大學(xué)專業(yè)英語(yǔ)八級(jí)2021真題（帶答案）

專業(yè)英語(yǔ)八級(jí)2021真題

PARTILISTENINGCOMPREHENSION

SECTIONAMINI-LECTURE

Inthissectionyouwillhearamini-lecture.Youwillhearthemini-lectureONCEONLY.While

listeningtothemini-lecture,completethegap-fillingtaskonANSWERSHEETONEandwriteNO

MORETHANTHREEWORDSforeachgap.Makesurewhatyoufillinisbothgrammaticallyand

semanticallyacceptable.Youmayusetheblanksheetfornote-taking.

YouhaveTHIRTYsecondstopreviewthegap-fillingtask.

Nowlistentothemini-lecture.Whenitisover,youwillbegivenTHREEminutestocheckyour

work.

CurrentChallengesConfrontingU.S.HigherEducation

Thefirstchallenge:forceofthemarketplace

?Currentsituation:

—presenceofthemarketplaceas1externalforce

一governmentsupport:2

一publicinstitutionsaskingforlessgovernment3

—e.g.newlegislationtoprovide4

?Results:

—higherinstitutionalprioritiesgivento5

becauseoftheir6

—waystogeneratemoremoneyforinstitutions

一creatingnewprograms,e.g.7

—addingnewunitsfocusingongenerating8

—building9

—implications

—increasingfocuson10inacademicresearch

一highertuitionfeesforstudents

Universityadministratorshavetorespondtothemarketplace.

Thesecondchallenge:equalityin11

?PostWarmassificationofU.S.highereducation:

—12

?Reasons:

一low13ofracialandethnicminorities

—inabilityoflow-incomeindividualsto14

?Governmentrole:

一mediatingthenegativeeffectsofcompetitioninorderto

15

SECTIONBINTERVIEW

InthissectionyouwillhearONEinterview.TheinterviewwillbedividedintoTWOparts.Attheend

ofeachpart,fivequestionswillbeaskedaboutwhatwassaid.Boththeinterviewandthequestions

willbespokenONCEONLY.Aftereachquestiontherewillbeaten-secondpause.Duringthe

pause,youshouldreadthefourchoicesofA,B,CandD,andmarkthebestanswertoeach

questiononANSWERSHEETTWO.

YouhaveTHIRTYsecondstopreviewthechoices.

Now,listentoPartOneoftheinterview.Questions1to5arebasedonPartOneoftheinterview.

16>A.Apublisher.B.Abroadcaster.C.Ananchorwoman.D.An

academic.

17>A.Duringherchildhood.B.Duringelementaryschool.

C.Duringhighschool.D.Duringnursery.

18、A.Historians.B.Writersandpoets.

C.Professorofmusic.D.ProfessorofEnglish.

19^A.Theenvironment.B.Academicwork.C.Commercialization.D.Local

history.

20、A.Tohelpstudentstobetterrememberpoems.B.Tofacilitatetheprocessofcomposing

poems.

C.Toactivateone'sinnerearautomatically.D.Tobetterappreciatethepoems.

Now,listentoPartTwooftheinterview.Questions6to10arebasedonPartTwooftheinterview.

21>A.Continuitybetweenwritingandsociallifewasagift.

B.Linkbetweenwritingandsociallifewasnecessary.

C.Shepreferredtostayawayfromotherpoets.

D.Shethoughtsocializingexperiencehelpedalot.

22>A.Itsmemberscouldbeanyone.B.Itsmembershadtobepoets.

C.Itshouldbeprofessional.D.Ithadanetworkingrole.

23>A.Toexpressstrongeremotions.B.Toallowforflexibilityinexpression.

C.Toavoidreaders'misunderstanding.D.Tosignaltheendofasection.

24、A.Itwasinnovative.B.Itwasemotional.C.Itwasdifferent.D.Itwas

ordinary.

25、A.Maureen'steachingandwritingexperience.B.Maureen'sexperienceasastudentand

poet.

C.Maureen'sviewsonsocializingforpoets.D.Maureen'sworksofcriticismandpoems.

PARTnREADINGCOMPREHENSION

SECTIONAMULTIPLECHOICEQUESTIONS

Inthissectiontherearethreepassagesfollowedbyfourteenmultiplechoicequestions.For

eachmultiplechoicequestion,therearefoursuggestedanswersmarkedA,B,CandD.Choose

theonethatyouthinkisthebestanswerandmarkyouranswersonANSWERSHEETTWO.

PASSAGEONE

26ThegorillaissomethingofaparadoxintheAfricanscene.Onethinksoneknowshimwell.

Forahundredyearsormorehehasbeenkilled,capturedandimprisonedinzoos.Hisboneshave

beenmountedinnaturalhistorymuseumseverywhere,andhehasalwaysexertedastrong

fascinationuponscientistsandromanticsalike.Heisthestereotypedmonsterofthehorrorfilms

andtheadventurebooks,andanobvious(thoughnotperhapsstrictlyscientific)linkwithour

ancestralpast.

27Yetthefactisweknowverylittleaboutgorillas.Noreallysatisfactoryphotographhasever

beentakenofoneinawildstate;nozoologist,howeverintrepid,hasbeenabletokeeptheanimal

undercloseandconstantobservationinthedarkjunglesinwhichitlives.CarlAkeley,the

Americannaturalist,ledtwoexpeditionstoUgandainthe1920sandnowliesburiedthereamong

theanimalshelovedsowell,butevenhewasunabletodiscoverhowlongthegorillalives,orhow

orwhyitdies,norwasheabletodefinetheexactsocialpatternofthefamilygroups,orindicatethe

finalextentoftheirintelligence.Allthisandmanyotherthingsremainalmostasmuchamysteryas

theywerewhentheFrenchexplorerDuChaillufirstdescribedtheanimaltothecivilizedworlda

centuryago.TheAbominableSnowmanwhohauntstheimaginationofclimbersintheHimalayas

ishardlymoreelusive.

28Thelittlethatisknownaboutgorillascertainlymakesyouwanttoknowmore.SirJulian

HuxleyhasrecordedthatthriceintheLondonZoohesawaneighteen-month-oldspecimentrace

theoutlineofitsownshadowwithitsfinger."Nosimilarartisticinitiative,"hewrites,"hasbeen

recordedforanyotheranthropoid(類人猿),thoughweallknownowthatyoungchimpanzeeswill

paint'pictures'ifprovidedwiththenecessarymaterials."Huxleyspeakstooofatravelerseeinga

malegorillahelpafemaleupasteeprockstep,andgallantryofthatkindiscertainlynotnormal

amonganimals.Itisthis"human-ness"ofthegorillathatissobeguiling.Accordingtosome

observershecourtsandmakeslovethesamewayashumansdo.Oncethefamilyisestablishedit

clingstogether.Itfeedsinagroupinthethickbamboojunglesonthemountainsideinthedaytime,

eachanimalmakingatidypileofitsfood—wildcelery,bambooshoots,andotherleaves—and

squattingdowntoeatit,andbynighteachmemberofthefamilymakesitsownbedbybending

overandinterlacingthebamboofrondssoastoformakindofoval-shapednestwhichisas

comfortableandspringyasamattress.Thefathertendstomakehisbedjustafootortwofromthe

ground,themotheralittlehigher,andthechildrenaresafelylodgedinthebranchesupabove.

29Whenhewalksthegorillatakesthemainweightonhisshortlegsandrestslightlyonthe

knucklesofhishandsattheendofhisverylongarms.Whenhestandsuprightafull-grownmale

risestosixfeet,butwiththatimmensechestheisfarheavierthananynormalmancouldeverbe.

Sixhundredpoundsisnotuncommon.Hisstrengthisincredible——certainlygreatenoughtotakea

maninhisarmsandwrenchhisheadoff.

30Gorillasappeartotalktooneanotherinhigh-pitchedvoices,notunlikethoseofwomen,or

bysmackingtheirlipsorstrikingtheircheeks,andthefemale,ifalarmed,willscream.Themaleis

capableofmakingafrighteningdemonstrationinthefaceofdanger.Hestaysbehindwhilehis

familygetsaway,risingtohisfeetandutteringaterrifyingroar.Sometimeshewilldrumonhis

chestandshakethetreesaroundhimwitheveryappearanceofuncontrollablefury.Inextremityhe

willcharge.

31ButaUthisisnomorethanshadowboxingasageneralrule,forthegorillaisagentle,kindly

creature,amostforgivingapewholivesatpeacewithalltheotheranimals,andhisreputationfor

savageryandbelligerenceisnothingbutamyth.Whentheanimalcharges,thethingtodoisto

standyourgroundandlookhimintheeye.Thenhewillturnasideandslipawaythroughthe

undergrowth.

PASSAGETWO

26Inthetownthereweretwomutes,andtheywerealwaystogether.Earlyeverymorningthey

wouldcomeoutfromthehousewheretheylivedandwalkarminarmdownthestreettowork.The

onewhoalwayssteeredthewaywasanobeseanddreamyGreek.Inthesummerhewouldcome

outwearingayelloworgreenpoloshirtstuffedsloppilyintohistrousersinfrontandhangingloose

behind.Whenitwascolderheworeoverthisashapelessgraysweater.Hisfacewasroundand

oily,withhalf-closedeyelidsandlipsthatcurvedinagentle,stupidsmile.Theothermutewastall.

Hiseyeshadaquick,intelligentexpression.Hewasalwaysimmaculateandverysoberlydressed.

Everymorningthetwofriendswalkedsilentlytogetheruntiltheyreachedthemainstreetofthe

town.Thenwhentheycametoacertainfruitandcandystoretheypausedforamomentonthe

sidewalkoutside.TheGreek,SpirosAntonapoulos,workedforhiscousin,whoownedthisfruit

store.Hisjobwastomakecandiesandsweets,uncratethefruits,andkeeptheplaceclean.The

thinmute,JohnSinger,nearlyalwaysputhishandonhisfriend'sarmandlookedforasecondinto

hisfacebeforeleavinghim.ThenafterthisgoodbyeSingercrossedthestreetandwalkedonalone

tothejewelrystorewhereheworkedasasilverwareengraver.Inthelateafternoonthefriends

wouldmeetagain.SingercamebacktothefruitstoreandwaiteduntilAntonapouloswasreadyto

gohome.TheGreekwouldbelazilyunpackingacaseofpeachesormelons,orperhapslookingat

thefunnypaperinthekitchenbehindthestorewherehecooked.Beforetheirdeparture

Antonapoulosalwaysopenedapapersackhekepthiddenduringthedayononeofthekitchen

shelves.Insidewerestoredvariousbitsoffoodhehadcollected—apieceoffruitorsamplesof

candy.UsuallybeforeleavingAntonapouloswaddledgentlytotheglassedcaseinthefrontofthe

storewheresomemeatsandcheeseswerekept.Heglidedopenthebackofthecaseandhisfat

handgropedlovinglyforsomeparticulardaintyinsidewhichhehadwanted.Sometimeshiscousin

whoownedtheplacedidnotseehim.Butifhenoticedhestaredathiscousinwithawarninginhis

tight,paleface.SadlyAntonapouloswouldshufflethemorselfromonecornerofthecasetothe

other.DuringthesetimesSingerstoodverystraightwithhishandsinhispocketsandlookedin

anotherdirection.HedidnotliketowatchthislittlescenebetweenthetwoGreeks.For,except

drinkingandacertainsolitarysecretpleasure,Antonapouloslovedtoeatmorethananythingelse

intheworld.

27Intheduskthetwomuteswalkedslowlyhometogether.AthomeSingerwasalwaystalking

toAntonapoulos.Hishandsshapedthewordsinaswiftseriesofdesigns.Hisfacewaseagerand

hisgray-greeneyessparkledbrightly.Withhisthin,stronghandshetoldAntonapoulosallthathad

happenedduringtheday.

28Whenbackathome,AntonapoulossatbacklazilyandlookedatSinger.Itwasseldomthat

heevermovedhishandstospeakatall—andthenitwastosaythathewantedtoeatortosleep

ortodrink.Thesethreethingshealwayssaidwiththesamevague,fumblingsigns.Atnight,ifhe

werenottoodrunk,hewouldkneeldownbeforehisbedandprayawhile.Thenhisplumphands

shapedthewordsHolyJesus,orGod,orDarlingMary.TheseweretheonlywordsAntonapoulos

eversaid.Singerneverknewjusthowmuchhisfriendunderstoodofallthethingshetoldhim.But

itdidnotmatter.

29Theysharedtheupstairsofasmallhousenearthebusinesssectionofthetown.Therewere

tworooms.OntheoilstoveinthekitchenAntonapouloscookedalloftheirmeals.Therewere

straight,plainkitchenchairsforSingerandanoverstuffedsofaforAntonapoulos.Thebedroom

wasfurnishedmainlywithalargedoublebedcoveredwithaneiderdowncomforterforthebig

GreekandanarrowironcotforSinger.

30Dinneralwaystookalongtime,becauseAntonapouloslovedfoodandhewasveryslow.

Aftertheyhadeaten,thebigGreekwouldliebackonhissofaandslowlylickovereachoneofhis

teethwithhistongue,eitherfromacertaindelicacyorbecausehedidnotwishtolosethesavorof

themeal—whileSingerwashedthedishes.

31Sometimesintheeveningthemuteswouldplaychess.Singerhadalwaysgreatlyenjoyed

thisgame,andyearsbeforehehadtriedtoteachittoAntonapoulos.Atfirsthisfriendcouldnotbe

interestedinthereasonsformovingthevariouspiecesaboutontheboard.ThenSingerbeganto

keepabottleofsomethinggoodunderthetabletobetakenoutaftereachlesson.TheGreeknever

gotontotheerraticmovementsoftheknightsandthesweepingmobilityofthequeens,buthe

learnedtomakeafewset,openingmoves.Hepreferredthewhitepiecesandwouldnotplayifthe

blackmenweregivenhim.AfterthefirstmovesSingerworkedoutthegamebyhimselfwhilehis

friendlookedondrowsily.IfSingermadebrilliantattacksonhisownmensothatintheendthe

blackkingwaskilled,Antonapouloswasalwaysveryproudandpleased.

38Thetwomuteshadnootherfriends,andexceptwhentheyworkedtheywerealonetogether.

Eachdaywasverymuchlikeanyotherday,becausetheywerealonesomuchthatnothingever

disturbedthem.OnceaweektheywouldgotothelibraryforSingertowithdrawamysterybook

andonFridaynighttheyattendedamovie.Thenonpaydaytheyalwayswenttotheten-cent

photographshopabovetheArmyandNavyStoresothatAntonapouloscouldhavehispicture

taken.Theseweretheonlyplaceswheretheymadecustomaryvisits.Thereweremanypartsin

thetownthattheyhadneverevenseen.ThetownwasinthemiddleofthedeepSouth.The

summerswerelongandthemonthsofwintercoldwereveryfew.Nearlyalwaystheskywasa

glassy,brilliantazureandthesunburneddownriotouslybright.Thenthelight,chillrainsof

Novemberwouldcome,andperhapslatertherewouldbefrostandsomeshortmonthsofcold.The

winterswerechangeable,butthesummersalwayswereburninghot.Thetownwasafairlylarge

one.Onthemainstreettherewereseveralblocksoftwo-andthree-storyshopsandbusiness

offices.Butthelargestbuildingsinthetownwerethefactories,whichemployedalargepercentage

ofthepopulation.Thesecottonmillswerebigandflourishingandmostoftheworkersinthetown

wereverypoor.Ofteninthefacesalongthestreetstherewasthedesperatelookofhungerandof

loneliness.Butthetwomuteswerenotlonelyatall.Athometheywerecontenttoeatanddrink,

andSingerwouldtalkwithhishandseagerlytohisfriendaboutallthatwasinhismind.Sothe

yearspassedinthisquietwayuntilSingerreachedtheageofthirty-twoandhadbeeninthetown

withAntonapoulosfortenyears.

PASSAGETHREE

26Likemanyhistoricalfilms,Amadeusisfarfromafaithfulaccountofwhatisknownaboutthe

periodandthepeoplethatitportrays.Eventsareexaggerated,condensedandsimplified,andthe

complexityofrealcharactersisreducedtosuittheneedsofadramaticcontrastbetweengoodand

evil.Suchhistoricallibertiesareoftenbemoanedbyexperts,butfewhaveseemedtomindthe

waywardstorypointsofAmadeus.Thisisnodoubtpartlyattributabletothefilm'shigh

entertainmentvalue:itisanunusuallylivelyandfunnyhistoricalfilm.Itrevelsintheboyishhumor

andhighspiritsofitsmaincharacter,thecomposerWolfgangAmadeusMozart(1756-1791),

playedwithjubilantgustobyTomHulce.Butthefilm'sappealisalsoattributabletoMozart'smusic.

Thecomposer'svulgarhijinks(狂歡作樂)serveasacontrasttothetranscendentbeautyofhis

music,beautifullyperformedonthesoundtrackbytheAcademyofStMartinintheFields.Thus,

eventhemoststringenthistoricalpuristscouldn'thelpbutfindsomethingtoenjoyinAmadeus.

27Forallitsliberties,thestoryisactuallybasedonarealrumorthatcirculatedinViennainthe

1820s.Whilegravelyill,therivalcomposerAntonioSalieri(1750-1825)confessedhehad

murderedMozartdecadesearlierbypoisoninghim.Salieriwassufferingfromdementia(癡呆)at

thetimeofthisconfession,andhelaterwithdrewit,butsome—includingMozart'swidow

Constanze—choseto'oelievetheclaim,Morethan150yearslater,theEnglishplaywrightPeter

ShafferbasedthestoryofAmadeusnotjustonSalieri'sconfessionbutalsotheideathatSalieri

hadsufferedfromadeepandbitterjealousyofMozartthroughoutthetenyearsthattheybothlived

andworkedascomposersinVienna.Inthefun-lovingMozart,thestorygoes,Salierisawatrue

genius—onewhomadehisowntalentandaccomplishmentsappearmediocre—andthisdrove

himonavendetta(宿怨)thatultimatelyculminatedinmurder.

28Shaffer'sstorymakesforgreatdrama,butitis,ofcourse,biasedagainstSalieri.Infact,at

thetime,Salieriwasregardedasthemoreaccomplishedmusicianandcomposer.Fromthe1770s

throughthe1790s,hecomposeddozensofoperas,manyofthemprovingpopularandconsidered

innovative.AmarkofhisprominencewashisappointmenttotheinfluentialpostofKapellmeister,

ormusicaldirector,tothecourtofHolyRomanEmperorJosephn.Salieriwasalsoateacher

whosepupilsincludedLudwigVanBeethoven,FranzLisztandFranzSchubert.Inhisprivatelife,

hemaynothavehadMozart'sexuberancebutnorwashethelonelyandcelibatemanplayedwith

suchconvincingseveritybyF.MurrayAbrahaminAmadeus.Salieriwasmarriedatthetimehe

knewMozart,andhefatherednofewerthaneightchildren.

29IfSalierihadlittlereasontofearorresentMozart'ssuccess,therewasnaturallyadegreeof

rivalrybetweentwomenworkinginthesameprofessionandinthesamecity,Salieri(bornnear

Verona)andMozart(borninSalzburg)belongedtoseparatemusicalgroups,andItalianand

Germanoperafellintoandoutoffavorduringthisperiod.Thecomposerswerethereforevyingfor

work,includingtheprestigiouspostofmusicaltutortothePrincessofWurttemberg,whichSalieri

successfullyattained.Ascomposers,theysawtheiroperas'debutsidebyside,yetthereislittle

evidenceofanyanimositybetweenthem.MozartdidcomplaininalettertohisfatherthatJoseph

IIfavoredSalierioverallothercomposers,butthatobservationwasanaccurateone.BothMozart

andhisfathersuspectedthat,behindthescenes,SalieritriedtoundermineMozart'ssuccess,but

thesewerehardlyunusualsuspicionsinafieldsoreliantonpatronage.Inpublic,fellowcomposers

reportedthatMozartandSalieriwerefriendlywithanother.ShortlyafterthepremiereofMozart's

IheMagicFlute,SalieriattendedaperformancewithMozart,andapplaudedwarmlyandvigorously.

Thus,anyillfeelingbetweenMozartandSalieriwasbornebytheformerratherthanthelatter—

contrarytowhatisstronglydepictedinAmadeus—anditstemmedfromSalieri'sstatusand

successratherthanhisperceivedmediocrity.

30Mozart'sresentmentswerethoseofayoungermanstrugglingforpositionintheworld.

Althoughhehadtalent,hespentmanyyearsstrugglingtofindasuitablepostorpatronage.Heand

hisfathertravelledwidelyduringhisyouth,seekingadistinguishedappointmentbutfindingmainly

lowpayandoccasionallyhumiliatingcircumstances.Itwasintheperiodafter1781,whenMozart

defiedhisfatheranddecidedtoliveandworkindependentlyinViennathathiscareerflourished.In

thespaceoftenyears,hefoundgreatsuccesswiththeoperasTheAbductionfromSeraglio44,

TheMarriageofFigaro45,DonGiovanni46andTheMagicFlute47.Thesewerecomposed

alongsidehispianoconcertos,symphoniesandchambermusic,andtogetherwithhisworkasa

performerandteacher,hissuccessbroughtahighincome.Mozart'smoneytroubleswerethe

resultofexcessivespending,andhisvolatiletemperament,ratherthananymaliciousschemes

againsthim.Hisdeath,attheageof35,wasnotconsideredsuspiciousatthetimeashehadbeen

illforweekswithafever.Whileitistruethathehadacommoner'sfuneral,in18th-centuryVienna

thiswasnotunusualforamanofnon-aristocraticstanding.Itcertainlywasnotamarkofhis

downfallorignominy,asimpliedbythefilm.Athisdeath,Mozartwassecondinstatureonlyto

SalieriasVienna'smostprominentmusicianandcomposer.

31ThedramaofAmadeusstemsnotfromhistoricalaccuracies,butfromourcontemporary

knowledgethatMozart'smusicandreputationhavesurvivedforcenturies—andcontinuedtofind

new,zestyaudiences—whileSalieri'snameandworkquicklyfaded.Mozart'ssecondarystatus

duninghisownlifetimethusappearsunjustandunwarranted,andheisinvestedwiththeroleofthe

strugglingartistandunappreciatedgenius.Thismaybeshakyhistory,butthefilmhasenough

laughter,conflict,romanceandtragedytopleaseanyoperalover,exceptperhapsforSalieri

himself,whoundoubtedlywouldhavetoldthetaleinanaltogetherdifferentkey.

26、Whichofthefollowingfactsaboutgorillasdoesmankindknow?(PASSAGEONE.

A.Lifespan.B.Causesofdeath.C.Familystructure.D.Bonestructure.

27^Whichofthefollowingwordsisclosertothemeaningof"mystery"inPara.2?

(PASSAGEONE.

A.Myth.B.Elusive.C.Horror..D.Stereotyped.

28、Whatdoestheauthormeanbysaying"Butallthisisnomorethanshadowboxing,(Para.

6)?(PASSAGEONE.

A.Whenfacingclanger,gorillasseldomintendtoattackothers.

B.Whengorillasgetintofury,theyusuallyattackothers.

C.Whenthefamilyisindanger,themalegorillaprotectsthem.

D.Whenalarmed,themalegorillaismorelikelytoshowfury.

29、Wecanlearnfromthepassagethattheauthor'sattitudetowardsgorillasis.

(PASSAGEONE.

A.ambiguousB.hostileC.sympatheticD.nonchalant

30、WhichofthefollowingpairsofwordsdoesNOTindicatecontrast?(PASSAGETWO)

A."yelloworgreen"and"soberlydressed"(Para.1).

B."burninghot"and"aglassy,brilliantazure"(Para.7).

C."gentle,stupidsmile"and"quick,intelligentexpression"(Para.1).

D."straight,plainkitchenchairs"and"anoverstuffedsofa"(Para.4).

31>FromthepassageweknowthatSingerseemsto.(PASSAGETWO)

A.liketoplaychesslessB.liketoeatmorethings

C.bemoresympatheticD.bemore"talkative"

32、WelearnfromthenarrationinPara.6that.(PASSAGETWO)

A.Singerusuallyhadtofinishagameofchessbyhimself

B.bothwereinterestedinplayingchessintheevening

C.Antonapouloswasquickinlearninghowtoplaychess

D.Antonapouloswaspleasedwhenwhitepieceswereattacked

33、WhichofthefollowinggroupsofwordsBESTsumsupthemessageinPara.7?_____

(PASSAGETWO)”

A.Boomingbusinessandpoverty-strickenpopulation.

B.After-workleisureanddesperateattemptforsurvival.

C.Self-contentmentandomnipresentdesperation.

D.Changeableshortwinterandhotlongsummer.

34、Accordingtotheauthor,Amadeus'sappealcomesfromthefollowingEXCEPT.

(PASSAGETHREE.

A.depictionofMozart'scharacterB.astorylinetruetohistory

C.actors'excellentperformanceD.Mozart'smusicinthefilm

35>Accordingtotheauthor,whichofthefollowingisINCORRECTabouttherealSalieri?

(PASSAGETHREE.

A.Heremainedsinglethroughouthislife.B.Someofhispupilslaterbecamefamous.

C.Hewasatalentedmusicianandcomposer.D.Hewasonceassignedtoanimportant

post.

36、TherewassomerivalrybetweenMozartandSalierimainlybecausethey.(PASSAGE

THREE.

A.livedinthesamecityB.joineddifferentmusicalgroups

C.competedformusicalworkandpostD.suspectedeachotheronsomeoccasions

37、Whatdoestheauthorthinkofthecauseofillfeelingbetweenthetwomen(Para.4)?

(PASSAGETHREE.

A.Mozart'sexperienceofbreakingupwithhisfather.

B.Salieri'sattempttoundermineMozart'ssuccess.

C.Mozart'ssuccessandstatusasamusicaltalent.

D.Salieri'ssuccessandstatusinthemusicalcircle.

38、WhichofthefollowingstatementsBESTsupports"...thecomplexityofrealcharactersis

reducedtosuittheneedsofadramaticcontrastbetweengoodandevil"(Para.1)?

(PASSAGETHREE.

A.Itcertainlywasnotamarkofhisdownfallorignominy,....(Para.5).

B.Forallitsliberties,thestoryisactuallybasedonarealrumor.(Para.2).

C.Mozart'ssecondarystatusduringhisownlifetimethusappearsunjust....(Para.6).

D.Inhisprivatelife,hemaynothavehadMozart'sexuberance....(Para.3).

39、Throughoutthepassage,theauthorattemptsmainlyto.(PASSAGETHREE.

A.examinehowthefilmappealstomodernaudience

B.correctsomedistortedpersonaldetailsinthefilm

C.highlighttheentertainmentvalueofthefilmAmadeus

D.provideanaccountofMozartasatalentedmusician

40、SECTIONBSHORTANSWERQUESTIONS

InthissectionthereareeightshortanswerquestionsbasedonthepassagesinSectionA.

AnswereachquestioninNOMORETHANTENWORDSinthespaceprovidedonANSWER

SHEETTWO.

25.Whydoestheauthorcallthegorilla"aparadox"(Para.1)?(PASSAGEONE.

41、MentionTWOcharacteristicsofgorillaswhichresemblethoseofhumans.(PASSAGEONE.

42、MentionatleastTWOdifferencesbetweenthemutes(Para.1).(PASSAGETWO)

43、Whatdoes"SadlyAntonapouloswouldshufflethemorselfromonecornerofthecasetothe

other"tellus(Para.1)?(PASSAGETWO)

44、Howdidthetwomutessharecookingandwashing?(PASSAGETWO)

45>Whatdoes"suchhistoricalliberties"refertoaccordingtothecontext(Para.1)?(PASSAGE

THREE.

46、Whydoestheauthorsaythat"Shaffer'sstorymakesforgreatdrama"(Para.3)?(PASSAGE

THREE.

47、Whatdoestheauthorimplybysaying"whoundoubtedlywouldhavetold