[外语类试卷]2017年专业英语八级真题试卷及答案与解析.doc

1、2017年专业英语八级真题试卷及答案与解析 SECTION A MINI-LECTURE In this section you will hear a mini-lecture. You will hear the mini-lecture ONCE ONLY. While listening to the mini-lecture, please complete the gap-filling task on ANSWER SHEET ONE and write NO MORE THAN THREE WORDS for each gap. Make sure the word(s) yo

2、u fill in is (are) both grammatically and semantically acceptable. You may use the blank sheet for note-taking. You have THIRTY seconds to preview the gap-filling task. 0 The Modes of Language Three modes of language speech writing 【 T1】 _【 T1】 _ Speech and writing speech is considered【 T2】 _ becaus

3、e【 T2】 _ all languages are spoken children acquire spoken language first 【 T3】 _ requires reading and writing【 T3】 _ speech and writing have【 T4】 _ roles【 T4】 _ legal contracts are written for - providing permanent records -【 T5】 _disputes over oral contracts【 T5】 _ speech is more appropriate in【 T6

4、】 _【 T6】 _ face-to-face casual conversations business transactions in stores discussions in a classroom 【 T7】 _of speech and writing【 T7】 _ immediate clarification in speech visible【 T8】 _in conversation【 T8】 _ sense of【 T9】 _in writing【 T9】 _ use of intonation to express【 T10】 _【 T10】 _ writing see

5、n to be more【 T11】 _【 T11】 _ lack of【 T12】 _ in on-line written “chat“【 T12】 _ 【 T13】 _ between speech and writing【 T13】 _ linguistic markers of interactivity vary with【 T14】 _【 T14】 _ how language is structured depends more on【 T15】 _【 T15】 _ Conclusion As two different modes of language, speech an

6、d writing have their own characteristics. 1 【 T1】 2 【 T2】 3 【 T3】 4 【 T4】 5 【 T5】 6 【 T6】 7 【 T7】 8 【 T8】 9 【 T9】 10 【 T10】 11 【 T11】 12 【 T12】 13 【 T13】 14 【 T14】 15 【 T15】 SECTION B INTERVIEW In this section you will hear ONE interview. The interview will be divided into TWO parts. At the end of e

7、ach part, five questions will be asked about what was said. Both the interview and the questions will be spoken ONCE ONLY. After each question there will be a ten-second pause. During the pause, you should read the four choices of A , B , C and D , and mark the best answer to each question on ANSWER

8、 SHEET TWO. You have THIRTY seconds to preview the questions. （ A） Comprehensive. （ B） Disheartening. （ C） Encouraging. （ D） Optimistic. （ A） 200 （ B） 70 （ C） 10 （ D） 500 （ A） Lack of international funding. （ B） Inadequate training of medical personnel. （ C） Ineffectiveness of treatment efforts. （ D

9、） Insufficient operational efforts on the ground. （ A） They can start education programs for local people. （ B） They can open up more treatment units. （ C） They can provide proper treatment to patients. （ D） They can become more professional. （ A） Provision of medical facilities. （ B） Assessment fro

10、m international agencies. （ C） Ebola outpacing operational efforts. （ D） Effective treatment of Ebola. （ A） Interpreting the changes from different sources. （ B） Analyzing changes from the Internet for customers. （ C） Using media information to inspire new ideas. （ D） Creating things from changes in

11、 behavior, media, etc. （ A） Knowing previous success stories. （ B） Being brave and willing to take a risk. （ C） Being sensitive to business data. （ D） Being aware of what is interesting. （ A） Having people take a risk. （ B） Aiming at a consumer level. （ C） Using messages to do things. （ D） Focusing

12、on data-based ideas. （ A） Looking for opportunities. （ B） Considering a starting point. （ C） Establishing the focal point. （ D） Examining the future carefully. （ A） A media agency. （ B） An Internet company. （ C） A venture capital firm. （ D） A behavioral study center. SECTION A MULTIPLE-CHOICE QUESTI

13、ONS In this section there are several passages followed by fourteen multiple-choice questions. For each multiple-choice question, there are four suggested answers marked A , B, C and D. Choose the one that you think is the best answer. 25 (1)Its 7 pm on a balmy Saturday night in June, and I have jus

14、t ordered my first beer in I Cervejaria, a restaurant in Zambujeira do Mar, one of the prettiest villages on Portugals south-west coast. The place is empty, but this doesnt surprise me at all. I have spent two weeks in this area, driving along empty roads, playing with my son on empty beaches, and s

15、taying in B&Bs where we are the only guests. (2)No doubt the restaurant, run by two brothers for the past 28 years, is buzzing in July and August, when Portuguese holidaymakers descend on the Alentejo coast. But for the other 10 months of the year, the trickle of diners who come to feast on fantasti

16、cally fresh seafood reflects the general pace of life in the Alentejo: sleepy, bordering on comatose. (3)One of the poorest, least-developed, least-populated regions in western Europe, the Alentejo has been dubbed both the Provence and the Tuscany of Portugal. Neither is accurate. Its scenery is not

17、 as pretty and, apart from in the capital Evora, its food isnt as sophisticated. The charms of this land of wheat fields, cork oak forests, wildflower meadows and tiny white-washed villages, are more subtle than in France or Italys poster regions. (4)To travel here is to step back in time 40 or 50 y

18、ears. Life rolls along at a treacly pace: theres an unnerving stillness to the landscape. But that stillness ends abruptly at the Atlantic Ocean, where there is drama in spade. Protected by the South West Alentejo and Costa Vicentina national park, the 100 km of coastline from Porto Covo in the Alen

19、tejo to Burgau in the Algarve is the most stunning in Europe. And yet few people seem to know about it Walkers come to admire the views from the Fishermans Way, surfers to ride the best waves in Europe, but day after day we had spectacular beaches to ourselves. (5)The lack of awareness is partly a m

20、atter of accessibility(these beaches are a good two hours drive from either Faro or Lisbon airports)and partly to do with a lack of beach side accommodation. There are some gorgeous, independent guesthouses in this area, but they are hidden in valleys or at the end of dirt tracks. (6)Our base was a

21、beautiful 600-acre estate of uncultivated land covered in rock-rose, eucalyptus and wild flowers 13 km inland from Zambujeira. Our one-bedroom home, Azenha, was once home to the miller who tended the now-restored watermill next to it. A kilometre away from the main house, pool and restaurant, it is

22、gloriously isolated. (7)Stepping out of the house in the morning to greet our neighbours wild horses on one side, donkeys on the other with nothing but birdsong filling the air, I felt a sense of adventure you normally only get with wild camping. (8)“When people first arrive, they feel a little anxi

23、ous wondering what they are going to do the whole time,“ Sarah Gredley, the English owner of the estate, told me. “But it doesnt usually take them long to realize that the whole point of being here is to slow down, to enjoy nature.“ (9)We followed her advice, walking down to the stream in search of

24、terrapins and otters, or through clusters of cork oak trees. On some days, we tramped uphill to the windmill, now a romantic house for two, for panoramic views across the estate and beyond. (10)When we ventured out, we were always drawn back to the coast the gentle sands and shallow bay of Farol bea

25、ch. At the end of the day, we would head, sandy-footed, to the nearest restaurant, knowing that at every one there would be a cabinet full of fresh seafood to choose from bass, salmon, lobster, prawns, crabs, goose barnacles, clams. We never ate the same thing twice. (11)A kilometre or so from I Cer

26、vejaria, on Zambujeiras idyllic natural harbour is O Sacas, originally built to feed the fishermen but now popular with everyone. After eating platefuls of seafood on the terrace, we wandered down to the harbour where two fishermen, in wetsuits, were setting out by boat across the clear turquoise wa

27、ter to collect goose barnacles. Other than them, the place was deserted just another empty beauty spot where I wondered for the hundredth time that week how this pristine stretch of coast has remained so undiscovered. 26 The first part of Para. 4 refers to the fact that _. （ A） life there is quiet a

28、nd slow （ B） the place is little known （ C） the place is least populated （ D） there are stunning views 27 “The lack of awareness“ in Para. 5 refers to _. （ A） different holidaying preferences （ B） difficulty of finding accommodation （ C） little knowledge of the beauty of the beach （ D） long distance

29、 from the airports 28 The author uses “gloriously“ in Para. 6 to _. （ A） describe the scenery outside the house （ B） show appreciation of the surroundings （ C） contrast greenery with isolation （ D） praise the regions unique feature 29 The sentence “We never ate the same thing twice“ in Para 10 refle

30、cts the _ of the seafood there. （ A） freshness （ B） delicacy （ C） taste （ D） variety 30 Which of the following themes is repeated in both Paras. 1 and 11? （ A） Publicity. （ B） Landscape. （ C） Seafood. （ D） Accommodation. 30 (1)I can still remember the faces when I suggested a method of dealing with

31、what most teachers of English considered one of their pet horrors, extended reading. The room was full of tired teachers, and many were quite cynical about the offer to work together to create a new and dynamic approach to the place of stories in the classroom. (2)They had seen promises come and go

32、and mere words werent going to convince them, which was a shame as it was mere words that we were principally dealing with. Most teachers were unimpressed by the extended reading challenge from the Ministry, and their lack of enthusiasm for the rather dry list of suggested tales was passed on to the

33、ir students and everyone was pleased when that part of the syllabus was over. It was simply a box ticking exercise. We needed to do something more. We needed a very different approach. (3)That was ten years ago. Now we have a different approach, and it works. Heres how it happened(or, like most good

34、 stories, here are the main parts. You have to fill in some of yourself employing that underused classroom device, the imagination.)We started with three main precepts: (4)First, it is important to realize that all of us are storytellers, tellers of tales. We all have our own narratives the real sto

35、ries such as what happened to us this morning or last night, and the ones we have been told by others and we havent experienced personally. We could say that our entire lives are constructed as narratives. As a result, we all understand and instinctively feel narrative structure. Binary opposites fo

36、r example, the tension created between good and bad together with the resolution of that tension through the intervention of time, resourcefulness and virtue is a concept understood by even the youngest children. Professor Kieran Egan, in his seminal book Teaching as Storytelling warns us not to ign

37、ore this innate skill, for it is a remarkable tool for learning. (5)We need to understand that writing and reading are two sides of the same coin: an author has not completed the task if the book is not read: the creative circle is not complete without the reader, who will supply their own creative

38、input to the process. Samuel Johnson said: A writer only begins a book. A reader finishes it. In teaching terms, we often forget that reading itself can be a creative process, just as writing is, and we too often relegate it to a means of data collection. We frequently forget to make that distinctio

39、n when presenting narratives or poetry, and often ask comprehension questions which relate to factual information who said what and when, rather than speculating on why, for example, or examining the context of the action. (6)The third part of the reasoning that we adopted relates to the need to eng

40、age the students as readers in their own right, not simply as language learners: learning the language is part of the process, not the reason for reading. What they read must become theirs and have its own special and secret life in their heads, a place where teachers can only go if invited. (7)We q

41、uickly found that one of the most important ways of making all the foregoing happen was to engage the creative talents of the class before they read a word of the text. The pre-reading activities become the most important part of the teaching process: the actual reading part can almost be seen as th

42、e cream on the cake, and the principle aim of pre-reading activities is to get students to want to read the text. We developed a series of activities which uses clues or fragments from the text yet to be read, and which rely on the students innate knowledge of narrative, so that they can build their

43、 own stories before they read the key text. They have enough information to generate ideas but not so much that it becomes simply an exercise in guided writing: releasing a free imagination is the objective. (8)Moving from pre-reading to reading, we may introduce textual intervention activities. Tex

44、tual Intervention is a term used by Rob Pope to describe the process of questioning a text not simply as a guide to comprehension but as a way of exploring the context of the story at any one time, and exarnining points at which the narrative presents choices, points of divergence, or narrative cros

45、sroads. We dont do this for all texts, however, as the shorter ones do not seem to gain much from this process and it simply breaks up the reading pleasure. (9)Follow-up activities are needed, at the least, to round off the activity, to bring some sense of closure but they also offer an opportunity

46、to link the reading experience more directly to the requirements of the syllabus. Indeed, the story may have been chosen in the first place because the context supports one of the themes that teachers are required to examine as part of the syllabus for example, families, science and technology, comm

47、unications, the environment and all the other familiar themes. For many teachers this is an essential requirement if they are to engage in such extensive reading at all. (10)The whole process pre-, while and post reading could be just an hours activity, or it could last for more than one lesson. Whe

48、n we are designing the materials for exploring stories clearly it isnt possible for us to know how much time any teacher will have available, which is why we construct the activities into a series of independent units which we call kits. They are called kits because we expect teachers to build their

49、 own lessons out of the materials we provide, which implies that large amounts may be discarded. What we do ask, though, is that the pre-reading activities be included, if nothing else. That is essential for the process to engage the student as a creative reader. (11)One of the purposes of encouraging a creative