GRE测试题.docx

1、GRE测试题SECTION 7 Time 30 minutes 38 Questions 1. In the nineteenth century, novelists and unsympathetic? travelers portrayed the American West as a land of - adversity, whereas promoters and idealists? created - image of a land of infinite promise.? (A) lurid. a mundane? (B) incredible. an underplaye

2、d (C) dispiriting. an identical? (D) intriguing. a luxuriant? (E) unremitting. a compelling? 2. Honeybees tend to be more - than earth bees:? the former, unlike the latter, search for food together? and signal their individual findings to one another.? (A) insular? (B) aggressive? (C) differentiated

3、? (D) mobile? (E) social? 3. Joe spoke of superfluous and - matters with? exactly the same degree of intensity, as though for? him serious issues mattered neither more nor less? than did -. (A) vital. trivialities? (B) redundant. superficialities? (C) important. necessities (D) impractical. outcomes

4、? (E) humdrum. essentials? 4. The value of Davis sociological research is com- promised by his unscrupulous tendency to use? materials- in order to substantiate his own? claims, while - information that points to other? possible conclusions.? (A) haphazardly. deploying? (B) selectively. disregarding

5、? (C) cleverly. weighing? (D) modestly. refuting? (E) arbitrarily. emphasizing? 5. Once Renaissance painters discovered how to -? volume and depth, they were able to replace the? medieval convention of symbolic, two-dimensional? space with the more - illusion of actual space.? (A) reverse. conventio

6、nal? (B) portray. abstract? (C) deny. concrete? (D) adumbrate. fragmented? (E) render. realistic? 6. He had expected gratitude for his disclosure, but? instead he encountered - bordering on hostility.? (A) patience? (B) discretion? (C) openness? (D) ineptitude? (E) indifference? 7. The diplomat, sel

7、ected for her demonstrated patience? and skill in conducting such delicate negotiations,? - to make a decision during the talks because any sudden commitment at that time would have been -. (A) resolved. detrimental? (B) refused. apropos? (C) declined. inopportune? (D) struggled. unconscionable? (E)

8、 hesitated. warranted? 8. CONDUCTOR: INSTRUMENTALIST: (A) director: actor? (B) sculptor: painter? (C) choreographer: composer? (D) virtuoso: amateur? (E) poet: listener? 9. QUARRY: ROCK? (A) silt: gravel? (B) sky: rain? (C) cold: ice? (D) mine: ore? (E) jewel: diamond? 10. STICKLER: EXACTING: (A) ch

9、arlatan: forthright? (B) malcontent: solicitous? (C) misanthrope: expressive? (D) defeatist: resigned? (E) braggart: unassuming? 11. WALK: AMBLE: (A) dream: imagine? (B) talk: chat? (C) swim: float? (D) look: stare? (E) speak: whisper? 12. JAZZ: MUSIC: (A) act: play? (B) variety: vaudeville? (C) por

10、traiture: painting? (D) menu: restaurant? (E) species: biology? 13. REPATRIATE: EMIGRATION:? (A) reinstate: election? (B) recall: impeachment? (C) appropriate: taxation? (D) repeal: ratification? (E) appeal: adjudication? 14. PLACEBO: INNOCUOUS: (A) antibiotic: viral? (B) vapor: opaque? (C) salve: u

11、nctuous? (D) anesthetic: astringent? (E) vitamin: synthetic? 15. DISSEMINATE: INFORMATION: (A) amend: testimony (B) analyze: evidence? (C) investigate: crime? (D) prevaricate: confirmation? (E) foment: discontentment? 16. VOICE: QUAVER:? (A) pace: quicken? (B) cheeks: dimple? (C) concentration: focu

12、s? (D) hand: tremble? (E) eye: blink? Mary Barton, particularly in its early chapters, is a? moving response to the suffering of the industrial worker? in the England of the 1840s. What is most impressive? about the book is the intense and painstaking effort made (5) by the author, Elizabeth Gaskell

13、, to convey the experi- ence of everyday life in working-class homes. Her method? is partly documentary in nature: the novel includes such? features as a carefully annotated reproduction of dialect,? the exact details of food prices in an account of a tea? (10)party, an itemized description of the f

14、urniture of the? Bartons living room, and a transcription (again anno- tated) of the ballad The Oldham Weaver. The interest? of this record is considerable, even though the method? has a slightly distancing effect. (15) As a member of the middle class, Gaskell could? hardly help approaching working-

15、class life as an outside? observer and a reporter, and the reader of the novel is? always conscious of this fact. But there is genuine imag- inative re-creation in her accounts of the walk in Green? (20)Heys Fields, of tea at the Bartons house, and of John? Barton and his friends discovery of the st

16、arving family? in the cellar in the chapter Poverty and Death. Indeed,? for a similarly convincing re-creation of such families? emotions and responses (which are more crucial than the? (25)material details on which the mere reporter is apt to con- centrate), the English novel had to wait 60 years f

17、or the? early writing of D. H. Lawrence. If Gaskell never quite? conveys the sense of full participation that would? completely authenticate this aspect of Mary Barton, she? (30)still brings to these scenes an intuitive recognition of? feelings that has its own sufficient conviction. The chapter Old

18、 Alices History brilliantly drama- tizes the situation of that early generation of workers? brought from the villages and the countryside to the? (35)urban industrial centers. The account of Job Legh, the? weaver and naturalist who is devoted to the study of? biology, vividly embodies one kind of re

19、sponse to an? urban industrial environment: an affinity for living? things that hardens, by its very contrast with its environ- (40)ment,into a kind of crankiness. The early chapters about factory workers walking out in spring into Green? Heys Fields; about Alice Wilson, remembering in her? cellar t

20、he twig- gathering for brooms in the native village? that she will never again see; about Job Legh, intent on? (45)his impaled insects capture the characteristic responses? of a generation to the new and crushing experience of? industrialism. The other early chapters eloquently por- tray the develop

21、ment of the instinctive cooperation with? each other that was already becoming an important? tradition among workers. of the following best describes the authors? attitude toward Gaskells use of the method of? documentary record in Mary Barton? (A) Uncritical enthusiasm? (B) Unresolved ambivalence?

22、(C) Qualified approval? (D) Resigned acceptance? (E) Mild irritation? 18. According to the passage, Mary Barton and the? early novels of D. H. Lawrence share which of the? following (A) Depiction of the feelings of working-class families (B) Documentary objectivity about working-class? circumstances

23、? (C) Richly detailed description of working-class? adjustment to urban life (D) Imaginatively structured plots about working- class characters? (E) Experimental prose style based on working- class dialect? 19. Which of the following is most closely analogous to? Job Legh in Mary Barton, as that cha

24、racter is? described in the passage (A) An entomologist who collected butterflies as a? child? (B) A small-town attorney whose hobby is nature? photography (C) A young man who leaves his familys dairy? farm to start his own business? (D) A city dweller who raises exotic plants on the? roof of his ap

25、artment building? (E) A union organizer who works in a textile mill? under dangerous conditions? 20. It can be inferred from examples given in the last? paragraph of the passage that which of the following? was part of the new and crushing experience of? industrialism (lines 46-47) for many members

26、of? the English working class in the nineteenth century (A) Extortionate food prices? (B) Geographical displacement? (C) Hazardous working conditions? (D) Alienation from fellow workers? (E) Dissolution of family ties? 21. It can be inferred that the author of the passage? believes that Mary Barton

27、might have been an? even better novel if Gaskell had? (A) concentrated on the emotions of a single? character? (B) made no attempt to re-create experiences of? which she had no firsthand knowledge? (C) made no attempt to reproduce working-class? dialects? (D) grown up in an industrial city? (E) mana

28、ged to transcend her position as an outsider? 22. Which of the following phrases could best be? substituted for the phrase this aspect of Mary? Barton in line 29 without changing the meaning? of the passage as a whole (A) the material details in an urban working-class? environment? (B) the influence

29、 of Mary Barton on lawrences? early work (C) the place of Mary Barton in the development? of the English novel? (D) the extent of the poverty and physical? suffering among Englands industrial? workers in the 1840s. (E) the portrayal of the particular feelings and? responses of working-class characte

30、rs? 23. The author of the passage describes Mary Barton? as each of the following EXCEPT? (A) insightful? (B) meticulous? (C) vivid? (D) poignant? (E) lyrical? As of the late 1980s. neither theorists nor large- scale computer climate models could accurately predict? whether cloud systems would help

31、or hurt a warming? globe. Some studies suggested that a four percent? (5)increase in stratocumulus clouds over the ocean could? compensate for a doubling in atmospheric carbon diox- ide, preventing a potentially disastrous planetwide temp- erature increase. On the other hand, an increase in cirrus?

32、clouds could increase global warming. (10) That clouds represented the weakest element in cli- mate models was illustrated by a study of fourteen such? models. Comparing climate forecasts for a world with? double the current amount of carbon dioxide, researchers? found that the models agreed quite well if clouds were? (15)not included. But when clouds were incorporated, a wide? range of forecasts was produced. With such discrepancies plaguing the models, scientists could not easily predict? how quickly the worlds climate would change, nor could? they tell which regions would face dustier dr