2022年考研考博-考博英語-哈爾濱工業(yè)大學(xué)考試名師押題精選卷I（帶答案詳解）試卷號(hào)28

住在富人區(qū)的她2022年考研考博-考博英語-哈爾濱工業(yè)大學(xué)考試名師押題精選卷I（帶答案詳解）（圖片可根據(jù)實(shí)際調(diào)整大?。╊}型12345總分得分一.綜合題(共50題)1.單選題

Thetragicimpactofmoderncityonthehumanbeinghaskilledhissenseofaesthetics.Thematerialbenefitsofanaffluentsocietyhavedivertedhisattentionfromhiscityanditsculturalpotentialtotheproductsofscienceandtechnology:washingmachines,centralheating,automaticcookers,televisionsets,computersandfittedcarpets.Heis,atthemoment,drunkwithdemocracy,well-to-do,andhasneverhaditsogood.

Heisreluctanttowalk.Statisticaldatarevealthatthedistanceheispreparedtowalkfromhisparkingplacetohisshoppingcenterisveryshort.Astherearenoadequateoffstreetparkingfacilities,thecitiesarelitteredwithkerb-parkedcars,andparkingmetersrearthemselveseverywhere.Congestionhasbecomethepredominantfactorinhisenvironment,andstatisticssuggestthattwocarsperhouseholdsystemmaysoonmakemattersworse.

Inthemeantime,insultisaddedtoinjuryby“l(fā)andvalue”.Thevalueoflandresultsfromitsuse:itsincomeisderivedfromtheserviceitprovides.Whenitsuseisintensified,itsincomeanditsvalueincrease.“Puttinglandtoitshighestandbestuse”becomestheprincipaleconomicstandardinurbangrowth.Thisspeculativeapproachandthepressureofincreasingpopulationleadstothe“vertical”growthofcitieswiththeresultthatpeopleareforcedtoadjustthemselvestocongestioninordertomaintaintheserelativelyartificiallandvalues.Paradoxicallytheremedyforremovingcongestionistocreatemoreofit.

Partialdecentralization,orratherpseudo-decentralization,intheformoflargedevelopmentunitsawayfromthetraditionaltowncenters,onlyshiftsthediseaseroundtheanatomyofthetown:ifitisnotcombinedwiththeremodelingofthetown’stransportationsystem,itdoesnotcureit.Heretheengineeringsolutionsarestronglyaffectedbythenecessityforcomplicatedintersections,which,inturn,arefrustratedbytheextravagantcostofland.

Itiswithinourpowertobuildbettercitiesandrevivethecivicprideoftheircitizens,butweshallhavetostopoperatingonthefringeoftheproblem.Weshallhaveradicallytore-planthemtoachievearationaldensityofpopulation.Weshallhavetoprovideinthemwhatcanbecalledminimum“psychologicalelbowroom.”O(jiān)neoftheingredientsofthiswillbepropertransportationplans.Thesewillhavetobeanintegralpartoftheoverallplanningprocesswhichinitselfisascientificprocess.Ifwewanttoplaneffectively,wemustcollect,inanorganizedmanner,allandcompleteinformationaboutthecityorthetown.Inthisprocess,wemustnotforgetthatcitiesarebuiltbypeople,andthattheirformandshapeshouldbesubjecttothewillofthepeople.Scientificmethodsofdatacollectionandanalysiswillindicatetrends,buttheywillnotdirectaction.Scientificmethodsareonlyaninstrument.Manwillhavetosetthetarget,and,usingtheresultsobtainedbyscienceandhisownengineeringskill,takeuponhimselfthefinalshapingofhisenvironment.

26.Itcanbeinferredfromthefirstparagraphthatpeopleinoldtimes______.

27.Thehighly-developedtechnologyhasmademan______.

28.Thedrasticincreaseoflandvalueinthecity______.

29.Theexpansionofbigcitiestothedistantsuburbanareasmay______.

30.Theauthorsuggeststhattheremodelingofcitiesmust______.

問題1選項(xiàng)

A.paidmoreattentiontomaterialbenefits

B.hadastrongersenseofbeauty

C.weremoredesirousaboutthedevelopmentofscienceandtechnology

D.enjoyedmorefreedomanddemocrat

問題2選項(xiàng)

A.increasinglyindustrious

B.freefrominconvenience

C.excessivelydependentonexternalaids

D.abletosavehisphysicalstrength

問題3選項(xiàng)

A.isthegoodresultofeconomicdevelopment

B.offersmoreopportunitiestolanddealers

C.isannoyinglyartificialandmeaningless

D.fortunatelyleadstothe“vertical”growthofcities

問題4選項(xiàng)

A.solvetheproblemofcitycongestion

B.resultintheremodelingofthetown’stransportationsystem

C.bringthesamecongestiontothesuburbanareas

D.needlessinvestmentonland

問題5選項(xiàng)

A.putprioritytothebenefitofthefuturegenerations

B.befocusedonpeopleratherthanoneconomy

C.beeconomicallyprofitabletolandowners

D.resorttoscientificmethods

【答案】第1題:B

第2題:C

第3題:C

第4題:C

第5題:B

【解析】26.【試題答案】B

【試題解析】推理判斷題。由題干可以定位到文章第一段第一句Thetragicimpactofmoderncityonthehumanbeinghaskilledhissenseofaesthetics.（現(xiàn)代城市對(duì)人類的悲劇性影響扼殺了人的審美意識(shí)。），說明過去的人是擁有審美意識(shí)的，但是被現(xiàn)代城市扼殺了。因此B選項(xiàng)“有較強(qiáng)的審美意識(shí)”正確。A選項(xiàng)“比較注重物質(zhì)利益”，C選項(xiàng)“對(duì)科技的發(fā)展有更大的愿望”，D選項(xiàng)“享有更多的自由和民主”，由原文可知，這是現(xiàn)代人的特點(diǎn)，所以A，C，D錯(cuò)誤。

27.【試題答案】C

【試題解析】推理判斷題。由題干可以定位到文章第一段第二句Thematerialbenefitsofanaffluentsocietyhavedivertedhisattentionfromhiscityanditsculturalpotentialtotheproductsofscienceandtechnology:washingmachines,centralheating,automaticcookers,televisionsets,computersandfittedcarpets.（富裕社會(huì)的物質(zhì)利益將人的注意力從城市及其文化潛力轉(zhuǎn)移到了科技產(chǎn)品上：洗衣機(jī)、中央供暖系統(tǒng)、自動(dòng)炊具、電視機(jī)、電腦和地毯。）和第二段第一句Heisreluctanttowalk.（人不愿意走路。），說明高度發(fā)達(dá)的科技讓人類越來越依賴各種科技產(chǎn)品，不愿意自己動(dòng)手。因此C選項(xiàng)“過度依賴外部援助”正確。A選項(xiàng)“越來越勤勞”，B選項(xiàng)“從不便中解放出來”，D選項(xiàng)“能夠保存自己的體力”均不符合題意，所以A，B，D錯(cuò)誤。

28.【試題答案】C

【試題解析】推理判斷題。由題干可以定位到文章第三段第五、六句Thisspeculativeapproachandthepressureofincreasingpopulationleadstothe“vertical”growthofcitieswiththeresultthatpeopleareforcedtoadjustthemselvestocongestioninordertomaintaintheserelativelyartificiallandvalues.Paradoxicallytheremedyforremovingcongestionistocreatemoreofit.（這種投機(jī)的方式和人口增長(zhǎng)的壓力導(dǎo)致了城市的“垂直”增長(zhǎng)，其結(jié)果是人們被迫調(diào)整自己，以適應(yīng)擁堵，以維持這些相對(duì)人為的土地價(jià)值。矛盾的是，消除擁堵的補(bǔ)救辦法是制造更多的擁堵。），說明土地價(jià)值的大幅提升是人為的、沒有意義的。因此C選項(xiàng)“是人為的，沒有意義的，令人討厭”正確。A選項(xiàng)“是經(jīng)濟(jì)發(fā)展的好結(jié)果”，B選項(xiàng)“為土地商提供了更多的機(jī)會(huì)”，D選項(xiàng)“幸運(yùn)地導(dǎo)致了城市的垂直發(fā)展”都是形容積極的結(jié)果，而原文表達(dá)的是消極的意思，所以A，B，D錯(cuò)誤。

29.【試題答案】C

【試題解析】推理判斷題。由題干可以定位到文章第四段第一句Partialdecentralization,orratherpseudo-decentralization,intheformoflargedevelopmentunitsawayfromthetraditionaltowncenters,onlyshiftsthediseaseroundtheanatomyofthetown:ifitisnotcombinedwiththeremodelingofthetown’stransportationsystem,itdoesnotcureit.（部分分散化，或者說是偽分散化，以大型開發(fā)單位的形式遠(yuǎn)離傳統(tǒng)的城鎮(zhèn)中心，只是將疾病轉(zhuǎn)移到城鎮(zhèn)的解剖結(jié)構(gòu)上：如果不與城鎮(zhèn)交通系統(tǒng)的改造相結(jié)合，就無法治愈疾病。），說明大城市向遠(yuǎn)郊區(qū)擴(kuò)展，并不會(huì)解決大城市的交通擁堵問題，反而會(huì)給郊區(qū)也帶來交通擁堵問題。因此C選項(xiàng)“給郊區(qū)帶來同樣的擁堵問題”正確。A選項(xiàng)“解決城市擁堵問題”，B選項(xiàng)“導(dǎo)致城鎮(zhèn)交通系統(tǒng)的改造”，D選項(xiàng)“需要減少對(duì)土地的投資”均不符合題意，所以A，B，D錯(cuò)誤。

30.【試題答案】B

【試題解析】觀點(diǎn)態(tài)度題。由題干可以定位到文章最后一段倒數(shù)第四句Inthisprocess,wemustnotforgetthatcitiesarebuiltbypeople,andthattheirformandshapeshouldbesubjecttothewillofthepeople.（在這個(gè)過程中，我們不能忘記城市是由人建造的，城市的形態(tài)應(yīng)該服從于人的意志。），說明作者認(rèn)為城市的改造必須以人類為中心。因此B選項(xiàng)“以人為本，而不是以經(jīng)濟(jì)為中心”正確。A選項(xiàng)“把造福子孫后代放在首位”，C選項(xiàng)“對(duì)土地所有者有經(jīng)濟(jì)效益”在文中沒有提及，所以A，C錯(cuò)誤。D選項(xiàng)“訴諸科學(xué)方法”，由原文可知，作者認(rèn)為科學(xué)方法只是一種工具，人類必須自行承擔(dān)環(huán)境的最終塑造工作，所以D錯(cuò)誤。

2.單選題

In1923theinnovativeRussianfilmmakerDzigaVertovdescribedfilmmakingasaprocessthatleadsviewerstowarda“freshperceptionoftheworld.”Vertov’sdescriptionoffilmmakingshouldapplytofilmsonthesubjectofart.Yetfilmsonarthavenothadapowerfulandpervasiveeffectonthewaywesee.

Publicationsonartflourish,butthesebooksandarticlesdonotnecessarilysucceedinteachingustoseemoredeeplyormoreclearly.Muchwritinginarthistoryadvancesthediscourseinthefieldbutisunlikelytoinformtheeyeofoneunfamiliarwithitspolemics.Films,however,withtheircapacitytopresentmaterialvisuallyandtoreachabroaderaudience,havethepotentialtoenhancevisualliteracy(theabilitytoidentifythedetailsthatcharacterizeaparticularstyle)moreeffectivelythanpublicationscan.Unfortunately,fewofthehundredorsofilmsonartthataremadeeachyearintheUnitedStatesarebroadcastnationallyonprime-timetelevision.

Thefactthatfilmsonartarerarelyseenonprime-timetelevisionmaybeduenotonlytolimitationsondistributionbutalsototheshortcomingsofmanysuchfilms.Someoftheseshortcomingscanbeattributedtothefailureofarthistoriansandfilmmakerstocollaboratecloselyenoughwhenmakingfilmsonart.Theseprofessionalsareable,withintheirrespectivedisciplines,toincreaseourawarenessofvisualforms.Forclosecollaborationtooccur,professionalsineachdisciplineneedtorecognizethatfilmsonartcanbebotheducationalandentertaining,butthiswillrequirecompromiseonbothsides.Afilmmakerwhoiscreatingafilmabouttheworkofanartistshouldnotfollowthestandardssetbyrockvideosandadvertising.Filmmakersneedtoresisttheimpulsetomovethecameraquicklyfromdetailtodetailforfearofboringtheviewer,toframetheimageforthesakeofdramaalone,toadmusicforfearofsilence.Filmmakersareawarethatanartobjectdemandsconcentrationand,atthesametime,areconcernedthatitmaynotbecompellingenough-andsotheyhopetoprovidereliefbyinterposing“real”scenesthatbearonlyatangentialrelationshiptothesubject.Butaworkofartneedstobeexploredonitsownterms.Ontheotherhand,arthistoriansneedtotrustthatonecanindicateandanalyze,notsolelywithwords,butalsobydirectingtheviewer’sgaze.Thespecializedwrittenlanguageofarthistoryneedstoberelinquishedoratleasttemperedforthescreen.Onlyaneffectivecollaborationbetweenfilmmakersandarthistorianscancreatefilmsthatwillenhanceviewers’perceptionsofart.

1.Thepassagesuggeststhatafilmmakerdesiringtoenhanceviewers’perceptionsofartshoulddowhichofthefollowing?

2.TheauthorofthepassagereferstoVertovinthefirstparagraphmostprobablyinorderto

3.Whichofthefollowingbestdescribestheorganizationofthepassage?

4.Thepassageisprimarilyconcernedwith（

）.

5.Theauthorwouldmostlikelyagreewithwhichofthefollowingstatementsaboutfilmandvisualliteracy?

6.Accordingtothepassage,arthistoriansdesiringtoworkwithfilmmakerstoenhancethepublic’sappreciationofartneedtoacknowledgewhichofthefollowing?

7.Whichofthefollowingwoulddescribetheauthor’smostlikelyreactiontoaclaimthatfilmsonartwouldmoresuccessfullypromotevisualliteracyiftheyfollowedthestandardssetforrockvideos?

問題1選項(xiàng)

A.Relyonthepreciselanguageofarthistorywhendevelopingscriptsforfilmsonart.

B.Relyondramaticnarrativeandmusictosetafilm’stoneandstyle.

C.Recognizethataworkofartbyitselfcanbecompellingenoughtoholdaviewer’sattention.

D.Dependmorestronglyonnarrationinsteadofcameramovementstoguidetheviewer’sgaze.

問題2選項(xiàng)

A.provideanexampleofhowfilmscanbeusedtoinfluenceperceptions

B.presentevidencetosupporttheargumentthatfilmshavebeenusedsuccessfullytoinfluenceviewers’perceptions

C.introducethenotionthatfilmcaninfluencehowviewerssee

D.contrastatraditionalviewoftheusesoffilmwithamoremodemview

問題3選項(xiàng)

A.Anobservationaboutanunsatisfactorysituationisoffered,thereasonsforthesituationarediscussed,andthenwaystochangeitaresuggested.

B.Twoopinionsregardingacontroversialphenomenonarecontrasted,supportingevidenceforeachispresented,andthenthetwoopinionsarereconciled.

C.Criticismofapointofviewisdiscussed,thecriticismisanswered,andthenthecriticismisappliedtoanotherpointofview.

D.Apointofviewisdescribed,evidencesupportingtheviewisprovided,andthenasummaryispresented.

問題4選項(xiàng)

A.discussingwhyfilm’spotentialasamediumforpresentingarttothegeneralpublichasnotbeenfullyrealizedandhowfilmmightbemademoreeffectiveinthisregard

B.discussingtheshortcomingsoffilmsonartandthetechnologicalinnovationsrequiredtoincreasetheimpactoffilmonvisualliteracy

C.discussingtheadvantagesandthedisadvantagesofusingfilmsratherthanpublicationstopresentworksofarttothegeneralpublic

D.presentinginformationtosupporttheviewthatfilmsonartmustfocusmoreoneducationandlessonentertainmentinordertoincreasevisualliteracy.

問題5選項(xiàng)

A.Readingapublicationaboutaworkofartandthenseeingafilmaboutthesameworkisthemosteffectivewaytodevelopvisualliteracy.

B.Anincreaseinaviewer’sawarenessofvisualformswillalsoleadtoanincreasedattentionspan.

C.Filmhasagreatbutnotyetfullyexploitedcapacitytoincreaseviewers’awarenessofvisualforms.

D.Afilmthatfocusesonthedetailsofaworkofartwillhinderthedevelopmentofvisualliteracy.

問題6選項(xiàng)

A.Thearthistorian’sroleinthecreationofafilmonartislikelytobearelativelyminorone.

B.Filmcanusenonverbalmeanstoachievesomeofthesameresultsthataspokenorwrittendiscoursecanachieve.

C.Anin-depthanalysisofaworkofartisnotanappropriatetopicforafilmonart.

D.Althoughsilencemaybeanappropriateback-groundwhenviewingaworkofartinamuseum,itisinappropriateinafilm.

問題7選項(xiàng)

A.Ambivalence

B.Indifference

C.Sympathy

D.Disdain

【答案】第1題:C

第2題:C

第3題:A

第4題:B

第5題:C

第6題:B

第7題:D

【解析】1.根據(jù)文章第三段：Filmmakersareawarethatanartobjectdemandsconcentration.制片人要意識(shí)到藝術(shù)的目標(biāo)就是吸引注意力。確定C選項(xiàng)‘承認(rèn)藝術(shù)作品本身有足夠的魅力可以吸引觀眾的注意’正確。A選項(xiàng)‘在創(chuàng)作藝術(shù)類電影時(shí)，需要精準(zhǔn)的藝術(shù)史語言’、B選項(xiàng)‘設(shè)計(jì)電影基調(diào)與風(fēng)格時(shí)，需要戲劇性的敘事與音樂’和D選項(xiàng)‘要抓住觀眾的注意力，更多的依靠的是敘事，而不是移動(dòng)的鏡頭’與原文不符，排除。

2.根據(jù)文章第一段：...describedfilmmakingasaprocessthatleadsviewerstowarda“freshperceptionoftheworld”.Vertov’sdescriptionoffilmmakingshouldapplytofilmsonthesubjectofart.認(rèn)為電影制作是一個(gè)讓觀眾重新感知世界的過程。托夫影制作的描述是把電影看成是一種藝術(shù)。確定C選項(xiàng)‘闡述一個(gè)概念：電影是如何影響觀眾的視覺’正確。A選項(xiàng)‘舉個(gè)例子說明電影可以影響感知力’、B選項(xiàng)‘為以下論點(diǎn)提供論據(jù)：電影已經(jīng)成功影響了觀眾的感知力’和D選項(xiàng)‘將對(duì)電影作用的傳統(tǒng)觀點(diǎn)與現(xiàn)代觀點(diǎn)進(jìn)行比較’與原文不符，排除。

3.整個(gè)文章是按照先講問題，再分析原因，最后提出解決辦法這一模式行文的，所以A選項(xiàng)‘先提出觀察到的令人不滿意的現(xiàn)狀，再分析原因，最后給出解決方法’正確。B選項(xiàng)‘先提出兩個(gè)矛盾的觀點(diǎn)，再提出各自支持的論據(jù)，最后將兩個(gè)矛盾綜合’、C選項(xiàng)‘先批駁一個(gè)觀點(diǎn)，再反駁回去，然后再批駁另一個(gè)觀點(diǎn)’和D選項(xiàng)‘先提出一個(gè)觀點(diǎn)，再給支持該觀點(diǎn)的論據(jù)，最后總結(jié)’不符合原文的寫作結(jié)構(gòu)，排除。

4.根據(jù)文章第二段：Films...havethepotentialtoenhancevisualliteracymoreeffectivelythanpublicationscan:電影比出版物更具有提高觀眾視覺認(rèn)識(shí)能力的潛力。第三段：Thefactthatfilmsonartarerarelyseenonprime-timetelevisionmaybeduenotonlytolimitationsondistributionbutalsototheshortcomingsofmanysuchfilms.藝術(shù)類電影很少在黃金時(shí)段播出，究其原因，一方面是因?yàn)榉峙涞南拗?，另一方面就是許多這類影片本身的不足之處。由確定B選項(xiàng)‘討論藝術(shù)類電影本身的不足之處以及技術(shù)創(chuàng)新，要求提高對(duì)視覺認(rèn)識(shí)能力的影響力’符合題意。A選項(xiàng)‘討論電影作為媒體，其向大眾傳播藝術(shù)的潛力沒有得到充分發(fā)揮的原因，以及電影在這方面或許有著更大的效應(yīng)’、C選項(xiàng)‘討論與出版物相比，運(yùn)用電影這一方式向大眾宣傳藝術(shù)作品的優(yōu)勢(shì)與劣勢(shì)’和D選項(xiàng)‘為以下觀點(diǎn)提供論據(jù)：藝術(shù)類電影為了提高觀眾的視覺認(rèn)識(shí)能力，把重點(diǎn)放在教育意義上而非娛樂性‘不符合原文，排除。

5.根據(jù)文章第三段：Afilmmakerwhoiscreatingafilmabouttheworkofanartistshouldnotfollowthestandardssetbyrockvideosandadvertising.創(chuàng)作藝術(shù)類影片的制片人不應(yīng)當(dāng)遵循拍攝搖滾影片和廣告的標(biāo)準(zhǔn)。Butaworkofartneedstobeexploredonitsownterms.Ontheotherhand,arthistoriansneedtotrustthatonecanindicateandanalyze,notsolelywithwords...藝術(shù)作品需要開發(fā)出屬于自己的特色語言或術(shù)語。藝術(shù)歷史學(xué)家也要相信觀眾有能力去辨析，而不是僅僅依靠言語。確定C選項(xiàng)‘電影在提高觀眾的視覺形式意識(shí)方面，大有潛力可挖’正確。A選項(xiàng)‘閱讀有關(guān)藝術(shù)作品的出版物，然后看一場(chǎng)同類型的電影，這是提高觀眾視覺認(rèn)識(shí)能力最有效的方法’、B選項(xiàng)‘觀眾視覺認(rèn)識(shí)能力的擴(kuò)大將擴(kuò)大觀眾注意力的范圍’和D選項(xiàng)‘以藝術(shù)類作品為題裁的電影將會(huì)阻礙視覺認(rèn)識(shí)能力的發(fā)展’不符合原文。

6.根據(jù)文章第三段：Afilmmakerwhoiscreatingafilmabouttheworkofanartistshouldnotfollowthestandardssetbyrockvideosandadvertising.創(chuàng)作藝術(shù)類影片的制片人不應(yīng)當(dāng)遵循拍攝搖滾影片和廣告的標(biāo)準(zhǔn)。Butaworkofartneedstobeexploredonitsownterms.Ontheotherhand,arthistoriansneedtotrustthatonecanindicateandanalyze,notsolelywithwords...：藝術(shù)作品需要開發(fā)出屬于自己的特色語言或術(shù)語。藝術(shù)歷史學(xué)家也要相信觀眾有能力去辨析，而不是僅僅依靠言語。由此確定B選項(xiàng)‘演講或書面言語所取得的效果，電影可以通過非言語的方式獲得同樣的效果‘正確。A選項(xiàng)‘藝術(shù)歷史學(xué)家創(chuàng)作藝術(shù)類電影的作用相對(duì)降低了’、C選項(xiàng)‘進(jìn)一步分析藝術(shù)類作品不適合成為藝術(shù)類電影的主題的原因’和D選項(xiàng)‘在博物館欣賞藝術(shù)作品時(shí)，寂靜與之最為相村，可是這一點(diǎn)并不適合用在電影中’不符合原文，排除。

7.根據(jù)文章第三段：Afilmmakerwhoiscreatingafilmabouttheworkofanartistshouldnotfollowthestandardssetbyrockvideosandadvertising.合作藝術(shù)類影片的制片人不應(yīng)當(dāng)遵循拍攝搖滾影片和廣告的標(biāo)準(zhǔn)。Butaworkofartneedstobeexploredonitsownterms.藝術(shù)作品需要開發(fā)出屬于自己的特色語言或術(shù)語。由此得出，如果遵照做了，勢(shì)必產(chǎn)生相反的效果。所以D選項(xiàng)‘蔑視’符合題意。A選項(xiàng)‘矛盾心理’、B選項(xiàng)‘漠不關(guān)心’和C選項(xiàng)‘同情’不符合原文，排除。

3.單選題

Animportantnewindustry,oilrefining,grewaftertheCivilWar.Crudeoil,orpetroleum——adark,thickooze(滲出物)fromtheearthhadbeenknownforhundredsofyears.Butlittleusehadeverbeenmadeofit.Inthe1850'sSamuelM.Kier,amanufactureinwesternPennsylvania,begancollectingtheoilfromlocalseepageandrefiningitintokerosene.Refining,likesmelting,isaprocessofremovingimpuritiesfromarawmaterial.

Kerosenewasusedtolightlamps.Itwasacheapsubstituteforwhaleoil,whichwasbecominghardertoget.Soontherewasalargedemandforkerosene.Peoplebegantosearchfornewsuppliesofpetroleum.

ThefirstoilwellwasdrilledbyE.L.Drake,aretiredrailroadconductor.In1859hebegandrillinginTitusville,Pennsylvania,Thewholeventureseemedsoimpracticalandfoolishthatonlookerscalledit’’Drake’sFolly”.Butwhenhehaddrilleddownabout70feet(21meters)Drakestruckoil.Hiswellbegantoyield20barrelsofcrudeoiladay.

NewsofDrake'ssuccessbroughtoilprospectorstothescene.Bytheearly1860'sthesewildcattersweredrillingfor"blackgold”alloverwesternPennsylvania.TheboomrivaledtheCaliforniagoldrushof1848initsexcitementandWildWestatmosphere.Anditbroughtfarmorewealthtotheprospectorsthananygoldrush.

Crudeoilcouldberefinedintomanyproducts.Forsomeyearskerosenecontinuedtobetheprincipalone.Itwassoldingrocerystoresanddoor-to-door.Inthe1880'sand189(Tsrefinerslearnedhowtomakeotherproductssuchaswaxesandlubricatingoils.Petroleumwasnotthenusedtomakegasolineorheatingoil.

1.Accordingtothepassage,manypeopleinitiallythoughtthatE.L.Drakehadmadeamistake（

）

2.Accordingtothepassage,whatis"blackgold"?

3.WhydoestheauthormentiontheCaliforniagoldrush?

4.TheauthormentionsallofthefollowingaspossibleproductsofcrudeoilEXCEPT（

）.

5.Whatmightbethebesttitleforthepassage?

問題1選項(xiàng)

A.movingtoPennsylvania

B.retiringfromhisjob

C.searchingforoil

D.goingonawhalingexpedition

問題2選項(xiàng)

A.goldore

B.stolenmoney

C.whaleoil

D.crudeoil

問題3選項(xiàng)

A.ToindicatetheextentofUnitedStatesmineralwealth.

B.Toarguethatgoldwasmorevaluablethanoil

C.Todescribethemoodwhenoilwasfirstdiscovered

D.Toexplaintheneedforanincreasedsupplyofgold

問題4選項(xiàng)

A.gasoline

B.kerosene

C.wax

D.plastic

問題5選項(xiàng)

A.OilRefining:AHistoricalPerspective.

B.KeroseneLamps:AlightintheTunnel.

C.TheCaliforniaGoldRush:GetRichQuickly.

D.PrivateProperty:TrespasserswillBeProsecuted.

【答案】第1題:C

第2題:D

第3題:C

第4題:D

第5題:A

【解析】1.根據(jù)文章第三段In1859hebegandrillinginTitusville,Pennsylvania,Thewholeventureseemedsoimpracticalandfoolishthatonlookerscalledit”Drake’sFolly'1859年，他開始在賓西法尼亞州的提特斯維爾鉆探石油，整個(gè)計(jì)劃看起來既不切實(shí)際又愚蠢，旁觀者稱之為“德雷克的愚蠢”。說明了人們對(duì)找油田的時(shí)表示懷疑和嘲諷。C選項(xiàng)符合題意。

2.文章第三段第二行很明顯指出黑金指的就是石油，D選項(xiàng)正確。

3.根據(jù)文章倒數(shù)第二段最后一行TheboomrivaledtheCaliforniagoldrushof1848initsexcitementandWildWestatmosphere.Anditbroughtfarmorewealthtotheprospectorsthananygoldrush.這場(chǎng)繁榮在其興奮和狂野的西部氛圍上堪比1848年的加利福尼亞淘金熱。它給勘探者帶來的財(cái)富遠(yuǎn)遠(yuǎn)超過淘金熱。確定C選項(xiàng)‘描述石油首次被發(fā)現(xiàn)時(shí)的心情’正確。

4.A,B,C選項(xiàng)文章都有描述，D選項(xiàng)‘塑料’在文中沒有涉及，所以答案為D。

5.全文主要論述了石油冶煉的相關(guān)事情，包括在加利福尼亞西部鉆油等歷史。所以A選項(xiàng)符合題意。

4.翻譯題

過去十年間，中國手機(jī)網(wǎng)絡(luò)的發(fā)展可謂有目共睹，幾乎每年都會(huì)新增約八千萬用戶，但據(jù)英國廣播公司報(bào)道，在某種程度上，真正的通訊革命才剛剛開始。

今年，中國將取代美國成為世界最大的智能手機(jī)市場(chǎng)。對(duì)很多中國人來說，智能手機(jī)使他們第一次擁有了通向互聯(lián)網(wǎng)的私人路徑。這對(duì)于信息技術(shù)開發(fā)商、尤其是移動(dòng)手機(jī)應(yīng)用程序開發(fā)商來說是非比尋常的機(jī)遇。

那么，應(yīng)用程序開發(fā)商是怎么在中國賺到錢的呢？一種方法就是嘗試“應(yīng)用內(nèi)銷售”一一他們推出免費(fèi)的應(yīng)用程序，一旦用戶被吸引，再以較低的價(jià)格賣給他們體驗(yàn)增強(qiáng)版。雖然中國的用戶只愿意出幾分錢來購買升級(jí)服務(wù)，但只要想想用戶多達(dá)數(shù)百萬，加在一起很快就是一大筆錢。不過，對(duì)于非游戲類應(yīng)用程序開發(fā)商來說，要發(fā)展就得依靠廣告收益。

【答案】ThemobilenetworkgrowthinChinahasbeenremarkable,withsome80millionnewusersjoiningeveryyearforthepastdecade.Buttosomeextent,therealcommunicationsrevolutionhasonlyjustbegun,BBCreported.

Thisyear,ChinawillovertakeAmericaastheworld'sbiggestSmartphonemarket.FormanyChinese,theSmartphoneoffersthemtheirfirstpersonalaccesstoInternet.Thisisanextraordinaryopportunityforinformationtechnologydevelopers,especiallymobileappdevelopers.

SohowthendoesanappdevelopermakemoneyinChina?Onewayistotryin-appsales—theyofferfreeappsandonceusersarehooked,theywillsellthemanenhancedversionoftheexperienceatalowerprice.AlthoughusersinChinamaybeonlywillingtopayafewcentsfortheenhancedservice,whenyou'retalkingmillionsofusers,thatcansoonadduptoalotofmoney.But,fornon-gameappdevelopers,theremustbeadvertisingrevenuetomoveforward.

5.單選題

Theearliestcontroversiesabouttherelationshipbetweenphotographyandartcenteredonwhetherphotography’sfidelitytoappearancesanddependenceonamachineallowedittobeafineartasdistinctfrommerelyapracticalart.Throughoutthenineteenthcentury,thedefenseofphotographywasidenticalwiththestruggletoestablishitasafineart.Againstthechargethatphotographywasasoulless,mechanicalcopyingofreality;photographersassertedthatitwasinsteadaprivilegedwayofseeing,arevoltagainstcommonplacevision,andnolessworthyanartthanpainting.

Ironically,nowthatphotographyissecurelyestablishedasafineart,manyphotographersfinditpretentiousorirrelevanttolabelitassuch.Seriousphotographersvariouslyclaimtobefinding,recording,impartiallyobserving,witnessingevents,exploringthemselves—anythingbutmakingworksofart.Inthenineteenthcentury,photography’sassociationwiththerealworldplaceditinanambivalentrelationtoart:lateinthetwentiethcenturyanambivalentrelationexistsbecauseofthemodernistheritageinart.Thatimportantphotographersarenolongerwillingtodebatewhetherphotographyisorisnotafineart,excepttoproclaimthattheirownworkisnotinvolvedwithart,showstheextenttowhichtheysimplytakeforgrantedtheconceptofartimposedbythetriumphofModernism:thebettertheart,themoresubversiveitisofthetraditionalaimsofart.

Photographers’disclaimersofanyinterestinmakingarttellusmoreabouttheharriedstatusofthecontemporarynotionofartthanaboutwhetherphotographyisorisnotart.Forexample,thosephotographerswhosupposethat,bytakingpictures,theyaregettingawayfromthepretensionsofartasexemplifiedbypaintingremindusofthoseAbstractExpressionistpainterswhoimaginedtheyweregettingawayfromtheintellectualausterityofclassicalModernistpaintingbyconcentrationonthephysicalactofpainting.Muchofphotography’sprestigetodayderivesfromtheconvergenceofitsaimswiththoseofrecentart,particularlywiththedismissalofabstractartimplicitinthephenomenonofPopduringthe1960’s.Appreciatingphotographsisarelieftosensibilitiestiredofthementalexertionsdemandedbyabstractart.ClassicalmodernistpaintingthatisabstractartasdevelopedindifferentwaysbyPicasso,CandinskyandMatissepresupposeshighlydevelopedskillsoflookingandafamiliaritywithotherpaintingsandthehistoryofart,photography,likePoppainting,andreassuresviewersthatartisnothard:photographyseemstobemoreaboutitssubjectsthanaboutart.

Photography,however,hasdevelopedalltheanxietiesandself-consciousnessofaclassicModernistart.Manyprofessionalsprivatelyhavebeguntoworrythatthepromotionofphotographasanactivitysubversiveofthetraditionalpretensionsofarthasgonesofarthatthepublicwillforgetthatphotographisadistinctiveandexaltedactivityinshort,anart.

1.Inthepassage,theauthorisprimarilyconcernedwith（

）.

2.Whichofthefollowingadjectivesbestdescribes‘theconceptofartimposedbythetriumphofModernism”astheauthorrepresentsitinthesecondparagraph？(Thesentenceinitalics.)

3.TheauthorintroducesAbstractExpressionistpainters(inthethirdparagraph)inorderto（

）.

4.Accordingtotheauthor,thenineteenth——centurydefendersofphotographymentionedinthepassagestressedthatphotographywas（

）.

5.Accordingtothepassage,whichofthefollowingbestexplainsthereactionofseriouscontemporaryphotographerstothequestionofwhetherphotographyisanart?

6.Accordingtothepassage,certainseriouscontemporaryphotographersexpresslymakewhichofthefollowingclaimsabouttheirphotographs?

7.Itcanbeinferredfromthepassagethattheauthormostprobablyconsidersseriouscontemporaryphotographytobea（

）

問題1選項(xiàng)

A.definingtheModernistattitudetowardart

B.explaininghowphotographyemergedasafineartafterthecontroversiesofthenineteenthcentury

C.explainingtheattitudesofseriouscontemporaryphotographerstowardphotographyasartandplacingthoseattitudesintheirhistoricalcontext

D.definingthevariousapproachesthatseriouscontemporaryphotographerstaketowardtheirartandassessingthevalueofeachofthoseapproaches

問題2選項(xiàng)

A.paradoxical

B.mechanical

C.superficial

D.dramatic

問題3選項(xiàng)

A.provideanexampleofartistswho,likeseriouscontemporaryphotographers,disavowedtraditionallyacceptedaimsofmodemart

B.callattentiontoartistswhoseworksoftenbearaphysicalresemblancetotheworksofseriouscontemporaryphotographers

C.setforthananalogybetweentheAbstractExpressionistpaintersandclassicalModernistpainters

D.provideacontrasttoPopartistsandotherswhocreatedworksthatexemplifytheModernistheritageinart

問題4選項(xiàng)

A.ameansofmakingpeoplefamiliarwithremotelocalesandunfamiliarthings

B.atechnologicallyadvancedactivity

C.adeviceforobservingtheworldimpartially

D.anartcomparabletopainting

問題5選項(xiàng)

A.Thephotographers’beliefthattheirrelianceonanimpersonalmachinetoproducetheirartrequiresthesurrendersoftheauthorityoftheirpersonalvision

B.Thephotographers’fearthatseriousphotographymaynotbeacceptedasanartbythecontemporaryartpublic

C.TheinfluenceofAbstractExpressionistpaintingandPopArtonthesubjectmatterofthemodemphotograph

D.Thephotographers’beliefthatthebestartissubversiveofartasithaspreviouslybeendefined

問題6選項(xiàng)

A.Theirphotographscouldbecreatedbyalmostanyonewhohadacameraandthetimetodevotetotheactivity.

B.Theirphotographsarenotexamplesofartbutareexamplesofthephotographers’impartialobservationoftheworld.

C.Theirphotographsareimportantbecauseoftheirsubjectsbutnotbecauseoftheresponsestheyevokeinviewers.

D.Theirphotographsexhibitthesameagelessprinciplesofformandshadingthathavebeenusedinpainting

問題7選項(xiàng)

A.contemporaryartthatisstrugglingtobeacceptedasfineart

B.craftrequiringsensitivitybutnomeansanart

C.mechanicalcopyingofreality

D.modemartthatdisplaystheModernisttendencytotrytosubverttheprevailingalmsofart

【答案】第1題:C

第2題:A

第3題:A

第4題:D

第5題:D

第6題:B

第7題:A

【解析】1.文章主旨題。A選項(xiàng)‘界定現(xiàn)代主義者對(duì)藝術(shù)的態(tài)度‘、B選項(xiàng)’解釋攝影是如何作為美術(shù)出現(xiàn)的‘和D選項(xiàng)’界定當(dāng)代嚴(yán)肅攝影家對(duì)待他們藝術(shù)所具有的各種觀點(diǎn)，并評(píng)定每種觀點(diǎn)的價(jià)值‘這三項(xiàng)只是文內(nèi)提到的某些方面，不是主要的。C選項(xiàng)’說明當(dāng)代嚴(yán)肅的攝影家對(duì)攝影作為藝術(shù)的態(tài)度，并把他們這些態(tài)度放在歷史的進(jìn)程來觀察‘符合題意。

2.作者