专业英语八级(听力)模拟试卷200(题后含答案及解析)

专业英语八级（听力）模拟试卷200(题后含答案及解析)
题型有：1. LISTENING COMPREHENSION
PART I LISTENING COMPREHENSION
SECTION A MINI-LECTUREIn 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.
听力原文：Meaning in LiteratureGood morning, everyone. Today, we are going to talk about “meaning” in literature. “Meaning” is a difficult issue, and what I have to say today only scratches the surface of a complex and contested area. How do we know what a work of literature is “supposed” to mean, or what its “real” meaning is? There are three ways to approach this: that meaning is what is intended by the author; that meaning is created by and contained in the text itself; and that meaning is created by the reader.First of all, about the author. Does a work of literature mean what the author “intended” it to mean, and if so, how can we tell? If all the evidence we have is the text itself, we can only speculate on what the priorities and ideas of the author were from our set of interpretive practices and values. We can expand this:[1]by reading other works by the same author, by knowing more and more about what sort of meanings seem to be common to works in that particular tradition, time and genre, by knowing how the author and other writers and readers of that time read texts—what their interpretive practices were, and[2]by knowing what the cultural values and symbols of the time were.Any person or text can only “mean” within a set of preexisting, socially supported ideas, symbols, images, ways of thinking and values. In a sense there is no such thing as a “personal” meaning; although we have different experiences in our lives and different temperaments and interests,[3]we will interpret the world according to social norms and cultural meanings—there’s no other way to do it.We may have as evidence for meaning what the author said or wrote about the work, but this is not always reliable. Authorial intention is complicated not only by the fact that an author’s ways of meaning and of using literary conventions are cultural, but by the facts that the author’s work may very well have taken in directions she did not originally foresee and[4]have developed meanings which she did not intend and indeed may not recognize. The works may embody cultural or symbolic meanings which are not fully clear to the author herself and may emerge only through historical or other cultural perspective,[5]and persons may not be conscious of all of the motives that attend their work.Secondly, about the text. Does the meaning exist “in”the text?[6]There is an argument that the formal properties of the text—[7]the grammar, the language, the uses of image and so forth—contain and produce the
meaning, so that any educated reader will inevitably come to essentially the same interpretation as any other. Of course, it becomes almost impossible to know whether the same interpretations are arrived at because the formal properties securely encode the meaning, or because all of the “competent” readers were taught to read the formal properties of texts in roughly the same way. As a text is in a sense only ink marks on a page, and as all meanings are culturally created and transferred, the argument that the meaning is “in” the text is not a particularly persuasive one.[8]The meaning might be more likely to be in the conventions of meaning, the traditions, the cultural codes which have been handed down, so that insofar as we and other readers might be said to agree on the meaning of the text,[9]that agreement would be created by common traditions and conventions of usage, practice and interpretation. In different time periods, with different cultural perspectives, or with different purposes for reading, no matter what the distance in time or cultural situation, competent readers can arrive at different readings of texts.[10]On the one hand, a text is a historical document, a material fact, and on the other hand, meaning is inevitably cultural and contextual. Therefore, the question of whether the text “really means”what it means to a particular reader, group or tradition can be a difficult and complex one.Finally, about the reader. Does the meaning then exist in the reader’s response, her processing or reception of the text? In a sense this is inescapable: meaning exists only insofar as it means to someone, and art is composed in order to evoke sets of responses in the reader. But this leads us to three essential issues.Meaning is “social”, that is,[11]language and conventions work only as shared meaning, and our way of viewing the world can exist only as shared. When we read a text, we are participating in social, or cultural, meaning.[12]Response is not merely an individual thing, but is part of culture and history.Meaning is contextual. Change the context, you often change the meaning. Texts constructed as literature or art, have their own codes and practices, and the more we know of them, the more we can decode the text, that is, understand it—[13]consequently, in regard to the question of meaning there is the matter of reader competency, as it is called, the experience and knowledge of decoding literary texts.As meanings are cultural and as art is artifact, you may see that this idea that meaning requires competency in reading can bring us back to different conventions and ways of reading and writing,[14]and to the historically situated understandings of the section on the author.[15]At the least, “meaning”requires a negotiation between cultural meanings across time, culture, gender and class.OK Let me recap my talk today. The point of this brief talk is that “meaning” is a phenomenon that is not easily ascribed or located, that it is historical, social, and derived from the traditions of reading and thinking and understanding the world that you are educated about and socialized in.
Meaning in LiteratureI. AUTHOR—Interpret author’s intended meaning bya)Reading other works by【T1】_____【T1】______b)Knowing common meanings in a particular parameterc)Knowing how authors and readers of that time interpreted textsd)Knowing cultural【T2】_____ of that time【T2】______—Personal meaning are influenced by【T3】_____ and cultural meanings【T3】______—Authorial intention is complicateda)Cultural constraintsb)Develop meanings not originally【T4】
_____by the author【T4】______c)Cultural or symbolic meanings unclear to authord)Not realise all of the【T5】_____ in the work【T5】______II. TEXT—【T6】_____ of the text【T6】______a)Grammarb)Languagec)Uses of【T7】_____【T7】______—Meanings are agreed upon based on the factors ofa)Conventions of meaningb)Traditionsc)【T8】_____【T8】______d)Conventions of usage, practice and 【T9】_____【T9】______—Meanings are complicateda)A text is a(n)【T10】_____【T10】______b)Meanings are cultural and contextual III. READER—Meaning is sociala)Language and conventions work as meanings are【T11】_____【T11】______b)Readers participate in social or cultural meaningc)【T12】_____ is part of culture and history【T12】______—Meaning is contextuala)Codes in literatureb)Reader competency:the experience and knowledge of【T13】_____texts 【T13】______—Meaning is culturala)Different conventions and ways of reading and writingb)Understand the【T14】_____ of the author【T14】______c)Negotiation across time,【T15】_____, etc.【T15】______
1．【T1】
正确答案：the same author
解析：本题询问我们可以通过什么方式来诠释作者的作品。

讲座提到的第一点是我们可以读同一作者的其他作品。

因此，这里填the same author。

知识模块：听力填空
2．【T2】
正确答案：values and symbols
解析：录音谈到诠释作者作品隐含义的第四个方法，即了解作者其所在的时期的文化价值观和文化象征。

因此填入values and symbols。

注意要使用复数形式。

知识模块：听力填空
3．【T3】
正确答案：social norms
解析：在谈到个人的解读会受到什么影响时，讲座说我们会根据社会规范和文化含义来解读世界。

这里填social norms。

知识模块：听力填空
4．【T4】
正确答案：intended
解析：作者的意图是复杂的，其中一个原因是：作者发展出来的意思很有可能在开始写作时并没有打算这样写。

这里需使用被动语态，故填intended。

知识模块：听力填空
5．【T5】
正确答案：motives
解析：本题继续考查从哪方面可以体现出作者的意图是复杂的。

讲座提到，人们也许没有意识到自己作品里面的所有主题。

因此，这里填的是motives，注意这个词是motif的复数形式。

知识模块：听力填空
6．【T6】
正确答案：Formal properties
解析：录音谈到文章具有形式特征，并且分别列举了三个特征。

因此本题应填入Formal properties。

知识模块：听力填空
7．【T7】
正确答案：image
解析：本题考查的是文章的形式特征。

讲座提到，这些特征有语法、语言、意象的运用等。

这里填image。

表示并列的词句是记录重点。

知识模块：听力填空
8．【T8】
正确答案：Cultural codes
解析：本题问我们能彼此理解对方的意思是由什么因素所决定的。

讲座提到了以下几个方面：意思的惯例、传统、文化规范。

这里填Cultural codes。

知识模块：听力填空
9．【T9】
正确答案：interpretation
解析：录音接着补充到，这种彼此理解也是由共同的传统、用法约定、实践和诠释建立的。

因此本题填入interpretation。

知识模块：听力填空
10．【T10】
正确答案：historical document//material fact
解析：录音提到，一方面文章是历史文献和重要事实，另一方面意义不可避免地会有文化性和前后关联性。

因此本题填入historical document或material fact。

知识模块：听力填空
11．【T11】
正确答案：shared
解析：本题询问“意义是社会性的”体现在哪里。

讲座提到，语言和惯例是通过共享的意思实现的，而我们看待世界存在的方式也是共享的。

因此，这里填
shared。

知识模块：听力填空
12．【T12】
正确答案：Response
解析：本题考查考生对细节内容的把握。

录音提到，我们阅读文章的时候，会参与到文章所表达的社会或文化意义上。

我们的回应不仅仅是个人的事情，也是文化和历史的一部分。

因此本题填入Response。

知识模块：听力填空
13．【T13】
正确答案：decoding
解析：本题考查何为读者能力。

讲座提到，读者能力是一个人解码文学作品的经验和知识。

因此，这里填decoding。

知识模块：听力填空
14．【T14】
正确答案：historical background
解析：本题考查考生概括信息的能力。

题目问的是我们需要去理解作家的什么方面。

讲座提到，要读者走进作者所处的历史状况。

这里需要找一个词组概括这一意思。

因此，填historical background。

知识模块：听力填空
15．【T15】
正确答案：culture//gender//class
解析：讲座在最后提到，我们需要在时间、文化、性别和阶级上做调整。

由于题目里面有etc．，因此，这里可以填culture或gender或class。

知识模块：听力填空
听力原文：Analyzing FictionGood morning, everyone. Today, we will continue our discussion about fiction, particularly how to analyze a fiction. The analysis of fiction has many similarities to the analysis of poetry. As a rule a work of fiction is a narrative, with characters, with a setting, told by a narrator, with some claim to represent “the world” in some fashion. The topics in this lecture are plot, character, setting, the narrator, figurative language, the way reality is represented, and the world-view.1.[1]Plot. As a narrative a work of fiction has a certain arrangement of events which are taken to have a relation to one another.[2]This arrangement of events to some end—for instance to create significance, raise the level of generality,[3]extend or complicate the meaning—is known as “plot”. Narrative is integral to human experience; we use it constantly to make sense out of our experience, to remember and relate events and significance, and to establish the basic patterns of behaviour of our lives.[4]If there is no apparent relation of events in a story, our options are either to declare it to be poorly written or to assume that the lack of relation is thematic, meaning to represent the chaotic nature of human experience, a
failure in a character’s experience or personality, or the lack of meaningful order in the universe. In order to establish significance in narrative, there will often be coincidence, parallel or contrasting episodes, repetitions of various sorts, including the repetition of challenges, crises, episodes, symbols, motifs. The relationship of events in order to create significance is known as the plot.2. Character. Characters in a work of fiction are generally designed to open up or explore certain aspects of human experience.[5]Characters often depict particular traits of human nature; they may represent only one or two traits—a greedy old man who has forgotten how to care about others, for instance, or they may represent very complex conflicts, values and emotions. Usually there will be contrasting or parallel characters, and usually there will be significance to the selection of kinds of characters and to their relation to each other. As in the use of setting, in fact in almost any representation in art, the significance of a character can vary from the particular, the dramatization of a unique individual, to the most general and symbolic, for instance the representation of a “Christ figure”.3. Setting. Narrative requires a setting; this as in poetry may vary from the concrete to the general.[6]Often setting will have particular culturally coded significance—a sea-shore has a significance for us different from that of a dirty street corner, for instance, and different situations and significances can be constructed through its use.[7]Settings, like characters, can be used in contrasting and comparative ways to add significance, and can be repeated with variations, and so forth.4. The Narrator. A narration requires a narrator, someone who tells the story. This person or persons will see things from a certain perspective, or point of view, in terms of their relation to the events and in terms of their attitudes towards the events and characters.
A narrator may be external, outside the story, telling it with an ostensibly objective and omniscient voice;[9]or a narrator may be a character(or characters)within the story, telling the story in the first person. First-person characters may be reliable, telling the truth, seeing things right, or they may be unreliable, lacking perspective or self-knowledge.[10]If a narration by an omniscient external narrator carries us into the thoughts of a character in the story, that character is known as a reflector character. Such a character does not know he or she is a character, and is unaware of the narration or the narrator.[8]An omniscient, external narrator may achieve the narrative by telling or by showing, and he may keep the reader in a relation of suspense to the story or in a relation of irony. In any case, who tells the story, from what perspective, with what sense of distance or closeness, with what possibilities of knowledge, and with what interest, are key issues in the making of meaning in narrative.5. Figurative language. As in poetry, there will be figurative language; as in drama,[11]this language tends to be used to characterize the sensibility and understanding of characters as well as to establish thematic and tonal continuities and significance.6. Representation of reality. Fiction generally claims to represent “reality” in some way. However, because any narrative is presented through the symbols and codes of human meaning and communication systems, fiction cannot represent reality directly, and different narratives and forms of narrative represent different aspects of reality, and represent reality in different ways.[12]A narrative might be very concrete and adhere closely to time and place, representing every-day events; on the other hand[13]it may
for instance represent psychological or moral or spiritual aspects through symbols, characters used representatively or symbolically, improbable events, and other devices.7. World-view. As narrative represents experience in some way and as it uses cultural codes and language to do so,[14]it inevitably must be read for its structure of values, for its understanding of the world, or world-view, and for its ideological assumptions, what is assumed to be natural and proper. Every narrative communication makes claims, often implicitly, about the nature of the world as the narrator and his or her cultural traditions understand it to be. “Literature” tends to use cultural codes and to use the structuring devices of narrative with a high degree of intentionality in order to offer a complex understanding of the world. The astute reader of fiction will be aware of the shape of the world that the fiction projects, the structure of values that underlie the fiction. He will also be aware of the distances and similarities between the world of the fiction and the world that the reader inhabits;[15]and will be aware of the significances of the selections and exclusions of the narrative in representing human experience.OK. I have outlined seven aspects of analyzing a fiction. I am sure you will have a better understanding as to how to analyze a fiction. Next time, we shall talk about how to analyze a poem.
Analyzing FictionI. 【T1】______【T1】______—Arrangement of events toa)【T2】_____【T2】______b)Raise the level of generalityc)【T3】_____ the meaning 【T3】______—Relation of events—No relation of eventsa)Poorly writtenb)Lack of relation is the【T4】_____ of the narrative【T4】______II. Character—Explore human experience—Represent particular【T5】_____ of human nature【T5】______—Represent conflicts, values and emotions—Contrasting or parallel characters III. Setting—Concrete and general settings—Have【T6】_____ significance【T6】______—Used in contrasting and【T7】_____ ways【T7】______IV. Narrator—See things from a certain point of view—External narratora)Objective and omniscient voiceb)Keep readers in a suspenseful or【T8】_____ relation【T8】______—Narrator within the storya)Tell the story in【T9】_____【T9】______b)Reliable or unreliable —【T10】_____ character【T10】______a)Not know he or she is a characterb)Unaware of the narration or the narratorV. Figurative language—Characterize the【T11】_____ and understanding of characters【T11】______—Establish thematic and tonal continuities and significanceVI. Representation of reality—Represent different aspects of reality in different ways—Concrete narrative: adhere to【T12】_____, represent daily events【T12】______—Represent spiritual aspect through【T13】_____ etc.【T13】______VII. World-view—Read fora)【T14】_____【T14】______b)World-viewc)Ideological assumptions—Use devices intentionally to present world-view—Readers should be aware ofa)World-view presentedb)Distances and similarities between fiction world and readers’worldc)Significances of what are【T15】_____ in the narrative【T15】______to represent human experience.
16．【T1】
解析：本题考查分析小说的第一个环节，即分析情节。

根据提纲，填入Plot。

知识模块：听力填空
17．【T2】
正确答案：Create significance
解析：空格考查的是情节的作用。

讲座提到，情节的第一个作用是创造意义，即Create significance。

知识模块：听力填空
18．【T3】
正确答案：Extend or complicate
解析：讲座提到。

情节的第三个作用是拓展小说的意义或使其复杂化。

因此本题填入Extend or complicate。

知识模块：听力填空
19．【T4】
正确答案：theme
解析：讲座提到，如果故事里的事件之间没有联系的话，要么是故事写得不好，要么就是“没有联系”恰恰是故事的主题。

根据空格前的the，这里需要填一个名词，需将原文thematic改为theme。

知识模块：听力填空
20．【T5】
正确答案：traits∥characteristics
解析：本题考查人物的作用。

讲座提到，人物通常用来代表人性的特征。

因此填traits或characteristics。

知识模块：听力填空
21．【T6】
正确答案：culturally coded
解析：本题考查背景的作用。

根据录音原文“背景具有独特的文化象征(culturally coded)意义”，可知答案为culturally coded。

知识模块：听力填空
22．【T7】
正确答案：comparative
解析：讲座谈到小说背景的第三个方面。

小说背景如人物一样，可以用对比和比较的方式来增加意义。

本题要求填入的是comparative。

知识模块：听力填空
23．【T8】
解析：本题考查考生寻找信息的能力。

讲座前后两次提到外部视角的叙述者，中间插入了其他叙述者的介绍。

在谈到外部视角的叙述者能带给读者什么样的叙述时，讲座提到了两种：suspense和irony。

题目出现了并列的形容词suspenseful，可见这里也需填形容词，故将irony改为ironic。

知识模块：听力填空
24．【T9】
正确答案：the first person
解析：录音提到，叙述者可能就是故事里的一个人物，以第一人称叙述故事。

因此本题填入the first person。

知识模块：听力填空
25．【T10】
正确答案：Reflector
解析：本题考查第三种叙述者是什么类型的人物。

讲座提到，如果一个外部叙述者领着我们走进故事人物的思绪里面，那么这个人物就是反射人物。

因此填Reflector。

知识模块：听力填空
26．【T11】
正确答案：sensibility
解析：本题考查形象语言的作用。

讲座中提到了两个作用，其中第一个是把人物的感情和认识表现出来。

因此填sensibility。

知识模块：听力填空
27．【T12】
正确答案：time and place
解析：讲座提到，叙述可以是具体的，紧跟时间和地点，体现日常的事情。

答案为time and place。

知识模块：听力填空
28．【T13】
正确答案：symbols//characters//improbable events
解析：本题询问反映精神方面的叙述可以用什么手段来实现。

讲座中提到可以通过符号、典型或象征性的人物、不大可能发生的事件来实现。

由于题目里面有etc．，因此只须选择其中一个填即可。

知识模块：听力填空
29．【T14】
正确答案：Structure of values
解析：讲座谈到世界观时说到，因为叙述故事在某种程度上体现阅历，而且它会使用文化象征和语言去表现这种阅历，所以不可避免地我们读故事肯定是为了得到其价值结构、世界观和思想上的臆断。

本题填入Structure of values。

知
识模块：听力填空
30．【T15】
正确答案：selected and excluded
解析：讲座最后提到，要注意到在叙述中作者选择了什么、排除了什么，以表现人类的体验。

由于这里是被动语态，需转化词性，故填selected and excluded。

知识模块：听力填空。