1、2012 年北京航空航天大学翻译硕士英语真题试卷及答案解析(总分：98.00，做题时间：90 分钟)一、Vocabulary(总题数：29，分数：58.00)1.The doctor_a medicine for my headache.（分数：2.00）A.subscribedB.describedC.prescribedD.inscribed2.This song_his life“s dream and ardent love of life.（分数：2.00）A.incorporatedB.initiatedC.exposedD.embodied3.It is said that th
2、e reconstruction of the Grand Theatre is a_project of Shanghai government this year.（分数：2.00）A.prestigeB.superiorityC.priorityD.publicity4.Such a toy with musical sounds and animal noises will_any young child.（分数：2.00）A.dismayB.astonishC.fascinateD.perplex5.After reading_of books by great authors fo
3、r some time, the boy decided to go on to read the originals.（分数：2.00）A.themesB.insightsC.digestsD.leaflets6.In the poem, he depicted the happy_of girls playing on a swing in early spring.（分数：2.00）A.perspectiveB.viewC.landscapeD.scene7.She_all criticism and went on with her project.（分数：2.00）A.warded
4、offB.shrugged offC.gave awayD.set aside8.The teacher_from her custom and gave no assignments for the weekend.（分数：2.00）A.deviatedB.disconnectedC.detachedD.distorted9.The little chair_when the fat man sat down on it without thinking.（分数：2.00）A.crushedB.collapsedC.crumpledD.yielded10.Her chief_was her
5、not packing a raincoat for her trip to Yunnan last July.（分数：2.00）A.drawbackB.handicapC.bruiseD.blunder11.It advocated by the book that a man, no matter how_ his origin may be, can be successful with unremitting efforts and strong will.（分数：2.00）A.inferiorB.awkwardC.minorD.humble12.Eric was_at being t
6、old he would have to wait two weeks for an appointment.（分数：2.00）A.integratedB.irreverentC.irresistibleD.indignant13.It took them four hours to decide that this vicious, _killer should die.（分数：2.00）A.remorselessB.raspingC.restiveD.relevant14.Always protect_files by locking them with a password.（分数：2.
7、00）A.complimentaryB.confidentialC.compulsiveD.commonsense15.Any store that has had its license _for more than 30 days will have to apply for a permit.（分数：2.00）A.slumpedB.strainedC.squintedD.suspended16.We“ve_salt. Ask Mrs. Jones to lend us some.（分数：2.00）A.run away withB.run overC.run offD.run out of
8、17.He was always ill for a time, but he managed to_.（分数：2.00）A.pull onB.pull inC.pull upD.pull through18.The actors have to _before they appear in front of the strong lights on television.（分数：2.00）A.cover upB.make upC.paint upD.do up19.They have left New York_good; they“ll never go back and live the
9、re again.（分数：2.00）A.forB.atC.byD.in20.Would you please_these books to your classmates?（分数：2.00）A.hand outB.hand downC.hand inD.hand over21.No agreement was reached in the discussion as neither side would give way to_.（分数：2.00）A.the otherB.any otherC.anotherD.other22.I regret_you that your applicatio
10、n has been refused.（分数：2.00）A.informingB.to informC.to be informedD.being informed23.Do you feel like_to a film or would you rather_at home?（分数：2.00）A.going. stayB.to go. stayC.going. stayingD.going. to stay24.“Has he gained weight?“ “He would gain weight, but he_much. “（分数：2.00）A.does not eatB.did
11、not eatC.hadn“t eatenD.couldn“t eat25.His use of technical terms left his audience_.（分数：2.00）A.confusingB.with confusionC.confusedD.to confusion26.While we are young, we are continually_new ideas, altering our thought patterns,making up our minds afresh.（分数：2.00）A.taking toB.taking onC.taking inD.ta
12、king out27.There has been a growing concern_pollution. But those who concern themselves_this problem need government support.（分数：2.00）A.for, aboutB.over, withC.about, forD.on, to28.You hear me_! This is important. Don“t treat it_a joke.（分数：2.00）A.of, asB.from, likeC.out, asD.about, like29.They are a
13、n odd couple. She is as tall_he is short, and he is as fat_she is thin. But they are both_happy as they are old.（分数：2.00）A.as, as, soB.while, while, asC.and, and, asD.as, as, as二、Reading Comprehensio(总题数：4，分数：38.00)Practically speaking, the artistic maturing of the cinema was the single-handed achie
14、vement of David W. Griffith (1875 - 1948). Before Griffith, photography in dramatic films consisted of little more than placing the actors before a stationary camera and showing them in full length as they would have appeared on stage. From the beginning of his career as a director, however, Griffit
15、h, because of his love of Victorian painting, employed composition. He conceived of the camera image as having a foreground and a rear ground, as well as the middle distance preferred by most directors. By 1910 he was using close-ups to reveal significant details of the scene or of the acting and ex
16、treme long shots to achieve a sense of spectacle and distance. His appreciation of the camera“s possibilities produced novel dramatic effects. By splitting an event into fragments and recording each from the most suitable camera position, he could significantly vary the emphasis from camera shot to
17、camera shot. Griffith also achieved dramatic effects by means of creative editing. By juxtaposing images and varying the speed and rhythm of their presentation, he could control the dramatic intensity of the events as the story progressed. Despite the reluctance of his producers, who feared that the
18、 public would not be able to follow a plot that was made up of such juxtaposed images, Griffith persisted, and experimented as well with other elements of cinematic syntax that have become standard ever since. These included the flashback, permitting broad psychological and emotional exploration as
19、well as narrative that was not chronological, and the crosscut between two parallel actions to heighten suspense and excitement. In thus exploiting fully the possibilities of editing, Griffith transposed devices of the Victorian novel to film and gave film mastery of time as well as space. Besides d
20、eveloping the cinema“s language, Griffith immensely broadened its range and treatment of subjects. His early output was remarkably eclectic: it included not only the standard comedies, melodramas, westerns, and thrillers, but also such novelties as adaptations from Browning and Tennyson, and treatme
21、nts of social issues. As his successes mounted, his ambitions grew, and with them the whole of American cinema. When he remade Enoch Arden in 1911 , he insisted that a subject of such importance could not be treated in the then conventional length of one reel. Griffith“s introduction of the American
22、-made multi-reel picture began an immense revolution. Two years later, Judith of Bethulia, an elaborate historicophilosophical spectacle, reached the unprecedented length of four reels, or one hour“s running time. From our contemporary viewpoint, the pretensions of this film may seem a trifle ludicr
23、ous, but at the time it provoked endless debate and discussion and gave a new intellectual respectability to the cinema.（分数：10.00）(1).The primary purpose of the passage is to_.（分数：2.00）A.discuss the importance of Griffith to the development of the cinemaB.document Griffith“s impact on the choice of
24、subject matter in American filmsC.deplore the state of American cinema before the advent of GriffithD.analyze the changes in the cinema wrought by the introduction of the multi-reel film(2).The author suggests that Griffith“s film innovations had a direct effect on all of the following EX-CEPT:_.（分数
25、：2.00）A.film editingB.camera workC.scene composingD.sound editing(3).It can be inferred from the passage that before 1910 the normal running time of a film was_.（分数：2.00）A.15 minutes or lessB.between 15 and 30 minutesC.1 hour or moreD.between 45 minutes and 1 hour(4).The author asserts that Griffith
26、 introduced all of the following into American cinema EXCEPT: _.（分数：2.00）A.consideration of social issuesB.adaptations from TennysonC.the flashback and other editing techniquesD.dramatic plots suggested by Victorian theater(5).The author suggests that Griffith“s contributions to the cinema had which
27、 of the following results?I . Literary works, especially Victorian novels, became popular sources for film subjects.II. Audience appreciation of other film directors“ experimentations with cinematic syntax was increased.III. Many of the artistic limitations thought to be inherent in filmmaking were
28、shown to be really nonexistent.（分数：2.00）A.II onlyB.III onlyC.I and II onlyD.II and III onlyThe molecules of carbon dioxide in the Earth“s atmosphere affect the heat balance of the Earth by acting as a one-way screen. Although these molecules allow radiation at visible wavelengths, where most of the
29、energy of sunlight is concentrated, to pass through, they absorb some of the longer-wavelength , infrared emissions radiated from the Earth“s surface, radiation that would otherwise be transmitted back into space. For the Earth to maintain a constant average temperature, such emissions from the plan
30、et must balance incoming solar radiation. If there were no carbon dioxide in the atmosphere, heat would escape from the Earth much more easily. The surface temperature would be so much lower that the oceans might be a solid mass of ice. Today, however, the potential problem is too much carbon dioxid
31、e. The burning of fossil fuels and the clearing of forests have increased atmospheric carbon dioxide by about 15 percent in the last hundred years, and we continue to add carbon dioxide to the atmosphere. Could the increase in carbon dioxide cause a global rise in average temperature, and could such
32、 a rise have serious consequences for human society? Mathematical models that allow us to calculate the rise in temperature as a function of the increase indicate that the answer is probably yes. Under present conditions a temperature of - 18C can be observed at an altitude of 5 to 6 kilometers abov
33、e the Earth.Below this altitude (called the radiating level) , the temperature increasesby about 6C per kilometer approaching the Earth“s surface, where the average temperature is about 15C. An increase in the amount of carbon dioxide means that there are more molecules of carbon dioxide to absorb i
34、nfrared radiation. As the capacity of the atmosphere to absorb infrared radiation increases, the radiating level and the temperature of the surface must rise. One mathematical model predicts that doubling the atmospheric carbon dioxide would raise the global mean surface temperature by 2.5C： This mo
35、del assumes that the atmosphere“s relative humidity remains constant and the temperature decreases with altitude at a rate of 6. 5 C per kilometer. The assumption of constant relative humidity is important, because water vapor in the atmosphere is another efficient absorber of radiation at infrared
36、wavelengths. Because warm air can hold more moisture than cool air, the relative humidity will be constant only if the amount of water vapor in the atmosphere increases as the temperature rises. Therefore, more infrared radiation would be absorbed and reradiated back to the Earth“s surface. The resu
37、ltant warming at the surface could be expected to melt snow and ice, reducing the Earth“s reflectivity. More solar radiation would then be absorbed, leading to a further increase in temperature.（分数：10.00）(1).The primary purpose of the passage is to_.（分数：2.00）A.warn of the dangers of continued burnin
38、g of fossil fuelsB.discuss the significance of the amount of carbon dioxide in the atmosphereC.demonstrate the usefulness of mathematical models in predicting long-range climatic changeD.describe the ways in which various atmospheric and climatic conditions contribute to the Earth“s weather(2).Accor
39、ding to the passage, the greatest part of the solar energy that reaches the Earth is_.（分数：2.00）A.reflected back to space by snow and iceB.concentrated at visible wavelengthsC.absorbed by carbon dioxide moleculesD.absorbed by atmospheric water vapor(3).According to the passage, atmospheric carbon dio
40、xide performs all of the following functions EXCEPT: _.（分数：2.00）A.absorbing radiation at visible wavelengthsB.absorbing infrared radiationC.absorbing outgoing radiation from the EarthD.helping to retain heat near the Earth“s surface(4).It can be concluded from information contained in the passage th
41、at the average temperature at an altitude of 1 kilometer above the Earth is about_.（分数：2.00）A.15CB.9CC.5CD.-12C(5).According to the passage, which of the following is true of the last hundred years?（分数：2.00）A.Fossil fuels were burned for the first time.B.Greater amounts of land were cleared than at
42、any time before.C.The average temperature at the Earth“s surface has become 2C cooler.D.The amount of carbon dioxide in the atmosphere has increased measurably.“Popular art“ has a number of meanings, impossible to define with any precision, which range from folklore to junk. The poles are clear enou
43、gh, but the middle tends to blur. The Hollywood Western of the 1930“ s, for example, has elements of folklore“, but is closer to junk than to high art or folk art. There can be great trash, just as there is bad high art. The musicals of George Gershwin are great popular art, never aspiring to high a
44、rt. Schubert and Brahms, however, used elements of popular musicfolk themesin works clearly intended as high art. The case of Verdi is a different one: he took a popular genrebourgeois melodrama set to music ( an accurate definition of nineteenth-century opera)and, without altering its fundamental n
45、ature, transmuted it into high art. This remains one of the greatest achievements in music, and one that cannot be fully appreciated without recognizing the essential trashiness of the genre. As an example of such a transmutation, consider what Verdi made of the typical political elements of ninetee
46、nth-century opera. Generally in the plots of these operas, a hero or heroineusually portrayed only as an individual, unfettered by classis caught between the immoral corruption of the aristocracy and the doctrinaire rigidity or secret greed of the leaders of the proletariat. Verdi transforms this na
47、ive and unlikely formulation with music of extraordinary energy and rhythmic vitality , music more subtle than it seems at first hearing. There are scenes and arias that still sound like calls to arms and were clearly understood as such when they were first performed. Such pieces lend an immediacy t
48、o the otherwise veiled political message of these operas and call up feelings beyond those of the opera itself. Or consider Verdi“s treatment of character. Before Verdi, there were rarely any characters at all in musical drama, only a series of situations which allowed the singers to express a serie
49、s of emotional states. Any attempt to find coherent psychological portrayal in these operas is misplaced ingenuity. The only coherence was the singer“s vocal technique: when the cast changed, new arias were almost always substituted, generally adapted from other operas. Verdi“s characters, on the other hand, have genuine consistency and integrity, even if, in many cases,
