英语六级阅读真题，不仅强化词汇与句型理解，更提升阅读速度与综合分析能力。实战演练，让考生熟悉题型变化，掌握解题技巧，是冲刺六级高分不可或缺的宝贵资源。今天，小编将分享2021年6月大学英语六级阅读真题以及答案（卷三）相关内容，希望能为大家提供帮助！

Section A

Directions: In this section,there is apassage with ten blanks.You are required to select one word for each blank from a list of choices given in a word bankfollowing the passage.Read the passage through carefully before making your choices.Each choice in the bank is identified by a leter.Please mark the corresponding leter for each item on Answer Sheet 2 with a single line through thecentre.You may not use any of the words in the bank morethan once.

At 43,I'vereachedthe stage where women are warned to watch out for the creeping sadness of middle age.We're served up an endless stream of advice on“howto survive your 40s”,as if we're in the endurance stage of a slow limp toward  26  .This is the age women start to become“invisible”—our value,attractiveness and power  supposedly  27  by the vanishing of youth.But I don't feel like I'm fading into  28  .I feel more seen than I ever have,and for the first time in my life,I have a clear-eyed view of myself that is  29  ,compassionate  and accepting.

When I look in the mirror,I'm proud of who I am—even those“broken”parts that for so long seemed impossible to love.So when advertisers try to sell me ways to“turn back the clock”,I have to  30  a laugh.I wouldn't go back to the crippling self-consciousness of my youth if you paid me.This hard-won sense of self-acceptance is one of the joys of being an older woman.But it's a narrative often  31  out by the shame that marketers rely on to peddle us their diet pills,miracle face creams and breathable yoga pants—as if self-love is a  32  commodity.

For some women I know,thissense of trust and self-belief later in life gave them the courage to leave  dysfunctionalrelationships or  33  on new career paths.Others talked about enjoying their own company,of  growth through  34  ,deepening bonds of friendships,the ability to be more compassionate,less judgmental and to listen more and appreciate the small pleasures.Life past 40 is far from smooth sailing,but it's so much  more than the reductive  35  we see in women's magazines and on the Hollywood big screen.

A)adversity

B)authentic

C)convey

D)depictions

E)diminished

F)drowned

G)embark

H)fragility

I)neglected

J)obscurity

K)outlines

L)prevalent

M)purchasable

N)submit

O)suppress

Section B

Directions: In this section,you are going to read a passage with ten statements attached to it.Each statement contains information given in oneof 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 thecorresponding letter on Answer Sheet 2.

What Are the Ethics of CGI Actors—And Will They Replace Real Ones?

A)Digital humans are coming to a screen near you.As computer-generated imagery(CGI)has become cheaper and more sophisticated,the film industry can now convincingly recreate people on screen—even actors who have been dead for decades.The technology's ability to effectively keep celebrities alivebeyond the grave is raising questions about public legacies and imagerights.

B)Late in 2019,it was announced that US actor James Dean,who died in 1955,will star in a Vietnam War film scheduled forrelease later this year.In the film,which will becalled Finding Jack,Dean will be recreated on  screen with CGI based on old footage (影片镜头) and  photographs,with another actor voicing him.The news was met with excitement by those keen to see Deandigitally brought back to life for only his fourth film,but it also drew sharp criticism.“This is puppeteering the dead for their fame alone,”actress Zelda Williams wrote on Twitter.“It sets such an awful precedent for the future of performance.”Her father,Robin Williams,who died in 2014,was keen to avoid the same fate.Before his death,he filed a deed protecting the use of his image until 2039,preventing others from recreating him using CGIto appear in a film,TV show or as a hologram(全息影像).

C)The James Dean film isa way to keep the actor's image relevant for younger generations,says Mark Roesler of CMG Worldwide,the firm that represents Dean's estate.“I think this is the beginning of an entire wave,”says Travis Cloyd,CEO of Worldwide XR,one of the companies behind the digital recreation of Dean.“Moving into the future,we want James Dean to be brought into different gaming environments,or different virtual reality environments,or augmented reality environments,"he says.

D)Other actors have been revived,with the permssion of their estates,for advertising purposes:for example,a 2011 advertisement for Dior featured contemporary actress Charlize Theron alongside iconic 20th-century stars Marilyn Monroe,Grace Kelly and Marlene Dietrich.Later,Audrey Hepburn was digitally recreated for a chocolate commercial in 2013.In the same year,a CGI Bruce Lee appeared in a Chinese-language ad for a whisky brand,which offended many fans because Lee was widely known not to drink alcohol at all.“In the last five years,it's become more affordable and more achievable in a whole movie,”says Tim Webber at UK visual effects firm Framestore,the company behindthe Hepburn chocolate ad.Framestore used body doubles with resemblance to Hepburm's facial structure and body shape as a framework for manual animation.The process was extremely difficult and expensive,says Webber,but the technology has moved on.

E)Now,a person can be animated from scratch.“If they'realive today,you can put them in scanning rigs,you can get every detail of their body analysed very carefully and that makes it much easier, whereas working from  available photographs is tricky,"says Webber,who won an Academy Award for his visual effects work on the2013 film Gravity.“I also see a lot of actors today who will have the desire to take advantage of this technologyto have their likeness captured and stored for future content,”says Cloyd.“They foresee this being something  that could give their estates and give their families the ability to make money from their likeness when they're gone.”

F)A hidden hazard of digitally recreating a deceased(已故的)celebrity is the riskof damaging their legacy.“Wehave to respect the security and the integrity of rights holders,"”says John Canning at Digital Domain,a US firm that created a hologram of rapper(说唱艺人)Tupac Shakur,which appeared at the Coachella music festival in 2012,15 years after his death

G)Legally,a person's rights to control the commercial use of their name and image beyond their death differ between and even within countries.In certain US states,for example,these rights are treated similarly to property rights,and are transferable to a person's heirs.In California,under the Celebrities Rights Act,the  personality rights for a celebrity last for 70 years after their death. “We'vegot a societal debate going on about access to ourpublic commons,as it were,about famous faces,”says Lilian Edwards at Newcastle University,UK.Should the public be allowed to use or reproduce images of famous people,given how iconic they  are?And what is in the best interest of a deceased person's legacy may conflict with the desires of their family or the public, says Edwards.

H)A recreation,however lifelike,will never be indistinguishable from a real actor,says Webber “When we are bringing someone back,representing someone who is no longer alive on the screen,what we are doing is extremely sophisticated digital make-up,”he says.“A performance is a lot more than a physical resemblance.”

I)As it becomes easier to digitally recreate celebrities and to entirely manufacture on-screen identities, could this kind of technology put actors out of jobs?“I think actors are worried aboutthis,”says Edwards.“But I think it will take a very long time.”This is partly because of the risk that viewers find virtual humans scary.Edwards cites widespread backlash to the digital recreation of Carrie Fisher as a young Princess Leia in Rogue One,a trick later repeated in the recent Star Wars:The Rise of Skywalker,which was filmed after Fisher's death in 2016.“People didn't like it,”she says. “They discovered the uncanny valley(诡异谷). ”

J)This refers to the idea that when objects trying to resemble humans aren't quite perfect,they can make viewers feel uneasy because they fall somewhere between obviously non-human and fully human.“That's always a danger when you're doing anythinghuman or human-like,”says Webber.“There are athousand things that could go wrong with a computer-generated facial performance, and any oneof those could make it fall intothe uncanny valley,"he says.“Your brain just knows there's something wrong.”Theproblem often arises around the eyes or mouth,says Webber. “They're the areas that you look atwhen you're talking to someone.”

K)An unfamiliar digitalhuman that has been created through CGI will also face the same challenge as an unknown actor:they don't have the appeal of an established name.“You have to spend substantial capital in creatingawareness aroundtheir likeness and making sure peopleare familiar with who they are,"says Cloyd.This is now starting to happen.“The way you pre-sell a movie in aforeign market is based on relevant talent,"he says.“I think we're a long way away from having virtual beings that have the ability to pre-sell content.”

L)Webber expects that we will see more digital humans on screen.“It's happening because it can happen,”he says.Refering to a line from Jurassic Park(侏罗纪公园),he adds:“People are too busy thinking about what they can do to think about whether they should do it.”

36.There is an ongoing debate among the public as to whether the imagesof deceased celebrities shouldbe recreated.

37.The CGI technology allows the image of the deceased James Dean to be presented to young people in new settings.

38.It is very likely that the CGI-recreated image of a deceased celebrity will fail to match the real actor especially in facial expressions.

39.The use ofdigital technology can bring images of deceased celebrities back to the screen. 

40.Recreating a deceased famous actor or actress may violate their legitimate rights.

41.More CGI-recreated images of deceased celebrities are expected to appear on screen.

42.The image of James Dean will berecreated on screen with his voice dubbed by someone else.

43.Howeveradvanced the CGI technology is,therecreated image will differ in a way from the real actor. 

44.Alotof actors today are likely to make use of the CGI technology to have their images stored for the benefit of their families

45.Some actors are concermedthat they may lose jobsbecause of the CGI technology.

Section C

Directions: There are 2 passages in this section.Each passage is followed by some questions or unfinished  statements.Foreach of them there are four choices marked A),B),C)and D).You should decide on the best choice and mark the corresponding letter on Answer Sheet 2 with a single line through the centre.

Passage One

Questions 46 to 50 are based on the following passage.

You can't see it,smell it,or hear it,and people disagree on how precisely to define it,or where exactly it comes from.It isn't a school subject or an academic discipline,but it can be learned.It is a quality that is required of artists,but it is also present in the lives of scientists and entrepreneurs.All of usbenefit from it and we thrive mentally and spiritually when we are able to wield it.It is a delicate thing,easily stamped out;in fact,it flourishes most fully when people are playful and childlike.Meanwhile,it works best in conjunction with deep knowledgeand expertise.

This mysterious—but teachable—qualityis creativity,the subject of a recently-published report by Durham Commission on Creativity and Education.The report concludes that creativity should not inhabit the school  curriculum only as it relates to drama,music,art and other obviouslycreative subjects,but that creative  thinking ought to run through all of school life,infusing(充满)the way humanities and natural sciences are learmed.

The authors,who focus on education in England,offer a number of sensible recommendations,some of which are an attempt to alleviate the uninspiring and fact-based approach to education that has crept into policy in recent years.When children are regarded as vessels to be flled with facts, creativitydoes not prosper;nor does it when teachers'sole objective is coaching childrentowards exams.One suggestion from the commission is a network of teacher-led“creativity collaboratives”,along the lines of existing maths hubs(中心) ,with the aim of supporting teaching for creativity through the school curriculum.

Nevertheless,it is arts subjects through which creativity can most obviously be fostered.The value placed on them by the independent education sectoris clear.One only has to look at the remarkable arts facilities at Britain's top private schools to comprehend this.But in the state sector the excessive focus on English,maths and science threatens to crush arts subjects;meanwhile,reduced school budgets mean diminishing extracurricular activities.There has been a 28.1% decline in students taking creative subjects at high schools since 2014,though happily,art and design have seen a recent increase.

This discrepancy between state and private education is a matter of social justice.It is simply wrong and unfair that most children have a fraction of the access to choirs,orchestras,art studios and drama that their more privileged peers enjoy.As lives are affected by any number of looming challenges—climate crisis,automation in the workplace—humans are going to need creative thinking more than ever.For all of our sakes,creativity in  education,and for all,must become a priority.

46.What do we learn from the passage about creativity?

A)It develops bestwhen people are spiritually prepared.

B)It is most often wielded by scientists and entrepreneurs.

C)It is founded on scientific knowledgeand analytical skills.

D)It contributes to intellectual growth but can easily be killed.

47.What is the conclusion of a recently-published report?

A)Natural sciences should be learned the way humanities courses are.

B)Cultivation of creativity should permeate the entire school curriculum.

C)Art courses should be made compulsory for all students.

D)Students should learn more obviously creative subjects.

48.What does the report say is detrimental to the fostering of creativity?

A)Alleviation of pressure.

B)Teacher-led school activities.

C)Test-oriented teaching.

D)Independent learning.

49.What do we lean about the private schools in the UK?

A)They encourage extracurricular activities.

B)They attach great importance to arts education.

C)They prioritize arts subjects over maths and sciences.

D)They cater to students from different family backgrounds.

50.What should be done to meet the future challenges?

A)Increasing govemment investment in school education.

B)Narrowing the existing gap between the rich and the poor.

C)Providing all children with equal access to arts education.

D)Focusing on meeting the needs of under-privileged students.

Passage Two

Questions 51 to 55 are based on the following passage.

Emulating your conversation partner³s actions is a common human behavior classified as “mirroring”and has been known and studied by psychologists for years.We all tend to subconsciously copy gestures of people we like.But why do we act like this?

As a rule,mirroring means that conversationalists enjoy their communication and that there's a certain level of agreement between them.The topic of discussion is equally interesting for both and they know their interests meet.

Repeating someone's behavioris typical of talented communicators,not always because the person is sympathetic,but because there is a goal to be achieved.This way new idols have been brought to the stage:politicians,celebrities,and other big names.Popular culture makes people want to look popular,and act and speak like popular people.

Nowadays celebrities steal lyrics from each other and struggle with copyright violation accusations or  straightforwardly claim themselves to be the authors,even though all the work was done by otherpeople.

Among celebrities,it'strendy nowadays to use their own speech writers as politicians do.The so-called“ghostwriting”can take various forms:books,articles,autobiographies,and even social media posts.

Who is a true copycat(抄袭者)and who gets copycatted?Sometimes,it is a hard nut to crack without an expert's help.But new authorship defending methods based on identifying individual writing pattems are already  here.Their aim is to protect intellectual property.Using scientific methods,some of them can define authorship with 85% accuracy.

Writing is not an easy craft to master.If you want to write like a professional without plagiarism (抄袭),there are a few lessons to learn and the first one is:“Copy from one,it's plagiarism;copy from two,it's research.”The correct interpretation of this statement is not about copying,but rather about creatingyour own style.When you study an author's writing style,don't stop on a single one, but explore numerous styles instead.Examine types of sentences they use,pay attention to their metaphors,and focus on stories you feel you could write a pretty cool sequel(续篇)to.

Imitation is rather paradoxical.As an integral part of learning,it brings about positive changes,making people develop and grow.However,it may do a lot of harm.Copying someone's thoughts,ideas or inventions is completely unacceptable.It infringes on intellectual property rights of others.

Stll,many things we do are about copying others one way or another.So if you want to compliment someone on the work they have done and imitate it,just make sure you do it the right way to avoid committing plagiarism.

51.What do people tend to do while engaging in a conversation? 

A)Repeat what their partners say one way or another.

B)Focus as much as possible on topics of mutual interest.

C)Imitate their partners'gestures without their knowing it.

D)Observe carefully how their partners make use of gestures.

52.When does mirroring usually take place in a conversation? 

A)When both sides are sympathetic with each other.

B)When both sides have a lot of things in common. 

C)When both sides make interesting contributions.

D)When both sides try to seek common ground.

53.What do we leam about popular culture? 

A)It encourages people to imitate.

B)It appeals mostly to big names.

C)It acquaints young people with their idols.

D)It can change people's mode ofcognition.

54.Why is the saying“copy from two,it's research”a lesson to learn?

A)It facilitates the creation of one's own writing style.

B)It helps to protect one's intellectual property rights.

C)It fosters correct interpretation ofprofessional writing.

D)It enables one to write intriguing sequels to famous stories.

55.Why does the author say imitation is rather paradoxical?

A)It is liable to different interpretations. 

B)It is by and large a necessary evil.

C)It can giverise to endless disputes. 

D)It may do harmas well as good.

26.答案：H)fragility

解析：首句指出，43岁的女性会被警告要小心中年逐渐滋长的悲伤情绪。空格句(②句)指出，我们不断得到关于“如何渡过40多岁”的建议，仿佛我们正处于一个蹒跚着迈向_____的痛苦阶段。③句提到，这(指40s)是一个女性开始变得“隐形”的年纪。三句构建语义场“人们普遍认为中年期女性开始走向衰退”,空格词应传达消极语义。备选项中，H)fragility契合creeping sadness、slow limp所传达的“逐渐衰弱”之意。

27.答案：E)diminished

解析：空格句指出，在这个年龄段，女性开始变得“隐形”——我们的价值、魅力和能力据说随青春的消逝而_____。破折号提示后一部分是对前一部分的解释说明，by the vanishing of youth(青春消逝)对应This is the age,指向“迈入中年”;our value,attractiveness and power(价值、魅力、能力)为优势/闪光点，可见our value...supposedly对应become “invisible”,指向“闪光点消失/减弱，变得隐形平庸”,E项正确。

28.答案：J)obscurity

解析：句首But I don't feel like提示论述视角从“惯常认知(树靶)”转入“作者看法(打靶)”。前一句提到，人们认为女性的价值、魅力、能力会随青春消逝而减弱，中年女性会变得隐形。后一句提到，作者认为自己比以往任何时侯都更“可见”。可推知，作者的观点为“(身为中年女性的)自己并未变得隐形/泯然/默默无闻”,J项符合空28文意，同时也可明确空26不选J项。

29.答案：B)authentic

解析：空格所在句提到，有生以来第一次，我对自己有了一种清晰的认识：_____、富有同情心且乐于接受。空格词应与“富有同情心、乐于接受”指向一致，为某种积极、正面的性格特征，备选项中只有B项符合文意。

30.答案：O)suppress

解析：第二段①句指出，照镜子时，我为自己感到骄傲，甚至为那些“褶皱”部分骄傲。②句指出，当广告商试图向我推销“时光倒流”之法时，我不得不_____大笑。③句指出，即便有人付钱给我，我也不愿回到年轻时有残缺的自我意识状态中。联系三句可知，作者对自己的中年状态感到满意，不愿退回到年轻状态。空格句中，“时光倒流之法”指向重返年轻，空格所在部分应体现对这一做法的不屑/反对。suppress a laugh字面义为“忍住大笑”,即“按捺住自己，没大笑出来”,暗藏对这种做法的嘲讽与反对，故O项正确。

31.答案：F)drowned

解析：空格前句指出，这种来之不易的自我接纳感(指接纳自己的中年状态)是作为一名更成熟女性的喜悦之一。空格句指出，但这种说法却常常被我们的羞耻心所_____,营销者靠这种羞耻心来向我们兜售减肥药、神奇面霜和透气瑜伽裤。其中，“减肥药、面霜、瑜伽裤”为保持年轻的常见产品，可见“羞耻心”指“因出现衰老迹象而感到难堪”。结合两句间转折(But)及营销策略可知，空格所在部分应表示“对中年状态的接纳(narrative所指)”被“对衰老状态的羞耻心”所掩盖/遮蔽/遮掩等，drown out为固定搭配，意为“压过；盖没”,F项符合文意。

32.答案：M)purchasable

解析：空格句指出，营销者依靠女性对衰老的羞耻心来向其兜售各种保持年轻的产品——仿佛自爱是一种_____商品。不难发现，破折号后内容是作者对“依靠商品来保持外在形象的年轻(以挽回自爱)”这一做法的评价、定性。结合前四句内容，可推知作者的观点为：自爱源自对中年期自我的坦然接纳，而非通过购买商品来永葆年轻，即自爱源自内心而非通过外部购买所得，空格词应表示“可购买的/可交换的”,M项符合文意。

33.答案：G)embark

解析：空格所在句指出，中年时的这种信任和自信感给予了一些女性放下失败婚姻或_____崭新职业道路的勇气。“崭新职业道路”应与“放下失败婚姻”一样，指向“中年期的信任和自信感给女性带来的新生/机遇”,embark on为固定搭配，表示“开始；从事”,embark on new carcer paths即“走上新的职业道路”,符合文意。

34.答案：A)adversity

解析：空格句指出，其他女性谈到了享受自我独处，谈到了通过_____成长，(谈到了)加深友谊的纽带，(谈到了)多共情、少评判、多倾听以及对小确幸心存感激的能力。不难发现，该句承接上句，进一步列举迈入中年带给女性的成长、发展。growth through adversity为常用表达，意为“在逆境中成长”,符合句内语境，因此A项符合空34文意，同时可确定空26不选A项。

35.答案：D)depictions

解析：空格句指出，40岁过后的人生远非一帆风顺，但它远不止我们在女性杂志和好莱坞大银幕上看到的简化_____。其中，“女性杂志、好莱坞大银幕”为展现女性形象的常见平台(且往往呈现刻板化、模式化的女性形象),可见空格词应表示“描述/展现/刻画”等，D项正确。

36.[答案]G 

[精解]G段④⑤句指出，社会上正在进行一场关于公众是否应该被允许使用或复制名人形象的争论。试题是对两句的近义转述，其中celebrities同义替换⑤句famous people,whether...should berecreated正确传达句中Should the public be allowed to...reproduce...的疑问之意。

37.[答案]C

[精解]C段先介绍制作CGI版迪恩并使其参演电影的目的：让迪恩的形象仍为年轻一代所知。后指出CGI版迪恩将被带入到游戏、虚拟现实、增强现实等新兴虚拟环境之中。综合可知，迪恩的形象将于新的场景中展现给年轻人。试题是对C段内容的提取与概括，其中allows the image of...James Dean to bepresented to young people同义转述①句keep the actor's image relevant for younger generations。

38.[答案]J 

[精解]J段先解释诡异谷理论，指出制作任何人类或类人形象时都存在陷入诡异谷的风险，随后具体说明计算机生成的面部表情(尤其是眼睛或嘴巴周围的区域)极易出现这一问题。试题是基于全文关注事件(利用CGI技术再现已故名人)与该段大意做出的合理推断。

39.[答案]A 

[精解]A段②句指出，如今的电影业可借助CGI技术(属于数字技术)将人——甚至是已故几十年的演员——再现于银幕之上。试题是对该句的同义转述，其中bring images of deceased celebritiesback to the screen同义改写句中recreate people on screen—even actors who have been dead for decades。

40.[答案]F 

[精解]F段①句指出，运用数字技术再现已故名人的潜在风险在于名人的遗产可能受到损害，也即名人对其身后遗产所拥有的合法权利可能受到侵害。试题是对该句内容的转述，其中may violatetheir legitimate rights对应A hidden hazard...is the risk of damaging their legacy。

41.[答案]L 

[精解]L段①句指出，韦伯预计我们将在银幕上见到更多的数字人类，由上文可推知，此处的数字人类包括利用CGI技术再现的名人形象和利用CGI技术创造的全新人物形象，试题的意思符合前者。

42.[答案]B 

[精解]B段②句介绍事件：已故演员詹姆斯·迪恩将借助CGI技术重返银幕，另一位演员会给他配音。试题是对该句的同义改写。

43.[答案]H 

[精解]H段①句指出，无论CGI技术所再现的名人形象如何逼真，都不可能与真人演员没有区别。试题是对该向的同义转述，其中However advanced the CGI technology is是对A recreation,howeverlifelike的同义改写，willdiffer in a way是对句中双重否定(never...indistinguishable)的同义改写。

44.[答案]E 

[精解]E段③④句谈及许多演员对CGI技术的态度：渴望利用这项技术将自己的肖像记录并留存下来，以使遗产代理人及家人在自己离世后仍能利用自己的肖像变现。试题是对两句的概括与转述，其中make use of同义替换③向take advantage of。

45.[答案]I 

[精解]I段①②句指出，随着CGI技术再现名人以及从零开始打造银幕形象变得越来越容易，一些演员担心CGI技术会因此抢走他们的饭碗。试题是对此两句的综合概括，其中they may lose jobs because ofthe CGI technology以肯定语气转述①句could this kind of technology put actors out of jobs的疑问之意。

46.[定位]本题考查创造力的具体特征。根据题干关键词creativity可直接定位到第二段首句(Thismysterious—but teachable—quality is creativity),并进一步根据This的回指作用以及题文同序原则定位到首段。

[答案解析]D。首段先以it代指，并具体描述其特征。第二段直接点明it即为“创造力(creativity)”,由此可知首段整体是对创造力的描述。其中④句指出当人们利用创造力时，智力与精神将得到极大发展(thrivementally and spiritually);⑤句指出创造力极其娇弱，很容易被扼杀(delicate...easily stamped out)。可见，D项是对这些内容的概括，为正确项，其中contributes to intellectual growth和easily be killed是对原文信息的同义改写。

47.[定位]本题考查最近发表报告的结论。根据题干关键词the conclusion of...report可定位至第二段②句(The report concludes that...)。

[答案解析]B。②向指出创造力教育不应仅存在于诸如戏剧等明显的创作类科目中，创新性思维应贯穿学校生活的所有方面(run through all of school life),融入到人文科学和自然科学的学习方式中(humanitiesand natural sciences),即扩展至全部课程，B项是对原文信息的准确概括。

48.[定位]本题考查创造力培养的阻碍因素。根据the report、is detrimental to the fostering ofcreativity及题文同序原则可定位至第三段②句(...creativity dose not prosper、nor does it...)。

[答案解析]C。第三段具体介绍报告的内容(The authors指报告的作者),其中②句指出，当教师唯一的目标是训练孩子们的应试技巧时，创造力也不会蓬勃发展(nor does it等同于it does not prosper either),即应试教育不利于培养创造力，C项正确，Test-oriented teaching是对文中when teachers'sole objective iscoaching children towards exams的正确概括。

49.[定位]本题考查有关英国私立学校的信息。根据private schools in the UK可定位至第四段前半部分(the independent education sector、Britain's top private schools)以及第五段前半部分(private education)。

[答案解析]B。第四段①②③句指出，艺术类科目是最能明显培养创造力的科目，只需看看英国顶尖私立学校中令人瞩目的艺术设施，就能明白它们对艺术学科的重视。由此可知英国私立学校非常重视艺术教育，B项正确。

50.[定位]本题考查作者的建议(如何应对未来的挑战)。根据the future challenges可定位至第五段③句(looming challenges)。

[答案解析]C。第五段③句指出人类面临诸多重大挑战，比以往任何时候都更需要创造性思维；④句则提出建议：必须把creativity in education,and for all当作首要之事；联系本段①②句论述的教育不公问题可知creativity in education,and for all强调的是“平等无差别地向所有孩子提供享受艺术教育的机会(以培养创新思维)”,C项正确。

51.[定位]本题考查“交谈中的行为倾向”,根据题干关键词tend to和conversation可定位至第一段(conversation partner's...We all tend to...)。

[答案解析]C。第一段指出，模仿谈话对象的举止是一种常见的人类行为，我们往往会下意识地模仿我们喜欢的人士的举止。C项正确。

52.[定位]本题考查“镜像模仿发生的情境”,根据题文同序原则(上题people tend to针对第一段，下题popular culture针对第三段)以及题干中mirroring usually take place可推断本题应定位至第二段(As a rule,mirroring mean that...)。

[答案解析]B。第二段指出，镜像模仿意味着谈话双方在一定程度上意见一致，对谈论的话题同样感兴趣且趣味相投，B项是对这一信息的准确概括，为正确项。

53.[定位]本题考查关于“流行文化”的事实，根据题干关键词popular culture可定位至第三段(Popularculture makes people...)。

[答案解析]A。第三段末句指出，流行文化让人们希望自己的外表和言行举止都像流行人物，即流行文化鼓励人们模仿流行人物，A项正确。

54.[定位]本题考查作者对“模仿两个人，则是研究”的解读。根据题干中引号内的内容直接定位至第七段。

[答案解析]A。第七段②句先引出培养专业写作技能的最重要的一条经验：模仿一人是抄袭，模仿两人是研究。随后③句对这一说法做出正确解读：模仿两人关乎创造自己的写作风格。④⑤句做出具体解释：对多位作家的写作句型、隐喻表达、故事续篇进行探索(以创造自己的写作风格)。可见，“模仿两人是研究”这种说法之所以说是一条经验，是因为它有助于个人创造自己的写作风格，A项正确。

55.[定位]本题考查“模仿具有矛盾性的原因”。根据题干关键词imitation...paradoxical可定位至第八段。

[答案解析]D。第八段先指出“模仿是极为矛盾的(行为)”,后说明模仿会带来积极的变化，使人成长、进步，也可能造成许多危害，比如侵犯他人的知识产权。由此可见，模仿极具矛盾性指的是“模仿有益亦有害”,D项正确。