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电梯直达

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发表于 2004-1-6 08:45:31 |只看该作者 |倒序浏览

例文1    笔记栏
"Popular art" has a number of meanings, impossible
to define with any precision, which range from folklore
to junk. The poles are clear enough, but the middle
tends to blur. The Hollywood Western of the 1930's, for
(5)  example, has elements of folklore, but is closer to junk
than to high art or folk art. There can be great trash,
just as there is bad high art. The musicals of George
Gershwin are great popular art, never aspiring to high
art. Schubert and Brahms, however, used elements of
(10) popular music—folk themes—in works clearly intended
as high art. The case of Verdi is a different one: he took
a popular genre—bourgeois melodrama set to music (an
accurate definition of nineteenth-century opera)—and,
without altering its fundamental nature, transmuted it
(15) into high art. This remains one of the greatest achieve-
ments in music, and one that cannot be fully appreciated
　　without recognizing the essential trashiness of the genre.
As an example of such a transmutation, consider
what Verdi made of the typical political elements of
(20) nineteenth-century opera. Generally in the plots of these
operas, a hero or heroine—usually portrayed only as an
individual, unfettered by class—is caught between the
immoral corruption of the aristocracy and the doctri-
naire rigidity or secret greed of the leaders of the prole-
(25) tariat. Verdi transforms this naive and unlike formula-
tion with music of extraordinary energy and rhythmic
vitality, music more subtle than it seems at first hearing.
There are scenes and arias that still sound like calls to
arms and were clearly understood as such when they
(30) were first performed. Such pieces lend an immediacy to
the otherwise veiled political message of these operas
and call up feelings beyond those of the opera itself.
Or consider Verdi's treatment of character. Before
Verdi, there were rarely any characters at all in musical
(35) drama, only a series of situations which allowed the
singers to express a series of emotional states.Any
attempt to find coherent psychological portrayal in these
operas is misplaced ingenuity. The only coherence was
the singer's vocal technique: when the cast changed, new
(40) arias were almost always substituted, generally adapted
from other operas. Verdi's characters, on the other hand,
have genuine consistency and integrity, even if, in many
cases, the consistency is that of pasteboard melodrama.
The integrity of the character is achieved through the
(45) music: once he had become established, Verdi did not
rewrite his music for different singers or countenance
alterations or substitutions of somebody else's arias in
one of his operas, as every eighteenth-century composer
had done. When he revised an opera, it was only for
(50) dramatic economy and effectiveness.
1．According to the passage, all of the following characterize musical drama before Verdi EXCEPT
(A) arias tailored to a particular singer's ability.
(B) adaptation of music from other operas.
(C) psychological inconsistency in the portrayal of characters.
(D) expression of emotional states in a series of dramatic situations.
(E) music used for the purpose of defining a character.
2．It can be inferred that the author regards Verdi's revisions to his operas with
(A) regret that the original music and texts were altered.
(B) concern that many of the revisions altered the plots of the original work.
(C) approval for the intentions that motivated the revisions.
(D) puzzlement, since the revisions seem largely insignificant.
(E) enthusiasm, since the revisions were aimed at reducing the conventionality of the operas' plots.
3. According to the passage, one of Verdi's achievements within the framework of nineteenth
-century opera and its conventions was to
(A) limit the extent to which singers influenced the musical compositions and performance of his operas.
(B) use his operas primarily as forums to protest both the moral corruption and dogmatic rigidity of the political leaders of his time.
(C) portray psychologically complex characters shaped by the political environment surrounding them.
(D) incorporate elements of folklore into both the music and plots of his operas.
(E) introduce political elements into an art form that had traditionally avoided political content.
4．Which of the following best describes the relationship of the first paragraph of the passage to the passage as a whole?
(A) It provides a group of specific examples from which generalizations are drawn later in the passage.
(B) It leads to an assertion that is supported by examples later in the passage.
(C) It defines terms and relationships that are challenged in an argument later in the passage.
(D) It briefly compares and contrasts several achievements that are examined in detail later in the passage.
(E) It explains a method of judging a work of art, a method that is used later.
5．It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth-century opera as.
(A) an idealized but fundamentally accurate portrayal of bourgeois life.
(B) a plot convention with no real connection to political reality.
(C) a plot refinement unique to Verdi.
(D) a symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariat.
(E) a convention largely seen as irrelevant by audiences.

例文2    笔记栏
Recently some scientists have concluded that mete－
orites found on Earth and long believed to have a
Martian origin might actually have been blasted free of
Mars's gravity by the impact on Mars of other meteor-
(5)  ites. This conclusion has led to another question:
whether meteorite impacts on Earth have similarly
driven rocks from this planet to Mars.
According to astronomer S.A. Phinney, kicking a
rock hard enough to free it from Earth's gravity would
(10) require a meteorite capable of making a crater more
than 60 miles across. Moreover, even if Earth rocks
were freed by meteorite impact, Mars's orbit is much
larger than Earth's, so Phinney estimates that the prob-
ability of these rocks hitting Mars is about one-tenth as
(15) great as that of Mars's rocks hitting Earth. To demons-
trate this estimate, Phinney used a computer to calcu-
late where 1,000 hypothetical particles would go if
ejected from Earth in random directions. He found that
17 of the 1,000 particles would hit Mars.
17. The passage is primarily concerned with
(A) presenting an argument to support a particular hypothesis.
(B) suggesting an answer to a theoretical question.
(C) questioning the assumptions of a research project.
(D) criticizing experimental results.
(E) explaining the origin of certain scientific data.

18. According to the passage, which of the following events may have initiated the process that led to the presence on Earth of meteorites from Mars?
(A) A meteorite struck the Earth with tremendous velocity.
(B) A meteorite collided with Mars.
(C) Approximately 1,000 rocks were ejected from Mars.
(D) The orbits of Earth and Mars brought the planets to their closest points.
(E) Rocks from a meteorite impact broke free of Earth's gravity.
19. The passage suggests that which of the following is true concerning the probability that a rock, if ejected from Mars, will hit the Earth?
(A) The probability is increased when particles are ejected from Mars in random directions.
(B) The probability is increased by the presence of large craters on the surface of Mars.
(C) The probability is decreased when Mars's orbit brings the planet close to Earth.
(D) The probability is greater than the probability that a rock from Earth will hit Mars.
(E) The probability is less than the probability that a rock from Earth will escape Earth's gravity.

20. Which of the following, if true, would cast most doubt on Phinney's estimate of the probability of Earth rocks hitting Mars?
(A) Rather than going in random directions, about 25 percent of all particles ejected from Earth go in the same direction into space.
(B) Approximately 100 meteorites large enough to make a noticeable crater hit the Earth each year.
(C) No rocks of Earth origin have been detected on Mars.
(D) The velocity of rocks escaping from Earth's gravity is lower than the velocity of meteorites hitting the Earth.
(E) No craters more than 60 miles across have been found on Mars.

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沙发

发表于 2004-1-14 18:29:23 |只看该作者

今天考完试，先把作业交了。不好意思，这么晚。

例文1 笔记栏
"Popular art" has a number of meanings, impossible
to define with any precision, which range from folklore
to junk. The poles are clear enough, but the middle----------------------------------TS
tends to blur. The Hollywood Western of the 1930's, for------------------------------时间
(5) example, has elements of folklore, but is closer to junk
than to high art or folk art. There can be great trash,
just as there is bad high art. The musicals of George--------------------------------G+
Gershwin are great popular art, never aspiring to high
art. Schubert and Brahms, however, used elements of-------------------------------S、B-
(10) popular music—folk themes—in works clearly intended
as high art. The case of Verdi is a different one: he took ---------------------------V-
a popular genre—bourgeois melodrama set to music (an
accurate definition of nineteenth-century opera)—and,
without altering its fundamental nature, transmuted it
(15) into high art. This remains one of the greatest achieve----------------------------最高级+
ments in music, and one that cannot be fully appreciated
without recognizing the essential trashiness of the genre.
As an example of such a transmutation, consider
what Verdi made of the typical political elements of ---------------------------------------SE
(20) nineteenth-century opera. Generally in the plots of these
operas, a hero or heroine—usually portrayed only as an
individual, unfettered by class—is caught between the
immoral corruption of the aristocracy and the doctri-
naire rigidity or secret greed of the leaders of the prole-
(25) tariat. Verdi transforms this naive and unlike formula-
tion with music of extraordinary energy and rhythmic
vitality, music more subtle than it seems at first hearing. --------------------------------比较级>
There are scenes and arias that still sound like calls to
arms and were clearly understood as such when they
(30) were first performed. Such pieces lend an immediacy to
the otherwise veiled political message of these operas
and call up feelings beyond those of the opera itself.
Or consider Verdi's treatment of character. Before-------------------------SE
Verdi, there were rarely any characters at all in musical
(35) drama, only a series of situations which allowed the -----------------最高级
singers to express a series of emotional states.Any
attempt to find coherent psychological portrayal in these
operas is misplaced ingenuity. The only coherence was
the singer's vocal technique: when the cast changed, new
(40) arias were almost always substituted, generally adapted
from other operas. Verdi's characters, on the other hand,
have genuine consistency and integrity, even if, in many
cases, the consistency is that of pasteboard melodrama.
The integrity of the character is achieved through the
(45) music: once he had become established, Verdi did not
rewrite his music for different singers or countenance
alterations or substitutions of somebody else's arias in
one of his operas, as every eighteenth-century composer
had done. When he revised an opera, it was only for --------------------------最高级
(50) dramatic economy and effectiveness.
1．According to the passage, all of the following characterize musical drama before Verdi EXCEPT
(A) arias tailored to a particular singer's ability.
(B) adaptation of music from other operas.
(C) psychological inconsistency in the portrayal of characters.
(D) expression of emotional states in a series of dramatic situations.
(E) music used for the purpose of defining a character.------------------主题题，V的行为，选B。
2．It can be inferred that the author regards Verdi's revisions to his operas with
(A) regret that the original music and texts were altered.
(B) concern that many of the revisions altered the plots of the original work.
(C) approval for the intentions that motivated the revisions.
(D) puzzlement, since the revisions seem largely insignificant.
(E) enthusiasm, since the revisions were aimed at reducing the conventionality of the operas' plots.
态度题，对象 Verdi's revisions，正态度，选E。
3. According to the passage, one of Verdi's achievements within the framework of nineteenth
-century opera and its conventions was to
(A) limit the extent to which singers influenced the musical compositions and performance of his operas.
(B) use his operas primarily as forums to protest both the moral corruption and dogmatic rigidity of the political leaders of his time.
(C) portray psychologically complex characters shaped by the political environment surrounding them.
(D) incorporate elements of folklore into both the music and plots of his operas.
(E) introduce political elements into an art form that had traditionally avoided political content.
细节题，定位27行，排除法，选C。
4．Which of the following best describes the relationship of the first paragraph of the passage to the passage as a whole?
(A) It provides a group of specific examples from which generalizations are drawn later in the passage.
(B) It leads to an assertion that is supported by examples later in the passage.
(C) It defines terms and relationships that are challenged in an argument later in the passage.
(D) It briefly compares and contrasts several achievements that are examined in detail later in the passage.
(E) It explains a method of judging a work of art, a method that is used later.
主题题，全文论证一个观点型文章，选B。
5．It can be inferred that the author regards the independence from social class of the heroes and heroines of nineteenth-century opera as.
(A) an idealized but fundamentally accurate portrayal of bourgeois life.
(B) a plot convention with no real connection to political reality.
(C) a plot refinement unique to Verdi.
(D) a symbolic representation of the position of the bourgeoisie relative to the aristocracy and the proletariat.
(E) a convention largely seen as irrelevant by audiences.
态度题，对象the independence，用heroes and heroines定位21行，负态度，选E。

例文2 全文解释一个现象。
Recently some scientists have concluded that mete－
orites found on Earth and long believed to have a
Martian origin might actually have been blasted free of
Mars's gravity by the impact on Mars of other meteor-
(5) ites. This conclusion has led to another question:
whether meteorite impacts on Earth have similarly
driven rocks from this planet to Mars.
According to astronomer S.A. Phinney, kicking a----------------------P
rock hard enough to free it from Earth's gravity would
(10) require a meteorite capable of making a crater more
than 60 miles across. Moreover, even if Earth rocks
were freed by meteorite impact, Mars's orbit is much
larger than Earth's, so Phinney estimates that the prob-----------------比较级>
ability of these rocks hitting Mars is about one-tenth as
(15) great as that of Mars's rocks hitting Earth. To demons------------比较级<
trate this estimate, Phinney used a computer to calcu-
late where 1,000 hypothetical particles would go if
ejected from Earth in random directions. He found that
17 of the 1,000 particles would hit Mars.
17. The passage is primarily concerned with
(A) presenting an argument to support a particular hypothesis.
(B) suggesting an answer to a theoretical question.
(C) questioning the assumptions of a research project.
(D) criticizing experimental results.
(E) explaining the origin of certain scientific data.
主题题，选A。
18. According to the passage, which of the following events may have initiated the process that led to the presence on Earth of meteorites from Mars?
(A) A meteorite struck the Earth with tremendous velocity.
(B) A meteorite collided with Mars.
(C) Approximately 1,000 rocks were ejected from Mars.
(D) The orbits of Earth and Mars brought the planets to their closest points.
(E) Rocks from a meteorite impact broke free of Earth's gravity.
细节题，定位于5行，选B。
19. The passage suggests that which of the following is true concerning the probability that a rock, if ejected from Mars, will hit the Earth?
(A) The probability is increased when particles are ejected from Mars in random directions.
(B) The probability is increased by the presence of large craters on the surface of Mars.
(C) The probability is decreased when Mars's orbit brings the planet close to Earth.
(D) The probability is greater than the probability that a rock from Earth will hit Mars.
(E) The probability is less than the probability that a rock from Earth will escape Earth's gravity.
选项定位比较级，定位14行，选D。
20. Which of the following, if true, would cast most doubt on Phinney's estimate of the probability of Earth rocks hitting Mars?
(A) Rather than going in random directions, about 25 percent of all particles ejected from Earth go in the same direction into space.
(B) Approximately 100 meteorites large enough to make a noticeable crater hit the Earth each year.
(C) No rocks of Earth origin have been detected on Mars.
(D) The velocity of rocks escaping from Earth's gravity is lower than the velocity of meteorites hitting the Earth.
(E) No craters more than 60 miles across have been found on Mars.
取非题，Phinney's estimate定位于16行，选A。

有几天没看阅读了，现在开始重新捡起来。
最近视力下降很快，可能与前一阵子练作文时使用计算机时间过长有关，：（得注意眼睛了。

受人滴水之恩当以涌泉相报。

双非DIY美硕申请总结

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板凳

发表于 2004-1-18 06:41:32 |只看该作者

谢谢!!!!!

My dream,My goal.

写作文一定不要开qq,一定不要开的说:)

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地板

发表于 2004-2-5 02:14:15 |只看该作者

Recently some scientists have concluded that mete－
orites found on Earth and long believed to have a
Martian origin might actually have been blasted free of
Mars's gravity by the impact on Mars of other meteor-
(5) ites. This conclusion has led to another question:
whether meteorite impacts on Earth have similarly
driven rocks from this planet to Mars.
According to astronomer S.A. Phinney, kicking a----------------------P
rock hard enough to free it from Earth's gravity would
(10) require a meteorite capable of making a crater more
than 60 miles across. Moreover, even if Earth rocks
were freed by meteorite impact, Mars's orbit is much
larger than Earth's, so Phinney estimates that the prob-----------------比较级>
ability of these rocks hitting Mars is about one-tenth as
(15) great as that of Mars's rocks hitting Earth. To demons------------比较级<
trate this estimate, Phinney used a computer to calcu-
late where 1,000 hypothetical particles would go if
ejected from Earth in random directions. He found that
17 of the 1,000 particles would hit Mars.
17. The passage is primarily concerned with
(A) presenting an argument to support a particular hypothesis.
(B) suggesting an answer to a theoretical question.
(C) questioning the assumptions of a research project.
(D) criticizing experimental results.
(E) explaining the origin of certain scientific data.
主题题，选A。

instead of A, i choose B

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