1、专业英语八级（阅读）练习试卷 16及答案与解析 0 Story telling is an ancient and honored art. Story tellers entertained during the long dark hours before sleep arrived after the sun disappeared over the western horizon. But the story tellers job is more than just entertainment. Before the printed page appeared, story tell
2、ers provided cultural continuity, preserving the past to serve as guide through the future. Story tellers told tales of heroes to provide positive examples, the legends that held the tribe together and provided its identity, and the stories of foolish or evil beings to remind young and old the penal
3、ties for not living correctly. Even behavior too horrible to speak of directly, such as cannibalism, cowardice or death, could be examined through the mediation of a story. Even today, books, magazines, radio, television and movies still have not replaced the story teller. None of these permanent, r
4、eproducible media are able to deliver a personal, individualized message with the impact of a well told story. Whether the purpose of a story is to set a mood, to entertain, to teach a lesson, to amuse or to scare, nothing works like a good story, at the right moment. A story with an obvious message
5、 concerning the results of another persons misbehavior can deliver a warning and deterrent that a direct confrontation can not produce and the story will do so without hurting egos. A positive relationship can be maintained and, sometimes, even strengthened while still delivering an unwelcome messag
6、e. This is the power of the story teller. Not every story will fit every situation. The story teller needs to select a story which will meet the needs of the situation and then the story teller must tailor the story to fit the time available, the age of the audience, the location and the mood desire
7、d. A good story choice will capture the interest of the audience. Audience members will relate to a location, experience or emotion that they share in common with the story teller and will suspend disbelief long enough to be drawn into the story as it unfolds. Good stories build to a climax with a b
8、eginning, a middle and an end. The elements of the story revealed in each section will lead to the next. Predicaments and solutions will depend on the details of the story revealed in an earlier section. However, better stories may add a twist to make the ending unexpected and, therefore, more inter
9、esting. Scary stories should be matched to the age of the audience. A little feeling of fright as the story is told may be beneficial in learning how to deal with scary things, but the use of lingering fear that is carried away from the story is simply terrorizing a susceptible person and helps no o
10、ne. It is the responsibility of the story teller to determine what is appropriate and not to abuse the audiences good faith. Stories can come from nearly anywhere. Folk tales, myths, legends, history (especially local history), Indian stories, adventure yarns and other story tellers are all sources
11、of inspiration. A short listing of collected stories is appended along with several examples of good stories. However, the best sources of stories for good story tellers are their own experiences. When inspiration and opportunity unite, a story is ready to be born. No matter what the source, the bes
12、t stories are those of which the story teller has some personal experience or knowledge. This can be combined with other sources and a little practice to produce the tale to be told. When personal experience is the base on which a story is built, the story will “ring true“ to the audience and have a
13、 greater vitality. A dislike of insects crawling on your skin, an encounter with a wild animal or the memory of a weird noise experienced when you were home alone can each provide the experience or feeling that will form the basis of a story. The experience need only be a wee part of the story, but
14、that can be enough. When you have chosen a source from a book or another story teller, learn the story thoroughly before giving it publicly. Do not memorize the story! Memorize the outline and flow of the story. Take special note of key points, events and names that the story hinges on. Also note wh
15、ere and how they fit in the narrative. If there are key phrases make sure you anchor them in your memory so they come out naturally where they should. Dont try to deliver a story verbatim; a story should be told in your own words. Make the story a part of you and then share that part with your audie
16、nce. Live the story as you tell it. As you continue, you will find that telling a story is more than choosing the right words to say, and it also involves establishing your presence. When you are the story teller, you are in control. Walk confidently forward to your place, stand, pause, relax, gathe
17、r your thoughts and become part of your story as you build anticipation, wait for quiet and attention, and then and only then, quietly start your story. Try not to explain what you are about to do, instead choose a first sentence that will capture the audiences interest. Speak slowly in your normal
18、voice, establish a tempo and a mood appropriate to your story. Use gestures as needed, but avoid gestures that distract from the story. Use your words and their visual images to carry the audience along. Establish contact with your audience, and watch their body language and responses. Use these to
19、guide and pace your delivery. Live the story as you tell it. 1 According to the passage, the purposes of story telling include all of the following EXCEPT _. （ A） perpetuate culture （ B） provide role models （ C） discourage bad behaviors （ D） make horrible behaviors honorable 2 Compared with the medi
20、a, which of the following is NOT true of story telling? （ A） More personal. （ B） More effective. （ C） Less blunt. （ D） Less time-consuming. 3 The best source of your story is _. （ A） folk tales （ B） the media （ C） other story tellers （ D） your experiences 4 To deliver a story, you should do all of t
21、he following EXCEPT _. （ A） capturing the audiences attention right at the beginning （ B） making as few gestures as possible （ C） appealing to the audiences sense of sight （ D） monitoring feedback from the audience 4 One of the first lessons that you learn if you want to be a painter is that it take
22、s only a few basic colors to mix just about any conceivable color. And once that fundamental skill has been acquired, mixing colors, which is well nigh impossible for the uninitiated, becomes practically automatic, almost as easy as tiding a bike. As for what colors can do, singly or in combination,
23、 this only becomes more mysterious the longer an artist works. Much of the mystery is buried deep in the nitty-gritty of technique. The impact of color, the very nature of color, is experienced in relation to other colors and also in relation to a medium. A certain red pigment, for example, will mak
24、e an utterly different impression if it is presented in a water-based or oil-based medium, in a scumbled or impastoed fashion, as a mark left by a stick of pastel, as ink printed from an etching plate or a woodblock. And all of this still leaves aside the emotional or poetic or psychological ramific
25、ations of colors - the question of what this red or that blue suggests or does not suggest, and to whom, and under what conditions. Color, which most of us begin life by regarding as one of the verities, red-yellow-blue being as fundamental as the ABCs, can eventually seem to be an experience of the
26、 most radical subjectivity. Artists aim to give that coloristic subjectivity a power that is both immediate and enduring. A walk through New Yorks galleries will tell you that there are a vast number of ways in which color can be presented to the public. A look through the impressive literature on t
27、he development of color in art, which has been growing rapidly in the past decade, will tell you that history prepares us for this situation. Painters who want to pull emotional nuances out of subtly mixed colors will be said by some to be nostalgic for the tonal modulations of another age. Although
28、 we may be inclined to think of “modem“ color as abstract color - as color that is detached from representation - it can be argued that abstract color is at least as old as naturalistic color, embracing both the heraldic imagery of the Middle Ages and the polychrome architecture of ancient times. No
29、wadays color, which reaches us in so many kinds of keyed-up, eye-popping technologically generated forms, can seem more a matter of “culture“ than of “nature.“ The zingy, cheerfully artificial color that Jeremy Blake uses to considerable effect in the kinetic flood of images that fill his DVD projec
30、tions is selfevidently computer-based. There are also many painters who, while working with brush and canvas, like to mirror the riot of contemporary color. Trevor Winkfield, who showed new paintings this winter, will strike some gallerygoers as an artist who never met a color he didnt like. 5 We le
31、arn in the first paragraph that _. （ A） the few basic colors are more important than any mixed color （ B） mixing colors can be very difficult （ C） colors have very strong expressive powers （ D） a single color is more mysterious than colors in combination 6 We can infer from the passage that _. （ A）
32、red pigment is more responsive to technique than any other pigment （ B） the significance of colors can vary from person to person （ C） red is more suggestive than blue （ D） mixed colors are closer to reality than the few basic colors 7 Why does the author mention abstract color (para. 3)? （ A） To po
33、int out that abstract color is the most powerful color. （ B） To illustrate that color has long been presented in vast numbers of ways. （ C） To make the point that it is very difficult to tell modem color from abstract color. （ D） To stress the fact the abstract color has been a poor way of presentin
34、g color. 8 We can conclude from the last paragraph that _. （ A） artists today use colors in greater variety and intensity （ B） artists today have abandoned traditional colors （ C） paintings today set out to explain cultural traditions （ D） computer-generated colors have met with strong resistance fr
35、om the public 专业英语八级（阅读）练习试卷 16答案与解析 【知识模块】 阅读 1 【正确答案】 D 【试题解析】 在第 1段中，作者讨论了讲故事的作用。选项 A表述了 story tellers provided cultural continuity, preserving the past to serve as guide through the future这一部分；选项 B表述了 Story tellers told tales of heroes to provide positive examples这一部分；选项 D表述了 the stories of fool
36、ish or evil beings o remind young and old the penalties for not living correctly这一部分；在该段最 后一句，作者的意思是说，一些忌讳的话题是可以通过讲故事而间接地来进行谈论。所以选项 D不是讲故事的作用，为正确答案。 【知识模块】 阅读 2 【正确答案】 D 【试题解析】 该题要求理解第 2段中的内容。这一段说的是媒体和讲故事之间的差异。选项 A不是答案：见第 2句；选项 B不是答案；根据第 3句，没有什么能像讲故事那样适时地起到各种作用；选项 C不是答案：根据最后两句，通过讲故事来发出警告或提出意见会不伤对方的面
37、子；选项 D是答案：文章没有说讲故事更节省时间。所以选项 D为正确答案。 【知识 模块】 阅读 3 【正确答案】 D 【试题解析】 细节题。答案可在第 5段中找到： “No matter what the source, the best stories are those of which the story teller has some personal experience Or knowledge.“ 【知识模块】 阅读 4 【正确答案】 B 【试题解析】 该题要求理解最后一段中的内容，选项 A不是答案：见第 4句；选项 B是答案：根据第 6句，在必要时使用手 势，但不要影响故事的内
38、容；选项C不是答案：根据第 7句，要用视觉形象语言来吸引听众；选项 D不是答案：见第 8句。所以选项 B是正确答案。 【知识模块】 阅读 【知识模块】 阅读 5 【正确答案】 C 【试题解析】 根据第 1段，虽然调色这件事本身并不难，但要取得何种效果却是很深奥的。也就是说，颜色具有表现力。选项 C为正确答案。 【知识模块】 阅读 6 【正确答案】 B 【试题解析】 根据第 2段，一定的工艺会使颜色产生不同的效果，但颜色的效果还和情感、想象、心理等因素有关，虽 然人们都知道颜色是一种实体，但最终它似乎是一种主观的感受。因此我们可以推断，颜色的意义因人而异。选项 B为正确答案。 【知识模块】 阅读 7 【正确答案】 B 【试题解析】 根据第 3段，将颜色展现在公众面前的方式是多种多样的，这并不是什么新鲜事。现代的所谓抽象颜色和自然颜色一样久远，被用在中世纪的文章图案和古代的多色建筑中。因此作者提到颜色是为了说明颜色的多种展示方式是过去就有的一种情况。选项 B为正确答案。 【知识模块】 阅读 8 【正确答案】 A 【试题解析】 根据最 后一段， Jeremy Blake用计算机生成的颜色取得特殊的效果； Trevor Winkfield则使用了各种各样的颜色，选项 A为正确答案。 【知识模块】 阅读
