1、大学英语六级模拟试卷 200及答案与解析 一、 Part I Writing (30 minutes) 1 Directions: For this part, you are allowed thirty minutes to write a composition on the topic The Importance of Reading Classics. You should write at least 150 words, and base your composition on the outline given below in Chinese: 1. 阅读经典书籍对人的成长
2、至关重要。 2现在愿意阅读经典的人越来越少，原因是 3我们大学生应该怎么做 ? 二、 Part II Reading Comprehension (Skimming and Scanning) (15 minutes) Directions: In this part, you will have 15 minutes to go over the passage quickly and answer the questions attached to the passage. For questions 1-4, mark： Y (for YES) if the statement agre
3、es with the information given in the passage; N (for NO) if the statement contradicts the information given in the passage; NG (for NOT GIVEN) if the information is not given in the passage. 1 The Cultural Patterning of Space Like time, space is perceived differently in different cultures. Spatial c
4、onsciousness in many Western cultures is based on a perception of objects in space, rather than of space itself. Westerners perceive shapes and dimensions, in which space is a realm of light, color, sight, and touch. Benjamin L. Whorf, and his classic work Language, Thought and Reality, offers the f
5、ollowing explanation as one reason why Westerners perceive space in this manner. Western thought and language mainly developed from the Roman, Latin-speaking culture, which was a practical, experience-based system. Western culture has generally followed Roman thought patterns in viewing objective “r
6、eality“ as the foundation for subjective or “inner“ experience. It was only when the intellectually crude Roman culture became influenced by the abstract thinking of Greek culture that the Latin language developed a significant vocabulary of abstract, nonspatial terms. But the early Roman-Latin elem
7、ent of spatial consciousness, of concreteness, has been maintained in Western thought and language patterns, even though the Greek capacity for abstract thinking and expression was also inherited. However, some cultural-linguistic systems developed in the opposite direction, that is, from an abstrac
8、t and subjective vocabulary to a more concrete one. For example, Whorl tells us that in the Hopi language the word heart, a concrete term, can be shown to be a late formation from the abstract terms think or remember. Similarly, although it seems to Westerners, and especially to Americans, that obje
9、ctive, tangible “reality“ must precede any subjective or inner experience, in fact many Asian and other non-European cultures view inner experience as the basis for ones perceptions of physical reality. Thus although Americans are taught to perceive and react to the arrangement of objects in space a
10、nd to think of space as being “wasted“ unless it is filled with objects, the Japanese are trained to give meaning to space itself and to value “empty“ space. For example, in many of their arts such as painting, garden design, and floral arrangements, the chief quality of composition is that essence
11、of beauty the Japanese call shibumi. A painting that shows everything instead of leaving something unsaid is without shibumi. The Japanese artist will often represent the entire sky with one brush stroke or a distant mountain with one simple contour line this is shibumi. To the Western eye, however,
12、 the large areas of “empty“ space in such paintings make them look incomplete. It is not only the East and the West that are different in their patterning of space. We can also see cross-cultural varieties of spatial perception when we look at arrangements of urban space in different Western culture
13、s. For instance, in the United States, cities are usually laid out along a grid, with the axes generally north/south and east/west. Streets and buildings are numbered sequentially. This arrangement, of course, makes perfect sense to Americans. When Americans walk in a city like Paris, which is laid
14、out with the main streets radiating from centers, they often get lost. Furthermore, streets in Paris are named, not numbered, and the names often change after a few blocks. It is amazing to Americans how anyone gets around, yet Parisians seem to do well. Edward Hall, in The Silent Language, suggests
15、 that the layout of space characteristic of French cities is only one aspect of the theme of centralization that characterizes French culture. Thus Paris is the center of France, French government and educational systems are highly centralized, and in French offices the most important person has his
16、 or her desk in the middle of the office. Another aspect of the cultural patterning of space concerns the functions of spaces. In middle-class America, specific spaces are designated for specific activities. Any intrusion of one activity into a space that it was not designed for is immediately felt
17、as inappropriate. In contrast, in Japan, this is not true: walls are movable, and rooms are used for one purpose during the day and another purpose in the evening and at night. In India there is yet another culturally patterned use of space. The function of space in India, both in public and in priv
18、ate places, is connected with concepts of superiority and inferiority. In Indian cities, villages, and even within the home, certain spaces are designated as polluted, or inferior, because of the activities that take place there and the kinds of people who use such space. Spaces in India are segrega
19、ted so that high caste and low caste, males and females, secular and sacred activities are kept apart. This pattern has been used for thousands of years, as demonstrated by the archaeological evidence uncovered in ancient Indian cities. It is a remarkably persistent pattern, even in modem India, whe
20、re public transportation reserves a separate space for women. For example, Chandigarh is a modem Indian city designed by a French architect. The apartments were built according to European concepts, but the Indians living there found certain aspects inconsistent with their previous use of living spa
21、ce. Ruth Freed, an anthropologist who worked in India, found that Indian families living in Chandigarh modified their apartments by using curtains to separate the mens and womens spaces. The families also continued to eat in the kitchen, a traditional pattern, and the living/dining room was only use
22、d when Western guests were present. Traditional Indian village living takes place in an area surrounded by a wall. The courtyard gives privacy to each residence group. Chandigarh apartments, however, were built with large windows, reflecting the European value of light and sun, so many Chandigarh fa
23、milies pasted paper over the windows to recreate the privacy of the traditional courtyard. Freed suggests that these traditional Indian patterns may represent an adaptation to a densely populated environment. Anthropologists studying various cultures as a whole have seen a connection in the way they
24、 view both time and space. For example, as we have seen, Americans look on time without activity as “wasted“ and space without objects as “wasted.“ Once again, the Hopi present an interesting contrast. In the English language, any noun for a location or a space may be used on its own and given its o
25、wn characteristics without any reference being made to another location or space. For example, we can say in English: “The room is big“ or “The north of the United States has cold winters.“ We do not need to indicate that “room“ or “north“ has a relationship to any other word of space or location. B
26、ut in Hopi, locations or regions of space cannot function by themselves in a sentence. The Hopi cannot say “north“ by itself; they must say “in the north,“ “from the north,“ or in some other way use a directional suffix with the word north. In the same way, the Hopi language does not have a single w
27、ord that can be translated as room. The Hopi word for room is a stem, a portion of a word, that means “house,“ “room,“ or “enclosed chamber,“ but the stem cannot be used alone. It must be joined to a suffix that will make the word mean “in a house“ or “from a chamber.“ Hollow spaces like rooms, cham
28、bers, or halls in Hopi are concepts that are meaningful only in relation to other spaces. This pattern of spatial perception among the Hopi seems to be similar to their pattern of time perception, in which periods of time are not seen as separate pieces of duration, as they are in the Western cultur
29、es, but are integrated as pieces of a connected pattern. Anthropologists do not know why one culture develops one type of time-space perception and another culture develops another type. Spatial perceptions may be adaptations to specific environments: the degree of population density; the amount Of
30、arable land; the absence or existence of natural barriers such as the sea or mountains; the amount of distinguishing landmarks in a region. For instance, among some Eskimo peoples, whose environment is a vast snow plain with few landmarks visible for most of the year, spatial perception is highly de
31、veloped. The Eskimos must learn to make careful distinctions among different spatial dements, as their lives may literally depend on these distinctions when they are hunting far from home. In some cultures a significant aspect of spatial perception is shown by the amount of “personal space“ people n
32、eed between themselves and others to feel comfortable and not crowded. North Americans, for instance, seem to require about four feet of space between themselves and the people near them to feel comfortable. On the other hand, people from Arab countries and Latin America feel comfortable when they a
33、re close to each other. People from different cultures, therefore, may unconsciously infringe on each others sense of space. Thus just as different perceptions of time may create cultural conflicts, so too may different perceptions of space. 2 The passage is mainly about the cultural conflicts creat
34、ed by different perceptions of time and space. （ A） Y （ B） N （ C） NG 3 In the west, the abstract thinking of the Greek culture coexists with the early Roman-Latin element of concreteness. （ A） Y （ B） N （ C） NG 4 Our concepts of time and space are in part conditioned by the structure of particular la
35、nguages. （ A） Y （ B） N （ C） NG 5 Arab, Latin American, and North American cultures all have similar perceptions of personal space. （ A） Y （ B） N （ C） NG 6 In many Asian cultures, ones perceptions of physical reality are believed to be based on _. 7 The French tradition of _ is likely to pose a chall
36、enging problem to American visitors. 8 The culturally patterned _ are different in the United States, Japan and India. 9 According to European concepts, a French architect designed a modem Indian city, named _. 10 Different from its English equivalent, the Hopi word for room must be used with a dire
37、ctional _. 11 In the view of Freed, some traditional Indian patterns can be seen as an adaptation to the high _. Section A Directions: In this section, you will hear 8 short conversations and 2 long conversations. At the end of each conversation, one or more questions will be asked about what was sa
38、id. Both the conversation and the questions will be spoken only once. After each question there will be a pause. During the pause, you must read the four choices marked A, B, C and D, and decide which is the best answer. （ A） The black one. （ B） The white one. （ C） The big one. （ D） The one with a b
39、igger yard. （ A） She is drawing. （ B） She is getting some money from the bank. （ C） She is depositing money in the bank. （ D） She is saving someone. （ A） She has bought a new one. （ B） Her brother has just given her one. （ C） She has only an old one, （ D） She has none at present. （ A） The woman is t
40、he mans boss. （ B） The man is the womans husband. （ C） The woman is the teacher of the child. （ D） The woman wants to know something about a student. （ A） He wants to quit the class too. （ B） He knows nothing about swimming. （ C） He made great efforts in learning to swim. （ D） He teaches swimming. （
41、 A） Cowardly. （ B） Curious. （ C） Lazy. （ D） Courageous. （ A） She wants to leave the theatre before the movie is over. （ B） She doesnt know the way to the theatre. （ C） She wants to go early to avoid the traffic jam. （ D） She usually goes home at eight. （ A） It was too small. （ B） It was too loose. （
42、 C） It was too expensive. （ D） She doesnt like the style. （ A） A detective story. （ B） Their writing assignment. （ C） Professor Wilsons writing course. （ D） A jewelry store robbery. （ A） Her professor did not like her story. （ B） She had trouble finishing her assignment. （ C） She did not like the to
43、pic she had chosen for her paper. （ D） She was taking too many courses. （ A） An orchestra conductor. （ B） An music fan. （ C） A sales manager in a music company. （ D） A background music composer. （ A） It can increase production by 4.5 percent in factories at least. （ B） It is sometimes very boring to
44、 the workers. （ C） It can possibly give people better feeling and influence their attitudes. （ D） It is always faster than any other music. （ A） It started at a time when the workers were slower in work. （ B） it started during the Second World War. （ C） It started before the factories had their own
45、orchestras. （ D） It started in the early part of 19th Century. （ A） Because they want to make the attendants work faster. （ B） Because they think fast music can make people eat more. （ C） Because hamburgers will become more popular by this way. （ D） Because they hope customers will spend less time o
46、n eating than before. Section B Directions: In this section, you will hear 3 short passages. At the end of each passage, you will hear some questions. Both the passage and the questions will be spoken only once. After you hear a question, you must choose the best answer from the four choices marked
47、A, B, C and D. （ A） Because he led his teams to many championships. （ B） Because he set as many as 65 different records. （ C） Because he still played the game after he retired. （ D） Because he didnt stop playing even when he was seriously injured. （ A） He lost the final chance to win a championship.
48、 （ B） He was knocked out during one contest. （ C） He broke a bone in the wrist during a match. （ D） He was awarded with a $1.5 million house. （ A） To break the previous records. （ B） To win one more championship for his team. （ C） To buy a luxury house. （ D） To play against the New York team once ag
49、ain. （ A） Because many people dont know how to behave in social situations. （ B） Because most people are shy by nature. （ C） Nobody will laugh at you for being shy. （ D） Shyness is difficult to overcome. （ A） By prediction. （ B） By recording. （ C） Through observation. （ D） Through interviewing. （ A） To observe peoples attitude towards strangers. （ B） To see how people get along with their friends. （ C） To change peoples behavior in social life. （ D） To find out how shy people are. （ A） To look for a differen
