Unit 6 Nature in words 单元复习 检测-2027届高三英语一轮复习外研版选择性必修第三册

**基本信息** 以“Nature in words”为主题，构建“词汇-短语-语法-阅读”四层递进训练体系，强化非谓语动词语法功能与自然文学语篇理解，融合语言能力与思维品质培养。 **专项设计** |模块|题量/典例|方法提炼|知识逻辑| |----|-----------|----------|----------| |词汇复习|31题（16单词+15词性转换）|词性转换规则与语境应用|从基础词汇到词形变化，构建词汇网络| |短语复习|20题|固定搭配与主题表达|围绕自然描写场景，强化短语运用| |句型复习与运用|5题|非谓语动词作定状补的语法功能训练|语法规则到语境造句，实现语法应用| |阅读理解专练|4篇16题|细节理解与推理判断|自然文学主题语篇，提升语篇分析能力|

XB3U6 复习 选择性必修三 Unit 6 Nature in words Grammar: Review: non-finite forms as attributive, adverbial and complement Part 1 基础知识回顾 一.词汇复习 1.每周的 adj. __________________ 17.魅力 n. __________________ 2.检查员 n. __________________ 18.阴冷的；阴郁的 adj. __________________ 3.坚称 v. __________________ 19.逐渐消失；褪色 v. __________________ 4.保密 n. __________________ 20.果园 n. __________________ 5.微弱地 adv. __________________ 21.串；丛；簇 n. __________________ 6.排列；布置 v. __________________ 22.收割 v. __________________ 7.闪耀；闪光 n. __________________ 23.困惑的 adj. __________________ 8.开阔的景观 n. __________________ 24.沼泽；湿地 n. __________________ 9.刺眼的强光 n. __________________ 25.inspect v. → _______________ → n. 检查员 10.小薄片 n. __________________ 26.secret adj. → _______________ → n. 保密状态 11.弯曲 v. __________________ 27.innocent adj. → _______________ → n. 天真；清白 12.童谣 n. __________________ 28.enhance v. → _______________ → n. 增强 13.羽毛 n. __________________ 29.charm n. → _______________ → adj. 迷人的 14.天真无邪的 adj. __________________ 30.puzzle v. → _______________ → adj. 困惑的 15.增强 v. __________________ 31.nature n. → _______________ → adj. 自然的 16.开花 v. __________________ 二.短语复习 1.坚持认为 __________________________ 11.写自然随笔 __________________________ 2.在保密状态下 __________________________ 12.捕捉细节 __________________________ 3.微弱地发光 __________________________ 13.唤起感官体验 __________________________ 4.雪花飘落 __________________________ 14.以自然为背景 __________________________ 5.被强光照亮 __________________________ 15.使用比喻语言 __________________________ 6.果园开花 __________________________ 16.声音意象 __________________________ 7.魅力逐渐消失 __________________________ 17.季节变化 __________________________ 8.一簇花 __________________________ 18.文学表达 __________________________ 9.收割小麦 __________________________ 19.增强画面感 __________________________ 10.自然景观 __________________________ 20.赋予自然声音 __________________________ 三.词汇运用 1.The writer’s careful use of sound imagery gives the scene unusual __________. (vivid) 2.The quiet orchard becomes especially __________ when described through smell and sound. (charm) 3.The final line creates a sense of __________ rather than sadness. (innocent) 4.The poem’s emotional effect is strengthened by the __________ of light and shadow. (contrast) 5.The author uses repeated natural images for thematic __________. (enhance) 6.Readers may feel __________ at first because the season is never named directly. (puzzle) 7.The description turns an ordinary snowfall into a memorable __________ experience. (literature) 四.句型复习与运用 1.窗外缓慢飘落的雪花使整个清晨显得格外安静。（non-finite as attributive） ____________________________________________________________________________________ 2.被第一场雪覆盖后，熟悉的街道看起来像一个全新的世界。（non-finite as adverbial） ____________________________________________________________________________________ 3.我听见风掠过树梢，随后传来一阵鸟鸣。（non-finite as complement） ____________________________________________________________________________________ 4.自然文学最有力量的地方之一，是它能让我们重新注意习以为常的事物。（one of） ____________________________________________________________________________________ 5.描写自然不仅需要准确观察，还需要选择能够唤起读者感受的语言。（not only...but also） ____________________________________________________________________________________ Part 2 阅读理解专练 阅读下列短文，从每题所给的 A、B、C 和 D 四个选项中，选出最佳选项。 1 Nature writer Mara keeps two notebooks on every walk. In one she records facts: temperature, bird calls, flowering dates and direction of wind. In the other she records sentences that arrive before she knows whether they are accurate. She calls the first notebook ‘evidence’ and the second ‘possibility’. The separation prevents a common problem in descriptive writing. A phrase may sound beautiful while quietly changing what actually happened. If Mara writes that a marsh was ‘silent’, her factual notes may remind her that frogs and insects were active. She can then decide whether she meant literal silence or a feeling of stillness. When she drafts an essay, the two notebooks meet. Facts keep imagination accountable; imaginative language helps facts become an experience for the reader. Mara does not believe nature writing should read like a scientific report, but she also dislikes description that uses the landscape merely as decoration for the writer’s mood. Her method has made her slower. It has also made her more attentive. She says the discipline of checking language against observation often reveals details she would otherwise have missed. Accuracy, in her view, does not weaken poetry. It gives poetry something solid to stand on. 1. Why does Mara keep two notebooks? A. To separate observation from early imaginative language. B. To record the same facts twice. C. To avoid using scientific information. D. To write one notebook for readers and one for editors. 2. What problem does the word ‘silent’ illustrate? A. Beautiful language can conflict with observed reality. B. Factual notes are usually boring. C. Marshes are always noisy. D. Writers should never use figurative language. 3. How does Mara combine facts and imagination? A. Facts limit all creative expression. B. Imagination replaces factual detail. C. Facts provide accuracy while language creates experience. D. She keeps them completely separate in the final essay. 4. What is the passage mainly about? A. A writing method that balances observation with literary expression. B. How to identify marsh insects. C. Why nature writers should become scientists. D. The advantages of taking shorter walks. 2 Translating a short nature poem can become difficult when one word carries both physical and cultural meaning. In a classical Chinese poem, for example, a particular bird may signal a season, a sound and an emotional tradition familiar to the original audience. An English bird name may identify the species accurately but carry none of those associations. Translator Daniel Wu approaches the problem in stages. First, he decides what the image is doing in the poem. Is the bird important because of its cry, its season, its colour or a literary tradition? Next, he considers whether the target language has an image that can perform a similar function without becoming false to the original scene. Sometimes he keeps the exact bird and adds a brief note. Sometimes he chooses a more general expression such as ‘an autumn bird’ to preserve rhythm. He dislikes fixed rules because each choice sacrifices something: precision, sound, speed or cultural explanation. For Daniel, a translation is successful not when every word has a matching word, but when the reader can enter a comparable relationship with the poem. That may require accepting a small loss in one place to preserve a larger pattern of meaning elsewhere. 1. Why can a bird name be difficult to translate? A. The species may not have an English name. B. It may carry cultural meanings beyond biological identity. C. Birds are rarely used in English poetry. D. The original poem may contain no seasonal information. 2. What does Daniel consider first? A. The price of publishing the poem. B. Whether the image’s function is sound, season, colour or tradition. C. Which English bird is most famous. D. How many notes the reader will accept. 3. Why does Daniel avoid fixed translation rules? A. Different choices involve different trade-offs. B. He prefers not to make decisions. C. Accurate translation is impossible. D. Poetry should never be explained. 4. What is Daniel’s main standard for success? A. Every word must have a direct equivalent. B. The translated poem must be longer than the original. C. Readers should experience a comparable pattern of meaning. D. The translator should remove all cultural references. 3 Sound artist and essayist Leila Ortiz records dawn in places most people would call quiet. She captures distant traffic, water pipes, insects, birds and the low movement of wind through grass. Later she writes from the recordings without naming the location at first. The exercise forces her to notice how quickly the mind labels sound. A repeated metallic click might be described as ‘a broken machine’ until a local farmer explains that it comes from a fence moving in the wind. The correction changes not only one sentence but the writer’s relationship to the place: what seemed like disorder may be part of an ordinary working landscape. Leila includes uncertainty in her essays. She may write, ‘something winged moved above the reeds,’ rather than invent a species she cannot identify. Some editors once encouraged her to sound more certain. She refused, arguing that honest uncertainty creates trust and can even sharpen attention. Her work suggests that listening is not passive. It involves separating sources, questioning first impressions and deciding which sounds deserve space on the page. By writing a landscape through sound, Leila hopes readers will understand that nature is not a silent background. It is an active field of signals, many of which become audible only when we stop trying to name them too quickly. 1. Why does Leila initially write without naming the location? A. To focus attention on sound before relying on labels. B. To protect a secret research site. C. To make the essay impossible to fact-check. D. To avoid learning from local people. 2. What did the metallic clicking sound turn out to be? A. A broken machine. B. A bird call. C. A fence moving in the wind. D. A water pipe underground. 3. Why does Leila keep uncertainty in her writing? A. She believes uncertainty can be honest and attentive. B. She wants readers to identify every species themselves. C. She lacks access to recordings. D. Her editors require short descriptions. 4. What idea does the passage develop? A. Careful listening can change how a writer understands a landscape. B. Natural places should be protected from all human sounds. C. Writers should avoid local explanations. D. Sound recording is more accurate than all other observation. 4 A literature class reading environmental essays tried an unusual exercise: students mapped every verb used to describe a river. In one essay the river ‘cuts’, ‘carries’ and ‘claims’; in another it ‘rests’, ‘mirrors’ and ‘welcomes’. The class then discussed how grammar could quietly shape the reader’s idea of nature. The teacher, Mr Evans, was not asking students to decide which river was more accurate. He wanted them to see that description contains choices. An active verb can make a landscape seem powerful or intentional; a passive construction can make it seem acted upon. Neither is automatically wrong, but repeated patterns can create a viewpoint. Students then revised a paragraph of their own nature writing. One student noticed that every human in her paragraph ‘managed’, ‘protected’ or ‘improved’ the wetland, while the wetland itself did almost nothing. She rewrote several sentences after observing the site again and added processes she had ignored: water spreading, reeds trapping sediment, insects emerging. The exercise did not teach students to avoid human action. It taught them to notice when language makes one relationship seem natural and another invisible. By the end of the lesson, verbs no longer looked like small grammatical choices. They looked like part of the argument a piece of writing makes about the living world. 1. What did students map in the essays? A. All names of animals. B. The verbs used to describe the river. C. Every environmental fact. D. The number of passive sentences only. 2. What was Mr Evans trying to teach? A. Description involves choices that can shape viewpoint. B. Active verbs are always better than passive ones. C. Nature writing should avoid grammar analysis. D. Only scientific descriptions are accurate. 3. Why did one student revise her wetland paragraph? A. She found that her language gave humans all the action. B. She had used too many difficult words. C. She needed to shorten the paragraph. D. The wetland had changed location. 4. What is the main conclusion of the passage? A. Small language choices can carry larger ideas about human-nature relationships. B. Grammar should be taught only through environmental essays. C. Writers must give natural objects human intentions. D. Passive voice should be removed from nature writing. XB3U6 复习答案 Part 1 基础知识回顾 一.词汇复习 1.weekly adj. 每周的 17.charm n. 魅力 2.inspector n. 检查员 18.bleak adj. 阴冷的；阴郁的 3.insist v. 坚称 19.fade v. 逐渐消失；褪色 4.secrecy n. 保密 20.orchard n. 果园 5.faintly adv. 微弱地 21.cluster n. 串；丛；簇 6.dispose v. 排列；布置 22.reap v. 收割 7.sparkle n. 闪耀；闪光 23.puzzled adj. 困惑的 8.prospect n. 开阔的景观 24.marsh n. 沼泽；湿地 9.glare n. 刺眼的强光 25.inspect v. → inspector → n. 检查员 10.flake n. 小薄片 26.secret adj. → secrecy → n. 保密状态 11.bend v. 弯曲 27.innocent adj. → innocence → n. 天真；清白 12.rhyme n. 童谣 28.enhance v. → enhancement → n. 增强 13.feather n. 羽毛 29.charm n. → charming → adj. 迷人的 14.innocent adj. 天真无邪的 30.puzzle v. → puzzled → adj. 困惑的 15.enhance v. 增强 31.nature n. → natural → adj. 自然的 16.bloom v. 开花 二.短语复习 1.insist that 坚持认为 11.write a nature essay 写自然随笔 2.in secrecy 在保密状态下 12.capture fine details 捕捉细节 3.glow faintly 微弱地发光 13.evoke sensory experience 唤起感官体验 4.snowflakes fall 雪花飘落 14.set against nature 以自然为背景 5.be lit by glare 被强光照亮 15.use figurative language 使用比喻语言 6.orchards bloom 果园开花 16.sound imagery 声音意象 7.the charm fades 魅力逐渐消失 17.seasonal change 季节变化 8.a cluster of flowers 一簇花 18.literary expression 文学表达 9.reap wheat 收割小麦 19.enhance vividness 增强画面感 10.natural prospect 自然景观 20.give nature a voice 赋予自然声音 三.词汇运用 1. The writer’s careful use of sound imagery gives the scene unusual vividness. 2. The quiet orchard becomes especially charming when described through smell and sound. 3. The final line creates a sense of innocence rather than sadness. 4. The poem’s emotional effect is strengthened by the contrast of light and shadow. 5. The author uses repeated natural images for thematic enhancement. 6. Readers may feel puzzled at first because the season is never named directly. 7. The description turns an ordinary snowfall into a memorable literary experience. 四.句型复习与运用 1. The snowflakes falling slowly outside the window made the whole morning unusually quiet. 2. Covered by the first snow, the familiar street looked like a completely new world. 3. I heard the wind sweep through the treetops, followed by a burst of birdsong. 4. One of the greatest strengths of nature writing is its ability to make us notice familiar things again. 5. Describing nature requires not only accurate observation but also language that can awaken the reader’s senses. Part 2 阅读理解专练 1. 1.A 2.A 3.C 4.A 2. 1.B 2.B 3.A 4.C 3. 1.A 2.C 3.A 4.A 4. 1.B 2.A 3.A 4.A — — 学科网（北京）股份有限公司 $