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发表于 2010-5-22 22:19 | 只看该作者

[1006G] 寄托天下GRE模考活动第一辑

本帖最后由 Bela1229 于 2010-5-23 00:10 编辑
3 {& u9 x' X6 k3 j+ g+ v w
本帖的目的在于大家交流关于题目的看法
------------------------1006G第一辑_9504_题目篇------------------------

SECTION 1

Time –30 minutes

38 Questions

8 f) y' T: x M& J, l) k" \
. x, J' g' \ i- g

1.A computer program can provide information in ways

that force students to --- learning instead of being

merely ---- of knowledge.

+ {6 j9 V' Z: [" ~

(A) shore up .. reservoirs

1 L: |0 l" Q5 ]. v& q8 `* o

(B) accede to .. consumers

5 G/ u& Q6 U. z9 F- O

(D) compensate for.. custodians

(E) profit from .. beneficiaries

) ~& U# f/ j1 i( Y% v7 N7 u/ D" r7 H

2. The form and physiology of leaves vary according to

the ---- in which they develop: for example, leaves

( @7 z0 [7 B9 `$ i

display a wide range of adaptations to different

degrees of light and moisture.

(A) relationship

(B) species

7 P0 {* t! l' \/ [

(D) patterns

3 v, m& | K1 M* B% S: B, V

(E) environment

! p+ F2 p9 s! ?9 C$ {

3. One theory about intelligence sees ---- as the

8 H3 y. D) @) v5 h6 v) ~" ^9 O" h

logical structure underlying thinking and insists that

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since animals are mute, they must be ---- as well.

(A) behavior.. inactive

(B) instinct.. cooperative

(D) adaptation.. brutal

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(E) language.. mindless

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4. Though ---- in her personal life, Edna St. Vincent

Millay was nonetheless ---- about her work, usually

producing several pages of complicated rhyme in a

9 {2 b7 }8 s! e, J2 p8 E: G% E

day.

(A) jaded.. feckless

(B) verbose.. ascetic

(D) impulsive.. disciplined

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(E) self-assured.. sanguine

5. The children's ---- natures were in sharp contrast

to the even-tempered dispositions of their parents.

8 F2 h5 e$ S7 p2 F4 ?6 V

(A) mercurial

(B) blithe

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(D) introverted

" R5 H9 D" ~8 c; i" M, m; w+ j

(E) artless

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6. By ---- scientific rigor with a quantitative approach,

6 z( z' u( ~1 Y

researchers in the social sciences may often have ---

their scope to those narrowly circumscribed topics that

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are well suited to quantitative methods.

(A) undermining.. diminished

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(B) equating.. enlarged

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(D) identifying.. limited

(E) imbuing.. broadened

7. As early as the seventeenth century, philosophers

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called attention to the ---- character of the issue,

and their twentieth-century counterparts still approach

it with ----.

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(A) absorbing.. indifference

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(B) unusual.. composure

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(D) auspicious.. caution

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(E) problematic.. uneasiness

8. TRIPOD: CAMERA::

(A) scaffolding: ceiling

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(B) prop: set

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(D) projector: film

(E) frame: photograph
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9. AQUATIC: WATER::

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(A) cumulus: clouds

(B) inorganic: elements

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h9 q3 u, w. A* F2 J5 b0 W

(D) rural: soil

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(E) arboreal: trees

( \# ]% x7 o' R! U q( E

10. EMOLLIENT: SUPPLENESS::

(A) unguent: elasticity

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(B) precipitant: absorption

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% y; |. d# ^! D; G5 D: _5 M( z! R

(D) desiccant: dryness

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(E) retardant: permeability

. [3 h4 B" X1 D; h; R+ A

1 d# p2 k+ q6 Q

11. DRAW: DOODLE::

(A) talk: whisper

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(B) travel: ramble

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(D) calculate: add

(E) eat: gobble

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12. CONSPICUOUS: SEE:

(A) repulsive: forget

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(B) prohibited: discount

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/ Y6 X) n8 F# x1 k$ {$ p; y! Z

(D) impetuous: disregard

(E) transparent: understand

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13. IMMATURE: DEVELOPED::

(A) accessible: exposed

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(B) theoretical: conceived

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(D) irregular: classified

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(E) incipient: realized

14. PERSPICACITY: ACUTE::

(A) adaptability: prescient

(B) decorum: complacent

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(D) discretion: literal

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(E) ignorance: pedantic

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15. PLAYFUL: BANTER::

(A) animated: originality

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(B) exaggerated: hyperbole

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(C) insidious: effrontery

(D) pompous: irrationality

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(E) taciturn: solemnity

16. QUARANTINE: CONTAGION::

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(A) blockage: obstacle

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(B) strike: concession

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(D) vaccination: inoculation

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(E) prison: reform

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: y6 N: s& K) r+ {Influenced by the view of some twentieth-century

feminists that women's position within the family is

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one of the central factors determining women's social

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position, some historians have underestimated the signi-

(5) ficance of the woman suffrage movement. These histor-

5 @8 o( A8 k! U; Y

ians contend that nineteenth-century suffragism was less

radical and, hence, less important than, for example, the

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moral reform movement or domestic feminism—two

nineteenth-century movements in which women strug-

(10)gled for more power and autonomy within the family.

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True, by emphasizing these struggles, such historians

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have broadened the conventional view of nineteenth-

century feminism, but they do a historical disservice to

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suffragism. Nineteenth-century feminists and anti-

(15)feminist alike perceived the suffragists' demand for

enfranchisement as the most radical element in women's

protest, in part because suffragists were demanding

power that was not based on the institution of the

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family, women's traditional sphere. When evaluating

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(20)nineteenth-century feminism as a social force, contem-

porary historians should consider the perceptions of

actual participants in the historical events.

17.The author asserts that the historians discussed in

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the passage have

(A) influenced feminist theorists who concentrate on

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the family

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(B) honored the perceptions of the women who

participated in the women suffrage movement

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an intellectual tradition

(D) paid little attention to feminist movements

(E) expanded the conventional view of nineteenth-

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century feminism

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( f) X" Y' T" G3 \ Z$ x( |# q

18.The author of the passage asserts that some

twentieth-century feminists have influenced some

historians view of the

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(A) significance of the woman suffrage movement

(B) importance to society of the family as an

institution

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century society

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(D) philosophical traditions on which contemporary

feminism is based

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(E) public response to domestic feminism in the

nineteenth century

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% Y0 ?! ]0 b) u; x0 P' y

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19.The author of the passage suggests that which of the

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following was true of nineteenth-century feminists?

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(A) Those who participated in the moral reform

movement were motivated primarily by a

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desire to reconcile their private lives with their

public positions.

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(B) Those who advocated domestic feminism,

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although less visible than the suffragists, were

4 {4 S! B2 t1 n

in some ways the more radical of the two

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groups.

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movement sought social roles for women that

were not defined by women's familial roles.

(D) Those who advocated domestic feminism

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regarded the gaining of more autonomy within

the family as a step toward more participation

in public life.

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(E) Those who participated in the nineteenth-

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century moral reform movement stood midway

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between the positions of domestic feminism

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and suffragism.

2 z1 i* j i# {

8 F; m3 ]8 E* o+ t

20.The author implies that which of the following is

true of the historians discussed in the passage?

(A) They argue that nineteenth-century feminism

1 _3 w' E! L0 D# j; c9 B

was not as significant a social force as

twentieth-century feminism has been.

(B) They rely too greatly on the perceptions of the

actual participants in the events they study.

4 R2 }) b0 D; c8 Z3 F5 g* l

(C)Their assessment of the relative success of

nineteenth-century domestic feminism does

not adequately take into account the effects of

antifeminist rhetoric.

(D)Their assessment of the significance of

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nineteenth-century suffragism differs

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considerably from that of nineteenth-century

feminists.

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(E) They devote too much attention to nineteenth-

century suffragism at the expense of more

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radical movements that emerged shortly after

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the turn of the century.

9 \9 H v* \5 S5 KMany objects in daily use have clearly been influenced

by science, but their form and function, their dimensions

1 s" r/ D6 h% S5 I- D3 a9 x( E

and appearance, were determined by technologists

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artisans, designers, inventors, and engineers---using non-

(5) scientific modes of thought. Many features and qualities

of the objects that a technologist thinks about cannot be

$ ~2 n1 t0 H% ~, v. O& }

reduced to unambiguous verbal descriptions; they are

dealt with in the mind by a visual, nonverbal process. In

the development of Western technology, it has been non-

(10)verbal thinking, by and large, that has fixed the outlines

and filled in the details of our material surroundings.

Pyramids, cathedrals, and rockets exist not because of

geometry or thermodynamics, but because they were first

, M" I* b8 ?& I- \3 Z" `

a picture in the minds of those who built them.

(15) The creative shaping process of a technologist's mind

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can be seen in nearly every artifact that exists. For exam-

ple, in designing a diesel engine, a technologist might

impress individual ways of nonverbal thinking on the

machine by continually using an intuitive sense of right-

; B4 [% B/ m% q1 Y- F

(20)ness and fitness. What would be the shape of the com-

bustion chamber? Where should the valves be placed?

Should it have a long or short piston? Such questions

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have a range of answers that are supplied by experience,

) Q- U) F8 H' d7 }

by physical requirements, by limitations of available

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(25)space, and not least by a sense of form. Some

1 v8 g* W0 h$ [- D

decisions,

such as wall thickness and pin diameter, may depend on

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scientific calculations, but the nonscientific component

of design remains primary.

2 g2 \4 Q3 `$ b; m# S% Q) `" w% t8 i

+ o/ g2 C4 X: ]. \Design courses, then, should be an essential element

(30)in engineering curricula. Nonverbal thinking, a central

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mechanism in engineering design, involves perceptions,

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the stock-in-trade of the artist, not the scientist. Because

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perceptive processes are not assumed to entail "hard

thinking," nonverbal thought is sometimes seen as a prim-

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(35)itive stage in the development of cognitive processes and

inferior to verbal or mathematical thought. But it is para-

doxical that when the staff of the Historic American

Engineering Record wished to have drawings made of

machines and isometric views of industrial processes for

(40)its historical record of American engineering, the only

( g1 q; A+ P. i% `# t) r4 A4 h

college students with the requisite abilities were not engi-

% j5 C- N- Z' [: v% ^

neering students, but rather students attending architec-

2 M4 @1 F+ l5 n& n4 ]- ^

tural schools.

" L8 N* X/ _0 K/ jIt courses in design, which in a strongly analytical

(45)engineering curriculum provide the background required

for practical problem- solving, are not provided, we can

expect to encounter silly but costly errors occurring in

advanced engineering systems. For example, early models

of high-speed railroad cars loaded with sophisticated

(50)controls were unable to operate in a snowstorm

because

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a fan sucked snow into the electrical system. Absurd ran-

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dom failures that plague automatic control systems are

not merely trivial aberrations; they are a reflection of the

chaos that results when design is assumed to be primarily

a problem in mathematics.

21.In the passage, the author is primarily concerned

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with

(A) identifying the kinds of thinking that are used

by technologists

(B) stressing the importance of nonverbal thinking

& @4 b. S- M/ f- I. e

in engineering design

% G( r. i- e5 i, d

in the development of technology

(D) contrasting the goals of engineers with those of

technologists

* f( b6 V5 i% Y: }

(E) criticizing engineering schools for emphasizing

science in engineering curricula

+ i' v( a3 ~4 x

22.It can be inferred that the author thinks engineering

curricula are

9 f1 y% x9 R w6 k( E

(A) strengthened when they include courses in

1 E9 ^1 R" \3 S; g0 x+ F

design

; k$ D! C. K& w: L- X

(B) weakened by the substitution of physical

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science courses for courses designed to

2 R P" C8 @6 L: C2 k

develop mathematical skills

" K* }% b( h `: q0 Q, a

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emphasized by most of the courses

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(D) strong despite the errors that graduates of such

) }4 D2 n# \) f |

curricula have made in the development of

& N! {& n7 P" g( t

automatic control systems

6 }& P# i2 y9 W. ^

(E) strong despite the absence of nonscientific

modes of thinking

3 U- ]" z! {; j

4 U. A1 J/ V3 |: A

23.Which of the following statements best illustrates

the main point of lines 1-28 of the passage?

+ H* t8 _6 ?! K* y9 C' h

(A) When a machine like a rotary engine mal-

functions, it is the technologist who is best

equipped to repair it.

(B) Each component of an automobile—for

example, the engine or the fuel tank—has a

O$ |4 ^4 i3 U: }8 z

shape that has been scientifically determined

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to be best suited to that component's function

! o% E7 Y/ t4 a

/ M9 a+ Q0 v/ B( S" q9 q! `6 g9 E

by technologists using only nonverbal thought

(D) The designer of a new refrigerator should

consider the designs of other refrigerators

6 X# q4 w1 V$ s G$ H6 G

before deciding on its final form.

# L6 J. e' _( c

(E) The distinctive features of a suspension bridge

reflect its designer's conceptualization as well

as the physical requirements of its site.

0 X# M- @' k/ m$ b2 ?

! @) T& z( u6 W5 G

24.Which of the following statements would best serve

as an introduction to the passage?

(A) The assumption that the knowledge incorpor-

ated in technological developments must be

3 G J0 f2 R7 @5 Z

derived from science ignores the many non-

scientific decisions made by technologists.

3 c* t9 W% L C6 C3 C

(B) Analytical thought is no longer a vital com-

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ponent in the success of technological

development.

8 O2 K5 X& S$ D9 ?$ C2 G$ A# T+ q

tendency has been to lose sight of the impor-

- m2 H' X# n* f$ S6 F

tant role played by scientific thought in

3 K8 n7 w7 d" u |$ S) b, a" R

making decisions about form, arrangement,

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and texture.

(D) A movement in engineering colleges toward

$ y& P/ g) d5 M; n4 U! {0 ?

a technician's degree reflects a demand for

graduates who have the nonverbal reasoning

8 z1 V+ S) |0 R7 x2 }+ L; A

ability that was once common among

: Y2 ?0 l0 Q& e4 j

engineers.

(E) A technologist thinking about a machine,

reasoning through the successive steps in a

dynamic process, can actually turn the

machine over mentally.

) f. ^6 Y# ]- j' h

25.The author calls the predicament faced by the

Historic American Engineering Record "para-

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doxical" (lines 36-37) most probably because

(A) the publication needed drawings that its own

* [5 x8 l, \+ r. ?

staff could not make

4 N( U9 c3 e7 t% \

(B) architectural schools offered but did not require

b2 K* s: c5 s+ _4 N

engineering design courses for their students

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drawings while practicing engineers were not

(D) the drawings needed were so complicated that

even students in architectural schools had

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difficulty making them.

" e+ L; `5 k9 K5 P+ k P6 z

(E) engineering students were not trained to make

/ O+ s! {& U$ b$ s, B

the type of drawings needed to record the

4 z7 e: L1 l# N+ e

development of their own discipline

+ t& T4 e2 B) N

26.According to the passage, random failures in

& S9 N; |1 {9 Y7 l& ^& O

automatic control systems are "not merely trivial

aberrations" (lines53) because

) J/ `+ x, G7 y3 P" \ e

(A) automatic control systems are designed by

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engineers who have little practical experience

, d, n7 g* `- ]3 f

in the field

' B0 \; g% c' m2 s4 e& r

(B) the failures are characteristic of systems

: i9 _8 C$ G; C8 H

, |4 X( a B. r0 S" y' C( G% b& i

concepts in mathematics

5 u: H0 ^( W0 E

(D) designers of automatic control systems have too

/ e1 F3 o: n z/ R

little training in the analysis of mechanical

& t0 z/ |- _! W+ P/ t

difficulties

, j5 S3 K; t3 ~' @# p8 X

(E) designers of automatic control systems need

more help from scientists who have a better

) Y' k u& k: ]8 S g

understanding of the analytical problems to be

solved before such systems can work efficiently

$ q0 }8 G2 l* ]5 q( Y

27.The author uses the example of the early models of

high-speed railroad cars primarily to

(A) weaken the argument that modern engineering

Y" |% S& n0 y1 f) o+ l! I- I2 q

systems have major defects because of an

6 J7 Y, [4 T0 W, [/ f/ h

absence of design courses in engineering

curricula

(B) support the thesis that the number of errors in

modern engineering systems is likely to

increase

: m( K: g+ W5 e0 x0 ]

most effective means for reducing the cost of

designing engineering systems

. x% {! u& F& t( A) I1 V$ q2 w4 f

(D) support the contention that a lack of attention to

. x/ N0 {, j# U* n$ e5 Y: {

the nonscientific aspects of design results in

poor conceptualization by engineers

(E) weaken the proposition that mathematics is a

6 Q, X$ g0 H3 P/ S" `$ @

necessary part of the study of design

w. B% j" M, [4 C

9 S4 |0 \7 a# C4 _6 k7 g1 ]( I. p

28.IGNITE:

; c& @7 K6 w7 Z1 E, E+ k1 v

(A) amplify

, x2 O; Y& E8 }& m% W

(B) douse

# v" c) u" U( l3 h, X

(D) blemish

# O1 _' D( v/ ~/ @! I6 I

(E) replicate

29.MUTATE:

(A) recede

, ], l: D/ \8 U, V6 g

(B) grow larger

(D) remain the same

3 E) e/ Z2 B; Q7 h- ^' E

(E) decrease in speed

30.FRAGMENT:

. b0 k4 J( A. v, ^9 J2 D* x5 V& J( e

(A) ensue

(B) revive

0 ? |9 M) z* Q0 C2 V; [

! @9 d" I; R2 }/ @( q8 T: J

(D) balance

- b/ H0 z8 g' F3 \" a: [' m" Z

(E) accommodate

31.OSTENSIBLE:

(A) gargantuan

(B) inauspicious

2 e% O, F) x+ s' s

(D) perpetual

(E) inapparent

* F) \7 s$ b' ?6 }) v6 O: b; W2 |7 n

% Y5 U! {7 ?5 c& ^1 r; k% T; X

32.PROLIXITY:

2 S' ]9 { `0 |9 Q

(A) ceremoniousness

& V3 ]. G% O) |+ l/ P( S/ B/ C8 J, e

(B) flamboyance

9 E9 ?: A. m# c6 ], a* {) n

(D) inventiveness

5 G4 x. [3 l7 i+ r

(E) lamentation

1 m; }+ v% E' m5 u

33.CONCERTED:

* H* r" o& T6 s3 l. Y' j5 ^% i

(A) meant to obstruct

(B) not intended to last

. U, X; Z, G! f4 D

(D) run by volunteers

(E) individually devised

/ _. z: @% f, B

( l. d e: [0 y- P/ S* u: m

34.FORBEARANCE:

, F* d) p+ t9 H1 A% V9 Q. Y4 ?

(A) fragility

2 p+ |2 I& l2 h4 h. z

(B) impatience

(D) nervousness

% U9 H& | p% B$ P

(E) tactlessness

35.COSSETED:

% Q* @7 m- A" ^% E

(A) unspoiled

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(B) irrepressible

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(D) prone to change

(E) free from prejudice

36.PROBITY:

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(A) timidity

(B) sagacity

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( ~/ {4 h+ F9 l( u& e& V7 n3 x

(D) uncertainty

(E) unscrupulousness

37.ESCHEW:

: B7 j" ^) c9 Q+ @7 V- l' M8 \

(A) habitually indulge in

# i- |; y* Y) _$ _( Q; `4 y

(B) take without authorization

(D) boast about

3 S+ m, F7 B2 x: A4 U/ ?6 q" F# y' E

(E) handle carefully

38.REDOUBTABLE:

(A) trustworthy

& C9 \$ l: m% B1 X g

(B) unschooled

! h' c9 k2 [) @, x) e6 e: i

(D) not formidable

(E) not certain

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5 h, r' [+ \6 ?

5 Y2 O5 {$ N% S+ l0 i6 t9 ^7 H% {: ?. N
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本帖最后由 Bela1229 于 2010-5-23 00:17 编辑 ( v9 T; A" d) z
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SECTION 4

Time –30 minutes

( Y d3 p' Z3 w7 K- k) @

38 Questions

5 w) \; c& Z0 b2 N9 Z N! y/ }

2 h X0 m/ E8 n/ ?3 t1 f4 j m Q

1. Since most if not all learning occurs through----,

# a7 N/ l, J6 R7 u1 W

relating one observation to another, it would be

strange indeed if the study of other cultures did not

also illuminate the study of our own.

(A) assumptions

(B) experiments

(D) repetitions

1 P. Z. a! W& q1 C& M$ k3 A

(E) impressions

2. The new ---- of knowledge has created ----

people: everyone believes that his or her subject

* C( {0 F% @$ q- k% l

cannot and possibly should not be understood by

others.

+ A8 B% g1 b7 L+ r5 y" i

(A) specialization.. barriers between

% R& b, o$ N5 T9 Z9 l4 U

(B) decline.. associations among

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(D) disrepute.. concern for

3 k8 V( N6 I6 I0 k

(E) promulgation.. ignorance among

8 b7 ]: b/ w+ L' `3 h

3. If a species of parasite is to survive, the host organ-

8 S, E4 R' t2 C# [; s6 p

isms must live long enough for the parasite to

: z1 l' q: a! s' B4 `8 c8 F, t* y

---- ; if the host species becomes----, so do its

0 _) x9 ~* X& {9 ^" x

parasites.

) [" a+ M7 t) T) E

(A) atrophy.. healthy

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(B) reproduce.. extinct

! z9 V& h& U7 b) t% F$ O8 v

(D) succumb.. nonviable

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(E) mate.. infertile

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4. The author argues for serious treatment of such arts

1 S5 \ l" x; s( g

as crochet and needlework, finding in too many art

7 `% E* F! Y8 @# h+ \) B

historians a cultural blindness --- to their ----

' n. z8 D9 A3 E! K

textiles as a medium in which women artists pre-

dominate.

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(A) traceable.. prejudice against

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(B) opposed.. distrust of

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(D) reduced.. respect for

(E) corresponding.. expertise in

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5. Those who fear the influence of television deliberately

+ Q1 [/ M0 j3 m* v

------ its persuasive power, hoping that they

1 g3 U+ Z( O* z: R

might keep knowledge of its potential to effect social

change from being widely disseminated.

! x. y0 Y' y4 @" r

(A) promote

(B) underplay

(D) laud

; b. o& x" v/ _

(E) suspect

! W. Q6 i) J3 ?% I; M7 l

2 \* V1 @# X. t6 X3 w! V. r

6. Because the high seriousness of their narratives

* `+ U- x. j6 s! X! Z$ x

resulted in part from their metaphysics, Southern

9 P. E, T6 A A2 U( @6 r( A1 M

writers were praised for their ---- bent.

(A) technical

(B) discursive

(D) philosophical

: d9 n: H! n) y8 A

(E) scientific

1 E$ s& w/ r v6 c2 l. h6 }

' j: n" m" z6 g+ q+ d

7. Far from being ----, Pat was always ---- to

appear acquiescent.

& x2 g" b' S6 h% D

(A) unctuous.. loath

(B) brazen.. reluctant

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(D) obsequious.. eager

% R6 ~ _7 f! \: ]0 D

(E) gregarious.. willing

5 g: G8 s; p1 t9 S: l/ t% v

8. CHUCKLE: LAUGHING::

(A) uproar: shouting

7 A: \/ g6 ~& P5 V& Z: X' V" Z4 d

(B) whisper: speaking

9 j) t4 H# ^, a% |) ~

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(D) lecture: conversing

% |) D$ F; N2 G0 E% S1 |9 U) F5 ]

(E) murmur: mimicking

4 Q4 p7 K: e9 z Y

8 m9 K& j+ \, r

9. PARAGRAPH: ESSAY::

1 a: F" O& |+ @: S

(A) object: verb

8 h3 l* k4 G" H2 k1 q) u

(B) phrase: preposition

(D) clause: sentence

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(E) colloquialism: expression

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10. STUPOR: ALERT::

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(A) rebellion: defiant

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(B) despair: hopeful

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(D) circumspection: careful

(E) ennui: listless

11. PAEAN: JOY::

(A) dirge: grief

(B) oratory: persuasion

1 P/ S- T7 X, t" V; j ^7 m

(D) chant: choir

(E) lecture: instruction

' V0 `. l$ e: i( L% r) v2 X

12. RENEGADE: ALLEGIANCE::

/ o7 q' s% b5 d! _8 M! R1 t% Y3 U; X

(A) revolutionary: reform

(B) aesthete: discernment

* x8 v2 O0 @$ b( n' f

(D) politician: challenge

2 O& {* M: E: g6 b2 H& \# h

(E) criminal: imprisonment

* U$ f' w5 j3 p& h8 K: e1 |9 U

13. DEVOTED: ZEALOUS::

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(A) affectionate: demonstrative

(B) animated: lively

(D) objective: indifferent

1 `8 u: s6 o5 K9 n3 m* W

(E) careful: fastidious

14. VESTIGE: REMAINDER::

. q+ Z+ O- o9 n- Q

(A) figurine: statue

(B) knife: cutlery

6 l6 Z- }' `9 K* f3 J

(D) angle: slope

, r) ?( [( L' P# \

(E) inventory: goods

4 O$ u w3 Z8 D0 s d2 Q# c# W9 }+ @7 Y

2 `7 |; d @( s* G( A" n7 f. D: \

15. EPHEMERAL: ENDURE::

(A) insensitive: cooperate

(B) infirm: react

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(D) inelastic: stretch

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(E) inflammable: ignite

% t4 m* W! n1 e6 y. `7 Y

16. MISDEMEANOR: CRIME::

(A) interview: conversation

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(B) lapse: error

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(D) rebuke: criticism

(E) vendetta: feud

" i& K2 i) [" C7 {# E7 K
6 z1 ]- g7 ]# ~/ t3 b3 R3 P4 R5 M( K; }
One explanation for the tendency of animals to be

more vigilant in smaller groups than in larger ones

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assumes that the vigilant behavior—looking up, for

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example—is aimed at predators. If individuals on the

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(5) edge of a group are more vigilant because they are at

7 K6 @4 y- Z( {9 {

greater risk of being captured, then individuals on aver-

4 P# K- ~# `9 n' M0 x5 _

age would have to be more vigilant in smaller groups,

because the animals on the periphery of a group form a

greater proportion of the whole group as the size of the

(10)group diminishes.

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However, a different explanation is necessary in cases

where the vigilant behavior is not directed at predators.

% u, ]1 A: k" a5 g( `& d" K" `4 f

J. Krebs has discovered that great blue herons look up

more often when in smaller flocks than when in larger

(15)ones, solely as a consequence of poor feeding conditions.

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Krebs hypothesizes that the herons in smaller flocks are

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watching for herons that they might follow to better

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feeding pools, which usually attract larger numbers of

the birds.

17.It can be inferred from the passage that in species

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which vigilant behavior is directed at predators, the

tendency of the animals to be more vigilant in

smaller groups than in larger ones would most likely

be minimized if which of the following were true?

Q* o2 l! K; x7 K O7 _

(A) The vigilance of animals on the periphery of a

group always exceeded that of animals located

" ^6 _+ V& W9 \* i% t

in its interior, even when predators were not

in the area.

(B) The risk of capture for individuals in a group

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was the same, whether they were located in

4 t# z) V& I4 ^( O- ?: J

the interior of the group or on its periphery.

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be less capable of defending themselves from

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attack by predators than animals located in the

interior of the group.

(D) Animals on the periphery of a group tended to

bear marks that were more distinctive to

predators than animals located in the interior

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of the group.

(E) Animals on the periphery of a group tended to

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have shorter life spans than animals located in

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the interior of the group.

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18.Which of the following best describes the

relationship of the second paragraph to the first?

(A)The second paragraph relies on different

evidence in drawing a conclusion similar to

that expressed in the first paragraph.

(B)The second paragraph provides further

elaboration on why an assertion made at the

$ i+ n+ @7 L* T4 O4 d* l

end of the first paragraph proves to be true in

e) v2 `4 o6 `9 o$ p- ?% I

most cases.

(C)The second paragraph provides additional

information in support of a hypothesis stated

in the first paragraph.

) G* G8 O+ v+ u" Q4 F+ E4 _. q

(D)The second paragraph provides an example of a

case in which the assumption described in the

first paragraph is unwarranted.

(E) The second paragraph describes a phenomenon

that has the same cause as the phenomenon

/ {3 B) N2 L: `: u( }! Z+ e! h

described in the first paragraph.

, h' l! e. o5 p& M! M' q

19.It can be inferred from the passage that the author

) f8 K% d4 l/ E+ w

of the passage would be most likely to agree with

which of the following assertions about vigilant

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behavior?

(A) The larger the group of animals, the higher the

probability that individuals in the interior of

. K% H3 ^/ C! J1 |

the group will exhibit vigilant behavior.

(B) Vigilant behavior exhibited by individuals in

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small groups is more effective at warding off

predators than the same behavior exhibited by

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individuals in larger groups.

that are preyed upon by many different

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predators than in species that are preyed upon

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by relatively few of them.

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(D) The term "vigilant," when used in reference to

the behavior of animals, does not refer

exclusively to behavior aimed at avoiding

predators.

, {- I2 t6 O6 [" F

(E) The term "vigilant, " when used in reference to

* U9 Q, l8 q5 X3 g9 v) i

the behavior of animals, usually refers to

behavior exhibited by large groups of animals.

( I/ O- @# u8 g! w7 z( ~' A# o2 ^+ C

. ^/ C/ ^1 Z( k- V2 l

20.The passage provides information in support of

which of the following assertions?

(A) The avoidance of predators is more important to

an animal's survival than is the quest for food.

! Z# R- c2 q) U3 A/ r% }" M

(B) Vigilant behavior aimed at predators is seldom

1 ]- i" I" R% u' \& ~ D/ o

more beneficial to groups of animals than to

individual animals.

different strategies for dealing with predators.

3 p2 g0 x/ e3 i. g8 Y% e

(D) The size of a group of animals does not

1 N/ |2 x9 x( p* _

necessarily reflect its success in finding food.

(E) Similar behavior in different species of animals

4 f" u8 l. R$ Q! o$ n

does not necessarily serve the same purpose.

+ w1 g6 B! y! ~7 R* G4 G

" _; M. ?4 }1 }) k: `; g$ VThe earliest controversies about the relationship

between photography and art centered on whether photo-

graphy's fidelity to appearances and dependence on a

machine allowed it to be a fine art as distinct from

8 f7 j! Q$ D2 z) k

(5) merely a practical art. Throughout the nineteenth century,

! Y9 r h4 w) d- c& Q

the defense of photography was identical with the strug-

8 W0 _; m4 e5 n' @; L% q( j

gle to establish it as a fine art. Against the charge that

photography was a soulless, mechanical copying of

real-

9 V" ~6 T! ^6 {% j
ity, photographers asserted that it was instead a privileged

(10)way of seeing, a revolt against commonplace vision, and

no less worthy an art than painting.

) ~% ~( A3 B) k3 h

( x' Z. G2 @2 O! o/ l# z3 h, J, Z
3 R( d6 m4 D" j$ c- E
# e" x- y$ F0 G- @, V8 o5 k7 X! z
Ironically, now that photography is securely established

* z6 O- ^- U9 T3 |

as a fine art, many photographers find it pretentious or

irrelevant to label it as such. Serious photographers vari-

9 {; v& u) a* w# e, q' e ~

(15)ously claim to be finding, recording, impartially observ-

ing, witnessing events, exploring themselves—anything

: ^6 ^+ ^% @8 M( Z

but making works of art. In the nineteenth century,

" U }# l$ M2 d& D- {- T9 D2 T

photography's association with the real world placed it

in an ambivalent relation to art; late in the twentieth

8 @" D4 D! G4 q8 m

(20)century, an ambivalent relation exists because of the

9 ~1 X% k7 z: y* ^$ P& h

Modernist heritage in art. That important photographers

3 V7 K. w( q0 C: Q' d4 l6 S# Z0 `

are no longer willing to debate whether photography is

6 ?6 D+ ^8 {% U+ _" l$ r

or is not a fine art, except to proclaim that their own

work is not involved with art, shows the extent to which

" B! q5 ?6 S0 e; n* U

(25)they simply take for granted the concept of art imposed

by the triumph of Modernism: the better the art, the

) V4 L6 g0 ^! z$ O2 m7 A

more subversive it is of the traditional aims of art.

. k& @+ \- z2 G% Z F5 @$ `

. F/ \! \8 `! ~6 _2 ]) U; ?Photographers' disclaimers of any interest in making

- f4 B4 D7 Y8 E" L" }5 I! e

art tell us more about the harried status of the contempo-

(30)rary notion of art than about whether photography is or

1 }# A" \/ u3 Q, t( b, [8 A

is not art. For example, those photographers who suppose

that, by taking pictures, they are getting away from the

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pretensions of art as exemplified by painting

remind us

7 T+ X }* P) d; M3 f: A

of those Abstract Expressionist painters who imagined

7 ?, g: d# J) y% B9 S8 S

(35)they were getting away from the intellectual austerity of

- i; f% B& U2 @5 |- w; { h

classical Modernist painting by concentrating on the

physical act of painting. Much of photography's prestige

today derives from the convergence of its aims with those

of recent art, particularly with the dismissal of abstract

(40)art implicit in the phenomenon of Pop painting during

the 1960's. Appreciating photographs is a relief to sensi-

bilities tired of the mental exertions demanded by

. v$ i( ?5 q3 p% |

abstract art. Classical Modernist painting—that is,

: q4 z3 q9 }& }3 \0 @

abstract art as developed in different ways by Picasso,

$ y6 V& F+ r8 h0 K

(45)Kandinsky, and Matisse—presupposes highly developed

skills of looking and a familiarity with other paintings

and the history of art. Photography, like Pop painting,

5 M. B, P! j3 Y' `% q1 `

reassures viewers that art is not hard; photography seems

Z+ G4 ]; \5 c: u2 J2 b+ ]

to be more about its subjects than about art.

(50)! a" z \& D6 E7 ?9 D
Photography, however, has developed all the anxieties

- d2 t% O6 U7 P! C

and self-consciousness of a classic Modernist art. Many

professionals privately have begun to worry that the pro-

motion of photography as an activity subversive of the

traditional pretensions of art has gone so far that the

* ?# I2 k8 a& T

(55)public will forget that photography is a distinctive and

exalted activity—in short, an art.

7 x) b9 b# [) w: i% U% X

21.In the passage, the author is primarily concerned

with

(A) defining the Modernist attitude toward art

(B) explaining how photography emerged as a fine

: K/ S: h$ |! a: v

art after the controversies of the nineteenth

century

; [1 V& Z5 m' b' V% T

1 x9 L7 ^' n" k% T4 b+ J

photographers toward photography as art and

( X/ A! J7 Q5 Y

placing those attitudes in their historical context

$ e8 J8 m+ H8 N9 b& {0 ^ e

(D) defining the various approaches that serious

3 h& [3 P' q0 S* Q8 v" L

contemporary photographers take toward their

/ D/ m& S3 E8 N: s# x

art and assessing the value of each of those

2 `$ ]: t- {* e4 A. r) c

approaches

(E) identifying the ways that recent movements in

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painting and sculpture have influenced the

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techniques employed by serious photographers

6 w @- p3 @5 E7 t, J. j

' ]# f- f' G, W' k3 G ]+ z

22.Which of the following adjectives best describes

“the concept of art imposed by the triumph of

5 o9 X( E9 p: {) c0 w

Modernism” as the author represents it in lines25-27?

* @5 C, v3 S# ?2 i2 I c

(A) Objective

( j+ i- u3 O: _" g1 x

(B) Mechanical

$ e% R5 C1 r" N! y$ `$ a1 T

(D) Dramatic

; [) i! o: X$ v5 [' R! z

(E) Paradoxical

0 x8 m w/ X/ }. v

23. The author introduces Abstract Expressionist

' K9 {8 \+ V0 ?$ [# Y3 M S

painters (lines 34) in order to

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(A) provide an example of artists who, like serious

# A6 x) \- _1 \( g; K1 [

contemporary photographers, disavowed

traditionally accepted aims of modern art

0 p( P, m6 B8 O" J) j% o

(B) call attention to artists whose works often bear

a physical resemblance to the works of

% h! C0 R6 J! G" z

serious

contemporary photographers

. Y5 e8 c7 g" ~% H

: b$ \' a* {4 [$ D; C$ ^

Expressionist painters and classical Modernist

. y% V8 @5 a4 ~

painters

1 F& D$ \+ ]; \$ Y! P: K; ~

(D) provide a contrast to Pop artists and others who

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created works that exemplify the Modernist

; O4 g4 p7 D' J1 g

heritage in art

(E) provide an explanation of why serious photog-

raphy, like other contemporary visual forms,

is not and should not pretend to be an art

0 E# D9 I& A- T; u: ~

8 D4 h9 h0 V+ h: ~; b: L7 |2 m2 O- A

24.According to the author, the nineteenth--century

1 p- @' f1 @. o9 u5 f% W

defenders of photography mentioned in the passage

stressed that photography was

/ J. a, Y& T9 W% k

(A) a means of making people familiar with remote

locales and unfamiliar things

(B) a technologically advanced activity

2 t( T' Q+ [% k/ E

(D) an art comparable to painting

(E) an art that would eventually replace the

traditional arts

+ Q% A9 U& y7 d; z! c/ Y: h

25.According to the passage, which of the following

best explains the reaction of serious contemporary

photographers to the question of whether photogra-

% p9 a# j4 n8 [7 n' i

phy is an art?

(A)The photographers' belief that their reliance on

an impersonal machine to produce their art

requires the surrender of the authority of their

personal vision

(B)The photographers' fear that serious

photography

& o8 @4 T) x6 L0 ?/ r* W+ v

may not be accepted as an art by the contem-

porary art public

7 A, j2 F7 ?2 ~3 t! s: F

(C)The influence of Abstract Expressionist painting

0 s8 c- m7 t1 O9 C

and Pop Art on the subject matter of the mod-

. V6 F! ?- W$ b4 l, S

ern photograph

' j8 X: F7 j' d) b3 s/ P

(D)The photographers' belief that the best art is

& f) X( R3 w$ r& S5 N3 [: j

subversive of art as it has previously been

9 O3 F- R2 d; D) U3 @

defined

6 u% j9 V$ [9 |; R c+ n4 n! E$ P

(E)The notorious difficulty of defining art in its

8 o+ C: B7 y& ]* w9 P

relation to realistic representation

0 v: H, m0 n8 `' Z& Z

26.According to the passage, certain serious contempo-

- T/ n5 u4 g& r

rary photographers expressly make which of the

following claims about their photographs?

. h6 ^ f% x5 r0 Q- D

(A)Their photographs could be created by almost

+ `" u: Q! V) ? A. z: O# ?$ D' r5 \

anyone who had a camera and the time to

, k( E g# p% W2 L

devote to the activity.

1 }# Q9 R1 v+ @3 ?+ z! x. v

(B)Their photographs are not examples of art but

: }: p3 p% K7 W5 \& b

are examples of the photographers' impartial

+ t. Y4 K6 x! F' n$ `

observation of the world.

(C)Their photographs are important because of

( u' L0 D: y" o

their subjects but not because of the responses

they evoke in viewers.

5 D: \% N; s0 I" V0 |4 k

(D)Their photographs exhibit the same ageless

4 R2 [* r6 g* x: U2 {8 w

principles of form and shading that have been

used in painting.

(E) Their photographs represent a conscious glori-

fication of the mechanical aspects of twentieth-

century life.

27.It can be inferred from the passage that the

author

most probably considers serious contemporary

photography to be a

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(A) contemporary art that is struggling to be

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accepted as fine art

(B) craft requiring sensitivity but by no means

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an art

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(D) modern art that displays the Modernist tendency

to try to subvert the prevailing aims of art

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(E) modern art that displays the tendency of all

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Modernist art to become increasingly formal

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and abstract

28.PREOCCUPATION:

(A) finality

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(B) innocence

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(D) unconcern

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(E) tolerance

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29.CHROMATIC:

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(A) opaque

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(B) colorless

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(D) profound

(E) diffuse

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30.PEDESTRIAN:

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(A) widely known

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(B) strongly motivated

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(D) uncommon

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(E) productive

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31.EQUIVOCATE:

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(A) communicate straightforwardly

(B) articulate persuasively

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(D) study painstakingly

(E) reproach sternly

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32.DENUDE:

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(A) crowd out

(B) skim over

(D) cover

(E) sustain

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33.RANCOR:

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(A) deference

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(B) optimism

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(D) superiority

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(E) goodwill

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34. OSSIFIED:

(A) vulnerable to destruction

(B) subject to illusion

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(D) capable of repetition

(E) amenable to change

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35. CONTROVERT:

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(A) substantiate

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(B) transform

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(D) simplify

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(E) differentiate

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36. PROTRACT:

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(A) thrust

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(B) reverse

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(D) disperse

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(E) forestall

37. ABRADE:

(A) unfasten

(B) prolong

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(D) extinguish

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(E) transmit

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38.APOLOGIST:

(A) egotist

(B) wrongdoer

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(D) detractor

(E) spendthrift

Try not be a minnow be a shark

“无老师托福私塾”——因为专注，所以专业！

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Bela1229(肥兔子)

GO HAWKS

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板凳

发表于 2010-5-23 00:18 | 只看该作者

本帖最后由 Bela1229 于 2010-5-23 00:21 编辑

------------------------1006G第一辑_9504_答案篇------------------------
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SEC1: CEEDA DECED BEECB C(EACD BAEAE BD)BDC ECEBA EAD ) y. Z2 \+ S/ D4 q' w% c! t( \7 L
SEC2: CABAB DABDB ACEAD B(BDDE CEADD BD)DBD ADEEA CCD
SEC3: BBDCA BAAAC DBDBC DACEC CDEBD ACAEA 5 T2 ^/ |- T2 I7 @- K
SEC5: CACCD DBCBA CDCAD DDDBD AECEE DABBE

Try not be a minnow be a shark

“无老师托福私塾”——因为专注，所以专业！

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tracywlz(水水)

Man Is In The Forest