2010年全国硕士研究生入学统一考试英语试题
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)
In 1924 America's National Research Council sent two engineers to supervise a series of industrial experiments at a large telephone-parts factory called the Hawthorne Plant near Chicago. It hoped they would learn how stop-floor lighting 大1家 workers' productivity. Instead, the studies ended 大2家 giving their name to the \大3家 to being experimented upon changed subjects' behavior.
The idea arose because of the 大4家 behavior of the women in the Hawthorne plant. According to 大5家 of the experiments, their hourly output rose when lighting was increased, but also when it was dimmed. It did not 大6家 what was done in the experiment; 大7家 something was changed, productivity rose. A(n) 大8家 that they were being experimented upon seemed to be 大9家 to alter workers' behavior 大10家 itself.
After several decades, the same data were 大11家 to econometric the analysis. Hawthorne experiments has another surprise store 大12家the descriptions on record, no systematic 大13家 was found that levels of productivity were related to changes in lighting.
It turns out that peculiar way of conducting the experiments may be have let to 大14家 interpretation of what happed. 大15家, lighting was always changed on a Sunday. When work started again on Monday, output 大16家 rose compared with the previous Saturday and 大17家 to rise for the next couple of days. 大18家, a comparison with data for weeks when there was no experimentation showed that
2 大家版词典级31年考研英语真题及答案
output always went up on Monday, workers 大19家 to be diligent for the first few days of the week in any case, before 大20家 a plateau and then slackening off. This suggests that the alleged \1. [A] affected 2. [A] at [B] achieved [B] up [C] extracted [C] with [D] restored [D] off 3. [A] truth
4. [A] controversial 5. [A] requirements 6. [A] conclude 7. [A] as far as 8. [A] awareness 9. [A] suitable 10. [A] about 11. [A] compared 12. [A] contrary to
peculiar to 13. [A] evidence 14. [A] disputable 15. [A] In contrast 16. [A] duly 17. [A] failed 20. [A] breaking
[C] act [D] proof [C] mischievous
[D] ambiguous [C] accounts [D] assessments [C] indicate
[D] work
[D] so long as [C] sentiment [D] illusion [C] enough [D] abundant [C] on [D] by [C] subjected
[D] conveyed [C] parallel with[D]
[C] implication [D] source [C] reliable
[D] misleading
[C] In consequence [D] As usual [C] unpredictably [D] suddenly [C] started [D] continued [C] surpassing
[D] hitting
Section II Reading Comprehension
[B] sight
[B] perplexing
[B] explanations [B] matter
[B] for fear that [C] in case that [B] expectation [B] excessive [B] for [B] shown
[B] consistent with
[B] guidance [B] enlightening [B] For example [B] accidentally [B] ceased [B] climbing
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
Of all the changes that have taken place in English-language newspapers during the past quarter-century, perhaps the most far-reaching has been the inexorable decline in the scope and seriousness of their arts coverage.
It is difficult to the point of impossibility for the average reader under the age of forty to imagine a time when high-quality arts criticism could be found in most big-city newspapers. Yet a considerable number of the most significant
th
collections of criticism published in the 20 century consisted in large part of newspaper reviews. To read such books today is to marvel at the fact that their learned contents were once deemed suitable for publication in general-circulation dailies.
We are even farther removed from the unfocused newspaper reviews published in
th
England between the turn of the 20 century and the eve of World War II, at a time when newsprint was dirt-cheap and stylish arts criticism was considered an ornament to the publications in which it appeared. In those far-off days, it was taken for granted that the critics of major papers would write in detail and at length about the events they covered. Theirs was a serious business, and even those reviewers who wore their learning lightly, like George Bernard Shaw and Ernest Newman, could be trusted to know what they were about. These men believed in journalism as a calling, and were proud to be published in the daily press. “So few authors have brains enough or literary gift enough to keep their own end up in journalism,” Newman wrote, “that I am tempted to define ‘journalism’ as ‘a term of contempt applied by writers who are not read to writers who are.’”
Unfortunately, these critics are virtually forgotten. Neville Cardus, who wrote for the Manchester Guardian from 1917 until shortly before his death in 1975, is now known solely as a writer of essays on the game of cricket. During his lifetime, though, he was also one of England’s foremost classical-music critics, a stylist so widely admired that his Autobiography (1947) became a best-seller. He was knighted in 1967, the first music critic to be so honored. Yet only one of his books is now in print, and his vast body of writings on music is unknown save to specialists.
Is there any chance that Cardus’s criticism will enjoy a revival? The prospect seems remote. Journalistic tastes had changed long before his death, and postmodern readers have little use for the richly upholstered Vicwardian prose in which he specialized. Moreover, the amateur tradition in music criticism has been in headlong retreat.
31年考研英语真题及答案
