翻译二级笔译综合能力分类模拟题17及答案解析.doc
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1、翻译二级笔译综合能力分类模拟题 17 及答案解析(总分:100.00,做题时间:90 分钟)一、Reading Comprehensio(总题数:4,分数:100.00)In a recent survey, Garber and Hohz concluded that the average half-hour children“s television show contains 47 violent acts. When asked about the survey network television executive Jean Pater responded. “I sure as
2、 heck don“t think that Bugs Bunny“s pouring a glass of milk over a chipmunk“s head is violence.“ Unfortunately, both Garber and Holtz and Pater beg the question. The real issue is whether children view such acts as violence. The violence programming aimed at children almost always appears in the con
3、text of fantasy. Cartoon violence generally includes animation, humor, and a remote setting. There is no evidence of direct imitation of television violence by children, though there is evidence that fantasy violence can energize previously learned aggressive response such as a physical attack on an
4、other child during play. It is by no means clear, however, that the violence in a portrayal is solely responsible for this energizing effect. Rather, the evidence suggests that any exciting material can trigger subsequent aggressive behavior and that it is the excitation rather than the portrayal of
5、 violence that instigates or energizes any subsequent violent behavior. “Cold“ imitation of violence by children is extremely rare, and the very occasional evidence of direct, imitative associations between television violence and aggressive behavior has been limited to extremely novel and violent a
6、cts by teenagers or adults with already established patterns of deviant behavior. The institutional effect means, in the short term, that exposure to violent portrayals could be dangerous if shoaly after the exposure (within 15 to 20 minutes), the child happens to be in a situation that calls for in
7、terpersonal aggression as an appropriate response, for example, an argument between siblings or among peers. This same institutional effect, however, could be produced by other exciting but nonviolent television content or by any other excitational source, including, ironically, a parent“s turning o
8、ff the set. So there is no convincing causal evidence of any cumulative instigational effects such as more aggressive or violent dispositions in children. In fact, passivity is a more likely long term result of heavy viewing of television violence. The evidence does not warrant the strong conclusion
9、s advanced by many critics who tend to use television violence as a scapegoat to draw public attention away from the real causes of violencecauses like abusive spouses and parents and a culture that celebrates violence generally.(分数:25.00)(1).The word “beg“ underlined in Paragraph 1 is closest in me
10、aning to _.(分数:2.50)A.doubtB.confirmC.agreeD.disagree(2).The primary purpose of the passage is to _.(分数:2.50)A.correct a popular misconceptionB.solve a serious social problemC.criticize some earlier researchD.propose some theories on crime(3).The phase “by no means“ underlined in Paragraph 2 is clos
11、est in meaning to _.(分数:2.50)A.not at allB.a littleC.notD.apparently(4).According to the author, the immediate effect of TV cartoons on children is that they become _.(分数:2.50)A.violentB.excitedC.imaginativeD.aggressive(5).The word “ironically“ underlined in Paragraph 2 is closest in meaning to _.(分
12、数:2.50)A.sarcasticallyB.surprisingC.astoundingD.sneering(6).The boldfaced word “appropriate“ in Paragraph 2 means _.(分数:2.50)A.moralB.agreeableC.normalD.polite(7).If there is an argument between siblings one hour after their watching some TV violence, these children would _.(分数:2.50)A.likely fall in
13、to a state of total passivity to their parentsB.likely behave less aggressively than on other occasionsC.unlikely resort to any violent actions but keep peacefulD.unlikely be more violent than without watching the program(8).The word “scapegoat“ underlined in the last Paragraph refers to _.(分数:2.50)
14、A.someone punished for the errors of othersB.victimC.casuahyD.crew(9).As the evidence shows, who would most likely imitate TV violence?(分数:2.50)A.The children who are the only child of the family.B.The children who are extraordinarily imaginative.C.The children who like to act against the rules.D.Th
15、e children who like fantasy TV programs.(10).The last paragraph indicates the truth that _.(分数:2.50)A.TV violence makes some children more violent and others more passiveB.the long-term exposure to TV violence is the major cause of violenceC.violence has little to do with TV but much with children“s
16、 natureD.the family and social environment play a big role in children“s violenceSofia Coppola“s “Lost in Translation“ is a funny, bittersweet movie that uses cultural dislocation as a metaphor for people who have gotten lost in their own lives. The movie contains priceless slapstick from Bill Murra
17、y, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood. In only her second feature, Coppola has made a poised, intelligent film that nicely balances laughs with a poignancy rarely seen in American mo
18、vies. If Focus Features markets “Lost in Translation“ carefully, this most original comedy could win audiences well beyond art houses. Bob Harris (Murray) is a grumpy movie star in town to shoot a whiskey commercial. He is not only plagued by jet lag and gloom over a deteriorating marriage of many y
19、ears, he is also in the midst of a midlife crisis that dampens his spirits but not his wit. Charlotte (Johansson), the neglected wife of a photographer, experiences a similar air-condi-tioned nightmare. Married two years, she already feels lost in the relationship, unable to participate in her husba
20、nd“s career or pinpoint what she wants out of life. When she ventures into the city, she is confronted by a distorted version of Western modernity. These two people discover each other late at night at the bar. Neither one can sleep. A friendship evolves in their mutual isolation. Coppola sees in To
21、kyo“s crowded, neon-lit urban landscape a society estranged from its own culture. The night is filled with pleasure-seekers obsessed by games, toys and American pop culture. Only when Charlotte takes a train to Kyoto is she able to experience the old Japan of ancient temples and gardens, tea houses
22、and kimono-clad figures. This role fits Murray like his own skin. A middle-aged burnout who sees no challenges on his horizon gradually changes into a man revitalized by another alienated soul. His comic touch enriches the character with a self-deprecating wit and. in a few sequences, a rubbery phys
23、icality that earns sustained laughs. Johansson makes Charlotte“s loneliness and disillusionment palpable as the woman is cut off from life in ways she never imagined. Using high-speed film stock, cinematographer Lance Acord gives the glaring neon and numbingly sleek interiors a kind of romantic shee
24、n. The score produced by Brian Reitzell created out of Japanese musical themes and “Tokyo dream-pop“ adds to the sense of an Eastern city that has succumbed in large measure to Western culture.(分数:25.00)(1).The word “slapstick“ underlined in Paragraph 1 is closest in meaning to _.(分数:2.50)A.farceB.s
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- 翻译 二级 笔译 综合 能力 分类 模拟 17 答案 解析 DOC
