[外语类试卷]GRE（VERBAL）模拟试卷4及答案与解析.doc

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1、GRE（ VERBAL）模拟试卷 4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 who

2、le. 1 The hostile epistolary of that choleric politician were larded with _ sympathy, strained sarcasm or pure spite. （ A） plangent （ B） ersatz （ C） acerbic （ D） keen （ E） erstwhile 2 His government may have appeared to have whitewashed its tone, if not its message, over the weekend, in order to _ p

3、ublic concern. （ A） demonstrate （ B） mollify （ C） proclaim （ D） aggravate （ E） coerce 3 Adams was so _ that his friends did not bother to _ him, because they presupposed that he would pay scant attention. （ A） obstinate infuriate （ B） obedient refute （ C） refractory provoke （ D） intractable remonstr

4、ate （ E） bizarre palliate 4 Henry James was to some degree interested in voyeuristically exploring his characters psychologies, though he was _ this enterprise less by _ than by sympathy. （ A） seduced into affection （ B） impelled to curiosity （ C） goaded into loath （ D） discouraged from apathy （ E）

5、intrigued by self -pity 5 As has always been the case when tragedy has struck our community, the people of our town feel the obligation, and rightly so, to _ in support of the victim and his family. （ A） entrench （ B） rally （ C） disseminate （ D） convoke （ E） apologize 6 The Court had made clear that

6、 the Federal Government is one of _ and enumerated powers, and thus none of them allow the government to _ its citizens legal rights in their own jurisdictions. （ A） limited abrogate （ B） special contain （ C） judicial question （ D） essential challenge （ E） expansive rescind 7 While we may be interes

7、ted in the possibilities of social harmony and individual fulfillment that may be achieved through nontraditional education, one cannot help being _ about accepting any such program as a _ the worlds ills. （ A） concerned warning of （ B） cautious panacea for （ C） fastidious prescription for （ D） reti

8、cent renovation of （ E） agitated postscript to SECTION 2 Directions: In each of the following questions, a related pair of words or phrases is followed by five lettered pairs of words or phrases. Select the lettered pair that best expresses a relationship similar to that expressed in the original pa

9、ir. 8 METEOROLOGY: WEATHER ： （ A） cosmology： atmosphere （ B） seismology： earthquake （ C） alchemy： chemistry （ D） phonetics： language （ E） mythology： narrative 9 GAFFE: DECORUM： （ A） feint： combat （ B） trick： perception （ C） dogma： dissent （ D） gaucherie： urbanity （ E） hyperbole： presentation 10 CONT

10、RACT: AGREEMENT ： （ A） suspension： struggle （ B） work： allegiance （ C） subpoena： writ （ D） feat： lawyer （ E） license： property 11 CAULK: LEAKAGE ： （ A） water： aqueduct （ B） lubricate： friction （ C） press： attachment （ D） banish： betrayal （ E） vent： condensation 12 SAVE: HOARD ： （ A） leave： abscond （

11、 B） elude： ensnare （ C） ameliorate： enhance （ D） tumble： balance （ E） exhaust： absorb 13 ATTENTIVE: METICULOUS ： （ A） pleased： ecstatic （ B） buoyant： obstinate （ C） busy： occupied （ D） persistent： daunted （ E） curious： inquisitive 14 INVENTORY: GOODS ： （ A） census： inhabitants （ B） ballot： incumbent

12、s （ C） manifesto： obligations （ D） agenda： meeting （ E） roster： employers 15 PODIATRIST: FEET ： （ A） ecologist： bionomy （ B） pathology： treatment （ C） neurologist： psychology （ D） neonatologist： infants （ E） botany： fern 16 DRAFT: CONSCRIPT ： （ A） levy： laborer （ B） subpoena： witness （ C） employ： st

13、aff （ D） induce： sheriff （ E） select： member SECTION 3 Directions: Each passage in this group is followed by questions based on its content. After reading a passage, choose the best answer to each question. Answer all questions following a passage on the basis of what is stated or implied in the pas

14、sage. 17 Hitherto, there is no evidence yet that would definitively prove whether or not some dinosaurs were warm-blooded, but scientists have begun to investigate oxygen isotopic abundances in the annual growth bands of teeth or bones of high latitude, hence seasonally influenced, terrestrial dinos

15、aurs. The ratio of oxygen (5) isotopes depends on temperature, and an absence of seasonal variations in oxygen 18 a heavy version of the common oxygen 16 atom would strongly suggest that the animals maintained a constant internal temperatures. Such a finding would not, however, constitute “proof“ th

16、at dinosaurs were warm blooded, as there are external mechanisms that cold-blooded animals employ to (10) regulate body temperatures and thereby influence metabolic rates. More nettlesome is that proof would have to come from discovery of intact dinosaur remains in which the soft tissue had not been

17、 replaced or altered, and from which the biomolecules responsible for thermoregulation could be extracted identified and characterized. Such a proof is unlikely, as it would require an (15) almost impossible level of preservation over 65 million years, plus the advent of biotechnology that does not

18、yet exist. 17 The authors primary purpose is to （ A） answer a theoretical question in the field of dinosaur thermoregulation （ B） discuss the current state of research in the field of dinosaur thermoregulation （ C） resolve a dispute in the field of dinosaur thermoregulation research （ D） predict a f

19、uture crisis in the field of dinosaur thermoregulation research （ E） suggest some of the possible benefits of a technique in dinosaur thermoregulation research 18 According to the passage, the most severe problem currently facing scientists in conclusively determining whether certain dinosaurs were

20、warm-blooded is （ A） proving that thermoregulation is the primary means by which metabolic rates are influenced （ B） developing a way of distinguishing between oxygen 18 and oxygen 16 （ C） showing that an absence of seasonal variation in oxygen 16 implies a constant internal temperature （ D） finding

21、 a sample of dinosaur tissue which has survived 65 million years in a relatively intact form （ E） determining which species of dinosaurs were most likely to be warm-blooded, and focusing research there 19 The passage suggests which of the following about the hypothetical discovery of an absence of s

22、easonal variations in oxygen 18 molecules? . It would not prove that certain dinosaurs were capable of regulating their temperatures internally. . One likely source of such a discovery would come from annual growth bands of dinosaur teeth. . The fact that no biotechnology yet exists to elucidate the

23、rmoregulation biochemistry proves such a discovery is impossible. . The discovery would be profound, because oxygen 18 is only found in fossil records where there is seasonal variation. （ A） and only （ B） and only （ C） and only （ D） and only （ E） , , and only 20 The author refers to “external mechan

24、isms“ primarily in order to （ A） suggest that a biochemical analysis of dinosaur thermoregulation might be a waste of time （ B） suggest that other means than warm-bloodedness may account for evidence of dinosaur thermoregulation （ C） explain why scientists are interested in looking for an absence of

25、 seasonal variations in oxygen 18 traces （ D） suggest that metabolic rates, not warm-bloodedness, may have been the key factor in certain dinosaurs survival （ E） imply that other factors beside temperature may dictate the ratio of oxygen isotopes 21 The distinction between making art and thinking an

26、d writing about it should imply neither a mutual exclusiveness nor a hierarchic differentiation of these processes. Leonardo demonstrated that producing art and theorizing about it need not be antithetically opposed activities and that meaningful contributions (5) can be achieved successfully in mor

27、e than one field. Inexplicably, few theorists have built as memorable architectural structures as his and even fewer artists have been entrusted with the directorship of an influential art institution. Unfortunately, as theory and practice became more specialized in the modern era and their operatio

28、nal framework clearly defined both in the cultural milieu (10) and the educational process, their independent paths and boundaries have curtailed possibilities of interaction. The creations of categories and divisions have further emphasized highly individualized idiosyncrasies and, by exposing diff

29、erences, diminished the value of a unifying artistic vocabulary. The transformative cultural process of the last decades has critically examined the (15) artificial separations between theoretical and studio practices and disclosed viable connections between making, writing, thinking, looking and ta

30、lking about art. The recent dialogue between the various components of the artistic discourse has recognized the common denominators shared by theoretical analyses and artistic production, one of which is clearly exposed by the (20) argument that the central objective of the theorist and artist is t

31、o unmask and understand artistic meanings in painting or text. The notion that “true“ art is the product of individuals who are incapable of in-depth understanding, in stark contrast to erudite, restrained and controlled scholars, is an outdated model. The assumption that artists make art but cannot

32、 (25) or do not have to talk or write about it and that theorists rarely know anything about the creative process, has been consistently refuted by the many texts written from Leonardo da Vinci to Mary Kelly. Even van Gogh, a martyr of the stereotypical “misunderstood genius,“ whose artistic career

33、has been distorted by scores of films and books, wrote with lucidity and insight about art and his (30) work. Apparently, the “mystery“ of the creative process, jealously protected by artists but also selectively cultivated by some art historians has been both a fascination and frustration for those

34、 extrinsic to the process and artists have exposed the intimacy of creativity while acknowledging the role of cognition in creativity. (35) Even the ironic and subversive demise of authorship of the post-modern and electronic age acknowledges, at least indirectly, the value of the artists individual

35、 participation. However, many contemporary artists have abandoned the hierarchic segregation of the inner realm of the creator and, by combining theoretical and studio practices, brought a reconciliatory tone to the processes (40) of making art and analyzing it. Their works, which are often simultan

36、eously artistic productions and critique of the artistic discourse, make use of visual and textual forms to expose the connection between looking and thinking as the essential attribute to both creating and understanding art. 21 According to the passage, the specialization of art and theory has tend

37、ed to （ A） reduce the level of control artists have over artistic institutions （ B） increase the usefulness of creating a unifying artistic vocabulary （ C） permit a greater level of development of knowledge concerning both （ D） curtail interactions and establish false boundaries between the two fiel

38、ds （ E） complicate the educational process of artists in an unfortunate manner 22 It can be inferred from the passage that prior to the modern era artistic practice was regarded as （ A） a hermetic field without potential for collaboration, given that it was almost exclusively populated by “misunders

39、tood geniuses“ （ B） a field less isolated from the practice of critical analysis than the artistic process of the present era （ C） more meaningful and useful as a self-critical force than the aesthetic judgments of non-artists, especially art historians （ D） primarily concerned with the masking and

40、concealment of artistic meanings from the general public （ E） seldom times as specialized as the various branches of science from which art has traditionally been distinguished 23 The passage suggests that the mystification of the artistic process by certain art historians and artists can be traced

41、to （ A） the necessity of protecting artistic meaning from a general public who would most likely misunderstand and object to it （ B） an unconscious tendency of non-artists to lionize those artists whom the public admires but fails to understand （ C） a desire to protect and maintain the isolation bet

42、ween those who make art and those who analyze it, so as to reinforce the creative/critical distinction （ D） a movement to expunge the challenging texts of dual artist/critics like Leonardo da Vinci and Mary Kelly from the critical canon （ E） a distinction between the methodology of scholars, who ten

43、d to be erudite, and that of artists, who are more intuitive in their thinking processes 24 The passage suggests that the post-modernist relegation of an artworks author to a minor and irrelevant post （ A） has resulted in a greater embrace of art forms that are sometimes wholly electronic （ B） has f

44、ailed to entirely counter the notion that art-making originates at some point with an individual （ C） has enabled artists to demonstrate the visual and textual connections between art and art criticism （ D） has tended to increase the intimacy of creation at the expense of the cognition of artists （

45、E） has tended to subtly reinforce the ways in which artists are perceived as martyrs 25 The authors primary purpose in mentioning van Gogh is most likely to （ A） cite the case of an artist whose intention was to increase the mystification of the artistic process （ B） discuss an artist whose life has

46、 been consistently distorted by biographers and filmmakers （ C） give an example of an artist depicted as incapable of comprehending his own art work but able to do so in fact （ D） provide an instance of an artist whose work can scarcely be understood without the assistance of art critics （ E） mentio

47、n the example of an artist whose critical faculties were rightly overshadowed by his artistic abilities 26 Which of the following persuasive devices is NOT used in the passage? （ A） An example of an artist whose work critics misunderstand （ B） The contrast of different points of view （ C） The repeti

48、tion of key ideas and expressions （ D） A mention of the most recent trends in art-making （ E） Evaluative or judgmental words 27 Which of the following best states the authors main point about artists who have abandoned the hierarchical distinction between art and theory? （ A） Theirs is a sterile, ab

49、stract practice, unlikely to produce few lasting works. （ B） They have demonstrated that critics are less important to the art-making process than the public commonly believes. （ C） They have laudably focused their energy on exposing the extent to which theory informs their own practice. （ D） They have, to the detriment of their work, lost track of inner realm of the creator. （ E） They have demonstrated a positive alternative to critics who have