1、GRE4及答案解析(总分：26.98，做题时间：120 分钟)一、PART ONE （Time：30(总题数：7，分数：7.00)1.Because many of the blacklists in the communications and entertainment industries were secret, the number of playwrights, script writers, novelists, and journalists who were -|_|-to stop writing permanently is -|_|-.（分数：1.00）A.happy
2、. astoundingB.forced . unknownC.unafraid . impressiveD.inclined . unsurprisingE.remiss . inconceivable2.In the business world, there is great antagonism over the high level of insecurity and corruption that result from bureaucracy s -|_|-ways, and a feeling that it would unfortunately be -|_|-to ref
3、orm them.（分数：1.00）A.dilatory . futileB.methodical . difficultC.efficient . dangerousD.malingering . antitheticalE.repugnant . obtuse3.Ancient people felt much -|_|-concerning the notion that the appearance of comets was inauspicious, but nevertheless exhibited -|_|-concerning the proper reaction to
4、the phenomenon.（分数：1.00）A.conviction . apprehensionB.apathy . ignoranceC.disparity . discordD.consensus . disagreementE.suspicion . hesitancy4.Adams was so -|_|-that his friends did not bother to -|_|-him, because they presupposed that he would pay scant attention.（分数：1.00）A.obstinate infuriateB.obe
5、dient refuteC.refractory provokeD.intractable remonstrateE.bizarre palliate5.With a smirk, the -|_|-historian takes it as a professional obligation to parade human nature always as an object of -|_|-.（分数：1.00）A.puerile . dignityB.sardonic . mockeryC.diligent . studyD.practiced . distrustE.veteran .
6、reproach6.A rhetorician who spends so much of his time studying the famous -|_|-of logic is more than likely to produce a few self-evident statements of his own.（分数：1.00）A.self-knotsB.paradoxesC.twistsD.tautologiesE.platitudes7.Regardless of the -|_|-he evinces, especially when articulating his purp
7、ortedly innate affinity for tennis, he is nevertheless a less than -|_|-player once actually the court.（分数：1.00）A.passion . sanguineB.disapprobation . mediocreC.alacrity . pliantD.vivacity . vitiatedE.torpor . ebullient二、SECTION 2(总题数：1，分数：1.00)McClarys position, concerning the process by which musi
8、c is gendered as masculine or feminine, is that socially-grounded codes are “composed into“ the music, that they are immanent to the text, there to be discovered. McClary has traced narratives of power and sexual differences in sonata forms by mapping the gendered terms in which theorists have descr
9、ibed them onto pieces which variously appear to enact or resist such constructions. Rieger has likewise traced the inchoate differentiation of musical affects by gendered characters in late-eighteenth-century opera, and charted their much heightened divergence in contemporary film music. Both of the
10、se approaches share a common assumption of a degree of awareness of such gendered codes at the point of composition, an awareness which, if not fully reflective, at least shows a composers “practical consciousness“ of how musical expression works within his or her culture. This conception permits mu
11、sic to participate fully in cultural processes, thereby allowing us to bring cultural contexts to bear in our explanatory models of musical styles and forms, but its critics rightly argue that it carries an extreme risk: it is all too easy for this approach to re-inscribe the values it would aim to
12、critique. We may accuse McClary of adopting the very stereotypes she deplores, and similarly we may regard her identification of musical difference with cultural difference to be an overinterpretation, though unless we limit our focus to some extreme of the avant-garde, we must concede that some kin
13、d of contrast between masculinity and femininity will always exist in any music. It is perhaps best to argue the possibility that such gender metaphors are merely functions of our interpretational frameworks, imposed on music from the outside. Treitler describes the way in which scholars from the ei
14、ghteenth to the twentieth centuries have differentiated between Old Roman and Gregorian chant repertories in gendered terms, and argues that these metaphors relate entirely to a project of Western cultural supremacy, and not to any immanent musical characteristics of the actual chants. We may make t
15、he same point about all repertories: gender is encoded not in the music, but in the critical language we use, much like Pigmalions chisel, to bring the music to life. While this position is weaker than McClarys in an explanatory capacityit cannot use social values to account for why a piece was writ
16、ten the way it was rather than any other, aesthetically speaking-its value is ultimately greater in that it allows us to develop fresh listening strategies which invest familiar and well-loved music with new and arguably more positive values. Hence, it is more attractive for the development of a pol
17、itically responsible critical strategy, though even in this respect, the position is not without shortcomings, most of which become apparent when we examine the relationship between musical material and cultural meaning. （分数：0.98）(1).The author considers the metaphors of masculinity and femininity w
18、e associate with certain pieces of music to be -|_|-.（分数：0.14）A.external to the music, imposed in most cases by the interpretational criteria of critics and listenersB.interesting but unnecessary for the enjoyment of these pieces of music by most listenersC.evidence that socially-grounded codes are
19、composed into music, and not simply the product of interpretationD.a means by which familiar and well-loved music can be invested with new and arguably more positive valuesE.evidence for a fundamental difference between the music of the avant-garde and more traditional varieties(2).The author implie
20、s that late-eighteenth-century opera differs from contemporary film music in that late-eighteenth-century opera -|_|-.（分数：0.14）A.relied more heavily on gender codes in fashion at the time of its composition than does contemporary film musicB.contain gender affects incipiently, whereas contemporary f
21、ilm music contains them in a more salient formC.evidences a deeper “practical consciousness“ of how musical expression works than contemporary film music doesD.tends neither to enact nor resist the gender constructions which have traditionally applied to the sonata formE.provides a more critically a
22、ccessible framework for mapping gender codes than contemporary film music does(3).The passage would be most likely to appear as part of -|_|-.（分数：0.14）A.a book review summarizing an innovative new approach to analyzing the source of gender codes in musicB.an essay describing broad trends in the prac
23、tice of musical criticismC.a textbook on the application of new critical methods to older forms of musicD.a report to musicologists on the relationship between gendered music and the avant-gardeE.an article supplying reasons why the critic is just as important as the composer in establishing the gen
24、dering of a piece of music(4).The passage states that Old Roman and Gregorian chant repertories are -|_|-.（分数：0.14）A.less praiseworthy because of the absence of new listening strategies that allows listener to perceive their original contextB.evidence of the musical supremacy of Western musical cult
25、ure in virtue of their interesting use of gender metaphorsC.wholly devoid of immanent musical characteristics, including but not limited to genderD.usually given interpretations that reveal more about the mindset of musical critics throughout history than the compositions themselvesE.incapable of be
26、ing explained, aesthetically speaking, by any form of musical criticism(5).The passage supplies information for answering all of the following questions EXCEPT -|_|-.（分数：0.14）A.Has the theory of musical codes inherent to musical composition allowed us to incorporate cultural contexts in criticism?B.
27、Does the notion that gender metaphors are functions of interpretational frameworks carry any shortcomings?C.Does McClarys theory of the immanence of gender in musical codes carry any sort of risk?D.What are the substantive differences between the ways that Roman and Gregorian musical chants employ g
28、ender codes?E.In which musical forms, besides late-nineteenth-century-opera, has gender difference in musical codes been observed?(6).The author regards the idea that gendering stems from a composers “practical consciousness“ of how musical expression works with -|_|-.（分数：0.14）A.serious cautionB.str
29、ong indignationC.marked indifferenceD.moderate amusementE.sharp derision(7).The author implies that an advantage of McClarys form of musical criticism over that favored by the author is that it -|_|-.（分数：0.14）A.tends to deny that some kind of contrast between masculinity and femininity will inevitab
30、ly exist in any musicB.employs social values to account for the aesthetic choices involved a pieces composition more efficiently than the theory advocated by the authorC.re-inscribes models of gender difference for the most part identical to those it seeks to critiqueD.pays closer attention to avant
31、-garde music that may form the model for non- gendered musical formsE.carries assumptions that for the basis of a more politically responsible strategy for criticizing the gendering of musicEconomics can render service in the area of exchange, but its tools find less purpose when applied to paradigm
32、s dominated by alternative models of transactions and social relationships. In small groups gift-giving is substituted Line for the role of exchange, which entails obligation: people receiving gifts are expected to reciprocate in the future and this reciprocity binds small groups together, whereas e
33、xchange rarely does so. Two people exchange only when both benefit, neither incurring a social obligation as a result, and where social obligations exist, exchange may not work well. Exchange nevertheless allows for extremely complex interactions among strangers: when employing a product, a consumer
34、 benefits from the efforts of hundreds of anonymous people who have contributed to that commodity. Such analysis also has its limits in the case of an area such as government, for economics seeks regularities in social life, which are more likely to occur when no one individual has an appreciable ef
35、fect on the group.（分数：-1.00）(1).Which of the following might serve as the most appropriate title for the passage?（分数：-0.25）A.Small Groups and Governments, A Comparison of Two Economic MethodsB.Social Obligation and the Consumer: A Case StudyC.Regular vs. Irregular Systems in EconomicsD.The Comparati
36、ve Strength of Economics in Various AreasE.The Triumph of Analysis in Economic Theory(2).It can be inferred from the passage that economic theory as it presently stands would most likely apply to which of the following situations?（分数：-0.25）A.A parliamentary system, where senior members vote by secre
37、t ballot.B.An arts guild, where voting authority is determined by the level of skill at a craft.C.A fan club, where a president elects other members of the club.D.A board of trustees group, where all members vote to make company decisions.E.A monarchy, where a king consults his vassal lords before m
38、aking decisions.(3).According to the passage, the dynamics of small group economies differ from those of large group economies in that_.（分数：-0.25）A.the members of small groups tend to have a greater degree of social regularity than the members of large groupsB.people in small groups carry an advanta
39、ge in the arena of exchange because they are tied by social obligationC.the manufacturer of a commodity in a small group economy is more likely to be known by the members of the groupD.the people who contribute to the production of a gift are less essential to small groups than those who exchange co
40、mmodities are in large groupsE.a system of social obligation diminishes the number of parties necessary to a gift-giving transaction(4).Which of the following best describes the organization of the passage?（分数：-0.25）A.A description of a problem in one area of economics, followed by a revision of the
41、 description for two other areas.B.A description of a problem in one area economics, followed by a successful counter-example, then the description of a problem in a second area.C.A description of the successful application of economics to one subject, followed by a description of its limitations in
42、 two other areas.D.A description of one area Of economics, whose problems are compared with those of two other areas of economics.E.A critical distinction between problems in two separate areas of economics.四、SECTION 3(总题数：9，分数：9.00)8.SPEAK: DRAWL : :（分数：1.00）A.eat: sipB.run: canterC.lament: sighD.g
43、ain: coverE.look: glance9.MAWKISH: SENTIMENTAL : :（分数：1.00）A.nolsy: cacophonousB.convivial: undemonstrativeC.acerbic: piquantD.abundant: fulsomeE.cloying: sweet10.CREDULOUS: GULLIBLE : :（分数：1.00）A.didactic: onerousB.adventurous: pusillanimousC.yielding: servileD.sycophantic: adulatoryE.assiduous: va
44、in11.CHAUVINIST: PATRIOTISM : :（分数：1.00）A.mimic: humorB.philosopher: idealC.instrumentalist: activityD.skinflint: thriftE.tactician: brilliance12.WARNING: ADMONITORY : :（分数：1.00）A.decision: ambiguousB.alibi: exculpatoryC.deformity: congenitalD.stratagem: antagonisticE.analysis: holistic13.ABSTAIN: S
45、ENSUALIST : :（分数：1.00）A.covet: stoicB.gull: lawyerC.adjust: apostateD.challenge: mutineerE.gorge: benefactor14.PERFECT: STIGMA : :（分数：1.00）A.misleading: deceptionB.paradigmatic: deviationC.solvent: contaminationD.impervious: immunityE.endurable: delicacy15.BREVITY: EPIGRAM : :（分数：1.00）A.pith: epitap
46、hB.wit: odeC.paucity: diatribeD.fame: aphorismE.distortion: caricature16.ENDORSE: APPROVAL: :（分数：1.00）A.insult: sufferingB.commence :journeyC.contribute: revenueD.transmit: waveE.enchant: magic五、SECTION 4(总题数：11，分数：11.00)17.TEETOTALISM:（分数：1.00）A.patriotismB.bigotryC.overindulgenceD.tendencyE.broadm
47、indedness18.SURCHARGE:（分数：1.00）A.discountB.declineC.deficiencyD.responsibilityE.underperformance19.OBDURATE:（分数：1.00）A.inefficientB.candidC.dishonestD.expressiveE.complaisant20.CHARY:（分数：1.00）A.dirtyB.aloofC.quickD.miserlyE.brave21.LIST:（分数：1.00）A.oscillateB.slipC.be horizontalD.be verticalE.be inve
48、rted22.FACILITATE:（分数：1.00）A.gripB.secreteC.sanctifyD.impedeE.hurdle23.DOFF:（分数：1.00）A.practiceB.grasp firmlyC.conceal covertlyD.donE.demolish24.ABERRANT:（分数：1.00）A.accurateB.alluringC.prognosticD.pleasurableE.standard25.POSTURE:（分数：1.00）A.demand randomlyB.act normallyC.detail meticulouslyD.advertise broadlyE.tread awkwardly26.FERROUS:（分数：1.00）A.magneticB.rustyC.with no ironD.hydratedE.non-reactive27.BANALITY:（分数：1.00）A.creative statementB.complex analysisC.unprepared declarationD.pithy explanationE.precise representationGRE4答案解析(总分：26.98，做题时间：120 分钟)一、PA
