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In Sections A, B and C you will hear everything ONCE ONLY. Listen carefully and then answer the questions that follow. Mark the correct answer to each question on your ANSWER SHEET. SECTION A CONVERSATIONS In this section you will hear several conversations. Listen to the conversations carefully and then answer the questions that follow. Questions 1 to 4 are based on the following conversation. At the end of the conversation, you will be given 20 seconds to answer the questions. Now, listen to the conversation. How long does the party last
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TEXT B Roger Rosenblatt’s book Black Fiction, in attempting to apply literary rather than sociopolitical criteria to its subject, successfully alters the approach taken by most previous studies. As Rosenblatt notes, criticism of Black writing has often served as a pretext for illustrating Black history. Addison Gayle’s recent work, for instance, judges the value of Black fiction by overtly political standards, rating each work according to the notions of Black identity that it propounds. Although fiction assuredly springs from political circumstances, its authors react to those circumstances in ways other than ideological, and talking about novels and stories primarily as instruments of ideology avoids cleverly much of the fictional enterprise. Rosenblatt’s literary analysis discloses ties and connections among works of Black fiction which solely political studies have overlooked or ignored. Writing acceptable criticism of Black fiction, however, assumes beforehand giving satisfactory answers to a number of questions. First of all, is there a sufficient reason, other than the racial identity of the authors Second, how does Black fiction make itself distinct from other modern fiction with which it is largely contemporaneous Rosenblatt shows that Black fiction constitutes a distinct body of writing that has an identifiable, coherent literary tradition. Looking at novels written by blacks over the last eighty years, he discovers recurring concerns and designs independent of the order of time. These structures are thematic, and they spring, not surprisingly, from the central fact that the Black characters in these novels exist in predominantly white culture, whether they try to conform to that culture or rebel against it. Black Fiction does leave some aesthetic questions open. Rosenblatt’s thematic analyses permits considerable objectivity; he even explicitly states that it is not his intention to judge the merit of the various works yet his reluctance seems to be put in the wrong palce, especially since an attempt to evaluate might have led to interesting results. For instance, some of the novels appear to be structurally diffuse. Is this a defect, or are the authors working out of, or trying to forge, a different kind of aesthetic In addition, the style of some black novels, like Jean Toomer’s Cane, verges on expressionism; does this technique provide a counterpoint to the prevalent theme that portrays the late against which black heroes are pitted, a theme usually conveyed by more naturalistic modes of expression In spite of such omissions, what Rosenblatt does include in his discussion makes for an clever and worthwhile study. Black Fiction surveys a wide variety of novels, bringing to our attention in the process some fascinating and little-known works like James Weldon Johnson’s Autobiography of an Ex-Colored Man. Its argument is tightly constructed, and its straightforward, clear style shows clear-minded and penetrating criticism. Which of the following would the author be least likely to approve of
Directions: There are 20 blanks in the following passage. For each blank there are four choices marked A), B), C) and D) on the right side of the paper. You should choose the ONE that best fits into the passage. Then mark the corresponding letter on Answer Sheet 2 with a single line through the centre. One of the most important features that distinguish reading from listening is the nature of the audience. (67) the writer often does not know who will read what he writes, he must (68) to be as clear as possible. Time can be taken to plan the piece of writing so that it is eventually organized into some sort of (69) sequence of events or ideas. When we speak, however, we normally have very little time to plan what we (70) to say. Since we are actually (71) our audience face to face we may (72) some of the information we believe our audience shares. And the more (73) we are with our audience, the more information we are likely to leave out. In any (74) they can always stop and ask a question or ask for (75) if we have left out too much. A reader, however, cannot do this but can at least attempt comprehension at his own speed; (76) , he can stop and go backwards or forwards, (77) to a dictionary or just stop and rest. When we listen we may have to work hard to (78) out the speaker’s thoughts by referring backwards and forwards while the speaker continues. As the speaker (79) to organize his thoughts, he will use Filler phrases to give him time to plan. In spite of these fillers, he will (80) make mistakes and repeat what he has already said. His speech will be characterized (81) a limited range of grammatical patterns and vocabulary and the use of idioms to (82) some general meaning quickly. It should be clear, then, that the listener has to take an active (83) in the process by ignoring the speaker’s (84) and mistakes, and by seeking out the main idea information through recall and prediction. To keep the process going (85) he also has to inform the speaker that he has understood (86) actually interrupting.
Directions: There are 2 passages in this section. Each passage is followed by some questions or unfinished statements. For each of them there are four choices marked A), B), C) and D). You should decide on the best choice and mark the corresponding letter on Answer Sheet 2 with a single line through the centre.Passage One Questions 57 to 61 are based on the following passage. A soccer referee suspended (吊销执照) for scoring a goal while taking charge of a game has resigned after being found guilty of bringing the game into disrepute by the Essex County Football Association. The Essex County Football Association said that they were disappointed by the decision of Savill, who hit the headlines last year when his sympathy for a team getting beaten 18- 1 went too far. "It is a pretty unique case and hopefully it won’t happen again," said Essex County FA chief executive Phil Sammons. Brian Savill was taking charge of a Great Bromley Cup game in the south of England between Earls Colne Reserves and Wimpole 2000. With 10 minutes remaining and Wimple getting beaten 18- 1, Savill found the ball at his feet in front of the Earls Colne goal and immediately banged it into the net, before signaling a goal. The laws of the game state that the referee is part of the playing area and that the game continues if the ball strikes him. There is no item in the laws to differentiate between an accidental or deliberate (故意的) touch of the ball. Savill’s bizarre (匪夷所思的) goal made little difference to the outcome as Earls Colne went on to win 20-2, but the officials were impressed. The Essex County Football Association finally found 47-year-old Savill guilty of bringing the game into disrepute and suspended him for seven weeks. Savill, a referee with 18 years’ experience, resigned after finding out about the decision. "They haven’t got a sense of humor," he told The Times newspaper. "It brought enjoyment to everyone’s lives. It shows refereeing can be enjoyable and that we are not Hitlers running blowing whistles all the time. " However, he advised other referees against following his example. What does the word "it" in Paragraph 3 refer to
Directions: There are 20 blanks in the following passage. For each blank there are four choices marked A), B), C) and D) on the right side of the paper. You should choose the ONE that best fits into the passage. Then mark the corresponding letter on Answer Sheet 2 with a single line through the centre. One of the most important features that distinguish reading from listening is the nature of the audience. (67) the writer often does not know who will read what he writes, he must (68) to be as clear as possible. Time can be taken to plan the piece of writing so that it is eventually organized into some sort of (69) sequence of events or ideas. When we speak, however, we normally have very little time to plan what we (70) to say. Since we are actually (71) our audience face to face we may (72) some of the information we believe our audience shares. And the more (73) we are with our audience, the more information we are likely to leave out. In any (74) they can always stop and ask a question or ask for (75) if we have left out too much. A reader, however, cannot do this but can at least attempt comprehension at his own speed; (76) , he can stop and go backwards or forwards, (77) to a dictionary or just stop and rest. When we listen we may have to work hard to (78) out the speaker’s thoughts by referring backwards and forwards while the speaker continues. As the speaker (79) to organize his thoughts, he will use Filler phrases to give him time to plan. In spite of these fillers, he will (80) make mistakes and repeat what he has already said. His speech will be characterized (81) a limited range of grammatical patterns and vocabulary and the use of idioms to (82) some general meaning quickly. It should be clear, then, that the listener has to take an active (83) in the process by ignoring the speaker’s (84) and mistakes, and by seeking out the main idea information through recall and prediction. To keep the process going (85) he also has to inform the speaker that he has understood (86) actually interrupting.
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