英语六级真题第一套.docx

英语六级真题第一套.docx

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英语六级真题第一套

PartIIIReadingComprehension（40minutes）

SectionA

Directions:

Inthissection,thereisapassagewithtenblanks.Youarerequiredtoselectonewordforeachblankfromalistofchoicesgiveninawordbankfollowingthepassage.Readthepassagethroughcarefullybeforemakingyourchoices.Eachchoiceinthebankisidentifiedbyaletter.Pleasemarkthecorrespondingletterforeachitemon,AnswerStreet2withasinglelinethroughthecentre.Youmaynotuseanyofthewordsinthebankmorethanonce.

Questions36to45arebasedonthefollowingpassage.

Innovation,theelixir（灵丹妙药）ofprogress,hasalwayscostpeopletheirjobs.IntheIndustrialRevolutionhandweaverswere36asidebythemechanicalloom.Overthepast30yearsthedigital

revolutionhas37manyofthemid-skilljobsthatsupported20th-centurymiddle-classlife.Typists,ticketagents,banktellersandmanyproduction-linejobshavebeendispensedwith,justastheweaverswere.

Forthosewhobelievethattechnologicalprogresshasmadetheworldabetterplace,suchdisruptionisanaturalpartofrising38.Althoughinnovationkillssomejobs,itcreatesnewandbetterones,asamore39society becomesricheranditswealthierinhabitantsdemandmoregoodsandservices.AhundredyearsagooneinthreeAmericanworkerswas40onafarm.Todaylessthan2%ofthemproducefarmorefood.Themillionsfreedfromthelandwerenotrendered41,butfoundbetter-paidworkastheeconomygrewmoresophisticated.Todaythepoolofsecretarieshas42,butthereareevermorecomputerprogrammersandwebdesigners.

Optimismremainstherightstarting-point,butforworkersthedislocatingeffectsoftechnologymaymakethemselvesevidentfasterthanits43.Evenifnewjobsandwonderfulproductsemerge,intheshorttermincomegapswillwiden,causinghugesocialdislocationandperhapsevenchangingpolitics.

Technology's44willfeellikeatornado（旋风）,hittingtherichworldfirst,but45sweepingthroughpoorercountriestoo.Nogovernmentispreparedforit.

注意:

此部分试题请在答题卡2上作答。

A.benefitsF）joblessK）rhythm

B.displacedG）primarilyL）sentiments

C.employedH）productiveM）shrunk

D.eventuallyI）prosperityN）swept

E）impactJ）responsiveO）withdrawn

SectionB

Directions:

Inthissection,youaregoingtoreadapassagewithtenstatementsattachedtoit.Eachstatementcontainsinformationgiveninoneoftheparagraphs.Identifytheparagraphfromwhichtheinformationisderived.Youmaychooseaparagraphmorethanonce.Eachparagraphismarkedwithaletter.AnswerthequestionsbymarkingthecorrespondingletteronAnswerSheet2.

WhytheMonaLisaStandsOut

　　A.Haveyoueverfallenforanovelandbeenamazednottofinditonlistsof greatbooks?

Orwalkedaroundasculpturerenownedasaclassic,strugglingtoseewhatthefussisabout?

Ifso,you'veprobablyponderedthequestionapsychologist,JamesCutting,askedhimself:

Howdoesaworkofartcometobeconsideredgreat?

　　B.Theintuitiveansweristhatsomeworksofartarejustgreat:

ofintrinsicallysuperiorquality.Thepaintingsthatwinprimespotsingalleries,gettaughtinclassesandreproducedinbooksaretheonesthathaveprovedtheirartisticvalueovertime.Ifyoucan'tseethey'resuperior,that'syourproblem.

It'sanintimidatinglyneatexplanation.Butsomesocialscientistshavebeenaskingawkwardquestionsofit,raisingthepossibilitythatartisticcanons（名作目录）arelittlemorethanfossilisedhistoricalaccidents.

　　C.Cutting,aprofessoratCornellUniversity,wonderedifapsychologicalmechanismknownasthe"mere-exposureeffect"playedaroleindecidingwhichpaintingsrisetothetopoftheculturalleague.Cuttingdesignedanexperimenttotesthishunch（直觉）.Overalecturecourseheregularlyshowedundergraduatesworksofimpressionismfortwosecondsatatime.Someofthepaintingswerecanonical,includedinart-historybooks.Otherswerelesserknownbutofcomparablequality.Thesewereexposedfourtimesasoften.Afterwards,thestudentspreferredthemtothecanonicalworks,whileacontrolgroupofstudentslikedthecanonicalonesbest.Cutting'sstudentshadgrowntolikethosepaintingsmoresimply becausetheyhadseenthemmore.

　　D.Cuttingbelieveshisexperimentoffersaclueastohowcanonsareformed.He

reproducedworksofimpressionismtodaytendtohavebeenboughtbyfiveorsixwealthyandinfluentialcollectorsinthelate19thcentury.Thepreferencesofthesemenbestowed（给予）prestigeoncertainworks,whichmadetheworksmorelikelytobehungingalleriesandprintedincollections.Thefamepasseddowntheyears,gainingmomentumfrommereexposureasitdidso.Themorepeoplewereexposedto,themoretheylikedit,andthemoretheylikedit,themoreitappearedinbooks,onpostersandinbigexhibitions.Meanwhile,academicsandcriticscreatedsophisticatedjustificationsforitspreeminence（卓越）.Afterall,it'snotjustthemasseswhotendtoratewhattheyseemoreoftenmorehighly.AscontemporaryartistslikeWarholandDamienHirsthavegrasped,critics'praiseisdeeplyentwined（交织）withpublicity."Scholars",Cuttingargues,"arenodifferentfromthepublicintheeffectsofmereexposure."

　　E.TheprocessdescribedbyCuttingevokesaprinciplethatthesociologistDuncanWattscalls"cumulativeadvantage":

onceathing becomespopular,itwilltendtobecomemorepopularstill.Afewyearsago,Watts,whoisemployedbyMicrosofttostudythedynamicsofsocialnetworks,hadasimilarexperiencetoCutting'sinanotherParismuseum.Afterqueuingtoseethe"MonaLisa"initsclimate-controlledbulletproofboxattheLouvre,hecameawaypuzzled:

whywasitconsideredsosuperiortothethreeotherLeonardosinthepreviouschamber,towhichnobodyseemedtobepayingtheslightestattention?

　　F.WhenWattslookedintothehistoryof"the greatestpaintingofalltime",hediscoveredthat,formostofitslife,the"MonaLisa"remainedinrelativeobscurity.Inthe1850s,LeonardodaVinciwasconsiderednomatchforgiantsofRenaissanceartlikeTitianandRaphael,whoseworkswereworthalmosttentimesasmuchasthe"MonaLisa".Itwasonlyinthe20thcenturythatLeonardo'sportraitofhispatron'swiferocketedtothenumber-onespot.Whatpropelledittherewasn'tascholarlyre-evaluation,butatheft.

　　G.In1911amaintenanceworkerattheLouvrewalkedoutofthemuseumwiththe"MonaLisa"hiddenunderhissmock（工作服）.Parisianswereshockedatthetheftofapaintingtowhich,untilthen,theyhadpaidlittleattention.Whenthemuseumreopened,peoplequeuedtoseethegapwherethe"MonaLisa"hadoncehunginawaytheyhadneverdoneforthepaintingitself.Fromthenon,the"MonaLisa"cametorepresentWesterncultureitself.

　　H.Althoughmanyhavetried,itdoesseemimprobablethatthepainting'suniquestatuscanbeattributedentirelytothequalityofitsbrushstrokes.Ithasbeensaidthatthesubject'seyesfollowthevieweraroundtheroom.Butasthepainting'sbiographer,DonaldSassoon,drylynotes,"Inrealitytheeffectcanbeobtainedfromanyportrait."DuncanWattsproposesthatthe"MonaLisa"ismerelyanextremeexampleofageneralrule.Paintings,poemsandpopsongsarebuoyed（使浮起）or

eventsorpreferencesthatturnintowavesofinfluence,passingdownthegenerations.

　　I."Sayingthatculturalobjectshavevalue,"BrianEnooncewrote,"islikesayingthattelephoneshaveconversations."Nearlyalltheculturalobjectsweconsumearrivewrappedininheritedopinion;ourpreferencesarealways,tosomeextent,someoneelse's.Visitorstothe"MonaLisa"knowtheyareabouttovisitthe greatestworkofarteverandcomeawayappropriatelyimpressed--orletdown.Anaudienceataperformanceof"Hamlet"knowitisregardedasaworkofgenius,sothatiswhattheymostlysee.WattsevencallsthepreeminenceofShakespearea"historicalaccident".

　　J.Althoughtherigidhigh-lowdistinctionfellapartinthe1960s,westillusecultureasabadgeofidentity.Today'sfashionforeclecticism（折中主义）"IloveBach,AbbaandJayZ"is,ShamusKhan,aColumbiaUniversitypsychologist,argues,anewwayforthemiddleclasstodistinguishthemselvesfromwhattheyperceivetobethenarrowtastesofthosebeneaththeminthesocialhierarchy.

　　K.Theintrinsicqualityofaworkofartisstartingtoseemlikeitsleastimportantattribute.Butperhapsit'smoresignificantthanoursocialscientistsallow.Firstofall,aworkneedsacertainqualitytobeeligibletobeswepttothetopofthepile.The"MonaLisa"maynotbeaworthyworldchampion,butitwasintheLouvreinthefirstplace,andnotbyaccident.Secondly,somestuffissimplybetterthanotherstuff.Read"Hamlet"afterreadingeventhe greatestofShakespeare'scontemporaries,andthedifferencemaystrikeyouasunarguable.

　　L.AstudyintheBritishJournalofAestheticssuggeststhattheexposureeffectdoesn'tworkthesamewayoneverything,andpointstoadifferentconclusionabouthowcanonsareformed.Thesocialscientistsarerighttosaythatweshouldbealittlescepticalofgreatness,andthatweshouldalwayslookinthenextroom.Greatartandmediocrity（平庸）cangetconfused,evenbyexperts.Butthat'swhyweneedtosee,andread,asmuchaswecan.Themorewe'reexposedtothegoodandthebad,thebetterweareattellingthedifference.Theeclecticistshaveit.

　　注意：

此部分试题请在答题卡2上作答。

46.AccordingtoDuncanWatts,thesuperiorityofthe"MonaLisa"toLeonardo'sotherworksresultedfromthecumulativeadvantage.

47.Somesocialscientistshaveraiseddoubtsabouttheintrinsicvalueofcertainworksofart.

48.Itisoftenrandomeventsorpreferencesthatdetermine