2012年國(guó)考教師資格證筆試科目三英語(yǔ)學(xué)科高中學(xué)段真題答案解析

1、2012 年下半年中小學(xué)和幼兒園教師資格考試英語(yǔ)學(xué)科知識(shí)與教學(xué)能力試題（高級(jí)中學(xué)）一、 單項(xiàng)選擇題（每小題2 分，共 60 分。 ）1. it was between 1830 and 1835 the modern newspaper was born. a. when b. that c. which d. while 2. who had arrested him three times for smuggling. a. before john stood the policeman b. before the policeman stood john c. before the po

2、liceman john stood d. before john the policeman stood 3. john can play the guitar, and . a. mary play the violin b. mary can the violin c. mary can play d. mary the violin 4. anthony, a meticulous young man, watered his neighbors plants once a week while they were on vacation. a. eagerly b. perpetua

3、lly c. diligently d. haphazardly 5. the euro has , but the dollar is up. a. deprecated b. depreciated c. depressed d. depraved 6. dog-sitting for buddy is easy to do; he is a and obedient pet. a. delectable b. commonplace c. meddlesome d. docile 7. which of the follwing sets of phonetic features cha

4、racterizes the english phoneme /? /? a. + semi-closed, +back, -rounded b. + semi-open, +back, +rounded c. + closed, +back, +rounded d. +open, +front, +rounded 8. the phoneme /n/ in the first word of all the following phrases changes to /m/ except . a. open book b. open marker c. brown paper d. brown

5、 hat 9. juliet says in shakespeare s romeo and juliet: “ what s in a name? that which we call a rose by any other name would smell as sweet, ” her words pinpoint the fact that language is . a. recursive b. arbitrary c. culturally specific d. creative 10. which of the following is a slip of tongue? a

6、. a cup of tea. b. a gray tape. c. loop before you leak. d. use the key to open the door 11. a teacher handed out a list of twenty “ if ” sentences and asked students to discuss and find out the grammatical rules. what is the teacher s grammar teaching method? a. deduction. b. presentation. c. conso

7、lidation. d. induction. 12. when you focus on “ utterance function ”and “ expected response”by using examples like “ apology/acceptance, inform/acknowledge ” , you are probably teaching language at the . a. lexical level b. discourse level c. story level d. grammatical level 13. asking students to e

8、xplain new words in a text with known words is not an act of . a. elicitation b. reinforcement c. management d. production 14. which of the following is an accuracy-oriented speaking activity? a. identifying particular phonemes on the tape. b. acting out the roles in the classroom. c. greeting peopl

9、e informally in pairs. d. having discussion in groups. 15. which of the following is not a suitable pre-listening activity? a. writing a similar text. b. discussing a relevant picture. c. writing questions about the topic. d. associating vocabulary with the topic. 16. writing exercises such as compl

10、etion, reproduction, compression, and transformation are mainly the type of exercises used in task. a. imitative writing b. guided writing c. free writing d. creative writing 17. the conversation below shows that the teacher . student: i m very down. my dad get seriously ill last week, and i m. teac

11、her：no. not get. say got because it s in the past. a. focused on accuracy only b. lacked confidence in students c. had a good rapport with students d. failed to understand what the student said 18. if a teacher gets an incorrect answer from students, it is most appropriate for him or her to say “” i

12、n order to encourage them. a. no, i don t like your answers b. nonsense, it is not what i want! c. your answer is far beyond the point d. you missed the point, but i m glad you mentioned another point. 19. when a student said in class, “i goed there yesterday.” the teacher responded, “ say it again,

13、 please.” the response is an example of . a. recast b. modification c. positive feedback d. postponed feedback 20. when students engage in group work, the teacher moves around to provide help if necessary and make sure they are doing the task properly. this is called . a. instructing b. observing c.

14、 monitoring d. evaluating 請(qǐng)閱讀 passage one, 完成第 2125 小題。passage one although the earliest films in cinema were done in one shot without any editing, cutting is so fundamental to the medium that it began to emerge relatively quickly. there was a basic disparity between the amount of film that a camera

15、 s magazine could hlod and the evolving desire of filmmakers and audiences for longer and more elaborate story films. only by editing shots together could longer narrative forms be achieved. a trip to the moon (1914), directied by georges mli s (1861-1938), for example, creates a narrative by assemb

16、ling a series of scenes, with each scene filmed in a single shot. the edit points occur between the scenes, in order to link them together. the great train robbery (1903), directed by edwin s. porter (1870-1941), follows a band of western outlaws robbing a train and interrupts the chronology of the

17、acion with a cutaway showing the rescue of a telegraph operator whom the outlaws earlier had tied up. following the cutaway, porter introduces a second line of action, showing the roundup of a posse and the pursuit of the outlaws. film historians commonly cite this as an early example of parallel ed

18、iting, showing two lines of narrative acition happening at the same time, although porter s use of this device here is ambiguous. it is not clear that he means for the parallel editing to establish that the two lines of action are in fact happening simultaneously. in other respects, editing in the g

19、reat train robbery ramains very primitive, with cuts used only to join scenes and with no intercutting inside a scene. in contrast with porter, d. w. griffith (1875-1948) freed the camera from the conventions of stage perspective by breaking the action of scenes into many different shots and editing

20、 these according to the emotional and narrative rhythms of the action. griffith explored the capabilities of edting in the films he made at biograph studio from 1908 to 1913, primarily the use of continuity matches to link shots smoothly and according to their dramatic and kinesthetic properties. cu

21、tting from full-figure shots to a close-up accentuated the drama, and matching the action on a cut as a character walks from an exterior into a doorway and, in the next shot, enters an interior set enabled griffith to join filming locations that were physically separated but adjacent in terms of the

22、 time and place of the story. griffith bacame famous for his use of crosscutting in the many “ rides to the rescue” that climax his films. in the girl and her trust (1912), for example, griffith cuts back and forth from a pair of robbers, who have abducted the heroine and are escaping on a railroad

23、pump car, to the hero, who is attempting to overtake them by train. by intercutting these lines of action, griffith creates suspense, and by shortening the lengths of the shots, he accelerates the pace. crosscutting furnished a foundation for narrative in cinema, and there is little structural diffe

24、rence between what griffith did here and what a later filmmaker such as steven spielberg (b. 1946) does in jaws (1975). griffith extended his fluid use of continuity editing and crosscutting in his epics the birth of a nation (1915) and intolerance (1916). the latter film is a supreme example of cro

25、sscutting, which is here used to tell four stories set in different time periods in simultaneous fashion. 21. what is this reading mainly about? a. films of the early twentieth century. b. how film criticism influenced art. c. the development of film editing. d. the film technique of d. w. griffith.

26、 22. the underlined word abducted in paragraph 4 probably means . a. annoyed b. kidnapped c. raped d. robbed 23. who popularized parallel editing? a. d. w. griffith did. b. georges mli s did. c. edwin s. porter did d. steven speilberg did. 24. which of the following films is an excellent example of

27、crosscutting? a. the great train robbery. b. the girl and her trust c. the birth of a nation. d. intolerance. 25. what can be inferred from the passage? a. camera s magazine editors, filmmakers and audiences have the same desire for longer and more elaborate story films. b. jaws employed a structura

28、lly different technique than crosscutting. c. steven spielberg used crosscutting in jaws. d. griffith invented parallel editing. 請(qǐng)閱讀 passage two, 完成第 2630 小題。passage two the first time i questioned the conventional wisdom on the nature of a healthy diet, i was in my salad days, almost 40 years ago,

29、and the subject was salt. researchers were claiming that salt supplementation was unnecessary after strenuous exercise, and this advice was being passed on by health reporters. all i knew was that i had played high school football in suburban maryland, sweating profusely through double sessions in t

30、he swamplike 90-degree days of august. without salt pills, i couldn t make it through a two-hour practice; i couldn t walk across the parking lot afterward without cramping. while sports nutritionists have since come around to recommend that we should indeed replenish salt when we sweat it out in ph

31、ysical activity, the massage that we should avoid salt at all other times remains strong. salt consumption is said to raise blood pressure, cause hypertension and increse the risk of premature death. this is why the department of agriculture s dietary guidelines still consider salt public enemy no.1

32、, coming before fats, sugars and alcohol. it s why the director of the center for disease control and prevention has suggested that reducing salt consumption is as critical to long-term health as quitting cigarettes. and yet, this eat-less-salt argument has been surprisingly controversial and diffic

33、ult to defend. not because the food industry opposes it, but because the actual evidence to support it has always been so week. when i spent the better part of a year researching the state of the salt science back in 1998 already a quarter century into the eat-less-salt recommendations journal edito

34、rs and public health administrators were still remarkably candid in their assessment of how flimsy the evidence was implicating salt as the cause of hypertension. while, back then, the evidence merely failed to demonstrate that salt was harmful, the evidence from studies published over the past two

35、years actually suggests that restricting how much salt we eat can increase our likelihood of dying prematurely. put simply, the possibility has been raised that if we were to eat as little salt as the u.s.d.a. and the c.d.c. recommend, we d be harming rather than helping ourselves. why have we been

36、told that salt is so deadly? well, the advice has always sounded reasonable. it has what nutritionists like to call “ biological plausibility. ”eat more salt and your body retains water to maintain a stable concentration of sodium in your blood. this is why eating salty food tends to make us thirsty

37、: we drink more; we retain water. the result can be a temporary increase in blood pressure, which will persist until our kidneys eliminate both salt and water. the scientific question is whether this temporary phenomenon translates to chronic problems: if we eat too much salt for years, does it rais

38、e our blood pressure, cause hypertension, then strokes, and then kill us prematurely? it makes sense, but it s only a hypothesis. the reason scientists do experiments is to find out if hypotheses are true. the n.i.h. has spent enormous sums of money of studies to test the hypothesis, and those studi

39、es have singularly failed to make the evidence any more conclusive. with nearly everyone focused on the supposed benefits of salt restriction, little research was done to look at the potential dangers. but four years ago, italian researchers began publishing the results from a series of clinical tri

40、als, all of which reported that, among patients with heart failure, reducing slat consumption increased the risk of death. 26. salt pills seem to be a kind of substance which . a. improves one s performance in sports competition. b. provides one with necessary salt supplementation c. prevents one fr

41、om being addicted to salt d. provides one with extra energy 27. according to the passage, when were people recommended to eat less salt? a. around the early 1990s. b. around the early 1980s. c. around the early 1970s. d. around the early 1960s. 28. according to the author, eating more salt . a. has

42、short term effect upon people s blood pressure b. has long term effect upon people s blood pressure c. has negative effect upon people s health d. has no effect upon people s health 29. what the passage tries to tell the reader is that . a. food industry misled people about salt consumption b. stric

43、t salt consumption is necessary for people s health c. salt consumption has no direct impact upon people s health d. the suggestion of strict salt consumption might be misleading 30. it can be inferred that the author is . a. supportive of the eat-less-salt campaign b. suspicious of the eat-less-sal

44、t argument c. sarcastic of the eat-less-salt argument d. neutral of the eat-less-salt argument 二、簡(jiǎn)答題（本大題1 小題， 20 分）根據(jù)題目要求完成下列任務(wù)，用中文作答。31. 課堂教學(xué)目標(biāo)的設(shè)定通常需要關(guān)注四個(gè)要素：who, will do what, under what conditions, to what degree。請(qǐng)根據(jù)上述四個(gè)要素簡(jiǎn)述下列教學(xué)目標(biāo)所存在的問(wèn)題（12 分） ， 并改寫(xiě)該教學(xué)目標(biāo)。（8 分）teaching objectives: enable students to

45、 talk about festivals and customs in english and express or support an opinion with suitable expressions. 三、教學(xué)情境分析題（本大題1 小題， 30 分）根據(jù)題目要求完成下列任務(wù)，用中文作答。32. 請(qǐng)閱讀下面一位教師的課后教學(xué)反思：一節(jié)英語(yǔ)課的教學(xué)反思i. 每個(gè)教學(xué)步驟都有明確的設(shè)計(jì)意圖和師生對(duì)應(yīng)活動(dòng)，受時(shí)間和內(nèi)容限制，學(xué)生即興反應(yīng)和表達(dá)時(shí)間不足，課堂靈活性不夠。ii. 本課以“詩(shī)歌體驗(yàn)和欣賞”為目標(biāo)，教學(xué)有重點(diǎn)，有針對(duì)性，學(xué)生大膽表達(dá)個(gè)人見(jiàn)解，但如何有效糾正學(xué)生口語(yǔ)錯(cuò)誤缺乏經(jīng)驗(yàn)，需要今

46、后進(jìn)一步探討。iii. 課堂以英語(yǔ)童謠導(dǎo)入，介紹英語(yǔ)詩(shī)歌和英譯唐詩(shī)宋詞，引導(dǎo)學(xué)生感受英漢名詩(shī)，體會(huì)詩(shī)歌所表達(dá)的情感，欣賞詩(shī)歌的美。詩(shī)歌的選材很重要，既要考慮難易度，還要關(guān)注創(chuàng)作背景和文化內(nèi)涵。iv. 開(kāi)展“互動(dòng)發(fā)生式”教學(xué)，組織小組合作學(xué)習(xí)，但由于教學(xué)容量大，師生問(wèn)答少，參與度不高，效率難以保證。任務(wù)要求：根據(jù)上述教學(xué)反思回答下列三個(gè)問(wèn)題，答案不得照搬原文。1.判斷這是一節(jié)什么內(nèi)容的課型，其教學(xué)目的是什么？（8 分）2.這位教師從哪四個(gè)方面進(jìn)行了教學(xué)反思？（12 分）3. 列出兩個(gè)該教師認(rèn)為值得關(guān)注的問(wèn)題。（ 10 分）四、教學(xué)設(shè)計(jì)題（本大題1 小題， 40 分）根據(jù)提供的信息和語(yǔ)言素材設(shè)計(jì)教

47、學(xué)方案，用英文作答。33. 設(shè)計(jì)任務(wù)： 請(qǐng)根據(jù)所提供的信息和語(yǔ)言素材設(shè)計(jì)一節(jié)說(shuō)寫(xiě)課的教學(xué)方案。該方案應(yīng)突出下列要點(diǎn)：teaching objectives teaching contents key and difficult points major steps and time allocation activities and justifications 教學(xué)時(shí)間： 45 分鐘學(xué)生概況：某城鎮(zhèn)普通中學(xué)高中二年級(jí)學(xué)生，班級(jí)人數(shù)40 人。多數(shù)學(xué)生已經(jīng)達(dá)到普通高中英語(yǔ)課程標(biāo)準(zhǔn)（實(shí)驗(yàn)）六級(jí)水平。學(xué)生課堂參與積極性較高。語(yǔ)言素材：speaking task now you have the ch

48、ance to create a new festival. talk with your partner and make a name for your festival. prepare a short report about your new festival and present it to the calss. points to discuss:when the festival takes place what the festival is for what people do at the festival what people eat at the festival

49、 writing task write a brochure for the new festival that you have created, introducing it and giving advice to those who want to come. be sure to include: where it will take place how people can get there what kind of weather people should expect what things people should bring three things that vis

50、itors should see how much it will cost use the following expressions to help you. you must. you should . you could . you can. you might . you would . you would have to . you need. 答案解析一、單項(xiàng)選擇題1. 選 b?！窘馕觥靠疾鞆?qiáng)調(diào)句的用法，it is/wasthat。2. 選 a?！窘馕觥靠疾斓寡b句。方位狀語(yǔ)在句首，句子全部倒裝。全部倒裝有以下三種情況：當(dāng)here, there, out, in, up, down

51、 等副詞放在句首, 方位狀語(yǔ)在句首以及直接引語(yǔ)在句首時(shí)。3. 選 d。【解析】省略的用法。只要不損害結(jié)構(gòu)和引起歧義，能省略的地方就盡可能省略。4. 選 c?！窘馕觥吭~義辨析。eagerly 急切地；渴望地，perpetually 永恒地，持久地，diligently勤奮地；勤勉地haphazardly 偶然地，隨意地。聯(lián)系上句中meticulous，可知 c 項(xiàng)符合句意。5. 選 b?！窘馕觥吭~義辨析。depreciate貨幣貶值， deprecate反對(duì)；抨擊，depress壓抑；使沮喪；使蕭條， deprave 使墮落；使腐敗。6. 選 d。【解析】詞義辨析。delectable 美味的；

52、令人愉快的，commonplace 平凡的；陳腐的，meddlesome 愛(ài)管閑事的；好干涉的，docile 溫順的，馴服的。根據(jù)并列連詞and 后的 obedient表示順從的，確定d 符合句意。7. 選 b?！窘馕觥空Z(yǔ)音學(xué)知識(shí)。/ ? /是半開(kāi)放，圓唇的后元音。8. 選 d?！窘馕觥?語(yǔ)音學(xué)知識(shí)。 根據(jù)同化規(guī)則， /n/會(huì)帶有后面單詞首個(gè)音節(jié)發(fā)音方式的特點(diǎn)，a, b, c 項(xiàng)第二個(gè)單詞首個(gè)音節(jié)的發(fā)音方式均為雙唇音，因此/n/會(huì)被同化為 /m/。而 d 項(xiàng)為聲門音，不會(huì)產(chǎn)生此同化效應(yīng)。9. 選 b?！窘馕觥靠疾煺Z(yǔ)言學(xué)概述。語(yǔ)言識(shí)別的六大特征中，arbitrariness 指語(yǔ)言符號(hào)具有任意性

53、，即語(yǔ)言的聲音和意思之間并沒(méi)有邏輯聯(lián)系。10. 選 c。【解析】語(yǔ)言學(xué)知識(shí)?？谡`是說(shuō)話人對(duì)其試圖表達(dá)的一種偏離，并非因發(fā)音器官錯(cuò)位或字詞意義理解錯(cuò)誤而導(dǎo)致的發(fā)音錯(cuò)誤，c 項(xiàng)中原本要表達(dá)look before you leap ，出現(xiàn)了口誤。11. 選 d?！窘馕觥靠疾旖虒W(xué)法。induction 歸納的過(guò)程即由特殊到一般的過(guò)程，deduction 演繹的過(guò)程即由一般到特殊的過(guò)程，d 項(xiàng)更恰當(dāng)。新課標(biāo)在倡導(dǎo)用歸納法的方式鼓勵(lì)學(xué)生從一些事例中，通過(guò)自己的觀察發(fā)現(xiàn)其中的規(guī)律，而不是完全由老師告訴規(guī)則。12. 選 b?！窘馕觥拷虒W(xué)法知識(shí)。語(yǔ)篇層面的語(yǔ)言教學(xué)關(guān)注語(yǔ)言在上下文中的應(yīng)用，注重語(yǔ)言的交際功能。因

54、此，關(guān)注話語(yǔ)功能和期待回應(yīng)的教學(xué)應(yīng)屬于語(yǔ)篇層面的教學(xué)。13. 選 b?！窘馕觥拷虒W(xué)法知識(shí)。用已有的知識(shí)來(lái)解釋陌生的詞匯，是教師引導(dǎo)學(xué)生學(xué)生用語(yǔ)言進(jìn)行產(chǎn)出的行為，這是學(xué)習(xí)新知識(shí)的過(guò)程，不涉及鞏固范疇。14. 選 a?！窘馕觥?b 項(xiàng)角色扮演 , c 項(xiàng)非正式地問(wèn)候, d 項(xiàng)小組討論均不涉及精確性的言語(yǔ)活動(dòng)，只有 a 符合。15. 選 a?！窘馕觥繉?xiě)一篇類似的文章應(yīng)該是在知識(shí)學(xué)習(xí)后的鞏固練習(xí)，要求學(xué)生對(duì)所學(xué)內(nèi)容有充分的掌握，因此不適合安排在聽(tīng)力前。16. 選 d?！窘馕觥坷m(xù)寫(xiě)、重新創(chuàng)作、縮寫(xiě)和改編應(yīng)屬于創(chuàng)造性寫(xiě)作范疇。17. 選 a?！窘馕觥窟@位教師只關(guān)注學(xué)生出現(xiàn)的語(yǔ)法錯(cuò)誤，而不關(guān)注學(xué)生的實(shí)際交流

55、能力。18. 選 d?！窘馕觥?d 項(xiàng)的反饋?zhàn)鹬?、關(guān)心學(xué)生情感，是積極的反饋方式，鼓勵(lì)學(xué)生主動(dòng)探究學(xué)習(xí)，應(yīng)該提倡。19. 選 d?！窘馕觥款}干中教師沒(méi)有做直接的回應(yīng)，而是上學(xué)生再說(shuō)一次，提示學(xué)生再次思考，自己修正答案，因此是延后反饋。20. 選 c?！窘馕觥拷處熢诮處熝惨曇蕴峁┍匾貛椭鷮儆谳o助學(xué)生學(xué)習(xí)的監(jiān)視行為。參考答案：21. 選 c?！窘馕觥恐髦即笠忸}。根據(jù)全文敘述可知a 項(xiàng)過(guò)于籠統(tǒng)，文章并未通篇論述20 世紀(jì)早期的電影業(yè)發(fā)展。 b 項(xiàng)屬無(wú)關(guān)信息，文章未提及。d 項(xiàng)則以偏概全，griffith的剪輯技術(shù)只是作為舉例在文章中出現(xiàn)。22. 選 d?！窘馕觥吭~義猜測(cè)題。根據(jù)定語(yǔ)從句前a pai

56、r of robbers, 可猜測(cè)該詞和rob 有關(guān)。23. 選 c。【解析】事實(shí)細(xì)節(jié)題。根據(jù)第二段中film historians commonly cite this as an early example of parallel editing 可知 parallel editing 是因 porter 而最初出現(xiàn)的。24. 選 d?！窘馕觥?事實(shí)細(xì)節(jié)題。 根據(jù)最后一段最后一句the latter film is a supreme example of crosscutting可知是 intolerance。25. 選 c。【解析】推理判斷題。根據(jù)最后一段there is little

57、 structural difference between what griffith did here and in jaws (1975).可推測(cè)出 jaws 也用到了 crosscutting， 同時(shí)可以排除b。 首段中 there was a basic disparity between 可知雜志編輯和制片人、觀眾的意見(jiàn)是不一致的，故排除 a。根據(jù) 23 題的內(nèi)容，可推知d 項(xiàng)錯(cuò)誤。參考答案：26. 選 b?！窘馕觥渴聦?shí)細(xì)節(jié)題。根據(jù)第一段談及salt supplementation 和 exercise 的關(guān)系，可知salt pills是用來(lái)補(bǔ)充鹽分的。a 項(xiàng)屬于強(qiáng)加觀點(diǎn)，第一段雖

58、然提及作者因?yàn)閟alt pills 而得以堅(jiān)持踢完足球賽，但并未提及它能提升比賽水平。c 項(xiàng)屬于無(wú)關(guān)信息，文中未提及。d 項(xiàng)則過(guò)于籠統(tǒng)。27. 選 c?！窘馕觥渴聦?shí)細(xì)節(jié)題。根據(jù)第四段in 1998 already a quarter century into the eat-less-salt recommendations，可知應(yīng)該是70 年代。28. 選 a。【解析】事實(shí)細(xì)節(jié)題。根據(jù)第六段中the result can be a temporary increase in blood pressure可知攝入鹽分過(guò)多，確實(shí)會(huì)導(dǎo)致短時(shí)期內(nèi)血壓升高。由第七段中but it s only a h

59、ypothesis 說(shuō)明其長(zhǎng)期效應(yīng)并未得到驗(yàn)證，故排除b。最后一段中， reducing slat consumption increased the risk of death，說(shuō)明減少鹽分?jǐn)z入會(huì)增加死亡的風(fēng)險(xiǎn)，排除c，但并未提及攝入更多鹽分會(huì)有什么影響，故排除d。29. 選 d?！窘馕觥恐髦即笠忸}。第三段中eat-less-salt argument has been surprisingly controversial not because the food industry opposes it, but because 可知 food industry 并沒(méi)有誤導(dǎo)大眾要少吃鹽，排除

60、 a。文中最后一段reducing slat consumption increased the risk of death ，減少鹽分?jǐn)z入會(huì)增加死亡的風(fēng)險(xiǎn)，說(shuō)明一定的鹽分?jǐn)z入對(duì)健康是必要的，但不是文章要傳達(dá)給讀者的主旨，可知 b 項(xiàng)以偏概全，應(yīng)排除，c 項(xiàng)和以上敘述相違背，也應(yīng)排除。30. 選 b?！窘馕觥颗袛嘧髡哂^點(diǎn)態(tài)度題。 根據(jù)首句the first time i questioned the conventional wisdom on及全篇敘述可知作者對(duì)這一觀點(diǎn)持懷疑態(tài)度。二、 簡(jiǎn)答題參考答案 : （1）該教學(xué)目標(biāo)層次較為模糊、內(nèi)容不夠具體，表達(dá)方式有待進(jìn)一步提升。根據(jù)教學(xué)目標(biāo)的知識(shí)