考试日期：

2013年7月13日

Reading Passage 1

Title:

Discovery in deep sea

Question Types:

TRUE/FALSE/NOT GIVEN

Summary

文章内容回顾

介绍深海鱼类和它们的交流方式。

建议参考：

剑桥真题7：Let’s go bats

了解动物介绍话题的背景词汇。

剑桥真题4：What do whales feel？

海洋动物研究，深海介绍方面的背景知识

往期真题回顾参考：

V120728

新西兰渔业涉及品种

题型：

TRUE/FALSE/NOT GIVEN

Summary

新西兰本土渔业情况，从国外引入的新品种及其特点，本土鱼类的介绍等。
1. TRUE（新西兰native fish少）；
2. FALSE (new fish brought by Americans)；
3. NOT GIVEN (new fishes reach big size)；
4. FALSE；
5. FALSE；
6. NOT GIVEN；
7. bright light；
8. Australia；
9. river mouth；
10. (eel spawn in the) sea；
11. (the color) silver（10,11顺序不定）；
12. habitat；
13. trout；

As with other countries, New Zealand’s 200 nautical mile exclusive economic zone gives its fishing industry special fishing rights.[1] It covers 4.1 million square kilometres. This is the sixth largest zone in the world, and is fourteen times the land area of New Zealand itself.[2][3]
The zone has a rich and unusually complex underwater topography. Over 15,000 marine species are known to live there, about ten percent of the world's diversity. Many of these are migratory species, but New Zealand's isolation means also that many of the marine species are unique to New Zealand.[4]
New Zealand's wild fisheries captured 441,000 tonnes and earned over NZ$1 billion in exports in the fishing year 2006/07. The aquaculture of mussels, salmon and oysters earned another $226 million. This made seafood the country’s fifth largest export earner.[5]
There are about two tonnes of fish in the New Zealand fisheries for every New Zealander. Just under ten percent of this stock is harvested each year.[6] In the fishing year 2006/07, there were 1,316 commercial fishing vessels and 229 processors and licensed fish receivers, employing 7,155 people.[5] About 1.2 million or 31 percent of New Zealanders engage, at least occasionally, in recreational fishing with an annual recreational take of about 25,000 tonnes.[5]
Traditionally New Zealand's fishing industry was an inshore one largely confined to the domestic market. From 1938 to 1963, there was a licensing system operating, involving gear and area controls.[7] Starting in the 1960s, the offshore waters, outside the then 12 nautical mile territorial sea, were exploited by Japanese, Taiwanese, South Korean, and Soviet trawlers.[8]
In 1977 the 200 nautical mile exclusive economic zone was established. These zones were established because countries wanted protection from foreign fishing vessels. Because New Zealand’s territory includes the Chatham Islands and other outer islands, its EEZ is 4.1 million square kilometres, the sixth largest fishing zone in the world.
This was a huge resource, and expectations were high. The inshore fisheries had become over exploited, and the search was on for new offshore fisheries. New Zealand companies embarked on joint ventures with foreign companies. Trawling crews from other nations taught New Zealanders how to fish deep waters and in return got a share of the catch.[9]
Deep-water trawling is highly mechanized and massive capital investment is normally required to operate modern factory trawlers. These ships process everything caught on board. Even the guts and heads are processed into fish meal, which is so valuable it is known as "brown gold". Elsewhere, major fisheries, such the northern hemisphere cod fisheries, were collapsing. Fishing companies in New Zealand were able to buy or lease the redundant trawlers cheaply. At the same time, the collapse of northern fisheries resulted in an unmet need in the world market for quality whitefish. Hoki and orange roughy from New Zealand were in demand.[9]
In 1986 New Zealand became the first country to introduce a property-rights based Quota Management System (QMS) system.[10][11] There are currently (2008) 129 species which are targeted commercially. There are about 60 species groups with a QMS allowance for customary Māori fishers, with a similar number for recreational fishers. The fisheries are managed through the Fisheries Act 1996, which sets out the rules and regulations and the QMS administered by the Ministry of Fisheries.[12]
By 2000, the industry had developed from being a domestic supplier to exporting over 90 percent of the fish harvest.[8]
Coastal estuaries dot New Zealand's 15,000 km coastline. Coastal fisheries have access to a large continental shelf, and further afield are large continental rises. Together these relatively shallow fishing grounds occupy about thirty percent of the area of the EEZ. Yet further out in the deep ocean lie undersea mountain ranges and volcanoes, and deep oceanic trenches. The 10,000 metre deep Kermadec Trench is the second deepest trench on Earth.[4]
[edit]High seas fishing
The high seas are those areas of ocean that not covered by any country’s Exclusive Economic Zone. New Zealand has international obligations to ensure New Zealand flagged vessels are aligned with proper conservation and management of the high seas fisheries. These are met in Part 6A of the Fisheries Act 1996. These obligations come from the United Nations Convention on the Law of the Sea and the 1995 Straddling Fish Stocks Agreement.[13]
The Treaty of Waitangi guaranteed the Māori, the indigenous people of New Zealand, “undisturbed possession” of the fisheries until they chose to dispose of them to the Crown. They have been provided with a substantial stake in commercial fishing as part of the Treaty Settlement. After the quota management system was established, the government purchased back ten percent of the quota share and gave it to the Treaty of Waitangi Fisheries Commission for the benefit of Māori. In 1992, the government allocated a cash settlement to Māori which they used to buy a half share of Sealord, the countries largest fishing company. In addition, the government has given Māori twenty percent of the commercial quota share of new species introduces to the quota management system, and the equivalent of twenty percent of all marine farming space created around New Zealand coasts and harbours. In 2004, Parliament approved the allocation of additional significant fisheries assets to iwi. Te Ohu Kai Moana is implementing this allocation. Māori have now built their commercial stake to the point where they control or influence more than thirty percent of the commercial fisheries.

原文拓展阅读：Deep-sea vents Ocean-floor migration

How surface winds blow deep-sea critters from vent to vent

EVER since their discovery in the 1970s, deep-sea vents—chimney-like structures on the ocean floor that belch hot water and dissolved minerals into the surrounding ocean—have been one of the hottest topics in marine biology. The vents support populations of bacteria, giant worms, clams, shrimp and other creatures in the inky darkness, often several kilometres below the surface. Unlike virtually every other ecosystem on the planet, these deep-sea communities do not rely on the sun for their food. Instead of using photosynthesis, the bacteria at the bottom of the food chain harvest energy from chemicals supplied by the vents themselves.

The vents are both widely spaced and transient, which means their denizens live a precarious existence. Yet travel between vent systems is apparently possible, even across miles of desolate ocean floor. Creatures confined to islands rapidly head in a different genetic direction to mainland relatives; but researchers have found surprisingly little genetic variation between the populations of even quite widely spaced ocean-bottom vents. Last year one paper described how a vent system that had been wiped clean by a volcanic eruption was quickly recolonised by a variety of larval creatures, some of which seemed to have travelled from another vent more than 300km (190 miles) away. Exactly how has remained a mystery.

Now a group of scientists led by Lauren Mullineaux at America’s Woods Hole Oceanographic Institution has described in Science how such transfers could happen—and, in the process, discovered something surprising about how surface weather influences the deep ocean, traditionally thought of as an isolated, closed world.

The group was monitoring vents more than 2km beneath the surface in the Pacific Ocean off the coast of Central America when it found that quantities of larva and certain chemicals being emitted both fell sharply during periods of unusually strong deep-sea currents. This is consistent with larva and effluent from the vents being swept away into the open ocean. As a colonisation strategy, dispersal by ocean current would be unreliable—with vent systems so scarce, most of the larva swept out to sea would presumably perish—but plenty of plants on land adopt a similar approach using the wind.

The research offers more than just an insight into the life cycle of subsea gribblies. The powerful deep currents were strongly correlated with the passage of wind-generated mesoscale eddies: swirls of water tens or even hundreds of kilometres across on the ocean surface. The idea that surface winds can influencedeep-sea currents is surprising, and it suggests that the atmosphere’s influence may extend far deeper into the oceans than previously thought. The researchers found that the surface eddies—and presumably, the deep currents as well—tended to form between autumn and spring, and were more common during El Nio years. Evenin the frigid darkness of the deep ocean it seems there may be weather and seasons of a sort.

难度分析

本篇文章话题通俗易懂，在剑桥真题中有大量类似参考。同时配备的两种题型都可以利用顺序进行定位，十分简单，是非常合理的卷面上第一篇的设定。

Reading Passage 2

Title:

Changes in American cinema

Question types:

List of Headings

Multiple Choice

Complete each sentence with correct ending

文章内容回顾

美国电影的发展历史和变化过程

往期真题回顾：

V20120915

Cinema in UK

Multiple Choice; TRUE/FALSE/NOTGIVEN; Summary

The United Kingdom has had a major influence on modern cinema. The first moving pictures developed on celluloid film were made in Hyde Park, London in 1889 by William Friese Greene, a British inventor, who patented the process in 1890. It is generally regarded that the British film industry enjoyed a 'golden age' in the 1940s, led by the studios of J. Arthur Rank and Alexander Korda.

The British directors Alfred Hitchcock and David Lean are among the most critically acclaimed of all-time,[1] with other important directors including Charlie Chaplin,[2] Michael Powell,[3] Carol Reed[4] and Ridley Scott.[5] Many British actors have achieved international fame and critical success, including Julie Andrews,[6] Richard Burton,[7] Michael Caine,[8] Charlie Chaplin,[9] Sean Connery,[10] Vivien Leigh,[11] David Niven,[12] Laurence Olivier,[13] Peter Sellers[14] and Kate Winslet.[15] Some of the most commercially successful films of all time have been produced in the United Kingdom, including the two highest-grossing film franchises (Harry Potter and James Bond).[16] Ealing Studios has a claim to being the oldest continuously working film studio facility in the world.[17]

Despite a history of important and successful productions, the industry has often been characterised by a debate about its identity and the level of American and European influence. Many British films are co-productions with American producers, often using both British and American actors, and British actors feature regularly in Hollywood films. Many successful Hollywood films have been based on British people, stories or events, including Titanic, The Lord of the Rings, Pirates of the Caribbean and the 'English Cycle' of Disney animated films.[18]

In 2009 British films grossed around $2 billion worldwide and achieved a market share of around 7% globally and 17% in the United Kingdom.[19] UK box-office takings totaled £944 million in 2009, with around 173 million admissions.[19] The British Film Institute has produced a poll ranking what they consider to be the 100 greatest British films of all time, the BFI Top 100 British films.[20] The annual British Academy Film Awards hosted by the British Academy of Film and Television Arts are the British equivalent of the Oscars.[21]

原文拓展阅读：The History of Early Cinema

The history of the cinema in its first thirty years is one of major and, to this day, unparalleled expansion and growth. Beginning as something unusual in a handful of big cities—New York, London, Paris and Berlin—the new medium quickly found its way across the world, attracting larger and larger audiences wherever it was shown and replacing other forms of entertainment as it did so. As audiences grew, so did the places where films were shown, finishing up with the “great picture palaces” of the 1920s, which rivaled, and occasionally superseded, theatres and opera-houses in terms of opulence and splendor. Meanwhile, films themselves developed from being short “attractions” only a couple of minutes long, to the full-length feature that has dominated the world’s screens up to the present day.

Although French, German, American and British pioneers have all been credited with the invention of cinema, the British and the Germans played a relatively small role in its world-wide exploitation. It was above all the French, followed closely by the Americans, who were the most passionate exporters of the new invention, helping to start cinema in China, Japan, Latin America and Russia. In terms of artistic development it was again the French and the Americans who took the lead, though in the years before the First World War, Italy, Denmark and Russia also played a part.

In the end, it was the United States that was to become, and remain, the largest single market for films. By protecting their own market and pursuing a vigorous export policy, the Americans achieved a dominant position in the world market by the start of the First World War. The centre of film-making had moved westwards, to Hollywood, and it was films from these new Hollywood studios that flooded onto the world’s film markets in the years after the First World War, and have done so ever since. Faced with total Hollywood domination, few film industries proved competitive. The Italian industry, which had pioneered the feature film with spectacular films like Quo vadis? (1913) and Cabiria (1924), almost collapsed. In Scandinavia, the Swedish cinema had a brief period of glory, notably with powerful epic films and comedies. Even the French cinema found itself in a difficult position. In Europe, only Germany proved industrially capable, while in the new Soviet Union and in Japan the development of the cinema took place in conditions of commercial isolation.

Hollywood took the lead artistically as well as industrially. Hollywood films appealed because they had better-constructed narratives, their special effects were more impressive, and the star system added a new dimension to screen acting, If Hollywood did not have enough of its own resources, it had a great deal of money to buy up artists and technical innovations from Europe to ensure its continued dominance over present or future competition.

The rest of the world survived partly by learning from Hollywood and partly because audiences continued to exist for a product which corresponded to needs which Hollywood could not supply. As well as popular audiences, there were also increasing audiences for films which

were artistically more adventurous or which dealt with the issues in the outer world.

None of this would have happened without technology, and cinema is in fact unique as an art form. In the early years, this art form was quite primitive, similar to the original French idea of using a lantern and slides back in the seventeenth century. Early cinema programmes were a mixture of items, combining comic sketches, free-standing narratives, serial episodes and the occasional trick or animated film. With the arrival of the feature-length narrative as the main attraction, other types of films became less important. The making of cartoons became a separate branch of film-making, generally practised outside the major studios, and the same was true of serials. Together with newsreels, they tended to be shown as short items in a programme which led to the feature.

From early cinema, it was only American slapstick comedy that successfully developed in both short and feature format. However, during this “Silent Film” era, animation, comedy, serials and dramatic features continued to thrive, along with factual films or documentaries, which acquired an increasing distinctiveness as the period progressed. It was also at this time that the avant-garde film first achieved commercial success, this time thanks almost exclusively to the French and the occasional German film.

Of the countries which developed and maintained distinctive national cinemas in the silent period, the most important were France, Germany and the Soviet Union. Of these, the French displayed the most continuity, in spite of the war and post-war economic uncertainties. The German cinema, relatively insignificant in the pre-war years, exploded on to the world scene after 1919. Yet even they were both overshadowed by the Soviets after the 1917 Revolution. They turned their back on the past, leaving the style of the pre-war Russian cinema to the emigres who fled westwards to escape the Revolution.

The other countries whose cinemas changed dramatically are: Britain, which had an interesting but undistinguished history in the silent period; Italy, which had a brief moment of international fame just before the war; the Scandinavian countries, particularly Denmark, which played a role in the development of silent cinema quite out of proportion to their small population; and Japan, where a cinema developed based primarily on traditional theatrical and, to a lesser extent, other art forms and only gradually adapted to western influence.

难度分析

电影话题是传统经典话题之一，内容简单易懂趣味性强。

本文作为人文历史发展类文章，时间逻辑结构鲜明，同时配有容易定位的配对型题目，难度适中，只需要注意细心保持正确率即可。

Reading Passage 3

Title:

Dark side of information technology

Question types:

Matching （人物和观点配对）

TRUE/FALSE/NOTGIVEN

文章内容回顾

科技对人类生活带来的负面影响。

往期真题回顾参考：

V20100520

工作与科技

Matching; True / False / Not Given(5)

科技进步对人的影响，讲到不同的专家在科技方面的理论和他们的具体成果，科技带给人类的影响包括副作用。

难度分析：

科技的正面影响和负面影响是写作TASK 2中的经典命题，应该是广大考生们最为熟悉并很少会有词汇障碍的话题之一，建议考生与其他考试项目结合起来复习准备，会获得更好的效果。