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QUESTION BOOKLET
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TEST
FOR ENGLISH MAJORS (2017)
-GRADE EIGHT-
TIME LIMIT: 150
MIN
PART I
LISTENING COMPREHENSION
SECTION A
MINI-LECTURE
[25 MIN]
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
and
semantically
acceptable.
You
may
use
the
blank
sheet
for
note-taking.
You have THIRTY seconds to preview the
gap-filling task.
Now listen to the
mini-lecture. When it is over, you will be given
THREE minutes to check
your work.
SECTION B
INTERVIEW
In this section you will hear TWO
interviews. At the end of each interview, five
questions
will be asked about what was
said. Both the interviews and the questions will
be spoken ONCE
ONLY. After each
question there will be a ten-second pause. During
the pause, you should read
the
four
choices
of
A,
B,
C
and
D,
and
mark
the
best
answer
to
each
question
on
ANSWER
SHEET TWO.
You have THIRTY seconds to
preview the choices.
Now,
listen to the first interview. Questions 1 to 5
are based on the first interview.
1.
A.
Comprehensive.
B. Disheartening.
C. Encouraging.
D.
Optimistic.
2.
A. 200.
B. 70.
C.
10.
D. 500.
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3.
A. Lack of
international funding.
B. Inadequate
training of medical personnel.
C.
Ineffectiveness of treatment efforts.
D. Insufficient operational efforts on
the ground.
4.
A. They can start education programs
for local people.
B. They can open up
more treatment units.
C. They can
provide proper treatment to patients.
D. They can become professional.
5.
A.
Provision of medical facilities.
B.
Assessment from international agencies.
C. Ebola outpacing operational efforts.
D. Effective treatment of Ebola.
Now, listen to the second
interview. Questions 6 to 10 are based on the
second interview.
6.
A.
Interpreting the changes from different sources.
B. Analyzing changes from the Internet
for customers.
C. Using media
information to inspire new ideas.
D.
Creating things from changes in behavior, media,
etc.
7.
A. Knowing previous success stories.
B. Being brave and willing to take a
risk.
C. Being sensitive to business
data.
D. Being aware of what is
interesting.
8.
A. Having people take a risk.
B. Aiming at a consumer leek.
C. Using messages to do things.
D. Focusing on data-based ideas.
9.
A.
Looking for opportunities.
B.
Considering a starting point.
C.
Establishing the focal point.
D.
Examining the future carefully.
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10.
A. A media
agency.
B. An Internet company.
C. A venture capital firm.
D. A behavioral study center.
PART II
READING COMPREHENSION
[45 MIN]
SECTION A
MULTIPLE CHOICE
QUESTIONS
In this section
there are three passages followed by fourteen
multiple choice questions. For each
multiple choice question, there are
four suggested answers marked A, B, C and D.
Choose the one
that you think is the
best answer and mark your answers on ANSWER SHEET
TWO.
PASSAGE ONE
(1) It’s 7
pm on
a balmy Saturday night in June, and I have just
ordered my first beer in I
Cervejaria,
a
restaurant
in
Zambujeira
do
Mar,
one
of
the
prettiest
villages
on
Portugal’s
south-
west coast. The place
is empty, but this doesn’t surprise me at all. I
have spent two weeks
in this area,
driving along empty roads, playing with my son on
empty beaches, and staying in
B&Bs
where we are the only guests.
(2) No
doubt the restaurant, run by two brothers for the
past 28 years, is buzzing in July and
August,
when
Portuguese
holidaymakers
descend
on
the
Alentejo
coast.
But
for
the
other
10
months
of the year, the trickle of diners who come to
feast on fantastically fresh seafood reflects
the general pace of life in the
Alentejo: sleepy, bordering on comatose.
(3)
One
of
the
poorest,
least-developed,
least-
populated
regions
in
western
Europe,
the
Alentejo has been dubbed
both the Provence and the Tuscany of Portugal.
Neither is accurate. Its
scenery is not
as pretty and, apart from in the capital Evora,
its food isn’t as sophisticated. The
charms
of
this
land
of
wheat
fields,
cork
oak
forests,
wildflower
meadows
and
tiny
white-
washed villages, are
more subtle than in France or Italy’s poster
regions.
(4) To travel here
is to step back in time 40 or 50 years. Life rolls
along at a treacly pace;
there’s
an
unnerving
stillness
to
the
landscape.
But
that
stillness
ends
abruptly
at
the
Atlantic
Ocean, where there is drama in spades.
Protected by the South West Alentejo and Costa
Vicentina
national park, the 100 km of
coastline from Porto Covo in the Alentejo to
Burgau in the Algarve
is
the
most
stunning
in
Europe. And
yet
few
people
seem
to
know
about
it. Walkers
come
to
admire the views from the
Fisherman’s Way, surfers to ride the best waves in
Europe, but day
after day we had
spectacular beaches to ourselves.
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(5) The lack
of awareness is partly a matter of accessibility
(these beaches are a good two
hours’
drive
from
either
Faro
or
Lisbon
airports)
and
partly
to
do
with
a
lack
of
beachside
accommodation.
There
are
some
gorgeous,
independent
guesthouses
in
this
area,
but
they
are
hidden
in valleys or at the end of dirt tracks.
(6)
Our
base
was
a
beautiful
600-acre
estate
of
uncultivated
land
covered
in
rock-rose,
eucalyptus
and
wild
flowers
13km
inland
from
Zambujeira.
Our
one-bedroom
home,
Azenha,
was once home to the
miller who tended the now-restored watermill next
to it. A kilometre away
from the main
house, pool and restaurant, it is gloriously
isolated.
(7) Stepping out
of the house in the morning to greet our
neighbours
–
wild horses on
one
side, donkeys on the other
–
with nothing but birdsong
filling the air, I felt a sense of adventure
you normally only get with wild
camping.
(8) “When people first arrive,
they feel a little anxious wondering what they are
going to do
the
whole
time,”
Sarah
Gredley,
the
English
owner
of
estate,
told
me.
“But
it
doesn’t
usually
take them long to
realise that the whole point of being here is to
slow down, to enjoy nature.”
(9) We followed her advice, walking
down to the stream in search of terrapins and
otters, or
through
clusters
of
cork
oak
trees.
On
some
days,
we
tramped
uphill
to
the
windmill,
now
a
romantic house for two, for panoramic
views across the estate and beyond.
(10) When we ventured out, we were
always drawn back to the coast
–
the gentle sands and
shallow bay of Farol beach. At the end
of the day, we would head, sandy-footed, to the
nearest
restaurant, knowing that at
every one there would be a cabinet full of fresh
seafood to choose
from
–
bass, salmon,
lobster, prawns, crabs, goose barnacles, clams …
We never ate the
same
thing
twice.
(11) A kilometre or so from I
Cervejaria, on Zambujeira’s idyllic natural
harbour is O Sacas,
originally built to
feed the fishermen but now popular with everyone.
After scarfing platefuls of
seafood on
the terrace, we wandered down to the harbour where
two fishermen, in wetsuits, were
setting out by boat across the clear
turquoise water to collect goose barnacles. Other
than them,
the
place
was
deserted
–
just
another
empty
beauty
spot
where
I
wondered
for
the
hundredth
time that week how this pristine
stretch of coast has remained so undiscovered.
11.
The first part of Para. 4 refers to the
fact that ______.
A.
life there is quiet and slow
B.
the place is
little known
C.
the place is least populated
D.
there are
stunning views
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12.
“The lack of
awareness”
in Para. 5 refers to ______.
A.
different
holidaying preferences
B.
difficulty of finding accommodation
C.
little
knowledge of the beauty of the beach
D.
long distance
from the airports
13.
The
author uses “gloriously” in Para. 6 to
______.
A.
describe the scenery outside the house
B.
show
appreciation of the surroundings
C.
contrast
greenery with isolation
D.
praise the region’s unique
feature
14.
The sentence
“We never ate the same thing twice” in Para. 10
reflects the ______ of the
seafood
there.
A.
freshness
B.
delicacy
C.
taste
D.
variety
15.
Which of the
following themes is repeated in both Paras. 1 and
11?
A.
Publicity.
B.
Landscape.
C.
Seafood.
D.
Accommodation.
PASSAGE TWO
(1) I can still remember the faces when
I suggested a method of dealing with what most
teachers of English considered one of
their pet horrors, extended reading. The room was
full of
tired teachers, and many were
quite cynical about the offer to work together to
create a new and
dynamic approach to
the place of stories in the classroom.
(2) They had seen promises come and go
and mere words weren't going to convince them,
which was a shame as it was mere words
that we were principally dealing with. Most
teachers
were
unimpressed
by
the
extended
reading
challenge
from
the
Ministry,
and
their
lack
of
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enthusiasm for the rather dry list of
suggested tales was passed on to their students
and everyone
was pleased when that part
of the syllabus was over. It was simply a box
ticking exercise. We
needed to do
something more. We needed a very different
approach.
(3) That was ten years ago.
Now we h
ave a different approach, and
it works. Here’s how it
happened (or,
like most good stories, here are the main parts.
You have to fill in some of yourself
employing
that
underused
classroom
device,
the
imagination.)
We
started
with
three
main
precepts:
(4) First, it is
important to realize that all of us are
storytellers, tellers of tales. We all have
our own narratives
–
the real stories such as
what happened to us this morning or last night,
and
the ones we have been told by
others and we haven’t experienc
ed
personally. We could say that
our
entire lives are constructed as narratives. As a
result we all understand and instinctively feel
narrative structure. Binary opposites
–
for example, the tension
created between good and bad
together
with the resolution of that tension through the
intervention of time, resourcefulness and
virtue
–
is a
concept understood by even the youngest children.
Professor Kieran Egan, in his
seminal
book
‘Teaching
as
Storytelling’
warns
us
not
to
ignore
this
innate
skill,
for
it
is
a
remarkable tool for
learning.
(5)
We
need
to
understand
that
writing
and
reading
are
two
sides
of
the
same
coin:
an
author
has
not
completed
the
task
if
the
book
is
not
read:
the
creative
circle
is
not
complete
without the reader, who will supply
their own creative input to the process. Samuel
Johnson said:
A writer only begins a
book. A reader finishes it. In teaching terms, we
often forget that reading
itself can be
a creative process, just as writing is, and we too
often relegate it to a means of data
collection. We frequently forget to
make that distinction when presenting
narratives or poetry,
and often ask
comprehension questions which relate to factual
information
–
who said what
and
when, rather than speculating on
‘why’, for example, or examining
the
context of the action.
(6) The third
part of the reasoning that we adopted relates to
the need to engage the students
as
readers in their own right, not as simply as
language learners; learning the language is part
of the
process, not the reason for
reading. What they read must become theirs and
have its own special
and secret life in
their heads, a place where teachers can only go if
invited.
(7)
We
quickly
found
that
one
of
the
most
important
ways
of
making
all
the
foregoing
happen was to
engage the creative talents of the class before
they read a word of the text. The
pre-
reading activities become the most important part
of the teaching process; the actual reading
part can almost be seen as the cream on
the cake, and the principle aim of pre-reading
activities
is to get students to want
to read the text. We developed a series of
activities which uses clues or
fragments
from
the
text
yet
to
be
read,
and
which
rely
on
the
student’s
innate
knowledge
of
narrative, so that they
can to build their own stories before they read
the key text.
They have
enough
information
to
generate
ideas
but
not
so
much
that
it
becomes
simply
an
exercise
in
guided writing; releasing a free
imagination is the objective.
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(8) Moving
from pre-reading to reading, we may introduce
textual intervention activities.
‘Textual Intervention’ is a term used
by Rob Pope to describe the process of questioning
a text
not simply as a guide to
comprehension but as a way of exploring the
context of the story at any
one time,
and examining points at which the narrative
presents choices, points of divergence, or
narrative crossroads. We don’t do this
for all texts, however, as the shorter ones do not
seem to
gain much from this process and
it simply breaks up the reading pleasure.
(9)
Follow-up
activities
are
needed,
at
the
least,
to
round
off
the
activity,
to
bring
some
sense of closure but they also offer an
opportunity to link the reading experience more
directly to
the
requirements
of
the
syllabus.
Indeed,
the
story
may
have
been
chosen
in
the
first
place
because the context supports one of the
themes that teachers are required to examine as
part of
the
syllabus
–
for
example,
‘families’,
‘science
and
technology’,
‘communications’,
‘the
environment’ and all the other familiar
themes. There are very few stories that can’t be
explored
without
some
part
of
the
syllabus
being
supported.
For
many
teachers
this
is
an
essential
requirement if
they are to engage in such extensive reading at
all.
(10) The whole process
–
pre-, while and post
reading
–
could
be just an hour’s activity, or
it could last for more than one lesson.
When we are designing the materials for exploring
stories
clearly it is isn’t possible
for us to know how much time any teacher will have
available, which
is why we construct
the activities into a series of independent units
which we call kits. They are
called
kits because we expect teachers to build their own
lessons out of the materials we provide,
which
implies
that
large
amounts
may
be
discarded.
What
we
do
ask,
though,
is
that
the
pre-reading activities
be included, if nothing else. That is essential
for the process to engage the
student
as a creative reader..
(11)
One
of
the
purposes
of
encouraging
a
creative
reading
approach
in
the
language
classroom is to do
with the dynamics we perceive in the classroom.
Strategic theorists tell us of
the
social
trinity,
whereby
three
elements
are
required
to
achieve
a
dynamic
in
any
social
situation. In the language classroom
these might be seen as consisting of the student,
the teacher
and
the
language.
Certainly
from
the
perspective
of
the
student
–
and
usually
from
the
perspective of the teacher
–
the relationship is an
unequal one, with the language being perceived
as
placed
closer
to
the
teacher
than
the
student.
This
will
result
in
less
dynamic
between
language
and
student
than
between
language
and
teacher.
However,
if
we
replace
‘language’
with narrative and especially if that
is approached as a creative process that draws the
student in
so that they feel they ‘own’
the relationship with th
e text, then
this will shift the dynamic in the
classroom so that the student, who has
now become a reader, is much closer to the
language
–
or
narrative
–
than
previously. This creates a much more effective
dynamic of learning. However,
some
teachers feel threatened by this apparent loss of
overall control and mastery. Indeed, the
whole
business
of
open
ended
creativity
and
a
lack
of
boxes
to
tick
for
the
correct
answer
is
quite
unsettling territory for some to find themselves
in.
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16.
It can be
inferred from Paras. 1 and 2 that teachers used to
______.
A.
oppose
strongly the teaching of extended reading
B.
be confused
over how to teach extended reading
C.
be against
adopting new methods of teaching
D.
teach extended
reading in a perfunctory way
17.
The
sentence
“we
all
understand
and
instinctively
feel
narrative
structure”
in
Para.
4
indicates that ______.
A.
we are good at
telling stories
B.
we all like telling stories
C.
we are born
story-tellers
D.
we all like listening to stories
18.
Samuel Johnson regards the relationship
between a writer and a reader as ______ (Para. 5).
A.
independent
B.
collaborative
C.
contradictory
D.
reciprocal
19.
In
Para.
7,
the
author
sees
“pre
-
reading”
as
the
most
important
part
of
reading
because
_____.
A.
it encourages students’
imagination
B.
it lays a good foundation for reading
C.
it can attract
students’ attention
D.
it provides
clues to the text to be read
20.
“Textual
Intervention”
suggested
by
Rob
Pope
(in
Para.
8)
is
expected
to
fulfill
all
the
following functions EXCEPT ______.
A.
exploring the
context
B.
interpreting ambiguities
C.
stretching the
imagination
D.
examining the structure
PASSAGE THREE
(1) Once again, seething, residual
anger has burst forth in an American city. And the
riots
that overtook Los Angeles were a
reminder of what knowledgeable observers have been
saying
for a quarter century: America
will continue paying a high price in civil and
ethnic unrest unless
the nation commits
itself to programs that help the urban poor lead
productive and respectable
lives.
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