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[国内外] 2018年4月14日大陆考区雅思A类笔试真题+答案+回忆

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发表于 2018-4-8 17:50:09 | 显示全部楼层 |阅读模式
2018年4月14日陆考区雅思A类笔试真题+答案+回忆请看最下面,
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2018年4月14日陆考区雅思A类笔试真题+答案+回忆
回忆1:
阅读:
第一篇 英国剧院发展
第二篇 ash tree dieback?
第三篇,what makes us human…
回忆2:
阅读 英国博物馆历史 还关于人类的第三篇 第二篇 哎呀 忘了
小作文表格 大作文 government should make people responsible for their local environment what extent
回忆3:
阅读 第一篇是theatre的历史发展 第二篇是灌木的dieback 第三篇是human behavior
回忆4:
S1:month,orange,east,1 hour,5:30,general,trouses还有啥来着忘了,最后一个不会写
S4 城市进步的好处和坏处population  water  coal  history  balance dairy entertainment,其它记不清了
governments should make people responsible for look after their own local environment.AG 大概是这个意思
回忆5:
听力
S1 电话找工作
1.  thebest time is the end of the month
2. orange
3.   in the east oflakeside
4.   better to weartrousers
5.   state park
6.  general tour
7.   visit museum
8.   duration:one hour
9.   start 5:30am or 7:00 pm
10. zoom lens

S2 工作地点介绍,有图
11. 问most popular的活动是什么,选:B. music class
12. 选C. organizational方面的能力
13. 这个community的目的是什么,选:A. involve local community
14. 这个community最开始是做什么,:A.caravan
15-20地图题:
15. 选cafe 在reception的走过去上面那个房间
16. 选store room 在toilet左边
17. 选toilet对面是main studio
18. 选main studio 向右是control room
19.左上角,toilet上方是main room
20. 选waiting room在cup cleaning旁边

S3 一男一女两个学生讨论语言学
第一题选房间里装有录像设备
第二题选因为小孩子不能判断是否统一让别人拍摄
第三题选父母简化的语言对孩子成 长没有长远影响。双选题是研究方法,选的是diaries, survey(它有说到问卷调查),研究出现的问题technical error(没按录音机),interruption(中途有人进教室打扰)
21. The research report was based on installed recording equipment in each room
22. When doing the experience Ben: moral aspect as without the child’s permission
23. What part of experiment conclusion Ben questioned: parents’ simplified language is effective in a long run
24. What the computer can be used to: make speech and behaviors analysis
25. What about Milteda’s most effective way of learning French: learning grammar
26. What Ben like to learn dialogue by role play: because Ben is confident in speaking
27. B diaries
28. E observation
29. C technical errors
30. E interruption

S4 water infrastructure  children electricity history balance有几个我想破脑袋也想不起来了TAT
回忆6:
阅读
Passage1: British theater history
Passage2: ash tree disease
Passage3: what made us human
回忆7:
小作文是个table,关于五种从香港出口的产品在2009和2010年的出口总额对比,最后还有一列幅度变化百分比
The table below shows the change in exports from HK between 2009 and 2010.
143738jffmk0ld6tlngl62.png
大作文:Governments should make people responsible for looking after their own local environment. To what extent do you agree or disagree?
回忆8:
听力
QQ图片20180414175034.png
QQ图片20180414174955.png
QQ图片20180414174935.png
S4  关于rural和城市的比较
参考答案(顺序不对):
noise
population
water
coal
history
balance
dairy
entertainment
infrastructures
electricity

回忆9:
阅读:
Passage 1: History of theaters in Britain   
文章大意:主要讲英国剧院的历史发展  
  British theatre has a rich history, from playwrights like William Shakespeare to actors like Laurence Olivier. Today audiences still love to go to the theatre to be entertained and challenged, hearing ideas that may not be expressed anywhere else.
  But it wasn't always like that. Initially theatre was used by the church and royalty to spread their ideas. Gradually it became a vehicle to make everyone's voice heard. So how did this come about?
  During the upheaval of the medieval period the church used religious stories as a way of controlling and distracting the country.
  Theatre essentially grew out of this religious storytelling. Entertaining the public became necessary especially after the trauma of the Black Death. Plays took the form of mystery cycles and miracle plays. Mystery cycles dramatised stories from the Bible, while miracle plays told stories about the lives of saints. Parishes created these plays in order to communicate moral lessons to society. Through these organised performances, the concept of theatre began to take root in Britain.After centuries of religious inspiration for theatre, Henry VIII banned all religious performances to prevent plays from spreading Catholicism. He had set up his own church – the Church of England – and demanded his people follow this faith instead. Post Reformation plays instead aimed to entertain influential people and foreign VIPs. Theatre flourished in the 16th Century and The Theatre, one of the first purpose- built playhouses, opened its doors in London in 1576.
  After the English Civil War, theatres experienced more restrictions. King Charles II saw theatre as a way to establish control over the country. While in exile he saw how Louis XIV managed and controlled French theatre and Charles copied his approach by issuing royal patents to just two theatres. This restricted dramatic opportunity as only these two could perform serious drama and the remaining theatres had to perform comedy or melodrama instead. Patented theatre became known as legitimate theatre and non-patented theatre as illegitimate theatre. But progress was seen when Margaret Hughes became the first woman on stage in 1660.
  Despite the restrictions of the royal patents, theatre began to satirise the government. In response politicians tightened theatrical censorship. Tipped over the edge by plays attempting to ridicule him, Robert Walpole, the first ever Prime Minister, introduced the 1737 Licensing Act. It gave the Lord Chamberlain – a senior government adviser - the power to stop plays being performed. With dramatic creativity effectively stifled, writers turned to novels or illegitimate theatre for creative freedom. Despite an amendment in 1843, the act remained in place and in use until 1968.
  Ten years later, David Garrick’s theatrical innovations marked the point when actors, writers and other theatre makers began to take control. David Garrick was an actor and manager who introduced sweeping changes. Actors were subjected to new and intensive rehearsal techniques and audiences were discouraged from sitting on the stage, as the rich used to do. He was also a champion of Shakespeare and his debut performance on the London stage as Richard III made him an overnight star. Garrick was responsible for radical stylistic advances in acting. He brought more emotion and realism to the exaggerated expressions of the time.
  In the Victorian era theatre's popularity meant the patent system no longer worked. So it was ended in 1843 allowing more opportunities in drama. TW Robertson was one playwright to benefit from this. He presented the audience with realistic sets, everyday stories and natural dialogue. His representations of domestic realism became known as ‘cup and saucer dramas’: one of his greatest successes was Caste, a play about rank and social classes. The end of the patent system allowed theatre to develop artistically. It set the stage for playwrights such as Oscar Wilde who like Robertson tended to focus on the lives of the privileged.
  Interest in the arts grew in post-war Britain and audiences were keen to see stories that they identified with. ‘Kitchen sink’ dramas provided them. Almost a century on from Robertson’s naturalist plays, this new style of play, showed working class life in a level of detail that was still unusual. Men Should Weep by Ena Lamont Stewart premiered in 1947 and told a bleak tale of poverty in 1930s Glasgow. Also in the 1950s writers like John Osborne and Shelagh Delaney were acclaimed for the social realism of their work. The success of Lamont Stewart and Delaney helped pave the way for other women to make their voices heard on the stage.
  During the 20th Century, more changes happened off stage when the role of the director became the key creative force. The notion of a directors’ theatre began in Europe and spread to Britain. Sir Peter Hall is one of Britain’s most celebrated directors. In 1955 he directed the first English language production of Samuel Beckett's Waiting for Godot, which cemented his reputation. His vision also created the blueprint for the Royal Shakespeare Company, a defining moment in British theatre history. Despite his creative innovations he was still restricted by the censorship laws.
  By the swinging 60s, not only was the power of theatre in the hands of theatre makers, but it had begun to challenge authority.
  Until it ended in 1968 theatres avoided the constraints of government censorship by trading as private clubs. The freedom this gave them allowed much more challenging and radical subject matter to be tackled. Plays such as Sartre’s Huis Clos – which was set in Hell and featured a homosexual character – were staged. One of the leading theatres of this movement was Edinburgh’s Traverse theatre.
  As the 21st Century dawned, theatre continued to evolve as a vehicle for challenging the establishment and pushing boundaries. Black Watch, which premiered at the 2006 Edinburgh Festival Fringe, told the story of the Iraq War through the eyes of soldiers from the Black Watch regiment. The play did exactly what the government feared in 1737 and challenged those in power by holding British politicians accountable for the suffering of the soldiers. It was theatre at its controversial and arresting best – a far cry from the restrictive and controlling theatre of the past.
  While playwrights have more freedom than ever before, some issues around race and religion have proved problematic for theatres to navigate. Religious outrage forced the closure of Behzti at the Birmingham Repertory Theatre in 2004. The play sparked riots due to the staging of a rape and murder in a Sikh temple. And in 2015 a National Youth Theatre play called Homegrown, about Islamic radicalisation in a London school, was cancelled days before opening. But despite the difficulties, British theatre continues to reflect modern life, telling stories and challenging taboos.
 
参考答案:  
1. wood   2. roof   3. playhouses   4. fire   5. concrete   6. bioscope   
7. TRUE   8. FALSE   9. FALSE   10. FALSE   11. TRUE   
12. NOT GIVEN   13. TRUE  
 
Passage 2: Ash Tree Dieback   
文章大意:主要讲白蜡树顶梢枯死(dieback)的这种病对英国的影响,以及如何短期和长期内如何处理这种疾病   
参考答案:   
14. vii   15. viii   16. iii   17. i   18. v   19. ii   20. iv   21. A   
22. D   23. wind  24. Denmark  25. place names   26. breed   

Passage 3:What makes us human?  
文章大意:通过科学研究人类行为来讨论人类何以为人   
参考答案:
27. YES   28. NOT GIVEN   29. NO   30. NOT GIVEN   31. NO   
32. B  33. A   34. C  35. D  36. D   37. E   38. C   39. F  40. A
回忆10:

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