2016年12月英语四级考试模拟试卷及答案

2016年12月英语四级考试还有两个多月的时间，童鞋们备考进行的怎么样了呢?下面是yjbys网小编提供给大家关于英语四级考试模拟试卷，希望对同学们的备考有所帮助。

　作文

Directions: For this part, you are allowed 30 minutes to write a composition on the topic The Moonlight Clan. You should write at least 150 words, and base your composition on the outline (given in Chinese) below:

1)现在很多年轻人每个月都把自己赚的钱花光，他们被称作“月光族”

2)有人认为这是一种时尚的消费观念，但很多人反对这样消费

3)我对此的看法是……

【思路点拨】

本题属于提纲式文字命题。提纲第1点指出一种现象，提纲第2点针对该现象提出两种不同的观点，提纲第3点要求表明“我”的'看法，由此可判断本文应为对比选择型作文。

根据所给提纲，本文应包含以下内容：描述“月光族”现象，引出对这一现象的不同看法;对比阐述两种看法各自的理由;表明“我”对“月光族”的看法并说明理由。

【参考范文】

The Moonlight Clan

Nowadays, more and more people, especially the young are joining in the army of “the moonlight clan”. These people exhaust their earnings every month without any savings. Many people think this is a fashionable life style, while other people object to this kind of consumption style.

Those who support “the moonlight clan” think that “the moonlight clan” knows how to enjoy life and have a higher life quality. However, other people criticize “the moonlight clan”. They say that the consumption habit of “the moonlight clan” is unhealthy and sometimes wasteful. In addition, no savings will place “the moonlight clan” in a difficult position in case of unexpected expenses.

Weighing these two arguments, I prefer the latter one. In my eyes, though “the moonlight clan” may acquire temporary satisfaction from their consumption, in the long term, it is unfavorable to their family and career. Just as a proverb says, one should always prepare for a rainy day.

　阅读理解一：

The only way to travel is on foot

The past ages of man have all been carefully labeled by anthropologists. Descriptions like ‘ Palaeolithic Man’, ‘Neolithic Man’, etc., neatly sum up whole periods. When the time comes for anthropologists to turn their attention to the twentieth century, they will surely choose the label ‘Legless Man’. Histories of the time will go something like this: ‘in the twentieth century, people forgot how to use their legs. Men and women moved about in cars, buses and trains from a very early age. There were lifts and escalators in all large buildings to prevent people from walking. This situation was forced upon earth dwellers of that time because of miles each day. But the surprising thing is that they didn’t use their legs even when they went on holiday. They built cable railways, ski-lifts and roads to the top of every huge mountain. All the beauty spots on earth were marred by the presence of large car parks. ’

The future history books might also record that we were deprived of the use of our eyes. In our hurry to get from one place to another, we failed to see anything on the way. Air travel gives you a bird’s-eye view of the world – or even less if the wing of the aircraft happens to get in your way. When you travel by car or train a blurred image of the countryside constantly smears the windows. Car drivers, in particular, are forever obsessed with the urge to go on and on: they never want to stop. Is it the lure of the great motorways, or what? And as for sea travel, it hardly deserves mention. It is perfectly summed up in the words of the old song: ‘I joined the navy to see the world, and what did I see? I saw the sea.’ The typical twentieth-century traveler is the man who always says ‘I’ve been there. ’ You mention the remotest, most evocative place-names in the world like El Dorado, Kabul, Irkutsk and someone is bound to say ‘I’ve been there’ – meaning, ‘I drove through it at 100 miles an hour on the way to somewhere else. ’

When you travel at high speeds, the present means nothing: you live mainly in the future because you spend most of your time looking forward to arriving at some other place. But actual arrival, when it is achieved, is meaningless. You want to move on again. By traveling like this, you suspend all experience; the present ceases to be a reality: you might just as well be dead. The traveler on foot, on the other hand, lives constantly in the present. For him traveling and arriving are one and the same thing: he arrives somewhere with every step he makes. He experiences the present moment with his eyes, his ears and the whole of his body. At the end of his journey he feels a delicious physical weariness. He knows that sound. Satisfying sleep will be his: the just reward of all true travellers.

1、Anthorpologists label nowaday’s men ‘Legless’ because

A people forget how to use his legs.　　B people prefer cars, buses and trains.

C lifts and escalators prevent people from walking.　　D there are a lot of transportation devices.

2、Travelling at high speed means

A people’s focus on the future.　　B a pleasure.　　C satisfying drivers’ great thrill.　　D a necessity of life.

3、Why does the author say ‘we are deprived of the use of our eyes’ ?

A People won’t use their eyes.　　B In traveling at high speed, eyes become useless.

C People can’t see anything on his way of travel.　　D People want to sleep during travelling.

4、What is the purpose of the author in writing this passage?

A Legs become weaker.　　B Modern means of transportation make the world a small place.

C There is no need to use eyes.　　D The best way to travel is on foot.

5. What does ‘a bird’s-eye view’ mean?

A See view with bird’s eyes.　　B A bird looks at a beautiful view.

C It is a general view from a high position looking down.　　D A scenic place.

答案AACDC

　阅读理解二：

Photography and Art

The earliest controversies about the relationship between photography and art centered on whether photograph’s fidelity to appearances and dependence on a machine allowed it to be a fine art as distinct from merely a practical art. Throughout the nineteenth century, the defence of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.

Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves—anything but making works of art. They are no longer willing to debate whether photography is or is not a fine art, except to proclaim that their own work is not involved with art. It shows the extent to which they simply take for granted the concept of art imposed by the triumph of Modernism: the better the art, the more subversive it is of the traditional aims of art.

Photographers’ disclaimers of any interest in making art tell us more about the harried status of the contemporary notion of art than about whether photography is or is not art. For example, those photographers who suppose that, by taking pictures, they are getting away from the pretensions of art as exemplified by painting remind us of those Abstract Expressionist painters who imagined they were getting away from the intellectual austerity of classical Modernist painting by concentrating on the physical act of painting. Much of photography’s prestige today derives from the convergence of its aims with those of recent art, particularly with the dismissal of abstract art implicit in the phenomenon of Pop painting during the 1960’s. Appreciating photographs is a relief to sensibilities tired of the mental exertions demanded by abstract art. Classical Modernist painting—that is, abstract art as developed in different ways by Picasso, Kandinsky, and Matisse—presupposes highly developed skills of looking and a familiarity with other paintings and the history of art. Photography, like Pop painting, reassures viewers that art is not hard; photography seems to be more about its subjects than about art.

Photography, however, has developed all the anxieties and self-consciousness of a classic Modernist art. Many professionals privately have begun to worry that the promotion of photography as an activity subversive of the traditional pretensions of art has gone so far that the public will forget that photography is a distinctive and exalted activity—in short, an art.

1. What is the author mainly concerned with? The author is concerned with

[A]. defining the Modernist attitude toward art.　　[B]. explaining how photography emerged as a fine art.

[C]. explaining the attitude of serious contemporary photographers toward photography as art and placing those attitudes in their historical context.

[D]. defining the various approaches that serious contemporary photographers take toward their art and assessing the value of each of those approaches.

2. Which of the following adjectives best describes “the concept of art imposed by the triumph of Modernism” as the author represents it in lines 12—13?

[A]. Objective [B]. Mechanical. [C]. Superficial. [D]. Paradoxical.

3. Why does the author introduce Abstract Expressionist painter?

[A]. He wants to provide an example of artists who, like serious contemporary photographers, disavowed traditionally accepted aims of modern art.

[B]. He wants to set forth an analogy between the Abstract Expressionist painters and classical Modernist painters.

[C]. He wants to provide a contrast to Pop artist and others.

[D]. He wants to provide an explanation of why serious photography, like other contemporary visual forms, is not and should not pretend to be an art.

4. How did the nineteenth-century defenders of photography stress the photography?

[A]. They stressed photography was a means of making people happy. [B]. It was art for recording the world.

[C]. It was a device for observing the world impartially.　　[D]. It was an art comparable to painting.

答案CDAD