2017上半年教师资格证考试《英语学科知识与教学能力》（高级中学）真题

When the teacher attempts to elicit more information from the students by saying "And ...","Good. A nything else ", etc, he/she is playing the role of a__________.

For more advanced learners, group work may be more appropriate than pair work for tasksthat are __________.

When you focus on "utterance function" and "expected response" by using examples like"Here you are ", "Thanks", you are probably teaching language at the__________.

Which of the following tasks fails to encourage active language use

A teacher may encourage students to __________ when they come across new words in fastreading.

Which of the following statements about task design is incorrect

If someone says "I know the word", he should not only understand its meaning but also beable to pronounce, spell, and__________ it.

Teachers could encourage students to use __________ to gather and organize their ideas forwriting.

When students are asked to go to the local museum, libraries, etc. to find out informationabout endangered animals and work out a plan for an exhibition, they are doing a(n)__________.

Which of the following tasks fails to develop students′ skill of recognizing discoursepatterns

Which of the following is the feature shared by the English phonemes/m/and/p/

Which of the following is true of English sound system

Though the government encourages foreign investment,__________ investors are reluctant tocommit fimds in the current climate situation in the country.

The man __________ the dark glasses fled away from the spot very rapidly.

The morpheme "-ceive" in the word "conceive" is a__________.

There is no need__________ to teach children how to behave.

__________advance seems to be following advance on almost a monthly basis.

Tom, see that your sister gets safely back, __________

What rhetoric device is used in the sentence "This is a successful failure"

The expression"As far as I know ..." suggests that people usually observe the Maximof __________ in their daily conversations.

Passage 1

In the field of psychology, there has long been a certain haziness surrounding the definition ofcreativity, an I-know-it-when-I-see-it attitude that has eluded a precise formulation. During ourconversation, Mark Beeman, a cognitive neuroscientist at Northwestern University, told me that heused to be reluctant to tell people what his area of study was, for fear of being dismissed ormisunderstood. What, for instance, crosses your mind when you think of creativity Well, we knowthat someone is creative if he produces new things or has new ideas. And yet, as John Kounios, apsychologist at Drexel University who collaborates frequently with Beeman, points out, that view iswrong, or at least not entirely right. "Creativity is the process, not the product," he says.

To illustrate, Beeman offers an example. Imagine someone who has never used or seen apaperclip and is struggling to keep a bunch of papers together. Then the person comes up with a newway of bending a stiff wire to hold the papers in place. "That was very creative," Beeman says. Onthe flip side, if someone works in a new field--Beeman gives the example of nanotechnology--anything that he produces may be considered inherently "creative." But was the act of producing itactually creative As Beeman put it,"Not all artists are creative. And some accountants are verycreative."

Insight, however, has proved less difficult to define and to study. Because it arrives at a specificmoment in time, you can isolate it, examine it, and analyze its characteristics. "Insight is only onepart of creativity," Beeman says."But we can measure it. We have a temporal marker thatsomething just happened in the brain. I′d never say that′s all of creativity, but it′s a central,identifiable component." When scientists examine insight in the lab, they are looking at what typesof attention and thought processes lead to that moment of synthesis: If you are trying to facilitate abreakthrough, are there methods you c

Passage 1

In the field of psychology, there has long been a certain haziness surrounding the definition ofcreativity, an I-know-it-when-I-see-it attitude that has eluded a precise formulation. During ourconversation, Mark Beeman, a cognitive neuroscientist at Northwestern University, told me that heused to be reluctant to tell people what his area of study was, for fear of being dismissed ormisunderstood. What, for instance, crosses your mind when you think of creativity Well, we knowthat someone is creative if he produces new things or has new ideas. And yet, as John Kounios, apsychologist at Drexel University who collaborates frequently with Beeman, points out, that view iswrong, or at least not entirely right. "Creativity is the process, not the product," he says.

To illustrate, Beeman offers an example. Imagine someone who has never used or seen apaperclip and is struggling to keep a bunch of papers together. Then the person comes up with a newway of bending a stiff wire to hold the papers in place. "That was very creative," Beeman says. Onthe flip side, if someone works in a new field--Beeman gives the example of nanotechnology--anything that he produces may be considered inherently "creative." But was the act of producing itactually creative As Beeman put it,"Not all artists are creative. And some accountants are verycreative."

Insight, however, has proved less difficult to define and to study. Because it arrives at a specificmoment in time, you can isolate it, examine it, and analyze its characteristics. "Insight is only onepart of creativity," Beeman says."But we can measure it. We have a temporal marker thatsomething just happened in the brain. I′d never say that′s all of creativity, but it′s a central,identifiable component." When scientists examine insight in the lab, they are looking at what typesof attention and thought processes lead to that moment of synthesis: If you are trying to facilitate abreakthrough, are there methods you c

Passage 1

In the field of psychology, there has long been a certain haziness surrounding the definition ofcreativity, an I-know-it-when-I-see-it attitude that has eluded a precise formulation. During ourconversation, Mark Beeman, a cognitive neuroscientist at Northwestern University, told me that heused to be reluctant to tell people what his area of study was, for fear of being dismissed ormisunderstood. What, for instance, crosses your mind when you think of creativity Well, we knowthat someone is creative if he produces new things or has new ideas. And yet, as John Kounios, apsychologist at Drexel University who collaborates frequently with Beeman, points out, that view iswrong, or at least not entirely right. "Creativity is the process, not the product," he says.

To illustrate, Beeman offers an example. Imagine someone who has never used or seen apaperclip and is struggling to keep a bunch of papers together. Then the person comes up with a newway of bending a stiff wire to hold the papers in place. "That was very creative," Beeman says. Onthe flip side, if someone works in a new field--Beeman gives the example of nanotechnology--anything that he produces may be considered inherently "creative." But was the act of producing itactually creative As Beeman put it,"Not all artists are creative. And some accountants are verycreative."

Insight, however, has proved less difficult to define and to study. Because it arrives at a specificmoment in time, you can isolate it, examine it, and analyze its characteristics. "Insight is only onepart of creativity," Beeman says."But we can measure it. We have a temporal marker thatsomething just happened in the brain. I′d never say that′s all of creativity, but it′s a central,identifiable component." When scientists examine insight in the lab, they are looking at what typesof attention and thought processes lead to that moment of synthesis: If you are trying to facilitate abreakthrough, are there methods you c

Passage 1

In the field of psychology, there has long been a certain haziness surrounding the definition ofcreativity, an I-know-it-when-I-see-it attitude that has eluded a precise formulation. During ourconversation, Mark Beeman, a cognitive neuroscientist at Northwestern University, told me that heused to be reluctant to tell people what his area of study was, for fear of being dismissed ormisunderstood. What, for instance, crosses your mind when you think of creativity Well, we knowthat someone is creative if he produces new things or has new ideas. And yet, as John Kounios, apsychologist at Drexel University who collaborates frequently with Beeman, points out, that view iswrong, or at least not entirely right. "Creativity is the process, not the product," he says.

To illustrate, Beeman offers an example. Imagine someone who has never used or seen apaperclip and is struggling to keep a bunch of papers together. Then the person comes up with a newway of bending a stiff wire to hold the papers in place. "That was very creative," Beeman says. Onthe flip side, if someone works in a new field--Beeman gives the example of nanotechnology--anything that he produces may be considered inherently "creative." But was the act of producing itactually creative As Beeman put it,"Not all artists are creative. And some accountants are verycreative."

Insight, however, has proved less difficult to define and to study. Because it arrives at a specificmoment in time, you can isolate it, examine it, and analyze its characteristics. "Insight is only onepart of creativity," Beeman says."But we can measure it. We have a temporal marker thatsomething just happened in the brain. I′d never say that′s all of creativity, but it′s a central,identifiable component." When scientists examine insight in the lab, they are looking at what typesof attention and thought processes lead to that moment of synthesis: If you are trying to facilitate abreakthrough, are there methods you c

Passage 1

In the field of psychology, there has long been a certain haziness surrounding the definition ofcreativity, an I-know-it-when-I-see-it attitude that has eluded a precise formulation. During ourconversation, Mark Beeman, a cognitive neuroscientist at Northwestern University, told me that heused to be reluctant to tell people what his area of study was, for fear of being dismissed ormisunderstood. What, for instance, crosses your mind when you think of creativity Well, we knowthat someone is creative if he produces new things or has new ideas. And yet, as John Kounios, apsychologist at Drexel University who collaborates frequently with Beeman, points out, that view iswrong, or at least not entirely right. "Creativity is the process, not the product," he says.

To illustrate, Beeman offers an example. Imagine someone who has never used or seen apaperclip and is struggling to keep a bunch of papers together. Then the person comes up with a newway of bending a stiff wire to hold the papers in place. "That was very creative," Beeman says. Onthe flip side, if someone works in a new field--Beeman gives the example of nanotechnology--anything that he produces may be considered inherently "creative." But was the act of producing itactually creative As Beeman put it,"Not all artists are creative. And some accountants are verycreative."

Insight, however, has proved less difficult to define and to study. Because it arrives at a specificmoment in time, you can isolate it, examine it, and analyze its characteristics. "Insight is only onepart of creativity," Beeman says."But we can measure it. We have a temporal marker thatsomething just happened in the brain. I′d never say that′s all of creativity, but it′s a central,identifiable component." When scientists examine insight in the lab, they are looking at what typesof attention and thought processes lead to that moment of synthesis: If you are trying to facilitate abreakthrough, are there methods you c

Passage 2

Taylor Swift, the seven-time Grammy winner, is known for her articulate lyrics, so there wasnothing surprising about her writing a long column for The Wall Street Journal about the future ofthe music industry. Yet there′ s reason to doubt the optimism of what she had to say "This moment in music is so exciting because the creative avenues an artist can explore arelimitless," Swift wrote."In this moment in music, stepping out of your comfort zone is rewarded,and sonic evolution is not only accepted ... it is celebrated. The only real risk is being too afraid totake a risk at all."

That′s hard to reconcile with Nielsen′s mid-year U.S. music report, which showed a 15percent year-on-year drop in album sales and a 13 percent decline in digital track sales. This couldbe the 2013 story all over again, in which streaming services cannibalize their growth from digitaldownloads, whose numbers dropped for the first time ever last year, except that even includingstreams, album sales are down 3.3 percent so far in 2014. Streaming has grown even more than it didlast year,42 percent compared to 32 percent, but has failed to make up for a general loss of interestin music.

Consider this: in 2014 to date, Americans purchased 593.6 million digital tracks and heard 70.3million video and audio streams for a sum total of 663.9 million. In the comparable period of 2013,the total came to 731.7 million.

Swift, one of the few artists able to pull off stadium tours, believes it′s all about quality.

"People are still buying albums, but now they′ re buying just a few of them," she wrote. "They arebuying only the ones that hit them like an arrow through the heart."

In 2000, album sales peaked at 785 million. Last year, they were down to 415.3 million. Swiftis right, but for many of the artists whose albums pierce hearts like arrows, it′s too late. Sales ofvinyl albums have increased 40.4 percent so far this year, according to Nielsen, and the top-

Passage 2

Taylor Swift, the seven-time Grammy winner, is known for her articulate lyrics, so there wasnothing surprising about her writing a long column for The Wall Street Journal about the future ofthe music industry. Yet there′ s reason to doubt the optimism of what she had to say "This moment in music is so exciting because the creative avenues an artist can explore arelimitless," Swift wrote."In this moment in music, stepping out of your comfort zone is rewarded,and sonic evolution is not only accepted ... it is celebrated. The only real risk is being too afraid totake a risk at all."

That′s hard to reconcile with Nielsen′s mid-year U.S. music report, which showed a 15percent year-on-year drop in album sales and a 13 percent decline in digital track sales. This couldbe the 2013 story all over again, in which streaming services cannibalize their growth from digitaldownloads, whose numbers dropped for the first time ever last year, except that even includingstreams, album sales are down 3.3 percent so far in 2014. Streaming has grown even more than it didlast year,42 percent compared to 32 percent, but has failed to make up for a general loss of interestin music.

Consider this: in 2014 to date, Americans purchased 593.6 million digital tracks and heard 70.3million video and audio streams for a sum total of 663.9 million. In the comparable period of 2013,the total came to 731.7 million.

Swift, one of the few artists able to pull off stadium tours, believes it′s all about quality.

"People are still buying albums, but now they′ re buying just a few of them," she wrote. "They arebuying only the ones that hit them like an arrow through the heart."

In 2000, album sales peaked at 785 million. Last year, they were down to 415.3 million. Swiftis right, but for many of the artists whose albums pierce hearts like arrows, it′s too late. Sales ofvinyl albums have increased 40.4 percent so far this year, according to Nielsen, and the top-

Passage 2

Taylor Swift, the seven-time Grammy winner, is known for her articulate lyrics, so there wasnothing surprising about her writing a long column for The Wall Street Journal about the future ofthe music industry. Yet there′ s reason to doubt the optimism of what she had to say "This moment in music is so exciting because the creative avenues an artist can explore arelimitless," Swift wrote."In this moment in music, stepping out of your comfort zone is rewarded,and sonic evolution is not only accepted ... it is celebrated. The only real risk is being too afraid totake a risk at all."

That′s hard to reconcile with Nielsen′s mid-year U.S. music report, which showed a 15percent year-on-year drop in album sales and a 13 percent decline in digital track sales. This couldbe the 2013 story all over again, in which streaming services cannibalize their growth from digitaldownloads, whose numbers dropped for the first time ever last year, except that even includingstreams, album sales are down 3.3 percent so far in 2014. Streaming has grown even more than it didlast year,42 percent compared to 32 percent, but has failed to make up for a general loss of interestin music.

Consider this: in 2014 to date, Americans purchased 593.6 million digital tracks and heard 70.3million video and audio streams for a sum total of 663.9 million. In the comparable period of 2013,the total came to 731.7 million.

Swift, one of the few artists able to pull off stadium tours, believes it′s all about quality.

"People are still buying albums, but now they′ re buying just a few of them," she wrote. "They arebuying only the ones that hit them like an arrow through the heart."

In 2000, album sales peaked at 785 million. Last year, they were down to 415.3 million. Swiftis right, but for many of the artists whose albums pierce hearts like arrows, it′s too late. Sales ofvinyl albums have increased 40.4 percent so far this year, according to Nielsen, and the top-

Passage 2

Taylor Swift, the seven-time Grammy winner, is known for her articulate lyrics, so there wasnothing surprising about her writing a long column for The Wall Street Journal about the future ofthe music industry. Yet there′ s reason to doubt the optimism of what she had to say "This moment in music is so exciting because the creative avenues an artist can explore arelimitless," Swift wrote."In this moment in music, stepping out of your comfort zone is rewarded,and sonic evolution is not only accepted ... it is celebrated. The only real risk is being too afraid totake a risk at all."

That′s hard to reconcile with Nielsen′s mid-year U.S. music report, which showed a 15percent year-on-year drop in album sales and a 13 percent decline in digital track sales. This couldbe the 2013 story all over again, in which streaming services cannibalize their growth from digitaldownloads, whose numbers dropped for the first time ever last year, except that even includingstreams, album sales are down 3.3 percent so far in 2014. Streaming has grown even more than it didlast year,42 percent compared to 32 percent, but has failed to make up for a general loss of interestin music.

Consider this: in 2014 to date, Americans purchased 593.6 million digital tracks and heard 70.3million video and audio streams for a sum total of 663.9 million. In the comparable period of 2013,the total came to 731.7 million.

Swift, one of the few artists able to pull off stadium tours, believes it′s all about quality.

"People are still buying albums, but now they′ re buying just a few of them," she wrote. "They arebuying only the ones that hit them like an arrow through the heart."

In 2000, album sales peaked at 785 million. Last year, they were down to 415.3 million. Swiftis right, but for many of the artists whose albums pierce hearts like arrows, it′s too late. Sales ofvinyl albums have increased 40.4 percent so far this year, according to Nielsen, and the top-

Passage 2

Taylor Swift, the seven-time Grammy winner, is known for her articulate lyrics, so there wasnothing surprising about her writing a long column for The Wall Street Journal about the future ofthe music industry. Yet there′ s reason to doubt the optimism of what she had to say "This moment in music is so exciting because the creative avenues an artist can explore arelimitless," Swift wrote."In this moment in music, stepping out of your comfort zone is rewarded,and sonic evolution is not only accepted ... it is celebrated. The only real risk is being too afraid totake a risk at all."

That′s hard to reconcile with Nielsen′s mid-year U.S. music report, which showed a 15percent year-on-year drop in album sales and a 13 percent decline in digital track sales. This couldbe the 2013 story all over again, in which streaming services cannibalize their growth from digitaldownloads, whose numbers dropped for the first time ever last year, except that even includingstreams, album sales are down 3.3 percent so far in 2014. Streaming has grown even more than it didlast year,42 percent compared to 32 percent, but has failed to make up for a general loss of interestin music.

Consider this: in 2014 to date, Americans purchased 593.6 million digital tracks and heard 70.3million video and audio streams for a sum total of 663.9 million. In the comparable period of 2013,the total came to 731.7 million.

Swift, one of the few artists able to pull off stadium tours, believes it′s all about quality.

"People are still buying albums, but now they′ re buying just a few of them," she wrote. "They arebuying only the ones that hit them like an arrow through the heart."

In 2000, album sales peaked at 785 million. Last year, they were down to 415.3 million. Swiftis right, but for many of the artists whose albums pierce hearts like arrows, it′s too late. Sales ofvinyl albums have increased 40.4 percent so far this year, according to Nielsen, and the top-