Đề ôn thi Đề thi vào lớp 10 Trường THPT Chuyên KHXH môn Tiếng Anh - Mã đề KHXH-179

The excavator is a common sight on construction sites. Its most impressive feature is the long, powerful arm that looks a bit like a giant's limb. The excavator's arm is not one single piece; it is made of three main (35) __________: the boom, the stick, and the bucket. Each part has a specific job, and they work together to perform precise and powerful digging actions.

The first section, connected directly to the excavator's body, is the boom. It is the largest and strongest part of the arm. The boom's primary function is (36) __________ the rest of the arm up and down. It pivots at a joint, allowing the entire arm assembly to be raised high in the air or lowered into a trench.

Attached to the end of the boom is the stick, which is also called the dipper arm. Just like a human forearm, the stick can bend and (37) __________, moving toward or away from the excavator's main body. This movement provides the reach, letting the operator position the bucket exactly where it needs to be for digging or lifting materials.

The magic behind this movement is the hydraulic system. This system uses a special fluid under high pressure to move the different parts. (38) __________ this powerful system, the arm can lift incredibly heavy loads. If an operator (39) __________ the controls differently, the arm would respond with either a gentle scoop or a powerful tear through the ground. A senior engineer once told a trainee that the hydraulic fluid (40) __________ the real muscle of the machine.

To dig effectively, an operator must skilfully (41) __________ the movements of all three parts at once. It takes great coordination to scoop earth with the bucket while adjusting the stick and boom simultaneously. It is (42) __________ complex skill, but it is what makes the excavator such a versatile and essential tool on any modern construction project.

The 'Hallyu' or Korean Wave has swept across the globe, and Vietnam is no exception. It is a cultural phenomenon that extends far beyond music, influencing everything from fashion to entertainment. The immense popularity of K-pop in Vietnam was vividly demonstrated by the sold-out concerts for the group BLACKPINK in Hanoi, where thousands of fans gathered, mirroring the energy seen in Seoul or Tokyo. This passionate reception shows that K-pop is not just a passing trend but a significant cultural force shaping the identities and interests of a new generation of Vietnamese.

So, what makes K-pop so irresistible to Vietnamese youth? A primary factor is the high-quality production. K-pop songs are known for their catchy melodies, sophisticated choreography, and visually stunning music videos that resemble short films. Furthermore, the idols themselves present an image of perfection, dedication, and glamour that many young people find aspirational. The themes in their music, often dealing with love, self-discovery, and social pressures, resonate deeply with the experiences of teenagers. This combination of audio-visual excellence and relatable content has made K-pop a prominent feature in the daily media consumption of young Vietnamese.

The influence of K-pop is visible on the streets of cities like Ho Chi Minh and Hanoi. Many Vietnamese youth closely follow the fashion of their favorite idols, leading to a surge in demand for Korean-style clothing, accessories, and cosmetics. Beauty standards are also shifting, with an emphasis on flawless skin and specific makeup styles popularized by K-pop stars. Beyond aesthetics, the phenomenon has even touched language. It's common to hear young fans sprinkling Korean words like 'oppa' (older brother) or 'daebak' (awesome) into their daily conversations as they express their admiration and feel part of a larger global fan community.

However, this powerful wave of influence has sparked a debate among cultural commentators in Vietnam. Some argue that the enthusiastic adoption of a foreign culture could lead to the neglect of traditional Vietnamese values and arts. They express concern that local music and fashion might be overshadowed. On the other hand, many believe that this is simply a natural part of globalization. They argue that Vietnamese youth are not passively consuming K-pop but actively adapting it, blending it with local elements to create a unique, hybrid cultural identity that is both modern and connected to global trends.

Ultimately, the relationship between K-pop and Vietnamese youth culture is complex and dynamic. It is more than just entertainment; it is a dialogue between the global and the local. As young Vietnamese people navigate their identities, K-pop provides them with a vibrant set of tools for self-expression, community building, and participation in a worldwide cultural conversation. The Korean Wave is not just washing over Vietnam; it is being remolded by the very people it touches.