SAT真题06年Word文件下载.docx

SAT真题06年Word文件下载.docx

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5.Bubblegumisnottopicusuallytreatedseriously,soitisappropriatethatthisnewbookthatthisnewbooktracingtheculturalhistoryofbubblegumhasa----------tone.

（A）morbid（B）cathartic（C）pedantic

（D）taciturn（E）reticent

6.JamakeHighwatermanagestotouchontheartsofalmosteveryAmericanIndiannationinonereasonablysizedbookthatmakesupforitsoccasionallackof------withitsremarkable-------.

（A）specificity……detail

（B）discontinuity-----concreteness

（C）loftiness…inaccessibility

（D）profundity….inclusively

（E）uniqueness…parability

7.thoughjuddistypically------andreservedinsocialgatherings,atlastnight’sreceptionhespokeandactedwithuncharacteristic---------.

（A）loquacious…alacrity

（B）querulous….languor

（C）disaffected….resentment

（D）diplomatic….decorum

（E）diffident….aplomb

8.Mostpoliticiansfindtelevision------tothe------oftheirmessage:

themediumplaysanessentialroleinpropagatingtheirideas.

（A）crucial…renunciation

（B）indispensable..dissemination.

（C）detrimental….interpretation

（D）tangential..interpretation

（E）relevant..legislation

1.Herpolitical-------camefromher------visionofthenation,avisionthatincludedanddrewstrengthfromeverysocialconstituency.

（A）Autonomy……sweeping

（B）Reticence……mystical

（C）Triumph……restricted

（D）Rebellion……conventional

（E）Success……comprehensive

2.Asonewouldexpect,thereclusivepoet-------publicappearancesandinvasionsofprivacy.

（A）rewarded（B）endorsed（C）neglect

（D）invited（E）detested

3.Turn-of-the-centuryactressSarahBernhardhadso------atalentthatshe--------audienceswithherdiverseandutterlyconvincingcharacterizations

（A）unrealized….enchanted

（B）protean…..badazzed

（C）eclectic….wearied

（D）quixotic…..confounded

（E）mediocre……spellblund

Eachsentencebelowhasoneortwoblanks,eachblankindicatingthatsomethinghasbeenomitted.BeneaththesentencearefivewordsorsetsofwordslabeledAthroughE.choosethewordorsetofwordsthat,wheninsertedinthesentence,bestfirstthemeaningofthesentenceasawhole.

Example:

Hopingto------thedispute,negotiatorsproposedacompromisethattheyfeltwouldbe--------tobothlaborandmanagement.

（A）Enforce..useful

（B）End..divisive

（C）Overcome..unattractive

（D）Extend..satisfactory

（E）Resolve..acceptable●

Thepassagesbelowarefollowedbyquestionsbasedontheircontent;

questionsfollowingapairofrelatedpassagesmayalsobebasedontherelationshipbetweenthepairedpassages.Answerthequestionsonthebasisofwhatisstatedorimpliedinthepassagesandinanyintroductorymaterialthatmaybeprovided

Questions9-10arebasedonthefollowingpassage.

DavidStahleisanexpertontheimprintsthatclimate,fire,andpestilenceleaveinatree’sgrowthtings.Hispulseriseswhenhespotsastandofbeat-upoldtreesbecausetheyhavestoriestotell.Forreasonsnotonlyunderstood,suchtrees,growingunderharshtofluctuationsinweatherthanhealthiertreesgrowingonbetterland.Recently,StahleconductedfromringsinldcypresstreesthataseveredroughtstruckRoanokeisland,NorthCarolina,inthelatesixteenthcentury.Thismightexplainwhytheso-calledlostcolonyofRoanokediedoutby1590.

11.thereferencetoStahle’s“pulse”（line3）servestoindicatehislevelof

（A）Vitality

（B）Frustration

（C）Anger

（D）Playfulness

（E）Excitement

12.Thestatementinlines11-12（“this…1590”）servesprimarilyto

（A）Advocateacause

（B）Offeratheory

（C）Questionsbelief

（D）Modifyaclaim

（E）Predictanoutcome

JazzmusicianBennyCarter,knownforhissophisticatedcompositionsandarrangements,wasalsoavirtuosoaltosaxophoneplayer.Fellowmusiciansfrequentlycitedcarter’sgroundbreakingimprovisationalstyle,whichavoidedthespreadoutphrasefragmentsoverthechordprogression.In1934,justsixyearsafterhisfirstrecording,carterplayedattheopeningoftheApolloTheaterinHarlemandthenledthefirstinterracialbigbandtotourEurope.Intheensuingquartercentury,carterwrotemusicforfilmandtelevisioninHollywood,whereheplayedakeyroleinthemergerofthetradeunionsofblackmusiciansandwhitemusicians.

9TheauthorsuggestedthatCarterwasnotonlyanoutstandingjazzcomposerbutalso

（A）atalentcomposerofclassicalmusic

（B）ahighlyimitativeperformer

（C）anopponentoforganizedlabor

（D）aneffectiveparticipantinsocialchange

（E）anastutecriticofothermusicians’work

10.ThepassagesupportswhichofthefollowingstatementsaboutCarterasasaxophoneplayer?

（A）heimpressedothermusicianswithhistechnique.

（B）hewaslesscelebratedasaninstrumentalistthanasabandleader.

（C）Hedidnotperforminpublicafterthe1930’s.

（D）heconfusedcriticswithhisunusualtechnique

（E）hepreferredtoperforminlocalvenues.

vacantroomandwasamusingmyself,Ihappenedtoglancetowardtheportraitandsaw,tomyastonishment,thatthe'

eyesofthemanwerewatchingme.Iturnedaway,andthenlookedup,andoncemorehiseyesmetmine.'

Igottomyfeetand,asIdidso,thoseeyesturnedtowatcheverymovementImade.Ibackedtowardthedoorandthatlookstillfollowedme,half-mournful,half-accusing.Ididnottellanyonewhathadhappened,butIdidnotventureintotheroomagainformorethanafewsecondsatatime,exceptwhenIwaswithgrown-ups.Emboldenedbytheircompany,Ilearnedtoplayafearfulbutexcitinggame,Imovedslowlyhereandthereabouttheroom,knowingthatwhereverIwent,thoseeyesfollowedme.Ipretendednottolook;

Italkedwithmyelders,andthenswungaroundsharply.Iwasstillbeingwatched.Thesearchinggazewasalwaysthesame,somelancholyandaccusingthatIbegantofeelasenseofguilt,begantowonderwhatevilIcouldhavecommitted.GuiltandfearmingledinmymindandIwascertainthatthestrangerwastreacherous,thathisangercouldbeterriblewhenitwasaroused.Sometimesgreatlydaring,Icreptupthestairsandopenedthedoorveryquietly,veryquickly,andpeepedin.EverytimeIdidso,hiseyeswerelookingstraightatme.

13.Whichofthefollowingstatementsbestcharacterizestheindividualperspectivespresentedinthetwopassages?

（A）Thefirstpassagepresentsacriticalperspective,whereasthesecondpresentstheviewofanuneducatedartlover.

（B）Thefirstpassageofferstheperspectiveofarthistorians,whereasthesecondoffersthatofan'

artstudent.

（C）Thefirstpassageofferstheperspectiveofadultartcollectors,whereasthesecondcontainstheviewsofachildprodigy.

（D）Thefirstpassageofferstheviewsoftwoadults,whereasthesecondpresentsachild'

sperspective.

（E）Thefirstpassageofferstheviewsoftwosuccessfulartists,whereasthesecondpresentstheviewofafailedartist.

Questions1-24arebasedonthefollowingpassages

Thefirstofthefollowingexpectsisadoptedfroma1996essayaboutanexhibitofpaintingsbytheDutchartistJohannesVermeer（1632-1675）;

thesecondisfromanautobiographywrittenin1962

Passage1

AnyonewhohasreadEdwardSnow'

shighlypersonalandpoeticStudyofVermeerisunlikelytobeabletomeetthegazeoftheyoungwomaninTheGirlwiththePearlEarringwithoutfeelingsomethingoftheconfusionandcomplicityhesoeloquentlydescribes."

Tomeetthisyounggirl'

sgazeisto'

beimplicatedinitsurgency,"

Snowwrites."

Itismeatwhomshegazes,withreal,unguardedhumanemotions,andwithintensitythatdemandssomethingjustasrealandhumaninreturn."

Snowdescribesthegirl'

sgazeasastewofunresolvedcontradictions,whichonlyleavesthecaptivatedviewerallthemoreguiltyandconfused.Surprise,bewilderment,yearning,acceptance,understanding-insequence,orallatonce-herglanceseemstoconveyallofthese.66Suddenly:

themostpersonalresponses,drawnfromthemostprivate,well-protectedregionsoftheself,arerequired."

MyresponsestothisandotherVermeerpaintingswererarelyaspersonalandpassionateasSnow'

s.TohisprivatetestironyregardingTheGirlwiththePearlEarring,Iwouldonlyaddthatagreatdealofwhateverimpactithasontheviewerseemstometoderivefromveryspecific,veryvisiblepainterlytechniques.Thelight-coloredspotsthatappeartoroundherlip;

theshiftfromlightpainttodarkerthatformstheridgebelowhernose;

thedotsofwhiteonherpupilsthatmakehereyeballsseemtobulge;

thebrusque,Cezanne-Iikeroundingofherturbanbyshiftingthebluestrokestoblack-alloftheseareasvividasfingerprints,evidenceofVermeer'

spresence,ofhisattempts（asSnowputit）tonursethisfaceintobeing.

Todaytheentirepaintedsurfaceofthisworkisspider-webbedwithafinenetworkofcracks-whatartcritics’callcracquelure-whichmakestheabilityofthisimaginarygirltoreachoutanddisturbusfromherpaint-created,330-year-oldflatnessallthemoreastonishing.

Passage2

Therewasanemptyroomatthetopofourhouseandonthewall,betweenthefireplaceandthewindow,almosthiddeninthegloom,hungasmallportraitinoils.Dimandyellowedbytime,thatpictureshowedtheheadofamanofstrangeappearance,