Anticipation-----GRE阅读的最佳感觉

zehuaUID: 199246

怎么还是没人啊？晕倒。。。
No.4-1-5：
Thomas Hardy’s impulses as a writer, all of which he indulged in his novels, were numerous and divergent, and they did not always work together in harmony. Hardy was to some degree interested in exploring his characters’ psychologies, though impelled less by curiosity than by sympathy. Occasionally he felt the impulse to comedy (in all its detached coldness) as well as the impulse to farce, but he was more often inclined to see tragedy and record it. He was also inclined to literary realism in the several senses of that phrase. He wanted to describe ordinary human beings; he wanted to speculate on their dilemmas rationally (and, unfortunately, even schematically); and he wanted to record precisely the material universe. Finally, he wanted to be more than a realist. He wanted to transcend what he considered to be the banality of solely recording things exactly and to express as well his awareness of the occult and the strange.
In his novels these various impulses were sacrificed to each other inevitably and often. Inevitably, because Hardy did not care in the way that novelists such as Flaubert or James cared, and therefore took paths of least resistance. Thus, one impulse often surrendered to a fresher one and, unfortunately, instead of exacting a compromise, simply disappeared. A desire to throw over reality a light that never was might give way abruptly to the desire on the part of what we might consider a novelist-scientist to record exactly and concretely the structure and texture of a flower. In this instance, the new impulse was at least an energetic one, and thus its indulgence did not result in a relaxed style. But on other occasions Hardy abandoned a perilous, risky, and highly energizing impulse in favor of what was for him the fatally relaxing impulse to classify and schematize abstractly. When a relaxing impulse was indulged, the style—that sure index of an author’s literary worth—was certain to become verbose. Hardy’s weakness derived from his apparent inability to control the comings and goings of these divergent impulses and from his unwillingness to cultivate and sustain the energetic and risky ones. He submitted to first one and then another, and the spirit blew where it listed; hence the unevenness of any one of his novels. His most controlled novel, Under the Greenwood Tree, prominently exhibits two different but reconcilable impulses—a desire to be a realist-historian and a desire to be a psychologist of love—but the slight interlockings of plot are not enough to bind the two completely together. Thus even this book splits into two distinct parts.
17.        Which of the following is the most appropriate title for the passage, based on its content?
(A) Under the Greenwood Tree: Hardy’s Ambiguous Triumph
(B) The Real and the Strange: The Novelist’s Shifting Realms
(C) Energy Versus Repose: The Role of: Ordinary People in Hardy’s Fiction
(D) Hardy’s Novelistic Impulses: The Problem of Control
(E) Divergent Impulses: The Issue of Unity in the Novel
18.        The passage suggests that the author would be most likely to agree with which of the following statements about literary realism?
(A) Literary realism is most concerned with the exploration of the internal lives of ordinary human beings.
(B) The term “literary realism” is susceptible to more than a single definition.
(C) Literary realism and an interest in psychology are likely to be at odds in a novelist’s work.
(D) “Literary realism” is the term most often used by critics in describing the method of Hardy’s novels.
(E) A propensity toward literary realism is a less interesting novelistic impulse than is an interest in the occult and the strange.
19.        The author of the passage considers a writer’s style to be
(A) a reliable means by which to measure the writer’s literary merit
(B) most apparent in those parts of the writer’s work that are not realistic
(C) problematic when the writer attempts to follow perilous or risky impulses
(D) shaped primarily by the writer’s desire to classify and schematize
(E) the most accurate index of the writer’s literary reputation
20.        Which of the following words could best be substituted for “relaxed” (line 37) without substantially changing the author’s meaning?
(A) informal
(B) confined
(C) risky
(D) wordy
(E) metaphoric
4连错啊，我的天！ 打击。。。。
这几个题在原文中都找不到对应哦，，谁帮忙讲一下？

zehuaUID: 199246

no.4-2-1
The evolution of intelligence among early large mammals of the grasslands was due in great measure to the interaction between two ecologically synchronized groups of these animals, the hunting carnivores and the herbivores that they hunted. The interaction resulting from the differences between predator and prey led to a general improvement in brain functions; however, certain components of intelligence were improved far more than others.
The kind of intelligence favored by the interplay of increasingly smarter catchers and increasingly keener escapers is defined by attention—that aspect of mind carrying consciousness forward from one moment to the next. It ranges from a passive, free-floating awareness to a highly focused, active fixation. The range through these states is mediated by the arousal system, a network of tracts converging from sensory systems to integrating centers in the brain stem. From the more relaxed to the more vigorous levels, sensitivity to novelty is increased. The organism is more awake, more vigilant; this increased vigilance results in the apprehension of ever more subtle signals as the organism becomes more sensitive to its surroundings. The processes of arousal and concentration give attention its direction. Arousal is at first general, with a flooding of impulses in the brain stem; then gradually the activation is channeled. Thus begins concentration, the holding of consistent images. One meaning of intelligence is the way in which these images and other alertly searched information are used in the context of previous experience. Consciousness links past attention to the present and permits the integration of details with perceived ends and purposes.
The elements of intelligence and consciousness come together marvelously to produce different styles in predator and prey. Herbivores and carnivores develop different kinds of attention related to escaping or chasing. Although in both kinds of animal, arousal stimulates the production of adrenaline and norepinephrine by the adrenal glands, the effect in herbivores is primarily fear, whereas in carnivores the effect is primarily aggression. For both, arousal attunes the animal to what is ahead. Perhaps it does not experience forethought as we know it, but the animal does experience something like it. The predator is searchingly aggressive, innerdirected, tuned by the nervous system and the adrenal hormones, but aware in a sense closer to human consciousness than, say, a hungry lizard’s instinctive snap at a passing beetle. Using past events as a framework, the large mammal predator is working out a relationship between movement and food, sensitive to possibilities in cold trails and distant sounds—and yesterday’s unforgotten lessons. The herbivore prey is of a different mind. Its mood of wariness rather than searching and its attitude of general expectancy instead of anticipating are silk-thin veils of tranquility over an explosive endocrine system.
17.        The author is primarily concerned with
(A) disproving the view that herbivores are less intelligent than carnivores
(B) describing a relationship between animals’ intelligence and their ecological roles
(C) establishing a direct link between early large mammals and their modern counterparts
(D) analyzing the ecological basis for the dominance of some carnivores over other carnivores
(E) demonstrating the importance of hormones in mental activity
这个题我觉得都不对啊！我觉得应该是讲神经系统反映机制的啊！虽然E也很勉强，但是起码提到 mental activity 了，而hormones 在后面也提了啊.
24.        According to the passage, as the process of arousal in an organism continues, all of the following may occur EXCEPT:
(A) the production of adrenaline
(B) the production of norepinephrine
(C) a heightening of sensitivity to stimuli
(D) an increase in selectivity with respect to stimuli
(E) an expansion of the range of states mediated by the brain stem
这个题的D在原文也没找到哦！

zehuaUID: 199246

怎么人都没了啊？？？
再发2个题，我就先不发了，免得都没人看。。。。
No.4－2－4
“I want to criticize the social system, and to show it at work, at its most intense.” Virginia Woolf’s provocative statement about her intentions in writing Mrs. Dalloway has regularly been ignored by the critics, since it highlights an aspect of her literary interests very different from the traditional picture of the “poetic” novelist concerned with examining states of reverie and vision and with following the intricate pathways of individual consciousness. But Virginia Woolf was a realistic as well as a poetic novelist, a satirist and social critic as well as a visionary: literary critics’ cavalier dismissal of Woolf’s social vision will not withstand scrutiny.
In her novels, Woolf is deeply engaged by the questions of how individuals are shaped (or deformed) by their social environments, how historical forces impinge on people’s lives, how class, wealth, and gender help to determine people’s fates. Most of her novels are rooted in a realistically rendered social setting and in a precise historical time.
Woolf’s focus on society has not been generally recognized because of her intense antipathy to propaganda in art. The pictures of reformers in her novels are usually satiric or sharply critical. Even when Woolf is fundamentally sympathetic to their causes, she portrays people anxious to reform their society and possessed of a message or program as arrogant or dishonest, unaware of how their political ideas serve their own psychological needs. (Her Writer’s Diary notes: “the only honest people are the artists,” whereas “these social reformers and philanthropists…harbor…discreditable desires under the disguise of loving their kind…”) Woolf detested what she called “preaching” in fiction, too, and criticized novelist D. H. Lawrence (among others) for working by this method.
Woolf’s own social criticism is expressed in the language of observation rather than in direct commentary, since for her, fiction is a contemplative, not an active art. She describes phenomena and provides materials for a judgment about society and social issues; it is the reader’s work to put the observations together and understand the coherent point of view behind them. As a moralist, Woolf works by indirection, subtly undermining officially accepted mores, mocking, suggesting, calling into question, rather than asserting, advocating, bearing witness: hers is the satirist’s art.
Woolf’s literary models were acute social observers like Chekhov and Chaucer. As she put it in The Common Reader, “It is safe to say that not a single law has been framed or one stone set upon another because of anything Chaucer said or wrote; and yet, as we read him, we are absorbing morality at every pore.” Like Chaucer, Woolf chose to understand as well as to judge, to know her society root and branch—a decision crucial in order to produce art rather than polemic.

18.        In the first paragraph of the passage, the author’s attitude toward the literary critics mentioned can best be described as
(A) disparaging
(B) ironic
(C) facetious
(D) skeptical but resigned
(E) disappointed but hopeful
A和B 有啥区别啊？

20.        It can be inferred from the passage that the most probable reason Woolf realistically described the social setting in the majority of her novels was that she
(A) was aware that contemporary literary critics considered the novel to be the most realistic of literary genres
(B) was interested in the effect of a person’s social milieu on his or her character and actions
(C) needed to be as attentive to detail as possible in her novels in order to support the arguments she advanced in them
(D) wanted to show that a painstaking fidelity in the representation of reality did not in any way hamper the artist
(E) wished to prevent critics from charging that her novels were written in an ambiguous and inexact style
这个题怎么做啊？文中有对应吗？

21.        Which of the following phrases best expresses the sense of the word “contemplative” as it is used in lines 43-44 of the passage?
(A) Gradually elucidating the rational structures underlying accepted mores
(B) Reflecting on issues in society without prejudice or emotional commitment
(C) Avoiding the aggressive assertion of the author’s perspective to the exclusion of the reader’s judgment
(D) Conveying a broad view of society as a whole rather than focusing on an isolated individual consciousness
(E) Appreciating the world as the artist sees it rather than judging it in moral terms
文中有句“fiction is a contemplative, not an active art”
所以我觉得就应该找active的反义词-passive么。 我觉得B和C好像都有passive的意思啊？

zehuaUID: 199246

By 1950, the results of attempts to relate brain processes to mental experience appeared rather discouraging. Such variations in size, shape, chemistry, conduction speed, excitation threshold, and the like as had been demonstrated in nerve cells remained negligible in significance for any possible correlation with the manifold dimensions of mental experience.
Near the turn of the century, it had been suggested by Hering that different modes of sensation, such as pain, taste, and color, might be correlated with the discharge of specific kinds of nervous energy. However, subsequently developed methods of recording and analyzing nerve potentials failed to reveal any such qualitative diversity. It was possible to demonstrate by other methods refined structural differences among neuron types; however, proof was lacking that the quality of the impulse or its condition was influenced by these differences, which seemed instead to influence the developmental patterning of the neural circuits. Although qualitative variance among nerve energies was never rigidly disproved, the doctrine was generally abandoned in favor of the opposing view, namely, that nerve impulses are essentially homogeneous in quality and are transmitted as “common currency” throughout the nervous system. According to this theory, it is not the quality of the sensory nerve impulses that determines the diverse conscious sensations they produce, but rather the different areas of the brain into which they discharge, and there is some evidence for this view. In one experiment, when an electric stimulus was applied to a given sensory field of the cerebral cortex of a conscious human subject, it produced a sensation of the appropriate modality for that particular locus, that is, a visual sensation from the visual cortex, an auditory sensation from the auditory cortex, and so on. Other experiments revealed slight variations in the size, number, arrangement, and interconnection of the nerve cells, but as far as psychoneural correlations were concerned, the obvious similarities of these sensory fields to each other seemed much more remarkable than any of the minute differences.
However, cortical locus, in itself, turned out to have little explanatory value. Studies showed that sensations as diverse as those of red, black, green, and white, or touch, cold, warmth, movement, pain, posture, and pressure apparently may arise through activation of the same cortical areas. What seemed to remain was some kind of differential patterning effects in the brain excitation: it is the difference in the central distribution of impulses that counts. In short, brain theory suggested a correlation between mental experience and the activity of relatively homogeneous nerve-cell units conducting essentially homogeneous impulses through homogeneous cerebral tissue. To match the multiple dimensions of mental experience psychologists could only point to a limitless variation in the spatiotemporal patterning of nerve impulses.

24.        According to the passage, some evidence exists that the area of the cortex activated by a sensory stimulus determines which of the following?
I.        The nature of the nerve impulse
II.        The modality of the sensory experience
III.        Qualitative differences within a modality
(A) II only
(B) III only
(C) I and II only
(D) II and III only
(E) I, II and III

原文好像就没提到modality啊，怎么答案是A呢？题干我也没看懂。是啥意思？

mkb57288UID: 2105771

One of the principal themes of Walzer’s critique of liberal capitalism is that it is insufficiently egalitarian. Walzer’s case against the economic inequality generated by capitalism and in favor of “a radical redistribution of wealth” is presented in a widely cited essay entitled “In Defense of Equality.”
The most striking feature of Walzer’s critique is that, far from rejecting the principle of reward according to merit, Walzer insists on its validity. People who excel should receive the superior benefits appropriate to their excellence. But people exhibit a great variety of qualities—“intelligence, physical strength, agility and grace, artistic creativity, mechanical skill, leadership, endurance, memory, psychological insight, the capacity for hard work—even moral strength, sensitivity, the ability to express compassion.” Each deserves its proper recompense, and hence a proper distribution of material goods should reflect human differences as measured on all these different scales. Yet, under capitalism, the ability to make money (“the green thumb of bourgeois society”) enables its possessor to acquire almost “every other sort of social good,” such as the respect and esteem of others.
The centerpiece of Walzer’s argument is the invocation of a quotation from Pascal’s Pensees, which concludes: “Tyranny is the wish to obtain by one means what can only be had by another.” Pascal believes that we owe different duties to different qualities. So we might say that infatuation is the proper response to charm, and awe the proper response to strength. In this light, Walzer characterizes capitalism as the tyranny of money (or of the ability to make it). And Walzer advocates as the means of eliminating this tyranny and of restoring genuine equality “the abolition of the power of money outside its sphere.” What Walzer envisions is a society in which wealth is no longer convertible into social goods with which it has no intrinsic connection.
Walzer’s argument is a puzzling one. After all, why should those qualities unrelated to the production of material goods be rewarded with material goods? Is it not tyrannical, in Pascal’s sense, to insist that those who excel in “sensitivity” or “the ability to express compassion” merit equal wealth with those who excel in qualities (such as “the capacity for hard work”) essential in producing wealth? Yet Walzer’s argument, however deficient, does point to one of the most serious weaknesses of capitalism—namely, that it brings to predominant positions in a society people who, no matter how legitimately they have earned their material rewards, often lack those other qualities that evoke affection or admiration. Some even argue plausibly that this weakness may be irremediable:in any society that, like a capitalist society, seeks to become ever wealthier in material terms disproportionate rewards are bound to flow to the people who are instrumental in producing the increase in its wealth.

[ Last edited by mkb57288 on 2005-9-26 at 21:37 ]

mkb57288UID: 2105771

themes...that...当时就以为这个是文章主要要讨论的focus，that又划了一遍是因为这个很重要，使前面那个themes的具体化

generated还有下一段的quotation 标出来都是因为这样的词很特别，表达了来源自。。。的关系

radical---尽管在引号以里还是表达了作者个观点，是重要的信息，但是没有出题

most---这么极端的词我们能不重视么，果然后面出题了

far from=not 我AWT就经常这么写，没什么好说的

那个But谁都知道是转折了，但是关键是，后面是谁的观点

前面的那个陈述句，好像很突兀有一点奇怪，但仔细想想就发现那个是axiom

表示因果关系的词，像这里的hence一定要重视

你可以列举出来很多

green thumb我之所以画出这个词来就是因为他在括号里，而括号时解释性的内容，同理，最后一段的namely

envisions 文章主要人物的观点，不能不读懂

puzzling 作者的观点，更是要读懂

Is it not tyrannical这个反问正好印证了句子的内容---以子之矛攻子之盾

Some say that，这种观点作者一般不会同意，但在这里作为交代背景态度是detached

esmeirasUID: 202885

Originally posted by mkb57288 at 2005-9-26 21:01
themes...that...当时就以为这个是文章主要要讨论的focus，that又划了一遍是因为这个很重要，使前面那个themes的具体化

generated还有下一段的quotation 标出来都是因为这样的词很特别，表达了来源自。。。的关 ...

;P

[ Last edited by esmeiras on 2005-9-26 at 21:54 ]

benben245UID: 2181983

tjhhdldut2005UID: 202634

分析得很透彻！

杨康UID: 2241499

不错。 不错。我是新手。准备明年5月的考试。大家一起加油。

hnbc1UID: 2192344

此贴不顶非君子！！！