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2009年考研研究生考试英语模拟试题及答案

来源:招生考试网 2009-1-7 22:59:15

more than placing the actors 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 as having a foreground and a rear ground, 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 camera’s possibilities produced novel dramatic effects. 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(并行) images and varying the speed and rhythm of their 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 elements 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 exploiting 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 cinema’s language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic: it included 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,he insisted that a subject of such importance could not be treated in the conventional length of one reel. Griffith’s introduction of the American made multilevel picture began an immense revolution. Two years later, Judith of Bethulia, an elaborate historic philosophical spectacle, reached the unprecedented length of four reels, or one hour’s 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.

21. Which of the following best summarizes the passage as a whole?

\[A\] The author deplored the state of American cinema before the advent of Griffith.

\[B\] The author discusses the importance of Griffith to the development of the cinema.

\[C\] The author describes the impact on cinema of the flashback and other editing innovations.

\[D\] The author introduces the history of cinema which is an important part of modern art.

22. The author concludes that Griffith brought all of the following into American cinema EXCEPT.

\[A\] adaptations from the Browning and Tennyson

\[B\] juxtaposing images and varying the speed and rhythm of their presentation

\[C\] photographic approaches inspired by Victorian painting

\[D\] creating new editing method to achieve dramatic effects without treating social issues

23. Which of the following can’t be treated as the standard of modern cinema after Griffith’s achievements?

\[A\] Transposing devices of the Victorian novel to film.

\[B\] Editing techniques like flashback.

\[C\] Crosscut between two parallel captions to arouse excitement.

\[D\] Broad psychological and emotional exploration.

24. It can be inferred from the passage that the length of earlier film before 1910 was.

\[A\] from 15 to minutes   \[B\] from 30 to 60 minutes

\[C\] nearly 60 minutes    \[D\] about 15 minutes

25. Why did the author remark Judith of Byhalia as a milestone to arouse people’s respect for cinema?

\[A\] Because the pretensions of the film may seem a trifle ludicrous.

\[B\] Because it changed the customary form of the traditional film and created larger space to make the cinema freely.

\[C\] Because it was an elaborate historico philophical spectacle.

\[D\] Because it was directed by great artist Griffith.

Text 2

We can distinguish three different realms of matter, three levels on the quantum(量子的) ladder. The first is the atomic realm which includes the world of atoms, their interactions and the structures that are formed by them. Such as molecules, liquids and solids, and gases and plasmas. This realm includes all the phenomena of atomic physics, chemistry, and in a certain sense biology. The energy exchanges taking place in this realm are of a relatively low over. If these exchanges are below one electron volt, such as in the collisions between molecules of the air in a room, then atoms and molecules can be regarded as elementary particles. That is, they have “conditional elementarily” because they keep their identity and do not change in any collisions or in other processes at these low energy exchanges. If one goes to higher energy exchanges, say 104 electron volts then atoms and molecules will decompose into nuclear and electrons; at this level, the latter particles must be considered as elementary. We find examples of structures and processes of this first rung of the quantum ladder on Earth, on planets, and on the surfaces of stars.
The next rung(阶梯) is the nuclear realm. Here the energy exchanges are much higher, on the order of millions of electron volts. As long as we are dealing with phenomena in the atomic realm such amounts of energy are unavailable and most nuclei are inert: they do not change. However, if one applies energies of millions of electron volts, nuclear reactions, fission and fusion, and the processes of radioactivity occur, our elementary particles then are protons neutrons and electrons. In addition, nuclear processes produce neutrinos, particles that have no detectable mass or charge. In the universe, energies at this level are available in the centers of stars and in star explosions. Indeed, the energy radiated by the stars is produced by nuclear reactions. The natural radioactivity we find on Earth is the longlived remnant of the time when nowearthly matter was expelled into space by a major stellar explosion.
The third rung of the quantum ladder is the sub nuclear realm. Here we are dealing with energy exchanges of many billions of electron volts. We encounter excited nucleons, new types of particles such as mesons, heavy electrons, quarks and glens, and also antimatter in large quantities. The gluons are the quanta, or smallest units, of the force (the strong force) that keeps the quarks together. As long as we are dealing with the atomic or nuclear realm, these new types of particles do not occur and the nucleons remain inert. But at sub nuclear energy levels, the nucleons and mesons appear to be composed of quarks, so that the quarks and gluons figure as elementary particles.

26. According to the passage, which of the following can be found in the atomic realm?

\[A\] More than one level of energy exchange.      \[B\] Exactly one elementary particle.

\[C\] Exactly three kinds of atomic structure.        \[D\] Three levels in the quantum ladder.

27. The level of energy can be expected on information in the passage that there would probably be

\[A\] excited nucleons       

\[B\] elementary mesons

\[C\] another set of elementary particles
\[D\] a kind of particle without detectable mass or change

28. According to the passage, radioactivity that occurs naturally on Earth is the result of.

\[A\] the production of particles that have no detectable mass or electric change

\[B\] high energy exchanges on the nuclear level that occurred in an ancient explosion in a star

\[C\] processes that occur in the center of the Sun which emits radiation to the Earth

\[D\] phenomena in the atomic realm hat cause atoms and molecules to decompose into nuclei and electrons

29. The passage speaks of particles as having conditional elementarily if they.

\[A\] remain unchanged at a given level of energy exchange

\[B\] cannot be decomposed into smaller constituents

\[C\] are mathematically simpler than some other set of particles

\[D\] release energy at a low level in collisions

30. The best title of the passage is .

\[A\] The Interaction of the Realms on the Quantum Ladder

\[B\] Atomic Structures Found on Earth, on Other Planets, and on the Surfaces of Stars

\[C\] Levels of Energy that are Released in Nuclear Reactions on Earth and in Stars

\[D\] Particles and Processes Found in the Atom

Text 3

That man is an aggressive creature will hardly be disputed. With the exception of certain rodents, no other vertebrate habitually destroys members of his own species. No other animal takes positive pleasure in the exercise of cruelty upon another of his own kind. We generally describe the most disgusting examples of man’s cruelty as brutal, implying by these adjectives that such behavior is characteristic of less highly developed animals than ourselves. In truth, however, the extremes of “brutal” behavior are confined to man; and there is no parallel in nature to our savage treatment of each other.
The depressing fact is that we are the cruelest and most ruthless species that has ever walked the earth; and that, although we may shrink back in horror when we read in newspaper or history book of the brutalities committed by man upon man, we know in our hearts that each one of us harbors within himself those same savage impulses which lead to murder, to torture and to war.
To write about human aggression is a difficult task because the term is used in so many different senses. Aggression is one of those words which every one knows, but which is nevertheless hard to define. As psychologists use it, it covers a very wide range of human behavior.
The red-faced infant squalling for the bottle is being aggressive; and so is the judge who awards a thirty-year sentence for robbery. The guard in a concentration camp who tortures his helpless victim is obviously acting aggressively. Less manifestly, but no less certainly, so is the neglected wife who threatens or attempts suicide in order to regain her husband’s affection. When a word becomes so diffusely applied that it is used both of the competitive striving of a footballer and also of the bloody violence of a murderer, it ought either to be dropped or else more closely defined.
Aggression is a combined term which is fairly bursting at its junctions. Yet until we can more clearly designate and comprehend the various aspects of human behavior which are subsumed under this head, we cannot discard the concept.
One difficulty is that there is no clear dividing line between those forms of aggression which we all deplore and those which we must not disown if we are to survive. When a child rebels against authority it is being aggressive; but it is also manifesting a drive towards independence which is a necessary and valuable part of growing up? The desire for power has, in extreme form, disastrous aspects which we all acknowledge; but the drive to conquer difficulties or to gain mastery over the external world underlies the greatest of human achievements. Some writers define aggression as “that response which follows frustration”, or as “an act whose goalresponse is injury to an organism (or organism surrogate) ”. In the author’s view these definitions impose limits upon the concept of aggression which are not in accord with the underlying facts of human nature which the word is attempting to express. It is worth noticing, for instance, that the words we use to describe intellectual effort are aggressive words. We attack problems, or get out teeth into them. We master a subject when we have struggled with and overcome its difficulties. We sharpen our wits, hoping that our mind will develop a keen edge in order that we may better divide a problem into its component parts. Although intellectual tasks are often frustrating, to argue that all intellectual effort is the result of frustration is to impose too negative coloring upon the positive impulse to comprehend and master the external world.

31.What is proper about the word “aggression”?

\[A\] can be used to describe a limited range of human behavior.

\[B\] covers an immense variety of human activity.

\[C\] is so imprecise as to be totally meaningless.

\[D\] is easy to define because everyone knows it.

32.It can be inferred from the passage that.

\[A\] man is unique in regularly killing members of the same species

\[B\] man is unique in enjoying reading about brutalities

\[C\] man is unique in enjoying being cruel members of the same species

\[D\] man is unique in gaining pleasure from watching acts of violence

33.The writer implies that most people.

\[A\] would be quite incapable of violence

\[B\] are cruel in their everyday lives

\[C\] are unmoved by acts of violence

\[D\] possess the potential to commit acts of violence

34.According to the writer, one problem with the concept of aggression is that.

\[A\] it is such a deplorable characteristic of mankind

\[B\] it is hard to say where the negative side ends and the positive begins

\[C\] it is difficult to separate from the frustration

\[D\] it is very often seen in wholly negative terms

35.Which of the following is TRUE, according to the author’s views?

\[A\] The argument that aggression is the result of frustration ignores the more positive aspects of aggression.

\[B\] The argument that aggression is the result of frustration underlines the harsh realities of human nature and concepts.

\[C\] The argument that aggression is the result of frustration is supported by evidence from the examination of intellectual power.

\[D\] The argument that aggression is the result of frustration corresponds very closely to observable human behavior against authority.

Text 4

By 1950 the results of attempts to relate brain processes to mental experience appeared rather discouraging. Such variations in size, shape chemistry conduction speed excitation threshold, and the like as had been demonstrated in nerve cells remained negligible in significance for any possible correlation with the manifold dimensions of mental experience.
Near the turn of the century, it had been suggested by Herring that different modes of sensation, such as pain, taste, and color, might be correlated with the discharge of specific kinds of nervous energy. However, subsequently developed methods of recording and analyzing nerve potentials failed to reveal any such qualitative diversity. It was possible to demonstrate by other methods refined structural differences among neuron types; however, proof was lacking that the quality of the impulse or its conduction was influenced by these differences, which seemed instead to influence the developmental patterning of the neural circuits. Although qualitative variance among nerve energies was never rigidly disproved the doctrine was generally abandoned in favor of the opposing view namely, that nerve impulses are essentially homogeneous in

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