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6G冲刺模考讨论(九)
- }1 o. K, `! z4 l6 x& y* H9 s' ?$ f& l) S+ M$ U/ H; _7 e
０６年的讨论，请进https://bbs.gter.net/forum.php?mod=viewthread&tid=473231&highlight=& L8 M8 I* G9 M% y
. W" F/ h0 C; y. s9 m' x, `* R! B这次阅读长段子第一篇比较难，偶把定位和解释放在这里，仅供参考．
1 K8 y0 a' O% l7 k- A+ y' [+ c& ~& B; ~; d+ ?7 }4 C4 B
(This passage is from a book published in1960.)+ c0 F6 y- E% h6 M5 u, H
8 r! K" a- }2 ^. C$ H# ` When weconsider great painters of the past, the
0 I# F9 o1 x8 G6 K; f; T+ H6 f study of art and the study of illusion cannotalways be
d, k# g( c+ U3 z/ N N7 h7 B separated. By illusion I mean thosecontrivances of / q5 H0 ^) f, u0 D/ e% @! T
line color, line, shape, and so forththat lead us to see% P' p1 _+ h [
(5) marks on a flat surface asdepicting three-dimensional
, C$ J0 Y# {& l! r' Gobjects in space. I must emphasize thatI am not9 j j- X+ W+ q; @, x( R
makinga plea, disguised or otherwise, for the exer- t) E( [+ |6 b# g
ciseof illusionist tricks in painting today, although* M' ?2 a2 K# E4 Q2 a# ?! }
Iam, in fact, rather critical of certain theories of non-
& N3 q8 B3 Q& [(10) representationalart. But to argue over these theories
9 ]4 f# m, U+ H6 `wouldbe to miss the point. That the discoveries and$ r" w, {7 b7 N! s( h# X: g$ Y$ A
effectsof representation that were the pride of earlier* h0 g. ^0 D; g" M4 U. \1 ^5 ]
artistshave become trivial today I would not deny for7 W4 o# @6 l* _$ d
amoment. Yet I believe that we are in real danger of" O6 p2 _* I% J" r/ T3 c
(15)losing contact with past masters if we acceptthe; h" y$ I) |6 M
fashionable doctrine that such matters never had# L1 \6 x1 L z
anything to do with art. The very reason why the
" k; s$ N( @$ y! v9 n# m, Y) \representation of nature can now be considered
* ?! q# Q* y @+ ]; X' D) l( xsomethingcommonplace should be of the greatest
( [5 d* m/ U( e+ k! O: l T+ Y1 l(20) interestto art historians. Never before has there been @; H( G0 n4 F. z! a5 @! J3 A
anage when the visual image was so cheap in every
' Z% b! i X: t# {( |% zsenseof the word. We are surrounded and assailed by
8 F& o% ~8 }% I, u7 bposters and advertisements, comics and magazine4 i6 H* |: F; o
illustrations. We see aspects of reality represented
4 ^$ Q, u! y6 z& t7 t' T& U% N(25)on television, postage stamps, and foodpackages.
0 K3 V0 r& k% u3 U4 l) U0 lPainting is taught in school and practiced as a
) S8 w7 u9 ?# O. Npastime,and many modest amateurs have mastered9 L+ n8 x$ r& |4 `( a
tricksthat would have looked like sheer magic to the
^ L) h: i& C' X" }% g% Ffourteenth-centurypainter Giotto. Even the crude
: g: |* r/ i( @. z3 `2 a(30) coloredrenderings on a cereal box might have made# L( m9 ~1 P8 O! s
Giotto's contemporaries gasp. Perhaps there are+ B B7 g1 @3 C7 h
peoplewho conclude from this that the cereal box is* n/ R4 o! E. M3 R% s
superior to a Giotto; I do not. But I think- that the Z& k1 q7 C, n. E/ C/ Z
victoryand vulgarization of representational skills
( y& r3 I: A5 p8 i0 ?/ e(35) createa problem for both art historians and critics.
( e. _7 T O) b8 R, i0 r5 bIn this connection it is instructive toremember the
2 F9 d8 C& \2 z5 l6 `Greek saying that to marvel is the beginning of, ~0 E. k5 V% g0 T
knowledgeand if we cease to marvel we may be in6 K4 q/ O+ S8 A: ^8 G* Q' _
dangerof ceasing to know. I believe we must restore1 A, ]) x6 o+ N- w7 S
(40) oursense of wonder at the capacity to conjure up by
2 A; f0 A# K. Q5 ^forms,lines, shades, or colors those mysterious
0 f' i) y }7 t7 W+ ?phantomsof visual reality we call "pictures." Even7 w+ B, R# q* t9 d
comicsand advertisements, rightly viewed, provide8 H4 T( s# L4 g% B9 Z
foodfor thought. Just as the study of poetry remains$ }$ Y. Z% N3 G- i
(45) incompletewithout an awareness of the language of
" G. ]7 w' q, S" K, k! Yprose,so, I believe, the study of art will be increasingly. s9 E6 ~ W& f
supplementedby inquiry into the “linguistics” of the
/ s- {7 W" t9 C. U' pvisualimage. The way the language of art refers to, m; p9 |) } s' ^1 A9 `5 d
thevisible world is both so obvious and so myste-
( h4 ~4 |( W9 k6 U& [( L5 R(50) riousthat it is still largely unknown except to artist.
5 Z) ?" x5 q/ Q, L2 f2 }" Owhouse it as we use all language – without needing ^$ E8 `9 }0 z( A
to know its grammar and semantics.
# q) K4 j' s7 f( t( \17. The author of the passage explicitly, disagreeswith which of the following statements'
" c3 G5 ^" D3 R# R U# H(A) In modern society even nonartists can mastertechniques that great artists of the fourteenth century did not employ.
# Q0 r; ?& f4 D6 w(B) The ability to represent a three-dimensionalobject on a flat surface has nothing to do with art. r3 s2 {8 f S1 }& G- H, F2 w. R
(C) In modern society the victory ofrepresentational skills has created a problem for art critics.
6 x R+ n( h+ {# W5 N& E(D) The way that artists are able to represent thevisible world is an area that needs a great deal more study before it can befully understood
; p1 D! J& }" I(E) Modern painters do not frequently make use ofillusionist tricks in their work.2 T2 u- g1 x# d( |/ Z, b: Y
L15-17
+ S6 K8 d9 e3 ~' U( b偶做的时候定在Ｌ５
6 V+ R3 k5 `( r( u5 r8 P6 T, M8 v
18. The author suggests which of the followingabout art historians?
( M, ]8 u) [ G( s1 I X! U+ q(A) They do not believe that illusionist trickshave become trivial." j6 Z" h0 r$ b) ^4 {
(B) They generally spend little time studyingcontemporary artists.
- `8 [: Q V* ]7 D8 f( _(C) They have not given enough consideration to howthe representation of nature has become commonplace./ u8 a( S" e/ k8 R# s* D1 b6 F1 r) E
(D) They generally tend to argue about theoriesrather than address substantive issues.
0 p) I* g0 T) t! {3 [(E) They are less likely than art critics to studycomics or advertisements.& ^$ o( f" P. v/ ~, o
L17-203 J" U4 `0 m; R$ ` V
' H ?! ?4 l1 w, E8 Z, Q19. Which of the following best states the author'sattitude toward comics, as expressed in the passage?8 P: w9 i2 P, c( }7 G. m m! q( l
(A) They constitute an innovative art form.1 ]. H+ O( v2 e/ v4 ?5 o( U
(B) They can be a worthwhile subject for study. 9 ]" ~" n: u% b& N2 T5 u
(C) They are critically important to an under-standingof modem art. 6 S( {" y: f' v, ]: a
(D) Their -visual structure is more complex thanthat of medieval art. 1 W1 l: J8 d9 R, a% o d' K
(E) They can be understood best if they areexamined in conjunction with advertisements.) s4 R4 ^) {. [/ H; T2 q
L 42-44- D( V# E) A$ B) m6 F
1 M2 e% W- p- Z) ^$ Y
20.The author's statement regarding how artists usethe language of art (lines 48-52) implies that
7 @' a* P; R/ u: s& ?% M(A)artists are better equipped than are arthistorians to provide detailed evaluations of other artists' work % _* ~4 Y; J3 I8 t- M
B) many artists have an unusually quick, intuitiveunderstanding of language
2 Q$ ~: W( C% @2 t(C)artists can produce works of art even if theycannot analyze their methods of doing so
4 j: T2 I% y% l' Y! \' M: H(D) artists of the past, such as Giotto, werebetter educated about artistic issues than were artists of the author's time
K/ W8 X" w( I/ z6 ^$ @% M( R(E) most artists probably consider the processesinvolved in their work to be closely akin to those involved in writing poetry
5 V4 U! ~7 t9 O3 H% K这个答案有歧义：杨继给Ｃ5 P7 Z* S6 D4 `4 r6 x( T
理由：C. 正确。艺术家即使不能分析方法，仍能创作作品。原文：艺术语言去表达形象世界的 " }$ C7 k+ a/ u. C
方式既是显而易见的，又是神秘莫测的，这就使得它对于大多数人来说仍很神秘，除了那 $ q* }5 g$ L2 I0 c) N
些能如同我们不用通晓任何语法和语义学就能使用语言一样利用艺术语言的艺术家之外。 " N+ O. X: N) {) f! o
艺术家的创作可以和普通人对语言的应用成类比。
5 b, r G* U" A! s+ }% K2 U) V
$ e3 I, G. Z; m. y: t, w1 V8 @21. The passage asserts which of the followingabout commercial art?: R# a. F* P2 H, z' C/ |: x
(A) There are many examples of commercial art whoseartistic merit is equal to that of great works of art of the past.
2 a" k8 s0 W) B; h! j \(B) Commercial art is heavily influenced bywhatever doctrines are fashionable in the serious art world of the time.
6 V/ B, ^8 l' O(C) The line between commercial art and great artlies primarily in how an image is used, not in the motivation for its creation.) H7 Y( X( D% {3 l& H
(D) The level of technical skillrequired toproduce representational imagery in commercial art and inother kinds of artcannot be compared. 7 C. g* Z1 ~1 j( r. G/ V1 S
(E) The pervasiveness of contemporary commercialart has led art historians to undervaluerepresentational skills.% n; I1 N# A9 ~
商业艺术，即广告、卡通之类，多次出现找首次。 1 X. N" n: ~9 b# h9 H
L1724，到底为什么对自然形象的描绘如今变得有些过时是艺术史家有极大兴趣的问 ; D* D, B' G+ Q4 o
题。以前，视觉艺术从没有象现在这样低贱，各种意义上理解的低贱。我们被招贴画、广
' r/ R. v3 ]$ M) d, K b$ U: P; Z告画、卡通以及杂志插图所包围、所困扰。显然作者认为，这些商业艺术的出现是使对自 ~5 z2 H. X( [5 ~' @" z
然形象的描绘变得过时的原因之一。
+ V* P" C3 ?, @$ L. \∴E 正确。商业艺术的出现流行使艺术史家看轻描绘形象的技能。
3 d0 ~5 W$ H) t* e
! ] O8 z0 M9 d& m3 _偶定位在Ｌ３３－３５# P0 S4 E0 Q( h* S8 d: K% y
8 d5 u( O4 {9 @; f& X, g! U
22. Which of thefollowing can be inferred from thepassage, about the adherents of"certain theories of nonrepresentationalart" (lines 9-10) ?
9 E6 n" ?( p. E* i. ]. `$ J) P(A) They consider the use of illusion to be inappropriate in contemporary art.0 X8 ~; T8 t2 O9 R0 p
(B) They do not agree that marks on a flat surfacecan ever satisfactorily convey the illusion of three-dimensional space." @+ ~7 Y, c2 t* Q5 K
(C) They do not discuss important works of artcreated in the past.3 _5 Y" |7 w; m1 t9 {3 {
(D) They do not think that the representation ofnature was ever the primary goal of past painters.
8 W4 D+ U/ @9 Z(E) They concern themselves more with types artsuch as advertisements and magazine illustrations than with traditional art.
$ W8 L1 I2 ?3 n1 M/ Z: pL11-147 v& E3 c3 `" s% ]
2 I! _* o2 n& m) L5 b
23. It can beinferred from the passage thatsomeone who wanted to analyze the“grammar and semantics” (line52) of thelanguage of art would mostappropriately comment on which of the following?
, l# n( B9 o/ A1 c) i4 i% k(A) The relationship between the drawings in acomic strip and the accompanying text
! p; _4 I$ D4 c+ F D% D/ s(B) The amount of detail that can be included in atiny illustration on a postage stamp* I; H7 e7 Z: c+ Z3 s5 A
(C) The sociological implications of the imageschosen to advertise a particular product
" ^. j' X/ S8 M2 u5 m# v( S5 g(D) The degree to which various colors used indifferent versions of the same poster would attract the attention of passersby# ^& I- P7 \3 S6 ^' y' l
(E) The particular juxtaposition of shapes in anillustration that makes one shape look as though it were behind another
# [; U6 R0 ?) U: [% m4 a
7 N# F M9 Y2 d8 m, B$ r7 s& N L52所说研究艺术语言的“语法和语义学”的人，会研究下面哪一问题？ 5 {" N/ ]9 [2 L/ P) v ]
类比题。先归纳原文：语言的语法和语义学是指将词汇、句子缀连、搭配的手段、方法。
2 }8 C* F$ L1 @所以，这里的类比是指：将绘画中的某些因素（颜色、线条等）进行搭配，取得艺术效果 3 y/ C) M' f* h& f4 \& D
的手段。
* c) M& p; M) o' L+ I0 R0 w+ R∴E正确。阴影的组合。使得一个阴影看起来好象位于另一个的后部。符合上述推理。
- Y& ^9 t: Y2 K; f" N) W3 K. A$ Q% z$ s8 V* G( x5 m0 h, z
（上述参考杨继的解释）
7 g$ K8 V' T2 r若要看杨继的原文解释：http://www.gter.net/news/html/200407/1089157895.html/ q( b$ o+ |; C D, b9 z
# X- |$ e4 } T) J5 Y% U
# {1 j: c3 v* k9 W' n/ x
SECTION 1, K7 l7 M- H) P) X* m% a
Time-30minutes
9 f9 R/ ]( \+ ?3 i: C2 G3 m38 Questions
2 W& s/ C4 K& Z$ H# J2 p
' y+ w. U- B' h1. There is hardly a generalization that can be made about people’ssocial behavior and the values informing it that cannot be ------fromone or another point of view, or even ------as simplistic or vapid.: M4 @) n5 y( U- M7 B8 N2 `
(A) accepted…praised
( T& q# Z; ?2 X; V(B) intuited…exposed& h U+ U' i- L* V0 ]( x$ A
(C) harangued…retracted J9 G0 D6 F4 [4 k& }! C
(D) defended…glorified4 j3 Z' Q: F+ a5 \7 y' u
(E) challenged…dismissed+ d; t! E6 M. @, a: R0 E9 z& U
2. Although any destruction of vitamins caused by food irradiationcould be ------ the use of diet supplements, there may be no protectionfrom carcinogens that some fear might be introduced into foods by theprocess.* B3 B7 s: Z, n& s" Z9 E& u9 N6 j% k
(A) counterbalanced by2 @+ W& k, h1 x4 o& F, l* ~' L* m
(B) attributed to
- D8 m1 t" ]4 \4 V4 K/ |5 R# m(C) inferred from
. o, t6 ~6 Y+ e, C `" a+ t; i(D) augmented with ^; }9 ~$ V+ l9 h
(E) stimulated by $ n+ I' o8 N9 ]2 C6 M0 ^- v' P d
3. Though he refused any responsibility for the failure of thenegotiations, Stevenson had no right to ------himself: it was his------that had caused the debacle.
+ W i7 n. \/ \3 C* J(A) blame… skill
; t4 K% x+ c1 P& ]4 r6 n" b6 U. x(B) congratulate…modesty6 n$ A1 D% h! f6 |6 r+ U; u2 N7 b
(C) berate…largesse* r* Y' b+ w: B1 u
(D) accuse…obstinacy& `/ l4 b- v! K# A& n! O/ |/ n0 b* w
(E) absolve…acrimony
9 t- v; a- L& F1 U8 I0 h' P4. The prevailing union of passionate interest in detailed facts withequal devotion to abstract ------is a hallmark of our present society;in the past this union appeared, at best, ------and as if by chance.
- f& V6 l+ J8 J! I- M7 `(A) data…extensively
/ _5 e( t1 L7 ]0 i5 P1 A- S(B) philosophy…cyclically9 ]) o9 S$ R9 r7 t3 o% h
(C) generalization…sporadically
* D8 E/ O% G& ^1 l(D) evaluation…opportunely" _" m1 x! e8 L) _4 ?1 h' m/ q
(E) intuition….selectively. q' m7 ]( C( P! h2 a: C6 y/ `+ J
5. A century ago the physician’s word was ------ to doubt it was considered almost sacrilegious
; @# F# D7 Y9 _$ q. Q5 _; G(A) inevitable
# ?, M* S! b) U0 ^' L' {(B) intractable
. A6 T2 C3 g& j2 w: P- Q(C) incontrovertible ) ^5 u! y: }( M8 V3 P4 ^' ^0 b
(D) objective- R, g7 L/ L( g! a( @; r' ]# J! a8 u
(E) respectable, G2 x6 y! \6 A: u
6. So much of modern fiction in the United States is autobiographical,and so much of the auto¬biography fictionalized, that the------sometimes seem largely------.' v6 d4 Y, n0 x1 }# Z
(A) authors…ignored
, @ ?8 P; E- m. M1 ~( |+ l(B) needs…unrecognized$ e8 e' R/ m8 \8 d5 f. n" S& r4 [5 a
(C) genres…interchangeable
! ?2 G/ ~% B O: W" ? b(D) intentions…misunderstood" s+ p; ]% ?# U$ U* R+ V' l
(E) misapprehensions…uncorrected
% d i/ W2 ^ g& a: f5 Z7. Robin’s words were not without emotion: they retained their level tone only by a careful ------ imminent extremes./ l- x9 q7 ~2 w2 `) [
(A) equipoise between r+ e0 K( I- T; z5 Q. n8 D. D ~
(B) embrace of+ _6 T7 j2 @( A- d9 P8 Q- L
(C) oscillation between
& Y# P# s9 b3 Z& n(D) limitation to ' { J1 s7 l. j
(E) Subjection to
) a F9 p' j9 z/ G8. OIL : LUBRICATE::2 p* |2 k5 u) E: a
(A) preservative : desiccate7 O( B0 M( J- J3 L
(B) wine : ferment
+ }) P1 v+ q" |% l(C) honey : pollinate
) |1 _* e5 Z9 q. e(D) antiseptic : disinfect/ |9 }) k* x1 f) J" r0 [( s7 ^
(E) soil : fertilize% _( u4 h5 _9 [( Z
9. CONSTRUCT : REMODEL::4 d8 u; D7 B9 n5 K
(A) exhibit : perform
) G7 W# \& L ~* v3 c1 p Z(B) compose : edit
/ g5 O ~; \/ h e% ^(C) demolish : repair
& E: o1 p) ]) M; P: {* A8 t2 ](D) quantify : estimate' M1 Z' a5 Y# w. n' E' H4 y7 I
(E) predict : assess
$ r7 g' i9 k6 \- C2 H/ }1 W' C$ E10. SPOKE : HUB::$ b- R7 g% G6 ^9 M2 h2 |' j
(A) radius : center! f- K" e2 y5 ]3 Z$ d- E* `
(B) parabola : equation: H9 g p' i: I9 F: w. t K( h
(C) line : point
9 U+ E* `4 o9 `- d( [) C(D) vector : direction6 J9 |6 f$ @+ [8 X9 ?/ W
(E) slope : change
6 ~; P- s/ J8 |- d; ~11. ILLUSTRATE : PICTURES::
2 E! h) H' v! g/ _; R(A) particularize : details4 a9 M# l; S! m H
(B) abridge : texts( q+ }/ I. Y+ X3 e6 E+ _% g' P
(C) parse : sentences6 z& H- [. ^6 S; t6 p T- G# @
(D) regularize : inconsistencies
$ s% D) Y, U9 Q1 A( m(E) economize: words
) Y S+ X( C w& J% o12. PANTRY : FOOD::
8 Y" c9 p3 O3 V. t( E+ x0 Q(A) museum : replicas
$ c0 D, J0 U) d4 Q8 J. j, j. A(B) ship : cargo+ O; D: l8 c0 D
(C) office : business* w3 F/ i, \; E' R1 X: D
(D) armory : weapons
" i& r6 S% H& f! g(E) warehouse : storage
5 r! [" K1 O4 }3 C9 o1 @" M13. MIRTH : LAUGHTER::
: `1 v9 K8 n) n0 T- d: v% @(A) uncertainty : nod
' ?9 M9 w6 o( K2 }+ Q(B) approval : applause1 Q" g* [5 I+ L) q$ w
(C) danger : alarm
" I2 n* @8 \! U2 T(D) labor : sweat
) E% [- g& V# `9 ], d(E) love : respect1 ^9 h% f4 K9 e7 l1 n& d6 ^+ I
14. ABRADED : FRICTION::
6 e$ N) t6 _: J9 J4 w$ X# P(A) refined : combustion7 a* } ^5 \. Y" }1 `
(B) attenuated : coagulation
1 B9 T. H S) w8 i8 f(C) diluted : immersion8 p. ~ k# m8 `; o4 e& e5 X3 N
(D) strengthened : compression
K6 [4 t' ]# Z- N( s; T- v/ r(E) desiccated : dehydration3 \! q J& g# S* w7 f0 d
15. PARSIMONY : MISER::/ n9 E& J# X. b. N/ N
(A) temerity : despot( g& z: u: @2 d; m' Y
(B) belligerence: traitor8 \2 H2 ^+ u8 \5 [# \' J
(C) remorse : delinquent1 e6 r0 n# q- u& O7 M6 R( d7 Z
(D) equanimity : guardian
( o4 a: ]% R( r, L H(E) rebelliousness: insurgent
Y5 m" I# G* b9 L! q3 Q16. NTTPICK : CRITICIZE::) z3 d. N" s6 N8 K) a
(A) mock : imitate
8 V8 t. Z: ]2 w(B) complain : argue
3 O. c7 S* W% l8 \7 E(C) interogate : probe
( R2 w$ m$ j, k% H e- b3 P# c(D) fret : vex4 f6 Q; Z6 B6 a9 c" e
(E) cavil : object
1 ^: p1 s/ O& C* j$ ^
( v; w. f9 P+ T- y, K# H3 S28. SWERVE:
1 O6 N# M3 R% x; Y4 l `' \(A) maintain direction
1 W+ K, w- _( W(B) resume operation& E6 P1 h. x$ F' b5 S
(C) slow down
7 {7 D! @, U$ ]* a4 @2 l( J(D) divert
0 H+ J _3 O( s. w v4 _* b- \(E) orient7 ~% q/ k! d% |* U1 m% U9 z" d
29. HUSBAND:
8 n% Y5 e* `: a7 f# @(A) rearrange) u. p: p. R* Z
(B) alarm* c Q) B+ M: \) b
(C) assist" y$ _; h+ C( W3 R0 M+ x" Z
(D) prize9 e+ \( b3 q6 c0 ` x& Y3 J: V
(E) squander
3 k) d) Q; {; n+ @30. DEACTIVATE:
8 s: j- ?+ u) z( \(A) palpate
" x$ J0 p' F5 W/ O4 k" ]3 M(B) alleviate) K) ~( L" ?; X' R: a( h7 L5 A3 i( o0 L
(C) inhale, d/ }/ n4 a4 d( q2 [: B9 j: w
(D) articulate
7 p. T9 O. a& d* E" S7 }7 ^5 p1 p(E) potentiate, } z4 H- _2 B, V6 Y' Q2 ?
31. INTRANSIGENT:$ f4 i( K5 N$ U- r/ f
(A) accustomed to command1 F: u4 [& `2 F; m; S- J
(B) qualified to arbitrate
6 F$ s# M! g- F4 N# R(C) open to compromise
% a# \2 e4 i% p(D) resigned to conflict
6 l+ V9 D; t6 F; |(E) opposed to violence6 Y' O( `: l6 A4 C2 T/ V6 w
32. OCCLUDED:
R7 }8 h6 G4 E; c# T(A) unvaried
& V. }6 s# A |4 h(B) entire
3 ^8 `4 q; k0 Y9 \- B(C) functional
; A. y& J# K5 u3 A$ U R(D) inverted& l" G9 R4 u% E' o; {; [8 e3 u
(E) unobstructed8 u; V0 E$ m- U( s! p
33. ASSUAGE:
5 s" Y/ d, [7 Q, i(A) intensify, ?* M. Q" W3 D9 G: }9 g ?
(B) accuse
0 E) M3 }) {! C5 N7 H(C) correct" t. H' n; U8 N0 W
(D) create% h. l' x: f: D# V& a
(E) assert7 c1 h: b) y# \# X( ?) y- ^
34. QUIXOTIC:: y. C) p' k8 V$ ]
(A) displaying consistently practical behavior) s& n7 U- p; H' r
(B) considering several points of view/ X$ W- u0 Z, Z3 L4 i
(C) expressing dissatisfaction9 O6 p" [& ], T9 R, D- N
(D) suggesting uneasiness
* M* ]9 u9 M, Q3 _6 u(E) acting decisively
9 P: h( o7 m# m3 w35. PELLUCID:
0 g1 @ G; ^! Y* V8 {7 W' s# F(A) stagnant
! f: i+ y7 G! v7 p/ a(B) murky. R" K0 Z: V7 c- |& Z
(C) glutinous0 P, q' k) ]; ~0 }/ y6 B
(D) noxious" Q: p' G8 b- W9 U. w+ x; R8 e
(E) rancid
2 z: f; K& f3 Z* O; F( j36. LACONISM:
. K# B% W: j9 ^% C(A) temerity% l: X3 c' `' C
(B) vacuity( C# z k4 ]7 X; @
(C) dishonesty0 O" I, J2 J: k1 n4 ~ X
(D) immaturity
$ p1 `( p4 T* c, ?(E) verbosity- s4 X# h- Q D: Q ^$ a( @
37 REFRACTORY:
& ]% n2 U U! f8 g: Y- h# k(A) active- _( [# B' f, ^3 h
(B) productive( s9 y" ^! C' r s; A
(C) energetic+ p8 N/ ~! `5 Z- o5 G; |
(D) responsive/ l7 W1 t7 b' O4 j! j$ {, i
(E) powerful
( d% Z# o9 W) h1 t* T38. DEFINITIVE:. Q0 `3 k* F! w
(A) prosaic
" j) t0 O0 O( ~$ |8 v(B) convoluted
3 G+ L' C" p$ x3 [, M& r# h$ s(C) unusual
0 I; Q6 r3 n& P j4 z- n4 v(D) provisional) N. t) v7 r3 W; ~* ^
(E) vast: s! z; t, T: ?+ r& O7 n/ _/ r
- |, ~3 a% e& _/ y7 eSECTION 4
5 ^, w9 w% Y _0 s: v8 i; C1 MTime-30minutes
. C p g* \9 i3 J! z6 P' |38 Questions& u; n" Z8 f% V; Y- Z! u
1. That she seemed to prefer ------ to concentrated effort isundeniable; nevertheless, the impressive quality of her finishedpaintings suggests that her actual relationship to her art was anythingbut------.5 p3 Q9 H3 _7 p
(A) preparation…passionate
0 H ^* b0 P. c1 |' E1 L(B) artfulness…disengaged
3 Z' K) r# C' f(C) dabbling…superficial5 ~* w5 `8 q" x5 q
(D) caprice…considered3 u( w9 F2 Y2 C: v* \
(E) indecision…lighthearted
; O* b' [! Q8 Q& t# I* u5 h2. Because of the excellent preservation of the fossil, anatomicaldetails of early horseshoe crabs were ---- for the first time, enablingexperts to ---- the evolution of the horseshoe crab.
5 q d/ ^1 O, f; e' x: @(A) scrutinized...ensure
& L' y3 z9 t) M/ I2 o5 f(B) verified...advance
/ L6 r" u) G+ N5 h6 u6 \(C) identified...distort
& R3 w/ j3 } W(D) obscured...illustrate
o; _ G- o3 I+ z+ E(E) clarified...reassess( C8 _$ G V0 b
3. The philosopher claimed that a person who must consciously ------his or her own indifference before helping another is behaving morenobly than one whose basic disposition allows such an act to beperformed without------.+ ~3 |: j4 e' Z w( E. ^0 k
(A) feign...enthusiasm: p+ c, l* G$ i- G
(B) censure...comment
: d6 e1 N' @# u(C) embrace...duplicity; z# E8 V+ [7 U" o
(D) suffer...effort7 y; P+ [; k- G
(E) overcome...deliberation, P* s; m6 [4 H4 t- y
4. The senator's attempt to convince the public that he is notinterested in running for a second term is ------ given theextremely------ fund-raising activities of his campaign committee.& T* }% N, @6 [% B
(A) futile...clandestine& D* u# v _% P) L, [- R9 V
(B) sincere...visible8 N, g! \6 ~! }' S+ z: d6 ?' U
(C) specious...apathetic
; i' V+ O* z7 E" q% L9 X(D) disingenuous...public
* p+ k! v2 O7 e! ]6 r(E) straightforward... dubious! S- S) ~! x; h A i
5. Although a change in management may appear to ------- a shift in acompany's fortunes, more often than not its impact is --------
! K5 n, x6 y& |% j(A) hinder...measurable. m% ^1 F# K( `2 g6 p. ~
(B) promote...demonstrable& \; ?0 ]/ s7 j9 G, b7 u
(C) accelerate...profound& B% R5 v% s: q, ~ m* q' d. E
(D) betray...fundamental( D" s) C- z6 F; S
(E) augur...inconsiderable
1 l; [' r1 [3 p0 Z6 w/ p6. The skeleton of ------- bird that was recently discovered indicatedthat this ancient creature ------ today's birds in that, unlike earlierbirds and unlike reptilian ancestors, it had not a tooth in its head.2 ]# w! b2 H; w
(A) a primeval... obscured" n5 ]) j) X! G, i
(B) a unique... preempted4 o8 _- l6 T( o9 c% J# g
(C) a primitive...anticipated6 }# I1 |- V0 O$ B3 N! C' N
(D) a contemporary... foreshadowed. i- y% S+ R9 B4 t/ V# k
(E) an advanced...differed from) R: Y$ l- O0 M
7. While many people utilize homeopathic remedies to treat healthproblems, other people do not ------such alternative treatments,-------- conventional medical treatments instead.1 z4 i: j, O2 M8 \
(A) distrust...employing
" b% n5 S; D- \0 p: r(B) embrace...eschewing- \1 D" c6 C5 ]2 v) j* `
(C) reject...envisioning
* K5 {" Q. {3 `(D) countenance... relying on1 t* r6 E9 |- w6 ~0 U/ ?& R( v8 c Q
(E) recommend... turning from( l0 i; ^% p K% `5 N+ \
8. PROGRAM: CONCERT::& B2 f& r" ]9 m5 c1 w0 s
(A) bibliography : book* K& ^( f; ~* U
(B) menu : entree% B. @& i2 ]5 |+ N
(C) questionnaire : poll' Q/ q9 g6 s0 k7 U% m* @
(D) platform : campaign
0 X7 A/ C; [2 j4 P& z(E) agenda : meeting
' e$ w0 ~' W1 \9. EMBRACE: AFFECTION::
6 ?: ?( g+ r9 L2 y4 P$ w, o(A) prediction : memory
( x- H; ] g# S) q% ^4 y" c(B) innuendo : secrecy! B! M3 k1 k5 [) `4 a/ M+ v$ n' I
(C) shrug : indifference$ q% B2 u' ^, g
(D) conversation : familiarity
7 w$ P( j/ F# U# o/ W; A) j8 x: }6 M& b(E) vote : unanimity
# ? B( |: Z8 Y10. ENTHUSIASM : MANIA::
a$ T! Z! c3 J6 {(A) idea : inspiration' f2 j0 x+ Z$ L
(B) nightmare : hallucination# @: W5 J$ ?6 M4 ^: D% j5 T+ {
(C) failure : disgust
( {. D2 ]$ d: m1 Q( w5 `(D) suspicion : paranoia5 P) R5 z5 Q4 k2 e* e9 b
(E) energy : fitness6 e, }' [- T, g2 I5 ?
11. ANONYMOUS : IDENTIFY::: ^7 c+ y& J7 r
(A) nonchalant : excite; d. i7 X+ H% j: W; |9 T' d
(B) repressed : constrain
+ f! T4 P( Q5 R& ~6 O9 ?(C) misled : trust' n& ]5 S; R) ^3 X0 a
(D) annoying : assist' O# H9 o( }" t6 H
(E) unremarkable : please
6 A/ M1 a6 P2 p$ u o( \12. CARTOGRAPHER : MAP::
# V0 s, W2 e& t; K% f" u(A) astronomer : stars8 ^: ^8 l; c& u0 }8 M3 R0 D
(B) carpenter: wood
/ D. N) |) Q U. w2 g(C) lumberjack : saw
5 m* [$ _' u& f- D7 J(D) tailor : clothing
/ l9 k7 v7 X0 y$ H% I(E) weaver : loom4 P0 y1 {+ e5 z9 |' N$ Y
13.EXEMPLARY: IMITATION:: k/ n% @# z( U! M
(A) venerable : denigration
) U, o' U7 s( s(B) novel : duplication
; F6 x% q( \8 |- S7 B9 d: Y(C) redoubtable : regard
% E2 r2 x# R- A9 R3 O/ J7 `" T(D) challenging : determination0 i4 U4 O- V" P8 F( Z& [7 f
(E) creditable: verification8 a* T) G i% y- B+ g( B
14.INSENSITIVE:BOOR::6 y4 G, L" f1 @2 `+ |* W3 `
(A) spontaneous : extrovert
! n7 h/ q& \! `* v% Q(B) mischievous : imp
7 b3 y& L3 @! M4 D* L% i% j( \- i(C) conformist : ally6 q9 T$ v" Q) ^' L
(D) officious : zealot
* W; e I- `% \$ U. B) @(E) extravagant : miser& P3 i7 V6 U0 S+ e0 I. [& ?$ Y `
9 T+ K8 V2 p) Z; ~* M1 `" v) S+ m! C
15. LABYRINTHINE : SIMPLICITY::: P1 u: J" G6 T; N5 _$ [
(A) epic : scope6 g% [. p2 A& a" y
(B) digressive : motive
3 R) p& y( V6 C' T4 [(C) heretical : sincerity
& {) G2 P% p/ O% ~1 Q9 {" j(D) austere : design
( e: a6 S. j8 _1 L$ i(E) jejune : interest# g' U' Y' f4 ]: e" @# D; C- g( X. b
16.EUPHEMISM:OFFENSIVE::3 r |7 D2 V+ r7 n. U
(A) rhetoric : persuasive' l8 N3 T: a' q7 ?$ c
(B) aphorism : diffuse
! z, h' G+ N8 d- z3 S! D/ h1 Q(C) metaphor : descriptive
6 w' H& I7 B' h; H* i(D) repetition : fatiguing
7 a' {1 S1 V1 G) `4 E/ {6 M/ T) f(E) conciliation : appeasing" _9 B6 s8 w; F" V T. Z
5 `+ D- l6 `) `* e& o' S, u
28. MISREAD:3 t9 b( X# ~6 I- e6 T
(A) refocus
! R3 L1 ]- s; E. m(B) approve& B; r, F2 [/ Y' d9 k
(C) predict: G4 N; A3 X1 ?: ?
(D) explain succinctly
0 I) Q4 t0 l# w8 o* Z% v# k(E) interpret correctly
$ z0 Z: w+ [" D. A! Y9 B- l29. DISSIPATE:
, O+ Z7 d$ o% u+ e9 d* o! i(A) gather( y ?# S- e3 {/ ^* c; G
(B) seethe
2 V: `% J N0 J9 i$ g5 b7 [# b(C) relax
: Q1 K7 l/ T2 N) n(D) exert- H& Q+ R+ c; \" }, u5 ?5 O: N. U
(E) incite
+ c2 W8 K% P) Q4 o5 F) w0 O30. ENUNCIATE:5 Q# |* f7 _- t& ~) S' P% r/ Z
(A) mumble
% B7 e0 z/ T0 I: v(B) disclaim! r7 R* h2 V4 J& Z2 i
(C) dissuade
. B% F5 D. E) w |6 ](D) bluster
, f$ }9 x" U% F S% g(E) commend5 {/ ^) u8 [5 ]9 b9 }
31. TAUTEN:
( e* ^+ H% b+ Y2 D b( |2 B' E. b, O(A) rarefy" G7 Q6 z4 s j. u9 z8 K/ M+ C
(B) coarsen
. t$ q% S% Y I' X, s, ^ A$ u/ P$ z(C) force1 k- G; i4 R5 ~5 K
(D) loosen
1 _9 ^, h2 R K3 a(E) constrain$ s' Z' [$ v" G* i+ @4 V; h
32. ZEALOTRY:3 F+ D6 s* h; ]% M, G9 G, m) V
(A) pessimism6 w0 W1 z$ C4 U4 U( ^/ A
(B) generosity
1 V6 A4 I) p& i8 c(C) gullibility# c, ^4 P, e( F N" l. j
(D) lack of fervor
& q/ j2 J. i& v* r(E) excess of confidence
. s0 o! k1 a! N; }3 w, }$ q) J6 u+ u! Z% |& @
33. REDOLENT! B* q9 D) W* E- L6 w
(A) cheerful8 w$ @7 t d1 a
(B) resolute0 t# e u- k3 t! N% _* o
(C) unscented
) b4 G$ R$ S' K* U0 j" ?(D) uncovered$ a3 C j, B% F/ y
(E) untainted
3 v7 u4 D* X. z# M4 r b' f/ ]6 H5 s34. GLUTINOUS:8 r4 p0 K# X$ b/ v! n
(A) nonviscous# g: m9 t( V2 a
(B) nonporous
; k% S, ~6 c0 {: W(C) antitoxic
, O! \; p+ [* i" A5 A(D) catalytic2 m7 e3 H4 y8 b% o& M2 W4 O
(E) alkaline& n7 C! C7 N! F: m2 t9 i6 g& o
$ M6 r2 W0 B8 s5 [
35. PANEGYRIC:
5 I* [) ]! A0 C, \+ U(A) covenant5 [" L9 K5 {/ A8 l
(B) recantation
1 Q6 z/ T* b+ l5 t2 ^(C) enigma8 }. X' K. e8 x* Q. F" E* E" f
(D) termination7 A! ?$ n& i6 v
(E) anathema8 m0 j0 J$ ?- d6 g4 R$ t* A5 W
36.AWASH:
2 L3 h, N9 t9 ^(A) fouled, U: |9 ?: @4 h1 X; X
(B) quenched
* h n A: _! e% e5 b1 }( g' z(C) rigid
1 J( b7 w8 W# s) {# w0 T7 ~! G" ](D) dry R4 A, Y: m/ e
(E) sturdy4 ]& a. q6 m" @" b. H. \0 [
37. UNTOWARD:
; H3 m& j+ j- ?(A) direct# ?* F |3 F: X& P3 x
(B) fortunate
7 v, I L! h1 E. K' ]+ U5 E(C) tangential
0 X, L4 l: @6 {(D) decisive- n) m1 i4 D3 T0 \) A8 v0 m
(E) effective
L+ X" r4 q! \! Q" D) {38. SUPERCILIOUS.
" q# F2 A9 i8 F4 ]$ d0 h% _, s(A) castigating
# u+ p0 L! R9 E7 \2 i(B) obsequious4 D: k' K" S+ ]! k
(C) reclusive: M/ r! \0 i; Q' s8 Q
(D) rambunctious, b M& H' }' f' M. R4 a1 C+ S& o
(E) abrasive
& E9 ~5 v" f+ i2 \8 ~6 V# f- M& y2 e/ N' A6 k
SECTION 1: EAECC CADBA ADBEE EBCBA EAECA BCAEE CEAAB EDD
" t* L" J2 c6 V! lSECTION 2: CCCDB CDADB ADCDD CACEE BEBDE DDBAC
; k6 P+ S+ k: ^8 F7 P) i6 q; Y$ x, r& DSECTION 4: CEEDE CDECD ADCBE BEDBC BCAEA ABEAA DDCAE DBB
/ h8 {9 A. |; R7 |3 Q( R7 Z! Z" mSECTION 5: ABABB BDCAC DADDB CCBEC BECDA EEEDB
6 r0 \ _/ w7 E. {6 x7 C
3 I4 o/ }" y( n0 N# s' v这次题目出了第一篇长阅读和填空比较难外，其他题目还算简单。
& A) B) [( q& F偶把大家问题最多的题目整理一下： 2 D( u+ d+ j2 \% {4 o' t
) u( h2 K, n& {2 v: {
数学：3 N6 S/ i# o' o* j- x5 K6 Q: l8 K
section 5. \) S8 T; |2 C+ C7 k% ?% U' @
4) p(1-p) 的最大值应该是1/4, 由于大白本的答案有勘误，大家纠正一下．) G. @# T) C1 w2 M
15)截距的问题，这个问题似乎大家公开讨论很久了，截距应该是有正负的，所以算出来截距为-1/2 答案为B
7 B$ ?4 t* R- T+ p* Y# a, w! T/ P$ ^( `6 T
V问题最多的是填空题: 2 S" X' E5 _. E: [* a
2. Because of the excellent preservation of the fossil,anatomicaldetails of early horseshoe crabs were ---- for the firsttime, enablingexperts to ---- the evolution of the horseshoe crab.3 q Y) [* R" N L/ ~) t& J) K
(A) scrutinized...ensure
$ F' A: s Y$ X& r% J, i5 Y* E(B) verified...advance
8 G+ [$ n/ i2 m* P% l(C) identified...distort5 t6 {+ I1 {, A
(D) obscured...illustrate' F% N, }2 M9 d3 y( \
(E) clarified...reassess# M8 X6 E( D0 j0 O( j8 s
这个题目不难理解,句子逻辑关系也很好把握,问题在于第二个空格的选择上,7 M7 Y9 a6 S5 k$ u9 I; z2 p) Q
这个个人认为应该是搭配问题- J# C) G; }$ T: \
专家的动作和the evolution of the horseshoe crab应该是怎样的？) J$ T/ F8 m" R% @: X
根据逻辑关系，可以排除C和D，剩下的A，B和D怎么分辨？. p+ G2 x% ?# C! V) ?, r
从搭配上来考虑的话，ensure, advance 只能搭配the theory of the evolution of the horseshoe crab
" o0 S9 Q" N8 B. x0 M' y2 ^4 w所以只能选E
) \1 G5 w: ^' H6 `( o8 b! \* ]" O+ W0 {! b3 w) K9 T7 ~- `
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[ 本帖最后由 yavi0517 于 2007-6-6 13:33 编辑 ] |
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