Read the following passage  and mark the letter (A, B, C or D) on your answer sheet to indicate the correct answer to each for  the questions. 
Children learn to construct language from those around them. Until about the age of three, children tend to learn to develop their language by modeling the speed of their parents, but from that time on, peers have a growing influence as models for language development in children. It is easy to observe that, when adults and older children interact with younger children, they tend to modify their language to improve children communication with younger children, and this modified language is called caretaker speech.
Caretaker speech is used often quite unconsciously; few children actually study how to modify language when speaking to young children but, instead, without thinking, find ways to reduce the complexity of language in order to communicate effectively with young children. A caretaker  will unconsciously speak in one way with adults and in a very different way with young children. Caretaker speech tends to be slower speech with short, simple words and sentences which are said in a higher-pitched voice with exaggerated inflections and many repetitions of essential information. It is not limited to what is commonly called baby talk, which generally refers to the use of simplified, repeated syllable expressions, such as ma-ma, boo-boo, bye-bye, wa-wa, but also includes the simplified sentence structures repeated in sing-song inflections. Examples of these are expressions such as “ say bye-bye” or “where’s da-da?”
Caretaker speech serves the very important function of allowing young children to acquire language more easily. The higher-pitched voice and the exaggerated inflections tend to focus the small child on what the caretaker is saying, the simplified words and sentences make it easier for the small child to begin to comprehended, and the repetitions reinforce the child’s developing understanding. Then, as a child’s speech develops, caretakers tend to adjust their language in the response to the improved language skills, again quite unconsciously. Parents and older children regularly adjust their speed to a level that is slightly above that of a younger child; without studied recognition of what they are doing, these caretakers will speak in one way to a one-year-ago and in a progressively more complex way as the child reaches the age of two or three.
An important point to note is that the function covered by caretaker speech, that of assisting a child to acquire language in small and simple steps, is an unconsciously used but extremely important part of the process of language acquisition and as such is quite universal. It is not merely a device used by English-speaking parents. Studying cultures where children do not acquire language through caretaker speech is difficult because such cultures are not difficult to find. The question of why caretaker speech is universal is not clear understood; instead proponents on either side of the nature vs. nature debate argue over whether caretaker speech is a natural function or a learned one. Those who believe that caretaker speech is a natural and inherent function in humans believe that it is human nature for children to acquire language and for those around them to encourage their language acquisition naturally; the presence of a child is itself a natural stimulus that increases the rate of caretaker speech develops through nurturing rather than nature argue that a person who is attempting to communicate with a child will learn by trying out different ways of communicating to determine which is the most effective from the reactions to the communication attempts; apparent might, for example, learn to use speech with exaggerated inflections with a small child because the exaggerated inflections do a better job of attracting the child’s attention than do more subtle inflections.  Whether caretaker speech results from nature or nurture, it does play an important and universal role in child language acquisition.
According to par.4, it is NOT expected that someone who believes in nurture over nature
 
 
A.Would believe that caretaker speech is more of a learned style of language than a natural one
B.Would use different styles of caretaker speech with children in response to what is working best
C.Would learn to use different styles of caretaker speech with different children
D. Would use less caretaker speech than do those who believe in nature over nurture

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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
 
At 7 pm on a dark, cold November evening, thousands of people are making their way across a vast car park. They're not here to see a film, or the ballet, or even the circus. They are all here for what is, bizarrely, a global phenomenon: they are here to see Holiday on Ice. Given that most people don’t seem to be acquainted with anyone who's ever been, the show's statistics are extraordinary: nearly 300 million people have seen Holiday on Ice since it began in 1943; it is the most popular live entertainment in the world.
       But what does the production involve? And why are so many people prepared to spend their lives travelling round Europe in caravans in order to appear in it? It can't be glamorous, and it's undoubtedly hard work. The backstage atmosphere is an odd mix of gym class and workplace. A curtained-off section at the back of the arena is laughably referred to as the girls' dressing room, but is more accurately described as a corridor, with beige, cracked walls and cheap temporary tables set up along the length of it. Each girl has a small area littered with pots of orange make-up, tubes of mascara and long false eyelashes.
       As a place to work, it must rank pretty low down the scale: the area round the ice-rink is grey and mucky with rows of dirty blue and brown plastic seating and red carpet tiles. It's an unimpressive picture, but the show itself is an unquestionably vast, polished global enterprise: the lights come from a firm in Texas, the people who make the audio system are in California, but Montreal supplies the smoke effects; former British Olympic skater Robin Cousins is now creative director for the company and conducts a vast master class to make sure they're ready for the show's next performance.
       The next day, as the music blares out from the sound system, the case start to go through their routines under Cousins' direction. Cousins says, 'The aim is to make sure they're all still getting to exactly the right place on the ice at the right time - largely because the banks of lights in the ceiling are set to those places, and if the skaters are all half a metre out they'll be illuminating empty ice. Our challenge, ' he continues, 'is to produce something they can sell in a number of countries at the same time. My theory is that you take those things that people want to see and you give it to them, but not in the way they expect to see it. You try to twist it. And you have to find music that is challenging to the skaters, because they have to do it every night.'
       It may be a job which he took to pay the rent, but you can’t doubt his enthusiasm. 'They only place you'll see certain skating moves is an ice show,' he says, 'because you're not allowed to do them in competition. It's not in the rules. So the ice show word has things to offer which the competitive world just doesn't. Cousins knows what he's talking about because he skated for the show himself when he stopped competing - he was financially unable to retire. He learnt the hard way that you can't put on an Olympic performance every night. I'd be thinking, these people have paid their money, now do your stuff, and I suddenly thought, "I really can't cope. I'm not enjoying it".' The solution, he realized, was to give 75 per cent every night, rather than striving for the sort of twice-a-year excellence which won him medals.
       To be honest, for those of us whose only experience of ice-skating is watching top-class Olympic skaters, some of the movements can look a bit amateurish, but then, who are we to judge? Equally, it's impossible not to be swept up in the whole thing; well, you'd have to try pretty hard not to enjoy it.
                                                                                           Source (TOEFL reading)
The word them in paragraph 4 refers to
A.things that people want to see
B.skating moves
C.the skaters
D.skating competitions