[外语类试卷]GRE（VERBAL）模拟试卷24及答案与解析.doc

1、GRE（ VERBAL）模拟试卷 24及答案与解析 SECTION 1 Directions: Each sentence below has one or two blanks, each blank indicating that something has been omitted. Beneath the sentence are five lettered or sets of words. Choose the word or set of words for each blank that best fits the meaning of the sentence as a wh

2、ole. 1 The two reputable hydrogeologists drafted some highly optimistic projections-with the_that these were speculative and should of course be tested. （ A） caveat （ B） analysis （ C） hypothesis （ D） precis （ E） imprimatur 2 If a particular vaccine is produced only by one company at a single facilit

3、y, there is a possibility that the supply of vaccine could grow_if the company decides to cease production. （ A） useless （ B） inexpensive （ C） abstruse （ D） repugnant （ E） scarce 3 It can not be denied that the existing resources on earth will be depleted, but scientists are_to concede the inevitabi

4、lity of that day,_that new energies can be found in the near future. （ A） bound assuming （ B） unprepared skeptical （ C） hesitant convinced （ D） likely realizing （ E） eager hypothesizing 4 Scientists have_for years that turbulence within the gaseous clouds found throughout the Milky Way stymies star

5、formation, but some of the forces behind this disturbance remain_. （ A） doubted insufferable （ B） posited unknown （ C） argued relative （ D） assumed exoteric （ E） conveyed insuperable 5 The vireos comeback may prove that habitat along streams in Southern California is recovering from the effects of p

6、ollution, _indicator of environmental health in a state that has lost most of its_woodlands. （ A） a leading superfluous （ B） an apocryphal ecological （ C） a partial surfeit （ D） a telling riparian （ E） an anecdotal arboreal 6 His specialty is bringing to the forefront the strange and_acts of depravi

7、ty that only the impassive and imperturbable subconscious is_to grasp and reckon with. （ A） withering surprised （ B） orthodox avid （ C） silly unqualified （ D） unseemly reluctant （ E） macabre suited 7 Even though avant-garde attacks on the Victorian bourgeoisie were_in rhetoric, deficient in evidence

8、, and malicious in intent, it does not follow that they had no_grounds. （ A） infantile cogent （ B） florid objective （ C） steeped justificatory （ D） spare intrinsic （ E） judicious realistic SECTION 2 Directions: In each of the following questions, a related pair of words or phrases is followed by fiv

9、e lettered pairs of words or phrases. Select the lettered pair that best expresses a relationship similar to that expressed in the original pair. 8 PSEUDONYM: NAME : （ A） falsification: prevarication （ B） maneuver : benefit （ C） disguise : identity （ D） ornamentation : exterior （ E） facsimile : asse

10、t 9 FISH : SCALES: （ A） limb : skin （ B） foot : toe （ C） vertebrate : backbone （ D） insect: exoskeleton （ E） branch : stem 10 ENDORSE: APPROVAL: （ A） insult: suffering （ B） commence : journey （ C） contribute : revenue （ D） transmit : wave （ E） enchant : magic 11 RECLUSE: PRIVACY : （ A） puritan : tol

11、erance （ B） stickler : adherence （ C） stoic : solemnity （ D） utopian : conceit （ E） philanthropist : arrogance 12 BIGOT : INTOLERANT : （ A） braggart : humble （ B） dupe : compliant （ C） liar : dishonest （ D） benefactor: selfish （ E） lumber: inflammable 13 CAPITAL : INVEST : （ A） athlete : compete （ B

12、） salary : tax （ C） stake : gamble （ D） production : invent （ E） role : act 14 DIAPHANOUS : LIGHT : （ A） visible : sight （ B） unbreakable : glass （ C） porous: liquid （ D） slippery : glue （ E） reflective: hamper 15 PHLEGMATIC : PERTURB: （ A） ineffable: ignore （ B） greedy : goad （ C） invincible : subd

13、ue （ D） peaceful : mollify （ E） bewildered: illuminate 16 SUPPLICANT: HUMILITY: （ A） savant: doctrine （ B） criminal : arson （ C） coward : cravenness （ D） schoolmate : sociability （ E） expert : amateurism SECTION 3 Directions: Each passage in this group is followed by questions based on its content.

14、After reading a passage, choose the best answer to each question. Answer all questions following a passage on the basis of what is stated or implied in the passage. 16 Through the very symbolism of popular culture that molded, defined and contained women in their role as the subservient half of soci

15、ety, the artist Alexis Hunter used the techniques of advertising to subvert and question these Line hitherto accepted norms. Full of irony and piquant wit, her art centered on (5) subverting the male-dominated atmosphere now all but vanished in the visual arts-a fact evidenced by the current promine

16、nce of fellow feminist Judy Chicago-and critics rejected this early work for fear of its inner suppressed violence. In the early 1980s Hunter withdrew, like many of her contemporaries, from such an overtly political forum, partly due to doubts about (10) the efficacy of didactic political art to exe

17、cute change outside the liberal chattering classes, and partly because of her awakening interest in psychology and psychoanalysis and the desire for greater self-expression. In a decade where it seemed possible to begin to take for granted certain social freedoms for women, it became more important

18、to examine deeper, more irrational fears. In (15) abandoning the project of defining womens identities for male audiences, the aim of new feminist art suddenly became the production of a concept of women that women themselves might consume. 17 According to the passage, feminist art-production in the

19、 1980s was typified by which of the following? （ A） an open liberality toward social freedoms （ B） a rejection of openly political art （ C） a male-dominated perspective （ D） less effective didactic art （ E） more irrational fears than in art of previous decades 18 If Hunters artistic work were to ret

20、urn to its earlier political forum, assessments of it would be likely to contain which of the following? （ A） An evaluation that accords high status to her work （ B） Acknowledgement of her political acumen but dismissal of her subject matter as contentious （ C） Agreements with assessments made prior

21、 to the 1980s but acknowledgments of the evolution in her art work （ D） Placement of her among the foremost artists of the pre-1980s （ E） A reclassification of her work as psychoanalytical rather than political 19 It can be inferred from the passage that an example of Hunters pre-1980s artwork would

22、 most likely be which of the following? （ A） A painting of a mob of women rioting （ B） A performance with a woman working in a kitchen （ C） A mock commercial questioning womens right to workplace equality （ D） A sculpture meant to represent the artists subconscious forces （ E） A political manifesto

23、demanding greater rights for women 20 The argument of the passage best supports which of the following contentions concerning political art? （ A） It has been considered to be more effective in producing change among certain political classes than among others. （ B） Aesthetic judgments of artists are

24、 often positively reinforced by the political views of their critics. （ C） Judgments of the value of an artists work made by his or her critics must be discounted before a true judgment can be made. （ D） In order to be highly regarded, an artist cannot be solely identified with one particular degree

25、 of political consciousness in her artwork. （ E） Flexibility is the most valuable quality a political artist can have in maintaining the longevity of her career. 20 According to Aristotle, the subjects of tragic drama were rightly drawn from ancient mythology, a source considered invariably reliable

26、, for it was believed that if man had invented such strange incidents, they would have Line appeared impossible. Furthermore, the chief characters of a tragic action should (5) be persons of consequence, of exalted station, according to Aristotle, and the leading personage should not be a man charac

27、terized by great virtue or great vice, but of a mixed nature, a proclivity for errors and weaknesses that lead him into misfortune. Such a mixture of good and evil makes the protagonist seem like ourselves, thus more quickly arousing the spectators sympathy, saturating (10) him with feelings of comp

28、assion, driving out his petty personal emotions, and thus “purging“ the soul through pity and terror. The crimes suitable for tragic treatment may be committed either in ignorance, or intentionally, and are commonly against friends or relatives, though crimes committed intentionally are generally th

29、e more dramatic and impressive-this in spite of the fact that (15) the central crime in Oedipus the King was committed in ignorance. As to style, a certain archaic quality of diction is needful to the dignity of tragedy. Another of the most famous of the Aristotelian rules were those relating to the

30、 so-called unities-of time, place, and action. The unity of time limits the supposed action to the duration of a single day, unity of place limits it to one (20) general locality; and unity of action limits the play to a single set of incidents related as cause and effect, “having a beginning, a mid

31、dle, and an end.“ Concerning the unity of time, Aristotle noted that all the plays since Aeschylus, except two, did illustrate such unity, but he did not lay down such a precept as obligatory. Perhaps tacitly he assumed that the observance of the unity of place (25) would be the practice of good pla

32、ywrights, since the chorus was present during the whole performance, and it would indeed be awkward always to devise an excuse for moving fifteen persons about from place to place.0 A third unity, that of action, is bound up with the nature not only of Greek but of all drama, for Aristotle conceived

33、 the action, or plot, of a play as of far (30) greater importance than the characters. This conception he gained from the plays of the fifth century generally centered around a personified passion rather than around a character. Second in importance was characterization, and third were the sentiment

34、s aroused by the action, for Aristotle insisted very clearly that in tragedy the plot does not rise out of the characters, but that the plot (35) tests the characters through the working-out of destiny, or “blind fate“. The main duty of the dramatist, therefore, was to first organize the action, the

35、n display the moral character of people suffering the blows of fate. 21 The primary purpose of the passage is to （ A） compare a philosophers system of dramatic principles with that of the authors （ B） enumerate one philosophers view of the principles underlying good drama （ C） analyze the similariti

36、es and dissimilarities between the various dramatic principles at work in Greek drama （ D） contrast one philosophers dramatic principles with those of the tradition that preceded him （ E） demonstrate the wisdom and longevity in one philosophers dramatic principles 22 According to the passage, Aristo

37、tle argued for the use of morally fallible characters in drama in order that （ A） Characters would be perceived as flawed but sympathetic （ B） Characters would be viewed as dignified by their burdens （ C） Characters would be presented as heroic and powerful （ D） Characters would be depicted as doome

38、d and powerless （ E） Characters would be seen as ignorant and victimized 23 The author refers to the example of Oedipus the King (line 15) most likely in order to （ A） suggest that Aristotle did not consider Greek tragedy which involved accidental crimes to be truly sound in dramatic terms （ B） argu

39、e that exceptions existed in Greek tragedy to Aristotles principle that intentional crimes were more impressive （ C） suggest that protagonists who committed accidental crimes in Greek tragedies tended to be better received than intentional criminals （ D） to suggest that the spectator of a tragedy fe

40、aturing an accidental crime would himself feel pity and terror （ E） illustrate an application of Aristotles theory of character to a specific dramatic example 24 According to the passage, which of the following is necessary to maintaining the proper atmosphere in a tragedy? （ A） A virtuous protagoni

41、st （ B） Unity of time （ C） Personified passion （ D） Archaic diction （ E） A display of moral character 25 The author suggests that Aristotle believed which of the following was true of the dramatic art that existed prior to Aeschylus? （ A） It was unusually resourceful in finding ways to extend the un

42、ity of time beyond a single day. （ B） It was less elegant than later drama because its disregard for unity of place necessitates the movement of the chorus. （ C） It tended to demonstrate better unity of time than of character and action. （ D） It did not employ a beginning middle or end, and this fel

43、l outside the acceptable range of dramatic principles. （ E） It tended to overemphasize the use of cause and effect, instead of the continuity of time, in organizing its action. 26 Which of the following best describes the relationship of the first paragraph of the passage to the passage as a whole?

44、（ A） It provides a group of specific examples from which generalizations concerning the nature of drama are drawn later in the passage. （ B） It explains principles concerning one aspect of tragedy, which are followed later by principles for other aspects. （ C） It defines terms of dramatic principles

45、 that are more thoroughly explained later in the passage. （ D） It briefly compares and contrasts the principles of drama that are examined in detail later in the passage. （ E） It explains a method of judging a work of drama, a method that is used later in the passage. 27 It can be inferred that the

46、author would likely believe which of the following concerning modern action films, where character is commonly subordinated to plot? （ A） Such a film would be a clumsy misinterpretation of uniquely Greek dramatic principles in action. （ B） Such a film would be a skillful adaptation of uniquely Greek

47、 dramatic principles. （ C） Such a film would be an interesting but limited example of a general dramatic principle in action. （ D） Such a film would be a clever and revealing example of a general dramatic principle in action. （ E） Such a film would illustrate the differences between uniquely Greek a

48、nd general dramatic principles. SECTION 4 Directions: Each question below consists of a word printed in capital letters followed by five lettered words or phrases. Choose the lettered word or phrase that is most nearly opposite in meaning to the word in capital letters. Since some of the questions r

49、equire you to distinguish fine shades of meaning, be sure to consider all the choices before deciding which one is best. 28 OCCULT: （ A） inoffensive （ B） casual （ C） insincere （ D） slowly advanced （ E） easily comprehensible 29 TACIT: （ A） resolute （ B） express （ C） illegitimate （ D） compulsory （ E） detached 30 CHICANERY: （ A） sensible venture （ B） outmoded article （ C） without deceit （ D） complex arrangement （ E） forthright advice 31