【考研类试卷】考研英语266及答案解析.doc

1、考研英语 266及答案解析(总分：36.00，做题时间：180 分钟)一、Section Use of (总题数：1，分数：1.00)Many theies ccerning the causes of juvenile delinquency (crimes committed by young people) focus either the individual society as the maj ctributing influence. Theies -|_|- the individual suggest that children engage in criminal beha

2、vi -|_|-they were not sufficiently penalized f previous misdeeds that they have learned criminal behavi through -|_|-with others. Theies focusing the role of society suggest that children commit crimes in -|_|- to their failure to rise above their socioecomic status, -|_|- as a rejecti of middle-cla

3、ss values. Most theies of juvenile delinquency have focused children from disadvantaged families, -|_|- the fact that children from wealthy homes also commit crimes. The latter may commit crimes -|_|- lack of adequate parental ctrol. All theies, however, are tentative and are -|_|- to criticism. Cha

4、nges in the social structure may indirecfiy -|_|- juvenile crime rates. F example, changes in the ecomy that -|_|- to fewer job opptunities f youth and rising unemployment -|_|- make gainful employment increasingly difficult to obtain. The resulting disctent may in -|_|- lead me youths into criminal

5、 behavi. Families have also -|_|- changes these years. Me families csist of e-parent households two wking parents; -|_|- , children are likely to have less supervisi at home -|_|- was comm in the traditial family -|_|- This lack of parental supervisi is thought to be an influence juvenile crime rate

6、s. Other -|_|- causes of offensive acts include frustrati failure in school, the increased -|_|- of drugs and alcohol, and the growing -|_|- of child abuse and child neglect. All these cditis tend to increase the probability of a child committing a criminal act, -|_|- a direct causal relatiship has

7、not yet been established. （分数：1.00）二、Section Writing(总题数：1，分数：1.00)2. Study the following cartoon carefully and write an essay in which you should 1) describe the cartoon, 2) interpret its meaning and 3) suggest possible courses to take. You should write about 160-200 words neatly on ANSWER SHEET 2.

8、 (20 points) Study the following cartoon carefully and write an essay in which you should 1) describe the cartoon, 2) interpret its meaning and 3) suggest possible courses to take. You should write about 160-200 words neatly on ANSWER SHEET 2. (20 points)* （分数：1.00）_三、Section Reading(总题数：4，分数：4.00)A

9、mong the many other things it is, a portrait is always a record of the personal and artistic encounter that produced it. It is possible for artists to produce portraits of individuals who have not sat for them, but the portrait that finally emerges normally betrays the restrictions under which the a

10、rtist has been forced to labor. Even when an artists portrait is simply a copy of someone elses work-as in the many portraits of Queen Elizabeth I that were produced during her lifetime-the never-changing features of a ruler who refused to sit for her court painters reflect not only the supposed pow

11、ers of an ever-youthful queen but the remoteness of those attempting to depict her as well. Portraits are “occasional“ not only in the sense that they are closely tied to particular events in the lives of their subjects but in the sense that there is usually an occasion-however brief, uncomfortable,

12、 artificial, or unsatisfactory it may prove to be-in which the artist and subject directly confront each other;and thus the encounter a portrait records is most really the sitting itself. The sitting may be brief or extended, collegial or confrontational. Cartier-Bresson has expressed his passion fo

13、r portrait photography by characterizing it as “a duel without rules“. While Cartier-Bresson reveals himself as an interloper and opportunist, Richard Avedon confesses to a role as diagnostician and psychic healer: not as someone who necessarily transforms his subjects, but as someone who reveals th

14、eir essential nature. Both photographers appear to agree on one basis, however, which is that the fundamental dynamic in this process lies squarely in the hands of the artist. A quite-different example has its roots not in confrontation or consultation but in active collaboration between the artist

15、and sitter. This very different kind of relationship was formulated most vividly by William Hazlitt in his essay entitled “On Sitting for Ones Picture“. To Hazlitt, the “bond of connection“ between painter and sitter is most like the relationship between two lovers: “They are always thinking and tal

16、king of the same thing, in which their self love finds an equal counterpart.“ Hazlitt flashes out his thesis by recounting particular episodes from the career of Sir Joshua Reynolds. According to Hazlitt, Reynolds sitters, accompanied by their friends, were meant to enjoy an atmosphere that was both

17、 comfortable for them and conductive to the enterprise of the portrait painter, who was simultaneously their host and their contractual employee. In the case of artists like Reynolds, no fundamental difference exists between the artists studio and all those other rooms in which the sitters spin out

18、the days of their lives. The act of entering Reynolds studio did not necessarily transform those who sat for him. Collaboration in portraiture such as Reynolds is based on the sitters comfort and security as well as on his or her desire to experiment with something new, and it is in this “creation o

19、f another self“, as Hazlitt put it, that the painters subjects may properly see themselves for the first time. （分数：1.00）(1). In referring to Queen Elizabeth I as “ever-youthful“, the author implies that（分数：0.20）A.she instructed court painters to portray her younger than she actually was.B.all her po

20、rtraits available for copying were painted when she was young.C.she intended her portrait to be painted young to reflect her ruling powers.D.artists purposely made her portraits appear younger than her actual age.(2).The author quotes Cartier-Bresson in order to（分数：0.20）A.refute Avedons conception a

21、bout a portrait sitting.B.provide one perspective of the portraiture encounter.C.exemplify time restriction of the sitting for portraiture.D.support the thesis on the uncertainty of a collegial sitting(3).It would be most consistent with the text to infer that Reynolds（分数：0.20）A.may have provided a

22、transforming experience for some sitters.B.must have worked primarily with experienced portrait subjects.C.might have frequently painted portraits at his subjects homes.D.could have been alone with his sitters while portraying them.(4).Which of the following best characterizes the portraiture experi

23、ence as viewed by Avedon?（分数：0.20）A.A collaboration.B.A mutual accommodation.C.A consultation.D.A comfortable encounter.(5).A portrait artist operating under the Reynolds example would probably disagree that（分数：0.20）A.a portrait sitting often changes the way the sitter views himself/herself.B.portra

24、iture helps both artist and subject to display their vanity.C.a portrait sitting may frequently heighten the sitters self-knowledge.D.portraiture depends more on the subjects initiative than on the artists.Science-fiction movies can serve as myths about the future and thus give some assurance about

25、it. Whether the film is 2001 or Star Wars, such movies tell about progress that will expand mans powers and his experiences beyond anything now believed possible, while they assure us that all these advances will not wipe out man or life as we now know it. Thus one great anxiety about the future-tha

26、t it will have no place for us as we now are-is alleviated by such myths. They also promise that even in the most distant future, and despite the progress that will have occurred in the material world, mans basic concerns will be the same, and the struggle of good against evil-the central moral prob

27、lem of our time-will not have lost its importance. Past and future are the lasting dimensions of our lives: the present is but a brief moment. So these visions about the future also contain our past; in Star Wars, battles are fought around issues that also motivated man in the past. Thus, any vision

28、 about the future is really based on visions of the past, because that is all we can know for certain. As our religious myths about the future never went beyond Judgment Day, so our modern myths about the future cannot go beyond the search for lifes deeper meaning. The reason is that only as long as

29、 the choice between good and evil remains mans supreme moral problem does life retain that special dignity that derives from our ability to choose between the two. A world in which this conflict has been permanently resolved eliminates man as we know him. It might be a universe peopled by angels, bu

30、t it has no place for man. The moving picture is a visual art, based on sight. Speaking to our vision, it ought to provide us with the visions enabling us to live the good life; it ought to give us insight into ourselves. About a hundred years ago, Tolstoy wrote,“ Art is a human activity having for

31、its purpose the transmission to others of the highest and best feelings to which men have risen.“ Later, Robert Frost defined poetry as “beginning in delight and ending in wisdom.“ Thus it might be said that the state of the art of the moving image can be assessed by the degree to which it meets the

32、 mythopoetic task of giving us myths suitable to live by in our time-visions that transmit to us the highest and best feelings to which men have risen-and by how well the moving images give us that delight which leads to wisdom. Let us hope that the art of the moving image, this most genuine America

33、n art, will soon meet the challenge of becoming truly the great art of our age. （分数：1.00）(1).In the authors view, science-fiction movies（分数：0.20）A.assure us of the scientific miracles created.B.predict likely advances in human experiences.C.offer invented stories concerning mans fate.D.signify human

34、 powers to a fantastic extent.(2).In science-fiction movies, man can find（分数：0.20）A.fantasies that may relieve his anxiety for future existence.B.forecasts that his domination will be extended indefinitely.C.promises that his swelling demands will be fully satisfied.D.assurances that confirm the imp

35、ortance of moral principles.(3). The quotes from Tolstoy are used to（分数：0.20）A.reinforce the authors account about visual art.B.provide fresh points about the moving picture.C.define the basic characteristics of art activities.D.describe the requirements for the art transmission.(4). The movies such

36、 as Star Wars（分数：0.20）A.fail to reflect contemporary problems for their transience.B.fail to free their subjects from issues of mans concerns.C.succeed in depicting magic scenes irrelevant to the past.D.succeed in offering imaginary visions irrespective of reality(5).The theme of modern myths could

37、be drastically changed（分数：0.20）A.only if the struggle for good life were fully discarded.B.if only the conflict between good and evil had ceased.C.on condition that man as he is now became extinct.D.provided that average people were converted to angels.Since the dawn of human ingenuity, people have

38、devised ever more cunning tools to cope with work that is dangerous, boring, burdensome, or just plain nasty. That compulsion has resulted in roboticsthe science of conferring various human capabilities on machines. And if scientists have yet to create the mechanical version of science fiction, they

39、 have begun to come close. As a result, the modem world is increasingly populated by intelligent gizmos whose presence we barely notice but whose universal existence has removed much human labor. Our factories hum to the rhythm of robot assembly arms. Our banking is done at automated teller terminal

40、s that thank us with mechanical politeness for the transaction. Our subway trains are controlled by tireless robot-drivers. And thanks to the continual miniaturization of electronics and micro-mechanics, there are already robot systems that can perform some kinds of brain and bone surgery with submi

41、llimeter accuracyfar greater precision than highly skilled physicians can achieve with their hands alone. But if robots are to reach the next stage of laborsaving utility, they will have to operate with less human supervision and be able to make at least a few decisions for themselvesgoals that pose

42、 a real challenge. “While we know how to tell a robot to handle a specific error,“ says Dave Lavery, manager of a robotics program at NASA, “we can t yet give a robot enough common sense to reliably interact with a dynamic world.“ Indeed the quest for true artificial intelligence has produced very m

43、ixed results. Despite a spell of initial optimism in the 1960s and 1970s when it appeared that transistor circuits and microprocessors might be able to copy the action of the human brain by the year 2010, researchers lately have begun to extend that forecast by decades if not centuries. What they fo

44、und, in attempting to model thought, is that the human brain s roughly one hundred billion nerve cells are much more talentedand human perception far more complicatedthan previously imagined. They have built robots that can recognize the error of a machine panel by a fraction of a millimeter in a co

45、ntrolled factory environment. But the human mind can glimpse a rapidly changing scene and immediately disregard the 98 percent that is irrelevant, instantaneously focusing on the monkey at the side of a winding forest road or the single suspicious face in a big crowd. The most advanced computer syst

46、ems on Earth can t approach that kind of ability, and neuroscientists still dont know quite how we do it. （分数：1.00）(1). Since the dawn of human ingenuity, people have devised ever more cunning tools to cope with work that is dangerous, boring, burdensome, or just plain nasty. That compulsion has res

47、ulted in roboticsthe science of conferring various human capabilities on machines. And if scientists have yet to create the mechanical version of science fiction, they have begun to come close. As a result, the modem world is increasingly populated by intelligent gizmos whose presence we barely noti

48、ce but whose universal existence has removed much human labor. Our factories hum to the rhythm of robot assembly arms. Our banking is done at automated teller terminals that thank us with mechanical politeness for the transaction. Our subway trains are controlled by tireless robot-drivers. And thanks to the continual miniaturization of electronics and micro-mechanics, there are already robot systems that can perform