¡¡¡¡Section I Use of English
¡¡¡¡Directions:
¡¡¡¡Read the following text. Choose the best word(s) for each numbered blank and mark [A], [B], [C] or [D] on ANSWER SHEET 1. (10 points)
¡¡¡¡Ancient Greek philosopher Aristotle viewed laughter as ¡°a bodily exercise precious to health¡£¡± But 1 some claims to the contrary, laughing probably has little influence on physical fitness Laughter does 2 short-term changes in the function of the heart and its blood vessels, 3 heart rate and oxygen consumption But because hard laughter is difficult to¡¡4 , a good laugh is unlikely to have 5 benefits the way, say, walking or jogging does¡£
¡¡¡¡6 , instead of straining muscles to build them, as exercise does, laughter apparently accomplishes the 7 , studies dating back to the 1930¡¯s indicate that laughter 8 muscles, decreasing muscle tone for up to 45 minutes after the laugh dies down¡£
¡¡¡¡Such bodily reaction might conceivably help 9 the effects of psychological stress. Anyway, the act of laughing probably does produce other types of 10 feedback, that improve an individual¡¯s emotional state. 11 one classical theory of emotion, our feelings are partially rooted 12 physical reactions. It was argued at the end of the 19th century that humans do not cry 13 they are sad but they become sad when the tears begin to flow¡£
¡¡¡¡Although sadness also 14 tears, evidence suggests that emotions can flow 15 muscular responses. In an experiment published in 1988,social psychologist Fritz Strack of the University of w¨¹rzburg in Germany asked volunteers to 16 a pen either with their teeth-thereby creating an artificial smile ¨C or with their lips, which would produce a(n) 17 expression. Those forced to exercise their enthusiastically to funny catoons than did those whose months were contracted in a frown, 19 that expressions may influence emotions rather than just the other way around 20 , the physical act of laughter could improve mood¡£
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¡¡¡¡1.[A]among [B]except [C]despite [D]like C
¡¡¡¡2.[A]reflect [B]demand [C]indicate [D]produce D
¡¡¡¡3.[A]stabilizing [B]boosting [C]impairing [D]determining B
¡¡¡¡4.[A]transmit [B]sustain [C]evaluate [D]observe B
¡¡¡¡5.[A]measurable [B]manageable [C]affordable [D]renewable A
¡¡¡¡6.[A]In turn [B]In fact [C]In addition [D]In brief B
¡¡¡¡7.[A]opposite [B]impossible [C]average [D]expected A
¡¡¡¡8.[A]hardens [B]weakens [C]tightens [D]relaxes D
¡¡¡¡9.[A]aggravate [B]generate [C]moderate [D]enhance C
¡¡¡¡10.[A]physical [B]mental [C]subconscious [D]internal A
¡¡¡¡11.[A]Except for [B]According to [C]Due to [D]As for B
¡¡¡¡12.[A]with [B]on [C]in [D]at C
¡¡¡¡13.[A]unless [B]until [C]if [D]because D
¡¡¡¡14.[A]exhausts [B]follows [C]precedes [D]suppresses C
¡¡¡¡15.[A]into [B]from [C]towards [D]beyond B
¡¡¡¡16.[A]fetch [B]bite [C]pick [D]hold D
¡¡¡¡17.[A]disappointed [B]excited [C]joyful [D]indifferent A
¡¡¡¡18.[A]adapted [B]catered [C]turned [D]reacted D
¡¡¡¡19.[A]suggesting [B]requiring [C]mentioning [D]supposing A
¡¡¡¡20.[A]Eventually [B]Consequently [C]Similarly [D]Conversely C
¡¡¡¡Section II Reading Comprehension
¡¡¡¡Part A
¡¡¡¡Directions:
¡¡¡¡Read the following four texts. Answer the questions below each text by choosing [A], [B], [C] or [D]. Mark your answers on ANSWER SHEET 1. (40 points)
¡¡¡¡Text 1
¡¡¡¡The decision of the New York Philharmonic to hire Alan Gilbert as its next music director has been the talk of the classical-music world ever since the sudden announcement of his appointment in 2009. For the most part, the response has been favorable, to say the least. ¡°Hooray! At last!¡± wrote Anthony Tommasini, a sober-sided classical-music critic¡£
¡¡¡¡Å¦Ô¼°®ÀÖÀÖÍžö¶¨Æ¸ÇëAlan Gilbert×÷ΪÏÂÒ»ÈεÄÒôÀÖ×ܼ࣬Õâ´Ó2009ÄêÈÎÃü±»Ðû²¼Ö®ÈÕÆð¾ÍÔڹŵäÒôÀÖ½çÒýÆðÁËÈÈÒé¡£±ðµÄ²»Ëµ£¬´ó²¿·ÖÈ˵ķ´Ó¦ÊÇ»ý¼«µÄ¡£¡°ºÃ°¡£¬ÖÕÓÚºÃÁË£¡¡± Anthony TommasiniдµÀ£¬Ëû¿ÉÊÇÒ»¸öÒÔÑÏËàÖø³ÆµÄ¹ÅµäÒôÀÖÆÀÂÛ¼Ò¡£
¡¡¡¡One of the reasons why the appointment came as such a surprise, however, is that Gilbert is comparatively little known. Even Tommasini, who had advocated Gilbert¡¯s appointment in the Times, calls him ¡°an unpretentious musician with no air of the formidable conductor about him¡£¡± As a description of the next music director of an orchestra that has hitherto been led by musicians like Gustav Mahler and Pierre Boulez, that seems likely to have struck at least some Times readers as faint praise¡£
¡¡¡¡µ«ÊÇ£¬Õâ¸öÈÎÃüÖ®ËùÒÔÒ»ÆðÈËÃǾªÑȵÄÔÒòÈ´ÊÇGilbertÏà¶Ô¶øÑÔ²¢²»ÊǺÜÓÐÃû¡£ÉõÖÁÔÚʱ´úÔÓÖ¾ÉÏ·¢ÎÄÖ§³ÖGilbertÈÎÃüµÄTommasini¶¼³ÆÆäΪ£ºµÍµ÷µÄÒôÀÖ¼Ò£¬ÔÚËûÉíÉÏÕÒ²»µ½ÄÇÖÖ·ÉÑï°ÏìèµÄÖ¸»Ó¼ÒµÄÆøÖÊ¡£Å¦Ô¼°®ÀÖÀÖÍÅÆù½ñΪֹ¶¼ÊÇÓÉÏñGustav Mahler(¹Å˹Ëþ·ò¡¤ÂíÀÕ)ºÍPierre Boulez²¼ÁÐ×ÈÄÇÑùµÄÒôÀÖ¼ÒÁìµ¼µÄ¡£ÕâÑùÈ¥ÃèÊöÕâ¸öÀÖÍŵÄÏÂһλָ»Ó£¬ÖÁÉÙ¶ÔÓÚʱ´úµÄ¶ÁÕ߶øÑÔ£¬ÕâÊÇÒ»Öֲ԰׵ıíÑï¡£
¡¡¡¡For my part, I have no idea whether Gilbert is a great conductor or even a good one. To be sure, he performs an impressive variety of interesting compositions, but it is not necessary for me to visit Avery Fisher Hall, or anywhere else, to hear interesting orchestral music. All I have to do is to go to my CD shelf, or boot up my computer and download still more recorded music from iTunes¡£
¡¡¡¡¾ÍÎÒ¿´À´£¬ÎÒ²»ÖªµÀGilbertÊÇ·ñÊÇÒ»¸öΰ´óµÄÖ¸»Ó¼Ò»òÕßÊÇÒ»¸öºÃµÄÖ¸»Ó¡£µ«ÊÇÎÒÄÜÈ·¶¨µÄÊÇ£¬ËûÄܱíÏÖ³öºÜ¶àÓÐȤµÄÀÖÕ£¬µ«ÊÇÎÒÈ´Ó¦¸Ã²»»áÈ¥Avery Fisher Hall»òÕßÆäËûµØ·½È¥ÌýÒ»³¡ÓÐȤµÄ½»ÏìÀÖÑݳö¡£ÎÒÒª×öµÄÊÂÇé¾ÍÊÇÈ¥ÎÒµÄCD¼ÜÉÏ£¬»òÕß´ò¿ªµÄÎҵĵçÄÔ´ÓITUNESÉÏÏÂÔظü¶àµÄ³ªÆ¬¡£
¡¡¡¡Devoted concertgoers who reply that recordings are no substitute for live performance are missing the point. For the time, attention, and money of the art-loving public, classical instrumentalists must compete not only with opera houses, dance troupes, theater companies, and museums, but also with the recorded performances of the great classical musicians of the 20th century. There recordings are cheap, available everywhere, and very often much higher in artistic quality than today¡¯s live performances; moreover, they can be ¡°consumed¡± at a time and place of the listener¡¯s choosing. The widespread availability of such recordings has thus brought about a crisis in the institution of the traditional classical concert¡£
¡¡¡¡ÄÇЩÖÒʵµÄÒôÀÖ»á¹ÛÖڻὲ³ªÆ¬²¢²»ÄÜ´úÌæÏÖ³¡µÄÑݳö£¬µ«ÊÇËûÃǺöÂÔÁËһЩÊÂÇé¡£µ±ÏÂΪÁË»ñµÃÒÕÊõ°®ºÃÕßµÄÇ®£¬Ê±¼ä£¬¹Ø×¢¶È£¬¹ÅµäÒôÀÖµÄÑÝ×à¼ÒÃÇ(Æäʵ¾ÍÊÇÖ¸½»ÏìÀÖÍÅ£¬Í¬Ò⸴Êö)²»½öÒªºÍ¾çÔº£¬Î赸¶Ó£¬Ñݳö¹«Ë¾ºÍ²©Îï¹Ý¾ºÕù£¬¶øÇÒ»¹ÐèÒªºÍÄÇЩ¼Ç¼ÁË20ÊÀ¼ÍµÄΰ´óµÄ¹ÅµäÒôÀÖÑÝ×àÕß±íÑݵijªÆ¬¾ºÕù¡£³ªÆ¬ºÜ±ãÒË£¬ÄÇÀﶼÄÜÂòµ½£¬²¢ÇÒ±ÈÏÖÔںܶàÏÖ³¡ÒôÀÖ»áµÄÒÕÊõÖÊÁ¿Òª¸ß¡£½øÒ»²½µÄ½²£¬ÌýÖÚÄÜÑ¡ÔñÌý³ªÆ¬µÄʱ¼äºÍµØµã¡£ÕâЩµ½´¦¿ÉÒÔ»ñµÃµÄ³ªÆ¬¸ø´«Í³µÄÑݳö»ú¹¹´øÀ´ÁËΣ»ú¡£
¡¡¡¡One possible response is for classical performers to program attractive new music that is not yet available on record. Gilbert¡¯s own interest in new music has been widely noted: Alex Ross, a classical-music critic, has described him as a man who is capable of turning the Philharmonic into ¡°a markedly different, more vibrant organization¡£¡± But what will be the nature of that difference? Merely expanding the orchestra¡¯s repertoire will not be enough. If Gilbert and the Philharmonic are to succeed, they must first change the relationship between America¡¯s oldest orchestra and the new audience it hops to attract¡£
¡¡¡¡¶ÔÓڹŵäÒôÀÖÑÝ×àÕ߶øÑÔ£¬ËûÃÇ¿ÉÄܵÄÒ»¸ö»ØÓ¦¾ÍÊÇÅÅÁ·³ö³ªÆ¬ÉÏûÓеÄÇúÄ¿¡£Gilbert¶ÔÐÂÒôÀÖÐËȤÒѾ±»¹ã·ºµÄ¹Ø×¢ÁË£ºAlex Ross£¬Ò»Ãû¹ÅµäÒôÀÖµÄÅúÆÀ¼Ò£¬¾ÍÕâÑùÃèÊöµÀ£ºËûÄܹ»°Ñ°®ÀÖÀÖÍűä³ÉÒ»¸öÍêÈ«²»Í¬£¬¸ü¼ÓÓлîÁ¦µÄ×éÖ¯¡£µ«ÊÇÄÇÖÖ²»Í¬µÄÐÔÖÊÒ²ÊÇʲôÄØ£¿¿ÉÄܽö½öÔö¼ÓÀÖÍÅÑݳöµÄÇúÄ¿ÊDz»¹»µÄ£¬Èç¹ûGilbertºÍËûµÄÀÖÍÅÒª½ø²½µÄ»°£¬ËûÃǾͱØÐëÊ×ÏȸıäÃÀ¹ú×î¹ÅÀϵÄÀÖÍÅ(¾ÍÊÇŦԼ°®ÀÖÀÖÍÅ)ͬËûÃÇÏëÎüÒýµÄйÛÖÚ¼äµÄ¹Øϵ¡£
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¡¡¡¡21. We learn from Para.1 that Gilbert¡¯s appointment has ¡£
¡¡¡¡[A]incurred criticism. [B]raised suspicion¡£
¡¡¡¡[C]received acclaim. [D]aroused curiosity¡£
¡¡¡¡½âÎö£ºÕâ¸öÌâÄ¿Ïà¶Ô¼òµ¥£¬¸÷¼ÒҲûÓÐʲôÕùÒ飬ֻÐèÒª¶Á¶®£ºFor the most part, the response has been favorable, to say the least¡£¾Í¿ÉÒÔÁË£¬Æäʵ¿¼ÉúÖ»ÐèÒª¶Á¶®£ºFor the most part, the response has been favorable¡£Õâ¾ÍÊǺËÐÄ¡£acclaim¡£¾ÍÊDZíʾ favorable¡£µ±È»£¬ºóÃæÄǸöÈË˵µÄ»°Ò»¶¨ÊÇΪÁË˵Ã÷Õâ¸ö½áÂ۵ĶÁ²»¶Á¶¼ÎÞ·ÁÁË¡£
¡¡¡¡22. Tommasini regards Gilbert as an artist who is
¡¡¡¡[A]influential. [B]modest¡£
¡¡¡¡[C]respectable. [D]talented¡£
¡¡¡¡½âÎö£ºÕâ¸öÌâÄ¿¹Ø¼ü¾ÍÊÇҪѧ»á¶ÔÂÛµãºÍÂ۾ݵÄÃô¸Ð£ºTommasiniÊǸö¾ßÌåµÄÈËÌáËûÊÇÓÐÄ¿µÄµÄ¡£ÎÊËûµÄ¿´·¨£¬Äã¿ÉÒÔÖ±½Ó¿´ÕâÑùÒ»¾ä£º¡°an unpretentious musician with no air of the formidable conductor about him¡£¡±µ«ÊÇÕâÑùµÄ¾ä×ÓÖеģºunpretentiousºÍformidableÄÜÓм¸¸öͬѧÈÏʶ£¿ ÄÇô¾Í¿´¿´Õâ¸ö¾ä×ÓÔÚ¶ÎÂäÖеĵØλ°É£ºÂ۾ݣ¬ÇҺ͵ÚÒ»¾äÊÇÒ»¸öµÝ½øµÄ¹Øϵ£¬ËûÊǽøÒ»²½ËµÃ÷µÚÒ»¾äµÄ£ºOne of the reasons why the appointment came as such a surprise, however, is that Gilbert is comparatively little known¡£Õâ¸ö¾ä×Ӹö®ÁË°É¡£Õâ¸öÈËÏà¶ÔÀ´½²ÃûÆø²»´ó¡£A,C,D ¶¼ÎÞ´Ó̸ÆðÁË¡£Ö»ÓÐmodestºÍÕâ¸öÃûÆø´ó²»´óÄÜÏà¹Ø¡£ÕâÑùµÄÂ۾ݺÍÂÛµãµÄ·ÖÎöÒÔ¼°¶ÎÂäµÄÓïƪ·ÖÎö·½·¨¾ÍÊÇ¿ÎÄÀÏʦµÄѧÉúÄܶÀ²½ÓÚöλÔÓéÀÖ¹Ù·½appÏÂÔؽçµÄ×î´ó·¨±¦¡£
