[外语类试卷]国家公共英语四级（综合）练习试卷22及答案与解析.doc

《[外语类试卷]国家公共英语四级（综合）练习试卷22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]国家公共英语四级（综合）练习试卷22及答案与解析.doc（10页珍藏版）》请在麦多课文档分享上搜索。

1、国家公共英语四级（综合）练习试卷 22及答案与解析 Part B Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D . Mark your answers on ANSWER SHEET 1. 0 John Harold Drake is a man of deep compassion, and has written a book that argues for the cause of children in need of lo

2、ve. “Children, Little Children“ is an honest book, showing great concern and dissatisfaction with the care for children. The difficult trick of living inside another persons mind and being able to put your reader inside that same mind, is a capability held only by writers of exceptional skill and ta

3、lent. Mr. Drake has approached the problem by making a 10-year-old boy his central character. The boy does not for a moment come across as a real child. Irresponsible parents abandoned him, his grandfather disliked him, he took everything literally, and begged everyone for love. Bret is being used t

4、o make a point. His ideas are too poetic, his response too direct, and the contrasts of good and evil too simplistic for real life. He is being manipulated by someone behind the scenery trying to tell us something. For fifteen years the author has been dealing with people with psychological trouble

5、at the V. I. T. Neuropsychiatric Institute. He has actively been involved in this field at other institutions for a quarter of a century. This book is a form of acting out, through the character, Bret, the pain of a rejected child. If one understands the book in those terms, one may be willing to be

6、lieve the imaginary story. If viewed in this light, the exaggerated movements and reactions of the characters became less unbelievable and therefore more meaningful. The excessively poetic passages of description and emotion, seen as stage flats made more colorful than nature in order to look real f

7、rom afar, are acceptable in a drama whereas they are irritating in a novel. The one-sided characterizations-insane father, immature mother, mean old grandmother, selfish aunt, cruel neighbors, and totally misunderstood Bretare figures moving across a lit stage to dramatize a message. The true-to-lif

8、e ending, without resolution or growth or development, might work on a stage, however, it is contrary to everything a novel should do. Calling the book a novel is the publishers mistake, the work is more nearly a drama. Perhaps it is one of Mr. Drakes psychodramas in print and should so be judged. 1

9、 The author of the passage feels that _. （ A） Mr. Drakes character, Bret, is too unrealistic （ B） the central character should not be manipulated （ C） the message conveyed by the characterization is important （ D） Mr. Drake is not good at writing novels 2 It seems that _. （ A） Bret isnt created for

10、the stage （ B） Bret is surrounded by a hostile environment （ C） Bret is too simple-minded to be liked by anyone （ D） Bret himself is indifferent to his environment 3 Mr. Drake _. （ A） is using his book to send a message to people （ B） does not like his character himself （ C） does not have a pleasant

11、 experience as a child （ D） is too impersonal in writing the story 4 What doe Drake want to achieve with his book? （ A） To make the pain of a rejected child known. （ B） To describe the miserable living conditions of orphans. （ C） To illustrate the fact that a drama can be more effective than a novel

12、. （ D） To call for the simplicity of life. 5 This passage is most likely to be _. （ A） a drama review （ B） a novel review （ C） a comment on lack of parental love or children （ D） a comment on story-writing styles 5 Unfortunately, most of the science fiction films of the 1970s were not much influence

13、d by 2001: A Space Odyssey, skillfully directed by Stanley Kubrick, which appeared in 1968, set new standards for science fiction films. During the next decade, every one of the dozens of science fiction movies released was compared to 2001, and all but a few found sadly lacking. Admittedly, Kubrick

14、 had one of the largest budgets ever for a film of this kind, but, in my opinion, much of the movies power and appeal was achieved through relatively inexpensive means. For example, the musical score, which was adapted in large part from well-known classical compositions, was reinforced by the use o

15、f almost kaleidoscopic visual effects, especially during the space travel sequences. Spectacular camera work was edited to correspond precisely to the ebb and flow of the music. After 2001, the dominant theme of science fiction films shifted from the adventures of space travel to the problems create

16、d on earth by mans mismanagement of the natural environment and the abuse of technology by a totalitarian state. Overpopulation and the accompanying shortages of food prompt the state to impose extraordinary controls on its citizens. No fewer than twenty-nine films were made around this theme in the

17、 years between 1970 and 1977, including Survivors and Chronicle. In the opinion of this reviewer, until Star Wars was released in 1977, science fiction films were reduced to shallow symbolism disguising to a greater or lesser degree a series of repetitive plots. But Star Wars was different. It offer

18、ed us a return to imaginative voyages in space and confrontation with intelligent life on other planets. Unlike the other science fiction films of the decade, Star Wars presented technology as having solved rather than aggravated ecological problems. The special effects created to simulate space veh

19、icles traveling very fast through the blackness of the universe were similar to the artistic standards set by 2001. 6 Which of the following statements is true? （ A） 2001: A Space Odyssey imposed a great influence on most of the science fiction movies of the 1970s. （ B） 2001 was better than most of

20、the science fiction movies of the 1970s. （ C） A few of the science fiction movies of the 1970s were found sadly imperfect compared with 2001. （ D） 2001 set new standards for all kinds of movies. 7 In the authors opinion, 2001 was appealing because _. （ A） Kubrick had a lot of money to direct this mo

21、vie （ B） the musical score was adapted mainly from classical compositions （ C） visual effects were almost kaleidoscopic （ D） the director utilized relatively inexpensive means like artistically combining spectacular camera work with classic music 8 According to the third paragraph, the theme of scie

22、nce fiction films after 2001 was mainly around _. （ A） adventures of space travel （ B） intelligent life on other planets （ C） ecological problems on earth （ D） problems created by the abuse of technology by an overpopulated state 9 What does the author think of Star Wars? （ A） It was better than pre

23、vious science fiction films. （ B） It was not a science fiction film at all. （ C） It was reduced to shallow symbolism. （ D） It was similar to 2001. 10 According to the author Star Wars was different partly because _. （ A） it presented technology as having aggravated ecological problems （ B） it offere

24、d the audience a return to imaginative voyages between different planets （ C） its made in 1977 （ D） its special effects were different from the standards set by 2001 10 The Oyster Bar at Grand Central Station in New York provided Fleming with his best meal in America. The oyster stew he liked so muc

25、h is made separately for each customer; part of the charm of the place is to observe the off-hand expertise of the silent chefs as they stir the oysters, the cream, the Worcester sauce, the paprika, bring them to the boil and allow them to simmer before slipping the rich, white-foamed, sea-scented s

26、tew into your private bowl. Fleming usually came here on his own for a solitary treat, as he did at the beginning of March, 1953, just after he had written his second novel. He had a title for it already-Live and Let Die and was particularly pleased because it had taken him twelve days fewer to writ

27、e than Casino Royale and was 12,000 words longer. As he sat there finishing his stew and sipping his beer, he had his first chance since he had left Jamaica to read through the last few chapters. He was pleased and still slightly surprised at what he had done. For in this new book he had gone one vi

28、tal step beyond Casino Royale. There he had drawn on the past, it was a nostalgic book, but now he had discovered a way of making life itself fit into his dream, of seeing the present through the eyes of James Bond and then working it back into the plot in any shape he wanted. Suddenly in this book

29、James Bond became a means for Fleming of observing the world around and of making it more truly his than it had ever been before. For instance, his own arrival in New York had been spoiled by finding that the wrong car had been sent to meet him. Now he had put the whole mistake right with that splen

30、did arrival scene of James Bonds at Idlewild. He did Bond proud: he was met by an official of the U. S. Department of Justice, sidestepping Customs and Immigration, offered a thousand dollars spending money, and chauffeured away to the best hotel in New York. As a fictional character Bond remains sh

31、adowy and unreal. It is almost impossible to visualize him; the only time we catch a glimpse of the physical Bond is when he looks in a mirror and then we see how closely Fleming identifies himself with his hero. The black hair, and high cheekbones, and gray-blue eyes are unmistakable. The other cha

32、racters are basically the same as in all the other books: Mr. Big remains the same lumbering and obscene father-figure as Le Chiffre, and Solitaire the same insufferable bed-fellow as Vesper Lynd. But the tone of zest and enjoyment makes this the most engaging of all his novels. 11 Fleming often wen

33、t to this Oyster Bar _. （ A） to behave as if he were alone （ B） because he enjoyed going there if he was lonely （ C） because he liked watching the cooks （ D） because he enjoyed being alone there 12 In the story, the official of the U. S. Department of Justice _. （ A） gave Bond permission not to go t

34、hrough Customs and Immigration （ B） gave him 1,000 dollars pocket money （ C） took him in his car to the best hotel in New York （ D） was more helpful than is possible in real life 13 The author thinks Fleming does not make the character of Bond come to life although _. （ A） Bond has the human weaknes

35、s of always looking into mirrors （ B） he is such a shadowy figure that it is difficult to imagine him （ C） he described his own appearance when writing about Bonds （ D） he had no clear idea of anything but his physical appearance 14 Although the author thinks Mr. Big and Solitaire are badly drawn ch

36、aracters, he thinks _. （ A） Fleming enjoyed writing Live and Let Die more than his other books （ B） this is the most attractive of his books because he enjoyed writing it （ C） this is the most charming and energetic of his books （ D） this is the book that most holds the attention of the reader 15 Wh

37、at is the discoursal arrangement of the passage? （ A） Criticize first and then introduce new idea. （ B） Describe first and then criticize. （ C） Introduce the main idea and then make discussion. （ D） Introduce the expertise of the chefs and then start to talk about new books. 15 The importance and fo

38、cus of the interview in the work of the print and broadcast journalist is reflected in several books that have been written on the topic. Most of these books, as well as several chapters, mainly in, but not limited to, journalism and broadcasting handbooks and reporting texts, stress the “how to“ as

39、pects of journalistic interviewing rather than the conceptual aspects of the interview, its context, and implications. Much of the “how to“ material is based on personal experiences and general impressions. As we know, in journalism as in other fields, much can be learned from the systematic study o

40、f professional practice. Such study brings together evidence from which broad generalized principles can be developed. There is, as has been suggested, a growing body of research literature in journalism and broadcasting, but very little significant attention has been devoted to the study of the int

41、erview itself. On the other hand, many general texts as well as numerous research articles on interviewing in fields other than journalism have been written. Many of these books and articles present the theoretical and empirical aspects of the interview as well as the training of the interviewers. U

42、nhappily, this plentiful general literature about interviewing pays little attention to the journalistic interview. The fact that the general literature on interviewing does not deal with the journalistic interview seems to be surprising for two reasons. First, it seems likely that most people in mo

43、dern Western societies are more familiar, at least in a positive manner, with journalistic interviewing than with any other form of interviewing. Most of us are probably somewhat familiar with the clinical interview, such as that conducted by physicians and psychologists. In these situations the pro

44、fessional person or interviewer is interested in getting information necessary for the diagnosis and treatment of the person seeking help. Another familiar situation is the job interview. However, very few of us have actually been interviewed personally by the mass media, particularly by television.

45、 And yet, we have a vivid acquaintance with the journalistic interview by virtue of our roles as readers, listeners, and viewers. Even so, true understanding of the journalistic interview, especially television interviews, requires thoughtful analyses and even study; as this book indicates. 16 The m

46、ain idea of the first paragraph is that _. （ A） generalized principles for journalistic interviews are the chief concern for writers on journalism （ B） concepts and contextual implications are of secondary importance to journalistic interviewing （ C） importance should be attached to the systematic s

47、tudy of journalistic interviewing （ D） personal experiences and general impressions should be excluded from journalistic interviews 17 Much research has been done on interviews in general _. （ A） but journalistic interviewing as a specific field has unfortunately been neglected （ B） though the study

48、 of the interviewing techniques hasnt received much attention （ C） so the training of journalistic interviewers has likewise been strengthened （ D） and there has also been a dramatic growth in the study of journalistic interviewing 18 Westerners are familiar with the journalistic interview, _. （ A）

49、but most of them wish to stay away from it （ B） and many of them hope to be interviewed some day （ C） but most of them may not have been interviewed in person （ D） and many of them would like to acquire a true understanding of it 19 The passage is most likely a part of _. （ A） a news article （ B） a preface （ C） a research report （ D） a journalistic interview 20 What does the word “empirical“ mean? （ A） experienced （ B） practical （ C） true （ D） different 国家公共英语四级（综合）练习试卷 22答案与解析