[外语类试卷]专业英语八级模拟试卷219及答案与解析.doc

《[外语类试卷]专业英语八级模拟试卷219及答案与解析.doc》由会员分享，可在线阅读，更多相关《[外语类试卷]专业英语八级模拟试卷219及答案与解析.doc（37页珍藏版）》请在麦多课文档分享上搜索。

1、专业英语八级模拟试卷 219及答案与解析 SECTION A MINI-LECTURE Directions: In this section you sill hear a mini-lecture. You will hear the lecture ONCE ONLY. While listening, take notes on the important points. Your notes will not be marked, but you will need them to complete a gap-filling task after the mini-lecture.

2、 When the lecture is over, you will be given two minutes to check your notes, and another ten minutes to complete the gap-filling task on ANSWER SHEET ONE. Use the blank sheet for note-taking. 0 The Importance of Questions For non-native speakers of English who want to participate in group discussio

3、ns, it is important to be able to ask questions in order to resolve their difficulties. . Causes of Breakdowns in【 1】 【 1】 _. 1. On students part - insufficient command over the【 2】 of English 【 2】 _. - poor pronunciation 2. On teachers part - uncertainty of whether his student has asked a question

4、- the students【 3】 to employ the correct question form 【 3】 _. - the teacher interprets the question as a comment - difficulties arising when the student employs an/a【 4】 【 4】 _. question form - the teacher may not know about the【 5】 of the students 【 5】 _. difficulty . Specific Questions 1. Begin q

5、uestions with an/a【 6】 【 6】 _. 2. Be careful to【 7】 the exact point. 【 7】 _. . Another Reason for the Correct Use of【 8】 Politeness 【 8】 _. 1. The students uses the imperative【 9】 the question form 【 9】 _. when he is nervous or struggling with new subject matter. 2. The teacher may interpret it as【

6、10】 and feel angry. 【 10】 _. 1 【 1】 2 【 2】 3 【 3】 4 【 4】 5 【 5】 6 【 6】 7 【 7】 8 【 8】 9 【 9】 10 【 10】 SECTION B INTERVIEW Directions: In this section you will hear everything ONCE ONLY. Listen carefully and then answer the questions that follow. Questions 1 to 5 are based on an interview. At the end

7、of the interview you will be given 10 seconds to answer each of the following five questions. Now listen to the interview. 11 The interviewer used to care about all the following things EXCEPT _. （ A） doing well in some sports. （ B） having good body image looking. （ C） wearing appropriate clothes. （

8、 D） being popular with other kids. 12 Which of the following is NOT an example of the relationships girls attach importance to? （ A） Their relationships with classmates. （ B） Their relationships with parents. （ C） Their relationships with teachers. （ D） Their relationships with boys. 13 When girls h

9、ave limitations in face of pressure, they might _. （ A） stop trying Bard. （ B） suffer from indignation. （ C） end up crying out. （ D） accept the fact calmly. 14 Parents should be aware of the hidden stress of their daughters when _. （ A） the girls are irritable sometimes. （ B） the girls are exhausted

10、 someday. （ C） the girls say they hate school. （ D） the girls lie and play truant. 15 One Way for the girls to thrive in the age of pressure is to _. （ A） develop intangible ideas. （ B） set touchable goals. （ C） forget about their stress. （ D） talk with their parents. SECTION C NEWS BROADCAST Direct

11、ions: In this section you will hear everything ONCE ONLY. Listen carefully and then answer the questions that follow. At the end of each news item, you will be given 10 seconds to answer the questions. 16 Steve Fossett landed in his destination ahead of scheduled time because _. （ A） there was somet

12、hing wrong with the generator. （ B） the pilots of the aircraft went on a strike. （ C） there was no electrical power in the battery. （ D） he didnt know how to generate electricity. 17 Which of the following statements about the US trade is TRUE? （ A） The gap between its import and export narrowed. （

13、B） The Commerce Department shows great concern. （ C） What it imports has outnumbered what it exports. （ D） Only the government concerns about the trade deficit. 18 The United States trade deficit is a political problem because congressmen think _. （ A） American people feel lost for the trade deficit

14、. （ B） American job opportunities are taken away by others. （ C） American people will lose their prestige and privileges. （ D） there is a fierce competition between America and Asian countries. 19 Frances stand of the conflict between Israel and Palestine is _. （ A） to mediate between the two partie

15、s. （ B） to distinguish them as two countries. （ C） to invite Harass leaders to Paris. （ D） to legitimize terror in Palestine. 20 In order to avoid certain charge, the analysis involves _. （ A） cautious predictions. （ B） impartial judgment. （ C） careful calculation. （ D） simple statistics. 20 As a co

16、ntemporary artist, Jim Dine has often incorporated other peoples photography into his abstract works. But, the 68-year-old American didnt pick up a camera himself and start shooting until he moved to Berlin in 1995-and once he did, he couldnt stop. The result is a voluminous collection of images, ra

17、nging from early-20th-century style heliogravures to modern-day digital printings, a selection of which are on exhibition at the Maison Europeenne de la Photographic in Paris. They are among his most prized achievements. “I make photographs the way I make paintings,“ says Dine, “but the difference i

18、s, in photography, its like lighting a fire every time.“ Though photography makes up a small slice of Dines vast oeuvre, the exhibit is a true retrospective of his career. Dine mostly photographs his own artwork or the subjects that he has portrayed in sculpture, painting and prints including Venus

19、de Milo, ravens and owls, hearts and skulls. There are still pictures of well-used tools in his Connecticut workshop, delightful digital self-portraits and intimate portraits of his sleeping wife, the American photographer Diana Michener. Most revealing and novel are Dines shots of his poetry, scrib

20、bled in charcoal on walls like graffiti. To take in this show is to wander through Dines life: his childhood obsessions, his loves, his dreams. It is a poignant and powerful exhibit that rightly celebrates one of modern arts most intriguing-and least hyped-talents. When he arrived on the scene in th

21、e early 1960s, Dine was seen as a pioneer in the pop-art movement. But he didnt last long; once pop stagnated, Dine moved on. “Pop art had 1o do with the exterior world,“ he says. He was more interested, he adds, in “what was going on inside me.“ He explored his own personality, and from there devel

22、oped themes. His love for handcrafting grew into a series of artworks incorporating hammers and saws. His obsession with owls and ravens came from a dream he once had. His childhood toy Pinocchio, worn and chipped, appears in some self-portraits as a red and yellow blur flying through the air. Dine

23、first dabbled in photography in the late 1970s, when Polaroid invited him to try out a new large-format camera at its head-quarters in Cambridge, Massachusetts. He produced a series of colorful, out-of-focus self-portraits, and when he was done, he packed them away. A half dozen of these images in p

24、er feet condition-are on display in Paris for the first time. Though masterful, they feel flat when compared with his later pictures. Dine didnt shoot again until he went to Berlin in the mid 90s to teach. By then he was ready to embrace photography completely. Michener was his guide: “She opened my

25、 eyes to what was possible,“ he says. “Her approach is so natural and classic. I listened.“ When it came time to print what he had photo graphed, Dine chose heliogravure, the old style of printing favored by Alfred Stieglitz, Edward Curtis and Paul Strand, which gives photographs a warm tone and an

26、almost hand drawn loop like Dines etchings. He later tried out the traditional black-and-white silver-gelatin process, then digital photography and jetink printing, which he adores. About the same time, Dine immersed himself into Jungian psychoanalysis. That, in conjunction with his new artistic tac

27、k, proved cathartic. “The access photography gives you to your subconscious is so fantastic,“ he says. “Ive learned how to bring these images out like a stream of consciousness-something thats not possible in the same way in drawing or painting because technique always gets in your way.“ This is evi

28、dent in the way he works: when Dine shoots, he leaves things alone. Eventually, Dine turned the camera on himself. His self-portraits are disturbingly personal; he opens himself physically and emotionally before the lens. He says such pictures are an attempt to examine himself as well as “record the

29、 march of time, what gravity does to the face in everybody. Im a very willing subject.“ Indeed, Dine sees photography as the surest path to self-discovery. “Ive always learned about myself in my art,“ he says. “But photography expresses me. Its me. Me. “The Paris exhibit makes that perfectly clear.

30、21 According the Dine, the difference between painting and photography is that _. （ A） the latter requires more insight. （ B） the former needs more patience. （ C） the latter arouses great passions in him. （ D） the former involves more indoor work. 22 The word “oeuvre“ in the second paragraph probabl

31、y means _. （ A） all the works of an artist. （ B） all the efforts of an artist. （ C） an artists great potential. （ D） an artists great talent. 23 Which of the following photographs of Dines leaves the deepest impression on the author? （ A） Pictures of graffiti on walls. （ B） Photographs of his poetry

32、. （ C） Shots of his well-used tools. （ D） Pictures of ravens and owls. 24 What does the author think of Dines self-portraits in the late 1970s? （ A） Their connotative meanings are not rich enough. （ B） They are not so exquisite as his later works. （ C） They reflect themes of his childhood dreams. （

33、D） They are much better than his later pictures. 25 All of the following field has Dine ever set foot in EXCEPT _. （ A） a new style of painting. （ B） a silver-gelatin process. （ C） an old style of printing. （ D） Jungian psychoanalysis. 26 What is the main idea of the passage? （ A） Jim Dines exhibit

34、is a true retrospective of his career. （ B） The author tells us Jim Dines life stories as an artist. （ C） Jim Dine is distinguished for his colorful self-portraits. （ D） In a revealing exhibit, Jim Dine points his lens inward. 26 Britains east midlands were once the picture of English countryside, a

35、live with flocks, shepherds, skylarks and buttercups the stuff of fairytales. In 1941 George Marsh left school at the age of 14 to work as a herdsman in Nottinghamshire, the East Midlands countryside his parents and grandparents farmed. He recalls skylarks nesting in cereal fields, which when accide

36、ntally disturbed would fly singing into the sky. But in his lifetime, Marsh has seen the color and diversity of his native land fade. Farmers used to grow about a ton of wheat per acre; now they grow four tons. Pesticides have killed off the insects upon which skylarks fed, and year-round harvesting

37、 has driven the birds from their winter nests. Skylarks are now rare. “Farmers kill anything that affects production,“ says Marsh. “Agriculture is too efficient.“ Anecdotal evidence of a looming crisis in biodiversity is now being reinforced by science. In their comprehensive surveys of plants, butt

38、erflies and birds over the past 20 to 40 years in Britain, ecologists Jeremy Thomas and Carly Stevens found significant population declines in a third of all native species. Butterflies are the furthest along-71 percent of Britains 58 species are shrinking in number, and some, like the large blue an

39、d tortoiseshell, are already extinct. In Britains grasslands, a key habitat, 20 percent of all animal, plant and insect species are on the path to extinction. Theres hardly a corner of the countrys ecology that isnt affected by this downward spiral. The problem would be bad enough if it were merely

40、local, but its not: because Britains temperate ecology is similar to that in so many other parts of the world, its the best microcosm scientists have been able to study in detail. Scientists have sounded alarms about species extinction in the past, but always specific to a particular animal or place

41、-whales in the 1980s or the Amazonian rain forests in the 1990s. This time, though, the implications are much wider. The Amazon is a “biodiversity hot spot“ with a unique ecology. But in Britain, “the main drivers of change are the same processes responsible for species declines worldwide,“ says Tho

42、mas. The findings, published in the journal Science, provide the first clear evidence that the world is in the throes of a massive extinction. Thomas and Stevens argue that we are facing a loss of 65 to 95 percent of the worlds species, on the scale of an ice age or the meteorite that may have wiped

43、 out the dinosaurs 65 million years ago. If so, this would be only the sixth time such devastation had occurred in the past 600 million years. The other five were associated with one-off events like the ice ages, a volcanic eruption or a meteor. This time, ecosystems are dying a thousand deaths-from

44、 overfishing and the razing of the rain forests, but also from advances in agriculture. The British study, for instance, finds that one of the biggest problems is nitrogen pollution. Nitrogen is released when fossil fuels burn in cars and power plants-but also when ecologically rich heath lands are

45、plowed and fertilizers are spread. Nitrogen-rich fertilizers fuel the growth of tall grasses, which in turn overshadow and kill off delicate flowers like harebells and eyebrights. Even seemingly innocuous practices are responsible for vast ecological damage. When British farmers stopped feeding hors

46、es and cattle with hay and switched to silage, a kind of preserved short grass, they eliminated a favorite nesting spot of corncrakes, birds known for their raspy nightly mating calls; corncrake populations have fallen 76 percent in the past 20 years. The depressing list goes on and on. Many of thes

47、e practices are being repeated throughout the world, in one form or another, which is why scientists believe that the British study has global implications. Wildlife is getting blander. “We dont know which species are essential to the web of life so were taking a massive risk by eliminating any of t

48、hem,“ says David Wedin, professor of ecology at the University of Nebraska. Chances are well be seeing the results of this experiment before too long. 27 From the first paragraph, we get the impression that George Marsh _. （ A） cherishes his adolescence memories. （ B） thinks highly of the efficiency

49、 of agriculture. （ C） may not have happy memories of past time. （ D） cannot remember his adolescence days. 28 Which of the following statements is TRUE of Jeremy Thomas and Carly Stevenss surveys? （ A） They reported the results of the surveys to the government. （ B） There were no such comprehensive surveys done before. （ C） The surveys show there