[外语类试卷]2007年中国传媒大学考博英语真题试卷及答案与解析.doc

1、2007年中国传媒大学考博英语真题试卷及答案与解析 一、 Reading Comprehension 0 How is communication actually achieved? It depends, of course, either on a common language or on known conventions, or at least on the beginnings of these. If the common language and the conventions exist, the contributor, for example, the creativ

2、e artist, me performer, or the reporter, tries to use them as well as he can. But often, especially with original artists and thinkers, the problem is in one way that of creating a language, or creating a convention, or at least of developing the language and conventions to the point where they are

3、capable of bearing his precise meaning. In literature, in music, in the visual arts, in the sciences, in social thinking, in philosophy, this kind of development has occurred again and again. It often takes a long time to get through, and for many people it will remain difficult But we need never th

4、ink that it is impossible; creative energy is much more powerful than we sometimes suppose. While a man is engaged in this struggle to say new things in new ways, he is usually more than ever concentrated on the actual work, and not on its possible audience. Many artists and scientists share this fu

5、ndamental unconcern about the ways in which their work will be received. They may be glad if it is understood and appreciated, hurt if it is not, but while the work is being done there can be no argument. The thing has to come out as the man himself sees it In this sense it is true that it is the du

6、ty of society to create conditions in which such men can live. For whatever the value of any individual contribution, the general body of work is of immense value to everyone. But of course things are not so formal, in reality. There is not society on the one hand and these individuals on the other.

7、 In ordinary living, and in his work, the contributor shares in the life of his society which often affects him both in minor ways and in ways sometimes so deep that he is not even aware of them. His ability to make his work public depends on the actual communication system; the language itself, or

8、certain visual or musical or scientific conventions, and the institutions through which the communication will be passed. The effect of these on his actual work can be almost infinitely variable. For it is not only a communication system outside him; it is also, however original he may be, a communi

9、cation system which is in fact part of himself. Many contributors make active use of this kind of internal communication system. It is to themselves, in a way, that they first show their conceptions, play their music, present their arguments. Not only as a way of getting these clear, in the process

10、of almost endless testing that active composition involves. But also , whether consciously or not, as a way of putting the experience into a communicable form. If one mind has grasped it, then it may be open to other minds. In this deep sense, the society is in some ways already present in the act o

11、f composition. This is always very difficult to understand, but often, when we have the advantage of looking back at a period, we can see, even if we cannot explain, how this was so. We can see how much even highly original individuals had in common, in their actual work, and in what is called their

12、 “structure of feeling“ , with other individual workers of the time, and with the society of that time to which they belonged. The historian is also continually struck by the fact that men of this kind felt isolated at the very time when in reality they were beginning to get through. This can also b

13、e noticed in our own time, when some of the most deeply influential men feel isolated and even rejected. The society and the communication are there, but it is difficult to recognize them, difficult to be sure. 1 Creative artists and thinkers achieve communication by_. （ A） depending on shared conve

14、ntions （ B） fashioning their own conventions （ C） adjusting their personal feelings （ D） elaborating a common language 2 A common characteristic of artists and scientists involved in creative work is that_. （ A） they care about the possible reaction to their work （ B） public response is one of the p

15、rimary conceits （ C） they are keenly aware of public interest in their work （ D） they are indifferent toward response to their work 3 According to the passage, which of the following statements is INCORRECT? （ A） Individual contributions combined possess great significance to the public. （ B） Good c

16、ontributors dont neglect the use of internal communication system. （ C） Everyone except those original people comes under the influence of society. （ D） Knowing how to communicate is universal among human beings. 4 It is implied at the end of the passage that highly original individuals feel isolate

17、d because they_. （ A） fail to acknowledge and use an acceptable form of communication （ B） actually differ from other individuals in the same period （ C） have little in common with the society of the time （ D） refuse to admit parallels between themselves and the society 4 “Museum“ is a slippery word

18、. It first meant (in Greek) anything consecrated to the Muses: a hill, a shrine, a garden, a festival or even a textbook. Both Platos Academy and Aristotles Lyceum had a mouseion, a muses shrine. Although the Greeks already collected detached works of art, many temples notably that of Hera at Olympi

19、a (before which the Olympic flame is still lit) had collections of objects, some of which were works of art by well known masters, while paintings and sculptures in the Alexandrian Museum were incidental to its main purpose. The Romans also collected and exhibited art from disbanded temples, as well

20、 as mineral specimens, exotic plants, animals; and they plundered sculptures and paintings (mostly Greek) for exhibition. Meanwhile, the Greek word had slipped into Latin by transliteration (though not to signify picture galleries, which were called pinacothecae) and museum still more or less meant

21、“Muses shrine“. The inspirational collections of precious and semi-precious objects were kept in larger churches and monasteries which focused on the gold-enshrined, bejeweled relics of saints and martyrs. Princes, and later merchants, had similar collections, which became the deposits of natural cu

22、riosities: large lumps of amber or coral, irregular pearls, unicorn horns, ostrich eggs, fossil bones and so on. They also included coins and gems often antique engraved ones as well as, increasingly, paintings and sculptures. As they multiplied and expanded, to supplement them, the skill of the fak

23、ers grew increasingly refined. At the same time, visitors could admire the very grandest paintings and sculptures in the churches, palaces and castles; they were not“ collected “either, but “site-specific“ , and were considered an integral part beth of the fabric of the buildings and of the way of l

24、ife which went on inside them and most of the buildings were public ones. However, during the revival of antiquity in the fifteenth century .fragments of antique sculpture were given higher status than the work of any contemporary, so that displays of antiquities would inspire artists to imitation,

25、or even better, to emulation. And so could be considered Muses shrines in the former sense. The Medici garden near San Marco in Florence, the Belvedere and the Capitol in Rome were the most famous of such early“ inspirational“ collections. Soon they multiplied, and, gradually, exemplary “modern“ wor

26、ks were also added to such galleries. In the seventeenth century, scientific and prestige collecting became so widespread that three or four collectors independently published directories to museums all over the known world. But it was the age of revolutions and industry which produced the next shar

27、p shift in the way the institution was perceived; the fury against royal and church monuments prompted antiquarians to shelter them in asylum-galleries, of which the Muses des Monuments Francais was the most famous. Then, in the first half of the nineteenth century .museum funding took off .allied t

28、o the rise of flew wealth: London acquired the National Gallery and the British Museum, the Louvre was organized, the Museum-Insel was begun in Berlin, and the Munich galleries were built In Vienna, the huge Kunsthistorisches and Naturhistorisches Museums took over much of the imperial treasure. Mea

29、nwhile, the decline of craftsmanship (and of public taste with it) inspired the creation of “improving “collections. The Victoria and Albert Museum in London was the most famous, as well as perhaps the largest of them. 5 The sentence“ Museum is a slippery word“ in the first paragraph means that_. （

30、A） the meaning of the word didnt change until after the 15th century （ B） the meaning of the word had changed over the years （ C） the Greeks held different concepts from the Romans （ D） princes and merchants added paintings to their collections 6 The idea that museum could mean a mountain or an obje

31、ct originates from_. （ A） the Romans （ B） Florence （ C） Olympia （ D） Greek 7 “the skill of the fakers grew increasingly refined“ in the third paragraph mean s that_. （ A） there was a great demand for fakers （ B） fakers grew rapidly in number （ C） fakers became more skillful （ D） fakers became more p

32、olite 8 Painting and sculptures on display in churches in the 15th century were_. （ A） collected from elsewhere. （ B） made part of the buildings. （ C） donated by people. （ D） bought by churches. 9 Modem museums came into existence in order to_. （ A） protect royal and church treasures （ B） improve ex

33、isting collections （ C） stimulate public interest （ D） raise more funds 10 Which is the main idea of the passage? （ A） Collection and collectors. （ B） The evolution of museums. （ C） Modem museums and their functions. （ D） The birth of museums. 10 The ideal companion machine the computer would not on

34、ly look, feel, and sound friendly but would also be programmed to behave in a pleasant manner. Those qualities that make interaction with other people enjoyable would be imitated as closely as possible, and the machine would appear to be charming, and easygoing. Its informal conversational style wou

35、ld make interaction comfortable, and yet the machine would remain slightly unpredictable and therefore interesting. In its first encounter it might be somewhat hesitant, but as it came to know the user it would progress to a more relaxed and intimate style. The machine would not be a passive partici

36、pant but would add its own suggestions, information, and opinions; it would sometimes take the initiative in developing or changing the topic and would have a personality of its own. Friendships are not made in a day, and the computer would be more acceptable as a friend if it imitated the gradual c

37、hanges that occur when one person is getting to know another. At an appropriate time it might also express the kind of affection that stimulates attachment and intimacy. The whole process would be accomplished in a subtle way to avoid giving an impression of over-familiarity that would be likely to

38、produce irritation. After experiencing a wealth of powerful, well-timed friendship indicators, the user Would be very likely to accept the computer as far more than a machine and might well come to regard it as a friend. An artificial relationship of this type would provide many of the benefits that

39、 people obtain from interpersonal friendships. The machine would participate in interesting conversation that could continue from previous discussions. It would have a familiarity with the users life as revealed in earlier contact, and it would be understanding and good-humored. The computers own pe

40、rsonality would be lively and impressive, and it would develop in response to that of the user. With features such as these, the machine might indeed become a very attractive social partner. 11 Which of the following is NOT a feature of the ideal companion machine? （ A） Active in communication. （ B）

41、 Attractive in personality. （ C） Enjoyable in performance. （ D） Unpredictable in behavior. 12 The computer would develop friendships with humans in a(n)_way. （ A） quick （ B） unpredictable （ C） productive （ D） inconspicuous 13 Which of the following aspects is NOT mentioned when the passage discusses

42、 the benefits of artificial relationships? （ A） Being able to pick up an interesting conversation. （ B） Being sensitive to earlier contact （ C） Being ready to learn about the persons life （ D） Having a pleasant and adaptable personality. 14 Throughout the passage, the author is_in his attitude towar

43、d the computer. （ A） favorable （ B） critical （ C） vague （ D） hesitant 15 Which might be the most appropriate title of the passage? （ A） Artificial relationships. （ B） How to form intimate relationships. （ C） The affectionate machine. （ D） Humans and computers. 15 In the case of mobile phones, change

44、 is everything. Recent research indicates that the mobile phone is changing not only our culture, but our very bodies as well. First lets talk about culture. The difference between the mobile phone and its parent, the fixed-line phone, is that a mobile number corresponds to a person, while a landlin

45、e goes to a place. If you call my mobile, you get me. If you call my fixed-line phone, you get whoever answers it This has several implications. The most common one, however, and perhaps the thing that has changed our culture forever, is the “meeting“ influence. People no longer need to make firm pl

46、ans about when and where to meet Twenty years ago, a Friday night would need to be arranged in advance. You needed enough time to allow everyone to get from their place of work to the first meeting place. Now, however, a night out can be arranged on the run. It is no longer “see you there at 8“. But

47、 “text me around 8 and well see where we all are“. Texting changes people as well In their paper, “insights into the Social and Psychological Effects of SMS Text Messaging“, two British researchers distinguished between two types of mobile phone users: the “talkers“ and the “texters“-those who prefe

48、r voice to text message and those who prefer text to voice. They found that the mobile phones individuality and privacy gave texters the ability to express a whole new outer personality. Texters were likely to report that their family would be surprised if they were to read their texts. This suggest

49、s that texting allowed texters to present a self-image that differed from the one familiar to those who knew them well. Another scientist wrote of the changes that mobiles have brought to body language. There are two kinds that people use while speaking on the phone. There is the “speakeasy“ :the head is held high, in a self-confident way, chatting away. And there is the “ spacemaker“ : these people focus on themselves and keep out other people. Who can blame them? Phone meetings get cancelled or reformed and camer