福师1203考试批次《高级英语阅读二》复习题及参考答案

福师1203考试批次《高级英语阅读二》复习题及参考答案一

I. Reading comprehension: 80% Passage 1 CBACD Material culture refers to the touchable, material “things” –physical objects that can be seen, held, felt, used-that a culture produces. Examining a culture’s tools and technology can tell us about the group’s history and way of life. Similarly, research into the material culture of music can help us to understand the music-culture. The most vivid body of “things” in it, of course are musical instruments. We cannot hear for ourselves the actual sound of any musical performance before the 1870s when the phonograph was invented, so we rely on instruments for important information about music-cultures in the remote past and their development. Here we have two kinds of evidence: instruments well preserved and instruments pictured in art. Through the study of instruments, as well as paintings, written documents, and so on, we can explore the movement of music from the Near East to China over a thousand years ago, or we can outline the spread of Near Eastern influence to Europe that resulted in the development of most of the instruments in the symphony orchestra.

Sheet music or printed music, too is material culture. Scholars once defined folk music-cultures as those in which people learn and sing music by ear rather than from print, but research shows mutual influence among oral and written sources during the past few centuries in Europe, Britain, and America printed versions limit variety because they tend to standardize any song, yet they stimulate people to create new and different songs. Besides, the ability to read music notation has a far-reaching effect on musicians and, when it becomes widespread, on the music-culture as a whole.

One more important part of music’s material culture should be singled out: the influence of the electronic media-radio, record player, tape recorder, television, and videocassette, with the future promising talking and singing computers and other developments. This is all part of the “information revolution,” a twentieth-century phenomenon as important as the industrial revolution was in the nineteenth. These electronic media are not just limited to modern nations; they have affected music-cultures all over the globe.

1. Research into the material culture of a nation is of great importance because ______. a. it helps produce new cultural tools and technology b. it can reflect the development of the nation c. it helps understand the nation’s past and present. d. It can demonstrate the nation’s civilization 2. It can be learned from this passage that ______.

a. the existence of the symphony was attributed to the spread of Near Eastern and Chinese music. b. Near Eastern music had an influence on the development of the instruments in the symphony orchestra c. the development of the symphony shows the mutual influence of Eastern and Western music

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d. the musical instruments in the symphony orchestra were developed on the basis of Near Eastern music 3. According to the author, music notation is important because ________.

a. it has a great effect on the music-culture as more and more people are able to read it b. it tends to standardize folk songs when it is used by folk musicians. c. It is the printed version of standardized folk music

d. It encourages people to popularize printed versions of songs.

4. It can be concluded from the passage that the introduction of electronic media into the world of music ______. a. has brought about an information revolution

b. has speeded up the arrival of a new generation of computers c. has given rise to new forms of music culture

d. has led to the transformation of traditional musical instruments 5. Which of the following best summarizes the main idea of the passage?

a. Musical instruments developed through the years will sooner or later be replaced by computers. b. Music cannon be passed on to future generations unless it is recorded. c. Folk songs cannot be spread far unless they are printed on music sheets. d. The development of music culture is highly dependent on its material aspect.

Passage 2 CCBDA

Three English dictionaries published recently all lay claim to possessing a “new” feature. The BBC English Dictionary contains background information on 1,000 people and places prominent in the news since 1988; the Oxford Advanced Learner’s Dictionary: Encyclopedic Edition is the OALD plus encyclopedic entries; the Longman Dictionary of English Language and Culture is the LDOCE plus cultural information.

The key fact is that all three dictionaries can be seen to have a distinctly “cultural” as well as language learning content. That being said, the way in which they approach the cultural element is not identical, making direct comparisons between the three dictionaries.

While there is some common ground between the encyclopedic/cultural entries for the Oxford and Longman dictionaries, there is a clear difference. Oxford lays claim to being encyclopedic on content whereas Longman distinctly concentrates on the language and culture of the English-speaking world. The Oxford dictionary can therefore stand more vigorous scrutiny for cultural bias than the Longman publication because the latter does not hesitate about viewing the rest of the world from the cultural perspectives of the English-speaking world. The cultural objectives of the BBC dictionary are in turn more distinct still. Based on an analysis of over 70 million words recorded from the BBC World Service and National Public Radio of Washington over a period of four years, their 1,000 brief encyclopedic entries are based on people and places that have featured

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in the news recently. The intended user they have in mind is a regular listener to the World Service who will have a reasonable standard of English and a developed skill in listening comprehension.

In reality, though, the BBC dictionary will be purchased by a far wider range of language learners, as will the other two dictionaries. We will be faced with a situation where many of the users of these dictionaries will at the very least have distinct socio-cultural perspectives and may have world views which are totally opposed and even hostile to those of the West. Advanced learners from this kind of background will not only evaluate a dictionary on how user-friendly it is but will also have definite views about the scope and appropriateness of the various socio-cultural entries. 6. What feature sets apart the three dictionaries discussed in the passage from traditional ones? a. The combination of two dictionaries into one. b. The new approach to defining words. c. The inclusion of cultural content. d. The increase in the number of entries.

7. The Longman dictionary is more likely to be criticized for cultural prejudice because ______. a. its scope of cultural entries goes beyond the culture of the English-speaking world. b. it pays little attention to the cultural content of the non-English-speaking countries. c. it views the world purely from the standpoint of the English-speaking people. d. it fails to distinguish language from culture in its encyclopedic entries 8. The BBC dictionary differs from Oxford and Longman in that ______. a. it has a wider selection of encyclopedic entries b. it is mainly designed to meet the needs of radio listeners c. it lays more emphasis on language than on culture

d. it is intended to help listeners develop their listening comprehension skills

9. It is implied in the last paragraph that, in approaching socio-cultural content in a dictionary, special thought should be given to ______.

a. the language levels of its users b. the number of its prospective purchasers c. the different tastes of its users

d. the various cultural backgrounds of its users 10. What is the passage mainly about?

a. Different ways of treating socio-cultural elements in the three new English dictionaries. b. A comparison of people’s opinions on the cultural content in the three new English dictionaries.

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c. The advantages of the BBC dictionary over Oxford and Longman. d. The user-friendliness of the three new English dictionaries. Passage 3 11-15ACDAB

16-20 BBACA

Bond reached under the dashboard and from its concealed holster drew out the long-barrelled .45 Colt Army Special and laid it on the seat beside him. The battle was how in the open and somehow the Mercedes must be stopped.

Using the road as if it was Donington, Bond rammed his foot down and kept it there. Gradually, with the needle twitching either side of the hundred mark he began to narrow the gap.

Drax took the left-hand fork at Charing and hissed up the long hill. Ahead, in the giant beam of his headlights, one of Bowaters’ huge eight-wheeled AEC Diesel carriers was just grinding into the first bend of the hairpin, labouring under the fourteen tons of newsprint it was taking on a night run to one of the East Kent newspapers.

Drax cursed under his breath as he saw the long carrier with the twenty gigantic rolls, each containing five miles of newsprint, roped to its platform. Right in the middle of the tricky S-bend at the top of the hill. He looked in the driving mirror and saw the Bentley coming into the fork. And then Drax had his idea.

‘Krebs,’ the word was a pistol shot. ‘Get out your knife.' There was a sharp click and the stiletto was in Krebs's hand. One didn't dawdle when there was that note in the master's voice.

‘I am going to slow down behind this lorry. Take your shoes and socks off and climb out on to the bonnet and when I come up behind the lorry jump on to it. I shall be going at walking-pace. It will be safe. Cut the ropes that hold the rolls of paper. The left ones first. Then the right. I shall have pulled up level with the lorry and when you have cut the second lot jump into the car. Be careful you are not swept off with the paper.’

Drax dowsed his headlights and swept round the bend at eighty. The lorry was twenty yards ahead and Drax had to brake hard to avoid crashing into its tail. The Mercedes executed a dry skid until its radiator was almost underneath the platform of the carrier.

Drax changed down to second.' Now !' He held the car steady as a rock as Krebs, with bare feet, went over the windscreen and scrambled along the shining bonnet, his knife in his hand.

With a leap he was up and hacking at the left-hand ropes. Drax pulled away to the right and crawled up level with the rear wheels of the Diesel, the oily smoke from its exhaust in his eyes and nostrils. Bond's lights were just showing round the bend.

There was a series of huge thuds as the left-hand rolls poured off the back of the lorry into the road and went hurtling off into the darkness. And more thuds as the right-hand ropes parted. One roll burst as it landed and Drax heard a tearing rattle as the unwinding paper crashed back down the one-in-ten gradient.

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