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2016年12月英語四級考試模擬試卷及答案
2016年12月英語四級考試還有兩個多月的時間，童鞋們備考進行的怎么樣了呢?下面是yjbys網小編提供給大家關于英語四級考試模擬試卷，希望對同學們的備考有所幫助。
作文
Directions: For this part, you are allowed 30 minutes to write a composition on the topic The Moonlight Clan. You should write at least 150 words, and base your composition on the outline (given in Chinese) below:
1)現在很多年輕人每個月都把自己賺的錢花光，他們被稱作“月光族”
2)有人認為這是一種時尚的消費觀念，但很多人反對這樣消費
3)我對此的看法是……
【思路點撥】
本題屬于提綱式文字命題。提綱第1點指出一種現象，提綱第2點針對該現象提出兩種不同的觀點，提綱第3點要求表明“我”的看法，由此可判斷本文應為對比選擇型作文。
根據所給提綱，本文應包含以下內容：描述“月光族”現象，引出對這一現象的不同看法;對比闡述兩種看法各自的理由;表明“我”對“月光族”的看法并說明理由。
【參考范文】
The Moonlight Clan
Nowadays, more and more people, especially the young are joining in the army of “the moonlight clan”. These people exhaust their earnings every month without any savings. Many people think this is a fashionable life style, while other people object to this kind of consumption style.
Those who support “the moonlight clan” think that “the moonlight clan” knows how to enjoy life and have a higher life quality. However, other people criticize “the moonlight clan”. They say that the consumption habit of “the moonlight clan” is unhealthy and sometimes wasteful. In addition, no savings will place “the moonlight clan” in a difficult position in case of unexpected expenses.
Weighing these two arguments, I prefer the latter one. In my eyes, though “the moonlight clan” may acquire temporary satisfaction from their consumption, in the long term, it is unfavorable to their family and career. Just as a proverb says, one should always prepare for a rainy day.
閱讀理解一：
The only way to travel is on foot
The past ages of man have all been carefully labeled by anthropologists. Descriptions like ‘ Palaeolithic Man’, ‘Neolithic Man’, etc., neatly sum up whole periods. When the time comes for anthropologists to turn their attention to the twentieth century, they will surely choose the label ‘Legless Man’. Histories of the time will go something like this: ‘in the twentieth century, people forgot how to use their legs. Men and women moved about in cars, buses and trains from a very early age. There were lifts and escalators in all large buildings to prevent people from walking. This situation was forced upon earth dwellers of that time because of miles each day. But the surprising thing is that they didn’t use their legs even when they went on holiday. They built cable railways, ski-lifts and roads to the top of every huge mountain. All the beauty spots on earth were marred by the presence of large car parks. ’
The future history books might also record that we were deprived of the use of our eyes. In our hurry to get from one place to another, we failed to see anything on the way. Air travel gives you a bird’s-eye view of the world – or even less if the wing of the aircraft happens to get in your way. When you travel by car or train a blurred image of the countryside constantly smears the windows. Car drivers, in particular, are forever obsessed with the urge to go on and on: they never want to stop. Is it the lure of the great motorways, or what? And as for sea travel, it hardly deserves mention. It is perfectly summed up in the words of the old song: ‘I joined the navy to see the world, and what did I see? I saw the sea.’ The typical twentieth-century traveler is the man who always says ‘I’ve been there. ’ You mention the remotest, most evocative place-names in the world like El Dorado, Kabul, Irkutsk and someone is bound to say ‘I’ve been there’ – meaning, ‘I drove through it at 100 miles an hour on the way to somewhere else. ’
When you travel at high speeds, the present means nothing: you live mainly in the future because you spend most of your time looking forward to arriving at some other place. But actual arrival, when it is achieved, is meaningless. You want to move on again. By traveling like this, you suspend all experience; the present ceases to be a reality: you might just as well be dead. The traveler on foot, on the other hand, lives constantly in the present. For him traveling and arriving are one and the same thing: he arrives somewhere with every step he makes. He experiences the present moment with his eyes, his ears and the whole of his body. At the end of his journey he feels a delicious physical weariness. He knows that sound. Satisfying sleep will be his: the just reward of all true travellers.
1、Anthorpologists label nowaday’s men ‘Legless’ because
A people forget how to use his legs. B people prefer cars, buses and trains.
C lifts and escalators prevent people from walking. D there are a lot of transportation devices.
2、Travelling at high speed means
A people’s focus on the future. B a pleasure. C satisfying drivers’ great thrill. D a necessity of life.
3、Why does the author say ‘we are deprived of the use of our eyes’ ?
A People won’t use their eyes. B In traveling at high speed, eyes become useless.
C People can’t see anything on his way of travel. D People want to sleep during travelling.
4、What is the purpose of the author in writing this passage?
A Legs become weaker. B Modern means of transportation make the world a small place.
C There is no need to use eyes. D The best way to travel is on foot.
5. What does ‘a bird’s-eye view’ mean?
A See view with bird’s eyes. B A bird looks at a beautiful view.
C It is a general view from a high position looking down. D A scenic place.
答案AACDC
閱讀理解二：
Photography and Art
The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century, the defence of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.
Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves—anything but making works of art. They are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art. It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.
Photographers’ disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art. For example, those photographers who suppose that, by taking pictures, they are getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of painting. Much of photography’s prestige today derives from the convergence of its aims with those of recent art, particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the 1960’s. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist painting—that is, abstract art as developed in different ways by Picasso, Kandinsky, and Matisse—presupposes highly developed skills of looking and a familiarity with other paintings and the history of art. Photography, like Pop painting, reassures viewers that art is not hard; photography seems to be more about its subjects than about art.
Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity—in short, an art.
1. What is the author mainly concerned with? The author is concerned with
[A]. defining the Modernist attitude toward art. [B]. explaining how photography emerged as a fine art.
[C]. explaining the attitude of serious contemporary photographers toward photography as art and placing those attitudes in their historical context.
[D]. defining the various approaches that serious contemporary photographers take toward their art and assessing the value of each of those approaches.
2. Which of the following adjectives best describes “the concept of art imposed by the triumph of Modernism” as the author represents it in lines 12—13?
[A]. Objective [B]. Mechanical. [C]. Superficial. [D]. Paradoxical.
3. Why does the author introduce Abstract Expressionist painter?
[A]. He wants to provide an example of artists who, like serious contemporary photographers, disavowed traditionally accepted aims of modern art.
[B]. He wants to set forth an analogy between the Abstract Expressionist painters and classical Modernist painters.
[C]. He wants to provide a contrast to Pop artist and others.
[D]. He wants to provide an explanation of why serious photography, like other contemporary visual forms, is not and should not pretend to be an art.
4. How did the nineteenth-century defenders of photography stress the photography?
[A]. They stressed photography was a means of making people happy. [B]. It was art for recording the world.
[C]. It was a device for observing the world impartially. [D]. It was an art comparable to painting.
答案CDAD
閱讀理解三：
The Continuity of the Religious Struggle in Britain
Though England was on the whole prosperous and hopeful, though by comparison with her neighbors she enjoyed internal peace, she could not evade the fact that the world of which she formed a part was torn by hatred and strife as fierce as any in human history. Men were still for from recognizing that two religions could exist side by side in the same society; they believed that the toleration of another religion different from their own. And hence necessarily false, must inevitably destroy such a society and bring the souls of all its members into danger of hell. So the struggle went on with increasing fury within each nation to impose a single creed upon every subject, and within the general society of Christendom to impose it upon every nation. In England the Reformers, or Protestants, aided by the power of the Crown, had at this stage triumphed, but over Europe as a whole Rome was beginning to recover some of the ground it had lost after Martin Luther’s revolt in the earlier part of the century. It did this in two ways, by the activities of its missionaries, as in parts of Germany, or by the military might of the Catholic Powers, as in the Low Countries, where the Dutch provinces were sometimes near their last extremity under the pressure of Spanish arms. Against England, the most important of all the Protestant nations to reconquer, military might was not yet possible because the Catholic Powers were too occupied and divided: and so, in the 1570’s Rome bent her efforts, as she had done a thousand years before in the days of Saint Augustine, to win England back by means of her missionaries.
These were young Englishmen who had either never given up the old faith, or having done so, had returned to it and felt called to become priests. There being, of course, no Catholic seminaries left in England, they went abroad, at first quite easily, later with difficulty and danger, to study in the English colleges at Douai or Rome: the former established for the training of ordinary or secular clergy, the other for the member of the Society of Jesus, commonly known as Jesuits, a new Order established by St, Ignatius Loyola same thirty years before. The seculars came first; they achieved a success which even the most eager could hardly have expected. Cool-minded and well-informed men, like Cecil, had long surmised that the conversion of the English people to Protestantism was for from complete; many—Cecil thought even the majority—had conformed out of fear, self-interest or—possibly the commonest reason of all—sheer bewilderment at the rapid changes in doctrine and forms of worship imposed on them in so short a time. Thus it happened that the missionaries found a welcome, not only with the families who had secretly offered them hospitality if they came, but with many others whom their first hosts invited to meet them or passed them on to. They would land at the ports in disguise, as merchants, courtiers or what not, professing some plausible business in the country, and make by devious may for their first house of refuge. There they would administer the Sacraments and preach to the house holds and to such of the neighbors as their hosts trusted and presently go on to some other locality to which they were directed or from which they received a call.
1. The main idea of this passage is
[A]. The continuity of the religious struggle in Britain in new ways. [B]. The conversion of religion in Britain.
[C]. The victory of the New religion in Britain. [D]. England became prosperous.
2. What was Martin Luther’s religions?
[A]. Buddhism. [B]. Protestantism. [C]. Catholicism. [D]. Orthodox.
3. Through what way did the Rome recover some of the lost land?
[A]. Civil and military ways. [B]. Propaganda and attack.[C]. Persuasion and criticism. [D]. Religious and military ways.
4. What did the second paragraph mainly describe?
[A]. The activities of missionaries in Britain. [B]. The conversion of English people to Protestantism was far from complete.
[C]. The young in Britain began to convert to Catholicism [D]. Most families offered hospitality to missionaries.
答案ABDA
閱讀理解四：
Wakefield Master’s Realism
Moreover, insofar as any interpretation of its author can be made from the five or six plays attributed to him, the Wake field Master is uniformly considered to be a man of sharp contemporary observation. He was, formally, perhaps clerically educated, as his Latin and music, his Biblical and patristic lore indicate. He is, still, celebrated mainly for his quick sympathy for the oppressed and forgotten man, his sharp eye for character, a ready ear for colloquial vernacular turns of speech and a humor alternately rude and boisterous, coarse and happy. Hence despite his conscious artistry as manifest in his feeling for intricate metrical and stanza forms, he is looked upon as a kind of medieval Steinbeck, indignantly angry at, uncompromisingly and even brutally realistic in presenting the plight of the agricultural poor.
Thus taking the play and the author together, it is mow fairly conventional to regard the former as a kind of ultimate point in the secularization of the medieval drama. Hence much emphasis on it as depicting realistically humble manners and pastoral life in the bleak hills of the West Riding of Yorkshire on a typically cold bight of December 24th. After what are often regarded as almost “documentaries” given in the three successive monologues of the three shepherds, critics go on to affirm that the realism is then intensified into a burlesque mock-treatment of the Nativity. Finally as a sort of epilogue or after-thought in deference to the Biblical origins of the materials, the play slides back into an atavistic mood of early innocent reverence. Actually, as we shall see, the final scene is not only the culminating scene but perhaps the raison d’etre of introductory “realism.”
There is much on the surface of the present play to support the conventional view of its mood of secular realism. All the same, the “realism” of the Wakefield Master is of a paradoxical turn. His wide knowledge of people, as well as books indicates no cloistered contemplative but one in close relation to his times. Still, that life was after all a predominantly religious one, a time which never neglected the belief that man was a rebellious and sinful creature in need of redemption, So deeply (one can hardly say “naively” of so sophisticated a writer) and implicitly religious is the Master that he is less able (or less willing) to present actual history realistically than is the author of the Brome “Abraham and Isaac”. His historical sense is even less realistic than that of Chaucer who just a few years before had done for his own time costume romances, such as The Knight’s Tale, Troilus and Cressida, etc. Moreover Chaucer had the excuse of highly romantic materials for taking liberties with history.
1. Which of the following statements about the Wakefield Master is NOT True?
[A]. He was Chaucer’s contemporary. [B]. He is remembered as the author of five or six realistic plays.
[C]. He write like John Steinbeck. [D]. HE was an accomplished artist.
2. By “patristic”, the author means
[A]. realistic. [B]. patriotic [C]. superstitious. [C]. pertaining to the Christian Fathers.
3. The statement about the “secularization of the medieval drama” refers to the
[A]. introduction of mundane matters in religious plays. [B]. presentation of erudite material.
[C]. use of contemporary introduction of religious themes in the early days.
4. In subsequent paragraphs, we may expect the writer of this passage to
[A]. justify his comparison with Steinbeck. [B]. present a point of view which attack the thought of the second paragraph.
[C]. point out the anachronisms in the play. [D]. discuss the works of Chaucer.
答案CDAB
翻譯：
打車難請將下面這段話翻譯成英文：打車難已經成為大城市人們生活中較為普遍的問題。城市人口規模的擴大，人類社會活動的不斷多元(diversification)化都增加了對出租車的需求。隨著城市交通擁堵狀況不斷加劇，為避免堵車影響收人，上下班高峰時段很多司機不愿意跑擁堵路段和主城區，導致市民在一些交通樞紐、商業中心、醫院附近很難打到出租車。城市建設影響了出租車的使用效率。出租車行業不規范，拒載行為屢屢發生，這也是導致打車難的人為因素。
參考譯文：It has been a common problem in large city residents' life that it's hard to take a taxi. The increase of urban population and diversification of social activities make the demand for taxi rise. As the traffic jam becomes worse in cities，to guarantee personal income, many taxi drivers refuse to drive on busy roads and main urban areas, which makes it difficult for many citizens to take a taxi near some transportation junctions, commercial centers and hospitals. City construction affects the efficiency of taxi. Being not standard in the taxi industry and taxi drivers' often refusing to take passengers are the human factors that make it difficult to take a taxi.
詞句點撥1.打車難:可譯為it's hard to take a taxi,作為problem的同位語，意義表達清楚自然。2.增加了對出租車的需求:可譯為make the demand for taxi rise。3.為避免堵車影響收入:可靈活地譯為to guarantee personal income。采用逆向譯法，上下文反復出現“堵車”這個詞，所以可以省略。4.出租車行業不規范，拒載行為屢屢發生:這里是說明原因，為了句式簡明，可以處理為動名詞和獨立主格的形式，直接充當句子主語。5.人為因素:可譯為human factor。
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