2015年6月英语六级真题第3套

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2015 年 6 月英语六级真题（第 3 套）

Part I Writing (30 minutes)

Directions:

For this part, you are allowed 30 minutes to write an essay

commenting on the saying“If you cannot do great things, do small

things in a great way.’’You can cite examples to illustrate your

point of view. You should write at least l50 words but no more

than200words．

Part II Listening Comprehension (30 minutes)

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。

Part III Reading Comprehension (40 minutes)

Section A

Directions:

In this section, there is a passage with ten blanks. You are

required to select one word for each blank from a list of choices

given in a word bank following the passage. Read the passage through

care fully before making your choices. Each choice in the bank is

identified by a letter. Please mark the corresponding letter for each

item on Answer Sheet2 with a single line through the centre. You may

not use any of the words in the 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 J) responsive

C. employed K) rhythm

D. eventually L) sentiments

E) impact M) shrunk

F) jobless N) swept

G) primarily O) withdrawn

H) productive

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. Identify the paragraph from which the information is

derived. You may choose a paragraph more than once. Each paragraph

is marked with 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.

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