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2015年6月英语六级真题第3套.doc
2015 年 6 月英语六级真题（第 3 套）
Writing
Part I
Directions: Forthispart,youareallowed30minutestowriteanessaycommenting
onthesaying“Ifyoucannotdogreatthings,dosmallthingsinagreat
way.’’Youcanciteexamplestoillustrateyourpointofview.Youshould
write at least l50 words but no more than200words．
(30 minutes)
Part II
说明：六级真题全国共考了两套听力。本套（即第三套）的听力内容与第二套的完全一样，
只是选项的顺序不一样而已，故在本套中不再重复给出。
Comprehension
(30 minutes)
Listening
(40 minutes)
Reading Comprehension
Part III
Section A
Directions:In this section, there is a passage with ten blanks. You are required
toselectonewordforeachblankfromalistofchoicesgiveninaword
bank following the passage. Read the passage through care fully before
making yourchoices.Eachchoice inthebank isidentified bya letter.
PleasemarkthecorrespondingletterforeachitemonAnswerSheet2with
asinglelinethroughthecentre.Youmaynotuseanyofthewordsinthe
bank more than once.
Questions 36 to 45 are based on the following passage.
Innovation, 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 digitalrevolution has 37 many of the mid-skill jobs that
supported 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 natural 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 far
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 the 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.
Technology’s 44 will feel like a tornado(旋风), hitting the rich world first,
but 45sweeping through poorer countries too. No government is prepared for it.
A. benefits
I) prosperity
B. displaced
C. employed
D. eventually
E) impact
F) jobless
G) primarily
H) productive
J) responsive
K) rhythm
L) sentiments
M) shrunk
N) swept
O) withdrawn
Section B
Directions:In this section, you are going to read a passage with ten statements
attached to it. Eachstatement contains information given in one of the
paragraphs.Identifytheparagraphfromwhichtheinformationisderived.
Youmaychooseaparagraphmorethanonce.Eachparagraphismarkedwith
a letter. Answer the questions by marking the corresponding letter on
Answer Sheet 2.
Why the Mona Lisa Stands Out
[A] 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, you’ve probably pondered the question a psychologist,
James Cutting, asked himself: How does a work of art come to be 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 can’t see they’re superior, that’s your problem.
It’s an intimidatingly neat explanation. But some social scientists have been
asking awkward questions of it, raising the possibility that artistic canons (名
作目录) are little more than fossilised historical accidents.
[C] Cutting, a professor at Cornell University, wondered if a psychological
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 (直觉). Over a lecture course he regularly showed undergraduates
works of impressionism for two seconds at a time. Some of 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.
Cutting’s students 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
reproduced works of impressionism today tend to have been bought by five or six
wealthy and influential collectors in the late 19th century. The preferences of these
men bestowed (给予) prestige on certain works, which made the works more likely to
be hung in galleries and printed in collections. The fame passed down the years,
gaining momentum from mere exposure as it did so. The more people were exposed to,
the more they 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 preeminence(卓越). After all, it’s not just
the masses who tend to rate what they see more often more highly. As contemporary
artists like Warhol and Damien Hirst have grasped, critics’ praise is deeply
entwined (交织) 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 “cumulative 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’s
in another Paris museum. After queuing to see the “Mona Lisa” in its climate-
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 discovered 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 Leonardo’s
portrait of his patron’s wife rocketed to the number-one spot. What propelled it
there wasn’t 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 (工作服). Parisians were shocked at the theft
of a painting 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, it does seem improbable that the painting’s unique
status can be attributed entirely to the quality of its brushstrokes. It has been
said that the subject’s eyes follow the viewer around the room. But as the
painting’s biographer, Donald Sassoon, dryly notes, “In reality the effect can
be obtained from 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
(使浮起) or sunk byrandom events or preferences that turn into waves of influence,
passing down the generations.
[I] “Saying that cultural objects have value,” 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 else’s. Visitors to the “Mona Lisa” know they are about to visit
the greatest work of art ever and come away appropriately impressed—or 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 preeminence of Shakespeare
a “historical accident”.
[J] Although the rigid high-low distinction fell apart in the 1960s, we still use
culture as a badge of identity. Today’s fashion for eclecticism (折中主义)—“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 in the social hierarchy.
[K] The intrinsic quality of a work of art is starting to seem like its least important
attribute. But perhaps it’s 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” 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
Shakespeare’s contemporaries, and the difference may strike you as unarguable.
[L] A study in the British Journal of Aesthetics suggests that the exposure effect
doesn’t work the same way on everything, and points to a different conclusion about
how canons are formed. The social scientists are right to say that we should be a
little sceptical of greatness, and that we should always look in the next room. Great
art and mediocrity(平庸) can get confused, even by experts. But that’s why we need
to see, and read, as much as we can. The more we’re exposed to the good and the
bad, the better we are at telling the difference. The eclecticists have it.
46. According to Duncan Watts, the superiority of the “Mona Lisa” to Leonardo’s
other works resulted from the cumulative advantage.
47. Some social scientists have raised doubts about the intrinsic value of certain
works of art.
48. It is often random events or preferences that determine the fate of a piece of
art.
49. In his experiment, Cutting found that his subjects liked lesser known works
better than canonical worksbecause of more exposure.
50. The author thinks the greatness of an art work still lies in its intrinsic value.
51. It is true of critics as well as ordinary people that the popularity of artistic
works is closely associated with publicity.
52. We need to expose ourselves to more art and literature in order to tell the
superior from the inferior.
53. A study of the history of the greatest paintings suggests even a great work of
art could experience years of neglect.
54. Culture is still used as a mark to distinguish one social class from another.
55. Opinions about and preferences for cultural objects are often inheritable.
Section C
Directions:Thereare2passagesinthissection.Eachpassageisfollowedbysome
questions or unfinished statements. For each of them there are four
choices marked A), B), C), andD). Youshould decide on the bestchoice
and mark the corresponding letter on Answer Sheet 2 with a single line
through the centre.
Passage One
Questions 56 to 60 are based on the following passage.
The report from the Bureau of Labor Statistics was just as gloomy as anticipated.
Unemployment in January jumped to a l6-year high of 7.6 percent, as 598,000 jobs
were slashed from US payrolls in the worst single-month decline since December, 1974.
With 1.8 million jobs lost in the last three months, there is urgent desire to boost
the economy as quickly as possible. But Washington would do well to take a deep breath
before reacting to the grim numbers.
Collectively, we rely on the unemployment figures and other statistics to frame
our sense of reality. They are a vital part of an array of data that we use to assess
if we’re doing well or doing badly, and that in turn shapes government policies
and corporate budgets and personal spending decisions. The problem is that the
statistics aren’t an objective measure of reality; they are simply a best
approximation. Directionally, they capture the trends, but the idea that we know
precisely how many are unemployed is a myth. That makes finding a solution all the
more difficult.
First, there is the way the data is assembled. The official unemployment rate
is the product of a telephone survey of about 60,000 homes. There is another survey,
sometimes referred to as the“payroll survey”, that assesses 400,000 businesses
based on their reported payrolls. Both surveys have problems. The payroll survey
can easily double-count someone: if you are one person with two jobs, you show up
as two workers. The payroll survey also doesn’t capture the number of self-employed,
and so says little about how many people are generating an independent income.
The household survey has a larger problem. When asked straightforwardly, people
tend to lie orshade the truth when the subject is sex, money or employment. If you
get a call and are asked if you’re employed, and you say yes, you’re employed.
If you say no, however, it may surprise you to learn that you are only unemployed
if you’ve been actively looking for work in the past four weeks; otherwise, you
aremarginally attached to the labor forceand not actually unemployed.
The urge to quantify is embedded in our society. But the idea that statisticians
can then capture an objective reality isn’t just impossible. It also leads to
serious misjudgments. Democrats and Republicans can and will take sides on a number
of issues, but a more crucial concern is that both are basing major policy decisions
on guesstimates rather than looking at the vast wealth of raw data with a critical
eye and an open mind.
注意：此部分试题请在答题卡 2 上作答。
56. What do we learn from the first paragraph?
A) The US economic situation is going from bad to worse.
B) Washington is taking drastic measures to provide more jobs.
C) The US government is slashing more jobs from its payrolls.
D) The recent economic crisis has taken the US by surprise.
57. What does the author think of the unemployment figures and other statistics?
A) They form a solid basis for policy making.
B) They represent the current situation.
C) They signal future economic trend.
D) They do not fully reflect the reality.
58. One problem with the payroll survey is that______.
A) it does not include all the businesses
B) it fails to count in the self-employed
C) it magnifies the number of the jobless
D) it does not treat all companies equally
59. The household survey can be faulty in that_______.
A) people tend to lie when talking on the phone
B) not everybody is willing or ready to respond
C) some people won’t provide truthful information
D) the definition of unemployment is too broad
60. At the end of the passage, the author suggests that ______.
A) statisticians improve their data assembling methods
B) decision makers view the statistics with a critical eye
C) politicians listen more before making policy decisions
D) Democrats and Republicans cooperate on crucial issues
Passage Two
Questions 61 to 65 are based on the following passage.
At some point in 2008, someone, probably in either Asia or Africa, made the
decision to move from the countryside to the city. This nameless person pushed the
human race over a historic threshold, for it was in that year that mankind became,
for the first time in its history, a predominantly urban species.
It is a trend that shows no sign of slowing. Demographers(人口统计学家)reckon
that threequarters of humanity could be city-dwelling by 2050, with most of the
increase coming in the fast-growing towns of Asia and Africa. Migrants to cities
are attracted by plentiful jobs, access to hospitals and education, and the ability
to escape the boredom of a farmer’s agricultural life. Those factors are more than
enough to make up for the squalor(肮脏), disease and spectacular poverty that those
same migrants must often at first endure when they become urban dwellers.
It is the city that inspires the latest book from Peter Smith. His main thesis
is that the buzz of urban life, and the opportunities it offers for co-operation
and collaboration, is what attracts people to the city, which in turn makes cities
into the engines of art, commerce, science and progress. This is hardly revolutionary,
but it is presented in a charming format. Mr. Smith has written a breezy guidebook,
with a series of short chapters dedicated to specific aspects of urbanity—parks,
say, or the various schemes that have been put forward over the years for building
the perfect city. The result is a sort of high-quality, usually rigorous coffee-table
book, designed to be dipped into rather than read from beginning to end.
In the chapter on skyscrapers, for example, Mr. Smith touches on construction
methods, the revolutionary invention of the automatic lift, the practicalities of
living in the sky and the likelihood that, as cities become more crowded, apartment
living will become the norm. But there is also time for brief diversions onto bizarre
ground, such as a discussion of the skyscraper index(which holds that a boom in
skyscraper construction is a foolproof sign of an imminent recession).
One obvious criticism is that the price of breadth is depth; many of Mr. Smith’s
essays raise as many questions as they answer. Although that can indeed be
frustrating, this is probably the only way to treat so grand a topic. The city is
the building block of civilisation and of almost everything people do; a guidebook
to the city is really, therefore, a guidebook to how a large and ever-growing chunk
of humanity chooses to live. Mr. Smith’s book serves as an excellent introduction
to a vast subject, and will suggest plenty of further lines of inquiry.
61. In what way is the year 2008 historic?
A) For the first time in history, urban people outnumbered rural people.
B) An influential figure decided to move from the countryside to the city.
C) It is in this year that urbanisation made a start in Asia and Africa.
D) The population increase in cities reached a new peak in Asia and Africa.
62. What does the author say about urbanisation?
A) Its impact is not easy to predict.
B) Its process will not slow down.
C) It is a milestone in human progress.
D) It aggravates the squalor of cities.
63. How does the author comment on Peter Smith’s new book?
A) It is but an ordinary coffee-table book.
B) It is flavoured with humourous stories.
C) It serves as a guide to arts and commerce.
D) It is written in a lively and interesting style.
64. What does the author say in the chapter on skyscrapers?
A) The automatic lift is indispensable in skyscrapers.
B) People enjoy living in skyscrapers with a view.
C) Skyscrapers are a sure sign of a city’s prosperity.
D) Recession closely follows a skyscraper boom.
65. What may be one criticism of Mr. Smith’s book?
A) It does not really touch on anything serious.
B) It is too long for people to read from cover to cover.
C) It does not deal with any aspect of city life in depth.
D) It fails to provide sound advice to city dwellers.
Part IV
Directions: Forthispart, you areallowed30 minutesto translate apassagefrom
Chinese into English. You should write your answer on Answer Sheet 2.
(30 minutes)
Translation
2011 年是中国城市化(urbanization)进程中的历史性时刻，其城市人口首次超过农村
人口。在未来 20 年里，预计约有 3.5 亿农村人口将移居到城市。如此规模的城市发展对城
市交通来说既是挑战，也是机遇。中国政府一直提倡“以人为本’’的发展理念，强调人们
以公交而不是私家车出行。它还号召建设“资源节约和环境友好型”社会。有了这个明确的
目标，中国城市就可以更好地规划其发展，并把大量投资转向安全、清洁和经济型交通系统
的发展上。
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