[外语类试卷]笔译三级综合能力关系从句练习试卷5及答案与解析.doc

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1、笔译三级综合能力关系从句练习试卷 5及答案与解析 0 When Dance Speaks the Unspoken and No Language Is Required 当舞蹈说出没有说出的话，就无需语言了 A complete dancer today, is well trained in more than one discipline. The European dance scene has seen a rebirth of the influence of Spanish dance with the fusion of Flamenco and Classical Spani

2、sh Dance with other styles. The excitements of these fusions are very present in the Bay Area, which is Americas hotbed of Flamenco. This heat wave of creation, arrived last summer in Walnut Creek with the premiere concert season of Carolina Lugos Brisas de Espa a Flamenco Dance Company. Carolinas c

3、ompany not only presents the powerful intense energy of solo flamenco but the grace and joy of classical dances. She herself was trained in classical Spanish dance, which is a world apart from the introverted nature of flamenco, with its familiar roots of the earth. What ballet gives to both her tra

4、ditions, is the physical strength of movement that seeks light and takes to the air. Perhaps, where these very different traditions flow within her blood we have the true creative force of Ms. Lugos work. Each tradition is like a river joining to form an even more powerful force with its own life. D

5、uring a rehearsal in preparation for Brisas appearance with the Eagles, Clint Black, and Bruce Hornsby at the benefit concert for Tony La Russas Animal Rescue Foundation, Carolina explained her intense passion for dance. When a dancer is on stage, it goes without saying, they must be one with the mu

6、sic. Without this connection to the music, movement, and yourself, a dancer is only counting steps and performing routines. The heart of the dancers work is to embrace the audience with the depth of our lives and the fiery sensuality of dancing. The magic of performing is for the dancers and the aud

7、ience to experience our fierce pride, love, happiness and tears. The art of Flamenco is the completeness of being, which the Gypsies of Spain refer to as “duende“, the possession of the sole. This quality, when it present, casts a spell over the audience and everyone becomes involved. The gift of th

8、e modern age is that with the speed of travel and communications we are able to emerge in the changes of the worlds cultures. Intemational artist Manuel Manolo Betanzos will be returning from a world tour for a month of performances and dance workshops with the company. Carolina believes that Manolo

9、s fused style of dance makes him one of Spains best dancers. He was trained in the earthy traditions of flamenco and the elegance of classical Spanish dance by many of the greatest maestros in Spain. His commanding presence on stage last summer earned him the admiration of local dance fans. Pepe Har

10、o also from Spain will join the company as guest guitarist. His playing and musical arrangements bring power to every chord, shading and singing melodic line and above all, a rich rhythmic pulse. Exploring the emotions and feelings of flamenco has been a profound journey for Carolina. She was recent

11、ly awarded a grand from the Diablo Regional Arts Association to further her own exploration of dance fusion and will collaborate for this years performance with Brazilian Samba Queen, Katia Vaz. Carolina will present the World Premier of Dance Without Borders (Bailes Sin Fronteras). She promises tha

12、t this work will be a moment, when dance speaks the unspoken and no language is required, only the passion to dance free of limitations. Both Spanish and Brazilian music and dance are diverse and represent a vast m lange of cultural similarities and differences. The emotions of life are the fundamen

13、tal pieces of both dance traditions. Carofina and Katia, will be joined by Carolina Acea, daughter of Carolina an American original whose style has been influenced by both traditions. The music will be sung both in Spanish and Portuguese by Roberto Zamora and Patricia Velasquez. Carolina explains th

14、at the artistic essence of both Flamenco and Samba is their expression of a gamut of feelings about life, embodied with an attitude. 1 The performances by Carolinas company are described as_. （ A） a mixture of different dances （ B） a creation on the dance scene （ C） a rebirth of mixed disciplines （

15、D） a hotbed of Flamenco 2 The author thinks that flamenco and classical Spanish dances_. （ A） are of an introverted and extroverted nature respectively （ B） are of different origins （ C） are totally different （ D） have learned a lot from ballet 3 Which of the following does NOT represent Ms. Lugos v

16、iews on dance? （ A） Merging oneself into the music and movement while dancing. （ B） Concentrating yourself on the music while dancing. （ C） Involving the audience in your emotions while dancing. （ D） Creating an experience of fierce pride, love and happiness and tears. 4 The so-called “gift of the m

17、odem age“ is present in （ A） the great artist joining the company for performance at ease （ B） traveling by air and communicating through the Internet （ C） the fast changing of worlds cultures （ D） the emergence international artists one after another 5 Which of the following is true of Flamenco and

18、 Samba? （ A） They are both of the same origin. （ B） Both dances are centered on the emotional life of ordinary people. （ C） Both dances share similar cultural origins. （ D） They may merge into each other easily. 5 Running a School Book Stall 开办学校书店 I assume that the desirability of a school book sta

19、ll needs no urging. Many schools sell food and toys. If we do not sell books it is surely strange? Many schools serve areas where book shops do not exist and the only books brought before children for buying are the dubious selections of supermarkets. Moreover even in communities where a good book s

20、hop is available the guidance which can be given at the book stall is valuable, as we soon found. Essentially the school book stall is an extension of the encouragement and guidance in private reading which is part of the work of the English teacher. The first essential then, in setting up shop is a

21、 teacher particularly interested in children reading and in building up as wide as possible a knowledge of books to suit the schools range of pupils. Given the teacher, the next requirement is a bookseller willing to supply you. In some cases you will be able to obtain your books on credit, paying a

22、s you sell, but if the school can find a sum to purchase its stock, or at least a part of it, this is a great help. Having found your supplier you then approach the Publishers Association for a Book Agents licence. The licence entitles you to a discount on your purchase through your chosen supplier,

23、 the usual discount being 10% with service. Service usually consists of delivery and a sale or return arrangement, the latter essential in allowing you to be enterprising and experimental in your stock. Without service a slightly higher discount is given but the former arrangement is clearly prefera

24、ble. The biggest, indeed the only considerable, cost in running the book stall is the occasional theft of a book and this may well vary from school to school but the presence of the teacher and the alertness of the assistants is largely deterrent, and the discount should cover this and any other sma

25、ller expenses. Browsing is essential. The books must be handled. You cannot keep them safe and immaculate behind glass. For equipment the only essentials are some tables on which to display the books and a cupboard to store them in. Incidentally an arrangement of books with covers rather than spines

26、 visible seems to be vastly more attractive and accessible to children who have not the habit of browsing. A single way out past the cash desk is helpful to security and we record details of each purchase including the age of the buyer both for reordering and as interesting information on reading ha

27、bits. Initially we stocked two hundred titles and the selection has grown to close on a thousand. It is convenient if cash or credit allows you to have duplicate copies of popular titles. What is stocked must depend on the teacher in charge. What you are prepared to sell in the cause of encouraging

28、interest in reading will obviously be an individual judgment. Sales for their own sake are in the school context obviously purposeful and the teacher needs to be able to explain to interested parents why he thought a given book valuable for a certain child. There are always more offers of help from

29、pupils than we can accept. The assistants serve, recommend, order, make posters and arrange displays. Some of the least able pupils have worked devotedly at the book stall. Publicity is vital. We have two display cases on the school approach containing forty books changed fortnightly and they arouse

30、 a lot of interest. Teachers recommendations, book lists, beginnings of stories read to classes, do much. Some classes buy a book a week between them. The book stall is always open on such occasions as Parents Evenings. We open twice a week in the lunch hour and we sell twenty to forty books a week,

31、 commercially not much but in our opinion well worth the effort. 6 The writer implies that the reason why a school needs a book stall is_. （ A） because children always choose the wrong books （ B） children find it difficult to choose books in a supermarket （ C） because children only like strange book

32、s （ D） children find it difficult to choose the fight books 7 According to the passage the teacher who runs a book stall should be_. （ A） interested in reading childrens books （ B） interested in childrens ability to read （ C） interested in reading to children （ D） interested in writing childrens boo

33、ks 8 To what does “this may well vary“ refer? （ A） The expenditure on books （ B） The num.ber of books stolen （ C） The vigilance of the assistants （ D） The number of books stocked 9 What is one of the ways of discovering the books that children prefer? （ A） by observing the children as they leave （ B

34、） by recording the childrens ages （ C） by noting which children buy books （ D） by noting which books children buy 10 The school makes it possible for the children to know what books are available by_. （ A） rearranging all of the books every two weeks （ B） arranging fortnightly visits to the book sta

35、ll （ C） exhibiting books to advantage （ D） holding regular exhibitions of books 10 Uffizi Tries to Outdo Louvre Uffizi试图胜过卢浮宫 Italy is to try to turn the Uffizi gallery in Florence into Europes premier art museum, with an ambitious 56m euro scheme to double its exhibition space. Giuliano Urbani, Ita

36、lys culture minister, said the enlarged gallery would surpass “even the Louvre“. By the time work is completed, visitors to the extensively remodeled Uffizi will be able to see 800 new works, including many now confined to the gallerys storerooms for lack of space. The project the outcome of nine mo

37、nths of intensive work by a team of architects, engineers and technicians is a centrepiece of the cultural policy of Silvio Berlusconis government. With refurbishment plans also afoot for the Accademia in Venice and the Brera in Milan, Italy is bent on securing its share of a market for cultural tou

38、rism that is threatened not just by the Louvre, but also by the “ art triangle“ of Madrid, which takes in the Prado, the Thyssen collection and the Reina Sofia museum of art. Schemes for the expansion of the Uffizis exhibition space stretch back almost 60 years. The latest was mooted in the mid-1990

39、s. But the one adopted by the present Italian government has reached a far more advanced stage than any of its forerunners. Roberto Cecchi, the government official in charge of the project, said yesterday that all that remained to do was to tender for contracts. The first changes will be seen as ear

40、ly as next week when a collection of pictures by Caravaggio and his school, including the artists Bacchus, currently crammed into a tiny room on the second floor, is to be moved to more expansive premises on the first. Mr.Cecchi said the biggest problem faced by his team was “inserting a museum into

41、 a building that is itself a monument“. The horseshoe-shaped Palazzo degli Uffizi, began in 1560, was designed by the artist and historian Giorgio Vasari. The latest plans are bound to stir controversy, involving as they do the creation of new stairwells and lifts in the heart of the building. There

42、 has already been an outcry over one proposed element, a seven-storey, canopy-like structure for a new exit by the Japanese architect Arata lsozaki. But Mr.Urbani said in Florence on Tuesday that part of the scheme was “subject to further evaluation“. At the heart of the plan is the opening up of th

43、e first floor of the vast building, which for decades was occupied by the local branch of the national archives. This will allow visitors to follow a more extensive, and ordered, itinerary that would turn the Uffizi into what Antonio Paolucci, Tuscanys top art official, called “a textbook of art his

44、tory“. As at present, visitors will be channelled to the second floor, where they will be able to study early works by Cimabue and Giotto before moving on to admire the gallerys extraordinary collection of Renaissance masterpieces, including Botticellis Primavera. But most of what was painted after

45、1500 is to be moved down a storey to new exhibition space, and on the ground floor there will be a more extensive collection than at present of modern art. The overall increase in exhibition space will be from 6,000sq metres to almost 13,000. Asked if the expansion might not increase the risk of ind

46、ucing Stendhals syndromethe disorientation, noted by the French novelist, in those who encounter dozens of Italian Renaissance masterpieces Mr. Cecchi replied fatalistically, “Yes. Itll double it“. 11 Which of the following is true of Uffizi? （ A） It is threatened by the Louvre and the “art triangle

47、“ of Madrid. （ B） It is going to be remodeled by transforming its storerooms into showrooms. （ C） It involves a maintenance fee of 56m euro. （ D） It is a major attraction for Italys cultural tourism. 12 The fact that a group of architects, engineers and technicians spent nine months on the projec! s

48、hows that_. （ A） it was a large-scale project involving collaboration of experts from various fields （ B） it was completed at amazing speed （ C） the government attached great importance to the project （ D） the government was following the correct cultural policy 13 The passage indicates that the pro

49、ject will be carried out_. （ A） by first moving all important pictures out of the building （ B） as economically as possible （ C） on a “refurbishing without interfering normal business“ basis （ D） by involving many contractors 14 The outcry over aproposed element shows that_. （ A） the public fully supported the Japanese architect for his design of a new exit （ B） people are very sensitive to the project （ C） people had profound respect for Giorgio Vasari （ D） many people wished to keep th