2006年Text2
Stratford-on-Avon, as we all know, has only one industry-William Shakespeare-but there are two distinctly separate and increasingly hostile branches. There is the Royal Shakespeare Company (RSC), which presents superb productions of the plays at the Shakespeare Memorial Theatre on the Avon. And there are the townsfolk who largely live off the tourists who come, not to see the plays, but to look at Anne Hathaway’s Cottage, Shakespeare’s birthplace and the other sights.
The worthy residents of Stratford doubt that the theatre adds a penny to their revenue. They frankly dislike the RSC’s actors, them with their long hair and beards and sandals and noisiness. It’s all deliciously ironic when you consider that Shakespeare, who earns their living, was himself an actor (with a beard) and did his share of noise - making.
The tourist streams are not entirely separate. The sightseers who come by bus- and often take in Warwick Castle and Blenheim Palace on the side - don’t usually see the plays, and some of them are even surprised to find a theatre in Stratford. However, the playgoers do manage a little sight - seeing along with their playgoing. It is the playgoers, the RSC contends, who bring in much of the town’s revenue because they spend the night (some of them four or five nights) pouring cash into the hotels and restaurants. The sightseers can take in everything and get out of town by nightfall.
The townsfolk don’t see it this way and local council does not contribute directly to the subsidy of the Royal Shakespeare Company. Stratford cries poor traditionally. Nevertheless every hotel in town seems to be adding a new wing or cocktail lounge. Hilton is building its own hotel there, which you may be sure will be decorated with Hamlet Hamburger Bars, the Lear Lounge, the Banquo Banqueting Room, and so forth, and will be very expensive.
Anyway, the townsfolk can’t understand why the Royal Shakespeare Company needs a subsidy. (The theatre has broken attendance records for three years in a row. Last year its 1,431 seats were 94 per cent occupied all year long and this year they’ll do better.) The reason, of course, is that costs have rocketed and ticket prices have stayed low.
It would be a shame to raise prices too much because it would drive away the young people who are Stratford’s most attractive clientele. They come entirely for the plays, not the sights. They all seem to look alike (though they come from all over) -lean, pointed, dedicated faces, wearing jeans and sandals, eating their buns and bedding down for the night on the flagstones outside the theatre to buy the 20 seats and 80 standing-room tickets held for the sleepers and sold to them when the box office opens at 10:30 a.m.
29. According to the townsfolk, the RSC deserves no subsidy because
[A] ticket prices can be raised to cover the spending
[B] the company is financially ill-managed
[C] the behavior of the actors is not socially acceptable
[D] the theatre attendance is on the rise
[答案] D
[解題思路]
本題對(duì)應(yīng)的信息是文章第五段。小鎮(zhèn)居民們不認(rèn)為RSC需要補(bǔ)貼，理由為該段括號(hào)中的內(nèi)容，即"The theatre has broken attendance records for three years in a row. Last year its 1,431 seats were 94 per cent occupied all year long and this year they’ll do better"(劇院已經(jīng)連續(xù)三年打破了上座率紀(jì)錄。去年一整年劇院1431個(gè)座位的上坐率達(dá)到了94%，今年還會(huì)更高)。簡(jiǎn)而言之就是劇院的上座率一直在提高，因此居民們認(rèn)為RSC賺錢應(yīng)該不成問(wèn)題，所以正確答案為D。A選項(xiàng)的錯(cuò)誤原因在于第五段最后一句話明確提到劇院的票價(jià)一直保持在較低的水平，并沒(méi)有通過(guò)提高票價(jià)來(lái)彌補(bǔ)支出。B選項(xiàng)的錯(cuò)誤在于并沒(méi)有提及RSC是否存在經(jīng)營(yíng)不善的問(wèn)題。C選項(xiàng)的錯(cuò)誤在于信息錯(cuò)位，即演員的行為是否為社會(huì)所接受這一信息并沒(méi)有出現(xiàn)在該段，且與RSC是否需要補(bǔ)貼的問(wèn)題無(wú)關(guān)。
[題目譯文]
小鎮(zhèn)居民們認(rèn)為RSC不應(yīng)該要補(bǔ)貼，因?yàn)?BR> [A] 可以通過(guò)提高票價(jià)來(lái)補(bǔ)貼開(kāi)支
[B] 公司財(cái)政上經(jīng)營(yíng)不善
[C] 演員的行為不能被社會(huì)接受
[D] 劇院的上座率一直在上升 2006年Text 3
When prehistoric man arrived in new parts of the world, something strong happened to the large animals; they suddenly became extinct. Smaller species survived, the large, slow-growing animals were easy game, and were quickly hunted to extinction. Now something similar could be happening in the oceans.
That the seas are being over-fished has been known for years what researchers such as Ransom Myers and Boris Worm have shown is just how fast things are changing. They have looked at half a century of data from fisheries around the world. Their methods de not attempt to estimate the actual biomass (the amount of living biological matter) of fish species in particular parts of the ocean, but rather changes in that biomass over time. According to their latest paper published in Nature, the biomass of large predators (animals that kill and eat other animals) inanes fishery is reduced on average by 80% within 15 years of the start of exploitation. In some long-fished areas, it has halved again since then.
Dr. Worm acknowledges that these figures are conservative, one reason for this is that fishing technology has improved Today’s vessels can find their prey using satellites and sonar, which were not available 50 years ago that means a higher proportion of what is in the sea is being caught, so the real difference between present and past is likely to be worse than the one recorded by changes in catch sizes. In the early days, too, longlines would have been more saturated with fish. Some individuals would therefore not have been caught, since to baited hooks would have been available to trap them, leading to an underestimate of fish stocks in the past. Furthermore, in the early days of longline fishing, a lot of fish were lost to sharks after they had been hooked. That is no longer a problem, because there are fewer sharks around noise.
Dr. Myers and Dr. worm argue that their work gives a correct baseline, which future management efforts must take into account. They believe the date support an idea current among marine biologists, that of the "shifting baseline". The notion is that people have failed to detect the massive changes which have happened in the ocean because they have been looking back only a relatively short time into the past. That matters because theory suggests that the maximum sustainable yield that can be cropped form a fishery comes when the biomass of a target species is about 50% of its original levels. Most fisheries are well below that, which is a bad way to do business.
34. Dr Myers and other researchers hold that
[A] people should look for a baseline that can’t work for a longer time
[B] fisheries should keep the yield below 50% of the biomass
[C] the ocean biomass should restored its original level.
[D] people should adjust the fishing baseline to changing situation.
[答案] D
[解題思路]
文章最后一段第二句話指出：They believe the date support an idea current among marine biologists, that of the "shifting baseline" (他們相信自己的數(shù)據(jù)恰恰體現(xiàn)了一個(gè)目前在海洋生物學(xué)家中非常流行的觀點(diǎn)，那就是"改變基線")。shifiting (活動(dòng)的)這個(gè)詞暗示根據(jù)情況進(jìn)行調(diào)整，所以正確答案是D。A選項(xiàng)明顯是錯(cuò)誤，但B、C選項(xiàng)都很具有欺騙性，因?yàn)槲恼伦詈笠欢蔚箶?shù)第二句話使用了yield. fishery, biomass, 50%, its original level等詞語(yǔ)，但是這兩個(gè)選項(xiàng)都與原文不符，"the maximum sustainable yield that can be cropped form a fishery comes when the biomass of a target species is about 50% of its original levels"(當(dāng)一種目標(biāo)生物的生物量大約達(dá)到原始水平的50%時(shí)，就可以從一個(gè)漁場(chǎng)收獲到程度的可持續(xù)發(fā)展的魚(yú)儲(chǔ)量)，B、C選項(xiàng)的keep和restore都無(wú)中生有。
[題目譯文]
Myers博士和其他研究者們認(rèn)為
[A] 人們應(yīng)該尋找一個(gè)能在更長(zhǎng)時(shí)間內(nèi)有效的起點(diǎn)。
[B] 漁場(chǎng)應(yīng)該將其產(chǎn)出限制在生物量的50%以內(nèi)
[C] 海洋生物量應(yīng)該恢復(fù)到最初的水平
[D] 人們應(yīng)該根據(jù)具體的情況調(diào)整捕魚(yú)起點(diǎn)Many things make people think artists are weird and the weirdest may be this: artists only job is to explore emotions, and yet they choose to focus on the ones that feel bad.
This wasn’t always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere in the 19th century, more artists began seeing happiness as insipid, phony or, worst of all, boring as we went from Wordsworth’s daffodils to Baudelaire’s flowers of evil.
You could argue that art became more skeptical of happiness because modern times have seen such misery. But it’s not as if earlier times didn’t know perpetual war, disaster and the massacre of innocents. The reason, in fact, may be just the opposite: there is too much damn happiness in the world today.
After all, what is the one modern form of expression almost completely dedicated to depicting happiness? Advertising. The rise of anti-happy art almost exactly tracks the emergence of mass media, and with it, a commercial culture in which happiness is not just an ideal but an ideology.
People in earlier eras were surrounded by reminders of misery. They worked until exhausted, lived with few protections and died young. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms. Given all this, they did not exactly need their art to be a bummer too.
Today the messages your average Westerner is bombarded with are not religious but commercial, and forever happy .Fast-food eaters, news anchors, text messengers, all smiling, smiling. Our magazines feature beaming celebrities and happy families in perfect homes. And since these messages have an agenda--to lure us to open our wallets to make the very idea of happiness seem unreliable. "Celebrate!" commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attacks.
What we forget--what our economy depends on is forgetting--is that happiness is more than pleasure without pain. The things that bring the greatest joy carry the greatest potential for loss and disappointment. Today, surrounded by promises of easy happiness, we need someone to tell us as religion once did, Memento mori: remember that you will die, that everything ends, and that happiness comes not in denying this but in living with it. Its a message even more bitter than a clove cigarette, yet, somehow, a breath of fresh air.
40. Which of the following is true of the text?
[A] Religion once functioned as a reminder of misery.
[B] Art provides a balance between expectation and reality.
[C] People feel disappointed at the realities of morality.
[D] mass media are inclined to cover disasters and deaths.
[答案] A
[解題思路]
本題的正確答案為A，具體的對(duì)應(yīng)信息在文章第四段第三句話，即"In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms" (在西方，在大眾傳媒和文學(xué)普及之前，的大眾媒體是教堂，它提醒信徒們，他們的靈魂處于危險(xiǎn)之中，他們總有一天會(huì)成為蛆蟲(chóng)的食物)，因此宗教曾經(jīng)起到了提醒人們生活的苦難這一功能。B選項(xiàng)的錯(cuò)誤在于文章探討的是藝術(shù)態(tài)度的變化，即藝術(shù)從過(guò)去的以表達(dá)歡樂(lè)感情為重點(diǎn)變?yōu)楝F(xiàn)在以表達(dá)悲傷和痛苦為重心，至于藝術(shù)是否在人們的期望與觀點(diǎn)之間創(chuàng)造了平衡這一觀點(diǎn)沒(méi)有論及。C選項(xiàng)的錯(cuò)誤在于現(xiàn)在人們并沒(méi)有感到失望的情緒，相反正如第六段指出的，他們被包圍在一種充滿商業(yè)氣氛的幸福感中。D選型的錯(cuò)誤在于大眾媒體盡管給人們創(chuàng)造了幸福的幻覺(jué)，但文章并沒(méi)有談及它們傾向于壓制報(bào)道災(zāi)難和死亡，只是人們需要得到更多關(guān)于人生苦難的提醒。
[題目譯文]
下列哪一項(xiàng)符合文意?
[A] 宗教曾起過(guò)提示苦難的作用。
[B] 藝術(shù)在希望與現(xiàn)實(shí)之間提供了一種平衡。
[C] 人們對(duì)于現(xiàn)代社會(huì)的現(xiàn)實(shí)感到失望。
[D] 大眾傳媒傾向于掩蓋災(zāi)難和死亡?！?007年Text 1
If you were to examine the birth certificates of every soccer player in 2006’s World Cup tournament, you would most likely find a noteworthy quirk: elite soccer players are more likely to have been born in the earlier months of the year than in the later months. If you then examined the European national youth teams that feed the World Cup and professional ranks, you would find this strange phenomenon to be even more pronounced.
What might account for this strange phenomenon? Here are a few guesses: a) certain astrological signs confer superior soccer skills; b) winter-born babies tend to have higher oxygen capacity, which increases soccer stamina; c) soccer-mad parents are more likely to conceive children in springtime, at the annual peak of soccer mania; d) none of the above.
Anders Ericsson, a 58-year-old psychology professor at Florida State University, says he believes strongly in "none of the above." Ericsson grew up in Sweden, and studied nuclear engineering until he realized he would have more opportunity to conduct his own research if he switched to psychology. His first experiment, nearly 30 years ago, involved memory: training a person to hear and then repeat a random series of numbers. "With the first subject, after about 20 hours of training, his digit span had risen from 7 to 20," Ericsson recalls. "He kept improving, and after about 200 hours of training he had risen to over 80 numbers."
This success, coupled with later research showing that memory itself is not genetically determined, led Ericsson to conclude that the act of memorizing is more of a cognitive exercise than an intuitive one. In other words, whatever inborn differences two people may exhibit in their abilities to memorize, those differences are swamped by how well each person "encodes" the information. And the best way to learn how to encode information meaningfully, Ericsson determined, was a process known as deliberate practice. Deliberate practice entails more than simply repeating a task. Rather, it involves setting specific goals, obtaining immediate feedback and concentrating as much on technique as on outcome.
Ericsson and his colleagues have thus taken to studying expert performers in a wide range of pursuits, including soccer. They gather all the data they can, not just performance statistics and biographical details but also the results of their own laboratory experiments with high achievers. Their work makes a rather startling assertion: the trait we commonly call talent is highly overrated. Or, put another way, expert performers -- whether in memory or surgery, ballet or computer programming -- are nearly always made, not born.
21.The birthday phenomenon found among soccer players is mentioned to
[A] stress the importance of professional training.
[B] spotlight the soccer superstars in the World Cup.
[C] introduce the topic of what makes expert performance.
[D] explain why some soccer teams play better than others.
[答案] C
[解題思路]
本文第一段采用足球運(yùn)動(dòng)員的例子正如新聞寫(xiě)作的傳統(tǒng)手法一樣，是用來(lái)引出文章的主要話題的。文章第二段開(kāi)頭的問(wèn)句"What might account for this strange phenomenon"( 出現(xiàn)這一奇怪的現(xiàn)象原因是什么呢)，即從這一現(xiàn)象切入主題。A和B選項(xiàng)均與第一段內(nèi)容無(wú)關(guān)，而D選項(xiàng)只是就事論事，沒(méi)有從宏觀上理解第一段在文中的作用。
[題目譯文]
文中提到足球運(yùn)動(dòng)員中的出生現(xiàn)象是用來(lái)
[A] 強(qiáng)調(diào)職業(yè)訓(xùn)練的重要性
[B] 聚焦世界杯上的足球巨星
[C] 介紹專業(yè)表現(xiàn)的因素這個(gè)話題
[D] 解釋為什么一些足球隊(duì)比其他足球隊(duì)表現(xiàn)好
23. According to Ericsson, good memory
[A] depends on meaningful processing of information.
[B] results from intuitive rather than cognitive exercises.
[C] is determined by genetic rather than psychological factors.
[D] requires immediate feedback and a high degree of concentration.
[答案] A
[解題思路]
本題的主要對(duì)應(yīng)信息在文章的第四段。該段第二、三句話指出"In other words, whatever inborn differences two people may exhibit in their abilities to memorize, those differences are swamped by how well each person "encodes" the information. And the best way to learn how to encode information meaningfully, Ericsson determined, was a process known as deliberate practice"( 換句話說(shuō)，無(wú)論兩個(gè)人天生的記憶力能力存在怎樣的差異，這些差異都會(huì)被個(gè)人如何恰當(dāng)?shù)?解讀"記憶信息所消除。埃里克森確信，了解如何有目的地解讀信息的方法就是眾所周知的刻意練習(xí)過(guò)程)，四個(gè)選項(xiàng)中只有A選項(xiàng)是對(duì)這幾句話的總結(jié)概括，因而是正確答案。B和C選項(xiàng)的表述顯然與原文意思相反，可以排除。D選項(xiàng)具有一定的迷惑性，該選項(xiàng)對(duì)應(yīng)于第四段最后一句話"Rather, it involves setting specific goals, obtaining immediate feedback and concentrating as much on technique as on outcome"( 相反，它包括確定明確的目標(biāo)、獲得即時(shí)的反饋以及技術(shù)與結(jié)果的結(jié)合等)，而選項(xiàng)中的"a high degree of concentration"與文中的"concentrating"(重視)的意思不同，因此D是錯(cuò)誤選項(xiàng)，考試大。
[題目譯文]
在埃里克森看來(lái)，好的記憶
[A] 取決于對(duì)信息的有意思處理
[B] 取決于天生能力還不是認(rèn)知練習(xí)
[C] 由基因而不是心理因素決定
[D] 要求即刻的反饋和注意力高度集中
24. Ericsson and his colleagues believe that
[A] talent is a dominating factor for professional success.
[B] biographical data provide the key to excellent performance.
[C] the role of talent tends to be overlooked.
[D] high achievers owe their success mostly to nurture.
[答案] D
[解題思路]
本題對(duì)應(yīng)于文章最后一段，該段最后一句話指出"Or, put another way, expert performers -- whether in memory or surgery, ballet or computer programming -- are nearly always made, not born"( 或者換句話說(shuō)，專業(yè)人員--無(wú)論是在記憶還是手術(shù)方面，在芭蕾還是計(jì)算機(jī)編程領(lǐng)域--幾乎都是后天培養(yǎng)的，而不是天生的)，即埃里克森的主要觀點(diǎn)就是一個(gè)人的成才不是先天決定的，而主要靠后天培養(yǎng)塑造出來(lái)的，需要不斷地練習(xí)和實(shí)踐。因此C選項(xiàng)是最能與原文觀點(diǎn)呼應(yīng)的。A選項(xiàng)與文章的中心思想無(wú)關(guān)，而B(niǎo)和D選項(xiàng)均與文章的意思相反。
[題目譯文]
埃里克森和他的同事相信
[A] 天生的才能對(duì)于職業(yè)的成功是一項(xiàng)主要的因素
[B] 傳記數(shù)據(jù)提供了優(yōu)秀表現(xiàn)的關(guān)鍵因素
[C] 天生才能的角色通常被忽略
[D] 取得突出成就的人大多數(shù)由于后天塑造取得成功
Stratford-on-Avon, as we all know, has only one industry-William Shakespeare-but there are two distinctly separate and increasingly hostile branches. There is the Royal Shakespeare Company (RSC), which presents superb productions of the plays at the Shakespeare Memorial Theatre on the Avon. And there are the townsfolk who largely live off the tourists who come, not to see the plays, but to look at Anne Hathaway’s Cottage, Shakespeare’s birthplace and the other sights.
The worthy residents of Stratford doubt that the theatre adds a penny to their revenue. They frankly dislike the RSC’s actors, them with their long hair and beards and sandals and noisiness. It’s all deliciously ironic when you consider that Shakespeare, who earns their living, was himself an actor (with a beard) and did his share of noise - making.
The tourist streams are not entirely separate. The sightseers who come by bus- and often take in Warwick Castle and Blenheim Palace on the side - don’t usually see the plays, and some of them are even surprised to find a theatre in Stratford. However, the playgoers do manage a little sight - seeing along with their playgoing. It is the playgoers, the RSC contends, who bring in much of the town’s revenue because they spend the night (some of them four or five nights) pouring cash into the hotels and restaurants. The sightseers can take in everything and get out of town by nightfall.
The townsfolk don’t see it this way and local council does not contribute directly to the subsidy of the Royal Shakespeare Company. Stratford cries poor traditionally. Nevertheless every hotel in town seems to be adding a new wing or cocktail lounge. Hilton is building its own hotel there, which you may be sure will be decorated with Hamlet Hamburger Bars, the Lear Lounge, the Banquo Banqueting Room, and so forth, and will be very expensive.
Anyway, the townsfolk can’t understand why the Royal Shakespeare Company needs a subsidy. (The theatre has broken attendance records for three years in a row. Last year its 1,431 seats were 94 per cent occupied all year long and this year they’ll do better.) The reason, of course, is that costs have rocketed and ticket prices have stayed low.
It would be a shame to raise prices too much because it would drive away the young people who are Stratford’s most attractive clientele. They come entirely for the plays, not the sights. They all seem to look alike (though they come from all over) -lean, pointed, dedicated faces, wearing jeans and sandals, eating their buns and bedding down for the night on the flagstones outside the theatre to buy the 20 seats and 80 standing-room tickets held for the sleepers and sold to them when the box office opens at 10:30 a.m.
29. According to the townsfolk, the RSC deserves no subsidy because
[A] ticket prices can be raised to cover the spending
[B] the company is financially ill-managed
[C] the behavior of the actors is not socially acceptable
[D] the theatre attendance is on the rise
[答案] D
[解題思路]
本題對(duì)應(yīng)的信息是文章第五段。小鎮(zhèn)居民們不認(rèn)為RSC需要補(bǔ)貼，理由為該段括號(hào)中的內(nèi)容，即"The theatre has broken attendance records for three years in a row. Last year its 1,431 seats were 94 per cent occupied all year long and this year they’ll do better"(劇院已經(jīng)連續(xù)三年打破了上座率紀(jì)錄。去年一整年劇院1431個(gè)座位的上坐率達(dá)到了94%，今年還會(huì)更高)。簡(jiǎn)而言之就是劇院的上座率一直在提高，因此居民們認(rèn)為RSC賺錢應(yīng)該不成問(wèn)題，所以正確答案為D。A選項(xiàng)的錯(cuò)誤原因在于第五段最后一句話明確提到劇院的票價(jià)一直保持在較低的水平，并沒(méi)有通過(guò)提高票價(jià)來(lái)彌補(bǔ)支出。B選項(xiàng)的錯(cuò)誤在于并沒(méi)有提及RSC是否存在經(jīng)營(yíng)不善的問(wèn)題。C選項(xiàng)的錯(cuò)誤在于信息錯(cuò)位，即演員的行為是否為社會(huì)所接受這一信息并沒(méi)有出現(xiàn)在該段，且與RSC是否需要補(bǔ)貼的問(wèn)題無(wú)關(guān)。
[題目譯文]
小鎮(zhèn)居民們認(rèn)為RSC不應(yīng)該要補(bǔ)貼，因?yàn)?BR> [A] 可以通過(guò)提高票價(jià)來(lái)補(bǔ)貼開(kāi)支
[B] 公司財(cái)政上經(jīng)營(yíng)不善
[C] 演員的行為不能被社會(huì)接受
[D] 劇院的上座率一直在上升 2006年Text 3
When prehistoric man arrived in new parts of the world, something strong happened to the large animals; they suddenly became extinct. Smaller species survived, the large, slow-growing animals were easy game, and were quickly hunted to extinction. Now something similar could be happening in the oceans.
That the seas are being over-fished has been known for years what researchers such as Ransom Myers and Boris Worm have shown is just how fast things are changing. They have looked at half a century of data from fisheries around the world. Their methods de not attempt to estimate the actual biomass (the amount of living biological matter) of fish species in particular parts of the ocean, but rather changes in that biomass over time. According to their latest paper published in Nature, the biomass of large predators (animals that kill and eat other animals) inanes fishery is reduced on average by 80% within 15 years of the start of exploitation. In some long-fished areas, it has halved again since then.
Dr. Worm acknowledges that these figures are conservative, one reason for this is that fishing technology has improved Today’s vessels can find their prey using satellites and sonar, which were not available 50 years ago that means a higher proportion of what is in the sea is being caught, so the real difference between present and past is likely to be worse than the one recorded by changes in catch sizes. In the early days, too, longlines would have been more saturated with fish. Some individuals would therefore not have been caught, since to baited hooks would have been available to trap them, leading to an underestimate of fish stocks in the past. Furthermore, in the early days of longline fishing, a lot of fish were lost to sharks after they had been hooked. That is no longer a problem, because there are fewer sharks around noise.
Dr. Myers and Dr. worm argue that their work gives a correct baseline, which future management efforts must take into account. They believe the date support an idea current among marine biologists, that of the "shifting baseline". The notion is that people have failed to detect the massive changes which have happened in the ocean because they have been looking back only a relatively short time into the past. That matters because theory suggests that the maximum sustainable yield that can be cropped form a fishery comes when the biomass of a target species is about 50% of its original levels. Most fisheries are well below that, which is a bad way to do business.
34. Dr Myers and other researchers hold that
[A] people should look for a baseline that can’t work for a longer time
[B] fisheries should keep the yield below 50% of the biomass
[C] the ocean biomass should restored its original level.
[D] people should adjust the fishing baseline to changing situation.
[答案] D
[解題思路]
文章最后一段第二句話指出：They believe the date support an idea current among marine biologists, that of the "shifting baseline" (他們相信自己的數(shù)據(jù)恰恰體現(xiàn)了一個(gè)目前在海洋生物學(xué)家中非常流行的觀點(diǎn)，那就是"改變基線")。shifiting (活動(dòng)的)這個(gè)詞暗示根據(jù)情況進(jìn)行調(diào)整，所以正確答案是D。A選項(xiàng)明顯是錯(cuò)誤，但B、C選項(xiàng)都很具有欺騙性，因?yàn)槲恼伦詈笠欢蔚箶?shù)第二句話使用了yield. fishery, biomass, 50%, its original level等詞語(yǔ)，但是這兩個(gè)選項(xiàng)都與原文不符，"the maximum sustainable yield that can be cropped form a fishery comes when the biomass of a target species is about 50% of its original levels"(當(dāng)一種目標(biāo)生物的生物量大約達(dá)到原始水平的50%時(shí)，就可以從一個(gè)漁場(chǎng)收獲到程度的可持續(xù)發(fā)展的魚(yú)儲(chǔ)量)，B、C選項(xiàng)的keep和restore都無(wú)中生有。
[題目譯文]
Myers博士和其他研究者們認(rèn)為
[A] 人們應(yīng)該尋找一個(gè)能在更長(zhǎng)時(shí)間內(nèi)有效的起點(diǎn)。
[B] 漁場(chǎng)應(yīng)該將其產(chǎn)出限制在生物量的50%以內(nèi)
[C] 海洋生物量應(yīng)該恢復(fù)到最初的水平
[D] 人們應(yīng)該根據(jù)具體的情況調(diào)整捕魚(yú)起點(diǎn)Many things make people think artists are weird and the weirdest may be this: artists only job is to explore emotions, and yet they choose to focus on the ones that feel bad.
This wasn’t always so. The earliest forms of art, like painting and music, are those best suited for expressing joy. But somewhere in the 19th century, more artists began seeing happiness as insipid, phony or, worst of all, boring as we went from Wordsworth’s daffodils to Baudelaire’s flowers of evil.
You could argue that art became more skeptical of happiness because modern times have seen such misery. But it’s not as if earlier times didn’t know perpetual war, disaster and the massacre of innocents. The reason, in fact, may be just the opposite: there is too much damn happiness in the world today.
After all, what is the one modern form of expression almost completely dedicated to depicting happiness? Advertising. The rise of anti-happy art almost exactly tracks the emergence of mass media, and with it, a commercial culture in which happiness is not just an ideal but an ideology.
People in earlier eras were surrounded by reminders of misery. They worked until exhausted, lived with few protections and died young. In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms. Given all this, they did not exactly need their art to be a bummer too.
Today the messages your average Westerner is bombarded with are not religious but commercial, and forever happy .Fast-food eaters, news anchors, text messengers, all smiling, smiling. Our magazines feature beaming celebrities and happy families in perfect homes. And since these messages have an agenda--to lure us to open our wallets to make the very idea of happiness seem unreliable. "Celebrate!" commanded the ads for the arthritis drug Celebrex, before we found out it could increase the risk of heart attacks.
What we forget--what our economy depends on is forgetting--is that happiness is more than pleasure without pain. The things that bring the greatest joy carry the greatest potential for loss and disappointment. Today, surrounded by promises of easy happiness, we need someone to tell us as religion once did, Memento mori: remember that you will die, that everything ends, and that happiness comes not in denying this but in living with it. Its a message even more bitter than a clove cigarette, yet, somehow, a breath of fresh air.
40. Which of the following is true of the text?
[A] Religion once functioned as a reminder of misery.
[B] Art provides a balance between expectation and reality.
[C] People feel disappointed at the realities of morality.
[D] mass media are inclined to cover disasters and deaths.
[答案] A
[解題思路]
本題的正確答案為A，具體的對(duì)應(yīng)信息在文章第四段第三句話，即"In the West, before mass communication and literacy, the most powerful mass medium was the church, which reminded worshippers that their souls were in peril and that they would someday be meat for worms" (在西方，在大眾傳媒和文學(xué)普及之前，的大眾媒體是教堂，它提醒信徒們，他們的靈魂處于危險(xiǎn)之中，他們總有一天會(huì)成為蛆蟲(chóng)的食物)，因此宗教曾經(jīng)起到了提醒人們生活的苦難這一功能。B選項(xiàng)的錯(cuò)誤在于文章探討的是藝術(shù)態(tài)度的變化，即藝術(shù)從過(guò)去的以表達(dá)歡樂(lè)感情為重點(diǎn)變?yōu)楝F(xiàn)在以表達(dá)悲傷和痛苦為重心，至于藝術(shù)是否在人們的期望與觀點(diǎn)之間創(chuàng)造了平衡這一觀點(diǎn)沒(méi)有論及。C選項(xiàng)的錯(cuò)誤在于現(xiàn)在人們并沒(méi)有感到失望的情緒，相反正如第六段指出的，他們被包圍在一種充滿商業(yè)氣氛的幸福感中。D選型的錯(cuò)誤在于大眾媒體盡管給人們創(chuàng)造了幸福的幻覺(jué)，但文章并沒(méi)有談及它們傾向于壓制報(bào)道災(zāi)難和死亡，只是人們需要得到更多關(guān)于人生苦難的提醒。
[題目譯文]
下列哪一項(xiàng)符合文意?
[A] 宗教曾起過(guò)提示苦難的作用。
[B] 藝術(shù)在希望與現(xiàn)實(shí)之間提供了一種平衡。
[C] 人們對(duì)于現(xiàn)代社會(huì)的現(xiàn)實(shí)感到失望。
[D] 大眾傳媒傾向于掩蓋災(zāi)難和死亡?！?007年Text 1
If you were to examine the birth certificates of every soccer player in 2006’s World Cup tournament, you would most likely find a noteworthy quirk: elite soccer players are more likely to have been born in the earlier months of the year than in the later months. If you then examined the European national youth teams that feed the World Cup and professional ranks, you would find this strange phenomenon to be even more pronounced.
What might account for this strange phenomenon? Here are a few guesses: a) certain astrological signs confer superior soccer skills; b) winter-born babies tend to have higher oxygen capacity, which increases soccer stamina; c) soccer-mad parents are more likely to conceive children in springtime, at the annual peak of soccer mania; d) none of the above.
Anders Ericsson, a 58-year-old psychology professor at Florida State University, says he believes strongly in "none of the above." Ericsson grew up in Sweden, and studied nuclear engineering until he realized he would have more opportunity to conduct his own research if he switched to psychology. His first experiment, nearly 30 years ago, involved memory: training a person to hear and then repeat a random series of numbers. "With the first subject, after about 20 hours of training, his digit span had risen from 7 to 20," Ericsson recalls. "He kept improving, and after about 200 hours of training he had risen to over 80 numbers."
This success, coupled with later research showing that memory itself is not genetically determined, led Ericsson to conclude that the act of memorizing is more of a cognitive exercise than an intuitive one. In other words, whatever inborn differences two people may exhibit in their abilities to memorize, those differences are swamped by how well each person "encodes" the information. And the best way to learn how to encode information meaningfully, Ericsson determined, was a process known as deliberate practice. Deliberate practice entails more than simply repeating a task. Rather, it involves setting specific goals, obtaining immediate feedback and concentrating as much on technique as on outcome.
Ericsson and his colleagues have thus taken to studying expert performers in a wide range of pursuits, including soccer. They gather all the data they can, not just performance statistics and biographical details but also the results of their own laboratory experiments with high achievers. Their work makes a rather startling assertion: the trait we commonly call talent is highly overrated. Or, put another way, expert performers -- whether in memory or surgery, ballet or computer programming -- are nearly always made, not born.
21.The birthday phenomenon found among soccer players is mentioned to
[A] stress the importance of professional training.
[B] spotlight the soccer superstars in the World Cup.
[C] introduce the topic of what makes expert performance.
[D] explain why some soccer teams play better than others.
[答案] C
[解題思路]
本文第一段采用足球運(yùn)動(dòng)員的例子正如新聞寫(xiě)作的傳統(tǒng)手法一樣，是用來(lái)引出文章的主要話題的。文章第二段開(kāi)頭的問(wèn)句"What might account for this strange phenomenon"( 出現(xiàn)這一奇怪的現(xiàn)象原因是什么呢)，即從這一現(xiàn)象切入主題。A和B選項(xiàng)均與第一段內(nèi)容無(wú)關(guān)，而D選項(xiàng)只是就事論事，沒(méi)有從宏觀上理解第一段在文中的作用。
[題目譯文]
文中提到足球運(yùn)動(dòng)員中的出生現(xiàn)象是用來(lái)
[A] 強(qiáng)調(diào)職業(yè)訓(xùn)練的重要性
[B] 聚焦世界杯上的足球巨星
[C] 介紹專業(yè)表現(xiàn)的因素這個(gè)話題
[D] 解釋為什么一些足球隊(duì)比其他足球隊(duì)表現(xiàn)好
23. According to Ericsson, good memory
[A] depends on meaningful processing of information.
[B] results from intuitive rather than cognitive exercises.
[C] is determined by genetic rather than psychological factors.
[D] requires immediate feedback and a high degree of concentration.
[答案] A
[解題思路]
本題的主要對(duì)應(yīng)信息在文章的第四段。該段第二、三句話指出"In other words, whatever inborn differences two people may exhibit in their abilities to memorize, those differences are swamped by how well each person "encodes" the information. And the best way to learn how to encode information meaningfully, Ericsson determined, was a process known as deliberate practice"( 換句話說(shuō)，無(wú)論兩個(gè)人天生的記憶力能力存在怎樣的差異，這些差異都會(huì)被個(gè)人如何恰當(dāng)?shù)?解讀"記憶信息所消除。埃里克森確信，了解如何有目的地解讀信息的方法就是眾所周知的刻意練習(xí)過(guò)程)，四個(gè)選項(xiàng)中只有A選項(xiàng)是對(duì)這幾句話的總結(jié)概括，因而是正確答案。B和C選項(xiàng)的表述顯然與原文意思相反，可以排除。D選項(xiàng)具有一定的迷惑性，該選項(xiàng)對(duì)應(yīng)于第四段最后一句話"Rather, it involves setting specific goals, obtaining immediate feedback and concentrating as much on technique as on outcome"( 相反，它包括確定明確的目標(biāo)、獲得即時(shí)的反饋以及技術(shù)與結(jié)果的結(jié)合等)，而選項(xiàng)中的"a high degree of concentration"與文中的"concentrating"(重視)的意思不同，因此D是錯(cuò)誤選項(xiàng)，考試大。
[題目譯文]
在埃里克森看來(lái)，好的記憶
[A] 取決于對(duì)信息的有意思處理
[B] 取決于天生能力還不是認(rèn)知練習(xí)
[C] 由基因而不是心理因素決定
[D] 要求即刻的反饋和注意力高度集中
24. Ericsson and his colleagues believe that
[A] talent is a dominating factor for professional success.
[B] biographical data provide the key to excellent performance.
[C] the role of talent tends to be overlooked.
[D] high achievers owe their success mostly to nurture.
[答案] D
[解題思路]
本題對(duì)應(yīng)于文章最后一段，該段最后一句話指出"Or, put another way, expert performers -- whether in memory or surgery, ballet or computer programming -- are nearly always made, not born"( 或者換句話說(shuō)，專業(yè)人員--無(wú)論是在記憶還是手術(shù)方面，在芭蕾還是計(jì)算機(jī)編程領(lǐng)域--幾乎都是后天培養(yǎng)的，而不是天生的)，即埃里克森的主要觀點(diǎn)就是一個(gè)人的成才不是先天決定的，而主要靠后天培養(yǎng)塑造出來(lái)的，需要不斷地練習(xí)和實(shí)踐。因此C選項(xiàng)是最能與原文觀點(diǎn)呼應(yīng)的。A選項(xiàng)與文章的中心思想無(wú)關(guān)，而B(niǎo)和D選項(xiàng)均與文章的意思相反。
[題目譯文]
埃里克森和他的同事相信
[A] 天生的才能對(duì)于職業(yè)的成功是一項(xiàng)主要的因素
[B] 傳記數(shù)據(jù)提供了優(yōu)秀表現(xiàn)的關(guān)鍵因素
[C] 天生才能的角色通常被忽略
[D] 取得突出成就的人大多數(shù)由于后天塑造取得成功