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1、2015年6月大学英语六级考试真题1Part II Listening Comprehension (30 minutes) Section A1. A) Prepare for his exams.B) Catch up on his work.C) Attend the concert.D) Go on a vacation.2. A) Three crew members were involved in the incident.B) None of the hijackers carried any deadly weapons.C) The plane had been sched
2、uled to fly to Japan.D) None of the passengers were injured or killed.3. A) An article about the election.B) A tedious job to be done.C) An election campaign.D) A fascinating topic.4. A) The restaurant was not up to the speakers expectations.B) The restaurant places many ads in popular magazines.C)
3、The critic thought highly of the Chinese restaurant.D) Chinatown has got the best restaurant in the city.5. A) He is going to visit his mother in the hospital.B) He is going to take on a new job next week.C) He has many things to deal with right now.D) He behaves in a way nobody understands.6. A) A
4、large number of students refused to vote last night.B) At least twenty students are needed to vote on an issue.C) Major campus issues had to be discussed at the meeting. D) More students have to appear to make their voice heard.7. A) The woman can hardly tell what she likes.B) The speakers like watc
5、hing TV very much.C) The speakers have nothing to do but watch TV.D) The man seldom watched TV before retirement.8. A) The woman should have retired earlier. 4B) He will help the woman solve the problem.C) He finds it hard to agree with what the woman says.D) The woman will be able to attend the cla
6、sses she wants.Questions 9 to 12 are based on the conversation you have just heard.9. A) Persuade the man to join her company.B) Employ the most up-to-date technology.C) Export bikes to foreign markets.D) Expand their domestic business.10. A) The state subsidizes small and medium enterprises.B) The
7、government has control over bicycle imports.C) They can compete with the best domestic manufactures.D) They have a cost advantage and can charge higher prices. 11. A) Extra costs might eat up their profits abroad.B) More workers will be needed to do packaging.C) They might lose to foreign bike manuf
8、acturers. D) It is very difficult to find suitable local agents.12. A) Report to the management.B) Attract foreign investments.C) Conduct a feasibility study.D) Consult financial experts.Questions 13 to 15 are based on the conversation you have just heard.13. A) Coal burnt daily for the comfort of o
9、ur homes.B) Anything that can be used to produce power.C) Fuel refined from oil extracted from underground.D) Electricity that keeps all kinds of machines running.14. A) Oil will soon be replaced by alternative energy sources.B) Oil reserves in the world will be exhausted in a decade.C) Oil consumpt
10、ion has given rise to many global problems.D) Oil production will begin to decline worldwide by 2015.15. A) Minimize the use of fossil fuels.B) Start developing alternative fuels.C) Find the real cause for global warming.D) Take steps to reduce the greenhouse effect.Section BPassage OneQuestions 16
11、to 18 are based on the passage you have just heard.16. A) The ability to predict fashion trends.B) A refined taste for artistic works.C) Years of practical experience.D) Strict professional training.17. A) Promoting all kinds of American hand-made specialities.B) Strengthening cooperation with forei
12、gn governments.C) Conducting trade in art works with dealers overseas.D) Purchasing handicrafts from all over the world.18. A) She has access to fashionable things.B) She is doing what she enjoys doing.C) She can enjoy life on a modest salary.D) She is free to do whatever she wants.Passage TwoQuesti
13、ons 19 to 22 are based on the passage you have just heard. 19. A) Join in neighborhood patrols.B) Get involved in his community.C) Voice his complaints to the city council.D) Make suggestions to the local authorities.20. A) Deterioration in the quality of life.B) Increase of police patrols at night.
14、C) Renovation of the vacant buildings.D) Violation of community regulations.21. A) They may take a long time to solve.B) They need assistance form the city.C) They have to be dealt with one by one. D) They are too big for individual efforts.22. A) He had got some groceries at a big discount.B) He ha
15、d read a funny poster near his seat.C) He had done a small deed of kindness.D) He had caught the bus just in time. Passage ThreeQuestions 23 to 25 are based on the passage you have just heard.23. A) Childhood and family growth.B) Pressure and disease.C) Family life and health. D) Stress and depressi
16、on.24. A) It experienced a series of misfortunes.B) It was in the process of reorganization.C) His mother died of a sudden heart attack.D) His wife left him because of his bad temper.25. A) They would give him a triple bypass surgery.B) They could remove the block in his artery.C) They could do noth
17、ing to help him.D) They would try hard to save his life.Section CWhen most people think of the word “education”, they think of a pupil as a sort of animate sausage casing. Into this empty casting, the teachers (26) stuff “education.”But genuine education, as Socrates knew more than two thousand year
18、s ago, is not (27) the stuffing of information into a person, but rather eliciting knowledge from him; it is the (28) of what is in the mind.“The most important part of education,” once wrote William Ernest Hocking, the (29) Harvard philosopher, “is this instruction of a man in what he has inside of
19、 him.”And, as Edith Hamilton has reminded us, Socrates never said, “I know, learn from me。” He said, rather, “Look into your own selves and find the (30)of the truth that God has put into every heart and that only you can kindle (点燃)to a (31).”In a dialogue, Socrates takes an ignorant slave boy, wit
20、hout a day of (32) , and proves to the amazed observers that the boy really “knows” geometry一because the principles of geometry are already in his mind, waiting to be called out.So many of the discussions and (33) about the content of education are useless and inconclusive because they (34) what sho
21、uld “go into” the student rather than with what should be taken out, and how this can best be done.The college student who once said to me, after a lecture, “I spend so much time studying that I dont have a chance to learn anything,” was clearly expressing his (35) with the sausage casing view of ed
22、ucation.Part III Reading Comprehension (40 minutes)Reading comprehensionSection AInnovation, the elixir (灵丹妙药) of progress, has always cost people their jobs. In the Industrial Revolution hand weavers were _36_ aside by the mechanical loom. Over the past 30 years the digital revolution has _37_ many
23、 of the mid-skill jobs that underpinned 20th-century middle-class life. Typists, ticket agents, bank tellers and many production-line jobs have been dispensed with, just as the weavers were.For those who believe that technological progress has made the world a better place, such disruption is a natu
24、ral part of rising _38_. Although innovation kills some jobs, it creates new and better ones, as a more _39_ society becomes richer and its wealthier inhabitants demand more goods and services. A hundred years ago one in three American workers was _40_ on a farm. Today less than 2% of them produce f
25、ar more food. The millions freed from the land were not rendered _41_, but found better-paid work as the economy grew more sophisticated. Today the pool of secretaries has_42_, but there are ever more computer programmers and web designers.Optimism remains the right starting-point, but for workers t
26、he dislocating effects of technology may make themselves evident faster than its _43_. Even if new jobs and wonderful products emerge, in the short term income gaps will widen, causing huge social dislocation and perhaps even changing politics. Technologys _44_ will feel like a tornado (旋风), hitting
27、 the rich world first, but _45_ sweeping through poorer countries too. No government is prepared for it.A）benefits B）displaced C）employed D）eventuallyE）impact F）jobless G）primarily H）productiveI）prosperity J）responsive K）rhythm L）sentimentsM）shrunk N）swept O）withdrawnSection BWhy the Mona Lisa Stand
28、s OutA Have you ever fallen for a novel and been amazed not to find it on lists of great books? Or walked around a sculpture renowned as a classic, struggling to see what the fuss is about? If so, youve probably pondered the question Cutting asked himself that day: how does a work of art come to be
29、considered great?B The intuitive answer is that some works of art are just great: of intrinsically superior quality. The paintings that win prime spots in galleries, get taught in classes and reproduced in books are the ones that have proved their artistic value over time. If you cant see theyre sup
30、erior, thats your problem. Its an intimidatingly neat explanation. But some social scientists have been asking awkward questions of it, raising the possibility that artistic canons are little more than fossilised historical accidents.C Cutting, a professor at Cornell University, wondered if a psycho
31、logical mechanism known as the “mere-exposure effect” played a role in deciding which paintings rise to the top of the cultural league. Cutting designed an experiment to test his hunch. Over a lecture course he regularly showed undergraduates works of impressionism for two seconds at a time. Some of
32、 the paintings were canonical, included in art-history books. Others were lesser known but of comparable quality. These were exposed four times as often. Afterwards, the students preferred them to the canonical works, while a control group of students liked the canonical ones best. Cuttings students
33、 had grown to like those paintings more simply because they had seen them more.D Cutting believes his experiment offers a clue as to how canons are formed. He points out that the most reproduced works of impressionism today tend to have been bought by five or six wealthy and influential collectors i
34、n the late 19th century. The preferences of these men bestowed prestige on certain works, which made the works more likely to be hung in galleries and printed in anthologies. The fame passed down the years, gaining momentum from mere exposure as it did so. The more people were exposed to, the more t
35、hey liked it, and the more they liked it, the more it appeared in books, on posters and in big exhibitions. Meanwhile, academics and critics created sophisticated justifications for its pre-eminence. After all, its not just the masses who tend to rate what they see more often more highly. As contemp
36、orary artists like Warhol and Damien Hirst have grasped, critical acclaim is deeply entwined with publicity. “Scholars”, Cutting argues, “are no different from the public in the effects of mere exposure.”E The process described by Cutting evokes a principle that the sociologist Duncan Watts calls “c
37、umulative advantage”: once a thing becomes popular, it will tend to become more popular still. A few years ago, Watts, who is employed by Microsoft to study the dynamics of social networks, had a similar experience to Cutting in another Paris museum. After queuing to see the “Mona Lisa” in its clima
38、te-controlled bulletproof box at the Louvre, he came away puzzled: why was it considered so superior to the three other Leonardos in the previous chamber, to which nobody seemed to be paying the slightest attention?F When Watts looked into the history of “the greatest painting of all time”, he disco
39、vered that, for most of its life, the “Mona Lisa” remained in relative obscurity. In the 1850s, Leonardo da Vinci was considered no match for giants of Renaissance art like Titian and Raphael, whose works were worth almost ten times as much as the “Mona Lisa”. It was only in the 20th century that Le
40、onardos portrait of his patrons wife rocketed to the number-one spot. What propelled it there wasnt a scholarly re-evaluation, but a theft.G In 1911 a maintenance worker at the Louvre walked out of the museum with the “Mona Lisa” hidden under his smock. Parisians were aghast at the theft of a painti
41、ng to which, until then, they had paid little attention. When the museum reopened, people queued to see the gap where the “Mona Lisa” had once hung in a way they had never done for the painting itself. From then on, the “Mona Lisa” came to represent Western culture itself. H Although many have tried
42、, it does seem improbable that the paintings unique status can be attributed entirely to the quality of its brushstrokes. It has been said that the subjects eyes follow the viewer around the room. But as the paintings biographer, Donald Sassoon, dryly notes, “In reality the effect can be obtained fr
43、om any portrait.” Duncan Watts proposes that the “Mona Lisa” is merely an extreme example of a general rule. Paintings, poems and pop songs are buoyed or sunk by random events or preferences that turn into waves of influence, rippling down the generations.I “Saying that cultural objects have value,”
44、 Brian Eno once wrote, “is like saying that telephones have conversations.” Nearly all the cultural objects we consume arrive wrapped in inherited opinion; our preferences are always, to some extent, someone elses. Visitors to the “Mona Lisa” know they are about to visit the greatest work of art eve
45、r and come away appropriately impressedor let down. An audience at a performance of “Hamlet” know it is regarded as a work of genius, so that is what they mostly see. Watts even calls the pre-eminence of Shakespeare a “historical accident”.J Although the rigid high-low distinction fell apart in the
46、1960s, we still use culture as a badge of identity. Todays fashion for eclecticism“I love Bach, Abba and Jay Z”is, Shamus Khan , a Columbia University psychologist, argues, a new way for the middle class to distinguish themselves from what they perceive to be the narrow tastes of those beneath them
47、in the social hierarchy.K The intrinsic quality of a work of art is starting to seem like its least important attribute. But perhaps its more significant than our social scientists allow. First of all, a work needs a certain quality to be eligible to be swept to the top of the pile. The “Mona Lisa”
48、may not be a worthy world champion, but it was in the Louvre in the first place, and not by accident. Secondly, some stuff is simply better than other stuff. Read “Hamlet” after reading even the greatest of Shakespeares contemporaries, and the difference may strike you as unarguable.L A study in theBritish Journal of Aestheticssuggests that the exposure effect doesnt work the same way on everyt