SAT阅读真题资料10

　　The passages below are followed by questions based on their content; questions following a pair of related passages may also be based on the relationship between the paired passages. Answer the questions on the basis of what is stated or implied in the passages and in any introductory material that may be provided.

　　Questions 6-9 are based on the following passages.

　　Passage 1

　　The eighteenth-century botanist Carolus Linnaeus'

　　enormous and essential contribution to natural history

　　was to devise a system of classification whereby any

　　plant or animal could be identified and slotted into

　　5 an overall plan. Yet Linnaeus himself would probably

　　have been the first to admit that classification is only

　　a tool. and not the ultimate purpose. of biological

　　inquiry. Unfortunately, this truth was not apparent

　　to his immediate successors, who for the next hundred

　　10 years were to concern themselves almost exclusively

　　with classification.

　　Passage 2

　　I am a heretic about Linnaeus. Ido not dispute the

　　value of the tool he gave natural science, but I am wary

　　about the change it has effected on humans' relationship

　　15 to the world. From Linnaeus on. much of science has

　　been devoted to sorting masses into individual entities

　　and arranging the entities neatly. The cost of having so

　　successfully itemized and pigeonholed nature is to limit

　　certain possibilities of seeing and apprehending. For

　　20 example. the- modem human thinks that he or she can

　　best understand a tree (or a species of tree by examining

　　a single tree. But trees are not intended to grow in isolation.

　　They are social creatures. and their society in tum supports

　　other species of plants. insects. birds. mammals. and micro-

　　25 organisms. all of which make up the whole experience of

　　the woods. '

　　6. Compared to the author of Passage 2. the author

　　of Passage l regards Linnaeus with more

　　(A cynicism

　　(B bafflement

　　(C appreciation

　　(D nostalgia

　　(E resentment

　　7 Unlike the author of Passage l, the author of Passage 2

　　makes use of

　　(A scientific data

　　(B literary allusion

　　(C historical research

　　(D personal voice

　　(E direct citation

　　8 Both passages emphasize which of the following

　　aspects of Linnaeus' work?

　　(A The extent to which it contributed to natural

　　science

　　(B The way in which it limits present-day science

　　(C 'Die degree to which it revived interest in biology

　　(D 'l`he decisiveness with which it settled scientific

　　disputes

　　(E The kinds of scientific discoveries on which

　　it built `

　　9 The author of Passage 1 would most likely respond

　　to the opening of Passage 2 (lines 12- I7 by arguing

　　that the author of Passage 2 has

　　(A demonstrated that Linnaeus should be better

　　known as a scientist than he currently is

　　(B minimized the achievements of those scientists

　　who built on Linnaeus' work

　　(C refused to appreciate the importance of proper

　　classification to scientific progress

　　(D failed to distinguish the ideas of Linnaeus from

　　those of his followers

　　(E misunderstood Linnaeus` primary contribution

　　to natural history

　　Questions 10-15 are based on the following passage.

　　The following is an excerpt from a translation of a novel

　　written in Spanish by an author from Colombia. In a

　　fanciful manner. the novelist portrays the townspeople

　　of an isolated village.

　　Dazzled by so many and such marvelous inventions, the

　　people of Macondo did not know where their amazement

　　began. They stayed up all night looking at the pale electric

　　bulbs fed by the electric plant that Aureliano Triste had

　　5 brought back when the train made its second trip, and it

　　took time and effort for them to grow accustomed to its

　　obsessive noise.

　　They became indignant over the living images that the

　　prosperous merchant Bnino Crespi projected on the screen

　　10 in the theater with the lion-head ticket windows, for the

　　character who had died and was buried in one film, and for

　　whose misfortune tears of affliction had been shed, would

　　reappear alive and transformed into an Arab sheik in the

　　next one. The audience. who paid two cents apiece to share

　　15 the difficulties of the actors, would not tolerate such an

　　outlandish fraud and they broke up the seats. The mayor,

　　at the urging of Bruno Crespi, explained in a proclamation

　　that the cinema was a machine of illusions that did not

　　merit the emotional outbursts of the audience. With that

　　20 discouraging explanation many felt that they had been the

　　victims of some new trickery and they decided not to return

　　to the movies. considering that they already had too many

　　troubles of their own to weep over the acted-out misfor-

　　tunes of imaginary beings.

　　25 Something similar happened with cylinder phonographs

　　brought from France and intended as a substitute for the

　　antiquated hand organs used by the band of musicians. For

　　a time the phonograph records had serious effects on the

　　livelihood of the musicians. At first curiosity increased the

　　30 business on the street where they were sold and there was

　　even word of respectable persons who disguised them-

　　selves as workers in order to observe the novelty of the

　　phonograph at firsthand. but from so much and such close

　　observation they soon reached the conclusion that it was

　　35 not an enchanted mill as everyone had thought and as some

　　had said, but a mechanical trick that could not be compared

　　with something so moving, so human, and so full of every-

　　day truth as a band of musicians. It was such a serious

　　disappointment that when phonographs became so popular

　　40 that there was one in every house they were not considered

　　objects for amusement for adults but as something good for

　　children to take apart.

　　On the other hand, when someone from the town had

　　the opportunity to test the crude reality of the telephone

　　45 installed in the railroad station, which was thought to be

　　a rudimentary version of the phonograph because of its

　　crank. even the most incredulous were upset. It was as if

　　God had decided to put to the test every capacity for sur-

　　prise :ind was keeping the inhabitants of Macondo in a

　　50 permanent alternation between excitement and disappoint-

　　ment. doubt and revelation, to such an extreme that no one

　　knew for certain where t.he limits of reality lay.

　　10 The word "obsessive" (line 7 most nearly means

　　(A enthusiastic

　　(B persistent

　　(C obvious

　　(D infatuated

　　(E hardworking

　　11 The "fraud" (line 16 that upset the citizens of Macondo was related to the

　　(A excessive charge for admission

　　(B outlandish adventures of the characters on the screen

　　(C fact that the events depicted on the screen did not actually occur

　　(D types of difficulties the actors faced

　　(E implausible plots of the stories that were told

　　12 The citizens lost interest in their phonographs

　　(A the machines lacked the heart and soul of true musicians

　　(B few people were able to operate them

　　(C the machines were too difficult to observe firsthand

　　(D many musicians lost their jobs because of

　　(E the children were breaking them faster than were made

　　13 The citizens of Macondo were distressed by the of the telephone because they

　　(A did not know where it had come from

　　(B had expected a more socially beneficial invention

　　(C could envision the changes it would bring to daily village life

　　(D no longer felt able to make the usual assumptions about their world

　　(E were fearful that it would have serious effects on their continued employment

　　14 The aspect of the new inventions that most disappointed the citizens was that these inventions

　　(A were not all fashioned with a crank

　　(B did not have any real educational value

　　(C were not at all what they seemed to be

　　(D were meant purely for entertainment

　　(E were so intricate they were difficult to operate

　　15 The major purpose of the passage is to

　　(A illustrate the influence the distinguished residents of Macondo had on the other citizens

　　(B describe the new scientific inventions that were

　　introduced to Macondo

　　(C depict a diverse crowd reacting in unison to a

　　magical performance

　　(D describe the people's responses to the influx of

　　technical advances

　　(E delineate old-fashioned ideas about the virtue of

　　nature over technology

　　Questions 16-24 are based on the following passage.

　　This passage is by a choreographer who worked with the

　　influential dancer and choreographer Martha Graham

　　(1894-1991. It focuses on the use of space and gesture in

　　dance.

　　I am not an adept aesthetician, and I could not presume

　　to analyze Nlartha’s sense of design or approach toward

　　design. But I believe she dealt with the elements of line and

　　direction with the instincts of a mathematician or physicist.

　　5 adding to each their emotional relations. For example. a

　　straight line rarely, if ever, occurs in nature, but it does

　　occur in art, and it is used in art with various telling

　　effects. Direction works similar magic. An approaching

　　body produces one kind of emotional line, a receding or

　　10 departing body another; the meeting of two forces produces

　　visual. kinesthetic, and emotional effects. with a world of

　　suggestibility around them like a penumbra that evokes

　　many ideas and emotions whenever these forms are manip-

　　ulated. Basic human gesture: assume, therefore. an almost

　　15 mystic power. The simple maneuver of turning the face

　　away. for example, removes personality, relationship. Not

　　only mat, it seems to alter the relation of the individual to

　　present time and present place, to make here-and-now

　　other-where and other-time. It also shifts the particular

　　20 personality to the general and the symbolic. This is the

　　power of the human face and the human regard. and the

　　meeting of the eyes is probably as magic a connection as

　　can be made on this earth. equal to any amount of electrical

　　shock or charge. It represents the heart of dynamism. life

　　25 itself. The loss of that regard reduces all connections to

　　nothingness and void.

　　"Turning one`s back" has become a common figure of

　　speech. It means withholding approval. disclaiming. negat-

　　ing: and, in fact. in common conduct the physical turning

　　30 of the back is equated with absolute negation and insult.

　　No back is turned on a royal personage or :r figure of high

　　respect. This is linked with the loss of visual contact and

　　regard. One cuts dead by not meeting the eyes.

　　We know much about emotional symbols. Those used

　　35 by the medieval and Renaissance painters were understood

　　by the scholars and artists of the time-but. more wonder-

　　ful. they mean to us today spontaneously just what tl1ey

　　meant then; they seem to be permanent. We dream. Jung`

　　tells us. in terms and symbols of classic mythology. And

　　40 since. according to Jung, all people share a “collective

　　unconscious." people from disparate traditions nonetheless

　　dream in the same terms. ls it not also likely. then, that

　　certain space relations, rhythms. and stresses have psy-

　　chological significance. that some of these pattems are

　　45 universal and the key to emotional response. that their

　　deviations and modifications can be meaningful to artists

　　in terms of their own life experiences and that these over-

　　tones are grasped by spectators without conscious arzalysis?

　　These matters are basic to our well-being as land and air

　　50 animals. As plants will tum to sunlight or rocks or moisture

　　according to their nature, so we bend toward or escape

　　from spatial arrangements according to our emotional

　　needs. Look around any restaurant and see how few people

　　will sit at a center table unless the sides are filled up. Yet

　　55 monarchs of old always dined dead center and many Limq

　　in public.

　　The individual as a personality. then, has a particular :

　　code in space and rhythm, evolved from his or her life Q

　　history and from the history of the human race. It is just

　　60 the manipulation of these suggestions through time-space

　　that is the material of choreography. ‘

　　*A Swiss psychologist (1875-1961

　　16. The first two sentences (lines l-5 are characterized,

　　respectively, by

　　A disclaimer and assertion

　　B invocation and definition

　　C apology and confession

　　D authority and hypothesis

　　E rebuttal and analysis

　　17. In lines 5-6. the statement "a straight line rarely, if ever. occurs in nature” emphasizes the author’s recognition of the

　　(A choreographer’s need for spectacular effects

　　(B choreographer’s use of mathematical forms

　　(C choreographer’s estrangement from nature

　　(D impossibility of performing certain choreographer motions

　　(E universality of geometrical forms

　　18. By saying that the meeting of two forces produces effects that have "a world of suggestibility around them" (lines l l-12 the author means that the physical event

　　(A provokes unwarranted suspicions

　　(B reveals the motives of the artist

　　(C acts on the gullibility of the audience

　　(D lulls the audience into complacent acceptance

　　(E evokes a vast number of associations

　　19. The authors main point about "human gestures"

　　(line 14 is that they

　　(A are not subject to an individuals control

　　( B are difficult to analyze without scientific terminology

　　(C provoke different responses in people

　　(D carry powerful. universally understood messages

　　(E evolve with changes in cultural hierarchy

　　20 The author mentions "the meeting of the eyes" '

　　(lines 2|-22 to suggest the

　　(Aeffect that tank or status has on gestural meaning

　　(Bdifficulty of controlling emotional symbols

　　(Cdegree to which body language is not a function of personality

　　(Dextent of the power of individual human contact

　　(Enature of artistically pleasing events

　　21 The author suggests which of the following about

　　the work of "medieval and Renaissance painters" (line 35 ?

　　(A It was influenced by its royal patronage.

　　( B It was conceived more spontaneously than is modem art.

　　(C It should be cherished for its unique symbolism.

　　(D It contains symbols that are immediately accessible to contemporary viewers.

　　(E It is an unsophisticated version of symbolism developed later by choreographers.

　　22 As used in line 43. "stresses" most nearly means

　　(A emphases

　　(B loads

　　(C anxieties

　　(D influences

　　(E sounds

　　23 As used in line 48. "grasped" most nearly means

　　(Aadhered to

　　(B seized on

　　(C controlled

　　(D held

　　(E understood

　　24 The author suggests that people in a restaurant

　　(lines 53-54 are expressing their emotional need for

　　(A unhindered interaction

　　(B relative privacy

　　(C respect from strangers

　　(D approval from others

　　(E reclusive isolation