2006年Section I Use of English (20 minutes, 10%) Read the following text. Choose the best word for each numbered blank from A, B, C or D.With its common interest in lawbreaking but its extremely large range of subject matter and widely varying methods of treatment, the crime novel could make a reasonable 1 to be regarded as a separate branch of literature. The detective story is probably the most 2 of the crime species. Its creation is often the relaxation of university teachers, 3 economists, scientists or even poets. 4 may occur more frequently and mysteriously than might be expected in polite society, 5 the world in which they happen, the village, seaside resort, college or studio, is familiar to us, if not 6 our own experience, at 7 in the newspaper or the lives of friends. The characters, 8 normally realized superficially, are as recognizably human and 9 as our less intimate associates. A story set in a more 10 environment, African jungle, or Australian bush, ancient China or gaslit London, 11 to our interest in geography or history, and most detective story writers are 12 in providing reasonably true background. The 13 , carefully-assembled plot, disliked by the modern intellectual 14 and creators of significant novels’, has found 15 in the murder mystery, with a small number of clues and apparent 16 , all with appropriate solutions and explanations at the end. 17 the guilt of escapism from Real Life nagging gently, we secretly take great delight in the 18 of evil by a vaguely superhuman detective, who sees through and disperses the 19 of suspicion which stayed so unjustly over the 20 .01. [A] plea [B] appeal [C] claim [D] assertion02. [A] acceptable [B] respectable [C] debatable [D] vulnerable03. [A] literary [B] curious [C] sensible [D] observant04. [A] Schemes [B] Assassinations [C] Mysteries [D] Misfortunes05. [A] and [B] but [C] as [D] for06. [A] by [B] in [C] from [D] with07. [A] last [B] best [C] most [D] least08. [A] if [B] when [C] most [D] least09. [A] consistent [B] insistent [C] persistent [D] competent10. [A] strange [B] remote [C] primitive [D] mysterious11. [A] attracts [B] accords [C] appeals [D] applies12. [A] conscious [B] ambitious [C] industrious [D] conscientious13. [A] elaborate [B] accurate [C] considerate [D] deliberate14. [A] authors [B] critics [C] novelists [D] spectators15. [A] flaw [B] trouble [C] refuge [D] evidence16. [A] contradictions [B] probabilities [C] implications [D] impossibilities17. [A] With [B] For [C] Despite [D] Without18. [A] unveiling [B] unmasking [C] unwitting [D] unpacking19. [A] fog [B] mist [C] shade [D] cloud20. [A] victim [B] suspect [C] innocent [D] accusedSection II Reading Comprehension (70 minutes, 50%Part AVirtue is not so much a matter of learning specific rules or principles as it is one of developing special skills of exercising one's capacity for right action. Since "virtue" can mean both "moral goodness" and "successful or excellent action," comment regarding the teaching of virtue must apply to both senses or uses of the term, narrow or broad. Both are matters of human action or activity and, as such, are taught performatively.That virtue is taught and learned performatively has something to do with the normative quality of human action or activity. Norms are ways of doing something, getting something done, which are taught by doing and showing how to do. Being normative, however, human actions can go wrong. As Stanley Cavell wrote: "The most characteristic facts about actions is that they can be performed incorrectly. This is not a moral assertion, though it points the moral of intelligent activity. These are actions which we perform, and our successful performance of them depends upon our adopting and following the ways in which the action in question is done and upon what is normative for it." Thus, in talking about virtue, we are talking about normative matters, matters taught and learned in terms of unsuccessful human action. As such, we are speaking about the cultivation of human skills and practices, human ways of acting in this world.Whether virtue is narrowly or broadly understood, the teaching of virtue is the teaching of a skill within a practice of form of life, the training of a capacity, not the memorization of rules or guidelines. Virtue is embodied in action; accordingly, our knowledge of virtue is a kind of performative knowledge ---- both knowledge acquired through action and knowledge expressed or revealed in action. Our knowledge of virtue is not, then, a matter of prepositional knowledge, but rather a matter of performative knowledge. This helps account for our relative inability to define what virtue is with any assurance. Knowing what virtue is, is not the same as knowing what some kind of object is, because virtue is not an object. And since so much of Western thought uses our knowledge of objects as the paradigm of knowledge, any kind of knowledge that does not fit the model is apt to seem not quite or fully knowledge at all. Hence, an inability to articulate the meaning of virtue is not a sign of the lack of knowledge of virtue. Instead, it is a part of the grammar of virtue: it shows what kind of thing virtue is.21. The broad definition of virtue differs from the narrow one in its[A] dealing with cultural norms. [B] ruling out physical activities.[C] comprising the skillful teaching. [D] involving more than moral honesty.22. The author would depict the view that some human actions are morally non-normative as[A] logically persuasive. [B] profoundly mistaken.[C] reasonable and practical. [D] ambiguous and misleading.23. Which of the following statements about norms would the author support?[A] Most of them are the result of persistent teaching.[B] They are derived from specific rules for behavior.[C] They are essential to the acquisition of virtue.[D] Many of them are sound principles of action.24. The author argues that teachers of virtue strive primarily to pass on[A] practical capabilities. [B] cultural conventions.[C] favorable experiences. [D] traditional principles.25. It would serve as an example for the "prepositional knowledge" (Par. 3) to[A] experiment on a trial and error basis.[B] learn diverse philosophical definitions.[C] practice virtue by imitating moral actions.[D] advance arguments without enough evidence.26. The text is chiefly aimed at[A] revealing diverse attitudes toward virtue.[B] insisting on the value of capacity training.[C] arguing for the essence of virtue instruction.[D] providing approaches to the teaching of virtue.Part BYou are going to read an extract about sign language. Six paragraphs have been removed from the extract. Choose from Paragraphs A-G the one which fits each gap (27-32). There is one extra paragraph which you do not need to usSign LanguageSince most deaf children have heating parents and thus do not learn ASL (American Sign Language) at home, they normally learn it from the other deaf children when they get to school. However, the minority of deaf children with deaf parents learn ASL under conditions similar to those of heating children learning spoken language.27As mentioned earlier, deaf children engage in making soft sounds as much as do hearing children. However, it has been claimed that babbling falls off in deaf children after six months, presumably due to the lack of auditory feedback. It has also been claimed that mirrors hung over the cribs of deaf babies prolong and increase their vocalization28The first word (sign) generally appears sooner in ASL than in speaking children. The first sign has been reported as being at 5 or 6 months, ‘compared with 10 months in normal children. Two-sign utterances have been reported in children as young as eight months. Two reasons for such early acquisition have been given. One is the nature of many signs.29The first signs appear to be of the same types that have been reported for acquisition of vocal language ---- for example, signs for things that move or that can be handled by the child.30Children sometimes will make the sign in the wrong orientation. For example, the sign meaning "shoes" is made by bringing the two fists together, making contact at the side of the hands. One child brought the fists together so that the knuckles made contact instead. Or they might bring the hand, palm downward to the bottom of thechin and wiggling the fingers. One child made it by putting the hand in the mouth instead. Or they might use the wrong hand shape.31Just as one can argue that there are phonological-like errors, so there are similarities in how children alter the meaning of words. In one area of the acquisition of meaning, one would suspect that deaf children would find it easier than hearing children. This is the acquisition of the signs corresponding to the personal pronouns me and you. One would expect deaf children learning ASL not to have any problems with these pronouns, because "me" is expressed by pointing to oneself and "you" is expressed by pointing to the person or persons being talked to. Thus ASL uses the obvious natural gestures. Yet deaf parents sign utterances such as Want Mommy help Jane? Instead of Want me help you? Just as hearing parents do in spoken languages.32[A] There are many different sign languages, which in general are no more intelligible to a user of another sign language than a French speaker would be to a monolingual English speaker. However, experienced deaf travelers can establish communication with users of other sign languages much more easily than can speakers of two oral languages. Deaf people accomplish this by using gestures and mime along with their signs.[B] Phonological mistakes generally involve simplification, such as dropping phonemes from the word or making phonemes within a word more like each other. Of the four aspects of signs, it is logically impossible to leave one out. Although not as extensive as in the case of phonology, there is some evidence of this. Specifically, of18 different hand shapes used in making signs to one child, he always used only 9.[C] The manual equivalent of babbling, at 3 to 10 months, has been reported. The manual equivalents of happy sounds begin at a younger age, but one cannot say that there is a difference here, because all infants wave their arms about. Should this be considered making a sound? Perhaps if there were statistical evidence that infants of deaf parents wave their arms more than similarly age infants of hearing parents one could argue that this excess was making soft sound.[D] Just as the first vocal words are pronounced inaccurately, so the first signs are less than perfect imitations of the adult version. There are four major aspects to the making of any ASL sign: the shape of the hand, the location of the hand, the movement of the hand, and the orientation of the hand. Children first learning ASL will generally get some of these aspects right but make mistakes on others.[E] The ASL signs meaning "cry", "drink", "eat" and "sleep" all resemble the actual actions and thus can be figured out and used by children at an earlier age, so the argument goes. The other reason involves the relative rates of maturation of neuromuscular control of the hands and of the vocal apparatus. After all normal children often begin to comprehend words four months before they begin to speak. [F] A number of such children have been studied for the purposes of comparing ASL acquisition with that of spoken language. In most respects acquisition of ASL parallels that of spoken language, but there are some slight differences, as we shall see.[G] The deaf parents do this because they know that deaf children make the samecomprehension errors, mixing up the pronouns, that hearing children do. Deaf children learning sign language apparently acquire it as an arbitrary signal system, just as hearing children acquire speech. It may be true that infants acquire their first signs sooner because the nature of ASL, but once the acquisition process starts, the nature of signs doesn't seem to help as much as one might expect.Part CYou are going to read a passage about the how to give an academic talk. Choose from the list of headings A-G, choose the best one to summarize each paragraph (33-38) of the passage. There is one extra heading that you do not need to use.How to Give an Academic Talk33Written academic language is too complex and too awkward for reading aloud. Just talk ---- it's easier to understand, and it allows you to make genuine contact with your audience. Furthermore, it ultimately helps you to think more clearly, by forcing you to communicate your points in ordinary terms. While you are talking, stand up unless you're literally forced to sit. People can see you better. Standing also puts you in a dominant position. This may sound politically incorrect, but it's not. Remember, you're the focus. The audience wants you to be in charge. Listeners need your help to maintain their attention.34Speak loudly and clearly, facing the audience. Make sure, especially when using visual aids, that you continue to face the audience when you speak. An important element of vocal technique is to focus on the bottom (the deepest pitch) of your vocal range, which is its loudest and most authoritative tone. This can be especially important for women. Speak from the gut, not the throat. Breathe deeply ---- it's necessary for volume, and will also help you keep your mind clear. Here are two effective vocal "special effects." First, when you come to a key phrase that you want people to remember, repeat it. Second, pause for a few seconds at several points in your talk; this breaks the monotony of a continuous flow of speech. It also gives you a chance to sip some water.35In a conference situation, where talks are short and yours is one of many, your audience is not going to remember details. In such a situation, less is more. Give them short, striking "punch lines" that they'll remember. They can always read your written work later, but if you don't get them interested and show them why it's important, they won't want to.36At a minimum, have an outline of your talk. Some people seem to think they're giving everything away by showing people what they're going to say before they're said it. But the effect of a good talk outline is exactly the opposite: it makes your audience want to hear the details. At the same time, it helps them understand the structure of your thinking. Slides should be extremely concise and visually simple. Slides are maps, not territories; they are tracking devices that let both you and your audience follow the flow of the talk. So they must not be overfilled.37In conference settings, exceeding your time limit is also incredibly rude, since it cuts into other speakers' time to speak and/or other people's time to discuss. Don't rely on panel chairs to enforce time limits; do it yourself. You can make real enemies by insisting on continuing after your time is up--but nobody has ever been criticized for finishing two minutes early. Nothing is more embarrassing ---- for both you and your audience ---- than getting only halfway through your talk before hitting the time limit. The only way to be sure you time things right is to rehearse your talk. Timing is a complicated, learned skill that requires a lot of practice--so practice where it's easy, i.e. at home.38Perhaps the best way to become an excellent speaker yourself is to watch really good, experienced speakers and model your talks on theirs. Notice/not just what they say, but what they do: how they move, how they use their voices, how they look at the audience, how they handle timing and questions. If you find an excellent model and work hard to imitate that person, you can't go wrong.A Imitate excellent speakersB Focus on main argumentsC Make the best of your voiceD Respond to the audienceE Talk rather than readF Time your talk wiselyG Use visual aidPart D You are going to read a passage about research on L2 writing. Decide whether the statement in the box agree with the information given in the passage. You should choose from the following:A YES = the statement agrees with the information in the passageB NO = the statement contradicts the information in the passageC NOT GIVEN = there is no information on this in the passage.As a teacher of L2 writing for many years, I had puzzled over how my students were learning to write and correspondingly how I could improve my pedagogy. While teaching writing (and reading) in an intensive preparatory program in a Turkish university, I had taken a current-traditional rhetoric approach, stressing the arrangement of sentences and paragraphs into appropriate patterns within the traditional five-paragraph essay and correcting liberally with red ink to prevent, I had hoped, grammatical errors from taking root. In addition, I had read various composition theories pointing out differences between "good" and "not so good" writing and strategies, and had attempted to "transmit" them to my students. These theories offered only descriptions of what experienced and inexperienced writers did. They did not explain how new writers became good writers, nor did they offer me the critical edge I needed to analyze my teaching practice. After all, most students do improve their writing with sufficient study and practice. Were they improving because of my teaching practice? Because of their own practice? A mix of the two?My quest to answer these questions began with returning to the U. S. to pursue a doctorate degree in foreign language education. Among the courses I took, several dealt with writing, and I studied the research on composition in school and in the workplace. Most of the research focused on process, product, or socializationdescribing differences between "good" writers and "novices," between native-speaker products and those of non-native speakers, and between newcomers and oldtimers in the workplace or a discipline.This research did not, however, address the nature of learning. Even the process research did not consider the processes of learning to write. Rather, it studied differences between experts and beginners. It analyzed what experts do and asked new writers to try to do the same, a sort of Here you are and There you need to be approach that notes the two ends but does not map out the crucial path of processes connecting them and through which good writers acquired their expertise. To link the two ends and evaluate pedagogy critically, I felt it necessary to attend more directly to the nature of learning. In fields other than writing, I came across current theories that did address the nature of learning. Three of these were radical constructivism, sociocultural theory, and complexity theory. The first two are prominent in educational research (even dominant in the fields of science and mathematics educational research ), and the third, although not yet widespread, has its adherents across both social and natural sciences. Nevertheless, they are not well known in L2 research, and much less inI2 composition research. Only a few articles have appeared explicitly addressing radical constructivism in the L2 literature, and although some L2 writing studies have taken approaches fitting together with it, a review of the table of contents of the Journal of Second Language Writing for the past eight years emphasizes most researchers' concern with text, strategies, and skills rather than the process of learning to construct texts and to acquire strategies, skills, and an understanding of writing in a foreign language.39 The author had difficulty in improving his students' writing competence.40 The author corrected the students' writing with red ink because there were too many errors.41 The author did not think the theories he had read met his needs.42 The author took some writing courses when returning to the U. S.43 The process research failed to find out how students could become expert writers.44 There is a need to combine process and product research45 There are theories that could account for the real process ofSection III Translation (20 minutes, 20%)The act of teaching is always a dynamic interaction of individuals (teachers and teachers, teachers and learners, learners and learners), in which decisions constantly are being made by all concerned. We believe that teaching must be deliberate and planned.Not all of the decisions are made as the result of systematic and organized planning. Sometimes the choices are made intuitively. The use of intuition in teaching is quite prevalent. Many choices must be made intuitively because the rapid pace of classroom learning demands instant decision-making. In these instances, teachers depend on experience and quick thinking to provide the most appropriate instructional technique. [46] We may assume that the intuition of the experienced teacher is likely to be superior to that of the beginner, and that it is like an opinion in that its usefulnessis dependent on the experiential background on which it is based. Yet, in many cases, teachers depend on intuition when systematic and organized planning would be more appropriate. For example, a teacher may believe that a new activity ought to be offered in the school setting, so a particular course of action is taken. [47] Sometimes these intuitions prove to be right and the results are beneficial to the students, but sometimes they are not effective or are inappropriate for the needs of the learners.Intuition as a sole guide to instructional behavior represents a very limited view of the teaching process. [48] Like the proposition that "good teachers are born, not made," the use of intuition alone restricts teachers from considering teaching as both science and art, which negates the development of a systematic planning pattern from which rational and consistent decisions can be made. It implies that intuition is the beginning and end of instructional effectiveness, rather than one aspect of the teaching process.[49] Too often the teacher who relies exclusively on intuition determines objectives and selects procedures that are more reflective of instructor needs than student needs. Thus if a teacher feels like lecturing, a lecture is delivered. If a teacher feels like showing a film, a film it is! Few of us would tolerate this mode of operation in arenas outside the realm of education. [50] Consider for a minute how much confidence you would place in a bus driver who repeatedly changed the bus route because of a belief that such changes were inherently good and relieved both the driver and the riders of boredomSection I 01. CBADB 06. CDDAB 11. CDABC 16. DABDCSection II Part A 21 D B D A B C Part B 27 F C E D B G Part C 33 E C B GF A Part D39 C B A B A C A46 我们可以认定有经验教师的直觉可能比新教师的直觉优越 直觉像是一种想法 因为它是否有效取决于它赖以存在的经验背景。
