高级英语(下)试卷F试题卷-USB迷|专注于互联网分享

2024年5月20日发(作者：九水之)

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英语专业级《高级英语（下）》试卷（F）

考试形式：（闭卷）

题号

（型）

I II III IV V VI 总分评分人

得分核分人

PART I MINI-LECTURE [20 MIN]

In this section you will 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. 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 your ANSWER SHEET. Use the blank sheet for

note-taking.

Now listen to the mini-lecture.

PART II READING COMPREHENSION [20 MIN]

In this section, there are several reading passages followed by a total of fifteen

multiple-choice questions. Read the passages and then write your answers on your

ANSWER SHEET.

TEXT A

The fox really exasperated them both. As soon as they had let the fowls out, in the

early summer mornings, they had to take their guns and keep guard; and then again as

soon as evening began to mellow, they must go once more. And he was so sly. He slid

along in the deep grass; he was difficult as a serpent to see. And he seemed to

circumvent the girls deliberately. Once or twice March had caught sight of the white tip

of his brush, or the ruddy shadow of him in the deep grass, and she had let fire at him.

But he made no account of this.

The trees on the wood edge were a darkish, brownish green in the full light—for it

was the end of August. Beyond, the naked, copper-like shafts and limbs of the pine trees

shone in the air. Nearer the rough grass, with its long, brownish stalks all agleam, was

full of light. The fowls were round about—the ducks were still swimming on the pond

under the pine trees. March looked at it all, saw it all, and did not see it. She heard

Banford speaking to the fowls in the distance—and she did not hear. What was she

thinking about? Heaven knows. Her consciousness was, as it were, held back.

She lowered her eyes, and suddenly saw the fox. He was looking up at her. His chin

was pressed down, and his eyes were looking up. They met her eyes. And he knew her.

She was spellbound—she knew he knew her. So he looked into her eyes, and her soul

failed her. He knew her, he has not daunted.

She struggled, confusedly she came to herself, and saw him making off, with slow

leaps over some fallen boughs, slow, impudent jumps. Then he glanced over his

shoulder, and ran smoothly away. She saw his brush held smooth like a feather, she saw

his white buttocks twinkle. And he was gone, softly, soft as the wind.

She put her gun to her shoulder, but even then pursed her mouth, knowing it was

nonsense to pretend to fire. So she began to walk slowly after him, in the direction he

had gone, slowly, pertinaciously. She expected to find him. In her heart she was

determined to find him. What she would do when she saw him again she did not

consider. But she was determined to find him. So she walked abstractedly about on the

edge of the wood, with wide, vivid dark eyes, and a faint flush in her cheeks. She did not

think. In strange mindlessness she walked hither

As soon as supper was over, she rose again to go out, without saying why.

She took her gun again and went to look for the fox. For he had lifted his eyes upon

her and his knowing look seemed to have entered her brain. She did not so much think

of him: she was possessed by him. She saw his dark, shrewd, unabashed eye looking

into her, knowing her. She felt him invisibly master her spirit. She knew the way he

lowered his chin as he looked up, she knew his muzzle, the golden brown, and the

greyish white. And again she saw him glance over his shoulder at her, half inviting, half

contemptuous and cunning. So she went, with her great startled eyes glowing, her gun

under her arm, along the wood edge. Meanwhile the night fell, and a great moon rose

above the pine trees.

1. At the beginning of the story, the fox seems to be all EXCEPT ___________.

A. cunning B. fierce C. defiant D. annoying

2. As the story proceeds, March begins to feel under the spell of ___________.

A. the light B. the trees C. the night D. the fox

3. Gradually March seems to be in a state of _____________.

A. blankness B. imagination C. sadness D. excitement

4. At the end of the story, there seems to be a sense of ___________ between March and

the fox.

A. detachment B. anger C. intimacy D. conflict

5. The passage creates an overall impression of _____________.

A. mystery B. horror C. liveliness D. contempt

TEXT B

Just over 10 years ago, Ingmar Bergman announced that the widely acclaimed

Fanny and Alexander would mark his last hurrah as a filmmaker. Although some critics

had written him off as earnest but ponderous, others were saddened by the departure of

an artist who had explored cinematic moods—from high tragedy to low

comedy—during his four-decade career.

What nobody foresaw was that Bergman would find a variety of ways to

circumvent his own retirement—directing television movies, staging theater productions,

and writing screenplays for other filmmakers to direct. His latest enterprise as a

screenwriter, Sunday’s Children, completes a trilogy of family-oriented movies that

began with Fanny and Alexander and continued with The Best Intentions written by

Bergman and directed by Danish filmmaker Bille August.

Besides dealing with members of Bergman’s family in bygone times—it begins a

few years after The Best Intentions leaves off—the new picture was directed by Daniel

Bergman, his youngest son. Although it lacks the urgency and originality of the elder

Bergman’s greatest achievements, such as The Silence and Persona, it has enough visual

and emotional interest to make a worthy addition to his body of work.

Set in rural Sweden during the late 1920s, the story centers on a young boy named

Pu, clearly modeled on Ingmar Bergman himself. Pu’s father is a country clergyman

whose duties include traveling to the capital and ministering to the royal family. While

this is an enviable position, it doesn’t assuage problems in the pastor’s marriage. Pu is

young enough to be fairly oblivious to such difficulties, but his awareness grows with

the passage of time. So do the subtle tensions that mar Pu’s own relationship with his

father, whose desire to show affection and compassion is hampered by a certain stiffness

in his demeanor and chilliness in his emotions.

The film’s most resonant passages take place when Pu learns to see his father with

new clarity while accompanying him on a cross-country trip to another parish. In a

remarkable change of tone, this portion of the story is punctuated with flash-forwards to

a time 40 years in the future, showing the relationship between parent and child to be

dramatically reversed: The father is now cared for by the son, and desires forgiveness

for past shortcomings that the younger man resolutely refuses to grant.

Brief and abrupt though they are, these scenes make a pungent contrast with the

sunny landscapes and comic interludes in the early part of the movie.

Sunday’s Children is a film of many levels, and all are skillfully handled by Daniel

Bergman in his directional debut. Gentle scenes of domestic contentment are sensitively

interwoven with intimations of underlying malaise. While the more nostalgic sequences

are photographed with an eye-dazzling beauty that occasionally threatens to become

cloying, any such result is foreclosed by the jagged interruptions of the flash-forward

sequences—an intrusive device that few filmmakers are agile enough to handle

successfully, but that is put to impressive use by the Bergman team.

Henrik Linnros gives a smartly turned performance as young Pu, and Thommy

Berggren—who starred in the popular Elvira Madigan years ago—is steadily convincing

as his father. Top honors go to the screenplay, though, which carries the crowded canvas

of Fanny and Alexander and the emotional ambiguity of The Best Intentions into fresh

and sometimes fascinating territory.

6. Over the years critical views of Bergman’s work have ____________.

A. without exception been positive

B. deplored his seriousness

C. often been antithetical

D. usually focused on his personality

7. The subject matter of Sunday’s Children _____________.

A. is presented chronologically

B. takes place in the 19th century

C. occurs all in one locale

D. is derived from reminiscences

8. From the passage we can infer that Pu’s father is portrayed as a ____________.

A. demonstrative and caring parent

B. reserved and reticent man

C. compassionate and sentimental spouse

D. spontaneous and dynamic minister

9. The reviewer thinks that the “flash forward” techniques is _____________.

A. seldom handled skillfully

B. responsible for the film’s success

C. too disruptive for ordinary filmgoers

D. best left to amateur experimentation

10. In the reviewer’s opinion, Sunday’s Children _____________.

A. is a cinematic first

B. has an original and interesting script

C. is visually and emotionally depressing

D. surpasses Bergman’s previous work

TEXT C

The Planning Commission asserts that the needed reduction in acute hospital beds

can best be accomplished by closing the smaller hospitals, mainly voluntary and

proprietary. This strategy follows from the argument that closing entire institutions saves

more money than closing the equivalent number of beds scattered throughout the health

system.