英语专业八级真题.doc

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1、_试卷用后随即销毁。严禁保留、出版或复印。QUESTION BOOKLETTEST FOR ENGLISH MAJORS (2017)-GRADE EIGHT-TIME LIMIT: 150 MINPART I LISTENING COMPREHENSION25 MINSECTION A MINI-LECTUREIn this section you will hear a mini-lecture. You will hear the mini-lecture ONCE ONLY. While listening to the mini-lecture, please complete th

2、e gap-filling task on ANSWER SHEET ONE and write NO MORE THAN THREE WORDS for each gap. Make sure the word(s) you fill in is (are) both grammatically and semantically acceptable. You may use the blank sheet for note-taking.You have THIRTY seconds to preview the gap-filling task.Now listen to the min

3、i-lecture. When it is over, you will be given THREE minutes to check your work.SECTION B INTERVIEWIn this section you will hear TWO interviews. At the end of each interview, five questions will be asked about what was said. Both the interviews and the questions will be spoken ONCE ONLY. After each q

4、uestion there will be a ten-second pause. During the pause, you should read the four choices of A, B, C and D, and mark the best answer to each question on ANSWER SHEET TWO.You have THIRTY seconds to preview the choices.Now, listen to the first interview. Questions 1 to 5 are based on the first inte

5、rview.1. A. Comprehensive.B. Disheartening.C. Encouraging.D. Optimistic.2. A. 200.B. 70.C. 10.D. 500.3. A. Lack of international funding.B. Inadequate training of medical personnel.C. Ineffectiveness of treatment efforts.D. Insufficient operational efforts on the ground.4. A. They can start educatio

6、n programs for local people.B. They can open up more treatment units.C. They can provide proper treatment to patients.D. They can become professional.5. A. Provision of medical facilities.B. Assessment from international agencies.C. Ebola outpacing operational efforts.D. Effective treatment of Ebola

7、.Now, listen to the second interview. Questions 6 to 10 are based on the second interview.6. A. Interpreting the changes from different sources.B. Analyzing changes from the Internet for customers.C. Using media information to inspire new ideas.D. Creating things from changes in behavior, media, etc

8、.7. A. Knowing previous success stories.B. Being brave and willing to take a risk.C. Being sensitive to business data.D. Being aware of what is interesting.8. A. Having people take a risk.B. Aiming at a consumer leek.C. Using messages to do things.D. Focusing on data-based ideas.9. A. Looking for op

9、portunities.B. Considering a starting point.C. Establishing the focal point.D. Examining the future carefully.10. A. A media agency.B. An Internet company.C. A venture capital firm.D. A behavioral study center.PART II READING COMPREHENSION45 MINSECTION A MULTIPLE CHOICE QUESTIONSIn this section ther

10、e are three passages followed by fourteen multiple choice questions. For each multiple choice question, there are four suggested answers marked A, B, C and D. Choose the one that you think is the best answer and mark your answers on ANSWER SHEET TWO.PASSAGE ONE(1) Its 7 pm on a balmy Saturday night

11、in June, and I have just ordered my first beer in I Cervejaria, a restaurant in Zambujeira do Mar, one of the prettiest villages on Portugals south-west coast. The place is empty, but this doesnt surprise me at all. I have spent two weeks in this area, driving along empty roads, playing with my son

12、on empty beaches, and staying in B&Bs where we are the only guests.(2) No doubt the restaurant, run by two brothers for the past 28 years, is buzzing in July and August, when Portuguese holidaymakers descend on the Alentejo coast. But for the other 10 months of the year, the trickle of diners who co

13、me to feast on fantastically fresh seafood reflects the general pace of life in the Alentejo: sleepy, bordering on comatose.(3) One of the poorest, least-developed, least-populated regions in western Europe, the Alentejo has been dubbed both the Provence and the Tuscany of Portugal. Neither is accur

14、ate. Its scenery is not as pretty and, apart from in the capital Evora, its food isnt as sophisticated. The charms of this land of wheat fields, cork oak forests, wildflower meadows and tiny white-washed villages, are more subtle than in France or Italys poster regions.(4) To travel here is to step

15、back in time 40 or 50 years. Life rolls along at a treacly pace; theres an unnerving stillness to the landscape. But that stillness ends abruptly at the Atlantic Ocean, where there is drama in spades. Protected by the South West Alentejo and Costa Vicentina national park, the 100 km of coastline fro

16、m Porto Covo in the Alentejo to Burgau in the Algarve is the most stunning in Europe. And yet few people seem to know about it. Walkers come to admire the views from the Fishermans Way, surfers to ride the best waves in Europe, but day after day we had spectacular beaches to ourselves.(5) The lack o

17、f awareness is partly a matter of accessibility (these beaches are a good two hours drive from either Faro or Lisbon airports) and partly to do with a lack of beachside accommodation. There are some gorgeous, independent guesthouses in this area, but they are hidden in valleys or at the end of dirt

18、tracks.(6) Our base was a beautiful 600-acre estate of uncultivated land covered in rock-rose, eucalyptus and wild flowers 13km inland from Zambujeira. Our one-bedroom home, Azenha, was once home to the miller who tended the now-restored watermill next to it. A kilometre away from the main house, po

19、ol and restaurant, it is gloriously isolated. (7) Stepping out of the house in the morning to greet our neighbours wild horses on one side, donkeys on the other with nothing but birdsong filling the air, I felt a sense of adventure you normally only get with wild camping.(8) “When people first arriv

20、e, they feel a little anxious wondering what they are going to do the whole time,” Sarah Gredley, the English owner of estate, told me. “But it doesnt usually take them long to realise that the whole point of being here is to slow down, to enjoy nature.”(9) We followed her advice, walking down to th

21、e stream in search of terrapins and otters, or through clusters of cork oak trees. On some days, we tramped uphill to the windmill, now a romantic house for two, for panoramic views across the estate and beyond.(10) When we ventured out, we were always drawn back to the coast the gentle sands and sh

22、allow bay of Farol beach. At the end of the day, we would head, sandy-footed, to the nearest restaurant, knowing that at every one there would be a cabinet full of fresh seafood to choose from bass, salmon, lobster, prawns, crabs, goose barnacles, clams We never ate the same thing twice.(11) A kilom

23、etre or so from I Cervejaria, on Zambujeiras idyllic natural harbour is O Sacas, originally built to feed the fishermen but now popular with everyone. After scarfing platefuls of seafood on the terrace, we wandered down to the harbour where two fishermen, in wetsuits, were setting out by boat across

24、 the clear turquoise water to collect goose barnacles. Other than them, the place was deserted just another empty beauty spot where I wondered for the hundredth time that week how this pristine stretch of coast has remained so undiscovered.11. The first part of Para. 4 refers to the fact that _.A. l

25、ife there is quiet and slowB. the place is little knownC. the place is least populatedD. there are stunning views12. “The lack of awareness” in Para. 5 refers to _.A. different holidaying preferencesB. difficulty of finding accommodationC. little knowledge of the beauty of the beachD. long distance

26、from the airports13. The author uses “gloriously” in Para. 6 to _.A. describe the scenery outside the houseB. show appreciation of the surroundingsC. contrast greenery with isolationD. praise the regions unique feature14. The sentence “We never ate the same thing twice” in Para. 10 reflects the _ of

27、 the seafood there.A. freshnessB. delicacyC. tasteD. variety15. Which of the following themes is repeated in both Paras. 1 and 11?A. Publicity.B. Landscape.C. Seafood.D. Accommodation.PASSAGE TWO(1) I can still remember the faces when I suggested a method of dealing with what most teachers of Englis

28、h considered one of their pet horrors, extended reading. The room was full of tired teachers, and many were quite cynical about the offer to work together to create a new and dynamic approach to the place of stories in the classroom.(2) They had seen promises come and go and mere words werent going

29、to convince them, which was a shame as it was mere words that we were principally dealing with. Most teachers were unimpressed by the extended reading challenge from the Ministry, and their lack of enthusiasm for the rather dry list of suggested tales was passed on to their students and everyone was

30、 pleased when that part of the syllabus was over. It was simply a box ticking exercise. We needed to do something more. We needed a very different approach.(3) That was ten years ago. Now we have a different approach, and it works. Heres how it happened (or, like most good stories, here are the main

31、 parts. You have to fill in some of yourself employing that underused classroom device, the imagination.) We started with three main precepts:(4) First, it is important to realize that all of us are storytellers, tellers of tales. We all have our own narratives the real stories such as what happened

32、 to us this morning or last night, and the ones we have been told by others and we havent experienced personally. We could say that our entire lives are constructed as narratives. As a result we all understand and instinctively feel narrative structure. Binary opposites for example, the tension crea

33、ted between good and bad together with the resolution of that tension through the intervention of time, resourcefulness and virtue is a concept understood by even the youngest children. Professor Kieran Egan, in his seminal book Teaching as Storytelling warns us not to ignore this innate skill, for

34、it is a remarkable tool for learning.(5) We need to understand that writing and reading are two sides of the same coin: an author has not completed the task if the book is not read: the creative circle is not complete without the reader, who will supply their own creative input to the process. Samue

35、l Johnson said: A writer only begins a book. A reader finishes it. In teaching terms, we often forget that reading itself can be a creative process, just as writing is, and we too often relegate it to a means of data collection. We frequently forget to make that distinction when presenting narrative

36、s or poetry, and often ask comprehension questions which relate to factual information who said what and when, rather than speculating on why, for example, or examining the context of the action.(6) The third part of the reasoning that we adopted relates to the need to engage the students as readers

37、 in their own right, not as simply as language learners; learning the language is part of the process, not the reason for reading. What they read must become theirs and have its own special and secret life in their heads, a place where teachers can only go if invited.(7) We quickly found that one of

38、 the most important ways of making all the foregoing happen was to engage the creative talents of the class before they read a word of the text. The pre-reading activities become the most important part of the teaching process; the actual reading part can almost be seen as the cream on the cake, and

39、 the principle aim of pre-reading activities is to get students to want to read the text. We developed a series of activities which uses clues or fragments from the text yet to be read, and which rely on the students innate knowledge of narrative, so that they can to build their own stories before t

40、hey read the key text. They have enough information to generate ideas but not so much that it becomes simply an exercise in guided writing; releasing a free imagination is the objective.(8) Moving from pre-reading to reading, we may introduce textual intervention activities. Textual Intervention is

41、a term used by Rob Pope to describe the process of questioning a text not simply as a guide to comprehension but as a way of exploring the context of the story at any one time, and examining points at which the narrative presents choices, points of divergence, or narrative crossroads. We dont do thi

42、s for all texts, however, as the shorter ones do not seem to gain much from this process and it simply breaks up the reading pleasure.(9) Follow-up activities are needed, at the least, to round off the activity, to bring some sense of closure but they also offer an opportunity to link the reading ex

43、perience more directly to the requirements of the syllabus. Indeed, the story may have been chosen in the first place because the context supports one of the themes that teachers are required to examine as part of the syllabus for example, families, science and technology, communications, the enviro

44、nment and all the other familiar themes. There are very few stories that cant be explored without some part of the syllabus being supported. For many teachers this is an essential requirement if they are to engage in such extensive reading at all.(10) The whole process pre-, while and post reading c

45、ould be just an hours activity, or it could last for more than one lesson. When we are designing the materials for exploring stories clearly it is isnt possible for us to know how much time any teacher will have available, which is why we construct the activities into a series of independent units w

46、hich we call kits. They are called kits because we expect teachers to build their own lessons out of the materials we provide, which implies that large amounts may be discarded. What we do ask, though, is that the pre-reading activities be included, if nothing else. That is essential for the process

47、 to engage the student as a creative reader.(11) One of the purposes of encouraging a creative reading approach in the language classroom is to do with the dynamics we perceive in the classroom. Strategic theorists tell us of the social trinity, whereby three elements are required to achieve a dynam

48、ic in any social situation. In the language classroom these might be seen as consisting of the student, the teacher and the language. Certainly from the perspective of the student and usually from the perspective of the teacher the relationship is an unequal one, with the language being perceived as placed closer to the teacher than the student. This will result in less dynamic between language and student than between language and teacher. However, if we replace language with narrative and especially if that is approached as a creative pro