1、专业英语八级（听力）模拟试卷 227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)
2、 you 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 Visual Perspective Perspective in art is the way that artists represent three-dimensional objects on the two dimensions of the
3、ir canvas. There are two kinds of perspective and they occupy important roles in the art history. I.【 T1】 _ perspective【 T1】 _ The way that the【 T2】 _ affects how we see things,【 T2】 _ especially distant things Makes a mountain in the distance appear to be less【 T3】 _【 T3】 _ than closer object Appli
4、cation: A. Realistic artists: reproduce B.【 T4】 _: create their own special effects【 T4】 _ II. Linear perspective the more【 T5】 _ things are, the smaller they seem to get【 T5】 _ Example:【 T6】 _; a line of telephone poles【 T6】 _ III. “The vanishing point“ Objects get smaller and smaller as they reced
5、e, until they vanish in a point on the【 T7】 _【 T7】 _ Objects or scenes may have more than one vanishing point: A. A cube with one of its faces squarely perpendicular to us Single vanishing point: directly behind it and on the horizon B. A cube with one of its【 T8】 _facing us【 T8】 _ Two vanishing poi
6、nts: one for the right-hand face; one for the left-hand face C. A cube viewed from somewhat【 T9】 _【 T9】 _ Three vanishing points: one to the right, one to the left, and a third one behind it IV. The history of perspective in art Early western art: Artists recognized the effect but failed to present
7、it Example: the paintings inside【 T10】 _【 T10】 _ the illustrations in【 T11】 _ Christian churches【 T11】 _ 13th and 14th century Reverse perspective 【 T12】 _:【 T12】 _ A Linear perspective 1)Brunelleschi: conducted several【 T13】 _ experiments【 T13】 _ and discovered the rules of perspective Example: a(n
8、)【 T14】 _ of San Giovanni Bapistery【 T14】 _ 2)Donatello: began using accurate linear perspective; spread it throughout Europe B. Aerial perspective Flemish and【 T15】 _ masters: developed the idea【 T15】 _ Example: Jan van Eycks “The Virgin of Chancellor Rolin“ 1 【 T1】 2 【 T2】 3 【 T3】 4 【 T4】 5 【 T5】
9、6 【 T6】 7 【 T7】 8 【 T8】 9 【 T9】 10 【 T10】 11 【 T11】 12 【 T12】 13 【 T13】 14 【 T14】 15 【 T15】 15 Women-centered History In the past, most people believed that the contributions women have made to US history have been ignored by historians. In recent years, a new view of womens history has emerged. Its
10、 called “women-centered history,“ which is forcing historians to re-interpret traditional pictures of key historical events. I.【 T1】 _【 T1】 _ 1980s: subfield of history established Recent years: the view “women-centered history“ emerged Now: Look at womens contribution to history “【 T2】 _“【 T2】 _ II
11、. Premise Females played an important part in shaping US history Women are worth【 T3】 _【 T3】 _ Prior models of history: A. “The【 T4】 _ approach“【 T4】 _ 1. Theory: a)Men were the【 T5】 _ historical leaders【 T5】 _ b)Women played a secondary role at every landmark historical event 2. Downside: neglects
12、the【 T6】 _ role of women【 T6】 _ in everyday family life B. “The victim approach“ 1. Theory: focusing on womens【 T7】 _ throughout history【 T7】 _ 2. Downside: womens plight is overly【 T8】 _【 T8】 _ III. Balance Ask the question of “What【 T9】 _?“【 T9】 _ Portray a fairer and more complete picture of US w
13、omens past Best show the balance of【 T10】 _ between womens plight【 T10】 _ and womens power Compelled historians to see certain historical processes in【 T11】 _【 T11】_ IV. More【 T12】 _【 T12】 _ Sub-categories of womens history: a)【 T13】 _【 T13】 _ b)Social status c)The history of women in【 T14】 _ cultur
14、es【 T14】 _ Class divisions, race divisions, ethnic divisions and religious divisions Womens【 T15】 _ other women【 T15】 _ 16 【 T1】 17 【 T2】 18 【 T3】 19 【 T4】 20 【 T5】 21 【 T6】 22 【 T7】 23 【 T8】 24 【 T9】 25 【 T10】 26 【 T11】 27 【 T12】 28 【 T13】 29 【 T14】 30 【 T15】 专业英语八级（听力）模拟试卷 227答案与解析 SECTION A MINI-
15、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) you fill in is (are) both grammatically
16、 and semantically acceptable. You may use the blank sheet for note-taking. You have THIRTY seconds to preview the gap-filling task. 0 【听力原文】 Visual Perspective Good morning, everyone. Today, I want to start with a look at visual perspective. First, well look briefly at the kinds of perspective, and
17、then well look very quickly at its history in art. Just in case you dont know what were discussing perspective in art is the way that artists represent three-dimensional objects on the two dimensions of their canvas. There are two basic sorts of visual perspective aerial perspective and linear persp
18、ective.1Aerial perspective and “aerial“ just means “air“ or “atmospheric“, not your view from an airplane!2 aerial perspective is the way that the atmosphere affects how we see things, especially distant things.3I wont try to go into the laws of physics that are involved here, but it is aerial persp
19、ective that makes a mountain in the distance appear to be a different color, that makes it seem hazier less distinct than closer objects. These are effects that realistic artists attempt to reproduce carefully.4And impressionists also use it to create their own special effects. Just think of many of
20、 Turners landscapes or cityscapes like his “Dido Building Carthage“ to get an idea of how the air can affect what we see. 4The other perspective, linear perspective, is the way that things seem to get smaller the farther away they get.6A classic example of this is the way we perceive railroad tracks
21、 or a line of telephone poles running away from us.7They seem to get smaller and smaller as they recede until they vanish in a point on the horizon and this point is appropriately called “the vanishing point“. This effect happens whenever there are parallel lines, like the two train tracks, or the t
22、ops and bottoms of the telephone poles. Now, an object or a scene may have more than one vanishing point. A cube with one of its faces squarely perpendicular to us has a single vanishing point, directly behind it and on the horizon.8But a cube with one of its vertical edges facing us has two vanishi
23、ng points instead one for the right-hand face and one for the left-hand face, and these points are off to the right and left respectively, on the horizon, where the parallel lines of the faces seem to converge.9And then if this same cube is viewed from somewhat above or below, it will have three van
24、ishing points one to the right, one to the left, and a third one behind it and below or above the horizon. This is easy to visualize if you look up at a corner building from its street intersection. You can look down one street to see the right-hand vanishing point, look down the cross-street to see
25、 the left-hand vanishing point, and then look up along the corner of the building to visualize the third vanishing point. These kinds of perspective are easy to see if we view geometrical shapes or manmade structures, but of course natural scenes dont have any sets of parallel lines, so they have no
26、 vanishing points but that doesnt mean that they dont exhibit perspective. OK So much for the two perspectives, now a bit of history about the perspectives. The laws of optics were not understood at all in early Western art. Artists recognized the effect, of course, but they were unable to figure ou
27、t how to represent it accurately.10/11From the paintings inside the Egyptian pyramids to the illustrations in medieval Christian churches, nearer people were simply drawn larger, or drawn lower in the picture, or drawn so as to cover the people farther away. There was no real understanding of how th
28、e physics of perception worked they never got a grasp on the idea of the vanishing point. In the 13th and 14th centuries, before linear perspective was discovered, artists occasionally employed something called reverse perspective, in which parallel lines splay rather than converge as they approach
29、the horizon line. One of the rules set forth in an early artists manual is that elements above the eye of the viewer tend downward, while elements below the viewers eye tend upward. While arbitrary tilting of lines upward and downward can create unusual effects, this is generally considered to be a
30、significant step in the progression toward the rational application of linear perspective. 12And then came the Renaissance, the rebirth of learning and the sciences. This was a hotbed of scientific thought Da Vinci, Galileo, Newton and Filippo Brunelleschi.13Brunelleschi was a fifteenth century Flor
31、entine architect who conducted several optical experiments and discovered the rules of perspective. With what hed learned,14he drew a very accurate picture of San Giovanni Bapistery in Florence, and then he made a small peep hole in the middle of it. He carried it into the street and amazed all his
32、acquaintances by having them look through the peep hole from the back of his picture first, at a mirror which reflected the image into the viewers line of sight. Then, Brunelleschi would quickly withdraw the mirror leaving the viewer peeping at the real Bapistery, whose perspective had been replicat
33、ed perfectly! Other Italian artists, notably Donatello, began using Brunelleschis methods for accurate linear perspective and his ideas soon spread throughout Europe.15The development of effective aerial perspective, on the other hand, was developed by the Flemish and Dutch masters of this same peri
34、od, and can be seen at its best in works like Jan van Eycks “The Virgin of Chancellor Rolin“. But thats another story. OK I have outlined the two perspectives for you and I also talked about the history of the development of perspectives. Next time, we shall go to the workshop of drafting some drawi
35、ngs with the help of perspectives. 【知识模块】 听力填空 1 【正确答案】 Aerial 【试题解析】 讲座提到透视法基本上可以分为两种。此题要求填入第一种透视法Aerial perspective(空中透视法 )。因此填入 Aerial。 【知识模块】 听力填空 2 【正确答案】 atmosphere 【试题解析】 透视法 Aerial perspective(空中透视法 )，即空气如何影响我们对远方景物的视觉。因此本题的答案为 atmosphere。 【知识模块】 听力填空 3 【正确答案】 distinct 【试题解析】 根据空中透视法，远方的山脉呈现
36、出不同的颜色，要比近处的景物更为模糊、不那么清楚。因此本题的答案为 distinct。如果没能记下本题考查的细节，也可以根据常识推断出答案。 【知识模块】 听力填空 4 【正确答案】 Impressionists 【试题解析】 印象派画家利用空中透视法来制造印象派作品特有的效果。本题答案为 Impressionists。 【知识模块】 听力填空 5 【正确答案】 distant 【试题解析】 直线透视法是另外一种透视法。它 指的是更远的物体会显得更小。根据空格前的 more，此空格不能填原词 farther，应将 the farther away转化成为the more distant。 【知
37、识模块】 听力填空 6 【正确答案】 railroad tracks 【试题解析】 第二种透视法为直线透视法，直线透视法的典型例子是我们在远处观察铁路轨道和电话线杆上的电线离我们越来越远。因此填入 railroad tracks。 【知识模块】 听力填空 7 【正确答案】 horizon 【试题解析】 根据直线透视 法的原则，排成一列的物体显得越来越小，直到他们消失在地平线上的某一点，而这一点就称为 “灭点 ”。因此本题的答案为 horizon。本文考查的是关键性信息，在听力过程中应注意做好笔记。 【知识模块】 听力填空 8 【正确答案】 vertical edges 【试题解析】 如果一个立
38、方体有一条垂直边缘面对着我们，那么我们将看到两个“灭点 ”，一个在其左边的立面，一个在其右边的立面。这两个 “灭点 ”分别是左右两边的上下两条边缘的延伸交汇。因此本题的答案为 vertical edges。 【知识模块】 听力填空 9 【正确答案】 above or below 【试题解析】 如果自上而下或者自下而上的看一个立方体，那么就能看到三个“灭点 ”，一个在右边，一个在左边，第三个是在立方体正上方或者正下方。因此本题的答案为 above or below。 【知识模块】 听力填空 10 【正确答案】 the Egyptian pyramids 【试题解析】 录音提到西方艺术史的透视法。
39、早期的西方艺术虽然了解透视的效果，但是却未能参透透视法。讲座举出其中一个例子：埃及的金字塔中的绘画。因此填入 the Egyptian pyramids。 【知识模块】 听力填空 11 【正确答案】 medieval 【试题解析】 录音提到，无论是埃及的金字塔中的绘画，还是中世纪的天主教教堂的绘画，在近处的人像都画得很大，或者位于画面较低的位置，或者直接把远处的人给遮住了。因此本题的答案为 medieval。 【知识模块】 听力填空 12 【正确答案】 Renaissance 【试题解析】 录音接着提到透视法在西方艺术史上的第三个时期，即 “文艺复兴 ”时期。因此填入 Renaissance。
40、 【知识模块】 听力填空 13 【正确答案】 optical 【试题解析】 15世纪文艺复兴时期，佛罗伦萨的画家布鲁内莱斯基进行了几次光学的实验，发现了透视法的原则。因此本题的答案为 optical。 【知识模块】 听力填空 14 【正确答案】 accurate picture 【试题解析】 录音讲到文艺复兴期间，大量科学思想体系诞生，代表人物如达芬奇、伽利略等。以画家布鲁内莱斯基为例，他描绘了一幅关于佛罗伦萨 San Giovanni Bapistery精确的画。因此填入 accurate picture 【知识模块】 听力填空 15 【正确答案】 Dutch 【试题解析】 在文艺复兴时期，
41、一些佛兰德和荷兰的艺术大师也开始利用空中透视法。本题的答案为 Dutch。 【知识模块】 听力填空 15 【听力原文】 Women-centered History Good morning, everyone. Today, we are going to talk about a new perspective of womens history in the United States of America. First of all, I will talk about the background of women-centered history, followed by the
42、premises and relevance of the women-centered approach. In the second half of my talk, I will talk about the balance between some prior approaches and more approaches to the study of US women history. 1First of all, the background of womens history. Womens history in the United States has been politi
43、cally charged from the very beginning. Like other insurgent branches of history born in the 1960s, it exposed the implicit politics in what had previously passed as “objective“ or “scholarly“ inquiry. In the 1980s, however, womens history has become a respected subfield within the discipline of hist
44、ory of America. Most scholars agree that women have been short-changed in United States history textbooks, because a woman has never been a US president or a commander a major commander, anyway in a war. These scholars argue that historians have overlooked or ignored the contributions women have mad
45、e to US history. In recent years, though, a new view of womens history has emerged. Its called “women-centered history,“ and its forcing historians to re-interpret traditional pictures of key historical events. Historians began what became a flood of new scholarship on the social history of women wh
46、ich poses a growing challenge to historian tradition.2Now theyre looking at ways women contributed to history “behind the scenes,“ if you will. For instance, though they didnt fight in wars or occupy the political stage, women formed organizations in places such as churches and clubs, where they dis
47、cussed ideas and learned skills that would later lead to their emergence in the historical spotlight. Jane Addams is one good example of this. She founded houses for poor people in Chicago, and was an original member of the American Civil Liberties Union, or ACLU. She lobbied government for the righ
48、ts of workers and women, which paid off in 1920 when women received the right to vote. In 1931, she became the first American women to win the Nobel Peace Prize. Now about the premise of this approach and its relevance to prior approaches.3Women-centered history starts with the premise that females played an important part in shaping US history, and that gender is a worthy historical distinction. This perspective is different from past models of studying women in US history.4One of the first models is c
