Section 1

Questions 1 and 2 are based on this passage.?

radial velocity / spectral analysis

Sciences/astronomy

通過光譜分析恒星的徑向速度 ★★

①Astronomers can measure any given star’s radial velocity by examining its spectrum — light spread out into?its constituent wavelengths. ②If an object is moving toward us, its spectral lines shift to shorter wavelengths; if it’s moving away, the lines swing to longer wavelengths. ③The higher the velocity, the greater the shift. ④Although 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. ⑤Even large telescopes can’t gather enough of their light.?⑥For this reason, astronomer Ulrich Heber conjectures that there are probably several low-mass hypervelocity stars yet to be discovered. ⑦Although these diminutive objects live longer than their B-type stars, which are extremely luminous and blue, they radiate much less light.

天文學(xué)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(xué)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。

生詞摘錄：

conjecture 推測

diminutive 小的

1. Which of the following best describes the function of the highlighted sentence in the context of the?passage as a whole?

句子功能題，問高亮句子的功能?？疾炀溟g關(guān)系。這一句話順承上一句解釋為什么光譜分析法對于遙遠星體的分析比較困難。

C

A. It suggests why a technique discussed in the passage is becoming outmoded.?

沒有becoming outmoded的證據(jù)

B. It confirms the existence of dimmer stars in the Milky Way’s outer halo.

沒有證據(jù)/無關(guān)。不是為了證明這件事。

C. It explains a shortcoming of a commonly used technique. 正確

D. It supports the arguments of astronomers who challenge Heber’s conjecture.

沒有證據(jù)。文中沒有出現(xiàn)這類天文學(xué)家。

E. It bolsters the passage’s claim that larger telescopes need to be built.

沒有證據(jù)。無中生有。

2. The passage suggests that Herber would be most likely to agree with which statement about low-mass?hypervelocity stars?

間接細節(jié)+態(tài)度，問Herber怎么看low-mass stars. 對應(yīng)文章倒數(shù)第二句話。原文說，因為技術(shù)不到位，應(yīng)該還有很多沒被發(fā)現(xiàn)的。

D

A. The spectral lines of low-mass hypervelocity stars are subject to constant fluctuation.

沒有fluctuation的證據(jù)。

B. Methods other than spectral analysis have failed to confirm the existence of low-mass hypervelocity?stars. 沒有其他方法的證據(jù)。

C. Low-mass hypervelocity stars are more numerous in the Milky Way than B-type stars.

沒有數(shù)量的比較。

D. There are more low-mass hypervelocity stars than currently available methods are capable of detecting. 正確

E.?The light from low-mass hypervelocity stars cannot be distinguished from the light of brighter, B-type?stars. 沒有證據(jù)。并不是不能區(qū)分，而是接收不足。

背景拓展

徑向速度：物體運動速度在觀察者視線方向的速度分量（即目標(biāo)相對參考點的速度在二者連線上的分量）。又稱視向速度。在習(xí)慣上，正的視向速度表示物體在退行，如果是負值，物體則是在接近。

B-type?stars

A B star is a?large, luminous, blue-white star of spectral type B with a surface temperature of 10,200 to 30,000°C. The spectrum is characterized by absorption lines of neutral or singly ionized helium, with lines of a'tomic hydrogen evident, especially at the cooler end of the range.

光譜型為B的恒星。光譜主要特征為中性氦吸收線和氫吸收線。

Questions 3 to 6 are based on this passage.

Indian films /?mythological?

印度神話電影 ★★★★☆

Arts

先看題干，批量審題：

3. It can be inferred from the passage that when analyzing the appeal of early-twentieth-century Indian mythological films, Dewan Sharar?間接細節(jié)

4. The author of the passage would most likely agree with which of the following statements regarding the original audiences of Phalke's mythological films? 作者態(tài)度

5. The highlighted sentence mainly serves to 句子功能

6. The passage suggests that Kracauer's ideas are applicable to the original audiences of Phalke's mythological films because of the films' 間接細節(jié)

可大概定做題優(yōu)先級：5 3/4/6?

①In 1939, Dewan Sharar emphasized the appeal of Indian films depicting legends of gods and goddesses to a?devoutly Hindu mass audience. ②The audiences of 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 Brother’s?Arrival of a Train at the Station, who reportedly reared back in terror upon perceiving the cinematic train as the real thing. ③It 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.?④It is also undoubtedly true that many spectators did assume this particular viewing position. ⑤However, we need to be careful about assuming that this was the only spectatorial position or about ascribing to the Indian mass public a na?ve readiness to believe in the divinity and reality of the screen image. ⑥To 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. ⑦Phalke himself called his films new plays or silent plays, contrasting them with the old or stage plays. ⑧A 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.?

①Moreover, these early films' mode of presentation would have undermined any naively realist or purely religious reading. ②Contemporary 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. ③[Phalke's film] Roja 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. ④The discontinuity and variety of this form of cinema program were typical of exhibition practices in the first decades of cinema across the world. ⑤In 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. ⑥Extending Kracaucer’s logic to the exhibition context of the early mythologicals, one can argue that the variety format would have had a similar effect.

生詞摘錄：

devoutly?衷心地，虔誠地

darshan 印度教見圣人的場合/機會

reenactment 再扮演

①1939年，Dewan Sharar強調(diào)了印度神話電影對虔誠的印度觀眾的魅力。②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(dāng)成了真火車而嚇得往后仰。③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）。④誠然，很多觀眾確實采取了這種視角。⑤然而，我們也應(yīng)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。⑥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。⑦Phalke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。⑧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。

①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。②當(dāng)代觀眾經(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。③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”。 ④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。⑤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。⑥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。

第一視角閱讀體驗：

第一段：

①找主干，DS觀點，印度電影魅力。

②找主干，這些觀眾很像first audiences：看神話電影的時候會嚇一跳。

③④it is true都表明是作者的讓步。③太長讀不懂，可以借助④來理解：觀眾確實采取這類觀影視角?！皌his particular viewing position”向前找指代：the manner of a devotee before an idol。簡言之，就是粉絲第一次見愛豆的感覺（一副沒見過世面的樣子）。

⑤However轉(zhuǎn)折，同時這句話是作者觀點。作者不認為我們應(yīng)該把印度觀眾看得這么的沒見過世面。

⑥看到“to begin with”，加上下一段①的“moreover”可以預(yù)判。第⑥往后直到全文結(jié)束，作者從兩方面支持⑤的觀點。這樣一來，從⑥開始，后面的內(nèi)容都很容易讀了，不論細節(jié)是否能理解，反正都是在說“印度觀眾見過世面”。 ⑥的“not unfamiliar”、“ an immediate context for the mythological films”都說明印度觀眾對于神話電影其實是很熟悉的。

⑦是Phalke的觀點，他認為自己的電影是新的。

⑧的主干是“audiences would probably have regarded”，所以是觀眾們的想法。Albeit表示“盡管”，albeit之后的內(nèi)容說電影是新的，所以albeit前面是主句，認為這些電影其實不新。

第一段總結(jié)：作者觀點——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。

第二段：

①電影的呈現(xiàn)形式會“undermined any naively realist or purely religious reading”。這里需要判斷出“naively realist”和“purely religious reading”指的是前一段2-4句里面觀眾沒見過世面的樣子。加上“undermine”，所以這一句想表達的還是印度觀眾見過世面。

②具體列舉印度觀眾在其他媒介中見過類似的神話電影。

③句列了一堆表演，都是上句的例證支持。

④說前一句的表演形式很常見。

⑤中有個“or”并列前后內(nèi)容。or之前不容易讀懂，但是or之后的內(nèi)容相對容易，重點是“undermined an illusionistic absorption in the images”，這里要意識到“illusionistic”對應(yīng)前文所說神話電影中那些宗教和神學(xué)的東西，而這個被undermine了，也就意味著電影中的宗教元素會被稀釋。

⑥“Extending Kracauer’s logic to the exhibition context of the early mythologicals”這里可以意識到，3-5句都讀的云里霧里，是因為者三句話都是類比，而我們的關(guān)注重點是借助于3-5句，作者在第6句得出的結(jié)論：“one can argue that the variety format would have had a similar effect”。重點是“similar effect”，對應(yīng)前一句“undermined an illusionistic absorption in the images”。

第二段總結(jié)：這一段說明印度觀眾見過世面的論證方式是，印度觀眾可以在很多媒體中見識和宗教有關(guān)的表演，而這么多的藝術(shù)形式就會削弱觀眾看到神話電影時的那種陌生感。

全文總結(jié)：這篇文章其實唯一的難點就是那些斜體字的印度詞匯，以及大量的人名、作品名。但是讀完全文，會發(fā)現(xiàn)，這些專業(yè)術(shù)語對于文章理解并沒有產(chǎn)生任何影響。文章真正核心的就是第一段3、4句的讓步句子承認道第2句這一被反駁觀點的合理性，第5句However之后作者的觀點，然后在關(guān)注到“to begin with”和“moreover”劃分的兩個層次。

3. It can be inferred from the passage that when analyzing the appeal of early-twentieth-century Indian mythological films, Dewan Sharar

間接細節(jié)題。推斷DS在分析20世紀早期印度神話電影的時候做了什么。

與題干信息相關(guān)的定位只在第一句，而第一句的信息是肯定不夠解題的。這道推斷題需要結(jié)合全文論證結(jié)構(gòu)來看。文章開頭說DS認為神話電影很吸引印度人民，并且用DGP的電影舉例。但從第三句開始，作者開始切入自己觀點：③④it is true都表明是作者的讓步。③太長讀不懂，可以借助④來理解：觀眾確實采取這類觀影視角?！皌his particular viewing position”向前找指代：the manner of a devotee before an idol。簡言之，就是粉絲第一次見愛豆的感覺（一副沒見過世面的樣子）。⑤However轉(zhuǎn)折，同時這句話是作者觀點。作者不認為我們應(yīng)該把印度觀眾看得這么的沒見過世面?？吹胶竺娴摹皌o begin with”，加上下一段的“moreover”可以知道，往后直到全文結(jié)束，作者從兩方面支持這個的觀點。所以作者用DS描述的現(xiàn)象引入，但又不能只看到這種表象。這一題較難，可以借助排除法打好錯誤標(biāo)簽。

E

A. emphasized the applicability of Siegfried Kracauer’s theories 無關(guān)。不在答題區(qū)間。SK這個人在第二段結(jié)尾，這二者之間建立不起關(guān)系。

B. emphasized the similarities between early Indian films and early French films 強干擾項。會被第二句帶走（盧米埃爾兄弟的確是法國人。。）但并沒有電影之間similarities的證據(jù)。最多是觀眾的反應(yīng)接近。

C. did not focus on the cinematic devices used to invite the spectator to idolize the screen image 沒有cinematic devices的證據(jù)。不必?zé)o中生有。

D. did not focus on the films of Dhundiraj Govind Phalke 相反。就是拿這哥們的電影舉的例子。

E. did not focus on the contexts in which the films were screened 很容易被當(dāng)作沒有證據(jù)而排除。作者認為不是因為神話、神明內(nèi)容本身吸引了觀眾，因為印度觀眾沒那么沒見過市面，而DS只關(guān)注到了電影內(nèi)容本身，沒有關(guān)注到電影放映的環(huán)境（形式）。

4. The author of the passage would most likely agree with which of the following statements regarding the original audiences of Phalke’s mythological films?

態(tài)度題。問作者怎么看P的神話電影的早期觀眾。

作者認為他們并不傻，不會僅僅被神明吸引。正如第一段最后一句所說，人們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。

D

A. The original audiences’ experiences influenced Siegfried Kracauer’s theoretical ideas about audience reaction. 無關(guān)，且沒有influenced的證據(jù)。

B. The original audiences were more interested in the noncinematic features accompanying Phalke’s films than in the films themselves. 沒有這個比較關(guān)系的證據(jù)。

C. The original audiences of Phalke’s films had greater experience of live theater than did the audiences of the Lumiere Brother’s early films. 沒有比較的證據(jù)。盡管可能實際上如此。

D. The role of religion in attracting the original audiences to early Indian films has been exaggerated. 符合文章意思

E. Critics are mistaken in thinking the original audiences preferred earlier theatrical presentations to cinematic presentations of the?pauranika myths. 沒有mistaken和prefer的證據(jù)。

5.?The highlighted sentence mainly serves to

句子功能題。

前面兩句針對現(xiàn)象給出讓步觀點，However轉(zhuǎn)折，同時這句話是作者觀點。作者不認為我們應(yīng)該把印度觀眾看得這么的沒見過世面。

B

A. offer a clarification of the meaning of a term 沒有term

B. warn against accepting a particular analysis 符合前后句間關(guān)系

C. caution against discounting a particular theory 注意不要忽視一個特定的觀點。直譯看好像對。但是這個theory是前兩句的讓步觀點。作者要我們注意不要被前面觀點影響，而不是要關(guān)注它們。C和B的方向正好相反，好好體會下。

D. emphasize the role of religion in early Indian film 并不是。功能相反。

E. illustrate how a belief became widely held 沒有illustrate和widely held證據(jù)且功能相反

6. The passage suggests that Kracauer’s ideas are applicable to the original audiences of Phalke’s mythological films because of the films’

間接細節(jié)題。

這一題好定位，在文章最后。題干中的applicable對應(yīng)最后一句的Extending Kracaucer’s logic to ... the?variety format?would have had a similar effect. 所以只要找到variety format的對應(yīng)就是答案了。也就是二段分論點中的mode of presentation.

A

A. mode of presentation

B. style of reenactment 無關(guān)。非答題區(qū)間。

C. thrilling supernatural displays 無關(guān)。同上。

D. evident popular appeal 無關(guān)。

E. distinctive visual imagery 沒有證據(jù)

背景拓展：

盧米埃爾兄弟，哥哥是奧古斯塔·盧米埃爾（Auguste Lumière，1862年10月19日—1954年4月10日），弟弟是路易斯·盧米埃爾（Louis Lumière，1864年10月5日—1948年6月6日），是法國的一對兄弟，是電影和電影放映機的發(fā)明人。兄弟倆改造了美國發(fā)明家愛迪生所創(chuàng)造的“西洋鏡”，將其活動影像能夠借由投影而放大，讓更多人能夠同時觀賞。

【高清修復(fù)版】【路易斯 · 盧米埃爾】火車進站 L'arrivée d'un train à La Ciotat (1897)_嗶哩嗶哩_bilibili

《火車進站》（法語：L'arrivée d'un train à La Ciotat）是法國盧米埃爾兄弟執(zhí)導(dǎo)的一部黑白無聲短紀錄片。?這部約50秒的無聲電影展現(xiàn)了一輛火車在蒸汽機車的牽引下，駛進法國沿海小鎮(zhèn)拉西奧塔一處火車站的情景。這不是盧米埃爾兄弟最早的電影，但它以電影放映時前排觀眾因為恐慌而四散而逃的軼事而聞名。觀眾被直沖而來的列車嚇得驚慌失措，尖叫著跑到放映室的后面。

Question 7 is based on this passage.

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______。

GULL＜CROW

SPARROW?+GULL ＜ SPARROW - GULL

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

邏輯補全，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，受到Z的威脅就小一點。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 to 10 are based on this passage.

Willa Cather / modernity / modernist?

Arts/literature

小說家WC到底是現(xiàn)實主義還是現(xiàn)代主義★★★★

①Many 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.?②While Cather's preoccupation with nineteenth-century agrarian culture has won her the respect of readers and critics, her distrust of modernity left her with a historically unstable position in the modernist canon. ?③Resistance to the changes wrought by the twentieth century, of course, does not necessarily disqualify one from the "modernist" label. ④The 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. ⑤Yet 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 nostalgical elegiac."??⑥In effect, in modernist studies she has been treated as a romantic regional writer, unconcerned with the international 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. ⑦Today 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.

生詞摘錄：

canon 規(guī)則，標(biāo)準

wrought?特定風(fēng)格的

disenchanted 幻滅的

more often than not 通常

elegiac?/?el??d?a??k/?憂傷的

?

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(dāng)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(xué)的特征。但是文學(xué)評論家PR常常解釋說，20世紀早期的實證氛圍，求新，追求復(fù)雜和朦朧美等特征導(dǎo)致了Cather被打上“天真?zhèn)鹘y(tǒng)”、“懷舊憂傷”的標(biāo)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(dāng)學(xué)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 primary purpose of the passage is to

主旨題。難題?？伎蚣堋Ｄ俏覀兙蛠砜纯蚣?。

①Many 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.?②While Cather's preoccupation with nineteenth-century agrarian culture has won her the?respect of readers and critics, her distrust of modernity left her with a historically unstable position in the modernist?canon. ?③Resistance to the changes?wrought?by the twentieth century, of?course, does not necessarily disqualify one from the "modernist" label. ④The 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. ⑤Yet?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 nostalgical?elegiac."??⑥In effect,?in modernist studies she has been treated as a romantic regional writer, unconcerned with the international 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. ⑦Today 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.

①

↓

② ? ③

? ? ? ? ? ↓

? ? ? ? ? ④ ? ⑤ ? ⑥

? ? ? ? ? ?? ? ??? ? ? ? ? ? ↓

? ? ? ? ? ? ?? ? ??? ? ? ? ?⑦

文章是在討論一個小說家到底是現(xiàn)實主義者還是現(xiàn)代主義者。通過行文過程發(fā)現(xiàn)，人們開始越來越傾向于認為WC屬于后者而非前者。

C

A. illustrate the inadequacy of a label used by literary scholars to describe a particular author

無關(guān)。在X/Y兩種角色中選一個。文章更多在找Y的證據(jù)，而不是挑X的問題。

B. advocate that the criteria used to evaluate a particular author’s work be revised

沒有證據(jù)。并不是在討論評價作品的標(biāo)準。

C. illustrate a shift in how a particular author’s work has been classified by scholars

D. trace an evolution in scholars’ understandings of the primary influences on a particular author 沒有influence的證據(jù)。

E. challenge the usefulness of a distinction that dominates critical discussions of a particular author? 沒有usefulness的證據(jù)。更談不上challenge了。

9. The author mentions the "resistance to the changes" primarily to

信息目的題。③句開頭，轉(zhuǎn)折上句信息，但不要因為拒絕變化，就給打上非現(xiàn)代化的標(biāo)簽。這一題可能BD干擾較強。所以先形成自己的判斷，然后再做選擇。

C

A. cite evidence to support as assertion made earlier in the passage

相反。對前一句是取反。

B. identify a theme that runs through much of Cather’s fiction

沒有證據(jù)。并沒提Cather的大部分小說。

C. challenge an overly narrow view of the features that define modernism?

D. explain why some critics have failed to appreciate the quality of Cather’s writing?

沒有appreciate quality的證據(jù)。并不是在討論作品的好壞，而是她的歸屬。

E. trace the emergence of a stylistic innovation adopted by modernist writers?

沒有trace innovation證據(jù)。

10.?According to the passage, “the historical record”

直接細節(jié)題。定位+同義改寫。定位倒數(shù)第二句，定位信息的完整一句話要看完整。until表示時間終點，這些歷史文獻表現(xiàn)出了脫離19世紀小說的創(chuàng)新之處。對應(yīng)的句子很長，要注意破折號后的until交代的前文的時間終點。不明白的地方看文章大意。

D

A. explains why Cather has been considered a romantic regional writer 相反。

B. was less important to Cather scholars prior to the 1980s than it was in later decades

沒有重要性比較的證據(jù)。

C. offers conflicting evidence about Cather’s attitude toward the modern world 沒有conflicting evidence的證據(jù)

D. provided some scholars with a basis for challenging a long-standing view of Cather?

E. reveals that Cather was relatively uninterested in international affairs 相反，這是在發(fā)現(xiàn)這些歷史文獻之前的觀點/沒有uninterested證據(jù)

文章難度體現(xiàn)（信息矩陣）：

①Many 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.?②While?Cather's preoccupation with nineteenth-century?agrarian culture?has won her the?respect of readers and critics, her distrust of?modernity?left her with a historically?unstable?position in the modernist?canon. ?③Resistance to the changes?wrought?by the twentieth century, of?course, does not necessarily disqualify one from the "modernist" label. ④The 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. ⑤Yet?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 nostalgical?elegiac."??⑥In effect,?in modernist studies she has been treated as a romantic regional writer,?unconcerned with?the international sointegral 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. ⑦Today 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.

背景拓展：

Willa Cather

薇拉·凱瑟_百度百科 (baidu.com)

https://baike.baidu.com/item/%E8%96%87%E6%8B%89%C2%B7%E5%87%AF%E7%91%9F/9690631

薇拉凱瑟于1873年生于弗吉尼亞州。9歲那年，她隨父母搬到中西部內(nèi)布拉斯加州大草原的一個小鎮(zhèn)上。這次搬遷對她在心靈與藝術(shù)上的影響持續(xù)了一生。她在那里接觸到從歐洲各國涌來的新移民，這些后來成了她文學(xué)創(chuàng)作的素材。

1912年開始專事寫作。早期作品受亨利·詹姆斯的影響。后來聽從女作家沙拉·奧納·裘維特的勸告，以自幼所熟悉的西部邊疆生活為題材，創(chuàng)作富有地方特色的作品。1944年，她作為美國文學(xué)藝術(shù)院院士，獲該院最高金獎。

凱瑟曾指出：一切藝術(shù)的提高過程全在于單純化的過程，砍掉一切俗套和細枝末節(jié)而又不影響整個作品的精神。她強調(diào)只要給出暗示，而不進行闡述說明。她不大強調(diào)作品情節(jié)的離奇，而是靠一種抒情的力量把整個故事串起來。

凱瑟的作品結(jié)構(gòu)勻稱，節(jié)奏舒緩從容，文字清新優(yōu)美。近年美國批評界認為她是20世紀美國最杰出的小說家之一。