8) ______ period. However, it still retains its eminence among certain professional people. There is a rise in the status of all ______ (9). (9) ______ We are moving towards the ______ (10) position: (10) ______ general acceptance of all regional accents and absence of a class accent that transcends all regions.

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higher/upper
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I agree to some extent with my imaginary English reader. American literary historians are perhaps prone to view their own national scene too narrowly, mistaking prominence for uniqueness. They do over-phrase their own literature, or certainly its minor figures. And Americans do swing from aggressive over-phrase of their literature to an equally unfortunate, imitative deference. But then, the English .themselves are somewhat insular in their literary appraisals. Moreover, in fields where they are not pre eminent -- e.g. in painting and music -- they too alternate between boasting of native products and copying those of the Continent. How many English paintings try to look as though they were done in Paris; how many times have we read in articles that they really represent an English tradition after all.To speak of American literature, then, is not to assert that it is completely unlike that of Europe. Broadly speaking, America and Europe have kept step. At any given moment the traveller could find examples in both of the same architecture, the same styles in dress, the same books on the shelves. Ideas have crossed the Atlantic as freely as men and merchandise, though sometimes more slowly. When I refer to American habit, thoughts, etc., I intend some sort of qualification to precede the word, for frequently the difference between America and Europe (especially England) will be one of degree, sometimes only of a small degree. The amount of divergence is a subtle affair, liable to perplex the Englishman when he looks at America. He is looking at a country which in important senses grew out of his own, which in several ways still resembles his own -- and which is yet a foreign country. There are odd overlappings and abrupt unfamiliarities; kinship yields to a sudden alienation, as when we hail a person across the street, only to discover from his blank response that we have mistaken a stranger for a friend.