[考研类试卷]考研英语模拟试卷85及答案与解析.doc

《[考研类试卷]考研英语模拟试卷85及答案与解析.doc》由会员分享，可在线阅读，更多相关《[考研类试卷]考研英语模拟试卷85及答案与解析.doc（27页珍藏版）》请在麦多课文档分享上搜索。

1、考研英语模拟试卷 85及答案与解析 一、 Section I Use of English Directions: Read the following text. Choose the best word(s) for each numbered blank and mark A, B, C or D. (10 points) 1 As many of the stories in this book are about man-eating tigers, it is perhaps (1)_ to explain why those animals (2)_ man-eating ten

2、dencies. A man-eating tiger is a tiger that has been compelled, through stress of circumstances beyond its (3)_ to adopt a diet alien to it. The stress of circumstances is, in nine cases out of ten, wounds, and in the tenth case old age. The wound that has caused (4)_ tiger to take up man-eating mig

3、ht be the result of a carelessly fired (5)_ and failure to follow up and (6)_ the wounded animal, or be the result Of the tiger having lost its temper when killing a porcupine. Human beings are not the natural prey of tigers, and it is only when tigers have been (7)_ through wounds or old age that,

4、in order to live, they are compelled to a diet of human flesh. They can no longer make a (8)_ of animal in (9)_ A tiger uses its teeth and claws when killing. When, therefore, a tiger is suffering (10)_ one or more painful wounds, or when its teeth are, missing or defective and its claws (11)_ down,

5、 and it is unable to catch the animals it has been accustomed to eating, it is (12)_ by necessity to killing human beings. The (13)_ from animal to human flesh is, I believe, in most cases accidental. As (14)_ of what I mean by “accidental“ I quote the case of the Muktesar man-eating tigers. This ti

6、gress, a comparatively young animal, in (15)_ with a porcupine lost an eye and got some fifty quills, (16)_ in length from one to nine inches, embedded under the (17)_ of her right foreleg. Suppurating (18)_ formed where she endeavoured to extract the quills with her teeth, and while she was lying u

7、p in a thick (19)_ of grass, starving and licking her wounds, a woman selected this particular place to cut the grass as fodder for her cattle. At first the tigress took no notice, but when the woman had cut the grass right up to where she was lying the tigress struck once, the blow (20)_ in the wom

8、ans skull. （ A） wishful （ B） desirable （ C） required （ D） needed （ A） form （ B） develop （ C） shape （ D） grow （ A） control （ B） rule （ C） check （ D） restraint （ A） a peculiar （ B） a particular （ C） a special （ D） a sole （ A） shot （ B） cartridge （ C） salvo （ D） discharge （ A） retain （ B） obtain （ C） r

9、ecover （ D） repossess （ A） broken down （ B） unfitted （ C） disarmed （ D） incapacitated （ A） prey （ B） victim （ C） booty （ D） target （ A） creeping （ B） hunting （ C） trailing （ D） stalking （ A） of （ B） from （ C） by （ D） with （ A） worn （ B） ground （ C） rubbed （ D） shorn （ A） sent （ B） forced （ C） led （

10、D） driven （ A） alteration （ B） transfer （ C） transition （ D） change-over （ A） a demonstration （ B） an image （ C） a case （ D） an illustration （ A） a conflict （ B） a bout （ C） a contest （ D） an encounter （ A） varying （ B） various （ C） varied （ D） fluctuating （ A） pad （ B） palm （ C） wad （ D） pore （ A）

11、inflammations （ B） sores （ C） wounds （ D） rashes （ A） tuft （ B） plot （ C） patch （ D） turf （ A） crashing （ B） crushing （ C） shoving （ D） shattering Part A Directions: Read the following four texts. Answer the questions below each text by choosing A, B, C or D. (40 points) 21 Extraordinary creative ac

12、tivity has been characterized as revolutionary, flying in the face of what is established and producing not what is acceptable but what will become accepted. According to this formulation, highly creative activity transcends the limits of an existing form and establishes a new principle of organizat

13、ion. However, the idea that extraordinary creativity transcends established limits is misleading when it is applied to the arts, even though it may be valid for the sciences. Differences between highly creative art and highly creative science arise in part from differences in their goals. For the sc

14、iences, a new theory is the goal and end result of the creative act. Innovative science produces new propositions in terms of which diverse phenomena can be related to one another in more coherent ways. Such phenomena as a brilliant diamond or a nesting bird are relegated to the r01e of data, servin

15、g as the means for formulating or testing a new theory. The goal of highly creative art is very different: the phenomenon itself becomes the direct product of the creative act. Shakespeares Hamlet is not a tract about the behavior of indecisive princes or the uses of political power, nor is Picassos

16、 painting Guernica primarily a propositional statement about the Spanish Civil War or the evils of fascism. What highly creative artistic activity produces is not a new generalization theft transcends established limits, but rather an aesthetic particular. Aesthetic particulars produced by the highl

17、y creative artist extend or exploit, in an innovative way, the limits of an existing form, rather than transcend that form. This is not to deny that a highly creative artist sometimes establishes a new principle of organization in the history of an artistic field: the composer Monteverdi, who create

18、d music of the highest aesthetic value, comes to mind. More generally, however, whether or not a composition establishes a new principle in the history of music has little bearing on its aesthetic worth. Because they embody a new principle of organization, some musical works, such as the operas of t

19、he Florentine Camerata, are of signal historical importance, but few listeners or musicologists would include these among the great works of music. On the other hand, Mozarts The Marriage of Figaro is surely among the masterpieces of music even though its modest innovations are confined to extending

20、 existing means. It has been said of Beethoven that he toppled the rules and freed music from the stifling confines of convention. But a close study of his compositions reveals that Beethoven overturned no fundamental rules. Rather, he was an incomparable strategist who exploited limits the rules, f

21、orms, and conventions that he inherited from predecessors such as Haydn and Mozart, Handel and Bach in strikingly original ways. 21 The author considers a new theory that coherently relates diverse phenomena to one another to be the_ （ A） basis for reaffirming a well-established scientific formulati

22、on （ B） byproduct of an aesthetic experience （ C） tool used by a scientist to discover a new particular （ D） result of highly creative scientific activity 22 The passage supplies information for answering all of the following questions EXCEPT _ （ A） Has unusual creative activity been characterized a

23、s revolutionary? （ B） Did Beethoven work within a musical tradition that also included Hat, del and Bach? （ C） Is Mozarts The Marriage of Figaro an example of a creative work that transcended limits? （ D） Who besides Monteverdi wrote music that the author would consider to embody new principles of o

24、rganization and to be of high aesthetic value? 23 The author regards the idea that all highly creative artistic activity transcends limits with _ （ A） deep skepticism （ B） strong indignation （ C） marked indifference （ D） moderate amusement 24 The author implies that an innovative scientific contribu

25、tion is one that_ （ A） is cited with high frequency in. the publications of other scientists （ B） is accepted immediately by the scientific community （ C） doest Jot relegate particulars to the role of dam （ D） introduces a new valid generalization 25 Which of the following statements would most logi

26、cally conclude the last paragraph of the passage?_ （ A） Unlike Beethoven, however, even the greatest of modem composers, such as Stravinsky, did not transcend existing musical forms （ B） In similar fashion, existing musical forms were even further exploited by the next generation of great European c

27、omposers （ C） Thus, many of the great composers displayed the same combination of talents exhibited by Monteverdi （ D） By contrast, the view that creativity in the arts exploits but does not transcend limits is 26 Of all the varieties of music which fill our concert halls, theaters, and nightclubs,

28、only jazz is native American music. Symphonies and concertos, the ancestors of movie and television scores as well as of serious or legitimate electronic music, were first composed in Germany. Musical comedies descended from opera, which was first performed in Italy. And our ever-popular nightclub s

29、ingers are the musical heirs of the French singers of chansons. The one form of music which did not originate in Europe and which is popular today worldwide is jazz. Jazz was born in New Orleans, the child of the Blacks. It drew on the rhythms as well as the emotionalism of the African music of the

30、Black ancestors, which had been transformed into ragtime and the blues. Improvisation was an indispensable element. Musicians were permitted, in solo performance, plenty of freedom to play in whatever variations just as their creative mood happened to lead them along. But during the Swing era(1930s

31、1950s), impromptu renditions gave way to arrangement. It was a period when jazz had its widest popular appeal with the big bands that boasted of such outstanding bandleaders as Duke Ellington, Glenn Miller and a whole galaxy of top-notch instrumentalists. Rock music in the 1960s is a sociological ex

32、pression rather than a musical force and the rock arena was seen as a sort of debating forum, a place where ideas clash and crash, where American youngsters struggle to define and redefine their feelings and beliefs. Bob Dylon touched a nerve of disaffection. He spoke of civil rights; nuclear fallou

33、t, and loneliness. He spoke of change and of the bewilderment of an older generation. “Somethings happening here,“ he sang. “You dont know what it is, do you, Mr. Jones?“ Others entered the debate. The Beatles urged peace and piety with humor and maybe a little of help from drugs. Feelings, always a

34、 part of any musical statement, were a major subject. Elvis Presley became the pop icon, maybe because he acted out your wildest fantasies, brought out your subdued id, embodied your frustrated teenage spirit, and encouraged your protest against traditional values. In this sense, rock is the music o

35、f teenage rebellion. All aspects of music its exciting offbeat, loudness, self-absorbed lyrics and raving delivery indicated a defiance of adult authority. 26 What is the best title of this passage?_ （ A） The origin of jazz （ B） The success of rock music （ C） The contemporary jazz and rock （ D） The

36、musical development from jazz to rock 27 Which of the following is true?_ （ A） Ragtime originated with the big bands in the 1930s （ B） Ragtime and blues were based on African music （ C） Ragtime and blues had not evolved until 1950s （ D） Blues was performed by singers dressed in blue 28 According to

37、the passage, improvisation was most popular_ （ A） in the 1930s （ B） prior to 1930s （ C） after 1930s （ D） in the 1950s 29 The first sentence in Paragraph 3 can be best interpreted as_ （ A） rock stars asking us to take our stand on political issues （ B） rock stars helping our society to form its code

38、of ethics （ C） rock stars revealed their own problems and their social attitudes （ D） giving a clear definition to the words beliefs and feelings 30 According to the passage, rockdom in the sixties was seen as_ （ A） a radical city （ B） a country element （ C） a forum for debate （ D） a collection of l

39、yrics 31 Most growing plants contain much more water than all other materials combined. C.R. Bames has suggested that it is as proper to term the plant a water structure as to call a house composed mainly of brick a brick building. Certainly it is that all essential processes of plant growth and dev

40、elopment occur in water. The mineral elements from the soil that are usable by the plant must be dissolved in the soil solution before they can be taken into the root. They are carried to all parts of the growing plants and are built into essential plant materials while in a dissolved state. The car

41、bon dioxide (CO2) from the air may enter the leaf as a gas but is dissolved in water in the leaf before it is combined with a part of the water to form simple sugars the base material from which the plant body is mainly built. Actively growing plant parts are generally 75 to 90 percent water. Struct

42、ural parts of plants, such as woody stems no longer actively growing, may have much less water than growing tissues. The actual amount of water in the plant at any one time, however, is only a very small part of what passes through it during its development. The processes of photosynthesis, by which

43、 carbon dioxide and water are combined in the presence of chlorophyll(叶落素 ) and with energy derived from light to form sugars, require that carbon dioxide from the air enter the plant. This occurs mainly in the leaves. The leaf surface is not solid but contains great numbers of minute openings, thro

44、ugh which the carbon dioxide enters. The same structure that permits the one gas to enter the leaf, however, permits another gas water vapor to be lost from it. Since carbon dioxide is present in the air only in trace quantities (3 to 4 parts in 10,000 parts of air) and water vapor is near saturatio

45、n in the air spaces within the leaf (at 80 , saturated air would contain about 186 parts of water vapor in 10,000 parts of air), the total amount of water vapor lost is many times the carbon dioxide intake. Actually, because of wind and other factors, the loss of water in proportion to carbon dioxid

46、e intake may be even greater than the relative concentrations of the two gases. Also, not all of the carbon dioxide that enters the leaf is synthesized into carbohydrates. 31 A growing plant needs water for all of the following except_ （ A） forming sugars （ B） sustaining woody stems （ C） keeping gre

47、en （ D） producing carbon dioxide 32 The essential function of photosynthesis in terms of plant needs is_ （ A） to form sugars （ B） to derive energy from light （ C） to preserve water （ D） to combine carbon dioxide with water 33 The second paragraph uses facts to develop the basic idea that_. （ A） a pl

48、ant efficiently utilizes most of the water it absorbs （ B） carbon dioxide is the essential substance needed for plant development （ C） a plant needs more water than is found in its composition （ D） the stronger the wind, the more the water vapor loss 34 According to the passage, which of the followi

49、ng statements is TRUE?_ （ A） The mineral elements will not be absorbed by the plant unless they are dissolved in its root （ B） The woody stems contain more water than the leaves （ C） Air existing around the leaf is found to be saturated （ D） Only part of the carbon dioxide in the plant is synthesized 35 The primary idea of the passage is_. （ A） the functions of carbon dioxide and water （ B） the role of wat