[外语类试卷]GRE（VERBAL）模拟试卷30及答案与解析.doc

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1、GRE（ VERBAL）模拟试卷 30及答案与解析 SECTION 1 Directions: Each sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five lettered or sets of words. Choose the word or set of words for each blank that best fits the meaning of the sentence as a wh

2、ole. 1 The prevailing view of archeologist is that the last_copy of the biblical apocrypha was found at the Alexandrian library, as all other copies of the text had been destroyed. （ A） literary （ B） scholarly （ C） aboriginal （ D） extant （ E） duplicitous 2 The development of these gene technologies

3、may be far in the future, but the moral and social issues raised by them should be discussed_, for once a technology has been_, it may be difficult to stop or control. （ A） democratically freed （ B） presently invented （ C） summarily contested （ D） seriously veiled （ E） hesitantly ignored 3 As the wo

4、rld has moved into a scientific age, the origin of herbal medicine in many countries remains shrouded in mystery and often sounds fantastic to those modern science. （ A） trained in （ B） averse to （ C） unprepared for （ D） beholden to （ E） neutral toward 4 There is another kind of spiritual sacrifice

5、as well, quieter and less celebrated, but just as remarkable: that of making each day, in its most_aspects-cooking, eating, breathing _the absolute. （ A） necessary a panegyric for （ B） quotidian an oblation to （ C） prehensile a sacrifice to （ D） prosaic an independence of （ E） invidious a paean to 5

6、 They went_, seeking world of codes and shadows: incognito,_, and quietly dissident. （ A） silently conspicuous （ B） painlessly euphemized （ C） guilelessly unknown （ D） obtrusively cunning （ E） slyly incommunicado 6 Were it not for its sturdy clarity, its lurking wit, its homely figuration, its mostl

7、y impeccable grooming and tuning, Mr. Strands poetry might seem on the surface a mere_black shadow. （ A） picaresque （ B） minatory （ C） fungible （ D） pastoral （ E） placid 7 As Socrates was a man of much dignity, with an_face, it was_to say whether he felt inwardly glad that the end had finally come,

8、or felt sad over the result, and was too manly to show it （ A） obtuse difficult （ B） imperturbable elementary （ C） unassuming intriguing （ D） impassible impossible （ E） authoritative challenging SECTION 2 Directions: In each of the following questions, a related pair of words or phrases is followed

9、by five lettered pairs of words or phrases. Select the lettered pair that best expresses a relationship similar to that expressed in the original pair. 8 FORGET : OBLIVION : （ A） attenuate : virulence （ B） discover : relevance （ C） dismiss: speciousness （ D） purify : toxicity （ E） forgo : disuse 9 S

10、HREWD : ACUMEN : （ A） absorbed :emotion （ B） fortunate : opportunity （ C） impetuous : instinct （ D） patronizing : aid （ E） irritable: exasperation 10 SKIT : PLAY : （ A） anecdote : novel （ B） narrative: ode （ C） sonnet : poem （ D） spectacle : kaleidoscope （ E） caricature : travesty 11 FORGE : METAL :

11、 （ A） clinic : medicine （ B） market : stock （ C） mill : wood （ D） plant : van （ E） weaver : silk 12 REPUGNANT : REPEL : （ A） cogent: convince （ B） marvelous: ignore （ C） garish : clothe （ D） sealed : retract （ E） invincible : conquer 13 QUENCH: THIRST : （ A） snore : nap （ B） satiate: hunger （ C） tai

12、l: industry （ D） cramp : wrist （ E） tremble : voice 14 TALK : MUMBLE : （ A） smile : simper （ B） type : paint （ C） chant : speak （ D） dive : drift （ E） stroll : ramble 15 NEUTRALIZATION : ALKALI : （ A） distillation : wine （ B） detoxification : poison （ C） diminishment : absorption （ D） alteration : e

13、mphasis （ E） condemnation : offense 16 CROWD: PEOPLE : （ A） gravel : pebbles （ B） lake: fish （ C） calculator : button （ D） authority : panel （ E） spice : sugar SECTION 3 Directions: Each passage in this group is followed by questions based on its content. After reading a passage, choose the best ans

14、wer to each question. Answer all questions following a passage on the basis of what is stated or implied in the passage. 16 Behavioral psychologists apprehend that conditioned fear responses to a tone previously paired with a shock diminish, if the tone is repeatedly presented without the shock, a p

15、rocess known as extinction. Since Pavlov it has been Line hypothesized that this extinction does not erase conditioning, but forms a new (5) memory. Research has now demonstrated that destruction of the infralimbic cortice blocks recall of fear extinction, indicating that it might store long-term ex

16、tinction memory. Infralimbic neurons recorded during fear conditioning and extinction fire to the tone only when rats are recalling extinction on the following day, and rats indicating the least fear responses also demonstrate the (10) greatest increase in infralimbic tone responses. Conditioned ton

17、es paired with brief electrical stimulation of infralimbic cortex elicit low fear responses in rats that have not undergone extinction. Thus, stimulation resembling extinction- induced infralimbic tone responses is able to simulate extinction memory. 17 According to the passage, behavioral psycholog

18、ists studying the extinction process have discerned which of the following? （ A） The exact length of time required for a fear response to become extinct in a human subject （ B） The effect of tone conditioning in comparison with other forms of stimuli （ C） The possible effects of surgical operations

19、on the infralimbic cortice （ D） The potential of tone conditioning in treating undesirable fear responses （ E） The limits of Pavlovs contribution to modern behavioral psychology 18 It can be inferred that a rat with its infralimbic cortices destroyed would respond which of the following ways to a to

20、ne previously conditioned to induce a fear response? . It would demonstrate fear if extinction had occurred the previous day. . It would demonstrate fear if extinction had occurred earlier than the previous day. . It would demonstrate fear even if extinction had never occurred at all. （ A） only （ B）

21、 only （ C） and only （ D） and only （ E） , , and 19 According to the passage, “infralimbic neurons fire to the tone only when rats are recalling extinction on the following day“ (lines 7-9) for which of the following reasons? （ A） Extinction has not been proven to erase the memory of fear conditioning

22、 in rats. （ B） The extinction response requires a number of days to develop. （ C） The subjects original fear response was not conditioned to a tone. （ D） The infralimbic cortices carry the memory of fear extinction. （ E） Rats that show the least fear demonstrate the greatest increase in infralimbic

23、tone responses. 20 Which of the following most accurately describes the passage? （ A） A description of a replicable experiment （ B） A summary report of new findings （ C） A recommendation for pursuing a new area of research （ D） A refutation of an earlier hypothesis （ E） A confirmation of an earlier

24、research 20 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 Line traced narratives of power and sexual differences in

25、sonata forms by mapping (5) 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 characters in late-eighteenth-century opera, and char

26、ted their much heightened divergence in contemporary film music. Both of these approaches (10) 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 h

27、ow 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 (15) explanatory models of musical styles and forms, but its critics rightly argue that it carries an extreme

28、 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 an over interpretation, though (20)

29、 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 interpretational frameworks,

30、 imposed on music from the (25) 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 project of Western cultur

31、al supremacy, and not to any immanent musical characteristics of the actual chants. We may make the same point about all (30) 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 t

32、han McClarys in an explanatory capacity-it 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 (35) allows us to develop fresh listening strategies which invest familiar and well- love

33、d 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 between musical (

34、40) material and cultural meaning. 21 The author considers the metaphors of masculinity and femininity we associate with certain pieces of music to be （ A） external to the music, imposed in most cases by the interpretational criteria of critics and listeners （ B） interesting but unnecessary for the

35、enjoyment of these pieces of music by most listeners （ C） evidence that socially-grounded codes are composed into music, and not simply the product of interpretation （ D） a means by which familiar and well-loved music can be invested with new and arguably more positive values （ E） evidence for a fun

36、damental difference between the music of the avant-garde and more traditional varieties 22 The author implies that late-eighteenth-century opera differs from contemporary film music in that late-eighteenth-century opera （ A） relied more heavily on gender codes in fashion at the time of its compositi

37、on than does contemporary film music （ B） contain gender affects incipiently, whereas contemporary film music contains them in a more salient form （ C） evidences a deeper “practical consciousness“ of how musical expression works than contemporary film music does （ D） tends neither to enact nor resis

38、t the gender constructions which have traditionally applied to the sonata form （ E） provides a more critically accessible framework for mapping gender codes than contemporary film music does 23 The passage states that Old Roman and Gregorian chant repertories are （ A） less praiseworthy because of th

39、e absence of new listening strategies that allows listener to perceive their original context （ B） evidence of the musical supremacy of Western musical culture in virtue of their interesting use of gender metaphors （ C） wholly devoid of immanent musical characteristics, including but not limited to

40、gender （ D） usually given interpretations that reveal more about the mindset of musical critics throughout history than the compositions themselves （ E） incapable of being explained, aesthetically speaking, by any form of musical criticism 24 The passage supplies information for answering all of the

41、 following questions EXCEPT （ A） Has 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

42、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 gender codes? （ E） In which musical forms, besides late-nineteenth-century-opera, has gender difference in musical codes been observe

43、d? 25 The author regards the idea that gendering stems from a composers “practical consciousness“ of how musical expression works with （ A） serious caution （ B） strong indignation （ C） marked indifference （ D） moderate amusement （ E） sharp derision 26 The author implies that an advantage of McClarys

44、 form of musical criticism over that favored by the author is that it （ A） tends to deny that some kind of contrast between masculinity and femininity will inevitably exist in any music （ B） employs social values to account for the aesthetic choices involved a pieces composition more efficiently tha

45、n the theory advocated by the author （ C） re-inscribes models of gender difference for the most part identical to those it seeks to critique （ D） pays closer attention to avant-garde music that may form the model for non- gendered musical forms （ E） carries assumptions that for the basis of a more p

46、olitically responsible strategy for criticizing the gendering of music 27 The passage would be most likely to appear as part of （ A） a book review summarizing an innovative new approach to analyzing the source of gender codes in music （ B） an essay describing broad trends in the practice of musical

47、criticism （ C） a textbook on the application of new critical methods to older forms of music （ D） a report to musicologists on the relationship between gendered music and the avant-garde （ E） an article supplying reasons why the critic is just as important as the composer in establishing the genderi

48、ng of a piece of music SECTION 4 Directions: Each question below consists of a word printed in capital letters followed by five lettered words or phrases. Choose the lettered word or phrase that is most nearly opposite in meaning to the word in capital letters. Since some of the questions require yo

49、u to distinguish fine shades of meaning, be sure to consider all the choices before deciding which one is best. 28 PATINA: （ A） inherent feature （ B） insignificant scrutiny （ C） coincidental happening （ D） new achievement （ E） unfinished task 29 OCCLUDED: （ A） unhindered （ B） interconnecting （ C） speculated （ D） reduced （ E） prolonged 30 PLUMB: （ A） inspect cursorily （ B） respond precisely （ C） approve （ D） deceive （ E） refrain 31 OBSTINATE