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1.No8 第一套 section3 长（新东方教材p60）
Many literary detectives have pored
over a great puzzle concerning the
writer Marcel Proust: what happened in
1909? How did Contre Saint-Beuve, an
(5) essay attacking the methods of the
critic Saint-Beuve, turn into the start
of the novel Remembrance of Things
Past? A recently published letter from
Proust to the editor Vallette confirms
(10) that Fallois, the editor of the 1954
edition of Contre Saint-Beuve, made an
essentially correct guess about the
relationship of the essay to the novel.
Fallois proposed that Proust had tried
(15) to begin a novel in 1908, abandoned it
for what was to be a long demonstration
of Saint-Beuve's blindness to the real
nature of great writing, found the essay
giving rise to personal memories and
(20) fictional developments, and allowed
these to take over in a steadily
developing novel.
Draft passages in Proust's 1909
notebooks indicate that the transition
(25) from essay to novel began in Contre
Saint-Beuve, when Proust introduced
several examples to show the powerful
influence that involuntary memory
exerts over the creative imagination. In
(30) effect, in trying to demonstrate that
the imagination is more profound and
less submissive to the intellect than
Saint-Beuve assumed, Proust elicited
vital memories of his own and, finding
(35) subtle connections between them, began
to amass the material for Remembrance.
By August, Proust was writing to
Vallette, informing him of his intention to
develop the material as a novel.Maurice
(40) Bardeche, in Marcel Proust, romancier,
has shown the importance in the drafts
of Remembrance of spontaneous and
apparently random associations of
Proust's subconscious. As incidents
(45) and reflections occurred to Proust, he
continually inserted new passages
altering and expanding his narrative.
But he found it difficult to control
the drift of his inspiration. The
(50) very richness and complexity of the
meaningful relationships that kept
presenting and rearranging themselves
on all levels, from abstract intelligence
to profound dreamy feelings, made it
(55) difficult for Proust to set them out
coherently. The beginning of control
came when he saw how to connect the
beginning and the end of his novel.
Intrigued by Proust's claim that he had
(60) "begun and finished" Remembrance at
the same time, Henri Bonne: discovered
that parts of Remembrance's last book
were actually started in 1909. Already
in that year, Proust had drafted
(65) descriptions of his novel's characters
in their old age that would appear in
the final book of Remembrance, where
the permanence of art is set against the
ravages of time. The letter to Vallette,
(70) drafts of the essay and novel, and
Bonnet's researches establish in broad
outline the process by which Proust
generated his novel out of the ruins
of his essay. But those of us who
(75) hoped, with Kolb, that Kolb's newly
published complete edition of Proust's
correspondence for 1909 would docu-
ment the process in greater detail are
disappointed. For until Proust was
(80) confident that he was at last in sight
of a viable structure for Remembrance,
he told few correspondents that he was
producing anything more ambitious than
Contre Saint-Beuve.
21．The passage is primarily concerned
with
(A) the role of involuntary memory in
Proust's writing
(B) evidence concerning the genesis of
Proust's novel Remembrance of Things Past
(C) conflicting scholarly opinions about
the value of studying the drafts of
Remember Things Past
(D) Proust's correspondence and what it
reveals about Remembrance of Things Past
(E) the influence of Saint-Beuve's
criticism on Proust's novel Remembrance
of Things Past
22.It can be inferred from the passage
that all of the following are literary
detectives who have tried, by means of
either scholarship or criticism, to help
solve the "great puzzle" mentioned in
line 2 EXCEPT
(A) Bardeche
(B) Bonnet
(C) Fallois
(D) Kolb
(E) Vallette
23.According to the passage, in drafts of
Contre Saint-Beuve Proust set out to
show that Saint-Beuve made which of
the following mistakes as a critic?
I. Saint-Beuve made no effort to study
the development of a novel through its
drafts and revisions.
II. Saint-Beuve assigned too great a
role in the creative process to a writer's
conscious intellect.
III. Saint-Beuve concentrated too much
on plots and not enough on imagery and
other elements of style.
(A) II only
(B) III only
(C) I and II only
(D) I and III only
(E) I, II, and III
24.Which of the following best states the
author's attitude toward the informa-
tion that scholars have gathered about
Proust's writing in 1909?
(A) The author is disappointed that no
new documents have come to light
since Fallois's speculations.
(B) The author is dissatisfied because
there are too many gaps and
inconsistencies in the drafts.
(C) The author is confident that Fallois's
1954 guess has been proved largely
correct, but regrets that still more detailed
documentation concerning Proust's
transition from the essay to the novel
has not emerged.
(D) The author is satisfied that Fallois's
judgment was largely correct, but feels
that Proust's early work in designing and
writing the novel was probably far more
deliberate than Fallois's description of
the process would suggest.
(E) The author is satisfied that the facts of
Proust's life in 1909 have been thoroughly
established,but believes such documents
as drafts and correspondence are only of
limited value in a critical assessment of
Proust's writing.
25.The author of the passage implies
that which of the following would be
the LEAST useful source of information
about Proust's transition from working
on Contre Saint-Beuve to having a viable
structure for Remembrance of Things Past?
(A) Fallois's comments in the 1954
edition of Contre Saint-Beuve
(B) Proust's 1909 notebooks, including
the drafts of Remembrance of Things Past
(C) Proust's 1909 correspondence, exclusing
the letter to Vallette
(D) Bardeche's Marcel Proust, romancier
(E) Bonnet's researches concerning Proust's
drafts of the final book of Remembrance of
Things Past
26.The passage offers information to
answer which of the following questions?
(A) Precisely when in 1909 did Proust
decide to abandon Contre Saint-Beuve?
(B) Precisely when in 1909 did Proust
decide to connect the beginning and the
end of Remembrance of Things Past?
(C) What was the subject of the novel
that Proust attempted in 1908?
(D) What specific criticisms of Saint-
Beuve appear, in fictional form, in
Remembrance of Things Past?
(E) What is a theme concerning art that
appears in the final book of Remembrance
of Things Past?
27.Which of the following best describes
the relationship between Contre Saint-
Beuve and Remembrance of Things Past
as it is explained in the passage?
(A) Immediately after abandoning Contre
Saint-Beuve, at Vallette's suggestion,
Proust started Remembrance as a
fictional demonstration that Saint-
Beuve was wrong about the imagination.
(B) Immediately after abandoning Contre
Saint-Beuve, at Vallette's suggestion,
Proust turned his attention to
Remembrance, starting with incidents
that had occurred to him while planning
the essay.
(C) Despondent that he could not find a
coherent structure for Contre Saint-
Beuve, an essay about the role of
memory in fiction, Proust began
instead to write Remembrance, a novel
devoted to important early memories.
(D) While developing his argument about
the imagination in Contre Saint-Beuve,
Proust described and began to link
together personal memories that
became a foundation for Remembrance.
(E) While developing his argument about
memory and imagination in Contre Saint-
Beuve, Proust created fictional
characters to embody the abstract
themes in his essay.
许多文学考据家绞尽脑汁地思考着一个涉及马塞尔·普鲁斯特（Marcel Proust）这位作家的一个巨大的不解之谜：1909年究竟发生了什么？《驳圣伯夫》（Contre Saint-Beuve）一文——一篇抨击批评家圣伯夫批评方法的论文——是如何转变成为小说《追忆似水年华》（Remembrance of Things Past）的开端？一封近期出版的由普鲁斯特致编辑瓦莱特（Vallette）的信函证实了法卢瓦（Fallois），这位《驳圣伯夫》1954年版的编辑，就论文与小说之间的关系作出了一种本质上正确的猜测。法卢瓦提出，普鲁斯特曾试图于1908年开始写一部小说，后又因为某一原因——即圣伯夫长期以来所展现出的对伟大文学作品真正本质的盲目无知——而放弃了它，发现该率文引发了某些个回忆和小说虚构情节的发展，最终让这些内容以一部稳定发展的小说这一形式取而代之。
普鲁斯特1909年笔记本中的草稿段落表明，由论文向小说的转折始于《驳圣伯夫》一文，当时，普鲁斯特援引了一些实例用以例证不由自主的记忆对创作想象力所产生的强有力的影响。事实上，为了试图证明想象力要比圣伯夫所假设的来得更为深刻，且并非那么易于屈服于理性，普鲁斯特引发了他自己的至关重要的记忆，发现它们之间不无微妙的联系，便开始为《似水年华》收集材料。至八月，普鲁斯特致函给瓦莱特，告知瓦莱特，他意欲将所收集到的材料扩充成为一部小说。莫里斯· 巴代什（MauriceBardeche）在《马塞尔·普鲁斯特——小说家》（Marcel Proust，romancier）中，证明了在《似水年华》草稿中普鲁斯特的潜意识那些自发的且看若不规则的联结的重要性。随着各种事件和思绪发生在普鲁斯特身上，他连续不断地将新的段落插入进去，改变并扩展其叙事结构。但他发现难以控制其灵感的飘忽不定。各种有意义的联系在所有的层次上，自抽象的理性至深刻的梦幻般的情感，层出不穷并不断重新组合排列；正是这些有意义的联系的丰富性和复杂性，致使普鲁斯特难于将它们错落有致地安排好。只有当他明白如何将其小说的开头和结尾联系起来，才开始有了某种控制感。
普鲁斯特声称，他是在同一时候“开始并结束”了《追忆似水年华》。在这一断言的吸引下，亨利·博内（Henri Bonnet）揭示出，小说最后一卷的某些章节确实始于1909年。早在那一年，普鲁斯特早已草拟好了对那些年近迟暮的人物的描绘，这些人物则会出现在《追忆似水年华》的最后一卷中，而在该卷中，艺术之永恒被用以抗衡时间的蹂躏。致瓦莱特的信函，论文与小说的草稿，以及博内的研究，以一种宽泛的轮廊勾勒出了普鲁斯特的创作过程，揭示出他是如何从其论文的废墟上创作出其小说的。但我们当中的某些人，与科尔布（Kolb）一起，期望科尔布新近出版的普鲁斯特1909年通信全集能够更为详尽地记载这一过程，结果是大失所望。这是因为，只有普鲁斯特信心十足地觉得他已最终为《追忆似水年华》寻找到一个可行的结构之后，他才开始告知与其保持书信往来的人，说他正在创作一部比《驳圣伯夫》更为雄心勃勃的作品。
2．No9 第三套section1短
Simone de Beauvoir's work greatly
influenced Betty Friedan's----indeed,
made it possible. Why, then,was it
Friedan who became the prophet of
(5) women's emancipation in the United
States? Political conditions, as well
as a certain anti-intellectual bias,
prepared Americans and the American
media to better receive Friedan's
(10) deradicalized and highly pragmatic
The Feminine Mystique, published in
1963, than Beauvoir's theoretical
reading of women's situation in The
Second Sex. In 1963 when The Second
(15) Sex first appeared in translation in
the United States, the country had
entered the silent, fearful fortress
of the anticommunist McCarthy years
(1950-1954), and Beauvoir was
(20) suspected of Marxist sympathies.
Even The Nation, a generally liberal
magazine, warned its readers against
"certain political leanings" of the
author. Open acknowledgement of
(25) the existence of women's oppression
was too radical for the United
States in the fifties, and Beauvoir's
conclusion, that change in women's
economic condition, though
(30) insufficient by itself, "remains the
basic factor" in improving women's
situation, was particularly
unacceptable.
24．According to the passage, one
difference between The Feminine
Mystique and The Second Sex is
that Friedan's book
(A) rejects the idea that women
are oppressed
(B) provides a primarily theoretical
analysis of women's lives
(C) does not reflect the political
beliefs of its author
(D) suggests that women's economic
condition has no impact on their
status
(E) concentrates on the practical
aspects of the questions of women's
emancipation
25.The author quotes from The Nation
most probably in order to
(A) modify an earlier assertion
(B) point out a possible exception
to her argument
(C) illustrate her central point
(D) clarify the meaning of a term
(E) cite an expert opinion
26.It can be inferred from the passage
that which of the following is not a
factor in the explanation of why The
Feminine Mystique was received more
positively in the United States than
was The Second Sex?
(A) By 1963 political conditions in
the United States had changed.
(B) Friedan's book was less intellectual
and abstract than Beauvoir's.
(C) Readers did not recognize the
powerful influence of Beauvoir's book
on Friedan's ideas.
(D) Friedan's approach to the issue of
women's emancipation was less radical
than Beauvoir's.
(E) American readers were more willing
to consider the problem of the oppression
of women in the sixties than they had
been in the fifties.
27.According to the passage, Beauvoir's
book asserted that the status of women
(A) is the outcome of political
oppression
(B) is inherently tied to their
economic condition
(C) can be best improved under a
communist government
(D) is a theoretical, rather than
a pragmatic issue
(E) is a critical area of discussion
in Marxist economic theory
西蒙娜·德·博瓦尔（Simone de Beauvoir）的作品对贝蒂·弗里坦（Betty Friedan）
的作品产生了巨大的影响——事实上,使弗里坦的作品得以成为可能。既然如此，成
为美国妇女解放倡导者的为什么却是弗里坦呢？政治条件，以及某种反知识分子的
偏见，使美国民众以及美国传媒作好了准备，更好地接受弗里坦于1963年发表的非
激进化的和高度实用的《女性奥秘》（The Feminine Mystique）一书，而不是博瓦尔
在《第二性》（The Second Sex）中对女性境遇的理论解读。1953年，当《第二性》
以译著的形式首度的美国出现时，整个国家已进入反共产主义平等麦卡锡时代（1950
—1954）沉寂无声、诚惶诚恐的堡垒之中，而博瓦尔则被怀疑信奉马克思主义思想。
即使是《国家》这样一份一般而言较为开明的杂志，也警告其读者要注意《第二性》
一书作者的“某些政治倾向”。公开承认妇女压迫的存在，这对于五十年代的美国来
说过于激进了，而博瓦尔的结论，即妇女经济条件的改变，尽管就其本身而言并不
充分，但依然是改变妇女境况的“基本因素”，这一点尤其无法让人接受。
3．1993 2月section6短
The outpouring of contemporary
American Indian literature in the last two
decades, often called the Native
American Renaissance, represents for
(5) many the first opportunity to
experience Native American poetry. The
appreciation of traditional oral
American Indian literature has been
limited, hampered by poor translations
(10) and by the difficulty, even in the rare
culturally sensitive and aesthetically
satisfying translation, of completely
conveying the original's verse
structure, tone, and syntax.
(15) By writing in English and experimenting
with European literary forms,
contemporary American Indian writers
have broadened, their potential
audience, while clearly retaining many
(20) essential characteristics of their
ancestral oral traditions. For
example, Pulitzer-prize-winning author
N. Scott Momaday's poetry often treats
art and mortality in a manner that
(25) recalls British romantic poetry, while
his poetic response to the power of
natural forces recalls Cherokee oral
literature. In the same way, his
novels, an art form European in origin,
(30) display an eloquence that echoes the
oratorical grandeur of the great
nineteenth- century American Indian
chiefs.
17.According to the passage, Momaday's
poetry shares which of the following
with British romantic poetry?
(A) Verse structure
(B) Oratorical techniques
(C) Manner of treating certain themes
(D) Use of certain syntactical constructions
(E) Patterns of rhythm and rhyme
18.Which of the following is most likely
one of the reasons that the author mentions
the work of N. Scott Momaday?
(A) To illustrate how the author believes
that members of the Native American
Renaissance have broadened their
potential audience
(B) To emphasize the similarities between
Momaday's writings and their European
literary models
(C) To demonstrate the contemporary appeal
of traditional Native American oral
literature
(D) To suggest that contemporary American Indian
writers have sacrificed traditional
values for popular literary success
(E) To imply the continuing popularity of
translations of oral American Indian
literature
19.Which of the following can be inferred
from the passage about written translations
of oral Native American poetry?
(A) They were less widely read than are
the works of contemporary Native American
poets writing in English.
(B) They were often made by writers who
were intimately familiar with both English
and Native American languages.
(C) They often gave their readers aesthetic
satisfaction, despite their inaccuracies.
(D) They usually lacked complex verse
structure.
(E) They were overly dependent on European
literary models.
The passage suggests which of the
following about American Indian poets
before the Native American Renaissance?
(A) Art and mortality were rarely the
subjects of their poetry.
(B) Their oratorical grandeur reached
its peak in the nineteenth century.
(C) They occasionally translated their
own poetry.
(D) They seldom wrote poetry in English.
(E) They emphasized structure, tone, and
syntax rather than literary form.
在过去的二十年中，当代美国印第安文学的大量涌现（常被称作“土著美洲文艺复兴”，Native American Renaissance）对于许多人来说，代表着体验土著美洲诗歌的首次机会。对美国印第安人传统口头文学的欣赏，一直被质量低劣的翻译所限制和妨碍，并且即使是那种不可多得的既体现着文化敏感性，又在美学上令人满意的译作，也难以完全传递出原作的诗体结构、语调和句法。
通过用英语来写作，并尝试实验欧洲文学形式，当代美国印第安作家们得以拓宽了其潜在的读者对象，而与此同时，又明显保留了其祖先口头传统的许多本质特征。例如，荣膺普利策奖（Pulitzer Prize）的作者N.Scott Momaday的诗作经常以一种令人联想起英国浪漫派诗歌的方式来处理艺术与死亡此类主题；而与此同时，他那充满诗意的对自然界力量之威力的反应，则令人联想起彻罗基（Cherokee）口头文学。同样地，他的小说（一种源于欧洲的艺术形式）展示出一种力度，可谓是与十九世纪美国伟大的印第安酋长的恢宏的演说风格有异曲同工之妙。
4．1993 4月section3短
Paule Marshall's Brown Girl,
Brownstones (1959) was a landmark in
the depiction of female characters in
Black American literature. Marshall
(5) avoided the oppressed and tragic
heroine in conflict with White society
that had been typical of the protest
novels of the early twentieth century.
Like her immediate predecesors, Zora
(10) Neale Hurston and Gwendolyn Brooks,
she focused her novel on an ordinary
Black woman's search for identity within
the context of a Black community. But
Marshalll extended the analysis of
(15) Black female characters begun by
Hurston and Brooks by depicting her
heroine's development in terms of the
relationship between her Barbadian
American parents, and by exploring how
(20) male and female roles were defined by
their immigrant culture, which in turn
was influenced by the materialism of
White America. By placing characters
within a wider cultural context,
(25) Marshall attacked racial and sexual
stereotypes and paved the way for
explorations of race. class, and gender
in the novels of the 1970's.
24.The passage is primarily concerned
with
(A) comparing the works of three Black
American authors
(B) describing common themes in Black
American literature
(C) discussing an important work in Black
American literature
(D) providing insights about Black American
literature in the early twentieth century
(E) providing historical information about
the writing of Black American novels in the
second half the twentieth century
25.According to the passage, Hurston,
Brooks, and Marshall are alike in that
they
(A) did not examine the effects of White
culture on their characters' lives
(B) were heavily influenced by the protest
novels of the early twentieth century
(C) used Black communities as the settings
for their novels.
(D) wrote primarily about the difficulties
their characters encountered in White
culture
(E) wrote exclusively about female characters
and the experiences of women
26. The author s description of the way in
which Marshall depicts her heroine's
development is most probably intended to
(A) continue the discussion of similarities
in the works of Brooks, Hurston, and
Marshall
(B) describe the specific racial and sexual
stereotypes that Marshall attacked
(C) contrast the characters in Marshall's
novels with those in later works
(D) show how Marshall extends the portrayal
of character initiated by her predecessors
(E) compare themes in Marshall's early work
with themes in her later novels
27. It can be inferred that the author
of the passage would describe Brown Girl.
Brownstones as being
(A) completely different from novels
written before 1959
(B) highly influenced by novels written
in the early twentieth century
(C) similar to the protest novels that
preceded it
(D) important in the late 1950's but
dated today
(E) an important influence on novels
written in the 1970's
葆拉·马歇尔（Paule Marshall）的《棕女，褐石》（Brown Girl, Brownstones,1959）是美国黑人文学中描绘女性人物方面的一部里程碑式的作品。马歇尔力避二十世纪早期抗议小说（protest novel）所一贯典型的受压迫并具有悲剧色彩的女主人公与白人社会对立冲突这一模式。与她直接的前辈佐拉·尼尔·赫斯顿（ZoraNeale Hurston）和格温德林·布鲁克斯（Gwendolyn Brooks）一样，她将其小说聚焦于一位普通黑人女性在某一黑人社区这一背景下对个性本体的追索。但是，通过依据其巴巴多斯父母的关系来描述女主人公的成长发展，并通过探索男性和女性角色是如何被他们的移民文化所规定的，而这种文化又是如何反过来受到白人美国社会物质主义的影响，马歇尔拓展了由赫斯顿和布鲁克斯所开创的对黑人女性人物的分析。通过将其人物置于一个更为广阔的文化背景之中，马歇尔抨击了某些种族与性别成见，并为二十世纪七十年的小说对种族、阶级和性别的探索铺平了道路。 |
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发表于 2003-12-28 21:33:09
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发表于 2004-4-5 14:16:11
结果是被录取，因此分享供参考。面试被推迟，一直等了一个小时。面试是全英文，可以简单自我介绍自己的专业...
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