非英语专业考生可以报考专八吗？

Ask an American schoolchild what he or she is learning in school these days and you might even get a reply, provided you ask it in Spanish. But don't bother, here's the answer: Americans nowadays are not learning any of the things that we learned in our day, like reading and writing. Apparently these are considered fusty old subjects, invented by white males to oppress women and minorities.

What are they learning? In a Vermont college town I found the answer sitting in a toy store book rack, next to typical kids' books like Heather Has Two Mommies and Daddy Is Dysfunctional. It's a teacher's guide called Happy To Be Me, subtitled Building Self Esteem.

Self-esteem, as it turns out, is a big subject in American classrooms. Many American schools see building it as important as teaching reading and writing. They call it "whole language" teaching, borrowing terminology from the granola people to compete in the education marketplace.

No one ever spent a moment building my self-esteem when I was in school. In fact, from the day I first stepped inside a classroom my self-esteem was one big demolition site. All that mattered was "the subject", be it geography, history, or mathematics. I was praised when I remembered that "near", "fit", "friendly", "pleasing", "like" and their opposites took the dative case in Latin. I was reviled when I forgot what a cosine was good for. Generally I lived my school years beneath a torrent of castigation so consistent I eventually ceased to hear it, as people who live near the sea eventually stop hearing the waves.

Schools have changed. Reviling is out, for one thing. More important, subjects have changed. Whereas I learned English, modern kids learn something called "language skills." Whereas I learned writing, modern kids learn something called "communication". Communication, the book tells us, is seven per cent words, 23 per cent facial expression, 20 per cent tone of voice, and 50 per cent body language. So this column, with its carefully chosen words, would earn me at most a grade of seven per cent. That is, if the school even gave out something as oppressive and demanding as grades.

The result is that, in place of English classes, American children are getting a course in How to Win Friends and Influence People. Consider the new attitude toward journal writing: I remember one high school English class when we were required to keep a journal. The idea was to emulate those great writers who confided in diaries, searching their souls and honing their critical thinking on paper.

"Happy To Be Me" states that journals are a great way for students to get in touch with their feelings. Tell students they can write one sentence or a whole page. Reassure them that no one, not even you, will read what they write. After the unit, hopefully all students will be feeling good about themselves and will want to share some of their entries with the class.

There was a time when no self-respecting book for English teachers would use "great" or "hopefully" that way. Moreover, back then the purpose of English courses (an antique term for "Unit") was not to help students "feel good about themselves." Which is good, because all that reviling didn't make me feel particularly good about anything.

Which of the following is the author implying in paragraph 5?

A．Self-criticism has gone too far.

B．Communication is a more comprehensive category than language skills.

C．Evaluating criteria are inappropriate nowadays.

D．This column does not meet the demanding evaluation criteria of today.

Griffith's film innovations had a direct effect on all of the following EXCEPT ______.

A．film editing

B．camera work

C．range of subjects

D．sound editing

According to Bloomfield, meaning can be defined in terms of observable stimuli and responses made by participants in specific situations. This view of meaning is known as ______.

A．contextualism

B．behaviorism

C．functionalism

D．conceptualism

Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith (1875-1948). Before Griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the actors. The exploitation of the camera's possibilities produced novel dramatic effects. By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to camera shot.

Griffith also achieved dramatic effects by means of creative editing. By juxtaposing images and varying the speed and rhythm of their presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since. Those included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space.

Besides developing the cinema's language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic, it included not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browning and Tennyson, and treatments of social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema. When he remade Enoch Arden in 1911, he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffith's introduction of the American-made multireel picture began an elaborate historical and philosophical spectacle. It reached the unprecedented length of four reels, or one hour's running time. From our contemporary viewpoint, the pretensions of this film may seem a trifle ludicrous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema.

The author of this passage seems to imply that Victorian novels ______.

A．are like films

B．may not narrate events chronologically

C．exploit cinema's language

D．feature juxtaposed images