Questions 1 and 2 are based on this passage. ?

文章重復S01S1Q1-2

Astronomers can measure any given star's radial velocity by examining its spectrum-light spread out into its constituent wavelengths. If an object is moving toward us, its spectral lines shift to shorter wavelengths; if it's moving away, the lines swing to longer avelengths. The higher the velocity, the greater the shift. Although this sort of spectral analysis is straightforward for?nearby stars, it becomes far more difficult for distant stars in the Milky Way's outer halo.?Even large telescopes can't gather enough of their light.?For this reason, astronomer Ulrich Heber conjectures that there are probably several low-mass hypervelocity stars yet to be discovered. Although these diminutive objects?live longer than B-type stars, which are extremely luminous and blue, they radiate much less light.

天文學家可以通過光譜來測定恒星的徑向速度。天體向我們靠近時，光譜波長會變短；反之亦然。天體速度越快，這種波長的變化越大。盡管這種方法測量附近的恒星很直接，但是對于銀河系外圍的遙遠星體來說變得更加困難。即使是大型望遠鏡也無法獲得外圍星體足夠的光線。因此，天文學家UH推測，還有一些超高速的恒星有待被發(fā)現(xiàn)。盡管這些小天體比它們的B型星長壽，它們卻釋放出更少的光線。?

1.?Which of the following statements best describes the organization of the passage??

結(jié)構(gòu)題 易

E

A. An astronomical phenomenon is described, then an exception to that phenomenon is identified.? 不是在描述現(xiàn)象及例外，而是研究方法

B. A method of data collection is outlined, then its accuracy is challenged. 準確度并未被質(zhì)疑，只能說是能力不足

C. An innovative method of analysis is described, then new findings based on this method are?summarized.? 沒有new findings，只是推測

D. A problem with an instrument is identified, then a suggestion for correcting that problem is ?presented. 沒有suggestiong的證據(jù)

E.?A technique and its limitations are explained, then a prediction is stated. 符合

2.?The passage indicates that compared to low-mass hypervelocity stars, B-type stars?

細節(jié)題 易

B

A. are less numerous in the Milky Way's outer halo 沒有numerous的證據(jù)

B. burn out more quickly and are more luminous 符合

C. are in closer proximity to Earth's solar system 沒有證據(jù)

D. are larger in size but emit light at similar wavelengths 沒有證據(jù)

E.?emit a more complex spectrum 沒有證據(jù)

Questions 3 to 6 are based on this passage:?

文章重復S01S1Q3-6

In 1939, Dewan Sharar emphasized the appeal of Indian films depicting legends of gods and goddesses to a devoutly Hindu mass audience. The audiences for these early-twentieth-century mythological or pauranika films of pioneering filmmaker Dhundiraj Govind Phalke were assumed to resemble?cinema’s mythical first audiences-the terrified spectators of the Lumiere Brothers'?Arrival of a Train at the Station, who reportedly reared?back in terror upon perceiving the cinematic train as the real thing.?It is true that Phalke invited the spectator, through means such as the reactions of an on-screen audience, to relate to the image in the manner of a devotee before an idol, as in the Hindu religious practice of darshan. It is also undoubtedly true that many spectators did assume this particular viewing position.?However, we need to be careful about assuming that this was the only spectatorial position or about ascribing to the Indian mass public a naive readiness to believe in the divinity and reality of the screen image. To begin with, Indian viewers were not unfamiliar with the reenactment of the pauranika myths; folk performances and Parsi theater provided an immediate context for the mythological films. Phalke himself called his films new plays or silent plays, contrasting them with the old or stage plays. A significant percentage of his audiences would probably have regarded a mythological film as another performance based on religious myth, albeit a relatively novel one, and one in which the absent presence of the performers added a uniquely thrilling dimension to the supernatural spectacles on display.?

Moreover, these early films' mode of presentation would have undermined any naively realist or purely religious reading. Contemporary audiences would have customarily encountered these films in a less-than-spiritual exhibition context, watching them in conjunction with topical newsreels, American serials, or live performances such as magic shows, comic skits, or exotic dances. [Phalke's flm]?Raja Harishchandra, for instance, was first screened at Bombay's Coronation Cinema as part of an hour-and-a-half-long variety show featuring a dance by Miss Irene Delmar; a "comical sketch" by the McClements; and the talents of Alexandroff, "The Wonderful Foot- Juggler," in addition to the film. The discontinuity and variety of this form of cinema program were typical of exhibition practices in the first decades of cinema across the world. In his essay, "The Cult of Distraction: On Berlin's Picture Palaces," Siegfried Kracauer writes about the role of the variety format of the cinema program in creating "a fragmented sequence of splendid sense impressions" or an aesthetic of distraction that undermined an illusionistic absorption in the images. Extending Kracauer's logic to the exhibition context of the early mythologicals, one can argue that the variety format would have had a similar effect.

1939年，Dewan Sharar強調(diào)了印度神話電影對虔誠的印度觀眾的魅力。先鋒派電影制作人Dhanraj Govind Phalke的二十世紀早期神話電影（或被稱為pauranika）的觀眾被認為很像電影院第一批神秘觀眾——那些因為觀看Lumiere Brother的Arrival of a Train at the Station而受到驚嚇的觀眾，他們據(jù)說把電影里的火車當成了真火車而嚇得往后仰。誠然，Phalke通過熒幕上的觀眾的反映來讓現(xiàn)場觀眾有一種神靈面前信徒的感覺，就像是一種印度宗教行為（darshan）。誠然，很多觀眾確實采取了這種視角。然而，我們也應該對如下觀點保持警惕：這是唯一的視角，或者認為印度觀眾就是非常天真的以為熒幕上呈現(xiàn)的凸顯是神圣和真實的。首先，印度觀眾對于神話電影的再現(xiàn)并不是陌生的；民俗表演和Parsi劇場提供了最直接的神話電影的環(huán)境。Phalke自己將他的電影稱之為新劇或者默劇，與老劇或舞臺劇構(gòu)成對比。他的觀眾里很大一部分人有可能會認為神話電影是另一種基于宗教神話的表演，盡管是一個相對新穎的表演形式，并且在這個表現(xiàn)形式中，缺少現(xiàn)場演員的存在，這給電影的場面增添了一種獨特的恐怖維度。

除此之外，這些早期電影的呈現(xiàn)模式會削弱任何天真的現(xiàn)實主義和單純宗教化的解讀。當時的觀眾經(jīng)常會在一些沒那么神秘的展出環(huán)境下見到這些電影，比如在話題新聞、美國期刊，或者如魔術(shù)表演、喜劇小品、怪異舞蹈之類的現(xiàn)場表演。比如[Phalke’s film] Raja Harishchandra，是第一個在孟買Coronation Cinema上映的電影，是Miss Irene Delmar的長達一個半小時的舞蹈表演中的一部分；除了這部電影之外，還有McClements的“comical sketch”、 Alexandroff的才藝表演“The Wonderful Foot-Juggler”。 這類電影院節(jié)目的不連續(xù)和多樣性是全世界電影業(yè)前十年的典型行為。在他的文章“The Cult of Distraction: On Berlin’s Picture Palaces”中，Siegfried Kracauer寫道：電影院節(jié)目的多樣性目的是產(chǎn)生一種“上乘的感官印象的碎片化的次序”，或者是一種審美的分散，這削弱了人們對于影片抽象性的關(guān)注。將Kracauer的邏輯延伸到早期的神話電影，我們可以認為形式的多樣性有類似的效果。

3.?The primary purpose of the passage is to?

功能題 主旨題 難

作者在討論的是神話電影并不新鮮，給的證據(jù)是印度觀眾對于這種電影形式其實是熟悉的。

B

A. situate certain early-twentieth-century Indian films in the wider context of international cinema 沒有wider context的證據(jù)

B. argue against a particular theory regarding the reception of certain early-twentieth-century Indian films 符合

C. discount the argument that the way in which certain early-twentieth-century Indian films were?presented influenced how they were received 否定一個觀點：20世紀早期某些印度電影的呈現(xiàn)方式會影響人們對它們的接受方式。不是在討論呈現(xiàn)方式

D. compare the reception of certain early-twentieth-century Indian films with that of contemporary?works in other countries 沒有與其他國家作品的比較

E.?present evidence documenting how certain early-twentieth-century Indian films were typically?produced 沒有說電影制作

4.?Which of the following circumstances is mentioned in the passage as a reason to doubt the?assumption that the original audiences for Phalke's mythological films resembled "cinema's?mythical first audiences"??

細節(jié)題 難

文章中的那種情況被用來否定神話電影的觀眾類似影院的首批觀眾。就是在問，文章里什么地方說到其實那些觀眾并不是像以前那樣沒見過世面。

D

A. The absence from Phalke's films of nonreligious material such as comic interludes or exotic dances 無關(guān)

B. The absence from Phalke's films of alarming subject matter such as an approaching train 沒有證據(jù)

C. The exposure of Phalke's audiences to an on-screen audience evoking the practice of?darshan 無關(guān)/相反，這個信息在it is true的讓步中，不能用來否定

D. The exposure of Phalke's audiences to similar subject matter presented in other forms?接觸到以其他形式呈現(xiàn)的類似主題 。符合，對應二段2句。

E.?The exposure of Phalke's audiences to similar reenactments of other subject matter 接觸到其他題材的類似重演。干擾。不能看到reenactment就選，與一段6句信息并不一致。沒有other subject的證據(jù)

5.?Which of the following statements best describes the function of the highlighted sentences in?the context of the passage as a whole?

功能題 目的題 中

it is true兩句都表明是作者的讓步，說明觀眾好像的確是一副沒見過世面的樣子。

A

A. They provide evidence that supports a claim presented earlier in the passage. 符合

B. They offer support of the author's primary conclusion drawn late in the passage. 相反

C. They suggest similarities between two seemingly distinct artistic formats. 沒有證據(jù)

D. They highlight problems with an assumption supporting an established theory. 相反

E.?They introduce the author's rationale for proposing a new theory. 相反

6.?The passage suggests that the heterogeneity of the material accompanying the premiere of?Raja?Harishchandra?

細節(jié)題 推斷題 難

關(guān)于Raja Harishchandra的首演能推出什么。該句信息主要是為上一句舉例，表明觀眾在其他媒介中見過類似的神話電影。服務段落主旨

D

A. increased the likelihood of its audience seeing all of the features on the program 沒有證據(jù)

B. increased the likelihood of its audience attending future film screenings 沒有證據(jù)

C. reduced the likelihood of its audience reacting in a manner similar to audience reactions described?by Siegfried Kracauer 無關(guān)/相反

D. reduced the likelihood of its audience confusing the film's cinematic images with reality 符合

E.?reduced the likelihood of its audience thinking that the production of films and that of stage plays?was similar 相反/無關(guān)

Question 7 is based on this passage.

重復

crows / sparrow population / gulls?

Sciences/biology

倒霉的麻雀

Crows,?herring gulls, and sparrows all live on the island of Firsten. Crows feed on sparrow eggs and therefore pose a threat to the sparrow population. Although gulls are not nearly as good at finding sparrow nests as crows are, sparrows typically also lose some eggs to gull predation. Nevertheless, sparrows that nest near gull nests tend to lose fewer eggs to predators than sparrow nesting far away from gull nests, since ________.

烏鴉、銀鷗都吃麻雀蛋。但是麻雀的巢穴如果離銀鷗的巢穴比較近的話，受到的威脅就小一點，因為______。

7.?Which of the following most logically completes the argument?

邏輯單題 邏輯支持 易

這是道邏輯補全題。給前面的表述找個原因就成。邏輯單題建議大家先自己想好可能的理由之后再去看選項，避免被選項帶走。這一題的邏輯框架比較簡單：X受到Y(jié)和Z的影響。但離Y近一點的話，危險就小一點。問為什么。只在這個邏輯框架內(nèi)考慮的話，不考慮其他的因素，一般就是Y和Z之間有制約。題目就好做了。

A

A. the presence of gulls frightens away crows?

B. crows pose no threat to adult sparrows 沒有證據(jù)。與麻雀成不成年沒有關(guān)系

C. gulls find sparrow nests by watching female sparrows enter the nest 沒有證據(jù)。與麻雀性別建立不起聯(lián)系

D. there are far more crows on Firsten than there are sparrows 沒有證據(jù)。數(shù)量多少與巢穴遠近構(gòu)不成因果關(guān)系。

E.?sparrows on Firsten typically hide their nests very carefully 沒有證據(jù)。巢穴隱藏程度與巢穴遠近沒有關(guān)系。

生詞摘錄：

herring?gulls 銀鷗（產(chǎn)于北大西洋，體大，翼端為黑色）

Questions 8 - 10 are based on this passage:?

文章重復S01S1Q8-10

Many scholarly discussions of novelist Willa Cather (1873-1947) debate whether Cather belongs more to the nineteenth-century realist tradition or to the modernist revolution of the early twentieth century.?While Cather's preoccupation with nineteenth-century agrarian culture?has won her the respect of readers and critics, her dismast of modernity left her with a historically unstable position in the modernist canon.?Resistance to the changes?wrought by the twentieth century, of course, does not necessarily disqualify one from the "modernist" label. The impulse to reconnect with more primitive, earlier times is a hallmark of modernist aesthetics, shaping the search for meaning in a fragmented, disenchanted, mechanized world. Yet more often than not, [literary?critic] Phyllis Rose explains, the early twentieth-century atmosphere of experimentation and "making it new" and an attendant?critical discourse?that "valued complexity, ambiguity, even obscurity" resulted in Cather 's labeling as "naively traditional " and "essentially nostalgic and elegiac." In effect, in modernist studies she has been treated as a romantic regional writer, unconcerned with the international terrain so integral to modern thinking-at least until scholars, in the 1980s and 1990s, began reevaluating the historical record, demonstrating?her innovative departures from nineteenth-century fiction, including antiheroism, gender-bending, episodic narrative, antirealism, simple prose, emphasis on memory and time, and the exploration of immigration, empire, and race. Today it is not uncommon to encounter critics announcing Cather's newfound canonical status as a modernist-indicated most clearly by her inclusion in works such as?The Cambridge Companion to American Modernism?published in 2005.

關(guān)于小說家WC的討論主要在于她是更多屬于19世紀的傳統(tǒng)現(xiàn)實主義還是20世紀早期變革的現(xiàn)代主義。盡管Cather對于19世紀耕種文化的關(guān)注使她獲得讀者和評論家們的尊重，她對于現(xiàn)代主義的不信任讓她在現(xiàn)代主義者看來很難評價。當然，拒絕20世紀的變化，也不能說一個人不是現(xiàn)代主義者。想與過去的時代重新建立聯(lián)系，在破碎的、幻滅的、?呆板的世界中找尋意義，是現(xiàn)代主義美學的特征。但是文學評論家PR常常解釋說，20世紀早期的實證氛圍，求新，追求復雜和朦朧美等特征導致了Cather被打上“天真?zhèn)鹘y(tǒng)”、“懷舊憂傷”的標簽。實際上，在現(xiàn)代主義研究中，她被作為一個浪漫的地方作家來對待，不關(guān)注國際化對于現(xiàn)代思考的重要性；至少直到20世紀八九十年代，當學者們開始重新評價文獻資料時，發(fā)現(xiàn)她表現(xiàn)出脫離19世紀小說的創(chuàng)新之處，比如反英雄主義，性別偏移，等等。?今天我們對評論界中認為Cather是現(xiàn)代主義者的聲音已經(jīng)不陌生了，正如2005年出版的《美國現(xiàn)代主義比較》等作品體現(xiàn)的那樣。

8.?The author would be most likely to agree with which of the following claims about Cather's?"preoccupation with nineteenth-century agrarian culture"??

態(tài)度題 難

原文信息：盡管Cather對于19世紀耕種文化的關(guān)注使她獲得讀者和評論家們的尊重，她對于現(xiàn)代主義的不信任讓她在現(xiàn)代主義者看來很難評價。

A

A. It is regarded by some as evidence of an attitude toward the modern world that is characteristic of?many modernist writers. 它被一些人認為是許多現(xiàn)代主義作家對現(xiàn)代世界的一種態(tài)度的證據(jù)。 GRE不講人話的又一力證。

B. Its definitive role in Cather's writing distinguishes Cather from most authors who were considered?to be central to the modernist literary tradition. 沒有distinguish的證據(jù)

C. It was clearly an important element of Cather's early fiction but played little role in her later, more?mature novels. 沒有證據(jù)

D. It has frequently been misinterpreted by the very readers and critics who are most strongly?drawn?to Cather's fiction. 沒有misinterpreted?證據(jù)

E.?Divergent interpretations of it have led critics to form diametrically opposed conclusions about the?overall quality of Cather's literary output. 沒有證據(jù)

9. The author mentions the?"critical discourse" primarily to?

功能題 目的題 難

這是一個與Cather對立、相反的陣營的觀點

E

A. explain why some critics rejected the idea that any particular literary style was uniquely modernist 沒有證據(jù)，表述過于絕對

B. challenge an assumption about the extent to which Cather's novels express a nostalgic view of the?past 相反，不是challenge，nostalgic與這個discourse是相同陣營

C. suggest that most of Cather's readers have little in common with the scholarly commentators who?have written about her work 沒有讀者啥事兒

D. demonstrate that literary critics' views about Cather's fiction diverge widely on certain points 沒有證據(jù)

E.?introduce an explanation of criteria used to determine whether Cather belonged in a particular?literary category 符合

10.?The reference to the highlighted work serves primarily to?

功能題 目的題 中

最后一句話認可了Cather的現(xiàn)代主義身份。

B

A. suggest that no major advances in Cather scholarship have been made since 2005 沒有證據(jù)

B. describe an important milestone in a scholarly trend that began in the 1980s 符合。這個trend就是認為Cather是現(xiàn)代主義者

C. cite a publication that has significantly influenced many scholars’ views of Cather 沒有influenced證據(jù)

D. question the current critical consensus regarding a defining quality of modernism 相反

E. acknowledge that an author’s canonical status can be subject to arbitrary shifts 沒有證據(jù)