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寄托天下GRE模考活动系列Mock Test 05（1010G第五辑_9704）
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建议模考时间
Q:25min
正常考试时间为每个section30min，但是考虑到模考需要一定时间压力，建议每个section25min，并涂卡
SECTION 1
Time –30 minutes
38 Questions
1. We first became aware that her support for the new
program was less than---- when she declined to
make a speech in its favor.
(A) qualified
(B) haphazard
(C) fleeting
(D) unwarranted
(E) wholehearted
2. When a person suddenly loses consciousness, a
bystander is not expected to ---- the problem but to
attempt to ---- its effects by starting vital functions
if they are absent
(A) cure.. precipitate
(B) minimize.. predict
(C) determine.. detect
(D) diagnose.. counter
(E) magnify.. evaluate
3. The remark was only slightly ----, inviting a
chuckle, perhaps, but certainly not a ----.
(A) audible.. reward
(B) hostile.. shrug
(C) amusing.. rebuke
(D) coherent.. reaction
(E) humorous.. guffaw
4. Doors were closing on our past, and soon the values
we had lived by would become so obsolete that we
would seem to people of the new age as ----as
travelers from an ancient land.
(A) elegant
(B) ambitious
(C) interesting
(D) comfortable
(E) quaint
5. Ability to ---- is the test of the perceptive historian,
a history, after all, consists not only of what the
historian has included, but also, in some sense, of
what has been left out.
(A) defer
(B) select
(C) confer
(D) devise
(E) reflect
6. Some artists immodestly idealize or exaggerate the
significance of their work; yet others, ---- to exalt
the role of the artist, reject a transcendent view of art
(A) appearing
(B) disdaining
(C) seeking
(D) failing
(E) tending
7. Estimating the risks of radiation escaping from a
nuclear power plant is ---- question, but one whose
answer then becomes part of a value-laden,
emotionally charged policy debate about whether to
construct such a plant.
(A) an incomprehensible
(B) an undefined
(C) an irresponsible
(D) a divisive
(E) a technical
8. TREE: FORESTRY::
(A) tractor: agriculture
(B) experiment: laboratory
(C) fuel: combustion
(D) flower: horticulture
(E) generator: electricity
9. COMMAND: REQUEST
(A) presume: inquire
(B) recommend: propose
(C) summon: invite
(D) refuse: rebel
(E) authorize: permit
10. PESTLE: GRIND::
(A) whetstone: sharpen
(B) balloon: float
(C) mill: turn
(D) hinge: fasten
(E) switch: conduct
11. ILLITERACY: EDUCATION
(A) bureaucracy: clarification
(B) oppression: agreement
(C) vagrancy: travel
(D) inequity: redistribution
(E) inclemency: evasion
12. REVERENCE: RESPECT::
(A) resiliency: vitality
(B) appreciation: dependency
(C) avidity: enthusiasm
(D) imagination: creativity
(E) audacity: sentiment
13. APOSTROPHES:WORD
(A) letters: alphabet
(B) verbs: syntax
(C) ellipses: sentence
(D) commas: punctuation
(E) paragraphs: essay
14. EXAGGERATION: CARICATURE::
(A) craft: art
(B) detail: sketch
(C) illusion: story
(D) brevity: epigram
(E) sophistication: farce
15. MALLEABLE: SHAPE
(A) apathetic: emotion
(B) irresolute: opinion
(C) demonstrable: evidence
(D) irredeemable: value
(E) gustatory: taste
16. BOLSTER: SUPPORT::
(A) axis: revolve
(B) spackle: paint
(C) leakage: caulk
(D) heat: insulate
(E) tackle: hoist
Geologists Harris and Gass hypothesized that the Red
Sea rift developed along the line of a suture (a splice in the
Earth's crust) formed during the late Proterozoic era, and
that significant observable differences in the composition of
(5)the upper layers of rocks deposited on either side of the
suture give clues to the different natures of the underlying
igneous rocks.
Other geologists argued that neither the upper rock layer
nor the underlying igneous rocks on the one side of the rift
(10)differ fundamentally from the corresponding layers on the
other side. These geologists believe, therefore, that there is
inadequate evidence to conclude that a suture underlies the
rift.
In response, Harris and Gass asserted that the upper rock
(15)layers on the two sides of the rift had not been shown to be
of similar age, structure, or geochemical content. Further-
more, they cited new evidence that the underlying igneous
rocks on either side of the rift contain significantly different
kinds of rare metals.
17.Part of the Harris and Gass hypothesis about the Red
Sea rift would be weakened if it could be demonstrated
that the composition of upper rock layers
(A) cannot cause a suture to develop
(B) has no effect on where a suture will occur
(C) cannot provide information about the nature of
underlying rocks
(D) is similar on the two sides of a rift unless a suture
divides the two sides
(E) is usually different from the composition of
underlying rocks
18.It can be inferred from the passage that the "Other
geologists" (line 8) would be most likely to agree with
which of the following statements?
(A) Similar geological features along both sides of a
possible suture imply the existence of that suture
(B) Sutures can be discovered only where they are not
obscured by superimposed geological features.
(C) The composition of igneous rocks permits pre-
diction of the likelihood of a rift developing
through them.
(D) It is possible to date igneous rocks by carefully
studying the different kinds of rare metals
contained in them and by observing their simi-
larity to the layer of rock that lies above them.
(E) The existence of rock layers on one side of a rift
that are similar in composition to rock layers on
the other side suggests that no suture exists
between the two sides.
19.It can be inferred from the passage that Harris and
Gass have done which of the following?
(A) Drawn detailed diagrams of the Red Sea rift.
(B) Based their conclusions on the way in which
sutures develop in the Earth's crust.
(C) Rejected other geologists objections to their
hypothesis about the Red Sea rift.
(D) Suggested that the presence of rare metals in
rocks indicates an underlying suture.
(E) Asserted that rifts usually occur along the lines
of sutures
20.According to the passage, Harris and Gass have
mentioned all of the following properties of rocks
along the Red Sea rift EXCEPT
(A) age of the upper layers of rock
(B) structure of the upper layers of rocks
(C) geochemical content of the upper layers of rocks
(D) metallic content of the underlying igneous rocks
(E) age of the underlying igneous rocks
Proponents of different jazz styles have always argued
that their predecessors, musical style did not include
essential characteristics that define jazz as jazz. Thus,
1940's swing was belittled by beboppers of the 1950's,
(5)who were themselves attacked by free jazzers of the
1960's. The neoboppers of the 1980's and 1990's attacked
almost everybody else. The titanic figure of Black saxo-
phonist John Coltrane has complicated the arguments made
by proponents of styles from bebop through neobop
(10)because in his own musical journey he drew from all those
styles. His influence on all types of jazz was immeasurable.
At the height of his popularity, Coltrane largely abandoned
playing bebop, the style that had brought him fame, to
explore the outer reaches of jazz.
(15)
Coltrane himself probably believed that the only essential
characteristic of jazz was improvisation, the one constant
in his journey from bebop to open-ended improvisations on
modal, Indian, and African melodies. On the other hand,
this dogged student and prodigious technician—who
(20)insisted on spending hours each day practicing scales from
theory books-was never able to jettison completely the
influence of bebop, with its fast and elaborate chains of
notes and ornaments on melody.
Two stylistic characteristics shaped the way Coltrane
(25)played the tenor saxophone, he favored playing fast runs
of notes built on a melody and depended on heavy, regu-
larly accented beats. The first led Coltrane to "sheets of
sound." where he raced faster and faster, pile-driving notes
into each other to suggest stacked harmonies. The second
(30)meant that his sense of rhythm was almost as close to rock
as to bebop.
Three recordings illustrate Coltrane's energizing explor-
ations. Recording Kind of Blue with Miles Davis, Coltrane
found himself outside bop, exploring modal melodies. Here
(35)he played surging, lengthy solos built largely around
repeated motifs-an organizing principle unlike that of
free jazz saxophone player Ornette Coleman, who modu-
lated or altered melodies in his solos. On Giant Steps,
Coltrane debuted as leader, introducing his own composi-
(40)tions. Here the sheets of sound, downbeat accents, repe-
titions, and great speed are part of each solo, and the
variety of the shapes of his phrases is unique. Coltrane's
searching explorations produced solid achievement. My
Favorite Things was another kind of watershed. Here
(45)Coltrane played the soprano saxophone, an instrument
seldom used by jazz musicians. Musically, the results were
astounding. With the soprano's piping sound, ideas that had
sounded dark and brooding acquired a feeling of giddy
fantasy.
(50)
When Coltrane began recording for the Impulse! label,
he was still searching. His music became raucous, physical.
His influence on rockers was enormous, including Jimi
Hendrix, the rock guitarist, who following Coltrane, raised
the extended guitar solo using repeated motifs to a kind of
rock art form.
21.The primary purpose of the passage is to
(A) discuss the place of Coltrane in the world of jazz
and describe his musical explorations
(B) examine the nature of bebop and contrast it with
improvisational jazz
(C) analyze the musical sources of Coltrane's style
and their influence on his work
(D) acknowledge the influence of Coltrane's music on
rock music and rock musicians
(E) discuss the arguments that divide the proponents
of different jazz styles
22.The author implies that which of the following would
have been an effect of Coltrane's having chosen
to play the tenor rather than the soprano saxophone on
My Favorite Things?
(A) The tone of the recording would have been more
somber.
(B) The influence of bebop on the recording would
have been more obvious
(C) The music on the recording would have sounded
less raucous and physical
(D) His influence on rock music might have been less
pervasive.
(E) The style of the recording would have been
indistinguishable from that on Kind of Blue
23.Which of the following best describes the organization
of the fourth paragraph?
(A) A thesis referred to earlier in the passage is
mentioned and illustrated with three specific
examples
(B) A thesis is stated and three examples are given
each suggesting that a correction needs to be
made to a thesis referred to earlier in the
passage
(C) A thesis referred to earlier in the passage is
mentioned, and three examples are presented and
ranked in order of their support of the thesis.
(D) A thesis is stated, three seemingly opposing
examples are presented, and their underlying
correspondence is explained
(E) A thesis is stated, three dissimilar examples are
considered, and the thesis is restated.
24.According to the passage, John Coltrane did all of the
following during his career EXCEPT
(A) improvise on melodies from a number of different
cultures
(B) perform as leader as well as soloist
(C) spend time improving his technical skills
(D) experiment with the sounds of various instruments
(E) eliminate the influence of bebop on his own music
25.The author mentions the work of Ornette Coleman in
the fourth paragraph in order to do which of the following?
(A) Expand the discussion by mentioning the work of
a saxophone player who played in Coltrane's
style.
(B) Compare Coltrane's solos with the work of
another jazz artist.
(C) Support the idea that rational organizing principles
need to be applied to artistic work .
(D) Show the increasing intricacy of Coltrane's work
after he abandoned bebop
(E) Indicate disagreement with the way Coltrane
modulated the motifs in his lengthy solos.
26.According to the passage, a major difference between
Coltrane and other jazz musicians was the
(A) degree to which Coltrane's music encompassed
all of jazz
(B) repetition of motifs that Coltrane used in his solos
(C) number of his own compositions that Coltrane
recorded
(D) indifference Coltrane maintained to musical
technique
(E) importance Coltrane placed on rhythm in jazz
27.In terms of its tone and form, the passage can best be
characterized as
(A) dogmatic explanation
(B) indignant denial
(C) enthusiastic praise
(D) speculative study
(E) lukewarm review
28. RECORD
(A) postpone
(B) disperse
(C) delete
(D) delay
(E) devise
29. EMBED
(A) induce
(B) extend
(C) extract
(D) receive
(E) diverge
30. WHOLESOME
(A) deleterious
(B) submissive
(C) provoking
(D) monotonous
(E) rigorous
31. EXTINCTION:
(A) immunity
(B) mutation
(C) inhibition
(D) formulation
(E) perpetuation
32. CURSE:
(A) exoneration
(B) untruth
(C) redress
(D) benediction
(E) separation
33. DECORUM
(A) constant austerity
(B) false humility
(C) impropriety
(D) incompetence
(E) petulance
34. AGGRANDIZE:
(A) misrepresent
(B) disparage
(C) render helpless
(D) take advantage of
(E) shun the company of
35. VIGILANT
(A) reluctant
(B) haphazard
(C) gullible
(D) ignorant
(E) oblivious
36. FASTIDIOUS
(A) coarse
(B) destructive
(C) willing
(D) collective
(E) secret
37. TRACTABLE
(A) indefatigable
(B) incorrigible
(C) insatiable
(D) impractical
(E) impetuous
38. RESCISSION
(A) expansion
(B) enactment
(C) instigation
(D) stimulation
(E) abdication
SECTION 5 Time –30 minutes
38 Questions
1. Because modern scientists find the ancient Greek
view of the cosmos outdated and irrelevant, they
now perceive it as only of --------- interest.
(A) historical
(B) intrinsic
(C) astronomical
(D) experimental
(E) superfluous
2. Religious philosopher that he was. Henry More
derived his conception of an infinite universe from
the Infinite God in whom he believed, a benevolent
God of -------whose nature was to create---------
(A) plenitude ..abundance
(B) vengeance .. justice
(C) indifference .. suffering
(D) indulgence .. temperance
(E) rectitude .. havoc
3. While some argue that imposing tolls on highway
users circumvents the need to raise public taxes
for road maintenance, the phenomenal expense of
maintaining a vast network of roads------reliance
on these general taxes.
(A) avoids
(B) diminishes
(C) necessitates
(D) discourages
(E) ameliorates
4. Although they were not direct------,the new arts of
the Classical period were clearly created in the spirit
of older Roman models and thus------many features
of the older style.
(A) impressions .. introduced
(B) translations .. accentuated
(C) copies .. maintained
(D) masterpieces .. depicted
(E) borrowings .. improvised
5. In spite of the increasing--------of their opinions, the
group knew they had to arrive at a consensus so that
the award could be presented
(A) impartiality
(B) consistency
(C) judiciousness
(D) incisiveness
(E) polarity
6. By forcing our surrender to the authority of the clock
systematic timekeeping has imposed a form of-------
on society.
(A) anarchy
(B) permanence
(C) provincialism
(D) tyranny
(E) autonomy
7. Our high-------vocabulary for street crime contrasts
sharply with our------vocabulary for corporate crime,
a fact that corresponds to the general public's unawar-
eness of the extent of corporate crime.
(A) nuanced ..subtle
(B) uninformative ..misleading
(C) euphemistic ..abstract
(D) differentiated ..limited
(E) technical ..jargon-laden
8. DIVERGE : APART::
(A) traverse : across
(B) suspend : around
(C) reverse : beyond
(D) repose : beside
(E) involve : among
9. ATROCIOUS : BAD::
(A) excessive : adequate
(B) momentous : important
(C) unavailing : helpful
(D) contagious : diseased
(E) nominal : satisfactory
10.PATRONIZE : CONDESCENSION::
(A) exasperate : anger
(B) deride : mockery
(C) compensate : apology
(D) hurry : decision
(E) encroach : fearlessness
11.FANG : TOOTH::
(A) gum : mouth
(B) elbow : arm
(C) bank : river
(D) finger : digit
(E) summit ; mountain
12.ANALGESIC : PAIN::
(A) sedative : sleep
(B) stimulant : mood
(C) antiseptic : odor
(D) anesthetic : sensation
(E) ointment : skin
13.IMPECCABLE : FLAW::
(A) foreseeable : outcome
(B) mundane : substance
(C) dishonorable : blemish
(D) ingenuous : guile
(E) portentous : omen
14.POLEMIC : DISPUTATIOUS::
(A) anachronism : chronological
(B) vernacular : unpretentious
(C) invective : abusive
(D) platitude : insightful
(E) eulogy : unrealistic
15.EMBARRASS : SHAME::
(A) coax : reluctance
(B) sleep : fatigue
(C) doubt : uncertainty
(D) belittle : condescension
(E) console : comfort
16.ETCH : CORROSIVE::
(A) shrink : diminutive
(B) destroy : worthless
(C) glue : adhesive
(D) sculpt : malleable
(E) polish : glossy
A special mucous coating that serves as a chemical
camouflage allows clown fish to live among the deadly
tentacles of the unsuspecting sea anemone . Utterly
dependent on this unlikely host for protection from
(5)predators, clown fish have evolved in isolated commu-
nities, a pattern that has led to unusual behavioral
adaptations.
The rigidly defined hierarchy of each clown-fish
community is dominated by a monogamous breeding pair
(10)consisting of the largest fish, a female, and the next largest
a male, attended by a fixed number of sexually immature
fish ranging in size from large to tiny. A remarkable
adaptation is that the development of these juveniles is
somehow arrested until the hierarchy changes; then they
(15)crow in lockstep, maintaining their relative sizes. While
the community thus economizes on limited space and food
resources, life is risky for newly spawned clown fish. On
hatching, the hundreds of larvae drift off into the plankton.
If, within three weeks, the defenseless larval clown fish
(20)locates a suitable anemone(either by pure chance or per-
haps guided by chemicals secreted by the anemone), it may
survive. However, if an anemone is fully occupied, the
resident clown fish will repel any newcomer.
Though advantageous for established community mem-
(25)bers, the suspended and staggered maturation of juveniles
might seem to pose a danger to the continuity of the
community: there is only one successor for two breeding
fish. Should one of a pair die, the remaining fish cannot
swim off in search of a mate, nor is one likely to arrive. It
(30)would seem inevitable that reproduction must sometimes
have to halt, pending the chance arrival and maturation of a
larval fish of the appropriate sex.
This, however, turns out not to be the case. In experi-
ments, vacancies have been contrived by removing an
(35)established fish from a community. Elimination of the
breeding male triggers the prompt maturation of the largest
juvenile. Each remaining juvenile also grows somewhat,
and a minuscule newcomer drops in from the plankton.
Removal of the female also triggers growth in all
(40)remaining fish and acceptance of a newcomer, but the
female is replaced by the adult male. Within days, the
male's behavior alters and physiological transformation is
complete within a few months. Thus, whichever of the
breeding pair is lost, a relatively large juvenile can fill
(45)the void, and reproduction can resume with a minimal loss
of time. Furthermore, the new mate has already proved its
ability to survive.
This transformation of a male into a female, or pro-
tandrous hermaphroditism, is rare among reef fish. The
(50)more common protogynous hermaphroditism, where
females change into males, does not occur among clown
fish. An intriguing question for further research is whether
a juvenile clown fish can turn directly into a female or
whether it must function first as a male.
17.The passage is primarily concerned with
(A) analyzing the mutually advantageous relationship
between two species
(B) comparing two forms of hermaphroditism among
clown fish
(C) describing and explaining aspects of clown-fish
behavior
(D) outlining proposed research on clown-fish
reproduction
(E) attempting to reconcile inconsistent observations
of clown-fish development
18.It can be inferred from the passage that the clown fish
is able to survive in close association with the sea
anemone because the
(A) sea anemone cannot detect the presence of the
clown fish
(B) tentacles of the sea anemone cannot grasp the
slippery clown fish
(C) sea anemone prefers other prey
(D) clown fish does not actually come within the
range of the sea anemone's tentacles
(E) clown fish has developed tolerance to the sea
anemone's poison
19.According to the passage, adult clown fish would be
at a disadvantage if they were not associated with sea
anemones because the clown fish would.
(A) be incapable of sexual transformation
(B) be vulnerable to predators
(C) have no reliable source of food
(D) have to lay their eggs in the open
(E) face competition from other clown fish
20.It can be inferred from the passage that sex change
would have been less necessary for the clown fish if
(A) the male clown fish were larger than the female
(B) each sea anemone were occupied by several
varieties of clown fish
(C) many mature clown fish of both sexes occupied
each sea anemone
(D) juvenile clown fish had a high mortality rate
(E) both male clown fish and female clown fish were
highly territorial
21.The author mentions all of the following as
characteristic of the "rigidly defined hierarchy"
(line 8) of the clown-fish community EXCEPT:
(A) At any time only one female clown fish can be
reproductively active
(B) The mature clown fish are monogamous
(C) The growth of clown fish is synchronized
(D) The maximum number of clown fish is fixed
(E) There are equal numbers of male juveniles and
female juveniles
22.Which of the following statements about newly hatched
clown fish can be inferred from the passage?
(A) They develop rapidly
(B) They remain close to the sea anemone occupied
by their parents
(C) They are more sensitive to chemical signals than
are adult clown fish.
(D) They are not protected by their parents
(E) They are less vulnerable to predation than are
adult fish.
23.Which of the following, if true, would be LEAST
consistent with the author's explanation of the
advantage of hermaphroditism for clown fish?
(A) The number of individuals in a clown-fish
community fluctuates significantly
(B) Adult clown fish frequently cannibalize their
young
(C) The sea anemone tolerates clown fish only during
a specific stage of the anemone's life cycle.
(D) Juvenile clown fish rarely reach maturity
(E) Clown-fish communities are capable of efficiently
recruiting solitary adult clown fish
Comparing designs in music with visual designs raises
interesting questions. We are familiar with the easy
transfers of terms denoting qualities from one field to
another. The basic problem can be put this way: can music
(5) sound the way a design looks? The elements of music are
not the same as those of painting. They may be analogous,
but to be analogous
is not to be identical. Is it possible,
then, for the same broad characteristics to emerge from
different perceptual conditions?
(10)
Two facts about the relation between broad characteristics
of a work and their perceptual conditions must be kept
distinct. First, the global characteristics of a visual or
auditory complex are determined by the discernible parts
and their relationships. Thus, any notable change in the
(15) parts or their relationships produces a change in some of
the global characteristics. Second, a change in the parts or
their relationships may leave other global characteristics
unchanged.
24.In the first paragraph, the author is primarily concerned
with establishing the fact that
(A) comparisons are not equations
(B) auditory phenomena are not visual phenomena
(C) frequently used comparisons are usually inaccurate
(D) careless perceptions result from careless thought
(E) questions concerning perception are psychological
25.In the passage, the author is primarily concerned with
(A) distinguishing mutually exclusive categories
(B) clarifying an apparent contradiction
(C) supporting new ideas
(D) analyzing a problem
(E) comparing opinions
26.The second paragraph is primarily concerned with
establishing the idea that
(A) different global characteristics of a work result
from the same discernible parts
(B) the parts of a work of art influence the total
perception of the work
(C) visual and auditory characteristics can be
combined
(D) changes in the parts of a work remain isolated
from the work as a whole
(E) the visual complexes in a work of art influence
the work's auditory complexes
27.Which of the following statements is most likely
be a continuation of the passage?
(A) The search for broad similarities thus begins by
understanding and distinguishing these two facts.
(B) The search for musical-visual analogies thus
depends on the complexity of the works being
compared.
(C) The search for music and art of the highest quality
thus depends on very different assumptions
(D) Thus music and painting exist in mutually
exclusive worlds.
(E) Thus music and painting are too complicated to
be evaluated in terms of analogies.
28.COMPRESSION:
(A) increase in volume
(B) change of altitude
(C) loss of stability
(D) absence of matter
(E) lack of motion
29.REFINE:
(A) loosen
(B) obscure
(C) destabilize
(D) decrease size
(E) reduce purity
30.BALK:
(A) extend
(B) derive
(C) observe
(D) plan ahead carefully
(E) move ahead willingly
31.ANTIPATHY:
(A) affection
(B) courtesy
(C) exasperation
(D) obstinacy
(E) cynicism
32.PATHOLOGICAL:
(A) acute
(B) normal
(C) adequate
(D) variable
(E) temporary
33.REIN:
(A) prod
(B) assess
(C) engulf
(D) commend
(E) affirm
34.MELLIFLUOUS:
(A) obtuse
(B) ineffable
(C) raspy
(D) deranged
(E) uproarious
35.IMPUGN:
(A) abandon
(B) anticipate
(C) enable
(D) clarify
(E) endorse
36.PERTINACITY:
(A) liability
(B) simplicity
(C) vacillation
(D) eccentricity
(E) misrepresentation
37.GAINSAY:
(A) speak kindly of
(B) tell the truth about
(C) forecast
(D) affirm
(E) reiterate
38. ABSOLUTE:
(A) inferior
(B) tolerant
(C) qualified
(D) preliminary
(E) immeasurable
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参考答案
SECTION 1.
EDEEB BEDCA DCCDB ECECE AAAEB ACCCA EDCBE ABB
SECTION 5.
AACCE DDABB DDDCE CCABC EDEAD BAAEE ABACE CDC
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