高级英语(下)试卷F试题卷

…

…

…

…

…

…

…

…

…

O

…

：

…

号

…

学

…

O

…

…

…

…

线

O

…

：

…

名

…

姓

订

O

…

…

…

装

O

…

：

…

级

班

…

…

O

…

…

…

< br>…

O

…

…

…

…

O

xxx

学院

学年

学期

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 and thither...

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

1

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.

B

esides 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,

S

unday’

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.

2