[考研类试卷]2012年北京航空航天大学翻译硕士英语真题试卷及答案与解析.doc

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1、2012 年北京航空航天大学翻译硕士英语真题试卷及答案与解析一、Vocabulary1 The doctor_a medicine for my headache.（A）subscribed（B） described（C） prescribed（D）inscribed2 This song_his lifes dream and ardent love of life.（A）incorporated（B） initiated（C） exposed（D）embodied3 It is said that the reconstruction of the Grand Theatre is a_p

2、roject of Shanghai government this year.（A）prestige（B） superiority（C） priority（D）publicity4 Such a toy with musical sounds and animal noises will_any young child.（A）dismay（B） astonish（C） fascinate（D）perplex5 After reading_of books by great authors for some time, the boy decided to go on to read the

3、originals.（A）themes（B） insights（C） digests（D）leaflets6 In the poem, he depicted the happy_of girls playing on a swing in early spring.（A）perspective（B） view（C） landscape（D）scene7 She_all criticism and went on with her project.（A）warded off（B） shrugged off（C） gave away（D）set aside8 The teacher_from h

4、er custom and gave no assignments for the weekend.（A）deviated（B） disconnected（C） detached（D）distorted9 The little chair_when the fat man sat down on it without thinking.（A）crushed（B） collapsed（C） crumpled（D）yielded10 Her chief_was her not packing a raincoat for her trip to Yunnan last July.（A）drawba

5、ck（B） handicap（C） bruise（D）blunder11 It advocated by the book that a man, no matter how_ his origin may be, can be successful with unremitting efforts and strong will.（A）inferior（B） awkward（C） minor（D）humble12 Eric was_at being told he would have to wait two weeks for an appointment.（A）integrated（B）

6、 irreverent（C） irresistible（D）indignant13 It took them four hours to decide that this vicious, _killer should die.（A）remorseless（B） rasping（C） restive（D）relevant14 Always protect_files by locking them with a password.（A）complimentary（B） confidential（C） compulsive（D）commonsense15 Any store that has h

7、ad its license _for more than 30 days will have to apply for a permit.（A）slumped（B） strained（C） squinted（D）suspended16 Weve_salt. Ask Mrs. Jones to lend us some.（A）run away with（B） run over（C） run off（D）run out of17 He was always ill for a time, but he managed to_.（A）pull on（B） pull in（C） pull up（D）

8、pull through18 The actors have to _before they appear in front of the strong lights on television.（A）cover up（B） make up（C） paint up（D）do up19 They have left New York_good; theyll never go back and live there again.（A）for（B） at（C） by（D）in20 Would you please_these books to your classmates?（A）hand out

9、（B） hand down（C） hand in（D）hand over21 No agreement was reached in the discussion as neither side would give way to_.（A）the other（B） any other（C） another（D）other22 I regret_you that your application has been refused.（A）informing（B） to inform（C） to be informed（D）being informed23 Do you feel like_to a

10、 film or would you rather_at home?（A）going. stay（B） to go. stay（C） going. staying（D）going. to stay24 “Has he gained weight?“ “He would gain weight, but he_much. “（A）does not eat（B） did not eat（C） hadnt eaten（D）couldnt eat25 His use of technical terms left his audience_.（A）confusing（B） with confusion

11、（C） confused（D）to confusion26 While we are young, we are continually_new ideas, altering our thought patterns,making up our minds afresh.（A）taking to（B） taking on（C） taking in（D）taking out27 There has been a growing concern_pollution. But those who concern themselves_this problem need government sup

12、port.（A）for, about（B） over, with（C） about, for（D）on, to28 You hear me_! This is important. Dont treat it_a joke.（A）of, as（B） from, like（C） out, as（D）about, like29 They are an odd couple. She is as tall_he is short, and he is as fat_she is thin. But they are both_happy as they are old.（A）as, as, so（B

13、） while, while, as（C） and, and, as（D）as, as, as二、Reading Comprehension29 Practically speaking, the artistic maturing of the cinema was the single-handed achievement of David W. Griffith (1875 - 1948). Before Griffith, photography in dramatic films consisted of little more than placing the actors bef

14、ore a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffith, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and a rear ground,

15、 as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the acting and extreme long shots to achieve a sense of spectacle and distance. His appreciation of the cameras possibilities produced novel dramatic effects.

16、By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to camera shot.Griffith also achieved dramatic effects by means of creative editing. By juxtaposing images and varying the speed and rhythm of the

17、ir presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other e

18、lements of cinematic syntax that have become standard ever since. These included the flashback, permitting broad psychological and emotional exploration as well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploit

19、ing fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space.Besides developing the cinemas language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic: it in

20、cluded not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browning and Tennyson, and treatments of social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema. When he remade Enoch Arden in 1911

21、 , he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffiths introduction of the American-made multi-reel picture began an immense revolution. Two years later, Judith of Bethulia, an elaborate historicophilosophical spectacle, reached t

22、he unprecedented length of four reels, or one hours running time. From our contemporary viewpoint, the pretensions of this film may seem a trifle ludicrous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema.30 The primary purpose of th

23、e passage is to_.（A）discuss the importance of Griffith to the development of the cinema（B） document Griffiths impact on the choice of subject matter in American films（C） deplore the state of American cinema before the advent of Griffith（D）analyze the changes in the cinema wrought by the introduction

24、 of the multi-reel film31 The author suggests that Griffiths film innovations had a direct effect on all of the following EX-CEPT:_.（A）film editing（B） camera work（C） scene composing（D）sound editing32 It can be inferred from the passage that before 1910 the normal running time of a film was_.（A）15 mi

25、nutes or less（B） between 15 and 30 minutes（C） 1 hour or more（D）between 45 minutes and 1 hour33 The author asserts that Griffith introduced all of the following into American cinema EXCEPT: _.（A）consideration of social issues（B） adaptations from Tennyson（C） the flashback and other editing techniques（

26、D）dramatic plots suggested by Victorian theater34 The author suggests that Griffiths contributions to the cinema had which of the following results?I . Literary works, especially Victorian novels, became popular sources for film subjects.II. Audience appreciation of other film directors experimentat

27、ions with cinematic syntax was increased.III. Many of the artistic limitations thought to be inherent in filmmaking were shown to be really nonexistent.（A）II only（B） III only（C） I and II only（D）II and III only34 The molecules of carbon dioxide in the Earths atmosphere affect the heat balance of the

28、Earth by acting as a one-way screen. Although these molecules allow radiation at visible wavelengths, where most of the energy of sunlight is concentrated, to pass through, they absorb some of the longer-wavelength , infrared emissions radiated from the Earths surface, radiation that would otherwise

29、 be transmitted back into space. For the Earth to maintain a constant average temperature, such emissions from the planet must balance incoming solar radiation. If there were no carbon dioxide in the atmosphere, heat would escape from the Earth much more easily. The surface temperature would be so m

30、uch lower that the oceans might be a solid mass of ice.Today, however, the potential problem is too much carbon dioxide. The burning of fossil fuels and the clearing of forests have increased atmospheric carbon dioxide by about 15 percent in the last hundred years, and we continue to add carbon diox

31、ide to the atmosphere. Could the increase in carbon dioxide cause a global rise in average temperature, and could such a rise have serious consequences for human society? Mathematical models that allow us to calculate the rise in temperature as a function of the increase indicate that the answer is

32、probably yes.Under present conditions a temperature of - 18C can be observed at an altitude of 5 to 6 kilometers above the Earth.Below this altitude (called the radiating level) , the temperature increasesby about 6C per kilometer approaching the Earths surface, where the average temperature is abou

33、t 15C. An increase in the amount of carbon dioxide means that there are more molecules of carbon dioxide to absorb infrared radiation. As the capacity of the atmosphere to absorb infrared radiation increases, the radiating level and the temperature of the surface must rise. One mathematical model pr

34、edicts that doubling the atmospheric carbon dioxide would raise the global mean surface temperature by 2.5C： This model assumes that the atmospheres relative humidity remains constant and the temperature decreases with altitude at a rate of 6. 5 C per kilometer. The assumption of constant relative h

35、umidity is important, because water vapor in the atmosphere is another efficient absorber of radiation at infrared wavelengths. Because warm air can hold more moisture than cool air, the relative humidity will be constant only if the amount of water vapor in the atmosphere increases as the temperatu

36、re rises. Therefore, more infrared radiation would be absorbed and reradiated back to the Earths surface. The resultant warming at the surface could be expected to melt snow and ice, reducing the Earths reflectivity. More solar radiation would then be absorbed, leading to a further increase in tempe

37、rature.35 The primary purpose of the passage is to_.（A）warn of the dangers of continued burning of fossil fuels（B） discuss the significance of the amount of carbon dioxide in the atmosphere（C） demonstrate the usefulness of mathematical models in predicting long-range climatic change（D）describe the w

38、ays in which various atmospheric and climatic conditions contribute to the Earths weather36 According to the passage, the greatest part of the solar energy that reaches the Earth is_.（A）reflected back to space by snow and ice（B） concentrated at visible wavelengths（C） absorbed by carbon dioxide molec

39、ules（D）absorbed by atmospheric water vapor37 According to the passage, atmospheric carbon dioxide performs all of the following functions EXCEPT: _.（A）absorbing radiation at visible wavelengths（B） absorbing infrared radiation（C） absorbing outgoing radiation from the Earth（D）helping to retain heat ne

40、ar the Earths surface38 It can be concluded from information contained in the passage that the average temperature at an altitude of 1 kilometer above the Earth is about_.（A）15C（B） 9C（C） 5C（D）-12C39 According to the passage, which of the following is true of the last hundred years?（A）Fossil fuels we

41、re burned for the first time.（B） Greater amounts of land were cleared than at any time before.（C） The average temperature at the Earths surface has become 2C cooler.（D）The amount of carbon dioxide in the atmosphere has increased measurably.39 “Popular art“ has a number of meanings, impossible to def

42、ine with any precision, which range from folklore to junk. The poles are clear enough, but the middle tends to blur. The Hollywood Western of the 1930 s, for example, has elements of folklore, but is closer to junk than to high art or folk art. There can be great trash, just as there is bad high art

43、. The musicals of George Gershwin are great popular art, never aspiring to high art. Schubert and Brahms, however, used elements of popular musicfolk themesin works clearly intended as high art. The case of Verdi is a different one: he took a popular genrebourgeois melodrama set to music ( an accura

44、te definition of nineteenth-century opera)and, without altering its fundamental nature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre.As an example of such a tran

45、smutation, consider what Verdi made of the typical political elements of nineteenth-century opera. Generally in the plots of these operas, a hero or heroineusually portrayed only as an individual, unfettered by classis caught between the immoral corruption of the aristocracy and the doctrinaire rigi

46、dity or secret greed of the leaders of the proletariat. Verdi transforms this naive and unlikely formulation with music of extraordinary energy and rhythmic vitality , music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly un

47、derstood as such when they were first performed. Such pieces lend an immediacy to the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself.Or consider Verdis treatment of character. Before Verdi, there were rarely any characters at all in musical d

48、rama, only a series of situations which allowed the singers to express a series of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singers vocal technique: when the cast changed, new arias were almost always su

49、bstituted, generally adapted from other operas. Verdis characters, on the other hand, have genuine consistency and integrity, even if, in many cases, the consistency is that of pasteboard melodrama. The integrity of the character is achieved through the music: once he had become established, Verdi did not rewrite his music f