[外语类试卷]湖北省考博英语模拟试卷3及答案与解析.doc

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1、湖北省考博英语模拟试卷 3及答案与解析 一、 Reading Comprehension 0 The National Trust in Britain plays an increasingly important part in the preservation for public enjoyment of the best that is left unspoiled of the British countryside. Although the Trust has received practical and moral support from the Government, i

2、t is not a rich Government department. It is a voluntary association of people who care for the unspoiled countryside and historic buildings of Britain. It is a charity which depends for its existence on voluntary support from members of the public. Its primary duty is to protect places of great nat

3、ural beauty and places of historical interest. The attention of the public was first drawn to the dangers threatening the great old houses and castles of Britain by the death of Lord Lothian, who left his great seventeenth-century house to the Trust together with the 4500-acre park and estate surrou

4、nding it. This gift attracted wide publicity and started the Trusts “Country House Scheme“. Under this scheme, with the help of the Government and the general public, the Trust has been able to save and make accessible to the public about one hundred and fifty of these old houses. Last year about on

5、e and three quarters of a million people paid to visit these historic houses, usually at a very small charge. In addition to country houses and open spaces the Trust now owns some examples of ancient wind and water mills, nature reserves, five hundred and forty farms and nearly two thousand five hun

6、dred cottages or small village houses, as well as some complete villages. In these villages no one is allowed to build, develop or disturb the old village environment in any way and all the houses are maintained in their original sixteenth-century style. Over four hundred thousand acres of coastline

7、, woodland, and hill country are protected by the Trust and no development or disturbances of any kind are permitted. The public has free access to these areas and is only asked to respect the peace, beauty and wildlife. So it is that over the past eighty years the Trust has become a big and importa

8、nt organization and an essential and respected part of national life, preserving all that is of great natural beauty and of historical significance not only for future generations of Britons but also for the millions of tourists who each year invade Britain in search of a great historic and cultural

9、 heritage. 1 The National Trust is dedicated to_. （ A） preserving the best public enjoyment （ B） providing the public with free access to historic buildings （ C） offering better services to visitors home and abroad （ D） protecting the unspoiled countryside and historic buildings 2 We can infer from

10、paragraph 2 that Lord Lothion_. （ A） donated all his money to the Trust （ B） started the Country House Scheme （ C） saved many old country houses in Britain （ D） was influential in his time 3 All the following can be inferred from the passage except_. （ A） the Trust is more interested in protecting t

11、he 16 century houses （ B） many people came to visit the historic houses saved by the Trust （ C） visitors can get free access to some places owned by the Trust （ D） the Trust has a history which is longer than 80 years. 4 The word “invade“ in paragraph 4 is closest in meaning to_. （ A） come in withou

12、t permission （ B） enter with invitation （ C） visit in large number （ D） appear all of a sudden 4 So what are books good for? My best answer is that books produce knowledge by encasing it. Books take ideas and set them down, transforming them through the limitations of space into thinking usable by o

13、thers. In 1959, C. P. Snow threw down the challenge of “two cultures“ , the scientific and the humanistic, pursuing their separate, unconnected lives within developed societies. In the new-media ecology of the 21st century, we may not have closed that gap, but the two cultures of the contemporary wo

14、rld are the culture of data and the culture of narrative. Narrative is rarely collective. It isnt infinitely expandable. Narrative has a shape and a temporality, and it ends, just as our lives do. Books tell stories. Scholarly books tell scholarly stories. Storytelling is central to the work of the

15、narrative-driven disciplines the humanities and the nonquantitative social sciences and it is central to the communicative pleasures of reading. Even argument is a form of narrative. Different kinds of books are, of course, good for different things. Some should be created only for download and occa

16、sional access, as in the case of most reference projects, which these days are born digital or at least given dual passports. But scholarly writing requires narrative fortitude, on the part of writer and reader. There is nothing wiki about the last set of Cambridge University Press monographs(专著 )I

17、purchased, and in each I encounter an individual speaking subject. Each single-author book is immensely particular, a story told as only one storyteller could recount it. Scholarship is a collagist(拼贴画家 ), building the next road map of what we know book by book. Stories end, and that, I think, is a

18、very good thing. A single authorial voice is a kind of performance, with an audience of one at a time, and no performance should outstay its welcome. Because a book must end, it must have a shape, the arc of thought that demonstrates not only the writers command of her or his subject but also that w

19、riters respect for the reader. A book is its own set of bookends. Even if a book is published in digital form, freed from its materiality, that shaping case of the codex(古书的抄本 )is the ghost in the knowledge-machine. We are the case for books. Our bodies hold the capacity to generate thousands of ide

20、as, perhaps even a couple of full-length monographs, and maybe a trade book or two. If we can get them right, books are luminous versions of our ideas, bound by narrative structure so that others can encounter those better, smarter versions of us on the page or screen. Books make the case for us, fo

21、r the identity of the individual as an embodiment of thinking in the world. The heart of what even scholars do is the endless task of making that world visible again and again by telling stories, complicated and subtle stories that reshape us daily so that new forms of knowledge can shine out. 5 Sto

22、rytelling can be regarded as the essence of all the following EXCEPT_. （ A） the humanities （ B） the reference books （ C） the social sciences （ D） the pleasures of read 6 What does the phrase “nothing wiki about“(Para. 2)mean according to the passage? （ A） Nothing casual about. （ B） Nothing stimulati

23、ng about. （ C） Nothing referential about. （ D） Nothing controversial about. 7 Why is each single-author book immensely particular according to the passage? （ A） Because it enriches and restructures our knowledge in its own way. （ B） Because it puts together the particular stories we need. （ C） Becau

24、se it tells single-handedly how we should perform. （ D） Because it helps to make the map for our travel in particular places. 8 We may think highly of a writer if his or her work helps_. （ A） to haunt us like a ghost in the knowledge-machine （ B） to publish books in a narrative structure （ C） to rev

25、iew a book on the page or screen （ D） to illuminate us in a new form of knowledge 8 This month is expected to see that seminal(有创意的 )moment when digital cinema will outstrip the 35mm technology that has been the dominant projection format in movie theatres for over 120 years. In 2009, digital accoun

26、ted for only 15% of global screens. But the movie Avatar changed all that. 3D movies required digital, and Avatars phenomenal success with 3D pushed cinemas to adopt digital screens. IMS Screen Digest Cinema Intelligence Service estimates that by the end of 2012, digital will account for 63% of scre

27、ens, and by 2015, 83% . A majority of those screens will be based on Texas Instruments digital light processing(DLP)technology, a technology that uses millions of tiny mirrors on a tiny chip, each of them capable of moving thousands of times per second to create a digital image. That same technology

28、 today is also beginning to be used in cellphones and digital cameras to project images in those devices onto ordinary surfaces. That will be a bigger opportunity, says Kent Novak, Texas Instruments senior VP for DLP products, who was in Bangalore recently. Cinemas are moving rapidly to digital scre

29、ens. Why? The first digital movie was premiered(首演 )in 1999. Initially it was thought moving to digital would givebetter picture quality and cost savings, but it took many years for a few systems to get deployed. And then Avatar happened. That was really the tipping point. In 2008, 153D movies were

30、released; in 2009, it was close to 50. Theatres were able to get more people and get a higher price for the ticket, so it became a significant revenue generator. We have seen more conversion of film to digital in the last two years than in the previous ten. You are now bringing the technology to sma

31、ller devices. We are moving to put these chips into cellphones, digital still cameras, camcorders, laptop accessories, tablets, docking stations, media players. Weve been hearing of pico(handheld)projectors for some time now. But we dont really see products in the market. The technology has only rec

32、ently reached a tipping point in terms of lighting efficiency and total brightness. Three years ago, 1 watt of power could get the brightness measurement of about 5 lumens. Today that 1 watt can give 20 lumens(making the projected image brighter). We designed the chip to be more efficient. Also, the

33、 industry driver for efficiency is LED. The amount of investment going into LED is enormous. As technology has improved, volumes have gone up, and cost has come down. Micromax and Spice in India have put projection even in some of their feature phones; Samsung has put projection on some of their pho

34、nes. Nikon has DLP embedded in some of their digital still cameras; Sony has them in camcorders. What are the use cases that you see? You can use your phone to show video clips, pictures, power point presentations, and make it a shared experience. India has been more progressive in adopting the tech

35、nology because feature phones are a phone during the day and become the primary entertainment source in the evenings. India also has mobile TV phones with pre-loaded Bollywood movies that can be projected out of the phone. 9 The word “outstrip“ in the first paragraph most possibly mean “_“. （ A） tak

36、e off （ B） outlive （ C） surround （ D） surpass 10 What makes the digital screens possible, according to the passage? （ A） Digital light processing technology （ B） Use of millions of tiny mirrors on the chip. （ C） The chip capable of moving thousands of times per second. （ D） The American movie entitl

37、ed Avatar made in Hollywood. 11 The author mentions Micromax, Spice, Samsung, Nikon and Sony to prove that_. （ A） DLP technology has made a rapid progress in increasing brightness of images （ B） LED is getting more efficient and more widely used in electronic devices （ C） these companies are making

38、more and more profits by adopting LED （ D） these companies are taking different attitudes towards LED applications 12 By “make it a shared experience“ in the last paragraph the author means that_. （ A） feature phones are enriching peoples interactions in their life （ B） a cellphone user can share hi

39、s phone with other people around （ C） India has been more progressive in adoption of DLP technology （ D） Spice company can preload movies into the phone 12 Bored of using a mouse? Soon youll be able to change stuff on your computer screen and then move it directly onto your smart phone or tablet(平板电

40、脑 )with nothing more than a glance. A system called Eye Drop uses a head-mounted eye tracker that simultaneously records your field of view so it knows where you are looking on the screen. Gazing at an object a photo, say and then pressing a key, selects that object. It can then be moved from the sc

41、reen to a tablet or smart phone just by glancing at the second device, as long as the two are connected wirelessly. “ The beauty of using gaze to support this is that our eyes naturally focus on content that we want to acquire,“ says Jayson Turner, who developed the system with colleagues at Lancast

42、er University, UK. Turner believes Eye Drop would be useful to transfer an interactive map or contact information from a public display to your smart phone or for sharing photos. A button needs to be used to select the object you are looking at otherwise you end up with the “Midas touch“(点石成金 )effec

43、t, whereby everything you look at gets selected by your gaze, says Turner. “Imagine if your mouse clicked on everything it pointed at,“ he says. Christian Holz, a researcher in human-computer interaction at Yahoo Labs in Sunnyvale, California, says the system is a nice take on getting round this fun

44、damental problem of using gaze-tracking to interact. “Eye Drop solves this in a slick(灵巧的 )way by combining it with input on the touch devices we carry with us most of the time anyway and using touch input as a clutching mechanism,“ he says. “This now allows users to seamlessly(无缝地 )interact across

45、devices far and close in a very natural manner. “ While current eye-trackers are rather bulky, mainstream consumer devices are not too far away. Swedish firm Tobii is developing gaze-tracking technology that can be installed in laptops and tablets and is expected to be available to buy next year. An

46、d the Google Glass headset is expected to include eye-tracking in the future. Turner says he has also looked at how content can be cut and pasted or drag-and-dropped using a mix of gaze and taps on a touch screen. The system was presented at the Conference on Mobile and Ubiquitous Multimedia in Swed

47、en, last week. 13 The eye-tracker technology enables us to_. （ A） change our computer screen （ B） focus on anything that interests us （ C） get a smart phone connected wirelessly （ D） move an object from screen with a glance 14 Why is a button needed? （ A） To minimize the cost of Eye Drop. （ B） To ch

48、oose as many objects as possible. （ C） To make Eye Drop different from others. （ D） To select what we want. 15 Which of the following statement is true of eye-trackers for consumer devices? （ A） They are costly. （ B） They are available. （ C） They are installed in Google Glass headset. （ D） They are

49、expected to come out soon. 16 What is Turner likely to study next? （ A） How to drag and drop with gaze and taps. （ B） How to present the system in public. （ C） How to get touch screen involved. （ D） How to cut and paste content from a public display. 16 The University in Transformation, edited by Australian futurists Sohail Inayatullah and Jennifer Gidley, presents some 20 highly varied outlooks on tomorrows universities by writers representing both Western and non-Western perspectives. Their essays raise a broad rang