1、专业英语八级模拟试卷 36及答案与解析 SECTION A MINI-LECTURE Directions: In this section you sill hear a mini-lecture. You will hear the lecture ONCE ONLY. While listening, take notes on the important points. Your notes will not be marked, but you will need them to complete a gap-filling task after the mini-lecture.
2、When the lecture is over, you will be given two minutes to check your notes, and another ten minutes to complete the gap-filling task on ANSWER SHEET ONE. Use the blank sheet for note-taking. 0 Air Pollution Air pollution is typically caused by【 1】 _ran by the factories of modern industrial na- 【 1】
3、 _ tions, automobiles, trains, planes, and buses. Each year, plenty of wastes get into the air. It does great harm to people, 【 2】 _the eyes and chests. Many people become ill, and the 【 2】 _ death raw among elderly people and people with lung disorders climbs rapidly caused by a weather 【 3】 【 3】 _
4、 _called a temperature【 4】 _. 【 4】 _ At least half of the pollutants in the air come from the engines of motor vehicles. As they burn fuel, they give off carbon monoxide as a waste, a colorless, odorless gas, and a deadly poison. Thisproblem can be solved by special devices designed to make the engi
5、ne burn the fuel more【 5】 _. 【 5】 _ Some manufacturers use electricity or other means that will reduce pollution. Coal and oil are also an important resource of waste. It is irritating to the【 6】 _. Sonic 【 6】 _ cities have passed laws that allow coal and oil to be burned only if their sulfur conten
6、t is low. Thereis no air pollution of the ordinary kind. But the【 7】 _materials in these plants could present a 【 7】 _ danger in an accident. Also, there is a problem in disposing of the radioactive wastes in a way that will not endanger the environment. Another type of pollution, called heat pollut
7、ion, is caused by both the fuel-burning and【 8】 【 8】 _ _plants. It may also kill fish and their eggs, or【 9】 _with their growth. 【 9】_ Totally, physicists, many power plants and【 10】 _should work together to study new 【 10】_ ways of generating electricity. 1 【 1】 2 【 2】 3 【 3】 4 【 4】 5 【 5】 6 【 6】 7
8、 【 7】 8 【 8】 9 【 9】 10 【 10】 SECTION B INTERVIEW Directions: In this section you will hear everything ONCE ONLY. Listen carefully and then answer the questions that follow. Questions 1 to 5 are based on an interview. At the end of the interview you will be given 10 seconds to answer each of the foll
9、owing five questions. Now listen to the interview. 11 What strikes the woman most about the male robber is his_. （ A） clothes. （ B） age. （ C） physique. （ D） appearance. 12 The most detailed information about the woman robber is her_. （ A） manners. （ B） talkativeness. （ C） height. （ D） jewelry. 13 Th
10、e interviewee is believed to be a bank_. （ A） receptionist. （ B） manager. （ C） customer. （ D） cashier. 14 Which of the following about the two robbers is NOT true? （ A） Both were wearing dark sweaters. （ B） Neither was wearing glasses. （ C） Both were about the same age. （ D） One of them was marked b
11、y a scar. 15 After the incident the interviewee sounded_. （ A） calm and quiet. （ B） nervous and numb. （ C） timid and confused. （ D） shocked and angry. SECTION C NEWS BROADCAST Directions: In this section you will hear everything ONCE ONLY. Listen carefully and then answer the questions that follow.
12、At the end of each news item, you will be given 10 seconds to answer the questions. 16 What do you know about the resort Cancun? （ A） There were 13.000 people needed to be moved （ B） The hurricane came in 1988 killed 300 people （ C） It is the largest resort in the world （ D） It never experienced a m
13、ass evacuation 17 Emily will land on the Yucatan_. （ A） early Sunday （ B） early Monday （ C） late Sunday （ D） late Monday 18 How much did Moss lose? （ A） 350,000 （ B） 70,000 （ C） 420,000 （ D） 1.4 million 19 Who is Johnny Depp? （ A） Mosss fiance （ B） French actress-singer Vanessa Paradislover （ C） Bri
14、t artist Jake Chapmans sweetheart （ D） Paradis wife 20 Where will Moss intend to stay? （ A） London. （ B） Paris. （ C） The United States. （ D） Japan. 20 Historical developments of the past half century and the invention of modern telecommunication and transportation technologies have mated a world eco
15、nomy. Effectively the American economy has died and been replaced by a world economy. In the future there is no such thing as being an American manager. Even someone who spends an entire management career in Kansas City is in international management. He or she will compete with foreign finns, buy f
16、rom foreign firms, sell to foreign films, or acquire financing from foreign banks. The globalization of the worlds capital markets that has occurred in the past 10 years will be replicated right across the economy in the next decade. An international perspective has become central to management. Wit
17、hout it managers are operating in ignorance and cannot understand what is happening to them and their firms. Partly because of globalization and partly because of demography, the work forces of the next century are going to be very different from those of the last century. Most firms will be employi
18、ng more foreign nationals. More likely than not, you and your boss will not be of the same nationality. Demography and changing social mores mean that white males will become a smaller fraction of the work force as women and minorities grow in importance. All of these factors will require changes in
19、 the traditional methods of managing the work force. In addition, the need to produce goods and services at quality levels previously thought impossible to obtain in mass production and the spreading use Of participatory management techniques will require a work force with much higher levels of educ
20、ation and skills. Production workers must be able to do statistical quality control; production workers must be able to do just in-time inventories. Managers are increasingly shifting from a “dont think, do what you are told“ to a “think, I am not going to tell you what to do“ style of management. T
21、his shift is occurring not because todays managers are more enlightened than yesterdays managers but because the evidence is rapidly mounting that the second style of management is more productive than the first style of management. But this means that problems of training and motivating the work fo
22、rce both become more central and require different modes of behavior. In the world of tomorrow managers cannot be technologically illiterate regardless of their functional tasks within the firm. They dont have to be scientists or engineers inventing new technologies, but they have to be managers who
23、 understand when to bet and when not to bet on new technologies. If they dont understand what is going on and technology effectively becomes a black box, they will fail to make the changes that those who do understand what is going on inside the black box make. They will be losers, not winners. Toda
24、ys CEOs are those who solved the central problems facing their companies 20 years ago. Tomorrows CEOs will be those who solve central problems facing their companies today. Sloan hopes to produce a generation of managers who will be solving todays and tomorrows problems and because they are successf
25、ul in doing so they will become tomorrows captains of business. 21 The author suggests that a manager should hold a _ view on management. （ A） economical （ B） geographical （ C） international （ D） financial 22 Speaking of the problems of training and motivating laborers, the author implies that_. （ A
26、） laborers should keep up with the rapid development of modern technology （ B） laborers pay more attention to wages （ C） laborers want to advance themselves （ D） there is a radical change in management style 23 By the first sentence of paragraph 7, the author mean that_. （ A） mangers should master m
27、odern technology （ B） managers should have access to technological knowledge （ C） mangers should focus on functional tasks （ D） managers should cooperate with technicians 24 The main topic of this passage is_. （ A） the new concept of management （ B） the great shift of management style （ C） the quali
28、ties of managers for the 21st century （ D） the technique of managers modem management 24 In view of this, diversity, it is difficult to define modern art in a way that includes all of 20th-century Western art. For some critics, the most important characteristic of modern art is its attempt to make p
29、ainting and sculpture ends in them selves, thus distinguishing modernism from earlier forms of art that had conveyed the ideas of powerful religious or political institutions. Because modern artists were no longer funded primarily by these institutions, they were freer to suggest more personal meani
30、ngs. This attitude is often expressed as art for arts sake, a point of view that is often interpreted as meaning art without political or religious motives. But even if religious and government institutions no longer commissioned most art, many modern artists still sought to convey spiritual or poli
31、tical messages. Russian painter Wassily Kandinsky, for instance, felt that color combined with abstraction could express a spiritual reality beneath ordi nary appearances, while German painter Otto Dix created openly political works that criticized policies of the German government. Another theory c
32、laims that modern art is by nature rebellious and that this rebellion is most evident in a quest for originality and a continual desire to shock. The term avantgarde, which is often applied to modern art, comes from a French military term meaning “advance guard,“ and suggests that what is modern is
33、what is new, original, or cutting-edge. To be sure, many artists in the 20th century tried to redefine what art means, or attempted to expand the definition of art to include concepts, materials, or techniques that were never before associated with art. In 1917, for example, French artist Marcel Duc
34、hamp exhibited everyday, mass-produced, utilitarian objectsincluding abicycle wheel and a urinalas works of art. In the 1950s and 192s, American artist Allan Kaprow used his own body as an artistic medium in spontaneous performances that he declared to be artworks. In the 1970s American earthwork ar
35、tist Robert Smithson used unaltered elements of the environmentearth, rocks, and wateras material for his sculptural pieces. Consequently, many people associate modern art with what is radical and disturbing. Although a theory of rebellion could be applied to explain the quest for originality motiva
36、ting a great number of 20th-century artists, it would be difficult to apply it to an artist such as Grant Wood, whose American Gothic clearly rejected the example of the advanced art of his time. Another key characteristic of modern art is its fascination with modern technology and its embrace of me
37、chanical methods of reproduction, such as photography and the printing press. In the early 1910s Italian artist Umberto Boccioni sought to glorify the precision and speed of the industrial age in his paintings and sculptures. At about the same time, Spanish painter Pablo Picasso incorporated newspap
38、er clippings and other printed material into his paintings in a new technique known as collage. By the same token, however, other modern artists have sought inspiration from the spontaneous impulses of childrens art or from exploring the aesthetic traditions of nonindustrialized, non-Western culture
39、s. French artist Henri Matisse and Swiss artist Paul Klee were profoundly influenced by childrens drawings, Picasso closely observed African masks, and Pollocks technique of pouting paint onto canvas was in part inspired by Native American sand painting, Yet another view holds that the basic motivat
40、ion of modern art is to engage in a dialogue with popular culture. To this end, Picasso pasted bits of newspaper into his paintings, Roy Lichtenstein imitated both the style and subject of comic strips in his paintings, and Andy Warhol made images of Campbells soup cans. But although breaking down t
41、he boundary between high art and popular culture is typical of artists like Picasso, Lichtenstein, and Warhol, it is not of Mondrian, Pollock, or most other abstract artists. Each of these theories of course, is compelling and could explain a great many strategies employed by modern artists. Yet eve
42、n this brief examination reveals that 20th-century art is far too diverse to be fully contained within any one definition. Each theory can contribute a part to the puzzle, but no single theory can claim to be the solution to the puzzle itself. 25 Why did French artist Marcel Duchamp exhibit everyday
43、, mass-produced, utilitarian objectsincluding a bicycle wheel and a urinalas works of art? （ A） Because he liked to do so. （ B） He wanted to claim that modern art was by nature rebellious and that this rebellion was most evident in a quest for originality and a continual desire to shock. （ C） He wan
44、ted to suggest that art was what was new, original, or cutting-edge. （ D） To be sure, many artists in the 20th century tried to redefine what art means, or attempted to expand the definition of art to include concepts, materials, or techniques that were never before associated with art. 26 About “Pi
45、casso pasted bits of newspaper into his paintings“, which of the following statements is TRUE? （ A） It can illustrate one key characteristic of modern art: its fascination with ancient technology and its embrace of mechanical methods of reproduction, such as photography and the printing press. （ B）
46、It perfectly shows another view of modern art that the basic motivation of modern art is to engage in a dialogue with popular culture. （ C） The breaking down the boundary between high art and popular culture is typical of artists like Picasso, Lichtenstein, and Warhol. （ D） How to invent a new art?
47、27 What does the author try to tell us in this passage? （ A） The art of arts. （ B） The definition of modern art. （ C） The characteristics of modern art. （ D） How to distinguish modern art from earlier forms of art. 27 Despite its gargantuan heft, John Irvings 11th novel moves nimbly from a standing
48、start to warp speed. Legions of the authors admirers will still be searching for a comfortable way to accommodate the book on their laps when they find themselves hustled off on a wintry chase through Copenhagen, Stockholm, Oslo, Helsinki and Amsterdam. In late 1969, Alice Stronach, a tattoo artist in Toronto, trundles her son Jack Bums, age 4, along with her while she pursues William Bums, an Edinburgh church organist who impregnated and abandoned her nearly five years earlier. Her itinerary has its logic: Her prey yearns to play the magnificent orga
