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專四(TEM-4)閱讀理解練習(xí)題及答案
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篇一：
What comes to mind when you hear the word--diversity? Issues of race or gender mayspring to mind.Equal rights? Or minority issues?
I encourage people to look at a much wider definition of the word.1 would tend to saydiversity is “differentness” in any form.A good example of this kind of diversity has beenexperienced by every person who ever left behind the comforts of home and moved intouncharted territory.Issues of diversity are informed not only by your cultural background andcontext，but also by your religion，age，field of work，family situation， personality，andcountless other factors that make us unique.Diversity affects everyone.
It’s for this reason that diversity has become such a buzz word.The buzz happens becauseit’s all about how you handle it.It’s very much like the job a composer has when creating a greatmusical composition.If the composer understands what each unique note and dynamic mark iscapable of in combination with the other parts，the result achieved is extraordinary.If,however，none of the parts is communicating with the others，we’re left with a cacophony(刺耳的聲音).
On a personal level.it’s this understanding and acceptance of “the other” which rests at thecore of diversity.Whether we’re talking about navigating through a multicultural urbanenvironment or uprooting and moving to a new foreign social context，it is necessary to set asiderigid assumptions about “the other” and put oneself in the other’s shoes. So how do we make thisleap? It’s often as simple as asking questions and being careful not to assume that what you see isnecessarily what the other side sees.
Often in my workshops I give a magic lesson to the audience to illustrate this principle. I firstpresent the magic and accomplish the "impossible". The participants receive the same props butsimply can’t manage. We look more carefully at the situation and realize that the assumptionsthey made about it actually blocked them from achieving this feat; a feat they suddenly areempowered to do which, moments ago, was impossible.
The goal in being sensitive to diversity is to cultivate a culture of respect for people’sdifferences and understand that such an environment is beneficial to everyone involved.
Diversity awareness is an evolution. We can’t get there by snapping our fingers, and it isn’t amatter of training people to have textbook politically correct attitudes. Instead it’s a case oflooking at the big picture of how we see the world, understanding why we see it that way, andthen making sure we do our part to genuinely value difference and benefit from it.
1. According to the author, diversity is
A. confusing.
B. extraordinary.
C. quite common.
D. universal.
2. "It" in Paragraph Three refers to
A. diversity.
B. the buzz.
C. how to handle diversity.
D. the formation of diversity.
3. The author believes that
A. to handle diversity one should put himself in others’ shoes.
B. when you are in a foreign environment, do as the Romans do.
C. diversity can hardly be defined.
D. diversity derives from cultural difference.
4. The example of a magic lesson is to show
A. everyone can do magic.
B. magic is nothing but a feat.
C. what blocks people from handling diversity.
D. it is possible to achieve anything.
5. How to raise diversity awareness according to the author?
A. By living in an unfamiliar environment.
B. By having politically correct attitudes.
C. By being sensitive to everything one experiences.
D. By understanding people’s differences.
答案與解析
【文章概要】
本文圍繞“差異性”這一名詞展開論述。第1段以一個(gè)問句開頭由“差異性”一詞你會(huì)想到什么，引發(fā)讀者的思考;第2段對“差異性”進(jìn)行定義，指出了差異的廣泛性與普遍性;第3段以作曲家的創(chuàng)作形象說明差異是如何產(chǎn)生的：第4-5段闡明解決“差異性”的核心并以魔術(shù)表演為例對這一核心進(jìn)行說明;最后兩段講到了感受差異
【答案解析】
1.[D]細(xì)節(jié)判斷題。第2段有對該詞的定義，從any form，every person，not only…but als0等這些詞可推斷“差異性”具有普遍性，故選D。C為強(qiáng)干擾項(xiàng)，common偏指普通的，常見的，注意這里更強(qiáng)調(diào)的是“差異性”的普遍性。
2.[C]代詞指代題�？疾镮t所指代的對象。查找到It所在的句子，前句指出“差異性之所以時(shí)髦是因?yàn)樗Q于你如何對待它”，然后就指出“這就好 像作曲家在創(chuàng)作一首偉大的樂曲一樣”，故It在此指代的就是如何對待差異性的問題，故選C。D有一定的干擾性，但差異性的形成并沒有在It前面提到，故排除。
3.[A]觀點(diǎn)態(tài)度題。由第4段倒數(shù)第3句可知A正確，該段還提到搬遷到一個(gè)陌生的社會(huì)環(huán)境必須拋棄對他人的固執(zhí)想法，B與原文表述不符;第2段首句就有對”差異性“的定義。故C錯(cuò)誤;第2段提到“差異性問題不僅體現(xiàn)于你的文化背景，還體現(xiàn)于……”，D表述過于片面，故排除。
4.[C]例證細(xì)節(jié)題。根據(jù)magic lesson定位到第5段。該例子表明觀眾從“不會(huì)”到“會(huì)”魔術(shù)這門技藝，說明是他們原先的臆想阻礙了他們對這種技藝的掌握，進(jìn)而說明是什么阻礙了人們正確對待文化差異，故選C。A“每個(gè)人都能玩魔術(shù)”和B“魔術(shù)只不過是一門技藝”不是例證要說明的問題，故排除。
5.[D]細(xì)節(jié)判斷題。 根據(jù)diversi awareness定位到最后一段。該段最后一句表明，差異性意識的提升就應(yīng)從我們?nèi)绾斡^察世界這個(gè)大問題著眼，理解我們?yōu)槭裁茨菢涌创町悾⑶袑?shí)保證我們能真正重視事物的差異，故選D。由該段第2句可知B錯(cuò)誤;到了不熟悉的環(huán)境中，會(huì)碰到“差異性”的問題，但它不是提升差異意識的途徑，故A錯(cuò)。C文中沒有提到。
篇二：
I lost my sight when I was four years old by falling off a box car in a freight yard in AtlanticCity and landing on my head. Now I am thirty two. I can vaguely remember the brightness ofsunshine and what color red is. It would be wonderful to see again, but a calamity can do strangethings to people. It occurred to me the other day that I might not have come to love life as I do ifI hadn't been blind. I believe in life now. I am not so sure that I would have believed in it sodeeply, otherwise. I don't mean that I would prefer to go without my eyes. I simply mean that theloss of them made me appreciate the more what I had left.
Life, I believe, asks a continuous series of adjustments to reality. The more readily a person isable to make these adjustments, the more meaningful his own private world becomes. Theadjustment is never easy. I was bewildered and afraid. But I was lucky. My parents and myteachers saw something in me--a potential to live, you might call it--which I didn't see, and theymade me want to fight it out with blindness.
The hardest lesson I had to learn was to believe in myself. That was basic. If I hadn't beenable to do that, I would have collapsed and become a chair rocker on the front porch for the restof my life. When I say belief in myself I am not talking about simply the kind of self confidencethat helps me down an unfamiliar staircase alone. That is part of it. But I mean something biggerthan that: an assurance that I am, despite imperfections, a real, positive person; that somewherein the sweeping, intricate pattern of people there is a special place where I can make myself fit.
It took me years to discover and strengthen this assurance. It had to start with the mostelementary things. Once a man gave me an indoor baseball. I thought he was mocking me and Iwas hurt. "I can't use this." I said. "Take it with you," he urged me, "and roll it around." Thewords stuck in my head. "Roll it around! "By rolling the ball I could hear where it went. This gaveme an idea how to achieve a goal I had thought impossible: playing baseball. At Philadelphia'sOverbrook School for the Blind I invented a successful variation of baseball. We called it groundball.
All my life I have set ahead of me a series of goals and then tried to reach them, one at atime. I had to learn my limitations. It was no good to try for something I knew at the start waswildly out of reach because that only invited the bitterness of failure. I would fail sometimesanyway but on the average I made progress.
1. We can learn from the beginning of the passage that
A. the author lost his sight because of a car crash.
B. the author wouldn't love life if the disaster didn't happen.
C. the disaster made the author appreciate what he had.
D. the disaster strengthened the author's desire to see.
2. What's the most difficult thing for the author?
A. How to adjust himself to reality.
B. Building up assurance that he can find his place in life.
C. Learning to manage his life alone.
D. To find a special work that suits the author.
3. According to the context, "a chair rocker on the front porch" in paragraph 3 means thatthe author
A. would sit in a rocking chair and enjoy his life.
B. was paralyzed and stayed in a rocking chair.
C. would lose his will to struggle against difficulties.
D. would sit in a chair and stay at home.
4. According to the passage, the baseball and encouragement offered by the man
A. hurt the author's feeling.
B. gave the author a deep impression.
C. directly led to the invention of ground ball.
D. inspired the author.
5. According to the passage, which of the following is CORRECT?
A. The author set goals for himself but only invited failure most of the time.
B. The author suggested not trying something beyond one's ability at the beginning.
C. The bitterness of failure prevented the author from trying something out of reach. D.Because of his limitations, the author tried to reach one goal at a time.
答案與解析
【文章概要】
本文講述一位盲人因一次意外事故失明后如何克服困難，重新定位自己，取得人生價(jià)值的故事。第1段敘述作者因一次意外事故失明，但失明沒有使他喪失對生活的信心，反而讓他更懂得珍惜他所擁有的東西;第2—4段講述他如何走出陰影，最終找到了自己的位置，并發(fā)明了滾球 (ground ball);最后一段總結(jié)他的成功經(jīng)驗(yàn)，即在生活中不斷給自己設(shè)立目標(biāo)并為之而奮斗。
【答案解析】
1.[C]細(xì)節(jié)判斷題。第l段最后一句指出“所失去的讓我更懂得珍惜現(xiàn)在擁有的”，故選C。作者失明是因?yàn)樗麖囊惠v貨車(box car)A摔下來，而不是因?yàn)槠囀鹿�，故排除A;B的推斷沒有原文依據(jù);文中提到他渴望重見光明。D的表述與原文有出入。
2.[B]細(xì)節(jié)判斷題。the most difficult thin9是The hardest lesson的同義改寫，故可定位到第3段。該段首句指出最困難的事情是“相信自己”，But所在的句子做了更具體的解釋即“對自己的一種堅(jiān)信，我還是 我，盡管不是完美的……堅(jiān)信自己可以找到一個(gè)適合自己的位置”，故選B。A太籠統(tǒng);由第2段可知他的生活并不是孤單的，他還有父母、老師等的支持，故C錯(cuò) 誤;D文中沒有提到。
3.[C]句意理解題。本題可用排除法。第3段第3句提到，“如果我不堅(jiān)信自己，我會(huì)崩潰，變成一個(gè)坐在輪椅里的廢人了，在門廊前度此余生”，由此可知C正確。
4.[D]細(xì)節(jié)判斷題。根據(jù)baseball定位到倒數(shù)第2段。從該段最后兩句可知棒球和那個(gè)男人的鼓勵(lì)給作者以啟示和鼓舞.從而發(fā)明了一種叫“滾球”的運(yùn)動(dòng)，故選D。該段提到作者以為那個(gè)男人是在嘲諷他，但后來在他的激勵(lì)下有所啟發(fā)，故A錯(cuò)誤;B“給作者留下了深刻印象”在文中沒有提及;C中的directly錯(cuò)誤，男人的話只是給了作者啟發(fā)。
5.[B]細(xì)節(jié)判斷題。最后一段第2、3句表明我們要意識到自己的局限性，在開始時(shí)嘗試那些遙不可及的東西只會(huì)徒勞無益，故B正確;由該段第1句和最后一句可知作者為自己不斷設(shè)立目標(biāo)并實(shí)現(xiàn)了大部分的目標(biāo)，故A錯(cuò)誤：最后一句的anyway but可知C錯(cuò)誤;文中并沒有指出他每次嘗試一個(gè)目標(biāo)是因?yàn)樗约旱木窒�，故D屬干隨意捏造。
篇三：
I have known very few writers, but those I have known, and whom I respected, confess atonce that they have little idea where they are going when they first set pen to paper. They have acharacter, perhaps two; they are in that condition of eager discomfort which passes forinspiration; all admit radical changes of destination once the joumey has begun; one, to mycertain knowledge, spent nine months on a novel about Kashmir, then reset the whole thing inthe Scottish Highlands. I never heard of anyone making a "skeleton", as we were taught at school.In the breaking and remaking, in the timing, interweaving, beginning afresh, the writer comes todiscern things in his material which were not consciously in his mind when he began.
This organic process, often leading to moments of extraordinary self-discovery, is of anindescribable fascination. A blurred image appears, he adds a brushstroke and another, and it isgone; but something was there, and he will not rest till he has captured it. Sometimes the’ yeastwithin a writer outlives a book he has written. I have heard of writers who read nothing but theirown books, like adolescents they stand before the mirror, and still cannot fathom the exact outlineof the vision before them. For the same reason, writers talk interminably about their own books,winkling out hidden meanings, superimposing new ones, begging response from those aroundthem.
Of course a writer doing this is misunderstood: he might as well try to explain a crime or alove affair. He is also. Incidentally, an unforgivable bore. This temptation to cover the distancebetween himself and the reader, to study his image in the sight of those who do not know him,can be his undoing: he has begun to write to please.
A young English writer made the pertinent observation a year or two back that the talentgoes into the first draft, and the art into the drafts that follow. For this reason also the writer, likeany other artist, has no resting place, no crowd or movement in which he may take comfort, nojudgment from outside which can replace the judgment from within. A writer makes order out ofthe anarchy of his heart; he submits himself to a more ruthless discipline than any critic dreamedof, and when he flirts with fame, he is taking time off from living with himself, from the search forwhat his world contains at its inmost point.
1. The writers that the author is familiar with confess that they would
A. work out the ending of a novel in advance.
B. follow the writing methods learned at school.
C. remodel the main character in writing.
D. make changes to the stories they first construct.
2. According to the passage, the process of writing
A. depends on skillful planning.
B. is predictable and methodological.
C. depends on the writers’ experiences.
D. is disorderly and unsystematic.
3. The word "undoing" in the third paragraph probably suggests
A. success.
B. happiness.
C. failure.
D. sorrow.
4. According to the passage, the writer has no resting place because
A. he is not clear about what he will write at the beginning.
B. he should constantly edit his work to make it perfect.
C. he has to face a lot of responses given by readers.
D. he should add brushstrokes to the appearing blurred images.
5. Which of the following statements about writers is TRUE according to the last paragraph?
A. They have little ideas before they start writing.
B. Their talent goes into all their drafts.
C. It does harm to their writing when they flirt with fame.
D. They try to increase communication with readers.
答案與解析
【文章概要】
第l段指出作家在寫作前后，作品的內(nèi)容往往可能發(fā)生極大的變化。第2段承接上文指出這一有機(jī)寫作過程，往往能引領(lǐng)作者到達(dá)自我發(fā)現(xiàn)的境界：并指出作家在寫作完成后的種種表現(xiàn)。第3段指出作家如果企圖通過他人的評論了解自己塑造的形象，就相當(dāng)于為取悅他人而寫作。第4段指出作家需不斷創(chuàng)作和修改作品的真正原因及作家追逐名利的危害。
【答案解析】
1.[D]細(xì)節(jié)判斷題。根據(jù)familiar with，confess及各選項(xiàng)內(nèi)容定位到第1段。第1段指出，這些作家在寫作前后，作品的內(nèi)容往往可能發(fā)生極大的變化，其中作者提到，有一位作家就將小說的背景從克什米爾搬到了蘇格蘭高地。由此可見，D的表述符合文意，為本題答案。文中指出，這些作家動(dòng)筆之前不會(huì)有整篇的構(gòu)思，也不會(huì)按學(xué)校所教的那樣列出提綱，A、B可排除。文中只說作者開始寫作時(shí)可能心中已經(jīng)設(shè)定了一兩個(gè)角色，并沒有提到會(huì)否重新塑造或改變作品的主要角色，故C應(yīng)排除。
2.[D]細(xì)節(jié)推斷題。第1段明確指出，作者熟悉的那些作家在寫作過程中沒有既定的思路，情節(jié)設(shè)置也往往根據(jù)需要或更深了解素材后才做出相應(yīng)的變化和調(diào)整，這就表明，寫作過程有點(diǎn)“混亂”，構(gòu)思也不很系統(tǒng)化;此外，第2段提到。如果作家腦海中出現(xiàn)了朦朧的形象，他們會(huì)在此基礎(chǔ)上做任意的改動(dòng)。由此可見，D正確。根據(jù)文中介紹，寫作過程并沒有完整的構(gòu)思，也無法預(yù)見，只是在寫作過程中不斷完善，可很快將A、B排除。此外。作家在寫作的過程中會(huì)更多地了解所搜集的素材，這也與經(jīng)歷無關(guān)，故C也排除。
3.[C]詞義推斷題。第3段指出作家如果試圖拉近自己與讀者的距離，企圖通過他人的評論了解自己塑造的形象，就相當(dāng)于為取悅他人而寫作。四個(gè)選項(xiàng)中，較能概括這種行為性質(zhì)的是C。此外，undoing有“毀滅”之義，故C為本題答案。
4.[B]因果關(guān)系題。根據(jù)題干中的no resting place定位到第4段。第4段段首提到：作家的才華體現(xiàn)在初稿，而藝術(shù)則體現(xiàn)在之后不斷修改的稿子中。第2句以For this reason(鑒于此)引出作家不能休息的情形。由此可見，第4段首句的內(nèi)容，即作家需不斷創(chuàng)作和修改作品：以實(shí)現(xiàn)由才華到藝術(shù)的轉(zhuǎn)變是作家無法休息的真正原因。故8為答案，A、C、D不合文意。
5.[C]細(xì)節(jié)判斷題。末段末旬指出：“當(dāng)他追逐名利時(shí)，他就脫離了自我生活，脫離了對自己內(nèi)心最深處世界的探索”，故C符合文意，為本題答案。選項(xiàng)A、D均來自文中，但與末段無關(guān)，可排除。B與原文表述“作家的才華體現(xiàn)在初稿，而藝術(shù)則體現(xiàn)在之后不斷修改的稿子中”不符，可排除。
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