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2 w  A& M( {- w  [6 ~                                                                    Address: 西安长安大学

JustinJPMUID：2224990

作为诚意，免费提供第一套SAT ONLINE COURSE真题。
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JustinJPMUID：2224990

只能粘贴一部分了。     请相信我的诚意。      价格十分低。

SECTION 2
) P% g, y  I; U! cTime — 25 minutes
- C3 ]& l5 h9 v# j) v% N24 Questions
Turn to Section 2 (page 4) of your answer sheet to answer the questions in this section.
Directions: For each question in this section, select the best answer from among the choices given and fill in the corresponding
circle on the answer sheet.
: }+ g1 \0 j  a/ m8 i  LEach sentence below has one or two blanks, each blank
1 m. H* W& {8 W3 d0 Findicating that something has been omitted. Beneath
the sentence are five words or sets of words labeled A
through E. Choose the word or set of words that, when
+ o3 P# S2 c6 i3 g( S3 Cinserted in the sentence, best fits the meaning of the
; F- B' [+ A3 f9 m/ [sentence as a whole.
- }+ t' c; f# M; K! X' [) H& XExample:
5 P$ P# g5 o8 N* {: Z, bHoping to ------- the dispute, negotiators proposed
+ L, _7 W& l4 H  I0 Na compromise that they felt would be ------- to both
labor and management.
8 @4 {, l/ H4 L6 q# f8 j" ?3 c8 l. b(A) enforce . . useful
(B) end . . divisive
# J( i( p# U6 E0 V7 A5 O6 y(C) overcome . . unattractive
(D) extend . . satisfactory
* _% l& Z$ w0 q4 O(E) resolve . . acceptable
1. Despite ------- on taking rare tamarins from their
7 d0 u2 W. \$ l# t8 ohabitat, the illegal trade in the tiny monkeys
/ c* f) _' p, |" N# C" gremains -------.
$ N! k0 [3 }8 C; A  K5 ^(A) commendations . . obligatory
' L( o& g" n+ r4 _(B) consultations . . predominant
(C) restrictions . . local
; V6 P* K9 ~, C; I(D) penalties . . illicit
(E) prohibitions . . active
2. Representing a round world on a flat surface is impossible
without some -------: the Mercator projection
+ ?1 h% A) n9 m& N2 g& @# Hmap shows Greenland as over ten times larger than
: K1 p" }( I# d9 Y- kMexico, a country in fact only slightly smaller than
# @- q# C0 {% T0 N' YGreenland.
2 k1 K# k8 K* s! N7 x* @(A) oversight (B) simplification
(C) distortion (D) sophistication
(E) superficiality
8 l' w6 @- F& j3. The highly publicized redesign of the car is essentially
; b* K. Q) Y$ i- s5 C. t. d-------: the exterior has been updated, but the engine
) q' H- V) q" g+ h" Dremains unchanged.
(A) intuitive (B) cosmetic (C) incoherent
1 u/ H- D( Z& X(D) consequential (E) retroactive
4. Many of our memories are -------, escaping our consciousness
* T! F5 \. y" ]2 Rjust as we strain to recall a face or a name.
: r/ ?( b7 S" ^$ }1 w; Q/ @7 w5 K(A) elusive (B) pervasive (C) unvaried
(D) insensitive (E) impractical
% J# _7 h( y, y' L, b2 q! |; M9 ]4 o5. Although Caroline Gordon was rigorously objective
% h- M- x5 J8 o- i/ Vin her journalistic writing, her lively and ------- private
6 N: R: L1 ?' [correspondence ------- a delightful capacity for biting
6 Z- D1 G- J( l4 @: ^) m' Icommentary on the social scene.
(A) incisive . . disguised
5 d  C& Q6 J3 G* ]& o/ w(B) eloquent . . derided
& h' m  N5 ^  D1 p+ o- z(C) dispassionate . . demonstrated
# h: v: e; H7 k. V/ ~: d! _(D) exuberant . . minimized
# h$ y! ~# U4 U: w7 `# R) B(E) entertaining . . exhibited
4 w. w$ A2 n/ U) }6. An effective member of a debating team must focus
: A# X! f! b. E0 g1 C8 _clearly on the ------- issue and avoid ------- arguments.
(A) equivocal . . obstreperous
(B) designated . . pertinent
(C) comprehensive . . general
. u2 i" z  {) @# C  h(D) principal . . peripheral
(E) subtle . . significant
- I/ a: }) N. M# ~7. The ------- with which merchants and landowners in
early-nineteenth-century Maryland and Virginia -------
' D, N* S. j4 O. {Joshua Johnston’s professional services attests to his
! a# _  n9 F/ i& Eartistic skill as a portrait painter.
/ ^8 d# g7 B. r(A) avidness . . sought
(B) diffidence . . purchased
(C) patience . . replaced
" s4 h- T/ C1 V$ _( l9 [. ~(D) elegance . . regarded
6 u9 Y" y* u9 [: {) }& J(E) zealousness . . overlooked
8. The man’s colleagues characterized him as -------
, s+ ~3 ?  E! f8 I! ^because he had an irritable, quarrelsome disposition.
(A) tyrannical (B) disingenuous
$ p$ I, _; A3 L( }6 r  R1 U(C) sanctimonious (D) cantankerous
(E) morose
1 D9 u$ J9 ^' G2 P; f2 x! o" t  EQuestions 9-12 are based on the following passages.
Passage 1 is by Dorothy Sayers; Passage 2 is adapted
. E4 ]. f6 i7 d0 S0 S+ ofrom a work by Raymond Chandler.
Passage 1
The detective story does not and cannot attain the
1 E7 t7 V) ?2 U4 @loftiest level of literary achievement. Though it deals
with the most desperate effects of rage, jealousy, and
4 N. I2 l: H2 q6 S& m" k( @revenge, it rarely touches the heights and depths of
8 u4 B1 B' z1 v5 human passion. It presents us with an accomplished
fact, and looks upon death with a dispassionate eye. It
% ^  K0 J* \! Ydoes not show us the inner workings of the murderer’s
mind—it must not, for the identity of the criminal is
3 z4 I; D( x' l$ Thidden until the end of the book. The most successful
10 writers are those who contrive to keep the story running
from beginning to end upon the same emotional level,
and it is better to err in the direction of too little feeling
+ {  I. x+ w3 }- R; H4 sthan too much.
- j5 V- c8 E, x5 N' _Passage 2
I think what was really gnawing at Dorothy Sayers in
15 her critique of the detective story was the realization that
her kind of detective story was an arid formula unable to
satisfy its own implications. If the story started to be about
2 H. K# T" c3 H5 u$ _' w1 E0 c6 Kreal people, they soon had to do unreal things to conform
to the artificial pattern required by the plot. When they did
2 N( `& c8 n7 A/ _20 unreal things, they ceased to be real themselves. Sayers’
5 C2 N% G/ \  G! ?/ V; eown stories show that she was annoyed by this triteness.
. U9 x( A( f  Y6 ~Yet she would not give her characters their heads and let
them make their own mystery.
, x1 @3 }1 u3 m9. Which best describes the relationship between
the two passages?
(A) Passage 1 explains the evolution of a genre,
while Passage 2 challenges the notion of
8 s& x# E7 C* @  pa distinct genre.
$ z; Y) J/ }2 y8 g3 b(B) Passage 1 discusses the constraints of a genre,
while Passage 2 contends that many of these
# ?3 T3 n* d3 E# x4 D4 S* gconstraints are self-imposed.
(C) Passage 1 celebrates a genre, while Passage 2
2 A- n3 V/ O4 ]: K- q7 N& ]points out its deficiencies.
(D) Passage 1 explains the popularity of a genre,
1 x% }# w2 v. I8 J& K$ A8 Z* mwhile Passage 2 questions its commercial
0 i7 q! f5 ?* e" A' ?success.
8 O. d* G4 G  Q9 Y/ T4 \. U0 a9 _(E) Passage 1 compares a genre unfavorably
* K: }2 [9 W* ]0 J' eto other types of writing, while Passage 2
argues that the genre has unique features.
3 x% e& h  x8 [2 S$ l7 e) M, A* n10. The author of Passage 2 would most likely respond
to the statement in lines 4-5, Passage 1 (“it rarely . . .
passion”), by
' e) G* V; X  s8 O(A) arguing that this approach limits the characters’
# h8 |' H- x& @! N6 Sdevelopment
(B) denying that most writers of detective stories
rely on formulas
- z% H' j* [" Q- f; y0 [- V0 p(C) agreeing that strong emotions are out of place
: m9 X+ |( ?& m' z% N% W7 y$ K, m9 oin detective stories
(D) conceding that great literature is seldom
commercially successful
# m0 P* o9 ^" F2 i% ^3 P1 C(E) concurring that readers are primarily interested
in plot
11. Which of the following characteristics of detective
, R8 ?/ I6 K# ~6 I4 v* G/ vstories presented in Passage 1 would be LEAST
. u3 A& I$ o0 o/ ^) Q* t0 Wlikely to be attributed to the “pattern” mentioned
; H6 {( W# q; F% D) _in line 19, Passage 2 ?
3 h  q8 t5 n0 T* d" t$ f1 ^' p# q(A) “cannot attain the loftiest level of literary
* d* k4 l4 _" I% _5 I' yachievement” (lines 1-2)
(B) “deals with the most desperate effects of
rage, jealousy, and revenge” (lines 2-4)
(C) “presents us with an accomplished fact”
(lines 5-6)
3 i% H+ Q0 Z- Z( U+ s8 Q4 Z, D/ ]% S(D) “looks upon death with a dispassionate eye”
! a$ M0 F' T' ?5 @7 D- l+ ^& n2 P/ ](line 6)
; i' I. N, d9 I, H(E) “does not show us the inner workings of the
2 x/ U/ p7 _- R$ p$ ~1 z9 Imurderer’s mind” (lines 7-8)
12. Passage 1 suggests that Sayers would most likely
respond to lines 17-20, Passage 2 (“If the story started
& p" k& k; B, v6 c, p- x9 |. . . themselves”), by pointing out that
(A) great writers seldom explore the range of human
emotions
(B) detective stories do not address the consequences
of people’s emotions
) N4 V1 `5 g( U) |(C) detective stories are driven by the plot, not by
: ~) Z! l8 f" b7 B; m6 fthe characters
* c! \/ b: l+ k# n' C(D) readers of detective stories prefer unrealistic
& @* U4 r$ j4 G) D. lsituations
7 U" L" v9 t- x$ F5 h5 i3 z(E) real people often act in ways that are unexpected
$ N0 T$ l0 L/ E$ B6 Y" F. r# A; ?/ aLine

JustinJPMUID：2224990

希望各位 踊跃 采购。

qianjun1986UID：2228518

这个SAT ONLINE COURSE 6套真题不是有人发过的吗？

JustinJPMUID：2224990

大家热心点么。