GRE29及答案解析.doc

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1、GRE29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.What Spinoza says of laws is equally true of party-platformsthat those are strong which appeal to reason, but -|_|-which compel the assent both of reason and the common affections of mankind.（分数：1.00）A.worthyB.impregnableC.relevantD

2、.baseE.insupportable2.Several surgeons cautioned against -|_|-the new procedure, -|_|-that patients had been kept in the dark too long about its possible catastrophic consequences.（分数：1.00）A.eschewing . ponderingB.adopting . complainingC.publicizing . addingD.revising . advocatingE.administering . f

3、orgetting3.The teacher has -|_|-catering to some students, but to retain his tenure, which effects only after a teacher has unanimously gratified his students, he offers his complaints -|_|-（分数：1.00）A.a hesitancy about . carelesslyB.an aptitude for . sparinglyC.a repugnance toward . tactfullyD.an en

4、thusiasm about . zealouslyE.a blitheness about . carefully4.It is clear that many institutional investors once voted -|_|-; now after so many scandals, some managers admit that they should have done more to -|_|-corporate excesses.（分数：1.00）A.imprudently . curbB.insolently . insinuateC.intelligently

5、. observeD.precariously . exposeE.insensitively . brook5.In view of the fact that his enemies knew him as cheerful, his allies exhorted him, as a matter of self-preservation, to -|_|-himself as taciturn.（分数：1.00）A.disguiseB.transformC.admitD.considerE.recognize6.Almost all recognize that non-scienti

6、sts as well as laymen are interested in sciences, yet scientists have been trying to classify only those who are involved in -|_|-scientific practices as genuine scientists, -|_|-the more inclusive view.（分数：1.00）A.authentic . articulatingB.rigorous . unconvinced ofC.specialized . sympathetic toD.bro

7、ad . certain ofE.democratic . rejecting7.It is the mark of an educated mind to rest -|_|-with the degree of precision which the nature of the subject -|_|-and not to seek exactness where only an approximation is possible.（分数：1.00）A.satisfiedly . admitsB.convivially . assumesC.fitfully . allowsD.cont

8、entedly . rejectsE.sporadically, entails二、SECTION 2(总题数：1，分数：1.00)McClarys position, concerning the process by which music 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 trac

9、ed narratives of power and sexual differences in sonata forms by mapping the gendered terms in which theorists have described them onto pieces which variously appear to enact or resist such constructions. Rieger has likewise traced the inchoate differentiation of musical affects by gendered characte

10、rs in late-eighteenth-century opera, and charted their much heightened divergence in contemporary film music. Both of these 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

11、composers “practical consciousness“ of how musical expression works within his or her culture. This conception permits music 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 right

12、ly argue that it carries an extreme risk: it is all too easy for this approach to re-inscribe the values it would aim to 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

13、an overinterpretation, though unless we limit our focus to some extreme of the avant-garde, we must concede that some kind 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

14、 interpretational frameworks, imposed on music from the outside. Treitler describes the way in which scholars from the eighteenth 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 p

15、roject of Western cultural supremacy, and not to any immanent musical characteristics of the actual chants. We may make the 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 p

16、osition is weaker than McClarys in an explanatory capacityit cannot use social values to account for why a piece was written 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 a

17、nd well-loved music with new and arguably more positive values. Hence, it is more attractive for the development of a politically responsible critical strategy, though even in this respect, the position is not without shortcomings, most of which become apparent when we examine the relationship betwe

18、en musical material and cultural meaning. （分数：0.98）(1).The author considers the metaphors of masculinity and femininity we 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

19、 but unnecessary for the enjoyment of these pieces of music by most listenersC.evidence that socially-grounded codes are 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.evide

20、nce for a fundamental difference between the music of the avant-garde and more traditional varieties(2).The author implies 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

21、the time of its composition than does contemporary film musicB.contain gender affects incipiently, whereas contemporary film 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 en

22、act nor resist the gender constructions which have traditionally applied to the sonata formE.provides a more critically accessible 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

23、an innovative new approach to analyzing the source of gender codes in musicB.an essay describing broad trends in the practice 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

24、the avant-gardeE.an article supplying reasons why the critic is just as important as the composer in establishing the gendering 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 stra

25、tegies that allows listener to perceive their original contextB.evidence of the musical supremacy of Western musical culture in virtue of their interesting use of gender metaphorsC.wholly devoid of immanent musical characteristics, including but not limited to genderD.usually given interpretations t

26、hat reveal more about the mindset of musical critics throughout history than the compositions themselvesE.incapable of being 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.Ha

27、s the theory of musical codes inherent to musical composition allowed us to incorporate cultural contexts in criticism?B.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

28、any sort of risk?D.What are the substantive differences between the ways that Roman and Gregorian musical chants employ gender 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 st

29、ems from a composers “practical consciousness“ of how musical expression works with -|_|-.（分数：0.14）A.serious cautionB.strong 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 aut

30、hor is that it -|_|-.（分数：0.14）A.tends to deny that some kind of contrast between masculinity and femininity will inevitably 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-inscri

31、bes models of gender difference for the most part identical to those it seeks to critiqueD.pays closer attention to avant-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 genderi

32、ng of musicWhile examination of Eisenstein s work has yielded better understandings of film theory, such attention is rarely granted to the work of his successors. Even within the comparatively specialized field of film studies, these films remain largely ignored; they are discussed in a reductive a

33、nd superficial manner when taught, typically valued solely for rejecting or contesting Hollywood norms, trivializing movements sorely in need of rejuvenation, and given the economic situation of independent film production, such ignorance generates a destructive cycle of neglect and ignorance. The s

34、takes involved in naming Eisenstein as the model of the modernist film project are especially fraught since the values implicit in such a decision help determine the availability of entire bodies of radical film. One deleterious result of applying the “Eisenstein standard“ has been to make it easier

35、 than ever to remain ignorant of experimental film forms, which can uniformly be extolled as “transgressive“ or “deconstructive“ without serious engagement. （分数：-1.00）(1).According to the passage, which of the following is true about the films that continued Eisensteins filmmaking tradition?（分数：-0.2

36、5）A.They tend to trivialize the Eisenstein movement by rejecting Hollywood norms.B.Although they have not been taught frequently, they have had a transgressive influence on experimental film-making.C.Their availability has been diminished by the apotheosis of Eisenstein as their model.D.These films

37、are valued for the challenge they have presented to the norms of Hollywood film.E.These films would almost certainly be more popular with mainstream(2).Which of the following is most analogous to the fate that the experimental films, described above, have received as a result of their association wi

38、th Eisensteins work?（分数：-0.25）A.A lesser-known author is discovered to have influenced a more famous one, and his works are rescued from anonymity.B.An experimental artistic tradition falls into decline as a result of its practitioners adopting the idiom of a more popular one.C.A popular composers o

39、euvre is held up as the epitome of the genre, so that music critics praise his pupils work without bothering to listen to it.D.The interest in an archeological method diminishes over time, largely out of the failure of its inventor to generate new results.E.A painter rebels against the advice of her

40、 teacher, after critics observe that her own work is indistinguishable from his.(3).The author of the passage suggests that which of the following is true of the practice of establishing the “Eisenstein standard“ as a model of modernist films?（分数：-0.25）A.While the standard is daunting and rarely ach

41、ieved, it nevertheless raises the overall standard of art making in a positive fashion.B.It is a risky position for a critic to take, given that Eisensteins films are consistently inferior to those of his imitators.C.This practice has the unfortunate effect of establishing which films will be noted

42、and which ignored in the future, without regard to merit.D.On the balance it is a wise practice, as it maintains interest in Eisenstein s imitators who would otherwise go forgotten.E.It has the effect of ameliorating the transgressive or controversial reputation of experimental film.(4).The passage

43、implies that the present “economic situation of independent film production and distribution“ is_.（分数：-0.25）A.thriving but threatenedB.secure but inertC.moribund but recoveringD.penurious and in need of helpE.salubrious but unpredictable四、SECTION 3(总题数：9，分数：9.00)8.TERSE: SUPERFLUITY : :（分数：1.00）A.la

44、conic: intelligenceB.austere: adornmentC.ascetic: rejuvenationD.gradual: transformationE.incredulous: suspicion9.EPIDERMIS: MAMMAL（分数：1.00）A.cheese: hotdogB.feathers: birdC.mattress: couchD.halo: starE.tuber: trunk10.SINFULNESS: PECCADILLO : :（分数：1.00）A.depravity: distortionB.solicitude: apprehensio

45、nC.paucity: vacuityD.criminality: misdemeanorE.stimulation: incitement11.APOSTROPHE: OMISSION : :（分数：1.00）A.ellipsis: commentaryB.parenthesis: clarificationC.synopsis: documentD.colon: attentionE.period: digression12.PREVARICATE: TRUTH : :（分数：1.00）A.expound: incoherenceB.invent: exculpationC.involve

46、: disclosureD.equivocate: commitmentE.substantiate: fabrication13.DRAFT: CONSCRIPT : :（分数：1.00）A.levy: laborerB.subpoena: witnessC.employ: staffD.induce: sheriffE.select: member14.AGENDA: MEETING : :（分数：1.00）A.itinerary: journeyB.academy: didacticsC.band: soundD.raffle: gambleE.highway: conveyance15

47、.PERFIDY: LOYAL : :（分数：1.00）A.exorbitance: moderateB.perjury: ardentC.affection: faithfulD.precision: accurateE.loathing: comely16.LOUTISH: GRACE : :（分数：1.00）A.banal: reparteeB.selfish: egoC.comely: hatredD.fiendish: impatienceE.retentive: memory五、SECTION 4(总题数：11，分数：11.00)17.PROPAGATION:（分数：1.00）A.

48、permeationB.exposureC.eradicationD.orderE.mimic18.INFLATE:（分数：1.00）A.gatherB.perceiveC.reviewD.minimizeE.restrain19.LACONIC:（分数：1.00）A.obdurateB.unableC.happyD.garrulousE.blatant20.GARRULITY:（分数：1.00）A.reticenceB.passivityC.basenessD.dependabilityE.patience21.DISPATCH：（分数：1.00）A.dislikeB.cbliviousnessC.peacefulnessD.abnormalityE.unhurriedness22.CLINCH:（分数：1.00）A.obscureB.split randomlyC.coddleD.evoke suspicionE.awaken23.PATHOLOGICAL:（分数：1.00）A.normalB.sharpC.sufficientD.erraticE.provisional24.AVER:（分数：1.00）A.refuteB.comfortC.assistD.bolsterE.gather25.FORESTALL:（分数：