福師12秋《高級英語閱讀(二)》練習(xí)題

1、奧鵬遠(yuǎn)程教育中心助學(xué)服務(wù)部 福師12秋高級英語閱讀（二）練習(xí)題（W）注：本課程練習(xí)題所提供的答案僅供學(xué)員在學(xué)習(xí)過程中參考之用，有問題請到課程論壇提問。I. Reading comprehension: Passage 1Material culture refers to the touchable, material “things” physical objects that can be seen, held, felt, used-that a culture produces. Examining a cultures tools and technology can tell us

2、 about the groups 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

3、 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 pai

4、ntings, 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 prin

5、ted 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

6、 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 musics

7、 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 phe

8、nomenon 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 cult

9、ural tools and technologyb. it can reflect the development of the nationc. it helps understand the nations past and present.d. It can demonstrate the nations civilization2. It can be learned from this passage that _.a. the existence of the symphony was attributed to the spread of Near Eastern and Ch

10、inese music.b. Near Eastern music had an influence on the development of the instruments in the symphony orchestrac. the development of the symphony shows the mutual influence of Eastern and Western musicd. the musical instruments in the symphony orchestra were developed on the basis of Near Eastern

11、 music3. 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 itb. it tends to standardize folk songs when it is used by folk musicians.c. It is the printed version of standardized folk musicd. It encour

12、ages 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 revolutionb. has speeded up the arrival of a new generation of computersc. has given rise to new forms o

13、f music cultured. has led to the transformation of traditional musical instruments5. 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

14、 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.參考答案： CBACD Passage 2Three English dictionaries published recently all lay claim to possessing a “new” feature. The BB

15、C English Dictionary contains background information on 1,000 people and places prominent in the news since 1988; the Oxford Advanced Learners Dictionary: Encyclopedic Edition is the OALD plus encyclopedic entries; the Longman Dictionary of English Language and Culture is the LDOCE plus cultural inf

16、ormation.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 c

17、ommon 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

18、 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.

19、 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 in the news recently. The intended user they have in mind i

20、s 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 si

21、tuation 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 u

22、ser-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 defin

23、ing 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

24、 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 entries8. The BBC dictionary differs from Oxford and Longman in that _.a. it has a wider select

25、ion of encyclopedic entriesb. it is mainly designed to meet the needs of radio listenersc. it lays more emphasis on language than on cultured. it is intended to help listeners develop their listening comprehension skills9. It is implied in the last paragraph that, in approaching socio-cultural conte

26、nt in a dictionary, special thought should be given to _.a. the language levels of its usersb. the number of its prospective purchasersc. the different tastes of its usersd. the various cultural backgrounds of its users10. What is the passage mainly about?a. Different ways of treating socio-cultural

27、 elements in the three new English dictionaries.b. A comparison of peoples opinions on the cultural content in the three new English dictionaries.c. The advantages of the BBC dictionary over Oxford and Longman.d. The user-friendliness of the three new English dictionaries.參考答案： CCBDAPassage 3Bond re

28、ached 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. G

29、radually, 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

30、 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

31、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 the

32、re was that note in the master's voice.I am going to slow down behind this lorry. Take your shoes andsocks 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

33、 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

34、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 bonn

35、et, 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

36、 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.Relea

37、sed of its load the lorry almost bounded forward and Drax had to accelerate a little to catch the flying figure of Krebs who landed half across Gala's back and half in the front seat. Drax stamped his foot into the floor and sped off up the hill, ignoring a shout from the lorry-driver above the

38、clatter of the Diesel pistons as he shot ahead.As he hurtled round the next bend he saw the shaft of two headlights curve up into the sky above the tops of the trees until they were almost vertical. They wavered there for an instant and then the beams whirled away across the sky and went out.A great

39、 barking laugh broke out of Drax as for a split second he took his eyes off the road and raised his face triumphantly towards the stars.11. Which is true?a) Bond, driving a Bentley, is chasing Drax, who is driving a Mercedes.b) Bond, driving a Mercedes, is chasing Drax, who is driving a Bentley.c) D

40、rax, driving a Bentley, is chasing Bond, who is driving a Mercedes.d) Drax, driving a Mercedes, is chasing Bond, who is driving a Bentley.12. What weapon did Bond take out?a) a gun from under the seatb) an army knife from a hidden pocketc) a gun which was hidden in the front of the card) a special a

41、rmy machine for stopping cars13. What do you think Donington is (Paragraph 2)?a) a town b) a country road c) a main road d) a race-track14. Bond rammed his foot down and kept it there (Paragraph 2). This expression showsa) that he found it difficult to stay in his seat on the rough road.b) that he w

42、as feeling nervous.c) that he was very sure of himself.d) that he wanted to drive fast.15. What do you think newsprint is (Paragraph 3)?a) newspapers b) paper for printing newspapersc) posters to advertise newspapers d) wrapping paper16. What is dawdle (Paragraph 7)?a) complain b) go slowly c) hurry

43、 d) disagree violently17. Dowsed (Paragraph 9) meansa) switched on b) switched off c) checked d) used18. Hacking (Paragraph 11) means_a) cutting b) pulling c) looking d) working19. The scene of the story isa) a long hill with a bend at each end.b) a steep gradient with a lot of bends.c) a long steep

44、 hill with a double bend at the top.d) a hairpin bend, followed by a one-in-ten gradient.20. By cutting the rolls of newsprint, Drax and Krebsa) stop Bond. b) cause Bond to crash into the lorry.c) slow Bond down. d) cause the lorry to crash.參考答案：11-15ACDAB16-20 BBACAPassage 4 COLORFUL, COLORED AND C

45、OLORLESS WORDSThe writer builds with words, and no builder uses a raw material more slippery and elusive and treacherous. A writer's work is a constant struggle to get the right word in the right place, to find that particular word that will convey his meaning exactly, that will persuade the rea

46、der or soothe him or startle or amuse him. He never succeeds altogether - sometimes he feels that he scarcely succeeds at all - but such successes as he has are what make the thing worth doing. There is no book of rules for this game. One progresses through everlasting experiment on the basis of eve

47、r-widening experience. There are few useful generalizations that one can make about words as words, but there are perhaps a few. Some words are what we call “colorful”. By this we mean that they are calculated to produce a picture or induce an emotion. They are dressy instead of plain, specific inst

48、ead of general, loud instead of soft. Thus, in place of “Her heart beat,” we may write “Her heart pounded throbbed, fluttered, danced.” Instead of “He sat in his chair,” we may say, “He lounged, sprawled, coiled.” Instead of “It was hot,” we may say, “It was blistering, sultry, muggy, suffocating, s

49、teamy, wilting.” However, it should not be supposed that the fancy word is always better. Often it is as well to write “Her heart beat” or “It was hot” if that is all it did or all it was. Ages differ in how they like their prose. The nineteenth century liked it rich and smoky. The twentieth has usu

50、ally preferred it lean and cool. The twentieth century writer, like all writers, is forever seeking the exact word, but he is wary of sounding feverish. He tends to pitch it low, to understate it, to throw it away. He knows that if he gets too colorful, the audience is likely to giggle. See how this

51、 strikes you: “As the rich, golden glow of the sunset died away along the eternal western hills, Angelas limpid blue eyes looked softly and trustingly into Montagues flashing brown ones and her heart pounded like a drum in time with the joyous song surging in her soul”. Some people like that sort of

52、 thing, but most modern readers would say, “Good grief,” and turn on the television. Some words we would call not so much colorful as colored - that is, loaded with associations, good or bad. All words - except perhaps structure words have associations of some sort. We have said that the meaning of

53、a word is the sum of the contexts in which it occurs. When we hear a word, we hear with it an echo of all the situations in which we have heard it before. In some words, these echoes are obvious and discussable. The word mother, for example, has, for most people, agreeable associations. When you hea

54、r mother you probably think of home, safety, love, food, and various other pleasant things. If one writes, “She was like a mother to me,” he gets an effect, which he would not get in “She was like an aunt to me”. The advertiser makes use of the associations of mother by working it in when he talks a

55、bout his product. The politician works it in when he talks about himself. So also with such words as home, liberty, fireside, contentment, patriot, tenderness, sacrifice, childlike, manly, bluff, limpid. All of these words are loaded with favorable associations that would be rather hard to indicate

56、in a straightforward definition. There is more than a literal difference between “They sat around the fireside” and “They sat around the stove” They might have been equally warm and happy around the stove, but fireside suggests leisure, grace, quiet tradition, congenial company, and stove does not.

57、Conversely, some words have bad associations. Mother suggests pleasant things, but mother-in-law does not. Many mothers-in-law are heroically lovable and some mothers drink gin all day and beat their children insensible, but these facts of life are beside the point. The thing is that mother sounds good and mother- in -law does not. Or consider the word intellectual. This would seem to be a complimentary term, but in point of fact it is not, for it has picked up associations of impracticality and ineffectuality and general dopiness. The question of whether to use loaded words or not dep