2018上半年教师资格证考试《英语学科知识与教学能力》（初级中学）真题

The similarity between the English consonants /p/, /b/, and /m/is that they are all （ ?）.

Which of the following is a back vowel in English?

There is only one playground slide in this school, so the students have to take （ ）to use it.

Out of everyone’s expectation, Johnson suddenly returned（ ）a rainy night.

She（ ）it very well when she described her younger brother as “brilliant but lazy”.

We don't think （ ） possible to master a foreign language without much memory work.

（ ）the same mistakes in the annual financial report again made his boss very angry.

I would have told him the answer, but I ( ) so busy then.

The use of the expression “I won't bore you with .all the detail ...” includes that people usually observe the（ ）maxim in their daily conversations.

Which of the following is an evaluative move used by a teacher in class to comment on students' performance??

Which of the following activities is NOT typical of the Task-Based Language Teaching method?

If a teacher shows students how to do an activity before they start doing it, he/she is using the technique of （ ）.

When a teacher asks students to discuss how a text is organized, he/she is most likely to help them （ ）.

Which of the following practices can encourage students to read an article critically?

Which of the following is a display question used by teachers in class?

Which of the following would a teacher encourage students to do in order to develop their cognitive strategies?

Which of the following exercises would a teacher most probably use if he/she wants to help students develop discourse competence?

The advantages of pair and group work include all of the following EXCEPT （ ）.

Which of the following should a teacher avoid when his/her focus is on developing students' ability to use words appropriately?

Which of the following practices is most likely to encourage students' learning?

请阅读Passage 1, 完成第小题。

Passage 1

In recent years,however, society has come to understand the limitations of schools that merelysort and rank students. We have discovered that students in the bottomone-third to one-half of the rank order-plus all who drop out before beingranked-fail to develop the foundational reading, writing, and mathematicalproficiencies needed to survive in, let alone contribute to, an increasinglytechnically complex and ethnically diverse culture. So today, in asking schoolsto leave no child behind, society is asking that educators raise up the bottomof the rank-.order distribution to a specified level of competence. We callthose expectations our?? "academicachievement standards". Every state has them, and, as a matter of publicpolicy, schools are to be held accountable for making sure that all studentsmeet them.

?To be clear, themission of sorting has not been eliminated from the schooling process. For theforeseeable future, students will still be ranked at the end of high school.However, society now dictates that such a celebration of differences m amountlearned must start at a certain minimum level of achievement for all.

??The implications of this change in missionfor the role of assessment are profound. Assessment and grading proceduresdesigned to permit only a few students to succeed (those at the top of therank-order distribution) must now be revised to permit the possibility that allstudents could succeed at some appropriate level. Furthermore, procedures thatpermitted?? (perhaps even encouraged)some students to give up in hopelessness and to stop trying must now be replacedby others that promote hope and continuous effort. In short, the entireemotional environment surrounding the prospect of being evaluated must change,especially for perennial low achievers.

??The students' missionis no longer merely to beat other students in the achievement race. At leastpart of their goal must be to become competent. T

请阅读Passage 1, 完成第小题。

Passage 1

In recent years,however, society has come to understand the limitations of schools that merelysort and rank students. We have discovered that students in the bottomone-third to one-half of the rank order-plus all who drop out before beingranked-fail to develop the foundational reading, writing, and mathematicalproficiencies needed to survive in, let alone contribute to, an increasinglytechnically complex and ethnically diverse culture. So today, in asking schoolsto leave no child behind, society is asking that educators raise up the bottomof the rank-.order distribution to a specified level of competence. We callthose expectations our?? "academicachievement standards". Every state has them, and, as a matter of publicpolicy, schools are to be held accountable for making sure that all studentsmeet them.

?To be clear, themission of sorting has not been eliminated from the schooling process. For theforeseeable future, students will still be ranked at the end of high school.However, society now dictates that such a celebration of differences m amountlearned must start at a certain minimum level of achievement for all.

??The implications of this change in missionfor the role of assessment are profound. Assessment and grading proceduresdesigned to permit only a few students to succeed (those at the top of therank-order distribution) must now be revised to permit the possibility that allstudents could succeed at some appropriate level. Furthermore, procedures thatpermitted?? (perhaps even encouraged)some students to give up in hopelessness and to stop trying must now be replacedby others that promote hope and continuous effort. In short, the entireemotional environment surrounding the prospect of being evaluated must change,especially for perennial low achievers.

??The students' missionis no longer merely to beat other students in the achievement race. At leastpart of their goal must be to become competent. T

请阅读Passage 1, 完成第小题。

Passage 1

In recent years,however, society has come to understand the limitations of schools that merelysort and rank students. We have discovered that students in the bottomone-third to one-half of the rank order-plus all who drop out before beingranked-fail to develop the foundational reading, writing, and mathematicalproficiencies needed to survive in, let alone contribute to, an increasinglytechnically complex and ethnically diverse culture. So today, in asking schoolsto leave no child behind, society is asking that educators raise up the bottomof the rank-.order distribution to a specified level of competence. We callthose expectations our?? "academicachievement standards". Every state has them, and, as a matter of publicpolicy, schools are to be held accountable for making sure that all studentsmeet them.

?To be clear, themission of sorting has not been eliminated from the schooling process. For theforeseeable future, students will still be ranked at the end of high school.However, society now dictates that such a celebration of differences m amountlearned must start at a certain minimum level of achievement for all.

??The implications of this change in missionfor the role of assessment are profound. Assessment and grading proceduresdesigned to permit only a few students to succeed (those at the top of therank-order distribution) must now be revised to permit the possibility that allstudents could succeed at some appropriate level. Furthermore, procedures thatpermitted?? (perhaps even encouraged)some students to give up in hopelessness and to stop trying must now be replacedby others that promote hope and continuous effort. In short, the entireemotional environment surrounding the prospect of being evaluated must change,especially for perennial low achievers.

??The students' missionis no longer merely to beat other students in the achievement race. At leastpart of their goal must be to become competent. T

请阅读Passage 1, 完成第小题。

Passage 1

In recent years,however, society has come to understand the limitations of schools that merelysort and rank students. We have discovered that students in the bottomone-third to one-half of the rank order-plus all who drop out before beingranked-fail to develop the foundational reading, writing, and mathematicalproficiencies needed to survive in, let alone contribute to, an increasinglytechnically complex and ethnically diverse culture. So today, in asking schoolsto leave no child behind, society is asking that educators raise up the bottomof the rank-.order distribution to a specified level of competence. We callthose expectations our?? "academicachievement standards". Every state has them, and, as a matter of publicpolicy, schools are to be held accountable for making sure that all studentsmeet them.

?To be clear, themission of sorting has not been eliminated from the schooling process. For theforeseeable future, students will still be ranked at the end of high school.However, society now dictates that such a celebration of differences m amountlearned must start at a certain minimum level of achievement for all.

??The implications of this change in missionfor the role of assessment are profound. Assessment and grading proceduresdesigned to permit only a few students to succeed (those at the top of therank-order distribution) must now be revised to permit the possibility that allstudents could succeed at some appropriate level. Furthermore, procedures thatpermitted?? (perhaps even encouraged)some students to give up in hopelessness and to stop trying must now be replacedby others that promote hope and continuous effort. In short, the entireemotional environment surrounding the prospect of being evaluated must change,especially for perennial low achievers.

??The students' missionis no longer merely to beat other students in the achievement race. At leastpart of their goal must be to become competent. T

请阅读Passage 1, 完成第小题。

Passage 1

In recent years,however, society has come to understand the limitations of schools that merelysort and rank students. We have discovered that students in the bottomone-third to one-half of the rank order-plus all who drop out before beingranked-fail to develop the foundational reading, writing, and mathematicalproficiencies needed to survive in, let alone contribute to, an increasinglytechnically complex and ethnically diverse culture. So today, in asking schoolsto leave no child behind, society is asking that educators raise up the bottomof the rank-.order distribution to a specified level of competence. We callthose expectations our?? "academicachievement standards". Every state has them, and, as a matter of publicpolicy, schools are to be held accountable for making sure that all studentsmeet them.

?To be clear, themission of sorting has not been eliminated from the schooling process. For theforeseeable future, students will still be ranked at the end of high school.However, society now dictates that such a celebration of differences m amountlearned must start at a certain minimum level of achievement for all.

??The implications of this change in missionfor the role of assessment are profound. Assessment and grading proceduresdesigned to permit only a few students to succeed (those at the top of therank-order distribution) must now be revised to permit the possibility that allstudents could succeed at some appropriate level. Furthermore, procedures thatpermitted?? (perhaps even encouraged)some students to give up in hopelessness and to stop trying must now be replacedby others that promote hope and continuous effort. In short, the entireemotional environment surrounding the prospect of being evaluated must change,especially for perennial low achievers.

??The students' missionis no longer merely to beat other students in the achievement race. At leastpart of their goal must be to become competent. T

请阅读Passage 2，完成小题。

Passage 2

The subject of ballads,books and films, Robin Hood has proven to be one of popular culture's mostenduring folk heroes. Over the course of 700 years, the outlaw fromNottinghamshire who robs the rich to give to the poor has emerged as one of themost enduring folk heroes in popular culture-and one of the most versatile. Buthow has the legend of Sherwood Forest's merry outlaws evolved over time? Did areal Robin Hood inspire these classic tales?

Beginning in the 15thcentury and perhaps even earlier, Christian revelers in certain parts ofEngland celebrated May Day with plays and games involving a Robin Hood figurewith near-religious significance. In the 19th century, writer-illustrators likeHoward Pyle adapted the traditional tales for children, popularizing them inthe United States and around the world. More recently, bringing Robin to thesilver screen has become?a rite of passage?for directors ranging fromMichael Curtiz and Ridley Scott to Terry Gilliam and Mel Brooks.

Throughout Robin'sexistence, writers, performers and filmmakers have probed their imaginationsfor new incarnations that resonate with their respective audiences. In14th-century England, where agrarian discontent had begun to chip away at thefeudal system, he appears as an anti-establishment rebel who murders governmentagents and wealthy landowners. Later variations from times of less socialupheaval dispense with the gore and cast Robin as a dispossessed aristocrat witha heart of gold and a love interest, Maid Marian.

Academics, meanwhile,have combed the historical record for evidence of a real Robin Hood. Englishlegal records suggest that, as early as the 13th century, “Robehod,” “Rabunhod”and other variations had become common epithets for criminals. But what hadinspired these nicknames: a fictional tale, an infamous bandit or an amalgam ofboth? The first literary references to Robin Hood appear in a series of 14th-and 15th-century ballads ab

请阅读Passage 2，完成小题。

Passage 2

The subject of ballads,books and films, Robin Hood has proven to be one of popular culture's mostenduring folk heroes. Over the course of 700 years, the outlaw fromNottinghamshire who robs the rich to give to the poor has emerged as one of themost enduring folk heroes in popular culture-and one of the most versatile. Buthow has the legend of Sherwood Forest's merry outlaws evolved over time? Did areal Robin Hood inspire these classic tales?

Beginning in the 15thcentury and perhaps even earlier, Christian revelers in certain parts ofEngland celebrated May Day with plays and games involving a Robin Hood figurewith near-religious significance. In the 19th century, writer-illustrators likeHoward Pyle adapted the traditional tales for children, popularizing them inthe United States and around the world. More recently, bringing Robin to thesilver screen has become?a rite of passage?for directors ranging fromMichael Curtiz and Ridley Scott to Terry Gilliam and Mel Brooks.

Throughout Robin'sexistence, writers, performers and filmmakers have probed their imaginationsfor new incarnations that resonate with their respective audiences. In14th-century England, where agrarian discontent had begun to chip away at thefeudal system, he appears as an anti-establishment rebel who murders governmentagents and wealthy landowners. Later variations from times of less socialupheaval dispense with the gore and cast Robin as a dispossessed aristocrat witha heart of gold and a love interest, Maid Marian.

Academics, meanwhile,have combed the historical record for evidence of a real Robin Hood. Englishlegal records suggest that, as early as the 13th century, “Robehod,” “Rabunhod”and other variations had become common epithets for criminals. But what hadinspired these nicknames: a fictional tale, an infamous bandit or an amalgam ofboth? The first literary references to Robin Hood appear in a series of 14th-and 15th-century ballads ab

请阅读Passage 2，完成小题。

Passage 2

The subject of ballads,books and films, Robin Hood has proven to be one of popular culture's mostenduring folk heroes. Over the course of 700 years, the outlaw fromNottinghamshire who robs the rich to give to the poor has emerged as one of themost enduring folk heroes in popular culture-and one of the most versatile. Buthow has the legend of Sherwood Forest's merry outlaws evolved over time? Did areal Robin Hood inspire these classic tales?

Beginning in the 15thcentury and perhaps even earlier, Christian revelers in certain parts ofEngland celebrated May Day with plays and games involving a Robin Hood figurewith near-religious significance. In the 19th century, writer-illustrators likeHoward Pyle adapted the traditional tales for children, popularizing them inthe United States and around the world. More recently, bringing Robin to thesilver screen has become?a rite of passage?for directors ranging fromMichael Curtiz and Ridley Scott to Terry Gilliam and Mel Brooks.

Throughout Robin'sexistence, writers, performers and filmmakers have probed their imaginationsfor new incarnations that resonate with their respective audiences. In14th-century England, where agrarian discontent had begun to chip away at thefeudal system, he appears as an anti-establishment rebel who murders governmentagents and wealthy landowners. Later variations from times of less socialupheaval dispense with the gore and cast Robin as a dispossessed aristocrat witha heart of gold and a love interest, Maid Marian.

Academics, meanwhile,have combed the historical record for evidence of a real Robin Hood. Englishlegal records suggest that, as early as the 13th century, “Robehod,” “Rabunhod”and other variations had become common epithets for criminals. But what hadinspired these nicknames: a fictional tale, an infamous bandit or an amalgam ofboth? The first literary references to Robin Hood appear in a series of 14th-and 15th-century ballads ab

请阅读Passage 2，完成小题。

Passage 2

The subject of ballads,books and films, Robin Hood has proven to be one of popular culture's mostenduring folk heroes. Over the course of 700 years, the outlaw fromNottinghamshire who robs the rich to give to the poor has emerged as one of themost enduring folk heroes in popular culture-and one of the most versatile. Buthow has the legend of Sherwood Forest's merry outlaws evolved over time? Did areal Robin Hood inspire these classic tales?

Beginning in the 15thcentury and perhaps even earlier, Christian revelers in certain parts ofEngland celebrated May Day with plays and games involving a Robin Hood figurewith near-religious significance. In the 19th century, writer-illustrators likeHoward Pyle adapted the traditional tales for children, popularizing them inthe United States and around the world. More recently, bringing Robin to thesilver screen has become?a rite of passage?for directors ranging fromMichael Curtiz and Ridley Scott to Terry Gilliam and Mel Brooks.

Throughout Robin'sexistence, writers, performers and filmmakers have probed their imaginationsfor new incarnations that resonate with their respective audiences. In14th-century England, where agrarian discontent had begun to chip away at thefeudal system, he appears as an anti-establishment rebel who murders governmentagents and wealthy landowners. Later variations from times of less socialupheaval dispense with the gore and cast Robin as a dispossessed aristocrat witha heart of gold and a love interest, Maid Marian.

Academics, meanwhile,have combed the historical record for evidence of a real Robin Hood. Englishlegal records suggest that, as early as the 13th century, “Robehod,” “Rabunhod”and other variations had become common epithets for criminals. But what hadinspired these nicknames: a fictional tale, an infamous bandit or an amalgam ofboth? The first literary references to Robin Hood appear in a series of 14th-and 15th-century ballads ab

请阅读Passage 2，完成小题。

Passage 2

The subject of ballads,books and films, Robin Hood has proven to be one of popular culture's mostenduring folk heroes. Over the course of 700 years, the outlaw fromNottinghamshire who robs the rich to give to the poor has emerged as one of themost enduring folk heroes in popular culture-and one of the most versatile. Buthow has the legend of Sherwood Forest's merry outlaws evolved over time? Did areal Robin Hood inspire these classic tales?

Beginning in the 15thcentury and perhaps even earlier, Christian revelers in certain parts ofEngland celebrated May Day with plays and games involving a Robin Hood figurewith near-religious significance. In the 19th century, writer-illustrators likeHoward Pyle adapted the traditional tales for children, popularizing them inthe United States and around the world. More recently, bringing Robin to thesilver screen has become?a rite of passage?for directors ranging fromMichael Curtiz and Ridley Scott to Terry Gilliam and Mel Brooks.

Throughout Robin'sexistence, writers, performers and filmmakers have probed their imaginationsfor new incarnations that resonate with their respective audiences. In14th-century England, where agrarian discontent had begun to chip away at thefeudal system, he appears as an anti-establishment rebel who murders governmentagents and wealthy landowners. Later variations from times of less socialupheaval dispense with the gore and cast Robin as a dispossessed aristocrat witha heart of gold and a love interest, Maid Marian.

Academics, meanwhile,have combed the historical record for evidence of a real Robin Hood. Englishlegal records suggest that, as early as the 13th century, “Robehod,” “Rabunhod”and other variations had become common epithets for criminals. But what hadinspired these nicknames: a fictional tale, an infamous bandit or an amalgam ofboth? The first literary references to Robin Hood appear in a series of 14th-and 15th-century ballads ab