選修8第3—4單元階段驗(yàn)收題

李凡 李鵬

（總分：150分? ?時(shí)間：120分鐘）

第一部分：聽力（30分）

第一節(jié) （7.5分）

聽下面5段對(duì)話。每段對(duì)話后有一道小題，從每題所給的A、B、C三個(gè)選項(xiàng)中選出最佳選項(xiàng)，并標(biāo)在試卷的相應(yīng)位置。聽完每段對(duì)話后，你將有10秒鐘的時(shí)間來回答有關(guān)小題和閱讀下一小題。每段對(duì)話你將聽一遍。

1. Where are the speakers probably？

A. In a café. B. In a hospital. C. In a shop.

2. What makes the man feel pity？

A. He is sick.? ? ? ? ? ? ? ? B. He didn't attend the party.

C. He ruined her birthday party.

3. What does the man plan to do this Saturday？

A. Go fishing.? ? ? B. Write for a newspaper.? C. Read books.

4. How old is the man？

A. 5.? B. 10. C. 15.

5. What does the man do？

A. A writer.? ? ? ? B. A jewelry expert.? ? ? C. A waiter.

第二節(jié)（22.5分）

聽下面5段對(duì)話或獨(dú)白。每段對(duì)話或獨(dú)白后有幾個(gè)小題，從題中所給的A、B、C三個(gè)選項(xiàng)中選出最佳選項(xiàng)，并標(biāo)在試卷的相應(yīng)位置。聽每段對(duì)話或獨(dú)白前，你將有時(shí)間閱讀各個(gè)小題，每小題5秒鐘;聽完后，各小題將給出5秒鐘的作答時(shí)間。每段對(duì)話或獨(dú)白讀兩遍。

聽第6段材料，回答第6、7題。

6. Why did the woman give up her dream of becoming a doctor？

A. She found the training very hard. B. She thought it's tiring to be a doctor.

C. She couldn't afford a college education.

7. How does the woman feel about her job now？

A. Satisfied.? ? B. Regretful.? ? C. Disappointed.

聽第7段材料，回答第8、9題。

8. What will the man give to Karen？

A. A CD.? ? B. A book.? ? C. A scarf.

9. What will the woman do tomorrow？

A. Go shopping.? ? B. Pick up the man.? ? C. Attend Karen's party.

聽第8段材料，回答第10至12題。

10. How was the wedding？

A. Elegant. B. Crowded. C. Wonderful.

11. What did the bride wear？

A. Blue dress. B. Jeans. C. Trousers.

12. What does the woman complain？

A. The food was not good. B. The children were so noisy. C. People went crazy.

聽第9段材料，回答第13至16題。

13. What music of Madonna makes the man want to dance？

A. Holiday.? ? ? ? ? ? ? B. Take a Bow.? ? ? ? ? C. Celebration.

14. What does the woman advise the man to do？

A. Have some new experiences.? ? ? ? ? ? ? ?B. Teach her something different.

C. Learn from her mistakes.

15. What does the woman think about school？

A. Studying is complicated. B. It's fun to study well.

C. Getting good grades is important.

16. What does the man mean in the end？

A. He will forget the past.? ? B. The woman's thought is cool. C. He will give up history.

聽第10段材料，回答第17至20題。

17. What is TaskRabbit？

A. A service company. B. An old company with new ideas.

C. A successful magazine that offers many services.

18. What could a TaskRabbit worker do？

A. Find you a job to do. B. Lend you money.

C. Help you move your furniture.

19. Who founded the company TaskRabbit？

A. Leah Busque.? ? ? ? ? ? B. Sally.? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? C. The speaker's boss.

20. What inspired the founder of TaskRabbit？

A. Making millions of dollars.? B. Finding ways to help the elderly.

C. Connecting neighbors to help each other.

第二部分：閱讀理解（35分）

I. 閱讀下列短文，從每題所給的A、B、C和D四個(gè)選項(xiàng)中，選出最佳選項(xiàng)。（30分）

（A）

The Pygmalion Effect refers to the phenomenon in which the greater the expectation placed upon people， often children or students， the better they perform. How about the theory in the workplace？ Prof. Dov Eden from Tel Aviv University's Faculty of Management，conducted some experiments.

In one of Prof. Eden's experiments，he divided bank branch managers into two groups. One group of managers was told that their employees were preeminent; the other group was told nothing about their employees' performance potential.

When Prof. Eden analyzed performance results， he found a significant difference between the branches. There had been no pre-existing? differences? ?between? ?the? employees， but the branch managers，who were led to expect more， got more—their branches scored higher in terms of profitability （收益） and overall economic success.

His findings confirm that the “Pygmalion Effect” can be created among leaders and subordinates（下屬）. Subordinates get a 3-to-1 boost（增強(qiáng)） in their performance success rate if their leader expects more from them， says Prof. Eden.“Success” is determined by many related factors， such as completing a course，a performance rating on the job，or grades in a training program.

But “if a leader? ?has? ?high? ?expectations， it? doesn't? ?mean? that? a subordinate will perform three times as well，” Prof. Eden says. “It means that he or she will have a three times greater chance of being above-average.”

Study results indicate that when a manager expects a lot from an employee， the manager's leadership style changes and subsequently boosts the employee's self-confidence.

The Pygmalion research expands based on studies? of the “experimenter effect” in? the? 1960s， the notion that an investigator can unintentionally influence the outcome of an experiment in significant ways.

1. Prof. Eden's experiments prove that? ? ? ? ? ? ?.

A. high expectations can lead to good performance

B. managers' performance influences subordinates' behaviour

C. there's little difference between employees' potential

D. success in the workplace is mainly determined by profitability

2. From the text we can infer that? ? ? ? ? ? ?.

A. one's potential can only be stimulated under pressure

B. the Pygmalion Effect can be applied to different social fields

C. the managers should change their leadership styles frequently

D. the more expectation，the higher efficiency

3. The underlined word “preeminent” in the second paragraph means “? ? ? ? ? ? ?”.

A. outstanding? B. importantC. modest? D. prepared

4. Which of the following statements is NOT true according to the text？

A. Prof. Eden is not the first person to study the “Pygmalion Effect”.

B. A subordinate will perform three times as well if the manager has high expectations.

C. Proper leadership style change of managers can boost the employees' self-confidence.

D. The “Pygmalion Effect” is the further study of the “experimenter effect”.

（B）

Double Falsehood is a play written by Lewis Theobald and first performed in 1727. It was based mainly on another work co-written? by? William? Shakespeare more than a century earlier. Professor Brean Hammond of Nottingham University said the respected Arden Shakespeare publishers attributed it to Shakespeare and released it in print on March 22， 2010.

Its appearance， and the attribution to Shakespeare， is likely to arouse another round of scholarly debate. The? debate? is? over? what? the English-speaking world's? most? famous? and? influential playwriter wrote and what was falsely attributed to him. For Hammond， the publication of the play was the peak of years of research. “I started working on it in the 1980s and wrote a couple of articles on the play， ” he said.

Theobald always claimed his play was based on a lost version by Shakespeare that was in turn based on the story of Cardenio， taken from the novel Don Quixote， by Spanish author Miguel de Cervantes. Hammond said modern scholarship had established that the early work， performed in 1613， was co-written by Shakespeare and John Fletcher. Theobald then largely re-worked and cut it， meaning the presence of three hands in the present version. “Shakespeare wrote most of the first half （of the original） and? Fletcher? wrote? most? of? the second half—you could detect a new hand from the style of writing， ” Hammond said.

Theobald's work， a story of love and betrayal， was popular with 18th-century audiences， but the writer was widely considered as a cheat for claiming he had used the words of Shakespeare. “The play has been rubbished in the past，” Hammond said. “It did have a successful theatrical run when it came out，but soon after people began asking questions and thought that it was not a single-author play by Shakespeare and we know that it's not.”

That interpretation became widely accepted and the play was widely accessible for the first time in nearly 300 years. “What's left in it now for the modern reader is Shakespeare's DNA，” Hammond concluded.

5. From Paragraph 1 we know that the play Double Falsehood? ? ? ? ? ? ?.

A. was created and directed by Lewis Theobald

B. was adapted from one of Shakespeare's works

C. was written by Shakespeare and another writer

D. was published by Professor Brean Hammond

6. Why has the publication of the play set off academic debate？

A. There has been a play falsely attributed to Shakespeare.

B. Shakespeare is the most famous and influential playwriter.

C. There have been a great number of researchers studying Shakespeare.

D. The Arden Shakespeare publishers made wrong judgements.

7. What can be concluded about Lewis Theobald from the text？

A. He was a popular playwriter in the 18th century.

B. He became famous by saying the play was Shakespeare's.

C. He was wrongly blamed for nearly 300 years.

D. He earned a lot of money from the play in spite of the debate.

8. The underlined sentence is the closest in meaning to “? ? ? ? ? ? ?”.

A. Shakespeare left his DNA to modern readers

B. Modern readers can see the work after studying Shakespeare's DNA

C. The play has been proven to be Shakespeare's after analysis of his DNA

D. Modern readers can still recognize the writing style of Shakespeare

（C）

Steven Spielberg was not a scholar， and his classmates teased him. Rather than read，? the kid really preferred running around with an? 8mm? camera， shooting home-made? movies， which? he showed to friends for a small fee.

In his first year of high school， he dropped out. But when his parents persuaded him to return， he was mistakenly? placed in? a? learning-disabled class， which lasted one month. Only when the family moved to another town did he land up in a more suitable high school， where he eventually graduated.

After being denied entrance into a traditional film-making school， Steven Spielherg enrolled in English at California State University at Long Beach. Then in 1965， he recalls， in one of those serendipitous moments， his life took a complete turn. Visiting Universal Studios， he met Chuck Silvers， an executive in the editorial department. Silvers liked the kid who made 8mm films and invited him back sometime to visit.

He appeared the next day. Spielberg， dressed in a dark suit， carrying his father's briefcase with nothing inside but a sandwich and candy bars walked confidently up to the guard at the gate of Universal and gave him a casual wave. The guard waved back. He was in.

“For the entire summer，” Spielberg remembers， “I? dressed in my suit and hung out with the directors and? writers， including Silvers， who knew the kid wasn't a studio employee， but winked at him. I even found an? office? that? wasn't? being? used， and? became? a? squatter （擅自占用他人房子的人）. I bought some plastic tiles and put my name in the building directory：? Steven Spielberg， Room 23C.”

It paid off for everyone. Ten years later， the 28-year-old Spielberg directed Jaws， which took in $470 million， then the biggest grossing movie of all time. Dozens of films and awards have followed because Steven Spielberg knew what his teachers didn't—talent is in the eyes of the filmmaker.

9. Why was Steven Spielberg laughed at by his classmates？

A. He was the youngest boy. B. He was too short for his age.

C. He liked to fight with other boys. D. He didn't care much about his lessons.

10. Why did Steven's friends pay him some money？

A. To watch his movies. B. To use his camera.

C. To look at his photos. D. To include them in the movie.

11. What did Steven Spielberg intend to do after graduating from high school？

A. Study English at a college. B. Become a newspaper editor.

C. Work for Universal Studios. D. Go to a traditional film-making school.

12. What could have changed Steven Spielberg's life？

A. Being dressed in a suit. B. Meeting Chuck Silvers.

C. Missing a film-making school. D. Working for Universal Studios.

（D）

What is a play？ Basically， it's a blueprint for a stage production. It's performed by actors and directed and designed by others. You've probably seen a play before， if not on stage， then on TV or at the cinema—many plays have been adapted for TV or films.

If you've ever glanced at the text of a play you'll see that it's pretty much all dialogue. Don't groan and think， “I can't write that much talking！” Remember that dialogue can be just like prose （散文）—there are tense sections where characters battle with each other and other times when the writing is poetic.

Starting your play

Characters—Start with the basics： their age and relationship to each other. You can make a list of these，known as the Cast of Characters. For yourself， you'll want to know what drives each of the characters： their ambitions， their fears， and threats to their happiness.

Setting—Where and when will your play take place？ Don't worry about drawing a set; leave that to the designers. All? you? need to worry about is giving your collaborators（合作者） what they need to know. This means the time period， items needed on stage（such as furniture， doorways， windows， etc.）， as well as the place in the world.

Stage directions—They? can? be? very? confusing? for both? novices? and? professionals. Stage directions are there to give the actors， designers， and directors a clue about what they actually see happening on stage. They're not for the audience， who will never get to read them.

An important thing to know is that stage directions are not narration. Not every action or attitude from your characters needs to be included. Neither does a description of everything on stage need to be included. Do include a basic setting description， an actor's entrance， exit and physical action that must be performed for the dialogue to make sense， and pauses in the dialogue. Do not include the tone of voice or hints for every line， and characters' thoughts or intentions.

13. What is the text of a play mainly made of？

? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?

14. What is the Cast of characters according to the passage？

? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?

15. What are the stage directions used for？

? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?? ? ? ? ? ? ?

II. 根據(jù)短文內(nèi)容，從短文后的選項(xiàng)中選出能填入空白處的最佳選項(xiàng)。選項(xiàng)中有兩項(xiàng)為多余選項(xiàng)。（5分）

? ? 1? ??Being angry doesn't really solve much， but what people do when they feel angry is important. The goal is to calm down and try to solve what is bothering you. This is hard for some kids and adults， too. Instead of calming down， some kids might keep getting more and more upset until they explode like a volcano！

? ? 2? ??Their anger might be so strong that they lose control of their temper. They may act in ways unacceptable and hurtful. People may say that someone has trouble controlling their temper.? ? 3? ??

Some kids might get so angry that they scream at their parents， break something， or even worse， hit their brothers or sisters.? ? 4? ??However， it's not OK for a kid to do any of those things.Kids don't want to act in this way， but sometimes angry feelings can be hard to manage. So what to do？

Well， the good news is that kids don't just have to keep making the same mistakes over and over again.? ? 5? ??Imagine your temper as a puppy inside you that needs some training. The puppy is not bad—it will probably turn out a great dog. It just needs to learn some rules because， right now， that puppy is causing some problems to you.

A. You can train you temper.

B. You don't want to cause trouble.

C. Kids should be allowed to express their feelings， even angry ones.

D. Everybody gets angry sometimes.

E. In fact， they usually mean that a kid behaves badly when feeling angry.

F. Instead of thinking of the person you're angry with， think of something else.

G. Some kids get angry more often or more easily than some other kids.

第三部分：語言知識(shí)運(yùn)用（50分）

I. 根據(jù)短文內(nèi)容，從短文后的選項(xiàng)中選出能填入空白處的最佳選項(xiàng)。（30分）

That was my first ballet performance and I was the lead role. A huge black curtain? ? 1? ??me from the crowd. My heart raced so rapidly that it would? ? 2? ??out of my chest. A rush of? ? 3? ??shot through my body when the music began and I took my? ? 4? ??at the center of the stage. I pushed off the floor as hard as I could and? ? 5? ??into the air. Then I started to come? ? 6? ??for my landing， preparing to jump again， and yet my foot? ? 7? ??. I fell. For a moment I couldn't? ? 8? ??，? wondering if I should go on.? ? 9? ??，? trained for thousands of hours for twelve years， my muscles ignored the? ? 10? ??of my mind and I? ? 11? ??myself back on my feet. I finished the part and left the stage. Bending over a table， I tried to? ? 12? ??tears. I didn't want to go back to finish the last twenty minutes. I didn't? ? 13? ??the lead role.

Then came my teacher. “The? ? 14? ??thing on stage is to fall. You've gotten it， so what's left to? ? 15? ??？ Just go and give it all.” Her words? ? 16? ??me. Minutes later， I went back onstage and completely let go of? ? 17? ??. I just danced， letting the music guide me through the movement.

Now， as a Principal Dancer， I often think about that performance. We fall when we try our hardest. There is no? ? 18? ??， only pride. Falling is? ? 19? ??and sometimes it is easier just to stay on the? ? 20? ??. But if we never get up， we will never experience what it is like to fly.

1. A. covered B. hid C. protected D. drove

2. A. beat? ? ? ? ? B. drop? C. run D. shout

3. A. amazement? ? B. excitement? C. sadness D. satisfaction

4. A. time? ? ? ? ? B. turn? C. place D. order

5. A. flew B. spun C. rose D. looked

6. A. out B. in C. down D. off

7. A. slipped B. stopped C. stepped D. advanced

8. A. think B. cry C. move D. believe

9. A. Therefore B. However C. Otherwise D. Instead

10. A. loss B. pain C. relief D. hesitation

11. A. found B. dragged C. accustomed D. allowed

12. A. dry up B. wipe out C. burst into D. fight back

13. A. play? B. deserve? C. get D. finish

14. A. unexpected? ? B. awkward? C. common D. worst

15. A. go B. do? C. lose D. say

16. A. awoke? ? B. enriched? C. excited D. surprised

17. A. the music? ? B. myself? C. the teacher D. others

18. A. excuse? ? B. fear C. benefit D. shame

19. A. shocking? ? B. interesting C. rare D. terrible

20. A. spot? ? ? B. road C. ground D. stage

II. 閱讀下面材料，在空白處填入1個(gè)單詞或括號(hào)內(nèi)單詞的正確形式。（20分）

Once a rich man met a group of Arabs in the desert. It was not long? ? 1? ??they became friends. Then one day? ? 2? ??rich man found his gold was gone. “Someone? ? 3? ??（take） it during the night，” he thought. The chief promised to find out the thief. He said to his men， “Each of you must go to my tent and pull my donkey's tail. You all know?? ?4? ??my donkey is very wise. When a thief? ? 5? ??（touch） his tail， he will bray （叫）”

One by one the Arabs went? ? 6? ??the chief's tent，? ? 7? ??the donkey did not bray. Then the chief asked his men to open their hands. He smelled their hands. After he smelled the hands of the last one he shouted， “You are the thief. Go and bring back our friend's gold at once，? ? 8? ??I'll kill you！” The man brought the gold to the rich man.

The rich man was? ? 9? ??（surprise）. The chief explained， “I was sure that the real thief dare not pull my donkey's tail， so I rubbed the tail with? ? 10? ??strong-smelling oil. There was no smell at all from the thief's hands.”

第四部分：寫作（35分）

I. 短文改錯(cuò)。（15分）

下面短文中共有10處錯(cuò)誤。請(qǐng)?jiān)谟绣e(cuò)誤的地方增加、刪除或修改某個(gè)單詞。

增加：在缺詞處加一個(gè)符號(hào)（^）， 并在其下面寫出該加的詞。

刪除：把多余的詞用斜線（＼）劃掉。

修改：在錯(cuò)的詞下劃一橫線，并在該詞下面寫出修改后的詞。

注意：1. 每句不超過兩個(gè)錯(cuò)誤;

2. 每處錯(cuò)誤及其修改均僅限一詞;

3. 只允許修改10處，多者（從第11處起）不計(jì)分。

Dear Mike，

This summer I will go to study at the London University， but I don't know how to adapt myself for the new life.

I hear that many freshmen are at loss what to do when they are in a new country. Feel lonely and homesick， they find it much harder to get use to the new culture， diet and climate. Most of them can't take well care of themselves in their everyday life. Beside，it is difficult to find a satisfied host. It is more difficult to fully understand what the teachers teach in class though they speak English all the time.

Could you tell me how to deal with these problem so that I will be able to suit the university life in the future？

Yours，

Li Hua

II. 書面表達(dá)。（20分）

《魯濱遜漂流記》 （Robinson Crusoe） 是英國(guó)小說家丹尼爾·笛福（Daniel Defoe）寫的一部著名小說。請(qǐng)根據(jù)下列要點(diǎn)寫一篇100字左右的書評(píng)：

（1） 該書出版于1719年，它是最流行的歷險(xiǎn)小說之一;

（2） 主要情節(jié)：它是關(guān)于魯濱遜，一位英國(guó)人，在一個(gè)荒涼的熱帶小島附近船只失事的故事。他自己建造小屋，種植糧食，變得自給自足。二十三年后，他偶遇一伙食肉野人，并從他們手中救出了一位囚犯，給他取名Friday。他們成了密友。四年后他們得到了營(yíng)救，然后一起回到了英國(guó)。

參考詞匯：

1. 自給自足的self-sufficient

2. 食人肉的野人cannibal

3. 在一個(gè)荒涼的熱帶小島附近船只失事shipwreck on a lonely tropical island

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