[考研类试卷]2014年四川外国语大学翻译硕士英语真题试卷及答案与解析.doc

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1、2014 年四川外国语大学翻译硕士英语真题试卷及答案与解析一、Word Derivation1 The front army troops were_by a large contingent of students from the military academy.(strength)2 I was looking forward to a casual stroll, but he walked at a_pace.(vigor)3 A_of cultures or ideas occurs when two very different cultures or people meet

2、and conflict.(collide)4 The_purpose of scientific discourse is not the mere presentation of information and thought, but rather its actual communication.(fundament)5 _todays digital revolution serves a host of practical concerns, such as communicating and accessing information more quickly and effic

3、iently.(admit)6 With the aim of eliminating any possible_, we suggest some changes of wording to clarify the status of the unofficial advice.(ambiguous)7 I tried to see it, _the invisible and immeasurable energy of mass of an atom, a cell, a person; I could almost see it.(vision)8 Some pearls have a

4、(n)_shape, but they are shiny and beautiful none the less.(regular)9 In the movies and comic books Wolverine almost comes out as_, like Superman.(destruct)10 During the past two decades, dozens of investigators throughout the world have asked several hundred thousand _ sampled people to reflect on t

5、heir happiness and satisfaction with life or what psychologists call “ subjective wellbeing. “(represent)二、Vocabulary11 When traveling in a foreign country, it is wise to_to the habits of the natives.（A）yield（B） conform（C） submit（D）turn12 Even with the_of the Internet and 24-hour news, it is still a

6、 complex enterprise to get people to truly see the problems of racial discrimination.（A）advent（B） adventure（C） access（D）accession13 We should critically _ whatever is beneficial in literature and arts from western countries.（A）accommodate（B） assimilate（C） assort（D）associate14 Many drugs the doctor c

7、an give you have harmful side effects, and considering a natural _ is often a better and popular option.（A）option（B） choice（C） alternative（D）selection15 Because he wore a queer collection of clothes and talked to himself, his neighbours considered him_.（A）ecstatic（B） electronic（C） eccentric（D）eclect

8、ic16 In its own right, the royal highland show is the largest trade exhibition of agricultural _in the UK.（A）machine（B） mechanics（C） mechanism（D）machinery17 The aim of their revolution is to leave scientists free to continue research, _by any regulation.（A）restrained（B） deputed（C） controlled（D）unfet

9、tered18 The European Commission spokesman Gooch said at a press conference that after the European Commission has officially notified the WTO, “ The EU can feel free to impose_tariffs on US products. “（A）relinquish（B） retaliatory（C） revolutionary（D）retribution19 The charter-school movement in the Un

10、ited States developed in the 1 990s as a reaction to the _failure of public schools, especially in the inner cities.（A）perceived（B） received（C） conceived（D）deceived20 This novel won critical praise while_a storm of controversy with its candid and raw descriptions of adolescent lust.（A）stirring（B） ac

11、tivating（C） triggering（D）teasing21 Unlike Keynesianism, monetarism eschews direct government control by means of taxation and spending_imposing limits on the nations money supply.（A）with regard to（B） for the sake of（C） in favor of（D）to extent of22 He_in court that he had seen the prisoner run out of

12、 the bank after it had been robbed.（A）justified（B） witnessed（C） testified（D）identified23 If we can find approaches that meet the needs of the poor in ways that generate profits for business and votes for politicians, we will have found a_way to reduce inequity in the world.（A）sustainable（B） suscepti

13、ble（C） supposable（D）suspensible24 Scholars come to the agreement that the Malthusian catastrophe has already occurred in isolated cultures that had no means of_resources.（A）refining（B） refreshing（C） rejoicing（D）replenishing25 Cocaines effects on the heart have _ gone unnoticed, because patients ofte

14、n lie about heir use of drug.（A）largely（B） purposefully（C） strangely（D）effortlessly26 He possessed a(n)_intelligence that put him in company with the greatest social thinkers of the day.（A）frivolous（B） reliable（C） uncanny（D）underlying27 A form of biological pest control is to include various plants

15、in a garden or field that are known naturally to_parasitic pests that are known to bring disease and destruction.（A）deter（B） defer（C） demur（D）debut28 Pottery enabled primitive people to boil and steam food, which in turn allowed them to gain _from new and more varied sources.（A）sustenance（B） subsidi

16、ary（C） substance（D）supplement29 The right side of the body is controlled by the more influential left hemisphere of human brain, causing the right side to be more_at physical tasks.（A）skillful（B） proficient（C） expert（D）adept30 Advances in food preservation gave consumers in developed countries acces

17、s to_all foods grown in distant lands.（A）extensively（B） virtually（C） artificially（D）continually三、Reading Comprehension30 A Feminist theatre is a genre that came to be widely recognized, theorized, studied and practiced in the wake of the seventies Womens Liberation Movement; it has generally been un

18、derstood as describing and encompassing diverse theatrical work motivated by the recognition of and resistance to womens marginalization within social and cultural systems that accord male privilege and dominance. Observing this, however, it is important to remember that historically women have “act

19、ed“ out their resistance to mainstream, male-dominated theatre cultures, and that, since the seventies, feminist-theatre scholarship has looked to recover the works and performances of neglected pioneering, women-in-theatre figures. For instance, such scholarship has served to uncover the dramatic t

20、exts of the tenth-century, plays by Restoration women playwrights and dramas by Edwardian women concerned with suffrage and the Woman Question.B In the seventies, recognition that womens cultural, social, sexual, economic and political lives had been oppressed by male domination was what fueled a cl

21、imate of Western feminism. Women came together in consciousness-raising groups to share their personal discontents and political dissatisfactions. The inequalities of the workplace, the education system, the “institution“ of motherhood and the objectification of womens bodies were common grievances

22、that served to shape the four political demands of the UKs Womens Liberation Movement: for equal pay, equal education and opportunity, 24-hour nurseries and free contraception and abortion on demand.C As a profession, theatre was a microcosm of the discrimination and inequalities operating in societ

23、y at large. In 1981, feminist playwright and critic, Michelene Wandor, published an analysis of theatre and sexual politics that made explicit womens second-class, “understudy“ status in a male-dominated theatre industry. The lived, professional experience of being consigned to the role of understud

24、y is what, in turn, encouraged women practitioners to found their own feminist-theatre groups. Monstrous Regiment, along with the Womens Theatre Group(both companies were founded in the mid-seventies), were seminal to the innovation of a feminist-theatre tradition and to creating a counter-cultural

25、body of womens plays and performances. Many more groups were to follow in their wake such as Clapperclaws(1977)and Mrs. Worthingtons Daughters(1979). These companies played not only small-scale touring venues but were networked into womens communities that hosted shows in non-theatre spaces, such as

26、 schools, community halls or youth clubs. Both organizationally and creatively they operated democratically and collaboratively, rather than hierarchically and individualistically. Ensemble-based acting and presentational styles were widely adopted.D With the outcrop of feminist groups came more opp

27、ortunities for women playwrights, and by the mid to late seventies, Caryl Churchill, Pam Gems, and Louise Page were moving dramatic representations of womens lives and experiences center-stage this as a counter-cultural challenge and alternative to the “ malestream,“ canonical tradition of theatre.

28、Thereafter, women dramatists coming to prominence in the eighties included Sarah Daniels, April De Angelis, Winsome Pinnock and Timberlake Wertenbaker. As testimony to the emergence of a body of Womens playwriting, much of which was influenced by Second Wave feminism, in 1982 Methuen Drama launched

29、the Plays By Women series. The first of four plays to be published in volume one of the series was Caryl Churchills Vinegar Tom: a play about witchcraft without any witches; a play where scenes locate in the seventeenth century, but songs intersperse and break up the action to insist that womens opp

30、ression is not consigned to the historical past but is an urgent contemporary issue. Stylistically innovative and politically charged and premiered by Monstrous Regiment, Vinegar Tom along with other “womens“ plays by Churchill such as Cloud Nine or Top Girls, proved seminal to defining a feminist l

31、andscape in British theatre and were highly influential in terms of studying and theorizing feminist theatre, aesthetically and politically.E Feminist theatre and performance that emerged from the Second Wave largely came to be defined , understood and analyzed in relation to three types of feminism

32、: bourgeois/liberal, radical/ cultural and socialist/materialist. Listed in that order, the three feminisms were hierarchically conceived, with bourgeois/liberal feminism posited as the politically “weakest“ given that it neither endorsed radical/cultural feminisms desire to overthrow patriarchy in

33、favor of womens social, cultural and sexual empowerment, nor advocated the radical transformation of societys economic, political and social structures as socialist/materialist feminism did. Each feminist dynamic also had its aesthetic counterpart: bourgeois/liberal feminism remained attached to con

34、ventional realistic forms, but sought to create more roles for women within the confines of traditional dramatic writing; radical/ cultural feminism became associated with and explored ideas and possibilities of a “womens language“ ; techniques and performance registers.F However, the media backlash

35、 against feminism in the eighties, the widely promoted “top-girl Feminism“(as critiqued by Churchill in her play), and thereafter the individualistically styled “ girl power“ of the nineties and a younger, feminist Third Wave challenging the politics and values of Second Wave feminism, have all comb

36、ined to make feminist theatre that much harder to generi-cally define and identify. Resistant voices in the nineties, such as Rebecca Pilchard and Judy Upton, picked up the complex feminist baton by dramatizing disenchanted and disadvantaged communities of young women. The iconoclast Sarah Kane, whi

37、le distancing herself from the Second-Wave feminist tradition(notably by her rejection of the “woman“ writer label), nonetheless reinvigorated structures of feminist feeling through her representations of gender wars and diseased masculinities, notably in her controversial debut play, Blasted.G As a

38、 growing number of younger “women“ playwrights make their debuts on contemporary British stages, it becomes increasingly clear that their diverse subjectsthe financial crash of the American energy company Enron(Prebble, Enron), middle-class girls in trouble(Stenham, That Face)or “posh“ boys behaving

39、 badly(Wade, Posh), challenge the gaze of the feminist critic that formerly looked to drama explicitly taking and playing the disenfranchised “womans part. “ Indeed , in the theatre of Debbie Tucker Green, arguably one of the most exciting political voices to emerge on the British stage in the twent

40、y-first century, feminism itself comes under scrutiny as, in her signature style of beautiful but brutal, black urban-speak, in plays such as Trade and Stoning Mary, Green interrogates the inability of women to achieve solidarity across social, cultural, economic and racial divides within a larger,

41、epic landscape of a white Western world that singularly fails to care for disempowered “others. “H In sum, feminist futures and the future of feminist theatre appear far less certain than in the defining moment of seventies activism and political theatre making. Yet, as “women“ playwrights and pract

42、itioners dramatize epic questions of social injustices and inequalities in an increasingly globalized world, or evidence concern for what part feminism can play in terms of staging socially progressive , transformative possibilities and solutions, enduring questions of gender privilege and bias that

43、 formerly fueled the genre, surface as constant and significant reminders of the unfinished business of feminist theatre. Do the following statements agree with the claims of the writer in Reading Passage 1? On your Answer Sheet, writeYES if the statement agrees with the claims of the writerNO if th

44、e statement contradicts the claims of the writerNOT GIVEN if it is impossible to say what the writer thinks about this.31 Feminist theatre described and encompassed diverse theatrical work which was motivated by the recognition of and resistance to womens marginalization.（A）YES（B） NO（C） NOT GIVEN32

45、Before the seventies, there were some pioneering, women-in-theatre figures who create immortal works to fight against mainstream, male-dominated theatre cultures, but they and their efforts were neglected.（A）YES（B） NO（C） NOT GIVEN33 In the seventies, a climate of Western feminism appeared because wo

46、men began to realize their lower position in cultural, social, sexual, economic and political lives.（A）YES（B） NO（C） NOT GIVEN34 In the seventies, women practitioners founded their own feminist-theatre groups to express their dissatisfaction of being consigned to the role of understudy in the profess

47、ion of theatre.（A）YES（B） NO（C） NOT GIVEN35 In total, four waves of feminism have been mentioned in the passage.（A）YES（B） NO（C） NOT GIVEN35 For each question below, choose the answer that best completes the sentence. Then write the corresponding letter on the Answer Sheet.36 Which of the following se

48、ems to be the most appropriate title for the passage?（A）Feminist Theatre; History and Future.（B） Feminist Theatre: Famous Feminist-Theatre Groups.（C） Feminist Playwrights and Their Eminent Works.（D）Feminism and Its Influence on Theatre.37 Which of the following is NOT TRUE about Caryl Churchill?（A）T

49、ogether with other women playwrights, she moved dramatic representations of womens lives and experiences center-stage.（B） Her Vinegar Tom was one of the four plays of the Plays By Women series.（C） All of her plays were highly influential in terms of studying and theorizing feminist theatre, aesthetically and politically.（D）She criticized the widely promoted “top-girl feminism“ in her play.38 Among the three types of